Korg Triton Studio ユーザーズマニュアル

These parameters specify how the arpeggiator will function 
within the combination. Two arpeggiators can run simulta-
neously.
This offers a variety of possibilities, such as applying sepa-
rate arpeggio patterns to two sounds that have been 
assigned as a keyboard split, or using velocity to switch 
between two arpeggio patterns.

Specifies the tempo of the arpeggiator.
This can also be set by the [TEMPO] knob, or in the P0: Play 
page. (

☞0–1a)

Assigns arpeggiator A or B to each timbre 1–8. When the 
ARPEGGIATOR [ON/OFF] key is on, the arpeggiator speci-
fied for each timbre will operate according to “Arpeggiator 
Run A, B” and these settings.

 The arpeggiator will not operate.

 Arpeggiator A will operate. Use the settings in the Arpeg-

giator A page to select the arpeggio pattern and to set 
parameters.
B:

 Arpeggiator B will operate. Use the settings in the Arpeg-

giator B page to select the arpeggio pattern and to set 
parameters.

If the “Status” (0–1c, 2–1b) of the timbre is INT, each 
timbre 1–8 will be sounded by the note data generated 
by the assigned arpeggiator, regardless of the “MIDI 
Channel” (2–1b) setting of the timbre. If a timbre is set 
to EXT or EX2, MIDI note data will be transmitted on 
the “MIDI Channel” of that timbre.
In this case, arpeggiator A (or B) will be triggered (oper-
ated) by all MIDI channels specified for the “MIDI 
Channel” parameter of any timbre 1–8 assigned to 
arpeggiator A or B.

If Local Control (“Local Control On,” Global P1: 1–1a) is 
ON, the keyboard will not trigger the arpeggiator. The 
arpeggiator will be triggered via MIDI IN. Turn Local 
Control OFF if you have recorded only the trigger notes 
on an external sequencer, and wish to playback the 
external sequencer to trigger the TRITON STUDIO’s 
arpeggiator.

If you want the note data generated by the arpeggiator 
to be recorded on the external sequencer, turn Local 
Control ON, and turn off the echo back function on 
your external sequencer.

You can control the arpeggiator from an external 
sequencer, or use an external sequencer to record arpeg-
gio note data. (

Set the “MIDI Channel” (2–1b) of timbres 1 and 2 to 
Gch

, and set “Status” (0–1c, 2–1b) to INT. Assign arpeg-

giator A to timbre 1 and arpeggiator B to timbre 2, and 
check “Arpeggiator Run A, B” (0–3a, 7–1b).

• When the ARPEGGIATOR [ON/OFF] key is off, timbres 

1 and 2 will sound simultaneously (layered) when you 
play the keyboard.

• When the ARPEGGIATOR [ON/OFF] key is turned on, 

timbre 1 will be played by arpeggiator A, and timbre 2 
will be played by arpeggiator B.

The “MIDI Channel” (2–1b) of timbres 1, 2, 3, 4, and 5 
are set respectively to Gch, Gch, 02, Gch, and 03. Their 
“Status” (0–1c, 2–1b) is set respectively to INT, Off, INT, 
Off

, and INT. Assign arpeggiator A to timbres 2 and 3, 

assign arpeggiator B to timbres 4 and 5, and check 
“Arpeggiator Run A, B” (0–3a, 7–1b).

• When the ARPEGGIATOR [ON/OFF] key is off, playing 

the keyboard will sound only timbre 1. (Timbres 2 and 4 
are receiving the Gch, but they will not sound since their 
“Status” is Off.)

• When you turn on the ARPEGGIATOR [ON/OFF] key, 

arpeggiator A will operate for timbres 2 and 3, and 
arpeggiator B will operate independently for timbres 4 
and 5. (Arpeggiators A and B are triggered by receiving 
note data on any MIDI channel of an assigned timbre, 
but in this example they are being triggered from the 
Gch

.)

When you play the keyboard, arpeggiator A will operate 
for timbres 2 and 3, but only timbre 3 whose “Status” is 
INT

 will sound. Similarly, arpeggiator B will operate for 

timbres 4 and 5, but only timbre 5 whose “Status” is INT 
will sound.
In this way, you can make settings so that a timbre does 
not sound when the arpeggiator is off, but sounds only 
when the arpeggiator is on.
This type of setting is used in preloaded combinations 
which sound the drums only when the arpeggiator is on.

When the ARPEGGIATOR [ON/OFF] key is on, the arpeg-
giator(s) checked here will run if they are assigned to a tim-
bre by “Arpeggiator Assign” (7–1b). (

☞0–3a)

7–1

7–1a

7–1b

2–1a