Triton sounds, Triton Samples, Reggaeton Samples, Free Triton Sounds. KORG TRITON SAMPLES EAST COAST SOUNDS & WEST COAST SOUNDS. KORG PA Manager is a unique application that easily and quickly enables you to manage & organise KORG Pa-Series data (SETs). Be it Styles, Performances/Keyboard Sets, Pads, Sounds or Samples. It offers a unique versatile solution to Managing SETs.
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TypeNameInformationSizeDownloadPCGGMAll the GMsounds needed to play midifiles on your Trinity.76kbPCGItalianSelection ofnew programs.94bkPCG01WfdA very good emulation ofall the Korg 01Wfd sounds ready to load in Trinity format.88bkPCGProphecy AAll the soundsfrom the A bank on the prophecy converted to Trinity format. Needssolo board.97kbPCGProphecy BAll the soundsfrom the B bank on the prophecy converted to Trinity format. Needssolo board.97kbPCGSonsmes8A selection of 109 Technoprograms and 64 sequences.60kbPCGDemoThis is a demo of 54 newPrograms and 16 demo songs to show them off Korg’s selection ofdisks for the Trinity.
(From Korg Italy). Well worth purchasing.77kbPCGPiano &KeyboardGuess whats inthis set. Check it out, its great.90kbPCGOrchestralNo description available.86kbPCGZ1Bank A128 MOSS soundsfor the V3. This PCG file contains the first 128 sound of theZ1 converted to Trinity V3 MOSS format. NOTE: This is not completelyfinished data.
You will need to setup effects, and controller parametersto your own liking.21kbPCGZ1Bank B128 MOSS soundsfor the V3. This PCG file contains the last 128 sound of theZ1 converted to Trinity V3 MOSS format. NOTE: This is not completelyfinished data. You will need to setup effects, and controller parametersto your own liking.21kbPCGZ1Card 1128 MOSS soundsfor the V3.
This PCG file contains all 128 sound of the Z1Card NO:1 converted to Trinity V3 MOSS format. NOTE: This is notcompletely finished data.
You will need to setup effects, and controllerparameters to your own liking.20kbPCGZ1Card 2128 MOSS soundsfor the V3. This PCG file contains all 128 sound of the Z1Card NO:2 converted to Trinity V3 MOSS format. NOTE: This is notcompletely finished data. You will need to setup effects, and controllerparameters to your own liking.20kbImageTrinity SpaceA processed version of the Trinity's screen, layered over a control panel with an image of space as the background.1024X768222kbImagePlanet TrinityNormally the wallpapers in the download section are 1024X768. But this time we have gone all out on quality. So for those of you running at extremely high resolutions, this is the perfect wallpaper for you. It's a whooping big 1280X1024.232kbPCGTechno ToolsPart 1Please read all of this, as it is very important.
This Techno Tools set will be released in parts. And if for use with the Korg Trinity Solo option.
Each part will have 128 S programs. For anyone that does not have the PBS option installed, since you only have 64 S programs, you will see an option when loading that will allow you to load this PCG file in two sections.
0 to 63 or 64 to 127. This will allow you to access all 128 sounds by loading 64 to memory at a time. For those that do have the PBS option installed, you can just load the data directly as you have 128 S bank locations.This data was originally freely available for download on the KORG UK website as Korg Prophecy Sysex midi data dump information. But we converted this to Trinity Solo PCG file format. Enjoy.19.8kbPCGTechno ToolsPart 2Part 2 of Techno Tools.
Formore information, see Techno Tools part 1.19.8kbPCGTechno ToolsPart 3Part 3 of Techno Tools.And the final part. Formore information, see Techno Tools part 1.19.8kbPCG/SNGRoland MC303Whatyou have here is basically the contents of the Roland MC303 in SNG fileformat. (all the patterns). And a PCG file that lets you to play themback to a level that should give you a good idea of what’s beingplayed and if it would fit into your songs. So, this is a handy toolthat should help you to write some kicking dance music.271kbPCGAccessAtruly fantastic set of programs for the Trinity.
My favourite beingA110. This is a hot download.
Special thanks go to blinkofanIfor creating and sharing these with us.21kbPCGMOSSBlinkofanI is back againwith another great set. This time for those lucky ones that have theMOSS board installed in their Trintiy.24kbKSFVocalLayerAfantastic rich Vocal Layer sound created and sampled by using the OASYS and Triton.1.32mbKSFMiniMoggNone other than that famous Mini moog sound.Creted and Sampled by.1.34mbPCGKORG M1Version 1.0Allthe great sounds of the KORG M1 Emulated using the internal ROM samplesof the Trinity. Surprisingly enough, this almost sounds exactly like theM1. Currently Version 1.0supports only the first 20 programs.5kbPCGSteinwayGrandCreatedby Vesa. It’s probably the best Classical Piano Program available forthe Trinity. Best of all, no external samples where used, just a load ofhard work.Justopen the PCG file and load Program A000 into any loaction on yourTrinity. For more information, please read the attached text file.23kbTXTRACKROMA full list of all the extra multi sounds that the Trinity Rack has over the Trinity has been uploaded.
Thanks to JKR01W ( John ) for putting all this together2.5kbPDF- DOCPBS Sound listJerry Kovarsky of KORG USA has submitted a selection of very useful PDF and Word DOC filesfor Trinity PBS users. These files hold the Prog and Combi sounds lists.623kbKMPArabic DrumsAnoosh Emam submits a collection of Arabic drum samples.1.08MBKMP01w PianoKORG 01W Piano Multisample. Extracted by Nizar Tareq.2.68MBKMPGlobal MusicGlobal MuiscTimor Sakka submits 5 multi samples compatible with the PA1X, Pa80, Trinity, Triton, and OASYS.7.4MBKMPKanounShadi Domooni sends us a multi sample of a real Kanoun that he sampled.610KBKMPOvationAnoosh Emam has sampled an Ovation guitar and submitted the files for download. It’s a single Multisound based on 6 samples. No PCG data.145KBKSF/KMPPower SynthCreated by Nikola Prvulovic, this is a sample of a PowerSynth sound.
This download has been added to all the relevant sectionsthat it's compatible with.320KBPCGVO3KALDCreated by Fad Ghuzlane. This is a selection of programs and combinations whichhe use for our traditional music.65KBPCGKais SoundCreated by Kais Haddad. No additional details where given by the author.168KBOwned by Irish Acts RecordingStudio - Hosted by KORG USACopyright 2012.
The last masterpiece of the 20th Century, revived after 20 years.A perfect reproduction of the TRITON workstation in software.The KORG TRITON series of synthesizer workstations was first released in 1999 to accolades and prestigious awards. Top musicians around the world loved the expressive PCM sound and used their TRITONs on countless songs.This year, on the 20th anniversary of its release, the KORG TRITON will finally be realized in software as the KORG Collection TRITON. The plug-in faithfully reproduces the HI (Hyper Integrated) synthesis system down to the smallest details and contains every one of the vast number of preset programs. Reclaim the true masterpiece sound that characterizes so many hit songs.Including eight-part multi-timbre combis, abundant PCM samples, five IFX, and two MFX,the KORG Collection TRITON is a complete reproduction of TRITON’s HI (Hyper Integrated) synthesis system. Supervised by original TRITON developers.
Over 4,000 ready-to-go sound programs. Includes all of the expansion library EXB-PCM cards. Features a new sound browser for quickly searching by instrument/character. Includes an EASY mode that gives you instant access to important parameters.
Full of ready-to-go phrases with 307 dual arpeggiator patterns. A free demo version is also available. A complete reproduction of the HI synthesis systemThe TRITON released in 1999 came with high-quality PCM samples capture at a sampling rate of 48kHz, which was remarkable at the time. It was a monster machine that came with two types of filters, five insert effects, two master effects, and a master EQ, as well as a combination mode allowing for up to eight of multi-timbral parts to be played simultaneously. The KORG Collection TRITON completely reproduces the original’s HI (Hyper Integrated) synthesis system in software, so you can experience the sounds that shaped the 2000s.
All kinds of producers, especially Hip Hop and R&B in the 2000’s, loved the TRITON’s sounds. “Preset sounds that can be used as is” were never fully realized before the TRITON.
Even famous producers kept the presets around to help them make highly original sounds one after another. The KORG Collection TRITON comes with every on of the original TRITON preset programs. All eight of the EXB-PCM expansions are included, boosting the number of programs to over 4,000. You can obtain the vast sounds that are ready to go and easy to use to this day. The TRITON came with a built-in 16-track sequencer and took the music world by storm as a music workstation that could single-handedly create music. Although the KORG Collection TRITON does not come with a sequencer, it does come equipped with the same powerful dual polyphonic arpeggiator as the original. The 307 types of practical presets, including melodies, riffs, and drum patterns, are incredibly useful for songwriting.
The arpeggiator can create endless original phrases by adjusting GATE or VELOCITY parameters. From simple idea sketching to serious music creation, the arpeggiator is a handy tool in any musician’s toolbox. The first generationTRITON was released in 1999. The newly developed sound engine was name the Hyper Integrated synthesis system, or HI for short. In addition to the 62 voice polyphony, almost double that of TRINITY, the optional MOSS tone generator board could add six voices of polyphony from various DSP algorithms.
This combination allowed for incredibly diverse sound design. The signal routing in TRITON was also a step up from the TRINITY, offering five insert effects, two master effects, and a master EQ that could be flexibly routed between. The newly developed sampling mode was a major advantage of the TRITON, making it a perfect fit for dance music that relies heavily on phrase sampling and other techniques.
Later OS upgrades brought even more advanced functionality like the time-slice function, which divided samples sounds into individual samples using transient detection, and time stretching, which allowed users to change the length of a sample without changing its pitch. Through these updates, the TRITON evolved to support even more flexible music-making.Another noteworthy feature of the TRITON is the arpeggiator, which evolved from a conventional arpeggiator that could only play broken chords to a dual polyphonic arpeggiator capable of playing a wide variety of phrases. Using the arpeggiator, players could find inspiration in a different approach than their usual playing. The dedicated drum mode developed to play drum patterns via the arpeggiator vastly improved the ability of the TRITON to act as a rhythm section. This was useful not just for production, but for live performances as well. These features are now considered standard among music workstations, but they started with the TRITON.The addition of these drum arpeggiators also came with a major expansion of the TRITON’s built-in drum sound samples. Many new, trendy drum kits were added, and the TRITON was updated with bass, synthesizer, and string samples suitable for club music, which was becoming mainstream at the time.
Column:Creating TRITON soundFrom Timbaland to The Neptunes, Swizz Beats, Massive Attack, Moby, Orbital, Utada Hikaru and more, TRITON sound has come to permeate a wide range of musical genres. So, how did the development team create preset sounds that would attract so many varied artists?- 'The tone generator chip used in the TRINITY was a high-end model oriented toward high sound quality, but the chip used in the TRITON focused more on versatility, and had major differences in its specifications as a tone generator.
Many of its parameters are also significantly different. Meanwhile, we also wanted to include a wide variety of different tones, so we cut down little by little on the PCM data that is the source of the tones, while including as many different types as possible.
I think all this work is one reason why the TRITON has full sound that differs from that of the TRINITY. Some of the PCM was moved over from the TRINITY, but we also included many things that were newly sampled.' - 'I remember that when we got the quality-assurance section manager at the time to check our demo songs, the manager gave us the stamp of approval, saying ‘This sound is amazing, especially the texture of the lows. This will definitely sell.’ Artists and producers felt those characteristics of the sound too, didn’t they?'
A developer of the new KORG Collection TRITON says:- 'When we were checking the tones during development, we got sucked into playing all kinds of phrases for different tones without realizing - like ‘tones for club music would be like this, orchestral sound for film music would be like this’. That’s why the tone checks didn’t progress no matter how much time we had (laughs).
I realized anew that part of the TRITON’s appeal is the fact that it’s filled with tones that naturally summon images like that.' Column:Concentrating wisdom from around the worldNot only the TRITON but most KORG products are developed through the proactive collaboration of product specialists not just within Japan but around the world.- 'Today, it’s easy to talk in real time and listen to sounds together through the internet. When we were first developing the TRITON, we had e-mail, but it was difficult to have face-to-face passionate discussions. So we got KORG’s product specialists from around the world together and put them in a confined space for a week where they had daily meetings in order to put the TRITON’s concept and specs together. It was an attempt to include as many of the needs of the time as we could. In the end, I think this meeting played a big role in making the TRITON a product that a wide range of musicians have kept using for a long time.' Column:Naming the TRITONThe name “TRITON” was created by the planners of the time.- 'Even though it had a lower price, we wanted to make it a product good enough to compete with the TRINITY, so we were always looking for a word for the name that started with ‘TRI’.
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We had about 200 proposals for names from various perspectives, including neologisms and words that didn’t start with ‘TRI’. While we were doing this, we suddenly thought of ‘TRITON’. The rhythm of the word is simple and easy to say, and because it ended with a ‘N’ sound, it had a well-defined rhythm too. So ‘TRITON’ became our final choice.' - 'When we first released it, we called the 61-key model the TRITON, the 76-key model the TRITON Pro, and the 88-key model the TRITON ProX.
Later on, variation models and successor models were released, so in order to differentiate the first-generation TRITON from the rest, it was also called the TRITON Classic. This wasn’t an officially planned name, but of course we were happy that it was being called that. It proved that the TRITON had become established as a standard model.'
First, theTRITON-Rack was released in 2000. It contained the powerful tone generator and sampler functions of the first-generation TRITON within a 2U rack, and could be equipped with up to eight EXB-PCM series optional PCM boards, while the first-generation TRITON could only be equipped with two. The number of programs that could be stored within internal memory was also significantly increased to 2,057 programs and 1,664 combinations.In addition to functions from the lineup of the first-generation TRITON, such as EXB-DI, which allowed for the installation of an ADAT output terminal, EXB-MOSS, which allowed for the addition of a MOSS tone generator, and EXB-SCSI, which allowed for the addition of an SCSI terminal, the TRITON-Rack also allowed for the EXB-mLAN expansion, which enabled the machine to connect to mLAN, the newest digital network at the time.
Column:Expanding TRITON soundThe EXB-PCM series of PCM expansion boards that could be installed in the TRITON series as well as the KARMA and other music workstations included eight options separated by theme.- 'Although it was an optional expansion, that was the amount of capacity that was available at the time, so we made it so it would have enough power to rival a new model of synthesizer. You could expand the machine according to the type of sounds you wanted, so I think that expandability was very appealing.' In 2001, theTRITON Le was released. It kept the TRITON’s tone generator systems almost exactly the same, but came with a much lower price tag.
The same PCM and effects as the first-generation TRITON were available, although the insert effects were more limited. The same 16-track, 200,000-note sequencer, dual arpeggiators, and RPPR functionality were likewise included.
The internal presets included a large number of newly programmed sounds, mainly sounds suitable for dance music. The machine was intended to deliver an update to presets to suit the audience of the original.The TRITON Le also included the capabilities of the EXB-SMPL sampling board for the first generation TRITON, making it a low cost model with high potential. It also featured improvements to the user interface with the addition of the function keys originally developed for the TRITON-Rack.
These keys helped to make the TRITON-Le fast and easy to use on a compact display. The next evolution was theTRITON STUDIO in 2002. In addition to the PCM of the first-generation TRITON, the tone generator was expanded to include high-quality stereo piano PCM and could produce a maximum of 120 voices (60+60 voices during single mode), nearly double the polyphony of the first-generation TRITON. Furthermore, the machine could be equipped with up to seven EXB-PCM expansion PCM boards, and was designed in a user-friendly way that allowed the boards to be installed from the front panel. An optional CD-R/RW drive could also be installed, which not only enabled the creation and ripping of audio CDs, but also expanded the usefulness of the sampling functions. The hard disk was also built into the main body of the machine, allowing performances done on the main-body synthesizer to be saved in an uncompressed audio file.
The expanded feature set made it an excellent option for studio use.On the design side, the champagne gold rather than the first-generation’s silver and the flowing curves of the design were both well-received. Column:Designing the TRITONThe silver body inherited from the TRINITY line was a very rare color for synthesizers at the time, creating a very impactful design.- 'What I said to the designers about the TRITON was that it should ‘have flashes of distinctiveness amidst its orthodoxy’. As a result, a new design was created that might look simple and unrefined at first, but is definitely unforgettable. For the TRITON STUDIO, I didn’t give those sort of instructions and asked the designers to work freely. The design that came out was one that kept its TRITON qualities, but absolutely let you feel the machine’s evolution.' TheTRITON STUDIO V2 was released the next year in 2003, adding audio-track functionality using the built-in HDD. This function only allowed for two tracks, but it supported track bouncing (ping-pong recording) as well as per-track signal routing with built-in effects, making it possible to use the audio-track in the same manner as the synthesizer section.
The tone generator supported a maximum of 120 (60+60) voices like the TRITON STUDIO, and the available effects were the same. The TRITON Extreme also included the Open Sampling System that had been well-received on the TRITON STUDIO and significantly increased the number of built-in preloaded data files in the dual polyphonic arpeggiators, making it even easier to use. The machine was also equipped with USB type-A and type-B connectors, allowing it to be easily connected to various storage devices.
Card slots compatible with CompactFlash and Microdrive also enabled storing and loading data from the main body, making the machine compatible with the storage media that were developing rapidly at the time. Column:Evolving the TRITONThe looks of the TRITON Extreme had a completely different feeling from those of the TRITON or TRITON STUDIO. What was the aim of that?- 'During development, we focused on creating the best possible machine, so we brought in optional boards and updated USB compatibility and storage to create a product that was even easier to use than it had been before. Media in the TRITON STUDIO era meant floppy disks and SCSI, but this was now a time where storage media trends were changing to bring in CompactFlash, SmartMedia, and SD cards, so an update on that side was necessary.' Column:Installing the vacuum tube- 'Before the TRITON Extreme, we had the ELECTRIBE MX/SX, which used vacuum tubes and were well-received, so we brought the vacuum tube into the TRITON Extreme as well. The ELECTRIBE MX/SX had two vacuum tubes that allowed stereo output, but afterwards we realized that we could achieve stereo output with just one tube.
We also added a switch function that bypassed the vacuum tube circuit. I think this created the enjoyment of being able to use different functions for different tones.' TheTR was also released in 2005, which could be described as the final work of the TRITON series. In addition to the 61 and 76-key models, an 88-key model was added in 2006. This was an active model that contained all the basic professional features of the TRITON series, which had become a global standard, within a lightweight body that could be easily handled.It was a popular entry model with an even lower price that had the same basic specifications as the TRITON Le, but also had functionality updates to suit the changing times, such as the installation of a USB terminal and SD card compatibility. ConclusionAfter the birth of the first-generation TRITON, the TRITON series grew immensely.
From the rack model, to the LE, to the Extreme, each iteration brought new innovations and features. Between the late 1990s and the mid 2000s technology naturally evolved, but the music scene also developed in a diverse way. During this time, we released many products that flexibly respond to technical developments as well as changes in the music scene; products from the TRITON series could be seen wherever one looked.
This situation can be said to be unique to the TRITON series, which can be described as having become a de facto standard among workstation keyboards. Since the Triton era, Korg workstations continued to to develop, from the M3 and OASYS to the current flagship models KRONOS and KROME.The first-generation TRITON which laid this foundation has now been revived as a software instrument. After 20 years, the TRITON sound can now be resurrected on your computer.
Whether you have known of the TRITON series since the first-generation model or not, we hope that you will enjoy the unique TRITON sound that differs from the ultra-high-quality, ultra-high-capacity sound of modern software instruments to your heart’s content. From the bottom of our hearts, we look forward to new music being born yet again.
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