KORG Speaker System - Manual (Page 70)

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5 Press the [REC/WRITE] key, and then press the
[START/STOP] key.
Playback will begin. When you reach the starting
location you specified in step 3, recording will
begin. Play the keyboard and operate controllers
such as the joystick to record your performance.
When you reach the ending location you specified
in step 3, you will return to the starting location,
and continue recording.
The musical data that is loop-recorded will be
added to the previously-recorded data.
6 During loop recording, you can press the [REC/
WRITE] key or check the “Remove Data” check
box to erase the specified musical data.
If you press the [REC/WRITE] key during loop
recording, all musical will be removed from the cur-
rently selected track as long as you continue press-
ing the key.
By checking the “Remove Data” check box you can
erase only the specified data. During loop record-
ing, press the note that you wish to delete, and only
the data of that note number will be deleted from
the keyboard as long as you continue pressing that
note.
Similarly, bender data will be deleted as long as you
tilt the joystick in the X (horizontal) direction, and
after touch data will be deleted as long as you apply
pressure to the keyboard.
When you are once again ready to record musical
data, uncheck the “Remove Data” check box.
7 Press the [START/STOP] key.
Playback will end, and you will return to the record-
ing start location that you specified in step 4.
If Loop All Tracks is selected, normal playback will
be looped as well.
Multi (multitrack recording)
Multitrack recording can be used with overwrite, over-
dub
, manual punch-in, or auto punch-in recording
methods. Here we will explain the procedure for over-
write recording, which is the most commonly used
method. Multitrack recording will record multiple
tracks at once.
When simultaneously recording multiple tracks of
MIDI data from an external sequencer, etc.
1 Set the MIDI Clock (Global P1: MIDI “MIDI
Clock”) to External MIDI or External PCI/F, so that
the TRITON will synchronize to the MIDI clock of
the external sequencer (
☞ p.122).
2 Make settings as described in “Preparations for
recording” ( ☞ p.64).
MIDI data of the corresponding MIDI channel will
be recorded on each track whose “PLAY/MUTE/
REC” button is set to REC. (This has no relation to
the settings in “Preparations for recording” step 3.)
When using multitrack recording, refer also to
“Multi Rec” (
☞ p.50) of the Parameter Guide.
3 In the Preference tab “Recording Setup,” select
Over Write.
4 Check the “Multi REC” check box.
5 Press the Program T01–08 tab and Program T09–16
tab.
The “PLAY/MUTE/REC” button display of all
tracks will read REC. Press the “PLAY/MUTE/
REC” button to change PLAY to MUTE for any
tracks that you do not wish to record.
6 In P2: Trk Param MIDI Ch tab “MIDI Channel,”
specify the MIDI channel for each track.
The specified channel of musical data will be
recorded on that track. It is a good idea to set tracks
1–16 to MIDI channels 1–16. (This is the default set-
ting.) Also make sure that “Status” is set either to
INT
or BTH.
7 In “Location,” specify the location at which record-
ing will begin.
It will not be possible to change the location if the
song is being recorded for the first time, so proceed
to step 8.
8 Press the [REC/WRITE] key.
You will be in recording-standby condition.
9 Start the external sequencer.
The TRITON’s sequencer will receive the MIDI Start
message transmitted by the external sequencer, and
will automatically begin recording.
0 When the song ends, stop the external sequencer.
The TRITON’s sequencer will receive the MIDI Stop
message transmitted by the external sequencer, and
will automatically stop recording. You can also
press the [START/STOP] key on the TRITON itself
to stop recording.
When simultaneously recording multiple tracks
using the RPPR function
You can use multitrack recording to simultaneously
record the playback of multiple tracks that are being
triggered by the RPPR function. For the procedure,
refer to “Realtime recording an RPPR performance”
(
☞ p.73).