I purchased a Korg Trinity Pro about a year ago and am now wondering if I should sell it and buy the new Triton. Is it worth it? What are teh main improvements (other than the sampler) that were made. Also, how is the sampler. As far as samplers go, is this a good one?
Thanks in advance for your input.

Hi James Tubbritt here
I can only give you my opinion.
Stick with your Trinity.

The sampler on the triton is not that great. You will still end up using a PC to do your tricky sampling. Then save the data in Aiff format and load it into the Triton.
The Triton does not have time stretching or any fancy looping features. In fact I found it to be very basic. The Trinity will read PC disks the same as the Triton. And I’m sure you will not be doing any sampling at a gig. So why not do all your sampling on the PC and load them into your Trinity. This way you don’t need the Triton sampling feature. The sounds on the Triton are not all that different. But some Trinity sound CD-ROMS.

The Triton does not have the HDR feature..( Big mistake here I think. )

I was really disappointed with the Triton. It’s a good synth but I think the Trinity has the edge. I think I will wait for the Korg Oasys to be finished.

Summary of OASYS® features
Custom, high-performance Digital Signal Processor (DSP) system
· High-performance custom DSPs, designed specifically for OASYS® deliver an unprecedented amount of synthesis power and flexibility.
· This power and flexibility frees synthesis algorithms from their traditional hardware-based limitations, and makes open-architecture, software-based synthesis possible.
Software-based synthesis
· OASYS® creates its synthesis and effects in software, not in hardware. This is the basic concept behind all of the OASYS® features.
Supports many different types of synthesis
· OASYS® supports all available synthesis technologies, currently including physical modeling, additive synthesis, FM, true analog simulations, stereo sample playback, vector synthesis, and wave sequencing.
· New synthesis techniques will be created in the future; sound designers will be able to build algorithms which use these techniques, and OASYS® will be able to play those sounds.
Advanced, polyphonic physical modeling
· OASYS® includes advanced, polyphonic physical modeling synthesis algorithms.
· Instead of relying on a single, generic "physical modeling" algorithm, OASYS® makes it possible to use many different algorithms, each designed for a specific acoustic or electro-mechanical instrument.
Disk loaded, RAM-based algorithms
· Synthesis and effects algorithms are loaded from disk, so that as sound designers create new algorithms, they can be distributed quickly and cost-effectively. There is no fixed set of ROM algorithms; all algorithms are stored in RAM.
· New algorithms don't require upgrades to the operating system, even if they use completely new synthesis techniques. Sounds and effects load their own algorithms automatically, for instant, transparent upgrades.
Uncompromised, fully professional sound
· OASYS® is simply the most flexible synthesis platform ever developed.
· Sound designers can custom-build completely different algorithms for each sound, free from the constraints of preset architectures.
· This unprecedented flexibility allows sound designers to choose-and create the best possible method for making a particular sound, and fine-tune its timbre and response to the player to degrees impossible on any other instrument.
· 20-bit 48kHz, 128-times oversampling D/A converters on all 8 outputs deliver the OASYS® sound with total clarity. Professional musicians will appreciate the unparalleled quality of OASYS®
Touch-screen and graphical interface
· OASYS® features Korg's new, intuitive TouchView(TM) graphical user interface.
Expressive Controllers
· In addition to its 76-key, after/ouch-sensitive keyboard, OASYS® provides sophisticated controllers for unprecedented expressiveness, including a pressure-sensitive ribbon controller, breath controller input, modulation joystick with both normal and vector modes, and more.
The OASYS® system
The OASYS® system is a patented (U.S. patent number 5,376,752), multiple digital signal processor (DSP) architecture, with the entire system clocking in at over 900 million instructions per second. This incredible processing power makes possible the revolutionary breakthrough of OASYS® open architecture, software-based synthesis.
Instead of using dedicated hardware to produce oscillators, filters, and other synthesis elements, OASYS® uses software to construct them out of DSP resources. You can think of these DSP resources as tiny building blocks, like the components which make up electronic circuits; put together one way, they create an LFO; put together another way, and they make an EQ an oscillator, a reverb, or an envelope.
Other instruments have been partially based on software technology, but they've always been constrained by more or less fixed architectures: a fixed number of voices of polyphony, limited amounts of power for filters or other processing, predetermined basic signal paths, and most importantly, a fixed number of synthesis algorithms (usually, only one).
This is where the OASYS® open architecture comes in. OASYS® has no pre-defined oscillators, filters, envelopes, LFO's, or other synthesis elements; no fixed signal paths; and no preset number of voices. Instead, each voice or effect uses DSP building blocks to create all the elements that it needs, and then connects them together, with complete freedom, to form an algorithm (just like making patches on old-fashioned modular synthesizers-except that OASYS® has a lot more blocks to work with). This means that each different program or effect can have its own algorithm, if necessary, specifically tailored to its needs.
Since each voice can build its own algorithm, OASYS® creates sound using any synthesis technology available, including physical modeling, additive synthesis, FM, analog simulations, stereo sample playback, vector synthesis, wave sequencing, and more. Different synthesis techniques can be used alone or in combination with each other; for instance, you can layer a physically modeled guitar with FM bells and an analog pad.
Synthesis and effects algorithms are loaded into RAM from floppy disks or SCSI, just like program data and samples; there is no fixed set of ROM algorithms. New algorithms don't require upgrades to the operating system, even if they use completely new synthesis techniques. Instead, each program and effect carries with it the algorithms that it requires, so that OASYS® instantly, automatically upgrades itself every time a new sound is loaded!
Software-based synthesis evolution follows revolution
The difference between traditional, fixed-architecture synthesizers and OASYS® software-based synthesis is like the difference between a typewriter and a computer. A typewriter can do only the one, simple task that its hardware was designed to do: putting letters onto paper. A computer, on the other hand, can simultaneously run word processing, spreadsheet, graphics, and MIDI programs; and since those functions rely primarily on software, and not on hardware, completely new functionality can be added just by popping in a new disk.
Similarly, OASYS® comes out of the box with capabilities far beyond those of a traditional synthesizer-but that's just the beginning. Because its synthesis is based on software, and not on hardware, OASYS® can grow along with the state of the art. Since getting new algorithms is as simple as loading a new disk of sounds-in fact, it happens almost every time an OASYS® sound is loaded-OASYS® can and will feature new types of synthesis as they are discovered.
OASYS® provides sound developers with the ultimate synthesis platform, for which they can design new algorithms to the precise requirements of a particular sound. Everyone knows that certain sounds are best suited to their own synthesis methods (analog synth bass, for instance, or FM electric pianos); whatever that best way of making the sound is, OASYS® will use it. Because OASYS® allows this no-compromise approach to sound development, Korg is able to provide musicians with the ultimate in sonic performance.
OASYS® the state of the art In physical modeling
Due to the OASYS® Open Architecture Synthesis System and enormous digital signal processing power, OASYS® is the world's first polyphonic, multi-timbral physical modeling synthesizer with dynamic voice assignment.
What is physical modeling synthesis?
Physical modeling is a new synthesis technique, which creates sound using complex mathematical models of actual musical instruments. The prime advantage of physical modeling is its greatly enhanced expressiveness, especially when compared to sample playback. For instance, to capture the sound of an instrument with samples, one records static "snapshots" of the instrument played with different performance techniques-struck softly or loudly, played with full or muted tone, etc. Expressiveness is limited to switching or fading between these snapshots; smooth transitions between different states, such as a single note starting softly and building to overblowing, are difficult or impossible.
With physical modeling, one begins by building a model of the instrument's physical characteristics: whether it is a horn, a plucked string, a woodwind, a bowed string, etc.; the size of the instrument, the material that its strings are made of, the resonance of its soundboard, what sort of reed it uses, the shape of its bore, and so on. This model can then be played in a manner very similar to a real instrument, with smooth transitions in tone and character controlled by the subtlest gestures of the performer. When pitch bending on a guitar model, the bend resonates in the guitar's soundboard; when doing an octave rip on a trumpet, the pitch settles naturally at the harmonics; when playing an electric piano, the timbre continuously varies from a soft, bell-like tone with a light touch to a hard, nasty growl when you dig into the keys.
In addition to physical models of acoustic musical instruments, OASYS® features physical models of classic electronic and electro- mechanical musical instruments, such as analog synthesizers, Hammond(TM) organs, and tine and reed electric pianos. OASYS® analog synth models set new standards for a digital synthesizer; its DSP power generates incredibly punchy envelopes, oscillators with true pulse width modulation, multimode resonant filters, and modulation routings at audio rates. Last, but certainly not least, is perhaps the most exciting aspect of physical modeling: the creation of instruments that do not-or cannot-exist in the real world, and yet feel and play as if they were natural, genuine, and musical. This area leaves OASYS® plenty of room to grow into, and define, the future of synthesis.
TouchView(TM) Graphical User Interface
OASYS® uses Korg's new TouchView(TM) graphical user interface system. TouchView(TM) uses a large LCD and touch-screen to present the user with an easy to use, intuitive graphical user interface. Instead of pressing an endless series of cursor keys to select a parameter, for instance, you just touch it on the screen. TouchView(TM) allows the user to easily navigate the exceptionally flexible sound and effects structures of OASYS® and allows easy upgrading as the OASYS® system evolves.
Specifications
· OASYS® Open Architecture Synthesis System, allowing a virtually unlimited number of synthesis and effects algorithms. Supports physical modeling, additive synthesis, FM, analog simulations, stereo sample playback, vector synthesis, wave sequencing, and new technologies as they are discovered.
· TouchView(TM) graphical user interface.
· Built-in 1.44 Mb floppy disk and internal hard disk for storage of the operating system, synthesis algorithms, effects and samples. Built-in SCSI port for use with external hard drives, magneto-optical drives, and CD-ROM drives.
· 32 track multi-timbral with polyphonic dynamic voice allocation.
· Up to 112 voices of polyphony or 112 simultaneous effects (voices and effects share DSP resources; polyphony and number of effects will vary depending on the algorithms used).
· Up to 32 megabytes of sample RAM, using standard SIMMs.
· Custom-designed database for managing files on disk and in memory.
· Extensive MIDI master controller functions.
· 76 note keyboard with velocity and aftertouch sensitivity.
· Pressure-sensitive ribbon controller, modulation joystick (with normal and vector modes), an assignable slider, and 2 assignable buttons.
· Breath controller input, 2 continuous pedal inputs, 2 footswitch inputs.
· 24 bit internal processing.
· 20 bit, 128 times oversampling D/A converters at a 48kHz sample rate.
· 8 polyphonic analog outputs; balanced XLR main stereo outputs.
· 8 channel ADAT(TM) compatible digital optical output.

wow !!! How do you know all this stuff?

when is the OASYS coming out?

According to 'guys-in-the-know', including one who created many of the Trinity's and Triton's programs and combinations, the Oasys was a concept keyboard. Much like a concept car, many of the features may not make it into production, and some may be adopted by differnt products. The original projected selling price of the Oasys was going to be about $10,000 US. I can't see too many lining up for a synth in that price range.

BTW, the Oasys didn't have HDR, either.

For the money, the Triton beats the Trinity in these key features:

1) Polyphony (62 instead of 32 notes)
2) Touch Screen speed (you'll know what I'm talking about if you own a Trinity)
3) Audio Outputs. 6 instead of 4, and it doesn't take rocket science to implement them, either.
4) Sampling. Flash RAM is good, but the erasing time sucks.
5) Upgradable ROM samples. Add another 32Mb of samples with snap-in modules.
6) Arpeggiator. Love it or leave it.
7) Song Templates.
8) Direct-from disk playback
9) General MIDI compatibility. (or is that a minus?)
10) Cue list.
11) 200-song, 200,000-note sequencer.
12) All options are user-installable.

The stuff you may miss:

1) HDR option
2) Digital outputs
3) Flash-RAM option (but it's $500 US for 8 Mb!)

Steve Martin
Ward Music

I have had a Trinity for several years, and I have now bought a Triton in the intention of replacing the Trinity, but

- In combi mode you can set a top key and a bottom key, but nevertheless the Triton sends MIDI signal out on the whole keyboard range.

- Key transpose does not affect the internal voices on the Triton when set to Post-MIDI.

Theese problems is in the current software version 1.0.6, and KORG intends to fix them.

But this problem is permanent:

When you save a combination, the Triton is unable to play for several seconds, so you cannot save changes on the fly while you play.

Tommy Jo
Denmark

I have to add that if Korg was selling the Oasys for the amount posted above. I think most of the Trinity users would spend the money. After all when you expand the Trinity with all its options it become a very expensive synth. With that I'm sure that most users have spent the money upgrading the Trinity. Why triad in your Trinity for a Triton when they are not all that different.

But just look at the spec on the Oasys. There is no synth that has ever come near to this. It has everything that you could dream of and a lot of things you would have never dreamed possible. And about the price of $10,000, that was in 1996 when Korg was trying to build this synth. If it is true and Korg have given it another go. I’m sure that with the reduction in costs of chips that it would be half that price now.

See the Oasys at the web address below.
Check out the kick ass lenght of the ribbon on this baby.

http://www.synthony.com/vintage/OASYS.html

Does anyone have an idea of when the Oasys comes out?

Come on guys and gals! Havn't we learnt by now that there is no all in one box for everyone. Sure you could wait for the oasys, but then the next one on that horizon would also be worth waiting for, etc etc! As for the open expandability of the oasys- I dont think an algoritm can put knobs on the casing like a triton has! (just seen the pic)

I would like to know if any Triton owner has, or has heard the expansion boards and how they sound? thanks.

I have played both expansion boards. The Piano board is the best bargain. The Jazz Choir on the the Studio essentials board wasn't that impressive. To my ears, listening through AKG headphones, the new stereo grand piano on the first board was one of the best I've heard. It seems they have set up the filters and touch response for the Triton Pro X's weighted keyboard. There seemed to be a bit too much 'response' in the sound, but other than that, it's the best ROM board around.

Steve Martin
Ward Music