The remaining feature-set is largely that of the Triton Studio (see SOS July 2002, or So you get 120-note polyphony (at most - and even this is only available under certain circumstances, depending on how waveform ROM is being addressed), dual programmable arpeggiators, a fully specified 16-track sequencer, a comprehensive sampler (offering handy integration with the sequencer) and so on. Valve Force is available for master or insert processing, and can be applied to audio entering the Extreme via its audio inputs. Though only one tube is specified (each Electribe featured a pair), it seems that a single valve can be coaxed into processing stereo audio. Good for device longevity, I'm sure, but no fun if you'd like to see the blighter working! And working it is: the blister gets warm. The valve itself hardly glows: it seems Korg have developed some electronics that extract all the device's valviness without driving it very hard. It's housed behind a prominent plastic blister erupting from the front panel, and its blue LED backlighting ensures that you'll know it's in-circuit even if you can't hear the result. Korg's Valve Force tube circuit (first seen on the latest Electribe phrase-composition devices) provides a surprise that's more subtle than the casing's colour change, but it's just as visually striking when it's switched on. Photo: Mark EwingPhysically, the Extreme's layout is virtually identical to that of the Studio, with the touchscreen in the centre, and the various patch-selection, real-time control and sequencer/sampler operation buttons scattered around the area. In addition, Triton Extreme includes a load of new sampled material, much sourced from Korg's recent top-of-the-range 'arranger' keyboard, the PA1X Pro.Īdding sample RAM (in the form of standard SIMMs) is easily done via the slots on the top panel (the slot cover is situated just under the valve blister). At £155 a card (£275 for the double orchestral set), that's a significant example of added value.
KORG PA1X PRO NOTE STAND ARCHIVE
In fact, the new instrument's overall value for money is enhanced since the extra waveforms are largely sourced from previously optional PCM cards: the piano, orchestral, Trance Attack and Vintage Archive cards are represented in their entirety, whilst Dance Extreme, Studio Essentials and Pianos/Classic Keyboards are present in 'best of' form. More significantly, perhaps, Extreme has a lot more samples in ROM - 160MB to Studio's 48MB. For example, gone is Studio's SCSI connector, but in its place are two USB sockets, joined by a Compact Flash/Microdrive memory card slot. However, while it loses a handful of Studio features, Extreme has been enhanced in a number of ways. In some ways, Triton Extreme is to Triton Studio what Triton LE was to the original Triton: it repackages the essence of the Studio at a significantly lower price point. After using a touchscreen, so much other music-technology hardware feels less immediate, and it's still centre-stage here. At least the most remarkable piece of front-panel real estate, present on Korg's flagships since the Trinity, remains largely unchanged. The physical layout of the instrument is largely the same as what has gone before, and sonically and operationally Extreme is very much one of the Triton family. Whatever the reasoning, and whilst I personally miss the sleek, now classic, silverness, you shouldn't judge a synth by its colour.
Without dwelling on aesthetic issues, it's hard to see why Korg would go for this colour change and still keep the Triton name, but then I suppose the new case is not so expensive to produce, and of course the new Triton once again stands out from the crowd. The latest Triton has a deep metallic-blue finish that reminds you of synths from the days before the release of Korg's Trinity - the original silver machine from 1995.
So close is the competition in this market that it seems that anyone entering it has to produce a silver- or chrome-liveried instrument: Motif ES certainly is, and even Roland's imminent Fantom X will adopt this colour scheme. Yet here we are with what feels like Korg's answer to that challenge: it adds massive amounts of waveform ROM and USB connectivity to the high polyphony count and integrated sampling, sequencing and synthesis functions that the Triton family has come to represent. It has to be a coincidence: Korg's new Extreme flavour of Triton workstation must have been under development before Yamaha released their enhanced Motif ES (reviewed in January of this year). The Triton Extreme is a bold new colour, but does the rest of it measure up?
Korg have redefined the workstation synth many times, and each time, it's become harder to see how they can better their previous achievements. The basic 61-note synth-action Triton Extreme (SOS used both the 61- and 88-note keyboards for this review).
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