Korg Trinity

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Korg Trinity V3

Korg Trinity is a commercial successful synthesizer music workstation released by Korg in 1996. It was also the first workstation to offer modular expansion for not only sounds, but also studio-grade feature such as SCSI, ADAT, various sound engine processors, audio recording capability, and more. It was considered one of the most comprehensive music workstation, in term of features, at the time.

Ex-Dream Theater keyboardist Derek Sherinian in collaboration with KORG sound designer Jack Hotop created Sherinian's signature guitaristic lead sound on the Trinity in 1996.

Many users to this day feel that it's successor, Triton, never had the same "sound" and the Trinity had a more airy/clear sound to it. ^{[citation needed]}

1 Models
- 1.1 Variations
2 Features
3 Notable users
4 See also
5 External links

[edit] Models

There are 3 models and variations of both the main hardware synthesizer itself and a rackmount:

Trinity (61 Key)
Trinity Pro (76 Key)
Trinity Pro X (88 Weighted Key)
Trinity TR-Rack: 1U Rack-mount with the equivalent soundbank capacity of a Trinity + PBS-TRI excluding sample loading

[edit] Variations

Any of the models could have the following variations:

Plus: is any of the above keyboards with the SOLO-TRI Prophecy card installed, using any Trinity OS below 3.00
V3: is not only OS 3.x, but shipped with the "MOSS-TRI" Z1 board installed.
SOLO-TRI: only works with OS 1 - 2.x and NOT 3.x, and the MOSS-TRI only works with 3.x and above. These cards cannot be installed at the same time as they occupy the same expansion bay.
HDR-TRI: and SCSI-TRI cannot be installed at the same time as they occupy the same bay. (The HDR-TRI has all the feature of the SCSI-TRI)
Any Trinity can have OS 3.x installed even if the MOSS-TRI is not installed but #3 applies. (The OS is user up and downgradable using floppies)
The Rack could be fitted with the DI-TRI Option

[edit] Features

The Trinity workstation features a massive set of effects, a large graphic touchscreen and a complete 16-track sequencer, as well as an advanced sample-based systemsis with 48 kHz PCM playback on a 48Mbit ROM.

Along with the Korg Prophecy, the Korg Trinity synthesizer was a descendant of the original OASYS synthesizer, an acronym for Open Architecture Synthesis System, which was a mega-synth prototype that the company previewed in 1994 but never marketed. The foundation of the system was an open concept DSP system where the OS could load various unrelated models of different synthesis and physical modelling sound generators.

At the time, this synth had twin 900 MHz DSP processors, which gave the Trinity a retail price of $25000US. To attract more buyers, Korg adapted these technologies and developed three initial products: Trinity, Prophecy and Wavedrum.

Options for the machine included:

SCSI-TRI: allowed a use to connect SCSI removable storage (ZIP, CDROM, HD) to load/save PCG, Sequencer and Sample Data (if PBS-TRI installed.

PBS-TRI: allowed the use to expand the PCM ROM with up 8 Megs of addional Samples. The interesting thing to note is that Trinity would allow loading of AKAI, Wav and AIF and 16 bit and pretty much *any* rate... even nonstandard numbers. This option also doubled the Trinity's User editable program capacity by adding 2 additional banks in Combi and Program modes.. double the drum kits, and added another 64 sounds (total of 128) if the SOLO-TRI or MOSS-TRI.

HDR-TRI: a very exciting option at the time, not only gave functionality of the SCSI-TRI, but gave the system 2 analogue inputs, S/PDIF digital in and out and for the first time ever, gave the ability to record/playback up to 4 digital audio tracks perfectly synchronized to the sequencer's 16 MIDI tracks. The 4 audio tracks were fully automatable with Volume, Pan, 2 Aux sends to the Trinity's existing Master Effects section and simple Lo/Hi EQ.

DI-TRI: added a 48 kHz word clock input and ADAT optical output. The main problem with the Trinity and digital linking at the time, was that Korg chose to design the synth using a 48 kHz, which is very common for post production and television work, but not the 44.1 kHz CD standard that most studios pro and consumer alike utilized. Therefore, it was difficult to clock unless an outboard box calculated a real-time conversion. Only the first four channels of the ADAT spec were used, and they were assigned to the classic Korg Output layout: 1/L, 2/R, out 3, out 4. These were fixed and non-assignable.

SOLO-TRI: added a Korg Prophecy synthesizer into the Trinity, including its own 1 voice synth and integrated effects. The user could use only 1 patch at a time like the real synth counterpart.. but could incorporate a patch into an existing combination or sequence. Access to the Trinity's Effect and master section was integrated. The only feature that was sadly not included, is the argegiator, which was added in the future Triton and Z1 and beyond.

MOSS-TRI: added a Korg Z1 synthesizer into the Trinity, including its own 6 voice synth and integrated effects. The user could use only 1 patch at a time like the real synth counterpart.. but could incorporate a patch into an existing combination or sequence. Access to the Trinity's Effect and master section was integrated.