From 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.”