any advice would be greatly appreciated, and my apologies for the short story
replacement buttons and knobs + question
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replacement buttons and knobs + question
hi all, i'm considering buying a triton classic on ebay - http://cgi.ebay.com.au/ws/eBayISAPI.dll ... K:MEWAX:IT , and i would like to know where i would get replacement buttons and knobs for it and how much it would cost. i'm also not sure whether i want a triton extreme or whether classic is good enough. i've just sold my m50 to raise funds for my nord electro 3 and also because i didn't like the keybed as i have a rather rough playing style, it felt like it would eventually break. i was in the market for an m3 but with the kronos out i think i'll just buy a used triton on the cheap to play while i save for a kronos. i like a more harsh sound for prog rock/metal, funk and some other stuff mainly, and i'm wondering whether the classic would suffice or whether i should get the extreme.
any advice would be greatly appreciated, and my apologies for the short story
any advice would be greatly appreciated, and my apologies for the short story
Re: replacement buttons and knobs + question
The Classic would be less expensive, but the Extreme offers a wider palette of sounds and would likely be in better condition.brandon wrote: i like a more harsh sound for prog rock/metal, funk and some other stuff mainly, and i'm wondering whether the classic would suffice or whether i should get the extreme.
Of course if you're going to buy the Kronos eventually--just pick up a Classic for now.
M3, Triton Classic, Radias, Motif XS, Alesis Ion
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billbaker
- Platinum Member
- Posts: 2206
- Joined: Wed May 31, 2006 11:56 pm
- Location: Vienna, Virginia, USA
- Contact:
As an owner of both the classic and extreme, I have to echo synthoid's advice.
Given the type of music you're doing SOME features of the extreme won't be of great use to you -- the orchestral sounds; extra winds and strings don't sound like "go-to" sounds for you. On the other hand the EXBs for Dance (4) Vintage Synths (5) and Trance Attack (9) cards are there pretty much in their entirety.
Those EXB's make the a big contribution toward your genre preference. If you're looking toward a classic I'd look for those EXB's as well - 5 and 9 would serve you best, but 9 is getting hard to find.
My opinion only, and only for you and your preferences: Don't bother with MOSS - if you aren't programming you'll be happier just using the stock sounds. And having stuck my neck out that far, if the classic you get has MOSS -- yank it out and sell it. It'll bring your cost down and someone who wants it more can trick out their Triton if they haven't already.
-------------------
We all look for synths with the "little old lady" first owner - never roaded, kept in a vacuum sealed studio, etc.
Things to look for: If all the knobs are there - if there's not a lot of grunge on the powder coat finish - no scratches - no dead / broken keys - no crushed / cracked end blocks -- those are indicators that it's been treated well, and if you do the same it should serve you well.
My classic has been roaded for the better part of 10 years and looks it; BUT its only been in the shop twice: for a joystick malf and to have the output jacks resoldered.
Cheers,
BB
Given the type of music you're doing SOME features of the extreme won't be of great use to you -- the orchestral sounds; extra winds and strings don't sound like "go-to" sounds for you. On the other hand the EXBs for Dance (4) Vintage Synths (5) and Trance Attack (9) cards are there pretty much in their entirety.
Those EXB's make the a big contribution toward your genre preference. If you're looking toward a classic I'd look for those EXB's as well - 5 and 9 would serve you best, but 9 is getting hard to find.
My opinion only, and only for you and your preferences: Don't bother with MOSS - if you aren't programming you'll be happier just using the stock sounds. And having stuck my neck out that far, if the classic you get has MOSS -- yank it out and sell it. It'll bring your cost down and someone who wants it more can trick out their Triton if they haven't already.
-------------------
We all look for synths with the "little old lady" first owner - never roaded, kept in a vacuum sealed studio, etc.
Things to look for: If all the knobs are there - if there's not a lot of grunge on the powder coat finish - no scratches - no dead / broken keys - no crushed / cracked end blocks -- those are indicators that it's been treated well, and if you do the same it should serve you well.
My classic has been roaded for the better part of 10 years and looks it; BUT its only been in the shop twice: for a joystick malf and to have the output jacks resoldered.
Cheers,
BB
billbaker
Triton Extreme 88, Triton Classic Pro, Trinity V3 Pro
+E-mu, Alesis, Korg, Kawai, Yamaha, Line-6, TC Elecronics, Behringer, Lexicon...
Triton Extreme 88, Triton Classic Pro, Trinity V3 Pro
+E-mu, Alesis, Korg, Kawai, Yamaha, Line-6, TC Elecronics, Behringer, Lexicon...
by "aren't programming" do you mean programming from scratch? thanks, i'm just asking because i tweak preset sounds and i'm looking to advance my programming skills, although i believe i might not have to if i have a really wide range of presets.billbaker wrote:
My opinion only, and only for you and your preferences: Don't bother with MOSS - if you aren't programming you'll be happier just using the stock sounds.
BB
Eat Right * Exercise * Die Anyway
==========
Live Rig: Roland Fantom X6, KORG TR61, Yamaha Motif ES6
http://www.facebook.com/bennyrillo
==========
Live Rig: Roland Fantom X6, KORG TR61, Yamaha Motif ES6
http://www.facebook.com/bennyrillo
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billbaker
- Platinum Member
- Posts: 2206
- Joined: Wed May 31, 2006 11:56 pm
- Location: Vienna, Virginia, USA
- Contact:
Brandon --
I'm not opposed to tweaking sound 'til they're "yours". I've tweaked the heck out of my stock Triton sounds and did a complete rewrite of the arp architecture and all 4 banks of my Classic, but for some reason the MOSS has not given me the itch to program.
I have it. It's in there. But I was underwhelmed by the factory presets, and only mildly satisfied with what others had done and posted here - I waded through a ton of on-line sounds looking for stuff I liked... it just wasn't there.
I'm playing live and primarily use combis. So far there's no sound I haven't been able to get under my fingers using just the classic and the EXB boards I have on board (studio and dance). I may swap 'em out for the Vintage and trance attack (both better than what I have in now) but I don't plan to keep the MOSS - for me, it's not necessary.
It could simply be that the MOSS is not the primary - that is to say, the MOSS edit screen is not integrated into the front pages (as karma is on the m3) so it lingers way in the background until I remember that, hey, I have another engine if I start to run out of polyphony.
That I could layer in a moss bass as a sub oscillator... I've done that on a few things, and it's .. . .. nice ..... but my socks aren't blown off or anything.
-----------------
You'll advance your programming skills as you use them. I seldom program from scratch - not that I can't. Most of the time it's way quicker to take advantage of someone else's programming skills; start out with something close to what is wanted and swap out ROM waves, and adjust ADSR, filters and effects till I get to what I want. I've had really good results from the triton engine -- 'cuz I've actually used it, real world, real time, and in crunch situations --- "We want this sound from the record. You have 3 minutes. Begin programming now." (only a very slight exageration).
Speaking purely for myself the real joy of the triton is in learning to really manipulate the parameters when you make your own combis.
My band does "Bohemian Rhapsody" and I've built a combi that has piano, the octave cross hand piano on velo, velo cued tympani ('bis-milah'), faux-coder choir (no-no-no), and a huge chinese gong - all in a single combi [no button pushed in the whole song].
BB
I'm not opposed to tweaking sound 'til they're "yours". I've tweaked the heck out of my stock Triton sounds and did a complete rewrite of the arp architecture and all 4 banks of my Classic, but for some reason the MOSS has not given me the itch to program.
I have it. It's in there. But I was underwhelmed by the factory presets, and only mildly satisfied with what others had done and posted here - I waded through a ton of on-line sounds looking for stuff I liked... it just wasn't there.
I'm playing live and primarily use combis. So far there's no sound I haven't been able to get under my fingers using just the classic and the EXB boards I have on board (studio and dance). I may swap 'em out for the Vintage and trance attack (both better than what I have in now) but I don't plan to keep the MOSS - for me, it's not necessary.
It could simply be that the MOSS is not the primary - that is to say, the MOSS edit screen is not integrated into the front pages (as karma is on the m3) so it lingers way in the background until I remember that, hey, I have another engine if I start to run out of polyphony.
That I could layer in a moss bass as a sub oscillator... I've done that on a few things, and it's .. . .. nice ..... but my socks aren't blown off or anything.
-----------------
You'll advance your programming skills as you use them. I seldom program from scratch - not that I can't. Most of the time it's way quicker to take advantage of someone else's programming skills; start out with something close to what is wanted and swap out ROM waves, and adjust ADSR, filters and effects till I get to what I want. I've had really good results from the triton engine -- 'cuz I've actually used it, real world, real time, and in crunch situations --- "We want this sound from the record. You have 3 minutes. Begin programming now." (only a very slight exageration).
Speaking purely for myself the real joy of the triton is in learning to really manipulate the parameters when you make your own combis.
My band does "Bohemian Rhapsody" and I've built a combi that has piano, the octave cross hand piano on velo, velo cued tympani ('bis-milah'), faux-coder choir (no-no-no), and a huge chinese gong - all in a single combi [no button pushed in the whole song].
BB
billbaker
Triton Extreme 88, Triton Classic Pro, Trinity V3 Pro
+E-mu, Alesis, Korg, Kawai, Yamaha, Line-6, TC Elecronics, Behringer, Lexicon...
Triton Extreme 88, Triton Classic Pro, Trinity V3 Pro
+E-mu, Alesis, Korg, Kawai, Yamaha, Line-6, TC Elecronics, Behringer, Lexicon...