Korg releases Korg Triton VST

[commodore]

And it doesn't bring anything to anybody.

I appreciate your passion...

But I think what I added to the thread was on-topic. Sorry if you felt harassed. I had a big interest in this synth, as I've liked the triton and wanted one for many years. I think its only fair to share my experience with others when I try out the vst version of it.

Take care!

[sinemotor]

The Triton has also been used in visual novels and video game soundtracks (I'm pretty sure the patch "God's Bathtub" was used noticeably in CLANNAD).

Oh yeah, Clannad soundtrack was full of Triton and XV-5080 sounds!

[PAK]

I don't mind anyone criticizing the software, but you are right - it makes no sense for anyone to criticize a remake of a much-loved classic for being a remake of a much-loved classic! Isn't that just kinda missing the entire point..?

Yes. It completely misses the point.

[Vortifex]

..

[mladi]

I love and use everything from Special Bundle 1.

My only concern is that Triton is part of the Special Bundle 2 now and one day i have to pay for something that i really don't need when i want to upgrade (because of other additions which sure will follow).

[PAK]

[IMO the reason for the 'dated' comments is that many (but definitely not all) of the sounds from digital synths like Triton, DX7, D50 and so on sound very much of their time and it's difficult to find a spot for them nowadays, whereas the sounds of subtractive analog synthesis are timeless and easier to apply in modern productions. Tangerine Dream embraced digital and subsequently pretty much everything after their Underwater Sunlight album was an abomination (although losing Franke and Schmoelling didn't help).

But did you consider reasons why you might observe what you do? Various factors, like presets and complexity, make things more indentifiable. For example, a plain synth pad preset from the Jupiter 8 is a lot less indentifiable than Ski Jam from the Wavestation or Digital Native Dance from the D50. But use a base sound which is more basic and plain sounding, or uses the samples in a way which no presets does, and (especially if you throw in external FX) it's likely you won't know where the heck it came from.

You mention Tangerine Dream. For their song "Matter of Time" https://www.youtube.com/watch?v=B_kPkfKGdT4
You'll see one of the Youtube comments identifies the presets they used from the DX7 and D50. If they hadn't used presets then, to a degree (there are still limitations like early digital filter code etc) it's less easy to tie things down.

Analogue is less prone to this for a few reasons, the two main ones arguably being 1) the more basic nature of the sounds in comparison to many samples. 2) The user interfaces invited tweaking in a way in which synths like the DX7 and D50 did not, so there's less of a "preset factor". Though, where it exists, the presets could be said to be just as "dated" in the same way - EG Elka Synthex "Laserharp" sound etc

[CalUKGR]

IMO the reason for the 'dated' comments is that many (but definitely not all) of the sounds from digital synths like Triton, DX7, D50 and so on sound very much of their time and it's difficult to find a spot for them nowadays, whereas the sounds of subtractive analog synthesis are timeless and easier to apply in modern productions.

I'd agree - but then it's down to a few factors, like what kind of music you're into making. I'd imagine if you're trying to use something like the Triton for modern dance it could be quite a challenge. More laid-back, chilled music, on the other hand? - Triton's just the job! Those rich, complex sounds can be fairly timeless if you use them appropriately. Just avoid the vox samples. Always avoid them.

Apart from that, this VST is absolutely jam-packed with a huge variety of sounds right across the spectrum. Triton is a genuine Swiss Army Knife - maybe it doesn't do anything perfectly (apart from those deliciously deep pads, imo), but - damn - this thing comes fully-loaded! Pretty much all your instrument needs are catered for, one way or another - and you can, to a degree, edit and tinker if that's your thing. It is great value, for what it delivers - and especially compared to what all this would have cost back in the day.

[commodore]

My particular 'dated' comment is because I hadn't listened to a triton in a long time aside from youtube demos probably years ago now. I remember wanting one badly because of the pad noises. So it is a bit surprising, even to myself, when I hear it and go - omg - this thing sounds dated. I'm not bashing on it for being a recreation of an old synth. I happen to enjoy and like lots of "dated" stuff (JP8000 for one!). In this case, I was just surprised it didn't hold up to what I imagined it was, and sharing the idea.
I'd try not to blame others for doing the same. I didn't happen to read through 33 pages of like-minded comments to insist on adding to the pile.

[robotmonkey]

It is totally mad to criticize a 80s/90s synth pointing that it "sounds dated". Do you guys really know what means "vintage" and what means "legacy" ???

IMO the reason for the 'dated' comments is that many (but definitely not all) of the sounds from digital synths like Triton, DX7, D50 and so on sound very much of their time and it's difficult to find a spot for them nowadays, whereas the sounds of subtractive analog synthesis are timeless and easier to apply in modern productions. Tangerine Dream embraced digital and subsequently pretty much everything after their Underwater Sunlight album was an abomination (although losing Franke and Schmoelling didn't help).

That said, the Wavestation and M1 get lots of use from me, and thanks to vaporwave there is something of a revival of the 90s/2000 sound.

TD made some fantastic albums from second half of 90's onward. Tyranny of Beauty, Transiberia, Mars Polaris, Seven Letters From Tibet, Inferno and several others were all great albums.

Actually 90's was pretty much the pinnacle of innovative sound. Many of the sonically most innovative albums made at that time are still unmatched these days. There's literally nothing these days that comes even close to sonic innovation of 90's music form artist such as Jon Hassell, Brian Eno, Russell Mills, Paul Haslinger, Bill Laswell, Paul Schütze, Michael Brook and most stuff to come out from Real World Records at the time. All featuring heavily digital gear from EMU, Kurzweil, Korg and Roland. Despite having so much technical possibilities popular music (outside the revived prog rock genre) has never sounded more bland, boring and stereotypical. All of that wobbling EDM is pure garbage. Even the 80's, which had very stereotypical sound defined by certain technology, weren't that bad.

Same goes for the so called "cinematic" scores - it's rare these days to find a soundtrack in a movie that would make you want to check it out for listening after the movie. Again, compared to 80's and 90's which had plenty of unforgettably unique and innovative soundtracks, majority of the "cinematic socres" are bland cookie cutter crap.

[JohnPativens]

It's because today there's such a spread "producer wannabe" mindset rather than "musician".
Let's take one of the most influencing keyboard players in the whole music business, which is powerful enough to be endorsed by competitor brands at the same time: Jordan Rudess. He plays any kind of modern controller, top of the line workstations, vintage reissue hardware and software synthesizers out now in the market, basically including most of such new products in every Dream Theater live and studio new work. Besides sampled acoustic instruments, do you think couldn't he and his team of techs program the same kind of synth sounds with his old Karma + K2600 rig or even with an old Triton Studio?
Even if presets may sound outdated (I mean, they actually are a 25 years old sound design snapshot), just learn to program your own patches.

[JohnPativens]

Double post

[pluton]

Triton was very popular workstation in 2000's where I live

otkritoenebo1.jpg

dobrayavest1.jpg

[Aloysius]

You've paid your debt to society now.

[vurt]

Triton was very popular workstation in 2000's where I live

otkritoenebo1.jpg
dobrayavest1.jpg

lucky you.
here in 2020 it's all gone tits up. wish i still lived in the 2000s.

[Weasel-Boy]

EvilDragon wrote:

There's one thing sadly missing in Triton plugin (well, apart from MOSS, hehe), and this is multichannel output. Korg's M1 plugin has 16 outs so you can send out each of the 8 parts from a Combi to wherever, and post-process with your own plugins. Triton only has stereo out and no routing facilities.

I've contacted support with a feature request, touting that they did it in their M1, Triton should get the same treatment. Would be great if more people swamped their support with that request.

Good idea. At the very least, they should have included the 4 outputs the actual hardware unit provided.