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For more detailed instructions please visit www.fishman.com/tripleplay
TriplePlay Definitions
• Mono Mode - Sets the TriplePlay Controller to output six MIDI channels simultaneously, with each channel dedicated to a single string. This
function allows duplicated notes on seperate strings to play individually from each other, such as a fretted note that’s duplicated on an open string.
In addition, Mono Mode allows string bending to work properly. Sending the individual strings on independent MIDI channels allows each string
to bend without affecting the pitch of the other strings.
• Poly Mode - Sets the TriplePlay controller to output all notes on MIDI channel 1. While this mode is more limiting than Mono Mode, it is simple
and allows the controller work with other synths that can only receive on a single MIDI channel. Pitch bending in Poly Mode will only work on a
single intentionally bent note. If multiple notes are sustaining or being played, any string bending will increment the note up or down one
semitone or half-step.
• Pitch Bend Range - Determines the maximum range of semitones the controller can send during a pitch bend on the guitar. Pitch Bend Range is a
two part setting; one setting is for the TriplePlay controller, the other is in the synth being played. The settings on the controller and the synth must
be identical, otherwise string bends will not work properly. Some synths do not allow changing of the Pitch Bend Range, in which case the
TriplePlay controller should have a pitch bend range of +/-2 semitones. For the best results, set the TriplePlay Pitch Bend Range and the connected
instrument to +/-12 semitones.
• Pitch Bend Mode - determines how to bend the note played. There are 4 different modes to choose from.
1. Auto - determines when the string is bending, then glides the pitch to the closest semitone at a fixed rate. Slides up and down the neck of
a guitar will increment notes in semitones. Subtle tuning and intonation problems are forced to be in tune, while deliberate bends are still
respected. Overall Auto bend mode will sound more in tune than Smooth bend mode, but vibrato techniques will not work as well. This is the
easiest mode to use if you want to bend notes while staying more accurately in tune.
2. Trigger - keeps all notes in tune with no string bending. Bending the strings will not bend the notes, but will re-trigger new notes at every
semitone increment, whether bending the string or sliding up and down the neck of the guitar.
3. Smooth - allows all bends to occur. While this mode may seem ideal, it requires very good intonation and a well tuned guitar. If you are a very
accurate player, this mode may be the best setting for you.
4. Stepped
- bends the notes to the nearest half step without re-triggering the note. This mode is very similar to Trigger, but depending upon the
type of instrument/synth played, Stepped can provide more natural results.
• Touch Sensitivity and Playing Style - Playing Style consists of 2 different types, Pick and Finger Style, with 5 different Touch Sensitivity ranges for
each type. This setting will affect the overall sensitivities and pitch detection to closer resemble the way the guitar is played. This setting can be
saved to individual presets in the software. Some sounds in particular will react very differently to various playing styles. Adjust this setting to your
playing style for better accuracy.
• Dynamics Sensitivity and Dynamics Offset - Dynamics Sensitivity determines the expressiveness of the patch. A higher value allows for a greater
dynamic range, while a smaller value provides a more compressed dynamic range. Dynamics Offset applies an overall adjustment to the velocity
outputs of the controller, either attenuating or amplifying the controller's response to your playing. For example, a negative Dynamics Offset value
would reduce the overall velocity of the MIDI notes sent by the controller for that patch, whereas a positive value would increase the overall
velocity. Tweaking this setting may allow a soft instrument, such as a harp, to stay soft when playing the guitar loudly, or a loud instrument, such as
a synth lead or drums, to stay loud even when playing the guitar softly, or a very dynamic instrument, such as a string section, to react to the full
dynamic range of guitar playing.
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