Korg M50 Parameter Guide

Parameter Guide

Conventions in the operation manuals

References to the M50

The M50 is available as three models: the the 88-key M50-88, the 73-key M50-73, and the 61-key M50-61. References in these manuals to “the M50” refer to all of these models collectively.

Abbreviations for the manuals: OM, PG

In the documentation, references to the manuals are abbreviated as follows.

OM:

Owner’s Manual

PG:

Parameter Guide

Procedure steps 1. 2. 3. …

These indicate the steps of a procedure.

Symbols , , Note , Tips

These symbols respectively indicate a caution, a MIDIrelated explanation, a supplementary note, or a tip.

Example screen displays

The parameter values shown in the example screens of this manual are only for explanatory purposes, and may not necessary match the values that appear in the Display of your instrument.

MIDI-related explanations

CC# is an abbreviation for Control Change Number.

In explanations of MIDI messages, numbers in square brackets [ ] always indicate hexadecimal numbers.

* This product uses the T-Kernel source code in compli-

ance with the T-License of the T-Engine forum (www.tengine.org).

* Apple, Mac are trademarks of Apple Inc., registered in

the US. and other countries.

*Windows XP is a registered trademark of Microsoft

Corporation in the U.S. and other counties.

* All other product and company names are trademarks

or registered trademarks of their respective holders.

Table of Contents

Conventions in the operation manuals. . . . . . . . . ii

Program mode . . . . . . . . . . . . . . . . . 1

PROG Page Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

PROG P0: Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

0–1: Main . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

0–4: OSC/DrumTrk Mixer . . . . . . . . . . . . . . . . . . . . . . . 4

0–5: Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

0–7: Tone Adjust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

0–8: Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Realtime Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

External. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

ARP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

PROG P1: Basic/Ctrls (Basic/Controllers) . . . . . . .15

1–1: Program Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

1–2: Key Zone/Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

1–7: Controllers Setup . . . . . . . . . . . . . . . . . . . . . . . . . 18

1–8: Chord Trigger Setup . . . . . . . . . . . . . . . . . . . . . . 20

PROG P2: OSC/Pitch . . . . . . . . . . . . . . . . . . . . . . . . . .21

2–1: OSC1 Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

2–2: OSC1 Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

2–3: OSC2 Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

2–4: OSC2 Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

2–7: Velocity Zone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

2–8: Pitch EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

PROG P3–1: Filter1 . . . . . . . . . . . . . . . . . . . . . . . . . . .30

3–1–1: Filter1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

3–1–2: Keyboard Track . . . . . . . . . . . . . . . . . . . . . . . . 32

3–1–3: Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

3–1–4: LFO Mod. (Modulation). . . . . . . . . . . . . . . . . 36

3–1–5: EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

PROG P3–2: Filter2 . . . . . . . . . . . . . . . . . . . . . . . . . . .40

3–2–1: Filter2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

3–2–2: Keyboard Track . . . . . . . . . . . . . . . . . . . . . . . . 40

3–2–3: Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

3–2–4: LFO Mod. (Modulation). . . . . . . . . . . . . . . . . 40

3–2–5: EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

PROG P4: Amp/EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . .41

4–1: Amp1/Driver1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

4–2: Amp1 Modulation . . . . . . . . . . . . . . . . . . . . . . . . 42

4–3: Amp1 EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

4–5: Amp2/Driver2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

4–6: Amp2 Modulation . . . . . . . . . . . . . . . . . . . . . . . . 47

4–7: Amp2 EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

4–8: EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

PROG P5: LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

5–1: OSC1 LFO1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

5–2: OSC1 LFO2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

5–5: OSC2 LFO1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

5–6: OSC2 LFO2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

5–8: Common LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

PROG P6: AMS/C.KTrk

(AMS Mixer/Common Keyboard Track). . . . . . . .52

6–1: OSC1 AMS Mix1 . . . . . . . . . . . . . . . . . . . . . . . . . . 52

6–2: OSC1 AMS Mix2 . . . . . . . . . . . . . . . . . . . . . . . . . 57

6–4: OSC 2 AMS Mix1 ,

6–5: OSC 2 AMS Mix2 . . . . . . . . . . . . . . . . . . . . . . . . . 57

6–7: Common KeyTrk 1

(Common Keyboard Track 1) . . . . . . . . . . . . . . . . . . 57

6–8: Common KeyTrk 2

(Common Keyboard Track 2) . . . . . . . . . . . . . . . . . . 58

PROG P7: ARP/DT (Arpeggiator/Drum Track) . .59

7–1: ARP Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

7–2: ARP Scan Zone . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

7–4: DrumTrk Pattern (DrumTrack Pattern). . . . . 62

7–5: DrumTrk Program (DrumTrack Program) . . 63

PROG P8: IFX (Insert Effect) . . . . . . . . . . . . . . . . . . .65

8–1: Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

8–2: Insert FX Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . 66

8–3: IFX1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

8–4: IFX2, 8–5: IFX3, 8–6: IFX4, 8–7: IFX5. . . . . . . . 68

8–8: Common FX LFO . . . . . . . . . . . . . . . . . . . . . . . . . 68

PROG P9: MFX/TFX (Master/Total Effect) . . . . . .70

9–1: Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

9–2: MFX1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

9–3: MFX2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

9–4: TFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Program: Menu Command . . . . . . . . . . . . . . . . . . .73

Combination mode . . . . . . . . . . . . 79

COMBI Page Select . . . . . . . . . . . . . . . . . . . . . . . . . . .79

COMBI P0: Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80

0–1: Program T01–08,0–2: Program T09–16 . . . . 80

0–3: Mixer T01–08, 0–4: Mixer T09–16 . . . . . . . . . 83

0–5: ARPEGGIATOR A, 0–6: ARPEGGIATOR B . . . 84

Tone Adjust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

0–8: Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Realtime Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

External . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

ARP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

COMBI P1: Controllers . . . . . . . . . . . . . . . . . . . . . . . .91

1–1: Controllers Setup . . . . . . . . . . . . . . . . . . . . . . . . 91

1–2: Chord Trigger Setup. . . . . . . . . . . . . . . . . . . . . . 92

COMBI P2: EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93

2–1: EQ Trim T01–08, 2–2: EQ Trim T09–16 . . . . . 93

2–3: EQ Gain T01–08, 2–4: EQ Gain T09–16. . . . . 94

COMBI P3: Timbre Param

(Timbre Parameters). . . . . . . . . . . . . . . . . . . . . . . . . .95

3–1: MIDI T01–08, 3–2: MIDI T09–16 . . . . . . . . . . . 95

3–3: OSC T01–08, 3–4: OSC T09–16 . . . . . . . . . . . . 96

3–5: Pitch T01–08, 3–6: Pitch T09–16. . . . . . . . . . . 97

3–7: Other T01–08, 3–8: Other T09–16 . . . . . . . . . 98

COMBI P4: Zone/Delay . . . . . . . . . . . . . . . . . . . . . . .99

4–1: Key Z T01–08, 4–2: Key Z T09–16

(Keyboard Zones T01–08, T09–16) . . . . . . . . . . . . . 99

4–3: Vel Z T01–08, 4–4: Vel Z T09–16

(Velocity Zones T01–08, T09–16) . . . . . . . . . . . . . 100

4–5: Delay T01–08, 4–6: Delay T09–16 . . . . . . . . 101

iii

COMBI P5: MIDI Filter. . . . . . . . . . . . . . . . . . . . . . . 103

COMBI P5–1: MIDI Filter 1. . . . . . . . . . . . . . . . . . . 103

5–1–1: –1 T01–08, 5–1–2: –1 T09–16 . . . . . . . . . . 103

5–1–3: –2 T01–08, 5–1–4: –2 T09–16 . . . . . . . . . . 104

5–1–5: –3 T01–08, 5–1–6: –3 T09–16 . . . . . . . . . . 104

5–1–7: –4 T01–08, 5–1–8: –4 T09–16 . . . . . . . . . . 105

COMBI P5–2: MIDI Filter 2. . . . . . . . . . . . . . . . . . . 106

5–2–1: –5 T01–08, 5–2–2: –5 T09–16 . . . . . . . . . . 106

5–2–3: –6 T01–08, 5–2–4: –6 T09–16 . . . . . . . . . . 106

COMBI P7: Arpeggiator/Drum Track . . . . . . . . 107

7–1: Setup T01–08, 7–2: Setup T09–16 . . . . . . . . 107

7–3: Arpeggiator A, 7–4: Arpeggiator B. . . . . . . .108

7–5: Scan Zone (Scan Zone A/B). . . . . . . . . . . . . . .109

Arpeggiator settings in Combination and

Sequencer modes . . . . . . . . . . . . . . . . . . . . . . . . . . . .109

7–7: Drum Track. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111

COMBI P8: IFX (Insert Effect) . . . . . . . . . . . . . . . . 113

COMBI P8–1: IFX . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

8–1–1: Routing1 T01–08,

8–1–2: Routing1 T09–16 . . . . . . . . . . . . . . . . . . . . . .113

8–1–3: Insert FX Setup . . . . . . . . . . . . . . . . . . . . . . . . 114

8–1–4: IFX1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115

8–1–5: IFX2, 8–1–6: IFX3, 8–1–7: IFX4,

8–1–8: IFX5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

COMBI P8–2: IFX . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

8–2–1: Routing2 T01–08,

8–2–2: Routing2 T09–16 . . . . . . . . . . . . . . . . . . . . . .117

8–2–8: Common FX LFO . . . . . . . . . . . . . . . . . . . . . .117

COMBI P9: MFX/TFX (Master/Total Effect) . . . 118

9–1: Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

9–2: MFX1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119

9–3: MFX2,

9–4: TFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119

Combination: Menu Command . . . . . . . . . . . . . 120

Sequencer mode. . . . . . . . . . . . . .125

An overview of Sequencer mode . . . . . . . . . . . 125

SEQ Page Select. . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

SEQ P0: Play/REC . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

SEQ P0–1: Play/REC . . . . . . . . . . . . . . . . . . . . . . . . 129

0–1–1: Program T01–08,

0–1–2: Program T09–16 . . . . . . . . . . . . . . . . . . . . . .129

0–1–3: Mixer T01–08,

0–1–4: Mixer T09–16 . . . . . . . . . . . . . . . . . . . . . . . . .133

0–1–5: PlayLoop T01–08,

0–1–6: PlayLoop T09–16 . . . . . . . . . . . . . . . . . . . . . . 134

0–1–7: Tone Adjust . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

0–1–8: Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

SEQ P0–2: Play/REC Control. . . . . . . . . . . . . . . . . 142

0–2–1: ARP A (Arpeggiator A),

0–2–2: ARP B (Arpeggiator B) . . . . . . . . . . . . . . . . .142

0–2–8: Control Surface . . . . . . . . . . . . . . . . . . . . . . .143

Realtime Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

External. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

ARP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146

SEQ P1: Controllers. . . . . . . . . . . . . . . . . . . . . . . . . .147

1–1: Controllers Setup. . . . . . . . . . . . . . . . . . . . . . . . 147

1–2: Chord Trigger Setup. . . . . . . . . . . . . . . . . . . . . 148

SEQ P2: EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149

2–1: Trim T01–08, 2–2: Trim T09–16. . . . . . . . . . . 149

2–3: EQ T01–08, 2–4: EQ T09–16 . . . . . . . . . . . . . . 150

SEQ P3: Track Param (Track Parameters). . . . . .151

3–1: MIDI ch T01–08, 3–2: MIDI ch T09–16. . . . . 151

3–3: OSC T01–08, 3–4: OSC T09–16 . . . . . . . . . . . 152

3–5: Pitch T01–08, 3–6: Pitch T09–16. . . . . . . . . . 153

3–7: Other T01–08, 3–8: Other T09–16 . . . . . . . . 154

SEQ P4: Zones/Delay . . . . . . . . . . . . . . . . . . . . . . . .156

4–1: Key Z T01–08, 4–2: Key Z T09–16

(Keyboard Zones T01–08, T09–16) . . . . . . . . . . . . 156

4–3: Vel Z T01–08, 4–4: Vel Z T09–16

(Velocity Zones T01–08, T09–16). . . . . . . . . . . . . . 157

4–5: Delay T01–08, 4–6: Delay T09–16 . . . . . . . . 158

SEQ P5: MIDI Filter . . . . . . . . . . . . . . . . . . . . . . . . . .160

SEQ P5–1: MIDI Filter 1 . . . . . . . . . . . . . . . . . . . . . .160

5–1–1: –1 T01–08, 5–1–2: –1 T09–16 . . . . . . . . . . 160

5–1–3: –2 T01–08, 5–1–4: –2 T09–16 . . . . . . . . . . 161

5–1–5: –3 T01–08, 5–1–6: –3 T09–16 . . . . . . . . . . 162

5–1–7: –4 T01–08, 5–1–8: –4 T09–16 . . . . . . . . . . 163

SEQ P5–2: MIDI Filter 2 . . . . . . . . . . . . . . . . . . . . . .164

5–2–1: –5 T01–08, 5–2–2: –5 T09–16 . . . . . . . . . . 164

5–2–3: –6 T01–08, 5–2–4: –6 T09–16 . . . . . . . . . . 165

SEQ P6: Track Edit . . . . . . . . . . . . . . . . . . . . . . . . . . .166

6–1: Track Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

6–2: Track Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

SEQ P7: ARP/DT (Arpeggiator/DrumTrack) . . .168

7–1: ARP Setup T01–08,

7–2: ARP Setup T09–16. . . . . . . . . . . . . . . . . . . . . . . 168

7–3: Arpeggiator–A, 7–4: Arpeggiator–B . . . . . . 170

7–5: ARP Scan Zone . . . . . . . . . . . . . . . . . . . . . . . . . . 171

7–7: Drum Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

SEQ P8: IFX (Insert Effect) . . . . . . . . . . . . . . . . . . . .175

SEQ P8–1: IFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175

8–1–1: Routing1 T01–08,

8–1–2: Routing1 T09–16 . . . . . . . . . . . . . . . . . . . . . 175

8–1–3: Insert FX Setup . . . . . . . . . . . . . . . . . . . . . . . 176

8–1–4: IFX1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

8–1–5: IFX2, 8–1–6: IFX3, 8–1–7: IFX4,

8–1–8: IFX5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

SEQ P8–2: IFX Route 2 . . . . . . . . . . . . . . . . . . . . . . .178

8–2–1: Routing2 T01–08,

8–2–2: Routing2 T09–16 . . . . . . . . . . . . . . . . . . . . . 178

8–2–8: Common FX LFO. . . . . . . . . . . . . . . . . . . . . . 178

SEQ P9: MFX/TFX (Master/Total Effect) . . . . . . .180

9–1: Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

9–2: MFX1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

9–3: MFX2, 9–4: TFX . . . . . . . . . . . . . . . . . . . . . . . . . . 181

SEQ P10: Pattern/RPPR . . . . . . . . . . . . . . . . . . . . . .182

10–1: Pattern Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

10–2: Pattern Name . . . . . . . . . . . . . . . . . . . . . . . . . . 184

10–3: RPPR Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

SEQ P11: Cue List. . . . . . . . . . . . . . . . . . . . . . . . . . . .188

11–1: Cue List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Sequencer: Menu Command . . . . . . . . . . . . . . . 191

System Exclusive events supported in Sequencer

mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

M50 sequencer file formats . . . . . . . . . . . . . . . . . . .213

Global mode . . . . . . . . . . . . . . . . . 215

Global Page Select . . . . . . . . . . . . . . . . . . . . . . . . . 215

Global P0: Basic Setup . . . . . . . . . . . . . . . . . . . . . . 216

0–1: Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

0–2: System Preference. . . . . . . . . . . . . . . . . . . . . . . 218

Global P1: MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

1–1: MIDI Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .220

1–2: MIDI Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

1–3: External Mode 1 . . . . . . . . . . . . . . . . . . . . . . . . . 224

External setups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

1–4: External Mode 2 . . . . . . . . . . . . . . . . . . . . . . . . . 226

Global P2: Controllers . . . . . . . . . . . . . . . . . . . . . . 228

2–1: Foot Controllers . . . . . . . . . . . . . . . . . . . . . . . . . 228

2–2: MIDI CC# Assign . . . . . . . . . . . . . . . . . . . . . . . . .229

Global P3: Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

3–1: Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Global P4: Category . . . . . . . . . . . . . . . . . . . . . . . . 232

4–1: Program Main . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

4–2: Program Sub . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

4–3: Combination Main,

4–4: Combination Sub. . . . . . . . . . . . . . . . . . . . . . . . 232

Global P5: Drum Kit . . . . . . . . . . . . . . . . . . . . . . . . 233

5–1: Sample Setup . . . . . . . . . . . . . . . . . . . . . . . . . . .233

5–2: Sample Parameters . . . . . . . . . . . . . . . . . . . . . .235

5–3: Driver/EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .236

5–4: Voice/Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

5–8: Velocity Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Editing Drum Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . .239

Global P6: Arpeggio Pattern . . . . . . . . . . . . . . . . 243

6–1: Pattern Setup . . . . . . . . . . . . . . . . . . . . . . . . . . .243

6–2: Pattern Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . .245

Creating a user arpeggio pattern . . . . . . . . . . . . .246

Regarding arpeggiator synchronization . . . . . . . 250

Global: Menu Command. . . . . . . . . . . . . . . . . . . . 251

Media mode. . . . . . . . . . . . . . . . . . 257

Media: File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

0–1: Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .259

0–2: Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .260

0–3: Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

0–8: Media Information. . . . . . . . . . . . . . . . . . . . . . . 261

Media: Menu Command . . . . . . . . . . . . . . . . . . . . 262

Table of Contents

Effect Guide . . . . . . . . . . . . . . . . . . 271

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Effects in each mode . . . . . . . . . . . . . . . . . . . . . . . . . 271

Dynamic modulation (Dmod) and Tempo

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Common FX LFOs. . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

FX Control Buses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Effect I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Insert Effects (IFX1–IFX5) . . . . . . . . . . . . . . . . . . . 276

In/Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Controlling the Insert Effects via MIDI. . . . . . . . . 280

Master Effects (MFX1, 2) . . . . . . . . . . . . . . . . . . . . 281

In/Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Controlling the Master Effects via MIDI . . . . . . . 284

Total Effect (TFX) . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

In/Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Using MIDI to control the Total Effect . . . . . . . . . 285

Outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Main Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Effect/Mixer Block Diagrams . . . . . . . . . . . . . . . . 287

Dynamics (Dynamic) . . . . . . . . . . . . . . . . . . . . . . . 290

000: No Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

001: Stereo Compressor. . . . . . . . . . . . . . . . . . . . . . 290

002: Stereo Limiter. . . . . . . . . . . . . . . . . . . . . . . . . . . 290

003: Multiband Limiter . . . . . . . . . . . . . . . . . . . . . . . 292

004: St.MasteringLimtr

(Stereo Mastering Limiter). . . . . . . . . . . . . . . . . . . . 292

005: Stereo Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

EQ and Filters (EQ/Filter). . . . . . . . . . . . . . . . . . . . 294

006: St.Parametric4EQ

(Stereo Parametric 4-Band EQ) . . . . . . . . . . . . . . . 294

007: St. Graphic 7EQ

(Stereo Graphic 7-Band EQ) . . . . . . . . . . . . . . . . . . 294

008: St.Exciter/Enhncr

(Stereo Exciter/Enhancer) . . . . . . . . . . . . . . . . . . . . 295

009: Stereo Isolator . . . . . . . . . . . . . . . . . . . . . . . . . . 296

010: St. Wah/Auto Wah

(Stereo Wah/Auto Wah) . . . . . . . . . . . . . . . . . . . . . . 296

011: St. Vintage Wah

(Stereo Vintage/Custom Wah) . . . . . . . . . . . . . . . . 297

012: St. Random Filter

(Stereo Random Filter) . . . . . . . . . . . . . . . . . . . . . . . 298

013: Multi Mode Filter

(Stereo Multi Mode Filter) . . . . . . . . . . . . . . . . . . . . 299

014: St. Sub Oscillator

(Stereo Sub Oscillator) . . . . . . . . . . . . . . . . . . . . . . . 299

015: Talking Modulator. . . . . . . . . . . . . . . . . . . . . . . 300

016: Stereo Decimator . . . . . . . . . . . . . . . . . . . . . . . 301

017: St. Analog Record

(Stereo Analog Record) . . . . . . . . . . . . . . . . . . . . . . 301

Overdrive, Amp models, and Mic models (OD

Amp Mic) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

018: OD/Hi.Gain Wah

(Overdrive/Hi.Gain Wah). . . . . . . . . . . . . . . . . . . . . .302

019: St. Guitar Cabinet

(Stereo Guitar Cabinet) . . . . . . . . . . . . . . . . . . . . . . . 303

020: St. Bass Cabinet

(Stereo Bass Cabinet) . . . . . . . . . . . . . . . . . . . . . . . . .303

021: Bass Amp Model. . . . . . . . . . . . . . . . . . . . . . . . .304

022: Bass Amp+Cabinet

(Bass Amp Model+Cabinet) . . . . . . . . . . . . . . . . . . . 304

023: Tube PreAmp Model

(Tube PreAmp Modeling) . . . . . . . . . . . . . . . . . . . . . 305

024: St. Tube PreAmp

(Stereo Tube PreAmp Modeling) . . . . . . . . . . . . . .306

025: Mic Model+PreAmp

(Mic Modeling + PreAmp) . . . . . . . . . . . . . . . . . . . .306

Chorus, Flanger, and Phaser (Cho/Fln Phaser)

026: Stereo Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

027: St.HarmonicChorus

(Stereo Harmonic Chorus) . . . . . . . . . . . . . . . . . . . .307

028: St. Biphase Mod.

(Stereo Biphase Modulation). . . . . . . . . . . . . . . . . . 308

029: Multitap Cho/Delay

(Multitap Chorus/Delay) . . . . . . . . . . . . . . . . . . . . . .309

030: Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .309

031: Polysix Ensemble . . . . . . . . . . . . . . . . . . . . . . . .310

032: Stereo Flanger. . . . . . . . . . . . . . . . . . . . . . . . . . .310

033: St. Random Flanger

(Stereo Random Flanger) . . . . . . . . . . . . . . . . . . . . . 311

034: St. Env. Flanger

(Stereo Envelope Flanger) . . . . . . . . . . . . . . . . . . . .311

035: Stereo Phaser. . . . . . . . . . . . . . . . . . . . . . . . . . . .312

036: St. Random Phaser

(Stereo Random Phaser) . . . . . . . . . . . . . . . . . . . . . .312

037: St. Env. Phaser

(Stereo Envelope Phaser) . . . . . . . . . . . . . . . . . . . . . 313

. 307

Modulation and Pitch Shift (Mod./P.Shift) . . . 314

038: Stereo Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . .314

039: St. Auto Fade Mod.

(Stereo Auto Fade Modulation) . . . . . . . . . . . . . . .315

040: 2Voice Resonator . . . . . . . . . . . . . . . . . . . . . . . .315

041: Doppler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316

042: Scratch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

043: Grain Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

044: Stereo Tremolo . . . . . . . . . . . . . . . . . . . . . . . . . .318

045: St. Env. Tremolo

(Stereo Envelope Tremolo) . . . . . . . . . . . . . . . . . . .319

046: Stereo Auto Pan . . . . . . . . . . . . . . . . . . . . . . . . .319

047: St. Phaser + Trml

(Stereo Phaser + Tremolo) . . . . . . . . . . . . . . . . . . . . 320

048: St. Ring Modulator

(Stereo Ring Modulator) . . . . . . . . . . . . . . . . . . . . . .320

049: Detune. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .321

050: Pitch Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

051: Pitch Shifter BPM . . . . . . . . . . . . . . . . . . . . . . . . 322

052: Pitch Shift Mod.

(Pitch Shift Modulation) . . . . . . . . . . . . . . . . . . . . . . 323

053: Organ Vib/Chorus

(Organ Vibrato/Chorus). . . . . . . . . . . . . . . . . . . . . . . 323

054: Rotary Speaker . . . . . . . . . . . . . . . . . . . . . . . . . .324

Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .325

055: L/C/R Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

056: Stereo/CrossDelay. . . . . . . . . . . . . . . . . . . . . . . 325

057: St. Multitap Delay

(Stereo Multitap Delay). . . . . . . . . . . . . . . . . . . . . . . 326

058: St. Mod Delay

(Stereo Modulation Delay) . . . . . . . . . . . . . . . . . . . 326

059: St. Dynamic Delay

(Stereo Dynamic Delay) . . . . . . . . . . . . . . . . . . . . . . 327

060: St. AutoPanningDly

(Stereo Auto Panning Delay) . . . . . . . . . . . . . . . . . 328

061: Tape Echo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

062: Auto Reverse. . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

063: Sequence BPM Dly

(Sequence BPM Delay) . . . . . . . . . . . . . . . . . . . . . . . 330

064: L/C/R BPM Delay . . . . . . . . . . . . . . . . . . . . . . . . 331

065: Stereo BPM Delay . . . . . . . . . . . . . . . . . . . . . . . 331

066: St.BPM Mtap Delay

(Stereo BPM Multitap Delay). . . . . . . . . . . . . . . . . . 332

067: St.BPM Mod. Delay

(Stereo BPM Modulation Delay) . . . . . . . . . . . . . . 332

068: St.BPMAutoPanDly

(Stereo BPM Auto Panning Delay) . . . . . . . . . . . . 333

069: Tape Echo BPM. . . . . . . . . . . . . . . . . . . . . . . . . . 334

Reverb and Early Reflections (Reverb ER). . . . .335

070: Reverb Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

071: Reverb SmoothHall. . . . . . . . . . . . . . . . . . . . . . 335

072: Reverb Wet Plate . . . . . . . . . . . . . . . . . . . . . . . . 335

073: Reverb Dry Plate . . . . . . . . . . . . . . . . . . . . . . . . 335

074: Reverb Room . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

075: Reverb BrightRoom . . . . . . . . . . . . . . . . . . . . . 335

076: Early Reflections. . . . . . . . . . . . . . . . . . . . . . . . . 336

Mono-Mono Serial (Mono-Mono) . . . . . . . . . . . .337

077: P4EQ - Exciter

(Parametric 4-Band EQ - Exciter) . . . . . . . . . . . . . . 337

078: P4EQ - Wah

(Parametric 4-Band EQ - Wah/Auto Wah). . . . . . 337

079: P4EQ - Cho/Flng

(Parametric 4-Band EQ - Chorus/Flanger) . . . . . 338

080: P4EQ - Phaser

(Parametric 4-Band EQ - Phaser) . . . . . . . . . . . . . . 338

081: P4EQ - Mt. Delay

(Parametric 4-Band EQ - Multitap Delay) . . . . . . 339

082: Comp - Wah

(Compressor - Wah/Auto Wah) . . . . . . . . . . . . . . . 339

083: Comp - Amp Sim

(Compressor - Amp Simulation) . . . . . . . . . . . . . . 340

084: Comp - OD/HiGain

(Compressor - Overdrive/Hi.Gain). . . . . . . . . . . . . 340

085: Comp - P4EQ

(Compressor - Parametric 4-Band EQ) . . . . . . . . 341

086: Comp - Cho/Flng

(Compressor - Chorus/Flanger) . . . . . . . . . . . . . . . 341

087: Comp - Phaser

(Compressor - Phaser). . . . . . . . . . . . . . . . . . . . . . . . 342

088: Comp - Mt. Delay

(Compressor - Multitap Delay) . . . . . . . . . . . . . . . . 342

089: Limiter - P4EQ

(Limiter - Parametric 4-Band EQ). . . . . . . . . . . . . . 343

090: Limiter - Cho/Flng

(Limiter - Chorus/Flanger) . . . . . . . . . . . . . . . . . . . . 344

Table of Contents

091: Limiter - Phaser. . . . . . . . . . . . . . . . . . . . . . . . . .344

092: Limiter - Mt.Delay

(Limiter - Multitap Delay) . . . . . . . . . . . . . . . . . . . . . 345

093: Exciter - Comp

(Exciter - Compressor) . . . . . . . . . . . . . . . . . . . . . . . .345

094: Exciter - Limiter. . . . . . . . . . . . . . . . . . . . . . . . . .346

095: Exciter - Cho/Flng

(Exciter - Chorus/Flanger). . . . . . . . . . . . . . . . . . . . . 346

096: Exciter - Phaser . . . . . . . . . . . . . . . . . . . . . . . . . .347

097: Exciter - Mt.Delay

(Exciter - Multitap Delay) . . . . . . . . . . . . . . . . . . . . .347

098: OD/HG - Amp Sim

(Overdrive/Hi.Gain - Amp Simulation) . . . . . . . . . 348

099: OD/HG - Cho/Flng

(Overdrive/Hi.Gain - Chorus/Flanger) . . . . . . . . .348

100: OD/HG - Phaser

(Overdrive/Hi.Gain - Phaser) . . . . . . . . . . . . . . . . . . 349

101: OD/HG - Mt.Delay

(Overdrive/Hi.Gain - Multitap Delay) . . . . . . . . . . 349

102: Wah - Amp Sim

(Wah - Amp Simulation) . . . . . . . . . . . . . . . . . . . . . . 350

103: Decimator - Amp

(Decimator - Amp Simulation) . . . . . . . . . . . . . . . .350

104: Decimator - Comp

(Decimator - Compressor) . . . . . . . . . . . . . . . . . . . . 350

105: AmpSim - Tremolo

(Amp Simulation- Tremolo) . . . . . . . . . . . . . . . . . . . 351

106: Cho/Flng - Mt.Dly

(Chorus/Flanger - Multitap Delay). . . . . . . . . . . . . 351

107: Phaser - Cho/Flng

(Phaser - Chorus/Flanger). . . . . . . . . . . . . . . . . . . . . 351

108: Reverb - Gate. . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Mono/Mono Parallel (Mono//Mono) . . . . . . . . 353

109: P4EQ // P4EQ (Parametric 4-Band EQ //

Parametric 4-Band EQ) . . . . . . . . . . . . . . . . . . . . . . .355

110: P4EQ // Comp

(Parametric 4-Band EQ // Compressor) . . . . . . . . 355

111: P4EQ // Limiter

(Parametric 4-Band EQ // Limiter) . . . . . . . . . . . . . 355

112: P4EQ // Exciter

(Parametric 4-Band EQ // Exciter) . . . . . . . . . . . . .355

113: P4EQ // OD/HG (Parametric 4-Band EQ // Overdrive/Hi.Gain) . . 355 114: P4EQ // Wah

(Parametric 4-Band EQ // Wah). . . . . . . . . . . . . . . . 355

115: P4EQ // Cho/Flng

(Parametric 4-Band EQ // Chorus/Flanger). . . . . 356

116: P4EQ // Phaser

(Parametric 4-Band EQ // Phaser) . . . . . . . . . . . . .356

117: P4EQ // BPM Dly

(Parametric 4-Band EQ // Multitap BPM Delay)

118: Comp // Comp

(Compressor // Compressor). . . . . . . . . . . . . . . . . . 356

119: Comp // Limiter

(Compressor // Limiter). . . . . . . . . . . . . . . . . . . . . . . 356

120: Comp // Exciter

(Compressor // Exciter) . . . . . . . . . . . . . . . . . . . . . . . 356

121: Comp // OD/HG

(Compressor // Overdrive/Hi.Gain) . . . . . . . . . . . .357

. . .356

122: Comp // Wah

(Compressor // Wah) . . . . . . . . . . . . . . . . . . . . . . . . . 357

123: Comp // Cho/Flng

(Compressor // Chorus/Flanger) . . . . . . . . . . . . . . 357

124: Comp // Phaser

(Compressor // Phaser). . . . . . . . . . . . . . . . . . . . . . . 357

125: Comp // BPM Dly

(Compressor // Multitap BPM Delay) . . . . . . . . . . 357

126: Limiter // Limiter . . . . . . . . . . . . . . . . . . . . . . . . 357

127: Limiter // Exciter . . . . . . . . . . . . . . . . . . . . . . . . 358

128: Limiter // OD/HG

(Limiter // Overdrive/Hi.Gain). . . . . . . . . . . . . . . . . 358

129: Limiter // Wah. . . . . . . . . . . . . . . . . . . . . . . . . . . 358

130: Limiter // Cho/Fl

(Limiter // Chorus/Flanger) . . . . . . . . . . . . . . . . . . . 358

131: Limiter // Phaser . . . . . . . . . . . . . . . . . . . . . . . . 358

132: Limiter // BPM Dl

(Limiter // Multitap BPM Delay) . . . . . . . . . . . . . . . 358

133: Exciter // Exciter. . . . . . . . . . . . . . . . . . . . . . . . . 359

134: Exciter // OD/HG

(Exciter // Overdrive/Hi.Gain) . . . . . . . . . . . . . . . . . 359

135: Exciter // Wah . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

136: Exciter // Cho/Fl

(Exciter // Chorus/Flanger) . . . . . . . . . . . . . . . . . . . 359

137: Exciter // Phaser. . . . . . . . . . . . . . . . . . . . . . . . . 359

138: Exciter // BPM Dl

(Exciter // Multitap BPM Delay) . . . . . . . . . . . . . . . 359

139: OD/HG // OD/HG

(Overdrive/Hi.Gain // Overdrive/Hi.Gain) . . . . . . 360

140: OD/HG // Wah

(Overdrive/Hi.Gain // Wah) . . . . . . . . . . . . . . . . . . . 360

141: OD/HG // Cho/Fln

(Overdrive/Hi.Gain // Chorus/Flanger) . . . . . . . . 360

142: OD/HG // Phaser

(Overdrive/Hi.Gain // Phaser) . . . . . . . . . . . . . . . . . 360

143: OD/HG // BPMDly

(Overdrive/Hi.Gain // Multitap BPM Delay) . . . . 360

144: Wah // Wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

145: Wah // Cho/Flng

(Wah // Chorus/Flanger). . . . . . . . . . . . . . . . . . . . . . 361

146: Wah // Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

147: Wah // BPM Dly

(Wah // Multitap BPM Delay) . . . . . . . . . . . . . . . . . 361

148: Cho/Fl // Cho/Fl

(Chorus/Flanger // Chorus/Flanger). . . . . . . . . . . 361

149: Cho/Fl // Phaser

(Chorus/Flanger // Phaser) . . . . . . . . . . . . . . . . . . . 361

150: Cho/Fl // BPMDly

(Chorus/Flanger // Multitap BPM Delay) . . . . . . 361

151: Phaser // Phaser. . . . . . . . . . . . . . . . . . . . . . . . . 362

152: Phaser // BPMDly

(Phaser // Multitap BPM Delay) . . . . . . . . . . . . . . . 362

153: BPM Dl // BPM Dl (Multitap BPM Delay // Multitap BPM Delay) . . 362

Double Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

154: St. Mltband Limiter

(Stereo Multiband Limiter) . . . . . . . . . . . . . . . . . . . 363

155: PianoBody/Damper

(PianoBody/Damper Simulation) . . . . . . . . . . . . . 363

156: Vocoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

vii

157: OD/HyperGain Wah

(Overdrive/Hyper Gain Wah) . . . . . . . . . . . . . . . . . . 364

158: GuitarAmp + P4EQ (Guitar Amp Model + Parametric 4-Band EQ) . . 365 159: BassTubeAmp+Cab.

(Bass Tube Amp Model + Cabinet) . . . . . . . . . . . .366

160: St. Mic + PreAmp

(Stereo Mic Modeling + PreAmp) . . . . . . . . . . . . .366

161: Multitap Cho/Delay

(Multitap Chorus/Delay) . . . . . . . . . . . . . . . . . . . . . .366

162: St. Pitch Shifter

(Stereo Pitch Shifter) . . . . . . . . . . . . . . . . . . . . . . . . .367

163: St. PitchShift BPM

(Stereo Pitch Shifter BPM). . . . . . . . . . . . . . . . . . . . .368

164: Rotary SpeakerOD

(Rotary Speaker Overdrive) . . . . . . . . . . . . . . . . . . .368

165: L/C/R Long Delay . . . . . . . . . . . . . . . . . . . . . . . .369

166: St/Cross Long Delay

(Stereo/Cross Long Delay) . . . . . . . . . . . . . . . . . . . . 369

167: Hold Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

168: LCR BPM Long Dly

(L/C/R BPM Long Delay) . . . . . . . . . . . . . . . . . . . . . .371

169: St. BPM Long Dly

(Stereo BPM Long Delay) . . . . . . . . . . . . . . . . . . . . . 371

170: Early Reflections . . . . . . . . . . . . . . . . . . . . . . . . .372

Appendices . . . . . . . . . . . . . . . . . .373

Alternate Modulation Sources (AMS). . . . . . . . 373

Alternate Modulation Overview. . . . . . . . . . . . . . .373

AMS (Alternate Modulation Source) List . . . . . . . 374

Alternate Modulation settings . . . . . . . . . . . . . . . . 376

Dynamic Modulation Sources (Dmod) . . . . . . 380

Dynamic Modulation Source List. . . . . . . . . . . . . .380

Controller Assignments . . . . . . . . . . . . . . . . . . . . 382

SW1/2 Assignments . . . . . . . . . . . . . . . . . . . . . . . . . .382

Realtime Control Knobs 1–4 Assignments . . . . .383

Foot Switch Assignments. . . . . . . . . . . . . . . . . . . . . 384

Foot Pedal Assignments . . . . . . . . . . . . . . . . . . . . . .385

MIDI transmission when the M50’s controllers are

operated. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

M50 and MIDI CCs. . . . . . . . . . . . . . . . . . . . . . . . . . 388

Responses to standard MIDI controllers . . . . . . . 388

Parameters controlled by MIDI CCs #70-79 . . . . 390

MIDI applications . . . . . . . . . . . . . . . . . . . . . . . . . . 391

About MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .391

Settings when connected to a MIDI device or

computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .391

Messages transmitted and received by

the M50. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .392

Compatibility with the M3. . . . . . . . . . . . . . . . . . 402

Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

MIDI Implementation . . . . . . . . . . . . . . . . . . . . . . 406

viii

PROG Page Select

Program mode

☞

• Press the MODE PROG switch to select the Program mode.

You can select Program mode pages in several ways.

1. Press the PAGE SELECT switch.

“Page Select” shows an abbreviated name for each page.

The page prior to pressing the PAGE SELECT switch is shown in grey.

2. Select the desired page in the display.

Other ways to select pages

•Hold down the PAGE SELECT switch and press numeric keys 0–9 to jump to the corresponding page.

For example, hold down the PAGE SELECT switch and press numeric key 4 to jump to the P4: Amp/EQ page.

Note: For pages that consist of multiple subpages, such

as P3–1 and P3–2, the ﬁrst of these pages (P3–1) will be selected.

• Press the EXIT switch to return to the most recently selected Play page. Press the EXIT switch once again to return to the Main page.

Page Main content

Select and play programs. ( Oscillator and Drum track level settings. (

P0: Play

PLAY

P1: Basic/Ctrls

P2: OSC/Pitch

P3–1: Filter1 Filter 1 (tone) settings. (

P3–2: Filter2 Filter 2 (tone) settings. (

EDIT

P4: Amp/EQ

P5: LFO LFO settings. (

P6: AMS/Common KeyTrack

P7: Arpeggiator/ Drum Track

ARP & DRUM TRACK

P8: IFX

EFFECT

P9: MFX/TFX

p. 4) Simple arpeggiator editing. ( Tone Adjust settings. ( Editing from the control surface. (

Basic program settings, such as voice assign mode. (

p. 15) SW1, 2, and knob settings. ( Chord trigger switch note and velocity settings. (

Oscillator selection and pitch settings. (

Amp 1, 2 (volume) settings. ( Amp 1, 2 driver and pan settings. ( 3-band parametric EQ settings. (

AMS Mixer settings. ( Common keyboard tracking settings. (

Arpeggiator settings. ( ☞ p. 59) Drum track settings. (

Oscillator output bus and master effect send level settings. ( Insert effect routing, selection, and settings. (

Master effect routing, selection, and settings. ( Total effect selection and settings. (

p. 20)

p. 21)

p. 48)

p. 58)

p. 66)

p. 71)

p. 2)

p. 5)

p. 8)

p. 11)

p. 18)

p. 30)

p. 40)

p. 41)

p. 47)

p. 52)

p. 62)

p. 65)

p. 72)

Program mode

PROG P0: Play

→

This is the main Program mode page. Here, you can:

• Select patterns and programs for the Drum Track

•Adjust the oscillator and drum track levels.

•Make simple edits for the Arpeggiator

•Use the Tone Adjust function to make simple edits for program parameters

•Check the control surface content, and operate it.

All MIDI data in Prog P0: Play is transmitted and received on the global MIDI channel (Global 1–1a).

MIDI Channel

Tip: Auto Song Setup

The Auto Song Setup feature copies the current Program or Combination into a Song, and then puts the M50 in recordready mode.

If inspiration for a phrase or song strikes you while you’re playing, you can use Auto Song Setup to start recording immediately. For more information, please see “Tip: Auto Song Setup” on page 126.

0–1: Main

0–1 Menu

0–1a

0–1b

0–1c

0–1a: Program Select

Bank (Bank Select) [A...E, GM, g(1)...g(9), g(d)]

This is the Bank containing the current Program.

Press the PROG BANK A–GM switch to select a bank.

Pressing the PROG BANK GM switch steps through the variation banks in the following order:

g(1) → g(2)…g(8) → g(9) → g(d) → GM…

Bank Main contents

A...D, E000...095

E096...127 user programs

GM GM2 capital programs

g(1)–(9) GM2 variation programs*

g(d) GM2 drums programs

preloaded programs

For details on the factory Programs, please see the “Voice Name List” (PDF).

Bank

Program Select Popup Program Select

Category Popup Tempo

Program Select [A…E: 0...127, GM, g(1)...g(9),

g(d): 1...128]

Here you can select a program.

To switch programs

• Choose Program Select , use the numeric keys 0–9 to enter a program number, and press the ENTER switch.

• Choose

• From the Bank/Program Select menu, view and select

• From the Category/Program Select menu, view and

• You can use a foot switch to select programs. (see “Foot

• You can select programs by transmitting a MIDI

Program Select , and turn the VALUE dial or use

/u switches.

the

Note: You cannot use the Value slider to select programs while in the P0: Play page; instead, the VALUE slider operates as a program modulation source.

programs by bank.

select programs by category.

Switch Assign” on page 228 and “List of Foot Switch assignments” on page 384)

Program Change from a connected external MIDI device.

Bank/Program Select menu:

1. Press the popup button at the left of Program Select to open the Bank/Program Select menu.

2. Press one of the tabs on the left or right to select a speciﬁc bank.

The Variation button is active if Bank GM is selected; pressing it will switch the banks in the following order: GM→g(1)→g(2)→... →g(8)→g(9)→GM.

3. From the list, You can touch a Program’s name directly, or use the Inc q and Dec u switches.

Use the scroll bar to view information not currently shown.

4. Press the OK button to conﬁrm your choice, or press the Cancel button to exit without switching Programs.

Bank/Program Select menu

Tab

• Banks A–E each contain 128 rewritable programs (a total of 640). Non-rewritable banks are organized as follows: GM contains GM2 capital programs, g(1)–g(9) contain GM2 variation programs, and g(d) contain GM2 drum programs.

• The GM basic sounds will be selected for banks for which there is no variation sound. (An “*” is displayed at the beginning of the program name.)

Scroll bar

PROG P0: Play 0–1: Main

Category [00...17/00...07]

Here, you can select programs by category.

Category/Program Select menu:

Here, you can select programs by main category and subcategory. All programs are classiﬁed into eighteen main categories, and each category is classiﬁed into eight subcategories. You can use these main categories and subcategories to ﬁnd and select programs.

1. Press the Category popup button (above the Program Select parameter) to open the Category/Program Select menu.

2. Press one of the tabs on the left or right to select the desired category.

Note: Only Categories and Sub-categories that are assigned to programs can be selected from the tabs.

3. Select a program from the list.

You can touch a Program’s name directly, or use the Inc q and Dec u switches.

Use the scroll bar to browse through all Programs in the Category.

Category/Program Select menu

Sub-category

tab

the bpm, or just play a few quarter-notes on the TAP TEMPO button.

EXT is displayed if the MIDI Clock (Global 1–1a) is set to

External MIDI or External USB. This is also shown if the MIDI Clock setting is Auto and MIDI clock data is being

received from an external device. If the tempo source is EXT, the arpeggiator etc. will synchronize to MIDI clock data from an external MIDI device.

0–1b: Program Information

The following information for the selected program is displayed:

SW1, SW2

These are the functions controlled by the SW1, SW2 switches.

C.S. (Control Surface)

This indicates the currently selected control assignment. The control surface is available and active from any page.

FILTER 1, 2

This indicates the ﬁlter type setting for ﬁlter 1 and 2.

AMP EG 1, 2

This indicates the EG settings for amp 1 and 2.

Scroll bar

4. To select from a sub-category, press the Jump to Sub button .

Press one of the left tabs to select a sub-category.

Note: Only Sub-categories that are assigned to Programs can be selected from the tabs.

Sub-category

tab

Scroll bar

EQ (Low, Mid[Hz], Mid, High)

This indicates the 3-band EQ settings. You can edit the values.

Low: Adjusts the gain of the 80 Hz low-shelving EQ in 0.5 dB steps.

Mid [Hz]: Adjusts the center frequency of the midsweepable EQ.

Mid: Adjusts the gain of the mid-sweepable EQ in 0.5 dB steps.

High: Adjusts the gain of the 10 kHz high shelving EQ in 0.5 dB steps.

5. Press the OK button to conﬁrm your choice, or press the Cancel button to exit without changing the Program.

Note: You can assign a category to a Program in the Write Program dialog.

 (Tempo) [40.00... 300.00, EXT]

This is the tempo for the current Program, which applies to the arpeggiator, tempo-synced LFOs, and tempo-synced effects.

040.00...300.00 allows you to set a speciﬁc tempo in BPM,

with 1/100 BPM accuracy. In addition to using the standard data entry controls, you can use the TEMPO knob to adjust

Program mode

0–1c: Drum Track

The Drum Track provides an easy way for you to play back a rhythm section using the M50’s high-quality drum programs and a rich variety of drum patterns.

You can try out program phrases or edit programs while listening to the drum track.

When you come up with a phrase you like, you can easily record it into the sequencer using the Auto Song Setup function.

Pattern Bank [Preset, User]

Pattern No. [P000...671, U000...999]

Select the pattern you want to use in the drum track. You can create user patterns in Seq P10: Pattern/RPPR– Pattern Edit.

Drum Track Program [A...E: 000…127, GM,

g(1)...g(9), g(d): 001…128]

Select the program that will play the drum track pattern.

Note: You can also edit these parameters in P7: ARP/DT (Arpeggiator/Drum Track)

The MIDI channel of the drum track is speciﬁed by the Global P1: MIDI– MIDI Basic page DrumTrack Prog MIDI Ch. MIDI message transmission for a pattern is speciﬁed by Prog MIDI Out. Program changes are not transmitted or received.

0–4: OSC/DrumTrk Mixer

0–4

0–4a

0–4b

0–4a: Program Select, Tempo

Bank (Bank Select)

[A...E, GM, g(1)...g(9), g(d)]

Program Select [A...E: 000…127, GM, g(1)...g(9),

g(d): 001...128]

This shows the bank, number, and name of the currently selected program. Here you can also select a program. For more information, please see “0–1a: Program Select” on page 2.

▼0–1: Menu Command

• 0: Write Program ☞p.73

For more information, please see “Program: Menu Command” on page 73.

 (Tempo) [040.00...300.00, EXT]

For more information, please see “ (Tempo)” on page 3.

0–4b: OSC/DrumTrack Mixer

Here, you can adjust the volume and change the Play/Mute and Solo On/Off settings of oscillators 1 and 2 and the drum track.

OSC Play/Mute:

OSC1 Play/Mute [Play, Mute]

Play: Oscillator 1 will sound.

Mute: Oscillator 1 will be muted (silent).

OSC2 Play/Mute [Play, Mute]

Play: Oscillator 2 will sound.

Mute: Oscillator 2 will be muted (silent).

Note: OSC2 Play/Mute cannot be set for a program whose

Oscillator Mode is Single or Drums.

DRUM Play/Mute 1 [Play, Mute]

Play: The drum track will sound.

Mute: The drum track will be muted (silent).

OSC Solo:

OSC1 Solo [Off, On]

Switches the Solo status on/off for oscillator 1.

OSC2 Solo [Off, On]

Switches the Solo status on/off for oscillator 2.

DRUM Solo [Off, On]

Switches the Solo status on/off for the drum track.

Note: Solo applies to oscillators 1 and 2, the drum track.

Note: OSC2 Solo cannot be set for a program whose

Oscillator Mode is Single or Drums.

Note: The Solo On/Off setting is not saved when you write the program.

Exclusive Solo [Off, On]

The menu’s Exclusive Solo parameter also affects the way that Solo works. If Exclusive Solo is off (unchecked), Multiple Solos will be active, allowing you to turn Solo on/ off for more than one of the items: oscillators 1 and 2, and the drum track. Each time you press a Solo button, the solo setting will toggle on and off.

If Exclusive Solo is on (checked), only one of the applicable items can be soloed. In this mode, pressing a Solo button automatically disables any previous solos.

Tip: You can also toggle Exclusive Solo by holding ENTER and pressing 2 on the numeric keypad.

PROG P0: Play 0–5: Arpeggiator

0–5: Arpeggiator

0–5a

0–5b

0–5 Menu

OSC Volume:

OSC 1 Volume [000...127]

This slider adjusts the volume of Oscillator 1.

OSC 2 Volume [000...127]

This slider adjusts the volume of Oscillator 2.

DRUM Volume [000...127]

Adjusts the volume of the drum track.

▼0–4: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

For more information, please see “Program: Menu Command” on page 73.

Arpeggiator parameters are edited in P7: ARP/DT (Arpeggiator/Drum Track), but major parameters can be edited here as well. When you are playing in Prog P0: Play, you can edit the arpeggiator in realtime, such as changing the arpeggio pattern etc.

To write (save) the edited content, use Write Program or Update Program. You can also use the TEMPO knob and the control surface arpeggio control (ARP) knobs GATE, VELOCITY, LENGTH, and OCTAVE to edit the arpeggio in realtime.

0–5a: Program Select, Tempo

Bank (Bank Select) [A...E, GM, g(1)...g(9), g(d)]

Program Select [A…E: 000...127, GM, g(1)...g(9),

g(d): 001…128]

This shows the bank, number, and name of the currently selected program. Here, you can also select a program. For more information, please see “0–1a: Program Select” on page 2.

 (Tempo) [040.00...300.00, EXT]

For more information, please see “ (Tempo)” on page 3.

0–5b: Arpeggiator

Pat (Pattern)

[P0...P4, U000 (INT)...U0899(INT),

U0900(USER)...U1027(USER)]

Octave [1, 2, 3, 4]

Reso (Resolution) [  ,  ,   ,  ,   ,  ]

Sort [Off, On]

Latch [Off, On]

Key Sync. [Off, On]

Keyboard [Off, On]

Make settings for the program arpeggiator. For more information, please see “PROG P7: ARP/DT (Arpeggiator/ Drum Track)” on page 59.

Note: These parameters can also be set from P7: ARP/DT (Arpeggiator/Drum Track).

Program mode

▼0–5: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

• 2: Copy Arpeggiator ☞p. 75

For more information, please see “Program: Menu Command” on page 73.

0–7: Tone Adjust

0–7

0–7a

0–7b

0–7c

The Tone Adjust function assigns important program parameters and easy-edit parameters to the switches and sliders in the display for quick edits of selected parameters.

Tip: In Combination and Sequencer modes, Tone Adjust also lets you edit Program parameters without the need to save a different version of the original Program. For more information on Tone Adjust in these modes, please see “Tone Adjust” on page 85 and page 135.

Absolute (Abs), Relative (Rel), Meta parameter

There are three kinds of Tone Adjust parameters: Absolute, Relative, and Meta.

Absolute parameters usually edit a single Program parameter, such as Oscillator 1 Drive. The Program and Tone Adjust parameters mirror one another; when you change one, the other will change to match.

Relative parameters typically adjust two or more Program parameters simultaneously. For instance, F/A EG Attack Time affects a total of six Program parameters. The value of the Relative parameter shows the amount of change to these underlying Program parameters.

If the Relative parameter is set to 0 (the slider in the display is at the center position), the value of the corresponding program parameter will not change.

The deﬁnitions of higher and lower settings can vary, depending on the speciﬁc parameter. Unless noted otherwise, they work as follows:

When the Relative parameter is at +99 (the maximum), the Program parameters are all at their maximum as well. Similarly, when the Relative parameter is at –99 (the minimum), the Program parameters are at zero.

Relative Tone Adjust parameter scaling

Parameter

Value

As Programmed

0–99 +99

Relative Tone Adjust Value

A few of the Program parameters controlled by Relative Tone Adjust are bipolar, meaning that they can be either positive or negative (instead of just positive). When these Program parameters are set to negative values, the Tone Adjust parameter may behave differently from the description above.

PROG P0: Play 0–7: Tone Adjust

For instance, if the EG Intensity is set to a negative value, Relative Tone Adjust values will range from 0 to –99, the inverse of the diagram above. EG Sustain works differently; if it’s set to a negative value, Tone Adjust values range from 0 down to the programmed value, and then up to +99, as shown below.

Relative Tone Adjust parameter scaling: EG Sustain

Parameter

Value

As Programmed

–99

0–99 +99

Relative Tone Adjust Value

Meta parameters don’t affect Program parameters directly. Instead, they affect the way that other Tone Adjust parameters work. For instance, Multisample Min # and Max # set the minimum and maximum values of the Tone Adjust Multisample parameter.

Saving Tone Adjust Edits

Tone Adjust edits are saved in two different ways, depending on whether the parameter is Relative or Absolute. (For more information, please see “Absolute (Abs), Relative (Rel), Meta parameter,” below.)

Edits to Relative parameters affect the sound immediately, but don’t change the underlying Program parameter settings until the Program is saved. When the Program is saved, the M50 calculates the combined effects of Tone Adjust and dedicated CC modulation (from the Real Time knobs, for instance), and saves the results into the Program parameters directly. At that point, all of the Relative parameters are reset to 0.

Edits to Absolute parameters are immediately reﬂected in the corresponding on-screen parameters, and vice-versa.

Tone Adjust and MIDI SysEx

The Tone Adjust edits all send and receive MIDI System Exclusive messages. You can use this to record and play back Tone Adjust edits with a sequencer, including the builtin sequencer.

Note: System exclusive messages are not Tone Adjust parameters; they are linked to the actual value. For example, if a slider in the display is assigned to control ﬁlter resonance, and you move this slider while recording to the sequencer, the slider movement will be recorded, but the change in ﬁlter resonance will not be recorded. This means that if you later reassign the Tone Adjust parameter to control LFO1 Speed, playing back the sequencer will cause the LFO speed (not the ﬁlter resonance) to change.

0–7a: Program Select & Tempo

Bank (Bank Select) [A...E, GM, g(1)...g(9), g(d)]

Program Select [A...E: 000…127, GM, g(1)...g(9),

g(d): 001…128]

 (Tempo) [040.00...300.00, EXT]

This area displays information about the program selected for editing: the program bank/number/ name, and the tempo used to control the arpeggiator etc. For more information, please see “0–1a: Program Select” on page 2.

0–7b: Selected parameter information

Selected parameter information

This status line shows detailed, read-only information about the currently selected Tone Adjust parameter.

Control Assignment Value Stored ValueType

Control [SW1...8, SL1...8]

This is the controller in the display to which the Tone Adjust parameter is assigned.

SW: Switch

SL: Slider

Assignment

This shows the full name of the parameter assigned to the controller. You can change this using the Assign parameter, below.

Value

This shows the current value of the parameter. The range of values will vary depending on the parameter assigned to the control.

Type [Rel, Abs, Meta]

This shows the type of parameter, which relates to how edits to the parameter are adjusted and saved. For more information, please see “Absolute (Abs), Relative (Rel), Meta parameter” on page 6.

Stored Value

This shows the original value of the parameter, before the effects of Tone Adjust. It applies only to Tone Adjust parameters which control a single Program parameter.

If you un-assign a Relative parameter from a control, it will revert to this value.

Interaction between Tone Adjust and MIDI CCs

A number of the Common Tone Adjust parameters can affect parameters which are also modulated by dedicated MIDI CCs. The speciﬁc CC numbers are noted in the descriptions for the individual Tone Adjust parameters. For more information, please see “Tone Adjust Parameters” on page 9.

Tone Adjust and the CCs work independently. It’s possible, for instance, for Tone Adjust to reduce the value of a parameter, and then for a CC to increase it again.

Tone Adjust scales the parameter ﬁrst, and then the CC scales the result of the Tone Adjust.

Program mode

0–7c: Tone Adjust

Here, you can assign Tone Adjust parameters to switches and sliders in the display.

Switches 1...8

Tone Adjust switches in the display act a little differently than sliders.

When a switch is assigned to a Relative parameter, or an

Absolute parameter with more than two states:

Switch On = On Value (see below)

Switch Off = the Program’s stored value

When a switch is assigned to a two-state Absolute parameter, such as Hold, the switch status directly reﬂects the parameter value:

Switch On = On

Switch Off = Off

ssign

On/Off

alue

Assign

This lets you assign a Tone Adjust parameter to the displayed switch. For a full list of the available choices, please see “Common Tone Adjust Parameters” and “Tone Adjust Parameters,” below.

On Value [Depends on parameter]

The parameter is set to this value when the switch is On.

When the switch is assigned to a two-state Absolute parameter, such as Hold, this will always be the same as the Switch Status (see below).

Switch Status [Off, On]

This simply shows whether the switch is On or Off.

Sliders 1...8

Assign

This lets you assign a Tone Adjust parameter to the displayed slider. For a full list of the available choices, please see “Common Tone Adjust Parameters” and “Tone Adjust Parameters,” below.

ssign

alue

Per-Oscillator parameters apply to OSC1 and 2 individually, and are marked as such: OSC1 and OSC2.

Each slider can be assigned to only one parameter, and each parameter can be assigned to only one slider.

To swap a parameter from one slider to another, you’ll need to ﬁrst un-assign it from the old slider, and then assign it to the new slider.

Value

This shows the current value of the parameter. The range of values will depend on the parameter assigned to the slider.

Common Tone Adjust Parameters

These parameters affect both Oscillators 1 and 2.

Unless otherwise noted, all of the Common Tone Adjust parameters are Relative.

Note: At the right of each parameter, the (value range and CC#) are shown in parentheses.

Off. This means that the Tone Adjust control has no effect.

Filter Cutoff. (–99...+99, CC#74)

This scales the cutoff frequency of all of the ﬁlters at once. It affects both Filters A and B.

Filter Resonance. (–99...+99, CC#71) This scales the resonance of all of the ﬁlters at once. It affects both Filters A and B.

Filter EG Intensity. (–99...+99, CC#79) This scales the effect of the Filter EG on the cutoff frequency. It affectsFilters A and B simultaneously.

–99 means no modulation. +99 means maximum. Modulation is in the same direction, positive or negative, as the original Program. For instance, if the original Program’s EG Intensity was set to –25, then setting the Tone Adjust to +99 moves the EG Intensity to –99.

Amp Velocity Intensity. (–99...+99) This scales the effect of velocity on the Amp level.

–99 removes the velocity modulation entirely. +99 means maximum modulation in the same direction, positive or negative, as the original Program.

F/A EG Attack Time. (–99...+99, CC#73) This scales the attack times of the Filter and Amp EGs, along with other related parameters.

When the value is +1 or more, this also affects the Amp EG’s Start and Attack Levels, Start Level AMS, and Attack Time AMS, as described below:

Between values of +1 and +25, the Start Level, Start Level AMS, and Attack Time AMS will change from their programmed values to 0. Over the same range, the Attack Level will change from its programmed value to 99.

F/A EG Decay Time. (–99...+99, CC#75) This scales the decay and slope times of the Filter and Amp EGs. It interacts with CC# 75.

F/A EG Sustain Level. (–99...+99, CC#70) This scales the sustain levels of the Filter and Amp EGs.

F/A EG Release Time. (–99...+99, CC#72) This scales the release times of the Filter and Amp EGs.

Filter EG Attack Time. (–99...+99) This scales the attack times of the Filter EGs.

Filter EG Decay Time. (–99...+99) This scales the decay and slope times of the Filter EGs.

Filter EG Sustain Level. (–99...+99) This scales the sustain levels of the Filter EGs.

Filter EG Release Time. (–99...+99) This scales the release times of the Filter EGs.

Amp EG Attack Time. (–99...+99) This scales the attack times of the Amp EGs.

Amp EG Decay Time. (–99...+99) This scales the decay and slope times of the Amp EGs.

Amp EG Sustain Level. (–99...+99) This scales the sustain levels of the Amp EGs.

Amp EG Release Time. (–99...+99) This scales the release times of the Amp EGs.

Pitch EG Attack Time. (–99...+99) This scales the attack times of the Pitch EG.

Pitch EG Decay Time. (–99...+99) This scales the decay and slope times of the Pitch EG.

PROG P0: Play 0–7: Tone Adjust

Pitch EG Sustain Level (N/A). (–99...+99) This scales the sustain levels of the Pitch EG.

Pitch EG Release Time. (–99...+99) This scales the release times of the Pitch EG.

Pitch LFO1 Intensity. (–99...+99, CC#77) This scales the effect of LFO1 on the Pitch.

–99 removes the LFO modulation entirely. +99 means maximum modulation in the same direction, positive or negative, as the original Program.

LFO1 Speed. (–99...+99, CC#76) This scales LFO1’s frequency. When the LFO is in MIDI/ Te mpo mode, this adjusts the Base Note. For more information, please see “Freq (Frequency)” on page 48.

LFO1 Fade. (–99...+99) This scales LFO1’s fade-in time. For more information, please see “Fade” on page 49.

LFO1 Delay. (–99...+99, CC#78) This scales LFO1’s delay time - the time between note-on and the onset of the LFO. For more information, please see “Delay” on page 49.

This parameter interacts with CC# 78.

LFO1 Stop. (PROG/Off/On, Absolute) This Absolute parameter controls whether LFO1 is stopped or running. For more information, please see “Stop” on page 48.

The PROG setting restores the Program’s original values. For example, if you set this to PROG when the oscillator 1 LFO is stopped and oscillator 2 is playing, the original setting of the parameter will be used.

LFO2 Speed. (–99...+99) This scales LFO2’s frequency. When the LFO is in MIDI/ Te mpo mode, this adjusts the Base Note. For more information, please see “Freq (Frequency)” on page 48.

LFO2 Fade. (–99...+99) This scales LFO2’s fade-in time. For more information, please see “Fade” on page 49.

LFO2 Delay. (–99...+99) This scales LFO2’s delay time - the time between note-on and the onset of the LFO. For more information, please see “Delay” on page 49.

LFO2 Stop. (PROG/Off/On, Absolute) This Absolute parameter controls whether LFO2 is stopped or running. For more information, please see “Stop” on page 48.

Common LFO Speed. (–99...+99) This scales the Common LFO’s frequency. When the LFO is in MIDI/Tempo mode, this adjusts the Base Note.

Unison. (Off/On, Absolute) This Absolute parameter turns Unison on and off. For more information, please see “Unison” on page 16.

Number Of Voices. (2...6, Absolute) This Absolute parameter sets the number of Unison voices. If Unison is not On, this parameter has no effect. For more information, please see “Number of Voices” on page 16.

Detune. (00...99, Absolute) This Absolute parameter sets the amount of detuning between the Unison voices. If Unison is not On, this parameter has no effect. For more information, please see “Detune” on page 16.

Thickness. (Off/01...09, Absolute) This Absolute parameter sets the pattern of detuning between the Unison voices. If Unison is not On, or if Detune is set to 0, this parameter has no effect. For more information, please see “Thickness” on page 16.

Tone Adjust Parameters

Macro parameters

The following three parameters affect both Oscillator 1 and Oscillator 2.

Note: In the list below, at the right of each parameter, the value range and edit type are shown in parentheses.

Pitch Stretch. (–12...+12, Relative) This special control increases the Oscillator Tune parameter while lowering the Transpose parameter. The result is that the pitch stays the same, but the mapping of the samples to the keys changes. You can use this to create interesting shifts in timbre.

Hold. (Off/On, Absolute) This lets you turn Hold on and off. For more information, please see “Hold” on page 17.

Reverse. (PROG/Off/On, Absolute) This provides a quick way to turn Reverse on or off for all Multisamples in both Oscillators. PROG restores the Program’s original settings. Reverse plays the waveform from end to start; the effect is only noticeable with unlooped samples.

Per-Oscillator parameters

These parameters affect each Oscillator separately. In the list, the parameters for Oscillator 1 appear ﬁrst, with each name prefaced by OSC1; the parameters for Oscillator 2 appear next, prefaced by OSC2.

Unless otherwise speciﬁed, all of the Per-Oscillator parameters are Absolute.

Note: In the list below, the items in parentheses are (value, edit type) respectively.

Tune. (–1200...+1200, Relative) This Relative parameter adds to or subtracts from the Oscillator’s Tune setting, as described under “Tune” on page 22.

Transpose. (–60...+60, Relative) This Relative parameter adds to or subtracts from the Oscillator’s Transpose setting, as described under “Transpose” on page 22.

Note: as with Transpose, below, this is a simple addition or subtraction, as opposed to the more complex “scaling” function.

MS/DKit Select. (PROG/0...1076, Absolute) In Single or Double Programs, this lets you select a new Multisample for the Oscillator. In Drum Programs, it lets you select a different Drum Kit.

In general, it’s best to use this in conjunction with the MS

Type and MS/DKit Bank parameters, as described below.

PROG restores the Program’s original Multisamples (or the

Drum Kit, for a Drum Program), including all velocity ranges and Rev (Reverse) and Ofs (Start Offset) settings.

The list of Multisamples, or Drum Kits can be quite long. The VALUE sliders of the front panel will let you sweep through the entire range, but it may not be possible to select all of the intermediate values. You can always select any individual item by selecting the on-screen parameter and using the standard data entry controls, such as the Inc q and Dec u switches.

You can also limit the range of the control by using the Min # and Max # parameters, described below.

Program mode

For Single and Double Programs:

MS/DKit Select overrides all of the Multisample Velocity zones, so that the newly selected Multisample plays over the entire velocity range.

By default, you can select from the same Bank as the original Program’s MS1.

You can use the MS/DKit Bank parameter, described below, to change these defaults as desired.

For Multisamples only:

You can use the Tone Adjust Rev (Reverse) and Ofs (Start Offset) parameters to modify the newly selected

Multisample. By default, the Rev (Reverse) is set to Off, and its Ofs (Start Offset) is set to 0.

For Drum Programs:

By default, you can select from the same Bank as the original Program’s DrumKit. You can use the MS Bank parameter, described below, to select a different Bank.

MS Bank. (Mono, Stereo..., Meta)

This Meta-parameter modiﬁes the MS/Dkit Select parameter, so that you can select Multisamples from any Bank you like.

MS/DKit Min #. (0...56, Meta) This Meta-parameter sets a minimum value for the MS/Dkit

Select parameter. You can use this in conjunction with the MS/DKit Max # parameter, below, so that front panel slider

selects only from a small set of choices. This is particularly convenient with the internal ROM, in which similar Multisamples are grouped together. For instance, this makes it easy to select between a group of bells, or a set of electric basses.

MS/DKit Max #. (0...56, Meta) This Meta-parameter sets a maximum value for the MS/ Dkit Select parameter. Please see MS/DKit Min #, above, for more information.

Start Offset. (0ff, 1th...8th, Absolute) This allows you to change the Start Offset of the Multisample speciﬁed by the MS Select parameter. It applies only when:

The Program is a Single or Double (not a Drum Kit)

For more information, please see “Ofs (Start Offset)” on page 22.

Drive. (0...99, Absolute) This controls the Oscillator’s Drive parameter, as described under “Drive” on page 41.

Low Boost. (0...99, Absolute) This controls the Oscillator’s Low Boost parameter, as described under “Low Boost” on page 41.

Pitch Slope. (–1.0...2.0, Absolute) This controls the Oscillator’s Pitch Slope parameter, as described under “Pitch Slope” on page 23.

LFO 1 Waveform. (Triangle...Rad6, Absolute) This selects the waveform for the Oscillator’s LFO 1, as described under “Waveform” on page 48.

LFO 2 Waveform. (Triangle...Rnd6, Absolute) This selects the waveform for the Oscillator’s LFO 2, as described under “Waveform” on page 48.

Amp LFO 1 Intensity. (–99...+99, Absolute) This controls the depth and direction of Amp modulation from LFO1, as described under “Intensity (LFO1)” on page 44.

Amp LFO 2 Intensity. (–99...+99, Absolute) This controls the depth and direction of Amp modulation from LFO2, as described under “Intensity (LFO1)” on page 44.

Filter LFO 1 Intensity to A. (–99...+99, Absolute) This controls the depth and direction of Filter A cutoff modulation from LFO1, as described under “Intensity to A” on page 36.

Filter LFO 1 Intensity to B. (–99...+99, Absolute) This controls the depth and direction of Filter B cutoff modulation from LFO1, as described under “Intensity to B” on page 36.

Filter LFO 2 Intensity to A. (–99...+99, Absolute) This controls the depth and direction of Filter A cutoff modulation from LFO2, as described under “Intensity to A” on page 36.

Filter LFO 2 Intensity to B. (–99...+99, Absolute) This controls the depth and direction of Filter B cutoff modulation from LFO2, as described under “Intensity to B” on page 36.

Pitch LFO 1 AMS Intensity. (–12.00...+12.00, Absolute) You can use an AMS source, such as aftertouch, to modulate the depth of pitch modulation (vibrato) from LFO1. This controls the intensity of that AMS modulation. For more information, please see “Intensity” on page 24.

Pitch LFO 2 AMS Intensity. This is similar to Pitch LFO 1 AMS Intensity, above.

(–12.00...+12.00, Absolute)

PROG P0: Play 0–8: Control Surface

Default Tone Adjust Settings

You can use the Tone Adjust function to edit all of the important program parameters on this single page. Most of the preset sounds use the default layout shown below. You can customize these default settings for each program.

For details on the Tone Adjust function, please see “0–7b: Selected parameter information” on page 7.

Tone Adjust parameters

This applies to common tone adjust parameters and tone adjust parameters following the “0–7b: Selected parameter information” on page 7.

Default Tone Adjust Settings

Controller Default settings

SW1 [OSC1] Transpose

SW2 [OSC2] Transpose

SW3 [OSC1] Tune

SW4 [OSC2] Tune

SW5 [OSC1]MS/DKit Select

SW6 Filter Cutoff

SW7 Filter Resonance

SW8 Filter EG Intensity

Slider1 [OSC1&2] Pitch Stretch

Slider2 [OSC1] Filter LFO1 Int A

Slider3 [OSC1] Amp LFO Int

Slider4 [OSC1] Drive

Slider5 F/A EG Attack Time

Slider6 F/A EG Decay Time

Slider7 F/A EG Sustain Level

Slider8 F/A EG Release Time

▼0–7: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

• 2: Copy Tone Adjust ☞p. 74

• 3: Reset Tone Adjust ☞p. 74

For more information, please see “Program: Menu Command” on page 73.

0–8: Control Surface

The control surface consists of the four knobs located in the left side of the front panel and the four switches to their left. You can use this control surface in a variety of ways, such as editing the sound or effects, controlling the arpeggiator, or transmitting MIDI messages to external devices.

This page shows you the current values for each of the knobs, along with information about what they are controlling. For instance, you can:

• Use the knobs to modulate sounds and effects

• Use the knobs to transmit MIDI messages to external MIDI devices

• Use the knobs to control the arpeggiator

CONTROL ASSIGN switches and parameters

You can use Control Assign in the display or the front panel REALTIME CONTROL, EXTERNAL, ARP switches to switch the function of control surface. Because the display and the front panel switches are linked, changing one will change the other correspondingly.

In Program mode, you can select one of three different functions:

Realtime Control: Use the knobs to control the sound or effects.

External lets you send MIDI messages to external MIDI devices. Use the Global P1: MIDI– External Mode 1/2 page to select the MIDI message you wish to transmit.

ARP: Use the knobs to control the Arpeggiator function.

You can freely change back and forth between the different functions, without losing any of your edits.

Reset controls

The front panel RESET CONTROLS switch lets you restore the desired knobs of the control surface to the stored values. You can also use this to reset the Arpeggiator settings. For more information, please see “Resetting the controller settings” on page 21 of the Owner’s manual.

Resetting a single control

To reset a single knob:

1. Hold down the RESET CONTROLS switch.

2. While holding down RESET CONTROLS, move a knob or press one of the control surface switches.

The knob will be reset to the value stored in the Program.

3. When you’re done, release the RESET CONTROLS switch.

Resetting a group of controls

1. Use the display’s Control Assign or the front panel CONTROL ASSIGN switches to access the controllers you want to reset.

Note: As a safety precaution, you can only reset the parameters currently displayed on the Control Surface.

2. Hold down the RESET CONTROLS switch.

Program mode

3. While holding down RESET CONTROLS, press the current CONTROL ASSIGN switch again.

All of the knobs shown on the Control Surface will be reset to the values stored in the Program.

Resetting Arpeggiator parameters

You can also perform the following reset operations for Arpeggiator.

• To reset the knobs or switches of each arpeggiator, hold down the RESET CONTROLS switch and press the ARP switch.

0–8a: Program Select & Tempo

Bank (Bank Select) [A...E, GM, g(1)...g(9), g(d)]

Program Select [A…E: 000…127, GM, g(1)...g(9),

g(d): 001…128]

 (Tempo) [040.00...300.00, EXT]

This area displays information about the program selected for editing: the program bank/number/ name, and the tempo settings for the arpeggiator, etc. For more information, please see “0–1a: Program Select” on page 2.

0–8b: Control Assign

Control Assign [Realtime Control, External, ARP]

This selects the items that will be affected by the control surface. You can also press one of the CONTROL ASSIGN switches to make this selection.

For details on each selection, please see the explanations that follow.

Realtime Controls

0–8

0–8a

0–8b

0–8c

Realtime Control lets you use the four knobs to edit the parameters of a program or effect.

There are two modes of realtime control: A and B. Press the REALTIME CONTROL switch to toggle between these two modes. In each mode, you can use knobs 1–4 to control parameters. Your selection of mode is remembered independently for Program mode, Combination mode, and Sequencer mode. If you switch to a different control surface function, and then press the REALTIME CONTROL switch to return to realtime control; the mode you had selected will still be active.

In A mode, the functions assigned to knobs 1–4 are ﬁxed. In B mode, you can assign a variety of modulation functions to knobs 1–4. To assign functions, use the P1: Basic/Ctrls– Controllers Setup page (page 15).

0–8b: Control Assign, RTC Knob Mode,

Selected Parameter Information

Control Assign [Realtime Control, External, ARP]

This selects the items that will be controlled by the control surface.

RTC Knob Mode [A, B]

Selects either A or B as the realtime control mode for the knobs. You can also use the front panel REALTIME CONTROL switch to make this selection.

Selected Parameter information

When you select a knob, this area shows detailed information about its parameter assignments.

0–8c: Realtime Control

RealTime Control A knob 1–4 (Knob1A–Knob4A) all have dedicated functions which correspond to MIDI CCs. RealTime Control B knob 1–4 (Knob1B–Knob4B) can be assigned to a wide variety of functions, many of which also have corresponding MIDI CCs.

When you move a knob, it sends out the corresponding MIDI CC.

Unless otherwise noted, “scaling” means that the parameters are at their programmed values when the controller is at 64, at their minimum when the controller is at 0, and at their maximum when the controller is at 127. For another look at this, please see the diagram below.

CC parameter scaling

Parameter

Value

As Programmed

External

0–8a

0–8b

PROG P0: Play External

0–8 Menu

640 127

CC Value

Knob 1A: Flt Fc (Filter Cut Off) [000...127]

This knob scales the cutoff frequencies of Filters A and B, and transmits and receives MIDI CC #74.

Knob 2A: Flt Reso (Filter Resonance) [000...127]

This knob scales the resonance of Filters A and B, and transmits and receives MIDI CC #71.

Knob 3A: Flt EG (Filter EG Intensity) [000...127]

This knob scales the effect of the Filter EG on the cutoff frequencies of Filters A and B. It also transmits and receives MIDI CC#79.

Knob 4A: EG Rel (EG Release) [000...127]

This knob scales the release time of the Filter and Amp EGs, and transmits and receives MIDI CC#72.

Knob 1B–Knob 4B [000...127]

This is the current value of the knob and its MIDI CC.

You can set Realtime Control B knob 1–4 to a wide variety of modulation functions, using the P1: Basic/Ctrls– Controllers Setup page.

Many of the functions scale a particular set of Program parameters. All of the settings also correspond to MIDI messages–usually CCs.

0–8d

External control lets you transmit MIDI messages to external devices.

There are two modes of external control: EXT 1–4 and EXT 5–8. These two modes will alternate each time you press the EXTERNAL switch. In each mode, the MIDI CC# assigned to each knob will be transmitted on the MIDI channel when you operate knobs 1–4.

You can also assign a note or MIDI CC# to the chord trigger switch for transmission on a speciﬁed MIDI channel. (See “1–3: External Mode 1” on page 224 and “1–4: External Mode 2”)

You can create 128 different external setups in the Global P1: MIDI– External Mode 1, 2 pages. For instance, you might make one setup for controlling several different pieces of MIDI gear on stage, another for controlling a software synthesizer (such as one of Korg’s Legacy Collection synths), and so on.

These External Controls are completely independent from the Program. You can think of External mode as being a separate control surface that just happens to share the M50’s knobs, and chord trigger switches.

When you select an External conrol, it stays selected even when you change Programs, or switch to Combination or Sequencer modes. This makes it easy to select different M50 sounds without disrupting any external MIDI control, and vice-versa.

0–8b: Control Assign, Ext Knob Mode,

Setup

Control Assign [Realtime Control, External, ARP]

This selects the items that will be affected by the control surface.

Ext Knob Mode [1–4, 5–8]

Selects either EXT 1–4 or EXT 5–8 as the external control mode for the knobs. You can also use the front panel EXTERNAL switch to make this selection.

Setup [000...127]

This selects the Global setup for the knobs and chord trigger switches.

Note: Your selection here is stored in internal memory; it is not saved for each program. When you press the EXTERNAL switch to select external control, the previouslyselected external setup will be active.

Program mode

0–8d: External

MIDI Channel [01...16, G]

This read-only parameter shows the MIDI Channel assignment for the knob. Each can send on a different channel, if desired.

G means that the knob will transmit on the Global MIDI Channel, as set in Global mode.

CC# Assign [Off, 000...119]

This read-only parameter shows the MIDI CC sent by the knob.

Value [000...127]

This is the current value of the knob’s MIDI CC.

ARP

0–8

0–8a

0–8b

0–8e

Arpeggio control lets you use the four knobs to control the arpeggiator performance in realtime.

0–8b: Control Assign

Control Assign [Realtime Control, External, ARP]

This selects the items that will be affected by the control surface.

0–8e: Arpeggiator

The functions of knobs 1–4 are ﬁxed. The knobs will control the duration of the arpeggiated notes, their velocity, the pitch range, and the length of the arpeggio pattern.

Knob 1: Gate [–64...+00...+64]

Adjusts the duration (gate time) of the arpeggiated notes (See “Gate” on page 60).

Knob 2: Velocity [–64...+00...+64]

Adjusts the velocity of the arpeggiated notes (See “Velocity” on page 60).

Knob 3: Length [–64...+00...+64]

Adjusts the length of the arpeggio pattern.

Knob 4: Octave [–64...+00...+64]

Adjusts the pitch range over which the arpeggiator will play, in one-octave steps (See “Octave*” on page 59).

If Arpeggio Tone Mode is set to Fixed Note, operating knob 4 will not affect the pitch range.

▼0–8: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

For more information, please see “Program: Menu Command” on page 73.

PROG P1: Basic/Ctrls (Basic/Controllers) 1–1: Program Basic

PROG P1: Basic/Ctrls (Basic/Controllers)

notes will use the legato start point speciﬁed for each

1–1: Program Basic

This page contains all of the basic settings for the Program. Among other things, you can:

• Set up the Program to be a Single, a Double, or a Drum Kit

• Set the Program to play polyphonically or monophonically

• Enable/disable the half-damper function

1–1

1–1a

1–1b

1–1c

1–1a: Oscillator Mode

Oscillator Mode [Single, Double, Drums]

Speciﬁes the Program’s oscillator assignment; whether it will use one or two oscillators, or a drum kit.

Single: The program will use one oscillator (Oscillator 1, Filter 1, Ampliﬁer 1). In this case, the program will normally have a maximum of 80-note polyphony.

Double: The program will use two oscillators (Oscillator 1/ 2, Filter 1/2, Ampliﬁer 1/2). In this case the program will normally have a maximum of 40-note polyphony.

Drums: The program will use one oscillator (as when Single is selected), but Oscillator 1 will be assigned a drum kit instead of a multisample. In this case the program will normally have a maximum of 80-note polyphony.

1–1b: Voice Assign Mode

Voice Assign Mode [Poly, Mono]

Select the basic voice allocation mode. Depending on which one you select, various other options will appear, such as Poly Legato (Poly mode only) and Unison (Mono mode only).

Poly: The program will play polyphonically, allowing you play chords.

Mono: The program will play monophonically, producing only one note at a time.

Poly Legato [Off, On]

Poly Legato is available when the Voice Assign Mode is set to Poly.

Legato means to play note so that they are smooth and connected; the next note is played before the last note is released. This is the opposite of playing detached.

On (checked): When you play a legato phrase, only the ﬁrst note of that phrase (and within approximately the ﬁrst 30msec) will use the normal multisample start point speciﬁed by Ofs (Start Offset) (Prog 2–1a); all subsequent

multisample.

Note: This is a useful way to simulate the percussive attack of a tonewheel-type organ.

Off (unchecked): Notes will always use the setting of the Ofs (Start Offset), regardless of whether you play legato or

detached.

With some Multisamples, Poly Legato may not have any effect.

Single Trigger [Off, On]

Single Trigger is available when the Voice Assign Mode is set to Poly.

On (checked): When you play the same note repeatedly, the previous note will be silenced before the next note is sounded, so that the two do not overlap.

Off (unchecked): When you play the same note repeatedly, the notes will overlap.

Mono Legato [Off, On]

This is available when the Voice Assign Mode is set to Mono.

Legato means to play notes so that they are smooth and connected; the next note is played before the last note is released. This is the opposite of playing detached.

When Mono Legato is On, the ﬁrst note in a legato phrase will sound normally, and then subsequent notes will have a smoother sound, for more gentle transitions between the notes.

The Mode parameter, below, switches between two different Mono Legato effects, each of which achieves this smoothness in a different way. See the description of that parameter for more details.

On (checked): When you play with legato phrasing, the notes within a legato phrase will sound smoother, according to the setting of the Mode parameter, below.

Off (unchecked): Legato phrasing will produce the same sound as detached playing.

Mode [Normal, Use Legato Offset]

This parameter is available only when Mono Legato is On.

Normal: When you play legato, the multisample, envelopes,

and LFOs will not be reset; only the pitch of the oscillator will change. This setting is particularly effective for wind instruments and analog synth sounds.

With this option, the pitch may occasionally be incorrect, depending on which multisample you play, and where on the keyboard you play.

Use Legato Offset: When you play legato, the second and subsequent notes will use the legato start point speciﬁed for each multisample, rather than the Ofs (Start Offset) (Start Offset 2–1a) setting.

This is effective when used with a multisample for which you’ve assigned a speciﬁc legato offset point. For example, you might use it to control the attack of a breathy, slowattack sax sound. On some multisamples, this will have no effect.

Envelopes and LFOs will still be reset, as they are with detached playing.

Priority [Low, High, Last]

Priority is available when the Voice Assign Mode is set to Mono.

Program mode

This parameter determines what happens when more than one note is being held down.

Low: The lowest note will sound. Many vintage, monophonic analog synths work this way

High: The highest note will sound.

Last: The most recently played note will sound.

Unison [On, Off]

Unison can be used in Mono mode.

On (checked): When Unison is on, the Program uses two or

more stacked, detuned voices to create a thick sound.

Use the Number of Voices and Detune parameters to set the number of voices and amount of detuning, and the Thickness parameter to control the character of the detuning.

Off (unchecked): The Program plays normally.

Number of Voices [2...6]

This controls the number of detuned voices that will be played for each note when using Unison. It applies only when Unison is On.

Detune [00...99 cents]

Detune is available when Unison is On.

This parameter sets the tuning spread for the Unison voices, in cents (1/100 of a semitone). The Thickness parameter, below, controls how the voices are distributed across the detune amount. When Thickness is Off, the voices are distributed evenly, centered around the basic pitch.

For instance, let’s say that the Number of voices parameter is set to 3, Detune is set to 24, and Thickness is Off:

Voice one will be detuned down by 12 cents, voice two will not be detuned, and voice three will be detuned up by 12 cents.

Voice Detune

3 +12

As another example, let’s say that Detune is still set to 24 and Thickness is still Off, but Number of voices is set to 4:

Voice one will still be detuned down by 12 cents, voice two will be detuned down by 4 cents, voice three will be detuned up by 4 cents, and voice 4 will be detuned up by 12 cents.

Voice Detune

3+4

4 +12

–12

–4

1–1c: Half-Damper Control

A half-damper pedal is a special type of continuous foot pedal, such as the Korg DS-1H. In comparison to a standard footswitch, half-damper pedals offer more subtle control of sustain, which can be especially useful for piano sounds.

The M50 will automatically sense when a half-damper is connected to the rear-panel DAMPER input. For proper operation, you will also need to calibrate the pedal, using the Half Damper Calibration command in the Global menu.

The off and full-on positions of the half-damper work just like a standard footswitch. In conjunction with the Enable Half-Damper parameter, below, intermediate positions allow a graduated control of sustain, similar to the damper pedal of an acoustic piano.

Enable Half-Damper [On, Off]

When this is On (checked), Half-Damper pedals, normal sustain pedals, and MIDI CC# 64 will all modulate the Amp EG, as described below.

When this is Off (un-checked), the pedals and MIDI CC#64 will still hold notes as usual, but will not modulate the Amp EG.

Half-Damper Pedal and Release Time

The amount of modulation depends on whether the Amp EG Sustain Level is set to 0 (as is the case with most acoustic piano sounds), or set to 1 or more. The modulation is continuous, from 1x (no change) to 55 times longer; the table below shows a selection of representative points.

Half-Damper modulation of Amp EG Release Time

CC#64

Value

01x 1x

32 2.1x 2.1x

64 3.2x

80 5.9x

96 22.3x

127 55x

Multiply Amp EG Release Time by…

If Sustain = 0 If Sustain = 1 or more

3.2x

▼1–1: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

•2: Copy Oscillator ☞p. 74

•3: Swap Oscillator ☞p. 74

For more information, please see “Program: Menu Command” on page 73.

Thickness [Off, 01...09]

Thickness is available when Unison is On.

This parameter controls the character of the detuning for the unison voices.

Off: Unison voices will be evenly distributed across the Detune range, as shown above.

01–09: Unison voices will be detuned in an asymmetric way, increasing the complexity of the detune, and changing the way in which the different pitches beat against one another. This creates an effect similar to vintage analog synthesizers, in which oscillators would frequently drift slightly out of tune. Higher numbers increase the effect.

1–2: Key Zone/Scale

1–2a

PROG P1: Basic/Ctrls (Basic/Controllers) 1–2: Key Zone/Scale

you set the Oscillator Mode to Drums, it’s good to set Hold to On.

Once you’ve turned on Hold for a drum program, the

1–2 Menu

function is controlled on a note-by-note basis according to settings within the selected Drum Kit.

If a key’s Enable Note Off Receive parameter (Global 5–4a) is unchecked, the note will be held.

If the key’s Enable Note Off Receive parameter is checked, it will not be held.

If you turn off Hold in the Program, no keys will be held regardless of their Enable Note Off Receive setting.

1–2b

Here, you can make the following settings.

•Make keyboard split settings for OSC1, OSC2, and Hold.

• Select the basic scale of the program.

1–2a: Key Zone

You can create keyboard splits by setting top and bottom key limits for Oscillators 1 and 2. Also, you can control the keyboard range over which the Hold parameter takes effect.

Setting Key Zones from the keyboard

In addition to the usual data input methods, you can specify the key zone values by directly playing a note on the keyboard or by sending a MIDI note-on from an external device.

1. Select the key zone parameter you’d like to edit.

2. While holding down the ENTER switch, play a note on the keyboard to specify the value.

3. Release the ENTER switch.

On the M50, you can use this shortcut for parameters that specify a key or a velocity. (Dialog boxes such as menu commands are an exception.)

OSC 1 Bottom [C–1...G9]

This sets the lowest key on which Oscillator 1 will play.

OSC 1 Top [C–1...G9]

This sets the highest key on which Oscillator 1 will play.

OSC 2 Bottom [C–1...G9]

This sets the lowest key on which Oscillator 2 will play.

OSC 2 Top [C–1...G9]

This sets the highest key on which Oscillator 2 will play.

Hold [On, Off]

Hold is like permanently pressing down on the sustain pedal. In other words, notes continue to sound as if you were holding down the key - even after you lift your ﬁngers from the keyboard.

Unless the Sustain Level is set to 0 in Amp EG 1 (and Amp EG 2 in a Double Program), the sound will play for the entire length of the multisample(s).

On (checked): The Hold function is enabled for the range set by the Hold Bottom and Hold Top parameters, below.

Off (unchecked): Notes will play normally. This is the default setting.

Using Hold with Drum Kits

Hold can be especially useful for drum programs, since it lets the drum samples ring out naturally. In general, when

Using Hold with Acoustic Pianos

Hold is also useful for simulating the top octaves of an acoustic piano, in which notes always sustain until they fade out naturally, regardless of how long you hold the key.

The Hold Bottom and Hold Top parameters are designed for exactly this purpose. They let you limit the effect of the Hold parameter to a speciﬁc range of the keyboard.

Hold Bottom [C–1...G9]

This sets the lowest key affected by the Hold function.

Hold Top [C–1...G9]

This sets the highest key affected by the Hold function.

1–2b: Scale

Typ e

[Equal Temperament…User Octave Scale15]

Selects the basic scale for the Program.

Note that for many of the scales, the setting of the Key parameter, below, is very important.

Equal Temperament: This is the most widely used scale by far, in which each semitone step is spaced at equal pitch intervals.

Equal Temperament allows easy modulation, so that a chord progression played in the key of C sounds roughly the same as the same progression played in F#. Sacriﬁced, however, is some of the purity of individual intervals offered by the scales below.

Pure Major: In this temperament, major chords of the selected key will be perfectly in tune.

Pure Minor: In this temperament, minor chords of the selected key will be perfectly in tune.

Arabic: This scale includes the quarter-tone intervals used in Arabic music.

Pythagoras: This scale is based on ancient Greek music theory, and is especially effective for playing melodies. It produces completely pure ﬁfths, with one exception, at the expense of detuning other intervals– thirds in particular.

As much as Pythagoras might have liked to do so, it’s not possible to make all the ﬁfths pure while also keeping the octave in tune. For the sake of the octave, one of the ﬁfths– the interval from the sharp fourth degree to the sharp ﬁrst degree–is made quite ﬂat.

Werkmeister (Werkmeister III): This scale was one of the many temperament systems developed towards the end of the Baroque period. These “Well-Tempered” tunings were aimed at allowing relatively free transposition–although you’ll still notice that the different keys maintain their own distinct characteristics, unlike Equal Temperament.

J.S. Bach was referring to these new scales in his title, “The Well-Tempered Clavier.” As such, this group are particularly appropriate for late baroque organ and harpsichord music.

Program mode

Kirnberger (Kirnberger III): This is a second “WellTe mpered” tuning, dating from the early 18th century.

Slendro: This is an Indonesian gamelan scale, with ﬁve notes per octave.

When Key is set to C, use the C, D, F, G and A notes. Other keys will play the normal equal-tempered pitches.

Pelog: This is another Indonesian gamelan scale, with seven notes per octave.

When Key is set to C, use the white keys. The black keys will play the equal tempered pitches.

Stretch: This tuning is used for acoustic pianos.

User All Notes Scale: This is a user-programmed scale with

different settings for all 128 MIDI notes. You can set up this scale in Global mode (Global 3–1b).

User Octave Scale 00–15: These are user-programmed scales with settings for each of the 12 notes in an octave. You can set them up in Global mode (Global 3–1a).

Key (Scale Key) [C…B]

Selects the key of the speciﬁed scale.

This setting does not apply to the Equal Temperament, Stretch, and User All Notes scales.

If you’re using a scale other than Equal Temperament, the combination of the selected scale and the Key setting may skew the tuning of the note. For example, A above middle C might become 442 Hz, instead of the normal 440 Hz. You can use the Global Mode’s Master Tune (Global 0–1a) parameter to correct this, if necessary.

Random [0…7]

This parameter creates random variations in pitch for each note. At the default value of 0, pitch will be completely stable; higher values create more randomization.

This parameter is handy for simulating instruments that have natural pitch instabilities, such as analog synths, tapemechanism organs or acoustic instruments.

▼1–2: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

•2: Copy Oscillator ☞p. 74

•3: Swap Oscillator ☞p. 74

For more information, please see “Program: Menu Command” on page 73.

1–7: Controllers Setup

1–7 Menu

1–7a

1–7b

Here you can specify the SW1 and SW2 switch and front panel 1–4 knobs of the program when Control Assign (0–8b) Realtime Control B mode is selected.

Note: SW1 and SW2 can be controlled by the SW1 and SW2 switches.

1–7a: Panel Switch Assign

SW (SW1 Assign) [Off, ..., JS-Y Lock]

This assigns the function of SW1. For more information, please see “List of SW 1/2 assignments” on page 382.

Note: The on/off status of the SW1, SW2 switches is memorized when you save the program.

If you change the function setting, the status is reset to off.

Mode (SW1 Mode) [Toggle, Momentary]

This speciﬁes the on/off operation when you press the SW1 switch.

Toggle: The state will alternate between On and Off each time you press the SW1 switch.

Momentary: The state will remain On only while you continue holding down the SW1 switch.

SW2 Assign [Off, ..., JS-Y Lock]

SW2 Mode [Toggle, Momentary]

This assigns the function of SW2. The functions that can be assigned to SW2 are the same as for SW1, with the substitution of SW2 Mod. (CC#81) instead of the SW1’s SW1 Mod. (CC#80).

Setting the functions of SW1 and SW2

SW1 and SW2 are the two switches above the joystick.

These on/off switches can perform a number of different functions, such as modulating sounds or effects, or locking the modulation values of the joystick.

Also, each one may work either as a toggle, or as a momentary switch. In Toggle mode, each press alternates between on and off; in Momentary mode, the switch only changes for as long as you hold it down.

Each Program, Combination, and Song stores its own settings for what the switches will do, and whether each switch is on or off (based on their current states when the data is saved).

You can set up Panel Switch Assign on the Controllers Setup page.

PROG P1: Basic/Ctrls (Basic/Controllers) 1–7: Controllers Setup

Mode Page

Programs Prog P1: Basic/Ctrls

Combinations Combi P1: Controllers

Songs Seq P1: Controllers

When using SW1/2 for AMS or Dmod, the default settings are SW1 Mod.(CC#80) and SW2 Mod.(CC#81).

For an example, see “Dynamic modulation (Dmod)” on page 72 of the Owner’s manual.

For a complete list of the possible assignments, see “SW1/2 Assignments” on page 382.

Note: If you wish to keep these settings after the power is turned off, you must save the Program, Combination, or Song (see OM page 88).

1–7b: Realtime Control Knob Assign

Here you can select the functions (mainly types of control change) that are assigned to knobs 1–4 when Control Assign (0–8b) Realtime Control B mode is selected. (See “Realtime Control Knobs 1–4 Assignments” on page 383)

The functions you assign here are active when you use the CONTROL ASSIGN REALTIME CONTROL switch to select B, and operate knobs 1–4.

Knob1–B [Off, ..., MIDI CC#95, CC#102…119]

5. Operate knob 1 to control the EG attack for the ﬁlter and amp.

Note: If you wish to keep these settings after the power is turned off, you must save the Program, Combination, or Song (see OM page 88).

▼1–7: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

For more information, please see “Program: Menu Command” on page 73.

Knob2–B [Off, ..., MIDI CC#95, CC#102…119]

Knob3–B [Off, ..., MIDI CC#95, CC#102…119]

Knob4–B [Off, ..., MIDI CC#95, CC#102…119]

Setting the functions of Realtime Control B mode knobs 1–4

When the Control Surface CONTROL ASSIGN is set to RealTime Control B mode, the four knobs on the right function as Realtime knobs 1–4.

These can perform a number of different functions, such as modulating sounds or effects, adjusting effects send levels, and so on.

Each Program, Combination, and Song stores its own settings for what the knobs will do.

When using the sliders for AMS or Dmod, it’s important to understand that creating an assignment is a two-step process. First, you assign the knob to send a MIDI controller, such as Knob Mod.1 (CC#17). Second, you assign that MIDI controller to modulate one or more Program or effects parameters.

For the ﬁrst part of the above, use the mode’s Controllers Setup page (See “Setting the functions of SW1 and SW2,” above).

The default assignments for knobs 1–4 are Knob Mod.1 (CC#17), Knob Mod.2 (CC#19), Knob Mod.3 (CC#20), and Knob Mod.4 (CC#21), respectively. For a complete list of the possible assignments, see “Realtime Control Knobs 1–4 Assignments” on page 383.

Here’s an example of how to set up knob 1 to control a Program’s ﬁlter and amp EG attack time:

1. Press the MODE PROG switch to enter Program mode.

2. Access the P1: Basic/Ctrls– Controllers Setup page.

Press the PAGE SELECT switch to access Page Select, and choose “P1 Basic/Ctrls.”

3. Press the Realtime Control Knob Assign “Knob 1–B” popup button, and choose F/A Attack (CC#73).

4. Press the CONTROL ASSIGN REALTIME CONTROL switch to select B. (the LED B will light)

Program mode

1–8: Chord Trigger Setup

1–8 Menu

1–8a

For each program, you can assign the note numbers and velocities that will be produced by chord trigger switches 1–

4. You can assign up to eight note numbers and their velocity for each chord trigger switch.

1–8a: Chord Trigger Switches

SW1

MIDI Channel [Gch, Dch]

Here you can specify the MIDI channel on which the chord trigger switch will transmit.

Gch: The switch will transmit on the global MIDI channel. The program will sound.

Dch: The switch will transmit on the Drum Track MIDI channel. The program of the drum track will sound.

Notes 1...8 [Off, C–1...G9 / 001...127]

These parameters let you edit the 8 notes assigned to each chord trigger switch, along with a separate velocity for each note. To play fewer than 8 notes, just set the unwanted notes to Off.

Off: Select this to disable the note.

C–1…G9: This sets the note number.

001…127: This sets the note’s velocity value.

As described below, there are two ways to make these settings.

Settings

Use either of the following two methods to assign individual notes or chords to the chord trigger switches.

Manual settings

Specify the desired notes and velocities for the parameters listed above.

Note: As an alternative to the automatic assignment procedure described here, you can perform the steps in the order of 2-1-3. However in this case, you won’t be able to add notes one by one while holding down a note, as described in step 2, above.

Copying notes from one chord trigger switch to another

To copy the note assignments from one switch to another:

1. Press and release the switch whose notes you want to copy.

2. Press the CHORD ASSIGN switch.

3. Press the switch to which you’d like to copy the notes.

The new switch will now play the same notes as the original switch.

Merging two or more switches together

You can merge the assignments from two or more switches together, as long as the total number of notes is 8 or fewer. To do so:

1. Press all of the switches that you’d like to merge, and then release them.

All of the switches must be held down at the same time.

2. Press the CHORD ASSIGN switch.

3. Press the switch to which you’d like to copy the notes.

You can even use one of the switches that was being merged, if you like. After pressing the destination switch, you’re done.

Performance

Press a chord trigger switch, and the assigned note numbers and velocities will be output.

The notes will be output with the note numbers and velocities that were assigned for each switch, regardless of the force (velocity) with which you press the switch.

Likewise when you use CHORD ASSIGN to specify the notes, the memorized note numbers and velocity balance will be always reproduced.

SW 2...4

These are the same as for SW 1, as described above.

▼1–8: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

• 2: Copy Chord Trigger Setup ☞p. 75

For more information, please see “Program: Menu Command” on page 73.

Automatic settings using the [CHORD ASSIGN] switch

Here’s how to turn CHORD ASSIGN on so that the notes and velocity values you play on the keyboard will be automatically assigned to the chord trigger switches.

1. Press the front panel CHORD ASSIGN switch (it will light).

2. Play the keyboard.

If you’re unable to play all of the notes simultaneously, you can hold down a note and add additional notes by playing them.

3. Press the switch to which you want to assign the settings. The note numbers and velocities you played in step 2 will automatically be assigned.

PROG P2: OSC/Pitch

PROG P2: OSC/Pitch 2–1: OSC1 Basic

These pages control the ﬁrst and most basic elements of sounds: the Multisamples that the oscillators play, and the pitch at which it plays them. For instance, you can:

• Select Multisamples for Single and Double Programs, or Drum Kits for Drum Programs.

• Set up velocity splits, crossfades, and layers for Single and Double Programs.

• Set the basic pitch of the sound, including the octave, fine tuning, and so on.

• Control pitch modulation using a variety of controllers such as LFO, pitch EG, and the joystick.

Note that when the Oscillator Mode is set to Single or Drums, only Oscillator 1’s ﬁlters are active; the pages for Oscillator 2’s ﬁlters will be grayed out.

2–1: OSC1 Basic

2–1 Menu

2–1a

Each of the zones can fade into the next, to create smoother velocity transitions. Zones can even be layered together, two at a time.

You can stack a maximum of two velocity zones, causing two samples to sound simultaneously (layering). You can also use velocity to smoothly fade between the samples of these two zones (velocity crossfading).

“Oscillator Mode” Single, Double

MS1 (High)

These are the settings for the ﬁrst and highest velocity zone.

If you want to create a simple setup with only a single Multisample, just set up MS1 as desired, and then set the

Bottom Vel. (Bottom Velocity) to 1 and the Xfd (Crossfade Range) to Off.

Multisample On/Off [Off, On]

Speciﬁes whether the MS1 multisample will sound.

It will sound if this is On (checked).

Bank [Mono, Stereo]

This is displayed if Multisample On/Off is On.

Yo u can choose between looking at mono and stereo Multisamples. Note that stereo Multisamples will require twice as many voices as mono Multisamples.

Mono: Internal monaural multisamples.

Stereo: Internal stereo multisamples.

Program’s sounds are based on multisamples, and this page lets you set up all of the basic multisample-related settings. Among other things, you can:

• Select Multisamples for the Oscillator (in a Single or Double Program), or select the Drum Kit for a Drum Program

• Set the Oscillator’s basic pitch

• Create velocity splits and crossfades between Multisamples

2–1a: OSC1 Multisample

This setting will depend on the Oscillator Mode setting.

If it is Single or Double, each oscillator can use up to four multisamples. In Drum mode, there is one Oscillator, and it plays a single Drum Kit.

Multisamples, and Drum Kits

Multisamples and Drum Kits allow you to play samples in different ways.

•Multisamples lay out one or more samples across the keyboard. For instance, a very simple guitar Multisample might have six samples–one for each string.

•As the name suggests, Drum Kits are optimized for playing drum samples.

Velocity splits, crossfades, and layers

As mentioned above, unless you’re in Drum mode, each Oscillator has four velocity zones, named MS1 (High) through MS4 (Low). Each of these zones can play a Multisample, and has separate settings for Level, Start Offset, and so on.

Multisample select [List of Multisample]

This speciﬁes a multisample for MS1.

Some multisamples have an upper limit; notes played above that limit will not sound.

When you press the Multisample Select popup button, the multisample list will appear, allowing you to select a multisample from the list.

Use the tabs to select a category, and select a multisample within the category. Press the OK button to conﬁrm the selection, or the Cancel button to cancel.

If Bank is set to RomM, the list shows all of the mono Multisamples in the Bank. If the Bank contains stereo multisamples, you’ll also see the left and right channels as separate, mono multisamples, with –L and –R appended to the end of the name.

If Bank is set to RomS, only stereo multisamples will be shown.

Rev (Reverse) [Off, On]

This plays the selected multisample in reverse without looping it.

Program mode

Note: If an individual sample within the multisample is already set to reverse, it will play in reverse without this setting.

On (checked): The multisample will play in reverse.

Off (unchecked): The multisample will play normally.

Ofs (Start Offset) [Off, 1st...8th]

In addition to simply starting playback from the beginning, Multisamples can have up to 8 different pre-programmed alternate starting points.

The Start Offset speciﬁes whether to use the normal start point (Off), or to use one of the alternate start points (1st– 8th).

Some Multisamples may have fewer than 8 preprogrammed points, in which case only the available points can be selected.

Lvl (Level) [000...127]

This sets the basic volume level of the multisample. The Amp section can modify this basic level extensively with envelopes, LFOs, keyboard tracking, and other modulation; for more information, please see “PROG P4: Amp/EQ,” on page 41.

Depending on the multisample, high Level settings may cause distortion when playing many notes at a time. If this occurs, lower the Level.

Bottom Vel. (Bottom Velocity) [001...127]

This sets the lowest velocity at which the Multisample will sound. MS1’s Bottom Vel. can be equal to, but not lower than, that of MS2.

Xfd (Crossfade Range) [Off, 001...127]

This sets the range of velocities over which MS1 will fade into MS2, going up from the Bottom Vel.

For instance, if the Bottom Vel. is set to 64, and the Xfd is set to 20, MS2 will start to fade in at velocities of 84 and below.

When velocities are within the Xfd, the Oscillator will use twice as much polyphony as it would normally.

Note: You can only fade between two zones at once.

Select

Xfade Range = 20

Curve = Linear

Bottom Velocity = 64

Power, short for Equal Power, means that the two samples will each be at around 70% of their full volume in the middle of the crossfade. Sometimes, this may create a bump in the volume level, in which case you might try selecting Linear instead.

Layer means that the two Multisamples will be layered together, both at full volume, for the entire range of the crossfade.

Crossfade Curves

Linear

Volume

Power

Volume

Layer

Volume

MS2

MS1

Xfade

Velocity

MS2

MS1

Xfade

Velocity

MS2

MS1

Xfade

Velocity

MS2 (Mid Hi), MS3 (Mid Lo), MS4 (Low)

These are the settings for the second, third, and fourth velocity zones. The parameters for MS2 and MS3 are exactly the same as those for MS1, as described above.

The parameters for MS4 are also similar to those for MS1, except that MS4 has no settings for Bottom Vel. (which is always ﬁxed at 1), Xfd, or Curve.

OSC1 Frequency

Curve [Linear, Power, Layer]

This controls the volume curve of the crossfade. Linear and Power (short for Equal Power) let you ﬁne-tune the way that

the two Multisamples mix together; one or the other may be more appropriate for a given pair of Multisamples. Layer, true to its name, lets you layer the two Multisamples together without any crossfading.

Linear means that the two samples will each be at 50% of their full volume in the middle of the crossfade. Sometimes, this may create a dip in the volume level; if so, try using Power instead.

Oct (Octave) [–2[32'], –1[16'], +0[8'], +1[4']]

This sets the basic pitch of the Oscillator, in octaves. The default is +0[8']. The standard octave of a multisample is +0 [8'].

Transpose [–12...+12]

This adjusts the pitch in semitones, over a range of ±1 octave.

Tune [–1200...+1200]

This adjusts the pitch in cents, over a range of ±1 octave. A cent is 1/100 of a semitone.

Freq Ofs (Frequency Offset) [–10.0Hz ... +10Hz]

This adjusts the pitch by increments of 0.1 Hz. Frequency Offset is different from Tune in that, when used to detune

the two oscillators, it can create a constant beat frequency across the range of the keyboard.

+ 389 hidden pages

Korg M50 Parameter Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Conventions in the operation manuals

Table of Contents

PROG Page Select

Program mode

PROG P0: Play

0–1: Main

0–4: OSC/DrumTrk Mixer

0–5: Arpeggiator

0–7: Tone Adjust

0–8: Control Surface

Realtime Controls

External

PROG P1: Basic/Ctrls (Basic/Controllers)

1–1: Program Basic

1–2: Key Zone/Scale

1–7: Controllers Setup

1–8: Chord Trigger Setup

PROG P2: OSC/Pitch

2–1: OSC1 Basic