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.

PROG P2: OSC/Pitch 2–2: OSC1 Pitch

2–1b: OSC1 Multisample

“Oscillator Mode” Drums

MS1 (DKit)

2–1 Menu

2–1b

These parameters appear when the Oscillator Mode is set to Drum Kit.

Drum Kit [000...031 (INT), 032...047 (USER),

048…056 (GM)]

This selects a drum kit.

For 000(INT)–047(USER), you can use Global P5: Drum Kit to edit the instrument assignments.

Drum Kit Frequency

2–2: OSC1 Pitch

2–2 Menu

2–2a

2–2b

2–2c

This page contains all of the settings for Oscillator 1’s pitch modulation. For example, you can:

• Specify pitch bend controlled by the joystick X (or an incoming pitch bend message) set to independent Bend Up and Bend Down, or controlled by an incoming message CC#16 (the ribbon control message etc).

• Use Pitch Slope to control how the pitch changes when you play up and down the keyboard.

• Assign AMS modulation for pitch.

• Set up initial amounts of pitch modulation from the Pitch EG and LFO1/2, as well as AMS modulation of LFO and EG amounts.

• Set up Portamento.

2–2d

Oct (Octave) [–2[32'], –1[16'], +0[8'], +1[4']]

This adjusts the pitch in octave units. When using a drum kit, set the Octave to 8'.

When editing a drum program, you must set this parameter to 8'. With other settings, the sounds of the drum kit will be assigned to the wrong notes of the keyboard.

Transpose [–12...+12]

This adjusts the location of the instruments in the selected drum kit. Unless you need to change this, leave it at 0.

Tune [–1200...+1200]

This adjusts the pitch in one-cent units.

The pitch of each drum kit can be adjusted in Global P5: Drum kit.

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.

▼2–1: 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.

2–2a: Pitch

Pitch Slope [–1.0...+2.0]

Normally, this should be set to the default of +1.0.

Pitch Slope, pitch, and note

Pitch

2oct

1oct

C4 C5

Positive (+) values cause the pitch to rise as you play higher on the keyboard, and negative (–) values cause the pitch to fall as you play higher on the keyboard.

When this is set to 0, playing different notes on the keyboard won’t change the pitch at all; it will be as if you’re always playing C4. This can be useful for special effects sounds, for instance.

Ribbon [–12...+12]

Specify in semitones how the pitch will change when CC#16 is received.

With a positive (+) setting, the pitch will rise when the value of CC#16 is higher than the center value of 64. With a negative (–) setting, the pitch will fall.

–1

Note on keyboard

JS (+X) [–60...+12]

Specify in semitones how the pitch will change when the joystick is moved to the right (or when a pitch bend message is received). For normal pitch bend, set this to a positive value.

Program mode

For example, if you set this to +12 and move the joystick all the way to the right, the pitch will rise one octave above the original pitch.

JS (–X) [–60...+12]

Specify in semitones how the pitch will change when the joystick is moved to the left (or when a pitch bend message is received). For normal pitch bend, set this to a negative value.

For example, if you set this to –60 and move the joystick all the way to the left, the pitch will fall ﬁve octaves below the original pitch. You can use this to create guitar-style downward swoops.

AMS (Pitch) [List of AMS Sources]

This selects a AMS source to control the pitch. For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Intensity [–12.00...+12.00]

This controls the depth and direction of the pitch modulation, in semitones.

For example if you set AMS (Pitch) to JS+Y: CC#01 and then move the joystick in the +Y direction, the pitch will rise if this parameter is set to a positive (+) value, or fall if this parameter is set to a negative (–) value.

2–2b: Pitch EG

Intensity [–12.00...+12.00]

This controls the initial effect of the Pitch EG on Oscillator 1’s frequency, in half-steps, before any AMS modulation.

The Pitch EG’s shape can swing all the way from +99 to –99. When the Intensity is set to a positive (+) value, positive values from the EG raise the pitch, and negative values lower the pitch.

When the Intensity is set to a negative (–) value, the effect of the EG is reversed; positive EG values mean lower pitches, and negative EG values mean higher pitches.

AMS (Pitch EG) [List of AMS Sources]

This selects any AMS modulation source to scale the amount of the Pitch EG.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Intensity [–12.00...+12.00]

This controls the depth and direction of the pitch EG AMS modulation. The AMS modulation and the initial Intensity are added together to determine the Pitch EG’s ﬁnal effect.

With positive (+) values, greater modulation will increase the effect of the Pitch EG, as shown in example B below.

With negative (–) values, greater modulation will introduce the opposite effect of the Pitch EG–like inverting the polarity of the envelope. You can use this in several different ways:

• You can set an initial positive amount with the Intensity parameter, and then reduce this amount with AMS. In this case, the final effect of the EG is simply diminished, and not actually inverted, as shown in example C.

• You can also set the AMS Intensity amount to be greater than the initial Intensity. In this case, the EG will have a positive effect with low modulation amounts, and an inverted effect at higher modulation amounts–as shown in example D.

Pitch EG AMS

A. Original EG B. Intensity = +6.00

Change to Pitch

C. Intensity = –3.00

Change to Pitch

D. Intensity = –24.00

2–2c: Portamento

Portamento lets the pitch glide smoothly between notes, instead of changing abruptly.

Enable [Off, On]

On (checked): Turns on Portamento, so that pitch glides smoothly between notes.

Off (unchecked): Turns off Portamento. This is the default state.

Fingered [Off, On]

This parameter allows you to control Portamento through your playing style. When it’s enabled, playing legato will turn on Portamento, and playing detached will turn it off again.

This option is only available when Portamento Enable is turned on.

On (checked): Turns on Fingered Portamento.

Off (unchecked): Turns off Fingered Portamento.

Mode [Rate, Time]

Rate means that Portamento will always take the same amount of time to glide a given distance in pitch - for instance, one second per octave. Put another way, gliding several octaves will take much longer than gliding a halfstep.

Time means that Portamento will always take the same amount of time to glide from one note to another, regardless of the difference in pitch. This is especially useful when playing chords, since it ensures that each note in the chord will end its glide at the same time.

Time [000...127]

This controls the portamento time. Higher values mean longer times, for slower changes in pitch.

This option is only available when Portamento Enable is turned on.

PROG P2: OSC/Pitch 2–3: OSC2 Basic

Assigning SW1 or SW2 to Portamento On/Off

You can turn portamento on/off by using the two assignable switches SW1 and SW2.

To do so:

1. Go to the Prog P1: Basic/Ctrls– Controllers Setup page.

2. Under Panel Switch Assign, set either SW1 or SW2 to Porta.SW (CC#65).

Now, the selected switch will enable and disable Portamento. It will also send the MIDI Portamento controller, CC#65.

Even if you don’t assign SW1/2 to Portamento, you can still use MIDI Controller #65 to turn Portamento on and off.

2–2d: LFO1/2

LFO1 and LFO2 can both control the pitch. You can control the strength of each LFO’s modulation in three different ways:

• Set an initial amount of LFO modulation, using the LFO1 Int., LFO2 Int. parameters.

•Use JS +Y Int. to adjust the amount of LFO produced by JS+Y operations.

•Use any AMS source to scale the amount of the LFO.

The results are added together to produce the total LFO effect.

With a setting of 0, modulation will not be applied. With a setting of 12.00, the OSC1 LFO1 will apply a maximum of +/–1 octave of pitch modulation.

For example if AMS (LFO1) is set to JS+Y: CC#01 and you move the joystick in the +Y direction, pitch modulation from OSC1 LFO1 will be applied in positive phase if this is a

positive (+) value, or applied in negative phase if this is a negative (–) value.

LFO1 Int., JS+Y Int., and AMS (LFO1) settings are summed

to determine the depth and direction of pitch modulation produced by OSC1 LFO1.

LFO2:

The parameters for LFO2 are identical to those for LFO1. For more information, please see the descriptions under LFO1, above.

▼2–2: 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.

LFO1

LFO1 Int. (LFO1 Intensity) [–12.00...+12.00]

This controls the initial effect of the LFO on the pitch, in semitones, before any JS+Y Int. or AMS modulation.

Negative (–) settings will invert the phase of the LFO.

JS+Y Int. (LFO1 JS+Y Intensity) [–12.00...+12.00]

Specify the depth of pitch modulation produced by OSC1 LFO1 when the joystick is moved in the +Y (away) direction (or when CC#1 is received). (Joystick control in the +Y direction is called “JS +Y.”)

This parameter sets the maximum amount of LFO modulation added by JS+Y, in semitones.

As this value is increased, moving the joystick in the +Y direction will cause the OSC1 LFO1 to produce deeper pitch modulation.

Negative (–) settings will invert the phase of the LFO. You can also use this to reduce the initial amount of the LFO, as set by LFO1 Int., above. For example:

1. Set LFO1 Int. to +7.00.

The LFO will now have a fairly strong effect on the pitch, bending it by a perfect 5th.

2. Set JS+Y Int. Intensity to –7.00.

Now, if you move the joystick up, the effect of the LFO will fade away. When the joystick is all the way at the top of its range, the LFO will be completely cancelled out.

2–3: OSC2 Basic

This page controls the basic settings for Oscillator 2. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out.

The parameters are identical to those for Oscillator 1, as described under “2–1: OSC1 Basic,” on page 21.

2–4: OSC2 Pitch

This page controls the pitch settings for Oscillator 2. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out.

The parameters are identical to those for Oscillator 1, as described under “2–2: OSC1 Pitch,” on page 23.

AMS (LFO1) [List of AMS Sources]

This selects any AMS modulation source to scale the amount of the LFO applied to pitch.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Intensity [–12.00...+12.00]

This controls the depth and direction of the AMS (LFO1) modulation for pitch.

Program mode

2–7: Velocity Zone

2–7a

2–7b

2–7 Menu

2–7c

damper pedal, and then press a key, in order to play a note. For instance, this can be useful when modeling the behavior of a piano soundboard.

Key is the normal mode.

When you select Key + Damper, notes will only sound if the damper pedal is being held down. When the damper pedal is released, all notes will be stopped–even if they are still being held down.

OSC2 Delay [0000ms...5000ms, KeyOff]

Mode [Key, Key + Damper]

This speciﬁes the time from when you press a key until oscillator 2 actually begins to sound.

See OSC1 Delay and Mode, above.

2–7a: OSC 1/2 Velocity Zone

You can specify the velocity zone for each of the four multisamples of the oscillator. Here you will specify the velocity zone for each oscillator.

These velocity zones take precedence over the velocity settings for the individual MS1–4.

OSC1 Top [001...127]

This sets the highest velocity at which the Oscillator 1 will sound.

Note: The OSC1 Top velocity must be greater than the OSC1 Bottom velocity.

OSC1 Bottom [001...127]

This sets the lowest velocity at which the Oscillator 1 will sound.

Entering velocity values from the keyboard

You can enter velocity values directly by playing them on the keyboard. To do so:

1. Select OSC1 Top or OSC1 Bottom.

2. Hold down the ENTER switch.

3. While holding ENTER, play a note on the keyboard at the desired velocity.

OSC2 Top [001...127] OSC2 Bottom [001...127]

This speciﬁes the maximum and minimum velocity values for which oscillator 2 will sound.

See OSC1 Top and OSC1 Bottom, above.

2–7c: OSC 1/2 Velocity Zone Window

This shows the velocity zone.

This graphic reﬂects the OSC1 Basic and OSC2 Basic Bottom

Vel., Xfd, and Curve, and the Velocity Zone OSC1 Top, OSC1 Bottom, OSC2 Top, and OSC2 Bottom settings.

Select

Xfade Range = 20

Curve = Linear

Bottom Velocity = 64

▼2–7: 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.

2–7b: OSC1/2 Note-On Control

OSC1 Delay [0000ms...5000ms, KeyOff]

This speciﬁes the time from when you press a key until oscillator 1 actually begins to sound.

This is most useful in Double Programs, for delaying one oscillator in relation to the other.

KeyOff is a special setting. Instead of delaying the sound by a particular amount of time, the sound will play as soon as you release the key. You can use this to create the “click” heard when a harpsichord note is released, for instance.

In general, when you use the KeyOff setting, it’s also best to set the oscillator’s Amp EG Sustain Level to 0.

Mode [Key, Key + Damper]

Normally, you play notes simply by pressing keys on the keyboard. In special cases, however, you can set this parameter so that you must ﬁrst be holding down the

2–8: Pitch EG

2–8 Menu

2–8a

2–8b

2–8c

The Pitch EG, or Envelope Generator, lets you create complex, time-varying changes to the pitch of Oscillators 1 and 2. The parameters on this page control the shape of the EG. For instance, you can:

• Create the basic EG shape by setting the levels and times of each segment.

• Control the curvature of each EG segment, for subtle control over the modulation time of the EG.

• Set up complex modulation of EG levels and times.

• Set up an AMS source, such as an LFO, to restart the EG.

To control how much effect the EG has on the pitch, use the Pitch EG parameters on the P2: OSC/Pitch– OSC1 Pitch page and OSC2 Pitch page, as described under “2–2b: Pitch EG,” on page 24.

Differences from the other EGs

The Pitch EG is different from the Filter and Amp EGs in several ways:

• The single Pitch EG is shared by both Oscillator 1 and Oscillator 2.

• The Sustain level is always 0.

• The Level modulation has two AMS sources instead of one, and the Time modulation has one AMS source instead of three.

Pitch EG is also an AMS source

You can use the Pitch EG as an AMS source to modulate other parameters, just like the keyboard tracking and LFOs. Simply select the Pitch EG in the AMS list for the desired parameter.

2–8a: EG Reset

PROG P2: OSC/Pitch 2–8: Pitch EG

Note: For several LFO waveform types, or if the LFO cycle is fast, the LFO output may not always keep up with high values such as +99 or –99.

In this case, setting the Threshold to these values may cause inconsistent behavior, or may mean that the EG will not reset at all. If this happens, reduce the Threshold until the EG triggers consistently.

2–8b: Envelope

Pitch EG

Break

Level

Decay

Time

Sustain Level

(Always 0)

Slope

Time

Note-off

Release

Time

Release

Level

Time

Change to

Pitch

Attack

Level

Start Level

Attack

Time

Note-on or reset

The envelope moves to a speciﬁed level over the speciﬁed time, and then moves to the next speciﬁed level over the speciﬁed time. It produces a modulation signal corresponding to this movement.

The parameters below let you set four levels, the amount of time it takes to go from each of the levels to the next, and the shape (from linear to curved) of each transition.

Level

Each of the four levels can be either positive or negative.

Positive levels will make the pitch (or other AMS destination) go up from its programmed value; negative levels will make it go down.

Note that, unlike the Filter and Amp EGs, the Pitch EG’s Sustain Level is always 0.

Start [–99...+99]

This sets the initial EG level at note-on.

Attack [–99...+99]

This sets the level at the end of the Attack time.

Break [–99...+99]

Break, short for Break Point, sets the level at the end of the Decay time.

Rel (Release) [–99...+99]

This sets the level at the end of the Release time.

AMS (EG Reset AMS) [List of AMS Sources]

This selects an AMS source to reset the EG to the start point. For instance, you can use a tempo-synced LFO to trigger the EG in a repeating rhythm. This reset is in addition to the initial note-on, which always causes the EG to start.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Threshold [–99...+99]

This sets the AMS level which will trigger the EG reset. Among other things, you can use this to adjust the exact point in an LFO’s phase at which the EG will be reset, effectively controlling its “groove” against other rhythmic effects.

When the threshold is positive, the EG triggers when passing through the threshold moving upwards. When the threshold is negative, the EG triggers when passing through the threshold moving downwards.

Time

Higher values mean longer times, as shown below:

EG Value Actual Time

10 10 ms

20 44 ms

30 104 ms

40 224 ms

50 464 ms

60 944 ms

70 1.8 seconds

80 3.8 seconds

90 10.9 seconds

99 87.3 seconds

Program mode

Attack [00...99]

This sets how long the EG takes to move from the Start level to the Attack level.

For the fastest possible attack time, you can set the Start level to +99; in this case, the EG will start instantaneously at its maximum value.

Decay [00...99]

This sets the time it takes to move from the Attack level to the Break level.

Slope [00...99]

This sets how long the EG takes to move from the Break level to the Sustain level (which for the Pitch EG is always

0). Once it reaches the Sustain, the EG will stay there until note-off, unless it is reset via AMS.

Rel (Release) [00...99]

This sets how long it takes the EG to move from the Sustain level to the Release level.

Curve

For the sake of simplicity, most of the diagrams in this manual show envelopes as being made out of straight lines. In actuality, though, envelopes are more likely to be made out of curves.

In other words, each segment’s level will change quickly at ﬁrst, and then slow down as it approaches the next point. This tends to sound better than straight, linear segments.

Classic analog synth envelopes made these curved shapes naturally. The M50 goes a step further than vintage synths, however, and lets you control the amount of curvature separately for each of the four envelope segments.

Pitch EG Curve

Slope [0L (Linear), 1...9, 10E (Exp/Log)]

This sets the curvature of the Slope segment - the transition from the Break level to the Sustain level (which for the Pitch EG is always 0).

Rel (Release) [0L (Linear), 1...9, 10E (Exp/Log)]

This sets the curvature of the Release segment - the transition from the Sustain level to the Release level.

2–8c: EG Level/Time Modulation

L (Level)

These settings let you use two different AMS sources to control the Level parameters of the EG. For each of the two AMS sources, the Start, Attack, Decay, and Break levels each have their own modulation intensities.

By using different settings for each of the three levels, you can cause both subtle and dramatic changes to the EG shape, as shown below.

Note: Once the EG has started a segment between two points, that segment can no longer be modulated. This includes both the time of the segment, and the level reached at the end of the segment.

For instance, if the EG is in the middle of the Decay time, you can no longer modulate either the Decay time or the Break level.

This also means that modulating the Start level, Attack level, or Attack time will not affect notes that are already sounding, unless the EG is then re-started via EG Reset.

Pitch EG Level Modulation

Curve = 0 (Linear)

Curve = 10 (Exp/Log)

Curve = 0 (Linear)

When you change the curvature, the EG times remain the same. However, greater curvature will tend to sound faster, because the value changes more quickly at the beginning.

Curve = 10 (Exp/Log)

Different curve settings for up and down

You may ﬁnd that different amounts of curvature are suitable for segments which go up and segments which go down.

For instance, a curve of 3 is a good default setting for upward segments, such as Attack. On the other hand, a curve of 6 or more is good for downward segments, such as Decay and Release.

Attack [0L (Linear), 1...9, 10E (Exp/Log)]

This sets the curvature of the Attack segment - the transition from the Start level to the Attack level.

Decay [0L (Linear), 1...9, 10E (Exp/Log)]

This sets the curvature of the Decay segment - the transition from the Attack level to the Break level.

Original Shape

Negative AMS on Start, Attack, and Break

Positive AMS on Start, Attack, and Break

Positive AMS on Start and Break, Negative AMS on Attack

AMS1

AMS1 [List of AMS Sources]

This selects the ﬁrst AMS source to control the EG’s Level parameters.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

St (Start) [–99...+99]

This controls the depth and direction of the AMS modulation for the Start level.

For example, if you set the AMS1 source to Velocity and set St to +99, the Start level will increase as you play harder. If you instead set St to –99, the Start level will decrease as you play harder.

At (Attack) [–99...+99]

This controls the depth and direction of the AMS modulation for the Attack level.

PROG P2: OSC/Pitch 2–8: Pitch EG

Br (Break) [–99...+99]

This controls the depth and direction of the AMS modulation for the Break level.

AMS2

This selects the second AMS source for controlling the EG’s Level parameters. The Start, Attack, Decay, and Break levels share this source, but each has its own modulation intensity. The parameters ofAMS2 are identical to those of AMS1, above.

T (Time)

These settings let you use an AMS source to control the Time parameters of the EG. The Attack, Decay, and Slope times share this AMS source, but each has its own modulation intensity.

Pitch EG Time Modulation

AMS=Velocity, Intensity = a positive (+) value

Note-on Note-off Note-on Note-off Note-on Note-off

“Attack”= + “Decay”= + “Slope”= +

Softly played note.

Original Shape.

“Attack”= + “Decay”= + “Slope”= +

Strongly played note. Times are longer.

Reaches Sustain more slowly.

“Attack”= – “Decay”= – “Slope”= –

Strongly played note. Times are shorter.

Reaches Sustain more quickly.

▼2–8: 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.

AMS

AMS [List of AMS Sources]

This selects the AMS source to control the EG’s Time parameters. Velocity and Keyboard Track can both be useful here, for instance.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

At (Attack) [–99...+99]

This controls the depth and direction of the AMS modulation for the Attack time.

For example, if you set the AMS source to Velocity and set Attack to +99, the Attack time will get much longer at higher velocities. If you instead set Attack to –99, the Attack time will get much shorter at higher velocities.

When the AMS source is at its maximum value–for instance, when Velocity is at 127–a setting of +8 will make the Attack time almost twice as long, and a setting of –8 will cut the Attack time almost in half.

Dc (Decay) [–99...+99]

This controls the depth and direction of the AMS modulation for the Decay time.

Sl (Slope) [–99...+99]

This controls the depth and direction of the AMS modulation for the Slope time.

Program mode

PROG P3–1: Filter1

Filtering can make subtle or dramatic changes to the oscillator’s timbre. Each oscillator has two multimode resonant ﬁlters, A and B, as well as a dedicated ﬁlter envelope and keyboard tracking generator.

These pages let you control all aspects of the ﬁlters. Among other things, you can:

•Make basic settings for each oscillator’s filters, including routing, modes, cutoff, resonance, etc.

• Set up filter modulation, including keyboard tracking, the filter envelope, LFO modulation, and AMS control.

Note that when the Oscillator Mode is set to Single, only Oscillator 1’s ﬁlters are active; the pages for Oscillator 2’s ﬁlters will be grayed out.

3–1–1: Filter1

3–1

–1a

3–1

–1b

–1

3–1

–1c

delicate resonance. Many classic analog synths used this general type of ﬁlter.

When 24 dB/oct is selected, only the controls for Filter A are active; the controls for Filter B will be grayed out.

Serial and Parallel Routing

Filter A (Low Pass)Oscillator Filter B (High Pass)

Filter A (Low Pass)

Oscillator

Filter B (High Pass)

This page contains all of the basic settings for Oscillator 1’s Filter A and Filter B. For example, you can:

• Set up the filters to produce a single 12 dB/oct filter, dual 12 dB/oct filters in either serial or parallel routing, or a single 24 dB/oct filter.

• Set each of the two filters to Low Pass, High Pass, Band Pass, or Band Reject modes.

• Set the cutoff, resonance, and input and output levels of each filter, including modulation of resonance and output level.

3–1–1a: Filter Routing

Filter Routing

[Single, Serial, Parallel, 24dB(4Pole)]

Each oscillator has two ﬁlters, Filter A and Filter B. This parameter controls whether one or both of the ﬁlters are used, and if both are used, it controls how they are connected to each other.

Single. This uses only Filter A as a single 2-pole, 12 dB/ octave ﬁlter (6 dB for Band Pass and Band Reject). When this option is selected, the controls for Filter B will be grayed out.

Serial. This uses both Filter A and Filter B. The oscillator ﬁrst goes through Filter A, and then the output of Filter A is processed through Filter B.

Parallel. This also uses both Filter A and Filter B. The oscillator feeds both ﬁlters directly, and the outputs of the two ﬁlters are then summed together.

24dB/oct. This merges both ﬁlters to create a single 4-pole, 24 dB/octave ﬁlter (12 dB for Band Pass and Band Reject). In comparison to Single, this option produces a sharper roll-off beyond the cutoff frequency, as well as a slightly more

12db/oct / 24db/oct

Low Pass:

12dB/oct

Low Pass:

24dB/oct

3–1–1b: Filter A

Filter Type

[Low Pass (12dB/oct), High Pass (12dB/oct),

Band Pass (6dB/oct), Band Reject (6dB/oct)]

The ﬁlter will produce very different results depending on the selected ﬁlter type. The selections will change slightly according to the selected Filter Routing, to show the correct cutoff slope in dB per octave.

Low Pass (12dB/oct). This cuts out the parts of the sound which are higher than the cutoff frequency. Low Pass is the most common type of ﬁlter, and is used to make bright timbres sound darker.

High Pass (12dB/oct). This cuts out the parts of the sound which are lower than the cutoff frequency. You can use this to make timbres sound thinner or more buzzy.

Band Pass (6dB/oct). This cuts out all parts of the sound, both highs and lows, except for the region around the cutoff

PROG P3–1: Filter1 3–1–1: Filter1

frequency. Since this ﬁlter cuts out both high and low frequencies, its effect can change dramatically depending on the cutoff setting and the oscillator’s multisample.

With low resonance settings, you can use the Band Pass ﬁlter to create telephone or vintage phonograph sounds. With higher resonance settings, it can create buzzy or nasal timbres.

Band Reject (6dB/oct). This ﬁlter type–also called a notch ﬁlter–cuts only the parts of the sound directly around the cutoff frequency. Try modulating the cutoff with an LFO to create phaser-like effects.

Filter Types and Cutoff Frequency

Low Pass

High Pass

Band Pass

Band Reject

Resonance [00...99]

Resonance emphasizes the frequencies around the cutoff frequency.

When this is set to 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly.

At medium settings, the resonance will alter the timbre of the ﬁlter, making it sound more nasal, or more extreme.

At very high settings, the resonance can be heard as a separate, whistling pitch.

To make the resonance track the keyboard pitch, please see “Key Follow,” on page 33.

AMS (Resonance) [List of AMS Sources]

This selects a AMS source to control the Resonance amount. For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

AMS Int. [–99...+99]

This controls the depth and direction of the Resonance modulation.

For example, if Velocity has been selected, changes in keyboard velocity will affect the resonance. With positive (+) values, the resonance will increase as you play more strongly, and as you play more softly the resonance will approach the level speciﬁed by the Resonance setting. With negative (–) values, the resonance will decrease as you play more strongly, and as you play more softly the resonance will approach the level speciﬁed by the Resonance setting.

The resonance level is determined by adding the Resonance and AMS Int. values.

Output [00...99]

This controls the output level of Filter A. You can use this to balance the volumes of Filters A and B when the Routing is set to Parallel, or to turn down the volume to avoid clipping later in the signal chain.

AMS (Output AMS) [List of AMS Sources]

This selects a modulation source to control the output level of Filter A. For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Cutoff Frequency

Bypass [Off, On]

This lets you bypass Filter A completely.

If Bypass is Off, Filter A functions normally.

When Bypass is On, Filter A will have no effect.

Frequency [00...99]

This controls the cutoff frequency of Filter A, in increments of 1/10 of an octave. The speciﬁc effect of the cutoff frequency will change depending on the selected Filter Type.

AMS Int. [–99...+99]

This controls the depth and direction of the output level modulation.

3–1–1c: Filter B

Filter B is available when the Filter Routing is set to Serial or Parallel. Otherwise, the parameters in this section will be grayed out.

The parameters for Filter B are identical to those for Filter A. For more information, please see the descriptions under Filter A, above.

Trim [00...99]

This adjusts the volume level at the input to the ﬁlter. If you notice that the sound is distorting, especially with high Resonance settings, you can turn the level down here, or at the Output.

Resonance

Low resonance value High resonance value

Program mode

▼3–1–1: 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.

3–1–2: Keyboard Track

3–1

–2

3–1

–2a

This page contains the settings for Oscillator 1’s ﬁlter keyboard track. Among other things, you can:

• Set up complex keyboard tracking shapes, and control how the tracking affects filter cutoff.

Filter B is available when the Filter Routing is set to Serial or Parallel. Otherwise, the parameters for Filter B will be grayed out.

3–1–2a: Keyboard Track

Most acoustic instruments get brighter as you play higher pitches. At its most basic, keyboard tracking re-creates this effect by raising the lowpass ﬁlter cutoff frequency as you play higher on the keyboard. Usually, some amount of key tracking is necessary in order to make the timbre consistent across the entire range.

The M50 keyboard tracking can also be much more complex, since it allows you to create different rates of change over up to four different parts of the keyboard. For instance, you can:

•Make the filter cutoff increase very quickly over the middle of the keyboard, and then open more slowly–or not at all–in the higher octaves.

•Make the cutoff increase as you play lower on the keyboard.

• Create abrupt changes at certain keys, for split-like effects.

How it works: Keys and Ramps

The keyboard tracking works by creating four ramps, or slopes, between ﬁve keys on the keyboard. The bottom and top keys are ﬁxed at the bottom and top of the MIDI range, respectively. You can set the other three keys–named Key Low, Center, and Key High–to be anywhere in between.

The four Ramp values control the rate of change between each pair of keys. For instance, if the Lo Cent (Low-Center) Ramp is set to 0, the value will stay the same between the Key Low key and the Center key.

The Key value will be the break point, and the slope of the lower and higher regions on the keyboard is speciﬁed by the Ramp.

At the Center key (the main hinge), the keyboard tracking has no effect.

Intensity to A [–99...+99]

This controls how much the keyboard tracking will affect Filter A’s cutoff frequency. The overall effect of the Keyboard Track is a combination of this Intensity value and the overall Keyboard Track shape.

With positive values (+), the effect will be in the direction speciﬁed by keyboard tracking; if the ramp goes up, the ﬁlter cutoff will increase.

PROG P3–1: Filter1 3–1–2: Keyboard Track

Ramp = –Inf

Ramp = +Inf

Ramp = –50

Key Low Center Key High

With negative values (–), the effect will be in the opposite direction; if the ramp goes up, the ﬁlter cutoff will decrease.

Keyboard Track Shape and Intensity

Intensity = +99 (Original Shape)

Intensity = +50 (Less Effect)

Intensity = 0 (No Effect)

Intensity = –99 (Inverted)

Low Break Key Center Key High Break Key

Intensity to B [–99...+99]

This controls how much the keyboard tracking will affect Filter B’s cutoff frequency.

Key

When Intensity to A (B) is set to +99, a ramp of 50 changes the ﬁlter frequency by 1 octave for every octave of the keyboard, and a ramp of +99 changes the frequency by 2 octaves for every octave of the keyboard.

Btm Lo (Bottom-Low) [–Inf, –99...+99, +Inf]

This sets the slope between the bottom of the MIDI note range and the Key Low key. For normal key track, use negative values.

Lo Cent (Low-Center) [–Inf, –99...+99, +Inf]

This sets the slope between the Key Low and Center keys. For normal key track, use negative values.

Cent Hi (Center-High) [–Inf, –99...+99, +Inf]

This sets the slope between the Center and Key High keys. For normal key track, use positive values.

Hi Top (High-Top) [–Inf, –99...+99, +Inf]

This sets the slope between the Key High key and the top of the MIDI note range. For normal key track, use positive values.

+Inf and –Inf ramps

+Inf and –Inf are special settings which create abrupt changes for split-like effects. When a ramp is set to +Inf or –Inf, the keyboard tracking will go to its extreme highest or lowest value over the span of a single key.

+Inf and –Inf Ramps

Key Low [C–1...G9]

This speciﬁes the note at which the two sloped lines in the lower range will be connected.

Center [C–1...G9]

This speciﬁes the note that will be the break point for the center of keyboard tracking. At this key, the keyboard tracking has no effect on the ﬁlter cutoff, or on any AMS destinations.

Key High [C–1...G9]

This speciﬁes the note at which the two sloped lines in the upper range will be connected.

Using the keyboard to enter a note value

You can press the keyboard to enter a note number directly.

1. Select one of the Key parameters.

2. Hold down the ENTER switch.

3. While holding ENTER, play a note on the keyboard.

Ramp

Positive ramp values mean that the keyboard tracking output increases as you play farther from the Center Key; negative ramp values mean that it decreases.

Because of this, the meanings of positive and negative ramp settings will change depending on whether the ramp is to the left or right of the Center Key.

Btm Lo (Bottom-Low) and Lo Cent (Low-Center): negative ramps make the keyboard tracking’s output go down as you play lower on the keyboard, and positive ramps make the output go higher.

Cent Hi (Center-High) and Hi Top (High-Top): negative ramps make the keyboard tracking’s output go down as you play higher on the keyboard, and positive ramps make the output go up.

The effect on the ﬁlter cutoff is a combination of the ramp values, as set below, and the Intensity to A (B) parameters.

Note: if you set the Cent Hi ramp to +Inf or –Inf, the Hi Top parameter will be grayed out. Similarly, if you set the Lo Cent ramp to +Inf or –Inf, the Btm Lo ramp will be grayed out.

Key Follow

To create the classic Key Follow effect, in which the ﬁlter frequency tracks the pitch of the keyboard:

1. Set the Filter Frequency to 30.

2. Set the Keyboard Track Intensity to +99.

3. Set the Btm Lo and Lo Cent ramps to –50.

4. Set the Cent Hi and Hi Top ramps to +50.

5. Set the Center Key to C4.

The settings for the Key Low and Key High keys don’t matter in this case.

Filter Keyboard Track is also an AMS source

You can use the keyboard tracking as an AMS source to modulate other parameters, just like the envelopes and LFOs. Simply select Filter KTrk in the AMS list for the desired parameter.

Program mode

▼3–1–2: 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.

3–1–3: Modulation

This page contains the settings for Oscillator 1’s ﬁlter modulation. Among other things, you can:

• Control the effect of the Filter Envelope on filter cutoff.

• Assign AMS modulation for filter cutoff.

Filter B is available when the Filter Routing is set to Serial or Parallel. Otherwise, the parameters for Filter B will be grayed out.

3–1

–3

3–1

–3a

3–1

–3b

3–1–3a: Filter EG

The Filter EG modulates the Filter A and B cutoff frequencies over time. You can control how strongly the EG will affect the ﬁlters in three different ways:

• Set an initial amount of EG modulation, using the Intensity to A and B parameters.

• Use velocity to scale the amount of the EG applied to the filter.

• Use any AMS source to scale the amount of the EG applied to the filter.

You can use all three of these at once, and the results are added together to produce the total EG effect.

To set up the EG itself, including attack and release times, levels, and so on, please see “3–1–5: EG,” on page 37.

Velocity to A [–99...+99]

This lets you use velocity to scale the amount of the Filter EG applied to Filter A.

Velocity control of Filter EG

In all examples below, Intensity to A = +50

A. Original EG

Original

Filter Cutoff

C. Velocity to A = –25 D. Velocity to A = –99

Original

Filter Cutoff

With positive (+) values, playing more strongly will increase the effect of the Filter EG, as shown in example B above.

With negative (–) values, playing more strongly will introduce the opposite effect of the Filter EG–like inverting the polarity of the envelope. You can use this in several different ways:

B. Velocity to A = +50

PROG P3–1: Filter1 3–1–3: Modulation

• You can set an initial positive amount with the Intensity to A/B parameters, and then reduce this amount with velocity. In this case, the final effect of the EG is simply diminished, and not actually inverted, as shown in example C above.

• You can also set the Velocity to A/B amounts so that they are greater than the initial amounts of Intensity to A/B. In this case, the EG will have a positive effect at low velocities, and an inverted effect at high velocities– as shown in example D.

Velocity to B [–99...+99]

This lets you use velocity to scale the amount of the Filter EG applied to Filter B. For more information, please see “Velocity to A,” above.

Intensity to A [–99...+99]

This controls the initial effect of the Filter EG on Filter A’s cutoff frequency, before any velocity or AMS modulation.

The Filter EG’s shape can swing all the way from +99 to –99. Positive values increase the cutoff frequency, and negative values decrease the cutoff frequency. For instance, please see the graphic “Velocity control of Filter EG,” above. The EG shape in example A rises up at ﬁrst, and then falls below 0 towards the end.

When Intensity to A is set to a positive (+) value, the EG’s effect will match its shape. When the EG rises above 0, the cutoff frequency will increase.

With negative (–) values, the effect will be in the opposite direction; when the EG rises above 0, the ﬁlter cutoff will decrease.

AMS2 (Filter A AMS2) [List of AMS Sources]

This selects the second modulation source for controlling Filter A’s cutoff frequency. For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Intensity (AMS2 Intensity) [–99...+99]

This controls the depth and direction of AMS2.

Filter B

The parameters for Filter B are identical to those for Filter A. For more information, please see the descriptions under Filter A, above.

▼3–1–3: 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.

Intensity to B [–99...+99]

This controls the initial effect of the Filter EG on Filter B’s cutoff frequency, before any velocity or AMS modulation. For more information, please see “Intensity to A,” above.

AMS (Filter EG AMS) [List of AMS Sources]

This selects any AMS modulation source to scale the amount of the Filter EG applied to Filters A and B. The two ﬁlters share a single AMS source, with separate intensity settings. Otherwise, the AMS modulation will work in the same way as the Velocity to A parameter, described above.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Int to A (AMS Intensity to A) [–99...+99]

This controls the depth and direction of the EG AMS modulation for Filter A.

Int to B (AMS Intensity to B) [–99...+99]

This controls the depth and direction of the EG AMS modulation for Filter B.

3–1–3b: Filter A/B Modulation

This section lets you assign any two AMS sources to control Filter A, and another two AMS sources to control Filter B. This modulation is added to the basic Filter A and B cutoff frequencies, as set on the Filter 1 page.

Filter A

AMS1 (Filter A AMS1) [List of AMS Sources]

This selects the ﬁrst modulation source for controlling Filter A’s cutoff frequency. For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Intensity (AMS1 Intensity) [–99...+99]

This controls the depth and direction of AMS1.

Program mode

3–1–4: LFO Mod. (Modulation)

LFO1, LFO2, and the Common LFO can all modulate Filter A and B’s cutoff frequencies. You can control the strength of each LFO’s modulation independently for each ﬁlter, in three different ways:

• Set an initial amount of LFO modulation, using the Intensity to A and B parameters.

•Use JS-Y to scale the amount of the LFO.

•Use any AMS source to scale the amount the LFO.

You can use each of these methods for each of the three LFOs, and do so separately for both Filter A and Filter B. The results are added together to produce the total LFO effect.

3–1

–4

3–1

–4a

3–1

–4b

Now, if you move the joystick down, the effect of the LFO will fade away. When the joystick is all the way at the bottom of its range, the LFO will be completely cancelled out.

JS–Y Intensity to B (LFO1) [–99...+99]

This lets you use JS-Y to scale the amount of the LFO applied to Filter B.

AMS (LFO1) [List of AMS Sources]

This selects any AMS modulation source to scale the amount of the LFO applied to Filters A and B. The two ﬁlters share a single AMS source, but with separate intensity settings.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Intensity to A (LFO1) [–99...+99]

This controls the depth and direction of the LFO1 AMS modulation for Filter A.

For example, if AMS is set to JS+Y: CC#01, positive settings mean that YS+Y will increase the amount of LFO1 applied to Filter A.

Intensity to B (LFO1) [–99...+99]

This controls the depth and direction of the LFO1 AMS modulation for Filter B.

3–1–4a: LFO 1/2

LFO1

Intensity to A [–99...+99]

This controls the initial effect of the LFO on Filter A’s cutoff frequency, before any JS-Y or AMS modulation.

Negative (–) settings will invert the phase of the LFO. You can produce interesting effects by using the same LFO to modulate two different parameters (such as Filter A and Filter B), but with one set to a positive intensity, and the other set to a negative intensity.

LFO modulation of Filter Cutoff

Low setting High setting

Intensity to B [–99...+99]

This controls the initial effect of the LFO on Filter B’s cutoff frequency, before any JS-Y or AMS modulation.

LFO 2

The parameters for LFO2 are identical to those for LFO1. For more information, please see the descriptions under LFO1, above.

3–1–4b: Common LFO

The parameters for the Common LFO are identical to those for LFO1. For more information, please see the descriptions under LFO1, above.

Note that while LFO1 and LFO2 are separate for each voice, the Common LFO is shared by all voices in the Program. This makes it useful when you want all of the voices to have an identical LFO effect.

▼3–1–4: 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.

JS–Y Intensity to A [–99...+99]

This adjusts the depth by which the LFO will modulate the cutoff frequency of ﬁlter A when you move the joystick from the center in the –Y direction (toward yourself) (or when CC#2 is received). (Joystick control in the –Y direction is called “JS –Y”.)

Negative (–) settings will invert the phase of the LFO. You can also use this to reduce the initial amount of the LFO, as set by Intensity to A, above. For example:

1. Set Intensity to A to +50.

The LFO will now have a fairly strong effect on the ﬁlter cutoff.

2. Set JS-Y Intensity to A to –50.

PROG P3–1: Filter1 3–1–5: EG

3–1–5: EG

3–1

–5

3–1

–5a

3–1

–5b

The Filter EG, or Envelope Generator, lets you create complex, time-varying changes to the cutoff frequencies of Filters A and B. The parameters on this page control the shape of the EG. Among other things, you can:

• Create the basic EG shape by setting the levels and times of each segment.

• Control the curvature of each EG segment, for subtle control over the modulation shape of the EG.

• Set up complex modulation of EG levels and times.

• Set up an AMS source, such as an LFO, to restart the EG.

To control how much effect the EG has on the ﬁlters, use the Filter EG parameters on the P3–1: Filter1– Modulation page, as described under “3–1–3a: Filter EG,” on page 34.

Filter EG is also an AMS source

You can use the Filter EG as an AMS source to modulate other parameters, just like the keyboard tracking and LFOs. Simply select the Filter EG in the AMS list for the desired parameter.

3–1–5b: Envelope

Filter EG

Break

Change to filter cutoff

Attack

Level

Start Level

Attack

Time

Note-on or reset

Decay

Time

Level

Slope Time

Sustain

Level

Note-off

Release

Time

Release

Level

Time

An envelope creates a modulation signal by moving from one level to another over a speciﬁed time, and then moving to another level over another period of time, and so on.

The parameters below let you set ﬁve levels, the amount of time it takes to go from each of the levels to the next, and the shape (from linear to curved) of each transition.

Level

Each of the ﬁve levels can be either positive or negative.

Positive levels will make the cutoff frequency (or other AMS destination) go up from its programmed value; negative levels will make it go down.

Start [–99...+99]

This sets the initial EG level at note-on.

Attack [–99...+99]

This sets the level at the end of the Attack time.

Break [–99...+99]

Break, short for Break Point, sets the level at the end of the Decay time.

3–1–5a: EG Reset

AMS [List of AMS Sources]

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Threshold [–99...+99]

When the threshold is positive, the EG triggers when passing through the threshold moving upwards. When the threshold is negative, the EG triggers when passing through the threshold moving downwards.

Note: With some LFO shapes, and with faster LFO speeds, the LFO may not always reach the extreme values of +99 or –99. In this case, setting the Threshold to these values may cause inconsistent behavior, or may mean that the EG doesn’t reset at all. If this happens, reduce the Threshold until the EG triggers consistently.

Sus (Sustain) [–99...+99]

This sets the level at the end of the Slope time. Once it reaches the Sustain level, the EG will stay there until noteoff, unless it is reset via AMS.

Rel (Release) [–99...+99]

This sets the level at the end of the Release time.

Time

Higher values mean longer times, as shown below:

EG Value Actual Time

10 10 ms

20 44 ms

30 104 ms

40 224 ms

50 464 ms

60 944 ms

70 1.8 seconds

80 3.8 seconds

90 10.9 seconds

99 87.3 seconds

Attack [00...99]

This sets how long the EG takes to move from the Start level to the Attack level.

For the fastest possible attack time, you can set the Start level to +99; in this case, the EG will start instantaneously at its maximum value.

Program mode

Decay [00...99]

This sets the time it takes to move from the Attack level to the Break level.

Slope [00...99]

This sets how long the EG takes to move from the Break level to the Sustain level. Once it reaches the Sustain level, the EG will stay there until note-off (unless it is reset via AMS).

Rel (Release) [00...99]

This sets how long it takes the EG to move from the Sustain level to the Release level.

Curve

For the sake of simplicity, most of the diagrams in this manual show envelopes as being made out of straight lines. In actuality, though, envelopes are more likely to be made out of curves.

In other words, each segment’s level will change quickly at ﬁrst, and then slow down as it approaches the next point. This tends to sound better than straight, linear segments.

Filter EG Curve

Curve=0L (Linear)

Curve=10E (Exp/Log)

3–1–5c: EG Level/Time Modulation

Level

These settings let you use any AMS source to control the Level parameters of the EG. The Start, Attack, and Break levels share a single AMS source, but can each have different modulation intensities.

By using different settings for each of the three levels, you can cause both subtle and dramatic changes to the EG shape, as shown below.

Once an EG segment begins, it can’t be modulated

Once the EG has started a segment between two points, that segment can no longer be modulated. This includes both the time of the segment, and the level reached at the end of the segment.

For instance, if the EG is in the middle of the Decay time, you can no longer modulate either the Decay time or the Break level.

As another example, let’s say that you’ve assigned the Common LFO to modulate Break Level. The LFO may be moving all the time, but the Break Level is only affected by the LFO’s value at the instant that the Decay segment starts. After that, the level is ﬁxed.

Finally, this also means that modulating the Start level, Attack level, or Attack time will not affect notes that are already sounding, unless the EG is then reset via AMS.

Filter EG Level Modulation

Curve=0L (Linear)

When you change the curvature, the EG times remain the same. However, greater curvature will tend to sound faster, because the value changes more quickly at the beginning.

Curve=10E (Exp/Log)

Different curve settings for up and down

You may ﬁnd that different amounts of curvature are suitable for segments which go up and segments which go down.

For instance, a curve of 3 is a good default setting for upward segments, such as Attack. On the other hand, a curve of 6 or more is good for downward segments, such as Decay and Release.

Attack [0L (Linear), 1...9, 10E (Exp/Log)]

This sets the curvature of the Attack segment - the transition from the Start level to the Attack level.

Decay [0L (Linear), 1...9, 10E (Exp/Log)]

This sets the curvature of the Decay segment - the transition from the Attack level to the Break level.

Slope [0L (Linear), 1...9, 10E (Exp/Log)]

This sets the curvature of the Slope segment - the transition from the Break level to the Sustain level.

Rel (Release) [0L (Linear), 1...9, 10E (Exp/Log)]

This sets the curvature of the Release segment - the transition from the Sustain level to the Release level.

Original Shape

Negative AMS on Start, Attack, and Break

Positive AMS on Start, Attack, and Break

Positive AMS on Start and Break, Negative AMS on Attack

AMS [List of AMS Sources]

Selects an AMS source to control the EG’s Level parameters.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

St (Start) [–99...+99]

This controls the depth and direction of the AMS modulation for the Start level.

For example, if you set the AMS source to Velocity and set St (Start) to +99, the Start level will increase as you play harder. If you instead set St (Start) to –99, the Start level will decrease as you play harder.

At (Attack) [–99...+99]

This controls the depth and direction of the AMS modulation for the Attack level.

Br (Break) [–99...+99]

This controls the depth and direction of the AMS modulation for the Break level.

PROG P3–1: Filter1 3–1–5: EG

Time

These settings let you use three different AMS sources to control the Time parameters of the EG. For each of the three AMS sources, the Attack, Decay, Slope, and Release times each have their own modulation intensities.

Filter EG Time Modulation

AMS=Velocity, Intensity = a positive (+) value

Note-on Note-off Note-on Note-off Note-on Note-off

“Attack”=+, “Decay”=+, “Slope”=+, “Release”=+

Softly played note. Original Shape

“Attack”=+, “Decay”=+, “Slope”=+, “Release”=+

Stongly played note. Times are longer. Reaches Sustainmore slowly.

AMS1 [List of AMS Sources]

Selects the ﬁrst AMS source to control the EG’s Time parameters. Velocity and Keyboard Track can both be useful here, for instance.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

At (Attack) [–99...+99]

This controls the depth and direction of the AMS modulation for the Attack time.

For example, if you set the AMS source to Velocity and set At (Attack) to +99, the Attack time will get much longer at higher velocities. If you instead set At (Attack) to –99, the Attack time will get much shorter at higher velocities.

“Attack”=–, “Decay”=–, “Slope”=–, “Release”=–

Stongly played note. Times are shorter. Reaches Sustainmore quickly.

▼3–1–5: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

• 2: Copy Oscillator ☞p. 74

• 3: Swap Oscillator ☞p. 74

•4: Sync Both EGs ☞p. 75

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

Dc (Decay) [–99...+99]

This controls the depth and direction of the AMS modulation for the Decay time.

Sl (Slope) [–99...+99]

This controls the depth and direction of the AMS modulation for the Slope time.

Rl (Release) [–99...+99]

This controls the depth and direction of the AMS modulation for the Release time.

AMS2 and AMS3

These select the second and third AMS sources, respectively, for controlling the EG’s Time parameters. Each has its own intensities for Attack, Decay, Slope, and Release. The parameters of both AMS2 and AMS3 are identical to those of AMS1, above.

Program mode

PROG P3–2: Filter2

3–2–1: Filter2

This page controls Oscillator 2’s basic ﬁlter 2 settings. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out.

The parameters are identical to those for Oscillator 1, as described under “3–1–1: Filter1,” on page 30.

3–2–2: Keyboard Track

This page contains the settings for Oscillator 2’s keyboard track. Among other things, you can:

• Set up complex keyboard tracking shapes, and control how the tracking affects filter cutoff.

• Control the effect of the Filter Envelope on filter cutoff.

•Assign AMS modulation for filter cutoff.

Filter B is available when the Filter Routing is set to Serial or Parallel. Otherwise, the parameters for Filter B will be grayed out.

3–2–3: Modulation

This page controls Oscillator 2’s ﬁlter modulation. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out.

The parameters are identical to those for Oscillator 1, as described under “3–1–3: Modulation,” on page 34.

3–2–4: LFO Mod. (Modulation)

This page controls Oscillator 2’s LFO ﬁlter modulation. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out.

The parameters are identical to those for Oscillator 1, as described under “3–1–4: LFO Mod. (Modulation),” on page 36.

3–2–5: EG

This page controls Oscillator 2’s Filter EG. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out.

The parameters are identical to those for Oscillator 1, as described under “3–1–5: EG,” on page 37.

PROG P4: Amp/EQ

PROG P4: Amp/EQ 4–1: Amp1/Driver1

Oscillators 1 and 2 have separate controls for volume (also called “amplitude,” or “amp” for short); pan; and Drive; as well as dedicated amp envelopes and keyboard tracking generators. Additionally, both Oscillators share a three-band EQ.

These pages let you control all of these related parameters. Among other things, you can:

• Set up the Driver circuit, which adds saturation and bass boost to the timbre.

• Set the pan position and pan modulation.

• Control amp level and modulation, including keyboard tracking, the amp envelope, LFO modulation, and AMS control.

• Set up the three-band Track EQ.

Note that when the Oscillator Mode is set to Single, only Oscillator 1’s amp, pan, and drive parameters are active; the pages for Oscillator 2 will be grayed out.

4–1: Amp1/Driver1

4–1 Menu

4–1a

4–1b

Note: Even when the Drive amount is set to 0, the Driver circuit still affects the timbre. If your goal is a completely pristine sound, use the Bypass control instead.

AMS (Drive) [List of AMS Sources]

This selects an AMS modulation source to control the Drive amount.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Intensity [–99...+99]

This controls the depth and direction of the AMS modulation for Drive.

Low Boost [00...99]

This low-frequency EQ controls the body character of the sound. The speciﬁc EQ frequencies affected will change with the Drive setting.

Higher amounts increase the bass boost, and will also intensify the effect of the Drive parameter.

AMS [List of AMS Sources]

This selects an AMS modulation source to control the Low Boost amount.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Intensity [–99...+99]

This controls the depth and direction of the AMS modulation for Low Boost.

4–1c

This page controls the basic settings for the Amp/EQ section. Here, you can:

• Set up the Driver circuit.

• Set the initial volume level.

• Control the pan position and pan modulation.

4–1a: Driver

The Driver adds saturation and overdrive to the sound, for everything from subtle fattening to drastic distortion. Unlike an overdrive effect, the Driver processes each voice individually, so the timbre stays the same regardless of how many voices are being played.

The two main parameters, Drive and Low Boost, work together to create the overall Driver effect. Drive contributes edge and bite, and Low Boost provides the body as well as boosting the bass.

Bypass [Off, On]

When Bypass is On, the Driver is completely removed from the signal path.

Drive [00...99]

This controls the amount of edge and bite in the timbre. Low settings will produce mild saturation, and higher settings create more obvious distortion.

Often, it’s useful to increase the Low Boost along with the Drive.

4–1b: Amp Level

Amp Level [000...127]

This controls the basic volume level of Oscillator 1, before keyboard tracking, velocity, and other modulation.

The OSC/DrumTrk Mixer and volume

You can control the Oscillator volume directly from the sliders in the 0–4 OSC/DrumTrk Mixer page. This is a separate parameter, in addition to Amp Level.

MIDI and volume

You can control the Program’s overall volume via MIDI using both Volume (CC#7) and Expression (CC#11). When used one at a time, the two controllers work in exactly the same way: a MIDI value of 127 is equal to the Amp Level setting, and lower values reduce the volume.

If both CC#7 and CC#11 are used simultaneously, the one with the lower value determines the maximum volume, and the one with the higher value scales down from that maximum.

This is controlled on the global MIDI channel (Global 1–1a).

Program mode

4–1c: Pan

Pan[Random, L001...C064...R127]

This controls the stereo pan of Oscillator 1. A setting of L001 places the sound at the far left, C064 in the center, and R127 to the far right.

When this is set to Random, the pan position will be different for each note-on.

You can also control pan via MIDI Pan (CC#10). A CC#10 value of 0 or 1 places the sound at the far left, 64 places the sound at the location speciﬁed by the Pan parameter, and 127 places the sound at the far right. This is controlled on the global MIDI channel (Global 1– 1a).

Note: Random can be selected only from the display.

AMS (Pan) [List of AMS Sources]

This selects an AMS source to modulate Pan.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Intensity [–99...+99]

This controls the depth and direction of the AMS modulation for Pan.

For example, if Pan is set to C064 and AMS is set to Note Number, positive (+) intensities will cause the sound to move toward the right as you play higher than C4, and toward the left as you play lower than C4. Negative (–) intensities will have the opposite effect.

Use DKit Setting [Off, On]

This option is available only when the Oscillator Mode is set to Drums.

Unlike standard Programs, Drum Kits can have a different pan setting for every note. This parameter lets you choose whether to use the Drum Kit pan settings, or to use the Program’s pan setting instead.

On (checked): The Program will use the Drum Kit’s pernote pan settings; pan AMS will still apply. This is the default setting.

Off (unchecked): The Program will ignore the Drum Kit’s settings, and use the Program pan instead. All keys of the drum kit will use the Pan (Global 5–4b) setting.

▼4–1: 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.

4–2: Amp1 Modulation

4–2 Menu

4–2a

4–2b

This page contains the settings for Oscillator 1’s Amp level modulation. Among other things, you can:

• Set up complex keyboard tracking shapes to control the Amp level.

• Assign AMS modulation for the Amp level.

• Control the effect of the LFOs on the Amp level.

The total effect of the modulation can increase the volume to a maximum of two times louder than the Amp Level setting.

4–2a: Keyboard Track

Keyboard tracking lets you vary the volume as you play up and down the keyboard. Usually, some amount of key tracking is necessary in order to make the volume consistent across the entire range.

M50’s keyboard tracking can be fairly complex, if desired. You can create different rates of change over up to four different parts of the keyboard. For instance, you can:

•Make the volume increase very quickly over the middle of the keyboard, and then increase more slowly–or not at all–in the higher octaves.

•Make the volume increase as you play lower on the keyboard.

• Create abrupt changes at certain keys, for split-like effects.

How it works: Keys and Ramps

The four Ramp values control the rate of change between each pair of keys. For instance, if the Low-Center Ramp is set to 0, the value will stay the same between the Key Low key and the Center key.

The Key value will be the break point, and Ramp speciﬁes the slope of the lower region and higher region on the keyboard.

If the Key is Center, keyboard tracking will have no effect.

Key:

Key Low [C–1...G9]

This speciﬁes the note that will be the break point connecting the two sloped lines in the low region.

PROG P4: Amp/EQ 4–2: Amp1 Modulation

Center [C–1...G9]

This speciﬁes the note that will be the break point in the center of keyboard tracking. At this key, the keyboard tracking has no effect on the volume, or on any AMS destinations.

Key High [C–1...G9]

This speciﬁes the note that will be the break point connecting the two sloped lines in the high region.

Entering notes from the keyboard

You can enter velocity values directly by playing them on the keyboard. To do so:

1. Select one of the Key parameters.

2. Hold down the ENTER switch.

3. While holding ENTER, play a note on the keyboard.

Ramp:

Positive ramp values mean that the keyboard tracking output increases as you play farther from the Center Key; negative ramp values mean that it decreases.

Because of this, the meanings of positive and negative ramp settings will change depending on whether the ramp is to the left or right of the Center Key.

Btm Lo (Bottom-Low) and Lo Cent (Low-Center): negative ramps make the keyboard tracking’s output go down as you play lower, and positive ramps make the output go higher.

Cent Hi (Center-High) and Hi Top (High-Top): negative ramps make the keyboard tracking’s output go down as you play higher, and positive ramps make the output go up.

Differences from other Keyboard Tracks

There are several differences between the Amp keyboard tracking and the Filter and Common keyboard tracking.

For example, the results of the Ramp values are different. As shown in the graphic “Amp Keyboard Tracking,” below, negative slopes are more steep than positive slopes.

Also, the amp does not have separate control of Intensity. Instead, Intensity is always ﬁxed at the maximum amount, allowing keyboard tracking to change the volume from complete silence to twice as loud as the programmed level.

Btm Lo (Bottom-Low) [–Inf, –99...+99, +Inf]

This sets the slope between the bottom of the MIDI note range and the Key Low key. For normal key track, use negative values.

Lo Cent (Low-Center) [–Inf, –99...+99, +Inf]

This sets the slope between the Key Low and Center keys. For normal key track, use negative values.

Cent Hi (Center-High) [–Inf, –99...+99, +Inf]

This sets the slope between the Center and Key High keys. For normal key track, use positive values.

Hi Top (High-Top) [–Inf, –99...+99, +Inf]

This sets the slope between the Key High key and the top of the MIDI note range. For normal key track, use positive values.

Ramp Change in level

–Inf Silent in one half-step

–99 Silent in one whole-step

–95 Silent in one octave

–48 Silent in two octaves

–25 Silent in four octaves

00 no change

+25 x2 in four octaves

+50 x2 in two octaves

+99 x2 in one octave

+Inf x2 in one half-step

+Inf and –Inf ramps

When a ramp is set to +Inf, the keyboard tracking will go to its highest value (double the programmed volume) over a single half-step.

Similarly, when a ramp is set to –Inf, the keyboard tracking will go to its lowest value (complete silence) over a single half-step.

Note: If you set the Cent Hi (Center-High) ramp to +Inf or –Inf, the Hi Top (High-Top) parameter will be grayed out. Similarly, if you set the Lo Cent (Low-Center) ramp to +Inf or –Inf, the Btm Lo (Bottom-Low) ramp will be grayed out.

Amp KTrk is also an AMS source

You can use the keyboard tracking as an AMS source to modulate other parameters, just like the envelopes and LFOs. Simply select Amp KTrk in the AMS list for the desired parameter.

Amp Keyboard Tracking

Louder x2

Change to

Volume

No change

Silence

Ramp values:

High Break: C4Low Break: D1 Center: G2

+99 +50 +25

–99 –97 –95 –48 –25

Program mode

4–2b: Amp Modulation

You can modulate the Amp level by both velocity and an AMS source.

This modulation scales the basic Amp level and Amp EG level parameters. The resulting volume is determined by multiplying the volume changes of the amp EG by other values such as AMS. If these original levels are low, the maximum volume available with modulation will also be reduced.

Velocity Intensity [–99...+99]

With positive (+) values, the volume will increase as you play harder.

With negative (–) values, the volume will decrease as you play harder.

Velocity modulation of Amp level, with Amp EG

Volume

Time

Low velocity

AMS [List of AMS Sources]

This selects any AMS modulation source to control the Amp1 level. For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Time

High velocity

▼4–2: 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.

Intensity [–99...+99]

This controls the depth and direction of the modulation.

For example, if AMS is set to JS+Y: CC#01, positive (+) values of this parameter will make the volume increase when move the joystick in the +Y direction.

Note that if the other modulation settings have already raised the volume to its maximum level (double the Amp Level and Amp EG level settings), the volume cannot be increased any further.

LFO 1/2

You can modulate the Amp level with both LFO1 and LFO2.

LFO1

Intensity (LFO1) [–99...+99]

This controls the depth and direction of LFO1’s effect on the oscillator’s volume.

Negative (–) values will invert the LFO waveform.

AMS (LFO1) [List of AMS Sources]

This selects an AMS modulation source to scale the amount of the LFO1 applied to the Amp level.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Intensity [–99...+99]

This controls the depth and direction of the LFO1 AMS modulation for the Amp level.

LFO2

The parameters for LFO2 are identical to those for LFO1. For more information, please see the descriptions under LFO1, above.

4–3: Amp1 EG

4–3a

4–3b

4–3 Menu

PROG P4: Amp/EQ 4–3: Amp1 EG

Level

Start [00...99]

This sets the initial volume level at note-on.

Attack [00...99]

This sets the level at the end of the Attack time.

Break [00...99]

Break, short for Break Point, sets the level at the end of the Decay time.

4–3c

These parameters let you create time-varying changes in the volume of oscillator 1.

4–3a: EG Reset

AMS [List of AMS Sources]

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Note: Once the Amp EG is in its Release segment, it cannot be reset. (Otherwise, the sound might keep playing forever!)

Threshold [–99...+99]

This sets the AMS level which will trigger the EG reset.

Among other things, you can use this to adjust the exact point in an LFO’s phase at which the EG will be reset, effectively controlling its “groove” against other rhythmic effects. When the threshold is positive, the EG triggers when passing through the threshold moving upwards. When the threshold is negative, the EG triggers when passing through the threshold moving downwards.

4–3b: Envelope

These parameters specify how the amp 1 EG will change over time.

Amp EG

Break

Volume

Attack

Start

Level

Time

Attack

Note-on or reset

Time

Decay

Level

Time

Slope

Time

Sustain

Level

Note-off

Release

Time

Sus (Sustain) [00...99]

This sets the level at the end of the Slope time. Once it reaches the Sustain level, the EG will stay there until note-off (unless it is reset via AMS).

Time

Higher values mean longer times, as shown below.

EG Value Actual Time

10 10 ms

20 44 ms

30 104 ms

40 224 ms

50 464 ms

60 944 ms

70 1.8 seconds

80 3.8 seconds

90 10.9 seconds

99 87.3 seconds

Attack [00...99]

This sets how long the EG takes to move from the Start level to the Attack level.

For the fastest possible attack time, you can set the Start level to +99; in this case, the EG will start instantaneously at its maximum value.

Decay [00...99]

This sets the time it takes to move from the Attack level to the Break level.

Slope [00...99]

This sets how long the EG takes to move from the Break level to the Sustain level. Once it reaches the Sustain level, the EG will stay there until note-off (unless it is reset via AMS).

Rel (Release) [00...99]

This sets how long it takes the EG to move from the Sustain level to silence.

Curve

For the sake of simplicity, most of the diagrams in this manual show envelopes as being made out of straight lines. In actuality, though, envelopes are more likely to be made out of curves.

In other words, each segment’s level will change quickly at ﬁrst, and then slow down as it approaches the next point. This tends to sound better than straight, linear segments.

When you change the curvature, the EG times remain the same. However, greater curvature will tend to sound faster, because the value changes more quickly at the beginning.

Program mode

Amp EG Curve

Curve=0L (Linear)

Curve=10E (Exp/Log)

Curve=0L (Linear)

Curve=10E (Exp/Log)

Different curve settings for up and down

You may ﬁnd that different amounts of curvature are suitable for segments which go up and segments which go down.

For instance, a curve of 3 is a good default setting for upward segments, such as Attack. On the other hand, a curve of 6 or more is good for downward segments, such as Decay and Release.

Attack [0L (Linear), 1...9, 10E (Exp/Log)]

This sets the curvature of the Attack segment - the transition from the Start level to the Attack level.

Decay [0L (Linear), 1...9, 10E (Exp/Log)]

This sets the curvature of the Decay segment - the transition from the Attack level to the Break level.

Slope [0L (Linear), 1...9, 10E (Exp/Log)]

This sets the curvature of the Slope segment - the transition from the Break level to the Sustain level.

Rel (Release) [0L (Linear), 1...9, 10E (Exp/Log)]

This sets the curvature of the Release segment - the transition from the Sustain level to the Release level.

4–3c: EG Level/Time Modulation

Level

These settings let you use any AMS source to control the Level parameters of the EG. The Start, Attack, and Break levels share a single AMS source, but can each have different modulation intensities.

By using different settings for each of the three levels, you can cause both subtle and dramatic changes to the EG shape, as shown below.

Once an EG segment begins, it can’t be modulated

Once the EG has started a segment between two points, that segment can no longer be modulated. This includes both the time of the segment, and the level reached at the end of the segment.

For more information, please see “Once an EG segment begins, it can’t be modulated” on page 38.

Amp EG Level Modulation

Volume

Time

Original Shape

Volume

Time

Negative AMS on Start,

Attack, and Break

Volume

Time

Positive AMS on Start,

Attack, and Break

Volume

Time

Positive AMS on Start and Break,

Negative AMS on Attack

AMS [List of AMS Sources]

This selects an AMS source to control the EG’s Level parameters.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

St (Start) [–99...+99]

This controls the depth and direction of the AMS modulation for the Start level.

At (Attack) [–99...+99]

This controls the depth and direction of the AMS modulation for the Attack level.

Br (Break) [–99...+99]

This controls the depth and direction of the AMS modulation for the Break level.

Time

Amp EG Time Modulation

AMS=Velocity, Intensity = a positive (+) value

Note-on Note-off Note-on Note-off Note-on Note-off

“Attack”= +, “Decay”= +, “Slope”= +, “Release”= +

Softly played note. Original Shape.

“Attack”= +, “Decay”= +, “Slope”= +, “Release”= +

Strongly played note. Times are longer. Reaches Sustain more slowly.

AMS1 [List of AMS Sources]

Selects the ﬁrst AMS source to control the EG’s Time parameters. Velocity and Keyboard Track can both be useful here, for instance.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

“Attack”=–, “Decay”=–, “Slope”=–, “Release”=–

Strongly played note. Times are shorter. Reaches Sustain more quickly.

At (Attack) [–99...+99]

This controls the depth and direction of the AMS modulation for the Attack time.

For example, if you set the AMS source to Velocity and set At (Attack) to +99, the Attack time will get much longer at

higher velocities. If you instead set At (Attack) to –99, the Attack time will get much shorter at higher velocities.

When the AMS source is at its maximum value–for instance, when Velocity is at 127–a setting of +8 will make the segment time almost twice as long, and a setting of –8 will cut the segment time almost in half.

Dc (Decay) [–99...+99]

This controls the depth and direction of the AMS modulation for the Decay time.

Sl (Slope) [–99...+99]

This controls the depth and direction of the AMS modulation for the Slope time.

Rl (Release) [–99...+99]

This controls the depth and direction of the AMS modulation for the Release time.

AMS2 and AMS3

PROG P4: Amp/EQ 4–5: Amp2/Driver2

4–8: EQ

4–8 Menu

4–8a

This three-band EQ, with sweepable mid, is shared by both of the Program’s oscillators 1, 2.

In Combinations and Sequencers, each timbre and track has its own individual EQ. You can import the Program’s EQ settings into Tracks and Timbres by using the Combination and Sequencer “Auto Load Program EQ” options.

4–8a: 3 Band Parametric EQ

▼4–3: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

•2: Copy Oscillator ☞p. 74

•3: Swap Oscillator ☞p. 74

•4: Sync Both EGs ☞p. 75

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

4–5: Amp2/Driver2

This page controls Oscillator 2’s basic level, pan, and driver settings. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out.

The parameters are identical to those for Oscillator 1, as described under “4–1: Amp1/Driver1,” on page 41.

4–6: Amp2 Modulation

This page controls Oscillator 2’s amp modulation. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out.

The parameters are identical to those for Oscillator 1, as described under “4–2: Amp1 Modulation,” on page 42.

4–7: Amp2 EG

This page controls Oscillator 2’s amp EG. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out.

The parameters are identical to those for Oscillator 1, as described under “4–3: Amp1 EG,” on page 45.

Bypass [On, Off]

When Bypass is checked, all of the EQ will be disabled, including the Input Trim.

Bypass is useful for comparing the results of the EQ with the original signal.

Input Trim [00...99]

This controls the volume level going into the EQ. The setting corresponds to the volume; 50 corresponds to –12 dB, and 25 corresponds to –24 dB.

High settings of the Low, Mid, and High Gain controls can cause substantial increases in the overall level. You can compensate for this by turning down the input trim.

Low Gain [–18.0...+00.0...+18.0dB]

This controls the gain of the 80 Hz Low Shelf EQ, in increments of 0.5 dB.

Mid Frequency [100Hz...10.00kHz]

This sets the center frequency for the Mid sweep EQ.

Mid Gain [–18.0...+00.0...+18.0dB]

This controls the gain of the Mid Sweep EQ, in increments of

0.5 dB.

High Gain [–18.0...+00.0...+18.0dB]

This controls the gain of the 10 kHz High Shelf EQ, in increments of 0.5 dB.

▼4–8: 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.

Program mode

PROG P5: LFO

Each of the Oscillators 1, 2 has two LFOs, which you can use to modulate the ﬁlter, amp, pitch, and many other parameters.

The two Oscillators also share a single Common LFO, similar to the global LFO on some vintage analog synths.

These pages let you set up all of the parameters for all ﬁve LFOs.

5–1: OSC1 LFO1

5–1 Menu

5–1a

5–1b

5–1c

This page has all of the controls for the ﬁrst LFO of Oscillator 1. For instance, you can:

• Select the LFO’s basic waveform, and modify it with the Shape parameter.

• Control the LFO’s frequency, and assign AMS controllers to modulate the frequency.

•Use the Key Sync parameter to choose whether the LFO runs separately for each voice, or is synchronized across all of the voices

•Use the Fade and Delay parameters to control how long the LFO waits to start after note-on, and whether it starts abruptly or fades in slowly.

• Set the LFO to sync to MIDI tempo.

5–1a: OSC 1 LFO 1

Waveform [Triangle...Random6 (Continuous)]

This selects the basic LFO waveform, as shown in the graphic below.

Most of the waveforms should be self-explanatory, but a few will beneﬁt from more details:

Guitar is intended for guitar vibrato, and its shape is speciﬁcally tuned for this purpose. The waveform is positive-only, so that when used for pitch, it will only bend up, and not down.

Random1 (S/H) generates traditional sample and hold waveforms, in which the level changes randomly at ﬁxed intervals of time.

Random2 (S/H) randomizes both the levels and the timing.

Random3 (S/H) generates a pulse wave with random

timing. It’s the opposite of traditional sample and hold; the timing varies, but the levels don’t.

Random4–6 (Continuous) are smoothed versions of Random 1–3, with ramps instead of steps. You can use them to create more gentle random variations.

Phase [–180...+180, Random]

This controls the phase of the waveform at the start of the note, in steps of 5 degrees.

If Key Sync is Off, the Start Phase will apply only to the ﬁrst note of the phrase.

Freq (Frequency) [00...99]

This controls the speed of the LFO, before any modulation. Higher values mean faster speeds, as shown in the table below.

By using AMS modulation, you can also get speeds much faster and much slower than are available through this basic setting.

Frequency Value Frequency in Hz

00 0.014 Hz

10 0.112 Hz

20 0.422 Hz

30 0.979 Hz

40 1.79 Hz

50 2.84 Hz

60 4.14 Hz

70 5.69 Hz

80 7.49 Hz

90 9.53 Hz

99 26.25 Hz

99 + Fine 99 32 Hz

Stop [Off, On]

On (checked): Instead of the LFO operating normally, it will ignore the Freq setting. The LFO will maintain the initial value (determined by the combination of Waveform, Phase, Shape, and Offset) until the note-off.

Since the value will change only at note-on, using a Random waveform will produce a ﬁxed value that changes randomly at each note-on (or at the ﬁrst note-on).

Off (unchecked): The LFO will operate normally.

Shape [–99...+99]

Shape adds curvature to the basic waveform. As you can see in the graphic below, this can make the waveforms either more rounded or more extreme. It can also be useful to emphasize certain value ranges, and de-emphasize others.

For example, let’s say that you are using a triangle LFO to modulate ﬁlter cutoff. If Shape emphasizes the high value range, the ﬁlter will spend more time at the higher

LFO waveform

Triangle Step Triangle-4

Saw

Square

Sine

Guitar

Exponential Triangle

Exponential Saw Down

Exponential Saw Up

Step Triangle-6

Step Saw-4

Step Saw-6

Random1 (S/H)

Random2 (S/H)

Random3 (S/H)

Random4 (Continuous)

Random5 (Continuous)

Random6 (Continuous)

PROG P5: LFO 5–1: OSC1 LFO1

frequencies. If it emphasizes the low range, the ﬁlter will spend more time at the lower frequencies.

LFO Shape

+99

–99

Shape = 0 (original waveform)

Shape = +99

Shape = –99

Note: Shape does not affect the Square and Random3 waveforms, since their values are always either +99 or –99. When these are selected, Shape is grayed out.

AMS (Shape) [List of AMS Sources]

This selects a AMS source for controlling the LFO’s Shape. Modulating the shape can dramatically alter the effect of the LFO–try it out!

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

AMS Int (Intensity) [–99...+99]

This controls the depth and direction of the AMS (Shape) modulation.

Since Offset affects the output values of the LFO, it’s important to note that it affects the signal after the Shape function, as shown below:

How the LFO signal is affected by Shape and Offset

OffsetShapeWaveform

Fade [00...99]

The LFO can fade in gradually, instead of simply starting immediately at full strength. This parameter speciﬁes the time from when the LFO begins to play until it reaches its maximum amplitude.

If the Delay parameter is being used, then the fade will begin after the delay is complete.

When Key Sync is Off, the fade will apply only to the ﬁrst note in the phrase.

LFO Fade and Delay

FadeDelay

Key Sync. [Off, On]

On (checked): When Key Sync is On, the LFO starts each time you press a key, and an independent LFO runs for each note. This is the normal setting.

Off (unchecked): When Key Sync is Off, the LFO starts from the phase determined by the ﬁrst note in the phrase, so that the LFOs for all notes being held are synchronized together. The Fade and Delay settings will only apply to the ﬁrst note’s LFO.

Note that even if Key Sync is Off, each note’s LFO speed may still be different if you modulate the Frequency by note number, velocity, key scaling, or other note-speciﬁc AMS sources.

Offset [–99...+99]

By default, almost all of the LFO waveforms are centered around 0, and then swing all the way from –99 to +99. This parameter lets you shift the LFO up and down, so that–for instance–it’s centered on 50, and then swings from –49 to +149.

For example, let’s say that you’re using an LFO for vibrato. If the Offset is 0, the vibrato will be centered on the note’s original pitch, bending it both up and down.

If the Offset is +99, on the other hand, the vibrato will only raise the pitch above the original note.

Offset settings and pitch change produced by vibrato

Offset = –99 Offset = 0 Offset = +99

Pitch

The one exception to this is the Guitar waveform, which is designed to emulate bending a string on a guitar–so that the pitch only goes up, and not down. Because of this, the waveform is centered on 50, and not on 0. Of course, you can always use a negative Offset to shift it back down below 0 again!

Note-on Note-off

Delay [00...99]

This sets the time from note-on until the LFO starts.

When Key Sync is Off, the delay applies only to the ﬁrst note of the phrase.

5–1b: Frequency Modulation

You can use two alternate modulation sources (AMS) to adjust the speed of the LFO.

AMS1 (Frequency) [List of AMS Sources]

This selects the ﬁrst AMS source for the LFO1’s frequency. For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Note that you can use LFO2 to modulate LFO1’s frequency.

Intensity [–99...+99]

This sets the initial amount of AMS1 (Frequency). The Int Mod AMS then adds to this initial amount.

When AMS is at its maximum value (for example by moving the joystick fully away from yourself), the AMS affects the frequency as shown below:

Intensity Change to LFO Frequency

+99 64x

+82 32x

+66 16x

+49 8x

+33 4x

+16 2x

–16 1/2x

–33 1/4x

–49 1/8x

–66 1/16x

–82 1/32x

–99 1/64x

Faster

Slower

Program mode

Int Mod AMS (Intensity Mod AMS)

[List of AMS Sources]

This selects a secondary AMS source to scale the intensity of AMS1.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Intensity [–99...+99]

This controls the depth and direction of the Int Mod AMS. Even if the main AMS1 Intensity is set to 0, Int Mod AMS can still control the ﬁnal amount of AMS A over the full +/– 99 range.

For example, if AMS1 is set to the Pitch EG, and Int Mod AMS is set to JS+Y:CC#01, positive settings mean that YS+Y will increase the intensity of the Pitch EG modulation of LFO Frequency.

AMS2 (Freq. AMS2) [List of AMS Sources]

This selects the second AMS source for the LFO1’s frequency. For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Intensity [–99...+99]

This controls the amount of modulation from AMS2 (Freq. AMS2).

5–1c: Frequency MIDI/Tempo Sync.

5–2: OSC1 LFO2

This is Oscillator 1’s second LFO. Its parameters are exactly the same as those for the ﬁrst LFO, as described under “5–1: OSC1 LFO1” on page 48–except that LFO1 cannot modulate LFO2.

5–5: OSC2 LFO1

This page controls Oscillator 2’s ﬁrst LFO. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out.

The parameters are identical to those for Oscillator 1, as described under “5–1: OSC1 LFO1” on page 48.

5–6: OSC2 LFO2

This page controls Oscillator 2’s second LFO. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out.

Its parameters are exactly the same as those for the ﬁrst LFO, as described under “5–1: OSC1 LFO1” on page 48–except that LFO1 cannot modulate LFO2.

MIDI/Tempo Sync. [Off, On]

When MIDI/Tempo Sync is On, the LFO will synchronize to the system tempo, as set by either the Tempo knob or MIDI Clock. The LFO speed will be controlled by the Base Note and Times parameters, below. All settings for Frequency and Frequency Modulation will be ignored.

When MIDI/Tempo Sync is Off, the Frequency and Frequency Modulation settings will determine the speed of the LFO, and the tempo settings will have no effect.

Base Note (Sync. Base Note) [ ...  ]

This sets the basic speed of the LFO, relative to the system tempo. The values range from a 32nd note to a whole note, including triplets.

Times (Sync. Times) [01...32]

This multiplies the length of the Base Note. For instance, if the Base Note is set to a sixteenth note, and Times is set to 03, the LFO will cycle over a dotted eighth note.

▼5–1: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

•2: Swap LFO 1&2 ☞p. 75

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

5–8: Common LFO

5–8 Menu

5–8a

5–8b

5–8c

This is a single, Common LFO, global for all voices in the Program–like the modulation LFOs in some vintage analog synths.

Differences from LFO1/2

The Common LFO starts running as soon as you select the Program, and only resets when you tell it to do so explicitly via the Reset Source control, below. This is different from LFO1/2’s Key Sync parameter, which resets whenever all notes are released.

The Common LFO’s persistence can be handy if you want to create a constant rhythm with an LFO, and then play “underneath” that rhythm without re-triggering it. For instance, you can use a MIDI controller in your sequencer to reset the Common LFO every few bars, regardless of what notes are being played.

The Common LFO has most of the same controls as LFO1/2. However, it does not include the Delay, Fade, and Key Sync settings, since these only make sense for per-voice LFOs.

5–8a: Common LFO

Waveform [Triangle...Random6 (Continuous)]

This selects the basic LFO waveform. For a complete list of the waveforms and more details, please see the entry under LFO1 “Waveform,” on page 48.

Phase [–180...+180, Random]

The Reset AMS, described above, lets you reset the Common LFO. This is the phase from which the LFO will start when it is reset.

Freq (Frequency) [00...99]

This controls the speed of the LFO, before any modulation. Higher values mean faster speeds. For a complete description, please see the entry under LFO1 “Freq (Frequency),” on page 48.

Stop [Off, On]

On (checked): Instead of the LFO operating normally, it will ignore the Freq setting. Instead, the LFO simply generates a single value when the Program is selected, and then holds that value until you select another Program, or until you reset the LFO via AMS.

Note: This is different from LFO1/2, in which the value is reset with every note-on.

You can use this in conjunction with the Random waveforms to create static, random modulation, with the value changing only when you ﬁrst select the Program.

Off (unchecked): When Stop is Off, the LFO will function normally.

PROG P5: LFO 5–8: Common LFO

Shape [–99...+99]

Shape adds curvature to the basic waveform. For more details, please see the entry under LFO1 “Shape,” on page 48.

Note: Shape does not affect the Square and Random3 waveforms, since their values are always either +99 or –99.

AMS (Shape) [List of AMS Sources]

This selects a AMS source for controlling the LFO’s Shape. Modulating the shape can dramatically alter the effect of the LFO–try it out!

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

AMS Int (AMS Intensity) [–99...+99]

This controls the depth and direction of the AMS (Shape) modulation.

Reset AMS [List of AMS Sources]

This selects an AMS source to reset the LFO to the Start Phase. The LFO resets when the AMS value passes the halfway mark: +50 for most AMS sources, or 64 for MIDI controllers.

To create an effect similar to the per-voice LFO’s Key Sync. setting, set this to Gate 2+ Damper.

Offset [–99...+99]

For a complete description, please see the entry under LFO1 “Offset,” on page 49.

5–8b: Frequency Modulation

These parameters are identical to the Frequency Modulation settings for LFO1, as described under “5–1b: Frequency Modulation,” on page 49.

5–8c: Frequency MIDI/Tempo Sync

These parameters are identical to the Frequency MIDI/ Te mpo Sync for LFO1, as described under “5–1c: Frequency MIDI/Tempo Sync.,” on page 50.

▼5–8: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

• 2: Swap LFO 1&2 ☞p. 75

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

Program mode

PROG P6: AMS/C.KTrk (AMS Mixer/Common Keyboard Track)

Each Oscillator has two AMS Mixers, which are simple but powerful tools for combining and modifying AMS signals.

The two Oscillators also share two Common keyboard tracking generators, in addition to the dedicated keyboard tracking for the Filter and Amp.

These pages let you control all of these modulation sources.

Note that when the Oscillator Mode is set to Single, only Oscillator 1’s AMS Mixers are active; the pages for Oscillator 2 will be grayed out.

6–1: OSC1 AMS Mix1

6–1 Menu

6–1a

6–1b

The AMS Mixers combine two AMS sources into one, or process an AMS source to make it into something new.

For instance, they can add two AMS sources together, or use one AMS source to scale the amount of another. You can also use them to change the shapes of LFOs and EGs in various ways, modify the response of realtime controllers, and more.

You can select the output of the AMS mixers as an AMS source in the same way as an LFO or EQ.

This also means that the original, unmodiﬁed inputs to the AMS Mixers are still available as well. For instance, if you use LFO1 as an input to an AMS Mixer, you can use the processed version of the LFO to control one AMS destination, and the original version to control another.

Finally, you can cascade the two AMS Mixers together, by using AMS Mixer 1 as an input to AMS Mixer 2.

LFO. For more information, please see “Smoothing” on page 54.

Shape adds curvature to the AMS input. For more information, please see “Shape” on page 54.

Quantize turns smooth transitions into discrete steps. For more information, please see “Quantize” on page 55.

Gate Control uses a third AMS source to switch between two AMS inputs (or a ﬁxed value). For more information, please see “Gate Control” on page 55.

A+B

AMS Mixer, Type = A+B

Amt A

AMS A

Output

AMS B

Amt B

A+B merges two AMS sources into one. This can be handy when you need to add one more modulation source to a parameter, but you’ve already used up all of the available AMS slots.

For instance, let’s say that you’re using an LFO to modulate Filter Resonance, and then you decide that it would be interesting to scale that parameter with an EG as well. Resonance has only a single AMS input, but you can easily merge the LFO and the EG together using the A+B AMS Mixer:

1. Assign the LFO to AMS A.

2. Assign the EG to AMS B.

3. Assign the AMS Mixer as the Filter Resonance AMS source.

AMS Mixer A+B example

AMS A: LFO

6–1a: AMS Mixer 1

Mixer Type [A+B, Amt AxB, Offset, Smoothing,

Shape, Quantize, Gate Control]

This controls the type of processing performed by AMS Mixer 1. Each of the Mixer Types is discussed in detail over the next several pages.

A+B adds two AMS sources together. For more information, please see “A+B” on page 52.

Amt Ax B scales the amount of one AMS source with the other. For more information, please see “Amt AxB” on page 53.

Offset adds or subtracts a constant value to or from an AMS source. For more information, please see “Offset” on page 53.

Smoothing speciﬁes the smoothness of movement between two values. You can use this to smooth sudden changes such as an abrupt movement of the joystick or sharp angle of the

AMS B: EG

A+B Output

AMS A [List of AMS Sources]

This selects the ﬁrst AMS input.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

AMS A Amount [–99...+99]

This controls the depth and direction of the AMS A input.

AMS B [List of AMS Sources]

This selects the second AMS input.

PROG P6: AMS/C.KTrk (AMS Mixer/Common Keyboard Track) 6–1: OSC1 AMS Mix1

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

AMS B Amount [–99...+99]

This controls the depth and direction of the AMS B input.

Amt AxB

AMS Mixer, Type =Amt A x B

AMS A

AMS B

Amt B

This Mixer Type uses AMS B to scale the amount of AMS A. For instance, you can control the amount of LFO1 with the Filter EG, or control the amount of the Pitch EG with the joystick.

AMS Mixer Amt AxB example

AMS A: LFO

AMS B: EG

Amt A

Output

2. Set AMS B to SW1 or 2, and AMS B Amount to +99.

Now, SW1 or 2 will turn AMS A on and off.

Offset

AMS Mixer, Type = Offset

Amt A

AMS A

This simple processor adds a constant offset to the input, and also allows you to double the gain of an AMS source.

For instance, you can use this to convert a bipolar LFO (both negative and positive) to a unipolar LFO (positive only). To do this:

1. Select the LFO as the AMS A input.

2. Set the AMS A Amount to 50.

This cuts the overall level of the LFO in half, so that instead of swinging between –99 and +99, it only swings between –50 and +50.

3. Set the AMS A Offset to 50.

This adds 50 to the LFO level, so that it now swings between 0 and +99, as shown below.

AMS Mixer Offset examples

AMS A: LFO

+99

Offset A

Output

Amt A*B Output

AMS A [List of AMS Sources]

This selects the ﬁrst AMS source, which can then be scaled by AMS B.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

AMS A Amount [–99...+99]

This controls the initial amount of AMS A, before modulation from AMS B. Input from AMS B then adds to this initial amount.

Even if Amount A is set to 0, AMS B can still control the ﬁnal amount of AMS A over the full +/–99 range.

AMS B [List of AMS Sources]

This selects the second AMS source, to scale the amount of AMS A.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

AMS B Amount [–99...+99]

This controls the depth and direction of the AMS B modulation of AMS A.

For example, if AMS A is set to LFO1 and AMS B is set to the Filter EG, positive settings mean that the EG will increase the amount of LFO1.

Tip: use SW 1/2 to turn an AMS source on and off

You can use Amt AxB to “gate” an AMS source:

1. Set AMS A to the desired source, and set the AMS A Amount to 0.

–99

Offset = +50, Amount = 50

+99

–99

Offset = –99, Amount = +199

+99

–99

Clipped

at Output

AMS A [List of AMS Sources]

This selects the AMS source to be offset.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

AMS A Amount [–199...+199]

This controls the basic level of AMS A.

+199 doubles the original signal level, while –199 doubles the level and inverts the phase. The values are clipped only at the output; internally, they can be greater than the normal range of –99 to +99.

Program mode

AMS A Offset [–199...+199]

This controls the amount of offset for AMS A.

Setting Offset to +199 shifts an AMS input of –99 all the way to +99. In conjunction with high AMS A Amount values, this can be useful for creating clipped shapes, such as shown in the last of the “AMS Mixer Offset examples,” above.

Smoothing

This Mixer Type smooths out the AMS input, creating more gentle transitions between values. You have separate control of the amount of smoothing during the attack (when the signal is increasing) and decay (when it’s decreasing).

The higher the Attack and Decay settings, the more the input will be smoothed.

Low settings provide subtle controller smoothing, creating more gradual aftertouch, for instance. Higher settings create auto-fade effects, transforming a quick gesture into a longer fade-in and/or fade-out event.

Smoothing can also be used to alter the shape of programmable mod sources, such as LFOs and EGs. For instance, you can turn a “blip” into a simple envelope shape, as shown below.

AMS Mixer Smoothing examples

Original AMS A: Smoothing with Long Attack

and Short Release:

Shape

This Mixer Type adds curvature to the AMS input. This applies deformation to the AMS input. You can use this to customize a controller curve, such as the exponential curve of the joystick or the logarithmic curve of velocity control. It can also alter the shape of programmable modulation sources, such as EGs and LFOs.

Note: Shape only affects AMS signals which already have some amount of slope, such as EGs, triangle and sine LFOs, and so on. It does not affect signals which only contain abrupt transitions, such as square waves.

AMS A [List of AMS Sources]

This selects the AMS input source to be shaped.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Shape [–99...+99]

This controls the amount of curvature, and whether the curves are concave or convex. As you can see in the graphic examples, the shape will tend to emphasize certain value ranges, and de-emphasize others.

For example, let’s say that you are using a triangle LFO, through Shape, to modulate ﬁlter cutoff. If Shape emphasizes the high value range, the ﬁlter will spend more time at the higher frequencies. If it emphasizes the low range, the ﬁlter will spend more time at the lower frequencies.

Smoothing with Short Attack & Long Release:

AMS A [List of AMS Sources]

This selects the AMS source to be smoothed.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

AMS A Attack [00...+99]

This controls the attack time of the smoother, or how long it takes the smoother to reach a new, higher value.

Higher Attack settings mean longer times.

Depending on how quickly the AMS input value is changing, high Attack settings may mean that the value is never quite reached, as shown in “AMS Mixer Shape examples,” above.

AMS A Decay [00...+99]

This controls the decay time of the smoother, or how long it takes the smoother to reach a new, lower value.

Higher Decay settings mean longer times.

Mode [Symmetric, Asymmetric]

This selects whether the Shape parameter will produce one or two curves. The graphic “AMS Mixer Shape examples” may help to visualize how this works.

Asymmetric will produce a single curve, extending from –99 to +99.

Symmetric will produce two matching curves extending outwards from 0 to –99 and +99, respectively.

Bipolar and Unipolar AMS sources

To understand Shape, it helps to understand the difference between bipolar and unipolar AMS sources.

Bipolar sources can swing all the way from –99 to +99, with 0 in the middle. Most LFOs are bipolar, for instance; so is Pitch Bend.

Generally, bipolar AMS sources will work better with the Asymmetric mode, but Symmetric may also produce interesting results.

Unipolar sources only go from 0 to 99, with 50 in the middle. MIDI controllers, such as JS+Y (CC#1), are all unipolar. In practice, EGs are usually programmed to be unipolar, even though the Filter and Pitch EGs do allow both positive and negative levels.

With unipolar sources, it’s almost always better to use the Symmetric mode. The Asymmetric mode can cause offsets and other strange results.

PROG P6: AMS/C.KTrk (AMS Mixer/Common Keyboard Track) 6–1: OSC1 AMS Mix1

AMS Mixer Shape examples

Bipolar Triangle Wave

Asymmetric

+99

–99

Symmetric

+99

–99

Bipolar Sawtooth Wave

+99

–99

Unipolar Triangle Wave

Asymmetric (not recommended)

+99

–99

SymmetricAsymmetric

Symmetric

AMS A [List of AMS Sources]

This selects the AMS input source to be quantized.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 374.

Number Of Steps [2...32]

This controls the severity of the effect. The lower the number of steps, the more “steppy” the output will be.

For instance, when this is set to 2, there will be “steps” at 0, 50, and 99. With a bipolar AMS input, there will also be steps at –50 and –99.

As another example, when it is set to 5, there will be steps at 0, 20, 40, 60, 80, and 99 (as well as –20, –40, –60, –80, and –99 for bipolar inputs).

Tip: Quantized Joystick Pitch Bend

You can use the joystick to create quantized pitch bends that simulate sliding across the frets of a guitar, or jump-bend sounds caused by differences in the length of the tube of a trumpet. To do so:

1. Select the AMS Mixer as the Oscillator Pitch AMS input.

2. Set the Pitch AMS Intensity to any exact half-step value, such as +5.00, +7.00, etc.

3. Set the JS(+X), JS(–X) amount to 0.00.

4. In the AMS Mixer, select the JS X as AMS A.

5. Set the Number Of Steps to the same number you used in Step 2.

Now, playing the joystick will create quantized pitch bends. JSX will still produce smooth pitch bends, as usual, so you can use both techniques together.

Shape = 0 (original waveform)

Shape = +99

Shape = –99

Quantize

This Mixer Type changes the input from a continuous signal into a series of discrete steps. Instead of moving smoothly between values, it will snap immediately from one value to another.

You can use this to change the shape of LFOs or EGs, or to force a controller to land on a few speciﬁc values.

AMS Mixer Quantize examples

Unipolar (e.g., JS+Y) Bipolar (e.g., LFO)

+99

Original

AMS A

Quantize Steps = 8

Quantize

Steps = 16

–99

+99

–99

+99

–99

Gate Control

AMS Mixer, Type = Gate Control

Control

Fixed Value

AMS

Fixed Value

AMS

This Mixer Type lets you set up two different AMS sources (or ﬁxed AMS amounts), and then switch between the two using a third AMS source.

It’s similar to an audio gate with a side-chain, but with even more ﬂexibility–since you get to choose what happens when the gate is closed (below the threshold), as well as when it’s open (above the threshold).

You can also choose whether the gate will be able to open and close continuously in response to the control source, or whether it only opens or closes at the beginning of the note, and then stays that way over the note’s entire duration.

You can use the Gate to:

• Use a foot-switch (or other controller) to apply pitchbend or other effects to some notes, but not to others

• The parameter will be applied when the controller reaches a specific threshold. For example, the velocity value could control the filter resonance only if the velocity value exceeds 90.

• Use the joystick, switches, or controllers to change between two separate LFOs (or other AMS sources).

Below

At & Above

Program mode

Gate Control:

Source [List of AMS Sources]

This selects the AMS source to control the gate.

Control At Note-On Only [Off, On]

When this is enabled (checked), the value of the Control Source at note-on will select the output (Below Threshold

or At & Above Threshold). The selected output will then remain active throughout the duration of the note, regardless of any subsequent change in the Control Source’s value.

Note that the output value itself can continue to change; only the selection of Below or At & Above is ﬁxed.

Threshold [–99...+99]

This sets the value of the Control Source at which the gate opens or closes.

Gate Output:

If the value of the Control Source is less than the Threshold, the Gate outputs the preset value or AMS source selected under Below Threshold.

If the value of the Control Source is greater than or equal to the Threshold, the Gate outputs the preset value or AMS source selected in the At & Above Threshold parameter.

Below Threshold [Fixed Value, AMS A]

This selects whether Below Threshold uses a preset value, or the selected AMS source.

Fixed Value [–99...+99]

This lets you set a speciﬁc value to be used when the Control Source is less than the Threshold. This only applies when Below Threshold is set to Fixed Value.

AMS A [List of AMS Sources]

This lets you set an AMS source to pass through the Gate when the Control Source is less than the Threshold. This only applies when Below Threshold is set to AMS A.

At & Above Thresh (At & Above Threshold)

[Fixed Value, AMS B]

This selects whether At & Above Threshold uses a preset value, or the selected AMS source.

Fixed Value [–99...+99]

This lets you set a speciﬁc value to be used when the Control Source is greater than or equal to the Threshold. This only applies when At & Above Threshold is set to Fixed Value.

AMS B [List of AMS Sources]

This lets you set an AMS source to pass through the Gate when the Control Source is greater than or equal to the Threshold. This only applies when At & Above Threshold is set to AMS B.

6. On the OSC Pitch page, assign the AMS Mixer to control the pitch.

7. Turn off the foot switch, and while holding down a chord, move the joystick in the X-direction. The pitch will not change.

(If the pitch changes, go to the OSC Pitch page and set Pitch “JS (+X) and “JS (–X)” to +00.)

8. Turn on the foot switch, and add a new note to the previous chord.

9. Move the joystick in the X-direction; pitch bend will be applied only to the newly-played note.

The new note will bend, but the original chord (played before you pressed on the foot-switch) will not.

Selective pitch-bend, using only the joystick

You can also use a single AMS source as both the Control Source and a value source:

1. Set the Control Source to JS X.

2. Set Control At Note-On Only to On (checked).

3. Set the Threshold to 00.

4. Set Below Threshold to AMS A: JS X.

5. Set At & Above Threshold to a Fixed Value of 00.

6. On the OSC Pitch page, assign the AMS Mixer to control the pitch.

7. With the joystick in the center, play a chord, and hold it through step 9.

8. Bend the joystick to the left, and then play a new note above the chord.

(If the pitch changes, go to the OSC Pitch page and set Pitch “JS (+X) and “JS (–X)” to +00.)

9. Use the joystick to bend the pitch of the new note.

The new note will bend, but the original chord (played before you bent the joystick down) will not. This method is particularly good for bending the top note of a chord up to pitch.

Generating a static value

Sometimes, it can be handy to have a preset value as an AMS source. The Gate is one way to create this. To do so:

1. Set both Below Threshold and At & Above Threshold to Fixed Value, and enter the same value into each.

Now, the AMS mixer will always generate this static value.

▼6–1: 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.

Tips on using the Gate

Selective pitch-bend, using a switch

You can use Control At Note-On Only to apply an effect to some notes, but not others, based on the state of an AMS source at the start of the note. For instance:

1. Set the Control Source to Foot SW: CC#82

2. Set Control At Note-On Only to On (checked).

3. Set the Threshold to 50.

4. Set Below Threshold to a Fixed Value of +00.

5. Set At & Above Threshold to AMS B: JS X.

PROG P6: AMS/C.KTrk (AMS Mixer/Common Keyboard Track) 6–2: OSC1 AMS Mix2

6–2: OSC1 AMS Mix2

This is the second AMS Mixer for Oscillator 1. The parameters are exactly the same as those for AMS Mixer 1, as described under “6–1a: AMS Mixer 1” on page 52.

6–4: OSC 2 AMS Mix1 , 6–5: OSC 2 AMS Mix2

This page controls the two AMS Mixers for Oscillator 2. These are available only when the Oscillator Mode is set to Double; if not, the page will be grayed out.

The parameters are identical to those for Oscillator 1, as described under “6–1: OSC1 AMS Mix1,” on page 52.

6–7: Common KeyTrk 1 (Common Keyboard Track 1)

6–7 Menu

6–7a

6–7b

The two Oscillators share two Common keyboard tracking generators, in addition to each Oscillator’s dedicated keyboard tracking for the Filter and Amp. You can use these Common keytracks as AMS sources for modulating most AMS destinations.

The Common Keyboard Track parameters are shared by the entire Program, but the actual AMS values are calculated individually for each voice.

What does Keyboard Tracking do?

At its most basic, keyboard tracking lets you vary the modulation amount as you play up and down the keyboard. This can be useful for making the timbre consistent across the entire range, or adjusting parameters according to pitch.

The M50 keyboard tracking can be fairly complex, if desired. You can create different rates of change over up to four different parts of the keyboard. For instance, you can:

•Make the modulation increase very quickly over the middle of the keyboard, and then increase more slowly– or not at all–in the higher octaves.

•Make the modulation increase as you play lower on the keyboard.

• Create abrupt changes at certain keys, for split-like effects.

Common Keyboard Tracking

At the Center Key, the AMS value is always 0.

AMS

+99

Ramp:

+99

–99

Ramp = –50

Ramp = +99

Ramp:

+99 +50

–50 –99

–99

AMS

Low Break Center High Break

How it works: Keys and Ramps

The keyboard tracking works by creating four ramps, or slopes, between ﬁve keys on the keyboard. The bottom and top keys are ﬁxed at the bottom and top of the MIDI range, respectively. You can set the other three keys–named Low Break, Center, and High Break–to be anywhere in between.

The four Ramp values control the rate of change between each pair of keys. For instance, if the Low-Center Ramp is

Program mode

set to 0, the value will stay the same between the Low Break key and the Center key.

The Key value will be the break point, and Ramp speciﬁes the slope of the lower region and higher region on the keyboard.

If Key is Center, keyboard tracking will have no effect.

6–7a: Keyboard Track 1

Key

Low Break [C–1...G9]

This speciﬁes the note that will be the break point connecting the two sloped lines in the low region.

Center [C–1...G9]

This speciﬁes the note that will be the break point in the center of keyboard tracking. At this key, the keyboard tracking has no effect on the AMS destinations.

High Break [C–1...G9]

This speciﬁes the note that will be the break point connecting the two sloped lines in the high region.

Entering notes from the keyboard

You can enter note numbers directly by playing them on the keyboard. To do so:

1. Select one of the Key parameters.

2. Hold down the ENTER switch.

3. While holding ENTER, play a note on the keyboard.

Ramp

Positive ramp values mean that the keyboard tracking output increases as you play farther from the Center Key; negative ramp values mean that it decreases.

Because of this, the meanings of positive and negative Ramp settings will change depending on whether the ramp is to the left or right of the Center Key.

Bottom-Low and Low-Center: negative ramps make the keyboard tracking’s output go down as you play lower on the keyboard, and positive ramps make the output go higher.

Center-High and High-Top: negative ramps make the keyboard tracking’s output go down as you play higher on the keyboard, and positive ramps make the output go up.

Bottom-Low [–Inf, –99...+99, +Inf ]

This sets the slope between the bottom of the MIDI note range and the Low Break key. For normal key track, use negative values.

Low-Center [–Inf, –99...+99, +Inf]

This sets the slope between the Low Break and Center keys. For normal key track, use negative values.

The table below shows how the Ramps affect the AMS output:

Ramp value AMS change

–Inf goes to –99 in 1 half-step

–99 –20 per octave

–50 –10 per octave

0 no change

+50 +10 per octave

+99 +20 per octave

+Inf goes to +99 in 1 half-step

+Inf and –Inf ramps

+Inf and –Inf Ramps

Ramp = +Inf

Ramp = –50

Ramp = –Inf

Key Low Center Key High

Note: If you set the Center-High ramp to +Inf or –Inf, the High-Top parameter will be grayed out. Similarly, if you set

the Low-Center ramp to +Inf or –Inf, the Bottom-Low ramp will be grayed out.

6–7b: Keyboard Track 2

This is the second Common keyboard tracking generator.

Its parameters are exactly the same as those for Keyboard Track 1, as described under “6–7a: Keyboard Track 1” on page 58.

▼6–7: 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.

Center-High [–Inf, –99...+99, +Inf]

This sets the slope between the Center and High Break keys. For normal key track, use positive values.

High-Top [–Inf, –99...+99, +Inf]

This sets the slope between the High Break key and the top of the MIDI note range. For normal key track, use positive values.

6–8: Common KeyTrk 2

(Common Keyboard Track 2)

Here you can make settings for the second common keyboard track.

For more information, please see “6–7: Common KeyTrk 1 (Common Keyboard Track 1)” on page 57.

PROG P7: ARP/DT (Arpeggiator/Drum Track) 7–1: ARP Setup

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

Here you can make settings for the arpeggiator used by the program.

You can make settings so that when you select a program, these arpeggiator settings will automatically switch to the arpeggiator settings that are memorized in the selected program. (Global P0: 0–1c Load ARP when changing “Program” on page 217)

The arpeggiator can be switched on/off by the ARP ON/ OFF switch. When on, the key LED will light.

The settings of the ARP ON/OFF switch, TEMPO, Control Surface ARP GATE, VELOCITY, LENGTH and OCTAVE knobs can be saved for each program.

These settings will be valid when “Load ARP when changing” Program (Global 0–1c) is checked.

You can control the arpeggiator from an external sequencer, or record note data generated by the arpeggiator onto an external sequencer. (See page 250)

Note: “Pattern,” “Resolution,” “Octave,” “Sort,” “Latch,”

“Key Sync.,” “Keyboard,” and “ (Tempo)” can also be set

from the P0: Play, Arpeggio page.

7–1: ARP Setup

7–1

7–1a

7–1b: Arpggiator Setup

Pattern* [P0...P4, U0000(INT)...U0899(INT),

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

Selects the arpeggio pattern.

Preset/User No Contents

P0...P4

U0000(INT)...U0899(INT )

U0900(USER)...U1027(USER)

Note: U0000(INT)–U1027(USER) are rewritable. Use Global P6: Arpeggio Pattern to create arpeggio patterns.

Note: Arpeggio patterns U0900(USER)–U1027(USER) can be selected using the numeric keys 0–9 and the ENTER switch.

Example: Preset pattern

The way in which the pattern is played will depend on settings such as “Octave” and “Sort.” P0–P4 in the following diagrams show how the arpeggio will be played when “Octave” is set to 1, and “Sort” is checked. P4: RANDOM is only one possibility.

P0: UP

Preset arpeggio patterns

Preloaded arpeggio patterns

User arpeggio patterns

7–1b

7–1a: Tempo

 (Tempo)* [040.00...300.00, EXT]

Sets the tempo, expressed as beats per minute.

You can also adjust this by turning the front panel TEMPO knob. Alternatively, you can set the tempo by pressing the TAP TEMPO switch at the desired interval.

When MIDI Clock (Global P1: 1–1b) is set to either External MIDI or External USB, this parameter will indicate EXT, and the arpeggiator will synchronize to the MIDI Clock received from an external MIDI device.

P1: DOWN

DOWN

P2: ALT1

ALT1

P3: ALT2

ALT2

P4: RANDOM

RANDOM

Octave* [1, 2, 3, 4]

Speciﬁes the number of octaves in which the arpeggio will be played.

If a user arpeggio pattern is selected, the range of the arpeggio will depend on the Octave Motion (Global P6: 6–1b) setting.

Program mode

Octave: 4

Resolution* [  ,  ,   ,  ,   ,  ]

Speciﬁes the timing resolution of the arpeggio. The notes of

the arpeggio will be played at the interval you specify:   ,  ,  ,  ,   , or  . The speed of the arpeggio pattern is determined by the “Arpeggiator Tempo ” and the

“Resolution.”

Gate [000...100(%), Step]

Speciﬁes the length (gate time) of each note in the arpeggio.

000–100(%): Each note will be played with the speciﬁed gate time.

Step: This is available when a user arpeggio pattern U0000(INT)–U1027(USER) is selected for Pattern. When

this is selected, the gate time speciﬁed for each step will be used.

The gate time can also be controlled by the Control Surface ARP GATE knob. Rotating the knob toward the left will shorten the gate time, and rotating it toward the right will lengthen the gate time. When the knob is at the 12 o’clock position, the gate time will be as speciﬁed here.

Velocity [001...127, Key, Step]

Speciﬁes the velocity of the notes in the arpeggio.

001–127: Each note will sound with the speciﬁed velocity value.

Key: Each note will sound with the velocity value at which it was actually played.

Step: This is available when an user arpeggio pattern U0000(INT)–U1027(USER) is selected for “Pattern.” When

this is selected, the velocity speciﬁed for each step will be used.

The velocity can also be controlled by the Control Surface ARP VELOCITY knob. Rotating the knob toward the left will decrease the velocity, and rotating it toward the right will increase the velocity. When the knob is at the 12 o’clock position, the velocity will be as speciﬁed here.

When a preload user arpeggio pattern is selected, setting the Gate or Velocity to Step will add a sense of groove to the arpeggio pattern.

Swing [–100...+100(%)]

This parameter shifts the timing of the odd-numbered notes of the arpeggio.

When Resolution =

Step

123456789

Off (unchecked): Notes will be arpeggiated in the order in which you pressed them.

Sort

OFF, UP

Sort

ON, UP

Latch* [Off, On]

Speciﬁes whether or not the arpeggio will continue playing after you take your hand off of the keyboard.

On (checked): The arpeggio will continue playing after you remove your hand from the keyboard.

Off (unchecked): The arpeggio will stop when you remove your hand from the keyboard.

Key Sync.* [Off, On]

Speciﬁes whether the arpeggio pattern will begin when you

press a key, or whether it will always follow the “ (Tempo)”

(Prog 0–1a).

On (checked): The arpeggio pattern will start playing from the beginning when a note-on occurs from a condition where no keys are pressed. This setting is suitable when you are playing in realtime and want the arpeggio to play from the beginning of the measure.

Off (unchecked): The arpeggio pattern will always play

according to the “ (Tempo).”

Keyboard* [Off, On]

This speciﬁes whether the notes you play on the keyboard will be sounded as usual in addition to being sounded as part of the arpeggio.

On (checked): The notes you play will be sounded on their own, in addition to being sounded as part of the arpeggio. For example if you simultaneously press two or more notes, they will be sounded as usual in addition to being played as arpeggiated notes.

Off (unchecked): Only the arpeggiated notes will be heard.

Note: *: These parameters can also be set from “P0: Play, Arpeggiator.”

Note: You can use the menu command Copy Arpeggiator to copy arpeggiator settings from another program or combination (see page 75).

▼7–1: 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.

–50 –25 +25 +50

Swing

Sort* [Off, On]

This speciﬁes the order in which the notes you press will be arpeggiated.

On (checked): Notes will be arpeggiated in the order of their pitch, regardless of the order in which you pressed them.

PROG P7: ARP/DT (Arpeggiator/Drum Track) 7–2: ARP Scan Zone

7–2: ARP Scan Zone

7–2

7–2a

7–2b

7–2c

7–2a: Arpeggiator Tempo

 (Tempo) [040.00...300.00, EXT]

For more information, please see “ (Tempo)*” on page 59.

7–2b: Zone Map

This shows the Scan Zone.

Key zone of arpeggiator

Velocity zone of arpeggiator

▼7–2: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

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

C–1 G9

7–2c: Scan Zone

This shows the Scan Zone setting.

Top Key [C–1…G9]

Bottom Key [C–1…G9]

These parameters specify the range of notes (keys) for which the arpeggiator will function. Top Key is the upper limit, and Bottom Key is the lower limit.

The arpeggiator will operate when you play keys within the speciﬁed range. Keys outside of this range can be played in the normal manner, and will not be affected by the arpeggiator on/off.

For example if you set Pattern to P0: UP, check Latch, set Top Key to B3, and Bottom Key to C-1, playing a note B3 or lower will trigger the arpeggiator. Since Latch is on, the arpeggio will continue even after you release the keys. You can use the C4 and higher keys to play conventionally along with the arpeggio sounded by the B3 and lower keys. To change the arpeggio, play keys in the range of B3 and below.

Top Velocity [001…127]

Bottom Velocity [001…127]

Speciﬁes the range of velocities for which the arpeggiator will function. Top Velocity is the upper limit, and Bottom Velocity is the lower limit.

The arpeggiator will operate when you play notes with a velocity (playing strength) that is within the speciﬁed range. Notes played with a velocity outside this range will be sounded normally, without regard to the arpeggiator on/off.

Note: Note number and velocity can also be entered by holding down the ENTER switch and playing a note on the keyboard.

Program mode

7–4: DrumTrk Pattern (DrumTrack Pattern)

7–4

7–4a

7–4b

Here you can select a drum track pattern and specify how it will sound.

The drum track lets you easily produce a rhythm section using the M50’s high-quality drum programs and a rich variety of drum track patterns.

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

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

In Program mode, the drum track patterns are triggered on the Global MIDI channel. The MIDI transmit channel is speciﬁed by the DrumTrack Prog MIDI Ch (Global P1: MIDI– MIDI Basic). Use the DrumTrack Prog MIDI Out (Global P1: MIDI– MIDI Basic) setting to specify whether the pattern will transmit MIDI note data. The default setting is channel 10. The drum track program will not transmit or receive MIDI program changes.

7–4b: Trigger

Trigger Mode [Start Immediately, Wait KBD Trig]

Start Immediately: When you press the DRUM TRACK ON/OFF switch to turn it on (LED lit), the drum track pattern will start according to the Sync setting. When you turn it on, the drum track pattern will stop.

Wait KBD Trig: When you press the DRUM TRACK ON/ OFF switch to turn it on (LED lit), the drum pattern will wait to start. When you play the keyboard, or when a MIDI noteon is received, the drum pattern will start according to the Sync setting.

If you’ve selected Start Immediately, the DRUM TRACK ON/OFF switch will always be saved in the OFF state.

Sync [Off, On]

Off: The drum pattern will not synchronize to the currentlyrunning arpeggiator, but will start immediately.

On: The drum pattern will synchronize to the currentlyrunning arpeggiator.

Note: Use P7–1: Arpeggiator Setup Key Sync to specify whether the arpeggiator will synchronize to the currentlyrunning drum pattern.

Latch [Off, On]

This is valid if Trigger Mode is Wait KBD Trig.

Off: If the DRUM TRACK ON/OFF switch is on (LED

blinking), the pattern will start when you play the keyboard (note-on). The pattern will stop when you release the keyboard (note-off).

On: If the DRUM TRACK ON/OFF switch is on (LED blinking), the pattern will start when you play the keyboard (note-on). The pattern will continue when you release the keyboard (note-off). The pattern will stop when you turn the DRUM TRACK ON/OFF switch off (LED dark).

7–4a: Drum Pattern

Pattern [Preset, User]

[(Preset): P000...671, (User): U000...U999]

This selects the drum pattern.

Preset/User No. Contents

P000 Off

P000...671 Preset drum patterns

U000...U999 For user/preloaded drum patterns

•U000–U999 can be written. Patterns you create in Sequencer mode can be converted into user drum patterns. (See page 208)

Shift [–24...+00...+24]

This transposes the drum pattern in semitone steps. This means that the instruments of the drum kit will change.

Zone:

Keyboard

Bottom [C–1...G9] To p [C–1...G9]

This is valid if Trigger Mode is set to Wait KBD Trig.

It speciﬁes the range of keys that will start the drum pattern.

Velocity

Bottom [001...127] To p [001...127]

This is valid if Trigger Mode is set to Wait KBD Trig.

It speciﬁes the range of velocities that will start the drum pattern.

▼7–4: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

• 2: Copy Drum Track ☞p. 74

• 3: Erase Drum Track Pattern ☞p. 75

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

PROG P7: ARP/DT (Arpeggiator/Drum Track) 7–5: DrumTrk Program (DrumTrack Program)

7–5: DrumTrk Program (DrumTrack Program)

7–5 Menu

7–5a

7–5b

7–5a: Drum Track Programs

Program Select [Drum Category Programs]

Here you can select the drum program that will be used by the drum track.

Note: Only programs of the Drum category can be selected.

If data is loaded or a system exclusive message is received so that the selected program is no longer a Drum category program, it will be replaced with the ﬁrst program of the Drum category.

The drum track program will not transmit or receive MIDI program changes.

Volume [000...127]

This adjusts the volume of the drum track program.

Play/Mute [Mute, Play]

This mutes the drum track program. The setting will alternate each time you press the Play/Mute button.

Mute: The drum track program will not be heard (Mute).

Play: The drum track program will be heard (Play).

Using the OSC/DrumTrk Mixer to make Drum Track settings

You can use the P0–4: OSC/DrumTrk Mixer page to edit the Play/Mute, Solo On/Off, and Volume settings of the drum track. (See “0–4b: OSC/DrumTrack Mixer” on page 4.)

Detune [–1200...+1200]

This adjusts the pitch in one-cent steps. One cent is 1/100th of a semitone.

The pitch of each drum kit is speciﬁed in Global P5: Drum Kit.

You can control this using RPNs.

7–5b: EQ

Auto Load Program EQ [Off, On]

On (checked): When you switch the drum track program, the 3-band EQ values speciﬁed for the program will automatically be loaded. Normally you will leave this checked.

You are free to edit the 3-band EQ values that are automatically loaded. You will be making changes based on the settings of the original program.

Off (unchecked): The 3-band EQ values speciﬁed for the program will not be loaded when you switch the drum track program.

7–5c

•When you select a drum track: Check this to load the 3band EQ setting of the program. You can adjust the drum track program’s EQ based on these settings.

•When you’ve edited the drum track program’s EQ settings and want to leave them fixed: Uncheck this item. The EQ settings will not change when you select programs.

Bypass [On, Off]

When Bypass is checked, all of the EQ will be disabled, including the Input Trim.

Bypass can be convenient for comparing the results of the EQ with the original signal.

Input Trim [00...99]

This controls the volume level going into the EQ. This setting corresponds to the volume; a value of 50 corresponds to –6 dB, and a setting of 25 corresponds to –12 dB.

High settings of the Low, Mid, and High Gain controls can cause substantial increases in the overall level. You can compensate for this by turning down the input trim.

High Gain [–18.0...+00.0...+18.0dB]

This controls the gain of the 10 kHz High Shelf EQ, in increments of 0.5 dB.

Mid Frequency [100Hz...10kHz]

This sets the center frequency for the Mid sweep EQ.

Mid Gain [–18.0...+00.0...+18.0dB]

This controls the gain of the Mid Sweep EQ, in increments of

0.5 dB.

Low Gain [–18.0...+00.0...+18.0dB]

This controls the gain of the 80 Hz Low Shelf EQ, in increments of 0.5 dB.

7–5c: Bus

Bus Select [Dkit, L/R, IFX1...5, Off]

This speciﬁes the bus that will output the drum track program.

Dkit: The Bus (IFX/Output) Select, FX Control Bus, Send1 (to MFX1), and Send2 (to MFX2) settings (Global 5–4b) for

each key of the drum kit used by the selected drum track program will be valid. Choose this setting if you want to apply separate insert effects to each drum instrument.

When making Dkit settings, you will normally use IFX.

Patch to specify the output destination.

L/R: Output to the L/R bus.

IFX1, 2, 3, 4, 5: Output to the IFX1–5 bus.

Off: The sound will not be output to the L/R bus, or IFX1–5

bus. Use the Off setting if you have connected the drum track program output in series to a master effect. Use Send1 (to MFX1) or Send2 (to MFX2) to adjust the send level.

FX Control Bus [Off, 1, 2]

This sends the output of the drum track program to the FX Control bus (two mono channels FX Ctrl1, 2).

The FX Control bus is used when you want to use another audio signal to control the input of an effect. You can use the two FX Control buses (two mono channels) to freely control the effects in a variety of ways. For more information, please see “FX Control Buses” on page 274.

Program mode

Send 1 [000...127] Send 2 [000...127]

These specify the send level at which the output of the drum track program will be sent to each master effect.

Send 1: Send the signal to master effect 1.

Send 2: Send the signal to master effect 2.

If Bus (IFX/Output) Select is set to IFX1–5, the send levels to the master effects are set by the post-IFX1–5 Send1 and Send2 (Prog 8–2a).

You can use CC#93 to control Send 1, and CC#91 to control Send 2.

IFX. Patch:

IFX1 [L/R, IFX1...5, Off] IFX2 [L/R, IFX1...5, Off] IFX3 [L/R, IFX1...5, Off] IFX4 [L/R, IFX1...5, Off] IFX5 [L/R, IFX1...5, Off]

Here, you can patch the Bus (IFX/Output) Select setting speciﬁed for each key of the drum kit, temporarily changing its connection destination from the originally speciﬁed insert effect to some other destination. This can be executed only if the drum track program’s Bus (IFX/Output) Select is set to DKit and the Bus (IFX/Output) Select (Global 5–4b) for each key of the drum kit is set to IFX1–5.

As the patch destination, choose an insert effect or L/R, IFX1–5, or Off as the output bus.

Note: If you want to return the drum kit to its previous state, change these settings to IFX1→IFX1, IFX2→IFX2, IFX3→IFX3, IFX4→IFX4, and IFX5→IFX5.

For the preloaded kits, snare sounds are normally sent to IFX1, kick sounds to IFX2, and other sounds to IFX3. In such cases if you set Bus (IFX/Output) Select to Dkit, these sounds will be sent to IFX1, IFX2, and IFX3, but IFX1 and IFX2 are set for normal (non-drum) programs. In such cases, you can use IFX.Patch to route these drum sounds to unused IFX; for example, you might send the snare sounds to IFX3, kick sounds to IFX4, and other sounds to IFX5. For more information, please see “Effect Guide” on page 271.

▼7–5: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

• 2: Copy Drum Track ☞p. 74

• 3: Erase Drum Track Pattern ☞p. 75

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

PROG P8: IFX (Insert Effect)

PROG P8: IFX (Insert Effect) 8–1: Routing

Here, you can make settings for the insert effects. For instance, you can:

• Send the output of a oscillator to an insert effect

• Route a sound to an insert effect

•Make detailed settings for insert effects

•Make common LFO settings for effects

For more information, please see “Effect Guide” on page 271.

8–1: Routing

8–1a

8–1b

8–1d

8–1 Menu

8–1c

8–1c: Use Dkit Setting

Use DKit Setting [Off, On]

This is shown if Oscillator Mode (Prog 1–1a) is set to Drums. If Oscillator Mode is set to Single or Double, this

setting is ignored.

On (checked): The Bus (IFX/Output) Select, FX Control Bus, Send 1, and Send 2 settings (Global 5–4b) for each key

of the selected drum kit will be used. Check this if you want to apply an individual insert effect to each drum instrument.

Tip: In most preloaded drumkits, the drum instruments have the same Bus (IFX/Output) Select settings according to their type, as follows.

Snares → IFX1

Kicks → IFX2

Other → IFX3

Off (unchecked): The Bus (IFX/Output) Select (Prog 8–1b), FX Control Bus (Prog 8–1b), OSC MFX Send (Prog 8–1d)

settings will be used. All drum instruments will be sent to the speciﬁed bus.

8–1d: OSC MFX Send

OSC1:

8–1a: Routing Map

This graphic shows an overview of the insert effects, including the routing of the oscillators to the effects, the effects names and on/off status, chaining between the effects, and the output bus to which the insert effects are themselves routed.

This page lets you adjust the routing of the oscillators to the insert effects. To adjust the other settings shown in this graphic, please see “8–2: Insert FX Setup,” as described on page 66.

8–1b: Bus Select (All OSCs to)

Bus (IFX/Output) Select [L/R, IFX1...5, Off]

This speciﬁes the output bus for oscillators 1 and 2.

L/R: The oscillators will be output to the L/R bus. Normally you will choose L/R.

IFX1…5: Output to the IFX1–5 busses.

Off: The oscillator will not be output from the L/R bus, or

IFX1–5 busses. Choose the Off setting if you want the program oscillator output of the timbre to be connected in series to a master effect. Use Send1 (to MFX1) and Send2 (to MFX2) to specify the send levels.

FX Control Bus [Off, 1, 2]

Sends the output of the oscillator 1, 2 to an FX Control bus (two-channel mono FX Ctrl 1 or 2).

Use the FX Control busses when you want a separate sound to control the audio input of an effect. You can use two FX Control busses (each is a two-channel mono bus) to control effects in various ways.

For more information, please see “FX Control Buses” on page 274.

OSC1 Send1 (to MFX1) [000...127]

Sets the volume (send level) at which the output of oscillator 1 will be sent to master effect 1. This applies only when Bus (IFX/Output) Select (Prog 8–1b) is set to L/R or Off.

If Bus (IFX/Output) Select is set to IFX1–IFX5, the send levels to master effects 1 and 2 are set by Send 1 and Send 2 (Prog 8–2a) after passing through IFX1–5.

OSC1 Send2 (to MFX2) [000...127]

Sets the volume (send level) at which the output of oscillator 1 will be sent to master effect 2. For more information, please see “OSC1 Send1 (to MFX1)” on page 65.

OSC2:

OSC2 Send1 (to MFX1) [000...127] OSC2 Send2 (to MFX2) [000...127]

Sets the volume (send level) at which the output of OSC2 will be sent to master effects 1 and 2. These parameters will be valid when Oscillator Mode is set to Double and Bus (IFX/Output) Select is set to L/R or Off.

CC#93 controls OSC 1/2’s Send 1 level, and CC#91 controls the Send 2 level. These are controlled on the global MIDI Channel (Global 1–1a). The actual send level is determined by multiplying these values with the send levels of each oscillator.

▼8–1: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

•2: Copy Insert Effect ☞p.76

•3: Swap Insert Effect ☞p.76

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

Program mode

8–2: Insert FX Setup

8–2 Menu

8–2a

8–2a: Insert Effect

Here, you can choose the type of each insert effect 1 through 5, its on/off status, chaining, and adjust the post-IFX mixer settings. For insert effects, the direct sound (Dry) is always stereo-in and out. The input/output conﬁguration of the effect sound (Wet) depends on the effect type. For more information, please see “Insert Effects (IFX1–IFX5)” on page 276.

You can chain two or more effects into the same downstream effect. For instance, both IFX1 and IFX2 can be chained to IFX5.

Effects can also join a chain in the middle. For instance, you can chain IFX3 to IFX4 to IFX5, and then chain IFX2 to IFX5 as well.

The Pan:#8, Bus (Bus Select), Ctrl (FX Control Bus), and Send1/2 settings apply only to the last effect in the chain. However, any effect in the chain can be sent to the FX Control buses.

IFX1: Chain [Off, On] IFX2: Chain [Off, On] IFX3: Chain [Off, On] IFX4: Chain [Off, On]

This enables the chain, as set up by the Chain to parameter, above.

Pan:#8:

Pan: #8 (Post IFX PanCC#8) [L000...C064...R127]

Speciﬁes the panning immediately after the insert effect.

You can use CC#8 to control this.

Bus:

Insert Effect:

IFX1...4 [000...170] IFX5 [000...153]

This selects the effect type for insert effect.

IFX5 cannot use double-size effects (154–170). If you use a double-size effect, the next insert effect will be unavailable. For example if you select a double-size effect for IFX1, you won’t be able to use IFX2.

Category/IFX Select menu

When you press the popup button, the Category/IFX Select menu will appear, letting you select effects by category. Use the tabs to select a category, and then select an effect within that category. Press the OK button to execute your selection, or press the Cancel button to cancel.

IFX1...5: IFX On/Off [Off, On]

Switches the insert effect on/off.

If this is off, the input will simply be passed to the output. (When 000:No Effect is selected, there’s no difference between On and Off.)

The setting will alternate between on and off each time you press the button.

Separately from this setting, you can use MIDI CC #92 (on the global MIDI Channel (Global 1–1a)) to turn all insert effects off. A value of 0 turns them off, and values of 1–127 restore the original setting.

Chain:

IFX1: Chain to [IFX2...IFX5] IFX2: Chain to [IFX3...IFX5] IFX3: Chain to [IFX4...IFX5]

You can chain up to ﬁve insert effects together in series, to create more complex effects. Set up the chain using this parameter, and then enable it using the Chain check box, below.

Effects must be chained in ascending numeric order. For example, IFX1 can be chained to any of IFX2 through IFX5, and IFX2 can be chained to IFX3 through IFX5.

Bus (Bus Select) [Off, L/R]

Speciﬁes the bus to which the signal will be sent immediately after the insert effect.

L/R: The signal will be sent to the L/R bus, which passes through TFX and then goes to the AUDIO OUTPUT L/R outputs. This is the default setting.

Off: The signal will not be sent directly to the L/R outputs. This setting is useful if you want to:

Use Send 1 or 2 to route the signal entirely through the master effects, without sending the dry signal to the outputs.

Use the FX Control Bus to route the signal to an effects sidechain, such as a gate or vocoder, without being heard directly at the outputs.

Ctrl:

Ctrl (FX Control Bus) [Off, 1, 2]

Sends the post-IFX signal to the FX Control busses. For more information, please see “FX Control Bus” on page 65.

If you’re using Ctrl (FX Control Bus) as an input signal for Vocoder etc., a feedback loop will occur if you output to the same bus as speciﬁed here, and oscillation will occur. Set this with care to avoid creating a loop.

Send1/2:

Send1 [000...127] Send2 [000...127]

These adjust the level at which the post-IFX signal is sent to master effects 1 and 2. This is valid if Bus (Bus Select) is set to L/R or Off.

You can use CC#93 to control the Send 1 level, and CC#91 to control the Send 2 level. The global MIDI channel speciﬁed by MIDI Channel (Global 1–1a) is used for these messages.

▼8–2: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

•2: Copy Insert Effect ☞p.76

•3: Swap Insert Effect ☞p.76

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

PROG P8: IFX (Insert Effect) 8–3: IFX1

8–3: IFX1

8–3a

8–3a: Insert Effect 1 (IFX1)

Here you can edit the parameters of the insert effect you selected in the P8: IFX– Insert FX Setup page.

Effect dynamic modulation (Dmod) is controlled on the global MIDI Channel (Global 1–1a). For more information, please see “Dynamic Modulation Source List” on page 380.

8–3 Menu

IFX1 On/Off [Off, On]

This turns the insert effect on and off. It is linked with the on/off setting in the Insert FX Setup page.

P (Effect Preset)

[P00, P01...15, U00...15, ---------------]

Effect Presets let you easily store and recall all of the settings for an individual effect. You can store up to 16 user presets for each effect type, in addition to 15 re-writable factory presets.

The same presets appear in all of the modes (Program, Combination, and Sequencer).

Note that edits to effects parameters are automatically stored with the Program–you don’t need to store them as an Effect Preset. Presets just make it easier to re-use your favorite settings.

For instance, you can save an Effect Preset while working on a particular Program, and then later use the same Effect Preset in a different Program, Combination, or Song.

P00: Initial Set: These are the default settings that are recalled when you select an effect type in the Insert FX Setup page. You can’t save your own settings here.

P01…P15: These contain preset data that Korg plans to provide in the future. We recommend that you store your settings in U00–U15.

U00…U15: These are areas in which you can store your own settings.

---------------: This shows that no Effect Preset has been

selected. You’ll see this if you’ve just selected an effect, written a Program, or selected a new Program. Selecting this setting from the menu will not have any effect.

Note: Programs save the effects parameter settings, but they don’t save the number of the selected Effect Preset. If you select an Effect Preset, and then save the Program, the Effect Preset setting will revert to “--------------.”

Using Effect Presets

1. Select an effect in the Insert FX Setup page.

2. The P00: Initial Set settings will be recalled.

“P (Effect Preset)” will indicate --------.

Program mode

3. Use “P (Effect Preset)” to select an effect preset: P00– P15 or U00–U15.

The stored parameters will be recalled. Note that this will overwrite all parameters of the effect.

4. Edit the recalled parameters as desired.

5. If you’ve come up with settings you like and want to save them as a new preset, use the Write FX Preset menu command.

8–8: Common FX LFO

8–8a

8–8 Menu

IFX1 Parameters:

IFX1 Parameters

This tab shows the parameters for IFX1, as selected on the Insert FX Setup page.

For details on the speciﬁc parameters of each effect, please see “Insert Effects (IFX1–IFX5)” on page 276.

▼8–3: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

•2: Copy Insert Effect ☞p.76

•3: Swap Insert Effect ☞p.76

• 4: Write FX Preset ☞p.77

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

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

Here you can edit the effect parameters for the insert effects selected in the Insert FX Setup page.

The parameters for IFX2–IFX5 are the same as for IFX1.

8–8b

The two Common FX LFOs allow you to synchronize LFObased modulation for multiple effects, such as phasers, ﬂangers, ﬁlters, and so on.

The Common LFOs control only the frequency, MIDI synchronization, and reset options; each individual effect still has its own settings for the LFO waveform and phase.

Within the individual effects, you can choose whether to use one of the Common LFOs, or to use the individual effect’s frequency, sync, and/or reset settings instead. This is done via the effect’s LFO Type parameter; select Individual to use the effect’s settings, or Common 1 or 2 to use the Common LFOs.

Common FX LFO

Frequency[Hz]

Reset

Common FX LFO1

Generate original LFO waveform

LFO Type = Common1

Stereo Flanger

Stereo Phaser

Stereo Auto Pan

Wavefore m = Triangle Phase Offset = 0 [deg]

Waveforem = Sine Phase Offset = 0 [deg]

Waveforem = Sine Phase Offset = +90 [deg]

Dmod (Dynamic Modulation) is controlled on the global MIDI channel speciﬁed in Global mode P1.

8–8a: Common FX LFO1

Sync (Reset) [Off, On]

This speciﬁes whether the Common FX LFO will be reset.

If this is on, operating the Source (below) will reset the phase of the LFO.

Source (Dmod Source) [List of Dmod Sources]

If Sync (Reset) is on, this selects the Dmod source that will reset the Common LFO. For a complete list of Dmod sources, please see “Dynamic Modulation Source List” on page 380.

This will be off when the modulation source speciﬁed by Source has a value below 64, and on when the value is above 64. The LFO will be reset when this value rises from a level below 64 to a level higher than 64.

Frequency [0.02...20.00 (Hz)]

This speciﬁes the frequency of the Common FX LFO. Higher values make the LFO faster.

MIDI/Tempo Sync [Off, On]

Off (unchecked): The speed of the Common FX LFO will be determined by the Frequency setting.

On (checked): The speed of the Common FX LFO will be determined by the BPM, Base Note, and Times settings (see below).

BPM [MIDI, 40.00...300.00] Base Note [ ,  3 ,  ,  3 ,  ,  3 ,  ,  3 ,  , ] Times [01...32]

The frequency of the Common FX LFO will be the length of the Base Note note value multiplied by the Times value, relative to the tempo speciﬁed by the BPM value. If BPM is

set to MIDI, this will operate according to the  (Tempo)

(Prog 0–1a) setting. If MIDI Clock (Global 1–1a) is set to External, this will follow the MIDI clock of the master device.

8–8b: Common FX LFO2

The parameters are identical to those for Common FX LFO1, as described under “8–8a: Common FX LFO1,” above.

▼8–8: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

•2: Copy Insert Effect ☞p.76

•3: Swap Insert Effect ☞p.76

• 4: Write FX Preset ☞p.77

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

PROG P8: IFX (Insert Effect) 8–8: Common FX LFO

Program mode

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

Here, you can make settings for the master effects and total effect. For instance, you can:

• Route a sound to an master effects and total effect

•Make detailed settings for master effects and total effect

For more information, please see “Effect Guide” on page 271.

9–1: Routing

9–1 Menu

9–1a

9–1b

Here you can specify the type of master effects and total effect, and turn them on/off.

The master effects are sent to the L/R bus. The total effect is inserted into the L/R bus.

9–1a: MFX1, 2

The master effect does not output the direct sound (Dry). Adjust the Return 1 and Return 2 return levels to return the signal to the L/R bus and mix it with the L/R bus signal.

The master effects are stereo-in/out, but depending on the selected effect type, the output may be monaural. For more information, please see “In/Out” on page 276.

MFX1:

MFX1 [000...170]

This selects the effect type for master effect 1. You can use any of the available effects, without limitation. If you choose 000:No Effect, the output from the master effect is muted.

Category/MFX Select menu

When you press the popup button, the Category/MFX Select menu will appear, letting you select effects by category. Use the tabs to select a category, and then select an effect within that category. Press the OK button to execute your selection, or press the Cancel button to cancel.

MFX1 On/Off [Off, On]

Switches the master effect 1 on/off. When off, the output will be muted. This will alternate between on and off each time it is pressed.

Separately from the settings here, you can use control change #94 to turn master effects 1 and 2 off. A value of 0 turns them off, and values of 1–127 restore the original setting. The global MIDI channel speciﬁed by MIDI Channel (Global 1–1a) is used for this message.

Return 1 [000...127]

This speciﬁes the return level from the master effect to the L/R bus (after which it passes through TFX, and is sent from L/MONO and R).

MFX2:

MFX2 [000...153] MFX2 On/Off [Off, On] Return 2 [000...127]

These parameters specify the effect type for master effect 2, its on/off status, and the return level from master effect 2 to the L/R bus. For more information, please see “MFX1:,” above.

MFX2 cannot use double-size effects (154–170). Additionally, if you select a double-size effect for MFX1, you won’t be able to use MFX2.

Chain:

Chain On/Off [Off, On]

On (checked): Chain (series connection) will be turned on for MFX1 and MFX2.

Chain Direction [MFX1...MFX2, MFX2...MFX1]

Speciﬁes the direction of the connection when MFX1 and MFX2 are chained.

MFX1→MFX2: Connect from MFX1 to MFX2.

MFX2→MFX1: Connect from MFX2 to MFX1.

Chain Level [000...127]

When chain is On, this sets the level at which the sound is sent from the ﬁrst master effect to the next master effect.

If you select a double-size effect, the “Chain” settings will be ignored.

9–1b: TFX

These are the parameters for the total effect, which is placed at the ﬁnal stage of the L/R bus. After passing through the total effect, the sound is output to AUDIO OUTPUT L/ MONO and R.

For the total effect, the direct sound (Dry) is always stereoin/out. The input/output conﬁguration of the effect sound (Wet) will depend on the selected effect type.

The total effect is stereo-in and stereo-out, but the output may be monaural depending on the type of effect you select. For more information, please see “In/Out” on page 276.

TFX:

TFX [000...153]

This selects the effect type for total effect.

TFX cannot use double-size effects (154–170).

Category/TFX Select menu

When you press the popup button, the Category/TFX Select menu will appear, letting you choose effect types by category. Use the tabs to select an effect category, and then choose an effect within that category. Press the OK button to execute your choice, or press the Cancel button to cancel.

TFX On/Off [Off, On]

This turns total effect on/off. If this is off, the input will be passed directly through. The setting will alternate between on/off each time you press this.

Alternatively, you can send control change #95 to turn the total effect off. A value of 0 turns the total effect off, and values of 1–127 restore the original setting. The global MIDI channel speciﬁed by MIDI Channel (Global 1–1a) is used for this message.

9–1c: Master Volume

Master Volume [000...127]

This speciﬁes the ﬁnal level of the audio output that has passed through total effect, and output from AUDIO OUTPUT L/MONO and R.

PROG P9: MFX/TFX (Master/Total Effect) 9–2: MFX1

9–2: MFX1

9–2a

9–2 Menu

▼9–1: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

•2: Copy Insert Effect ☞p.76

•3: Swap Insert Effect ☞p.76

• 4: Write FX Preset ☞p.77

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

9–2a: MFX1

Here you can edit the parameters of the effect you choose for MFX1 in the P9: MFX/TFX– Routing page.

Effect dynamic modulation (Dmod) is controlled on the global MIDI Channel (Global 1–1a). For more information, please see “Dynamic Modulation Source List” on page 380.

MFX1 On/Off [Off, On]

This turns master effect 1 on/off. It is linked with the on/off setting in the P9: MFX/TFX– Routing page.

The setting will alternate between On and Off each time you press this.

Alternatively, you can use CC#94 to turn Master effects 1/2 off. CC#95 will turn the Total effect off. A value of 0 is Off, and a value of 1–127 selects the original setting. This is controlled on the global MIDI channel speciﬁed by MIDI Channel (Global 1–1a).

P (Effect Preset)

[P00, P01...15, U00...15, ---------------]

This selects the effect preset. For more information, please see “P (Effect Preset)” on page 67.

MFX1 Parameters

Here, you can edit the parameters of the master effect selected in the P9: MFX/TFX– Routing page.

For details on the master effects, please see “Master Effects (MFX1, 2)” on page 281.

▼9–2: Menu Command

• 0: Write Program ☞p.73

• 1: Exclusive Solo ☞p. 73

• 2: Copy Insert Effect ☞p.76

• 3: Swap Insert Effect ☞p.76

• 4: Write FX Preset ☞p.77

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

Program mode

9–3: MFX2

9–4: TFX

These pages let you edit the parameters of Master Effect 2 and Total Effect. To select different effects types, use the P9: MFX/TFX– Routing page.

The parameters for MFX2, TFX is the same as for MFX1. For more information, please see “9–2: MFX1” on page 71.

Program: Menu Command

ENTER + 0–9: shortcuts for menu commands

Each page has a set of menu commands, which provide access to different utilities, commands, and options, depending on the page you’re currently on. You can use the menu commands entirely from the touch-screen, by pressing the menu button in the upper right-hand corner of the screen and then selecting an option from the menu that appears.

Even though each page may have its own unique menu commands, the menus are standardized as much as possible. For instance, WRITE is almost always the ﬁrst menu item in Program, Combination, and Sequencer modes.

You can take advantage of this standardization by using a shortcut to access any of the ﬁrst ten menu items:

1. Hold down the ENTER switch.

2. Press a number (0–9) on the numeric keypad to select the desired menu command, starting with 0.

For instance, press 0 for the ﬁrst menu command, 1 for the second, and so on.

If the menu command just toggles an option on and off (such as Exclusive Solo), then you’re done. If the command calls up a dialog box, the dialog will appear on the display, and you can proceed just as if you’d selected the command from the touch-screen.

Tip: While this command is open, the ENTER switch will operate as the OK button and the EXIT switch will operate as the Cancel button.

Procedure for menu commands

1. Select the menu command.

2. Make settings in the dialog box.

For details on the content of each dialog box, refer to the explanation of each command.

3. To execute, press the OK button. To cancel without executing, press the Cancel button.

Write Program

This command writes an edited Program into the M50 internal memory. It is available on every page in Program mode.

Write Program lets you:

• Save your edits

• Rename the Program

•Assign the Program to a Category

• Copy the Program to a different Bank and number

Be sure to Write any Program that you wish to keep. An edited Program cannot be recovered if you do not write it before turning off the power or selecting another Program.

Program: Menu Command Write Program

1. The upper line of the dialog shows the Bank, number, and Program name.

If you wish to modify the program name, press the text edit button to move to the text edit dialog box, and enter the desired program name.

2. In Category and Sub Category, specify the category of the program that you are writing.

The category can be used to ﬁnd this Program when selecting a program in Program, Combination, or Sequencer modes.

Note: You can edit these category names in the Global P4: Category page. For more information, please see “4–1: Program Main” and “4–2: Program Sub” on page 232.

3. Press “To Program” to specify the destination Bank and number.

You can also use the BANK SELECT A–E switches to select a bank.

Note: You can also use the SEQUENCER REC/WRITE switch to write in the same way as Write Program. Press the SEQUENCER REC/WRITE switch to access the dialog box and write the program. In this case, the settings will be saved to the currently selected program.

Exclusive Solo

The behavior of the Solo function will alternate each time you select Exclusive Solo.

The Solo function can operate in one of the following two ways.

•Multiple Solo

The speciﬁed OSC1, OSC2, or drum track will be soloed. The solo on/off setting will alternate each time you press the Solo button.

• Exclusive Solo

Only one source - OSC1, OSC2, or the drum track - will be soloed.

Note: Solo operations can be performed in the P0–4: OSC/ DrumTrk Mixer page of each mode.

Note: The Solo function applies to each mode. All sources are handled as a single group. In the case of Exclusive Solo, all other sources will be off if even one source is being soloed.

1. Use the menu to select Exclusive Solo.

When you select this item, a check mark will be added at the left of Exclusive Solo in the menu. The check mark will appear or disappear each time you select this item.

No check mark: Multiple Solo

Check mark: Exclusive Solo

Alternatively, you can turn this setting on/off by holding down the ENTER switch and pressing numeric key 1.

Program mode

Copy Tone Adjust

Tone Adjust tab of the play page.

This command replaces the current Tone Adjust settings with those of any other Program, Combination Timbre, or Song Track.

1. Use the From ﬁeld to select the copy-source mode, bank, and number.

You can use the front-panel BANK switches to select the desired bank.

2. In the Timbre ﬁeld (if you’ve selected a Combination) or Track ﬁeld (if you’ve selected a Song), select the Timbre or Track to copy from.

3. Select either All or Assignments Only to specify the Tone Adjust parameters you want to copy.

All: This copies both the Tone Adjust parameter

assignments and values.

Assignments Only: This copies only the Tone Adjust parameter assignments, without the values.

Reset Tone Adjust

Tone Adjust tab of the play page.

This command resets the Tone Adjust settings for all of the displayed Switches and Sliders to their default values.

Copy Oscillator

Copy Oscillator is available on all of the tabs under the Basic/Ctrls Controllers– Chord Trigger, OSC/Pitch, Filter, Amp/EQ, AMS/C.KTrk pages.

This command is used to copy the settings from one oscillator to another.

1. Use the From ﬁeld to select the oscillator that you want to copy.

2. Use Program to select the bank and number of the copy-source program.

You can press a BANK SELECT switch to select the desired bank.

3. In To, specify the copy destination oscillator.

Swap Oscillator

Swap Oscillator is available on all of the tabs under the Basic/Ctrls Controllers– Chord Trigger, OSC/Pitch, Filter, Amp/EQ, AMS/C.KTrk pages.

This command exchanges the settings of oscillators 1 and 2.

Note: This can be selected only if Oscillator Mode (Prog 1– 1a) is Double.

Copy Drum Track

Copy Drum Track is available on the DrumTrk Pattern tab or DrumTrk Program tab of the ARP/DT.

This command copies settings from the speciﬁed program, combination/timbre, or song.

1. Use the To ﬁeld to specify how the Switches 1–8, Sliders 1–8, and Master Slider parameters will be reset.

All Off: All will be reset to Off.

Default Setting: The parameters will be reset to the default

values.

1. Use the From ﬁeld to select the mode, bank, and number of the desired copy-source. You can press a BANK switch to select the desired bank.

2. If you execute this command in Program mode, and select Program in From, the additional ﬁeld Program Settings too will appear.

On (checked): The parameter settings of the Drum Track

Pattern page and Drum Track Program page will be copied.

Off (unchecked): The parameter settings of the Drum Track Pattern page will be copied.

If you execute this command in Combination or Sequencer mode, the parameter settings of the Drum Track Program page will be copied. However, the MIDI Channel setting will not be copied.

Erase Drum Track Pattern

Erase Drum Track is available on the DrumTrk Pattern tab or DrumTrk Program tab of the ARP/DT.

This erases the drum track pattern you specify.

1. Select the user drum track pattern you want to erase.

2. If you check All Drum Track Patterns, all user drum track patterns will be erased.

Copy Chord Trigger Setup

Copy Chord Trigger Setup is available on the Chord Trigger of Basic/Ctrls page.

This command copies the chord trigger switch settings of the speciﬁed Program, Combination, or Song.

Program: Menu Command Erase Drum Track Pattern

2. If you no longer want the EGs to be synchronized, select Sync Both EGs once again.

The indication will disappear from the display.

Swap LFO 1&2

Swap LFO 1 & 2 is available on all of the LFO pages, except for the Common LFO tab.

This command copies the settings of LFO1 to LFO2, and vice-versa.

Note: If LFO2 is being used to modulate LFO1, this command will erase that modulation routing (since the LFOs cannot modulate themselves).

After opening the dialog box, press the OK button to swap the LFO settings, or press the Cancel button to close the dialog box without making any changes.

Copy Arpeggiator

Copy Arpeggiator is available on the ARP Setup tab or Scan Zone tab of the ARP/DT page.

This command can be used to copy arpeggio settings from another location to the current program.

1. Use the From ﬁeld to select the mode, bank, and number of the desired copy-source. You can also select Banks via the front-panel BANK SELECT switches.

2. Select the copy-source switch number. If you want to copy all settings for switches 1–4, check the All option.

3. Use the To ﬁeld to specify the copy-destination switch.

Note: Executing this command will copy the note number and velocity value. The MIDI channel is not copied.

Sync Both EGs

Sync Both EGs is available on the Filter 1/2 EG and Amp 1/ 2 EG pages.

This option allows you to edit the EGs of Oscillator 1 and Oscillator 2 together. When it is checked, editing the Filter EG of either Oscillator 1 or 2 will change both Filter EGs simultaneously. Similarly, editing the Amp EG of either Oscillator will change both Amp EGs.

This option is available only when the Oscillator Mode is set to Double.

1. Select Sync Both EGs.

The display will indicate “Sync,” and the two EGs will be synchronized.

1. Use the From ﬁeld specify the source of the arpeggio settings (mode, bank, number) that you wish to copy.

2. If you are copying from Combination, or Song, specify whether you wish to copy from A or B.

Program mode

Copy Insert Effect

Copy Insert Effect is available on all of the IFX pages.

This command copies effects settings from within the current Program, from other Programs, Combinations, or Songs.

To execute the Copy Insert Effect command, press the OK button. To cancel, press the Cancel button.

If you’re copying from a master effect, the result will not be identical due to differences in the routing and level settings of the master effects.

From (Mode)

This selects whether you’ll copy from a Program, a Combination, a Song, or the current Sampling Mode settings.

[Program, Combination, Song]

Swap Insert Effect

Swap Insert Effect is available on all of the IFX pages.

This command exchanges the effects, and their internal parameters, between two IFX slots.

All of the parameters shown on the IFX 1–5 pages will be copied.

Other IFX slot parameters will not be affected, including Pan, Sends 1 and 2, Chain, AUX Bus, and FX Control Bus.

1. In Source 1 and Source 2, select each of the insert effects that you wish to swap.

Copy MFX/TFX

Copy MFX/TFX is available on all of the MFX/TFX pages.

This command lets you copy any desired effect settings from Program, Combination, or Song.

From (Bank and Number) [Bank and Number]

For Programs and Combinations, this selects the Bank and Number from which to copy. When this parameter is selected, you can also use the front-panel BANK buttons to select Banks.

(Effects slot select) [IFX 1…5, MFX 1&2, TFX]

Select which of the effects you wish to copy.

You can also copy from a master effect and total effect.

All [check-box]

When this is enabled, the settings of all insert effects (the contents of the Insert FX page and the effect parameters of IFX1–5, but not Ctrl Ch) will be copied.

To [IFX 1…5]

This selects the insert effect copy destination.

Post IFX Mixer Settings [check-box]

When this is checked, the Pan, Bus (Bus Select), Ctrl (FX Control Bus), and Sends 1 and 2 settings that follow the

copy source insert effect will also be copied.

When this is not checked, only the effect type and its parameters will be copied.

Copying 000: No Effect

Copying a single effect set to “000: No Effect” will not work: no data will be copied.

If either All or All used is selected, and “000: No Effect” exists within a chain, it will be copied. However, if the entire chain consists of “000: No Effect,” nothing will be copied.

1. Use the From ﬁeld to select the copy source mode, bank, and number.

You can also use the BANK SELECT switches to select the desired bank.

2. Select the effect that you want to copy.

You can copy from an insert effect by selecting IFX1–5.

If you copy from an insert effect, the result may not be exactly the same, due to differences in routing and level settings.

If you select MFX1 or MFX2, the Return level will be copied at the same time.

You can copy settings from a total effect by selecting TFX.

If you check All MFXs, all master effect settings will be copied.

If you check TFX, all total effect settings will be copied. Master Volume settings will not be copied.

3. In To, specify the copy destination master effects or total effect.

Swap MFX/TFX

Swap MFX/TFX is available on all of the MFX/TFX pages.

This command swaps (exchanges) settings between MFX1, MFX2, TFX.

1. Use Source 1 and Source 2 to select the master effect(s) or total effect(s) that you want to swap.

Write FX Preset

Write FX Preset is available on all of the effects parameter editing pages, including IFX 1–5, MFX 1 and 2, and TFX.

This command saves the edited effect into the M50’s internal memory.

Program: Menu Command Swap MFX/TFX

1. Press the text edit button to open the text edit dialog box, and input a name for the effect preset.

2. Use the To ﬁeld to select the writing destination. We recommend that you use U00–U15.

Program mode

Combination mode

COMBI Page Select

• Press the MODE COMBI switch to select Combination mode.

You can use the following ways to select the pages in Combination mode.

1. Press the PAGE SELECT switch to access “Page Select.”

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

The page in which you were 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 a numeric keys, 0–9, to specify a page number; you will move to the corresponding page.

For example if you want to access the P3: Timbre Param page, hold down the PAGE SELECT switch and press numeric key 3.

Note: For pages that consist of multiple subpages, such as P5–1 and P5–2, or P8–1 and P8–2, the ﬁrst of these pages (P5–1 or P8–1) will be selected.

• You can press the EXIT switch to return to the P0: Play page you selected most recently. Press the EXIT switch once again to return to the Main page. Press the EXIT switch to return to the P0: Play page.

Page Main content

Select and play combinations. (☞p.80) Program selection for each timbre. (☞p.81) Pan and volume settings etc. for each timbre.

P0: Play

PLAY

P1: Controllers

P2: EQ EQ settings for each timbre. (☞p.93)

P3: Timbre Param

EDIT

P4: Zone/Delay

P5–1:

MIDI Filter 1

P5–2:

MIDI Filter 2

P7: Arpeggiator/ Drum Track

ARP & DRUM TRACK

P8–1: IFX Route1/ 1–5

P8–2: IFX Route2

EFFECT

P9: MFX/TFX

(☞p. 83) Simple arpeggiator editing. (☞p. 84) Editing from the Tone Adjust (☞p. 86) Editing from the control surface. (☞p.87)

SW1, 2, and knob function settings. (☞p.91 ) Chord trigger switch note and velocity settings (☞p. 92)

Various parameter settings for each timbre (MIDI channel, OSC selection, Pitch setting, etc.) (☞p.95)

Key split and layer settings. (Key zone and velocity zone) (☞p.99) Time delay from note-on to beginning of sound. (☞p. 101)

MIDI transmit/receive ﬁlter 1 settings. (☞p. 103)

MIDI transmit/receive ﬁlter 2 settings. (☞p. 106)

Arpeggiator settings. (☞p.108) Drum track settings. (☞p.111)

Oscillator output bus and master effect send level settings. (☞p. 113) Insert effect routing, selection, and settings. (☞p. 115)

Bus settings for oscillator output. (☞p.117) Common FX LFO 1, 2 settings (☞p.117)

Master effect routing, selection, and settings. (☞p. 118) Total effect selection and settings. (☞p. 119)

Combination mode

COMBI P0: Play

This is the main page of Combination mode. Among other things, you can:

• Select combinations

• Select a program for each timbre, and specify its Play/ Mute and Solo On/Off status.

• Edit the Arpeggiator in simple ways

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

•Check the control surface content, and operate it.

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 this function to start recording immediately. To do so:

1. Hold down the ENTER switch and press the SEQUENCER REC/WRITE switch.

The Setup to Record dialog box will open and ask “Are you sure?”

2. Press OK.

You will automatically enter Sequencer mode, and will be in the record-ready state.

3. Press the START/STOP switch to start the sequencer and begin recording.

For more information, please see “Tip: Auto Song Setup” on page 126.

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

0–1 Menu

0–1a

0–1b

This is the main page for selecting and playing Combinations. You can also set the Program, Play/Mute, and Solo On/Off for each of the Timbres 1–8 and 9–16.

For more information, please see “0–1: Program T01–08, 0–2: Program T09–16” on page 80.

0–1(2)a: Combination Select

Bank [A...D]

This indicates the currently selected combination bank.

Press one of the COMBI BANK A–D switches to select the desired bank.

• Each bank contains rewritable combination program areas for 128 combinations (a total of 1,792).

Bank No. Description

A, B, C 000…127 Preloaded combinations

D 000…127 User combinations

Note: Pressing one of the PROG BANK A–G switches while the Program Select parameter is selected will change the timbre program bank (rather than the combination bank).

Bank

Combination Select Popup Combination Select

Combination Select [000...127]

Here you can select the desired Combination.

To switch combinations

• Choose “Combination Select,” use numeric keys 0–9 to input the desired combination number, and press the ENTER switch.

• Choose “Combination Select” and turn the VALUE dial or use the q/u switches.

Note: On this page only, the VALUE slider functions as a modulation source - which means that you cannot use it to select combinations.

• If the “0–1a: Combination Select” parameter is selected, the PROG BANK A–D switches will switch combination banks.

• From the Bank/Combination Select menu you can view and select combinations by bank.

• From the Category/Combination Select menu you can view and select combinations by category.

• You can use a foot switch to select combinations. For more information, please see the Global parameter “Foot Switch Assign” on page 228. For a list of the functions that can be assigned to the footswitch, please see “Foot Switch Assignments” on page 384.

• You can transmit MIDI program changes from a connected external MIDI device.

Bank/Combination Select menu:

1. Press the popup button located at the left of “Combination Select” to access the Bank/Combination Select menu.

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

3. Select a combination from the list. You can directly press your choice within the list, or use the qqqq/uuuu switches.

If the screen cannot display all of the available items, use the scroll bar.

Category Popup Tempo

4. Press the OK button to execute, or press the Cancel button to cancel your selection.

Bank/Combination Select menu

Tab

Scroll bar

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

Here, you can select the combination category.

All programs are classiﬁed using eighteen main categories and eight sub-categories. You can select a category, and then select a combination within that category. When you press the popup button, the Category/Combination Select menu will appear.

Category/Combination Select menu:

You can select combinations by category and sub-category. All combinations are organized into up to eighteen categories, and each category is further organized into eight sub-categories. You can use these categories and subcategories to select combinations.

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

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

Note: You cannot select the category tab of a category to which no combinations have been assigned.

3. Select a combination from the list. You can directly press your choice within the list, or use the qqqq/uuuu switches.

If there are more combinations than can be shown in the screen, use the scroll bar to see the remaining combinations.

Category/Combination Select menu

0–3: Mixer T01–08, 0–4: Mixer T09–16

0–3 Menu

0–3a

0–3b

This is the main page for selecting and playing Combinations.

You can also set the pan, and volume for each of the Timbres 1–8 and 9–16. For more information, please see “0–1: Program T01–08, 0–2: Program T09–16” on page 80.

0–3(4)a: Combination Select

For more information, please see “0–1(2)a: Combination Select” on page 80.

COMBI P0: Play 0–3: Mixer T01–08, 0–4: Mixer T09–16

If a mono insert effect is in use, the settings you make here will be ignored. In this case, the Pan: #8 parameter in P8–1: IFX–Insert FX Setup page will adjust the panning of the sound after the insert effect (“Mixer” on page 279).

RND: The oscillator pan will change randomly at each noteon.

If Status (Combi 3–1(2)c) is set to INT, CC#10 (pan) messages can be received to control the setting. CC#10 values of 0 or 1 will place the sound at far left, 64 at center, and 127 at far right. (exclude RND) Pan can be controlled by messages received on the MIDI Channel (Combi 3–1(2)c).

Volume [000...127]

Adjusts the volume of each timbre 1–8.

The volume of each timbre is determined by multiplying this volume value with the MIDI volume (CC#7) and expression (CC#11).

If Status (Combi 3–1(2)c) has been set to INT, incoming MIDI CC#7 or CC#11 messages will control the volume of a timbre. (However these messages will not affect the setting of this parameter.)

If Status is EXT or EX2, the value of this parameter will be transmitted as MIDI CC#7 when the combination is changed. However this will not be transmitted by a timbre that is set to the same MIDI channel as the global MIDI channel. This message is transmitted on the MIDI Channel (Combi 3–1(2)c) speciﬁed for each timbre.

0–3(4)b: Pan, Volume

Selected Timbre Info

This area shows information on the timbre selected for editing.

For more information, please see “0–1(2)b: Timbre Program Select” on page 81.

Timbre 01 (Timbre Number):

Category [Category Name]

This indicates the category.

Pan [RND, L001...C064...R127]

This speciﬁes the pan of each timbre.

L001…C064…R127: A setting of L001 is far left and R127 is far right. A setting of C064 will reproduce the pan setting of the Program mode.

OSC1

OSC2

OSC1: Amp1 Pan=L001

Left

Center

Left

Center

Right

OSC2: Amp2 Pan=R127

Pan (CC#10)

C064

L032

L001

R096

R127

OSC1

OSC2

OSC1: Amp1 Pan=L032

Left

Center

Left

Center

Right

OSC2: Amp2 Pan=R096

Pan (CC#10)

C064

L032

L001

R096

R127

Hold Balance [Off, On]

On (checked): When any one of the volume sliders is moved, the volume of the other timbres will change as well. The volume balance of timbres 1–16 will be maintained. This is useful when you wish to adjust the overall volume.

Timbre 02...08 (Timbre Number):

Here you can specify the program etc. for each Timbre 2 through 8. These are the same as for timbre 01. For more information, please see “Timbre 01 (Timbre Number):,” above.

▼0–3(4): Menu Command

• 0: Write Combination ☞p.120

•1: Exclusive Solo ☞p. 73

•2: Copy from Program ☞p. 120

For more information, please see “Combination: Menu Command” on page 120.

OSC1

Left

Center

OSC2

Right

OSC1: Amp1 Pan=C064 OSC2: Amp2 Pan=C064

Pan (CC#10)

C064

L032

L001

R096

R127

Combination mode

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

0–5 Menu

0–5a

0–5b

0–5c

Here, you can make arpeggiator settings for the combination. A combination can run two arpeggiators simultaneously.

Arpeggiator parameters can be edited in P7: ARP/DT, but certain major parameters can be edited in these pages as well. You can edit these parameters in realtime, for example, by changing the arpeggio pattern while playing in Combi P0: Play.

You can also use the TEMPO knob and the control surface arpeggio control (ARP) GATE knob, VELOCITY knob, LENGTH knob, and OCTAVE knob to control the arpeggiator in realtime.

To save the edits you make, use Write Combination.

0–5(6)c: Arpeggiator A (B)

Pat (Pattern)

Octave [1, 2, 3, 4]

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

Sort [Off, On]

Latch [Off, On]

Key Sync. [Off, On]

Keyboard [Off, On]

Set the various parameters of the combination arpeggiator. For more information, please see “COMBI P7: Arpeggiator/ Drum Track” on page 107.

These parameters can also be set from 7–3(4): Arpeggiator A(B) Setup.

[P0...P4, U0000(INT)...U0899(INT),

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

▼0–5(6): Menu Command

• 0: Write Combination ☞p.120

• 1: Exclusive Solo ☞p. 73

• 2: Copy from Program ☞p. 120

• 3: Copy Arpeggiator ☞p. 122

For more information, please see “Combination: Menu Command” on page 120.

0–5(6)a: Combination Select, Tempo

Bank, Combination Number & Name

These are the bank, number, and name of the current Combination. Here, you can also select a combination.

For more information, please see “0–1(2)a: Combination Select” on page 80.

 (Tempo) [040.00...300.00, EXT]

For more information, please see “ (Tempo)” on page 81.

0–5(6)b: Arpeggiator Run A/B,

Timbre assign

Arpeggiator Run A, B

When the ARP ON/OFF switch is on, the arpeggiator(s) you checked here will run if they are assigned to a timbre by Arpeggiator Assign (7–1(2)c).

When the arpeggiator is on, these check boxes let you turn A and B on/off.

This parameter can also be set from P7: Arpeggiator/Drum Track page Arpeggiator Run A, B.

Timbre assign

This indicates the arpeggiator A and B assignment status for each timbre 1–8. These settings are made in Arpeggiator Assign (7–1(2)c).

COMBI P0: Play Tone Adjust

Tone Adjust

0–7

0–7a

0–7b

0–7c

Tone Adjust provides two important features simultaneously:

• You can use the Tone Adjust parameters to edit the most important program parameters.

•It lets you modify Programs for use within a specific Combination including everything from subtle tweaks (like changing LFO speeds) to dramatic changes (such as selecting a different Multisample). Any changes that you make are stored with the Combination, and do not alter the original Program.

Each of the sixteen Timbres has its own set of tone adjust parameters.

For more information, see:

•“Absolute (Abs), Relative (Rel), Meta parameter” on page 6

•“Tone Adjust and MIDI SysEx” on page 7

•“Interaction between Tone Adjust and MIDI CCs” on page 7

0–7b: Timbre select, Selected parameter

information

Timbre select

Timbre [1…16]

This selects the timbre that will be controlled via the Tone Adjust parameters. You can switch back and forth between the different timbres as much as you like, without losing your edits.

Auto Load (Auto Load PRG) [Off, On]

When you ﬁrst load a Program into a Timbre, this parameter determines whether or not the Program’s Tone Adjust settings will be loaded as well.

The parameter settings assigned to the sliders and switches in the display and the on/off settings assigned to the Absolute parameters will be loaded.

Once the Program has been loaded, you can change any or all of the Tone Adjust settings as desired, including both assignments and values. All such edits are stored in the Combination, without affecting the original Program.

If Auto Load PRG is On, Tone Adjust settings will be automatically loaded along with the Program.

If Auto Load PRG is Off, the Tone Adjust settings of the replacement program will not be loaded; the program settings prior to replacement will remain.

Selected parameter information

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

Control Assignment Value Stored ValueType

Saving Tone Adjust Edits

In Program mode, when you make edits via Tone Adjust and then save the results, the Program data is changed–just as if you’d edited the internal parameters directly. For more information, please see “Saving Tone Adjust Edits” on page 7.

In Combination mode, however, all Tone Adjust edits are stored within the Combination; the Program itself is not changed. This lets you alter the way that a Program sounds in one speciﬁc Combi without affecting the way that it sounds in Program mode, or in any other Combinations or Songs.

0–7a: Combination Select, Tempo

Bank, Combination Number & Name

These are the bank, number, and name of the current Combination. Here you can also select a combination.

For more information, please see “0–1(2)a: Combination Select” on page 80.

 (Tempo) [040.00...300.00, EXT]

For more information, please see “ (Tempo)” on page 81.

Control [SW1…8, SL1…8]

This is the switch or slider in the display that is assigned to Tone Adjust parameters.

Assignment [List of Tone Adjust assignments]

This is the full name of the parameter assigned to the switch or slider in the display. 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 switch or slider.

Type [Rel, Abs, Meta]

This shows the type of the parameter, which relates to how edits to the parameter are 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 parameter from a control, it will revert to this value.

Combination mode

0–7c: Tone Adjust

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

Switches 1...8

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

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

Assign

On/Off

Value

Assign

This assigns Tone Adjust parameters to the switches in the display. For a full list of the available choices, please see “Common Tone Adjust Parameters” on page 8 and “Tone Adjust Parameters” on page 9.

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).

Sliders 1–8

Assign

This assigns Tone Adjust parameters to the sliders in the display. For a full list of the available choices, please see “Common Tone Adjust Parameters” on page 8 and “Tone Adjust Parameters” on page 9.

Assignments are exclusive

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 vary depending on the parameter assigned to the slider.

▼0–7: Menu Command

• 0: Write Combination ☞p.120

• 1: Exclusive Solo ☞p. 73

• 2: Copy from Program ☞p. 120

• 3: Copy Tone Adjust ☞p. 121

• 4: Reset Tone Adjust ☞p. 122

For more information, please see “Combination: Menu Command” on page 120.

Switch Status [Off, On]

This simply shows whether the switch is On or Off.

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, 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

•Use the knobs to control 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. Since the display and the front panel switches are linked, changing one will change the other correspondingly.

COMBI P0: Play 0–8: Control Surface

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.

If you want to reset ﬁlter settings etc., press the CONTROL ASSIGN REALTIME CONTROL switch to select A.

2. Hold down the RESET CONTROLS switch.

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

All knobs shown in the control surface will be reset to their default values.

Resetting Arpeggiator parameters

You can also perform the following reset operations for Arpeggiator.

To reset the knobs of each arpeggiator, hold down the RESET CONTROLS switch and press the ARP switch. The arpeggiator will be reset to the values stored in the combination.

In Combination 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 specify the MIDI message that will be transmitted.

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 return the desired knobs of the control surface to their saved values. You can also use this to reset the Arpeggiator settings.

Resetting a single control

To reset individual knob:

1. Hold down the RESET CONTROLS switch.

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

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

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

0–8a: Combination Select, Tempo

Bank (Bank Select) [A...D] Program Select [0...127]

 (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 “0–1(2)a: Combination Select” on page 80.

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.

Combination mode

Realtime Control

0–8a

0–8b

0–8 Menu

CC parameter scaling

Parameter

Value

As Programmed

0–8c

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

There are two modes of realtime control: A and B. These two modes will alternate each time you press the REALTIME CONTROL switch. In each mode, you can use knobs 1–4 to control parameters. Your selection of mode is remembered independently for each combination. 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: Controllers Setup page (page 91).

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.

640 127

CC Value

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

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

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

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

Knob 3–A: 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 4–A: 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 1…4–B [000...127]

These are the current values and assigned functions (MIDI CC) for the Realtime Control B mode knobs.

In the P1: Controllers– Controllers Setup page you can assign a variety of modulation functions to Realtime Control B mode knobs 1–4.

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

Selected Parameter information

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

0–8c: Realtime Control

The Realtime Control A mode knob functions (CUTOFF – EG RELEASE) are ﬁxed. You can assign a variety of functions to Realtime Control B mode knobs 1–4 (Knob1B – Knob4B). MIDI control changes are assigned for each function.

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

This will control timbres on the global MIDI channel.

Most of these functions adjust (scale) the parameter settings of the timbre programs. 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.

COMBI P0: Play External

External

0–8

0–8a

0–8b

0–8d

This External control lets you transmit MIDI messages to external devices.

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

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

When you select an External Setup, 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.

Men

0–8d: External

MIDI Channel [01…16, G]

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

G means that the slider 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.

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 remembered in internal memory; it is not saved for each combination. When you press the EXTERNAL switch to select external control, the previously-selected external setup will be active.

Combination mode

ARP

0–8

0–8a

0–8b

0–8e

Arpeggio control lets you use the four knobs to control the two arpeggiators 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 Combination ☞p.120

• 1: Exclusive Solo ☞p. 73

•2: Copy from Program ☞p. 120

For more information, please see “Combination: Menu Command” on page 120.

COMBI P1: Controllers

COMBI P1: Controllers 1–1: Controllers Setup

1–1: Controllers Setup

1–1

1–1a

1–1b

1–1c

Here, you can assign the functions performed by SW1 and SW2, and by knobs 1–4 when control surface REALTIME CONTROL B mode is selected.

Note: SW1 and SW2 can be controlled by the SW1 and SW2 switches.

Note: The Panel Switch Assign setting of the program assigned to each timbre will have no effect.

1–1a: Combination, Tempo

Bank, Combination Number & Name

These are the bank, number, and name of the current Combination.

For more information, please see “0–1(2)a: Combination Select” on page 80.

1–1c: Realtime Control Knob Assign

Here you can select the functions (mainly types of control change) that are assigned to knobs 1–4 when the control surface REALTIME CONTROL switch has selected B mode. (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 mode, and operate knobs 1–4.

Knob 1–B [Off, ..., MIDI CC#119] Knob 2–B [Off, ..., MIDI CC#119] Knob 3–B [Off, ..., MIDI CC#119] Knob 4–B [Off, ..., MIDI CC#119]

▼1–1: Menu Command

• 0: Write Combination ☞p.120

• 1: Exclusive Solo ☞p. 73

•2: Copy from Program ☞p. 120

For more information, please see “Combination: Menu Command” on page 120.

 (Tempo) [040.00...300.00, EXT]

For more information, please see “ (Tempo)” on page 81.

1–1b: 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: If the on/off status of the front panel SW1, SW2 switches is memorized when you save the combination.

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 (SW2 Assign) [Off, ..., JS-Y Lock] Mode (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).

Combination mode

1–2: Chord Trigger Setup

For more detailed instructions, please see “1–8a: Chord Trigger Switches” on page 20.

1–2 Menu

1–2a

For each combination, 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.

1–2a: Chord Trigger Switch

SW 1:

MIDI Channel [Ch01...Ch16, Gch]

This sets the chord trigger switch’s MIDI output channel. You can set this to either a speciﬁc channel (1–16), or the Global MIDI Channel.

Ch01…Ch16: The switch will transmit on the selected MIDI channel. As shown in the diagram below, you can:

Use this in conjunction with the Timbre MIDI Channel (Combi 3–1(1)c) setting, to route a swicth to a speciﬁc Timbre. For more information, please see “MIDI Channel” on page 95.

Gch: Use the global MIDI Channel setting. This is the default. For more information, please see “MIDI Channel (Global MIDI Channel)” on page 220.

Gch

T01: Piano

Gch

SW 2...4

These are the same as for SW 1, as described above.

▼1–2: Menu Command

• 0: Write Combination ☞p.120

• 1: Exclusive Solo ☞p. 73

•2: Copy from Program ☞p. 120

•3: Copy Chord Trigger Setup ☞p. 75

For more information, please see “Combination: Menu Command” on page 120.

Gch

SW1

2ch

SW2

Gch

2ch

3ch

SW1

SW2

Arpeggiator A

Arpeggiator B

Notes 1…8 [Off, C–1…G9 / 001…127]

These parameters let you edit the 8 notes assigned to each 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.

T02: Strings

T03: Bell

T01: Piano

T02: Strings

T03: Bell

Gch

2ch

Gch

2ch

3ch

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

2–2: OSC1 Pitch

2–3: OSC2 Basic

2–4: OSC2 Pitch

2–7: Velocity Zone

2–8: Pitch EG

PROG P3–1: Filter1

3–1–1: Filter1

3–1–2: Keyboard Track

3–1–3: Modulation

3–1–4: LFO Mod. (Modulation)

3–1–5: EG

PROG P3–2: Filter2

3–2–1: Filter2

3–2–2: Keyboard Track

3–2–3: Modulation

3–2–4: LFO Mod. (Modulation)

3–2–5: EG

PROG P4: Amp/EQ

4–1: Amp1/Driver1

4–2: Amp1 Modulation

4–3: Amp1 EG

4–8: EQ

4–5: Amp2/Driver2

4–6: Amp2 Modulation

4–7: Amp2 EG

PROG P5: LFO

5–1: OSC1 LFO1

5–2: OSC1 LFO2

5–5: OSC2 LFO1

5–6: OSC2 LFO2

5–8: Common LFO

PROG P6: AMS/C.KTrk (AMS Mixer/Common Keyboard Track)

6–1: OSC1 AMS Mix1

6–2: OSC1 AMS Mix2

6–4: OSC 2 AMS Mix1 , 6–5: OSC 2 AMS Mix2

6–7: Common KeyTrk 1 (Common Keyboard Track 1)

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

7–1: ARP Setup

7–2: ARP Scan Zone

7–4: DrumTrk Pattern (DrumTrack Pattern)

7–5: DrumTrk Program (DrumTrack Program)

PROG P8: IFX (Insert Effect)

8–1: Routing

8–2: Insert FX Setup

8–3: IFX1

8–8: Common FX LFO

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

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

9–1: Routing

9–2: MFX1

9–3: MFX2

9–4: TFX

Program: Menu Command

Combination mode

COMBI Page Select

COMBI P0: Play

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