Korg MICROX X50 User Manual 2
Parameter Guide
2E
OG
PG
1 2 3
About this manual
This “Parameter Guide” contains explanations and other
information regarding the operations of the parameters and
settings on the X50/microX. The explanations are organized
by mode, page, and tab. Explanations and other information
on the effects and their parameters are also provided for
each effect.
Refer to this guide when an unfamiliar parameter appears in
the display, or when you need to know more about a particular function.
Conventions in this manual
Abbreviations for the manuals, OG, PG
References to the manuals included with the X50/microX
are abbreviated as follows.
: Operation Guide
: Parameter Guide
Explanations specific to the X50 or microX
This parameter guide is written for both the X50 and the
microX. Explanations that apply only to one or the other
model are preceded by an indication of “
in the text.
Switches and knobs [ ]
References to the buttons, dials, and knobs on the X50/
microX’s panel are enclosed in square brackets [ ].
included in the CD-ROM)
(
X50: ” or “ microX: ”
Parameters in the LCD display screen “ ”
Parameters displayed in the LCD screen are enclosed in
double quotation marks “ ”.
Boldface type
Parameter values are printed in boldface type.
Content that is of particular importance is also printed in
boldface type.
Procedure steps
Steps in a procedure are listed as
☞
p.
■
,
☞
OG p.
From the left, these symbols indicate a reference page in the
Parameter Guide, a reference page in the Operation Guide,
and a parameter number.
■
1
,
☞■
2
–
3
■
...
...
Symbols , , , , ,
These symbols respectively indicate cautions, advice, MIDIrelated explanations, a parameter that can be selected as an
alternate modulation source, a parameter that can be
selected as a dynamic modulation source, and a parameter
that can use the BPM/MIDI Sync function.
Example screen displays
The values of the parameters shown in the example screens
of this manual are only for explanatory purposes, and may
not necessary match the values that appear in the LCD
screen of your instrument.
MIDI-related explanations
CC# is an abbreviation for Control Change Number.
In explanations of MIDI messages,
brackets [ ]
always indicate hexadecimal numbers.
numbers in square
How to read the “Parameter Guide”
(example)
Mode name
Page No.
Tab No.
Tab name
Parameter
No.
Parameter
name
PROG 3: Ed–LFOs
Here you can make settings for the LFO that can be used to
cyclically modulate the Pitch, Filter, and Amp of oscillators 1
and 2. There are two LFO units for each oscillator . By setting
the LFO1 or LFO2 Intensity to a negative (–) value for Pitch,
Filter, or Amp, you can invert the LFO waveform.
3–1: OS1LFO1
Indicates settings for the “OSC1 LFO1,” which is the first
LFO that can be used for oscillator 1.
3–1a
3–1b
3–1c
3–1a: OSC1 LFO1
Waveform [Triangle 0…Random6 (Vect.)]
(OSC1 LFO1)
Page name
■ 3–1: UTILITY
☞ “Write Program” (0–1)
For details on how to select the desired utility function, refer
to “PROG 0–1: UTILITY.”
Swap LFO 1&2
This exchanges the settings of LFO 1 and 2. If LFO2 is
selected in AMS1 (Freq. AMS1) or AMS2 (Freq. AMS2) of
LFO1 Freq.Mod (3–1b), then these settings will be invalid for
LFO2 after LFO1 and 2 have been exchanged. If you select
this from the OSC1 LFO1 or OSC1 LFO2 page, LFO1 and
LFO2 of OSC1 will be exchanged.
1 Select “Swap LFO 1&2” to access the dialog box.
Utilty menu
command name
Range of possible parameter values
iii
Table of Contents
1. Program mode........................... 1
PROG PAGE MENU....................................1
PROG 0: Play.............................................. 1
0–1: Program.......................................................... 1
0–2: P.Edit (Performance Editor)........................ 3
0–3: Arp (Arp. Play).............................................. 5
microX: 0–4: Ext. Control...................................... 5
PROG 1: Ed–Basic...................................... 6
1–1: Basic (Prog Basic).......................................... 6
1–2: OSC1............................................................... 7
1–3: OSC2............................................................... 9
1–4: V.Zone (Velocity Zone)................................9
1–5: Audition......................................................... 9
PROG 2: Ed–Pitch.................................... 10
2–1: OSC1............................................................. 10
2–2: OS1lfo (OSC1 LFO)..................................... 11
2–3: OSC2............................................................. 12
2–4: OS2lfo (OSC2 LFO)..................................... 12
2–5: EG (Pitch EG) .................................12
PROG 3: Ed–LFOs .................................... 14
3–1: OS1LFO1 (OSC1 LFO1) ................ 14
3–2: 1 LFO2 (OSC1 LFO2)..................................15
3–3: 2 LFO1 (OSC2 LFO1)..................................15
3–4: 2 LFO2 (OSC2 LFO2)..................................15
6–4: Lvl/Pan (Amp2 Level/Pan) ......................25
6–5: Mod. (Amp2 Modulation)..........................25
6–6: EG (Amp2 EG) ................................25
PROG 7: Ed–Arp/Ctrls (Arpeggiator/
Controls).................................................. 25
7–1: Setup (Arpeg. Setup)...................................25
7–2: Zone (Scan Zone).........................................27
7–3: Controls.........................................................27
PROG 8: Ed–InsertFX .............................. 28
8–1: BUS................................................................28
8–2: Setup..............................................................29
8–3: IFX (Insert Effect).........................................29
PROG 9: Ed–MasterFX ............................ 30
9–1: Setup..............................................................30
9–2: MFX 1 (Master Effect1)...............................31
9–3: MFX 2 (Master Effect2)...............................31
9–4: MEQ (Master EQ)........................................31
2. Combination mode ................. 33
COMBI PAGE MENU................................ 33
COMBI 0: Play.......................................... 33
0–1: Combi (Combination).................................33
0–2: Prog (Timbre Program) ..............................35
0–3: Mix (Mixer)...................................................36
0–4: Arp. A (Arpeggio Play A) ..........................37
0–5: Arp. B (Arpeggio Play B)............................37
microX: 0–6: Ext. Control ....................................37
iv
PROG 4: Ed–Filter1.................................. 16
4–1: Basic.............................................................. 16
4–2: Mod.1 (Filter1 Modulation1).....................17
4–3: Mod.2 (Filter1 Modulation2).....................18
4–4: lfoMod (LFO Modulation)......................... 18
4–5: EG (Filter1 EG) ...............................19
PROG 5: Ed–Filter2.................................. 21
5–1: Basic.............................................................. 21
5–2: Mod.1 (Filter2 Modulation1).....................21
5–3: Mod.2 (Filter2 Modulation2).....................21
5–4: lfoMod (LFO Modulation)......................... 21
5–5: EG (Filter2 EG) ...............................21
PROG 6: Ed–Amp1/2............................... 21
6–1: Lvl/Pan (Amp1 Level/Pan)...................... 21
6–2: Mod. (Amp1 Modulation)......................... 22
6–3: EG (Amp1 EG) ...............................23
COMBI 1: Ed–Tone Adjust...................... 38
1–1: Prog (Timbre Program) ..............................38
1–2: Mix (Mixer)...................................................38
1–3: TA1 (Tone Adjust 1)....................................38
1–4: TA2 (Tone Adjust 2)....................................38
1–5: TA3 (Tone Adjust 3)....................................38
COMBI 2: Ed–Timbre Param................... 40
2–1: MIDI ..............................................................40
2–2: OSC................................................................40
2–3: Pitch...............................................................41
2–4: Other..............................................................42
COMBI 3: Ed–MIDI Filter1....................... 42
3–1: MIDI 1–1 (MIDI Filter 1–1).........................42
3–2: MIDI 1–2 (MIDI Filter 1–2).........................43
3–3: MIDI 1–3 (MIDI Filter 1–3).........................43
3–4: MIDI 1–4 (MIDI Filter 1–4).........................43
COMBI 4: Ed–MIDI Filter2....................... 44
4–1: MIDI 2–1 (MIDI Filter 2–1) ........................44
4–2: MIDI 2–2 (MIDI Filter 2–2) ........................44
X50: 4–3: MIDI 2–3 (MIDI Filter2–3).................44
X50: 4–4: MIDI 2–4 (MIDI Filter 2–4)................44
microX: 4–3: MIDI 2–3 (MIDI Filter2–3)........... 44
COMBI 5: Ed–Key Zone...........................45
5–1: Key (Key Zone)............................................45
5–2: Slope (Key Slope)........................................46
5–3: Review.......................................................... 46
COMBI 6: Ed–Vel Zone (Velocity Zone)
6–1: Vel (Velocity Zone).....................................46
6–2: Slope (Velocity Slope).................................47
6–3: Review.......................................................... 47
........ 46
COMBI 7: Ed–Arp/Ctrls (Arpeggiator/
Controls).................................................. 47
7–1: Setup .............................................................47
7–2: Arp. A (Arpeggiator A).............................. 48
7–3: Arp. B (Arpeggiator B)...............................48
7–4: Zone (Scan Zone) ........................................49
7–5: Controls........................................................ 50
COMBI 8: Ed–InsertFX.............................50
8–1: BUS................................................................ 50
8–2: Setup .............................................................51
8–3: IFX (Insert Effect) ........................................52
COMBI 9: Ed–MasterFX........................... 52
9–1: Setup .............................................................52
9–2: MFX1 (Master Effect1)................................53
9–3: MFX2 (Master Effect2)................................53
9–4: MEQ (Master EQ)........................................53
3. Multi mode ...............................55
1–2: TA1..16 (Tone Adjust1).............................. 59
1–3: TA2..8 (Tone Adjust2)................................ 59
1–4: TA2..16 (Tone Adjust2).............................. 59
1–5: TA3..8 (Tone Adjust3)................................ 59
1–6: TA3..16 (Tone Adjust3).............................. 59
MULTI 2: Track Param............................. 61
2–1: MIDI..8 (MIDI T01–08)............................... 61
2–2: MIDI..16 (MIDI T09–16)............................. 61
2–3: OSC..8 (OSC T01–08).................................. 62
2–4: OSC..16 (OSC T09–16)................................ 62
2–5: Ptch..8 (Pitch T01–08)................................. 62
2–6: Ptch..16 (Pitch T09–16)............................... 62
2–7: Othr..8 (Other T01–08) ............................... 63
2–8: Othr..16 (Other T09–16) ............................. 63
MULTI 3: MIDI Filter1.............................. 64
3–1: M1–1..8 (MIDI Filter1–1 T01–08) ..............64
3–2: 1–1..16 (MIDI Filter1–1 T09–16)................ 64
3–3: 1–2..8 (MIDI Filter1–2 T01–08).................. 64
3–4: 1–2..16 (MIDI Filter1–2 T09–16)................ 64
3–5: 1–3..8 (MIDI Filter2–1 T01–08).................. 64
3–6: 1–3..16 (MIDI Filter2–1 T09–16)................ 64
3–7: 1–4..8 (MIDI Filter2–2 T01–08).................. 65
3–8: 1–4..16 (MIDI Filter2–2 T09–16)................ 65
MULTI 4: MIDI Filter2.............................. 65
4–1: M2–1..8 (MIDI Filter2–1 T01–08) ..............65
4–2: 2–1..16 (MIDI Filter2–1 T09–16)................ 65
4–3: 2–2..8 (MIDI Filter2–2 T01–08).................. 66
4–4: 2–2..16 (MIDI Filter2–2 T09–16)................ 66
X50: 4–5: 2–3..8 (MIDI Filter2–3 T01–08) ......... 66
X50: 4–6: 2–3..16 (MIDI Filter2–3 T09–16) ....... 66
X50: 4–7: 2–4..8 (MIDI Filter2–4 T01–08) ......... 66
microX: 4–5: 2–3..8 (MIDI Filter2–3 T01–08).... 66
X50: 4–8: 2–4..16 (MIDI Filter2–4 T09–16) ....... 66
microX:
4–6: 2–3..16 (MIDI Filter2–3 T09–16)
..... 66
MULTI PAGE MENU.................................55
MULTI 0: Play........................................... 55
0–1: Multi..............................................................55
0–2: Prog..8 (Track Program T01...08) ..............57
0–3: Prog..16 (Track Program T09...16) ............57
0–4: Mix..8 (Mixer T01...08)................................ 58
0–5: Mix..16 (Mixer T09...16).............................. 58
microX: 0–6: Ext. Control....................................59
MULTI 1: Tone Adjust ............................. 59
1–1: TA1..8 (Tone Adjust1) ................................59
MULTI 5: Key Zone.................................. 67
5–1: Key..8 (Key Zone T01–08).......................... 67
5–2: Key..16 (Key Zone T09–16)........................ 67
5–3: Slp..8 (Key Slope T01–08) .......................... 67
5–4: Slp..16 (Key Slope T09–16) ........................ 67
5–5: Review.......................................................... 67
MULTI 6: Vel Zone (Velocity Zone)........ 68
6–1: Vel..8 (Velocity Zone T01–08) ...................68
6–2: Vel..16 (Velocity Zone T09–16) .................68
6–3: Slp..8 (Velocity Slope T01–08)................... 68
6–4: Slp..16 (Velocity Slope T09–16)................. 68
v
6–5: Review.......................................................... 68
MULTI 7: Arp/Ctrls
(Arpeggiator/Controls).......................... 69
7–1: Set..8 (Setup T01–08)................................... 69
7–2: Set..16 (Setup T09–16)................................. 69
7–3: Arp. A (Arpeggiator A).............................. 70
7–4: Arp. B (Arpeggiator B)...............................70
7–5: Zone (Scan Zone)........................................ 70
7–6: Controls........................................................ 71
MULTI 8: InsertFX.................................... 72
8–1: BUS..8 (BUS T01...08).................................. 72
8–2: BUS..16 (BUS T09...16)................................ 72
8–3: Setup............................................................. 72
8–4: IFX (Insert Effect)........................................ 73
MULTI 9: MasterFX.................................. 73
9–1: Setup............................................................. 73
9–2: MFX1 (Master Effect1) ............................... 74
9–3: MFX2 (Master Effect2) ............................... 74
9–4: MEQ (Master EQ) .......................................74
4. Global mode............................. 75
GLOBAL PAGE MENU.............................. 75
GLOBAL 5: Arp.Pattern........................... 89
5–1: Setup..............................................................89
5–2: Edit ................................................................91
microX: GLOBAL 6: Ext. Control............. 93
6–1: A (Knob 1–A, 2–A, 3–A, 4–A)....................93
6–2: B (Knob 1–B, 2–B, 3–B, 4–B) .......................93
6–3: C (Knob 1–C, 2–C, 3–C, 4–C) .....................93
5. Demo Song............................... 95
Demo Song.............................................. 95
6. Effect Guide.............................. 97
Overview................................................. 97
1. Effects in each mode .......................................97
2. Dynamic modulation (Dmod).......................97
3. Effect I/O..........................................................97
Insert Effect (IFX) .................................... 98
1. In/Out...............................................................98
2. Routing..............................................................98
3. Mixer .................................................................99
4. Controlling the Insert Effects via MIDI......100
GLOBAL 0: System .................................. 75
0–1: Basic.............................................................. 75
0–2: Pref. (System Preference)...........................78
0–3: Foot ...............................................................80
GLOBAL 1: MIDI....................................... 81
1–1: MIDI.............................................................. 81
GLOBAL 2: User Scale ............................. 85
2–1: Octave........................................................... 85
2–2: All Notes ......................................................85
GLOBAL 3: Category Name .................... 86
3–1: P.0..7 (Prog.00...07)...................................... 86
3–2: P.8..15 (Prog.08...15).................................... 86
3–3: C.0..7 (Comb.00...07)................................... 86
3–4: C.8..15 (Comb.08...15)................................. 86
GLOBAL 4: DKit (Drum Kit)..................... 86
4–1: High (High Sample) ...................................86
4–2: Low (Low Sample) ..................................... 88
4–3: Voice (Voice/Mixer)................................... 88
Master Effects (MFX1, 2) ...................... 100
1. In/Out.............................................................100
2. Routing............................................................101
3. Mixer ...............................................................102
4. Controlling the Master Effects via MIDI....102
Master EQ..............................................103
Individual Outputs ............................... 103
Filter/Dynamic...................................... 104
00: No Effect .......................................................104
01: St.Amp Sim (Stereo Amp Simulation)......104
02: St.Compressor (Stereo Compressor).........104
03: St.Limiter (Stereo Limiter)..........................104
04: Mltband Limit (Multiband Limiter) .........105
05: St.Gate (Stereo Gate) ...................................106
06: OD/HiGain Wah
(Overdrive/Hi.Gain Wah).........................106
07: St.Para.4EQ
(Stereo Parametric 4-Band EQ)..................107
08: St.Graphic7EQ
(Stereo Graphic 7-Band EQ).......................108
09: St.Wah/AutoW
(Stereo Wah/Auto Wah)............................108
vi
10: St.Rndm Filter (Stereo Random Filter).....109
11: St.Exct/Enhcr
(Stereo Exciter/Enhancer) .........................110
12: St.Sub OSC (Stereo Sub Oscillator)...........110
13: Talking Mod (Talking Modulator)...........111
14: St.Decimator (Stereo Decimator) ..............112
15: St.AnalogRecd (Stereo Analog Record)...112
Pitch/Phase Mod...................................113
16: St.Chorus (Stereo Chorus) .........................113
17: St.HarmnicCho
(Stereo Harmonic Chorus)......................... 113
18: MltTap ChoDly
(Multitap Chorus/Delay) ..........................114
19: Ensemble......................................................114
20: St.Flanger (Stereo Flanger) ........................115
21: St.Rndm Flang
(Stereo Random Flanger)........................... 115
22: St.Env.Flanger
(Stereo Envelope Flanger)..........................116
23: St.Phaser (Stereo Phaser) ...........................116
24: St.Rndm Phasr
(Stereo Random Phaser).............................117
25: St.Env.Phaser
(Stereo Envelope Phaser)...........................117
26: St.BiphaseMod
(Stereo Biphase Modulation)..................... 118
27: St.Vibrato (Stereo Vibrato).........................118
28: St.AutoFd Mod
(Stereo Auto Fade Modulation)................ 119
29: 2Voice Reso (2Voice Resonator)................119
30: Doppler.........................................................120
31: Scratch...........................................................121
Mod./P.Shift .......................................... 122
32: St.Tremolo (Stereo Tremolo) .....................122
33: St.Env.Tremlo
(Stereo Envelope Tremolo)........................122
34: St.Auto Pan (Stereo Auto Pan)..................123
35: St.Phasr+Trml
(Stereo Phaser + Tremolo) .........................123
36: St.Ring Mod (Stereo Ring Modulator)..... 124
37: Detune ..........................................................125
38: Pitch Shifter..................................................125
39: PitchShft Mod
(Pitch Shift Modulation).............................126
40: Rotary SP (Rotary Speaker).......................126
ER/Delay ................................................ 127
41: Early Reflect (Early Reflections) ...............127
42: Auto Reverse ...............................................128
43: LCR Delay (L/C/R Delay)........................128
44: St/Cross Dly (Stereo/Cross Delay)..........129
45: St.MltTap Dly (Stereo Multitap Delay) ... 129
46: St.Mod. Delay
(Stereo Modulation Delay)........................ 130
47: St.DynamicDly
(Stereo Dynamic Delay)............................. 130
48: St.AutoPanDly
(Stereo Auto Panning Delay)....................131
49: LCR BPM Delay (L/C/R BPM Delay)..... 131
50: St.BPM Delay (Stereo BPM Delay)........... 132
51: Sequence Dly (Sequence Delay) ............... 132
Reverb ................................................... 133
52: Rev Hall (Reverb Hall)............................... 133
53: Rev Smth. Hall
(Reverb Smooth Hall)................................. 133
54: Rev Wet Plate (Reverb Wet Plate)............ 133
55: Rev Dry Plate (Reverb Dry Plate)............. 133
56: Rev Room (Reverb Room)......................... 134
57: Rev Brt. Room (Reverb Bright Room) ..... 134
Mono → Mono Chain............................ 135
58: P4EQ–Exciter
(Parametric 4-Band EQ – Exciter)............. 135
59: P4EQ–Wah
(Parametric 4-Band EQ – Wah/Auto Wah) . 135
60: P4EQ–Cho/Fl
(Parametric 4-Band EQ – Chorus/Flanger)
61: P4EQ–Phaser
(Parametric 4-Band EQ – Phaser)............. 136
62: P4EQ–M.Dly
(Parametric 4-Band EQ – Multitap Delay)
63: Comp–Wah
(Compressor – Wah/Auto Wah).............. 137
64: Comp–AmpSim
(Compressor – Amp Simulation) ............. 138
65: Comp–OD/HG
(Compressor – Overdrive/Hi.Gain)........ 138
66: Comp–P4EQ
(Compressor – Parametric 4-Band EQ) ... 138
67: Comp–Cho/Fl
(Compressor – Chorus/Flanger).............. 139
68: Comp–Phaser (Compressor – Phaser)..... 139
69: Comp–M.Dly
(Compressor – Multitap Delay)................ 140
70: Limit–P4EQ
(Limiter – Parametric 4-Band EQ)............ 140
71: Limit–Cho/Fl
(Limiter – Chorus/Flanger) ...................... 141
72: Limit–Phaser (Limiter – Phaser)............... 141
73: Limit–M.Dly
(Limiter – Multitap Delay) ........................ 142
74: Exct–Comp (Exciter – Compressor)......... 142
75: Exct–Limiter (Exciter – Limiter) ............... 142
76: Exct–Cho/Fl
(Exciter – Chorus/Flanger).......................143
. 136
... 137
vii
77: Exct–Phaser (Exciter – Phaser)..................143
78: Exct–M.Dly (Exciter – Multitap Delay) ... 143
79: OD/HG–AmpSim
(Overdrive/Hi.Gain – Amp Simulation)
80: OD/HG–Cho/Fl
(Overdrive/Hi.Gain – Chorus/Flanger)
81: OD/HG–Phaser
(Overdrive/Hi.Gain – Phaser)..................145
82: OD/HG–M.Dly
(Overdrive/Hi.Gain – Multitap Delay)...145
83: Wah–AmpSim
(Wah/Auto Wah – Amp Simulation)...... 146
84: Deci–AmpSim
(Decimator – Amp Simulation)................. 146
85: Deci–Comp
(Decimator – Compressor) ........................146
86: AmpSim–Trml
(Amp Simulation – Tremolo).................... 147
87: Cho/Fl–M.Dly
(Chorus/Flanger – Multitap Delay)......... 147
88: Phasr–Cho/Fl
(Phaser – Chorus/Flanger)........................ 148
89: Reverb–Gate ................................................148
....144
....144
Master EQ ..............................................149
Master EQ ..........................................................149
7. Appendices ............................151
Alternate Modulation Source (AMS)
About Alternate Modulation...........................151
About Alternate Modulation Sources ............151
AMS (Alternate Modulation Source) List
Alternate Modulation settings.........................154
The effect of alternate modulation on various
parameters, and example applications.....154
Dynamic Modulation Source (Dmod)
Dynamic Modulation Source List...................158
About the BPM/MIDI SYNC function...........160
X50: SW1/2 Assign................................ 161
SW1, SW2 Assign List.......................................161
Knob 1...4 B Assign...............................162
Realtime Control Knobs B Assign List...........162
Foot Switch Assign............................... 164
Foot Switch Assign List....................................164
Foot Pedal Assign.................................165
Foot Pedal Assign List......................................165
........ 151
.............152
....... 157
MIDI transmission when the X50/microX’s
controllers are operated......................166
X50/microX operations when control
changes are transmitted/received...... 168
MIDI applications.................................. 171
■
Messages transmitted and received by this
instrument......................................................171
Various messages................................. 180
X50, microX MUSIC SYNTHSIZER MIDI
IMPLEMENTATION................................ 181
Index...................................................... 184
• Apple, Mac and Audio Units are trademarks of Apple Computer ,
Inc., registered in the US. and other countries.
• Windows XP is a registered trademark of Microsoft Corporation
in the U.S. and other counties.
• VST is a trademark of Steinberg Media Technologies GmbH.
•RTAS is a registered trademark of Avid Technology, Inc., or its
subsidiaries or divisions.
• All other product and company names are trademarks or registered trademarks of their respective holders.
viii
1. Program mode
1
2
3
4
→ 1
PROG
PROG PAGE MENU
Use the following procedure to select the desired page from
within the current mode.
Press the [MENU/OK] button to access the “PAGE
MENU.”
The “PAGE MENU” will show an abbreviated name for
each page.
Use the ClickPoint [ √ ][ ® ][ π ][ † ] to select a page.
Press the center of the ClickPoint to access the page.
If the selected page is divided into multiple pages, use
the PAGE [+][–] buttons to select the page you want.
Other ways to select a page
• Use the PAGE [+][–] buttons to move between tabs of a
page.
• Hold down the [MENU/OK] button and use the PAGE
[+][–] buttons to move forward or backward in the order
of pages 0
X50:
• Hold down the [MENU/OK] button and press one of
the numeric buttons [0]–[9] to move to the
corresponding page number. For example if you want to
move to the PROG 3: Ed–LFOs page, hold down the
[MENU/OK] button and press numeric button [3].
Play 0: Play Select and play programs.
Basic 1: Ed–Basic Set basic program parameters such as
Pitch 2: Ed–Pitch Pitch settings. Pitch EG settings. (☞p.10)
LFOs 3: Ed–LFOs Type and speed settings etc. for the two
Filter1 4: Ed–Filter1 Filter 1 (tone) settings. Filter EG settings.
Filter2 5: Ed–Filter2 Filter 2 (tone) settings. Filter EG settings.
Amp1/2 6: Ed–Amp1/2 Amp 1 and Amp 2 (volume) settings. Amp
Arp/Controls
Insert Effect
Master Effect
→2→3 etc.
7: Ed–Arp/Ctrls
8: Ed–InsertFX
9: Ed–MasterFX
Use the Performance Editor for easy editing, and to do simple editing of arpeggio
patterns.
microX: Select an external control set.
(☞p.1)
Oscillator and Multisample. (☞p.6)
LFOs provided for each oscillator. (Make
settings in the pitch, filter, and amp pages
to specify the depth of the LFO settings
you make here.) (☞p.14)
(☞p.16)
(☞p.21)
EG, pan (position) settings. (☞p.21)
Arpeggiator settings. (Shared with 0: Play
parameters. You may edit either.)
Controller settings. (☞p.25)
Select the BUS and master effect send
level for the oscillator output.
Insert Effect routing, selection and settings. (☞p.28)
Master Effect selection and settings. Master EQ settings. (☞p.30)
PROG 0: Play
In this display page you can select and play programs.
All MIDI data in PROG 0: Play is transmitted and
received on the Global MIDI Channel (☞GLOBAL 1–
1a).
0–1: Program
X50
0–1a
0–1b
microX
0–1a
0–1b
0–1a: Bank, Program Select, Category,
Cat. Hold, 10’s Hold, (Tempo)
Bank X50: [Bank A...D, G, g(d)]
microX: [Bank A...E, G, g(d)]
This is the program bank display.
X50: Use the PROG BANK [A]–[GM] buttons to select the
bank. The X50 provides rewritable banks A, B, C, and D,
each containing 128 programs (total 512). As for non-rewritable program areas, it provides banks G (capital programs
for GM), and bank g(d) (drums).
X50 Bank List
Bank A
Bank B
Bank C
Bank D
Bank G GM capital program
Bank g(d) GM drums program
Bank G will toggle between the GM and g(d) banks each
time you press the PROG BANK [GM] button.
for preloaded programs
(for user programs)
G→g(d)→ G→g(d)→G…
0
123456789
1
microX: Use the PROGRAM [A]–[GM] buttons to select
the bank. The microX provides rewritable banks A, B, C, D,
and E, each containing 128 programs (total 640). As for nonrewritable program areas, it provides banks G (capital programs for GM), and bank g(d) (drums). If you press a PROGRAM [A]–[GM] button, you will automatically enter
Program mode even if you had been in a different mode.
microX Bank List
Bank A
Bank B
Bank C
Bank D
Bank E
Bank G GM capital program
Bank g(d) GM drums program
Bank G will toggle between the GM and g(d) banks each
time you press the PROGRAM [GM] button.
for preloaded programs
(for user programs)
G→g(d)→ G→g(d)→G…
Program Select
X50:
[(A…D)0…127: name, (G, g(d))1…128: name]
microX:
Here you can select a program.
Choose this parameter, and use one of the following methods to select a program.
[(A…E)0…127: name, (G, g(d))1…128: name]
To assign a category to each program, use the “Write
Program” (0–1) dialog box. To change the name of a category, use “Category Name Prog. 00–07, 08–15”
(☞GLOBAL 3–1/2).
X50: Cat. HOLD (Category Hold)
1 Press the [./HOLD] button to display . The
category will be held (fixed).
2 Use the ClickPoint [√][®][π][†] to choose “Category,”
and use the [INC][DEC] buttons or the [VALUE] dial to
select a category.
3 Use the ClickPoint [√][®][π][†] to choose “Program
Select,” and use the [INC][DEC] buttons or the [VALUE]
dial to successively select programs in that category.
4 To cancel, press the [./HOLD] button twice to turn off the
display.
If you press the [./HOLD] button in PROG 0: Play, the
selection will cycle in the order of →
→ Cancel.
Select by Category
1 Press the [CATEGORY] button to access the category
menu (Prog/Category).
X50
X50:
• Turn the [VALUE] dial.
• Use the [INC][DEC] buttons.
• Use the numeric buttons [0]–[9] to enter a program
number, and press the [ENTER] button to finalize the
number.
• Press the center of the ClickPoint to highlight the field,
then use [π][†] to select a program, and press the
center to finalize your selection.
• 10’s HOLD (☞p.2)
• Use PROG BANK [A]–[GM] to select a bank (☞p.1)
• Use “Select by Category” to select by category (☞p.2)
• Use the foot switch (☞p.80, 164)
• Receive a MIDI program change (☞p.171)
microX:
• Turn the [VALUE] dial.
• Press the center of the ClickPoint to highlight the field,
then use [π][†] to select a program, and press the
center to finalize your selection.
• Use “Select by Category” to select by category (☞p.2)
• Use the [CATEGORY] button and PROGRAM/
COMBINATION buttons to select by category (☞p.2)
• Use the foot switch (☞p.80, 164)
• Receive a MIDI program change (☞p.171)
You can receive MIDI program changes from a connected external MIDI device, or use a foot switch to
select programs. (☞p.80 “Foot SW Assign” (GLOBAL
0–3a), p.164 “Foot Switch Assign List”)
Category [00...15: name]
Selects the program category.
All programs are classified into one of sixteen categories.
You can select the desired category, and then choose programs from that category.
To select a program by category, use the procedure
described below.
microX
Alternatively, you can access the category menu by
pressing the [UTILITY] button and choosing “Select by
Category” from the utility menu.
2 Use ClickPoint [√] to select “Prog/Category,” and use
the [VALUE] dial to select a category.
3 Use ClickPoint [π][†] to select a program. Alternatively ,
use the ClickPoint [®] to choose “Sel (Select),” and use
the [VALUE] dial to select a program.
4 Press the [MENU/OK] button to execute, or press the
[EXIT/CANCEL] button if you decide not to execute.
microX: Category & Bank
1 Press the [CATEGORY] button to access the category
menu (Prog/Category).
2 Note the categories shown below the PROGRAM buttons
or COMBINATION buttons, and pr ess the corresponding
button for the desired category. You can also use the
[PAGE+][PAGE–] buttons to step through the categories
one by one.
3 Use the [VALUE] dial to select a program.
4 Press the [MENU/OK] button to execute, or press the
[EXIT/CANCEL] button if you decide not to execute.
X50: 10’s HOLD
1 Press the [./HOLD] button to make the indi-
cation appear.
2
The ten’s place of the program number will be fixed.
2 Now you can press a numeric button [0]–[9] to enter the
one’s place in a single action.
3 You can use the [INC][DEC] buttons to change the ten’s
place.
4 To defeat 10’s HOLD, press the [./HOLD] button to make
the indication disappear.
(Tempo) [040...240, EXT]
This sets the tempo of the arpeggiator. The tempo can also
be adjusted by the REALTIME CONTROLS C-mode
[TEMPO] knob.
EXT is shown if “MIDI Clock” (GLOBAL 1–1a) is set to ExtMIDI or Ext-USB, or if it is set to Auto and the unit is oper-
ating as a slave. The arpeggiator will synchronize to MIDI
clock messages from an external MIDI device.
You can also set this parameter from 7: Ed–Arp/Ctrls.
X50: You can tap the [ENTER] button several times to set
the tempo to the corresponding interval. Alternatively, if
you set the GLOBAL 0–3: Foot page “Foot SW Assign”
parameter to Tap Tempo, you can specify the tempo by tap-
ping your foot on a pedal switch connected to the ASSIGNABLE SWITCH jack.
microX: If you set the GLOBAL 0–3: Foot page “Foot SW
Assign” parameter to T ap Tempo, you can specify the tempo
by tapping your foot on a pedal switch connected to the
ASSIGNABLE SWITCH jack.
0–1b: Program Information
X50: This area shows the functions that are assigned to the
assignable switches [SW1] and [SW2], and to the REALTIME
CONTROLS B-mode [ASSIGNABLE 1]–[ASSIGNABLE 4]
knobs of the selected program.
1 Select “Write Program” to access the dialog box.
2 The upper line shows the bank, program number and
program name.
3 In “Category,” specify the category of the program that
you are writing.
The category selected here can be used to find this program when selecting a program in Program, Combination, Multi.
With the factory settings, the program categories have
been given the names of instruments etc., but you can
use “Category Name Prog.00–07, 08–15” (GLOBAL 3–
1/2) to modify these category names.
4 In “To” to specify the writing destination.
X50: You can use the PROG BANK [A]–[D] buttons to
select a bank. You can also use the numeric buttons [0]–[9]
and [ENTER] button to select a program number.
You can’t write to bank G or g(d). If you’ve edited a
program from bank G or g(d) and want to write it,
you’ll need to write it to a bank other than the GM
bank.
5 If you want to change the program name, select the writ-
ing destination, press the center of the ClickPoint to
access the text dialog box, and enter a name. (☞OG X50:
p.112, microX: p.114)
6 To write the program, press the [MENU/OK] button. To
cancel, press the [EXIT/CANCEL] button.
Select by Category
Here you can select a program by category. (☞p.2)
PROG
0
123456789
microX: This area shows the functions that are assigned to
the REALTIME CONTROLS B-mode [ASSIGNABLE 1]–
[ASSIGNABLE 4] knobs.
■ 0–1: UTILITY
Use the following procedure to select the desired utility.
1 Press the [UTILITY] button to access the utility menu.
2 Use the ClickPoint to select the utility that you want to
execute.
3 Press the center of the ClickPoint to access the dialog box.
X50: Utilities up to number 10 can also be selected by hold-
ing down the [ENTER] button and pressing the corresponding numeric button [0]–[9] to access the dialog box.
Write Program
If you wish to save a program, be sure to write it into the
memory of the X50/microX.
An edited program cannot be recovered if you do not write
it to memory before turning off the power or selecting
another program.
If you want to write a program, you must first turn off
the memory protect setting in Global mode. (☞p.79
GLOBAL 0–2b: Memory Protect)
0–2: P.Edit (Performance Editor)
0–2a
0–2b
0–2a: Bank, Program Select, (Tempo)
Select a program. The bank, number, and name of the program will be displayed (☞p.1). “ ” sets the tempo.
0–2b: Performance Editor
The Performance Editor lets you edit major program parameters without moving to the PROG 1–9 Ed (Edit) pages.
This edits multiple program parameters within the currently
selected program, allowing you to make broad adjustments
easily.
You can use the Performance Editor when you wish to
adjust the depth of effects etc. while you are playing, or to
make the initial rough settings to begin the process of creating a new sound.
Editing that you do here will affect the values of the program parameters in the edit buffer.
If you wish to keep the results of your editing, you must
write (save) the program (☞OG p.45).
3
Editing done using the Performance Editor will occur
within the range of the corresponding parameter. If
after using the Performance Editor to modify a value,
you move to another page or mode and then return, the
sound will remain in its edited state but the value
shown in the LCD screen by the Performance Editor
will be +00. You may do further editing from this state
if you wish.
Since editing done using the Performance Editor is not
as detailed as conventional editing, the balance
between parameters may be lost. If this occurs, use 1:
Ed–Basic–9: Ed–MasterFX to make fine adjustments.
If the MIDI Filter “Exclusive” (GLOBAL 1–1b) setting is
checked, MIDI exclusive parameter changes will be
transmitted whenever you operate the Performance
Editor. If these messages are received by an instrument
whose “Exclusive” setting is checked, the Performance
Editor on that instrument corresponding to the received
message will be modified.
Octave [–03...+00...+03]
An adjustment of +01 will raise the pitch one octave.
An adjustment of –01 will lower the pitch one octave.
This setting cannot adjust the pitch higher than 4' (feet) or
lower than 32' (feet).
Stretch (Pitch Stretch) [–12...+00...+12]
This simultaneously adjusts the Transpose and Tune of the
oscillator. This lets you produce a variety of tonal changes
and variations without loosing the character of the original
sound.
At the +00 setting, the value of the program parameters will
be unchanged.
An adjustment of +01 will lower the Transpose value by 1,
and simultaneously raise the Tune value by 100.
An adjustment of –01 will raise the Transpose value by 1,
and simultaneously lower the Tune value by 100.
However, it is not possible for the Transpose value to exceed
the range of ±12, nor the Tune value to exceed the range of
±1200.
OSC Bal (OSC Balance) [–10…+00…+10]
This adjusts the level balance between oscillators 1 and 2.
At the +00 setting, the value of the program parameters will
be unchanged.
Positive (+), settings will lower the oscillator 2 level.
With an adjustment of +10, the oscillator 2 level will be 0.
The oscillator 1 level will not change.
Negative (–) settings will lower the oscillator 1 level.
With an adjustment of –10, the oscillator 1 level will be 0.
The oscillator 2 level will not change.
For programs whose “Mode (Oscillator Mode)” (1–1a)
setting is Single, oscillator 2 will not sound. Only the
level of oscillator 1 will change. For a Drums program,
this performance editor will have no effect.
Level (Amp Level) [–10…+00…+10]
This adjusts the amp level.
With an adjustment of +00, the value of the program parameters will be unchanged.
Positive (+) settings will increase the amp level above the
value that was set.
With an adjustment of +10, the amp level will be 127 (maximum).
Negative (–) settings will lower the amp level below the
value that was set.
With an adjustment of –10, the amp level will be 0.
Attack (Attack Time) [–10…+00…+10]
This adjusts the attack times of the filter EG and amp EG.
With an adjustment of +00, the value of the program parameters will be unchanged.
Positive (+) settings will lengthen the attack times beyond
the values that were set.
With an adjustment of +10, the attack times will be 90.
Negative (–) settings will shorten the attack times.
With an adjustment of –10, the attack times will be 0.
When you modify “Attack Time,” the EG Start Level,
Attack Level, Start Level Modulation, and Attack Time
Modulation of the amp EG will also be adjusted simultaneously, to allow the maximum effect to be obtained.
Decay (Decay Time) [–10…+00…+10]
This adjusts the Decay Time and Slope Time of the filter EG
and amp EG.
With an adjustment of +00, the value of the program parameters will be unchanged.
Positive (+) settings will lengthen the Decay T ime and Slope
Time beyond the values that were set. With an adjustment of
+10, the times will be 99.
Negative (–) settings will shorten the Decay Time and Slope
Time. With an adjustment of –10, the times will be 0.
IFX Bal (IFX Balance) [–10…+00…+10]
This adjusts the “W/D(Wet/Dry)” setting of the insertion
effect.
With an adjustment of +00, the value of the program parameters will be unchanged.
Positive (+) settings will raise the Wet level above the program setting, and lower the Dry level. With an adjustment of
+10, the setting will be “Wet” - the effected signal only.
Negative (–) settings will lower the Wet level below the pro-
gram setting, and raise the Dry level. With an adjustment of
–10, the setting will be “Dry” - the signal is unaffected.
MFX Bal (MFX Balance) [–10…+00…+10]
This adjusts the master effect “Rtn1 (Return1)” and “Rtn2
(Return2)” (9–1a) settings as a whole.
With an adjustment of +00, the value of the program parameters will be unchanged.
Positive (+) settings will raise the return levels above the
program setting.
With an adjustment of +10, the setting will be 127 (maximum).
Negative (–) settings will lower the return levels below the
program setting.
With an adjustment of –10, the setting will be 0.
Octave Octave of OSC 1 and 2
Stretch Transpose and Tune of OSC 1 and 2
OSC Bal High Level and Low Level of OSC1 and 2
Level Amp1 Level, Amp2 Level
Attack Amp EG Attack Time, Start Level, Attack Level,
Level Modulation S, Time Modulation A of Amp 1
and 2, and Filter EG Attack Time of Filter 1 and 2
Decay AmpEG Decay Time, Slope Time of Amp 1 and 2,
Filter EG Decay Time and Slope Time of Filter 1
and 2
IFX Bal W/D (Wet/Dry) balance of the IFX effect
MFX Bal Master Effect RTN1, 2 (Return1, 2)
■ 0–2: UTILITY
☞ “Write Program,” “Select by Category” (0–1)
4
0–3: Arp (Arp. Play)
While arpeggiator parameters are for the most part edited in
PROG 7: Ed–Arp/Ctrls, Some major parameters can be
edited here as well. When you are playing in PROG 0: Play,
you can edit the arpeggiator in realtime, such as changing
the arpeggio pattern etc.
You can also use the REALTIME CONTROLS C-mode [ARPGATE], [ARP-LENGTH], [ARP-VELOCITY], and [TEMPO]
knobs to edit the arpeggio in realtime (☞OG p.91).
0–2a
0–3a
0–3a: Arpeggiator
Pattern [Preset-0...Preset-4, U000..U250]
Reso (Resolution) [ , , , , , ]
Octave [1, 2, 3, 4]
Sort [Off, On]
Latch [Off, On]
Key Sync. [Off, On]
Keyboard [Off, On]
Make settings for the program arpeggiator (☞“PROG: Ed–
Arp/Ctrls”). These parameters can also be set from 7: Ed–
Arp/Ctrls Setup page (☞7–1a).
microX: 0–4: Ext. Control
External control lets you use the REALTIME CONTROLS
knobs to control an external MIDI device. You can assign a
MIDI control change and MIDI channel to each of the four
knobs, and switch between three such settings (A, B, C) to
control your external device. One set lets you transmit a
total of twelve (4 × 3) different MIDI control changes. These
are called “external control sets,” and you can choose from
64 such sets.
For example you can use this to control parameters such as
level or pan on your DAW (digital audio workstation), or filter or envelope on your software synthesizer . Simply switch
between external control sets to choose the parameters you
want to control.
The external control function is independent of programs or
combinations. When you press the [EXT. CONTROLLER]
button to turn this function on (the LED will light), the external control set you’ve selected will not change even if you
change programs or switch to Combination mode or Multi
mode. This means that you can choose different sounds
without affecting how you’re controlling your external MIDI
device. Conversely , you can switch to other types of external
MIDI control without changing programs.
This page only displays the settings that are assigned to
knob sets A, B, and C. Use Global mode to make external control assignments.
0–2a
0–4a
PROG
0
123456789
■ 0–3: UTILITY
☞ “Write Program,” “Select by Category” (0–1)
0–4a: External Control
Ext. Control (Setup Select) [00...63]
Selects an external control set.
This setting is not written (saved) in the program.
Select [A, B, C]
Shows the settings assigned to each knob of the external
control set. The currently-enabled set is highlighted. Use the
[SELECT] button to switch between groups (A, B, C).
MIDI Channel [01...16, Gch]
Indicates the MIDI channel
Gch: The message will be transmitted on the global MIDI
channel you specify in Global mode. The channel of all
knobs that are set to Gch can be changed simply by changing the global MIDI channel setting, instead of having to
change the channel of each knob individually.
CC# Assign [Off, 000...119]
Indicates the MIDI control change number transmitted by
the knob.
5
PROG 1: Ed–Basic
Here you can make basic settings for the oscillator(s).
1–1: Basic (Prog Basic)
1–1a
1–1b
1–1c
1–1a: Oscillator
Mode (Oscillator Mode)
[Single, Double, Drums]
Specifies the basic program type; 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 have a
maximum of 62-note polyphony.
Double: The program will use two oscillators (Oscillator 1/
2, Filter 1/2, Amplifier 1/2). Allowing you to create more
complex sounds. In this case the program will have a 31-
note maximum polyphony.
Drums: The program will use one oscillator (as when Sin-
gle is selected), but Oscillator 1 will be assigned a drum kit
instead of a multisample. In this case the program will have
a maximum of 62-notes of polyphony.
On (checked): When the same note is played repeatedly, the
previous note will be silenced before the next note is
sounded, so that the notes do not overlap.
Legato [Off, On]
This is available when the “Mode (Voice Assign Mode)” setting is set to Mono.
On (checked): Legato is on. When multiple note-on messages occur, the first note-on will retrigger the sound, and
the second and subsequent note-ons will not retrigger.
When legato is on, multiple note-on message will not retrigger the voice. If one note is already on and another note is
turned on, the oscillator sound, envelope, and LFO will not
be reset, and only the pitch of the oscillator will be updated.
This setting is effective for wind instrument sounds and
analog synth-type sounds.
Off (unchecked): Legato is off. Notes will always be retriggered when note-on occurs.
When legato is off, multiple note-on’s will retrigger the
voice at each note-on. The oscillator sound, envelope, and
LFO will be reset (and retriggered) according to the settings
of the program.
If “Legato” is checked, certain multisamples or keyboard locations may produce an incorrect pitch.
Priority [Low, High, Last]
This parameter is valid when “Mode (Voice Assign Mode)”
is set to Mono.
It specifies which note will be given priority to play when
two or more notes are played simultaneously.
Low: Lowest note will take priority.
High: Highest note will take priority.
Last: Last note will take priority.
1–1c: Scale
1–1b: Voice Assign
Mode (Voice Assign Mode) [Poly, Mono]
Poly: The program will play polyphonically, allowing you
play chords.
Mono: The program will play monophonically, producing
only one note at a time.
Hold [Off, On]
On (checked): Hold is On. Even when you take your finger
off of the key, the note will continue sounding as if it continued to be held. Unless the “Amp1 EG”, “Amp2 EG” (6–3, 6–
6) “S (Sustain Level)” is set to 0, the sound will continue
playing.
This is ideal for playing drum sounds, If you set “Mode
(Oscillator Mode)” (1–1a) to Drums, you should normally
turn Hold On.
Off (unchecked): Hold is Off. Except for drum programs,
you should normally set Hold Off.
If you turn “Hold” On for a drum program, keys of the
selected drum kit whose “Enable Note Off” parameter
(GLOBAL 4–3a) is unchecked will be set to Hold On.
Keys that are checked will be set to Hold Off. If you
select Hold Off, the keys will be set to Hold Off regard-
less of their “Enable Note Off” setting.
Single Trigger [Off, On]
This is available when the “Mode (Voice Assign Mode)” setting is set to Poly.
Type (Scale Type)
[Equal Temperament…User Octave 15]
Indicates the basic scale for the internal tone generator.
Equal Temperament: This is the most widely used scale,
where each semitone step is spaced at equal pitch intervals.
Pure Major: In this temperament, major chords of the
selected tonic will be perfectly in tune.
Pure Minor: In this temperament, minor chords of the
selected tonic will be perfectly in tune.
Arabic: This scale includes the quarter-tone scale used in
Arabic music.
Pythagoras: This scale is based on ancient Greek musical
theory, and is especially effective for playing melodies.
Werkmeister (Werkmeister III): This is an equal tempered
scale that was used since the later Baroque period.
Kirnberger (Kirnberger III): This scale was created in the
18th century, and is used mainly to tune harpsichords.
Slendro: This is an Indonesian gamelan scale in which an
octave consists of five notes.
When “Key” is set to C, use the C, D, F, G and A notes.
(Other keys will sound equal-tempered pitches.)
Pelog: This is an Indonesian gamelan scale in which an
octave consists of seven notes.
When “Key” is set to C, use the white keys. (The black keys
will sound the equal tempered pitches.)
Stretch: This tuning is used for acoustic pianos.
6
User All Notes: This is the full-range scale (C–1 – G9) that is
specified in “User All Notes Scale” (GLOBAL 2–2a).
User Octave 00–15: These are the single-octave scales that
are specified in “User Octave Scale” (GLOBAL 2–1a).
Key [C…B]
Indicates the tonic note of the specified scale.
This setting is not valid for Equal Temperament, Stretch,
and User All Notes Scale.
Random [0…7]
As this value is increased, a greater variance will be applied
to the pitch when each note is sounded. Normally you will
set this to 0. This parameter is used when simulating instruments that have natural instability in pitch, such as tapemechanism organs or acoustic instruments.
If a scale other than Equal T emperament is selected, the
combination of the selected scale and the “Key” setting
may skew the tuning of the base key (for example
A=440 Hz). If this occurs, use “Master T une” (GLOBAL
0–1a) to correct the pitch.
■ 1–1: UTILITY
☞ “Write Program” (0–1)
For details on how to select the desired utility function, refer
to “PROG 0–1: UTILITY.”
1–2: OSC1
The multisample(s) (waveform) or drum kit on which the
program will be based can be selected here for oscillator 1
and/or oscillator 2.
You can use the following multisamples.
X50: 470 different multisamples, 49 different drum kits.
microX: 642 different multisamples, 49 different drum
kits.
The following illustration shows a LCD screen where
“Mode (Oscillator Mode)” (1–1a) has been set to Double. If
this is set to Single, the OSC2 page parameter will not
appear and cannot be set.
1–2a
1–2b
1–2c
The following illustration shows the display when “Mode
(Oscillator Mode)” (1–1a) has been set to Drums.
1–2d
PROG
0
123456789
Copy Oscillator
This function copies oscillator settings to the currently
selected program.
1 Select “Copy Oscillator” to access the dialog box.
2 In “From,” select the oscillator that you wish to copy and
the copy source program.
X50: You can use the PROG BANK [A]–[GM] buttons to
select a bank. You can also use the numeric buttons [0]–[9]
and [ENTER] button to select a program number.
3 In “To,” select the copy destination oscillator.
4 To execute the Copy Oscillator operation, press [MENU/
OK] button. To cancel, press the [EXIT/CANCEL] button.
Swap Oscillator
This command exchanges the settings of oscillators 1 and 2.
1 Select “Swap Oscillator” to access the dialog box.
2 To execute the Swap Oscillator operation, press [MENU/
OK] button. To cancel, press the [EXIT/CANCEL] button.
This can be selected only if “Mode (Oscillator Mode)”
(1–1a) is Double.
1–2a: OSC1 Multisample
Velocity SW L→H [001...127]
The oscillator 1 High and Low multisamples that you specify in “High, Low” (1–2b) will be switched at the velocity
value that you specify here. Notes played with a velocity
stronger than this value will be sounded by the High multisample.
1–2b: High, Low
Here you can select a multisample.
You can select different multisamples for High and Low , and
use velocity to switch between the two multisamples. Start
Offset, Reverse, and Level can be adjusted independently
for the High and Low multisamples.
High:
High Multisample X50: [000...469]
microX: [000...641]
Specifies the bank and multisample number of the High
multisample. The multisample you select here will sounded
by velocities greater than the value of the “Velocity SW
L→H” (1–2a) parameter. If you do not wish to use velocity
switching, set the value to 001, and select only the High
multisample.
Each multisample has an upper limit, and may not produce sound when played above that limit.
S.Ofs (High Start Offset) [Off, On]
This specifies the point at which the multisample will begin
sounding. For some multisamples this parameter will have
no effect.
7
On (checked): The sound will start from the start offset location that is pre-determined for each multisample.
Off (unchecked): The sound will start from the beginning of
the multisample waveform.
Rev (High Reverse) [Off, On]
The multisample will be played in reverse. If the multisample was originally set to reverse, it will playback without
change.
On (checked): The multisample will playback in reverse.
Off (unchecked): The multisample will playback normally.
Level (High Level) [000...127]
Specifies the level of the multisample.
Depending on the multisample, high settings of this
parameter may cause the sound to distort when a chord
is played. If this occurs, lower the level.
Low:
Specifies the OSC1 Low multisample.
The Low multisample will sound when the velocity is less
than the “Velocity SW L→H” (1–2a) setting.
1–2d: OSC1 Drum Kit
Drum Kit
X50: [00(INT)...15(INT), 16(User)...39(User),
40(GM)...48(GM)]
microX: [00(INT)...31(INT),
32(User)...39(User), 40(GM)...48(GM)]
Select a drum kit.
X50
00 (INT)–15 (INT) Preload drum kits.
16 (User)–39 (User) for user drum kits
40 (GM)–48 (GM) ROM preset drum kits compatible with GM2.
microX
00 (INT)–31 (INT) Preload drum kits.
32 (User)–39 (User) for user drum kits
40 (GM)–48 (GM) ROM preset drum kits compatible with GM2.
Low Multisample X50: [000...469]
microX: [000...641]
S.Ofs (Low Start Offset) [Off, On]
Rev (Low Reverse) [Off, On]
Level (Low Level) [000...127]
☞ Refer to the corresponding item in “High.”
1–2c: Octave, Transpose , Tune, Delay
Octave [–2[32’], –1[16’], +0[8’], +1[4’]]
Adjusts the pitch in octave units. The normal octave of the
multisample is 8' (feet).
Transpose [–12…+12]
Adjusts the pitch in semitone steps over a range of ±1
octave.
Tune [–1200…+1200]
Adjusts the pitch of the sample in one-cent steps (a semitone
is 100 cents) over a range of ±1 octave.
Delay [0000ms…5000ms, KeyOff ]
Specifies a delay time from note-on until the note will
sound.
With a setting of KeyOff, the sound will begin when noteoff occurs. This is used to create sounds such as the “click”
that is heard when a harpsichord note is released. In this
case, set the “Amp1 EG”, “Amp2 EG” (6–3, 6–6) “S (Sustain
Level)” parameter to 0.
Octave [–2[32’], –1[16’], +0[8’], +1[4’]]
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 4:
DKit.
Delay [0000ms…5000ms, KeyOff ]
This specifies a delay time from note-on until the sound will
begin.
With a setting of KeyOff, the sound will begin when noteoff occurs. In this case, set the “Amp1 EG” parameter “S
(Sustain Level)” (6–3a) to 0.
■ 1–2: UTILITY
☞ “Write Program” (0–1), “Copy Oscillator,” “Swap Oscilla-
tor” (1–1)
For details on how to select the desired utility function, refer
to “PROG 0–1: UTILITY.”
8
Select by Category
Selects multisamples by category.
For the procedure, refer to “Select by Category” (☞p.2).
This command is valid if “Mode (Oscillator Mode)” (1–
1a) is set to Single or Double, and you have selected
the 1–2b: High, Low parameter.
1–3: OSC2
This will appear when “Mode (Oscillator Mode)” (1–1a) is
set to Double.
For details on the settings and function of the parameter,
refer to “1–2: OSC1.”
1–4: V.Zone (Velocity Zone)
Specifies the range of velocities that will sound oscillator 1
and 2. By using these settings in conjunction with the
“V elocity SW L→H” (1–2a) setting of each oscillator, you can
specify the velocity ranges for the High and Low multisamples or drum kits.
1–4a
1–5: Audition
When selecting preloaded programs, you can play back a
pre-specified riff (phrase) that is suitable for the sound of
that program. This is called the Audition function.
When you press the [AUDITION] button to turn it on, the
audition riff will play back repeatedly.
Here you can select the audition riff and specify the transposition.
1–5a
1–5a: Audition Riff, Transpose
Audition Riff [000: Off...383: name]
Selects the audition riff. The X50/microX contains 383 audition riffs suitable for a variety of instruments and musical
genres.
With a setting of 000: Off, no riff will be played.
Transpose [–24...+24]
Adjusts the pitch of the audition riff in semitone steps.
It is not possible to change the playback tempo of the
audition riff. Nor is it possible to set the arpeggiator
tempo while the audition riff is playing.
The arpeggiator will be turned off while the audition
riff is playing.
PROG
0
123456789
1–4a: OSC 1/2 Velocity Zone
OSC1 Bottom [001...127]
Sets the minimum velocity value that will sound oscillator 1.
OSC1 T op [001...127]
Sets the maximum velocity value that will sound oscillator
1.
OSC2 Bottom [001...127]
Sets the minimum velocity value that will sound oscillator 2.
OSC2 T op [001...127]
Sets the maximum velocity value that will sound oscillator
2.
It is not possible to set the Bottom Velocity greater than
the Top Velocity, nor the Top Velocity less than the Bottom Velocity.
X50: You can also input a value by playing a note on the
keyboard while you hold down the [ENTER] button.
■ 1–4: UTILITY
☞ “Write Program” (0–1), “Copy Oscillator,” “Swap Oscilla-
tor” (1–1)
■ 1–5: UTILITY
☞ “Write Program” (0–1)
9
PROG 2: Ed–Pitch
Here you can make pitch modulation settings for oscillators
1 and 2.
2–1: OSC1
Specifies how the key position (on the keyboard) will affect
the pitch of oscillator 1, and selects the controller that will
modify the pitch and the depth of this effect. Here you can
also specify the amount of pitch change caused by the pitch
EG, and set the portamento mode and on/off status.
X50
2–1a
2–1b
2–1c
microX
2–1a
2–1b
2–1c
2–1a: Pitch
Pitch Slope [–1.0…+2.0]
Normally you will leave this at +1.0.
Positive (+) values will cause the pitch to rise as you play
higher on the keyboard, and negative (–) values will cause
the pitch to fall as you play higher on the keyboard.
With a value of 0, there will be no change in pitch, and the
C4 pitch will sound regardless of the keyboard location you
play.
How the Pitch Slope and pitch are related
Pitch
2oct
1oct
1oct
Ribbon (#16) [–12…+12]
Specifies in semitone units how the pitch will change when
CC#16 is received (or when the ribbon controller is pressed
on an instrument, such as the TRITON Extreme, connected
via the MIDI IN connector).
12 half-steps equal one octave. With positive (+) values, the
pitch will rise when you press the right half of a ribbon controller. With negative (–) values, the pitch will fall.
For example, with a setting of +12, pressing the far right
edge of the ribbon controller will raise the pitch one octave.
With a setting of –12, pressing the far right edge of the ribbon controller will lower the pitch one octave.
C4 C5
+2
+1
0
–1
Key
At the center of the ribbon controller, the original pitch will
remain, so you can use this in conjunction with pressing the
ribbon at its right edge to simulate the “hammering-on”
techniques used by guitarists.
X50: PBend + [–60…+12]
Specifies the amount of pitch change (in semitones) that will
occur when you move the [PITCH] wheel up from the center
position.
For example if this is set to +12, moving the [PITCH] wheel
up from the center position will raise the pitch by one
octave.
microX: JS (+X) [–60…+12]
Specifies how the pitch will change when the joystick is
moved all the way to the right.
A setting of 12 produces 1 octave of change.
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.
X50: PBend – [–60…+12]
Specifies the amount of pitch change (in semitones) that will
occur when you move the [PITCH] wheel down from the
center position.
For example if this is set to +12, moving the [PITCH] wheel
down from the center position will raise the pitch by one
octave.
microX: JS (–X) [–60…+12]
Specifies how the pitch will change when the joystick is
moved all the way to the left.
A setting of 12 produces 1 octave of change.
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. This can be used to simulate the downward
swoops that a guitarist produces using the tremolo arm.
AMS (Pitch AMS) [Off, (FEG, AEG, EXT )]
Selects the source that will modulate the pitch of oscillator 1
(☞p.152 “AMS List”).
Intensity (AMS Intensity) [–12.00…+12.00]
Specifies the depth and direction of the effect produced by
“AMS (Pitch AMS).”
With a setting of 0, no modulation will be applied. With a
setting of 12.00, the pitch will change up to one octave.
For example if “AMS (Pitch AMS)” is set to Pedal #04, Global 0–3a “Foot Pedal Assign” is set to Foot Pedal (CC#04),
and you advance a foot pedal connected to the ASSIGNABLE PEDAL jack, the pitch will rise if you have assigned a
positive (+) value here, or fall if you have assigned a negative (–) value. The maximum range is one octave. (☞p.154)
2–1b: Pitch EG
Intensity [–12.00…+12.00]
Specifies the depth and direction of the modulation that the
pitch EG specified in “EG (Pitch EG)” (2–5) page will apply
to the pitch.
With a setting of 12.00, the pitch will change a maximum of
±1 octave.
10
AMS (Pitch EG AMS) [Off, (KT, EXT)]
Selects the source that will control the pitch modulation
applied by the pitch EG (☞p.152 “AMS List”).
Intensity (AMS Intensity) [–12.00…+12.00]
Specifies the depth and direction of the effect that “AMS
(Pitch EG AMS)” will have.
For example, if you set “AMS (Pitch EG AMS)” to Velocity
and set this value to +12.00, the velocity will control the
range of pitch change produced by the pitch EG in a range
of ±1 octave (☞p.154). As you play more softly, the pitch
change will draw closer to the pitch EG levels.
Pitch change (level)
Note-on
Note-off
Note-on
Note-off
Note-on
Note-off
2–2: OS1lfo (OSC1 LFO)
Specifies the amount of pitch change produced by LFO1 and
LFO2 for oscillator 1.
X50
2–2a
microX
2–2a
PROG
0
123456789
Softly played
(Intensity (Pitch EG) setting)
“Intensity” and “AMS (Pitch EG AMS)” will be
summed to determine the depth and direction of the
pitch modulation applied by the pitch EG.
Strongly played with
a positive (+) value
Strongly played with a
negative (–) value
2–1c: Portamento
This turns the portamento effect (smooth change in pitch
from one note to the next) on/off, and specifies how it will
be applied.
If you set Global 0–3a “Foot SW Assign” to Portamento SW
(CC#65) and turn a pedal switch connected to the ASSIGNABLE SWITCH jack on/off, the portamento effect will be
applied according to these settings.
(☞p.164 “Foot Switch Assign List” Portamento SW (CC#65))
X50: If [SW1] or [SW2] is set to Porta.SW (CC#65), using
SW1 or SW2 to turn portamento on/off will apply the settings you specify here.
(☞p.152 “AMS List,” ☞p.161 “SW1, SW2 Assign List” Prta.
SWCC#65)
Portamento will also be switched when CC#65 (Portamento SW) is received.
Enable (Porta. Enable) [Off, On]
On (checked): Portamento will be applied.
Off (unchecked): Portamento will not be applied.
Fingered (Porta. Fingered) [Off, On]
This parameter is available when “Enable (Porta. Enable)” is
checked.
On (checked): Portamento will be applied when you con-
tinue holding the previous note as you press the next note
(legato playing).
Off (unchecked): Portamento will always be applied,
regardless of how you play.
Time (Porta. Time) [000...127]
This parameter is available when “Enable (Porta. Enable)” is
checked.
This sets the portamento time. Increasing the value will produce a slower change in pitch.
2–2a: Pitch LFO1/2 Modulation
LFO1:
Intensity (LFO1 Intensity) [–12.00…+12.00]
Specifies the depth and direction of the pitch modulation
applied by the OSC 1 LFO1 settings you made in
“OS1LFO1” page (3–1).
With a setting of 12.00, a maximum of ±1 octave of pitch
modulation will be applied. Negative (–) values will invert
the LFO waveform.
X50: Mod.Whl Int. (LFO1 Mod.Whl+Int.)
[–12.00…+12.00]
Specifies the depth of pitch modulation that will be applied
by OSC1 LFO1 when you move the [MOD] up.
As you specify a higher value for this parameter, a greater
amount of pitch modulation will be applied by OSC1 LFO1
when you move the [MOD] wheel up (away from yourself).
With a setting of 12.00, a maximum of ±1 octave of pitch
modulation will be applied. Negative (–) values will invert
the polarity of the LFO.
microX: JS+Y Int. (LFO1 JS+Y Int.)
[–12.00…+12.00]
Specifies the depth and direction of the effect that joystick
movement in the +Y direction (up) will have on the pitch
modulation applied by the OSC1 LFO1.
As this value is increased, moving the joystick in the +Y
direction will cause the OSC1 LFO1 to produce deeper pitch
modulation. With a setting of 12.00 a maximum of ±1 octave
of pitch modulation will be applied. Negative (–) values
will invert the LFO waveform.
AMS (LFO1 AMS)
[Off, (PEG, FEG, AEG, KT, EXT)]
Indicates the source that will control the depth of pitch modulation produced by the OSC1 LFO1 (☞p.152 “AMS List”).
■ 2–1: UTILITY
☞ “Write Program” (0–1), “Copy Oscillator,” “Swap Oscilla-
tor” (1–1)
11
Intensity (AMS Intensity) [–12.00…+12.00]
Specifies the depth and direction of the effect that “AMS
(LFO1 AMS)” will have.
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. Negative (–) settings will invert
the LFO waveform.
For example if “AMS (LFO1 AMS)” is set to Pedal #04, Global 0–3a “Foot Pedal Assign” is set to Foot Pedal (CC#04),
and you advance a foot pedal connected to the ASSIGNABLE PEDAL jack, the pitch modulation produced by OSC1
LFO1 will be applied in the normal phase if you have
assigned a positive (+) value, or in the reverse phase if you
have assigned a negative (–) value.
The depth and direction of the pitch modulation produced by OSC1 LFO1 depends on the sum of the settings
X50:
for “Intensity (LFO1 Intensity),”
(LFO1 MWheel+Int.)”/
Int.),” and “AMS (LFO1 AMS). (
microX:
“M.Whl+Int.”
“JS+Y Int. (LFO1 JS+Y
☞
p.154)
LFO2:
Intensity (LFO2 Intensity) [–12.00…+12.00]
X50: Mod.Whl Int. (LFO2 Mod.Whl Int.)
[–12.00…+12.00]
microX: JS+Y Int. (LFO2 JS+Y Int.)
[–12.00…+12.00]
AMS (LFO2 AMS)
[Off, (PEG, FEG, AEG, KT, EXT)]
Intensity (AMS Intensity) [–12.00…+12.00]
Refer to the preceding section “LFO1.”
2–5: EG (Pitch EG)
Here you can make settings for the pitch EG, which creates
time-variant changes in the pitch of oscillators 1 and 2.
The depth of pitch change produced by these EG settings on
oscillator 1 (2) is adjusted by “Pitch EG” (2–1b, 2–3).
2–5a
2–5b
2–5c
2–5a: Pitch EG
These settings specify how the pitch will change over time.
Time-varying pitch settings (when Pitch EG Intensity = +12.00)
+99 = approximately 1 octave
Note-on
0 = pitch when
key is held
(sustained)
Start Level
–99 = approximately 1 octave
L (Level parameters):
These parameters specify the amount of pitch change.
The actual amount of pitch change will depend on the
“Pitch EG” (2–1b, 2–3) parameter “Intensity.”
For example with an “Intensity” setting of +12.00, a “Level”
setting of +99 would raise the pitch one octave, and a
“Level” setting of –99 would lower the pitch one octave.
Attack
Time
Attack Level
Decay
Time
Note-off
Release Time
Time
Release Level
■ 2–2: UTILITY
☞ “Write Program” (0–1), “Copy Oscillator,” “Swap Oscilla-
tor” (1–1)
2–3: OSC2
Specifies how the key position (on the keyboard) will affect
the pitch of oscillator 2, and selects the controller that will
affect the pitch and specify the depth of control. Here you
can also specify the amount of pitch change produced by the
pitch EG, and set the portamento mode and on/off status.
For details on each parameter, refer to the preceding “2–1:
OSC1.”
2–4: OS2lfo (OSC2 LFO)
Specifies the amount of pitch change produced by LFO1 and
LFO2 for oscillator 2. For an explanation of each parameter,
refer to the preceding “2–2: OS1lfo.”
S (Start Level) [–99…+99]
Specifies the amount of pitch change at note-on.
A (Attack Level) [–99…+99]
Specifies the amount of pitch change when the attack time
has elapsed.
R (Release Level) [–99…+99]
Specifies the amount of pitch change when the release time
has elapsed.
T (Time parameters):
These parameters specify the length of time over which the
pitch change will occur.
A (Attack Time) [0…99]
Specifies the time over which the pitch will change from
note-on until it reaches the pitch specified as the attack level.
D (Decay Time) [0…99]
Specifies the time over which the pitch will change after
reaching the attack level until it reaches the normal pitch.
R (Release Time) [0…99]
Specifies the time over which the pitch will change from
note-off until it reaches the pitch specified as the release
level.
12
2–5b: Level Mod. (Level Modulation)
These settings allow the pitch EG “L (Level parameters)” to
be controlled by alternate modulation.
AMS1 (Level Mod. AMS1) [Off, (KT, EXT)]
Selects the source that will control the pitch EG “L (Level
parameters)” (☞p.152 “AMS List”).
I (AMS1 Intensity) [–99…+99]
Specifies the depth and direction of the effect applied by
“AMS1 (Level Mod. AMS1).”
With a setting of 0, the levels specified by “Pitch EG” (2–5a)
will be used.
If “AMS1” is set to Velocity, increasing the absolute value of
“Intensity” will produce increasingly wider change in pitch
EG levels for strongly-played notes. The direction of the
change is specified by “S (AMS1 SW Start)” and “A (AMS1
SW Attack).” As you play more softly, the pitch change will
draw closer to the pitch EG levels.
X50: For example if “AMS1 (Level Mod. AMS1)” is set to
SW1 #80 and 7–3b: SW1/2 Assign “SW1” is set to SW1 Mod.
(CC#80), turning [SW1] on will change the Pitch EG “Level.”
Increasing the absolute value of “I (AMS1 Intensity)” will
produce a greater change in the pitch EG level when [SW1]
is turned on. The direction of the change is specified by “S
(AMS1 SW Start)” and “A (AMS1 SW Attack).” If [SW1] is
off, the levels specified by the pitch EG settings will be used.
microX: For example if “AMS1 (Level Mod. AMS1)” is set
to FootSW #82 and Global 0–3a “Foot SW Assign” is set to
Foot SW (CC#82), receiving CC#82 or turning on the pedal
switch will change the Pitch EG “Level.” Increasing the
absolute value of “I (AMS1 Intensity)” will produce a
greater change in the pitch EG level when the pedal switch
is turned on. The direction of the change is specified by “S
(AMS1 SW Start)” and “A (AMS1 SW Attack).” If the pedal
switch is off, the levels specified by the pitch EG settings will
be used.
Pitch EG change (level) (AMS=SW1/Velocity, Intensity= positive (+) value)
Note-on
Note-off
Note-on
Note-off
Note-on
Note-off
AMS2 (Level Mod. AMS2) [Off, (KT, EXT)]
I (AMS2 Intensity) [–99…+99]
S (AMS2 SW Start) [–, 0, +]
A (AMS2 SW Attack) [–, 0, +]
Refer to the preceding paragraphs “AMS1 (Level Mod.
AMS1)”–“A (AMS1 SW Attack).”
2–5c: Time Mod. (Time Modulation)
These parameters let you use alternate modulation to control the “T (Time parameters)” of the pitch EG.
AMS (Time Mod. AMS) [Off, (KT, EXT)]
Indicates the source that will control the “T (Time parameters)” of the pitch EG (☞p.152 “AMS List”).
I (AMS Intensity) [–99…+99]
Specifies the depth and direction of the effect that “AMS
(Time Mod. AMS)” will have.
With a setting of 0, the pitch EG times will be just as specified by the “Pitch EG” (2–5a) settings.
The alternate modulation value at the moment that the EG
reaches each point will determine the actual value of the EG
time that comes next.
For example, the decay time will be determined by the alternate modulation value at the moment that the attack level is
reached.
When this parameter is set to values of 16, 33, 49, 66, 82, or
99, the specified EG times will speed up as much as 2, 4, 8,
16, 32, or 64 times respectively (or slowed down to 1/2, 1/4,
1/8, 1/16, 1/32, or 1/64 of the original time).
For example if “AMS (Time Mod. AMS)” is set to Velocity,
increasing the absolute value of “I (AMS Intensity)” will
allow strongly-played notes to increase the changes in pitch
EG “T (Time parameters)” values. The direction of the change
is specified by “A (AMS SW Attack)” and “D (AMS SW
Decay).” As you play more softly, the pitch EG times will
more closely approach the actual settings of the pitch EG.
Pitch EG changes (Time) (AMS = Velocity, Intensity = positive (+) value)
Note-on
Note-off
Note-on
Note-off
Note-on
Note-off
PROG
0
123456789
A note played softly with “S”
set at 0, “A” set to +, and
SW1 turned off (the settings
of 2–5a: Pitch EG)
A note played strongly with
“S” set to 0, “A” set to +, and
SW1 turned on
A note played strongly with
“S” set to 0, “A” set to –, and
SW1 turned on
S (AMS1 SW Start) [–, 0, +]
Specifies the direction of change in “S (Start Level)” caused
by “AMS1 (Level Mod. AMS1).” If “I (AMS1 Intensity)” is a
positive (+) value, a setting of + will raise the EG level, and
a setting of – will decrease it. With a setting of 0 there will be
no change.
A (AMS1 SW Attack) [–, 0, +]
Specifies the direction of change in “A (Attack Level)”
caused by “AMS1 (Level Mod. AMS1).” If “I (AMS1 Intensity)” is a positive (+) value, a setting of + will raise the EG
level, and a setting of – will decrease it. With a setting of 0
there will be no change.
A note played softly with “A”
set to + and “D” set to +
(settings of 2–5a: Pitch EG)
A note played strongly with
“A” set to + and “D” set to +
A note played strongly with
“A” set to – and “D” set to –
A (AMS SW Attack) [–, 0, +]
Specifies the direction in which “AMS (Time Mod. AMS)”
will affect the “A (Attack Time).” With positive (+) values of
“I (AMS Intensity),” a setting of + will cause the time to be
lengthened, and a setting of – will cause the time to be shortened. With a setting of 0 there will be no change.
D (AMS SW Decay) [–, 0, +]
Specifies the direction in which “AMS (Time Mod. AMS)”
will affect the “D (Decay Time).” With positive (+) values of
“I (AMS Intensity),” a setting of + will cause the time to be
lengthened, and a setting of – will cause the time to be shortened. With a setting of 0 there will be no change.
■ 2–5: UTILITY
☞ “Write Program” (0–1), “Copy Oscillator,” “Swap Oscilla-
tor” (1–1)
13
PROG 3: Ed–LFOs
Here you can make settings for the LFO that can be used to
cyclically modulate the Pitch, Filter, and Amp of oscillators 1
and 2. There are two LFO units for each oscillator.
By setting the LFO1 or LFO2 Intensity to a negative (–) value
for Pitch, Filter, or Amp, you can invert the LFO waveform.
Key Sync. [Off, On]
On (checked): Key Sync. will be On. The LFO will start each
time you play a note, and an independent LFO will operate
for each note.
Off (unchecked): Key Sync. will be Off, and the LFO effect
that was started by the first-played note will continue to be
applied to each newly-played note. (In this case, “Delay”
and “Fade” will be applied only to the LFO when it is first
started.)
3–1: OS1LFO1 (OSC1 LFO1)
Indicates settings for the “OSC1 LFO1,” which is the first
LFO that can be used for oscillator 1.
3–1a
3–1b
3–1c
3–1a: OSC1 LFO1
Waveform [Triangle 0…Random6 (Vect.)]
Selects the LFO waveform.
The numbers that appear at the right of some of the LFO
waveforms indicate the phase at which the waveform will
begin.
Triangle 0
Triangle 90
Triangle
Random
Saw 0
Saw 180
Square
Sine
Guitar
Exp.Triangle
Exp.Saw Down
Exp.Saw Up
Triangle wave
Phase will change
randomly at each key-in
Sawtooth down ↓
Square wave
Sine wave
Guitar vibrato
Frequency [00…99]
Sets the LFO frequency. A setting of 99 is the fastest.
Ofs (Offset) [–99…+99]
Specifies the central value of the LFO waveform.
For example, with a setting of 0 as shown in the following
diagram, the vibrato that is applied will be centered on the
note-on pitch. With a setting of +99, the vibrato will only
raise the pitch above the note-on pitch, in the way in which
vibrato is applied on a guitar.
Offset settings and pitch change produced by vibrato
offset = –99 offset = 0 offset = +99Pitch
Pitch at note-on
When “Waveform” is set to Guitar, the modulation will
occur only in the positive (+) direction even if you set “Offset” to 0.
Step Triangle – 4
Step Triangle – 6
Step Saw – 4
Step Saw – 6
Random1 (S/H):
Conventional sample & hold (S/H) in which the
level changes randomly at fixed intervals of
time
Random2 (S/H):
Both the levels and the time intervals will
change randomly.
Random3 (S/H):
The maximum level and minimum level will
alternate at random intervals of time (i.e., a
square wave with random period).
Random4 (Vect.)
Random5 (Vect.)
Random6 (Vect.)
These types cause Random 1–3 to change
smoothly. They can be used to simulate the
instability of acoustic instruments etc.
Fade [00…99]
Specifies the time from when the LFO begins to apply until
it reaches the maximum amplitude.
When “Key Sync.” is Off, the fade will apply only when the
LFO is first started.
How “Fade” affects the LFO (when “Key Sync.” is On)
Note-on Note-off
“Fade”
“Delay”
Dly (Delay) [00…99]
Specifies the time from note-on until the LFO effect begins to
apply.
When “Key Sync.” is Off, the delay will apply only when
the LFO is first started.
3–1b: Freq.Mod (Frequency Modulation)
You can use two alternate modulation sources to adjust the
speed of the OSC1 LFO1.
AMS1 (Freq. AMS1)
[Off, (PEG, FEG, AEG, LFO2, KT, EX T)]
Indicates the source that will adjust the frequency of the
oscillator 1 LFO1 (☞p.152 “AMS List”). OSC1 LFO1 can be
modulated by OSC1 LFO2.
Int (AMS1 Intensity) [–99…+99]
Specifies the depth and direction of the effect that “AMS1
(Freq. AMS1)” will have.
When this parameter is set to a value of 16, 33, 49, 66, 82, or
99, the LFO frequency being can be increased by a maximum of 2, 4, 8, 16, 32, or 64 times respectively (or decreased
by 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 respectively).
For example, if “AMS1 (Freq. AMS1)” is Note No., positive
(+) values of this parameter will cause the oscillator 1 LFO
to speed up as you play higher notes. Negative (–) values
will cause the oscillator 1 LFO to slow down as you play
higher notes. This change will be centered on the C4 note.
X50: If “AMS1 (Freq. AMS1)” is set to Mod.Whl#01, speci-
fying a higher value for this parameter will let you increase
the OSC1 LFO speed more greatly by moving the [MOD]
wheel. With a setting of +99, moving the [MOD] wheel all
the way up will increase the LFO speed by approximately 64
times.
microX: If “AMS1 (Freq. AMS1)” is set to JS +Y #01, rais-
ing the value of this parameter will cause the oscillator 1
LFO1 speed to increase as the joystick is moved up. With a
setting of +99, moving the joystick all the way up will
increase the LFO speed by approximately 64 times.
14
AMS2 (Freq. AMS2)
[Off, (PEG, FEG, AEG, LFO2, KT, EX T)]
Int (AMS2 Intensity) [–99…+99]
Indicates settings for a second alternate modulation source
that will adjust the frequency of the oscillator 1 LFO1.
☞ “AMS1 (Freq. AMS1),” “Int. (AMS1 Intensity)”
3–1c: MIDI/Tempo Sync.
(Frequency MIDI/Tempo Sync.)
Sync. (MIDI/Tempo Sync.) [Off, On]
On (checked): The LFO frequency will synchronize to the
tempo (MIDI Clock). In this case, the values you specified
for “Frequency” (3–1a) and “Freq.Mod” (3–1b) will be
ignored.
Base Note (Sync. Base Note)
[ , , , , , , , ]
Times (Sync. Times) [01...16]
When “Sync. (MIDI/T empo Sync.).” is checked, these When
“Sync. (MIDI/Tempo Sync.)” is checked, these parameters
specify a note length “Base Note (Sync. Base Note)” relative
to “ (Tempo)” and the multiple “Times (Sync. Times)” that
will be applied to it. These parameters will determine the
frequency of the OSC1 LFO1.
For example if “Base Note (Sync. Base Note)” is (quarter
note) and “Times (Sync. Times)” is 04, the LFO will perform
one cycle every four beats.
Even if you change the “ (Tempo)” setting of the
arpeggiator, the LFO will always complete one cycle every
four beats.
3–2: 1 LFO2 (OSC1 LFO2)
Here you can make settings for the OSC1 LFO2, which is the
second LFO that can be applied to oscillator 1. (☞“3–1:
OS1LFO1 (OSC1 LFO1)”) However, it is not possible to use
the LFO to apply modulation in “AMS1 (Freq. AMS1)” or
“AMS2 (Freq. AMS2)” of Freq. Mod.
3–3: 2 LFO1 (OSC2 LFO1)
This can be used when “Mode (Oscillator Mode)” (1–1a) is
set to Double. Here you can make settings for the OSC2
LFO1, which is the first LFO that can be applied to oscillator
2 (☞“3–1: OS1LFO1 (OSC1 LFO1)”).
3–4: 2 LFO2 (OSC2 LFO2)
This can be used when “Mode (Oscillator Mode)” (1–1a) is
set to Double. Here you can make settings for the OSC2
LFO2, which is the second LFO that can be applied to oscillator 2 (☞“3–1: OS1LFO1 (OSC1 LFO1)” and “3–2: 1 LFO2
(OSC1 LFO2)”).
PROG
0
123456789
■ 3–1: UTILITY
☞ “Write Program” (0–1)
For details on how to select the desired utility function, refer
to “PROG 0–1: UTILITY.”
Swap LFO 1&2
This exchanges the settings of LFO 1 and 2. If LFO2 is
selected in AMS1 (Freq. AMS1) or AMS2 (Freq. AMS2) of
LFO1 Freq.Mod (3–1b), then these settings will be invalid for
LFO2 after LFO1 and 2 have been exchanged. If you select
this from the OSC1 LFO1 or OSC1 LFO2 page, LFO1 and
LFO2 of OSC1 will be exchanged.
1 Select “Swap LFO 1&2” to access the dialog box.
2 To execute, press the [MENU/OK] button. To cancel
without executing, press the [EXIT/CANCEL] button.
15
PROG 4: Ed–Filter1
Indicates settings for filter 1, which controls the tone of oscillator 1. You can select either a 24 dB/oct low pass filter with
resonance, or a 12 dB/oct low pass filter and 12 dB/oct high
pass filter connected in series.
When “Mode (Oscillator Mode)” (1–1a) is Single, Drums
you can use filter 1. When it is Double, you can use filters 1
and 2. In the case of Single and Drums, the filter 2 pages
cannot be selected.
4–1: Basic
Here you can specify the basic filter type used by oscillator
1, and set the cutoff frequency and resonance.
4–1a
4–1b
4–1c
4–1a: Filter1
Type (Filter1 Type)
[Low Pass Resonance, Low Pass & High Pass]
Indicates the type of filter 1.
Low Pass Resonance: 24 dB/octave
low pass filter with resonance
Low Pass & High Pass: 12 dB/octave
low pass filter and 12 dB/octave high
pass filter in series
Trim [00…99]
Adjusts the level at which the audio signal output from
OSC1 is input to filter 1A.
If the trim value is set too high, the sound may be distorted if the Resonance is set to a high value or when
you play a chord.
Reso.AMS (Resonance AMS)
[Off, (PEG, FEG, AEG, LFO, KT, EXT)]
Indicates the source that will control the “Resonance (A Resonance)” level (☞p.152 “AMS List”).
Intensity (AMS Intensity) [–99…+99]
Specifies the depth and direction of the effect that “Reso.
AMS (Resonance AMS)” will have on the resonance level
specified by “Resonance (A Resonance).”
The resonance level is determined by adding the “Resonance (A Resonance)” and “Intensity (AMS Intensity)” values together.
For example, if Velocity has been selected, changes in key-
board 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
(A Resonance)” setting.
With negative (–) values, the r esonance will decr ease as you
play more strongly, and as you play more softly the resonance will approach the level specified by the “Resonance
(A Resonance)” setting.
The effect of resonance
Low Pass
Level
Low resonance value High resonance value
4–1c: B (Filter B)
This will be displayed if “Type (Filter1 Type)” (4–1a) is Low
Pass & High Pass.
This filter cuts the low-frequency range that lies below the
cutoff frequency.
By cutting the lower overtones, it lightens the tone.
High Pass
Level
12dB/oct
Frequency
16
4–1b: A (Filter A)
This filter cuts the high-frequency range above the cutoff frequency. This is the most common type of filter, which cuts
the overtone structure to make a bright (sharp) tone darker
(mellow).
When “Type (Filter1 Type)” is Low Pass Resonance, the cut
will have a steeper curve.
Low Pass
Level
12dB/oct
24dB/oct
Frequency
Frequency (A Frequency) [00…99]
Specifies the cutoff frequency of filter 1A.
Resonance (A Resonance) [00…99]
This emphasizes the overtone components that lie in the
region of the cutoff frequency specified by “Frequency (A
Frequency),” producing a more distinctive sound. Increasing this value will produce a stronger effect.
Frequency (B Frequency) [00…99]
Specifies the cutoff frequency of filter 1B.
■ 4–1: UTILITY
☞ “Write Program” (0–1), “Copy Oscillator,” “Swap Oscilla-
tor” (1–1)
4–2: Mod.1 (Filter1 Modulation1)
Indicates settings for keyboard tracking which modifies the
tone by modulating the filter 1 cutoff frequency “Frequency
(A/B Frequency),” and intensity settings for the filter 1 EG, etc.
4–2a
4–2b
4–2c
4–2a: Keyboard Track
These settings specify keyboard tracking for the cutoff frequency of filter 1. The way in which the cutoff frequency is
affected by the position of the key (on the keyboard) that
you play can be specified by the Key: “Low” and “High,”
Ramp: “Low” and “High” parameters.
Key:
Specifies the note numbers at which keyboard tracking will
begin to be applied, and set the “Int. to A” and “(Int. to) B”
parameters to specify the depth and direction of the change
applied to filter 1 A and B.
For the range of notes between “Low (KBDTrk Key Low)”
and “High (KBDTrk Key High),” the cutoff frequency will
change according to the key location (pitch).
X50: You can also input a value by playing a note on the
keyboard while you hold down the [ENTER] button.
Low (KBDTrk Key Low) [C–1…G9]
Keyboard tracking will apply to the range below the specified note number.
Int. to A (KBDTrk Int. to A) [–99...+99]
Specifies the depth and direction of the effect on filter 1A
produced by keyboard tracking settings “Low (KBDTrk Key
Low),” “High (KBDTrk Key High),” “Low (KBDTrk Ramp
Low),” and “High (KBDTrk Ramp High).”
With positive (+) settings, the effect will be in the same
direction as the keyboard tracking settings.
With negative (–) settings, the effect will be in the opposite
direction.
Int. to B (KBDTrk Int. to B) [–99...+99]
Specifies the depth and direction of the effect on filter 1B
produced by keyboard tracking. (☞“Int. to A (KBDTrk Int.
to A)”)
4–2b: Filter EG
Int. to A (Intensity to A) [–99…+99]
Specifies the depth and direction of the effect that the timevarying changes created by the filter 1 EG will have on the
filter 1A cutoff frequency.
With positive (+) settings, the sound will become brighter
when the EG levels set by Filter 1 EG “L (Level parameters)”
and “T (Time parameters)” (4–5a) are in the “+” area, and
darker when they are in the “–” area.
With negative (–) settings, the sound will become darker
when the EG levels set by Filter 1 EG “L (Level parameters)”
and “T (Time parameters)” are in the “+” area, and brighter
when they are in the “–” area.
Int. to B (Intensity to B) [–99…+99]
Specifies the depth and direction of the effect that the timevarying changes created by the filter 1 EG will have on the
filter 1B cutoff frequency. (☞“Int. to A (Intensity to A)”)
PROG
0
123456789
High (KBDTrk Key High) [C–1…G9]
Keyboard tracking will apply to the range above the specified note number.
Ramp (Ramp Setting):
Specifies the angle of keyboard tracking.
Low (KBDTrk Ramp Low) [–99…+99]
High (KBDTrk Ramp High) [–99…+99]
If “Int. to A (KBDTrk Int. to A)” and “Int. to B (KBDTrk Int.
to B)” are set to +50, “Low (KBDTrk Ramp Low)” is set to
–62 and “High (KBDTrk Ramp High)” is set to +62, the angle
of the change in cutoff frequency will correspond to the key
location (pitch). This means that the oscillation that occurs
when you increase the “Resonance (A Resonance)” (4–1b)
will correspond to the keyboard location.
If you set “Low (KBDTrk Ramp Low)” to +43 and “High
(KBDTrk Ramp High)” to –43, the cutoff frequency will not
be affected by keyboard location. Use this setting when you
do not want the cutoff frequency to change for each note.
How cutoff frequency is affected by keyboard location
and the Ramp setting (“Int. to A,” “Int. to B”=+50)
Cutoff frequency
Low Ramp=+99
Low Ramp=+43
Low Ramp=0
Low Ramp=–62
Low Ramp=–99
Low Key
High Key
High Ramp=+99
High Ramp=+62
High Ramp=0
High Ramp=–43
High Ramp=–99
Key
Vel to A (Velocity to A) [–99…+99]
This parameter specifies the depth and direction of the effect
that velocity will have on the time-varying changes created
by the filter 1 EG (as set by “Filter 1 EG” 4–5) to control the
filter 1A cutoff frequency.
With positive (+) values, playing more strongly will cause
the filter 1 EG to produce greater changes in cutoff frequency . W ith negative (–) values, playing mor e strongly will
also cause the filter 1 EG to produce greater changes in cutoff frequency, but with the polarity of the EG inverted.
Vel to B (Velocity to B) [–99…+99]
This parameter specifies the depth and direction of the effect
that velocity will have on the time-varying changes created
by the filter 1 EG to control the filter 1B cutoff frequency.
(☞“Vel to A (Velocity to A)”)
Changes in cutoff frequency
Note-on
Softly played
(The setting of Intensity to A (4–2b))
Note-off
Note-on
Strongly played
Setting to +
Note-off
Note-on
Strongly played
Setting to –
Note-off
17
4–2c: AMS, Into to A, Int to B
This value is added to the setting of the Filter A “Frequency
(A Frequency)”(4–1b).
AMS (Filter EG AMS) [Off, (EXT)]
Indicates the source that will control the depth and direction
of the effect that the time-varying changes produced by the
filter 1 EG will have on the cutoff frequency of filters 1A and
1B (☞p.152 “AMS List”).
Int. to A (AMS Int. to A) [–99…+99]
Specifies the depth and direction of the effect that “AMS
(Filter EG AMS)” will have on filter 1A.
For details on how this will apply, refer to “Int. to A (Intensity to A).”
Int. to B (AMS Int. to B) [–99…+99]
Specifies the depth and direction of the effect that “AMS
(Filter EG AMS)” will have on filter 1B. (☞“Int. to A (Intensity to A).”)
The sum of the settings for “Int. to A (B),” “Vel to A
(B),” and “Int. to A (B) (AMS Int. to A/B)” will determine the depth and direction of the effect produced by
the filter EG.
■ 4–2: UTILITY
☞ “Write Program” (0–1), “Copy Oscillator,” “Swap Oscilla-
tor” (1–1)
AMS2 (Filter A AMS2) [Off, (PEG, AEG, EXT)]
Intensity (A AMS2 Intensity) [–99…+99]
Selects “AMS2 (Filter A AMS2),” and specify the depth and
direction of the effect that the selected source will have
(☞“AMS1,” “Intensity”).
4–3b: Filter-B Modulation
This will be displayed when “Type (Filter Type)” (4–1a) is
Low Pass & High Pass.
Two alternate modulation sources can be used to modulate
the cutoff frequency of filter 1B (☞“Filter-A Modulation”).
■ 4–3: UTILITY
☞ “Write Program” (0–1), “Copy Oscillator,” “Swap Oscilla-
tor” (1–1)
4–4: lfoMod (LFO Modulation)
Here you can use the filter 1 LFO to apply cyclic modulation
to the cutoff frequency of filter 1 (for oscillator 1) to create
cyclical changes in tone.
18
4–3: Mod.2 (Filter1 Modulation2)
Indicates settings for the controller that will modify the tone
by applying modulation to the filter 1 cutoff frequency “Frequency (A/B Frequency).”
If “Type (Filter Type)” (4–1a) is Low Pass Resonance, the filter B parameters will not be displayed.
4–3a
4–3b
4–3a: Filter-A Modulation
AMS1 (Filter A AMS1) [Off, (PEG, AEG, EXT)]
Indicates the source that will control modulation of the filter
1A cutoff frequency (☞p.152 “AMS List”).
Intensity (A AMS1 Intensity) [–99…+99]
Specifies the depth and direction of the effect that “AMS1
(Filter A AMS1)” will have.
X50: If “AMS1 (Filter A AMS1)” is set to PitchBend, setting
a positive (+) value for this parameter and moving the
[PITCH] wheel up will raise the cutoff frequency, while
moving the wheel down will lower the cutoff frequency.
With negative (–) values, the opposite will occur. This setting is summed with the value of the Filter A “Frequency (A
Frequency)” (4–1b) parameter.
microX: When “AMS1 (Filter A AMS1)” is JS X, a positive
(+) value for this parameter will cause the cutoff frequency
to rise when the joystick is moved toward the right, and fall
when the joystick is moved toward the left. With a negative
(–) value for this parameter, the opposite will occur.
4–4a
4–4b
4–4a: Filter LFO1 Modulation
Intensity to A (LFO1 Int. to A) [–99…+99]
Specifies the depth and direction of the modulation that
OSC1 LFO1 (set by “OSC1 LFO1” 3–1a) will have on the cutoff frequency of filter 1A.
Negative (–) settings will invert the phase.
Intensity to B (LFO1 Int. to B) [–99…+99]
Specifies the depth and direction of the modulation that
OSC1 LFO1 will have on the cutoff frequency of filter 1B
(☞“Intensity to A (LFO1 Int. to A)”).
Change in cutoff
Low setting High setting
JS–Y Int. to A (LFO1 JS–Y Int. to A)[–99…+99]
If 7–3a “Knob 1–B” is set to MIDI CC#02, you can
X50:
turn REALTIME CONTROL B-mode knob [1] to control
how OSC1 LFO1 will modulate the cutoff frequency of filter
1A. This parameter specifies the depth and direction of this
effect. As you increase this value, moving knob [1] toward
the right will allow OSC1 LFO1 to have a greater effect on
filter 1.
microX: By moving the joystick in the –Y direction
(down), you can control the depth at which OSC1 LFO1
modulates the cutoff frequency of filter 1A. This parameter
specifies the depth and direction of the control. For example,
as this value is raised, OSC1 LFO1 will have a correspondingly greater effect on filter 1 when the joystick is moved in
the –Y direction.
4–5: EG (Filter1 EG)
Here you can make settings for the EG that will produce
time-varying changes in the cutoff frequency of filters 1A
and 1B.
The depth of the effect that these settings will have on the
filter 1 cutoff frequency is determined by “Filter EG” (4–2b).
PROG
0
JS–Y Int. to B (LFO1 JS–Y Int. to B) [–99…+99]
If 7–3a “Knob1–B” is set to MIDI CC#02, you can turn
X50:
REALTIME CONTROL B-mode knob [1] to control how
OSC1 LFO1 will modulate the cutoff frequency of filter 1B.
This parameter specifies the depth and direction of this
effect. (☞“JS –Y Int. to A (LFO1 JS –Y Int. to A)”)
microX: By moving the joystick in the –Y direction
(down), you can control the depth at which OSC1 LFO1
modulates the cutoff frequency of filter 1B. This parameter
specifies the depth and direction of the control. (☞“JS –Y Int.
to A (LFO1 JS–Y Int. to A)”)
AMS (LFO1 AMS)
[Off, (PEG, FEG, AEG, KT, EXT)]
Selects a source that will control the depth and direction of
cutoff frequency change for both filters 1A and 1B (☞p.152
“AMS List”).
Int. to A (LFO1 AMS Int. to A) [–99…+99]
Specifies the depth and direction of the effect that “AMS
(LFO1 AMS)” will have on filter 1A. For example if you set
“AMS” to Pedal #04 and set Global 0–3a “Foot Pedal
Assign” to Foot Pedal (CC#04), higher settings of this
parameter will allow the OSC1 LFO1 to produce a greater
effect when you advance a foot pedal connected to the
ASSIGNABLE PEDAL jack.
4–5a
4–5b
4–5c
4–5a: Filter1 EG
Specifies the time-varying change produced by the filter 1
EG.
Note-off
Break
Point
Level
Decay
Time
Sustain Level
Slope
Time
Release
Time
Release
Level
Time
Attack Level
Note-on
The specified
cutoff
frequency
Start
Level
Attack
Time
L (Level parameters):
The result will depend on the filter that was selected in
“Type (Filter Type)” (4–1a). For example with the Low Pass
Resonance filter, positive (+) values of “Int. to A” (4–2b)
will cause the tone to be brightened by positive (+) levels,
and darkened by negative (–) levels.
123456789
Int. to B (LFO1 AMS Int. to B) [–99…+99]
Specifies the depth and direction of the effect that “AMS
(LFO1 AMS)” will have on filter 1B (☞“Int. to A (LFO1 AMS
Int. to A)”).
4–4b: Filter LFO2 Modulation
Adjusts the depth of the cyclic modulation applied by OSC1
LFO2 (set by “OSC1 LFO 2” 3–2) to the cutoff frequency of
filters 1A and 1B (☞“Filter LFO 1 Modulation” 4–4a).
Intensity to A (LFO2 Int. to A) [–99…+99]
Intensity to B (LFO2 Int. to B) [–99…+99]
JS–Y Int. to A (LFO2 JS–Y Int. to A)[–99…+99]
JS–Y Int. to B (LFO2 JS–Y Int. to B) [–99…+99]
AMS (LFO2 AMS)
[Off, (PEG, FEG, AEG, KT, EXT)]
Int. to A (LFO2 AMS Int. to A) [–99…+99]
Int. to B (LFO2 AMS Int. to B) [–99…+99]
■ 4–4: UTILITY
☞ “Write Program” (0–1), “Copy Oscillator,” “Swap Oscilla-
tor” (1–1)
S (Start Level) [–99…+99]
Specifies the change in cutoff frequency at the time of note-on.
A (Attack Level) [–99…+99]
Specifies the change in cutoff frequency after the attack time
has elapsed.
B (Break Point Level) [–99…+99]
Specifies the change in cutoff frequency after the decay time
has elapsed.
S (Sustain Level) [–99…+99]
Specifies the change in cutoff frequency that will be maintained from after the slope time has elapsed until note-off
occurs.
R (Release Level) [–99…+99]
Specifies the change in cutoff frequency that will occur when
the release time has elapsed.
T (Time parameters):
These parameters specify the time over which each change
will occur.
A (Attack Time) [00…99]
Specifies the time over which the level will change from
note-on until the attack level is reached.
D (Decay Time) [00…99]
Specifies the time over which the level will change from the
attack level to the break point level.
19
S (Slope Time) [00…99]
Specifies the time over which the level will change after the
decay time has elapsed until the sustain level is reached.
R (Release Time) [00…99]
Specifies the time over which the level will change after
note-on occurs until the release level is reached.
4–5c: Time Mod. (Time Modulation)
These settings let you use alternate modulation to control
the “T (Time parameters)” of the filter 1 EG.
AMS1 (Time Mod. AMS1) [Off, (KT, EXT)]
Indicates the source that will control the “T (Time parameters)” of the filter 1 EG (☞p.152 “AMS List”).
4–5b: Level Mod. (Level Modulation)
These settings let you use alternate modulation to control
the “L (Level parameters)” of the filter 1 EG.
AMS (Level Mod. AMS) [Off, (KT, EXT)]
Indicates the source that will control the “L (Level parameters)” of the filter 1 EG (☞p.152 “AMS List”).
I (AMS Intensity) [–99…+99]
Specifies the depth and direction of the effect that “AMS
(Level Mod. AMS)” will have. With a setting of 0, the levels
specified by “Filter 1 EG” (4–5a) will be used, no additional
effect is produced.
For example, if “AMS (Level Mod. AMS)” is Velocity, and
you set “S (AMS SW Start),” “A (AMS SW Attack)” and “B
(AMS SW Break)” to + and set “I (AMS Intensity)” to a posi-
tive (+) value, the EG levels will rise as you play more
strongly. If “Intensity” is set to a negative (–) values, the EG
levels will fall as you play more strongly.
S (AMS SW Start) [–, 0, +]
Specifies the direction in which “AMS (Level Mod. AMS)”
will affect “S (Start Level).” When “I (AMS Intensity)” has a
positive (+) value, a setting of + for this parameter will
allow “AMS” to raise the EG level, and a setting of – will
allow “AMS” to lower the EG level. With a setting of 0 there
will be no change.
A (AMS SW Attack) [–, 0, +]
Specifies the direction in which “AMS (Level Mod. AMS)”
will affect “A(Attack Level).” When “I (AMS Intensity)” has
a positive (+) value, a setting of + for this parameter will
allow “AMS” to raise the EG level, and a setting of – will
allow “AMS” to lower the EG level. With a setting of 0 there
will be no change.
B (AMS SW Break) [–, 0, +]
Specifies the direction in which “AMS (Level Mod. AMS)”
will affect “B (Break Point Level).” When “I (AMS Intensity)” has a positive (+) value, a setting of + for this parameter will allow “AMS” to raise the EG level, and a setting of –
will allow “AMS” to lower the EG level. With a setting of 0
there will be no change.
Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value)
Note-on
Softly played note with “S,”
“A,” and “B” set to + (setting
of 4–5a: Filter 1 EG)
Note-off
Note-on
Strongly played note with
“S,” “A,” and “B” set to +
Note-off
Note-on
Strongly played note with
“S,” “A,” and “B” set to –
Note-off
I (AMS1 Intensity) [–99…+99]
Specifies the depth and direction of the effect that “AMS1
(Time Mod. AMS1)” will have. With a setting of 0, the times
specified by “Filter1 EG” (4–5a) will be used.
For example, if “AMS1 (Time Mod. AMS1)” is set to Flt KTr
+/+, the EG “T (Time parameters)” will be controlled by the
Keyboard Track (4–2a) settings. With positive (+) values of
this parameter, positive (+) values of “Ramp (Ramp Setting)” (4–2a) will lengthen the EG times, and negative (–)
values of “Ramp (Ramp Setting)” will shorten the EG times.
The direction of change is specified by “A (AMS1 SW
Attack),” “D (AMS1 SW Decay),” “S (AMS1 SW Slope),” and
“R (AMS1 SW Release).”
If “AMS1 (Time Mod. AMS1)” is set to Velocity, positive (+)
values of this parameter will cause EG times to lengthen as
you play more strongly, and negative (–) values will cause
EG times to shorten as you play more strongly.
With a setting of 0, the times specified by “Filter1 EG” will
be used.
A (AMS1 SW Attack) [–, 0, +]
Specifies the direction in which “AMS1 (Time Mod. AMS1)”
will affect the attack time. With positive (+) values of “I
(AMS1 Intensity),” setting this parameter to + will allow
AMS1 to lengthen the time, and setting this parameter to –
will allow AMS1 to shorten the time. With a setting of 0
there will be no change.
D (AMS1 SW Decay) [–, 0, +]
Specifies the direction in which “AMS1 (Time Mod. AMS1)”
will affect the decay time. With positive (+) values of “I
(AMS1 Intensity),” setting this parameter to + will allow
AMS1 to lengthen the time, and setting this parameter to –
will allow AMS1 to shorten the time. With a setting of 0
there will be no change.
S (AMS1 SW Slope) [–, 0, +]
Specifies the direction in which “AMS1 (Time Mod. AMS1)”
will affect the slope time. With positive (+) values of “I
(AMS1 Intensity),” setting this parameter to + will allow
AMS1 to lengthen the time, and setting this parameter to –
will allow AMS1 to shorten the time. With a setting of 0
there will be no change.
R (AMS1 SW Release) [–, 0, +]
Specifies the direction in which “AMS1 (Time Mod. AMS1)”
will affect the release time. With positive (+) values of “I
(AMS1 Intensity),” setting this parameter to + will allow
AMS1 to lengthen the time, and setting this parameter to –
will allow AMS1 to shorten the time. With a setting of 0
there will be no change.
Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value)
Note-on
Note-off
Note-on
Note-off
Note-on
Note-off
20
Softly played note with “A,”
“D,” “S” and “R” set to +
(setting of 4–5a: Filter 1 EG)
Strongly played note with
“A,” “D,” “S” and “R” set to +
Strongly played note with
“A,” “D,” “S” and “R” set to –
AMS2 (Time Mod. AMS2) [Off, (KT, EXT)]
I (AMS2 Intensity) [–99…+99]
A (AMS2 SW Attack) [–, 0, +]
D (AMS2 SW Decay) [–, 0, +]
S (AMS2 SW Slope) [–, 0, +]
R (AMS2 SW Release) [–, 0, +]
These parameters are the settings for “AMS2” to control the
“Time” parameters of the filter 1 EG (☞“AMS1 (Time Moc.
AMS1)”–“R (AMS1 SW Release)”).
■ 4–5: UTILITY
PROG 6: Ed–Amp1/2
Here you can make settings for amp 1 which controls the
volume of oscillator 1, and amp 2 which controls the volume
of oscillator 2. You can also specify the panning of each oscillator.
6–1: Lvl/Pan (Amp1 Level/Pan)
These parameters control the volume and pan of oscillator 1.
6–1a
6–1b
PROG
0
123456789
☞ “Write Program” (0–1), “Copy Oscillator,” “Swap Oscilla-
tor” (1–1)
For details on how to select the desired utility function, refer
to “PROG 0–1: UTILITY.”
Sync Both EGs
Choose “Sync Both EGs” from the utility menu, and press
the center of the ClickPoint; a check mark will appear at the
left of “Sync Both EGs,” and the “SYNC” icon will appear at
the left of the envelope curve in the display.
In this state, the filter 1 EG and the filter 2 EG can be edited
simultaneously. (Editing either one will cause the other to
change.)
“Sync Both EGs” cannot sync the filter EG and amp EG
independently. For example if you sync in 6–3d, it will
be synced here as well.
This can be selected only if “Mode (Oscillator Mode)”
(1–1a) is Double.
PROG 5: Ed–Filter2
5–1: Basic 5–2: Mod.1 (Filter2 Modulation1) 5–3: Mod.2 (Filter2 Modulation2) 5–4: lfoMod (LFO Modulation) 5–5: EG (Filter2 EG)
Indicates settings for filter 2, which controls the tone of oscillator 2. You can select either a 24 dB/oct low pass filter with
resonance, or a 12 dB/oct low pass filter and 12 dB/oct high
pass filter connected in series. Filter 2 can be used when
“Mode (Oscillator Mode)” (1–1a) is Double. (☞“PROG 4:
Ed–Filter 1”)
6–1c
6–1a: Amp1 Level
Level (Amp1 Level) [000…127]
Sets the volume of oscillator 1.
The volume of a program can be controlled by CC#7
(volume) and CC#11 (expression). The r esulting level is
determined by summing the values of CC#7 and
CC#11. The Global MIDI channel “MIDI Channel”
(GLOBAL 1–1a) is used for control.
6–1b: Pan
Pan (Amp1 Pan)
[Random, L001…C064…R127]
Sets the pan (stereo location) of oscillator 1.
A setting of L001 places the sound at far left, C064 in the
center, and R127 to far right.
Random: The sound will be heard from a different location
at each note-on.
This can be controlled by CC#10 (panpot). A CC#10
value of 0 or 1 will place the sound at the far left, a
value of 64 will place the sound at the location specified
by the “Pan” setting for each oscillator, and a value of
127 will place the sound at the far right. This is controlled on the global MIDI channel “MIDI Channel”
(GLOBAL 1–1a).
Use DKit Setting [Off, On]
This is valid when “Mode (Oscillator Mode)” (1–1a) is set to
Drums.
On (checked): The sound will be output at the “Pan” setting
that has been made for each key of the drum kit (GLOBAL
4–3a). When “Mode (Oscillator Mode)” is Drums, you will
normally use this setting.
Off (unchecked): All notes will be output as specified by the
“Pan (Amp1 Pan)” setting.
21
6–1c: AMS, Intensity
AMS (Pan AMS)
[Off, (PEG, FEG, AEG, LFO, KT, EXT)]
Indicates the source that will modify pan (☞p.152 “AMS
List”). This change will be relative to the “Pan (Amp1 Pan)”
setting.
Intensity [–99…+99]
Specifies the depth of the effect produced by “AMS (Pan
AMS).”
For example, if “Pan (Amp1 Pan)” is set to C064 and “AMS
(Pan AMS)” is Note Number, positive (+) values of this
parameter will cause the sound to move toward the right as
the note numbers increase beyond the C4 note (i.e., as you
play higher), and toward the left as the note numbers
decrease (i.e., as you play lower). Negative (–) values of this
parameter will have the opposite effect.
Low (KBDTrk Ramp Low) [–99…+99]
With positive (+) values of this parameter, the volume will
increase as you play notes below the “Low (KBDTrk Key
Low)” note number. With negative (–) values, the volume
will decrease.
High (KBDTrk Ramp High) [–99…+99]
With positive (+) values of this parameter, the volume will
increase as you play notes above the “High (KBDTrk Key
High)” note number. With negative (–) values, the volume
will decrease.
Volume change produced by key position and Ramp settings
Volume
Ramp Low=+99
Ramp Low=0
Ramp Low=–99
Ramp High=+99
Ramp High=0
Ramp High=–99
■ 6–1: UTILITY
☞ “Write Program” (0–1), “Copy Oscillator,” “Swap Oscilla-
tor” (1–1)
6–2: Mod. (Amp1 Modulation)
These settings allow you to apply modulation to amp 1 (for
oscillator 1) to modulate the volume.
6–2a
6–2b
6–2c
6–2a: Keyboard Track
These parameters let you use keyboard tracking to adjust
the volume of oscillator 1. Use the “Key” and “Ramp”
parameters to specify how the volume will be affected by
the position on the keyboard of the note that you play.
Key (Keyboard Track Key):
Specifies the note number at which keyboard tracking will
begin to apply.
The volume will not change between “Low (KBDTrk Key
Low)” and “High (KBDTrk Key High).”
X50: You can also input a value by playing a note on the
keyboard while you hold down the [ENTER] button.
Low (KBDTrk Key Low) [C–1…G9]
Keyboard tracking will apply to the range of notes below the
note number you specify here.
KBDTrk Low KBDTrk High
Key
6–2b: Amp Mod., LFO1 Mod., LFO2 Mod.
Indicates settings to specify how the volume of oscillator 1
will be controlled by velocity, OSC1 LFO1, and OSC1 LFO2.
Amp Mod. (Amp Modulation):
Velocity Int. (Amp Velocity Int.) [–99…+99]
With positive (+) values, the volume will increase as you
play more strongly.
With negative (–) values, the volume will decrease as you
play more strongly.
Volume change (with positive (+) values of this parameter)
Note-on
Note-off
Softly played
LFO1 Mod. (LFO1 Modulation):
Intensity (LFO1 Intensity) [–99…+99]
These parameters let you use “OSC1 LFO1” (3–1) to control
the oscillator 1 volume.
Negative (–) values will invert the LFO waveform.
LFO2 Mod. (LFO2 Modulation):
Intensity (LFO2 Intensity) [–99…+99]
Specifies the depth and direction of the effect that “OSC1
LFO2”(3–2) will have on the volume of oscillator 1.
Negative (–) values will invert the LFO waveform.
Note-on
Strongly played
Note-off
22
High (KBDTrk Key High) [C–1…G9]
Keyboard tracking will apply to the range of notes above the
note number you specify here.
Ramp (Ramp Setting):
Specifies the angle of the keyboard tracking.
6–2c: AMS, Int.
AMS (Amp AMS) [Off, (PEG, FEG, EXT)]
Indicates the source that will control the volume of amp 1
(☞p.152 “AMS List”) (EXT) Velocity cannot be selected.
Int. (AMS Intensity) [–99…+99]
Specifies the depth and direction of the effect that “AMS
(Amp AMS)” will have.
The actual volume will be determined by summing the
value of the changes produced by the amp EG with the values of Alternate Modulation etc., and if the levels of the amp
EG are low, the modulation applied by Alternate Modulation will also be less.
For example if you set “AMS” to Pedal #04 and set Global 0–
3a “Foot Pedal Assign” to Foot Pedal (CC#04), positive (+)
settings of this parameter will make the volume increase
when you advance a foot pedal connected to the ASSIGNABLE PEDAL jack. However if the volume is already at the
maximum because of the EG settings etc., it cannot be
increased any farther. With negative (–) settings of this
parameter, advancing the pedal will decrease the volume.
Amplifier EG
Attack Level
Volume
Note-on
Start
Level
Attack
Time
Break Point
Decay
Time
L (Level parameters):
Slope
Time
Sustain
Level
Note-off
Release Time
PROG
0
Time
123456789
AMS (LFO1 AMS)
[Off, (PEG, FEG, AEG, KT, EXT)]
Indicates the source that will control the depth by which
“OSC1 LFO1” (3–1) will modulate the volume of oscillator 1
(☞p.152 “AMS List”).
Int. (AMS Intensity) [–99…+99]
Specifies the depth and direction of the effect that “OSC1
LFO1” will have on the volume of oscillator 1. Negative (–)
values will invert the LFO waveform.
AMS (LFO2 AMS)
[Off, (PEG, FEG, AEG, KT, EXT)]
Indicates the source that will control the depth by which
“OSC1 LFO2” (3–2) will modulate the volume of oscillator 1
(☞p.152 “AMS List”).
Int. (AMS Intensity) [–99…+99]
Specifies the depth and direction of the effect that “OSC1
LFO2” will have on the volume of oscillator 1. Negative (–)
values will invert the LFO waveform.
■ 6–2: UTILITY
☞ “Write Program” (0–1), “Copy Oscillator,” “Swap Oscilla-
tor” (1–1)
S (Start Level) [00…99]
Specifies the volume level at note-on.
If you want the note to begin at a loud level, set this to a high
value.
A (Attack Level) [00…99]
Specifies the volume level that will be reached after the
attack time has elapsed.
B (Break Point Level) [00…99]
Specifies the volume level that will be reached after the
decay time has elapsed.
S (Sustain Level) [00…99]
Specifies the volume level that will be maintained from after
the slope time has elapsed until note-off occurs.
T (Time parameters):
A (Attack Time) [00…99]
Specifies the time over which the volume will change after
note-on until it reaches the attack level.
If the start level is 0, this will be the rise time of the sound.
D (Decay Time) [00…99]
Specifies the time over which the volume will change from
when it reaches the attack level until it reaches the break
point level.
6–3: EG (Amp1 EG)
Indicates settings to specify how Amp 1 will cause the volume of oscillator 1 to change over time.
6–3a
6–3b
6–3c
6–3a: Amp1 EG
These parameters specify how the amp 1 EG will change
over time.
S (Slope Time) [00…99]
Specifies the time over which the volume will change from
when it reaches the break point level until it reaches the sustain level.
R (Release Time) [00…99]
Specifies the time over which the volume will change after
note-off until it reaches 0.
6–3b: Level Mod. (Level Modulation)
These parameters let you use AMS to modulate the amp 1
EG levels that were specified in “Amp 1 EG” (6–3a).
AMS (Level Mod. AMS) [Off, (KT, EXT)]
Selects the source that will control the “Level” parameters of
the amp 1 EG (☞p.152 “AMS List”).
I (AMS Intensity) [–99…+99]
Specifies the depth and direction of the effect that “AMS
(Level Mod. AMS)” will have.
For example, if “AMS (Level Mod. AMS)” is Velocity, setting
“S (AMS SW Start),” “A (AMS SW Attack),” and “B (AMS
SW Break)” to + and setting “Intensity” to a positive (+)
23
Loading...