Korg MICROX X50 User Manual 2

Parameter Guide

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

☞

■

☞

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.

■

☞■

–

■

...

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

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

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

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

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

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

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…

123456789

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.

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

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).



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)

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

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.

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.

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

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.

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.”

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

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

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)

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

–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.

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

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)

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.

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

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)

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.

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

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

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.

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

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

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

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.

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

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.

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

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

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.

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

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

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 (+)

value will cause the amp 1 EG volume levels to increase as you play more strongly. Setting “Intensity” to a negative (–) values will cause the amp 1 EG volume levels to decrease as you play more strongly. With a setting of 0, the levels will be as speciﬁed in “Amp 1 EG” (6–3a).

S (AMS SW Start) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod. AMS)” will change “S (Start Level).” If “I (AMS Intensity)” is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

A (AMS SW Attack) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod. AMS)” will change “A (Attack Level).” If “I (AMS Intensity)” is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

B (AMS SW Break) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod. AMS)” will change “B (Break Point Level).” If “I (AMS Intensity)” is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value)

Note-on

Note-off

Softly played note when “S”=0 and “A” and “B” are set to + (settings of 6–3a: Amp 1 EG)

Note-on

Note-off

Strongly played note when “S”=0 and “A” and “B” are set to +

Note-on

Note-off

Strongly played note when “S”=0 and “A” and “B” are set to –

A (AMS1 SW Attack) [–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod. AMS1)” will have on “A (Attack Time).” With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

D (AMS1 SW Decay) [–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod. AMS1)” will have on “D (Decay Time).” With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

S (AMS1 SW Slope) [–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod. AMS1)” will have on “S (Slope Time).” With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

R (AMS1 SW Release) [–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod. AMS1)” will have on “R (Release Time).” With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

Amp 1 EG changes (Time) (AMS=Amp KTrk +/+, Intensity = a positive (+) value) (When Amp Keyboard Track (6–2a) Low Ramp= a positive (+) value, and High Ramp = a positive (+) value)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

6–3c: Time Mod. (Time Modulation)

You can use two AMS sources to control the Amp 1 EG times that were speciﬁed in “Amp 1 EG” (6–3a).

AMS1 (Time Mod. AMS1) [Off, (EXT, KT)]

Selects the source that will control the “T ime” parameters of Amp 1 EG. (☞p.152 “AMS List”)

I (AMS1 Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS1 (Time Mod. AMS1)” will have.

For example, if “AMS1 (Time Mod. AMS1)” is Amp KT +/+, the (Amp) “Keyboard Track” settings (6–2a) will control the EG “Time” parameters. With positive (+) values of this parameter, positive (+) values of “Ramp (Ramp Setting)” will cause EG times to be lengthened, and negative (–) val- ues of “Ramp (Ramp Setting)” will cause EG times to be shortened. The direction of the change is speciﬁed by “A (AMS1 SW Attack),” “D (AMS1 SW Decay),” “S (AMS1 SW Slope),” and “R (AMS1 SW Release).” When “AMS1 (Time Mod. AMS1)” is Velocity, positive (+) values 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 EG times will be as speciﬁed in “Amp1 EG” (6–3a).

Settings of 6–3a: Amp 1EGLow-pitched note played

Amp 1 EG changes (Time) (AMS=Velocity, Intensity= a positive (+) value)

Note-on

Note-off

Softly played note with “A,” “D,” “S” and “R” at + (settings of 6–3a: Amp 1 EG)

with “A,” “D,” “S”, and “R” at +

Note-on

Note-off

Strongly played note with “A,” “D,” “S” and “R” at +

High-pitched note played with “A,” “D,” “S”, and “R” at –

Note-on

Note-off

Strongly played note with “A,” “D,” “S” and “R” at –

AMS2 (Time Mod. AMS2) [Off, (EXT, KT)] 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 specify how “AMS2 (Time Mod. AMS2)” will control the amp 1 EG “Time” parameters (☞“AMS1 (Time Mod. AMS1)”–“R(AMS1 SW Release)”).

■ 6–3: 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.”

Sync Both EGs

The amp 1 EG and the amp 2 EG can be edited simultaneously. (Editing either one will cause the other to change.) 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.” (☞4–5: UTILITY )

6–4: Lvl/Pan (Amp2 Level/Pan) 6–5: Mod. (Amp2 Modulation) 6–6: EG (Amp2 EG)

These will appear when “Mode (Oscillator Mode)” (1–1a) is Double. (☞“PROG 6: Ed–Amp1/2”)

PROG 7: Ed–Arp/Ctrls

(Arpeggiator/Controls)

Here you can make settings for the arpeggiator used in the program. You can also assign the functions of the following controllers.

X50: The B-mode functions of REALTIME CONTROLS [1]–

[4] knobs, and the functions of [SW1] and [SW2].

microX: The B-mode functions of REALTIME CONTROLS

[1]–[4] knobs. These arpeggiator settings can be linked when you switch

programs. To link, check the Program item in “Auto Arp. “Program” (GLOBAL 0–1c): On.

The arpeggiator can be switched on/off by the [ARP ON/ OFF] button. When on, the LED will light.

The settings of the REALTIME CONTROLS C-mode [ARPGATE] knob, [ARP-VELOCITY] knob, [ARP-LENGTH] knob, [TEMPO] knob, and [ARP ON/OFF] button can be saved for each program.

These settings will be valid when Auto Arp. “Pr ogram” is On.

You can control the arpeggiator from an external sequencer, or record arpeggio note data on an external sequencer. (☞p.178)

“Pattern,” “Resolution,” “Octave,” “Sort,” “Latch,” “Key Sync.,” “Keyboard,” and “ (Tempo)” can also be set in the Arp. Play page of 0: Play.

PROG

123456789

7–1: Setup (Arpeg. Setup)

7–1b

7–1a

7–1a: Arpeggiator Setup

☞ Refer to OG X50: p.91, microX: p.91.

Pattern* [Preset-0...Preset-4, U000...U250]

Selects the arpeggio pattern.

Preset-0: UP Preset Arpeggio Pattern Preset-1: DOWN Preset Arpeggio Pattern Preset-2: ALT1 Preset Arpeggio Pattern Preset-3: ALT2 Preset Arpeggio Pattern Preset-4: RANDOM Preset Arpeggio Pattern U000...U250 for Preloaded User Arpeggio Pattern

Preset-0–Preset-4 are preset arpeggio patterns, U000–U250 are user arpeggio patterns. User arpeggio patterns can be created in GLOBAL 5: Arp. Pattern.

X50: Arpeggio patterns U000–U250 can be selected using

the numeric buttons [0]–[9] and the [ENTER] button.

Octave* [1, 2, 3, 4]

Speciﬁes the number of octaves in which the arpeggio will be played.

If a user arpeggio pattern is selected, the range of the arpeggio will depend on the “Octave Motion” (GLOBAL 5–1c) setting.

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

Speciﬁes the timing resolution of the arpeggio. The notes of the arpeggio will be played at the interval you specify:   ,  ,  ,  ,   , or  . The speed of the arpeggio pattern is determined by the “ (Tempo)” and the “Resolution.”

Gate [000...100(%), Step]

Speciﬁes the length (gate time) of each note in the arpeggio. 000–100(%): Each note will be played with the speciﬁed gate time.

Step: This is available when a user arpeggio pattern U000 – U250 is selected for “Pattern.” When this is selected, the gate

time speciﬁed for each step will be used. The gate time can also be controlled by the REALTIME

CONTROLS C-mode [ARP-GATE] knob. Rotating the knob toward the left will shorten the gate time, and rotating it toward the right will lengthen the gate time. When the knob is at the 12 o’clock position, the gate time will be as speciﬁed here.

Velocity [001...127, Key, Step]

Speciﬁes the velocity of the notes in the arpeggio. 001–127: Each note will sound with the speciﬁed velocity value. Key: Each note will sound with the velocity value at which it was actually played.

Step: This is available when a user arpeggio pattern U000– U250 is selected for “Pattern.” When this is selected, the

velocity speciﬁed for each step will be used. The velocity can also be controlled by the REALTIME CON-

TROLS C-mode [ARP-VELOCITY] knob. Rotating the knob toward the left will decrease the velocity, and rotating it toward the right will increase the velocity. When the knob is at the 12 o’clock position, the velocity will be as speciﬁed here.

Latch* [Off, On]

Speciﬁes whether or not the arpeggio will continue playing after you take your hand off the keyboard. On (checked): The arpeggio will continue playing after you remove your hand from the keyboard. Off (unchecked): The arpeggio will stop when you remove your hand from the keyboard.

Key Sync.* [Off, On]

Speciﬁes whether the arpeggio pattern will begin when you press a key, or whether it will always follow the “ (Tempo)” setting. On (checked): The arpeggio pattern will start playing from the beginning when a note-on occurs from a condition where no keys are pressed. This setting is suitable when you are playing in realtime and want the arpeggio to play from the beginning of the measure. Off (unchecked): The arpeggio pattern will always play according to the “  (Tempo) .”

Keyboard* [Off, On]

This speciﬁes whether the notes you play on the keyboard will be sounded as usual in addition to being sounded as part of the arpeggio. On (checked): The notes you play will be sounded on their own, in addition to being sounded as part of the arpeggio. For example if you simultaneously press two or more notes, they will be sounded as usual in addition to being played as arpeggiated notes. Off (unchecked): Only the arpeggiated notes will be heard.

* These parameters can also be set in “0–3: Arp. Play”

7–1b: Arpeggiator Tempo

 (Tempo) [040...240, EXT]

Sets the tempo.

☞p.3 “ (Tempo)” (0–1a)

■ 7–1: UTILITY

Swing [–100...+100(%)]

This parameter shifts the timing of the odd-numbered notes of the arpeggio.

When Resolution = Step

123456789

–50 –25 +25 +25

Swing

Sort* [Off, On]

This speciﬁes the order in which the notes you press will be arpeggiated.

On (checked): Notes will be arpeggiated in the order of their pitch, regardless of the order in which you pressed them. Off (unchecked): Notes will be arpeggiated in the order in which you pressed them.

☞ “Write Program” (0–1)

Copy Arpeggiator

This command copies arpeggio settings.

1 Select “Copy Arpeggiator” to access the dialog box.

2 In “From” specify the copy source arpeggio settings

(mode, bank, number).

X50: You can press a PROG BANK button to select a bank.

You can also use numeric buttons [0]–[9] and the [ENTER] button to select a number.

3 If you are copying from Combination or multi set, specify

whether you wish to copy from A or B.

4 To execute the Copy Arpeggio operation, press the

[MENU/OK] button. To cancel, press the [EXIT/CANCEL] button.

7–2: Zone (Scan Zone)

7–2a

7–3a: Knob B Assign

Here you can assign functions (mainly various types of control change) to the B-mode of the REALTIME CONTROLS knobs [1]–[4] (☞p.162 “Realtime Control Knobs B Assign List”). The functions you set here will take effect when you operate the REALTIME CONTROLS knobs [1]–[4] in B-mode.

PROG

7–2a: Scan Zone

Zone Map

This shows the “Scan Zone” setting.

Key:

Btm (Bottom Key) [C–1...G9] Top (Top Key) [C–1...G9]

These parameters specify the range of notes (keys) for which the arpeggiator will function. “Top” is the upper limit, and “Btm” is the lower limit.

Vel:

Btm (Bottom Velocity) [001...127] Top (Top Velocity) [001...127]

Speciﬁes the range of velocities for which the arpeggiator will function. “Top” is the upper limit, and “Btm” is the lower limit.

X50: The note number and velocity can also be speciﬁed by

holding down the [ENTER] button and pressing a note on the keyboard.

■ 7–2: UTILITY

☞ “Write Program” (0–1), “Copy Arpeggiator” (7–1)

7–3: Controls

X50

Knob1–B (Knob1–B Assign)

[Off...MIDI CC#95]

Knob2–B (Knob2–B Assign)

[Off...MIDI CC#95]

Knob3–B (Knob3–B Assign)

[Off...MIDI CC#95]

Knob4–B (Knob4–B Assign)

[Off...MIDI CC#95]

X50: 7–3b: SW1/2 Assign

These settings assign functions to [SW1] and [SW2] (☞p.161 “SW1, SW2 Assign List”).

SW1 Assign [Off...Pitch Bend Lock]

Here you can assign a function to [SW1]. The on/off status of the switch is saved when the program is written. When you change the function, it will be reset to the “off” state.

SW1 Mode [Toggle, Momentary]

Speciﬁes the on/off behavior of [SW1]. Toggle: The switch will alternate on/off each time you press [SW1]. Momentary: The switch will be on only while you continue holding [SW1].

SW2 Assign [Off...Pitch Bend Lock] SW2 Mode [Toggle, Momentary]

Here you can assign a function to [SW2]. The functions that can be assigned to [SW2] are the same as for [SW1], with the exception of SW2 Mod. (CC#81) instead of SW1 Mod. (CC#80).

123456789

7–3a

microX

7–3a

■ 7–3: UTILITY

☞ “Write Program” (0–1)

7–3b

PROG 8: Ed–InsertFX

☞ For details on insertion effect, refer to p.97 “6. Effect

Guide.”

CC#93 will control the Send 1 level for OSC 1 and 2, and control change #91 will control the Send 2 level for OSC 1 and 2. These are controlled on the global MIDI channel “MIDI Channel” (GLOBAL 1–1a). The actual send level is determined by summing these values with the send level setting of each oscillator.

8–1: BUS

These settings specify the bus on which the output of the oscillator will be sent, and adjust the send levels to the master effects.

The following diagram shows the LCD screen when “Mode (Oscillator Mode)” (1–1a) is set to Single or Double.

8–1a

8–1a: BUS

BUS Select:

BUS Select (All OSCs) [L/R, IFX, 1, 2, 1/2, Off ]

Speciﬁes the bus to which oscillators 1 and 2 will be sent.

If this is set to 1/2, the oscillator pan settings (6–1b, 6–4) will be used to output the sound in stereo from (INDIVIDUAL OUTPUT) 1/2. When the oscillator pan is controlled by CC#10 (pan) or AMS (Alternate Modulation Source), the sound will be output with the pan setting that is in effect at note-on. Unlike the case when this is set to L/R to output the sound from (MAIN OUT PUT) L/MONO and R, the pan of a sounding note will not change in real-time. If you wish to adjust the pan in real-time while playing a note and output the sound from (INDIVIDUAL OUTPUT) 1/2, set “BUS Select” to IFX, set “IFX” to 00: No Effect, and set the “BUS Select” (8–2a) after passing through IFX to 1/2.

MFX Send:

OSC1 Send1 [000...127]

Sets the volume (send level) at which the output of OSC1 will be sent to master effect 1. This is valid when “BUS Select” is set to L/R or Off. If “BUS Select” is set to IFX, the send levels to master effect 1 and 2 are set by “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” (8–2a) after passing through IFX of the Setup page.

OSC1 Send2 [000...127]

Sets the volume (send level) at which the output of OSC1 will be sent to master effect 2 (☞“OSC1 Send1”).

OSC2 Send1 [000...127] OSC2 Send2 [000...127]

Sets the volume (send level) at which the output of OSC2 will be sent to master effects 1 and 2. These parameters will be valid when “Mode (Oscillator Mode)” (1–1a) is set to Double and “BUS Select” is set to L/R or Off (☞“OSC1 Send1”).

8–1b: Use DKit Setting

The LCD screen shown below is for when “Mode (Oscillator Mode)” (1–1a) is set to Drums.

8–1b

Use DKit Setting [Off, On]

This will be available when “Mode (Oscillator Mode)” is set to Drums. If the “Mode (Oscillator Mode)” is Single or

Double, this setting has no effect. On (checked): The “BUS (BUS Select)” (GLOBAL 4–3a) set-

ting for each key of the selected drum kit will be used. Check this when you want to apply an insert effect to an individual drum instrument, or to output an individual drum instrument to one of the INDIVIDUAL OUTPUT jacks. Off (unchecked): The setting of the “BUS Select,” “MFX Send” (8–1a) parameter described below will be used. All drum instruments will be sent to the speciﬁed bus.

■ 8–1: UTILITY

☞ “Write Program” (0–1)

For details on how to select the desired utility function, refer to “PROG 0–1: UTILITY.”

Copy Insert Effect

This command copies effect settings from Program, Combination, Multi set.

1 Select “Copy Insert Effect” to access the dialog box.

2 In “From” select the copy source mode, bank, and num-

ber.

X50: You can press a PROG BANK button to select a bank.

You can also use numeric buttons [0]–[9] and the [ENTER] button to select a number.

3 Select the effect that you wish to copy. You can also copy

from a master effect.

If you are copying from a master effect, the result may not be identical, due to differences in the routing and level settings of a master effect.

4 If you check “Post IFX Mixer Setting,” the “Pan (CC#8),”

“BUS Select,” “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” settings that follow the copy source insert effect will also be copied. If you do not check this, only the effect type and its parameters will be copied.

5 To execute the Copy Insert Effect command, press the

[MENU/OK] button. To cancel, press the [EXIT/CANCEL] button.

8–2: Setup

Here you can select the type of insert effect, turn it on/off, pan etc. The direct sound (Dry) of an insert effect is always stereo input and output. The input/output of the effect sound (Wet) will depend on the effect type (☞p.98).

8–2a

8–2b

8–2a: InsertFX Setup

IFX On/Off [Off, On]

Selects the insert effect on/off. When this is Off, the input will be output without change. (For 00: No Effect, on/off will produce the same result.)

Separately from this setting, you can use control change #92 to turn off insert effect. A value of 0 will be off, and a value of 1–127 will be the original setting. This message is received on the global MIDI channel speciﬁed by “MIDI Channel” (GLOBAL 1–1a).

Insert Effect [00...89: name]

Indicates the type of insert effect. For “Insert Effect” you can select from 89 types of effect: 01: St.Amp Sim – 89: Reverb-Gate.

You can use the utility “Select by Category” (8–2c) to select these effects by category.

Control change CC#93 will control the Send 1 level, and control change CC#91 will control the Send 2 level. These messages are received on the global MIDI channel speciﬁed by “MIDI Channel” (GLOBAL 1–1a).

8–2b: Routing

This displays the status of the insert effect.

This displays the routing of the insert effect, the speciﬁed effect name, and the on/off status. You can select (All OSCs) and use the VALUE controller to specify “BUS Select” (☞8–1a).

■ 8–2: UTILITY

☞ “Write Program” (0–1), “Copy Insert Effect” (8–1)

For details on how to select the desired utility function, refer to “PROG 0–1: UTILITY.”

Select by Category

Selects insert effect by category. For the procedure, refer to “Select by Category” (☞p.2).

This command is valid when the 8–2 parameters are selected.

8–3: IFX (Insert Effect)

Here you can set the effect parameters for the IFX that was selected in the Setup page (☞p.104–).

PROG

123456789

Pan(CC#8) (Post IFX Pan CC#8)

[L000...C064...R127]

Sets the pan after the sound has passed through the insert effect. This setting is valid only when the “BUS Select” from the IFX output is set to L/R (☞p.99).

CC#8 will control the pan amount.

BUS Select [L/R, 1, 2, 1/2, Off]

Speciﬁes the bus to which the sound will be sent after passing through the insert effect. Normally you will set this to L/ R. If you wish to output to INDIVIDUAL OUTPUT, set this to 1, 2 or 1/2. The Off setting is used when you wish to use “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” and in addition connect to the master effects in series.

S1 (Send1(MFX1)) [000...127] S2 (Send2(MFX2)) [000...127]

Sets the send levels to the master effects 1 and 2 for the sound that has passed through the insert effect. These settings are valid when “BUS Select” (8–1a) has been set to L/R or Off.

Effect dynamic modulation (Dmod) is controlled on the global MIDI channel “MIDI Channel” (GLOBAL 1–1a). (☞p.157 “Dynamic Modulation Source (Dmod)” )

■ 8–3: UTILITY

☞ “Write Program” (0–1)

PROG 9: Ed–MasterFX

☞ For details on master effects, refer to p.97 “6. Effect

Guide.”

Direction (Chain Direction)

[MFX1→MFX2, MFX2→MFX1]

Speciﬁes the direction of the connection when MFX1 and MFX2 are chained.

MFX1→MFX2: Connect from MFX1 to MFX2. MFX2→MFX1: Connect from MFX2 to MFX1.

9–1: Setup

Here you can select the master effect types, switch them on/ off, specify chain order, and set the master EQ.

9–1a

9–1b

9–1c

9–1a: Master Effect Setup

The master effects do not output the direct sound (Dry). The return level (“Rtn 1, 2”) sends the effect sound (Wet) to the L and R bus, and this is mixed with the direct sound (“BUS Select” L/R: 8–1a, 8–2a). The master effects are monaural input. The sound that is panned to L and R after passing through the oscillator and insert effect is mixed to a monaural signal as adjusted by the “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” levels, and input to the master effects.

The master effects are mono-in stereo-out. Even when a stereo-input type effect is selected, the input will be monaural.

MFX1 On/Off, MFX2 On/Off [Off, On]

Switches master effect 1, 2 on/off. When off, the output will be muted.

Separately from this setting, you can use CC#94 to switch master effect 1 on/off, CC#95 to switch master effect 2 on/off. A value of 0 will be off, and a value of 1–127 will be the original setting. This is controlled on the global MIDI channel “MIDI Channel” (GLOBAL 1–1a).

Master Effect 1, 2 [00...89: name]

Indicates the effect type for master effect 1, 2. You can select from 89 types of effect: 01: St.Amp Sim–89: Reverb-Gate. If 00: No Effect is selected, the output from the master effect will be muted.

Rtn 1, 2 (Return 1, 2) [000...127]

Adjusts the return levels from the master effects to the L/R bus (main output L/MONO, R).

Signal (Chain Signal)[L/R Mix, L Only, R Only]

When chain is On, this parameter speciﬁes how the stereo output signal of the ﬁrst master effect will be connected to the input (mono) of the next master effect.

L/R Mix: The stereo output L/R of the ﬁrst master effect will be mixed before being input to the next master effect. L Only, R Only: Only the left or right channel of the output will be input to the next master effect.

Level (Chain Level) [000...127]

Sets the send level from the ﬁrst master effect to the next master effect when chain is turned on.

9–1c: Master EQ Gain [dB]

Sets the amount of cut and boost for the three-band EQ located immediately before the (MAIN OUTPUT) L/MONO and R jacks. This is linked with the various “Gain” parameters of Master EQ (9–4).

Low [–18.0...+18.0] Mid [–18.0...+18.0]

High [–18.0...+18.0]

The cutoff frequency for “Low,” “Mid” and “High” and the “Q” of “Mid” can be adjusted in the MEQ page. These settings are in “dB” units.

■ 9–1: UTILITY

☞ “Write Program” (0–1)

For details on how to select the desired utility function, refer to “PROG 0–1: UTILITY.”

Copy Master Effect

This command lets you copy any desired effect settings from Program, Combination, Muliti set.

1 Select “Copy Master Effect” to access the dialog box.

9–1b: Chain

MFX Chain [Off, On]

On (checked): Chain (series connection) will be turned on for MFX1 and MFX2. (☞p.102) Off (unchecked): MFX 1 and MFX2 are operating in parallel.

2 In “From,” select the copy source mode, bank, and num-

ber.

X50: You can press a PROG BANK button to select a bank.

You can also use numeric buttons [0]–[9] and the [ENTER] button to select a number.

3 Select the effect that you wish to copy. If you select MFX

1 or 2, “Rtn (Return)” (return level) will be copied at the

same time. If you select Master EQ, only the master EQ settings will be copied. You can also copy from an insert effect. If you check “All,” all settings of the master effects and master EQ will be copied.

If you copy from an insert effect the result may not be identical, due to differences in routing and level settings.

4 In “To,” select the copy destination master effect. 5 To execute the Copy Master Effect command, press the

[MENU/OK] button. To cancel, press the [EXIT/CANCEL] button.

Swap Master Effect

This command swaps (exchanges) the settings of MFX1 and MFX2.

1 Select “Swap Master Effect” to access the dialog box.

9–2: MFX 1 (Master Effect1) 9–3: MFX 2 (Master Effect2)

Indicates effect parameter settings for the MFX1 and 2 effects that were selected in the Setup page (☞p.104–).

Effect dynamic modulation (Dmod) is controlled on the global MIDI channel “MIDI Channel” (GLOBAL 1–1a). (☞p.157 “Dynamic Modulation Source (Dmod)”)

■ 9–2(3): UTILITY

☞ “Write Program” (0–1)

PROG

123456789

2 To execute the Swap Master Effect command, press the

[MENU/OK] button. To cancel, press the [EXIT/CANCEL] button.

Select by Category

Selects master effects by category. For the procedure, refer to “Select by Category” (☞p.2).

This command is valid when the 9–1a parameters are on.

9–4: MEQ (Master EQ)

The master EQ is a three-band stereo EQ. It is used to adjust the overall tonality of the sound immediately before the L/R bus is output to the (MAIN OUTPUT) L/MONO and R jacks (☞p.149). The MEQ High Gain and the MEQ Low Gain can be controlled by assigning a modualtion source to the “Low Gain Mod-Src.” and “High Gain Mod-src.” functions on this page.

■ 9–4: UTILITY

☞ “Write Program” (0–1)

2. Combination mode

COMBI PAGE MENU

For details on how to select pages in Combination mode, refer to p.1.

Play 0: Play Select and play combinations.

Tone Adjust

Track Parameter 2: Ed–Track Param

MIDI Filter 1

MIDI Filter 2

Key Zone 5: Ed–Key Zone

Velocity Zone 6: Ed–Vel Zone

Arp/Controls 7: Ed–Arp/Ctrls

Insert Effect 8: Ed–InsertFX

Master Effect 9: Ed–MasterFX

1: Ed–Tone Adjust

3: Ed–MIDI Filter1

4: Ed–MIDI Filter 2

Select a program for each timbre, and make, pan and level settings. Select an arpeggio pattern and make settings.

microX: Select an external control set.

(☞p.33) Select the program used by each timbre.

Specify the pan and volume of each program. Use Tone Adjust to adjust parameters. (☞p.38)

MIDI, OSC, Pitch, delay, and scale settings for each timbre. (☞p.40)

MIDI message transmission/reception ﬁlter settings for each timbre, such as Prog Change, JS, Ribbon and After Touch. (☞p.42)

MIDI message transmission/reception ﬁlter settings for each timbre, such as REALTIME CONTROL Knob, SW, and Other Ctrl Change (☞p.44)

Key zone settings for each timbre. (☞p.45)

Velocity zone settings for each timbre. (☞p.46)

Arpeggiator settings. (Same as the 0: Play parameters; can be edited from either page.) Controller settings. (☞p.47)

Bus and master effect send level settings for each timbre. Insert effect routing, selection, and settings. (☞p.50)

Master effect selection and settings. Master EQ settings. (☞p.52)

COMBI 0: Play

In this display page you can select and play Combinations. A Combi allows you to use up to 8 programs at one time.

0–1: Combi (Combination)

X50

0–1a

0–1b

microX

0–1a

0–1b

0–1a: Bank, Combi Select, Category,

Cat.Hold, 10’s Hold,  (Tempo)

Bank (Bank Select) [Bank A…C]

This is the Combination bank display. On this instrument, there are a total of 384 combination programs in three rewritable banks (A, B, C), each containing 128 combinations.

Bank A

Preloaded combinationsBank B

Bank C

X50: Use the front panel COMBI BANK [A]–[C] buttons to

select the bank.

COMBI

123456789

microX: Use the front panel COMBINATION [A]–[C] but-

tons to select the bank. If you press one of the COMBINATION [A]–[C] buttons, you will automatically enter Combination mode regardless of the mode in which you were.

Combi Select (Combination Select)

[0...127: name]

Here you can select a combination. Choose this parameter, and use one of the following methods to select a combination.

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.34)

• Use COMBI BANK [A]–[C] to select a bank (☞p.33)

• Use “Cat. HOLD” to select by category (☞p.34)

• Use “Select by Category” to select by category (☞p.34)

• 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.34)

• 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)

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: Combination Information

X50: Displays information about the selected combination.

This shows the functions that are assigned to “SW1,” “SW2,” and the REALTIME CONTROLS B-mode [ASSIGNABLE 1–4] knobs.

microX: Displays information about the selected combina-

tion. This shows the functions that are assigned to the REALTIME CONTROLS B-mode [ASSIGNABLE 1–4] knobs.

Category [00...15: name]

This is the combination category display. All combinations are organized into sixteen categories. You can select a category, and then select from combinations that belong to that category.

To select a combination by category, use the procedure described below. (☞PROG 0–1a)

To specify the category for a combination, use Utility “Write Combination” (0–1). To modify a category name, use “Category Name Comb. 00–07, 08–15” (GLOBAL 3– 3/4).

Select by Category

Use the utility “Select by Category” to select a combination by category. (☞PROG 0–1a)

microX: Category & Bank

Use the [CATEGORY] button and PROGRAM/COMBINATION buttons to select by category (☞p.2)

X50: Cat.HOLD

Press the [./HOLD] button and the display will indicate

. The category will be held (ﬁxed). (☞PROG 0–1a)

To cancel, press the [./HOLD] button twice to turn off the

display.

X50: 10’s HOLD

When you press the [./HOLD] button a second time, the display will indicate , and the ﬁrst digit of the combination number will be ﬁxed. (☞PROG 0–1a) To cancel, press the [./HOLD] button to turn off the

display.

 (Tempo) [040...240, EXT]

Sets the tempo of the arpeggiator. This can 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, Setup.

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-

■ 0–1: UTILITY

For details on how to select the desired utility function, refer to “PROG 0–1: UTILITY.”

Write Combination

This command writes an edited combination into this instrument’s internal memory. Be sure to write any combination that you wish to keep. If the power is turned off or a different combination selected before you write an edited combination, your edits cannot be recovered.

For the procedure, refer to “Write Program” (PROG 0–1).

If you use “Category” to specify a category for the combination that you are writing, you will be able to select it by category when selecting combinations in COMBI 0: Play.

Solo Selected Timbre

The Solo function will alternately be switched on/off each time you select “Solo Selected Timbre.”

1 Choose “Solo Selected Timbre” from the utility menu,

and press the center of the ClickPoint to execute. When you execute, a check mark will be shown at the left of the “Solo Selected Timbre” in the menu, and the Solo function will be turned on.

2 In pages that show parameters for an individual timbre,

you can select a timbre to Solo (in 0: Play, Prog page “Program Select,” etc.) so that only that timbre will sound and the other timbres will be muted. The “Selected Timbre Information” (0–2d) in each page will indicate “Solo.” To solo a different timbre, select a parameter of the timbre that you wish to solo.

3 To defeat the Solo function, choose “Solo Selected Tim-

bre” from the utility menu once again, and press the center of the ClickPoint.

If a timbre that is muted by the Solo function has been set to a “Status” (2–1a) of EXT or EX2, MIDI note-on/ off messages will not be transmitted by that timbre.

Select by Category

Selects a combination by category. For the procedure, refer to “Select by Category” (☞p.2)

X50

microX

0–2: Prog (Timbre Program)

Indicates the program that will be used by each timbre.

0–2a 0–2b

0–2c 0–2d

0–2a: Bank, Combi Select, Cat.Hold, 10’s

Hold,  (Tempo)

Bank [Bank A…C] Combi Select (Combination Select)

[0…127: name]

X50: Cat. (Cat. HOLD) X50: 10’s (10’s HOLD)

 (Tempo) [040...240, EXT]

In the same way as in the Combi page, select a combination and set the tempo of the arpeggiator. (☞0–1a)

0–2b: Timbre Number & Category

Timbre Number & Category 1...8

This displays the timbre number and an abbreviated category name.

0–2c: Program Select, Program Name

• Press the center of the ClickPoint to highlight the field in the display, use [π][†] to make your choice, and press the center to confirm.

• Use PROG BANK [A]–[GM] to select a bank (☞p.1)

• Receive a MIDI program change to select a program (☞p.171)

microX:

• Turn the [VALUE] dial.

• Press the center of the ClickPoint to highlight the field in the display, use [π][†] to make your choice, and press the center to confirm.

• Use “Select by Category” to choose from the desired category (☞p.34)

• Receive a MIDI program change to select a program (☞p.171)

When you select a combination on this instrument, a MIDI program change for the selected combination number will be transmitted on the global MIDI channel “MIDI Channel” (GLOBAL 1–1a). At the same time, bank select, program change, and volume (CC#7) messages will be transmitted on the MIDI channel speciﬁed for each timbre that is set to “Status” (2–1a) of EXT or EX2. However, these messages will not be transmitted for timbres that are set to the same MIDI channel as the global MIDI channel. In this case, EX2 timbres will show the “Program Select” Bank as “–”, and will transmit the bank number that was speciﬁed in “Bank (EX2) MSB” and “Bank (EX2) LSB” (2–1a).

MIDI messages transmitted when you operate this instrument are transmitted on the global MIDI channel. At the same time, timbres whose “Status” is EXT or EX2 will transmit the same messages on their own MIDI channel.

If bank select and program change messages are received on a MIDI channel that matches the MIDI channel of a timbre whose “Status” (2–1a) is INT, the program of that timbre will change. However if the MIDI channel of the incoming message matches the global MIDI channel “MIDI Channel,” then the combination will change.

If you do not want the combination to change, you can either change the global MIDI channel so that it does not match the channel on which the program change messages are being received, or you can uncheck “Combi (Combi Change)” (GLOBAL 1–1b). Alternately, you can uncheck “Bank (Bank Change)” (GLOBAL 1– 1b) so that only the program number will change and the bank will remain the same.

If you wish to change a program without changing the combination, you can also set “Program Change” (3–1a) so that the program will change on certain timbres but not on others.

This parameter can also be set from the 1: Ed–Tone Adjust, Prog page.

COMBI

123456789

Program Select [A000...g128]

Indicates the program that will be used by each timbre. Choose this parameter, and use one of the following methods to select a program.

X50:

• Turn the [VALUE] dial.

• Use the [INC][DEC] buttons.

• Use numeric buttons [0]–[9] to enter the program number, and press the [ENTER] button to confirm.

Program Name

This displays part of the program name selected for the timbre. In the case of the GM drums bank, drums bank (d) will be indicated.

0–2d: Selected Timbre Information

This shows information on the timbre (1–8) that is currently selected for editing.

Timbre No.: Bank No., Prog No.: and name

This shows the timbre number , and the program bank, number and name selected for that timbre.

Status (INT, O ff, EX T, EX2)

This shows the MIDI and internal tone generator status for each track.

Ch (01...16, Gch)

This shows the MIDI channel number speciﬁed for the timbre.

■ 0–2: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

Select by Category (Combi/Category, Prog T1...T8/Category)

Combinations or the programs used by each timbre can be selected by category.

If you have selected “Combi Select,” selecting Utility “Select by Category” will access the Combi/Category dialog box, allowing you to select a combination by category. (☞p.35)

If you have selected “Program Select,” selecting Utility “Select by Category” will access the Prog T1...T8/Category dialog box, allowing you to select a program for each timbre by category.

For the procedure of selecting by category, refer to p.2.

0–3: Mix (Mixer)

Here you can set the pan and volume for each timbre 1–8.

0–3a

0–3a: Pan, Volume

OSC1

Left

OSC1

Left

Center

OSC2

OSC1: Amp1 Pan=L001 OSC2: Amp2 Pan=R127

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

OSC2

OSC1: Amp1 Pan=C064 OSC2: Amp2 Pan=C064

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

OSC1: Amp1 Pan=L032

Left

Center

Left

Center

OSC2: Amp2 Pan=R096

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

If a mono-type insertion effect is inserted, the setting you make here will be ignored. In this case, the “Pan (CC#8)” parameter in 8: Ed–InsertFX, Setup page will adjust the panning of the sound after the insertion effect (☞p.99 “3. Mixer”).

RND: The oscillator pan will change randomly at each noteon.

If “Status” (2–1a) has been set to INT, MIDI control change #10 (panpot) messages can be received to control the setting. CC#10 values of 0 or 1 will place the sound at far left, 64 at center, and 127 at far right. Pan can be controlled by messages received on the “MIDI Channel” (2–1a).

This parameter can also be set from the 1: Ed–Tone Adjust, Mixer page.

Volume [000...127]

Adjusts the volume of each timbre 1–8.

The volume of each timbre is determined by summing this volume value with the MIDI volume (CC#7) and expression (CC#11). If “Status” (2–1a) has been set to INT, incoming MIDI CC#7 or CC#11 messages will control the volume of a timbre. (However these messages will not affect the setting of this parameter.) If “Status” is EXT or EX2, the value of this parameter will be transmitted as MIDI CC#7 when the combination is changed. However this will not be transmitted by a timbre that is set to the same MIDI channel as the global MIDI channel. This message is transmitted on the “MIDI Channel” (2–1a) speciﬁed for each timbre.

This parameter can also be set from the 1: Ed–Tone Adjust, Mixer page.

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

Sets the pan for each timbre 1–8. L001...C064...R127: A setting of L001 is far left and R127 is far right. A setting of C064 will reproduce the pan setting that was made for the oscillator in Program mode.

■ 0–3: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1),

“Select by Category” (0–1, PROG 0–1)

Hold Balance

Adjusts the volume of the Combi while preserving the volume balance between timbres 1–8. Select the “Volume” of any timbre, choose “Hold Balance” from the utility menu, and press the center of the ClickPoint. A check mark will appear at the left of “Hold Balance.” (The upper right of the LCD will indicate [Hold Bal.].) In this state, adjusting any “Volume” value will simultaneously change the volume of the other timbres as well, while preserving the volume balance between timbres 1–8.

0–4: Arp. A (Arpeggio Play A) 0–5: Arp. B (Arpeggio Play B)

Here you can select the arpeggiator settings for the combination. A combination can run two arpeggiators simultaneously. Arpeggiator parameters can be edited in 7: Ed–Arp/Ctrls, but certain major parameters can be edited in these pages as well. You can edit these parameters in realtime, for example by changing the arpeggio pattern while playing in COMBI 0: Play.

To save the edits you make, use “Write Combination.” The arpeggiator can also be edited in realtime by the REAL TIME CONTROLS C-mode [TEMPO] knob, [ARP-GATE] knob, [ARP-LENGTH] knob, and [ARP-VELOCITY] knob. (☞OG p.91)

These parameters can also be set in COMBI 7: Ed–Arp/ Ctrls, Arp.A, Arp.B page.

■ 0–4(5): UTILITY

☞ “Write Combination,” “Solo Selected Timbre,” “Select by

Category” (0–1)

microX: 0–6: Ext. Control

This page only displays the settings that are assigned to knob sets A, B, and C. Use Global mode to make external control assignments.

0–6a

COMBI

123456789

0–4a

0–4b

0–4(5)a: Arpeggiator Run, Timbre assign

Arpeggiator Run A, B (Run A, B) [Off, On]

When the [ARP ON/OFF] button is on, any arpeggiator that is checked here will run if it is assigned to a timbre in “Assign” (7–1b). Even if the arpeggiator is on, you can turn A and B on/off independently. This parameter can also be set from the 7: Ed–Arp/Ctrls Setup page.

Timbre assign

This displays the timbres 1–8 to which arpeggiators A and B are assigned. This can be set in “Assign” (7–1b).

0–4(5)b: Arpeggiator A(B)

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]

Sets the various parameters of the combination arpeggiator (☞“PROG: Ed–Arp/Ctrls”).

0–6a: External Control

Ext. Control (Setup Select) [00...63]

Selects an external control set.

This setting is not written (saved) in the combination.

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]

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

Indicates the MIDI control change number transmitted by the knob.

■ 0–6: UTILITY

☞ “Write Combination,” “Solo Selected Timbre,” “Select by

Category” (0–1)

COMBI 1:

Ed–Tone Adjust

1–1: Prog (Timbre Program)

Indicates the bank and program for each timbre 1–8. These parameters can also be set from the 0: Play, Prog page.

1–1a 1–1b 1–1c

1–1d

1–1a: Program Select, Program Name

Program Select

Indicates the program that will be used by each timbre. (☞0–2c)

1–3: T A1 (Tone Adjust 1) 1–4: T A2 (Tone Adjust 2) 1–5: T A3 (Tone Adjust 3)

You can also use the Tone Adjust function to temporarily adjust the tone of the program for each timbre. While creating a combination, you might use this function to soften the sound of a program or give it a faster attack so that it ﬁts better within the combination, without having to return to Program mode and edit the program itself. For each timbre, you can assign and adjust up to six parameters such as the ﬁlter cutoff, resonance, ﬁlter EQ, and amp EG.

1–3a

1–3(4)(5)a: Destination 1–6, Value 1–6

Program Name

This displays part of the program name selected for each timbre. (☞0–2c)

■ 1–1: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1),

“Select by Category (Combi/Category, Prog T1...T8/Category)” (0–2)

1–2: Mix (Mixer)

Speciﬁes the pan and volume for each timbre 1–8. These parameters can also be set from the 0: Play, Mixer page.

1–2a

1–2a: Pan, Volume

Pan

Sets the pan of each timbre 1–8. (☞0–3a)

Volume

Sets the volume of each timbre 1–8. (☞0–3a)

Destination 1–6 [LPF Fc…Reverse]

Selects the parameter that you want to adjust.

Value 1–6 [–99…+99, –12.00…+12.00, –1200…+1200, Off…On]

Speciﬁes the value for the parameter you selected in “Destination 1–6.” If you set this to +00 or PRG, the setting of the program will be used.

Normally , you should not select the same parameter for more than one “Destination” in the same track. However if you do so, the parameters will operate as follows.

If you select other than Hold or Reverse

The “Value” of each “Destination” set to the same parameter will be summed for each track. However, the “Value” of the parameter being controlled by the “Destination” will not exceed the allowable range of settings. For example if you have assigned three Detune1 settings for the same track, and their “Value” settings are set to +1000, +1000, and +1000 respectively, then the result will be +1200. (The sum is +3000, but the value is limited at the maximum of +1200 for the Detune1 parameter.) Settings of +1000, +1000, and –1000 would produce a result of +1000.

Hold, Reverse

The last of the multiple “Destination” settings will be valid.

“Destination 1–6” and “Value 1–6”

The parameters that can be controlled and their range of values are as follows.

■ 1–2: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

LPF Fc (Low Pass Filter Cutoff Frequency)

[–99…+00…+99]

Adjusts the low pass ﬁlter cutoff frequency of program OSC 1/2. This will affect the brightness of the sound. The parameter will be controlled in the same way as when CC#74 is received. (☞p.175)

Reso.HP (Resonance/High Pass Filter Cutoff Frequency) [–99…+00…+99]

Adjusts the resonance level of the low pass ﬁlter or the cutoff frequency of the high pass ﬁlter for program OSC 1/2. The parameter that is controlled will depend on the ﬁlter type speciﬁed for the program. The parameter will be controlled in the same way as when CC#71 is received. (☞p.175)

F EG Int (Filter EG Intensity) [–99…+00…+99]

Adjusts the ﬁlter EG intensity (the depth of the ﬁlter EG) for program OSC1/2. The parameter will be controlled in the same way as when CC#79 is received. (☞p.175)

A Vel I. (Amp Velocity Intensity) [–99…+00…+99]

Adjusts the amp velocity intensity (the degree to which velocity will affect the amp) for program OSC 1/2. This controls the Amp Modulation “Velocity Intensity” parameter (☞p.22 6–2b).

F.A EG A (Filter/Amp EG Attack Time)

[–99…+00…+99]

Adjusts the EG attack times of the program OSC 1/2 ﬁlter and amp. To maximize the result of this adjustment, the Amp EG sustain level, attack level, start level modulation, and attack time modulation will also be adjusted at the same time. The parameter will be controlled in the same way as when CC#73 is received. (☞p.175)

F.A EG D (Filter/Amp EG Decay Time)

[–99…+00…+99]

Adjusts the EG decay time and slope time of the program OSC 1/2 ﬁlter and amp. The parameter will be controlled in the same way as when CC#75 is received. (☞p.175)

F.A EG S (Filter/Amp EG Sustain Level)

[–99…+00…+99]

Adjusts the EG sustain level of the program OSC 1/2 ﬁlter and amp. The parameter will be controlled in the same way as when CC#70 is received. (☞p.175)

F.A EG R (Filter/Amp EG Release Time)

[–99…+00…+99]

Adjusts the EG release time of the program OSC 1/2 ﬁlter and amp. The parameter will be controlled in the same way as when CC#72 is received. (☞p.175)

F EG A (Filter EG Attack Time) [–99…+00…+99] F EG D (Filter EG Decay Time) [–99…+00…+99] F EG S (Filter EG Sustain Level) [–99…+00…+99] F EG R (Filter EG Release Time) [–99…+00…+99]

These adjust only the ﬁlter parameter as in “A (Attack Time),” “D (Decay Time),” “S (Sustain Level),“ or “R (Release Time)” respectively. (☞PROG 4–5a)

A EG A (Amp EG Attack Time) [–99…+00…+99] A EG D (Amp EG Decay Time) [–99…+00…+99] A EG S (Amp EG Sustain Level) [–99…+00…+99] A EG R (Amp EG Release Time) [–99…+00…+99]

These adjust only the amp parameter as in “A (Attack Time),” “D (Decay Time),” “S (Sustain Level),“ or “R (Release Time)” respectively. (☞PROG 6–3a, 6–6a)

LFO1 Sp (LFO1 Speed) [–199…+00…+199]

Adjusts the LFO1 speed of program OSC 1/2. The parameter will be controlled in the same way as when CC#76 is received. (☞p.175)

PLFO1 I. (Pitch LFO1 Intensity)

[–12.00…+00.00…+12.00]

Adjusts the program OSC 1/2 pitch LFO1 intensity (the depth of pitch modulation produced by LFO1). The parameter will be controlled in the same way as when CC#77 is received. (☞p.175)

LFO1 Fd (LFO1 Fade) [–99…+00…+99]

Adjusts the program OSC 1/2 LFO1 “Fade” parameter (the time from when the LFO begins to take effect until it reaches the maximum level; 3–1a ☞p.14).

LFO1 Dl (LFO1 Delay) [–99…+00…+99]

Adjusts the program OSC 1/2 pitch LFO1 delay (the time from note-on until the LFO begins to take effect). The parameter will be controlled in the same way as when CC#78 is received. (☞p.175)

P.Strch (Pitch Stretch) [–12…+00…+12]

Simultaneously adjusts the program OSC 1/2 Transpose and Tune parameters. This lets you create a rich variety of tonal changes without impairing the character of the original sound. This controls the same parameters as Performance Editor “Stretch (Pitch Stretch)” (0–2b). (☞p.4)

Dtune 1(Detune 1) [–1200…+0000…+1200]

Adjusts the tuning of program OSC 1. This controls the OSC1 Multisample “Tune” parameter (1–2c ☞p.8).

Dtune 2 (Detune 2) [–1200…+0000…+1200]

Adjusts the tuning of program OSC 2. This controls the OSC2 Multisample “Tune” parameter (1–2c ☞p.8).

This is valid only if the program’s “Oscillator Mode” (1–1a ☞p.6) is set to Double.

Hold [Off, PRG, On]

Controls the program’s Voice Assign - “Hold” parameter (1– 1b ☞p.6). If you turn this Off, the OSC1/2 Amp EG Release Time parameter will be set to 0 in order to make full use of the effect. Normally you can make effective use of this with a drum program. When you turn this Off, the key-off timing will be valid, letting you use the key-on/off timing to control the gate time. Sometimes you can obtain an interesting effect by turning this Off for a previously-created drum track.

Reverse [Off, PRG, On]

Controls the “Rev (Reverse)” parameter (1–2b ☞p.8, GLO- BAL 4–1b ☞p.87) for each Multisample or Drumsample of program OSC1/2. If you turn this On, all multisamples and drum samples will play backward. If you turn this Off, all multisamples and drum samples will play normally. If you set this to PRG, the settings of the program (or the drum kit used by the program) will be used. Normally you can make effective use of this with a drum program.

■ 1–3(4)(5): UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

COMBI

123456789

COMBI 2: Ed–Timbre Param

■ 2–1: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

2–1: MIDI

Here you can make MIDI settings for each timbre.

2–1a

2–1a: Status, MIDI Channel, Bank(EX2)

MSB/LSB

Status [INT, O ff, EX T, EX2]

Speciﬁes the status of MIDI and the internal tone generator for each timbre. INT: When you play this instrument, the internal tone generator will sound, and will also sound in respond to MIDI messages received from an external MIDI device. MIDI data will not be transmitted. Off: The program will not sound. Nor will MIDI data be transmitted. EXT: Playing this instrument will not cause it to sound, but it will transmit data via MIDI to control external MIDI devices. EX2: “Bank (EX2) MSB” and “Bank (EX2) LSB” (2–1a) will be enabled. Instead of the bank numbers for A–G(d) that can be selected on this instrument, the bank numbers you specify here will be transmitted via MIDI. In other respects this is the same as EXT.

INT

EXT, EX2

MIDI Channel [01...16, Gch]

Set the MIDI transmit/receive channel for each timbre 1–8. Gch: The timbre will use the channel that has been selected as the global MIDI channel “MIDI Channel” (GLOBAL 1– 1a).

When “Status” is INT, MIDI messages will be received on the channel you specify here. If this setting is the same as the global MIDI channel, the internal tone generator will sound according to the internal settings. If this is set to EXT or EX2, playing this instrument will transmit MIDI messages on the MIDI channel speciﬁed here. (Messages will also be transmitted simultaneously on the global MIDI channel.)

Bank(EX2) MSB [000:000...127:127] Bank(EX2) LSB [000:000...127:127]

Speciﬁes the bank number that will be transmitted when “Status” is set to EX2. If “Status” is not set to EX2, this setting has no effect.

MIDI IN

Tone

generator

MIDI OUT

2–2: OSC

These settings specify how each timbre will be sounded.

2–2a

2–2a: Force OSC Mode, OSC Select, Porta-

mento

Force OSC Mode [PRG, Poly, Mono, LGT ]

Speciﬁes the “Mode (Voice Assign Mode)” (PROG 1–1b) of the program selected for each timbre 1–8.

PRG: The settings of the program will be used. Poly: The timbre will play polyphonically, regardless of the

settings of the program. Mono: The timbre will play monophonically, regardless of the settings of the program. LGT (Legato): The timbre will play monophonically, with single triggering (legato).

With settings of Mono or LGT, the note priority will be according to the “Priority” (PROG 1–1b) setting of the program.

OSC Select [Both, OSC1, OSC2]

Speciﬁes the “Mode (Oscillator Mode)” (PROG 1–1a) of the program selected for each timbre 1–8. If the “Mode (Oscillator Mode)” is Double, you can specify that either or both oscillators sound. Both: OSC1 and 2 will sound as speciﬁed by the settings of the program.

OSC1: Only OSC1 will sound. OSC2: Only OSC2 will sound. If “Mode (Oscillator Mode)” is Single or Drums, there will be no sound.

Portamento [PRG, Off, 001...127]

Indicates portamento settings for each timbre 1–8. PRG: Portamento will be applied as speciﬁed by the program settings. Off: Portamento will be off, even if the original program settings speciﬁed for it to be on.

001...127: Portamento will be applied with the portamento time you specify here, even if it is turned off by the program settings.

If the “Status” (2–1a) is set to INT, CC#05 (portamento time) and CC#65 (portamento switch) messages will be received to control and change this setting. (If the setting is PRG, CC#05 portamento time will not be received.) These messages will be received on the MIDI channel speciﬁed for each timbre by “MIDI Channel” (2–1a).

■ 2–2: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

2–3: Pitch

Here you can make pitch-related settings for each timbre.

■ 2–3: UTILITY

2–3a

2–3a: Transpose, Detune, Bend Range

Transpose [–24…+24]

Adjusts the pitch of each timbre in semitone steps. 12 units equal one octave.

When “Status” (2–1a) is INT, this parameter will affect the pitches sounded by the X50/microX. When “Status” is EXT, this parameter will affect the note numbers of the MIDI note messages that are transmitted.

For example if you make settings of +04 and +07 respectively for two timbres that are set to EXT, playing the C key will transmit a C note number on the global MIDI channel, and at the same time will also transmit E and G note numbers on the MIDI channels of those timbres.

Detune (BPM Adj.) [–1200...+1200]

Adjusts the pitch of each timbre in one-cent units. 0: Normal pitch.

You can also use the Utility “Detune BPM Adj.” (2–3b) page menu command to automatically make a detune setting from a calculation in BPM units.

“Transpose” and “Detune” can be controlled via MIDI RPN messages. Depending on the “Mode (Oscillator Mode)” (PROG 1–1a) settings of the programs used by timbres 1–8, they can be controlled as follows. When “Mode (Oscillator Mode)” is Single or Double MIDI RPN Coarse Tune can be received to control and change the setting of “Transpose,” and RPN Fine Tune can be received to control and change the setting of “Detune.” When “Mode (Oscillator Mode)” is Drums, MIDI RPN Coarse Tune and Fine Tune can be received to control and change the setting of “Detune.” The controllable range is ±1 octave for coarse tune and ﬁne tune together.

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

Detune BPM Adjust

If the program of a timbre uses a phrase or rhythm loop multisample is matched to a speciﬁc BPM, you can use this Utility to modify its BPM value. “Detune BPM Adjust” changes the BPM of a phrase or rhythm by modifying its pitch. This is valid for a track when timbre “Detune” is selected. When this Utility is executed, the selected “Detune” value will be set automatically . (☞PROG 1–2c, 1–3, GLOBAL 4–1b, 4–2)

1 Select “Detune BPM Adjust” to access the dialog box.

2 In “From” specify the original BPM value. In “To” spec-

ify the desired BPM value. The appropriate “Detune” value will be calculated automatically from these two values.

For example if you set “From” to 60 bpm and “To” to 120 bpm, the “Detune” parameter will be set to +1200 (one octave up).

3 To execute the Detune BPM Adjust command, press the

[MENU/OK] button. To cancel, press the [EXIT/CANCEL] button.

The detune value that is calculated when you execute this command will be added to “Detune” +0000. Y ou must set the “From” BPM value when “Detune” is

+0000. For example if you execute “From” 60 bpm “To” 120 bpm, and then execute “From” 120 bpm “To” 60 bpm, this will not return the original result. (Rather,

this will set Detune= –1200, which is one octave down.) This command is valid when “Detune” (2–3a) is

selected.

COMBI

123456789

Bend Range [PRG, –24...+24]

Speciﬁes the amount of pitch change that will occur when the pitch bender is operated, in semitone units.

PRG: The pitch range speciﬁed by the program will be used. –24–+24: This setting will be used regardless of the setting in

the program.

The MIDI RPN Pitch Bend Change message can be received to control this and change the setting. (However it will not be received if this parameter is set to PRG.) This message is received on the MIDI channel for each timbre set by “MIDI Channel” (2–1a).

2–4: Other

Speciﬁes the delay from note-on until sound is produced for each timbre. Also speciﬁes the scale.

2–4a 2–4b

2–4a: Delay [ms], Use Prog’s Scale

Delay [ms] [0000…5000, KeyOff]

Speciﬁes a delay time from note-on until the sound begins for each timbre.

KeyOff: The note will begin sounding at note-off. In this case, the sound will not die away if the sustain level of the program’s amp EG is other than 0. This setting is used when creating harpsichord sounds. Normally you will set this to 0.

Use Prog’s Scale [Off, On]

Each timbre can use the scale that is speciﬁed by “Scale” (PROG 1–1c).

On (checked): The scale speciﬁed by the program will be used. Off (unchecked): The scale speciﬁed by “Type (Combi’s Scale)” (2–4b) will be used.

COMBI 3: Ed–MIDI Filter1

These settings allow you to apply ﬁlters to the MIDI data that will be transmitted and received by each timbre 1–8. For example even if two timbres are being played by the same MIDI channel, you can make settings so that the damper pedal will apply to one but not the other.

On (checked): Transmission and reception of MIDI data is enabled. When “Status” (2–1a) is INT, operations of the built-in controllers or incoming MIDI data will apply the effect of the checked item to the program of the corresponding timbre. (The effect dynamic modulation function is not affected by this setting.) When “Status” is EXT or EX2, operations of the built-in controllers will transmit MIDI data on the channel of that timbre. MIDI transmission and reception settings for this instrument are made in “MIDI Filter” (GLOBAL 1–1b). The MIDI Filter 1–3 and MIDI Filter 1–4 pages contain MIDI ﬁlters for assignable controllers (whose function can be set by the user), and if these are assigned to MIDI control changes, the ﬁlter settings will affect those control changes.

In this case, if the assignable controllers have been set to control changes that are also found in the MIDI Filter 1–1 or MIDI Filter 1–2 pages, the settings in the MIDI Filter 1 and MIDI Filter 2 pages will take priority. Also, if the same control change is assigned to two or more controllers in the MIDI Filter 1–3 and MIDI Filter 1–4 pages, checking any one of them will enable that control change.

Off (unchecked): Transmission and reception of MIDI data is disabled.

2–4b: Combi’s Scale, Key, Random

Speciﬁes the scale that the combination will use.

Type (Combi’s Scale)

[Equal T emperament ...User Octave15]

Indicates the type of scale. ☞ “Type (Scale Type)” (PROG 1–1c)

Key [C…B]

Indicates the tonic key of the selected scale. ☞ “Key” (PROG 1–1c)

Random [0…7]

As this value is increased, an increasingly random deviation will be added to the pitch at each note-on.

☞ “Random” (PROG 1–1c)

■ 2–4: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

3–1: MIDI 1–1 (MIDI Filter 1–1)

3–1a

3–1a: Program Change, After Touch

Program Change [Off, On]

Speciﬁes whether or not MIDI program change messages will be transmitted and received.

After Touch [Off, On]

Specify whether or not MIDI after touch messages will be transmitted and received. If you set the GLOBAL 0–3: Foot page “Foot Pedal Assign” parameter to After Touch, you can transmit aftertouch mes- sages using a foot controller connected to the ASSIGNABLE PEDAL jack.

The keyboard of the X50/microX does not transmit aftertouch messages.

■ 3–1: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

3–2: MIDI 1–2 (MIDI Filter 1–2)

3–4: MIDI 1–4 (MIDI Filter 1–4)

3–2a

3–2a: Damper CC#64, Portamento SW

CC#65

Damper CC#64 [Off, On]

Speciﬁes whether or not MIDI control change message #64 hold (damper pedal) messages will be transmitted and received.

Portamento SW CC#65 [Off, On]

Speciﬁes whether or not MIDI control change message #65 portamento on/off messages will be transmitted and received.

■ 3–2: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

3–3: MIDI 1–3 (MIDI Filter 1–3)

3–3a

3–2a

3–4a: JSX/PBend as AMS, Ribbon CC#16

JSX/PBend as AMS [Off, On]

Speciﬁes whether MIDI pitch bend messages (move-

X50:

ment of the X50’s [PITCH] wheel) will apply the AMS (☞p.152 “Alternate Modulation Source”) assigned to Pitch Bend. (This is not a ﬁlter for MIDI pitch bend messages.)

microX: Speciﬁes whether or not MIDI pitch bend mes-

sages (the X axis of microX’s joystick) will be received to control the AMS (☞p.152 “Alternate Modulation Source”) effect assigned to JS X. (This is not a ﬁlter for MIDI pitch bend message reception.)

Ribbon CC#16 [Off, On]

MIDI control change message CC#16 (realtime control knob B-assign, or the assignment of a ribbon controller on a TRITON Extreme or other instrument connected to the MIDI IN connector) will be transmitted and received.

■ 3–4: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

COMBI

123456789

3–3a: JS+Y/M.Whl CC#01, JS–Y CC#02

JS+Y/M.Whl CC#01 [Off, On]

Speciﬁes whether MIDI control change CC#1 (the

X50:

X50’s [MOD] wheel or a REALTIME CONTROLS B-assign setting) will be transmitted and received.

microX: Speciﬁes whether MIDI control change CC#1 (the

+Y direction of the microX’s joystick or a REALTIME CONTROLS B-assign setting) will be transmitted and received.

JS–Y CC#02 [Off, On]

Speciﬁes whether MIDI control change CC#2 (REAL-

X50:

TIME CONTROLS B-mode assignment, or the GLOBAL 0–3: Foot page “Foot Pedal Assign” set to JS –Y (CC#02) to specify the function of a foot controller connected to the ASSIGNABLE PEDAL jack) will be transmitted and received.

microX: Speciﬁes whether MIDI control change CC#2 (the

–Y direction of the microX’s joystick or a REALTIME CONTROLS B-assign setting) will be transmitted and received.

■ 3–3: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

COMBI 4: Ed–MIDI Filter2

Speciﬁes whether the A- and B-mode effects of REALTIME CONTROLS knobs [1], [2], [3], and [4] will be transmitted and received. The A-mode of each knob is ﬁxed as a MIDI control change message. For B-mode, you can assign a MIDI control change message in 7: Ed–Arp/Ctrls.

X50: Speciﬁes whether the effects of [SW1] and [SW2] will

be received. The assignable switches [SW1] and [SW2] correspond to the messages that are assigned to the 7: Arp/Ctrls, Controls page.

4–1: MIDI 2–1 (MIDI Filter 2–1)

4–1a

4–1a: Real-time Control Knob 1, 2

Knob1 [Off, On]

Speciﬁes whether MIDI control change message #74 (internal low pass ﬁlter cutoff frequency) for the A-mode of knob [1] and the MIDI control change message assigned to the Bmode of knob [1] will be transmitted and received.

Knob2 [Off, On]

Speciﬁes whether MIDI control change message #71 (internal low pass ﬁlter resonance or high pass ﬁlter cutoff frequency) for the A-mode of knob [2] and the MIDI control change message assigned to the B-mode of knob [2] will be transmitted and received.

Knob4 [Off, On]

Speciﬁes whether MIDI control change message #72 (internal ﬁlter and amp EG release time) for the A-mode of knob [4] and the MIDI control change message assigned to the Bmode of knob [4] will be transmitted and received.

■ 4–2: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

X50: 4–3: MIDI 2–3 (MIDI Filter2–3)

4–3a

4–3a: SW1, SW2

SW1, SW2 [Off, On]

Speciﬁes whether the operations of [SW1] and [SW2] will be transmitted and received. These correspond to the control change messages assigned in 7: Ed–Arp/Ctrls. This ﬁlter setting is valid for settings of SW1 Mod.(CC#80), SW2 Mod.(CC#81), or Porta.SW(CC#65).

■ 4–3: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

X50: 4–4: MIDI 2–4 (MIDI Filter 2–4)

■ 4–1: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

4–2: MIDI 2–2 (MIDI Filter 2–2)

4–2a

4–2a: Real-time Control Knob 3, 4

Knob3 [Off, On]

Speciﬁes whether MIDI control change message #79 (internal ﬁlter EG intensity) for the A-mode of knob [3] and the MIDI control change message assigned to the B-mode of knob [3] will be transmitted and received.

microX:

X50

4–4a

microX

4–3a

4–3: MIDI 2–3

(MIDI Filter2–3)

X50: 4–4a: FootPedal/Switch, Other Con-

trol Change/

microX: 4–3a: FootPedal/Switch, Other

Control Change

FootPedal/Switch [Off, On]

Speciﬁes whether or not the effect of the ASSIGNABLE PEDAL/SWITCH will be transmitted and received. The function is assigned in GLOBAL 0–3: System Foot page. This setting is valid when a MIDI control change is assigned.

Other Ctrl Change [Off, On]

Speciﬁes whether or not MIDI control change message not covered in the preceding items MIDI Filter1–1 – 2–4 will be transmitted and received.

■ X50: 4–4/microX: 4–3: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

COMBI 5: Ed–Key Zone

These settings specify the keyboard range in which each timbre will sound. The top/bottom key parameters specify the range of notes in which timbres 1–8 will sound, and the top/bottom slope parameters specify the range over which the original volume will be reached.

By setting timbres of different sounds to ranges that do not overlap, you can play different sounds in different ranges of the keyboard (Key Split). By setting the ranges to overlap, you can play two or more sounds with a single note (Layer). If you set the slopes (the grayed portion) to overlap, the sounds will overlap, and the proportion of the overlap will change according to the keyboard location (Positional Cross-fade).

5–1: Key (Key Zone)

5–1a

5–1b

COMBI

123456789

5–1a: Key Zone Map (1)

Bottom Slope

Bottom Key

This displays the range of note data that will sound the currently selected track. The range of notes sounded is shown as a line, and the slope portion is shaded.

Top Slope

Top Key

5–1b: Top Key, Bottom Key

Top Key [C–1...G9]

Speciﬁes the top key (upper limit) of the notes that will sound each timbre 1–8.

Bottom Key [C–1...G9]

Speciﬁes the bottom key (lower limit) of the notes that will sound each timbre 1–8.

It is not possible to set the bottom key above the top key of the same timbre. Nor is it possible for the top and bottom slopes to overlap.

X50: You can also set this parameter by holding down the

[ENTER] button and playing a note.

How volume will change according to keyboard location

Volume

Bottom Slope

Bottom Key Top Key

Top Slope

■ 5–1: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

Key

5–2: Slope (Key Slope)

COMBI 6: Ed–Vel Zone

(Velocity Zone)

5–2a

5–2a: Top Slope, Bottom Slope

Top Slope [00...72]

Speciﬁes the range of keys (12 is one octave) over which the maximum programmed volume level will be reached, starting from the top key.

0: The volume will be at the original level from the top key. 12: The volume will increase gradually as you play down-

ward, and will reach the original volume one octave below the top key. 60: The volume will increase gradually as you play downward, and will reach the original volume ﬁve octaves below the top key.

Bottom Slope [00...72]

Speciﬁes the range of keys (12 is one octave) over which the maximum programmed volume level will be reached, starting from the bottom key.

0: The volume will be at the original level from the bottom key. 12: The volume will increase gradually as you play upward, and will reach the original volume one octave above the bottom key. 60: The volume will increase gradually as you play upward, and will reach the original volume ﬁve octaves above the bottom key.

■ 5–2: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

Sets the Top/Bottom Velocity parameters to specify the range of velocities that will sound each timbre 1–8, and sets the Top/Bottom Slope parameters to specify the range over which the volume will change. By setting two or more timbres to velocity zones that do not overlap, you can use variations in playing dynamics to play different sounds (Velocity Switch). If you set two or more timbres to velocity zones that overlap, the sounds will be heard together (Layer). If the slope ranges (gray line) overlap, different sounds will be sounded together, and your playing dynamics will determine the proportion of each sound (Velocity Cross-fade).

6–1: V el (Velocity Zone)

6–1a

6–1b

6–1a: Velocity Zone Map (1)

Bottom Slope

Bottom Velocity

This displays the range of velocities that will sound the currently selected timbre. The range of velocities sounded is shown as a line, and the slope portion is shaded.

6–1b: Top Velocity , Bottom Velocity

Top Slope

Top Velocity

5–3: Review

5–3a

5–3a: Key Zone Map (All)

T1...T8

This displays the range of notes that will sound for each of the timbres 1–8. The range of notes sounded is shown as a line, and the slope portion is shaded.

■ 5–3: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

Top Velocity [1…127]

Speciﬁes the maximum velocity value that each timbre 1–8 will sound.

Bottom Velocity [1…127]

Speciﬁes the minimum velocity value that each timbre 1–8 will sound.

It is not possible to set the bottom velocity greater than the top velocity for the same timbre. Nor can the top slope and the bottom slope overlap.

X50: You can also set this parameter by holding down the

[ENTER] button and playing a note.

■ 6–1: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

6–2: Slope (Velocity Slope)

COMBI 7: Ed–Arp/Ctrls

(Arpeggiator/Controls)

6–2a

6–2a: Top Slope, Bottom Slope

Top Slope [000…120]

Speciﬁes the number of velocity steps over which the original volume will be reached, starting from the Top Velocity.

0: The volume will be at the original value from the top velocity. 120: The volume will decrease as the velocity approaches the top velocity.

Bottom Slope [000…120]

Speciﬁes the number of velocity steps over which the original volume will be reached, starting from the Bottom Velocity.

0: The volume will be at the original value from the bottom velocity. 120: The volume will decrease as the velocity approaches the bottom velocity.

How volume will change according to key velocity

Volume

These parameters specify how the arpeggiator will function within the combination. Two arpeggiators can run simultaneously.

X50: The B-mode functions of REALTIME CONTROLS [1]–

[4] knobs, and the functions of assignable switches [SW1] and [SW2].

microX: The B-mode functions of REALTIME CONTROLS

[1]–[4] knobs. This offers a variety of possibilities, such as applying sepa-

rate arpeggio patterns to two sounds that have been assigned as a keyboard split, or using velocity to switch between two arpeggio patterns.

7–1: Setup

7–1a

7–1b

7–1a: Arpeggiator Run, (Tempo)



COMBI

123456789

Bottom Slope

Bottom Velocity Top Velocity

Top Slope

Velocity

■ 6–2: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

6–3: Review

6–3a

6–3a: Velocity Zone Map (All)

T1...T8

Displays the range of velocities that each timbre will respond to. The range of velocities sounded is shown as a line, and the slope portion is shaded.

■ 6–3: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

Arpeggiator Run A, B (Run A, B) [Off, On]

When the [ARP ON/OFF] button is on, the arpeggiator(s) checked here will run if they are assigned to a timbre by “Assign” (7–1b). (☞0–4(5)a)

 (Tempo) [040...240, EXT]

Set the tempo of the arpeggiator. This can also be adjusted by the REALTIME CONTROLS C-mode [TEMPO] knob.

☞p.34 “ (Tempo)” (0–1a)

7–1b: Assign

Assign [Off, A, B]

Assigns arpeggiator A or B to each timbre 1–8. When the [ARP ON/OFF] button is on, the arpeggiator speciﬁed for each timbre will operate according to “Arpeggiator Run” and these settings.

Off: The arpeggiator will not play this timbre. A: This timbre will be played by Arpeggiator A. Make set-

tings in the Arp. A page to select the arpeggio pattern and set parameters. B: This timbre will be played by Arpeggiator B. Make settings in the Arp. B page to select the arpeggio pattern and set parameters.

If the “Status” (2–1a) of the timbre is INT, each timbre 1–8 to which arpeggiator A or B is assigned will be sounded by the note data generated by the arpeggiator, regardless of the “MIDI Channel” (2–1a) setting of the timbre. If a timbre is set to EXT or EX2, MIDI note data will be transmitted on the “MIDI Channel” of each timbre.

In this case, the arpeggiator can be triggered (operated) by any MIDI channel speciﬁed for the “MIDI Channel” parameter of any timbre 1–8 assigned to arpeggiator A or B.

If Local Control (“Local Control On,” GLOBAL 1–1a) is Off, the keyboard will not trigger the arpeggiator. The arpeggiator will be triggered via MIDI IN. Turn Local Control OFF if you have recorded only the trigger notes on an external sequencer, and wish to playback the external sequencer to trigger the X50/microX’s arpeggiator.

If you want the note data generated by the arpeggiator to be recorded on the external sequencer, turn the X50/ microX’s Local Control ON, and turn off the echo back function on your external sequencer.

You can control the arpeggiator from an external sequencer, or use an external sequencer to r ecor d arpeggio note data. (☞p.178)

Example 1)

Set the “MIDI Channel” (2–1a) of timbres 1 and 2 to Gch, and set “Status” (2–1a) to INT. Assign arpeggiator A to timbre 1 and arpeggiator B to timbre 2, and check “Arpeggiator Run A, B” (0–4a/5a, 7–1a).

• When the front panel [ARP ON/OFF] button is off, timbres 1 and 2 will sound simultaneously (layered) when you play the keyboard.

• When the front panel [ARP ON/OFF] button is turned on, timbre 1 will be played by arpeggiator A, and timbre 2 will be played by arpeggiator B.

Arpeggiator

Trigger = Gch

Arpeggiator

Pattern - A

Pattern - B

Assign

Timbre 1 MIDI Ch=Gch Status=INT

Timbre 2 MIDI Ch=Gch Status=INT

Example 2)

The “MIDI Channel” (2–1a) of timbres 1, 2, 3, 4, and 5 are set respectively to Gch, Gch, 02, Gch, and 03. Their “Status” (2–1a) is set respectively to INT, Off, INT, Off, and INT. Assign arpeggiator A to timbres 2 and 3, assign arpeggiator B to timbres 4 and 5, and check “Arpeggiator Run A, B” (0–4a/5a, 7–1a).

• When the front panel [ARP ON/OFF] button is off, playing the keyboard will sound only timbre 1. (Timbres 2 and 4 are receiving the Gch, but they will not sound since their “Status” is Off.)

• When you turn on the front panel [ARP ON/OFF] button, arpeggiator A will operate for timbres 2 and 3, and arpeggiator B will operate independently for timbres 4 and 5. (Arpeggiators A and B are triggered by receiving note data on any MIDI channel of an assigned timbre, but in this example they are being triggered from the Gch.)

When you play the keyboard, arpeggiator A will operate for timbres 2 and 3, but only timbre 3 whose “Status” is INT will sound. Similarly, arpeggiator B will operate for timbres 4 and 5, but only timbre 5 whose “Status” is INT will sound.

In this way, you can make settings so that a timbre does not sound when the arpeggiator is off, but sounds only when the arpeggiator is on.

Arpeggiator Assign

Off

Trigger = Gch, Ch2

Trigger = Gch, Ch3

Arpeggiator

Pattern - A

Pattern - B

Timbre 1 MIDI Ch=Gch Status=INT

Timbre 2 MIDI Ch=Gch Status=Off

Timbre 3 MIDI Ch=2ch Status=INT

Timbre 4 MIDI Ch=Gch Status=Off

Timbre 5 MIDI Ch=3ch Status=INT

Pattern - A

Pattern - B

Sounded by normal keyboard playing

Does not sound

Pattern - A

Does not sound

Pattern - B

■ 7–1: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

Copy Arpeggiator

This command copies arpeggiator settings.

1 Select “Copy Arpeggiator” to access the dialog box.

2 In “From” select the copy source (mode, bank, number)

arpeggiator. If you are copying from Combination, or Multi, select either A or B to if you wish to copy settings from only one arpeggiator, or select A&B if you wish to copy the settings of both arpeggiators.

3 If you are copying from a Program, or are copying either

A or B from Combination, or Multi set, select either A or B as the “To” copy destination.

4 To execute the Copy Arpeggiator command, press the

[MENU/OK] button. To cancel, press the [EXIT/CANCEL] button.

7–2: Arp. A (Arpeggiator A) 7–3: Arp. B (Arpeggiator B)

The Arp. A pages you make settings for arpeggiator A. The Arp. B pages you make settings for arpeggiator B.

You can also use Utility “Copy Arpeggiator” (7–1) to copy settings from another mode such as Program mode.

7–2b

7–2a

7–2(3)a: Arpeggiator-A(B) Setup

Pattern* [Preset-0...Preset-4, U000...U250] Octave* [1, 2, 3, 4]

Reso (Resolution)* [   ,  ,   ,  ,   ,  ] Gate [000...100%, Step] Velocity [001...127, Key, Step] Swing [–100...+100%] Sort* [Off, On] Latch* [Off, On] Key Sync.* [Off, On] Keyboard* [Off, On]

These parameters are the arpeggiator A settings for the combination.

(☞p.25 PROG 7: Ed–Arp/Ctrls) * These parameters can also be set in “0–4: Arp. A, 0–5: Arp.

B”

B: Key

Btm (B-Bottom Key) [C–1...G9] Top (B-Top Key) [C–1...G9]

7–2(3)b: (Tempo)



 (Tempo) [040...240, EXT]

Sets the tempo of the arpeggiator. This can be adjusted by the REALTIME CONTROLS C-mode [TEMPO] knob.

☞p.34 “ (Tempo)” (0–1a)

■ 7–2(3): UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1),

“Copy Arpeggiator” (7–1)

7–4: Zone (Scan Zone)

These settings specify the note and velocity ranges that will operate arpeggiators A and B.

7–4a

B: V el (Velocity)

Btm (B-Bottom Velocity) [001...127] Top (B-Top Velocity) [001...127]

Specify the range of notes (keys) and velocities that will operate arpeggiator B (☞“A: Key,” “A: Vel”).

X50: The values of these parameters can also be entered by

playing a note on the keyboard while you hold down the [ENTER] button.

■ 7–4: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1),

“Copy Arpeggiator” (7–1)

COMBI

123456789

7–4a: Scan Zone A/B

Zone Map

This shows the “Scan Zone” for each arpeggiator, A and B.

Key zone of arpeggiator B

Key zone of arpeggiator A

C–1–G9

Velocity zone of arpeggiator A

A: Key

Btm (A-Bottom Key) [C–1...G9] Top (A-Top Key) [C–1...G9]

Speciﬁes the range of notes (keys) that will operate arpeggiator A. “Top” speciﬁes the upper limit, and “Btm” speciﬁes the lower limit.

A: V el (Velocity)

Btm (A-Bottom Velocity) [001...127] Top (A-Top Velocity) [001...127]

Speciﬁes the range of velocities that will operate arpeggiator A. “Top” speciﬁes the upper limit, and “Btm” speciﬁes the lower limit.

Velocity zone of arpeggiator B

7–5: Controls

COMBI 8: Ed–InsertFX

X50

7–5a

7–5b

microX

7–5a

7–5a: Knob B Assign

These settings assign functions (mainly various control changes) to the B-mode of the REALTIME CONTROLS knobs [1]–[4] (☞p.162 “Realtime Control Knobs B Assign List”). The functions you specify here will be controlled when you operate the REALTIME CONTROLS knobs [1]–[4] in Bmode.

Since the REALTIME CONTROLS knob [1]–[4] function of the B-mode assignments made for the programs assigned to each timbre are not valid for the combination, new functions must be set by these parameters.

Knob1–B (Knob1–B Assign)

[Off...MIDI CC#95]

Knob2–B (Knob2–B Assign)

[Off...MIDI CC#95]

Knob3–B (Knob3–B Assign)

[Off...MIDI CC#95]

Knob4–B (Knob4–B Assign)

[Off...MIDI CC#95]

X50: 7–5b: SW1/2 Assign

These settings assign the function of [SW1] and [SW2] (☞p.161 “SW1, SW2 Assign List”).

Since the function assignments of [SW1] and [SW2] made for the programs assigned to each timbre are not valid for the combination, new functions must be set for these parameters.

SW1 (SW1 Assign)

[Off...Pitch Bend Lock]

SW1 Mode [Toggle, Momentary] SW2 (SW2 Assign)

[Off...Pitch Bend Lock]

SW2 Mode [Toggle, Momentary]

☞PROG 7–3b

■ 7–5: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

☞ For details on insertion effects, refer to p.97 “6. Effect

Guide.”

8–1: BUS

8–1a

8–1a: BUS Select, Send1(MFX1),

Send2(MFX2)

Here you can specify the output bus for each timbre 1–8. You can also specify the send level to the master effects.

BUS Select [DKit, L/R, IFX, 1, 2, 1/2, Off ]

Speciﬁes the output bus for the program oscillator of each timbre 1–8. The current setting status can be viewed in the 8–2c: Routing Map.

DKit: This can be selected only if the program for which settings are being made is a drum program “Mode (Oscillator Mode) Drums” (PROG 1–1a). With a setting of DKit, the “BUS Select” (GLOBAL 4–3a) setting made for each key of the drum kit will be used.

For example if you have made “BUS Select” settings for each key of a drum kit so that the Snare sounds are sent to IFX and the other sounds are sent to L/R, selecting Dkit will send the Snare sounds to IFX and the other sounds to L/R. If you want to re-specify these routings, use Utility “DKit IFX Patch” (8–1b).

If this is set to 1/2, the programs of timbres 1–8 will be sent in stereo from (INDIVIDUAL OUTPUT) 1/2. If the pan of the program oscillator is controlled by MIDI control change #10 (pan) or AMS (Alternate Modulation Source), the sound will be output with the pan setting that is in effect at the moment of note-on. Unlike the case when this parameter is set to L/R, the pan of a sounding note will not change in real-time. If you wish to move the pan of a sounding note in realtime and output it from (INDIVIDUAL OUTPUT) 1/2, you must set “BUS Select” to IFX, select 00: No Effect for “IFX” (8–2a), and then set “BUS Select” (8–2a) to 1/2.

S1 (Send1(MFX1)) [000...127] S2 (Send2(MFX2)) [000...127]

For each timbre 1–8, these parameters set the send level to master effects 1 and 2. These settings are valid when “BUS Select” is set to L/R or Off. When IFX is selected, the send levels to master effects 1 and 2 are set by the “S1 (Send1(MFX)), ” “S2 (Send2(MFX))” parameters of the Setup page (8–2a), after the sound has passed through IFX. If “BUS Select” is set to 1, 2 or 1/2 these settings are ignored.

Control change #93 can be used to control the Send 1 level, and #91 to control the Send 2, and modify their respective settings. These messages will be received on the MIDI channel speciﬁed for each timbre in the 2: Ed– Track Param, MIDI page. The actual send levels are determined by summing this

value with the send level “S1 (Send1(MFX)), ” “S2 (Send2(MFX))” (PROG 8–2a) for each oscillator of the program selected for the timbre.

■ 8–1: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1)

Copy Insert Effect

☞PROG 8–1

However, the MIDI control channel speciﬁed for “Control Channel” of the 8: Ed–InsertFX, Setup page will not be copied.

DKit IFX Patch (DrumKit IFX Patch)

This command changes the “BUS Select” settings for each key of the drum kit, so that connections to the IFX are temporarily changed to L/R. This can be executed only if the program speciﬁed for a timbre is a drum program, and the “BUS Select” (8–1a) setting is DKit, and the “BUS Select” (GLOBAL 4–3a) for each key of the drum kit is IFX.

1 Select “DKit IFX Patch” to access the dialog box.

and the “Pan (CC#8), “Send1(MFX1),” and “Send2(MFX2)” that follow the insert effect will be controlled on the “Control Channel” (8–2b) MIDI channel, unlike in Program mode. The control changes used are the same as in Program mode.

8–2b: Control Channel

Control Channel [Ch01...16, G ch, All Rt.]

Speciﬁes the MIDI channel on which dynamic modulation (Dmod) of the insert effect and the “Pan (CC#8), “Send1(MFX1),” and “Send2(MFX2)” that follow the insert effect will be controlled.

The channel number of the timbre routed through this IFX will be followed by a “ If two or more timbres with different MIDI channel settings are routed through the IFX, this parameter speciﬁes which of these channels will be used to control the effect.

G ch: The global MIDI channel “MIDI Channel” (GLOBAL 1–1a) will be used to control the effect. Normally you will set this to G ch. All Rt. (All Routed): The channel of any timbre routed through this effect can be used to control the effect. (Channels of each routed timbre will be indicated by “

If “BUS Select” (8–1a) is set to DKit for a timbre for which a drums program is selected, the MIDI channel of that timbre will be valid only if this is set to All Rt., regardless of the drum kit “BUS Select” setting (GLOBAL 4–3a) or the Utility “DrumKit IFX Patch” (8–1b) setting.

” displayed at the right of Ch01–16.

”.)

COMBI

123456789

2 At the right of “DrumKit IFX→,” select L/R as the patch

destination.

3 To execute Drum Kit Insert Effect Patch, press the

[MENU/OK] button. To cancel, press the [EXIT/CANCEL] button. To return the drum kit to its original state, execute IFX → IFX.

8–2: Setup

Here you can select the type of insert effect, turn it on/off etc.

8–2b

8–2a

8–2c

8–2a: Ed–InsertFX Setup

IFX On/Off [Off, On] Insert Effect [00...89: name]

Pan(CC#8) [L000...C064...R127] BUS Select [L/R, 1, 2, 1/2, Off] S1 (Send1(MFX1)) [000...127] S2 (Send2(MFX2)) [000...127]

These parameters are the same as in Program mode. (☞PROG 8–2) However, dynamic modulation (Dmod) of the insert effect

8–2c: Routing Map, BUS Select

This displays the bus to which the programs used by timbres 1–8 will be sent.

Routing Map

This displays the insert effect settings. The routing, the speciﬁed effect name, and the on/off status are shown.

T01...8: BUS Sel [DKit, L/R, IFX, 1, 2, 1/2, Off]

While viewing the map, you can specify the bus where each timbre 1–8 will be sent. Use the ClickPoint [√][®][π][†] to select the timbre, and use the [VALUE] dial to set “BUS Select” (8–1a). These settings can also be made in “BUS Select” (8–1a).

■ 8–2: UTILITY

☞ “Write Combination,” “Solo Selected Timbre” (0–1),

“Copy Insert Effect” (PROG 8–1), “Dkit IFX Patch” (8–1), “Select by Category” (PROG 8–2)

8–3: IFX (Insert Effect)

Here you can adjust the parameters for the IFX that was selected in the Setup page (☞p.104–).

■ 8–3a: UTILITY

☞ “Write Combination” (0–1)

COMBI 9: Ed–MasterFX

☞ For details on master effects, refer to p.97 “6. Effect

Guide.”

9–1: Setup

Here you can select the type of each master effect, turn it on/off, and make chain and master EQ settings. With the exception of “MFX1 Control Ch,” “MFX2 Control Ch,” and “MEQ Control Ch,” this is the same as in Program mode. (☞PROG 9: Ed–MasterFX)

9–1a 9–1b

9–1c9–1d

9–1a: MasterFX Setup

MFX1 On/Off, MFX2 On/Off [Off, On] Master Effect 1, 2 [00...89: name]

Rtn 1, 2 (Return 1, 2) [000...127]

These are the same as in Program mode. Refer to “PROG 9– 1: Setup.” However, the master effects will be controlled on the “MFX 1, 2 Control Ch” MIDI channel, unlike in Program mode. The control changes used are the same as in Program mode.

MFX 1, 2 Control Ch [Ch01...16, G ch]

Selects the MIDI channel that will control dynamic modulation (Dmod) for the master effects.

G ch: The global MIDI channel “MIDI Channel” (GLOBAL 1–1a) will be used for control. Normally you will set this parameter to G ch.

9–1b: MasterFX Chain

MFX Chain [Off, On] Direction (Chain Direction)

[MFX1→MFX2, MFX2→MFX1] Signal (Chain Signal) [LR Mix, L Only, R Only] Level (Chain Level) [000...127]

These are the same as in Program mode. (☞PROG 9–1: Setup)

9–1c: Master EQ Gain [dB]

Low [–18.0...+18.0] Mid [–18.0...+18.0]

High [–18.0...+18.0]

These are the same as in Program mode. (☞PROG 9–1: Setup)

9–1d: MEQ Ctrl

MEQ Ctrl (MEQ Control Ch) [Ch01...16, G ch]

Selects the MIDI channel that will control dynamic modulation (Dmod) for the master EQ.

G ch: The global MIDI channel “MIDI Channel” (GLOBAL 1–1a) will be used for control. Normally you will set this parameter to G ch.

■ 9–1: UTILITY

9–4: MEQ (Master EQ)

The master EQ is a three-band stereo EQ. It is located immediately before the (MAIN OUTPUT) L/MONO and R from the L/R bus, and adjusts the overall tonal character of the sound (☞p.149). The MEQ High Gain and the MEQ Low Gain can be controlled by assigning a modulation source to the “Low Gain Mod-Src.” and “High Gain Mod-src.” functions on this page.

COMBI

123456789

☞ “Write Combination,” “Solo Selected Timbre” (0–1),

“Select by Category” (PROG 9–1)

Copy Master Effect

☞p.30 PROG 9–1

Note, the MIDI control channel that is speciﬁed by “MFX1, 2 Control Ch” (9–1a) will not be copied.

Swap Master Effect

☞p.31 PROG 9–1

Note, the MIDI control channel that is speciﬁed by “MFX1, 2 Control Ch” (9–1a) will not be swapped.

9–2: MFX1 (Master Effect1) 9–3: MFX2 (Master Effect2)

Here you can set the parameters of the “Master Effect1” and “Master Effect2” effects that were selected in the Setup page (☞p.104–).

■ 9–4: UTILITY

☞ “Write Combination” (0–1)

■ 9–2(3): UTILITY

☞ “Write Combination” (0–1)

3. Multi mode

In Multi mode, the X50/microX functions as a 16-part multitimbral MIDI tone generator that can receive and play multiple channels of MIDI messages from an external MIDI sequencer. You can also make the arpeggiator play in synchronization with an external MIDI sequencer.

A “Multi” has sixteen tracks for playing back musical data. You can assign a separate program and MIDI channel etc. to each track, so that multiple programs can sound simultaneously.

MULTI PAGE MENU

For details on how to select pages in Multi mode, refer to p.1.

Play 0: Play Select multis.

Tone Adjust

Track Param

MIDI Filter1

MIDI Filter2

Key Zone 5: Key Zone Key zone settings for each track. (☞p.67) Vel Zone 6: Vel Zone Velocity zone settings for each track.

Arp/Controls

Insert Effect

Master Effect

1: Tone Adjust Select the program used by each track.

2: Track Param

3: MIDI Filter1 MIDI message transmission/reception ﬁlter

4: MIDI Filter2 Filter settings: Realtime Control Knob , SW,

7: Arp/Ctrls Arpeggiator settings.

8: InsertFX Set BUS and master effect send level for

9: MasterFX Master effect selection and settings. Mas-

Select a program for each track, and mak e pan and level settings.

microX: Select an external control set.

(☞p.55)

Specify the pan and volume of each program. Use Tone Adjust to adjust parameters. (☞p.59)

MIDI, voice mode, pitch, delay, and scale settings for each track. (☞p.61)

settings for each track: Prog Change , After Touch, JS and Ribbon etc. (☞p.64)

and Other Ctrl Change (☞p.65)

(☞p.68)

Controller settings. (☞p.69)

each track. Insert effect routing, selection, and settings. (☞p.72)

ter EQ settings. (☞p.73)

MULTI 0: Play

Here you can select multis, and make basic settings such as selecting the program used by each track.

0–1: Multi

This display shows the selected multi set, the track that will be played from the keyboard and the assignments made to the REALTIME CONTROLS.

X50

0–1a

microX

0–1a

0–1a:

Multi Select [000…127: name]

Here you can select the multi set that you wish to use.

X50:

• Turn the [VALUE] dial.

• Use the [INC][DEC] buttons.

• Use the numeric buttons [0]–[9] to enter a program

• Press the center of the ClickPoint to highlight the field,

microX:

• Turn the [VALUE] dial.

• Press the center of the ClickPoint to highlight the field,

Multi Select, Control Track, (Tempo)

number, and press the [ENTER] button to finalize the number.

then use [π][†] to select a program, and press the center to finalize your selection.

If “Multi Mode” (GLOBAL 0–2a) is set to Master, when the multi set is changed, track whose “Status” is EXT, EX2 or BTH will transmit bank and program number via MIDI. If “Multi Mode” (GLOBAL 0–2a) is set to for Master, switching the multi set will transmit bank select, program change, volume, pan, portamento, send 1, 2, post IFX pan, and post IFX send 1 and 2 messages on the MIDI channel of the corresponding track for each track whose “Status” (2–1a/2a) is EXT, EX2, or BTH.



MULTI

123456789

Control Track [T01…T16: name]

This selects the track that will be played by the keyboard of the X50/microX and that will be controlled by the various controllers of the X50/microX.

Track names can be speciﬁed in Utility “Rename Track” (0–1).

When you play the keyboard or operate the controllers of the X50/microX, the internal sound generator will sound according to the settings (program, level, etc.) of the track you selected here (if its “Status” (2–1a/2a) is INT or BTH), and other tracks with the same MIDI channel will also sound at the same time (if their “Status” is INT or BTH). These messages will also be transmitted on the MIDI channel speciﬁed for these tracks (if their “Status” is EXT, EX2, or BTH).

 (Tempo) [040…240, EXT]

This speciﬁes the tempo of the arpeggiator.

040...240: This will be displayed if “MIDI Clock” (GLOBAL 1–1a) is Internal. The tempo you specify here will be used. EXT: This is shown if “MIDI Clock” is Ext-MIDI or Ext-USB (or if set to Auto and the X50/microX is operating as a slave). The internal tempo will synchronize to the MIDI clock being received from an external sequencer or other device.

You can also set this parameter from the 7: Arp/Ctrls, Setup page.

■ 0–1: UTILITY

For details on how to select the desired utility function, refer to “PROG 0–1: UTILITY.”

Write Multi

If you wish to save a multi set, be sure to write it into the memory of the X50/microX. An edited multi set cannot be recovered if you do not write it to memory before turning off the power or selecting another program.

For the procedure, refer to “Write Program” (PROG 0–1).

Copy From Combi (Copy from Combination)

This command copies the parameters of the speciﬁed combination to the currently selected multi set.

1 Select “Copy From Combi” to access the dialog box.

X50: You can set the tempo by tapping the [ENTER] button

several times at the desired timing. Alternatively, if GLOBAL 0–3: Foot page “Foot SW Assign” is set to Tap Tempo, you can specify the tempo by tapping your foot on a pedal switch connected to the ASSIGNABLE SWITCH jack.

microX: If GLOBAL 0–3: Foot page “Foot SW Assign” is

set to Tap Tempo, you can specify the tempo by tapping your foot on a pedal switch connected to the ASSIGNABLE SWITCH jack.

Multi Information

This area shows information about the selected multi

X50:

set. This indicates the functions that are assigned to [SW1] and [SW2], and REALTIME CONTROLS B-mode [ASSIGNABLE 1–4] knobs.

microX: This area shows information about the selected

multi set. This indicates the functions that are assigned to the REALTIME CONTROLS B-mode [ASSIGNABLE 1–4] knobs.

2 In “Combi,” select the copy source destination. 3 If you check “with Effects,” the insertion effect, master

effect, and master EQ settings will also be copied.

4 In “To,” select the copy destination tracks (1–8 or 9–16). 5 If in step 4 you speciﬁed “To” as Track 1 to 8, the “Auto

adjust Arpeggio Setting” option will be available. If you select this option, the MIDI channel and other settings of some tracks will be automatically adjusted and tracks will be added as necessary so that when you turn on the arpeggiator for the multi set, it will sound just like it did when you played the combination.

6 To execute the Copy From Combi command, press the

[MENU/OK] button. To cancel, press the [EXIT/CANCEL] button. Be aware that when you execute this command, the setting data of the currently selected multi will be erased, and overwritten by the data of the selected combination.

GM Initialize

This command transmits a GM System On message to Multi mode, resetting all tracks to the GM settings (refer to the table below).

In Multi mode when a GM System On message is received from an external device or the tone generator will be reset to the GM settings in the same way as when this command is executed (However even in these cases, the parameters of the 9: MasterFX will not be reset).

Rename Tr ack

Selects “Rename Track,” access the dialog box and rename the selected multi. Up to sixteen characters can be input. (☞OG X50: p.112, microX: p.114)

0–2: Prog..8 (Track Program T01...08) 0–3: Prog..16 (Track Program T09...16)

Indicates the program that will be used by each track.

0–2a 0–2b

0–2c

0–2(3)a: Track Number & Category

Track Number & Category

This shows the track number and the abbreviated name of the program category.

MULTI

0–2(3)b: Program Select

Program Select

X50: [A…D 000...127, G...g 001...128: name] microX: [A…E 000...127, G...g 001...128: name]

In this area you can select the program that will be used by each track. The lower line shows part of the name of the program assigned to the track. For GM2 variation banks or the GM2 drums bank, the variation bank (1)–(9) or drums bank (d) will be shown. Choose this parameter, and use one of the following methods to select a program.

X50:

• Turn the [VALUE] dial.

• Use the [INC][DEC] buttons.

• Use the numeric buttons [0]–[9] to enter the program number, and press the [ENTER] button to confirm.

GM Initialize Parameters

Parameter Track1–9, 11–16 Track10

0 Program Select G001:Acoustic Piano g(d)001:STANDARD Kit

Pan C064 C064 Volume 100 100

2 Status – – The setting remains unchanged

Use Program’s Scale – – The setting remains unchanged

7 Arpeggiator Assign – – The setting remains unchanged

Other Arpeggiator parameters – – The setting remains unchanged

8 IFX/Indiv.Out BUS Select L/R DKit

Send1(MFX1) 0 0 Send2(MFX2) 40 40 IFX1–5 – – The setting remains unchanged Pan(CC#8) – – The setting remains unchanged BUS Select – – The setting remains unchanged Send1 – – The setting remains unchanged Send2 – – The setting remains unchanged Other Insert Effect parameters – – The setting remains unchanged

9 MFX1 – – 16: St. Chorus

MFX2 – – 53: Rev Smth. Hall Return1 – – 127 Return2 – – 050 Other Master Effect and Master EQ parameters – – Default settings

123456789

• Press the center of the ClickPoint to highlight the field in the display, use [π][†] to make your choice, and press the center to confirm.

• Use PROG BANK [A]–[GM] to select a bank (☞p.1)

• Use “Select by Category” to choose from the desired category (☞p.36)

• Receiving a MIDI program change message can also be used to select a program (☞p.171)

0–4: Mix..8 (Mixer T01...08) 0–5: Mix..16 (Mixer T09...16)

Here you can set the pan and volume of each track.

microX:

• Turn the [VALUE] dial.

• Press the center of the ClickPoint to highlight the field in the display, use [π][†] to make your choice, and press the center to confirm.

• Use “Select by Category” to choose from the desired category (☞p.36)

• Receiving a MIDI program change message can also be used to select a program (☞p.171)

If the “Status” (2–1a/2a) is either INT or BTH, programs can be selected by receiving MIDI program change messages. When the multi set is changed, X50/ microX will transmit a song select message. Also, when a song select message is received from the speciﬁed source, the multi set will change. If the “Status” is EX2, a “–” will be displayed before the program number. Tracks whose “Status” is EX2 will transmit the bank number that was selected in the “Bank(EX2) LSB,” “Bank(EX2) MSB” (2–1a).

PLAY/MUTE [PLAY, MUTE]

This speciﬁes the play/muted status of each track.

PLAY: The track will play. MUTE: The track will be muted (silent).

0–2(3)c: Selected Track Information

Selected Track Information

This shows the currently selected track, program bank, number, name, and MIDI channel.

■ 0–2(3): UTILITY

☞ “Write Multi,” “Copy From Combi,” “GM Initialize”(0–1)

For details on how to select the desired utility function, refer to “PROG 0–1: UTILITY.”

Select by Category

You can select the program for each track by category. This command can be selected when a Program page (Prog..8, Prog..16) is displayed.

☞PROG 0–1

0–4a

0–4(5)a: Pan, Volume

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

Sets the pan of tracks 1–16. L001...C064...R127: A setting of L001 is far left, and R127 is far right. A setting of C064 will reproduce the pan setting of the oscillator in Program mode.

OSC1

Left

OSC1

Left

If a mono-type insertion effect is inserted, this setting will be ignored. In this case, the 8: InsertFX, Setup page “Pan (CC#8)” setting will adjust the pan of the sound following the insertion effect.

RND: The sound will be panned randomly at each note-on.

If “Status” (2–1a/2a) is INT or BTH, CC#10 Panpot can be received to control the panning. When receiving CC#10, a value of 0 or 1 is far left, 64 is center, and 127 is far right. If “Multi Mode” (GLOBAL 0–2a) is set to for Master, the pan setting you specify here will be transmitted via MIDI for tracks whose “Status” is EXT, EX2, or BTH when you switch the multi set number. (RND removes)

Volume [000...127]

Sets the volume of tracks 1–16.

When “Status” (2–1a/2a) is INT or BTH, CC#7 Volume can be received to control the volume. The volume of a track is determined by multiplying the MIDI Volume (CC#7) and Expression (CC#11) values. If “Multi Mode” (GLOBAL 0–2a) is set to for Master, the volume setting you specify here will be transmitted via MIDI for tracks whose “Status” is EXT, EX2, or BTH when you switch the multi set number.

Center

OSC2

OSC1: Amp1 Pan=L001 OSC2: Amp2 Pan=R127

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

OSC2

OSC1: Amp1 Pan=C064 OSC2: Amp2 Pan=C064

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

OSC1: Amp1 Pan=L032

Left

Center

Left

Center

OSC2: Amp2 Pan=R096

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

■ 0–4(5): UTILITY

☞ “Write Multi,” “Copy From Combi,” “GM Initialize” (0–

1), “Select by Category” (0–2(3))

MULTI 1: Tone Adjust

microX: 0–6: Ext. Control

The external control function 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 for each knob (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. (☞p.5)

This page only displays the settings of the external control set you selected. Use Global mode to make external control assignments.

0–6a

0–6a: External Control

Ext. Control (Setup Select) [00...63]

Selects an external control set.

This setting is not written (saved) in the combination.

1–1: T A1..8 (Tone Adjust1) 1–2: T A1..16 (Tone Adjust1) 1–3: T A2..8 (Tone Adjust2) 1–4: T A2..16 (Tone Adjust2) 1–5: T A3..8 (Tone Adjust3) 1–6: T A3..16 (Tone Adjust3)

Here you can adjust certain synthesis parameters of the individual programs that are assigned to each track. These edits can be saved as part of the multi set. While creating a multi set, you might use this function to make a bass sound more mellow or to speed up the attack of a strings sound so that it ﬁts better within a particular song, without having to return to Program mode and edit the program itself. For each track you can assign and adjust up to six parameters such as the ﬁlter cutoff, resonance, ﬁlter EQ, and amp EG.

1–1a

MULTI

123456789

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]

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

Indicates the MIDI control change number transmitted by the knob.

■ 0–6: UTILITY

☞ “Write Multi,” “Copy From Combi,” “GM Initialize” (0–

1), “Select by Category” (0–2(3))

1–1(2)(3)(4)(5)(6)a: Destination 1–6,

Value 1–6

Destination 1–6 [LPF Fc…Reverse]

Selects the parameter that you want to adjust.

Value 1–6 [–99…+99, –12.00…+12.00, –1200…+1200, Off…On]

Speciﬁes the value for the parameter you selected in “Destination 1–6.” If you set this to +00 or PRG, the setting of the program will be used.

Normally , you should not select the same parameter for more than one “Destination” in the same track. However if you do so, the parameters will operate as follows.

If you select other than Hold or Reverse

Hold, Reverse

The last of the multiple “Destination” settings will be valid.

“Destination 1–6” and “Value 1–6”

The parameters that can be controlled and their range of values are as follows.

LPF Fc (Low Pass Filter Cutoff Frequency)

[–99…+00…+99]

Adjusts the low pass ﬁlter cutoff frequency of program OSC 1/2. This will affect the brightness of the sound. The parameter will be controlled in the same way as when CC#74 is received. (☞p.175)

Reso.HP (Resonance/High Pass Filter Cutoff Frequency) [–99…+00…+99]

F EG Int (Filter EG Intensity) [–99…+00…+99]

Adjusts the ﬁlter EG intensity (the depth of the ﬁlter EG) for program OSC1/2. The parameter will be controlled in the same way as when CC#79 is received. (☞p.175)

A Vel I. (Amp Velocity Intensity) [–99…+00…+99]

Adjusts the amp velocity intensity (the degree to which velocity will affect the amp) for program OSC 1/2. This controls the Amp Modulation “Velocity Intensity” parameter (☞p.22 6–2b).

F.A EG A (Filter/Amp EG Attack Time)

[–99…+00…+99]

A EG A (Amp EG Attack Time) [–99…+00…+99] A EG D (Amp EG Decay Time) [–99…+00…+99] A EG S (Amp EG Sustain Level) [–99…+00…+99] A EG R (Amp EG Release Time) [–99…+00…+99]

These adjust only the amp parameter as in “A (Attack Time),” “D (Decay Time),” “S (Sustain Level),“ or “R (Release Time)” respectively. (☞PROG 6–3a, 6–6a)

LFO1 Sp (LFO1 Speed) [–199…+00…+199]

Adjusts the LFO1 speed of program OSC 1/2. The parameter will be controlled in the same way as when CC#76 is received. (☞p.175)

PLFO1 I. (Pitch LFO1 Intensity)

[–12.00…+00.00…+12.00]

Adjusts the program OSC 1/2 pitch LFO1 intensity (the depth of pitch modulation produced by LFO1). The parameter will be controlled in the same way as when CC#77 is received. (☞p.175)

LFO1 Fd (LFO1 Fade) [–99…+00…+99]

Adjusts the program OSC 1/2 LFO1 “Fade” parameter (the time from when the LFO begins to take effect until it reaches the maximum level; 3–1a ☞p.14).

LFO1 Dl (LFO1 Delay) [–99…+00…+99]

Adjusts the program OSC 1/2 pitch LFO1 delay (the time from note-on until the LFO begins to take effect). The parameter will be controlled in the same way as when CC#78 is received. (☞p.175)

P.Strch (Pitch Stretch) [–12…+00…+12]

F.A EG D (Filter/Amp EG Decay Time)

[–99…+00…+99]

Adjusts the EG decay time and slope time of the program OSC 1/2 ﬁlter and amp. The parameter will be controlled in the same way as when CC#75 is received. (☞p.175)

F.A EG S (Filter/Amp EG Sustain Level)

[–99…+00…+99]

Adjusts the EG sustain level of the program OSC 1/2 ﬁlter and amp. The parameter will be controlled in the same way as when CC#70 is received. (☞p.175)

F.A EG R (Filter/Amp EG Release Time)

[–99…+00…+99]

Adjusts the EG release time of the program OSC 1/2 ﬁlter and amp. The parameter will be controlled in the same way as when CC#72 is received. (☞p.175)

These adjust only the ﬁlter parameter as in “A (Attack Time),” “D (Decay Time),” “S (Sustain Level),“ or “R (Release Time)” respectively. (☞PROG 4–5a)

Dtune 1(Detune 1) [–1200…+0000…+1200]

Adjusts the tuning of program OSC 1. This controls the OSC1 Multisample “Tune” parameter (1–2c ☞p.8).

Dtune 2 (Detune 2) [–1200…+0000…+1200]

Adjusts the tuning of program OSC 2. This controls the OSC2 Multisample “Tune” parameter (1–2c ☞p.8).

This is valid only if the program’s “Oscillator Mode” (1–1a ☞p.6) is set to Double.

Hold [Off, PRG, On]

Reverse [Off, PRG, On]

Controls the “Rev (Reverse)” parameter (1–1b ☞p.8, GLOBAL 4–1b ☞p.87) for each Multisample or Drumsample of program OSC1/2. If you turn this On, all multisamples and drum samples will play backward. If you turn this Off, all multisamples and drum samples will play normally. If you set this to PRG, the settings of the program (or the drum kit used by the program) will be used. Normally you can make effective use of this with a drum program.

■ 1–1(2)(3)(4)(5)(6): UTILITY

☞ “Write Multi,” “Copy From Combi”(0–1)

MULTI 2: Track Param

2–1: MIDI..8 (MIDI T01–08) 2–2: MIDI..16 (MIDI T09–16)

Here you can make MIDI-related settings for each track.

2–1a

2–1(2)a: Status, MIDI Channel, Bank(EX2)

MSB/LSB

MULTI

Status [INT, Off, BTH, EXT, EX2]

This sets the status of MIDI and the internal tone generator for each track.

INT: The tone generator will sound in response to incoming MIDI messages from a connected external MIDI device. MIDI messages will not be transmitted. If the arpeggiator are assigned to a track that is set to INT, only the X50/ microX will sound; MIDI data will not be transmitted to an external device (i.e., the external MIDI device will not sound). If the X50/microX’s controllers are operated on the track speciﬁed as the “Control Track” (0–1a), only the X50/ microX will be controlled, and MIDI messages will not be transmitted. Off: The track will not sound, nor will MIDI data be transmitted. BTH: The operations of both INT and EXT will be performed. If the arpeggiator is speciﬁed for a track set to BTH, the X50/microX will sound and MIDI messages will also be transmitted. If the X50/microX’s controllers are operated on the track speciﬁed as the “Control Track” (0–1a), the X50/ microX will be controlled and the same data will also be transmitted via MIDI. EXT: MIDI messages will be transmitted without sounding the track. If the arpeggiator are assigned to a track that is set to EXT, MIDI data will be transmitted to an external device, but the tone generator of the X50/microX will not sound. If the X50/microX’s controllers are operated on the track speciﬁed as the “Control Track” (0–1a), MIDI messages will also be transmitted to control the external device, but the X50/ microX itself will not be controlled. If “Multi Mode” (GLOBAL 0–2a) is set to for Master, the program change, volume, pan, portamento, send 1, 2, post IFX pan, and post IFX send 1, 2 settings for tracks set to EXT will be transmitted via MIDI. EX2: “Bank (EX2) MSB” and “Bank (EX2) LSB” will be enabled. Instead of the A–g(d) bank numbers that can be selected on the X50/microX, the bank number you specify here will be transmitted. In other respects this is the same as EXT.

MIDI data is transmitted and received on the MIDI channel that is speciﬁed separately for each track by “MIDI Channel.”

123456789

Data from Arp. Operations on the X50/

Status Internal tone

INT EXT, EX2 × BTH

microX

generator

●

●●●

MIDI OUT/

USB

●

Received data

Internal tone generator

●

× —

MIDI OUT/

USB

—

MIDI Channel [01…16]

Speciﬁes the MIDI data that the track will use to transmit and receive MIDI data. Tracks set to INT which have the same MIDI channel will sound and be controlled identically when they receive MIDI data.

when you switch the multi set number. If this is Off, CC#65 with a value of 0 will be transmitted. If this is 001–127, a CC#65 of 127 and CC#05 of 001–127 will be transmitted. If this is set to PRG, nothing will be transmitted.

This data is transmitted on the MIDI channel speciﬁed for each track by “MIDI Channel” (2–1a/2a).

■ 2–3(4): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

Bank(EX2) MSB [000...127] Bank(EX2) LSB [000...127]

When “Status” is set to EX2, this sets the bank number that will be transmitted. When “Status” is other than EX2, this setting has no effect.

■ 2–1(2): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

2–3: OSC..8 (OSC T01–08) 2–4: OSC..16 (OSC T09–16)

Indicates settings for each track.

2–3a

2–3(4)a: Force OSC Mode, OSC Selec t,

Portamento

Force OSC Mode [PRG, Poly, Mono, LGT ]

Selects the “Mode (Voice Assign Mode)” (PROG 1–1b) of the program selected for each track 1–8, 9–16. (☞COMBI 2–2a)

OSC Select [Both, OSC1, OSC2]

Speciﬁes the “Mode (Oscillator Mode)” (PROG 1–1a) of the program selected for each track 1–8, 9–16. If the “Mode (Oscillator Mode)” is Double, you can use this setting to make only one or the other oscillator sound ( 2a).

Portamento [PRG, Off, 001...127]

Speciﬁes the portamento effect for each track 1–8, 9–16. (☞COMBI 2–2a)

When the track whose “Status” (2–1a/2a) is INT or BTH, MIDI control change CC#05 (Portamento Time) and CC#65 (Portamento Switch) can be received to control this and change the setting. (If the setting is PRG, CC#05 Portamento Time will not be received.) When you adjust these values, the settings will be transmitted via MIDI for tracks whose “Status” is BTH,

EXT, or EX2. If “Multi Mode” (GLOBAL 0–2a) is set to for Master, these settings will be transmitted via MIDI

☞COMBI 2–

2–5: Ptch..8 (Pitch T01–08) 2–6: Ptch..16 (Pitch T09–16)

Here you can make pitch-related settings for each track.

2–5a

2–5(6)a: Transpose, Detune, Bend Range

Transpose [–24...+24]

Adjusts the pitch of each track in semitone steps. 12 steps are one octave.

Detune (BPM Adj.) [–1200... +1200]

Adjusts the pitch of each track in one-cent steps from the normal pitch. 0: Normal pitch.

You can use the Utility “Detune BPM Adj.” (2–5/6) to make a calculation in BPM units and set Detune automatically.

“Transpose” and “Detune” settings do not affect the note data that is transmitted via MIDI. “T ranspose” and “Detune” are controlled by received MIDI RPN messages. The “Mode (Oscillator Mode)” (PROG 1–1a) of the programs selected for tracks 1–16 will be controlled as follows.

• If “Mode (Oscillator Mode)” is Single or Double, MIDI

RPN Coarse Tune messages can be received to control and change the “Transpose” setting, and Fine Tune messages to control and change the “Detune” setting.

• If “Mode (Oscillator Mode)” is Drums, MIDI RPN

Coarse Tune and Fine Tune messages can be received to control and change the “Detune” setting. The range of control will be ±1 octave when Coarse Tune and Fine Tune are added. These messages will be received on the MIDI channel that is specified for each track by “MIDI Channel” (2–1a/2a).

Bend Range [PRG, –24...+24]

Speciﬁes the range of pitch change that will occur when the MIDI Pitch Bend Change message is received.

PRG: The pitch range speciﬁed by the program will be used. –24–+24: Regardless of the setting of the program, pitch

bending will use the range you specify here.

This setting can be controlled and changed by received MIDI RPN Pitch Bend Range messages. (These messages will not be received if the setting is PRG.) This is controlled on the MIDI channel speciﬁed for each track by “MIDI Channel” (2–1a/2a).

■ 2–5(6): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

For details on how to select the desired utility function, refer to “PROG 0–1: UTILITY.”

Detune BPM Adj. (Detune BPM Adjust)

If a drum program uses a multisample to match a speciﬁc BPM, you can use this utility command to modify its BPM. “Detune BPM Adj.” changes the BPM of a phrase or rhythm by modifying its pitch. This command is available for a track if the track “Detune” parameter is selected. When you execute this command, the selected “Detune” value will be set automatically (☞PROG 1–2c, 1–3, GLOBAL 4–1b, 4–2). For the procedure, refer to “Detune BPM Adj.” (COMBI 2–

3).

2–7(8)b: Scale

Speciﬁes the scale that will be used for the multi.

Type (Multi’s Scale)

[Equal T emperament ...User Octave15]

Selects the type of scale. ☞ “Type (Scale Type)” (PROG 1–1c)

Key [C…B]

Selects the tonic key of the selected scale. ☞ “Key” (PROG 1–1c)

Random [0…7]

As this value is increased, an increasingly random deviation will be added to the pitch at each note-on.

☞ “Random” (PROG 1–1c)

■ 2–7(8): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

MULTI

123456789

2–7: Othr..8 (Other T01–08) 2–8: Othr..16 (Other T09–16)

For each track, specify the delay time from note-on until the sound is heard, and select the scale.

2–7a 2–7b

2–7(8)a: Delay [ms] , Use Prog’s Scale

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

Speciﬁes a delay time from when a track receives a note-on until it actually sounds. KeyOff: The sound will begin when note-off occurs. In this case, the sound will continue indeﬁnitely unless the amp EG Sustain Level of the program is other than 0. This setting is useful for simulating harpsichord sounds. Normally you will leave this at 0.

Use Prog’s Scale [Off, On]

Each track can use the scale that is speciﬁed for the program by “Scale” (PROG 1–1c).

On (checked): The scale of the program will be used. Off (unchecked): The scale speciﬁed by “Type (Multi’s

Scale)” (2–1b/2b) will be used.

MULTI 3: MIDI Filter1

3–3: 1–2..8 (MIDI Filter1–2 T01–08)

Here you can select whether or not to apply ﬁltering to the MIDI data received by tracks 1–16. For example, even if two tracks are receiving the same MIDI channels, one can be made to respond to damper pedal activity while the other does not.

These settings affect the MIDI messages that are transmitted when you adjust program, pan, volume, portamento and send 1/2 parameters of a track whose “Status” (2–1a/2a) is set to BTH, EXT, or EX2.

On (checked): Reception of MIDI data is enabled. Tracks whose “Status” (2–1a/2a) is INT or BTH will receive MIDI messages whose channel matches and whose types are checked. The types of effect that are checked will be applied to the program of each track when the X50/microX’s controllers are operated or when MIDI data is received. (The effect dynamic modulation function is not affected by these settings.) Settings that regulate MIDI transmission/reception of the X50/microX itself are made in “MIDI Filter” (GLOBAL 1–1b). If MIDI control changes have been assigned as the function of the REALTIME CONTROLS knobs or of [SW1] and [SW2] (only X50), the MIDI ﬁlter for these controllers (MIDI Filter

2) will affect these control changes. However if these are the

same as the control changes of MIDI Filter 1, the MIDI Filter 1, 2 settings will take priority. Furthermore, if the same control change has been assigned to two or more controllers, checking any one of the MIDI Filter 2 parameters will cause the setting to apply to that control change.

Off (unchecked): Reception of MIDI data is disabled.

3–4: 1–2..16 (MIDI Filter1–2 T09–16)

3–3a

3–3(4)a: Damper CC#64, Portamento SW

CC#65

Damper CC#64 [Off, On]

Speciﬁes whether or not MIDI control change message #64 Hold (damper pedal) will be received.

Portamento SW CC#65 [Off, On]

Speciﬁes whether or not MIDI control change message #65 Portamento On/Off will be received.

■ 3–3(4): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

3–5: 1–3..8 (MIDI Filter2–1 T01–08) 3–6: 1–3..16 (MIDI Filter2–1 T09–16)

3–1: M1–1..8 (MIDI Filter1–1 T01–08) 3–2: 1–1..16 (MIDI Filter1–1 T09–16)

3–1a

3–1(2)a: Program Change, After Touch

Program Change [Off, On]

Speciﬁes whether or not MIDI program change messages will be received.

After Touch [Off, On]

Speciﬁes whether or not MIDI after touch messages will be received.

■ 3–1(2): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

3–5a

3–5(6)a: JS+Y/M.Whl CC#01, JS–Y CC#02

JS+Y/M.Whl CC#01 [Off, On]

Speciﬁes whether MIDI control change CC#1 (the

X50:

X50’s modulation wheel, or a REALTIME CONTROLS Bmode assignment) will be received.

microX: Speciﬁes whether MIDI control change CC#1 (the

+Y direction of the microX’s joystick or a REALTIME CONTROLS B-assign setting) will be received.

JS–Y CC#02 [Off, On]

Speciﬁes whether MIDI control change CC#2 (REAL-

X50:

microX: Speciﬁes whether MIDI control change CC#2 (the

–Y direction of the microX’s joystick or a REALTIME CONTROLS B-assign setting) will be received.

■ 3–5(6): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

3–7: 1–4..8 (MIDI Filter2–2 T01–08) 3–8: 1–4..16 (MIDI Filter2–2 T09–16)

3–7a

3–7(8)a: JSX/PBend as AMS, Ribbon

CC#16

JSX/PBend as AMS [Off, On]

Speciﬁes whether MIDI pitch bend messages (move-

X50:

ment of the X50’s Pitch wheel) will apply the AMS (☞p.151 “Alternate Modulation Source”) assigned to Pitch Bend. (This is not a ﬁlter for MIDI pitch bend messages.)

MULTI 4: MIDI Filter2

Speciﬁes whether the A- and B-mode operations of REALTIME CONTROLS knobs [1]–[4] will be received. MIDI control messages are ﬁxed as the A-mode operation of each knob. In B-mode the knobs correspond to the messages you assign in the 7: Arp/Ctrls, Controls page.

X50: Speciﬁes whether the effects of [SW1] and [SW2] will

be received. The assignable switches [SW1] and [SW2] correspond to the messages that are assigned to the 7: Arp/Ctrls, Controls page.

4–1: M2–1..8 (MIDI Filter2–1 T01–08) 4–2: 2–1..16 (MIDI Filter2–1 T09–16)

4–1a

MULTI

123456789

microX: This parameter speciﬁes whether the effect of the

AMS (☞p.151 “Alternate Modulation Source”) assigned to JS X will be received when MIDI pitch bend messages (the X-axis) are received. (This is not a reception ﬁlter for MIDI pitch bend messages.)

Ribbon CC#16 [Off, On]

MIDI control change message CC#16 (REALTIME CONTROLS B-assign, or the assignment of a ribbon controller on a TRITON Extreme or other instrument connected to the MIDI IN connector) will be received.

■ 3–7(8): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

4–1(2)a: Realtime Control Knob 1, 2

Knob1 [Off, On]

Speciﬁes whether or not the A-mode [1] knob MIDI control change message #74 (low pass ﬁlter cutoff frequency) and the B-mode [1] knob MIDI control change message will be received.

Knob2 [Off, On]

Speciﬁes whether or not the A-mode [2] knob MIDI control change message #71 (low pass ﬁlter resonance or high pass ﬁlter cutoff frequency) and the B-mode [2] knob MIDI control change message will be received.

■ 4–1(2): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

4–3: 2–2..8 (MIDI Filter2–2 T01–08)

X50:

4–7: 2–4..8

(MIDI Filter2–4 T01–08)

4–4: 2–2..16 (MIDI Filter2–2 T09–16)

4–3a

4–3(4)a: Realtime Control Knob 3, 4

Knob3 [Off, On]

Speciﬁes whether or not the A-mode [3] knob MIDI control change message #79 (ﬁlter EG intensity) and the B-mode [3] knob MIDI control change message will be received.

Knob4 [Off, On]

Speciﬁes whether or not the A-mode [4] knob MIDI control change message #72 (the release time of the ﬁlter and amp EG’s) and the B-mode [4] knob MIDI control change message will be received.

■ 4–3(4): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

microX: X50: microX:

4–5: 2–3..8

4–8: 2–4..16

4–6: 2–3..16

(MIDI Filter2–3 T01–08)

(MIDI Filter2–4 T09–16)

(MIDI Filter2–3 T09–16)

X50

4–7a

microX

4–5a

X50: 4–7(8)a/microX: 4–5(6)a: Foot Pedal/

Switch, Other Control Change

X50: X50:

4–5: 2–3..8 4–6: 2–3..16

4–5a

(MIDI Filter2–3 T01–08)

(MIDI Filter2–3 T09–16)

4–5(6)a: SW1, SW2

SW1, SW2 [Off, On]

Speciﬁes whether the operations of [SW1] and [SW2] will be received. These correspond to the control change messages assigned in the 7: Ed–Arp/Ctrls page. This setting is valid if you have selected SW1 Mod. (CC#80), SW2 Mod. (CC#81), or Porta.SW (CC#65).

■ 4–5(6): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

Foot Pedal/Switch [Off, On]

Speciﬁes whether or not the effect of the ASSIGNABLE PEDAL/SWITCH will be received. The function of this switch is set in GLOBAL 0–3: System Foot page. This is valid when the switch is set to a MIDI control change.

Other Ctrl Change [Off, On]

Speciﬁes whether or not MIDI control change messages other than those included in MIDI Filter 1, 2 will be received.

■ X50: 4–7(8)/microX: 4–5(6): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

MULTI 5: Key Zone

5–3: Slp..8 (Key Slope T01–08)

Here you can specify the range of keys that will be sounded by each track. Top/Bottom Key settings specify the range of notes that will be sounded by tracks 1–8, 9–16, and Top/Bottom Slope settings specify the range from the top/bottom key until the original volume is reached.

This setting does not affect MIDI transmission. All note data produced by the arpeggiator will be transmitted.

5–1: Key..8 (Key Zone T01–08) 5–2: Key..16 (Key Zone T09–16)

5–1a

5–1b

5–1(2)a: Key Zone Map (1)

This shows the range of note data that will sound the currently selected track. The note range that will be sounded is shown as a line, and the slope portion is grayed.

5–4: Slp..16 (Key Slope T09–16)

5–3a

5–3(4)a: Top Slope, Bottom Slope

Top Slope [00...72]

Speciﬁes the key range (12 is one octave) from the top key of track 1–8, 9–16 until the original volume is reached.

Bottom Slope [00...72]

Speciﬁes the key range (12 is one octave) from the bottom key of track 1–8, 9–16 until the original volume is reached. (☞p.46)

■ 5–3(4): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

5–5: Review

MULTI

123456789

5–1(2)b: Top Key, Bottom Key

Top Key [C–1...G9]

Speciﬁes the top key (upper limit) that will be sounded by each track 1–8, 9–16.

Bottom Key [C–1...G9]

Speciﬁes the bottom key (lower limit) that will be sounded by each track 1–8, 9–16.

For a diagram of Key and Slope parameters, refer to “COMBI 5: Ed–Key Zone.”

X50: The value of these parameters can also be set by hold-

ing down the [ENTER] button and playing a note on a connected MIDI instrument.

■ 5–1(2): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

5–5a

5–5a: Key Zone Map (All)

T1...T16

This shows the range of note data that will be sounded by tracks 1–16. The note range that will be sounded is shown as a line, and the slope portion is grayed.

■ 5–5: UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

MULTI 6: Vel Zone

(Velocity Zone)

6–3: Slp..8 (Velocity Slope T01–08)

Speciﬁes the range of velocities that will sound each track. Set the Top/Bottom Velocity parameters to set the range of velocities that will sound tracks 1–8 and 9–16, and set the Top/Bottom Slope parameters to specify the range over which the volume will change.

These settings do not affect MIDI transmission. All note data produced by the arpeggiator will be transmitted.

6–1: V el..8 (Velocity Zone T01–08) 6–2: V el..16 (Velocity Zone T09–16)

6–1a

6–1b

6–1(2)a: Velocity Zone Map (1)

This shows the range of velocities that will sound the currently selected track. The velocity range that will be sounded is shown as a line, and the slope portion is grayed.

6–4: Slp..16 (Velocity Slope T09–16)

6–3a

6–3(4)a: Top Slope, Bottom Slope

Top Slope [000…120]

Speciﬁes the range of values over which the volume will be adjusted from the top velocity until the original volume is reached.

Bottom Slope [000…120]

Speciﬁes the range of values over which the volume will be adjusted from the bottom velocity until the original volume is reached.

For a diagram of these parameters, refer to “COMBI 6: Ed– Vel Zone.”

■ 6–3(4): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

6–1(2)b: Top Velocity , Bottom Velocity

Top Velocity [001…127]

Speciﬁes the maximum velocity that will be sounded by each track 1–8, 9–16.

Bottom Velocity [001…127]

Speciﬁes the minimum velocity that will be sounded by each track 1–8, 9–16.

It is not possible to set the bottom velocity greater than the top velocity for the same timbre. Nor can the top slope and the bottom slope overlap.

X50: The value of these parameters can also be set by hold-

ing down the [ENTER] button and playing a note on a connected MIDI instrument.

■ 6–1(2): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

6–5: Review

6–5a

6–5a: Velocity Zone Map (All)

T1...T16

This shows the range of velocity that will be sounded by tracks 1–16. The note range that will be sounded is shown as a line, and the slope portion is grayed.

■ 6–5: UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

MULTI 7: Arp/Ctrls

(Arpeggiator/Controls)

Here you can specify how the arpeggiator will operate in Multi mode. These settings can be made for each multi set. In Multi mode (as in Combination mode), you can run the two arpeggiators simultaneously. This allows you to apply different arpeggio patterns to two tracks, or use velocity to switch between two different arpeggio patterns, etc.

7–1: Set..8 (Setup T01–08) 7–2: Set..16 (Setup T09–16)

7–1a

7–1b

7–1(2)a: Arpeggiator Run,

Arpeggiator Run A, B (Run A, B)

When the [ARP ON/OFF] button is on, the arpeggiator(s) that are checked here will function for the track(s) to which they are assigned by “Assign.” When the arpeggiator is on, A and B can be turned on/off independently.

 (Tempo) [040...240, (EXT)]

Specify the tempo of the arpeggiator. This can also be adjusted by the REALTIME CONTROLS C-mode [TEMPO] knob.

☞p.56 “ (Tempo)” (0–1a)

7–1(2)b: Assign

Assign [Off, A, B]

This assigns arpeggiator A or arpeggiator B to each track 1– 8, 9–16. When the [ARP ON/OFF] button is turned on, the arpeggiator speciﬁed for each track will run, subject to the “Arpeggiator Run” settings and setting here.

Off: The arpeggiator will not operate. A: Arpeggiator A will operate. Use the Arp. A page to select

the arpeggio pattern and set the parameters. B: Arpeggiator B will operate. Use the Arp. B page to select the arpeggio pattern and set the parameters.

If you wish to realtime-record the arpeggio pattern into a pattern, assign either arpeggiator A or B to the track.

If a track 1–16 to which arpeggiator A or B has been assigned is set to a track “Status” (2–1a/2a) of INT or BTH, the note data generated by the arpeggiator will sound the X50/microX without regard to the “MIDI Channel” (2–1a/2a) setting of each track. If the “Status” is BTH, EXT, or EX2, MIDI note data will be transmitted on the “MIDI Channel” of each track.

(Tempo)



At this time, the arpeggiator can be triggered by the “MIDI Channel” of any track 1–16 assigned to arpeggiator A or B respectively.

The X50/microX’s arpeggiator can be controlled from an external sequencer, and the note data generated by the arpeggiator can be recorded on an external sequencer. (☞p.179)

Example 1)

On tracks 1 and 2, set “MIDI Channel” (2–1(2)a) to 01 and “Status” (2–1(2)a) to INT. Assign arpeggiator A to track 1 and arpeggiator B to track 2, and check “Arpeggiator Run A, B” (7–1a). In “Control Track” (0–1a) choose Track01. With the front panel [ARP ON/OFF] button is off, play the keyboard and tracks 1 and 2 will sound simultaneously.

When you turn on the front panel [ARP ON/OFF] button and play the keyboard, arpeggiator A will operate for track 1 and arpeggiator B will operate for track 2.

Arpeggiator

Trigger = Ch1

Arpeggiator

Pattern - A

Pattern - B

Assign

Track1 MIDI Ch=1ch Status=INT

Track2 MIDI Ch=1ch Status=INT

Pattern - A

Pattern - B

Example 2)

For tracks 1, 2 and 3, set the “MIDI Channel” (2–1(2)a) to

01, 02, and 03 respectively, and set “Status” (2–1(2)a) to INT. Assign arpeggiator A to tracks 1 and 2, and

arpeggiator B to track 3. Check the “Arpeggiator Run A, B” (7–1a) setting.

• In “Control Track” (0–1a), choose Track01.

Playing the keyboard when the front panel [ARP ON/ OFF] button is off will play the sound assigned to track 1. Playing the keyboard when the front panel [ARP ON/ OFF] button is on will cause arpeggiator A to operate for tracks 1 and 2, and produce sound for both tracks.

• In “Control Track” (0–1a), choose Track02.

Playing the keyboard when the front panel [ARP ON/ OFF] button is off will play the sound assigned to track 2. Playing the keyboard when the front panel [ARP ON/ OFF] button is on will cause arpeggiator A to operate for tracks 1 and 2, and produce sound for both tracks.

• In “Control Track” (0–1a), choose Track03.

Playing the keyboard when the front panel [ARP ON/ OFF] button is off will play the sound assigned to track 3. Playing the keyboard when the front panel [ARP ON/ OFF] button is on will cause arpeggiator B to operate for track 3, and play the sound assigned to track 3.

• Alternatively, you could choose Track01 in “Control

Track” (0–1a) to run arpeggiator A for tracks 1 and 2, and use an external MIDI device connected to the X50/ microX’s MIDI IN to send note data to MIDI channel 3 to play arpeggiator B.

Arpeggiator Assign

Trigger = Ch1, Ch2

Trigger = Ch3

Arpeggiator

Pattern - A

Pattern - B

Track1 MIDI Ch=1ch Status=INT

Track2 MIDI Ch=2ch Status=INT

Track3 MIDI Ch=3ch Status=INTB

Pattern - A

Pattern - B

■ 7–1(2): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1), “Copy Arpeg-

giator” (COMBI 7–1)

MULTI

123456789

7–3: Arp. A (Arpeggiator A) 7–4: Arp. B (Arpeggiator B)

Indicates settings for arpeggiator A in the Arp. A page, and for arpeggiator B in the Arp. B page.

You can use the “Copy Arpeggiator” utility to copy settings from another mode such as Program mode.

7–3a

7–3(4)a: Arpeggiator–A (B) Setup

Pattern [Preset-0...Preset-4, U000...U250] Octave [1, 2, 3, 4]

Reso (Resolution) [   ,  ,   ,  ,   ,  ] Gate [000...100(%), Step] Velocity [001...127, Key, Step] Swing [–100...+100(%)] Sort [Off, On] Latch [Off, On] Key Sync. [Off, On] Keyboard [Off, On]

These are the arpeggiator parameters for the multi set. (☞PROG 7: Ed–Arp/Ctrls)

■ 7–3(4): UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1), “Copy Arpeg-

giator” (COMBI 7–1)

7–5: Zone (Scan Zone)

Speciﬁes the range of notes and velocities that will trigger each arpeggiator A and B.

7–5a

7–5a: Scan Zone A/B

Zone Map

This shows the “Scan Zone” settings for arpeggiators A and B (☞COMBI 7–4a).

A: Key

Btm (A-Bottom Key) [C–1...G9] Top (A-Top Key) [C–1...G9]

Speciﬁes the range of notes (keys) that will trigger arpeggiator A. “Top” is the upper limit, and “Btm” is the lower limit.

A: V el (Velocity)

Btm (A-Bottom Velocity) [001...127] Top (A-Top Velocity) [001...127]

Speciﬁes the range of velocities that will trigger arpeggiator A. “Top” is the upper limit, and “Btm” is the lower limit.

B: Key

Btm (B-Bottom Key) [C–1...G9] Top (B-Top Key) [C–1...G9]

B: V el (Velocity)

Btm (B-Bottom Velocity) [001...127] Top (B-Top Velocity) [001...127]

Speciﬁes the range of notes (keys) and velocities that will trigger arpeggiator B (☞“A: Key,” “A: Vel”).

X50: The value of these parameters can also be set by hold-

ing down the [ENTER] button and playing a note on a connected MIDI instrument.

■ 7–5: UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1), “Copy Arpeg-

giator” (COMBI 7–1)

7–6: Controls

When you operate these controllers on the MIDI channel of the “Control Track,” the MIDI messages assigned here will be transmitted (if “Status” 2–1a/2a is EXT, EX2, or BTH).

X50

7–6a

7–6b

microX

7–6a

7–6a: Knob B Assign

Here you can set the B-mode functions (mainly various control changes) that the REALTIME CONTROLS knobs [1]–[4] will have (☞p.162 “Realtime Control Knobs B Assign List”).

When the REALTIME CONTROLS are in B-mode, the functions you specify here will be controlled on the track and MIDI channel of the “Control Track” (0–1a) when you operate knobs [1]–[4].

The functions you specify here will operate when you rotate the REALTIME CONTROLS knobs [1]–[4] in B-mode.

X50: 7–6b: SW1/2 Assign

Assigns functions to [SW1] and [SW2] (☞p.161 “SW1, SW2 Assign List”). Since the [SW1] and [SW2] function assignments of the program assigned to each track are ignored when the program is used in a multi, you must make new assignments here for the multi.

SW1 (SW1 Assign)

[Off…Pitch Bend Lock]

SW1 Mode [Toggle, Momentary] SW2 (SW2 Assign)

[Off…Pitch Bend Lock]

SW2 Mode [Toggle, Momentary]

☞PROG 7–3b

■ 7–6: UTILITY

☞ “Write Multi,” “Copy From Combi” (0–1)

MULTI

123456789

Knob1–B (Knob1–B Assign)

Knob2–B (Knob2–B Assign)

Knob3–B (Knob3–B Assign)

Knob4–B (Knob4–B Assign)

[Off…MIDI CC#95]

MULTI 8: InsertFX

☞ For details on insert effects, refer to p.97 “6. Effect Guide.”

8–1: BUS..8 (BUS T01...08) 8–2: BUS..16 (BUS T09...16)

Speciﬁes the bus to which the program oscillator(s) of each track 1–8, 9–16 will be sent. You can also set the amount of signal that will be sent to the master effects.

■ 8–1(2): UTILITY

☞ “Write Multi” (0–1), “DKit IFX Patch” (COMBI 8–1)

Copy Insert Effect

☞PROG 8–1

However, the MIDI control channel speciﬁed in “Control Channel” of the 8: InsertFX, Setup page will not be copied.

8–1a

8–1(2)a: BUS Select, Send1(MFX1),

Send2(MFX2)

BUS Select [DKit, L/R, IFX, 1, 2, 1/2, Off ]

Speciﬁes the output bus for the program oscillators of tracks 1–8 and 9–16. The state of the settings can be viewed in the Setup page.

☞COMBI 8–1a

S1 (Send1(MFX1)) [000...127] S2 (Send2(MFX2)) [000...127]

Here you can adjust the send levels from tracks 1–8, 9–16 to master effects 1 and 2. This is valid when “BUS Select” is set either to L/R or Off. If IFX is selected, the send level to the master effects 1 and 2 is set by the (“S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” parameters located in the Setup page, after the signal passes through IFX. These settings have no effect if “BUS Select” is set to 1, 2 or 1/2.

If “Status” (2–1(2)a) is either INT or BTH, CC#93 and #91 can be received to control send 1 and 2 respectively and change their settings. If “Multi Mode” (GLOBAL 0–2a) is set to for Master, and you switch the multi set number, these settings will be transmitted via MIDI for tracks whose “Status” is EXT, EX2, or BTH. The settings are transmitted and received on the MIDI channel speciﬁed for each track by the “MIDI Channel” (2–1a/ 2a) setting. The actual send level is determined by summing the value of these parameters with the send level settings of the oscillator(s) of the program used by the track (“S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” PROG 8–2a).

8–3: Setup

Here you can select the type of the insert effects, turn them on/off etc.

8–3b

8–3a

8–3c

8–3a: Insert FX Setup

IFX1 [Off, On] Insert Effect [00...89: name]

Chain [ (Off ), (ON)] Pan(CC#8) [L000...C064...R127] BUS Select [L/R, 1, 2, 1/2, Off] S1 (Send1(MFX1)) [000...127] S2 (Send2(MFX2)) [000...127]

These parameters are the same as in Program mode. (☞PROG 8–2) However, this differs from Program mode in that insert effect dynamic modulation (Dmod) and the “Pan (CC#8),” “Send1(MFX1),” and “Send2(MFX2)” which follow the insert effect are controlled on the MIDI channel speciﬁed by “Control Channel” (8–1b). The control changes used are the same as in Program mode.

If the “Status” (2–1(2)a) is INT or BTH, receiving CC#8, #93, or #91 will cause the post- insert effect pan and send 1/2 to be controlled, changing the settings. If “Multi Mode” (GLOBAL 0–2a) is set to for Master, and you switch the multi set number, these settings will be transmitted via MIDI on the “Control Channel” (8–1a) for tracks whose “Status” is BTH, EXT, or EX2.

8–3b: Control Channel

MULTI 9: MasterFX

Control Channel [Ch01...16, All Rt.]

Indicates the MIDI channel that will control effect dynamic modulation (Dmod), pan following the insert effect “Pan (CC#8),” “Send1(MFX1),” and “Send2(MFX2).”

An asterisk “ number Ch01–16 for tracks that are routed to an IFX. If multiple tracks with differing MIDI channel settings are routed, these channels specify the channel that will be used to control the effect.

All Rt. (All Routed): Control can be performed from any of the MIDI channels of the tracks that are routed.

If “BUS Select” (8–1(2)a) is set to DKit for a track in which a drum program is selected, the MIDI channel of that track will be valid only if this is set to All Rt., regardless of the drum kit “BUS (BUS Select)” (GLOBAL 4–3a) setting or the utility setting “DrumKit IFX Patch.”

” will be displayed at the right of the channel

8–3c: Routing Map, BUS Select

This speciﬁes the bus to which the program used by each track 1–16 will be sent.

Routing Map

This displays the settings of the insert effect. The routing, speciﬁed effect name, and on/off status of the insert effect are displayed.

T01...16: BUS Sel [DKit, L/R, IFX, 1, 2, 1/2, Off ]

While viewing the map, you can specify the bus where the program oscillators for each track 1–16 will be sent. Use the ClickPoint [√][®][π][†] to select a timbre, and use the VALUE controller to specify the “BUS Select” (8–1a) setting. You can also make this setting in “BUS Select” (8–1a).

■ 8–3: UTILITY

☞ “Write Multi” (0–1), “Copy Insert Effect,” (PROG 8–1),

“DKit IFX Patch” (COMBI 8–1), “Select by Category” (PROG 8–2)

8–4: IFX (Insert Effect)

Sets the parameters for the effects selected for IFX in the Setup page (☞p.104–).

☞ For details on the master effects, refer to p.97 “6. Effect

Guide.”

9–1: Setup

Here you can select the type of master effects, turn them on/ off, and make chain and master EQ settings. This is the same as Program mode with the exception of “MFX1 Control Ch,” “MFX2 Control Ch,” and “MEQ Ctrl” (☞PROG 9: Ed–MasterFX)

9–1a 9–1b

9–1c9–1d

9–1a: Master FX Setup

MFX1 On/Off, MFX2 On/Off [Off, On] Master Effect 1, 2 [00...89: name]

Rtn 1, 2 (Return 1, 2) [000...127]

This is the same as in Program mode. Refer to “PROG 9–1: Setup.” However, unlike Program mode, the master effects will be controlled by the MIDI channel speciﬁed by “MFX 1, 2 Control Ch.” The control changes used are the same as in Program mode.

MFX1, 2 Control Ch [Ch01...16, G ch]

Speciﬁes the MIDI channel that will control dynamic modulation (Dmod) for the master effects.

G ch: The effect will be controlled on the global MIDI channel “MIDI Channel” (GLOBAL 1–1a).

9–1b: Master FX Chain

MFX Chain [Off, On] Direction (Chain Direction)

[MFX1→MFX2, MFX2→MFX1] Signal (Chain Signal) [LR Mix, L Only, R Only] Level (Chain Level) [000...127]

This is the same as in Program mode. Refer to “PROG 9–1: Setup.”

MULTI

123456789

■ 8–4: UTILITY

☞ “Write Multi” (0–1)

9–1c: Master EQ Gain [dB]

Low [–18.0...+18.0] Mid [–18.0...+18.0]

High [–18.0...+18.0]

This is the same as in Program mode. (☞PROG 9–1: Setup)

9–1d: MEQ Ctrl

MEQ Ctrl (MEQ Control Ch) [Ch01...16, G ch]

Speciﬁes the MIDI channel that will control dynamic modulation (Dmod) for the master EQ.

G ch: The effect will be controlled on the global MIDI channel “MIDI Channel” (GLOBAL 1–1a).

■ 9–1: UTILITY

9–4: MEQ (Master EQ)

The master EQ is a three-band stereo EQ. It is used to perform overall equalizing (tonal adjustment) on the sound from the L/R bus immediately before it is output to (MAIN OUTPUT) L/MONO and R (☞p.149).

☞ “Write Multi” (0–1), “Select by Category” (PROG 9–1)

Copy Master Effect

☞p.30 PROG 9–1

Note, the MIDI control channel speciﬁed in “Control Channel” of the MFX 1 and 2 pages will not be copied.

Swap Master Effect

☞p.31 PROG 9–1

Note, the MIDI control channel speciﬁed in “Control Channel” of the MFX 1 and 2 pages will not be swapped.

9–2: MFX1 (Master Effect1) 9–3: MFX2 (Master Effect2)

Here you can set the parameters of the “Master Effect1” and “Master Effect2” effects that were selected in the Setup page (☞p.104–).

■ 9–4: UTILITY

☞ “Write Multi” (0–1)

■ 9–2(3): UTILITY

☞ “Write Multi” (0–1)

4. Global mode

In Global mode you can make settings that affect the entire instrument, such as master tuning, MIDI, and memory protect. You can also edit user scales, drum kit setups, and user arpeggio patterns.

If you want the settings you make in Global mode to be backed up when the power is turned off, you must write them into memory. T o write your settings, use the Utility “Write Global Setting,” “Write Drum Kits,” or “Write Arpeggio Patterns.”

GLOBAL PAGE MENU

For details on selecting pages and parameters, refer to Program mode “PROGRAM PAGE MENU” p.1.

X50

microX

GLOBAL 0: System

0–1: Basic

X50

0–1a

microX

0–1a

0–1c0–1b

GLOBAL

0–1c0–1b

123456

System 0: System Basic settings for the entire X50/

MIDI 1: MIDI MIDI settings for this instrument.

User Scale 2: User Scale Scale settings created by the user.

Category Name

DrumKit 4: DKit Edit drum kits. (☞p.86) Arpeggio Pattern microX: Ext. Control

3: Category Name

5: Arp.Pattern Edit user arpeggio patterns. (☞p.89)

6: Ext Control External control settings. CC# assign-

microX, and controller settings such as the pedals connected to the rear panel. (☞p.75)

(☞p.81)

You can specify 16 types of octave scale, and one full-range scale. (☞p.85)

Edit category names for programs and combinations. (☞p.86)

ments for the REALTIME CONTROLS knobs (☞p.93)

0–1a: Basic

Master Tune (Master T une [Cent])

[–50cent (427.47Hz)…+50cent (452.89Hz)]

This adjusts the overall tuning of this instrument in one-cent units (semitone = 100 cents) over a range of ±50 cents. W ith a setting of 0, the frequency of A4 will be 440 Hz.

The A4 pitch given here is when Equal Temperament is selected as the scale. If a different scale is selected, A4 may not be 440 Hz.

Key Tr anspose [–12…+12]

his adjusts the pitch in semitone steps over a ±1 octave range. This setting is applied at the location (PreMIDI or Post- MIDI) speciﬁed by “Convert Position” (1–1a).

Note number transmitted

Transpose

X50

microX (when OCTAVE

keys are dark)

“Master Tune” can be controlled by the MIDI universal system exclusive message Master Fine Tuning (F0, 7F, nn, 04, 03, vv, mm, F7: nn=MIDI channel, vv/mm= value). “Key Transpose” can be controlled by the MIDI universal system exclusive message Master Coarse Tuning (F0, 7F, nn, 04, 04, vv, mm, F7: nn=MIDI channel, vv/ mm=value). These messages are received on the global MIDI channel speciﬁed by “MIDI Channel” (1–1a).

–12 0 +12

24…84

(C1…C6)

36…60

(C2…C4)

36…96

(C2…C7)

48…72

(C3…C5)

48…108

(C3…C8)

60…84

(C4…C6)

In Program, Combination and Multi modes, MIDI RPN ﬁne tuning messages can be received to adjust the tuning of the program, the timbres (in Combination mode), or the tracks (in Multi mode) relative to the Global mode “Master Tune” setting. In Program mode, MIDI RPN ﬁne tune messages will be received on the global MIDI channel that you speciﬁed for “MIDI Channel” (1–1a). In other modes, MIDI RPN ﬁne tune messages will be received on the MIDI channel for each timbre (in Combination mode) or track (in Multi mode). (☞“Detune,” “Transpose”: COMBI 2– 3a, MULTI 2–5(6)a.)

Velocity Curve [1…8]

This speciﬁes the way in which the volume and/or tone will change in response to how hard the keyboard is struck (velocity). When “Convert Position” (1–1a) is PreMIDI, variations in keyboard playing dynamics will affect the velocity effect and the transmitted velocity data as shown in the left-hand diagram on the following page. Incoming data will automatically use the velocity curve number 4 shown in the righthand diagram. With a setting of PostMIDI, variations in keyboard playing dynamics and in the velocity of incoming data will create change as shown in the right-hand diagram on the below. If you are playing this instrument’s tone generator from an external keyboard or sequencer , and the overall sound is too bright or too dark, you can set the “Convert Position” parameter to PostMIDI and select the appropriate velocity curve here. For the transmitted data, the velocity curve number 4 shown in the left-hand diagram will automatically be selected.

For a setting of PreMIDI

Velocity (KBD→MIDI Out) 127

Soft

Strong

For a setting of PostMIDI

Velocity (MIDI In→TG) MAX

Velocity effect

127

1...3: These curves produce an effect for strongly-played notes.

4(Normal): This is the standard curve. 5, 6: An effect will be obtained even if you do not play very

strongly 7: A certain amount of effect will be obtained even for softlyplayed notes 8: This curve produces the most regular ef fect. This setting is suitable when you do not need velocity sensitivity, or when you wish to make the notes more consistent. However with this curve, control of softly-played notes will be more difﬁcult, so use the curve that is most appropriate for your playing strength and style, and the effect that you wish to produce. The default factory setting for this parameter is 4.

microX: OCTAVE Keys [†/π]: Use Prog/

Combi/Multi’s Octave [Off, On]

On (checked): When you switch programs, combinations, or multi sets, the OCTAVE [†/π] button settings saved with the selected program, combination or multi set will be used. Off (unchecked): The OCTAVE [†/π] button settings will not change when you switch programs, combinations, or multi sets.

0–1b: FX SW

IFX Off [Off, On]

On (checked): Insert effect IFX will be disabled. Off (unchecked): The Setup page (PROG/COMBI 8–2a,

MULTI 8–3a) “IFX On/Off” setting of Program, Combination, and Multi modes will be valid.

MFX1 Off [Off, On]

On (checked): MFX1 will be disabled. Off (unchecked): The Master Effect Setup page (9–1) “MFX1

On/Off” settings of Program, Combination, and Multi mode will be valid.

MFX2 Off [Off, On]

On (checked): MFX2 will be disabled. Off (unchecked): The Master Effect Setup page (9–1) “MFX2

On/Off” settings of Program, Combination, and Multi modes will be valid.

When “IFX On/Off,” or “MFX1 On/Off,” “MFX2 On/ Off” settings are switched, control change messages CC#92 (effect control 2), CC#94 (effect control 4), and CC#95 (effect control 5) will be transmitted respectively. The transmitted data will be 0 for off, and 127 for on.

0–1c: Auto Arp. (Auto Arpeggiator)

Program (Auto Arp. Program) [Off, On]

On (checked): When a different program is selected, the arpeggiator settings stored in that program will automatically take effect. Off (unchecked): The arpeggiator settings will not change when the program is switched. Use this setting when you wish to keep the same arpeggiator pattern running while you select different program sounds.

Combi (Auto Arp. Combi) [Off, On]

On (checked): When a different combination is selected, the arpeggiator settings stored in that combination will automatically take effect. Off (unchecked): The arpeggiator settings will not change when the combination is switched. Use this setting when you wish to keep the same arpeggiator pattern running while you select different combination sounds.

■ 0–1: UTILITY

For details on how to select the desired utility function, refer to “PROG 0–1: UTILITY.”

Write Global Setting

This command writes Global mode settings (except for Drum Kits and User Arpeggio Patterns).

1 Select “Write Global Setting” to access the dialog box.

2 To write the data, press the [MENU/OK] button. To can-

cel, press the [EXIT/CANCEL] button.

To write a drum kit or user arpeggio pattern, execute the appropriate utility. (☞4–1 “Write Drum Kits,” 5–1 “W rite Arpeggio Patterns”)

Load Preload Data

This command loads the preload data into internal memory.

Before loading this data, you must uncheck the “Memory Protect” (0–2b) setting for the data that you want to load. If the setting is still checked when you attempt to load the data, a dialog box will indicate “Memory Protected,” and it will not be possible to load the data.

1 Select “Load Preload Data,” and access the dialog box.

2 In the “Kind” ﬁeld, select the data that you want to load.

4 To load the data, press the [MENU/OK] button. To can-

cel, press the [EXIT/CANCEL] button.

If you turn on the power while holding down the [MENU/OK] button and the [EXIT/CANCEL] button, the “Load All” operation will be executed automatically (the LCD will display a message of “Now Writing Internal Memory”), and all data be loaded.

Change all bank references

This command changes all program banks speciﬁed for timbres in combinations or tracks of multi sets.

1 Select “Change all bank references” to access the dialog

box.

X50

All All data Program All All program data Program Bank All program data of a bank Program Single Data for one selected program Combination All All combination data Combination Bank All combination data of a bank Combination Single Data for one selected combination Multi All Data for all multi sets Multi Single Data for one selected multi set DrumKit All All drum kit data DrumKit Single Data for one selected drum kit Arpeggio Pattern All All arpeggio pattern data Arpeggio Pattern Single Data for one selected arpeggio pattern

microX: Ext. Control Setup All

microX: Ext. Control Setup Single

Global Setting Global setting data

If you selected Program or Combination, move the cursor down and select All, Bank, or Single to specify the range of data that will be loaded. All: Data for all programs or combinations will be loaded. Bank: Data will be loaded in units of one bank. In this case, move the cursor down and select the bank whose data you want to load. Single: Data for one program or combination will be loaded. In this case, move the cursor down to select the data that you want to load. If you selected Multi DrumKit or Arpeggio Pattern, move the cursor down and select either All or Single to specify the range of data that will be loaded.

Data for all external control sets Data for one selected external control

set

microX: You can also choose either All or Single even if

you selected Ext. Control Setup.

All: Data for all multi set, drum kits or arpeggio patterns will be loaded. Single: Data for one multi set, drum kit or arpeggio pattern will be loaded. In this case, move the cursor down to select the data that you want to load.

3 If you are loading in units of Bank or Single, use the

“To” ﬁeld to select the loading destination.

microX

2 To execute this command for combinations, check “Com-

bination.” To execute this command for multi sets, check “Multi.”

3 Specify the banks to be changed (“Program Bank”). 4 To execute the Change All Bank References command,

press the [MENU/OK] button. To cancel, press the [EXIT/CANCEL] button.

If you change two or more different banks to the same bank, it will not be possible to use this function to change them back to different banks. Be careful that the change destination banks do not overlap.

Half Damper Calibration

If a damper pedal that supports half damper (the separately sold DS–1H option) is connected to the rear panel DAMPER jack, here’s how you can adjust the sensitivity if the damper effect is not applied appropriately.

1 Connect the half damper pedal to the DAMPER jack. 2 Select “Half Damper Calibration” to access the dialog

box.

3 Press the half damper pedal, and then release the pedal. 4 Press the [MENU/OK] button.

If the adjustment could not be performed correctly, an error message will appear. Please repeat the procedure.

Since the operation of the half damper pedal is delicate, please use the separately sold DS–1H option. If any other pedal is used, the correct effect may not be obtained, or adjustment may not be possible.

GLOBAL

123456

0–2: Pref. (System Preference)

X50

0–2a

Bank Map [KORG, GM]

Speciﬁes the mapping of programs and combinations relative to Bank Select control change messages (CC#0 upper byte and CC#32 lower byte).

X50: The bank select messages shown in the following

table can be received (R) or transmitted (T), corresponding to Program banks A...D, banks G, g(d) and Combination banks A...C.

0–2b

microX

0–2a

0–2b

0–2a: System Preference

Multi Mode [for Ext-Seq, for Master]

This speciﬁes how MIDI data will be transmitted in Multi mode. for Ext-Seq: Normally, you will use Multi mode when using this instrument as a multi-timbral sound module with an external MIDI sequencer. In this case we recommend that you choose “for Ext-Seq.” When you switch multi sets on the X50/microX, program change and other MIDI messages will not be transmitted even for tracks that are set to EXT or BTH. This prevents echo-back from the tracks of your external MIDI sequencer from changing the program and other settings of tracks that are set to the same MIDI channel. for Master: Use this setting if you’re using this instrument in Multi mode as a master keyboard to control an external MIDI sound module. When you switch multi sets on the X50/microX, program change and other MIDI messages for tracks set to EXT or BTH will be transmitted to set up your external MIDI sound module. If you’re using the X50/ microX as a master keyboard, you’ll normally use Combination mode, but we recommend that you use this setting if you’re using Multi mode to control an external MIDI sound module.

When you switch multi sets, MIDI messages for the following parameters will be transmitted from tracks set to EXT or BTH.

• “Program Select” (MULTI 0–2(3)b): CC#00 bank select (LSB), CC#32 bank select (MSB), program change

• “Pan” (MULTI 0–4(5)a): CC#10 pan

• “Volume” (MULTI 0–4(5)a): CC#7 volume

• “Portamento” (MULTI 2–3(4)a): CC#65 portamento on/ off, CC#5 portamento time

• “Send 1/2 (MULTI 8–1(2)a, 8–3a): CC#93 send level, CC#91 send 2 level

• Pan (CC#8) (8–3a): CC#8 post insert effect pan

Bank Bank Map: KORG Bank Map: GM

Bank A 00. 00 R/T 63. 00 R/T Bank B 00. 01 R/T 63. 01 R/T Bank C 00. 02 R/T 63. 02 R/T Bank D 00. 03 R/T 63. 03 R/T Bank G 121. 00, 121. 01…09 R/T 121. 00, 121. 01…09 R/T

56. 00 R 56. 00 R

00. 00, 00. 01...(XG) R

00. 00, 01. 00...(GS) R

Bank g (d) 120. 00 R/T 120. 00 R/T

62. 00 R 62. 00 R

63. 127 R (→Korg MUTE)

Value: decimal, R: Receive, T: Transmit

microX: The bank select messages shown in the following

table can be received (R) or transmitted (T), corresponding to Program banks A...E, banks G, g(d) and Combination banks A...C.

Bank Bank Map: KORG Bank Map: GM

Bank A 00. 00 R/T 63. 00 R/T Bank B 00. 01 R/T 63. 01 R/T Bank C 00. 02 R/T 63. 02 R/T Bank D 00. 03 R/T 63. 03 R/T Bank E 00. 04 R/T 63. 04 R/T Bank G 121. 00, 121. 01…09 R/T 121. 00, 121. 01…09 R/T

56. 00 R 56. 00 R

00. 00, 00. 01...(XG) R

00. 00, 01. 00...(GS) R

Bank g (d) 120. 00 R/T 120. 00 R/T

62. 00 R 62. 00 R

63. 127 R (→Korg MUTE)

Value: decimal, R: Receive, T: Transmit

Power On Mode [Reset, Memorize]

Speciﬁes the condition at power-on. Reset: This instrument will be in Combination mode COMBI 0: Play, and Combination A000 will be selected. Memorize: The location (mode and page) where you were when the power was last turned off, and the last-selected program or combination number will be selected.

The contents of any parameters that were being edited are not saved by this function. Before turning the power off, you must Write your edits.

Page Menu Style [Icon, List]

In each mode, you can press the [MENU/OK] button to see a list of the pages (P AGE MENU) for that mode. Here’s how you can specify how this list will appear. Icon: The pages will appear as icons. Use the ClickPoint [√][®][π][†] to select the page you want to view, and press the center of the ClickPoint to access that page. The page you had selected immediately before accessing the PAGE MENU will be highlighted.

X50

0–2b: Memory Protect

This setting also applies to Load Preload Data (0–1). Loading will not be possible if protect is speciﬁed for even one of the types of data selected for loading in “Kind” (☞p.77).

microX

List: The pages will appear as a tabbed list. Use the ClickPoint [π][†] to select the page you want to view , use [®] to move to a tab ([√] to move to a page), and use [π][†] to select the tab you want to view. Then press the center of the ClickPoint to access that tab. The page you had selected immediately before accessing the PAGE menu will be highlighted.

LCD Contrast [0…62]

This sets the contrast of the LCD screen. Higher values will increase the contrast.

If because of the temperature or other reasons, the LCD screen is unreadable when the power is turned on, use the following procedure to adjust the contrast.

1 While holding down the [EXIT/CANCEL] button, press

the [UTILITY] button. The [GLOBAL] button will blink, and the Global mode Update Global Setting dialog box will appear.

Program [Off, On]

This setting protects the internal program memory. On (checked): Internal program memory will be protected,

and the following write operations cannot be performed.

• Writing a program

• Receiving program data via MIDI data dump

Off (unchecked): Data can be written to internal program memory.

Combi (Combination) [Off, On]

This setting protects the internal combination memory. On (checked): Internal combination memory will be pro-

tected, and the following write operations cannot be performed.

• Writing a combination

• Receiving combination data via MIDI data dump

Off (unchecked): Data can be written to internal combination memory.

Multi [Off, On]

This setting protects the internal multi set memory. On (checked): Internal multi set memory will be protected,

and the following write operations cannot be performed.

• Writing to the a multi set

• Receiving multi set data via MIDI data dump

Off (unchecked): Data can be written to internal multi set memory.

GLOBAL

123456

If you are unable to read the display, or if the Update Global Setting dialog box does not appear, check whether the [GLOBAL] button is blinking. If the [GLOBAL] button is lit or dark, the X50/microX may be writing data that was received from an external connected MIDI device, or may be responding to a request for output. If so, make sure that the X50/microX is not writing data from an external connected MIDI device or transmitting data in response to a request, or that any such operation has been completed. Then turn the power of the X50/microX off and on again, and repeat this procedure from step 1.

2 Use the [VALUE] dial to adjust the LCD contrast. 3 Press the [MENU/OK] button.

The LCD contrast setting will be memorized.

Other global settings will also be memorized at this time.

Drum Kit [Off, On]

This setting protects the internal drum kit memory. On (checked): Internal drum kit memory will be protected,

and the following write operations cannot be performed.

• Writing a drum kit

• Receiving drum kit data via MIDI data dump

Off (unchecked): Data can be written to internal drum kit memory.

Arp. UsrPat (Arp. User Pattern) [Off, On]

This setting protects the internal user arpeggio pattern memory.

On (checked): Internal user arpeggio pattern memory will be protected, and the following write operations cannot be performed.

• Writing a user arpeggio pattern

• Receiving user arpeggio pattern data via MIDI data dump

Off (unchecked): Data can be written to internal user arpeggio pattern memory.

microX: Ext. Control Setup [Off, On]

This protects the external control set memory of the microX. On (checked): The external control set memory of the microX will be protected, and the following writing operations will not be possible.

• Writing an external control set

• Receiving external control set data via MIDI data dump

Off (unchecked): External control memory sets can be written to the microX.

■ 0–2: UTILITY

☞ “Write Global Setting,” “Load Pr eload Data,” “Change all

bank references,” “Half Damper Calibration” (0–1)

0–3: Foot

Specify the polarity and function of a switch or pedal connected to the rear panel.

0–3a

not match, operating the pedal switch will not produce the correct result. If no pedal switch is connected, set this to “(–) KORG Standard.”

■ 0–3: UTILITY

☞ “Write Global Setting,” “Load Pr eload Data,” “Change all

bank references,” “Half Damper Calibration” (0–1)

0–3a: Damper/Assignable Foot Switch,

Pedal

Foot SW Assign [Off...Tap Tempo]

Select the function that will be controlled by a pedal switch (PS-1 option [sold separately]) connected to the rear panel ASSIGNABLE SWITCH jack (☞p.164 “Foot Switch Assign List”).

Foot Pedal Assign [Off...Knob4]

Indicates the function that will be controlled by a foot volume pedal (XVP-10 or EXP-2 option [sold separately]) connected to the rear panel ASSIGNABLE PEDAL jack (☞p.165 “Foot Pedal Assign List”).

Damper Polarity [(–) KORG Standard, (+)]

Set this to match the polarity of the damper pedal connected to the rear panel DAMPER jack. If a Korg DS-1H (sold separately) damper pedal is connected, the pedal switch polarity will be (↓), so select “(–) KORG Standard” for this setting. If you have connected a damper pedal with a positive (↑) polarity, select “(+)” for this setting. (↓ is open-type, ↑ is closed-type.) If the polarity does not match, operating the damper pedal will not produce the correct result. If no damper pedal is connected, set this to “(–) KORG Standard.”

Foot Switch Polarity [(–) KORG Standard, (+)]

Set this to match the polarity of the pedal switch connected to the rear panel ASSIGNABLE SWITCH jack. If a Korg PS-1 (sold separately) pedal switch is connected, the pedal switch polarity will be (↓), so select “(–) KORG Standard” for this setting. If you have connected a pedal switch with a positive (↑) polarity, select “(+)” for this setting. (↓ is open-type, ↑ is closed-type.) If the polarity does

GLOBAL 1: MIDI

1–1: MIDI

Here you can make MIDI-related settings that affect this instrument.

Note Receive [All, Even, Odd]

This setting speciﬁes which of the note messages played on this instrument’s keyboard or received via MIDI will be sounded. If you connect another X50/microX unit to this instrument in order to increase the total polyphony, set one unit to Even and the other to Odd, and set both units to sound.

All: All note numbers will be received. Normally you will leave this set to All.

Even: Even-numbered notes (C, D, E, F#, G#, A#) will sound. Odd: Odd-numbered notes (C#, D#, F, G, A, B) will sound.

1–1a

1–1b

1–1a: MIDI Setup

MIDI Channel [01…16]

Sets the global MIDI channel. The global MIDI channel is used in the following cases.

• When transmitting and receiving performance data in Program mode (PROG 0: Play).

• When selecting combinations via MIDI in Combination mode (COMBI 0: Play).

• When controlling timbres or effects that have been set to Gch in various modes

• When transmitting and receiving system exclusive messages

About MIDI reception

In Program mode (PROG 0: Play), MIDI data is received on the global MIDI channel, but in Combination mode (COMBI 0: Play) or Multi mode, MIDI data is received on the MIDI channel speciﬁed for each timbre or track.

In Combination mode (COMBI 0: Play) and Multi mode (MULTI 0: Play), program changes received on the global MIDI channel will switch the combination or multi set.

Use the global MIDI channel to switch IFX , MFX1 and MFX2 on/off.

To control the pan following IFX, sends 1/2, MFX 1/2 and MEQ, use the global MIDI channel in Program mode; in Combination, or Multi mode, use the channel speciﬁed separately by “Control Channel” for IFX, MFX1, MFX2, and MEQ. By setting “Control Channel” to Gch, you can control these parameters from the global MIDI channel.

MIDI transmission when this instrument’s controllers are operated

In Program mode, this data will be transmitted on the global MIDI channel. In Combination mode, data will be transmitted simultaneously on the global MIDI channel and on the MIDI channels of timbres whose “Status” (COMBI 2–1) is set to EXT or EX2. In Multi mode, musical data will be transmitted on the channel of the track (“Status” BTH, EXT, or EX2) speciﬁed by “Control Track” (MULTI 0–1).

MIDI OUT USB

ODD

This setting has no effect on the MIDI data that is received.

MIDI IN USB

Another X50/microX

EVEN

MIDI Clock [Internal, Ext-MIDI, Ext-USB, Auto]

Set this parameter when you wish to synchronize an external MIDI device (sequencer or rhythm machine etc.) with the X50/microX’s internal arpeggiator.

Internal: The internal arpeggiator will synchronize to the X50/microX’s own internal clock. Select the Internal setting when using the X50/microX by itself, or when you want the X50/microX to be the master (controlling device) so that another connected external MIDI device will synchronize to the MIDI Clock messages transmitted from the X50/microX. Ext-MIDI: The arpeggiator of the X50/microX will synchronize to MIDI Clock messages transmitted from an external MIDI device connected to the MIDI IN connector. Ext-USB: The X50/microX will synchronize to the MIDI Clock messages transmitted by an external MIDI device connected to the USB connector, and the internal arpeggiator of the X50/microX will operate as a slave device.

Use the Ext-MIDI or Ext-USB setting when you are using this instrument as a slave (controlled device) that synchronizes to the MIDI Clock messages received from an external MIDI device. This instrument will respond to MIDI realtime messages (Start, Stop, Continue, Song Select, Song Position Pointer) from an external sequencer.

Auto: Normally, operation will be the same as Internal. If you choose this setting, and the X50/microX receives MIDI clock messages from an external device, it will automatically switch to the same operation as the Ext-MIDI or Ext-USB settings.

If you have chosen the Auto setting when using an external sequencer, the X50/microX will automatically switch to the same operation as Internal if the external sequencer is not transmitting MIDI clock.

If no new MIDI clock messages are received from the MIDI IN or USB connector for an interval of 500 ms after receiving MIDI clock, start, or continue messages, or if the X50/microX’s arpeggiator has been started without receiving MIDI clock, start, or continue messages from the MIDI IN or USB connector , it will switch to the same operation as the Internal setting.

Audition playback will occur at the pre-speciﬁed tempo, regardless of the “MIDI Clock” setting.

GLOBAL

123456

RT (Realtime Command) [Off, On]

Off (unchecked): MIDI common messages and realtime messages (Start, Stop, Continue, Song Select, Song Position Pointer) will not be received if “MIDI Clock” is set to Ext- MIDI or Ext-USB, or if it is set to Auto and MIDI clock messages are being received from an external source. (Song select messages will be received.)

Use this setting if the X50/microX’s multi set parameters are being unnecessarily reset due to these messages being received from an external MIDI sequencer.

On (Checked): The above common messages (including Song Select) and realtime messages will be received.

This setting is not available if “MIDI Clock” is set to Internal.

Convert Position [PreMIDI, PostMIDI]

This setting speciﬁes the location at which the Transpose, and will be applied. This setting will affect the MIDI data that is transmitted and received. When using this instrument’s keyboard to play the internal tone generator, the Transpose, and Velocity Curve will always take effect regardless of this setting.

PreMIDI: Velocity Curve, and Transpose will be applied to the data that is transmitted from this instrument’s keyboard. This setting affects the data that is transmitted from the MIDI OUT connector or USB connector when you play the keyboard of the X50/microX. It does not affect the MIDI data received via MIDI IN.

MIDI IN

Velocity

USB

Curve

Transpose

Note number change

MIDI OUT

USB

Scale

Tone

generator

PostMIDI: Velocity Curve, and Transpose will be applied to data before it enters the tone generator. This setting affects the data that is sent from MIDI IN to the tone generator of the X50/microX. It does not affect the data that is sent from the MIDI OUT connector or USB connector when you play the keyboard of the X50/microX.

MIDI IN USB

MIDI OUT USB

Scale

Velocity

Curve

Transpose

Pitch change

Tone

generator

Local Control On [Off, On]

On (checked) Local Control On: The controller of this instrument will controls its internal tone generator. Off (unchecked) Local Control Off: The controller of this instrument will be disconnected from the internal tone generator. This means that operating this instrument (using the keyboard or controller) will not produce sound. Uncheck this setting if the echo-back from an external sequencer causes this instrument to sound in duplicate.

Even if this is unchecked, MIDI transmission and reception will occur as usual. Note messages will be transmitted when you play the keyboard, and this instrument’s tone generator will sound when note messages are received.

Arpeggiator

Local

OFF

MIDI OUT USB

Trigger

Tone

generator

control

MIDI IN USB

1–1b: MIDI Filter

Enable Program Change [Off, On]

On (checked): Program changes will be transmitted and received. In Program mode (PROG 0: Play), the program will be switched when a program change message is received on the global MIDI channel speciﬁed by “MIDI Channel” (1– 1a). When you switch programs, a program change message will be transmitted on the global MIDI channel.

In Combination mode (COMBI 0: Play), the combination will be switched when a program change message is received on the global MIDI channel. However , it is possible to set the “Combi (Combi Change)” parameter so that the combination is not switched. When a program change is received on the channel speciﬁed for each timbre by “MIDI Channel” (COMBI 2–1a), the program of that timbre will be switched. However, the program changes for each timbre will be affected by the setting of the “Program Change” parameter (COMBI 3–1a). When you switch combinations, a program change message will be transmitted on the global MIDI channel, and also transmitted simultaneously on the channel of timbres whose “Status” (COMBI 2–1a) is set to EXT or EX2.

In Multi mode, incoming program change messages on a channel that corresponds to a track whose “Status” (MULTI 2–1(2)a) is set to INT or BTH will switch programs on that track. When you select a multi set will be transmitted on the channels of tracks whose “Status” is set to BTH, EXT, or

EX2. Off (unchecked): Program changes will not be transmitted

or received.

Bank (Bank Change) [Off, On]

On (checked): The Bank Select control change message will be transmitted together with program change messages. This is valid when “Enable Program Change” is checked. Off (unchecked): Bank Select messages will not be transmitted or received.

Combi (Combi Change) [Off, On]

On (checked): When in COMBI 0: Play, an incoming program change message on the global MIDI channel set by “MIDI Channel” (1–1a) will switch combinations. This is valid when “Enable Program Change” is checked. An incoming program change on a channel other than the global MIDI channel will switch the program of any timbre that matches that MIDI channel. Off (unchecked): An incoming pr ogram change message on the global MIDI channel will switch the program of any timbre whose “MIDI Channel” (COMBI 2–1a) matches the global MIDI channel. The combination will not be switched. The program changes for each timbre will be affected by the setting of the “Program Change” parameter (COMBI 3–1a).

AfterT (After Touch) [Off, On]

On (checked): MIDI after touch messages will be transmitted and received. Off (unchecked): MIDI after touch messages will neither be transmitted nor received.

This setting affects the operation when GLOBAL 0–3: Foot “Foot SW Assign” or “Foot Pedal Assign” is set to After Touch.

Ctrl Change (Control Change) [Off, On]

On (checked): Control change messages will be transmitted and received. Off (unchecked): Control change messages will not be transmitted or received.

Exclusive [Off, On]

On (checked): System exclusive data will be transmitted and received. Check this setting when you wish to use a connected computer etc. to edit this instrument, or vice versa. Off (unchecked): System exclusive data will neither be transmitted nor received. Normally you will leave this unchecked. However, system exclusive data will be transmitted and received while the page menu commands (“Dump Program”–”Dump All”) of this page are displayed.

■ 1–1: UTILITY

☞ “Write Global Setting” (0–1)

For details on how to select the desired utility function, refer to “PROG 0–1: UTILITY.”

Dump Global Global settings (except for the Drum Kits

and User Arpeggio Patterns of Global mode)

Dump All All banks of programs + combinations +

drum kits + arpeggio patterns + global settings

Transmission

Do not touch this instrument’s switches or turn off the power while data is being transmitted.

Data dump transmission procedure

1 Connect this instrument to the device that will receive

the data dump. If you’re using a computer that is able to receive MIDI exclusive messages, connect the computer’s USB connector to the X50/microX’s USB connector. Alternatively, connect the MIDI IN connector of your computer’s MIDI interface to the X50/microX’s MIDI OUT connector (☞p.171). If you are using a MIDI data ﬁlter etc., connect this instrument’s MIDI OUT connector to the MIDI IN connector of the MIDI data ﬁlter.

Some USB-MIDI interface devices may not be able to transmit or receive the X50/microX’s MIDI exclusive messages.

2 Select GLOBAL 1: MIDI. 3 In the Utility menu, select the data that you wish to

dump. Shown below the “Dump Program” screen. If you wish to dump all program data, set “Program” to All. If you wish to dump data for an individual bank, set “Program” to Bank, and specify the bank number below it. If you wish to dump data for an individual program, set “Program” to Single, and specify the program number below it.

GLOBAL

123456

Dump Program Dump Combination

Dump Multi Dump Drum Kit Dump Arpeggio Pattern

microX: Dump Ext. Control Setup

Dump Global Setting Dump All

These commands allow this instrument’s data to be transmitted to another connected X50/microX, MIDI data ﬁler, or computer in the form of system exclusive data. Selects the data to be dumped from the Utility menu (see the table below) to access the dialog box. Select the bank and number of the data you want to dump, and then press the center of the ClickPoint.

Dump Program Programs of all banks, programs of the

Dump Combination Combinations of all banks, combinations of

Dump Multi All multi sets Dump Drum Kit All drum kits, One drum kit Dump Arpeggio Pattern All arpeggio patterns, One arpeggio pattern

microX: Dump Ext. Control Setup

speciﬁed bank, one program

the speciﬁed bank, one combination

All external control sets or one external control set

4 Use the “To” ﬁeld to specify the output destination of the

data. Choose MIDI OUT if you want to send the data from the MIDI OUT connector. Choose USB if you want to send the data from the USB connector.

5 Press the [MENU/OK] button to transmit the data.

While the data is being transmitted, the display will indicate “Now transmitting data.” The data size and the time required for transmission will depend on the type of data. For the size and the time required to dump each type of data, refer to the table below.

Type of data dumped

Program All

Program Bank 65.0 16.6 Program Single 0.5 0.1 Combination All 238.7 61.1 Combination Bank 79.6 20.4 Combination Single 0.6 0.2 Multi All 17.8.5 45.7 Multi Single 1.4 0.4

X50 (A...D) 259.8 66.5

microX (A…E)

Data size

(kByte)

324.8 83.1

Time required

(Sec)

Type of data dumped

Drum Kit All 188 48.1 Drum Kit Single 4.7 0.4 Arpeggio Pattern All 91.8 23.5 Arpeggio Pattern Single 0.4 0.1

microX: Ext. Control Setup All 2.9 0.8 microX:

Ext. Control Setup Single

Global Setting 1.0 0.3

All

X50 957.8 245.2 microX 1025.6 262.6

Data size

(kByte)

0.1 0.0

Time required

(Sec)

When you save data dumps from this instrument to a MIDI data ﬁler, do not save multiple data dumps together. If this data is saved together, there will be insufﬁcient time for this instrument to write each received portion into memory before the next portion of data arrives, so that it will be impossible to receive all of the data correctly.

Reception

Do not touch this instrument’s switches or turn off the power while data is being received.

Before receiving data, we recommend that you close the various dialog boxes, page menus, or utility commands.

After a data dump is received, this instrument will require up to 20 seconds to process the data and write it into memory . During this time, the display will indicate “Now writing into internal memory.” While this display is shown, you must under no circumstances turn off the power of this instrument. If the power is turned off during this time, this instrument may fail to operate correctly when the power is turned on again. If this occurs, hold down the [EXIT/CANCEL] button and the [PAGE +] button while you turn on the power. However when this is done, the contents of memory will be initialized.

Transmission and reception of MIDI data is also impossible during this time. When receiving multiple data dumps in succession, you must allow an interval between the transmission of each data dump. (☞refer to the table below)

While this instrument is writing the data into memory, transmission of Active Sensing (FEh) messages from the MIDI OUT connector or USB connector will stop.

Data dump reception procedure

1 Connect this instrument and the device that will receive

the data dump. If you’re using a computer that is able to transmit MIDI exclusive messages, connect the computer’s USB connector to the X50/microX’s USB connector. Alternatively, connect the MIDI OUT connector of your computer’s MIDI interface to the X50/microX’s MIDI IN connector (☞p.171). If you are using a MIDI data ﬁler, connect the MIDI OUT connector of the data ﬁler to the MIDI IN connector of this instrument.

Some USB-MIDI interface devices may not be able to transmit or receive the X50/microX’s MIDI exclusive messages.

2 Set the MIDI channel of the MIDI device to match the

global MIDI channel “MIDI Channel” (1–1a) of this instrument. If data that was previously transmitted to the MIDI device is now going to be received again by this instrument, set the global MIDI channel of this instrument to the same global MIDI channel setting that was used when transmitting the data.

To set the MIDI channel of the transmitting device, refer to the owner’s manual for that device.

3 Turn check the “Exclusive” setting (1–1b). 4 Transmit the data from the other device. For the proce-

dure, refer to the owner’s manual for the device you are using. While the data is being received, the display will indicate “Now received MIDI data.”

Processing time for writing into memory

Type of data dumped

All Approximately 3

All Programs Approximately 2

One Program Bank Less than 1second Less than 1second All Combinations Approximately 1

One Combination Bank Less than 1second Less than 1second All Multi Less than 1second Less than 1second One Multi Less than 1second Less than 1second All Drum Kits Approximately 1

All Arpeggio Patterns Less than 1second Less than 1second microX:

All Ext. Control Setup

microX: 1 Ext. Control Setup

Global Setting Less than 1second Less than 1second

Processing time for writing into memory

X50 microX

seconds

second

— Less than 1second — Less than 1second

Approximately 3 seconds

Approximately 2 seconds

Approximately 1 second

GLOBAL 2: User Scale

Here you can create sixteen User Octave Scales and one User All Notes Scale. The user scales you create here can be selected in the PROG 1–1, COMBI 2–4, MULTI 2–7(8).

If you wish to keep an edited user scale after the power is turned off, be sure to write (save) your settings. This data is written by the Utility “Write Global Setting.”

Stretch can be selected only if “To” is the User All Notes Scale.

3 Select the copy destination scale (“To”). 4 To execute the Copy Scale command press the [MENU/

OK] button. To cancel, press the [EXIT/CANCEL] button.

2–2: All Notes

2–1: Octave

2–1a

2–1a: User Octave Scale

User Octave [00...15]

Select the user octave scale that you wish to edit.

Tune [–99…+99]

Speciﬁes the scale for one octave of notes. When you adjust the pitch of each note in the octave (C–B) in one-cent steps, your settings will be applied to all octaves. This adjustment is relative to equal temperament.

A setting of –99 lowers the pitch approximately a semitone below normal pitch. A setting of +99 raises the pitch approximately a semitone above normal pitch.

Use the ClickPoint [√][®] to select the note whose pitch you want to change.

X50: The note can also be selected by holding down the

[ENTER] button and playing a note on the keyboard.

■ 2–1: UTILITY

2–2a

2–2a: User All Notes Scale

Tune [–99…+99]

Here, you can make independent pitch settings for each of the 128 notes. Adjust the pitch of each of the 128 notes (C–1 – G9) in onecent steps. This adjustment is relative to equal temperament. A setting of –99 lowers the pitch approximately a semitone below normal pitch. A setting of +99 raises the pitch approximately a semitone above normal pitch.

In the case of the “User All Notes Scale,” you can select Stretch in the Utility menu command “Copy Scale” (2–1b).

Use the ClickPoint [√], [®] to select the note that you wish to set.

X50: You can also select the note by holding down the

[ENTER] button and playing a note on the keyboard.

Key Select [C–1...G9]

This indicates the location of the key displayed in “Tune.” You can use the ClickPoint [π][†] to select a key graphic, and use [√][®] to move it in one-octave units.

“Tune”

Indicates that there are keys to the left.

Indicates that there are keys to the right.

GLOBAL

123456

☞ “Write Global Setting” (0–1) For details on how to select the desired utility function, refer

to “PROG 0–1: UTILITY.”

Copy Scale

This command copies a preset scale or user scale to the user scale that you wish to edit. For details on the preset scales, refer to “Type” (PROG 1–1c).

1 Select “Copy Scale” to access the dialog box.

2 Select the copy source scale (“From”).

If you select Pure Major or Pure Minor, you must also specify the “Key” selection located at the right.

Key Select

■ 2–2: UTILITY

☞ “Write Global Setting” (0–1), “Copy Scale” (2–1)

GLOBAL 3: Category

GLOBAL 4: DKit (Drum Kit)

Name

3–1: P.0..7 (Prog.00...07) 3–2: P.8..15 (Prog.08...15) 3–3: C.0..7 (Comb.00...07) 3–4: C.8..15 (Comb.08...15)

Here you can rename the categories for programs and combinations. Use the ClickPoint [√][®][π][†] to select the category you want to rename, press the center of the ClickPoint to open the text dialog box, and enter the desired name. You can enter up to sixteen characters. (☞OG X50: p.112, microX: p.114). With the factory settings, these are classiﬁed by type of instrument. You can specify sixteen categories each for programs and combinations.

The category names you edit here can be speciﬁed when you write data in the “Write Pr ogram dialog box” (PROG 0–1: UTILITY) or “Write Combination dialog box” (COMBI 0–1: UTILITY), and used in the respective “Select by Category” function to select programs or combinations by category.

3–1a

Here you can create a drum kit by assigning a drum instrument (drumsample) to each key.

A drum kit you edit here can be selected in Program mode PROG 1: Ed–Basic OSC1 page “Drum Kit” (when “Oscillator Mode” is Drums) as an oscillator, and pr ocessed through the ﬁlter, amp and effects in the same way as a “multisample” (when “Oscillator Mode” is Single or Double).

When you wish to edit a drum kit, enter Program mode, select a program that uses a drum kit (i.e., whose “Oscillator Mode” is Drums), and then move to this page. A program that uses a drum kit will already have ﬁlter, amp, and effect settings etc. suitable for drum sounds. Even if a program with an “Oscillator Mode” of Single or Double is selected in Program mode, the program will sound using its own ﬁlter and amp settings etc. Effects will sound according to the settings of the program you selected. You must set “Octave” (PROG 1–2c) to +0[8']. With any setting other than +0[8'], the key locations and drum sounds will not correspond correctly.

If “Exclusive” (1–1b) is checked, the drum kit can be edited using exclusive data.

When a drum kit is edited, all programs that use that drum kit will be affected.

If you want the edited drum kit settings to be backed up after you turn off the power, you must write them into memory. Select the Utility “Write Drum Kits” to access the Write Drum Kits dialog box and press the [MENU/OK] button to write the edited settings.

☞ For details on creating a drum kit (☞OG p.107).

3–3a

If you want the edited user categories to be backed up when the power is turned off, you must write them into memory. Select the Utility “Write Global Setting” to access the Write Global Setting dialog box and pr ess the [MENU/OK] button to write the edited settings.

3–1 (...4)a: Category

Select the category name you want to edit, and edit it. Use the ClickPoint [√][®][π][†] to select a category, press the center of the ClickPoint to open the text dialog box, and enter a category name of up to sixteen characters. For the editing procedure (☞OG X50: p.112, microX: p.114).

■ 3–1 (...4): UTILITY

☞ “Write Global Setting” (0–1)

4–1: High (High Sample)

Here you can select a drum kit, assign High and Low drumsamples to each key, and set parameters for the High and Low drumsamples.

4–1a

4–1b

4–1a: Drum Kit, Key, Assign, Level H,

Level L, Vel. SW L→H

Drum Kit

X50: [00(INT )...15(INT ), 16(User)...39(User)]

microX: [00(INT )...31(INT ), 32(User)...39(User)]

Selects the drum kit that you wish to edit. If you wish to modify the drum kit name, use the “Rename Drum Kit” Utility menu command.

X50

00(INT) …15(INT) preload drum kits, for user drum kits 16(User)...39(User) for user drum kits

microX

00(INT) …31(INT) preload drum kits, for user drum kits 32(User)...39(User) for user drum kits

Key [C–1...G9]

Indicates the key to which you will assign a drumsample (and its settings). All 4: DKit parameters except for “Drum Kit” will apply to the key you assign here. Two drumsamples, High and Low, can be assigned to each key, and you can switch between them by velocity as you play.

X50: You can also select a key by holding down the

[ENTER] button and playing a note on the keyboard.

Assign [O ff, On]

On (checked): The drumsamples you assigned for High (4– 1b) and Low (4–2a) will sound. Normally you will check this parameter. Off (unchecked): The selected drumsamples will be invalid, and the drumsamples of the key to the right will sound. At this time, the pitch will be a semitone lower than the pitch of the key to the right. Uncheck this parameter when you wish to play a drumsample at differing pitches.

Level H (Level High) [–99...+99] Level L (Level Low) [–99...+99]

Speciﬁes the volume of the High and Low drumsamples. Keys that are set to +99 will sound at a volume double that of the amp level of the program that uses this drum kit. Keys that are set to 0 will sound at the amp level of the program that uses this drum kit. Keys that are set to –99 will not sound.

Vel. SW L→H (Velocity SW Lo→Hi)[001...127]

Speciﬁes the velocity value at which you will switch from the Low drumsample to the High drumsample. Velocities above this value will sound the High drumsample, and velocities below this value will sound the Low drumsample. If you do not wish to use velocity switching, set this to 001 and specify only the High drumsample (☞“Velocity SW L→H” PROG 1–2(3)a).

X50: You can also select a key by holding down the

[ENTER] button and playing a note on the keyboard.

S.Ofs (Start Offset) [Off, On]

On (checked): The sample waveform will start playback from a location later than the beginning of the drumsample waveform. The location of the Start Offset is pre-determined for each drumsample. This setting is not valid for drumsamples which have no Start Offset. Off (unchecked): Playback will start from the beginning of the drumsample waveform.

Rev (Reverse) [Off, On]

On (checked): The drumsample waveform will playback in “one-shot” reverse. The location at which the reverse playback will start and end is pre-determined for each drumsample.

If the drumsample is already preset for reverse playback or reverse loop playback, checking this setting will not change its playback direction.

This parameter will not change the playback direction of a sample for which “Rev (Reverse)” is checked.

Trans (Transpose) [–64...+63]

Adjusts the pitch in semitone steps. +12 is one octave up, and –12 is one octave down.

Tune [–99...+99]

Adjusts the pitch in one-cent steps. –99 is a semitone lower, and +99 is a semitone higher.

Fc (Cutoff) [–64...+63]

Adjusts the cutoff frequency of the ﬁlter. The cutoff frequency for each key is determined by adding this value to the ﬁlter “Frequency” (PROG 4–1b, 5–1b) of the program that uses this drum kit.

Reso (Resonance) [–64...+63]

Adjusts the ﬁlter resonance. The ﬁlter resonance for each key is determined by adding this value to the ﬁlter “Resonance” (PROG 4–1b, 5–1b) of the program that uses this drum kit. (When the “Type” (PROG 4–1a, 5–1a) is Low Pass & High Pass, there will be no resonance effect.)

At (Attack) [–64...+63]

Adjusts the attack time of the volume (Ampliﬁer). The attack time for each key is determined by adding this value to the amp EG Attack Time of the program that uses this drum kit.

Dc (Decay) [–64...+63]

Adjusts the decay time of the volume (Ampliﬁer). The decay time for each key is determined by adding this value to the amp EG Decay Time of the program that uses this drum kit.

GLOBAL

123456

4–1b: High (High Sample)

Drumsample X50: [000…517: name]

microX: [000...928: name]

Indicates the High drumsample. The sample selected here will be sounded by velocities above the “Vel. SW L→H” value.

You can use the utility menu command “Select by Category” to select drumsamples by category (☞4–1d).

It is not possible to edit the category name of a drumsample, or to re-specify its category.

■ 4–1: UTILITY

For details on how to select the desired utility function, refer to “PROG 0–1: UTILITY.”

Write Drum Kits

This command writes all drum kits 00 (INT)–48 (User).

1 Select “Write Drum Kits” to access the dialog box.

2 To execute the Write command press the [MENU/OK]

button. To cancel, press the [EXIT/CANCEL] button.

4–2: Low (Low Sample)

4–2a

Rename Drum Kit

This command renames the selected drum kit. You can input a name of up to sixteen characters. (☞OG X50: p.112, microX: p.114)

Copy Drum Kit

This command copies the settings of another drum kit to the currently-edited drum kit. Drum kits 40 (GM)–48 (GM) cannot be edited, but you may copy them to another drum kit and then edit them.

1 Select “Copy Drum Kit” to access the dialog box.

2 Select the copy source drum kit (“From”). 3 To execute the Copy Drum Kit command press the

[MENU/OK] button. To cancel, press the [EXIT/CANCEL] button.

Copy Key Setup

This command copies the settings of an individual key to another key. You can also copy settings from two or more contiguous keys at once.

1 Select “Copy Key Setup” to access the dialog box.

4–2a: Low (Low Sample)

Drumsample X50: [000…517: name]

microX: [000...928: name]

Selects the Low drumsample. This will be sounded by velocities lower than the value set for “Vel. SW L→H” (4–1a).

The drumsample can be selected using the utility menu command “Select by Category” (☞4–1).

S.Ofs (Start Offset) [Off, On] Rev (Reverse) [Off, On]

Trans (Transpose) [–64...+63] Tune [–99...+99] Fc (Cutoff) [–64...+63] Reso (Resonance) [–64...+63] At (Attack) [–64...+63] Dc (Decay) [–64...+63]

☞ “High Drumsample” (4–1b)

■ 4–2: UTILITY

☞ “Write Drum Kits,” “Rename Drum Kit,” “Copy Drum

Kit,” “Copy Key Setup,” “Select by Category” (4–1)

4–3: V oice (Voice/Mixer)

For each key of a drum kit, you can set voice assign, pan, and effect routing etc.

2 Specify the beginning of the range of keys to be copied

(“From Key”).

3 Select the copy destination key (“To Key”).

If you selected multiple keys in “From Key,” they will be copied sequentially, starting at “To Key” and extending upward.

4 To execute the Copy Key Setup operation, press the

[MENU/OK] button. To cancel, press the [EXIT/CANCEL] button.

Select by Category

You can select drumsamples by category. All drumsamples are grouped into one of sixteen categories. For the procedure, refer to “Select by Category” (☞p.2)

It is not possible to edit the name of a drumsample category or to change the assigned category of a drumsample.

4–3a

4–3a: Voice Assign Mode/Mixer

Voice Assign Mode:

Single Trig (Single T rigger) [Off, On]

On (checked): Even when the same key (note) is played repeatedly, the previous note will be halted before the new note is begun, so that the notes will not overlap. Normally you will leave this unchecked.

Excl Group (Exclusive Group) [Off, 001...127]

001–127: This allows you to group keys to which a drumsample is assigned. Keys to which the same group number is assigned will be treated as a single group, and will be

played monophonically with last-note priority. For example you might assign closed and open hi-hat sounds to the same group so that two or more hi-hat sounds can not sound simultaneously.

Off: Keys will not be grouped. Normally you will set this Off.

Enable Note On (Note On Receive)

On (checked): Note-on messages will be received. Normally you will check this, but you can uncheck it if you do not want speciﬁc notes to sound.

Enable Note Off (Note Off Receive)

On (checked): Note-off messages will be received. Normally you will uncheck this. This parameter is valid when “Hold” (PROG 1–1b) is checked (Hold On). In the case of a drum program, you will normally select Hold On. In this case if “Enable Note Off” is checked, note-off messages will be received, and the sound will stop (the release segment of the EG will begin) when the key is released.

Mixer:

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

Speciﬁes the panning for each key. With a setting of Rndm (Random), the panning of the drumsample will change randomly for each note-on.

BUS (Bus Select) [L/R, IFX, 1, 2, 1/2, Off]

Speciﬁes the bus to which each key will be sent. For example you can send snare-type sounds to IFX to apply

the insert effect, and send the other sounds to L/R without applying the insert effect.

S1 (Send1 (MFX1)) [000...127] S2 (Send2 (MFX2)) [000...127]

For each key, specify the send levels to master effects 1 and

2. These settings are valid when “BUS Select” (4–3a) is set to L/R or Off. If “BUS Select” is set to IFX, the send level to master effects 1 and 2 will be determined by the Program, Combination, or Multi mode Setup pages (PROG/COMBI 8–2, MULTI 8–3) “S1 (Send1(MFX1),” “S2 (Send2(MFX2)” which are located after the sound passes through IFX.

Drum kits will sound using the settings of the program that is selected in Program mode. These settings are valid only if “Use DKit Setting” (PROG 6–1b, 8–1b) are checked. Be aware that the results of editing a drum kit will not be reﬂected unless these settings have been made in the program.

GLOBAL 5: Arp.Pattern

Here you can create user arpeggio patterns. In this page, the X50/microX will sound as it did in the mode you were in before entering Global mode.

If you entered the Global mode from Program mode: Your editing will apply to the arpeggio pattern that is selected by the program. Even if you moved from a program in which the arpeggiator is turned off, it can be turned on by the [ARP ON/OFF] button.

If you entered the Global mode from Combination mode:

Your editing will apply to the arpeggio pattern that is selected by the combination. Even if you moved from a combination in which the arpeggiator is turned off, it can be turned on by the [ARP ON/OFF] button. However, it is not possible to turn on an arpeggiator for which the A or B parameter is unchecked in “Arpeggiator Run” (COMBI 0–4(5)a, COMBI 7–1a). Also, the arpeggiator will not run unless it has been assigned to a timbre in “Assign” (COMBI 7–1b).

If you entered the Global mode from Multi mode: Your editing will apply to the arpeggio pattern speciﬁed for the selected multi set. Even if you entered Global mode from a mode in which the arpeggiator was turned off, you can use the [ARP ON/OFF] button to turn it on. However, it is not possible to turn on an arpeggiator for which the “Arpeggiator Run” (MULTI 7– 1(2)a) parameter A or B is not checked. Also, the arpeggiator will not operate if it has not been assigned to a track in “Assign” (MULTI 7–1(2)b).

In each of the above cases, you can modify the settings of the arpeggio pattern even if the arpeggiator is not turned on. When editing a pattern, it is a good idea to turn on the arpeggiator and make sure that it is the pattern that you wish to edit.

If you want the edited user arpeggio pattern settings to be backed up even when the power is turned off, you must write them into memory. Select the Utility “Write Arpeggio Pattern” to access the Write Arpeggio Pattern dialog box.

☞ For details on creating an arpeggio pattern (☞OG p.91).

5–1: Setup

5–1a 5–1b

5–1c

GLOBAL

123456

■ 4–3: UTILITY

☞ “Write Drum Kits,” “Rename Drum Kit,” “Copy Drum

Kit,” “Copy Key Setup” (4–1)

5–1d

5–1a: Arp, Pat (Pattern), (Tempo)



Arp (Arpeggio Select) [A, B]

If you have moved from Combination mode or Multi mode and edit an arpeggio pattern, you must select either arpeggiator A or B as the pattern to edit. Your editing will apply only to the selected one. B will not be displayed if you moved here from Program mode.

Pat (Pattern)

[Preset-0...Preset-4, U000...U250]

Selects the pattern that you wish to edit.

Preset-0…Preset-4 Preset Arpeggio Patterns U000...250 Preload user Arpeggio Patterns

 (Tempo) [040...240, EXT]

This speciﬁes the tempo. This can also be adjusted by the REALTIME CONTROLS Cmode [TEMPO] knobs. If “MIDI Clock” (1–1a) is set to Ext-MIDI or Ext-USB, or set to Auto and operating as a slave, this will indicate EXT, and the arpeggiator will synchronize to MIDI clock messages from an external MIDI device.

5–1b: Lgth, Reso, Oct, Sort, Latch, K.Sync,

Kbd

Lgth (Length) [01...48]

This speciﬁes the length of the arpeggio pattern. After the note value speciﬁed by “Reso” occurs for the number of times speciﬁed here, the pattern will return to the beginning. This parameter is not valid for preset patterns Preset-0–Pre- set-4.

Reso (Resolution) [   ,  ,   ,  ,   ,  ] Oct (Octave) [1, 2, 3, 4]

Sort [Off, On] Latch [Off, On] K.Sync (Key Sync.) [Off, On] Kbd (Keyboard) [Off, On]

☞ PROG 7: Ed–Arp/Ctrls “Setup(Arpeg. Setup)”

“Pat,” “ (Tempo),” “Oct,” “Reso,” “Sort,” “Latch,” “K.Sync,” and “Kbd” are parameters that can be set in Program, Combination, multi set, but you can also set them here. If you move here from Program or Combination mode and set these parameters, you must return to the original mode and write them. These parameters cannot be written by the “Write Arpeggio Patterns” command in this page.

Up&Down: If there are more Tones in a step than arpeggio notes speciﬁed (notes played on the keyboard), the arpeggio will return in reverse direction from the last arpeggio note back toward the ﬁrst.

Example)

If you set “Lgth” to 04, “Step” 01 to Tone0, “Step” 02 to Tone1,” “Step” 03 to Tone2, “Step” 04 to Tone3, and

simultaneously play three notes to produce an arpeggio, the following results will be produced depending on the “Type.”

As Played: 0 → 1 → 2 → rest → 0 → 1 → 2 → rest → 0 ... As Played (Fill): 0 → 1 → 2 → 2 → 0 → 1 → 2 → 2 → 0 ... Running Up: 0 → 1 → 2 → 0 → 0 → 1 → 2 → 0 → 0 ... Up&Down: 0 → 1 → 2 → 1 → 0 → 1 → 2 → 1 → 0 ...

Octave Motion [Up, Down, Both, Parallel]

Speciﬁes the operation when “Oct” is set to 2–4 octaves. Up: Notes will repeatedly ascend within the speciﬁed range

of octaves. Down: Notes will repeatedly descend within the speciﬁed number of octaves. Both: Notes will repeatedly ascend and descend within the speciﬁed number of octaves. Parallel: The notes of the speciﬁed octaves will sound simultaneously.

5–1d: Fixed Note, Mode, Tone No., Fixed

Note No.

Fixed Note [Off, On]

Speciﬁes the Tone type (the “●” or “❍” displays in 5–2) of the arpeggio pattern. Off (unchecked): This is the normal arpeggiator type. The Tone pitches will be expanded into an arpeggio based on the note number played on the keyboard.

On (checked): You can specify the note number for each Tone. The note numbers from the keyboard will be ignored

for the purposes of the Tone pitch, and the arpeggio will be sounded using the note numbers speciﬁed for each Tone. The note numbers from the keyboard will only control the timing at which the arpeggiator is triggered. This setting is suitable for arpeggio patterns used for drum patterns etc. The Tone indication in 5–2: Arp.Pattern, Edit page will be “

●” if this setting is Off (unchecked), or “❍” if this is On

(checked).

5–1c: Arpeggio Pattern Setup

These parameters are not valid for preset patterns Preset-0–Preset-4.

Type (Arpeggio Type)[As Played...Up&Down]

This speciﬁes the correspondence between the arpeggio notes speciﬁed from the keyboard and the Tone at each step.

As Played: If there are more Tones in a step than arpeggio notes speciﬁed (notes played on the keyboard), those steps will not sound. As Played (Fill): If there are more Tones in a step than arpeggio notes speciﬁed (notes played on the keyboard), the last arpeggio note (the last-played note if “Sort” is Off, or the highest note if “Sort” is On) will sound for those steps. Running Up: If there are mor e Tones in a step than arpeggio notes speciﬁed (notes played on the keyboard), the arpeggio will return to the ﬁrst note (the ﬁrst-pressed note if “Sort” is Off, or the lowest note is “Sort” is On) and sound it.

Mode (Fixed Note Mode)

[Trigger As Played, Trigger All Tones]

Speciﬁes how tones will be triggered when “Fixed Note” is

checked. Trigger As Played: The Tones will be triggered according to

the number of keys pressed.

Trigger All Tones: Pressing a single key will trigger all Tones.

Example)

Here’s how the drums pattern will sound when “Fixed Note” is checked. Tone 1 is assigned a note number that plays a kick sound, Tone 2 a snare, and Tone 3 a hi-hat.

With a setting of Trigger As Played, pressing one key will sound only Tone 1 (kick). Pressing two keys will sound Tone 1 (kick) and Tone 2 (snare). Pressing three keys will sound all three Tones 1–3 (kick, snare, hi-hat). If the “Vel (Velocity)” of each Tone is set to Key, each Tone will be sounded at the velocity with which each key was played.

With a setting of Trigger All Tones, playing one key is sufﬁcient to sound all three; Tone 1 (kick), Tone 2 (snare), and Tone 3 (hi-hat). If the “Vel (Velocity)” of each Tone is set to Key, the Tones will be sounded at the correspond- ing velocity each time a key is pressed.

3 To execute the Copy Arpeggio Pattern command press

the [MENU/OK] button. To cancel, press the [EXIT/ CANCEL] button.

Tone No. [00...11]

This is valid only if “Fix Note” (5–1d) is checked. It selects the Tone.

Fixed Note No. [C–1...G9]

Speciﬁes the note number for the selected Tone.

X50: You can also input this value by holding down the

[ENTER] button and pressing a note on the keyboard.

■ 5–1: UTILITY

For details on how to select the desired utility function, refer to “PROG 0–1: UTILITY.”

Write Arpeggio Patterns

This command writes user arpeggio patterns U000–U250.

1 Select “Write Arpeggio Patterns” to access the dialog box.

2 To execute the Write command press the [MENU/OK]

button. To cancel, press the [EXIT/CANCEL] button.

“Pat,”“  (Tempo),” “Oct,” “Reso,” “Sort,” “Latch,” “K.Sync,” and “Kbd” are parameters that are set in Program, Combination, and Multi modes. The Write operation executed here does not save these parameters. If you move here from Program or Combination mode and set these parameters, you must return to the original mode and write them.

Rename Arpeggio Pattern

This command renames the selected user arpeggio pattern. Up to sixteen characters can be input. Preset patterns Preset0–Preset-4 cannot be selected (☞OG X50: p.112, microX: p.114).

Copy Arpeggio Pattern

This command copies the settings of another user arpeggio pattern to the currently selected arpeggio pattern. It is not possible to copy from a preset arpeggio pattern Preset-0– Preset-4.

1 Select “Copy Arpeggio Pattern” to access the dialog box.

5–2: Edit

Here you can input Tones 0–11 for each step 01 to 48. “Step” can be a maximum of 48 steps, and Tone corresponds to up to twelve notes for the (up to) twelve keys pressed simultaneously. If “Sort” (5–1b) is checked, the notes that were pressed will correspond in ascending order of pitch to Tones 0, 1, etc. If “Sort” (5–1b) is unchecked, the notes that were pressed will correspond to Tones 0, 1, etc. in the order in which they were pressed.

These parameters are not valid for preset patterns Preset-0–Preset-4 .

5–2a

5–2a: Step, Ptch, Gt, Vel, Flam

Step (Step No.) [01...48]

Select the step that you wish to edit, and set/reset each Tone. With “Step” selected, press the center of the ClickPoint, use ClickPoint [π][†] to select the Tone you want to enter, and press the center of the ClickPoint to conﬁrm your selection. Use the ClickPoint [√][®] to move to another step.

When you’re ﬁnished with entry , pr ess the [EXIT/CANCEL] button or the [MENU/OK] button.

You can use the “Delete Step” utility to delete the Tones of all steps, or the “Insert Step” utility to insert an empty step.

X50: Use the numeric buttons to enter Tones. With “Step”

selected, use the numeric buttons to enter a T one. [0]–[9] cor respond to Tone 0–9, [–] to Tone 10, and the [./HOLD] but- ton to Tone 11. The tone will be set or reset each time you press the button. Tones are shown as “❍” if “Fixed Note” (5–1d) is checked, or as “●” if it is not checked.

Ptch (Pitch Offset) [–48...+48]

For each step, the pitch corresponding to the Tone can be raised or lowered in semitone steps. This lets you make settings for the same tone in each step to create a melody, or to make settings for two or more tones in each step to play parallel chords.

GLOBAL

123456

2 Select the copy source arpeggio pattern “From.”

Gt (Gate) [Off, 001...100%, LGT ]

Off: That step will not sound even if Tones have been speciﬁed. LGT: Notes will continue sounding until the same Tone is sounded next, or until the pattern returns to the beginning. At this time, the display will change to “ This setting is valid when the Program, Combination, or multi set parameter “Gate” (PROG 7–1a, COMBI 7–2(3)a, MULTI 7–3(4)a) is set to Step. When making this setting, make sure that “Gate” is set to Step in the mode from which you arrived here.

■” or “ .”

Vel (Velocity) [001...127, Key]

Key: The Tone of the step will sound with the velocity at which the key was played. 001–127: The speciﬁed velocity value will always be used. This setting is valid when the Program, Combination, or Multi set parameter “V elocity” (PROG 7–1a, COMBI 7–2(3)a, MULTI 7–3(4)a) is set to Step. When making this setting, make sure that “Velocity” is set to Step in the mode from which you arrived here.

Flam [–99...+99]

Speciﬁes how the note timing will be skewed when two or more Tones are speciﬁed in the same step. To simulate chords strummed on a guitar, it is effective to set “+” values for odd-numbered steps and “–” values for even-numbered steps. This setting is not valid for preset patterns Preset-0 thru Preset-4.

00: All Tones will sound simultaneously. +01–+99: The timing of the notes will be skewed in the order

of the Tone number. (When “Sort” is ON, from low note to high note. When “Sort” is OFF, in the order in which keys were pressed.) –01– –99: The timing of the notes will be skewed in the opposite direction as “+.”

■ 5–2: UTILITY

Copy Step

This command copies the settings of a speciﬁc step. The settings of two or more adjacent steps can also be copied together.

1 Select “Copy Step” to access the dialog box.

2 Select the range of steps that you wish to copy (“From

Step”).

3 Select the copy destination step “To Step”.

If you selected more than one step in “From Step,” the steps will be copied starting at “To Step” and continuing through the steps to the right.

4 To execute the Copy Step command, press the [MENU/

OK] button. To cancel, press the [EXIT/CANCEL] button.

Delete Step

This command deletes the step parameters (“Tone,” “Ptch,” “Gt,” “Vel,” “Flam”) of the currently selected step number. Subsequent steps will move one column toward the left.

1 Select “Delete Step” to access the dialog box.

2 To execute the Delete Step operation, press the [MENU/

OK] button. To cancel, press the [EXIT/CANCEL] button.

Insert Step

This command inserts an empty step into the currently selected step number. Subsequent steps will be moved one step to the right.

1 Select “Insert Step” to access the dialog box.

☞ “Write Arpeggio Patterns,” “Rename Arpeggio Pattern,”

“Copy Arpeggio Pattern” (5–1)

For details on how to select the desired utility function, refer to “PROG 0–1: UTILITY.”

Initialize Steps

This command initializes the step parameters (“Tone,” “Ptch,” “Gt,” “Vel,” “Flam”) of the arpeggio pattern.

1 Select “Initialize Steps” to access the dialog box.

2 Select the type “Type” of initialize.

Empty will initialize all tones to a blank state. Full will initialize all tones to a full state.

3 To execute the Initialize Steps operation, press the

[MENU/OK] button. To cancel, press the [EXIT/CANCEL] button.

2 To execute the Insert Step operation, press the [MENU/

OK] button. To cancel, press the [EXIT/CANCEL] button.

Rotate Step

This command rotates the step settings.

1 Select “Rotate Step” to access the dialog box.

2 Select the type “Direction” of rotation.

For example, suppose there is a pattern of “Length” 4. If you select Forward, the settings of Step 1 will be rewritten to 2, Step 2 →3, Step 3 →4, Step 4 → 1. If you select Backward, the settings of Step 1 will be rewritten to 4, Step 2 → 1, Step 3 → 2, Step 4 → 3.

3 To execute the Rotate Step operation, press the [MENU/

OK] button. To cancel, press the [EXIT/CANCEL] button.

microX:

GLOBAL 6: Ext. Control

External Control lets you use the REALTIME CONTROL knobs to control external MIDI devices. 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 an external device. This means that each set-up lets you transmit twelve (4 × 3) different MIDI control changes. (☞p.5) You can select and use these setups if EXT. CONTROLLER is turned on in Program, Combination, or Multi Set modes.

You can create 64 different external control setups. For example you might use one setup to control one of the KORG Legacy Collection soft synthesizers, and another setup to control the level or pan parameters of your DAW (Digital Audio Workstation).

External Control gives you a set of independent control functions that you can use via the microX’s knobs while in any mode. Switching programs or moving to Combination mode while the [EXT. CONTROLLER] button is on will not change the external control set that is selected. This means that you can select microX sounds without affecting your external MIDI control setup, or conversely, change the external MIDI control setup without switching sounds.

After you’ve edited a external control set, you’ll need to execute the “Write Ext. Control Set” utility to write (save) the edited settings.

6–1: A (Knob 1–A, 2–A, 3–A, 4–A) 6–2: B (Knob 1–B, 2–B, 3–B, 4–B) 6–3: C (Knob 1–C, 2–C, 3–C, 4–C)

6–1(2)(3)b: Knob 1A–1C, Knob 2A–2C,

Knob 3A–3C, Knob 4A–4C

MIDI Channel [01...16, Gch]

This speciﬁes the MIDI channel on which each knob [1]–[4] will transmit messages when [SELECT] A (B, C) is selected. Gch: Messages will be transmitted on the global MIDI channel speciﬁed in Global mode. You can easily change the channel of all the knobs that are set to Gch simply by changing the global MIDI channel setting, instead of changing the channel of each knob individually.

CC Assign [Off, 000...119]

This speciﬁes the MIDI control change number that each knob [1]–[4] will transmit when [SELECT] A (B, C) is selected.

■ 6–1(2)(3): UTILITY

For details on how to select the desired utility function, refer to “PROG 0–1: UTILITY.”

Write Ext. Control Setups

Here’s how to write external control setups 00–63.

1 Select “Write Ext. Control Setups” to access the dialog

box.

2 Press the [MENU/OK] button to write the data. If you

decide not to execute, press the [EXIT/CANCEL] button.

Reset Ext. Control Setup

Here’s how to rename the selected external control setup. You can enter up to sixteen characters. (☞OG X50: p.112,

microX: p.114)

GLOBAL

123456

6–1a 6–1b

6–1(2)(3)a: Knob A–B

Ext. Control (Setup Select) [00...63]

Selects the external control setup that you want to edit.

Reset Ext. Control Setup

Here’s how to initialize an external control setup. All settings of the selected setup will be initialized as follows.

• “MIDI Channel” = Gch

• “CC Assign” = Off

1 Select the external setup that you want to initialize. 2 Select “Reset Ext. Control Setup” to access the dialog box.

3 Press the [MENU/OK] button to initialize the settings. If

you decide not to execute, press the [EXIT/CANCEL] button.

Korg MICROX X50 User Manual 2

Specifications and Main Features

Frequently Asked Questions

User Manual

About this manual

Conventions in this manual

How to read the “Parameter Guide”

Table of Contents

1. Program mode

PROG PAGE MENU

PROG 0: Play

0–1: Program

0–2: P.Edit (Performance Editor)

0–3: Arp (Arp. Play)

1–1: Basic (Prog Basic)

1–2: OSC1

1–3: OSC2

1–4: V.Zone (Velocity Zone)

1–5: Audition

2–1: OSC1

2–2: OS1lfo (OSC1 LFO)

2–5: EG (Pitch EG)

2–3: OSC2

2–4: OS2lfo (OSC2 LFO)

3–1: OS1LFO1 (OSC1 LFO1)

3–2: 1 LFO2 (OSC1 LFO2)

3–3: 2 LFO1 (OSC2 LFO1)

3–4: 2 LFO2 (OSC2 LFO2)

4–1: Basic

4–2: Mod.1 (Filter1 Modulation1)

4–4: lfoMod (LFO Modulation)

4–3: Mod.2 (Filter1 Modulation2)

4–5: EG (Filter1 EG)

6–1: Lvl/Pan (Amp1 Level/Pan)

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)

6–2: Mod. (Amp1 Modulation)

6–3: EG (Amp1 EG)

6–4: Lvl/Pan (Amp2 Level/Pan) 6–5: Mod. (Amp2 Modulation) 6–6: EG (Amp2 EG)

7–1: Setup (Arpeg. Setup)

7–2: Zone (Scan Zone)

7–3: Controls

8–1: BUS

8–2: Setup

8–3: IFX (Insert Effect)

9–1: Setup

9–2: MFX 1 (Master Effect1) 9–3: MFX 2 (Master Effect2)

9–4: MEQ (Master EQ)

2. Combination mode

COMBI PAGE MENU

COMBI 0: Play

0–1: Combi (Combination)

0–2: Prog (Timbre Program)

0–3: Mix (Mixer)

0–4: Arp. A (Arpeggio Play A) 0–5: Arp. B (Arpeggio Play B)

1–1: Prog (Timbre Program)

1–3: T A1 (Tone Adjust 1) 1–4: T A2 (Tone Adjust 2) 1–5: T A3 (Tone Adjust 3)

1–2: Mix (Mixer)

2–1: MIDI

2–2: OSC

2–3: Pitch

2–4: Other

5–1: Key (Key Zone)

5–2: Slope (Key Slope)

6–1: V el (Velocity Zone)

5–3: Review

6–2: Slope (Velocity Slope)

7–1: Setup

6–3: Review

7–2: Arp. A (Arpeggiator A) 7–3: Arp. B (Arpeggiator B)

7–4: Zone (Scan Zone)

7–5: Controls

8–1: BUS

8–2: Setup

8–3: IFX (Insert Effect)

9–1: Setup

9–4: MEQ (Master EQ)

9–2: MFX1 (Master Effect1) 9–3: MFX2 (Master Effect2)

3. Multi mode

MULTI PAGE MENU

MULTI 0: Play