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Korg M50-88 Parameter Manual

Korg M50-88 Parameter Manual

M50 series music workstation

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Parameter Guide

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Summary of Contents for Korg M50-88

Page 1 Parameter Guide...
Page 2 Conventions in the operation manuals References to the M50 The M50 is available as three models: the the 88-key M50-88, the 73-key M50-73, and the 61-key M50-61. References in these manuals to “the M50” refer to all of these models collectively.
Page 3: Table Of Contents
Table of Contents Table of Contents Conventions in the operation manuals..ii 6–2: OSC1 AMS Mix2 ......57 6–4: OSC 2 AMS Mix1 , 6–5: OSC 2 AMS Mix2 .
Page 4 COMBI P5: MIDI Filter..... . . 103 SEQ P1: Controllers......147 1–1: Controllers Setup.
Page 5 Table of Contents Sequencer: Menu Command ....191 Effect Guide ....271 System Exclusive events supported in Sequencer mode .
Page 6 Overdrive, Amp models, and Mic models (OD Delay ........325 Amp Mic) .
Page 7 Table of Contents 091: Limiter - Phaser......344 122: Comp // Wah 092: Limiter - Mt.Delay (Compressor // Wah) .
Page 8 157: OD/HyperGain Wah (Overdrive/Hyper Gain Wah) ....364 158: GuitarAmp + P4EQ (Guitar Amp Model + Parametric 4-Band EQ) . .365 159: BassTubeAmp+Cab. (Bass Tube Amp Model + Cabinet) ... .366 160: St.
Page 9: Program Mode
Program mode PROG Page Select • Press the MODE PROG switch to select the Program Page Main content mode. Select and play programs. ( ☞ p.2) Oscillator and Drum track level settings. You can select Program mode pages in several ways. ( ☞...
Page 10: Prog P0: Play
Program mode PROG P0: Play This is the main Program mode page. Here, you can: For details on the factory Programs, please see the “Voice Name List” (PDF). • Select patterns and programs for the Drum Track • Adjust the oscillator and drum track levels. Bank Category Popup Tempo...
Page 11 PROG P0: Play 0–1: Main Category [00...17/00...07] the bpm, or just play a few quarter-notes on the TAP TEMPO button. Here, you can select programs by category. EXT is displayed if the MIDI Clock (Global 1–1a) is set to Category/Program Select menu: External MIDI or External USB.
Page 12: 0-4: Osc/Drumtrk Mixer
Program mode 0–1c: Drum Track 0–4: OSC/DrumTrk Mixer The Drum Track provides an easy way for you to play back a rhythm section using the M50’s high-quality drum 0–4 Menu programs and a rich variety of drum patterns. 0–4a You can try out program phrases or edit programs while listening to the drum track.
Page 13: 0-5: Arpeggiator
PROG P0: Play 0–5: Arpeggiator Note: The Solo On/Off setting is not saved when you write 0–5: Arpeggiator the program. Exclusive Solo [Off, On] 0–5 The menu’s Exclusive Solo parameter also affects the way Menu 0–5a that Solo works. If Exclusive Solo is off (unchecked), Multiple Solos will be active, allowing you to turn Solo on/ off for more than one of the items: oscillators 1 and 2, and the drum track.
Page 14: 0-7: Tone Adjust
Program mode ▼0–5: Menu Command 0–7: Tone Adjust • 0: Write Program ☞p.73 • 1: Exclusive Solo ☞p.73 0–7 Menu 0–7a • 2: Copy Arpeggiator ☞p.75 For more information, please see “Program: Menu 0–7b Command” on page 73. 0–7c The Tone Adjust function assigns important program parameters and easy-edit parameters to the switches and sliders in the display for quick edits of selected parameters.
Page 15 PROG P0: Play 0–7: Tone Adjust For instance, if the EG Intensity is set to a negative value, 0–7a: Program Select & Tempo Relative Tone Adjust values will range from 0 to –99, the inverse of the diagram above. EG Sustain works differently; Bank (Bank Select) [A...E, GM, g(1)...g(9), g(d)] if it’s set to a negative value, Tone Adjust values range from...
Page 16 Program mode 0–7c: Tone Adjust Common Tone Adjust Parameters Here, you can assign Tone Adjust parameters to switches These parameters affect both Oscillators 1 and 2. and sliders in the display. Unless otherwise noted, all of the Common Tone Adjust parameters are Relative.
Page 17 PROG P0: Play 0–7: Tone Adjust Pitch EG Sustain Level (N/A). (–99...+99) Tone Adjust Parameters This scales the sustain levels of the Pitch EG. Pitch EG Release Time. (–99...+99) Macro parameters This scales the release times of the Pitch EG. The following three parameters affect both Oscillator 1 and Pitch LFO1 Intensity.
Page 18 Program mode For Single and Double Programs: Filter LFO 1 Intensity to A. (–99...+99, Absolute) This controls the depth and direction of Filter A cutoff MS/DKit Select overrides all of the Multisample Velocity modulation from LFO1, as described under “Intensity to A” zones, so that the newly selected Multisample plays over the on page 36.
Page 19: 0-8: Control Surface
PROG P0: Play 0–8: Control Surface Default Tone Adjust Settings 0–8: Control Surface You can use the Tone Adjust function to edit all of the The control surface consists of the four knobs located in the important program parameters on this single page. Most of left side of the front panel and the four switches to their left.
Page 20: Realtime Controls
Program mode 3. While holding down RESET CONTROLS, press the Realtime Controls current CONTROL ASSIGN switch again. All of the knobs shown on the Control Surface will be reset to the values stored in the Program. 0–8 Menu 0–8a Resetting Arpeggiator parameters 0–8b You can also perform the following reset operations for Arpeggiator.
Page 21: External
MIDI gear on stage, another for controlling a software Knob 1B–Knob 4B [000...127] synthesizer (such as one of Korg’s Legacy Collection This is the current value of the knob and its MIDI CC. synths), and so on. You can set Realtime Control B knob 1–4 to a wide variety of These External Controls are completely independent from modulation functions, using the P1: Basic/Ctrls–...
Page 22: Arp
Program mode 0–8d: External MIDI Channel [01...16, G] 0–8 This read-only parameter shows the MIDI Channel Menu 0–8a assignment for the knob. Each can send on a different channel, if desired. 0–8b G means that the knob will transmit on the Global MIDI Channel, as set in Global mode.
Page 23: Prog P1: Basic/Ctrls (Basic/Controllers)
PROG P1: Basic/Ctrls (Basic/Controllers) 1–1: Program Basic PROG P1: Basic/Ctrls (Basic/Controllers) notes will use the legato start point speciﬁed for each 1–1: Program Basic multisample. Note: This is a useful way to simulate the percussive attack This page contains all of the basic settings for the Program. of a tonewheel-type organ.
Page 24 A half-damper pedal is a special type of continuous foot monophonic analog synths work this way pedal, such as the Korg DS-1H. In comparison to a standard footswitch, half-damper pedals offer more subtle control of High: The highest note will sound.
Page 25: 1-2: Key Zone/Scale
PROG P1: Basic/Ctrls (Basic/Controllers) 1–2: Key Zone/Scale you set the Oscillator Mode to Drums, it’s good to set Hold 1–2: Key Zone/Scale to On. Once you’ve turned on Hold for a drum program, the function is controlled on a note-by-note basis according to 1–2 Menu settings within the selected Drum Kit.
Page 26: 1-7: Controllers Setup
Program mode Kirnberger (Kirnberger III): This is a second “Well- 1–7: Controllers Setup Tempered” tuning, dating from the early 18th century. Slendro: This is an Indonesian gamelan scale, with ﬁve notes per octave. 1–7 Menu When Key is set to C, use the C, D, F, G and A notes. Other keys will play the normal equal-tempered pitches.
Page 27 PROG P1: Basic/Ctrls (Basic/Controllers) 1–7: Controllers Setup 5. Operate knob 1 to control the EG attack for the ﬁlter Mode Page and amp. Programs Prog P1: Basic/Ctrls Note: If you wish to keep these settings after the power is Combinations Combi P1: Controllers turned off, you must save the Program, Combination, or Songs...
Page 28: 1-8: Chord Trigger Setup
Program mode Note: As an alternative to the automatic assignment 1–8: Chord Trigger Setup procedure described here, you can perform the steps in the order of 2-1-3. However in this case, you won’t be able to add notes one by one while holding down a note, as 1–8 described in step 2, above.
Page 29: Prog P2: Osc/Pitch
PROG P2: OSC/Pitch 2–1: OSC1 Basic PROG P2: OSC/Pitch These pages control the ﬁrst and most basic elements of Each of the zones can fade into the next, to create smoother sounds: the Multisamples that the oscillators play, and the velocity transitions.
Page 30 Program mode Note: If an individual sample within the multisample is Power, short for Equal Power, means that the two samples already set to reverse, it will play in reverse without this will each be at around 70% of their full volume in the middle setting.
Page 31: 2-2: Osc1 Pitch
PROG P2: OSC/Pitch 2–2: OSC1 Pitch 2–1b: OSC1 Multisample 2–2: OSC1 Pitch “Oscillator Mode” Drums 2–2 Menu MS1 (DKit) 2–2a 2–1 Menu 2–2b 2–1b 2–2c 2–2d This page contains all of the settings for Oscillator 1’s pitch modulation. For example, you can: •...
Page 32 Program mode For example, if you set this to +12 and move the joystick all Pitch EG AMS the way to the right, the pitch will rise one octave above the A. Original EG B. Intensity = +6.00 original pitch. JS (–X) [–60...+12] Change...
Page 33: 2-3: Osc2 Basic
PROG P2: OSC/Pitch 2–3: OSC2 Basic Assigning SW1 or SW2 to Portamento On/Off With a setting of 0, modulation will not be applied. With a setting of 12.00, the OSC1 LFO1 will apply a maximum of You can turn portamento on/off by using the two assignable +/–1 octave of pitch modulation.
Page 34: 2-7: Velocity Zone
Program mode damper pedal, and then press a key, in order to play a note. 2–7: Velocity Zone For instance, this can be useful when modeling the behavior of a piano soundboard. Key is the normal mode. 2–7 Menu When you select Key + Damper, notes will only sound if the 2–7a damper pedal is being held down.
Page 35: 2-8: Pitch Eg
PROG P2: OSC/Pitch 2–8: Pitch EG Note: For several LFO waveform types, or if the LFO cycle is 2–8: Pitch EG fast, the LFO output may not always keep up with high values such as +99 or –99. In this case, setting the Threshold to these values may cause 2–8 Menu inconsistent behavior, or may mean that the EG will not...
Page 36 Program mode Attack [00...99] Slope [0L (Linear), 1...9, 10E (Exp/Log)] This sets how long the EG takes to move from the Start level This sets the curvature of the Slope segment - the transition to the Attack level. from the Break level to the Sustain level (which for the Pitch EG is always 0).
Page 37 PROG P2: OSC/Pitch 2–8: Pitch EG Br (Break) [–99...+99] ▼2–8: Menu Command This controls the depth and direction of the AMS • 0: Write Program ☞p.73 modulation for the Break level. • 1: Exclusive Solo ☞p.73 AMS2 • 2: Copy Oscillator ☞p.74 This selects the second AMS source for controlling the EG’s •...
Page 38: Prog P3-1: Filter1
Program mode PROG P3–1: Filter1 Filtering can make subtle or dramatic changes to the delicate resonance. Many classic analog synths used this oscillator’s timbre. Each oscillator has two multimode general type of ﬁlter. resonant ﬁlters, A and B, as well as a dedicated ﬁlter When 24 dB/oct is selected, only the controls for Filter A are envelope and keyboard tracking generator.
Page 39 PROG P3–1: Filter1 3–1–1: Filter1 frequency. Since this ﬁlter cuts out both high and low Resonance [00...99] frequencies, its effect can change dramatically depending on Resonance emphasizes the frequencies around the cutoff the cutoff setting and the oscillator’s multisample. frequency. With low resonance settings, you can use the Band Pass ﬁlter When this is set to 0, there is no emphasis, and frequencies to create telephone or vintage phonograph sounds.
Page 40: 3-1-2: Keyboard Track
Program mode ▼3–1–1: Menu Command 3–1–2: Keyboard Track • 0: Write Program ☞p.73 • 1: Exclusive Solo ☞p.73 3–1 –2 • 2: Copy Oscillator ☞p.74 Menu • 3: Swap Oscillator ☞p.74 3–1 –2a For more information, please see “Program: Menu Command”...
Page 41 PROG P3–1: Filter1 3–1–2: Keyboard Track With negative values (–), the effect will be in the opposite When Intensity to A (B) is set to +99, a ramp of 50 changes direction; if the ramp goes up, the ﬁlter cutoff will decrease. the ﬁlter frequency by 1 octave for every octave of the keyboard, and a ramp of +99 changes the frequency by 2 Keyboard Track Shape and Intensity...
Page 42: 3-1-3: Modulation
Program mode ▼3–1–2: Menu Command 3–1–3: Modulation • 0: Write Program ☞p.73 This page contains the settings for Oscillator 1’s ﬁlter • 1: Exclusive Solo ☞p.73 modulation. Among other things, you can: • 2: Copy Oscillator ☞p.74 • Control the effect of the Filter Envelope on filter cutoff. •...
Page 43 PROG P3–1: Filter1 3–1–3: Modulation • You can set an initial positive amount with the Intensity AMS2 (Filter A AMS2) [List of AMS Sources] to A/B parameters, and then reduce this amount with This selects the second modulation source for controlling velocity.
Page 44: 3-1-4: Lfo Mod. (Modulation)
Program mode Now, if you move the joystick down, the effect of the LFO 3–1–4: LFO Mod. (Modulation) will fade away. When the joystick is all the way at the bottom of its range, the LFO will be completely cancelled out.
Page 45: 3-1-5: Eg
PROG P3–1: Filter1 3–1–5: EG 3–1–5b: Envelope 3–1–5: EG Filter EG 3–1 Attack Break Sustain –5 Level Level Level Menu 3–1 Start Release –5a Level Level Change to filter cutoff Time Attack Decay Slope Release 3–1 Time Time Time Time –5b Note-on or reset Note-off...
Page 46 Program mode Decay [00...99] 3–1–5c: EG Level/Time Modulation This sets the time it takes to move from the Attack level to the Break level. Level Slope [00...99] These settings let you use any AMS source to control the This sets how long the EG takes to move from the Break Level parameters of the EG.
Page 47 PROG P3–1: Filter1 3–1–5: EG Time ▼3–1–5: Menu Command These settings let you use three different AMS sources to • 0: Write Program ☞p.73 control the Time parameters of the EG. For each of the three • 1: Exclusive Solo ☞p.73 AMS sources, the Attack, Decay, Slope, and Release times each have their own modulation intensities.
Page 48: Prog P3-2: Filter2
Program mode PROG P3–2: Filter2 3–2–1: Filter2 This page controls Oscillator 2’s basic ﬁlter 2 settings. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1, as described under “3–1–1: Filter1,”...
Page 49: Prog P4: Amp/Eq
PROG P4: Amp/EQ 4–1: Amp1/Driver1 PROG P4: Amp/EQ Oscillators 1 and 2 have separate controls for volume (also Note: Even when the Drive amount is set to 0, the Driver called “amplitude,” or “amp” for short); pan; and Drive; as circuit still affects the timbre.
Page 50: 4-2: Amp1 Modulation
Program mode 4–1c: Pan 4–2: Amp1 Modulation [Random, L001...C064...R127] 4–2 This controls the stereo pan of Oscillator 1. A setting of L001 Menu places the sound at the far left, C064 in the center, and R127 4–2a to the far right. When this is set to Random, the pan position will be different for each note-on.
Page 51 PROG P4: Amp/EQ 4–2: Amp1 Modulation Center [C–1...G9] Lo Cent (Low-Center) [–Inf, –99...+99, +Inf] This speciﬁes the note that will be the break point in the This sets the slope between the Key Low and Center keys. center of keyboard tracking. At this key, the keyboard For normal key track, use negative values.
Page 52 Program mode ▼4–2: Menu Command 4–2b: Amp Modulation • 0: Write Program ☞p.73 You can modulate the Amp level by both velocity and an AMS source. • 1: Exclusive Solo ☞p.73 This modulation scales the basic Amp level and Amp EG •...
Page 53: 4-3: Amp1 Eg
PROG P4: Amp/EQ 4–3: Amp1 EG Level 4–3: Amp1 EG Start [00...99] This sets the initial volume level at note-on. 4–3 Menu Attack [00...99] 4–3a This sets the level at the end of the Attack time. 4–3b Break [00...99] Break, short for Break Point, sets the level at the end of the Decay time.
Page 54 Program mode Amp EG Curve Amp EG Level Modulation Curve=0L (Linear) Volume Volume Curve=10E (Exp/Log) Time Time Original Shape Positive AMS on Start, Attack, and Break Volume Volume Time Time Curve=0L (Linear) Curve=10E (Exp/Log) Negative AMS on Start, Positive AMS on Start and Break, Attack, and Break Negative AMS on Attack Different curve settings for up and down...
Page 55: 4-5: Amp2/Driver2
PROG P4: Amp/EQ 4–5: Amp2/Driver2 higher velocities. If you instead set At (Attack) to –99, the 4–8: EQ Attack time will get much shorter at higher velocities. When the AMS source is at its maximum value–for instance, when Velocity is at 127–a setting of +8 will make the 4–8 segment time almost twice as long, and a setting of –8 will Menu...
Page 56: Prog P5: Lfo
Program mode PROG P5: LFO Each of the Oscillators 1, 2 has two LFOs, which you can use Random2 (S/H) randomizes both the levels and the timing. to modulate the ﬁlter, amp, pitch, and many other Random3 (S/H) generates a pulse wave with random parameters.
Page 57 PROG P5: LFO 5–1: OSC1 LFO1 frequencies. If it emphasizes the low range, the ﬁlter will Since Offset affects the output values of the LFO, it’s spend more time at the lower frequencies. important to note that it affects the signal after the Shape function, as shown below: LFO Shape How the LFO signal is affected by Shape and Offset...
Page 58: 5-2: Osc1 Lfo2
Program mode Int Mod AMS (Intensity Mod AMS) 5–2: OSC1 LFO2 [List of AMS Sources] This selects a secondary AMS source to scale the intensity of This is Oscillator 1’s second LFO. Its parameters are exactly AMS1. the same as those for the ﬁrst LFO, as described under “5–1: For a list of AMS sources, please see “AMS (Alternate OSC1 LFO1”...
Page 59: 5-8: Common Lfo
PROG P5: LFO 5–8: Common LFO Shape [–99...+99] 5–8: Common LFO Shape adds curvature to the basic waveform. For more details, please see the entry under LFO1 “Shape,” on page 48. 5–8 Menu Note: Shape does not affect the Square and Random3 5–8a waveforms, since their values are always either +99 or –99.
Page 60: Prog P6: Ams/C.ktrk (Ams Mixer/Common Keyboard Track)
Program mode PROG P6: AMS/C.KTrk (AMS Mixer/Common Keyboard Track) Each Oscillator has two AMS Mixers, which are simple but LFO. For more information, please see “Smoothing” on powerful tools for combining and modifying AMS signals. page 54. The two Oscillators also share two Common keyboard Shape adds curvature to the AMS input.
Page 61 PROG P6: AMS/C.KTrk (AMS Mixer/Common Keyboard Track) 6–1: OSC1 AMS Mix1 For a list of AMS sources, please see “AMS (Alternate 2. Set AMS B to SW1 or 2, and AMS B Amount to +99. Modulation Source) List” on page 374. Now, SW1 or 2 will turn AMS A on and off.
Page 62 Program mode AMS A Offset [–199...+199] Shape This controls the amount of offset for AMS A. This Mixer Type adds curvature to the AMS input. This Setting Offset to +199 shifts an AMS input of –99 all the way applies deformation to the AMS input. You can use this to to +99.
Page 63 PROG P6: AMS/C.KTrk (AMS Mixer/Common Keyboard Track) 6–1: OSC1 AMS Mix1 AMS Mixer Shape examples AMS A [List of AMS Sources] This selects the AMS input source to be quantized. Bipolar Triangle Wave For a list of AMS sources, please see “AMS (Alternate Asymmetric Modulation Source) List”...
Page 64 Program mode Gate Control: 6. On the OSC Pitch page, assign the AMS Mixer to con- trol the pitch. Source [List of AMS Sources] 7. Turn off the foot switch, and while holding down a chord, move the joystick in the X-direction. The pitch This selects the AMS source to control the gate.
Page 65: 6-2: Osc1 Ams Mix2
PROG P6: AMS/C.KTrk (AMS Mixer/Common Keyboard Track) 6–2: OSC1 AMS Mix2 6–2: OSC1 AMS Mix2 6–7: Common KeyTrk 1 (Common Keyboard Track 1) This is the second AMS Mixer for Oscillator 1. The parameters are exactly the same as those for AMS Mixer 1, as described under “6–1a: AMS Mixer 1”...
Page 66: (Common Keyboard Track 2)
Program mode set to 0, the value will stay the same between the Low Break The table below shows how the Ramps affect the AMS key and the Center key. output: The Key value will be the break point, and Ramp speciﬁes Ramp value AMS change the slope of the lower region and higher region on the...
Page 67: Prog P7: Arp/Dt (Arpeggiator/Drum Track)
PROG P7: ARP/DT (Arpeggiator/Drum Track) 7–1: ARP Setup PROG P7: ARP/DT (Arpeggiator/Drum Track) Here you can make settings for the arpeggiator used by the 7–1b: Arpggiator Setup program. You can make settings so that when you select a program, Pattern* [P0...P4, U0000(INT)...U0899(INT), these arpeggiator settings will automatically switch to the U0900(USER)...U1027(USER)]...
Page 68 Program mode Off (unchecked): Notes will be arpeggiated in the order in which you pressed them. Sort Octave: 4 OFF, UP Sort ON, UP Resolution* Speciﬁes the timing resolution of the arpeggio. The notes of Latch* [Off, On] the arpeggio will be played at the interval you specify: Speciﬁes whether or not the arpeggio will continue playing , or .
Page 69: 7-2: Arp Scan Zone
PROG P7: ARP/DT (Arpeggiator/Drum Track) 7–2: ARP Scan Zone ▼7–2: Menu Command 7–2: ARP Scan Zone • 0: Write Program ☞p.73 • 1: Exclusive Solo ☞p.73 7–2 Menu 7–2a For more information, please see “Program: Menu 7–2b Command” on page 73. 7–2c 7–2a: Arpeggiator Tempo (Tempo)
Page 70: 7-4: Drumtrk Pattern (Drumtrack Pattern)
Program mode 7–4b: Trigger 7–4: DrumTrk Pattern Trigger Mode [Start Immediately, Wait KBD Trig] (DrumTrack Pattern) Start Immediately: When you press the DRUM TRACK ON/OFF switch to turn it on (LED lit), the drum track 7–4 pattern will start according to the Sync setting. When you Menu turn it on, the drum track pattern will stop.
Page 71: 7-5: Drumtrk Program (Drumtrack Program)
PROG P7: ARP/DT (Arpeggiator/Drum Track) 7–5: DrumTrk Program (DrumTrack Program) • When you select a drum track: Check this to load the 3- 7–5: DrumTrk Program band EQ setting of the program. You can adjust the drum track program’s EQ based on these settings. (DrumTrack Program) •...
Page 72 Program mode Send 1 [000...127] Send 2 [000...127] These specify the send level at which the output of the drum track program will be sent to each master effect. Send 1: Send the signal to master effect 1. Send 2: Send the signal to master effect 2. If Bus (IFX/Output) Select is set to IFX1–5, the send levels to the master effects are set by the post-IFX1–5 Send1 and Send2 (Prog 8–2a).
Page 73: Prog P8: Ifx (Insert Effect)
PROG P8: IFX (Insert Effect) 8–1: Routing PROG P8: IFX (Insert Effect) Here, you can make settings for the insert effects. For 8–1c: Use Dkit Setting instance, you can: • Send the output of a oscillator to an insert effect Use DKit Setting [Off, On] •...
Page 74: 8-2: Insert Fx Setup
Program mode You can chain two or more effects into the same down- 8–2: Insert FX Setup stream effect. For instance, both IFX1 and IFX2 can be chained to IFX5. Effects can also join a chain in the middle. For instance, you 8–2 Menu can chain IFX3 to IFX4 to IFX5, and then chain IFX2 to IFX5...
Page 75: 8-3: Ifx1
Insert FX Setup page. You can’t save your own settings here. P01…P15: These contain preset data that Korg plans to provide in the future. We recommend that you store your settings in U00–U15.
Page 76: 8-4: Ifx2, 8-5: Ifx3, 8-6: Ifx4, 8-7: Ifx5
Program mode 3. Use “P (Effect Preset)” to select an effect preset: P00– 8–8: Common FX LFO P15 or U00–U15. The stored parameters will be recalled. Note that this will overwrite all parameters of the effect. 8–8 Menu 4. Edit the recalled parameters as desired. 8–8a 5.
Page 77 PROG P8: IFX (Insert Effect) 8–8: Common FX LFO On (checked): The speed of the Common FX LFO will be determined by the BPM, Base Note, and Times settings (see below). [MIDI, 40.00...300.00] Base Note , , ] Times [01...32] The frequency of the Common FX LFO will be the length of the Base Note note value multiplied by the Times value, relative to the tempo speciﬁed by the BPM value.
Page 78: Prog P9: Mfx/Tfx (Master/Total Effect)
Program mode PROG P9: MFX/TFX (Master/Total Effect) Here, you can make settings for the master effects and total Return 1 [000...127] effect. For instance, you can: This speciﬁes the return level from the master effect to the • Route a sound to an master effects and total effect L/R bus (after which it passes through TFX, and is sent from L/MONO and R).
Page 79: 9-2: Mfx1
PROG P9: MFX/TFX (Master/Total Effect) 9–2: MFX1 TFX On/Off [Off, On] 9–2: MFX1 This turns total effect on/off. If this is off, the input will be passed directly through. The setting will alternate between on/off each time you press this. 9–2 Menu Alternatively, you can send control change #95 to turn...
Page 80: 9-3: Mfx2
Program mode 9–3: MFX2 9–4: TFX These pages let you edit the parameters of Master Effect 2 and Total Effect. To select different effects types, use the P9: MFX/TFX– Routing page. The parameters for MFX2, TFX is the same as for MFX1. For more information, please see “9–2: MFX1”...
Page 81: Program: Menu Command
Program: Menu Command Write Program Program: Menu Command ENTER + 0–9: shortcuts for menu com- mands Each page has a set of menu commands, which provide access to different utilities, commands, and options, depending on the page you’re currently on. You can use the menu commands entirely from the touch-screen, by pressing the menu button in the upper right-hand corner of the screen and then selecting an option from the menu that...
Page 82 Program mode Copy Tone Adjust Copy Oscillator Tone Adjust tab of the play page. Copy Oscillator is available on all of the tabs under the Basic/Ctrls Controllers– Chord Trigger, OSC/Pitch, Filter, This command replaces the current Tone Adjust settings Amp/EQ, AMS/C.KTrk pages. with those of any other Program, Combination Timbre, or Song Track.
Page 83 Program: Menu Command Erase Drum Track Pattern Erase Drum Track Pattern Erase Drum Track is available on the DrumTrk Pattern tab or DrumTrk Program tab of the ARP/DT. This erases the drum track pattern you specify. 2. If you no longer want the EGs to be synchronized, select Sync Both EGs once again.
Page 84 Program mode Copy Insert Effect Swap Insert Effect Copy Insert Effect is available on all of the IFX pages. Swap Insert Effect is available on all of the IFX pages. This command copies effects settings from within the This command exchanges the effects, and their internal current Program, from other Programs, Combinations, or parameters, between two IFX slots.
Page 85 Program: Menu Command Swap MFX/TFX Swap MFX/TFX Swap MFX/TFX is available on all of the MFX/TFX pages. This command swaps (exchanges) settings between MFX1, MFX2, TFX. 1. Use Source 1 and Source 2 to select the master effect(s) or total effect(s) that you want to swap. Write FX Preset Write FX Preset is available on all of the effects parameter editing pages, including IFX 1–5, MFX 1 and 2, and TFX.
Page 86 Program mode...
Page 87: Combination Mode
Combination mode COMBI Page Select • Press the MODE COMBI switch to select Combination Page Main content mode. Select and play combinations. (☞p.80) Program selection for each timbre. (☞p.81) You can use the following ways to select the pages in Pan and volume settings etc.
Page 88: Combi P0: Play
Combination mode COMBI P0: Play This is the main page of Combination mode. Among other 0–1(2)a: Combination Select things, you can: • Select combinations Bank [A...D] • Select a program for each timbre, and specify its Play/ This indicates the currently selected combination bank. Mute and Solo On/Off status.
Page 89 COMBI P0: Play 0–1: Program T01–08, 0–2: Program T09–16 4. Press the OK button to execute, or press the Cancel but- ton to cancel your selection. Bank/Combination Select menu 5. Press the OK button to execute, or press the Cancel but- ton to cancel your selection.
Page 90 Combination mode Timbre 01 (Timbre Number): channel MIDI Channel, then the combination will change. Category (Timbre Program) [00...17/00...07] If you do not want the combination to change, you can either change the global MIDI channel to a MIDI Here, you can select the program used by each timbre by program category and sub-category.
Page 91: 0-3: Mixer T01-08, 0-4: Mixer T09-16
COMBI P0: Play 0–3: Mixer T01–08, 0–4: Mixer T09–16 If a mono insert effect is in use, the settings you make here 0–3: Mixer T01–08, will be ignored. In this case, the Pan: #8 parameter in P8–1: IFX–Insert FX Setup page will adjust the panning of the 0–4: Mixer T09–16 sound after the insert effect (“Mixer”...
Page 92: 0-5: Arpeggiator A, 0-6: Arpeggiator B
Combination mode 0–5(6)c: Arpeggiator A (B) 0–5: ARPEGGIATOR A, Pat (Pattern) [P0...P4, U0000(INT)...U0899(INT), 0–6: ARPEGGIATOR B U0900(USER)...U1027(USER)] 0–5 Octave [1, 2, 3, 4] Menu 0–5a Reso (Resolution) Sort [Off, On] 0–5b Latch [Off, On] Key Sync. [Off, On] 0–5c Keyboard [Off, On] Set the various parameters of the combination arpeggiator.
Page 93: Tone Adjust
COMBI P0: Play Tone Adjust 0–7b: Timbre select, Selected parameter Tone Adjust information 0–7 Menu Timbre select 0–7a 0–7b Timbre [1…16] This selects the timbre that will be controlled via the Tone Adjust parameters. You can switch back and forth between the different timbres as much as you like, without losing 0–7c your edits.
Page 94 Combination mode Sliders 1–8 0–7c: Tone Adjust Assign Here, you can assign Tone Adjust parameters to the switches This assigns Tone Adjust parameters to the sliders in the and sliders in the display. display. For a full list of the available choices, please see Switches 1...8 “Common Tone Adjust Parameters”...
Page 95: 0-8: Control Surface
COMBI P0: Play 0–8: Control Surface Resetting a group of controls 0–8: Control Surface 1. Use the display’s Control Assign or the front panel CONTROL ASSIGN switches to access the controllers The control surface consists of the four knobs located in the you want to reset.
Page 96: Realtime Control
Combination mode CC parameter scaling Realtime Control 0–8 Parameter Menu 0–8a Value 0–8b As Programmed 0–8c CC Value Knob 1–A: Flt Fc (Cut Off) [000...127] This knob scales the cutoff frequencies of Filters A and B, Realtime Control lets you use the four knobs to edit the and transmits and receives MIDI CC #74.
Page 97: External
MIDI– External Mode 1, 2 pages. For instance, you might make one setup for controlling several different pieces of MIDI gear on stage, another for controlling a software synthesizer (such as one of Korg’s Legacy Collection synths), and so on. These External Setups are completely separate from the Program.
Page 98: Arp
Combination mode 0–8 Menu 0–8a 0–8b 0–8e Arpeggio control lets you use the four knobs to control the two arpeggiators in realtime. 0–8b: Control Assign Control Assign [Realtime Control, External, ARP] This selects the items that will be affected by the control surface.
Page 99: Combi P1: Controllers
COMBI P1: Controllers 1–1: Controllers Setup COMBI P1: Controllers 1–1c: Realtime Control Knob Assign 1–1: Controllers Setup Here you can select the functions (mainly types of control change) that are assigned to knobs 1–4 when the control 1–1 Menu 1–1a surface REALTIME CONTROL switch has selected B mode.
Page 100: 1-2: Chord Trigger Setup
Combination mode For more detailed instructions, please see “1–8a: Chord 1–2: Chord Trigger Setup Trigger Switches” on page 20. SW 2...4 1–2 Menu These are the same as for SW 1, as described above. 1–2a ▼1–2: Menu Command • 0: Write Combination ☞p.120 •...
Page 101: Combi P2: Eq
COMBI P2: EQ 2–1: EQ Trim T01–08, 2–2: EQ Trim T09–16 COMBI P2: EQ 2–1(2)c: Trim 2–1: EQ Trim T01–08, 2–2: EQ Trim T09–16 Timbre 01 (Timbre Number): Auto Load Prog EQ [Off, On] 2–1 Menu When you ﬁrst load a Program into a Timbre, this parameter 2–1a determines whether or not the Program’s EQ settings will be 2–1b...
Page 102: 2-3: Eq Gain T01-08, 2-4: Eq Gain T09-16
Combination mode 2–3: EQ Gain T01–08, 2–4: EQ Gain T09–16 2–3 Menu 2–3a 2–3b 2–3c These parameters adjust the three-band EQ (with sweepable mid range) for timbres 1–8 and 9–16. 2–3(4)a: Combination Name, Tempo 2–3(4)b: Timbre Info For more information, please see “2–1: EQ Trim T01–08, 2–2: EQ Trim T09–16”...
Page 103: Combi P3: Timbre Param (Timbre Parameters)
COMBI P3: Timbre Param (Timbre Parameters) 3–1: MIDI T01–08, 3–2: MIDI T09–16 COMBI P3: Timbre Param (Timbre Parameters) MIDI Channel [01...16, Gch] 3–1: MIDI T01–08, Sets the MIDI transmit/receive channel for each timbre. 3–2: MIDI T09–16 Gch: The timbre will use the channel that has been selected as the global MIDI Channel (Global 1–1a).
Page 104: 3-3: Osc T01-08, 3-4: Osc T09-16
Combination mode 001…127: Portamento will be applied with the portamento 3–3: OSC T01–08, time you specify here, even if it is turned off by the program settings. 3–4: OSC T09–16 If the Status (Combi 3–1(2)c) is set to INT, CC#05 (portamento time) and CC#65 (portamento switch) messages will be received and will control and change 3–3...
Page 105: 3-5: Pitch T01-08, 3-6: Pitch T09-16
COMBI P3: Timbre Param (Timbre Parameters) 3–5: Pitch T01–08, 3–6: Pitch T09–16 Bend Range [PRG, –24...+00...+24] 3–5: Pitch T01–08, Speciﬁes the maximum amount of pitch change (in semitones) that will occur when the pitch bender is 3–6: Pitch T09–16 operated. PRG: The pitch range speciﬁed by the program will be used.
Page 106: 3-7: Other T01-08, 3-8: Other T09-16
Combination mode ▼3–7(8): Menu Command 3–7: Other T01–08, • 0: Write Combination ☞p.120 3–8: Other T09–16 • 1: Exclusive Solo ☞p.73 • 2: Copy from Program ☞p.120 3–7 Menu For more information, please see “Combination: Menu 3–7a Command” on page 120. 3–7b 3–7c Here, you can make settings for the scale of timbres 1–8 and...
Page 107: Combi P4: Zone/Delay
COMBI P4: Zone/Delay 4–1: Key Z T01–08, 4–2: Key Z T09–16 (Keyboard Zones T01–08, T09–16) COMBI P4: Zone/Delay 4–1(2)d: Keyboard Zones 4–1: Key Z T01–08, 4–2: Key Z T09–16 Timbre 01 (Timbre Number): (Keyboard Zones T01–08, T09–16) Top Key [C–1...G9] Speciﬁes the top key (upper limit) of the notes that will 4–1 sound each timbre.
Page 108: 4-3: Vel Z T01-08, 4-4: Vel Z T09-16
Combination mode It is not possible to set the bottom key above the top key 4–3: Vel Z T01–08, of the same timbre. Nor is it possible for the top and bottom slopes to overlap. 4–4: Vel Z T09–16 Timbre 02...08, 09...16 (Timbre Number): (Velocity Zones T01–08, T09–16) These are the key zone settings for timbres 2–8 and 9–16.
Page 109: 4-5: Delay T01-08, 4-6: Delay T09-16
COMBI P4: Zone/Delay 4–5: Delay T01–08, 4–6: Delay T09–16 Bottom Slope [000…120] 4–5: Delay T01–08, Speciﬁes the number of velocity steps over which the original volume will be reached, starting from the Bottom 4–6: Delay T09–16 Velocity. 0: The volume will be at the original value from the bottom 4–5 velocity.
Page 110 Combination mode Timbre 02...08, 09...16 (Timbre Number): These are the delay time settings for timbres 2–8 and 9–16. They are the same as for timbre 1. For more information, please see “Timbre 01 (Timbre Number):,” above. ▼4–5(6): Menu Command • 0: Write Combination ☞p.120 •...
Page 111: Combi P5: Midi Filter
COMBI P5: MIDI Filter 5–1–1: –1 T01–08, 5–1–2: –1 T09–16 COMBI P5: MIDI Filter These settings allow you to apply ﬁlters to the MIDI data transmission/reception settings for the entire M50 can be that will be transmitted and received by each timbre 1–16. made in MIDI Filter (Global 1–2b).
Page 112: 5-1-3: -2 T01-08, 5-1-4: -2 T09-16
Combination mode 5–1–3: –2 T01–08, 5–1–5: –3 T01–08, 5–1–4: –2 T09–16 5–1–6: –3 T09–16 5–1 5–1 –3 –5 5–1 5–1 Menu Menu –3a –5a 5–1 5–1 –3b –5b 5–1 5–1 –3c –5c Here, you can specify whether the effect of knobs 1–4 (when the CONTROL ASSIGN REALTIME CONTROL switch 5–1–3(4)a: Combination Name, Tempo saelection is Realtime Control A mode) will be transmitted...
Page 113: 5-1-7: -4 T01-08, 5-1-8: -4 T09-16
COMBI P5–1: MIDI Filter 1 5–1–7: –4 T01–08, 5–1–8: –4 T09–16 5–1–7: –4 T01–08, 5–1–8: –4 T09–16 5–1 –1 5–1 Menu –1a 5–1 –1b 5–1 –1c Here, you can enable or disable transmission and reception for the functions of knobs 1–4 when the control surface’s REALTIME CONTROL switch is set to Realtime Control B mode.
Page 114: Combi P5-2: Midi Filter 2
Combination mode COMBI P5–2: MIDI Filter 2 ▼5–2–1(2): Menu Command 5–2–1: –5 T01–08, • 0: Write Combination ☞p.120 5–2–2: –5 T09–16 • 1: Exclusive Solo ☞p.120 • 2: Copy from Program ☞p.120 5–2 –1 5–2 For more information, please see “Combination: Menu Menu –1a Command”...
Page 115: Combi P7: Arpeggiator/Drum Track
COMBI P7: Arpeggiator/Drum Track 7–1: Setup T01–08, 7–2: Setup T09–16 COMBI P7: Arpeggiator/Drum Track These parameters specify how the arpeggiator will function In this case, arpeggiator A (or B) will be triggered within the combination. Two arpeggiators can run (operated) by all MIDI channels speciﬁed for the MIDI simultaneously.
Page 116: 7-3: Arpeggiator A, 7-4: Arpeggiator B
Combination mode This type of setting is used in preloaded combinations 7–3: Arpeggiator A, which sound the drums only when the arpeggiator is on. Arpeggiator 7–4: Arpeggiator B Assign Timbre 1 MIDI Ch=Gch Status=INT Sounded by normal keyboard playing Trigger Arpeggiator Pattern - A Timbre 2...
Page 117: 7-5: Scan Zone (Scan Zone A/B)
COMBI P7: Arpeggiator/Drum Track 7–5: Scan Zone (Scan Zone A/B) 7–5: Scan Zone (Scan Zone A/B) Arpeggiator settings in Combination and Sequencer These settings specify the note and velocity ranges that will trigger arpeggiators A and B. modes 7–5 Menu In Combination and Sequencer modes, you can use use 7–5a two arpeggio patterns simultaneously, thanks to the...
Page 118 Combination mode 3. Select Combi P7: ARP/DT– ARP Setup page. Combination C027: Electric Piano & Sax (Category: LeadSplits) Although this is a somewhat sophisticated editing technique, we will describe the settings of one of the preset combinations as an example. Before you play, make sure that the global MIDI channel (Global P1: MIDI Basic MIDI Channel) is set to 01.
Page 119: 7-7: Drum Track
COMBI P7: Arpeggiator/Drum Track 7–7: Drum Track MIDI Channel 7–7: Drum Track Output [01...16, Gch] This speciﬁes the MIDI channel that will transmit the MIDI 7–7 data of the drum pattern. The drum pattern will trigger the Menu program of the timbre that is set to this same MIDI channel. 7–7a Gch: The data will be sent to the channel speciﬁed by the global MIDI channel MIDI Channel setting (Global 1–1a).
Page 120 Combination mode ▼7–7: Menu Command • 0: Write Combination ☞p.120 • 1: Exclusive Solo ☞p.73 • 2: Copy from Program ☞p.120 • 3: Copy Drum Track ☞p.74 • 4: Erase Drum Track Pattern ☞p.75 For more information, please see “Combination: Menu Command”...
Page 121: Combi P8: Ifx (Insert Effect)
COMBI P8: IFX (Insert Effect) 8–1–1: Routing1 T01–08, 8–1–2: Routing1 T09–16 COMBI P8: IFX (Insert Effect) You can also specify the bus routing for the program used by • Make detailed settings for insert effects each of the timbres, 1–16. For instance, you can: •...
Page 122: 8-1-3: Insert Fx Setup
Combination mode 8–1–3: Insert FX Setup 8–1 –3 8–1 Menu –3a 8–1 –3b 8–1–3a: Combination Name For more information, please see “2–1: EQ Trim T01–08, 2–2: EQ Trim T09–16” on page 93. 8–1–3b: Insert Effect Send1 (MFX1) [000...127] Here, you can choose the type of each insert effect 1 through Send2 (MFX2) [000...127] 5, its on/off status, chaining, and adjust the post-IFX mixer...
Page 123: 8-1-4: Ifx1
COMBI P8–1: IFX 8–1–4: IFX1 Bus: 8–1–4: IFX1 Bus (Bus Select) [Off, L/R] Ctrl (FX Control Bus) [Off, 1, 2] 8–1 –4 8–1 Menu –4a Send1/2: Send1 [000...127] Send2 [000...127] For more information, please see “8–2: Insert FX Setup” on page 66.
Page 124: 8-1-5: Ifx2, 8-1-6: Ifx3, 8-1-7: Ifx4
Insert FX Setup page. You can’t save your own settings here. P01…P15: These contain preset data that Korg plans to provide in the future. We recommend that you store your settings in U00–U15.
Page 125: Combi P8-2: Ifx
COMBI P8–2: IFX 8–2–1: Routing2 T01–08, 8–2–2: Routing2 T09–16 COMBI P8–2: IFX 8–2–1: Routing2 T01–08, 8–2–8: Common FX LFO 8–2–2: Routing2 T09–16 8–2 –8 8–2 Menu –8a 8–2 –1 8–2 Menu –1a 8–2 8–2 –1b –8b 8–2 –1c 8–2 –1d The two Common FX LFOs allow you to synchronize LFO- based modulation for multiple effects, such as phasers, Here you can specify the program oscillator output bus, and...
Page 126: Combi P9: Mfx/Tfx (Master/Total Effect)
Combination mode COMBI P9: MFX/TFX (Master/Total Effect) Here, you can make settings for the master effects and the 9–1c: TFX total effect. For instance, you can: • Route a sound to the master effects and the total effect TFX: • Make detailed settings for master effects and total effect For more information, please see “Effect Guide”...
Page 127: 9-2: Mfx1
P9: MFX/TFX– Routing page. You can’t save your own settings here. P01…P15: These contain preset data that Korg plans to provide in the future. We recommend that you store your settings in U00–U15.
Page 128: Combination: Menu Command
Combination mode Combination: Menu Command ENTER + 0–9: shortcuts for menu com- mands Each page has a set of menu commands, which provide access to different utilities, commands, and options, depending on the page you’re currently on. You can use the menu commands entirely from the touch-screen, by pressing the menu button in the upper right-hand corner of the screen and then selecting an option from the menu that...
Page 129 Combination: Menu Command Copy Tone Adjust TFX: All total effect settings of the copy-source program will Copy Tone Adjust be copied. About the Bus (IFX/Output) Select (Combi 8–1–1(2)d, 8–1– Copy Tone Adjust is available on the Control Surface page 3b) setting when CONTROL ASSIGN is set to TONE ADJUST.
Page 130 Combination mode Reset Tone Adjust Copy Arpeggiator Reset Tone Adjust is available on the Tone Adjust tab of the Copy Arpeggiator is available on the ARP Setup T01–08– play page. Scan Zone tabs of the ARP/DT page. This command affects only the selected Timbre or Track, as This command can copy arpeggiator settings from another opposed to the entire Combination or Song.
Page 131 Combination: Menu Command Copy Insert Effect Copy Insert Effect Write FX Preset This command copies effects settings from Program, This command saves the edited effect into the M50’s internal Combination, or Song. For more information, please see memory. “Copy Insert Effect” on page 76. For more information, please see “Write FX Preset”...
Page 132 Combination mode...
Page 133: Sequencer Mode
Sequencer mode An overview of Sequencer mode Sequencer Mode lets you record and play back MIDI data on keyboard and controllers (including MIDI control sixteen MIDI tracks and one master track (containing tempo events) is recorded as you play, and step recording, in data, etc.), using the internal sound generator or external which the timing, length, and velocity of each note can sound modules.
Page 134 Sequencer mode • You can rewind or fast-forward MIDI Tracks while simultaneously play multiple tracks of performance data listening to the sound. from an external MIDI sequencer. (Normally, you’ll use Combination mode if you want to use the M50 as a master •...
Page 135 An overview of Sequencer mode • To: Drum Track set to Track 10 • Check Recording Setup Multi REC • Check REC for tracks 01 and 10 5. The M50 will automatically enter record-ready mode, and the metronome will sound according to the Metro- nome setting (Seq 0–1–8b).
Page 136: Seq Page Select
Sequencer mode SEQ Page Select • Press the MODE SEQ switch to select Sequencer mode. Page Main content You can use the following ways to select the pages in Song selection, playback, and recording. (☞p.129) Sequencer mode. Program selection for each track. (☞p.131) 1.
Page 137: Seq P0: Play/Rec
SEQ P0: Play/REC 0–1–1: Program T01–08, 0–1–2: Program T09–16 SEQ P0: Play/REC SEQ P0–1: Play/REC Meter [**/**, 1/4…16/4, 1/8...16/8, 1/16...16/16] 0–1–1: Program T01–08, This is the time signature at the current location of the song. The time signature can be changed at each measure. 0–1–2: Program T09–16 **/**: This will be displayed when you press the SEQUENCER REC/WRITE switch.
Page 138 Sequencer mode (Tempo) [040.00...300.00, EXT] This speciﬁes the tempo of the song. This tempo applies to song playback, arpeggiator and drum track function, etc. 040.00…300.00: When the Tempo Mode is Manu (Manual), this tempo will be used for recording and playback. When Tempo Mode is REC, this tempo will be recorded on the master track.
Page 139 SEQ P0–1: Play/REC 0–1–1: Program T01–08, 0–1–2: Program T09–16 Reso (Realtime REC Quantize Resolution) Category (Track Program) [00...17/00...07] [Hi, , , ] Here, you can select a category and sub-category to choose the MIDI track’s program. All programs are organized into With realtime-recording, the timing of the MIDI data you up to 18 categories and 8 sub-categories.
Page 140 Sequencer mode During playback, or for single-track recording (normal ▼0–1–1(2): Menu Command recording), you can only select Play or Mute for tracks— with the exception of the recording track. For multi-track • 0: Memory Status ☞p.191 recording, tracks can be set to Play, Rec, or Mute. •...
Page 141: 0-1-3: Mixer T01-08
SEQ P0–1: Play/REC 0–1–3: Mixer T01–08, 0–1–4: Mixer T09–16 OSC1 OSC1 OSC2 OSC1: OSC2 OSC1: 0–1–3: Mixer T01–08, Amp1 Pan=L001 Amp1 Pan=L032 OSC2: OSC2: Left Center Left Center Right Right Amp2 Pan=R127 Amp2 Pan=R096 0–1–4: Mixer T09–16 Pan (CC#10) Pan (CC#10) C064 C064 L032...
Page 142: 0-1-5: Playloop T01-08
Sequencer mode ▼0–1–3(4): Menu Command 0–1–5: Play Loop T01–08, • 0: Memory Status ☞p.191 0–1–6: Play Loop T09–16 • 1: Exclusive Solo ☞p.73 • 2: Rename Song ☞p.191 0–1 • 3: Delete Song ☞p.191 –5 Menu 0–1 • 4: Copy From Song ☞p.191 –5a •...
Page 143: 0-1-7: Tone Adjust
SEQ P0–1: Play/REC 0–1–7: Tone Adjust Example) 0–1–7: Tone Adjust When “Play Intro” is checked 0–1 0–1 –7 –7a Menu 0–1 –7b 0–1 Track 1 will loop as follows. –7c M001 – M002 – M003 – M004 – M003 – M004 –M003 – M004…...
Page 144 Sequencer mode These settings include the parameters assigned to each Switch On = On slider and switch in the display, along with the on/off state Switch Off = Off assigned to Absolute parameters. The resulting effect of Tone Adjust settings that were saved in Program mode is saved with the program, regardless of Assign the “Auto Load PCG”...
Page 145: 0-1-8: Preferences
SEQ P0–1: Play/REC 0–1–8: Preferences ▼0–1–7: Menu Command 0–1–8: Preferences • 0: Memory Status ☞p.191 • 1: Exclusive Solo ☞p.73 0–1 –8 • 2: Rename Song ☞p.191 Menu 0–1 • 3: Delete Song ☞p.191 –8a • 4: Copy From Song ☞p.191 •...
Page 146 Sequencer mode Recording will end, and the location will return to the point 7. Press the SEQUENCER START/STOP switch. at which you begin recording. Playback will stop, and you will return to the location that If you press the PAUSE switch instead of the SEQUENCER you speciﬁed in step 3.
Page 147 SEQ P0–1: Play/REC 0–1–8: Preferences 3. In “M (Loop Start Measure), “M (Loop End Measure)” Multi REC [Off, On] specify the area that you wish to record. On (checked): Multi-track recording setup is enabled. Select For example, if you specify M004–M008, recording will this if you want to record two or more tracks occur repeatedly (as a loop) from measure 4 to measure 8.
Page 148 Sequencer mode Recording multiple MIDI tracks from an external 5. In the P3: Track Param– MIDI T01–08 and T09–16 page, use MIDI Channel to specify the MIDI channel of each sequencer track. 1. Make sure that the MIDI OUT of your external Set the MIDI channel of each M50 track to match the MIDI sequencer is connected to the MIDI IN of the M50.
Page 149 SEQ P0–1: Play/REC 0–1–8: Preferences ▼0–1–8: Menu Command • 0: Memory Status ☞p.191 • 1: Exclusive Solo ☞p.73 • 2: Rename Song ☞p.191 • 3: Delete Song ☞p.191 • 4: Copy From Song ☞p.191 • 5: Load Template Song ☞p.191 •...
Page 150: Seq P0-2: Play/Rec Control
Sequencer mode SEQ P0–2: Play/REC Control 0–2–1(2)c: Arpeggiator A (B) 0–2–1: ARP A (Arpeggiator A), Pat (Pattern) [P0...P4, U0000(INT)...U0899(INT), 0–2–2: ARP B (Arpeggiator B) U0900(USER)...U1027(USER)] Here, you can make arpeggiator settings for the song. A Octave [1, 2, 3, 4] song can run two arpeggiators simultaneously.
Page 151: 0-2-8: Control Surface
SEQ P0–2: Play/REC Control 0–2–8: Control Surface Resetting a group of controls 0–2–8: Control Surface 1. Use the display’s Control Assign or the front panel CONTROL ASSIGN switches to access the controllers The control surface consists of the four knobs located in the you want to reset.
Page 152: Realtime Control
Sequencer mode CC scaling of parameters Realtime Control 0–2 0–2 Parameter –8 –8a Value Menu 0–2 –8b As Programmed 0–2 –8c CC Value Knob 1–A: Filter Cutoff (CC#74) [000…127] This slider scales the cutoff frequencies of Filters A and B, Realtime Control lets you use the four knobs to edit the and transmits and receives MIDI CC #74.
Page 153: External
MIDI– External Mode 1, 2 pages. For instance, you might make one setup for controlling several different pieces of MIDI gear on stage, another for controlling a software synthesizer (such as one of Korg’s Legacy Collection synths), and so on. These External setups are completely separate from the Program.
Page 154: Arp
Sequencer mode Arpeggio control lets you use the four knobs to control the two arpeggiators in real time. 0–2 0–2 –8 –8a Menu 0–2 –8b 0–2 –8e 0–2–8b: Control Assign Control Assign [Realtime Control, External, ARP] This selects the items that will be controlled by the control surface.
Page 155: Seq P1: Controllers
SEQ P1: Controllers 1–1: Controllers Setup SEQ P1: Controllers SW2 (SW2 Assign) [Off, ..., JS-Y Lock] 1–1: Controllers Setup Mode (SW2 Mode) [Toggle, Momentary] This assigns the function of SW2. The functions that can be 1–1 assigned to SW2 are the same as for SW1, with the Menu substitution of SW2 Mod.
Page 156: 1-2: Chord Trigger Setup
Sequencer mode 1–2: Chord Trigger Setup T01: Piano T02: Strings 1–2 Menu T03: Bell 1–2a T01: Piano T02: Strings Arpeggiator A For each song, you can assign the note numbers and velocities that will be produced by chord trigger switches 1– T03: Bell Arpeggiator B 4.
Page 157: Seq P2: Eq
SEQ P2: EQ 2–1: Trim T01–08, 2–2: Trim T09–16 SEQ P2: EQ Input Trim [00…99] 2–1: Trim T01–08, This controls the volume level going into the EQ. Note that this parameter uses a linear scale; 50 is equivalent to –6 dB, 2–2: Trim T09–16 25 is the same as –12 dB, and so on.
Page 158: 2-3: Eq T01-08, 2-4: Eq T09-16
Sequencer mode ▼2–3(4): Menu Command 2–3: EQ T01–08, • 0: Memory Status ☞p.191 2–4: EQ T09–16 • 1: Exclusive Solo ☞p.73 • 2: Rename Song ☞p.191 2–3 Menu • 3: Delete Song ☞p.191 2–3a 2–3b • 4: Copy From Song ☞p.191 •...
Page 159: Seq P3: Track Param (Track Parameters)
SEQ P3: Track Param (Track Parameters) 3–1: MIDI ch T01–08, 3–2: MIDI ch T09–16 SEQ P3: Track Param (Track Parameters) transmitted to an external device, but the internal tone 3–1: MIDI ch T01–08, generator of the M50 will not sound. When you select another song or return to the beginning of 3–2: MIDI ch T09–16 the song, the program change, volume, panpot, portamento,...
Page 160: 3-3: Osc T01-08, 3-4: Osc T09-16
Sequencer mode ▼3–1(2): Menu Command 3–3: OSC T01–08, • 0: Memory Status ☞p.191 3–4: OSC T09–16 • 1: Exclusive Solo ☞p.73 • 2: Rename Song ☞p.191 3–3 • 3: Delete Song ☞p.191 Menu 3–3a • 4: Copy From Song ☞p.191 •...
Page 161: 3-5: Pitch T01-08, 3-6: Pitch T09-16
SEQ P3: Track Param (Track Parameters) 3–5: Pitch T01–08, 3–6: Pitch T09–16 Portamento [PRG, Off, 001...127] 3–5: Pitch T01–08, Make portamento settings for each MIDI track. The portamento setting you make here will be used when 3–6: Pitch T09–16 the song is played or recorded from the beginning. If you change the setting while recording, it will be recorded as 3–5 part of the musical data.
Page 162: 3-7: Other T01-08, 3-8: Other T09-16
Sequencer mode Bend Range [PRG, –24...+00...+24] 3–7: Other T01–08, Speciﬁes the amount of pitch change that will occur when the pitch bender is operated, in semitone units. 3–8: Other T09–16 PRG: The pitch range speciﬁed by the program will be used. –24…+24: This setting will be used regardless of the setting 3–7 in the program.
Page 163 SEQ P3: Track Param (Track Parameters) 3–7: Other T01–08, 3–8: Other T09–16 ▼3–7(8): Menu Command • 0: Memory Status ☞p.191 • 1: Exclusive Solo ☞p.73 • 2: Rename Song ☞p.191 • 3: Delete Song ☞p.191 • 4: Copy From Song ☞p.191 •...
Page 164: Seq P4: Zones/Delay
Sequencer mode SEQ P4: Zones/Delay 4–1(2)d: Keyboard Zones 4–1: Key Z T01–08, 4–2: Key Z T09–16 Track 01 (Track Number): (Keyboard Zones T01–08, T09–16) Top Key [C–1...G9] Speciﬁes the top key (upper limit) of the notes that will 4–1 sound for each MIDI track. Menu Top Slope [00, 01, 02, 03, 04, 06, 08, 10,...
Page 165: 4-3: Vel Z T01-08, 4-4: Vel Z T09-16
SEQ P4: Zones/Delay 4–3: Vel Z T01–08, 4–4: Vel Z T09–16 (Velocity Zones T01–08, T09–16) Top Key and Bottom Key settings can also be input by 4–3: Vel Z T01–08, holding down the ENTER switch and playing a note on the keyboard.
Page 166: 4-5: Delay T01-08, 4-6: Delay T09-16
Sequencer mode Bottom Slope [0…120] 4–5: Delay T01–08, Speciﬁes the number of velocity steps over which the original volume will be reached, starting from the Bottom 4–6: Delay T09–16 Velocity. 0: The volume will be at the original value from the bottom 4–5 velocity.
Page 167 SEQ P4: Zones/Delay 4–5: Delay T01–08, 4–6: Delay T09–16 Track 02...08, 09...16 (Track Number): These are the delay time settings for MIDI tracks 2–8 and 9– 16. They are the same as for track 1. For more information, please see “Track 01 (Track Number):,” above. ▼4–5(6): Menu Command •...
Page 168: Seq P5: Midi Filter
Sequencer mode SEQ P5: MIDI Filter Here, you can select whether or not to apply ﬁltering to the dynamic modulation function is not affected by these MIDI data received by MIDI tracks 1–16. For example even settings.) if two tracks are receiving the same MIDI channel, one can Settings that regulate MIDI transmission/reception of the be set to respond to damper pedal activity while the other M50 itself are made in MIDI Filter (Global 1–2b).
Page 169: 5-1-3: -2 T01-08, 5-1-4: -2 T09-16
SEQ P5–1: MIDI Filter 1 5–1–3: –2 T01–08, 5–1–4: –2 T09–16 ▼5–1–3(4): Menu Command 5–1–3: –2 T01–08, • 0: Memory Status ☞p.191 5–1–4: –2 T09–16 • 1: Exclusive Solo ☞p.73 • 2: Rename Song ☞p.191 5–1 5–1 –3 • 3: Delete Song ☞p.191 –3a Menu •...
Page 170: 5-1-5: -3 T01-08, 5-1-6: -3 T09-16
Sequencer mode ▼5–1–5(6): Menu Command 5–1–5: –3 T01–08, • 0: Memory Status ☞p.191 5–1–6: –3 T09–16 • 1: Exclusive Solo ☞p.73 • 2: Rename Song ☞p.191 5–1 5–1 –5 • 3: Delete Song ☞p.191 –5a Menu • 4: Copy From Song ☞p.191 5–1 –5b •...
Page 171: 5-1-7: -4 T01-08, 5-1-8: -4 T09-16
SEQ P5–1: MIDI Filter 1 5–1–7: –4 T01–08, 5–1–8: –4 T09–16 ▼5–1–7(8): Menu Command 5–1–7: –4 T01–08, • 0: Memory Status ☞p.191 5–1–8: –4 T09–16 • 1: Exclusive Solo ☞p.73 • 2: Rename Song ☞p.191 5–1 5–1 –7 • 3: Delete Song ☞p.191 –7a Menu •...
Page 172: Seq P5-2: Midi Filter 2
Sequencer mode SEQ P5–2: MIDI Filter 2 ▼5–2–1(2): Menu Command 5–2–1: –5 T01–08, • 0: Memory Status ☞p.191 5–2–2: –5 T09–16 • 1: Exclusive Solo ☞p.73 • 2: Rename Song ☞p.191 5–2 5–2 –1 • 3: Delete Song ☞p.191 –1a Menu •...
Page 173: 5-2-3: -6 T01-08, 5-2-4: -6 T09-16
SEQ P5–2: MIDI Filter 2 5–2–3: –6 T01–08, 5–2–4: –6 T09–16 5–2–3: –6 T01–08, 5–2–4: –6 T09–16 5–2 5–2 –3 –3a Menu 5–2 –3b 5–2 –3c 5–2–3(4)a: Track Select, Tempo, RPPR 5–2–3(4)b: Track Info For more information, please see “2–1: Trim T01–08, 2–2: Trim T09–16”...
Page 174: Seq P6: Track Edit
Sequencer mode SEQ P6: Track Edit 6–1c: Track data Map, From Measure, To 6–1: Track Edit End of Measure 6–1 Track data Map Menu This area shows the presence or absence of performance 6–1a data, and indicates the edit range, etc. The currently selected Track will be highlighted.
Page 175: 6-2: Track Name
SEQ P6: Track Edit 6–2: Track Name 6–2: Track Name 6–2 Menu 6–2a 6–2b 6–2c Here, you can assign a name to each track. 6–2a: Location, Meter, Tempo, Tempo Mode, Song Select, Track Select, Reso, RPPR 6–2b: Track Info For more information, please see “0–1–1(2)a: Location, Meter, Tempo, Tempo Mode, Song Select, Track Select, Reso, RPPR”...
Page 176: Seq P7: Arp/Dt (Arpeggiator/Drumtrack)
Sequencer mode SEQ P7: ARP/DT (Arpeggiator/DrumTrack) Here, you can specify how the arpeggiator will operate in 7–1: ARP Setup T01–08, Sequencer mode. These settings can be made for each song. In Sequencer mode (as in Combination mode), you can run 7–2: ARP Setup T09–16 the two arpeggiators simultaneously.
Page 177 SEQ P7: ARP/DT (Arpeggiator/DrumTrack) 7–1: ARP Setup T01–08, 7–2: ARP Setup T09–16 Example 1) If you want the note data generated by the arpeggiator to be recorded on the external sequencer, turn Local On tracks 1 and 2, set MIDI Channel (Seq 3–1(2)c) to 01 and Control ON, and turn off the echo back function of the Status (Seq 3–1(2)c) to INT.
Page 178: 7-3: Arpeggiator-A, 7-4: Arpeggiator-B
Sequencer mode ▼7–3(4): Menu Command 7–3: Arpeggiator–A, • 0: Memory Status ☞p.191 7–4: Arpeggiator–B • 1: Exclusive Solo ☞p.73 • 2: Rename Song ☞p.191 7–3 • 3: Delete Song ☞p.191 Menu 7–3a • 4: Copy From Song ☞p.191 • 5: Load Template Song ☞p.191 7–3b •...
Page 179: 7-5: Arp Scan Zone
SEQ P7: ARP/DT (Arpeggiator/DrumTrack) 7–5: ARP Scan Zone ▼7–5: Menu Command 7–5: ARP Scan Zone • 0: Memory Status ☞p.191 These settings specify the note and velocity ranges that will • 1: Exclusive Solo ☞p.73 operate arpeggiators A and B. •...
Page 180: 7-7: Drum Track
Sequencer mode 7–7a: Drum Pattern 7–7: Drum Track Pattern [Preset, User] 1–1 [(Preset): P000...671, (User): U000...U999] Menu 1–1a This selects the drum pattern. Preset/User No. Contents 1–1b P000 P000...671 Preset drum patterns U000...U999 For user/preloaded drum patterns 1–1c • U000–U999 can be store user patterns. Patterns you create in Sequencer mode can be converted into user drum patterns.
Page 181: Synchronizing The Drum Track Function
SEQ P7: ARP/DT (Arpeggiator/DrumTrack) Synchronizing the Drum Track function Sync [Off, On] Synchronizing the Drum Track function Off: The drum pattern will not synchronize to the currently- running arpeggiator, but will start immediately. The Trigger “Sync” parameter On: The drum pattern will synchronize to the currently- The trigger timing of a drum track will depend on the running arpeggiator.
Page 182 Sequencer mode Synchronization with song stop Synchronization with a song in Sequencer mode • When you press the SEQUENCER START/STOP switch, the Drum Track function and the sequencer will stop . • If you want the Drum Track function to start simultaneously with the beginning of recording, press the DRUM TRACK ON/OFF switch during the pre- count before recording (if the Trigger Mode is set to...
Page 183: Seq P8: Ifx (Insert Effect)
SEQ P8: IFX (Insert Effect) 8–1–1: Routing1 T01–08, 8–1–2: Routing1 T09–16 SEQ P8: IFX (Insert Effect) You can also specify the bus routing for the program used by • Make detailed settings for insert effects each MIDI track 1–16. For instance, you can: •...
Page 184: 8-1-3: Insert Fx Setup
Sequencer mode Insert Effect: 8–1–3: Insert FX Setup IFX1...4 [000...170] IFX5 [000...153] 8–1 8–1 –3 –3a Menu IFX1...5: IFX On/Off [Off, On] Chain: IFX1: Chain to [IFX2...IFX5] 8–1 –3b IFX2: Chain to [IFX3...IFX5] IFX3: Chain to [IFX4...IFX5] IFX1: Chain [Off, On] IFX2: Chain [Off, On] IFX3: Chain...
Page 185: 8-1-4: Ifx1
Insert FX Setup page. You can’t save your own settings here. P01…P15: These contain preset data that Korg plans to provide in the future. We recommend that you store your settings in U00–U15.
Page 186: Seq P8-2: Ifx Route 2
Sequencer mode SEQ P8–2: IFX Route 2 8–2–1: Routing2 T01–08, 8–2–8: Common FX LFO 8–2–2: Routing2 T09–16 8–2 –8 Menu 8–2 –1 8–2 Menu 8–2 –8a –1a 8–2 –1b 8–2 8–2 –1c –8b 8–2 –1d The two Common FX LFO 1, 2 allow you to synchronize LFO-based modulation for multiple effects, such as phasers, Here, you can specify the buses, and effect control bus, for ﬂangers, ﬁlters, and so on.
Page 187 SEQ P8–2: IFX Route 2 8–2–8: Common FX LFO ▼8–2–8: Menu Command • 0: Memory Status ☞p.191 • 1: Exclusive Solo ☞p.73 • 2: Copy Insert Effect ☞p.76 • 3: Swap Insert Effect ☞p.76 • 4: FF/REW Speed ☞p.192 • 5: Set Location (Set Location for Locate Key) ☞p.192 •...
Page 188: Seq P9: Mfx/Tfx (Master/Total Effect)
Sequencer mode SEQ P9: MFX/TFX (Master/Total Effect) Here, you can adjust the settings for the master effects and 9–1c: TFX the total effect. For instance, you can: • Route a sound to the master effects and the total effect TFX: •...
Page 189: 9-2: Mfx1
P9: MFX/TFX– Routing page. You can’t save your own settings here. P01…P15: These contain preset data that Korg plans to provide in the future. We recommend that you store your settings in U00–U15.
Page 190: Seq P10: Pattern/Rppr
Sequencer mode SEQ P10: Pattern/RPPR Here, you can record and edit patterns, assign patterns to 10–1a: Location, Song Select, Track tracks of a song, and make RPPR (Realtime Pattern Play/ Select Recording) settings. You can also convert drum track patterns for use in Program, or other modes. Location [01...99] •...
Page 191 SEQ P10: Pattern/RPPR 10–1: Pattern Edit Control data in pattern recording 10–1c: USED IN SONG TRACK, To record control data in a pattern, you should restore USED IN RPPR the control data to its normal value within the pattern. If you fail to restore the normal value, unnecessary USED IN SONG TRACK control data may remain in a “stuck”...
Page 192: 10-2: Pattern Name
Sequencer mode 10–2: Pattern Name 10–3: RPPR Setup 10–2 10–3 Menu Menu 10–3a 10–3b 10–2a Here, you can adjust the settings for the RPPR (Realtime Pattern Play/Recording) function. RPPR lets you assign 10–2a: Location, Song Select, Track patterns to individual keys, and then play back patterns Select simply by pressing individual notes on the keyboard.
Page 193 SEQ P10: Pattern/RPPR 10–3: RPPR Setup The Master Track setting is ignored. The last-selected Measure: The pattern will synchronize to the measures of Track 01–16 will be used. the pattern that was started by the ﬁrst key. This setting is suitable for rhythm, bass or drum patterns.
Page 194: Recording An Rppr Performance
Sequencer mode Pattern Bank [Preset, User] Recording an RPPR performance Pattern [P000...671, U00...99] • You can record RPPR performances in real time. Selects the RPPR pattern for the key selected in KEY. If the • If you are using only one track (such as MIDI Track 01), selected user pattern contains no musical data, there will be set Track Select to the desired track, and un-check Multi no sound when you press that key.
Page 195 SEQ P10: Pattern/RPPR 10–3: RPPR Setup 5. Since you want the tracks you play via RPPR and the track you play from the keyboard to be recorded at the same time, check the Multi REC check box. Note: If Recording Setup is set to Loop All Tracks, it will not be possible to select Multi REC.
Page 196: Seq P11: Cue List
Sequencer mode SEQ P11: Cue List The cue list allows playback of multiple songs in succession. Tempo Mode [Auto, Manu] You can specify a number of repetitions for each song. Auto: Playback will follow the tempo speciﬁed by each song The M50 allows you to create twenty cue lists.
Page 197 SEQ P11: Cue List 11–1: Cue List With these settings, the effects will be set before 11–1b: Cue List playback begins, so there will be no time lag to interrupt the smooth transition between songs. Selected Step Information Although it is not possible to change the effect types in the middle of a cue list, you can use the dynamic This shows information on the currently selected or playing modulation function or MIDI control changes (effect...
Page 198 Sequencer mode What to do when playing back a cue list Converting a cue list into a song and the songs do not transition smoothly Although it is not possible to record additional material onto tracks in a cue list, you can convert a cue list to a song, and Different effect settings from song to song, and dense then record solos etc.
Page 199: Sequencer: Menu Command
Sequencer: Menu Command Memory Status Sequencer: Menu Command Tip: While this command is active, the ENTER switch will Copy From Song operate as the OK button and the EXIT switch will operate as the Cancel button. This command copies all of the setting data and musical data from the speciﬁed song to the currently selected song.
Page 200 Sequencer mode FF/REW Speed This allows you to set the speed at which fast-forward or rewind will occur when you press the FF switch or REW switch. This dialog box is the same as in the menu command Copy To Track. 3.
Page 201 Sequencer: Menu Command GM Initialize In Sequencer mode, when a GM System On message is GM Initialize received from an external device, or if a GM System On message is recorded in the sequence data, the M50 will This command transmits a GM System On message to the be reset to settings appropriate for GM just as if you Sequencer mode, resetting all tracks to the GM settings.
Page 202 Sequencer mode If the recorded performance is not reproduced Copy From Combi (Copy from correctly during playback Combination) If you use the menu command Copy From Combi to copy the settings of a combination, and then perform multi-track This command copies the parameters of the speciﬁed recording with the arpeggiator turned on, there may be combination to the setting data of the currently selected cases in which the performance during recording is not...
Page 203: Step Recording
Sequencer: Menu Command Copy from Program *b Correction is necessary only if the tracks operated by a Reset Tone Adjust single arpeggiator are using only “MIDI Channel” 01. In some cases, correction may also be necessary if the two For more information, please see “Reset Tone Adjust” on arpeggiators use the same MIDI channel.
Page 204 Sequencer mode • Inputting rests Press the Rest button to input a rest of the length speciﬁed in step 4. • Inputting a tie If you press the Tie button without pressing the keyboard, the previously-input note will be tied, and lengthened by Time the amount speciﬁed in step 4.
Page 205 Sequencer: Menu Command Event Edit For Note you can set Bottom and Top to specify the range of notes available for editing. Normally you will leave these set at C–1 and G9. Control Change lets you specify the control change number. Normally you will leave this set at All.
Page 206 Sequencer mode Set Song Length Bounce Track This command changes the length of the speciﬁed song. This command combines the musical data of the source and When it is executed, the length of the master track will destination tracks, and places the combined data in the change, and the number of measures played will change.
Page 207: Delete Measure
Sequencer: Menu Command Delete Measure If you execute with All Tracks unchecked, the command If in step 4 you uncheck All Tracks and execute this will be executed only on the data of the track you selected in operation, the measures will not be deleted from the Track Select”...
Page 208 Sequencer mode according to the number of inserted measures, but the time toward the end of the song) by the number of inserted signature and tempo will not move. measures, but the time signature and tempo will not move. If you check All Tracks, the measures will be inserted into If you execute with All Tracks checked, the performance all tracks including the Master Track.
Page 209 Sequencer: Menu Command Move Measure Move Measure Create Control Data This command moves the speciﬁed measures of This command creates the speciﬁed type of data (control performance data to another measure. change, aftertouch, pitch bend, or tempo) in the selected region of a track.
Page 210 Sequencer mode Erase Control Data This command erases data such as control changes, after touch, pitch bend, or tempo in the speciﬁed range. 1. In Track Select, select the track from which you wish to erase control data. If you wish to erase tempo data, select Master Track. In this case, the Kind item in step 4 will be Tempo.
Page 211 Sequencer: Menu Command Shift/Erase Note 6. Select either Replace to move the note numbers, or Cre- ate to generate additional notes. Original For example if you are editing a track that uses a drum program, you can use Replace to exchange the current snare 100% 100% 100%...
Page 212 Sequencer mode Note: If you switch effects during a song, you should also For a Start Velocity of 1 and End Velocity of 127 use this command to insert an effect change at the beginning Curve 1 Curve 2 Curve 3 of the track (Measure 001, Beat.Tick 01.000) to select the effect that will be used from the beginning.
Page 213 Sequencer: Menu Command Put Effect Setting to Track If you set Track Select to Track 02, you’ll be able to monitor 2) Using the song’s own effect settings from the beginning of the song, and inserting effect settings from elsewhere into the middle of the song 2.
Page 214: Copy Pattern
Sequencer mode 4. In Meter, specify the time signature of the pattern. Step Recording (Loop Type) However, this time signature is only temporary, and when you “put” or “copy” the pattern in a track of a song, the Here, you can perform step recording into a pattern. pattern will play according to the time signature of that This is available when a user pattern is selected.
Page 215 Sequencer: Menu Command Bounce Pattern Bounce Pattern Put To Track This command combines the musical data of a source This command places a pattern into a track. pattern and a destination pattern, and places the combined Unlike the Copy to Track, this command only places the musical data in the destination.
Page 216 Sequencer mode Copy To Track This command copies the speciﬁed area of musical data from the speciﬁed pattern to a track as musical data. Unlike the Put To Track command, this command actually writes the musical data of the pattern into the track, so that you can edit the copied data in the track.
Page 217 Sequencer: Menu Command Load Drum Track Pattern Load Drum Track Pattern Convert to Song (Convert Cue List to Song) This command loads a user drum track pattern into a user pattern. This command converts a cue list consisting of multiple If you want to edit a user drum track pattern, you must ﬁrst songs to a single song.
Page 218: Copy Song
Sequencer mode The following data will be converted. When you execute Convert to Song to convert a cue list to a song, the repeat settings within the cue list and the Program Select, Pan, Volume, Portamento, Track1–16 pattern and track play loop settings of the songs used by Detune, Bend Range the cue list will all be converted into events such as note Master Track...
Page 219: Mode
System Exclusive events supported in Sequencer mode Copy Song System Exclusive events supported in Sequencer mode You can record and play back System Exclusive events, and edit tracks that contain System Exclusive events. SysEx messages that can be recorded in real-time The following exclusive messages can be recorded in real-time: •...
Page 220 Sequencer mode Select another effect for IFX1 in the P8–1: IFX– Insert FX Recording internal parameter changes Setup page, and edit the effect parameter values, or use the P0–1: Play/REC– Tone Adjust controls to edit the sound in You can use SysEx for automation of internal M50 effects realtime.
Page 221: M50 Sequencer File Formats
System Exclusive events supported in Sequencer mode M50 sequencer file formats M50 sequencer ﬁle formats The M50 sequencer supports both the proprietary M50 Song format, and Standard MIDI Files. If you like, you can convert data between the two formats, simply by loading the data in one format and then saving it in the other.
Page 222 Sequencer mode...
Page 223: Global Mode
Global mode In Global mode, you can make settings that affect the entire Page Main content instrument, such as master tuning, MIDI, and memory P0: Basic Setup Basic overall settings. (☞p.216) protect. MIDI settings for this instrument. (☞p.220) P1: MIDI You can also edit user scales, drum kits, and user arpeggio External Mode settings.
Page 224: Global P0: Basic Setup
(Combination mode) or track (Sequencer mode). piano. This setting is particularly recommended for the Incoming MIDI RPN Fine Tune messages will make M50-88. relative adjustments to the tuning speciﬁed by the Master Tune setting.
Page 225 Global P0: Basic Setup 0–1: Basic Aftertouch Curve (MIDI IN) [1…8] 0–1b: Effect Global SW This speciﬁes the way in which incoming aftertouch data will affect the volume or tone when Convert Position IFX 1–5 Off [Off, On] (Global 1–1a) is set to PostMIDI. On (checked): All insert effects IFX1–5 will be off.
Page 226: 0-2: System Preference
The bank select messages shown in the table below will be received (R) and transmitted (T) for Program banks A–E, GM, g(1)…g(9), g(d) and Combination banks A–D. Bank Bank Map: KORG Map: GM(2) 00. 00 R/T 63. 00 R/T 00. 01 R/T 63.
Page 227 Global P0: Basic Setup 0–2: System Preference ▼0–2: Menu Command 0–2b: Memory Protect • 0: Write Global Setting ☞p.251 Program [Off, On] • 1: Load Preload/Demo Data ☞p.251 This setting protects the internal program memory. • 2: Change all bank references ☞p.251 On (checked): Internal program memory will be protected, •...
Page 228: Global P1: Midi
Global mode Global P1: MIDI MIDI output when playing the M50 1–1: MIDI Basic 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 1–1 Menu on the MIDI channels of timbres whose Status (Combi 3–...
Page 229: Midi Clock
Global P1: MIDI 1–1: MIDI Basic MIDI Clock: MIDI Clock (MIDI Clock Source) Sequencer [Internal, External MIDI, External USB, Auto] Local Record Control Tone Use this setting to synchronize the M50’s arpeggiator and generator internal sequencer with an external MIDI device (e.g., Arpeggiator Local MIDI IN...
Page 230: Drum Track
Global mode SEQ Mode: * Applicable parameters • Pan: CC#10 pan Track MIDI Out • Volume: CC#7 volume [for Master, for External Sequencer] • Send 1/2: CC#93 send 1 level, CC#91 send 2 level This setting speciﬁes what will be transmitted via MIDI when you switch songs in Sequencer mode.
Page 231: 1-2: Midi Routing
Global P1: MIDI 1–2: MIDI Routing 1–2b: MIDI Filter 1–2: MIDI Routing Enable Program Change [Off, On] 1–2 On (checked): Program changes will be transmitted and Menu received. In Program mode (P0: Play), the program will be switched 1–2a when a program change message is received on the global MIDI channel speciﬁed by MIDI Channel (Global 1–1a).
Page 232: 1-3: External Mode 1
MIDI gear on stage, another for controlling a On (checked): System Exclusive data will be transmitted software synthesizer (such as one of Korg’s Legacy and received. Collection synths), and so on.
Page 233 Global P1: MIDI 1–3: External Mode 1 ▼1–3: Menu Command Using external setup • 0: Write Global Setting ☞p.251 Note: Before you continue, adjust your settings so that the M50 can send MIDI data to your computer application or • 1: Dump Program ☞p.253 MIDI device.
Page 234: External Setups
Global mode External setups 1–4: External Mode 2 The content that you edit in Global mode is preserved 1–4 until you turn off the power, but will be lost when the Menu 1–4a power is turned off. To save your settings, execute Write Global Setting (or Update Global setting).
Page 235 Global P1: MIDI 1–4: External Mode 2 ▼1–4: Menu Command • 0: Write Global Setting ☞p.251 • 1: Dump Program ☞p.253 • 2: Dump Combination ☞p.253 • 3: Dump Drum Kit ☞p.253 • 4: Dump Arpeggio Pattern ☞p.253 • 5: Dump Global Setting ☞p.253 •...
Page 236: Global P2: Controllers
DAMPER jack. 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. (–) KORG Standard: Use this setting for “open-type”...
Page 237: 2-2: Midi Cc# Assign
Global P2: Controllers 2–2: MIDI CC# Assign Note: With the Program Up/Down method, you won’t be 2–2: MIDI CC# Assign able to select programs while the Bank/Program Select or Category/Program Select menus are open. Use the “Assigning the footswitch to Value Inc/Dec” method 2–2 described below.
Page 238 Global mode 2–2b: Chord Trigger Switches (CC and Note) SW 1 [Off, C–1...G9, CC#000...CC#119] SW 2 [Off, C–1...G9, CC#000...CC#119] SW 3 [Off, C–1...G9, CC#000...CC#119] SW 4 [Off, C–1...G9, CC#000...CC#119] These assign note numbers or control change messages to chord trigger switches 1–4. For more information, please see “Chord Trigger SW MIDI Out”...
Page 239: Global P3: Scales
Global P3: Scales 3–1: Scales Global P3: Scales 3–1b: User All Notes Scale 3–1: Scales Tune [–99…+99] 3–1 Makes independent pitch settings for each of the 128 notes. Menu Adjust the pitch of each of the 128 notes (C–1 – G9) in one- cent steps.
Page 240: Global P4: Category
Global mode Global P4: Category Programs, and Combinations are organized into categories ▼4–1: Menu Command and sub-categories. • 0: Write Global Setting ☞p.251 Categories make it easy to ﬁnd a particular type of instrument, such as keyboard, bass, or drums, or a speciﬁc For more information, please see “Global: Menu Command”...
Page 241: Global P5: Drum Kit
Global P5: Drum Kit 5–1: Sample Setup Global P5: Drum Kit Here, you can create drum kits by assigning a drum 5–1: Sample Setup instrument (drum sample) to each key. A drum kit you edit here can be used in the same way as a multisample oscillator (when Oscillator Mode is Single or 5–1 Double) and processed through the ﬁlter, amp, and effects...
Page 242 Global mode The location at which reverse playback starts and ends is 5–1b: Drumsample already speciﬁed for each drum sample. Off (unchecked): The drum sample will play back normally. You can specify up to four drum samples. The process is the same as for the Single or Double multisample settings in Ofs (Start Offset) [Off, 1st…8th]...
Page 243: 5-2: Sample Parameters
Global P5: Drum Kit 5–2: Sample Parameters Lyr(Layer) means that the two drum samples will be layered 5–2: Sample Parameters together, both at full volume, for the entire range of the crossfade. Crossfade Curves 5–2 Menu 5–1a Volume 5–2a Velocity Here, you can adjust the transpose, tune, attack, decay, ﬁlter cutoff, and resonance settings for each drum sample.
Page 244: 5-3: Driver/Eq
Global mode DS2(M Hi): (Drumsample2 Mid High) 5–3: Driver/EQ DS3(M Lo): (Drumsample3 Mid Low) DS4(Low): (Drumsample4 Low) 5–3 Menu 5–1a Here, you can edit the sample parameters for the second, third, and fourth drum samples. For more information, please see “DS1 (High): (Drumsample 1 High),” above. ▼5–2: Menu Command 5–3a •...
Page 245: 5-4: Voice/Mixer
Global P5: Drum Kit 5–4: Voice/Mixer ▼5–3: Menu Command 5–4: Voice/Mixer • 0: Write Drum Kits ☞p.255 • 1: Rename Drum Kit ☞p.255 5–4 Menu • 2: Copy Drum Kit ☞p.255 5–1a • 3: Copy Key Setup ☞p.255 • 4: Swap Key Setup ☞p.255 5–4a For more information, please see “Global: Menu Command”...
Page 246 Global mode Send1 (to MFX1) [000...127] 5–4b: Mixer Send2 (to MFX2) [000...127] In Program mode, Drum kits will sound using the For each key, specify the send levels to master effects 1 and settings of the selected program. Pan is valid if Use DKit Setting (Prog 4–1c) is checked.
Page 247: 5-8: Velocity Split
Global P5: Drum Kit 5–8: Velocity Split 5–8: Velocity Split Editing Drum Kits 5–8 Menu Before you start editing… 5–1a Drum Program selection Drum Kits are edited in Global mode. While you’re in 5–8a Global mode, you’ll play the kit that you’re editing as if you were playing it from within the Program, Combination, or Song which was selected before you entered Global mode.
Page 248: Creating A Drum Kit
Global mode Creating a velocity crossfade Creating a Drum Kit For this key, let’s create a simple velocity crossfade between two stereo drumsamples. Specifying the key to which you will assign a drumsample 1. On the left side of the page, make sure that DS1 and DS2 are turned On.
Page 249 Global P5: Drum Kit Editing Drum Kits Using Hold The Program Hold parameter can be especially useful for drum programs, since it lets the samples ring out naturally regardless of how long you hold down the note. The way that this works depends on settings in both the Program and the Drum Kit, as described below.
Page 250: Saving Drum Kits
Global mode Controlling pan for each key To use separate pan settings for each key: 1. Access the Prog P4: Amp/EQ– Amp1/Driver1 page. 2. Under Pan, make sure that the Use DKit Setting check- box is checked. When Use DKit Setting is on, the Program will use the pan settings for each key of the Drum Kit.
Page 251: Global P6: Arpeggio Pattern
Global P6: Arpeggio Pattern 6–1: Pattern Setup Global P6: Arpeggio Pattern Here, you can create user arpeggio patterns. 6–1: Pattern Setup In this page, the M50 will continue to sound as it did before entering Global mode. 6–1 If you entered Global mode from Program mode: Your Menu editing will apply to the arpeggio pattern that is selected by 6–1a...
Page 252 Global mode Example) 6–1b: Octave, Resolution, Sort, Latch, Key If you set Length to 04, Step No. 01 to Tone0, Step No. 02 Sync., Keyboard to Tone1, Step No. 03 to Tone2, Step No. 04 to Tone3, and simultaneously play three notes to produce an arpeggio, Octave [1, 2, 3, 4] the following results will be produced depending on the...
Page 253: 6-2: Pattern Edit
Global P6: Arpeggio Pattern 6–2: Pattern Edit This setting is valid when the Program, Combination, or 6–2: Pattern Edit Song parameter “Gate” (Program P7: 7–1b, Combination P7: 7–3(4)c, Sequencer P7: 7–3(4)c) is set to Step. When making this setting, make sure that “Gate” is set to Step in the Here, you can input Tones 0–11 for each step 01 to 48.
Page 254: Creating A User Arpeggio Pattern
Global mode If a blank pattern is selected, playing the keyboard will Creating a user arpeggio not start an arpeggio. Although preset arpeggio patterns P0–P4 can be selected, they cannot be edited. pattern When you edit a user arpeggio pattern, the changes will have an effect anytime that this pattern is used in Program, Combination, or Song.
Page 255 Global P6: Arpeggio Pattern Other examples of creating a user arpeggio pattern Tone00–09: 0–9 switches were speciﬁed for each individual step will be ignored, Length: 8 Tone No. and all notes of the arpeggio will sound according to Tone10: – switch the settings in Program P7: ARP/DT–...
Page 256 Global mode Drum pattern You can use the arpeggiator to play a rhythm pattern by using “Fixed Note” with a drum program. 1. In Program mode, select a drum kit program. For this example, select the preset program Studio Standard kit (Category: Drums).
Page 257: Dual Arpeggiator Editing
Global P6: Arpeggio Pattern Other examples of creating a user arpeggio pattern For this example, set Tone No. and Fixed Note No. as Dual arpeggiator editing follows. Here we will use a combination as an example in our Tone No. Fixed Note No.
Page 258: Regarding Arpeggiator Synchronization
Global mode Synchronization with external sequencer play- Regarding arpeggiator back If “ (Tempo)” is EXT (i.e., if Global P1: MIDI MIDI Clock is synchronization External MIDI or External USB) in Program, Combination, or Sequencer modes, the arpeggiator will synchronize to the MIDI Clock and Start messages received from a connected “Key Sync.”...
Page 259: Global: Menu Command
Global: Menu Command Write Global Setting Global: Menu Command Tip: In each page, you can access (or switch on/off) up to the Kind Content ﬁrst ten menu commands by holding down the ENTER All PCG (Program, Combination, Global All (Preload PCG and switch and pressing the corresponding numeric key, 0–9.
Page 260: Touch Panel/Half Damper Calibration
You can download the latest system ﬁle onto your computer the display, use this command to adjust the sensitivity of the from the Korg website (http://www.korg.com). For details, display. please see the Korg website.
Page 261 Global: Menu Command Dump: 4. Use the To field to select the output connector that will Dump: transmit the data. MIDI OUT: MIDI OUT connector Dump Program USB: USB connector Dump Combination 5. Press the OK button to transmit the data. While the data is being transmitted, the display will indicate Dump Drum Kit “Now Transmitting MIDI Data.”...
Page 262 Global mode Transmission and reception of any other MIDI data is Rename External Setup also impossible during this time. When receiving multiple data dumps in succession, you must allow This lets you rename the external setup. enough time between each data dump for the message For more information, please see “Editing names”...
Page 263 Global: Menu Command Copy Scale Copy Scale Copy Key Setup This command copies data from a preset scale to a user scale This command copies the settings of an individual key to or copies a user scale to another user scale location. For another key.
Page 264: Delete Step
Global mode Copy Arpeggio Pattern Rotate Step This command copies the settings of another user arpeggio This command rotates the step settings. pattern to the currently selected arpeggio pattern. It is not possible to copy from a preset arpeggio pattern P0– Select the Direction of rotation.
Page 265: Media Mode
Media mode In this mode, you can save internal memory data to an inserted SD card, or load data from media into internal memory. You can also copy or delete ﬁles, or format media. The following media can be used. SD card The M50 supports MS-DOS FAT16 and FAT32 formats.
Page 266 Media mode Files that can be loaded DOS files All programs 1 program 1 program .PCG file DOS directory bank A...E All combinations 1 combination 1 combination Undefined DOS file bank A...D All drum kits 1 drum kit 1 drum kit User bank INT, USER All user...
Page 267: Media: File
Media: File 0–1: Load Media: File programs. In the case of a user drum kit, the sound 0–1: Load parameters of the program that was selected before entering Media mode will be used. 0–1 Menu 0–1b: Current Directory 0–1b Current Directory 0–1c The directory currently selected for processing is referred to as the “current directory.”...
Page 268: 0-2: Save
Media mode 0–2: Save 0–3: Utility 0–2 0–3 Menu Menu 0–1b 0–1b 0–1c 0–1c 0–1a 0–1a Here, you can save various data types from internal memory Here, you can rename, copy, or delete the selected media or to media. ﬁle, create a new directory, format, and set the date and time.
Page 269: 0-8: Media Information
Media: File 0–8: Media Information 0–8: Media Information 0–8a 0–1a The MEDIA screen shows information about the media. 0–8a: Media Information Volume Label: The volume label of the media. Format Type: The type of format. If not formatted, this will indicate “Unformatted.”...
Page 270: Media: Menu Command
Media mode Media: Menu Command Tip: In each page, you can access (or switch on/off) up to the 0–1: Load Menu Command ﬁrst ten menu commands by holding down the ENTER switch and pressing the corresponding numeric key 0–9. Hide unknown ﬁles Tip: While this command is open, the ENTER switch will operate as the OK button and the EXIT switch will operate If you select Hide unknown ﬁles, a check mark will appear...
Page 271 Media: Menu Command Load selected 1) Load .PCG Load selected Data in the .PCG ﬁle will be loaded. This loads the ﬁle or directory selected in the directory window (Media 0–1c) into internal memory. 1. In the directory window (Media 0–1c), select the ﬁle or directory that you want to load.
Page 272 Media mode 3) Load Program Bank [Bank A...E] 7) Load a Combination All program data of the selected bank will be loaded into the This loads the selected Combination into a speciﬁed Bank bank you specify. and number in internal memory. In To, select the loading destination bank.
Page 273 Media: Menu Command Load selected Note: The selected drum kit can be played from the 15) Load a Drum Track Pattern keyboard even before you load it. This is convenient when This command loads the selected single drum track user you want to audition drum kits before loading.
Page 274 In Song, specify the loading destination song. the song will follow the Bank Map (Global 0–2a) setting. If Bank Map is KORG, bank A will be selected for bank select 00.00 (MSB. LSB). If Bank Map is GM(2), 21) Load Pattern Data bank G will be selected.
Page 275 Media: Menu Command Save All (PCG & SEQ) 0–2: Save Menu Command Save All (PCG & SEQ) Cautions regarding Save This command saves all programs, combinations, drum kits, When saving combinations with Save All (PCG & global settings, user arpeggio pattern, and drum track user SEQ), Save PCG, or Save SEQ, you should also try to patterns from internal memory to media as a .PCG ﬁle.
Page 276 Media mode Save PCG This command saves all programs, combinations, drum kits, global settings, user arpeggio pattern, and drum track user patterns from internal memory to media as a .PCG ﬁle. This command is valid only when the current directory is a DOS directory.
Page 277 Media: Menu Command Rename 0–3: Utility Menu Command 5. If you wish to copy the ﬁle or directory with a different name, use the text edit button (in the lower ﬁeld) to access the text input dialog box, and specify the new Rename name for the ﬁle or directory to be copied.
Page 278 Media mode 4. Specify the initialization format. Create Directory Quick Format: Normally you should use Quick Format to initialize the media. This command creates a new directory within the current directory. Full Format: All blocks in the media will be erased. Normally there is no need for you to execute Full Format.
Page 279: Effect Guide
You can’t save your own settings here. For each of these effect processors, you can choose from 170 P01…P15: These contain preset data that Korg plans to different types of effects, grouped into the following provide in the future. We recommend that you store your categories: settings in U00–U15.
Page 280: Synchronization
Effect Guide 3. Set the BPM as desired. Dynamic modulation (Dmod) To synchronize to the system clock, set BPM to MIDI. To set the delays to a speciﬁc tempo, separate from the and Tempo Synchronization system clock, set BPM to the desired tempo (between 40.00 and 300.00 BPM).
Page 281: Common Fx Lfos
Overview Common FX LFOs When you move the joystick away from yourself and press Common FX LFOs the SW1 switch, the feedback level will increase, and the delay sound will continue for a longer time. The Amt setting speciﬁes the feedback level that will be in effect when the Normally, LFO-based effects–such as choruses, ﬂangers, SW1 switch is pressed.
Page 282: Fx Control Buses
Effect Guide Example: Vocoder (Combination) FX Control Buses Vocoder effects produce their distinctive sound by using an audio signal (the modulator) to modulate a different audio The FX Control Buses lets you create effects “sidechains.” signal (the carrier). Sidechains let you control an effect with one audio signal As shown in the illustration, using the output of timbre 1 as (the sidechain), while the effect processes a completely the carrier and the voice-type output of timbre 2 as the...
Page 283: Effect I/O
Overview Effect I/O Effect I/O To achieve the best tonal quality, signals sent to the effects should be at the maximum level below clipping. Also, use the Wet/Dry parameter for the Insert Effects, Total Effect and the “Wet/Dry” or “Return 1, 2” parameter for the Master Effects to adjust the effect output level.
Page 284: Insert Effects (Ifx1-Ifx5)
Effect Guide Insert Effects (IFX1–IFX5) and Off. When Off is selected, the effect will be bypassed, In/Out and the stereo input signal will be output in stereo without being processed. Insert Effects (IFX 1–5) have a stereo input and a stereo The M50 can also turn IFX1–IFX5 off separately from output.
Page 285: Routing
Insert Effects (IFX1–IFX5) Routing Routing You can use up to ﬁve channels (IFX 1–5) for the Insert Effects in any mode. Program mode Use Bus (IFX/Output) Select (Prog 8–1b) to set the destination bus of the oscillator output. L/R: Send the output to the L/R bus. Instead, it is sent to AUDIO OUTPUT L/MONO and R after the TFX.
Page 286 Effect Guide Example: Inserting a separate IFX into each timbre, and inserting Drum Programs in Combination and Sequencer another IFX later modes If you’ve selected a drum program (Oscillator Mode= Drums) for a timbre (in Combination mode) or track (in Sequencer mode), the DKit setting will be available as a choice for Bus (IFX/Output) Select (see the following diagram).
Page 287: Mixer
Insert Effects (IFX1–IFX5) Mixer DrumKit IFX Patch dialog Mixer In Program, Combination, and Sequencer modes, the P8– Insert FX Setup page lets you set the Pan: CC#8 (post-IFX panning), Bus (Bus Select), Ctrl Bus (FX control bus), and the Send1 and Send2 levels to the master effects. If you have checked the Chain to connect the Insert Effects in series, these parameters Pan: CC#8 –...
Page 288: Controlling The Insert Effects Via Midi
Effect Guide Bus (Bus Select) Controlling the Insert Effects This parameter enables you to specify the destination bus for the post-IFX signals. via MIDI L/R is a common setting to send signals to the Total Effect (TFX) before they are routed to the AUDIO OUTPUT L/ Using the Dynamic Modulation (Dmod) function enables MONO and R outputs.
Page 289: Master Effects (Mfx1, 2)
Master Effects (MFX1, 2) In/Out Master Effects (MFX1, 2) Separately from the setting of this On/Off button, In/Out MFX1 and MFX2 can be switched off by receiving a MIDI control change CC#94. Value 0 will turn them off, and value 1–127 will turn them on. You can also use Effect Global SW (Global 0–1b) to turn MFX1 and 2 on and off.
Page 290: Routing
Effect Guide The actual levels use these Send1 and 2 level values, Routing multiplied by the send level values of oscillators 1 and 2 of the Prog P8: Routing page. If you are not using any Insert Effects in any mode, the Send level Master Effects send levels are determined by the Send1 (to For example if you set the program’s OSC1 Send1 (to...
Page 291: Mixer
Master Effects (MFX1, 2) Mixer “Bus Select DKit” is valid if you’ve selected a drum track for Mixer a Timbre (Combination) or Track (Sequencer). If you select DKit, the Bus (IFX/Output) Select (Global 5– The input levels to the master effects are determined by the 4b) settings for each key become effective, and each drum send levels.
Page 292: Controlling The Master Effects Via Midi
Effect Guide Controlling the Master Effects via MIDI In the same way as for insert effects, parameters of the master effects can also be controlled in realtime via Dynamic Modulation (Dmod) from the M50’s controllers or an external MIDI device during performance or from the sequencer.
Page 293: Total Effect (Tfx)
Total Effect (TFX) In/Out Total Effect (TFX) In/Out Routing The total effect TFX is stereo-in and stereo-out. The Dry The total effect TFX ia placed immediately before the (unprocessed) side of the Wet/Dry parameter sends the AUDIO OUTPUT L/MONO and R outputs. Effect (TFX) is stereo input sound directly to the stereo output.
Page 294: Outputs
Effect Guide Outputs Main Outputs The main L/MONO and R outputs of the M50 are output from the AUDIO OUTPUT L/MONO, R jacks, and the headphone jack.
Page 295: Effect/Mixer Block Diagrams
Effect/Mixer Block Diagrams Main Outputs Effect/Mixer Block Diagrams Program mode...
Page 296 Effect Guide Combination mode, Sequencer mode...
Page 297 Effect/Mixer Block Diagrams Main Outputs...
Page 298: Dynamics (Dynamic)
Effect Guide Dynamics (Dynamic) Compressor - Sensitivity 000: No Effect Level Sensitivity=100 Select this option when you do not use any effects. The Insert Effect/Total Effect section outputs unprocessed Sensitivity=40 signals and the Master Effect section mutes the output. Time 001: Stereo Compressor c: Attack This parameter controls the attack level.
Page 299 Dynamics (Dynamic) Side PEQ Sets the EQ center frequency Limiter - Attack / Release 20...12.00k Cutoff [Hz] for the trigger signal p.291 Threshold Sets the EQ bandwidth for the 0.5...10.0 trigger signal p.291 Sets the EQ gain for the trigger Gain [dB] –18.0...+18.0 signal...
Page 300: 003: Multiband Limiter
Effect Guide 003: Multiband Limiter 004: St.MasteringLimtr (Stereo Mastering Limiter) This effect applies the Limiter to the low range, mid range, and high range of the input signal. You can control This is a stereo limiter that is optimized for mastering songs. dynamics for each range to adjust the sound pressure of the low range, mid range, and high range in a different way from the EQ.
Page 301: 005: Stereo Gate
Dynamics (Dynamic) Gate - Threshold 005: Stereo Gate Output Level This effect mutes the input signal when it falls below a Threshold speciﬁed level. You can also invert the on/off status of the gate, or use note-on/off messages to turn the gate on/off directly.
Page 302: Eq And Filters (Eq/Filter)
Effect Guide EQ and Filters (EQ/Filter) Parametric 4EQ - Band2 Gain Mod 006: St.Parametric4EQ -mod +15dB (Stereo Parametric 4-Band EQ) Band2 Cutoff +6dB +6dB This is a stereo 4-band parametric equalizer. You can select Band2 Cutoff peaking type or shelving type for Band 1 and 4. The gain of –9dB -mod Band 2 can be controlled by dynamic modulation.
Page 303: 008: St.exciter/Enhncr
EQ and Filters (EQ/Filter) You can conﬁgure a 21-Band Graphic EQ ranging from 80 c: Enhancer Delay L [msec] Hz to 18 kHz if you route three Graphic 7-Band EQ effects in d: Enhancer Delay R [msec] series, with a setting of 7:Low, 9:Mid, and 11:High for each These parameters set the delay time for the Enhancer left and right channel.
Page 304: 009: Stereo Isolator
Effect Guide 009: Stereo Isolator 010: St. Wah/Auto Wah (Stereo Wah/Auto Wah) This is a stereo effect that separates the input signal into low, mid, and high-frequency bands, and controls the volume of This stereo wah effect allows you to create sounds from each band independently.
Page 305: 011: St. Vintage Wah (Stereo Vintage/Custom Wah)
EQ and Filters (EQ/Filter) a: Frequency Bottom f: LFO Type a: Frequency Top f: CmnLFO Offset [deg] The sweep width and direction of the wah ﬁlter are If Type is set to Common 1 or Common 2, modulation will determined by the Frequency Top and Frequency Bottom be applied using the Common FX LFO rather than the LFO settings.
Page 306: 012: St. Random Filter
Effect Guide Individual, Selects either (individual) LFO, When this is on, the LFO speed LFO Type Common1, Common FX LFO1, or Common is set by BPM, Base Note, and MIDI Sync Off, On Common2 LFO2 p.297 Times, instead of Frequency p.297 Sets the phase offset when CmnLFO...
Page 307: 013: Multi Mode Filter (Stereo Multi Mode Filter)
EQ and Filters (EQ/Filter) When this is on, the LFO speed Random Filter LFO is set by BPM, Base Note, and LFO Frequency MIDI Sync Off, On Times, instead of Frequency p.297 MIDI syncs to the system MIDI, tempo; 40–300 sets the tempo 40.00...
Page 308: 015: Talking Modulator
Effect Guide Dry, 1 : 99... Sets the balance between the When this is on, the LFO speed Wet/Dry 99 : 1, Wet effect and the dry input is set by BPM, Base Note, and MIDI Sync Off, On Times, instead of Frequency Selects a modulation source for Off...Tempo p.297...
Page 309: 016: Stereo Decimator
EQ and Filters (EQ/Filter) If you set the Sampling Freq to about 3 kHz and set Pre LPF 016: Stereo Decimator to Off, you can create a sound like a ring modulator. g: Resolution This effect creates a rough sound like a cheap sampler by h: Output Level lowering the sampling frequency and data bit length.
Page 310: Amp Mic)
Effect Guide Overdrive, Amp models, and Mic models (OD Amp Mic) When Sw = Moment, the wah effect is usually turned off. It 018: OD/Hi.Gain Wah is turned on only when you press the pedal or operate the joystick. (Overdrive/Hi.Gain Wah) When a value for the modulation source is less than 64, “off”...
Page 311: 019: St. Guitar Cabinet (Stereo Guitar Cabinet)
Overdrive, Amp models, and Mic models (OD Amp Mic) 019: St. Guitar Cabinet 020: St. Bass Cabinet (Stereo Guitar Cabinet) (Stereo Bass Cabinet) This simulates the acoustical character of a guitar amp’s This simulates the acoustical character of a bass amp’s speaker cabinet.
Page 312: 021: Bass Amp Model
Effect Guide Volume 0...100 Sets the output level 021: Bass Amp Model Selects the modulation source Off...Tempo for the output level Sets the modulation amount of This simulates a bass amp. –100...+100 the output level Bass 0...100 Sets the bass (low range) level Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Sets the middle (mid range) Middle...
Page 313: 023: Tube Preamp Model (Tube Preamp Modeling)
Overdrive, Amp models, and Mic models (OD Amp Mic) c: Tube1 Bias 023: Tube PreAmp Model This expresses the effect that changes in vacuum tube bias have on the distortion of the waveform. Higher settings of (Tube PreAmp Modeling) this value will produce distortion even at low gain levels. Since this will also change the overtone structure, you can This effect simulates a two-stage vacuum tube preamp.
Page 314: 024: St. Tube Preamp
Effect Guide 024: St. Tube PreAmp (Stereo Tube PreAmp Modeling) This is a stereo vacuum tube preamp simulator (see p.305, 023: Tube PreAmp Model (Tube PreAmp Modeling)). Stereo In - Stereo Out Left Left Wet / Dry Wet / Dry Tube Pre Amp1 Tube Pre Amp2 –...
Page 315: Chorus, Flanger, And Phaser (Cho/Fln Phaser)
Chorus, Flanger, and Phaser (Cho/Fln Phaser) Chorus, Flanger, and Phaser (Cho/Fln Phaser) e: L Pre Delay [msec] 026: Stereo Chorus e: R Pre Delay [msec] Setting the left and right delay time individually allows you This effect adds thickness and warmth to the sound by to control the stereo image.
Page 316: 028: St. Biphase Mod
Effect Guide Dry, 1 : 99... Sets the balance between the L Pre Delay Sets the delay time for the left Wet/Dry 0.0...50.0 99 : 1, Wet effect and the dry input [msec] channel p.307 Selects a modulation source for R Pre Delay Sets the delay time for the right Off...Tempo...
Page 317: 029: Multitap Cho/Delay
Chorus, Flanger, and Phaser (Cho/Fln Phaser) 029: Multitap Cho/Delay 030: Ensemble (Multitap Chorus/Delay) This Ensemble effect has three chorus blocks that use LFO to create subtle shimmering, and gives three dimensional This effect has four chorus blocks with a different LFO depth and spread to the sound, because the signal is output phase.
Page 318: 031: Polysix Ensemble
Common FX LFO1, or Common Common2 LFO2 p.297 Sets the phase offset when CmnLFO This models the ensemble effect built into the classic Korg –180...+180 Type = Common 1 or Common Offset [deg] p.297 PolySix programmable polyphonic synthesizer. Sets the depth of LFO g Depth 0...100...
Page 319: 033: St. Random Flanger (Stereo Random Flanger)
Chorus, Flanger, and Phaser (Cho/Fln Phaser) 033: St. Random Flanger 034: St. Env. Flanger (Stereo Random Flanger) (Stereo Envelope Flanger) The stereo effect uses a step-shape waveform and random This Flanger uses an envelope generator for modulation. LFO for modulation, creating a unique ﬂanging effect. You will obtain the same pattern of ﬂanging each time you play.
Page 320: 035: Stereo Phaser
Effect Guide positive value for both Resonance and Wet/Dry, and if you 035: Stereo Phaser set a negative value for both Resonance and Wet/Dry. h: High Damp [%] This effect creates a swell by shifting the phase. It is very This parameter sets the amount of damping of the resonance effective on electric piano sounds.
Page 321: 037: St. Env. Phaser (Stereo Envelope Phaser)
Chorus, Flanger, and Phaser (Cho/Fln Phaser) Sets the resonance amount Resonance –100...+100 037: St. Env. Phaser p.312 Sets the resonance damping High Damp 0...100 amount in the high range (Stereo Envelope Phaser) p.312 –Wet... Sets the balance between the This stereo phaser uses an envelope generator for Wet/Dry –1 : 99, Dry, effect and the dry input...
Page 322: Modulation And Pitch Shift (Mod
Effect Guide Modulation and Pitch Shift (Mod./P.Shift) a: AUTOFADE Src 038: Stereo Vibrato b: Fade-In Delay [msec] b: Fade-In Rate This effect causes the pitch of the input signal to shimmer. d: LFO Frequency Mod Using the AutoFade allows you to increase or decrease the When LFO Frequency Mod is set to AUTOFADE, you can shimmering speed.
Page 323: 039: St. Auto Fade Mod
Modulation and Pitch Shift (Mod./P.Shift) 039: St. Auto Fade Mod. 040: 2Voice Resonator (Stereo Auto Fade Modulation) This effect resonates the input signal at a speciﬁed pitch. You can set the pitch, output level, and pan settings for two This stereo chorus/ﬂanger effect enables you to control the resonators individually.
Page 324: 041: Doppler
Effect Guide Dry, 1 :99... Sets the balance between the Wet/Dry 99 : 1, Wet effect and the dry input Frequency 0.02...20.00 Sets the speed of the LFO p.298 [Hz] Selects a modulation source for Off...Tempo Wet/Dry Selects a modulation source for Off...Tempo LFO speed Sets the modulation amount...
Page 325: 042: Scratch
Modulation and Pitch Shift (Mod./P.Shift) Doppler - Pitch / Pan Depth Scratch Source Pitch Start Playback Position Pan Depth Pan Depth = (+) value = (–) value Recorded Sound Original Pitch Pitch Depth Center Scratch Source Left Right Scratch! JS X -mod Pan Depth + Max...
Page 326: 044: Stereo Tremolo
Effect Guide When this is on, the LFO speed is set by BPM, Base Note, and Frequency 0.02...20.00 Sets the speed of the LFO p.298 MIDI Sync Off, On Times, instead of Frequency [Hz] p.297 Selects a modulation source for Off...Tempo MIDI syncs to the system LFO speed...
Page 327: 045: St. Env. Tremolo (Stereo Envelope Tremolo)
Modulation and Pitch Shift (Mod./P.Shift) 045: St. Env. Tremolo 046: Stereo Auto Pan (Stereo Envelope Tremolo) This is a stereo-in, stereo-out auto-panner. The Phase and Shape parameters lets you create various panning effects, This effect uses the input signal level to modulate a stereo such as making the left and right inputs seem to chase each tremolo (LFO volume modulation).
Page 328: 047: St. Phaser + Trml (Stereo Phaser + Tremolo)
Effect Guide Phaser Sets the phaser modulation Stereo Auto Pan - LFO Phase 0...100 Depth depth LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees Selects the modulation source L-In L-In L-In Off...Tempo for the phaser modulation R-In R-In R-In...
Page 329: 049: Detune
Modulation and Pitch Shift (Mod./P.Shift) Fixed Sets the oscillator frequency 049: Detune Frequency 0...12.00k when OSC Mode is set to Fixed [Hz] p.321 Selects the modulation source Using this effect, you can obtain a detune effect that offsets Off...Tempo for the oscillator frequency when OSC Mode is set to Fixed the pitch of the effect sound slightly from the pitch of the Sets the modulation amount of...
Page 330: 050: Pitch Shifter
Effect Guide will be raised (or lowered) more and more each time 050: Pitch Shifter feedback is repeated. If Feedback Position is set to Post, the feedback signal will not pass through the pitch shifter again. Even if you specify This effect changes the pitch of the input signal.
Page 331: 052: Pitch Shift Mod
Modulation and Pitch Shift (Mod./P.Shift) message will not appear. Time Over? is only a display Pitch Shift Mod - Pitch Shift / Depth parameter. Pitch LFO Waveform=Triangle Depth (+value) 052: Pitch Shift Mod. Pitch Shift (+ value) Original Pitch LFO Waveform=Square (Pitch Shift Modulation) Depth (–value) This effect modulates the detuned pitch shift amount using...
Page 332: 054: Rotary Speaker
Effect Guide Dry, 1 : 99... Sets the balance between the Sets the distance between the Wet/Dry 99 : 1, Wet effect and the dry input Mic Distance 0...100 microphone and rotary speaker p.324 Selects a modulation source for Off...Tempo Wet/Dry Sets the angle of left and right Mic Spread...
Page 333: Delay
Delay Delay 055: L/C/R Delay 056: Stereo/CrossDelay This multitap delay outputs three Tap signals to the left, This is a stereo delay, and can by used as a cross-feedback right, and center respectively. You can also adjust the left delay effect in which the delay sounds cross over between and right spread of the delay sound.
Page 334: 057: St. Multitap Delay (Stereo Multitap Delay)
Effect Guide 057: St. Multitap Delay 058: St. Mod Delay (Stereo Multitap Delay) (Stereo Modulation Delay) The left and right Multitap Delays have two taps This stereo delay uses an LFO to sweep the delay time. The respectively. Changing the routing of feedback and tap pitch also varies, creating a delay sound which swells and output allows you to create various patterns of complex shimmers.
Page 335: 059: St. Dynamic Delay (Stereo Dynamic Delay)
Delay –Wet... Sets the balance between the 059: St. Dynamic Delay Wet/Dry –1 : 99, Dry, effect and the dry input 1 : 99...Wet p.299 Selects a modulation source for (Stereo Dynamic Delay) Off...Tempo Wet/Dry Sets the modulation amount –100...+100 This stereo delay controls the level of delay according to the for Wet/Dry input signal level.
Page 336: 060: St. Autopanningdly (Stereo Auto Panning Delay)
Effect Guide Dynamic Delay 060: St. AutoPanningDly Level (Stereo Auto Panning Delay) Threshold This stereo delay effect pans the delay sound left and right Release Envelope using the LFO. Attack Stereo In - Stereo Out (Ducking Delay) Left Wet / Dry High Damp Low Damp Target=Output Level Delay...
Page 337: 061: Tape Echo
Delay d: FB Amt 061: Tape Echo e: FB Amt f: FB Amt This effect simulates a tape echo unit with three playback g: Feedback heads. The distortion and tonal change typical of magnetic The feedback output from Tap 1, 2, and 3 is mixed according tape are also reproduced.
Page 338: 063: Sequence Bpm Dly
Effect Guide Mode/Reverse Time 063: Sequence BPM Dly Reverse Reverse Envelope Select = Input (Sequence BPM Delay) Input This four-tap delay enables you to select a tempo and Time rhythm pattern to set up each tap. Mode = Single Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry Mode = Multi...
Page 339: 064: L/C/R Bpm Delay
Delay 064: L/C/R BPM Delay 065: Stereo BPM Delay The L/C/R delay enables you to match the delay time with This stereo delay enables you to set the delay time to match the song tempo. You can also synchronize the delay time the song tempo.
Page 340: 066: St.bpm Mtap Delay (Stereo Bpm Multitap Delay)
Effect Guide 066: St.BPM Mtap Delay 067: St.BPM Mod. Delay (Stereo BPM Multitap Delay) (Stereo BPM Modulation Delay) This is a stereo multi-tapped delay that lets you set the delay This is a stereo modulation delay that lets you synchronize time to match the tempo of the song.
Page 341: 068: St.bpmautopandly
Delay Selects the type of notes to Triangle, L Delay Base Selects the LFO Waveform specify the left channel delay Waveform Sine Note time p.322 Changes the curvature of the Shape –100...+100 Sets the number of notes to LFO Waveform p.298 Times x1...x32...
Page 342: 069: Tape Echo Bpm
Effect Guide Dry, 1 : 99... Sets the balance between the Wet/Dry 069: Tape Echo BPM 99 : 1, Wet effect and the dry input Selects a modulation source for Off...Tempo Wet/Dry This is a tape echo that lets you synchronize the delay time Sets the modulation amount –100...+100 to the tempo of the song.
Page 343: Reverb And Early Reflections (Reverb Er)
Reverb and Early Reflections (Reverb ER) Reverb and Early Reﬂections (Reverb ER) Reverb - Hall / Plate Type 070: Reverb Hall Level This hall-type reverb simulates the reverberation of mid-size concert halls or ensemble halls. Reverb Pre Delay Thru Time 071: Reverb SmoothHall Pre Delay Reverb Time...
Page 344: 076: Early Reflections
Effect Guide Changing these parameter values allows you to simulate the Early Reflections - Type type of walls in the room. That is, a larger ER Level simulates a hard wall, and a larger Reverb Level simulates a soft wall. Sharp Reverb - Room Type Level...
Page 345: Mono-Mono Serial (Mono-Mono)
Mono-Mono Serial (Mono-Mono) Mono-Mono Serial (Mono-Mono) 077: P4EQ - Exciter 078: P4EQ - Wah (Parametric 4-Band EQ - Exciter) (Parametric 4-Band EQ - Wah/Auto Wah) This effect combines a mono four-band parametric equalizer and an exciter. This effect combines a mono four-band parametric equalizer and a wah.
Page 346: 079: P4Eq - Cho/Flng (Parametric 4-Band Eq - Chorus/Flanger)
Effect Guide i: [F]Output Mode Dry,1 : 99... Sets the balance between the Wet/Dry 99 : 1, Wet effect and the dry input When Wet Invert is selected, the right channel phase of the Selects a modulation source for chorus/ﬂanger effect sound is inverted. This creates Off...Tempo Wet/Dry pseudo-stereo effects and adds spread.
Page 347: 081: P4Eq - Mt. Delay (Parametric 4-Band Eq - Multitap Delay)
Mono-Mono Serial (Mono-Mono) 081: P4EQ - Mt. Delay 082: Comp - Wah (Parametric 4-Band EQ - (Compressor - Wah/Auto Wah) Multitap Delay) This effect combines a mono compressor and a wah. You can change the order of the connection. This effect combines a mono four-band parametric equalizer and a multitap delay.
Page 348: 083: Comp - Amp Sim
Effect Guide 083: Comp - Amp Sim 084: Comp - OD/HiGain (Compressor - Amp Simulation) (Compressor - Overdrive/Hi.Gain) This effect combines a mono compressor and an amp This effect combines a mono compressor and an overdrive/ simulation. You can change the order of the effects. high-gain distortion.
Page 349: 085: Comp - P4Eq
Mono-Mono Serial (Mono-Mono) 085: Comp - P4EQ 086: Comp - Cho/Flng (Compressor - (Compressor - Chorus/Flanger) Parametric 4-Band EQ) This effect combines a mono compressor and a chorus/ ﬂanger. You can change the order of the effects. This effect combines a mono compressor and a four-band parametric equalizer.
Page 350: 087: Comp - Phaser (Compressor - Phaser)
Effect Guide 087: Comp - Phaser 088: Comp - Mt. Delay (Compressor - Phaser) (Compressor - Multitap Delay) This effect combines a mono compressor and a phaser. You This effect combines a mono compressor and a multitap can change the order of the effects. delay.
Page 351: 089: Limiter - P4Eq
Mono-Mono Serial (Mono-Mono) Limiter - Threshold / Ratio 089: Limiter - P4EQ Ratio=1.0 : 1 (Limiter - Parametric 4-Band EQ) Output Level Ratio=2.0 : 1 Threshold Ratio=4.0 : 1 This effect combines a mono limiter and a four-band Ration=Inf : 1 parametric equalizer.
Page 352: 090: Limiter - Cho/Flng (Limiter - Chorus/Flanger)
Effect Guide 090: Limiter - Cho/Flng 091: Limiter - Phaser (Limiter - Chorus/Flanger) This effect combines a mono limiter and a phaser. You can change the order of the effects. This effect combines a mono limiter and a chorus/ﬂanger. You can change the order of the effects. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry...
Page 353: 092: Limiter - Mt.delay (Limiter - Multitap Delay)
Mono-Mono Serial (Mono-Mono) 092: Limiter - Mt.Delay 093: Exciter - Comp (Limiter - Multitap Delay) (Exciter - Compressor) This effect combines a mono limiter and a multitap delay. This effect combines a mono exciter and a compressor. You You can change the order of the effects. can change the order of the effects.
Page 354: 094: Exciter - Limiter
Effect Guide 094: Exciter - Limiter 095: Exciter - Cho/Flng (Exciter - Chorus/Flanger) This effect combines a mono exciter and a limiter. You can change the order of the effects. This effect combines a mono limiter and a chorus/ﬂanger. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Wet / Dry...
Page 355: 096: Exciter - Phaser
Mono-Mono Serial (Mono-Mono) 096: Exciter - Phaser 097: Exciter - Mt.Delay (Exciter - Multitap Delay) This effect combines a mono limiter and a phaser. This effect combines a mono exciter and a multitap delay. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out...
Page 356: 098: Od/Hg - Amp Sim
Effect Guide 098: OD/HG - Amp Sim 099: OD/HG - Cho/Flng (Overdrive/Hi.Gain - (Overdrive/Hi.Gain - Amp Simulation) Chorus/Flanger) This effect combines a mono overdrive/high-gain distortion This effect combines a mono overdrive/high-gain distortion and an amp simulation. You can change the order of the and a chorus/ﬂanger.
Page 357: 100: Od/Hg - Phaser (Overdrive/Hi.gain - Phaser)
Mono-Mono Serial (Mono-Mono) 100: OD/HG - Phaser 101: OD/HG - Mt.Delay (Overdrive/Hi.Gain - Phaser) (Overdrive/Hi.Gain - Multitap Delay) This effect combines a mono overdrive/high-gain distortion and a phaser. You can change the order of the effects. This effect combines a mono overdrive/high-gain distortion and a multitap delay.
Page 358: 102: Wah - Amp Sim (Wah - Amp Simulation)
Effect Guide DECIMATOR 102: Wah - Amp Sim Turn the harmonic noise [D]Pre LPF Off, On caused by lowered sampling on (Wah - Amp Simulation) and off p.301 High Damp Sets the ratio of high-range 0...100 damping This effect combines a mono wah and an amp simulation. [D]Sampling 1.00k...48.00k Sets the sampling frequency You can change the order of the effects.
Page 359: 105: Ampsim - Tremolo (Amp Simulation- Tremolo)
Mono-Mono Serial (Mono-Mono) MULTITAP DELAY 105: AmpSim - Tremolo [D]Tap1 Time 0.0...1360.0 Sets the Tap1 delay time [msec] (Amp Simulation- Tremolo) Sets the Tap1 output level Tap1 Level 0...100 p.326 [D]Tap2 Time This effect combines a mono amp simulation and a tremolo. 0.0...1360.0 Sets the Tap2 delay time [msec]...
Page 360: 108: Reverb - Gate
Effect Guide f: [G]Envelope Select –Wet... Sets the effect balance of the [F]Cho/Flng –1 : 99, Dry, chorus/ﬂanger f: Src Wet/Dry 1 : 99...Wet p.299, p.310 g: [G]Input Reverb Mix Selects the Wet/Dry Off...Tempo modulation source for the g: Threshold chorus/ﬂanger The [G]Envelope Select parameter enables you to select Sets the Wet/Dry modulation...
Page 361: Mono/Mono Parallel (Mono//Mono)
Mono/Mono Parallel (Mono//Mono) Mono/Mono Parallel (Mono//Mono) 109: P4EQ // P4EQ (Parametric 4-Band EQ // Parametric 4- Limiter Band EQ) through 153: BPM Dl // BPM Dl (Multitap BPM LIMITER Delay // Multitap BPM Delay) are parallel effects. 1.0 : 1... Sets the signal compression Ratio The pan and effect balance of each effect can be set...
Page 362 Effect Guide BPM Dly (Multi-tap BPM Delay) MULTITAP BPM DELAY Sets the lower limit of the wah MIDI syncs to the system Freq Bottom 0...100 MIDI, center frequency p.297 tempo; 40–300 sets the tempo 40.00... manually for this individual Sets the upper limit of the wah 300.00 Freq Top 0...100...
Page 363: 109: P4Eq // P4Eq
Mono/Mono Parallel (Mono//Mono) 109: P4EQ // P4EQ 112: P4EQ // Exciter (Parametric 4-Band EQ // (Parametric 4-Band EQ // Exciter) Parametric 4-Band EQ) This effect connects a four-band EQ (p.353) and an exciter (p.353) in parallel. This effect connects two four-band EQ (p.353) units in parallel.
Page 364: 115: P4Eq // Cho/Flng (Parametric 4-Band Eq // Chorus/Flanger)
Effect Guide 115: P4EQ // Cho/Flng 118: Comp // Comp (Parametric 4-Band EQ // (Compressor // Compressor) Chorus/Flanger) This effect connects two compressor (p.353) units in parallel. This effect connects a four-band EQ (p.353) and a chorus / Stereo In - Stereo Out ﬂanger (p.354) in parallel.
Page 365: 121: Comp // Od/Hg
Mono/Mono Parallel (Mono//Mono) 121: Comp // OD/HG 124: Comp // Phaser (Compressor // Overdrive/Hi.Gain) (Compressor // Phaser) This effect connects a compressor (p.353) and an overdrive This effect connects a compressor (p.353) and a phaser (p.353) in parallel. (p.354) in parallel. Stereo In - Stereo Out Stereo In - Stereo Out Compressor...
Page 366: 127: Limiter // Exciter
Effect Guide 127: Limiter // Exciter 130: Limiter // Cho/Fl (Limiter // Chorus/Flanger) This effect connects a limiter (p.353) and an exciter (p.353) in parallel. This effect connects a limiter (p.353) and a chorus / ﬂanger (p.354) in parallel. Stereo In - Stereo Out Limiter Wet / Dry Left...
Page 367: 133: Exciter // Exciter
Mono/Mono Parallel (Mono//Mono) 133: Exciter // Exciter 136: Exciter // Cho/Fl (Exciter // Chorus/Flanger) This effect connects two exciter (p.353) units in parallel. This effect connects an exciter (p.353) and a chorus / ﬂanger Stereo In - Stereo Out (p.354) in parallel. Exciter Wet / Dry Left...
Page 368: 139: Od/Hg // Od/Hg
Effect Guide 139: OD/HG // OD/HG 142: OD/HG // Phaser (Overdrive/Hi.Gain // (Overdrive/Hi.Gain // Phaser) Overdrive/Hi.Gain) This effect connects an overdrive (p.353) and a phaser (p.354) in parallel. This effect connects two overdrive (p.353) units in parallel. Stereo In - Stereo Out Overdrive / Hi-Gain Stereo In - Stereo Out Wet / Dry...
Page 369: 145: Wah // Cho/Flng
Mono/Mono Parallel (Mono//Mono) 145: Wah // Cho/Flng 148: Cho/Fl // Cho/Fl (Wah // Chorus/Flanger) (Chorus/Flanger // Chorus/Flanger) This effect connects a wah (p.354) and a chorus / ﬂanger (p.354) in parallel. This effect connects two chorus / ﬂanger (p.354) units in parallel.
Page 370: 151: Phaser // Phaser
Effect Guide 151: Phaser // Phaser This effect connects two phaser (p.354) units in parallel. Stereo In - Stereo Out Phaser Wet / Dry Left LFO: Tri / Sine Phaser Resonance Resonance Phaser LFO: Tri / Sine Right Wet / Dry Phaser 152: Phaser // BPMDly (Phaser // Multitap BPM Delay)
Page 371: Double Size
Double Size Double Size Double-size effects can be used only with insert effects IFX1, 155: PianoBody/Damper 2, 3, 4 and master effect MFX1. (PianoBody/Damper Simulation) 154: St. Mltband Limiter This effect simulates the resonance of the piano sound board caused by the string vibration, and also simulates the (Stereo Multiband Limiter) resonance of other strings that are not being played when you press the damper pedal.
Page 372: 156: Vocoder
Effect Guide 156: Vocoder 157: OD/HyperGain Wah (Overdrive/Hyper Gain Wah) This effect applies the timbral character of a one signal (the modulator) to a second signal (the carrier). This distortion effect has two modes: overdrive and hyper- On the M50, an external source such as a mic cannot be used gain that produces a strong distortion.
Page 373: 158: Guitaramp + P4Eq (Guitar Amp Model + Parametric 4-Band Eq)
Double Size Dry, 1 : 99... Sets the balance between the Wet/Dry 158: GuitarAmp + P4EQ 99 : 1, Wet effect and the dry input Selects a modulation source for Off...Tempo (Guitar Amp Model + Wet/Dry Sets the modulation amount –100...+100 for Wet/Dry Parametric 4-Band EQ)
Page 374: 159: Basstubeamp+Cab
Effect Guide 159: BassTubeAmp+Cab. 160: St. Mic + PreAmp (Bass Tube Amp Model + Cabinet) (Stereo Mic Modeling + PreAmp) This simulates a bass amp (with gain and drive) and speaker This is a stereo mic and preamp simulator (see p.306, 025: cabinet.
Page 375: 162: St. Pitch Shifter
Double Size Tap4 (240) Sets the Tap4 (LFO phase=240 0...2000 162: St. Pitch Shifter [msec] degrees) delay time Depth 0...30 Sets the Tap4 chorus depth (Stereo Pitch Shifter) Always On, Always Off, Selects on, off, or modulation On➝Off source for the control of Tap4 Status This is a stereo pitch shifter.
Page 376: 163: St. Pitchshift Bpm (Stereo Pitch Shifter Bpm)
Effect Guide 163: St. PitchShift BPM 164: Rotary SpeakerOD (Stereo Pitch Shifter BPM) (Rotary Speaker Overdrive) This stereo pitch shifter enables you to set the delay time to This is a stereo rotary speaker effect. It has an internal match the song tempo. speaker simulator that simulates overdrive (recreating the amp distortion) and characteristics of the rotary speaker, producing a very realistic rotary speaker sound.
Page 377: 165: L/C/R Long Delay
Double Size a: Sw 166: St/Cross Long Delay This parameter determines how to switch on/off the overdrive via a modulation source. (Stereo/Cross Long Delay) When Sw = Toggle, overdrive is turned on/off each time the pedal or joystick is operated. This is a stereo delay, and can by used as a cross-feedback Overdrive will be switched on/off each time the value delay effect in which the delay sounds cross over between...
Page 378: 167: Hold Delay
Effect Guide b: Loop BPM Sync 167: Hold Delay c: BPM d: Loop Base Note This effect records the input signal and plays it back d: Times repeatedly. You can control the start of recording and reset If Loop BPM Sync is on, the Times setting is ignored; the via a modulation source.
Page 379: 168: Lcr Bpm Long Dly (L/C/R Bpm Long Delay)
Double Size 168: LCR BPM Long Dly 169: St. BPM Long Dly (L/C/R BPM Long Delay) (Stereo BPM Long Delay) The L/C/R delay enables you to match the delay time with The stereo delay enables you to match the delay time with the song tempo.
Page 380: 170: Early Reflections
Effect Guide 170: Early Reﬂections This early reﬂection effect has more precise early reﬂections with twice the maximum length of a normal-size effect (see p.336, 076: Early Reﬂections). You can create a very smooth and dense sound. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry EQ Trim...
Page 381: Appendices
Appendices Alternate Modulation Sources (AMS) AMS Mixers Alternate Modulation The AMS Mixers combine two AMS sources into one, or Overview process an AMS source to make it into something new. For instance, they can add two AMS sources together, or use Alternate Modulation lets you use controllers, envelopes, one AMS source to scale the amount of another.
Page 382: Ams (Alternate Modulation Source) List
It corresponds to MIDI CC#64. ASSIGNABLE PEDAL input, if the Global Foot Pedal When using Korg’s optional half-damper pedal, the DS-1H, Assign parameter is set to Foot Pedal (CC#04). For more information, please see “Foot Pedal Assignments” on this AMS source is continuous–not just on/off.
Page 383 Alternate Modulation Sources (AMS) AMS (Alternate Modulation Source) List 1. Go to the Controllers Setup page. 2. Under Panel Switch Assign, assign SW1 to SW1 Mod. (CC#80) and SW2 to SW2 Mod. (CC#81). These assignments are stored separately for each Program, Combination, and Song.
Page 384: Alternate Modulation Settings
Appendices • The tone, EG, and LFO etc. can be controlled not only by Alternate Modulation settings key velocity or the joystick, but also from a switch, knob, or pedal etc. When you operate an AMS (Alternate Modulation Source), • Panning can be controlled in realtime from a controller, the modulation destination will be affected as shown in the EG, or LFO etc.
Page 385 Alternate Modulation Sources (AMS) The effects of AMS on various parameters, and example applications Notes for the table Filter (Cutoff) Frequency (Prog 3–1–1b(c)) The cutoff frequency of ﬁlter A/B can be controlled by the *1 EXT(+–): JS X, Ribbon:CC#16, Knob Mod1 (CC#17), Knob pitch/amp EG, Common keyboard tracking, controllers, or Mod2 (CC#19), Knob Mod3 (CC#20), Knob Mod4 tempo.
Page 386 Appendices Filter LFO1/2 Intensity (Prog 3–1–4a) Amp LFO1/2 Intensity (Prog 4–2b) The LFO 1/2 ﬁlter modulation intensity can be controlled by The amp modulation intensity of LFO 1/2 can be controlled the EG, Common LFO, keyboard tracking, controller, or by the EG, Common LFO, keyboard tracking, controllers, or tempo etc.
Page 387 Alternate Modulation Sources (AMS) The effects of AMS on various parameters, and example applications EG Time — Pitch EG (Prog 2–8c) Filter EG (Prog 3–1–5c) Amp EG (Prog 4–3d) EG times can be controlled by the Common LFO, keyboard tracking, controllers, or tempo etc. You can specify an Intensity value for each EG segment (Attack, Decay, Slope, Release).
Page 388: Dynamic Modulation Sources (Dmod)
Appendices Dynamic Modulation Sources (Dmod) You can control certain effect parameters using the joystick, Dynamic Modulation Source realtime control knobs, SW1/SW2, etc. “on the ﬂy.” These parameters can also be controlled by the sequencer. List Controlling effects in this way is referred to as Dynamic Modulation.
Page 389 Dynamic Modulation Sources (Dmod) Dynamic Modulation Source List Gate1, Gate1+Dmpr (Gate1, Gate1+Damper) left it will produce negative change. (With negative values, the result will be the opposite.) The effect is at maximum during note-on, and will stop when all keys are released. With Gate1 + Damper, the effect KnobM1 [+] (Knob Modulation1 [+]) will remain at maximum even after the keys are released, as KnobM2 [+] (Knob Modulation2 [+])
Page 390: Controller Assignments
Appendices Controller Assignments For more information, please see “Using the Lock function” SW1/2 Assignments on page 20 of the Owner’s manual. JS X Lock Switch assignments are saved separately with each Locks the effect of the joystick X axis. Program, Combination, and Song. JS Y Lock For more information, see: Locks the effect of the joystick Y axis (both + and –...
Page 391: Realtime Control Knobs 1-4 Assignments
Controller Assignments Realtime Control Knobs 1–4 Assignments Filter EG Int. (CC#79) Realtime Control Knobs 1–4 This scales the effect of the Filter EG on the cutoff frequency. It affects all of the ﬁlters at once; for instance, it affects both Assignments Filters A and B.
Page 392: Foot Switch Assignments
If Seq P0: Preference “Recording Setup” (0–1–8b) is set to Manual Punch In, the switch can be used to punch-in and You can connect a footswitch (such as the optional Korg PS- punch-out when recording on the sequencer. 1) to the rear-panel ASSIGNABLE SWITCH input, and then...
Page 393: Foot Pedal Assignments
Ribbon (CC#16) You can use this general-purpose controller as an AMS or You can connect a pedal (such as the optional Korg XVP-10 Dmod source. Note that you’ll also need to assign Ribbon or EXP-2) to the rear-panel ASSIGNABLE PEDAL input,...
Page 394: Midi Transmission When The M50'S Controllers Are
Appendices MIDI transmission when the M50’s controllers are operated The following tables show the relation between the MIDI DMS (dynamic modulation source) that correspond to each messages that are transmitted when the M50’s controllers MIDI message. are operated, and the AMS (alternate modulation source) or # indicates a ﬁxed function, and * indicates an assignable function.
Page 395 MIDI transmission when the M50’s controllers are operated Foot Pedal Assignments Realtime Realtime Chord Available Available Value Knob1 Knob2 Knob3 Knob4 Foot Foot MIDI messages Joystick Knob Knob SW1, 2 On/Off Trigger Damper for AMS for Dmod Slider (GATE) (VELOCITY) (LENGTH) (OCTAVE) Switch...
Page 396: M50 And Midi Ccs
Appendices M50 and MIDI CCs Responses to standard MIDI controllers The following table shows how the M50 responds to MIDI control change messages, and the relation between settings and controller movements on the M50. Control Value Function 0 Bank select (MSB) 0…127 bank select message MSB 1 Modulation 1...
Page 397 M50 and MIDI CCs Responses to standard MIDI controllers Control Value Function 0…63(Off ), 81 SW2 modulation On/Off corresponds to on/off when the SW2 function is set to SW2 Mod. 64…127(On) 0…63(Off ), corresponds to on/off when the function of the assignable foot switch is set to 82 Foot switch On/Off 64…127(On) Foot SW...
Page 398: Parameters Controlled By Midi Ccs #70-79
Appendices Expression will be set to the maximum value (127). command Reset Controller MIDI Assign and use the CC Default settings. *4 A value of 64 will correspond to the value speciﬁed by the program parameter. 0 is the minimum, and 127 is the This table shows the operations for the CC Default set- maximum.
Page 399: Midi Applications
MIDI applications About MIDI MIDI applications Local Control On settings About MIDI If you’ve connected the M50 to a computer or external MIDI MIDI stands for Musical Instrument Digital Interface, and is sequencer and want to use the “echo-back” from that device a world-wide standard for exchanging various types of to play the M50, turn echo-back on for your external MIDI musical data between electronic musical instruments and...
Page 400: The M50
Bank Map setting (Global 0– • MIDI data transmission/reception for each MIDI track 2a). KORG is the default setting. For more information, will occur on the MIDI channel specified for each MIDI please see “Bank Map” on page 218.
Page 401: Pitch Bend
MIDI applications Messages transmitted and received by the M50 Simply receiving a Bank Select message will not cause the • Aftertouch reception for the entire instrument can be program or bank to change. The program or bank will turned on/off in Enable After Touch (Global 1–2b). actually change when a Program Change message is •...
Page 402 Appendices message is received, the result will be the same as when the Selecting program/combination banks controller is operated. Expression (CC#11) [Bn, 0B, vv] Bank select (CC#00, CC#32) When the above CC# is assigned to the Assignable Pedal or Technically, Bank Select is a controller. In practice, however, knobs 1–4 when the control surface Realtime Control B it is a component of Program Change.
Page 403: Controlling Effects
MIDI applications Messages transmitted and received by the M50 Insert Effect Panpot messages, and the panning of the sound each mode will be used. The same applies to reception. (vv following the insert effect will change. When this message is of 00 is off, and 01 or greater is the original setting.) These received, the result will be the same as when the controller is messages are transmitted/received on the global MIDI...
Page 404 Appendices Foot switch (CC#82) [Bn, 52, vv] Sustain level (CC#70) [Bn, 46, vv] Attack time (CC#73) [Bn, 49, vv] If the above CC# is assigned as the function of the Decay time (CC#75) [Bn, 4B, vv] ASSIGNABLE SWITCH, operating the switch will transmit this message with vv=127 [7F] for ON, and vv=00 [00] for LFO 1 speed (CC#76) [Bn, 4C, vv] OFF.
Page 405 MIDI applications Using RPN (Registered Parameter Numbers) RPN messages can be used for editing with the following Control the chord trigger switches 1–4 procedure. 1. Use RPN MSB (CC#101) [Bn, 65, mm] and RPN LSB If you assign the following CC#s to chord trigger switches (CC#100) [Bn, 64, rr] (n: channel, mm, rr: upper and 1–4, the speciﬁed CC# will be transmitted when you operate lower bytes of the parameter number) messages to...
Page 406 “I ation (See “Writing to internal memory” on page 88 of am a Korg M50, with system version …” the Owner’s manual) on the M50 itself, or by a MIDI Sys- GM system on [F0, 7E, nn, 09, 01, F7]...
Page 407 MIDI applications If notes are “stuck” First check the Enable Exclusive (Global 1–2b) setting to Note: MIDI Clock External USB will operate in the same enable transmission and reception of exclusive data. When way as External MIDI. With the Auto setting, an external you switch modes on the M50, a mode change will be MIDI clock received at the MIDI IN connector or the USB B transmitted.
Page 408 Appendices and the drum track function in Combination or In your external sequencer/computer, turn the echo-back Sequencer mode will be transmitted from timbres or setting on. With these settings, the sound generator won’t MIDI tracks whose Status is BTH, EXT, or EX2.) produce duplicate notes, and recording and playback will occur correctly.
Page 409 MIDI applications Recording the Arpeggiator or RPPR function on an external MIDI sequencer/computer 3. On your external MIDI sequencer/computer, turn echo Parameter changes and other recorded data is included in back on. the song data as System Exclusive events, so it can be saved to or loaded from media as usual.
Page 410: Compatibility With The M3
Appendices Compatibility with the M3 The M50 can load M3 format .PCG and .SNG ﬁles while Metronome Setup “Bus Select” parameters converting them. Data compatibility is supported for (Song) loading and saving each type of data via media. Bus Select parameter settings will be maintained as internal However, the following limitations and cautions apply.
Page 411 Compatibility with the M3 Recording the Arpeggiator or RPPR function on an external MIDI sequencer/computer Global Mode “Foot Switch Assign” parameters Settings related to other functions will be loaded in the following ways. KARMA ON/OFF ARP ON/OFF RT Slider 1...8 RT Knob 1–A...4–B KARMA Slider 1...4 ARP GATE, VELOCITY, LENGTH, OCTAVE...
Page 412 Appendices Bank/number configurations on the M50 and M3 data being loaded contains a bank or number that doesn't exist on the M50, its settings will be modiﬁed if there is no The following table shows the conﬁguration of the corresponding bank. This means that the data may not Combination, Program, Drum Kit, Drum Pattern, sound correctly.
Page 413: Shortcuts
Shortcuts Recording the Arpeggiator or RPPR function on an external MIDI sequencer/computer Shortcuts ENTER switch + numeric keys 0–9 From a powered-off condition, turn on the power while holding down the RESET CONTROL switch + • Accesses the menu commands in each page (up to ten REALTIME CONTROL switch items) •...
Page 414: Midi Implementation
Appendices MIDI Implementation...
Page 415 MIDI Implementation Recording the Arpeggiator or RPPR function on an external MIDI sequencer/computer...
Page 416 Appendices...
Page 417 MIDI Implementation Recording the Arpeggiator or RPPR function on an external MIDI sequencer/computer...
Page 418 Appendices...
Page 419 Please also retain your receipt as proof of purchase otherwise your product may be disqualified from the manufacturer’s or distributor’s warranty. 4015-2 Yanokuchi, Inagi-city, Tokyo 206-0812 Japan  2008 KORG INC.

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