Manuel d'utilisation / d'entretien du produit X50 du fabricant Korg
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Pa r ameter Guide 2 E.
iii About this manual This “Parameter Guide” contains explanations and other information regar ding the operations of the parameters and settings on the X50/microX. The explanations ar e or ganized by mode, page, and tab. Explanations and other information on the effects and their parameters ar e also provided for each effect.
iv T able of C ontents 1. Program mode ........................... 1 PROG PAGE MENU .................................... 1 PROG 0: Play .............................................. 1 0–1: Program ...................................................
v COMBI 4: Ed–MIDI Filter2 ....................... 44 4–1: MIDI 2–1 (MIDI Filter 2–1) ........................ 44 4–2: MIDI 2–2 (MIDI Filter 2–2) ........................ 44 X50: 4–3: MIDI 2–3 (MIDI Filter2–3) ................. 44 X50: 4–4: MIDI 2–4 (MIDI Filter 2–4) .
vi 6–5: Review .......................................................... 68 MULTI 7: Arp/Ctrls (Arpeggiator/Controls) .......................... 69 7–1: Set..8 (Setup T01–08) ................................... 69 7–2: Set..16 (Setup T09–16) .
vii 10: St.Rndm Filter (Stereo Random Filter)..... 109 11: St.Exct/Enhcr (Stereo Exciter/Enhancer) ......................... 110 12: St.Sub OSC (Stereo Sub Oscillator) ........... 110 13: Talking Mod (Talking Modulator) ........... 111 14: St.Decimator (Stereo Decimator) .
viii 77: Exct–Phaser (Exciter – Phaser) .................. 143 78: Exct–M.Dly (Exciter – Multitap Delay) ... 143 79: OD/HG–AmpSim (Overdrive/Hi.Gain – Amp Simulation) .... 144 80: OD/HG–Cho/Fl (Overdrive/Hi.Gain – Chorus/Flanger) .... 144 81: OD/HG–Phaser (Overdrive/Hi.
PROG 0 1 2 3 4 5 6 7 8 9 1 1. P rogr am mode PROG P A GE MENU Use the following procedur e to select the desired page fr om within the current mode. 1 Press the [MENU/OK] button to access the “P AGE MENU.” The “P AGE MENU” will show an abbreviated name for each page.
2 microX: Use the PROGRAM [A]–[GM] buttons to select the bank. The microX pr ovides rewritable banks A , B , C , D , and E , each containing 128 programs (total 640). As for non- rewritable pr ogram areas, it pr ovides banks G (capital pro- grams for GM), and bank g(d) (drums).
3 PROG 0 1 2 3 4 5 6 7 8 9 The ten’s place of the program number will be fixed. 2 Now you can press a numeric button [0]–[9] to enter the one’s place in a single action. 3 Y ou can use the [INC][DEC] buttons to change the ten’s place. 4 To defeat 10’s HOLD, press the [.
4 Editing done using the Performance Editor will occur within the range of the corresponding parameter . If after using the Performance Editor to modify a value, you move to another page or mode and then return, the sound will remain in its edited state but the value shown in the LCD screen by the Performance Editor will be +00 .
5 PROG 0 1 2 3 4 5 6 7 8 9 0–3: Arp (Arp . Play) While arpeggiator parameters are for the most part edited in PROG 7: Ed–Arp/Ctrls, Some major parameters can be edited here as well. When you ar e playing in PROG 0: Play , you can edit the arpeggiator in realtime, such as changing the arpeggio pattern etc.
6 PROG 1: Ed–Basic Here you can make basic settings for the oscillator(s). 1–1: Basic (Prog Basic) 1–1a: Oscillator Mode (Oscillator Mode) [Single, Double, Drums] Specifies the basic program type; whether it will use one or two oscillators, or a drum kit.
7 PROG 0 1 2 3 4 5 6 7 8 9 User All Notes: This is the full-range scale (C–1 – G9) that is specified in “User All Notes Scale” (GLOBAL 2–2a). User Octave 00–15: These are the single-octave scales that are specified in “User Octave Scale” (GLOBAL 2–1a).
8 On (checked): The sound will start from the start of fset loca- tion that is pre-determined for each multisample. Off (unchecked): The sound will start from the beginning of the multisample waveform. Rev (High Rev erse) [Off , On] The multisample will be played in reverse.
9 PROG 0 1 2 3 4 5 6 7 8 9 S elect by Category Selects multisamples by category . For the procedur e, refer to “Select by Category” ( ☞ p.2). This command is valid if “Mode (Oscillator Mode)” (1– 1a) is set to Single or Double , and you have selected the 1–2b: High, Low parameter .
10 PROG 2: Ed–Pitch Here you can make pitch modulation settings for oscillators 1 and 2. 2–1: OSC1 Specifies how the key position (on the keyboard) will af fect the pitch of oscillator 1, and selects the controller that will modify the pitch and the depth of this effect.
11 PROG 0 1 2 3 4 5 6 7 8 9 AMS (Pitch EG AMS) [Off , (KT , EXT )] Selects the source that will contr ol the pitch modulation applied by the pitch EG ( ☞ p.152 “AMS List”). Intensity (AMS Intensity) [–12.00…+12.00] Specifies the depth and direction of the ef fect that “AMS (Pitch EG AMS)” will have.
12 Intensity (AMS Intensity) [–12.00…+12.00] Specifies the depth and direction of the ef fect that “AMS (LFO1 AMS)” will have. W ith a setting of 0 , modulation will not be applied. W ith a setting of 12.00 , the OSC1 LFO1 will apply a maximum of ±1 octave of pitch modulation.
13 PROG 0 1 2 3 4 5 6 7 8 9 2–5b: Lev el Mod. (Lev el Modulation) These settings allow the pitch EG “L (Level parameters)” to be controlled by alternate modulation. AMS1 (Lev el Mod. AMS1) [Off , (KT , EXT )] Selects the source that will contr ol the pitch EG “L (Level parameters)” ( ☞ p.
14 PROG 3: Ed–LFOs Here you can make settings for the LFO that can be used to cyclically modulate the Pitch, Filter , and Amp of oscillators 1 and 2. There ar e two LFO units for each oscillator . By setting the LFO1 or LFO2 Intensity to a negative (–) value for Pitch, Filter , or Amp, you can invert the LFO waveform.
15 PROG 0 1 2 3 4 5 6 7 8 9 AMS2 (F req . AMS2) [Off , (PEG, FEG, AEG, LFO2, KT , EXT )] Int (AMS2 Intensity) [–99…+99] Indicates settings for a second alternate modulation source that will adjust the frequency of the oscillator 1 LFO1. ☞ “AMS1 (Freq.
16 PROG 4: Ed–F ilter1 Indicates settings for filter 1, which controls the tone of oscil- lator 1. Y ou can select either a 24 dB/oct low pass filter with r esonance, or a 12 dB/oct low pass filter and 12 dB/oct high pass filter connected in series.
17 PROG 0 1 2 3 4 5 6 7 8 9 4–2: Mod .1 (F ilter1 Modulation1) Indicates settings for keyboard tracking which modifi es the tone by modulating the filter 1 cutoff frequency “Frequency (A/B Frequency),” and intensity settings for the filter 1 EG, etc.
18 4–2c: AMS, Into to A, Int to B AMS (Filter EG AMS) [Off , (EXT )] Indicates the source that will contr ol the depth and direction of the effect that the time-varying changes pr oduced by the filter 1 EG will have on the cutoff fr equency of filters 1A and 1B ( ☞ p.
19 PROG 0 1 2 3 4 5 6 7 8 9 microX: By moving the joystick in the –Y direction (down), you can control the depth at which OSC1 LFO1 modulates the cutoff fr equency of filter 1A.
20 S (Slope Time) [00…99] Specifies the time over which the level will change after the decay time has elapsed until the sustain level is reached. R (Release Time) [00…99] Specifies the time over which the level will change after note-on occurs until the release level is r eached.
21 PROG 0 1 2 3 4 5 6 7 8 9 AMS2 ( Time Mod. AMS2) [Off , (KT , EXT )] I (AMS2 Intensity) [–99…+99] A (AMS2 SW Attack) [–, 0, +] D (AMS2 SW Decay) [–, 0, +] S (AMS2 SW Slope) [–, 0, +] R (AM.
22 6–1c: AMS, Intensity AMS (Pan AMS) [Off , (PEG, FEG, AEG, LFO , KT , EX T )] Indicates the source that will modify pan ( ☞ p.152 “AMS List”). This change will be relative to the “Pan (Amp1 Pan)” setting. Intensity [–99…+99] Specifies the depth of the effect pr oduced by “AMS (Pan AMS).
23 PROG 0 1 2 3 4 5 6 7 8 9 The actual volume will be determined by summing the value of the changes produced by the amp EG with the val- ues of Alternate Modulation etc., and if the levels of the amp EG are low , the modulation applied by Alternate Modula- tion will also be less.
24 value will cause the amp 1 EG volume levels to increase as you play more str ongly . Setting “Intensity” to a negative (–) values will cause the amp 1 EG volume levels to decr ease as you play more str ongly . W ith a setting of 0 , the levels will be as specified in “Amp 1 EG” (6–3a).
25 PROG 0 1 2 3 4 5 6 7 8 9 ■ 6–3: UTILIT Y ☞ “W rite Program” (0–1), “Copy Oscillator ,” “Swap Oscilla- tor” (1–1) For details on how to select the desired utility function, r efer to “PROG 0–1: UTILITY .” Sync Both EGs The amp 1 EG and the amp 2 EG can be edited simulta- neously .
26 Octav e* [1, 2, 3, 4] Specifies the number of octaves in which the arpeggio will be played. If a user arpeggio pattern is selected, the range of the arpeggio will depend on the “Octave Motion” (GLO- BAL 5–1c) setting. Reso (Resolution)* [ , , , , , ] Specifies the timing resolution of the arpeggio.
27 PROG 0 1 2 3 4 5 6 7 8 9 7–2: Zone (Scan Zone) 7–2a: Scan Zone Z one Map This shows the “Scan Zone” setting. Key : Btm (Bottom Key) [C–1...G9] T op ( T op Ke y) [C–1...G9] These parameters specify the range of notes (keys) for which the arpeggiator will function.
28 PROG 8: Ed–Inser tFX ☞ For details on insertion effect, r efer to p.97 “6. Effect Guide.” 8–1: BUS These settings specify the bus on which the output of the oscillator will be sent, and adjust the send levels to the mas- ter effects.
29 PROG 0 1 2 3 4 5 6 7 8 9 4 If you check “Post IFX Mixer Setting,” the “Pan (CC#8),” “BUS Select,” “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” settings that follow the copy source insert effect will also be copied. If you do not check this, only the effect type and its parameters will be copied.
30 PROG 9: Ed–MasterFX ☞ For details on master effects, r efer to p.97 “6. Effect Guide.” 9–1: S etup Here you can select the master ef fect types, switch them on/ off, specify chain or der , and set the master EQ. 9–1a: Master Effect S etup The master effects do not output the dir ect sound (Dry).
31 PROG 0 1 2 3 4 5 6 7 8 9 3 Select the effect that you wish to copy . If you select MFX 1 or 2 , “Rtn (Return)” (return level) will be copied at the same time. If you select Master EQ , only the master EQ settings will be copied. Y ou can also copy from an insert effect.
32.
C OMBI 0 1 2 3 4 5 6 7 8 9 33 2. C ombination mode C OMBI P A GE MENU For details on how to select pages in Combination mode, r efer to p.1. C OMBI 0: Pla y In this display page you can select and play Combinations. A Combi allows you to use up to 8 programs at one time.
34 • Press the center of the ClickPoint to highlight the field, then use [ π ][ † ] to select a program, and press the center to finalize your selection. • 10’s HOLD ( ☞ p.34) • Use COMBI BANK [A]–[C] to select a bank ( ☞ p.33) • Use “Cat.
35 C OMBI 0 1 2 3 4 5 6 7 8 9 S elect by Category Selects a combination by category . For the procedur e, refer to “Select by Category” ( ☞ p.2) X50 microX 0–2: Prog (T imbre Program) Indicates the program that will be used by each timbr e. 0–2a: Bank, Combi Select, Cat.
36 0–2d: Selec ted Timbre Information This shows information on the timbre (1–8) that is curr ently selected for editing. T imbre No .: Bank No., Prog No .: and name This shows the timbre number , and the program bank, num- ber and name selected for that timbre.
37 C OMBI 0 1 2 3 4 5 6 7 8 9 Hold Balance Adjusts the volume of the Combi while preserving the vol- ume balance between timbres 1–8. Select the “V olume” of any timbre, choose “Hold Balance” from the utility menu, and pr ess the center of the ClickPoint.
38 C OMBI 1: Ed –T one Adjust 1–1: Prog (T imbre Program) Indicates the bank and program for each timbr e 1–8. These parameters can also be set from the 0: Play , Prog page. 1–1a: Program Select, Program Name Pr ogram Select Indicates the program that will be used by each timbr e.
39 C OMBI 0 1 2 3 4 5 6 7 8 9 Reso .HP (Resonance/High P ass F ilter Cutoff Fr equenc y) [–99…+00…+99] Adjusts the resonance level of the low pass filter or the cut- off fr equency of the high pass filter for program OSC 1/2. The parameter that is controlled will depend on the filter type specified for the program.
40 C OMBI 2: Ed–Timbr e Par am 2–1: MIDI Here you can make MIDI settings for each timbr e. 2–1a: Status, MIDI Channel, Bank(EX2) MSB/LSB Status [INT , Off , EX T , EX2] Specifies the status of MIDI and the internal tone generator for each timbre.
41 C OMBI 0 1 2 3 4 5 6 7 8 9 2–3: Pitch Here you can make pitch-r elated settings for each timbre. 2–3a: T ranspose, Detune, B end Range Tr anspose [–24…+24] Adjusts the pitch of each timbre in semitone steps. 12 units equal one octave. When “Status” (2–1a) is INT , this parameter will affect the pitches sounded by the X50/microX.
42 2–4: O ther Specifies the delay from note-on until sound is pr oduced for each timbre. Also specifies the scale. 2–4a: Delay [ms], Use Pr og ’ s Scale Delay [ms] [0000…5000, Ke yOff ] Specifies a delay time from note-on until the sound begins for each timbre.
43 C OMBI 0 1 2 3 4 5 6 7 8 9 3–2: MIDI 1–2 (MIDI Filter 1–2) 3–2a: Damper C C#64, Portamento SW C C#65 Damper C C#64 [Off , On] Specifies whether or not MIDI control change message #64 hold (damper pedal) messages will be transmitted and received.
44 C OMBI 4: Ed–MIDI F ilter2 Specifies whether the A- and B-mode effects of REAL TIME CONTROLS knobs [1], [2], [3], and [4] will be transmitted and received. The A-mode of each knob is fixed as a MIDI control change message. For B-mode, you can assign a MIDI control change message in 7: Ed–Arp/Ctrls.
45 C OMBI 0 1 2 3 4 5 6 7 8 9 X50: 4–4a: FootP edal/Switch, O ther Con- trol Change/ microX: 4–3a: FootP edal/Switch, O ther Co ntr ol Change Fo otP edal/Switch [Off , On] Specifies whether or not the effect of the ASSIGNABLE PEDAL/SWITCH will be transmitted and received.
46 5–2: Slope (Key Slope) 5–2a: T op Slope, Bottom Slope T op Slope [00...72] Specifies the range of keys (12 is one octave) over which the maximum programmed volume level will be r eached, start- ing from the top key . 0: The volume will be at the original level from the top key .
47 C OMBI 0 1 2 3 4 5 6 7 8 9 6–2: Slope (V elocit y Slope) 6–2a: T op Slope, Bottom Slope T op Slope [000…120] Specifies the number of velocity steps over which the origi- nal volume will be reached, starting fr om the T op V elocity . 0: The volume will be at the original value from the top velocity .
48 In this case, the arpeggiator can be triggered (operated) by any MIDI channel specified for the “MIDI Channel” parameter of any timbre 1–8 assigned to arpeggiator A or B. If Local Control (“Local Contr ol On,” GLOBAL 1–1a) is Off, the keyboar d will not trigger the arpeggiator .
49 C OMBI 0 1 2 3 4 5 6 7 8 9 ( ☞ p.25 PROG 7: Ed–Arp/Ctrls) * These parameters can also be set in “0–4: Arp. A, 0–5: Arp. B” 7–2(3)b: ( T empo) (T empo) [040...240, EXT ] Sets the tempo of the arpeggiator . This can be adjusted by the REAL TIME CONTROLS C-mode [TEMPO] knob.
50 7–5: Contr ols X50 microX 7–5a: Knob B Assign These settings assign functions (mainly various control changes) to the B-mode of the REAL TIME CONTROLS knobs [1]–[4] ( ☞ p.162 “Realtime Control Knobs B Assign List”). The functions you specify here will be contr olled when you operate the REAL TIME CONTROLS knobs [1]–[4] in B- mode.
51 C OMBI 0 1 2 3 4 5 6 7 8 9 value with the send level “S1 (Send1(MFX)), ” “S2 (Send2(MFX))” (PROG 8–2a) for each oscillator of the program selected for the timbr e.
52 8–3: IFX (Inser t Effect) Here you can adjust the parameters for the IFX that was selected in the Setup page ( ☞ p.104–). ■ 8–3a: UTILIT Y ☞ “W rite Combination” (0–1) C OMBI 9: Ed–MasterFX ☞ For details on master effects, r efer to p.
53 C OMBI 0 1 2 3 4 5 6 7 8 9 9–1d: MEQ Ctrl MEQ Ctrl (MEQ Con trol Ch) [Ch01...16, G ch] Selects the MIDI channel that will control dynamic modulation (Dmod) for the master EQ. G ch : The global MIDI channel “MIDI Channel” (GLOBAL 1–1a) will be used for control.
54.
MUL TI 0 1 2 3 4 5 6 7 8 9 55 3. Multi mode In Multi mode, the X50/microX functions as a 16-part multi- timbral MIDI tone generator that can receive and play multi- ple channels of MIDI messages from an external MIDI sequencer . Y ou can also make the arpeggiator play in syn- chronization with an external MIDI sequencer .
56 Co nt r ol T r ack [ T01…T16: name] This selects the track that will be played by the keyboard of the X50/microX and that will be contr olled by the various controllers of the X50/micr oX. T rack names can be specified in Utility “Rename T rack” (0–1).
57 MUL TI 0 1 2 3 4 5 6 7 8 9 GM Initialize This command transmits a GM System On message to Multi mode, resetting all tracks to the GM settings (r efer to the table below).
58 • Press the center of the ClickPoint to highlight the field in the display, use [ π ][ † ] to make your choice, and press the center to confirm. • Use PROG BANK [A]–[GM] to select a bank ( ☞ p.1) • Use “Select by Category” to choose from the desired category ( ☞ p.
59 MUL TI 0 1 2 3 4 5 6 7 8 9 ■ 0–4(5): UTILIT Y ☞ “W rite Multi,” “Copy From Combi,” “GM Initialize” (0– 1), “Select by Category” (0–2(3)) microX: 0–6: Ex t. C ontrol The external control function lets you use the REAL TIME CONTROLS knobs to control an external MIDI device.
60 “Destination 1–6” and “ V alue 1–6” The parameters that can be controlled and their range of val- ues are as follows. LPF Fc (Low P ass Filter C utoff Frequency) [–99…+00…+99] Adjusts the low pass filter cutoff fr equency of pr ogram OSC 1/2.
61 MUL TI 0 1 2 3 4 5 6 7 8 9 Rev erse [Off , PRG, On] Controls the “Rev (Reverse)” parameter (1–1b ☞ p.8, GLO- BAL 4–1b ☞ p.87) for each Multisample or Drumsample of program OSC1/2. If you turn this On , all multisamples and drum samples will play backward.
62 MIDI Channel [01…16] Specifies the MIDI data that the track will use to transmit and receive MIDI data. T racks set to INT which have the same MIDI channel will sound and be controlled identically when they receive MIDI data. Bank(EX2) MSB [000.
63 MUL TI 0 1 2 3 4 5 6 7 8 9 This setting can be controlled and changed by r eceived MIDI RPN Pitch Bend Range messages. (These mes- sages will not be received if the setting is PRG .) This is controlled on the MIDI channel specified for each track by “MIDI Channel” (2–1a/2a).
64 MUL TI 3: MIDI F ilter1 Here you can select whether or not to apply filtering to the MIDI data received by tracks 1–16. For example, even if two tracks are r eceiving the same MIDI channels, one can be made to respond to damper pedal activity while the other does not.
65 MUL TI 0 1 2 3 4 5 6 7 8 9 ■ 3–5(6): UTILIT Y ☞ “W rite Multi,” “Copy From Combi” (0–1) 3–7: 1–4..8 (MIDI Filter2–2 T01–08) 3–8: 1–4.
66 4–3: 2–2..8 (MIDI Filter2–2 T01–08) 4–4: 2–2..16 (MIDI Filter2–2 T09–16) 4–3(4)a: Realtime Contr ol Knob 3, 4 Knob3 [Off , On] Specifies whether or not the A-mode [3] knob MIDI control change message #79 (filter EG intensity) and the B-mode [3] knob MIDI control change message will be r eceived.
67 MUL TI 0 1 2 3 4 5 6 7 8 9 MUL TI 5: Ke y Zone Here you can specify the range of keys that will be sounded by each track. T op/Bottom Key settings specify the range of notes that will be sounded by tracks 1–8, 9–16, and T op/Bottom Slope set- tings specify the range from the top/bottom key until the original volume is reached.
68 MUL TI 6: V el Zone (V elocity Zone) Specifies the range of velocities that will sound each track. Set the T op/Bottom V elocity parameters to set the range of velocities that will sound tracks 1–8 and 9–16, and set the T op/Bottom Slope parameters to specify the range over which the volume will change.
69 MUL TI 0 1 2 3 4 5 6 7 8 9 MUL TI 7: Arp/Ctrls (Arpeggiator/C ontrols) Here you can specify how the arpeggiator will operate in Multi mode. These settings can be made for each multi set. In Multi mode (as in Combination mode), you can run the two arpeggiators simultaneously .
70 7–3: Arp . A (Arpeggiator A) 7–4: Arp . B (Arpeggiator B) Indicates settings for arpeggiator A in the Arp. A page, and for arpeggiator B in the Arp. B page. Y ou can use the “Copy Arpeggiator” utility to copy set- tings from another mode such as Pr ogram mode.
71 MUL TI 0 1 2 3 4 5 6 7 8 9 7–6: Contr ols When you operate these controllers on the MIDI chan- nel of the “Control T rack,” the MIDI messages assigned here will be transmitted (if “Status” 2–1a/2a is EXT , EX2 , or BTH ).
72 MUL TI 8: Inser tFX ☞ For details on insert effects, r efer to p.97 “6. Ef fect Guide.” 8–1: BUS..8 (BUS T01...08) 8–2: BUS..16 (BUS T09...16) Specifies the bus to which the program oscillator(s) of each track 1–8, 9–16 will be sent.
73 MUL TI 0 1 2 3 4 5 6 7 8 9 8–3b: Contr ol Channel Co nt r ol Channel [Ch01...16, All Rt.] Indicates the MIDI channel that will control ef fect dynamic modulation (Dmod), pan following the insert effect “Pan (CC#8),” “Send1(MFX1),” and “Send2(MFX2).
74 9–1d: MEQ Ctrl MEQ Ctrl (MEQ Con trol Ch) [Ch01...16, G ch] Specifies the MIDI channel that will control dynamic modulation (Dmod) for the master EQ. G ch : The effect will be contr olled on the global MIDI chan- nel “MIDI Channel” (GLOBAL 1–1a).
GL OBAL 0 1 2 3 4 5 6 75 4. Global mode In Global mode you can make settings that affect the entir e instrument, such as master tuning, MIDI, and memory pro- tect.
76 In Program, Combination and Multi modes, MIDI RPN fine tuning messages can be received to adjust the tun- ing of the program, the timbr es (in Combination mode), or the tracks (in Multi mode) relative to the Global mode “Master T une” setting.
77 GL OBAL 0 1 2 3 4 5 6 To write a drum kit or user arpeggio pattern, execute the appropriate utility . ( ☞ 4–1 “W rite Drum Kits,” 5–1 “W rite Arpeggio Patterns”) L oad Pr eload Data This command loads the preload data into internal memory .
78 0–2: Pref . (System P referenc e) X50 microX 0–2a: System P refer ence Multi Mode [for Ext-Seq, for Master] This specifies how MIDI data will be transmitted in Multi mode. for Ext-Seq: Normally , you will use Multi mode when using this instrument as a multi-timbral sound module with an external MIDI sequencer .
79 GL OBAL 0 1 2 3 4 5 6 X50 microX List: The pages will appear as a tabbed list. Use the Click- Point [ π ][ † ] to select the page you want to view , use [ ® ] to move to a tab ([ √ ] to move to a page), and use [ π ][ † ] to select the tab you want to view .
80 microX: Ext. Control Setup [Off , On] This protects the external contr ol set memory of the microX. On (checked): The external control set memory of the microX will be pr otected, and the following writing opera- tions will not be possible.
81 GL OBAL 0 1 2 3 4 5 6 GL OBAL 1: MIDI 1–1: MIDI Here you can make MIDI-r elated settings that affect this instrument. 1–1a: MIDI Setup MIDI Channel [01…16] Sets the global MIDI channel. The global MIDI channel is used in the following cases. • When transmitting and receiving performance data in Program mode (PROG 0: Play).
82 RT (Realtime Command) [Off , On] Off (unchecked): MIDI common messages and r ealtime messages (Start, Stop, Continue, Song Select, Song Position Pointer) will not be received if “MIDI Clock” is set to Ext- MIDI or Ext-USB , or if it is set to Auto and MIDI clock mes- sages are being r eceived from an external sour ce.
83 GL OBAL 0 1 2 3 4 5 6 Af terT (After T ouch) [Off , On] On (checked): MIDI after touch messages will be transmit- ted and received. Off (unchecked): MIDI after touch messages will neither be transmitted nor received. This setting affects the operation when GLOBAL 0–3: Foot “Foot SW Assign” or “Foot Pedal Assign” is set to After T ouch.
84 When you save data dumps from this instrument to a MIDI data filer , do not save multiple data dumps together . If this data is saved together , there will be insufficient time for this instrumen.
85 GL OBAL 0 1 2 3 4 5 6 GL OBAL 2: User Scale Here you can cr eate sixteen User Octave Scales and one User All Notes Scale. The user scales you create her e can be selected in the PROG 1–1, COMBI 2–4, MUL TI 2–7(8). If you wish to keep an edited user scale after the power is turned off, be sur e to write (save) your settings.
86 GL OBAL 3: Category Name 3–1: P .0..7 (Prog .00...07) 3–2: P .8..15 (Prog .08...15) 3–3: C.0..7 (Comb .00...07) 3–4: C.8..15 (Comb .08...15) Here you can r ename the categories for programs and com- binations.
87 GL OBAL 0 1 2 3 4 5 6 X50 microX Key [C–1...G9] Indicates the key to which you will assign a drumsample (and its settings). All 4: DKit parameters except for “Drum Kit” will apply to the key you assign here. T wo drumsamples, High and Low , can be assigned to each key , and you can switch between them by velocity as you play .
88 Wr i t e Drum Kits This command writes all drum kits 00 (INT)–48 (User). 1 Select “W rite Drum Kits” to access the dialog box. 2 To execute the W rite command press the [MENU/OK] button. T o cancel, press the [EXIT/CANCEL] button. Rename Drum Kit This command renames the selected drum kit.
89 GL OBAL 0 1 2 3 4 5 6 played monophonically with last-note priority . For example you might assign closed and open hi-hat sounds to the same group so that two or mor e hi-hat sounds can not sound simultaneously . Off: Keys will not be gr ouped. Normally you will set this Off .
90 Pat (Pattern) [Preset-0...P reset-4, U000...U250] Selects the pattern that you wish to edit. (T empo) [040...240, EXT ] This specifies the tempo.
91 GL OBAL 0 1 2 3 4 5 6 W ith a setting of T rigger All T ones , playing one key is sufficient to sound all thr ee; T one 1 (kick), T one 2 (snar e), and T one 3 (hi-hat). If the “V el (V elocity)” of each T one is set to Key , the T ones will be sounded at the correspond- ing velocity each time a key is pressed.
92 Gt (Gate) [Off , 001...100%, L GT ] Off: That step will not sound even if T ones have been speci- fied. LGT : Notes will continue sounding until the same T one is sounded next, or until the pattern returns to the beginning. At this time, the display will change to “ ■ ” or “ .
93 GL OBAL 0 1 2 3 4 5 6 microX: GL OBAL 6: Ex t. C ontr ol External Control lets you use the REAL TIME CONTROL knobs to control external MIDI devices. Y ou can assign a MIDI control change and MIDI channel to each of the four knobs, and switch between three such settings (A, B, C) to control an external device.
94.
DEMO 95 5. Demo Song Demo Song The X50/microX contains demo songs. Her e’s how to listen to the demo songs. 1 Hold down the [CA TEGOR Y] button and press the [AUDITION] button to enter the Demo Song Player page. 2 Press the [AUDITION] button to start the demo song.
96.
EFFECT 97 6. Effec t Guide Ov er view The effects section of X50/micr oX consists of a single chan- nel Insert Effect , two-channel Master Ef fects , a single-chan- nel Master EQ (stereo, thr ee-band EQ) and a Mixer section that controls the ef fect routings.
98 Inser t Effec t (IFX) 1. In/Out Insert Effect ( IFX ) have a stereo input and a stereo output . If you select Dry (no effect) for the “W/D” parameter , the stereo input signal will be output in ster eo without being processed by the ef fect.
99 EFFECT — Settings for drum Pr ograms — If a drum Program (“OSC Mode” Drums ) is selected for tim- bres in Combination mode and for tracks in Multi mode , you can select “ DKit ” for “BUS Select.
100 3–2. BUS S elect This parameter enables you to specify the destination bus for the post-IFX signals. “ L/R ” is a common setting to send signals to the Master EQ before they ar e routed to the OUTPUT L/R outputs. Select 1 , 2 or 1/2 to route the signals to (INDIVIDUAL OUT - PUT) 1 or 2 ( ☞ p.
101 EFFECT Separately from this “On/Of f” setting, MIDI control changes CC#94 (MFX1) and CC#95 (MFX2) can be received to turn each master ef fect off. A value of 0 is off, and a value of 1–127 r estores the original setting. Y ou can also use “FX SW” (GLOBAL 0–1b) to turn of f MFX1 and MFX2 in the same way .
102 – Setting for drum pr ogram – If a drum program has been selected for a timbr e in Combi- nation mode or for a track in Multi mode, you will be able to select DKit for the “BUS Select” parameter .
103 EFFECT Master EQ The Master EQ (stereo, thr ee-band EQ) is located right before (MAIN OUTPUT) L/MONO, R. Low and High EQs are of the shelving type, and Mid EQ is a peaking type equalizer . Y ou can control the Low Gain and High Gain parameters using the Dynamic Modulation function.
104 F ilter/D ynamic F ilter and dynamics c ontrol eff ects 00: No Effec t Select this option when you do not wish to use any effects. The Insert Effect section outputs unpr ocessed signals and the Master Effect section mutes the output.
105 EFFECT a: En velope When L/R Mix is selected for this parameter , the left and right channels are linked to contr ol the Limiter using the mixed signal. If L Only (or R Only ) is selected, the left and right channels ar e linked, and the Limiter is controlled via only the left (or right) channel.
106 e: Low Offset, f: Mid Offset, g: High Offset These parameters set the gain of the trigger signal. For example, if you do not want to apply compr ession to the high range, reduce the “High Of fset” value down below the “Thr esh- old” level.
107 EFFECT a: W ah The W ah parameter switches the wah effect on/off. a: (Sw) This parameter sets how the wah effect is switched on and of f via the modulation source. When “Sw” = Mmnt (Moment) , the wah effect is usually turned off. It is turned on only when you pr ess the pedal.
108 d: B2 Dyn.G Src, d: (Amount), f: G Y ou can control the gain of Band 2 using the modulation source. 08: St.Graphic7EQ (Stereo Graphic 7-Band EQ) This is a stereo 7-band graphic equalizer . The bar graph of the gain setting for each band gives you a clear , visual idea of fre- quency responses.
109 EFFECT a: FreqBottm, a: FreqT op The sweep width and direction of the wah fi lter are determined by the “FreqBottm” and “Fr eqT op” settings. b: Swp Mode This parameter changes the wah control mode. Setting “Swp Mode” to Auto will select an auto-wah that sweeps accor ding to envelope changes in the input signal level.
110 When “LFO W ave” is set to Random , the “Step” parameter uses a random LFO cycle. b: LFO Phase Offsetting the left and right phases alters how modulation is applied to the left and right channels, cr eating a swelling affect.
111 EFFECT a: OSC Mode, b: Note Interval, c: Fine The “OSC Mode” parameter selects the oscillator operation mode. When Note (Key Follow) is selected, the oscillator ’s frequency is determined based on the note number , allowing you to use it as an octaver .
112 14: St.Decimator (Stereo Decimator) This effect cr eates a r ough sound like a cheap sampler by low- ering the sampling frequency and data bit length.
113 EFFECT Pitch/Phase Mod . Pitch/phase modulation effects 16: St.Chorus (Stereo Chorus) This effect adds thickness and warmth to the sound by modu- lating the delay time of the input signal. Y ou can add spread to the sound by offsetting the phase of the left and right LFOs from each other .
114 g: Feedback Sets the feedback amount of the chorus block. Incr easing the feed- back will allow you to use the effect as a flanger . 18: MltT ap ChoDly (Multitap Chorus/Delay) This effect has four chorus blocks with a dif ferent LFO phase.
115 EFFECT 20: St.Flanger (Ster eo Flanger) This effect gives a significant swell and movement of pitch to the sound. It is more ef fective when applied to a sound with a lot of harmonics. This is a stereo flanger . Y ou can add spread to the sound by offsetting the phase of the left and right LFOs from each other .
116 22: St.Env .Flanger (Stereo En velope F langer) This Flanger uses an envelope generator for modulation. Y ou will obtain the same pattern of flanging each time you play . Y ou can also control the Flanger directly using the modula- tion source. e: Swp Mode, e: Src This parameter switches the flanger contr ol mode.
117 EFFECT 24: St.Rndm Phasr (Stereo Random Phaser) This is a stereo phaser . The effect uses a step-shape waveform and random LFO for modulation, creating a unique phasing effect. 25: St.Env .Phaser (Stereo En velope Phaser) This stereo phaser uses an envelope generator for modula- tion.
118 26: St.BiphaseMod (Stereo Biphase Modulation) This stereo chorus ef fect adds two differ ent LFOs together . Y ou can set the Frequency and Depth parameters for each LFO individually . Depending on the setting of these LFOs, very complex waveforms will create an analog-type, unstable modulated sound.
119 EFFECT The effect is of f when a value for the dynamic modulation source specified for the “AUT OF ADE Src” parameter is smaller than 64, and the effect is on when the value is 64 or higher . The AutoFade function is triggered when the value changes from 63 or smaller to 64 or higher .
120 a: Ctrl, e: V1 Reso, h: V2 Reso This parameter determines the resonance intensity . When “Ctrl” = Manual , the “Reso” parameter sets the intensity of resonance. If the “Reso” parameter has a negative value, harmon- ics will be changed, and resonance will occur at a pitch one octave lower .
121 EFFECT 31: Scratch This effect is applied by r ecording the input signal and mov- ing the modulation source. It simulates the sound of scratches you can make using a turntable. a: Scratch Source, b: Response(Scratch) The Scratch Source parameter enables you to select the modula- tion source that contr ols simulation.
122 Mod ./P .Shif t O ther modulation and pitch shift effects 32: St.T remolo (Stereo T remolo) This effect modulates the volume level of the input signal. The effect is ster eo, and offsetting the LFO of the left and right phases from each other pr oduces a tremolo ef fect between left and right.
123 EFFECT 34: St.Auto P an (Stereo A uto Pan) This Auto Pan effect pans sound between left and right. It is stereo, and shifting the left and right LFO phases fr om each other will simulate the sound of the left and right channels crossing over each other by turns, or chasing each other .
124 a: Type, b: LFO Phase Select the type of phaser LFO and tremolo LFO for the “T ype” parameter . How the effect sound moves or r otates depends on the type of LFO. Selecting “LFO Phase” enables you to of fset the tim- ing of the phaser peak and control a subtle movement and r ota- tion of the sound.
125 EFFECT 37: Detune Using this effect, you can obtain a detune ef fect that offsets the pitch of the effect sound slightly fr om the pitch of the input signal. Compared to the chorus ef fect, a more natural sound thickness will be created. e: InLvl Mod, e: Src This parameter sets the dynamic modulation of the input level.
126 39: PitchShf t Mod (Pitch Shift Modulation) This effect modulates the detuned pitch shift amount using an LFO, adding a clear spread and width to the sound by pan- ning the effect sound and dry sound to the left and right. This is especially effective when the ef fect sound and dry sound output from ster eo speakers are mixed.
127 EFFECT When “(Sw)” = Mmnt (Moment) , the speaker is r otating. It stops only when you press the pedal. Rotation will occur when the value of the modulation source is less than 64, and will stop when the value is 64 or greater . b: (Sw) This parameter sets how the rotation speed (slow and fast) is switched via the modulation source.
128 42: Auto Rev erse This effect r ecords the input signal and automatically plays it in reverse (the ef fect is similar to a tape reverse sound). a: Rec Mode, b: Reverse Time When ”Rec Mode“ is set to Single , you can set up to 1320msec for “Reverse T ime.
129 EFFECT 44: St/Cross Dly (Stereo/Cross Dela y) This is a stereo delay , and can by used as a cross-feedback delay effect in which the delay sounds cr oss over between the left and right by changing the feedback routing. 45: St.MltT ap Dly (Stereo Multitap Dela y) The left and right Multitap Delays have two taps respectively .
130 46: St.Mod . Delay (Stereo Modulation Dela y) This stereo delay uses an LFO to sweep the delay time. The pitch also varies. Y ou will obtain a delay sound with swell and shimmering.
131 EFFECT a: P ol, b: Threshold, b: Offset, c: Attack, d: Release The “Offset” parameter specifies the value for the “Ctrl T arget” parameter (that is set to None), expressed as the ratio r elative to the parameter value (the “W/D” value with “Ctrl T arget”= Out , or the “Feedback” value with “Ctrl T arget”= FB ).
132 a: BPM, b: L Bs, b: Times, c: C Bs, c: Times, d: R Bs, d: Times The delay time is the length of the note obtained by multiplying the “Bs” parameter by the T imes value, in relation to the tempo specified by the “BPM” parameter (or the MIDI Clock tempo if “BPM” is set to MIDI ).
133 EFFECT a: BPM, a: Rhythm W ith the tempo specified by the “BPM” parameter (or the MIDI Clock tempo if “BPM” is set to MIDI ), the length of one beat equals the feedback delay time, and the interval between taps becomes equal. Selecting a rhythm will automatically turn the tap outputs on and off.
134 Using the “Pre Delay Thr u” parameter , you can mix the dry sound without delay , emphasizing the attack of the sound. 56: Rev Room (Rev erb Room) This room-type r everb emphasizes the early reflections that make the sound tighter .
135 EFFECT Mono → Mono Chain Effects that combine tw o mono effects con- nected in series 58: P4EQ–Exciter (Par ametric 4-Band EQ – Ex citer) This effect combines a mono-type four -band parametric equalizer and an exciter .
136 60: P4EQ–Cho/Fl (Par ametric 4-Band EQ – Chorus/F langer) This effect combines a mono-type four -band parametric equalizer and a chorus/flanger . h: Out When W et Inv is selected, the right channel phase of the chorus/ flanger effect sound is inverted.
137 EFFECT 62: P4EQ–M.Dly (Par ametric 4-Band EQ – Multitap Delay) This effect combines a mono-type four -band parametric equalizer and a multitap delay . 63: Comp–W ah (Compr essor – W ah/Auto W ah) This effect combines a mono-type compr essor and a wah.
138 64: Comp–AmpSim (Compr essor – Amp Simulation) This effect combines a mono-type compr essor and an amp simulation. Y ou can change the order of the ef fect connection. 65: Comp–OD/HG (Compr essor – Overdriv e/Hi.G ain) This effect combines a mono-type compr essor and an over- drive/high-gain distortion.
139 EFFECT 67: Comp–Cho/F l (Compr essor – Chorus/Flanger) This effect combines a mono-type compr essor and a chorus/ flanger . Y ou can change the order of the effect connection. g: Out, h: [Routing] When W et Inv is selected, the right channel phase of the chorus/ flanger effect sound is inverted.
140 69: Comp–M.Dly (Compr essor – Multitap Delay) This effect combines a mono-type compr essor and a multitap delay . Y ou can change the order of the effect connection. 70: Limit–P4EQ (Limiter – Par ametric 4-Band EQ) This effect combines a mono-type limiter and a four -band parametric equalizer .
141 EFFECT 71: Limit–Cho/Fl (Limiter – Chorus/Flanger) This effect combines a mono-type limiter and a chorus/ flanger . Y ou can change the order of the effect connection. 72: Limit–Phaser (Limiter – Phaser) This effect combines a mono-type limiter and a phaser .
142 73: Limit–M.Dly (Limiter – Multitap Delay) This effect combines a mono-type limiter and a multitap delay . Y ou can change the order of the effect connection. 74: Exct–Comp (Ex citer – Compr essor) This effect combines a mono-type exciter and a compr essor .
143 EFFECT 76: Exct–Cho/Fl (Exciter – Chorus/F langer) This effect combines a mono-type limiter and a chorus/ flanger . 77: Exct–Phaser (Exciter – Phaser) This effect combines a mono-type limiter and a phaser . 78: Exct–M.Dly (Exciter – Multitap Dela y) This effect combines a mono-type exciter and a multitap delay .
144 79: OD/HG–AmpSim (Overdriv e/Hi.G ain – Amp Simulation) This effect combines a mono-type over drive/high-gain dis- tortion and an amp simulation.
145 EFFECT 81: OD/HG–Phaser (Overdriv e/Hi.G ain – Phaser) This effect combines a mono-type over drive/high-gain dis- tortion and a phaser . Y ou can change the order of the effect connection. 82: OD/HG–M.Dly (Overdriv e/Hi.G ain – Multitap Delay) This effect combines a mono-type over drive/high-gain dis- tortion and a multitap delay .
146 83: W ah–AmpSim (W ah/Auto W ah – Amp Simulation) This effect combines a mono-type wah and an amp simula- tion. Y ou can change the order of the ef fect connection. 84: Deci–AmpSim (Decimator – Amp Simulation) This effect combines a mono-type decimator and an amp sim- ulation.
147 EFFECT 86: AmpSim–T rml (Amp Simulation – T remolo) This effect combines a mono-type amp simulation and a tr em- olo. 87: Cho/Fl–M.Dly (Chorus/Flanger – Multitap Dela y) This effect combines a mono-type chorus/flanger and a mult- itap delay .
148 88: Phasr–Cho/Fl (Phaser – Chorus/Flanger) This effect combines a mono-type phaser and a chorus/ flanger . 89: Rev erb–Gate This effect combines a mono-type r everb and a gate.
149 EFFECT Master EQ Master EQ Use the 9–4 MasterFX MEQ page in the Program, Combina- tion, and Multi modes Y ou cannot use the Master EQ as the Insert Effect or as one of the Master Effects. a: Gain, b: Gain, c: Gain These parameters are linked with the “Master EQ Gain [dB]” (9– 1c) parameter of the MasterFX.
150.
Ap pendices 151 7. Appendic es Al ternate Modula tion Sourc e (AMS) About Alternat e Modulation An Alternate Modulation Sour ce can be specified for each of the 55 Alternate Modulation destinations shown in the dia- gram below . (Pitch EG is common to OSC 1 and 2.
152 AMS (Alternate Modula tion Sourc e) List In the above table, the parentheses ( ) indicate the type of sour ce that can be used for each AMS. For example, the “AMS (Pitch AMS)” value for OSC1 Pitch (PROG 2–1a) can be [Off, (FEG, AEG, EXT)] ( ☞ p.
153 Ap pendices F lt KT +/+ (F ilter Ke yboard T rack +/+) F lt KT +/– (F ilter Ke yboard T rack +/–) F lt KT 0/+ (F ilter Ke yboard T rack 0/+) F lt KT +/0 (F ilter Ke yboard T rack +/0) A mp KT .
154 Al ternate Modulation settings When you operate an AMS (Alternate Modulation Source), the modulation destination will be affected as shown in the table below . By using alternate modulation, you can create complex sys- tems of modulation in which EG, LFO, keyboard tracks, and controllers work together .
155 Ap pendices F ilter (C utoff ) F requenc y (PROG 4–1b , 5–1b) The cutoff fr equency of filter A/B can be controlled by the pitch/amp EG, controllers, or tempo. Set “AMS 1/2 (Filter A/B AMS1/2)” and “AMS 1/2 Intensity” for Filter A or B.
156 A mp (PROG 6–2(5)b) The volume can be controlled by the pitch/filter EG, con- trollers, or tempo etc. • If an EG or controller that changes with a positive (+) value ( Amp EG , EXT(+) , EXT(S.
157 Ap pendices LFO Fr equency (PROG 3–1b) The frequency of LFO 1 or 2 can be contr olled by EG, key- board tracking, contr ollers, or tempo etc., Y ou can even use the LFO2 frequency to modulate the LFO1 fr equency .
158 D ynamic Modulation Sourc e List CC#: This is the control change number . *: This indicates a controller not present on the X50/ microX that can be received via MIDI, such as the ribbon controller on the TRITON Extreme etc. The controller and the type of MIDI messages it transmits will depend on the type of connected MIDI instr ument or device.
159 Ap pendices Ga te1, G1+Dmp (Gate1+Damper) The effect is at maximum during note-on, and will stop when all keys are r eleased. W ith G1+Dmp , the effect will r emain at maximum even after the keys ar e released, as long as the damper (sustain) pedal is pressed.
160 About the BPM/MIDI SYNC func tion BPM/MIDI SYNC can be used for most effects that have an LFO, such as 09:St. W ah/Auto W ah, and for some delay- type effects such as 49:L/C/R BPM Delay .
161 Ap pendices X50: SW1/2 Assign The following functions can be assigned to the assignable switches [SW1] and [SW2]. • For a program, combination, or multi set make the settings in 7: Ed–Arp/Ctrls page “SW1/2 Assign” (PROG 7–3a, COMBI 7–5b, MULTI 7–5b).
162 Knob 1...4 B Assign The following functions can be assigned to the REAL TIME CONTROLS [1]–[4] knobs in B-mode. • For program, combination, or multi set, make these settings in 7: Ed–Arp/Ctrls page “Knob B Assign.” This can be set for each program in Pr ogram mode, each combination in Combination mode, and each multi set in Multi mode.
163 Ap pendices The A-mode functions of the REAL TIME CONTROLS are fixed. Knob1-A: LPF Cutoff (Filter LPF C utoff : C C#74) Control the low pass filter cutof f frequency of the filter .
164 Fo ot Switch Assign Y ou can assign the function of an assignable switch (sepa- rately sold Korg PS-1 option) connected to the ASSIGN- ABLE SWITCH jack.
165 Ap pendices Fo ot P edal Assign Y ou can assign the function that will be controlled by an assignable pedal (separately sold Korg XVP-10 or EXP-2 option) connected to the ASSIGNABLE PEDAL jack. • This setting is made in GLOBAL 0: System Foot page “Foot Pedal Assign” (0–3a).
166 MIDI transmission when the X50/micr oX’ s con trol- lers are oper at ed The following table shows the relation between the MIDI messages that are transmitted when the X50/micr oX’s con- trollers ar e operated, and the AMS (alternate modulation source) or DMS (dynamic modulation sour ce) that corre- spond to each MIDI message.
167 Ap pendices The following table shows the relation between the MIDI messages that are transmitted when the X50/micr oX’s con- trollers ar e operated, and the AMS (alternate modulation source) or DMS (dynamic modulation sour ce) that corre- spond to each MIDI message.
168 X50/microX oper ations when c ontrol changes are transmitted/r ec eiv ed The following table shows the operations that the X50/ microX will perform when contr ol change messages are received, and the relation between settings and contr oller movements on this instrument CC# Control V alue Function 0 Bank select (MSB) 0.
169 Ap pendices Any control change number (CC#00–95) can be assigned as the B-mode function of a REAL TIME CON- TROLS knob. In this case, the transmitted values will all be 0–127. *1 Unlike conventional control changes, pitch bend range, fine tune, and coarse tune settings are made using RPC (Registered Parameter Control) messages.
170 *5 Controlled on the global MIDI channel. *6 NRPN (Non Registered Parameter Number) and Data Entry can be used to control the following parameters.
171 Ap pendices MIDI applications ■ Messages transmitted and rec eiv ed by this instrument [...] indicates hexadecimal notation MIDI channels MIDI messages can be exchanged when the transmitting and receiving devices ar e set to the same MIDI channel.
172 Selec ting combina tions Y ou can use program change and bank select messages to select combinations in the same way that you select programs. • Combinations 000–127 in banks A, B, and C correspond to program changes [Cn, 00]–[Cn, 7F].
173 Ap pendices joystick is operated. Normally , a wah effect (filter LFO) is applied. microX: When you move the microX’s joystick in the –Y direction (down), Modulation 2 Depth messages will be transmitted. When these messages are r eceived, the same effect will be applied as when the X50/micr oX’s joystick is operated.
174 TROLS knob [1]–[4], operating that controller will transmit Effect Contr ol 1/2 messages, and the specified dynamic modulation will be controlled.
175 Ap pendices sage is received, the r esult will be the same as when the con- troller is operated (OFF for vv=63 [3F] or below , and ON for vv=64 [40] or above). Soft pedal (CC#67) [Bn, 43, vv] If the above CC# is assigned as the function of the ASSIGN- ABLE SWITCH, the soft pedal effect will be turned on/of f.
176 T uning RPN fine tune [Bn, 65, 00, 64, 01] This RPN message can be used to adjust the detuning for a program or timbr e (in Combination mode), or for a track (in Multi mode). The procedur e is as follows. 1 [Bn, 65, 00, 64, 01]: Select RPN parameter 01.
177 Ap pendices balance without changing the relative volume balance between timbres/tracks. When this message is r eceived, the result will be the same as when the contr oller is operated.
178 When these messages are r eceived, the same editing opera- tion will be performed as on the transmitted device. After MIDI exclusive data has been received and pr ocessed, a Data Load Completed message will be transmitted.
179 Ap pendices Local Control On : Notes from the arpeggiator will be trans- mitted from the MIDI OUT . Normally you will use this set- ting. Local Control Off : Notes fr om the arpeggiator will not be transmitted from the MIDI OUT . The arpeggiator will only sound the notes (on this instrument).
180 Va rious messages A Are y ou sure? C Ca n’ t calibrate C ompleted M Memory protec ted MIDI data rec eiving error N Now Writing into in ternal memory • While writing (updating) Programs, Combin.
181 Ap pendices 1-1 CHANNEL MESSAGES [H] :Hex, [D] :Decimal +------+---------+-------------------+-----------------------------------------------------------+----+ |Status| Second | Third | Description ( Transmitted by .
182 2.RECOGNIZED RECEIVE DATA 2-1 CHANNEL MESSAGES [H] :Hex, [D] :Decimal +------+--------+--------------------+-------------------------------------------------------------+----+ |Status| Second | Third | Description ( Use .
183 Ap pendices 2-2 SYSTEM COMMON MESSAGES [H] :Hex, [D] :Decimal +------+--------+--------------------+-------------------------------------------------------------+ |Status| Second | Third | Description ( Use for .
184 Index Numerics 10’s Hold ...................................... 2, 34 A Alternate Modulation ....... 13, 14, 15, 18, 20, 23, 151, 154, 174, 175 Alternate Modulation Source ..... 151 Amp Setup ............................................. 21 Amp EG .
185 Ap pendices Global MIDI channel ......... 21, 28, 29, 30, 31, 35, 36, 40, 41, 52, 53, 74, 75, 81, 82, 84, 158, 166, 169, 170, 171, 173, 174, 177 Global mode .................................... 75 GM Initialize ....................................
186 S Scale ............................ 6, 42, 63, 75, 85 Arabic ............................................. 6 Copy Scale ................................... 85 Equal Temperament ..................... 6 Kirnberger...................................
2005 KORG INC. This product has been manuf actured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used.
Un point important après l'achat de l'appareil (ou même avant l'achat) est de lire le manuel d'utilisation. Nous devons le faire pour quelques raisons simples:
Si vous n'avez pas encore acheté Korg X50 c'est un bon moment pour vous familiariser avec les données de base sur le produit. Consulter d'abord les pages initiales du manuel d'utilisation, que vous trouverez ci-dessus. Vous devriez y trouver les données techniques les plus importants du Korg X50 - de cette manière, vous pouvez vérifier si l'équipement répond à vos besoins. Explorant les pages suivantes du manuel d'utilisation Korg X50, vous apprendrez toutes les caractéristiques du produit et des informations sur son fonctionnement. Les informations sur le Korg X50 va certainement vous aider à prendre une décision concernant l'achat.
Dans une situation où vous avez déjà le Korg X50, mais vous avez pas encore lu le manuel d'utilisation, vous devez le faire pour les raisons décrites ci-dessus,. Vous saurez alors si vous avez correctement utilisé les fonctions disponibles, et si vous avez commis des erreurs qui peuvent réduire la durée de vie du Korg X50.
Cependant, l'un des rôles les plus importants pour l'utilisateur joués par les manuels d'utilisateur est d'aider à résoudre les problèmes concernant le Korg X50. Presque toujours, vous y trouverez Troubleshooting, soit les pannes et les défaillances les plus fréquentes de l'apparei Korg X50 ainsi que les instructions sur la façon de les résoudre. Même si vous ne parvenez pas à résoudre le problème, le manuel d‘utilisation va vous montrer le chemin d'une nouvelle procédure – le contact avec le centre de service à la clientèle ou le service le plus proche.
