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KORG M50-88 Parameter Manual Page 385

M50 music workstation.
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Alternate Modulation Sources (AMS) The effects of AMS on various parameters, and example applications
Notes for the table
*1 EXT(+–): JS X, Ribbon:CC#16, Knob Mod1 (CC#17), Knob
Mod2 (CC#19), Knob Mod3 (CC#20), Knob Mod4
(CC#21)
*2 When Tempo is selected as an AMS source, the base
value is =120.00.
For example if the Pitch AMS is set to Tempo, and
Intensity is set to 12.00, doubling the tempo value (
=120.00 → 240.00) will raise the pitch one octave, and
halving the tempo ( =120.00 → 60.00) will lower the
pitch one octave. The stated modulation results are for
tempo values between 60bpm and 240bpm. As the tempo
decreases from 60 to 0bpm, AMS modulation will have
increasingly negative effects; as it increases from 240 to
250bpm, modulation will have increasingly positive
effects.
*3 EXT(+): Velocity, Exp. Velocity, Poly After, After Touch,
JS+Y:CC#01, JS–Y:CC#02, JS+Y & AT/2, JS–Y & AT/2,
Pedal:CC#04, ValueSldr:#18, Knob Mod1[+], Knob Mod2
[+], Knob Mod3[+], Knob Mod4[+], Damper:CC#64,
Porta.SW:CC#65, Sostenuto:CC#66, Soft:CC#67,
SW1:CC#80, SW2:CC#81, MIDI:CC#83, MIDI:CC#85,
MIDI:CC#86, MIDI:CC#87, MIDI:CC#88.
*4 It is possible to control LFO Frequency by using Tempo
AMS and Intensity. However if you use the Frequency
MIDI/Tempo Sync function (Prog 5–1c), the LFO
frequency can be synchronized to the tempo and note
value.
The effects of AMS on various
parameters, and example applications
We'll describe some examples of using alternate
modulation.
Pitch (Prog 2–2a)
Pitch can be controlled by the Common LFO, filter/amp EG,
controllers, or tempo etc.
• If you select Filter EG or Amp EG as the AMS and set
Intensity to +12.00, the pitch will change up to ±1 octave
in synchronization with the EG.
• If you select Tempo as the AMS and set Intensity to
+12.00, doubling the tempo (based on =120.00) will
raise the pitch one octave, and halving the tempo will
lower the pitch one octave.
Pitch EG (Prog 2–2b)
Pitch EG intensity can be controlled by the Common LFO,
keyboard tracking, controllers, or tempo.
• If you select JS +Y:CC#01 as the AMS and set Intensity
to +12.00, moving the joystick in the +Y direction will
gradually increase the effect of the Pitch EG to a
maximum of ±1 octave. If Intensity has a negative value,
the effect of the Pitch EG will be inverted.
LFO 1/2 (Prog 2–2d)
Pitch modulation intensity of the LFO1/2 can be controlled
by the Common LFO, an EG, keyboard tracking, controllers,
or tempo etc.
• If you select EG as the AMS, the pitch change width of
LFO modulation etc. can be controlled in
synchronization with the level changes of the EG. With
positive (+) settings of Intensity, the vibrato effect will
gradually deepen as the EG level rises, or gradually
lessen as the EG level decreases. With negative (–)
settings of Intensity, the LFO phase will be inverted.
• If you select a controller such as SW1 or 2 as the AMS,
you can press the SW1 or SW2 switch when desired to
turn on the vibrato effect.
Filter (Cutoff) Frequency (Prog 3–1–1b(c))
The cutoff frequency of filter A/B can be controlled by the
pitch/amp EG, Common keyboard tracking, controllers, or
tempo. Use the 3–1–3: Modulation page Filter A/B
Modulation (Prog 3–1–3b) to set AMS and Intensity for Filter
A or B.
• If you select JS X as the AMS1 or AMS2 and set Intensity
to a positive (+) value, moving the joystick toward the
right will raise the cutoff frequency, and moving it
toward the left will lower the cutoff frequency. Negative
(–) settings will have the opposite effect.
• If you select the same controller as an AMS1 or AMS2
and set separate intensities for Filter A (Low Pass Filter)
Intensity and Filter B (High Pass Filter) Intensity, you
can operate a single controller to simultaneously control
the cutoff frequencies of both filters.
Resonance (Prog 3–1–1b)
You can use the EG, LFO, keyboard tracking, controllers, or
tempo etc. to control the resonance level.
• If you select Filter KTrk or Amp KTrk as the AMS, you
can use the filter or amp keyboard tracking settings to
control the resonance level. For example if the amp
keyboard tracking parameters Ramp BtmLo and Ramp
HiTop are set to positive (+) values, Amp KTrk is
selected as the AMS, and Intensity it set to a positive (+)
value, playing toward either end of the keyboard will
cause amp keyboard tracking to increase the volume,
and AMS to raise the resonance level.
• You can select a controller as the AMS, and apply
resonance when desired by operating the controller.
• You can select Common LFO, LFO1 or 2 as the AMS,
and use the LFO to control the resonance level.
Output (Prog 3–1–1b)
You can use the EG, LFO, keyboard tracking, controllers, or
tempo etc. to control the output level of Filter A/B.
• Set the Filter Routing to Parallel, and specify the desired
Type and other settings for Filter A and Filter B. Set the
AMS to LFO for Filter A and Filter B, and set the LFO to
+99 and –99 respectively. The output of Filter A and
Filter B will be cyclically faded-in/out by the LFO.
Filter EG Intensity (Prog 3–1–3a)
Filter EG intensity can be controlled by the Common LFO,
Common keyboard tracking, a controller or tempo etc. You
can use Intensity to A and Intensity to B to independently
specify the intensity for Filter A and B.
• If you select JS –Y (CC#02) as the AMS and set Intensity
to A and Intensity to B to a positive (+) value, moving
the joystick in the –Y direction will gradually increase
the effect of the Filter EG. If you set Intensity to A and
Intensity to B to a negative (–) value, the effect of the
Filter EG will be inverted.
• If you select JS X as the AMS and set Intensity to A and
Intensity to B to a positive (+) value, operating the
joystick toward the right will gradually increase the
effect of the Filter EG. Operating the joystick toward the
left will gradually increase the effect of the Filter EG
with an inverted phase.
377

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