Korg MICROX X50 Parameter Manual

Music synthesizer and synthesizer/controller.
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Parameter Guide
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  • Page 1

    Parameter Guide...

  • Page 2: About This Manual

    About this manual This “Parameter Guide” contains explanations and other information regarding the operations of the parameters and settings on the X50/microX. The explanations are organized by mode, page, and tab. Explanations and other information on the effects and their parameters are also provided for each effect.

  • Page 3: Table Of Contents

    Table of Contents 1. Program mode... 1 PROG PAGE MENU ... 1 PROG 0: Play... 1 0–1: Program... 1 0–2: P.Edit (Performance Editor) ... 3 0–3: Arp (Arp. Play)... 5 microX: 0–4: Ext. Control... 5 PROG 1: Ed–Basic ... 6 1–1: Basic (Prog Basic) ...

  • Page 4: Table Of Contents

    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 4–4: MIDI 2–4 (MIDI Filter 2–4)... 44 X50: microX: 4–3: MIDI 2–3 (MIDI Filter2–3) ... 44 COMBI 5: Ed–Key Zone ...

  • Page 5: Table Of Contents

    6–5: Review ... 68 MULTI 7: Arp/Ctrls (Arpeggiator/Controls)... 69 7–1: Set..8 (Setup T01–08)... 69 7–2: Set..16 (Setup T09–16)... 69 7–3: Arp. A (Arpeggiator A)... 70 7–4: Arp. B (Arpeggiator B)... 70 7–5: Zone (Scan Zone) ... 70 7–6: Controls ... 71 MULTI 8: InsertFX...

  • Page 6: Table Of Contents

    10: St.Rndm Filter (Stereo Random Filter)... 109 11: St.Exct/Enhcr (Stereo Exciter/Enhancer) ... 110 12: St.Sub OSC (Stereo Sub Oscillator)... 110 13: Talking Mod (Talking Modulator) ... 111 14: St.Decimator (Stereo Decimator) ... 112 15: St.AnalogRecd (Stereo Analog Record) ... 112 Pitch/Phase Mod.

  • Page 7: Table Of Contents

    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.Gain – Phaser)... 145 82: OD/HG–M.Dly (Overdrive/Hi.Gain – Multitap Delay)... 145 83: Wah–AmpSim (Wah/Auto Wah –...

  • Page 8: Program Mode, Prog Page Menu, Prog 0: Play, Program

    1. Program mode PROG PAGE MENU Use the following procedure to select the desired page from within the current mode. 1 Press the [MENU/OK] button to access the “PAGE MENU.” The “PAGE MENU” will show an abbreviated name for each page. 2 Use the ClickPoint [√][®][π][†] to select a page.

  • Page 9

    microX: Use the PROGRAM [A]–[GM] buttons to select the bank. The microX provides rewritable banks A, B, C, D, and E, each containing 128 programs (total 640). As for non- rewritable program areas, it provides banks G (capital pro- grams for GM), and bank g(d) (drums). If you press a PRO- GRAM [A]–[GM] button, you will automatically enter Program mode even if you had been in a different mode.

  • Page 10

    The ten’s place of the program number will be fixed. 2 Now you can press a numeric button [0]–[9] to enter the one’s place in a single action. 3 You can use the [INC][DEC] buttons to change the ten’s place. 4 To defeat 10’s HOLD, press the [./HOLD] button to make indication disappear.

  • Page 11

    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.

  • Page 12: Arp (arp. Play), Microx: 0–4: Ext. Control

    0–3: Arp (Arp. Play) While arpeggiator parameters are for the most part edited in PROG 7: Ed–Arp/Ctrls, Some major parameters can be edited here as well. When you are playing in PROG 0: Play, you can edit the arpeggiator in realtime, such as changing the arpeggio pattern etc.

  • Page 13: Prog 1: Ed–basic

    PROG 1: Ed–Basic Here you can make basic settings for the oscillator(s). 1–1: Basic (Prog Basic) 1–1a 1–1b 1–1c 1–1a: Oscillator Mode (Oscillator Mode) [Single, Double, Drums] Specifies the basic program type; whether it will use one or two oscillators, or a drum kit. Single: The program will use one oscillator (Oscillator 1, Filter 1, Amplifier 1).

  • Page 14: Osc1

    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). Indicates the tonic note of the specified scale. This setting is not valid for Equal Temperament, Stretch, and User All Notes Scale.

  • Page 15

    On (checked): The sound will start from the start offset loca- tion that is pre-determined for each multisample. Off (unchecked): The sound will start from the beginning of the multisample waveform. Rev (High Reverse) The multisample will be played in reverse. If the multisam- ple was originally set to reverse, it will playback without change.

  • Page 16: Osc2, V.zone (velocity Zone), Audition

    Select by Category Selects multisamples by category. For the procedure, refer to “Select by Category” (☞p.2). This command is valid if “Mode (Oscillator Mode)” (1– 1a) is set to Single or Double, and you have selected the 1–2b: High, Low parameter. 1–3: OSC2 This will appear when “Mode (Oscillator Mode)”...

  • Page 17: Prog 2: Ed–pitch, Osc1

    PROG 2: Ed–Pitch Here you can make pitch modulation settings for oscillators 1 and 2. 2–1: OSC1 Specifies how the key position (on the keyboard) will affect the pitch of oscillator 1, and selects the controller that will modify the pitch and the depth of this effect. Here you can also specify the amount of pitch change caused by the pitch EG, and set the portamento mode and on/off status.

  • Page 18

    AMS (Pitch EG AMS) [Off, (KT, EXT)] Selects the source that will control the pitch modulation applied by the pitch EG (☞p.152 “AMS List”). Intensity (AMS Intensity) [–12.00…+12.00] Specifies the depth and direction of the effect that “AMS (Pitch EG AMS)” will have. For example, if you set “AMS (Pitch EG AMS)”...

  • Page 19: Eg (pitch Eg), Osc2

    Intensity (AMS Intensity) Specifies the depth and direction of the effect that “AMS (LFO1 AMS)” will have. With a setting of 0, modulation will not be applied. With a setting of 12.00, the OSC1 LFO1 will apply a maximum of ±1 octave of pitch modulation.

  • Page 20

    2–5b: Level Mod. (Level Modulation) These settings allow the pitch EG “L (Level parameters)” to be controlled by alternate modulation. AMS1 (Level Mod. AMS1) [Off, (KT, EXT)] Selects the source that will control the pitch EG “L (Level parameters)” (☞p.152 “AMS List”). I (AMS1 Intensity) Specifies the depth and direction of the effect applied by “AMS1 (Level Mod.

  • Page 21: Prog 3: Ed–lfos

    PROG 3: Ed–LFOs Here you can make settings for the LFO that can be used to cyclically modulate the Pitch, Filter, and Amp of oscillators 1 and 2. There are two LFO units for each oscillator. By setting the LFO1 or LFO2 Intensity to a negative (–) value for Pitch, Filter, or Amp, you can invert the LFO waveform.

  • Page 22: Os1lfo1 (osc1 Lfo1), Lfo2 (osc1 Lfo2), Lfo1 (osc2 Lfo1), Lfo2 (osc2 Lfo2)

    AMS2 (Freq. AMS2) [Off, (PEG, FEG, AEG, LFO2, KT, EXT)] Int (AMS2 Intensity) Indicates settings for a second alternate modulation source that will adjust the frequency of the oscillator 1 LFO1. ☞“AMS1 (Freq. AMS1),” “Int. (AMS1 Intensity)” 3–1c: MIDI/Tempo Sync. (Frequency MIDI/Tempo Sync.) Sync.

  • Page 23: Prog 4: Ed–filter1, Basic

    PROG 4: Ed–Filter1 Indicates settings for filter 1, which controls the tone of oscil- lator 1. You can select either a 24 dB/oct low pass filter with resonance, or a 12 dB/oct low pass filter and 12 dB/oct high pass filter connected in series. When “Mode (Oscillator Mode)”...

  • Page 24: Mod.1 (filter1 Modulation1)

    4–2: Mod.1 (Filter1 Modulation1) Indicates settings for keyboard tracking which modifies the tone by modulating the filter 1 cutoff frequency “Frequency (A/B Frequency),” and intensity settings for the filter 1 EG, etc. 4–2a 4–2b 4–2a: Keyboard Track These settings specify keyboard tracking for the cutoff fre- quency of filter 1.

  • Page 25: Lfomod (lfo Modulation)

    4–2c: AMS, Into to A, Int to B AMS (Filter EG AMS) Indicates the source that will control the depth and direction of the effect that the time-varying changes produced by the filter 1 EG will have on the cutoff frequency of filters 1A and 1B (☞p.152 “AMS List”).

  • Page 26

    microX: By moving the joystick in the –Y direction (down), you can control the depth at which OSC1 LFO1 modulates the cutoff frequency of filter 1A. This parameter specifies the depth and direction of the control. For example, as this value is raised, OSC1 LFO1 will have a correspond- ingly greater effect on filter 1 when the joystick is moved in the –Y direction.

  • Page 27

    S (Slope Time) Specifies the time over which the level will change after the decay time has elapsed until the sustain level is reached. R (Release Time) Specifies the time over which the level will change after note-on occurs until the release level is reached. 4–5b: Level Mod.

  • Page 28: Prog 5: Ed–filter2, Basic, Mod.1 (filter2 Modulation1), Mod.2 (filter2 Modulation2), Lfomod (lfo Modulation)

    AMS2 (Time Mod. AMS2) [Off, (KT, EXT)] I (AMS2 Intensity) A (AMS2 SW Attack) D (AMS2 SW Decay) S (AMS2 SW Slope) R (AMS2 SW Release) These parameters are the settings for “AMS2” to control the “Time” parameters of the filter 1 EG (☞“AMS1 (Time Moc. AMS1)”–“R (AMS1 SW Release)”).

  • Page 29

    6–1c: AMS, Intensity AMS (Pan AMS) [Off, (PEG, FEG, AEG, LFO, KT, EXT)] Indicates the source that will modify pan (☞p.152 “AMS List”). This change will be relative to the “Pan (Amp1 Pan)” setting. Intensity Specifies the depth of the effect produced by “AMS (Pan AMS).”...

  • Page 30: Eg (amp1 Eg)

    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.

  • Page 31

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

  • Page 32: Lvl/pan (amp2 Level/pan), Mod. (amp2 Modulation), Eg (amp2 Eg), Prog 7: Ed–arp/ctrls (arpeggiator Controls)

    ■ 6–3: UTILITY ☞“Write Program” (0–1), “Copy Oscillator,” “Swap Oscilla- tor” (1–1) For details on how to select the desired utility function, refer to “PROG 0–1: UTILITY.” Sync Both EGs The amp 1 EG and the amp 2 EG can be edited simulta- neously.

  • Page 33

    Octave* 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. The notes of the arpeggio will be played at the interval you specify: , or .

  • Page 34: Zone (scan Zone), Controls

    7–2: Zone (Scan Zone) 7–2a 7–2a: Scan Zone Zone Map This shows the “Scan Zone” setting. Key: Btm (Bottom Key) Top (Top Key) These parameters specify the range of notes (keys) for which the arpeggiator will function. “Top” is the upper limit, and “Btm”...

  • Page 35: Prog 8: Ed–insertfx

    PROG 8: Ed–InsertFX ☞For details on insertion effect, refer 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. The following diagram shows the LCD screen when “Mode (Oscillator Mode)”...

  • Page 36: Setup, Ifx (insert Effect)

    4 If you check “Post IFX Mixer Setting,” the “Pan (CC#8),” “BUS Select,” “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” settings that follow the copy source insert effect will also be copied. If you do not check this, only the effect type and its parameters will be copied.

  • Page 37: Prog 9: Ed–masterfx, Setup

    PROG 9: Ed–MasterFX ☞For details on master effects, refer to p.97 “6. Effect Guide.” 9–1: Setup Here you can select the master effect types, switch them on/ off, specify chain order, and set the master EQ. 9–1a 9–1b 9–1a: Master Effect Setup The master effects do not output the direct sound (Dry).

  • Page 38: Mfx 1 (master Effect1), Mfx 2 (master Effect2), Meq (master Eq)

    3 Select the effect that you wish to copy. If you select MFX 1 or 2, “Rtn (Return)” (return level) will be copied at the same time. If you select Master EQ, only the master EQ settings will be copied. You can also copy from an insert effect.

  • Page 40: Combination Mode, Combi Page Menu, Combi 0: Play, Combi (combination)

    2. Combination mode COMBI PAGE MENU For details on how to select pages in Combination mode, refer to p.1. Play 0: Play Select and play combinations. Select a program for each timbre, and make, pan and level settings. Select an arpeggio pattern and make settings.

  • Page 41

    • 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) •...

  • Page 42: Prog (timbre Program)

    Select by Category Selects a combination by category. For the procedure, refer to “Select by Category” (☞p.2) microX 0–2: Prog (Timbre Program) Indicates the program that will be used by each timbre. 0–2a 0–2b 0–2c 0–2d 0–2a: Bank, Combi Select, Cat.Hold, 10’s Hold, (Tempo) Bank Combi Select (Combination Select)

  • Page 43: Mix (mixer)

    0–2d: Selected Timbre Information This shows information on the timbre (1–8) that is currently selected for editing. Timbre No.: Bank No., Prog No.: and name This shows the timbre number, and the program bank, num- ber and name selected for that timbre. Status This shows the MIDI and internal tone generator status for each track.

  • Page 44: Arp. A (arpeggio Play A), Arp. B (arpeggio Play B), Microx: 0–6: Ext. Control

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

  • Page 45: Combi 1: Ed–tone Adjust, Prog (timbre Program), Mix (mixer), Ta1 (tone Adjust 1)

    COMBI 1: Ed–Tone Adjust 1–1: Prog (Timbre Program) Indicates the bank and program for each timbre 1–8. These parameters can also be set from the 0: Play, Prog page. 1–1a 1–1b 1–1c 1–1d 1–1a: Program Select, Program Name Program Select Indicates the program that will be used by each timbre.

  • Page 46

    Reso.HP (Resonance/High Pass Filter Cutoff Frequency) [–99…+00…+99] Adjusts the resonance level of the low pass filter or the cut- off frequency of the high pass filter for program OSC 1/2. The parameter that is controlled will depend on the filter type specified for the program.

  • Page 47: Combi 2: Ed–timbre Param, Midi

    COMBI 2: Ed–Timbre Param 2–1: MIDI Here you can make MIDI settings for each timbre. 2–1a 2–1a: Status, MIDI Channel, Bank(EX2) MSB/LSB Status Specifies the status of MIDI and the internal tone generator for each timbre. INT: When you play this instrument, the internal tone gen- erator will sound, and will also sound in respond to MIDI messages received from an external MIDI device.

  • Page 48: Pitch

    2–3: Pitch Here you can make pitch-related settings for each timbre. 2–3a 2–3a: Transpose, Detune, Bend Range Transpose 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.

  • Page 49: Other, Combi 3: Ed–midi Filter1, Midi 1–1 (midi Filter 1–1)

    2–4: Other Specifies the delay from note-on until sound is produced for each timbre. Also specifies the scale. 2–4a 2–4b 2–4a: Delay [ms], Use Prog’s Scale Delay [ms] Specifies a delay time from note-on until the sound begins for each timbre. KeyOff: The note will begin sounding at note-off.

  • Page 50: Midi 1–2 (midi Filter 1–2), Midi 1–3 (midi Filter 1–3)

    3–2: MIDI 1–2 (MIDI Filter 1–2) 3–2a 3–2a: Damper CC#64, Portamento SW CC#65 Damper CC#64 Specifies whether or not MIDI control change message #64 hold (damper pedal) messages will be transmitted and received. Portamento SW CC#65 Specifies whether or not MIDI control change message #65 portamento on/off messages will be transmitted and received.

  • Page 51: Combi 4: Ed–midi Filter2

    COMBI 4: Ed–MIDI Filter2 Specifies whether the A- and B-mode effects of REALTIME CONTROLS knobs [1], [2], [3], and [4] will be transmitted and received. The A-mode of each knob is fixed as a MIDI control change message. For B-mode, you can assign a MIDI control change message in 7: Ed–Arp/Ctrls.

  • Page 52: Combi 5: Ed–key Zone

    X50: 4–4a: FootPedal/Switch, Other Con- trol Change/ microX: 4–3a: FootPedal/Switch, Other Control Change FootPedal/Switch Specifies whether or not the effect of the ASSIGNABLE PEDAL/SWITCH will be transmitted and received. The function is assigned in GLOBAL 0–3: System Foot page. This setting is valid when a MIDI control change is assigned. Other Ctrl Change Specifies whether or not MIDI control change message not covered in the preceding items MIDI Filter1–1 –...

  • Page 53: Review, Combi 6: Ed–vel Zone (velocity Zone)

    5–2: Slope (Key Slope) 5–2a 5–2a: Top Slope, Bottom Slope Top Slope Specifies the range of keys (12 is one octave) over which the maximum programmed volume level will be reached, start- ing from the top key. 0: The volume will be at the original level from the top key. 12: The volume will increase gradually as you play down- ward, and will reach the original volume one octave below the top key.

  • Page 54: Slope (velocity Slope), Review, Combi 7: Ed–arp/ctrls (arpeggiator Controls), Setup

    6–2: Slope (Velocity Slope) 6–2a 6–2a: Top Slope, Bottom Slope Top Slope Specifies the number of velocity steps over which the origi- nal volume will be reached, starting from the Top Velocity. 0: The volume will be at the original value from the top velocity.

  • Page 55

    In this case, the arpeggiator can be triggered (operated) by any MIDI channel specified for the “MIDI Channel” parameter of any timbre 1–8 assigned to arpeggiator A or B. If Local Control (“Local Control On,” GLOBAL 1–1a) is Off, the keyboard will not trigger the arpeggiator. The arpeggiator will be triggered via MIDI IN.

  • Page 56

    (☞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: (Tempo) (Tempo) [040...240, EXT] Sets the tempo of the arpeggiator. This can be adjusted by the REALTIME CONTROLS C-mode [TEMPO] knob. ☞p.34 “...

  • Page 57: Controls, Combi 8: Ed–insertfx

    7–5: Controls 7–5a microX 7–5a 7–5a: Knob B Assign These settings assign functions (mainly various control changes) to the B-mode of the REALTIME CONTROLS knobs [1]–[4] (☞p.162 “Realtime Control Knobs B Assign List”). The functions you specify here will be controlled when you operate the REALTIME CONTROLS knobs [1]–[4] in B- mode.

  • Page 58

    value with the send level “S1 (Send1(MFX)), ” “S2 (Send2(MFX))” (PROG 8–2a) for each oscillator of the program selected for the timbre. ■ 8–1: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (0–1) Copy Insert Effect ☞PROG 8–1 However, the MIDI control channel specified for “Con- trol Channel”...

  • Page 59: Ifx (insert Effect), Combi 9: Ed–masterfx, Setup

    8–3: IFX (Insert Effect) Here you can adjust the parameters for the IFX that was selected in the Setup page (☞p.104–). ■ 8–3a: UTILITY ☞“Write Combination” (0–1) COMBI 9: Ed–MasterFX ☞For details on master effects, refer to p.97 “6. Effect Guide.”...

  • Page 60: Mfx1 (master Effect1), Mfx2 (master Effect2), Meq (master Eq)

    9–1d: MEQ Ctrl MEQ Ctrl (MEQ Control Ch) [Ch01...16, G ch] Selects the MIDI channel that will control dynamic modulation (Dmod) for the master EQ. G ch: The global MIDI channel “MIDI Channel” (GLOBAL 1–1a) will be used for control. Normally you will set this parameter to G ch.

  • Page 62: Multi Mode, Multi Page Menu, Multi 0: Play, Multi

    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. You can also make the arpeggiator play in syn- chronization with an external MIDI sequencer.

  • Page 63

    Control Track This selects the track that will be played by the keyboard of the X50/microX and that will be controlled by the various controllers of the X50/microX. Track names can be specified in Utility “Rename Track” (0–1). When you play the keyboard or operate the controllers of the X50/microX, the internal sound generator will sound according to the settings (program, level, etc.) of the track you selected here (if its “Status”...

  • Page 64

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

  • Page 65

    • Press the center of the ClickPoint to highlight the field in the display, use [π][†] to make your choice, and press the center to confirm. • Use PROG BANK [A]–[GM] to select a bank (☞p.1) • Use “Select by Category” to choose from the desired category (☞p.36) •...

  • Page 66: Microx: 0–6: Ext. Control, Multi 1: Tone Adjust

    ■ 0–4(5): UTILITY ☞“Write Multi,” “Copy From Combi,” “GM Initialize” (0– 1), “Select by Category” (0–2(3)) microX: 0–6: Ext. Control The external control function lets you use the REALTIME CONTROLS knobs to control an external MIDI device. You can assign a MIDI control change and MIDI channel to each of the four knobs, and switch between three such settings for each knob (A, B, C) to control your external device.

  • Page 67

    “Destination 1–6” and “Value 1–6” The parameters that can be controlled and their range of val- ues are as follows. LPF Fc (Low Pass Filter Cutoff Frequency) Adjusts the low pass filter cutoff frequency of program OSC 1/2. This will affect the brightness of the sound. The param- eter will be controlled in the same way as when CC#74 is received.

  • Page 68: Multi 2: Track Param

    Reverse 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. If you turn this Off, all multisamples and drum samples will play normally.

  • Page 69

    Data from Arp. Operations on the X50/ microX Status Internal tone MIDI OUT/ generator ● × × ● EXT, EX2 ● ● MIDI Channel Specifies the MIDI data that the track will use to transmit and receive MIDI data. Tracks set to INT which have the same MIDI channel will sound and be controlled identically when they receive MIDI data.

  • Page 70: Othr..8 (other T01–08), Othr..16 (other T09–16)

    This setting can be controlled and changed by received 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). ■...

  • Page 71: Multi 3: Midi Filter1

    MULTI 3: MIDI Filter1 Here you can select whether or not to apply filtering to the MIDI data received by tracks 1–16. For example, even if two tracks are receiving the same MIDI channels, one can be made to respond to damper pedal activity while the other does not.

  • Page 72: Multi 4: Midi Filter2

    ■ 3–5(6): UTILITY ☞“Write Multi,” “Copy From Combi” (0–1) 3–7: 1–4..8 (MIDI Filter2–2 T01–08) 3–8: 1–4..16 (MIDI Filter2–2 T09–16) 3–7a 3–7(8)a: JSX/PBend as AMS, Ribbon CC#16 JSX/PBend as AMS X50: Specifies whether MIDI pitch bend messages (move- ment of the X50’s Pitch wheel) will apply the AMS (☞p.151 “Alternate Modulation Source”) assigned to Pitch Bend.

  • Page 73

    4–3: 2–2..8 (MIDI Filter2–2 T01–08) 4–4: 2–2..16 (MIDI Filter2–2 T09–16) 4–3a 4–3(4)a: Realtime Control Knob 3, 4 Knob3 Specifies whether or not the A-mode [3] knob MIDI control change message #79 (filter EG intensity) and the B-mode [3] knob MIDI control change message will be received. Knob4 Specifies whether or not the A-mode [4] knob MIDI control change message #72 (the release time of the filter and amp...

  • Page 74: Multi 5: Key Zone, Key..8 (key Zone T01–08), Key..16 (key Zone T09–16), Review

    MULTI 5: Key Zone Here you can specify the range of keys that will be sounded by each track. Top/Bottom Key settings specify the range of notes that will be sounded by tracks 1–8, 9–16, and Top/Bottom Slope set- tings specify the range from the top/bottom key until the original volume is reached.

  • Page 75: Slp..8 (velocity Slope T01–08), Slp..16 (velocity Slope T09–16), Review

    MULTI 6: Vel Zone Specifies the range of velocities that will sound each track. Set the Top/Bottom Velocity parameters to set the range of velocities that will sound tracks 1–8 and 9–16, and set the Top/Bottom Slope parameters to specify the range over which the volume will change.

  • Page 76: Set..8 (setup T01–08), Set..16 (setup T09–16)

    MULTI 7: Arp/Ctrls (Arpeggiator/Controls) Here you can specify how the arpeggiator will operate in Multi mode. These settings can be made for each multi set. In Multi mode (as in Combination mode), you can run the two arpeggiators simultaneously. This allows you to apply different arpeggio patterns to two tracks, or use velocity to switch between two different arpeggio patterns, etc.

  • Page 77

    7–3: Arp. A (Arpeggiator A) 7–4: Arp. B (Arpeggiator B) Indicates settings for arpeggiator A in the Arp. A page, and for arpeggiator B in the Arp. B page. You can use the “Copy Arpeggiator” utility to copy set- tings from another mode such as Program mode. 7–3a 7–3(4)a: Arpeggiator–A (B) Setup Pattern...

  • Page 78

    7–6: Controls When you operate these controllers on the MIDI chan- nel of the “Control Track,” the MIDI messages assigned here will be transmitted (if “Status” 2–1a/2a is EXT, EX2, or BTH). 7–6a microX 7–6a 7–6a: Knob B Assign Here you can set the B-mode functions (mainly various con- trol changes) that the REALTIME CONTROLS knobs [1]–[4] will have (☞p.162 “Realtime Control Knobs B Assign List”).

  • Page 79: Multi 8: Insertfx, Setup

    MULTI 8: InsertFX ☞For details on insert effects, refer to p.97 “6. Effect Guide.” 8–1: BUS..8 (BUS T01...08) 8–2: BUS..16 (BUS T09...16) Specifies the bus to which the program oscillator(s) of each track 1–8, 9–16 will be sent. You can also set the amount of signal that will be sent to the master effects.

  • Page 80: Multi 9: Masterfx, Ifx (insert Effect), Setup

    8–3b: Control Channel Control Channel [Ch01...16, All Rt.] Indicates the MIDI channel that will control effect dynamic modulation (Dmod), pan following the insert effect “Pan (CC#8),” “Send1(MFX1),” and “Send2(MFX2).” An asterisk “ ” will be displayed at the right of the channel number Ch01–16 for tracks that are routed to an IFX.

  • Page 81: Meq (master Eq)

    9–1d: MEQ Ctrl MEQ Ctrl (MEQ Control Ch) [Ch01...16, G ch] Specifies the MIDI channel that will control dynamic modulation (Dmod) for the master EQ. G ch: The effect will be controlled on the global MIDI chan- nel “MIDI Channel” (GLOBAL 1–1a). ■...

  • Page 82: Global Mode, Global Page Menu, Global 0: System, Basic

    4. Global mode In Global mode you can make settings that affect the entire instrument, such as master tuning, MIDI, and memory pro- tect. You can also edit user scales, drum kit setups, and user arpeggio patterns. If you want the settings you make in Global mode to be backed up when the power is turned off, you must write them into memory.

  • Page 83

    In Program, Combination and Multi modes, MIDI RPN fine tuning messages can be received to adjust the tun- ing of the program, the timbres (in Combination mode), or the tracks (in Multi mode) relative to the Global mode “Master Tune” setting. In Program mode, MIDI RPN fine tune messages will be received on the global MIDI channel that you speci- fied for “MIDI Channel”...

  • Page 84

    To write a drum kit or user arpeggio pattern, execute the appropriate utility. (☞4–1 “Write Drum Kits,” 5–1 “Write Arpeggio Patterns”) Load Preload Data This command loads the preload data into internal memory. Before loading this data, you must uncheck the “Mem- ory Protect”...

  • Page 85: Pref. (system Preference)

    121. 00, 121. 01…09 R/T 56. 00 R 00. 00, 00. 01...(XG) R 00. 00, 01. 00...(GS) R 120. 00 R/T 62. 00 R 63. 127 R (→Korg MUTE) Bank Map: GM 63. 00 R/T 63. 01 R/T 63. 02 R/T 63. 03 R/T 63.

  • Page 86

    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.

  • Page 87: Foot

    ASSIGNABLE SWITCH jack. If a Korg PS-1 (sold separately) pedal switch is connected, the pedal switch polarity will be (↓), so select “(–) KORG Standard” for this setting. If you have connected a pedal switch with a positive (↑) polarity, select “(+)” for this set- ting.

  • Page 88: Global 1: Midi, Midi

    GLOBAL 1: MIDI 1–1: MIDI Here you can make MIDI-related settings that affect this instrument. 1–1a 1–1a: MIDI Setup MIDI Channel 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).

  • Page 89

    RT (Realtime Command) Off (unchecked): MIDI common messages and realtime messages (Start, Stop, Continue, Song Select, Song Position Pointer) will not be received if “MIDI Clock” is set to Ext- MIDI or Ext-USB, or if it is set to Auto and MIDI clock mes- sages are being received from an external source.

  • Page 90

    AfterT (After Touch) 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 Touch.

  • Page 91

    Type of data dumped Drum Kit All Drum Kit Single Arpeggio Pattern All Arpeggio Pattern Single microX: Ext. Control Setup All microX: Ext. Control Setup Single Global Setting microX When you save data dumps from this instrument to a MIDI data filer, do not save multiple data dumps together.

  • Page 92: Global 2: User Scale, Octave, All Notes

    GLOBAL 2: User Scale Here you can create sixteen User Octave Scales and one User All Notes Scale. The user scales you create here can be selected in the PROG 1–1, COMBI 2–4, MULTI 2–7(8). If you wish to keep an edited user scale after the power is turned off, be sure to write (save) your settings.

  • Page 93: Global 3: Category Name

    GLOBAL 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 rename the categories for programs and com- binations. Use the ClickPoint [√][®][π][†] to select the category you want to rename, press the center of the Click- Point to open the text dialog box, and enter the desired name.

  • Page 94: High (high Sample)

    00(INT) …15(INT) preload drum kits, for user drum kits 16(User)...39(User) for user drum kits microX 00(INT) …31(INT) preload drum kits, for user drum kits 32(User)...39(User) for user drum kits Indicates the key to which you will assign a drumsample (and its settings). All 4: DKit parameters except for “Drum Kit”...

  • Page 95: Low (low Sample)

    Write Drum Kits This command writes all drum kits 00 (INT)–48 (User). 1 Select “Write Drum Kits” to access the dialog box. 2 To execute the Write command press the [MENU/OK] button. To cancel, press the [EXIT/CANCEL] button. Rename Drum Kit This command renames the selected drum kit.

  • Page 96: Global 5: Arp.pattern, Setup

    played monophonically with last-note priority. For example you might assign closed and open hi-hat sounds to the same group so that two or more hi-hat sounds can not sound simultaneously. Off: Keys will not be grouped. Normally you will set this Off.

  • Page 97: Setup (arpeg. Setup)

    Pat (Pattern) [Preset-0...Preset-4, U000...U250] Selects the pattern that you wish to edit. Preset-0…Preset-4 Preset Arpeggio Patterns U000...250 Preload user Arpeggio Patterns (Tempo) This specifies the tempo. This can also be adjusted by the REALTIME CONTROLS C- mode [TEMPO] knobs. If “MIDI Clock” (1–1a) is set to Ext-MIDI or Ext-USB, or set to Auto and operating as a slave, this will indicate EXT, and the arpeggiator will synchronize to MIDI clock messages from an external MIDI device.

  • Page 98: Edit

    With a setting of Trigger All Tones, playing one key is sufficient to sound all three; Tone 1 (kick), Tone 2 (snare), and Tone 3 (hi-hat). If the “Vel (Velocity)” of each Tone is set to Key, the Tones will be sounded at the correspond- ing velocity each time a key is pressed.

  • Page 99

    Gt (Gate) Off: That step will not sound even if Tones have been speci- fied. LGT: Notes will continue sounding until the same Tone is sounded next, or until the pattern returns to the beginning. At this time, the display will change to “ ■ ” or “ .” This setting is valid when the Program, Combination, or multi set parameter “Gate”...

  • Page 100: Microx: Global 6: Ext. Control, A (knob 1–a, 2–a, 3–a, 4–a)

    You can create 64 different external control setups. For example you might use one setup to control one of the KORG Legacy Collection soft synthesizers, and another setup to control the level or pan parameters of your DAW (Digital Audio Workstation).

  • Page 102: Demo Song

    5. Demo Song Demo Song The X50/microX contains demo songs. Here’s how to listen to the demo songs. 1 Hold down the [CATEGORY] button and press the [AUDITION] button to enter the Demo Song Player page. 2 Press the [AUDITION] button to start the demo song. 3 Press the [AUDITION] button to stop the demo song.

  • Page 104: Effect Guide, Overview, Effects In Each Mode, Dynamic Modulation (dmod), Effect I/o

    6. Effect Guide Overview The effects section of X50/microX consists of a single chan- nel Insert Effect, two-channel Master Effects, a single-chan- nel Master EQ (stereo, three-band EQ) and a Mixer section that controls the effect routings. The insert effect and master effects can be chosen from 89 types of full-digital effect, grouped into the categories listed below.

  • Page 105: Insert Effect (ifx), In/out, Routing

    Insert Effect 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 stereo without being processed by the effect. If you select Wet (effect applied), the processed signal will be output in one of the following ways: Mono In - Mono Out Mono In - Stereo Out...

  • Page 106: Mixer

    — Settings for drum Programs — 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.” If you select “DKit,” the “BUS Select” (GLOBAL 4–3a) settings for each key become effective, and each drum instrument sound will be routed to the corresponding buses (e.g.: the snare sound is sent to IFX, and other sounds to L/MONO and R).

  • Page 107: Controlling The Insert Effects Via Midi, In/out

    3–2. BUS Select 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 are 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.103 “Individual Outputs”).

  • Page 108: Routing

    Separately from this “On/Off” setting, MIDI control changes CC#94 (MFX1) and CC#95 (MFX2) can be received to turn each master effect off. A value of 0 is off, and a value of 1–127 restores the original setting. You can also use “FX SW” (GLOBAL 0–1b) to turn off MFX1 and MFX2 in the same way.

  • Page 109: Controlling The Master Effects Via Midi, Mixer

    – Setting for drum program – If a drum program has been selected for a timbre in Combi- nation mode or for a track in Multi mode, you will be able to select DKit for the “BUS Select” parameter. If this is selected, the “BUS (BUS Select)”...

  • Page 110: Master Eq, Individual Outputs

    Master EQ The Master EQ (stereo, three-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. You can control the Low Gain and High Gain parameters using the Dynamic Modulation function.

  • Page 111: Filter/dynamic, No Effect, St.amp Sim (stereo Amp Simulation), St.compressor (stereo Compressor)

    Filter/Dynamic Filter and dynamics control effects 00: No Effect Select this option when you do not wish to use any effects. The Insert Effect section outputs unprocessed signals and the Master Effect section mutes the output. 01: St.Amp Sim (Stereo Amp Simulation) This effect simulates the frequency response characteristics of guitar amplifiers.

  • Page 112: Mltband Limit (multiband Limiter)

    Envelope (Envelope Select) L/R Mix, L Only, R Only, L/R Individually Selects from linking both channels, controlling only from left channel, only from the right channel, or controlling each channel individually Ratio Sets the signal compression ratio Threshold Sets the level above which the compressor is applied Attack Sets the attack time Release...

  • Page 113

    W/D (Wet/Dly) Sets the balance between the effect and dry sounds (Source) Selects the modulation source of the effect balance (Amount) Sets the modulation amount of the effect balance 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 compression to the high range, reduce the “High Offset”...

  • Page 114

    Level (Output Level) Sets the output level (Source) Selects the modulation source for the output level (Amount) Sets the modulation amount of the output level Lo (Low Cutoff ) Sets the center frequency for Low EQ (shelving type) G (Gain) Sets the gain of Low EQ M1 (Mid1 Cutoff) Sets the center frequency for Mid/High EQ 1 (peaking type)

  • Page 115

    d: B2 Dyn.G Src, d: (Amount), f: G You can control the gain of Band 2 using the modulation source. Parametric 4EQ - Band2 Dynamic Gain Control -mod +15dB +6dB Band2 Cutoff Band2 Gain[dB]= +6.0 Band2 Dynamic Gain Amt[dB]= +9.0 08: St.Graphic7EQ (Stereo Graphic 7-Band EQ) This is a stereo 7-band graphic equalizer.

  • Page 116: St.rndm Filter (stereo Random Filter)

    a: FreqBottm, a: FreqTop The sweep width and direction of the wah filter are determined by the “FreqBottm” and “FreqTop” settings. Frequency Frequency Top=75 Bottom=60 Top=30 Bottom=25 -mod Higher Higher Zero Zero Frequency Frequency Top=75 Bottom=75 Bottom=25 Top=25 Envelope Envelope Time b: Swp Mode This parameter changes the wah control mode.

  • Page 117: St.sub Osc (stereo Sub Oscillator)

    When “LFO Wave” is set to Random, the “Step” parameter uses a random LFO cycle. LFO Frequency LFO Step Freq Step-Tri b: LFO Phase Offsetting the left and right phases alters how modulation is applied to the left and right channels, creating a swelling affect. +90 +180 [degree] –180 –90...

  • Page 118

    Envelope Pre LPF Sets the upper limit of the frequency range for which very low har- monics are added Envelope Sens (Envelope Sensitivity) Sets the sensitivity with which very low harmonics are added Envelope Shape Sets the oscillator’s volume envelope curve W/D (Wet/Dly) Sets the balance between the effect and dry sounds (Source)

  • Page 119: St.analogrecd (stereo Analog Record)

    14: St.Decimator This effect creates a rough sound like a cheap sampler by low- ering the sampling frequency and data bit length. You can also simulate noise unique to a sampler (aliasing). Stereo In - Stereo Out Left Pre LPF Resolution Decimator -mod...

  • Page 120: Pitch/phase Mod, St.chorus (stereo Chorus)

    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. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.

  • Page 121: Ensemble

    g: Feedback Sets the feedback amount of the chorus block. Increasing the feed- back will allow you to use the effect as a flanger. 18: MltTap ChoDly (Multitap Chorus/Delay) This effect has four chorus blocks with a different LFO phase. You can create a complex stereo image by setting each block’s delay time, depth, output level, and pan individually.

  • Page 122: St.flanger (stereo Flanger)

    20: St.Flanger (Stereo Flanger) This effect gives a significant swell and movement of pitch to the sound. It is more effective when applied to a sound with a lot of harmonics. This is a stereo flanger. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.

  • Page 123

    22: St.Env.Flanger (Stereo Envelope Flanger) This Flanger uses an envelope generator for modulation. You will obtain the same pattern of flanging each time you play. You can also control the Flanger directly using the modula- tion source. Stereo In - Stereo Out Left Flanger Flanger...

  • Page 124

    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. Stereo In - Stereo Out Left Phaser Resonance High Damp Phaser Right LFO Phase LFO: Step-Tri/Random LFO Wave (LFO Waveform) Step-Tri, Step-Sin, Random...

  • Page 125

    26: St.BiphaseMod (Stereo Biphase Modulation) This stereo chorus effect adds two different LFOs together. You 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.

  • Page 126: Voice Reso (2voice Resonator)

    The effect is off when a value for the dynamic modulation source specified for the “AUTOFADE 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.

  • Page 127: Doppler

    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.

  • Page 128: Scratch

    31: Scratch This effect is applied by recording the input signal and mov- ing the modulation source. It simulates the sound of scratches you can make using a turntable. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Direct Scratch...

  • Page 129: Mod./p.shift

    Mod./P.Shift Other modulation and pitch shift effects 32: St.Tremolo (Stereo Tremolo) This effect modulates the volume level of the input signal. The effect is stereo, and offsetting the LFO of the left and right phases from each other produces a tremolo effect between left and right.

  • Page 130: St.auto Pan (stereo Auto Pan)

    Level Dry Envelope LFO Frequency[Hz]=8.00 Envelope Amount= –7.00 Depth=100 Envelope Amount= –100 34: St.Auto Pan (Stereo Auto Pan) This Auto Pan effect pans sound between left and right. It is stereo, and shifting the left and right LFO phases from each other will simulate the sound of the left and right channels crossing over each other by turns, or chasing each other.

  • Page 131: St.ring Mod (stereo Ring Modulator)

    T Dep (Tremolo Depth) Sets the tremolo modulation depth (Source) Selects the modulation source for the tremolo modulation depth (Amount) Sets the modulation amount of the tremolo modulation depth W/D (Wet/Dly) Sets the balance between the effect and dry sounds (Source) Selects the modulation source of the effect balance (Amount)

  • Page 132: Detune, Pitch Shifter

    37: Detune Using this effect, you can obtain a detune effect that offsets the pitch of the effect sound slightly from the pitch of the input signal. Compared to the chorus effect, a more natural sound thickness will be created. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Input Level...

  • Page 133: Rotary Speaker

    39: PitchShft 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 effect sound and dry sound output from stereo speakers are mixed.

  • Page 134: Er/delay

    When “(Sw)” = Mmnt (Moment), the speaker is rotating. 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.

  • Page 135: Auto Reverse

    42: Auto Reverse This effect records the input signal and automatically plays it in reverse (the effect is similar to a tape reverse sound). Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Auto Reverse Rec/Reverse Play Control Right...

  • Page 136: St/cross Dly (stereo/cross Delay)

    44: St/Cross Dly (Stereo/Cross Delay) This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross over between the left and right by changing the feedback routing. Stereo In - Stereo Out Left High Damp Low Damp Delay...

  • Page 137

    46: St.Mod. Delay (Stereo Modulation Delay) This stereo delay uses an LFO to sweep the delay time. The pitch also varies. You will obtain a delay sound with swell and shimmering. You can also control the delay time using a modulation source.

  • Page 138: Lcr Bpm Delay (l/c/r Bpm Delay)

    a: Pol, b: Threshold, b: Offset, c: Attack, d: Release The “Offset” parameter specifies the value for the “Ctrl Target” parameter (that is set to None), expressed as the ratio relative to the parameter value (the “W/D” value with “Ctrl Target”=Out, or the “Feedback”...

  • Page 139

    InLvl Mod (Input Level Dmod [%]) Sets the modulation amount of the input level Src (Source) Selects the modulation source for the input level Spread Sets the width of the stereo image of the effect sound W/D (Wet/Dly) Sets the balance between the effect and dry sounds (Source) Selects the modulation source of the effect balance (Amount)

  • Page 140: Reverb

    InLvl Mod (Input Level Mod [%]) Sets the modulation amount of the input level Src (Source) Selects the modulation source for the input level W/D (Wet/Dly) Sets the balance between the effect and dry sounds (Source) Selects the modulation source of the effect balance (Amount) Sets the modulation amount of the effect balance a: BPM, a: Rhythm...

  • Page 141: Rev Brt. Room (reverb Bright Room)

    Using the “Pre Delay Thru” parameter, you can mix the dry sound without delay, emphasizing the attack of the sound. Level Pre Delay Thru Pre Delay 56: Rev Room (Reverb Room) This room-type reverb emphasizes the early reflections that make the sound tighter. Changing the balance between the early reflections and reverb sound allows you to simulate nuances, such as the type of walls of a room.

  • Page 142: Mono → Mono Chain

    Mono → Mono Chain Effects that combine two mono effects con- nected in series 58: P4EQ–Exciter (Parametric 4-Band EQ – Exciter) This effect combines a mono-type four-band parametric equalizer and an exciter. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Parametric 4Band EQ Exciter...

  • Page 143

    60: P4EQ–Cho/Fl (Parametric 4-Band EQ – Chorus/Flanger) This effect combines a mono-type four-band parametric equalizer and a chorus/flanger. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Parametric 4Band EQ Trim Right LFO: Tri / Sine [PEQ] Trim Sets the parametric EQ input level B1 (Band1 Cutoff)

  • Page 144

    62: P4EQ–M.Dly (Parametric 4-Band EQ – Multitap Delay) This effect combines a mono-type four-band parametric equalizer and a multitap delay. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Parametric 4Band EQ Multitap Delay Feedback Delay Trim High Damp...

  • Page 145

    64: Comp–AmpSim (Compressor – Amp Simulation) This effect combines a mono-type compressor and an amp simulation. You can change the order of the effect connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Compressor EQ Trim Comp...

  • Page 146: Comp–phaser (compressor – Phaser)

    C/F W/D (Cho/Flng Wet/Dry) Sets the center frequency for Band 3 Sets the bandwidth of Band 3 G (Gain) Sets the gain of Band 3 B4 (Band4 Cutoff) Sets the center frequency for Band 4 Sets the bandwidth of Band 4 G (Gain) Sets the gain of Band 4 W/D (Wet/Dly)

  • Page 147

    69: Comp–M.Dly (Compressor – Multitap Delay) This effect combines a mono-type compressor and a multitap delay. You can change the order of the effect connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Compressor EQ Trim LEQ HEQ...

  • Page 148: Limit–phaser (limiter – Phaser)

    71: Limit–Cho/Fl (Limiter – Chorus/Flanger) This effect combines a mono-type limiter and a chorus/ flanger. You can change the order of the effect connection. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Routing Limiter Chorus/Flanger Limiter Chorus/Flanger...

  • Page 149

    73: Limit–M.Dly (Limiter – Multitap Delay) This effect combines a mono-type limiter and a multitap delay. You can change the order of the effect connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Limiter Limiter Gain Adjust...

  • Page 150: Exct–m.dly (exciter – Multitap Delay)

    76: Exct–Cho/Fl (Exciter – Chorus/Flanger) This effect combines a mono-type limiter and a chorus/ flanger. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Chorus/Flanger Exciter EQ Trim LEQ HEQ Exciter Chorus/Flanger Feedback Cho/Flng Wet / Dry Right LFO: Tri / Sine [XCT] Blend (Exciter Blend)

  • Page 151

    79: OD/HG–AmpSim (Overdrive/Hi.Gain – Amp Simulation) This effect combines a mono-type overdrive/high-gain dis- tortion and an amp simulation. You can change the order of the effect connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Overdrive / Hi-Gain...

  • Page 152

    81: OD/HG–Phaser (Overdrive/Hi.Gain – Phaser) This effect combines a mono-type overdrive/high-gain dis- tortion and a phaser. You can change the order of the effect connection. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Routing Overdrive / Hi-Gain Phaser 3 Band PEQ...

  • Page 153

    83: Wah–AmpSim (Wah/Auto Wah – Amp Simulation) This effect combines a mono-type wah and an amp simula- tion. You can change the order of the effect connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Wah/Auto Wah...

  • Page 154

    86: AmpSim–Trml (Amp Simulation – Tremolo) This effect combines a mono-type amp simulation and a trem- olo. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Amp Simulation Tremolo Amp Simulation Filter Tremolo Right LFO: Tri/Sin/Vintage/Up/Down LFO Shape [AMP] Amplifier Type Selects the type of guitar amplifier...

  • Page 155: Reverb–gate

    88: Phasr–Cho/Fl (Phaser – Chorus/Flanger) This effect combines a mono-type phaser and a chorus/ flanger. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Phaser Chorus/Flanger Phaser LEQ HEQ Trim Phaser Resonance Wet / Dry Right LFO: Tri / Sine LFO: Tri / Sine...

  • Page 156

    Master EQ Master EQ Use the 9–4 MasterFX MEQ page in the Program, Combina- tion, and Multi modes You cannot use the Master EQ as the Insert Effect or as one of the Master Effects. High Left Right Low Gain Mod. High Gain Mod.

  • Page 158: Appendices, Alternate Modulation Source (ams), About Alternate Modulation, About Alternate Modulation Sources

    7. Appendices Alternate Modulation Source (AMS) About Alternate Modulation An Alternate Modulation Source 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.) The AMS (Alternate Modulation Source) and amount can be selected independently for each of these destinations.

  • Page 159: Ams (alternate Modulation Source) List

    AMS (Alternate Modulation Source) List (PEG) Pitch EG (FEG) Filter EG (AEG) Amp EG (LFO) LFO1 (LFO) LFO2 (KT) Flt KT +/+ (Filter Keyboard Track +/+) (KT) Flt KT +/– (Filter Keyboard Track +/–) (KT) Flt KT 0/+ (Filter Keyboard Track 0/+) (KT) Flt KT +/0 (Filter Keyboard Track +/0) (KT)

  • Page 160

    Flt KT +/+ (Filter Keyboard Track +/+) Flt KT +/– (Filter Keyboard Track +/–) Flt KT 0/+ (Filter Keyboard Track 0/+) Flt KT +/0 (Filter Keyboard Track +/0) Amp KT +/+ (Amp Keyboard Track +/+) Amp KT +/– (Amp Keyboard Track +/–) Amp KT 0/+ (Amp Keyboard Track 0/+) Amp KT +/0 (Amp Keyboard Track +/0) +/+: The direction of the effect will be determined by the...

  • Page 161: Alternate Modulation Settings, The Effect Of Alternate Modulation On Various Parameters, And Example Applications

    Alternate 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.

  • Page 162

    Filter (Cutoff) Frequency (PROG 4–1b, 5–1b) The cutoff frequency 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. X50: • If you set “AMS1 (Filter A AMS1)” to Pitch Bend, and set “Intensity (A AMS1 Intensity)”...

  • Page 163

    Amp (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(SW)) is selected as the “AMS (Amp AMS),” setting the “Int (AMS Intensity)” to +99 will allow you to increase the volume to a maximum of eight times that of the current volume.

  • Page 164: Dynamic Modulation Source (dmod)

    LFO Frequency (PROG 3–1b) The frequency of LFO 1 or 2 can be controlled by EG, key- board tracking, controllers, or tempo etc., You can even use the LFO2 frequency to modulate the LFO1 frequency. If “Int (AMS 1/2 Intensity)” is set to a value of 16, 33, 49, 66, 82, or 99, the corresponding frequency can be multiplied by a maximum of 2, 4, 8, 16, 32, or 64 times (or divided by 1/2, 1/4, 1/8, 1/16, 1/32, 1/64).

  • Page 165: Dynamic Modulation Source List

    Dynamic Modulation Source List Source name Gate1 G1+Dmp (Gate1+Damper) Gate2 G2+Dmp (Gate2+Damper) Note No. (Note Number) Vel (Velocity) AfterT (After Touch) X50: PBend/microX: JS X (Joy Stick X) X50: M.Whl#1/microX: JS+Y#1 (Joy Stick +Y: CC#01) JS–Y#2 (Joy Stick –Y: CC#02) Pdl#4 (Foot Pedal: CC#04) FX1#12 (FX Control1: CC#12) FX2#13 (FX Control2: CC#13)

  • Page 166

    Gate1, G1+Dmp (Gate1+Damper) The effect is at maximum during note-on, and will stop when all keys are released. With G1+Dmp, the effect will remain at maximum even after the keys are released, as long as the damper (sustain) pedal is pressed. Gate1, G1+Dmp Note Damper Pedal...

  • Page 167: About The Bpm/midi Sync Function

    About the BPM/MIDI SYNC function BPM/MIDI SYNC can be used for most effects that have an LFO, such as 09:St. Wah/Auto Wah, and for some delay- type effects such as 49:L/C/R BPM Delay. You can apply modulation that is synchronized to the tempo, or specify the delay time in terms of a note value so that the effect will syn- chronize to the tempo of the arpeggiator during a live per- formance even if you change the tempo.

  • Page 168: X50: Sw1/2 Assign, Sw1, Sw2 Assign List

    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). This can be set for each program in Program mode, each combination in Combination mode, and each multi set in Multi mode.

  • Page 169: Knob 1...4 B Assign, Realtime Control Knobs B Assign List

    Knob 1...4 B Assign The following functions can be assigned to the REALTIME 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 Program mode, each combination in Combination mode, and each multi set in Multi mode.

  • Page 170

    The A-mode functions of the REALTIME CONTROLS are fixed. Knob1-A: LPF Cutoff (Filter LPF Cutoff: CC#74) Control the low pass filter cutoff frequency of the filter. Simultaneously, CC#74 will be transmitted. Knob2-A: Resonance/HPF (Filter Resonance/HPF Cutoff: CC#71) Control the resonance level or the cutoff frequency of the high pass filter.

  • Page 171: Foot Switch Assign, Foot Switch Assign List

    Foot Switch Assign You can assign the function of an assignable switch (sepa- rately sold Korg PS-1 option) connected to the ASSIGN- ABLE SWITCH jack. • This setting is made in GLOBAL 0: System Foot page “Foot SW Assign” (0–3a).

  • Page 172: Foot Pedal Assign, Foot Pedal Assign List

    Foot Pedal Assign You 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”...

  • Page 173: Midi Transmission When The X50/microx's Controllers Are Operated

    MIDI transmission when the X50/microX’s control- lers are operated The following table shows the relation between the MIDI messages that are transmitted when the X50/microX’s con- trollers are operated, and the AMS (alternate modulation source) or DMS (dynamic modulation source) that corre- spond to each MIDI message.

  • Page 174

    The following table shows the relation between the MIDI messages that are transmitted when the X50/microX’s con- trollers are operated, and the AMS (alternate modulation [PITCH] Stick Wheel (microX) (X50) MIDI channel messages Note-off Note-on (note number) Note-on (velocity) Poly after touch 0 Bank select (MSB) 1 Modulation 1 # (+Y)

  • Page 175: X50/microx Operations When Control Changes Are Transmitted/received

    X50/microX operations when control changes are transmitted/received The following table shows the operations that the X50/ microX will perform when control change messages are CC# Control 0 Bank select (MSB) 1 Modulation 1 2 Modulation 2 4 Foot controller 5 Portamento time 6 Data entry (MSB) 7 Volume 8 Post insertion effect pan...

  • Page 176

    Any control change number (CC#00–95) can be assigned as the B-mode function of a REALTIME 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.

  • Page 177

    *5 Controlled on the global MIDI channel. *6 NRPN (Non Registered Parameter Number) and Data Entry can be used to control the following parameters. Arpeggiator on/off [Bn 63 00 Bn 62 02 Bn 06 nn] (nn:00–3F off, 40–7F on) Arpeggiator gate control [Bn 63 00 Bn 62 0A Bn 06 nn] (nn:00–7F) Arpeggiator velocity control [Bn 63 00 Bn 62 0B Bn 06 nn] (nn:00–7F)

  • Page 178: Midi Applications, Messages Transmitted And Received By This Instrument

    MIDI applications ■ Messages transmitted and received by this instrument [...] indicates hexadecimal notation MIDI channels MIDI messages can be exchanged when the transmitting and receiving devices are set to the same MIDI channel. MIDI uses sixteen channels, numbered 1–16. The way in which channels are handled will differ depending on the mode.

  • Page 179

    Selecting combinations You 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]. • Similarly as for program banks, the internal banks that correspond to each bank select number will depend on the “Bank Map”...

  • Page 180: Controlling The Volume

    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 received, the same effect will be applied as when the X50/microX’s joystick is operated.

  • Page 181

    Damper pedal (CC#64) [Bn, 40, vv] This message is transmitted when you operate a damper pedal (separately sold Korg DS-1H etc.) connected to the DAMPER jack, and the damper effect will be turned on/off. If the DS-1H is used, a half-damper effect can be applied.

  • Page 182

    sage is received, the result 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/off.

  • Page 183

    When an inquiry message request is received, this instrument will respond by transmitting an inquiry message that means “I am a Korg Future instrument, with system version ...” GM system on [F0, 7E, nn, 09, 01, F7] When this message is received in Multi mode, this instru- ment will be initialized for GM playback.

  • Page 184

    balance without changing the relative volume balance between timbres/tracks. When this message is received, the result will be the same as when the controller is operated. Master balance [F0, 7F, nn, 04, 02, vv, mm, F7] (vv: lower byte of the value, mm: upper byte of the value, together indicating 16384 steps, where 8192 is the default position, and lower values will move the sound toward the left)

  • Page 185

    When these messages are received, the same editing opera- tion will be performed as on the transmitted device. After MIDI exclusive data has been received and processed, a Data Load Completed message will be transmitted. The control master device must not transmit the next message until this message is received (or until a sufficient interval of time has elapsed).

  • Page 186

    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 from the arpeggiator will not be transmitted from the MIDI OUT. The arpeggiator will only sound the notes (on this instrument).

  • Page 187: Various Messages

    Various messages Are you sure? Meaning: This message asks you to confirm execution. To executepress the [MENU/OK] button. To cancel, press the [EXIT/CANCEL] button. Can’t calibrate Meaning: Calibration could not be performed correctly. Action: Try again. Completed Meaning: Execution of the command ended normally. Memory protected Meaning: The internal program, combination, multi set, or drum kit is protected.

  • Page 191: Index

    Index Numerics 10’s Hold... 2, 34 Alternate Modulation ... 13, 14, 15, 18, 20, 23, 151, 154, 174, 175 Alternate Modulation Source ... 151 Setup... 21 Amp EG ... 23 Amp Level ... 4, 21 Amp Modulation... 22 AMS(Alternate Modulation Source) Amp AMS ...

  • Page 192

    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... 57 GM System On message ... 179 GS...

  • Page 193

    Scale... 6, 42, 63, 75, 85 Arabic ... 6 Copy Scale ... 85 Equal Temperament... 6 Kirnberger... 6 Pelog ... 6 Pure Major ... 6 Pure Minor... 6 Pythagoras ... 6 Slendro ... 6 Stretch... 6 User All Notes Scale... 85 User Octave Scale ...

  • Page 194

    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  2005 KORG INC.

This manual also for:

Micro x

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