Korg M50-73 Parameter Manual Download

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PROG P1: Basic/Ctrls (Basic/Controllers) 1–2: Key Zone/Scale

1–2: Key Zone/Scale

Here, you can make the following settings.

• Make keyboard split settings for OSC1, OSC2, and Hold.

• Select the basic scale of the program.

1–2a: Key Zone

You can create keyboard splits by setting top and bottom
key limits for Oscillators 1 and 2. Also, you can control the
keyboard range over which the

Hold

parameter takes effect.

Setting Key Zones from the keyboard

In addition to the usual data input methods, you can specify
the key zone values by directly playing a note on the
keyboard or by sending a MIDI note-on from an external
device.

1. Select the key zone parameter you’d like to edit.

2. While holding down the ENTER switch, play a note on

the keyboard to specify the value.

3. Release the ENTER switch.

On the M50, you can use this shortcut for parameters that
specify a key or a velocity. (Dialog boxes such as menu
commands are an exception.)

OSC 1 Bottom

[C–1...G9]

This sets the lowest key on which Oscillator 1 will play.

OSC 1 Top

[C–1...G9]

This sets the highest key on which Oscillator 1 will play.

OSC 2 Bottom

[C–1...G9]

This sets the lowest key on which Oscillator 2 will play.

OSC 2 Top

[C–1...G9]

This sets the highest key on which Oscillator 2 will play.

Hold

[On, Off]

Hold is like permanently pressing down on the sustain
pedal. In other words, notes continue to sound as if you
were holding down the key - even after you lift your fingers
from the keyboard.

Unless the

Sustain Level

is set to

in Amp EG 1 (and Amp

EG 2 in a Double Program), the sound will play for the
entire length of the multisample(s).

On (checked):

The

Hold

function is enabled for the range

set by the

Hold Bottom

and

Hold Top

parameters, below.

Off (unchecked):

Notes will play normally. This is the

default setting.

Using Hold with Drum Kits

Hold

can be especially useful for drum programs, since it

lets the drum samples ring out naturally. In general, when

you set the

Oscillator Mode

Drums

, it’s good to set

Hold

Once you’ve turned on

Hold

for a drum program, the

function is controlled on a note-by-note basis according to
settings within the selected Drum Kit.

If a key’s

Enable Note Off Receive

parameter (Global 5–4a)

is unchecked, the note will be held.

If the key’s

Enable Note Off Receive

parameter is checked,

it will not be held.

If you turn off

Hold

in the Program, no keys will be held -

regardless of their

Enable Note Off Receive

setting.

Using Hold with Acoustic Pianos

Hold is also useful for simulating the top octaves of an
acoustic piano, in which notes always sustain until they fade
out naturally, regardless of how long you hold the key.

The

Hold Bottom

and

Hold Top

parameters are designed

for exactly this purpose. They let you limit the effect of the
Hold parameter to a specific range of the keyboard.

Hold Bottom

[C–1...G9]

This sets the lowest key affected by the Hold function.

Hold Top

[C–1...G9]

This sets the highest key affected by the Hold function.

1–2b: Scale

Type

[Equal Temperament…User Octave Scale15]

Selects the basic scale for the Program.

Note that for many of the scales, the setting of the

Key

parameter, below, is very important.

Equal Temperament:

This is the most widely used scale by

far, in which each semitone step is spaced at equal pitch
intervals.

Equal Temperament allows easy modulation, so that a chord
progression played in the key of C sounds roughly the same
as the same progression played in F#. Sacrificed, however, is
some of the purity of individual intervals offered by the
scales below.

Pure Major:

In this temperament, major chords of the

selected key will be perfectly in tune.

Pure Minor:

In this temperament, minor chords of the

selected key will be perfectly in tune.

Arabic:

This scale includes the quarter-tone intervals used in

Arabic music.

Pythagoras:

This scale is based on ancient Greek music

theory, and is especially effective for playing melodies. It
produces completely pure fifths, with one exception, at the
expense of detuning other intervals– thirds in particular.

As much as Pythagoras might have liked to do so, it’s not
possible to make all the fifths pure while also keeping the
octave in tune. For the sake of the octave, one of the fifths–
the interval from the sharp fourth degree to the sharp first
degree–is made quite flat.

Werkmeister

(Werkmeister III)

This scale was one of the

many temperament systems developed towards the end of
the Baroque period. These “Well-Tempered” tunings were
aimed at allowing relatively free transposition–although
you’ll still notice that the different keys maintain their own
distinct characteristics, unlike Equal Temperament.

J.S. Bach was referring to these new scales in his title, “The
Well-Tempered Clavier.” As such, this group are particularly
appropriate for late baroque organ and harpsichord music.

1–2a

1–2b

1–2
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