Korg X50 Manual

Operation Guide
E 1
THE FCC REGULATION WARNING (for U.S.A.)
Precautions This equipment has been tested and found to comply with
the limits for a Class B digital device, pursuant to Part 15 of
Location
the FCC Rules. These limits are designed to provide rea-
Using the unit in the following locations can result in a mal-
sonable protection against harmful interference in a resi-
function.
dential installation. This equipment generates, uses, and
• In direct sunlight can radiate radio frequency energy and, if not installed and
• Locations of extreme temperature or humidity used in accordance with the instructions, may cause harm-
• Excessively dusty or dirty locations ful interference to radio communications. However, there is
• Locations of excessive vibration no guarantee that interference will not occur in a particular
• Close to magnetic fields installation. If this equipment does cause harmful interfer-
ence to radio or television reception, which can be deter-
Power supply
mined by turning the equipment off and on, the user is
Please connect the designated AC adapter to an AC outlet
encouraged to try to correct the interference by one or more
of the correct voltage. Do not connect it to an AC outlet of
of the following measures:
voltage other than that for which your unit is intended.
• Reorient or relocate the receiving antenna.
Interference with other electrical devices • Increase the separation between the equipment and
Radios and televisions placed nearby may experience receiver.
reception interference. Operate this unit at a suitable dis- • Connect the equipment into an outlet on a circuit differ-
tance from radios and televisions. ent from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician
Handling for help.
To avoid breakage, do not apply excessive force to the Unauthorized changes or modification to this system can
switches or controls. void the user’s authority to operate this equipment.
Care
If the exterior becomes dirty, wipe it with a clean, dry cloth. CE mark for European Harmonized Standards
Do not use liquid cleaners such as benzene or thinner, or CE mark which is attached to our company’s products of
cleaning compounds or flammable polishes. AC mains operated apparatus until December 31, 1996
means it conforms to EMC Directive (89/336/EEC) and CE
Keep this manual
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After reading this manual, please keep it for later refer-
And, CE mark which is attached after January 1, 1997
ence.
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Keeping foreign matter out of your equipment mark Directive (93/68/EEC) and Low Voltage Directive (73/
Never set any container with liquid in it near this equip- 23/EEC).
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breakdown, fire, or electrical shock. of Battery operated apparatus means it conforms to EMC
Be careful not to let metal objects get into the equipment. If Directive (89/336/EEC) and CE mark Directive (93/68/
something does slip into the equipment, unplug the AC EEC).
adapter from the wall outlet. Then contact your nearest
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ii
Thank you for purchasing the Korg X50 Music Synthesizer. To help you get the most out of your new
instrument, please read this manual carefully.
About this manual

The owner’s manuals and how to use Conventions in this manual
them
The X50 come with the following owner’s manu- Abbreviations for the manuals OG, PG
als. In the documentation, references to the manuals
are abbreviated as follows.
• Operation Guide
OG: Operation Guide
• Parameter Guide (included in the CD-ROM)
PG: Parameter Guide
Operation Guide
Please read this first. It explains the names and
Procedure steps 1. 2. 3. …
functions of each part of the X50, how to make This indicates the steps of a procedure.
connections, basic operation, an overview of each
mode, and how to edit sounds. This guide also Symbols , , Note
explains the arpeggiator function, effects, and These symbols respectively indicate a caution, a
drum kits. MIDI-related explanation, a supplementary note.
The Operation Guide also contains troubleshoot-
ing information, and supplemental information Example screen displays
such as specifications. The values of the parameters shown in the exam-
ple screens of this manual are only for explana-
Parameter Guide tory purposes, and may not necessary match the
The Parameter Guide contains explanations and values that appear in the LCD display of your
other information regarding the operations of the instrument.
parameters and settings on the X50.
The explanations are organized by mode, and MIDI-related explanations
page. Explanations and other information on the CC# is an abbreviation for Control Change Num-
effects and their parameters are also provided for ber.
teach effect.
In explanations of MIDI messages, numbers in
Refer to this guide when an unfamiliar parame- square brackets [ ] always indicate hexadecimal
ter appears in the display, or when you need to numbers.
know more about a particular function.
iii
Table of Contents
Precautions............................................................... ii Simple program editing ............................. 43
Performance Edit................................................43
About this manual ....................................... iii
REALTIME CONTROLS [1], [2], [3], [4],
[SELECT] .............................................................43
Quick Start .........................................1
Saving your edits................................................45
Setup ......................................................................1
Playing programs and combinations ................2 Detailed Editing with Programs ................ 46
Listening to the demo songs...............................8 Before you begin editing ...................................46
Basic oscillator settings......................................47
Introduction ......................................9 Using LFOs and Envelopes (EGs)....................50
Using Alternate Modulation ............................51
Main features ................................................ 9
Controlling Pitch ................................................51
Front and rear panel ................................... 11 Using Filters ........................................................52
Front panel ..........................................................11 Using the Amp section ......................................55
Rear panel............................................................14 Effects...................................................................56
Objects in the Display and their functions .....15
Playing and Editing Combinations.57
Basic Information........................................ 17
About the X50’ modes .......................................17 Playing combinations................................. 57
Basic operations..................................................19 Selecting combinations......................................57
Using Controllers ...............................................59
Setup................................................23
Simple combination editing ...................... 60
Turning the power on/off........................... 23 Changing the programs within the
Combination .......................................................60
Connecting the AC adapter ..............................23
Adjusting a timbre’s pan and volume ............60
Turning the power on........................................23
Turning the power off .......................................24
[SELECT] .............................................................61
Connections................................................. 25 Saving your edits................................................61
Basic connections................................................25
Detailed Editing with Combinations ......... 62
Connecting a damper pedal, foot switch,
Before you begin editing ...................................62
or foot pedal........................................................26
Selecting a program for each timbre ...............63
Connecting a computer .....................................27
Status and MIDI settings...................................63
Connecting MIDI devices .................................34
Layers, Splits, and Velocity switches ..............64
Playing and Editing Programs .......37 Altering Programs to fit within a
Combination .......................................................66
Playing programs........................................ 37 Effects...................................................................68
Selecting programs ............................................37
iv
Using and Editing Multi sets.......... 69 Synchronizing the arpeggiator.......................105
MIDI considerations ................................... 69 Using Drum Kits............................ 107

Selecting a multi set ...........................................69 What is a Drum Kit? ........................................107
Assigning a program to a track, and setting Before you start editing… ...............................107
the volume and pan ...........................................70
Editing Drum Kits............................................108
Copying the settings of a combination to a
Saving a drum kit.............................................110
multi set ...............................................................72
What you can do in Multi mode ......................73
Other functions ............................ 111
Restoring the factory settings (Loading the
Altering Programs to fit within a Multi set....74 preloaded data) ................................................111
Layers, Splits, and Velocity Switches..............75 Assigning a name (Rename)...........................112
Effects...................................................................75 Setting the functions of [SW1] and [SW2] .....113
Saving your edits................................................75 Assigning functions to REALTIME
Control via MIDI ................................................76 CONTROLS B-mode knobs [1]–[4]................113
Adjusting the display contrast .......................114
Effects settings ............................... 79 Tap tempo control............................................114
Effects in each mode ..........................................79 Shortcuts............................................................114
Effect types..........................................................79
Effect settings for a program ............................81 Appendices ................................... 115
Effect settings in combination, and Multi.......84
Saving data ............................................... 115
Dynamic modulation and BPM/MIDI Sync. ..85
Types of data that can be saved .....................115
Saving edited effect settings .............................86
About the Edit Buffer ......................................116
Bypassing the insert effect or the master
effects ...................................................................86
Troubleshooting....................................... 117
Global Mode ................................... 87 Specifications and options ...................... 120

How Global mode is structured.......................87 Specifications ....................................................120
System setup 0: System ...................................87 Operating requirements for connection to a
MIDI-related settings 1: MIDI ........................89 computer ...........................................................121
Creating user scales 2: User Scale ..................89 Options ..............................................................121
Setting category names
3: Category Name ..............................................90 MIDI Implementation Chart..................... 122
Saving the global settings .................................90
Index .......................................................... 124
Drum kit 4: DKit,
Arpeggiator 5: Arp.Pattern settings ..............90
Arpeggiator settings...................... 91
Arpeggiator features in
Program mode ....................................................91
The arpeggiator in Combination and Multi
modes...................................................................95
Creating a user arpeggio pattern .....................99
Saving a user arpeggio ....................................104
v
vi
Quick Start
Quick Start
Introduction
This Quick Start is provided for those who just want to get started trying out the sounds right
away.
It explains how to set up the X50, how to select programs and control the sound, and how to lis-
ten to the demo songs.
Setup
After you’ve finished reading this Quick Start section, please also take a look at the full explana-
tions that follow.
Program
Setup
Make all your connections with the power off (on all units!). If you don’t, you may damage
your speaker system or damage your X50 and/or other equipment. Please use caution.
Combination
1. Connect the included AC adapter.
Use only the AC adapter included with Connecting the AC adapter
the X50. Do not use any other AC
adapter.
4 Cable hook Power switch
2. Connect the X50 to your audio
Multi
monitoring system.
1 Power connector
Using standard audio cables with 1/4"
phone plugs, connect the X50’ (MAIN AC adapter Be careful not to
OUTPUT) L/MONO and R output jacks bend this portion
Effect
excessively when you
to the input jacks of your mixer, 2 wrap the cable
amplified monitor speakers, or audio Plug into an AC through the cable
recording device. outlet hook.
If you’re listening through headphones,
Global
connect them to the headphone jack 3 Power cable
located on the left front of the X50.
The headphones produce the same signal
as the (MAIN OUTPUT) L/MONO and R jacks.
Arpeggiator
Audio output device connections
Powered monitors
Drum Kit
INPUT INPUT
Adjust the
[VOLUME] slider Power switch
L/MONO R
Other functions External control
Headphones
PHONES
Appendices
1
Quick Start
3. Lower the X50’s [VOLUME] slider.

Turn on your audio monitor system and set the volume to a normal level.
4. Turn on the X50 by pressing the power switch located on the rear panel.
5. Slowly raise the X50’s [VOLUME] slider to an appropriate volume.
Playing programs and combinations

By default, Combination mode will be selected when you turn on the power.
Play the keyboard, and you will hear the sound of bank A combination number 000.
A combination consists of up to eight programs that are split, zoned, layered or velocity-
switched across the keyboard. A combination can also use up to two Arpeggiators simulta-
neously (a program can use only one Arpeggiator), letting you produce far more complex
sounds than a single program.
Although you could simply continue selecting and playing different combinations, let’s start by
selecting and listening to the “basic” sounds of the X50 – programs.
Note: If you don’t hear any sound when you play the keyboard: Check the connections once
again. Also make sure that the X50’s VOLUME and the volume of your powered speakers or
stereo amp are turned up appropriately.
Selecting programs by bank and number
1 3 5 2 4
1. Press the [PROG] button. (The button will light.)

This is the Program mode. Notice that the upper line of the display indicates “PROG 0: Play”
(mode name, page number and name).
Mode name Page number and name Parameter name
Category number
and name Tab name Tempo
Bank
number
Program
Select
(program
number
and name)
Tab Control assign list
2. Make sure that “Program Select” (program number and name) is selected.
If this is not selected, use the ClickPoint [π][†] to highlight the “Program Select” indication.
3. Turn the [VALUE] dial to select the program you want to play.
You can also 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.
4. Press one of the PROG BANK [A]–[GM] button to switch banks.
2
Quick Start
When you select a different Bank, that button’s LED will light, and the selected bank will
appear in the left side of the display.
Introduction
For example, to select bank B, press the PROG BANK [B] button. The [B] button will light,
and the name Bank B will appear in the left of the display. The [GM] button operates
differently from the other bank buttons. Each time you press this button, the bank will switch
in the order of G → g(d) → G → g(d) ... etc.
The programs are organized into banks of 128 (except for g(d)). Select the desired bank, and
Setup
then select a program number within that bank.
5. Play the keyboard to hear the program you selected.
While playing the keyboard, use the [MOD] wheel, [PITCH] wheel, [SW1][SW2], and
realtime controllers to modify the sound. The result will differ depending on the program, so
Program
play the keyboard while operating these controllers to hear what they do.
For more about the controllers, see “Using controllers to modify the sound” (☞p.5).
You can also press the [AUDITION] button (it will light) and a riff (phrase) suitable for that
program will play automatically.
Combination
Selecting programs by category
You can also select programs by their category, such as keyboard, organ, bass, or drums.
13 2 4
Multi
Effect
1. Press the [CATEGORY] button.
Global
The category menu will appear.
Category No. Sel (Select)
Arpeggiator
Drum Kit
Category Program
2. You can use the [PAGE+][PAGE–] buttons to step through the categories one by one.
For example if you choose 00: Keyboard, you’ll be able to select only from programs that are
in the Keyboard category. The Keyboard category contains programs such as acoustic piano,
and electric piano etc.
3. By using the [VALUE] dial or the ClickPoint [π][†] to select programs, you can step through
the programs in the same category.
4. Press the [MENU/OK] button to confirm your selection. If you decide not to select a
program, press the [EXIT/CANCEL] button.
Note: You can also switch categories by using the ClickPoint [√][®] to select “Category No.” in
the top line of the category menu and then turning the [VALUE] dial.
Appendices
3
Quick Start
Selecting combinations by bank and number
1 3 2 4
1. Press a [COMBI] button. (The button will light.)

You will enter Combination mode. Notice that the upper line of the display indicates
“COMBI 0: Play” (mode name, page number and name).
Category number Tempo
and name Tab name
Bank
number
Combi Select
(combination
number and
name)
Tab Control assign list
2. Make sure that “Combi Select” (combination number and name) is selected.
If this is not selected, use the ClickPoint [π][†] to highlight the “Combi Select” indication.
3. Turn the [VALUE] dial to select the combination you want to play.
4. Press a COMBI BANK [A]–[C] button to switch banks.
When you select a different Bank, the button’s LED will light, and the selected bank will
appear on the left side of the display.
For example, to select bank B, press the COMBI BANK [B] button. The [B] button will light,
and the name Bank B will appear in the left of the display.
Combinations are organized into banks of 128. Select the desired bank, and then select a
combination number within that bank.
5. Play the keyboard to hear the combination you selected.
While playing the keyboard, use the [MOD] wheel, [PITCH] wheel, [SW1][SW2], and
realtime controllers to modify the sound. The result will differ depending on the
combination, so play the keyboard while operating these controllers to hear what they do.
Note: You can’t use the [AUDITION] button to play a riff (phrase) in Combination mode.
Selecting combinations by category

In Combination mode you can select combinations by category just as in Program mode. For the
procedure, see “Selecting programs by category” (☞p.3).
4
Quick Start
Using controllers to modify the sound
Introduction
You can operate the X50’s [MOD] wheel, [PITCH] wheel, [SW1][SW2], and realtime controllers
to add expressive variation to your performances.
[PITCH] wheel, [MOD] wheel

You can use the [PITCH] wheel and [MOD] wheel located at the upper left of the keyboard to
vary the pitch or adjust the depth of modulation. The actual result will depend on the program
Setup
and combination, but these controllers are normally used to apply the following effects.
Raise the pitch
Program
Deepen the
vibrato
Lower the pitch
Combination
REALTIME CONTROLS [1], [2], [3], [4], [SELECT]
Use the [SELECT] button to select realtime controller mode A/B/C, and use knobs [1]–[4] to
control the tone, effects, MIDI control changes, and arpeggiator etc. while you perform. Use
these knobs when you want to modify the sound while performing, or to make simple edits.
Multi
[SELECT] button
Effect
Global
Knobs [1]–[4]
Arpeggiator
Here we’ll explain how to use the realtime controllers in Program mode.
2. Choose “Program Select” (program number and name), and turn the [VALUE] dial to select Drum Kit
the program that you want to control using the realtime controllers.
3. Press the REALTIME CONTROLS [SELECT] button to light the “A” LED located at the right
of the button.
4. Turn knob [1] (LPF CUTOFF) to adjust the cutoff frequency of the low pass filter.
When you adjust the cutoff frequency of the filter, the brightness of the sound will change.
The effect will depend on the settings of the program parameters, but normally, rotating the
knob toward the left will darken the sound, and rotating it toward the right will brighten it.
5. Turn knob [2] (RESONANCE/HPF) to adjust the resonance level of a low pass filter or the
cutoff frequency of a high pass filter.
The content that is controlled will depend on the filter type specified by the program.
By adjusting the filter resonance level, you can increase or decrease the resonance level to add
a unique character to the sound.
Adjusting the cutoff frequency of the high-pass filter will modify the thickness of the sound
Appendices
from which the low frequency range has been filtered out.
5
Quick Start
6. Turn knob [3] (EG-INTENSITY) to adjust filter EG intensity (the depth at which the filter EG
is applied).
Rotating the knob will affect the depth of the filter EG. Normally, rotating the knob toward
the left will make the filter EG apply less deeply, and rotating it toward the right will make
the filter EG apply more deeply. Since the filter EG will operate based on the cutoff frequency
of the filter, knobs [1] and [3] will work together to control the tonal changes produced by the
filter.
7. Turn knob [4] (EG-RELEASE) to adjust EG release times of the filter and amp. This will
determine the time from note-off until the sound disappears.
When you adjust the knob, the release times of the filter EG and the amp EG will change.
Normally, rotating the knob toward the left will shorten the release time, and rotating it
toward the right will lengthen the release time.
8. Press the REALTIME CONTROLS [SELECT] button to light the “B” LED located at the right
of the button.
In B-mode, effective functions for each of the preloaded programs and combinations are
assigned to the knobs. This lets you use the knobs to control volume, portamento time, pan,
filter and amp EG, pitch LFO, master effect send levels, and other parameters.
Turn each knob to hear the result.
Note: The B-mode functions for the REALTIME CONTROLS [1], [2], [3], and [4] knobs can be
viewed for Program mode in the 0: Play, Program page, and for Combination mode in the 0:
Play, Combination page.
6
Quick Start
Using the arpeggiator
Introduction
As you selected and listened to various programs and combinations, you probably noticed that
some of them began playing automatically. This is because of the arpeggiator.
The arpeggiator is a function that automatically generates arpeggios (the notes of a chord
played individually in a rhythmic pattern). Most arpeggiators produce an arpeggio when you
play a chord on the keyboard. In addition to this, the X50’s arpeggiator is a polyphonic arpeg-
giator that is able to produce a variety of chordal transformations or phrases based on the pitch
Setup
or timing of the notes you play on the keyboard. These functions let you use the arpeggiator to
play a wide range of patterns including drum or bass phrases, and guitar or keyboard backing
riffs. It is also effective to use the arpeggiator as part of the sound-creating process when creat-
ing subtly-moving pads, synth-sounds, or sound effects.
Program
In Program mode you can use one arpeggiator.
In Combination mode and Multi mode you can use two arpeggio patterns simultaneously (dual
polyphonic arpeggiator). This gives you a variety of possibilities, such as applying separate
arpeggio patterns to a drum program and a bass program, or using splits or velocity to switch
Combination
between arpeggio patterns.
Here we’ll explain how to use the arpeggiator in Program mode.
Using the realtime controllers to control the arpeggiator

Multi
2. Choose “Program Select” (program number and name), and turn the [VALUE] dial. You will
notice that the [ARP ON/OFF] button is lit for some programs. Select one of these programs,
and play the keyboard; the arpeggiator will start playing.
Even for other programs, you can press the [ARP ON/OFF] button (the button will light) to
Effect
turn on the arpeggiator. Play the keyboard to make the arpeggio start.
3. Press the REALTIME CONTROLS [SELECT] button to light the “C” LED located at the right
of the button.
4. Turn the [4] (TEMPO) knob to change the tempo.
Global
5. Turn the [1] (ARP-GATE) knob to change the duration of the arpeggiated notes.
Note: When knobs [1]–[3] are at their center position (12 o’clock), the parameters they control
will have the values specified within the program.
Arpeggiator
6. Turn the [2] (ARP-VELOCITY) knob to change the level of the arpeggiated notes.
7. Turn the [3] (ARP-LENGTH) knob to change the length of the arpeggio pattern.
Changing the length of the arpeggio pattern will change the character of the pattern. This
doesn’t work for the preset patterns (UP, DOWN, ALT1, ALT2, and RANDOM). Drum Kit
Changing the arpeggio pattern

The X50 contains preset arpeggio patterns Preset-0 through Preset-4, and user arpeggio patterns
U000–250.
1. Press the [PAGE+] button to access the PROG 0: Play, Arp. Play page.
2. Use the ClickPoint [√][®][π][†] to choose “Pattern,” and use the [VALUE] dial or the
[INC][DEC] buttons to select an arpeggio pattern. To select a user arpeggio pattern, you can
also use numeric buttons [0]–[9] to enter a pattern number and then press the [ENTER]
Appendices
button.
3. Play the keyboard and try out various arpeggio patterns.
7
Quick Start
Listening to the demo songs

The X50 contains demonstration songs.
Take a moment to listen to these demo songs to experience the diverse sounds and rich expres-
sive potential of the X50.
1 2, 3
4.2 5 4.1
1. Hold down the [CATEGORY] button and press the [AUDITION] button.
The Demo Song Player page will appear.
2. Press the [AUDITION] button to begin playback.

3. Press the [AUDITION] button once again to stop playback.
4. To select a song for playback, use the ClickPoint [π][†] to select the song name (“Demo
Song Select”) and use the [VALUE] dial to change songs.
5. To exit the Demo Song Player page, press the [EXIT/CANCEL] button.
You can also exit by pressing one of the [COMBI], [PROG], [GLOBAL], or [MULTI] mode
buttons.
Changing the play mode

• You can play back the demo songs in succession or only one song at a time; use the Click-
Point [√][®][π][†] to select “Play Mode” and use the [VALUE] dial etc. to change the set-
ting.
Continue to next song: When the currently selected demo song finishes playing, the next
demo song will play automatically.
Stop at end of selected song: When the currently selected demo song finishes playing,
playback will stop.
• If you want all of the demo songs to continue playing repeatedly, use the ClickPoint
[√][®][π][†] to select the “Repeat All” check box and then press the ClickPoint center to
add a check mark.
Note: This is available only if “Play Mode” is set to Continue to next song.
This Quick Start section is just an introduction to introduce you to your new synthesizer. Please
take the time to read the more in-depth sections of this manual that follow.
8
Quick Start
Introduction
Introduction
Main features
Setup
• LFO and delay time parameters can be syn-
High-quality sound featuring the HI chronized to MIDI clock/tempo. You can syn-
synthesis system chronize sounds or effects to the tempo of the
The X50 Music Synthesizer features Korg’s sequencer or the arpeggiator.
Program
acclaimed HI (Hyper Integrated) synthesis sys-
tem.
A great selection of 512 programs
The HI (Hyper Integrated) synthesis system is a
PCM tone generator system with extensive modu- In the Program mode, the X50 provides 512 user
programs, plus 128 programs + 9 drum sets for
Combination
lation and effect routing capabilities, as well as full
digital signal processing that guarantees a rich, GM compatibility.
pristine sound. When shipped from the factory, it is loaded with
high-quality programs that cover a wide range of
Tone generator section: musical needs.
• 64 MB of preset PCM ROM containing 470 mul-
Multi
tisamples and 518 drumsamples. Programs using multisamples that pro-
• The sampling frequency is 48 kHz, and the vide a broad range of sounds
maximum polyphony is 62 voices. Based on 470 different multisamples that deliver a
broad range of sounds ranging from acoustic
instruments such as piano, guitar, and trumpet, to
Effect
Filter/synthesis section:
• 24 dB/oct Low Pass Resonance type or 12 dB/ synthesizer sounds or sound effects (oscillator),
oct Low Pass & High Pass type filters can be the preset programs provide a rich variety of edit-
used. A wide variety of filter effects can be able parameters (filter and amp), effects, and
achieved, from active sounds with aggressive arpeggiators.
Global
resonance to subtle tones using a high pass fil-
ter. Drum programs that support any style
• A broad range of editing parameters gives you of rhythm part
Arpeggiator
control over every aspect of the sound. Based on 40 user drum kits and nine GM2-com-
patible ROM drum kits, and taking full advantage
Effect section: of numerous editable parameters, effects, and
• One insert effect (stereo-in/stereo-out), two arpeggiators, the X50 provides a great selection of
master effects (mono-in/stereo-out), and a preset programs for any style of music. Drum Kit
three-band master EQ (stereo-in/stereo-out) The drum kits that are the basis of each drum pro-
can all be used simultaneously. You can select gram allow you to freely map any of the 518 drum
from 89 types of effect algorithms, and edit or percussion sounds to each note of the keyboard.
them. You can also create your own drum kits, and even
specify filter and amp settings, effect settings, and
• Highly flexible effect routing is possible. Effects

can also be routed freely to the individual out- individual audio output routings for each separate
puts. key.
Alternate Modulation and Effect Dynamic

Modulation:
• The synthesis section (filter etc.) provides Alter-
nate Modulation functionality, and the effect
section provides Effect Dynamic Modulation
functionality. This allows you to freely apply
Appendices
modulation to parameters that affect the pitch,

filter, amp, EG, LFO, effects etc.
9
Introduction
In addition to providing conventional arpeggiator

384 different combinations let you functions, the polyphonic arpeggiator of the X50
freely combine programs can respond to the pitches or timing of your key-
The X50 provides 384 user combinations. The fac- board playing, and produce a diverse range of
tory settings contain a wide variety of Preloaded chords or phrases. This can be used to play a vari-
combinations. ety of drum phrases, bass phrases, or guitar and
keyboard backing riffs. The arpeggiator is also
A combination allows you to use layers, splits, or
effective for use with subtly moving pads, synth
velocity switching etc. to combine up to eight pro-
sounds, or sound effects.
grams together with the effects and the two arpeg-
giators, in order to create complex sounds that In Combination mode, and Multi mode, the X50
could not be produced by a program. You can also provides dual polyphonic arpeggiators that can
create combis that include external tone genera- simultaneously play two arpeggio patterns. You
tors. can apply separate arpeggio patterns to drum and
bass programs, or use keyboard splits or velocity
to switch between arpeggio patterns for an even
Effects that can creatively manipu- more dynamic performance.
late the sound or generate subtle
ambience Direct USB connection to your com-
The X50’s effects can be used in many ways, rang- puter
ing from manipulating the sound dramatically to
The X50 provides a convenient USB connector that
creating spacious reverberation. (☞p.9 “High-
allows single-cable connection to your computer,
quality sound featuring the HI synthesis system”)
without requiring a MIDI interface or MIDI con-
nectors. The X50 supports Windows XP and
Macintosh OS X 10.3 or later.
4 channel audio outputs
In addition to the (MAIN OUTPUT) L/MONO
and R main stereo audio outputs, X50 provides X50 Plug-In Editor supports editing
two individual audio outputs, for a total of four from within your DAW software
channels of audio output. The sound from each
oscillator, drum, timbre/track, or insert effect can The “X50 Editor” is a stand-alone program that
be routed freely to any output. lets you edit the X50 from your Macintosh or Win-
dows computer.
On the other hand, the “X50 Plug-In Editor” lets
Multi mode plays multiple tracks of you edit the X50 as a plug-in instrument from
data from an external sequencer within a host application such as DAW (Digital
Audio Workstation) software. It supports VST,
In Multi mode, the X50 can operate as a 16-track
Audio Units, and RTAS formats. Both editors are
MIDI multi-timbral sound module, receiving mul-
included with your X50.
tiple tracks of performance data from an external
sequencer or similar device. Since you can use the
effects and the two arpeggiators as well, the X50
will also function as a more advanced sound mod-
ule.
You can create, save and recall numerous Multi
sets in the X50 and it also supports GM (General
MIDI System Level 1), making it easy to use as a
sound module for a desktop music system.
Dual polyphonic arpeggiator

Five preset arpeggio patterns (UP, DOWN, ALT1
ALT2, RANDOM) and 251 user arpeggio patterns
are provided. With the factory settings, these con-
tain a wide variety of preload arpeggio patterns.
10
14
2
Front panel
10
3
9
5
7
Front and rear panel
11
4
10
12
6
13
11
Front and rear panel
Appendices Other functions External control Drum Kit Arpeggiator Global Effect Multi Combination Program Setup Introduction Quick Start
Introduction
1. [PITCH] wheel, [MOD] wheel [COMBI] button

This controls pitch or modulation, etc. [PROG] button
Moving the wheel will control the sound. The [GLOBAL] button
actual functions that are being controlled will [MULTI] button
depend on various program and effect parame-
ters. (☞p.41)
7. Display
You can select a page, tab, or parameter in the dis-
2. [SW1], [SW2] play, and specify its value. (☞p.15)
These switches can perform a number of different
functions, such as modulating sounds or locking
the modulation values of [PITCH] wheel. 8. CATEGORY
You can select programs, multisamples, combina-
The actual functions that are being controlled will
tions, timbre/track programs, effects, or drum
depend on various program and effect parame-
samples by category.
ters.
[CATEGORY] button
3. [VOLUME] slider Press this button to access the category menu, and
This adjusts the volume of the (MAIN OUTPUT) choose a program etc. from the list. The category
L/MONO, R jacks, as well as the volume of the menu will appear if you have selected an appro-
headphone jack. priate mode, page, or parameter. (☞p.38, 45, 82,
109)
4. REALTIME CONTROLS
9. AUDITION, Demo Song Player
[SELECT] button
[1]–[4] knob [AUDITION] button
Use the [SELECT] button to choose one of the real- In Program mode when you press the [AUDI-
time controller modes - A/B/C - and use knobs TION] button (the button will light), a riff (phrase)
[1]–[4] to control the tone, effects, MIDI control appropriate for the preloaded or preset program
changes, and arpeggiator etc. while you perform. will play. (This is called the Audition function.) To
(☞p.43, 92) stop auditioning, press the [AUDITION] button
once again.
5. Arpeggiator
The X50’s arpeggiator is a polyphonic arpeggiator. Demo song player
When you hold down the [CATEGORY] button
[ARP ON/OFF] button and press the [AUDITION] button, the Demo
This button turns the arpeggiator on/off. When Song Player page will appear.
on, the button will light. (☞p.91) Select a song and press the [AUDITION] button to
The LED located above knob [4] blinks at quarter- begin playback. Press the [AUDITION] button
note intervals of the tempo. once again to stop playback.
In REALTIME CONTROLS C-mode, you can use To exit from this mode, press the [EXIT/CANCEL]
the [1], [2], [3], and [4] knobs to vary the arpeggio button. (☞p.8)
pattern in realtime.
10. VALUE controllers
6. MODE The following VALUE controllers are used to set
Use these buttons to enter modes. The X50 has the value of the selected parameter (☞p.20).
four modes. (☞p.19)
[VALUE] dial
Press a button (the LED will light) to enter the cor-
responding mode. [INC], [DEC] buttons
Numeric buttons [0]–[9], [–] button,
[./HOLD] button, [ENTER] button
12
Front panel
Quick Start
11. PAGE, CURSOR the settings made in the dialog box and close the
dialog box (corresponds to the “Cancel”). If a Util-
Introduction
[PAGE+][PAGE–] buttons ity menu or page menu is open, pressing [EXIT/
You can use these buttons to move forward or CANCEL] button will close the menu.
backward through the different tabs in a page.
By holding down the [MENU/OK] button and 12. BANK SELECT
pressing these same buttons you can move for-
Setup
ward or backward through the pages themselves, PROG BANK [A], [B], [C], [D], [GM] buttons
such as page 0, 1, 2, etc. (☞p.20) COMBI BANK [A], [B], [C] buttons
These buttons switch program or combination
ClickPoint banks. The button LED will light to indicate the
Program
The ClickPoint is a multi-function controller. current bank. (☞p.38, 44)
You can move the ClickPoint in the In Program mode, these buttons select program
([√][®][π][†]) direction to select parameters. In banks.
addition, you can press directly down on the cen- In Combination mode, these buttons have the fol-
Combination
ter of the ClickPoint (in toward the body of the lowing two functions.
instrument) to select an item in the display.
• Select combination banks.
After selecting a parameter expressed as a numeri-
cal value etc., press the center of the ClickPoint; • When the cursor is located at a timbre program
the value will be highlighted, and now you can (highlighted), these buttons select program
use [π][†] to increase or decrease the value. To banks. (☞p.57, 60)
Multi
finalize the value, press the center once again. In Multi mode, when the cursor is located at a
You can also press the ClickPoint center to access a track program (highlighted), these buttons select
dialog box, to set the numerical value of an edit- program banks. (☞p.71)
able condition, or to turn a switch on/off. If you
Effect
press the ClickPoint on the utility menu, page 13. UTILITY, COMPARE
menu, or a text edit button (☞p.15), the selected
command or page will appear. Pressing the Click- [UTILITY] button
Point center on a check box will switch the item Press this button when you want to use the utility
on/off. Pressing the ClickPoint center on a button functions. (☞p.21)
Global
such as OK or CANCEL will confirm the corre-
sponding choice. [COMPARE] button
Use this button when you wish to compare the
[MENU/OK] button
Arpeggiator
sound of the program, combination or multi set
Press this button to access the page menu. (☞p.19) that you are currently editing with the un-edited
You can move to a specific page by pressing the sound that was written into memory. (☞p.21)
[MENU/OK] button simultaneously with another
button. (☞p.19) 14. Headphone jack Drum Kit
By holding down the [MENU/OK] button and This 1/8" mini-stereo phone jack carries the same
using the numeric buttons [0]–[9] to enter a page signal as the (MAIN OUTPUT) L/MONO, R jacks.
number, you can move to the selected page.
The headphone volume is controlled by the [VOL-
By holding down the [MENU/OK] button and UME] slider.
pressing the [PAGE+] button or [PAGE–] button,

you can move forward or backward in steps of one
page.
If a dialog box is open, this button will confirm the
settings in the dialog box and close it. (This is the
same function as the OK button.)
[EXIT/CANCEL] button
When you are in a page other than 0 of each mode,
Appendices
you can press this button to move to page 0 of that

mode.
When a dialog box is open, this button will cancel
13
Introduction
Rear panel
5 4 3 2 1
1. AUDIO OUTPUT What is USB?

Connect these outputs to the input jacks of your USB stands for Universal Serial Bus, and is an
amp or mixer. In addition to the (MAIN OUTPUT) interface for transferring data between a com-
L/MONO and R main stereo audio outputs, the X50 puter, a keyboard and/or peripheral devices.
provides two individual audio outputs. (☞p.25) Note: The USB connector of the X50 is only able to
transmit and receive MIDI data.
MAIN OUTPUT L/MONO, R jack
INDIVIDUAL OUTPUT 1, 2 jack 5. Power supply
Be sure to see “Turning the power on/off” (☞p.23)
2. PEDALS and follow the correct procedure described there.
You can connect a damper pedal, foot switch, and
foot pedal to these jacks. This gives you a broader Power switch
range of functions and effects to control. (☞p.26) This switch turns the power on/off.
ASSIGNABLE PEDAL jack AC adapter connector

ASSIGNABLE SWITCH jack Connect this to the included AC adapter.
DAMPER jack Connections must be made with the power
turned off. Please be aware that careless
3. MIDI operation may damage your speaker system
MIDI lets you connect X50 to computers or other or cause malfunctions.
MIDI devices, for sending and receiving notes,
controller gestures, sound settings, and so on. Cable hook
(☞p.34) Use this to secure the cable of the included AC
adapter. After connecting the AC adapter, fasten
MIDI IN connector the cable around the hook located on the X50’s
MIDI OUT connector rear panel so that the cable will not be pulled out
inadvertently. Leave enough slack on the plug end
so that you can disconnect it if you want to.
4. USB
Be careful not to bend the base of the plug any
USB connector more than necessary.
(for connecting to computer)
You can connect your computer to this connector.
Using a single USB cable, your X50 can send and
receive MIDI information directly to and from a
computer, without requiring a MIDI interface.
(☞p.31)
14
Objects in the Display and their functions
Quick Start
* Utility menu
Objects in the Display and
Introduction
their functions
a: Current page d: Edit cell e: Check box
When you press the [UTILITY] button in a page,
the utility menu will appear. The utility menu con-
Setup
tains commands that can be used in that page. The
utility menu that appears will differ depending on
the page that is selected.
For details on selecting and executing a utility
command, see “4. Selecting and executing a Utility
Program
c: Parameters b: Tab
function” (☞p.21).
a: Current page
This indicates the current page within the selected
* Dialog boxes
Combination
mode. When you select a utility menu command etc., a
dialog box will open.
From the left, this area shows the mode name,
page number: name, tab name, and the parameter Use the ClickPoint [√][®][π][†] to select param-
name of the edit cell. eters. To enter a parameter value, use a VALUE
controller (☞p.12) such as the [VALUE] dial, the
ClickPoint [π][†], or the [INC][DEC] buttons.
Multi
Page number:name
Mode name Parameter name
Tab name When selecting a program or combination number
in a dialog box, you can also use the PROG
BANK/COMBI BANK buttons to make a selection
instead of the VALUE controllers.
Effect
To execute the utility command, press the
b: Tab [MENU/OK] button. If you decide not to execute,
Most pages are divided into two or more tabs. press the [EXIT/CANCEL] button. The [EXIT/
Use the [PAGE+][PAGE–] buttons to select a tab CANCEL] button is equivalent to “Cancel,”
and view that page. “Done,” or “Exit.”
Global
c: Parameters
The parameters for various settings are displayed
Arpeggiator
in the display. Use the ClickPoint [√][®][π][†]
to select the desired parameter.
* Text dialog box

d: Edit cell Use the ClickPoint [√][®][π][†] to select a text
When you use the ClickPoint [√][®][π][†], the button such as , and press the center to open the Drum Kit
selected parameter will be highlighted in the dis- text dialog box.
play. This area is called the edit cell, and your
In this dialog box you can rename text (e.g., the
editing will affect the highlighted area. For details
name of a program, combination, or multi set).
on how to edit the value, see “3. Selecting a
(☞p.112)
parameter and editing the value” (☞p.20).
e: Check box
Use the ClickPoint [√][®][π][†] to select a
check box, and use a VALUE controller such as the
[VALUE] dial, the center of the ClickPoint, or the
[INC][DEC] buttons to add or remove the check
mark. * Function buttons
When checked, the parameter will function, when Use the ClickPoint [√][®][π][†] to select one of
these buttons and press the center to execute the
Appendices
unchecked, the parameter will not function.

following functions.
15
Introduction
* Scroll bar
This indicates that the list contains more selections
or parameters than can be shown in the screen at
one time. Use the ClickPoint [π][†] to move
within the list.
Scroll bar
* Page menu
In Combination, Program, Global, or Multi modes,
pressing the [MENU/OK] button will display a
list of the pages in that mode.
To select a page, use the ClickPoint [√][®][π][†]
to select the desired page and press the center.
(☞p.19 “Using the page menu to move”)
When “Page Menu Style” = Icon
When “Page Menu Style” = List
Note: You can set “Page Menu Style” in the

GLOBAL 0: System, Preference page.
* Other objects
To use slider- or knob-shaped objects, use the
ClickPoint [√][®][π][†] to select the desired
item, and use the VALUE controllers to adjust the
value.
Other types of objects are shown in the effect rout-
ing screen.
Slider Knob
Routing
16
Basic Information
Quick Start
Basic Information
Introduction
You can use the Tone Adjust function to make
About the X50’ modes simple edits for the program of a track.
The X50 has a wide range of capabilities; it lets Assign Programs to each of the 16 MIDI Tracks,
each with separate volume, pan, EQ, and
Setup
you play programs/combinations, edit them, play
the X50’s sound generator using musical perfor- keyboard and velocity zones; make settings for
mance data from an external MIDI sequencer, and effects, and two Arpeggiator (☞p.69)
make settings that affect the entire X50, such as
transposition and tuning. The largest unit used to Global mode
Program
organize these features is called a mode. The X50 Global mode lets you make overall settings for the
has four modes. entire X50, and edit arpeggiators and drum kits.
For instance, you can:
Program mode • Make settings that affect the entire X50, such as
Combination
Programs are the basic sounds of X50. In Program master tune and global MIDI channel
mode, you can: • Create user drum kits, arpeggiators and user
• Select and play Programs scales
• Edit Programs • Rename program, and combination categories
• Set the function of the assignable pedals and
Multi
Make detailed settings for oscillators, filters,
amps, EGs, LFOs, effects, arpeggiator, etc. assignable switches
• Create drum programs using drum kits (as cre- • Transmit MIDI System Exclusive data dumps
ated in Global mode)
• Play and control one Arpeggiator (☞p.43)
Effect
Combination mode
Combinations are sets of up to 8 Programs that
can be played simultaneously, letting you create
Global
sounds more complex than a single Program. In
Combination mode, you can:
• Select and play Combinations
Arpeggiator
• Use X50 as a 8-track multitimbral tone genera-
tor
• Edit Combinations
You can use the Tone Adjust function to make
simple edits for the program of a timbre.
Drum Kit
Assign Programs to each of the 8 Timbres, each

with separate volume, pan, EQ, and keyboard
and velocity zones; make settings for effects,
and Arpeggiator. (☞p.60)
• Control and play up to two Arpeggiator
Multi mode
You can use the X50 as a 16-track multi-timbral
sound generator.
The X50 will receive GM or other performance
data from an external MIDI sequencer, and play
back this data.
Appendices
• Select and playback Multi sets

• Edit Multi sets
17
Introduction
PROGRAM MODE
OSC 1 Multi Sample - H Insert / Master Effect
Drum Kit
IFX MFX 1
Multi Sample - L MFX 2
PITCH1 FILTER1 AMP1

MEQ
OSC 2
Multi Sample - H
Arpeggiator
Multi Sample - L
PITCH2 FILTER2 AMP2
GLOBAL MODE COMBINATION MODE

DRUM KIT Insert /Master Effect
TIMBRE 1 PROGRAM
Key IFX MFX 1
Assign Drum Sample / Sample - H TIMBRE 2 PROGRAM
MFX 2
TIMBRE 3 PROGRAM
Drum Sample / Sample - L
TIMBRE 4 PROGRAM MEQ
TIMBRE 5 PROGRAM
ARPEGGIATOR PATTERN
TIMBRE 6 PROGRAM Arpeggiator - A
User Pattern: Preset-0 - 4 TIMBRE 7 PROGRAM
Arpeggiatpr - B
User Pattern: U000 - 250 TIMBRE 8 PROGRAM
MULTI MODE
Insert /Master Effect
TRACK 1 PROGRAM TRACK 9 PROGRAM
IFX MFX 1
MFX 2
TRACK 4 PROGRAM TRACK 12 PROGRAM MEQ

Arpeggiator - A
Arpeggiatpr - B
18
Basic operations
Quick Start
Selecting a page
Basic operations
Introduction
After you’ve powered-on the X50, here’s how to Using the page menu to move
perform basic operations such as selecting modes In Combination, Program, Global, and Multi
and pages. modes, you can press the [MENU/OK] button to
view a list of the pages that make up that mode.
1. Press the [MENU/OK] button.
1. Selecting modes
Setup
The page menu will appear.
• In order to use a particular function on the X50, The page in which you were when you pressed
you must first select the appropriate mode. the [MENU/OK] button will be highlighted as
Press one of the front panel mode buttons to an indication.
Program
enter the corresponding mode.
[COMBI] button: Combination mode
[PROG] button: Program mode
Combination
[GLOBAL] button: Global mode
[MULTI] button: Multi mode
2. Use the ClickPoint [√][®][π][†] to select the
page you want to view.
3. When you’ve made your selection, press the
center of the ClickPoint.
Multi
You will jump to the selected page, and that
page will appear.
As an example here, try selecting “Key Zone.”
The 5: Ed–Key Zone page will appear.
Effect
Global
2. Selecting pages
Each mode has a large number of parameters, Note: The page that appears will be the page of the
which are grouped into pages. These are further tab you selected most recently.
subdivided by tabs into up to eight tab pages. Note: If you set the Global mode setting “Page
Arpeggiator
• Make sure that the desired mode is selected. Menu Style” to List, you can move by selecting
pages and tabs as shown in the following
For details on selecting a mode, see “1.
illustration. (The display shown in step 2 is for
Selecting modes,” above.
when “Page Menu Style” = Icon.)
In this explanation we’ll use Combination Drum Kit
mode as an example.
Press the [COMBI] button.
Using the [MENU/OK] button +

[PAGE+][PAGE–] buttons to move
Note: The COMBI 0: Play page will appear. (This is • Hold down the [MENU/OK] button and press
shown in the upper left of the display.) the [PAGE+] ([PAGE–] button.
In Combination, Program, or Multi modes (i.e., in In Combination mode, you will move between
other than Global mode), you will normally pages in the order of 0: Play ↔ 1: Ed–Tone Adjust
perform in this 0: Play page. You can also make ↔ 2: Ed–Track Parameter ↔ 3: Ed–MIDI Filter1 ↔
simple adjustments (edits) to the sound while ... etc. The page that appears will be the page of
Appendices
you’re in this page. To make more detailed the tab you selected most recently.
adjustments, use page 1 (COMBI 1: Ed–Tone
Adjust, etc.) and following.
19
Introduction
Using the [MENU/OK] button + numeric enter a note number or velocity value by
buttons [0]–[9] buttons to move holding down the [ENTER] button and
• Hold down the [MENU/OK] button and use pressing a note.
numeric buttons [0]–[9] to specify the page Note: You can use the [COMPARE] button to
number you want to view. compare the sound you’re editing with the
The specified page number will appear. The original unedited sound.
page that appears will be the page of the tab
you selected most recently. VALUE controllers
[EXIT/CANCEL] button [VALUE] dial

• You can press the [EXIT/CANCEL] button to Use this dial to edit the selected parameter’s
return to page 0 from any page. value. This control is convenient when you want
to scroll through a very long list of selections.
Selecting tabs
[INC], [DEC] buttons
[PAGE+][PAGE–] buttons These are used to increase or decrease the parame-
You can press these buttons to move forward or ter value by individual steps. They’re convenient
backward in steps of one tab. for making fine parameter adjustments.
1. Press the [PAGE+] button to access the page for ClickPoint

the next (right) tab. (Press [PAGE–] button to
After selecting a parameter expressed as a numeri-
access the page for the previous (left) tab.)
cal value etc., press the center of the ClickPoint;
This example shows the Combination page the value will be highlighted, and now you can
through Prog page of COMBI 0: Play. use [π][†] to increase or decrease the value. To
finalize the value, press the center once again.
You can also press the ClickPoint center to turn a
check box or switch on/off.
Numeric buttons [0]–[9], [–] button,

2. As you repeatedly press the [PAGE+] button or [./HOLD] button, [ENTER] button
[PAGE–] button, you will move consecutively These buttons are convenient when you know the
through the tabs. As you page up past the last exact value that you want to enter. Use the [0]–[9],
tab of a page, you will then move to the first tab [–], and [./HOLD] buttons to enter the value, and
of the next page. Likewise, as you page down then press the [ENTER] button to confirm the
past the first tab of a page, you will then move entry.
to the last tab of the preceding page. The [–] button inverts the sign (+/–) of the param-
eter value; the [./HOLD] button inserts a decimal,
for entering fractional values. In the P0: Play page
3. Selecting a parameter and editing of Program or Combination mode, you can press
the value these buttons to use the Category function or the
1. Use the ClickPoint [√][®][π][†] to select the 10’s Hold function.
parameter you want to edit. You can perform the following types of input by
The value will be highlighted, and the holding down the [ENTER] button and playing a
parameter name is displayed in the upper right note on the keyboard.
of the display. (We call this the “edit cell.”) For parameters that specify a note number (such
as G4 or C#2), you can hold down the [ENTER]
2. To modify the value of the edit cell, use one of
button and play a note on the keyboard to directly
the VALUE controllers ([VALUE] dial,
specify the corresponding number. For parameters
[INC][DEC] button, numeric buttons [0]–[9], [–]
that specify a velocity value, the strength with
button, [./HOLD] button, [ENTER] button) or
which you play the note will specify the velocity.
the ClickPoint.
For some parameters, you can use the PROG
BANK buttons to specify the bank of a program
etc. or to specify the parameter value. In some
cases you can also use the musical keyboard to
20
Basic operations
Quick Start
[ENTER] button + keyboard (note name or 4. Selecting and executing a Utility
velocity input)
Introduction
You can use the X50’s keyboard to specify the
function
value of a parameter when you need to enter a
note name or a velocity value. Hold down the
[ENTER] button, and play the note that you want
to enter; the corresponding note name or velocity
Setup
value will be entered. The utility functions provide commands that are
When the Global 4: Drum Kit screen is shown, you specific to each page, such Write (save) or Copy.
can hold down the [ENTER] button and play a The available utility functions will depend on the
note to access the settings assigned to that note. (If page you select.
Program
a velocity-related parameter is selected, this action For example, the utility functions in Program
will enter the velocity value.) mode let you write (save) the settings, or let you
You can also specify the tempo by pressing the perform convenient editing operations such as
[ENTER] button at the appropriate interval. (This copying settings between oscillators or effects, or a
Sync function that lets you edit two EGs together.
Combination
is called the “tap tempo” function.)
1. Press the [UTILITY] button.
PROG BANK [A], [B], [C], [D], [GM] buttons The utility menu will appear.
COMBI BANK [A], [B], [C] buttons 2. Use the ClickPoint [π][†] to select a
These buttons switch program or combination command.
banks. The button LED will light to indicate the
Multi
3. Press the ClickPoint center.
current bank.
A dialog box for the selected utility will appear.
In Program mode, these buttons select the pro-
gram bank. (Alternatively, you can access the dialog box by
pressing the [UTILITY] button once again or
In Combination mode, these buttons have the fol-
Effect
pressing the [MENU/OK] button.)
lowing two functions.
For check-type commands, the status of the
• Select the combination bank
command will simply change without any
• When the cursor is located at the timbre pro- dialog box appearing.
gram (highlighted), these buttons switch the
Global
Note: By holding down the [ENTER] button
program bank
and pressing a numeric button [0]–[9] you can
In Multi mode when the cursor is located at the access the dialog box for the first ten utility
track program (highlighted), these buttons switch functions without going through the menu.
the program bank.
Arpeggiator
4. Use the ClickPoint [√][®][π][†] to select a
parameter in the dialog box.
[COMPARE] button
Use this when you wish to compare the edits you 5. To set the parameter value, use a VALUE
have made to a program or combination’s sound controller (☞p.12) such as the [VALUE] dial,
with the un-edited original (i.e., the sound that is the ClickPoint (press the center and then use Drum Kit
written into memory). [π][†]), or [INC][DEC] button. When

selecting a program or combination number in
When editing a program or combination, press
a dialog box, you can also use the PROG
this switch. The LED will light, and the last-writ-
BANK/COMBI BANK buttons to enter the
ten settings for that program number or combina-
bank as an alternative to using the VALUE

tion number will be recalled. When you press the
controllers.
[COMPARE] button once again, the LED will go
dark and you will return to the settings that you 6. To execute the utility command, press the
were editing. [MENU/OK] button.
If you edit the settings that are recalled by press- If you decide not to execute, press the [EXIT/
ing the [COMPARE] button (i.e., the settings that CANCEL] button. The [EXIT/CANCEL]
are written into memory), the LED will go dark, button is the same as “Cancel,” “Done,” or
and it will not be possible to return to the previous “Exit.”
edits by pressing the [COMPARE] button again. The dialog box will close.
Appendices
The Compare function is not available in • If the utility menu is displayed, press the
Global mode. [EXIT/CANCEL] button to close the menu.
21
Introduction
5. Writing (saving)
When you’re finished editing, you can save your
changes if necessary.
For example if you’ve edited a program, your
changed will be lost if you select another program
or turn off the power. The same applies to a com-
bination or multi set.
Settings you edit in Global mode will be remem-
bered as long as the power is on, but your changes
will be lost when you turn off the power.
For details on the Write operations, see the follow-
ing pages.
• Programs ☞p.45
• Combinations ☞p.61
• Multi sets ☞p.75
• Global settings (pages 0–3) ☞p.90
• Drum kits ☞p.110
• Arpeggio patterns ☞p.104
• Saving data ☞p.115
22
Quick Start
Setup
Introduction
Turning the power on/off
Setup
Connecting the AC adapter Turning the power on
You must use only the included AC adapter. 1. Lower the X50’s [VOLUME] slider.
Using any other AC adapter may cause
Program
If you have connected powered monitor
malfunctions. speakers or a stereo amp, turn down the
Note: Make sure that the X50’s power switch is set volume of these devices.
to STANDBY (the outward position). 2. Press the rear panel Power switch to turn on
Combination
1. Connect the plug of the included AC adapter to the power.
the power connector on the X50’s rear panel. The display will show the model name,
2. Connect the power cable to the AC adapter. software version.
3. Plug the power cable into an AC outlet. (The following graphic shows the factory-set
4. To prevent the plug from being pulled out display. The version number is subject to
change without notice.)
Multi
accidentally, wrap the AC adapter cable
through the cable hook located on the rear of
the X50. Be careful not to bend the base of the
plug unnecessarily.
Effect
Connecting the AC adapter
4 Cable hook
3. Turn on your powered monitors or stereo amp.
Power switch
4. Raise the X50’s [VOLUME] slider to an
appropriate position, and adjust the volume of
Global
1 Power connector your powered monitor speakers or stereo amp.
AC adapter Be careful not to Note: The state of X50 when the power is turned
bend this portion
excessively when you on will depend on the setting of “Power On
Arpeggiator
2 wrap the cable Mode” (GLOBAL 0: System, Preference page).
Plug into an AC through the cable (☞p.88)
outlet hook.
3 Power cable Drum Kit

Appendices
23
Setup
Turning the power off

After you’ve finished editing, be sure to write
(save) your changes.
If you edit a program and then select a
different program or turn off the power, the
changes you made will be lost. The same is
true for a combination or multi set.
The settings you edit in Global mode are
remembered as long as the power is on, but
will be lost when you turn off the power.
1. Lower the X50’s [VOLUME] slider.
Also turn the volume of your powered monitor
speakers or stereo amp down to zero.
2. Turn off the power of your powered monitor or
stereo amp.
3. Press the rear panel Power switch to turn off
the power.
Never turn off the power while data is being
written into internal memory.
If the power is turned off while processing is
being performed, memory write operations
will not be completed correctly. If this occurs,
X50 will automatically initialize its internal
memory so that it will operate correctly. This
is not a malfunction.
While data is being written, the display will
indicate “Now writing into internal memory.”
Data is written into internal memory by the
following operations.
• Writing (updating) a Program, Combination,
Multi, Global Setting, Drum Kit, or Arpeggio
Patterns
• Loading a Preload data for Program, Combina-
tion, Multi, Global Setting, Drum Kit, or Arpeg-
gio Patterns
• Receiving a MIDI data dump for Program,
Combination, Multi, Global Setting, Drum Kit
data, or Arpeggio Patterns
24
Connections
Quick Start
Connections
Introduction
Connections must be made with the power If you are outputting in stereo, make
turned off. Please be aware that careless connections to the L/MONO jack and the R
operation may damage your speaker system jack. If you are outputting in monaural, make
or cause malfunctions. connections to the L/MONO jack. We
recommend that you playback in stereo if
Setup
possible.
If you’re playing back through a stereo audio
Basic connections amp or a stereo radio-cassette player that has
Connect the audio cables as shown in the connec- external input jacks, connect these jacks to the
Program
tion diagram below. jacks marked LINE IN, AUX IN, or External
Input. (You may need to use an adapter plug or
adapter cable.)
Connecting audio output devices If you playback X50 through your stereo
Combination
Here, you can connect a set of amplified monitor audio system, be aware that high volumes
speakers or your audio system to output X50’s may damage your speakers. Be careful not to
sound. raise the volume excessively.
Connecting the MAIN OUTPUT L/MONO Connecting INDIVIDUAL OUTPUT 1 and 2
Multi
and R If desired, you can connect these two individual
These are the main outputs. They are unbalanced (independent) outputs. They are unbalanced
phone jacks. phone output jacks.
These are the main stereo outputs; their volume is These jacks allow you to send the X50’s sounds to
controlled by the [VOLUME] slider. All of the fac- external equipment independent of the (MAIN
Effect
tory Programs and Combis are programmed to OUTPUT) L/MONO and R jacks. This can be con-
play through these outputs. venient when recording, or when using a complex
If you’re editing a program or combination, or live performance setup.
playing back from an external MIDI sequencer in 1. Connect the (INDIVIDUAL OUTPUT) 1 and 2
Global
Multi mode, you can set “BUS Select” to “L/R” so jacks to the input jacks of your mixer etc.
that the sound will be sent from these jacks. Note: The [VOLUME] slider does not affect the
1. Connect the (MAIN OUTPUT) L/MONO and volume of jacks 1 and 2.
R jacks to the INPUT jacks of your powered
Arpeggiator
monitor system, mixer etc.
Audio output device connections Drum Kit

Powered monitors
INPUT INPUT
Power switch
L/MONO R
Headphones
Appendices
PHONES
25
Setup
Note: The sound will be sent from these jacks if

you set “BUS Select” to 1, 2, or 1/2. Connecting a damper pedal,
Headphones Powered monitors
foot switch, or foot pedal
By connecting an optional damper pedal, foot
Mixer PHONES switch, or foot pedal, you can control even more
functions and effects.
INPUT INPUT
PEDAL SWITCH DAMPER

1
L/MONO R 2
Connecting a damper pedal

This pedal can provide a damper effect as you
Headphones play. This instrument also supports half-damping.
Here’s how to connect an optional Korg DS-1H
1. When using headphones, plug them into the
damper pedal to the DAMPER jack and use it to
headphones jack located on the front panel.
control the half-damper effect.
Use the [VOLUME] slider to adjust the volume
1. Connect an separately sold DS-1H damper
of the headphones. The X50’s headphone jack
pedal to the DAMPER jack.
carries the same signal as the (MAIN OUTPUT)
L/MONO and R output jacks. You’ll be able to control the half-damper effect
if you’ve connected the DS-1H. If you’ve
Note: If you want to monitor the (INDIVIDUAL
connected a different switch-type pedal, it will
OUTPUT) 1 and 2 jacks in addition to the main
function as a damper switch.
outputs, an external mixer may be required.
2. After you turn on the power, set the switch
polarity and adjust the half-damper response to
ensure that the half-damper pedal works
correctly. (☞PG p.77, 80)
Connecting a foot switch

If you connect an on/off-type foot switch such as
the Korg PS-1 pedal switch to the ASSIGNABLE
SWITCH jack, you can use it to turn the sostenuto
or soft pedal effect on/off, to turn the arpeggiator
on/off, to switch programs or combinations, to
control tap tempo, or to apply modulation to a
sounds or an effect.
This switch will always function in the same way
regardless of the program, combination, or multi
set you’ve selected. You can assign the function in
the Global mode 0: System, Foot page.
1. Connect a foot switch such as the separately
sold PS-1 to the ASSIGNABLE SWITCH jack.
2. After turning the power on, use GLOBAL 0:
System, Foot page “Foot SW Assign” and “Foot
SW Polarity” to assign the function controlled
by the foot switch and to specify the polarity.
(☞p.88)
26
Connecting a computer
Quick Start
Connecting a foot pedal Connecting a computer
Introduction
If you connect a separately sold EXP-2 foot con-
troller or XVP-10 expression/volume pedal to the You can connect the X50 to your computer and use
ASSIGNABLE PEDAL jack, you can use it to it as both an input keyboard and a MIDI sound
apply modulation to sounds or effects, or to adjust module.
the overall volume. You can also use the included editor to edit the
This pedal will always function in the same way X50 from your computer.
Setup
regardless of the program, combination, or multi You can connect the X50 to your computer in
set you’ve selected. You can assign the function in either of the following ways.
the Global mode 0: System, Foot page. • Use a USB cable
1. Connect an separately sold XVP-10 or EXP-2 to
Program
Note: Use the KORG USB-MIDI Driver if you’re
the ASSIGNABLE PEDAL jacks. connecting the X50 via USB to a computer that
2. After turning the power on, use GLOBAL 0: meets the requirements described in “KORG
System, Foot page “Foot Pedal Assign” to USB-MIDI Driver operating requirements,”
assign the function controlled by the foot pedal. below.
Combination
(☞p.88) • Use a commercially available MIDI interface,
and connect the X50 via its MIDI connectors.
Operating requirements for the
Multi
KORG USB-MIDI Driver and the edi-
tor software
Contents of the CD-ROM
Effect
X50 Editor/Plug-In Editor
(for Windows XP / Mac OS X)
KORG USB-MIDI Driver
(for Windows XP / Mac OS X)
Global
Parameter Guide (PDF)
Editor/Plug-In Editor Manual (PDF)
Software License Agreement (PDF)
Arpeggiator
Please note before use
• Copyright to all software included in this prod-
uct is the property of Korg Inc.
• The license agreement for this software is pro- Drum Kit
vided separately. You must read this license
agreement before you install this software.
Your installation of this software will be taken
to indicate your acceptance of this agreement.
KORG USB-MIDI Driver operating

requirements
Windows:
• Computer
A computer with a USB port, that satisfies the
requirements of Microsoft Windows XP
Appendices
27
Setup
• Operating system
Windows XP:
Microsoft Windows XP Home Edition,
Professional or x64 Edition (The driver for x64 Installing the KORG USB-MIDI Driver
Edition is a Beta version.) and the editor software
Macintosh: microX/X50 application installation
• Computer The X50 application installer automatically installs
An Apple Macintosh with a USB port that the KORG USB-MIDI Driver Tools and X50 Edi-
satisfies the requirements of Mac OS X tor/Plug-In Editor that are provided on the
• Operating system included CD-ROM.
Mac OS X version 10.3 or later Note: You must install the KORG USB-MIDI
Driver Tools before you connect the X50 to your
Please be aware that in the case of some computer via USB.
computers, the system may not function
correctly even if your computer meets the 1. Insert the included CD-ROM into your CD-
above requirements. ROM drive.
Normally the “microX/X50 Application
X50 Editor/Plug-In Editor operating Installer” will start up automatically.
requirements If your computer is set so the installer does not
run automatically, double-click
You must install the KORG USB-MIDI Driver “KorgSetup.exe” on the CD-ROM.
if you want to connect the X50 to your
computer via USB and use the X50 Editor/ 2. From the list, select [KORG X50 MUSIC
Plug-In Editor. SYNTHSIER], and click [Next >].
It is not possible to run multiple instances of

X50 Editor/Plug-In Editor on the operating
system. This means that it is not possible to
use these editors to edit two or more X50 units
simultaneously.
Windows:
• Computer
CPU: Pentium III/1 GHz or better
Memory: 256 MB or more 3. From the list, select the applications that you
Monitor: 1,024 × 768 pixels, 16-bit color or want to install, and click [Install].
better
A computer with a USB port, that satisfies the
requirements of Microsoft Windows XP
• Operating system
Microsoft Windows XP Home Edition or
Professional, Service Pack 1 or later
Macintosh:
• Computer
CPU: Apple G4/400 MHz or better The applications you selected will be
Memory: 256 MB or more successively installed.
Monitor: 1,024 × 768 pixels, 32,000 colors or 4. Follow the on-screen instructions to install each
better application.
An Apple Macintosh with a USB port that If you’ve made settings as shown in the screen
satisfies the requirements of Mac OS X shot for step 2, the KORG USB MIDI Driver
• Operating system Tools Installer screen will appear first.
Mac OS X version 10.3.9 or later • Click [Next >].
• The “License agreement” will appear. Care-
fully read the contents, and if you agree,
28
Quick Start
check “I accept the terms of the license agree-
ment” and click [Next>].
Introduction
Setup
7. The first time you connect the X50 to the USB
port of your computer, the standard USB-MIDI
driver provided by Windows will be installed
Program
automatically.
If you want to use the KORG USB-MIDI Driver
• Specify the installation destination. The for Windows XP, please re-install the driver
screen will show the installation destination manually using the procedure described below.
Combination
folder. If you want to change this, click
[Change] and select the desired installation
destination.
Setting up the KORG USB-MIDI Driver
• Click [Next >] to begin the installation. 1. Before you perform the procedure below, you
must finish installing KORG USB-MIDI Driver
• When the installation is complete, click [Fin- Tools into your computer.
Multi
ish] to exit the installer.
Then restart the operating system of your
Install the next application in the same way. computer, and power-on the X50. (☞p.23)
5. If you selected X50 Editor/Plug-In Editor in Note: The driver must be installed for each USB
step 2, choose the application(s) you want to port. If you connect the X50 to a different USB
Effect
install. port than the one you used when installing
• Successively select and install the Editor KORG USB-MIDI Driver for Windows, you
(Standalone), Plug-In Editor (VST), and/or will need to use the same procedure to install
Plug-In Editor (RTAS) as desired. the driver again.
Global
For example if you want to install the stand- 2. Using a USB cable, connect the USB connector
alone version, click [Install Stand-alone of the X50 to the USB connector of your
version]. Then follow the on-screen computer.
directions to perform the installation, and Make sure that the plug is oriented correctly,
Arpeggiator
click [Close] when the installation has been and push it all the way into the connector.
successfully completed.
Windows will detect that the X50 has been
If you want to install a plug-in version, click connected.
in the Installer screen to select the format of
plug-in that you want to install, and perform Drum Kit
the installation.
Then the standard driver will be installed

automatically.
3. In the task bar, choose [Start] → [All Programs]

• When you’ve finished installing the applica- → [KORG] → [KORG USB-MIDI Driver Tools]
tion(s) you want, click [Exit installer] to exit → [Install KORG USB-MIDI Device] to start up
Appendices
the installer. the setup utility.

6. When all the selected applications have been The KORG USB-MIDI devices currently
installed, click [Finish] to exit the installer. connected to your computer will be shown in
29
Setup
the list above. The lower area will show the

version of the KORG USB-MIDI Driver that
Mac OS X:
you will be installing. Select X50 in the list Installing the KORG USB-MIDI driver
above, and click [Install]. Driver installation and editor software
will begin.
Installing the KORG USB-MIDI Driver
Note: Use the KORG USB-MIDI Driver if you are
connecting the X50 via USB to a computer that
satisfies the conditions listed in “KORG USB-MIDI
Driver operating requirements” (☞p.27).
1. Insert the included CD-ROM into your CD-
ROM drive.
2. In the CD-ROM, navigate to the “KORG USB-
MIDI Driver” folder, and double-click “KORG
USB-MIDI Driver.pkg” to start up the installer.
4. If a warning dialog box regarding digital
signature authentication appears during the 3. Depending on the version of your operating
installation, click [Continue] to continue the system, a confirmation dialog box may appear
installation. at this point. If so, enter your password and
click [OK]. When the installer starts up, the
following screen will appear. Click [Continue].
5. Driver installation has been completed. Click

[Finish] to exit the installer. If you are asked
whether you want to restart Windows now,
choose [Yes] to restart.
4. “Import information” will appear. Read the
Note: For details on installation and setup, and on contents, and click [Continue].
uninstallation, see the “Installation manual”
5. The “License agreement” will appear. Carefully
(HTML) on your computer. To view the
read the contents, and click [Continue].
“Installation manual,” click from your taskbar’s
[Start] → [All Programs] → [KORG] → [KORG A dialog box will ask whether you accept the
USB-MIDI Driver Tools] → [Installation manual]. terms of the license agreement. If you accept,
click [Agree].
About the X50 and driver ports 6. A screen where you can choose the
“Installation destination” will appear. Choose
KEYBOARD port the installation destination and click
Applications on your computer use this port to [Continue].
receive MIDI messages from the X50 (data from
the keyboard and controllers).
SOUND port
Applications on your computer use this port to
send MIDI messages to the X50’s internal sound
generator, making it produce sound.
Setting up the X50 Editor/Plug-In Editor

For details on setting up and using the X50 Edi-
tor/Plug-In Editor, see “Editor/Plug-In Editor
Manual” (PDF).
30
Quick Start
7. The “Easy Installation” dialog box will appear.
Click [Install].
Connecting via the X50’s USB con-
Introduction
8. Depending on the version of your operating nector, and setting-up
system, a confirmation dialog box may appear
at this point. If so, enter your password and USB connector (for connecting to com-
click [OK]. puter)
9. When the installation has been successfully If you connect the X50’s USB connector to your
computer, you’ll be able to send and receive note
Setup
completed, click [Close] to exit the installer.
data and other performance information and
sound settings between your computer and the
About the X50 and driver ports X50 as MIDI messages.
KEYBOARD port Note: The USB connector of the X50 is only able to
Program
Applications on your computer use this port to transmit and receive MIDI data.
receive MIDI messages from the X50 (data from
the keyboard and controllers). Note: Use the KORG USB-MIDI Driver if you’re
connecting the X50 via USB to a computer that
SOUND port
Combination
meets the requirements described in “KORG USB-
Applications on your computer use this port to MIDI Driver operating requirements.”
send MIDI messages to the X50’s internal sound
generator, making it produce sound. 1. Using a USB cable, connect the USB connector
of the X50 to the USB connector of your
computer.
Installing the X50 Editor/Plug-In Editor
Make sure that the plug is oriented correctly,
Multi
To install the software in Mac OS X, proceed as fol-
and push it all the way into the connector.
lows.
1. Insert the included CD-ROM into your CD- Computer
ROM drive. USB cable
Effect
2. In the CD-ROM, navigate to the “X50 Editor”
folder, and double-click “X50 Editor USB
Installer.pkg” to start up the installer.

3. Follow the on-screen instructions to install X50
application.
Global
See “Installing the KORG USB-MIDI Driver” 2. Make the necessary settings in the X50’s Global
(☞p.30). mode.
4. When the installation has been successfully See “Global mode settings on the X50,” below.
Arpeggiator
completed, click [Restart].
Note: If you’re using Mac OS X, the plug-in version Connecting to your computer via
will also be installed in the appropriate folder.
MIDI
Setting up the X50 Editor/Plug-In Editor Here’s how to connect the X50 to your computer Drum Kit
For details on setting up and using the X50 Edi- via a commercially available MIDI interface.
tor/Plug-In Editor, see “Editor/Plug-In Editor 1. Connect the X50’s MIDI OUT connector and
Manual” (PDF). MIDI IN connector to your computer via the
MIDI interface.
For details on how to use your MIDI interface,

see its owner’s manual.
Some models of USB-MIDI interface may be
unable to transmit or receive the X50’s MIDI
exclusive messages.
Computer MIDI OUT

MIDI interface
MIDI IN MIDI OUT MIDI IN

Appendices
X50
31
Setup
2. Make the necessary settings in the X50’s Global

mode. MIDI IN MIDI OUT MIDI IN MIDI OUT
USB USB USB USB
See “Global mode settings on the X50,” below. Sound gener-
ator section
Trigger Sequencer or
Arpeggiator
computer
(Echo Back on)
Global mode settings on the X50 OFF ON
This connection
is broken when
Local Control On settings Keyboard you turn Local
Control off.
Turn on the Echo Back function of the external
MIDI/USB sequencer or computer (so that data
received at MIDI IN will be re-transmitted from
MIDI OUT/USB), and turn off the X50’s Local MIDI Filter “Exclusive” setting
Control setting (so that X50’s keyboard and tone If you want the X50 to transmit and receive system
generator will be internally disconnected). exclusive data, you must check the GLOBAL 1:
MIDI page MIDI Filter “Exclusive” check box.
When you play the keyboard of the X50, the musical
Check this box if the X50 is connected to your
data will be transmitted to the external MIDI
computer and you want to edit the X50 from your
sequencer or computer, and then echoed back to
computer (or bi-directionally). You must also
play the X50 tone generator. In other words, by turn-
check this box if you’re using the X50 Editor/
ing Local Control OFF, you can prevent notes from
Plug-In Editor. By default, the MIDI Filter “Exclu-
being sounded in duplicate, as would otherwise
sive” setting is checked.
occur if a note were sounded by the X50’s own key-
board and again by the data that was echoed-back.
If the arpeggiator function is on, playing the X50’s
The “Convert Position” setting
On the X50, the parameters “Key Transpose” and
keyboard will not cause the arpeggiator to oper-
“Velocity Curve” (GLOBAL 0: System, Basic page)
ate, and only the musical data produced by play-
allow you to transpose the pitch, adjust the veloc-
ing the keyboard will be transmitted. The
ity sensitivity.
arpeggiator will operate only in response to the
notes that are echoed-back and received at MIDI The “Convert Position” setting (GLOBAL 1: MIDI
IN. In this way, turning off Local Control prevents page) specifies the point at which these settings
the arpeggiator from operating in duplicate. affect the data from the keyboard and the data
Use this setting when you wish to record on the sent or received via MIDI IN/USB or MIDI OUT/
external MIDI sequencer or computer only the USB.
notes that trigger the arpeggiator, and to use the • When controlling an external MIDI tone gener-
echoed-back notes to operate the arpeggiator while ator from the X50, select Pre MIDI. The above-
monitoring your recording or during playback. listed settings will affect the MIDI data that is
Note: If you want the note data produced by the transmitted.
arpeggiator to be recorded on the external Incoming MIDI data will be handled with
sequencer/computer, set Local Control on, and settings equivalent to “Key Transpose” 0 and
turn off the Echo Back setting of the external “Velocity Curve” 4.
sequencer/computer.
• When controlling the X50’s tone generator from
The default setting for Local Control is On. To turn an external MIDI device, select PostMIDI. The
off Local Control, the “Local Control On” (GLO- above-listed settings will affect the MIDI data
BAL 1: MIDI page) check box to uncheck it (☞PG that is received.
p.82).
Outgoing MIDI data will be handled with
When using the X50 by itself, leave Local Control
settings equivalent to “Key Transpose” 0 and
turned on. (If this is off when X50 is used by itself,
“Velocity Curve” 4.
playing the keyboard will not produce sound.)
The default settings are “Key Transpose” +00,
Note: The X50’s Local Control setting can be turned
“Velocity Curve” 4 (Normal), and “Convert Posi-
Off by the Local Control Off message sent from the
tion” PreMIDI.
editor when you start up X50 Plug-In Editor.
32
Quick Start
“Multi Mode” setting
You will normally use Multi mode when you’re
Introduction
using the X50 as a multi-timbral sound module to
simultaneously play multiple tracks from an exter-
nal MIDI sequencer. However, you can also use
Multi mode when you want to use the X50 as a • Multi Mode
master keyboard to control an external MIDI Choose “System” if you want to make these
sound module. (Normally you will use Combina-
Setup
settings.
tion mode if you’re using the X50 as a master key-
One of the GLOBAL 0: System pages will
board.)
appear. Use the [PAGE+][PAGE–] buttons to
Depending on which of these two situations select the Preference page.
describes your needs, you can set the “Multi
Program
Mode” setting in the GLOBAL 0: System, Prefer-
ence page so that the X50 will operate optimally
for your situation.
for Ext-Seq is the setting you should choose when
Combination
using the X50 as a multi-timbral sound module.
When you switch multi sets on the X50, tracks 4. Use the ClickPoint [√][®][π][†] to select the
whose “Status” is EXT or BTH will not transmit parameter whose setting you want to change.
MIDI messages such as program changes. This For “Local Control On” or “Exclusive,” select
will avoid the undesired situation of the echo back the parameter and press the ClickPoint center
Multi
from your external MIDI sequencer switching X50 to switch the parameter on/off.
tracks of the identical channel to the same pro- For the “Local Control On” parameter, local
gram, pan, and volume settings etc. control will be off when the box is unchecked.
for Master is the setting you should choose when For “Convert Position” and “Multi Mode,”
using the X50 as a master keyboard. In this case select the parameter and turn the [VALUE] dial
Effect
when you switch multi sets on the X50, tracks to change the setting.
whose “Status” is EXT or BTH will transmit pro-
gram changes and other MIDI messages to set up
your external MIDI sound module.
Global
Making settings in Global mode
Here’s how to set parameters in Global mode.
1. Press the [GLOBAL] button (the button will
Arpeggiator
light) to enter Global mode.
2. Press the [MENU/OK] button to access the
page menu.
Drum Kit
3. Use the ClickPoint [√][®][π][†] to select a

page, and press the ClickPoint center.

• Local Control On
• MIDI Filter Exclusive
• Convert Position
Choose “MIDI” if you want to make these
settings.
The GLOBAL 1: MIDI page will appear.
Appendices
33
Setup
Example connections when using Connecting MIDI devices

the X50 Editor/Plug-In Editor
By connecting the X50’s MIDI connectors to an
If you want to mix the X50’s audio signals with the external MIDI device you can transfer sound set-
audio signals sent from your host application via tings and performance data such as note messages
your audio interface, or with audio signals from between your external MIDI device and the X50.
another sound module, make connections as
shown below. About MIDI
MIDI stands for Musical Instrument Digital Inter-
Powered monitors
face, and is a world-wide standard for exchanging
various types of musical data between electronic
INPUT INPUT musical instruments and computers. When MIDI
cables are used to connect two or more MIDI
Audio interface devices, performance data can be exchanged
between the devices, even if they were made by
different manufacturers.
MIDI connectors
USB cable
MIDI IN:
1
L/MONO R 2 USB
Computer This connector receives MIDI data.
Use this to play the X50 from another MIDI
device, or from an external sequencer.
X50
If you want to apply a plug-in effect to the X50’s

audio signals, or to control the X50’s audio signals
in your host application together with the audio
data from the KORG Legacy Collection or other
audio tracks, make connections as shown below.
Make settings as appropriate for the host applica-
tion you’re using.
For details on setup, see “Editor/Plug-In Editor MIDI OUT:
Manual” (PDF). This connector transmits MIDI data.
Use this to control external MIDI devices, or to
record into an external sequencer.
Powered monitors
INPUT INPUT
Controlling an external MIDI tone
Audio generator from X50
interface
When you wish to use the X50’s keyboard, con-
trollers, and arpeggiator etc. to play an external
USB cable MIDI tone generator, use a MIDI cable to connect
1 X50’s MIDI OUT connector to the MIDI IN con-
Computer
L/MONO R 2 USB nector of the external MIDI tone generator.
X50
MIDI OUT X50 MIDI IN MIDI keyboard
34
Connecting MIDI devices
Quick Start
Controlling X50’s tone generator
Introduction
from an external MIDI device
When you wish to play or control the X50’s tone
generator from an external MIDI keyboard or
sequencer etc., use a MIDI cable to connect the
MIDI OUT connector of the external MIDI device
to the MIDI IN connector of X50.
Setup
MIDI IN X50 MIDI OUT MIDI keyboard
Program
Combination
Controlling two or more external
MIDI tone generators from X50
You can also use a MIDI patch bay to control mul-
tiple MIDI devices.
Multi
MIDI OUT X50
MIDI IN
MIDI IN MIDI OUT
Effect
MIDI patch bay MIDI OUT
MIDI IN MIDI keyboard
Global
MIDI tone generator
Connecting an external MIDI
Arpeggiator
sequencer
You can connect the X50 to your external MIDI
sequencer and use it both as an input keyboard
and as a MIDI sound module. Drum Kit
1. Connect the X50’s MIDI OUT connector to your
MIDI sequencer’s MIDI IN connector, and
connect the sequencer’s MIDI OUT connector
to the X50’s MIDI IN connector.
2. Make the necessary settings in the X50’s Global

mode.
See “Global mode settings on the X50” (☞p.32).
MIDI
sequencer
MIDI IN MIDI OUT
MIDI OUT MIDI IN

Appendices
X50
35
Setup
36
Quick Start
Playing and Editing Programs
Introduction
What’s a Program? receiving MIDI messages from multiple tracks of
Programs are the basic sounds of the X50. your MIDI sequencer or other DAW program.
Programs are important elements of other modes This section of the manual takes a quick look at
playing Programs, including tours of the front-
Setup
as well. In Combination mode you can combine
multiple programs to create complex sounds, and panel controllers and basic editing techniques.
in Multi mode you can play multiple programs by
Program
Playing programs
Combination
Selecting programs Selecting programs from the front
panel
There are several different ways to select pro-
grams. Each one is convenient in a different way: 1. Press a [PROG] button. (The button will light.)
• Selecting programs from the front panel: You will enter Program mode. Notice that the
Multi
upper line of the display indicates “PROG 0:
Using “Program Select” to select a program Play” (mode name, page number and name).
· Turn the [VALUE] dial.
· Use the [INC][DEC] buttons. Category number Tempo
and name Tab name
Effect
· Use numeric buttons [0]–[9] to enter the pro- Bank
gram number, and press the [ENTER] but- number
ton. Program
Select
· Press the center of the ClickPoint to high- (program
light the field, then use [π][†] to select a number
Global
and name) Tab Control assign list
program, and press the center to finalize
your selection. 2. Make sure that “Program Select” (program
· Use the PROG BANK [A]–[GM] buttons to number and name) is selected.
Arpeggiator
select a program bank. If this is not selected, use the ClickPoint [π][†]
· Using 10’s HOLD to select programs to highlight the “Program Select” indication.
(☞p.39) 3. Use the [VALUE] dial etc. to select the program
Selecting programs by program category you want to play.
You can select programs by categories such as 1
Drum Kit
3 5 2 4
piano or drums.
· Using “Select by Category” to select by cate-
gory (☞p.38)
· Using Cat. HOLD to select a category

(☞p.38)
You can use the following methods to select a pro-
• Selecting programs by using a foot-switch: gram.
You can change programs even while both • Turn the [VALUE] dial.
hands are busy playing on the keyboard -
convenient for live applications. • Use the [INC] or [DEC] buttons.
• Selecting programs by receiving MIDI pro- • Use numeric buttons [0]–[9] to enter the pro-
gram changes: gram number, and press the [ENTER] button.
• Press the center of the ClickPoint to highlight
Appendices
You can switch programs from an external

MIDI sequencer or an external MIDI controller. the field, then use [π][†] to select a program,
and press the center to finalize your selection.
See below for details.
37
4. Press a PROG BANK [A]–[GM] button to When shipped from the factory, the preloaded
switch banks. Programs are organized into 16 categories.
When you select a different Bank, the button’s In the PROG 0: Play page you can select programs
LED will light, and the selected bank will by category as follows.
appear on the left side of the display.
For example, to select bank B, press the PROG Selecting programs by category
BANK [B] button. The [B] button will light, and 1. Press the [CATEGORY] button.
the name Bank B will appear in the left of the
display. The category menu will appear. The categories
are displayed in the left side of the screen, and a
• Each time you press the [GM] button, the bank list of the programs in the selected category are
will alternate as shown below. displayed in the right side.
G→g(d)→G→g(d)→G…
Category No. Sel (Select)
Auditioning the sound

5. Play a note on the keyboard to hear the sound
you selected.
Alternatively, you can press the [AUDITION]
button (the button will light) to turn on the
Audition function and the X50 will Category Program
automatically play a riff (phrase) suitable for
the selected program. 2. You can use the [PAGE+][PAGE–] buttons to
step through the categories one by one.
Overview: Program Banks 3. By using the [VALUE] dial or the ClickPoint
When shipped from the factory, it is loaded with [π][†] to select programs, you can step
512 Programs. You can also save any programs through the programs in the same category.
that you create. 4. Press the [MENU/OK] button to confirm your
Programs are organized into five banks as shown selection. If you decide not to select a program,
in the following table. press the [EXIT/CANCEL] button.
Program banks 13 2 4
Prog.
Bank Explanation
No.
With the factory settings, these
banks contain a wide variety of
preloaded programs that use
for the internal PCM ROM
A, B, 000… Note: You can also switch categories by using the
preloaded multisamples, effects, and
C, D 127
programs arpeggio patterns. ClickPoint [√][®] to select “Category No.” in the
128 programs can be written or top line of the category menu and then turning the
rewritten to each bank (for a
total of 512). [VALUE] dial.
001… GM These banks contain 128 GM
G Using Cat.HOLD to select by category
128 programs programs and nine GM drum
programs that are compatible
with the GM sound map. The
1. Press the [./HOLD] button to display “Cat.
programs of these banks are HOLD.”
read-only.
The category will be held.
Bank G contains the GM
001… GM2 drum programs. G lets you select 128
g(d)
128 programs programs numbered from 001–
128, and g(d) lets you select
nine drum programs.
You can’t write (save) data to
these banks.
2. Use the ClickPoint to select “Category,” and

Selecting by Category use the [INC][DEC] buttons or the [VALUE]
dial to choose a category.
You can select Programs from within a category,
such as keyboard, organ, bass, and drums.
38
Selecting programs
Quick Start
3. Use the ClickPoint to select “Program Select.”
Use the [INC][DEC] buttons or the [VALUE]
Introduction
dial to consecutively step through programs in
the same category.
4. To exit the Category Hold function, press the
[./HOLD] button twice to erase the “Cat. 5. Select “Foot SW Assign,” and specify either
HOLD” display. Program Up or Program Down.
Setup
Note: In PROG 0: Play, pressing the [./HOLD] Program Up lets you select the next higher
button will cycle through “Cat. HOLD” → “10’s program number each time you press the foot
HOLD”→ cancel. switch.
Program Down lets you select the next lower
Program
Using 10’s HOLD to select programs program number each time you press the foot
switch.
You can fix the ten’s place of the program number
6. Set the “Foot SW Polarity” to the polarity of the
as you select programs.
pedal you’ve connected.
Combination
1. Choose “Program Select.”
If you’ve connected a separately sold PS-1
2. Press the [./HOLD] button to make the display pedal switch, choose the (–) KORG Standard
indicate “10’s HOLD.” setting.
The ten’s place of the program number will be With these settings, you will step through the
held (fixed). programs one at a time each time you press the
Multi
foot switch.
If you want this setting to be remembered even
after you turn off the power, be sure to write
the changes you made. (☞p.45)
Effect
7. Use the [PROG] button to enter PROG 0: Play,
3. By pressing a numeric button [0]–[9], you can and press the foot switch; the program will
input the one’s place in a single action. change.
4. You can use the [INC][DEC] buttons to change Note: This setting applies to selecting Combinations,
the ten’s place. as well.
Global
5. To cancel the 10’s HOLD function, press [./
HOLD] to erase the “10’s HOLD” display.
Using MIDI program change mes-
sages to select programs
Arpeggiator
Using a footswitch to select Pro- By sending MIDI program change messages along
grams with MIDI bank select messages to the X50 from
You can assign a footswitch to step through Pro- an external MIDI device (a MIDI sequencer such
grams one by one, either going up (0, 1, 2, 3, etc.) as a DAW program, or a MIDI controller, etc.), you Drum Kit
or going down (3, 2, 1 etc.). can select any program in the six banks.
This lets you change Programs without using your You can also install the included “X50 Plug-In Edi-
hands–great for quick Program changes in live tor” into your DAW program as a plug-in, and
performance situations. easily select X50 programs or combinations from a
list within your DAW. For more details, see “Edi-

To set this up:
tor/Plug-In Editor Manual” (PDF).
1. Connect a foot switch to the rear-panel
ASSIGNABLE SWITCH jack.
MIDI channel setting
Use a simple on/off footswitch, such as the In order to play the X50 via MIDI, the transmitting
optional KORG PS-1. device (MIDI sequencer or computer) and receiv-
2. Press the [GLOBAL] button to enter Global ing device (the X50) must be set to the matching
mode. MIDI channel. In Program mode, the X50 receives
3. Press the [EXIT] button to access the GLOBAL data on the global MIDI channel.
Appendices
0: System page. 1. Make sure that the X50 and your external MIDI
4. Press the [PAGE+] button to access the Foot tab. device or computer are connected correctly.
For details on connections, see p.27.
39
2. Press the [GLOBAL] button to enter Global

mode. Using Controllers
3. Press the [MENU] button to access the PAGE The X50 provides realtime controllers such as a
MENU. [MOD] wheel, pitch bend wheel, and [SW1] [SW2]
4. Use the ClickPoint [√][®][π][†] to select switches that let you make your performances
“MIDI,” and press the center. more expressive.
The GLOBAL 1: MIDI page will appear. These controls let you modify the tone, pitch, vol-
ume, effects, etc. in realtime while you play.
For example, a piano sound can be played realisti-
cally using only the keyboard, but your perfor-
mance will be more expressive if you connect a
damper pedal. If you’re playing guitar or wind
instrument sounds, you can use the [PITCH]
5. Use the ClickPoint [√][®][π][†] to select
wheel to control the pitch or use the [MOD] wheel
“MIDI Channel,” and use the [VALUE] dial to
to apply vibrato.
specify the global MIDI channel.
Note: In the pages that follow, our explanation will
With the default settings, the global MIDI
center on the dedicated functionality of each
channel “MIDI Channel” is set to 01.
controller. However, you can also use these
controllers as sources for “alternate modulation”
Selecting programs or “effect dynamic modulation,” giving you a
To switch programs, send a MIDI program change much wider range of possible uses than we
from your external MIDI device or computer. describe here. For details on these capabilities, see
To switch banks, send a Bank Select control “Using Alternate Modulation” (☞p.51) and PG
change message (CC#0: upper byte, CC#32: lower p.151.
byte). The X50 will switch to the program of the
specified bank at the time that it receives a pro-
gram change following the bank select message. Keyboard
Bank Bank
X50 X50
Select Select Program # Velocity
Bank # Program #
CC#0 CC#32 How hard you play the keyboard affects the expres-
A 0 – 127 63 0 0 – 127 siveness of the sound. You can adjust the volume
B 0 – 127 63 1 0 – 127 level setting so that playing the keyboard softly will
produce a soft sound, and playing hard will pro-
C 0 – 127 63 2 0 – 127
duce a loud sound. In addition, you can also adjust
D 0 – 127 63 3 0 – 127 the brightness of the sound and the envelope set-
1 – 128 121 0, 1 – 9 0 – 127 tings such as attack rate and release time.
1 – 128: R 56 0 0 – 127 Using Velocity Switch in Combination Play mode
G 1 – 128: (XG) R 0 0, 1 0 – 127 and Multi mode, you can play different Programs
by changing the keyboard velocity.
0 0 0 – 127
1 – 128: (GS) R • See PROG 6: Ed–Amp1/2, Mod (☞p.55, PG
1 0 0 – 127
p.21) for information on how to change the vol-
1 – 128 120 0 0 – 127 ume level and envelope using key velocity.
g(d)
1 – 128: R 62 0 0 – 127 • See PROG 4: Ed–Filter1/2, Basic, Mod. 1
(☞p.54, PG p.16) for information on how to
Note: In bank G, program numbers 000 through change the brightness and tonal color of the
127 correspond to 001–128. sound using key velocity.
Note: “R” (Receive) indicates that only reception is • See PROG 2: Ed–Pitch, OSC1/2 (☞PG p.10) for
supported. information on how to control the pitch change
Note: Bank select messages will not be transmitted using key velocity.
or received if the GLOBAL 1: MIDI page MIDI
Filter “Bank” is unchecked.
Note: The table above describes the operation with
“Bank Map” set to GM. For details on the KORG
mapping (☞PG p.78).
40
Using Controllers
Quick Start
Note Number SW1, SW2
Sounds can be programmed to change in character
Introduction
based on the note being played. As you play By assigning the appropriate functions to the
higher or lower on the keyboard, the note number [SW1] and [SW2] you can use them to transpose
can modulate the timbre–such as becoming the keyboard in one-octave steps, turn the porta-
brighter as you play higher. Envelopes may also mento function on/off, or lock the effect of the
become faster or slower; the volume may change; [PITCH] wheel.
and so on. Each button can work as either a Toggle or
Setup
Momentary switch. In Toggle mode, the assigned
function is switched between on and off each time
[PITCH] wheel, [MOD] wheel the button is pressed. In Momentary mode, the
assigned function is active on only as long as you
You can use the [PITCH] wheel and [MOD] wheel
Program
hold down the button.
located at the upper left of the keyboard to vary
the pitch or adjust the depth of modulation.The In Program mode you can view the function of the
actual result will depend on the program, but [SW1] and [SW2] in the 0: Play, Program page; in
these controllers are normally used to apply the Combination mode in the 0: Play, Combination
Combination
following effects. page; and in Multi mode in the 0: Play, Multi page.
(☞p.37)
Raise the pitch
• To switch octaves
PROG 7: Ed–Arp/Ctrls, Controls (☞PG p.25)
Deepen the
vibrato • To turn the portamento function on/off
Multi
Lower the pitch
• To lock the function of the [PITCH] wheel
• [PITCH] wheel movement can adjust the
amount of pitch bend • To vary the width of pitch EG level changeA
Effect
PROG 2: Ed–Pitch, OSC1 (☞p.52, PG p.10) PROG 2: Ed–Pitch (☞PG p.10)
• [PITCH] wheel movement can vary the cutoff For more details, see “Setting the functions of
frequency [SW1] and [SW2]” (☞p.113).
PROG 4: Ed–Filter1/2, Mod.2 (☞PG p.16) Note: When you write a Program, Combination or
Multi set, the on/off status of the [SW1] and [SW2]
Global
• [MOD] wheel can adjust the depth of vibrato
PROG 2: Ed–Pitch, OSC 1/2 LFO (☞p.52, PG is saved.
p.11)
• [MOD] wheel can adjust the depth of the wah
Arpeggiator
effect
PROG 4: Ed–Filter1/2, LFO Mod. (☞PG p.18) [SELECT]
• [MOD] wheel can adjust the speed of the LFO Use the [SELECT] button to select realtime con-
PROG 3: Ed–LFOs, OSC 1/2 LFO 1/2 (☞PG troller mode A/B/C, and use knobs [1]–[4] to con-
p.14) trol the tone, effects, MIDI control changes, and Drum Kit
arpeggiator etc. while you perform.
Note: By assigning the Pitch Bend Lock function to
the [SW1] or [SW2], you can lock the applied effect Specifically, you can use these controllers to edit
so that it will be maintained even after the the filter cutoff frequency, resonance, amp and fil-
[PITCH] wheel returns to the center. (☞PG p.172) ter EQ, volume, portamento time, pan, pitch LFO,
and master effect send level, etc. You can also use
them to modify the arpeggiator tempo, gate,
velocity, and length. For more details, see p.43 and
p.91.
1. Press the REALTIME CONTROLS [SELECT]
button to switch the function of the realtime
controllers to A-mode, B-mode, or C-mode.
2. Rotate the desired knob to control the sound,
etc.
Appendices
The REALTIME CONTROLS [1], [2], [3], and [4]

knob B-mode functions can be viewed for Program
mode in the 0: Play, Program page; for Combina-
41
tion mode in the 0: Play, Combination page; and Assignable Foot Pedal
for Multi mode in the 0: Play, Multi page. (☞p.37) This lets you use a continuous controller pedal,
such as the Korg EXP-2 foot controller or Korg
XVP-10 EXP/VOL pedal, as an assignable control-
Using the pedals for control ler.
Like the Assignable Foot Switch, described above,
Damper Pedal (Sustain) the Foot Pedal can be used for many different
The damper pedal is also sometimes called the functions, including:
sustain pedal. It acts like the similarly-named • Master Volume
pedal on an acoustic piano; when you hold down
• Channel Volume, Pan, or Expression
the pedal, notes will continue to sustain even
when you lift your hands off of the keyboard. • Assignable sound modulation, as several dif-
ferent AMS or Dmod sources
Damper Switch vs. Half-Damper • Effects Send level control
You can use either a standard footswitch (such as • Duplication of many front panel controls,
the Korg PS-1) or a special half-damper pedal including the modulation [MOD] wheel, Real-
(such as the Korg DS-1H) as the Damper. Time Knobs, [SW1][SW2]
If you use a footswitch, it will work like a normal Functions above will always operate as specified
synthesizer sustain pedal: notes will sustain for- by the GLOBAL 0: System, Foot page, regardless
ever, as long as the pedal is held down. of the currently selected program, combination, or
A half-damper pedal is a special type of continu- multi set.
ous foot pedal (normal foot pedals won’t work For more information, see “Specifying the func-
properly for this application). It offers more subtle tion of the ASSIGNABLE Switch and ASSIGN-
control of sustain, which can be especially useful ABLE Pedal” (☞p.88).
for piano sounds.
The X50 will automatically sense when a half-
damper is connected to the rear-panel DAMPER Sending MIDI information from the
jack. For proper operation, you will also need to various controllers
calibrate the pedal, using the “Half Damper Cali- When you operate a controller of the X50, the cor-
brate” command in the Global page menu. (☞PG responding or specified control change will be
p.77) transmitted via MIDI. Pitch bend messages are
transmitted only when you operate the [PITCH]
Assignable Foot Switch wheel.
This lets you use a simple footswitch, such as the In Program mode, these messages are transmitted
Korg PS-1, as an assignable controller. The foot- on the global MIDI channel.
switch can perform a wide variety of functions,
such as: For details on the MIDI messages transmitted
• Sound and effect modulation when you operate an X50 controller, and on the
AMS (Alternate Modulation Source) and DMS
• Portamento on/off (Dynamic Modulation Source) corresponding to
• Program select up or down the MIDI messages, see “MIDI transmission when
• Tap Tempo the X50/microX’s controllers are operated” (☞PG
p.166).
• Arpeggiator on/off
• Duplication of many front panel controls,
including the modulation [MOD] wheel, Real-
Time Knobs, [SW1][SW2]
Functions other than the above “Sound and effect
modulation” will always operate as specified by
the GLOBAL 0: System, Foot page, regardless of
the currently selected program, combination, or
multi set.
For more information, see “Specifying the func-
tion of the ASSIGNABLE Switch and ASSIGN-
ABLE Pedal” (☞p.88).
42
Simple program editing
Quick Start
Simple program editing
Introduction
You can edit any of the Programs shipped with Only the level of oscillator 1 will change. For a
X50, or you can start with an initialized Program Drums program, this performance editor will
to create sounds from scratch. have no effect.
On the X50, you can use the eight sliders in the Amp Level: Indicates the amp level. This will
Performance Editor display and the realtime con- adjust the volume of the entire program.
Setup
troller knobs and switches of the front panel to Attack Time: Indicates the attack time of the
make simple changes to a program without hav- filter EG and amp EG. This will adjust the
ing to enter the editing pages that contain the speed of the attack from note-on.
detailed editing parameters.
Program
Note: In order to maximize the effect of the
Attack Time adjustment, the amp EG Start
Level, Attack Level, Start Level Modulation,
Performance Edit and Attack Time Modulation parameters are
also adjusted.
Combination
By using the eight sliders of the Performance Edi-
Decay Time: Indicates the decay time and
tor, you can make overall adjustments to the sound.
slope time of the filter EG and amp EG.
When you move a slider, multiple program
IFX Balance: This simultaneously adjusts the
parameters are adjusted simultaneously, meaning
“W/D (Wet/Dry)” balance of all insert effect.
that you can edit multiple parameters by adjusting
MFX Balance: This simultaneously adjusts the
Multi
a single slider.
Return 1 and 2 parameters of the master effects.
1. In Program mode (PROG 0: Play page), select
the program that you want to edit. Note: Depending on the settings of the program
parameters, the result may not be noticeable.
2. Press the [PAGE+] button (or [PAGE–] button)
to access the PROG 0: Play, Perform. Edit page. 5. If you want to save the modified sound, select
Effect
the utility menu command “Write Program,”
and write the program. (☞p.45)
The edited content will be lost if you select
another program or turn off the power before
Global
saving.
3. Use the ClickPoint [√][®][π][†] to select the

performance editor parameter you want to
REALTIME CONTROLS [1], [2],
Arpeggiator
adjust.
4. Use the [VALUE] dial etc. to adjust the value.
(☞p.20)
[3], [4], [SELECT]
Note: If you want to reset the value, press The REALTIME CONTROLS [1]–[4] knobs can be
numeric button [0] and then press the [ENTER] used to edit parameters such as the filter cutoff fre- Drum Kit
button to restore the previous setting. quency, resonance, the amp and filter EGs, vol-
ume, portamento time, pan, LFO speed and more.
Octave: Indicates the octave setting. Three different modes - A, B, and C - allow each
Pitch Stretch: Simultaneously adjusts the knob to control one of three separate parameters.
transpose and tune settings of the oscillator.

This allows you to produce a variety of tonal button to switch the function of the realtime
changes without losing the character of the controllers to A-mode, B-mode, or C-mode.
original sound.
Each time you press the button, A-mode, B-
This is particularly effective for acoustic-type mode or C-mode will be selected alternately,
programs such as guitar, bass, or piano. Select and the corresponding LED will light.
various programs and try this out.
Note: If CC#70–79 are assigned to REALTIME
OSC Balance: Adjusts the level balance CONTROLS A-mode or B-mode, the sound edited
between oscillators 1 and 2. by knobs [1]–[4] can be saved by the Program
Appendices
Note: For programs whose “Mode (Oscillator Write operation (☞p.45).

Mode)” (PROG 1: Ed–Basic, Prog Basic page)
setting is Single, oscillator 2 will not sound.
43
Adjusting the cutoff frequency of the high-pass fil-

[SELECT] button
ter will modify the thickness of the sound from
which the low frequency range has been filtered
out.
Level
LPF HPF
Cutoff
frequency
Knobs [1]–[4]
2. Rotate the desired knob to control the sound, Knob [3]: EG-INTENSITY
etc. See the explanations that follow. Adjust the filter EG intensity (the depth at which
the filter EG is applied).
Rotating the knob will affect the depth of the filter
A-mode controls EG. Normally, rotating the knob toward the left
In A-mode, knobs [1]–[4] will control/edit the fol- will make the filter EG apply less deeply, and
lowing functions. rotating it toward the right will make the filter EG
Note: Placing the knobs in the center (12 o’clock) apply more deeply. Since the filter EG will operate
position will produce the values specified by the based on the cutoff frequency of the filter, knobs
program parameters. [1] and [3] will work together to control the tonal
changes produced by the filter.
Knob [1]: LPF CUTOFF Level
Adjust the cutoff frequency of the low pass filter.

When you adjust the cutoff frequency of the filter,
the brightness of the sound will change. The effect
will depend on the settings of the program param- Time
eters, but normally, rotating the knob toward the
left will darken the sound, and rotating it toward
the right will brighten it.
Level
Knob [4]: EG-RELEASE

LPF Adjust the EG release times of the filter and amp.
Frequency This will determine the time from note-off until
the sound disappears.
Low High
Cutoff
frequency When you adjust the knob, the release times of the
filter EG and the amp EG will change. Normally,
rotating the knob toward the left will shorten the
Knob [2]: RESONANCE/HPF release time, and rotating it toward the right will
Adjust the resonance level of a low pass filter or lengthen the release time.
the cutoff frequency of a high pass filter. note-on Attack Level note-off
Break Level
The content that is controlled will depend on the Level
filter type specified by the program.

Release Level
By adjusting the filter resonance level, you can Sustain Level
increase or decrease the resonance level to add a
unique character to the sound. Time
Decay Time Slope Time Release Time
Attack Time
Start Level
44
Saving your edits
Quick Start
Preference page, and uncheck the Memory
B-mode controls Protect “Program” setting. (☞p.88)
Introduction
You can control parameters such as volume, porta- 3. Optionally, you can also select a new location,
mento time, pan or filter and amp EG, pitch LFO, or change the Program’s name.
and master effect send levels etc.
• If you want to change the bank and number of
The B-mode function settings are made for each the writing destination, use the ClickPoint to
individual program, combination, or multi set. select the program name located at the right of
Setup
You can specify the B-mode functions separately the “To,” and use the [VALUE] dial to select the
for each individual program, combination, or desired writing destination.
multi set. You can also use the PROG BANK buttons and
The B-mode functions of the REALTIME CON- [ENTER] button to select the writing
Program
TROLS [1], [2], [3], and [4] knobs can be viewed destination.
for Program mode in the 0: Play, Program page, Note: You can’t save in banks G or g(d).
for Combination mode in the 0: Play, Combination
• If you want to change the name, use the Click-
page, and for Multi mode in the 0: Play, Multi
Point to select the text button ( ) and then
page. (☞p.37)
Combination
press the ClickPoint center to open the text edit
Each knob in B-mode can also be used as a source dialog box.
for Alternate Modulation or Effect Dynamic Mod-
You can give the Program a descriptive name
ulation to control program parameters or effect
using the on-display keyboard. (☞p.112)
parameters, allowing you to adjust the sound in a
wide range of ways. After entering the name, press [MENU/OK]
Multi
button.
The text edit window will disappear, returning
C-mode control you to the main Write dialog.
You can control the effect of the arpeggiator in • If you want to specify the category, use the
Effect
realtime. ClickPoint to select “Category,” and use the
For details on operation, see p.91. [VALUE] dial to specify the desired category.
The category you specify here can be used
when selecting by category with the
[CATEGORY] button.
Global
Saving your edits
You can select by Category in the following
Once you’ve tweaked the sound to perfection, pages.
you’ll want to save your work. To save your edits:
PROG 0: Play page
Arpeggiator
Be aware that if you modify the sound of a COMBI 0: Play, Prog page “Program Select”
program or write it to a different bank or COMBI 1: Ed–Tone Adjust, Prog page
number, and then use a combination that uses MULTI 0: Play, Program page.
the modified program, the combination will
4. In the Write Program dialog box, press the
sound different.
[MENU/OK] button to write (save) the Drum Kit
1. Press the [UTILITY] button to access the utility program.
menu.
5. A message will ask you for confirmation. If you
2. Use the ClickPoint to select “Write Program,” are sure you want to write the program, press
and then press the ClickPoint center. the [MENU/OK] button once again.
The Write Program dialog box will appear. The program will be written (saved).
You can also access this utility command by

holding down the [ENTER] button and
pressing numeric button [0].
Appendices
Note: If the display indicates “Memory

Protected,” the program memory protect is
turned on. Go to GLOBAL 0: System,
45
Detailed Editing with Programs

You can create your own original sounds by edit- These three sections determine the basic sound of
ing the factory Programs, or by initializing a Pro- the program.
gram (Bank D 127: Init. Program) and starting
from scratch. You can save these Programs into EG, LFO, keyboard tracking, AMS,
any bank other than Bank G or g(d), which cannot
Dmod, controllers
be modified.
In addition to the sections described above, the
X50 provides ways in which the sound can be var-
ied according to time, key range, or various types
Before you begin editing of performance expression. These are controlled
by modulators and controllers such as EG (enve-
lope generator), LFO (Low Frequency Oscillator),
The three attributes of sound: pitch, keyboard tracking, AMS (Alternate Modulation
tone, and volume Source), Dmod (Dynamic modulation), the
Sound has three basic attributes; pitch, tone, and [PITCH] and [MOD] wheels. You can use these
volume. modulators and controllers to apply change to the
To control these attributes, the X50 provides basic sound of the program.
“oscillator,” “filter,” and “amp (amplifier)” sec- Take a look at the diagram entitled “Program
tions. structure and corresponding pages.” Notice that
The “oscillator” settings vary the pitch, the “filter” the audio signal flows in the order of Oscillator/
settings modify the tone, and the “amp” settings Pitch → Filter → Amp. Also notice how modula-
modify the volume. tors such as EG and LFO can affect these blocks.
As shown in figure, a program consists of OSC 1/
The X50’s “oscillator,” “filter,” and “amp” 2, effects, and the arpeggiator.
On the X50, the settings that determine the “pitch”
are located in the PROG 1: Ed–Basic and PROG 2: OSC 1/2
Ed–Pitch pages. In the Ed–Basic page you can Each timbre consists of Oscillator/Pitch, Filter,
specify the waveform (multisample) and the basic Amp, EG, and LFO blocks. You can create more
pitch of the waveform. In the Ed–Pitch page you complex programs by using two oscillators
can specify how the pitch will follow the key- together in one program using the Layer feature.
board, and make other pitch-related settings. Note: The Pitch EG is shared by OSC1 and OSC2.
“Filter” settings are made in the PROG 4: Ed–
Filter1 and PROG 5: Ed–Filter2 pages. These set- EFFECTS
tings adjust the tone.
The output of OSC 1/2 is sent to the insert effect,
Finally, “Amp” settings are made in the PROG 6: the master effects, and the master EQ. The mixer
Ed–Amp1/2 pages. These settings adjust the vol- section lets you control the routing, so you can
ume, and send the sound to the outputs. specify where the sound will be sent.
Program structure and corresponding pages
Program Basic : 1-1 Controller Setup:

7-3
OSC1 LFO2 : 3-2 Arpeggiator :

OSC1 LFO1 : 3-1 7-1, 2
Insert Effect : Master Effect 1, 2:
8-1 9-1...3
OSC1, 2
Oscillator1 Basic : 1-2, 4 Filter1(A/B) : 4-1 Amp1 Level/Pan : 6-1 Insert Effect: AUDIO OUTPUT
Insert Effect 8-2, 3 MasterEQ : 9-4
L/MONO, R
OSC1 Pitch Mod. : 2-1, 2 Filter1 Mod. : 4-2,3 Amp1 Mod. : 6-2 Master Effect
Filter1 LFO Mod. : 4-4 Individual- AUDIO OUTPUT
Output INDIVIDUAL 1, 2
Filter1 EG : 4-5 Amp1 EG : 6-3
OSC 1
Pitch EG : 2-5
OSC 2
Oscillator / Pitch Filter Amplifier Effect

1–1, 9–4, etc. indicate the X50 on-screen pages and tabs.
46
Basic oscillator settings
Quick Start
For the one insert effect and the two master effects,
you can choose from 89 effect types. The master
Comparing (original and edited
Introduction
EQ is a stereo three-band EQ. sounds)
When you’re in the process of editing a sound,
ARPEGGIATOR pressing the [COMPARE] button will recall the
A program can use one arpeggiator. You can select saved version of the sound, as it was before you
an arpeggio pattern, specify the range in which started editing. To indicate that you are listening
the arpeggio will be generated, and specify the to the saved version, the button’s LED will light
Setup
range of notes (keys) and velocities that will trig- up.
ger the arpeggiator. Pressing [COMPARE] button again returns you to
the version you are editing, and the LED will go
out again.
Program
Overview of editing pages
If you edit while the COMPARE LED is lit, the
In the PROG 0: Play page you can select and play button will again go dark and your previous edits
programs, and use the performance editor or real- will be lost.
time controllers to make simple edits to the sound.
Combination
You can also adjust the arpeggiator settings.
The other pages let you modify the sound in more
detailed ways. Basic oscillator settings
• Select and play programs.
• Use the Performance Editor for easy
Program type setting (single, dou-
Multi
0: Play
editing, and to do simple editing of
arpeggio patterns. ble, drum kit)
• Specify the program type as Single, Here you can specify the type of program
Double, or Drum.
(whether to use one oscillator, two oscillators, or a
• Select multisamples.
1: Ed–Basic drum kit). Use the PROG 1: Ed–Basic, Prog Basic
Effect
• Specify Mono or Poly voice assignment.
• Select the temperament (e.g., equal “Oscillator Mode” to specify the program type.
temperament).
2: Ed–Pitch • Pitch settings. Pitch EG settings.
• Type and speed settings etc. for the two
Global
LFOs provided for each oscillator. (Make
3: Ed–LFOs settings in the pitch, filter, and amp
pages to specify the depth of the LFO
settings you make here.) Single Programs have one oscillator, and Double
Arpeggiator
4: Ed–Filter1 Programs have two oscillators. Each oscillator
• Filter (tone) settings. Filter EG settings. includes a complete synthesis voice, with velocity-
5: Ed–Filter2
switched Multisamples, dual filters, EGs, LFOs,
• Settings related to Amp 1/2 (volume), and so on.
6: Ed–Amp1/2 including amp EQ and pan (stereo
position). Drums mode is a special variation of Single mode, Drum Kit
and uses a Drum Kit (as created in Global mode)
• Arpeggiator settings. (Shared with 0:
7: Ed–Arp/Ctrls Play parameters. You may edit either.) instead of Multisamples.
• Controller settings.
• Select the BUS and master effect send Polyphony
level for the oscillator output. Polyphony is the number of notes that can be
8: Ed–InsertFX
• Insert Effect routing, selection and played simultaneously, such as in a chord. The
settings.
polyphony depends on the program type.
• Master Effect selection and settings.
9: Ed–MasterFX Program type Polyphony
Master EQ settings.
Single 62
For details on how to access each mode, page, and Double 31
the utility commands, and how to edit values, see Drums 62
“Basic operations” (☞p.19).
Appendices
47
Polyphonic/monophonic playing Selecting Multisamples

If you specify a High and Low multisample for an
The Voice Assign Mode selects whether the Pro- oscillator, either the High or the Low multisample
gram will play polyphonically (Poly) or mono- will sound depending on the velocity of the note
phonically (Mono). (i.e., the strength at which you play the keyboard).
This function is called velocity multisample
switching.
Note: To make it easier for you to hear the result,
set the program type to “Oscillator Mode” Single.
1. Access the PROG 1: Ed–Basic, OSC1 page.
When this is set to Poly, you can play both chords 2. Use the ClickPoint [√][®][π][†] to highlight
and melody lines. When this is set to Mono, only “High Multisample.”
one note will sound even if you play a chord.
• Use the [VALUE] dial or the numeric buttons
Normally you’ll set this to Poly, but Mono is use-
and [ENTER] button to make your selection.
ful when playing sounds such as synth basses,
synth leads, and other solo instruments. Another
important aspect of monophonic playing is Legato
triggering. When Legato is on (the box is checked),
if a new note on the keyboard is played before the
previous note is released, the filter and amplifier
EGs will not re-trigger, so that you can move from • Alternatively, you can select a multisample by
note to note in a true legato fashion. If the previ- category.
ous note is released before the next note is played,
the note will trigger normally. With “High Multisample” highlighted, press
the [CATEGORY] button to access the category
Try switching between Poly and Mono, and listen menu. (☞p.38)
to the results.
Working with Multisamples
What is a multisample?
A sample is a digital recording of a particular Use the [PAGE+][PAGE–] buttons to select a
instrument or waveform (or other natural or artifi- category.
cially processed sound) recorded at a specific Then use the [VALUE] dial to select a
pitch. A multisample is a collection of similarly multisample.
voiced samples, used to create the same type of Press the [MENU/OK] button to finalize your
sound - piano, bass, guitar, strings, organ - across selection.
the entire keyboard, as the basis of a program. The
oscillators of single and double programs use mul- 3. Specify the basic pitch of the oscillator. This is
tisamples. There are 470 multisamples available in set by the “Octave” parameter.
this instrument. 4. In the same way, select a different multisample
You can assign up to two multisamples to each for “Low Multisample.”
oscillator and switch between them by velocity. You have now assigned the “High” and “Low”
This is called “velocity multisample switching.” multisamples. Next we’ll set the velocity range.
5. Specify a velocity value for “Velocity SW
Multisamples and Drum Kits L→H.”
Multisamples and Drum Kits allow you to play Notes played on the keyboard at a velocity less
samples in different ways. than the value you specify will sound the Low
• Multisamples lay out one or more samples multisample; velocities at or above this velocity
across the keyboard. For instance, a very simple value will sound the High multisample.
guitar Multisample might have six samples– For example if you set “Velocity SW L→H” to
one for each string. 100, playing the keyboard softly will sound the
• As the name suggests, Drum Kits are optimized “Low” multisample, and playing strongly will
for playing drum samples. sound the “High” multisample.
48
Basic oscillator settings
Quick Start
6. Adjust the “Level” for High and Low “Velocity SW L→H” to 32 and “OSC2” to 96.
multisamples to set their volume balance. The settings are shown as vertical lines in the
Introduction
Note: If you do not wish to use this function, set velocity zone display.
the “Velocity SW L → H” value to 001. Only the In this example, the multisamples will sound
High multisample will sound. over four levels.
Velocity values 001–031:
Reverse check box sound only the OSC1 Low multisample.
Setup
Reverse lets you play the selected multisample Velocity values 032–063:
backwards, without looping. This can produce sound only the OSC1 High multisample.
interesting results for sound effects or other
unusual timbres. Normally you will not check
sound the OSC1 High multisample and the
this.
Program
OSC2 Low multisample.
Using oscillators 1 and 2 to create a
sound the OSC1 High multisample and the
detuned sound OSC2 High multisample.
Combination
You can use a double program (i.e., a program
whose “Oscillator Mode” is Double) to create a
detuned sound as follows. Copying settings between OSC1 &
1. Make the same multisample and EG settings, OSC2
etc. for OSC1 and OSC2.
Many of the Program parameters can be set differ-
Multi
It will be convenient to use the Utility “Copy ently for OSC1 and OSC2.
Oscillator” to make the oscillator settings
These include all of the parameters on:
match each other.
• All of the tabs on the Ed–Pitch page, except for
2. Specify the playback pitch for OSC1 and OSC2.
the Pitch EG
The playback pitch can be set independently.
Effect
• All of the tabs on the Ed–Filter page
By using the same multisample with slightly
different “Tune” settings, you can “detune” the • All of the tabs on the Ed–Amp page
oscillators to produce a richer sound. Generally • All of the tabs on the Ed–LFOs page
speaking, people hear flat notes as sounding You can use the utility menu’s Copy Oscillator
Global
“sour” or out of tune more easily than they do command to copy these parameters from one
sharp notes. So when detuning two oscillators, Oscillator to another. You can even copy parame-
it may sound more musical to tune one ters from an Oscillator in a different Program.
oscillator up in pitch, and leave the other
Arpeggiator
oscillator close to or just slightly below normal This command is useful when you want to set
pitch. both Oscillators to the same settings, or when you
want to duplicate settings you’ve used before.
Using velocity to switch between oscil-
lator 1 and 2 Assigning a drum kit Drum Kit
What is a drum kit?

If you want to use a drum kit in a program, set the
“Oscillator Mode” to Drums. Then choose one of
the 40 user drum kits or nine GM-compatible

Here you can specify the range of velocities that drum kits for the program to use.
will sound oscillators 1 and 2. A drum program uses a “drum kit” for its oscilla-
In the example shown above, the velocity ranges tor. A drum kit consists of multiple drum instru-
are as follows. ment samples placed across the keyboard. There
are 518 drum instrument samples. (☞p.48 “Multi-
• OSC1 will sound for all velocity values. samples and Drum Kits”)
• OSC2 will sound only for strongly played notes In Global mode you can create or edit a drum kit
(64 and above). itself. You can assign up to two drum samples
Appendices
• You can use Velocity Multisample Switching in (High and Low) to each note of the keyboard, and
addition to this (☞“High Multisample, Low switch between these drum samples by velocity.
Multisample”). For this example, set “OSC1” in You can also specify the effects and the routing to
49
the audio output jacks. (☞p.108 “Editing Drum Basic LFO settings
Kits”)
Note: Depending on the program you’ve selected,
you may be unable to hear the result of the
Selecting a drum kit following edits. If so, increase the value of one of
1. Access the PROG 1: Ed–Basic, Prog Basic page. the “Intensity” parameters listed above so that
2. Set “Oscillator Mode” to Drums. you can hear the result.
For example in order to use OSC1 LFO1 to modu-
late filter 1, you should increase the PROG 4: Ed–
Filter1, LFO Mod. LFO1 “Intensity to A” or “Inten-
sity to B” value.
1. Access the PROG 3: Ed–LFOs, OSC1 LFO page.
3. Access the PROG 1: Ed–Basic, OSC1 page.
4. Use the ClickPoint [√][®][π][†] to highlight
“Drum Kit.”
Use the [VALUE] dial or the numeric buttons
and [ENTER] button to select a drum kit.
2. Select the “Waveform” parameter.
3. Use the [VALUE] dial etc. to select the desired
LFO waveform.
The display shows a graphic of the waveform.
There are a number of waveforms to choose
5. Specify the basic pitch of the oscillator. For a from. Each are suited to different applications:
drum kit, set “Octave” to +0 [8']. Triangle and Sine are the classic LFO shapes
for vibrato, tremolo, panning, and filter wah
effects.
Square is useful for gated filter and amp
Using LFOs and Envelopes (EGs) effects, and creates a police siren effect when
modulating pitch.
Using LFOs The Guitar waveform is designed especially for
guitar vibrato, since it bends only upwards
Each Oscillator has two LFOs: LFO1 and LFO2. from the base value.
You can use these LFOs to modulate many differ- Saw and Exponential Saw Down are good for
ent Program parameters, including: rhythmic filter and amp effects.
• Pitch (vibrato): PROG 2: Ed–Pitch, OSC1 LFO Random 1 (S/H) creates the classic sample-and-
“Intensity,” and the same parameter of the hold effect, which is great for modulating a
OSC2 LFO resonant filter.
• Filter (wah effect): PROG 4: Ed–Filter1, LFO 4. After looking at the different waveforms, select
Mod. “Intensity to A” and “to B,” and the same Triangle.
parameters for PROG 5: Ed–Filter2
5. Use the “Frequency” parameter to set the speed
• Volume (auto-tremolo): PROG 6: Ed–Amp1/2, of the LFO.
Mod, LFO1 Mod. “Intensity,” and the same
parameters for LFO2 Mod. 6. Use the “Fade” and “Dly” (Delay) settings to
control the way the LFO sounds at the
In addition to the uses described above, you can beginning of the note.
use an LFO as a source for Alternate Modulation
and Effect Dynamic Modulation to modulate a For more information on LFOs, see “PROG 3: Ed–
wide range of parameters. By assigning an LFO to LFOs” (☞PG p.14).
“Pan AMS” (PROG 6: Ed–Amp1/2, Level/Pan) All of these parameters control the way that the
you can create an auto-pan effect. LFO itself works. In order for the LFO to actually
affect the sound, you can use the dedicated LFO
routings on the Filter, Pitch, and Amp pages, or
use the LFOs as AMS sources for a wide variety of
parameters.
50
Using Alternate Modulation
Quick Start
Frequency Modulation Intensity is a parameter that sets the degree
AMS can be used to vary the LFO speed. This lets (speed, depth, amount etc.) to which AMS will
Introduction
you change the LFO speed by operating a control- control the modulation.
ler, or by the EG or Keyboard Track settings. (☞PG A number of frequently-used modulation rout-
p.14) ings, such as using the [PITCH] wheel to vary the
pitch, are provided as additional, dedicated rout-
MIDI/Tempo Sync. ings, separate from AMS.
Setup
If “MIDI/Tempo Sync” is checked, the “Fre- Note that not all AMS sources may be available for
quency” setting will be ignored, and the LFO will some modulation destinations.
synchronize to the system tempo, as set by the For details on alternate modulation and AMS, see
TEMPO knob or external MIDI clocks. “Alternate Modulation Source (AMS)” (☞PG
Program
This lets you produce vibrato, wah, auto-pan, or p.151).
tremolo effects that lock to arpeggiator, or external
MIDI sequencers.
Suggestions on using AMS
Combination
When making settings for alternate modulation,
EGs (Envelope Generators) think of the effect that you wish to produce, what
An envelope creates a modulation signal by mov- type of modulation will be necessary to produce
ing from one level to another over a specified time, that effect, and what parameter of the oscillator,
and then moving to another level over another filter, or amplifier needs to be controlled.
period of time, and so on. Next, select a source (AMS) and set the Intensity.
Multi
Each program includes three EGs, one for Pitch, If you proceed logically in this way, you will
one for the Filter, and one for the Amp. These pro- achieve the desired effect.
duce time-varying changes in pitch, tone, and vol- For example, if you want to control a guitar sound
ume respectively. They can also be used to so that it approaches feedback when you move the
[MOD] wheel, you might set up the [MOD] wheel
Effect
modulate a number of other Program parameters
via AMS. to modulate the filter frequency and resonance.
note-on Attack Level note-off

Break Level
Level
Controlling Pitch
Global
Release Level
Sustain Level
Here you can specify how the pitch of the multi-
sample selected for the oscillator will change.
Time
Pitch EG and LFO settings allow the pitch to var-
Arpeggiator
Release Time
Decay Time Slope Time
Attack Time ied over time.
Start Level Note: To specify the basic pitch of the multisample,
use the “Octave” parameter in the PROG 1: Ed–
Basic, OSC1 or OSC2 page.
Drum Kit
Using Alternate Modulation
Varying the pitch according to key-
AMS (Alternate Modulation Source) refers to any
of the assignable modulation sources in X50,
board position (Pitch Slope)
On keyboard instruments such as piano or organ,
including:
• Built-in physical controllers, such as the the pitch will rise as you play toward the right
[PITCH] wheel, [MOD] wheel, and Real-Time side of the keyboard, and fall as you play toward
Knobs the left.
• Incoming MIDI controllers You can use the “Pitch Slope” setting to specify
how this will occur.
• Modulators such as the Filter, Pitch, and Amp With positive (+) settings, the pitch will rise as you
EGs, or the LFOs play toward the right side of the keyboard. With
negative (–) settings, the pitch will fall as you play
toward the right side of the keyboard.
Appendices
Normally you will leave this set to +1.0.
51
Modulating the pitch
Pitch EG
When the Intensity value is set to +12.00, the pitch
Pitch bend EG specified in the Pitch EG page will produce a
The PBend+ and PBend– settings specify the maximum of ±1 octave of pitch change.
amount of pitch change (in semitones) that will To realistically simulate the slight change in pitch
occur when MIDI pitch bend messages are that occurs when a string is plucked or at the
received or when the [PITCH] wheel. A setting of attack of a brass or vocal sound, you can use the
+12 allows the pitch to be controlled a maximum EG to create a subtle change in pitch at the attack.
of one octave upward; a setting of –12 allows the
pitch to be controlled a maximum of one octave
downward.
“Ribbon (#16)” specifies the amount of pitch
change (in units of a semitone) that will occur
when CC#16 is received (or when you operate the
ribbon controller of a connected TRITON Extreme
or similar device).
Using Filters
Portamento
The filters allows you to diminish or emphasize
Portamento makes the pitch change smoothly
specified frequency areas of the sound.
when you play the next note before releasing the
The tone of the sound will depend significantly
previous note.
on the filter settings.
The “Time” parameter controls how long it take
X50 provides Filter1 for OSC1 and Filter2 for
the pitch to change. As this value is increased, the
OSC2. For each of these filters, you can select from
pitch will change over a longer time. With a value
two types (Low Pass Resonance or Low Pass &
of 000, there will be no portamento.
High Pass). Filter2 can be used if “Mode (Oscilla-
You can turn Portamento on and off via [SW1] or tor Mode)” is set to Double.
[SW2], by assigning them to Porta.SW CC#65.
Level
Creating Vibrato
You can use an LFO to create vibrato.
Overtones included
LFO 1/2 Intensity sets the depth to which the in the original multi-
sample
selected LFO will affect the pitch. With a setting of
+12.00, vibrato will produce a maximum of ±1 Frequency (pitch)
octave of pitch change.

“Mod. Whl. Int.” specifies the depth of the vibrato Filter
effect created by the LFO when you move the

[MOD] wheel or when CC#1 is received. Filter characteristics
Level This area of overtones
“AMS Intensity” specifies the depth of the vibrato will be diminished
effect created by LFO when you operate an AMS
(Alternate Modulation Source). For example, sup- Overtones after
passing through
pose you set “LFO1 AMS” to KnobM1 [+] (Knob the filter
Mod1: CC#17), and raise the “AMS Intensity.” If
Knob B Assign “Knob 1-B” is set to Knob Mod.1 Frequency (pitch)
(CC#17), vibrato will be applied when you turn

the X50’s knob [1] or when CC#17 is received.
52
Using Filters
Quick Start
At medium settings, the resonance will alter the
Filter Types timbre of the filter, making it sound more nasal, or
Introduction
This selects the parts of the sound which will be more extreme. At very high settings, the resonance
affected by the filter, as described below. can be heard as a separate, whistling pitch.
To make the resonance track the keyboard pitch,
Low pass filter see “4–2a: Keyboard Track” (☞PG p.17).
This is the most common type of filter, which
passes the low frequency range and cuts the high
Setup
frequency range. When the overtones of the high Selecting a filter to modify the tone
range are cut, a bright sound will become darker Here’s how to select a filter type and adjust the
(more mellow). “Frequency” (cutoff frequency) and “Resonance”
24 dB/oct and 12 dB/oct see the steepness of the (resonance level).
Program
cut. 24 dB/oct means that the gain will decrease 24 1. Use “Type” to select a filter type.
dB in one octave (i.e., as the frequency doubles). A
Low Pass Resonance: This is a 24 dB/octave
12 dB/oct filter would decrease the gain 12 dB in
low pass filter with resonance.
one octave. The 24 dB/oct filter produces a steeper
Combination
cut. Low Pass & High Pass: This is a 12 dB/octave
low pass filter and a 12 dB/octave high pass
Low Pass
Level filter connected in series.
12dB/oct 2. If you’ve selected Low Pass Resonance as the
24dB/oct filter type, you can set the parameters for Filter
Multi
A.
Frequency
“Frequency” specifies the cutoff frequency.
Overtones above the specified cutoff frequency
High pass filter will be diminished, making the tone more
This type of filter passes the high frequency range mellow (darker).
Effect
and cuts the low frequency range. Use this when “Resonance” specifies the resonance level. This
you wish to make the sound thinner. However if boosts the overtones in the region of the
the cutoff frequency (Frequency) is raised exces- specified “Frequency,” giving the sound a
sively high, the volume will become very low. distinctive character.
Global
High Pass
Level
Arpeggiator
12dB/oct
Frequency
If you’ve selected Low Pass & High Pass as the
filter type, you can use the Filter A parameters
Resonance to adjust the low pass filter and the Filter B
parameters to adjust the high pass filter.
Drum Kit
When “Resonance” is set to a higher value, the
Overtones above the Filter A “Frequency” will
overtones in the region of the cutoff frequency will
be diminished, making the sound more mellow
be boosted as shown in the diagram below, giving
(darker).
a distinctive character to the sound.
When resonance is applied

Overtones below the Filter B “Frequency” will
Low Pass
be diminished, decreasing the low-range and
Level making the sound thinner.
Low resonance High resonance

value value
When this is set to 0, there is no emphasis, and fre-

quencies beyond the cutoff will simply diminish
Appendices
smoothly.
53
Modulating the filters

You can modulate the filter cutoff frequency using
the Filter EG, the LFOs, keyboard tracking, and
other built-in and MIDI controllers. This is a great
way to add a rich variety of tonal change to the
sound.
Keyboard Track
Most acoustic instruments get brighter as you play
higher pitches. At its most basic, keyboard track-
ing re-creates this effect by increasing the cutoff
frequency of a lowpass filter as you play higher on LFO modulation
the keyboard. Usually, some amount of key track- You can modulate the filter via LFO1 and LFO2.
ing is necessary in order to make the timbre con- Among other applications, LFO modulation of the
sistent across the entire range. filter can produce the classic “auto-wah” effect.
The Ed–Filter1, LFO Mod (or Ed–Filter2) page lets
• When Ramp “Low” is set to a positive (+)
you set up the following parameters separately for
value, the cutoff frequency will rise as you play
each LFO:
lower on the keyboard, making the sound
brighter. When set to a negative (–) value, the “Intensity to A” and “Intensity to B” specify how
cutoff frequency will fall as you play lower on much the LFO changes the tone.
the keyboard, making the sound darker. “JS-Y Int. to A” and “JS-Y Int. to B” specify the
• When Ramp “High” is set to a positive (+) depth of the wah effect created by the LFO when
value, the cutoff frequency will rise as you play CC#2 is received.
higher on the keyboard, making the sound The “AMS” setting selects a AMS modulation
brighter. When set to a negative (–) value, the source to scale the amount of the LFO applied to
cutoff frequency will fall as you play higher on Filters A and B. The two filters share a single AMS
the keyboard, making the sound darker. source, with separate intensity settings.
• “Int. to A” and “Int. to B” adjust the effect that For example if you set Knob B Assign “Knob 1-B”
keyboard tracking will have on filters A and B. to Knob Mod. 1 (CC#17), and set “AMS” to Knob
For more details, see “4–2a: Keyboard Track” M1#17, you can turn the REALTIME CONTROLS
(☞PG p.17). B-mode knob [1] to apply an auto wah effect.
Filter EG
The Filter EG is a multi-stage envelope, which you
can use to modulate the filter (naturally!) as well
as other Program parameters. The EG itself is set
up on the Filter page; the way that it affects the fil-
ters is controlled by the parameters described AMS modulation
below, on the Filter Mod page: In addition to the EG, LFOs, and Key Track, you
The “Int. to A” and “Int. to B” settings control the can use two AMS sources to modulate the filters.
basic amount of EG modulation for filter frequen- For instance, you could use the [PITCH] wheel to
cies A and B, respectively, before other modula- change the brightness.
tion.
The “Vel to A” and “Vel to B” settings let you use
velocity to scale the amount of EG modulation.
The “AMS” setting selects a AMS modulation
source to scale the amount of the Filter EG applied
to Filters A and B. The two filters share a single
AMS source, with separate intensity settings.
54
Using the Amp section
Quick Start
Velocity (Amp Modulation)
Using the Amp section Velocity Intensity is used by most programs to
Introduction
The Amp section includes controls for volume and decrease the volume of softly played notes and
pan. You can control the volume using the Amp increase the volume of strongly played notes.
EG, LFO 1/2, Keyboard Track, and velocity, along Normally you will set Amp Modulation to posi-
with other AMS sources. tive (+) values. As this setting is increased, there
will be greater volume difference between softly
Each Oscillator has its own Amp section: Amp1 played and strongly played notes.
Setup
for OSC1, and Amp2 for OSC2.
Different sounds have characteristic shapes to LFO1/2 Mod.
their volume levels. Specifies how the LFO’s will produce cyclic
For example, the volume of a piano note begins at changes in volume (tremolo effect).
Program
a high volume the instant you play the note, and The volume will be affected by the LFO(s) for
then decreases gradually. which you set an LFO1 Mod Intensity, LFO2 Mod
The volume of an organ note, on the other hand, Intensity value.
remains constant as long as you continue pressing
Combination
the key. Intensity (AMS Intensity) adjusts the depth by
The volume of a note on a violin or wind instru- which the tremolo effect produced by the LFO will
ment can be varied during the note by the musi- be affected when you assign an AMS (LFO1 AMS,
cian (i.e., by regulating the amount of pressure on LFO2 AMS).
the bow or the force of the breath). For example if you set “AMS” (LFO1 or LFO2) to
JS-Y #02, receive CC#2 to apply a tremolo effect.
Multi
Volume Piano Volume Organ
Volume remains
constant until note
Volume decays is released
gradually Amp EG (Amp Envelope Generator)
The Amp EG lets you control how the volume
Effect
changes over the course of a note.
Time Time
Setting the basic amp level
Global
The basic volume level is set by the “Amp Level”
parameter.
Every instrument has its own characteristic vol-
You can then alter this using the modulation ume envelope. This is part of what gives each
Arpeggiator
sources below: instrument its identifiable character.
Conversely, by changing the volume contour–for
instance, applying a string-like Amp EG curve to
an organ multisample– you can produce interest-
ing and unusual sounds. Drum Kit
Piano
Applying modulation to the amp

Organ
Strings
Keyboard Track
This lets you vary the volume relative to the note
you play.
Appendices
For more details, see “Keyboard Track” (☞p.54).
55
Adjusting the pan (stereo position) Effects

Effects are covered in their own section of the
manuals, so we won’t go into too much detail
here. (☞p.79)
The main “Pan” parameter determines the place- Insert Effect

ment of the sound in the stereo field after the sig- You can make insert effect settings in the PROG 8:
nal has passed through the oscillator, filter, and Ed–InsertFX page.
amp.
The Insert Effect can be assigned to either an indi-
Normally you’ll set this to C064, so that the sound vidual oscillator or the entire Program. You can
is centered equally between the left and right use any type of effects, from distortions and com-
speakers. pressors to choruses and reverbs.
To create a stereo effect when “Oscillator Mode” is
set to Double, set the Amp1 “Pan” to L001, and The Insert Effect can be routed to the main out-
the Amp2 “Pan” R127. This will make OSC1 go to puts, or to any of the individual outputs. (☞p.84)
the left speaker, and OSC2 go to the right speaker.
With a setting of Random, the pan will change Master Effects
randomly each time you play a note on X50, pro-
ducing an interesting effect. You can make master effect settings in the PROG
9: Ed–MasterFX page.
Pan AMS and Intensity There are two Master Effects, which are accessed
“Intensity” specifies the depth of the pan modula- through Sends 1 and 2. These are best-suited to
tion from the selected AMS source. effects such as reverbs and delays, but you can use
them with any type of effect. (☞p.85)
If you set AMS to Note Number, the pan will
change according to the keyboard position of each
note played. Master EQ
With a setting of LFO1 or 2, the sound will sweep You can make master EQ settings in the PROG 9:
from side to side, creating an auto-pan effect. Ed–MasterFX page.
The master EQ is located immediately before the
Pan - Use DKit Setting (MAIN OUTPUT) L/MONO and R outputs. Use it
Use DKit Setting applies when “Oscillator Mode” to adjust the overall tone. (☞p.85)
is set to Drums.
If this is checked, the Program can use a different
pan position for each drum sound, as specified by
the Drum Kit. If this is unchecked, all drum
sounds will use the Program’s pan position. The
factory presets and GM drum kits use individual
pan positions for the different drums, so normally
it’s best to leave this checked.
56
Quick Start
Playing and Editing Combinations
Introduction
What’s a Combination? controller filtering, and so on.
Combinations, or “Combis” for short, let you split As with Programs, each Combi has 1 Insert Effect,
and layer up to 8 Programs at once. 2 Master Effects, and a Master EQ, for shaping and
A Combi is made up of 8 Timbres. Each Timbre transforming the sounds of the individual Tim-
Setup
has a Program, along with parameters for key and bres. Finally, Combis can use 2 Arpeggio patterns
velocity zones, mixer settings, MIDI channel and modules at once.
Program
Playing combinations
Combination
Selecting combinations Selecting combinations from the
front panel
There are several different ways to select Combi-
nations. Each one is convenient in a different way: 1. Press a [COMBI] button. (The button will light.)
• Selecting combinations from the front panel: You will enter Combination mode. Notice that
the upper line of the display indicates “COMBI
Using “Combi Select” to select a program 0: Play” (mode name, page number and name).
· Turn the [VALUE] dial.
· Use the [INC][DEC] buttons. Category number Tempo
and name Tab name
· Use numeric buttons [0]–[9] to enter the pro- Bank
gram number, and press the [ENTER] but- number
Combi
ton. Select (com-
· Press the center of the ClickPoint to high- bination
number and
light the field, then use [π][†] to select a name) Tab Control assign list
program, and press the center to finalize
your selection. 2. Make sure that “Combi Select” (combination
· Use the COMBI BANK [A]–[C] buttons to number and name) is selected.
select a combination bank. If this is not selected, use the ClickPoint [π][†]
· Using 10’s HOLD to select combinations to highlight the “Combi Select” indication.
(☞p.39) 3. Use the [VALUE] dial etc. to select the
Selecting combinations by program category combination you want to play.
You can select programs by categories such as 1 3 2 4
piano or drums.
· Using “Select by Category” to select by cate-
gory (☞p.38)
· Using Cat. HOLD to select a category
(☞p.38)
• Selecting combinations by using a foot- You can use either of the following methods to
switch: select a program.
You can change combinations even while both • Turn the [VALUE] dial.
hands are busy playing on the keyboard - • Use the [INC] or [DEC] buttons.
convenient for live applications • Use numeric buttons [0]–[9] to enter the combi-
• Selecting combinations by receiving MIDI nation number, and press the [ENTER] button.
program changes: • Press the center of the ClickPoint to highlight
You can switch combinations from an external the field, then use [π][†] to select a program,
MIDI sequencer or an external MIDI controller. and press the center to finalize your selection.
See below for details.
57
4. Press a COMBI BANK [A]–[C] button to switch

banks.
Using 10’s HOLD to select combina-
When you select a different Bank, the button’s tions
LED will light, and the selected bank will You can fix the ten’s place of the combination
appear on the left side of the display. number as you select combinations.
For example, to select bank B, press the COMBI For details on how to do this, refer to “Using 10’s
BANK [B] button. The [B] button will light, and HOLD to select programs” (☞p.39).
the name Bank B will appear in the left of the
display.
Using a footswitch to select Combi-
Auditioning the sound nations
5. Play a note on the keyboard to hear the sound You can assign a footswitch to step through Com-
you selected. binations one by one, either going up (0, 1, 2, 3,
Note: You can’t use the [AUDITION] button to etc.) or going down (3, 2, 1 etc.).
play a riff (phrase) in Combination mode. This lets you change Combinations without using
your hands–great for quick Combination changes
Overview: Combination Banks in live performance situations.
When shipped from the factory, it is loaded with For details on how to do this, refer to “Using a
384 Combinations. You can also save any combi- footswitch to select Programs” (☞p.39).
nations that you create.
Combinations are organized into three banks as
shown in the following table. Using MIDI program changes to
Combination banks select combinations
Prog. You can select combinations in the COMBI 0: Play
Bank Explanation page or switch the programs of timbres by send-
No.
ing MIDI program change messages from your
With the factory settings,
these banks contain a wide external MIDI device (DAW software or other
variety of preloaded sequencer, or MIDI controller) to the X50.
combinations that use
for multiple programs, effects,
If you’ve installed the included “X50 Plug-In Edi-
000… tor” into your DAW program as a plug-in, you can
A, B, C preloaded and arpeggio patterns.
127
combination 128 programs can be written easily select X50 programs or combinations from a
or rewritten to each bank A–C list within your DAW software. For more details,
(for a total of 384). You can’t
write (save) data in these see “Editor/Plug-In Editor Manual” (PDF).
banks.
Switching combinations via MIDI
The combination will change when the X50
Selecting by Category receives a program change on a channel that
You can select Combinations from within a cate- matches the global MIDI channel.
gory, such as keyboard, synthesizer, bass, and However, this is affected by the GLOBAL 1: MIDI
drums. “Combi (Combination Change)” setting. This set-
When shipped from the factory, the preloaded ting must be checked. If this setting is unchecked,
Combinations are organized into 16 categories. the combination will not change; instead, the pro-
gram will change for the timbre of the matching
For details on how to select combinations in this
channel.
way, see the following page.
With the factory settings, the global MIDI channel
☞p.38 “Selecting programs by category”
is set to channel 1. If you want to change this set-
☞p.38 “Using Cat.HOLD to select by category” ting, see “MIDI channel setting” (☞p.39).
Switching the program of a timbre via

MIDI
The MIDI channel of a timbre is specified by the
COMBI 2: Ed–Track Param, MIDI “MIDI Chan-
nel” setting. When a program change message on
a MIDI channel that matched the timbre’s channel
58
Using Controllers
Quick Start
is received, the program will change for timbres
whose “Status” is INT. However, program Using Controllers
Introduction
changes for timbres are affected by the COMBI 3:
Ed–MIDI Filter1, -1 page “Program Change” set- Just as in Program mode, you can use controllers
ting. such as the [MOD] wheel, pitch bend wheel,
[SW1][SW2], and REALTIME CONTROLS [1]–[4]
The “Status” setting is located in the COMBI 2: to add a broad range of expression to your playing
Ed–Track Param, MIDI page, and the “Program in Combination mode.
Change” setting is located in the COMBI 3: Ed–
Setup
MIDI Filter1, -1 page. These controls let you modify the tone, pitch, vol-
The result of receiving a program change on the
global MIDI channel will depend on the GLOBAL For more details, see “Using Controllers” (☞p.59).
1: MIDI “Combi (Combination Change)” setting.
Program
Sending MIDI information from the
various controllers
When you select a combination on X50, a MIDI
Combination
program change for the selected combination
number will be transmitted on the global MIDI
channel. At the same time, bank select, program
change, and volume (CC#7) messages will be
transmitted on the MIDI channel specified for
each timbre that is set to “Status” of EXT or EX2.
However, these messages will not be transmitted
for timbres that are set to the same MIDI channel
as the global MIDI channel. In this case, EX2 tim-
bres will show the “Program Select” Bank as “–”,
and will transmit the bank number that was speci-
fied in “Bank (EX2) MSB”and “Bank (EX2) LSB”
(2–1a).
MIDI messages transmitted when you operate X50
are transmitted on the global MIDI channel. At the
same time, timbres whose “Status” is EXT or EX2
will transmit the same messages on their own
MIDI channel.
For details on the MIDI messages transmitted
when you operate an X50 controller, and on the
(Dynamic Modulation Source) corresponding to
the MIDI messages, see “MIDI transmission when
the X50/microX’s controllers are operated” (☞PG
p.166).
59
Simple combination editing

You can edit any of the Combinations shipped Listening to the program sound of just
with X50, or you can start with an initialized Pro- one timbre
gram to create sounds from scratch. Here’s how you can listen to the sound of a single
On the X50, you can use the edit of COMBI 0: Play timbre by itself.
page and the realtime controller knobs and 1. Press the [UTILITY] button to access the utility
switches of the front panel to make simple menu.
changes to a program without having to enter the
editing pages that contain the detailed editing
parameters.
2. Use the ClickPoint [π][†] to choose “Solo

Selected Timbre,” and press the ClickPoint
Changing the programs center.
within the Combination Now you will hear only the program sound of
the currently selected timbre. The lower part of
Changing the Program assigned to each timbre (1– the display will indicate [Solo].
8) is a quick way to dramatically alter the sound of
the Combination.
Note: You can make the following settings from
either the COMBI 0: Play page or the 1: Ed–Tone
Adjust page.
3. To cancel this setting, choose “Solo Selected

Selecting programs from the front Timbre” once again and press the ClickPoint
center.
panel and LCD
To change the Program assigned to a Timbre:
1. Access the COMBI 0: Play, Prog page. Receiving MIDI program changes to
This page shows information about the switch timbre programs
programs assigned to Timbres 1–8. See “Switching the program of a timbre via MIDI”
(☞p.58).
Note: MIDI program changes only work for
Timbres whose Status is set to INT.
2. Use the ClickPoint to highlight “Program Adjusting a timbre’s pan and

Select,” and use the [VALUE] dial etc. to select a
program. volume
You can use either of the following methods to
select a program.
Adjusting the pan (stereo position)
• “Selecting programs from the front panel:”
(☞p.37) Here’s how to adjust the pan of each timbre.
• When selecting by category, “Selecting pro- 1. Access the COMBI 0: Play, Mixer page.
grams by category” will be the only available This page shows the pan and volume settings
method. (☞p.38 “Selecting programs by cate- for the programs assigned to timbres 1–8.
gory”)

the “Pan” of the timbre whose pan setting you
60
REALTIME CONTROLS [1], [2], [3], [4], [SELECT]
Quick Start
want to adjust, and use the [VALUE] dial etc. to
adjust the setting. Saving your edits
Introduction
A setting of C064 is center, L001 is far left, and Once you’ve tweaked the sound to perfection,
R127 is far right. With a setting of RND, the you’ll want to save your work. To save your edits:
stereo location will change randomly between
1. Press the [UTILITY] button to access the utility
left and right each time a note is played.
menu.
2. Use the ClickPoint to select “Write Combination,”
Setup
Adjusting the volume and then press the ClickPoint center.
Here’s how to adjust the volume of each timbre. The Write Combination dialog box will appear.
1. Access the COMBI 0: Play, Mixer page.
Program
the “Volume” of the timbre whose volume
setting you want to adjust, and use the
[VALUE] dial etc. to adjust the setting. You can also access this utility command by
Combination
Adjusting the volume while preserving pressing numeric button [0].
the volume balance between timbres Note: If the display indicates “Memory
Protected,” the combination memory protect is
1. Press the [UTILITY] button to access the utility turned on. Go to GLOBAL 0: System,
menu. Preference page, and uncheck the Memory
Protect “Combination” setting. (☞p.88)
3. Optionally, you can also select a new location,
or change the Combination’s name.
2. Use the ClickPoint [π][†] to select “Hold • If you want to change the bank and number of
Balance,” and press the ClickPoint center. the writing destination, use the ClickPoint to
select the combination name located at the right
The upper right of the display will indicate
of the “To,” and use the [VALUE] dial to select
“Hold Bal.” the desired writing destination.
You can also use the COMBI BANK buttons
and [ENTER] switch to select the writing
destination.
3. When you change the “Volume” value of any press the ClickPoint center to open the text edit
timbre, the volume of all timbres will also dialog box.
change to preserve the volume balance at the You can give the Combination a descriptive
time you checked the Hold Balance setting. name using the on-screen keyboard. (☞p.112)
4. To defeat this setting, press “Hold Balance” After entering the name, press [MENU/OK]
once again and press the ClickPoint center. button.
you to the main Write dialog.
REALTIME CONTROLS [1], [2], • If you want to specify the category, use the
ClickPoint to select “Category,” and use the
[3], [4], [SELECT] [VALUE] dial to specify the desired category.
The category you specify here can be used
Just as in Program mode, you can use the realtime
controller [1]–[4] knobs and [SELECT] button in when selecting by category with the [CATE-
Combination mode to modify sounds and effects, GORY] button. (☞p.58)
or to control the arpeggiator. See “REALTIME 4. In the Write Combination dialog box, press the
CONTROLS [1], [2], [3], [4], [SELECT]” (☞p.43). [MENU/OK] button to write (save) the program.
Note: The REALTIME CONTROLS A-mode and B- 5. A message will ask you for confirmation. If you
mode can control timbres of the same channel as are sure you want to write the program, press
the global MIDI channel. the [MENU/OK] button once again.
The combination will be written (saved).
61
Detailed Editing with Combinations

You can edit any of the preloaded combinations or Layer, split, and velocity switch
start with an initialized Combination (Bank C 127: In the COMBI 5: Ed–Key Zone, Key page and the
Init. Combination) to create your own original 6: Vel Zone, Vel page, specify the range (layer,
sounds. split, velocity switching, etc.) in which each pro-
You can use the factory Programs to create new gram will sound.
Combinations, or use your own custom Programs.
You can write (save) these combinations in any
Adjust the programs so that they fit
bank A–C.
within the combination
For each timbre program, specify the poly/mono
setting and adjust timbre parameters such as por-
Before you begin editing tamento and transpose.
A combination has eight timbres. Each timbre con-
sists of a program with parameters such as key- Effects
board zone, velocity zone, mixer settings, MIDI The output of each timbre is sent to the insert
channel, and filter. See the diagram entitled “Com- effect, the master effects, and the master EQ. You
bination structure and corresponding pages.” can use the mixer section to freely specify how the
audio signals will be routed.
There is one insert effect and two master effects,
Overview of Combi mode parame- and for each of these you can choose one of 89
ters effect types. The master EQ is a stereo three-band
EQ.
Select a program for each timbre Note: The effect settings created and saved with a
In the COMBI 0: Play, Prog page (or COMBI 1: Ed– program in Program mode are not used in
Tone Adjust, Prog page), select a program for each Combination mode. Effect settings are made
timbre. independently for the combination.
Status and MIDI settings Arpeggiator

In the COMBI 2: Ed–Track Param, MIDI page, set A combination can use two arpeggiators (dual
“Status” to INT for the timbres that you want to polyphonic arpeggiators). You can select the
play, and set their MIDI channel to the global arpeggio pattern, specify the range in which the
MIDI channel. arpeggio is generated, and specify the region of
notes (keys) or velocities that will trigger the
arpeggiator.
Combination structure and corresponding pages
Controller Setup : 7-5

Timbre1 Parameters
Program Arpeggiator: 7-1...4
Insert Effect :
Timbre2 Parameters 8-1
Program Master Effect 1, 2 :
9-1...3
Timbre3 Parameters
Program Timbre
Insert Effect : MasterEQ :9-4 AUDIO OUTPUT
8-2, 3 L/MONO, R
Timbre4 Parameters
Program Insert Effect
Master Effect AUDIO OUTPUT
Individual Outputs INDIVIDUAL 1,2
Timbre8 Parameters
Program
1–1, 9–4, etc. indicate the X50 on-screen pages and tabs.
62
Selecting a program for each timbre
Quick Start
Overview of editing pages Selecting a program for each
Introduction
In the COMBI 0: Play page you can select and play
combinations, select the program used by each timbre
timbre, adjust the mixing, and adjust the arpeggia- You can select a program for each timbre in the
tor setting. COMBI 0: Play, Prog page or in the COMBI 1: Ed–
The other pages let you modify the sound in more Tone Adjust, Prog page.
detailed ways.
Setup
For the procedure, see “Changing the programs
• Select and play combinations. within the Combination” (☞p.60)
• Select a program for each timbre, and set
status, pan, and level. (Same as the 1: Ed–
0: Play Tone Adjust parameters; can be edited
Program
from either page.) Status and MIDI settings
• Select an arpeggio pattern and make
settings.
• Select a program for each timbre, and set “Status” and MIDI channel
Combination
1: Ed–Tone Adjust status, pan, and level.
• Use Tone Adjust to adjust parameters.
• MIDI, OSC, Pitch, Delay, and Scale settings Status
2: Ed–Timbre Param This controls the status of MIDI and the internal
for each timbre.
3: Ed–MIDI Filter1 tone generator for each Timbre. Normally, if
• MIDI message transmission/reception
filter settings for each timbre.
you’re playing an internal Program, this should be
4: Ed–MIDI Filter2
set to INT.
5: Ed–Key Zone • Key zone settings for each timbre. If the status is set to Off, EXT, or EX2, that internal
6: Ed–Vel Zone • Velocity zone settings for each timbre. sounds will not be played. Off simply disables the
• Arpeggiator settings. (Same as the 0: Play Timbre entirely. The EXT and EX2 settings allow
parameters; can be edited from either the Timbre to control an external MIDI device.
7: Ed–Arp/Ctrls
page.)
• Controller settings.
Bank Select (when status=EX2)
• BUS and master effect send level settings When the Status is set to EX2, these parameters
for each timbre.
8: Ed–InsertFX allow you to transmit MIDI Bank Select messages
• Insert Effect routing, selection, and
settings. for changing banks on external MIDI devices.
9: Ed–MasterFX MIDI Channel
• Master EQ settings.
Timbres that you wish to play from X50’s key-
For details on how to access each mode, page, and
board must be set to the global MIDI channel.
the utility commands, and how to edit values, see
Your playing on the keyboard is transmitted on
the global MIDI channel, and will sound any tim-
bre that matches this channel. Normally you will
set this to Gch. When this is set to Gch, the MIDI
channel of the timbre will always match the global
sounds) MIDI channel, even if you change the global MIDI
When you’re in the process of editing a sound, channel.
pressing the [COMPARE] button will recall the On some preloaded combinations, Timbres
saved version of the sound, as it was before you used by arpeggiator may have their MIDI
started editing. To indicate that you are listening Channels set to something other than Gch.
to the saved version, the button’s LED will light These will be timbres that play only when
up. arpeggiator is on–a very useful technique for
Pressing [COMPARE] button again returns you to creating “arpeggiator-utilized” combinations.
the version you are editing, and the LED will go For more details, see “The arpeggiator in
out again. Combination and Multi modes” (☞p.95). In
If you edit while the COMPARE LED is lit, the particular, note the relationships between
button will again go dark and your previous edits arpeggiator assignments and MIDI Channel.
will be lost.
63
MIDI filter settings Layers, Splits, and Velocity

Here you can specify whether the MIDI data sent
and received by timbres 1–8 will be filtered. switches
Within a Combination, you can use note number
and velocity to determine which Timbres will
sound.
The Programs assigned to each Timbre can sound
in three ways: as part of a layer, a split, or a veloc-
If a check box is checked, the corresponding MIDI ity switch. A Combination can be set to use any
data can be sent and received. If “Status” is INT, one of these methods, or to use two or more of
movements of the X50’s controllers or incoming these methods simultaneously.
MIDI data will apply an effect for the program of
that timbre. (Effect Dynamic Modulation function- Layer
ality is not affected by these settings.) If the “Sta- Layers cause two or more Programs to sound
tus” is EXT or EX2, movements of the X50’s simultaneously when a note is played.
controllers will transmit MIDI data on the channel Program A
of that timbre. MIDI transmit/receive settings for Program B
Layer:
the entire X50 are made in “MIDI Filter” (GLO- Two or more programs sound
BAL 1). simultaneously.
If a check box is unchecked, the corresponding

MIDI data will not be sent or received. Split
As another example, let’s say that you’ve selected Splits cause different Programs to sound on differ-
a bass Program for Timbre 1, and a piano Program ent areas of the keyboard.
for Timbre 2, with the goal of creating a bass/
piano split. You could make the following settings Program A Program B
so that pressing the damper pedal affects only Split:

Different programs will sound in
Timbre 2’s piano sound: different areas of the keyboard.
1. Access the COMBI 3: Ed–MIDI Filter1, -2 page.

2. Un-check the Damper CC#64 box for Timbre 1. Velocity Switch
3. Check the Damper CC#64 box for Timbre 2. Velocity Switches cause different Programs to
sound depending on the velocity (how hard you
play the notes).
Program B Strong Keyboard playing
Program A Soft dynamics
Velocity Switch:
Keyboard playing dynamics
(velocity) switches between
different programs.
On X50, you can use a different Program for each

of up to eight Timbres, and combine two or more
of the above methods to create even more complex
setups.
Program A
Program D Strong Keyboard playing
Program B
Program C Soft dynamics
Example:
B and C/D are split. In the lower
keyboard range, A and B are
layered. In the higher keyboard
range, C and D are switched by
velocity and layered with A.
As an additional possibility, you can set the slope

for a key zone or velocity zone so that the volume
diminishes gradually. This lets you change a split
into a keyboard crossfade, or a velocity switch into
a velocity crossfade.
64
Layers, Splits, and Velocity switches
Quick Start
Keyboard X-Fade (keyboard
3. Access the COMBI 5: Ed–Key Zone, Slope page.
Program A Program B
crossfade):
4. Next, if you set the “Bottom Slope” of timbre 1
Introduction
As you play from low notes to
high notes, the volume of A
will fade out, and the volume to 12, and set the “Top Slope” of timbre 2 to 12,
of B will fade in.
the sound will change gradually instead of
changing suddenly.
Creating Key Splits and Layers
Setup
Let’s create a Combi which combines both splits
and layers, like the diagram below:
Timbre 1 Piano
Timbre 2 Brass
Timbre 3 Strings 5. The COMBI 5: Ed–Key Zone, Review page
Program
shows a graphic indication of the region of keys
(or note data) for which timbres 1–8 will play.
C–1 B3 C4 G9 The region that will sound is shown as a line,
1. Access the COMBI 0: Play, Prog page. and the shaded area indicates the portion
Combination
occupied by the slope.
2. Select a piano sound for Timbre 1, a brass
sound for Timbre 2, and a strings sound for
Timbre 3.
3. Access the COMBI 2: Ed–Timbre Param, MIDI
page.
4. For Timbres 1–3, set Status to INT and MIDI
Channel to Gch (the Global Channel).
5. Access the COMBI 5: Ed–Key Zone, Key page. Creating Velocity Switches
6. Set Timbre 1’s Top Key to G9, and its Bottom Next, let’s create a simple velocity switched Com-
Key to C4. bination, like the diagram below:
7. Set Timbres 2 and 3 to a Top Key of B3, and a 127
Timbre 1 Brass 64
Bottom Key of C–1. Timbre 2 63
Velocity
switch
Strings 1
You can also enter these values by selecting the
parameter, and then holding down the
[ENTER] button and playing a note on the
keyboard. 1. Access the COMBI 0: Play, Prog page.
The piano program will sound when you play a 2. Select a brass sound for Timbre 1, and a strings
key above or including C4. The brass program sound for Timbre 2.
and strings program will sound when you play 3. Access the COMBI 2: Ed–Timbre Param, MIDI
a key below C4. page.
4. For Timbres 1–2, set “Status” to INT and MIDI
Channel to Gch (the Global Channel).
5. Access the COMBI 6: Ed–Vel Zone, Vel page.
6. Set Timbre 1’s Top Velocity to 127, and its
Bottom Velocity to 64.
Key Zone Slope 7. Set Timbre 2 to a Top Velocity of 63, and a
In addition to “hard” splits, in which the sound Bottom Velocity of 1.
changes abruptly, you can use the “Slope” param- The strings program will sound when you play
eters to gradually fade a sound in or out over a the keyboard softly, and the brass program will
range of keys. sound when you play strongly.
We’ll assume that you are continuing to edit from
the preceding example.
1. Access the COMBI 5: Ed–Key Zone, Key page.
2. In the example above, you could set the
“Bottom Key” of timbre 1 to G3, and set the
“Top Key” of timbre 2 to G4, so that these two
timbres overlap.
65
Velocity Zone Slope

Similar to Key Zone Slopes, as described above, Altering Programs to fit
these let you fade in and fade out sounds gradu-
ally over a velocity range, instead of a simple hard
within a Combination
switch. You can make various changes to Programs within
We’ll assume that you are continuing to edit from the context of a particular Combination, to make
the preceding example. them fit better with other Programs, or to create
particular sonic effects. These changes do not
1. Access the COMBI 6: Ed–Vel Zone, Vel page.
affect the original Programs, or how those Pro-
2. In the case of the above example, you could set grams sound in other Combinations.
the velocity zones of the two Timbres so that
they partially overlap.
3. Access the COMBI 6: Ed–Vel Zone, Slope page. Specifying how the timbre will
4. Then, set the “Top Slope” and “Bottom Slope” sound
so that the sound changes gradually, instead of
changing suddenly between velocity values of
63 and 64.
You can make these settings in COMBI 2: Ed–Tim-

bre Param, OSC.
5. The COMBI 6: Ed–Vel Zone, Review page Force OSC Mode

shows a graphic indication of the region of Normally this should be set to PRG, so that the
velocities for which timbres 1–8 will play. The sound will play as set by the original Program.
region that will sound is shown as a line, and
If you wish to force a polyphonic program to
the shaded area indicates the portion occupied
sound monophonically, set this either to Mono or
by the slope.
LGT (Legato). Conversely, set this to Poly if you
wish to force a monophonic program to play poly-
phonically.
OSC Select
Normally, this should be set to Both.
If the timbre is using a program whose Oscillator
Mode is Double, and you want only OSC1 or
OSC2 (not both) to sound, set this to OSC1 (only
OSC1 will sound) or OSC2 (only OSC2 will
sound).
Portamento
Normally, this should be set to PRG.
If the Program uses portamento, but you’d like to
disable this for the current Combination, set this
parameter to Off.
Conversely, if you want to force the portamento to
be on, or just to change the portamento time, set
this to a value of 001–127. The portamento will
change to use the newly specified time.
66
Altering Programs to fit within a Combination
Quick Start
Adjusting the pitch Delay and scale settings
Introduction
Setup
You can make these settings in COMBI 2: Ed–Tim- You can make these settings in COMBI 2: Ed–Tim-
bre Param, Pitch. bre Param, Other.
Transpose, Detune (BPM Adjust) Delay
Program
These parameters adjust the pitch of the timbre. You can set some Timbres so that they don’t sound
• In a layer-type combination, you can set two or immediately at note-on. This can create cool
more timbres to the same program, and create a effects, and more dramatic layers.
richer sound by using “Transpose” to shift their You can specify the delay for each Timbre either in
Combination
pitch apart by an octave or by using “Detune” milliseconds (ms), or in rhythmic values which
to create a slight difference in pitch between the sync to the system tempo.
two. If you set the “Delay” to Key Off, the Timbre will
• In split-type combinations, you can use “Trans- sound when the note is released.
pose” to shift the pitch (in semitone units) of
the programs specified for each key zone. Use Program’s Scale
• If you wish to change the playback pitch of a This specifies the scale for each timbre.
drum program, use “Detune.” If you change If you check “Use Program’s Scale,” the scale
the “Transpose” setting, the relationship specified by the program will be used. Timbres for
between notes and drum sounds will change. which this is not checked will use the Scale setting
“Type (Combi scale).”
Adjusting the BPM of multisamples
If you’re using a phrase or rhythm loop multisam-
ple in the program of a timbre, you can adjust its Editing Programs with Tone Adjust
BPM. You can use the utility menu “Detune BPM Using Tone Adjust, you can make detailed edits to
Adjust” to call up a new BPM value. This changes Programs within the context of the Combi. You
the BPM by adjusting the playback pitch. can assign six parameters to each timbre and
For more details, see “Detune BPM Adjust” (☞PG adjust them, but you can also re-specify parame-
p.41). ters and make further adjustments.
Proceed as follows.
Specifying the range of pitch change 1. Of the COMBI 1: Ed–Tone Adjust, TA1–TA3
controlled by the [PITCH] wheel pages, access the page that you want to edit.
This is specified by the “Bend Range.” You can
specify the range in semitone units. With the PRG
setting, the pitch bend range will be as specified
by the program.
2. For each timbre, use “Destination 1–6” to select

the parameter that you want to adjust for the
program.
3. Use the [VALUE] dial etc. to adjust the value of
the parameter you selected in “Destination 1–
6.” The sound will change accordingly.
With the default settings you can control the fol-
lowing parameters.
LPF Fc: Adjusts the low pass filter cutoff frequency of
program OSC 1/2. This will affect the brightness of
the sound.
67
Reso.HP: Adjusts the resonance level of the low

pass filter or the cutoff frequency of the high pass Effects
filter for program OSC 1/2. The parameter that is
controlled will depend on the filter type specified Effects are covered in their own section of the
for the program. manuals, so we won’t go into too much detail
here. (☞p.79)
F EG Int: Adjusts the filter EG intensity (the depth
of the filter EG) for program OSC1/2.
A EG A: Adjusts the EG attack times of the pro- Insert Effect
gram OSC 1/2 filter and amp. To maximize the You can make settings for the insert effect in the
result of this adjustment, the Amp EG sustain COMBI 8: Ed–InsertFX page.
level, attack level, start level modulation, and
The output of each timbre can be sent to the insert
attack time modulation will also be adjusted at the
effect. You can use any type of effects, from distor-
same time.
tions and compressors to choruses and reverbs.
A EG D: Adjusts the EG decay time and slope
The Insert Effect can be routed to the main out-
time of the program OSC 1/2 filter and amp.
puts, or to any of the individual outputs. (☞p.84)
A EG R: Adjusts the EG release time of the pro-
gram OSC 1/2 filter and amp.
Master Effects
You can make master effect settings in the COMBI
9: Ed–MasterFX page.
There are two Master Effects, which are accessed
through Sends 1 and 2. These are best-suited to
effects such as reverbs and delays, but you can use
Master EQ
You can make master EQ settings in the COMBI 9:
Ed–MasterFX page.
(MAIN OUTPUT) L/MONO and R outputs. Use it
to adjust the overall tone. (☞p.85)
68
Quick Start
Using and Editing Multi sets
Introduction
Multi mode is great when you want the X50 to The “Multi Mode” setting
simultaneously play multiple tracks of data from This setting is located in GLOBAL 0: System, Pref-
your external MIDI sequencer. This section erence page, “Multi Mode,” and you can change it
explains how to use the Multi mode. to suit the way in which you’re using the X50.
Setup
You can use the X50 as a sixteen-channel multi-tim- for Ext-Seq: Choose this if you’re using the X50 as
bral sound module. It has sixteen tracks, and you a multi-timbral sound module. When you switch
can assign a different sound program to each track, multi sets on the X50, program changes and other
such as track 1 playing the drums, track 2 playing MIDI messages will not be transmitted even by
Program
the bass, track 3 playing the piano, and so on. tracks whose “Status” is EXT or BTH.
You can make settings such as volume and pan for for Master: Choose this if you’re using the X50 as
each of these tracks. You can also use realtime con- a master keyboard. In this case when you switch
trollers to vary the sound. multi sets on the X50, program changes and other
Combination
In addition, you can use the arpeggiator and syn- MIDI messages will be transmitted from tracks
chronize it to the tempo of your external MIDI whose “Status” is EXT or BTH, allowing you to set
sequencer. up your external sound module in this way.
The X50 can also be used as a master keyboard to
control your external MIDI sound modules.
Multi
MIDI considerations
Effect
In Multi mode you will normally switch programs Mode name Page number and name Parameter name
and control the volume and pan etc. by sending Category number Tempo
and name Tab name
MIDI messages from your MIDI sequencer or Cntrol
DAW software, but in this section of the manual Track
Global
we’ll explain how to make these settings from the Multi Select
(multi set
X50 itself. However, making these settings in the number and
X50 does not automatically make these settings a name)
part of the sequence itself. Tab Control assign list
Arpeggiator
These settings can be transferred to your MIDI 2. Make sure that “Multi Select” (multi set
sequencer by sending a data dump from the X50 number and name) is selected.
(if your MIDI sequencer can receive exclusive
messages) or by using the included “X50 Plug-In 3. Use the [VALUE] dial etc. to select the multi set
Editor” software to read this data from the X50. you want to play. Drum Kit
Then you can send these settings from your 1 3 2
sequencer back to the X50 when needed.
Selecting a multi set

You can use either of the following methods to
Selecting multi sets from the front select a program.
panel • Turn the [VALUE] dial.
1. Press a [MULTI] button. (The button will light.) • Use the [INC] or [DEC] buttons.
You will enter Multi mode. Notice that the • Use numeric buttons [0]–[9] to enter the combi-
upper line of the display indicates “MULTI 0: nation number, and press the [ENTER] button.
Appendices
Play” (mode name, page number and name).

• Press the center of the ClickPoint to highlight
the field, then use [π][†] to select a multi set,
and press the center to finalize your selection.
69
hear the X50’s internal tone generator with the

Other ways to select a multi set settings (program and level etc.) of the track
You can’t use a foot switch connected to the you specified as the “Control Track.” Any other
ASSIGNABLE SWITCH jack to change multi sets. tracks that have a matching MIDI channel will
For details on how to select a multi set via MIDI, also sound at this time. If the “Status” of the
see p.77. track is EXT, EX2, or BTH, the corresponding
MIDI messages will be transmitted on the MIDI
channel that is specified for that track.
Assigning a program to a Receiving MIDI data from an external

track, and setting the volume sequencer to play the X50
By default, the X50’s tracks 1 through 16 are set to
and pan MIDI channels 1 through 16, with track 1 receiving
channel 1, track 2 receiving channel 2, and so on.
Selecting a track program from the 1. To hear the track (1) whose “MIDI Channel”
setting is 1, transmit performance data (MIDI
X50 note-on/off messages) from your external
1. Access the MULTI 0: Play, Program page. MIDI sequencer on MIDI channel 1.
This page shows all 8 Tracks at once, including If the “Status” is INT or BTH, the X50’s tone
their Program assignments, volume, pan, play/ generator will sound. If the “Status” is Off,
mute, solo, and more. EXT, or EX2, the X50’s tone generator will not
sound.
Silencing a specific track (Mute)

The X50 provides a Mute function that lets you
temporarily silence the desired track(s) 1–16. For
2. Use the ClickPoint to highlight “Program
example, you can use this to listen only to the
Select,” and use the [VALUE] dial etc. to select a
rhythm section while you record a new track. You
program.
can also use this function to modify the structure
You can use either of the following methods to of the song.
select a program.
1. Access the MULTI 0: Play, Program page.
• “Selecting programs from the front panel:”
2. Select the “PLAY/MUTE” and press the
(☞p.37)
ClickPoint center.
• When selecting by category, “Selecting pro-
Each time you press, the PLAY and MUTE
grams by category” will be the only available
settings will alternate.
method. (☞p.38 “Selecting programs by cate-
gory”) If MUTE is selected, this track will not produce
sound even if it receives note data from the
X50’s keyboard or from an external device.
Checking the sound of a track
Playing the X50’s keyboard to hear the

sound
1. Use the “Control Track” setting to choose the
track that will respond to the X50’s keyboard. Note: The mute setting of each track will not be
written (saved).
If “Status” (☞p.71 ““Status” and MIDI

channel”) is INT or BTH, you can play the
X50’s keyboard and operate its controllers to
70
Assigning a program to a track, and setting the volume and pan
Quick Start
MIDI data is transmitted and received on the
Adjusting the pan (stereo position) MIDI channel that is specified separately for each
Introduction
Here’s how to adjust the pan of each track. track by “MIDI Channel.”
1. Access the MULTI 0: Play, Mixer page. Data from Arp.
Operations on the Received data
This page shows the pan and volume settings X50
for the programs assigned to tracks 1–16. Internal Internal
MIDI OUT/ MIDI OUT/
Status tone tone
USB USB
Setup
generator generator
INT ● × ● —
EXT, EX2 × ● × —
BTH ● ● ● —
Program
2. Use the ClickPoint to highlight the “Pan” of the
For more details, see “Status” (☞PG p.61).
track whose pan setting you want to adjust,
and use the [VALUE] dial etc. to adjust the
setting. Bank select (when Status = EX2)
Combination
If the “Status” is EX2, the LSB value and MSB
A setting of C064 is center, L001 is far left, and
value of the “Bank Select MSB/LSB” will be
R127 is far right. With a setting of RND, the
enabled, and the bank number you specify here
stereo location will change randomly between
will be transmitted via MIDI.
left and right each time a note is played.
MIDI channel
Multi
Adjusting the volume This specifies the MIDI channel that the track uses
Here’s how to adjust the volume of each track. to send and receive note data. If multiple tracks
are set to the same MIDI channel, and their “Sta-
1. Access the MULTI 0: Play, Mixer page. tus” is set to INT, they will all sound and be con-
Effect
2. Use the ClickPoint to highlight the “Volume” of trolled in the same way when they receive MIDI
the track whose volume setting you want to data.
adjust, and use the [VALUE] dial etc. to adjust The “Control Track” setting specifies the track that
the setting. is played by the X50’s keyboard and controlled by
its controllers. Data on the “MIDI Channel” of the
Global
“Control Track” will play the X50’s internal tone
“Status” and MIDI channel generator according its track settings (program,
level, etc.) if the track’s “Status” is INT or BTH,
and will also play any other tracks on the same
Arpeggiator
MIDI channel whose “Status” is INT or BTH. If the
“Status” is EXT, EX2, or BTH, these messages will
be transmitted on the MIDI channel specified by
the track.
Status
Drum Kit
This specifies the MIDI status of the internal tone MIDI filter settings
generator for each track.
Each MIDI filter item specifies whether the corre-
If you want the X50’s internal tone generator to
sponding MIDI message will be transmitted and
sound, choose the INT or BTH setting. These set-

received. The message can be transmitted and
tings let you use your external MIDI sequencer to
received if the check box is checked. (☞p.64
play the X50 as a multi-track sound module. The
“MIDI filter settings”)
BTH setting lets you control an external MIDI
device at the same time that you play the internal
tone generator.
Choose the Off setting for tracks you’re not using.
With the Off, EXT, or EX2 settings, the internal
tone generator will not sound.
Appendices
With the BTH, EXT, or EX2 settings, you can play

an external sound module on the MIDI channel of
the “Control Track.”
71
In order to play the sounds and the arpeggiator

Copying the settings of a in the same way as in Combination mode, you
must choose a track that is set to the global
combination to a multi set MIDI channel. Play the keyboard, and you will
You can copy the settings of a combination to a hear the same sounds as when playing the
multi set. If you have a favorite combination, this combination.
function provides a convenient way to copy those 9. Begin multi-track recording on your external
sounds to the tracks of a multi set. MIDI sequencer, and operate the X50’s
Note: Set the global MIDI channel (GLOBAL 1: keyboard and controllers.
MIDI, “MIDI Channel”) to 01. When you perform multi-track recording, the
1. Select a multi set. (☞p.69 “Selecting a multi multiple channels sounded by the arpeggiator
set”) will also be recorded at the same time.
2. Choose the “Copy From Combi” utility. 10.When you’ve finished performing, stop
recording. Play back the recording, and verify
A dialog box will appear.
that it reproduces the sounds you heard while
recording.
3. Use the “Combi” field to select the combination

that you want to copy.
4. If you also want the effect settings of the
combination to be copied, check the “With
Effects” check box.
5. Specify the tracks of the multi set to which you
want the eight timbres of the combination to be
copied.
If you want to copy the settings of the
combination to tracks 1–8, choose “Track 1 to
8.” If you want to copy them to tracks 9–16,
choose “Track 9 to 16.”
6. If you want the sound of the combination
including its arpeggiator performance to be
recorded on your external MIDI sequencer in
order to reproduce the same sounds as when
you were recording, you should check the
“Auto adjust Arpeggio setting” check box.
This will make adjustments to the MIDI
channel and other settings of some tracks, and
add tracks as necessary to ensure that the
arpeggio performance will be reproduced.
Depending on the settings of the combination,
you may need to make additional changes to
the track settings.
Note: This is available if you’ve selected “Track
1 to 8.” In order to use the “Auto adjust
Arpeggio setting” function, the combination
you’re copying must have already been written
with its [ARP ON/OFF] button turned on.
7. Press the [MENU/OK] button to execute the
copy.
8. Set the “Control Track” to 01.
72
What you can do in Multi mode
Quick Start
• You can copy the settings of a combination to a
What you can do in Multi multi set.
Introduction
mode • The “PLAY/MUTE” setting lets you quickly
mute or un-mute a desired track.
A multi set has sixteen tracks. Each track consists • The Tone Adjust function lets you make
of one program, and parameters such as keyboard detailed adjustments to the program used by
zone, velocity zone, mixer settings, MIDI channel, each track.
and filter settings.
Setup
See the illustration “Multi set structure and corre-
sponding pages.” Overview of Multi set parameters
Multi mode has the following major functions.
Program
• There are 128 multi sets. Each set lets you Select a program for each track
assign a program to each of the sixteen tracks, In the MULTI 0: Play, Program page, select a pro-
and you can combine these programs as splits gram for each track.
and layers just as in a combination.
Combination
• Each multi set lets you make settings for one Status and MIDI settings
stereo insert effect, two master effects, and a In the MULTI 2: Track Param, MIDI page, set “Sta-
stereo master EQ. tus” to INT for the tracks that you want to play,
• You can use two arpeggiators, and you can syn- and set their MIDI channel to the global MIDI
chronize them to your MIDI sequencer. channel.
• By setting the “Status” of a track to INT or
Multi
BTH, you can play the X50 from your external Adjust the programs so that they fit
MIDI sequencer as a multi-track sound mod- within the multi set
ule. (☞PG p.55 “Multi Mode”) For each track program, specify the poly/mono
• By setting the “Status” of a track to BTH, EXT, setting and adjust timbre parameters such as por-
Effect
or EXT, you can play an external sound module tamento and transpose.
on the MIDI channel of the “Control Track.”
(☞PG p.56 “Multi Mode”) Layer, split, and velocity switch
• You can control the program parameters of a In the MULTI 5: Key Zone, Key page and the 6: Vel
Global
track in realtime using AMS (Alternate Modu- Zone, Vel page, specify the range (layer, split,
lation) or control changes. You can also use the velocity switching, etc.) in which each program
MIDI Sync. function to synchronize the LFO will sound.
speed to the tempo.
Arpeggiator
• You can use the Dmod (Dynamic Modulation) Effects
function to control effect parameters in real- The output of each track can be sent to the insert
time. You can also use MIDI Sync. to synchro- effect, the master effects, and the master EQ. You
nize the LFO speed or delay time to the tempo. can use the mixer section to freely specify how the
• You can assign a name to the multi set and to audio signals will be routed. Drum Kit
each track.
Multi set structure and corresponding pages

Controller Setup : 7–5
Arpeggiator: 7–1…5
(A, B)
Track 1 Setting parameters
External MIDI Track 2 Setting parameters Master Effect 1, 2 :
sequencer BUS : 8–1, 2 9–1...3
MIDI IN Track 4 Setting parameters
Insert Effect : AUDIO OUTPUT
Track 5 Setting parameters MasterEQ : 9–4
8–3, 4 L/MONO, R
Track
USB
MIDI Ch
Track 7 Setting parameters AUDIO OUTPUT
Insert Effect INDIVIDUAL 1,2
Master Effect
Individual Outputs
Appendices
Control Track
The X50’s keyboard 1–1, 9–4, etc. indicate the X50 on-screen pages and tabs.
73
There is one insert effect and two master effects,

and for each of these you can choose one of 89
effect types. The master EQ is a stereo three-band sounds)
EQ. When you’re in the process of editing a sound,
The effect settings created and saved with a pro- pressing the [COMPARE] button will recall the
gram in Program mode are not used in Multi saved version of the sound, as it was before you
mode. Effect settings are made independently for started editing. To indicate that you are listening
the Multi set. to the saved version, the button’s LED will light
up.
Arpeggiator Pressing [COMPARE] button again returns you to
A multi set can use two arpeggiators (dual poly- the version you are editing, and the LED will go
phonic arpeggiators). You can select the arpeggio out again.
pattern, specify the range in which the arpeggio is If you edit while the COMPARE LED is lit, the
generated, and specify the region of notes (keys) button will again go dark and your previous edits
or velocities that will trigger the arpeggiator. will be lost.
Overview of editing pages

The following pages let you edit a multi set in Using Controllers
detail. Just as in other mode, you can use controllers such
• Select a multi set and play the X50’s as the [MOD] wheel, pitch bend wheel,
keyboard. [SW1][SW2], and REALTIME CONTROLS [1]–[4]
0: Play
• Receive and play performance data from to add a broad range of expression to your playing
an external MIDI sequencer. in Combination mode.
• Select a program for each track, and
specify its pan and level. These controls let you modify the tone, pitch, vol-
1: Tone Adjust • Use Tone Adjust to adjust parameters.
• MIDI, OSC, Pitch, Delay, and Scale settings

2: Track Param
for each timbre.
3: MIDI Filter1 • MIDI message transmission/reception Altering Programs to fit
filter settings for each track.
4: MIDI Filter2 within a Multi set
5: Key Zone • Key zone settings for each track.
You can make adjustments to the sound of the pro-
6: Vel Zone • Velocity zone settings for each track.
gram for each track, for example by changing the
• Arpeggiator settings. way it plays or by adjusting its pitch or scale.
7: Arp/Ctrls
• Controller settings. You can make various changes to Programs within
• BUS and master effect send level settings the context of a particular Multi set, to make them
for each track. fit better with other Programs, or to create particu-
8: InsertFX
• Insert Effect routing, selection, and
lar sonic effects. These changes do not affect the
settings.
original Programs, or how those Programs sound
• Master Effect selection and settings. in other Multi sets. It is the same as for a Combina-
9: MasterFX
tion. For more details, see “Altering Programs to
fit within a Combination” (☞p.66).
For details on how to access each mode, page, and
the utility commands, and how to edit values, see
74
Layers, Splits, and Velocity Switches
Quick Start
Layers, Splits, and Velocity Saving your edits
Introduction
Switches Once you’ve tweaked the sound to perfection,
you’ll want to save your work. To save your edits:
You can use keyboard regions and velocity to
switch between different tracks in a combination, 1. Press the [UTILITY] button to access the utility
just as you can in a combination. For more details, menu.
see “Layers, Splits, and Velocity switches” 2. Use the ClickPoint to select “Write Multi,” and
Setup
(☞p.64). then press the ClickPoint center.
The Write Multi dialog box will appear.
Effects
Program
Effects are covered in their own section of the
manuals, so we won’t go into too much detail
here. (☞p.79) You can also access this utility command by
Combination
pressing numeric button [0].
Insert Effect
Note: If the display indicates “Memory
You can make settings for the insert effect in the Protected,” the multi set memory protect is
MULTI 8: InsertFX page. turned on. Go to GLOBAL 0: System,
Multi
The output of each track can be sent to the insert Preference page, and uncheck the Memory
effect. You can use any type of effects, from distor- Protect “Multi” setting. (☞p.88)
tions and compressors to choruses and reverbs. 3. Optionally, you can also select a new location,
The Insert Effect can be routed to the main out- or change the Multi set’s name or category.
puts, or to any of the individual outputs. (☞p.84)
Effect
press the ClickPoint center to open the text edit
Master Effects dialog box.
You can make master effect settings in the MULTI You can give the Multi set a descriptive name
Global
9: MasterFX page. using the on-screen keyboard. (☞p.112)
There are two Master Effects, which are accessed After entering the name, press [MENU/OK]
through Sends 1 and 2. These are best-suited to button.
Arpeggiator
effects such as reverbs and delays, but you can use
you to the main Write dialog.
4. In the Write Multi dialog box, press the
Master EQ [MENU/OK] button to write (save) the
program. Drum Kit
You can make master EQ settings in the MULTI 9:
MasterFX page. 5. A message will ask you for confirmation. If you
are sure you want to write the program, press
the [MENU/OK] button once again.
(MAIN OUTPUT) L/MONO and R outputs. Use it
The multi will be written (saved).
to adjust the overall tone. (☞p.85)

Appendices
75
After Touch (Poly After)

Control via MIDI Control Change
Exclusive Message
Multi mode enables the X50 to function as a MIDI
tone generator that is controlled from the con-
nected computer to play ensemble music consist- Tempo*
ing of multiple instrument parts. This mode also
permits you to use the X50 as a GM tone genera- * You can record tempo as performance data by
tor. adjusting it while you realtime-record onto an
external MIDI sequencer. By receiving this data,
you can change the setting of the multi set during
Parameters and performance data the playback.
A multi set consists of tracks 1–16, parameters
such as the multi set name, effect and arpeggiator ** You can use performance data (MIDI RPN data)
parameters, and a tempo setting. to change the settings of a multi set during play-
back.
You can store 128 of these multi sets in the X50.
Other parameters: By editing the settings during
Tracks 1–16 consist of the following “setting realtime recording, you can record the corre-
parameters,” and will transmit and receive the sponding MIDI exclusive messages as perfor-
“performance data” listed below. mance data on your external MIDI sequencer. This
gives you a way to change the settings of the multi
MIDI tracks 1–16 set during playback. (GLOBAL 1: MIDI, MIDI Fil-
Setup parameters ter “Exclusive” must be checked.)
Bank/Program No.*, Pan*, Volume*, Status, MIDI
• For details on Control Change messages and
Channel, Bank Select (When Status=EX2), Force
RPN (☞PG p.172, 175).
OSC Mode, OSC Select, Portamento*, Transpose**,
Detune**, Bend Range**, OSC On/Off Ctrl, Delay, • For details on MIDI System Exclusive messages
Use Program's Scale, MIDI Filter, Key Zone, Veloc- (☞PG p.176).
ity Zone, Track Name, IFX/Indiv.Out BUS Select,
Send1(MFX1)*, Send2(MFX2)* Default Settings in Multi Mode
The following table shows the default settings for
Performance data Multi mode that are automatically selected, when
Note On/Off GM Initialize is executed, or when the X50
Program Change (including Bank Select) receives a GM ON messages (F0 7E 7F 09 01 F7).
Pitch Bend
Parameter Track1–9, 11–16 Track10

0 Program Select G001: Acoustic Piano g001: (d): STANDARD Kit
Pan C064 C064
Volume 100 100
2 Status – – The setting remains unchanged
Use Program’s Scale – – The setting remains unchanged
7 Arpeggiator Assign – – The setting remains unchanged
Other Arpeggiator parameters – – The setting remains unchanged
8 IFX/Indiv.Out BUS Select L/R DKit
Send1(MFX1) 0 0
Send2(MFX2) 40 40
IFX – – The setting remains unchanged
Pan(CC#8) – – The setting remains unchanged
BUS Select – – The setting remains unchanged
Send1 – – The setting remains unchanged
Send2 – – The setting remains unchanged
Other Insert Effect parameters – – The setting remains unchanged
9 MFX1 – – 16: St. Chorus
MFX2 – – 53: Rev Smth. Hall
Return1 – – 127
Return2 – – 050
Other Master Effect and Master EQ parameters – – Default settings
76
Control via MIDI
Quick Start
Selecting a multi set MIDI control from the X50’s control-
Introduction
You can switch multi sets via MIDI by sending lers
MIDI Song Select messages. A song select message If the “Status” is INT or BTH, playing the key-
will be transmitted when you switch multi sets. board or operating the controllers on the “Control
Conversely, you can switch multi sets by receiving Track” will play/control the X50’s tone generator
a song select message from the source you specify. with the settings (program, level, etc.) of the
If the Global “Multi Mode” is set to “for Master,” selected track, and any other track set to the same
Setup
switching the multi set number will cause each MIDI channel will also sound at this time. If the
track with a “Status” of EXT, EX2 or BTH to trans- “Status” is EXT, EX2, or BTH, these messages will
mit bank select, program change, volume, pan, be transmitted on the MIDI channel specified for
portamento, send 1 and 2, post-IFX pan, and post- that track.
Program
IFX send 1 and 2 messages on the channel speci-
For more about the MIDI messages transmitted
fied for that track.
when you operate the X50’s controllers, and the
Switching the program assigned to a (Dynamic Modulation Source) that correspond to
Combination
each MIDI message, see “MIDI transmission when
track via MIDI the X50/microX’s controllers are operated” (☞PG
• Receiving MIDI program change messages to p.166).
select programs: (☞p.39 “Using MIDI program
change messages to select programs”)
Other MIDI control
Multi
Note: In order to select programs via MIDI
program changes, the track’s “Status” must be For details on how the X50 operates when trans-
set to INT. mitting or received control change messages, see
The MIDI channel of a track is specified by MULTI “MIDI transmission when the X50/microX’s con-
2: Track Param, MIDI “MIDI Channel.” When a trollers are operated” (☞PG p.166). For more
Effect
program change is received on a MIDI channel about MIDI in general, see “MIDI applications”
that matches the channel setting of a track, the (☞PG p.171).
program will change if the “Status” of that track is
INT. However, program changes for a track will
Global
also depend on the “Program Change” setting.
The “Status” setting is located in the MULTI 2:
Track Param, MIDI page, and the “Program
Change” setting is in the MULTI 3: MIDI Filter1, -1
Arpeggiator
page.
If you’ve installed the included “X50 Plug-In Edi-
tor” control plug-in into your DAW software, you
can conveniently select the X50 programs from a
list within your DAW. For more details, see “Edi- Drum Kit
tor/Plug-In Editor Manual” (PDF).
Appendices
77
78
Quick Start
Effects settings
Introduction
The effect section of the X50 provides one insert MULTI 8: InsertFX
effect, two master effects, one master EQ (stereo • BUS and master effect send level settings for
3-band EQ), and a mixer that controls the routing each track.
of these components. • Insert Effect routing, selection and settings.
Setup
MULTI 9: MasterFX
Effects in each mode
Program
Send Return
Master Effect 1,2
OUTPUT
Timbre 1 / Track 1 Insert Effect Master EQ
L/MONO, R
Program mode Timbre 2 / Track 2
In Program mode, the insert effect can be used as Timbre 8 / Track 16
Combination
part of the sound-creating process, in the same
way that the output sound of the oscillator (OSC)
is processed by the filter and amp to create the
final sound. Then the master effects can be used to
apply spatial-type effects such as reverb. The ste-
Effect types
reo 3-band master EQ located immediately before You can choose from 89 types of full-digital effects
Multi
the (MAIN OUTPUT) L/MONO and R outputs is for each effect. The effects are categorized as fol-
used to make final adjustments in tone. These set- lows.
tings can be made independently for each pro- Categories of the 89 effect types
gram.
Effect No. Effect types
Effect
PROG 8: Ed–InsertFX
Filter and dynamics effects, such as EQ and
• Select the BUS and master effect send level for 01–15
compressor
the oscillator output.
Pitch and phase modulation effects, such as
• Insert Effect routing, selection and settings. 16–31
chorus and phaser
PROG 9: Ed–MasterFX
Global
Other modulation and pitch-shift effects such
• Master Effect selection and settings. 32–40
as rotary speaker and pitch shifter
• Master EQ settings. 41–51 Early reflection and delay effects
52–57 Reverb effects
Arpeggiator
Send Return
Master Effect 1,2
Oscillator Filter Amplifier Insert Effect Master EQ

OUTPUT Mono and mono-chain effects in which two
L/MONO, R 58–89
mono effects are connected in series
Here we will describe some representative effects

Combination mode, Multi mode in each category. Drum Kit
In Combination mode, and Multi mode, the

insert effect can be applied to each timbre/track. Filter and dynamics control effects
The master effects are used to apply overall spa-
Equalizers (07: St.Para.4EQ–08: St.Graphic7EQ)
tial processing, and the master EQ is used to make
divide the frequency range into several bands, and

overall adjustments in tone.
allow you to boost or cut the level of each band.
These settings are made in Combination mode
Normally they are used to correct or compensate
independently for each combination, and in Multi
the sound, but they can also be used to simulate
mode for each multi set the entire mode.
the frequency response that is typical of a particu-
COMBI 8: Ed–InsertFX lar instrument (such as the resonances of a guitar
• BUS and master effect send level settings for or string instrument).
each timbre.
Compressors (02: St.Compressor) compress the
• Insert Effect routing, selection and settings.
dynamic range of the input signal. Compression
COMBI 9: Ed–MasterFX makes the sound punchier and more consistent.
Appendices
• Master Effect selection and settings. This is particularly effective on guitar, piano, or
• Master EQ settings. drum sounds.
79
Effects settings
Limiters (03: St.Limiter–04: Mltband Limit) limit

the level of the input signal to a maximum level
Early reflection and delay effects
that you specify. Early reflection effect (41: Early Reflect) produces
Exciters (11: St.Exct/Enhcr) give the sound greater only the early reflections of a reverb effect. Using
clarity and definition. Enhancers sharpen the out- just these early reflections, you can add weight or
line of the sound, bringing it to the front of the spatial effects to a sound, such as reverberation.
mix. By using these appropriately, you can bring Without the reverberation, you can achieve a clean
out sounds that were unclear or easily lost in the effect sound.
mix. Delays (43: LCR Delay–51: Sequence Dly) create
Distortion (06: OD/HiGain Wah) distorts the an echo effect by delaying the sound for a fixed
sound. This simulates the distorted sound that is length of time. You can also make the delayed
typically created on a guitar by making the ampli- sound repeat (feed back).
fier distort the sound. It is often used not only on Level Dry sound
guitar sounds, but also on rock organ sounds.
Delay sound
Pitch/phase modulation effects

Chorus effects (16: St.Chorus–19: St.Ensemble, 26: Time
Delay time
St.BiphaseMod) are an effective way to add spa-
ciousness and thickness to any type of sound.
These are ideally suited for use with electric Reverb effects
pianos, strings, guitars, and so on. In an ensemble,
Reverb (52: Rev Hall–57: Rev Brt. Room) is an effect
pitch variations between instruments create a rich,
that creates the spacious reverberation of sounds
slightly warbling sound. Essentially, this gives the
played in a hall or room. Reverb simulates the
impression that a number of musicians are playing
sounds that are reflected from the ceiling and wall.
together. The chorus effect simulates this. In stereo
performance, the stereo image is widened, thus When you hear music in a concert hall, the sound
creating a magnificent spatial ambience. from the instruments and voices reaches your ear
directly, but also reaches your ear after being
Flanger effects (20: St.Flanger–22: St.Env.Flanger)
reflected off the ceiling and walls (and being
add unique characteristics to a sound. Although
delayed by a corresponding length of time). In this
similar to chorus, a flanger uses a shorter delay
way, the direct sound (the “dry” sound) is joined
time and feeds some of the output signal back into
by numerous reflections that create the impression
the effect, creating a strong swell. Flangers work
of a large acoustical space. The way in which the
very well on sounds that contain a lot of harmon-
sound is reflected will depend on the materials of
ics, as well as on distorted guitar sounds.
the ceiling and walls, and also on the size and
Phasers (23: St.Phaser–25: St.Env.Phaser) cyclically shape of the hall. These factors also affect the way
modulate the phase of the sound. They are similar in which the reverberation decays. Different effect
to the chorus and flanger effects in that both use types let you simulate a broad range of reverbera-
modulation, but the manner in which the tonal tion, and you can also edit the parameters to make
quality changes is different. They are effective detailed changes to the character of the sound.
with electric piano, guitars, and synth sounds with
a reasonable sustain. Level Dry sound
Early reflections
Dry sound
Other modulation and pitch shift Sound
source
effects Reverb sound
Time
Rotary speaker effect (40: Rotary SP) simulates the Pre Delay
rotating speaker effect used in organs. It is ideal

for use with organ sounds, but it will also create a Effects that combine two mono
unique effect with other sounds.
effects connected in series
Pitch shifters (38: Pitch Shifter, 39: PitchShift Mod)
shift the pitch of the input signal. You can mix the These connect two mono effects in series. They
pitch-shifted sound with the original sound to cre- include a four-band parametric equalizer con-
ate a chorus effect, or create special effects in nected in series with some other effect (e.g.,
which the pitch continues to rise (or fall). exciter, chorus, delay), or a compressor connected
with another effect (of the types listed above).
80
Effect settings for a program
Quick Start
Introduction
Routing
The structure of the insert effect, master effects, 1, 2, 1/2: The output will be sent to
and master EQ is the same in each mode. How- (INDIVIDUAL OUTPUT) 1 or 2. (See diagram
Setup
ever, the routing will determine how the oscillator below)
output of the program is sent to the insert effect Note: It will not be sent to the insert effect, the
and the master effects. As an example, here’s how master effects, or the master EQ.
to specify the routing and make effect settings in
Program mode.
Program
1. Access the PROG 8: Ed–InsertFX, BUS page.
2. Set “BUS Select (All OSCs)” to specify where
the oscillator output will be sent.
Combination
L/R: The output will be sent to (MAIN Off: The sound will not be sent to (MAIN
OUTPUT) L/MONO and R. (See diagram OUTPUT) L/MONO, R, (INDIVIDUAL
below) OUTPUT) 1 and 2. After passing through the
Note: After passing through the master EQ, the master effects, the sound is sent to the MAIN
sound will be sent to (MAIN OUTPUT) L/ OUTPUT. Choose this setting if you want to
MONO and R. send the sound in series through the master
Multi
effects at the send level specified by “MFX
Send.” (See diagram below)
Effect
IFX: The output will be sent to insert effect IFX.
(See diagram below)
Global
BUS Select (All OSCs) = L/R
PROG 8: Insert FX PROG 9: Master FX
IFX / Indiv.Out
Pan BUS Select Send1 Send2 L/R BUS
Arpeggiator
OSC 1
BUS Select
= L/R
OSC 2
Select from:
L/R
Post IFX Post IFX AUDIO OUTPUT
IFX
Insert Effect Pan(CC#8) BUS Select
stereo Master EQ (MAIN) L/MONO, R
1 Send1 / 2
2 stereo BUS Select
1/2 IFX BUS IFX = L/R
Off
Select from:
L/R
1
2
Drum Kit
1/2 Chain Master Effects Return1 / 2
Off
mono MFX1
stereo
mono MFX2
mono x 2 stereo
mono x2
AUDIO OUTPUT
(INDIVIDUAL)1/2
BUS Select (All OSCs) = IFX

IFX / Indiv.Out
OSC 1
BUS Select
= IFX
OSC 2
Select from:
L/R
IFX
1 Send1 / 2
2 stereo BUS Select
Off
Select from:
L/R
1
2
Off
Appendices
mono MFX1
stereo
mono MFX2
mono x 2 stereo
mono x2
AUDIO OUTPUT
(INDIVIDUAL)1/2
81
Effects settings
BUS Select (All OSCs) = 1/2

IFX / Indiv.Out
OSC 1
BUS Select
= 1/2
OSC 2
Select from:
L/R
IFX
1 Send1 / 2
2 stereo BUS Select
Off
Select from:
L/R
1
2
Off
mono MFX1
stereo
mono MFX2
mono x 2 stereo
mono x2
AUDIO OUTPUT
(INDIVIDUAL)1/2
BUS Select (All OSCs) = Off

IFX / Indiv.Out
OSC 1
BUS Select
= Off
OSC 2
Select from:
L/R
IFX
1 Send1 / 2
2 stereo BUS Select
Off
Select from:
L/R
1
2
Off
mono MFX1
stereo
mono MFX2
mono x 2 stereo
mono x2
AUDIO OUTPUT
(INDIVIDUAL)1/2
3. “MFX Send” specifies the send level from each 2. In “Insert Effect,” select the desired insert
oscillator to the master effects. effect.
This is valid only if “BUS Select (All OSCs)” is You can press the [CATEGORY] button and
set to L/R or Off. choose an effect from six categories.
If IFX is selected for “BUS Select (All OSCs),” 3. In “IFX On/Off,” turn the insert effect on/off.
the send level to the master effects is adjusted If this is set to Off, the result will be the same as
by the “Send 1 (MFX1)” and “Send 2 (MFX2)” if 00: No Effect is selected. The input sound
parameters (PROG 8: Ed–InsertFX, Setup page) will be output without change.
after the signal has passed through the insert
Note: You can use the Utility “Copy Insert
effect.
Effect” to copy effect settings from another
program, etc.
Selecting an insert effect, and rout- 4. Set the “Pan (CC#8),” “BUS Select,” “S1 (Send1
ing after the insert effect (MFX1)),” and “S2 (Send2 (MFX2))” parameters
that follow the insert effect.
1. Access the PROG 8: Ed–InsertFX, Setup page.
“Pan (CC#8)”: Set the pan. This is valid only if
The Setup page displays the state of the routing “BUS Select” is set to L/R.
and the insert effect settings. In this page you
“BUS Select”: Specify the output destination.
can also make “BUS Select” settings. Use the
Normally you will set this to L/R. If you want
ClickPoint to choose (All OSCs), and use the
to output the sound from (INDIVIDUAL
[VALUE] dial etc. to make a selection.
OUTPUT) 1 and/or 2, set this to 1, 2, or 1/2.
Insert Effect BUS Select Send2(MFX2)
“Send1 (MFX1),” “Send2 (MFX2)”: Set the
IFX On/Off Pan (CC#8) Send1(MFX1)
send level to the master effects. For this
example, set these to 127.
BUS Select IFX On Insert Effect
82
Quick Start
5. Move to the IFX page, and set the parameters of “Chain Direction” specifies the direction in
the effect that you selected for the insert effect. which MFX1 and MFX2 will be connected.
Introduction
“Chain Signal” specifies whether the signal
sent from one master effect to the other will be
stereo, or only L or R.
“Chain Level” specifies the level at which the
signal is sent from one master effect to the other
Setup
For details on the parameters of each effect, see PG master effect.
p.104–. Send1 Send2 L/R BUS
AUDIO OUTPUT
Master
MFX Chain Return1 / 2
Selecting master effects, and chain Effects
Program
=Off
mono MFX1
stereo
settings MFX2
mono
stereo
The input level of the master effect is determined
by the send level 1 and 2 settings (routing step 3, Send1 Send2 L/R BUS
Combination
or insert effect step 4). If send levels 1 and 2 are 0, stereo Master EQ
AUDIO OUTPUT
(MAIN) L/MONO, R
no master effects will be applied. Send level 1 is MFX Chain
Master
Effects Return1 / 2
=On
for MFX1, and send level 2 is for MFX2. mono MFX1
Chain stereo
Level
1. Access the PROG 9: Ed–MasterFX, Setup page. mono MFX2
stereo
Chain Signal Chain Direction
MFX1 On/Off Master Effect 1 Return1 Master EQ =LR Mix, =MFX1→MFX2
L Only,
Multi
MFX2 On/Off Master Effect 2 Return2 R Only
Send1 Send2 L/R BUS
AUDIO OUTPUT
Master
MFX Chain Effects Return1 / 2
=On
Effect
mono MFX1
Chain stereo
Level
mono MFX2
MFX Chain Chain Signal stereo
Chain Signal Chain Direction
=LR Mix, =MFX2→MFX1
Chain Direction Chain Level L Only,
R Only
2. In “Master Effect 1” and “Master Effect 2,” 6. Move to the MFX1 or MFX2 page, and set the
Global
select the type of each master effect. parameters of the effect that you selected as the
You can press the [CATEGORY] button and master effect.
choose an effect from six categories. For details on the parameters of each effect, see PG
Arpeggiator
Note: The input/output of the master effect is p.104–.
mono-in/stereo-out. Even if you select a stereo-
input type effect, the input will be monaural.
3. In “MFX1 On/Off” and “MFX2 On/Off,”
Master EQ
switch each master effect on/off. 1. Use the stereo 3-band master EQ to make final Drum Kit
If this is Off, the output of the master effect equalizing adjustments immediately before the
will be muted. sound is output from the (MAIN OUTPUT) L/
MONO and R jacks.
4. In “Return 1” and “Return 2,” adjust the output
level of each master effect. Set the Low, Mid, and High gain in the PROG 9:
Ed–MasterFX, Setup page. Low and High are

For each effect, the W value of “W/D” (Wet/ shelving-type, and Mid is a peaking-type
Dry) is the effect output level. This is adjustment. These settings are linked with the
multiplied by the return value (“Rtn”=127 is Low, Mid, and High “Gain” settings of the
x1.0) to determine the actual master effect Master EQ page. In addition to these settings,
output level. the Master EQ page also lets you specify the
5. Specify the routing of master effects 1 and 2. center frequency and bandwidth (Mid only) of
If the “MFX Chain” check box is checked, each band, and make settings for dynamic
MFX1 and MFX2 will be connected in series. modulation.
Appendices
The settings described below are valid if this

check box is checked.
83
Effects settings
OUTPUT. Choose this setting if you want to

Effect settings in combina- send the sound in series through the master
effects at the send level specified by “MFX
tion, and Multi Send.” (See diagram below)
3. “S1” (Send1(MFX1)), “S2” (Send2(MFX2))
specifies the send level from each timbre to the
Routing
master effects.
In Combination and Multi modes, you can specify
This can be set only if “BUS Select” is set to L/R
the routing of each timbre/track to the insert effect
or Off.
and master effects. These settings are made in the
same way in each of these modes. We will be using The actual send level will be the send level of
the example of Combination mode in our explana- each timbre multiplied by the send level of each
tion here. oscillator of the program selected for the
timbre. If the send level of a program is 0, the
1. Access the COMBI 8: Ed–InsertFX, BUS page.
actual level will be zero even if the send level
setting is raised here.
If IFX is selected for “BUS Select,” set the send
levels to the master effects by adjusting the “S1
(Send1(MFX1))” and “S2 (Send2(MFX2))”
parameters (COMBI 8: Ed–InsertFX, Setup
2. In “BUS Select,” specify where the output of page) located after the signal has passed
each timbre will be sent. (See diagram below) through the insert effect.
L/R: The output will be sent to (MAIN
OUTPUT) L/MONO and R.
Selecting an insert effect, and rout-
Note: After passing through the master EQ, the
sound will be sent to (MAIN OUTPUT) L/ ing after the insert effect
MONO and R. Insert Effect BUS Select Send2(MFX2)
IFX: The output will be sent to insert effect IFX. IFX On/Off Pan (CC#8) Send1(MFX1)
1, 2, 1/2: The output will be sent to

(INDIVIDUAL OUTPUT) 1 or 2.
Note: It will not be sent to the insert effect, the
master effects, or the master EQ.
Off: The sound will not be sent to (MAIN Routing IFX On Insert Effect
OUTPUT) L/MONO, R, (INDIVIDUAL
OUTPUT) 1 and 2. After passing through the The Setup page displays the state of the routing
master effects, the sound is sent to the MAIN and insert effect settings.
COMBI/MULTI 8: Insert Effect COMBI/MULTI 9: Master Effect
IFX / Indiv.Out
Timbre / Track 1 BUS Select

= L/R
= IFX
=1
= Off

= 1/2
AUDIO OUTPUT
Track 16 BUS Select
=2
Select from:
(DKIT)
L/R
IFX
Post IFX Post IFX
1 Insert Effect Pan(CC#8) BUS Select Send1 / 2
2 stereo BUS Select
Off
Select from:
L/R
1
2
1/2
Off Chain Master Effects Return1 / 2
mono MFX1
stereo
mono MFX2
mono x 2 mono x 2 stereo
AUDIO OUTPUT
(INDIVIDUAL)1/2
84
Dynamic modulation and BPM/MIDI Sync.
Quick Start
In this example, IFX is used by 2 (timbre 2) and 5
(timbre 5). Dynamic modulation and
Introduction
In the same way as for a program, you can select
the insert effect, turn it on/off, and set the “Pan
BPM/MIDI Sync.
(CC#8),” “BUS Select,” “S1” (Send 1 (MFX1)), and Dynamic modulation (Dmod) is a function that
“S2” (Send2 (MFX2)) parameters that follow the lets you use MIDI messages or the X50’s control-
insert effect. (☞p.82) lers to control specific effect parameters in real-
time.
Setup
BPM/MIDI Sync. is another function that controls
Master effects effect parameters, and is used to synchronize the
Master EQ LFO speed of modulation-type effects or the delay
time etc. of delay-type effects to the tempo of the
Program
These settings are made in the same way as for
programs (☞p.83). arpeggiator or an external sequencer.
Specifying the MIDI channel that will Using dynamic modulation to con-
Combination
control effects trol effects in realtime
These examples show how you can use dynamic
Insert effect modulation to control an effect parameter in real-
time.
You can specify the MIDI channel that will control
the insert effect dynamic modulation (Dmod) and 1. As described in the procedure for “Effect
Multi
the “Pan” (CC#8), “Send 1 (MFX1),” and “Send 2 settings for a program” (☞p.81), set “IFX” to
(MFX2)” settings that follow the insert effect. 49: LCR BPM Delay. Verify that a delay sound
is being output.
An asterisk “*” is shown at the right of Ch01–16
for the channel numbers of timbres that are routed Then continue on to set the items described
Effect
to IFX. If multiple timbres/tracks of different below.
MIDI channels are routed to IFX, set the “Control
Channel” to specify the channel you’ll use to con-
trol the effect.
Global
For a combination, you will normally use the Gch
(global MIDI channel) to control the effect.
For a multi set, you can use any MIDI channel that
is convenient. Moving the [MOD] wheel to vary the
Arpeggiator
“All Rt.” stands for All Routed, indicating that delay level via Dmod
you can control the effect using the channel of any 1. Access the PROG 8: Ed–InsertFX, IFX page.
timbre/track that is routed. 2. Set “InLvl Mod” to +100.
3. Set “Src” to M.Whl#1.
Master effects
Drum Kit
The [MOD] wheel will control the input level to
You can specify the MIDI channel that will control
the effect.
dynamic modulation (Dmod) for the master effects.
If this is set to M.Whl#1, moving the [MOD]
For a combination, you will normally use the Gch
wheel up will gradually increase the level of
(global MIDI channel) to control the effects.
the delayed signal.

For a multi set, you can use any MIDI channel that
is convenient.
Using the Dmod function and [SW1] to

vary the feedback level
Appendices
1. In the PROG 7: Ed–Arp/Ctrls, Controls page,

set the function of “SW1” to SW1 Mod.
(CC#80), Toggle.
85
Effects settings
time will change in synchronization to any

changes you make in the arpeggiator tempo.
If you rotate the REALTIME CONTROLS
knob [4] to change the tempo while the delay
is sounding, noise may occur in the delay
2. Return to the PROG 8: Ed–InsertFX, IFX page, sound. This is because the delay sound
and set the C Fb (C Delay Feedback) “(Source)” becomes discontinuous, and is not a
to SW1 #80. malfunction.
3. Set “(Amount)” to +30. For some effects, you can synchronize the
LFO frequency to the tempo. Set the effect
parameters “BPM/MIDI Sync” to On, and
“BPM” to MIDI. For details see PG p.160.
4. (Move the [MOD] wheel.) Press the [SW1]; the Saving edited effect settings
feedback level will increase, and the delay
Effect parameters that you edit in Program mode
sound will continue for an extended time.
are saved when you write the program. Similarly,
The “(Amount)” setting determines the effect parameters that you edit in Combination
feedback level when the [SW1] is pressed. If mode or Multi mode are saved when you write
you set “(Amount)” to –10 and press the [SW1], the combination or multi set. (☞p.45, 61, 75)
the feedback level will be 0.
Using the BPM/MIDI Sync. function Bypassing the insert effect or

to synchronize the delay time to the master effects
arpeggiator tempo changes.
Normally, you will switch the effects on/off indi-
The BPM/MIDI Sync. function lets you synchro- vidually for each program, combination, or multi
nize the delay time to the tempo of the arpeggio. set. However, you also have the option of bypass-
1. In the PROG 8: Ed–InsertFX, IFX page, set ing the insert effect or master effects for the entire
“BPM” to MIDI. X50 if you don’t want to use them.
2. For L, C, and R, set “L/C/R Bs” and “Times” as For example, this can be useful when you’re using
desired. an outboard effect such as reverb, chorus, or com-
For this example, set “L/C/R Bs” to and pressor to create an effect that you would other-
“Times” to 1 so that the effect will be easily wise create using the X50’s master effects, or when
understandable. The delay time will repeat at you’re using a plug-in effect on your computer to
an interval of a 8th note. process the sound of the X50 together with other
sound sources.
mode.
2. Access the GLOBAL 0: System, Basic page.
3. Set the realtime controller function to C-mode,

and rotate REALTIME CONTROLS knob [4]
(“TEMPO”).
(Move the [MOD] wheel.) Operate the knob;
the delay time will change. 3. Check the “IFX Off” check box if you want to
4. Turn on the [ARP ON/OFF] button to start the bypass the insert effect.
arpeggiator. Check the “MFX1 Off” dialog box if you want
Select an arpeggio pattern as desired. to bypass master effect 1, or the “MFX2 Off”
dialog box if you want to bypass master effect
(Move the [MOD] wheel.) When you rotate 2.
REALTIME CONTROLS knob [4], the delay
86
Quick Start
Global Mode
Introduction
How Global mode is struc- System setup 0: System
tured
Setup
In Global mode you can make overall settings that Basic Page
apply to the entire X50, such as master tuning, key
transpose, effect global switch, global MIDI chan-
nel, and system clock.
Program
In addition, you can create user drum kits, arpeg-
giator, and scales, make settings for the damper
pedal and assignable foot switches/pedals, and
specify category names for programs and combi-
Combination
nations. Tuning to another instrument/Trans-
Global mode page structure posing
• Basic settings for the entire X50 “Master Tune” adjusts the overall pitch. Edit this
0: System • Controller settings for the pedals etc. setting when you are playing the X50 with other
connected to the rear panel instruments, or when playing along with music on
Multi
1: MIDI • MIDI-related settings for the entire X50 CD or tape. You can adjust the pitch in a range of
• User registered scale settings. ±50 cents (one semitone = 100 cents). If this is at 0,
2: User Scale Specify 16 octave scales, and one all- middle A is tuned to 440 Hz.
note scale.
“Key Transpose” shifts the pitch in semitone steps.
• Edit category names for programs and Edit this setting when you want to transpose the
Effect
3: Category Name
combinations sound of the entire X50. You can adjust the trans-
4: DKit • Edit drum kits position in a range of ±1 octave.
5: Arp.Pattern • Edit user arpeggio patterns.
Global
For details on how to access each page, tab or util-
Adjusting the way in which velocity
ity command, and how to edit the values, see will affect the volume or tone
“Basic operations” (☞p.19). You can adjust the way in which changes in veloc-
Arpeggiator
The edits you perform in Global mode will be ity will affect the volume or tone by selecting dif-
preserved until you turn off the power is ferent velocity curves. Each curve has its own
turned off, but will be lost when the power is character, so you can select the curve that is appro-
turned off. Three types of data are handled in priate for your own playing dynamics, playing
Global mode: user drumkit settings (GLOBAL style, and the effect that you wish to obtain. (☞PG
4), arpeggiator settings (GLOBAL 5), and all p.76)
Drum Kit
other global settings (GLOBAL 0–3). You into “Velocity Curve” selects the velocity curve.
its own memory area.
Note that Compare can’t be used in Global
Bypassing the effects
mode.
If the FX SW “IFX Off,” “MFX1 Off,” and “MFX2
Off” boxes are checked, the insert effect, master
effect 1, and master effect 2 will respectively be
bypassed. This applies to the entire X50 regardless
of the mode. For example, if you’ve connected the
X50’s outputs to an external mixer and are using
an external effect processor to apply reverb or cho-
rus to the sound, you can turn off the X50’s master
effects.
Appendices
87
Global Mode
Linking the arpeggiator to programs Foot Page

and combinations
You can specify whether the arpeggiator settings
written to a program or combination will also be
selected when you select that program or combi-
nation, or whether the arpeggiator settings will
remain in their current state when you switch the
program or combination.
Specifying the function of the
When the X50 is shipped from the factory, the
former setting is selected. You can use the latter ASSIGNABLE Switch and ASSIGN-
setting if you want to use the same arpeggiator ABLE Pedal
settings to generate phrases and patterns while
you select and try out different programs and Assignable Switch
combinations. Foot SW Assign lets you assign a function to a
If the Auto Arp. “Program” or “Combination” footswitch, such as the optional Korg PS-1, con-
boxes are checked, selecting a program or combi- nected to the rear-panel ASSIGNABLE SWITCH
nation respectively will also select the arpeggiator jack.
settings that are written in that program or combi- • This is set by “Foot SW Assign.”
nation.
You can choose from the following functions:
Alternate modulation source
Effect dynamic modulation source
Switch portamento on/off
Preference Page Control the sostenuto effect
Turn the soft pedal effect on/off
Arpeggiator on/off
Select programs or combinations (up/down)
Tap tempo
Aftertouch transmission
The functions of controllers such as the [MOD]
wheel or knobs [1]–[4]. (☞PG p.164)
Recalling the last-selected mode and
page at power-on Assignable Pedal
The state of X50 when the power is turned on will You can specify the function of an assignable
depend on the setting of “Power On Mode”. pedal, such as the optional XVP-10 EXP/VEL
pedal or EXP-2 foot controller, connected to the
If “Power On Mode” is set to Reset (factory set-
ASSIGNABLE PEDAL jack.
ting), X50 will automatically select the Combina-
tion mode 0: Play. • This is set by “Foot Pedal Assign.”
If “Power On Mode” is set to Memorize, X50 will You can choose from the following functions:
power on using the same mode and page that Master volume
were selected when the power was previously Alternate modulation source
turned off. Effect dynamic modulation source
Portamento pitch change speed
Volume
Protecting the memory The pan following an insert effect
Pan
If one or more of the “Memory Protect” boxes are
Expression
checked, operations such as writing, loading etc.
Send levels to the master effects
will be prohibited for the corresponding type of
Aftertouch transmission
memory.
Duplicate the function of another controller,
If you want to edit and write (save) settings, you’ll such as the [MOD] wheel or knobs [1]–[4]
need to uncheck this box. In order to load the pre- (☞PG p.165)
loaded data, you’ll first need to uncheck the Mem-
ory Protect box for the data you want to load.
88
MIDI-related settings 1: MIDI
Quick Start
Note: You can use this as a source for alternate
modulation or effect dynamic modulation, and Creating user scales
Introduction
use it to control program parameters or effect
parameters. In this case, set “Foot SW Assign” to 2: User Scale
Foot SW (CC#82), and “Foot Pedal Assign” to Foot
Pedal (CC#04).
Creating an original scale, and
assigning it to a Program
Setup
MIDI-related settings 1: MIDI On the User Scale page, you can create your own
original scales. These include sixteen different
User Octave Scales, in which the pitch of each note
of the octave is repeated for all octaves, and one
Program
User All Note Scale, in which the pitch of each of
the 128 notes can be specified independently.
By adjusting the pitch of each key in the range of
±99 cents, you can raise or lower it by approxi-
Combination
mately one semitone relative to the normal pitch.
MIDI Setup, MIDI Filter The user scales you create here can be used by
Here you can make MIDI-related settings for the specifying the scale for a program, for each timbre
entire X50, such as the global MIDI channel and of a combination, or for each track of a Multi set.
the MIDI clock setting. You can also use the utility
You can choose these scales from the following
Multi
commands of this page to transmit MIDI System
pages.
Exclusive data dumps. (☞PG p.81)
Mode Page
Program 1: Ed–Basic, Program Basic
Combination 2: Ed–TimbreParam, Other
Effect
Multi 2: Track Param, Other
Here’s how to set the scale type for each track in

Multi mode.
Global
1. Create a user octave scale or a user all notes
scale.
Select a key, and use the VALUE controllers to Arpeggiator

Drum Kit
adjust the pitch. The range of ±99 raises or
lowers the pitch approximately one semitone
above or below the standard pitch.
Note: You can also select a key by holding down
the [ENTER] button and playing the desired

note on the keyboard.
Note: You can copy one of the preset scales and
edit it to create an original scale. To do so, use
the “Copy Scale” utility.
2. Press the [MULTI] button to enter Multi mode.
3. Press the [MENU/OK] button, choose “Track
Param” from the “PAGE MENU,” and then
press the [PAGE+] button to access the 2: Track
Appendices
Param, Other page.
89
Global Mode
Saving the global settings

When you’ve finished editing in the Global mode,
you’ll need to write (save) your settings.
The edits you perform will be lost when the
4. If you want the Track to use the scale saved power is turned off, unless you save them.
with its individual Program, check the track’s
“Use Prog’s Scale” check box. 1. Select one of the GLOBAL 0: System–3:
Category Name pages.
Tracks that are not checked will use the scale
specified by Scale “Type” (Multi’s Scale). 2. Press the [UTILITY] button to access the utility
menu, and choose “Write Global Setting.”
5. Set “Type” (Multi’s Scale) to select the scale for
the currently selected song. 3. To write (save) your settings, press the
[MENU/OK] button.
A dialog box will ask you to confirm that you
want to write the settings.
Setting category names 4. Press the [MENU/OK] button to write your
3: Category Name settings, or press the [EXIT/CANCEL] button if
you decide not to write.
The global settings will be written (saved).
Program, Combination Category
The Category Name pages let you assign names to
the Program, and Combination categories. (☞PG
p.86)
Drum kit 4: DKit,
Arpeggiator 5: Arp.Pattern
settings
Here you can make drum kit, and arpeggiator set-
tings.
See the corresponding page listed below.
☞p.107 “Using Drum Kits”
☞p.91 “Arpeggiator settings”
90
Quick Start
Arpeggiator settings
Introduction
The arpeggiator is a function that automatically
generates arpeggios (playing the notes of the Arpeggiator features in
chord individually, with a constant tempo). Most
arpeggiators produce an arpeggio when you play Program mode
Setup
a chord on the keyboard.
Using the arpeggiator in Program

mode
Program
1. Press one of the [PROG] button. (The button
will light.)
The chord you play on
the keyboard is sounded Program mode is selected. (☞p.37 “Selecting
as an arpeggio programs”)
Combination
(individual notes)
As you select various programs, you will notice
that the [ARP ON/OFF] button will light for
In addition to this, the X50’s arpeggiator is a poly- some programs. Play the keyboard of the X50
phonic arpeggiator that is able to produce a vari- and the arpeggio will start.
ety of chordal transformations or phrases based on For other programs, you can press the [ARP
Multi
the pitch or timing of the notes you play on the ON/OFF] button (the button will light) to turn
keyboard. These functions let you use the arpeg- on the arpeggiator. Arpeggios will begin
giator to play a wide range of patterns including sounding when you play the keyboard.
drum or bass phrases, and guitar or keyboard
backing riffs. It is also effective to use the arpeg- 2. As described in the following sections
Effect
giator as part of the sound-creating process when “Arpeggio controllers” and “Editing arpeggio
creating subtly-moving pads, synth-sounds, or settings that appear in the display” (☞p.92),
sound effects. move the controllers or modify the parameters
to change the way in which the arpeggios are
In Program mode you can use one arpeggiator. played.
Global
In Combination mode and Multi mode, the X50
features a Dual Polyphonic Arpeggiator that lets
you simultaneously use two arpeggio patterns. Arpeggio controllers
You can take advantage of this in many ways,
Arpeggiator
such as applying separate arpeggio patterns to a
drum program and a bass program, or using key- Arpeggiator on/off (ARP ON/OFF)
board zones or velocity splits to switch between • Each time you press the [ARP ON/OFF] but-
two arpeggio patterns. ton, the arpeggiator will be switched on/off.
When this is on, the button will light, and
UP,
playing the keyboard will start the selected
Drum Kit
DOWN,
ALT1, Preset arpeggio patterns arpeggio pattern.
ALT2,
RANDOM [SELECT] button: C
With the factory settings, this contains a variety
of preloaded user arpeggio patterns. You can

U000–250
create and write your own user arpeggio
patterns.
[ARP ON/OFF] button Knobs [1]–[4]

Appendices
91
Adjusting the arpeggiator tempo Adjusting the level of the arpeggiated

(TEMPO) notes (ARP-VELOCITY)
1. Press the REALTIME CONTROLS [SELECT] 1. Press the REALTIME CONTROLS [SELECT]
button to make the right “C” LED light. button to make the right “C” LED light.
2. Rotate the [4] (TEMPO) knob to adjust the 2. Rotate the [2] (ARP-VELOCITY) knob to adjust
tempo. The “ =” value in the upper right of the the strength (or level) of the arpeggiated notes.
display will change. Rotating the knob toward the left will make the
You can set this in the range of 40–240. The LED notes weaker, and rotating the knob toward the
located above the [4] knob blinks at quarter-note right will make the notes stronger. At the center
intervals of the timing you specify. position (12 o’clock), the velocity will be as
You can also set the timing from within the specified by the program parameter “Velocity”
display. You can use the ClickPoint to select (7: Ed–Arp/Ctrls, Setup page).
“ =”, use numeric buttons [0]–[9] to enter the Note: You can control the tone effectively by
tempo, and then press the [ENTER] button, or simultaneously adjusting the REALTIME
you can hold down the [ENTER] button and CONTROLS A-mode [1] (LPF CUTOFF), [2]
turn the [VALUE] dial to specify the tempo. (RESONANCE/HPF), and [3] (EG-
Alternatively, you can use the [VALUE] dial or INTENSITY) knobs.
[INC][DEC] buttons to specify the tempo. The
LED will blink at the specified tempo. Changing the length of the arpeggio
Note: You can also set the tempo by tapping the pattern (ARP-LENGTH)
[ENTER] button at the desired timing.
Alternately, you can set the tempo by pressing a
button to make the right “C” LED light.
separately sold PS-1 foot switch that is
connected to the PEDAL jack (when “Foot SW 2. Turn the [3] (ARP-LENGTH) knob to change
Assign” is set to Tap Tempo). the length of the arpeggio pattern.
Note: The arpeggio playback speed is affected At the center position (12 o’clock), the length
by the “Reso (Resolution)” setting (0: Play, Arp. will be the same as the arpeggiator’s “Lgth
Play page, 7: Ed–Arp/Ctrls, Setup page). (Length)” setting (7: Ed–Arp/Ctrls, Setup
page). Turn the knob toward the left to shorten
If “MIDI Clock” (GLOBAL 1: MIDI) is set to
the pattern, or toward the right to lengthen the
Ext-MIDI or Ext-USB, or set to Auto and MIDI
pattern. The arpeggio pattern will play
clock messages are being received from an
repeatedly for the number of times specified by
external device, the display will indicate “ =”
LENGTH. Changing this value will change the
EXT. This lets you synchronize the tempo
character of the pattern.
with an external MIDI device. In this case you
won’t be able to adjust the tempo on the X50. Note: This has no effect for the preset patterns
(UP, DOWN, ALT1, ALT2, RANDOM).
Adjusting the length of the arpeggiated
Saving your settings
notes (ARP–GATE) The [ARP ON/OFF] button on/off status together
1. Press the REALTIME CONTROLS [SELECT] with the REALTIME CONTROLS knob and key
button to make the right “C” LED light. settings are saved when you write the program,
2. Rotate the [1] (ARP-GATE) knob to adjust the combination, or multi-set.
duration of the arpeggiated notes.
Rotating the knob toward the left will shorten
the notes, and rotating it toward the right will
Editing arpeggio settings that
lengthen the notes. At the center position (12 appear in the display
o’clock), the note length will be as specified by You can make arpeggiator-related settings in the
the program parameter “Gate” (7: Ed–Arp/ PROG 0: Play, Arp. Play page or in the PROG 7:
Ctrls, Setup page). Ed–Arp/Ctrls, Setup and Zone pages. The 0: Play,
Note: You can control the effect by Arp. Play page contains selected parameters
simultaneously adjusting the REALTIME (taken from the 7: Ed–Arp/Ctrls, Setup page) that
CONTROLS A-mode [4] (EG-RELEASE) knob. are particularly effective for editing during a per-
formance. However, parameters other than
“Swing” can be controlled as described in “Arpeg-
gio controllers” (☞p.91).
92
Arpeggiator features in Program mode
Quick Start
Preset-2: ALT1
Introduction
ALT1
Setup
Preset-3: ALT2
ALT2
Program
Editing in the PROG 0: Play, Arp. Play
page
• Access the PROG 0: Play, Arp. Play page.
Combination
Selecting an arpeggio pattern (Pattern)
An arpeggio pattern can be selected from preset Preset-4: RANDOM
arpeggio patterns Preset-0–Preset-4 and user
arpeggio patterns U000–250. With the factory set-
RANDOM
tings, U000–250 contain a wide variety of preload
user arpeggio patterns.
Multi
• Use the ClickPoint to select “Pattern,” and use
the [VALUE] dial or the [INC][DEC] buttons to
select an arpeggio pattern. You can also select a
user arpeggio pattern by using numeric but-
Effect
tons [0]–[9] to enter a pattern number and then U000–U250
pressing the [ENTER] button. With the factory settings, various arpeggio pat-
The way in which the pattern is played will terns are preloaded. These include a variety of pat-
depend on settings such as “Octave” and “Sort.” terns such as drum or bass phrases, or guitar or
keyboard backing riffs.
Global
Preset-0–Preset-4 in the following diagrams show
how the arpeggio will be played when “Octave” is
set to 1, and “Sort” is checked. Preset-4: RAN- Changing the timing value of the arpeg-
DOM is one possibility. giated notes (Resolution)
Arpeggiator
Preset-0: UP Use “Reso (Resolution)” to specify the spacing
between the arpeggiated notes in a range of – .
UP • Use the ClickPoint to select “Reso,” and then
use the [VALUE] dial or the [INC][DEC] but-
tons to specify the spacing between the Drum Kit
arpeggiated notes.
Selecting the octave range of the arpeg-

giated notes (Octave)
Preset-1: DOWN
Use “Octave” to specify the octave range in which
the arpeggio is produced.
DOWN
• Use the ClickPoint to select “Octave,” and use
the [VALUE] dial or the [INC][DEC] buttons to
specify the octave range in which the arpeggio
is produced.
Appendices
93
Octave: 4 Checked: The arpeggio will continue playing

UP
even after you remove your hand from the
keyboard.
Unchecked: The arpeggio will stop playing
when you remove your hand from the
keyboard.
Synchronizing the arpeggiator to your

keyboard timing or to the tempo (Key
Sync.)
“Key Sync.” specifies whether the arpeggio pat-
tern will begin the moment you play the key-
Note: If a user arpeggio pattern is selected, the board, or always follow the tempo in
“Octave Motion” setting (GLOBAL 5: Arp.Pattern, synchronization with the MIDI clock.
Setup page) will affect the way in which the • Use the ClickPoint to select the “Key Sync.”
arpeggio is played. check box, and press the center.
Checked: When you take your hands
Selecting the playback order of the completely off of the keyboard, the arpeggio
arpeggiated notes (Sort) pattern will immediately start over from the
“Sort” is different than selecting the arpeggiator beginning in sync with the first key you press.
pattern. “Sort” specifies whether the notes of the This setting is suitable when you want the
arpeggio will be sounded in order of their pitch arpeggio to start from the beginning of the
(regardless of the order in which they were measure as you are playing in realtime.
played) or in the order in which you played them. Unchecked: The arpeggio will always be
• Use the ClickPoint to select the “Sort” check synchronized to the MIDI clock tempo.
box, and press the center.
Checked: the arpeggio will sound each note in Selecting whether to hear the arpeggi-
the order of its pitch, regardless of the order in ated notes, the notes you physically
which you actually played the notes.
play on the keyboard, or both. (Key-
Unchecked: the arpeggio will sound each note
board)
in the order in which you actually played the
• Use the ClickPoint to select the “Keyboard”
notes.
check box, and press the center.
Sort
Checked: The notes you play on the keyboard
OFF, UP and the notes played by the arpeggiator will
both sound.
Sort Unchecked: Only the arpeggiated notes will
ON, UP sound.
Editing in the PROG 7: Ed–Arp/Ctrls,

Setup page
See the preceding section for details on parame-
ters that can also be set from the PROG 0: Play,
Arp. Play page. Here we will explain the remain-
Letting the arpeggio continue playing ing parameters.
even after you take your hand off the • Access the PROG 7: Ed–Arp/Ctrls, Setup page.
keyboard (Latch)
“Latch” specifies whether the arpeggio will con- Setting the duration of the arpeggiated
tinue playing even after you take your hand off notes (Gate)
the keyboard, or stop playing when you take your “Gate” lets you specify the duration (gate time) of
hand off the keyboard. the arpeggiated notes. If a user arpeggio pattern is
• Use the ClickPoint to select the “Latch” check selected, you can set this to Step. In this case, the
box, and press the center. value of the “Gt” setting for each step (GLOBAL 5:
Arp.Pattern, Edit page) will be used.
94
The arpeggiator in Combination and Multi modes
Quick Start
Note: This value will be in effect when the ventionally along with the arpeggio sounded by
REALTIME CONTROLS C-mode [1] (ARP-GATE) the B3 and lower keys. To change the arpeggio,
Introduction
knob is in the center position (12 o’clock). Be sure play keys in the range of B3 and below.
that the knob is in the center position when you
make this setting. Specifying the range of velocities in
which the arpeggiator will operate (Vel
Setting the velocity of the arpeggiated Btm, Vel Top)
notes (Velocity)
Setup
“Vel Btm,” “Vel Top”: The arpeggiator will oper-
“Velocity” lets you specify the velocity of the ate when you play notes with a velocity (playing
arpeggiated notes. If this is set to Key, the velocity strength) that is within the specified range. Notes
with which you actually played the note will be played with a velocity outside this range will be
used. If a user arpeggio pattern is selected, you
Program
sounded normally, without regard to the arpeg-
can set this to Step. In this case, the value of the giator on/off.
“Vel(Velocity)” setting for each step (GLOBAL 5:
Arp.Pattern, Edit page) will be used.
Note: This value will be in effect when the Writing (saving) the arpeggiator set-
Combination
REALTIME CONTROLS C-mode [ARP- tings
VELOCITY] knob is in the center position (12
Arpeggio parameters you edit in Program mode
o’clock). Be sure that the knob is in the center
are saved along with the data when you write the
position when you make this setting.
program. For details on how to write, see “Saving
Note: When a preload user arpeggio pattern is your edits” (☞p.45).
Multi
selected, setting the “Gate” or “Velocity” to Step
will add a sense of groove to the arpeggio pattern.
Linking the arpeggiator to a program
Making the arpeggio pattern “shuffle” You can specify whether the arpeggio settings writ-
Effect
(Swing) ten in a program will also be selected when you
“Swing” modifies the timing of the even-num- switch to that program, or whether the existing
bered arpeggiated notes, letting you give a “shuf- state of the arpeggiator will be maintained. With
fle” character to the pattern. the factory settings, the former setting is selected. If
you want to use the latter setting, check Program in
Global
Editing in the PROG 7: Ed–Arp/Ctrls, Scan- “Auto Arp” (GLOBAL 0: System, Basic page).
Zone page
• Access the PROG 7: Ed–Arp/Ctrls, ScanZone
Arpeggiator
page. The arpeggiator in Combina-
tion and Multi modes
In Combination and Multi mode, the X50 provides
dual polyphonic arpeggiator functionality that Drum Kit
lets you use two arpeggio patterns simulta-
neously. The settings in each of these modes are
made in the similar way.
Specifying the range of notes in which
As an example, the following explanation shows
the arpeggiator will operate (Key Btm,
how to make settings in Combination mode.

Key Top)
“Key Btm,” “Key Top”: The arpeggiator will oper-
ate when you play keys within the specified range. Using the arpeggiators as you play in
Keys outside of this range can be played in the Combination mode
normal manner, and will not be affected by the
arpeggiator on/off. 1. Press a [COMBI] button. (The button will light.)
For example if you set “Pattern” to Preset-0: UP, You will enter Combination mode. (☞p.57
check “Latch,” set “Key Top” to B3, and “Key “Selecting combinations”)
Btm” to C-1, playing a note B3 or lower will trig- As you select various combinations, you will
Appendices
ger the arpeggiator. Since “Latch” is on, the arpeg- notice that the [ARP ON/OFF] button will light
gio will continue even after you release the keys. for some combinations. When you play a key
You can use the C4 and higher keys to play con- on the keyboard, the arpeggiator will start.
95
For other combinations, you can press the [ARP Select the arpeggiator(s) that will run
ON/OFF] button (the button will light) to turn Use the “Arpeggiator Run” check boxes to specify
on the arpeggiator. the arpeggiator(s) that you want to run. The
In Combination and Multi set, depending on arpeggiator(s) that are checked here will operate
the arpeggiator A, B settings, the arpeggio when the [ARP ON/OFF] button is on.
may not start when you press the [ARP ON/ However, the arpeggiator will play a timbre only
OFF] button to turn it on. (☞p.96 “Select the if the table displayed beside the check boxes
arpeggiator(s) that will run”) assigns arpeggiator A or B to a Timbre 1–8. These
2. As described in “Arpeggio controllers” (☞p.91) settings are made in COMBI 7: Ed–Arp/Ctrls,
and in “Editing arpeggio settings that appear in Setup page “Assign” (☞p.97).
the display” (below), operate the controllers or
edit the parameters to hear how the arpeggio Arpeggiator-A, Arpeggiator-B
changes. For each arpeggiator A and B, you can make set-
Note: The [ARP ON/OFF] button and the tings for “Pattern,” “Reso (Resolution),” “Octave,”
REALTIME CONTROLS C-mode [1] (ARP-GATE), “Sort,” “Latch,” “Key Sync,” and “Keyboard.”
[2] (ARP-VELOCITY), [3] (ARP-LENGTH), and [4] (☞p.92)
(TEMPO) knobs are valid for both arpeggiators A
and B. Their state will be memorized when the Checking the structure of a user arpeg-
combination is written. gio pattern
Let’s see how arpeggiators of the combination is
constructed.
Editing arpeggio settings that
1. Select combination C053: Echo Jamm, and look
appear in the display at the Arp. Play A page and Arp. Play B page.
You can make arpeggiator-related settings in the
COMBI 0: Play, Arp. Play A and B pages or in the
COMBI 7: Ed–Arp/Ctrls page. The 0: Play, Arp.
Play A and B pages contain selected parameters
(taken from the 7: Ed–Arp/Ctrls, Arp. A and B
pages) that are particularly effective for editing
during a performance. However, parameters other
than “Swing” can be controlled as described in
“Arpeggio controllers” (☞p.91).
With the following exceptions, the display settings
in the 0: Play, Arp. Play A and B pages are essen-
tially the same as for a program. • As you can see from the “Timbre Assign” table
1. Access the COMBI 0: Play, Arp. Play A page, in the upper right, arpeggiator A is assigned to
and make settings for arpeggiator A. timbre 4 and 8, and arpeggiator B is assigned to
timbre 2. When you play the keyboard, the Dr-
2. Access the COMBI 0: Play, Arp. Play B page,
BigBeats 2 arpeggio pattern will play the pro-
and make settings for arpeggiator B.
gram B084: Drum’n’Bass Kit of timbre 4. The
Arpeggiator A/B Arpeggiator Run Timbre Assign Gt-Stab Rhythm arpeggio pattern will play the
program B108: Funkin’ Guitar of timbre 2.
• If you uncheck “Arpeggiator Run A” or
“Arpeggiator Run B,” the unchecked arpeggia-
tor will stop.
If you check it once again and play the
Arpeggio Pattern keyboard, the arpeggiator will begin running.
• Look at the COMBI 7: Ed–Arp/Ctrls, Scan
Zone page, and you will see that the A keys
“Btm” and “Top” are set so that arpeggiator A
will operate only for B3 and lower keys, and
that the B “Top Key” and “Bottom Key” are set
so that arpeggiator B will operate only for C4
and higher keys.
96
The arpeggiator in Combination and Multi modes
Quick Start
Introduction
3. Select COMBI 7: Ed–Arp/Ctrls, Setup page.
Dual polyphonic arpeggiator set-
Setup
tings
The dual polyphonic arpeggiator functionality lets
you do the following things.
Program
• Assign an arpeggiator for each timbre. Choose 4. Set “ (Temp)” to specify the tempo.
from Off, (arpeggiator) A, or (arpeggiator) B.
This is the same as for a program (☞p.92).
☞step 5
However, the tempo is shared by both
• Independently specify whether A and B will arpeggiators A and B.
Combination
operate. ☞step 6
5. Make “Assign” settings.
• Select an arpeggio pattern and set parameters
Assign arpeggiator A or B to the desired
independently for A and B. ☞step 7
timbres. Each timbre will be played by the
• Make Scan Zone page settings so that you can arpeggiator that has been assigned to it.
use keyboard range or playing velocity to
6. Make “Arpeggiator Run” settings.
Multi
switch between normal playing and arpeggi-
ated playing, or to switch between arpeggiators Check the arpeggiator(s) that you want to
A and B. ☞step 8 operate. The arpeggiator(s) checked here will
run when the [ARP ON/OFF] button is turned
• Make settings for timbres that will be silent
on.
when the arpeggiator is Off, and will sound
Effect
only when the arpeggiator is On. ☞step 10 With the settings shown in the display for steps
2 and 3, turning the [ARP ON/OFF] button on
will cause arpeggiator A to operate for timbres
Arpeggiator on/off
1 and 2, and arpeggiator B to operate for timbre
Each time you press the [ARP ON/OFF] button,
Global
3. When the [ARP ON/OFF] button is turned
the arpeggiator will be switched on or off. When
off, timbres 1–4 will sound as a layer.
on, the [ARP ON/OFF] button will light. The
selected arpeggio pattern will begin when you If all timbres “Assign” are Off, or if neither
play the keyboard. The on/off setting is saved “Arpeggiator Run” A or B is checked, the
Arpeggiator
when the combination is written into memory. arpeggiator will not function.
Note: If “Assign” is Off or “Arpeggiator Run” is 7. In the Arp. A and Arp. B pages, set the
not checked, the arpeggiator will not operate even parameters for arpeggiators A and B.
if this key is on. The parameters for A and B are the same as for
a program (☞p.92).
Drum Kit
Arpeggiator settings 8. In the Scan Zone page, specify the range in

1. Select COMBI 0: Play, Prog page. which arpeggiators A and B will operate.
Select programs for the timbres that you wish The parameters for A and B are the same as for
to use. For this example, select any desired a program (☞p.94).

program for timbres 1–4. You can use keyboard ranges or playing
2. Select COMBI 2: Ed–TimbreParam. MIDI page. velocity to operate the arpeggiator, or to switch
between arpeggiators A and B. By using the
For the timbres that you will be using, set
COMBI 5: Ed–Key Zone, Key page and COMBI
“Status” to INT, and set “MIDI Channel” to
6: Ed–Vel Zone, Vel page to set keyboard ranges
Gch or to the global MIDI channel (set in
and velocity ranges in conjunction with each
GLOBAL 1: MIDI “MIDI Channel”).
other, you can create even more variations.
For this example, set timbres 1–4 to a “Status”
9. If you wish to save the edited combination
of INT, and timbres 5–8 to a “Status” of Off. Set
Appendices
settings in internal memory, turn off memory

the “MIDI Channel” of timbres 1–4 to Gch.
protect in Global mode, and write the
combination.
97
In the GLOBAL 0: System, Preference page, which is assigned to T5 (Gch). T4 will be

uncheck the Memory Protect “Combination” sounded by arpeggiator A. Since the “Status”
check box. (☞p.88) of T5 is Off, it will not sound.
10.The “Status,” “MIDI Channel” and “Assign” • Since the “Status” of T5 is Off, it will not
settings shown in the display of steps 2 and 3 sound, regardless of whether the arpeggiator is
can be made so that certain timbres will sound on or off. It is a dummy timbre that causes T4 to
only when the arpeggiator is On, and will be sound only when the arpeggiator is on.
silent when the arpeggiator is not Off.
Combination B071: “In The Pocket”
Setting examples Select and play combination B071: “In The
Although this is a somewhat sophisticated editing Pocket.”
technique, we will describe the settings of one of Before you play, make sure that the global MIDI
the preset combinations as an example. channel (GLOBAL 1: MIDI “MIDI Channel”) is set
to 01.
Combination A021: Urban Nature RnB • Arpeggiator A is assigned to T7 and T8, and
Select combination A021: Urban Nature RnB, and arpeggiator B is assigned to T5. When you play
play it. the keyboard, the T7 program C004: HipHop
Before you play, make sure that the global MIDI Kit will be sounded by the arpeggio pattern
channel (GLOBAL 1: MIDI “MIDI Channel”) is set Dr-In The Pocket. The T5 program A066:
to 01. Chord Trigger will be sounded by the arpeggio
• Arpeggiator A is assigned to T (timbre) 4 and 5. pattern Bs-Echo.
When you play the keyboard, the arpeggio pat- • The B “Key Btm” and “Key Top” (COMBI 7:
tern Dr-Nature RnB will sound only the T4 Ed–Arp/Ctrls, Scan Zone page) are set so that
program B004: Trance/GarageKit. arpeggiators B will operate only for the G3
• The arpeggio pattern uses the Fixed Note set- note and above.
ting, which is appropriate when playing a drum • Arpeggiator B is assigned to T8 as well, but this
arpeggio. (“Fixed Note” is checked in, GLO- setting is so that the T7 program C004: HipHop
BAL 5: Arp.Pattern, Setup page.) With this set- Kit will sound only when the arpeggiator is on.
ting, the arpeggio pattern will always play the See the preceding section “Combination A021:
specified pitches regardless of the note numbers Urban Nature RnB” (☞p.98).
received from the keyboard. (☞p.102)
• The A “Key Btm” and “Key Top” (COMBI 7:
Ed–Arp/Ctrls, Scan Zone page) are set so that
Writing the arpeggiator settings
arpeggiator A will operate only for notes B3 Arpeggio parameters you edited in Combination
and lower. or Multi mode are saved along with the settings
• Arpeggiator A is also assigned to T5, but this is when you write the combination or multi set. For
so that the T4 program B004: Trance/GarageKit the writing procedure, see “Saving your edits”
will sound only when the arpeggiator is on. (☞p.61) for a combination, or to “Saving your
edits” (☞p.75) for a multi set.
Notice the timbre settings for T4 and T5
Status MIDI Channel Assign
T4 INT 02 A Linking the arpeggiator to the com-
T5 Off Gch A bination
If you want the arpeggiator settings of a combina-
• If the arpeggiator is off, playing the keyboard
tion to become active when that combination is
will sound the timbre(s) that are set to Gch or
selected, check “Combi” for “Auto Arp” (GLO-
to the global MIDI channel (in this case, 01).
BAL 0: System, Basic page).
Since the “MIDI Channel” of T4 is set to 02, it
will not sound. T5 is set to Gch, but since “Sta-
tus” is Off it will not sound.
• Any MIDI channel that is assigned to a timbre
will trigger the arpeggiator. In this case, these
will be “MIDI Channel” 02 and Gch (global
MIDI channel). When the arpeggiator is on,
playing the keyboard will trigger arpeggiator A
98
Creating a user arpeggio pattern
Quick Start
• Note that Compare can’t be used in Global
Creating a user arpeggio pat- mode. If you want to edit a user drum kit or
Introduction
user arpeggio pattern, you should first use
tern “Copy Drum Kit” or “Copy Arpeggio Pattern”
User arpeggio patterns can be created in Global to copy the drum kit or user arpeggio pattern
mode. you want to edit into a vacant number, and
then edit the copy.
• When you play the keyboard in Global mode,
Setup
the instrument will sound in the state of the
mode in which you were.
Caution when the arpeggiator is
• If you moved from Multi mode to Global mode,
playing the keyboard will sound the program
used by multiple programs or combi-
nations
Program
and arpeggiator of the track that matches the
global MIDI channel (GLOBAL 1). When you edit a user arpeggio pattern, the
changes will have an effect on any Program, Com-
bination, or Multi set that uses this same pattern.
Memory structure for the arpeggio
Combination
patterns
The X50 has 251 arpeggio pattern memory areas,
Initializing an arpeggio pattern
divided into preset arpeggio patterns and user With the factory settings, all of the X50’s user
arpeggio patterns as follows. arpeggio patterns U000–U250 contain preloaded
data.
Preset arpeggio patterns: There are five patterns;
Multi
UP, DOWN, ALT1, ALT2, and RANDOM. If you want to create a new arpeggio pattern,
The operation of these patterns is fixed, and can- choose an appropriate arpeggio pattern and ini-
not be edited. tialize it.
User arpeggio patterns: There are 251 patterns - Note: Even if you’ve initialized a pattern, you can
Effect
U000–U250 - which can develop chords or phrases reload the factory preset data at any time using the
in a wide variety of ways, based on the pitches Global mode. (☞p.111)
that you play on the keyboard or the timing at 1. Press the [GLOBAL] button to enter Global
which you play them. mode, and access the GLOBAL 5: Arp.Pattern,
In GLOBAL 5: Arp.Pattern you can modify these
Global
Setup page.
user arpeggio patterns, or create a new user arpeg- 2. Select the arpeggio pattern that you want to
gio pattern from an initialized condition. Edited initialize.
user arpeggio patterns can be written to internal
Arpeggiator
memory areas U000–U250.
Changing the memory protect set-

ting
3. Access the GLOBAL 5: Arp.Pattern, Edit page.
Drum Kit
When you wish to edit a user arpeggio pattern,
first turn off memory protect by unchecking the 4. Press the [UTILITY] button. From the menu
Memory Protect “Arp. UsrPat” check box in the that appears, choose “Initialize Steps” to open
GLOBAL 0: System, Preference page. the dialog box.
Saving and comparing data

• The edits you perform in Global mode will be
preserved until you turn off the power is 5. If you set “Type” to Empty, the pattern will be
turned off, but will be lost when the power is initialized to an empty state without any tones.
turned off. Three types of data are handled in If you select Full, all tones will be occupied. In
Global mode: user drumkit settings (GLOBAL this example, choose Empty and press the
4), arpeggiator settings (GLOBAL 5), and all [MENU/OK] button. The pattern will be
other global settings (GLOBAL 0–3). You into
Appendices
initialized.
its own memory area.
99
These settings can be changed during or after

Editing a user arpeggio pattern in editing.
Program mode 8. Access the Edit page.
If you enter this mode from the Program mode,
your editing will apply to the arpeggio pattern
specified for the selected program.
1. In Program mode, select a program for which
the arpeggio pattern you wish to edit is
selected, or a program that you wish to use as a
A pattern consists of Steps and Tones.
basis for editing the arpeggio pattern.
• Step: A user arpeggio pattern can have a maxi-
2. Press the [ARP ON/OFF] button to turn the
mum of 48 steps. The arpeggiator will play
arpeggiator on (the button will light).
from the first step, in steps equal to the timing
Even if you moved to Global mode from a value specified by “Reso (Resolution).” The
program in which the arpeggiator was turned vertical lines of the grid shown in the center of
off, you can use the [ARP ON/OFF] button to the display indicate the steps.
turn it on.
Use “Step (Step No.)” to select the step. For
3. Access the GLOBAL 5: Arp.Pattern, Setup page. each step, specify “Ptch (Pitch Offset),” “Gt
(Gate),” “Vel (Velocity)” and “Flam.”
To change the step, use the ClickPoint to select
“Step” (Step No.), and then use the [VALUE]
dial or [INC][DEC] button to select the desired
step. In this page you can use the ClickPoint
4. In “Pattern,” select the arpeggio pattern that [√][®] to move between steps.
you wish to edit. • Tone: At each step, a chord consisting of up to
For this example, select an empty user arpeggio 12 tones (Tone No. 00–11) can be sounded.
pattern. The grid of horizontal dotted lines in the center
If a blank pattern is selected, playing the of the display indicate the tones.
keyboard will not start an arpeggio. When “Step (Step No.)” is selected, you can
Note: Although preset arpeggio patterns Preset- press the center of the ClickPoint to specify the
0–Preset-4 can be selected, they cannot be tone.
edited. Use the ClickPoint [π][†] to select a tone, and
5. In “Lgth (Length),” specify the length of the press the center to enter that tone. The tone will
pattern. switch on/off each time you press the center.
After the pattern has played for the length Use the ClickPoint [√][®] to move to the next
specified, it will return to the beginning. This or previous step. Select a step, use [π][†] to
setting can also be changed during or after select a Tone, and then press the center to enter.
editing. For this example, set it to 8. Press the [MENU/OK] button when you’re
6. Make settings for the “ (Tempo),” “Reso finished.
(Resolution),” “Oct (Octave),” “Sort,” “Latch,”
“K.Sync (Key Sync.),” and “Kbd (Keyboard)”
parameters.
Note: These are program parameters, but can be
set from here as well.
If after moving here from Program mode, you
To input tones, select “Step (Step No.)” and
modify these parameters and wish to keep
then use numeric buttons [0]–[9], [–], and [./
your changes, return to Program mode and
HOLD] to input tones.
write the program. These parameters are not
saved by “Write Arpeggio Pattern.” The “Tone No.” corresponds to the [0]–[9], [–],
and [./HOLD] buttons as shown below. Each
For this example, make the settings shown in
time you press a [0]–[9], [–], or [./HOLD]
the illustration 3.
button, the corresponding tone will be turned
7. The “Type (Arpeggio Type),” “Octave Motion,” on/off. The horizontal lines of the grid shown
and “Fixed Note” parameters specify how the in the center of the display indicate the tones.
arpeggio will be developed.
Tone00–09: [0]–[9] buttons
100
Quick Start
Tone10: [–] button “Ptch (Pitch Offset)”: This offsets the pitch of
Tone11: [./HOLD] button the arpeggio note in semitones up or down.
Introduction
You can input the same tone for each step, and
Tone No. change the “Ptch (Pitch Offset)” value for each
to create a melody using a single tone.
4
3 (☞“Melody pattern”)
2
1 “Gt (Gate)”: Specify the length of the arpeggio
0 note for each step. With a setting of LGT, the
Setup
note will continue sounding either until the
01 05 Step No.
next note of the same tone or until the end of
Lgth(Length)
the pattern. With a setting of Off, the note will
not sound.
Program
Creating an example pattern “Vel (Velocity)”: Specify the strength of the note.
With a setting of Key, the note will sound at the
strength with which it was actually played.
Combination
Note: The “Gt (Gate)” and “Vel (Velocity)”
settings you make here will be valid if the “Gt
(Gate)” and “Vel (Velocity)” parameters (PROG
7: Ed–Arp/Ctrls, Setup page) of the program
selected in Program mode are set to Step. If
these parameters have a setting other than
Multi
Step, the “Gt (Gate)” and “Vel (Velocity)” that
1. Set “Step (Step No.)” to 01, and press the [0] were specified for each individual step will be
button. ignored, and all notes of the arpeggio will
2. Set “Step (Step No.)” to 02, and press the [1] sound according to the settings in PROG 7: Ed–
button. Arp/Ctrls. Be sure to verify the settings of the
Effect
3. Set “Step (Step No.)” to 03, and press the [2] program.
button. Note: Before you set “Gt (Gate),” move the
4. Set “Step (Step No.)” to 04, and press the [1] REALTIME CONTROLS C-mode [ARP-GATE]
button. knob to the center position (12 o’clock).
Global
5. Set “Step (Step No.)” to 05, and press the [3] Note: Before you set “Vel (Velocity),” move the
button. REALTIME CONTROLS C-mode [ARP-
VELOCITY] knob to the center position (12
6. Set “Step (Step No.)” to 06, and press the [1]
o’clock).
Arpeggiator
button.
button.
button. Drum Kit
11.To change the user arpeggio pattern name, use

the Utility “Rename Arpeggio Pattern”
(☞p.112).
12.If you wish to save the edited user arpeggio

pattern to internal memory, be sure to Write the
9. When you play the keyboard as shown in the user arpeggio pattern (☞p.104).
illustration, the arpeggiator will begin playing.
If you turn off the power without writing, the
Tone 0 corresponds to the pitch of the lowest edited contents will be lost.
key of chord you play on the keyboard. (If
13.If you wish to save the state of the program at
“Sort” is unchecked, it will correspond to the
the same time, return to Program mode and
pitch of the first note you play.)
write the program (☞p.45).
10.For steps 01–08, make settings for “Ptch (Pitch
Offset),” “Gt (Gate),” “Vel (Velocity),” and
Appendices
“Flam.”
101

Other examples of creating a user button.
arpeggio pattern Set “Gt (Gate)” to LGT.
2. For “Step (Step No.)” 02, do not enter a tone.
Melody pattern
3. Set “Step (Step No.)” to 03, and press the [1],
[2], [3], [4] buttons.
[2], [3], [4] buttons.
[2], [3], [4] buttons. Set “Gt (Gate)” to LGT.
1. Set “Step (Step No.)” to 01, and press the [0] 8. Set “Step (Step No.)” to 08, and press the [1],
button. [2], [3], [4] buttons.
Set “Ptch (Pitch Offset)” to +00. Note: To simulate the timing nuances of a
2. Set “Step (Step No.)” to 02, and press the [0] strummed guitar chord, select “Flam.” In
button. Program mode, select an acoustic guitar
Set “Ptch (Pitch Offset)” to +10. program, and choose the user arpeggio pattern
that you created here. In the Setup page of
PROG 7: Ed–Arp/Ctrls, Setup, set “Gate” to
button.
Step.
Set “Ptch (Pitch Offset)” to +00.
Then return to the GLOBAL 5: Arp.Pattern,
4. Set “Step (Step No.)” to 04, and press the [0] Edit page. For odd-numbered steps, set “Flam”
button. to a positive (+) value. For even-numbered
Set “Ptch (Pitch Offset)” to +00. steps, set “Flam” to a negative (–) value.
button.
button.
Drum pattern
You can use the arpeggiator to play a rhythm pat-
8. Set “Step (Step No.)” to 08, and press the [0] tern by using “Fixed Note” with a drum program.
button.
1. Select a drum kit program.
Set “Ptch (Pitch Offset)” to –02.
For this example, select preset program A020:
Standard Kit 3.
2. Select the GLOBAL 5: Arp.Pattern, Setup page,
and set the parameters.
Check “Fixed Note.” If this is checked, tones
will always sound at the specified pitch.
Chordal pattern If you set “Mode (Fixed Note Mode)” to
Trigger All Tones, playing a single note will
cause all Tones to sound. If you set “Mode
(Fixed Note Mode)” to Trigger As Played, the
notes you play will determine how Tones are
sounded.
102
Quick Start
6. Input the closed hi-hat (Tone02).
Set “Step (Step No.)” to 01, 02, 03, 05, 06, and
Introduction
07, and press the [2] button for each.
7. Input the open hi-hat (Tone03).
Set “Step (Step No.)” to 04, and press the [3]
Fixed Note Tone No. Fixed Note No.
button. Then set “Step (Step No.)” to 08, and
Mode(Fixed Note Mode)
press the [3] button.
Setup
If “Fixed Note” is checked, you will be able to
set “Tone No.” and “Fixed Note No.”
Select “Tone No.,” and then set “Fixed Note
No.” to specify the note number that the tone
Program
will sound.
Here, set “Tone No.” and “Fixed Note No.” as If “Mode (Fixed Note Mode)” is set to Trigger
follows. All Tones, playing a single note on the
keyboard will cause the rhythm pattern to play.
Combination
Tone No. Fixed Note No.
00 C2 (kick) If “Mode (Fixed Note Mode)” is set to Trigger
01 F2 (snare)
As Played, playing a single note on the
keyboard will cause only the kick (Tone00) to
02 F#3 (closed hi-hat)
play. Playing two notes on the keyboard will
03 A#3 (open hi-hat) cause only the kick (Tone00) and snare
Multi
(Tone01) to play. In this way, the number of
The drumsamples that correspond to each note keys that you play will be played by the same
number will differ depending on the drum kit. number of tones.
After you’ve used the keyboard to find the 8. Set the parameters for each step.
drum sound you want to use, you can hold
Effect
Use “Vel (Velocity)” etc. to add accents to the
down the [ENTER] button and press a note to rhythm pattern.
enter “Fixed Note No.”
Note: The “Gt (Gate)” and “Vel (Velocity)”
3. Access the Edit page. settings you make here will be valid if the
Each Tone in the display will be shown as a “Gate” and “Velocity” parameters (PROG 7:
Global
small circle. Ed–Arp/Ctrls, Setup page) of the program
For each horizontal line (Tone) in the display, selected in Program mode are set to Step.
you will specify a drumsample (note number) If these parameters have a setting other than
Arpeggiator
of the drum kit. Step, the “Gt (Gate)” and “Vel (Velocity)” that
Next we will input a rhythm pattern. were specified for each individual step will be
ignored, and all notes of the arpeggio will
sound according to the specified gate and
velocity. Drum Kit
Note: Before you set “Gate,” move the
REALTIME CONTROLS C-mode [1] (ARP-
GATE) knob to the center position (12 o’clock).
Note: Before you set “Velocity,” move the
REALTIME CONTROLS C-mode [2] (ARP-

VELOCITY) knob to the center position (12
o’clock).
4. Input the kick (Tone00).
5. Input the snare (Tone01).
Appendices

103
8. If you wish to save the state of the combination

Dual polyphonic arpeggiator editing at the same time, return to Combination mode
in Combi and Multi modes and write the combination (☞p.61).
Here we will use a combination as an example in Note: When editing a user arpeggio pattern,
our explanation. pay attention to the global MIDI channel, the
The same procedure applies when editing an channel of each track, and the arpeggiator
arpeggio pattern in Multi mode. assignments, and make sure that the
arpeggiator you are hearing is the pattern that
If you have entered this mode from the Combina-
you wish to edit.
tion mode, the arpeggio pattern selected by the
combination will be affected by your editing.
1. In Combination mode, select a combination Assigning a name
that uses the arpeggio pattern you wish to edit.
We recommend that you assign a name to the
For this example, select a combination to which arpeggio pattern you create.
arpeggiators A and B is assigned.
You can do this by using the “Rename Arpeggio
2. Press the [ARP ON/OFF] button to turn on the Pattern” utility. For details on assigning a name,
arpeggiator (the button will light). see p.112.
Even if the arpeggiator had been turned off
when you moved here, you can use the [ARP
ON/OFF] button to turn it on. However, if
“Arpeggiator Run” A or B are not checked, and Saving a user arpeggio
if no timbres have been assigned in “Assign,”
When you’re finished editing, you should save the
then the arpeggiator will not operate.
user arpeggio.
3. Access the GLOBAL 5: Arp.Pattern, Setup page.
The “Tempo,” “Pattern,” “Octave,” “Resolution,”
“Sort,” “Latch,” “Key Sync.,” and “Keyboard” set-
tings of a user arpeggio pattern are parameters
that are saved together with the program, combi-
nation, or multi set. These parameters are not
saved by the Write operation described here. If
4. If you moved here from Combination mode, you want to save these parameters, return to the
use the “Arp (Arpeggio Select)” A and B to previous mode and write the data.
select the arpeggiator that you wish to edit. Note: You’ll need to turn off the memory protect
If this is A, your editing will apply to the setting for user arpeggio patterns. In the GLOBAL
parameters and user arpeggio pattern of 0: System, Preference page, uncheck the Memory
arpeggiator A. Protect “Arp. UsrPat” box. (☞p.88)
If this is B, your editing will apply to the 1. Press the [UTILITY] button to access the utility
parameters and user arpeggio pattern of menu, and choose “Write Arpeggio Patterns.”
arpeggiator B. 2. To write (save) your settings, press the
5. Switch between arpeggiators A and B, and edit [MENU/OK] button.
their respective user arpeggio patterns. A dialog box will ask you to confirm that you
If you wish to stop one of the arpeggiators, want to write the arpeggio patterns.
return to Combination mode, and in COMBI 0: 3. Press the [MENU/OK] button to write your
Play, select the Arp. A or the Arp. B page and settings, or press the [EXIT/CANCEL] button if
uncheck the “Arpeggiator Run” check box. you decide not to write.
6. To modify the name of a user arpeggio pattern, The arpeggio patterns will be written (saved).
use the Utility “Rename Arpeggio Pattern”
(☞p.112).
7. If you wish to save the edited user arpeggio
pattern in internal memory, you must write the
user arpeggio pattern.
In this case, both user arpeggio patterns will be
written simultaneously. If you turn off the power
without writing, the edited contents will be lost.
104
Synchronizing the arpeggiator
Quick Start
Synchronization to external MIDI clock
Synchronizing the arpeggiator • The arpeggiator will synchronize to the “
Introduction
The note timing of the arpeggiator will differ (Tempo)” based on the timing of the external
depending on the state of the arpeggiator “Key MIDI clock.
Sync.” check box.
Synchronization to the MIDI Start mes-
If this is checked, the arpeggiator will immedi-
sage
ately start playing from the beginning from the
Setup
first note-on you play after all the keys had been • When the arpeggiator is on and operating,
previously released. receiving a MIDI Start message will cause the
arpeggiator to reset to the beginning of the pat-
If this is unchecked, the arpeggiator will operate tern. (This has no relation to the “Key Sync.”
in synchronization with the internal or external setting.)
Program
MIDI clock.
The paragraphs below explain how synchroniza-
tion occurs when the “Key Sync.” check box is
unchecked. (However, synchronization with Song
Combination
Start and with the MIDI realtime command Start
message are exceptions to this.)
Synchronization between arpeggia-

tors A and B
Multi
In Combination and Multi mode, two arpeggia-
tors can operate simultaneously. In this case, if you
start an arpeggiator (whose “Key Sync.” is
unchecked) while the other arpeggiator is already
Effect
running, the arpeggiator you started will synchro-
nize to the “ (Tempo)” based on the timing of the
already-running arpeggiator.
Note: If “Key Sync.” is checked, A and B will each
Global
operate on their own timing.
Synchronization with an external
Arpeggiator
sequencer in Program, Combination,
or Multi modes
When the X50 is the master

If “ (Tempo)” is INT, the arpeggiator will operate
Drum Kit
based on the timing of the internal MIDI clock.
“ (Tempo)” will be INT if GLOBAL 1: MIDI
“MIDI Clock” is Internal. The tempo will also be
INT if the Auto setting is selected and MIDI clock
is not being received from an external device.
When the X50 is the slave

If “ (Tempo)” is EXT, the arpeggiator will syn-
chronize to the MIDI clock and Start messages etc.
received from the external MIDI sequencer or sim-
ilar device.
“ (Tempo)” will be EXT if GLOBAL 1: MIDI “MIDI
Clock” is Ext-MIDI or Ext-USB. The tempo will also
Appendices
be EXT if the Auto setting is selected and MIDI

clock is being received from an external device.
105
106
Quick Start
Using Drum Kits
Introduction
If “Oscillator Mode” is set to “Drums,” you’ll be
What is a Drum Kit? able to make settings for one drum kit. A drum kit
does have velocity switch settings, but these set-
Drum Kits, as the name implies, are optimized for tings are made for the drum kit in Global mode,
Setup
creating drum sounds.Drum Kits are created in and cannot be edited or saved in Program mode.
Global Mode. They offer a number of special fea-
tures, such as:
• Each note can play a different sound
Before you start editing…
Program
• On each note, you can use up to two Drum
Samples, with velocity switching
• Each note has separate settings for the most First, select a Drum Program
important sound parameters, including vol-
Combination
ume, filter cutoff and resonance, envelope In Global Mode, you’ll play the kit that you’re
attack and decay, pitch. editing as if you were playing it from within the
Program, Combination, or Multi set which was
• You can specify the insert effect routing and
selected before you entered Global mode.
master effect send level for each note. For
example, you can use this to send just the snare So, before you enter the GLOBAL 4: DKit pages,
to a compressor. it’s best to select a Program which is already set up
Multi
for drums in Program mode, with the appropriate
You can use Drum Kits only in Programs whose
EG settings, effects, and so on. Choose a drum
“Oscillator Mode” is set to “Drums.”
Program such as “A020: Standard Kit 3.”
If you moved from Multi mode to Global mode,
Effect
Drum Kit memory structure playing the keyboard will sound the program and
arpeggiator of the track that matches the global
The X50 has 49 Drum Kits, divided into Internal,
MIDI channel (GLOBAL 1).
User, and GM (General MIDI) groups as shown
below.
Global
You can edit or write into any of the locations Match the note mapping and key
except for the GM bank, which cannot be erased. position for the drum kit
If you want to start with a GM bank drum kit and
In order for the note mappings to match the key-
edit it, use the “Copy Drum Kit” utility to select a
Arpeggiator
board, the Oscillator’s Octave setting needs to be
drum kit and copy it to the USER bank.
+0 [8']. All Drum Kit Programs should have this
Drum Kit banks setting already. If you’re unsure, you can check
Bank No. Contents this yourself:
INT 00…15 Factory Drum Kits 1. Access the Program mode PROG 1: Ed–Basic, Drum Kit
USER 16…39 User (initialized) Drum Kits OSC1 page.
GM 40…48 GM2 Drum Kits 2. Check that the “Octave” parameter (near the
top of the page) is set to +0 [8'].
With a setting other than +0 [8'], the
Drum Kit Programs and Oscillator relationship between the keys and the Drum
Mode Kit sound map will be incorrect.
The PROG 1: Ed–Basic, Prog Basic page “Oscilla-
tor Mode” setting specifies whether the oscillator
Check the memory protect setting
will be a drum kit or a conventional multisample
(such as piano or strings). When you wish to edit a user drum kit, first turn
off memory protect by unchecking the Memory
You can verify this setting in the PROG 2: Ed–
Protect “Drum Kit” check box in the GLOBAL 0:
Pitch, OSC1 page. If “Oscillator Mode” is set to
System Preference page.
Single, you’ll be able to specify two multisamples
Appendices
and a velocity switch. If this is set to Double,

you’ll be able to make an additional set of settings
in the OSC2 page.
107
Using Drum Kits
Saving and comparing data Editing Drum Kits

• The edits you make in Global mode will be lost
when the power is turned off, so you need to
write (save) your edits if you want to keep Basic Editing
these changes. Three types of data are handled
1. Select the Program that you wish to use while
in Global mode: user drumkit settings (GLO-
editing the Drum Kit.
BAL 4), arpeggiator settings (GLOBAL 5), and
all other global settings (GLOBAL 0–3). You can For more details, see “First, select a Drum
save each type of data into its own memory Program” (☞p.107).
area. 2. Press the [GLOBAL] button to enter Global
• Note that Compare can’t be used in Global mode.
mode. If you want to edit a user drum kit or 3. Access the GLOBAL 4: DKit, High Sample
user arpeggio pattern, you should first use page.
“Copy Drum Kit” or “Copy Arpeggio Pattern”
to copy the drum kit or user arpeggio pattern
you want to edit into a vacant number, and
then edit the copy.
Caution when a drum kit is used by 4. Use the “Drum Kit” parameter, at the top of the
more than one program screen, to select the Drum Kit that you wish to
edit.
When you edit a drum kit, your changes will affect
5. Use the “Key” parameter to select the note that
all programs that use that same drum kit. If you
you wish to edit.
want to edit one of the preloaded drum kits, it is
best to copy the drum kit into a vacant area of the Use the front panel [VALUE] dial etc. to edit the
USER bank, and then edit the copy of the drum setting.
kit. As a shortcut, you can also hold down the
[ENTER] button and play a note on the
keyboard.
This “Key” selection applies to all three Drum
Kit editing tabs.
6. Use the “Assign” check box to specify whether
the key will have its own settings, or use the
same settings as the next higher note.
If “Assign” is checked, the key will have its
own settings. This is the default.
If “Assign” is not checked, the key won’t have
its own settings. Instead, it will use the same
settings as the next higher note–except that the
drum samples will be played at a lower pitch.
The pitch that sounds will depend on the
PROG 2: Ed–Pitch, OSC1 page “Pitch Slope”
setting.
Use this setting when you want only to change
the pitch, such as with tom or cymbal sounds.
Placing drum samples

Here’s how to place two drum samples and switch
between them using velocity.
1. Access the GLOBAL 4: DKit, High Sample
page.
108
Editing Drum Kits
Quick Start
2. Select the High “Drum Sample.” 4. Repeat steps 1–3 to set up each key of the Drum
Press the [CATEGORY] button to view a list of Kit.
Introduction
the drum samples organized by category. For You can also copy settings from one “Key” to
details on how to make a selection, see another, using the “Copy Key Setup” utility
“Selecting programs by category” (☞p.38). command.
3. Select a drum sample name in the list so that it
is highlighted.
Using Exclusive Groups
Setup
4. Press the [MENU/OK] button to confirm the
selection. 1. Access the GLOBAL 4: DKit, Voice/Mixer
page.
5. Press the [PAGE+] button to access the
GLOBAL 4: DKit- Low Sample page. 2. Use the Excl Group (Exclusive Groups) to make
Program
one drum sound cut off another drum sound -
6. Specify the Low Drumsample as you did in
such as closed and open hi-hats.
steps 2–4.
For example, let’s say that you’ve assigned an
Now you have assigned drum samples to the
open hi-hat and a closed hi-hat to the same
High Drumsample and Low Drumsample.
Combination
exclusive group:
Next, we’ll assign the velocity range for these
drum samples. • Play the open hi-hat sound.
7. Set the “Velocity SW L→H”. • While it’s still ringing, play the closed hi-hat.
The Low drum sample will sound when you • The open hi-hat sound will be cut off–simulat-
play a key less strongly than the specified ing the action of a physical hi-hat.
Multi
velocity value, and the High drum sample will
sound when you play more strongly.
Using Hold
For example if you set “Velocity SW L→H” to
100, the drum sample assigned to “Low” will The Program Hold parameter can be especially
useful for drum programs, since it lets the samples
Effect
sound when you play the keyboard softly, and
the multisample assigned to “High” will sound ring out naturally regardless of how long you hold
when you play strongly. down the note. The way that this works depends
on settings in both the Program and the Drum Kit,
Note: If you don’t want to use this function, set
as described below.
“Velocity SW L→H” to 001. Only the High
Global
To enable Hold:
drum sample will sound.
1. Access the PROG 1: Ed–Basic, Prog Basic page.
Note: This is the same type of function as
velocity multisample switching in a program. 2. Voice Assign, make sure that the “Hold” check
box is checked.
Arpeggiator
(☞p.48)
Once you’ve turned on “Hold” for the
Program, the function is controlled on a note-
Fine-tuning the sound of each sam- by-note basis according to settings within the
ple Drum Kit. Drum Kit
1. If you like, adjust the Levels for the two Drum 3. Access the GLOBAL 4: DKit, Voice/Mixer
Samples. page.
Set the High and Low “Level” settings to adjust
the volume balance.
2. Set the tuning and EG parameters as desired.

For each Drum Sample, you can control offsets
to the Program’s settings for transposition,
tuning, and EG attack and decay times. 4. For each key, set the Enable Note Off Receive
parameter as desired.
3. You can adjust the sound or specify reverse
playback for each drum sample. If this check box is unchecked, the key will be
held. If it is checked, the key will not be held.
For each drum sample, set the “FC (Filter
Cutoff)” and “Reso (Resonance)” parameters, If you turn off “Hold” in the Program, no keys
will be held - regardless of their “Enable Note
Appendices
and specify “S.Ofs” and “Rev (Reverse).” (☞PG

p.87) Off Receive” setting.
109
Using Drum Kits
Controlling effects for each key Saving a drum kit

A drum kit lets you set the insert effect and master
effect send for each key. When you’ve finished editing your drum kit, you
can save it.
1. Access the PROG 8: Ed–InsertFX, BUS page.
Note: You’ll need to turn off the memory protect
2. Make sure that the “Use DKit Setting” check setting for drum kits. In the GLOBAL 0: System,
box is checked. Preference page, uncheck the Memory Protect
When “Use DKit Setting” is checked, the “Drum Kit” check box. (☞p.88)
Program will use the “BUS Select” and Effects 1. Press the [UTILITY] button to access the utility
Send settings for each key of the Drum Kit. menu, and choose “Write Drum Kits.”
When “Use DKit Setting” is unchecked, the 2. Press the [MENU/OK] button to write the
Program will ignore the Drum Kit’s “BUS drum kit data.
Select” and Effects Send settings.
A dialog box will ask you for confirmation.
3. Access the GLOBAL 4: DKit, Voice/Mixer
page. 3. Press the [MENU/OK] button to save, or press
the [EXIT/CANCEL] button if you decide not
4. Use the “BUS Select” parameter to send drum to save.
sounds through their own Insert effect, or to the
individual outputs. The drum kit data will be written (saved).
If you like, you can send each note to its own

Insert effect, or to the individual audio outputs,
in addition to the main L/R outputs.
For example, you might send all snare sounds
to IFX, and the remaining sounds to L/R.
5. Use “Send1(MFX1)” and “Send2(MFX2)” to set
the send levels to the master effects.
Setting the pan for each key

To use separate pan settings for each key:
1. Access the PROG 5: Ed–Amp1/2, Level/Pan
page.
2. Under Pan, make sure that the “Use DKit
Setting” check box is checked.
When “Use DKit Setting” is checked, the
Program will use the pan settings for each key
of the Drum Kit.
3. Access the GLOBAL 4: DKit, Voice/Mixer
page.
4. Use the “Pan” parameter to specify the key’s
stereo output position.
Assigning a name
We recommend that you assign a name to the
Drum Kit you create.
You can do this by using the “Rename Drum Kit”
utility. For details on assigning a name, see p.112.
110
Quick Start
Other functions
Introduction
Restoring the factory set- Loading individual banks or data
items
tings (Loading the preloaded The X50 allows you to load individual banks, pro-
Setup
data) grams, or combinations. Multi set, drum kits
andarpeggio patterns can also be loaded individu-
If desired, you can restore the X50’s programs,
ally or as a group.
combinations, multi sets and Global mode settings
This is convenient when you want to restore just
Program
to their factory-set state. You can do this by reload-
ing the preloaded data. one item from the factory preload data, or when
you want to rearrange combinations in a specific
This operation will rewrite any data that had
order for live performance.
been previously written to the internal
When rearranging programs, you need to be
Combination
memory. If you don’t want to lose this data,
you should save it using the included “X50 aware that if you write them to another bank
Editor/Plug-In Editor”; or save the data using or number, any combination that had used the
a commercially available data filer. program formerly occupying the writing
destination will sound differently.
mode. (The button will light.) For example if you want to load combination
Multi
B015 into C127, proceed as follows.
2. Press the [EXIT] button.
1. Access the dialog box as described in steps 1–4,
You will be in the GLOBAL 0: System page.
above.
3. Press the [UTILITY] button to access the Utility
menu.
Effect
4. Use the ClickPoint [†] to select “Load Preload
Data,” and press the center.
A dialog box will appear.
Global
2. Choose “Kind,” and use the [VALUE] dial or
the [INC][DEC] buttons etc. to select
Combination.
3. Use the ClickPoint [†] to move down, and use
Arpeggiator
the [VALUE] dial or [INC][DEC] buttons to
5. Choose “Kind,” and use the [VALUE] dial or select Single.
the [INC][DEC] buttons to select the data that 4. In the same way, select combination B015 as the
you want to load. copy-source.
Choose All if you want to restore all settings to 5. In the same way, select combination C127 as the
Drum Kit
the factory-set state. If you execute this with the load-destination (“To”).
“All” setting, all programs, combinations, multi
sets, drum kits, arpeggio patterns, and global
settings will be loaded. A dialog box will ask you to confirm the
Other functions
operation.
7. Press the [MENU/OK] button once again.
A dialog box will ask you to confirm the
operation. The data will be loaded, and the preloaded
combination B015 will be copied into C127.
7. Press the [MENU/OK] button once again.
All preloaded data will be loaded.
If the “Memory Protected” dialog box
appears, un-check the memory protect
setting, and perform the load operation once
again (☞p.88).
111
Other functions
• You can enter text using just the ClickPoint.

Assigning a name (Rename) When you press the ClickPoint center, the
You can modify the name of any program, combi- square-framed cursor in the text box will
nation, multi set, category, arpeggio pattern, etc. change.
The following table shows the items that you can Use the ClickPoint [√][®][π][†] to select a
rename, and the corresponding page. character. Press the center once again to finalize
the selection.
Item to rename Page
Use the ClickPoint [®] to select the next
Program name PROG 0...9 Utility: Write Program
character, and enter it in the same way.
COMBI 0...9 Utility: Write
Combination name
Combination • The function buttons shown in the lower line
perform the following operations. Use the
Multi set name MULTI 0-1 Utility: Rename Track
ClickPoint [√][®][π][†] to select a function,
Track name MULTI 0...9 Utility: Write Multi and press the center to execute it.
GLOBAL 4 Utility: Rename Drum Clear: Erase all text.
Drum kit name
Kit
Del (Delete): Delete the character at the cursor
GLOBAL 5 Utility: Rename
Arpeggio pattern name
Arpeggio Pattern
location.
Program category name GLOBAL 3: TEXT Ins (Insert): Insert a space at the cursor
location.
Combination category
GLOBAL 3: TEXT Cap. (Capital): Switch between uppercase and
name
lowercase letters.
1. Use the ClickPoint to select the text button ( ), • The following input operations can also be per-
and press the center to open the text dialog box. formed.
See the table above for the appropriate page. “0”–“9,” “–,” and “.” can be input using the
Note: In a utility menu command, select the text numeric buttons. When you input these, the
button ( ) in the dialog box that appears. cursor will advance automatically.
In GLOBAL 3, select the text button ( ) in the By pressing the [ENTER] button at the space
page. (blank), you can input the selected text before
The text dialog box will appear. the space.
4. Enter the remaining characters as described in
step 3.
If you opened the text dialog box from the
utility dialog box in step 1, you will return to
For example to enter the text shown in the the previous dialog box. In that dialog box,
illustration, you would proceed as follows. press the [MENU/OK] button (twice) to
execute the Rename operation.
2. Use the ClickPoint [√][®][π][†] to select
“Clear.” If you opened the text dialog box from the
GLOBAL 3 page in step 1, the Rename
All text will be erased from the text box. operation will be executed.
3. Enter “A”.
Use the [VALUE] dial or the [INC][DEC]
buttons to select “A”.
Press the [ENTER] button or the ClickPoint
[®]. The cursor will move.
112
Setting the functions of [SW1] and [SW2]
Quick Start
Setting the functions of Assigning functions to REAL-
Introduction
[SW1] and [SW2] TIME CONTROLS B-mode
[SW1] and [SW2] are the two switches below the knobs [1]–[4]
[PITCH] wheel and [MOD] wheel. These on/off
Here’s how you can assign functions to REAL-
switches can perform a number of different func-
TIME CONTROLS B-mode knobs [1]–[4].
tions, such as modulating sounds or effects, or
Setup
locking the modulation values of the [PITCH] The functions of these knobs in B-mode can be
wheel. separately assigned for each program, combina-
Also, each one may work either as a toggle, or as a tion, and multi set.
momentary switch. In Toggle mode, each press You will make these settings in “Knob B Assign”
Program
alternates between on and off; in Momentary in the following pages.
mode, the switch only changes for as long as you
Mode Page
hold it down.
Program PROG 7: Ed–Arp/Ctrls, Controls
Use “SW 1/2 Assign” in the following pages to
Combination
Combination COMBI 7: Ed–Arp/Ctrls, Controls
make these settings.
Multi MULTI 7: Arp/Ctrls, Controls
Mode Page
Program PROG 7: Ed–Arp/Ctrls, Controls
• The default assignments for knobs 1–4 are
Combination COMBI 7: Ed–Arp/Ctrls, Controls
Knob Mod.1 (CC#17), Knob Mod.2 (CC#19),
Multi MULTI 7: Arp/Ctrls, Controls Knob Mod.3 (CC#20), and Knob Mod.4
Multi
(CC#21), respectively. For a complete list of the
• Each Program, Combination, and Multi set possible assignments, see “Knobs 1…4 B
stores its own settings for what the switches Assign” (☞PG p.162).
will do, and whether each switch is on or off Here’s an example of how to set up knob [1] to
Effect
(based on their current states when the data is control a Program’s filter and amp EG attack time:
saved). 1. Press the [PROG] button to enter Program
• When using SW1/2 for AMS or Dmod, the mode.
default settings are SW1 Mod.(CC#80) and SW2 2. Access PROG 7: Ed–Arp/Ctrls, Controls.
Global
Mod.(CC#81).
Press the [MENU/OK] button, use the
• For an example, see “Using the Dmod function ClickPoint to select “Arp/Controls,” and then
and [SW1] to vary the feedback level” (☞p.85). press the center.
For a complete list of the possible assignments,
Arpeggiator
see “SW1/2 Assign” (☞PG p.161). 3. Choose Knob 1-B “Knob B Assign,” and use the
[VALUE] dial etc. to select F/A Attack (CC#73).
Note: If you wish to keep these settings after the
power is turned off, you must save the Program, 4. Press the REALTIME CONTROLS [SELECT]
Combination, or Multi set. button to select B-mode, and turn knob [1] to
control the EG attack for the filter and amp. Drum Kit
Note: If you wish to keep these settings after the
power is turned off, you must save the Program,
Combination, or Multi set.
Other functions
113
Other functions
Adjusting the display con- Shortcuts

trast [MENU] button + numeric buttons [0]–[9]
You can change the display contrast by adjusting • You can use these to access the pages within
the GLOBAL 0: System, Preference page “LCD each mode. Hold down the [MENU] button
Contrast” setting. and use numeric buttons [0]–[9] to enter the
Note: If you wish to keep these settings after the page number.
power is turned off, you must save the Global
mode. [MENU] button + [PAGE+], [PAGE–] but-
tons
• Access the various pages within each mode.
Hold down the [MENU] button, and use the
Tap tempo control [PAGE+], [PAGE–] buttons to move.
A tap tempo control function is available in Pro-
gram, Combination, and Multi modes. [ENTER] button + numeric buttons [0]–[9]
In each mode while the arpeggiator is playing, • Access the Utility menu commands of each
you can press the [ENTER] button or the foot page (up to ten items). Hold down the [ENTER]
switch (when “Foot SW Assign” is set to Tap button and press a numeric button [0]–[9] to
Tempo ☞p.88) several times at the desired tempo select from up to ten of the Utility menu items.
to control the playback tempo in realtime.
This function is convenient when you want to [ENTER] button + keyboard
match the playback tempo of the arpeggiator play- By holding down the [ENTER] button and press-
back to another beat in real-time. ing a note on the keyboard of the X50, you can per-
form the following input operations.
The Tap tempo feature also provides real-time
control over any BPM or tempo based effects. • Input note number values or velocity values
The following example shows the procedure for • Select “Key” in GLOBAL 4: DKit
using Tap tempo in Program mode.
1. In Program mode, select a drum program.
You may find it convenient to choose from the
Drum category.
2. In the PROG 0: Play, select the Arp. Play page
and check the “Latch” check box.
3. Turn on the front panel [ARP ON/OFF] button.
4. Press the [ENTER] button or the foot switch
(when “Foot SW Assign” is set to Tap Tempo)
several times at the desired tempo. The tempo
“ =” indication in the upper right of the
display will change according to the playback
tempo.
When you play the keyboard, the arpeggiator
will play a drum pattern at the specified tempo.
5. Lightly press the [ENTER] button or the foot
switch on the beat, and slightly shorten the
intervals at which you press the button.
The playback tempo of the drum pattern will
speed up slightly.
Note: Tap tempo control can be used whenever the
[TEMPO] knob can be operated.
114
Quick Start
Appendices
Introduction
Saving data
Setup
Modes and pages in which you can write
Types of data that can be data
saved You can write the following items of data in the
corresponding pages.
Program
You can save data in the following ways.
Writable items Page
• Write the data into the X50
Programs PROG 0...9 Utility: Write Program
• Save the data using the included “X50 Editor/
Combinations COMBI 0...9 Utility: Write Combination
Plug-In Editor” software
Combination
Multi sets MULTI 0...9 Utility: Write Multi
• Send a MIDI data dump to a MIDI data filer or
similar device Global settings GLOBAL 0...3 Utility: Write Global Setting
Drum kits GLOBAL 4 Utility: Write Drum Kits
Arpeggio
Writing data into the X50 GLOBAL 5 Utility: Write Arpeggio Patterns
patterns
Multi
Data areas that you can write
You can write data into the following data areas. MIDI data dump
For the procedure, see the page given. You can save data by transmitting it as MIDI
exclusive data to a connected MIDI data filer, com-
Effect
• Programs
Programs 0–127 in banks A–D ☞p.45 puter, or to a second X50 unit. (☞PG p.83)
• Combinations The following data can be transmitted via MIDI
Combinations 0–127 in banks A–C ☞p.61 data dump to an external data filer or similar
device.
• Multi sets 000–127 ☞p.75
Global
• Programs, combinations, multi sets, global set-
• Global settings (pages 0–3) ☞p.87
tings, user drum kits, user arpeggio patterns
• Drum kit 00 (INT)–40 (User) ☞p.110
• Arpeggio patterns U000–U250 ☞p.104
Arpeggiator
Using the “X50 Editor/Plug-In Editor”
You can’t write to the following data areas. control plug-in software to save data
• Program banks G: 001–128, g(d): 001–128 You can use the “X50 Editor/Plug-In Editor” con-
• Preset drum kits 40 (GM)–48 (GM) trol plug-in to save X50 data. For more details, see Drum Kit
• Preset arpeggio patterns “Editor/Plug-In Editor Manual” (PDF).
Preset-0 – Preset-4
• Program audition riffs 000–383
When the X50 is shipped, the writable areas
External control
already contain data. This data is referred to as the

“preloaded data.” The preloaded data is also
stored inside the X50, and can be reloaded using
the “Load Preload Data” operation (☞p.111).
Appendices
The non-writable areas contain preset data. This

data cannot be rewritten.
115
Appendices
About the Edit Buffer Memory in Global mode

When the power is turned on, the Global mode
data is called from internal memory into the Glo-
About the memory in Program, Com- bal mode memory area. Then when you modify
the parameters in Global mode, the data in the
bination, and Multi modes memory area will be modified. If you wish to save
When you select a program, combination, or multi this modified data in the internal memory, you
set in PROG 0: Play, COMBI 0: Play, and MULTI 0: must first Write (save) it.
Play, the data of the selected program, combina-
When you write, the data in the memory area will
tion, or multi set is called into the X50’s edit buffer.
be written into the global settings, drum kits, and
When you edit the parameters in pages such as 0: arpeggio patterns of internal memory.
Play, your editing will modify the data in the edit
If you turn off the power without writing, the
buffer.
modified data in the memory area will be lost.
If you wish to save this modified data into internal
Editing will affect the data that has been
memory, you must perform the Write operation. called into the memory area.
When you perform the Write operation, the data Edit

When you write, the Memory Area
in the edit buffer is written to the specified pro- various Global mode When the power is turned
gram number, combination number or Multi set settings will be saved Write Power On on, the settings are called
in internal memory. into the memory area.
number of the specified bank.
Internal Memory
If you select another program, combination or Arpeggio
Global Setting Drum Kits
Multi set number without writing, the data of the Patterns
newly selected program, combination or multi set

number will be called into the edit buffer, and
your changes will be lost.
When you press the [COMPARE] button in these
modes, the data in memory (i.e., the written con-
tent) is temporarily called into the edit buffer. This
lets you compare the settings being edited with
the settings prior to editing.
Editing applies to the data in the edit
buffer. Programs or combinations will play
according to the data in the edit buffer.
Edit
Edit Buffer
When you write, the program When you select a program or
or combination settings will combination, its data is called
be saved in internal memory. Write Select from internal memory into the
edit buffer.
Internal Memory
Program Combination Multi
Bank A 0...127 Bank A 0...127 0...127
116
Troubleshooting
Quick Start
Troubleshooting
Introduction
If you experience problems, see the relevant item The power is turned on, but the display
and take the appropriate measures. does not display normally, or an error
message is displayed. There is no sound
Power supply when you play the keyboard, and the X50
Setup
does not function normally.
Power does not turn on This type of problem may occur if a data writ-
Is the AC adapter connected to an outlet? ing operation to internal memory was not com-
☞p.23 pleted correctly, for example if the power of the
Program
X50 was turned off while a program or other
Is the Power switch turned on?
data was being written. If this occurs, use the
→ Turn on the rear panel Power switch. ☞p.23 following procedure to initialize the X50’s
internal memory.
Combination
1. Turn off the power.
Display
2. Hold down the [ENTER] button and the [0]
The power is turned on, but nothing is button, and turn on the power.
shown in the display. The X50 will be initialized, and the factory
The X50 functions normally when you preload data will be written into internal
memory. While the data is being written, the
Multi
play the keyboard or perform other oper-
display will indicate “Now writing into
ations. internal memory.”
Due to changes in the surrounding tempera-
ture, the display may on rare occasions be diffi-
Effect
cult or impossible to read. If this occurs, Audio output
perform the following procedure.
1. While holding down the [EXIT/CANCEL] No sound
button, press the [UTILITY] button. The Are connections made correctly to your amp,
[GLOBAL] button will blink, and the Global mixer, or headphones?
Global
mode Update Global Setting dialog box will Is your amp or mixer turned on?
appear.
Is Local Control turned on?
If you are unable to read the display, or if the
In GLOBAL 1: MIDI, check the “Local Control
Arpeggiator
Update Global Setting dialog box does not
appear, check whether the [GLOBAL] button On” check box. ☞PG p.82
is blinking. If the [GLOBAL] button is lit or Is the [VOLUME] slider raised? ☞p.12
dark, the X50 may be writing data that was If there is no sound from the INDIVIDUAL
received from an external connected MIDI OUTPUT 1, 2 jacks, make sure that “BUS
device, or may be responding to a request for
Drum Kit
Select” or “BUS Select” following the insert
output. If so, make sure that the X50 is not effect is set to 1, 2, 1/2. ☞p.81
writing data from an external connected MIDI
If specific tracks in Multi mode do not
device or transmitting data in response to a
sound, Make sure that the “PLAY/MUTE” is
request, or that any such operation has been
External control
set to PLAY. ☞p.70

completed. Then turn the power of the X50 off
and on again, and repeat this procedure from Make sure that the “Status” is INT or BTH.
step 1. ☞p.71
2. Use the [VALUE] dial to adjust the LCD Are the “Key Zone” and “Velocity Zone” set so
that sound will be produced when you play?
Appendices
contrast.
☞p.65
The LCD contrast setting will be memorized. Notes do not stop
Note: Other global settings will also be memorized In PROG 1: Ed–Basic, select the Prog Basic
at this time. page, make sure that the “Hold” check box is
unchecked. ☞PG p.6
117
Appendices
In GLOBAL 0: System, Foot page, make sure

that “Damper Polarity” or “Foot SW Polarity”
Effects
is set correctly. ☞PG p.80
Effects are not applied
Noise or oscillation is heard Are the Effect Global SW IFX Off, MFX1 Off,
When using the BPM/MIDI Sync. function to or MFX2 Off (GLOBAL 0: System, Basic page)
control the delay time of an effect, noise may settings checked? ☞p.87
occur in the delay sound. This noise is due to If you are in Combination, and Multi mode,
discontinuities in the delay sound, and is not a and master effects are not applied when you
malfunction. raise the S1(Send1(MFX1)) or S2(Send2(MFX2))
Some effects, such as 015: St.AnalogRecd, gen- of the timbre/track, does Rtn1(Return 1) or
erate noise intentionally. It is also possible to Rtn2(Return 2) from the master effect need to
create oscillation using a filter with resonance. be raised? ☞p.83
These are not malfunctions. Alternatively, has Send 1 or Send 2 for each
oscillator of the program used by the timbre/
track been lowered? ☞p.84
Programs and Combinations The actual send level is determined by
multiplying the send setting of each oscillator
Settings for oscillator 2 are not displayed in the program with the send setting of the
Make sure that the PROG 1: Ed–Basic, Prog timbre/track.
Basic page “Mode (Oscillator Mode)” parame-
ter is set to Double.
Arpeggiator
A combination does not play correctly
after you load data Arpeggiator does not start
Are the bank/numbers of the programs used Is the [ARP ON/OFF] button turned on (lit)?
by the combination the same as when the com- If the arpeggiator does not start for a combina-
bination was created? tion or Multi set, make sure that “Arpeggiator
→ If you have switched program banks, you can Run” is checked, and that an arpeggiator is
use the Change all bank references menu com- selected for “Assign.” ☞p.96
mand to change the program bank for each tim- Is the GLOBAL 1: MIDI “MIDI Clock” parame-
bre of a combination. ☞PG p.77 ter set to Internal? ☞PG p.81
Multi set Drum Kits

When you loaded data, a Multi set does The drum sample’s pitch does not change
not sound correctly You have left the “Assign” check box
Are the bank/number of the programs used by unchecked, and want to play the drum sample
the song the same as when the Multi set was at the adjacent right a semitone lower, but the
created? pitch does not change.
→ If you have selected a drum program in Pro-
A combination copied using “Copy From gram mode, and then want to edit the drum kit
Combi” sounds different than it did in in Global mode, go to the PROG 2: Ed–Pitch,
Combination mode OSC1 page and set “Pitch Slope” to +1.0 before
Did you make the correct settings in the Copy you enter Global mode.
From Combination dialog box? ☞p.72
→ In the Copy From Combination dialog box,
Audition
check the “Auto adjust Arpeggio setting” box
before you execute the copy.
No sound when the [AUDITION] button is
turned on
The Audition function is available only in Pro-
gram mode.
118
Troubleshooting
Quick Start
If no sound is played when you turn on the Are you attempting to install from a network
[AUDITION] button in Program mode, make CD drive?
Introduction
sure that the PROG 1: Ed–Basic, Audition page → This software cannot be installed from a net-
parameter “Audition Riff” has not been turned work-connected CD drive.
Off. ☞PG p.9
Are you able to use USB?
→ If you are using Windows XP, go to [Control
MIDI, USB Panel] → [System], and select the [Hardware]
Setup
tab. In [Device Manager], check the settings for
This instrument does not respond to Universal Serial Bus Controller and USB Root
incoming MIDI data Hub.
Are all MIDI cables connected correctly? Has the X50 been detected as an unknown
Program
☞p.31, 34 device?
Is the MIDI data being received on the channel → If you are using Windows XP, go to [Control
on which it is being transmitted? ☞PG p.81 Panel] → [System], select the [Hardware] tab,
and check [Device Manager]. If the X50 has not
Combination
This instrument does not respond cor- been detected correctly, it will be displayed in
rectly to incoming MIDI data “Other devices” or “Unknown devices.” Recon-
nect the USB cable; if the X50 is again displayed
Are the GLOBAL 1: MIDI page MIDI Filter set-
as an “Unknown device,” the computer has
tings “Enable Program Change,” “Bank,”
failed to detect it correctly. Delete the “Unknown
“Combi,” “Ctrl Change,” “AfterT,” and “Exelu-
device” entry, and reinstall the driver. ☞p.28
Multi
sire” each checked? ☞PG p.82
If you wish to receive MIDI exclusive mes- Your software does not respond to the
sages, is the GLOBAL 1: MIDI page MIDI Filter X50
“Exclusive” box checked? ☞p.32
Is the USB cable connected correctly?
Effect
Does this instrument support the types of mes-
Did you install the driver?
sages that are being sent to it?
Has your computer detected the connected
When using USB, sound processing is X50?
slow, or the tempo is unstable → If you are using Windows XP, go to Control
Global
Is the MIDI driver installed for the USB port Panel → “Sounds and Audio Devices Proper-
you’ve connected? ties” and click the Hardware tab.
→ The driver must be installed for each USB port → If you are using Mac OS X, go to Macintosh HD
→ Application folder → Utility folder →
Arpeggiator
you use. If you connect the X50 to a USB port
other than the port you used when installing “Audio MIDI Settings,” select the “MIDI
the KORG USB-MIDI Driver for Windows XP, Devices” tab, and check that the X50 has been
you’ll need to reinstall the KORG USB-MIDI detected.
Driver. → Some computers may not recognize the X50 Drum Kit
Have you made the correct “echo back” setting because of their hardware configuration.
on your computer and the correct Local Control Check the X50’s assignments and USB-MIDI
setting on the X50? port settings.
The connected device or software may not sup-
External control
port the messages you are transmitting. See the

Included CD-ROM owner’s manual of the connected device or
software to verify that it responds to the mes-
Can’t install the driver included CD-ROM sages you are transmitting.
Is the USB cable connected correctly?
Appendices
Is the CD-ROM inserted in your CD drive? Software does not operate correctly
→ Make sure that the CD-ROM is inserted cor- Does your computer meet the operating
rectly. requirements of the software?
Could the lens of your CD drive be dirty? Even if your computer meets the requirements,
there may be cases in which the software does
→ Use a commercially-available lens cleaner to
not operate correctly because of the computer
clean the lens.
you are using.
119
Appendices
Specifications and options

Specifications
Operating temperature +0 – +40 °C (do not allow condensation)
System HI (Hyper Integrated) Synthesis System

Keyboard 61 key
Synthesis types HI (Hyper Integrated) Synthesis System
Single mode 62 voices (62 oscillators)
Sound Engine Maximum polyphony
Double mode 31 voices (62 oscillators)
Waveform memory 64 Mbyte PCM ROM (470 multisamples, 518 drumsamples)
Single = OSC1 only; Double = OSC1 & OSC2
Oscillator
Two-level velocity switching per oscillator
Filters 24 dB/octave LPF with resonance, 12 dB/octave LPF + HPF
Programs
Two envelope generators (Filter & Amp), two LFOs, and two key tracking
Modulation generators (Filter & Amp) for each voice
In addition, pitch EG and alternate modulation (AMS) functions
Number of timbres, Maximum 8 timbres, key and velocity splits/layers/crossfading, Tone Adjust
Combinations master keyboard function allows program settings to be modified, control from external MIDI
functionality devices
Maximum 16 tracks, key and velocity splits/layers/crossfading, Tone Adjust
Number of tracks, master
Multi sets function allows program settings to be modified, control from external MIDI
keyboard functionality
devices
Drum Kits Drum sample assignments, two-level velocity switching available
The number of User combinations 384 combinations/384 preloaded
… User programs 512 programs/512 preloaded
-Combinations
Multi sets 128 multi sets/16 preloaded
-Programs
-Multi sets User Drum Kits 40 Drum Kits/16 preloaded
-Drum Kits Preset Programs 128 GM preset programs + nine GM2 preset drum programs
Insert Effect 1 insert effect (stereo in/out)
Master Effects 2 master effects (mono in/stereo out)
Effects Master EQ 1 master EQ (3-band stereo)
Effect types 89 effect types (available for insert effects or master effects)
Modulation Effect dynamic modulation function (Dmod)
Dual polyphonic Program mode: one arpeggiator
arpeggiators Combination and Multi modes: two arpeggiators
Tempo 40–240
Arpeggiators
Number of arpeggio
5 preset, 251 user/251 preloaded
patterns
Controllers ON/OFF, REALTIME CONTROLS C-mode knobs [1]–[4]
[MOD] wheel, [PITCH] wheel, [SW1], [SW2]
KNOBS [1]–[4]
Controllers REALTIME CONTROLS
SELECT A, B, C
Arpeggiator ARP ON/OFF
Display Graphical user interface: 240 x 64 pixel LCD display
Mode Buttons = [COMBI], [PROG], [GLOBAL], [MULTI]
Buttons = [PAGE+][PAGE–], [EXIT], [MENU], ([MENU] + numeric buttons block
Pages
[0]–[9])
Dial = [VALUE], Buttons = [INC], [DEC], Numeric buttons block ([0]–[9], [–], [.],
VALUE Controllers
[ENTER]), (ClickPoint)
User Interface VALUE select ClickPoint [√][®][π][†] center, Buttons = [OK], [CANCEL]
UTILITY Buttons = [UTILITY] (ENTER] + numeric buttons block [0]–[9])
BANK Buttons = PROG BANK [A]–[GM], COMBI BANK [A]–[C]
TEMPO Knob = PREALTIME CONTROLS C [4], Button = [ENTER]
CATEGORY Buttons = [CATEGORY], [HOLD]
Other Buttons = [COMPARE], [AUDITION], Slider = [VOLUME]
120
Operating requirements for connection to a computer
Quick Start
Audio Outputs
1/4" phone jacks (unbalanced); [VOLUME] slider controls only the MAIN OUT L/
Introduction
MAIN OUTPUTS MONO and R jacks
L/MONO, R Output impedance 1.1kΩ stereo (L/MONO is 550Ω for mono)
L/MONO, R: +12.0 [dBu]
INDIVIDUAL OUTPUTS 1, 2 Maximum Level
(INDIVIDUAL OUTPUT)1, 2: +11.6 [dBu]
Analog Load impedance 100 kΩ or greater
1/8" mini-stereo phone jack; volume controlled by [VOLUME] slider (linked
Setup
with MAIN OUTPUT L/Mono)
Headphones Output Impedance 33Ω
Maximum Level 36 mW
Load impedance 33Ω
Program
DAMPER (half-damper supported)
Control Inputs
ASSIGNABLE SWITCH, ASSIGNABLE PEDAL
MIDI IN, OUT
USB USB B
Power DC power inlet, switch
Combination
Dimensions
975 × 257 × 80 (mm)
(W × D × H)
Weight 4.3 kg
Power supply
DC 12V
voltage
Power Consumption 10W
Multi
Accessories AC adapter, Operation guide, CD-ROM (X50 Editor/Plug-In Editor, KORG USB-MIDI driver, Parameter guide)
Operating requirements for connection to a computer
Effect
KORG USB-MIDI Driver operating requirements
Computer A computer with a USB port, that satisfies the requirements of Microsoft Windows XP
Windows Microsoft Windows XP Home Edition, Professional or x64 Edition (The driver for x64 Edition
Operating system
is a Beta version)
Global
Computer An Apple Macintosh with a USB port that satisfies the requirements of Mac OS X
Macintosh
Operating system Mac OS X version 10.3 or later
Arpeggiator
X50 Editor/Plug-In Editor operating requirements
CPU: Pentium III/1 GHz or better
Memory: 256 MB or more
Computer
Windows Monitor: 1,024 × 768 pixels, 16-bit color or better
A computer with a USB port, that satisfies the requirements of Microsoft Windows XP
Operating system Microsoft Windows XP Home Edition or Professional, Service Pack 1 or later
Drum Kit
CPU: Apple G4/400 MHz or better

Memory: 256 MB or more
Computer
Macintosh Monitor: 1,024 × 768 pixels, 32,000 colors or better
An Apple Macintosh with a USB port that satisfies the requirements of Mac OS X
External control
Operating system Mac OS X version 10.3.9 or later
Options
Appendices
Expression/volume pedal: XVP-10 EXP/VOL pedal

Foot controller: EXP-2
Foot switch: PS-1
Damper pedal: DS-1H
Other: MIDI cable
* Appearance and specifications of this product are subject to change without notice. (Feb./06)
121
[Music Synthesizer] Date : 2006. 1.24
122
X50: MIDI Implementation Chart
Appendices
Function Transmitted Recognized Remarks
Basic Default 1 – 16 1 – 16 Memorized

Channel Changed 1 – 16 1 – 16
Mode Memorized 3
Messages
Altered
Note 24 – 108 0 – 127 Arpeggiator data can transmit all

Number: True Voice 0 – 127 note numbers 0–127
Velocity Note On 9n, V=0 – 127 9n, V=0 – 127

Note Off
MIDI Implementation Chart
Aftertouch Polyphonic (Key) Transmitted only as ASSIGNABLE PEDAL, *A

Monophonic (Channel) ASSIGNABLE SWITCH *A
Pitch Bend *C
0, 32 Bank Select (MSB, LSB) *P
1, 2 Modulation wheel, Joystick –Y *C
4, 5, 7, 8, 10 Pedal, Portamento Time, Volume, IFX pan, Pan *C
11, 12, 13 Expression, Effect Control 1/2 *C
64, 65, 66, 67 Damper, Portamento Sw., Sostenuto, Soft *C
Control 70 – 79 Sound (Realtime Controls 1–4A: 74, 71, 79, 72) *C
Change 80, 81, 82, 83 Switch 1, 2, Foot Switch, Controller *C
93, 91, 92, 94, 95 Send 1, 2, Effect ON/OFF (IFX, MFX1, MFX2) *C
6, 38 Data Entry (MSB, LSB) *C
96, 97 Data Increment, Decrement *C
98, 99 NRPN (LSB, MSB) *C, *2
100, 101 RPN (LSB, MSB) *C, *3
0 – 95 Realtime Controls knobs 1–4 B-assign *C
120, 121 All Sound Off, Reset All Controllers *C
Program 0 – 127 0 – 127 *P

Change Variable Range 0 – 127
System Exclusive *E*4
Song Position Corresponds to Arpeggiator reset *1

System
Common Song Select 0 – 127 0 – 127 *1
Tune
System Clock *1
Real Time Command Corresponds to Arpeggiator control *1
Local On/Off
Aux All Notes Off 123 – 127
Messages Active Sense
Reset
Notes
*P, *A, *C, *E: Transmitted/received when GLOBAL 1: MIDI Filter (Program Change, After Touch, Control Change, Exclusive) is Enable, respectively.
*1: When GLOBAL 1: MIDI Clock is Internal, transmitted but not received. The opposite for Ext-MIDI or Ext-USB.
*2: LSB,MSB=02,00: Arpeggiator ON/OFF, 0A,00: Arpeggiator Gate control, 0B,00: Arpeggiator Velocity control
*3: LSB,MSB=00,00: Pitch bend range, 01,00: Fine tune, 02,00: Coarse tune
*4: In addition to Korg exclusive messages, Inquiry, GM System On, Master Volume, Master Balance, Master Fine Tune,
and Master Coarse Tune are supported.
Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO : Yes
Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO : No
Consult your local Korg distributor for more information on MIDI IMPLEMENTATION.
123
MIDI Implementation Chart
Appendices External control Drum Kit Arpeggiator Global Effect Multi Combination Program Setup Introduction Quick Start
Appendices
Index
Numerics Connection 25 Foot pedal 27, 42
Computer 27 Foot switch 26, 39, 42
10’s HOLD 39
Control Track 70
A Convert Position 32 G
Copying the settings of a Global mode 87
Alternate modulation 51
combination (multi set) 72
Amp 55
Amp EG 55 H
D
AMS 51 Half-Damper 42
DAMPER jack 26
ARP ON/OFF 91 HI (Hyper Integrated) synthesis
Damper pedal 26, 42 system 9
Arpeggiator 91
Demo song 8 High pass filter 53
Adjusting the tempo 92
Link 88 Detune 67
On/Off 91, 97 Detuned sound 49 I
Arpeggio pattern 93 Dialog 15 Insert effect 82, 84
Initialization 99 Display 15, 117 Install
User arpeggio pattern 99 Contrast 114 Mac OS X 30
ASSIGNABLE PEDAL 27, 88 Double Program 47 Windows XP 28
ASSIGNABLE SWITCH 26, 88 Drum Kit 49, 107
Assigning a name 112 Bank 107 K
Audio output 25 Edit 108 Key Sync. 94
Effect send 110
AUDITION 38
Drum sample 108
Audition function 38 L
Drums Program 47
Layer 64
Dual polyphonic
B LFO 50
arpeggiator 97, 104
Bank Select 40, 63, 71 Load 111
Dynamic modulation 85
BPM/MIDI Sync. 86 Local Control 32
Bypass 86 E Low pass filter 53
LPF CUTOFF 44
Edit Buffer 116
C
Edit cell 15
Category M
Effect 79
Combination 58 Master effect 83
EG 51
Name 90 Master EQ 83
Program 38 EG-INTENSITY 44
Master keyboard 33
Chain 83 EG-RELEASE 44
Memory Protect 88
Check box 15 Envelope Generator 51
MIDI 14, 34, 76, 89
ClickPoint 13 Exclusive 32
Channel 39, 63
Combination 57 Exclusive Group 109
Data dump 115
Bank 58 Filter 64
Category 58 F Program change 39, 58, 77
Select 57 Filter 52 MIDI channel that will control
Combination mode 57 EG 54 effects 85
Compare 47, 63, 74, 99, 108 Keyboard Track 54 MIDI/Tempo Sync. 51
Fixed Note Mode 102 MOD wheel 41, 52, 85
124
Index
Quick Start
Mode 17 Program 37 U
Combination mode 57 Bank 38
Introduction
USB connector 31
Global mode 87 Category 38
User arpeggio pattern 99
Multi mode 69 Select 37
Chord 102
Program mode 37 Program mode 37
Drum 102
Select 19
Edit 100
Modulation R Melody 102
Setup
Amp 55
REALTIME CONTROLS 43 User Scale 89
Filter 54
B-mode 113 User All Note Scale 89
Pitch 52
Rename 112 User Octave Scales 89
Monophony 48
Program
Resonance 53 Utility 21
Multi mode 69
RESONANCE/HPF 44
Multi Mode (Global) 33
Restoring the factory V
Multi set 69
Combination
settings 111 Value 20
Multisample 48
Reverse 49 VALUE controller 20
Multi-timbre 33
Routing 81, 82, 84 Velocity 32, 40, 49, 55, 87
Mute 70
Velocity Switch 64
S Vibrato 52
N
Multi
Save 22, 115 Volume 42
Note Number 41 Combination 61 Timbre 61
Drum kit 110 Track 71
O Multi set 75 Volume balance 61
Effect
Oscillator 47 Program 45
User arpeggio 104
Oscillator Mode 47, 107 W
Scroll bar 16
Wah 54
P Shortcut 114
Global
Write 22, 115
Shuffle 95
Page 15 Combination 61
Select 19 Single Program 47 Drum kit 110
Page menu 16 Slope 65 Multi set 75
Arpeggiator
Pan Split 64 Program 45
Drum Kit 110 Status 63, 71 User arpeggio 104
Program 56 SW1, SW2 41, 113
Timbre 60 Synchronization 105 Drum Kit
Track 71
System exclusive 32
Parameter 15
Select 20
T
Performance Edit 43
External control
Tab 15, 20
Pitch 51
Tap tempo 114
Varying the pitch according to
keyboard position 51 TEMPO 92
Pitch bend 52 Tempo Sync. 51
Appendices
Pitch EG 52 Text dialog 112

PITCH wheel 41, 52, 54, 67 Three attributes of sound 46
Polyphony 47, 48 Tone Adjust 67
Portamento 52, 66 Transpose 32, 67, 87
Power 23, 88 Tremolo 55
Power On Mode 88 Tuning 87
125
IMPORTANT NOTICE TO CONSUMERS
This product has been manufactured according to strict specifications and voltage
requirements that are applicable in the country in which it is intended that this product
should be used. If you have purchased this product via the internet, through mail order,
and/or via a telephone sale, you must verify that this product is intended to be used in
the country in which you reside.
WARNING: Use of this product in any country other than that for which it is intended
could be dangerous and could invalidate the manufacturer’s or distributor’s warranty.
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
 2006 KORG INC.

Korg X50 Manual

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What precautions should be taken when using the unit?

What precautions should be taken when using the unit?

What are some locations that can cause malfunctions?

What are some locations that can cause malfunctions?

Operation Guide

• Apple, Mac and Audio Units are trademarks of Apple

About this manual

Connections................................................. 25 Saving your edits................................................61

MIDI considerations ................................... 69 Using Drum Kits............................ 107

Global Mode ................................... 87 Specifications and options ...................... 120

If you’re listening through headphones,

3. Lower the X50’s [VOLUME] slider.

Playing programs and combinations

Selecting programs by bank and number

1. Press the [PROG] button. (The button will light.)

Selecting combinations by bank and number

1. Press a [COMBI] button. (The button will light.)

Tab Control assign list

Selecting combinations by category

[PITCH] wheel, [MOD] wheel

Lower the pitch

Using the realtime controllers to control the arpeggiator

Changing the arpeggio pattern

Listening to the demo songs

2. Press the [AUDITION] button to begin playback.

Changing the play mode

• Highly flexible effect routing is possible. Effects

Alternate Modulation and Effect Dynamic

modulation to parameters that affect the pitch,

In addition to providing conventional arpeggiator

Dual polyphonic arpeggiator

1. [PITCH] wheel, [MOD] wheel [COMBI] button

pressing the [PAGE+] button or [PAGE–] button,

you can press this button to move to page 0 of that

1. AUDIO OUTPUT What is USB?

ASSIGNABLE PEDAL jack AC adapter connector

* Text dialog box

parameter and editing the value” (☞p.20).

unchecked, the parameter will not function.

When “Page Menu Style” = List

Note: You can set “Page Menu Style” in the

Assign Programs to each of the 8 Timbres, each

• Control and play up to two Arpeggiator

• Select and playback Multi sets

PITCH1 FILTER1 AMP1

PITCH2 FILTER2 AMP2

GLOBAL MODE COMBINATION MODE

TRACK 4 PROGRAM TRACK 12 PROGRAM MEQ

TRACK 5 PROGRAM TRACK 13 PROGRAM

TRACK 6 PROGRAM TRACK 14 PROGRAM

Using the [MENU/OK] button +

[EXIT/CANCEL] button [VALUE] dial

1. Press the [PAGE+] button to access the page for ClickPoint

Numeric buttons [0]–[9], [–] button,

written into memory). [π][†]), or [INC][DEC] button. When

bank as an alternative to using the VALUE

3 Power cable Drum Kit

Turning the power off

Connecting the MAIN OUTPUT L/MONO Connecting INDIVIDUAL OUTPUT 1 and 2