Korg m50-73 User Guide

 refers to any of 

the assignable modulation sources in M50, including:

• Controllers of the M50 itself, such as the joystick, 

SW 1/2, and the realtime knobs

• Incoming MIDI controllers

• Modulators such as the Filter, Pitch, and Amp EGs, 

the LFOs, or the AMS Mixers

 is a parameter that sets the degree (speed, 

depth, amount etc.) to which AMS will control the 
modulation.

A number of frequently-used modulation routings, 
such as using the joystick to vary the pitch, are 
provided as additional, dedicated routings, separate 
from AMS.

Note that not all AMS sources may be available for 
some modulation destinations. 

For details on alternate modulation and AMS, please 
see below.

• “Alternate Modulation Sources (AMS)” on page 373 

of the Parameter Guide

• “Creating Vibrato” on page 37

• “Pitch EG” on page 38

• “Filter EG” on page 39

• “LFO modulation” on page 39

• “AMS (Pan)” on page 42 of the Parameter Guide

• “LFO1/2” on page 41

The AMS Mixers combine two AMS sources into one, 
or process an AMS source to make it into something 
new.

For instance, they can add two AMS sources together, 
or use one AMS source to scale the amount of another. 
You can also use them to change the shapes of LFOs 
and EGs in various ways, modify the response of 
realtime controllers, and more.

The AMS Mixer outputs appear in the list of AMS 
sources, just like the LFOs and EGs.

This also means that the original, unmodified inputs to 
the AMS Mixers are still available as well. For instance, 
if you use LFO 1 as an input to an AMS Mixer, you can 
use the processed version of the LFO to control one 
AMS destination, and the original version to control 
another.

Finally, you can cascade the two AMS Mixers together, 
by using AMS Mixer 1 as an input to AMS Mixer 2.

For details, please see “6–1: OSC1 AMS Mix1” on 
page 52 of the Parameter Guide.

When making settings for alternate modulation, think 
of the effect that you wish to produce, what type of 
modulation will be necessary to produce that effect, 
and what parameter of the oscillator, filter, or amplifier 
needs to be controlled. 

Next, select a source (AMS) and set the Intensity. If 
you proceed logically in this way, you will achieve the 
desired effect.

For example in a guitar sound program where you 
want to use the joystick to control the feedback, you 
would make assignments so that the joystick controls 
the filter frequency and resonance.

For each program, the function of Realtime Control 
knobs 1-B–4-B and the SW1 and SW2 switches can be 
assigned in the Prog P1: Basic/Ctrls– Controllers Setup 
page.

For details, please see “Setting the functions of SW1 
and SW2” on page 18 of the Parameter Guide, and 
“Setting the functions of Realtime Control B mode 
knobs 1–4” on page 19 of the Parameter Guide.

The JS (+X) and JS(–X) settings specify the amount of 
pitch change (in semitones) that will occur when MIDI 
pitch bend messages are received or when the joystick 
is moved to left or right. A setting of +12 allows the 
pitch to be controlled a maximum of one octave 
upward; a setting of –12 allows the pitch to be 
controlled a maximum of one octave downward.

 specifies the amount of pitch change (in 

semitone units) that will occur when MIDI control 
change message #16 is received. With a setting of +12, a 
value of 127 will raise the pitch one octave, and a value 
of 0 will lower the pitch one octave.

You can use an LFO to create vibrato.

 or LFO2 Int. sets the depth to which the 

selected LFO will affect the pitch. With a setting of 
+12.00

, vibrato will produce a maximum of ±1 octave 

of pitch change.