Korg m50-73 User Guide

 specifies the amount of vibrato that the LFO 

will produce when the joystick is pushed away from 
you.

 (AMS Intensity) specifies the depth of 

vibrato that will be applied by the LFO when 
modulated by the selected AMS (Alternate Modulation 
Source). For example, if the panel switch assignment 
for SW1 is set to SW1 Mod. (CC#80) (Prog 1–7a), and 
you set LFO1 AMS to SW1: CC#80 and specify an 
appropriate value for Intensity, vibrato will be applied 
when you turn SW1 on or when MIDI control change 
#80 is received.

When the Intensity value is set to +12.00, the pitch EG 
specified in the Pitch EG page will produce a 
maximum of ±1 octave of pitch change.

To realistically simulate the slight change in pitch that 
occurs when a string is plucked or at the attack of a 
brass or vocal sound, you can use the EG to create a 
subtle change in pitch at the attack.

Portamento makes the pitch change smoothly when 
you play the next note before releasing the previous 
note.

The Time parameter controls how long it take the pitch 
to change. As this value is increased, the pitch will 
change over a longer time. With a value of 000, there 
will be no portamento.

You can turn Portamento on and off via SW1 or SW2, 
by assigning them to Porta.SW CC#65.

The filters allow you to diminish or emphasize 
specified frequency areas of the sound.

The basic filter settings, including the routing, type, 
cutoff frequency, and resonance, are set on the P3–1: 
Filter1 or P3–2: Filter2 page.

Each oscillator has two filters, Filter A and Filter B. The 
Filter Routing

 parameter controls whether one or both 

of the filters are used, and if both are used, it controls 
how they are connected to each other.

The Single routing uses only Filter A as a single 2-pole, 
12dB/octave filter (6dB for Band Pass and Band 
Reject).

The Serial routing uses both Filter A and Filter B. The 
oscillator first goes through Filter A, and then the 
output of Filter A is processed through Filter B. 

also uses both Filter A and Filter B. The 

oscillator feeds both filters directly (and allow 
independent settings for each), and the outputs of the 
two filters are then summed together.

The 24dB(4Pole) routing merges both filters to create a 
single 4-pole, 24dB/octave filter (12dB for Band Pass 

and Band Reject). In comparison to Single, this option 
produces a sharper roll-off of frequencies beyond the 
cutoff frequency, as well as a slightly more delicate 
resonance. Many classic analog synths used this type 
of filter.

This selects the parts of the sound which will be 
affected by the filter, as described below. With the 
Serial and Parallel routings, you can independently set 
the types for Filter A and Filter B.

The filters will produce very different results 
depending on the selected filter type.

 This cuts out the parts of the sound which 

are higher than the cutoff frequency. Low Pass is the 
most common type of filter, and is used to make bright 
timbres sound darker.

 This cuts out the parts of the sound which 

are lower than the cutoff frequency. You can use this to 
make timbres sound thinner or more buzzy. 

 This cuts out all parts of the sound, both 

highs and lows, except for the region around the cutoff 
frequency. Since this filter cuts out both high and low 
frequencies, its effect can change dramatically 
depending on the cutoff setting and the oscillator’s 
multisample.

With low resonance settings, you can use the Band 
Pass filter to create telephone or vintage phonograph 
sounds. With higher resonance settings, it can create 
buzzy or nasal timbres.

 This filter type–also called a notch filter–

cuts only the parts of the sound directly around the 
cutoff frequency. Try modulating the cutoff with an 
LFO to create phaser-like effects.

Filter A (Low Pass)

Oscillator

Oscillator

Filter B (High Pass)

Filter A (Low Pass)

Filter B (High Pass)