I don´t understand the Effects in the M50.
How can I add a little reverb to an epiano-voice in combi-mode in an easy way?
effects
Moderators: Sharp, X-Trade, Pepperpotty, karmathanever
That´s, what I don´t understand. I am used from my Yamaha-Keyboard to have a mixer, where I can see the combination part I want to put an effect on, than a page, where I can see the effect and then I can tweak it and that´s it.
In the M50 I have to "rout" the effect to what, I don´t understand, and what do you mean with "put it in line". Please explain a little bit more in detail.
In the M50 I have to "rout" the effect to what, I don´t understand, and what do you mean with "put it in line". Please explain a little bit more in detail.
Andreas
Fender Rhodes Mark I Stagepiano 73
Korg M50
Korg MicroX
Fender Rhodes Mark I Stagepiano 73
Korg M50
Korg MicroX
There are a number of ways you can do this, but try this simple method first to see if this is what you need.
Go to the MFX page and select the reverb. In the bottm left you should see a mix ratio value. If you adjust this, you change how much the effect is applied to the sound.
Regards.
Sharp.
Go to the MFX page and select the reverb. In the bottm left you should see a mix ratio value. If you adjust this, you change how much the effect is applied to the sound.
Regards.
Sharp.
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I see, that seems to be simple. Please understand me right: I dont own a M50 yet but I want to buy one and see if I can handle these complex functions (in comparison to a Yamaha Arranger).
But what is the difference between IFX, MFX and TFX?
If I want only to change the reverb type of an epiano voice in a combi - which FX should I use for that?
But what is the difference between IFX, MFX and TFX?
If I want only to change the reverb type of an epiano voice in a combi - which FX should I use for that?
Andreas
Fender Rhodes Mark I Stagepiano 73
Korg M50
Korg MicroX
Fender Rhodes Mark I Stagepiano 73
Korg M50
Korg MicroX
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FifthElement
- Junior Member
- Posts: 91
- Joined: Thu Dec 04, 2008 11:35 am
- Location: Chester, UK
Even if you don't own an M50, you can still download the M50 manual from the Korg website and read it. You would at least learn what IFX, MFX and TFX are.Korgagent wrote:I see, that seems to be simple. Please understand me right: I dont own a M50 yet but I want to buy one and see if I can handle these complex functions (in comparison to a Yamaha Arranger).
But what is the difference between IFX, MFX and TFX?
If I want only to change the reverb type of an epiano voice in a combi - which FX should I use for that?
It will be a lot quicker than line by line instruction in a forum!
Korg M50-88, Nord Electro2 73, Roland JV-90
Fender Strat Plus Deluxe, Ibanez MESA, Line6 Variax, Line6 POD 2.0
Fender Strat Plus Deluxe, Ibanez MESA, Line6 Variax, Line6 POD 2.0
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kanthos
- Platinum Member
- Posts: 1003
- Joined: Thu Dec 04, 2008 1:41 pm
- Location: Newmarket, Ontario, Canada
* Disclaimer: This is probably *not* the way you'd want to set up actual rack effects; I'm just using this for purposes of illustration.
Pretend for a moment that you've got two keyboards that don't have any effects. You're playing a lead sound on one, and you want it to be distorted. You want reverb on everything, and you want EQ.
Since your keyboards have no effects, you could get a mixer and a few rack effects and pedals, and set things up like this. Also pretend your mixer has no EQ and built-in effects, but that it *does* have an effects send loop.
Keyboard A is going to be distorted. You'd connect the keyboard's output into the distortion pedal's input, and the pedal's output into a mixer channel. Keyboard B isn't going to be distorted; it goes right into the mixer. If you decided that keyboard B was going to be distorted as well, you'd need a second pedal.
You want reverb on both parts, but probably varying amounts, so you use your mixer's Aux Send feature. Each mixer channel can set the level sent to the auxiliary effect (your rack reverb unit), so you can send a bit of the sound from keyboard A and more of the sound from keyboard B. The reverb unit does its thing, and comes back into the sound board. This *isn't* done on a new channel (it could be, but you don't want to do that). The Aux Send is a loop, and the return sound gets mixed in with your other channels (so if you have an 8-channel mixer, the final output from the mixer has 8 channels *plus* the reverb). You can adjust the level of the aux return to add reverb, and you can adjust the post-Aux Send level of the keyboards. Note that you're mixing both the dry sound of each keyboard with the processed sound from the reverb unit.
Lastly, you want overall EQ, but your mixer doesn't support that. You could run the final output from your mixer through the EQ and then into the house speakers.
As you might guess, the distortion is an insert effect, the reverb is a master effect, and the EQ is a total effect. I use the analogy of a mixer with external effects because the M50/M3 and TR/Triton generation use the same kind of concept.
The insert effects are applied to timbres before they enter the "mixer" (unlike my example, I could send everything through an insert effect if I wanted to, instead of getting a separate distortion pedal for each track, but that's really just to share effects). Basically, each timbre goes into the mixer individually, running through 0 or more insert effects.
Master effects are applied to some/all timbres (either the timbre itself, or the output from the end of the chain of insert effects the timbre went through) using the send/return pattern. The dry signal from a timbre goes through into the master EQ or total effect (I don't know what the order is; I have a TR, which doesn't have a total effect). A portion of the signal can be sent to each of the master effects as well; the return from the master effects is mixed in along with the dry signal. You can chain the master effects (so that the output of one goes into the next), or use them separately.
The total effect is applied to the final output once, no matter what. Master EQ works like a total effect (in fact, if you choose a comparable EQ effect as your total effect, the Master EQ will be effectively useless).
Pretend for a moment that you've got two keyboards that don't have any effects. You're playing a lead sound on one, and you want it to be distorted. You want reverb on everything, and you want EQ.
Since your keyboards have no effects, you could get a mixer and a few rack effects and pedals, and set things up like this. Also pretend your mixer has no EQ and built-in effects, but that it *does* have an effects send loop.
Keyboard A is going to be distorted. You'd connect the keyboard's output into the distortion pedal's input, and the pedal's output into a mixer channel. Keyboard B isn't going to be distorted; it goes right into the mixer. If you decided that keyboard B was going to be distorted as well, you'd need a second pedal.
You want reverb on both parts, but probably varying amounts, so you use your mixer's Aux Send feature. Each mixer channel can set the level sent to the auxiliary effect (your rack reverb unit), so you can send a bit of the sound from keyboard A and more of the sound from keyboard B. The reverb unit does its thing, and comes back into the sound board. This *isn't* done on a new channel (it could be, but you don't want to do that). The Aux Send is a loop, and the return sound gets mixed in with your other channels (so if you have an 8-channel mixer, the final output from the mixer has 8 channels *plus* the reverb). You can adjust the level of the aux return to add reverb, and you can adjust the post-Aux Send level of the keyboards. Note that you're mixing both the dry sound of each keyboard with the processed sound from the reverb unit.
Lastly, you want overall EQ, but your mixer doesn't support that. You could run the final output from your mixer through the EQ and then into the house speakers.
As you might guess, the distortion is an insert effect, the reverb is a master effect, and the EQ is a total effect. I use the analogy of a mixer with external effects because the M50/M3 and TR/Triton generation use the same kind of concept.
The insert effects are applied to timbres before they enter the "mixer" (unlike my example, I could send everything through an insert effect if I wanted to, instead of getting a separate distortion pedal for each track, but that's really just to share effects). Basically, each timbre goes into the mixer individually, running through 0 or more insert effects.
Master effects are applied to some/all timbres (either the timbre itself, or the output from the end of the chain of insert effects the timbre went through) using the send/return pattern. The dry signal from a timbre goes through into the master EQ or total effect (I don't know what the order is; I have a TR, which doesn't have a total effect). A portion of the signal can be sent to each of the master effects as well; the return from the master effects is mixed in along with the dry signal. You can chain the master effects (so that the output of one goes into the next), or use them separately.
The total effect is applied to the final output once, no matter what. Master EQ works like a total effect (in fact, if you choose a comparable EQ effect as your total effect, the Master EQ will be effectively useless).
Keyboard Rig: Korg Kronos, Moog Sub 37, Waldorf Blofeld Module, Neo Instruments Ventilator II, Moog MiniFooger Delay, Strymon BigSky, Roland KC-150, Mackie 802-VLZ4 Mixer