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Virtually all modern synths still have this issue, though the gap can be quite small... What would be the reason? I've had (check my sig) Ensoniqs 20 years ago and you could sustain the chord (manually or via pedal) while choosing the "next" sound without any cuts... The M50 can do this in program ...

Not exactly, but you might be able to get code using Effect 76 - Early Reflections. The 'type' can be set to 'reverse', which will give you a kind of reverse feel.

-Kim.

I love my Sennheiser HD 280 PRO. I love them so, so much. I get very emotional about my headphones.

I'd recommend them to anybody, for any reason.

-Kim.

Wow, looks monstrous! It probably can be done.

I use an MOOG MP-201, which is probably not as complex...

-Kim.

If you visit Kim Lajoie's website, he has a collection of piano programs for sale. A few of them, but most specifically "Big Black" are voiced in a Yamaha manner. It may be worth your while checking them out. Thanks for the mention. For anyone not sure how to find them, the link is in my signature ...

The action is pretty light. And the keys (at least on the 61) are slightly thinner than normal - the length of the 61 keys is about 1cm shorter that it should be. I know it sounds pretty weird, and it felt weird to me at first. I got used to it though. Some perspective: I'm a classically trained ...

I've created some new piano programs for the M50 and M3. You can download a few of them free if you want. See the link in my signature.

-Kim.

X-Trade is right - AMS Lag is for smoothing or delaying modulation changes. This can be used to smoothly change one or more parameters in a program, but not for changing from one program to another.

-Kim.

The answer isn't 'yes', it's 'kinda'. You can get close by using special programming (including splits and/or layer switches with effects). I use the M50 live, and I need to switch between several sounds very quickly. My approach is: 1) For instant switches, use IFX mutes. 2) For quick crossfade ...

Yes, it's best to audition the piano programs directly from the SD card (you don't have to load them onto the onboard memory all at once). You can then load the ones you like onto the onboard memory. That way you can mix and match.

-Kim.

If you're making a program, you'll need to choose an appropriate multisample. There are plenty of raw waveforms - you should find something suitable from #658 and up. Have a poke around.

-Kim.

It could be the sample itself. To extend the time, try pitching it lower - try about twelve semitones down, and fine-tune from there.

-Kim.

Joao275 wrote:The problem is that it can't be directly assigned to a CC#.. It only can be assigned to SW1 and SW1 Modulation (CC#80 and CC#81), Octave Up and Down, Portamento On/Off and Joystick Lock..

You're right. My mistake - I thought it was assignable to any CC. Looks like it can't be done.

-Kim.

Joao275 wrote:When I say sustain I mean as a substitute for the sustain pedal. It would be very useful for me to do that using SW1 or SW2.

You need to assign it to MIDI CC #64. That should do it!

-Kim.

SW1 and SW2 can be configured to control almost anything... but it's not clear what you mean by 'sustain'. Do you mean as a substitute for the sustain pedal? Or to increase the release time of the sounds (so they fade away slower)? Or to increase the volume of the sound while the keys are held? Or ...