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#6210 Stage Settings and Tones

Posted by Mike Martin on 16 May 2013 - 04:24 PM

This question was just asked on another forum, it is worthy of a sticky.

 

What is supposed to be the relationship between the Tone listed in Stage Setting and the Tone as it exists in the Tone settings. For example: Stage setting 0-4 is AutoWahClav1. It indicates Tone P:040 as Wah Clavi 1. But in the Tone settings P040 is Clavi 4, and Wah Clavi 1 is actually P041. So if I press the minus button once then plus button, I expect to be back at Wah Clavi 1 but actually end up with Clavi 4. Confusing?

 

The PX-5S does something unique when it comes to the Stage Settings. Other companies may calls these Performances, Setups or Registrations but the concept is the essentially the same. What makes the PX-5S unique is that tones themselves are stored within the Stage Setting.

Here is the basic concept. You're performing and you need a particular sound, lets say its a rhodes. So you go to the tone section and find one that responds basically the way you want. This song requires an effect so you add one and adjust to taste. So you've made a Setting for a specific song. Most keyboards would require that you save the tone separately - which adds a different level of confusion at times.

So many of the Stage Settings are like this, we've taken the ingredients (tone)- then customized the controls and effects. When you save the Stage Setting, all stuff that is supposed to go with it stays with it. This makes it very easy to share Stage Settings too.

Now while you're creating a Stage Setting and you think...oh I might use this later for something else, you can choose to save the tone as well independently of the Stage Setting. This will allow you to load it in to another Stage Setting, perhaps on another zone. 
If not you may have a tone that only exists within a Stage Setting.

 

 


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#18013 where is the 1.13 update

Posted by Mike Martin on 23 August 2014 - 09:42 PM

But I doubt we'll see a single one added in any future update.
Casio are not listening to the feedback.
This is not what I had expected from a company claiming to be selling a Pro board.
 

 

Seriously?

Seriously?

A dozen hours of video tutorials.  Hundreds of free sounds. The last few have been MAJOR improvements over stock sounds (Strings, Organs, Guitars).  There have already been 3 firmware updates.  A GM of Marketing that is directly involved with users groups.  You say Casio is not listening?  The first two firmware updates in particular are directly related to user feedback.  Name one company that is anywhere close to as engaged with their customers?  Seriously?  I'm truly blown away by your comment.

The reality is this.  There are no bugs with the PX-5S.  It has more features today than when it was released. It has an constantly growing library of sounds that far exceed the sound and quality of the factory presets.  There are nearly monthly online video how-to clinics and other videos and support content. There is a MIDI Designer App for the PX-5S in development too.  We could all write a wish list that goes on for pages that have things we'd like to see in new firmware.  There are other things that we all know aren't physically possible.  Work on adding more things to the PX-5S keeps the R&D team from developing new products.  I'm not saying there will or won't be another firmware update, however no one should ever buy an instrument for something it doesn't do on the day they purchase it.


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#1194 How my love for synths came about...

Posted by briandc on 23 February 2013 - 02:20 PM

Hi everyone,
I'm glad I found this forum! This is my first post here and I'd like to start by sharing my experience with Casio.

As a teen back in the 80's, I fell in love with synthesizers. I had been studying piano since I was 5 and although I enjoyed playing the piano, synths were amazing. I think "Howard Jones" was a major "culprit" in whetting my appetite to get a synth, and after a lot of peskering, my folks gave in.

I originally wanted a Roland, probably because that was one of the main synths I saw popular rock artists using on stage, and the place where I was studying piano at the time had a used Juno 106 come through. I thought it was a Godsend, but after a weekend of thinking about it (my mom insisted I be patient, after all, it was a big expense back then), when I got back on Monday it was gone!

Well, I then started considering the new CZ-1000 that was in the shop. I knew it would be fun, and although I didn't consider it a "serious" synth (I had friends around me buying everything but! Yamaha, Roland, Korg..). Maybe it was desperation, I don't know, but I bought it.

Waveforms and LFOs and everything else was pretty new to me, but I had fun tweaking. Maybe too much fun. And I discovered that the 8-stage envelopes for filter, pitch and amplitude were a head above the other "professional" synths that were out there. (Heck, even the DX7 didn't have stereo output!)

Then, I met a guy at the place where I worked, Tom, who had a CZ-101. So we decided to get together with our keyboards one weekend. After that weekend, we decided to meet again and share what we had come up with.

My friend absolutely amazed me with the sounds he had come up with! One was a trickling water-type sound; another was an emulation of the "Baba O'Reilly" intro. Another was a pretty impressive helicopter sound (not the cheezy stuff I had heard in the past).

I began looking at my CZ-1000 in a different light. This thing had power. In fact, I began "wowing" some of my friends who had other synths, as they couldn't reproduce the sounds (like the trickling water) that I was able to show them. (I even came across an ad about a "modulation strip" that could be soldered to the CZ-1000 to give mod wheel capability. So I got it, and my best friend (his name is Mike Martin! lol) gave me a hand in adding it. COOL!)

----

Well, time went by. I sold my CZ, which I now thoroughly regret. It was in good shape, but I thought the money was more important at the time. It wasn't. The money wasn't worth the synth. --Big mistake.-- With it, I sold several cartridges, and all the sounds it could make that I've never seen people post, even on YouTube. A true "love affair" ended. :(

----

Since 2001, I own a Yamaha Motif 8 that I enjoyed for a while, but I'm much more fascinated by tweaking waves than playing samples. (Yes, it's tweakable, but not the same world, imo.)

Then I began exploring softsynths, and in particular, linux-based synthesizers, as I use only linux now. So I use the Motif as a controller now, and it does a good job for that, weighted keys and all.

--------

Still, I certainly miss the CZ. I've recently made a website where I'm showcasing linux-based synths, and I was finally able to tweak the trickling water sound my friend Tom had created back then. I did it on a softsynth called amSynth. I called the sound "Mr. Tom" in dedication. What he could do, I've never seen demonstrated on any Casio demo, which is sad. Still to this day, I think that synth series wasn't given the attention it should have. Especially the CZ-1, with all the capabilities the CZ-1000 didn't have. Lots of powerful features there. Unfortunately, sampling arrived on the scene and changed the tide.

But I still love tweaking, probably now more than ever. Lots of info out there to learn from, and I'm now doing my part participating in the virtual synth arena. (How I wish I had had Internet back in the 80's, to show the world what my CZ could do!!!!)

End of rant... :)

If anyone is curious about the trickling water sound (as well as an emulation of the CZ "Brass Ens. 1" start-up patch) or about linux-based softsynths, feel free to visit me at: http://amsynth.com


In my humble experience, Casio is where it all started. I think the vision was good (and Tom should've been hired as a sound designer!). It's just sad that more attention wasn't given to it when it first came out.

Fortunately, I do see some passion re-ignited for these 80's synths. Maybe they'll re-make the CZ line, perhaps with a few more "modern" features, but maintaining the same traditional structure? I'd certainly consider the purchase if they did!

To me, the CZ line was as unique as the Moog or Prophet.


Love to hear anyone's comments!

brian
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#793 Casio LK-280, keys won't light up

Posted by Richie Rich on 30 January 2013 - 11:46 PM

I purchased a used Casio LK-280. It looks like it is in great shape. No signs of physical damage of any kind.

All other features seem to be working great, except for the keyboard keys not lighting up.

I've gone through the manual, page by page, to no avail.

Reset it according to factory default settings (pg 8), nothing happened.

Held down the function key for several seconds, able to see the feature on the LCD screen that indicates keyboard light is on or off. I tried both on and off, and nothing changed.

Does anyone have any suggestions for me to try? I'd really, really love to get this working!

Thank you for any ideas you can offer!

Richie Rich
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#5641 Using external speakers on Privia PX350m

Posted by coho joe on 27 March 2013 - 05:15 PM

Will powered speakers work coming out of the line out inputs without going through an amp?
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#5600 Do I have a patch problem on my PX-330? Did I break it?

Posted by ClumsyFingers on 22 March 2013 - 04:20 PM

My band usually wants me playing electric piano on blues...seems to fit with the otherwise guitar-driven sound we have. I REALLY wanted a gravelly Rhodes sound, but none of the eight electrics quite did it. So, I opted for the one that was most metallic and had the most dialed-in tremelo, the "60s electric piano".

One night, I thought I broke my PX-330!

We were doing a request: Joy To the World by Three Dog Night. The keyboard was mixed particularly quietly that night, so I found myself beating on it pretty hard. Yay, Casio, it takes the abuse.

But my ears went into shock when I heard the perfect metallic clank of a properly played Rhodes - coming from my PX-330! But only for a few notes, then back to the more bell-like tones that are a poor sub. I immediately realized that the patch plays a completely different sample when you strike the keys hard. Not a more aggressive sounding version of the same sample, but it's as if they sampled two completely different instrumenst.

Back home I explored it further and confirmed it. Seems that of the "layered" voices, there's one that doesn't fit the rest in that patch...and I wish it were the normal one. I experimented with the touch sensitivity, but no matter how sensitive I set it, my fingers/hands do not have the strength to reliablity coax that unusual sample out of the instrument.

On the whole, I'd say the patch is defective. I'd love to see it always sound like a Rhodes, but second best would be always sound like the "60s electric piano" normally does.

Is there a software upgrade for this kind of issue, or did I really break it?

Thanks,

Clums
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#11 FORUM RULES

Posted by chaos on 27 November 2012 - 01:57 PM

Here are some rules we're establishing to keep things fun around here. Rules adapted from the ones Stephen Fortner at the MusicPlayer.com forums established:

1. Please refrain from ad hominem attacks. This is when someone attacks another person's character, personality, politics, religion, sock mismatch, etc, instead of simply offering reasons against the truth of their claim.

2. Three things its best not to discuss are politics, religion, and the Great Pumpkin. I don't want to be too restrictive, so please feel free to discuss the Great Pumpkin! icon_mrgreen.gif Seriously, it may come up that people want to talk about a certain news event, and do so with their fellow keyboarders. If it turns into a Democrats vs Republicans (or any other "vs") thing, though,  moderators reserve the right to delete it. Things just get too uncivil too quickly.

3. Profanity. Please use common sense to keep this forum as work-friendly and kid-friendly as possible. Many corporate and school firewalls automatically block sites based on scanning for cuss words, and we all want to evangelize keyboard-playing to as many people as we can.

4. Discussing specific pricing
We request that members not post about any specific retailer in regards to pricing of gear/great deals they got, etc.

Here's why: We will get people coming here trolling for sales...some people will even stoop so low as to pretend to be just another end user who just wanted to share the news about this cool store they bought their gear at, or some wonderful salesguy that they thought all of us should know about... rolleyes.gif

Consequently, we try and keep info about specific pricing/retailers off the boards.

5. Selling New or Used Gear.
There are plenty of other places to do this


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#5927 Back up and running - Server changed

Posted by Mike Martin on 29 April 2013 - 08:12 PM

Sorry the forum was down today, but the migration to the new server finally happened.  Seems ok so far.  Let me know.


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#17512 Using the XW's Resonant Filter with Polyphonic Tones

Posted by Chas on 31 July 2014 - 05:44 PM

HOW TO GET A POLYPHONIC RESONANT FILTER WITH THE XW-P1 and G1

 

Many people like me seem to have struggled to understand how to use the XW's resonant filter outside of the Solo Synth section i.e. with polyphonic tones. With a bit of experimenting, I believe I now know how to achieve this.

 

First of all, what confused some people (like me) with a P1, is that you CANNOT use the the Resonant Filter with Hex Layers or the Draw Bar organ. It ONLY works with PCM tones, samples or via sound input into the XW from external sources (i.e. the 6th oscillator). The reason for this is, from what I understand, is that with the P1 you can only have the Solo Synth OR the Hex Layers OR the Drawbar organ at any one time. To be able to use the filter with resonance, you HAVE to have a solo synth tone selected as well as a PCM or sample. This is less of an issue with the G1 as it does not have Hex Layers or Drawbar sections, therefore it can filter any of its sound sources.

 

The instructions below show what I did on my G1, though the same principle applies to the P1. There may be better ways of achieving this, so I don't expect my little guide to be taken as total gospel. This is just how I figured it out.

 

 

To get a nice filter sweep with a PCM polyphonic tone(s):

 

1. Select a solo synth tone with some nice sounding filter resonance. For this I chose solo synth tone P004 (MM raw lead). This tone needs to be edited, so you need to save (write) a copy of it to a user tone slot. I used the U023 slot and left the name as it was. Now, the next bit is important depending on whether you want to mix the solo synth tone with the polyphonic tone. If you don't, then you need to press 'Edit', scroll down to 'Volume' and change the level to '0'. Now 'Write' this tone back into the slot and exit back to the main screen/ front page of the XW.

 

2. Now you need to select the 'Performance' mode, and press 'Edit'. Select 'Zone Parameters', which should take you to Zone 1 (you can have up to four zones). In Zone 1, you need to select the solo synth tone that we edited above for the 'Tone' (select U023 if you saved it into this slot.) Now scroll down to 'Key Range', and select Keyrange Low as the bottom note and Keyrange High as the top note - you just press the corresponding Hi and Low 'C' on the keyboard to do this.

 

3. Next you need to select your second tone (the polyphonic PCM, or a sample). While still in the Zone 1 menu, just press the 'Part +' button (just below the master volume knob), which will take you nicely into 'Zone 2'. Make sure the first setting (Zone) is set to 'ON'. Select the PCM or sample tone you wish to use - I used P157 (syn-strings1). Now scroll down the menu to get to the 'Key Range' setting like you did above, and select Keyrange High and Low to cover the whole keyboard again. While still in the Zone 2 menu, scroll down until you get to 'DSP Line' and select 'On'.

 

4. Now hit the 'Exit' button, which will take you back the 'Performance' main menu. Scroll down and select 'Controllers', and for 'K1' select CC74 (Cut off), and for 'K2 select CC71 (Resonance). Exit back to the front screen of the XW

 

5. If you are happy with these selections, you need to write them into a 'Performance' slot. Hit 'write' and select one of the user slots (I used U-93). All the settings are now stored, and you can instantly recall all the above selections by selecting 'Performance U-93' (or whichever Performance User slot you saved them to).

 

 

Now it's time for the fun part! Adjust the 'K2' knob to around '114' (don't go too high as the resonance can get a bit overwhelming at higher values), hold down a chord, then sweep the 'K2' knob and listen to the results. You should now have that classic polyphonic resonant filter sweep! On the G1 you can of course select the 'Total Filter' section and use the sliders for the same effect. Furthermore, you can even add a further two tones as their are four possible Zones in total available per 'Performance' . It is possible to have 1 x solo synth tone and 3 x PCM/ sample tones giving you in effect a 'Quad' layer! If you silence the solosynth sound you can have a triple layer, which is still impressive.

 

Additionally, you can also set the filter up so that it does/ does not retrigger with each key press, and also add in the LFO to sweep the cut-off. Some very odd sounds can be achieved by doing this!

 

Important things to remember:

 

  • On the P1, you cannot use the resonant filter with the Hex Layers or Drawbar sections
  • There is only one global filter, not 6 or 8 like the higher end classic analogues such as the Jupiter 6/ 8, or Oberheim OBX.
  • You can select the filter to re-trigger for each key press, or to cycle/ stay in its current state for all subsequent key presses. You don't get an individual filter per key.
  • By adjusting settings in the 'Mixer' section, you can also get the filter applied to the step sequencer (and I assume Looper) as well. You can filter everything playing, or select which sections you want to go to the filter (this is a very flexible and powerful feature).
  • You can set the zones up so that you have a solo synth bass sound at the bottom part of the keyboard, and polyphonic PCM tones on the upper. When you start adding the arpeggio function as well for the solo synth bass section, you get some great choppy synth sounds when you play a chord in the PCM section and sweep the cut off.
  • Don't expect it to sound quite as smooth or as pleasant as an genuine analogue filter - this is a fully digital synth with a digital filter emulating an analogue filter. It's good, but it's no Jupiter!
  • Be careful with the resonance at high levels - it can be somewhat harsh and can split your ears when you sweep the cut -off.

 

Most importantly, HAVE FUN with your XW and get creating with these new sounds and total filter control. :)


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#1230 WK 3700 downloads and midi

Posted by Peanut on 24 February 2013 - 03:25 AM

Naaah...There's not much out there (as far as I know) that you can use to make your own sounds and rhythms. I experimented with a proggie called "stytockf", which converts Yamaha styles to ckf format.

I think the brilliant guy that made the proggie gave up along the way, as there were no later versions available. Still, I managed to convert a few acceptable styles - frustrating as the work was - and it's not really something I'd recommend to others, unless you're a whizz at that sort of thing and have plenty of spare time on your hands. Likewise, I stopped making new styles along the way.......

But you can still pick it up on the internet - quite free, too - and try it out yourself.

If ya make some good sounds, then send them on, huh? :D

Peanut
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#11879 Post your Gear Pics Here...

Posted by stevecoscia on 27 January 2014 - 04:48 PM

XW-P1 (Gold), WK-7500 and KORG MS-20 Mini

 

Casio-Rig-e1390843311246.jpg


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#11642 PX-5S Named Keyboard of the Year by Music & Sound Retailer!

Posted by Scott Hamlin on 23 January 2014 - 05:42 PM

Congratulations Casio!
 
2l8y9dz.jpg


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#11036 Post your Gear Pics Here...

Posted by Quincy on 08 January 2014 - 02:54 PM

Can I play....

 

e5l9_67c_ud9cb.jpg


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#10813 Want to express something. .....

Posted by Gmul on 30 December 2013 - 10:57 PM

I am a long term member of the keyboard corner forum. I have been a korg snob for most of my life ( though, for piano sounds, I do lust after the Nord and Yamaha lines , not so much Roland )

My main weighted board for the last 6 years has alway been a korg ( started with a sp200 and progressed to a m50 88 ), I still have and adore the sp200 which I believe is korgs own RH2 key bed.

Now for a second let me rant about my m50 88, that's an RH3 key bed. This is the only keyboard that I have ever DESTROYED because of its action. I know that there are many documented case of the RH3 key bed failure but believe me this was chronic .... Anyways I digress!....

I frequent these forums quite a lot, some might call me a lurker but I am a gigging musician like most of you, and I constantly search for ways to make my gigging life easier. I obviously had to retire my m50 88. I ' secretly' bought a privia px5s. I cannot begin to explain how much of a paradigm shift this was for me because I honestly had a casio bias. I simply believed the good folk at the keyboard corner and particularly and his approachable nature and honestly, he seemed like a nice guy.

Now .... When I played this keyboard I first thought the sound were luscious but in all honesty I thought what's the action like? The I found the parameters to adjust the action/ touch response.......

POSSIBLE BLASPHEMY COMMIN......

sweet Jesus, such a keyboard.


Multi programmable sliders out the wazoo
Price. I live I Ireland and got mine for 850 euro. In Ireland we drink this with family on 1 night out. Bad I know!!!!
Best key bed and keyboard I have felt in years
Tweakable to the Nth degree
Lightweight - I guess around .....11 kg
Runs on batteries
Sounds Awesome. - I LOVE THIS KEYBOARD. I still use a korg m50 73 which has that terrible action but it's mine and apart from the drop outs ( I may upgrade to a Kronos soon ) I will still use. - midid to my px5s for the time being.

In conclusion.
If anyone is tempted by this keyboard go and try it you will not be disappointed.
Regards.

Gavan
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#9987 Post your Gear Pics Here...

Posted by Scott Hamlin on 04 December 2013 - 05:02 AM

Behold.. The Pentagon...
2mi5izc.jpg

Casio PX-5S
Casio XW-G1
Yamaha DD-55
Roland FA-76
Roland D-50
Weber WG-60
M-Audio Keyrig 49

BOSS BR-800
Roland KC-110 Amp
Lava Lamp
Various other small sound toys...

Not shown (need more stands):  :rolleyes: 
Ensoniq SQ-80
Yamaha DJXII


The fam heads north in a couple weeks and I will be baching for a few weeks.. plan on setting up my whole rig and making some sonic mayhem. Will post some more pics then.  :P 
 


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#5308 Hum elimination - proper DI box

Posted by garysch on 20 March 2013 - 01:53 PM

In one of the other threads it was noted that the Privia line has an unbalanced audio output. When feeding professional amplified speakers, mixers, etc., balanced output and balanced cable allows for very long cable runs without hum or change in sonic quality. I own a Radial Pro passive DI box, but that just didn't seem to work right, and I also wanted a dual channel capability because I generally use two amps for the piano or need to feed a monitor and PA sytem.

The piano has plenty of output so the matter is strictly that of converting the unbalanced piano outputs to balanced. While there are loads of DI boxes, the lack of info regarding impedance transformation or ratios was disconcerting. My Radial Pro box reduced the levels. Instead, I opted to build my own DI box which proved to be an inexpensive and one evening project. The result is a dual channel box that has eliminated hum, ground loops while converting the outputs as required.

The heart of the unit is a pair of Edcor model PC600/600 transformers. http://www.edcorusa.com These are small 600 ohm to 600 ohm transformers that can be wired unbalanced on the input to balanced on the output. They are designed for this use, have a flat frequency response and very low distortion. The transformers are mounted in a 4 x 3 x 1.5" plastic box strapped vertically on opposite sides with a wire tie. Two standard 3 connector 1/4" phone jacks are mounted on each end. The unbalanced inputs are wired: transformer pin 1 to tip, pin 3 to sleeve (pin 2 on the transformer and the ring on the jack are not used). The output or balanced jack is wired: transformer pin 5 to ring, pin 6 to sleeve, pin 7 to tip. In a dual channel box do NOT connect the sleeves of both channels together. If a metal enclosure is used, you must use fully insulated 1/4" jacks.

Costs: The transformers are $6.37 each, but with shipping and handling my cost was $28. The four jacks and box will cost you around 15-$18, so for under $50 you have a dual channel matching DI box. One option is to use XLR connectors. That would work in the same size box if you place the transformers on the short sides. The net result is complete hum elimination and the ability to use balanced TRS cables to the powered speakers and the PA. Contact me if you need any other details.

Gary
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#3275 Phrozenlight - awaken in heaven

Posted by phrozenlight on 17 March 2013 - 10:17 AM

Hi, since yesterday I am a proud owner of the XW-P1.

after some study I created my first Hexlayer, and made this track with this



hope you like it ;)
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#16826 Exploiting the CTK-7000 Pattern Sequencer to Make Hip Hop Beats

Posted by bmusproject on 01 July 2014 - 04:03 PM

Here are some beat making videos using the Casio CTK-7000

 

Some 808 Style Beats:

https://www.youtube....fPNE_hIbxlwWuaz

 

Some Swing Beats:

https://www.youtube....Nws27gJF0XHxgWJ

 

Some Urban Beats:

https://www.youtube....3eXsF4U3TKaCXen

 

Some Assorted Beats:

https://www.youtube....VuRYX_ub0DyP6vm

 

Sharing is caring so please feel free to share any of the links.

Peace!


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#16099 CASIO Music Gear T-Shirts

Posted by Mike Martin on 22 May 2014 - 11:14 AM

Now available:

 

http://www.shopcasio...irt-size-medium

 

p203812b.jpg


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#14066 PX-5S Xtreme Synth Bank

Posted by Mike Martin on 18 March 2014 - 09:18 AM

File Name: PX-5S Xtreme Synth Bank

File Submitter: Mike Martin

File Submitted: 18 Mar 2014

File Category: Synths, Pads, Arpeggios and more


Leads, pads, arpeggios and more. A collection of synth sounds programmed by Jerry Kovarsky and Mike Martin


Click here to download this file


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