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  3. I'm not sure if this is your issue, but I own multiple mio interfaces. They were giving me headaches until I upgraded the firmware on them. The manufacturer of mio has a special software that you need to analyze your mio device and check if it has the latest firmware, and then automatically upgrades it. I can tell you that none of the mio were communicating SYSEX messages properly until I did this.
  4. It sounds like Cubase is sending each track on the same MIDI channel (probably channel 1). You would have to correct that first in Cubase before dealing with which tones are called up for each track, which as I said can be done from within Cubase or in the XW-P1 itself (pros and cons to both approaches).
  5. No se que hablas Espanol, Scott. Yo tampoco.
  6. "Anciko" - Sorry, but......... WHAT?!? PS - Hi LEONH!
  7. Hi Janet. Grand Piano is a tone (or sound) and Hall is an effect added on to the tone (in this case reverb, like a cathedral) You should always go with what sounds best to you in your listening environment. The Hall effect is good in small rooms, but may get muddy if the room has an echo.
  8. Hi there. You can not load user samples into the PX-560. If you want different piano tones you will need to use a VST or app. Sorry!
  9. The users help each other out and we call in Mike or Rich when we're stumped. :-) As for issues, not sure what you're referring to. If it's the expression pedal thing: Like Alen said, the MZ-X has it as does the PX-560: This was a HUGE thing for them. I don't think they had an expression pedal input on a keyboard since the 80s!
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  11. How to crack os mzx, i need delete music/tone mzx original
  12. Thank you very much for the reply, I appreciate it. i currently have three tracks in Cubase that are routed to the XWP1. One for a bass, a harmony lead, and one for a melody lead. I would like each track to have it's own tone, or zone, which ever is the more correct way to go about doing it. However, when I changed the bass lead an octave down so it will be a proper bass tone, the other 2 tracks change to be the current bass tone. So if I change a key lead tracks the second key lead tone and bass tone will change to be the current key lead track. I know I'm messing up somewhere - How can I make it so that when I change only one track the sound will only change for the track that is currently selected, and not all three? Is that where program change comes into play?
  13. What? Both the MZ-X500 and the PX-560 accept an expression pedal and it is fully functional. What the pedal actually does is configured in a menu that contains CC numbers and MANY parameters other than CC numbers. BTW, I'm not sure that the keyboard will transmit a MIDI CC command out the MIDI port when you move the pedal, if you need that functionality. (I haven't tested that on my PX-560 - I don't have a MZ-X500 - but maybe others here have.) Re sustain pedal (on/off) almost any pedal with a polarity switch will work when set to one of the two switch positions. You go into a menu on the instrument and select its function for the input you have connected it to (for the sustain function you would select "CC#64 - HOLD1"). Both inputs have the same list of functions (on the PX-560 anyways - probably the same on the MZ-X500.) A switch-type pedal will select between two static values of whatever parameter you have selected. You can select two parameters for each pedal to be controlled simultaneously.
  14. Since you are playing a MIDI file what you need to be concerned with is the MIDI channel that each of your instruments (tracks) in the MIDI file is sending to. Drums are normally on MIDI channel 10, the piano is likely on channel 1 (but may not be if it is considered an accompaniment instrument in the song), the others could be any of the other channels. If you go into the Performance Editor you can see (and change, if necessary) the MIDI channel that each of the XW-P1's sixteen parts receives on (see page E-66 in the XW-P1 User's Guide). It sounds like Cubase isn't sending any program change data on the MIDI tracks, which would automatically configure each of the XW-P1's parts to play the "correct" tone for a given track. I'm sure you can make Cubase do that but since I'm not familiar with the program I can't advise you there. I suspect you could easily tell it to send program change data for General MIDI tones, which the XW-P1 supports. If you want to use other (superior) tones in the XW-P1 you would have to specify the program change data yourself, which you can find in the Appendix document for the XW-P1. This task is made far easier with an instrument definition file, which specifies the names of the tones in the XW-P1 and the program change data required to call each of them up. There is such a file for Cakewalk here on the site but I don't know if Cubase can read it. Failing the above, you can set things up manually on the XW-P1. Find the part that is receiving on the MIDI channel that your MIDI file is sending for the piano track, for example, and set the tone for that part to a piano tone (any piano tone you like but PCM Melody tone P00 in the Piano category is the default). If the part (not MIDI channel!) is in the range 1 to 4 you can stay in the Performance Editor to do that (page E-64) but if the part is in the range 5 to 16 you need to go into the mixer where you can do all sixteen parts (see page E-67). (Note that you CAN'T set the MIDI receive channel for parts using the Mixer, which I find inconvenient.) I would personally avoid using part 7 since its settings aren't stored in non-volatile memory and will disappear when you turn off the P1. Do the same for the other tracks/instruments in your MIDI file. If any of your tracks are using parts 1 to 4 make sure that the key ranges for each part are wide enough to cover all notes sent for that track/instrument. Save the current sequence to a new sequencer user memory. The mixer settings for parts 8 to 16 are stored in there. Save the current Performance; the mixer settings for parts 1 to 6 are stored there. Call up that Performance (which will reference the sequence you saved) whenever you want to play that MIDI file.
  15. Amigos, comprei um Casio PX 560 e gostaria de colocar mais timbres de piano, como faço pra colocar sampler? Onde baixo e como faço? favor me socorre hehehehe
  16. Sorry Allen, I didn't mean to be cryptic. All I was referring to is fading between Zones in a Performance by using TouchSense, as you have thoroughly described in your XW-P1 Companion Rev 4: Section 6.3.2. Velocity Crossfading of Layers. I probably should have called it velocity cross-fading instead of velocity switching. Using a third party tool as a sample manager does not take all that much time, and it's well worth the effort.
  17. Can you expand on this capability? I don't have a G1 and can only review the User's Guide. I couldn't find any mention of velocity control in the Performance mode but I wouldn't be surprised if the manual is in error. I did find mention of some velocity control associated with the multi-function keys. Or are you talking about the velocity switching built-in to (many) PCM melody tones? That's unfortunately not controllable by the user. Fortunately for P1 owners, Hex Layer does allow control of that. In any case, we've explored all we can with respect to the OP's original question. He can achieve his goal if he (assumption) is willing to spend some time (a LOT of time I suspect, actually) using a third party program like Audacity to construct a custom multi-sample that the G1 can understand (it doesn't understand the normal multi-sample format). Good luck and Godspeed!
  18. I consider the Sample Manager part of the "system" since it is provided free, like the Data Editor for the P1 and G1. Good points you make that it does not allow loop editing and that the loop points must either be in the samples already or added by a third-party program. So, the MZ-X500 "system" (MZ-X500 plus Sample Manager) is not as complete as I assumed it was. Strange that Casio would not at least support something it used to do on a product it made over thirty years ago! IMO additional tools than just audible feedback should have been provided on the G1 (or using an external Casio program) for sample-loop construction. For example, a tool to locate zero crossings. A tool to cross-fade across the loop point to smooth out transitions in cases where you just can't get it smooth any other way. Both are provided on the Korg DSS-1 and the latter is provided on the Casio FZ-1.
  19. The G1 has a sample loop construction tool on the keyboard itself. Loop start and end points are adjustable in real time while listening so clicks can be tuned out. The MZ-X series was designed to load externally created tone files with sample data (tone expansion memory). There are no onboard tools for creating these tones. Casio provided the Sample Manager application for that. The Sample Manager was designed to use WAV or AIFF files that already contain loop markers. You'll need a third party app for that. Note: Pad samples are independent of tone expansion memory. This does have onboard editing tools like start point editing and loop timing units.
  20. Re: CDP130. What gives you the best piano sound: Grand Piano 1 or Hall. And what does Grand Piano 1 Tone do? Thanks
  21. "Another form of multi-sampling" is in fact the standard meaning of multi-sampling and it's what Craig Anderton was referring to in his review. He also mentioned the difficulty of looping. Of course, you can assemble a multi-sample the way the G1 wants to see it, and with good loop points, in a third-party program like Audacity. It's just a shame that Casio didn't make this easy to do on the G1 itself. The MZ-X500, on the other hand, apparently does all of this well. So Casio learned its lesson (or rather, re-learned it - see below). BTW, even the Korg DSS-1 from 1986 and Casio's own FZ-1 from 1987 handled multi-sampling and looping pretty well. The DSS-1 had an LCD even more limiting than that of the G1 (the FZ-1's LCD, OTOH, was pretty nice for its time.)
  22. Make sure you place your files in the MUSICDAT folder. Make sure the files are not zipped.
  23. Still does not load. use both AC-7 and CKF files It tells me no data
  24. Hey folks, Just recently received my Casio X1-P1 and enjoying it. Am learning to navigate it. I know how to zone up the keyboard to play up to 4 different parts and sounds at the same time. I have a song written in midi data on Cubase, have drum midi data recorded, and keys data recorded, but I can only hear one zone at a time "i.e. my piano tone or a bass tone", is it possible to split up the keyboard and hear all the parts at the same time(Hear the piano when the midi data is in its zone, hear the bass when the midi data is in its zone, hear the lead when the midi data is in its zone. Hopefully it makes sense what I'm trying to do. Thanks for the help!
  25. Craig Anderson's review does not really do justice to the sampling engine in the G1. I think it would be more apt to describe it as “quirky” rather than “difficult”, just like any of the other sound engines in the P1 or G1. And, as with all the XW sound engines, quirkiness rewards effort. If “multi-sampled tones” means velocity switching, then, no, the G1 can't do that. The only velocity switching on the G1 is via TouchSense between tones at the Performance level. But each sample tone can be made up of up to five splits each containing an actual waveform (probably not single cycled). These can be mapped across the keyboard with the same flexibility as a Performance Zone. Split ranges can completely overlap for an overall sound coming from up to five waveforms, a form of multi-sampled tone. The example tone, P:320 NEW AGE, does not involve velocity switching. It's just two layered waveforms and it thus well within the scope of this method. Further, a different sample tone can be assigned to each of the four Performance Zones for a maximum of up to 20 simultaneously sounding waveforms. Alternatively, splits can be arranged adjacently along the keyboard so that pitch shifting is kept to a minimum. This is especially useful when sampling acoustic instruments such as guitars and pianos, another form of multi-sampling, and is also very easy to set up. The quirkiest thing I've had trouble working with is looping a waveform within a split. Casio provides no tools for this and it can come down to trial and error just listening and adjusting the loop points. Unless the shape of the waveform is carefully matched at the beginning and end of the loop points an audible pop or click will be heard. Even sine waves will click if there's a sudden phase shift. More sophisticated samplers would probably allow for things like cross fading. I've done this manually with some success, but often it results in chorusing during the cross fade. You really begin to appreciate the skill of the Casio engineers who produced the PCM tones when you try to do this stuff yourself. Overall, I've found carefully matching loop points at zero crossings in Audacity gives the best results. The other thing missing in the sampler is any form of real time control over the engine. It's a great pity that none of the parameters have CC values so they can be assigned to the knobs. Split volumes and attack times would be great candidates for this type of real time control. I'm no so bothered about control over looping points because I think that would just generate clicks, but there are obviously more powerful samplers that overcome this problem.
  26. Many thanks, BradMZ - that was exactly what I needed. Knowing the feature name, I found it in the manual PDF - no activity for 4 hours shuts down the keyboard to save power.
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