AlenK

Members
  • Content count

    711
  • Joined

  • Last visited

  • Days Won

    58

AlenK last won the day on March 12

AlenK had the most liked content!

3 Followers

About AlenK

  • Rank
    Advanced Member

Profile Information

  • Gender
    Male
  • Location
    Planet Remulac
  • Interests
    Music and synthesizers (duh!), astronomy, astrophotography, writing

Recent Profile Visitors

1,156 profile views
  1. Sorry, I have not done those and I don't have a MZ-X500. I have a PX-560 and an XW-P1. As evidenced by a video I posted about the sax sound (I didn't make the video) the MZ-X500 can do a lot of things not possible on the PX-560 or on the XW-P1. (But by the same token the XW-P1 can do things not possible on either of the others.)
  2. Yes. Adjust the pedal first as per Mark's instructions (follow the pictures) then do the calibration procedure as per the User's Guide. As per Fearless's comment, set the pedal to control Volume, not Expression. That's in the User's Guide, too.
  3. I recently upgraded from X-stands to a nice QuickLok Z-stand. Clearly, I have it all wrong. ;->
  4. I did not misunderstand. I was addressing the original question: "What can be done so that the files have the correct date/time stamp?" Your answer was a workaround using the file modification date. I was not replying to that. Even after you posted your workaround he said So I presumed your workaround was not good enough. Hey, it's a tough room.
  5. I don't think Windows has a built-in way to modify the date/time stamp of a file. But there are apparently freeware utilities that can do it. As for real-time clocks (RTCs) in keyboards (which is what you need for date/time stamping of files) they do indeed seem to be rare. But it is not primarily because of cost (implied by mentioning the Kronos, which has one mainly because it is literally based on computer hardware). RTCs are very inexpensive to implement, even as a discrete chip (I have designed with several). Rather, there hasn't really been a compelling reason to have one in a keyboard. There still isn't, IMO, the OP's wishes notwithstanding.
  6. This is a good thread with access to a lot of other threads and tutorials: https://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/894589-reverse-engineering-lucky-man.html Frankly, I suspect your biggest problem with getting a really accurate emulation may be the simple fact that the 560 doesn't have a monophonic mode, unlike the XW-P1 and the MZ-X500. It's always polyphonic. At the very least it will mean you will have to be very careful with your phrasing to avoid overlapping any notes.
  7. I suspect that the pitch transitions for chromatic portamento are too "sharp." You would need to round off the edges at least a little bit. I wonder if perhaps instead a "sampled pitch form", e.g., a Gliss Down or Trumpet Fall, was initiated with a pad while playing a note with the built-in tenor sax sound and that was recorded into the X500. Perhaps this was done on a series of notes across the keyboard and from these samples a new wave was constructed. Then this wave was assigned to a velocity range either in a custom melody Tone or a Hex Layer tone. I also hear a rising slide as well so perhaps a Gliss Up was used in the same process on yet another velocity layer. I know what a trumpet fall sounds like but not what the Gliss Down and Gliss Up pitch forms sound like in their various versions (which I am guessing are different numbers of total semitone steps). Maybe they are not "rounded" enough. Mega Voices level technology, as I said, but obviously usable. Some day maybe Casio will give us programmable triggering of waves by way of logical combinations of triggering rules (e.g., layer 1 triggered when legato condition is true AND interval is within a fourth).
  8. Great information but I already knew the first five paragraphs and most of the sixth. (I didn't know about automatically making two mono waves from a stereo one but it makes perfect sense since that is the way the waves are organized in memory.) But I understand that you're writing for everyone's benefit. Nevertheless, I do hope that this detailed response ("clarifying things") wasn't triggered by my careless use of the word "samples" when I meant multisamples. Obviously, I understood it myself be the latter, for one thing because the number of key/velocity spits in a Hex Layer tone is only 1. (And before you clarify that I actually should have said "wave," which contains more data than a multisample - yeah, I know.) PS. As I said before I think eight velocity levels is quite useable for sound creation. You shouldn't need more than that. It's not substantially more than the six possible with Hex Layer mode but hey...more is more. .
  9. Thanks. I missed that. What I wanted to know is on page 16. So "More velocity switched samples than a standard hex tone" turns out to be eight key or velocity splits on a single layer for a mono tone or four splits for a stereo tone. Usable.
  10. Sure, those are good. The MZ-X500 should be able to do some of them. Its VT tones are a step in the right direction but they are comparable to Yamaha's MegaVoices, which are years old, not to Super Articulation voices, much less Super Articulation 2 voices, which are even more advanced. Bear in mind that the Tyros 5 sells for well over four times what the MZ-X500 does.
  11. Is there a manual for that? I didn't see one on the Casio support site. If there isn't one, it may be one reason why these capabilities aren't better known out there, besides the astounding lack of advertising of them: Casio's online copy only mentions that you can sample and then assign to pads!
  12. The Versatile Tones (VTs) are the ones that have all of the tone articulations, correct? Looks like a few more VTs were added in V1.4; just guitars and brass for now. I hope Casio is working on more of them. But nice that you can make your own within the limits of the Hex Layer engine. I'm surprised that Casio isn't highlighting these capabilities. The videos so far haven't done a good job of that, just as they haven't done a good job of showing off the improvements in the drawbar organ engine. They've got a powerhouse of a keyboard here and it's being virtually ignored by most of the keyboard world, as far as I can tell. One decent review by Keyboard magazine (now merged with EM, as you know) isn't going to make people sit up and take notice. It's my impression that the XW synths got far more attention in their day.
  13. Some good tips in this article from Keyboard magazine, January 2013: http://www.emusician.com/how-to/1334/master-class-synth-secrets-of-the-pros/45277
  14. Interesting. So not the MZX's built-in articulations. Speaking of, is there any way to trigger those (which are not separate samples, of course, but AFAIK pre-programmed changes to pitch and/or volume) aside from the pads?