AlenK

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AlenK last won the day on February 12

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  1. I stand corrected. So it is the same as the XW-P1 in that regard. I should have checked directly before posting. I have corrected my misleading comments above. What mislead me is the large space allowed for name entry (of tones and whatever else), much larger than 12 characters. On the XW-P1 the space provided for name entry will only fit 12 characters. Personally, I find the 12 character limit to be, well, limiting. Most names I have wanted to give tones I created (the vast majority of them so far on the XW-P1) I have had to shorten by omitting letters. That shouldn't be necessary in this day and age. Needing to shorten those already shortened names to eight characters for storage on a USB stick or SD card (in the case of the XW-P1) is insult upon injury, so to speak.
  2. That may well be the origin of the limitation but given that VFAT is over twenty years old there is little justification for not using it. What is particularly annoying is that the eight-character limitation applies internally as well, even if you never store to a USB device. (Not true - see below.) If Casio didn't want to use VFAT they could have stored the long file name as another data field in the file (the formats of which are proprietary to Casio, after all). Data storage shouldn't be an issue either. Assuming an increase to, say, 24 characters (and assuming ASCII, which is quite good enough for this application), we're talking less than 12Kbytes of extra memory (Flash) for every 1,000 memory locations (<24Kbytes in total). I can't believe that would make a significant dent in the internal Flash memory resources of these keyboards.
  3. Very good! But the Internet makes answering both questions too easy. Deep Note was created by James Moorer, a digital-audio and synthesis researcher famous in his own circles (I have read many of his papers), for Return of the Jedi at the request of Tom Holman himself (the TH in THX). https://www.fastcodesign.com/3027361/the-story-behind-the-thx-deep-note PS. That virtual coffee I bought with those fake internet points sure tasted good! Or so I imagined. PPS. I reject the various claims made by Pinch, Trocco and Tom Oberheim for analog predecessors. Coincidence.
  4. PS. Maybe one of the creators of the following PX-5S sounds can break down the Hex Layer settings they used. While the patches are not file compatible with the MZ-X500 and the underlying waves may not be exactly the same (although chances are good they are), the same general techniques will apply.
  5. guitar 12 strings in px 5s

    Surprisingly, I haven't seen one uploaded yet to the forum. But there may be one hiding in one of those "guitar packs" in the user files area. It's also a little surprising that the PX-5S doesn't have a 12-string preset. Even the XW-P1 has one and it's not half bad. Off the top of my head I would suggest using the two steel-string guitar waves (244 and 245) in two layers of a Hex Layer sound. Lower the pitch of one an octave below the other. Detune them a little to simulate the natural beating within each pair. This won't be quite right since the two highest pitched pairs (courses) in a 12-string guitar use the same diameter wire and are tuned in unison (not an octave apart). You could simulate this by using another layer, 244 say, in a split with the octave-tuned 244, using the former at and above the split point and the latter below it. A split point of B3 might work.
  6. Like any dense, technical work (although this is not nearly as dense or as technical of some of what I have written for my job) it is best digested one bite at a time. That's how "they" say you should eat an elephant. (Although personally I would never.)
  7. Someone kindly pointed out a typo I somehow missed on the very first page! So I went through the entire document again with Word's spelling and grammar checker to see if I could catch more mistakes (and I did ). Running the checker is frankly a pain because most of the names for tones and parameters aren't valid words and cause "false positives." Occasionally, REAL positives get through as a result. Anyway, a few typos and/or instances of bad grammar shouldn't make the document any less useful. Nevertheless, I uploaded a corrected version. The revision number remains the same. I will up-rev only if and when I add actual new content.
  8. Are the Wurly's already in the MX-Z500 not sufficiently close? There are six "60's E.Piano" tones, one or more of which I would presume is what you are looking for ("60's E Piano" is the name for the Wurly's in some other models). If you need something better one or more of the waves in the range 052 (60's EP 1-1) through 057 (60's EP 2-2) would be a natural starting point. Perhaps add in another tone during the attack (i.e., give it a percussion-like envelope) for high velocity notes that better simulates the overdrive of the reeds ("bark") with high playing force. What that other tone might be requires some experimentation and keeping an open mind while doing listening tests. I recommend not even looking at the name of the wave when you audition it.
  9. +1 It's quite annoying, not to mention a ridiculous limitation in this day and age. (Oops, I mentioned it. )
  10. If by the "net" you mean this forum (which AFAIK is the only place to get new tones for the PX-560) then you simply navigate to the Downloads section and once there choose one of the two section for the PX-560: one under Casio Official Files and the other under Community Created Files. Click on your choice of the entries in one of those, then click on the "Download this file" button. To load it into the PX-560 put the file on a USB thumb drive in a directory at the root level called MUSICDAT (just create the directory yourself on your Mac/PC). Stick the thumb drive into the PX-560. From the Menu choose "Media." Touch "Load" and choose "Tone." Find your file (the name might look a little weird because it'll be just 8 characters long regardless of how many the original file name used) and select it. Specify the destination location; typically a free user tone location, so not one with an asterisk beside it, which indicates there is already something there. Hit "Execute" and Yes to confirm.
  11. There is only one DSP block usable for the first five "parts" of the PX-560: Upper 1, Upper 2, Lower 1, Lower 2 and Auto Harmonize. (There is another DSP block for the accompaniment parts, 9 to 16, and the MIDI sequencer channels.) For the first DSP block Upper 1 takes priority. In other words, if you have a DSP effect turned on for the tone in Upper 1 you will not hear DSP effects that are in the tones in parts Upper 2, Lower 1, Lower 2 and Auto Harmonize (although how you would assign a DSP effect to Auto Harmonize in the first place and why it is a separate part are mysteries to me). BTW, on the XW-P1 it is easy to send multiple tones through a single DSP effect, although this flexibility does cause a few problems. I see no way to do this on the PX-560.
  12. Not that I know of. But if you make a "template" registration and call that up as the first step when you make future registrations (or use one you made before from the template) those ones will at least be consistent.
  13. Thanks! But you should download Revision 3 instead: PS. Redundant to say given how I deleted Rev 2 (see first post in this thread).
  14. On Amazon the EP-3 is currently only a couple dollars and change more expensive than the EX-P. Circuit-wise it is not the same as the EX-P or EV-5 but as Mark originally posted above and I confirmed it does work with the PX-560 if you set it up as described. Personally, if I already had an EX-P I would keep it. But if you should ever buy a second pedal the EP-3 is a good choice. I returned the EV-5 because I only need one pedal right now. The EV-5 was actually more expensive than the EP-3, even when I bought it on sale. Good to know that the steps that are heard when CC#11 is the target disappear when CC#7 is used instead. Software moves in mysterious ways!