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About jaspeter

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  1. 9 Drawbar Organ

    APkeys: I was thinking about the key click, too, but never pursued it much further. Zone 4 is still open, so I'm sure something could be done with that. I was thinking a white or pink noise with an extremely fast cutoff. I'll have to look into that sometime. Of course, I'm just getting around to looking at your comment 9 months later, so I can't make promises how quickly that would happen. sercik: I'm sure you can do what you're looking for. I've done a similar thing with a Peavey MIDI mixer control panel that had 9 sliders. A software solution is probably even easier than that. You just have to map the software sliders to the right layers and use them to control the MIDI expression CC. If you haven't already, look over at the PX-5S facebook page. I think there is a download available to do that for the iPad. (I don't have an iPad, so I haven't gone there yet.)
  2. I understand where you're coming from with the MIDI polyphony/tone generator argument. The power of the hex layers, however, lies in the bank of local oscillators and envelope generators in the hex layer. I suspect those are the resources that are limiting the hex layer switch.
  3. I don't think that's something that will be updated in software. Melody tones are relatively easy for the PX to handle, but the power necessary to produce hex tones probably doesn't lend itself well to buffering during a stage setting switchover. I agree it would be a nice feature, though!
  4. Any melody tone *should* sustain through stage setting changes. Hex layers, however, will not.
  5. Using Pedal 2 to play a bass drum

    I've used a MidiSolutions Midi Event Processor to do just that, assign a pedal to a kick drum. I wish there was an internal solution in the PX-5S, but I had tried some of these solutions and hadn't found anything, either. Good luck!
  6. MIDI CC Arpeggio and Pedal...

    You should be able to do that. I have assigned an RPN (or NRPN) to do a coarse pitch change with the pedal. I think there's a fine tune parameter that would do what you're attempting. You'd just need to change the on and off rates to be less than instantaneous. I think I did that for the percussion in the 9drawbar organ. Feel free to start there as a template.
  7. Version 1


    Here is my attempt at Walk of Life by Dire Straits. It was easier than I thought it would be because of the VOX Continental organ stage setting from Mike Martin. Until I heard that, I had never associated that sound with that instrument. Thanks Mike! I made a couple of tweaks to the VOX, though. The first is that the drawbar organ layer was to mellow. I replaced that with a sawtooth. The other is that there wasn't enough "ping" on the attack, so I added the GM Thumb Piano, which has become a remarkably useful patch. On the FX, I realize that I have greatly underestimated the impact of delay, reverb, and chorus in the past, so that is added in there. However, I have some strange settings, so if you want an explanation, read on... We don't have a drummer so I usually have the percussion and the rest of the keys split between the left and right channels. Each channel goes out independently through a DI to the mixer. When I practice at home, though, I like to use the headphones and I like the channels balanced. To help with this, the drum pan is assigned to K1 and everything else to K2 (usually on the right channel). Unfortunately, the FX aren't usually channel-specific, so I have bleedover into one or the other channels or, in this case, I have the delay set to the right channel. The percussion loop is assigned to Pedal2. Load the phrase into slot 180. The other item of note is that I have a kick drum assigned to Pedal1. I wish there was a way to do this natively within the PX-5S, but for now, I'm running MIDI out from the PX-5S into a MIDI Event Processor then the MIDI out of the event processor back into the PX-5S. I use an unused CC message assigned to the pedal and the event processor turns it into a note-on/off message It sounds a little bare in the sample MP3, but when you get a band behind it, you're in business! Oh! I almost forgot! There is another keyboard part that I don't attempt to mimic here. If you listen to the VOX, you can hear a layer behind it which sounds like a sawtooth-ish sound playing harmony. I thought I'd add that as layers, but it changes with the chords, i.e. it's not just simply 3rds and 5ths. Because I run out of hands between the rock organ and the VOX, I didn't bother adding it in, instead opting to just add some harmony on the VOX. The rock organ isn't quite perfect, either, but because I use Zone 1 for percussion, I couldn't add the upper drawbar which you can hear in the original recording. It's close enough for rock 'n' roll, though!
  8. Stereo or Mono Headphone Jacks???

    The jacks are stereo. Make sure the adapter you got is stereo. If it is, make sure all the plugs fit all the way into each other.
  9. turn off touch sensitivity

    In a stage setting, you need to go into edit - tone - amp, and change the touch sensitivity to zero. You may still notice touch sensitivity in the sound. If so, change it in the filter too. This is for a melody tone, for a hex tone, touch sensitivity is in the amp and filter sections of each layer.
  10. Stuck Note

    I should mention another quirk I discovered with the onboard Rotary emulator. When you apply the "brake" and the speaker "parks", it doesn't always park in the middle. This is probably what happens in real life, but then your panning gets messed up. That's not really a problem running a summed signal, but if you're using the rotary, you may not want to run the summed signal. A related quirk is that the effect seems to be dependent on the note! For instance, after I've "braked" the rotary and then run up the scale, there is a significant volume difference between notes. Since the velocity sense is set to zero, this isn't due to natural variation in me hitting the keys. If I start it up again and then brake it again, there is still a difference between notes, but now the difference occurs for different notes than it did the first time. I thought about using the wet/dry mix to add rotary instead of the start/brake but then if I'm also using distortion, that fades out, too. Maybe someone more familiar with the real thing or a fancy Leslie simulator can tell me if this behavior is normal or not.
  11. The more perfect horn section

    So, there's another part to the more perfect horn section. I'm beginning to think that sometimes the best horn section is no horn section at all! I was trying to emulate the horns in Love Shack and was getting close, but it just wasn't sounding right. I have found that there are some fun things that you can do to change the timbre on the PX-5S to get closer, but it wasn't cutting it for me. Then I thought, "I'm a keyboard player, maybe it should just be a keyboard part." I've always felt that tune was kind of party/beachy, and I thought that the Vox Continental that Mike Martin uploaded might just do the trick. Keyboardists have been using organs of some kind or another to simulate different instruments and ensembles for centuries. I'm pleased with the results, although I want to keep working on the brass to see if I can get closer - just for the fun and challenge of it!
  12. Volume pedal

    Whenever you save or do a similar action with the editor, it has to synch up with the piano to make sure it's saving what you think it's saving. Sometimes that message occurs because you've changed settings from the keyboard while using the editor, but sometimes it seems to do it randomly. Regardless, you can resynch it by clicking the button with the two blue arrows in the top right of the editor screen. Then it should save OK.