Jokeyman123

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  1. If you aren't already, you may need to manually program each track with the correct program change at the beginning of each track. In my experience, my PX350 does not retain the program change message internally in its 17-track sequencer, so a multitrack sequence or midi file must have program change messages in software, it gets more complicated if you want to play back any Casio sounds beyond the default GM soundset-the better pianos for example are not part of the GM sound set so you need to also manually set bank change messages on each track if you are trying to access sounds beyond the GM bank select numbers. I have a bunch of posts here about the pitfalls of using the PX350 with (or without!) a DAW. Also remember to remove the thumb drive if you are having trouble getting the PX350 to send or receive midi. Mine does strange things if I leave it in, or mounted when trying to connect to a computer or other gear. Hope I'm helping. And yes, local control needs to be off or software midi through, otherwise you will get a midi loop or double notes, or something terrible will happen, like another glacier in Antartica will fall apart (well maybe not)
  2. px350

    There is a peculiarity I found when recording from the PX350 to computer software (with midi not audio!) If a thumb drive is installed and "mounted" so as to be internally accessible to the PX350, it does seem to cause connectivity issues using the din or usb ports to a computer. The only thing that seemed to consistently solve the problem is that I remove the thumb drive when working between the PX350 and a computer connection. the thumb drive isn't accessible through the computer anyway when connected to the PX350. Another thing to keep in mind, unlike the XW-P1 with both din and usb ports, the PX350 only seems able to use one or the other. You cannot (at least in my experience) use both to for example transmit to the computer and to another midi device simultaneously. If it works, it is intermittent at best or doesn't work at all. Not sure why. Still a very nice piano. I have alot of posts here regarding stuff with the PX350 f you are interested.
  3. Thanks Cairns....considering the sheer complexity of the XWs once you try to get past simple sound programming or creating a basic sequence program-it is an accomplishment that you could get some type of "linear" continuity in an arrangement at all. I can only guess that some of the difficulties we encounter when trying to combine sequences or performances into a chain has to do with 1) limitations of the CPU built into the XW and also its hard-wired memory chip or chips-which when asked to store too much at once, runs out of memory addresses. This may be why the chain function runs out of capability and why you get the impression that like an old computer, the XW bogs down if asked to do too much at once. I have only used 5-6 chain steps in pasting together separate sequences and it worked reasonably well, but I would imagine if I started programming arpeggios in combination with chaining sequences, I might experience the limitations of the CPU and memory. and i agree, even with its relative complexities and shortcomings, it is still a very challenging music making machine and I've kept mine for 3 years now, still can't seem to part with it. And with Casiopters like yourself, AlenK and others, we have a very formidable support team for whatever we do (I made up Casiopters-short for Casio operators, programmers and music makers!)
  4. I picked up a Roadrunner soft case for pretty cheap for my PX350 (same size as PX360 basically). Very nicely made, more padding than some. Casio Privia cases are about the same. The Px350/360 are very shallow front to back. I wouldn't go for one of the full-size 88-key bags. These are way too big for the Privias. You shouldn't have to pay a fortune for a soft case, pretty competitive market segment. Hard case for air and road travel, that's another story.
  5. Maybe these were not new. Most new keyboards will have a clear plastic protective screen you can peel off applied at the factory. Make sure your screen is not actually one of these whichare meant to be temporary and meant to be peeled off. Just a guess.
  6. Here's one for ya ss.....how does your playing sound? There's no software I know of that can tell you if your playing sounds like crap! And how do you know whether it does or doesn't, you may think you sound terrific and then.... Listen to and study many great players-Tatum, Willie the Lion Smith, Eubie Blake, James P. Johnson, Albert Ammons, Fats Waller and I can go on-and many great classical players-somewhere along the line, they were listening to somebody else and saying.......holy cr**! how does he play like that! And then figured out how to do it-but without software. Listen to Tatum, he couldn't even see for g**sakes-there is no software that could have taught Tatum to play like that. So-you want an answer? The word is inspiration and experience playing with other musicians who are better than you-the human element has always been the greatest challenge. that, and having a real human being watching what you do and seeing that for some strange reason, whenever you execute some passage or technique, you seem to not notice your hand, arm or fingers are doing something weird which is limiting your playing ability and it is something you would never notice if someone else wasn't monitoring you and correcting you-visually and maybe with a good verbal spanking.I speak from firsthand experience there! if he were alive, I'd love to ask Fats Waller what he thought about music software. He learned to play like that because he was inspired by others, and because he heard and saw the great New Orleans players of the day. and because his livelihood depended upon it. I studied with 3 classical pros-all accomplished classical players. but my playing improved dramatically when I had to go out and play gigs every week, and was competing with other players around me! and I had been using software when it first came out, back in the 1980s on my first Atari computer. .And listening to Vladimir Horowitz or someone similar is helpful, but watching his beautifully elegant way of approaching the instrument (hand/arm positioning, finger execution) is priceless and he is only one example. One of my teachers, Gary Kirkpatrick had a way of throwing his whole weight into playing the Rhapsody in Blue by Gershwin. if I hadn't studied him up close and personal, I would never have thought it possible and certainly not a viable playing technique-and yet this is what brought out his most powerful playing, so go figure!
  7. It usually can be traced to some individual musician who created the tracks to demo a particular instrument. For example at Yamaha UK's forum, several of the original sound designers for the Yamaha SY series are members of that user group, Manny Fernandez for example who created some of the original sounds for the SY77/99 keyboards and the demo tunes used by the commercial sound libraries for these instruments as well as those used by Yamaha. Since Casio did not have user groups for earlier instruments that I am aware of, there are no resources to find out who these people were but possibly someone who did this work will see this forum and get back to you. You might also drop a post or two to other keyboard forums on the chance one of the musicians who created this demo tune might be a member of for instance the Music Player user group or one of the many Yahoo user groups for other keyboards. I would guess that whoever created this demo might be Japanese since the older Casios were still being manufactured there rather than in China, although I could be wrong there. And often the musicians who do this type of work will jump around to many other companies. Whoever did this Casio demo might also have created demos for Roland or Korg as well. I play an older PX575 which has many similarities to the WK3300 I understand. Ted and I have several posts about these older Casios somewhere around here, as awkward as it is to record, I really enjoy playing the PX575 even when compared to my newer Casios.
  8. If you read the posts above "software to create patterns for wk-7500" might give you a little more insight into how all this works.
  9. Question for sslyutov-have you actually been able to change these settings with an external controller, and with what keyboard? I had no luck with the PX350-although the midi spec sheet for it shows cc messages for adjusting settings that are not accessible through the PX350 controls such as revrb and chorus depth and others. All I have been able to do is control relative loudness settings for individual tracks as well as bank and program change messages using my software sequencers. I have tried using external controllers such as a UC-33 interface, and my KORG microkontrol keyboard but it doesn't seem to respond to settings that I can access with other machines and keyboards such as pan, filters, dsp settings etc. and to cellachris-it sounds like you have managed to record your program change messages correctly with your software. Once this is done, these settings should be retained as tnicoson has described as long as you saved your file. You got it to work, that's what matters, right? And again as tnicoson said, the entire concept of midi as a language has evolved over decades, don't be discouraged that you can't figure it all out in an hour or so! What was supposed to be a simple "protocol" of commands to get midi instruments to work together has morphed into a fairly complex system for use with lighting, audio and every other imaginable thing that can be controlled with software or hardware but the basic language and functions are pretty much the same as when it was first created...with a few other commands added over almost 30 years!
  10. Check out my posts if you really want to disassemble the PX-350. You may not need to do that though. I seem to recall that these keys have a funny way of sliding in and out of position, although these are mounted so as not to be removed unless you take it completely apart. Try gently moving the key forward and back and see if it will click back into place. there really shouldn't be enough play to do this easily, but it might have somehow moved forward a tiny bit and shifted out of position. You could also try shifting the entire keyboard up towards you so the top of the PX is facing you and watch what happens to the key positions. You might need to do that to get this key back in place. Otherwise, study my pictures and descriptions in the PX350 section of this forum. I have a lengthy, detailed (mind-blowing) description of how I took my PX350 apart to put new felt strips in my worn keybed. Still holding up to repeated playing. Hope this helps.
  11. So when all is said and done, does any of this make sense to you cellachris? To keep things simple-if what you want to record into Ableton is "midi" data-not audio-you will have to do what I do with my PX350, PX575 and probably your CDP130. You will have to manually program your midi transmit channel from within the CDP one track at a time. This will embed the that midi channel into your recording first-in other words, you can record using whatever midi transmit channel the CDP130 is set to transmit with-1 through 16. However you are not done-you will need to make sure that when you select a "tone" for recording on whatever midi channel you choose-that the CDP130 is sending the correct "program change" message and recording it into Ableton. How you check this on a MAC I'm not sure-if Snoize will show the actual midi data messages, that will work as I do in Midiox for the Windows platform. I think there is a setting in Ableton where you can also monitor the actual program change messages but I'd need to study Ableton some more to be sure about that.. And repeating Ted's tech notes-if all you need to do is make sure Ableton will play back the same sound you selected in the first place-all you need is the specific "program change" number sent out from the CDP130, and check that Ableton is recording the program change at the beginning of whatever track you record. Program change messages are simply made up of a 1 or 2 digit number that specify a particular "tone" Program change "one" for example will always specify a piano sound, based on the standard "GM" (general midi) codes used for various tones or sounds. You must also make sure that the CDP130 is capable of receiving the specific midi data messages you have recorded into Ableton. If the CDP is not designed to respond to program change messages (again I'd have to study the manual to know this) it will always pick the piano sound as a default. You can check this by picking a different "tone" than the one you have recorded, then playing back your recorded midi track. As you said, so far that seems to be what is happening. If it switches back to the tone you've recorded you're all set. if it doesn't even after you are sure the midi channel and program change numbers are embedded into you Ableton recorded track, then you know the CDP is not capable of receiving program changes-the manual should state this clearly somewhere, Ted may be able to help there. sorry for the long-winded reply, I started this mess, I'm just trying to end it gracefully. I know way too much about midi, more than a normal human being should need to know!
  12. Without seeing your software setup, I would think the midi control change message required to switch to the strings setting is not getting through or is not there at all. Can you install Midiox on your computer, run it while playing the CDP130, and check to see what "CC" control change message is being sent over midi to the computer, without looking at Ableton first? You may have to study Midiox a bit to understand what you are seeing and how to use it, but this will show you the actual midi data being sent from the CDP130 to your computer and to Ableton. Also remember that to record separate tracks with the CDP130 to Ableton or to any midi sequencer, without my knowing how the CDP does this, you need to change the midi transmit channel for each track. And i will have to look at the manual, but I'm not sure the CDP130 is multi-timbral-is it capable of receiving separate mid channel messages to create multitrack arrangements? If it isn't, it may always be set to transmit the same CC message for the one track. I will study the manual and see if I can help a bit more on this.
  13. I might be able to help, if you could be a little more specific. I am the crazy guy who tore apart his px350 to rebuild parts of the key assembly-it is not an easy task, but you may be able to repair this depending upon what exactly is happening.You will find my posted pictures in the PX350 section here. I believe you are describing the small weights that are attached to the ends of a metal arm structure, colored black in my px350. This is the fulcrum arm that provides some resistance to the key when played. There are small counterweights on the ends of these arms that provide the "weighted" feel of the keys. If these have fallen out, you could refasten these with a strong epoxy or maybe even "crazy glue" and you may be able to do this without dis-assembling the entire keyboard although I've not taken apart a px100. If the damage goes further than this, i agree a total keyboard assembly would probably need to be installed, a very big job and I wouldn't recommend it unless you have alot of experience with this type of thing. As far as a newer Casio, the least expensive I could find runs around $300,00 new. This was a PX200 I purchased for a student and it is a beautiful instrument, well made, gorgeous piano sounds and excellent weighted action. I'm sure a replacement key assembly would be pretty expensive and the installation if DIY would take quite a few hours even if you are experienced doing this type of work-the entire keyboard must be taken a apart to get the key assembly out as one piece, not fun. If you can sell the px100 for parts you might get some of your money back.
  14. This gets a little complicated, but you might be able to do this-download "Midiyoke" from Midiox's website. This allows you to route internal midi software connections any way you want. Why would you want to do this? Well, theoritically you can now connect Reason's "midi out" into "Midiox"'s midi input-and at least see what velocity settings are coming out of Reason, how it is responding to the PX5s. Sounds like Reason is interpreting a system channel message or sysex message in a way that causes it to change a channel message to the "soft" pedal setting, thus lowering the velocity response. And when you use the sustain pedal, it is being interpreted in Reason as again, some sort of velocity setting-maybe pushing it up to a fixed higher number. if you can get midiyoke and midiox connected to see Reason's output to midiox, you might get a clearer picture of what is happening. Just a guess, hope this helps.
  15. And yet music in our schools-where music can have a real impact on many people-is still considered a 2nd class citizen in the world of US music education. I know, I struggled to survive for 30 years in my school district, being laid off 3 times and lived to see my music program completely eliminated, only to be reinstated at a lower salary, which was a sacrifce I had to make or walk away and watch my 20 years already in the program I had built disappear. I taught special needs students, "mainstreamed" students and children from pre-k to 8th, as well as "at risk" students who I hope all benefited in some way to what I tried to give them. My drumming early on had been therapy for me so i agree completely on this-at least it prevented me from beating up the guitar players in my bands (only kidding)! This actually contributed to and was part of my educational philosophy going in that i could reach kids that might not be able to fit into the usual educational "mold", (and not beating up guitar players ) I had already taught privately and been playing in jazz groups professionally before i could drive a car-my drum teacher had to drive me to gigs and i loved it plus it hellped bring money to my family-now try to find a place around my area where there is live music outside colleges and NYC-most places I played as a kid are long gone. This was a prelude to my baptism by fire in the life of an American school music director. and surprisingly....although I hope this has changed recently....many of the teaching techniques I had to use were European-Kodaly, Orff....American music education models were still unfortunately woefully not up to the task of what I needed to do to survive in a typical music classroom environment-I thank my very hard working professors for giving me the tools I would need to teach huge classes every day-I had a typical load of 300+ students per week-I taught all grade levels, chorus, band, directed all shows and plays, graduations, town music activities with the sometime assistant of the school's gym teacher thank you Phil wherever you are (another program that was quick to go on the chopping bllock). This was fairly typical for a music teacher in the US at the time, and I was considered "part-time' and paid accordingly! Yes I ended up being very worn out. My replacement quit after a year, which is understandable, although I left every support mechanism I could-lesson plans, guides for my classes and shows I had directed over the years but.... Until our educational system understands the value of music as you have so eloquently stated, I fear that not much will change, although there are certainly some school systems that are more supporitive and i think many of the recent media sources are bringing an awareness that did not exist until fairly recently-my new location in Pennsylvania has a school system with an outstanding music program, very well supported with many opportunities for vocal/instrumental performance, dramtic performances and developing musical/performance skills. Which sadly, surprised me since many of the schools in my original area could barely support any music programs at all. And now politically it seems it will be even worse, sigh! Very fine posting, thanks for putting it out.