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Jokeyman123 last won the day on June 2

Jokeyman123 had the most liked content!

About Jokeyman123

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    Milford, PA
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    Music-performing, composition, arranging all instruments, all styles
    Electronics and computer technology
    kayaking, fishing, woodworking

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  1. If you can find my posts about my PX350-I completely disassembled it to rebuild part of the key assembly-I have pictures posted that might help. Beyond that, without seeing what you have done, I can't help much further. I have noticed in working on the PX350 keys-this couls be a simple matter of pulling the key out and snapping it back into position-but be careful when moving the key around, and I am assuming nothing is broken inside. From what I have seen, there isn't much inside that could easily break from playing, but it is possible.
  2. Keys Getting Very Noisy

    If all else fails, a good set of earplugs...but then kind of makes it hard to hear what yer playing, unless you play really loud. Or back to my original instrument-2 spoons, Still trying to nail Curly's spoon solo in "Disorder in the Court". Will make for a good sample on my next hit CD. Probably get sued if I use it.
  3. Keys Getting Very Noisy

    A nice new set of McPherson struts would be good. Maybe a roll cage for those really tough gigs-or a screen cage like in the Good Ole' Boys club in the Blues Brothers movie. Seriously though-I had put the same type of felt on an older Generalmusic SK76 on the top part-and it did help. I could not do this with the px350 because there was not enough space between the top frame and the keys without altering the action of the keys-if the keys don't have enough "return" on release-this effects its "throw"-its travel length enough to lose its action on the downstroke-it actually removes some of the ability to get a full dynamic range out of the key-I know this from experimenting with different ways to cushion the keys. It presented no change with the SK76 because there was a gap between. But for example on the Equinox I own, the space between is so small, when I tried this method, the keys no longer responded well to velocity when I added the felt between the frame and keytops. and if the key assembly was not sitting just right, the keytops hit the case, loudly. I had to disassemble and re-adjust the entire top case of the Equinox to solve that problem
  4. Casio WK-3500

    Try looking at this: http://music.casio.com/e/data_ex4/before.html IDES 4.0 is software that I'm pretty sure is compatible with the WK3500-I use it with an older PX410 (88 key) and this Casio international website has alot of info on the older Casios not found on the current US website. And the added functions in the IDES 4.0 software will help you determine if the WK is communicating correctly, plus it will allow you access to functions not accessible otherwise.And i agree with Brad regarding drivers-the IDES 4.0 software only looks to see what midi cable driver/port you are using, so if you have the correct Windows USB driver installed everything should work.
  5. 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)
  6. PX350 propietary driver problems

    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.
  7. only you - sequence and problems faced

    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!)
  8. Gig bag for PX360

    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.
  9. Bad Scratching of Display Screen.

    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.
  10. 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!
  11. Casio WK-3300 DemoTune 0?

    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.
  12. Yamaha STY files to MIDI files

    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.
  13. CDP-130 MIDI issues

    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!
  14. Help !!! my px 350 key suddenly popped up :D

    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.
  15. CDP-130 MIDI issues

    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!