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Chas last won the day on June 13

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About Chas

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  1. Alen, yup, and you've already commented on my "shippers" thread! I'm still in the process of unpacking and sorting my gear, and yes, now I have my XW's I can finally try this duophonic style feature for real. But, part of me just wants to fiddle away to my hearts content with my gear such as my XW's, then the other part says, "look at all that packaging junk all over the place, and the room is a MESS. Get tidying!" So I am trying to discipline myself to get everything unpacked, tested, and put away/ in place in an orderly manner first before jumping in to experimentation and noodling. I must add though, that your patch is already downloaded onto my computer and awaiting transfer to my XW's!
  2. MitsuharuSan, I think you and I must be twins separated at birth! We both have large Casio collections (mostly 80's to mid 90's), AND vinyl records! If you see my other post here: You can see most of my collection of gear (still packed from shipping). I agree with you on nearly all of your points above. However, the 700 and 3000 are identical internally, have the same preset and internal sounds, and will even read the exact same patches from the 700/ 3000 formatted RA100 Ram cards because they use the same parameters. The 6000 parameters are in a different order (e.g. the filter cut off and filter resonance are parameters 10 and 11 on the 700/ 3000, but are 14 and 15 on the 6000), plus the 6000 has more options so its RA100 cards are formatted differently. Basically you can interchange and read an RA100 between a 700 and 3000, regardless of which machine formatted it, but it will not work with the 6000. The reverse applies with the 6000, as a 6000 formatted RA100 will only work with a 6000 (unless reformatted to work with a 700/ 3000). The HZ600 I'm not sure, but that might also have its own format (as it loses the drums, rhythms and accompaniment section). This is one of the reasons why I'm lucky enough to have four RA100 Ram cards (yes I know, FOUR!) Two are for my 700, and two are for my 6000. They are rare and often expensive when they turn up for sale, and I was lucky to get mine for very reasonable prices. As to why the 700 and 3000 sound different to you, I wonder if it's because of the physical size of the 3000 compared with the 700? Maybe it has bigger speakers, and corresponding bigger enclosures behind them. That might make a difference, though larger speakers would sound more warm I would have thought. Hard to tell without having them both in front of me for a side by side comparison. I agree totally with regards to the 6000 sounding more 'complex', and also I felt it sounded more digital at first. Having four "lines" (aka Digital Oscillators) gives it four times as many oscillators compared with the 700/ 3000, though all four can only share one selected waveform at any one time. It also has ring modulation (that the lesser models lack), plus I think it has double the number of wave forms. It also has 8 filters, one per voice, whereas the 700/ 3000 has just one (paraphonic) that is shared between all voices. The 6000 is also the only HT with velocity sensitivity. All these extra features, plus the fact that the standard presets are different on the 6000 compared with the 700/ 3000, makes the 6000 sound quite different. Also worth remembering that upon it's release in the late 80's, digital sounds were all the rage and I suspect that the 6000's presets where designed to sound more bell-like, with lots of ringing tones (Casio probably overused the ring modulation feature in the 6000), and also equipped it with more digital type sounds to try and compete (or at least keep up) with other digital synths of that era. As you can see from the link above, I've JUST received all my gear after having it shipped from the UK. I am slowly unpacking them all and testing them, and so far all keyboards I've tried have worked, albeit one had slight cosmetic damage (my CT1000P), one doesn't have any of its LED's working (CT7000) and one, my CT403, was working fine then started billowing out smoke before shutting down! I opened it up and it appears one the capacitors has blown, along with its fuse, so hopefully once I replace those I will get it working again. Anyhow, once I've got everything unpacked, tested and sorted, one thing I'd like to try is to program one of the 700's standard patches into the 6000. That way, I can see how different, or not, the two sound. I'm trying to remember if it's possible to turn off the oscillators in the 6000 so that it's only using one, which will make it much closer to the 700/ 3000. If not, then as long as all four oscillators are in the same tuning, it should, in theory, sound similar to the 700. I can then play them side by side and see if they are indeed that much different when using the same selected waveforms and parameters. The results could be interesting!
  3. Thank you! I have downloaded the manual and stored it safely away with all my other PDF manuals. I found the CTK 1000 to be fairly straightforward to use, though it will be good to read the manual and see if there's anything I missed. It's certainly an interesting board.
  4. That, x 1000!!!! Of the "Big Four" Japanese keyboard/ synth manufacturers, three of them (Yamaha, Roland and Korg) have all issued various degrees of re-issues of their classic keyboards, or brought them up to date via modelling. Roland with their "Boutique" range (Juno, JX and Jupiter), as well as modern takes on the Jupiter and Juno, Yamaha with their "Reface" (including the DX7) range, and Korg with out and out repros of classic synths (MS 20, (Korg)ARP Odyssey). Korg has also pushed the boat out by delving into pure analogue goodness with the recent Minilogue, a four voice VCO (not even DCO!) synth capable of as much analogue squelchiness that you can ask for. There is a market for well loved retro synths, as the other three Japanese manufacturers have all capitalised on. Casio could make a killing re-issuing the much loved and respected CZ line, and surely being all digital, it would be dead easy to bring it back in a modern synth with far greater processing power. Add greater polyphony, more features, DSP's, real time parameter (CC) controls, real time filters etc. and they'd sell them like hot cakes. Make them able to read original CZ programming data too, and you'd have a HUGE library of patches available right off the bat. It surely wouldn't have been that hard to incorporate such a synth into the XW/ MZ line. Then, offer a mini key "101" version and a rack version too (to make up for the original CZ line not having a rack version!), and all bases would be covered. One can still dream and hope. Please give the world the 2017 CZ, Casio!
  5. And another sighting! This time the mighty Depeche Mode, live at the Hammersmith Odeon in London, circa mid 1980's. Martin Gore has a small white keyboard on top of his PPG Wave 2, with "FAIRLITE" badly written on the back of it. It's a Casio MT-30! Apparently it was a dig at ex-member Vince Clarke, who had allegedly spent a fortune on Fairlights while in Yazoo. Martin does also actually play the Casio, and it can be seen and heard quite clearly @ 27.20 or so.
  6. I don't think so Larry. The reverse coloured keys I'm pretty certain is something Casio has never done (major keys black, minor keys white). The stand also says "Farfisa", a well known Italian organ manufacturer, and using Google search comes up with a few similar looking keyboards/ organs to that in the video. See attached pics below, (and I've rotated the google image Farfisa upside down so it can be compared with the still shot from the video).
  7. In the video for Outkast's massive hit, "Hey Ya", "Benjamin Andre" (aka Andre 3000, who played all the parts in the video!) appears to have a little Casio SA76 on top of the large keyboard on a stand. I wonder if the catchy little riff in the song may even have used the Casio on the actual recording?
  8. Just been watching Devo's "That's Good" video. I'm pretty sure singer Mark Mothersbaugh "plays" the solo @1.50 on a Casio M10 strapped to him like a keytar!
  9. Pretty sure the XW-P1 and G1 could cover everything on the list too (except aftertouch). The arpeggiator requirement is very well covered on the XW's, and is programmed and operates in a kind of similar way to the 1000P as well. Add in the step sequencer, and the XW's basic synth waves (there will be some simple sine waves among then to replicate the 1000P) then you are getting close to mimicking the sound and features of the 1000P. Plus you get all the other XW features too.
  10. The 1000P does have a unique sound about it, very limited in some respects, though definitely characterful. I believe it's based on the sine wave synthesis that some early Casios used, which was then dropped in favour of the more flexible consonant vowel synthesis. Some older keyboards can be retrofitted with MIDI via kits, though that's normally only as far as note on/ off MIDI is concerned. There's a possibility that the sequencer/ arpeggiator could be adapted to be clocked to MIDI also, but much depends on the schematics of the keyboard. All the effects you listed can be added simply by using guitar pedals or DAW effect sends. The other features suggested, to me, would be making it into a totally different synth. And with all those high level features, to then only have the limited 1000P sound engine is rather pointless. Sadly, the 1000P is in no way regarded as a classic and to be honest, for good reason - it is too limited compared with other synths available at the time. It is almost unheard of and unknown outside of Casio collector circles. Casio has yet to re-issue an updated CZ series synth, and those ARE cult keyboards with much fondness from many who had and used them back in the 80's calling out for them to brought up to date with new features. If Casio's most popular retro synth hasn't been re-issued, I can't see an obscure oddball such as the 1000P getting the reissue treatment. Don't get me wrong, the 1000P is nice board for what it is, making some lovely, warm, organ/ wind type tones. Add in the onboard vibrato settings and it sounds quite interesting. It also has quite good bass, though it's a warm, smooth bass rather than punchy/ squelchy synth bass ala Roland Juno. Best thing would be to pick one up cheaply (they don't normally go for much), and just enjoy it for what it is.
  11. My XW's are still en-route to my home in the USA (according to the shipping tracker, they are soon to be docking in the NE USA, then hopefully they'll finally be transported to me around the end of April). I am very curious to hear this duophonic emulation. Can anyone upload an audio file with it in action to satisfy my curiosity until I get to try it for real?
  12. I'm not sure about the RZ-1, though the FZ-1 (plus 10M and 20M) are known for their "crunchiness". In fact, many find that it adds a unique character to the samples. Now, I've no idea if it's the filter (analogue) that causes this, or if it's the way the FZ processes its samples. It's supposedly 16 bit (and advertised as such), though some speculate that it samples at 12 bit. Or as you said earlier, perhaps it's the frequency range that does it, though I do also know that the FZ has selectable variable rates for sampling. When my FZ-20M finally arrives here from the UK (it's currently with the shipping company along with all my belongings) I will be eager to test it out!
  13. I've never had one, though I wouldn't mind one to add to my collection. They're quite collectible now and no longer go for bargain prices. From what I've read/ heard, the samples are the same as found on the HT series keyboards rhythm sections. Of course, the RZ allows the user to load in their own samples, which is one of the major selling points of the unit. However, I understand that the samples are very short and might be quite low resolution. For the prices that RZ's go for, you could probably pick up an FZ sampler for similar money, which also had 8 line outs. Then get the RZ samples, load them into the FZ and have all the FZ features as well!
  14. A recent Youtube video is pretty good at showing the basics:
  15. Hi All, I'm back in the UK getting my gear ready to be shipped over to the USA. Before I pack each item, I check to make sure all was working. Of course, having not played with any of my synths for over a year I wanted to a little bit of time to enjoy them before I packed them up, and that included both my XW's. My P1 worked fine, so after a while I packed it away. My G1 though, seems to have a fault with the keyboard. In a nutshell, C3 - G3, including the black keys, are unresponsive. I must confess that it has done this before, and it seemed to be an intermittent fault as either they'd suddenly start working again or would do so as I flipped through the settings and messed around with key ranges and all that. I remember once doing a factory reset that seemed to solve the issue, though I've no idea if that or the menu diving had any effect or not or whether it was a coincidence. Anyhow, when I got back after being away a year sure enough the G1 was doing the dead keys trick again, then seemed to start working again. It stayed that way until I got my Roland JX-3P back from having its KIWI3P upgrade installed and as can be expected, my attention turned to playing the hell out of that as it completely revamps the Roland and turns it into quite the beast. The G1 was not used for a good few weeks until tonight when I decided to try it out one last time before packing it away for the shippers. However, once again when I switched it on the C3 - G3 are unresponsive. I tried menu diving, resetting key ranges and finally tried two factory resets all to no avail - these particular keys remain dead. I also hooked it up via MIDI to the JX-3P, and using the G1 to play the JX shows the same issue with the same range of dead keys. When I do it the other way round and use the JX to play the G1 via MIDI, all key ranges are responsive indicating that the G1's sound engine is functioning perfectly and that there is something stopping the G1's C3 - G3 range of keys from working. Has anyone encountered this issue with the G1 (or P1) before (I tried looking through the forum and can't see where any similar incidences)? Any idea where I should start looking to resolve the problem? I know I can use the G1 fine over MIDI, but I'd still like its keyboard to work properly again Chas