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Chas

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Everything posted by Chas

  1. Configuring classic sound hell

    As above. Also sounds like Ray Manzarek in The Doors, also famous for using a Vox Continental. Check out the downloads section here, and you'll find a Vox Continental patch in there 👍
  2. Bands with the XW's

    The Crystal Method were known for using XW's.
  3. Casio HT-6000

    Here's the link to the Facebook group: https://www.facebook.com/groups/vintagesynthrepair/
  4. Casio HT-6000

    Lawrence, Welcome to the Casio Music Forum! Almost certainly this is an output amp issue, or to do with the final output/ amplifying stage of the HT's sound. The HT's are actually mono, the only part that is stereo is the onboard chorus effect. With the stereo chorus off, the sound will be a mono signal sent to both left and right amp outputs. The fact that you are getting output on one channel shows that the sound generation of the HT is working fine. The issue may be with the chorus unit, though I would expect the sound to come out of both channels (mono) with the chorus switched off. Therefore it's most likely to be an issue with the final output stage where the signal is sent to both the headphones and internal speakers. One thing worth checking is the left and right line outs. I'm not 100% sure, but these might be output before the signal reaches the amp. If the line outs are fine, then it's almost certainly an output amp issue. I have 3 x HT6000's (!), 2 working and one dead. I took the dead HT apart to see if anything obvious was amiss, nothing appeared to be so I screwed it back together again and that's as far as I got. I'm sorry I can't help you any further. As to people who can repair it for you, I don't know anyone in the UK, other than a chap called Mark in SE London who fitted a KiwiTechnics Kiwi3P upgrade into my Roland JX-3P. If you want his contact details let me know and I will dig them out for you. Otherwise best to join up one of the Facebook groups such as Vintage Synth Repairs group and ask for recommendations. I am sure you will get some recommendations. Good luck and let us know how you get on.
  5. IIRC, the 405 is the full sized wooden cased version of the MT65/ 68. I have one of each and they're really cool little boards, especially the rhythm section. On both my MT65 and 65, the preset main tone is in two banks, with a push to lock/ unlock button used to switch between the two. The button has a habit of sticking so that it won't lock in the second position. If you press and hold the bank select button, then you will hear the tones selected in the second bank. But the moment you release the button it resorts back to the first bank. Is that how your 405 also works? If not, or it uses different types of switches, the good news is that the switches used are simple and easy to check. Chances are something is sticking or not making good contact, and some cleaning may well work wonders. You could try squirting some switch cleaner into the switch to see if that helps. If not you will have to take the unit apart to check/ clean the switches, which if you are careful and methodical isn't too difficult at all.
  6. What software for music do you like

    I recently purchased Acoustica Mixcraft Pro 8. I read all the reviews and examined the features it offers, and it by far offered the best value for money as well as being regarded highly. I'm still in the process of learning how to use it, and have no regrets whatsoever at choosing it over other more well known DAWs.
  7. members status

    Member status is determined by the number of posts that you make on the forum, not how long you've been a member. Post more and then you will lose your "Newbie" member status
  8. At present, I would suggest the MZ-X500 comes closest to your requirements. It actually covers every one of your requirements above. However, if you are primarily using DAW based multi track recording software, along with large amounts of VST's, you'd probably be better off getting a dedicated MIDI controller keyboard. These have more controllers and are easier to map to DAW software. Plus one would be cheaper than any workstation. However, if you must have a unit that can operate as a standalone as well as part of a DAW, then the MZ-X is the best recommendation.
  9. DELETED-FILES ?? Nightmare ?? Help / Recover

    I'm fairly certain that most flash based memory cards (USB, SD etc.) use similar file deletion principles to computers i.e. unless the media is given a full format, the data remains. Only the directory entries are removed during any 'delete' process. Even quick formats are similar in that they only delete the directory, not the actual data. A "full format" WOULD, however, delete all data, though luckily in Jay's case he hasn't done that. Whether Casio used their own proprietary disk structure I am not sure, but hopefully it's pretty standard and most data recovery programs should be able recovery the data. Try Alen's suggestion, as being free you can see if it works before (if) you buy. You may not even need to recover more than 2gb of data as I know that most Casio Data files are quite small. The most important thing right now is DO NOT USE THE MEDIUM! If you start writing any data to it in its 'deleted' state, you risk overwriting your lost data that is likely still there. To give you a bit of hope, I have rescued 'deleted' data on both USB and SD cards in the past so it should still be possible in your case.
  10. From what I understand, the biggest drawback with using a PD1 is that it can output clock signal, but it cannot receive it. That means in any rig, the PD1 has to be the master and all the other devices set to slave. Also, from what I have read, the PD1 was always designed to be the master in a stand-alone rig. I'm not sure quite how it would work any other way, or how it would work as part of a computer DAW set up. Have to say, the missing 5 pin MIDI sockets and the inability to receive clock signal really hurts the usefulness of the PD1. It has so much potential and is otherwise a powerful little beat/ rhythm/ sampler box.
  11. CMF looks different today

    The main banner still states "commnunity" though!
  12. I guess the question is, how similar are the Hex Layer engines between the XW-P1, PX5S and the MZ-X? Could the basic programming principles from one model translate to the others?
  13. XW-P1, A modern ARP Quadra?

    Cheshurecat, you are right that that the XW-P1 is almost a modern take of the Arp Quadra. The Quadra had a bass synth (Odyssey based), a poly synth (Solina based?), a solo synth (Odyssey in duophonic mode) and a string synth (Solina II). The XW has a Solo/ bass synth (equivalent to the Quadra Solo/ Bass synths), three poly synths with PCM, Drawbar and HEX being being the equivalent of the Quadra's Poly and Strings mode, plus onboard effects (many more than the the Quadra's Phaser). Of course, the XW-P1 does so much more and has a large amount of effects too, as well as the wicked solo synth filter. Definitely a PCM Panini with a cup of espresso served as well!
  14. I wonder if it might be more a key trigger issue? Sometimes if you play a succession of notes quickly and they overlap, then the filter and/ or amp envelopes don't get retriggered. This makes it sound as if only the first note has glide on it, because the successive notes overlap and thus the envelopes remain active. Only when every key is off will the envelopes reset.
  15. Time stretching user samples

    As others have mentioned, the XWs can't time stretch. However, you could take the sample and put it into a 3rd party program such as Paulstretch: http://hypermammut.sourceforge.net/paulstretch/ Then you could 'stretch' the sample to the length you want while still keeping the pitch. However, it slows the sample down, so though the pitch remains correct the actual wave is stretched. For instance, if you sampled someone staying 'hello', the pitch would be correct when stretched, but the actual wave would play as "hhhhhhhheeeeeeeeelllllllllllllloooooooo". It seems to me that you need to multi sample across the keyboard as I mentioned in my previous post. If you use just one sample, then that will play in a much shorter time at high notes compared with low notes. If you sample at higher notes for the same sample length time as you do for lower notes, most of your samples will play for the same duration whatever note you play on the keyboard. As BradMZ stated, it sounds more that you need to set loop points that will sustain the notes while you hold the key(s) down. You can do this in the Casio Data Editor program.
  16. Time stretching user samples

    Do you mean will the G1 adjust the pitch by playing the sample faster or slower depending on the key you press? If so, then yes. You can also multi sample at different pitches, then place these samples at various points across the keyboard to correspond with the appropriate keys. This is useful when sampling another synthesizer for instance, especially analogue (and some digital non sample based synths), as each note is individually produced by the circuitry. I did this with my Casio CZ 101. I sampled the note 'C' at octave intervals from the 101, then placed the samples at the corresponding 'C' key positions on the G1. I could have got away with sampling just a middle C and letting the G1 sample engine adjust it for pitch, but by doing a range of samples it makes the G1 reproduce the sound of the 101 more accurately. Once loaded onto the G1, the samples can be played just the same as any other tone. Either singularly, or simultaneously and to produce chords.
  17. As always, it is wise to regularly back up your synth just the same as you would back up a computer hard drive. Once I got my XW's back after waiting months for them to be shipped, the first thing I did was to back them up to my new music computer. That way, if anything happens to them, or I accidentally overwrite or delete my patches, I will have a back up
  18. Casio CZ-5000

    Oh, does MIDI Ox allow you to specify a memory slot before sending data? When the patch is loaded into the CZ, can you edit its parameters?
  19. Casio CZ-5000

    That is strange. I am shortly to have Virtual CZ installed on my studio computer, and will then see how the librarian section works when sending data to and from my CZ-1 and CZ101. One thing worth checking on yours. Look on the back panel, there should be a "write protect" switch. Make sure that is "off", otherwise you won't be able to save patches. That's all I can think of for the moment.
  20. Alen, I managed to get some time to play with my P1 again this week, and have made some progress. Firstly, my mysterious Step Sequencer patterns not being changed/ getting stuck when selecting another Performance setting. I dug out my owners manual, and followed the instructions on page E-71 to "initialise synthesizer global settings and data". I can only assume that some obscure setting was previously changed somehow, causing the step sequencer pattern issue. After initialising as per above, all was now working as it should. I change a Performance and this time the step sequencer pattern would change as it should. All is well again. I also reloaded the pseudo filter envelope parts back in via the Data Editor and had that running fine. I forget, but I think I did still have to change a couple of settings to get it to work. I also went into the step sequencer mode, selected the "ctl1" pattern part, and then I could use the sliders (and the 1-8, 9-16 bank select button) to change the "filter" envelope. All working well there. I then borrowed your "analogus" Hex Tone from the filter envelope, and then created a new performance with it. I then went in and assigned Wah cut off and resonance to knobs K1 and K2, and through some trial and error, found the CC numbers for the Wah LFO depth and rate. I assigned these to knobs K3 and K4, and now when I played the Hex Tone via the new Performance, I had full manual control over the filter and its LFO. Cranking up the LFO rate and depth, with resonance set high and cut off at the sweet spot, then sweeping the rate and depth knobs gives all manner of SciFi type sounds and effects. Very reminiscent of an old analogue poly-synth, with lots of sweeping filter sounds to keep people amused for hours. I will have to upload this Performance and Tone into the site archives for other people to try too, as it's a lot of fun tweaking away at the filter. Only thing is, I'm off to NYC tomorrow for two weeks! I will have to do so when I return!
  21. New Owner of Casio XW-P1

    AlenK and BrettM, thanks for putting me straight with regards to "self oscillating" filters. I feel stupid now, getting "resonance" and "self oscillating" confused - duh! In my defence, I was thinking of those synths that have rather tame filters i.e. Casio HT series, Roland AlphaJuno and even my own Roland JX-3P. They all have "resonant" filters, but even at extreme resonance they barely produce that high pitched sine wave sound when sweeping the filter. In comparison, the XW's Solo Synth filter is quite a beast, on the point of breaking up and producing that high pitched sound at extremes of resonance. Of course, you are both right in that though it sounds as if it might be self resonant, it's not and is still a digital emulation of a classic filter. Oh, and to my knowledge the Roland AlphaJuno's filter resonance cannot be changed, but good news for me, the Roland JX-3P and the Casio HT's CAN be made to self oscillate (I have a JX-3P and a few Casio HT's in my collection). The JX-3P has resonance trim pots for each of its six filters, and these can be adjusted (they were set to be quite tame from the factory) to push the filters into self oscillation. The Casio HT's need a few simple mods to modify and take control of their filter's cut off and resonance, and to fit external potentiometers that allow adjustment way beyond the onboard settings. Still, despite not being self oscillating, the XW's Solo Synth filter does have quite a character Also Maxwell, I'm sure you probably already know, the XW-P1 Companion covers a lot of the G1 too. Other than the sampling and looping features obviously, the G1 has much of what the P1 has (obviously exempting the Hex Layers and the Drawbar Organ section). As much as I'd love to have a G1 Companion too, the fact that AlenK wrote the P1 Companion purely in his own time and for free means that we've already been incredibly lucky that he was prepared to research and write that for us. But I do agree, for those of us with G1's it would be wonderful to have a Companion as good as the P1 version, especially as the official Casio Manual left a lot to be desired.
  22. Effect Pedals on XW-P1

    I can't offer any experience personally, though I do know that a lot of people use a "Vent" pedal (Leslie simulations) for the drawbar section of the P1 to really waken up the organs. As for standard type effects pedals, i.e. chorus, delay, phaser, flange etc., the P1 comes with many DSP effects that cover all of those already. For me, I would use the onboard effects before using any pedals. The one exception would be an analogue filter pedal, seeing as the P1 doesn't have an onboard analogue filter. It does, of course, have a digital simulation of a resonant filter in the Solo Synth section, which can be used with PCM Tones if set up correctly. Unfortunately though, this filter cannot be used with the Hex Layers or Drawbar Organ sections, as those and the Solo Synth are mutually exclusive. However, as I've just recently found out thanks to AlenK's in depth "P1 Companion Guide" and the wonderful advice via the forum, there are ways to get a resonant filter effect with the Hex Layers by utilising the Wah DSP. It's a compromise as the Wah effect doesn't have any keyboard triggering envelopes that can be used, though it can be set up with a step sequence and arpeggiator to simulate an envelope. I have also managed to set up a Hex Layer performance patch that assigns the Wah LFO depth and speed controls to the assignable knobs K3 and K4, with K1 controlling the cut off and K2 controlling the resonance. Using those manually with the Hex Layers, you can really start to get a good resonant filter effect and classic filter sweeps. I would definitely try that technique first before shelling out for a filter pedal, especially considering they aren't cheap to buy and unless they have signal sensing envelopes/ triggers, you'd have to operate those manually too. Just as you would with the Wah controls assigned to K1 - K4. If you do want that Moog ladder filter sound specifically, then of course, you need the Moog pedal! As you've already found out, the P1 is very deep in its capabilities and potential. I'd experiment more with what it already has onboard, because you might then find no need to run it though effects pedals. Enjoy your P1, and welcome to the forum!
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