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Everything posted by Chas

  1. CMF looks different today

    The main banner still states "commnunity" though!
  2. 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?
  3. 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!
  4. 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.
  5. 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.
  6. 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.
  7. Sound request

  8. 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
  9. 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?
  10. 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.
  11. 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!
  12. 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.
  13. 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!
  14. Alen, I finally got it all working! Initially, when I first tried it, I could manually sweep the filter and adjust the resonance using the control knobs (K1 and K2), but no joy with the sequencer. It's possible that I hadn't downloaded one of the components correctly, as I went back to the data editor and re-downloaded and double checked all the components were in place on the P1. Then I went back to the P1, and ensured all the parts were allocated (Performance, Hex tone, step sequencer, arp). I forget what I did/ didn't do initially, but the only way I could get the step sequencer to sweep the filter was by pressing play on the start/ stop button, which caused the step sequencer to cycle ad infinitum. Playing notes on the keyboard, each note would be filtered depending on where the step sequencer cycle was when the note was triggered. The filter envelope matched a saw tooth/ ramp style wave form, which I assume is what it should be. I tried turning on the arpeggiator button, but that did nothing. So I went back into the performance settings, and in Zone 1 (Hex Tone zone), I enabled the arpeggiator. Now, when I pressed a note on the keyboard, it would start the step sequencer and stop when I released the note. The sequencer would start with each key press, assuming a key wasn't already being held down. BUT, there was no sound! Then, completely by chance, I went back in and fiddled around in the Zone settings again. I switch off arp enable in the Hex Layer Zone 1, but switched it on in the "synth tone" Zone 2. This got everything working! The Hex Layer tone was being routed through the Wah filter, and the Wah filter was being modulated by the step sequencer and arp. The step sequencer would restart with each key press, continue to cycle if triggered by a key(s) and (those) key(s) held down (any subsequent keys pressed in this circumstance would not re-trigger the step sequencer), and it would stop if no keys were being pressed. As mentioned above, the envelope was a ramp/ saw tooth style, and it could be adjusted by increasing or decreasing the tempo. This, I take it, is how it was meant to work? I also went into the Tone section, and then went into the Tone edit and DSP edit. In DSP Wah, I could further edit the Wah LFO depth and speed to come up with some classic old school synth modulation sounds. Only issue is that only one setting could be adjusted at a time via the data wheel. I wonder, is there any way of assigning the DSP Wah LFO parameters to the assignable knobs? I'm wondering if it would be possible to have K1 as cut off and K2 as resonance (as they are already), and then K3 as LFO speed and K4 as LFO depth? That would certainly make it a lot easier to adjust the Wah settings in real time. I also can't help but think that Casio dropped the ball here by not allowing a programmable envelope to be assigned to the DSP LFO. It would require so little added to the OS, yet could achieve so much with the use of the DSP effects. It would get the Wah "filter" almost acting just like a classic filter in an oldschool synth, albeit paraphonice style. I'm sure they might even be able to add such a feature via a firmware update, though I doubt if the XW's are getting much in the way of updates any more... Something unrelated to the above, but an issue that arose while I was playing around with the performances. I don't know if this is just my P1, or if I'm missing something. Basically, here's my issue. I can program a sequence for the step sequencer and save it in a user slot. I then set up a performance (I shall call it Performance A), split the keyboard into two zones (one a hex, one a pcm bass), and also set Performance A to have the sequence I programmed now in a user slot. I then save this performance. Now, when I press "play" my step sequencer pattern and drums run, and I have my two zones with the sounds. All good. However... ...If I then move to the next Performance, i.e. the Filter Envelope Performance, all the correct tones are there for the Filter Envelope Performance, along with the arpeggiator. BUT, the step sequencer pattern is unchanged from the previous Performance A. I go into Performance edit, change the step sequencer pattern to the filter envelope step sequence, save the Performance, and all is now working as it should for the Filter Envelope Performance. If I then change Performance from Filter Envelope Performance back to Performance A, I now have the opposite problem. Performance A has all the correct tones for its zones, but the step sequence remained unchanged from the Filter Performance. Just as I did when I went from Performance A to Filter Envelope Performance, I have to go back into Performance edit, edit the step sequence selection and change it from the Filter Envelope step sequence back to Performance A step sequence. Even if I re-save the Performance, if I then select a different Performance, the same thing happens. For some reason, when I save a Performance, it's not saving the selected step sequence as well. Doesn't matter if I select a different performance, the step sequencer data/ pattern stays the same. Even though each step sequence has been saved to a user slot. Any idea why my Performances aren't saving the selected step sequence as well?
  15. Alen, I've not had much spare time the past couple of days, BUT, I have had a few moments tweaking away on my P1 and the filter wah "filter" technique. Have achieved some interesting results, and a few issues (some unrelated to the "wah" DSP). I will respond back in more detail, hopefully tonight. I can say that so far, it's a very good sounding option for the Hex Layers considering for many years most (like myself) thought that there was no resonant filter option for them. More later!
  16. Casio CZ-5000

    Just to clarify, you're talking about sending a patch from a computer to the CZ5000 via MIDI, and once that patch is in the CZ, you can't save it to a user slot? Where exactly is the patch in the CZ when you load it in via Midi-Ox?
  17. New Owner of Casio XW-P1

    I thought they did? When you crank the resonance close to maximum (approx. 110 and above) and then sweep the cut off, at sweet spots you get that classic "sine wave" resonance sound added. Certainly the XW's solo synth filter is in reality a digital simulation of a real analogue filter, though it can sound and work similar (if a little harsh at times).
  18. Alen, my curiosity got the better of me, and earlier this evening I stopped all other chores and dug out my P1, installed the Data Editor software on my "new" music computer (still setting that up) and then downloaded the patches from the Casio Music Forums. Just HAD to check out the wah effect with the Hex Layers! And I have to say that after trying it, it sounds good! I'm not sure I was able to get all the components installed onto the P1 as I couldn't get the simulated "sweep" via the step sequencer. However, I was able to use the assignable knobs to both increase resonance and manually sweep the cut off. Quite impressed with how smooth it sounded compared with the solo synth filter. Only criticism is that there seemed to be a jump from when the filter was initially being opened from the fully closed position (seemed to go from fully closed to 20% open with the slightest turn of the knob). Almost seems that from the 6 o'clock to approx. 12 o'clock position of the assignable knob was where most of the filter cut off action took place. After it went past 12 o'clock it seemed that the "filter" was fully open. I wonder if there is a way of adjusting the Wah affect so that the cut off is spread out more over the assignable knob range? Regardless, it does sound nice and very usable, and after all these years of owning a P1 and thinking that it never had a decent "filter" effect for its Hex Layers, I am happy to be proven wrong. Oh yes, I should add as well that when I was talking about "resonant" filters earlier, I was actually thinking in my head "self oscillating". That's one thing that the solo synth filter has over the Wah affect, is the ability to self oscillate. Certainly at times the solo synth filter can be rather harsh, especially as it nears maximum resonance. However, find the sweet spot and it gets close to that classic self oscillating sound that certain old analogue synths were renowned for. And I definitely need to go back and read more in depth the XW-P1 Companion! It's great that even after owning my P1 for over 5 years, I'm STILL finding new things it can do.
  19. Alen, I'm still hazy after being away from my XW's for almost two years (I have both the P1 and G1). Though my equipment has finally arrived a few weeks ago at my home after months of waiting, I'm still in the process of unpacking and setting up my 'studio' so haven't had much chance to get playing with my many keyboards and guitars/ basses (currently going through the guitars, re-tuning them and testing them). That and I probably had one beer too many when writing the above earlier this evening - lol! I thought the P1 had filters for the Hex Layers, but that they were non resonant? I was likely incorrect when stating they were in the DSP's (I thought that's where they were. I blame the beer - "BAD BEER"!). I do remember using a filter with a Hex Layers patch (some patches had one of the four control knobs assigned to a filter), but it just seemed to be a simple low pass filter with no resonance. I have yet to use the wah effect on a Hex Layer (*really wanting to go try it now, though it's gone midnight*!) What I meant by the G1 not having that issue, was that the G1 design allows all its sound sources to be run through the solo synth filter without limitation. And though it doesn't have the Hex Layers, it can do "Quad" layers by combing the solo synth, and then any combination of three waves taken from the PCM, synth waves and samples. Having the solo synth activated but silent it is possible to have three PCM waves stacked, which is half of the Hex Layers of the P1, and then have them run through the resonant solo synth filter. You can do a lot by stacking three waves and then running them through the solo synth filter, and though "Triple Layers" aren't as dramatic as Hex Layers, it's not too far off! But if you want really deep and complex pads, then yes, you need a P1 and the Hex Layers. Oh, as I've yet to try the Wah effect with a Hex Layer, can "cut off" be assigned to an assignable control knob and then have a "filter sweep" effect in real time? Also, can envelopes be assigned to the Wah effect similar to filter envelopes? I guess what Yul needs to decide is what is more important: does he want a more hands on solo synth (with sampling/ looping features), or a powerful Hex Engine/ Drawbar synth with less hands on control over the solo synth? In my case I initially thought that the P1 was more for me, then after getting it and seeing the features of the G1, I decided I wanted the G1 features too. I figured that together they would make a formidable team (and they do), which is why I would generally tell people that if possible, get both. Only problem these days is actually finding them for the bargain prices they used to go for, that's if people can even find them for sale at all as there's very few available for sale compared with other synths. I hope we can help Yul find the right XW for him
  20. No, the Hex Layers cannot be run through the P1's resonant filter. You can run individual PCM tones through the resonant filter, but to do so you have to enable the solo synth in one zone. As the P1's Hex Layers, Solo Synth and Drawbar sections are mutually exclusive, by enabling the solo synth you cannot also have the Hex Layers (or Drawbar) simultaneously. However, the Hex Layers can be run through the non resonant filters via DSP, as mentioned earlier in this thread. Edit: Note - the G1 doesn't have this issue as it has neither the Hex Layers or Drawbar features. You can put any of the G1's sound sources through the G1's resonant filter (via the Solo Synth). This includes any of the G1's samples
  21. Ah, the far more knowledgeable Casio wise man, Mr. AlenK, already answered while I was typing my reply! AlenK likely knows more about the Casio XW than even Casio does!
  22. You need someone more knowledgeable than me to answer some of the more technical questions, though I can answer these points: The Solo Synth engine in the P1 and G1 is exactly the same and both use the same set of parameters. The only difference is that the G1 offers access to most of these parameters via the front panel 4 x assignable knobs, buttons and sliders, whereas the P1 can only use the 4 x assignable knobs. All other Solo Synth parameters in the P1 have to be accessed via the menus. I believe that yes, the Hex Layer engine can have independent pitch, envelopes and filters (non resonant) for each layer. In Hex Layer mode, the PCM tones can be layered (a Hex layer comprises of up to six individual PCM layers, unlike the Solo Synth tones that are comprised of - Synth1, Synth2, PCM1, PCM2, Noise and External). I *think* the PCM tones can also have individual pitch, env and non resonant filters. I've been away from my XW's for so long I have forgotten the exact structure of sound tones and parameter options, so someone needs to confirm this. The performance mode combines different sections of the XW to be easily recalled at a touch of a button - i.e. keyboard split to zones, solo synth in one zone, PCM tone in another, step sequencer and program data recalled etc. I'm not familiar with the Roland S+S sounds structure. Filters - the solo synth can select between high pass/ band pass and low pass resonant filters. The Hex Layers can only select a non resonant high pass filter via DSP. The solo synth has keyboard tracking ability, I don't know if the Hex Layers do also. Main difference between the P1 and G1 is: P1 - Hex Layers, Drawbar Organ, PCM tones G1 - Sampler, Looper, Greater front panel control over the Solo Synth, larger selection of drums/ percussion, ability to load in and play waves as tones Both P1 and G1 have - Solo Synth, Step Sequencer and Phrase Sequencer. Hope this helps!
  23. Phrase seq + HEX + zones = problem?

    When you say "Hex solo synth", do you mean the Hex Layers or the actual Solo Synth? The Solo Synth is the monophonic synth section, the Hex Layers are the 6 layer polyphonic synth section, and you can only use one incidence of either the Solo Synth OR the Hex Layer at any one time. You cannot have them in operation simultaneously, even if you try to assign each to different zones across the keyboard. You can also only use one incidence of each at any one time, i.e. you can only have one incidence of the solo synth selected for one zone, you cannot select it again for any other zone. The same applies to Hex Layers. Apologies if you already know this. I'm not familiar enough with the phrase sequencing side of the XW's to fully understand your predicament, but I do wonder that if you've recorded a phrase with the Hex Layers in operation, then that phrase will always be associated with that Hex Layer? Hence why your zone 1 appearing to be PCM, is still trying to play the Hex Layers when you use the phrase sequencer, and zone 2 not allowing a Hex Layer to be selected, because the Hex Layer is already assigned to zone 1 via the phrase sequencer?