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BrettM

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BrettM last won the day on July 26

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About BrettM

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  1. Yearning for Something New

    I hope that doesn't mean you're getting too bored to finish the XW P1 Companion Volume 2 Alen. That's something I'm yearning for. But I know what you mean. The recent discussion of multi-sampling on the G1 has prompted me to finish writing up one final “trick” I've cooked up on my G1. I've been sitting on it for over 18 months because it's very fiddly but suppose I should get around to posting it.
  2. XW and four band equalizers.

    I did a bit more checking of the Effect Block Diagram and the sampler can record everything, except the EQ stage. Reverb changes, chorus changes, normal DSP and everything from the solo synth can all be recorded.
  3. XW and four band equalizers.

    That seems to be what the Effect Block Diagram says; page E-36 of the G1 manual, page E-37 of the P1 manual. EQ comes well after the sound sources so won't be captured by the sampler.
  4. Sorry Allen, I didn't mean to be cryptic. All I was referring to is fading between Zones in a Performance by using TouchSense, as you have thoroughly described in your XW-P1 Companion Rev 4: Section 6.3.2. Velocity Crossfading of Layers. I probably should have called it velocity cross-fading instead of velocity switching. Using a third party tool as a sample manager does not take all that much time, and it's well worth the effort.
  5. Craig Anderson's review does not really do justice to the sampling engine in the G1. I think it would be more apt to describe it as “quirky” rather than “difficult”, just like any of the other sound engines in the P1 or G1. And, as with all the XW sound engines, quirkiness rewards effort. If “multi-sampled tones” means velocity switching, then, no, the G1 can't do that. The only velocity switching on the G1 is via TouchSense between tones at the Performance level. But each sample tone can be made up of up to five splits each containing an actual waveform (probably not single cycled). These can be mapped across the keyboard with the same flexibility as a Performance Zone. Split ranges can completely overlap for an overall sound coming from up to five waveforms, a form of multi-sampled tone. The example tone, P:320 NEW AGE, does not involve velocity switching. It's just two layered waveforms and it thus well within the scope of this method. Further, a different sample tone can be assigned to each of the four Performance Zones for a maximum of up to 20 simultaneously sounding waveforms. Alternatively, splits can be arranged adjacently along the keyboard so that pitch shifting is kept to a minimum. This is especially useful when sampling acoustic instruments such as guitars and pianos, another form of multi-sampling, and is also very easy to set up. The quirkiest thing I've had trouble working with is looping a waveform within a split. Casio provides no tools for this and it can come down to trial and error just listening and adjusting the loop points. Unless the shape of the waveform is carefully matched at the beginning and end of the loop points an audible pop or click will be heard. Even sine waves will click if there's a sudden phase shift. More sophisticated samplers would probably allow for things like cross fading. I've done this manually with some success, but often it results in chorusing during the cross fade. You really begin to appreciate the skill of the Casio engineers who produced the PCM tones when you try to do this stuff yourself. Overall, I've found carefully matching loop points at zero crossings in Audacity gives the best results. The other thing missing in the sampler is any form of real time control over the engine. It's a great pity that none of the parameters have CC values so they can be assigned to the knobs. Split volumes and attack times would be great candidates for this type of real time control. I'm no so bothered about control over looping points because I think that would just generate clicks, but there are obviously more powerful samplers that overcome this problem.
  6. This is the G1 forum, so don't forget the G1's sampler. You can access all of the waves in the G1 via the PCM oscillators in the solo synth and record them into the sampler, thereby extracting PCM tone component waves for closer editing. You can even export these via the G1 data editor and edit them in an external wave editor such as Audacity. The example PCM tone, P:320 NEW AGE, is comprised of waves 0332 New Age-A and 0333 New Age-B on the G1; 0332 is the bell tone and 0333 is the synth pad. You could sample both of these waves into two splits of a sampler tone, set an envelope to make the bell tone fade, set loop points to make the pad continuous, and you'd come pretty close to duplicating PCM tone 320. You could also, as requested in post #1, sample other waves in the splits. If you wanted to put the bell on a different pad, you could extract 0332 and a different pad wave for split 2, or just extract 0332 and layer it in a performance with your preferred PCM tone pad. The sampler engine gives the G1 infinite possibilities.
  7. New Owner of Casio XW-P1

    One way to demonstrate that the XW filter does not self-resonate is to, again starting with a fresh "Untitled" patch, turn down the volume of Syn1 (found in its Amp submenu). No oscillators are sounding at this point. Now turn up the total filter resonance to full and sweep the cutoff. What do you hear? Nothing. If the filter was self-resonating it would be screaming. I don't see the lack of self-resonance as any great problem because Casio have done an excellent job of emulating a filter at the point of break-out, making it very "narly" and usable as Alen just said. Self-resonance is most useful for creating another oscillator but it's usually so loud it drowns everything else out. The XWs already have four in any case so there is less of a need here. For effects, you can always emulate it as I suggested above. I have thought of an improvement to the laser zap patch mentioned above in post 3. (Why do I never get them right first time?) When setting the envelope for the pitch sweep, as well as setting Atk. Level to +63, you can also set the Sus. Level to -64, thereby doubling the range of the sweep. The timings would also need to be tweaked to accommodate this broader sweep.
  8. New Owner of Casio XW-P1

    The classic way to produce a laser zap, heard in countless sci-fi movies and computer games and occasionally in electronic music, is with a rapidly closing self-resonating filter. Unfortunately the XW solo synth filter does not self resonate. But we can synthesize it because most filters produce sine waves when self resonating. Start with a basic “Untitled” patch in the solo synth with Syn1 already set to a sine. The pitch sweep is easy: set Edit->Osc Block->Oscillator->Env. Depth to +63 and the pitch envelope (Envelope immediately below Env. Depth) Atk. Level to +63. Use Dcy. Time to set the desired timing of your pitch drop, maybe somewhere around 20. The only tricky thing is shutting off the sound once the pitch drop reaches its minimum which is probably best done via an amp envelope. In Edit->Osc Block->Amp->Envelope, start with all values zero, then set Init Level to 126 and Atk. Level to 127. Adjust Atk. Time to hold the amp open just long enough for the pitch sweep to complete, maybe around 25. You may want to set Dcy. Time to 2 or 3 if you hear any clicks or pops. There are other ways to produce a pitch sweep of course, using the pitch bend wheel or portamento from a high note to a low note, but they involve a carefully timed real-time performance.
  9. Ye Olde Filter Stepping Issue - Revisited

    CairnsFella, Make sure you're not confusing filter stepping with normal filter behaviour. At high resonance, all filters, including analog filters, will exhibit an audible spike at each harmonic as the cutoff passes over it. That's what resonance is supposed to do. Stepping, on the other hand is, is a subtle “zipper noise” in the background that will be be there irrespective of resonance. This is a common mistake: https://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/982585-filter-stepping.html When I assign knob 1 to filter cutoff on my G1, I can hear stepping from about 11 o'clock to 1 o'clock, even at zero resonance, when I sweep the cutoff at a moderate speed. It's not so evident with very slow or fast sweeps. Amplifying the midrange frequencies around 2.5 kHz with EQ helps highlight this. I don't hear zipper noise when sweeping the filter with the mod wheel, or an LFO, or a filter envelope. The XW filter does exhibit stepping, but it's not as bad as many think and there are ways around it.
  10. Tremolo Strings Tone

    I've had this glitch noted on my G1-appendix for a while, but I've never tried to track down the cause. Just made a note to avoid that tone. It was spotted a while back by http://www.casiomusicforums.com/index.php?/topic/6179-a-month-in-a-few-questions-so-far/#comment-17594
  11. Duophonic Emulation

    Works just as you describe on my G1, Alen. What a neat trick! Very useful.
  12. Does using a cable in this way mean that the XWs qualify as modular synths?
  13. Genesis Tony Banks ARP Pro Soloist sounds

    I think Mike Martin's XW Leads and Basses pak has some patches that may be useful. http://www.casiomusicforums.com/index.php?/files/file/520-xw-leads-and-basses/ http://www.casiomusicforums.com/index.php?/topic/5434-any-old-genesis-fans/#comment-14898
  14. G1 mixer bug workaround

    I forgot to mention that this problem only arises when mixing the keyboard, either via the usual zones 1-4 or channels 1-16 via midi as per the above link. When mixing channels 8-16 in the step sequencer, the mixer behaves as expected.
  15. G1 mixer bug workaround

    It's taken a while, but a few of us have determined that the G1's mixer has a bug which inhibits mixing http://www.casiomusicforums.com/index.php?/topic/12564-how-to-play-all-16-parts-from-the-keyboard/ In that thread, Ted gave the best description of this behaviour: 'when you move the slider, it "selects" that channel, and that is all it allows you to hear - the "selected" channel. As though moving the slider "solos" that channel.' It's like being stuck in “solo mode” (as in page E-79 of the G1 manual, nothing to do with the solo synth). By the way, Ted also suggests that mixer quirkiness is shared by a number of other Casio keyboards so it's not simply a G1 problem. I've been trying to figure out a solution to this issue and the best I've come up with is to simply move the MASTER slider slightly whenever you want to hear the total mix. This switches the mixer to the master “channel” in which all parts are sounded. So you can mix individual parts using their relevant slider and then twiddle the Master slider to hear the final mix. Not as good as being able to hear all parts while mixing, but manageable. In the above link I suggested using the Key Shift key to put the mixer in “All” mode, but I now think this is not as good as simply twiddling the MASTER slider. Using “All” mode has very bad ergonomics, because, if you're like me, you will inevitably move a slider while in “All” mode and change the volume of all channels, thus undoing your mix; most infuriating.
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