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BrettM

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About BrettM

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  1. Phrases from Multi-function area

    You're right Alen! The phrase keyshift parameter is accessible to an MF key so phrases can be transposed this way, thus saving precious phrase memory. I hadn't notice that. Rereading my responses above, they do seem a bit long winded. Basically the MF keys reduce the keyboard to a set of switches that can trigger/send pitch bend, DSP settings, phrases, CC values, etc., as shown in the G1 manual. The behaviour of each key is defined completely independently. The only real constraint involves phrases because only two phrases can be triggered by the MF keys at any one time. This creates two phrase areas with the B keys reserved as the stop buttons. As I said, the remaining 11 keys can still be defined however you like to trigger the same phrase, or different phrases or nothing to do with phrases. They can even be left undefined, in which case they're dead keys. I have certainly not explored the full potential of the MF keys. I've mainly used them to switch between different DSP set ups, as a way of exploring DSPs without a lot of menu diving; and setting CC11 (expression) back to 127. (Once I realised that CC11 could be used to mix the volume of zones that shared a common DSP it became important to have a way of quickly resetting the CC11 values because, oddly enough, they persist between Performances. I have a few Performances that reserve the top 4 MF keys to reset CC11 back to 127 for each zone.) In a wish-list thread from several years ago now, I suggested that the new Casio synth should have its entire keyboard as one gigantic MF key area that you could configure however you wanted. One of the MF key settings is Note, which sends the midi note value and velocity to the specified midi channel, so an MF key can work just like a regular key. But you could also put DSP switches or sequencer switches, etc., wherever you wanted as well, accessible to the right hand or left hand or in the middle of a scale. You could implement nonstandard scales, tunings or temperaments. Zones and layers would cease to exist as such. They would just be created by different MF key configurations which would be stored as a Performance. You would obviously be able to read in a standard keyboard layout in which every key defines the standard note. Transposing the keyboard or shifting octaves would amount to reading in a new keyboard layout. (Maybe this is how midi keyboard controllers work, I've never used one so I don't know.) Most players would probably have no interest in this and many might find it downright confusing, but some of us would use it to find new ways of playing a keyboard. I went for the G1 because I liked the idea of more control over the solo synth and because I'd been fascinated by samplers ever since the time of the original Fairlight. This was my first sampler and I must say that playing my favourite songs with a fart sample took me to a whole new plane of existence. Re: MF keys and sampler. You're right again Alen! Using the mixer, you can set any of the parts to any of the samples and trigger that from an MF key. That means up to 41 possible phrases can be played on a G1! I too wish the P1s and G1s were combined. I'm sure you would have discovered amazing new uses for the MF keys. I've only scratched the surface. Your discoveries of how the different parts of the XWs interact, not to mention the duophonic mode of the solo synth, are nothing short of brilliant.
  2. Phrases from Multi-function area

    Yes, in fact up to four phrases can play simultaneously on the G1: one from the phrase sequencer, one from the step sequencer, one from the multifunction key phrase 1 area and one from the multifunction key phrase 2 area. (Sorry, XW-Addict, I disagree with you on this one.) All four phrases can play part 1 simultaneously. In fact, they can each play any part available to them, as desired. Yes, see above. This is how it works: up to 11 of the keys in one of the two multifunction key phrase areas can trigger its own designated phrase. There can be 11 different phrases, or, indeed, all the same phrase or any combination thereof. The phrase to be played is defined by each key. The B key in each area is reserved for stopping the phrase that was triggered from within that area. Thus a G1 can have up to 31 phrases available at the press of a key/button: one from the phrase sequencer itself, 8 from the step sequencer patterns and 22 from the multifunction keys. But only four of these can be playing at any one time, as described above. The keys in one of the multifunction key phrase areas DON'T all do the same thing, although they could if you wanted them to. You can assign the keys to ANY of the multifunction key functions in whatever order you like, including triggering the same or a different phrase or something else entirely like switching a DSP or sending a CC message, etc. Only one key needs to trigger a phrase in order to define the phrase area and reserve the B key. Transposition is not specifically implemented, but it's easy enough to set up the long way – save 11 versions of the phrase with the appropriate phrase key shift and assign it to the corresponding multifunction key. This uses up more phrase memory than desirable, of course, but it can be done. If you wanted specify a single phrase using as few keys as possible, the best way would be to start the multifunction key area at Bb6. This uses only 3 keys: Bb6 to trigger the phrase, B6 to stop it and C7 for whatever multifunction key purpose you wanted. If you wanted to be able to trigger two phrases with multifunction keys you would need to reserve a minimum of 15 multifunction keys down to Bb5.
  3. I've uploaded a demonstration here: http://www.casiomusicforums.com/index.php?/topic/14264-making-paraphonic-mode-more-polyphonic/&tab=comments#comment-42837
  4. A paraphonic mode set-up to demonstrate this discussion: http://www.casiomusicforums.com/index.php?/topic/14260-using-“reverse-la-synthesis”-to-make-paraphonic-mode-more-polyphonic/&tab=comments#comment-42811 These were created on my G1, but I think they should work equally well on a P1. You will probably have to make a few edits to the performance (polysaw.zpf) to tie everything together. Put sweep.zsy in Zone 1. This is the solo synth patch that does the filter sweep. Put brightsw.ztn in Zone 2. This is the bright sawtooth that gets swept paraphonically by the solo synth. Put dullsaw.ztn in Zone 3. This is the muffled saw that simulates the polyphonic release. BRIGHTSW.ZTN DULLSAW.ZTN POLYSAW.ZPF SWEEP.ZSY
  5. The resonant filter sweep of a saw or square wave chord is a classic sound of a polyphonic synth, and is especially useful for creating pads. The usual starting point for creating this sound on an XW synth would be “paraphonic mode”, as described in AlenK's XW Companion Rev 4, Section 6.6.3.1. Paraphonic mode refers to a Performance configuration in which PCM tones in Zones 2-4 are routed through the solo synth in Zone 1, thus allowing chords to be played through the solo synth's resonant filter and effects section. What makes this mode paraphonic instead of polyphonic, even though a chord can be heard, is the presence of the single filter. True polyphonic synths have a separate filter for each note, whereas the XWs have only one resonant filter for all notes. If you want a chord that shuts off as soon as you release the keys, paraphonic mode is fine; but problems arise when trying to play chords with a long, lingering release because the single filter will reopen as soon as you play the next chord, spoiling the filtered release portion of the previous chord. A possible solution to this problem is to extend the basic paraphonic mode set-up, but cross-fade the tone into a heavily filtered version of itself with a much longer release in the next Zone. This filtered version does not pass through the solo synth, it has its internal PCM cutoff set permanently low so its release is not spoilt by the reopening of the solo synth filter when the next chord is played. For example, say you wanted a to create a classic resonant filter swept sawtooth chord. Start by saving two copies of one of the PCM sawtooth tones. Fully open the PCM cutoff of the first copy, so the resonant filter has plenty of harmonics to work on, and set its release a little above zero so it fades quickly, but not too abruptly, on key release. Save the second copy with a fully closed PCM cutoff and set its release to be as long as desired. This muffled second copy will produce the lingering, polyphonic release of the overall sound. Now create a Performance with the solo synth in Zone 1, the first copy of the sawtooth in Zone 2 and the second copy of the sawtooth in Zone 3. Enable the DSP line for Zone 2 but not for Zone 3. This causes Zone 2 to pass through the solo synth and the resonant filter while leaving Zone 3 to simply play the muffled second copy of the sawtooth independent of the solo synth. Finally, set up a nice filter sweep in the solo synth. A bit of tweaking of the release of the Zone 2 tone may be necessary to get the fading between Zones 2 and 3 just right and you may also want to slow the attack of the Zone 3 tone. It's now possible to play resonant filtered chords with long filtered releases, just like on a real polyphonic synth, perfect for pads. This technique might be called “reverse LA synthesis” because it focuses on the release stage of the sound rather than the attack, see AlenK's XW Companion Rev 4 Section 6.7.1.1 for a description of LA synthesis.
  6. It's also possible to create "one key chords" in the solo synth using the pitch parameter of each oscillator to produce the desired intervals. With four oscillators available, three note and four note chords can be produced. This is the G1 forum, so don't forget the sampler which plays polyphonically. You can create a tone in the solo synth and sample it. This is less effective if any modulation is added to the tone, e.g., a filter sweep, because the modulation will play back at different speeds when the sampler shifts the pitch of each note.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
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