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tnicoson

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  1. Boards with video out for singalongs?

    Also Yamaha top end PSR's, Tyros, and Genos.
  2. My CTK-2400 wont work with my computer

    Posted in error - removed.
  3. Thanks and Goodbye! Of Topic

    Silvano Very sorry to see you go, but you know, you can keep your membership, in case you want to come back at some point in the future. Best wishes !
  4. PACKAGE FILES *.PK7

    The keyboard's User Manual makes no reference to "Package" files. The keyboard's "LOAD/SAVE" display menu does not offer "Package" files as a selection. In the Data Manager 6.1 User's Guide: On the upper half of Page 15: Under "Package Edit Mode": Under "Important!": The 4th item states: "Package files are native to Data Manager and can not be used directly by an instrument." "To use the files that make up a package file, you must use Data Manager to transfer them to the instrument."
  5. Logical Song sound

    Here is a link to a work-up I did on this subject a year or so ago: http://www.casiomusicforums.com/index.php?/topic/12034-wurlitzer-piano/&do=findComment&comment=32699 I did not mention it in that reply, but the biggest problem I had was getting enough Wurly "bark" out of it when I really rapped the keys. Casio's CTK/WK Wurly tones aren't very good at that. That's why I had removed the sample tone files I had originally attached, but they would not have done you any good anyway. Tone files for the CTK/WK models are totally incompatible with the 560's sound engine. I don't know if the 560's Wurlies are similar or not. If the wave samples are the same, the "bark" (or lack of) will probably be the same.
  6. Dsp

    Christopher Sort of, but not exactly - but still better than the newer boards ! While Casio has always considered reverb and chorus as "generic" effects, they have always considered them as being separate from what they consider "DSP". The older Casio CTK/WK models allowed you to have one reverb type, one chorus type, and one DSP type active at any one time - for a total of 3 "effects". While some of the preset DSP types may have combined two or three DSP's into one preset selection, you, as the user, could not combine discrete DSP types. For instance, as you may have been able to select a wahchdly DSP preset, or a wah-dly preset and combine it with chorus, you, as the user, could not combine a discrete wha, with a discrete dly, then combine it with chorus, as that would have required you to be able to select two discrete DSP types (wah and dly) when you can only select one. In other words, while some of the DSP presets may have offered you a mixture of apples and oranges and bananas as a single preset DSP type, you, as the user, were not able to mix apples, and oranges, and bananas into your own DSP combination. This plan has been carried over into the newer CTK/WK-6XXX/7XXX models, but it has one additional (huge) limitation - in the newer boards, chorus and DSP are mutually exclusive - that is, you can have reverb with chorus, or reverb with DSP, but you can not have chorus and DSP active at the same time. When you turn on chorus, any DSP types active at that time are turned off, or in order to turn on a DSP type, you have to turn off chorus. Here again, while there are some DSP presets that combine chorus with one DSP type, you, as the user, are not able to make those types of combinations, yourself. So, if you want a DSP type along with a chorus type, that combination will have to be available as a dual type DSP preset, or you are out of luck. On the newer CTK/WK-6XXX/7XXX boards, DSP Presets 01 thru 14 are single types, while 15 thru 46 are dual types. There are no three-way preset combos. DSP Preset #10 is Delay, and DSP Preset #17 is Wah-Chorus, but you have no way of combining the two. On the older boards (WK-3300/WK-3800, etc) DSP Preset #062 is Auto-wah-Chorus-Delay, so in this respect, the newer boards are a big step backwards, both in the number of DSP presets (100 vs 46) and the capabilities with them. I have no idea why Casio would have made this kind of a trade-off. Sorry !
  7. Quantizing on the CTK6200

    Rochard If you are playing back a song that is still in the Casio proprietary "CMS" file format, and are loading it into, and playing it back in the Song Sequencer, you can use the Part ON/OFF parameter in the MIXER to mute tracks. See the upper half of the left hand column on Page E-71 of the manual. If you are playing back a Standard MIDI File (SMF), that was saved to the SD Card, then no. You would have to load that file into a computer based DAW, mute the tracks, and play it back to the WK-6600 from there. SMF's can not be loaded into or edited with the keyboard's Song Sequencer.
  8. CASIO LK-260 MIDI NOT WORKING WINDOWS 10

    Posted in error - removed.
  9. Piano Hammer Noise

    The hammer sound is an integral part of the wave sample and can not be treated separately, although you could try lengthening the attack time very slightly to see if it will soften it a bit, but I doubt that you will like the results. You can also try adjusting the Touch sensitivity of the keyboard (See right hand column of Page E-6 in the manual.), but lessening the sensitivity will also lessen what little expression dynamics the keyboard has to begin with. If you are used to a real piano or a weighted hammer action keyboard, try to learn to play the CTK-7200 with a little less strike force. Unweighted "synth" type keys do not need to be, and should not be, pounded like real piano or hammer action keys. Playing them like a real piano or hammer action board, can damage the key switches and cause them the reach the end of their useable life prematurely. Personally, I have never noticed it that much on the CTK/WK-6XXX/7XXX boards, but this is one of the advantages of the 4 or 8 sample element higher end boards. The hammer sound is usually one of the separate wave sample elements and can be treated separately and fine adjusted to your personal touch.
  10. CTK 7000 and Bass Pedals

    Channels A-01, A-02, and A-03 are only omitted from that one table, because it is a layout of the channels that you can record to in the Easy RECord mode. Easy RECord mode is how you record all facets of an Auto-accompaniment performance, including Main, Layer, Split, Auto-harmonize (Channel A-04), and all Accompaniment instruments (Channels A-09 thru A16) in a single pass. The Metronome Channel A-08 is not recorded. You can not record to A-01, A-02, and A-03 in Easy RECord mode, so those channels are not shown in the table. Essentially, Channels A-01, A-02, and A-03 are only active during "Live" (non-record) mode. When you activate Easy RECord mode and play the keyboard, the signals that normally go to Channels A-01, A02, and A-03 go to A-05, A-06, and A-07 instead, and are recorded there. When they are played back, they are played back on A-05, A-06, and A-07. Normally, this is totaly transparent to the user, but it is an issue here because you are planning on using a source for the Channel A-03 signal other than the keyboard, so you need to be aware of the complete channel layout assignments. It also becomes an issue if you plan on using the "B" tracks in Individual Track recording mode for adding additional tracks to an existing performance. For a "full" layout, see the MIXER layout table on Page E-36. Nothing is hidden or omitted here, but you have to remember that this is the MIXER layout, not the Song Sequencer Easy RECord layout. Use of Channels A-01, A-02, A-03 is covered elsewhere in the normal ("Live") play sections of the manual. Had Channels A-01, A-02, and A-03 been included in the Easy RECord layout table, it could lead the user into thinking that those channels are included in the Easy RECord process, and they are not. This was done this way in order to provide for Main, Layer, and Split operation for both "Live" play and recording without the two scenarios interfering with one another. During "Live" play, Main, Layer, and Split are played to A-01, A02, A03, but during Easy RECord, they are played/recorded to A-05, A-06, A-07. This is in contrast to Individual Track Recording to the "B" Tracks/Channels, where play and recording are directed to the specific track/channel (B-01 thru B-16) as selected by the user. Here again, this is all done to give the keyboard full Arranger Workstation recording capabilities for the Auto-accompaniment features (the "A" Tracks/Channels) plus the full featured 16 track sequencer (the "B" Tracks/Channels) of a non-Arranger workstation. Song sequncer/recorders in Arranger Workstations (even those well beyond this price range) are normally limited to 2, 4, 6, 8, or 12 tracks, with most of those being permanently reserved for auto accompaniment. With their "A" and "B" track/channel design, the CTK/WK-6XXX/7XXX models give you the best of both worlds'without tradeoffs, but at the cost of increased complexity and a steeper learning curve.
  11. CTK 7000 and Bass Pedals

    Perhaps it would be better if the bass pedal allowed selecting more than one fixed MIDI Channel, but in this case, you need it to transmit on Channel 3, as that is where your bass tone is going to be on the Casio CTK/WK keyboards. You just need to assign the proper bass tone of your choice to Channel 3. The default is the grand piano tone you are hearing. You also need to ensure that the Kenton unit is not redirecting the bass pedal's Channel 3 signal to some other channel to the CTK-7000. Refer to the table in the right hand column of Page E-70 in the manual for the CTK-7000's channel layout. During "live" play, Channel A-01 is the UPPER-1 (MAIN) Tone; Channel A-02 is the UPPER-2 (LAYER) Tone; and Channel A-03 is the LOWER (SPLIT [bass]) Tone. These three channels are omitted from this table, because this table shows only the channels that the Song Sequencer uses for recording. During the recording process, Channels A-01, A-02, A-03 are redirected by the CTK-7000's operating system to Channels A-05, A-06, A-07 respectively. So, you need to go into the MIXER and assign the bass tone of your choice to Channel A-03. You can also assign the Channel A-03 (SPLIT) tone by pressing the SPLIT button and selecting the bass (SPLIT) tone of your choice, but if you intend to use Auto-accompaniment, you will need to turn SPLIT back off, after you select the bass tone, or the SPLIT function will sound the chords you are playing for accompaniment chords as SPLIT tones, making for a very muddy mix. That is, you are turning SPLIT on just long enough to use it as a convenient way to set the Channel A-03 bass tone, then turning it back off, so that it does not interfere with Auto-accompaniment. If/when you go into record mode, the Channel 3 signal from the bass pedal should be automatically redirected to Channel A-07 within the CTK-7000, and Channel A-07 should pick up your chosen bass tone from Channel A-03, but if this part does not occur automatically, you will have to use the MIXER to manually set Channel A-07 to the correct bass tone. To answer your final question, MIDI bass pedals are really designed to work with non-Arranger (non-Auto accompaniment) workstations, workstations that are commonly (and mistakenly) referred to as "synths". There are no guarantees when they are used with Arranger Workstations, because of the various channels and keyboard zones which are reserved for the Auto-accompaniment features. It is not unusual to have to do some experimenting to get them to work properly with Arrange Workstations. I apologize that I no longer have a CTK/WK-6XXX/7XXX unit to do that experimenting for you, but such is my current reality, so good luck !
  12. Timbres CTK 7200

    Does anyone there have PAD timbre Pro CTK 7200? In general, using an iPad to expand the CTK-7200's timbre palette might be a good choice, but a lot of user's are currently having problems getting the iPad Pro to connect to any keyboard, not just Casio. The secret seems to be in selecting the correct cable. You must have the latest cable, but there can still be problems with particular keyboard models. The iPad Pro uses high speed USB-3.0, but most keyboards are still USB-1.1 or USB-2.0. Because of the speed difference, USB-2.0 keyboards can have problems with USB-3.0 devices, and USB-1.1 keyboards will not work with them at all. If you already have the iPad Pro, it might be a good idea to obtain the latest cable and try it, but at this stage, I would hesitate to recommend purchasing an iPad Pro just for this reason. Em geral, usando um iPad para expandir a paleta de timbre CTK-7200's pode ser uma boa escolha, mas um monte de usuários estão atualmente tendo problemas para obter o iPad Pro para se conectar a qualquer teclado, não apenas Casio. O segredo parece estar na seleção do cabo correto. Você deve ter o cabo mais recente, mas ainda pode haver problemas com modelos de teclado em particular. O iPad Pro usa a alta velocidade USB-3,0, mas a maioria de teclados são ainda USB-1,1 ou USB-2,0. Por causa da diferença de velocidade, USB-2,0 teclados podem ter problemas com dispositivos USB-3,0, e USB-1,1 teclados não vai funcionar com eles em tudo. Se você já tem o iPad Pro, pode ser uma boa idéia para obter o último cabo e experimentá-lo, mas nesta fase, eu hesitaria em recomendar a compra de um iPad Pro apenas por este motivo.
  13. Help casio MZ2000 diskkette's

    Pin 2 on the drive connector is the "Density Select" lead. Zero voltage (ground / logic "0") on this lead selects low density (720 Kb) mode, while a voltage (logic "1") on it selects 1.44 Mb mode. The MZ2000 could be designed to use this lead to select the drive density from the processor, or it could be designed to ignore it, and let the drive determine the density. Since I do not have an MZ2000 Service Manual, I can not tell you which it should be, but if the MZ2000 is designed to use this lead, then either the logic circuits are not generating this signal to begin with, or the signal is getting lost on the way to the drive - most probably through a crimped on ribbon cable connector. If the MZ-2000 is designed to ignore this lead and allow the drive to determine the density, then it is being shorted to ground somewhere, inadvertently pulling the voltage on pin 2 down to zero and permanently pulling the drive down to low density (720 Kb) mode. Beyond swapping the drive cable, this could be a rather difficult problem to isolate.
  14. Help casio MZ2000 diskkette's

    There are two possibilities of what could be wrong with the drive. Hold an "HD" (1.44 Mb) diskette, with the label side facing you, and the sliding aluminum access door at the bottom. Note that in each of the upper corners is a small square "window". The one in the upper right corner has the sliding cover, and is the write-protect switch. The one in the upper left corner is permanently open, and provides automatic "HD" (1.44 Mb) detection. The drive has an LED/photo-detector circuit that passes light through this "window" and detects the diskette as an "HD" (1.44 Mb) diskette. Now, hold up a "non-HD" (720 Kb) diskette in the same manner, and note that there is no "window" in the upper left corner. When this diskette is inserted into the drive, light from the LED can not pass through this corner, and the drive detects it as a "non-HD" (720 Kb) diskette. Most likely, either the LED or photo-detector, or both, in the "density" detection circuit of your drive is defective, causing the drive to "see" all diskettes as "non-HD" (720 Kb) diskettes. The other, and less likely, possibility is that the mechanism that moves the drive's read/write head back and forth across the diskette's recording media is worn, resulting in "sloppy" track spacing, but is not yet so bad that it can not properly read the wider spaced tracks of a "non-HD" diskette. If your drive can reliably format and read/write 720 Kb diskettes, with no problems, then the first possibility above is the most likely, as drives with worn tracking mechanisms tend to generate frequent format and read/write errors across the board, but in any event, the drive needs to be replaced in order to restore fully reliable functionality.
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