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Rusty The WK-3700 was the immediate predecessor to the WK-3800. The WK-3800 was released in 2006, so I would say that the date of 2005 on your WK-3700's box is an accurate manufacture date for it. I purchased my WK-3800 new in December 2006 for $400 USD (308 GPB). I think the WK-3700 originally sold for about the same amount. There are currently three WK-3800's on Amazon for $350 USD (270 GPB). Personally, I think this is very overly optimistic, but as I alluded to in my previous reply, the used WK-3X00 market is very strange. They have an almost cult-like following, particularly for those using them for gigging or music production. This is due to the fact that all of the WK-3X00 models shared some important traits throughout the entire model line - tones, rhythms, sampling, etc. many of which were omitted on the recent model releases. Add to this the fact that the audio systems and speakers of the WK-3X00 models were designed more along the lines of boom-boxes, while those of the newer models are more closely related to precision studio monitors. So, what would give you a resounding "boom" on a WK-3X00 model will now give you a brisk "thump" on the newer models.These differences have caused some very distinct divisions among CTK/WK fans - old versus new. So it is understandable that a WK-3X00 fan, whose trusty keyboard has recently given up the ghost, is usually willing to pay considerably more for a used replacement that is in good condition than someone with just a casual general interest. So, it is a bit difficult to say what a used WK-3X00 is really worth. It all depends on the buyer's background and needs. Good luck with your endeavors to repair your WK-3700. I am sure it will be well worth it. Regards, Ted

Rusty Under the keys are dimpled rubber strips. Each strip typically provides a dimple under each key for one octave. Inside each dimple is a carbonized disk or a peg, the bottom end of which has been carbonized. When a key is pressed, the dimple is compressed until the carbonized disk or peg shorts together a set of electrical contacts on the circuit board under the rubber strip and turns on the tone oscillator for that key. See the photos at: http://www.bing.com/images/search?q=casio+keyboard+key+contact+repair+strips&qpvt=casio+keyboard+key+contact+repair+strips&qpvt=casio+keyboard+key+contact+repair+strips&qpvt=casio+keyboard+key+contact+repair+strips&FORM=IGRE With age, the rubber strips begin to deteriorate and lose their resiliency, allowing the dimple to stay compressed and the tone to stay "on", even after the key is released. Quite often, the afflicted key(s) will be a little lower than the surrounding non-afflicted keys when sighting the length of the keybed. In the early stages of this condition, the collapsed dimples will sometimes return to their normal positions after a few hours or overnight, making it appear that the problem has gone away, but it soon returns after a few presses of the afflicted key(s). When a key fails to produce a tone, that is normally an indication of dirty electrical contacts under the dimples. This situation can usually be eliminated by removing the rubber strips, cleaning the contacts, and re-assembling everything, but once the rubber strips begin to deteriorate, about the only fix is to replace them. This can be done by the user/owner, but it is quite involved mechanically, and is not for the technically faint of heart. In those cases, it is best to send the keyboard to a repair center or just to retire it. With the age of your WK-3700, a repair center repair would almost certainly exceed the worth of the keyboard, but I will offer this word of caution, depending upon your particular situation and relationship with the WK-3700. Many former WK-3X00 owners sold their boards to help finance the cost of the newer models, and are now sorry for it, as there are several popular features of the older models that were not carried over into the newer units - popular tones, popular rhythms, ability to load and play tone and drum samples, etc. Personally, I still depend on my 10 year old WK-3800 enough that, if it were to develop this condition, I would go to the trouble to repair it or to the expense of having it repaired if at all possible. If you decide to repair your WK-3700, try a Bing or Google search on "Casio keyboard key contact repair strips" for more information.

Johnathon - Good topic - Thanks for starting it ! For those who are interested, from my own personal experience, I know that the following contemporary Casio models still conform to the original GM (GM1, so to speak) voice standard: CTK-6000 / 6250 / 7000 / 7200 WK-6500 / 6600 / 7500 / 7600 This is stated in the manuals for each of the above models and means that any Program Change received without a corresponding Bank Select (or a Bank Select of 0) will default to the GM Voice/Drum sets, and should still be compatible with older Standard MIDI File voicings. This is not to exclude other, non-listed, Casio models with which I have had no experience. For those interested in those models I suggest a data search ( Edit > Find) on the term "GM" in a PDF copy of the appropriate manual. It should tell you whether the GM voice set is "GM" or "GM2". Contrary to popular belief (by mainly non-Casio owners), the main "Panel" ("Native") voices in these models are not GM voices. Many are velocity switched multi-samples, and almost all use wave samples that are much larger than those used by GM voice sets.

Melissa If you have a tablet, you might want to look into the various setlist apps that are available for musicians to see if any of them would be of use to you. You would need one that allows miscelleneous notes about the entries you call up. The alternative would be one of the Microsoft Office type apps that would allow you to create your own database or spreadsheet that would provide for quick searches and display the info you need in a useful manner. There are several apps for the Yamaha arrangers that use the keyboard's registrations to automatically set up the keyboard when a particular leadsheet is called up, but I have no idea if these would be adaptable to the Casio workstations.

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Gwen To record in the manner that you are attempting, you need to be using Steps 1 through 9 of the instructions that begin in the middle of the right hand column of Page EN-57 of the manual, and ensure, prior to recording any additional tracks, that you are performing Step 6, which is to select a track 1 through 16. If you do not select a different track, your additional "tracks" will record to the System Track and erase any previously recorded data on it. The System Track is "one-time-only" and can not be added to. I suspect that you are trying to add your upper voice track to the System Track and over-writing your previously recorded drum track. If you were to record your upper voices and the drum track at the same time to the the "System Track", that is possible. You just can not go back later (after the initial recording) and add to the System Track without erasing what was previously recorded. You can record your upper voices, as well as full accompaniment (including drums), to the System Track, as long as it is all recorded simultaneously. Anything that is to be added later, after the initial recording. will have to be added on a track (1-16) other than the System Track.

I have been getting sporadic "Bad response from server" messages with increasing frequency over the last several days. Then it went down completely late yesterday evening, until just a short while ago, and that message was all I would get.

Press the GM/DRUMS button, just as you have been doing. On the display panel, make sure the heavy brackets are around the word [[ TONE ]] and that the light brackets are around the word [ RHYTHM ]. If they are not, press the UP ARROW ( ^ ) button to move the heavy brackets up to the word [[ TONE ]] to select it. Now, start rotating the Data Wheel clockwise. You will find the drum kits starting at TONE Number 129 with "Standard Set 1", and running through "Ethnic Set 2" at TONE Number 145.

Well, David. I thought that if I approached this from a different angle, I could simplify it to where it would be a useable procedure for you, but no matter how I approach it, by the time I cover all the bases, and get everything done that needs to be done, it ends up being every bit as convoluted as what you originally found unuseable. The problem is the way the WK-7600 treats the drum track. The WK-210 (and my WK-225) treat it as being separate from the rest of the accompaniment, so you have control over it alone, while the WK-7600 treats the drum track as an integral part of the accompaniment. It is doable. I have done it, and I am sure there are other members here who do it as a matter of course, but it requires a more complicated process than what you are looking for. I apologize for stringing you along on this, but I still think it was worth the try, and I am willing to continue, if you so desire, but I thought I needed to forewarn you that what I am coming up with is certainly no easy three step procedure. You had asked in your original post if you needed to create a "preset". That might be a possibility - either a User Rhythm or a Music Preset. I will be exploring that over the next couple of days here, but with what I keep running into, I do not want to make any more promises at this stage. BUT . . . THEN . . . There is always another option that WILL work. COLLABORATION ! You tell me what Rhythm style, tempo, and number of measures you want, and I will run off a "boiler plate" drum track on my WK-7500 and attach it to a post here as a .CMS Song Sequnecer file for you to import into your WK-7600 and add your own tracks to. Of course, this assumes that my WK-7500 has the same Rhythm as your WK-7600, but even that can be dealt with, if necessary. What I would send you would use just a "real" B Track, not part of that accursed "System" Track, which ia a major part of what has kept getting in our way up to this point. I really should not use the word "accursed", as that System Track does allow Casio to ecnonmically offer a unit with a 32 track sequencer in what would otherwise be just a 16 track unit, but it does complicate things for the casual user who wants to go beyond the most rudimentary uses of the song recorder. Just some thoughts for you to ponder ! Regards, Ted

David That being the case, maybe we need more clarification before we go any further. When you say you want to add a "rhythm" track, do you mean just a drum track, or do you mean complete accompaniment with drums, strings, guitars, brass, etc ? Maybe I am still not understanding what it is you are trying to do. I will be awaiting your reply. BTW David - from your earlier comments, maybe I need to say: THIS is what I did for the last 10 of my 25 years with AT&T, and after I took their early buy-out, THIS is what I did for ALL 15 of my years with IBM (only with computers instead of music keyboards, but they're pretty much the same thing anymore). So, don't worry about the time I spend doing THIS. THIS is WHAT I do. THIS is WHO I am. I LOVE doing THIS. THIS kind of gives me a reason for being ! Regards, Ted

OK, David - I think we are ready to start on this. In order to keep a single post from getting too long, I am going to tell you, in this post, what we are going to do, and where possible, why we are doing it. In my next post, I will tell you, step-by-step, how to do it. At first, I did not understand what you were trying to do, because of semantics. You originally stated that you were trying to lay down a RHYTHM track. These are ARRANGER keyboards, and to them a "RHYTHM" is a specific thing, and to me, as a long time ARRANGER keyboard player, "RHYTHM" has come to mean the same thing. On an ARRANGER keyboard a "RHYTHM" is a complete package, including a drum track, a bass track, and several melodic instrument chord tracks. I finally realized that by "RHYTHM" track, you meant simply a drum track. I apologize for the misunderstanding. Once I realized that, things got a lot simpler. Now, you were, at least, partially correct about your recollection of the WK-210. If you left the Auto-accompaniment turned OFF, you could press the START/STOP button, and you would get just a drum track in the selected Rhythm's style. In real-time play you could use the START/STOP button to toggle the drum track on and off as you played. In that respect, the WK-210 and the WK-7600 are the same, but once we turn on the recorder, we run into a big difference. On the WK-210 (actually, all of the WK-2XX models), once you turned on the recorder (with Auto-accompaniment turned OFF), you could use the START/STOP button to start the drum track and the recorder. On the WK-7600, once you turn on the recorder, the START/STOP button will no longer start the drum track, and recording start is triggered by playing the keys. Now, I got the impression that you remembered being able to use the WK-210's START/STOP button during the recording process to toggle the drum track on and off, just like in real-time play, but that is not correct. In that respect, the WK-210 is just like the WK-7600. If you press the START/STOP button during the recording process, it stops not only the drum track, but the recorder, as well. So you could not use it, while recording, as a drum track toggle. On the WK-7600, we can use the MIXER to toggle the drum track on and off while recording, but to do that, we have to SELECT the drum track in the MIXER. The problem with that is, whatever track is SELECTED in the MIXER, is what the keys play. If we select the drum track to toggle it, the keys now play the drum sounds. Not very melodic ! So, that is what we are about here - to set up something on the WK-7600 that will make it operate like the WK-210 for what you are trying to do, but that set up procedure gets a bit intricate, so we are going to save it to a Registration for simple, fast recall on future recording sessions. As I was experimenting with this, I had to keep powering the keyboard off and on, so that I would know where I was starting from. That is not good for the circuits or the power button, so we will also create a "power-on reset" Registration that you can use to quickly reset everything without actually having to power the keyboard off and back on if you make an error or just get distracted and lose track of where you are at. I am going to use Registration 16-5 as the reset and Registration 16-6 as the recording set-up. I chose these, because they are at the top end of the banks, where they are less likely to get overwritten, and because it will be easier to remember where they are located. So if you have anything already stored there, you will need to relocate it to somewhere else, at least for now. OK, that is it for this post. Next post starts the how-to's.

Sorry David, I had some belated storm damage to deal with when I got home yesterday afternoon. A huge tree limb had fallen in front of my satellite dish and was blocking its signal path, so had to deal with that to get my internet connectivity back. Nothing like fixing your internet connection with a chain saw. Really high tech stuff here ! Anyway, got a good night's sleep last night and getting back to our project now. Ted

Wow, Brad ! That sounds pretty rudimentary compared to the MIDI file player in the CTK/WK models, but I guess that is the price of other advanced features. The versatility of zones and stage settings sounds enticing. Sorry, Yang ! I did not realize that the MIDI file player in the PX-5S was that much different from the MIDI file players in my CTK and WK keyboards. Based on what Brad is saying, NO you can not change the instrument sound or tempo once the MIDI file is playing on the PX-5S. What he is suggesting is that you play it with a computer based software MIDI file player, that will allow you to make the changes you want and then play it to the PX-5S over the USB cable. The other option is to go back to MuseScore, make the changes you want, and then generate a new MIDI file with those changes saved in it.

OK David ! I have it, but it is going to take me some time to get it all written up for you. What we will be doing is most certainly not in the manual, so for this, we have to write our own. Not to worry, though. I am going to give you a recording set up that you only have to do once, then we are going to save it to a registration for a one or two button recall. That also saves you having to remember all the set up steps. Right now, I need to get some shut-eye. I have several appointments this afternoon, so check back later this evening. Ted

Once the file begins playing, just select the flute tone and set the tempo the same as you do for live play. Those items are covered in the manual.

David If you are still monitoring this thread, can you give me enough detail on what you are trying to do so that I can see if there is a way to do it that is not so labor intensive ? Most of the time, when we discuss topics like this, it sounds much worse than it really is, and once you have done it the first time, it becomes second nature very quickly.

As Jokeyman has already stated, rhythm (style) conversion is a very tricky business, especially for Casio keyboards. There are several commercially available conversion programs, but they only deal with files from the "Big-3" - Korg, Roland, and Yamaha. I think there may be one or two that also deal with Ketron and Kurzweil files, but to my knowledge, there are none that deal with Casio files. These commercial programs are rather pricey, and the results can often be less than expected, Since different brands, or even different models of the same brand use different sound set numberings, the after-conversion revoicings to get the finsihed file to sound correctly on the target keyboard can take anywhere from several to many many hours. About the only way I know of to convert from other brands to Casio is to play the desired rhythm (style) on the source keyboard (in the Key of C) and make a MIDI recording of it. Then use the MIDI-to-RHYTHM converter program module in the old Casio IDES-4 Data Manager program to convert it to the ".ckf" rhythm format mentioned above by Jokeyman, but here again, this is a very tedious and time consuming process, and the results are often less than desirable. There are a few members here who have done it, but I think they pretty much stick to either just drum or bass or drum and bass parts for just the main section. I do not know of anyone who has created or converted a fully orchestrated rhythm (style) with all sections - Intro, Main, Variation, Fills, Ending, but I am sure they would be willing to share their experiences with you, if you are interested. Jokeyman mentioned a ".ckf" file format. That was a catch-all distribution file format that Casio used for all of its different file types - tone files, rhythm files, song files, wav files, etc. When a .ckf file was loaded into a keyboard, the keyboard's operating system would sort out the various file types and extract them into their appropriate user memory locations. They were sort of a Casio proprietary "zip" file. Jokeyman stated that you can use old .ckf rhythm files in the newer keyboard's that use the new .AC7 Rhythm file format. They will use them as-is. That is, the keyboard's operating system automatically converts them to the new .AC7 format as it loads them into User Memory. You may occasionally come across a .ckf rhythm file that has already been extracted to its ".Z00" final format. The new .AC7 boards will use those as well. Now that we have deflated your expectations somewhat, let's see if we can pump them back up a bit. Following is a link to the old Casio-Europe site with 108 downloadable Rhythm files for the old WK-3XXX models. These are not factory presets from those models, but are after-market offerings that will provide refreshing additions to the Rhythm file repertoires of even the newer boards. They are free, but they will cost you some time. They can not be bulk downloaded. This is strictly a one-at-a-time operation. Just download them to your computer, copy them into the MUSICDAT folder on your USB drive, and load them into the PX-360's User Rhythm memory: The majority of these should work as-is in the PX-360. If you do have an occasional voice (tone) mismatch, that will usually be with a drum-kit or particular drum sound on the newer genre club/dance rhythms, and in that case, you may be able to find a CTK/WK-6XXX/7XXX owner that can revoice it for you with those model's Rhythm Editors. http://music.casio.com/e/data_ex4/rhythm.html If you have not already found it, here is a link to 50 new AC7 Rhythm files for the new keyboards. They are mostly Latin and club/dance genres. Scroll to the bottom of the list. The "Top Ten" pack is already included in the "50" pack: http://www.casio-europe.com/euro/emi/rhythmsspecial/ So, between these two links, you have 158 new rhythms for your PX-360. AND . . . . Finally ! If importation of competitor brand rhythms (styles) is a major concern for you, you might be interested in the new MZ-X500/MZ-X300, as that is part of their forte ! Regards, Ted

Unless the individual that made that YouTube video has posted his patch here for download (which it appears he has not) you would need to contact him directly to post his patch somewhere so that it could be downloaded. For someone here to try to guess what parameter settings he used to get that exact tone would be rather difficult. In the meantime, you might want to try downloading these: http://www.casiomusicforums.com/index.php?/files/category/26-electric-pianos-and-clavs/ In your MIDI file, the piano tone and the tempo of 60 were embedded in the file header by MuseScore. You can change them manually after the file begins playing, but they will reset to the defaults embedded by MuseScore each time you restart the file. The PX-5S can not edit MIDI files. To permanently change the tone to "flute" and the tempo to 80, you would need to take the file back to MuseScore and edit it there.

DKNY Your original post stated that you wanted to add a rhythm track to previously recorded data, while your most recent post indicates that you want to remove rhythm data. Removing data is easy, but as you have already discovered, adding data is a little more complicated. Once you have recorded a performance to the virtual "A" Tracks (the System Track) with the Easy Record mode, you have limited editing capabilities using the Song Sequencer's Edit mode - copy/merge/delete tracks, delete/insert measures, etc. There is even an Event Editor (of sorts). What you can NOT do at this stage is "record" anything new. You can not add tracks and you can not re-record tracks to correct errors. Any attempt to record new data erases ALL previously recorded data on ALL tracks. If you want/need to do this type of advanced editing, you must first "extract" the previously recorded data from the virtual tracks (the System Track) to the real "B" (hardware) tracks, using the EXTRACT command. Once that is done, you have full access to that data, the same as you had on your WK-210. You just have 16 tracks to work with instead of just 6. As far as removing data, if there is a Rhythm that you like, but it has, say, a string part that you do not care for, it is better to go into the MIXER panel before recording and just turn that part off and not record it to begin with. That saves some editing after recording. It is also possible to edit that Rhythm to remove the unwanted part and save it as a User Rhythm, so that you do not have to continually remove that part everytime you want to use that Rhythm. The workflow for this would be: Initial take of melody + rhythm with Easy record > simple edits > extract > advanced track-by-track edits I also have a WK-225, which has the same simple editing of your WK-210, so I know how frustrating the CTK/WK-6XXX/7XXX models can be. When it comes to this topic, Casio has tried to provide the best of both worlds - simple easy recording with simple editing for those who want that and more advanced editing for those who want or need that, but when we try to bring the "easy" stuff over into the "real" world, things get a little more complicated. Hope this helps to clear things up a bit. Regards, Ted

Johnathon In Drawbar Organ Mode (These are the full organ tones, not the GM voices.) on the CTK/WK-7XXX models, ALL Drawbar slider movements are recorded in realtime, as are the Rotary Fast/Slow and Percussion selections with those buttons. They will record to both the 16 virtual "A" Tracks (the System Track) as well as to the 16 real (hardware) "B" Tracks. That means they will record to the System Track along with Auto-accompaniment in Easy Record mode as well as to the hardware tracks in single track (track-at-a-time) recording mode for adding tracks to previously recorded data. Ted

Peppe I apologize for being so long in replying to your post, but I have been searching for a thread, on this forum, dealing with this, or a similar topic, that several of us participated in two or three years ago. So far, I have been unable to find it. I know we discussed how to get external MIDI files to light the keys, and how to get the "pause" feature to work, but I can not remember if we discussed the Finger Guide in the display panel. So, I have been doing a lot of experimenting with my WK-225. It shares all the lesson/learning features of your LK-280, with the exception of the key lights. Like you, I have been unable to get an external MIDI file to activate the Finger Guide. Just like we did several years ago, I have had to do a lot of surmising. Casio provides no information on those internal Song Bank files, what-so-ever. By the fact that they are played back by the keyboard's Song Recorder, I know they are MIDI files - Casio proprietary MIDI files, and stored in the keyboard's permanent read-only memory, but MIDI files just the same. I recorded a "play-along" file and ported it to my computer. I changed the ".sl7" file extension to ".mid", but so far, have been unable to get any of my DAW sequencers to open it, so that I can take a look at it. I am betting that, if I could, I would find, not only the left and right MIDI "note" tracks, but one or two additional tracks of special MIDI data for driving the Finger Guide display. That has led me to the following conclusion. There is no way a MIDI file could "know", on its own, which particular finger should play which particular note, and I doubt very much that Casio would go to the expense of equipping the Song Recorder with a playback "look-ahead" parser so that it can "see" what is coming and thereby make a decision on which particular finger should be playing which particular note. Rather, I believe that the Finger Guide display is driven by special MIDI data that has to be separately "programmed" into the file, for that particular song, by the file designer. That is to say - MIDI files provided by the user do not have access to the Finger Guide in the display. As I said earlier, I have done a lot of surmising on this, so if there is anyone with more accurate information, I invite them to join in here and enlighten us all. Regards, Ted

You are talking about revoicing a preset Rhythm, and then saving it as a User Rhythm. This is done with the "Easy Edit" mode of the WK-7600's Pattern Sequencer. You will find instructions for doing this beginning on Page E-112 of the User's Guide. There are six sections to a complete Rhythm: INTRO / NORMAL / FILL-TO-NORMAL / VARIATION / FILL-TO-VARIATION / ENDING. If you want your revoicing to be consistent throughout all modes of the Rhythm, you will need to make the same change in ALL sections of the Rhythm, with the exception of the INTRO and ENDING. They can NOT be changed. There is no "global" edit that will automatically apply a change across all sections of a rhythm. You must make them individually in each section that you want changed. You select the sections to edit with the same buttons that you use to "play" the various sections. That is, once you have the Rhythm to be edited loaded into the Pattern Sequencer, you press the NORMAL/FILL-IN button ONCE to edit the NORMAL section. You press it TWICE to edit the FILL-TO-NORMAL section. You press the VARIATION/FILL-IN button ONCE to edit the VARIATION section, and press it TWICE to edit the FILL-TO-VARIATION section. When you are finished with your edits, save your edited Rhythm to a User Rhythm. Good luck !

DKNY You might want to read through the following reply I made recently, in another thread on a similar topic, to get a better idea of what that "System Track", that Brad is referring to, is really all about. If you are doing only "Easy Record" (Page E-68 of the WK-7600 manual), which is the "System Track" record that Brad is referring to, or only "Individual Track Record" (Page E-72 of the WK-7600 manual), which is what you have done so far, then things are fairly simple, but if you want to do both, which is what you are wanting to do now, then you need a very good understanding of the Song Sequencer's operation in order to prevent loss of pre-recorded data and the waste of precious time and effort - to say nothing of the resulting frustration. This is especially true if you ultimately want to mix everything down to a Standard MIDI File (SMF), or if you need to "extract" System Track data to the other tracks for editing/correcting/quantizing/etc. The thread that I am referring to discussed the Song Sequencer on the CTK-6200, but those functions are identical on all of the CTK/WK-6XXX/7XXX models: Also, do not confuse the Song Sequencer of any of the models with the Pattern Sequencer of the CTK/WK-7XXX models. That is an entirely different circuit and subject for an entirely different purpose all-together. http://www.casiomusicforums.com/index.php?/topic/12318-help-ctk-6200-how-to-export-song-sequencer-files/&do=findComment&comment=34174 In that thread, where I refer to Page E-65 in the CTK-6200 manual, substitute Page E-70 for the WK-7600 manual, and where I refer to Page E-104, substitute Page E-139. The last paragraph of that reply does not deal with what you are attempting at the moment, but I recommend reading through it anyway for future reference. Good luck ! Regards, Ted

On the various Roland Sound Canvas models, the raw "train" sound was not based on or "fabricated" from the helicopter sound. They are two entirely separate wave samples (digital recordings). When moving from one Sound Map to another on those units, the TRAIN sound wave sample was simply substituted for the HELICOPTER sound wave sample on its particular "map". That is to say, the Sound Canvas units had BOTH a helicopter wave sample PLUS a train sound wave sample, but modern day units have ONLY a helicopter wave sample, so you are not going to get a train sound from those units unless they have sampling capabilities. Whether that train sound is a "real" train sound or something that resembles a train sound is of no consequence here. What is important here is the knowledge that neither the PX-560, nor any of the other current Casio units, nor any other current keyboards or sound modules, to my knowledge, have such a wave sample to begin building on, so there is nothing on which to base the finished sound, and the PX-560 is not one of the "sampling" units that can "import" and process such a wave sample. The forte of all the Sound Canvas models was that they used the Roland GS sound set, which vastly expanded upon the General MIDI (GM) sound set of 128 instruments/tones/sounds, but the GM sections of modern day keyboard and sound module voice sets (including Roland) adhere to the original 128 tones of the GM spec. So it is not at all unusual to find sounds, especially SFX sounds, on a Sound Canvas module that are just not reproduceable on modern day non-sampling models. As Scott and Brad have already suggested, a Google search on "train sounds" will reveal dozens of sites with various recorded train sounds (MP3 and WAV): interal passenger car rail/wheel noise, external passing train rail/wheel noise, external horn noise, etc, that can be loaded into a player and played back as a backing track. This is a typical practice of model railroaders, but your problem with this on the PX-560 will be triggering it on and off exactly when you want. Most WAV and MP3 players have a delay of at least several seconds from the time the PLAY button is pressed and playback actually starts.

You can only play Major chords with a single finger. Minor chords require two fingers, 7th chords require three fingers, and Minor 7th chords require four fingers. To play a 7th chord, you play the root note plus the next two white keys above it. So C-7th would be C-D-E; F-7th would be F-G-A; C#-7th would be C#-D-E; F#-7th would be F#-G-A; Bb-7th would be Bb-B-C; etc. See the table in the section titled "CASIO Chord" in the right hand column of Page E-26 of the manual for complete instructions. You will also need to have the Fingering Mode set to CASIO Chord. See the section titled "To select a chord fingering mode" in the left hand column of Page E-26. If you are using fully formed chords, and you want to play an A-7th exactly as you have written it (A-C#-E-G), then you would need to raise the split point by at least one note. With the default split point, the G would fall into the "melody" (UPPER) section of the keyboard, and you would only get an A Chord, but it would be simpler to just invert the chord to G-A-C#-E. Now all chord notes fall below the split point and you get an A-7th.