- T -

Just didn't want you to get the feeling he was ignoring you !

The WK-1800 writes (formats) a standard MS-DOS (Windows) diskette (FAT - not FAT-32 or NTFS). Why not just pick up a USB 3.5 inch diskette drive from Amazon and connect it to any available USB port on your PC or laptop. From there, you can copy the data to your hard drive, an SD Card, a flash drive, etc: http://www.amazon.com/s/?ie=UTF8&keywords=floppy+disk+readers&tag=mh0b-20&index=aps&hvadid=3527256260&hvqmt=b&hvbmt=bb&hvdev=c&ref=pd_sl_2r9cgvhjvq_b I know, for certain, that all versions of Windows from Win-XP through Win-7 already have the drivers built-in. From what I read, Win-8 should not be a problem, but the early builds of Win-10 had problems with a lot of legacy USB devices, because parts of the USB support were inadvertently left out of the builds. Microsoft was supposedly working to correct this. I don't know if this got fixed, but the intent was that Win-10 would include support for USB diskette drives.

Rod Here is a YouTube video clip that Paul Noble, of Casio Australia, did on the CTK-7000/WK-7500 several years ago, but the Song Sequencer in the CTK-7200/WK-7600 is identical, so it should work for you. It's good, but it's brief, and if you don't watch/listen VERY closely, you can miss a lot. For more videos on the Song Sequencer, you can go to YouTube and do a search on something like "wk-7500 wk-7600 song sequencer". There is a ton of stuff out there in various languages, but this particular video is one of a fairly large series by Paul Noble and Jared Beany, of Casio Australia, on many subjects for various models. For those, go to YouTube and do a search on "casio select workshop". Do these searches from within YouTube, itself - not from Google or Bing or etc. https://www.youtube.com/watch?v=_pgqux527BY At some time, should you become interested in doing some User Rhythm work with the Pattern Sequencer, you will find Mike Martin's tutorial for that at: https://www.youtube.com/watch?v=UVdFRBmNID4 Good luck ! Regards, Ted

Goran The Tone Editor in the WK-7600 allows, for any tone, control of Attack and Release, but NOT Decay or Sustain, in the ADSR Envelope parameters. It also allows control of Cutoff, but NOT Resonance. Because of its lack of control over Decay, Sustain, and Resonance, many consider its tone editing capabilities to be severely limited. A synth it is not! It allows Reverb and Chorus OR Reverb and DSP to be active at the same time, but NOT Chorus and DSP, although there are many DSP presets that include Chorus. Silvano The CTK/WK-7XXX Sliders do send CC messages, when in Drawbar Organ mode, as do those in the XW units. Several of us experimented with assigning CC messages to the XW Sliders when the XW's first came out, but gave up in utter frustration. If I remember correctly, the problem was changing the assignments. You could apparently change them, but they would immediately fallback to the factory defaults. I don't know if anyone was ever able to accomplish this or not, so when I got my CTK-7000 and WK-7500, I just assumed they would have the same problem with the sliders as the XW units, and never bothered with them for that purpose. I always figured, if I needed that degree of control, I would just buy a dedicated Controller Keyboard. I think you have probably done way more with your WK-7500 in that respect than I ever have with mine. Regards, Ted

Hi, Silvano ! I hope you are not expecting a response from hartiberlin. That post of his, that you just replied, to is about 2 1/2 years old. Since he was obviously disappointed with his WK-7500 over several features, or lack thereof, and has not logged in here since 06 August, 2013, I would say he most likely no longer has it. Hope you are still enjoying yours! Goran See Silvano's and my reply to your post at: http://www.casiomusicforums.com/index.php?/topic/12108-about-casio-wk-7600-link-to-controler/

Rhona The procedure you are looking for begins in the right hand column of Page E-112 of the WK-7600 manual. It is titled "To edit an existing rhythm with Easy Edit". I am going to point you to this, and let you work your way through it as best you can, BUT with the usual several paragraphs of hints and tips and precautions and forewarnings of the various pitfalls and problem areas. First off, what do they mean by "Easy Edit" ? Easy Edit means you only intend to turn various rhythm parts on or off, or change their relative volumes, or pan settings, or the instrument tones assigned to them, etc, etc, etc, but you do not intend to record your own rhythm patterns in real time with the Pattern Sequencer - that is "Not-so-Easy Editing". The CTK/WK-6XXX units have a RHYTHM EDITOR button that takes the user directly into Easy Edit mode. Since they are not equipped with Pattern Sequencers for real time recording of patterns, they are already in Easy Edit mode when you press that button, but on the CTK\WK-7XXX units, you access the Easy Edit mode via the Pattern Sequencer's menus. In several places, this procedure will refer you to other sections of the manual. Be sure to follow through on those referrals, as they contain essential information. One shows you how to set up the keyboard so that you can audition your edits with the Mixer as you make them. Another shows you how to solo a particular part, so that you can hear it alone, without having to turn all the other parts off and back on individually. This procedure makes reference to what it calls "accompaniment patterns", which to my way of thinking is a way too generic term. To many users, an "accompaniment pattern" is the ENTIRE rhythm. I prefer to call them "rhythm sections", as that is what rhythms consist of - six "sections" - INTRO, NORMAL, NORMAL FILL, VARIATION, VARIATION FILL, and ENDING. Then each "section" consists of eight instrument parts A09 through A16, which are PERCUSSION, DRUMS, BASS, and five CHORDAL instrument parts, respectively, So, wherever I use the term "rhythm section", I am referring to what the manual calls "accompaniment patterns". I just realized in writing this, that I have made a terrible mistake in several other threads on this subject on this forum. When I count the total number of editable items in this process, I normally calculate 8 parts in a total of 6 sections, for a total of 48, but that is not correct. INTROs and ENDINGs can not be changed in ANY way. They really are not parts of the actual rhythm, but are just pre-recorded read-only sequencer phrase adjuncts to the rhythms. You can copy entire INTROs and ENDINGs from one rhythm to another, but you can not change anything internal to them - no part on/off, or volume, or pan, etc, etc, etc. So, that now means we have 8 parts in each of 4 sections, for a total of 32 editable items. The whole point is: there is NO global edit command that will change a given part in all sections at the same time. ALL edits MUST be made on a part-by-part, section-by-section basis. If you want to change a given part in all four sections, you will need to make four identical edits on that part - one in each of the sections, but if you only want to make that change in, say, the two FILL sections, then you only need to make two identical edits. Like wise, if you want to make changes to two of the parts throughout the entire rhythm, you would need to make eight edits - one for each instrument part in each of the four sections, and so on. Once again, there is NO global edit command within a rhythm. My apologies to any I may have lead astray with my previous bad math. When you get to Step 7 in the procedure, skip Item 1 in that step and go on to Item 2, as that is what you are actually asking about. We will come back to Item 1 in a bit, as it gets a little more involved. Item 2 shows you how to make changes (on/off, volume, pan, tone, etc) to the various parts. Again, be sure to follow through on the referral in that Item. Now, once you have completed this successfully, go back to Item 1 in Step 7. This is where the real power of this rhythm editor begins to shine. This Item explains how to copy complete section/part rhythm patterns from one rhythm to another - along with all of its parameters (tone, volume, pan, etc). Once the copy process is complete, you can use the Item 2 procedure to fine tune the newly copied part to suit your tastes/needs. Now, as usual, nothing is perfect. You MUST copy section to like section and part to like part..Items copied from the NORMAL section of the source rhythm MUST be copied to the NORMAL section of the target rhythm. It can not be copied to any other section of the target. You set the target section in the target rhythm, then go to the source rhythm. Once there, any attempt to change sections will cause the editor to fall back to the target rhythm and abort the copy process. By the same token, copied parts must be the same on both source and target. If you copy Part 14 from the source, it must go to Part 14 on the target. Any attempt to cross parts here will result in either data just not being copied, or all data on the target part being erased. This is also the procedure for copying entire INTROs and ENDINGs from one rhythm to another. All you need to do is select one section/part in the target rhythm, then select the same section/part in the source rhythm, press exit, save it, and the entire INTRO or ENDING will be copied. A word of caution here, if this results in too abrupt of a change from INTRO to mains or from mains to ENDING due to dissimilar instruments, it may be necessary to copy one or more instrument parts from the source rhythm mains to the target rhythm mains in order to smooth the transition a bit. Now, a few words about saving your results. Both the Tone Editor and Rhythm Editor default to their respective User Locations of 001 for saving. If you overlook this during the save process and do not specify a new User location, then your newly edited data will be saved to the default location. If the default location has valuable data stored in it, then it inadvertently gets overwritten with the new data. For this reason, I strongly recommend keeping USER TONE 001 and USER RHYTHM 001 strictly as temporary "work areas" or "scratch pads". During the typical edit process, it is not uncommon to edit, save, listen, edit, save, listen, any number of times. If you are having to remember to change the save location each time, and actually make the save location change each time, this is a hindrance to good workflow. Just let the saves default to the 'work area" location, and move it to a safe permanent location when finished. The easiest way to do this, is to bring the edited item up one last time in the editor. Make a minor change to one of the parameters, and immediately put it back to its original value, so there is no actual change, but the editor "sees" it as a change, Now, when you press the EXIT button, the editor will bring up the save dialog and allow you to enter the new, permanent location. ALL DONE ! I also strongly recommend giving each of your creations its own unique name. Having several different versions of Tones or Rhythms in User memory under identical names is a sure recipe for eventual disaster. Good luck ! - Enjoy ! Let us know how things go ! Regards, Ted

Rich See my reply to your Post: "Doesn't store changes to parts - even stumped Casio Tech support" at: http:// http://www.casiomusicforums.com/index.php?/topic/12083-doesnt-store-changes-to-parts-even-stumped-casio-tech-support/&do=findComment&comment=32970

Rich The answer is in the last section of the Parameter List at the bottom of the left hand column of Page E-162 of the WK-7600 manual, but it has to be correctly read and interpreted in order to be properly understood. Any item with a circle in Column 2 of this section is saved in a Registration, but we need to correctly read the title of this section: "Mixer Settings for Part A01 through A04". That is, this section of this table applies ONLY to the Real-Time-Play Parts: Right Hand Main (UPPER-1), Right Hand Layer (UPPER-2), Left Hand Split (LOWER), and Right Hand Harmonize. It does NOT apply to Parts A05 through A16, A09 through A16 of which are the Rhythm Parts. So, Rhythm Part Parameters (with one exception) are NOT saved in Registrations. They are considered an integral part of the Rhythm itself, and changes/modifications to them can only be made with the RHYTHM EDITOR of the CTK/WK-6XXX units or the EASY EDIT mode of the PATTERN SEQUENCER of the CTK/WK-7XXX units, and then saved as User Rhythms. The one exception to all of this is the "Part ON/OFF" parameter. Since Part ON/OFF for REAL-TIME-PLAY Parts A01 through A04 is controlled from the buttons on the keyboard's front panel, it is NOT saved as part of a REGISTRATION, while Part ON/OFF for Parts A05 through A16 can be saved as part of a User Rhythm OR as part of a Registration. Like you, it took me a very long while to figure out why I could sometimes successfully save changes to Rhythms, but often could not. It all depended upon what I was trying to save and how I was trying to save it, but the real key was in properly understanding what the "Mixer Settings" section of the Parameter List was really indicating. Hope this helps ! Good luck ! Regards, Ted

AND . . . FINALLY . . . to your last question: The forum search engine does not allow remote sub-forum "only" searches from one sub-forum to another. In other words, if you are in the XW-P1 sub-forum, you can not do a search on the WK-7500/7600 - CTK-7000/7200 sub-forum "only". To do that, you would have to be IN the WK-7500/7600 - CTK-7000/7200 sub-forum, itself. Go to the sub-forum that you want to do an exclusive search on and click on the search bar. A light blue bar with the words "All Content" pops up to the left of the search bar. Click on the down arrow immediately to the right of those words, then click on "This Forum" in the drop down menu. Enter your search criteria and click on the search icon. You will get results for that sub-forum only.

It so happens that CTK/WK Rhythm files ARE MIDI files, but they are Casio proprietary and are highly specialized. They contain additional data, pertinent to the generation of a Rhythm pattern, that would not be found in a regular MIDI song file - such as how to generate chords - bass on bottom, inversions, etc. None of the new CTK/WK-6XXX/7XXX models, or their immediate predecessors, the WK-3XXX series and their related CTK models, were/are capable of directly loading MIDI files as Rhythms. For those older models, Casio distributed all files in a .CKF format - Tones, Rhythms, Songs, etc. When the files were loaded into the keyboard's internal memory, data was extracted from the .CKF distribution format and converted to a format native to that keyboard. When Rhythms were loaded in a .CKF file, the Rhythm data was extracted and converted to a .Z00 format. If that Rhythm was later uploaded back to a computer, it came back as a .Z00 file, not as a .CKF file. It so happens that the new CTK/WK-6XXX/7XXX models will load either .CKF or .Z00 old Rhythm files and convert them to the new .AC7 format. If they are later uploaded back to a computer, they come back as .AC7 files, not .CKF or .Z00 files. The old IDES Data Manager software, for the older models, came with three stand alone modules in addition to the file manager software - those modules were a Tone Editor, a WAV File Converter, and most important to this discussion, a MIDI to .CKF Rhythm File Converter. Since the sound engine of the new models is totally different from those of the older models, the Tone Editor and WAV Converter are of no use to the new models, but it is possible to use the Rhythm Converter to convert a MIDI file to a .CKF Rhythm file and load it into the new models' User Rhythm memory, where it will be converted to the new .AC7 format, but nothing is for free. The drawback is that the MIDI file must have the various Rhythm sections (Inro, Normal, Fills, Ending, etc) precision demarked with an external sequencer (Cubase, Sonar, etc.) prior to conversion. If the location of any marker is off by so much as a single clock tick, the rest of the Rhythm will be off from that point on and will not "play" correctly, if at all. Getting the markers set properly is about 90% of the work in this conversion. You can obtain a copy of the IDES software at: http://www.casio-europe.com/euro/emi/specials/ides/downloads/ Make sure you get the IDES-4 version for the WK-3300/3800/8000, as it is the latest version. You can get a copy of the IDES User Guide here: http://www.casio-europe.com/euro/downloads/emi/IDES_Quickguide.pdf You mentioned that you had downloaded the "extra" rhythms. I assume you mean the "50-pak" that was offered for the new models. While you are at it, you may be interested in these. They are 109 after-market expansion rhythms for the WK-3300/3800/8000 models. So far, I have not found a one that does not play properly on the new models. Yes, they are old, but are quite often useful, as they are different, and therefore, expand your available Rhythm repertoire as well as often being simpler and not as "busy" as the newer Rhythms that are sometimes "overdone". http://music.casio.com/e/data_ex4/ Go down to the line that says "RHYTHM", and click on "Data List >" to the right of it. When the next window comes up you will see the list of available Rhythm files. Click on "Download V" for each file you want. They are all free, but nothing is ever really free. There is no bulk download for them. You have to download them one at a time, so it is going to cost you some time if you want them all. Do not bother with the ethnic package files on this site, as they include Rhythms that need the included Tone files, which will not work on the new boards. Good luck !

With the Casio CTK/WK-7XXX models, you can do pretty much whatever you want to with a Rhythm. With the exception of one particular item that you asked about, you can create brand new Rhythms from scratch or modify existing Rhythms - either Factory Presets or User Rhythms - to suit your particular needs, and save the results as new User Rhythms. However, while there is a Tone Editor button for modifying Tones, you will not find a Rhythm Editor button on the 7XXX models, as Rhythm creation/editing is the sole function of the PATTERN SEQUENCER. When the keyboard is in Pattern Sequencer mode, it is essentially in Rhythm edit mode. It is just a simple matter of selecting a Rhythm that you want to modify as though you were going to "play" it, and then pressing the Pattern Sequencer button. You are now set up to edit/modify that particular Rhythm. If you are creating a new Rhythm from scratch, you just select an empty User Rhythm slot, and then press the Pattern Sequencer button. You can create/modify the various Rhythm parameters such as Part ON/OFF, Part Instrument Tone, Part Volume, Pan, etc. and then you can create/modify the actual Rhythm pattern in real time play with the Pattern Sequencer running in continuous loop record mode, or you can enter notes and other events one at a time with the Event (Step) Editor. All of this is covered in the manual on Pages E-102 through E-120. See the section "Using the Pattern Sequencer" in the Table of Contents at the top of the left hand column on Page E-3 for all of the major Pattern Sequencer functions. In this list, there is a typo. The word "Exiting" should read "Existing". You asked about copying data from one section of a Rhythm to another. That item is on Page E-94, which is actually the Song Sequencer section, but that function is the same for both sequencers. I guess Casio manual writers don't like repeating themselves. If you are going to be successful at this, you need to become very familiar with this entire section of the manual. Rhythm creation/editing can quickly become a very tedious and time consuming process - depending on how deep you want to go with it. Mike Martin made a short video clip on using the Pattern Sequencer to create a Rhythm from scratch, but it was a bit misleading. He had it all done in a couple of minutes, so that is what every prospective Rhythm creator expects, but Mike only created three instrument tracks (drum, bass, guitar) in one Rhythm section (NORMAL), for a total of three phrases. A fully fleshed out Rhythm has six sections: Intro, Normal, Normal-Fill, Variation, Variation-Fill, and Ending, with eight parts: non-drum percussion, drums, bass and five chord instrument parts - in each section. So, thats 8 parts in 6 sections for a total of 48 phrases to be recorded and configured. Now, it is not absolutely necessary to have Rhythm data in every part of every section, but it is easy to see that even a modest Rhythm can quickly become very complicated. Thus, the need to be very familiar with this section of the manual. You will find Mike's video clip on the CTK/WK Pattern Sequencer here: https://www.youtube.com/watch?v=iz-jsRUugx0 He made it for the CTK-7000/WK-7500, but the Pattern Sequencers on the CTK-7200/WK-7600 function exactly the same. I had mentioned that the CTK/WK-7XXX models do not have a Rhythm Editor button, however the CTK/WK-6XXX models, not being equipped with a Pattern Sequencer, DO have a Rhythm Editor button that provides for abbreviated editing (Easy Edit) of Rhythms. It allows modifying Part Tone selection, Part ON/OFF, Volume, Pan, etc, but lacking a Pattern Sequencer, it can not create/edit the actual Rhythm pattern. You had also asked about importing MIDI files as Rhythms, but this reply is already way too long, so I will cover that item in my next reply.

The SD Card is a separate memory card that plugs into the card slot in the back of the WK-7600. It requires a minimum of 2Gb. MIDI files (CMS & SMF) are fairly small, but audio files can get very large very quickly, so if you plan on much audio work and storing them on the SD Card, I would recommend as large a card as you can afford (4 or 8 Gb, at least). I finally settled on a 32 Gb card, so that I do not have to continually worry about running out of space. Now, I was going to add some info to my original reply, but since you have already seen that, I will include that info here. I tried to cover only the basics of this subject in my previous reply, but for future reference: while the Audio Recorder will also record mono signals applied to the MIC IN (voice, etc.) and INST IN (guitar, bass, etc.) jacks, it WILL NOT record stereo signals applied to the AUDIO IN jack. This is Casio's way of avoiding complicity in piracy of complete works from CD's players, MP3 players, etc. I cover this here, as this is something that most novices miss in the manual and think there is something wrong with their procedure or keyboard when they eventually try it and it does not work. Regards, Ted

foxinejay: "CMS" files are Casio proprietary (MIDI) "Song Sequencer" files. To play them back on the WK-7600, you need to press the "Song Sequencer" button to put the keyboiard into "Song Sequencer" mode, then use the Plus/Minus ( + / - ) buttons or the Data Wheel to select the desired song. Start playback by pressing the Start/Stop button in the Transport section. See Page E-79 of the WK-7600 manual for complete details. Being Casio proprietary, CMS files can not be transferred or imported directly into Garage Band, or any other computer based DAW or sequencer. They must first be saved (converted) to a Standard MIDI File (SMF) on the WK-7600's SD Card. From there they can be transferred to the computer's hard drive and played back by the computer based DAW or sequencer of your choice. However, they will only sound correctly when played back into the WK-7600, using the WK-7600 as a sound module. If they are played back into a computer based sound module (VSTi), they will need to be revoiced so that they call up the correct tones on the VSTi tone module. Even then, the computer's VSTi tone module will still not have the WK-7600's wave samples, so they will still not sound like the WK-7600. Also, when MIDI files are imported from a keyboard's sequencer to a computer based DAW or sequencer, any effects settings (reverb, chorus, etc) are typically lost, and need to be reinserted The only way to preserve the WK-7600's exact sounds is to record them as Casio proprietary Audio files to the SD Card, as they are played back by the Song Sequencer, and use the Data Manager software to convert and transfer them to the computer's hard drive as standard WAV files. From there, they can be played on any standard WAV file player and will sound just like the WK-7600. Those standard WAV files can also be converted from WAV to MP3 files with a third party WAV-to-MP3 converter and played back on any MP3 player and sound just like the WK-7600. See Pages 121 through 129 of the manual. These instructions get rather "involved", so be prepared, but the fact that you have the Data Manager installed and the CMS files downloaded to the WK-7600 shows excellent progress so far. Hang in there ! After you have done it successfully a couple of times, it gets to be fairly routine pretty quickly, but give a shout if you need further assistance. To simplify things a bit, the WK-7600 is actually equipped with two separate recorders - the Song Sequencer, which is a MIDI recorder and the Audio Recorder, which is self explanatory by its name. The Audio Recorder can record songs that YOU play in real time, but it can also record the CMS files as they are played back by the Song Sequencer, which is exactly what we are discussing in this thread. As a prerequisite, Audio files are recorded to a special hidden partition on the SD Card, so if you did not originally format the SD Card on the WK-7600, you will need to do that, in order to create that hidden partition. Neither DOS/Windows nor MAC OS can see this partition or the audio files in it. You will need to use the Data Manager software to manage (convert/transfer) those files. Good luck ! Regards, Ted

Rhona What you did with the discrete hardware buttons on the WK-1600 are somewhat hidden within the MIXER feature menus on the WK-7600. Software menus are much less expensive to manufacture than hardware buttons and wires and foil traces on a circuit board ! Now, there are many items that the MIXER can adjust, but in order to avoid the same confusion that the manual causes by inundating you with 1000 times more data than you need at the moment, I am only going to cover the subject at hand - how to turn various Auto-accompaniment Rhythm parts on and off. Other features and items can be covered in the future as the need arises. So, power the WK-7600 ON, select a rhythm, and start the Auto-accompaniment. We want the rhythm "running" so that you can hear the changes as you make them. Press the MIXER button. The MIXER screen comes up and shows the Tone assigned to the currently selected Channel. Now look at the upper right display panel, which is a bar-graph level meter. Note the "A" at the lower left corner of the grid, indicating that the display is showing "A" Channels 01 through 16, which are dedicated to all elements of Auto-accompaniment play. Channels B 01 through 16 are for other purposes and are currently beyond the scope of this discussion. Also note the cursor line beneath the number 1 at the bottom of the first column of the grid. This indicates that Channel 1 is the currently selected channel, the information for which is shown in the upper left display panel. Refer to the table on Page E-36 of the manual for how the "A" Channels are assigned to the various parts. Press the CURSOR DOWN ( V ) button ONCE. Notice that we now have access to PART ON/OFF and PART VOLUME, but we are on the wrong Channel. We are on the Channel for the right hand melody part. All of the rhythm parts are over to the right on Channels 09 through 16. Channel 09 and 10 are percussion and drums, 11 is bass, and the rest for the melodic rhythm instruments. Use the CURSOR RIGHT ( > ) / LEFT ( < ) buttons to select the Channel (instrument) you want to turn off. Make sure the word "Part" has a large blue dot to the left of it, and the word [[ on ]] is in heavy brackets. If not, use the CURSOR UP ( ^ ) button to highlight that line. Press the minus ( - ) button to turn the Part OFF or the plus ( + ) button to turn it back on. Once you have everything arranged the way you like, you can play it this way for just this playing session only, or you can save these settings as a Registration for quick recall in the future, but that Registration will only apply to this particular Rhythm. If you want to modify a different Rhythm, you would need to go through the above procedure for that Rhythm, and save it to a different Registration. Good luck ! Hope this helps ! Regards, Ted

The CTK-2400 has only a USB "To Host" type of port for MIDI connectivity. It does not have the older 5-Pin DIN MIDI IN/OUT ports for connecting directly to external MIDI devices that use those type of connectors. Therefore, it would be necessary to use a computer or some type of "host" device such as the "IconnectMIDI2" interface: http://www.iconnectivity.com/iConnectMIDI2plus If you do use a computer as the interface, then the CTK-2400 would connect directly to the computer from its USB port with a standard USB "printer" type of cable, but you would need to use the proper USB-MIDI adapter between the computer and the other MIDI device(s). http://www.amazon.com/iConnectivity-mio-1-out-MIDI-Interface/dp/B00CO5IRSG/ref=sr_1_5?ie=UTF8&qid=1459149649&sr=8-5&keywords=usb+midi+adapter There are much less expensive USB-MIDI adapters, in the range of $6 to $15 USD, but many of those have a problem with reliability. The CTK-2400 would certainly exchange MIDI NOTE-ON/NOTE-OFF messages with other devices, but as to its capabilities with other messages (ie "controller" messages, etc.), you need to refer to the MIDI Implementation Chart at the rear of the CTK-2400 Owner's Manual.

Removed due to errors in the reply and in the attached sample files. Please disregard !

Rod I had posted a reply, but deleted it, because when I reread your original post and my reply, I realized that I had not really understand what you are trying to do. (At least I don't think I did.) I thought you had laid down the baseline with the Pattern Sequencer, which can not be used that way. Now I am thinking that you did it with the Song Sequencer, and that is what is causing your problem. If you recorded 4 bars and stopped the sequencer, then that 4 bars becomes the song length for all tracks in the entire song. In other words, as the first recorded track, it becomes the controlling track in this respect. As you try to record your melody, the sequencer is playing back your base line. and when it reaches the end of bar 4, it encounters a "stop" and shuts down. As BradMz has replied below, you need to copy and paste your 4 bar base line for the entire song, then record your melody over that, but your baseline will not automatically follow the key of your melody, so you will need to adjust for that as you do your pasting. The Song Sequencer is a straight forward linear sequencer. It will not "loop" on any track. NOW ! Another way to do this is to record your baseline (in the key of C only) into the BASE track of the NORMAL section of a rhythm with the Pattern Sequencer and save it as a User Rhythm. Then, turn on Accompaniment, press SYNC START, and NORMAL, press the RECORD button, and start playing your melody with your right hand as you play the proper chord sequence with your left. Your baseline and the Song Sequencer will start automatically and everything will be recorded. If your melody requires two handed play, set the keyboard Fingering Mode to FULL RANGE, and the keyboard will monitor the notes you play with both hands to determine the proper key for the baseline. With this method, you can even throw a drum part on the drum track in that NORMAL section to go along with your baseline. One caveat with this. You only recorded your baseline in the NORMAL section of your User Rhythm, so do not touch any of the INTRO, NORMAL, VARIATION, or ENDING buttons or you will lose your baseline. Once play starts, you can't even touch the NORMAL button, as that switches it to the NORMAL FILL section, and there is no baseline there. I know, this gets a little deep, but I offer it as something to think about trying at some point in the future. Good luck ! Regards, Ted

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Mimm Roger Hodgson piped the Wurly's output into a Boss Chorus guitar effects pedal, which split the signal so that he could send half of it dry to the sound board and route the other half through the chorus effect before sending it to the sound board. You should be able to approximate this by selecting one of the Wurly type tones, then selecting the proper chorus type and adjusting the chorus send level. I don't hear a lot of chorusing going on in that sound, so you would need to be careful not to over do it. I couldn't tell if he was using any reverb. I don't think so, but you may want to add a bit anyway to simulate the resonance of a large concert hall. This one would be to your taste, but you don't want to over do it either. I recommend doing all of this via the Tone Edit mode and saving it as a User Tone as opposed to doing it through the Mixer and saving it as a Registration. User Tones have better permanence than Registrations, as they are not as apt to get mistakenly overwritten as Registrations are. Part of that is because you can name a User Tone by/for its particular purpose, while a Registration is just a generic number. Now, as I said above, this only approximates what Roger did. Chorus, by itself, consists or two elements, one wet and one dry, so he was actually mixing a completely dry signal with a wet/dry (chorused signal), so if the above does not get you close enough, and you need more separate control over the dry versus wet/dry parts of the signal, then you would need to select one of the Wurly type tones and layer it with the same tone number, then add chorus to one layer and leave the other dry. Again, you would need to experiment with the chorus type and chorus send level and possibly some of the Tone parameters of the dry Tone until you get it as close as possible. You would definitely need to save the chorused tone as a User Tone, but if you make any changes at all to the dry tone, you would need to save it as a User Tone as well. The mix of the two layered tones you would need to save as a Registration. No choice on this one, since you can not save two different User Tones as one. Any time you are combiming User Tones you can only save the combination as a Registration. The relative volumes of the two tones you can set as part of the User Tones or as part of the Registration, but I recommend saving them as part of the individual User Tones. If that still does not get you close enough, then you would need to create a custom User DSP Chorus effect and use that instead of the preset, but I am not going to go into that here, because I think the very first procedure at the top will do it for you. So the trick now is to select the right "Wurly" sound to begin with. Good luck ! Regards, Ted

This is typical of many of the CTK/WK and XW keybeds. In most cases, the sound of playing covers up the key noise, so those owners just put up with it, but if yours is that objectionable and is still under a return policy, I would recommend returning it for a replacement unit while you still can. Trying to resolve the problem yourself would almost definitely void your return policy (if it turns out you can not correct it yourself) and may well void your manufacturer's warranty, and stands every chance of making the situation worse instead of better. Those who do try it for themselves recommend various treatments - talcum powder, 3-IN-One oil, non-stick cooking oils (Pam), spray oils (WD-40), petroleum jelly (Vaseline), white lithium grease (like on your car's suspension), etc, etc, etc. Needless to say, all of these are very extreme, except maybe the talcum powder. Any petrolium products, especially the spray products run the risk of deteriorating the very delicate rubber contact strips under the keys. At least with the talc, you can vacuum out the excess, but talc is made to abosrb moisture, and after a few weeks or months can turn sticky and make the problem worse, to where you have to resort to the more extreme methods. If you try and fail, and your retailer sees all kinds of junk all over the keybed, your return policy just went out the window. I don't know if Casio makes their own keybeds or farms that out, but I think whoever manufactures them uses some type of white non-petroleum grease to lubricate the moving parts, It's probably a silicone grease of some type, but I would definitely try to get some advice from a licensed repair center before applying anything.

Machax Sorry for the misunderstanding. Now I know exactly what you are talking about. "Brass Fall" was not on only the D-50. I have had several Roland keyboards through the years that also had that sound. I think it is one of Roland's "standard" sounds, but the "fall" was not an effect. It was recorded right into the wave sample itself. You could not alter the rate or the depth of the fall. You just selected it as a tone, and what you got was all you got. The WK-7600 does not have an effect that allows you to control a tone's pitch in that manner. There are effects that vary the pitch in accordance with an LFO, but those are cyclical. That is, they produce a repeating wah wah wah wah sound rather than just a one way "fall". Like I had suggested for a piano "gliss", you could perform a manual "fall" on one of the Finger Bass tones with the Pitch Bend wheel and record it with the Pattern Sequencer and save it as a User Rhythm. You would need to be sure to release the key before you let the Pitch Bend wheel start returning to its normal position. The problem would be with how to trigger it to occur at exactly the moment you need it. My Roland XP-80 has a Real Time Phrase Sequencer that allows you to record a MIDI phrase, assign it to a particular key, and when you press that key, the phrase begins playing immediately, like it was just another tone, but the CTK/WK Pattern Sequencers are not that sophisticated, but then there is quite difference in the original sales price between these keyboards. One possibility would be to record the "fall" using the pitch bend wheel and record it into the Pattern Sequencer's Drum part. That way, every time you hit the START/STOP button, the "fall" would play, just like the drums normally do. The problem with this would be that you could not be using another rhythm for Auto-accompaniment at the same time. That is, your "fall" sequence would monopolize the entire rhythm generator. One way around this would be to sacrifice one or both "FILLS" in an existing rhythm and put the "fall" sequence in it's/their place in the regular bass track. Then when you hit the correct "FILL" button, you get your "fall" right along with the rest of your rhythm. The problem here is that you need to use an entire bar to keep the rhythm straight, and it is unlikely that your "fall" would take an entire bar, so you would have two or three beats of "glitchy" silence. You could get around this by combining your "fall" with a drum fill - one beat of "fall" with three beats of drum fills - toms or whatever - or make a bit of a "pop" genre out of it and have one beat of "fall" with one beat of silence and two beats of toms, etc. Of course, you could always just let it go back to the regular bass beat, but I think combining it with a drum fill would emphasize it a bit. The reason I say to use the "FILL" sections is because after your one bar "fall/fill", play goes back to the regular rhythm pattern automatically. It won't repeat over and over until you shut it off manually, and by using one or both FILL sections, you don't have to sacrifice your Intro section, which would also be self terminating into a regular rhythm pattern. The Ending section is no good, because it terminates the entire rhythm. Good luck with this . . . . and have fun with it ! I would try this myself, but I already have several other things going for the next couple of weeks. Regards, Ted

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Moh.Ali The AT-3 and AT-5 are the eastern European/Asian versions of the 61 key and 76 key CTK/WK model lines. As a matter of fact, the AT-3/5 are equivalent to the CTK-7000/WK-7500 with the special tones and rhythms. While most of these models allow the user to edit the tones and save them as User Tones or to download new tones from the internet or other sources, these are merely wave shaping parameters that modify the existing wave samples, but the wave samples, themselves, are stored in Read Only Memory (ROM) and are not commercially upgrade-able. So, if the CTK/WK/AT does not have a wave sample for a particular instrument, there is no way to add it. Here again, while many of the older models allowed the user to install samples, these were far from professionally engineered samples and left a lot to be desired, but the AT-3/AT-5, like their current CTK/WK cousins, have abandoned this feature. As a matter of fact, when it comes to tones and rhythms, the AT-3/AT-5 are pretty much concurrent with other models that Casio is currently offering, except for possibly the latest Privia models, but then those lack the eastern European/Asian tones and rhythms, if you have need for those, which I assume you do. That could be a step backward for you. If truly "new" tones are a priority for you, and you are not quite ready to trade in your AT-3, then you could go the route of connecting it to a computer or iPad (Yes ! The AT-3/5 are compatible.) and play VSTi software/apps that have all the latest sounds. As far as rhythms are concerned, in case you are unaware of it, Casio made a 50-pak rhythm upgrade available several years ago. You can download it from: http://www.casio-europe.com/euro/emi/rhythmsspecial/ It is at the very bottom of the download list. Yes ! The 50-pak includes the 10-pak. Casio International is still offering the vast list of alternative rhythms that it released for the older CTK/WK models. These are in the old ".CKF" format, but they work in the newer models, and are automatically converted to the new ".AC7" format as they are loaded into User Memory. If you do not already have these, they would be well worth looking into. Even though they are older rhythms, they are a nice expansion to the keyboard's rhythm palette. You can download them from: http://music.casio.com/e/data_ex4/ Click on "Data List" on the "Rhythm" line. Don't bother downloading anything else on that page, as only the rhythms are compatible. The SMF and Song files are compatible, but they're pretty rudimentary. That page is for the WK-3800. So far, I have not found any of these rhythms that will not work in the newer models, but there are pages there for other CTK/WK models, but these are the same rhythms, some of which will not work well with the newer models because of tone list differences. Because of tone list differences between the AT-3/5 and the CTK/WK models, you may have to occasionally "re-voice" a rhythm file to get it to sound correct, but I think most of them should work for you as-is. I know that this is not quite what you were looking for, and I apologize for that, but short of changing keyboards, possibly even brands and price ranges, this is about all I have to offer for now. If you do have an iPhone or iPad, I would really recommend looking into that. Connection to the keyboard is fairly simple, and there are several apps (Yamaha Drum and Arp Pad and Caustic 3, in particular) that offer not only instrument tones, but some really great arps in the modern club dance genre, if you are into that. Best of luck on your decision ! Regards, Ted

GLB Drums get recorded to Track A-10. If by "copied" you mean you "saved" your song to the SD Card as a Standard MIDI File (SMF), then you need to go into the MIXER and turn off Track B-10 before you do the save, otherwise the empty Track B-10 overwrites the Drum Track A-10 during the Song Sequencer file (.CMS) to SMF (.MID) conversion process. This is explained in the precautionary note at the bottom of the left hand column of Page E-104 of the WK-6600 Owner's Manual. This only applies when you are saving (converting, actually) to an SMF and applies to any of the "A" Tracks that contain data that you want to "save" (convert) - their correspondingly numbered "B" Track must be turned off in the MIXER prior to "saving" (conversion} or the "B" Tracks will overwrite the "A" Tracks. You do not need to worry about this when saving to a Song Sequencer (.CMS) file, as the Song Sequencer keeps the "A" and "B" Tracks separate, but during an SMF "save" (conversion) they are "combined", so to speak. If you have not already done so, you may want to refer to the table in the right hand column of Page E-65 of the manual for track assignments. The "B" Tracks are for the user to use as needed, but the "A" Track functions are assigned by the keyboard's operating system, and can not be changed. Also, if you want to add tracks to data already recorded on any of the "A" Tracks, you MUST use the "B" Tracks. Any attemp to add "A" Tracks will result in erasure of ALL previously recorded "A" Track data. The Song Sequencer is a 17 track sequencer. Tracks 01 thru 16 are just standard sequencer tracks. Those are the "B" Tracks, but Track 17, the System Track is special. It is like what is known as a Type 0 MIDI file. It contains another 16 tracks within itself. Those are the "A" tracks. They provide for recording of all data that is recorded during the "EASY RECord" process, which encompasses all of the Auto-accompaniment features, as well as the right hand main, layered, harmony, and left hand split parts. To access the "B" Tracks, you need to use the "Single track" recording process. So, in reality, you have a 32 track sequencer, but only as long as that data is within a Song Sequencer file, because as I said above, the Song Sequencer keeps the "A" Tracks separate from the "B" Tracks, but when you convert to an SMF, it can only have 16 tracks, per the MIDI Spec, so something has to give. In this case, any "B" Tracks that are "ON" in the MIXER take priority and overwrite their correspondingly numbered "A" Tracks. Hope this helps ! Regards, Ted

DSP effects are wave shaping parameters that are applied to sounds to alter their tonal quality (timbre). Effects do not "play" notes. That is the function of either an arpeggiator or an auto-accompaniment rhythm engine. The WK-7600's library of arpeggios does not include a gliss, but Preset Rhythm E-30 in the Piano Rhythms sub-section includes a subdued gliss in the Intro and a very pronounced gliss near the end of the Outro. You might be able to isolate these with the WK-7600's Rhythm Editor and incorporate them into a User Rhythm. An alternative would be to play the gliss yourself and record it with the Pattern Sequencer and save it as a User Rhythm.