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I have been trying unsuccessfully for a month (with the continued help of Finale's tech support) to have Finale play through MIDI the sounds on my CTK-6200. We have tried to input the numbers from the attached scan of a portion of the appendix to the Casio user manual into Finale's bank and program change numbers, but while each different attempt DOES communicate with my keyboard and change the sound, it is never the sound we have tried to program. I am using Finale 2014.5. Any advice that anyone who has experience in this area can give that might lead me to success will be more than greatly appreciated. While Finale comes with a plethora of great Garritan samples, most are orchestral, and I would LOVE to make use of the multitude of different types of sounds on my CTK-6200 with my notation. Casio CTK-6200 MIDI Sounds.pdf

Roland just uploaded these video where you can program music now kids (actually every one)can make music while learning programming ante up the fun combining two things, How cool is that. I've always found it to be a small behind the curtains thing in the past and the past few years , I've seen Casio, Korg ,Moog , Yamaha and Roland really building up music education programs which is really opening up to new media and growing possibilities that opens up gear in more then one way.

Some thoughts: 1. If you bought your xw used and it didn't come with the manual, you will need to download it (at the very least), and there is also a pcm wave list you can download. I was not able to figure out on my own how to switch between hex layers when programming a sound (turns out it's the part select buttons). 2. Envelope and filter options are quite limited. There are no filter envelopes and as far as I can tell there are no pitch envelopes either. There is a filter "cutoff" value for each element, and that's all you get. There are no amplitude envelopes per se, either; instead, each pcm wave seems to have a rudimentary amp envelope associated with it ("dyno EP" behaves differently than any saw or organ wave, for example, and a lot of the samples have attack transients baked into them), but you do get to enter some offset values in the amplitude envelope editing section, which I acknowledge is better than nothing. 8 3. There is a separate area for user sounds. Kudos to Casio for this excellent choice. You don't have to overwrite anything. 4. A few years back I owned a WK3200 and much of the pcm waveform ROM on the xw is the same. Dated, much? But it's mostly all decent and usable if not spellbindingly great. The exception is the Rhodes EP sound. On the WK, which used the Casio ZPI synth engine, high and low harmonics were looped seperately, I believe. The sound was much more 3 dimensional on the WK than on the xw (or the WK7xxx series for that matter). Just saying. The Rhodes was really good on the older instrument. 5. There are certainly a ton of pcm waves available but a lot of them sound awful similar. Is there really a lot of difference between "choirahhs" and "heavenB"? To name but one of many examples. Much has been made of all the new synth waves but really, isn't one sawtooth pretty much like another? Yeah they have moog saw and jupiter saw but they're all short samples and they don't sound much different from one another. 6. The physical build of the instrument is more than satisfactory. Keyboard feel is light synth action and I like it fine. I bought this to use as a controller but I am quite happy with it's sound producing features. Plastic, yeah, but sturdy plastic. I feel like I got a real good deal.

Some thoughts: 1. If you bought your xw used and it didn't come with the manual, you will need to download it (at the very least), and there is also a pcm wave list you can download. I was not able to figure out on my own how to switch between hex layers when programming a sound (turns out it's the part select buttons). 2. Envelope and filter options are quite limited. There are no filter envelopes and as far as I can tell there are no pitch envelopes either. There is a filter "cutoff" value for each element, and that's all you get. There are no amplitude envelopes per se, either; instead, each pcm wave seems to have a rudimentary amp envelope associated with it ("dyno EP" behaves differently than any saw or organ wave, for example, and a lot of the samples have attack transients baked into them), but you do get to enter some offset values in the amplitude envelope editing section, which I acknowledge is better than nothing. 3. There is a separate area for user sounds. Kudos to Casio for this excellent choice. You don't have to overwrite anything. 4. A few years back I owned a WK3200 and much of the pcm waveform ROM on the xw is the same. Dated, much? But it's mostly all decent and usable if not spellbindingly great. The exception is the Rhodes EP sound. On the WK, which used the Casio ZPI synth engine, high and low harmonics were looped seperately, I believe. The sound was much more 3 dimensional on the WK than on the xw (or the WK7xxx series for that matter). Just saying. The Rhodes was really good on the older instrument. 5. There are certainly a ton of pcm waves available but a lot of them sound awful similar. Is there really a lot of difference between "choirahhs" and "heavenB"? To name but one of many examples. Much has been made of all the new synth waves but really, isn't one sawtooth pretty much like another? Yeah they have moog saw and jupiter saw but they're all short samples and they don't sound much different from one another. 6. The physical build of the instrument is more than satisfactory. Keyboard feel is light synth action and I like it fine. I bought this to use as a controller but I am quite happy with it's sound producing features. Plastic, yeah, but sturdy plastic. I feel like I got a real good deal.

I know I am late to the PX-5S party so my thoughts probably have no meaning, but I'll put them out there for the next model. First off, I love the keyboard! It's so good that now I wish it was $100 more and had reinforced jacks - especially for the power supply and main output jacks. For all I know, I will not have any problems, but knowing a bit of electronics makes me worry about those jacks. One problem I keep running into is how easy it is to overwrite the wrong stage setting. It really should show the name of the stage setting that is being overwritten and also have the ability to change the stage setting location destination at any point in the save. Another minor point is that I wish there was a quick way to audition tones without being in a stage setting. I understand that you cannot really listen to a tone outside of a stage setting so this is somewhat minor point, but I probably need to create a default stage setting that has minimal effects etc.... I wish naming was much easier. One thing that would help is being able to press a button and it would instantly default to 'a' or 'A' that way you could type in a name much faster. Even if pressing one button would toggle from 'a' to 'A' to '1' and ' ', that would make things much faster. I think the keyboard would benefit from an additional row of switches. I like the knobs and sliders, but a row of switches would be great! Finally mono mode. It really needs it. I look forward to using this keyboard on my gigs. Nothing beats the form factor and weight! Finally, thank you for making it 1/3 the price of my Kronos! Low cost and lightweight keyboards rule!!!!! The PX-5S with my Korg Kross make a lightweight setup! All battery powered too!

Would greatly appreciate some help programming envelopes in the PX-5S. I'm familiar with ADSR envelope concepts, and have been programming them for years. Sometimes I'm playing a Stage Setting on my PX-5, and want to make some adjustments, so I dive into Edit, and unfortunately am not able to get the results I'm looking for. The Tutorial (manual) does not offer much practical help. Surprisingly, the Forum does not seem to have much on this topic, nor do Mike's (otherwise great) videos. I've tried the reverse engineering approach (turning things off), but the behavior is not what what I would expect. Not complaining, just looking for help. Part of the problem is that a given Stage Setting with 2 hex, and 2 Tone Zones has (by my count) 418 envelope parameters! That's a bunch. So, are there some strategies for programming envelopes? And I'm confused by having parameters that go from negative to positive values; if that's relative to an initial setting, how do you find and set it? Some basic tips would be greatly appreciated, Learning by trial and error is great, but has limits. Many thanks, PeredD

There is a thousand way how to play you're keyboard you can go with midi sequencing daws or fully stand alone the thing is how good will you're piece sound once you done it all right!, Mastering not only musical skills also the keyboard . Test your skillzz and let me hear how you turned the XW in a sonic power house doesn't matter how you do it how it sounds like what piece you play as long if you can tell how you did it what make the piece exceptional do it with or without the solo synth , sampling create new sounds max the possibilities out. ADD PCXW to you're mp3 or soundcloud link once you've finished you're musical piece and win to be honored excellence OF keyboard playing. YEAH awesOMe. I know its a bit crazy but I really want to hear more how others make music with their XW using everything on it by programming their own phrases arpeggio effects etc.

Hello Friends, Greetings from India. I am a composer and arranger with a YAMAHA MOX6. And I am also a keyboard player in a local band. So I am determined to upgrade to an 88 note keyboard and CASIO PRIVIA PRO PX-5S ticks all the boxes. I am very pleased with its capabilities from being a stage piano > Synth to master controller. I am a self learnt musician, but my technical knowledge with regard to cutting edge products like PX-5S is very limited. But I am a quick learner, so I am confident that I'll get it to my grips. Now the reason why I am asking you the following details is, In India we don't have showrooms like Guitar Center or Sweetwater or Kraft Music etc.,to go and try out to get hands on experience and decide what suits my needs. So my only hope to grasp an understanding about such fine products is people like you. Myself as a musician: 1) I am not a PIANO player and I have never played any acoustic grands. 2) The reason why I have decided to purchase a PX-5S or PX-350 is, now I am learning piano on my own. So I am also curious about the playability of classical piano etudes on PX-5S. Besides, PX-5S will be my main board in live performance with a YAMAHA MOX or a YAMAHA PSR 750 on top. Now the question is, 1) Though the PX-5S has no half-damper capabilites, can I simulate something closer to half -damper effect by editing the TIME / DURATION of the SUSTAIN/DAMPER RESONANCE?? For Eg: Etudes like, Chopin's "Revolutionary Etude" and "Winterwind" , many such classical compositions will require half-damper operation. If its possible to get close to such requirements, I'll be considering PX-5S. So I am requesting you to help me out on this issue to understand the technicalities involved here. Even with all the editing if it's not possible to get close, then I think I will have to go for PX-350. Even the Privia PX-350 is good. But I am a kind of a person who would love to tweak and create own sounds... and being a gigging musician the 256 note polyphony will be much helpful to create complex splits and layers. And going by youtube deoms, voices/ tones other than piano are also better in PX-5s... so im leaning towards PX-5S. 2) With the PX-5S, other than iPad, what will be the compatibility with a Samsung or other tabs which runs on Android? Will I be able to use a Soft Synth apps like 'Morphwiz' of Jordan Rudess and the like.? Can I connect any other hardware like a Tab other than iPad with PX-5S? If only with iPad, then please impart me with the advantages of integrating an iPad instead of other Andriod running devices with the PX-5S. If I have foreseen any other details or If u want to hint at any important details, plz feel free to educate me on that too.

I remember the first time that I got my G1 and listen to its sound it I knew there is more to it then what it initially showed. After months of practice and playing and off course reading this forum for technical advise and idea's, The G1 slowely opened up for what I want. Now I can practically program it for any kind of genre and the beauty is I have the solo synth as the base to every function inside the G1. I mean the mixing , dsp etc all comes nicely together. I love programming performances mix tones and apply step sequences. I can make the G1 sound hard and ruff or nice smooth and easy. Its never finish I have tons of idea's to explore to squeeze out of the XW. I've made a performance patch using a solo synth tone to mix other tones and apply dsp effects to them together and then applied to individual tones chorus and reverb I knew the XW would mix the total effects by itself as long if every tone is fine tuned to match each other perfectly its not perfected yet but Ill dump the patches here later before I ruin them. https://soundcloud.com/clay-louis-petty/smooth-xw-expirience Smooth XW expirience.MP3