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WK-7500 : Joining two sounds into one ??? Workflow ???


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BEGINNER QUESTIONS:

 

As  a beginner, I'm having trouble trying to figure out a work flow to accomplish the sound I want.  

 

Rather than taking a specific "task" the book makes you jump all over from here to there and back again to put together the steps you need ... and there's no transition detail as to what I should do NEXT. 

 

I would like a layer that has a marimba and a flute. (Think : Margaritaville)

 

So that suggest that  I first must join the marimba and the flute into a "User Sound" before assigning it to a layer.

 

Is that correct?

 

So, how do I accomplish that? 

 

The "Creating a User Tone" assumes I"m just creating ONE tone, rather than combining two ... and follows with several pages of stuff I have no idea what they're talking about. 

 

???

 

Thanking you in advance

 

Fred

 

 

 

 

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Fred

 

The dual-sound "tones" (Piano/Strings, Piano/Pad, etc) on the Casio CTK/WK units are separate wave samples (recordings) that were combined into a single tone at the factory. Each tone in the CTK/WK tone libraries can have up to three separate wave samples.  For some of the piano voices, the wave samples are switched on depending upon how hard (velocity) you hit the key.  The assumption being that the harder you hit a key the faster (velocity) you press it down.  If you hit the key softly, wave sample 1 in that tone is switched on, while samples 2 and 3 remain off, and you get a soft sound.  Hit the key a little harder, and only sample 2 is switched on and you get a little harder sound.  Hit the key really hard and you get the hard sound from sample 3.  This is to more closely emulate the different sounds you get from a real piano as you strike the keys with different hardness.  Some of the piano tones use only two samples, while still others use just the basic single sample.  For guitars, sample one gives regular guitar tones but with a hard hit key you get a string-bend tone or a hammer-on tone or the regular tone with a finger/fret noise.  Here again, most of the guitar tones use only a basic single sample.  For saxes, we can have a normal sax tone, but hit the key a little harder and you get the typical sax bark, but most of the brass voices just use basic single samples.  Multi-sampled tones, as they are called, can get very pricey very quickly. Tones like Piano-Strings and Piano-Pad are just another use of the multi-sample tone feature.  Here there is no velocity switching.  Both samples just come on together, but some keyboards do use velocity switching to only bring in the strings or pad for keys struck above a preset velocity, so you can turn the second sound on and off with just your playing style.  Some orchestral ensemble tones have a velocity switched orchestral or timpani hit.  On the CTK/WK units, the sustain pedal increases the decay time of the non-piano sound for the Piano-Strings and Piano-Pad tones to infinity so they never decay (like an organ tone) as long as the pedal is held down.

 

OK !  That's the background.  Now the bad news.  While the CTK/WK keyboards' sound engines can access and manipulate the individual wave samples in multi-sampled tones, we as users, have no direct access to the individual wave samples in a tone.  Higher end professional units do allow this, but we only have access to the complete tone.  When we edit any tone - even the multi-samples - we only have access to the parameters that affect the entire tone globally.  So we have no way of combining individual wave samples and saving them as new User Tones.  The best we can do is to LAYER tones and save the layering into a registration.

 

Sorry !

 

Regards,

 

Ted

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