Chandler Holloway

This is a set of specially modified Registration bank files for the CDP-S350, created using my RBK Mixer program. Loading these bank files into your CDP-S350 will unlock functionality that would otherwise be impossible through the onboard controls alone, such as more flexible MIDI control and the ability to route specific tones to individual mono outputs for external effects processing.

 
MIDI Control Banks (MIDICtr1.RBK and MIDICtr2.RBK)
 
These Registration Banks set the volume levels for specific tones (Upper1, Upper2, Lower) to zero, muting them within the S350's internal sound engine. For reference, when you use your S350 as a USB-MIDI controller to trigger external sound sources (like software instruments in a DAW, or hardware synthesizers), you can disable all of the internal sounds by turning Local Control off in the MIDI Menu. This disconnects the keyboard from the internal sound source, essentially muting all three tone layers, the Rhythms and Accompaniment, and Auto-Harmonizer and Arpeggiator playback. Although you can't hear any of the internal sounds, the keyboard is still sending out MIDI note messages, and MIDI note messages received from external sources will still trigger the internal sounds.
 
However, Local control is an "all-or-nothing" solution for MIDI control, as it turns off everything you can normally control from the onboard controls. On more advanced models like the CT-X3000 and X5000, an easy way to get around this is to use the built-in Mixer menu to disable any internal sounds you don't want to hear by muting them (setting the volume to zero). So, for example, if I wanted to use the CT-X3000's Stage Piano sound layered with a Synth Strings tone produced by an external software instrument in my DAW, I would enable Layer mode, but set the volume of the Layered tone to zero in the mixer menu. I wouldn't hear the CT-X3000's string sound, but because the Layer tone is still technically enabled, the CT-X will still send out MIDI notes on the Layer tone's MIDI channel (MIDI channel 2 by default).
 
Unfortunately, the CDP-S350 does not have a Mixer menu, so it's normally impossible to mute a specific layer within the internal sound engine. These custom made RBK files circumvent this limitation by muting the appropriate layers whenever a specific Registration Slot is selected. This is accomplished by modifying "hidden" mixer parameters that are not accessible through the onboard controls, something that I only learned was possible thanks to @mrmr9494's initial investigations into the subject. Conveniently, you can connect the audio output of your external sound source to the 1/8" Audio Input on the S350's back panel, allowing you to layer these external sounds on top of the S350's tones without the need for an external mixer.
 
The above image shows which slots correspond to a specific layer being muted. Some things to note: 
 
A specific layer must still be enabled in order to send out MIDI note data. By default, the Upper 1 (Main) tone send MIDI data on Channel 1, the Upper 2 (Layer) tone sends MIDI data on channel 2, and the Lower (Split) tone sends MIDI data on channel 3. You can define a specific MIDI channel for the Upper 1 tone by going to Function -> Scroll to MIDI, Press Enter -> The display shows "Keyboard Channel", Press Enter -> Use selection wheel to set the Keyboard Channel from 1-16. Whatever channel the Upper 1 tone is set to, the Upper 2 tone will transmit on the next highest channel, and the Lower tone transmits on the next highest channel after that. For example, if I set the Keyboard Channel to 5, Upper 1 transmits on channel 5, Upper 2 transmits on 6, and Lower transmits on 7. If I set the Keyboard channel to 16, Upper 1 transmits on channel 16, Upper 2 transmits on channel 1, and Lower transmits on channel 2. Arpeggiator data is sent out over MIDI, a very helpful feature for controlling external synthesizers that don't have their own built-in arpeggios to play with (or only have a few to choose from, whereas the CDP-S350 has 100 different Arp patterns). However, keep in mind that the Arpeggiator will only work for U1, so you'll want to use a slot that has Upper1 muted for this particular application. Slot 3 in the second MIDI Control Bank, which mutes all three layers (U1, U2, L). This may seem useless, but it is very handy if you only want to use the CDP-S350 for its Rhythms and Accompaniment sounds. Turning Local Control off will mute the keyboard tones as well as the Rhythm sounds, so if you want to use the S350 as a dedicated drum machine or backing track generator (but still control external sounds via USB-MIDI), this is the way to do it. Even though the keyboard tones are muted within the internal sound engine, the S350 is still processing them as if they were being played normally, meaning each note you hold down will still count towards the maximum polyphony limit of 64 simultaneous voices. Likewise, even if a specific layer is muted, it will still send out Program Change and bank select messages depending on which tone is assigned to that layer. If your external sound source responds to Program change messages for external tone selection, you can use this to recall a specific tone on the external instrument simply by recalling this Registration on the CDP-S350. However, this may result in unintentional tone changes on the external instrument, so if you don't want the S350's layers to trigger tone changes, you may need to filter out (or disable the receipt of) Program Changes in the settings for whatever external instrument you're using. To see which tones on the CDP-S send out which Program Change messages, refer to the Tone List in the S350's appendix.  
Panning Banks for Individual Outputs (PanBank1, 2 and 3.RBK)
 
These Registration banks, similar to the MIDI control banks, work by setting values in the CDP-S350's hidden mixer menu whenever a specific Registration is loaded. This time, the mixer parameters being set are the pan position of each layer in the stereo field. Normally, the S350 outputs a stereo signal with all three of the keyboard tones (U1, U2, and L) centered, meaning they are heard equally in both the left and right channels. Using the mixer menu (or in this case, a specially modified RBK file), you can change the default pan setting of 64 such that a particular tone will be skewed towards either the left or right ends of the stereo field. Values lower than 64 will skew the balance towards the left output, and balances higher than 64 will skew the balance right. 
 
By panning certain tones hard left (pan position = 0) or hard right (pan position = 127), it's possible to give your S350 a pair of individual mono outputs rather than one combined stereo output. For example, let's say I have a Stage Piano tone assigned to Upper 1 and an Acoustic Bass tone selected as the lower split voice. If I hard pan Upper 1 to the left and hard pan Lower to the right, the left channel will only carry the signal of the piano tone, and the right channel will only have the bass tone. Using a splitter cable, I can send these isolated mono signals through separate outboard effects, allowing me to process the sounds with much more flexibility and precision. If you don't already have a splitter cable, the attached PDF guide should help you decide what to buy depending on what you already have and your specific recording/performance needs.
CDP-S350 Individual Outputs Adapter Guide.pdf
 
Alternatively, for a lower cost option, you could skip the splitter cable, record into your DAW as a stereo track, and then split the stereo recording into two separate mono tracks after the fact. You'd still end up with two isolated recordings of each tone that can be processed, trimmed and EQ'd independently of one another, which is a very convenient time-saver during the mixing process. Without isolated outputs, you'd have to record the piano track and the bass track in two separate takes to gain access to the same kind of post processing flexibility, as recording with both of them outputting in stereo at the same time would prevent you from making individual changes to either track afterwards.
 
To cover a wide range of use cases, this utility pack includes three separate panning banks with multiple different combinations of tones assigned to the left or right output. Refer to the same image at the top of this page to find out which specific bank and slot contains the right combination of pan values to suit your recording or performance needs. 
 
Panning Bank 3 takes this a step further and combines these hard panned tones with muted layers for MIDI control purposes. With one layer panned hard left, another layer panned hard right, and the third layer muted so it can be used to control an external software instrument, it's now possible to record three entirely separate audio tracks at once, each of which can be run through its own specific effects, EQ, and post-processing for an unprecedented amount of mastering versatility on a keyboard of this price.
 
There are some limitations to keep in mind, however:
The internal reverb and delay effects on the S350 are stereo effects, so you cannot achieve fully independent outputs when the internal Reverb is enabled. Even with hard panned layers, the decay of the reverb and delay effects will always "bleed" into the other output, so Reverb has to be set to Off in order to have completely isolated mono outputs. The three panning banks will automatically set Reverb to "off" when you recall a Registration, so as long as you don't turn reverb back on, you'll be fine. By default, this will mean your signals will always be "dry" in terms of Reverb and Delay, but you can always add in Reverb and Delay effects with outboard effects units/pedals, or during post-processing in your DAW. Some tones are not "mono-compatible", and as such, cannot be used for this individual outputs workaround even when their pan position is set to 0 or 127. These tones include "Wide" variants of standard tones (Grand Piano Wide, Vibraphone Wide), as well as some ensemble tones (Chamber Strings, Brass Section). A list of these "Forced Stereo" tones has been included in the .ZIP archive, so if you find that you a certain tone doesn't seem to be working with these panning banks, double check that it isn't on the list before you continue troubleshooting. Chorus (and Flanger effects) are not always stereo, and as such, they are compatible with certain tones when using this mono outputs trick. However, it seems that chorus behaves differently for some tones than others, so if you have chorus turned on and you find that an otherwise mono compatible tone isn't working right, try turning chorus off and see if that solves the problem. If it does, please leave a comment on this download page so I can update the list of forced stereo tones to warn other users in the future. The Panning Arpeggiator will un-do the effects of these Registration banks to create the auto-panning effect, so you cannot use this type of arpeggio under any circumstances. If you do accidentally end up using it, you'll need to recall that same Registration slot again to re-apply the pan values.   
Importing and Using these RBK Files
 
You'll need to connect a USB flash drive to the CDP-S350 transfer the files. For more information on how to set up your flash drive and navigate the Media menu, refer to this tutorial video.
 
Use the image at the top of this download page to figure out which utility bank contains the slot that you want to use. Using a flash drive, import that RBK file into one of the 8 Registration banks in the onboard memory. I prefer to keep the Registrations I use the most in Bank 8, as it's hard to accidentally overwrite slots in Bank 8 since it's at the very end of the bank list. Once the bank is imported, navigate to whatever bank you chose and recall one of the slots by pressing the appropriate button. Play a few notes to verify that it applied the settings you wanted it to. If it's not what you expected, double check that you chose the right file and recalled the right slot. These banks contain placeholder tones (Piano on U1, Strings on U2, and Acoustic Bass on L), but you can change tones without undoing the muting or panning effects that were applied by recalling the slot. Once you're sure you've recalled the right slot for your particular application, you can change these tones around to adapt the registration to suit the needs of your performance or recording. (Optional) If you're using the Panning Banks for individual outputs, be sure to check the list of Forced Stereo Tones included in the zip file so you can avoid using any tones that are incompatible with hard panning. At this point, you can hook up whatever you're using to split the signal and test the signal coming out of both outputs to see if the sounds are properly isolated. You can also try applying a Chorus or Flanger effect if desired, although again, this might mess up the mono outputs trick depending on what tone you use. The Rhythm, tempo, arpeggiator, touch response, pedal assignment etc are also placeholder values in these Registration banks, so once you've got your tones, layers, and splits squared away, you can start configuring all the other settings you want to store in this Registration. Store these settings as a new Registration in whatever bank and slot you'd like. Note that switching to another (unmodified) Registration will undo the muting and panning effects applied by these files, so you'll have to recall this specific slot again to re-apply these special effects. Turning off the keyboard and turning it on again will also remove the muting and panning effects, so again, you'll need to recall this slot to revert back to these special settings at the start of each session. (Optional) Once you've created all the personalized Registrations you want for the time being, export the Registration bank containing your newly created Registration slot (or slots) and store the RBK file externally on your computer or a flash drive. That way, if you accidentally overwrite this slot at some point down the road, you can just re-import the archived version instead of having to start from scratch with the utility banks and replace all the placeholder settings again.  
If you're having trouble getting these files to work for you, please don't hesitate to ask for help in this thread over in the CDP-S section of the forums. If you want to report any errors in the list of Forced Stereo Tones (or just inform me that a specific tone is not usable with Chorus or Flanger effects), I'd very much appreciate your help there as well.
 
Thanks for reading, and enjoy!
-Chandler

This is a set of specially modified Registration bank files for the CT-X700 and X800, created using my RBK Mixer program. Loading these bank files into your CT-X700 or X800 will unlock functionality that would otherwise be impossible through the onboard controls alone, such as more flexible MIDI control and the ability to route specific tones to individual mono outputs for external effects processing.

 
MIDI Control Banks (MIDICtr1.RBK and MIDICtr2.RBK)
 
These Registration Banks set the volume levels for specific tones (Upper1, Upper2, Lower) to zero, muting them within the CT-X's internal sound engine. For reference, when you use your CT-X as a USB-MIDI controller to trigger external sound sources (like software instruments in a DAW, or hardware synthesizers), you can disable all of the internal sounds by turning Local Control off in the MIDI Menu. This disconnects the keyboard from the internal sound source, essentially muting all three tone layers, the Rhythms and Accompaniment, and Auto-Harmonizer and Arpeggiator playback. Although you can't hear any of the internal sounds, the keyboard is still sending out MIDI note messages, and MIDI note messages received from external sources will still trigger the internal sounds.
 
However, Local control is an "all-or-nothing" solution for MIDI control, as it turns off everything you can normally control from the onboard controls. On more advanced models like the CT-X3000 and X5000, an easy way to get around this is to use the built-in Mixer menu to disable any internal sounds you don't want to hear by muting them (setting the volume to zero). So, for example, if I wanted to use the CT-X3000's Stage Piano sound layered with a Synth Strings tone produced by an external software instrument in my DAW, I would enable Layer mode, but set the volume of the Layered tone to zero in the mixer menu. I wouldn't hear the CT-X3000's string sound, but because the Layer tone is still technically enabled, the CT-X will still send out MIDI notes on the Layer tone's MIDI channel (MIDI channel 2 by default).
 
Unfortunately, the CT-X700 and X800 do not have a Mixer menu, so it's normally impossible to mute a specific layer within the internal sound engine. These custom made RBK files circumvent this limitation by muting the appropriate layers whenever a specific Registration Slot is selected. This is accomplished by modifying "hidden" mixer parameters that are not accessible through the onboard controls, something that I only learned was possible thanks to @mrmr9494's initial investigations into the subject. Conveniently, you can connect the audio output of your external sound source to the 1/8" Audio Input on the CT-X's back panel, allowing you to layer these external sounds on top of the CT-X tones without the need for an external mixer.
 
The above image shows which slots correspond to a specific layer being muted. Some things to note: 
 
A specific layer must still be enabled in order to send out MIDI note data. By default, the Upper 1 (Main) tone send MIDI data on Channel 1, the Upper 2 (Layer) tone sends MIDI data on channel 2, and the Lower (Split) tone sends MIDI data on channel 3. You can define a specific MIDI channel for the Upper 1 tone by going to Function -> Scroll to MIDI, Press Enter -> Use +/- buttons to set the Keyboard Channel from 1-16. Whatever channel the Upper 1 tone is set to, the Upper 2 tone will transmit on the next highest channel, and the Lower tone transmits on the next highest channel after that. For example, if I set the Keyboard Channel to 5, Upper 1 transmits on channel 5, Upper 2 transmits on 6, and Lower transmits on 7. If I set the Keyboard channel to 16, Upper 1 transmits on channel 16, Upper 2 transmits on channel 1, and Lower transmits on channel 2. Arpeggiator data is sent out over MIDI, a very helpful feature for controlling external synthesizers that don't have their own built-in arpeggios to play with (or only have a few to choose from, whereas the CT-X has 100 different Arp patterns). However, keep in mind that the Arpeggiator will only work for U1, so you'll want to use a slot that has Upper1 muted for this particular application. Slot 3 in the second MIDI Control Bank, which mutes all three layers (U1, U2, L). This may seem useless, but it is very handy if you only want to use the CT-X for its Rhythms and Accompaniment sounds. Turning Local Control off will mute the keyboard tones as well as the Rhythm sounds, so if you want to use the CT-X as a dedicated drum machine or backing track generator (but still control external sounds via USB-MIDI), this is the way to do it. Even though the keyboard tones are muted within the internal sound engine, the CT-X is still processing them as if they were being played normally, meaning each note you hold down will still count towards the maximum polyphony limit of 64 simultaneous voices. Likewise, even if a specific layer is muted, it will still send out Program Change and bank select messages depending on which tone is assigned to that layer. If your external sound source responds to Program change messages for external tone selection, you can use this to recall a specific tone on the external instrument simply by recalling this Registration on the CT-X. However, this may result in unintentional tone changes on the external instrument, so if you don't want the CT-X's layers to trigger tone changes, you may need to filter out (or disable the receipt of) Program Changes in the settings for whatever external instrument you're using. To see which tones on the CT-X send out which Program Change messages, refer to the Tone List in the CT-X's appendix.  
Panning Banks for Individual Outputs (PanBank1, 2 and 3.RBK)
 
 
These Registration banks, similar to the MIDI control banks, work by setting values in the CT-X700 and X800's hidden mixer menu whenever a specific Registration is loaded. This time, the mixer parameters being set are the pan position of each layer in the stereo field. Normally, the CT-X outputs a stereo signal with all three of the keyboard tones (U1, U2, and L) centered, meaning they are heard equally in both the left and right channels. Using the mixer menu (or in this case, a specially modified RBK file), you can change the default pan setting of 64 such that a particular tone will be skewed towards either the left or right ends of the stereo field. Values lower than 64 will skew the balance towards the left output, and balances higher than 64 will skew the balance right. 
 
By panning certain tones hard left (pan position = 0) or hard right (pan position = 127), it's possible to give your CT-X a pair of individual mono outputs rather than one combined stereo output. For example, let's say I have a Stage Piano tone assigned to Upper 1 and an Acoustic Bass tone selected as the lower split voice. If I hard pan Upper 1 to the left and hard pan Lower to the right, the left channel will only carry the signal of the piano tone, and the right channel will only have the bass tone. Using a splitter cable, I can send these isolated mono signals through separate outboard effects, allowing me to process the sounds with much more flexibility and precision. If you don't already have a splitter cable, the attached PDF guide should help you decide what to buy depending on what you already have and your specific recording/performance needs.
CT-X700 X800 Individual Outputs Adapter Guide.pdf
 
Alternatively, for a lower cost option, you could skip the splitter cable, record into your DAW as a stereo track, and then split the stereo recording into two separate mono tracks after the fact. You'd still end up with two isolated recordings of each tone that can be processed, trimmed and EQ'd independently of one another, which is a very convenient time-saver during the mixing process. Without isolated outputs, you'd have to record the piano track and the bass track in two separate takes to gain access to the same kind of post processing flexibility, as recording with both of them outputting in stereo at the same time would prevent you from making individual changes to either track afterwards.
 
To cover a wide range of use cases, this utility pack includes three separate panning banks with multiple different combinations of tones assigned to the left or right output. Refer to the same image at the top of this page to find out which specific bank and slot contains the right combination of pan values to suit your recording or performance needs. 
 
Panning Bank 3 takes this a step further and combines these hard panned tones with muted layers for MIDI control purposes. With one layer panned hard left, another layer panned hard right, and the third layer muted so it can be used to control an external software instrument, it's now possible to record three entirely separate audio tracks at once, each of which can be run through its own specific effects, EQ, and post-processing for an unprecedented amount of mastering versatility on a keyboard of this price.
 
There are some limitations to keep in mind, however:
The internal reverb and delay effects on the CT-X models are stereo effects, so you cannot achieve fully independent outputs when the internal Reverb is enabled. Even with hard panned layers, the decay of the reverb and delay effects will always "bleed" into the other output, so Reverb has to be set to Off in order to have completely isolated mono outputs. The three panning banks will automatically set Reverb to "off" when you recall a Registration, so as long as you don't turn reverb back on, you'll be fine. By default, this will mean your signals will always be "dry" in terms of Reverb and Delay, but you can always add in Reverb and Delay effects with outboard effects units/pedals, or during post-processing in your DAW. Some tones are not "mono-compatible", and as such, cannot be used for this individual outputs workaround even when their pan position is set to 0 or 127. These tones include "Wide" variants of standard tones (Grand Piano Wide, Vibraphone Wide), as well as some ensemble tones (Chamber Strings, Brass Section). There are also some synth tones that have stereo delay effects hard coded into them (Synth Sequence, X Synth 4), meaning they will always be stereo. A list of these "Forced Stereo" tones has been included in the .ZIP archive, so if you find that you a certain tone doesn't seem to be working with these panning banks, double check that it isn't on the list before you continue troubleshooting. Chorus (and Flanger effects) are not always stereo, and as such, they are compatible with certain tones when using this mono outputs trick. However, it seems that chorus behaves differently for some tones than others, so if you have chorus turned on and you find that an otherwise mono compatible tone isn't working right, try turning chorus off and see if that solves the problem. If it does, please leave a comment on this download page so I can update the list of forced stereo tones to warn other users in the future. The Panning Arpeggiator will un-do the effects of these Registration banks to create the auto-panning effect, so you cannot use this type of arpeggio under any circumstances. If you do accidentally end up using it, you'll need to recall that same Registration slot again to re-apply the pan values.   
Importing and Using these RBK Files
 
If you have a CT-X700, you will need to use Data Manager for CT-X and a USB-B to USB-A data cable to transfer the files (here's a video tutorial if you need it). If you have a CT-X800, you have the option of connecting a flash drive to transfer the files (tutorial video), or you can use Data Manager if you'd prefer. Data Manager does have the advantage of letting you import one slot from a specific bank rather than loading in all four slots at once, but either way works.
 
Use the image at the top of this download page to figure out which utility bank contains the slot that you want to use. Using either Data Manager or a flash drive, import that RBK file into one of the 8 Registration banks in the onboard memory. I prefer to keep the Registrations I use the most in Bank 8, as it's hard to accidentally overwrite slots in Bank 8 since it's at the very end of the bank list. Once the bank is imported, navigate to whatever bank you chose and recall one of the slots by pressing the appropriate button. Play a few notes to verify that it applied the settings you wanted it to. If it's not what you expected, double check that you chose the right file and recalled the right slot. These banks contain placeholder tones (Piano on U1, Strings on U2, and Acoustic Bass on L), but you can change tones without undoing the muting or panning effects that were applied by recalling the slot. Once you're sure you've recalled the right slot for your particular application, you can change these tones around to adapt the registration to suit the needs of your performance or recording. (Optional) If you're using the Panning Banks for individual outputs, be sure to check the list of Forced Stereo Tones included in the zip file so you can avoid using any tones that are incompatible with hard panning. At this point, you can hook up whatever you're using to split the signal and test the signal coming out of both outputs to see if the sounds are properly isolated. You can also try applying a Chorus or Flanger effect if desired, although again, this might mess up the mono outputs trick depending on what tone you use. The Rhythm, tempo, arpeggiator, touch response, pedal assignment etc are also placeholder values in these Registration banks, so once you've got your tones, layers, and splits squared away, you can start configuring all the other settings you want to store in this Registration. Store these settings as a new Registration in whatever bank and slot you'd like. Note that switching to another (unmodified) Registration will undo the muting and panning effects applied by these files, so you'll have to recall this specific slot again to re-apply these special effects. Turning off the keyboard and turning it on again will also remove the muting and panning effects, so again, you'll need to recall this slot to revert back to these special settings at the start of each session. (Optional) Once you've created all the personalized Registrations you want for the time being, export the Registration bank containing your newly created Registration slot (or slots) and store the RBK file externally on your computer or a flash drive. That way, if you accidentally overwrite this slot at some point down the road, you can just re-import the archived version instead of having to start from scratch with the utility banks and replace all the placeholder settings again.  
If you're having trouble getting these files to work for you, please don't hesitate to ask for help in this thread over in the CT-X700/X800 section of the forums. If you want to report any errors in the list of Forced Stereo Tones (or just inform me that a specific tone is not usable with Chorus or Flanger effects), I'd very much appreciate your help there as well.
 
Thanks for reading, and enjoy!
-Chandler

This is a complete archive of all the preset rhythms on the CT-X3000 (and X5000) in .AC7 format. I exported these rhythms one by one from the CT-X3000 by copying them into an empty User Rhythm slot and moving them to my computer in groups of 50 by using the Data Manager for CT-X software utility. Thanks to the wonderful ReStyle batch renaming tool developed by @shiihs here on the forums, I was able to quickly and efficiently edit these Rhythms to use their original display names as shown on stock CT-X3000 hardware instead of generic "No Name" placeholders. 
 
These Rhythms also have the benefit of being "unlocked" as a result of being processed by ReStyle. Normally, official Casio preset Rhythms are unable to be edited beyond tweaking voice assignments in the Rhythm mixer menu, as their track data appears as "Fixed" when you attempt to edit the recordings in the onboard Rhythm Editor. However, these unlocked Rhythms will show their track data as "Recorded", just like it would be with any other User Rhythm you created from scratch. This opens up the ability to add or remove notes to an existing track recording via overdubbing and spot clear, allowing you to make precise changes to the material already contained in these preset Rhythms. If you would rather work with the original, locked Rhythms exported exactly as they were from hardware, you can refer to my previous release of this archive.
 
If you are a CT-X700, CT-X800 or CDP-S350 owner who is looking to import only the Rhythms that were kept exclusive to the CT-X3000/X5000, I would not recommend using this archive. Instead, I have released a separate expansion pack specifically for those models that includes only the exclusive "missing" Rhythms that have been properly adjusted with new voice assignments to avoid tones that are exclusive to the X3000 for maximum compatibility. The Rhythms in this archive are raw and unaltered from the original presets on the X3000, and several of them make use of tones that do not exist on the lower end AiX models, meaning they may sound strange when you import them to those keyboards. The CT-X700/X800 pack can be found here, and the CDP-S350 pack is here.
 
MZ-X users in particular might find this archive helpful, as the MZ-X300 and MZ-X500 are the only other Casio keyboards in the current line-up that can import and play 4-variation .AC7 Rhythms. However, these Rhythm styles are programmed with the CT-X series' voice assignments in mind, so the Program Change and Bank select values associated with some of these Rhythms may call up different instruments when they're imported onto an MZ-X model. Fortunately the MZ-X series features a highly capable onboard Rhythm Editor which you can use to tweak the voice assignments to your liking.

This is a (mostly) complete archive of all the Rhythms on the CT-X700, CT-X800, CDP-S350, CT-S400 and LK-S450. These instruments have the ability to import custom User Rhythms, but they cannot edit them in any way once they are loaded into the internal memory. As such, this means they are also incapable of copying preset Rhythms into a User Rhythm slot, which is the only way to get AC7 Rhythm files exported off of the keyboard and onto your computer for external editing/sharing.
 
I've compiled this archive to circumvent that limitation, allowing owners of these "Import Only" instruments to access near-identical copies of the preset Rhythms on their instrument. When these files are used in conjunction with a librarian program like ReStyle, they open up added functionality like the Named Registration workaround. In the future, if a fully-featured AC7 Editor program ever comes out, these files will also give "Import Only" Casio owners a great starting point for tweaking the preset Rhythms. One such editor is being worked on by a community member at the moment, but it is not ready for public release.
 
These files are only useful if you own one of these "Import Only" models. If you're only interested in this download as a way to access the preset Rhythms from the AiX generation of Casio keyboards, do not download these files. You are usually better off getting the "complete" 4 variation versions of these files from my CT-X3000/X5000 archive. If you plan to use these 4 variation Rhythms on a Casio keyboard that only has 2 variations (usually labeled as "Normal + Variation"), you can use ReStyle to split the Rhythm in half and load both halves into two separate Rhythm slots.
 
I created these files by taking the CT-X3000/X5000 source files and doing side-by-side comparisons of the same Rhythms on my CT-X700 to determine which variations and fills the Casio engineers chose when "condensing" these 4 variation Rhythms down for use on the entry-level 2 variation models. While this process was long and difficult, it was successful for 95% of the Rhythms in the archive. The numbers at the end of these file names (e.g. 13-24, 14-23) denotes which parts of the original 4 variation Rhythm were swapped around to make the 2 variation Rhythm. The numbers to the left of the dash are the two variations/fills that occupy the first two slots, and the numbers to the right are the ones that occupy the last two slots (inaccesible on a 2 variation model). So, a "13-24" Rhythm is one that uses Variations and Fills 1 and 3 from the 4 variation source file. 23-14 uses Variations 2 and 3 from the original file. V1F2V3F3-V2F1V4F4 uses Variation 1 and Fill 2, and Variation 3 and Fill 3 from the original file. You can ignore these numbers for the most part, I included them for organizational purposes.
 
Some of these Rhythms won't sound exactly like the originals, primarily because not all of the Rhythms that appear on the CT-X700 are included on the CT-X3000/X5000. There are a good chunk of Indian Rhythms in particular that were only put on the X700 (and of course the Indian variants like the CT-X870IN/X8000IN/X9000IN). I had to source these files from a helpful forum user (@ConfusedRedditor16), but because I had to edit the voice assignments on a CT-X5000, I did not have access to all of the exclusive tones used to record these Rhythms initially. These files can be fixed eventually, but I didn't want to delay the rest of the archive so I'm releasing them as-is for now. I have labeled all of the Rhythm files that have "incomplete" instrumentation with two exclamation points (!!) at the start of the file name. If you want to take a crack at fixing them yourself, feel free to reply with a comment here and I can update the .zip archive to include your fixes.
 
If you have a CT-X700, you will need to use Data Manager for CT-X and a USB-B to USB-A data cable to transfer the files (here's a video tutorial if you need it). If you have a CT-X800, you have the option of connecting a flash drive to transfer the files, or you can use Data Manager if you'd prefer. CDP-S350, CT-S400 and LK-S450 owners will have to use the flash drive transfer method. This tutorial video on flash drive transfer was made for the CDP-S350 and the CT-X800, but the process is more or less the same for the CT-S400 and LK-S450.

This is a complete archive of all the preset rhythms on the CT-X3000 (and X5000) in .AC7 format. I exported these rhythms one by one from the CT-X3000 by copying them into an empty User Rhythm slot and moving them to my computer in groups of 50 by using the Data Manager for CT-X software utility. Thanks to the wonderful ReStyle batch renaming tool that's currently being developed by @shiihs here on the forums, I was able to quickly and efficiently edit these Rhythms to use their original display names as shown on stock CT-X3000 hardware instead of generic "No Name" placeholders. Please consider popping into the ReStyle development thread here on the forums to thank shiihs for his continued efforts and assist with further testing of the program.
 
If you are a CT-X700, CT-X800 or CDP-S350 owner who is looking to import only the Rhythms that were kept exclusive to the CT-X3000/X5000, I would not recommend using this archive. Instead, I have released a separate expansion pack specifically for those models that includes only the exclusive "missing" Rhythms that have been properly adjusted with new voice assignments to avoid tones that are exclusive to the X3000 for maximum compatibility. The Rhythms in this archive are raw and unaltered from the original presets on the X3000, and several of them make use of tones that do not exist on the lower end AiX models, meaning they may sound strange when you import them to those keyboards. The CT-X700/X800 pack can be found here, and the CDP-S350 pack is here.
 
This release is the first part of what I hope will eventually become a full public archive of all the different Rhythm styles on the current line-up of Casio keyboards. MZ-X users in particular might find this archive helpful, as the MZ-X300 and MZ-X500 are the only other Casio keyboards in the current line-up that can import and play 4-variation .AC7 Rhythms. However, these Rhythm styles are programmed with the CT-X series' voice assignments in mind, so the Program Change and Bank select values associated with some of these Rhythms may call up different instruments when they're imported onto an MZ-X model. Fortunately the MZ-X series features a highly capable onboard Rhythm Editor which you can use to tweak the voice assignments to your liking.
 
I have since released an updated version of this archive with unlocked versions of these AC7 files. These unlocked Rhythms will show their track data as "Recorded", just like it would be with any other User Rhythm you created from scratch. This opens up the ability to add or remove notes to an existing track recording via overdubbing and spot clear, allowing you to make precise changes to the material already contained in these preset Rhythms. You can download the unlocked versions here.

These Rhythms are made to be an alternative to the built-in metronome, and as such, they are pretty barebones (just woodblocks and triangle, pretty much). Every possible configuration of the built-in metronome with regards to time signature has been recreated as an .AC7 Rhythm in addition to specialized variants of those Metronome-Rhythms that are suited to specific applications.
 
The standard variant of each met-Rhythm is simply named for the time signature it represents, (e.g. "4/4" or "6/8"). The Normal (Var1) pattern of these Rhythms is just the downbeat pulse with a triangle ding to indicate the start of a new measure. The Variation (Var2) pattern adds a subdivided pulse on the upbeat on top of the previous pulses. The subdivided variant (named "4/4 Sub" etc) takes this a step further by subdividing the pulse again for the Variation pattern (e.g. adding a sixteenth note pulse to a measure of 4/4, or a thirty second note pulse to a measure of 6/8).
 
The precount variant  ("4/4 Pre" or "6/8 Pre" etc) is the same as the standard variant, but with the Normal pattern blanked out. You can use the Intro pattern to trigger a one or two measure precount that uses a different drum sound (a side stick snare hit) to count off the start of the piece. Thus, when the precount finishes and the Intro pattern transitions to the Normal pattern, the metronome will drop out automatically. The beat and measure counters will still keep going as long as you don't stop Rhythm playback, and you can bring the metronome back in at any time by pressing the intro or variation buttons. The subdivided precount variant ("6/8 SbPre") is the same idea, just with the subdivision pulse added in. Most of the met-Rhythms only have one measure long precount Intros, but for some of the shorter time signatures (3/8, 3/4), I opted for a 2-measure precount to give the user more time to internalize the pulse. 2-measure precounts will include a triangle ding on the first downbeat of both measures for your reference.
 
For more information on the useful applications of these Rhythms, see this post in the General Discussion section. I created this Rhythm Pack for an upcoming video project on multi-track recording with the CT-X700 and X800. CT-X700 users must use the Data Manager for CT-X software to import these Rhythms, but X800 users can either use the software or import Rhythms directly using a flash drive.

An expansion pack of 50+ Rhythms made specifically for the Casio CDP-S350. The S350 is built on the same AiX sound source as the CT-X series, and shares all of its pre-set rhythms with the the entry-level CT-X700 and X800 models in that product line. I took all the exclusive Rhythms from the higher-end CT-X3000 and X5000 and personally converted them to use the CDP-S350's voice assignments to ensure maximum compatibility. These Rhythms will still work with other models that accept .AC7 format Rhythms, but the differences in voice assignments may result in some strange instrumentation on non AiX keyboards. If your keyboard has access to an onboard Rhythm Editor, you can change the voices assigned to each track as needed.
 
Any CT-X3000/X5000 exclusive tones found in these Rhythms were changed to closest thing I could find on the CDP-S350, and all General MIDI tones in the original Rhythms were swapped out for their higher-quality equivalents whenever possible. As a result, some of these S350 Rhythms might even sound better than they do on the X3000/X5000, but they only have two variations to work with instead of the X3000's 4 Variations. When deciding on which variations to keep during the conversion process, I tried to make Variation 1 ("Normal" on the S350) whichever pattern sounded closest to the Intro pattern and Variation 2 ("VAR" on the S350) whichever pattern sounded as close as possible to the Ending pattern.
 
You can use a USB flash drive for the transfer. Just make sure that the .AC7 Rhythm files are placed inside the MUSICDAT folder on the root of your flash drive so that the S350 can recognize them properly. Enjoy! 

An expansion pack of 40+ Rhythms made specifically for the CT-X700 and CT-X800. I took all the CT-X3000/X5000 exclusive Rhythms and personally converted them to use the CT-X700 and X800's voice assignments to ensure maximum compatibility. These Rhythms will still work with other models, but the differences in voice assignments may result in some strange instrumentation on non CT-X keyboards. If your keyboard has access to an onboard Rhythm Editor, you can change the voices assigned to each track as needed.
 
Any CT-X3000/X5000 exclusive tones found in these Rhythms were changed to closest thing I could find on the X700, and all General MIDI tones in the original Rhythms were swapped out for their higher-quality equivalents whenever possible. As a result, some of these X700 Rhythms might even sound better than they do on the X3000/X5000, but they only have two variations to work with instead of the X3000's 4 Variations. When deciding on which variations to keep during the conversion process, I tried to make Variation 1 ("Normal" on the X700) whichever pattern sounded closest to the Intro pattern and Variation 2 ("VAR" on the X700) whichever pattern sounded as close as possible to the Ending pattern.
 
If you're an X700 User, you will need to use Data Manager for CT-X and a USB-B to USB-A data cable to transfer the files. If you're an X800 User, you have the option of using a USB flash drive for the transfer. Just make sure that the .AC7 Rhythm files are placed inside the MUSICDAT folder on the root of your flash drive so that the X800 can recognize them properly. Enjoy!