jimmyjames

Hey Sky...not really active in that band anymore but you'll be glad to know the reason we thought about preparing for a hornless gig was because the horn section floated with a few bands and was booked on some occasions.  See from another post you're from Detroit.  I grew up in SCS.  You know my friend Tony Ruda?  Amazing pianist...mostly jazz these days but has done a few gigs with Salem Witchcraft over the past few years.

rock, this is similar to the issue I just described in my "Sky Full of Stars" post.  Go to the effects section on the left, press the DSP button and see what it says the effect is for that Stage Setting.  If it does not say Drive Rotary or Rotary there, then the Speed option will not be available for the pedal assignments.  Basically it appears the Stage Setting DSP is the one that controls the assignment options for controllers not the Tone DSP.  Yes, a strange bit of architecture...but I guarantee you, if you are a sound geek who likes to getting into nitty gritty, there is nothing better than this keyboard.  The level of detailed parameters to manipulate is unbelievable.  It's like a fun puzzle every time I try to figure something out and only rarely have I not eventually found a way.

Thanks for the ideas Brad.  Option 1 won't work for me due to real time issues.  Will try Option 2.  Working with the DSP LFO Wah at a very slow speed (000 or 001) to see if I can get close.  I may also try using two stage settings and the pedal to toggle between them.

Update: so taking Brad's suggestion in a little different direction, I thought I might be able to just use a modified version of the clav wah effect by switching it to toggle and slowing the transition.  Worked extremely well on the clav but kept disappearing when I substituted a piano tone for the clav.  Then I noticed that the target options for the pedals are not the same for the piano and the clav.  There is no [Wah Manual] target option for the pedals with a piano tone....an EQ modification option is in its place...strange architectural feature.  Any way to get the Wah Manual pedal target option with a piano tone?

Further Update:  Think I figured this out.  The choices you have for assigning controllers to certain things change based upon the DSP you have selected for a Stage Setting.  What I have able to do then is take a basic piano stage setting, assign the DSP to LFO Wah, adjust the parameters then assign a pedal to modify the "Manual" parameter of the LFO Wah.  I set the pedal to Toggle, not Momentary so I don't have to hold it down, but then, as Brad suggested, I slowed the on/off pedal envelope way down so the transition from wahed (filtered) to unwahed is very gradual and you can reverse an ongoing transition at any point by hitting the pedal.  Works very nicely.

Just wanted to add that it's hard to believe it's been two years since the PX-5S was released.  While it is rightfully being recognized as a great keyboard today, I believe as the years pass that it will take its place among the greatest keyboards of all time and will have a healthy "cult" following by the next generation of keyboardists.  I plan to hold mine...could be a good investment.

Was playing around trying to capture the slow filtering effect on the acoustic piano sound at the beginning of this song.

I am sure it was done with outboard equipment in the studio but hoping to get something like it using the PX-5S alone,  Tried using the LFO on the tone but it only works if you hold notes down.  Any ideas how capture this slow filtering effect while playing this two handed riff without manually manipulating a slider or knob? Haven't gotten to all the synth layers that work there way into this as the song progresses...would be a monster stage setting to capture most of these...but first things first.

Happy to help someone from Bad Axe (I grew up in St. Clair Shores).

Darin, this was the thread.

Darin, greetings from a spirit of the days of the PX-5S past.  First, thank you for picking up the effort to create multi-sound song ready stage settings.  I've been away from my PX-5S for a couple months (I have had a PX-150 to keep me company in the meantime) but I look forward to trying them out when I get back to it.  Re trying to create a setting to capture the Chicago horns sounds, check out a thread on page 11 of this forum called "The More Perfect Horn Section".  Tried to copy a link into here but was not having any success so sorry to send you on a hunt. JJ

Never mind.  Not sure how it cleared itself up but after some processing time the contents appeared in the compressed folder and I was able to extract the BIN file.  Will try to load it now.

I downloaded from the 1.13 link and it placed an empty compressed folder and a PART file outside the folder.  There was nothing to extract to get to the BIN file.

Thank you for the shout out!  Seems like ages since I posted '1901'.  Although music was not my career, I was fortunate to be introduced to synths in the 1970's and I have tried to keep up my interest as a hobby since.  I actually learned about synths using one of the original Moog synthesizers while in college.  This allowed me to understand the basic concepts of waveforms, filters, envelopes...etc.  These things still apply and I would spend some time trying to become fluent in these concepts if you haven't already.  There are many great books on the topic...I know Mike Martin recommended one somewhere along the way and he spent some time in at least one of his videos discussing these things.  After you get that down, the mechanics of the PX-5S architecture (and really any other synth) can be much more easily absorbed.

I'm glad you are thinking about using the PX-5S as a tool for covering multiple keyboard parts of specific songs.  Without taking away from those who have posted individual sounds for the PX-5S, I would have hoped to see more all-in-one stage settings that lay out multiple parts across the keyboard for performance purposes but alas, I seem to be an outlier on this.  It think it has great potential for an Average Joe gigging cover band keyboard player in this respect.  There are so many clever ways it can be used to create and control multiple sounds in a live setting.  Nonetheless, while I thought cover band giggers would be a large share of the buyers, there appear to be more home users and solo giggers that basically stick to one-off piano type sounds so I think it has just evolved more in that direction.

To your specific request, I listened to the M83 song. I've heard of the band but never really listened to them...I need to remedy that. The song is a tiger-by-the-tail as it is virtually all synth parts.  You would need more than four zones to cover all of the parts and at least a few of the parts would require concurrent real time manipulation...I bet you could nail it pretty well...if you had two PX-5S's and four hands!  Nonetheless, I think trying to nail a few of the sounds in one stage setting would be a great way for you to learn your way around the instrument.  I think modifying the 1901 stage setting might be a good place to start to do this too as the sawtooth bass sound on the bottom part of the keyboard is similar to a few of the sounds in Midnight City.  Good luck, have fun...and if you create something...please post it!

scotpgot...I checked the SS out.  I am guessing you are trying to play that acidic sounding octave or so glide sound leading into the chorus and are trying to use the sound that is for the hook line during the chorus.  That sound was not intended to be used for that purpose...I have the octave glide sound on my Nord.  The hook line sound is in Zone 4 and is a melody tone.  It is set up to glide (portamento) slightly between notes therefore the amount of glide will be determined by the location of the previously played note....if it's only a step away you won't notice much. 

Since this setting already uses all four zones, if you want to get that octave glide sound you would have to dump one of the sounds in the current SS to create it.  You can probably get rid of the hand clap in zone 1 (let your drummer figure that one out) and create a hex layer in that zone....I am betting you can get pretty close.  That would be a great project for you to learn how to use many aspects of the PX-5S.

scotpgot, my band jettisoned this song long ago so I would have to reload it to check out the gliss issue.  By wider you mean slower?  I think think scratching sound you refer to is one of the sounds that was on the Nord so no advice how to add that to the PX-5S.  I remember feeling like a puppeteer playing this...jumping from zone to zone and keyboard to keyboard...it was all hands on deck.  Hope you get it sorted out.  I found the best way to learn the PX-5S architecture was just to dive in and tweak until you figured out what everything did.  I went from editing from the board to the data editor then back to the board.  I'm now rusty on all fronts.  It's a great keyboard with tremendous capabilities...but no doubt it is a learning process to get where you want to go.  Good luck!

dlm, was going answer and simply say you log in, go to the Downlaod section and click where it says "Upload File", but I tried, and the link is disabled.  I went to the Community Created Section and it says "You cannot upload a new file".  Guess I offended someone...

Follow up: OK, 10 minutes later, the link seems to be working.  Just click "Upload File", selected a category for the Stage Setting and follow it from there.

Joe, thanks for the background! Clavia must have changed the value after the new standard came out as I don't have that issue with my NE4.  Interesting that I turned off the hi res on the PX5S but it still seemed to be pumping out CC #88 data...I need to check it again.  A cool thing about the Korg Legacy software though is that you can reassign all of the CC#'s so I could solve it that way...do most soft synths provide that ability?  That would be a nice feature to add to hardware synths...especially the Nord.  As I have previously posted on a few occasions, some of the CC#'s are over 100 for the Nord so you can't control those parameters from the PX-5S.  Not expecting Clavia to change though...those folks in Stockholm seem pretty set in their ways.

Another thought that has cropped up in trying to get the PX-5s to control my Korg Legacy software (which it finally does!)  For some reason, the PX-5S transmits data over CC #88 with every Note On command when in high res MIDI mode.  This was causing the arpeggiator on the Polysix module to toggle on and off since it's default value is the same CC #88.  I have read that this was also causing related problems with people using the PX-5s MIDI'd to a Kronos. Carl, your problem seems unrelated to this, but I thought I would throw this out there anyway in case anyone has run across problems of this type and hasn't been able to get to the bottom of it.

carl, what you say is way over my head but earlier today I went to the Tascam site (I use a Tascam 122 MK-II USB interface) and there is a notice about complications resulting from Windows 8.1. http://tascam.com/content/downloads/products/823/known%20issue%20with%20tascam%20usb%20audio%20devices%20and%20system%20audio%20in%20windows%208.pdf

Carl, I am running Sonar X2 and am having some trouble since I upgraded to Windows 8.1.  I have not tried to drive my PX 5S with the software yet so I can't verify your problems but I have had issues with MIDI messages to VST's.  I have also lost the ability to run my Korg Legacy software.  Windows 8.1 should not be ruled out as a possible culprit IMO.

I purchased the Hammond Leslie pedal and I am quite impressed with it.  I have never used a Neo Vent so I don't have that to compare it to but I played it side-by-side with my Nord E4 sim which has a new 122A sim and the Hammond pedal sounds every bit as good to me...although slightly different.  It definitely brings the organ sounds on the PX-5S several steps closer to the real thing although the PX-5S still lacks a good vibrato/chorus sim and controllable percussion...but straight up sounds are plenty good to gig with IMO.  The overdrive on the pedal is a bit tricky to work with and I will need to find a way to make it easily usable.

Jaspeter, I haven't noticed any volume differences between notes with this new pedal in the brake position.  I am still getting occasional layer drop-outs with a modified Nine Layer Organ Setting, but it hasn't had it morphed into a stuck note in a couple days.

I have a gig comming up where I need to take a pared down rig.  I had to decide between my NE4 SW 73 and the PX5S.  The song list appears to be quite piano heavy so I chose the latter.  There are still a couple songs where a Hammond type organ sound is needed though and the internal rotary sim of the PX5S just doesn't cut it for me so put an order in for the new Hammond Leslie pedal.  In order to get ready for the pedal, I pulled up the Nine Layer Organ I posted last year and stripped out the internal rotary sim and got rid of a bit chorusing I had added to the original setting to try to make the rotary sim sound better.  Now I have a nice clean organ sound to run through the new pedal (I will post it if anyone is interested).

When I was running through the settings trying to adjust things, I was noticing if I hit a particular key softly several times in a row, certain layers would start to drop out.  Then if I tried to play after that, a note would sometimes but not always get stuck on.  I thought it might be a velocity triggering issue, but all the velocities appear to be set to 0.  My only guess here is that since this setting uses all 14 available layer, maybe when I do a rapid succession of key striking I am burning through the available polyphony too quickly which is making the PX5S unhappy.  Anyone else have experience with stuck notes under similar circumstances?

A PS on this...would love it if the next gen of the PX5S added a second set of outputs together with the ability to send each zone to one of the two outputs.  That way one could have, for example, an organ in one zone running through a Leslie pedal and everything else running clean.  You could split the keyboard and use everything in one setting.  With only one set of outputs, the Leslie pedal is on or off for everything.  Seems to me a second set of outputs would be a relatively easy and inexpensive add, but then again, I have no expertise in the arena.

Katie, download this Stage Setting http://www.casiomusicforums.com/index.php?/files/file/71-9-layer-organ/ and look at the Knob 1 configuration.  You can assign two parameters to each knob or slider.  The first parameter assigned to Knob 1 is increasing distortion but the second is decreasing volume (I forget exactly how I reduced it but you'll see).  You need to tinker with starting and ending levels it to get the increasing distortion and decreasing volume even.

Thanks jaspeter.  I knuckled down and got them done.

I'm playing in a band in a few weeks and we are doing a medley of Good Times Roll/Best Friend's Girlfriend/Just What I Needed.  Has anyone created sounds for any of these songs?  There are a few sounds from the Minikorg in these three songs (I used to have one) particularly Just What I Needed.  I know the Minikorg is a monophonic synth but I think the PX-5S can probably get fairly close.  There is also, I believe, a Yamaha CP-30 used for Best Friend's Girlfriend and finally a synth string sound predominates in Good Times Roll (Arp or Elka?)  I don't see anything in the Downloads for any of these.  I guess I will have to dust off (i.e. relearn) my programming skills unless someone has done this already.  Thanks....

Hugh, it's something internal in the EV's.  Thought is was just my pair but I went back to GC and tried another pair and the same buzz was there.  I posted about this on the KC and Nord forum about six months ago (see link below).  In general, I find EP sounds stress out speakers but this was just a bit beyond that.  Nonetheless I still own and like them.  They are about 32 pounds I think....lighter than my old KC-300 amps. http://www.norduserforum.com/nord-electro-forum-f9/ne4-and-ev-zlx-12p-s-t5645.html

I have a KC-110 and a pair of EV ZLX12P's.  I use the KC-110 as a monitor when I run directly into the PA for band practice or some gigs.  I run the PX-5S and my NE4 into the KC-110 then use the stereo lines out through a stereo direct box to the PA.  This way I have a stereo monitor feed as well as a stereo house feed.  I have also used the KC-110 for guitar...I actually think it is a better sounding amp for acoustic guitars than it is for keyboards.  The final thing I use the KC for is when going on a vacation...it travels very well due to its small size and weight.  As to sound quality, it's OK, but not great. Note, if you push the volume it will clip. 

My alternative set-up when I don't run through the PA (which can happen for a variety of reasons) is running my keys and guitars (I run my electric guitar through a Boss ME-25 using the headphones for the feed) into an Alesis mixer then out to the EV ZLX's.  I like the EV's, but note at lower volumes, you will here some buzzing with electric pianos sounds so listen carefully before buying if you are playing jazz or the like, but they are great for a rock band setting IMO....big and bold.

Hey jaspeter, great job on all the Stage Settings you have created...sorry I haven't been around here to thank you for the couple shout-outs you gave me along the way.

I listened to Mike's video from NAMM with Sonic State (link below) and it seems quite clear to me that the new "sounds" are new Stage Settings and not new samples.  He says it will be an "extreme synth bank" at about 0:40  He later calls it a "sound set" but I think those are just words that are more easily understandable for those less familiar with the instrument.  Nonetheless, I very much look forward to the release.  I am curious to see how that vocorder-like sound starting at about 1:40 was created.