AlenK

Time to revisit this thread now that CairnsFella is posting again. CairnsFella,did you ever post your files?

Unfortunately, I have not done much of anything with the BCR2000 yet. My limited time in my "studio" (here) has been consumed with updating The XW-P1 Companion, Volume 1 and trying to finish Volume 2. (Yeah, I know, it's been over a year since I got the BCR2000. To quote someone...Life is what happens while you're making other plans.*) Naturally, I am intensely interested in whatever you happen to come up with. (* John Lennon didn't say it first. Neither did it come from the TV show Northern Exposure. The true source is described here.)

Excellent observation. My last reply originally included a note about this but the site ate it unceremoniously and I had to start my reply over. It got a lot shorter!

Based on your most recent observations I rescind my theory about smoothing. I now believe that what you are calling "completely smooth" is the "full" 7-bit resolution that is supported by most CC and NRPN commands (and many SYSEX - certainly for filter cutoff). I can indeed still hear _some_ stepping when using the modulation wheel to affect cutoff even when moving it very slowly to avoid missing steps (PS. even with moderate resonance, not high resonance), which is why I called it "smoother" not "smooth." I now suspect that the issue with SYSEX being not as smooth as CC or NRPN is that SYSEX transmits MANY more bytes in each message than a CC message or even an NRPN message. The XW likely can't quite keep up at whatever rate you are sending from the BCR2000. (It is also possible to max out the embarrassingly low bandwidth of the MIDI connection when transmitting SYSEX but I doubt you are doing that when moving only a single encoder knob on the BCR2000.) The XW synth's processor is no speed demon, as evidenced by how easy it is to unintentionally slow down the sequencer.

I have experienced massive slowdowns, missing posts, missing fields, etc. Doesn't matter what browser, doesn't matter what computer (even from different physical locations with different connection). May be related to the site maintenance that apparently recently happened (I got a message to that effect when I tried to connect last night).

Here's a way to emulate a resonant filter sweep with a Hex Layer tone. Others here have observed that the Wah DSP effect, whose filter has controllable resonance, can be applied to Hex Layer tones and to PCM tones to achieve the sound of a filter sweep. This is a way to automate that. Essentially, a step sequencer control track is aimed at CC#17, which for the Wah DSP effect will modulate the center frequency of its bandpass filter. The steps in the control track are arranged to emulate an envelope and the sequence plays through only once by virtue of another control track that addresses a knob programmed for the Step Sequencer Start/Stop NRPN command within a Performance. A custom Hex Layer tone is then created in which the Wah effect's built-in LFO is disabled. In order to more closely emulate a real filter envelope, an arpeggio is created that does nothing by itself (a "null" arpeggio). However, if SYNC is turned on (specifically using the "S/S" setting) then pressing any key for which the arpeggio is enabled will start the step sequencer, which starts the pseudo-envelope, and releasing the key will stop the step sequencer, which stops the pseudo-envelope. (Note that the arpeggio is enabled in a zone other than zone 1 because that zone will end up being silent. Wasting a zone is the unfortunate "collateral damage" for this technique.) The Hex Layer tone, step sequence and arpeggio are then all called up in a suitably programmed Performance. The technique is fully described in section 6.6.2.1 of The XW-P1 Companion, Volume 1 (Rev 4 or later). This kind of filtering is called "paraphonic" because all notes pass through a single filter modulated by a single (pseudo) envelope. You'll find an example here.

Pseudo-Envelope Controlled Filter Sweep of Hex Layer Tone View File Here's an example of a filter sweep for a Hex Layer polyphonic tone. This is accomplished using a "pseudo-envelope" created using the step sequencer, which is used within a Performance to modulate the center frequency of the bandpass filter in the Wah DSP effect within a custom Hex Layer tone. The tone is based on the preset tone "Analogued" (P2-8) but modified with a different attack and to turn off the LFO in the Wah effect. A so-called "Null" arpeggio is used only in zone 2 (which consequently becomes silent) in order to trigger the pseudo-envelope on every keypress to emulate a real filter envelope. You can read more about the technique here. There are four components in the zip file: a Performance, a custom Hex Layer tone, a step sequence and an arpeggio. Load them where you want to in your XW synth. Now edit the Performance to point to all of the other components. NOTE: The control of the step sequencer necessary to create the pseudo-envelope requires that "S.Seq NRPN" be "On" in the MIDI settings menu; see page E-70 in the User's Guide. This is a global setting that is not saved in each Performance, hence you must enable this as a separate step. Submitter AlenK Submitted 05/18/2017 Category XW-P1

Well, _I'm_ still listening. And still posting stuff. This is a very interesting observation. I have not done side-by-side comparisons of this nature before. But I have noticed a massive slowdown in the operation of the step sequencer when a control track addresses an NRPN and smoothing is enabled. I wonder if that is related in some way? Your results would seem to suggest that Casio has already implemented some kind of smoothing for NRPNs so perhaps asking for smoothing on top of that is too much for the processor. I suspect that the obvious stepping you hear when you rotate a knob is because the XW-P1 doesn't check the position of the knobs as often as it probably should. When I investigated memory limits for controller movements in phrases I discovered that I could record 50% longer before reaching the limit when moving a knob than when moving a wheel, indicating that the former was being sampled much less frequently than the latter. This also accounts for why I have always felt that adjusting the cutoff of the solo-synth filter is smoother with the modulation wheel (mapped through a virtual controller) than with a knob. I suspect that when you get around to trying the CC#74 command it will behave just like sysex in terms of stepping although, of course, it will not behave the same wrt the filter cutofff frequency itself because it specifies an offset relative to the parameter's current value rather than an absolute value (or it least it is supposed to).

It's been five years since the XW-P1 and XW-G1 were released. Combining that fact with what is probably a fairly limited user base and the much larger number of people who dismissed and continue to dismiss the XW synths and it's understandable that they have almost faded from view except here in the Casio Music Forums. Are they the world's best synthesizers? Hardly. They are in many respects almost entry-level instruments. But anyone who has stuck with theirs has probably realized that they are deeper instruments than they appear on the surface. I'm sometimes amazed by what I have been able to make my XW-P1 do. (I have also been frustrated at times by what I would call somewhat unwise design decisions.) I have tried to document everything I have discovered and some of what others have discovered (I can't take full credit!) in The XW-P1 Companion, which despite its name contains a lot of content that also applies to the XW-G1. Here are a few of the "extra" capabilities I describe there: Using phrases and step sequencer patterns as modulation sources (LFO-like and envelope-like) Using the step sequencer as a phrase selector Using the step sequencer to add functions to the foot pedal Several alternate methods for PWM Simple pitch envelopes for polyphonic tones Continuous volume control of a Hex Layer tone with the modulation wheel Tricks with the solo-synth LFOs: Constant-value source Random-value source Ramps and envelopes Legato indicator Dynamic LFO waveforms Simulated sample-and-hold Simulated stepped glissando "Performance" mode for synthesis Duophonic emulation In some ways Casio has already released the successor to the XW-P1: the MZ-X500. It can do almost everything that the XW-P1 and XW-G1 can do and do it better, as well as many things that XW synths can't do. But it's not a true successor because it lacks two defining capabilities of the XW synths: the step sequencer and the six-oscillator monophonic (nominally) solo synth mode. (The MZ-X500 does monophonic synthesis but it's not quite the same.) For Casio's sake I am still hopeful that they intend some day to replace the XW synths with a true successor. Whether they do or not I think the XW-P1 will always have a place in my "studio."

I discovered this technique while looking for a way to switch between two Performances using the optional foot pedal. I never did find a way to do that (in a usable manner) but there are plenty of other applications for this technique. It should work on both the XW-P1 and the XW-G1. The idea is based on the foot pedal’s ability to start the step sequencer. It also depends on the ability of a step-sequencer pattern to address each of its control tracks to a knob and on the ability to assign a particular NRPN command to a knob in a Performance. Rather than describe it all here, since the explanation is a little complicated I will direct interested readers to section 5.2.3 of The XW-P1 Companion, Volume 1 (Rev 4 or later). If this seems like a transparent attempt to get you to download and actually read The XW-P1 Companion you’re just imagining things! As a further service to XW users I have posted a very simple example in the Downloads section (here). It uses the foot pedal merely to switch between tones in two zones. Think of it as a template that you can copy and modify to do something far more useful. PS. Here's a challenge. Try out the example and see if you can figure out how it works without reading the document. If you do, let me know!

Adding Functions to the Foot Pedal View File This is an example of using the step sequencer within a Performance to allow the optional foot pedal to do things beyond the standard functions supported directly by the XW synths. You can read about how it works in section 5.2.3 of The XW-P1 Companion, Volume 1 (Rev 4 or later). This example merely switches between tones in two zones but you can use it as a template to do something more useful. It should work on both XW models: P1 and G1. There are two required components in the zip file: a Performance and a step sequence. Load them where you want to in your XW synth. Now edit the Performance to point to the step sequence. NOTE: Control of the step sequencer for this application requires the "S.Seq NRPN" parameter in the MIDI Settings menu to be set to "On"; see page E-70 in the XW-P1 User's Guide or page E-82 in the XW-G1's User's Guide. This is a global setting that is not stored in a Performance hence must be enabled manually. Submitter AlenK Submitted 05/15/2017 Category XW-Synths

Power! View File Here's a Hex Layer tone based on the same idea described here but layered with other waves to make something far more useful. Submitter AlenK Submitted 05/11/2017 Category XW-P1

Thanks for the kind words. Personally, I rarely print out anything nowadays. I use an iPad to read pdf's.

What?? View File Here’s an interesting sound I discovered by accident. I named it after the reaction I had when I first heard it. The basis for this Hex Layer tone is a mix of two waveforms: Sy_MM Ramp (658) and Sy_MM Saw (659). They are perfectly complementary; the same waveforms with opposite phases. If they are mixed together with the same amplitudes and at the same pitch they exactly cancel and you hear silence. If, on the other hand, the pitch of one is offset a little bit, as they are here they will cancel only at the start of the note and then drift out of phase as the note progresses. The result is a thin pulse tone that changes to a square wave, the rate of change depending on the pitch offset as well as on the pitch of the note you play. If the note is held long enough the waveform will change back to a pulse and cancel out briefly again cyclically. It’s essentially a controlled form of pulse-width modulation. Another tone that layers this one with additional elements to achieve something a lot more powerful can be found here. Submitter AlenK Submitted 05/11/2017 Category XW-P1

Phrases are a great feature of the XW synths. Record what you play on the keyboard along with your manipulation of controllers including the wheels and the knobs and then play it all back at the push of a button. You can record up to 1600 notes (somewhat less with controller movements). You can even trigger a phrase from the keyboard over a selectable key range and transpose it. That’s all great for live use except that selecting different phrases is not quick. You have to go through the menu system, which takes a little time. It isn’t possible to select a phrase simply by pushing a single button, like you can select some tones (if you have pre-configured things right). A phrase also can’t normally play a tone that isn’t set up for play on the keyboard within one of the XW’s four zones. And you certainly can’t play more than one phrase at the same time on the XW-P1 or more than two at a time on the XW-G1 (the extra phrase using the Multi-function area of the keyboard). Right? Wrong. You can do all of the above things in a Performance if you program it correctly. Here’s how. The first step is to program one of the knobs to address the Step Sequencer Start/Stop NRPN command. Next, program a pattern in a sequence so that Control Track 4 (Ctl4) implements the Phrase function. Program the first step in the step-sequencer pattern to “Start” the phrase. In the parameters for Ctl4 choose a phrase number and a control channel (part) that the phrase will play (either 1 or 8 to 16). Program control track 3 (Ctl3) to control the knob chosen for the Step Sequencer Start/Stop NRPN command. Set the track’s length and note value so that the track ends just after the phrase ends (to a maximum length of 7.5 seconds at the default tempo of 120 bpm). Program values of 127 in every step except the last chosen step of the track, which should contain a zero. (Note: This assumes you want the phrase to play only once.) Program the other seven patterns in the step sequence similarly, each playing whatever pattern you desire in whatever part you desire (1 or 8 to 16). Save the step sequence and save the Performance. In live play, after selecting the Performance hit the STEP SEQ button. Select a phrase to play by hitting a pattern button. Press START/STOP to play it (or the footpedal configured to start and stop the step sequencer). While a phrase is playing in this way you can play back a different phrase using the phrase sequencer; they are independent. (On the XW-G1 you can play back a total of four phrases at the same time, two of them using the multi-function area of the keyboard.) Need to transpose the phrase selected by a pattern button? Hit KEY PLAY and use the keys in the lowest octave of the XW's keyboard to select a transposition amount, just as you would with a step sequence. For more about this see section 5.2.2 of The XW-P1 Companion, Volume 1 (Rev 4 or later) For an example, see here.

Phrase Selection Using Pattern Buttons View File Here is an example of a technique for selecting phrases for playback using the XW synth's pattern buttons. It should work on both the XW-P1 and the XW-G1. There are two required components in the zip file: a Performance and a step sequence. Load them where you want to in your XW synth. Now edit the Performance to point to the step sequence. If you want to use your own phrases rather than the presets in the example you will have to edit the step sequence accordingly. Before editing be sure to read this post and section 5.2.2 of The XW-Companion, Volume 1 (Rev 4 or later) to understand how it all works. To use the Performance hit the STEP SEQ button. Now press a pattern button and hit START/STOP or the optional foot pedal configured to do the same thing to start playback of the selected phrase. Most of the phrases in the example are programmed to play Part/Zone 1. However, several play a different part chosen from parts 8 to 16. Also, most of the phrases play just once but one of them is programmed to loop endlessly. Hit START/STOP or the foot pedal again to stop it. NOTE: In order for phrases to play only once rather than repeat endlessly it is necessary to set "S.Seq NRPN" to "On" in the MIDI Settings menu; see page E-70 in the XW-P1 User's Guide or page E-82 in the XW-G1's User's Guide. This is a global setting that is not stored in a Performance hence must be enabled manually. Submitter AlenK Submitted 05/11/2017 Category XW-Synths

Here is the latest update to The XW-P1 Companion, Volume 1. I have added 34 pages of new content, most of it in Section 6 - Voice Programming Techniques, which has been almost entirely re-organized as well as expanded. I already "leaked" a few of the new techniques to the forum a couple of weeks ago. A lot more of them are described in the new document. For those who prefer to get their content on the forum directly (i.e., "documents" ain't your thing) I will be starting several new topics here in the coming weeks to highlight specific selected techniques from the document. Each of those will point to an example uploaded to the files section of the forum. I also intend to release a zip file containing all of the example files when I have completed them. I hope you enjoy this latest update. Now that it is complete I can get back to working on Volume 2, which will discuss emulations of specific instruments and famous synth sounds. It's about half done. XW-P1 Companion - Vol 1 - Rev4.pdf PS. If you have read previous versions there is no need to read sections 1 to 4 again; there is nothing really new there. All the updated sections and new sections are listed on page 5 and clicking on any one of the section numbers will take you there directly. PPS. As of Dec 27, 2018 there has been a minor update to Rev 5; see below.

AFAIK the only control of the relative volume of notes over the pitch range for drawbar organ voices is by way of the master equalizer, accessible in the Effects menu and settings saved per Performance. You can use the bass shelving filter set to, say, 400 Hz or 800 Hz and of course negative gain. Maybe you'll be able to get the drop off in volume you need as the pitch lowers. Maybe. In any case this will only get you 12dB of cut. Getting rid of the DSP effect on a drawbar organ voice is easy. In Tone mode go into the tone edit menu and turn off the DSP. Save the tone to a user tone memory.

Much more than that. Yamaha STY files (there are others) can also contain an important (for Yamaha keyboards, at any rate) chunk of data called CASM and a few other chunks. See here, here and here. According to what I read in those links (and others) styles that contain CASM chunks, which apparently includes many Yamaha STY files, may not play even remotely correctly without properly interpreting the CASM data. (PS. There are many resources at the second and third links that could help with conversion efforts.)

Which is not to say that it will sound the same as it would have when played as an STY file on a Yamaha keyboard, or even necessarily anywhere close. (I can easily imagine people jumping to that conclusion.) The STY format contains extra data that MIDI players ignore.