AlenK

Potentially yes to all you mentioned, since there are NRPN MIDI commands for those. Of course, the pedal would need to support NRPN commands. I am not sure that all such do.

Speech synthesis. Pretty cool. It's in a nice product but I don't need a keyboard like that. Maybe Casio will put it in something more upscale that is not an 88-key piano (the only upscale products they make nowadays - CT-X5000 is midrange).

Yes. A simple, mono delay effect is available for solo synth tones as part of the tone. A very nice stereo delay is available for all other kinds of tones. The latter is a so-called "DSP" effect. Descriptions of all of the DSP effects and the solo synth effects start on page E-87 in the XW-P1 user's guide. Note that in order to use a DSP effect on a tone, the global chorus effect must be disabled. See page E-37.

Just a note to point out that Volume 2, Emulation Examples, is also available in this forum. It is not in a sticky thread and so has migrated to page 2 where some people won't see it or know it exists. Here is a link to the thread. I do intend to update both documents with new content but it won't happen for some time.

Cairnsfella, That note in the document was in response to reports on the forum at the time I wrote it about the behavior exhibited by the G1. There is a thread about it verifying the operation from several G1 users. It could be that a subsequent software update (both the P1 and G1 have had a couple) or an earlier one not yet installed fixed the problem. I can update the document on the next revision.

I should amplify a little on these ideas. Six virtual controllers are required for the crossfading itself, but the remaining two are also required in order to cancel out the pitch bending of the pitch-bend wheel. For automated control of the crossfading using the step sequencer control tracks, I was initially thinking of programming the knobs to control the NRPNs of each of the four solo-synth oscillators. The problem is that the XW-P1’s little embedded processor probably won’t be able keep up if smoothing is turned on. Smoothing will be required for smooth crossfading. A better, simpler solution may be to program two control tracks to output CC#1 (modulation) and pitch-bend data. The XW-P1 seems to be based on MIDI even internally, hence I expect that the data from those control tracks will be routed to the solo-synth engine and then be used as actually programmed in the tone rather than directly (e.g., sending pitch-bend data will not actually bend the pitch). But I could be wrong. What I am also not sure about is if smoothing can be turned on without problems for four simultaneous control tracks outputting CC data. The amount of data being generated is much less with CC than with NRPN. The XW-P1's processor can certainly keep up with that on one channel of smoothed data, but I cannot recall for sure whether or not I tried four simultaneous channels of smoothed data back when I was experimenting.

Second emulation topic: wave sequencing. This is where it gets fun. Monophonically, in a Performance we can program a knob to switch between waveforms for any one of the four internal solo-synth oscillators (see the "split UI number" NRPNs on page 29 of the MIDI Implementation document). The waveforms won't switch unless new notes are initiated at the same time, so this means actually entering notes on the Sol1 track with that track pointed to Part/Zone 1. Unless we want to emulate the sound of a "song in a note" as the Wavestation and Wavestate can do, all the notes should be the same pitch. That allows a very rhythmic wave sequence. What if we want a smooth crossfade between successive waveforms instead? On the Wavestation that takes two oscillators and such is the case here. The idea would be to program on one control track, waveform switching on odd numbered steps for the first oscillator. On another control track controlling the second oscillator, waveform switching occurs on even numbered steps. So this would allow up to 15 waveforms in sequence, albeit all switches happening at identical intervals. To get smooth crossfading between those waveforms, the envelope idea you mentioned earlier could be used. What I think will sound a little better is to use a beat-synchronized triangle wave from one of the LFOs. This would control the volumes of the two oscillators in opposite senses (when the volume of one goes up, the volume of the other goes down). With the right settings, this SHOULD perform fairly smooth crossfading between the waveforms. There are still two potential problems. Both problems are caused by the need to generate new notes in order to switch waveforms. First problem: We can only play the wave sequence where we can initiate the sequencer. While we can start the wave sequence when initiating a note by using a null arpeggio over any contiguous region on the keyboard, we will always get the same pitch. Being able to play different pitchs will only be possible on the lowest octave of the keyboard with "Key Shift" activated. But what if one octave of pitches isn't good enough? One idea: Convert the sequence to SMF (either be recording the MIDI output with a DAW or by making the sequence a chain and saving the chain to an SD card as SMF), then converting the SMF to a phrase using the Casio XW-P1 data editor, observing the procedure about that described on page 107 in The XW-P1 Companion. Once all the sequencing is controlled by a phrase, it can be played on any key. Second (much easier!) idea: Instead of putting notes in the Sol1 track of the sequencer, initiate the notes using a custom arpeggio programmed to repeat the same note fifteen times. Use the sync option on the arpeggio in order to start the sequencer on the first note of the arpeggio (no need for a null arpeggio now). Second problem: Since new notes are being generated continuously, there is no volume envelope over the wave-sequenced notes we play. This is probably not even required for rhythmic wave sequences but will generally be a problem for crossfaded sequences. One possible solution is to use two more sequencer control tracks, one sending out values for a pseudo-envelope using a CC#11 message (expression), the other controlling a knob programmed for the NRPN of the Step Sequencer Start/Stop command (in this case "stop"), as described starting on page 53 of The XW-P1 Companion. So far, only one oscillator, or two oscillators for crossfading, is used in our hypothetical wave-sequenced tone. Can we do more? For rhythmic wave sequences that don't require an overall volume envelope (because the sequence is composed of discretely heard notes) there is no reason all four oscillators can't be used at the same time. And there is no reason real-time user-controlled "vector" synthesis using the mod and pitch-bend wheels I described in the post above can't be also be used at the same time. That should be fun and pretty close to what the Korg Wavestate can do. (Although of course, the Wavestate can do so much more and do it all polyphonically!) Can more than one crossfaded wave sequence be used in a tone? Two of them could be used if we solve the problem of the overall volume envelope, which could now not be generated using control tracks because all four would be required for wave switching. What about polyphonic wave sequencing? As discussed before, Mike Martin already solved that one, at least for rhythmic sequences, by using a custom arpeggio with a Hex Layer tone. Different velocity levels trigger different layers for successive notes. You only get six different tones but it still sounds pretty good in the video linked to (albeit done on a PX-5s). I can't think of any other way to do it since the XW-P1 provides relatively little internal control over Hex Layer sounds. (Unlike the solo synth, NRPNs are missing for most of the parameters of a Hex Layer tone.)

And some of the engineering team for the Prophet VS worked on the Korg Wavestation, which hence inherited vector synthesis and the joystick, and added wave sequencing. More recently, we have the Korg Wavestate. Since it sounds like you are open and available to experiment, here are a few ideas. First, vector synthesis. Short of making your own MIDI connected joystick or buying a LAB4MUSIC ENJOY, which at $300US is pretty expensive, we have to use the mod wheel and pitch-bend wheel to crossfade between waveforms, at least if we want the ability to crossfade with one hand while we play notes with the other. (You can already use the sliders to change oscillator levels but that is not necessarily easy to control in real time, especially with only one hand.) That means monophonic operation with the solo synth. (Or does it? See some ideas about that below.) The first four oscillators (S1, S2, P1, P2) provide our four different sounds (they don't have to be just different waveforms because each includes a pitch envelope, a filter, a filter envelope and a volume envelope). Six of the virtual controllers crossfade sounds or waveforms: two with the mod wheel as the source, two with pitch-bend up as the source and two with pitch-bend down as the source. This actually only provides partial crossfading. To fully emulate the way the joystick works in the VS, Wavestation and Wavestate would require 12 virtual controllers. We only have eight. But partial crossfading should still sound pretty good. Now, the VS (and maybe the others) allowed the action of the joystick to be automated by specifying a vector envelope. The XW-P1's Phrase Sequencer can record a particular motion sequence of the wheels and that should sound pretty close. Alternately, we can use the four control tracks of the step sequencer to perform automated crossfading. The step sequencer can be started when notes start using a null arpeggio as described in The XW-P1 Companion. Can vector synthesis be emulated on polyphonic voices? I have two ideas about that. First idea: We can arrange the same kind of crossfading control using the mod and pitch-bend wheels if we pass PCM tones in other zones through the solo synth. (PS. Maybe. It depends on a controller interaction I haven’t tested yet!) But that means crossfading between only three tones, not four (unless we add a noise component from the solo synth as a fourth tone, which need not be polyphonic). Second idea: In a Performance the knobs can be programmed to control the levels of four of the layers in a Hex Layer tone by way of NRPN's. The four control tracks of the step sequencer can be addressed to the knobs. Hence, automated crossfading. Of course, the ADSR envelopes do something similar but not with quite as much control.

I don’t think the sequencer will be able to switch between waveforms fast enough to implement granular synthesis. But the two LFOs of the solo synth plus some virtual controllers could possibly provide four suitable waveforms that could do the switching between the solo synth’s four internal oscillators fast enough. But will such switching sound any different than simply summing the oscillators? I don’t know. Frankly, I think trying to implement vector synthesis and wave sequencing are more promising directions for investigation. I wish I had more time right now to do that.

I REALLY get the allure of synths, classic and "obsolete" models in particular. They are fascinating and there have been so many of them. But I am resisting their siren call. If you don't count the 80's vintage toy Casio sampler in my closet, I have only three keyboards: the XW-P1, a PX-560 and a Roland D-10 I probably bought in 1989. These are not the creme de la creme of keyboards although one could argue that the PX-560 is higher end then the other two. But they are all underrated, IMO. Combined, these three keyboards provide around 62 channels of sound (parts) and over 280 voices of polyphony. All three combine PCM with digital subtractive synthesis, so not much variety in synthesis methods (i.e., no FM, no PD, no direct wave sequencing, etc.). Nevertheless, they do all sound different and to an extent complement one another. Long story short, if I can't make interesting music with what I have, buying more isn't going to help. And I am still geeking over what the XW-P1 alone can accomplish. For instance, I think I have a method of synchronizing the phase of a solo-synth LFO with the start of a note. Normally, the LFOs are either asynchronous or MIDI-beat synchronized. With that and the wave sequencing stuff we've been talking about here, I guess there will need to be a Version 6 of the XW-P1 companion at some point.

Another possibility is to do what Mike Martin is doing here on the PX-5S: https://m.youtube.com/watch?v=bK1UbpXXmoE He explains in the description that he is triggering different layers in a Hex Layer tone by using different velocity values coming out of the arpeggiator. That gives six tones that he is switching between. Of course, the same thing can be done on the XW-P1. BTW, there is a very old term for the sound you get from this: hocketing. It goes back to medieval times and IMO it has always sounded cool.

Yes, I think suitably adjusting the attack and release (or decay) times might be all you need to blend the waveforms in the sequence at a given tempo. It is somewhat unfortunate that the NRPN-induced change in waveform only happens on new notes because it greatly complicates other aspects of this. But it is what it is and if you did not need new notes, you could not use the attack/decay in that way.

Yes, he replied to my question saying he used a separate audio source. But If I am not mistaken he COULD have used .wav file playback from a USB stick had he so chose. AFAIK, the PX-560 allows normal playing on the keyboard and playback of rhythms while an audio file is playing in the background. (The XW-P1, OTOH, not so much.)

I can think of a way to fade between three waveforms in the solo synth using the pitch-bend wheel. Bottom position would yield waveform A, center would give waveform B and top position would produce waveform C. Five virtual controllers would be required, two of them to cancel out the pitch bend itself. Re smoothly crossfading between a sequence of waveforms in time, ala Korg Wavestation, I think it is just barely possible using the solo synth and the step sequencer. Two of the sequencer control tracks would be used to control two knobs programmed to select waveforms (there is an NRPN for that) in two of the four oscillators while a tempo-synced LFO set to a triangle wave (and possibly a virtual controller) implements crossfading between them. I think only 15 waveform changes would be possible over the course of the sequence. They would be equally spaced but adding a control track to modify tempo could allow unequal spacing. They would also repeat unless another control track and knob implemented sequencer start/stop. We have run out of control tracks but if there were another we could implement a volume envelope over the whole sequence. Per-note triggering would use a null arpeggio. (And, I should note, would only work in the bottom octave of the keyboard because that is where sequences can be transposed. To be able to play on any key would require transforming the sequence to a phrase, which is possible but a lot of work.) These are just ideas. I have not tried them. But they are consistent with what I know about the solo synth. And there is already a sound file on SoundCloud from someone that demonstrates sequencing between solo synth waveforms (without crossfading). I'll see if I can dig it up. PS. Found it. By Hypnotuba: https://soundcloud.com/hypnotuba/casio-xw-p1-solo-synth

Oops. I should have been clearer. It's not my album. It's from someone named Paulo Frugis. I think he is in Brazil. Brazil seems to be a hotbed of Casio activity.

Seems to be a relatively recent YouTube upload from "id_deegee": I don't know how he did the thunder and rain but if it too was from the PX-560 then I am guessing it was a .wav file played back from a memory stick. I have a question about that in the video's comment section. Btw, think id_deegee could use a better keyboard stand!

This is a fairly new YouTube upload: The video is not the entire album but rather a compilation of snippets from each song. You might recognize the backing rhythm at 3:56 (it's one of the XW-P1's preset sequences). Trippy playing environment there, too! PS. EDIT: This is not mine. It is from someone named Paulo Frugis, likely from Brazil. I assumed people would click through to the video, so I never thought they would assume it was my own. My apologies for not making it clearer. By coincidence, I do have a PX-560 and an XW-P1 but I don't think I have this guy's compositional skills!

Re vector synthesis, the XW synths lack a joystick. But if using the pitch wheel and the mod wheel in combination is close enough (pitch wheel to crossfade between two waveforms and the mod wheel to crossfade between two others), the solo synth's virtual controllers should make this possible. Mono only, of course. Re granular synthesis, the idea is to switch between different sounds in succession so rapidly that the ear doesn't hear them as different sounds but instead as a composite sound. Can that be done on the XW? If so, the solo synth is again likely the only way. But I can only think of a way to switch rapidly enough between two waveforms rather than a succession of them, which might well sound different than simply summing them but might not in the end be very interesting to hear. Re other synthesis methods, emulating PPG-style wave sequencing might be more promising. I think I posted some ideas about how that couldbe done a few years ago and I think it was in reply to another thread by Jokeyman!

As what may be my final contribution to this thread, I note that Martin seems to have neglected to post a video about programming the solo synth. Since his last video in the series was posted more than two years ago now, I doubt he will correct that oversight.

My guess is that the non-standard 9V adapter is the problem. You should buy a 9.5V adapter from Casio.

I had no problem downloading from that thread. Perhaps it’s a problem on your end.

For an example of pretty good slap-bass emulation - but by no means complete or comprehensive - there is Bass Slapper: I actually have this. The sample set (1 GB or 4.9 GB) for this one instrument alone dwarfs the entire sample waveform set in any Casio keyboard. So, I don't _need_ to try to emulate slap bass on a Casio keyboard. But the challenge is intriguing.

Thanks for the detailed answer. There's a lot to unpack there. I will have to study it more carefully. In the meantime, do you have any audio examples of those techniques?

Okay. How would a hammer-on sound be programmed in, say, a PX-5S or PX-560, which both have a better Hex Layer implementation than an XW but do not have, AFAIK, any hammer-on samples?

Yeah, the versatile tones are pretty good. But are either of those two bass tones slap bass? Or are they primarily fingered or picked bass? They do include a slap tone but as I discussed in the OP, a pop tone and one or more very specific sounding ghost notes are also necessary for a (semi)complete slap bass emulation. And even a gliss from a slap will sound different (initially) than a gliss from a fingered note. PS. Is there any example audio or video of either of those particular tones being used? Not owning a CT-X instrument, I can’t audition them myself.