jaspeter

Hi Rob! For your first question, the filter cutoff is already assigned to CC74. If you have to send it on another CC, you'd probably have to get some sort of processor to go in between the two devices to translate. I can't see that you'd have to do that, though, since CC74 is a MIDI reserved parameter for filter cutoff. For other CCs, check out the MIDI implementation chart in the back of the Tutorial Manual: http://media.wix.com/ugd/1d195a_fa36445cf8362469a88ce7c67d143237.pdf . I'm afraid I can't help you on the second question. I don't know anything about the XW-P1, and I'm not sure exactly what you're asking. Did you mean that by "trilling" a note with the tongue on the EWI, the PX-5S does as intended (which is...?) but the XW-P1 doesn't? Sorry, I'm not a woodwind player. Jason

I think that will still leave me with the same problem of having to remember to tweak something each time I switch Stage Settings. However, it gives me an idea. I could set an arpeggio with the expression controller set to some smaller value, and then use the pedal to turn the arpeggiator off and on again. I'll have to see if that works. Thanks!

I'm not sure the best way to go about this. I usually have a percussion loop going on Zone 1, so I can't simply adjust the main volume knob because I don't want to change the percussion volume. Besides, I would prefer to have hands-free operation so there's no interruption. I have tried assigning the pedal to the volume, but if I change the volume of the zone via a slider during performance to balance the mix, the pedal will reset it to the pre-adjusted volume after the solo boost. Ideally, I'd set the pedal to control expression. That way, the "solo boost" would always be relative to the volume of the zone and the volume adjustments wouldn't work against each other. The problem with that idea is that there's no way (that I know of) to initialize the expression CC11 value to anything but 127. For this to work, I'd have to have the stage setting initiallized with something lower so that the pedal boost would raise up to 127 then back down again. Either that, or I'd have to remember to tap the pedal each time I switch stage settings. Knowing myself, I'm very likely to forget to do that each time. I also thought about changing the Amp envelope value using an NPRN, but then I think I'll run into problems with Hex Layers which use a different NPRN CC for each layer. Any ideas?

I actually use some Boss FS-5U pedals that I had lying around. They work well and look a little more "industrial". Not to mention, they link together so they're less likely to go wandering about on a slick floor.

That's curious behavior, Choppin, but it jives with the manual (Web_PX5S-E-2A.pdf, page 41). It doesn't really seem appropriate to call it a MIDI Thru if it doesn't actually merge MIDI IN data with the keyboard output. If I understand the manual correctly, in MIDI Thru mode, the PX-5S simply acts as a MIDI cable coupler! BTW, Choppin! I feel rather dense now, but I just barely realized your avatar has you playing the first notes of Chopsticks. And here I thought that Choppin was a play on Chopin... or maybe it's both. Anyway, I apologize for hijacking your thread, AS77. I'll put Choppin's answer in the FAQ. (Perhaps, I should just have a section entitled "Choppin's Corner". He has been a great contributor!) Carry on!

Ah. I don't think I ever uploaded one. I just used one of the preset distortion organ tones and applied those changes I mentioned to a stage setting with otherwise generic properties. In the meantime, I found out that effect is more practically implemented by using your whole hand to do a "palm gliss" rather than just the fingertips to do a regular glissando. Although, there are still other instances in which it is handy to be able to change the envelope parameters on the fly.

Which setting, dc2k?

Sorry, Katie. There was only supposed to be the one file now, with the B1 at the end of the filename. The percussion modeling is done with the arpeggiator, which is stored in the stage setting, do you should only need the stage setting file. I thought I had deleted the others, which were from a previous version. I'll do that from my desktop tomorrow.

Great! If you feel so inclined, put them in the Song Ready folder of the uploads. I could probably use them, myself!

@shaneblyth, If I remember right, all you need to do is change the Pedal 1 target to DSP 1. That's the fast/slow toggle for the rotary DSP. (I may have used the Drive Rotary DSP, I don't remember offhand. If DSP 1 doesn't do the trick for you, try DSP 3.)

Sorry, jimmyjames. I don't have just what you needed. I've done a coupe of Cars tunes, but haven't got to those yet. Good luck!

I've run into this before. The short answer is that there's no way to synch the LFO itself to tempo - which it sounds like you already figured out. What you can do, however, is use the arpeggiator itself as an LFO to control pitch, amplitude, or filter. Offhand, I can't see a way to control more than one of those parameters from the arpeggiator at the same time, but it might be possible. For example, if you want to synch a tremolo effect, you can select the expression CC and adjust that with the arpeggiator set to Control Track Only. I used that in "Boulevard of Broken Dreams", in the upload section. Mike Martin used the arpeggiator in "HerbiesRoadz" to control the pan. Likewise, you should be able to control the filter cutoff (CC 74, I believe). It might be possible to figure out a pitch LFO with the Coarse Tune NPRN, too. If you select SMOOTH in the arpeggiator parameters, it will smooth out the transitions between steps. In that way, you can mimic the effect of a sin LFO, if that's what you're looking for.

The sound will sustain through a Stage Setting switch only for Melody Tones. Hex Layers will cut off when you switch, presumably because of the extra processing involved to create them.

Whoa! There was a manual to the 1.10 Firmware? How'd I miss that? That's pretty cool! I haven't updated yet (I was out of town when it was released), but I understand a few other users are experiencing new issues. I was thinking I'd update and back out if I had any problems. Is there any specific reason I couldn't re-install the previous firmware if I decided that I couldn't live with those issues? (That scenario is unlikely, but I wanted to make sure I had the bases covered.) UPDATE: I just saw Joe Muscara's response in a different thread that it is unreturnable to the original version. Does that also apply to the most previous version, though?

So, a weird thing happened this weekend at a St. Patrick's Day gig. It was an outdoor gig and a we had a bit of rain come through. Before I got a chance to completely cover the PX-5S with a tarp, a couple of drops got on it. One happened to land on the power switch and temporarily disabled the switch. I couldn't shut it off, so I unplugged it. I was on Stage Setting 0-5. Fortunately, the power switch became active again and when I turned it on after the rain stopped, Stage Setting 0-5 came back up, but it came up as OrchGlckTimp. The strange thing about all this is that I have written, over-written, and re-written stage setting 0-5 many, many times over the last several months, both from the editor and from USB, and the OrchGlckTimp hasn't been on there since almost day-one. This particular time, it was a "Save All" file that was loaded in for the gig. The other strange thing is that Stage Setting 0-5 was the only one that got changed. Everything else remained from the "Save All" file. I'm guessing that the fix that's coming addresses this, too, but it's different than the behavior I've seen in the past.

Speaking for myself (early on, anyway), I am guilty of exactly what Brad described. I didn't get that almost everything was wrapped up in the Stage Setting.

UPDATE: I hadn't noticed this before, but it also set my tones 2 & 3 to GrPnoConcert in the Mixer screen. If I tried to re-select the tone it was originally assigned to, it wouldn't change. If I selected a different tone, then went back and re-selected the original assigned tone, it worked. All my FX settings remained intact.

I have had this problem crop up before, but it really reared its ugly head this morning. I decided for some upcoming gigs that I need to split the percussion and tones into right and left channels so they can feed two different mixer channels independently. Thinking it would save time, I started loading the files one-by-one into the data editor, panning drums hard right and tones hard left and setting the reverb return to zero. After saving the file to disk (not to the PX-5S), I would load another one and do the same with it. Now, when I go back and drag the files I saved into the PX-5S from the editor, the percussion all comes up as "Blank Inst", even though I had something saved there before and it worked fine. They were all custom percussion settings/files. If I hit any of the keys assigned to percussion on the keyboard, I get no percussion sounds, but I do get a horrible noisy electronic thumping that won't go away unless I turn off the PX-5S. If I transfer the files across as soon as I make the changes, this doesn't happen. Unfortunately, this didn't dawn on me until I had spent almost an hour on making the adjustments to the stage settings. So the temporary answer is, "Drag the files across as soon as you make changes." I believe the permanent answer is something in the programming of the editor or the PX-5S, though.

I usually control the amount of effect with the wet/dry mix as Ebonivor mentioned. This has the unfortunate side effect of decreasing the overdrive if you happen to be using the Drive Rotary as well. It hasn't been too big a problem for me at this point, though. Well, it was a problem when I inadvertantly set the mix to all dry and spent quite awhile trying to figure out why I couldn't hear the DSP! When you do this, though, the min/max values will probably need to be adjusted to get rid of the volume "dip" in the middle of the controller range where the sum of the signals doesn't quite seem to add up to the total signal from either just wet or just dry. I also don't know why you wouldn't hear the rotary below a certain level. Perhaps the DSP send is turned off in one of your hex layers? I can hear mine just fine across the keyboard.

Thanks, Ebonivor! I completely forgot about the Stage Setting filter, and now I completely feel like a moron! That was the problem. Now I can go about doing what I was trying to do, although I still don't understand why I'm seeing the other behavior I mentioned, but that can be overlooked for now. Thanks again!

Thanks, Jimmyjames and Scott, that's exactly the kind of feedback I was looking for on the KC110. It sounds decent enough for my purposes and the convenience is a primary factor. It's funny that most reviews of it (and most other gear, for that matter) go something like, "I don't own it, I've never heard it, but it's crap and you should use what I use." For what it is intended to be, it sounds like a decent piece of equipment. Thanks!

I stand corrected, Choppin. I should have verified it before posting a "solution". I just tried it from the USB interface out of Reaper to channel 1 and it didn't work. I'm guessing the same is probably true for the direct MIDI interface. Sorry, krullebolle!