Jokeyman123

What is your operating system? Windows-7, 1, 11 or older vista, XP? Try right-clicking the the data manager icon to run the program and select "compatibility mode" although if it worked before this should not be necessary. Might work. Delete and re-install the data manager program. You reference a plug-in. Which one? And what are you using the plug-in for? Data manager needs to be directly Connected to your CTK, I wouldn't run it through any plug-in programs. and are you still referencing Data manager 5.0?

Thank you. Was a hard day. Got to sing some good church hymns this morning, get out some of that grief. Perldud, I will keep trying to help you through the intricacies of the XW. Brad-if you wish to move these posts to another area if too inappropriate here (I don't know how) as an administrator, absolutely OK.

Got a little side-tracked with the ferrofish-perldude had one i noticed in another post. This is about the XW and apparently setting up keyzones in sequences and performances. If you can help, jump in. I'm going to a friend's funeral this morning, this will have to wait. Not a happy day.

Somewhere in my selection of .ckf rhythm files-there is an accompaniment pattern modeled after this song. i set it up to play on the PX560. I've attached it if you want to try it. If you have ckf rhythm player, you can audition it on the computer without loading into the PX. supersti.ckf And here is the link to 2 of my uploads you might find useful. This is the ckf rhythm player and also a Yamaha to casio ckf style converter-ckfs play on the 560, but only the rhythm ckfs. Older Casios used the ckf file designator for tones also but the 560 does not understand-you cannot load any tones other than those designed specifically for the 560. You probably already knew that, but just in case....

It is a maddening piece of work, the XW. I will look over the performance parameters again. Guessing that freezing the sequencer settings is over-riding the saved performance parameter's tone. I'm not sure how to solve this. Once you "write" a performance, it supposedly saves all the tones that are part of the performance, including whatever tone is in the solo channel belonging to the sequence. Maybe it doesn't, the manual is not clear and I never noticed whether it does or doesn't. Studied it over again. The tone that is switching-is it the solo tone that is part of your saved sequence, or is there another tone in a different performance zone that you are using that is not staying the same. And are you using the default channel 14, or have you switched to channel 1 for your solo tone? remember switching the solo channel from 14 to 1 is only if you want to use the monophonic synth tones, or the organ modelling tones (I think) or the hex layers for your solo synth. Only the "PCM" tones can be used for channel 14-one of the limitations of the XW. And writing performance (saving it) should, like a registration with an arranger keyboard-save everything in one shot-again depending upon which filters are on or off from within the performance filters settings . I suspect not too many Casio-heads like myself or AlenK, or tombanjo, have even tried to take the XW this far, judging by the huge drop-off in posts here after the first few years it was on the market. A shame, as it is capable of some amazingly complex musical stunts! yes, Tom it may be a classic someday. Or is it already? The d*** difficulty with the XW is how the different "modes" interact-or don't interact with each other. The manual took considerable criticism on this, justifiably IMO. Why AlenK published all his tutorials here which still reside somewhere among these XW posts. It is, again my opinion, and comparing it to much more "evolved' workstations-a very complex instrument, or as I've said before-several instruments. I think if it were actually 3-4 different physical boxes one had to interconnect, it probably would have been alot simpler to figure out-disconnect a patch cord, you hear what happens, or you don't. But it is all rolled into one box and the menu system, condensed into one tiny screen with it hundreds of functions is like building a ship in a bottle with tweezers. it took me months to figure out how to create a composition using "chains". so complex for me, that I created my own "quickguide" which I still need to refer back to, to do another one! I have it if you want me to post it-again, its here somewhere......

Reminds me, I think my truck is due for an oil filter change.

PS-Perldude, working my way through the Ferrofish-made a special case for it so i can mount it under my keys-not quite where it would be on a Hammond-my arms are only so long (!) with an 88-key keyboard to put it all the way over the side-but underneath, where i can grab the drawbars and still have 2 hands on the keys-directly underneath the pitch and mod wheels. Wow is this a solidly made piece of equipment-and the drawbars are definitely the right size-full size not like slider/drawbars on many other workstations.

Ok, I think i see why you aren't clear on this-the manual's use of words isn't always the most intuitive-but if you study through many of the posts here under XW-P1, and find the post listing all Mike Martin's video tutorials-you will have a professional sitting down (or I think he was standing for some of these🙃) with you to clearly show some of the best video demos of how to play and program the XW. Now what this breakpoint description is trying to say-when you create a sequence or series of sequences in the different parts-some of your notes/pitches or even individual drumkit sounds-may go out of the range of the original octave you used to originally create the sequence, when you use key shift to change to a different key signature with the keys for a style of auto-accompaniment. The breakpoint is the point where-if a note goes beyond that breakpoint-at either end of that octave range-it will shift it down an octave, or up an octave, depending upon which way the sequence exceeded the octave you played in. so some of your original sequence may sound different than it would have in the original key. At least that's how i understand it. And there is also an on/off setting for keyshift within the sequencer mode, and performance mode which of course must be turned on for using this sequence in performance mode. I think-but I am not sure-keyshift must turned on in both sequence, and separately in performance mode if you wish to live transpose your sequence attached to the perfomance mode, I'd have to check my XW to review if i recall this correctly. I have had to suss out many pretty deep workstations-for example the original Ensoniqs including the MR/ZR76 and TS12-their manuals were i recall around 600 pages!!! The Alesis Fusion is also a brain-buster, I've cracked its code (mostly) too. The XW-definitely competes with these for complexity it is a deep instrument-actually it is several deep instruments. I try to approach it that way-you (Or me and I have!!!) can spend way over thousands-to buy as separate components-what the XW can do in one cabinet if one knows how. Step sequencer-a programmable digital VA synthesizer, a PCM synthesizer and multi-zone keyboard, an organ modeller with drawbars and even a bit if a vocoder if you watch Mike's video about synthing (is that a word, well it is now!) your voice through the XW's audio input. OK, its not a 3-4000 workstation or Akai MPC, Deepmind, Octatrack etc. but is a sort of swiss army knife of the synth world, yes it takes alot of work to figure out how to use even half of it IMO!

Programs 40 through 46 will give you all the clavinet tones in the PX560, pretty accurate too IMO. Variations are using slightly different DSP settings to slightly change the tone qualities, including the wah-wah clavis which must be using a filter with an LFO.

The WK7600 is similar to many of the Casios with the 17-track recorder in one very important aspect that is a little tricky to understand. The only track that will retain settings for program tones, panning, volume for each individual track-is the master track. In other words, to do what one would need to do to set up every tone, volume, pan-and also tempo by the way-is to set these up for each track with the mixer-then-record a "dummy" blank track using the master track, or if recording an auto-accompaniment with that master track-you would have to set up all the other tones in each track first, then record your accompaniment track and the "solo" or individual tone you want to use with the auto accompaniment. Now your settings will be retained. And this is the hard part-you cannot overdub the master track-I am pretty sure the 7600 only allows one "take" and any subsequent re-recording on the master track will erase the entire contents you have previously set up. This is why you can change a tone on an individual track, and it will revert back to whatever tone was selected, even if you have not used the master track at all, as will any other mixer settings that can be edited. My style of working with this-I think of this process like "striping" in the old recording sense-when an sound engineer would record a timing track on one machine to keep multiple recorders or other devices in sync. I don't generally use the master track for an individual tone or rhythm accompaniment-which is the rationale I am guessing for Casio designing the song recorder like this-for recording a full accompaniment with all its proper tones and volumes that make up a pre-defined .ac7 or .ckf rhythm preset. This is limiting of course because if you need to monitor your mix levels for a multi-track recording, its a one-shot process unless you keep the master track as a "dummy" track with nothing in it. Then you can set up all your other tracks, "stripe" those settings with the master track, then monitor your levels and if you need to change them, reset what you need and re-record the master track. I'd have to check the manual, if the master track allows for overdubbing, solves alot of problems. Every Casio I've used and recorded with does not have overdubbing capability on the master track-or on any other track as I'm recalling. Long-winded post, I hope it helps. PS-Brad, Chandler, Chas, Mike M. anybody I've left out-if I have this slightly off-base, please jump in and correct me.

I agree with Roger, and have just posted elsewhere about this. I am one of the few Casioheads that saw, thanks to Mike Martin's input with Casio Japan, a revision in firmware for the PX560. And this was due to a rather rare bug that apparently nobody else noticed, that caused drumkit edits to malfunction. It was an obvious malfunction that could be repeated on other PX-560s, so was judged to be needing correction by Casio Japan, thus V1.16 for the 560. I was greatful for that, as I edit drumkits to change pitches which is one of the nice features of the 560, often only found on full editing workstation keyboards, samplers or virtual drum machines. Bringing down the pitch of a bass drum or tom, and doing the same for cymbals and snare drums can create an entirely new kit, very nice. I think the MZ could also do that.

My other concern, and why i steered clear of this for now-Medeli advertised a year or 2 ago, a whole new line of keyboards, none of which was the AKX10, and these never appeared on the market I could find, in the US or abroad. Their existing line has been around for quite awhile including the piano which despite the good reviews, is using a rather cheaply-made internal weighted system with anchor points identical to unweighted spring action keys, and i did not like the acoustic piano tones compared to the Casios and my other virtual and hardware pianos. To think Medeli will support this keyboard with any updates or revisions, i think might be a bit optimistic, and has not stood the test of time. In that respect, it may be in the same "boat" as the slang goes, than that of the Casio MZ-X series. and i am not convinced the AKX10 key action is any better than the MZ-X, or any other casio for that matter, unless i get to play one. Judging by pictures of the internal construction of the piano as i said, i don't see much of a difference in internal key design. Even the other major players seem to be opting for cheaper plastic keybed designs, not better. How about this-Casio, put that action from the newest S6000/7000 pianos in a 61 or 76 key updated MZ-X or PX-560, or even an 88-key? That's what I was hoping for.

I need to know-are you in "sequence" mode or "performance" mode when trying to do this? I've been trying to understand what is happening here-thought I knew my way around the XW-P1 pretty well. Key follow is an attribute for programming a tone-and presents a gradual change, used for filter, loudness or pitch unless I misunderstand what you are trying to do, or what the XW is capable of doing. A breakpoint or key shift, at least on the XW as far as I know, is not the same as "key follow" a common setting on just about every synth I've owned which I've used to for example-make upper octaves gradually brighter in tonality, or louder, or even slightly alter or detune a span of notes-the Px560 for example has a setting for "stretch tuning" which is a form of key follow-in that it is slightly changing the pitches of the upper octaves, since the human ear tends to hear equal tempered notes as sounding slightly flat going up the octaves from what I recall. By changing the key follow setting-within a tone-you can effect a gradual change of any of these characteristics (timbre, volume or pitch) across a given span of keys, or across the entire keyboard, but i am not aware that key follow can effect a "key split" -a distinct change in pitch of an octave. Key follow is completely different than a key shift or break point between adjacent notes. I guess I am not quite clear what the manual is trying to say in your quote "point between C and B" etc. but then i never really could make sense of that in the first place either. If you are in sequence mode, the split points or octave shifts need to be set in a different way than in performance mode-where different keyboard zones can have octave adjustments-up to 4 zones each can be set independently to whatever octave you want-but then these will "hard-wired" into your individual performance once you save it. and then you can set each zone to respond to individual midi channels for external control-there is where you may be able to octave shift for each zone with an external controller, but I haven't tried that either. This to me, is a very deep, complex machine, and even after years of use, i still only know the half of it! Like learning to play an entire orchestra, by yourself..... As far as key shift from an external controller, I've never tried it, and I'd have to study the detailed midi implementation chart for the XW, i have it somewhere, not the simplified typical midi imp. chart at the end of the user manual. Sorry i couldn't be more direct solving your problem. AlenK might still be on the boards, is much more knowledgable than me with the XW-and Brad may also have a better grasp of this.

CasioCTK- My approach, aside from being in a music store to play one.....are such things possible still? but probably not with Medeli, is stick my best high quality ear-cans into my computer stereo headphone out port, and listen very carefully to anyone who is actually playing one. There are almost no examples of what this sounds like except for the demos (not a good yardstick, these always are optimized by the manufacturers) and a few of the more common tones. To me at least, the quality of the other tones is paramount-drumkit samples, orchestral-how are the VA tones if any and eps, organs. repeating myself but the acoustic piano sounded a bit thin or 'tinny" to me, certainly not terrible but then it's hard to judge based upon a Youtube video where so much depends on the quality of the sound reproduction, also the player's skills-playing a chord or 2 is one thing or a short riff, but to play a full-range piano piece or organ lead, can be very telling. and the better other tones are, the better the auto-arranger will sound of course. Last I checked was last week. Maybe by now more demos are online. The AKX10 is very limited distribution, I only found 2-3 vendors in the US, and 2 on Reverb from European listings. The only Casio I can compare the Medeli to is my PX-560 for auto-arrangements, sound reproduction, flexibility, mixing panel, hex layers etc. and color screen which although is several hundred dollars more, IMO is equally or more well-designed depending on what you want to do although you have a weighted-action keyboard, not to everybody's playing style.

I will definitely try this, don't know how I missed it, but then....life goes on.... I'll be able to take this apart on the PX560 and see how you designed the various 'stops" for each hex layer. Also will look at how you set up the leslie fast/slow mod wheel. I knew drawbars could be done to a certain extant-there is so much more expressiveness possible-and the ability to open the Hammond sound while playing although a cliche, is still a very powerful sound IMO. All the greats used it, I have always been a big fan of Jimmy Smith, Jack McDuff, Jimmy McGriff and of course Joey DeFrancesco. As a drummer starting out in the 60's-watching the Hammond guys using both feet and hands like me on drums, intrigued me and made me decide to pursue that too. Felix Cavaliere with the Young Rascals did some nice Hammond work back when as did Mark Stein with Vanilla Fudge, both locals in my Nj neighborhood then, yeah I'm dating myself. and of course so many others, Chuck Leavell is another favorite of mine. I have a cover of Telstar here done with the PX560 and managed to get a registration set up to at least get the leslie fast/slow switch working within the arrangement, I found it pretty tricky to do even that much but never set up drawbars with the knobs, at least not until now! Thanks.

many moons later...and realizing I've been too spoiled from years of playing Hammonds or drumming behind Hammond players but not spoiled enough to buy one, and trying quite a few keyboards with organ modelling-I got a deal on a Ferrofish B4000-which might be a very good fit with the X-P1 "waterfall" keys. With a PX560-can be split like a double manual C or B, 44 keys to a side, and foot pedals. Not a Casio product, and has been around for a long time apparently (I'm so not on top of some of these things-I bought a smartphone plug-in mic/speaker that looks like an old telephone one, including the coiled-cord, just have to find a dial or touch-tone attachment for it I'll be all set😜) Not many reviews-guess I really just miss those old drawbars and this looks like a good-un. Unfortunately, I watched Roger Smith's B4000 review, and got lost watching a 1/2 hour of Tower of Power videos on Youtube. Had to go cold turkey, was beginning to sweat watching how good these guys were/are.

Buford... Unfortunately, pdf readers have always been just that-readers only, and do not allow any editing, copying/pasting part of or creating a pdf. For that you need a specific pdf editor-which I've tried, and none have worked too well, since pdf formats that are supposedly standard-are not. And Casio password protected certain docs which are supposed to only be accessed by users who buy a specific Casio, and are then given the password in the manual or user guide-at least they used to do that, haven't checked lately. i thought this might be done to protect the downloadable pdf music books that are sometimes part of buying a new Casio, depending on the Casio, possibly part of a copyright protection scheme of some sort. Check out this webpage that describes open source programs that might allow you to open the casio pdf and then copy parts of it, or edit it. Aside from copying an entire unedited pdf or downloading and saving one you will need one of the se programs to for example, copy and paste one paragraph or other part of a pdf doc, or even an entire page. Libre Office I think allows importing a pdf, then saving it in another format that can be edited such as .doc, docx, .txt, .rtf etc. https://opensource.com/alternatives/adobe-acrobat

For Hant the Russian translation.. О_Человек, вы правы - в старых Casio были дополнительные функции редактирования тона и функции сэмплов, которых нет в более новых WK6500/6600/7500/7600 и подобных CTK. Чендлер точно это описал. Более новые Casio используют другие сокращения для тембров, регистраций, ритмов и «всех» файлов, в то время как более старые — в зависимости от модели Casio — использовали только обозначение .ckf — не всегда давали то, чем на самом деле был этот файл ckf — это могло быть ритм, может быть тон. Вы должны были следить за тем, какой из них был самостоятельно. Более новое обозначение .AC7 соответствует старому обозначению файла .CKF, если .CKF является только ритмом. И все эти обозначения файлов различаются в зависимости от того, какой модуль синтезатора/тона использует Casio — AHL отличается от более старого ZPI, который не совпадает с более новыми обозначениями файлов с AIR или AIX, такими как XW/PX360/560/. Серия MZ-X или новейшие модели CTX и CTS. Да, это сбивает с толку, если вы используете различные Casio. Я постоянно ссылаюсь здесь на IDES версии 4.0, которую я использую со старым PX575, потому что он не только имеет редактор ритма, редактор тона и преобразователь сэмплов для сопоставления wav-файлов с PX575 и сохранения в виде полного тона, но также имеет ритм конвертер и полный редактор для DSP и всех «глобальных» настроек, которые может делать PX575. И панель виртуального регистрового органа с упорами, кликами, включением/выключением лесли и несколькими настройками перкуссии. Почему я оставил свой старый PX575, хотя есть несколько других старых Casio, которые используют именно IDES 4.0, не помню, какие именно. Вероятно, один из лучших программных интерфейсов Casio, когда-либо созданных IMO. Почему они не довели до конца этот дизайн программного обеспечения? Они сделали это с несколькими более новыми Casio, но не включили его в серию WK/CTK с тонами AHL.

Oh_Man you are right-there was additional tone editing functions and sample functions in older Casios that the newer WK6500/6600/7500/7600 and similar CTK's do not have. Chandler has covered this exactly right. Newer Casios use different abbreviations for tones, registrations, rhythms and "all" files where the older ones-depending upojn which Casio model it was- used only the .ckf designator-did not always provide what this ckf file actually was-it could be a rhythm, could be a tone. You had to keep track of what which one was yourself. The newer .AC7 designation corresponds to the older .CKF file designation-if the .CKF is a rhythm only. And all these file designators are different depending upon which synth/tone engine Casio incorporated-AHL is not the same as the older ZPI which is not the same as the newer file designators with AIR or AIX-such as the XW/PX360/560/MZ-X series or the newest CTX and CTS. Yes it is confusing if you are using a variety of Casios. I constantly reference here IDES version 4.0-which I use with an old PX575-because not only does it have a rhythm editor, tone editor and sample mapper for mapping wav files to the PX575 and saving as a full tone-it also has a rhythm converter and complete editor for DSP and all "global" settings-which the PX575 can do. And a virtual drawbar organ panel-complete with stops, click, leslie on/off and several percussion settings. Why I kept my older PX575, although there are several other older Casios that use the IDES 4.0 specifically, don't remember which ones. Probably one of the best software "front-ends" Casio ever made IMO. Why they did not follow through with this software design-they did somewhat with a few newer Casios but left it out of the WK/CTK series with AHL tones.

Missed this post-and I just restored a broken key on my 3rd CDP230-not even broken-the metal hammer had slipped out of its plastic sleeve-which keeps it from moving from side-to-side. This guide is advising how to take out every screw underneath-this is not necessary if you just need to remove the top panel but you still need to take those difficult "buried" screws under the little plastic panels underneath. The additional rows of screws keep the key assembly attached and only need to be removed if you need to take the entire keyboard assembly out. I had to in order to get underneath the keyboard mechanism to repair the hammer. I also managed to adhere additional piano felt under the key tab that strikes the bottom case in the front of the key-not too hard, but needed to be a very thin strip of piano felt, and needs to be glued in place. I will post pics of my repair if anyone is interested-I used this web page from "ifixit"..... For parts-keyboard kountry, pacparts, syntaur and several others have replacement parts-as does eBay.

OK, here it is. Full service manual-could come in handy for other issues you might have too. I just picked up a CDP230-my 3rd-I've bought and sold these before, only to realize what a great digital piano it really is-which is in need of repair. Why I keep so many docs! Casio CDP130 service manual.pdf

I have a disassemble doc somewhere showing the CDP-130 which is pretty close. for spare parts, check pacparts, keyboard kountry, fullcompass, syntaur, there are others-also ebay sometimes shows listings for spare Casio speakers and other parts. I'll try to find the CDP130 doc and get back here.

That's what I had previously deduced, from lack of information rather than documentation. I checked several parts suppliers for Casios, and found no reference to any kind of backup batteries for this, or even close-there are none in my 560/350 or XW-P1 either so card/thumb drive/internal memory must have replaced this method as you said.

Still trying to se if the PX575 has a backup battery, so far nothing, I will look at parts suppliers-sometimes these parts will show up if there is one.

If i find a service manual, parts list or schematic online, I will post it here...I have never seen a listing anywhere for a backup battery for the Casios and i have never seen one inside any I've disassembled, not sure about the 575 but these can hold a charge for 10 years or longer. My SY77 still has it original backup coin-cell, and i've owned it for 15 plus years! I still have my PX575, it still works. I'm thinking Relieved-that somehow this other supply might have "cold-booted" the 575 because of the bad barrel plug fit-you shorted the power jack momentarily-I've done this on some older boards (I'm note recommending it) to get these to fully reboot-which discharges any residual charges, can correct a stuck software fault, and can work if the fault lays in the OS, not the hardware. When you factory reboot most keyboards-it is "warm-booting" it is still partly energized, and if there is a software glitch, it will remain in whatever chips-primarily memory chips that access the CPU-there are. Caps can also retain power for a long time, even without a battery backup-and this keep the OS fault in place. I usually just connect a spare barrel plug into the power jack and short it to see if this will fix the problem. on older keys I've disassembled-I directly short the power supply-without power connected to the board-momentarily, but there is a risk and i only do this as a last resort, and i know my way around electronics so again, I do not recommend this here but I think that is what you inadvertently did.