Jokeyman123

What a bizarre and entertaining little video-presents the computer evolution from Pong to the XW-P1? Perhaps there is a hidden "Easter Egg" in the Casio that is triggered from inputting this number somewhere, maybe while editing something. Wikipedia also states 42 represents (among other things) the asterisk (*) wildcard symbol for DOS commands in ascii, for instance del *.* meant you would now delete every file in your computer, etc. or Casio is simply trying to say the XW-P1 is the key to unlocking the questions of the universe, or at least how to stop playing Pacman and Pong.

Very clever, this addresses drum tuning I had mentioned in another post and I will try it. I have used altered drum pitches in other instruments and this can really improve flat sounding samples-something i've wanted to try in the Casio as I find the snares, basses and toms a little lacking in variety and timbre at least in the preset kits. I've noticed a huge variety of PCM samples in the appendix for drum sounds, this bears checking out as there may be a much better sounding bunch of samples to make custom kits, have to find the time to audition all these. Thanks again AlenK.

When working within a sequence and the mixer I am till not clear what the difference is between volume "all" and "master". I am simply trying to establish an easy routine for controlling the balance between loudness of track 1 and the sequencer tracks 9-16 when playing live. I understand how to control individual track volumes, but I can't seem to grasp how to alter the loudness of tracks 9-16 together independently from track 1 while I am playing live. Can anyone clarify this for me? .

Agreed and understood. One's ears get spoiled by the pristine quality of some of the keyboards I've played. Again, sometimes character to a sound is based on its imperfection-"circuit bent" projects show people's desire to create this. And of course the original B-3s had plenty of 'grunge" and beautiful tube distortion through those Leslies! As long as the sound interactions when setting up complex arrangements is relatively "transparent" (can I hear each part clearly) then I'm happy. So far, even compared to more costly stuff, the XW is doing very well. And the database of raw sounds is quite incredible, it will take hours even to quickly audition these. Only minor disappointment (again spoiled ears)-variety of basic drumkit sounds (bass drums and snares) could be better since these use so little memory although the variety of percussive sounds is definitely workable IMO. and too bad pitch change for drum sounds would be a big help. Just dropping a bass drum or raising a snare pitch can do wonders in a mix. I am going to try re-programming an entire kit and see what I can come up with. I'll post if I get anywhere. Thanks again AlenK.

Yes, that sounds right-would be alot easier using the XW as a "sound module" with an external midi sequencer or software. Still pretty impressive sounding though. I've also noticed there is some "garbage" sound artifacts in the upper registers with many sounds-so this isn't as pristine as some romplers, I've read about this in other posts here and it seems true to my ears. Just loaded a ton of midi files onto my SD card to hear what these sound like in the Casio-strange how the card structure works-everything must be in the same card folder, sounds, performances, midi files etc. and the Casio sorts them out internally.

Just when I thought I was getting there-listened to the demos again-its all there, just have to figure out how. Am guessing the demos with obvious changes over time (longer than can be done with sequencer alone) must be using the phrase sequencer recorded and played in sync with the sequencer tracks, and arpeggios thrown in for the heck of it! All this is then "chained" through the different parts of the sequencer's recorded tracks. And since each sequence "part" can have a different phrase attached to it (I think) there goes your "linear" melodic parts for a long arrangement. Understanding is one thing, doing it is another. Like putting a puzzle together-except with sounds. At least it didn't cost $50,000 like the first Synclaviers!

Right Zymos, that is it. With so many options, i am discovering this is truly designed for quick changes "on the fly" for live playing rather than switching from one dedicated function to another isolated function to build a composition It is sort of "organically" connected together, but requires I learn how to command all the sections together while playing, much different than my "workstations" that require leaving one function to work another. I've never seen a keyboard that allows simultaneous apeggios, phrase recording/playback, sequence recording/playback and switching to 'tone" or "performance" as fast as i can switch around. It is like a Casio "auto-accompaniment" keyboard, with a programmable synth and three different auto-accompaniments-a sequencer, an arpeggiator and a phrase sequencer. Combine that with layered synth tones that can morph over time, the solo synth sounds can be used in the sequencer tracks (like the vector synths) whew! it is a handful, two handfuls, and my feet. Back to work.

Clarity-ahhhhhh! Yes, the XW is IMHO tricky to work with but is capable of so much. I've already gotten some pretty neat sequences going just to doodle with the drawbar sounds feel like I'm back in the jazzclubs again, minus the smoke, stale beer and sometimes violent audiences! You have clarified what I needed to know-most importantly that I believe I need to be in step edit in the edit screen so the XW will record my keypresses as I expect when I am recording live into the sequencer. Seems simple enough but If I shift to any other screen (ie mixer) the keyboard changes to something else i think that is what confused me-I will experiment further today. Interesting work-around I hadn't realized-can select any PCM sound with mixer for otherwise default drumkit assignments on tracks 8-12, a nice option. And yes I have the appendix and manual hardprint from the original owner, but you are far more helpful although I think I have appendixitus and manualitus! Thanks again.

Got it! AlenK once again-you could have written the manual, would have saved me alot of time. I overlooked the obvious, that eighth note triplets would need to be set to 12 steps, not 16 for establishing a measure across one loop. I was getting the overlap you describe. I will have to mess with this some more, haven't had enough experience with step sequencer "logic". I am still thinking in realtime linear recording logic which is why my blind spots. Then 16th note triplets with 12 steps will simply insert 24 triplet spaces in one loop-this means I can create odd time signatures and compound rhythms-16ths or eighths against triplets in the same sequence, very cool! And re the drum assignments-I think understand now...each track defaults to a particular sound in order to quick record using the buttons and this note assignment is readable in the edit screen or mixer I forget which. This can be changed for each individual track with the sliders assigned to that track, not only for the buttons but for the keyboard. I think the difficulty I'm having trouble understanding is that in order to get the keyboard to respond to a drum sound while recording live into the sequencer only one key will respond-the note that is assigned to that track for the bass, snare etc. None of the other keys are active (I think) unless I reset the range of notes which by default is set to one note, although I'm still not sure...will have to go back to trial-and-error method. This is a fascinating instrument, with all the other boards I play, this one is really pretty deep. Between looping, phrase recording, assigning parts to a sequence and chaining, I can see building some very evolved arrangements, not just repetitive short dance-type structures, pretty versatile. Just needs a different way of thinking than I'm used to. Thanks again, nothing but respect for your knowledge.

Very nice Scott. and thank you AlenK, a great episode. Will ithe XW-A-Pig come with an optional white or almond porcelain sink? Looks like you added the Grok mini keys or CZ-101. Add custom "skins" we have a winner. I have another post about (seriously) adding some more piano felt to the bottom of the keybed-it hits pretty hard and I've done this mod on a few other instruments-76 and 88 ones no less. I already took off the little plastic strips underneath the XW, but this only allows partial key access, I guess for cleaning. I will be tearing mine apart soon and trying to do the mod-I will post pictures for anyone interested as I like the key action, but it seems to have very little padding at the bottom of the key travel, normal for a synth but after time I can see broken keys if one is a heavy-handed player, or you play with closed fists. Or your elbows.

Now you can see how confused I am.....I thought if I approached it back**swards, I might be able to figure what I couldn't see forwards. I'll keep at it. After studying the manual...again........still can't figure what is happening here. I'll keep at it...I'll keep at it....I'll keep at it!!!!!!

When recording in sequencer-confused again! In drum tracks 8-12 sounds recorded using the track buttons 1-16 are preset to an individual sound-bass drum, etc. No problem. but when I step record from the keyboard for a track, what exactly is supposed to happen here? Shouldn't the drum track I'm recording record the key I'm hitting, like every other recorder I've used? It doesn't and I'm not clear why. Also-am having fun with the "quantize" or note value setting in the sequencer. Trying to get anything beyond straight eighth, sixteenth or 32nd notes seems to be really difficult-using triplet values seems to confuse the sequencer-since there are only 16 possible steps-how does the XW "interpolate" triplets or doesn't it. Should be able to access any function I need from the edit and mixer buttons providing I'm in sequence mode, but after working with it for a few hours, it still is baffling me. Maybe I've hit a limitation of the instrument? Or maybe back to the old kazoo/jaw's harp. Helppppppp....

All this in a wristwatch format-with a keyboard you can strap to your arm and play-sort of like a mutated accordion-don't laugh, look at the Korg mini trigger stuff, who knows? I know I'm being silly-but if they copy this idea, I want a piece of the action!

Will do-may take awhile, I've have to stay off my feet for awhile-fractured heel-but I probably will tackle it in within a week or so-I purchase felt by the yard at W****t--they have thick felt which is perfect for this-I redid my Kurzweill RG200 with it made a lot of difference, and an SK76 Gem which had an open design spring keyboard-some instruments (TS-12 Ensoniq) have an enclosed steel frame which doesn't allow me to get into the section where the hammers rest or strike the keybed (I tried)-I'm guessing the Casio will not be as hard to do-finger damage from my experience comes from the bottom of the keystroke which if you like to play hard like me, can get nasty after awhile. I'll post pictures and instructions-I really enjoy being able to contribute, I've been messing with this stuff since pre-synth days-used to practice on the old Wurly tine pianos alot during college played some B-3s and many others, saw one of the first Memorymoogs in Bearsville studios (Woodstock, NY) where my keyboard friend Robbie got ahold of one for one of the first recording sessions there, used to empty clubs with his old C-3 and B-3 with ring modulators attached. Yes I'm older than dirt but music keeps the dirt out of my ears!

well it does now-bought it from someone else who probably did not even notice firmware as it looked unused, its used now and will be. Thinking of updating the keybed too-XW keys sit kind of hard at bottom of travel although have a nice feel for a synth-(I'm a piano player mostly) and will probably feel better with some piano felt underneath-did this with two other keyboards/pianos and it is alot of work, but much nicer to bang on. Maybe its just me. I'll post if I do the mod. Did some more sequence work-it's holding up fine now.

A follow-up to my own topic. Not totally sure, but I updated the XW-P1 firmware that addresses added MIDI functions and now the sequencer recording is working as it should, I followed same instructions as before. I also noticed that sequences are now matching my key-presses when using the keyshift button whereas before these would come up with weird mismatched transpositions. I can't be certain this has to do with original firmware, but....................Any comments are welcome. Just glad it works right.

One other feature, since you are all "pushing the envelope"-my old Generalmusic S3T had true polyphonic aftertouch-one could bring in a different sound in a multi on each individual key I think up to six different sounds-what a concept (I sold mine because the piano sound wasn't good and bringing in samples was limited to 1-2 MB). And the keybed was unique to anything I've played-it had a type of weighted/springloaded action that was very smooth, a cross between a weighted piano key and a purely-springloaded typical synth key, very nice to play and quite nicely balanced. The mechanism was different inside, looked very solid. I agree with all other upgrades, would be an exceptional instrument indeed.

I will check xda developers since Android is open source and I think Linux supports midi, there is a possibility for writing code for an Android midi port through usb.

I have studied Mike Martin's sequencer videos carefully several times (both parts)-read the manual over several times. Can't get past anything but recording drum tracks. Every time I switch a "part" with the mixer and select a sound for the part I wish to record beyond the drums-I get no response from the keyboard (trying to record live from the keys rather than the buttons). I am in sequencer mode, step sequence in "edit" is on as are the tracks that I have selected. The "part" button for the part i wish to create is selected. I am stumped again, I must be overlooking something obvious-do I need to be on the "mixer" or "edit" page when I record a bass part or other track? Do I need to match a "performance" with the sequencer first? I have tried from an empty sequencer user memory slot and a preset in edit mode either way, can't even get a basic bassline down with the keys but I can with the buttons-the three drawbar/select buttons are all off as per Mike's instructions. Maybe my XW is just buggy. Any help on this is welcome-I've pretty much cracked 80-90% of what I can do with this, every other function works as it should and I thought the sequencer would be easy, it appears it should be. I am not new to sequencers but I am new to this one! The manual-lists how to play a sequence, how to edit one and all the relevant parameters, but....yes sir not how to create one. Might have helped IMHO....And thanks again for the team of people that have helped me learn this new little beastie I may actually be able to play some music soon...

Hmmmm...maybe I will try it. Puppy is lightweight but fast. Runs Wine no problem and have tried a few other Windows programs with, nothing too heavyweight though. I have Ubuntu 12, but can update it. Just glad editor works at all. Thanks again.

OK Scott, thanks much-new user account worked with battery power-still seemed a little glitchy-I had compiled package files for organs, solo and hex sounds (nice stuff from here!) and couldn't get these transferred at all. Now package files went without a hitch-when transferring over from one window in data editor to the other-still gotcommunications errors and it still had trouble reading everything in the XW, but it did work. Now the question is why and/or how? I would guess setting up the new user account seems to strip all the paths to extra Thinkpad services I installed (and there are many) as well as paths to executable programs (of which I have many). Sort of a like a "clean install" of Windows. It also speeds up the computer and browsing, an added side benefit. I have a triple-boot machine here Ubuntu, Puppy Linux 5.6 and Windows XPee. Bet a ported Linux data editor would work a treat. I can see nothing but problems trying to run this with Wine on Linux. Again, thanks Scott-a solution worth keeping in the forum-hope I can return the favor-I have been posting a few "curious" workarounds to use XW as a "linear' sequencer with phrase recorder and performances-just because I want to! Great machine-after working with many complex synths over the years (and software) this is a refreshing change, what a cool concept!

I'll try with new user account. Maybe all the Stinkpad drivers are interfering somehow with data edtor. Ihave had trouble with drivers battling each other. I'll install on another laptop see if that works. Might even be as simple as using battery power with laptop rather than AC power. Might not be giving enough power to the USB port with only laptop battery-battery power steps down the laptop CPU I'll try that too.

Using latest data editor ver 1.1.2. Laptop Lenovo x60 Windows XP Pro w/service pack III, USB 2,0 ports. I am getting partial transfer of data back and forth with keyboard connected through USB cable as message "connection error" appears before any type of complete transfer takes place. Happening regardless of data type-tones, performances, etc. My Windows USB drivers are installed-other USB devices are recognized and work. It seems to partially read keyboard data-some sounds from the keyboard appear in the correct window pane in the software, but then it fails. I followed all procedures in manual (not starting editor until keyboard is rcognized, made sure laptop recognized keyboard and installed proper device in Windows). Editor shows keyboard recognized, but still getting same error message. Checked under "preferences" in software-looks like USB is set correctly and checked "MIDI" settings in keyboard, everything seems right-USB in and out are "on", etc. Anybody know what's wrong here? Am I missing some specific driver I need for this keyboard? I've read other posts about this problem, none seem to fix this one thanks in advance.

My last post on this for at least another day or two-might be old news for more experienced XWP1 players. I created a "linear" arrangement using a multi across the keyboard. I discovered that I could record 4 separate continuous parts for as many measures as I needed by recording live from the keyboard in each zone (bass in bottom octave, drum kit in 2nd octave, a string pad in thr 3rd and piano in final 2 octaves. I was able to record each part in the phrase sequencer as 4 separate phrases using the performance I created, saved the entire 4-part arrangement as one phrase, and saved the performance separately. I dial up the performance saved, the phrase to match and bingo it works! I have the ability to use the phrase recorder as a kind of crude multi-track sequencer. Having to share 61 keys with 4 different parts of course iis very limiting, but it can work for laying down tracks of limited ranges-close chords for instance. I had done this years ago with an old Korg DSS-1 sampler creating keyboard zones and multi-tracking from this. i know this method may sound kind of crazy-but I am enjoying milking everything out of this keyboard it has so much in it. Now if only I can.....overcome DSP limitation somehow.............

I understand and thanks again Mike. Since I've only had this keyboard for two weeks, think I've made some real progress thanks to you and other forum members here. It has taken two weeks just to preview all the sounds, sequences and phrases in this.This is the one of the most active and supportive music group online I've ever joined, very helpful, and the XW-P1 not only is completely unique and a barrel of fun, the more I play the more impressed I am. I've spent years studying music technology, performing in bands and as a music educator for 30+ years (retired). I used Casio keys \in my music classroom and was impressed with the organ and piano sounds 5-6 years ago. I've already posted elsewhere (I am trying to contribute as much as I can) that part of the fun for me with this instrument is pushing the limits of what it can do-like John Coltrane squeezing every imaginable sound out of his saxes. I can only imagine there is a present day Bach out there somewhere who will get his or her hands on one of these-perhaps we will hear a looped version of the Mozart Requiem!