Jokeyman123

After spending considerable time with several different newer acquisitions-a Behringer Poly D, Miniak , an Alesis Fusion and a badly needing restoration Korg M3-at least newer for me-returning to the PX560 and XW-P1 as a comparison-I have noticed-the variety of synth lead tones in the PX560 is somewhat lacking IMO-as far as the existing factory tones, and compared to some pretty stiff competition. Also looking over our collection of user created tones here on the forum for the PX560 which have an abundance of user edited pianos and several others, I don't see much in the way of fatter and more raw tones such as in the XW and the others I've mentioned. I am guessing more work has been done with synthesis programing with the PX5S due to its seemingly more accessible stage settings and better real-time controls. Perhaps users here have done some editing for the PX560 and haven't uploaded their work-this is an area I have been working on as there is way more raw wav material in the PX560 than shows in its factory tones. The trick is-that although editing tones is somewhat limited in tone mode-you cannot select individual wavs to create an individual tone, there is no such limitation in hex mode-as any wav sample can be used in any of the 6 layers. Since many of the hex layers are quite impressively creating more "soundscape" tones, I have found by simply picking different wav samples, and changing to faster attacks (many hex tones have slower attacks for a dramatic effect in bringing a particular layer in and out) can create some pretty massive "lead" and "analog" style sounds without too much additional programming. The basic (and then some) raw sine, pulse, sawtooth and other wavs typically used in so many of these recent analog "recreations" are there. So despite its categorization as a stage piano, and rightfully so-and after owning mine now for several years and comparing it to several other rather impressive keyboards in their own right-i think this is an area of the PX-560 that still needs to bear much fruit. Apologies to Mike Martin who was kind enough to port some of the PX5S tones over to the PX560 uploads quite awhile ago. And finally this is not meant as a criticism-rather than an incentive that there is still much sound design capability in this "stage piano". It took decades for many musicians and sound designers to begin to realize the huge unique sound capabilities for "FM" programming after all. I will be posting some of my newly-created PX-560 hex layer tones ASAP in our user uploads for the PX560.

I don't have this particular Casio, but I find the simplest sine leads in several Casio instruments to be an excellent lead tone. Sometimes the simplest tones can fit in a composition much more pleasingly than some of the more complex synth tones. I think this may partially be why some of the earliest seemingly less advanced Casios are so popular since the tones in these "lesser" Casios rely more on the sine, pulse and sawtooth waves. or other approximate waveforms. The first Minimoog used these simplest of waveforms to create some of the most popular "signature" sounds heard on so many recordings. and the sine wave IMO can come closer to sounding like a human voice in a synthetic but pleasing way. Glad you share my love of beautiful tones from the Casios.

And Chas yes, it was the original Memorymoog-way before it was on the market-RobEone had a prototype-not sure how he got it, he did have Eddie Offord there at the recording session-what a trip to be at Bearsville when it was being built! I remember Robbie was saying when we visited his recording session there (was so loud I thought my ears would be permanently deaf_ how he go the first one. I did not realize this until I saw pictures of the same model years later-I never tried buying one so had no idea when it came to market. Robbie is now a big supporter of the Moog Foundation, has been for a long time, and an amazing keyboard wiz, i have just re-discovered our original demo tape pre-synths from 1968 with Robbie on the Hammond recorded in Echo Sound studios in Long island, so I go back a bit. Still have my original TEAC-A-3340 tape deck from 1970, just had it restored and is fully working. I had gotten hold of this machine also before it came to market from a private music studio somewhere in south NJ, I think around Brick through another musician friend who lived near me and was doing alot of studio work back then-the owner had a few direct from TEAC and he was willing to sell me one of his-for 1000 dollars-was alot of money for a 20 year old aspiring not too wealthy working musician back then but now i could do multitrack recording, overdubbing direct to tape. So I was following the progress of keys and technology very carefully even then. It weighs over 50 pounds, I needed to put heavy steel anchor case handles on it to carry it around which I have-thats roughly the weight of 4 XW synths!

Sure-as long as you understand how to import a midi file into the PX560, if you are asking about an external midi file on your tablet, phone or computer. Once imported you can change the tempo in the usual way you set tempo in the midi recorder/song recorder of the PX560 if you wish to keep that tempo, its a little tricky because tempo will only be recorded in the system track. i think this is done automatically when you import a midi file but I'd have to check the manual again to refresh my memory. You don't need to record the tempo though-it will play back at whatever tempo it was originally playing from your computer or whatever source you are using. This isn't answering your question completely yet, but you must do this first if you want to convert it to a wav file recording. Otherwise all you have to do is change the tempo of the midi file with the PX560 tempo setting. The final answer-all you have to do now is hit play from the midi recorder of the PX560-after you put the audio recorder into record mode-this will now create a wav file recording from within the PX560's audio recorder, which is a separate recorder from the song/midi recorder. Again study the manual if you are not clear what the different recorders are and how to use those. This wav file will end up in the "musicdat" folder of your PX560 thumb drive, and you can take that wav file and save it to your computer. Another nice feature about this wav file-if you install "Audacity"-a free open source audio editor for Windows-you can load the wav file into that-and not only change its speed, you can change the pitch of the entire track or midi file you saved as a wav file, add effects etc. And-Audacity can export the wav file to an mp3, a smaller file than the wav file for playing on a smartphone, tablet or media player.

Brad, can you import the midi file as a complete file-I do this with the PX560 all the time. then you can play with the mixer settings to change tones, tracks-and of course unless the midi file has more than 16 instrument tracks-I can add any other part i want by using the song/midi recorder. I'm not sure if the PX360 works the same way. And Auntijack-the imported midi file will not reside in the system track-it will automatically read whatever track your original mid file was set to-and create that track in the same midi channel with in the PX-if it works like the PX560. the system track 1) cannot be overdubbed-it is a "one-shot" recording track and 2) it is used for recording all the other track settings and if you use the auto-arranger functions, it will record that information too, while leaving the other tracks to record separately. Understand though-if you try to record over the system track a second time-with for example one instrument track, you will be erasing all the prior information that was recorded on that track-all the other mixer settings-volume, pan, instrument assignments. I know this is getting perhaps more than you needed to know, read this older post, might make things clearer. Disregard AlenK's sort of well, "abruptness" in these posts, he must have gotten a little miffed trying to explain this. Understandable. I get a little miffed trying to understand most everything lately. My mother would always tell me-"go to your room" and I'd tell her, ma I don't have one, I sleep on the floor!!!!!!

Einstein said..."Imagination is more important than knowledge. For knowledge is limited, whereas imagination embraces the entire world, stimulating progress, giving birth to evolution." I think this is why I always like creating music, it requires imagination. An extremely complex difficult musical passage can still not sound like much, unless a human puts some energy and imagination in how to play it. And some of the most beautiful music is the simplest. Always good to hear from you Hant. Эйнштейн говорил... "Воображение важнее знания. Ибо знание ограничено, тогда как воображение охватывает весь мир, стимулируя прогресс, порождая эволюцию". Думаю, именно поэтому мне всегда нравится создавать музыку: это требует воображения. Чрезвычайно сложный и трудный музыкальный отрывок все равно не может звучать так хорошо, если человек не вложит немного энергии и воображения в то, как его сыграть. И некоторые из самых красивых музыкальных произведений являются самыми простыми. Всегда приятно слышать тебя, Хант.

XW-you might want to take a look at this, the Seaboard Roli keyboard, not exactly what you are describing, but close. Pretty costly though. Keyboard guru and friend RobEOne demoed it on Facebook, where I learned about it. https://roli.com/products/seaboard/rise2 Also am thinking of the Korg M3 with its advanced system of creating random accompaniment variations using the KARMA functions built into that-first used in the Korg Karma keyboard. Maybe a combination of both of these, a ROLI touch-sensitive key model combined with some kind of KARMA functions coming out of the Korg, which can be had as a separate module, which I've done. Add a theremin or 2, might give you what you want. KARMA is very deep, complex but can produce pretty interesting arrangement variations, almost reminiscent of the earliest algorithmic software programs I used to experiment around with many years ago, where one would plug in a few variables for a composition and let the computer compose something. Back then, the results were pretty....dull and not very musical. KARMA is way more musical, at least from my limited experiments with it and the M3, but an engineering degree to use it helps!!!!! Add a Roli to an M3 module, whew.

Maybe he (Cyberyogi) will pitch in. Too bad we don't have a source from Casio Japan...I wonder if they archived any of the old service manuals or diagrams, or if these even ever existed. I checked with Casio repair, I don't think they will be able to help with service manuals. if they have them, they are probably not allowed to make it public. I've had this problem with other factory service manuals, it is considered copyrighted material and usually not available to anyone. I would search Youtube or other Internet sources, there may be someone who has restored the MT-400V or CT-400V and will have a video walk-through of what they did. I did not check that myself. I also have 2 very expensive malfunctioning keyboard mainboards I sent to a place I found. They have been working with me to try to restore these "obsolete" mainboards and the techs have been very responsive and are giving a completely unsupported product a good go and claim to work on any brand of keyboard. they are based in the US though so might not be good for you if you are overseas I cannot advertise a service here as per our user group guidelines, but PM me if you are interested, they might give the Casio a complete workover if you can't or don't want to. I also have contacts in the UK for service techs-again PM me if you are interested.

This might help, the CT-410V is supposed to have the same internal circuits, this is from Tablehooters-Tabelehooters I think is here at the Casio music forum. He might help. I could not find a schematic for either, only bits and pieces of the circuits. and Cyberyogi knows alot about these rare Casios. Is cyber yogi tablehooters? I've gotten them mixed up. http://web.archive.org/web/20040831062937/users.informatik.haw-hamburg.de/~windle_c/TableHooters/Casio_CT-410V.html

Always check in when I see XW's posts....I have recently been working with the Behringer Poly-D with basic sine/pulse/sawtooth waves, bringing me back to my old Sequential Pro-one, the original not the Behringer, and the Alesis Micron and now the Miniak-same basic designs and based on the simple sine/saw/pulse oscillators. And then I look through the raw waves of the XW-P1 (again) am reminded how far ahead this was, compared to the newest solo synths such as the Behringers. Korgs, Novations and others ad nauseum. I also wonder might Casio re-issue the XW since I think the PX-5s is still available new (might be wrong) as is the PX560 and a few other older Casios-again not sure but I see many WK7600's still appearing in the marketplace as new. I suppose Casio decided, these were not selling enough, and pulled the plug. An odd marketing field since the best instruments don't always survive. Think Ensoniq, Generalmusic, Siel, Sequential (resurrected by Dave Smith one of the initial designers) Alesis before they went Numark, and Moog temporarily until Mr. Bob Moog resurrected that and with the help of the Moog Foundation. And finally, Mr Bill...here caught again in my pellet stove and helping me around the house.....I don't think he was ever in the keyboard business....sorry if this is off topic, but I am Jokeyman.

OK, gotten a little further. You meant Bome sysex utility, I have it. Having the ability to load and save whatever you want in the RZ-1 with sysex apparently can be done, and the Midisport 2 x 2 has a big midi buffer and should be fine if sysex transfer is what you need to do. since the RZ was originally designed to transfer/save/load its data using a tape recorder audio interface (I've used this method years ago with early Korg DW synths and others) I guess i can understand why you'd want to do this with sysex data packets instead. If you are new to sysex messages-don't let all the codes on the R-massive webpage confuse you. it seems that the software available at R-Massive will create the necessary sysex messages for you in order to load or save whatever data you need to transfer. Ihaven't tried so can't say of it works. and if you have no samples in the RZ-1 already, there will be no sysex info to save to your computer. otherwise, you would have to input all the exact sysex messages into your computer software (Bome) in order to get the RZ-1 to respond this way, since it was never designed to do this, and this R-massive description is describing a different way to load and save samples, programs etc. wish i could help more. if it was me, I'd pull out one of my old tape recorders, and sample using recorded audio samples sent into the RZ-1 as it describes in the manual, but that is only for sampling. I think the RZ-1 also required using the tape recorder interface to save everything in the RZ-1, and to send everything to the RZ-1, using the audio (MT) jack. The R-Massive website is describing how to the same thing, just with the software posted there, and midi connections instead of the older tape recorder interface.

Let me download a manual if i can find one, I have some experience with sampling and sending sysex back and forth, just not on the RZ-1. You might need to practice a few simple steps first before you can go to full sampling. I will be clearer after I look this over. Always was tempted to get an RZ. Have quite a bit of other sampling devices instead. a question or 2, as your post is not totally clear to me. What is bone software? And what is the the R-Massive article ezine-is this a document you have studied about the casio RZ-1? And I think you are talking about a Midisport 2 x 2 midi interface, i have he same one and use it for connecting my laptops to my music machines, for transferring/saving/loading midi files and other data.

I am not familiar with this particular Casio, but the midi implementation chart shows exactly what type of midi (not audio) data is sent out through the PX S1000 and i don't see anything about midi tracks being transmitted. I think you will be limited to realtime DAW recording of one track at a time. Many even more complex keyboard workstations will not have a facility to record more than one midi track to a DAW at a time. Yamaha's XG works DAW does allow for simultaneous recording of up to 16 tracks of midi in one pass, but the PX S1000 would have to have the capability to send more than one track out midi at a single pass. Something else I use with a Windows computer is Midiox, which will show realtime midi data on one of its screens as you play, or play back any midi sequence, pattern or rhythm from the PX. I see in the manual that you can set individual midi channels using the keyboard switch settings, but I do not see info as to whether the PX is sending out any midi data when you play back a song. My best guess is no, as many Casios require an intermediary step to saving a recorded midi performance-transferring with software, an SD card or thumb drive, then transferring to the computer for playback. You can test this with Midiox, once its opened and ready to monitor-playback your track and see if it is sending out midi data in song mode.

Brad, my Alesis Fusion mainboards are from InMusic which was originally called "Instrumental Music". I had communicated extensively with a particular tech there the past 2 years who had managed to find almost impossible to find Fusion mainboards I still own as spares. I keep my eye on their inventory which gets rarer as we speak. I had to work at getting these boards. He had to search through a warehouse to find these. I still have the address of headquarters based in Rhode Island and I think listed as "Numark".

There are no experts to fix the old Alesis stuff-at least not working for Alesis anymore-the genius developers who created the Andromeda, Fusion, Ion and Micron have moved on to other technological adventures and achievements. Here is the "Easter Egg" displayed in my Fusions-the development team-see attachment below. I checked, the Mike Martin on this list is not Casio's Mike Martin, unless I am mistaken. Interesting coincidence though, there is genius in this Alesis Fusion board. The other genius not mentioned since he almost completely created the Micron, is here, Bret Victor. still has his own website, but not with Alesis anymore..... https://gearspace.com/board/electronic-music-instruments-and-electronic-music-production/1258218-honoring-alesis-micron-its-designer.html Unfortunately, through many hours of research on my own I have had to learn to be my own (very flawed and incomplete) expert with those monsters-I own 2 Fusions I've restored, a dilapidated Micron looks like it was thrown down the stairs but I restored it mechanically and electronically-and now have an "Akai" Miniak. I have just sent a defective Fusion mainboard for possible repair to a company that took me months to find in the US at least. Plus I now own a Poly D from Rudi Behringer, a different animal altogether, i was attracted to its solid design, and that I had started sound programming and synth composing in the 1980's with my old sequential Circuits Pro-One, a truly not impressive machine, a poor man's Minimoog, with a horrible set of keys that constantly mis-triggered. the internal tines-yes it had tines-looke like straightened paper clips, and worked pretty much the same way!!!! so I sold it and now it's worth 4 times what I paid which was 500.00 US in 1980s dollars was alot of money for me at least. Who knew? Now musicians are paying dearly for the "luxury" of having a machine with the same oscillator chips in that thing-I think Curtis 3340 are the chips everyone thinks are so wonderful. I built oscillators 40 years go, its not rocket science!!!! Also-look up Steve Howell, sadly passed away way too young, another brilliant sound designer who did work for many including half the sounds I have in my Fusions. and Klaus P. Rausch (KPR on the web) still with us. Like Steve, a brilliant sound designer who did alot of sound design for the Fusion but also still very active on his own. So even though a company may not always stand behind its brilliant workers, nice to know these people go on. I know someone else here who has a rather distinguished resume with other very prominent music companies and we are so very fortunate that he is now with Casio-and apparently brought his experience and expertise (flattery intended) to Casio, and directly to us here. they'd be quite foolish to not keep him, no matter what the price!!!! Keeping all these musicians/developers in my "mind's eye-and people like you Cyberyogi-even though I'll never be able to meet any of these people-and despite the sometimes discouraging aspects to the business and pleasure of music and technology (I still have my cassettes and recorder, 3 VHS tape player/recorders and recently spent a small fortune sending my old TEAC 3340 reel-to-reel I still use, to a repair team for restoration-one of the first off the assembly line, filled with transistors that go "ker-plunk" every once in awhile and did again), keeps me going here in my own way. Designers.pdf

I can't find these names anywhere in my PX560 either, nor in any of the PX560 uploaded files area. not in the "official" PX560 section or the "user" upload section. Unless-vinkelheimer, did you possibly find these files posted directly along with someone's individual post, who might have attached it to his post instead of uploading it into the user group uploads? I searched here, I couldn't find any reference to either of these specific names.

Trying this now...installed. Comparing it to my Poly D Behringer-closest I can get to a Mini-moog. Hear what you mean about the fast LFO. Sounds very close considering the PX560 doesn't have that amazing resonant filter. i also added the magic Man patch to Upper 2-for giving a little ability to detune the 2 tones, and with your knob 1 setting it does, and makes the LFO sound a little "wilder" which may not be very helpful but.... I managed to get the mod wheel to do the LFO rate-from the "controller" menu, just went to modulation edit-in your registration i could see what you had already assigned-but on page 2 I assigned this to CC:01 Modulation and the mod wheel can do the LFO. I couldn't speed it up though and changing different LFO waveforms -the sine is the best.

One aspect to this, I've just realized-what's missing from all the simulated Leslie speaker effects I've worked with-that beautiful massive "whoosh" sound one can hear coming out of the cabinet when the lower drum is rotating around the woofer. Not all Leslies rotated the lower drum I recall, but the ones that did-usually not too audible to an audience, but live on stage in close proximity to one-was magic, added to the blanket of sound a real miked tube-amp Leslie could push out. Listen to the wonderful intro to Chest Fever by The Band's Garth Hudson to get a wonderful example of that delicious low-pitched growl out of his setup. I can get close but if I could fit it, I'd just put a good 122 back in my music room! My buddy Artie kept his in his living room alongside his immaculate B-3. Good memories!

If you are willing, I'd like to install this tone just for myself if you feel inclined to upload it to the PX560 user tones section here. I have no band playing this song but have done some PX560 tone creation especially using the pitch envelopes which work quite well. I've had to experiment with time lapses between pitch change envelopes. The Cz's were fantastic at this with 8-stage pitch envelopes! I posted a few tones here which were the result of my PX560 edits with pitch envelope mods. Just effects, not serious "bread and butter" tones. Regarding the Moogs, I purchased a Behringer clone the Poly D, very well made and sounds pretty close to the original Minimoog IMO although this is Behringer's paraphonic version, not the Behringer model D clone which is strictly monophonic, and about 1/4 or less the cost of a vintage Minimoog. I will be using this to compare to the basic sawtooth, pulse, sine and square waves in the PX560 which should be capable of sounding pretty close to what I can do with the Poly D, except without the real time pots of the Poly D. Unfortunately, there is not much remote CC's possible with the PX560 and there is almost none at all with the Behringer controls, just like the original Minimoog that had no midi at all I recall unless it was modified with a midi expansion.

There might be some hope, but Brad is right-if under warranty I would work on that through Casio International. One other possibility-if I may Brad-the CTX5000 uses a specific kind of power supply, that looks similar to a laptop computer power supply. These are generally "switching" power supplies that can vary the voltage depending upon how much current and voltage the laptop, or in your case, the keyboard might need. There is a possibility that your supply might be malfunctioning in that it will work for awhile, then suddenly drop its voltage through a malfunction. I have seen electronic devices behave this way-suddenly only certain functions work, or will lock up completely due to not enough power. If this is too complicated for you, I would try the simplest check-get a new power supply for this Casio, an identical one, and see if that solves the problem. From this far distance, that is the best I can diagnose, but it is possibly what the problem is. The CTX5000 needs alot of power for its internal amp, more than the other CTX series and if the power supply is not right-the keyboard will not have enough power to work properly, and if it is a switching supply, this is exactly what could happen. sometimes it will work, and sometimes not. Otherwise, I'd stick with Brad's solution.

An update to this older post. I now have the Behringer Poly D, which is beautifully constructed, sounds as i expected-but the Behringer (or original as I recall) Pro-One has some mod capabilities that are not in the Poly D, I remember doing some pretty complex sounds with my original Pro-One. I also restored an old Alesis Micron which is pretty remarkable in its own way. I still find the XW-P1 unique, and I have been studying every Akai MPC, Elektron etc. The more I look elsewhere, the more I go back to the XW.

Luca, sorry to stomp in-there used to be software programs that can act as full auto-arrangers when connected to a keyboard such as the Casio. maybe not anymore, the last I had was for windows XP and was called "One Man Band"-although I find it still exists here.... http://www.1manband.nl/omb/ The other alternative-Brad you know this one-"Band In a Box" although this has developed into quite a complex program, might be more than you need but is very good for creating real-time backing, still seems the best I've seen for Windows OS. I have it and use it. Here is a screenshot of Band in a Box, I am using an older version.

sounds pretty amazing, but then he does have a huge array of Casios in front of him. I'm wondering how he's doing the arpeggios and loops. I wasn't aware of smaller Casios that can create arpeggiated patterns like this, sounds very good. also demonstrates-one doesn't need to have hardware sync to get some interesting sync'ed patterns working. I wouldn't think any of these older small Casios have midi sync, or even midi except for modded SK's, MT's

Decided it's time. after seeing many posts about noisy keys, volume controls that don't work, pedals etc. ad nauseum, and on many other keyboard user groups...no offense to those with problem keyboards.... I have had no problems at all with my 560 or XW-P1 and its been quite a few years-none. of course I've never thrown them down the stairs or poured cheap beer or axle grease into them (is there a difference, maybe). All I do is play and record them, and turn alot of knobs once in awhile. No matter how hard I try to find something wrong, well once that weird drum thing with the 560 which was quickly fixed from as far as Japan no less and due to another very helpful individual here....say no more.. its almost disappointing-I can't complain about anything-rhythms, tones, controls, keys, operating systems, card slots, software, LCD screens, power supplies, nothing. Sigh.....

I have to second Brad's post. I use both the mod wheel and pitch bend all the time when playing on my PX560, there definitely is both. If the mod wheel is operating correctly, there should be no need to disable it with the menu unless for example-you don't want to accidentally hit it with your hand while playing and bringing in an LFO/modulation effect.