BrettM

See http://www.casiomusicforums.com/index.php?/topic/8562-the-cars-lets-go/#entry27342

This is the waveform that contains all even harmonics, created in Audacity with C5 (523.25 Hz) as the fundamental. The sample wave contains the first 20 even harmonics (each with 1/n amplitude). It does alias a bit above C5, but down pitches nicely.
I got interested in it because you would think it would be one of the standard synth waves, given that sawtooth contains all odd and even harmonics, and square and triangular waves contain all odd harmonics. But this wave is more complex than the others, looking a bit like synth wave 159, CZ DoubleSine.
I also got interested in it in light of the discussions about the harshness of the XW distortion, and reading that “warm” analog distortion creates even harmonics, as opposed to “harsh” digital distortion which creates odd harmonics. To this end, I used Audacity's Limiter effect to clip the wave at various levels, thereby introducing some, hopefully “warm”, distortion. The soft clipping method was used.
So the User Wave in this download contains five splits as follows:
Split 1 : the unclipped Even Harmonics Waveform
Split 2 : soft clipping to -2.5 dB
Split 3 : soft clipping to -5 dB
Split 4 : soft clipping to -7.5 dB
Split 5 : soft clipping to -10 dB

You can turn each split on or off by setting its volume to zero or 127 (or some other value). You can also have multiple splits playing, detuned to taste. You can also run them through the Distortion DSP, but this probably starts introducing odd harmonics, especially at higher gain settings.

My attempt at using the solo synth to create that classic sci fi effect when the camera pans down the dark corridors of a vast alien ship or when the slab orbits Jupiter - resonant filtered noise on the brink of self oscillation.
Knobs 1 and 2 turn up wailing voices a la Kubrick. (This was created on a G1 so P1 owners may need to reassign PCM oscs 1 and 2 to wave 451.)
WARNING: resonance is maxed out so keep the volume low when you first listen, especially when the wailing is turned up.

A user wave organ based on the CZ Double Sine waves with splits structured like the Quick Organ: http://www.casiomusicforums.com/index.php?/files/file/743-quick-organ/.
Brighter than the usual sine based organ tones, but can be filtered to recreate them if necessary. Also responds better to the resonant filter than standard organs.

I like my E.P.s with plenty of bark, so ...
Attached is a performance that routes zone 2 through the solo synth in zone 1. Also attached is a silent solo synth patch with the distortion DSP enabled and a virtual controller routing key velocity to distortion gain. Touch sense can be altered by changing the depth parameter in virtual controller 2. Knob 2 can be used to set the gain baseline, but there's no point in setting it very high.
Put the solo synth patch in zone 1 and whatever PCM tone you want to add distortion to into zone 2 and make sure the DSP line is on for that zone. Given that the solo synth is involved, the resonant filter is available to help tame that notorious XW distortion. This can change the character of the distortion a lot, even on the distorted guitars. EQ helps as well.
This is also useful for quickly auditioning the effect of distortion on various tones. On the G1, the multifunction key can be set up to toggle the DSP line on zone 2 to help make the comparison.

While working on version 3.0 of the G1 Drawbar Pak, I started thinking about making an organ that just uses up one user wave slot rather than two. This is it. The problem is: how best to arrange nine sine waves over five splits.I tried a few combinations but this one turned out to be the most useful.
Split 1: 16', 5 1/3' and 8' drawbars fully out
Split 2: 4', 2 2/3' and 2' drawbars fully out
Split 3: 1 2/5' drawbar
Split 4: 1 1/3' drawbar
Split 5: 1' drawbar
I think many of the classic registrations are possible with this arrangement. E.g., the bread and butter tone of 888000000 is produced by just having the volume up on spit 1.Each of the high frequency "brilliance" drawbars has a dedicated split and is thus easy to adjust.
It is also worth remembering that each split has its own filter, which can be useful for generating more options in splits 1 and 2; and is especially useful for tweaking the mid tones in split 2.
I have not tried to implement percussion but it can be fairly easily added by combining this tone with the performance in the G1 Drawbar Pak.
=== Version 2.0 ===
I've tried to improve the looping.

After experimenting with the nona-layer method I posted in the G1 area a while back, I now realise there is an easier way to create a complete drawbar organ on the G1: save the nine basic drawbar tones as splits across two user waves. Each split corresponds to one drawbar. Then all you have to do is edit the volume of each split to create the desired registration. Don't forget to change the volumes in increments of 16 if you want true drawbar authenticity, although finer adjustments are possible. The splits are constructed as follows:
File/Split Note played Drawbar
DBL88888 Split 1 C3 16'
DBL88888 Split 2 G4 5 1/3'
DBL88888 Split 3 C4 8'
DBL88888 Split 4 C5 4'
DBL88888 Split 5 G5 2 2/3'
DBH8888 Split 1 C6 2'
DBH8888 Split 2 E6 1 3/5'
DBH8888 Split 3 G6 1 1/3'
DBH8888 Split 4 C7 1'
Also included in the pack is a performance which ties it all together, including the 2nd and 3rd percussion in zones 3 and 4. Knob 1 adjusts the volume of zone 3 and thus switches 2nd percussion on or off and increases it's volume in the mix. Ditto for knob 2 and 3rd percussion. Knob 3 controls the overdrive gain of the rotary speaker and knob 4 controls its speed.
It uses up two user waves, but this is a small price to pay for a fully functional drawbar organ. Save the files to a card until needed.
The main limitation of this set up is that it chews up the polyphony pretty fast because we're mixing the drawbar sound in real time. One note on the keyboard activates 11 tones. A triad uses 33! If this causes a problem, just record a single note, say C4, in the sampler and you're back in business. This is also a good way to store specific registrations that you may want to reuse. Enjoy!
=== Version 2.0 ===
I noticed some distortion when playing triads in version 1.0 of the organ, which I put down to exceeding the polyphony, but now realise that it was just straight out clipping. So version 2.0 has the same files with the volumes of each split reduced from 127 to 80. This should eliminate any distortion and also makes it easier to create standard registrations using stop increments of 10 rather than 16, you may have to turn up the volume a bit more however. When some of the drawbars (splits) are "pushed in" (turned down), it may be possible to increase the volumes of the others without experiencing clipping.
=== Version 3.0 ===
I have since realised that the pitch shifter can shift up two octaves, but can shift down many more, so I've raised everything by an octave. Thus all the notes in the table above are an octave higher. This allows the organ to play from C7 down which makes it much more playable. Previously the notes repeated after C6. I've also improved the looping in the splits.

I've got a pretty good idea of what square, saw and sine waves look like, but I've always wondered about the CZ waveforms in the solo synth; so I recorded a brief sample of each and took a screen shot of them in Audacity. Many of them seem a lot more complex compared to the standard synth waves, so not sure how I will use them other than choosing them for their raw sound. I would be interested in other people's observations and comments. Note that they are not all shown at the same scale.

Here is my submission to the harmonica challenge. Solo synth tone created on G1. The PCM wave number may need to be changed to 0152 to get it to work on a P1.
Version 2.0, updated following my suggestions in http://www.casiomusicforums.com/index.php?/topic/5550-harmonica-challenge/

Here is my second attempt at the "Won't Get Fooled Again" organ. It follows on from an XW-P1 discussion called "Arpeggios !" and this time I do use the arpeggiator, with only two steps, to give the basic pulse rhythm. It's based on my previous "Fooled Again" upload, so there is a solo-synth tone to create the slow filter sweep, a performance so chords can be played and now an arpeggiation as well. The arpeggiator has taken over the job of LFO2, so the low frequency clunking that was evident in the previous version as the two LFOs fought over the filter is now gone. You can tweak the total filter parameters in the solo synth to alter the sweep and change the tempo to alter the speed of the pulse. As before, this was done on a G1, so make sure a full drawbar is assigned to zone 2 of the performance to make it work on a P1.
I've just updated the performance to bring the tempo closer to the actual song. Assignable knob 1 and 2 are now set to control the total filter cutoff and resonance respectively.

My attempt at Fooled Again using PCM organ + LFO1 controlling the slow filter sweep and LFO2 pulsing the filter. It's tricky to keep the two LFOs in phase.
This was done on a G1 so you may have to set PCM1 to an organ to get it working on a P1. I just use a full drawbar.
For full polyphony there is a performance that uses the above solo synth in zone 1 and runs zone 2 through zone 1. Set zone 2 to an organ and play chords.
Meet the new boss.

A user step sequence that gives the basic nona-layer set up, as described in the General Discussion area. Uploaded as a zip file because the system will not accept .zss files.
I've just thrown together some tones here, but I would be interested in hearing about better combinations.
I'd particularly like to know how closely a nona-layer can emulate a hex layer.

Five of the standard drum kits included in the P1 were omitted from the G1 to make room for the G1's additional groove kits. However, comparison of the Instrument Number List in the appendix of each machine shows that the G1 contains all of the P1 drum waves as well as its own unique groove waves. This allows the missing drum kits to be recreated for the G1 as user drum tones. Please find attached user drum tones for Standard Set 3, Standard Set 4, Rock Set, Dance Set 3 and the Orchestra Set. Consult the P1 appendix for key assignments.