BrettM

Can't help you re: Cubase, sorry. Maybe Brad will know something.

Hi Xavier-Joseph, 1. Yes you can map a sample across the keyboard and play it. It will appropriately pitch shift the sample which can be voice, an acoustic instrument or any sound at all; even an exploding television or burning piano. Even though the G1 has fewer inbuilt waves compared to other boards, this feature gives it great expandability. You have to load the sample into sample memory and edit it. You can edit cutoff, pitch and amp envelop, key ranges, and apply DSP effects. Samples can be loaded via SD card or USB from computer. You can't play a sound file directly from an SD card. It has to be loaded first which can take a few seconds. 2. To record the output you have to record the audio from the line outs into an external recorder, e.g., computer, as you would with any other keyboard. There is no dedicated recording facility as such. It doesn't digitally record to card. You can record what you play into the looper and save that as a sample or to card, but its 19 seconds max. 3. see 2. You can record everything you hear from the line outs.

I would LOVE to read that Alen.

Thanks again Alen for such a wonderful gift to the XW community. As a G1 owner I can certainly attest to its relevance to that instrument as well. I've just had a few observations after reading it: Section 3.4.6 – Virtual Controllers: I thought that some readers may be left with the impression that virtual controllers can only access the Delay DSP, and then only the Temp Sync parameter via CC#80. It's probably worth pointing out that after an effect is selected from within DSP Edit (i.e., anything other than Bypass) a new DSP submenu opens up as a virtual controller destination in which all parameters of the selected DSP are accessible. This is especially relevant to G1 users for whom sliders 8/16 and Master are not hardwired to control the solo synth DSP. Section 5.2.1 – Step Sequencer as a Source of Modulation: up to 99 sequences can be chained together and looped to give more than 16 steps, for effectively any desired resolution. I doubt that anyone would be bothered trying to create a 1584 step sequence, but accessing 32 steps might be useful. Section 6.1 – Alternative PWM Techniques: it's probably also worth mentioning that Gordon Reid's pseudo PWM technique can be implemented using a two zone Performance for polyphonic PWM. Just save the desired sawtooth, especially Saw Lead 1, 2, or 3, as a user tone with its Vibrato Type set to Square. Layering this user tone with its original preset gives the pseudo PWM setup. Knobs can then be assigned within the Performance to control Vibrato Rate and Depth of the user tone (not the preset tone) and these will operate in real time (unlike the PCM cutoff and envelope parameters) which really helps in finding that pseudo PWM sweet spot.

Wow Alen! Thank you.

Oddly enough, this sawtooth-based EHM does not seem to work as well as the one I created in Audacity and posted above. I'm not sure why this is.

For the last little while I have been experimenting with the Even Harmonics Waveform (EHW) http://www.casiomusicforums.com/index.php?/files/file/933-even-harmonics-waveform/; mainly trying to simulate much sort after “analog warmth”. Layering the EHW with a tone distorted by harsh, ugly, digital XW distortion certainly changes the character of the sound in a pleasant way, although I don't have the gear to vouch for how well it actually simulates tube amp distortion. I usually don't run the EHW through distortion, just blend its volume up underneath the distorted tone until I get a sound I like. Interestingly the soft clipped versions of the EHW haven't been as useful as the raw, unclipped version (split 1) because even soft clipping introduces some odd harmonics. Anyway, the point of this post is to outline how any synth that can layer two oscillators can be used to create an EHW: XW-P1's and G1's, PX-5s's, WK's, CTK's, etc. The basic idea is to use a sawtooth wave and raise it by one octave; then all the harmonics of the sawtooth wave (odd and even) are doubled so they all become even harmonics. Obvious really, but these things always take me a while to figure out. Set osc 1 to a sine wave. This becomes the new fundamental. Set osc 2 to a sawtooth wave, raised by one octave (pitch +128 on the XW's) and volume set to half of the volume of osc 1. The sawtooth wave's fundamental becomes the EHM 2nd harmonic, the sawtooth's 2nd harmonic becomes the EHM 4th harmonic, the sawtooth's 3rd harmonic becomes the EHM 6th harmonic, etc. It's not mandatory to set the volume of the sawtooth to half the volume of the sine, you can do whatever you want, but this ratio preserves the same 1/n harmonic-to-amplitude ratio found in traditional sawtooth and square waves. It's easy to do this in the XW solo synth with osc 1 and 2, but the PCM sawtooth and sine waves can be layered appropriately as well for a polyphonic version. (Pity the XW PCM sine wave contains vibrato.) Similar layering can be done on many other keyboards.

Rockitman, quite a lot of the solo synth presets use sync. Try turning off PCM1, PCM2 and the Noise waves, just leaving Syn1 and Syn2 active. Also, set DSP Edit to Bypass. This will leave you with the basic sync sound for that preset. Between these and Brad and my tones, you should have plenty of reference points for creating your preferred sound.

I've tried a bit more tweaking: http://www.casiomusicforums.com/index.php?/files/file/938-lets-go-synth-lead/

File Name: Lets Go Synth Lead File Submitter: BrettM File Submitted: 05 Dec 2015 File Category: XW-Synths See http://www.casiomusicforums.com/index.php?/topic/8562-the-cars-lets-go/#entry27342 Click here to download this file

Yes, you use the Part +/- buttons to switch between oscillators in the solo synth. OK, the patch isn't perfect, but once you get close, that's when the fun really starts. Start tweaking parameters. Try Atk. Level 56 instead of 32. I said you can just zero the volume on synth1, but you can also try setting synth1 to 0108 P5 Pulse1 and increase the volume a bit, say to 72, for some emphasis of the underlying tone. Or, for slightly different sync timing, setting synth1 to one of the -L waves, such as 0109, the same as synth2. Or tweak the Total FIlter cutoff and resonance. For a genuine wah-wah effect, enable a Total Filter envelope; very similar to the pitch envelope in synth2, except that it's modulating filter cutoff instead of oscillator pitch. Or thicken the overall sound with some chorus or delay. Or, when all else fails, realise that BradMZ has been here ages ago and just download his patch: http://www.casiomusicforums.com/index.php?/files/file/616-thecarsletsgo-solo-lead-synth-xw-g1/

It's the sound of classic oscillator hard sync, in this case done on a Prophet 5. The XWs are built for this because solo synth oscillator 2 can be synced with solo synth oscillator 1. The Solosynth 1 patch uses hard sync, that's one of the things you're hearing; but there's a lot of other stuff going on too, so better off starting clean. In a new solo synth patch, enable oscillators Syn1 and Syn2. All Syn1 does is set the pitch, so you can leave it as a sine wave, and set it's volume to zero in the Amp menu. We don't even need to actually hear it! Syn2 is where all the action is; so, in the OSC menu, set it's oscillator to one of the Prophet 5 waves. I like 0109 P5 Pulse1-L. While still in the OSC menu, set Syn2's Sync OSC parameter to On. This forces oscillator 2 to be synchronised with oscillator 1, i.e., osc 2's wave is forced to restart its cycle every time osc 1 completes a cycle. The distinctive hard sync sound is created by pitch sweeping the slave oscillator and can be implemented by an LFO or pitch envelope. Still in the Syn2 OSC menu, set Env. Depth to +63. This enables a strong pitch envelope. Access the pitch envelope menu by pressing Enter at the Envelope line, next line down from Env. Depth. You can tweak these settings, but I rather like: Atk. Time 32 Atk. Level +63 Dcy. Time 64 and all the rest zero. Hard sync adds a lot of higher frequencies, so emphasise them with the TotalFilter: set Cutoff to 109, say, and Resonance to 118. This should give you the hard sync sound and get you pretty close to Let's Go.

Happyrat, My understanding is that both models share the same step sequencer, hence the single XW Sequencing forum. Both models also have the Real pattern switching parameter in the Performance menu tree. However, I have only tested this on a G1, so hopefully a P1 owner will be able to verify it as well.

I second everything you just wrote above, Korakios. Daryl (post #48), I think "No Quarter" was originally performed with an EP through a fairly fast phaser. I can get pretty close to it with the on-board XW phaser DSP with the LFO rate set to about 68. Addict (post #49), I've just posted a method for producing stutter effects in the step sequencer in real-time: http://www.casiomusicforums.com/index.php?/topic/8561-stutter-effects/

Stutter effects can be created in a step sequence by copying the pattern you want to stutter to a new pattern and setting Track Param->Max Step to 1 or 2 in the new pattern for each of the channels you want to affect. Then, in the active Performance for the step sequence, set Performance->Sequencers->Step Seq->Change to Real so the patterns change in real time. Switching between the two patterns produces a stutter.

The ring modulator is another option. Pity there's no dual ring modulator-delay DSP.

There are many filters, or at least cutoff parameters available, with the XWs; but only the solo synth total filter is resonant. The filters within each solo synth block, PCM tones, hex layers, user waves, etc., are all non-resonant.

See pages E-21 and E-36 of the G1 manual.

File Name: Even Harmonics Waveform File Submitter: BrettM File Submitted: 06 Nov 2015 File Category: XW-G1 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. Click here to download this file

A few more suggestions: the solo synth filter can also be automated by a filter envelope as well as/instead of its two LFOs. And the control tracks in the step sequencer can automate filter cutoff on channels 1, 8-16. If the solo synth is not in channel/zone 1, then the normal non-resonant filter of each tone will be swept; but only four channels can be swept this way because there are only four control tracks.

You can get a robotic vocoder-like voice by running it through the Delay DSP with very short delay time and very high feedback.

Yes you can. Just enable the DSP line for all the channels you want to effect in the mixer and select the DSP you want. A filter sweep can be accomplished via either the Wah DSP or the Solo Synth filter if you put the Solo Synth in Zone 1. Both have a resonance parameter but the filters aren't the same so you may want to try both and choose the one you prefer. There are a lot more options using the Solo Synth, but you have to dedicate Zone 1 to it. In either case a knob can be set up to do the sweep manually or you can automate it with an LFO.

Hi CairnsFella, I've been following your questions over the past weeks, but the others are much more on the ball than I am and got back to you pretty quickly. All I kept thinking was “Not a problem”. Congrats on your G1. I can tell from your questions that you will be a deep user and the XWs really reward that. Merry Christmas, YOU WILL LOVE IT! Brett