BrettM

I've just posted my submission. It depends on the touch sensitive keyboard and the mod wheel.

File Name: Bretharp File Submitter: Brett M File Submitted: 19 Mar 2014 File Category: XW-P1 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/ Click here to download this file

There must be a easier way, and there is. After much experimenting I've realised that we can use nine splits across two user waves to hold the basic tone for each drawbar and just edit the volumes of each split to create the desired registration. The only downside is that we don't get to play with the sliders. I've uploaded two user waves and a performance that does this in the download section.

File Name: G1 Drawbar Pack File Submitter: Brett M File Submitted: 19 Mar 2014 File Category: XW-G1 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. Click here to download this file

Thanks for that information Mike. I've found an article on Enhancers which gels with what you've said: http://www.soundonsound.com/sos/jan00/articles/enhancer.htm The Enhancer tries to boost high, or low, frequencies using phase shifting whereas EQ tries to do the same thing using narrow band amplification. The end result is pretty similar. If, as AlenK has suggested, System Reverb Type 1 is room reverb and System Reverb Type 2 is hall reverb, Reflection is like a very small room. In my experiments I think System Reverb can swamp Reflections, so Reflection should be combined with System Reverb very carefully, if at all.

The manual is very concise, but as my experience grows I've started to see that as a blessing. I especially like the basic functional arrangement in terms of the steps needed to complete each task, although a bit of redundancy occasionally would make it easier to follow. There is a bit too much cross referencing to similar steps elsewhere in the manual which means I have to shuffle pages more than I would like. I also like the menu tables which describe each parameter, although some of them could give a bit more detail. Definitions of things like Reverb Type 1 and Reverb Type 2 and Reflection Types 1 to 8 would be a big help. Perhaps a glossary is in order. I would also like more information about the units used for some of the parameters. Increments in octaves, semitones, etc. are easy to understand; but what is the unit used for the time-based envelope settings or the various applications of depth? Apart from that, I don't think it's too bad. I prefer a shorter manual to a long winded tome I'd never get through.

One last thing, in the performance, set Controller>Touch to Off because organs don't have touch sensitive keyboards.

I understand most of the DSPs, but I can't quite get my head around these two. Enhancer What does it do? What does "enhance the signal's profile" mean? Reflection Is it a type of reverb? Does it work in conjunction with the system reverb? What are reflection types 1 to 8? When would you use either of them?

It may not be as instantly accessible as the drawbar organ on the P1, but it is possible to recreate a complete drawbar organ on the G1; going way beyond the dozen or so PCM organ presets. To do this, we need to utilize the G1's sound creation resources, especially the sampler and the nona-layer1, and go back to first principles. The basic building block of a drawbar tone is a clean sine wave. Unfortunately the only PCM sine preset, P268, has vibrato, so we have to use the sampler to extract a clean sine from the solo synth. Alternatively the recorder, P209, with cutoff zeroed, could be used; but if you want complete authenticity, sample a sine wave instead. Flutes also provide good approximations to sine waves; but unlike P209, P208 contains considerably more modulation. I usually sample note C5, taking care to set the looping point to minimize pops. Then use the mixer to assign the clean sine to all nine parts of the nona-layer. Next comes the most important bit, playing the appropriate note at step one of parts 8 to 16 of the step sequencer to give the appropriate harmonic for each drawbar. This is done using step sequencer step edit. With middle C, C4, as the "fundamental"2, the nine parts of the step sequencer should be configured as follows. Step sequencer part | Note to play at step one | Drawbar 8 | C3 | 16' 9 | G4 | 5 1/3' 10 | C4 | 8' 11 | C5 | 4' 12 | G5 | 2 2/3' 13 | C6 | 2' 14 | E6 | 1 3/5' 15 | G6 | 1 1/3' 16 | C7 | 1' Take care to only change step one of each track and make sure all the velocities are identical. Also ensure that all of the tied steps in the nona-layer are intact. It is evident from the above table that the harmonics span four octaves; which is why we sampled C5 instead of C4, even though C4 is the "fundamental". The sampler will only pitch shift +/- 2 octaves. Save this as a user wave tone with original key set to C4. Now it's time to create a drawbar registration, say 88 5324 588. This can be done in the mixer by using the sliders to set the volume of each part. Although the G1 has 128 distinct volume levels, real drawbars only have eight stops; so to be truly authentic, we need to adjust the volumes in increments of 16. (On the other hand, why not experiment with fractional stops?) To create 88 5324 588, we would set the volume of part 8 to 127, part 9 to 127, part 10 to 80, part 11 to 48, part 12 to 32, part 13 to 64, part 14 to 80 and parts 15 and 16 to 127. Now start the step sequencer. Voila, you have just created a drawbar organ tone! Record a few beats of this in the sampler, taking care to avoid recording through the step sequence restart. Again, edit the loop points of the sample to minimize pops. Now we've got something playable, but we're still not quite done. Although we have created the desired registration, a real drawbar organ has a number of additional characteristics, like note-on percussion and a Leslie speaker. While the Leslie can obviously be implemented by applying the rotary speaker DSP, the best way to implement percussion is in performance mode. Create a new performance with the above sampled drawbar registration in zone 1. Now set zones 2 and 3 to P280, Sequenced Sine, which gives a nice quick pulse. Zone 2 implements the second harmonic percussion, so set the octave shift parameter for zone 2 to +1. Zone 3 implements the third harmonic percussion, which is 19 semitones above the "fundamental", so set the octave shift parameter for zone 3 to +1 and the transpose parameter to +7. The percussion should not overpower the main tone, so set the volumes of zones 2 and 3 to about 30. Switching zones 2 or 3 on and off switches the relevant percussion on and off as required. While we're at it why not set zone 4 to the original sine wave? Then if we're using a drawbar registration of 88 8000 000, say, and want to play 88 8000 005 instead, all we need to do is activate zone 4, set its octave shift to +2 and volume to 80 without having to go though the full tone creation process. To facilitate realtime play, zones 2 and 3 can be toggled in the mixer, or via the assignable knobs. The other two assignable knobs can be configured to operate the rotary speaker – on/off, fast/slow. Vibrato is achieved via the standard modulation wheel. Now we're really ready to play. If I remember my combinatorics correctly a standard drawbar organ has 99 = 387,420,489 possible registrations. The G1 drawbar, with 128 volume levels to choose from, has 1289 = 9,223,372,036,854,780,000 registrations. That's over nine billion billion possibilities. Limitations Can't change the drawbars on the fly, although you could fill the sampler with up to 50 drawbar registrations and switch between them in real time. Drawbar organ purists may point out that the percussion should only trigger after all keys are up. With a bit more effort this effect can be implemented via solo synth legato mode. Other possibilities Instead of using the nona-layer to create the basic drawbar tone, the appropriate nine notes at their required volumes could be layered directly into the sampler via overdubbing. Many popular drawbar registrations are of the form 88 8842 000, so an LPF ought to be able to recreate them subtractively from the full drawbar 88 8888 888, P140, although you won't know exactly what you're getting. Filtering the other PCM organs also offers interesting possibilities. Instead of using a clean sine as the basic building block, why not try a completely different tone entirely; even something from the solo synth – subtractive synthesis meets additive synthesis! They certainly don't cancel each other out. 1. I've described how to set up the nona-layer in the General Discussion area. 2. This is usage of the term fundamental as found in discussions of drawbar organs, as opposed to the fundamental frequency of the overall tone which is given by the first drawbar.

You're right Alen, my usage of "tracks" and "parts" was confusing. I've re-edited my original post to hopefully make it clearer. "Part" is probably the best word because they are what you select with the +/- Part buttons, buttons 9 in the manuals. And you're also right about the nona-layer being monophonic. It can't be used to play chords on the keyshift keyboard, although you could set up chords across the layers. Another limitation is that, even monophonically, the same key pressed twice doesn't register. Perhaps it is more of a sonic scratch pad with which to experiment with different tonal mixtures than a useful instrument in its own right.

File Name: Nona-layer demo File Submitter: Brett M File Submitted: 06 Mar 2014 File Category: XW-G1 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. Click here to download this file

Listening to Patrick Arend's hex layers got me thinking about how to implement multiple layers on the G1 and I've come up with a method of using the 9 parts of the step sequencer to create what I'm calling the nona-layer. "Nona" can mean nine or none, depending on your point of view. I'm posting this in the general discussion, rather than the G1 specific area, because it may be of some amusement to P1 owners as well. P1 owners will probably find it easier to get a 9 tone sound by using performance mode with a hex layer in zone 1. The basic idea is to tie all 16 steps of each step sequencer track into one continuous note. Then use the mixer to assign any PCM tone to each of the 9 parts, including the drum and bass parts. The mixer and sliders can also be used to mix in the volumes, pans, etc. of each part to create the overall nona-layer tone. Keyshift with realtime shift timing can be enabled for each part to create a small mini playing area in the bottom octave of the keyboard. G1 owners are able sample the nona-layer, loop it, and use it across the entire keyboard. (Four sampled nona-layers in performance mode gives a potential 36 layer sound! Then there's overdubbing.) Here are the basic steps for creating the nona-layer: Select an empty step sequence. On track 1/part 8 (Drm1), tie steps 2 – 16 to step 1. In track parameters for track 1, set step size to maximum, 1/4 notes, and note length to 100%. In track parameters for track 1, enable keyshift in realtime on track 1 Copy part 8 to parts 9-15 using the copy menu. This is the quickest way of repeating steps 2 to 4 on the other tracks. Set up part 16 (chord track) similarly. Part 16 can't simply be copied from part 8 so you have to do it manually. Use the mixer to assign the desired PCM tones to each part. Set tempo to 30, the minimum value. This is strictly not necessary, but ensures that the nona-layer will play as long as possible before the step sequence restarts. Press Start and listen to your tone. Use the mixer and the sliders to mix in the desired levels of each individual part. This is the interesting bit. Limitations Can only play keys C2-B2. Apart from using the sampler, I can't think of a way to access multiple octaves in the mini left hand keyshift keyboard. I tried different step sequencer patterns with the note of each track shifted an octave, but couldn't get the patterns to change quickly enough in real time. The G1's multifunction keyboard didn't seem to help either. Slight blip each time the sequence restarts. Differences from hex layer Three more layers! Accesses PCM tones rather than PCM waves. G1 owners are able to extract solo synth and PCM waves via sampling. Does not have velocity switching. If you discover a way of improving this set up, please let us know. I've posted a demo nona-layer in the G1 downloads section. Enjoy!

Thanks for the tip, Brad. Especially about using the Menu button to view the sample amplitude at each point. I don't think this is documented in the manual. I've now done a bit of searching on looping techniques and realise that I rediscovered the fundamental looping problem first identified about 30 years ago. It's great how this synthesizer is bringing me up to date. A good intro tutorial on looping techniques can be found here: http://troywoodfield.tripod.com/looptech.html

Zergmazter, I had exactly the same problem when trying to sample a simple sine wave from the solo synthesizer (the PCM version, P268, has virbrato and I wanted a pure sine). This is the simplest waveform you can get and should be the easiest one to work with. I eventually got rid of most of the pop by adjusting the loop and end points very carefully, but this took a lot of trial and error. There must be an easier way! What I think was happening was that I was not looping to exactly the same point in the wave and this caused a step that resulted in a pop. I had hoped the G1 would do something like cross-fade between the end and loop points so you don't have to align the waves perfectly to create a smooth, continuous loop. If it's difficult to do with a simple sine wave, it would be virtually impossible to get right with a more complex sound. Does anyone know a solution to this problem?

Are they room, hall, plate or something else? When would you use one or the other?

Got 'em all now, thanks Patrick, and I've had time to listen to them more closely. They sound lovely! Just a couple of questions: I notice that you've only used two or three of the six available hex layers. Do you think these sounds could be created using zones 1-4 in performance mode, using what AlenK calls “quadlayer” or “trilayer”? http://www.casiomusicforums.com/index.php?/topic/4790-external-filter-with-envelopes-for-hexlayerAre you using pitch lock?If I didn't know about hex layers, just listening to some of them, I would have thought they were made using a standard keyboard split with a chord pad in the left hand and the right hand playing a different lead tone. Mythic guitar, vibrapad, another earth and padit sound like this in particular. Or are they single tones spread right across the whole keyboard using hex layer velocity switching to access the different components of the sound?Are you using delay on mythic guitar?Thanks again, Patrick, for sharing these examples of hex layers, much appreciated.

Got 'em Patrick, thanks. They sound great; a nice big, full sound with good stereo presence. Can't wait to hear some more.

Hi Patrick, mp3's would be fine. I should have thought of that in the first place. Thanks for this, I'm really looking forward to hearing your stuff.

It would be great if some of you P1 owners would also post some .wav files of your hex layers in the download section so we G1 owners can hear what they sound like (special plea to Patrick!). I would also be interested in knowing some of the underlying details, waves used, etc.

To link either, or both, of the two LFOs to the total filter (Block 7), simply change the LFO1 Depth or LFO2 Depth (page E-27 of the manual) to a non zero number; plus change the depth of LFO output (page E-28) to be greater than zero. Alternatively, you can create an envelope (page E-27) to sweep the filter with each key press, according to the levels and timings you specify. I think the above only affects the cutoff, not the resonance. Similar effects can be obtained using the filters within each tone generation block 1-6 (page E-25), but they are usually not as dramatic as the total filter because their cutoff is not as steep and they are non-resonant.

File Name: P1 drum kits for G1 File Submitter: Brett M File Submitted: 17 Feb 2014 File Category: XW-G1 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. Click here to download this file