- T -

Here is a link to several different Tone list texts for various Casio models. One is for the CTK-5000/WK-500, which the author claims is also for the CDP-200R. Depending upon how similar the voice sets are between the CDP-200R and the CDP-220R, this cold be a big step up the ladder toward what you are looking for. https://www.keyboardforums.com/threads/ctk-4000-5000-wk-500-instrument-definition-for-cakewalk.22565/ You don't actually "download" any of these. You simply "copy" the text of the one you need, and "paste" it into a text editor (Notepad, Wordpad, etc) on your PC, make any changes you need, and save it to an appropriate file name with a ".ins" extension, and then import it into Sonar. This should also work for any of the several versions of Cakewalk's "Music Creator", for those that have one of them.

Danny There is always the chance of a defective component in the signal path - the mic, its cable, the adapter, the keyboard. If the mic has an on/off switch, is it on? The same with the adapter? Do you have any other amplified device (guitar amp, etc) with a 1/4" input that you can test the mic with? The SM58 won't sound very good through a guitar amp, but it should work well enough for a simple continuity test. Do you have any other signal source (guitar, etc.) that you can test the keyboard's MIC IN jack with? Here again, it won't sound very good, but will verify that the keyboard is at least receiving a signal through the MIC IN jack. Look at the adapter 1/4" connections. Are there just 2 - a TIP and a SLEEVE - commonly known as a TS mono plug, or are there 3 connections - a TIP, a RING, and a SLEEVE - commonly known as a TRS stereo plug? If it has 3 (TRS) connections, then that is your problem, only in this case, the TRS configuration is not to provide a stereo signal, but rather is configured to continue the XLR balanced signal on into the 1/4" balanced connection of the connected device. The WK-245 MIC IN jack is an unbalanced mono jack that requires a 1/4" unbalanced mono TS plug. If this is the case, then the mic's signal is being shorted to ground where the adapter's connections make contact with the MIC IN jack's connections. I have seen more than a few incidences of this problem in the past several years, but then there is always the odd case where everything is as it should be, but no sound. The XLR mic is replaced with a different one, and everything works fine, but the non-working mic can be connected directly to the XLR inputs of a mixer or amp and works just fine. It seems that some XLR mics just do not want to work into the unbalanced output of an adapter. Good luck! - T -

Enos To my knowledge, the only aftermarket/expansion Tone and Rhythm files ever officially released by Casio for the WK-1800 were those on the diskettes that came with the WK-1800. There may be the odd user generated file, to be found here and there, in the darkest corners of long defunct and forgotten forums, but I would not have the slightest idea where to tell you to begin looking. The WK-1800 was the last of its model line. Its WK-3XXX successors, and their CTK siblings, introduced new sound and rhythm engines with enough difference to prevent the sharing of files between the two model lines. I am afraid that, other than creating your own rhythms with the Pattern Sequencer, there is no other work-around for your dilemma, in that respect, but new Tones are a different matter. You can experiment with new tones by connecting the WK-1800 to your computer with a USB-MIDI adapter and installing any number of different VST instrument managers/players, along with a vast palette of wave samples, all the way from traditional to the latest electronic genres. The main requirement is a computer with enough processor speed and power to avoid problematic latency.

14 Hours ago Bhavya Gupta said: " Hi T, I am Bhavya Gupta to whom you replied today. My model is CASIO CTK-6300. Now, i want to target ethnic set in midi file in my keyboard. If I use my daw software, percussion part targets Standard Set 1. But i want to target ethnic set. Kindly help me. " 53 Minutes ago Bhavya Gupta said: "Thanks for that. I use that appendix daily, then also I didn't got to know. Please help me once more. I don't know to change MSB or program. How to do that? " You do that within your DAW software, and how you do it depends upon which DAW software program you are using. You would need to contact their support organization for assistance with that. Most DAW software is rather involved and requires a bit of a learning curve.

This is a duplicate of a thread in the General CTK / WK / LK Discussion sub forum. Please place all further discussion and replies in that thread: http://www.casiomusicforums.com/index.php?/topic/14470-i-need-help-in-program-change-and-bank-select/&_fromLogin=1

Bhavya The MIDI Implementation Chart is not the document you need, as it does not provide the specific Program Change and MSB Bank Change data for your DAW software. Rather, the document you need is the Appendix (Tone/Rhythm/etc. Data List) that came with your CTK-6300IN manual. What you need is in the upper right corner of the front side. It is toward the end ot the Tone List. Find the GM/DRUMS section, then go to Tone numbers 129 through 145. They contain the information for selecting the Drum Sets from DAW/sequencer software. Column 4 gives the Program Change (PC) number that goes into the Drum Track "PC" data field of your DAW/sequencer software, while Column 5 gives the Bank Select MSB number that goes into the Drum Track "Bank" or "MSB" data field of your DAW/sequencer software. If you need LSB data, in every case it is zero (0). If you need a copy of the Appendix, you can download it from: http://support.casio.com/en/manual/manualfile.php?cid=008001041

Bhavya Which model of Casio keyboard do you own? The location of the information you seek in the keyboard's documentation depends upon which model you have. - T -

Bhavya Which model of Casio keyboard do you own? The location of the information you seek in the keyboard's documentation depends upon which model you have. - T -

Case The CTK-811EX was quite a keyboard, in its day, and in its price range, but it is beginning to show its age a bit. There are no direct conversion programs for the files you mention, and there would be no point in converting any of them, other than the "csg" song files, as the other files only have a useful function on the CTK-811EX. As far as the "csg" song files, do not be confused by the Casio SMF (Standard MIDI File) Converter program. Its purpose is to convert SMF's into a Casio compatible format for those keyboards that are NOT SMF compatible, The CTK-811EX IS SMF compatible, so the converter program would be of no use to it; plus it does not convert in the direction you are looking for anyway. While the CTK-811EX will PLAY SMF's, it will only record songs to the "csg" format, and there is no program for direct "csg" to SMF conversion, but all is not lost. The CTK-811EX does transmit MIDI signals from its MIDI OUT connection. With a USB-MIDI adapter, you could send that data to your computer and record it with DAW/sequencer software (Anvil Studio [free], Aria Meastosa [free], Tracktion [older versions free]), and save it as, or convert it to SMF. If the SMF is straight MIDI and provides its own accompaniment, then the default MIDI settings on the CTK-811EX should work, but if it only provides left hand chords, and relies on the keyboard to provide its accompaniment, you would need to go into the CTK-811EX's MIDI Settings and change the AccompOut setting from OFF to ON so that it transmits the accompaniment data. One of the advantages of the CTK-811EX is that all of its accompaniment tones (voices) are General MIDI (GM) voices, so they would sound correctly on any other GM device you would play them on, but the right hand melody voices may require some occasional re-voicing to sound correctly on other devices. If so, this can be easily accomplished with the DAW/sequencer software. The USB-MIDI adapter, I mentioned, would be something like this: https://www.amazon.com/Roland-UM-ONE-MK2-MIDI-Interface/dp/B00967UN50/ref=sr_1_1?ie=UTF8&qid=1522254500&sr=8-1&keywords=roland+um1 This one sells for $40 USD on Amazon. There are much less expensive models, but those less than about $15-$20 USD are pretty unreliable (defective, connections mislabeled, etc). There are also units that provide only one way transmission, at a lower cost, but I recommend a two-way communications device (has both a 5 pin MIDI IN and a 5 pin MIDI OUT connection), so that you can also play SMF's from your computer back to the CTK-811EX. I think you may have posted this same question on another forum, and also asked about MP3 conversion. I am not a member, so could not answer you there, but will do so here. If MP3 is your main objective in this, then you would be better to just connect the CTK-811EX's Phones Out connection to your computer's MIC/Line-In connection, with the appropriate audio adapter cable, and record the CTK-811'EX's audio output on your computer with something like Audacity (free) audio recording software and save it as or convert it to an MP3 file. Many users purchase a USB-Audio Interface Unit for this, but that is not absolutely necessary. I recommend starting with a direct audio adapter cable. If it sounds OK to you, then go with that, if not, then get an Interface unit. The only thing here is that the keyboard's Phones Out is a high level output, while the computer has a low level input, so you would need to keep the keyboard's main volume at a very low level to avoid over-driving the computer's input and causing noise and distortion. Use the computer's sound system as your recording monitor instead of the keyboard's speakers. Good luck ! - T -

aystaum Go to "To create a new accompaniment pattern" in the middle of the left hand column of Page E-109 of the CTK-7200 manual to get started with your new pattern. What you are looking for is in Step 4 at the top of the next column: "Configure the accompaniment pattern number of measures and beat settings" Follow Notes (1), (2), and (3) under Step 4 to get to the "ElementEdit" screen where you can set the pattern length (0 to 16 measures) and the time signature for the pattern. Set both of those items before you enter any note data, or you will not be able to change them from their default settings. If you have already started a pattern with note data in it, you will need to discard it and start a new one - setting the pattern length and time signature first. See the table following Note (3) for the settings available on this screen. - T -

Stuart The problem is, when you connect your Korg MIDI controller, any transposition takes place solely internally within it, and it just transmits the transposed notes to whatever device it is connected to. There is no discrete "transpose" MIDI message that is transmitted, even though it does give you a local internal indication of the transposition. Your CDP-130 would have the same problem with any device you would connect to its MIDI out. Any transposition would take place completely within the CDP-130, and it would simply transmit the transposed notes. There would be no discrete "transpose" message transmitted for a connected device to detect. For instance, if you transpose your keyboard up one complete note and press a "C", your keyboard does not transmit a "C" along with a "transpose" message for the connected device to transpose it up one full note. Rather, when you press a "C", it simply transmits a "D", and the connected device responds accordingly. There are MIDI messages, known as "SYSEX" (SYSTEM EXCLUSIVE) messages that can be sent from programmable controllers that will tell a remote sound module to transpose itself, but this is something entirely different from simply transposing the local keyboard.

Refer to the MIXER section of the manual, starting on Page E-38. In the MIXER, go to the tracks (one at a time) that you want to mute and change "Part ON" to "Part OFF". If you want to make this permanent, do a "Panel Record" (Page E-71) and save the song. Now, when the song is loaded, these parts will come up muted, but the data will still be there. You can turn them back on by going back to those tracks in the MIXER and changing "Part OFF" back to "Part ON" - either temporarily, or do another Panel Record to unmute them permanently. When you press the MIXER button and first come into the MIXER page, you get a split display. On the left is a text menu of the various track parameters that can be controlled here, and their current settings. On the right is the tracks grid. At this point, Track-A01 should be the currently selected track, as indicated by the dark bar at the bottom of the Track A01 column. Use the right/left arrow buttons to navigate to the first track you want to mute. If this is one of the "B" Tracks, press and hold the right arrow button to scroll all the way to the right and change the display to the "B" Track grid. Then use the right/left arrow buttons to navigate to the specific track. Once there, refer to the left (menu) side of the display. You use the up/down arrow buttons to cycle through the various track parameters, but what you want should already by on this first page. The first item should be Volume. If you want to change that, use the plus/minus (+/-) buttons or data wheel to change it, but what you want "Part" should be the second item on the list. Press the down arrow button once to select it (blue dot to the left of it), and use the plus/minus (+/-) buttons to turn that track ("Part") ON or OFF. Navigate to the next track and repeat, and so on. Good luck!

No! The Song Sequencer does not record from external sources either, and the Pattern Sequencer takes its input only from the keybed - not from the Song Sequencer. Plus, the Song Sequencer and Pattern Sequencer can not both be active simultaneously.

astyaum I am in no way speaking for Casio. I am merely stating the facts of life, as they stand today, on this subject, across the entire industry. Rather, my exception is that the rhetoric of your rants, in several different threads on this forum, has assumed an air of off-putting social and intellectual superiority from the outset, and appears to be belittling the entire membership, as well as Casio, because none of us "know what we are talking about" and can not immediately provide you with a ready made easy answer to your perceived dilemma. When you publicly apply terms like "shady" to the intricate work, of which you know little or nothing, of others, you assume a position of intellectual superiority, but when the owner of that work is of a different geographic region and different culture from your own, and to which you apply the term "stone ages" you add social superiority to the mix. You tend to toss the words "advanced user" around as though you consider yourself the only "advanced user" here, while several of your posts indicate a definite lack of knowledge of certain features of the CTK-7200 and other models, that would mark you as anything but an "advanced user", at least as far as the CTK-7200, and those other models are concerned. By the way, this forum is independently owned. It is NOT owned by Casio, has no official ties to Casio, other than that Mike Martin appears here, from time to time, in a technical advisory roll, and has Casio's permission to use the Casio name - PERIOD. Few of us here are Casio employees, and those who are, participate here as regular members, rather than as Casio employees. For the most part, we are just a collection of volunteers, some amateurs, some professionals, who come here to share our mutual interests, and time, and knowledge, and efforts, to help one another and new-comers get the most from their musical investments, interests, and endeavors. For the most part, we try to accomplish all of this in as civil a manner as possible - something that we have enjoyed here since our inception, and that is tragically lacking in so many other forums these days. If you can accept that, then I most heartily welcome you to the forum.

pquenin The CTK/WK Song Sequencers and Pattern Sequencers do not record MIDI from external sources (DAW), only from the MIDI signals generated by the keyboard's own internal circuits (keybed, auto-accompaniment engine, etc).

Tim I am afraid that the PX-360's operating system does not provide for creating a new rhythm completely from scratch. Rather, you use the Rhythm Editor to modify an existing (Preset) rhythm, per the instructions beginning in the right hand column on Page EN-24 of the PX-360 manual, but in your particular case, No! You can not erase an existing drum track and play in your own from the keyboard. That capability requires one of the Casio models equipped with a Pattern Sequencer. You can record your own drum track into a linear song track, but to do so into a rhythm file drum track requires the looping and step edit/record capabilities of a Pattern Sequencer.

On the CTK/WK-6XXX/7XXX models, this is known as a "Panel Record", and can be found in the manual's Table of Contents under that name (top of right hand column of Page E-78 in the CTK-7200 manual). On the PX-560, it is referred to as "To rewrite MIDI data header information", and appears in the lower portion of the left hand column on Page EN-60 of the updated manual. When you make changes to various settings and functions in a MIDI file, you perform this to ensure that the changes get written to the file's header, so that they will show up in subsequent playbacks. Michael This was included in the CTK/WK model's original operating systems, but was added to the PX-560 as part of a firmware upgrade. You can download the PX-560 firmware upgrade from: http://support.casio.com/en/support/download.php?cid=008&pid=20 Scroll down to Firmware Update / Digital Pianos and click on "PX-560M Version 1.14 - Apr. 2017" Instructions for performing the upgrade are on the download page. The upgrade includes a factory reset, so make sure you have any user data on the board backed up before starting the upgrade. Download the upgrade and the manual update page. or You can download a complete updated manual from: http://support.casio.com/en/manual/manualfile.php?cid=008017041 After the upgrade, load your file, set the tempo to 86, do a MIDI data header rewrite, and you should be all set.

Chas According to their respective MIDI Implementation Charts, the XW-P1/G1 and CTK/WK-6XXX/7XXX all respond to Channel Aftertouch. Even my old 2006 WK-3800 workhorse here responds to Channel Aftertouch. Really, I suspect that most of Casio's boards do, but it is very rudimentary. Its effects are not assignable to higher order functions, such as volume, pan, envelope cutoff, LFO, etc, but is limited simply to modulation (vibrato). Whoopee! - T - (Ted)

MDB Are you trying to record a simple "new" performance, or are you trying to record yourself playing along with a performance that was previously recorded into the keyboard's internal memory? Also, which Casio GP model do you have? The instructions you need are in different places in their respective manuals. I suspect that you are being confused by the different instructions for the different recording options. If we can point you directly to the exact instructions you need, I think you will find them fairly straight forward, but if not, we do need to make certain that we are all "on the same page" (sorry for the overused cliche, and Yes! The pun was most definitely intended!). Awaiting your response! - T -

You seem to be overlooking a couple of very important, and I thought rather obvious, facts: Fact 1: Casio considers the information, you seek, part of their secure intellectual property - so does Yamaha, and Korg, and Roland, and Ketron. Fact 2: Casio is not about to divulge it to the public, at large - neither is Yamaha, or Korg, or Roland, or Ketron. Show me a software, similar to what you seek, that Yamaha has provided to its arranger owners - or Korg, or Roland, or Ketron. You can not, because it does not exist - for any of them. So, I really don't think that ranting at Casio or the members here, from a soap box on this forum is going to accomplish much, but best of luck, anyway.

GMS This is ironic. You are obviously much more of an EP aficionado than I am. I am primarily an acoustic grand guy, but even so, I always found my CTK/WK boards really limited on the variety of EP sounds, but that probably comes from many, many years as a Roland owner. Since Roland did own Rhodes for a while, all of my Roland keyboards had, at least. two to three times the number of EP sounds as acoustic piano sounds. Plus I had a sound expansion board, that worked on several of them, that consisted of 500 non-acoustic piano keyboard sounds with wave samples (EP, Organ, Clav, etc), exclusively. I never had a problem coming up with the appropriate EP sound for any occasion with that. As a matter of fact, I am still using it in my 22 year old XP-80 workhorse here in the studio. - T -

Alen To add to the confusion about "Aftertouch", many of the mid-range keyboards that do not generate/send/transmit it, will respond to it when it is received from external MIDI sources. This is economically feasible, as receiving and responding to Aftertouch is cheap. Manufacturing the keybed that generates it is the expensive part. Those units that do respond to Aftertouch will certainly list that feature in that unit's MIDI Implementation Chart, but all too often, that term makes its way into the unit's Spec Sheet, where to the uninitiated, it says "Hey! I do Aftertouch". Ted ( - T - )

Ahh! You had mentioned "beats" in another post, and I was not sure what you are talking about, but now I do, and it disturbs me. No, I have never noticed that on any of my boards, and I do not recall anyone else here mentioning it. You would think that, if this is a common trait to this model line, I would have noticed it when I was trying to come up with the Hodgson Wurly sound. That was almost entirely in the mid-ranges. Are you using EQ ? That is one of the main differences between your board and mine. All of mine were a generation older than yours, they do not have EQ. If you are using EQ, turn it off and see if the problem goes away. Do the same with DSP, if you are using it. If either of these is the case, then it could just be a settings problem with one or the other of them. If you are using both, it could be an interaction between the two - here again - a settings problem, but if you turn off both EQ and DSP (including reverb and chorus) and still hear the problem with just the raw preset (turn off DSP, even if it is part of the preset), then I would definitely be concerned, as it could indicate a problem with your board. Check out some of the other tones - primarily the acoustic pianos and synth pads and listen for any slight amount of the problem in them. Do you have a local shop where you could go try out your settings in one of their floor models? By the way, that "bell" sound is supposed to be there on most of the EP presets. That is the sound of the hammers striking the metal tines. Most or all of the EP's that the CTK/WK boards emulate were tined instruments. For me, it is under done. Even with my boards set to their most sensitive setting I have to really hammer the keys to get a decent tine sound. The same with the Wurly "bark". I have to really pound the keys to get a decent Wurly "bark".

An equalizer allows the adjustment of the relative volumes of the high, mid-range, and low frequency signals for a more balanced and pleasing sound, but equalizers are fixed (static). If the overall sound suddenly shifts to the high frequency or low frequency end, this can be perceived by the listener(s) as an unpleasant passage. This is what keeps the sound engineer on the sound board so busy during a performance. Not just adjusting the volume of the various instruments, but also adjusting the EQ to keep everything "in bounds". An enhancer is really nothing more than an automatic, or dynamic EQ that continuously monitors the overall signal and instantaneously adjusts the levels of the highs and lows (they don't usually don't do much, or anything, at the mid-range) to ensure a constantly pleasing signal. You just set the "target" initial levels, and it does the rest. The tonal output of the average analog musical instrument is a single or mixture (harmonics) of smoothly undulating sine waves with wave peaks and troughs exactly 180 degrees apart in time. In doing its "thing" an enhancer can shift the peaks and troughs so that they are not exactly 180 degrees apart (phase shift). This is a distortion to the original signal, which can produce unwanted overtones (processing artifacts) or background white noise. For a single instrument, this may or may not be noticeable to the listener(s), but by the time you run the output of an entire band or orchestra through it, it can very quickly become completely intolerable. So, more advanced enhancers include phase shifters to offset the original inherent phase shift and keep artifacts and noise to an acceptable level, but consistent with modern sound technology, extra enhancer phase shift is occasionally injected purposely to produce "special" enhancement effects. In other words, the enhancer, itself, becomes an insert effects processor - basically, a phaser, of sorts. Now, from a practical standpoint, how you go about making those settings on a set-and-try, set-and-try, set-and-try basis through a keyboard operating system menu, rather than with a continuously variable real-time control (aka a knob), I haven't the slightest idea. Most of the time, I never even think of the enhancer. If I do, I try it at its preset settings. If it sounds better, I use it. If it doesn't, I don't. Most of the time, it doesn't, so I don.t! Good luck with this one ! - T -

Sorry, GMS! I am going to have to bow out on this one, and hope that one of the members with more experience than me on this, will pick it up and give you some advice. While I pride myself on being a decent split/layer performance creator using presets, and maybe an occasional Tone Attack or Release time tweak, whenever I go deeper than that, I get it to where it sounds pretty good at the moment, then save it and record it, and it sounds m u d d y - exactly what you are trying to avoid. A couple of years ago, I tried to help another member here come up with Roger Hodgson's Wurly sound on "The Logical Song", and that was a total waste. I knew the mechanics of how to do it, but I just could not get it right, much as knowing the mechanics of oil painting is no guarantee that you can do a decent Mona Lisa. Of course, the CTK/WK Tone Editor is a bit limited for what I was trying to do. - T -