- T -

Your power-on "click" should be a quick "press and release" operation. If you are pressing and holding the power button for a few seconds, that could trigger a power-down immediately after a power-up or you could have a problem with the Auto Power Off feature. Press AND HOLD the FUNCTION button as you press the power button to power the keyboard up with Auto Power Off disabled. If it comes up and works fine by doing this, then you have a problem with the Auto Power Off feature. See the right hand column of Page E-4 of the PX-850 manual.

Marcus If you have not already done so, try a factory reset as described on Page E-8 of the manual. If this does not correct your problem, then it would appear that your CTK-5200 has defective user memory.

Volker The CTK-2400 is "Class Compliant", meaning that its USB-MIDI connection should work with the drivers that have been built-in to Windows, since XP-SP2 (including Win-10). Win-10 is missing from the Minimum System Requirements in the CTK-2400's manual, because Win-10 was not on the market, or just coming on the market, when that manual was written. NOW . . . That said . . . there seem to be certain combinations of Win-10, and the hardware that it is running on, that just do not get on well with USB-MIDI, as well as some of the more popular music production software programs. This is particularly the case with newer hardware running USB-3.0 ports. Some (many ? / most ? / all ?) USB-2.0/MIDI devices do not work well (or at all) when connected to a USB-3.0 computer port, even though USB-3.0 is supposed to be backward compatible. The trick here is that, if your computer has a both USB 2.0 and 3.0 ports and a USB-MIDI device will not work on the 3.0 port(s), try switching it to one of the 2.0 ports. On a desktop (or tower) PC (even just old USB 2.0) the USB ports on the front are normally "hub" connected to the system board, while those on the rear are directly connected to the system board. Some USB-MIDI devices do not like "hubs", so try moving your keyboard connection from a front port to a rear port on those types of systems. What works, and what does not, is a bit of a toss-up, so your Win-7 laptop workaround may have to be your solution, for the foreseeable future, at least. I am still using an old Win-XP/SP-2 laptop to communicate with my old (non-Class Compliant) WK-3800, because that is the only system I still have that is slow enough to work reliably with it and not cause a lot of communications buffer overflow problems. At any rate, if you would like to pursue your connection between the CTK-2400 and your Win-10 system, I would recommend downloading and installing a MIDI utility program called MIDI-OX, which is, supposedly, compatible with Win-10. If MIDI-OX "sees" your key presses coming into your Win-10 system from the CTK-2400, then you know that your basic USB-MIDI connection is working. That would put your problem with your apps set ups or an apps/Win-10 compatibility problem. You can download MIDI-OX for free from: http://www.midiox.com/ Good luck ! Regards, Ted

The SD Card MUST be between 2 Gb and 32 Gb storage capacity. Cards outside this range will not be recognized. To store audio (WAV) files, the SD Card MUST be formatted IN THE KEYBOARD. This creates the MUSICDAT folder for storage of non-audio (non-wav) files, as well as a special hidden "partition" for the storage of audio (wav) files. This hidden "partition" is not a standard "folder" or "directory". It can only be created and managed by the Casio keyboard's operating system. Neither Windows, nor MAC/OS can create or manage it. WAV files MUST be the standard Windows 44.1 KHz / 16 bit format, and must be converted to the Casio proprietary audio format with the Data Manager 6.1 software. The Data Manager 6.1 software MUST be used to transfer the converted audio file to the hidden partition on the SD Card, with the SD Card IN THE COMPUTER'S SD CARD READER SLOT. The transfer CAN NOT be made from the computer to the SD Card with the SD Card in the keyboard's SD Card slot, as the keyboard's USB connection can only transfer MIDI data, NOT audio data. Once the converted audio file is loaded onto the SD Card, the SD Card can be moved from the computer to the keyboard, and the audio file played back on the keyboard. See Page E-121 of the manual for audio file playback by the keyboard.

This was the CTK-7300 - not the CTK-7300IN.

Aha ! Now I understand why you are trying to do what you are trying to do. I take it that you do not have anything posted on Monstercat yet. Let us know if and when you do, particularly if you do it with a Casio board. Good luck with this ! Regards, Ted

Hey, "guy" On the TONE selection panel to the right of the display: Press the " J " button - that is the one labeled: " GM/DRUMS ". The top line of the display will show: " [[ TONE ]] - - - - J:001 ". The second line of the display will show: " GM Piano 1 ". Start madly cranking the Data Wheel clockwise until the top line shows: " [[ TONE ]] - - - - J:129 " and the second line shows: " StandardSet1 ". This is the start of the drum kits, and they run through TONE number 146. Whatever drum kit is showing on the second line is assigned to, and can be played from, the keys. Now, a quicker way to do this, when you are at TONE number 001, is to press the " - " (minus) button once to move to the top of the list (TONE #146) and then turn the Data Wheel counterclockwise to move downward through the drum kits. You have to press the " - " (minus) button, because when you are at the bottom of a list, the Data Weel won't "turn it over", but the " - " (minus) button will. The same applies when you are at the top of a list of selections. The Data Wheel won't go any further, but the " + " (plus) button will turn it over, back to the bottom of the list. Once you have done that, then you can go back to the Data Wheel to increment or decrement through the list. This saves a lot of wear and tear on the Data Wheel, but particularly on the tip of your right index finger. When you have some time, you may want to go back to that " GM Piano 1 " [[ TONE - - - - J:001 ]] , and work your way through all 128 GM (General MIDI) tones to become familiar with what is there. You will find that there may be times that one of these tones will sound or "work" better, in a "mix" of tones, than the equivalent CTK/WK "native" tone. The CTK/WK native string and brass ensembles can come across as being a bit brash, while the equivalent GM tones are a little more mellow. I, personally, prefer to layer the GM strings with the CTK/WK Stereo Grand Piano, rather than with the CTK/WK native strings, for that very reason. Plus, there are some tones in this GM bank that are just not in any of the CTK/WK "native" tone banks, particularly the sound effects (SFX), and some of the synth and pad tones. Have fun ! Regards, Ted

There may be a workaround, if you do not mind adding a piece of gear to your set up and have a fast PC or MAC or laptop. You could split the keyboard at the last octave or half octave or so, and output it via USB-MIDI to a DAW software package that would allow you to do, with a VSTi drumkit, what you were trying to do with the keyboard, but the VSTi drumkit would have to have pitch (key) assignable sounds. You would not be able to differentiate between drum sounds by MIDI channel as the CTK/WK's output ALL notes from the lower side of the split ONLY on Channel 3, and you can not change that. In other words, you could not output notes for different drum sounds on different MIDI channels from the lower split zone. The CTK/WK does not allow that. Good luck, if you try this, and I wish I could help you more with it, but I am still a dyed in the wool hardware guy, when it comes to sounds. My experience with VSTi sound systems is practically nil.

Sean You are correct. It is best to do your step sequencing to the "B" Tracks, but when it comes to recording live play, you have a choice, up to a point. You can record live play to either the "A" or the "B" Tracks, unless you want to record anything to do with Auto-accompaniment, even just a drum track. Those recordings MUST be done to the "A" Tracks, which is the sole purpose of the "A" Tracks - to record anything to do with Auto-accompaniment (the One-Man-Bander stuff). So, if any part of your performance uses Auto-accompaniment, it can ONLY be recorded to the "A" Tracks. No part of the Auto-accompaniment can be directly recorded to the "B" Tracks, but after recording to the "A" Tracks, that data can be manually transferred (extracted) to the "B" Tracks for more in depth editing than "A" Track editing allows. That is why I recommend that, if you are recording a performance that uses no part of Auto-accompaniment, you are best off making it directly to the "B" Tracks, so that the Auto-accompaniment limitaions of the "A" Tracks does not get in the way of your work flow. Maybe a simpler way to put this is: The CTK/WK Song Sequencer "A" Tracks (AKA the System Track) are solely for recording the One-Man-Bander features of the typical Arranger Workstation, while the "B" Tracks provide the straight forward features of the standard 16 track linear sequencer of the typical non-Arranger Workstation.

Every sound the keyboard makes starts off as a basic "raw" digital recording "snippet" of the actual sound being emulated. These are known as "samples". The keyboard then applies a set of wave shaping parameters to the samples, when they are played, to give the sound its finished, or "polished" character. The Tone (sound) Editor only modifys or varies these wave shaping parameters to change the finished sound's character somewhat, but it can not change the basic wave sample. That is to say, it can not substitute an accordian wave sample for a piano wave sample. The same applies to the individual drum sounds. The Tone Editor can not substitute a crash cymbal wave sample for a bass drum wave sample on the "bass drum" key. That wave sample to key assignment (known as a map) is permanently stored in Read Only Memory at the factory and can not be changed by the Tone Editor. So that key is always going to sound basically like a bass drum, no matter what is done to it with the Tone Editor. High end workstations ($2000 USD and up) can do what you are talking about, but not keyboards in the price range of the CTK/WK models.

No ! The order of the drum sounds is determined by the wave-sample mapping, which is stored in Read Only Memory (ROM), and can not be changed.

Sean If you are going to be using the CTK-7220 primarily for composing, and have little or no interest in Auto-accompaniment, then you need to read through the following thread and all of the other threads referenced in it, but particularly my very final replay to "Butes", in order to avoid endless frustration. This thread deals with using the WK-7600 for composing, but the info discussed in it applies to all of the newer CTK / WK models: http://www.casiomusicforums.com/index.php?/topic/12391-adding-a-rhythm-loop-to-a-song-sequence-with-my-wk-7600/ Good luck ! Regards, Ted

Richard This is an older board, so I can not locate a manual for it from a "safe" source. You may have to experiment a bit, but it probably uses the same fingering patterns as the current models. One finger will only get you major chords. Sevenths, minors, and minor sevenths require additional fingers. Two adjacent keys gets you a minor of the lower note. Three adjacent keys gets you a 7th of the lowest note, and four adjacent keys gets you a minor 7th of the lowest note: C = C major C + D = C minor C + D + E = C 7th C + D + E + F = C minor 7th That's all you get from the "Casio Chord" feature. If you want Aug, Dim, Sus-2, Sus-4, 6th, 9th, 13th, etc you will have to start learning to make your own chords. Good luck ! Regards, Ted

Sean Your most recent question brings up why I have been stressing the difference in the terms "pattern" and "User Rhythm" when discussing the Pattern Sequencer in the CTK/WK models. I have already stated that the Pattern Sequencer in the XW synths saves its "patterns" in discrete "pattern files", and allows you to "string " them together into "phrases", and "phrases" together into "songs", but the Pattern Sequencer in the CTK/WK models does not work that way. It will allow you to combine "parts" of different User Rhythms together into a "new" User Rhythem, but the overall "length" of that User Rhythm remains to same. That is, it will not allow you to combine two or more User Rhythms together into one "long" User Rhythm. So, misuse of the term "Pattern", as it applies to the CTK/WK Pattern Sequencer, can give the wrong impression about its capabilities. There are a couple of ways to "string" User Rhythms together "manually", but we will come back to that in a bit. For the moment, I want to get to your other questions about "Step Editing". YES ! The Song Sequencer will allow you to do TWO different types of Step Editing. First, it will allow you to input notes and rests, note by note and rest by rest, controlling note pitch, length, velocity (volume), etc as you go. This is exactly the type of Step Editing you were describing in your question, but the CTK/WK Song Sequencer allows a second type of Step Editing. It will also allow you to enter CHORD data for controlling the left hand Auto-accompaniment part on a Step basis. So, you could Step Edit (enter) a complete song - both the left hand chord parts plus the right hand melody parts without ever playing a single note in "real-time". This would get a bit tedious, but it can be done. And now, even better news! The Pattern Sequencer also has a Step Editor, so you can enter or edit parts in User Rhythms on a Step basis, if you like. At this point, I would recommend that you read through the first couple of pages on each the Song Sequencer and the Pattern Sequencer in the manual (if you have not already done so) to become familiar with their capabilities. I would not go into the "how-to" sections, until you are ready to perform that particular item. For now, just become familiar with what all you can do with them. Now, back to your question on "stringing" User Rhythms together in a given song. The first, and simplest, way is to locate the User Rhythms, that you want to use, sequentially in User Rhythm memory - say, User Rhythm slots F:001 through F:005 and then leave the keyboard in Rhythm Selection Mode (as opposed to Tone Selection Mode) when you start the Rhythm. As your Auto-accompaniment Rhythm is running, each time you press the + (PLUS) button, your Rhythm will increment to the next one, or if you press the - (MINUS) button, it will decrement to the previous Rhythm. The advantage to this is that you do not need to be "spot on" with your timing. You can switch any time during the current measure, and the change will not take effect until the start of the next measure. Sort of a real-time "quantization" of your Rhythm changes. The disadvantage to this is that you can not change Rhythms in the middle of a measure, as some folks are want to do. You can change CHORDS in the middle of a measure, but not RHYTHMS. You can also do Rhythm changes as set-up Registrations within a given Registration Bank. You can have up to six changes in a given Bank. One advantage to this is that you can change not only the Rhythm, but the tone, the mix volumes, and a host of other items with a Registration change. The timing remains as before. If you change Registrations in the middle of a measure, the Rhythm will not change until the start of the next measure, BUT if the Registrations include Tone or Volume, etc changes, those changes will take effect IMMEDIATELY, so you have to keep that in mind, when using this method. The other, and probably major, advantage to this method is that you can randomly select from among the six possible changes, in any order, with the touch of a single button - as long as you remember which Rhythm or set-up is assigned to which Registration button. OK ! I think I have covered everything, for now. Good luck and have fun ! Regards, Ted

Sean Yes ! You can use the Pattern Sequencer to create new User Rhythms from scratch or to modify existing presets or downloaded after market rhythm files to your own liking and then use that "new" User Rhythm as an Auto-accompaniment to your right hand part(s) as you record the entire performance with the Song Sequencer. If you do not want an Auto-accompaniment, that is to say - you just want to record a two handed piano, or EP, or organ, or maybe even a split keyboard piano/bass performance, you would only need the Song Sequencer for that. The same applies if you just want a preset Auto-accompaniment rhythm with your right hand part(s). You would just need the Song Sequencer for that. The Pattern Sequencer is just for creating or modifying rhythms. Once the rhythm is created or modified, you switch to the Song Sequencer to record a performance that uses that rhythm. When the output of the Pattern Sequencer is "saved", it is saved to a "User Rhythm, not to a "pattern". There are no pattern files. Patterns only exist within the Pattern Sequencer as it is being used. Once that data is "saved", the "patterns" get saved into a User Rhythm. Here is a link to a tutorial video of Mike Martin creating a User Rhythm with the CTK-7000 / WK-7500 Pattern Sequencer. The process would be the same on the CTK-7220. https://www.youtube.com/watch?v=UVdFRBmNID4 When Mike finishes his User Rhythm, he plays a right hand part along with it, but he could just as well have recorded that performance as a song with the Song Sequencer. I know, throughout that video he keeps using the term "pattern" rather loosely to describe what he is doing, but once he saves what he calls a "pattern", it really isn't. You wont find any button on the keyboard or Function menu item labeled "Patterns" for calling them up and using them. I don't know how many times, in the past few years, I have had to answer the question "Where do I find my "patterns" that I have created ? Well, you won't - not as "patterns", at least. They are saved under button "F" as "User Rhythms". This is to differentiate between these keyboards and the XW synths that DO save their patterns as discrete pattern files, and you call them back up as pattern files.

My CTK-7000 and WK-7500 each have their own Dandiya rhythm, and they both use the same tones as the Dandiya rhythm from the CTK-6300IN. Oddly enough, none of them use any of the Ethnic drum or Tone sets, so this was not a good test. We need something from one of the "IN" models that is not identical to what is already on the "non-IN models". At some point, the "IN" models and "non-IN" models would become incompatible at the basic tone map level. Keyboards find their tones by tone number, not by tone name. Not all of the "IN" tones would use the same numbers as the "non-IN" models. At that point, rhythms using those tones would not be able to find the correct tone on the model they were ported to. They could be manually re-voiced to sound correct, but then you get into the question as to whether the tone with the correct wave-sample is on the model the rhythm was ported to. If it is not, you would have to manually substitute a tone that sounds near to the correct tone. Of course, this applies to the wave-samples, as well. Tones find their wave-samples by sample number, not by sample name. If the wave-ROMs in the "IN" models are not identical to the wave-ROMs in the "non-IN" models, at some point the sample numbers in the "IN" models would get out of step with sample numbers in the "non-IN' models. From that point on in the sample number map, tones ported between the two model sets would not be able to find their correct samples and would therefore not sound correct. When you "export" a "tone" from one of these keyboards, you are actually only exporting a set of wave shaping parameters that give the tone its overall finished or "polished" character, but you are not exporting, and can not export, the very basic raw recording (the sample) of the original sound. So, if you are porting this set of parameters to a keyboard that does not have that same raw recording (the sample), then the finished tone on that keyboard is not going to sound correct, if at all.

The model generalities are as follows: CTK models have 61 keys and are considered by Casio to be "portable" keyboards. WK models have 76 keys and are considered by Casio to be "workstations". (I guess that means WK models are not portable. HA! Tell that to my WK-7500) 7XXX models have additional Preset and User Tones and Rhythms and additional registration memory, plus the sliders, over and above those of the 6XXX models and are capable of recording/playing audio files, which the 6XXX models can not do, but just because the various models look similar on the outside and have similar specs, that does not tell you what wave samples might or might not be lurking in the bowels of their respective wave-ROM chips, to say nothing of differences in the basic voice (tone) maps (numbering).

File compatibility would be no problem, as the CTK-7300IN uses the same file formats as all of the other CTK/WK-6XXX/7XXX models. If there is a problem, it will be with the wave-samples in the Wave-ROM chips. I do not believe that the Wave-ROM chips in the "other" models have the extra wave-samples required for the extra sounds in the CTK-7300IN. This is the third or fourth post of this nature on this forum, as well as an equal number over on the "Keyboard Forums". These requests usually also include the extra Rhythm files from the CTK-7300IN, most, or all, of which would require the extra tones which require the extra wave-samples. BUT, if folks are trying this, and it is not working, no one is posting follow-up inquiries as to why it is not working. So, maybe I am wrong and all of the CTK/WK-6XXX/7XXX models have wave samples that we would only be aware of if we owned a CTK-7300IN. That could certainly be the most cost effective way to go. What is the cost of a few extra wave-samples that might go unused in some models, as opposed to designing, manufacturing, and maintaining two slightly different chip set inventories ? It all depends upon the current "per byte" cost of wave-ROM. I keep waiting for the "Why not ?" post to pop up and tell me, for sure, one way or the other, but nothing so far. Coming up with a CTK-7300IN for US based musicians that have need for those tones/rhythm sets is next to impossible unless you have one personally imported, or you go abroad and bring one back yourself. I'm not sure about Canada, Mexico, or Central and South America, but it sounds like it could get pretty expensive. So, for those folks, this gets to be a rather important question. This is not a simple matter of "If you wanted/needed those tones/rhythms, you should have bought a CTK-7300IN in the first place". You certainly won't get one from Sweetwater Sound, or Guitar Center, or Musicians' Friend, or American Musical Supply, or I dare say, a local "Mom and Pop" music store. Now, the other side of the coin is - if sharing is possible, is it legal ? For this specific reason, I have, until now, steered far afield of these posts/requests, as the legality issue is another whole story, in itself ! To be continued ? ? ?

With the CTK-7200, you should be able to import any compatible Rhythm ("style") file and use the Pattern Sequencer to edit it to your liking, but you can not directly import generic MIDI phrases or loops, and there is no separate "pattern" file. The Pattern Sequencer saves it output to the Casio standard User Rhythm file in the AC7 Rhythm file format It is possible to use the Rhythm Converter module in the old Casio IDES-4 Data Manager Software (for WK-3300 / WK-3800 / WK-8000) to convert generic MIDI phrases into the old CKF file format Rhythm files. The CTK-7200 can then import those and convert them to the new AC7 format, but the preparation of the MIDI phrase with external DAW software to demark the various rhythm sections (Intro, Mains, Fills, Endings) prior to conversion can get a bit tedious and time consuming, and often produces surprising and/or undesireable results. Here are several links on this forum that discuss this process in some detail: http://www.casiomusicforums.com/index.php?/topic/12371-midi-tracks/&do=findComment&comment=34229 http://www.casiomusicforums.com/index.php?/topic/12070-reggae-drum-tracks-from-midi-files-for-7600/&do=findComment&comment=32902 http://www.casiomusicforums.com/index.php?/topic/8975-loading-an-edited-rhythm-part-from-an-external-midi-to-the-ctk7200-keyboard/&do=findComment&comment=27931 http://www.casiomusicforums.com/index.php?/topic/6839-converting-midi-file-to-cms-file-not-cm2/&do=findComment&comment=20775 http://www.casiomusicforums.com/index.php?/topic/4326-to-mike-martin-wish-list-for-future-casio-wk-workstation-keyboard/&do=findComment&comment=12124 If you are interested in trying this, the IDES-4 Software can be downloaded for free from: http://music.casio.com/e/data_ex4/before.html#software ( Click on the link: ides40-c.exe ) Click on the Download button under "English Manual for Application" on that same webpage to download the IDES-4 User's Guide.

Here are several threads/articles you can read through (if you have not already seen them) for more ideas on what to check. The third one is GarageBand specific, but may still be of some help. In the meantime, if you want to get on with the learning process, just use the CTK-2400's internal voices. There should not be any detectable latency there. https://support.native-instruments.com/hc/en-us/articles/210296445-Mac-OS-X-Tuning-Tips-for-Audio-Processing http://tweakheadz.com/latency/ https://discussions.apple.com/thread/2624054?tstart=0

Terence Start with the 7200 powered OFF. This ensures that we are both starting at the same place. Power the 7200 ON. Select your Rhythm Press the MIXER button to bring up the MIXER panels. The right panel (the Track Grid) should have a small up arrow under Track A-01, indicating that that is the currently selected track. The top line of the left (Info) panel should say MIXER. The second line should say <PART> : A01 (UP1) - indicating that the UPPER-1 voice is assigned to Track A-01. The bottom line of the left panel should show the name and number of the instrument assigned to Track A-01 And now, the important part for what you are trying to do: The next to bottom line shows heavy brackets around the word [[ TONE ]] followed by the number of the Tone currently assigned to Track A-01. In this mode, the sliders are set up to change the instruments assigned to the various tracks. This is what you have been running into. Moving any slider will immediately select the corresponding track and apply the currently active function to that track. Note the small down arrow to the right of the assigned Tone number, indicating that there are more menu choices below. Press the DOWN ARROW ( V ) button once. This brings up the menu panel for controlling Part ON/OFF and Volume. Note the large blue dot to the left of the word * Part and the heavy brackets around [[ ON ]], indicating that that is the currently selected function. Moving any slider at this point will turn the instrument assigned to the corresponding track ON or OFF. Press the DOWN ARROW ( V ) button once again to select * Volume [[ XXX ]]. The sliders will now control the volumes of the various tracks with the grid showing the preset levels. This is what you are looking for ! If you continue to press the DOWN ARROW button, there are four more menu pages for assigning such things as pan, course and fine tuning, reverb send, DSP on/off, etc. to the sliders, but at this point, we are at where you want to be. OK, but you can not start the accompaniment in MIXER mode (only the drum track will start), so press EXIT. Don't worry, as long as you don't power the keyboard OFF, you will come back into the MIXER menu panel that you just exited from. Start your Rhythm and immediately press the MIXER button. It should still be in Volume control mode. ( " * Volume [[ XXX ]] " ) By default, the 8 sliders will be assigned to Tracks A-01 through A-08. The accompaniment Tracks are A-09 through A-16. So, press the 1-8 / 9-16 button immediately to the left of the sliders to turn on its blue light. The sliders will now control the volume of accompaniment tracks A-09 through A-16. The above procedure will only work as long as " * Volume [[ XXX ]] " in the MIXER menus remains selected. If, at any time, that is changed, the sliders will begin to apply the newly selected action. Good luck ! Regards, Ted

Butes The point I was trying to make to DKNY, above, is that you can do what you want with the WK-7600, as long as you keep in mind that it is, first and foremost, an Arranger Workstation - a "One-Man-Bander". The default assmuption is that you want to play a one or two (layered) part melody line with your right hand as you play chords with your left hand to control a full Auto-accompaniment Rhythm, and if there is any recording to be done, that that is what is to be recorded, in a single pass. That is the "Easy Record" mode, and the Song Sequencer gives preference to it, since it is a major selling feature of the keyboard. What you want to do does not exactly fit this scenario. You can do it, but the Auto-accompaniment features - the "One-Man-Bander" stuff - will tend to get in your way. You need to be aware of this so that you do not stumble over it and end up losing recorded data. This is opposed to the "straight forward" sequencer designs of non-Arranger workstations like the Roland Fantoms, or their more recent FA-06/08 models, or the Yamaha Motif models, or their more recent MOFX-6/8 models. With those, you can start by simply "laying down" a drum track and going from there. They have no Auto-accompaniment ("One-Man-Bander") features to get in your way. At this point, I would strongly suggest, if you have not already done so, that you read this thread in its entirety, as well as the entire thread referenced in the link posted above, so that you fully understand the function of the Song Sequencer's 16 "real" ("B") tracks, and the make-up of that 17th "System" track with its 16 "virtual" ( "A") tracks, and the purpose of each. You want to record a drum track that is part of an existing Auto-accompaniment Rhythm. By design, Accompaniments, or parts thereof, can only be recorded to the System Track - in this case, Track A10, to be specific. Since Pop-2 is not a factory preset Rhythm, I assume you have it loaded into User Rhythm memory. You would need to set up the keyboard to play/record (Easy Record) that Rhythm, and go into the Mixer and turn off all parts, but the drum track. Then record that drum track, including any fills or Normal / Variation pattern switches, for the length of measures of your song. Once that recording is complete, nothing else can be added to the System Track - that is, nothing can be added to ANY of the "A" tracks, or it will result in erasure of your previously recorded drum track. This is the major place where Auto-accompaniment recording features tend to get in your way. By the way, this is not just Casio. Yamaha and Roland arrangers are very similar. However, you are free to add whatever you like to any of the "real" ("B") tracks with the individual track recording method, but as long as that drum track is on the System ("A-10") Track, it tends to be somewhat vulnerable. For safety's sake, I normally "extract" its data to Track "B-10" ASAP after recording. Once that is done, you no longer have to deal with the "A" Track Auto-accompaniment pit-falls, and can deal soley with the "real" hardware "B" Tracks - which is like dealing with any other 16 track straight forward onboard sequencer. By comparison, if you wanted to "play" your own drum track from the keyboard, you could do that directly to one of the "real" ("B") Tracks and not fool with the Auto-accompaniment stuff at all. Hope this helps ! Regards, Ted

Steve Out-of-tune problems with electronic keyboards with pitch-bend wheels usually turn out to be a pitch-bend wheel not returning to the "zero offset" (center) position when released. Give the pitch-bend wheel on your WK-7500 some vigorous exercise, letting the return spring bring it back to its center position, then see if that corrects, or at least changes, your tuning. Of course, the other question is, what are you comparing its tuning too ? Is that a known-good tuning source ? If you can not correct it physically, you can use the transpose to correct it, as you are doing now, and save that to a power-up Default as described in the left hand column on Page 134 of the manual. At least that way you won't have to fiddle with it every time you power up. See Column 3 in the table on Page 163 for all the items you can save as power-up defaults. Any item with a circle in Column 3 can be saved as a power-up default. Just set up the WK-7500 the way you want it to power-up and do the Default save. Have fun ! Regards, Ted

Ahhh, Steve ! How well I understand your plight, as I have the same problem with my CTK-7000 and WK-7500, as well as my old WK-3800. Those upper drawbars bring nothing but agony to my ears. The WK-7500 has no internal EQ like the newer WK-7600, so external EQ, like you are already doing, is about your only solution. If that is not doing a good enough job for you, about the only thing I can suggest is a more sophistcated (read that: more $$$, more bulk, more weight, ughh!) 10 or 12 band equalizer. I use an old Realistic (Radio Shack) 10 band stereo (20 sliders) equalizer from, I think, about the mid-80's. It still works great. The WK-7500 does have a compressor in its DSP section, but I have a feeling the external one you are currectly using probably does a much better job. The other advantage to the WK-7600, besides built-in EQ, are the 8 position drawbars (like "real" drawbars), instead of the four position (off, low, medium, high) of the WK-7500 drawbars. That has to give much finer control. Regards, Ted

Rishi Very good ! Your situation is much better than it originally appeared. If your unit works on batteries, but not on the adapter, then the adapter has become defective, but at this stage, I am not sure I would even want to try the adapter. It might be better to order a new adapter and just get plenty of fresh batteries for your performance.