Search the Community

This is a set of specially modified Registration bank files for the CDP-S350, created using my RBK Mixer program. Loading these bank files into your CDP-S350 will unlock functionality that would otherwise be impossible through the onboard controls alone, such as more flexible MIDI control and the ability to route specific tones to individual mono outputs for external effects processing. MIDI Control Banks (MIDICtr1.RBK and MIDICtr2.RBK) These Registration Banks set the volume levels for specific tones (Upper1, Upper2, Lower) to zero, muting them within the S350's internal sound engine. For reference, when you use your S350 as a USB-MIDI controller to trigger external sound sources (like software instruments in a DAW, or hardware synthesizers), you can disable all of the internal sounds by turning Local Control off in the MIDI Menu. This disconnects the keyboard from the internal sound source, essentially muting all three tone layers, the Rhythms and Accompaniment, and Auto-Harmonizer and Arpeggiator playback. Although you can't hear any of the internal sounds, the keyboard is still sending out MIDI note messages, and MIDI note messages received from external sources will still trigger the internal sounds. However, Local control is an "all-or-nothing" solution for MIDI control, as it turns off everything you can normally control from the onboard controls. On more advanced models like the CT-X3000 and X5000, an easy way to get around this is to use the built-in Mixer menu to disable any internal sounds you don't want to hear by muting them (setting the volume to zero). So, for example, if I wanted to use the CT-X3000's Stage Piano sound layered with a Synth Strings tone produced by an external software instrument in my DAW, I would enable Layer mode, but set the volume of the Layered tone to zero in the mixer menu. I wouldn't hear the CT-X3000's string sound, but because the Layer tone is still technically enabled, the CT-X will still send out MIDI notes on the Layer tone's MIDI channel (MIDI channel 2 by default). Unfortunately, the CDP-S350 does not have a Mixer menu, so it's normally impossible to mute a specific layer within the internal sound engine. These custom made RBK files circumvent this limitation by muting the appropriate layers whenever a specific Registration Slot is selected. This is accomplished by modifying "hidden" mixer parameters that are not accessible through the onboard controls, something that I only learned was possible thanks to @mrmr9494's initial investigations into the subject. Conveniently, you can connect the audio output of your external sound source to the 1/8" Audio Input on the S350's back panel, allowing you to layer these external sounds on top of the S350's tones without the need for an external mixer. The above image shows which slots correspond to a specific layer being muted. Some things to note: A specific layer must still be enabled in order to send out MIDI note data. By default, the Upper 1 (Main) tone send MIDI data on Channel 1, the Upper 2 (Layer) tone sends MIDI data on channel 2, and the Lower (Split) tone sends MIDI data on channel 3. You can define a specific MIDI channel for the Upper 1 tone by going to Function -> Scroll to MIDI, Press Enter -> The display shows "Keyboard Channel", Press Enter -> Use selection wheel to set the Keyboard Channel from 1-16. Whatever channel the Upper 1 tone is set to, the Upper 2 tone will transmit on the next highest channel, and the Lower tone transmits on the next highest channel after that. For example, if I set the Keyboard Channel to 5, Upper 1 transmits on channel 5, Upper 2 transmits on 6, and Lower transmits on 7. If I set the Keyboard channel to 16, Upper 1 transmits on channel 16, Upper 2 transmits on channel 1, and Lower transmits on channel 2. Arpeggiator data is sent out over MIDI, a very helpful feature for controlling external synthesizers that don't have their own built-in arpeggios to play with (or only have a few to choose from, whereas the CDP-S350 has 100 different Arp patterns). However, keep in mind that the Arpeggiator will only work for U1, so you'll want to use a slot that has Upper1 muted for this particular application. Slot 3 in the second MIDI Control Bank, which mutes all three layers (U1, U2, L). This may seem useless, but it is very handy if you only want to use the CDP-S350 for its Rhythms and Accompaniment sounds. Turning Local Control off will mute the keyboard tones as well as the Rhythm sounds, so if you want to use the S350 as a dedicated drum machine or backing track generator (but still control external sounds via USB-MIDI), this is the way to do it. Even though the keyboard tones are muted within the internal sound engine, the S350 is still processing them as if they were being played normally, meaning each note you hold down will still count towards the maximum polyphony limit of 64 simultaneous voices. Likewise, even if a specific layer is muted, it will still send out Program Change and bank select messages depending on which tone is assigned to that layer. If your external sound source responds to Program change messages for external tone selection, you can use this to recall a specific tone on the external instrument simply by recalling this Registration on the CDP-S350. However, this may result in unintentional tone changes on the external instrument, so if you don't want the S350's layers to trigger tone changes, you may need to filter out (or disable the receipt of) Program Changes in the settings for whatever external instrument you're using. To see which tones on the CDP-S send out which Program Change messages, refer to the Tone List in the S350's appendix. Panning Banks for Individual Outputs (PanBank1, 2 and 3.RBK) These Registration banks, similar to the MIDI control banks, work by setting values in the CDP-S350's hidden mixer menu whenever a specific Registration is loaded. This time, the mixer parameters being set are the pan position of each layer in the stereo field. Normally, the S350 outputs a stereo signal with all three of the keyboard tones (U1, U2, and L) centered, meaning they are heard equally in both the left and right channels. Using the mixer menu (or in this case, a specially modified RBK file), you can change the default pan setting of 64 such that a particular tone will be skewed towards either the left or right ends of the stereo field. Values lower than 64 will skew the balance towards the left output, and balances higher than 64 will skew the balance right. By panning certain tones hard left (pan position = 0) or hard right (pan position = 127), it's possible to give your S350 a pair of individual mono outputs rather than one combined stereo output. For example, let's say I have a Stage Piano tone assigned to Upper 1 and an Acoustic Bass tone selected as the lower split voice. If I hard pan Upper 1 to the left and hard pan Lower to the right, the left channel will only carry the signal of the piano tone, and the right channel will only have the bass tone. Using a splitter cable, I can send these isolated mono signals through separate outboard effects, allowing me to process the sounds with much more flexibility and precision. If you don't already have a splitter cable, the attached PDF guide should help you decide what to buy depending on what you already have and your specific recording/performance needs. CDP-S350 Individual Outputs Adapter Guide.pdf Alternatively, for a lower cost option, you could skip the splitter cable, record into your DAW as a stereo track, and then split the stereo recording into two separate mono tracks after the fact. You'd still end up with two isolated recordings of each tone that can be processed, trimmed and EQ'd independently of one another, which is a very convenient time-saver during the mixing process. Without isolated outputs, you'd have to record the piano track and the bass track in two separate takes to gain access to the same kind of post processing flexibility, as recording with both of them outputting in stereo at the same time would prevent you from making individual changes to either track afterwards. To cover a wide range of use cases, this utility pack includes three separate panning banks with multiple different combinations of tones assigned to the left or right output. Refer to the same image at the top of this page to find out which specific bank and slot contains the right combination of pan values to suit your recording or performance needs. Panning Bank 3 takes this a step further and combines these hard panned tones with muted layers for MIDI control purposes. With one layer panned hard left, another layer panned hard right, and the third layer muted so it can be used to control an external software instrument, it's now possible to record three entirely separate audio tracks at once, each of which can be run through its own specific effects, EQ, and post-processing for an unprecedented amount of mastering versatility on a keyboard of this price. There are some limitations to keep in mind, however: The internal reverb and delay effects on the S350 are stereo effects, so you cannot achieve fully independent outputs when the internal Reverb is enabled. Even with hard panned layers, the decay of the reverb and delay effects will always "bleed" into the other output, so Reverb has to be set to Off in order to have completely isolated mono outputs. The three panning banks will automatically set Reverb to "off" when you recall a Registration, so as long as you don't turn reverb back on, you'll be fine. By default, this will mean your signals will always be "dry" in terms of Reverb and Delay, but you can always add in Reverb and Delay effects with outboard effects units/pedals, or during post-processing in your DAW. Some tones are not "mono-compatible", and as such, cannot be used for this individual outputs workaround even when their pan position is set to 0 or 127. These tones include "Wide" variants of standard tones (Grand Piano Wide, Vibraphone Wide), as well as some ensemble tones (Chamber Strings, Brass Section). A list of these "Forced Stereo" tones has been included in the .ZIP archive, so if you find that you a certain tone doesn't seem to be working with these panning banks, double check that it isn't on the list before you continue troubleshooting. Chorus (and Flanger effects) are not always stereo, and as such, they are compatible with certain tones when using this mono outputs trick. However, it seems that chorus behaves differently for some tones than others, so if you have chorus turned on and you find that an otherwise mono compatible tone isn't working right, try turning chorus off and see if that solves the problem. If it does, please leave a comment on this download page so I can update the list of forced stereo tones to warn other users in the future. The Panning Arpeggiator will un-do the effects of these Registration banks to create the auto-panning effect, so you cannot use this type of arpeggio under any circumstances. If you do accidentally end up using it, you'll need to recall that same Registration slot again to re-apply the pan values. Importing and Using these RBK Files You'll need to connect a USB flash drive to the CDP-S350 transfer the files. For more information on how to set up your flash drive and navigate the Media menu, refer to this tutorial video. Use the image at the top of this download page to figure out which utility bank contains the slot that you want to use. Using a flash drive, import that RBK file into one of the 8 Registration banks in the onboard memory. I prefer to keep the Registrations I use the most in Bank 8, as it's hard to accidentally overwrite slots in Bank 8 since it's at the very end of the bank list. Once the bank is imported, navigate to whatever bank you chose and recall one of the slots by pressing the appropriate button. Play a few notes to verify that it applied the settings you wanted it to. If it's not what you expected, double check that you chose the right file and recalled the right slot. These banks contain placeholder tones (Piano on U1, Strings on U2, and Acoustic Bass on L), but you can change tones without undoing the muting or panning effects that were applied by recalling the slot. Once you're sure you've recalled the right slot for your particular application, you can change these tones around to adapt the registration to suit the needs of your performance or recording. (Optional) If you're using the Panning Banks for individual outputs, be sure to check the list of Forced Stereo Tones included in the zip file so you can avoid using any tones that are incompatible with hard panning. At this point, you can hook up whatever you're using to split the signal and test the signal coming out of both outputs to see if the sounds are properly isolated. You can also try applying a Chorus or Flanger effect if desired, although again, this might mess up the mono outputs trick depending on what tone you use. The Rhythm, tempo, arpeggiator, touch response, pedal assignment etc are also placeholder values in these Registration banks, so once you've got your tones, layers, and splits squared away, you can start configuring all the other settings you want to store in this Registration. Store these settings as a new Registration in whatever bank and slot you'd like. Note that switching to another (unmodified) Registration will undo the muting and panning effects applied by these files, so you'll have to recall this specific slot again to re-apply these special effects. Turning off the keyboard and turning it on again will also remove the muting and panning effects, so again, you'll need to recall this slot to revert back to these special settings at the start of each session. (Optional) Once you've created all the personalized Registrations you want for the time being, export the Registration bank containing your newly created Registration slot (or slots) and store the RBK file externally on your computer or a flash drive. That way, if you accidentally overwrite this slot at some point down the road, you can just re-import the archived version instead of having to start from scratch with the utility banks and replace all the placeholder settings again. If you're having trouble getting these files to work for you, please don't hesitate to ask for help in this thread over in the CDP-S section of the forums. If you want to report any errors in the list of Forced Stereo Tones (or just inform me that a specific tone is not usable with Chorus or Flanger effects), I'd very much appreciate your help there as well. Thanks for reading, and enjoy! -Chandler

This is a set of specially modified Registration bank files for the CT-X700 and X800, created using my RBK Mixer program. Loading these bank files into your CT-X700 or X800 will unlock functionality that would otherwise be impossible through the onboard controls alone, such as more flexible MIDI control and the ability to route specific tones to individual mono outputs for external effects processing. MIDI Control Banks (MIDICtr1.RBK and MIDICtr2.RBK) These Registration Banks set the volume levels for specific tones (Upper1, Upper2, Lower) to zero, muting them within the CT-X's internal sound engine. For reference, when you use your CT-X as a USB-MIDI controller to trigger external sound sources (like software instruments in a DAW, or hardware synthesizers), you can disable all of the internal sounds by turning Local Control off in the MIDI Menu. This disconnects the keyboard from the internal sound source, essentially muting all three tone layers, the Rhythms and Accompaniment, and Auto-Harmonizer and Arpeggiator playback. Although you can't hear any of the internal sounds, the keyboard is still sending out MIDI note messages, and MIDI note messages received from external sources will still trigger the internal sounds. However, Local control is an "all-or-nothing" solution for MIDI control, as it turns off everything you can normally control from the onboard controls. On more advanced models like the CT-X3000 and X5000, an easy way to get around this is to use the built-in Mixer menu to disable any internal sounds you don't want to hear by muting them (setting the volume to zero). So, for example, if I wanted to use the CT-X3000's Stage Piano sound layered with a Synth Strings tone produced by an external software instrument in my DAW, I would enable Layer mode, but set the volume of the Layered tone to zero in the mixer menu. I wouldn't hear the CT-X3000's string sound, but because the Layer tone is still technically enabled, the CT-X will still send out MIDI notes on the Layer tone's MIDI channel (MIDI channel 2 by default). Unfortunately, the CT-X700 and X800 do not have a Mixer menu, so it's normally impossible to mute a specific layer within the internal sound engine. These custom made RBK files circumvent this limitation by muting the appropriate layers whenever a specific Registration Slot is selected. This is accomplished by modifying "hidden" mixer parameters that are not accessible through the onboard controls, something that I only learned was possible thanks to @mrmr9494's initial investigations into the subject. Conveniently, you can connect the audio output of your external sound source to the 1/8" Audio Input on the CT-X's back panel, allowing you to layer these external sounds on top of the CT-X tones without the need for an external mixer. The above image shows which slots correspond to a specific layer being muted. Some things to note: A specific layer must still be enabled in order to send out MIDI note data. By default, the Upper 1 (Main) tone send MIDI data on Channel 1, the Upper 2 (Layer) tone sends MIDI data on channel 2, and the Lower (Split) tone sends MIDI data on channel 3. You can define a specific MIDI channel for the Upper 1 tone by going to Function -> Scroll to MIDI, Press Enter -> Use +/- buttons to set the Keyboard Channel from 1-16. Whatever channel the Upper 1 tone is set to, the Upper 2 tone will transmit on the next highest channel, and the Lower tone transmits on the next highest channel after that. For example, if I set the Keyboard Channel to 5, Upper 1 transmits on channel 5, Upper 2 transmits on 6, and Lower transmits on 7. If I set the Keyboard channel to 16, Upper 1 transmits on channel 16, Upper 2 transmits on channel 1, and Lower transmits on channel 2. Arpeggiator data is sent out over MIDI, a very helpful feature for controlling external synthesizers that don't have their own built-in arpeggios to play with (or only have a few to choose from, whereas the CT-X has 100 different Arp patterns). However, keep in mind that the Arpeggiator will only work for U1, so you'll want to use a slot that has Upper1 muted for this particular application. Slot 3 in the second MIDI Control Bank, which mutes all three layers (U1, U2, L). This may seem useless, but it is very handy if you only want to use the CT-X for its Rhythms and Accompaniment sounds. Turning Local Control off will mute the keyboard tones as well as the Rhythm sounds, so if you want to use the CT-X as a dedicated drum machine or backing track generator (but still control external sounds via USB-MIDI), this is the way to do it. Even though the keyboard tones are muted within the internal sound engine, the CT-X is still processing them as if they were being played normally, meaning each note you hold down will still count towards the maximum polyphony limit of 64 simultaneous voices. Likewise, even if a specific layer is muted, it will still send out Program Change and bank select messages depending on which tone is assigned to that layer. If your external sound source responds to Program change messages for external tone selection, you can use this to recall a specific tone on the external instrument simply by recalling this Registration on the CT-X. However, this may result in unintentional tone changes on the external instrument, so if you don't want the CT-X's layers to trigger tone changes, you may need to filter out (or disable the receipt of) Program Changes in the settings for whatever external instrument you're using. To see which tones on the CT-X send out which Program Change messages, refer to the Tone List in the CT-X's appendix. Panning Banks for Individual Outputs (PanBank1, 2 and 3.RBK) These Registration banks, similar to the MIDI control banks, work by setting values in the CT-X700 and X800's hidden mixer menu whenever a specific Registration is loaded. This time, the mixer parameters being set are the pan position of each layer in the stereo field. Normally, the CT-X outputs a stereo signal with all three of the keyboard tones (U1, U2, and L) centered, meaning they are heard equally in both the left and right channels. Using the mixer menu (or in this case, a specially modified RBK file), you can change the default pan setting of 64 such that a particular tone will be skewed towards either the left or right ends of the stereo field. Values lower than 64 will skew the balance towards the left output, and balances higher than 64 will skew the balance right. By panning certain tones hard left (pan position = 0) or hard right (pan position = 127), it's possible to give your CT-X a pair of individual mono outputs rather than one combined stereo output. For example, let's say I have a Stage Piano tone assigned to Upper 1 and an Acoustic Bass tone selected as the lower split voice. If I hard pan Upper 1 to the left and hard pan Lower to the right, the left channel will only carry the signal of the piano tone, and the right channel will only have the bass tone. Using a splitter cable, I can send these isolated mono signals through separate outboard effects, allowing me to process the sounds with much more flexibility and precision. If you don't already have a splitter cable, the attached PDF guide should help you decide what to buy depending on what you already have and your specific recording/performance needs. CT-X700 X800 Individual Outputs Adapter Guide.pdf Alternatively, for a lower cost option, you could skip the splitter cable, record into your DAW as a stereo track, and then split the stereo recording into two separate mono tracks after the fact. You'd still end up with two isolated recordings of each tone that can be processed, trimmed and EQ'd independently of one another, which is a very convenient time-saver during the mixing process. Without isolated outputs, you'd have to record the piano track and the bass track in two separate takes to gain access to the same kind of post processing flexibility, as recording with both of them outputting in stereo at the same time would prevent you from making individual changes to either track afterwards. To cover a wide range of use cases, this utility pack includes three separate panning banks with multiple different combinations of tones assigned to the left or right output. Refer to the same image at the top of this page to find out which specific bank and slot contains the right combination of pan values to suit your recording or performance needs. Panning Bank 3 takes this a step further and combines these hard panned tones with muted layers for MIDI control purposes. With one layer panned hard left, another layer panned hard right, and the third layer muted so it can be used to control an external software instrument, it's now possible to record three entirely separate audio tracks at once, each of which can be run through its own specific effects, EQ, and post-processing for an unprecedented amount of mastering versatility on a keyboard of this price. There are some limitations to keep in mind, however: The internal reverb and delay effects on the CT-X models are stereo effects, so you cannot achieve fully independent outputs when the internal Reverb is enabled. Even with hard panned layers, the decay of the reverb and delay effects will always "bleed" into the other output, so Reverb has to be set to Off in order to have completely isolated mono outputs. The three panning banks will automatically set Reverb to "off" when you recall a Registration, so as long as you don't turn reverb back on, you'll be fine. By default, this will mean your signals will always be "dry" in terms of Reverb and Delay, but you can always add in Reverb and Delay effects with outboard effects units/pedals, or during post-processing in your DAW. Some tones are not "mono-compatible", and as such, cannot be used for this individual outputs workaround even when their pan position is set to 0 or 127. These tones include "Wide" variants of standard tones (Grand Piano Wide, Vibraphone Wide), as well as some ensemble tones (Chamber Strings, Brass Section). There are also some synth tones that have stereo delay effects hard coded into them (Synth Sequence, X Synth 4), meaning they will always be stereo. A list of these "Forced Stereo" tones has been included in the .ZIP archive, so if you find that you a certain tone doesn't seem to be working with these panning banks, double check that it isn't on the list before you continue troubleshooting. Chorus (and Flanger effects) are not always stereo, and as such, they are compatible with certain tones when using this mono outputs trick. However, it seems that chorus behaves differently for some tones than others, so if you have chorus turned on and you find that an otherwise mono compatible tone isn't working right, try turning chorus off and see if that solves the problem. If it does, please leave a comment on this download page so I can update the list of forced stereo tones to warn other users in the future. The Panning Arpeggiator will un-do the effects of these Registration banks to create the auto-panning effect, so you cannot use this type of arpeggio under any circumstances. If you do accidentally end up using it, you'll need to recall that same Registration slot again to re-apply the pan values. Importing and Using these RBK Files If you have a CT-X700, you will need to use Data Manager for CT-X and a USB-B to USB-A data cable to transfer the files (here's a video tutorial if you need it). If you have a CT-X800, you have the option of connecting a flash drive to transfer the files (tutorial video), or you can use Data Manager if you'd prefer. Data Manager does have the advantage of letting you import one slot from a specific bank rather than loading in all four slots at once, but either way works. Use the image at the top of this download page to figure out which utility bank contains the slot that you want to use. Using either Data Manager or a flash drive, import that RBK file into one of the 8 Registration banks in the onboard memory. I prefer to keep the Registrations I use the most in Bank 8, as it's hard to accidentally overwrite slots in Bank 8 since it's at the very end of the bank list. Once the bank is imported, navigate to whatever bank you chose and recall one of the slots by pressing the appropriate button. Play a few notes to verify that it applied the settings you wanted it to. If it's not what you expected, double check that you chose the right file and recalled the right slot. These banks contain placeholder tones (Piano on U1, Strings on U2, and Acoustic Bass on L), but you can change tones without undoing the muting or panning effects that were applied by recalling the slot. Once you're sure you've recalled the right slot for your particular application, you can change these tones around to adapt the registration to suit the needs of your performance or recording. (Optional) If you're using the Panning Banks for individual outputs, be sure to check the list of Forced Stereo Tones included in the zip file so you can avoid using any tones that are incompatible with hard panning. At this point, you can hook up whatever you're using to split the signal and test the signal coming out of both outputs to see if the sounds are properly isolated. You can also try applying a Chorus or Flanger effect if desired, although again, this might mess up the mono outputs trick depending on what tone you use. The Rhythm, tempo, arpeggiator, touch response, pedal assignment etc are also placeholder values in these Registration banks, so once you've got your tones, layers, and splits squared away, you can start configuring all the other settings you want to store in this Registration. Store these settings as a new Registration in whatever bank and slot you'd like. Note that switching to another (unmodified) Registration will undo the muting and panning effects applied by these files, so you'll have to recall this specific slot again to re-apply these special effects. Turning off the keyboard and turning it on again will also remove the muting and panning effects, so again, you'll need to recall this slot to revert back to these special settings at the start of each session. (Optional) Once you've created all the personalized Registrations you want for the time being, export the Registration bank containing your newly created Registration slot (or slots) and store the RBK file externally on your computer or a flash drive. That way, if you accidentally overwrite this slot at some point down the road, you can just re-import the archived version instead of having to start from scratch with the utility banks and replace all the placeholder settings again. If you're having trouble getting these files to work for you, please don't hesitate to ask for help in this thread over in the CT-X700/X800 section of the forums. If you want to report any errors in the list of Forced Stereo Tones (or just inform me that a specific tone is not usable with Chorus or Flanger effects), I'd very much appreciate your help there as well. Thanks for reading, and enjoy! -Chandler

Performance notes: 1. To start, begin percussion (pedal 2) and bass quarter notes. 2. When synth comes in, hold down pedal 1 and play bass chords in 2nd inversion (root in middle). Pedal 1 will trigger the arpeggiator to play the bass quarter notes so your right hand is free for the... 3. "Bell" synth is in the highest octave. 4. Guitar for verse is in the 2nd highest octave. OutOfTouch.mp3

This one is maybe a bit too ambitious, but here it is. There are two stage settings and two phrases. The second stage setting is specifically for the bridge. One of the two phrases is set to the main phrase player for percussion. The other is mapped to the arpeggiator in zone 1. The latter is used for the percussion intro for the song. Instead of a quick sample MP3, I've included the whole song as I would play it live (hopefully, without the cringey mistakes) so you can see how it all fits together. Verse/Chorus Stage setting (Rio_____.ZPF): 1. The random arpeggiator uses the top E, F#, and B 2. Intro percussion is started by pressing the lowest C# (or lower) key. Start the main percussion (pedal 2) on the first downbeat of measure 5. Make sure when installing the files that the zone 1 arpeggiator points to the RIOINTRO.ZPH phrase. 3. Distortion guitar is in octave 5 4. Chorus "strings" synth is octave 3&4 5. At the beginning of the chorus, "reset" the percussion by pressing the stage setting button again. This compensates for the extra two measures in the song (the percussion phrase is four measures long). If you don't do this, the percussion won't feel right because it will be two measures off. Bridge stage setting (RioBridg.ZPF): 1. Originally, this was set to switch from the main stage setting with the pedal using a CC, but it turns out there is a problem with this. A non-hex-tone will sustain over a stage-setting change, but only if it's changed with a Program Change. The CC method of changing stage settings apparently doesn't work like this, so I had to time the switch just right so that the bass didn't cut out. instead, I gave up on that and just change it with the normal stage setting buttons. 2. This was a lucky bonus: the arpeggiator continues playing across a stage setting switch! So the "swirling" synth in the background makes use of the arpeggiator from the previous stage setting and you don't have to do anything to trigger this. 3. The voice for the solo I didn't want to sound too much like a saxophone, because... well... I'm playing a keyboard, not a sax, so I don't feel like it would have come across that well. There's a sax in one of the hex layers to at least suggest a sax lead. The synth also swells slowly for the last note held from the solo. I put Pedal 1 on sustain so you can either play a snare (which I decided I didn't like, but it's in the MP3 anyway), or get ready to switch stage settings. 4. When you switch back to the first stage setting, the arpeggiator switches back to the random pattern. I love my PX-5S! Rio_full.mp3