527761

Roland CDX-1 Handleiding

7
Verklein
Vergroot
Pagina terug
1/252
Pagina verder
CDX-1 Owner’s Manual
02678356 ’01-10-A3-31N
Owner’s Manual
To resize thickness, move all items on the front cover to left or right
Before using this unit, carefully read the sections entitled: “USING THE UNIT
SAFELY” and “IMPORTANT NOTES” (Owner’s manual p. 2, 3, 9, 10). These
sections provide important information concerning the proper operation of
the unit. Additionally, in order to feel assured that you have gained a good
grasp of every feature provided by your new unit, Owner’s manual should be
read in its entirety. The manual should be saved and kept on hand as a
convenient reference.
Copyright © 2001 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND CORPORATION.
Roland Web Site: http://www.roland.co.jp/
* Microsoft and Windows are registered trademarks of Microsoft Corporation.
220
* All product names mentioned in this document are trademarks or registered trademarks of their respective owners.
Copyright
• Unauthorized recording, distribution, sale, lending, public performance, broadcasting, or the like, in whole or
in part, of a work (musical composition, video, broadcast, public performance, or the like) whose copyright is
held by a third party is prohibited by law.
•When exchanging audio signals through a digital connection with an external instrument, this unit can
perform recording without being subject to the restrictions of the Serial Copy Management System (SCMS).
This is because the unit is intended solely for musical production, and is designed not to be subject to restric-
tions as long as it is used to record works (such as your own compositions) that do not infringe on the
copyrights of others. (SCMS is a feature that prohibits second-generation and later copying through a digital
connection. It is built into MD recorders and other consumer digital-audio equipment as a copyright-
protection feature.)
• Do not use this unit for purposes that could infringe on a copyright held by a third party. Roland assumes no
responsibility whatsoever with regard to any infringements of third-party copyrights arising through your
use of this unit.
About the License Agreement
• The CDX-1 and its CD-R capability are designed to allow you to reproduce material to which you have
copyright, or material which the copyright owner has granted you permission to copy. Accordingly,
reproduction of Music CD or other copyrighted material without permission of the copyright owner avoiding
technical prohibiting features of second-generation and later copying like SCMS or others constitutes
copyright infringement and may incur penalties even in case such reproduction is for your own personal use
and enjoyment (private use). Consult a copyright specialist or special publications for more detailed
information on obtaining such permission from copyright holders.
2
To resize thickness, move all items on the front cover to left or right
This product complies with the requirements of European Directive 89/336/EEC.
For EU Countries
For Canada
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
NOTICE
AVIS
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Tested To Comply With FCC Standards
FOR HOME OR OFFICE USE
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
BROWN:
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
NEUTRAL
LIVE
For the U.K.
USING THE UNIT SAFELY
001
• Before using this unit, make sure to read the
instructions below, and the Owner’s Manual.
..........................................................................................................
002d
• Do not open or perform any internal modifica-
tions on the unit or its AC adaptor. (The only
exception would be where this manual provides
specific instructions which should be followed in
order to put in place user-installable options; see
p. 15.)
..........................................................................................................
003
• Do not attempt to repair the unit, or replace parts
within it (except when this manual provides
specific instructions directing you to do so). Refer
all servicing to your retailer, the nearest Roland
Service Center, or an authorized Roland
distributor, as listed on the "Information" page.
..........................................................................................................
004
• Never use or store the unit in places that are:
• Subject to temperature extremes (e.g., direct
sunlight in an enclosed vehicle, near a heating
duct, on top of heat-generating equipment); or
are
• Damp (e.g., baths, washrooms, on wet floors);
or are
• Humid; or are
• Exposed to rain; or are
• Dusty; or are
• Subject to high levels of vibration.
..........................................................................................................
007
• Make sure you always have the unit placed so it is
level and sure to remain stable. Never place it on
stands that could wobble, or on inclined surfaces.
..........................................................................................................
*
**
• If this adaptor is used while it is emitting smoke,
generating a strange odor or making an abnormal
noise, it could cause fire or electric shock. Turn off
the main switch immediately, then be sure to pull
the power plug from the outlet. After making sure
that smoke is no longer emitted, take it to your
retailer, the nearest Roland Service Center, or an
authorized Roland distributor, as listed on the
"Information" page.
..........................................................................................................
***
• During a thunder storm, do not touch the electric
plug. Doing so could cause electric chock.
..........................................................................................................
008c
• Be sure to use only the AC adaptor supplied with
the unit. Also, make sure the line voltage at the
installation matches the input voltage specified on
the AC adaptor’s body. Other AC adaptors may
use a different polarity, or be designed for a
different voltage, so their use could result in
damage, malfunction, or electric shock.
..........................................................................................................
009
• Do not excessively twist or bend the power cord,
nor place heavy objects on it. Doing so can
damage the cord, producing severed elements and
short circuits. Damaged cords are fire and shock
hazards!
..........................................................................................................
010
• This unit, either alone or in combination with an
amplifier and headphones or speakers, may be
capable of producing sound levels that could
cause permanent hearing loss. Do not operate for
a long period of time at a high volume level, or at
a level that is uncomfortable. If you experience
any hearing loss or ringing in the ears, you should
immediately stop using the unit, and consult an
audiologist.
..........................................................................................................
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
* Material damage refers to damage or
other adverse effects caused with
respect to the home and all its
furnishings, as well to domestic
animals or pets.
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the power-
cord plug must be unplugged from the outlet.
The symbol alerts the user to important instructions
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
The symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
must not be done is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the unit must never be disassembled.
3
011
• Do not allow any objects (e.g., flammable material,
coins, pins); or liquids of any kind (water, soft
drinks, etc.) to penetrate the unit.
..........................................................................................................
012b
• Immediately turn the power off, remove the AC
adaptor from the outlet, and request servicing by
your retailer, the nearest Roland Service Center, or
an authorized Roland distributor, as listed on the
“Information“ page when:
• The AC adaptor, the power-supply cord, or the
plug has been damaged; or
• Objects have fallen into, or liquid has been
spilled onto the unit; or
• The unit has been exposed to rain (or otherwise
has become wet); or
• The unit does not appear to operate normally or
exhibits a marked change in performance.
..........................................................................................................
013
• In households with small children, an adult
should provide supervision until the child is
capable of following all the rules essential for the
safe operation of the unit.
..........................................................................................................
014
• Protect the unit from strong impact.
(Do not drop it!)
..........................................................................................................
015
• Do not force the unit’s power-supply cord to share
an outlet with an unreasonable number of other
devices. Be especially careful when using
extension cords—the total power used by all
devices you have connected to the extension
cord’s outlet must never exceed the power rating
(watts/amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat
up and eventually melt through.
..........................................................................................................
016
• Before using the unit in a foreign country, consult
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information“ page.
..........................................................................................................
022b
• Always turn the unit off and unplug the AC
adaptor before attempting installation of the
memory DIMM board ( p. 14).
..........................................................................................................
023
• DO NOT play a CD-ROM disc on a conventional
audio CD player. The resulting sound may be of a
level that could cause permanent hearing loss.
Damage to speakers or other system components
may result.
..........................................................................................................
101b
• The unit and the AC adaptor should be located so
their location or position does not interfere with
their proper ventilation.
..........................................................................................................
102c
• Always grasp only the plug on the AC adaptor
cord when plugging into, or unplugging from, an
outlet or this unit.
..........................................................................................................
103b
• Whenever the unit is to remain unused for an
extended period of time, disconnect the AC
adaptor.
..........................................................................................................
104
• Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
..........................................................................................................
106
• Never climb on top of, nor place heavy objects on
the unit.
..........................................................................................................
107c
• Never handle the AC adaptor or its plugs with
wet hands when plugging into, or unplugging
from, an outlet or this unit.
..........................................................................................................
108b
• Before moving the unit, disconnect the AC
adaptor and all cords coming from external
devices.
..........................................................................................................
109b
• Before cleaning the unit, turn off the power and
unplug the AC adaptor from the outlet ( p. 34).
..........................................................................................................
***
• If the power plug is damaged, or if the plug is
loose when plugged into the outlet, do not use the
AC power adapter. Doing so could cause electric
shock, short circuit, or fire.
..........................................................................................................
110b
• Whenever you suspect the possibility of lightning
in your area, disconnect the AC adaptor from the
outlet.
..........................................................................................................
115a
• Install only the specified memory DIMM board.
Remove only the specified screws ( p. 14).
..........................................................................................................
118
• Should you remove ground screws and screws
fastening the expanding memory cover, make sure
to put them in a safe place out of children's reach,
so there is no chance of them being swallowed
accidentally.
..........................................................................................................
4
Contents
IMPORTANT NOTES ...............................................................................9
Introduction.................................................................... 11
Before you begin...................................................................................12
Check the contents of the package.......................................................................................................12
Main features of the CDX-1................................................................................................................... 12
Expanding the memory ........................................................................14
Precautions for expanding memory........................................................................................... 14
How to expand the memory ..................................................................................................................15
Removing the memory.................................................................................................................16
Verifying that the memory is recognized by the CDX-1 .................................................................16
Verify that the memory module has been installed in the socket correctly ......................... 16
Memory read/write test—DIMM diagnostics..........................................................................17
Learning about CD-R/RW discs...........................................................18
What is a CD-R/RW disc? ......................................................................................................................18
What is a CD-R disc? ....................................................................................................................18
What is a CD-RW disc? ................................................................................................................18
Writing to a CD-R disc ...........................................................................................................................18
Discs for use on the CDX-1....................................................................................................................19
List of usable discs for each operation.......................................................................................19
Recommended CD-R/CD-RW discs..........................................................................................19
CD-R/RW disc handling and cleaning................................................................................................20
Disc handling.................................................................................................................................20
Disc cleaning..................................................................................................................................20
Panel Descriptions................................................................................21
Top Panel ..................................................................................................................................................21
Front Panel................................................................................................................................................ 30
Rear Panel .................................................................................................................................................30
Basic operation of the CDX-1 ..............................................................32
Connecting peripheral equipment.......................................................................................................32
Turning the Power On and Off ............................................................................................................33
Turning On the Power..................................................................................................................33
Turning Off the Power ................................................................................................................. 34
Inserting/removing a disc ...................................................................................................................... 35
Inserting a disc...............................................................................................................................35
Removing a disc ............................................................................................................................36
Switching among the Basic screens ..................................................................................................... 37
The Basic screens........................................................................................................................... 37
If you are confused about operations or screens—Going back to the Basic screen.............38
Adjusting the brightness of the screen display—Contrast .....................................................38
Switching the Big Time display ..................................................................................................38
Viewing information on the CD-RW disc—Song Information screen..................................39
Naming a song (CD-RW disc)..................................................................................................... 39
Returning the CDX-1 to the factory settings—Initialize .................................................................40
What you need to do to create your own CD .....................................42
Steps taken in producing an original CD...........................................................................................42
Listening to the demo disc.....................................................................................................................45
Playing the demo disc ..................................................................................................................45
5
Playing an audio CD....................................................... 47
How to play an audio CD—the CD Player...........................................48
About the Display ................................................................................................................................... 48
CD Player screen ........................................................................................................................... 48
Switching the time display .......................................................................................................... 48
Playing and stopping a song ................................................................................................................. 49
Playing/stopping an audio CD...................................................................................................49
Changing the playback location...........................................................................................................50
Moving to the previous/next track............................................................................................50
To go back to the beginning of an audio CD ............................................................................50
Rewind/fast-forward ................................................................................................................... 50
Repeatedly playing a specified region—the Repeat function........................................................51
Registering the repeat region ...................................................................................................... 51
Canceling the repeat region......................................................................................................... 51
Changing the way in which audio CD volume is adjusted ............................................................ 52
Collecting audio material................................................ 53
Recording a sound to a pad—Sampling.............................................54
What is sampling? ................................................................................................................................... 54
Pads and banks ........................................................................................................................................54
Eight pads and 64 pad banks.......................................................................................................54
Switching pad banks..................................................................................................................... 54
Naming a pad bank ......................................................................................................................55
Sampling to a pad.................................................................................................................................... 56
Sampling an external sound........................................................................................................ 56
Sampling from a CD audio clip collection inserted in the CDX-1 ......................................... 57
Loading a Windows WAVE file..................................................................................................58
Using free audio sources from the Internet............................................................................... 59
Making settings in the Sampling screen ............................................................................................60
Selecting the audio quality and sampling time appropriate for the material—Data Type
...............60
Specifying stereo or mono—Type ..............................................................................................61
Automatically start sampling when sound is input—Start with........................................... 61
Making sure to capture the beginning of the sound—Pre Trigger........................................ 62
Sampling from a pad to another pad—Resampling.........................................................................63
If the display indicates “Memory Full.” ............................................................................................. 64
Increasing the Remaining Memory—Optimize Sample ................................................................. 64
Deleting a sample—Delete Sample.....................................................................................................65
Deleting samples individually .................................................................................................... 65
Deleting all samples of a pad bank—Bank Erase..................................................................... 65
Preventing accidental erasure of pads—Bank Protect......................................................................66
Protecting/unprotecting a pad bank .........................................................................................66
Saving Pad/Sequence on a CD-RW disc .............................................................................................67
More about saving Pad/Sequence .............................................................................................67
Saving Pad/Sequence...................................................................................................................67
Loading Pad/Sequence from a CD-RW disc....................................................................................... 68
Playing the pad samples......................................................................69
Basic ways to play samples....................................................................................................................69
Playing a sample ........................................................................................................................... 69
Adjusting the Overall Sample Volume...................................................................................... 69
Playing samples simultaneously.................................................................................................69
Playing pads while audio tracks play back...............................................................................69
Playing pads while you play back an audio CD ...................................................................... 69
Changing how a pad starts and stops sounding—Pad Play............................................................70
Crossfading the pad samples you play—Pad Crossfade ................................................................. 71
Making the sound continue even after you release the pad—Hold..............................................72
Using Hold.....................................................................................................................................72
Using Hold for multiple samples ...............................................................................................72
Playing repeatedly—Loop mode.......................................................................................................... 73
6
Preventing specific samples from sounding simultaneously—Mute Groups............................74
Playing a sample from a connected foot switch ................................................................................ 75
Specifying the Function of the Foot Switch...............................................................................75
Specifying the pad sample that will be played by the foot switch ........................................75
Editing the sample of a pad .................................................................76
Adjusting the volume of a sample—Sample Level ..........................................................................76
Displaying the correct tempo of a sample..........................................................................................77
Adjusting the start/end points of the sound—Trim Sample .......................................................... 78
What are the Start/Loop points and Length?...........................................................................78
Setting each point..........................................................................................................................78
Automatically removing Empty Portion at the Beginnings and Ends of Samples ............. 79
Expanding and Compressing a sample to modify the length or tempo ....................................... 80
Matching the tempo to another sample—Tempo Match ........................................................80
Expanding/compressing by a specified percentage or tempo—Time Stretch ....................81
Copying a sample to another pad—Clipboard..................................................................................82
Splitting a sample among several pads—Divide Sample ............................................................... 83
Specifying a division point and dividing a sample in two .....................................................83
Automatically dividing a sample at silent portions.................................................................84
Dividing a sample at the timing that you press a button........................................................ 85
Creating a “reverse tape” style sample—Create Reversal...............................................................86
Boosting the sample level as high as possible—Normalize ...........................................................87
Arranging audio samples to create a song—Sequence....................88
What is a sequence? ................................................................................................................................88
About the sequence tracks.....................................................................................................................88
About the tempo of the sequence ...............................................................................................88
Recording pad operations as you play pads—Realtime Recording .............................................. 90
Realtime recording........................................................................................................................90
Recording while you listen to the playback of another sequence track................................91
Recording while you listen to the playback of the audio tracks............................................91
Correcting timing inaccuracies while you record—Quantize................................................92
Recording pad operations at the specified interval—Step Recording..........................................93
Button functions during step recording ....................................................................................93
Step recording................................................................................................................................ 94
Adding dynamics while you step-record..................................................................................95
Playing a sequence track........................................................................................................................96
Playing sequence tracks and audio tracks simultaneously.............................................................97
Editing a sequence track ........................................................................................................................98
Moving a phrase—Move..............................................................................................................98
Pasting a phrase at a different location—Paste.........................................................................99
Cutting a phrase—Cut................................................................................................................ 100
Erasing Phrases—Erase.............................................................................................................. 101
Inserting a phrase in another location—Insert .......................................................................102
Dividing the phrase at the current location—Split ................................................................ 103
Finely Adjusting the Timing of Each Phrase—Adjust Timing............................................. 104
Adjusting the volume setting for each phrase........................................................................ 105
Edit on Sequence Play List screen—Quick Edit .....................................................................106
Deleting a sequence track....................................................................................................................107
Recording the sequence playback sound on audio track .............................................................. 108
Creating an audio CD ................................................... 109
Prepare for recording—Multitrack recording...................................110
What is multitrack recording?.............................................................................................................110
Preparing a CD-RW disc for use —Format.......................................................................................110
Preparing a new CD-RW disc for use ......................................................................................110
Erasing the entire contents of a CD-RW disc..........................................................................112
Monitoring the sound of a connected instrument ..........................................................................113
Selecting the input source..........................................................................................................113
Adjusting the input sensitivity..................................................................................................113
Monitoring the sound.................................................................................................................113
Setting the left/right position (pan) of the input sound .......................................................113
7
Tuning an instrument—Tuner............................................................................................................114
Adjusting the Tuning..................................................................................................................114
Setting the reference pitch of the tuner.................................................................................... 115
Using the rhythm guide .......................................................................................................................116
Playing/stopping the rhythm guide........................................................................................116
Adjusting the Volume of the Rhythm Guide.......................................................................... 116
Changing the time signature.....................................................................................................116
Changing the rhythm pattern....................................................................................................117
Changing the tempo ...................................................................................................................117
Setting the tempo and rhythm pattern of the song—Tempo Map ...................................... 117
Deleting a tempo map ................................................................................................................118
Playing the rhythm guide according to the tempo map .......................................................118
Recording/playing back a performance............................................119
Recording a Performance..................................................................................................................... 119
Select the audio track for recording..........................................................................................119
Record........................................................................................................................................... 120
Re-recording only a mistake—Punch-in/out....................................................................................121
Using the Record button to punch-in/out .............................................................................. 121
Using a foot switch to punch-in/out........................................................................................122
Automatically punching-in/out at a specified location—Auto Punch-in/out.................. 122
Recording an additional performance while listening to an existing performance—Overdubbing
.........124
Select the audio track to record................................................................................................. 124
Recording while you listen to the playback............................................................................124
Combining the performances of multiple audio tracks—Bounce Recording...........................125
Bounce recording procedure.....................................................................................................125
Playing back and stopping a recorded performance......................................................................126
Playing back/stopping...............................................................................................................126
Adjusting the volume of each track.......................................................................................... 126
Silencing a specific audio track—Mute.................................................................................... 126
Saving Song settings on a CD-RW disc ............................................................................................126
Saving Song settings...................................................................................................................126
Increasing the free space on a CD-RW disc—Optimize Disc.......................................................127
Repeatedly playing a specified region—the Repeat function......................................................128
Registering the repeat region .................................................................................................... 128
Canceling the registration..........................................................................................................128
Assigning markers within a song—Marker.....................................................................................129
Assigning a marker.....................................................................................................................129
Moving to the location of a marker .......................................................................................... 129
Deleting a marker........................................................................................................................129
Changing the location of a marker ........................................................................................... 130
Naming a marker ........................................................................................................................ 130
Stopping the song automatically—Marker Stop.............................................................................131
Editing a recorded performance to create an audio CD..................132
Preparing to write a CD-R disc—Mixdown .....................................................................................132
Setting the left/right position (pan) of each audio track....................................................... 132
Adjusting the tone of each audio track—Equalizer ............................................................... 132
Adjusting the overall volume balance—Master Balance ......................................................132
Mixing down................................................................................................................................ 133
Listen to the result of Mixing down.........................................................................................133
Adjusting the mastering tools ................................................................................................... 134
Completing your original CD—CD Burning...................................................................................135
Writing to a CD-R disc ............................................................................................................... 135
Finishing the CD Burning.......................................................................................................... 135
Finalizing a CD-R disc................................................................................................................ 136
8
Taking full advantage of the CDX-1.............................. 137
More functions for the CDX-1 ............................................................138
Undoing a recording/editing operation ............................................................................................138
Undoing a recording or editing operation—Undo ................................................................ 138
Canceling the Undo—Redo....................................................................................................... 138
Cueing to a precise location—Preview..............................................................................................139
Adjusting the current location while listening to the preceding and/or following sound
.....139
Using Scrub to make fine adjustments in the cue location—Scrub Preview......................140
Using the insert effects.........................................................................................................................141
What is an insert effect? .............................................................................................................141
What is a patch?...........................................................................................................................141
How the patches are organized ................................................................................................141
Using an insert effect .................................................................................................................. 142
Editing the insert effect settings................................................................................................ 142
Saving insert effect settings ....................................................................................................... 143
Copying a patch to create a new patch....................................................................................143
Changing the insert effect connections....................................................................................144
Using the loop effects...........................................................................................................................145
What is a loop effect?.................................................................................................................. 145
Editing the loop effect settings..................................................................................................145
Creating a backup CD-RW disc..........................................................................................................147
Backing up song data on a CD-RW disc.................................................................................. 147
Connecting with a digital audio device ............................................................................................ 148
In Order to Make a Digital recording with CD player .......................................................... 148
To Prevent Digital recording with CD players....................................................................... 149
Prohibiting digital copying—Digital Copy Prohibit..............................................................150
Using the CDX-1 with other MIDI devices.........................................151
MIDI Fundamentals..............................................................................................................................151
Switching MIDI OUT/THRU.............................................................................................................. 152
Using MIDI to control the CDX-1 from another device.................................................................153
Play samples ................................................................................................................................153
Switch the pad bank ...................................................................................................................153
Synchronized playback with the CDX-1 as the master..................................................................154
Using MTC (master) ...................................................................................................................154
Using MMC ............................................................................................................................................156
Using the CDX-1 as the MMC master...................................................................................... 156
Using the CDX-1 as an MMC slave..........................................................................................157
Using an external MIDI sound module to play the rhythm guide..............................................158
How the rhythm guide sounds correspond to note numbers.............................................. 158
CD direct recording....................................................... 159
Recording to a CD-R disc—CD Recorder.........................................160
Recording an external audio source to a CD-R disc .......................................................................161
Recording samples played using Pad Crossfade on a CD-R disc................................................162
Recording the sequence playback on a CD-R disc .........................................................................163
Appendices .................................................................. 165
Troubleshooting ....................................................................................................................................166
Major Message List ............................................................................................................................... 170
Rhythm Pattern List..............................................................................................................................172
Mixer effect parameter functions.......................................................................................................174
Insert effect algorithm list ...................................................................................................................175
Glossary................................................................................................................................................... 204
Parameter List.........................................................................................................................................208
MIDI Implementation.......................................................................................................................... 212
Mixer Block Diagram............................................................................................................................217
Specifications ......................................................................................................................................... 218
Index.........................................................................................................................................................220
9
IMPORTANT NOTES
291a
In addition to the items listed under “USING THE UNIT SAFELY” on p. 2–3, please read and observe the following:
Power Supply
301
• Do not use this unit on the same power circuit with any
device that will generate line noise (such as an electric
motor or variable lighting system).
302
• The AC adaptor will begin to generate heat after long
hours of consecutive use. This is normal, and is not a
cause for concern.
307
• Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.
Placement
351
• Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or move it farther away from the source of inter-
ference.
352
• This device may interfere with radio and television
reception. Do not use this device in the vicinity of such
receivers.
353
• Observe the following when using the unit’s CD-RW
drive. For further details, refer to “Before Using Compact
Discs” (p. 10).
❍ Do not place the unit near devices that produce a
strong magnetic field (e.g., loudspeakers).
❍ Install the unit on a solid, level surface.
❍ Do not move the unit or subject it to vibration while
the drive is operating.
354a
• Do not expose the unit to direct sunlight, place it near
devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.
355
• To avoid possible breakdown, do not use the unit in a wet
area, such as an area exposed to rain or other moisture.
Maintenance
401a
• For everyday cleaning wipe the unit with a soft, dry cloth
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to wipe
the unit thoroughly with a soft, dry cloth.
402
• Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or
deformation.
Additional Precautions
552
• Unfortunately, it may be impossible to restore the contents
of data that was stored on a CD-R/RW disc once it has
been lost. Roland Corporation assumes no liability
concerning such loss of data.
553
• Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
554
• Never strike or apply strong pressure to the display.
***
• If you put stickers or adhesive tape on the panel surface,
peel slowly. Or the prints may be removed together.
556
• When connecting / disconnecting all cables, grasp the
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.
558a
• To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
559a
• When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
562
• Use a cable from Roland to make the connection. If using
some other make of connection cable, please note the
following precautions.
❍ Some connection cables contain resistors. Do not use
cables that incorporate resistors for connecting to this
unit. The use of such cables can cause the sound level
to be extremely low, or impossible to hear. For infor-
mation on cable specifications, contact the manufac-
turer of the cable.
Electric wave obstacle
***
• CD-RW drive is authorized to conform to the chapter 15,
and the regulation for the division B digital devices of the
FCC regulation, which is for the prevention of electric
wave obstacle by the installation in the residence.
CD-RW drive generates, uses or radiates radio frequency
energy, and may cause obstacle to the radio communi-
cation if you use it in irregular manners.
If the wave jamming may happen on the radio and TV,
please try the following. But we cannot guarantee that the
obstacle is completely eliminated.
❍ Turn off the power of CDX-1.
❍ Change the location and direction of the antennae of
the radio and TV.
❍ Keep CDX-1 and the receiver away.
10
❍ Supply the power to CDX-1 and the receiver from the
different power outlet.
❍ Consult your nearest Roland Service Center or autho-
rized Roland distributor in your country.
Laser beam
***
• If you operate the operating section, controlling section
and drive section of this device in irregular manners,
harmful ray may be radiated. Laser beam radiated from
the optical pickup is harmful to your eyes and body.
Please observe the following.
❍ Do not attempt to open the optical pickup unit.
❍ When you need repair service, call your nearest Roland
Service Center or authorized Roland distributor in
your country.
Before Using Compact Discs
Handling the CD-RW Drive
602
• Install the unit on a solid, level surface in an area free from
vibration.
603
• Avoid using the unit immediately after it has been moved
to a location with a level of humidity that is greatly
different than its former location. Rapid changes in the
environment can cause condensation to form inside the
drive, which will adversely affect the operation of the
drive and/or damage discs. When the unit has been
moved, allow it to become accustomed to the new
environment (allow a few hours) before operating it.
606
• Remove any disc from the drive before powering up or
down.
608
• To avoid the risk of malfunction and/or damage, insert
only discs with into the CD-RW drive. Never insert
any other type of disc. Avoid getting paper clips, coins, or
any other foreign objects inside the drive.
***
• When you carry CDX-1, remove the disc from the loading
tray. Do not carry the device with the loading tray
downward.
***
• Avoid vibration and shock during operating. Do not carry
with the power on.
***
• The pickup is designed to be dust-proof. Do not use
pickup cleaners, since they may cause malfunction.
Handling Compact Discs (CD-R/RW/
ROM)
***
• Upon handling the discs, please observe the following.
❍ Do not touch the recorded surface of the disc.
❍ Do not use at the places with dust.
❍ Do not leave the disc in the direct sunlight or enclosed
vehicle (proper temperature: 10-50 degree centigrade).
801
• Avoid touching or scratching the shiny underside
(encoded surface) of the disc. Damaged or dirty discs may
not be read/write properly. Keep your discs clean using a
commercially available CD cleaner.
***
• Keep the disc in the case.
***
• Do not keep the disc in the CD-RW drive for a long time.
***
• Do not put a sticker on the label of the disc.
***
• Wipe the disc with a soft and dry cloth radially from
inside to outside. Do not wipe along circumference.
***
• Do not use benzine, record cleaner spray or solvents of
any kind.
***
• Do not bend the disc.
Copyright
851
• Unauthorized recording, distribution, sale, lending, public
performance, broadcasting, or the like, in whole or in part,
of a work (musical composition, video, broadcast, public
performance, or the like) whose copyright is held by a
third party is prohibited by law.
852a
• When exchanging audio signals through a digital
connection with an external instrument, this unit can
perform recording without being subject to the restrictions
of the Serial Copy Management System (SCMS). This is
because the unit is intended solely for musical production,
and is designed not to be subject to restrictions as long as
it is used to record works (such as your own composi-
tions) that do not infringe on the copyrights of others.
(SCMS is a feature that prohibits second-generation and
later copying through a digital connection. It is built into
MD recorders and other consumer digital-audio
equipment as a copyright-protection feature.)
853
• Do not use this unit for purposes that could infringe on a
copyright held by a third party. Roland assumes no
responsibility whatsoever with regard to any infringe-
ments of third-party copyrights arising through your use
of this unit.
About the License Agreement
***
• The CDX-1 and its CD-R capability are designed to allow
you to reproduce material to which you have copyright,
or material which the copyright owner has granted you
permission to copy. Accordingly, reproduction of Music
CD or other copyrighted material without permission of
the copyright owner avoiding technical prohibiting
features of second-generation and later copying like SCMS
or others constitutes copyright infringement and may
incur penalties even in case such reproduction is for your
own personal use and enjoyment (private use). Consult a
copyright specialist or special publications for more
detailed information on obtaining such permission from
copyright holders.
11
Introduction
12
Before you begin
Check the contents of the package
The CDX-1 is packaged with the following items. Please make sure that you have all
of them.
❒ CDX-1 (one unit)
❒ CD-RW blank disc (one)
❒ Demo disc (Songs, Samples) (one)
❒ CDX-1 Owner’s Manual (this document)
❒ Effect Patch List
❒ AC Adopter: USB-2U
About the included disc
● Demo disc (multitrack recording)
This is a demo disc containing a multitrack recording. When you play it back, the
state of the multitrack recording will be reproduced. (➔ “Listening to the demo
disc”; p. 45)
Main features of the CDX-1
Easy operation from recording/editing to audio CD production
● The CDX-1 is designed to be operated as easily as a cassette tape recorder, even
by beginners. From recording and editing to producing an audio CD, you can
experience the power of digital recording from the day you first take it out of the
box.
● The liquid crystal display shows icons to indicate various types of information.
Sampling functionality
● The CDX-1’s Sampling function lets you record your favorite audio material to
a pad (p. 53). You can freely edit the sampled materials. Since edited samples can
be added to the instrumental performances that you record, this function gives
you a wide range of possibilities for song creation.
● WAVE files can be loaded from a mixed-mode CD (AUDIO+WAVE) and
assigned to pads. Simply select from the WAVE files that appear in the display,
and press [YES/ENTER].
➔ “Loading a Windows WAVE file” (p. 58)
Versatile CD play functions
● Without using any other equipment, you can play back a CD on the CDX-1 while
you press the pads to play samples, or input a mic or guitar.
Rhythm Guide function
● The Rhythm Guide function makes it easy to capture phrases or musical ideas
that come to mind. Simply select an appropriate rhythm pattern, and set the
tempo.
➔ “Using the rhythm guide” (p. 116)
DO NOT play the demo disc
on a conventional audio CD
player. The resulting sound
may be of a level that could
cause permanent hearing loss.
Damage to speakers or other
system components may
result.
WAVE file (p. 207)
13
Before you begin
Before you begin
A diverse array of connectors
● The CDX-1 provides four type of input jacks. Since a high impedance phone jack
(GUITAR/BASS) is also provided, a guitar or bass can be connected directly.
● RCA phone type MASTER jacks (stereo) are provided.
● Both coaxial type and optical type digital I/O connectors are provided, allowing
digital connections to audio devices (e.g., CD players, DAT recorders, MD
recorders).
● MIDI connectors (IN, OUT/THRU) are provided. You can synchronize the
performance with an external MIDI sequencer, or play the rhythm guide (p. 116)
on an external MIDI sound module.
➔ “Using the CDX-1 with other MIDI devices” (p. 151)
Digital audio workstation
All processes are fully digital
In addition to a digital mixer and digital disc recorder, the CDX-1 contains two
digital effects processors.
Bounce-recording (p. 125), effect processing, mixdown (p. 133), and completing your
original CD since a CD-R/RW drive is built in, all processes of the music production
process including editing, are performed in full-digital form, preventing any loss of
audio signal quality.
Two versatile digital effects processors
The CDX-1 contains two types of effect unit. One type is for recording (insert effect;
p. 141) and the other type is independent send/return effects (loop effect; p. 145).
These two types can be used simultaneously. This means that the CDX-1 is all you
need to produce a sophisticated song without using external effect devices.
A variety of simulations and effects are provided as insert effects, including amp
simulations generated using COSM technology. In addition to effects for guitar,
numerous multi-effects for vocals or keyboard are also provided.
As loop effects, you can use a broad range of spatial-type effects in stereo, including
chorus, delay, and reverb effects that are indispensable for mixdown (p. 133).
By using insert effects and loop effects simultaneously, you can perform all effect
processing at once—from creative sound-making to placement in the sound field.
Undo/Redo function
The Undo/Redo function lets you cancel the results of an editing and a recording
mistake.
➔ “Undoing a recording/editing operation” (p. 138)
Quick movement to a point
You can assign a marker to a desired location (point). If you assign markers to
locations such as the end of the opening or the beginning of a solo, you will be able
to move instantly to the point where you wish to begin listening.
➔ “Assigning markers within a song—Marker” (p. 129)
COSM (p. 204)
14
Expanding the memory
The CDX-1 comes with 32 MB of memory into which audio samples can be loaded.
However, in some cases, 32 MB of memory will be insufficient for loading large
amounts of data. In such a case, you will have to add separately sold memory
(DIMM). Memory can be expanded up to 128 MB.
Before expanding the memory, consult with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor.
Precautions for expanding memory
• Always turn the unit off and unplug the AC adaptor before attempting
installation of the memory DIMM board.
• Install only the specified memory DIMM board. Remove only the
specified screws.
• To avoid the risk of damage to internal components that can be caused by static
electricity, please carefully observe the following whenever you handle the
board.
❍ Before you touch the board, always first grasp a metal object (such as a water
pipe), so you are sure that any static electricity you might have been carrying
has been discharged.
❍ When handling the board, grasp it only by its edges. Avoid touching any of
the electronic components or connectors.
❍ Save the bag in which the board was originally shipped, and put the board
back into it whenever you need to store or transport it.
• Do not touch any of the printed circuit pathways or connection terminals.
• Never use excessive force when installing a circuit board. If it doesn’t fit
properly on the first attempt, remove the board and try again.
• When circuit board installation is complete, double-check your work.
• When turning the unit upside-down, get a bunch of newspapers or magazines,
and place them under the four corners or at both ends to prevent damage to the
buttons and controls. Also, you should try to orient the unit so no buttons or
controls get damaged.
• When turning the unit upside-down, handle with care to avoid dropping it, or
allowing it to fall or tip over.
• Use a Philips screwdriver of the appropriate size to avoid damaging the screw
heads (a number of 2 screwdriver). If an unsuitable screwdriver is used, the
head of the screw may be stripped.
• Turn the screwdriver counter-clockwise to loosen the
screws-turn it clockwise to tighten them.
• Be careful not to cut your hand on the edge of the cover or the opening edge
while removing the cover.
• Be careful not to let the screws drop inside the CDX-1's body.
• Do not touch the circuitry or the connectors.
• Do not force a memory board into its slot. If it can't be inserted smoothly, take it
out, check its orientation and try again.
If you add 128 MB of
separately sold memory, the
standard 32 MB of memory
will no longer be used.
In case of expanding memory
other than 128 MB of memory,
turn on the power, a message
“Wrong DIMM Type! Turn off
the power, and replace
w/correct one” appears, and.
At this time, the CDX-1 will
not operate normally.
tightenloosen
15
Expanding the memory
Expanding the memory
How to expand the memory
1. Turn off the power to the CDX-1 and any connected equipment, and then
disconnect all cables attached to the CDX-1.
2. Turn the CDX-1 upside-down, and remove the expanding memory cover.
fig.12-02a
fig.12-03
3. Press outward the white clips at either
end of the socket should be in the
downward position.
fig.12-02
4. Paying attention to the location of the
notch on the memory module and the
orientation, insert it vertically within the
guides at either side of the socket.
fig.12-04
5. Move the white clips upward, and press
them until the memory module is locked
in place.
6. Return the CDX-1’s top cover to its original position.
When turning the unit upside-
down, get a bunch of
newspapers or magazines, and
place them under the four
corners or at both ends to
prevent damage to the buttons
and controls. Also, you should
try to orient the unit so no
b
uttons or controls get
damaged.
screws to be removed (two)
the expanding memory cover
If you have difficulty inserting
the memory module, try tilting
it a bit and inserting one end at
a time.
16
Expanding the memory
Removing the memory
To remove the memory module, reverse the installation procedure.
1. Simultaneously press outward the white clips located at either end of the socket.
fig.12-05
2. Remove the memory module from the socket.
Verifying that the memory is
recognized by the CDX-1
Before re-connecting the CDX-1 to any peripheral devices, check to verify that the
added memory is being correctly recognized.
Verify that the memory module has been installed in the
socket correctly
1. Turn on the power, as described in “Turning On the Power” (p. 33).
fig.15-04
After several seconds when the CDX-1 starts
up normally, the post-fader screen appears.
2. Press [UTILITY].
The Menu are displayed as icon.
fig.2-06
3. Press CURSOR [ ] to select the DIMM
Diagnosis icon.
4. Press [YES/ENTER].
fig.2-07
The DIMM Diagnosis screen appears.
“DIMM” will indicate status the expanding
internal memory. If the memory has been
detected correctly, this will indicate
“INSTALLED.”
* If “DIMM” shows “NOT INSTALLED” even though you installed expanding memory, the added
memory has not been detected correctly. As described in “Turning off the power” (p. 34), turn off
the power. Please re-install the memory correctly, as described in “How to expand the memory”
(p. 15).
5. Press [DISPLAY] to return to the Basic screen.
In case of expanding memory
other than 128 MB of memory,
turn on the power, a message
“Wrong DIMM Type! Turn off
the power, and replace
w/correct one” appears, and.
At this time, the CDX-1 will
not operate normally.
17
Expanding the memory
Expanding the memory
Memory read/write test—DIMM diagnostics
You can perform a read/write test to see whether the additional wave memory you
installed can be used by the CDX-1. Perform this test after installing memory, or if
an error message relating to memory is displayed.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.2-06
2. Press CURSOR [ ] to select the DIMM
Diagnosis icon.
3. Press [YES/ENTER].
fig.2-07
The DIMM Diagnosis screen appears.
4. Press [YES/ENTER] to execute the check.
When the test is complete, a screen appears showing its results.
Memory boards that have successfully passed the write/read test are marked “OK”
at the “Diagnosis.”
Memory boards that have not passed the write/read test are marked “NG” at the
“Diagnosis.”
* Memory for which “NG” is displayed cannot be used with the CDX-1. In this case, turn
off the power as described in “Turning off the power” (p. 34). Then remove the memory as
described in “Removing the memory” (p. 16).
* If any pad/sequence is held in internal memory of CDX-1 when you carry out DIMM diagnosis,
the massage “You’ll lose PAD/SEQ by diagnosis. Sure?” appears.
If you are ready to execute the check, press [YES/ENTER]. Press [NO/EXIT], DIMM diagnosis
will be canceled.
5. Press [DISPLAY] to return to the Basic screen.
If the internal memory of the
CDX-1 already contains
pad/sequence, it will be lost
when this procedure is
performed. If you wish to keep
the pad/sequence, you must
save it on a CD-RW disc.
➔ “Saving Pad/Sequence”
(p. 67)
“Diagnosis: ??” means that the
DIMM has not been
diagnosed. Even if the memory
has been diagnosed, the result
of diagnosis will be lost when
the power is off, and
“Diagnosis: ??” appears when
you turn the power on next
time.
18
Learning about CD-R/RW discs
What is a CD-R/RW disc?
The CDX-1 lets you record your performances on a CD-RW disc, and finally use a
CD-R disc to create an original audio CD. First, here’s some basic information on CD-
R discs and CD-RW discs.
What is a CD-R disc?
CD-R (Compact Disc Recordable) is a CD to which data can be written. Data can be
written only once to a CD-R disc. It is not possible to erase or move the data that has
been written. However, you make up to 99 additions to a CD-R disc, as long as free
capacity remains.
What is a CD-RW disc?
CD-RW (Compact Disc ReWritable) is a CD that can be written and erased. Data that
has been written can be erased, and new data written. A CD-RW disc can be written
and erased approximately 1000 times.
Writing to a CD-R disc
There are several ways to write to a CD-R disc. The CDX-1 uses track at once when
it creates an original audio CD.
● Track at once:
This method allows writing to be added on a single CD-R disc. As long as capacity
remains on the CD-R disc, up to 99 additional writes can be performed as long as you
do not finalize the disc. However, if you are writing audio data, it cannot be played
on a conventional CD player until you finalize the disc. Also, once a CD-R disc has
been finalized, no further additions can be made.
Finalize (p. 204)
19
Learning about CD-R/RW discs
Learning about CD-R/RW discs
Discs for use on the CDX-1
The CDX-1 contains various functions, and the discs it uses will differ depending on
the function.
List of usable discs for each operation
fig.13-01e
Recommended CD-R/CD-RW discs
● CD-R Disc
You can use CD-R discs that carry these logos.
●
CD-RW Disc
You must use high-speed compatible CD-RW discs that carry this logo. The
CDX-1 cannot use CD-RW discs that are not high-speed compatible.
Also, we recommend that you use CD-RW discs made by the following
manufacturers, whose products Roland has successfully tested for writing.
Ricoh Corporation, Mitsubishi Chemical Corporation
OK
OK
OK
OK
OK
OK
Disc
Playing a audio (CD-DA)
Multitrack recording
Creating a original audio CD
CD direct recording
Saving pad/sequence data
Backing up song data
CD-R discs
high-speed compatible
CD-RW discs
Operation
20
Learning about CD-R/RW discs
CD-R/RW disc handling and cleaning
Disc handling
● Do not place a disc in direct sunlight for an extended period of time.
● Hold a disc by inserting a finger in the center hole and pressing your thumb against
the outer edge. Be careful not to get fingerprints on, or scratch the recording surface
of the disc (the green surface).
fig.13-05
● Do not drop or stack discs.
● Do not place heavy objects on a disc, or subject it to strong physical shock.
● Do not affix stickers to the label surface of the disc. If a disc is used with a sticker
affixed, read/write errors can occur, or the disc may be scratched.
● When writing a title on the label surface of the disc, use a soft-tipped
writing implement such as a felt pen.
● To protect the disc, keep it in its original case.
Disc cleaning
● If dust or dirt adheres to a disc, gently wipe it off with a soft dry cloth. Always wipe
from the center of the disc outward toward the outer edge. Never wipe the disc in
the direction of rotation.
fig.13-06
21
Panel Descriptions
Panel Descriptions
Top Panel
INPUT section
fig.14-01e
PEAK indicators
These indicate whether distortion is occurring in the sound
that is being input to the respective input jacks (MIC1, MIC2,
GUITAR/BASS, LINE).
The PEAK indicator will light at a level below clipping level. Adjust
the INPUT SENS knob as high as possible without causing the
PEAK indicator to light when the sound is input.
INPUT SENS knobs
These adjust the input sensitivity of the input jacks (MIC1,
MIC2, GUITAR/BASS, LINE).
INPUT SELECT buttons
Use these buttons to select the input source (input jack) that
you wish to record. The selected button will light. When you
press an INPUT SELECT button that is lit, it will go dark, and
the input sound will be muted (silenced).
•[MIC1]:
Select this when you wish to record the sound of a mic
connected to the MIC1 jack (phone or XLR).
* Do not use identically numbered phone-type and XLR-type MIC jacks
simultaneously.
•[MIC2/Gtr/Bs]:
Select this when you wish to record the sound of a mic
connected to the MIC2 jack or the sound of an instrument
connected to the GUITAR/BASS jack.
* Do not use identically numbered phone-type and XLR-type MIC jacks
simultaneously.
• [LINE]:
Select this when you wish to record the sound of an
instrument or CD player connected to the LINE jacks.
• SIMUL [MIC1]+[MIC2]:
When you wish to record vocal and guitar simultaneously, or
when you wish to record two mics, press [MIC1] and [MIC2]
simultaneously. Both buttons will light, and can be recorded
simultaneously.
* If an instrument and mic are connected to both the GUITAR/BASS jack
and the MIC2 jack, respectively, the input from the GUITAR/BASS jack
will take priority. The input from the mic connected to the MIC2 jack
(phone-type/XLR-type) cannot be recorded.
• [DIGITAL]:
Select this when you wish to record the sound of a CD player
or MD player connected to the COAXIAL IN connector or
OPTICAL IN connector.
When you press [DIGITAL], the connected connector
(COAXIAL IN or OPTICAL IN) will be selected
automatically.
* If digital audio devices are connected only to coaxial connectors, you can
repeatedly press [DIGITAL] to cycle through lit (COAXIAL IN is
selected)
→
blink
→
OFF (mute).
* If digital audio devices are connected to both the optical and coaxial
connectors, the input from the COAXIAL IN will take priority. In this
case, you can repeatedly press [DIGITAL] to cycle through COAXIAL
IN
→
OPTICAL IN
→
OFF (mute).
* Digital audio signals cannot be recorded simply by connecting a digital
audio device to the OPTICAL or COAXIAL connector. If you wish to
recorded digital audio signals, you must change the settings as described
in “In order to make a Digital recording with CD player” (p. 148).
INPUT REC LEVEL knob
This adjusts the volume of the input source or the recording
level of the input source that you are recording.
* If you use the INPUT REC LEVEL knob to turn down the volume of the
input source during recording, the sound will be recorded in the audio
track or pad at a low volume, so that noise will be more apparent when
you raise the volume of the audio track or pad for playback. If you wish to
lower the volume of the input source you are hearing, use the MASTER
fader or the phone knob to lower the volume.
4
1
PEAK indicators
2
INPUT SENS knobs
3
INPUT SELECT button
INPUT REC LEVEL knob
1
2
3
22
Panel Descriptions
INSERT EFFECTS section
Here you can make settings for the insert effect.
➔ “Using the insert effects” (p. 141), “Insert effect algorithm
list” (p. 175)
fig.14-02e
ON/OFF button
This button switches Insert Effect on and off.
PATCH button
Here you can switch the parameters displayed in the edit
section, and change the type of curve.
PHONES Section
fig.14-02ae
PHONES knob
This knob adjusts the volume of the headphones.
LOOP EFFECTS section
Here you can make settings for the loop effects.
➔ “Using the loop effects” (p. 145), “Mixer effect parameter
functions” (p. 174)
fig.14-03e
DELAY button
This button accesses a screen where you can set the volume
(send level) that is sent from each audio track to the chorus/
delay/doubling loop effect, and a screen where you can edit
the chorus/delay/doubling settings.
* Chorus/delay/doubling cannot be used simultaneously. You can
select and use only one at a time.
REVERB button
This button accesses a screen where you can set the volume
(send level) that is sent from each audio track to the loop
effect, and a screen where you can edit the reverb settings.
RTN LEVEL (return level) knob
This knob adjusts the volume that is returned from the reverb
(the return level).
1 2
ON/OFF button PATCH button
1
2
PHONES knob
3
DELAY button
2
REVERB button
1
RTN LEVEL knob
1
23
Panel Descriptions
Panel Descriptions
AUDIO TRACK section
fig.14-04e
STATUS buttons 1–8
These switch the status of each audio track. The current status
is shown by the color of the button.
• Extinguished: Sound will not be output (i.e., muted).
• Lit in green: The track is ready for playback.
• Blinking in red: The track is selected as a recording
destination.
• Lit in red: The track is now being recorded.
AUDIO TRACK faders
These adjust the volume of each audio track.
TRACK EDIT section
fig.14-05e
PAN Button
This displays a screen where you can set pan (left/right
positioning of the sound) for each audio track.
➔
“Setting the left/right position (pan) of an input sound”
(p. 113), “Setting the left/right position of each audio track”
(p. 132)
EQ (Equalizer) Button
This accesses a screen where you can make equalizer settings
to modify the tone of each audio track.
➔
“Adjusting the tone of each audio track—Equalizer” (p. 132)
RHYTHM GUIDE section
Here you can make settings for the Rhythm Guide function.
➔ “Using the rhythm guide” (p. 116)
fig.14-05ae
ON/OFF button
Pressed to cycle the Rhythm Guide function through the
available selections: Auto
→
On
→
Off.
PATTERN/TEMPO button
This accesses a screen where you can set the rhythm pattern
and tempo.
2
AUDIO TRACK faders
1
STATUS buttons
1
2
PAN button
2
EQ button
1
1
ON/OFF button
2
PATTERN TEMPO button
1
1
24
Panel Descriptions
DISPLAY, UTILITY and UNDO/REDO
Button
fig.14-06e
DISPLAY Button
Use these to move between screen pages in the display.
➔ “Switching among the Basic screen” (p. 37)
UTILITY Button
Displays a screen where you can access a variety of functions,
including formatting a CD-RW disc, backing up samples, and
initializing the system.
UNDO/REDO Button
Cancel the last-performed recording, sampling, or editing
operation, and return to the previous state. By pressing
[UNDO/REDO] once again, you can bring back the canceled
recording or re-execute the editing operation.
➔ “Undoing a recording/editing operation” (p. 138)
SAMPLE PADS/SEQUENCING Section
fig.14-07e
PAD X FADE (pad crossfade) button
Use this button to play pad samples while crossfading.
If you press another pad while a sample is already sounding,
the currently sounding sample will be faded-out, and the
sample of the pad you pressed subsequently will fade-in and
begin sounding.
➔ “Crossfading the pads you play—Pad Crossfade” (p. 71)
PAD BANKS Button
This displays a list of the 64 pad banks.
➔ “Switching pad banks” (p. 54)
DISPLAY
button
2
UTILITY
button
3
UNDO/REDO
button
1
1
STATUS button
3
HOLD button
CLIP BOARD button
4
PAD REC
button
6
PAD BANKS button
2
1–8 button
PAD XFADE button
1
TEMPO MATCH/PAD EDIT button
7
DELETE
button
8
SEQ PLAY
button
9
CREATE
button
EDIT button
PAD/SEQ LEVEL
fader
5
10
11
12 13
1
25
Panel Descriptions
Panel Descriptions
STATUS Button
The color of the button will indicate the current status.
Lit in green: Play back samples and the sequence track.
Lit in red: Record to the pads or sequence track.
* In order to play back a sequence track, turn PAD SEQUENCING [SEQ
PLAY] on (lit).
CLIPBOARD Button
Use this when you want to copy a sample from one pad to
another.
➔ “Copying a sample to another pad—Clipboard” (p. 82)
PAD/SEQ LEVEL fader
This adjusts the volume of the pad samples and sequence.
PAD REC (pad recording) button
This button starts/ends sampling.
➔ “Sampling to a pad” (p. 56)
TEMPO MATCH/PAD EDIT button
Pressed to toggle between the Tempo Match setting screen
and the Sample Edit screen.
DELETE button
This button deletes the sample of a pad.
➔ “Deleting samples individually” (p. 65)
SEQ PLAY (sequence play) button
Turns the Sequencing function on/off.
Turn this on (lit) when you wish to edit or play a sequence
track.
CREATE Button
Use this when you wish to create a sequence (i.e., to record a
sequence of pads).
➔ Recording pad operations as you play pads—Realtime
Recording” (p. 90), “Recording pad operations at the
specified interval—Step Recording” (p. 93)
EDIT Button
The Sequence Track Edit screen appears.
➔ “Editing a sequence track” (p. 98)
HOLD Button
The sound will continue playing even after you release your
hand from the pad.
➔ “Making the sound continue even after you release the
pad—Hold” (p. 72)
1–8 Buttons
Up to eight samples can be assigned to these pads. Pads to
which a sample is assigned will light. The way in which the
sample plays and stops can be specified independently for
each pad.
➔ “Changing how a pad start and stops sounding—Pad
Play” (p. 70)
AUDIO CD Section
fig.14-08e
* If you insert a not finalized CD-R disc, both the RECORDER and
PLAYER indicators will light.
AUDIO CD RECORDER indicator
This will light when a new CD-R disc is inserted.
This indicates that the audio input from an external source,
the sound of samples being played using pad crossfade, or the
playback sound from a sequence track can be recorded
directly to a CD-R disc.
➔ “CD direct recording” (p. 159)
AUDIO CD PLAYER indicator
This will light when an audio CD is inserted.
This indicator will also light if you insert a CD-R disc written
audio data.
3
4
5
6
7
8
9
10
11
12
AUDIO CD RECORDER
indicator
1
AUDIO CD
PLAYER indicator
2
1
26
Panel Descriptions
AUDIO TRACK RECORD Section
fig.14-09e
AUDIO TRACK RECORD indicator
This will light when a CD-RW disc for use by the CDX-1
(formatting; p. 110) is inserted.
BOUNCE Button
This button switches to Bounce recording. Use this when you
wish to combine multiple audio tracks (1–6 tracks) into two
audio tracks.
➔ “Combining the performances of multiple audio tracks—
BOunce Recording” (p. 125)
MIX DOWN Button
This button switches to Mixdown mode. Use this when you
wish to combine audio tracks into a master track in order to
create an original CD.
➔ “Mixing down” (p. 133)
CD BURNING Button
This will light when CD Burning mode.
➔ “Completing your original CD—CD Burning” (p. 135)
Power Switch
fig.14-09ae
POWER Switch
This is the power switch. It turns the power of the CDX-1
on/off.
Transport section
fig.14-10e
MARK button
This button assigns a marker at the desired location of the
song. When you press [MARK], a marker will be assigned to
the current location of the song. If you have registered a
marker, you will be able to jump instantly to the desired point
in the song.
➔ “Assigning Markers within a song—Markers” (p. 129)
SEARCH buttons
• SEARCH [ ]
<When the CD Player is in use>
If the song is stopped, this button takes you back to the
previous song. If the song is playing, it returns you to the
beginning of the currently playing song.
➔ “Moving to the previous/next track” (p. 50)
<During multitrack recording/playing>
This button takes you to the location of the previous
marker.
➔ “Moving to the location of a marker” (p. 129)
• SEARCH [ ]
<When the CD Player is in use>
Jump to the next song.
<During multitrack recording/playing>
This button moves you to the location of the next marker.
REW (rewind) button
The song will rewind while you hold down the button.
AUDIO TRACK
RECORD indicator
1
BOUNCE
button
2
MIX DOWN
button
3
CD BURNING
button
4
1
2
3
4
POWER switch
REPEAT
button
5
ZERO
button
6
STOP
button
7
PLAY
button
8
REC/CD RECORDER
button
9
MARK
button
1
SEARCH
button
2
REW
button
3
FF
button
4
1
27
Panel Descriptions
Panel Descriptions
FF (fast-forward) button
The song will fast-forward while you hold down the button.
REPEAT button
You can specify a region that you wish to hear, and play it
back repeatedly.
➔ “Specify a region and play it back repeatedly—the Repeat
function” (CD Player; p. 51), “Repeatedly play back a
specified region—the Repeat function” (Multitrack
recording; p. 128)
ZERO button
Returns to the beginning of the song.
STOP button
Stops recording or playback of the song.
PLAY button
Plays back songs.
When REC [ ] is blinking, pressing PLAY [ ] will start
recording.
REC/CD RECORDER (recording/CD recorder)
button
This is the Record button. In addition to the Recording
operation, it is also used for manual punch-in/out.
➔ “Using the Record button to punch-in/out” (p. 121)
Blinking: indicates recording-standby status.
Lit: indicates that recording in progress.
AUTO PUNCH section
Here you can make settings for the punch-in/out function.
fig.14-11e
IN button
This button specifies the punch-in location. When you press
[IN], the current location will be memorized as the punch-in
location. After you have specified the punch-in location, you
can press [IN] to move to the punch-in location.
OUT button
This button specifies the punch-out location. When you press
[OUT], the current location will be memorized as the punch-
out location. After you have specified the punch-out location,
you can press [OUT] to move to the punch-out location.
AUTO PUNCH button
This turns the auto punch-in/out function on/off. When this
is on, the button will light. By using the auto punch-in/out
function, you can automatically punch-in/out at the
previously specified locations.
➔ “Automatically punching-in/out at the specified
locations—Auto punch-in/out” (p. 122)
PREVIEW section
Here you can make settings for the Preview function.
By using the Preview function, you can precisely adjust the
current location while listening to the sound.
➔ “Cueing to a precise location—Preview” (p. 139)
fig.14-12e
SCRUB button
This button causes an extremely short region of sound that
ends or begins at the current location to be played repeatedly
(p. 140).
TO button
This button plays the sound from a point one second earlier
than the current location to the current location (once only).
If you are in Scrub mode, pressing [TO] will select the region
ending at the current location as the scrub region.
FROM button
This button plays the sound from the current location to a
point one second later (once only).
If you are in Scrub mode, pressing [FROM] will select the
region beginning at the current location as the scrub region.
4
5
6
7
8
9
IN button
1
OUT button
2
AUTO PUNCH
button
3
1
SCRUB
button
1
TO button
2
FROM button
3
1
28
Panel Descriptions
Control section
fig.14-13e
NO/EXIT Button
Press this when you wish to return to the previous screen (i.e.,
the next higher screen in the hierarchy). You can also press
this to respond “no” to a message displayed in the screen.
YES/ ENTER Button
Press this to execute a menu selection. You can also press this
to respond “yes” to a message displayed in the screen.
CURSOR Button
When making various settings, use these buttons to move the
cursor to the item you wish to set. In screens that consist of
multiple pages, these buttons are also used to move between
pages.
TIME/VALUE Dial
In screens where there are no items to set, such as the Pre/
post-fader screen (p. 37) and Sequence Play List screen (p. 37),
use these buttons to move the current location of the song.
When making settings for various functions, these modify the
value of the item selected by the cursor.
If you turn the TIME/VALUE dial clockwise, the value will increase
continuously. If you turn the dial counterclockwise, the value will
decrease continuously.
CD-RW/CD-R/AUDIO CD indicator section
An indicator will light to show the type of CD that is inserted.
fig.14-14e
CD-RW indicator
Indicates that a CD-RW disc is inserted.
CD-R indicator
Indicates that a CD-R disc is inserted.
AUDIO CD indicator
Indicates that an audio CD type disc is inserted.
BUSY indicator
This indicator will light in red when the inserted CD is being
read or written.
Eject button
fig.14-14ae
Eject button
This button opens or closes the CD disc tray.
If you need to remove the CD after the power has been turned off,
you must turn on the power once again and press [EJECT] to remove
the CD. If you attempt to remove the CD by force, you may damage
the disc tray.
NO/EXIT
button
1
YES/ENTER
button
2
CURSOR
buttons
3
TIME/VALUE
dial
4
1
2
3
4
CD-RW
indicator
1
CD-R
indicator
2
AUDIO CD
indicator
3
BUSY
indicator
4
1
EJECT button
29
Panel Descriptions
Panel Descriptions
MASTER Section
fig.14-15e
MASTERING TOOLS Button
This button switches “mastering tools kit”
(p. 134) effect
on
and off.
If CD BURNING mode is selected, this will be turned on
automatically.
EDIT Button
Access a screen where you can set the master balance.
➔ “Adjusting the overall volume balance—Master balance”
(p. 132)
STATUS Button
Shows the status of the Master track. The current state is
shown by the color of the button.
➔ Mixdown (p. 133), CD Burning (p. 135)
• Blinking in red: Indicates currently in recording-standby
mode.
• Lit in red: Indicates currently recording
• Lit in green: Recorded Master track data is being
played back.
MASTER fader
You can adjust the overall volume level
Display Section
Various information regarding operation will be displayed here.
fig.14-16
TIME/SONG POSITION
<When the CD Player is in use>
Indicates the current time location of the song in “Current
track number/Minute/Second.”
<When the multitrack is in use>
Indicates the current time location of the song in “Hour/
Minute/Second/Frame.”
● Frame display
The number displayed after the current time indicates the
number of frames for the current location in the song.
At the factory settings, one second is set to 30 frames (non-
drop). This is one type of a specification known as MTC (MIDI
Time Code), and when you use the CDX-1 to play in
synchronization with another MIDI device, you will need to
set both devices to the same MTC type.
➔ “Using MTC (Master)” (p. 154)
<When the sequence is in use>
Indicates the current time location of the song in “Measure/
Beat/Tick.”
MARK
This shows the number of the marker at the current location.
If no marker is registered at the current location, the number
of the marker immediately before the current location will be
displayed.
If the current location is earlier than marker number “001,” or if
no marker has been registered, the display will indicate “---”.
➔ “Assigning markers within a song—Marker” (p. 129)
SEQ TR (Sequence Track)
This indicates symbol the sequence track that is selected as
the playback destination.
➔ “Playing a sequence track” (p. 96)
BNK (Pad Bank)
This indicates the number of the currently selected pad bank.
➔ “Switching pad banks” (p. 54)
MASTERING
TOOLS button
1
EDIT button
2
STATUS button
3
4
MASTER fader
1
2
3
4
1
2
3 4
1
30
Panel Descriptions
Front Panel
fig.front_e
Disc Tray
Place the CD to be loaded on this tray.
Emergency eject hole
This hole allows the disc tray to be opened in case of
emergency.
➔ “If the disc tray does not open” (p. 36)
The jack and button marked by the
❋
symbol cannot be used.
Rear Panel
fig.rpanel_e
AC ADAPTOR Jack
Connect the supplied AC adaptor to this jack.
You must use only the included PSB-2U AC adaptor. Use of any
other adaptor may cause overheating or malfunctions.
Cord Hook
Wrap the cable around this hook so that the AC adaptor cable
is not pulled out accidentally.
* If the AC adaptor is disconnected during operation, your important
recorded data may be lost.
Earth Connector
Connect the ground cable here.
In some cases, a Electric Guitar etc. is connected, the metallic part of
the panel may sometimes feel rough and grainy. This is due to an
infinitesimal electrical charge, which is absolutely harmless.
However, if you are concerned about this, connect the ground
terminal (see figure) with an external ground. When the unit is
grounded, a slight hum may occur, depending on the particulars of
your installation. If you are unsure of the connection method, contact
the nearest Roland Service Center, or an authorized Roland
distributor, as listed on the “Information” page.
Unsuitable places for connection
• Water pipes (may result in shock or electrocution)
• Gas pipes (may result in fire or explosion)
• Telephone-line ground or lightning rod (may be dangerous in the
event of lightning)
1 2
Disc Tray Emergency eject hole
1
1
AC ADAPTOR
Jack
3
Earth Connector
2
Cord Hook
4
MIDI Connectors
5
FOOT SWICH Jack
6
MASTER Jack
8
PHONES Jack
7
OPTICAL connectors
7
COAXIAL connectors
9
LINE Jack
10
GUITAR/BASS Jack
11
MIC1 jack
12
MIC2 jack
1
2
31
Panel Descriptions
Panel Descriptions
MIDI Connectors (IN, OUT/THRU)
Connect an external MIDI device (e.g., MIDI controller or
MIDI sequencer) here.
•IN
Receives MIDI messages from another MIDI device. Connect
this to the MIDI OUT connector of your external MIDI device.
• OUT/THRU
This connector transmits MIDI messages. Connect it to the
MIDI IN connector of your external MIDI device.
On the CDX-1, a single connector doubles in use for MIDI OUT and
MIDI THRU. At the factory settings, this functions as a MIDI OUT
connector. You may change the setting as needed.
FOOT SWITCH Jack
This is an input jack for connecting a separately sold foot
switch (DP-2, FS-5U). You can use a foot switch to play or stop
the song remotely, or to punch-in/out.
➔ “Playing a sample from a connected foot switch” (p. 75),
“Using a foot switch to punch-in/out” (p. 122)
MASTER Jack
These are output jacks for the analog audio signal. The
MASTER fader adjusts the volume.
OPTICAL, COAXIAL connectors (IN, OUT)
Digital audio signals cannot be recorded simply by connecting a digital
audio device to the OPTICAL or COAXIAL connector. If you wish to
recorded digital audio signals, you must change the settings as described in
“In order to make a Digital recording with CD player” (p. 148).
• IN
These connectors are for connecting digital audio devices such
as a CD player or MD recorder. There are two types of
connector: optical and coaxial.
* If digital audio devices are connected to both optical and coaxial
connectors, the input from COAXIAL IN will take priority. By pressing
INPUT SELECT [DIGITAL] you can switch the inputs.
• OUT
These connectors output a digital audio signal (stereo). There
are two types of connectors: optical and coaxial. Optical and
coaxial connectors can be used simultaneously.
* The sound that is output will be the same as master out.
PHONES Jack
Stereo Headphones (sold separately) are connected here.
LINE Jack
These are input jacks for analog audio signals. Connect them
to an audio device such as a CD player or to a keyboard or
rhythm machine.
GUITAR/BASS Jack
An electric guitar or bass can be connected to this jack. Since
this is a high-impedance input, a guitar or bass can be
connected directly.
Impedance (p. 205)
MIC1 jack/phone type, XLR type
These jacks allow you to connect a mic. If you are recording a
vocal alone, use the MIC1 jack. Phone-type and XLR-type
jacks are provided.
* Do not use identically numbered phone-type and XLR-type MIC jacks
simultaneously.
* The phone-type jack is TRS, and supports both balanced and unbalanced
connections.
MIC2 jack/phone-type, XLR-type
These jacks allow a mic to be connected. Use them if you are
recording acoustic guitar with a mic, or if you are recording a
chorus together with MIC1. Both phone-type and XLR-type
jacks are provided.
* Do not use identically numbered phone-type and XLR-type MIC jacks
simultaneously.
* The phone-type jack is TRS, and supports both balanced and unbalanced
connections.
* If an instrument is connected to the GUITAR/BASS jack, the input from
the GUITAR/BASS jack will take priority. The input from the mic
connected to MIC2 (phone-type/XLR-type) cannot be recorded.
4
5
6
7
8
9
32
Basic operation of the CDX-1
Connecting peripheral equipment
Make connections as shown in the diagram below. Before you begin making connections, be sure that the power of all
equipment is turned off.
fig.15-01e
• To prevent malfunction and/or damage to speakers or other
devices, always turn down the volume, and turn off the power on
all devices before making any connections.
• The pin assignment for the XLR type
connectors is as shown below. Before
making any connections, make sure that
this pin assignment is compatible with
that of all your other devices.
• Howling could be produced depending
on the location of microphones relative to speakers. This can be
remedied by:
1. Changing the orientation of the microphone(s).
2. Relocating microphone(s) at a greater distance from speakers.
3. Lowering volume levels.
• To prevent the inadvertent disruption of power to your unit
(should the plug be pulled out accidentally), and to avoid
applying undue stress to the AC adaptor jack, anchor the power
cord using the cord hook, as shown in the illustration.
fig.15-03
• Do not use identically numbered phone-type and XLR-type MIC
jacks simultaneously.
• Please connect or disconnect the foot switch after you turn off the
power.
Stereo Headphones
Electric Guitar
Electric Bass
Mica
Mica
Keyboard, Rhythm Machine, etc.
CD Player etc.
Audio Set etc.
Power amp
AC Adaptor
(PSB-2U)
Rhythm Machine etc.
Foot Switch (DP-2 etc.)
DAT/MD Recorder etc.
33
Basic operation of the CDX-1
Basic operation of the CDX-1
Turning the Power On and Off
* Once the connections have been completed (p. 32), turn on power to your various devices in the
order specified. By turning on devices in the wrong order, you risk causing malfunction and/or
damage to speakers and other devices.
Turning On the Power
1. Turn the volume of the connected equipment down to the minimum level.
2. Lower the MASTER fader to the lowest position.
3. Turn on the power of the equipment connected to the INPUT jacks.
4. Press the POWER switch to turn on the power of the CDX-1.
fig.15-04
After several seconds, the CDX-1 will start up
normally and the post-fader screen appears.
5. Turn on the power of the equipment connected to the OUTPUT jack.
6. Raise the volume of the connected equipment to appropriate levels.
• This unit is equipped with a
protection circuit. a brief
interval (a few seconds) after
power up is required before
the unit will operate normally.
• Be careful that the AC
adaptor does not become
disconnected during use. If
the AC adaptor is
disconnected, the recorded
data may be destroyed.
• The explanations in this
manual include illustrations
that depict what should
typically be shown by the
display. Note, however, that
your unit may incorporate a
newer, enhanced version of
the system (e.g., includes
newer sounds), so what you
actually see in the display
may not always match what
appears in the manual.
• POWER switch may not
work right after you connect
the AC adaptor to CDX-1. In
this case, try again to turn
the power on after a few
seconds.
34
Basic operation of the CDX-1
Turning Off the Power
1. Turn off the power of the connected equipment in the opposite order from which
they were turned on (p. 33).
2. Press the Power Switch.
fig.15-05
The message “Shutdown?” appears in the
display.
3. If you are ready to turn off the power, press [YES/ENTER].
The power will turn off.
Press [NO/EXIT], shutdown will be canceled.
● If the display asks “You’ll lose PAD/SEQ data during shutdown. Sure?”
If any pad/sequence is held in internal memory of CDX-1 when you carry out
shutdown, the massage “You’ll lose PAD/SEQ data during shutdown. Sure?”
appears.
1. If you are ready to turn off the power, press [YES/ENTER].
The power will turn off.
* If a CD-RW disc is inserted in CDX-1, a message “Save SONG before shutdown?” appears. In
this case, see following process of “If the display asks Save SONG before shutdown?”
Press [NO/EXIT], shutdown will be canceled.
● If the display asks “Save SONG before shutdown?”
When the CD-RW disc is inserted in CDX-1, the massage “Save SONG before
shutdown?” appears in the display.
1. If you wish to save the song data, press [YES/ENTER].
A message “Processing...” appears and CDX-1 saves setting of SONG (Parameter of
Mixer, effects etc.) in CD-RW disc. When saving is completed, the power will turn
off.
If you press [NO/EXIT], power will be turned off without saving of data. All the
settings (Mixer, effects etc.) after inserting CD-RW disc will be lost.
●
To turn off the power of the CDX-1, you must use the POWER switch rather than
unplugging the AC adaptor from the outlet or disconnecting the AC ADAPTOR jack.
❍ If you turn off the power without using the POWER switch while the internal
CD-RW drive is operating, the CD-RW drive may malfunction.
❍ If the power supply is interrupted due to an unexpected power failure or other
cause, avoid moving the CDX-1, and turn the power on once again when the
power resumes.
❍ CDX-1 saves some parameters like system setting when power turned off. For this
reason if you simply unplug the AC adaptor without using the POWER switch, the
mixer settings, effect patch data, and unsaved sample data will all be lost. Please
use caution.
Once you carry out turning off
the power, pad/sequence held
in internal memory of CDX-1
will be lost. If you wish to keep
the pad/sequence, you must
save it on a CD-RW disc before
shutdown.
➔ “Saving Pad/
Sequence” (p. 67).
For details of saved Song
settings, refer to “Saving Song
settings on a CD-RW disc”
(p. 126).
This message appears even in
case you have not changed
setting of Song.
35
Basic operation of the CDX-1
Basic operation of the CDX-1
Inserting/removing a disc
Inserting a disc
fig.15-08e
1. Press the EJECT button.
The disc tray will open.
2. Place the disc on the disc tray.
3. Press the EJECT button once more.
The disc tray will close.
The disc tray will also close if you press lightly on the front of the tray.
If you transport the CDX-1
with a CD left in the disc tray,
the CD or drive may be
damaged. Before transporting
or moving the CDX-1, you
must remove the CD from the
disc tray.
EJECT button
Time to mount disc
CDX-1 carries out the followings when mounting the discs.
• Inspecting CD-RW disc to improve preciseness of writing
• Optimize CD-RW drive
• Load various data like audio files
Thus, it take some time to complete mounting od discs, The time length to
mount disc is varied depending on amount of Pad/Sequence data. Mounting of
discs including no Pad/Sequence data completes in approximately 3 minutes.
Mounting takes approximately 8 minutes at most.
36
Basic operation of the CDX-1
Removing a disc
1. Press the EJECT button.
The disc tray will open.
* If a CD-RW disc is inserted in CDX-1, a message “Save SONG before eject?” appears. In this case,
see following process of “If the display asks Save SONG before eject?”
2. Remove the disc from the disc tray.
3. Press the EJECT button once more.
The disc tray will close.
The disc tray will also close if you press lightly on the front of the tray.
●
If the display asks Save SONG before eject?
When the CD-RW disc is inserted in CDX-1, the massage “Save SONG before eject?”
appears in the display.
1. If you wish to save the song data, press [YES/ENTER].
A message “Processing...” appears and CDX-1 saves setting of SONG (Parameter of
Mixer, effects etc.) in CD-RW disc. When saving is completed, the disc tray will open.
If you press [NO/EXIT], a message “Eject disc? (not saved)” appears.
Press [YES/ENTER]:
The disc tray will open without saving of data. All the settings (Mixer, effects etc.)
after inserting CD-RW disc will be lost.
Press [NO/EXIT]:
Removing disc will be canceled.
For details of saved Song
settings, refer to “Saving Song
settings on a CD-RW disc”
(p. 126).
If the disc tray does not open
If the power is turned off with the disc still in the drive (such as due to a power
failure), the disc tray cannot be opened by pressing the eject button. In this case, you
can insert a piece of wire to force the tray open.
1. Turn off the power of the CDX-1.
2. Insert a thin object such as a wire into the emergency eject hole.
The disc tray will open.
fig.15-09
37
Basic operation of the CDX-1
Basic operation of the CDX-1
Switching among the Basic screens
The basic display screens of the CDX-1 are accessed by pressing [DISPLAY], located
below the screen. As described below, there are five Basic screens, which you can
cycle through by pressing [DISPLAY].
* The AUDIO CD PLAYER indicator and/or the AUDIO CD RECORDER indicator is lit,
pressing [DISPLAY] will cycle you through the CD Player screen and Sequence Play List screen
displays.
However, CD RECORDER [ ] blinks (recording-standby mode), only the CD Recorder
screens will be displayed.
The Basic screens
Post-fader (level meter) screen
fig.15-10
This screen shows the levels after the signals have passed through the audio track
faders (post-fader). During multitrack recording (p. 113), the meters indicate the
recording levels of those tracks.
Pre-fader (level meter) screen
fig.15-11
This screen shows the levels before the signals have passed through the audio track
faders (pre-fader). Use the Pre-fader screen when you wish to check the input levels.
Big Time screen
fig.15-12
The current location of the song will be displayed in large characters using the full
size of the display.The units indicated can be switched “Measure/Beat /Tick” or
“Hour/Minute/Second/Frame.”
➔ Refer to “Switching the Big Time display.“(p. 38)
Sequence Play List screen
fig.15-13
This screen shows the status of the sequence (p. 88). The location and length of the
boxes (rectangles) indicates how phrases are arranged in the sequence track.
Song Information screen (at the time of using CD-RW disc)
This screen shows information about the song (CD-RW disc).
➔
Refer to “Viewing information on the song (CD-RW disc)–Song Information
screen.“(p. 39)
CD Player screen (p. 48)
38
Basic operation of the CDX-1
If you are confused about operations or screens
—Going back to the Basic screen
While you are still unfamiliar with operation, you may come upon a screen you do
not recognize. If this occurs, you can press [DISPLAY] to return to one of the Basic
screens (the most-recently selected one). (Refer to “The Basic screens,” above.)
Adjusting the brightness of the screen display—Contrast
The contrast of the display will change depending on the viewing angle and the
temperature. If you have difficulty reading the display, use the following procedure
to adjust the contrast.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.15-14
2. Make sure that the cursor is located at the
LCD Contrast icon.
3. Press [YES/ENTER].
fig.15-15
The LCD Contrast Setting screen appears.
4. Turn the TIME/VALUE dial to adjust the contrast.
5. Press [DISPLAY] to return to the Basic screen.
Switching the Big Time display
The units indicated can be switched “Measure/Beat /Tick” or “Hour/Minute/Second/
Frame.”
1. Press [UTILITY].
The Menu are displayed as icon.
ffig.2-06
2. Press CURSOR [ ] to select the System
icon.
3. Press [YES/ENTER].
The System settings screen appears.
4. Press CURSOR [ ] [ ] to move the cursor to “Time Disp.”
5. Turn the TIME/VALUE dial to select “TIME CODE” or “MEASURE.“
● Time Disp:
TIME CODE: Display “Hour/Minute/Second/Frame.”
fig.15-15a
MEASURE: Display “Measure/Beat /Tick.”
ig.15-15b
6. Press [DISPLAY] to return to the Basic screen.
Hold down [UTILITY] and
turn the TIME/VALUE dial,
the contrast of display will be
changed.
39
Basic operation of the CDX-1
Basic operation of the CDX-1
Viewing information on the CD-RW disc
—Song Information screen
You can view information about the CD-RW disc (song) inserted in the CDX-1.
1. Press [DISPLAY] to switch among the Basic screen.
The Information screen appears.
fig.12-07
Remain: This displays remaining capacity (time) for editing in min./sec.
When mixdown mode (p. 133) is selected, this displays remaining
capacity (time) for recording on mastering track (internal).
SNG: This displays the name of the CD-RW disc.
➔ “Naming a song (CD-RW disc)” (below section).
Data Type: This will indicate the data type that was selected when the CD-RW
disc was formatted.
➔ “Preparing a CD-RW disc for use—Format” (p. 110)
BNK: This shows the pad bank number and name.
➔ “Naming a pad bank” (p. 55)
Naming a song (CD-RW disc)
1. Press [UTILITY].
The Menu are displayed as icon.
fig.12-06
2. Press CURSOR [ ] to select the Song
Parameter icon.
3. Press [YES/ENTER].
fig.12-07
The Song Parameter screen appears.
4. Make sure that the cursor is located at the “Name” line.
5. Use CURSOR to move to the desired character location, and turn the
TIME/VALUE dial to input characters.
6. Press [DISPLAY] to return to the Basic screen.
Data Type
Remaining capacity for editing
different from remaining
capacity for recording. Even in
case the displayed time in
“Remain” shows some
capacity is remaining, CDX-1
stops recording when
remaining capacity for
recording run out. The
capacity differs recording to
data type (p. 111).
CDX-1 automatically stops
recording when remaining
capacity for recording is
00m00s. If you optimize the
disc, remaining capacity for
recording may increase.
→
“Increasing the free space on a
CD-RW disc–Optimize Disc”
(p. 127)
40
Basic operation of the CDX-1
Returning the CDX-1 to the factory
settings—Initialize
The current settings of the CDX-1 can be returned (initialized) to the factory settings.
The following parameters can be initialized.
●
Global Parameter
• Tuner parameters
• System parameters
• MIDI parameters
• Marker parameters
• Tempo map parameters
●
Effect patch data
All user patches: U001–U100
●
Mixer parameters
PAN, EQ, DELAY, REVERB, Effects location, Master balance
Here we will describe the procedure for initializing the Global parameters.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.15-16
2. Press CURSOR [ ] to select an
Initialize icon
3. Press [YES/ENTER].
The Initialize Menu are displayed as icon appears.
fig.15-17
4. Make sure that the cursor is located at the
Initialize Global Parameters icon
5. Press [YES/ENTER].
The display will ask “Initialize Global Param. Are you sure?”
6. When you wish to initialize, press the [YES/ENTER].
To cancel the operation, press [NO/EXIT].
When initialization is complete, you’re returned to the Basic screen.
For details on each parameter
and its default value, refer to
“Parameter list” (p. 208).
To initialize other parameters,
select the icon for the
parameters you wish to
initialize in step 3. For the
meaning of the Initialize icons,
refer to the separate column
“The meaning of each Initialize
icon” (p. 41).
41
Basic operation of the CDX-1
Basic operation of the CDX-1
The meaning of each Initialize icon
● Initialize Global Parameters icon
fig.15-18
When you select this icon, Global parameters (p. 40) will return to the factory
settings.
● Initialize Effect Patch icon
fig.15-19
When you select this icon, effect patches U001–U100 will be initialized to the factory
settings.
● Initialize Mixer Parameters icon
fig.t\15-20
When you select this icon, the mixer parameters will be initialized to the factory
settings.
● Initialize All Parameters icon
fig.15-21
When you select this icon, the global parameters, effect patches, and mixer
parameters will all be initialized.
The display screen contrast will also be initialized to the factory setting.
“What is a patch?” (p. 141)
“Mixer parameters” refer to
the parameters that can be set
in the screens accessed by
pressing [PAN], [EQ],
[DELAY], and [REVERB].
42
What you need to do to create your own CD
Steps taken in producing an original CD
The following introduces you to a number of paths that you
could choose to follow in carrying out the steps needed to
create your own original CD, using a CD-R disc.
Path 1
fig.16-01
Sample audio materials from a sampling CD (“clip audio”
collection) or load Windows WAVE files, and assign the
sounds to pads.
➔ “Sampling to a pad” (p. 56)
fig.16-02
Freely combine pad sounds to create your song. Record the
pad operations on the sequence track.
➔
“Arranging audio samples to create a song—Sequence” (p. 88)
fig.16-03
On the audio tracks, record sounds from connected
instruments, or what is played back by the sequence track.
➔ “Recording your performance” (p. 119)
“Recording the sequence playback sound on an audio
track” (p. 108)
fig.16-04
Combine the performances recorded on multiple audio tracks
to two-channel stereo (mixdown).
➔ “Preparing to write a CD-R disc—Mixdown” (p. 132)
fig.16-04a
Insert a CD-R disc, and write the song data.
➔ “Completing your original CD—CD burning”
fig.16-05
This completes your original audio CD.
WAVE
AUDIO
CD
1
2
A
B
C
D
3
4
5
6
43
What you need to do to create your own CD
What you need to do
to create your own CD
Path 2
fig.16-01
Sample sounds from a sampling CD (“clip audio” collection)
or load Windows WAVE files, and assign the sounds to pads.
➔ “Sampling to a pad” (p. 56)
fig.16-06
Use pad crossfade to make the samples crossfade as they play.
➔ “Crossfading the pad sample you play” (p. 71)
fig.16-07
While pressing the pads to play samples, record the sample
playback sounds directly on the CD-R disc.
➔ “Recording samples played using Pad Crossfade on a
CD-R disc” (p. 162)
fig.16-08
This completes your original audio CD.
Path 3
fig.16-01
Sample sounds from a sampling CD (“clip audio” collection)
or load Windows WAVE files, and assign the sounds to pads.
➔ “Sampling to a pad” (p. 56)
fig.16-02
Freely combine the sounds of pads to create your song.
Record the pad operations on the sequence track.
➔
“Arranging audio samples to create a song—Sequence” (p. 88)
fig.16-07
Record the playback sound of the sequence track directly onto
a CD-R disc.
➔ “Recording the sequence playback on a CD-R disc” (p. 163)
fig.16-08
This completes your original audio CD.
WAVE
AUDIO
CD
1
2
3
4
WAVE
AUDIO
CD
1
2
A
B
C
D
3
4
44
What you need to do to create your own CD
Path 4
fig.16-09
Record external audio sources directly to a CD-R disc, without
using the audio tracks.
➔ “Recording an external audio source to a CD-R disc”
(p. 161)
fig.16-10
This completes your original audio CD.
1
AUDIO
CD
2
45
What you need to do to create your own CD
What you need to do
to create your own CD
Listening to the demo disc
Here’s how to play back the demo disc and listen to the demo song.
Playing the demo disc
fig.16-11
1. Make sure that your sound reproduction system (i.e., amp or headphones) is
correctly connected.
2. As described in “Turning On the Power” (p. 33), turn on the power of the CDX-1.
3. Insert the demo disc as described in “Inserting a disc” (p. 35).
4. Press the [STATUS] of the audio tracks enough times to get them to light in
green.
5. Set the AUDIO TRACK faders (1–8) to the 0 dB position.
6. Lower the MASTER fader.
7. Press PLAY [ ].
The song will play back.
8. Raise the MASTER fader to adjust the volume.
9. Press STOP [ ].
Playback will stop. Press ZERO [ ] and then press PLAY [ ] once again, and
playback will start from the beginning of the song.
Adjusting the overall volume—MASTER fader
Use the MASTER fader to adjust the overall volume.
The stereo (left/right) balance can be adjusted with the master balance.
Adjusting the headphone volume
The volume of the headphones connected to the phones jack is adjusted with the
phones knob.
* If the MASTER fader is lowered, you will hear no sound even when you turn up the volume with
the phones knob.
•Use of the Demo Disc
supplied with this product
for any purpose other than
private, personal enjoyment
without the permission of the
copyright holder is
prohibited by law.
Additionally, this data must
not be copied, nor used in a
secondary copyrighted work
without the permission of the
copyright holder.
•DO NOT play the demo disc
on a conventional audio CD
player. The resulting sound
may be of a level that could
cause permanent hearing
loss. Damage to speakers or
other system components
may result.
You can play rhythm guide
according to demo song. If you
switch the “PATTERN” of
tempo map, you can play
various rhythm patterns that
matches the song.
→ ”Using
the rhythm guide” (p. 116)
7
9
4
5
8
6
2
3
Using marker stop function
(p. 131), the play back from
demo CD stops at the end of
first song. Press PLAY [ ] to
do play back of next-song.
“Adjusting the overall volume
b
alance—Master Balance”
(p. 132)
46
What you need to do to create your own CD
Adjusting the volume of each audio track—AUDIO TRACK faders
The volume of audio tracks 1–8 is adjusted with the AUDIO TRACK faders (1–8).
* If the [STATUS] of an audio track is extinguished, no sound will be heard, regardless of the
position of the AUDIO TRACK fader. To play back the track, press [STATUS] enough times to
get it to light in green.
Press pads to play back audio samples
fig.16-12
1. Press STOP [ ] to stop demo song playback.
The eight pads will light. Pads that are lit contain audio samples (sounds).
2. Press a pad that is lit.
The audio samples of that pad will sound. You can press up to four pads
simultaneously to layer their sounds. Go ahead and press pads to hear their sounds.
If the [STATUS] of all audio tracks is lit in green, all pads will be dark while the audio
tracks are playing back, and pressing the pads will not produce sound. If you extinguish
[STATUS] for a pair of audio tracks 1-2, 3-4, 5-6, or 7-8, you will be able to play pad
sounds. (
➔ “Playing pads while audio tracks play back” p. 69)
Playing back the sequence track
fig.16-13
1. Press STOP [ ] to stop demo song playback.
2. Press PAD SEQUENCING [SEQ PLAY].
fig.test
[SEQ PLAY] will light, and the Sequence Play
List screen appears.
3. Press ZERO [ ] to return the SONG POSITION to “0001-01-000” (beginning
of the song).
4. Press PLAY [ ].
The sequence track will play back.
5. Press STOP [ ].
Playback will stop. Press ZERO [ ] and then press PLAY [ ] once again, and
playback will start from the beginning.
2
3
If you switch pad banks, the
pads will contain other
samples.
→ “Switching pad
b
anks” (p. 54)
3
2
At this time, the [STATUS] of
all audio tracks will go dark
(silent). The sequence track
will play back.
47
Playing an audio CD
48
How to play an audio CD—the CD Player
About the Display
CD Player screen
When you insert an audio CD, the CD Player screen appears.
fig.2-01e
Switching the time display
You can select one of four types of time display. Turn the TIME/VALUE dial to
switch the time display.
● Time:
TOTAL: Display the total time from the beginning of the audio CD to the
current time location.
TRACK: Display the total time from the beginning of the track to the
current time location.
TOTAL REMAIN: Display the remaining time from the current time location to the
end of the audio CD.
TRACK REMAIN:Display the remaining time from the current time location to the
end of the track.
current track number
total number of tracks on the disc
total time of tracks on the disc
Time display selection Time Level meter (L/R)
49
How to play an audio CD—the CD Player
How to play an audio CD
Playing and stopping a song
Here’s how to play an audio CD on the CDX-1.
Playing/stopping an audio CD
1. Insert an audio CD as described in “Inserting a disc” (p. 35).
fig.2-02
The CD Player screen appears.
2. Move the AUDIO CD fader (AUDIO TRACK 7-8 fader) to approximately 0 dB.
fig.2-03
* You can make settings so that the volume of an
audio CD will be adjusted only by the MASTER
fader, without using the AUDIO CD fader
(AUDIO TRACK 7-8 fader). In this case, the
AUDIO CD fader (AUDIO TRACK 7-8 fader) will
have no effect, so step 2 will not be necessary. For
details refer to “Changing the way in which audio
CD volume is adjusted” (p. 52).
3. Lower the MASTER fader of the CDX-1.
4. Press PLAY [].
The song is played back.
5. Raise the MASTER fader to adjust the master.
6. Press STOP [ ].
The song stops.
If [SEQ PLAY] lights, the song
will not be played back.
You can play back an audio
CD on the CDX-1 and sample
favorite phrases from the CD.
For details on operation, refer
to “Sampling from a CD audio
clip collection inserted in the
CDX-1” (p. 57).
50
How to play an audio CD—the CD Player
Changing the playback location
Moving to the previous/next track
■ When the song is stopped
Press SEARCH [ ] to move to the previous track.
Press SEARCH [ ] to move to the next track.
■
When a song is playing
Press SEARCH [ ] to move to the beginning of the currently playing track.
Press SEARCH [ ] to move to the previous track.
To go back to the beginning of an audio CD
Press ZERO[] to move to the beginning (Track 1) of an audio CD.
Rewind/fast-forward
■ Rewind
While you hold down REW [ ], the song will rewind.
■
Fast-forward
While you hold down FF [ ], the song will fast-forward.
* These operations can be used regardless of whether the song is playing or stopped.
51
How to play an audio CD—the CD Player
How to play an audio CD
Repeatedly playing a specified region
—the Repeat function
You can specify a region that you wish to hear, and hear it repeatedly.
Registering the repeat region
1.
Use REW [ ] /FF [ ] to move to the location where you wish to begin repeating.
2. Press REPEAT [ ].
REPEAT [ ] will blink, indicating that the current location has been
registered as the repeat start point (A).
fig.2-04
If you wish to re-do the registration, you can cancel the registered location by
pressing REPEAT [ ] when the current location is the same as the repeat
start point (A). If the current location is beyond the repeat start point (A), press
REPEAT [ ] twice to cancel the registration.
3.
Use REW [ ] /FF [ ] to move to the location where you wish to stop repeating.
4. Press REPEAT [ ].
REPEAT [ ] will light, indicating that the current location has been
registered as the repeat end point (B).
fig.2-05
If you wish to re-do the registration, press REPEAT [ ] to cancel the
registered location. Then re-register from the repeat start point (A).
5. When you press PLAY [ ], the region between the (A) and (B) points you
registered will be played back repeatedly.
Canceling the repeat region
1. When REPEAT [ ] is lit, press REPEAT [ ].
REPEAT [ ] will go out. The Repeat function will be defeated, and the repeat
start (A) and end (B) points you registered will also be cleared.
There must be at least one
second between repeat start
point (A) and repeat end point
(B). It is not possible to set the
end point less than one second
away from the start point.
Specifying the repeat region while the song plays
You can specify the repeat region while the song is playing. To do so, use the
following procedure to.
1. Press PLAY [ ] to play the song.
2.
When you come to the point where you wish to begin repeating, press REPEAT [ ].
REPEAT [ ] will blink, indicating that the repeat start point (A) has been registered.
3.
When you come to the point where you wish to stop repeating, press REPEAT [ ].
REPEAT [ ] will light, indicating that the repeat end point (B) has been registered.
When the end point (B) has been registered, the region between the (A) and (B) points will
be played back repeatedly.
52
How to play an audio CD—the CD Player
Changing the way in which audio CD
volume is adjusted
At the factory settings, the audio CD volume is set to be adjusted by the AUDIO CD
fader (AUDIO TRACK 7-8 fader) and the MASTER fader. If you wish to adjust the
volume of audio CDs by using only the MASTER fader (without using the AUDIO
CD fader), use the following procedure to change the setting.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.2-06
2. Press CURSOR [ ] to select the System
icon.
3. Press [YES/ENTER].
The System settings screen appears.
fig.2-07
4. Press CURSOR [ ] to move the cursor to
“Audio CD Fader.”
5. Turn the TIME/VALUE dial to select “OFF.”
● Audio CD Fader:
This turns the audio CD fader on/off for when an audio CD is played.
ON: The audio CD fader (AUDIO TRACK 7-8 fader) and Master fader will be used.
OFF: The volume will be adjusted only by the MASTER fader.
6. Press [DISPLAY] to return to the Basic screen.
If you wish to play the pads
while listening to an audio CD
(p. 69), it is convenient to make
settings so that the AUDIO CD
fader (AUDIO TRACK 7-8
fader) adjusts the volume,
since this will allow you to
adjust the pad volume and
audio CD volume separately.
53
Collecting audio
material
54
Recording a sound to a pad—Sampling
What is sampling?
Sampling refers to the process by which audio sources such as instruments or vocals
can be digitally recorded. Audio sources that you’ve sampled by actually playing an
instrument or by cutting part of an existing performance are referred to by the
CDX-1 as audio samples (subsequently called “samples”).
Today, the method of creating music by repeatedly playing back sampled materials
(samples) and by using a sequencer to freely combine samples has become one of the
most commonly used methods. Since the CDX-1 provides a Sequencer function
(p. 88), you can freely arrange samples to create a song.
For example, you might start by sampling a favorite drum pattern or bass pattern.
Then you might modify the tempo of these samples, and use effects to change the
character of the sound while you create a new accompaniment. Finally, you can layer
vocal or instrumental performances to create a new song.
This method of music production via sampling originated in hip-hop and house
music, but today has become widely used in all popular music.
Pads and banks
Eight pads and 64 pad banks
The panel buttons with numbers from 1 to 8 are pads. Samples can be assigned to
these pads and played.
A set of eight samples assigned to the panel is called a pad bank. By switching pad
banks you can use up to 512 samples (64 pad banks x 8).
fig.31-01
Switching pad banks
1. Press the [PAD BANKS].
fig.31-02
The Pad Bank List screen appears.
2. Select the pad bank (1–64) by turning the TIME/VALUE dial.
At this time, a pad in which a sample has been recorded lights. While turning the
TIME/VALUE dial, allowing you to check whether or not there is a sample.
3. Press [YES/ENTER].
The pad bank will change.
Pad Bank 1
Pad Bank 2
Pad Bank 3
Pad Bank 63
Pad Bank 64
In step 2, you can press a pad
[1]–[8] to select pad banks 1–8.
55
Recording a sound to a pad—Sampling
Recording a sound to a pad
Naming a pad bank
Each of the 64 pad banks can be given a name of up to ten characters. If you have
assigned names to the pad banks, it will be easier to select the desired bank.
For clarity, you may wish to use pad bank names like the examples given below.
• Types of samples
Examples: “DrumLoop1,” “Male Voice,” “SFX”
• Dates on which you sampled
Examples: “Jan.1, 01” “5/12 pm9:30”
1. Select the pad bank to which you wish to assign a name (refer to the preceding
section).
2. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, you can press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.31-03
3. Press CURSOR [ ] to select the Bank
Parameter icon.
4. Press [YES/ENTER].
fig.31-04
The Bank Parameter screen appears.
5. Press CURSOR [ ] to move the cursor to “Name” line.
6. Use CURSOR [ ] [ ] to move to the desired character location, and turn
the TIME/VALUE dial to input the desired character.
7. Press [DISPLAY] to return to the Basic screen.
56
Recording a sound to a pad—Sampling
Sampling to a pad
Sampling an external sound
As an example, we will explain how to connect a synthesizer and sample it.
1. Connect your synthesizer to the CDX-1 as described in “Connecting peripheral
equipment” (p. 32), and then press INPUT SELECT [LINE L/R].
INPUT SELECT [LINE L/R] will light.
2. Turn the INPUT SENS knob to adjust the input sensitivity.
Adjust the INPUT SENS knob as high as possible without causing the peak indicator
to light when you play your synthesizer strongly.
3. Press PAD RECORDING [PAD REC].
fig.31-05
[PAD REC] indicator begins flashing, and the
Sampling screen appears.
The lowest-numbered unused pad will automatically be selected as the sampling
destination, and will blink.
4. Turn the INPUT REC LEVEL knob to adjust the level so that level meter moves
as far as possible without exceeding the dotted line in the upper portion.
fig.41-11
* If you use the INPUT REC LEVEL knob to turn
down the volume of the input source, the sound will
be sampled to the pad at a low volume. This means
that when you raise the volume of the pad for
playback, noise may be more obtrusive.
5. If necessary, press a pad to change the sampling destination.
* If the specified pad already contains a sample, you will be asked “Overwrite?” If it is OK to delete
the existing sample, press [YES/ENTER]. If you wish to keep that sample, specify a different pad
that is unused. If necessary, press [PAD BANKS] to change the pad bank. (
➔ “Switching pad
banks”; p. 54)
6. At the appropriate moment of the performance, press [PAD REC].
The display will indicate “Now recording...” and sampling will begin.
7. When sampling is completed, press [PAD REC].
When sampling is completed, the Basic screen reappears.
• For details on the jack to use
for connections and on the
INPUT SELECT buttons,
refer to “Panel Descriptions:
Rear Panel” (p. 30), and
“panel descriptions: INPUT
section” (p. 21).
• At the factory settings, the
CDX-1 cannot record the
output of a digital audio
device via the OPTICAL IN
or COAXIAL IN connectors.
You must change the
settings as described in “In
order to make a Digital
recording with CD player”
(p. 148).
• Use the MASTER fader to
adjust the monitoring
volume of the synthesizer. If
you are monitoring through
headphones, use the
MASTER fader and the
PHONES knob to adjust the
volume to a comfortable
level.
For details on settings in the
Sampling screen, refer to
“Making Settings in the
sampling screen” (p. 60).
The meter moves high level as possible without
exceeding the limit shown as dotted line.
↓
With the CDX-1’s internal
effects, you can perform
sampling while adding any of
the internal effects to the input
source.
➔ “Using the insert
effects”(p. 141), “Using the
loop effects”(p. 145).
If you wish to do it over again,
press [UNDO/REDO] (p. 138)
after step 6.
57
Recording a sound to a pad—Sampling
Recording a sound to a pad
Sampling from a CD audio clip collection inserted in the CDX-1
Here’s how you can sample audio materials from a CD audio clip collection
(copyright-free) inserted in the CDX-1.
1. Insert the audio clip CD into the CDX-1.
2. Press PAD RECORDING [PAD REC].
fig.31-05
[PAD REC] indicator begins flashing, and the
Sampling screen appears.
The lowest-numbered vacant pad will be automatically selected as the sampling
destination, and will blink.
3. If necessary, press a pad to change the sampling destination.
* If the specified pad already contains a sample, you will be asked “Overwrite?” If it is OK to delete
the existing sample, press [YES/ENTER]. If you wish to keep that sample, specify a different pad
that is unused. If necessary, press [PAD BANKS] to change the pad bank. (
➔ “Switching pad
banks”; p. 54)
4. Press PLAY [ ] to play back the audio CD, use the AUDIO CD fader (AUDIO
TRACK 7-8 fader) to adjust the recording level so that level meter moves as far as
possible without exceeding the dotted line in the upper portion.
fig.41-11
* If you use the AUDIO CD fader (AUDIO TRACK
7-8 fader) to turn down the volume of the CD player,
the sound will be sampled to the pad at a low volume.
This means that when you raise the volume of the pad
for playback, noise may be more obtrusive.
5. When you adjust the volume, press STOP [ ].
6. Press PLAY [ ] to play back the audio CD, and at the appropriate timing press
[PAD REC].
The display will indicate “Now recording...,” and sampling will begin.
7. When sampling is completed, press [PAD REC].
When sampling is completed, the CD Player screen appears.
8. Press [ ] to stop playback of the audio CD.
For details on settings in the
Sampling screen, refer to
“Making Settings in the
Sampling screen” (p. 60).
If you make settings so that the
volume of an audio CD will be
adjusted using the AUDIO CD
fader (AUDIO TRACK 7-8
fader) (p. 52).
Recording level is fixed 0 dB
when “Audio CD fader” is
“OFF” (p. 52).
The meter moves high level as possible without
exceeding the limit shown as dotted line.
↓
If you set “Start with” in the
sampling screen to “[ ]”,
sampling will begin when you
press PLAY [ ]. (p. 61)
If you wish to do it over again,
press [UNDO/REDO] (p. 138)
after step 7.
58
Recording a sound to a pad—Sampling
Loading a Windows WAVE file
Some commercially available sampling CD audio clip collections (copyright-free)
designed for use in music production are mixed-mode CDs that saving both audio
and WAVE files. The CDX-1 lets you load these WAVE files and assign them to the
pads.
1. Insert a mixed-mode CD (AUDIO+WAVE) as described in “Inserting a disc”
(p. 35).
2. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, you can press [TEMPO MATCH] and then press CURSOR [ ].
The Pad Edit menu are displayed as icons.
fig.31-06
3. Press CURSOR [ ] to select the Load
WAVE file icon.
4. Press [YES/ENTER].
fig.2-07
The Load WAVE file screen appears.
5. Make sure that the cursor is located at the “Load To” line, press CURSOR [ ]
[] to select the pad bank number and pad number, and specifying the pad
to which the newly loading sample is assigned.
Turn the TIME/VALUE dial to set the pad bank number. To set the pad number,
either press a pad or turn the TIME/VALUE dial.
6. Press CURSOR [ ] to move the cursor to “Data Type” line, and turn the
TIME/VALUE dial to select the data type.
7. Press [YES/ENTER].
fig.2-07
The File List screen appears.
* If the specified pad already contains a sample, you will be asked “Overwrite OK?” If it is
OK to delete the existing sample, press [YES/ENTER]. If you wish to keep that sample,
press [NO/EXIT] to return to the Load WAVE screen, and then specify a different pad
that is unused. If necessary, press [PAD BANKS] to change the pad bank. (
➔ “Switching
pad banks”; p. 54)
8. Press CURSOR [ ] [ ] to select the file that you wish to load.
If you wish to see contents of a folder, select folder and press [YES/ENTER].
If you press PLAY [ ], play back of the selected WAVE file starts. When the play
back is finished, a massage “Convert are you sure?” is displayed, asking you wish to
load the file. If you wish load, see step 9.
Press [NO/EXIT], the File List screen reappears.
9. Press [YES/ENTER].
The display will show a message of “Completed.”, the WAVE file will be assigned
to the pad.
10. Press [DISPLAY] to return to the Basic screen.
WAVE file (p. 207)
In case the name of folders or
files are not readable. CDX-1
displays those “_____.”
In step 8, if you wish to switch
preview length of WAVE files,
refer to the column “Switching
of preview length of Windows
WAVE files” (p. 59).
To close the folder, select
“PARENT DIRECTORY” and
press [YES/ENTER].
59
Recording a sound to a pad—Sampling
Recording a sound to a pad
Using free audio sources from the Internet
If you have a computer that can connect to the Internet and a CD-R drive, you can
load free audio sources (Windows WAVE files) from the Internet.
1. Connect to the Internet and download the desired free Windows WAVE files.
2. Using a CD-R drive connected to (or installed in) your computer, write the
downloaded Windows WAVE file(s) to a CD-R disc.
3. Insert the above CD-R disc into the CDX-1.
4. Follow the procedure described in steps 2–10 of “Loading a Windows WAVE
file.”
Switching of preview length of Windows WAVE files.
Preview length of WAVE files imported on “Loading a Windows WAVE file” (p. 58)
can be switched.
1. Press [UTILITY].
The Menu are displayed as icon.
2. Press CURSOR [ ] to select the System icon.
fig.2-06
3. Press [YES/ENTER].
The System setting screen appears.
4. Press CURSOR [ ] to move the cursor to “Wave Preview” line.
fig.31-wave
5. Turn the TIME/VALUE dial to select the preview time:
“1sec”–”10sec” (units: second).
6. Press [DISPLAY] to return to the Basic screen.
CDX-1 is not able to be
recorded to a CD-R disc,
connect directly to the
personal computer.
60
Recording a sound to a pad—Sampling
Making settings in the Sampling screen
The Sampling screen appears in step 3 of “Sampling an external sound” (p. 56) or
step 2 of “Sampling from a CD audio clip collection inserted in the CDX-1” (p. 57).
As necessary, make settings for the various items in the Sampling screen to modify
the sampling settings.
Selecting the audio quality and sampling time
appropriate for the material—Data Type
You can set the data type each time you sample. This allows you to select the audio
quality and recording time appropriate for the audio material you are sampling.
fig.31-07a
1. Make sure that the cursor is located at the
“Data Type” line.
2. Turn the TIME/VALUE dial to select the data type.
● Data Type
HIGH: Of the four types, this allows the highest-quality recording.
STANDRD: This type maintains high quality, while allowing longer
recording time than “HIGH.” Normally you should select this
type.
LONG1: This type allows longer recording than “STANDARD.” It is
suitable for recording live performances.
LONG2: This allows the longest recording time of the four types.
For multitrack recording, you
will select the data type when
you format the CD-RW disc
(p. 110).
Data type and sampling time
If you limit your selection to one data type, the available sampling time will be as
follows.
fig.31-08e
* The above sampling times are approximations for when only one data type is used. The data type
can be set separately when recording each sample, and the sampling time will be different if
different data types coexist.
HIGH
STANDARD
LONG1
LONG2
Using standard memory Using expansion memory
Data Type
Sampling Time
5 minutes
7 minutes
9 minutes
11minutes
43 minutes
58 minutes
69 minutes
87 minutes
61
Recording a sound to a pad—Sampling
Recording a sound to a pad
Specifying stereo or mono—Type
You can specify whether the sound will be sampled in mono or in stereo.
fig.31-07b
1. Press CURSOR [ ] to move the cursor to
“Type” line.
2. Turn the TIME/VALUE dial to select “STEREO” or “MONO.”
Automatically start sampling when sound is input
—Start with
At the factory settings, sampling will begin manually (when you press [PAD REC]).
You can change this setting so that sampling will begin automatically when audio
input is detected.
fig.31-07c
1. Press CURSOR [ ] to move the cursor to
“Start with” line.
2. Turn the TIME/VALUE dial to select a value in the range of “LEV.1”–”LEV.8.”
The value 1–8 specifies the volume at which sampling is to begin (1 is the minimum).
The level specified is indicated by a small symbol ( ) at both side of the level meter
(sampling screen).
fig.31-09
It is best to set this while actually playing
sounds and watching the movement of the
level meter.
3. Prepare the audio source for sampling so that it can be played immediately.
4. Press [PAD REC].
The display will indicate “Waiting trigger...,” and the CDX-1 will be in sampling-
ready mode.
To abort the procedure from this state, press [PAD REC].
5. Play the audio source that you wish to sample.
When audio input is detected, the display will indicate “Now recording...,”
and sampling will begin.
6. When sampling is completed, press [PAD REC].
When sampling is completed, the Basic screen reappears.
Mono sampling requires only
half the memory of stereo
sampling. However, this has
no effect on the number of
samples that can be played
simultaneously. (“Playing
samples simultaneously”;
p. 69)
What the “Start with” setting does
This determines how sampling will begin.
MANUAL: Sampling can be started manually.
LEV.1–LEV.8: Sampling will be triggered by audio input.
PAD: Sampling will begin when you press any pad.
➔ “Sampling from a pad to another pad–Resampling” (p. 63)
[]: Sampling will begin when you press PLAY [ ].
➔ “Sampling from a CD audio clip collection inserted in the CDX-1” (p. 57)
62
Recording a sound to a pad—Sampling
Making sure to capture the beginning of the sound
—Pre Trigger
Depending on the sampling conditions, the beginning of the sampled sound may not
be captured. By setting the pre-trigger time appropriately, you can avoid this
problem by causing sampling to begin slightly ahead of the time when you initiated
sampling or when the audio input was detected.
fig.31-07d
1. Press CURSOR [ ] to move the cursor to
“Pre Trigger” line.
2. Turn the TIME/VALUE dial to select the pre-trigger time: “OFF,” “20ms,”
“40msms,” “80ms,” “160ms,” or “320ms” (units: milliseconds).
In order to set Pre-Trigger, the
“Start with” setting must be
“Lev.1”-”Lev.8.”
63
Recording a sound to a pad—Sampling
Recording a sound to a pad
Sampling from a pad to another pad
—Resampling
You can press one or more pads to play their samples and “re-sample” the result.
This is called resampling.
1. Press PAD RECORDING [PAD REC].
fig.31-05
[PAD REC] indicator begins flashing, and the
Sampling screen appears.
* If all pads already contain samples, a message of “Overwrite?” appears. In this case, press
[YES/ENTER], a message disappears.
fig.31-07c
2. Press CURSOR [ ] to move the cursor to
the “Start with” line.
3. Turn the TIME/VALUE dial to select “PAD.”
fig.31-09a
4. Press the source pad(s) and watch the meter
at the right edge of the screen while you
use the PAD/SEQ LEVEL fader to adjust
the level.
5. Press the pad to designate the sampling destination.
* If the specified pad already contains a sample, you will be asked “Overwrite?” If it is OK to delete
the existing sample, press [YES/ENTER]. If you wish to keep that sample, specify a different pad
that is unused. If necessary, press [PAD BANKS] to change the pad bank. (
➔ “Switching pad
banks”; p. 54)
6. Press [PAD REC].
The display will indicate “Waiting for PAD to start.”, and the CDX-1 will be in
sampling-ready mode.
To abort the procedure from this state, press [PAD REC].
7. When you press the source pad(s), sampling will begin automatically.
8. When sampling is completed, press [PAD REC].
The display returns to the Basic screen.
When resampling, you can
play a maximum of three
samples simultaneously.
For details on settings in the
Sampling screen, refer to
“Making settings in the
sampling screen” (p. 60).
If you wish to apply an insert
effect while you resample,
change the insert effect
connection to “MASTER”.
For details on changing the
insert effect connection, refer
to “Changing the insert effect
connections” (p. 144).
64
Recording a sound to a pad—Sampling
If the display indicates “Memory Full.”
If the remaining memory is completely used up during sampling, the display
indicates “Memory Full.” (no remaining memory), and sampling stops.
This indication disappears when you press any button such as [DISPLAY] or
[NO/EXIT] (the sounds recorded up to that point is kept on in the internal memory).
If such instances, execute the Optimize Sample function. This deletes wasted space
being consumed on the memory and may secure new memory.
For details on Optimize Sample, read “Increasing the Remaining Memory—
Optimize Sample” on this page.
Increasing the Remaining Memory
—Optimize Sample
By executing Optimize Sample you can erase the unwanted data from the internal
memory, may increase the amount of available space in the internal memory.
Optimize Sample will delete data as follows.
• As much as possible, data including partial waveforms used in samples and on
tracks, except for those portions actually sounded (used), is deleted.
• Waveform data in each phrase on the tracks from the beginning of the waveforms
to where they start playing, as well as data after points specified by “Wave End
Point” (p. 105) are erased.
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, you can press [TEMPO MATCH] and then press CURSOR [ ].
The Pad Edit menu are displayed as icons.
fig.42-11
2. Press CURSOR [ ] to select the
Optimize Sample icon.
3. Press [YES/ENTER].
fig.42-11
A message of “You can’t UNDO this
function.” appears.
4. Press [YES/ENTER].
A message of “Are you sure?” appears.
5. If you press [YES/ENTER], Optimize will be executed.
The display will show a message of “Completed.” and the Basic screen will reappear.
If you press [NO/EXIT], the display of step 3 reappears without executing Optimize.
A rough figure of the time
remaining is indicated as
“Remain **m**s” in the
Sampling screen. Check this
display as sampling
progresses, and if the
remaining memory is running
out perform the Optimize
Sample procedure.
•After you execute Optimize
Sample, it is not possible to
press [UNDO/REDO]
(p. 138) to revert to the state
before executing Optimize.
•After you execute Optimize
Sample, editing to be the
start points earlier and the
end points later (p. 78)
becomes impossible.
•While the processing bar
appears, do not turn off the
power with unplugging the
AC adaptor.
If there is no increase in the remaining memory even after
Optimize Sample is executed...
If there is no increase in the remaining memory even after Optimize Sample is
executed, first delete unneeded data then try Optimize Sample again.
➔ “Deleting a sample—Delete Sample”(p. 65)
65
Recording a sound to a pad—Sampling
Recording a sound to a pad
Deleting a sample—Delete Sample
Here’s how you can delete an unwanted sample to free up that pad.
Deleting samples individually
1. Hold down PAD RECORDING [DELETE] and Press a pad to specify the sample
that you wish to delete.
The sample is deleted.
You wish to cancel to delete a sample, press [UNDO/REDO] (p. 138).
Deleting all samples of a pad bank—Bank Erase
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.31-10
2. Press CURSOR [ ] to select the Bank
Erase icon.
3. Press [YES/ENTER].
fig.31-11
The Erase Bank screen appears.
4. Turn the TIME/VALUE dial to specify the pad bank to be deleted.
5. Press [YES/ENTER].
A message of “Are you sure?” appears.
6. Press [YES/ENTER] once again.
All samples of the specified pad bank will be erased.
7. If you wish to erase other pad banks, repeat steps 4 and 6.
8. Press [DISPLAY] to return to the Basic screen.
If you carry on bank erase, a
pad bank name (p. 55) will be
remained without a erasing.
66
Recording a sound to a pad—Sampling
Preventing accidental erasure of pads
—Bank Protect
The samples assigned to the pads can be protected against accidental erasure so that
they are not lost by unintended operations or by inadvertently overwriting them. A
protected pad bank and its samples are handled as follows.
• If you attempt to sample, a warning of “Bank is Protected.” appears, and sampling
will not be possible.
• If you attempt to change setting of Pad Parameter and Pad Bank Parameter, a
warning of “Bank is Protected.”
• Editing operations that would affect the contents of the pad bank, such as deleting
the entire pad bank or an individual sample, will produce a warning message, and
will not be executed.
• Editing operations that require you to specify a writing destination (such as
rearranging samples or Time Stretch) cannot be executed if the writing destination
is protected.
Protecting/unprotecting a pad bank
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.31-12
2. Press CURSOR [ ] to select the Bank
Protection icon.
3. Press [YES/ENTER].
fig.31-13
The Bank Protection setting screen appears.
4. Make sure that the cursor is located at the “Bank” line.
5. Turn the TIME/VALUE dial to select the pad bank that you wish to protect.
6. Press CURSOR [ ] to move the cursor to the “Protect” line.
7. Turn the TIME/VALUE dial to change to protect “ON” or “OFF.”
8. Press [DISPLAY] to return to the Basic screen.
67
Recording a sound to a pad—Sampling
Recording a sound to a pad
Saving Pad/Sequence on a CD-RW disc
Pad and Sequence (p. 88) can be saved on a CD-RW disc.
More about saving Pad/Sequence
When you sample and create a sequence (p. 88), the Pad/Sequence is temporarily
stored in the internal memory of the CDX-1. This means that you can sample and
create a sequence (p. 88) even if a CD-RW disc is not inserted.
Pad/Sequence stored in internal memory will be lost when the power is turned
off (p. 34) or when you mixdown (p. 133). If you wish to keep the pad/sequence,
you must save it on a CD-RW disc, follow the procedure in “Saving Pad/Sequence,”
below.
Saving Pad/Sequence
* On the CDX-1, this operation does not save the following sequence-related parameters.
In order to save the following parameters, you must perform the operation “Saving Song settings
on a CD-RW disc” (p. 126).
• The sequence track (A–D) status
• The state of the PAD SEQUENCING [SEQ PLAY]
• Tempo map
• “Beat” and “Tempo” settings of the Rhythm Guide
1. Press [UTILITY].
The Menu are displayed as icon.
fig.31-14
2. Press CURSOR [ ] to select the Save
PAD/SEQ icon.
3. Press [YES/ENTER].
A message of “Save PAD/SEQ data?” appears.
4. Press [YES/ENTER].
The display will indicate “Saving PAD/SEQ...,” and the data will be saved. When
saving is completed, the display will show a message of “Completed.”
5. Press [DISPLAY] to return to the Basic screen.
When you save Pad/Sequence,
all previously saved samples
on a CD-RW disc will be
overwritten and lost.
68
Recording a sound to a pad—Sampling
Loading Pad/Sequence from a CD-RW disc
To load Pad/Sequence saved in CD-RW disc, carry out the following process.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.31-14
2. Press CURSOR [ ] to select the Load
PAD/SEQ icon.
3. Press [YES/ENTER].
A message of “Load PAD/SEQ data?” appears.
4. Press [YES/ENTER].
The display will indicate “Loading PAD/SEQ...,” and the data will be loaded. When
loading is completed, the display will show a message of “Completed.” and the Basic
screen will reappear.
In case any Pad/Sequence is
held in internal memory of
CDX-1, it will be overwritten
b
y those loaded from CD-RW
disc. It is recommended to
save Pad/Sequence in internal
memory to another CD-RW
disc before loading.
➔ “Saving
Pad/Sequence” (p. 67)
If the display asks “Load PAD/SEQ data?”
If you insert a CD-RW disc containing Pad/Sequence when internal memory
contains Pad/Sequence, a message of “Load PAD/SEQ data?” will be displayed. In
this case, use the following procedure.
■ Use the Pad/Sequence that are stored in internal memory
In response to the “Load PAD/SEQ data?” message, press [NO/EXIT].
The Pad/Sequence stored in internal memory will continue to be available.
■ Use the Pad/Sequence from the CD-RW disc
In response to the “Load PAD/SEQ data?” message, press [YES/ENTER].
The Pad/Sequence from the CD-RW disc will be assigned to the pads.
* At this time, the Pad/Sequence stored in internal memory will be replaced. This means that the
sample that was previously in internal memory will be lost. If necessary, save the Pad/Sequence on
a CD-RW disc. For details refer to “Saving Pad/Sequence” (p. 67).
69
Playing the pad samples
Playing the pad samples
Basic ways to play samples
Playing a sample
Press a pad in which a sample has been recorded (lit), and it will play.
There are 3 kinds of how a pad starts/stops sounding. For details refer to “Changing
how a pad starts and stops sounding—Pad Play” (p. 70).
Adjusting the Overall Sample Volume
The overall monitoring volume of the samples you play from the pads can be
adjusted by the PAD/SEQ LEVEL fader and the MASTER fader.
To adjust the volume of an individual pad sample, refer to “Adjusting the volume of
a sample–Sample Level” (p. 76).
Playing samples simultaneously
Up to four samples can be played simultaneously. If you press more than four pads,
the sample of the pad you pressed last will be given priority, and the sample of the
pad that was pressed first will stop sounding.
Playing pads while audio tracks play back
The number of sounds that can be played simultaneously is four stereo notes total
for the audio tracks, pads, and sequence track. Audio track playback takes
priority over pad playback. This means that if seven or more audio tracks are
playing, pressing a pad will not sound its sample (the pads will be extinguished).
If you wish to play back audio tracks and add samples played from the pads,
the [STATUS] of at least two audio tracks must be extinguished (muted). In this
case, you must turn off the audio track [STATUS] in a combination of 1-2, 3-4,
5-6, or 7-8.
Playing pads while you play back an audio CD
Sample data assigned to pads will remain in the internal memory of the CDX-1
unless mixdown (p. 133) is performed or the power is turned off (p. 34). Here’s how
you can use the Pad/Sequence in internal memory to play the pads while an audio
CD plays back.
1. With samples assigned to the pads (pads lit), insert an audio CD.
2. Press PLAY [ ].
The audio CD plays.
3. When you press a pad, its sample will play.
At this time you can play up to three pads simultaneously.
Depending on the status of the
audio tracks, even pads that
contain samples may be
extinguished, and will not be
playable. For details refer to
“Playing pads while audio
tracks play back” on this page.
The number of samples that
can be played simultaneously
will not increase even if you
sample in mono. However,
mono sampling uses only half
the memory of stereo
sampling.
When [SEQ PLAY] lights, an
audio CD is inserted, and the
Sequence function will
automatically be turned off.
Also, when you press
[SEQ PLAY] turn on, an audio
CD will not be played back
even if an audio CD is
inserted.
Can I layer samples from another pad bank?
When you switch pad banks, the samples of the previous pad bank will stop.
However, samples to which Hold (p. 72) is applied will continue to sound until Hold
is defeated. You can press other pads to layer samples from another sample bank.
Even in this case, it is not possible to exceed the limit of four stereo notes.
70
Playing the pad samples
Changing how a pad starts and stops
sounding—Pad Play
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, you can press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.32-01
2. Make sure that the cursor is located at the
pad parameter icon.
3. Press [YES/ENTER].
The pad parameter screen appears.
4. Press the pad for the sample for which you’ll be making settings.
The selected pad blinks.
fig.32-02a
5. Make sure that the cursor is located at the
“Pad Play” line.
6. Turn the TIME/VALUE dial to specify how the pad will sound.
● Pad Play
GATE: Press the pad → the sound begins
Release the pad → the sound stops
TRIGGER: Press the pad → the sound begins
The sound will continue even after you release the pad
Press the pad once again → the sound stops
DRUM: Press the pad → the sound will begin sounding, and will
automatically stop at the sample end point (p. 78; the location
specified for the sound to end)
* If you select “DRUM”, the Loop Mode (p. 73) setting will be ignored, and the sound will play only
once. Also if “DRUM” is selected, it will not be possible to stop the sample once it has been played.
Use this setting with caution in the case of extremely long samples.
7. If you wish to make settings for other samples, press the desired pad and repeat
steps 5 and 6.
8. Press [DISPLAY] to return to the Basic screen.
If you wish to make settings
for the samples of other pad
b
anks, you must first switch
the pad bank (p. 54).
71
Playing the pad samples
Playing the pad samples
Crossfading the pad samples you play
—Pad Crossfade
By using Pad Crossfade, you can play pad samples without creating gaps between
the sounds of each pad. Each time you press a pad, its sample will be automatically
crossfaded (faded in and faded out).
Pad samples can be recorded directly to a CD-R disc only when Pad Crossfade is
turned on. (➔ “Recording samples played using Pad Crossfade on a CD-R disc “;
p. 162)
1. Press [PAD X FADE].
[PAD X FADE] will light, and Pad Crossfade will be turned on.
2. Press a pad to play its sample.
3. When you press another pad while the first sample is playing, the first-played
sample will be faded-out, and the sample of the subsequently played pad will be
faded-in as it starts playing.
4. To cancel Pad Crossfade, press [Pad X FADE].
[PAD X FADE] will go out, and Pad Crossfade will be turned off.
All pads will sound in Trigger
mode, regardless of their
actual mode setting.
● Trigger mode:
The sound will begin playing
when you press the pad, and
will continue playing even
when you release the pad. The
sound will stop when you
press the pad once again.
72
Playing the pad samples
Making the sound continue even after
you release the pad—Hold
In some cases, you may want a sample whose Pad Play setting (p. 70) is set to
“GATE” (start sounding when you press the pad, and stop sounding when you
release it) to continue sounding even after you take your hand away from the pad.
In such cases, you can use the Hold function.
Using Hold
1. Hold down a pad that is set to “GATE,” and press [HOLD].
[HOLD] will light, indicating that Hold has been enabled. The sample will continue
playing even after you release [HOLD] or the pad.
2. Press [HOLD] once again.
[HOLD] will go out, Hold will be cancelled, and the sample will stop sounding.
Using Hold for multiple samples
After you have enabled Hold in step 1 of the preceding procedure,
1. Hold down another pad and press [HOLD].
Both samples will be held, and will continue playing even after you release [HOLD]
or the pad.
2. Press [HOLD] once again.
[HOLD] will go out, Hold will be cancelled, and both samples will stop sounding.
Hold will not function if the
Pad Play setting (p. 70) is
“DRUM.”
You can obtain a result similar
to Hold by setting the Hold
Play setting (p. 70) to
“TRIGGER.”
73
Playing the pad samples
Playing the pad samples
Playing repeatedly—Loop mode
Loop refers to a state in which a sample is played repeatedly from its start point (the
beginning of the sound) to its end point (the end of the sound) (or a specified region).
This function is convenient when you wish to repeatedly play a sample to create the
basic rhythm.
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.32-01
2. Make sure that the cursor is located at the
pad parameter icon.
3. Press [YES/ENTER].
The pad parameter screen appears.
4. Press the pad for the sample for which you’ll be making settings.
The selected pad blinks.
fig.32-02b
5. Press CURSOR [ ] to move the cursor to
“Loop Mode” line.
6. Turn the TIME/VALUE dial to select Loop mode.
● Loop Mode:
OFF: No looping
START-END:
Looping (from start point to end point)
LOOP-END:
Looping (from loop point to end point)
7. If you wish to make settings for other samples, press the appropriate pad and
repeat steps 4 and 5.
8. Press [DISPLAY] to return to the Basic screen.
The beginning
of the sample
The end of
the sample
Length
End PointStart Point
The beginning
of the sample
The end of
the sample
Length
End PointLoop PointStart Point
For the significance of each
point and details on how to
change the setting, refer to
“Adjusting the start/end
points of the sound” (p. 78).
If you wish to make settings
for a sample of another pad
b
ank, you must first switch to
that pad bank (p. 54).
74
Playing the pad samples
Preventing specific samples from
sounding simultaneously—Mute Groups
Samples that do not need to sound simultaneously (or that you do not want to be
heard simultaneously) can be assigned to the same mute group. The CDX-1 has
seven mute groups, and samples that are assigned to the same mute group will not
sound together with each other.
fig.32-05e
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.32-01
2. Make sure that the cursor is located at the
pad parameter icon.
3. Press [YES/ENTER].
The pad parameter screen appears.
4. Press the pad whose sample you wish to set.
The specified pad blinks.
fig.32-02c
5. Press CURSOR [ ] to move the cursor to
“Mute Group” line.
6. Turn the TIME/VALUE dial to select “OFF” or “GROUP-1”–”GROUP-7.”
7. If you wish to make settings for another sample, press the appropriate pad and
repeat steps 4 and 5.
8. Press [DISPLAY] to return to the Basic screen.
If you press two or more pads
that are assigned to the same
mute group, the sample that
was pressed first will be muted
(silenced).
PAD 1
PAD 1
PAD 1
Release
Press
Release
Press
Mute Mute
PAD 2
PAD 2
Release
Press
Mute
PAD 3
PAD 3
Release
Press
Time
Playing samples that are set to the same Mute group (Example)
If you wish to make settings
for a sample of another pad
b
ank, you must first switch the
pad bank (p. 54).
75
Playing the pad samples
Playing the pad samples
Playing a sample from a connected
foot switch
If a separately sold foot switch (e.g., DP-2 or BOSS FS-5U) is connected, you can play
the sample of a specified pad by pressing the foot switch.
Specifying the Function of the Foot Switch
1. Connect an optional foot switch (DP-2, BOSS FS-5U, etc.) to the FOOT SWITCH
jack.
2. Press [UTILITY].
The Menu are displayed as icon.
fig.2-06
3. Press CURSOR [ ] to select the System
icon.
4. Press [YES/ENTER].
The System settings screen appears.
fig.2-07
5. Press CURSOR [ ] to move the cursor to
“Foot SW” line.
6. Turn the TIME/VALUE dial to select “SAMPLER TRIG.”
7. Press [DISPLAY] to return to the Basic screen.
When you press the foot switch, the sample of the specified pad will sound.
Specifying the pad sample that will be played
by the foot switch
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.32-01
2. Press CURSOR [ ] to select the Bank
Parameter icon.
3. Press [YES/ENTER].
fig.32-02d
The pad bank parameter screen appears.
fig.32-02d
4. Make sure that the cursor is located at the “Bank” line, and use TIME/VALUE
dial to witch to the pad bank for which you wish to make settings
5. Press CURSOR [ ] to move the cursor to “Foot Switch PAD” line.
6. Turn the TIME/VALUE dial to select a pad number (1–8).
7. Press [DISPLAY] to return to the Basic screen.
This parameter has only a
single setting which will apply
regardless of the song or the
CD-RW disc.
For details on “Foot SW”
parameter, refer to step 6 of
“Using a foot switch to punch-
in/out” (p. 122).
76
Editing the sample of a pad
The 512 samples (8 pads x 64) stored in the CDX-1 can be edited in a variety of ways,
such as by adjusting their volume or length. Samples can be edited either by creating
a new sample for another pad, or by simply modifying the settings of the same pad.
Adjusting the volume of a sample—
Sample Level
The volume at which a pad plays when you press it can be adjusted separately for
each pad. This conveniently allows you to achieve the appropriate relative volume
levels among your pads.
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.32-01
2. Make sure that the cursor is located at the
Pad Parameter icon.
3. Press [YES/ENTER].
The Pad Parameter screen appears.
4. Press the pad for which you wish to make settings.
The corresponding pad blinks.
fig.33-01
5. Press CURSOR [ ] to move the cursor to
“Level” line.
6. Turn the TIME/VALUE dial to set the volume.
* The volume can be adjusted in a range of 0–100. This setting is also be used as the volume level
when you arrange samples to create a song (p. 90–93).
7. If you wish to make settings for another sample, press the appropriate pad and
repeat steps 4–6
8. Press [DISPLAY] to return to the Basic screen.
If you wish to make settings
for a sample of another bank,
you must first switch to the
desired pad bank.
➔ “Switching pad banks”
(p. 54)
77
Editing the sample of a pad
Editing the sample of a pad
Displaying the correct tempo of a
sample
fig.33-02
The upper right of the Pad Parameter screen
displays the tempo of the sample in units of
BPM (Beats Per Minute: the number of beats
in one minute).
However, for this to be displayed accurately,
you must tell the CDX-1 the number of beats
in that sample and the note value of each beat.
* The tempo (BPM) display is always calculated as 1 beat = quarter note. For example, an eighth
note is calculated and displayed as half a beat, and a half note as double the length of one beat.
* In the case of a long sample such as a narration, for which it is difficult to determine a tempo
(BPM), you should set the number of beats in “x_” as 0. This produces the best results for the Time
Stretch function (p. 81).
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.32-01
2. Make sure that the cursor is located at the
Pad Parameter icon.
3. Press [YES/ENTER].
The Pad Parameter screen appears.
4. Press the pad for which you wish to make settings.
The corresponding pad blinks.
fig.33-03
5. Press CURSOR [ ] to move the cursor to
“BPM Base Note.”
6. Turn the TIME/VALUE dial to select a note.
7. Press CURSOR [ ] to move the cursor to “X__.”
8. Turn the TIME/VALUE dial to set the length of the sample as a multiple of the
note value you selected in step 5.
9. Press [DISPLAY] to return to the Basic screen.
Initially this is set to x8
(quarter note x 8 notes).
If the sample is a simple
rhythm, you can just play back
the sample and count, and
specify that value in step 6.
This is accurate and easy.
78
Editing the sample of a pad
Adjusting the start/end points of the
sound—Trim Sample
You can specify the portion of the sample that are played when you press the pad.
What are the Start/Loop points and Length?
fig.33-04e
Start Point: This is the point where the sound begins. By adjusting this, you can skip
a portion of unintended silence at the beginning of a sample so that the
sample starts playing at the right moment.
Loop point: When the sample is played repeatedly, this is the point where the
repetition (the second and subsequent times) begins. Set this when you
want to loop from a location other than the Start point.
Length: This is the length from the Start (or Loop) point to the End point (where
the sound stops). By adjusting this you can skip an unintended silent
portion at the end of a sample. This also determines the length of the
looped area when the sample is played back repeatedly (p. 73).
Setting each point
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.32-01
2. Make sure that the cursor is located at the
Pad Parameter icon.
3. Press [YES/ENTER].
The Pad Parameter screen appears.
fig.33-05
4. Press CURSOR [ ] to select the screen
with the three items “StartPoint,”
“LoopPoint,” and “Length (→End).”
5. Use CURSOR [ ] [ ] to move the cursor to the item you wish to set.
6. Press the pad to play the sample you are editing, and turn the TIME/VALUE dial
to adjust the setting.
7. Press [DISPLAY] to return to the Basic screen.
The end of
the sample
Length
Length
End PointLoop PointStart Point
The beginning
of the sample
•The location of the End point
(where the sound stops) is
determined indirectly by the
Length (the length from the
Start point to the End point).
•Set the Loop mode (“Playing
repeatedly”; p. 73) to specify
whether the sample are
looped (played repeatedly).
While changing the end point
or loop point, in order to
effectively edit even extremely
long samples, the beginning of
the sound can be automatically
switched to play not from the
start point, but from just before
the end point.
In step 6, if you press [YES/
ENTER] while the value of
“StartPoint” is selected, the
sample to be changed sounds
from the beginning.
While listening this sound
press [YES/ENTER] again,
that time location is set as a
start point automatically.
When the “Length(→End)” or
“LoopPoint” is selected, you
can set the end or loop point
with the same procedure as
above.
79
Editing the sample of a pad
Editing the sample of a pad
Automatically removing Empty Portion at the
Beginnings and Ends of Samples
This automatically removes any bank portions that may come before the sample
starts ti play or after the sample is finished.
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.2-06
2. Press CURSOR [ ] to select the Trim
icon.
3. Press [YES/ENTER].
fig.2-06
The Trim Sample screen appears.
4. Make sure that the cursor is located at the “Target” line, use CURSOR [ ]
[] to select the pad bank number and pad number for each item, specifying
the sample containing the empty sections at the start and end of sound.
Select the pad bank number by turning the TIME/VALUE dial. Select the pad
number either by pressing a pad or by turning the TIME/VALUE dial.
5. Press CURSOR [ ] to move the cursor to “Threshold” line.
6. Turn the TIME/VALUE dial to select the volume level (LEV1–LEV8) necessary
for detection of the empty sections.
The higher the numeral. the greater the volume these sections can have while still
being regarded as containing no sound.
7. When you have finished making the settings, press [YES/ENTER].
When remove of the empty sections is finished, “Completed.” appears in the
display.
8. Press [DISPLAY] to return to the Basic screen.
80
Editing the sample of a pad
Expanding and Compressing a sample
to modify the length or tempo
If you want the tempo or length of samples to match, you can stretch or shorten the
time that the sample is played.
Matching the tempo to another sample—Tempo Match
It is easier to edit your song if the materials you collected are of a consistent tempo.
The CDX-1 makes it easy to match the tempo of different samples.
Since this function needs to accurately calculate the tempo in order to perform a
high-quality compression or expansion, you must first perform the procedure of
“Displaying the correct tempo of a sample” (p. 77) to specify the number of
beats in the original sample.
In the case of samples for which it is difficult to calculate a tempo, such as a
narration, vocal part, or a long sustained sound, set the number of beats to 0.
1. Press PAD RECORDING [TEMPO MATCH].
fig.33-06
The Tempo Match Setting screen appears.
2. Use CURSOR [ ] [ ] [ ] [ ] to select the pad bank number and pad
number for each item, specifying the desired number for each.
Turn the TIME/VALUE dial to set the pad bank number. To set the pad number,
either press a pad or turn the TIME/VALUE dial.
BasePad: Specify the sample that is the standard for tempo.
Source: Specify the sample you wish to expand/compress sample.
To: Specify the pad to which the newly created sample is assigned. (*)
* If the destination pad already contains a sample, a message of “Overwrite?” appears. If it is OK to
overwrite the existing sample, press [YES/ENTER].
3. When you have finished making the settings, press [YES/ENTER].
After a while, the newly created sample is assigned to the destination pad.
4. Press [DISPLAY] to return to the Basic screen.
•Compression/expansion
(Stretch) requires more
processing time than other
sample editing operations.
Also, the audio quality of the
stretched sample may be
inferior to that of the original
sample.
•In case the expanding/
expanding level is in excess
of 130% or less than 70%, the
sample will not be made
correct tempo.
81
Editing the sample of a pad
Editing the sample of a pad
Expanding/compressing by a specified percentage or
tempo—Time Stretch
Since this function needs to accurately calculate the tempo in order to perform a
high-quality compression or expansion, you must first perform the procedure of
“Displaying the correct tempo of a sample” (p. 77) to specify the number of
beats in the original sample.
In the case of samples for which it is difficult to calculate a tempo, such as a
narration, vocal part, or a long sustained sound, set the number of beats to 0.
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.33-07
2. Press CURSOR [ ] to select the Time
Stretch icon.
3. Press [YES/ENTER].
fig.33-08
The Time Stretch screen appears.
4. Use CURSOR [ ] [ ] [ ] [ ] to select the pad bank number and pad
number for each item, and specify the desired number for each.
To set the pad bank number, turn the TIME/VALUE dial. To set the pad number,
either press a pad or turn the TIME/VALUE dial.
Source: Specify the sample you wish to expand/compress sample.
To: Specify the pad to which the expanded/compressed sample is assigned. (*)
* If the destination pad already has a sample, a message of “Overwrite?” appears. If it is OK to
overwrite the existing sample, press [YES/ENTER].
5. Press CURSOR [ ] [ ] to move the cursor to “Ratio.”
Turn the TIME/VALUE dial to specify the expansion/compression in a range of
50.0–150.0%.
A setting of 100.0% is the same as the original length.
* By selecting and setting “New BPM” (new tempo) in the line below, you can specify the
expansion/compression in terms of the new tempo. The Ratio and New BPM values
always changes simultaneously.
6. When you have finished making the settings, press [YES/ENTER].
After a time, the expanded/compressed sample is assigned to the destination pad.
7. Press [DISPLAY] to return to the Basic screen.
Compression/expansion
(Stretch) requires more
processing time than other
sample editing operations.
Also, the audio quality of the
stretched sample may be
inferior to that of the original
sample.
82
Editing the sample of a pad
Copying a sample to another pad—
Clipboard
By temporarily pasting a sample into the clipboard, you can easily copy a sample
from one pad to another.
1. Hold down the pad of the sample you wish to move (the pad lights), and press
[CLIP BOARD].
[CLIP BOARD] is illuminated.
* If [CLIP BOARD] already contains a sample, that is overwrited the existing sample.
2. Press [CLIP BOARD] to verify that the sample sounds.
3. Hold down [CLIP BOARD] and press the destination pad.
[CLIP BOARD] goes out, and the destination pad lights.
* If the destination pad already contains a sample, you cannot copy a sample.
4. Press the destination pad to verify that the sample sounds.
The sample of the PAD are
unable to be played back
simultaneously while playing
the sample of [CLIP BOARD].
Deleting a sample of [CLIP BOARD]
If you wish to delete a sample of [CLIP BOARD], hold [DELETE] and press
[CLIP BOARD].
83
Editing the sample of a pad
Editing the sample of a pad
Splitting a sample among several
pads—Divide Sample
Sometimes after sampling an extended performance, you may wish to divide the
sample into two parts, and assign them to separate pads as new samples. The Divide
Sample function lets you do this. This is convenient when you wish to record a
sample without pausing, and then later divide it into shorter samples and assign
them to pads.
Specifying a division point and dividing a sample in two
1. Set the end point of the original sample at the location where you wish to divide
the sample.
➔ “Setting the points” (p. 78)
2. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, you can press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.33-09
3. Press CURSOR [ ] to select the Divide
icon.
4. Press [YES/ENTER].
fig.33-10
The Divide Sample screen appears.
5. Make sure that the cursor is located at the “Type” line, and turn the
TIME/VALUE dial to set “END POINT.”
6. Use CURSOR [ ] [ ] [ ] [ ] to select the pad bank number and pad
number for “Source” (original sample) and “To” (destination), specifying the
sample for each.
Select the pad bank number by turning the TIME/VALUE dial. Select the pad
number either by pressing a pad or by turning the TIME/VALUE dial.
7. Press [YES/ENTER].
The sample are divided.
* If the destination pad already contains a sample, the “Overwrite?” message appears. If it is OK to
overwrite the existing sample, press [YES/ENTER]. If you do not wish to overwrite the existing
sample, press [NO/EXIT].
8. Press [DISPLAY] to return to the Basic screen.
84
Editing the sample of a pad
Automatically dividing a sample at silent portions
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.33-09
2. Press CURSOR [[ ] to select the Divide
icon.
3. Press [YES/ENTER].
fig.33-10
The Divide Sample screen appears.
4. Make sure that the cursor is located at the “Type” row, and turn the TIME/
VALUE dial to set “AUTO.”
Values of “AUTO 0.5,” “AUTO 1.0,” “AUTO 1.5,” and “AUTO 2.0” specify the
length (in seconds) of the silent portion that are the standard for dividing the sample.
For example, if you set this to “AUTO 1.0,” silent portions longer than one second
are the boundaries of the divided samples.
5. Use CURSOR [ ] [ ] [ ] [ ] to select the “Source” (original sample)
and “To” (destination) pad bank number and pad number, and specify the
sample for each.
Specify the pad bank number by turning the TIME/VALUE dial. Specify the pad
number by pressing a pad or by turning the TIME/VALUE dial.
6. Press [YES/ENTER].
The sample are divided.
* If the destination pad already contains a sample, the “Overwrite?” message appears. If it is OK to
overwrite the existing sample, press [YES/ENTER]. If you do not wish to overwrite the existing
sample, press [NO/EXIT].
7. Press [DISPLAY] to return to the Basic screen.
Dividing destinations when “AUTO” is used
• The divided samples are assigned successively, starting with the pad you specified
for “TO.” Pads that already contain a sample are skipped.
• If there are not enough vacant pads for all of the divided samples, a message of
“PADs are Full. Use Next Bank?” appears. If you press [YES/ENTER], the process
of division continues with the next pad bank. If you press [NO/EXIT], all of the
remaining samples are written to the last pad as a single sample.
If you turn “Trim” on, the
b
eginning of the next sample
are set to the point at which
the volume first rises from
silence to exceed the
“Threshold.” By setting
“Threshold” to the desired
level, you can cause the sample
to be divided automatically,
according to the level you
specify.
If you want only the results of
the division to be neatly
arranged in the pad bank,
select pad [1] of the pad bank
as the destination.
85
Editing the sample of a pad
Editing the sample of a pad
Dividing a sample at the timing that you press a button
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.33-09
2. Press CURSOR [ ] to select the Divide
icon.
3. Press [YES/ENTER].
fig.33-10
The Divide Sample screen appears.
4. Make sure that the cursor is located at the “Type” line, and turn the
TIME/VALUE dial to set it to “MANUAL.”
5. Use CURSOR [ ] [ ] [ ] [ ] to select the “Source” (original sample)
and “To” (destination) pad bank number and pad number, and specify the
sample for each.
Specify the pad bank number by turning the TIME/VALUE dial. Specify the pad
number by pressing a pad or by turning the TIME/VALUE dial.
6. Press [YES/ENTER], and the original sample begins playing.
7. At the point where you wish to divide the sample, press [YES/ENTER] once
again.
The sample are divided at that point.
* If the destination pad already contains a sample, the “Overwrite?” message appears. If it is OK to
overwrite the existing sample, press [YES/ENTER]. If you do not wish to overwrite the existing
sample, press [NO/EXIT].
8. Press [DISPLAY] to return to the Basic screen.
86
Editing the sample of a pad
Creating a “reverse tape” style
sample—Create Reversal
By using this function you can create a sample that sounds as though a tape recorder
were being played backward.
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, you can press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.33-11
2. Press CURSOR [ ] to select the Create
Reversal icon.
3. Press [YES/ENTER].
fig.33-12
The Create Reversal Settings screen appears.
4. Use CURSOR [ ] [ ] [ ] [ ] to select the “Source” (source sample)
and “To” (destination) pad bank number and pad number, and specify the
sample for each.
Specify the pad bank number by turning the TIME/VALUE dial. Specify the pad
number by pressing a pad or by turning the TIME/VALUE dial.
5. Press [YES/ENTER].
The Create Reversal operation is executed.
* If the destination pad already contains a sample, the “Overwrite?” message appears. If it is OK to
overwrite the existing sample, press [YES/ENTER]. If you do not wish to overwrite the existing
sample, press [NO/EXIT].
6. Press [DISPLAY] to return to the Basic screen.
The Pad Play and Loop
settings will be the same as the
original sample. However, the
Loop point setting is ignored.
87
Editing the sample of a pad
Editing the sample of a pad
Boosting the sample level as high as
possible—Normalize
Normalize is a function that raises the level of the entire sample as high as possible
without exceeding the maximum level.
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.33-13
2. Press CURSOR [ ] to select the
Normalize icon.
3. Press [YES/ENTER].
fig.33-14
The Normalize Settings screen appears.
4. Use CURSOR [ ] [ ] [ ] [ ] to select the “Source” (source sample)
and “To” (destination) pad bank number and pad number, and specify the
sample for each.
Specify the pad bank number by turning the TIME/VALUE dial. Specify the pad
number by pressing a pad or by turning the TIME/VALUE dial.
5. Press [YES/ENTER].
The Normalize operation is executed.
* If the destination pad already contains a sample, the “Overwrite?” message appears. If it is OK to
overwrite the existing sample, press [YES/ENTER]. If you do not wish to overwrite the existing
sample, press [NO/EXIT].
6. Press [DISPLAY] to return to the Basic screen.
88
Arranging audio samples to create a song—Sequence
What is a sequence?
You can create a song by consecutively playing pad samples. The CDX-1 is able to
record pad operations; i.e., “which pad was pressed,” “in what order,” and “how
long.” Data for pad operations that have been recorded in this way is called a
sequence.
The CDX-1 provides two ways of recording a sequence: Realtime recording and step
recording.
When creating a sequence by arranging samples that are recorded to the pads, the
sounds comprising the sequence and the original samples do not effect each other
directly. For example, if the sounds on the pad samples used as source material for
a sequence are deleted, those sounds, once saved as a sequence, are not lost.
About the sequence tracks
The CDX-1 has four tracks (A–D) for recording sequences. When you access the
Sequence Play List screen, the arrangement of samples in a sequence track will be
shown by the location and length of the boxes (rectangles). The vertical dotted lines
in the screen indicate measure divisions.
The Sequence Play List screen will be displayed when you press [DISPLAY] to
switch screens. It will also be displayed when you press PAD SEQUENCING [SEQ
PLAY] to turn the sequence on.
fig.34-01e
When the graphic of “ “appears in the display, the area indicated on the screen
can be widened by pressing CURSOR [] and narrowed by pressing CURSOR
[].
About the tempo of the sequence
Setting the tempo of the sequence
The CDX-1 uses the measure (MEAS), beat (BEAT), and tick (TICK) * as the units of
its basic system for measuring the current location in a sequence.
Thus, sequences on the CDX-1 are based on the concept of tempo, and in changing
the tempos of sequences containing multiple phrases, the intervals between the
beginning of one phrase and the beginning of the next are lengthened and shortened.
The overall tempo a sequence is changed in the Rhythm Guide setting screen. If you
want the tempo to change midway through the sequence, set the tempo map to
specify the tempo.
For details on setting the tempo, refer to “Changing the tempo” (p. 117).
For details on setting the tempo map, refer to “Setting the tempo and rhythm pattern
of the song—Tempo Map” (p. 117).
track select box (A–D)
: The track is selected as a playback destination.)
(
During sequence recording/
Playing, indicates the current
time location of the song in
“Measure/Beat/Tick.” In the
Big Time Screen, the units
indicated can be switched
“Measure/Beat/Tick” or
“Hour /Minute/Second.”
→ Column “Switching the Big
Time display” (p. 38)
*
t
h
e t
i
c
k
,
1/96
o
f
a
b
ea
t
,
i
s
the smallest unit in a
sequence on the CDX-1.
89
Arranging audio samples to create a song—Sequence
Arranging audio samples
to create a song
The Relationship Between Sequences and Phrases
The sequence tempo can be changed in the Rhythm Guide setting screen or Tempo
Map screen.When the tempo is slowed down, the interval during which the phrase
sounds is lengthened. Conversely, increasing the tempo makes the interval
shorter.However, in either case, you cannot change the performance tempo of the
phrases (the tempo when the phrase is audio-recorded) themselves.
fig.34-02e
In order to use the tempo
map to specify the tempo,
you must change the way in
which the rhythm guide is
sounded.
→ “Playing the rhythm guide
according to the tempo
map” (p. 118)
96.0 BPM (80.0%)
120.0 BPM (100%)
MEAS 1
23456
Hello!
← One measure worth of phrase
(The phrase itself does not expand
or contract)
120.0 BPM (100%)
23456
Hello!
Hello Hello Hello Hello
Hel Hel
Hello! He
HH
He Hello! Hello!
Hello!
Hello! Hello! Hello! Hello!
Hello! He He Hello! Hello!
Tempo: Down
160.0 BPM (133.3%)
Tempo: Up
MEAS 1
How recording works
Phrases on Sequence are recorded as described below.
Play the sample selected for recording:
1. From which measure, beat, and tick where the change to begin;
2. Start from the position ✽✽✽✽ units from the beginning of the sample; and....
3. For ✽ beats and ✽ ticks then mute the sample.
The data in 1-3 sets the phrase represented by the outlined rectangle displayed in
the Play List screen.
Depending on the precess at the recording, the data of item 1 and 3 are set.
In the case of recording the phrases on the song by pressing the pad, the sample’s
start point (p. 78) is reflected to the data number which skip play the sample songs
from the beginning in 2. This value can be changed with the Adjust Timing function
(p. 104).
Depending on the actual sampling time or other factors, the length of time of a
sample on the PAD is determined. In case the loop mode (p. 73) of sample is turned
off the stops upon recording the edit point, before the end point determined in 3
even if the apparent play length of 3 above is expanded with tempo down. Thus, the
sound may stop even when the apparent phrase (the outlined rectangle) is indicated
in the Sequence Play List screen.
90
Arranging audio samples to create a song—Sequence
Recording pad operations as you play
pads—Realtime Recording
Realtime recording of pad operations is when the timing at which pads are pressed
and released is recorded in the sequence track. Since the actual sounds that you are
hearing are not being recorded anew in the sequence track, this does not reduce the
remaining time available for recording. Nor is it necessary to set the recording level.
However, it is not possible to apply effects while you record pad operations, or to
layer the sounds of multiple pads in the same sequence track. If you play two or
more pads simultaneously, only the last-played pad operation will be recorded.
Realtime recording
1. Press PAD SEQUENCING [CREATE].
[CREATE] blinks, and a screen appears in which you can select the recording
method and the recording-destination sequence track.
fig.34-02
2. Press CURSOR [ ] to select “Realtime”
(realtime recording).
3.
Use the TIME/VALUE dial to select the sequence track A–D that you wish to record.
* If you re-record over a previously recorded sequence track, the pad operation data will be
overwritten and the previous data will be lost.
4. After you have specified the recording method and the sequence track to be
recorded, press [YES/ENTER].
fig.34-03
The realtime recording setting screen
appears.
5. Press ZERO [ ] to make sure that the SONG POSITION in the screen
indicates “0001-01-000” (beginning).
Alternatively, you can move to a desired location so that recording will start from
that point.
6. Make sure that the cursor is locates at the “Start/w” line. Turn the
TIME/VALUE dial to specify how recording will begin.
● Start/w (Start with):
Norm: Recording will start at the moment you press [CREATE].
Cnt1M: Recording will start after a one-measure count is heard.
Cnt2M: Recording will start after a two-measure count is heard.
[PAD]: Recording will start at the moment you press a pad.
7. Press CURSOR [ ] to move the cursor to “Quantize.” Turn the TIME/VALUE
dial to select “OFF.”
8. Press PAD SEQUENCING [CREATE].
[CREATE] will light, and recording will begin as you specified in step 6. Press pads
to record them.
9. When you are finish recording, press PAD SEQUENCING [CREATE].
[CREATE] goes out (extinguished), and the display returns to the Basic screen.
10. Return to the location at which you began recording, and press PLAY [ ] to
play back your performance and listen to the result.
If [SEQ PLAY] is off, press
[CREATE], and it will be
turned on (lit) automatically.
Also, the [STATUS] of all
audio tracks will go dark.
It is convenient to use the
b
uilt-in rhythm guide when
recording. If you record along
with the rhythm guide, you
will be able to edit the track in
units of measures, and will
also be able to synchronize the
performance with an external
device. For details on the
rhythm guide, refer to “Using
the rhythm guide” (p. 116).
For details on the “Quantize”
setting, refer to “Correcting
timing inaccuracies while you
record” (p. 92).
•In step 9, if you press
STOP [ ], [CREATE] will
blink (recording-standby
mode). Then press [CREATE]
once again, recording will
begin.
•After recording, you can
press [UNDO/REDO]
(p. 138) to return to the
previous conditions.
91
Arranging audio samples to create a song—Sequence
Arranging audio samples
to create a song
Recording while you listen to the playback of another
sequence track
You can select a sequence track for playback, and then perform realtime recording
while you listen to the playback of the selected sequence track.
1. As described in steps 1–3 of “Playing a sequence track” (p. 96), select the
sequence track that you wish to play.
2. Follow the procedure described of “Realtime recording,” above.
Recording will begin, and at the same time the sequence track you selected in step 1
will play back. Press pads to record them.
Recording while you listen to the playback of the audio tracks
When sequence is turned on ([SEQ PLAY] is turned on), all the lighting [STATUS] of
audio tracks will go dark (muted). At this time, you can select a audio track for
playback, and then perform realtime recording while you listen to the playback of
the selected audio track.
1. Follow steps 1–7 of “Realtime recording,” above.
2. For the audio track(s) that you wish to play, press [STATUS] to get it to light in
green.
* It is not possible for the sequence track selected as the recording destination to play simultaneously
with the corresponding audio track. And an audio track cannot be played back simultaneously with
the corresponding sequence track selected as the playing back destination. For details refer to
“Playing sequence tracks and audio tracks simultaneously” (p. 97).
3. Press [CREATE].
Recording will begin, and at the same time the audio track(s) you selected in step 2
will play. Press pads to record them.
4. When you are finished recording, press PAD SEQUENCING [CREATE].
[CREATE] goes out (extinguished), and the display returns to the Basic screen.
5. Return to the location where you begin recording, and press PLAY [ ] to play
back your performance and listen to the result.
After recording, you can press
[UNDO/REDO] (p. 138) to
return to the previous
conditions.
In step 4, if you press
STOP [ ], [CREATE] will
b
link (recording-standby
mode). Then press [CREATE]
once again, recording will
b
egin.
92
Arranging audio samples to create a song—Sequence
Correcting timing inaccuracies while you record
—Quantize
Pad operations are recorded on the track with a timing precision of 1/96th of a beat.
This means that it is rather difficult to record pad operations exactly at precise
measure beginnings, quarter notes, or eighth notes when you are using realtime
recording. This is why the CDX-1 provides a Quantize function that can correct the
timing of your pad operations while you record.
1. In step 7 of “Realtime recording” (p. 90), change the “Quantize” setting.
Sets the timing resolution in terms of notes. The timing at which the sound begins
will be adjusted to the beginning of measures or beats.
“MEAS”: Beginning of the measure
“”: 192 tick intervals
“”: 96 tick intervals
“”: 64 tick intervals
“”: 48 tick intervals
“”: 32 tick intervals
“”: 24 tick intervals
“”: 16 tick intervals
“OFF”: The timing at which you press a pad will not be adjusted.
* When you use the Quantize function, pad operations on the same sequence track may overlap. If
this occurs, only the last pad operation will be valid, and only that phrase will be recorded.
Quantize is not applied to the
timing at which you release a
pad.
About remaining recordable events of Sequence
Remaining recordable events * of sequence is displayed as “REMAIN XX%” on
REALTIME REC screen and STEP REC screen. XX% shows remaining number of
events in percent.
fig.34-05a
*A
n event
i
s an operat
i
on o
f
pressing/releasing a pad.
93
Arranging audio samples to create a song—Sequence
Arranging audio samples
to create a song
Recording pad operations at the
specified interval—Step Recording
The CDX-1 allows you to record pad operations on a sequence track while the
playback remains stopped. This is analogous to pasting the pad samples at
previously specified intervals (steps). This is called step recording.
Button functions during step recording
During step recording, the buttons have the following functions.
Pads [1]–[8]:
Record the sample of that pad, and advance the current location by one step.
PLAY [ ]: Extend (tie) the phrase of the preceding step by an additional step.
FF [ ]:
Record a rest for a length of one step, and advance the current location by
one step.
REW [ ]: Return to the previous step.
If You Become confused About Button Function
During Recording
In the following the Step Recording screen, press CURSOR [ ] once or twice so
that the display switches to “STEP REC USAGE INFORMATION.”
fig.34-05a
Recording continues even when you switch to this screen. Press CURSOR [ ] to
return the previous screen.
94
Arranging audio samples to create a song—Sequence
Step recording
In the explanation that follows, we will assume that pads [1] and [2] contain samples,
and that you wish to record on the sequence track as shown in the diagram.
fig.34-04e
1. Use the REW [ ] /FF [ ] or TIME/VALUE dial to move to the location at
which you wish to begin recording, such as the beginning of the desired
measure.
2. Press PAD SEQUENCING [CREATE].
[CREATE] blinks, and a screen appears in which you select the recording method
and recording-destination sequence track.
fig.34-02
3. Press CURSOR [ ] to select “Step”
(step recording).
4. Turn the TIME/VALUE dial to select the sequence track A–D that you wish to
record.
5. When you have specified the recording method and the sequence track to be
recorded, press [YES/ENTER].
fig.34-05
The step recording setting screen appears.
[CREATE] will light.
6. Make sure that the cursor is locates at the “Step” line. Turn the TIME/VALUE
dial to specify the step (input interval) in terms of a note value.
7. Make sure that “Duration” is set to “100%.”
8. When you press pad [1] recording begins simultaneously, and [1] of STEP 1 in the
figure is recorded. When [1] is pressed again, it is also recorded STEP 2.
9. Press [ ], and a rest (silence) is recorded in step 3.
10. Press pad [2], and the sound of pad [2] is recorded in step 4.
11. Press pad [1], and the sound of pad [1] is recorded in step 5. Then press PLAY
[] and the phrase of step 5 is extended (tied) by one step, doubling the
recorded length.
12. When you finish recording, press PAD SEQUENCING [CREATE].
[CREATE] is turned off, and the Sequence Play List screen appears.
13. Return to the location where you began recording, and press PLAY [ ] to play
back the performance and hear the results.
Step 1 Step 2 Step 3 Step 4 Step 5
The flow of
Operation
Pad Pad Pad Pad
Phrase
Phrase
(rest)
Pad Pad
If [SEQ PLAY] is off, press
[CREATE], and it will be
turned on (lit) automatically.
Also, the [STATUS] of all
audio tracks will go dark.
For details on the “Step” and
the “Duration” parameter,
refer to the column “Parameter
settings for step recording”
(p. 95).
Even if you repeatedly press
[] (Tie) to record what
appears to be a long phrase in
the track, the playback will not
exceed the length of the sample
itself. However, in the case of a
pad for which Loop playback
(p. 73) is specified, the result of
step recording will also be
looped, and a single long phrase
will be recorded on the track.
If you want to over record this,
press [UNDO/REDO] (p. 138).
Return to the previous
conditions.
95
Arranging audio samples to create a song—Sequence
Arranging audio samples
to create a song
Adding dynamics while you step-record
The volume level of step-recorded phrases will be the same as the volume level of
the samples you use (p. 76).
On the CDX-1, samples will sound at a fixed volume regardless of the strength with
which you press the pad. If you wish to add dynamics to each step during step-
recording, it is best to prepare several pads containing the same sample but different
volume levels, and use these pads appropriately.
To assign the same sample to multiple pads, you can use clipboard.
→ “Copying a sample to another pad—clipboard” (p. 82)
The sample volume setting can be set independently for each pad.
→ “Adjusting the volume of a sample—Sample level” (p. 76)
Parameter settings for step recording
● Step:
“SMPL” (sample): Advance by a number of ticks (of the current tempo) corresponding to
the length of the pad sample.
“MEAS” (measure): Advance to the beginning of the next measure.
“”: Advance 192 ticks.
“ ”: Advance 96 ticks.
“ ”: Advance 64 ticks.
“ ”: Advance 48 ticks.
“ ”: Advance 32 ticks.
“ ”: Advance 24 ticks.
“ ”: Advance 16 ticks.
“ ”: Advance 12 ticks.
* If “MEAS (Measure)” is selected, the input location where recording will first begin is usually the
beginning of the next measure. However, recording will begin from the current location if it is the
beginning of a measure.
* If you select “SMPL” (Sample), the length of a step will depend on the pad you press. This is convenient
when you wish to pack the pad samples exactly together without being concerned with the performance
tempo or the bar lines.
In this case, even if the length of the sample is numerically the same as the measure length for playback,
a difference may accumulate gradually due to inaccuracies in calculation. Also, pressing [ ] (Rest)
will produce a rest of the same length of the preceding sample. (If you press [ ] before pressing the
first pad, it will be ignored.)
● Duration
Duration determines the length that the phrase will be held relative to the step (input interval).
Use the TIME/VALUE dial to set the value in the range of 1%–100%. Normally you will set this
to 100%.
For example, suppose that you set Step to “MEAS” (1 measure), and step-record by repeatedly
pressing a pad that contains a one-measure phrase. In this case if you set Duration to “50%,”
the phrase will be recorded from the beginning of each measure, but will play back only for the
first half of each measure.
< An example of step-recording by repeatedly pressing the same pad >
fig.34-06e
100%
● Duration: 100%
50%
● Duration: 50%
96
Arranging audio samples to create a song—Sequence
Playing a sequence track
The number of sounds that can be played simultaneously is a total of four stereo
sounds for audio track playback, pad playback, and sequence track playback.
When the sequence is on, the playback priority will be in the order of sequence tracks
→ audio tracks → pads.
1. Press PAD SEQUENCING [SEQ PLAY].
fig.34-07
[SEQ PLAY] lights, and the Sequence Play
List screen appears.
At this time, the [STATUS] of all audio tracks
will go dark (muted).
2. Press CURSOR [ ].
fig.34-07
A cursor appears on box A of “Tr.SEL” (track
select).
3. Press CURSOR [ ] [ ] to move the cursor to the “Tr.SEL” (track select) box
for the sequence track (A–D) that you wish to play back.
4. Press CURSOR [ ].
fig.34-08
The “Tr.SEL” (track select) box will be
highlighted in black, indicating that it will
play back.
To cancel your selection, press CURSOR [ ].
5. If there are other sequence tracks that you wish to play back, repeat steps 3–4.
6. Press ZERO [ ] to return to the beginning of the performance.
7. Press PLAY [ ].
The sequence track(s) will play back.
8. When you are finished playing back the sequence track(s), press PAD
SEQUENCING [SEQ PLAY].
[SEQ PLAY] goes out, and sequence is turned off.
CURSOR
97
Arranging audio samples to create a song—Sequence
Arranging audio samples
to create a song
Playing sequence tracks and audio
tracks simultaneously
When sequence is turned on, the [STATUS] of all audio tracks will go dark. If you
wish to play back audio tracks at the same time, press [STATUS] of an audio track
enough times to get it to light in green.
However, an audio track cannot be played back simultaneously with the
corresponding sequence track selected as the playing back destination.
Sequence tracks and audio tracks correspond as follows.
● Sequence tracks ● Audio tracks
track A ➔ track 1-2
track B ➔ track 3-4
track C ➔ track 5-6
track D ➔ track 7-8
For example, if sequence track A has been selected as a playback track, it will not be
possible to select audio tracks 1-2 as playback tracks. Audio tracks 3-4, 5-6, or 7-8 can
be played back simultaneously.
98
Arranging audio samples to create a song—Sequence
Editing a sequence track
The samples arranged in a sequence track can be edited by moving the location at
which they will play, by pasting them in a different location, or by deleting them.
This makes it easy to make corrections to entire phrases without re-recording.
Moving a phrase—Move
This function moves the specified phrase to another location. The place from which
the phrase was moved will be blank (silent), and if there was already a phrase at the
move destination, it will be overwritten by the moved phrase.
fig.34-09
1. Press PAD SEQUENCING [EDIT].
[EDIT] will light, and the Sequence Edit menu will be displayed as icons.
fig.34-10
2. Press CURSOR [ ] to select the Move
icon.
3. Press [YES/ENTER].
fig.34-10
The Move Phrase screen appears.
4. Press CURSOR [ ].
fig.34-10
A sequence track select mini-menu appears.
5. Turn the TIME/VALUE dial to select the sequence track (A–D) that you wish to
edit, and press [YES/ENTER].
A mini-menu disappears.
6. Use the REW [ ] /FF [ ] or the TIME/VALUE dial to select the phrase that
you wish to move.
The currently selected phrase will be highlighted in black.
7. After you have specified the move phrase, press [YES/ENTER].
ig.34-10
It displays where to move. You can adjust the
destination.
8. Use the REW [ ] /FF [ ] or the TIME/VALUE dial to set the move
destination to “NOW.”
9. After you have specified the move destination, press [YES/ENTER].
The specified phrase is moved.
10. When you are finished editing the sequence track, press [DISPLAY].
[EDIT] goes out (extinguished), and the display returns to the Basic screen.
1 2 3
13
45
2 5
If [SEQ PLAY] is off, press
[EDIT], and it will be turned
on (lit) automatically. Also, the
[STATUS] of all audio tracks
will go dark.
In step 5, also press
[NO/EXIT], a mini-menu
disappears.
To cancel the move, press
[UNDO/REDO] (p. 138) after
step 9.
99
Arranging audio samples to create a song—Sequence
Arranging audio samples
to create a song
Pasting a phrase at a different location—Paste
If something has already been recorded at the paste destination, it will be
overwritten by the pasted phrase.
fig.34-12
1. Press PAD SEQUENCING [EDIT].
[EDIT] lights, and the Sequence Edit menu are displayed as icons.
fig.34-10
2. Press CURSOR [ ] to select the Paste
icon.
3. Press [YES/ENTER].
fig.34-10
The Paste Phrase screen appears.
4. Press CURSOR [ ].
fig.34-10
A sequence track select mini-menu appears.
5. Turn the TIME/VALUE dial to select the sequence track (A–D) that you wish to
edit, and press [YES/ENTER].
A mini-menu disappears.
6. Use the REW [ ] /FF [ ] or the TIME/VALUE dial to select the phrase that
you wish to paste.
The currently selected phrase will be highlighted in black.
7. After you have specified the paste phrase, and press [YES/ENTER].
fig.34-13
It displays where to paste. You can adjust the
destination.
8. Use the REW [ ] /FF [ ] or the TIME/VALUE dial to set the move
destination to “NOW.”
9. After you have specified the paste destination, press [YES/ENTER]
The specified phrase is pasted.
10. When you are finished editing the sequence track, press [DISPLAY].
[EDIT] goes out (extinguished), and the display returns to the Basic screen.
1 2
2
3
13
45
2 5
If [SEQ PLAY] is off, press
[EDIT], and it will be turned
on (lit) automatically. Also, the
[STATUS] of all audio tracks
will go dark.
In step 5, also press
[NO/EXIT], a mini-menu
disappears.
To cancel the paste, press
[UNDO/REDO] (p. 138) after
step 9.
100
Arranging audio samples to create a song—Sequence
Cutting a phrase—Cut
When you cut a phrase, subsequent phrases will be moved forward.
fig.34-14
1. Press PAD SEQUENCING [EDIT].
[EDIT] lights, and the Sequence Edit menu are displayed as icons.
fig.34-10
2. Press CURSOR [ ] to select the Cut
icon.
3. Press [YES/ENTER].
fig.34-10
The Cut Phrase screen appears.
4. Press CURSOR [ ].
fig.34-10
A sequence track select mini-menu appears.
5. Turn the TIME/VALUE dial to select the sequence track (A–D) that you wish to
edit, and press [YES/ENTER].
A mini-menu disappears.
6. Use the REW [ ] /FF [ ] or the TIME/VALUE dial to select the phrase that
you wish to cut.
The currently selected phrase will be highlighted in black.
7. After you have specified the cut phrase, and press [YES/ENTER].
The specified phrase is cut.
8. When you are finished editing the sequence track, press [DISPLAY].
[EDIT] goes out (extinguished), and the display returns to the Basic screen.
1 2
3
3
14
45
5
If [SEQ PLAY] is off, press
[EDIT], and it will be turned
on (lit) automatically. Also, the
[STATUS] of all audio tracks
will go dark.
In step 5, also press
[NO/EXIT], a mini-menu
disappears.
To cancel the cut, press
[UNDO/REDO] (p. 138) after
step 7.
101
Arranging audio samples to create a song—Sequence
Arranging audio samples
to create a song
Erasing Phrases—Erase
The phrase that you cut will be silent. Even if there are phrases following it, they will
not be moved forward.
fig.34-16
1. Press PAD SEQUENCING [EDIT].
[EDIT] lights, and the Sequence Edit menu are displayed as icons.
fig.34-10
2. Press CURSOR [ ] to select the Erase
icon.
3. Press [YES/ENTER].
fig.34-10
The Erase Phrase screen appears.
4. Press CURSOR [ ].
fig.34-10
A sequence track select mini-menu appears.
5. Turn the TIME/VALUE dial to select the sequence track (A–D) that you wish to
edit, and press [YES/ENTER].
A mini-menu disappears.
6. Use the REW [ ] /FF [ ] or the TIME/VALUE dial to select the phrase that
you wish to erase.
The currently selected phrase will be highlighted in black.
7. After you have specified the erase phrase, press [YES/ENTER].
The specified phrase is erased.
8. When you are finished editing the sequence track, press [DISPLAY].
[EDIT] goes out (extinguished), and the display returns to the Basic screen.
1 2 3
1
45
3 45
If [SEQ PLAY] is off, press
[EDIT], and it will be turned
on (lit) automatically. Also, the
[STATUS] of all audio tracks
will go dark.
In step 5, also press
[NO/EXIT], a mini-menu
disappears.
To cancel the erase, press
[UNDO/REDO] (p. 138) after
step 7.
102
Arranging audio samples to create a song—Sequence
Inserting a phrase in another location—Insert
If something has already been recorded at the insert destination, subsequent phrases
will be moved backward by the length of the phrase that is pasted.
fig.34-18
1. Press PAD SEQUENCING [EDIT].
[EDIT] will light, and the Sequence Edit menu will be displayed as icons.
fig.34-10
2. Press CURSOR [ ] to select the Insert
icon.
3. Press [YES/ENTER].
fig.34-10
The Insert Phrase screen appears.
4. Press CURSOR [ ].
A sequence track select mini-menu appears.
5. Turn the TIME/VALUE dial to select the sequence track (A–D) that you wish to
edit, and press [YES/ENTER].
A mini-menu disappears.
6. Use the REW [ ] /FF [ ] or the TIME/VALUE dial to select the phrase that
you wish to insert.
The currently selected phrase will be highlighted in black.
7. After you have specified the insert phrase, press [YES/ENTER].
.34-10
It displays where to move. You can adjust the
destination.
8. Use the REW [ ] /FF [ ] or the TIME/VALUE dial to set the insert
destination to “NOW.”
9. After you have specified the insert destination, press [YES/ENTER]
The specified phrase is inserted.
10. When you are finished editing the sequence track, press [DISPLAY].
[EDIT] goes out (extinguished), and the display returns to the Basic screen.
1 2
2 2
3
1
45
3 45
If [SEQ PLAY] is off, press
[EDIT], and it will be turned
on (lit) automatically. Also, the
[STATUS] of all audio tracks
will go dark.
In step 5, also press
[NO/EXIT], a mini-menu
disappears.
To cancel the insert, press
[UNDO/REDO] (p. 138) after
step 9.
103
Arranging audio samples to create a song—Sequence
Arranging audio samples
to create a song
Dividing the phrase at the current location—Split
This function splits the phrase at “NOW” (the current location). By dividing a phrase,
you can delete a portion of the phrase or paste it into another location.
fig.34-20
1. Press PAD SEQUENCING [EDIT].
[EDIT] lights, and the Sequence Edit menu are displayed as icons.
fig.34-10
2. Press CURSOR [ ] to select the Split
icon.
3. Press [YES/ENTER].
ig.34-10
The Split Phrase screen appears.
4. Press CURSOR [ ].
ig.34-10
A sequence track select mini-menu appears.
5. Turn the TIME/VALUE dial to select the sequence track (A–D) that you wish to
edit, and press [YES/ENTER].
A mini-menu disappears.
6. Use the REW [ ] /FF [ ] or the TIME/VALUE dial to set the split
destination to “NOW.”
The currently selected phrase will be highlighted in black.
7. After you have specified the split phrase, press [YES/ENTER].
The specified phrase is spitted at “NOW.”
8. When you are finished editing the sequence track, press [DISPLAY].
[EDIT] goes out (extinguished), and the display returns to the Basic screen.
1 2
2'
3
13
45
4 52
If [SEQ PLAY] is off, press
[EDIT], and it will be turned
on (lit) automatically. Also, the
[STATUS] of all audio tracks
will go dark.
In step 5, also press
[NO/EXIT], a mini-menu
disappears.
If you wish to make precise
adjustments to the location at
which the phrase will be
divided, it is convenient to use
Preview. Refer to “Cueing to a
precise location---Preview”
(p. 139).
To cancel the split, press
[UNDO/REDO] (p. 138) after
step 7.
104
Arranging audio samples to create a song—Sequence
Finely Adjusting the Timing of Each Phrase—Adjust Timing
The positioning of phrases on the sequence tracks is determined with the following
formats.
• From which measure, beat, and tick number (Start)
• The length of expression in beats and ticks (Duration)
The Adjust Timing function is for changing these values.
Adjust Timing comprises three screens. The first screen is for selecting phrases, and
the second and third screen is changing settings.
1. Press PAD SEQUENCING [EDIT].
[EDIT] lights, and the Sequence Edit menu are displayed as icons.
fig.34-10
2. Make sure that the cursor is located at the
Adjust Timing icon.
3. Press [YES/ENTER].
fig.34-10
The Adjust Timing screen appears.
4. Press CURSOR [ ].
fig.34-21b
A sequence track select mini-menu appears.
5. Turn the TIME/VALUE dial to select the sequence track (A–D) that you wish to
edit, and press [YES/ENTER].
A mini-menu disappears.
6. Use the REW [ ] /FF [ ] or the TIME/VALUE dial to select the phrase that
you wish to adjust.
The currently selected phrase will be highlighted in black.
7. When the phrase to be adjust is highlighted, press [YES/ENTER].
fig.34-21b
That phrase is selected, and the Edit screen
appears.
8. Press CURSOR [ ] [ ] to select “Start“ or “Duration“, and press CURSOR
[] [ ] and turn TIME/VALUE dial to change the setting.
● Start: Setting the point where the beginning of the phrase on the sequence
track.
fig.34-21c
● Duration: Setting the phrase length.
fig.34-21d
9.
If required, press CURSOR [ ] repeatedly until the third screen is displayed,
and turn the TIME/VALUE dial to change the value “WaveOffset” or “WaveEnd.”
For details refer to “Offset and End Point”(p. 105), below.
10. When you are finished editing the sequence track, press [DISPLAY].
[EDIT] goes out (extinguished), and the display returns to the Basic screen.
If [SEQ PLAY] is off, press
[EDIT], and it will be turned
on (lit) automatically. Also, the
[STATUS] of all audio tracks
will go dark.
In step 5, also press
[NO/EXIT], a mini-menu
disappears.
measure–beat–tick
number of beats and ticks
The extend to which the “Start“
and “Duration“ of a phrase can
b
e changed is limited by the
phrase before and after it; that is,
phrases on the same track cannot
b
e overlapped. In addition, one
b
eat, as indicated here, always
means a quarter note (96 ticks).
This is not affected by the
rhythm in each measure.
105
Arranging audio samples to create a song—Sequence
Arranging audio samples
to create a song
Offset and End Point
“WaveOffset” and “WaveEnd,” the parameters selected in Step 9, determine which
part of the waveform data is used for to a phrase.
fig.34-21g
In both Offset and End point are indicated by 8-digits values likewise the sample
reading start points (p. 78). (The amount of time indicated by “00000001” is 1/3000
of a second). This does not change with tempo and measure length.
fig.34-21f
WaveOffset:
This specifies and changes the starting point for reading the waveform data of
sample. The specified point is placed at the position determined in Adjust Timing
“Start” (in the second screen).
WaveEnd:
This specifies and changes the end point for reading the waveform data of sample.
If this point is before the end of the segment resulting from the “Duration” setting in
Adjust Timing (in the second screen), then even though still within the phrase, the
sound stops.
If a pad contains a looped sound recorded in Realtime/Step Recording, then the end
point of the loop on the track is designated.
Adjusting the volume setting for each phrase
The upper right of the Sequence Track Edit screen shows the volume of each phrase.
By highlighting this value and turning the TIME/VALUE dial to change it, you can
adjust the volume of the selected phrase (0–100).
fig.34-22
The value prior to the change will reflect the
volume that was specified for the pad you
pressed when recording (p. 90–93). A setting
of “100” is the volume at which the sound
was sampled.
Start
Duration
Wave
End Point
Wave
Offset
00000000
If “LOOP-END” was the
sampling mode used during
Event Recording, you cannot
select a value smaller than that
fixed value.
106
Arranging audio samples to create a song—Sequence
Edit on Sequence Play List screen—Quick Edit
It is convenient to select a phrase to edit seeing whole part of Play List.
1. Press PAD SEQUENCING [SEQ PLAY].
ig.34-10
[SEQ PLAY] lights, and the Sequence Play
List screen appears.
2. Press CURSOR [ ].
fig.34-10
A cursor appears on box A of “Tr.SEL” (track
select).
3. Press CURSOR [ ] [ ] to move the cursor to the “Tr.SEL” (track select) box
of the sequence track (A–D) that you wish to edit.
4. Use the REW [ ] /FF [ ] or the TIME/VALUE dial to select the phrase that
you wish to edit.
The currently selected phrase will be highlighted in black.
5. Press [YES/ENTER].
fig.34-19
A mini-menu appears.
6. Press CURSOR [ ] [ ] to select the menu, and press [YES/ENTER].
At this time, press [NO/EXIT], a mini-menu disappears.
Menu displayed on screen and operation of those are as follows.
“MOVE?” “Moving a phrase—Move“ (p. 98) step 8–9.
“PASTE?” “Pasting a phrase at a different location—Paste“ (p. 99) step 8–9.
“CUT?” The specified phrase is cut.
“ERASE?” The specified phrase is erased.
“INSERT?” “Inserting a phrase in another location—Insert“ (p. 102) step 8–9.
“SPRIT?” “Dividing the phrase at the current location—Split“ (p. 103) step 6–7.
“ADJUST? “Finely Adjusting the Timing of Each Phrase” (p. 104) step 7–8.
7. When you are finished editing the sequence track, press [DISPLAY].
[EDIT] goes out (extinguished), and the display returns to the Basic screen.
At this time, the [STATUS] of
all audio tracks will go dark.
107
Arranging audio samples to create a song—Sequence
Arranging audio samples
to create a song
Deleting a sequence track
An unwanted sequence track can be deleted as follows.
1. Press PAD SEQUENCING [EDIT].
[EDIT] lights, and the Sequence Edit menu are displayed as icons.
fig.34-23
2. Press CURSOR [ ] to select the Erase
Track icon.
3. Press [YES/ENTER].
fig.34-23
The erase track setting screen appears.
4. Turn the TIME/VALUE dial to specify the track number you wish to delete.
5. Press [YES/ENTER].
The sequence track will be deleted.
6. When you are finished editing the sequence track, press [DISPLAY].
[EDIT] goes out (extinguished), and the display returns to the Basic screen.
If [SEQ PLAY] is off, press
[EDIT], and it will be turned
on (lit) automatically. Also, the
[STATUS] of all audio tracks
will go dark.
To cancel the erase sequence
track, press [UNDO/REDO]
(p. 138) after step 5.
108
Arranging audio samples to create a song—Sequence
Recording the sequence playback
sound on audio track
When you have created a sequence that you like, you can record the playback sound
of the sequence on an audio track. You can even play back all three sequence tracks
and combine them into two audio track (stereo).
1. Press PAD SEQUENCING [SEQ PLAY].
fig.34-07
[SEQ PLAY] lights, and the Sequence Play
List screen appears.
At this time, the [STATUS] of all audio tracks
will go dark.
2. Select sequence tracks you wish to play back.
It is possible to select three sequence tracks.
➔ “Playing sequence tracks and audio tracks simultaneously” (p. 96).
3. Press PLAY [ ] to play back, and use the PAD/SEQ LEVEL faders to adjust the
volume balance of a sequence track.
4. Use the MASTER fader to adjust the recording level.
At this time, raise the volume as high as possible without allowing the sound to distort.
5. When you adjust the volume, press STOP [ ].
6. Press [BOUNCE] to get it to light.
7. Press audio track [STATUS] that you wish to use as the recording destination.
The [STATUS] of audio tracks will blink in red, and now the selected audio track is
ready for recording.
* It is not possible designated the audio track corresponding to playing sequence track recording
destination.For sequence tracks and audio tracks correspond refer to “Playing sequence tracks and
audio tracks simultaneously” (p. 97).
8. Press ZERO [ ] to return the SONG POSITION to “0001-01-000” (beginning
of the song).
Alternatively, you can move to a desired location so that recording will start from that point.
9. Press REC [ ].
REC [ ] blink (recording-standby mode).
10. Press PLAY [ ], and recording will begin.
11. Press STOP [ ] to stop recording.
A message of “Keep take? (NO/YES)” (Do you want wish to save the take on
CD-RW disc?) appears.
12. If you wish to save the take, press [YES/ENTER].
When CDX-1 complete to save, [BOUNCE] will go to dark, and the [STATUS] of the
selected recording destination tracks will go light in green.
If you press [NO/EXIT], saving to CD-RW discs will be cancelled.
13. Listen to the result of bounce recording.
Press PAD SEQUENCING [SEQ PLAY] to go dark. Press PLAY [ ] to play back
audio tracks you selected recording destination.
You can record simultaneously
audio tracks and input source.
109
Creating an audio CD
110
Prepare for recording—Multitrack recording
What is multitrack recording?
The CDX-1 provides eight “audio tracks” that are used to independently record
and manage the parts that make up a song. You can record separate parts on each
audio track, for example recording the vocal on audio track 1 and the guitar on audio
track 2. The process of recording parts on separate audio tracks is called multitrack
recording.
Preparing a CD-RW disc for use —Format
If you wish to use a new CD-RW disc, you must prepare that CD-RW disc for use by
the CDX-1. This process is called formatting.
Preparing a new CD-RW disc for use
1. Insert a new CD-RW disc as described in “Inserting a disc” (p. 35).
A message of “This is blank disc. Do you wont to format?” appears in the screen.
2. If you wish to format the disc, press [YES/ENTER].
fig.41-01
The CD-RW Format screen appears.
If you press [NO/EXIT], format will be
canceled.
3. Make sure that the cursor is locates at the “Format Type” line.“
4. Turn the TIME/VALUE dial to select the format type.
● Format Type:
FULL: The entire data area of the disc will be physically erased to make it
completely blank. This will increase the reliability of a disc that has
been previously used by another device. Normally you should select
this. Approximately 20 minutes will be required.
STANDARD: The data on the disc will merely be invalidated logically. Normally
you should select this. Approximately 10 minutes will be required.
5. Press CURSOR [ ] to move the cursor to “Data Type” line.
6. Turn the TIME/VALUE dial to select the data type.
For details on data types, refer to the column “What is the data type?” on this page.
You must use high-speed compatible CD-RW discs!
fig.13-04
When performing multitrack recording, you must use high-speed compatible
CD-RW discs that bear this logo.
It is not possible to perform multitrack recording using a CD-R disc or CD-RW disc
not compatible with high-speed write. It is not possible to format either.
“Recommended CD-R/
CD-RW discs” (p. 19)
The CDX-1 uses a sample rate
of 44.1 kHz. It is not possible to
change the sample rate.
CDX-1 carries out the
followings when formatting
discs.
•Insert CD-RW disc to
improve preciseness of
writing.
•Reserve area for recording
•Reserve area to save data of
pad/sequence.
Thus, it take sometime to
complete formatting.
111
Prepare for recording—Multitrack recording
Prepare for recording
7. Press [YES/ENTER].
fig.41-01
A message of “Format OK?” appears in the
screen.
8. Press CURSOR [ ] to select “OK”, and press [YES/ENTER].
The format is executed. When formatting is completed, the display will show a
message of “Completed.”
If you press [YES/ENTER] to select “CANCEL”, the CD-RW Format screen will
reappear.
9. Press [YES/ENTER] to return to the Basic screen.
•It is not possible to change
the data type while you are
working on the song.
•After you execute format, it is
not possible to press
[UNDO/REDO]
(p. 138) to revert to the state
before executing format.
•While formatting, do not turn
off the power with
unplugging the AC adaptor.
What is the data type
The CDX-1 allows you to specify the data type when a CD-RW disc is formatted. This
enables you to select the combination of audio quality and recording time that is
most suitable for the material you are recording.
The following data types can be selected.
● STANDARD:
Of the three types, this provides the highest audio quality. Normally you should
select this type.
● LONG1:
This type allows longer recording than “STANDARD.” It is suitable for recording
live performances.
●LONG2:
This allows the longest recording time of the three types.
<Recording time>
The times that can be recorded on one CD-RW disc for each data type are listed
below.
fig.41-02ej
* The recording times shown above are approximate. Depending on how you edit the song, they will
be somewhat shorter.
* On the CDX-1, the approximate recording times shown above will apply regardless of the number
of tracks used for recording. For example, even if you use only one track for recording, the amount
of time available for recording will be the same as when using all eight tracks.
STANDARD
LONG1
LONG2
Data Type Recording time
15 minutes
19 minutes
23 minutes
112
Prepare for recording—Multitrack recording
Erasing the entire contents of a CD-RW disc
Sometimes you may no longer need to keep the data that was saved on a CD-RW
disc, and would like to use the same CD-RW disc for a different performance. You
would also like to use the a CD-RW disc that was previously used by a computer.
In such cases, execute the Disc Format operation.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.41-03
2. Press CURSOR [ ] to select the
CD-R/RW Disc icon, and press
[YES/ENTER].
The CD-R/RW Disc Menu are displayed as
icon.
fig.41-03
3. Press CURSOR [ ] to select the
CD-RW Disc Format icon.
4. Press [YES/ENTER].
fig.41-01
The CD-RW Format screen appears.
5. Make sure that the cursor is located at “Format Type” line.
6. Turn the TIME/VALUE dial to select the format type.
● Format Type
FULL: The entire data area of the disc will be physically erased to make it
completely blank. This will increase the reliability of a disc that has
been previously used by another device. Approximately 20 minutes
will be required.
STANDARD: The data on the disc will merely be invalidated logically. Normally
you should select this. Approximately 10 minutes will be required.
7. Press CURSOR [ ] to move the cursor to “Data Type” line.
8. Turn the TIME/VALUE dial to select the data type.
For details on the data type, refer to the column “What is the data type?” (p. 111).
* It is not possible to change the data type while you are working on the song.
9. Press [YES/ENTER].
fig.41-01
A message of “Format OK?” appears in the
screen.
10. Press CURSOR [ ] to select “OK”, and press [YES/ENTER].
The format is executed. When formatting is completed, the display will show a
message of “Completed.” and the Basic screen will reappear.
If you press [YES/ENTER] to select “CANCEL”, the CD-RW Format screen will
reappear.
11. Press [YES/ENTER] to return to the Basic screen.
•An unused CD-RW disc will
be formatted in
approximately ten minutes,
regardless of the format type
setting. The contents of the
CD-RW disc that are erased
by the format operation
cannot be recovered.
•After you execute format, it is
not possible to press
[UNDO/REDO]
(p. 138) to revert to the state
before executing format.
•While formatting, do not turn
off the power with
unplugging the AC adaptor.
CDX-1 carries out the
followings when formatting
discs.
•Insert CD-RW disc to
improve preciseness of
writing.
•Reserve area for recording
•Reserve area to save data of
pad/sequence.
Thus, it take sometime to
complete formatting.
113
Prepare for recording—Multitrack recording
Prepare for recording
Monitoring the sound of a connected
instrument
Selecting the input source
Press the INPUT SELECT button(s) for the instrument you will record. The indicator
of the selected button(s) will light.
Adjusting the input sensitivity
1. Turn the INPUT SENS knob to adjust the input sensitivity.
Adjust the INPUT SENS knob as high as possible without causing the peak indicator
to light when the sound is input.
2. Press [DISPLAY] a number of times to access the Post-fader screen. Turn the
INPUT REC LEVEL knob to adjust the level so that “IN” level meter moves as far
as possible without exceeding the dotted line in the upper portion.
fig.41-11
* If you use the INPUT REC LEVEL knob to turn
down the volume of the input source, the sound will
be recorded in the audio track at a low volume, so that
noise will be more apparent when you raise the
volume of the audio track for playback.
* If INPUT REC LEVEL knob is set at in case of Digital In, input level will be “0 dB.”
Monitoring the sound
Use the MASTER fader to adjust the volume of the instrument or mic that you are
monitoring.
If you are monitoring through headphones, adjust the MASTER fader and the
PHONES knob to set a comfortable volume.
Setting the left/right position (pan) of the input sound
If you adjust the pan (left/right position) of the instrument you are playing to a
location where it can be heard easily, the sound of your instrument will not be lost
in the other sounds during overdubbing (p. 124), and you will find it easier to work.
1. Press TRACK EDIT [PAN].
The Pan settings screen appears.
fig.41-12
2. Press CURSOR [ ] to select the INPUT
knob display.
3. Turn the TIME/VALUE dial to set the pan.
4. Press [DISPLAY] to return to the Basic screen.
For details on the jack to use
for connections and on the
INPUT SELECT button, refer
to “Panel Descriptions: Rear
panel” (p. 30) and “Panel
Descriptions: INPUT section”
(p. 21).
The meter moves high level as possible without
exceeding the limit shown as dotted line.
↓
For details on adjusting the
volume of the device
connected to the OUTPUT
j
ack, refer to the operating
manual for that device.
When recording in stereo
using SIMUL, set the input pan
to “L100” (the far left) before
you record. If you set the input
pan except for “L100,” the two
input sources will be mixed
and recorded.
The pan you set here is
automatically reflected in the
pan of the recording-
destination audio track. When
you play back, you will hear
the same pan setting as when
you recorded. After recording,
you are free to adjust the pan
setting of each audio track.
(“Setting the left/right position
(pan) of each audio track”;
p. 132)
114
Prepare for recording—Multitrack recording
Tuning an instrument—Tuner
The CDX-1 has a built-in chromatic tuner function that allows you to tune your
instrument quickly. The built-in tuner supports both guitar and bass guitar.
As an example here, we will explain how to use the tuner to tune your guitar.
Adjusting the Tuning
Check the following points before you begin.
• Your guitar is connected to the GUITAR/BASS jack.
• [MIC2] is lit. If [MIC2] is extinguished, press [MIC2] to make the button light.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.41-04
2. Press CURSOR [ ] to select the Tuner
icon.
3. Press [YES/ENTER].
fig.41-05
The Tuner screen appears.
For details on the screen, refer to the column
“About the tuner display” (p. 115).
4. Play a single open (unfretted) note on the string that you wish to tune.
The screen will indicate the note name that is closest to the pitch of the string you
played. Tune the string so that the desired note name appears in the screen (refer to
the table below).
fig.41-06e
5. While you watch the tuning guide, make fine adjustments to the pitch so that the
left and right guides are both highlighted in black.
If the pitch of the string is within +/-50 cents of the correct pitch, the tuning guide
will indicate the discrepancy between the actual and the correct pitches.
fig.41-07e
6. Repeat steps 3–4 to tune each of the strings.
7. When you are finished using the tuner, press [DISPLAY] to return to the Basic
screen.
For details on connecting a
musical instrument, refer to
“Connecting peripheral
equipment” (p. 32). For details
on selecting the input source,
refer to “Selecting the input
source” (p. 113).
It is not possible to play back
or record while using the
tuner.
Cleanly play a single note only
on the string you wish to tune.
E
Guitar
Bass
AD
E
G
A
B
D
E
G
6th
string
5th
string
4th
string
3rd
string
2nd
string
1st
string
If the guide at the right is
highlighted in black, the string
is higher (sharper) than the
displayed note.
If the guide at the left is
highlighted in black, the string
is lower (flatter) than the
displayed note.
When the left and right
guides are both highlighted in
black, the string and the
displayed pitch are the same.
If you are tuning a guitar that
has a vibrato arm, tuning one
string may cause other strings
to drift. In this case, you
should first tune the strings
approximately so that the
correct note name is displayed,
and then re-tune each string.
115
Prepare for recording—Multitrack recording
Prepare for recording
Setting the reference pitch of the tuner
The frequency of the A4 note on the instrument used as the reference for tuning is
called the reference pitch. (For example, the middle A note on a piano.) On the
CDX-1, the reference pitch can be set in the range of 435–445 Hz.
At the factory settings, this is set to 440 Hz.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.41-04
2. Press CURSOR [ ] to select the Tuner
icon.
3. Press [YES/ENTER].
fig.41-05
The Tuner Menu screen appears.
4. Turn the TIME/VALUE dial to set the standard pitch.
5. When you are finished using the tuner, press [DISPLAY] to return to the Basic
screen.
About the tuner display
● Screen display
The built-in tuner of the CDX-1 displays the reference pitch, note name, and a tuning
guide (see the illustration).
fig.4-08e
● Tuning guide display
If the difference between the input pitch and the correct pitch is less than +/-50 cents,
the tuning guide will indicate the discrepancy between the actual and the correct
pitches (refer to step 5 of previous page). While you watch the tuning guide, tune
your instrument so that the left and right guides are both highlighted in black.
Standard pitch
(Tuner pitch)
Tuning Guide
Note name
116
Prepare for recording—Multitrack recording
Using the rhythm guide
When you record, it is convenient to use the built-in rhythm guide. If you record
along with the rhythm guide, you will be able to use various convenient functions
such as track editing in units of measures, or synchronizing the performance with
external devices.
When the rhythm guide is used in conjunction with the tempo map, you can change
the tempo or rhythm pattern during the song. The rhythm guide can also be used as
a metronome when you are not recording.
Playing/stopping the rhythm guide
Each time you press [RHYTHM GUIDE [ON/OFF], the setting will cycle in the order
of auto (blinking) → on (lit) → off (extinguished).
Blinking: The rhythm will sound according to whether the song is playing or
stopped.
Lit: The rhythm will sound regardless of whether the song is playing.
Dark: The rhythm will be stopped.
Adjusting the Volume of the Rhythm Guide
1. Press RHYTHM GUIDE [PATTERN/TEMPO].
The Rhythm Guide Setting screen appears.
fig.41-13a
2. Make sure that the cursor is located at the
“Level” line.
3. Turn the TIME/VALUE dial to adjust the volume.
4. Press [DISPLAY] to return to the Basic screen.
Changing the time signature
1. Press RHYTHM GUIDE [PATTERN/TEMPO].
The Rhythm Guide Setting screen appears.
fig.41-13b
2. Press CURSOR [ ] to move the cursor to
“Beat” line.
3. Turn the TIME/VALUE dial to select the desired time signature.
4. Press [DISPLAY] to return to the Basic screen.
“Setting the tempo and rhythm
pattern of the song – Tempo
Map” (p. 117)
The rhythm guide can also be
used when you record pad
operations on a sequence track.
➔
Refer to “Recording pad
operations while you play the
pads—Realtime Recording”
(p. 90)
Effects can be applied to the
sound of the rhythm guide.
This is convenient when you
are applying a loop effect to
the audio tracks, since it lets
you apply the same character
to the sound of the rhythm
guide.
➔ Refer to “Using the
loop effects” (p. 93)
117
Prepare for recording—Multitrack recording
Prepare for recording
Changing the rhythm pattern
1. Press RHYTHM GUIDE [PATTERN/TEMPO].
The Rhythm Guide Setting screen appears.
fig.41-13c
2. Press CURSOR [ ] to move the cursor to
“Pattern” line.
3. Turn the TIME/VALUE dial to select the desired rhythm pattern.
4. Press [DISPLAY] to return to the Basic screen.
Changing the tempo
1. Press RHYTHM GUIDE [PATTERN/TEMPO].
The Rhythm Guide Setting screen appears.
fig.41-13d
2. Press CURSOR [ ] to move the cursor to
“Tempo” line.
3. Turn the TIME/VALUE dial to select the desired tempo.
4. Press [DISPLAY] to return to the Basic screen.
Setting the tempo and rhythm pattern of the song
—Tempo Map
The tempo map specifies tempo changes in units of a measure. It contains data
indicating the time signature and tempo that are to be applied at a specified measure.
The tempo map can be used to switch not only the tempo of the rhythm guide, but
also the rhythm pattern.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.41-14
2. Press CURSOR [ ] to select the Tempo
Map icon.
3. Press [YES/ENTER].
The Tempo Map Setting screen appears.
The display shown below indicates that the tempo map begins at measure 1, and a
tempo of quarter note =120, specifies a 4/4 time signature, and rhythm pattern
number 01 (Rock1).
fig.41-15
The rhythm guide contains a
wide variety of rhythm
patterns, including a
metronome. For details refer to
“Rhythm Pattern List” (p. 172).
The tempo you specify here is
the tempo for the entire
system. The sequence and
MIDI OUT will use this same
tempo.
In order to use the tempo
map, you must create a
tempo map and also change
the way in which the rhythm
guide is sounded. For details
refer to the section below,
“Playing the rhythm guide
according to the tempo map.”
If you specify that a tempo
map is to be used, the tempo of
the entire system will also
follow the tempo map. The
sequence and MIDI OUT will
also use the tempo of the
tempo map
118
Prepare for recording—Multitrack recording
4. Use CURSOR [ ] [ ] to move the cursor to the item you wish to edit, and
turn the TIME/VALUE dial to edit the value.
MEAS (measure): Specify the starting measure (1–9999) of the tempo map. The
measures and beats shown in the display, the rhythm guide
sound, and the MIDI clock data transmitted from the CDX-1 will
follow the settings of this measure.
TEMPO: Specify the tempo (20.00–250.00) of the tempo map. The
measures and beats shown in the display, the tempo of the
rhythm guide, the temp of the sequence and the MIDI clock data
transmitted from the CDX-1 will follow this tempo setting.
BEAT: Specify the time signature of the tempo map (1/1–8/1, 1/2–8/2,
1/4–8/4, 1/8–8/8). The measures and beats shown in the
display, the rhythm guide sound, and the MIDI clock data
transmitted from the CDX-1 will follow this time signature
setting.
PATTERN: Specify the rhythm pattern of the rhythm guide.
5. If you wish to change the tempo from a measure in the middle of the song, press
[YES/ENTER].
fig.41-16
A mini-menu appears.
6. Press [YES/ENTER].
The settings of the preceding tempo map will be applied.
7. Repeat steps 4–5 as necessary.
8. Press [DISPLAY] to return to the Basic screen.
Deleting a tempo map
1. Access the Tempo Map setting screen as described in steps 1–2 of the preceding
section.
2. Move the cursor to the line of the tempo map that you wish to delete, and press
[YES/ENTER].
fig.41-16
A mini-menu appears.
3. Press CURSOR [ ] to select “DELETE?.“
4. Press [YES/ENTER].
The tempo map of the selected line will be deleted.
5. Press [DISPLAY] to return to the Basic screen.
Playing the rhythm guide according to the tempo map
1. Press RHYTHM GUIDE [PATTERN/TEMPO].
The Rhythm Guide Setting screen appears.
2. Press CURSOR [ ] to move the cursor to “Beat.”
3. Turn the TIME/VALUE dial to select “TEMPO MAP.”
The rhythm guide will play according to the tempo map.
4. Press [DISPLAY] to return to the Basic screen.
It is not possible to change the
“MEAS” value “1” of the
tempo map 1.
Rhythm Pattern List (p. 172)
Up to fifty tempo maps can be
created.
Tempo map 1 cannot be
deleted.
119
Recording/playing back a
performance
Recording/playing back a performance
Recording a Performance
Here’s how a performance on a connected instrument can be recorded on an audio
track. The input source selected by the INPUT SELECT button can be recorded in
mono or stereo.
Select the audio track for recording
1. Press [STATUS] for the audio track on which you wish to record, so that it blinks
in red.
Now the selected audio track is ready for recording.
fig.42-01
The state of each audio track is shown by the color of its [STATUS] button.
• Dark: An audio track that has been muted (silenced)
• Lit in green: An audio track is ready for playback.
• Lit in red: An audio track being recorded.
• Blinking in red: An audio track selected as the recording destination.
●
Record in mono
When the input is mono, you will normally use one audio track to record the sound
in mono. Press a [STATUS] to select one of the audio tracks 1–8.
fig.42-03
● Record in stereo
When the input is stereo, you will normally use two audio tracks to record the sound
in stereo. Press two [STATUS] in a combination of 1-2, 3-4, 5-6, or 7-8.
A sound that is input in mono will become stereo if an insert effect is applied to it. If
you wish to record in stereo while applying an insert effect, select two audio tracks
with same procedure as above.
fig.42-04
For details on the jack to use
for connections and on the
INPUT SELECT button, refer
to “Panel Description: Rear
panel” (p. 30) and “Panel
Description: INPUT section”
(p. 21).
If the eight audio tracks are
insufficient for you to record
all of the necessary
performances, you can
combine the performances of
multiple audio tracks into a
single track, freeing up
additional audio tracks for
more recording.
➔
“Combining the performances
of multiple audio tracks—
Bounce Recording” (p. 125)
When recording in stereo
using SIMUL, set the input pan
to “L100” (the far left) before
you record. If you set the input
pan except for “L100,” the two
input sources will be mixed
and recorded.
For details on insert effects,
refer to “Using the insert
effects” (p. 141).
120
Recording/playing back a performance
Record
1. Press REC [ ].
REC [ ] blink (recording-standby mode).
2. Press PLAY [ ].
REC [ ] and the [STATUS] of the audio track selected as the recording
destination will change from a blinking red light to a steady red light, and recording
will begin.
3. Press STOP [ ] to stop recording.
A message of “Keep take? (NO/YES)” (Do you wish to save the take on CD-RW
disc?) appears.
If you wish to save the take, press [YES/ENTER].
If you press [NO/EXIT], saving to CD-RW discs will be cancelled.
Doubling technique
One technique for spreading the backing guitar between left and right is to record
the same backing performance twice (on separate audio tracks), and then pan the
two tracks to left and right. This is known as doubling.
The CDX-1 provides a “DOUBL’N (doubling)” (p. 202) insert effect that lets you
produce a doubling effect without having to record the same performance twice.
Select two audio tracks and choose stereo recording, and use the “DOUBL’N
(doubling)” effect as you play the backing. This will produce a spacious doubling
effect.
“DOUBL’N (doubling)” is also provided as a loop effect. By using the “DOUBL’N”
(p. 174) loop effect, you can produce a doubling effect even from a single-track
(mono) recording, allowing you to make more efficient use of the audio tracks.
“Using the insert effects”
(p. 141)
“Using the loop effects”
(p. 145)
121
Recording/playing back a performance
Recording/playing back a
performance
Re-recording only a mistake
—Punch-in/out
You may occasionally make a mistake while recording, or the performance may not
turn out as you expect. In such cases, it is convenient to re-record only the portion
where the mistake occurred. The action of switching to record mode while an audio
track plays is called Punch-in. Switching from recording mode back to playback
while the track plays is called Punch-out.
fig.42-07e
Using the Record button to punch-in/out
Here’s how to use the REC [ ] to punch-in/out.
1. For the audio track that you wish to re-record, press [STATUS] to get it to blink in
red.
The selected audio track will be in recording-standby mode.
2. Set the fader of the selected audio track to the 0 dB position.
3. Listen to compare the input source volume with the volume of the audio track
that you wish to re-record, and adjust the INPUT REC LEVEL knob to adjust the
input sensitivity so that there is no difference in volume between the two.
4. After you have adjusted the input sensitivity, turn the TIME/VALUE dial to
move to a location immediately before the area you wish to re-record.
5. Press PLAY [ ] to play back the audio track.
6. At the moment you wish to begin recording, press REC [ ].
Punch-in will occur, and recording will begin.
During recording, you can press REC [ ] to alternately punch-in and punch-out.
If there are other locations that you wish to re-record, repeat this procedure.
7. When you are finished recording, press STOP [ ] to stop the playback.
A message of “Keep take? (NO/YES)” (Do you wish to save the take on CD-RW
disc?) appears.
If you wish to save the take, press [YES/ENTER].
If you press [NO/EXIT], saving to CD-RW discs will be cancelled.
8. Listen to the re-recorded results.
Return to a location immediately before the re-recorded area, and play back.
Time
Punch-in
Stop
Start
[PLAY] [REC] [REC] [STOP]
Punch-out
Playback PlaybackRecording
The data prior to punch-in/out
will remain on the CD-RW disc
without being erased. If you no
longer need this data, you can
erase it from the CD-RW disc
to make better use of the
storage space on the CD-RW
disc.
➔ “Increasing the free
space on a CD-RW disc—
Optimize Disc” (p. 126)
For details on adjusting the
input sensitivity of an input
source, refer to “Adjusting the
input sensitivity” (p. 113).
You can use the Undo function
(p. 138) to revert to the
condition before re-recording.
122
Recording/playing back a performance
Using a foot switch to punch-in/out
If you are playing an instrument at the same time that you operate the controls of the
recorder, it will be difficult for you to perform punch-in/out operations using the
REC [ ] button. In such cases, it is more convenient to press a separately sold foot
switch (such as the DP-2 or BOSS FS-5U) instead of pressing the REC [ ] button.
1. Connect an optional foot switch (DP-2, BOSS FS-5U, etc.) to the FOOT SWITCH
jack.
2. Press [UTILITY].
The Menu are displayed as icon.
fig.2-06
3. Press CURSOR [ ] to select the System
icon.
4. Press [YES/ENTER].
The System settings screen appears.
fig.2-07
5. Press CURSOR [ ] to move the cursor to
“Foot SW.”
6. Turn the VALUE dial to select “PUNCH I/O.”
● FSW Func (Foot Switch):
PLAY/STOP:
Each time you press the foot switch, the song will alternately play back ([ ]) and
stop([ ]).
PUNCH I/O:
It will perform the same function as REC [ ]. Use this to switch between punch-
in recording and playback.
SAMPLER TRIG:
The samples specified for each pad bank will play. (➔ “Playing a sample from a
connected foot switch” p. 75)
7. Press [DISPLAY] to return to the Basic screen.
This changes the settings so that the foot switch will perform punch-in/out
operations. Perform punch-in/out as described in “Using the Record button to
punch-in/out” (p. 121). At this time, press the foot switch instead of pressing REC
[].
Automatically punching-in/out at a specified location
—Auto Punch-in/out
Auto punch-in/out is a function that automatically performs punch-in/out at the
time locations that you specify beforehand. This is convenient when you wish to
punch-in/out at precise times.
Specifying the area for recording
Before you begin recording, you must register the locations at which punch-in and
punch-out will occur automatically.
1. Move to the desired punch-in location.
123
Recording/playing back a performance
Recording/playing back a
performance
2. Press AUTO PUNCH [IN].
fig.42-08
The current location will be registered as the punch-
in location, and the button will light.
If you wish to re-do the setting, move to the punch-in location you registered, and
press AUTO PUNCH [IN]. The registration will be cancelled, and AUTO PUNCH
[IN] will go out.
3. Move to the desired punch-out location.
4. Press AUTO PUNCH [OUT].
fig.42-09
The current location will be registered as the punch-
out location, and the button will light.
If you wish to re-do the setting, move to the punch-out location you registered, and
press AUTO PUNCH [OUT]. The registration will be cancelled, and AUTO PUNCH
[OUT] will go out.
How to Record
1.
For the audio track that you wish to re-record, press [STATUS] to get it to blink in red.
The selected audio track will be ready to record.
2. Move the fader of the selected audio track to the 0 dB position.
3. Listen to compare the input source volume with the volume of the audio track
that you wish to re-record, and adjust the INPUT REC LEVEL knob to adjust the
input sensitivity so that there is no difference in volume between the two.
4. After you have adjusted the input sensitivity, move to a location immediately
before the area you wish to re-record.
5. Press [AUTO PUNCH].
fig.42-10
The button will light, and auto punch-in/out will be
on.
6. Press REC [ ] to enter record-ready mode.
7. Press PLAY [ ] to play it back.
At the point you specified for re-recording, punch-in will occur automatically. Play
your instrument to re-record the performance.
At the point you specified for punch-out, the track will automatically change back to
play mode.
8. Press STOP [ ] to stop playback.
A message of “Keep take? (NO/YES)” (Do you wish to save the take on CD-RW
disc?) appears.
If you wish to save the take, press [YES/ENTER].
If you press [NO/EXIT], saving to CD-RW discs will be cancelled.
9. Listen to the result of the re-recording.
Return the song to a point earlier than you re-recorded, and play it back.
10. Press [AUTO PUNCH].
[AUTO PUNCH] will go out, and auto punch-in/out will be turned off.
Once you have registered the
punch-out location, you can
press AUTO PUNCH [IN]/
[OUT] to move to the
registration locations.
There must be at least one
second between the punch-in
and punch-out points. It is not
possible to set the punch-out
point less than one second
after the punch-in point.
If you wish to punch-in/out at
the location of a marker, move
to the marker location in steps
1 and 3 before you register the
punch-in/out locations.
➔ “Moving to the location of a
marker” (p. 129)
For details on adjusting the
input sensitivity of an input
source, refer to “Adjusting the
input sensitivity” (p. 113).
Even after auto punch-in/out
has been turned off, you can
press AUTO PUNCH [IN] or
[OUT] to move instantly to
those specified locations.
124
Recording/playing back a performance
Recording an additional performance while
listening to an existing performance
—Overdubbing
The process of listening to a previously recorded performance while you record
additional material on another audio track is called overdubbing. If you record
drums, bass guitar, keyboard, guitar, and vocal parts on separate audio tracks, you
can then adjust the volume balance between instruments and set the left/right
position (pan).
Select the audio track to record
1. For the audio track that you wish to record, press [STATUS] to get it to blink in
red.
With these settings, you are ready to record while listening to the performances of
the audio tracks you selected for playback.
Recording while you listen to the playback
Record using the same procedure as in “Recording a performance” (p. 119).
If you wish to adjust the volume of the audio tracks that are playing, adjust the
appropriate AUDIO TRACK fader.
At this time, the audio track selected as the recording destination will record only the
sounds you are playing, and will not record the sound of the audio tracks that are
playing back.
If at this time you select an
audio track that has already
b
een recorded, the new
performance will be
overwritten onto the
previously recorded
performance, replacing it.2.
For the audio tracks that you
wish to play back, press
[STATUS] to get them to light
in green.
Overdubbing tip
When you record new material while listening to a recorded performance, your
playing may tend to be buried in the existing performances, making it difficult for
you to play. In such cases, you can slightly lower the faders of the audio tracks that
are playing, or pan the playback tracks to the left (or right) and your own new
performance to the right (or left), to make it easier to distinguish your own playing.
“Setting the left/right position
(pan) of each audio track”
(p. 132),
“Setting the left/
right position (pan) of the
input sound” (
p. 113)
125
Recording/playing back a performance
Recording/playing back a
performance
Combining the performances of multiple
audio tracks—Bounce Recording
Depending on the number of instruments that you wish to record, eight audio tracks
may not be sufficient. In such cases, you can combine performances that were
recorded on multiple audio tracks, and re-record them onto another track. This
process is called bounce recording. By combining multiple performances in this
way, you can free up other audio tracks in order to record additional performances.
;
Bounce recording procedure
Here we will explain an example of how mono performances recorded on audio
tracks 1 and 2 can be mixed with the stereo performance recorded on audio tracks
3-4, and bounce-recorded on audio tracks 7-8.
1. For audio tracks 1, 2, 3, and 4 that you wish to combine, press [STATUS] to get it
to light in green.
2. Adjust the pan (left/right position) of the audio tracks for playback.
3. Press PLAY [ ] to play back, and use the AUDIO TRACK faders to adjust the
volume balance.
4. Use the MASTER fader to adjust the overall volume (recording level).
At this time, raise the volume as high as possible without allowing the sound to
distort. For the audio tracks that you do not want to mix (tracks 5-6), make their
[STATUS] go dark to mute them.
5. When you adjust the volume, press STOP [ ].
6. Press [BOUNCE] to get it to light.
7. Press the audio track 7 or 8 [STATUS].
The [STATUS] of audio tracks 7-8 will blink in red (recording-standby mode).
8. Press ZERO [ ] to return the SONG POSITION to “00:00:00-00”.
9. Press REC [ ].
REC [ ] blink (recording-standby mode).
10. Press PLAY [ ], and recording will begin.
11. Press STOP [ ] to stop recording.
A message of “Keep take? (NO/YES)” appears.
12. If you wish to save the take, press [YES/ENTER].
When CDX-1 complete to save, [BOUNCE] will go to dark, and the [STATUS] of the
selected recording destination tracks will go light in green.
If you press [NO/EXIT], saving to CD-RW discs will be cancelled.
13. Listen to the result of bounce recording.
Press audio tracks 1–4 [STATUS] to go dark (mute). Return to the location at which
you began recording, and press PLAY [ ] to play back audio tracks 7-8.
Playback/recording audio tracks for bounce recording
Each track can either play back or record. For example if you are bouncing to two tracks
in stereo, you will be able to play back the tracks that are not recording destinations;
i.e., you will be able to play back six tracks simultaneou during bounce recording.
Once performances have been
b
ounce-recorded to an audio
track, it will no longer be
possible to adjust the volume,
pan, or equalization of a
specific instrument or vocal. If
you need to keep the option of
individually adjusting pan,
equalization, etc., of an audio
track, you should not combine
it with other tracks by bounce-
recording.
“Adjusting the left/right
position (pan) of each audio
track” (p. 132)
In step 4, the INPUT SELECT
b
utton will automatically go
dark. If you wish to mix an
input source as part of the
b
ounce recording, press an
INPUT SELECT button to
select the desired input source.
126
Recording/playing back a performance
Playing back and stopping a recorded
performance
Playing back/stopping
1. For the audio tracks that you wish to play, press [STATUS] to get the button to
light in green.
2.
Press ZERO [ ] to return the SONG POSITION to “00:00:00-00” (beginning of the song).
3. Press PLAY [ ] to start playback.
4. Press STOP [ ].
The song stops.
Adjusting the volume of each track
Use the AUDIO TRACK faders to adjust the playback volume of each audio track.
Silencing a specific audio track—Mute
1. Press [STATUS] to extinguish the light.
The sound of that track will be silenced (muted).
To hear the sound once again, press [STATUS] to get it to light in green.
Saving Song settings on a CD-RW disc
The following parameters can be saved on a CD-RW disc.
• Mixer parameter • Maker parameter
• Rhythm Guide parameter • Tempo Map parameter
• Sequence parameter • Effects Location parameter
• Song parameter • Master parameter
Saving Song settings
1. Press [UTILITY].
The Menu are displayed as icon.
fig.31-14
2. Press CURSOR [ ] to select the
CD-R/RW Disc icon.
3. Press [YES/ENTER].
The CD-R/RW Disc Menu are displayed as icon.
fig.31-14
4. Make sure that the cursor is located at the
Save Song icon.
5. Press [YES/ENTER].
The display will indicate “Processing...,” and the data will be saved. When saving is
completed, the display will show a message of “Completed.”
6. Press [DISPLYAY] to return to the Basic screen.
When BUSY indicator is lit,
CDX-1 is preparing for
playback. Thus, the playback
do not immediately start when
it is lit. In this case,
PLAY
[] blinks.
It is not possible to change the
[STATUS] during the song is
playing.
For details on each parameter,
refer to “Parameter List”
(p. 208).
This operation does not save
the Pad/Sequence to CD-RW.
In order to save the Pad/
Sequence, you must perform
the operation “Saving Pad/
Sequence” (p. 67).
Song settings can be saved on
a CD-RW disc, when the
power is turned off (p. 34),
when a CD-RW disc is
removed (p. 36), or when you
mixdown (p. 133).
127
Recording/playing back a performance
Recording/playing back a
performance
Increasing the free space on a CD-RW disc
—Optimize Disc
When you perform overdubbing (p. 124) or punch-in/out (p. 121), the data that you
rewrite (replace) actually remains on the CD-RW disc. In some cases, this unwanted
data may occupy a significant amount of space on the CD-RW disc. This will cause
the time available for recording to be less than it should be.
By executing Optimize you can erase the unwanted data from the CD-RW disc,
increasing the amount of available space on the CD-RW disc.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.42-11
2. Press CURSOR [ ] to select the
CD-R/RW Disc icon.
3. Press [YES/ENTER].
The CD-R/RW Disc Menu are displayed as icon.
fig.42-11
4. Press CURSOR [ ] to select the
Optimize Disc icon.
5. Press [YES/ENTER].
fig.42-11a
A message of “You can’t UNDO this
function.” appears.
6. If you press [YES/ENTER], Optimize will be executed.
The display will show a message of “Completed.” and the Basic screen will reappear.
If you press [NO/EXIT], the display of step 3 reappears without executing Optimize.
Depending on the situation, an
appreciable length of time may
b
e required for Optimize to be
completed. This is not a
malfunction. While the
processing bar appears, do not
turn off the power with
unplugging the AC adaptor.
If you turn off the power
during the Optimize
operation, the CD-RW disc
may become unusable, or the
drive may be damaged.
After you execute Optimize, it
is not possible to press
[UNDO/REDO] (p. 138) to
revert to the state before
executing Optimize.
128
Recording/playing back a performance
Repeatedly playing a specified region
—the Repeat function
By using the Repeat function you can repeatedly play back a specified region. This
is convenient when you wish to check the mix balance over and over.
Registering the repeat region
1. Turn the TIME/VALUE dial or press REW [ ] /FF [ ] to move to the
location where you wish to begin repeating.
2. Press REPEAT [ ].
REPEAT [ ] will blink, indicating that the current location has been
registered as the repeat start point (A).
fig.2-04
If you wish to re-do the registration, press REPEAT [ ] if the current location
is the same as the repeat start point (A), and the registration will be cancelled. If the
current location is past the repeat start point (A), press REPEAT [ ] twice to
cancel the registration.
3. Turn the TIME/VALUE dial or press REW [ ] /FF [ ] to move to the
location where you wish to stop repeating.
4. Press REPEAT [ ].
REPEAT [ ] will light, indicating that the current location has been
registered as the repeat end point (B).
fig.2-05
If you wish to re-do the registration, press REPEAT [ ] to cancel the
registration, and then re-register, starting with the repeat start point (A).
5. When you press PLAY [ ], the region between the (A) and (B) points you
registered will play repeatedly.
Canceling the registration
1. When REPEAT [ ] is lit, press REPEAT [ ] once again.
REPEAT [ ] will go out. The Repeat function will be cancelled, and the
repeat start point (A) and end point (B) registrations will also be erased.
The Repeat function and
Punch-in/out recording
cannot be used together.
There must be at least one
second between the repeat
start (A) and end (B) points. Is
not possible to set the end
point less than one second
away from the start point.
If you want to repeat at the
location of a marker, move to
the location of that marker in
steps 1 and 3 before you
register the repeat start/end
points.
➔ “Moving to a
location of a marker” (p. 129)
129
Recording/playing back a performance
Recording/playing back a
performance
Assigning markers within a song—Marker
The Marker function lets you assign a marker at desired locations in the song. When
this function is used, you can move instantly to the location of a marker that you
registered, simply by specifying the appropriate marker number. This is also a great
convenience for editing.
Markers are assigned a number in the range of 001–100, starting at the beginning of
the song, and you can assign up to 100 markers. This means that if you register a new
marker between existing markers, subsequent markers will be renumbered upward
by one.
For example, if you add the following marker after marker number 2, the numbers
will change as shown below.
fig.42-12e
Assigning a marker
Press [MARK]. A marker is assigned at the location where you pressed the button.
Markers can be registered regardless of whether you are recording, playing, or stopped.
Moving to the location of a marker
To move to a marker earlier than the playback location, press SEARCH [ ]. Each
time you press SEARCH [ ], you will move to the previous marker.
To move to a marker later than the playback location, press SEARCH [ ].
Deleting a marker
Markers will make searching more convenient, but an excessive number of markers
can actually make searching more difficult. It is a good idea to delete markers as they
become no longer needed.
1. Press SEARCH [ ] [ ] to move to the marker that you wish to delete.
2. Press [MARK], and the marker will be deleted.
If markers exist after the deleted marker, they will be renumbered downward by one.
Marker1 Marker2 Marker3 Marker4
Marker1 Marker2 Marker4
Marker3
Marker5
Time
Time
There must be at least one
second between markers. It is
not possible to assign a marker
within 1 seconds of an existing
marker.
130
Recording/playing back a performance
Changing the location of a marker
1. Press [UTILITY].
The Menu are displayed as icon.
fig.42-14
2. Press CURSOR [ ] to select the Marker
Edit icon.
3. Press [YES/ENTER].
fig.42-15
The Marker Edit screen appears.
4. Make sure that the cursor is located at the “NO.”
5. Turn the TIME/VALUE dial to specify the number of the marker that you wish to
edit.
6. Press CURSOR [ ] to move the cursor to “LOC.”
7. Turn the TIME/VALUE dial to specify the desired location for the marker.
8. Press [DISPLAY] to return to the Basic screen.
Naming a marker
1. Press [UTILITY].
The Menu are displayed as icon.
fig.42-14
2. Press CURSOR [ ] to select the Marker
Edit icon.
3. Press [YES/ENTER].
fig.42-15
The Marker Edit screen appears.
4. Make sure that the cursor is located at the “NO.” line.
5. Turn the TIME/VALUE dial to specify the number of the marker that you wish to
edit.
6. Press CURSOR [ ] to move the cursor to “NAME.”
7. Use CURSOR [ ] [ ] to move the character location, and turn the
TIME/VALUE dial to input the desired character.
8. When you have finished determining the name, press [DISPLAY].
The display returns to the Basic screen.
A marker can be assigned a
name of up to 8 characters.
131
Recording/playing back a performance
Recording/playing back a
performance
Stopping the song automatically—
Marker Stop
You can make playback stop at marker locations (Marker Stop).
When you play back after stopping, the song will play back to the next marker, and
will then automatically stop again.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.2-06
2. Press CURSOR [ ] to select the Song
Parameter icon.
3. Press [YES/ENTER].
fig.2-07
The Song Parameter screen appears.
4. Press CURSOR [ ] to move the cursor to “Marker Stop.”
5. Turn the TIME/VALUE dial to select “ON.”
● Marker Stop:
If this is turned “ON,” playback will stop automatically at locations where a marker
has been assigned.
6. Press [DISPLAY] to return to the Basic screen.
For details on assigning a
marker, refer to “Assigning a
marker” (p. 129).
132
Editing a recorded performance to create an audio CD
Preparing to write a CD-R disc—Mixdown
The process of combining the performances recorded on multiple audio tracks into
two-channel stereo is called mixdown. Before you mixdown, you will complete the
song by adjusting the tone (equalizer), left/right position (pan), loop effects, and
volume balance settings of each track.
Setting the left/right position (pan) of each audio track
1. Press TRACK EDIT [PAN].
fig.43-01
The pan setting screen for the audio tracks
appears.
2. Press CURSOR [ ] [ ] to select the audio track that you wish to adjust.
3. Turn the TIME/VALUE dial to set the pan.
4. Press [DISPLAY] to return to the Basic screen.
Adjusting the tone of each audio track—Equalizer
The mixer section of the CDX-1 provides a two-band equalizer (EQ) for each audio
track, allowing you to independently adjust the tone of the low-frequency and high-
frequency ranges.
1. Press TRACK EDIT [EQ].
fig.43-02
The equalizer setting screen appears.
2. Press CURSOR [ ] [ ] to select the audio track that you wish to adjust.
3. Use CURSOR [ ] [ ] to move the cursor to the line of the parameter you
wish to set.
4. Turn the TIME/VALUE dial to change the value.
➔ For details on the parameters, refer to “Mixer effect parameter functions” (p. 174).
5. Press [DISPLAY] to return to the Basic screen.
Adjusting the overall volume balance—Master Balance
Here’s how to adjust the overall volume balance.
1. Press MASTER TRK [EDIT].
fig.43-03
The Master Balance Setting screen appears.
2. Turn the TIME/VALUE dial to adjust the overall balance.
3. Press [DISPLAY] to return to the Basic screen.
For details on the loop effect,
refer to “Using the loop
effects” (p. 145).
Pan settings can also be
changed while the song is being
recorded. If you change the pan
setting during recording, the
changes will be recorded just as
you make them.
133
Editing a recorded performance to create an audio CD
Editing a recorded performance to
create an audio CD
Mixing down
After listening to repeated playbacks and adjusting the pan, equalizer, loop effects,
and volume balance settings of each audio track to the desired settings, you are
ready to mixdown.
1. Press AUDIO TRACK RECORD [MIX DOWN].
[MIX DOWN] will light, and you will be in mixdown-ready mode.
* If the pad/sequence contained in the CDX-1’s internal memory, a message of “Save PAD/SEQ
Data?” appears, [MIX DOWN] will blink.
If you wish to save the pad/sequence on a CD-RW disc, press [YES/ENTER]. [MIX DOWN] will
light.
If you press [NO/EXIT], a message of “You’ll lose PAD/SEQ data. Go to MIXDOWN MODE?”
appears. If you wish to go mixdown mode, press [YES/ENTER]. If you wish to cancel, press
[NO/EXIT].
2. For audio tracks that you wish to include in the mixdown, press [STATUS] to
make the button light in green.
* Make sure that master track [STATUS] light in red.
3. Press ZERO [ ] to return the SONG POSITION to “00:00:00-00” (beginning of
the song).
Alternatively, you can move to a desired location so that recording will start from
that point.
4. Press PLAY [ ].
Mixdown will begin.
5. When mixdown is finished, press STOP [ ].
The screen will ask “Do you want to burn a CD? “
If you wish to create an audio CD, press [YES/ENTER] and continue with the
procedure “Writing to a CD-R disc” (p. 135).
If you wish to make sure that the result of mixdown, press [NO/EXIT]. For detail
refer to “Listen to the result of Mixing down”, below.
Listen to the result of Mixing down
1. When the “BURNING CD?” message appears in step 5 of the above procedure,
press [NO/EXIT].
2. Press master track [STATUS] to make the button light in green.
fig.43-01
The mastering track screen appears.
3. Press PLAY [ ] to the beginning of the mastering track.
The song will play back. Adjust the settings of the mastering tools as necessary.
(➔ “Adjusting the mastering tools”; p. 134)
4. When you are finished with test-listening, press STOP [ ].
5. If you wish to write to the CD-R disc, press [CD BURNING] and continue with
the procedure “Writing to a CD-R disc” (p. 135).
Once you carry out mixdown,
pad/sequence held in internal
memory of CDX-1 will be lost.
You cannot listen the song in
CD burning mode.
If you wish to cancel
MIXDOWN MODE
([MIX DONW] is lit), press
[MIX DONW] once again.
If you press PLAY [ ] to
play back the master track
form top each time.
If you wish to redo mixing
down, press master track
[STATUS] to make the button
b
link in red. Return to step 2 of
“Mixing down,” above.
134
Editing a recorded performance to create an audio CD
Adjusting the mastering tools
The mastering tools are a convenient set of tools that divide the sound into high-
frequency, mid-frequency, and low-frequency ranges, and make the volume
consistent so that the audio CD can be created with the optimal levels. There are 19
mastering tool patches, so you can select the patch that is most appropriate for your
situation.
If [MASTERING TOOLS] will turn on, the data being written to the CD-R disc will
use the mastering tools.
fig.43-05
1. In step 2 of “Listen to the result of Mixing
down,” above, the Mastering track screen
appears.
2. Use CURSOR [ ] [ ] to move the cursor to the line of the parameter that you
wish to adjust. Turn the TIME/VALUE dial to adjust the value.
● MTK Patch (mastering tools patch)
Mixdown: Tools for audio CD production
PreMastr: Tools for video pre-mastering
LiveMix: Tools for final mix of a live recording
PopMix: Tools for pop music
DanceMix: Tools for dance music
JinglMix: Tools for FM broadcast jingles
HardComp: Heavy compressor
SoftComp: Light compressor
ClnComp: Cut background noise to clean up the overall sound
DnceComp: Compressor for dance music
OrchComp: Compressor for orchestra
VocalCmp: Compressor for vocals
Acoustic: Tools for acoustic guitar
RockBand: Tools for rock band.
Orchestr: Tools for orchestra.
LoBoost: Tools to emphasize the low frequency
Brighten: Tools to emphasize the high frequency
DJsVoice: Tools for a DJ voice
PhoneVox: Tools to model a telephone voice
Cassette: Suitable for cassette Tapes.
Phono: Suitable for analog record disks.
● Input Level
Adjust the volume level (-24–12 dB) that is sent to the mastering tools. The default
setting is “0 dB.”
If you are in CD BURNING
mode, [MASTERING TOOLS]
will be turned on (lit)
automatically.
You can select the mastering
tools patch and adjust the
input level in CD burning
screen. However, you can not
test-listening.
135
Editing a recorded performance to create an audio CD
Editing a recorded performance to
create an audio CD
Completing your original CD—CD Burning
Here’s how to write the mixed-down song to a CD-R disc to complete your own
original CD.
When you create an original CD on the CDX-1, you will use the “mastering tools”
to adjust the overall volume to the optimal level.
* The CDX-1 uses Track At Once to write song data to a CD-R disc. A CD-R disc that was written
using Track At Once allows additional song data to be written as long as you have not yet
finalized the disc. However, the disc cannot be played in a conventional CD player until it has
been finalized. Once a CD-R disc has been finalized, no further data can be written to it.
Writing to a CD-R disc
1. When the “Do you want to burn a CD?” message appears in step 5 of “Mixing
down” (p. 133) or step 5 “Listen to the result of Mixing down“(p. 133), press [YES/
ENTER].
A message of “Save SONG before eject?” appears.
If you wish to save, press [YES/ENTER].
A message of “Processing...” appears and CDX-1 saves setting of SONG (Parameter
of Mixer, effects etc.) in CD-RW disc. When saving is completed, the disc tray will
open, the screen indicates “Insert CD-R disc.”
If you press [NO/EXIT], CDX-1 will not save setting of SONG (Parameter of Mixer,
effects etc.) in CD-RW disc. The disc tray will open, the screen indicates “Insert
CD-R disc.”
2. Remove the CD-RW disc and insert a CD-R disc.
fig.43-05
The CD burning screen appears.
CD RECORDER [ ] will blink (writing-
ready mode).
* You can select the mastering tools patch and adjust the input level in CD burning screen before
writing to the CD-R disc. However, you can not test-listening
.
3. Press PLAY [ ].
Writing to the CD-R disc will begin.
When writing is completed correctly, the screen will ask “Do you want to finalize a
CD?”
4. If you wish to finalize the disc, press [YES/ENTER].
The screen will indicate “Now Processing...,” and the disc will be finalized. When
finalization is completed, the disc tray will open.
If you wish to add another song, press [NO/EXIT]. Finalize will not be executed, and
the disc tray will open.
Finishing the CD Burning
1. Press [CD BURNING] or [NO/EXIT].
A message of “You’ll lose MASTER TR. Are you sure?” appears.
2. Press [YES/ENTER], CD burning mode will finish.
[CD BURNING] will go dark.
Press [NO/EXIT], stay on CD burning mode.
For details on the mastering
tools, refer to “Adjusting the
mastering tools” (p. 134)
Track At Once (p. 18),
Finalize (p. 204)
For details of saved Song
settings, refer to “Saving Song
settings on a CD-RW disc”
(p. 126).
Data is written to the CD-R
disc at 1x speed.
Finalization will require
approximately 1 minutes.
If you wish to add other songs
to the CD-R disc and execute
Finalize later, refer to
“Finalizing a CD-R disc”
(p. 136).
136
Editing a recorded performance to create an audio CD
Finalizing a CD-R disc
Here’s how to finalize an original CD that you created, so that it can be played on a
conventional CD player.
1. Insert the CD-R disc that you wish to finalize.
2. Press [UTILITY].
The Menu are displayed as icon.
fig.43-06
3. Press CURSOR [ ] to select the
CD-R/RW Disc icon.
4. Press [YES/ENTER].
The CD-R/RW Disc Menu are displayed as icon.
fig.43-06
5. Press CURSOR [ ] to select the CD-R
Finalize icon.
6. Press [YES/ENTER].
The display will ask “CD-R finalize OK?”
7. Press [YES/ENTER] once again.
The display will indicate “Now Processing...,” and finalization will be executed.
When finalization is completed, the CD Player screen appears.
If you press [NO/EXIT], finalization will not be executed, and you’re returned to
step 5.
Once a CD-R disc has been
finalized, no further data can
b
e recorded to it.
Finalize (p. 204)
Finalization will require
approximately 1 minutes.
137
Taking full advantage
of the CDX-1
138
More functions for the CDX-1
Undoing a recording/editing operation
When you record or sample a performance, the recorded (or sampled) results may
not always be as you expect. Or, you may make a mistake in editing. In such cases,
you can use the Undo function to cancel the result of the preceding operation and
return the data to its original state. Conversely, you can use the Redo function to
cancel the last-performed Undo operation and go back to the recorded or edited
data.
Undoing a recording or editing operation—Undo
When Undo is available, [UNDO/REDO] will light.
1. Press [UNDO/REDO].
[UNDO/REDO] will go out, and the previous recording or editing operation will be
undone.
Canceling the Undo—Redo
1. Press [UNDO/REDO].
[UNDO/REDO] will light, and the previous undo operation will be undone.
139
More functions for the CDX-1
Using the CDX-1 with
other MIDI devices
Cueing to a precise location—Preview
When you are editing the performance of an audio track or sequence track, there are
times when you need to determine a precise editing location, such as the beginning
of a specific sound or the point where a break begins. By using the Preview function
you can search for the desired point while listening to the sound, and adjust the
location with great precision.
Adjusting the current location while listening to the
preceding and/or following sound
fig.5-01e
1. For the audio track whose sound you wish to check, press [STATUS] to make it
light in green.
To play back a sequence track, turn [SEQ PLAY] on. Then in the Sequence Play List
screen, select the sequence track (A–D) that you wish to play. (➔ “Playing a sequence
track”; p. 96)
2. With playback stopped, press PREVIEW [TO] or [FROM] to play back the sound
as described below.
Press [TO]:
Playback once from one second before the current location to the current location.
Press [FROM]:
Playback once from the current location to one second after the current location.
3. While listening to the sound, turn the TIME/VALUE dial to make fine
adjustments to the current location.
Time
Now Time
PREVIEW
TO
PREVIEW
FROM
Sound data
1second1second
[TO] is convenient when you
wish to set the current location
to the beginning of a sound,
and [FROM] is convenient
when you wish to set the
current location to the end of a
sound.
For an audio track, you can
press [MARK] to mark the
current location so that it can
b
e easily found later. ➔
“Assigning a marker” (p. 129)
140
More functions for the CDX-1
Using Scrub to make fine adjustments in the cue
location—Scrub Preview
An extremely short region (45 milliseconds) either before or after the current location
will play back repeatedly. This is called the Scrub function.
fig.5-02e
The Scrub Preview function will play back only audio tracks.
1. For the audio track that you wish to play, press the [STATUS] to make it light in
green.
2. Press [SCRUB].
Scrub playback will begin.
3. While you listen to the sound and current time, turn the TIME/VALUE dial to
move the current location in small steps, and find the moment at which the
sound begins.
4. As necessary, press [TO] or [FROM] to switch the region that will be played back
repeatedly.
[TO] is convenient when you wish to set the current location to the beginning of a
sound, and [FROM] is convenient when you wish to set the current location to the
end of a sound.
[TO]: Repeatedly play from a point 45 milliseconds before the current location,
up to the current location.
[FROM]: Repeatedly play from the current location, up to a point 45 milliseconds
after the current location.
5. When you have found the precise location at which the sound begins, press
[SCRUB] once again.
[SCRUB] will go out, and Scrub Preview will be turned off.
SCRUB
TO
Time
Now Time
Sound data
SCRUB
FROM
45 msec 45 sec
For an audio track, you can
press [MARK] to assign a
marker at the current location
so that it will be easy to find
again.
➔ “Assigning a
marker” (p. 129)
141
More functions for the CDX-1
Using the CDX-1 with
other MIDI devices
Using the insert effects
The CDX-1 comes with two onboard effects processors: an insert effect and loop
effects. These two types can be used simultaneously, and you can make settings for
each effect as desired.
What is an insert effect?
An insert effect is an effect that is applied directly to a specific signal line (in the case
of the CDX-1, an input instrument or an audio track being played back). (The effect
pedals that a guitarist connects between his guitar and amp are a type of insert
effect.) For example, by applying an insert effect to an electric guitar connected to the
CDX-1, you can distort the sound or transform the sound into the tone of an acoustic
guitar. You can also modify the settings of an insert effect to create your own original
sounds.
What is a patch?
The CDX-1 provides numerous effects for vocals, guitar, etc., and two or more of
these effects can be used simultaneously. Such a combination of effects (i.e., the types
of the effects used and the order in which they are connected) is called an algorithm.
In addition, each effect has a variety of settings (parameters) that can be adjusted in
order to change the sound. By editing the values of these parameters you can create
a wide range of tonal characteristics. The settings for the overall state of the effects
including the effect parameter values are stored as a unit called a patch. The effects
used for the insertion effect together with the parameters of each effect can be
changed by recalling a patch.
How the patches are organized
The CDX-1 provides a variety of patches suitable for vocals or various instruments
(preset patches). The preset patches are organized into four groups. In addition to
the preset patches, there are 100 user patches and 100 song patches in which you can
store your own patches that you create.
● Preset patches (A001–A100, B001–B100)
The preset patches already contain patch data. The settings can be modified, but
cannot be rewritten.
• LINE (line group): A001–A050
• SIMUL (simul group): A051–A100
• GUITAR/BASS (guitar/bass group): B001–B050
• MIC (mic group): B051–B100
● User patches (U001–U100)
User patches can be rewritten, and are stored in internal memory. If you have
created a patch that you would like to use for other songs as well, it is convenient to
store it as a user patch.
● Song patches (S001–S100)
Song patches can be rewritten, but are stored on the CD-RW disc together with the
song data. This is convenient when you have created a patch for a specific recorded
performance, and would like to store that patch together with the song.
“Using the loop effects”
(p. 145)
“What is a loop effect?”
(p. 145)
“Insert effect algorithm list”
(p. 175)
Song patches (S001–S100)
cannot be selected unless a
CD-RW disc is inserted.
142
More functions for the CDX-1
Using an insert effect
1. Press INSERT EFFECTS [ON/OFF].
[ON/OFF] will light, and the sound processed by the effect will be output.
2. Press INSERT EFFECTS [PATCH].
fig.5-04
The patch select screen appears.
3. Turn the TIME/VALUE dial to select a patch.
When you switch patches, the effect sound will also change. While you listen to the
effect sound, select the desired effect patch.
4. If you do not wish to use an insert effect, press INSERT EFFECTS [ON/OFF] once
again.
[ON/OFF] will go out, and the insert effect will be off.
Editing the insert effect settings
If you wish to create a new effect sound, you should first select an existing patch that
is closest to the sound you want, and then edit its settings. If you wish to save the
effect settings that you edited, save them as a user patch or song patch.
1. Press INSERT EFFECTS [PATCH].
The patch select screen appears.
2. Turn the TIME/VALUE dial to select a patch that is close to what you intend to
create.
fig.5-05
3. Press CURSOR [ ] to select “EDIT.”
4. Press [YES/ENTER].
The effect block diagram is displayed
graphically.
fig.5-06e
5. Use CURSOR [ ] [ ] [ ] [ ] to
select an effect, and turn the TIME/VALUE
dial to turn the effect on/off.
6. Use CURSOR [ ] [ ] [ ] [ ] to select the effect whose parameters
you wish to edit, and press [YES/ENTER].
The parameter setting screen for the selected effect will appear.
7. Use CURSOR [ ] [ ] to select a parameter, and turn the TIME/VALUE dial
to edit the value.
8. If you would like to edit another effect, press [NO/EXIT] to return to the previous
screen, and repeat steps 5–6.
fig.5-05
* Edited effect settings are temporary. If you go back one screen
without saving the edited patch, the patch number will be
displayed as “TMP.” While “TMP” is displayed, newly
selecting a different patch will cause the edited patch to revert to
its previous state, and your edits will be lost.
Insert effects can be used on a
specific audio track during
playback, or during mixdown
(p. 133).
➔ Refer to “Changing
the insert effect connections”
(p. 144).
If you use CURSOR [ ] to
select “GROUP,“ then turn the
TIME/VALUE dial, patches
can be changed by groups.
For further descriptions of
each aigorithm’s function,
please refer to p. 175–203.
Effect on (solid line)
Effect off (dotted line)
If you wish to save the current
effect settings, perform the
procedure described in
“Saving insert effect settings,”
b
elow.
143
More functions for the CDX-1
Using the CDX-1 with
other MIDI devices
Saving insert effect settings
You can assign a name (patch name) to the edited effect settings, and save them.
Continue with this procedure after the preceding section, “Editing insert effect
settings.”
fig.5-07
1. In the screen that displays the effect block
diagram, press CURSOR [ ] a number of
times to select “NAME.”
2. Press [YES/ENTER].
The Patch Name input screen will appear.
3. Use the TIME/VALUE dial and CURSOR [ ] [ ] to input the desired
patch name.
4. When you are finished inputting the patch name and editing the settings of each
effect, press [NO/EXIT] to return to the effect block diagram screen.
fig.5-08
5. Press CURSOR [ ] to select “WRITE,”
and press [YES/ENTER].
fig.5-09
6. Turn the TIME/VALUE dial to select the
patch-save destination.
7. After you have specified the patch-save destination, press [YES/ENTER].
When the data has been saved, you’re returned to the patch select screen.
8. Press [DISPLAY] to return to the Basic screen.
Copying a patch to create a new patch
If you wish to create two or more patches with similar effect settings, it is convenient
to copy the patch.
1. Press INSERT EFFECTS [PATCH].
The patch select screen appears.
2. Turn the TIME/VALUE dial to select the copy-source patch.
fig.5-10
3. Press CURSOR [ ] to select “COPY.”
4. Press [YES/ENTER].
The Copy Effect setting screen will appear.
fig.5-11
5. Turn the TIME/VALUE dial to select the
patch-copy destination.
6. When you have specified the patch-copy destination, press [YES/ENTER].
When the copy is completed, you’re returned to the patch select screen.
7. Press [DISPLAY] to return to the Basic screen.
Song patch data is not saved
immediately when you write
it; rather, it is saved to CD-RW
disc when you save the song or
when you automatically turn
off the power. For this reason,
the song patch data will be lost
if you turn off the power by
disconnecting the AC adaptor
instead of using the power
switch. Please use caution.
Press CURSOR [ ] to move
the cursor to “From” line, you
can change the copy-source
patch.
144
More functions for the CDX-1
Changing the insert effect connections
By changing the connections of the insert effect, you can meet the needs of a wide
variety of situations. For example, you can apply effects to the playback of specific
audio tracks or audio sample pads, or adjust the sound during mixdown (p. 133)
1. Press [UTILITY].
The Menu are displayed as icon.
fig.5-13
2. Press CURSOR [ ] to select the Effects
location icon.
3. Press [YES/ENTER].
fig.5-14
The Insert Mode setting screen appears.
4. Turn the TIME/VALUE dial to switch the “Insert Mode.”
• INPUT (NORMAL):
fig.5-15
You will hear the sound that passes through
the insert effect. The sound that passes
through the insert effect (the same sound that
you hear) will also be recorded/sampled.
Normally you will use this setting.
• INPUT (REC DRY):
fig.5-16
You will hear the sound that passes through
the insert effect. The sound prior to passing
through the insert effect (i.e., the original
sound) will be recorded/sampled. Use this
setting when you wish to try various effects
after recording the sound.
• TRACK1–8, 1&2, 3&4, 5&6, 7&8:
fig.5-17
The insert effect will be applied to the audio
tracks. Use this setting when you wish to try
various effects after recording the direct
sound (i.e., the sound not processed by the
effect), or when you wish to apply an effect to
a specific audio track.
• MASTER:
fig.5-18
Use this setting when you wish to adjust the
tone during mixdown, or when you wish to
apply an effect to the entire sound, such as
during resampling (p. 63).
5. Press [DISPLAY] to return to the Basic screen.
By default, the insert effect is
inserted immediately after the
input source
(“INPUT (NORMAL)”).
AUDIO TRACK (REC)
PAD (REC)
Input level is always same
regardless to the position of
REC LEVEL knob in case of
“INPUT (REC DRY)” is
selected.
AUDIO TRACK (REC)
PAD (REC)
AUDIO TRACK
(PLAY)
It is not possible to apply the
insert effect to the sound
played by the pads.
AUDIO TRACK 1 (PLAY)
AUDIO TRACK 8 (PLAY)
AUDIO TRACK 2 (PLAY)
PAD 1 (PLAY)
PAD 2 (PLAY)
PAD 8 (PLAY)
145
More functions for the CDX-1
Using the CDX-1 with
other MIDI devices
Using the loop effects
What is a loop effect?
The method of sending a signal from a mixer to an effect (the “send”), and then
returning the output of the effect back to the mixer (the “return”) is called “loop
effect.” When a loop effect is used, its output is generally mixed with the original
sound.
The mixer section of the CDX-1 provides chorus/delay/doubling and reverb as loop
effects. By using these you can add spaciousness to the sound.
Since the send level is independent for each audio track, you can vary the effect
depth for each track. For example, you might apply deep reverb to the vocal and
light reverb to the drums.
Editing the loop effect settings
Chorus/delay/doubling
1. Press LOOP EFFECTS [DELAY].
fig.5-19
A screen will appear in which you can adjust
the volume (send level) that is sent from the
pad and each audio track to chorus/delay/
doubling.
2. Press CURSOR [ ] [ ] to select the audio track for which you wish to
make settings.
When you wish to use the loop effect to the PAD, use CURSOR [ ] to move the
“PAD.”
You can continue pressing CURSOR [ ] [ ] and adjust the send level of the
input source.
When the input source is recorded/sampled adding of the loop effects, the sound
with the added effects is recorded/sampled.
You can also continue pressing CURSOR [ ] and adjust the send level of the
rhythm guide.
3. Turn the TIME/VALUE dial to adjust the send level.
4. Press LOOP EFFECTS [DELAY] once again.
.5-20
The chorus/delay/doubling setting screen
appears.
5. Make sure that the cursor is located at the “Effect Type” line.
6. Turn the TIME/VALUE dial to select the effect.
For details on other parameters, refer to “Mixer effect parameter functions” (p. 174).
7. Press [DISPLAY] to return to the Basic screen.
Chorus/delay/doubling
cannot be used
simultaneously. You must
select one of them.
146
More functions for the CDX-1
Reverb
Reverb consists of overlapping sounds reflected from the walls and floor. For
example, if you clap your hands in a large room such as a church, the “wash” of
sound that lingers is the reverb. The character of the reverb is affected by the size of
the space (room, hall, etc.), its shape, and the materials of the wall or other reflecting
surface.
1. Press LOOP EFFECTS [REVERB].
fig.5-21
A screen will appear in which you can adjust
the volume (send level) that is sent from the
pad and each audio track to the reverb.
2. Press CURSOR [ ] [ ] to select the audio track for which you wish to
make settings.
When you wish to use the loop effect to the PAD, use CURSOR [ ] [ ] to
move the “PAD.”
You can continue pressing CURSOR [ ] [ ] and adjust the send level of the
input source.
When the input source is recorded/sampled adding of the loop effects, the sound
with the added effects is recorded/sampled.
You can also continue pressing CURSOR [ ] and adjust the send level of the
rhythm guide.
3. Turn the TIME/VALUE dial to adjust the send level.
4. Turn the RTN LEVEL knob to adjust the return level.
5. Press LOOP EFFECTS [REVERB] once again.
fig.5-22
A Reverb Setting Screen appears.
For details on the parameters, refer to “Mixer
effect parameter functions” (p. 174).
6. Press [DISPLAY] to return to the Basic screen.
Using the loop effect to create doubling
One technique for spreading the backing guitar between left and right is to record
the same backing performance twice (on separate audio tracks), and then pan the
two tracks to left and right. This is known as doubling.
The CDX-1 provides a “DOUBL’N (doubling)” (p. 174) loop effect that lets you
produce a doubling effect without having to record the same performance twice.
By using the “DOUBL’N (doubling)” effect, doubling can be applied to the mono
recording of a channel after it has already been recorded.
Before you edit the parameters of the “DOUBL’N” (doubling) loop effect, set the pan
settings of the audio track to far left or right.
For details on pan settings for
an audio track, refer to
“Setting the left/right position
(pan) of an audio track.”
147
More functions for the CDX-1
Using the CDX-1 with
other MIDI devices
Creating a backup CD-RW disc
If you have a CD-RW disc that contains important performance data, it is a good idea
to copy it onto a another CD-RW disc to create a backup before the data is lost or
damaged.
Backing up song data on a CD-RW disc
Before you begin the backup, you must obtain a CD-RW disc that has been formatted
on the CDX-1.
➔ “Preparing a CD-RW disc for use” (p. 110)
1. Press [UTILITY].
The Menu are displayed as icon.
fig.5-23
2. Press CURSOR [ ] to select the
CD-R/RW Disc icon.
3. Press [YES/ENTER].
CD-R/RW Disc Menu are displayed as icon.
fig.5-23
4. Press CURSOR [ ] to select the
CD-RW Backup icon.
5. Press [YES/ENTER].
A message of “Prepare a formatted destination disc.” appears.
6. Press [YES/ENTER].
A message of “Please insert the source disc.” appears, and the disc tray opens.
* If the pad/sequence contained in the CDX-1’s internal memory, a message of “You'll lose PAD/
SEQ data. Are you sure?” appears.
If you press [YES/ENTER], all Pad/Sequence will be lost, and you will go to step 7.
Press [NO/EXIT] to return to the display of step 5. If you wish to save Pad/Sequence, follow the
procedure described of “Saving Pad/Sequence.” (p. 67).
7. Insert the backup-source CD-RW disc.
The display will indicate “Reading...” and the CDX-1 will begin reading the CD-RW
disc.
A message “Please insert the Destination disc.” appears, and the disc tray opens.
8. Insert the backup-destination CD-RW disc.
The display will indicate “Writing...” and the CDX-1 will begin writing the CD-RW
disc.
The display of step 6 (“Please insert the source disc.”) reappears, and the disc tray
opens.
9. As directed by the instructions that appear in the screen, alternately insert the
CD-RW disc.
When the backup has been completed, the display will show a message of
“Completed.” Press [YES/ENTER] return to the display of step 5.
10. Press [DISPLAY] return to the Basic screen.
Backing up a CD-RW disc
requires a considerable
amount of time. It can take as
long as twenty minutes.
The
number of times that discs must
be exchanged will depend on the
amount of performance data
saved on the CD-RW disc and
on the amount of internal
memory.
When you backup song data,
all data previously on that CD-
RW disc will be erased. Be
careful not to insert a CD-RW
disc that contains data you
wish to keep.
148
More functions for the CDX-1
Connecting with a digital audio device
The output of a digital audio device such as a CD player, DAT recorder, or MD
recorder can be directly recorded in digital form on the CDX-1.
In Order to Make a Digital recording with CD player
At the factory settings, the CDX-1 cannot record the output of a digital audio device
via the OPTICAL IN or COAXIAL IN connectors. If you wish to make connections
with a digital audio device, you must perform the following procedure.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.2-06
2. Press CURSOR [ ] to select the System
icon.
3. Press [YES/ENTER].
The System settings screen appears.
fig.2-07
4. Press CURSOR [ ] to move the cursor to
“CD DigitalREC.”
5. Turn the TIME/VALUE dial clockwise.
fig.5-34
“Obey Copyright? See Owner’s Manual”
appears in the display.
6. Carefully read the condition for permission that are listed on the back cover of
this manual, and if you agree to the condition, press [YES/ENTER].
Parameter of “CD DigitalREC” changes to “ON.”
Subsequently you will be able to use digital connections from a digital audio device
such as a CD player.
If you do not agree with the terms, press [NO/EXIT]. The setting will remain “OFF,”
and the System settings screen reappears.
7. Press [DISPLAY] to return to the Basic screen.
149
More functions for the CDX-1
Using the CDX-1 with
other MIDI devices
To Prevent Digital recording with CD players
1. Press [UTILITY].
The Menu are displayed as icon.
fig.2-06
2. Press CURSOR [ ] to select the System
icon.
3. Press [YES/ENTER].
The System settings screen appears.
fig.2-07
4. Press CURSOR [ ] to move the cursor to
“CD Digital REC.”
5. Turn the TIME/VALUE dial to select “OFF.”
Subsequently it will not be possible to use digital connections from a digital audio
device such as a CD player.
6. Press [DISPLAY] to return to the Basic screen.
150
More functions for the CDX-1
Prohibiting digital copying—Digital Copy Prohibit
When digitally recording from the CDX-1 to an MD recorder or similar device, you
can prohibit subsequent digital copying from the recorded MD to another MD
recorder.
If digital copying is prohibited, it will be impossible for the MD that was digitally
copied from the CDX-1 to be subsequently copied in digital form to another MD.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.2-06
2. Press CURSOR [ ] to select the System
icon.
3. Press [YES/ENTER].
The System settings screen appears.
fig.2-07
4. Press CURSOR [ ] to move the cursor to
“D.Copy Protect.”
5. Turn the TIME/VALUE dial to select “ON.”
Subsequently, it will not be possible for a MD digitally recorded from the CDX-1 to
be again copied in digital form to another MD recorder.
● D.Copy Protect (digital copy protect):
Specify whether digital copying of a digitally copied tape will be prohibited.
ON: Digital copying will be prohibited.
THRU: A “Copy Protect Signal” is output with digital signals that are input from
DIGITAL IN (COAXIAL IN or OPTICAL IN) with “Copy Protect Signal.”
When using the CD player functionality (p. 49) of the CDX-1, a “Copy
Protect Signal” is output with digital signals that are playing back track
with “Copy Protect Signal.”
6. Press [DISPLAY] to return to the Basic screen.
* Some DAT recorders do not support SCMS, or do not allow digital connections to a CD player. If
you are using this type of DAT recorder, it will not be possible to record the digital output of the
CDX-1 on a DAT recorder if “D.Copy Protect” is turned “ON.” In such cases, you will need to
turn this setting “THRU.”
What is SCMS?
“SCMS” stands for “Serial Copy Management System.” This is a function of
consumer digital audio devices such as DAT recorders or MD recorders that protects
the copyright of the producer by prohibiting second-generation and subsequent
copies from being made digitally. If digital connections are made to a digital
recorder that has this function, SCMS flags will be recorded along with the digital
audio signals. Digital audio data that contains these flags cannot be recorded again
via a digital connection.
151
Using the CDX-1 with
other MIDI devices
Using the CDX-1 with other MIDI devices
MIDI Fundamentals
What is MIDI?
MIDI stands for “Musical Instrument Digital Interface.” This is a worldwide
standard that was developed in order to allow music data and sound data to be
exchanged among electronic musical instruments and computers. Devices that are
MIDI-compatible can exchange music data according to their capabilities, even if
they are different types of device or were made by different manufacturers.
MIDI channels
MIDI allows data to be transmitted independently to multiple MIDI devices over a
single MIDI cable. This is made possible by the concept of “MIDI channels.”
You can think of MIDI channels as being similar to television channels. Although
many broadcast channels are in the air at any one time (many channels of MIDI data
are moving through a single cable), a television set receives only the channel to
which it is set (the MIDI device receives only the channel to which it is set).
The same is true in the case of MIDI. If a transmitting device is set to MIDI channel
“1,” the MIDI messages will be received by receiving devices that are also set MIDI
channel “1.”
MIDI Implementation Chart
MIDI allows a wide variety of electronic musical instruments to communicate with
each other. However, it is not necessarily the case that every device is able to
transmit and receive every type of MIDI message. Only MIDI messages that are
supported by both devices can be conveyed.
The operating manual of every MIDI device includes a “MIDI implementation
chart.” This chart makes it easy to see the types of MIDI message that can be
transmitted and received. When you wish to connect two MIDI devices, you should
compare their charts to see which types of MIDI message can be conveyed between
them.
For details on the MIDI
functionality of the CDX-1,
refer to “MIDI Implementation
chart” (p. 216).
152
Using the CDX-1 with other MIDI devices
Switching MIDI OUT/THRU
MIDI messages (the data handled by MIDI) is transferred using the following three
types of connector.
MIDI IN: This connector receives MIDI messages from another MIDI device.
MIDI OUT: This connector sends MIDI messages from the CDX-1.
MIDI THRU: MIDI messages received at the MIDI IN connector are re-transmitted
without change from this connector.
The CDX-1 provides a single connector that can be used either as MIDI OUT or MIDI
THRU. At the factory settings, it functions as MIDI OUT. You can change this setting
as necessary.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.5-24
2. Use CURSOR [ ] to select the MIDI
icon.
3. Press [YES/ENTER].
The MIDI settings screen appears.
fig.5-25
4. Press CURSOR [ ] to move the cursor to
“Out/Thru” line.
5. Turn the TIME/VALUE dial to select either “OUT” or “THRU.”
6. Press [DISPLAY] to return to the Basic screen.
153
Using the CDX-1 with other MIDI devices
Using the CDX-1 with
other MIDI devices
Using MIDI to control the CDX-1 from
another device
The CDX-1 can be controlled in the following ways by MIDI messages from another
MIDI device.
Play samples
By sending MIDI note messages from a keyboard or drum pad to the CDX-1, you can
play the eight samples of the selected pad bank.
To play the samples of the CDX-1, you can choose one MIDI channel from channels 1–16.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.5-24
2. Press CURSOR [ ] to select the MIDI
icon.
3. Press [YES/ENTER].
The MIDI settings screen appears.
fig.5-25
4. Make sure that the cursor is located at the
“Pads Rx Ch.” line.
5. Turn the TIME/VALUE dial to select a channel in the range of “1”–”16.”
If you select “OFF,” samples cannot be played by any MIDI channel.
6. Press [DISPLAY] to return to the Basic screen.
At the factory settings, the pads correspond to MIDI note numbers (numbers that
indicate keyboard locations) as follows.
fig.5-26e
Changing the correspondence between pads and note numbers
1. Press [UTILITY].
2. Press CURSOR [ ] to select the MIDI icon, and press [YES/ENTER].
The MIDI settings screen appears.
3. Press CURSOR [ ] to move the cursor to “Rx Note (Pad1).”
4. Turn the TIME/VALUE dial to specify the note number.
5. Press [DISPLAY] to return to the Basic screen.
Switch the pad bank
The eight samples of the selected pad bank are the only the samples that can be
played by MIDI note messages. To switch the pad bank, use program change
messages.
Of the program numbers sent to the CDX-1, only 1–64 are valid. These select pad
banks 1 through 64 respectively. Program numbers 65–128 will be ignored.
The “Pads Tx Ch.” parameter
specifies the MIDI channel that
will be used to control another
MIDI device when you press
the pads of the CDX-1.
1
C3
48
C#3
49
D3
50
D#3
51
E3
52
F3
53
F#3
54
G3
55
2345678Pad
MIDI
Note
Eight consecutive MIDI note
numbers are used, according
to the pad numbers. You are
free to specify which note
number will be the first (i.e.,
pad [1]) (see the following
section).
154
Using the CDX-1 with other MIDI devices
Synchronized playback with the CDX-1
as the master
The CDX-1 can operate in synchronization with a MIDI sequencer. Synchronization
can be accomplished using MTC (MIDI Time Code).
Using MTC (master)
1. Use a MIDI cable to connect the CDX-1 and your MIDI sequencer as shown in
the diagram.
fig.5-27e
2. Press [UTILITY].
The Menu are displayed as icon.
fig.12-06
3. Press CURSOR [ ] to select the MIDI
Parameter icon.
4. Press [YES/ENTER].
The MIDI settings screen appears.
fig.12-07
5. Press CURSOR [ ] to move the cursor to
“Sync Out” line.
MTC (p. 205)
For details on operation of
your MIDI sequencer, refer to
the operating manual for your
device.
Master and slave
When the CDX-1 plays in synchronization with a MIDI sequencer, the device that
transmits the time data is called the master. The device that receives the time data
transmitted by the reference device (master) and follows this data is called the slave.
When playing in synchronization with a MIDI sequencer, the CDX-1 can be
used as the master (transmitting) device, but not as the slave (receiving)
device. Also, the MIDI sequencer must be set as the slave (receiving) device.
MIDI OUTMIDI IN
MIDI Sequencer
CDX-1
155
Using the CDX-1 with other MIDI devices
Using the CDX-1 with
other MIDI devices
6. Turn the TIME/VALUE dial to select “MTC.”
● Sync Out:
Select whether or not the synchronization signals that will be transmitted from the
MIDI OUT/THRU connector.
Off: Synchronization signals will not be output.
MTC: MIDI Time Code will be transmitted.
fig.12-07
7. Press CURSOR [ ] to move the cursor to
“MTC Type” line.
8. Turn the TIME/VALUE dial to select the MTC type (30, 29N, 29D, 25, or 24).
● Sync MTC Type (MTC Type):
Check the specifications of the MIDI sequencer you are using, and match the MTC
setting of the CDX-1 and your MIDI sequencer.
30: 30 frames per second, non-drop. This format is used for audio devices such
as tape recorders, and for NTSC-format black and white video.
29N: 29.97 frames per second, non-drop. This format is used for NTSC-format
color video.
29D: 29.97 frames per seconds, drop-frame. This format is used for NTSC-format
broadcast color video.
25: 25 frames per second. This format is used for SECAM/PAL-format video
and audio devices, and film.
24: 24 frames per second. This format is used in the United States for video and
audio devices for and film.
9. Press [DISPLAY] to return to the Basic screen.
10. Make settings on your MIDI sequencer so that it can receive MTC from an
external device, and prepare it to play back MIDI song data.
When the CDX-1 begins playing, the MIDI sequencer will also begin playing in sync
with it.
Frames (p. 205),
NTSC-format (p. 206),
SECAM/PAL-format
(p. 206)
156
Using the CDX-1 with other MIDI devices
Using MMC
This section explains how to make settings for synchronizing the playback with a
computer-based MIDI sequence program that supports MMC and MTC.
Using the CDX-1 as the MMC master
1. Make connections as follows.
fig.5-30
The CDX-1 will be the master for MMC and MTC.
2. Press [UTILITY].
The Menu are displayed as icon.
fig.12-06
3. Press CURSOR [ ] to select the MIDI
icon.
4. Press [YES/ENTER].
The MIDI settings screen appears.
fig.12-07
5. Press CURSOR [ ] to move the cursor to
“MMC Mode” line.
6. Turn the TIME/VALUE dial to select “MASTER.”
● MMC Mode: Specify how the CDX-1 will use MMC.
Off: MMC will not be transmitted.
MASTER: MMC will be transmitted. The CDX-1 will be the master for external
MIDI devices.
SLAVE: MMC will be received. The CDX-1 operates as the slave of an external
MIDI device.
7. Make settings to allow MTC synchronization.
Use the procedure of step 5 and following in “Using MTC (master)” (p. 154).
8. Make settings on your sequence software.
Make the following settings on your sequencer software. For details on making these
settings, refer to the manual for your sequencer software.
• MTC: receive
• MTC type: same setting as the MTC Type selected on the CDX-1
• MMC: receive
9. Press [DISPLAY] to return to the Basic screen.
MMC (p. 205)
Some MIDI devices do not
support the CDX-1’s MMC
functionality. If so, it will not
b
e possible to operate them
from the CDX-1 using the
methods described here. For
details on the MMC
functionality supported by the
CDX-1, read “MIDI
Implementation” (p. 212).
MIDI OUTMIDI IN
CDX-1
For details on the supported
MMC functions, refer to “MIDI
Implementation” (p. 212).
157
Using the CDX-1 with other MIDI devices
Using the CDX-1 with
other MIDI devices
Using the CDX-1 as an MMC slave
1. Make the following connections.
fig.5-31
The CDX-1 will be the MMC slave, but the MTC master.
2. Press [UTILITY].
The Menu are displayed as icon.
fig.12-06
3. Press CURSOR [ ] to select the MIDI
icon.
4. Press [YES/ENTER].
The MIDI settings screen appears.
fig.12-07
5. Press CURSOR [ ] to move the cursor to
“MMC Mode” line.
6. Turn the TIME/VALUE dial to select “SLAVE.”
For details on the MMC Mode, refer to step 6 of “Using the CDX-1 as the MMC
master,” above.
7. Make settings to allow MTC synchronization.
Perform steps 5 and following of “Using MTC (master)” (p. 154).
8. Make settings on your sequence software.
Make the following settings on your sequencer software. For details on making these
settings, refer to the manual for your sequencer software.
• MTC: receive
• MTC type: same setting as the MTC Type selected on the CDX-1
• MMC: transmit
9. Press [DISPLAY] to return to the Basic screen.
MIDI OUTMIDI OUTMIDI IN MIDI IN
CDX-1
For details on the MMC
functionality that is supported,
refer to “MIDI
Implementation” (p. 212).
158
Using the CDX-1 with other MIDI devices
Using an external MIDI sound module
to play the rhythm guide
The rhythm guide can be played using your favorite sounds on another MIDI device.
1. Use a MIDI cable to connect the CDX-1 and your MIDI sound module as shown
in the diagram.
fig.5-32e
2. Press [UTILITY].
The Menu are displayed as icon.
fig.5-24
3. Press CURSOR [ ] to select the MIDI
icon.
4. Press [YES/ENTER].
The MIDI settings screen appears.
fig.5-25
5. Press CURSOR [ ] to move the cursor to
“Rhythm ch” line.
6. Turn the TIME/VALUE dial to set the MIDI channel (1–16).
If you select “OFF,” note messages of the rhythm guide will not be transmitted.
7. Press [DISPLAY] to return to the Basic screen.
How the rhythm guide sounds correspond to note numbers
fig.5-33e
If your external MIDI sound module is GS- or GM-compatible, you can use it
without further settings. If it is not compatible with either of these, you will need to
make settings on your external MIDI sound module to change the sounds that
correspond to each note number. For details on making these settings, refer to the
manual of your MIDI sound module.
“Using the rhythm guide”
(p. 116)
MIDI OUTMIDI IN
CDX-1
MIDI Sound Module
If you are using an external
MIDI sound module to play
the rhythm guide, use the
controls of the external MIDI
sound module to adjust the
volume level.
Rhythm guide sound Note number
Metronome (click: low tone) A 1 (33)
Metronome (click: high tone) A#1 (34)
Kick C 2 (36)
Stick C#2 (37)
Snare D 2 (38)
Hand Clap D#2 (39)
Closed hi-hat F#2 (42)
Half open hi-hat G#2 (44)
Open hi-hat A#2 (46)
159
CD direct recording
160
Recording to a CD-R disc—CD Recorder
The CDX-1 can record an external audio source directly to a CD-R without using the
audio tracks.
• You must use CD-R discs that carry these logos.
• The CDX-1 writes song data to a CD-R using Track At Once. As long as the disc
has not yet been finalized, additional song data can be added to a music CD-R that
has been written using Track At Once. However, the disc cannot be played in a
conventional CD player until it has been finalized. ( ➔ “Finalizing a CD-R disc”;
p. 136)
No further data can be added to a CD-R that has been finalized.
• Do not use this unit for purposes that could infringe on a copyright held by a third
party. Roland assumes no responsibility whatsoever with regard to any
infringements of third-party copyrights arising through your use of this unit.
• The CDX-1 and its CD-R capability are designed to allow you to reproduce material
to which you have copyright, or material which the copyright owner has granted
you permission to copy. Accordingly, reproduction of Music CD or other
copyrighted material without permission of the copyright owner avoiding
technical prohibiting features of second-generation and later copying like SCMS or
others constitutes copyright infringement and may incur penalties even in case
such reproduction is for your own personal use and enjoyment (private use).
Consult a copyright specialist or special publications for more detailed information
on obtaining such permission from copyright holders.
Track at once (p. 18),
Finalize (p. 204)
Using the mastering tools
You can use the mastering tools while recording an external input source. For details
refer to “Adjusting the mastering tools” (p. 134).
If you wish to use the mastering tools, press [MASTERING TOOLS] to turn it on (lit).
In this case, Pad/Sequence is held in internal memory will not be playable. (Pad may
be extinguished and/or [SEQ PLAY] turn off.)
It is possible to set mastering tools for each in CD recorder screen. Press CURSOR
[] [ ] to select “MTK” (mastering tool patch) and “IN” (input level), turn
the TIME/VALUE dial to adjust value.For details on the mastering tools, refer to
“Adjusting the mastering tools” (p. 134).
161
Recording to a CD-R disc—CD Recorder
CD direct recording
Recording an external audio source to
a CD-R disc
Here we will explain an example using digital connections with an external MD
recorder.
The CDX-1 has two types of DIGITAL IN connector: coaxial and optical. This allows
the output of a external digital audio device such as a CD player, DAT recorder, or
MD recorder to be recorded onto a CD-R in digital form.
* In order to record a digital audio signal into the CDX-1, it is not enough to simply connect the
digital audio device to the OPTICAL IN or COAXIAL IN connectors. To allow digital audio
signals to be recorded, you must make the setting described in “Connecting with a digital audio
device” (p. 148).
1. Connect the digital in jack of the CDX-1 to the digital out jack of your external
MD recorder. Make sure that the type of jack is correct.
fig.6-1e
2. Insert an unused CD-R disc or a CD-R disc that has been written by the CDX-1.
* When insert an CD-R disc written audio data, CD player screen appears.
* When insert an unused CD-R disc, CD recording screen (step 3) appears.
* You cannot record on a CD-R disc that has been finalized.
3. Press CD RECORDER [ ].
CD recording screen appears.
CD RECORDER [ ] will blink (recording-
standby mode).
4. Press INPUT SELECT [DIGITAL].
5. Turn the INPUT REC LEVEL knob to adjust the level so that level meter moves
as far as possible without exceeding the dotted line in the upper portion.
If INPUT REC LEVEL knob is set at in case of Digital In, input level will be
“0 dB.”
6. Ready a MD (mini-disk) into your external MD recorder for immediate play.
7. Press PLAY [ ] to begin recording, and then start playback on your external
MD recorder.
8. To stop recording, press STOP [ ].
If you wish to finalize the CD-R that you recorded, use the procedure described in
“Finalizing a CD-R disc” (p. 136).
Digital Out
Digital In
e.g., Optical Conection
MD Recorder
It is not possible to use
COAXIAL IN and OPTICAL
IN inputs simultaneously. For
details refer to “Panel
Descriptions: INPUT section:
[DIGITAL]” (p. 21).
Except for input digital,
adjustment of the input is
necessary. For details refer to
“Adjust the input sensitivity”
step1 (p. 113).
You can use the mastering
tools while recording an
external input source. For
details refer to the column
“Using the mastering tools”
(p. 160).
162
Recording to a CD-R disc—CD Recorder
Recording samples played using Pad
Crossfade on a CD-R disc
The sound of samples played using Pad Crossfade can be recorded directly on a
CD-R.
1. Insert the CD-RW disc that contains the sample data you wish to record.
➔ “Sampling to a pad” (p. 56)
➔ “Loading Pad/Sequnece from a CD-RW disc” (p. 68)
2. Insert an unused CD-R disc or a CD-R disc that has been written by the CDX-1.
* When insert an CD-R disc written audio data, CD player screen appears.
* When insert an unused CD-R disc, CD recording screen (step 3) appears.
* You cannot record on a CD-R that has been finalized.
3. Press CD RECORDER [ ].
CD recording screen appears.
CD RECORDER [ ] will blink (recording-
standby mode).
4. Press a pad, and Use the PAD/SEQ LEVEL fader to adjust the recording level so
that level meter moves as far as possible without exceeding the dotted line in the
upper portion.
5. Press [PAD X FADE].
[PAD X FADE] will light, and pad crossfade will be turned on.
6. Press PLAY [ ] to begin recording, and press a pad to play its sample.
7. If you press another pad while the first sample is sounding, the first-played
sample will fade-out, and the sample of the subsequently played pad will fade-in
as it begins sounding.
8. Continue pressing pads as desired.
9. To stop recording, press STOP [ ].
10. If you wish to finalize the CD-R disc, follow the procedure described in
“Finalizing an CD-R disc” (p. 136).
The mastering tools (p. 134)
cannot be used.
“Crossfading the pad sample
you play–Pad Crossfade”
(p. 71)
You can connect an instrument
and add your instrumental
performance to the playback
sound of the sequence.
163
Recording to a CD-R disc—CD Recorder
CD direct recording
Recording the sequence playback on a
CD-R disc
Here’s how you can record the playback sound of a sequence directly on a CD-R.
1. Press PAD SEQUENCING [SEQ PLAY].
fig.34-08
[SEQ PLAY] lights, and the Sequence Play
List screen appears.
2. Press CURSOR [ ].
fig.34-07
A cursor appears on box A of “Tr.SEL” (track
select).
3. Press CURSOR [ ] [ ] to move the cursor to the “Tr.SEL” (track select) box
of the sequence track (A–D) that you wish to play.
4. Press CURSOR [ ].
fig.34-08
The “Tr.SEL” (track select) box will be
highlighted in black, indicating that it will
play back.
To cancel your selection, press CURSOR
[].
5. If you wish to record other sequence tracks as well, repeat steps 3–4.
6. Press PLAY [ ] to play back sequence track.
7. Use the PAD/SEQ LEVEL fader to adjust the recording level.
At this time, raise the volume as high as possible without allowing the sound to distort.
8. When you adjust the volume, press STOP [ ].
9. Press ZERO [ ] to set SONG POSITION to “0001-01-000” (the beginning).
Alternatively, you can move to a desired location so that recording will start from that point.
10. Insert an unused CD-R disc or a CD-R disc that has been written by the CDX-1.
* When insert a CD-R disc written audio data, CD player screen appears.
* When insert an unused CD-R disc, CD recording screen (step 11) appears.
* You cannot record on a CD-R that has been finalized.
11. Press CD RECORDER [ ].
CD recording screen appears.
CD RECORDER [ ] will blink (recording-
standby mode).
12. Press PLAY [ ].
The sequence will play back, and will begin being written to the CD-R disc.
13. To stop recording, press STOP [ ].
14. If you wish to finalize the CD-R disc, follow the procedure in “Finalizing a CD-R
disc” (p. 136).
The mastering tools (p. 134)
cannot be used.
You can connect an instrument
and add your instrumental
performance to the playback
sound of the sequence.
In step 7, set master fader at
position of “0 dB” to make the
recording level moderate.
164
Memo...
Memo...
165
Appendices
166
Troubleshooting
If you encounter problems with the operation of the CDX-1, first check the following points. If after these steps the problem is still
unresolved, consult your nearest Roland service center or authorized Roland distributor.
Problems with the sound
There is no sound whatsoever
● Is the power of the CDX-1 or any connected device
turned on?
● Are all of the connections correct? (p. 32)
● Is any of the connection cables broken?
● Is the amp or mixer volume turned up?
● Is the Master fader up?
The volume level of the instrument
connected to the INPUT jacks (MIC1,
MIC2, GUITAR/BASS, LINE) is too low.
● Could you be using a connection cable that contains a
resistor?
Use a connection cable that does not contain a resistor.
The input source cannot be heard
● Did you adjust the SENS knob?
● Has INPUT SELECT been muted?
(The INPUT SELECT indicator will be dark.)
● Has the INPUT REC LEVEL knob been set to “MIN”?
There is no sound from the audio tracks
● Are any audio track [STATUS] illuminated green?
● Are the audio track faders up?
● Are the audio tracks empty or recorded with no signal?
There is no pad (sample) sound
● Is the sample on an assigned pad (one that is
illuminated)?
● Was the sound sampled with no signal?
● Are the PAD/SEQ LEVEL faders up?
● Is the volume setting (Volume) for the individual
samples turned up?
Adjust the volume of a sample as described in “Adjusting
the volume of a sample–Sample Level” (p. 76)
● Including audio tracks and sequence tracks, are there
four stereo sounds being played?
● Are samples assigned to the same mute group?
Samples in the same mute group are prevented from being
played simultaneously (p. 74).
There is no sound through the headphones
● Is the headphones knob (PHONES) turned up?
● Are the MASTER fader up?
There is no sound from the sequence tracks
● Has the [SEQ PLAY] been turned on?
When playing a sequence track, press PAD
SEQUENCING [SEQ PLAY] and [SEQ PLAY] will be
turned on. (p. 96)
● Are the PAD/SEQ LEVEL fader up?
● Are the audio tracks empty or recorded with no signal?
● Are the boxes “Tr.SEL” (track select) highlighted in
black? (p. 96)
There is no sound from the audio CD
● Has the [SEQ PLAY] been turn off?
When playing a audio CD, the PAD SEQUENCING
[SEQ PLAY] turn off. (The [SEQ PLAY] indicator will be
dark.)
● Are the AUDIO CD fader (AUDIO TRACK 7-8 fader)
up? (p. 52)
Unintended effects are added to the sound
● Are the internal effects turned on?
Press INSERT EFFECTS [ON/OFF] to turn the effects off.
(p. 142)
The sound from the pad does not stop
● Is the sample “Pad Play” setting set to “DRUM?”
Because the sound is played up until the end point, it may
seem that with long samples the sound indeed does not
stop (p. 70).
The rhythm guide dose not sound
● Is the rhythm guide off?
Press RHYTHM GUIDE [ON/OFF] to turn the rhythm
guide on. (p. 116)
● Is the rhythm guide level set to 0?
Press RHYTHM GUIDE[PATTERN/TEMPO] to access
the Rhythm Guide screen, and raise the “Level” setting.
(p. 116)
167
Troubleshooting
Troubleshooting
There is no sound only when the effects
are in use
● Is the output level of the inserted effects patch raised?
Raise the output level of the patch as described in “Editing
insert effect settings” (p. 142).
Sampling does not begin, even when
[PAD REC] is pressed
● Is the appropriate “Start with” setting selected? (p. 61)
The effects sounds can not be recorded
or sampled
● Is the effect connection set to “INPUT (NORMAL)“?
When recording or sampling, you must set the effect
connection to “INPUT (NORMAL)” in order to record the
sound that is processed by the effect. (p. 144)
Cannot record
● Is a high-speed compatible CD-RW disc insert?
● Is the CD-R/RW disc inserted with the correct side
facing up?
Insert the CD-R/RW disc with its label facing upward.
● Did you insert a CD-R disc that has already been
finalized?
Once a disc has been finalized, no further data can be
recorded on it. Please use a new CD-R disc.
● Dose the CD-RW disc have insufficient remaining
capacity?
Please check the remaining available recording time.
(p. 39)
● Is INPUT SELECT button lit for the input source that
you wish to record?
● Has the Scrub Playback function (p. 140) been turned
on?
The recorded or sampled sound is very
distorted or noisy
● Is the input sensitivity set appropriatery?
If the input sensitivity is too high, the recorded sound will
the distorted. If it is too low, the input sound will be buried
in noise. Adjust the INPUT SENS knob as high as possible
without causing the peak indicator to light.
● Are the equalizer settings appropriate?
Some equalizer settings can cause the sound to distort
even though the peak indicator dose not light. Readjust
the equalizer (p. 132).
●
Is the distortion a result of mixing multiple audio tracks?
When bouncing tracks, distortion can result from
excessive levels caused by the addition of the sounds from
multiple audio tracks during mixing. Lower the audio
track faders.
● Is a distortion effect being applied to the sound?
●
Is any INPUT SENS knob not currently in use turned
up?
To avoid additional noise, completely turn down any
INPUT SENS knob not in use.
The recording comes out in mono
sound
● Is the sampling “Type” setting set to “MONO” (p. 61)?
● Have you selected the [STATUS] of only one audio
track for recording?
In order to record in stereo, you must select two audio
tracks for recording. (p. 119)
When sampling, the very beginning of
the sound is missing
● Is the “Start with” setting (p. 61) value “LEV.1–8” set
too high?
The insert effects can not be applied
● Is INSERT EFFECTS [ON/OFF] turned on
(illuminated)? (p. 142)
● Is the “Insert Mode” setting (determining the insert
effect connections) set appropriately? (p. 144)
It is not possible to apply the insert effect to the sound played by
the pads.
The loop effects can not be applied
● Is the effects send level for the pad and each audio track
set to 0?
Raise the effect send level as described in “Editing the loop
effect settings” (p. 145)
168
Troubleshooting
Cannot digitally record
● Have you made settings to allow digital recording from
your CD player?
At the factory settings, the CDX-1 cannot record the
output of a digital audio device via the OPTICAL IN or
COAXIAL IN connectors. You must change the settings as
described in “In order to make a Digital recording with CD
player” (p. 148).
● Dose the sampling rate of the CDX-1 match that of the
digital audio device.
Set the digital audio device to a sampling rate of 44.1kHz.
● Dose the digital signal format match.
YOur digital audio device may use a non-standard digital
signal format. Connect the CDX-1 to a digital audio device
that supports S/P DIF.
Problems with the CD-RW disc drive
The disc tray dose not open
● Is the power turned on?
If the power is not turned on, pressing the EJECT button
will not open the disc tray.
In cases when pressing the EJECT button does not open
the disc tray (such as during a power failure), remove the
disc as described in “If the disc tray does not open”
(p. 36).
Synchronization problems
When using MTC to synchronize the CDX-1 with a MIDI
sequencer, the CDX-1 must be the master device.
● Is the MIDI cable connected correctly?
● is the MIDI cable broken?
● If you are synchronizing with MTC, has the other
device been set to the same MTC type? (p. 154)
● Is the “Out/Thru” setting (p. 152) correct?
● Has the MIDI sequencer been set correctly?
● Is the MIDI sequencer ready to play back?
● Dose the other device support the MMC commands of
the CDX-1?
Other problems
The foot switch is connected, but it is
not working as intended
● Have you made the appropriate system “Foot SW”
setting?
Set the “Foot SW” parameter in the System Settings screen.
(p. 75, 122)
● Did you connect or disconnect the foot switch while the
power was turned on?
Turn the power off before connecting or disconnecting the
foot switch.
Can't make Pre-Trigger settings
● Is the “Start with” (p. 62) setting appropriate?
In order to set Pre-Trigger, the “Start with“ setting must be
“Lev.1“–“Lev.8.“
DIMM checking does not end
DIMM checking takes approximately ten minutes to be
completed. You can abort DIMM checking by pressing
[NO/EXIT].
Display screen is difficult to read
Adjust the contrast as described in “Adjusting the
brightness of the screen display” (p. 38).
The two input sources are mixed and
recorded when you record in stereo
using SIMUL.
When recording in stereo using SIMUL, set the input pan
to “L100” (the far left) before you record.
➔ “Setting the left/right position (pan) of the input
sound“ (p. 113)
Pad/Sequence was not saved to disc
Did you save the pad/sequence to disc before turning off
the power?
➔ “Saving pads/sequences“ (p. 67)
169
Troubleshooting
Troubleshooting
Unable to make Audio CD
● Are you using CD-R disc?
It is impossible to make Audio CDs on CD-RW disc or on
unwritable CD-ROM, Audio CD.
● Are you using CD-R disc that has been finalized?
The data on the CD-RW disc is
corrupted or damaged
Damaged data may be caused by the following:
● Was the power turned off while the CD-RW disc drive
was operating?
● Was a strong physical shock applied to the CD-RW
drive?
Damaged or corrupted data cannot be restored.
In some cases, by selecting “FULL” for the format type (p. 112),
such disks may be used as blank disks. However, since these
disks may be damaged or broken, do not store important data on
them.
170
Major Message List
● Bank is protected.
The operation cannot be executed since the pad bank is
protected.
● Canceled.
The operation was canceled.
● Can't execute.
Cannot execute this operation.
● Can't insert to this point.
Cannot insert to this point.
● Can't UNDO.
Undo is not possible.
● Can't use PAD/SEQ now.
Pad/Sequence cannot be used.
● CD-ROM is not ready.
The CD-ROM from which to load the WAVE file is not ready.
● Checking disc...
● Checking...
Now checking the disc. Please wait.
● Coaxial input locked.
Locked to digital input (coaxial).
● Coaxial input unlocked.
Could not lock to digital input (coaxial).
● Completed.
The operation has been completed.
● Convert data. Are you sure?
Do you want to convert the WAVE file?
● DIMM error.
An error occurred while checking the DIMM.
● Disc is not for audio.
This disc is not made for audio.
● Disc full.
The disc is full.
● Do you want to burn a CD?
Do you want to burn the CD?
● Do you want to finalize a CD?
Do you want to finalize the CD-R?
● Do you want to initialize the disc?
The data will be initialized when you execute the format
operation. Do you want to execute?
● Eject disc? (not saved)
Do you want to eject the disc without saving the song?
● Finalize failed.
Failed to finalized the disc.
● Format failed.
Failed to format the disc.
● Initialize All param. Are you sure?
OK to initialize all parameters?
● Initialize Effects param. Are you sure?
OK to initialize effect parameters?
● Initialize Global param. Are you sure?
OK to initialize global parameters?
● Initialize Mixer param. Are you sure?
OK to initialize mixer parameters?
● Insert a Destination disc.
This disc is the backup source disc.
Please insert the backup destination disc.
● Insert CD-R disc.
Insert a CD-R disc.
● Insert CD-RW disc.
Insert a CD-RW disc.
● Keep take?
Do you wish to save the data on CD-RW disc?
● Load error.
An error occurred while loading data.
● Load PAD/SEQ data?
Do you want load pad and sequence data?
● Marker does not exist.
There are no markers.
● Master track does not exist.
There is no master track.
● Memory full.
There is not enough memory to execute the operation.
● Memory low, cannot UNDO. Continue?
There is not enough memory to undo this operation. Execute
anyway?
● MTR disc not ready.
The MTR disc is not inserted in the drive.
● No PAD/SEQ data to save. Save anyway?
No pad/sequence data was found.
● Not CD-RW disc.
This disc is not a CD-RW disc.
● Not HIGH-SPEED CD-RW.
This is not a high-speed compatible CD-RW disc.
● Not supported.
The specified file is not in a format that can be converted.
● Not WAVE file.
The specified file is not a WAVE file.
● Now playing SCRUB.
Now scrubbing.
● Now Processing...
Now processing. Please wait.
● Now recording...
Now recording pads.
171
Major Message List
Major Message List
● Obey copyrights? See Manual for details.
Do you agree to obey copyright law? Please refer to the
owner's manual for details.
● Optical input locked.
Locked to digital input (optical).
● Optical input unlocked.
Unable to lock to digital input (optical).
● Optimize failed.
Failed to optimize.
● Overwrite?
● Overwrite OK?
The specified pad already contains a sample, which will be
lost if overwritten. Do you want to overwrite anyway?
● PAD/SEQ does not exist.
There is no pad/sequence data.
● PADs are Full. Use next bank?
The pads of the bank are full. Do you want to use the next
bank?
● Patch write failed.
Was not able to write the effect patch.
● Please insert the Destination disc.
Insert the backup destination disc.
● Please insert the Source disc.
Insert the backup source disc.
● Press [ENTER].
Press [YES/ENTER] at the timing you wish to set.
● Read error.
An error occurred while reading.
● Read only disc.
This disc is a read-only disc.
● Reading...
Now reading. Please wait.
● Reading Disc Information.
Now reading disc information. Please wait.
● Recordable CD-R not ready
A recordable CD-R is not ready.
● Save error.
An error occurred while saving.
● Save PAD/SEQ data?
Do you want to save the pad/sequence data?
● Save SONG before eject?
Do you want to save the song before ejecting?
● Save SONG before shutdown?
Do you want to save the song before shutdown?
● Saving PAD/SEQ.
Now saving the pad/sequence data.
● Shutdown?
Do you want to shutdown?
● Song end.
The end of the song has been reached.
● Stop recorder.
Please stop the recorder.
● This is a blank disc. Do you want to format?
This is a new disc. Do you wish to format it?
● This is not a MTR disc. Insert a Destination disc.
This disc is not for MTR.
Please insert the correct backup destination disc.
● This is not a MTR disc. Insert a Source disc.
This disc is not an MTR disc.
Please insert the correct backup source disc.
● This PAD contains data. Cannot overwrite.
This pad already exists.
● There is no data on the PADS in this Bank.
There is no pad in this bank.
● Unknown disc
This is an unknown type of disc.
● Waiting trigger...
Waiting for input level to trigger recording.
● Waiting for PAD to start.
Waiting for pad input to trigger recording.
● Waiting play...
Waiting for sequence start to trigger recording.
● Waiting eject...
Waiting for the disc to be ejected.
● Waiting for PAD...
Waiting for pad input.
● Write error.
An error occurred while writing.
● Writing...
Now writing. Please wait.
● You’ll lose MASTER TR. Are you sure?
The master track data will be lost if you execute. OK to
execute?
●
You’ll lose PAD/SEQ data. Go to MIXDOWN Mode?
Pad/Sequence data will be lost if you move to Mixdown
mode. Is this OK?
●
You’ll lose PAD/SEQ data during Shutdown. Sure?
Pad/Sequence data will be lost if you shutdown. OK to
shutdown?
●
You’ll lose PAD/SEQ data during Diagnosis. Sure?
Pad/Sequence data will be lost if you execute DIMM
checking. OK to execute?
● You’ll lose PAD/SEQ data. Are you sure?
Pad/Sequence data will be lost. OK?
172
Rhythm Pattern List
Beat No. Name Measure
1/1 01 Metronom 1
2/1 01 Metronom 1
3/1 01 Metronom 1
4/1 01 Metronom 1
5/1 01 Metronom 1
6/1 01 Metronom 1
7/1 01 Metronom 1
8/1 01 Metronom 1
Beat No. Name Measure
1/2 01 Metronom 1
2/2 01 Rockbly 2
2/2 02 Metronom 1
3/2 01 Metronom 1
4/2 01 Metronom 1
5/2 01 Metronom 1
6/2 01 Metronom 1
7/2 01 Metronom 1
8/2 01 Metronom 1
Beat No. Name Measure
1/4 01 Metronom 1
2/4 01 Bossa 1 4
2/4 02 Bossa 2 2
2/4 03 Bossa 3 4
2/4 04 Metronom 1
3/4 01 Rock 1 2
3/4 02 Rock 2 2
3/4 03 Rock 3 4
3/4 04 Jazz 2
3/4 05 Ballad 2
3/4 06 Gospel 2
3/4 07 Metronom 1
Beat No. Name Measure
4/4 01 Rock 1 2
4/4 02 Rock 2 2
4/4 03 Rock 3 2
4/4 04 Rock 4 2
4/4 05 Rock 5 2
4/4 06 Rock 6 2
4/4 07 Rock 7 2
4/4 08 Rock 8 2
4/4 09 Rock 9 4
4/4 10 Rock 10 2
4/4 11 Rock 11 2
4/4 12 Rock 12 1
4/4 13 Rock 13 2
4/4 14 Rock 14 2
4/4 15 Rock 15 2
4/4 16 Heavy 1 2
4/4 17 Heavy 2 2
4/4 18 Heavy 3 1
4/4 19 Ballad 1 1
4/4 20 Ballad 2 2
4/4 21 Blues 1 2
4/4 22 Blues 2 2
4/4 23 Blues 3 2
4/4 24 Shuffle 1
4/4 25 LtnRock 1 1
4/4 26 LtnRock 2 1
4/4 27 Bluegras 1
4/4 28 Country 2
4/4 29 Fusion 2
4/4 30 Jazz 1 2
4/4 31 Jazz 2 2
4/4 32 Gospel 2
4/4 33 Soul 1 1
4/4 34 Soul 2 1
4/4 35 Soul 3 2
4/4 36 Soul 4 2
4/4 37 Soul 5 2
4/4 38 Soul 6 1
4/4 39 Soul 7 1
4/4 40 Soul 8 1
173
Rhythm Pattern List
Rhythm Pattern List
Beat No. Name Measure
4/4 41 Funk 1 2
4/4 42 Funk 2 2
4/4 43 Funk 3 2
4/4 44 Funk 4 2
4/4 45 Funk 5 2
4/4 46 Funk 6 2
4/4 47 Funk 7 2
4/4 48 Funk 8 1
4/4 49 Funk 9 2
4/4 50 Funk 10 2
4/4 51 Reggae 2
4/4 52 Samba 1 2
4/4 53 Samba 2 4
4/4 54 EleRock 1 2
4/4 55 EleRock 2 2
4/4 56 Techno 1 2
4/4 57 Techno 2 2
4/4 58 Techno 3 1
4/4 59 House 1 1
4/4 60 House 2 2
4/4 61 House 3 2
4/4 62 Eurobt 1 1
4/4 63 Eurobt 2 1
4/4 64 Eurobt 3 2
4/4 65 Eurobt 4 2
4/4 66 Metronom 1
5/4 01 Rock 2
5/4 02 Jazz 1
5/4 03 Metronom 1
6/4 01 Rock 1
6/4 02 Metronom 1
7/4 01 Rock 1 2
7/4 02 Rock 2 1
7/4 03 Metronom 1
8/4 01 Metronom 1
Beat No. Name Measure
1/8 01 Metronom 1
2/8 01 Metronom 1
3/8 01 Metronom 1
4/8 01 Metronom 1
5/8 01 Rock 4
5/8 02 Metronom 1
6/8 01 Rock 1 2
6/8 02 Rock 2 2
6/8 03 Blues 4
6/8 04 Metronom 1
7/8 01 Rock 1 4
7/8 02 Rock 2 2
7/8 03 Metronom 1
8/8 01 Metronom 1
174
Mixer effect parameter functions
EQ (Equalizer): This is a two-band equalizer that is independent for each track.
Parameter (full name) Setting Function
EQ StereoLink (EQ Stereo Link) OFF, ON When EQ Stereo Link is ON, you can have the setting for a pair of audio
tracks, linked so that they adjust in the same way.
EQ On/Off (EQ On/Off) OFF, ON This parameter turns the equalizer effect on/off.
Low Gain (Low Gain) -12–+12 dB This sets the gain (-12 to +12 dB) for the low-range equalizer (shelving
type).
Low Freq (Low Frequency) 40 Hz–1.5 kHz This sets the center frequency (40Hz to 1.5 kHz) for the low-range
equalizer (shelving type).
High Gain (High Gain) -12–+12 dB This sets the gain (-12 to +12 dB) for the high-range equalizer (shelving
type).
High Freq (High Frequency) 500–18 kHz This sets the center frequency (500 Hz to 18 kHz) for the high-range
equalizer (shelving type).
Loop Effect
CHORUS/DELAY/DOUBL’N (Chorus / Delay / Doubling)
Parameter (full name) Setting Function
Effect Type CHORUS A sound with a subtly shifted pitch is added to the direct sound, making the
final output sound thicker and broader.
DELAY This creates a thicker sound by applying a delayed sound to the direct
sound.
DOUBL’N By adding a slightly time-delayed sound to the direct sound, this produces
the impression that multiple sources are sounding together (a “doubling”
effect). The delayed sound will be output from the side opposite to which
the playback track has been panned.
■ When “CHORUS” is selected
Rate 0–100 Adjusts the rate of the Chorus effect.
Depth 0–100 Adjusts the depth of the Chorus effect.
Pre Delay 0.5–50 mS Adjusts the time needed for the effect sound to be output after the direct
sound has been output.
Effect Level 0–100 Adjusts the volume of the effect sound.
■ When “DELAY” is selected
Delay Time 10–1000 mS This parameter adjusts the delay time (i.e., the interval for which sound is
delayed).
Feedback 0–100 This parameter adjusts the amount of feedback. Changing the amount of
feedback causes the number of time the delayed sound is repeated to
change as well.
Effect Level 0–100 This adjusts the volume of the delay sound.
Reverb Send 0–100 Adjust the volume of the reverb that is applied to the delayed sound. For
details on reverb, refer to “Reverb” (p. 146).
■ When “DOUBL’N” is selected
Delay Time 0.5–50 mS This parameter adjusts the delay time (i.e., the interval for which sound is
delayed).
Effect Level 0–100 This adjusts the volume of the delay sound.
REVERB (Reberb): This feature adds reverberation to the sound to model the size of space such as a hall and a room.
Parameter (full name) Setting Function
Reverb Type ROOM Models the reverberation in a small room.
HALL Models the reverberation in a concert hall.
Reverb Time 0.1–10 This parameter adjusts the duration (time) of the reverb.
Reverb Tone -12–+12 Adjusts the tone.
175
Insert effect algorithm list
Insert effect algorithm list
Here we will explain the effects used by each algorithm and the order in which they are connected. The effect groups and
the algorithms in each group are shown below.
To select the desired algorithm, refer to the separate “Effect patch list“ and switch to a patch that uses the desired
algorithm.
For details on how to switch patches, refer to “Using the insert effects” (p. 141).
Effect group Algorithm
LINE 1. STEREO MULTI .................................................................................(p. 176)
2. LO-FI BOX ..........................................................................................(p. 178)
SIMUL 3. VO+GT.AMP (Vocal+Guitar Amp) ......................................................(p. 180)
4. VO+AC.MDL (Vocal+Acoustic Modeling) ...........................................(p. 182)
5. VO+ACOUSTIC (Vocal+Acoustic)......................................................(p. 184)
GUITAR/BASS 6. COSM GUITAR AMP..........................................................................(p. 185)
7. ACOUSTIC MDL (Acoustic Guitar Modeling) .....................................(p. 188)
8. BASS MDL (Bass Guitar Modeling)....................................................(p. 190)
9. ACOUSTIC GUITAR...........................................................................(p. 192)
10. BASS MULTI (Bass Guitar Multi)........................................................(p. 194)
11. COSM BASS AMP (COSM Bass Guitar Amp) ...................................(p. 196)
MIC 12. VOCAL MULTI....................................................................................(p. 199)
13. VOICE TRANCEFORMER .................................................................(p. 201)
176
Insert effect algorithm list
1. STEREO MULTI
This algorithm connects seven types of effect, all in full stereo.
Parameter (full name) Setting Function
● COMP (Compressor): Compressor the entire output signals when the input volume exceeds a specified value.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the compressor effects on/off.
Sustain (Sustain) 0–100 Adjusts the range (time) over which low-level signals are boosted. Larger
values will result in longer sustain.
Attack (Attack) 0–100 Adjusts the strength of the attack. Larger values will result in a sharper
attack, creating a more clearly defined sound.
Level (Output Level) 0–100 Adjusts the volume.
● RNG (Ring Modulator): This creates a bell-like sound. The sound will be unmusical and lack distinctive pitches.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the ring modulator effect on/off.
Frequency (Frequency) 0–100 This adjusts the frequency of the internal oscillator.
Effect Level (Effect Level) 0–100 This adjusts the volume of the effect sound.
Direct Level (Direct Level) 0–100 This adjusts the volume of the direct sound.
● EQ (Equalizer): A 4-band equalizer.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the equalizer effect on/off.
Low Gain (Low Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the bass
equalizer.
Low-Mid Gain (Low-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the low-midrange
equalizer.
Low-Mid Freq (Low-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the low-midrange equalizer.
Low-Mid Q (Low-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“Low-Mid Freq.” A larger value results in a narrower range of change.
High-Mid Gain (High-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the high-midrange
equalizer.
High-Mid Freq (High-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the high-midrange equalizer.
High-Mid Q (High-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“High-Mid Freq.” A larger value results in a narrower range of change.
High Gain (High Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the treble
equalizer.
Level (Output Level) -20–+20 dB This parameter adjusts the volume after the equalizer stage.
Compressor
Ring
Modulator Equalizer
(*1)
Wah
Noise
Suppressor
Chorus
(*2)
Flanger
Pitch Shifter
Phaser
Doubling
Tr emolo/Pan
Delay
*1 Equaliser can be replaced with Wad.
*2 Chorus can be replaced one of the following effects.
177
Insert effect algorithm list
Insert effect algorithm list
● WAH (Wah): The wah effect creates a unique tone by changing the frequency response characteristics of a filter.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the wah effect on/off.
Polarity (Polarity) UP The frequency of the filter will rise.
DOWN The frequency of the filter will fall.
Sensitivity (Sens) 0–100 This adjusts the sensitivity at which the filter will change in the direction
determined by the polarity setting. Higher values will result in a stronger
response. With a setting of “0,” the strength of picking will have no effect.
Frequency (Frequency) 0–100 This adjusts the center frequency of the Wah effect.
Peak (Peak) 0–100 Adjusts the way in which the wah effect applies to the area around the
center frequency. Lower values will produce a wah effect over a wide area
around the center frequency. Higher values will produce a wah effect in a
narrow area around the center frequency.With a value of “50” a standard
wah sound will be produced.
Level (Level) 0–100 Adjusts the volume.
● NS (Noise Suppressor): This effect reduces the noise and hum.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the noise suppressor effect on/off.
Threshold (Threshold) * 0–100 Adjust this parameter as appropriate for the volume of the noise. If the
noise level is high, a higher setting is appropriate. If the noise level is low,
a lower setting is appropriate. Adjust this value until the decay of the sound
is as natural as possible.
Release (Release) 0–100 Adjusts the time from when the noise suppressor begins to function until
volume reaches “0.”
* High settings for the Threshold parameter may result in there being no sound when you play with your instruments volume turned down.
● Modulation effect type
The Modulation effect type can be selected from the following effects. For details on each effect, refer to “Available types of
modulation and their effect” (p. 202).
❍ FLANGER
(Flanger) : The flanger effect gives a twisting, jet-airplane-like character to the sound.
❍ CHORUS (Chorus) : A sound with a subtly shifted pitch is added to the direct sound, making the final output sound thicker
and broader.
❍ PHASER (Phaser) : By adding varied-phase portions, the phaser effect gives a whooshing, swirling character to the sound.
❍ P.SHIFT (Pitch Shifter) : This effect changes the pitch of the original sound (up or down) within a range of two octaves.
❍ DOUBL'N (Doubling) : An effect of multiple sounds heard together (a doubling effect) is produced.
❍ TRM/PAN (Tremolo/Pan) : Tremolo is an effect that creates a cyclic change in volume.
Pan cyclically moves the stereo position between left and right (when stereo output is used).
● DLY (Delay): This creates a thicker sound by applying a delayed sound to the direct sound.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the delay effect on/off.
Effect Type (Type) SINGLE This is a simple delay.
TAP The delayed sound is panned across the left and right channels. This will
be effective when stereo output is used.
Delay Time (Delay Time) SINGLE: 1–1400 mS This parameter adjusts the delay time (i.e., the interval for which sound is
delayed).
TAP: 1–700 mS
Feedback (Feedback) 0–100 This parameter adjusts the amount of feedback. Changing the amount of
feedback causes the number of time the delayed sound is repeated to
change as well.
Effect Level (Effect Level) 0–120 This adjusts the volume of the delay sound.
178
Insert effect algorithm list
2. LO-FI BOX
This allows you to model sounds that appear to be playing on an AM radio, the sounds of old records played on an
old-fashioned gramophone, and even extreme deformations of the sound produced by a Lo-Fi Digital.
Parameter (full name) Setting Function
● LOFI (Lo-Fi Box): Produces a lo-fi sound.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the lo-fi box effect on/off.
Type (Type) RADIO The sound will appear to be heard from an AM radio. By adjusting “Tuning,”
you can model the sounds that occur when you adjust the tuning frequency
of the radio.
PLAYER The sound will appear to be heard from a gramophone. The noise caused
by scratches and dust on the record are is modeled.
DIGITAL This allows you to create a “lo-fi” sound by lowering the sample rate and/or
decreasing the number of bits. Realtime modify filters connected in series
allow you to reshape the sound freely.
■ When “RADIO” or “PLAYER” is selected
Tuning (Tuning) 0–100 This is a parameter for “RADIO.” It models the sounds that occur when you
adjust the tuning frequency of an AM radio.
Wow Flutter (Wow Flutter) 0–100 This is a parameter for “PLAYER.” It models the wow and flutter which
occur when the speed of the turntable is not constant.
Noise (Noise) 0–100 This models noise.
Filter (Filter) 0–100 Adjusts the filter.
D:E Balance (Effect Balance) 100:0–0:100 This adjusts the volume balance of the direct and effect sounds.
■ When “DIGITAL” is selected
Pre Filter (Pre Filter) OFF, ON This filter decreases digital distortion. By turning this off, you can create an
extremely lo-fi sound that includes aliasing.
Sample Rate (Sample Rate) OFF, 1/2–1/32 Modify the sample rate. If this is turned off, the sample rate will be the same
as the sample rate of the currently selected song.
Bit (Bit) * OFF, 15–1 Modify the number of data bits. If this is turned off, the number of data bits
will be unchanged.
Post Filter (Post Filter) OFF, ON This filter decreases the digital distortion produced by lo-fi. By turning this
off, you can create an extremely lo-fi sound.
Effect Level (Effect Level) 0–100 Adjust the volume of the lo-fi sound.
Direct Level (Direct Level) 0–100 Adjust the volume of the direct sound.
Modify Filter (Modify Filter) The sound is passed through a filter to remove unwanted sound according
to the frequency specified by Cutoff Freq (cutoff frequency).
OFF The Modify Filter will not be used.
LPF A Low Pass Filter will be applied to pass the sound that is below the
specified frequency.
BPF A Band Pass Filter will be applied to pass the sound that is in the region of
the specified frequency.
HPF A High Pass Filter will be applied to pass the sound that is above the
specified frequency.
Cutoff Freq (Cutoff Freq) 0–100 Adjust the cutoff frequency.
Resonance (Resonance) 0–100 Adjust the resonance.
Gain (Gain) 0–24 dB Adjust the volume level of the sound that has passed through the modify
filter.
* If an extremely low number of bits is selected, loud noise may appear even when there is no sound, depending on the input source. In such cases,
raise the threshold of the noise suppressor.
Noise
Suppressor
Lo-Fi Box
179
Insert effect algorithm list
Insert effect algorithm list
● NS (Noise Suppressor): This effect reduces the noise and hum.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the noise suppressor effect on/off.
Threshold (Threshold) * 0–100 Adjust this parameter as appropriate for the volume of the noise. If the
noise level is high, a higher setting is appropriate. If the noise level is low,
a lower setting is appropriate. Adjust this value until the decay of the sound
is as natural as possible.
Release (Release) 0–100 Adjusts the time from when the noise suppressor begins to function until
volume reaches “0.”
* High settings for the Threshold parameter may result in there being no sound when you play with your instruments volume turned down.
■ Creating lo-fi sounds
Follow the steps below to create lo-fi sounds essential to dance music including hip-hop and DJ music.
Lo-Fi Box
• Turn Pre Filter and Post Filter off.
• Set Sample Rate and Bit to relatively low values. Note, however, an excessively low value for Bit may cause big
noise even in the silent mode. In that case, increase Threshold (Thresh) of Noise Suppressor.
180
Insert effect algorithm list
3. VO+GT.AMP (Vocal+Guitar Amp)
This algorithm is for use when simultaneously recording a vocal and electric guitar. For the guitar, you can produce an
amp sound using a preamp and speaker modeling.
■ MIC
Parameter (full name) Setting Function
● COMP (Compressor): Compressor the entire output signals when the input volume exceeds a specified value.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the compressor effects on/off.
Sustain (Sustain) 0–100 Adjusts the range (time) over which low-level signals are boosted. Larger
values will result in longer sustain.
Attack (Attack) 0–100 Adjusts the strength of the attack. Larger values will result in a sharper
attack, creating a more clearly defined sound.
Level (Output Level) 0–100 Adjusts the volume.
● EQ (Equalizer): A 4-band equalizer.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the equalizer effect on/off.
Low Gain (Low Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the bass
equalizer.
Low-Mid Gain (Low-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the low-midrange
equalizer.
Low-Mid Freq (Low-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the low-midrange equalizer.
Low-Mid Q (Low-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“Low-Mid Freq.” A larger value results in a narrower range of change.
High-Mid Gain (High-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the high-midrange
equalizer.
High-Mid Freq (High-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the high-midrange equalizer.
High-Mid Q (High-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“High-Mid Freq.” A larger value results in a narrower range of change.
High Gain (High Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the treble
equalizer.
Level (Output Level) -20–+20 dB This parameter adjusts the volume after the equalizer stage.
● NS (Noise Suppressor): This effect reduces the noise and hum.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the noise suppressor effect on/off.
Threshold (Threshold) * 0–100 Adjust this parameter as appropriate for the volume of the noise. If the
noise level is high, a higher setting is appropriate. If the noise level is low,
a lower setting is appropriate. Adjust this value until the decay of the sound
is as natural as possible.
Release (Release) 0–100 Adjusts the time from when the noise suppressor begins to function until
volume reaches “0.”
* High settings for the Threshold parameter may result in there being no sound when you play with your instruments volume turned down.
Compressor
Compressor
Equalizer
Noise
Suppressor
Noise
Suppressor
Delay
Delay
Speaker
Modeling
PreAmp
181
Insert effect algorithm list
Insert effect algorithm list
● DLY (Delay): This creates a thicker sound by applying a delayed sound to the direct sound.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the delay effect on/off.
Delay Time (Delay Time) SINGLE: 1–1400 mS This parameter adjusts the delay time (i.e., the interval for which sound is
delayed).
TAP: 1–700 mS
Feedback (Feedback) 0–100 This parameter adjusts the amount of feedback. Changing the amount of
feedback causes the number of time the delayed sound is repeated to
change as well.
Effect Level (Effect Level) 0–120 This adjusts the volume of the delay sound.
■ GUITAR
Parameter (full name) Setting Function
● COMP (Compressor): Compressor the entire output signals when the input volume exceeds a specified value.
For details on the parameters, refer to “COMP“ on the preceding page.
● P.AMP (Preamp): Adjust the distortion and tone of the guitar sound.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the preamp effect on/off.
Amp Type (Amp Type) *1 Refer to the column
on page 187. Selects the type of the guitar amplifier that will be modeled.
Volume (Volume) 0–100 Adjusts the volume and distortion of the amp.
Bass (Bass) 0–100 Adjusts the tone for the low frequency range.
Middle (Middle) *2 0–100 Adjusts the tone for the middle frequency range.
Treble (Treble) 0–100 Adjusts the tone for the high frequency range.
Presence (Presence) *3 0–100 Adjusts the tone for the ultra high frequency range.
Master (Master) 0–100 Adjusts the volume of the entire preamp.
Bright (Bright) *4 OFF, ON Turns the bright setting on/off. Bright is switched on to create a lighter and
crisper tone.
Gain (Gain) *5 LOW, MIDDLE, HIGH Adjusts the distortion of the amp. Distortion will successively increase for
settings of “LOW,” “MIDDLE” and “HIGH.”
*1 When all Bass, Middle and Treble are set to “0,” no sound may be produced depending on the “Amp Type” setting.
*2 If you have selected “MATCH” as the type, the middle control will have no effect.
*3 If you have selected “MATCH” or “VO DRV” as the type, raising presence will cut the high range (the value will change from “0”
to “-100”).
*4 Depending on the “Amp Type” setting, this may not be displayed.
*5 successively increase for settings of “LOW”, “MIDDLE” and set to “MIDDLE.” So, normally set it to “MIDDLE.”
● SP (Speaker modeling): This models the characteristics of various types of speakers.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the speaker modeling effect on/off.
Speaker Type (Speaker Type) Refer to the column
on page 187. Selects the type of speaker that will be modeled.
Mic Setting (Mic Setting) CENTER, 1–10 cm This models the microphone position. “CENTER” models the condition that
the microphone is set in the middle of the speaker cone. “1–10 cm” means
that the microphone is moved away from the center of the speaker cone.
Mic Level (Mic Level) 0–100 Adjusts the volume of the microphone.
Direct Level (Direct Level) 0–100 Adjusts the volume of the direct sound.
● NS (Noise Suppressor): This effect reduces the noise and hum.
For details on the parameters, refer to “NS“ on the preceding page.
● DLY (Delay): This creates a thicker sound by applying a delayed sound to the direct sound.
For details on the parameters, refer to “DLY,“ above.
182
Insert effect algorithm list
4. VO+AC.MDL (Vocal+Acoustic Guitar Modeling)
This algorithm is for use when simultaneously recording a vocal and electric guitar. For the guitar, you can make the
electric guitar sound like an acoustic guitar.
■ MIC
Parameter (full name) Setting Function
● COMP (Compressor): Compressor the entire output signals when the input volume exceeds a specified value.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the compressor effects on/off.
Sustain (Sustain) 0–100 Adjusts the range (time) over which low-level signals are boosted. Larger
values will result in longer sustain.
Attack (Attack) 0–100 Adjusts the strength of the attack. Larger values will result in a sharper
attack, creating a more clearly defined sound.
Level (Output Level) 0–100 Adjusts the volume.
● EQ (Equalizer): A 4-band equalizer.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the equalizer effect on/off.
Low Gain (Low Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the bass
equalizer.
Low-Mid Gain (Low-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the low-midrange
equalizer.
Low-Mid Freq (Low-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the low-midrange equalizer.
Low-Mid Q (Low-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“Low-Mid Freq.” A larger value results in a narrower range of change.
High-Mid Gain (High-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the high-midrange
equalizer.
High-Mid Freq (High-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the high-midrange equalizer.
High-Mid Q (High-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“High-Mid Freq.” A larger value results in a narrower range of change.
High Gain (High Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the treble
equalizer.
Level (Output Level) -20–+20 dB This parameter adjusts the volume after the equalizer stage.
● NS (Noise Suppressor): This effect reduces the noise and hum.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the noise suppressor effect on/off.
Threshold (Threshold) * 0–100 Adjust this parameter as appropriate for the volume of the noise. If the
noise level is high, a higher setting is appropriate. If the noise level is low,
a lower setting is appropriate. Adjust this value until the decay of the sound
is as natural as possible.
Release (Release) 0–100 Adjusts the time from when the noise suppressor begins to function until
volume reaches “0.”
* High settings for the Threshold parameter may result in there being no sound when you play with your instruments volume turned down.
Compressor
Compressor
Equalizer
Noise
Suppressor
Noise
Suppressor
Delay
Delay
Acoustic
Guitar
Modeling
183
Insert effect algorithm list
Insert effect algorithm list
● DLY (Delay): This creates a thicker sound by applying a delayed sound to the direct sound.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the delay effect on/off.
Delay Time (Delay Time) SINGLE: 1–1400 mS This parameter adjusts the delay time (i.e., the interval for which sound is
delayed).
TAP: 1–700 mS
Feedback (Feedback) 0–100 This parameter adjusts the amount of feedback. Changing the amount of
feedback causes the number of time the delayed sound is repeated to
change as well.
Effect Level (Effect Level) 0–120 This adjusts the volume of the delay sound.
■ GUITAR
Parameter (full name) Setting Function
● A.MDL (Acoustic Guitar Modeling): This models the sound of an acoustic guitar.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the acoustic guitar modeling effect on/off.
Pick Up Type (Pick Up Type) SINGLE, HUMBUCK Set this to the type of pickup on the connected guitar.
Character (Character) STD This is a normal acoustic guitar.
JUMBO This is an acoustic guitar with a body that is bigger than STANDARD. The
bass sound is powerful.
ENHANCE This is an acoustic guitar that with a more responsive attack, so the guitar
will retain more of its prominence in almost any situation.
PIEZO This models the sound you would get from a pickup installed on an electric-
acoustic guitar.During the attack, a certain amount of compression will be
applied.
Top-Hi (Top-Hi) -100–+100 * Adjust the level of the direct sound from the strings. That is, it adjusts the
harmonic contents.
Top-Mid (Top-Mid) -100–+100 * This adjusts the interference to the strings made by the top plate. That is,
it adjusts the attack sense.
Body (Body) -100–+100 * This adjusts the resonance of the sound caused by the body. That is, it
adjusts the softness and fatness of the sound which is the typical
characteristics of acoustic guitars.
Level (Level) 0–100 This adjusts the volume of the acoustic guitar modeling.
* If Top-Hi, Top-Mid, and Body are all set to “-100“, there will be no sound.
If you set the pickup selector of your guitar to the front position, the desired effect will be easier to achieve.
● COMP (Compressor): Compressor the entire output signals when the input volume exceeds a specified value.
For details on the parameters, refer to “COMP“ on the preceding page.
● NS (Noise Suppressor): This effect reduces the noise and hum.
For details on the parameters, refer to “NS“ on the preceding page.
● DLY (Delay): This creates a thicker sound by applying a delayed sound to the direct sound.
For details on the parameters, refer to “DLY,“ above.
184
Insert effect algorithm list
5. VO+ACOUSTIC (Vocal+Acousitc Guitar)
This algorithm is for use when simultaneously recording a vocal and acoustic guitar. For the guitar, you can produce a
warm sound as though a mic were being used, even when an electric-acoustic is connected by a direct line.
■ MIC
Parameter (full name) Setting Function
● COMP (Compressor): Compressor the entire output signals when the input volume exceeds a specified value.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the compressor effects on/off.
Sustain (Sustain) 0–100 Adjusts the range (time) over which low-level signals are boosted. Larger
values will result in longer sustain.
Attack (Attack) 0–100 Adjusts the strength of the attack. Larger values will result in a sharper
attack, creating a more clearly defined sound.
Level (Output Level) 0–100 Adjusts the volume.
● NS (Noise Suppressor): This effect reduces the noise and hum.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the noise suppressor effect on/off.
Threshold (Threshold) * 0–100 Adjust this parameter as appropriate for the volume of the noise. If the
noise level is high, a higher setting is appropriate. If the noise level is low,
a lower setting is appropriate. Adjust this value until the decay of the sound
is as natural as possible.
Release (Release) 0–100 Adjusts the time from when the noise suppressor begins to function until
volume reaches “0.”
* High settings for the Threshold parameter may result in there being no sound when you play with your instruments volume turned down.
■ GUITAR
Parameter (full name) Setting Function
● ACP (Acoustic Processor): With this feature, you can change the sound from a pickup on an electric-acoustic guitar
into a richer sound.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the acoustic processor effect on/off.
Body (Body) -100–+100 This adjusts the resonance of the sound caused by the body. That is, it
adjusts the softness and fatness of the sound which is the typical
characteristics of acoustic guitars.
Mic Distance (Mic Distance) -100–+100 This models the distance between the microphone capturing the sound of
an acoustic guitar and the guitar itself.
Level (Level) -100–+100 This adjusts the volume of the acoustic processor.
Best results will be achieved when stereo output is used.
● COMP (Compressor): Compressor the entire output signals when the input volume exceeds a specified value.
For details on the parameters, refer to “COMP,“ above.
● NS (Noise Suppressor): This effect reduces the noise and hum.
For details on the parameters, refer to “NS,“ above.
Compressor
Compressor
Noise
Suppressor
Noise
Suppressor
Acoustic
Processor
185
Insert effect algorithm list
Insert effect algorithm list
6. COSM GUITAR AMP
This is a multi-effect designed for electric guitar. This provides an amp sound using a preamp and speaker modeling.
Parameter (full name) Setting Function
● COMP (Compressor): Compressor the entire output signals when the input volume exceeds a specified value.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the compressor effects on/off.
Sustain (Sustain) 0–100 Adjusts the range (time) over which low-level signals are boosted. Larger
values will result in longer sustain.
Attack (Attack) 0–100 Adjusts the strength of the attack. Larger values will result in a sharper
attack, creating a more clearly defined sound.
Level (Output Level) 0–100 Adjusts the volume.
● P.AMP (Preamp): Adjust the distortion and tone of the guitar sound.
Effect On/Off (Effect On/Off) OFF, ON Turns the preamp effect on/off.
Amp Type (Amp Type) *1 Refer to the column
on page 187. Selects the type of the guitar amplifier that will be modeled.
Volume (Volume) 0–100 Adjusts the volume and distortion of the amp.
Bass (Bass) 0–100 Adjusts the tone for the low frequency range.
Middle (Middle) *2 0–100 Adjusts the tone for the middle frequency range.
Treble (Treble) 0–100 Adjusts the tone for the high frequency range.
Presence (Presence) *3 0–100 Adjusts the tone for the ultra high frequency range.
Master (Master) 0–100 Adjusts the volume of the entire preamp.
Bright (Bright) *4 OFF, ON Turns the bright setting on/off. Bright is switched on to create a lighter and
crisper tone.
Gain (Gain) *5 LOW, MIDDLE, HIGH Adjusts the distortion of the amp. Distortion will successively increase for
settings of “LOW,” “MIDDLE” and “HIGH.”
*1 When all Bass, Middle and Treble are set to “0,” no sound may be produced depending on the “Amp Type” setting.
*2 If you have selected “MATCH” as the type, the middle control will have no effect.
*3 If you have selected “MATCH” or “VO DRV” as the type, raising presence will cut the high range (the value will change from
“0” to “-100”).
*4 Depending on the “Amp Type” setting, this may not be displayed.
*5 successively increase for settings of “LOW”, “MIDDLE” and set to “MIDDLE.” So, normally set it to “MIDDLE.”
● SP (Speaker Modeling): This models the characteristics of various types of speakers.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the speaker modeling effect on/off.
Speaker Type (Speaker Type) Refer to the column
on page 187. Selects the type of speaker that will be modeled.
Mic Setting (Mic Setting) CENTER, 1–10 cm This models the microphone position. “CENTER” models the condition that
the microphone is set in the middle of the speaker cone. “1–10 cm” means
that the microphone is moved away from the center of the speaker cone.
Mic Level (Mic Level) 0–100 Adjusts the volume of the microphone.
Direct Level (Direct Level) 0–100 Adjusts the volume of the direct sound.
Compressor
Equalizer
(*1)
Wah
Noise
Suppressor
Chorus
(*2)
Flanger
Pitch Shifter
Phaser
Doubling
Tr emolo/Pan
Slow Attack
Delay
*1 Equalizer can be replaced with Wah.
PreAmp
Speaker
Modeling
*2 Chorus can be replaced one of the following effects.
186
Insert effect algorithm list
● EQ (Equalizer): A 4-band equalizer.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the equalizer effect on/off.
Low Gain (Low Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the bass
equalizer.
Low-Mid Gain (Low-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the low-midrange
equalizer.
Low-Mid Freq (Low-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the low-midrange equalizer.
Low-Mid Q (Low-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“Low-Mid Freq.” A larger value results in a narrower range of change.
High-Mid Gain (High-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the high-midrange
equalizer.
High-Mid Freq (High-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the high-midrange equalizer.
High-Mid Q (High-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“High-Mid Freq.” A larger value results in a narrower range of change.
High Gain (High Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the treble
equalizer.
Level (Output Level) -20–+20 dB This parameter adjusts the volume after the equalizer stage.
● WAH (Wah): The wah effect creates a unique tone by changing the frequency response characteristics of a filter.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the wah effect on/off.
Polarity (Polarity) UP The frequency of the filter will rise.
DOWN The frequency of the filter will fall.
Sensitivity (Sens) 0–100 This adjusts the sensitivity at which the filter will change in the direction
determined by the polarity setting. Higher values will result in a stronger
response. With a setting of “0,” the strength of picking will have no effect.
Frequency (Frequency) 0–100 This adjusts the center frequency of the Wah effect.
Peak (Peak) 0–100 Adjusts the way in which the wah effect applies to the area around the
center frequency. Lower values will produce a wah effect over a wide area
around the center frequency. Higher values will produce a wah effect in a
narrow area around the center frequency.With a value of “50” a standard
wah sound will be produced.
Level (Level) 0–100 Adjusts the volume.
● NS (Noise Suppressor): This effect reduces the noise and hum.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the noise suppressor effect on/off.
Threshold (Threshold) * 0–100 Adjust this parameter as appropriate for the volume of the noise. If the
noise level is high, a higher setting is appropriate. If the noise level is low,
a lower setting is appropriate. Adjust this value until the decay of the sound
is as natural as possible.
Release (Release) 0–100 Adjusts the time from when the noise suppressor begins to function until
volume reaches “0.”
* High settings for the Threshold parameter may result in there being no sound when you play with your instruments volume turned down.
● Modulation effect type
The Modulation effect type can be selected from the following effects. For details on each effect, refer to “Available types of
modulation and their effect” (p. 202).
❍ FLANGER
(Flanger) : The flanger effect gives a twisting, jet-airplane-like character to the sound.
❍ CHORUS (Chorus) : A sound with a subtly shifted pitch is added to the direct sound, making the final output sound thicker
and broader.
❍ PHASER (Phaser) * : By adding varied-phase portions, the phaser effect gives a whooshing, swirling character to the sound.
❍ P.SHIFT (Pitch Shifter) : This effect changes the pitch of the original sound (up or down) within a range of two octaves.
❍ DOUBL'N (Doubling) : An effect of multiple sounds heard together (a doubling effect) is produced.
❍ TRM/PAN (Tremolo/Pan) : Tremolo is an effect that creates a cyclic change in volume.
Pan cyclically moves the stereo position between left and right (when stereo output is used).
❍ SLO ATK (Slow Attack) * : This produces a volume-swell effect (“violin-like” sound).
* In case of “Phase” and “Slow Attack”, output will become monaural.
187
Insert effect algorithm list
Insert effect algorithm list
● DLY (Delay): This creates a thicker sound by applying a delayed sound to the direct sound.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the delay effect on/off.
Effect Type (Type) SINGLE This is a simple delay.
TAP The delayed sound is panned across the left and right channels. This will
be effective when stereo output is used.
Delay Time (Delay Time) SINGLE: 1–1400 mS This parameter adjusts the delay time (i.e., the interval for which sound is
delayed).
TAP: 1–700 mS
Feedback (Feedback) 0–100 This parameter adjusts the amount of feedback. Changing the amount of
feedback causes the number of time the delayed sound is repeated to
change as well.
Effect Level (Effect Level) 0–120 This adjusts the volume of the delay sound.
■ Preamp
Models the preamp section of a guitar amp. Set the desired type for Amp Type.
JC-120 : The sound of the Roland “JC-120” (Jazz Chorus 120), a favorite of pro musicians around the world.
CLEAN : The sound of a conventional built-in tube amp.
CRUNCH : Allows you to obtain a crunch effect that creates a natural distortion.
MATCH : A modeling of the latest tube amp widely used in styles from blues and rock.
VO DRV : Allows you to obtain the Liverpool sound of the 60’s.
BLUES : A lead sound with a rich middle ideal for Blues.
BG LEAD : The sound of a tube amp typical of the late ‘70s to ‘80s, characterized by a distinctive mid-range.
MS(1, 2, 1+2) : The sound of a large tube amp stack that was indispensable to the British hard rock of the 70’s, and is used to
this day by many hard rock guitarists.
MS(1) : A trebly sound created by using input I of the guitar amp.
MS(2) : A mild sound created by using input II of the guitar amp.
MS(1+2) : The sound of connecting inputs I and II of the guitar amp in parallel, creating a sound with a stronger low end than I.
SLDN : A tube amp sound with versatile distortion, usable in a wide range of styles.
METAL : The sound of a large tube amp, suitable for heavy metal.
METAL D : A high gain and powerful metal sound.
■ Speaker modeling
The characters of the following types of speakers can be modeled. Set the desired type for Speaker Type.
Microphone Well-matched
Speaker Type Cabinet Speaker Unit Setting
*1
preamp type
SMALL Small open-back enclosure 10 inch On Mic
MIDDLE Open-back enclosure 12 inch On Mic Clean, Crunch, Blues
JC-120
*2
Open-back enclosure 12 inch (two units) On Mic JC-120
TWIN Open-back enclosure 12 inch (two units) On Mic Clean, Crunch
twin Open-back enclosure 12 inch (two units) Off Mic Clean, Crunch
MATCH Open-back enclosure 12 inch (two units) On Mic Match, Blues
match Open-back enclosure 12 inch (two units) Off Mic Match, Blues, BG Lead
VO DRV Open-back enclosure 12 inch (two units) On Mic Vo drv
vo drv Open-back enclosure 12 inch (two units) Off Mic Vo drv
BG STK Large Sealed enclosure 12 inch (two units) On Mic BG Lead
bg stk Large Sealed enclosure 12 inch (two units) Off Mic BG Lead
MS STK Large Sealed enclosure 12 inch (four units) On Mic MS(1), MS(2), MS(1+2), Sldn,
Metal, Meal D
ms stk Large Sealed enclosure 12 inch (four units) Off Mic MS(1), MS(2), MS(1+2), Sldn,
Metal, Meal D
METAL Large dual stack 12 inch (four units) Off Mic MS(1), MS(2), MS(1+2), Sldn,
Metal, Meal D
*1 “On Mic” models sound when a dynamic microphone is used.
“Off Mic” models sound when a condenser microphone is used.
*2 Roland JC-120 Modeling
188
Insert effect algorithm list
7. ACOUSTIC MDL (Acoustic Guitar Modeling)
This is a multi-effect designed for electric guitar. It allows you to use an electric guitar to produce sounds similar to those
of an acoustic guitar.
Parameter (full name) Setting Function
● A.MDL (Acoustic Guitar Modeling): This models the sound of an acoustic guitar.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the acoustic guitar modeling effect on/off.
Pick Up Type (Pick Up Type) SINGLE, HUMBUCK Set this to the type of pickup on the connected guitar.
Character (Character) STD This is a normal acoustic guitar.
JUMBO This is an acoustic guitar with a body that is bigger than STANDARD. The
bass sound is powerful.
ENHANCE This is an acoustic guitar that with a more responsive attack, so the guitar
will retain more of its prominence in almost any situation.
PIEZO This models the sound you would get from a pickup installed on an electric-
acoustic guitar.During the attack, a certain amount of compression will be
applied.
Top-Hi (Top-Hi) -100–+100 * Adjust the level of the direct sound from the strings. That is, it adjusts the
harmonic contents.
Top-Mid (Top-Mid) -100–+100 * This adjusts the interference to the strings made by the top plate. That is,
it adjusts the attack sense.
Body (Body) -100–+100 * This adjusts the resonance of the sound caused by the body. That is, it
adjusts the softness and fatness of the sound which is the typical
characteristics of acoustic guitars.
Level (Level) 0–100 This adjusts the volume of the acoustic guitar modeling.
* If Top-Hi, Top-Mid, and Body are all set to “-100”, there will be no sound.
If you set the pickup selector of your guitar to the front position, the desired effect will be easier to achieve.
● COMP (Compressor): Compressor the entire output signals when the input volume exceeds a specified value.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the compressor effects on/off.
Sustain (Sustain) 0–100 Adjusts the range (time) over which low-level signals are boosted. Larger
values will result in longer sustain.
Attack (Attack) 0–100 Adjusts the strength of the attack. Larger values will result in a sharper
attack, creating a more clearly defined sound.
Level (Output Level) 0–100 Adjusts the volume.
Compressor Equalizer
Noise
Suppressor
Chorus
(*1)
Flanger
Pitch Shifter
Phaser
Doubling
Tr emolo/Pan
Delay
*2 Chorus can be replaced one of the following effects.
Acoustic
Guitar
Modeling
189
Insert effect algorithm list
Insert effect algorithm list
● EQ (Equalizer): A 4-band equalizer.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the equalizer effect on/off.
Low Gain (Low Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the bass
equalizer.
Low-Mid Gain (Low-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the low-midrange
equalizer.
Low-Mid Freq (Low-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the low-midrange equalizer.
Low-Mid Q (Low-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“Low-Mid Freq.” A larger value results in a narrower range of change.
High-Mid Gain (High-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the high-midrange
equalizer.
High-Mid Freq (High-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the high-midrange equalizer.
High-Mid Q (High-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“High-Mid Freq.” A larger value results in a narrower range of change.
High Gain (High Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the treble
equalizer.
Level (Output Level) -20–+20 dB This parameter adjusts the volume after the equalizer stage.
● NS (Noise Suppressor): This effect reduces the noise and hum.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the noise suppressor effect on/off.
Threshold (Threshold) * 0–100 Adjust this parameter as appropriate for the volume of the noise. If the
noise level is high, a higher setting is appropriate. If the noise level is low,
a lower setting is appropriate. Adjust this value until the decay of the sound
is as natural as possible.
Release (Release) 0–100 Adjusts the time from when the noise suppressor begins to function until
volume reaches “0.”
* High settings for the Threshold parameter may result in there being no sound when you play with your instruments volume turned down.
● Modulation effect type
The Modulation effect type can be selected from the following effects. For details on each effect, refer to “Available types of
modulation and their effect” (p. 202).
❍ FLANGER
(Flanger) : The flanger effect gives a twisting, jet-airplane-like character to the sound.
❍ CHORUS (Chorus) : A sound with a subtly shifted pitch is added to the direct sound, making the final output sound thicker
and broader.
❍ PHASER (Phaser) * : By adding varied-phase portions, the phaser effect gives a whooshing, swirling character to the sound.
❍ P.SHIFT (Pitch Shifter) : This effect changes the pitch of the original sound (up or down) within a range of two octaves.
❍ DOUBL'N (Doubling) : An effect of multiple sounds heard together (a doubling effect) is produced.
❍ TRM/PAN (Tremolo/Pan) : Tremolo is an effect that creates a cyclic change in volume.
Pan cyclically moves the stereo position between left and right (when stereo output is used).
* In case of “Phase”, output will become monaural.
● DLY (Delay): This creates a thicker sound by applying a delayed sound to the direct sound.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the delay effect on/off.
Effect Type (Type) SINGLE This is a simple delay.
TAP The delayed sound is panned across the left and right channels. This will
be effective when stereo output is used.
Delay Time (Delay Time) SINGLE: 1–1400 mS This parameter adjusts the delay time (i.e., the interval for which sound is
delayed).
TAP: 1–700 mS
Feedback (Feedback) 0–100 This parameter adjusts the amount of feedback. Changing the amount of
feedback causes the number of time the delayed sound is repeated to
change as well.
Effect Level (Effect Level) 0–120 This adjusts the volume of the delay sound.
190
Insert effect algorithm list
8. BASS MDL (Bass Guitar Modeling)
Models the sound of a bass guitar. Obtain the sound of a bass guitar while playing an electric guitar.
Parameter (full name) Setting Function
● B.MDL (Bass Modeling): Models the sound of a bass guitar.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the bass modeling effect on/off.
Character (Character) LOOSE, TIGHT Bass tone characteristic is set. When “LOOSE“ is selected, as if the string
gauge was getting thicker.
Level (Level) 0–100 This adjusts the volume of the bass modeling.
You should avoid playing chords when using the Bass modeling.
● COMP (Compressor): Compressor the entire output signals when the input volume exceeds a specified value.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the compressor effects on/off.
Sustain (Sustain) 0–100 Adjusts the range (time) over which low-level signals are boosted. Larger
values will result in longer sustain.
Attack (Attack) 0–100 Adjusts the strength of the attack. Larger values will result in a sharper
attack, creating a more clearly defined sound.
Level (Output Level) 0–100 Adjusts the volume.
● DEFRET (Defretter): This models a fretless bass.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the defretter effect on/off.
Sensitivity (Sens) 0–100 This controls the input sensitivity of the Defretter. It should be adjusted for
the bass guitar you have until you get the harmonic changes to sound
natural.
Attack (Attack) 0–100 This controls the attack of the Defretter. Increasing the value will cause the
harmonics to change more slowly, thus producing a relatively attack-less
sound, similar to a fretless bass.
Depth (Depth) 0–100 This controls the rate of the harmonics. Increasing the value will increase
the harmonic content and therefore will create a more unusual sound.
Level (Level) 0–100 Adjusts the volume of the defretter sound.
Defretter
Flanger
Pitch Shifter
Phaser
Doubling
Tr emolo/Pan
*1 Compressor can be replaced with Defretter.
Compressor
(*1)
Noise
Suppressor Chorus
(*2)
Bass
Modeling
*2 Chorus can be replaced one of the following effects.
191
Insert effect algorithm list
Insert effect algorithm list
● NS (Noise Suppressor): This effect reduces the noise and hum.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the noise suppressor effect on/off.
Threshold (Threshold) * 0–100 Adjust this parameter as appropriate for the volume of the noise. If the
noise level is high, a higher setting is appropriate. If the noise level is low,
a lower setting is appropriate. Adjust this value until the decay of the sound
is as natural as possible.
Release (Release) 0–100 Adjusts the time from when the noise suppressor begins to function until
volume reaches “0.”
* High settings for the Threshold parameter may result in there being no sound when you play with your instruments volume turned down.
● Modulation effect type
The Modulation effect type can be selected from the following effects. For details on each effect, refer to “Available types of
modulation and their effect” (p. 202).
❍ FLANGER
(Flanger) : The flanger effect gives a twisting, jet-airplane-like character to the sound.
❍ CHORUS (Chorus) : A sound with a subtly shifted pitch is added to the direct sound, making the final output sound thicker
and broader.
❍ PHASER (Phaser) * : By adding varied-phase portions, the phaser effect gives a whooshing, swirling character to the sound.
❍ P.SHIFT (Pitch Shifter) : This effect changes the pitch of the original sound (up or down) within a range of two octaves.
❍ DOUBL'N (Doubling) : An effect of multiple sounds heard together (a doubling effect) is produced.
❍ TRM/PAN (Tremolo/Pan) : Tremolo is an effect that creates a cyclic change in volume.
Pan cyclically moves the stereo position between left and right (when stereo output is used).
*n case of “Phase”, output will become monaural.
192
Insert effect algorithm list
9. ACOUSTIC GUITAR
This is a multi-effect designed for acoustic guitar. Even when an electric-acoustic is connected at line level, this provides a
warm sound similar to what is obtained through a microphone.
Parameter (full name) Setting Function
● ACP (Acoustic Processor): With this feature, you can change the sound from a pickup on an electric-acoustic guitar
into a richer sound.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the acoustic processor effect on/off.
Body (Body) -100–+100 This adjusts the resonance of the sound caused by the body. That is, it
adjusts the softness and fatness of the sound which is the typical
characteristics of acoustic guitars.
Mic Distance (Mic Distance) -100–+100 This models the distance between the microphone capturing the sound of
an acoustic guitar and the guitar itself.
Level (Level) -100–+100 This adjusts the volume of the acoustic processor.
Best results will be achieved when stereo output is used.
● COMP (Compressor): Compressor the entire output signals when the input volume exceeds a specified value.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the compressor effects on/off.
Sustain (Sustain) 0–100 Adjusts the range (time) over which low-level signals are boosted. Larger
values will result in longer sustain.
Attack (Attack) 0–100 Adjusts the strength of the attack. Larger values will result in a sharper
attack, creating a more clearly defined sound.
Level (Output Level) 0–100 Adjusts the volume.
● EQ (Equalizer): A 4-band equalizer.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the equalizer effect on/off.
Low Gain (Low Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the bass
equalizer.
Low-Mid Gain (Low-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the low-midrange
equalizer.
Low-Mid Freq (Low-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the low-midrange equalizer.
Low-Mid Q (Low-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“Low-Mid Freq.” A larger value results in a narrower range of change.
High-Mid Gain (High-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the high-midrange
equalizer.
High-Mid Freq (High-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the high-midrange equalizer.
High-Mid Q (High-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“High-Mid Freq.” A larger value results in a narrower range of change.
High Gain (High Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the treble
equalizer.
Level (Output Level) -20–+20 dB This parameter adjusts the volume after the equalizer stage.
Compressor Equalizer
Noise
Suppressor Delay
Acoustic
Proccessor
193
Insert effect algorithm list
Insert effect algorithm list
● NS (Noise Suppressor): This effect reduces the noise and hum.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the noise suppressor effect on/off.
Threshold (Threshold) * 0–100 Adjust this parameter as appropriate for the volume of the noise. If the
noise level is high, a higher setting is appropriate. If the noise level is low,
a lower setting is appropriate. Adjust this value until the decay of the sound
is as natural as possible.
Release (Release) 0–100 Adjusts the time from when the noise suppressor begins to function until
volume reaches “0.”
* High settings for the Threshold parameter may result in there being no sound when you play with your instruments volume turned down.
● DLY (Delay): This creates a thicker sound by applying a delayed sound to the direct sound.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the delay effect on/off.
Effect Type (Type) SINGLE This is a simple delay.
TAP The delayed sound is panned across the left and right channels. This will
be effective when stereo output is used.
Delay Time (Delay Time) SINGLE: 1–1400 mS This parameter adjusts the delay time (i.e., the interval for which sound is
delayed).
TAP: 1–700 mS
Feedback (Feedback) 0–100 This parameter adjusts the amount of feedback. Changing the amount of
feedback causes the number of time the delayed sound is repeated to
change as well.
Effect Level (Effect Level) 0–120 This adjusts the volume of the delay sound.
194
Insert effect algorithm list
10. BASS MULTI (Bass Guitar Multi)
This is a multi-effect designed for bass guitar. Appropriate for creating standard bass sound.
Parameter (full name) Setting Function
● COMP (Compressor): Compressor the entire output signals when the input volume exceeds a specified value.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the compressor effects on/off.
Sustain (Sustain) 0–100 Adjusts the range (time) over which low-level signals are boosted. Larger
values will result in longer sustain.
Attack (Attack) 0–100 Adjusts the strength of the attack. Larger values will result in a sharper
attack, creating a more clearly defined sound.
Level (Output Level) 0–100 Adjusts the volume.
● DEFRET (Defretter): This models a fretless bass.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the defretter effect on/off.
Sensitivity (Sens) 0–100 This controls the input sensitivity of the Defretter. It should be adjusted for the
bass guitar you have until you get the harmonic changes to sound natural.
Attack (Attack) 0–100 This controls the attack of the Defretter. Increasing the value will cause the
harmonics to change more slowly, thus producing a relatively attack-less
sound, similar to a fretless bass.
Depth (Depth) 0–100 This controls the rate of the harmonics. Increasing the value will increase
the harmonic content and therefore will create a more unusual sound.
Level (Level) 0–100 Adjusts the volume of the defretter sound.
● OCT (Octave): This adds a note one octave lower, creating a richer sound.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the octave effect on/off.
Octave Level (Octave Level) 0–100 This adjust the volume of the sound one octave below.
Direct Level (Direct Level) 0–100 This adjust the volume of the direct sound.
● ENH (Enhancer): This effect enhances the definition of the sound, and pushes it to the forefront.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the enhancer effect on/off.
Sensitivity (Sens) 0–100 Adjusts the manner in which the enhancer will be applied relative to the
input signals.
Frequency (Frequency) 1.0 –10.0 kHz Adjusts the frequency at which the enhancer effect will begin to be applied.
The effect will be made apparent in the frequencies above the frequency
set here.
Mix Level (Mix Level) 0–100 Adjusts the amount of phase-shifted sound of the range set by “Frequency”
that is to be mixed with the input.
Low Mix Level (Low Mix Level) 0–100 Adjusts the amount of phase-shifted sound of the lower range that is to be
mixed with the input.
Level (Level) 0–100 Adjusts the volume of the enhanced sound.
● EQ (Equalizer): A 4-band equalizer.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the equalizer effect on/off.
Low Gain (Low Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the bass equalizer.
Low-Mid Gain (Low-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the low-midrange
equalizer.
Low-Mid Freq (Low-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the low-midrange equalizer.
Low-Mid Q (Low-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“Low-Mid Freq.” A larger value results in a narrower range of change.
Flanger
Pitch Shifter
Phaser
Doubling
Tr emolo/Pan
Equalizer
(*2)
Noise
Suppressor
Chorus
(*3) Delay
Octave
Enhancer
Wah
*2 Equalizer can be replaced with Wah.
Defretter
Compressor
(*1)
*3 Chorus can be replaced one of the following effects.
*1 Compressor can be replaced with Defretter.
195
Insert effect algorithm list
Insert effect algorithm list
High-Mid Gain (High-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the high-midrange
equalizer.
High-Mid Freq (High-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the high-midrange equalizer.
High-Mid Q (High-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“High-Mid Freq.” A larger value results in a narrower range of change.
High Gain (High Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the treble
equalizer.
Level (Output Level) -20–+20 dB This parameter adjusts the volume after the equalizer stage.
● WAH (Wah): The wah effect creates a unique tone by changing the frequency response characteristics of a filter.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the wah effect on/off.
Polarity (Polarity) UP The frequency of the filter will rise.
DOWN The frequency of the filter will fall.
Sensitivity (Sens) 0–100 This adjusts the sensitivity at which the filter will change in the direction
determined by the polarity setting. Higher values will result in a stronger
response. With a setting of “0,” the strength of picking will have no effect.
Frequency (Frequency) 0–100 This adjusts the center frequency of the Wah effect.
Peak (Peak) 0–100 Adjusts the way in which the wah effect applies to the area around the
center frequency. Lower values will produce a wah effect over a wide area
around the center frequency. Higher values will produce a wah effect in a
narrow area around the center frequency.With a value of “50” a standard
wah sound will be produced.
Level (Level) 0–100 Adjusts the volume.
● NS (Noise Suppressor): This effect reduces the noise and hum.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the noise suppressor effect on/off.
Threshold (Threshold) * 0–100 Adjust this parameter as appropriate for the volume of the noise. If the
noise level is high, a higher setting is appropriate. If the noise level is low,
a lower setting is appropriate. Adjust this value until the decay of the sound
is as natural as possible.
Release (Release) 0–100 Adjusts the time from when the noise suppressor begins to function until
volume reaches “0.”
* High settings for the Threshold parameter may result in there being no sound when you play with your instruments volume turned down.
● Modulation effect type
The Modulation effect type can be selected from the following effects. For details on each effect, refer to “Available types of
modulation and their effect” (p. 202).
❍ FLANGER
(Flanger) : The flanger effect gives a twisting, jet-airplane-like character to the sound.
❍ CHORUS (Chorus) : A sound with a subtly shifted pitch is added to the direct sound, making the final output sound thicker
and broader.
❍ PHASER (Phaser) * : By adding varied-phase portions, the phaser effect gives a whooshing, swirling character to the sound.
❍ P.SHIFT (Pitch Shifter) : This effect changes the pitch of the original sound (up or down) within a range of two octaves.
❍ DOUBL'N (Doubling) : An effect of multiple sounds heard together (a doubling effect) is produced.
❍ TRM/PAN (Tremolo/Pan) : Tremolo is an effect that creates a cyclic change in volume.
Pan cyclically moves the stereo position between left and right (when stereo output is used).
* In case of “Phase”, output will become monaural.
● DLY (Delay): This creates a thicker sound by applying a delayed sound to the direct sound.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the delay effect on/off.
Effect Type (Type) SINGLE This is a simple delay.
TAP The delayed sound is panned across the left and right channels. This will
be effective when stereo output is used.
Delay Time (Delay Time) SINGLE: 1–1400 mS This parameter adjusts the delay time (i.e., the interval for which sound is
delayed).
TAP: 1–700 mS
Feedback (Feedback) 0–100 This parameter adjusts the amount of feedback. Changing the amount of
feedback causes the number of time the delayed sound is repeated to
change as well.
Effect Level (Effect Level) 0–120 This adjusts the volume of the delay sound.
196
Insert effect algorithm list
11. COSM BASS AMP (COSM Bass Guitar Amp)
This is a multi-effect designed for bass guitar. This features an amp sound that uses a preamp and speaker modeling.
Parameter (full name) Setting Function
● COMP (Compressor): Compressor the entire output signals when the input volume exceeds a specified value.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the compressor effects on/off.
Sustain (Sustain) 0–100 Adjusts the range (time) over which low-level signals are boosted. Larger
values will result in longer sustain.
Attack (Attack) 0–100 Adjusts the strength of the attack. Larger values will result in a sharper
attack, creating a more clearly defined sound.
Level (Output Level) 0–100 Adjusts the volume.
● P.AMP (Preamp): Adjust the distortion and tone of the guitar sound.
Effect On/Off (Effect On/Off) OFF, ON Turns the preamp effect on/off.
Amp Type (Amp Type) *1 AC It produces the vintage sound of an early transistor amp.
AMG It produces the sound of a large double-stack vacuum tube amp with ultra-
lows and a crisp edge.
Volume (Volume) 0–100 Adjusts the volume and distortion of the amp.
Bass (Bass) -100–+100 Adjusts the tone for the low frequency range.
Middle (Middle) -100–+100 Adjusts the tone for the middle frequency range.
Treble (Treble) -100–+100 Adjusts the tone for the high frequency range.
Master (Master) 0–100 Adjusts the volume of the entire preamp.
Bright (Bright) *2 OFF, ON Turns the bright setting on/off. Bright is switched on to create a lighter and
crisper tone.
Gain (Gain) *3 LOW, MIDDLE, HIGH Adjusts the distortion of the amp. Distortion will successively increase for
settings of “LOW,” “MIDDLE” and “HIGH.”
*1 When all Bass, Middle and Treble are set to “0,” no sound may be produced depending on the “Amp Type” setting.
*2 Depending on the “Amp Type” setting, this may not be displayed.
*3 successively increase for settings of “LOW,” “MIDDLE” and set to “MIDDLE.” So, normally set it to “MIDDLE.”
Compressor Equalizer
(*1)
Wah
Noise
Suppressor
Chorus
(*2)
Flanger
Pitch Shifter
Phaser
Doubling
Tr emolo/Pan
Delay
*1 Equalizer can be replaced with Wah.
PreAmp
Speaker
Simulator
*2 Chorus can be replaced one of the following effects.
197
Insert effect algorithm list
Insert effect algorithm list
● SP (Speaker Modeling): This models the characteristics of various types of speakers.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the speaker modeling effect on/off.
Speaker Type (Speaker Type) See the column
on this page. Selects the type of speaker that will be modeled.
Mic Setting (Mic Setting) CENTER, 1–10 cm This models the microphone position. “CENTER” models the condition that
the microphone is set in the middle of the speaker cone. “1–10 cm” means
that the microphone is moved away from the center of the speaker cone.
Mic Level (Mic Level) 0–100 Adjusts the volume of the microphone.
Direct Level (Direct Level) 0–100 Adjusts the volume of the direct sound.
● EQ (Equalizer): A 4-band equalizer.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the equalizer effect on/off.
Low Gain (Low Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the bass
equalizer.
Low-Mid Gain (Low-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the low-midrange
equalizer.
Low-Mid Freq (Low-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the low-midrange equalizer.
Low-Mid Q (Low-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“Low-Mid Freq.” A larger value results in a narrower range of change.
High-Mid Gain (High-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the high-midrange
equalizer.
High-Mid Freq (High-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the high-midrange equalizer.
High-Mid Q (High-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“High-Mid Freq.” A larger value results in a narrower range of change.
High Gain (High Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the treble
equalizer.
Level (Output Level) -20–+20 dB This parameter adjusts the volume after the equalizer stage.
● WAH (Wah): The wah effect creates a unique tone by changing the frequency response characteristics of a filter.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the wah effect on/off.
Polarity (Polarity) UP The frequency of the filter will rise.
DOWN The frequency of the filter will fall.
Sensitivity (Sens) 0–100 This adjusts the sensitivity at which the filter will change in the direction
determined by the polarity setting. Higher values will result in a stronger
response. With a setting of “0,” the strength of picking will have no effect.
Frequency (Frequency) 0–100 This adjusts the center frequency of the Wah effect.
Peak (Peak) 0–100 Adjusts the way in which the wah effect applies to the area around the
center frequency. Lower values will produce a wah effect over a wide area
around the center frequency. Higher values will produce a wah effect in a
narrow area around the center frequency.With a value of “50” a standard
wah sound will be produced.
Level (Level) 0–100 Adjusts the volume.
■ Speaker modeling
The characters of the following types of speakers can be modeled. Set the desired type for Speaker Type.
Microphone Well-matched
Speaker Type Cabinet Speaker Unit Setting
*
preamp type
AC Large Sealed enclosure 15 inch (two units) On Mic AC
ac Open-back enclosure 15 inch (two units) Off Mic AC
AMG Open-back enclosure 10 inch (eight units) On Mic AMG
amg Open-back enclosure 10 inch (eight units) Off Mic AMG
* “On Mic” models sound when a dynamic microphone is used.
“Off Mic” models sound when a condenser microphone is used.
198
Insert effect algorithm list
● NS (Noise Suppressor): This effect reduces the noise and hum.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the noise suppressor effect on/off.
Threshold (Threshold) * 0–100 Adjust this parameter as appropriate for the volume of the noise. If the
noise level is high, a higher setting is appropriate. If the noise level is low,
a lower setting is appropriate. Adjust this value until the decay of the sound
is as natural as possible.
Release (Release) 0–100 Adjusts the time from when the noise suppressor begins to function until
volume reaches “0.”
* High settings for the Threshold parameter may result in there being no sound when you play with your instruments volume turned down.
● Modulation effect type
The Modulation effect type can be selected from the following effects. For details on each effect, refer to “Available types of
modulation and their effect” (p. 202).
❍ FLANGER
(Flanger) : The flanger effect gives a twisting, jet-airplane-like character to the sound.
❍ CHORUS (Chorus) : A sound with a subtly shifted pitch is added to the direct sound, making the final output sound thicker
and broader.
❍ PHASER (Phaser) * : By adding varied-phase portions, the phaser effect gives a whooshing, swirling character to the sound.
❍ P.SHIFT (Pitch Shifter) : This effect changes the pitch of the original sound (up or down) within a range of two octaves.
❍ DOUBL'N (Doubling) : An effect of multiple sounds heard together (a doubling effect) is produced.
❍ TRM/PAN (Tremolo/Pan) : Tremolo is an effect that creates a cyclic change in volume.
Pan cyclically moves the stereo position between left and right (when stereo output is used).
* In case of “Phase”, output will become monaural.
● DLY (Delay): This creates a thicker sound by applying a delayed sound to the direct sound.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the delay effect on/off.
Effect Type (Type) SINGLE This is a simple delay.
TAP The delayed sound is panned across the left and right channels. This will
be effective when stereo output is used.
Delay Time (Delay Time) SINGLE: 1–1400 mS This parameter adjusts the delay time (i.e., the interval for which sound is
delayed).
TAP: 1–700 mS
Feedback (Feedback) 0–100 This parameter adjusts the amount of feedback. Changing the amount of
feedback causes the number of time the delayed sound is repeated to
change as well.
Effect Level (Effect Level) 0–120 This adjusts the volume of the delay sound.
199
Insert effect algorithm list
Insert effect algorithm list
12. VOCAL MULTI
This is a multi-effect designed for vocals. It provides the basic effects needed for vocals.
Parameter (full name) Setting Function
● COMP (Compressor): Compressor the entire output signals when the input volume exceeds a specified value.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the compressor effects on/off.
Sustain (Sustain) 0–100 Adjusts the range (time) over which low-level signals are boosted. Larger
values will result in longer sustain.
Attack (Attack) 0–100 Adjusts the strength of the attack. Larger values will result in a sharper
attack, creating a more clearly defined sound.
Level (Output Level) 0–100 Adjusts the volume.
● DES (De-esser): Useful for reducing ‘sibilant’ or ‘S’ sounds produced by a vocalist.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the de-esser effect on/off.
Sibilant Level (Sibilant Level) 0–100 Adjusts the sensitivity relative to the input volume, which controls how the
effect is applied.
Level (Level) 0–100 Adjusts the volume.
● ENH (Enhancer): This effect enhances the definition of the sound, and pushes it to the forefront.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the enhancer effect on/off.
Sensitivity (Sens) 0–100 Adjusts the manner in which the enhancer will be applied relative to the
input signals.
Frequency (Frequency) 1.0 –10.0 kHz Adjusts the frequency at which the enhancer effect will begin to be applied.
The effect will be made apparent in the frequencies above the frequency
set here.
Mix Level (Mix Level) 0–100 Adjusts the amount of phase-shifted sound of the range set by “Frequency”
that is to be mixed with the input.
Low Mix Level (Low Mix Level) 0–100 Adjusts the amount of phase-shifted sound of the lower range that is to be
mixed with the input.
Level (Level) 0–100 Adjusts the volume of the enhanced sound.
● EQ (Equalizer): A 4-band equalizer.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the equalizer effect on/off.
Low Gain (Low Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the bass
equalizer.
Low-Mid Gain (Low-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the low-midrange
equalizer.
Low-Mid Freq (Low-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the low-midrange equalizer.
Low-Mid Q (Low-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“Low-Mid Freq.” A larger value results in a narrower range of change.
High-Mid Gain (High-Mid Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the high-midrange
equalizer.
High-Mid Freq (High-Mid Freq) 100–10.0 kHz This parameter sets the central frequency for the high-midrange equalizer.
High-Mid Q (High-Mid Q) 0.5–16 This parameter sets the range of change in gain for the frequency set by
“High-Mid Freq.” A larger value results in a narrower range of change.
High Gain (High Gain) -20–+20 dB This parameter sets the gain (amount of boost or cut) for the treble
equalizer.
Level (Output Level) -20–+20 dB This parameter adjusts the volume after the equalizer stage.
Compressor Equalizer
Noise
Suppressor
Chorus
(*1)
Flanger
Pitch Shifter
Phaser
Doubling
Tr emolo/Pan
Delay
De-esser
Enhancer
*1 Chorus can be replaced one of the following effects.
200
Insert effect algorithm list
● NS (Noise Suppressor): This effect reduces the noise and hum.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the noise suppressor effect on/off.
Threshold (Threshold) * 0–100 Adjust this parameter as appropriate for the volume of the noise. If the
noise level is high, a higher setting is appropriate. If the noise level is low,
a lower setting is appropriate. Adjust this value until the decay of the sound
is as natural as possible.
Release (Release) 0–100 Adjusts the time from when the noise suppressor begins to function until
volume reaches “0.”
* High settings for the Threshold parameter may result in there being no sound when you play with your instruments volume turned down.
● Modulation effect type
The Modulation effect type can be selected from the following effects. For details on each effect, refer to “Available types of
modulation and their effect” (p. 202).
❍ FLANGER
(Flanger) : The flanger effect gives a twisting, jet-airplane-like character to the sound.
❍ CHORUS (Chorus) : A sound with a subtly shifted pitch is added to the direct sound, making the final output sound thicker
and broader.
❍ PHASER (Phaser) * : By adding varied-phase portions, the phaser effect gives a whooshing, swirling character to the sound.
❍ P.SHIFT (Pitch Shifter) : This effect changes the pitch of the original sound (up or down) within a range of two octaves.
❍ DOUBL'N (Doubling) : An effect of multiple sounds heard together (a doubling effect) is produced.
❍ TRM/PAN (Tremolo/Pan) : Tremolo is an effect that creates a cyclic change in volume.
Pan cyclically moves the stereo position between left and right (when stereo output is used).
* In case of “Phase”, output will become monaural.
● DLY (Delay): This creates a thicker sound by applying a delayed sound to the direct sound.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the delay effect on/off.
Effect Type (Type) SINGLE This is a simple delay.
TAP The delayed sound is panned across the left and right channels. This will
be effective when stereo output is used.
Delay Time (Delay Time) SINGLE: 1–1400 mS This parameter adjusts the delay time (i.e., the interval for which sound is
delayed).
TAP: 1–700 mS
Feedback (Feedback) 0–100 This parameter adjusts the amount of feedback. Changing the amount of
feedback causes the number of time the delayed sound is repeated to
change as well.
Effect Level (Effect Level) 0–120 This adjusts the volume of the delay sound.
201
Insert effect algorithm list
Insert effect algorithm list
13. VOICE TRANSFORMER
This is a multi-effect designed for vocals. Special effects can also be created using the Voice Transformer.
Parameter (full name) Setting Function
● VT (Voice Transformer): This controls the formants, allowing a variety of voice characters to be created.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the voice transformer effect on/off.
Formant 1 (Formant 1) -100–+100 Adjust the formant of the voice character 1.
Formant 2 (Formant 2) -100–+100 Adjust the formant of the voice character 2.
Effect Level 1 (Effect Level 1) 0–100 Adjust the volume of the voice character 1.
Effect Level 2 (Effect Level 2) 0–100 Adjust the volume of the voice character 2.
Direct Level (Direct Level) 0–100 Adjust the volume of the direct sound.
Formant (p. 204)
● NS (Noise Suppressor): This effect reduces the noise and hum.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the noise suppressor effect on/off.
Threshold (Threshold) * 0–100 Adjust this parameter as appropriate for the volume of the noise. If the
noise level is high, a higher setting is appropriate. If the noise level is low,
a lower setting is appropriate. Adjust this value until the decay of the sound
is as natural as possible.
Release (Release) 0–100 Adjusts the time from when the noise suppressor begins to function until
volume reaches “0.”
* High settings for the Threshold parameter may result in there being no sound when you play with your instruments volume
turned down.
● Modulation effect type
The Modulation effect type can be selected from the following effects. For details on each effect, refer to “Available types of
modulation and their effect” (p. 202).
❍ FLANGER
(Flanger) : The flanger effect gives a twisting, jet-airplane-like character to the sound.
❍ CHORUS (Chorus) : A sound with a subtly shifted pitch is added to the direct sound, making the final output sound thicker
and broader.
❍ PHASER (Phaser) * : By adding varied-phase portions, the phaser effect gives a whooshing, swirling character to the sound.
❍ P.SHIFT (Pitch Shifter) : This effect changes the pitch of the original sound (up or down) within a range of two octaves.
❍ DOUBL'N (Doubling) : An effect of multiple sounds heard together (a doubling effect) is produced.
❍ TRM/PAN (Tremolo/Pan) : Tremolo is an effect that creates a cyclic change in volume.
Pan cyclically moves the stereo position between left and right (when stereo output is used).
* In case of “Phase”, output will become monaural.
● DLY (Delay): This creates a thicker sound by applying a delayed sound to the direct sound.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the delay effect on/off.
Effect Type (Type) SINGLE This is a simple delay.
TAP The delayed sound is panned across the left and right channels. This will
be effective when stereo output is used.
Delay Time (Delay Time) SINGLE: 1–1400 mS This parameter adjusts the delay time (i.e., the interval for which sound is
delayed).
TAP: 1–700 mS
Feedback (Feedback) 0–100 This parameter adjusts the amount of feedback. Changing the amount of
feedback causes the number of time the delayed sound is repeated to
change as well.
Effect Level (Effect Level) 0–120 This adjusts the volume of the delay sound.
Noise
Suppressor
Voice
transformer Chorus
(*1)
Flanger
Pitch Shifter
Phaser
Doubling
Tr emolo/Pan
Delay
*1 Chorus can be replaced one of the following effects.
202
Insert effect algorithm list
Available types of modulation and their effect
Parameter (full name) Setting Function
● [FLG] FLANGER (Flanger): The flanger effect gives a twisting, jet-airplane-like character to the sound.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the flanger effect on/off.
Rate (Rate) 0–100 Determines the rate of the flanging effect.
Depth (Depth) 0–100 Determines the depth of the flanging effect.
Manual (Manual) 0–100 Adjusts the center frequency at which to apply the effect.
Resonance (Resonance) 0–100 Determines the amount of resonance (feedback). Increasing the value will
emphasize the effect, creating a more unusual sound.
Separation (Separation) 0–100 Adjusts the diffusion. The diffusion increases as the value increases.
Effective when stereo output is used.
● [CHO] CHORUS (Chorus): A sound with a subtly shifted pitch is added to the direct sound, making the final output
sound thicker and broader.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the chorus effect on/off.
Rate (Rate) 0–100 Adjusts the rate of the Chorus effect.
Depth (Depth) 0–100 Adjusts the depth of the Chorus effect.
Pre Delay (Pre Delay) 0.5–50 mS Adjusts the time needed for the effect sound to be output after the direct
sound has been output.
Effect Level 0–100 Adjusts the volume of the effect sound.
Best results will be achieved when stereo output is used.
● [PH] PHASER (Phaser): By adding varied-phase portions, the phaser effect gives a whooshing, swirling character
to the sound.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the phaser effect on/off.
Rate (Rate) 0–100 This sets the rate of the Phaser effect.
Depth (Depth) 0–100 Determines the depth of the Phaser effect.
Manual (Manual) 0–100 Adjusts the center frequency of the phaser effect.
Resonance (Resonance) 0–100 Determines the amount of resonance (feedback). Increasing the value will
emphasize the effect, creating a more unusual sound. Setting it to a minus
value will create resonance having a reversed phase.
● [PS] P.SHIFT (Pitch Shifter): This effect changes the pitch of the original sound (up or down) within a range of two
octaves.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the pitch shifter effect on/off.
Pitch (Pitch) * -24–DETUNE–+24 Adjusts the amount of pitch shift (the amount of pitch change) in semitone
steps. By selecting “DETUNE,” you can add a slightly pitch-shifted sound
to the input sound, producing a detune effect.
D:E Balance (Effect Balance) 100:0–0:100 This adjusts the volume balance of the direct and effect sounds.
Separation (Separation) -100–+100 Adjusts the diffusion. The panning of the direct sound and effect sound can
be spread to left and right. Effective when stereo output is used.
● [DBL] DOUBL'N (Doubling): An effect of multiple sounds heard together (a doubling effect) is produced.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the doubling effect on/off.
Delay Time (Delay Time) 0.5–50 mS This parameter adjusts the delay time (i.e., the interval for which sound is
delayed).
Separation (Separation) -100–+100 Adjusts the diffusion. The panning of the direct sound and effect sound can
be spread to left and right. Effective when stereo output is used.
Effect Level (Effect Level) 0–120 This adjusts the volume of the delay sound.
The best effect is achieved when stereo output is used.
203
Insert effect algorithm list
Insert effect algorithm list
● [TRM] TRM/PAN (Tremolo/Pan): Tremolo is an effect that creates a cyclic change in volume.
Pan cyclically moves the stereo position between left and right (when stereo output
is used).
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the tremolo/pan effect on/off.
Mode (Mode) Selection for tremolo or pan. And selection for the effect will use.
TRM-TRI The volume will change cyclically. Smooth change will be produced.
TRM-SQR The volume will change cyclically. Abrupt change will be produced.
PAN-TRI The sound will be moved cyclically between left and right. Smooth change
will be produced.
PAN-SQR The sound will be moved cyclically between left and right. Abrupt change
will be produced.
Rate (Rate) 0–100 Adjust the rate at which the effect will operate.
Depth (Depth) 0–100 Adjusts the depth of the effect.
● [S.ATK] SLO ATK (Slow Attack): This produces a volume-swell effect (“violin-like” sound).
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the slow attack effect on/off.
Rise Time (Rise Time) 10–2000 mS This adjusts the time needed for the volume to reach its maximum from the
moment you begin picking.
Level (Level) 0–100 Adjust the volume of the slow attack sound.
204
Glossary
Balanced connection
A method of transmitting signals using three electrical
conductors. This cancels any noise that may have entered
the line during transmission, allowing noise-free
transmission of low-level signals over long distances. This
method is usual on professional and broadcast equipment.
BPM, beats per minute
The number of beats in one minute (usually quarter note).
Coaxial
A digital audio connector to which a coaxial cable can be
connected. In contrast, a type of digital audio connector to
which an optical cable can be connected are referred to as
“optical.“ The CDX-1’s digital audio connector conforms
to S/P DIF.
➔ S/P DIF
➔ Optical
Condenser microphone
A type of microphone that applies the principle of a
condenser. It has excellent high-frequency response, and
allows more subtle nuances of sound to be captured.
Contrast
A setting that adjusts the difference between the light and
dark areas of a display. This controls the apparent
brightness of the display.
COSM
An abbreviation for Composite Object Sound Modeling.
Proprietary Roland technology for combining sound
models of various types to produce sound. Some of the
effect algorithms of the CDX-1 are implemented using this
technology.
DAT
Short for Digital Audio Tape. This refers both to the
system of recording digitized sound to magnetic tape, as
well as to the tapes themselves. Besides digital audio
signals, all song information is recorded on the tape,
including starts and track data, information to allow or
prevent copying, etc.
Dynamic microphone
A type of microphone that uses the same principle as an
electrical generator. It operates without a power source.
The most common types are quite durable, and are widely
used as vocal and instrument mics.
Effects
Special processes that modify or enhance the sound in
some way, such as causing it to distort, adding
reverberation, or delaying it, etc. Also used to refer to the
device or processor that produces the effect.
Effect patch
A state or settings that specifies an effect, stored under a
number or name. By recalling an effect patch you can
reproduce the state of the effect at any time.
Effect processor
A device that adds an acoustical effect such as
reverberation, distortion, or modulation. The CDX-1
contains a built-in effect processor. This manual may refer
to the “effect processor“ simply as “effect.“
Error message
A message that appears in the display when an incorrect
operation has been performed, or when data could not be
processed correctly.
Fade-in
Fade-out
Fade-in means to gradually raise the volume (for example,
at the beginning of a song). Fade-out means to gradually
lower the volume until silence is reached.
Fader
Faders are the sliders that are arranged on the panel of the
console, and used mainly to adjust the volume.
Formant
A fixed frequency region of emphasis that is determined
by the size of the vocal cords, and which determines the
character of a human voice. When a recorded voice is
simply lowered in pitch, the location of the formants is
also changed. For example when the pitch is raised, the
resulting “duck voice“ sounds as though the singer has
smaller vocal cords. Lowering the pitch produces a “giant
voice“ that sounds as though the singer has larger vocal
cords.
Format
When used as a verb, “format“ refers to the act of re-
writing the data storage divisions on a magnetic disk or
memory card etc. so that it conforms to the storage
methods used by a particular device. On the CDX-1, a
newly purchased CD-RW disc or one that has been used
by a different device must be formatted by this system
before it can be used. When a storage medium is
formatted, any data previously existing on that medium
will normally be lost.
Finalize
This is the operation that writes the TOC to a prepared
audio disc. Whereas additions and changes can be made to
discs that have not yet been finalized, such discs are not
playable on regular CD players.
Foot switch
A switch that is operated by stepping on it. Various
operations can be performed by pressing a pedal instead
of operating a button. This permits operation even while
both hands are occupied, such as when you are playing an
instrument.
205
Glossary
Glossary
Frame
This refers to the individual still images that make up a
moving picture on a video recorder etc. In the context of
SMPTE time code or MTC, a “frame” is a unit of time. The
frame rate selection determines whether a frame
corresponds to 1/30th or 1/24th of a second.
➔ Frame rate
➔ SMPTE time code
➔ MIDI time code
Frame rate
The number of frames per second in SMPTE time code etc.
Also refers to the type of time code indicated thereby. The
frame rate can be 30, 39.97N (non-drop), 29.97D (drop), 25,
or 24 per second.
➔ SMPTE time code
➔ Frame
Initialize
To restore the parameters of a device to their basic state.
Insert effect
An effect that is used by inserting it directly into the signal
path. Examples of insertion effects include distortion,
equalizer, compressor, and wah. Normally these are used
without mixing in the original dry (direct) sound.
➔ Loop effect
Impedance
The total resistance of an electrical circuit to an alternating
voltage such as audio, expressed in units of an Ohm (Ω).
When transmitting a signal, the output impedance of the
transmitting device must match the input impedance of
the receiving device. If not, problems such as distortion,
noise, and lowered signal level can occur.
On the CDX-1, a high-impedance input jack are used for
directly connecting guitar and bass.
Loop effect
The path by which signals are sent from a mixer to internal
or external effects, and the sound produced by an external
device is returned to the mixer, is collectively referred to as
“Loop Effect.“ When using a loop type effect, the effect
sound will be combined with the original sound.
➔ Insert effect
Master
1. A parameter, knob, or fader that affects all channels in
common.
2. When two or more devices (sequencers, drum
machines, recorders, video devices etc.) are operated
in synchronization, the device that transmits tempo or
time data is called the “master.” (The devices that
receive this data and follow it are called “slaves.”)
MIDI
An abbreviation for Musical Instrument Digital Interface,
a unified standard for exchanging performance data, time
data, and various settings etc. between electronic musical
instruments, computers, and audio devices etc. The CDX-
1 is MIDI-compatible, and has two MIDI connectors; MIDI
IN and MIDI OUT (also providing MIDI THRU
functionality). When these connectors are connected to
other MIDI devices, a variety of applications are possible.
MIDI implementation chart
A table that makes it easy to confirm the types of MIDI
messages that can be transmitted and received by a device.
Check the MIDI implementation charts of both devices
that you intend to connect, and use MIDI messages that
are supported by both devices. In this manual, the MIDI
implementation chart is on p. 216.
MIDI time code, MTC
A type of MIDI message that is used to accurately
synchronize a MIDI device with professional tape
recorders, sequencers, or video devices. The master device
transmits data indicating the current absolute time
(hours/minutes/seconds/frames from the beginning),
and the slave device will advance its own time
accordingly. In order to use MTC, the other device must
also support MTC synchronization, or you can use an
MTC to SMPTE converter. Because MTC does not contain
tempo information, the displayed measures and beats
may not necessarily match.
MTC also allows various frame rates. In order to use MTC
for synchronization, the frame rates of both devices must
be set to match.
➔ Master
➔ Slave
➔ Frame rate
Mix down
In music production using a multitrack recorder, this is the
process of adjusting the mix balance of multiple tracks and
combining them into two-channel stereo.
MMC
An Abbreviation for MIDI machine Control. This is a set of
MIDI system exclusive messages used to operate multiple
devices form a single device. The CDX-1 supports MMC.
By using MMC, a MIDI device connect to the CDX-1 can
be controlled by the CDX-1 to perform operations such as
start, and fast-forward. Since MMC is intended to
synchronize operations such as playback, recording, and
fast-forward, you must also use MIDI Clock or MTC to
achieve time-based synchronization.
➔ MIDI Clock
➔ MTC
206
Glossary
Monitor
The action of auditioning or listening to an audio signal.
What a recording engineer does when listening to the
sound that is being recorded, or what a performer does
when listening to other parts.
Multitrack
Having multiple tracks, such as 4, 8, 16, or 24 etc.
“Multitrack recorder.“
➔ Track
Multitrack recording
The process of using a multitrack recorder to record each
part or instrument on a separate track.
Mute
To silence something. On the CDX-1, you can mute
individual audio tracks by pressing the relevant [STATUS]
button, extinguishing its light.
Note number
A number included in a MIDI note message to specify the
note location on a keyboard. A number of 0-127 is assigned
to each semitone of the keyboard, with middle C (C4) as
number 60.
NTSC format
The color television format used in the United States and
Japan. Tapes recorded in NTSC format cannot be played
on a SECAM format or PAL format video deck.
➔ SECAM format, PAL format
Optical
A type of digital audio connector to which an optical cable
can be connected. In contrast, a type of digital audio
connector to which a coaxial cable can be connected are
referred to as “coaxial.“ The CDX-1's digital audio
connector conforms to S/P DIF.
➔ S/P DIF
➔ Coaxial
Pad
A surface that is struck, or a button used to play sound on
an electronic drum, drum machine, or sampler. The
CDX-1 has eight pads.
PAL format
➔ SECAM format
Pan
The direction from which a sound is heard when played
back in stereo. Also refers to the knob that adjust this.
Parameter
A setting that can be adjusted to modify the sound or
operation of an electronic device or electronic musical
instrument. An example of use would be; “This effect has
three parameters: level, drive, and tone.“ The setting or
level of a parameter is called its “value.“
Punch-in, Punch-out
Punch-in/out recording is a procedure by which a specific
portion of a track (between two specified times) can be re-
recorded. Punch-in means to begin recording (i.e., to
instantaneously switch from song playback to recording),
and punch-out means to stop recording (by instantly
switching from recording back to playback). A button or
foot switch can be used to punch in and out (manual), or
punch-in/out can occur automatically at previously
specified locations (auto).
Sample rate
A number that indicates how many times per second the
analog signal is digitized when converting from analog
audio (or other analog signal) into digital audio. In the
case of audio processing, the sample rate is given in units
of “kHz.”
In general, a higher sample rate will allow better
frequency response and will provide a more faithful
reproduction of the original sound. On the other hand, a
lower sample rate will allow longer recording/playback
with the same memory capacity (tape length, disk size).
SECAM format, PAL format
Color television formats used in Europe etc. Tapes
recorded in SECAM format or PAL format cannot be
played on a NTSC format video deck.
➔ NTSC format
Send/Return type effect
➔ Loop effect
Slave
When two or more devices are operated in
synchronization, one device (the master) transmits tempo
or time data, and the other devices (the slaves) receive this
data and follow it.
Sync, Synchronization
These terms refer to linking the time progression of two or
more recorders, sequencers, video devices, or rhythm
machines. One of the devices must be set to be the master,
and will transmit synchronization data. The remaining
devices (slaves) will receive this data, and will align their
own time accordingly.
➔ MIDI time code
➔ MIDI clock
SMPTE time code
A signal format defined by the Society of Motion Picture
and Television Engineers (United States) for the purpose
of synchronizing multiple video/audio devices. The time
location is expressed as “hours:minutes:seconds:frames,”
and is widely used on professional equipment to manage
absolute time.
207
Glossary
Glossary
S/P DIF
S/P DIF stands for Sony/Philips Digital Interface Format.
This is a specifications for transmitting and receiving
stereo digital audio signals between digital audio devices.
The CDX-1 provides coaxial and optical connectors which
supports S/P DIF.
TOC
Short for Table of Contents. This is the region on the CD-R
disc that handles information such as song times, end
times, sequence, and so on. Although the songs on a disc
and their playing time can be displayed when an audio CD
is placed in a CD player, this is because they can be read
automatically from the TOC. The TOC is recorded
differently than music data, with its main characteristic
being disc access, such as the ability to go to the start of
any song instantly.
Track
Multitrack recorders, disk recorders, and sequencers etc.
have multiple “tracks“ on which the parts that make up a
song can be independently recorded and managed. Each
track can record and play back audio (or performance data
in the case of a MIDI sequencer) along a time axis. The
CDX-1 provides multitrack recorder tracks (1–8) and
sequence tracks (A–D).
TRS type (Tip-Ring-Sleeve plug)
A special type of quarter-inch phone plug and jack that
has three contacts. Widely known from its use as a
headphone plug.
➔ Balanced connection
Value
The setting of a parameter.
➔ Parameter
Redo
After using Undo to cancel a setting or operation, you can
use Redo to go back to the settings that were in effect
before you used Undo.
Unbalanced connection
A method of transmitting a signal using two electrical
conductors. Broadly used on electric instruments and
consumer audio devices.
➔ Balanced connection
Undo
A function that allows an operation performed in error to
be cancelled, returning to the state before that operation
was performed. Redo is a function that “cancels the Undo
operation.“
WAVE file
The WAVE file is the standard form file of the audio data
that be able to use it with Microsoft Windows.
The file name has “.WAV“.
* Microsoft and Windows are registered trademarks of
Microsoft Corporation.
XLR Jack
The collective name for the “XLR” series jacks developed
by Cannon Electric Corporation (USA) and compatible
jacks manufactured by other companies. Also called
“Cannon.” On the CDX-1, 3-pin XLR jacks are used for the
mic inputs (1, 2).
208
Parameter List
• The setting of the Tuner parameter, LCD Contrast parameter, System parameter and MIDI parameter are stored in internal memory.
• When you operate saving the setting of Song, the settings of parameters with ★ symbol are stored on a CD-RW disc.
■ Mixer Parameter
(★)
Parameter name Display Initial Value Value
Input Level - current panel setting 0–127
Audio Track Fader Level - current panel setting 0–127
Pad/Sequence Fader Level - current panel setting 0–127
Master Fader Level - current panel setting 0–127
Input Select - LINE L/R MIC1, MIC2/GUITAR/BASS,
LINE L/R, SIMUL, MUTE
Pan PAN 0 L100–0–R100
Equalizer Stereo Link EQ StereoLink OFF OFF, ON
Equalizer On/Off EQ On/Off OFF OFF, ON
Equalizer Low Gain Low Gain 0 dB -12–+12 dB
Equalizer Low Frequency Low Freq 300 Hz 40 Hz–1.5 kHz
Equalizer High Gain High Gain 0 dB -12–+12 dB
Equalizer High Frequency High Freq 4.0 kHz 500 Hz–18.0 kHz
Chorus/Delay/Doubling Send Level
CHORUS/DELAY/DOUBL’N: SEND
0 0–100
Reverb Send Level REVERB: SEND
IN/TR1–8/PAD: 20, RHYTHM: 10
0–100
Reverb Return Level - current panel setting 0–100
Chorus/Delay/Doubling
Parameter name Display Initial Value Value
Effect Type Effect Type DELAY CHORUS, DELAY, DOUBL’N
Chorus
Rate Rate 10 0–100
Depth Depth 10 0–100
Pre Delay Pre Delay 10.0 mS 0.5–50.0 mS
Effect Level Effect Level 100 0–100
Delay
Delay Time Delay Time 370 10–1000 mS
Feedback Feedback 30 0–100
Effect Level Effect Level 30 0–100
Reverb Send Level Reverb Send 50 0–100
Doubling
Delay Time Delay Time 20.0 mS 05–50.0 mS
Effect Level Effect Level 100 0–100
Reverb
Parameter name Display Initial Value Value
Reverb Type Reverb Type HALL ROOM, HALL
Reverb Time Reverb Time 2.0 0.1–10.0
Tone Tone 0 -12–0–+12
■ Rhythm Guide Parameter
(★)
Parameter name Display Initial Value Value
Rhythm Guide Auto/On/Off - OFF OFF, AUTO, ON
Beat Beat 4/4 1/1–8/1, 1/2–8/2, 1/4–8/4,
1/8–8/8, TEMPO MAP
Tempo Tempo 120.00 20.00–250.00
Pattern Pattern 01 01–** (*)
Rhythm Guide Level Level 60 0–100
* The settable range for Pattern will change depending on the Beat.
209
Parameter List
Parameter List
■ Pad Recording Parameter
Parameter name Display Initial Value Value
Data Type Data Type STANDARD HIGH, STANDARD, LONG1, LONG2
Sampling Type Type STEREO STEREO, MONO
Start With Start with MANUAL MANUAL, LEV.1–LEV.8, PAD, [ ]
Pre Triger Pre Trigger OFF OFF, 20ms, 40ms, 80ms, 160ms, 320ms
■ Edit Pad Parameter
Tempo Match
Parameter name Display Initial Value Value
Base Sample Base Pad Bank✽✽–✽✽ Bank No.1-64, Pad No.1–8
Source Sample Source Bank✽✽–✽✽ Bank No.1-64, Pad No.1–8
To To Bank 1–1 Bank No.1-64, Pad No.1–8
Divide Sample
Parameter name Display Initial Value Value
Divide Type Type END POINT END POINT, AUTO 0.5, AUTO 1.0,
AUTO 1.5, AUTO 2.0, MANUAL
Source Sample Source Bank✽✽–✽✽ Bank No.1-64, Pad No.1–8
Destination Pad Number To Bank 1–1 Bank No.1-64, Pad No.1–8
Threshold Threshold ✽✽✽✽ LEV1–LEV8 (*1)
Trim Trim ✽✽✽ OFF, ON (*2)
*1 Valid when “Threshold” is “ON.”
*2 Valid when “Type” is “AUTO 0.5,” “AUTO 1.0,” “AUTO 1.5,” or “AUTO 2.0.”
Trim Sample
Parameter name Display Initial Value Value
Target Sample Target Bank✽✽–✽✽ Bank No.1-64, Pad No.1–8
Threshold Threshold LEV1 LEV1–LEV8
Normalize
Parameter name Display Initial Value Value
Source Sample Source Bank✽✽–✽✽ Bank No.1-64, Pad No.1–8
Destination Pad Number To Bank 1–1 Bank No.1-64, Pad No.1–8
Time Stretch
Parameter name Display Initial Value Value
Source Sample Source Bank✽✽–✽✽ Bank No.1-64, Pad No.1–8
Destination Pad Number To Bank 1–1 Bank No.1-64, Pad No.1–8
Ratio Ratio 100.0 50.0–150.0
New BPM New BPM ✽✽✽.✽✽ 20.00–500.00
Create Reversal
Parameter name Display Initial Value Value
Source Sample Source Bank✽✽–✽✽ Bank No.1-64, Pad No.1–8
Destination Pad Number To Bank 1–1 Bank No.1-64, Pad No.1–8
■ Pad Parameter
Parameter name Display Initial Value Value
Pad Play Pad Play GATE GATE, TRIGGER, DRUM
Loop Mode Loop Mode OFF OFF, START-END, LOOP-END
Start Point Start Point 00000000 00000000–99999999
Loop Point Loop Point 00000000 00000000–99999999
Length Length(→END) 00000000 00000000–99999999
Sample Level Level 100 0–100
Mute Group Mute Group OFF OFF, GROUP-1–GROUP-7
BPM Base Note BPM Base Note , , , ,
X81–255
210
Parameter List
■ Pad Bank Parameter
Parameter name Display Initial Value Value
Bank Number Bank 1 1–64
Bank Name Name - 10 characters
Foot Switch PAD Foot Switch PAD 1 1–8
■ Pad Bank Erase Parameter
Parameter name Display Initial Value Value
Erase Bank Bank 1 1–64
■ Pad Bank Protect Parameter
Parameter name Display Initial Value Value
Bank Number Bank 1 1–64
Pad Bank Protection Protect OFF OFF, ON
■ Sequence Parameter
(★)
Parameter name Display Initial Value Value
Sequence play ON/OFF - OFF OFF, ON
Sequence track status - OFF OFF, ON
■ Pad Sequencing Parameter
Parameter name Display Initial Value Value
Recording Mode Select RecMode SEL REAL TIME REAL TIME, STEP
Sequence Track Select Tr.SEL A A–D
Real Time Recording
Parameter name Display Initial Value Value
Quantize Quantize OFF MEAS, , , , , , , , OFF
Start With Start/W Cont1M Norm, Cont1M, Cont2M, PAD
Step Recording
Parameter name Display Initial Value Value
Step Step SMPL SMPL, MEAS,
, , , , , , ,
Duration Duration 100 1–100
■ Song Parameter
(★)
Parameter name Display Initial Value Value
Song Name Name - 10 characters
Marker Stop Marker Stop OFF OFF, ON
■ Tuner Parameter
Parameter name Display Initial Value Value
Pitch PITCH 440 435–445
■ LCD Contrast Parameter
Parameter name Display Initial Value Value
LCD Contrast LCD Contrast 8 0–15
■ System Parameter
Parameter name Display Initial Value Value
Big Time Display Time Disp TIME CODE TIME CODE, MEASURE
Foot Switch Foot SW PLAY/STOP PLAY/STOP, PUNCH I/O,
SAMPLER TRIG
Audio CD Fader Audio CD Fader ON OFF, ON
CD Digital REC CD DigitalREC OFF OFF, ON
Digital Copy Protect D.Copyprotect ON THRU, ON
WAVE file preview length Wave Preview 4sec 1sec–10sec
211
Parameter List
Parameter List
■ MIDI Parameter
Parameter name Display Initial Value Value
Rhythm MIDI Channel Rhythm Ch. OFF OFF, 1–16
Pads Rx Channel Pads Rx Ch. 1 OFF, 1–16
Pads Note Number RxNote(Pad1) 48(C3) 0(C-)–120(C9)
Pads Tx Channel Pads Tx Ch. OFF OFF, 1–16
MMC Mode MMC Mode OFF OFF, MASTER, SLAVE
Sync Out Sync Out OFF OFF, MTC
MTC Type MTC Type 30 30, 29N, 29D, 25, 24
Out/Thru Select Out/Thru OUT OUT, THRU
■ CD-RW Disc Format Parameter
Parameter name Display Initial Value Value
Data Type Data Type STANDARD STANDARD, LONG1, LONG2
Format Type Format Type STANDARD STANDARD, FULL
■ Marker Parameter
(★)
Parameter name Display Initial Value Value
Marker Number No. 1 1–100
Marker Name Name - 8 characters
Marker Location Loc. - 00:00:00-00–23:59:59-** (*)
* The settable range for Mark Location will change slightly on the MTC Type (MIDI parameter).
■ Temp Map Parameter
(★)
Parameter name Display Initial Value Value
Measure MEAS 1 1–9999
Tempo TEMPO 120.00 20.00–250.00
Beat BEAT 4/4 1/1–8/1, 1/2–8/2, 1/4-8/4, 1/8-8/8
Pattern PATTERN Rock 1 Rock 1–** (*), OFF
* The settable range for Pattern will change depending on the Beat.
■ Effects Location Parameter
(★)
Parameter name Display Initial Value Value
Insert Mode Insert Mode INPUT (NORMAL) INPUT (NORMAL),
INPUT (REC DRY),
TRACK1–8,
TRACK1&2–7&8, MASTER
■ Mastering Tools Parameter
Parameter name Display Initial Value Value
Mastering Toll Patch MTK Patch Mixdown Mixdown, Premastr, LiveMix,
PopMix, DanceMix, KingMix,
HardComp, SoftComp, ClnComp,
DnceComp, OrchComp, VacalComp,
Accoustic, RockBand, Orchestr,
LoBoost, Brighten, DJsVoice,
PhoneVox, Cassette, Phono
Input Level Input Level 0 dB -24–12 dB
■ Master Parameter
(★)
Parameter name Display Initial Value Value
Master Balance Balance 0 L100–0–R100
212
MIDI Implementation
Model CDX-1 Version 1.01, Apl. 16 2001
1. RECOGNIZED RECEIVE DATA
■ Channel Voice Message
● Note On/Off
Receive the note number which is designated with “RxNote”, in the MIDI channel number
which is designated with “Pads Rx Ch.” in the UTILITY “MIDI.”
Status
Second Third
9nH mmH llH
n = MIDI Channel No.: 00H–0FH (ch.1–ch.16)
mm = Note No.: 00H–7FH (0–127)
ll = Velocity: 01H–7FH (1–127) / 00H = NOTE OFF
● Program Change
Works as bank switch when MIDI channel number is set for playing the sample.
Status Second
CnH ppH
n = MIDI Channel No.: 00H–0FH (ch.1–ch.16)
pp = Program No.: 00H–3FH (0–63)
■ Channel Mode Message
● All Sound Off (Controller Number 120)
Mutes all sounding notes, in the MIDI channel number which is designated with “Pads Rx
Ch.” in the UTILITY “MIDI.”
Status Second Third
BnH 78H 00H
n = MIDI Channel No.: 00H–0FH (ch.1–ch.16)
● All Note Off (Controller Number 123)
Mutes all sounding notes, in the MIDI channel number which is designated with “Pads Rx
Ch.” in the UTILITY “MIDI.”
Status Second Third
BnH 7BH 00H
n = MIDI Channel No.: 00H–0FH (ch.1–ch.16)
● System Exclusive Message
Status Data Bytes Status
F0H iiH,ddH, ..., eeH F7H
Byte Description
F0H Status of System Exclusive Message
iiH Manufacturer ID
41H RolandsManufacturerID'
7EH Universal Non Realtime Message
7FH Universal Realtime Message
ddH Data: 00H–7FH (0–127)
| |
eeH Data
F7H EOX (End of System Exclusive Message)
● Universal System Exclusive Message
❍INQUIRY MESSAGE
✧ Identity Request
Status Data Bytes Status
F0H 7EH, Dev, 06H, 01H F7H
Byte Description
F0H Status of System Exclusive Message
7EH Universal System Exclusive Message Non Realtime Header
Dev Device ID (10H or 7FH)
06H General Information (sub-ID #1)
01H Identify Request (sub-ID #2)
F7H EOX (End of System Exclusive Message)
The message is used to request the particular of the CDX-1.
If CDX-1 received the message and the device ID of the message is same as 10H or 7FH, the
CDX-1 transmits the prescribed Identity Replay message.
❍ MIDI Machine Control Commands
Status Data Bytes Status
F0H 7FH, Dev, 06H, aaH,..., bb F7H
Byte Description
F0H Status of System Exclusive Message
7FH Universal System Exclusive Message Realtime Header
Dev Device ID (10H or 7FH)
06H MMC Command Message
aaH Command
| |
bbH Command
F7H EOX (End of System Exclusive Message)
* See “2. MIDI Machine Control“ section.
2. MIDI Machine Control
■ MIDI Machine Control Details
● STOP (MCS)
Status Data Bytes Status
F0H 7FH, Dev, 06H, 01H F7H
Byte Description
F0H Status of System Exclusive Message
7FH Universal System Exclusive Message Realtime Header
Dev Device ID (10H or 7FH)
06H MMC Command Message
01H STOP (MCS)
F7H EOX (End of System Exclusive Message)
If the device ID on the message was as same as that of the receiving 10H or 7FH, the CDX-1
stops immediately.
● PLAY (MCS)
Status Data Bytes Status
F0H 7FH, Dev, 06H, 02H F7H
Byte Description
F0H Status of System Exclusive Message
7FH Universal System Exclusive Message Realtime Header
Dev Device ID (10H or 7FH)
06H MMC Command Message
02H PLAY (MCS)
F7H EOX (End of System Exclusive Message)
If the device ID on the message was as same as that of the receiving 10H or 7FH, the CDX-1
goes into the playback condition.
● DEFERRED PLAY (MCS)
Status Data Bytes Status
F0H 7FH, Dev, 06H, 03H F7H
Byte Description
F0H Status of System Exclusive Message
7FH Universal System Exclusive Message Realtime Header
Dev Device ID (10H or 7FH)
06H MMC Command Message
03H DEFERRED PLAY (MCS)
F7H EOX (End of System Exclusive Message)
If the device ID on the message was as same as that of the receiving 10H or 7FH, the CDX-1
goes into the playback condition after the locate operation.
● FAST FORWARD (MCS)
Status Data Bytes Status
F0H 7FH, Dev, 06H, 03H F7H
Byte Description
F0H Status of System Exclusive Message
7FH Universal System Exclusive Message Realtime Header
Dev Device ID (10H or 7FH)
06H MMC Command Message
03H DEFERRED PLAY (MCS)
F7H EOX (End of System Exclusive Message)
If the device ID on the message was as same as that of the receiving 10H or 7FH, the CDX-1
goes into the fast forward condition.
213
MIDI Implementation
MIDI Implementation
● REWIND (MCS)
Status Data Bytes Status
F0H 7FH, Dev, 06H, 05H F7H
Byte Description
F0H Status of System Exclusive Message
7FH Universal System Exclusive Message Realtime Header
Dev Device ID (10H or 7FH)
06H MMC Command Message
05H REWIND (MCS)
F7H EOX (End of System Exclusive Message)
If the device ID on the message was as same as that of the receiving 10H or 7FH, the CDX-1
goes into the rewind condition.
● RECORD STROBE
Status Data Bytes Status
F0H 7FH, Dev, 06H, 06H F7H
Byte Description
F0H Status of System Exclusive Message
7FH Universal System Exclusive Message Realtime Header
Dev Device ID (10H or 7FH)
06H MMC Command Message
06H RECORD STROBE
F7H EOX (End of System Exclusive Message)
If the device ID on the message was as same as that of the receiving 10H or 7FH, the CDX-1
goes into the following condition.
1. The CDX-1 is in the playback condition.
Start Recording the tracks that status are the record standby mode.
2. The CDX-1 is in the stop condition.
Start Playing back, and Start Recording the track that status are record standby mode.
● RECORD EXIT
Status Data Bytes Status
F0H 7FH, Dev, 06H, 07H F7H
Byte Description
F0H Status of System Exclusive Message
7FH Universal System Exclusive Message Realtime Header
Dev Device ID (10H or 7FH)
06H MMC Command Message
07H RECORD EXIT
F7H EOX (End of System Exclusive Message)
If the device ID on the message was as same as that of the receiving 10H or 7FH, the CDX-1
exits from the record condition.
● LOCATE (MCP)
❍ Format 2-LOCATE [TARGET]
Status Data Bytes Status
F0H 7FH, Dev, 06H, 44H, 06H, 01H, hrH, mnH, scH, frH, ffH F7H
Byte Description
F0H Status of System Exclusive Message
7FH Universal System Exclusive Message Realtime Header
Dev Device ID (10H or 7FH)
06H MMC Command Message
44H LOCATE (MCP)
06H Number of Bytes
01H “TARGET“ sub command
hrH, mnH, scH, frH, ffH Standard Time with Sub Frame
F7H EOX (End of System Exclusive Message)
If the device ID on the message was as same as that of the receiving 10H or 7FH, the CDX-1
locates the specified time location received from the command.
3. TRANSMITTED DATA
■ Channel Voice Message
● Note On/Off
Transmit the number/velocity which is designated, in the MIDI channel number “1” – “16”
which is designated with “Rhythm Ch.” in the UTILITY “MIDI.”
The MIDI Channel number specified in “Pads Tx Ch.“ in the UTILITY “MIDI“ and the Note
number specified in “RxNote(Pad1)“ are output.
In this case, Velocity is fixed at 100.
Status Second Third
9nH mmH llH
n = MIDI Channel No.: 00H–0FH (ch.1–ch.16)
mm = Note No.: 00H–7FH (0–127)
ll = Velocity: 01H–7FH (1–127) / 00H = NOTE OFF
● Program Change
Works as bank switch, in the MIDI channel number which is designated with “Pads Rx Ch.”
in the UTILITY “MIDI.”
Status Second
CnH ppH
n = MIDI Channel No.: 00H–0FH (ch.1–ch.16)
pp = Program No.: 00H–3FH (0–63)
■ System Common Messages
● MIDI Time Code Quarter Frame Messages
MIDI Time Code Quarter Frame Messages can be transmitted while the CDX-1 is running
(Playing or Recording) if the SONG parameter “Sync Out“ is “MTC.“
Status Second
F1H mmH (= 0nnndddd)
nnn = Message type: 0 = Frame count LS nibble
1 = Frame count MS nibble
2 = Seconds count LS nibble
3 = Seconds count MS nibble
4 = Minutes count LS nibble
5 = Minutes count MS nibble
6 = Hours count LS nibble
7 = Hours count MS nibble
dddd = 4 bit nibble data: 0H–FH (0–15)
If the upper and lower 4 bits of the count are combined, these bit fields are assigned as
follows.
Frame Count xxxyyyyy
xxx Reserved (000)
yyyyy Frame No. (0–29)
Seconds Count xxyyyyyy
xx Reserved (00)
yyyyyy Seconds Count (0–59)
Minutes Count xxyyyyyy
xx Reserved (00)
yyyyyy Minutes Count (0–59)
Hours Count xyyzzzzz
xReserved (0)
yy Time Code type
0 = 24 Frames/Sec
1 = 25 Frames/Sec
2 = 30 Frames/Sec (Drop Frame)
3 = 30 Frames/Sec (Non Drop Frame
zzzzz Hours Count (0–23)
214
MIDI Implementation
■ System Exclusive Message
Status Data Bytes Status
F0H iiH, ddH, ..., eeH F7H
Byte Description
F0H Status of System Exclusive Message
iiH Manufacturer ID
41H RolandsManufacturerID'
7EH Universal Non Realtime Message
7FH Universal Realtime Message
ddH Data: 00H–7FH (0–127)
| |
eeH Data
F7H EOX (End of System Exclusive Message)
● Universal System Exclusive Message
❍INQUIRY MESSAGE
✧ Identity Reply
Status Data Bytes Status
F0H 7EH, Dev, 06H, 02H, 41H, 3BH, 01H, 00H, 00H, ssH, ssH, ssH, ssH, ssH F7H
Byte Description
F0H Status of System Exclusive Message
7EH Universal System Exclusive Message Non Realtime Header
Dev Device ID
06H General Information (sub-ID #1)
02H Identify Reply (sub-ID #2)
41H Manufacturer ID (Roland)
3BH, 01H Device Family Code (CDX-1)
00H, 00H Device Family No.
ssH, ssH, ssH, ssH Software Revision Level
F7H EOX (End of System Exclusive Message)
The CDX-1 transmits as the device ID 10H.
❍ MIDI Time Code
Status Data Bytes Status
F0H 7FH, Dev, 01H, 01H, hr, mn, sc, fr F7H
Byte Description
F0H Status of System Exclusive Message
7FH Universal System Exclusive Message Realtime Header
Dev Device ID
01H MIDI Time Code (sub-ID #1)
01H Full Message (sub-ID #2)
hr type/hours (0yyzzzzz)
yy Time code type
0 = 24 frame/sec
1 = 25 frame/sec
2 = 30 frame/sec (Drop frame)
3 = 30 frame/sec (Non-drop frame)
zzzzz Hours (0-23)
mn Minutes (0-59)
sc Seconds (0-59)
fr Frames (0-29)
F7H EOX (End of Exclusive)
If the time locate is operated effectively, the CDX-1 transmits as the device ID 7FH.
❍ MIDI Machine Control Commands
Status Data Bytes Status
F0H 7FH, Dev, 06H, aaH, ..., bb F7H
Byte Description
F0H Status of System Exclusive Message
7FH Universal System Exclusive Message Realtime Header
Dev Device ID
06H MMC Command Message
aaH Command
| |
bbH Command
F7H EOX (End of System Exclusive Message)
* See “4. MIDI Machine Control“ section.
4. MIDI Machine Control
■ MIDI Machine Control Details
● STOP (MCS)
Status Data Bytes Status
F0H 7FH, Dev, 06H, 01H F7H
Byte Description
F0H Status of System Exclusive Message
7FH Universal System Exclusive Message Realtime Header
Dev Device ID
06H MMC Command Message
01H STOP (MCS)
F7H EOX (End of System Exclusive Message)
If the transport switch [STOP] was pressed, the CDX-1 transmits as the device ID 7FH.
● DEFERRED PLAY (MCS)
Status Data Bytes Status
F0H 7FH, Dev, 06H, 03H F7H
Byte
Description
F0H Status of System Exclusive Message
7FH Universal System Exclusive Message Realtime Header
Dev Device ID
06H MMC Command Message
03H DEFERRED PLAY (MCS)
F7H EOX (End of System Exclusive Message)
If the transport switch [PLAY] was pressed, the CDX-1 transmits as the device ID 7FH.
● RECORD STROBE
Status Data Bytes Status
F0H 7FH, Dev, 06H, 06H F7H
Byte Description
F0H Status of System Exclusive Message
7FH Universal System Exclusive Message Realtime Header
Dev Device ID
06H MMC Command Message
06H RECORD STROBE
F7H EOX (End of System Exclusive Message)
If the transport switch [REC] was pressed out of the recording condition, the CDX-1
transmits as the device ID 7FH.
● RECORD EXIT
Status Data Bytes Status
F0H 7FH, Dev, 06H, 07H F7H
Byte
Description
F0H Status of System Exclusive Message
7FH Universal System Exclusive Message Realtime Header
Dev Device ID
06H MMC Command Message
07H RECORD EXIT
F7H EOX (End of System Exclusive Message)
If the transport switch [REC] was pressed while recording, the CDX-1 transmits as the
device ID 7FH.
● LOCATE (MCP)
❍ Format 2-LOCATE [TARGET]
Status Data Bytes Status
F0H 7FH, Dev, 06H, 44H, 06H, 01H, hrH, mnH, scH, frH, ffH F7H
Byte Description
F0H Status of System Exclusive Message
7FH Universal System Exclusive Message Realtime Header
Dev Device ID
06H MMC Command Message
44H LOCATE (MCP)
06H Number of Bytes
01H “TARGET“ sub command
hrH, mnH, scH, frH, ffH Standard Time with Sub Frame
F7H EOX (End of System Exclusive Message)
If the time locate is operated effectively, the CDX-1 transmits as the device ID 7FH.
215
MIDI Implementation
MIDI Implementation
5. Appendices
● Decimal and Hexadecimal table
(Hexadecimal number is shown with H.)
In MIDI documentation, data values and addresses/sizes of system exclusive messages etc.
are expressed as hexadecimal values for each 7 bits.
The following table shows how these correspond to decimal numbers.
+——————+——————++——————+——————++——————+——————++—————————————+
| dec | hex || dec | hex || dec | hex || dec | hex |
+——————+——————++——————+——————++——————+——————++——————+——————+
| 0 | 00H || 32 | 20H || 64 | 40H || 96 | 60H |
| 1 | 01H || 33 | 21H || 65 | 41H || 97 | 61H |
| 2 | 02H || 34 | 22H || 66 | 42H || 98 | 62H |
| 3 | 03H || 35 | 23H || 67 | 43H || 99 | 63H |
| 4 | 04H || 36 | 24H || 68 | 44H || 100 | 64H |
| 5 | 05H || 37 | 25H || 69 | 45H || 101 | 65H |
| 6 | 06H || 38 | 26H || 70 | 46H || 102 | 66H |
| 7 | 07H || 39 | 27H || 71 | 47H || 103 | 67H |
| 8 | 08H || 40 | 28H || 72 | 48H || 104 | 68H |
| 9 | 09H || 41 | 29H || 73 | 49H || 105 | 69H |
| 10 | 0AH || 42 | 2AH || 74 | 4AH || 106 | 6AH |
| 11 | 0BH || 43 | 2BH || 75 | 4BH || 107 | 6BH |
| 12 | 0CH || 44 | 2CH || 76 | 4CH || 108 | 6CH |
| 13 | 0DH || 45 | 2DH || 77 | 4DH || 109 | 6DH |
| 14 | 0EH || 46 | 2EH || 78 | 4EH || 110 | 6EH |
| 15 | 0FH || 47 | 2FH || 79 | 4FH || 111 | 6FH |
| 16 | 10H || 48 | 30H || 80 | 50H || 112 | 70H |
| 17 | 11H || 49 | 31H || 81 | 51H || 113 | 71H |
| 18 | 12H || 50 | 32H || 82 | 52H || 114 | 72H |
| 19 | 13H || 51 | 33H || 83 | 53H || 115 | 73H |
| 20 | 14H || 52 | 34H || 84 | 54H || 116 | 74H |
| 21 | 15H || 53 | 35H || 85 | 55H || 117 | 75H |
| 22 | 16H || 54 | 36H || 86 | 56H || 118 | 76H |
| 23 | 17H || 55 | 37H || 87 | 57H || 119 | 77H |
| 24 | 18H || 56 | 38H || 88 | 58H || 120 | 78H |
| 25 | 19H || 57 | 39H || 89 | 59H || 121 | 79H |
| 26 | 1AH || 58 | 3AH || 90 | 5AH || 122 | 7AH |
| 27 | 1BH || 59 | 3BH || 91 | 5BH || 123 | 7BH |
| 28 | 1CH || 60 | 3CH || 92 | 5CH || 124 | 7CH |
| 29 | 1DH || 61 | 3DH || 93 | 5DH || 125 | 7DH |
| 30 | 1EH || 62 | 3EH || 94 | 5EH || 126 | 7EH |
| 31 | 1FH || 63 | 3FH || 95 | 5FH || 127 | 7FH |
+——————+——————++——————+——————++——————+——————++——————+——————+
* Decimal values such as MIDI channel, bank select, and program change are listed as one
(1) greater than the values given in the above table.
*A 7-bit byte can express data in the range of 128 steps. For data where greater precision
is required, we must use two or more bytes. For example, two hexadecimal numbers aa
bbH expressing two 7-bit bytes would indicate a value of aa x 128 + bb.
* In the case of values which have a ± sign, 00H = -64, 40H = ±0, and 7FH = +63, so that the
decimal expression would be 64 less than the value given in the above chart. In the case
of two types, 00 00H = -8192, 40 00H = ±0, and 7F 7FH = +8191.
* Data marked “nibbled“ is expressed in hexadecimal in 4-bit units. A value expressed as a
2-byte nibble 0a 0bH has the value of a x 16 + b.
<Ex.1> What is 5AH in decimal system?
5AH = 90 according to the above table.
<Ex.2> What in decimal system is 12034H in hexadecimal of every 7 bit?
12H = 18, 34H = 52 according to the above table. So 18 x 128 + 52 = 2356.
<Ex.3> What in decimal system is 0A 03 09 0D in nibble system?
0AH = 10, 03H = 3, 09H = 9, 0DH = 13 according to the table.
So ((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885.
<Ex. 4> What in nibble system is 1258 in decimal system?
________
16)1258
16) 78 ... 10
16) 4 ... 14
0 ... 4
0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH According to the table.
So it is 00 04 0E 0AH.
MIDI Machine Control (MMC) Command
● Commands Recognized
Command Action
01H STOP STOP
02H PLAY PLAY
03H DEFERRED PLAY PLAY
04H FAST FORWARD FF
05H REWIND REW
06H RECORD STROBE REC/PUNCH IN
07H RECORD EXIT PUNCH OUT
44H 01H LOCATE TARGET LOCATE
● Commands Transmitted
Command Action
01H STOP STOP
03H DEFERRED PLAY PLAY
06H RECORD STROBE REC/PUNCH IN
07H RECORD EXIT PUNCH OUT
44H 01H LOCATE TARGET LOCATE
216
MIDI Implementation
Function...
Basic
Channel
Mode
Note
Number:
Velocity
After
Touch
Pitch Bend
Control
Change
Program
Change
System Exclusive
System
Common
System
Real Time
Aux
Messages
Notes
Transmitted Recognized Remarks
Default
Changed
Default
Messages
Altered
True Voice
Note On
Note Off
Key's
Channel's
:True Number
: Quarter Frame
: Song Position
: Song Select
: Tune Request
: Clock
: Commands
: All Sound Off
: Reset All Controllers
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
1–16
1–16
O 1–127
X9n, v = 0
O 0–127
X
X
X
XX
O
O
X
X
X
X
X
X
X
X
X
Mode 3
X
X
X
O
0–63
O
X
X
X
X
X
X
O
X
X
O
X
X
* 1
SyncOut=MTC Only
MULTITRACK CD RECORDER / AUDIO SAMPLE WORKSTATION
Model CDX-1
Date : Apl. 16, 2001
Version : 1.01
MIDI Implementation Chart
**************
**************
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
O : Yes
X : No
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
Pad Bank1–64
Mode 3
X
1–16
1–16
O 0–127
0–127
X
X
X
X
O
**************
*1
X
X
217
Mixer Block Diagram
Mixer Block Diagram
LEVEL
PA N
CHO/DLY
SEND
REC R
REC L
MIX R
MIX L
CHO/DLY SEND L
INSERT
FX
INPUT MIXER (IN 1 - IN 2)
TRACK MIXER (TR 1 - TR 8)
CHO/DLY SEND
INPUT 2
GUITAR
LINE R
DIGITAL R
Opt. / Coax.
MASTER
OUT
INPUT 1
LINE L
DIGITAL L
Opt. / Coax.
REC L
REC R
REV
SEND
CHO/DLY SEND R
REV SEND
OUT
LEVEL
RHYTHM
GUIDE
CHO/DLY SEND
RTN
LEVEL
REV SEND
RTN
LEVEL
LEVEL
PA N
EQ
(2BAND)
CHO/DLY
SEND
INSERT
FX
TRACK MIXER (TR 1 - TR 8)
EQ SWITCH
REV
SEND
REC L
REC R
LEVEL
EQ
(2BAND)
CHO/DLY
SEND
EQ SWITCH
REV
SEND
REV
SEND
CHO/DLY
FX
REV
FX
CHO/DLY
SEND
REV
SEND
REV SEND
DIGITAL
OUT
PHONES
MIX L
MIX R
MIX L
MIX R
PAD/SEQUENCE
LEVEL
/BAL
LEVEL
/BAL
INSERT
FX
MASTER TR L
MASTER TR R
218
Specifications
CDX-1:
MULTITRACK CD RECORDER /
AUDIO SAMPLE WORKSTATION
● Audio Data Format
CDX-1 Original Format (R-DAC)
●
Maximum Polyphony
Monaural x 8 (Stereo x 4) (Total)
●
Audio Tracks
Number of Tracks: 8
Maximum Simultaneously Playback
Tracks: 8
Maximum Simultaneously Recording
Tracks: 2
Data Type: STANDARD
LONG 1
LONG 2
Recording Time: Data Type
Time
STANDARD About 15 minutes
LONG 1 About 19 minutes
LONG 2 About 23 minutes
●
Audio Sample PAD
Sample PAD: 512 Phrases (8 PAD x 64 Bank)
Maximum Polyphony: 4 (Stereo/Mono)
Memory Capacity: 15 MB (*)
* When expanding the Memory (DIMM: 128 MB): 111 MB
Data Type: HIGH
STANDARD
LONG 1
LONG 2
Sampling Time: Data Type
Time
HIGH About 5 minutes
STANDARD About 7 minutes
LONG 1 About 9 minutes
LONG 2 About 11 minutes
* When expanding the Memory (DIMM: 128MB):
Data Type Time
HIGH About 43 minutes
STANDARD About 58 minutes
LONG 1 About 69 minutes
LONG 2 About 87 minutes
●
Maximum number of phrases (events) to be
memorized
2000 phrases
●
Signal Processing
AD Conversion: 24 bits, 64 times oversampling
DA Conversion: 24 bits, 128 times oversampling
● Sample rate
44.1 kHz
●
Frequency Response
20 Hz – 20 kHz (+0/-3 dB)
●
Nominal Output Level (variable)
Guitar/Bass (Hi-Z): -26 dBu (SENS: MAX)
MIC 1, 2: -56 dBu (SENS: MAX)
LINE: 0 dBu (SENS: MAX)
●
Input Impedance
Guitar/Bass (Hi-Z): 1M ohms
MIC 1, 2: 100k ohms
LINE: 30k ohms
●
Nominal Output Level
Master Out: 0 dBu
●
Output Impedance
Master Out: 1k ohms
Phones: 22 ohms
● Recommended Load Impedance
Master Out: 10 k ohms or greater
Phones: 8–600 ohms
● Residual Noise Level
Master Out: -77 dBu or less
(INPUT:LINE, ASENS: MAX, AIHF-A, typ.)
●
Interface
Digital I/O: Coaxial, Optical (conforms to S/P DIF)
●
Display
69.0 x 25.0 mm (backlit LCD)
●
Connectors
MIC In Jack 1, 2 (1/4 inch TRS phone type)
MIC In Jack 1, 2 (XLR type)
Guitar/Bass (Hi-Z) Jack (1/4 inch phone type)
Line In Jack L/R (RCA phono type)
Digital In Connectors (Coaxial type, Optical type)
Master Out Jack L/R (RCA phono type)
Digital Out Connectors (Coaxial type, Optical type)
Phones Jack (Stereo 1/4 inch phone type)
Foot Switch Jack (1/4 inch phone type)
MIDI Connectors (In, Out/Thru)
219
Specifications
Specifications
● CD-RW Drive
x12 (Write), x10 (Rewrite), x32 (Read),
●
Power Supply
DC 12 V: Supplied AC Adaptor (PSB-2U)
●
Current Draw
2.8 A
●
Dimensions
456.0 (W) x 330.0 (D) x 94.0 (H) mm
18 (W) x 13 (D) x 3-3/4 (H) inches
● Weight
5.0 kg/11 lbs (excluding AC adaptor)
●
Accessories
AC Adaptor: PSB-2U
Owner’s Manual
Effect Patch List
Demo Disc (Songs, Samples)
CD-RW blank disc
●
Option
Foot Switch: FS-5U (BOSS)
Pedal Switch: DP-2
(0 dBu = 0.775 Vrms)
* In the interest of product improvement, the specifications and/or
appearance of this unit are subject to change without prior
notice.
220
Index
A
AC ADAPTOR Jack ...................................................... 30
ACOUSTIC GUITAR .................................................. 192
ACOUSTIC MDL ........................................................ 188
Adjust Timing .............................................................. 104
Adjust Timing icon ..................................................... 104
AUDIO CD indicator .................................................... 28
AUDIO CD PLAYER indicator ................................... 25
AUDIO CD RECORDER indicator ............................. 25
audio sample .................................................................. 54
AUDIO TRACK faders ................................................. 23
AUDIO TRACK RECORD indicator .......................... 26
AUTO PUNCH button ................................................. 27
B
Balanced connection ................................................... 204
Bank
Erase .......................................................................... 65
Protect ....................................................................... 66
Bank Erase icon .............................................................. 65
Bank Parameter icon ..................................................... 55
Bank Protection icon ..................................................... 66
banks ............................................................................... 54
BasePad ........................................................................... 80
Basic screen
Big Time screen ........................................................ 37
Post-fader screen ...................................................... 37
Pre-fader screen ....................................................... 37
Sequence Play List screen ....................................... 37
Song Information screen ......................................... 37
BASS MDL .................................................................... 190
BASS MULTI ................................................................ 194
BNK ................................................................................. 29
BOUNCE Button ........................................................... 26
BPM ................................................................................. 77
BPM, beats per minute ............................................... 204
BUSY indicator .............................................................. 28
C
CD .................................................................................... 18
CD Burning .................................................................. 135
CD BURNING Button .................................................. 26
CD burning screen ...................................................... 135
CD Digital REC. ........................................................... 148
CD direct recording .................................................... 159
CD Player screen ........................................................... 48
CD Recorder function ................................................. 160
CD recording screen ........................................... 161–163
CD-R disc ........................................................................ 18
CD-R Finalize icon ...................................................... 136
CD-R indicator ............................................................... 28
CD-RW Backup icon ................................................... 147
CD-RW disc .................................................................... 18
CD-RW Disc Format icon ........................................... 112
CD-RW indicator ........................................................... 28
CHORUS ...................................................................... 174
Chorus ........................................................................... 145
Clipboard ........................................................................ 82
CLIPBOARD Button ..................................................... 25
Coaxial .......................................................................... 204
COAXIAL connectors ................................................... 31
Condenser microphone .............................................. 204
Contrast ................................................................... 38, 204
Cord Hook ...................................................................... 30
COSM BASS AMP ....................................................... 196
COSM GUITAR AMP ................................................. 185
CREATE Button ............................................................. 25
Create Reversal .............................................................. 86
Create Reversal icon ...................................................... 86
CURSOR Button ............................................................ 28
Cut ................................................................................. 100
Cut icon ......................................................................... 100
D
DAT ............................................................................... 204
Data type
multitrack recording ............................................. 111
sampling .................................................................... 60
DELAY .......................................................................... 174
delay .............................................................................. 145
DELAY button ............................................................... 22
DELETE button .............................................................. 25
Delete Sample ................................................................ 65
demo disc ........................................................................ 45
DIGITAL button ............................................................ 21
Digital Copy Prohibit .................................................. 150
DIMM Diagnosis icon ............................................. 16–17
DIMM diagnostics ......................................................... 17
disc
inserting .................................................................... 35
removing ................................................................... 36
Disc Tray ......................................................................... 30
DISPLAY Button ............................................................ 24
Divide icon ............................................................... 83–85
Divide Sample ................................................................ 83
DOUBL’N ..................................................................... 174
doubling ........................................................................ 145
DRUM ............................................................................. 70
Dynamic microphone ................................................. 204
E
Earth Connector ............................................................. 30
EDIT Button ............................................................. 25, 29
Effects location icon .................................................... 144
Eject button ..................................................................... 28
Emergency eject hole .................................................... 30
End Point ...................................................................... 105
EQ .................................................................................. 174
EQ Button ....................................................................... 23
Equalizer ....................................................................... 132
Erase .............................................................................. 101
Erase icon ...................................................................... 101
Erase Track icon ........................................................... 107
expanding memory cover ............................................ 15
221
Index
F
faded-in ........................................................................... 71
faded-out ........................................................................ 71
FF button ........................................................................ 27
Finalize .................................................................. 136, 204
foot switch ...................................................................... 75
FOOT SWITCH Jack ..................................................... 31
Formant ........................................................................ 204
Format ........................................................................... 110
Format Type ................................................................. 110
FROM button ................................................................. 27
G
GATE ............................................................................... 70
GUITAR/BASS Jack ..................................................... 31
H
HIGH ............................................................................... 60
high-impedance ............................................................. 31
Hold ................................................................................. 72
HOLD Button ................................................................. 25
I
IN button ........................................................................ 27
Initialize .......................................................................... 40
Initialize All Parameters icon ...................................... 41
Initialize Effect Patch icon ............................................ 41
Initialize Global Parameters icon ................................ 41
Initialize Mixer Parameters icon ................................. 41
Input Level ................................................................... 134
INPUT REC LEVEL knob ............................................ 21
INPUT SELECT buttons ............................................... 21
INPUT SENS knobs ...................................................... 21
insert effects ................................................................. 141
Insert icon ..................................................................... 102
L
Length ............................................................................. 78
Licensing ......................................................................... 10
LINE button ................................................................... 21
LINE Jack ........................................................................ 31
Load PAD/SEQ icon .................................................... 68
Load WAVE file icon .................................................... 58
LO-FI BOX .................................................................... 178
LONG1 .................................................................... 60, 111
LONG2 .................................................................... 60, 111
Loop Effect ................................................................... 174
loop effects ................................................................... 145
Loop mode ..................................................................... 73
Loop point ...................................................................... 78
LOOP-END .................................................................... 73
M
MARK ............................................................................. 29
MARK button ................................................................ 26
Master Balance ............................................................. 132
MASTER fader ............................................................... 29
MASTER Jack ................................................................. 31
master track .................................................................. 133
mastering tools ............................................................ 134
MASTERING TOOLS Button ...................................... 29
mastering track screen ................................................ 133
memory ........................................................................... 14
Memory Full. ................................................................. 64
MIC1 button ................................................................... 21
MIC1 jack ........................................................................ 31
MIC2 jack ........................................................................ 31
MIC2/Gtr/Bs button .................................................... 21
MIDI Connectors ........................................................... 31
MIDI icon ...................................................... 152–153, 156
MIDI Implementation Chart ...................................... 151
MIDI IN ......................................................................... 152
MIDI OUT .................................................................... 152
MIDI THRU .................................................................. 152
MIDI Time Code .......................................................... 154
MIX DOWN Button ...................................................... 26
Mixdown ...................................................................... 132
MMC ............................................................................. 156
Move ................................................................................ 98
Move icon ....................................................................... 98
MTC ............................................................................... 154
MTK Patch .................................................................... 134
Mute Groups .................................................................. 74
N
NO/EXIT Button ........................................................... 28
Normalize ....................................................................... 87
Normalize icon .............................................................. 87
O
Offset ............................................................................. 105
OPTICAL connectors .................................................... 31
Optimize
Disc .......................................................................... 127
Sample ....................................................................... 64
OUT button .................................................................... 27
P
PAD BANKS .................................................................. 54
pad banks ....................................................................... 54
PAD BANKS Button ..................................................... 24
Pad Crossfade ................................................................ 71
Pad Play .......................................................................... 70
PAD REC button ........................................................... 25
PAD X FADE button ..................................................... 24
PAD/SEQ LEVEL fader ............................................... 25
Pads ................................................................................. 54
Pan ................................................................................. 132
PAN Button .................................................................... 23
Paste ................................................................................ 99
Paste icon ........................................................................ 99
patch .............................................................................. 141
PATCH button ............................................................... 22
PATTERN/TEMPO button .......................................... 23
PEAK indicators ............................................................ 21
phone type ...................................................................... 31
PHONES Jack ................................................................. 31
PHONES knob ............................................................... 22
phrase
Cutting ..................................................................... 100
Dividing .................................................................. 103
Erasing ..................................................................... 101
Inserting .................................................................. 102
Moving ...................................................................... 98
Pasting ....................................................................... 99
PLAY button .................................................................. 27
222
Power
off ............................................................................... 34
on ............................................................................... 33
POWER Switch .............................................................. 26
Pre Trigger ...................................................................... 62
Preset patches .............................................................. 141
Preview ......................................................................... 139
Q
Quantize ......................................................................... 92
R
Realtime Recording ....................................................... 90
REC/CD RECORDER button ...................................... 27
Redo .............................................................................. 138
REPEAT button ............................................................. 27
Repeat function .............................................................. 51
Resampling ..................................................................... 63
Reverb ........................................................................... 146
REVERB button ............................................................. 22
REW button .................................................................... 26
Rhythm Guide ............................................................. 116
Rhythm Pattern List .................................................... 172
RTN LEVEL knob .......................................................... 22
S
sample ............................................................................. 54
Sample Level .................................................................. 76
sample rate ................................................................... 110
Sampling ......................................................................... 54
sampling time ................................................................ 60
Save PAD/SEQ icon ..................................................... 67
SCRUB button ................................................................ 27
Scrub Preview .............................................................. 140
SEARCH buttons ........................................................... 26
SEQ PLAY button .......................................................... 25
SEQ TR ............................................................................ 29
sequence
Realtime Recording ................................................. 90
Step Recording ......................................................... 93
tempo ......................................................................... 88
tracks ......................................................................... 88
sequence track edit
Adjust Timing ........................................................ 104
Cut ........................................................................... 100
Deleting ................................................................... 107
Erase ........................................................................ 101
Insert ........................................................................ 102
Move .......................................................................... 98
Paste ........................................................................... 99
Split .......................................................................... 103
Shutdown? ..................................................................... 34
SIMUL ............................................................................. 21
Song patches ................................................................ 141
Split ............................................................................... 103
Split icon ....................................................................... 103
STANDARD ................................................................. 111
STANDRD ...................................................................... 60
Start Point ....................................................................... 78
Start with ........................................................................ 61
START-END ................................................................... 73
STATUS Button ....................................................... 25, 29
STATUS button .............................................................. 23
Step Recording ............................................................... 93
STEREO MULTI .......................................................... 176
STOP button ................................................................... 27
T
Tempo Map .................................................................. 117
Tempo Match ................................................................. 80
TEMPO MATCH/PAD EDIT button ......................... 25
Time Stretch ................................................................... 81
Time Stretch icon ........................................................... 81
TIME/SONG POSITION ............................................. 29
TIME/VALUE Dial ....................................................... 28
TO button ....................................................................... 27
track at once ................................................................... 18
TRIGGER ........................................................................ 70
Trim Sample ................................................................... 78
Tuner screen ................................................................. 114
Tuning guide ................................................................ 115
Type ................................................................................. 61
U
Undo .............................................................................. 138
UNDO/REDO Button .................................................. 24
User patches ................................................................. 141
UTILITY Button ............................................................. 24
V
VO+AC.MDL ............................................................... 182
VO+ACOUSTIC .......................................................... 184
VO+GT.AMP ................................................................ 180
VOCAL MULTI ........................................................... 199
VOICE TRANSFORMER ............................................ 201
W
Windows WAVE file ..................................................... 58
X
XLR type ......................................................................... 31
Y
YES/ ENTER Button ..................................................... 28
Z
ZERO button .................................................................. 27
223
Index
Memo...
224
Memo...
225
Index
Memo...
Information
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as
shown below.
As of May 15, 2001 (Roland)
ARGENTINA
Instrumentos Musicales S.A.
Florida 656 2nd Floor
Office Number 206A
Buenos Aires
ARGENTINA, CP1005
TEL: (54-11) 4- 393-6057
BRAZIL
Roland Brasil Ltda
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
CANADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way Richmond
B. C., V6V 2M4 CANADA
TEL: (0604) 270 6626
Roland Canada Music Ltd.
(Toronto Office)
Unit 2, 109 Woodbine Downs
Blvd, Etobicoke, ON
M9W 6Y1 CANADA
TEL: (0416) 213 9707
MEXICO
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico D.F.
MEXICO
TEL: (525) 668 04 80
PANAMA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City,
REP. DE PANAMA
TEL: (507) 315-0101
U. S. A.
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
TEL: (323) 890 3700
VENEZUELA
Musicland Digital C.A.
Av. Francisco de Miranda,
Centro Parque de Cristal, Nivel
C2 Local 20 Caracas
VENEZUELA
TEL: (02) 285 9218
AUSTRALIA
Roland Corporation
Australia Pty., Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
TEL: (02) 9982 8266
NEW ZEALAND
Roland Corporation Ltd.
32 Shaddock Street, Mount Eden,
Auckland, NEW ZEALAND
TEL: (09) 3098 715
HONG KONG
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
TEL: 2415 0911
CHINA
Beijing Xinghai Musical
Instruments Co., Ltd.
6 Huangmuchang Chao Yang
District, Beijing, CHINA
TEL: (010) 6774 7491
Shanghai Xingtong Acoustics
Equipment CO.,Ltd.
Rm.1108, No.2240 Pudong South
Road Shanghai, CHINA
TEL: (021) 6873 4123
INDIA
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra Mahalaxmi
Flats Compound Off. Dr. Edwin
Moses Road, Mumbai-400011,
INDIA
TEL: (022) 498 3079
INDONESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
MALAYSIA
BENTLEY MUSIC SDN BHD
140 & 142, Jalan Bukit Bintang
55100 Kuala Lumpur,MALAYSIA
TEL: (03) 2144-3333
PHILIPPINES
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (02) 899 9801
SINGAPORE
Swee Lee Company
150 Sims Drive,
SINGAPORE 387381
TEL: 846-3676
TAIWAN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung Shan
N.Road Sec.2, Taipei, TAIWAN,
R.O.C.
TEL: (02) 2561 3339
THAILAND
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
BAHRAIN
Moon Stores
Bab Al Bahrain Road,
P.O. Box 20077
State of BAHRAIN
TEL: 211 005
VIETNAM
Saigon Music
138 Tran Quang Khai St.,
District 1
Ho Chi Minh City
VIETNAM
TEL: (08) 844-4068
JORDAN
AMMAN Trading Agency
Prince Mohammed St. P.O. Box
825 Amman 11118 JORDAN
TEL: (06) 4641200
KUWAIT
Easa Husain Al-Yousifi
Abdullah Salem Street,
Safat KUWAIT
TEL: 5719499
LEBANON
A. Chahine & Fils
P.O. Box 16-5857 Gergi Zeidan St.
Chahine Building, Achrafieh
Beirut, LEBANON
TEL: (01) 335799
QATAR
Al Emadi Co. (Badie Studio
& Stores)
P.O. Box 62,
DOHA QATAR
TEL: 4423-554
SAUDI ARABIA
aDawliah Universal
Electronics APL
Corniche Road, Aldossary Bldg.,
1st Floor
SAUDI ARABIA
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
SYRIA
Technical Light & Sound
Center
Khaled Ibn Al Walid St.
P.O. Box 13520
Damascus - SYRIA
TEL: (011) 2235 384
TURKEY
Barkat muzik aletleri ithalat
ve ihracat Ltd Sti
Siraselviler cad.Guney is hani 84-
86/6, Taksim. Istanbul. TURKEY
TEL: (0212) 2499324
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor DUBAI
U.A.E.
TEL: (04) 3360715
EGYPT
Al Fanny Trading Office
P.O. Box 2904,
El Horrieh Heliopolos, Cairo,
EGYPT
TEL: (02) 4185531
REUNION
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
REUNION ISLAND
TEL: 28 29 16
SOUTH AFRICA
That Other Music Shop
(PTY) Ltd.
11 Melle St., Braamfontein,
Johannesbourg
Republic of SOUTH AFRICA
P.O.Box 32918, Braamfontein 2017
Republic of SOUTH AFRICA
TEL: (011) 403 4105
Paul Bothner (PTY) Ltd.
17 Werdmuller Centre Claremont
7700
Republic of SOUTH AFRICA
P.O. Box 23032
Claremont, Cape Town
SOUTH AFRICA, 7735
TEL: (021) 674 4030
CYPRUS
Radex Sound Equipment Ltd.
17 Diagorou St., P.O. Box 2046,
Nicosia CYPRUS
TEL: (02) 453 426
DENMARK
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
TEL: (039)16 6200
FRANCE
Roland France SA
4, Rue Paul Henri SPAAK,
Parc de l'Esplanade, F 77 462 St.
Thibault, Lagny Cedex FRANCE
TEL: 01 600 73 500
FINLAND
Roland Scandinavia As,
Filial Finland
Lauttasaarentie 54 B
Fin-00201 Helsinki, FINLAND
TEL: (9) 682 4020
GERMANY
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844 Norderstedt,
GERMANY
TEL: (040) 52 60090
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
26422 Patras, GREECE
TEL: 061-435400
HUNGARY
Intermusica Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint, HUNGARY
TEL: (23) 511011
IRELAND
Roland Ireland
Audio House, Belmont Court,
Donnybrook, Dublin 4.
Republic of IRELAND
TEL: (01) 2603501
ITALY
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
NORWAY
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
TEL: 273 0074
POLAND
P. P. H. Brzostowicz
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
PORTUGAL
Tecnologias Musica e Audio,
Roland Portugal, S.A.
Cais Das Pedras, 8/9-1 Dto
4050-465 PORTO
PORTUGAL
TEL: (022) 608 00 60
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: 095 169 5043
SPAIN
Roland Electronics
de España, S. A.
Calle Bolivia 239, 08020
Barcelona, SPAIN
TEL: (93) 308 1000
SWITZERLAND
Roland (Switzerland) AG
Musitronic AG
Gerberstrasse 5, Postfach,
CH-4410 Liestal, SWITZERLAND
TEL: (061) 921 1615
SWEDEN
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (08) 702 0020
UKRAINE
TIC-TAC
Mira Str. 19/108
P.O. Box 180
295400 Munkachevo, UKRAINE
TEL: (03131) 414-40
UNITED KINGDOM
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
UNITED KINGDOM
TEL: (01792) 700139
KOREA
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
AUSTRIA
Roland Austria GES.M.B.H.
Siemensstrasse 4, P.O. Box 74,
A-6063 RUM, AUSTRIA
TEL: (0512) 26 44 260
BELGIUM/HOLLAND/
LUXEMBOURG
Roland Benelux N. V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
AFRICA
CHILE
Comercial Fancy ΙΙ S.A.
Avenida Rancagua #0330
Providencia Santiago, CHILE
TEL: 56-2-373-9100
URUGUAY
Todo Musica S.A.
Cuareim 1844, Montevideo,
URUGUAY, CP11200
TEL: 5982-924-2335
EUROPE
AUSTRALIA/
NEW ZEALAND
ASIA
CENTRAL/LATIN
AMERICA
NORTH AMERICA
MIDDLE EAST
AFRICA
EL SALVADOR
OMNI MUSIC
75 Avenida Notre YY Alameda,
Juan Pablo 2, No. 4010
San Salvador, EL SALVADOR
TEL: (503) 262-0788
ROMANIA
FBS LINES
Piata Libertatii 1,
RO-4200 Gheorghehi
TEL: (066) 164-609
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Edeficio, El Dorado Planta Baja
Asuncion PARAGUAY
TEL: 595-21-492147
PERU
VIDEO Broadcast S.A.
Portinari 199 (ESQ. HALS),
San Borja, Lima 41,
REP. OF PERU
TEL: 51-14-758226
COSTA RICA
JUAN Bansbach
Instrumentos Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: (506)258-0211
CRISTOFORI MUSIC PTE
LTD
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 243 9555
IRAN
MOCO, INC.
No.41 Nike St.Dr.Shariyati Ave.
Roberoye Cerahe Mirdamad
Tehran, IRAN
TEL: 285 4169
ISRAEL
Halilit P. Greenspoon &
Sons Ltd.
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
2
To resize thickness, move all items on the front cover to left or right
This product complies with the requirements of European Directive 89/336/EEC.
For EU Countries
For Canada
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
NOTICE
AVIS
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Tested To Comply With FCC Standards
FOR HOME OR OFFICE USE
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
BROWN:
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
NEUTRAL
LIVE
For the U.K.
USING THE UNIT SAFELY
001
• Before using this unit, make sure to read the
instructions below, and the Owner’s Manual.
..........................................................................................................
002d
• Do not open or perform any internal modifica-
tions on the unit or its AC adaptor. (The only
exception would be where this manual provides
specific instructions which should be followed in
order to put in place user-installable options; see
p. 15.)
..........................................................................................................
003
• Do not attempt to repair the unit, or replace parts
within it (except when this manual provides
specific instructions directing you to do so). Refer
all servicing to your retailer, the nearest Roland
Service Center, or an authorized Roland
distributor, as listed on the "Information" page.
..........................................................................................................
004
• Never use or store the unit in places that are:
• Subject to temperature extremes (e.g., direct
sunlight in an enclosed vehicle, near a heating
duct, on top of heat-generating equipment); or
are
• Damp (e.g., baths, washrooms, on wet floors);
or are
• Humid; or are
• Exposed to rain; or are
• Dusty; or are
• Subject to high levels of vibration.
..........................................................................................................
007
• Make sure you always have the unit placed so it is
level and sure to remain stable. Never place it on
stands that could wobble, or on inclined surfaces.
..........................................................................................................
*
**
• If this adaptor is used while it is emitting smoke,
generating a strange odor or making an abnormal
noise, it could cause fire or electric shock. Turn off
the main switch immediately, then be sure to pull
the power plug from the outlet. After making sure
that smoke is no longer emitted, take it to your
retailer, the nearest Roland Service Center, or an
authorized Roland distributor, as listed on the
"Information" page.
..........................................................................................................
***
• During a thunder storm, do not touch the electric
plug. Doing so could cause electric chock.
..........................................................................................................
008c
• Be sure to use only the AC adaptor supplied with
the unit. Also, make sure the line voltage at the
installation matches the input voltage specified on
the AC adaptor’s body. Other AC adaptors may
use a different polarity, or be designed for a
different voltage, so their use could result in
damage, malfunction, or electric shock.
..........................................................................................................
009
• Do not excessively twist or bend the power cord,
nor place heavy objects on it. Doing so can
damage the cord, producing severed elements and
short circuits. Damaged cords are fire and shock
hazards!
..........................................................................................................
010
• This unit, either alone or in combination with an
amplifier and headphones or speakers, may be
capable of producing sound levels that could
cause permanent hearing loss. Do not operate for
a long period of time at a high volume level, or at
a level that is uncomfortable. If you experience
any hearing loss or ringing in the ears, you should
immediately stop using the unit, and consult an
audiologist.
..........................................................................................................
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
* Material damage refers to damage or
other adverse effects caused with
respect to the home and all its
furnishings, as well to domestic
animals or pets.
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the power-
cord plug must be unplugged from the outlet.
The symbol alerts the user to important instructions
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
The symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
must not be done is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the unit must never be disassembled.
CDX-1 Owner’s Manual
02678356 ’01-10-A3-31N
Owner’s Manual
To resize thickness, move all items on the front cover to left or right
Before using this unit, carefully read the sections entitled: “USING THE UNIT
SAFELY” and “IMPORTANT NOTES” (Owner’s manual p. 2, 3, 9, 10). These
sections provide important information concerning the proper operation of
the unit. Additionally, in order to feel assured that you have gained a good
grasp of every feature provided by your new unit, Owner’s manual should be
read in its entirety. The manual should be saved and kept on hand as a
convenient reference.
Copyright © 2001 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND CORPORATION.
Roland Web Site: http://www.roland.co.jp/
* Microsoft and Windows are registered trademarks of Microsoft Corporation.
220
* All product names mentioned in this document are trademarks or registered trademarks of their respective owners.
Copyright
• Unauthorized recording, distribution, sale, lending, public performance, broadcasting, or the like, in whole or
in part, of a work (musical composition, video, broadcast, public performance, or the like) whose copyright is
held by a third party is prohibited by law.
•When exchanging audio signals through a digital connection with an external instrument, this unit can
perform recording without being subject to the restrictions of the Serial Copy Management System (SCMS).
This is because the unit is intended solely for musical production, and is designed not to be subject to restric-
tions as long as it is used to record works (such as your own compositions) that do not infringe on the
copyrights of others. (SCMS is a feature that prohibits second-generation and later copying through a digital
connection. It is built into MD recorders and other consumer digital-audio equipment as a copyright-
protection feature.)
• Do not use this unit for purposes that could infringe on a copyright held by a third party. Roland assumes no
responsibility whatsoever with regard to any infringements of third-party copyrights arising through your
use of this unit.
About the License Agreement
• The CDX-1 and its CD-R capability are designed to allow you to reproduce material to which you have
copyright, or material which the copyright owner has granted you permission to copy. Accordingly,
reproduction of Music CD or other copyrighted material without permission of the copyright owner avoiding
technical prohibiting features of second-generation and later copying like SCMS or others constitutes
copyright infringement and may incur penalties even in case such reproduction is for your own personal use
and enjoyment (private use). Consult a copyright specialist or special publications for more detailed
information on obtaining such permission from copyright holders.
Newly Added Functions Ver.1.5
As the result of recent upgrades, the descriptions in the Owner's Manual may not accurately
represent the performance of some of the features of the CDX-1. To make sure you are fully
aware of the newly added functionality, please read this booklet in conjunction with the
Owner's Manual while you use the CDX-1.
❖ CONTENTS ❖
Sample Pad
Compressing/expanding a sample according to the tempo at which playback was stopped..........2
Modifying the pitch of a sample to create a new sample—Pitch Change .......................... 3
Making fine adjustments to the location at which a sample starts/ends............................. 4
Adjusting the crossfade time .............................................................................................. 6
Sequence Track
Exchanging the contents of sequence tracks—Exchange Track ....................................... 7
Copying the contents of a sequence track—Copy Track ................................................... 8
Editing a specified region of a sequence track—Region In/Out......................................... 9
Multitrack Recorder
Muting (silencing) a specific audio track........................................................................... 13
Using [STATUS] to select the track whose parameters you want to adjust ..................... 14
Preventing tempo data from being read from a CD-RW disc........................................... 15
Using the tempo of a sample to modify the tempo map................................................... 16
Using Pads/Sequences while you mix down.................................................................... 17
Effect
Editing the Mastering Tool settings .................................................................................. 18
Saving the mastering tool settings ................................................................................... 19
Mastering Tools parameter list......................................................................................... 20
Others
Remembering the icon that was last selected in a menu screen ..................................... 23
Synchronization with a Sequence or Drum Machine........................................................ 24
Copyright © 2001 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND CORPORATION.
Roland Web Site: http://www.roland.co.jp/
2
Compressing/expanding a sample according
to the tempo at which playback was stopped
While playback is stopped, you can adjust the length of the sample according to the
tempo of the location at which playback was stopped.
This function makes it easy to adjust the sample length to match the tempo of a
sequence track. This provides an easy way by which the length of a sample recorded
in a sequence track can be made to match the length of a measure in that sequence
track.
The tempo at the point that playback is stopped will be one of the following.
• The tempo displayed in “Tempo” of the Rhythm Guide screen.
• If the “Beat” parameter in the Rhythm Guide screen is set to “TEMPO MAP,” the
tempo of the Tempo Map.
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.33-07
2. Press CURSOR [ ] [ ] to select the
Tempo Match Now icon.
3. Press [YES/ENTER].
fig.33-08
The Tempo Match Now screen appears.
4. Press CURSOR [ ] [ ] [ ] [ ] to select the pad bank number and
pad number for each item, and specify the desired number for each.
To set the pad bank number, turn the TIME/VALUE dial. To set the pad number,
either press a pad or turn the TIME/VALUE dial.
Source: Specify the sample whose length you want to adjust.
To: Specify the pad to which the length-adjusted sample will be assigned.
5. Press [YES/ENTER].
After a while, the expand/compress sample is assigned to the destination pad.
* If the destination pad already contains a sample, the “Overwrite?” message appears. If it is OK to
overwrite the existing sample, press [YES/ENTER]. If you do not want to overwrite the existing
sample, press [NO/EXIT].
6. Press [DISPLAY] to return to the Basic screen.
Since this function needs to accurately calculate the tempo in order to perform a
high-quality compression or expansion, you must first perform the procedure of
“Displaying the correct tempo of a sample” (Owner’s Manual; p. 77) to specify
the number of beats in the original sample.
In the case of samples for which it is difficult to calculate a tempo, such as a
narration, vocal part, or a long sustained sound, set the number of beats to 0.
Compression/expansion
requires more processing time
than other sample editing
operations. Also, the audio
quality of the stretched sample
may be inferior to that of the
original sample.
In case the expanding/
expanding level is in excess of
134% or less than 67%, the
sample will not be made
correct tempo.
3
Modifying the pitch of a sample to create a
new sample—Pitch Change
You can modify the pitch of a sample to create a new sample.
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.33-07
2. Press CURSOR [ ] [ ] to select the
Pitch Change icon.
3. Press [YES/ENTER].
fig.33-08
The Pitch Change screen appears.
4. Press CURSOR [ ] [ ] [ ] [ ] to select the pad bank number and
pad number for each item, and specify the desired number for each.
To set the pad bank number, turn the TIME/VALUE dial. To set the pad number,
either press a pad or turn the TIME/VALUE dial.
Source: Specify the sample whose pitch you want to adjust.
To: Specify the pad to which the pitch-adjusted sample will be assigned.
5. Press CURSOR [ ] to move the cursor to “NewPitch” line. Turn to
TIME/VALUE dial to set the interval of the pitch changing by semitone unit.
6. Press CURSOR [ ] to move the cursor to “P.Fine” line. Turn the TIME/VALUE
dial to make fine adjustments in one-cent units (1/100th of a semitone) to the
amount of change from the original pitch.
7. Press CURSOR [ ] move the cursor to “Grade” line. Turn to TIME/VALUE
dial to select the quality of the sound after the pitch changing process, adjustable
in three levels.
“Grade” can be set in three levels (1–3) to specify the quality of the resulting sound.
Higher settings will require more processing time.
8. Press [YES/ENTER].
After a while, the changing pitch sample is assigned to the destination pad.
* If the destination pad already contains a sample, the “Overwrite?” message appears. If it is OK to
overwrite the existing sample, press [YES/ENTER]. If you do not want to overwrite the existing
sample, press [NO/EXIT].
9. Press [DISPLAY] to return to the Basic screen.
Pitch Change requires more
processing time than other
sample editing operations.
Also, the audio quality of the
stretched sample may be
inferior to that of the original
sample.
1 semitone = 100 cents
For sound with
a sharp attack.
For sound with
a dull attack.
123
"Grade"
4
Making fine adjustments to the location at
which a sample starts/ends
When you arrange samples in a sequence track to create a song, you will sometimes
need to make fine adjustments to the sample's start/loop points, or to its length. By
using the {Preview function} or {Scrub function}, you can make precise and detailed
adjustments while listening to the sound.
Specifying a point while you listen to the sound
before and after it—Preview
The preview button [TO] means “To Now” (to the point). Each time you press [TO],
a brief region of sound (one second) ending at that point will be played. By turning
the TIME/VALUE dial to move the point back and forth while listening to this
sound, you can easily make accurate adjustments to the point.
When you press the preview button [FROM], the preview function will play “From
Now” (from the point), allowing you to hear a brief region of sound (one second)
beginning at that point.
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.33-07
2. Press CURSOR [ ] [ ] to select the
Pad Parameter icon.
3. Press [YES/ENTER].
The Pad Parameter screen appears.
fig.33-08
4. Press CURSOR [ ] [ ] to move the
cursor to the point “Start Point,” “Loop
Point,” or “Length(→End)” you want to
adjust.
5. Press PREVIEW [TO] or [FROM] to play back the sound as described below.
[TO]: Playback once from one second before the current point to the current
point.
[FROM]: Playback once from the current location to one second after the
current location.
6. While listening to the sound, turn the TIME/VALUE dial to make fine
adjustments to the current point.
7. Press [DISPLAY] to return to the Basic screen.
For details on the Start/Loop
point and Length, refer to
“What are the Start/Loop
point and Length” (Owner’s
Manual; p. 78).
The sample waveform will not
b
e displayed for PREVIEW
[TO] [FROM] operations.
5
Making fine adjustments to the location at which a sample starts/ends
Using scrub to set a point—Scrub Preview
Scrub Preview repeatedly plays an extremely brief region (45 milliseconds) either
before or after the point. At the same time, the sample waveform will be displayed
in the screen. While monitoring the displayed waveform and the sound, you can
turn the TIME/VALUE dial to easily make precise adjustments to the point.
1. Press PAD RECORDING [TEMPO MATCH] twice.
Alternatively, press [TEMPO MATCH] and then press CURSOR [ ].
fig.31-03
The Pad Edit menu are displayed as icons.
fig.33-07
2. Press CURSOR [ ] [ ] to select the
Pad Parameter icon.
3. Press [YES/ENTER].
The Pad Parameter screen appears.
fig.33-08
4. Press CURSOR [ ] [ ] to move the
cursor to the point “Start Point,” “Loop
Point,” or “Length(→End)” you want to
adjust.
5. Press [SCRUB].
fig.33-08
[SCRUB] lights, the Wave View screen
appears.
The sound either before or after the point will
play repeatedly.
6. While monitoring the sound and the screen, turn the TIME/VALUE dial to make
fine adjustments to the point.
As necessary, you can switch the region that is repeated, or switch the screen display.
[TO]: Repeatedly play from a point 45 milliseconds before the current point,
up to the current point.
[FROM]: Playback once from the current point to one second after the current
point.
CURSOR [ ]: Expand the waveform vertically (amplitude axis).
CURSOR [ ]: Shrink the waveform vertically (amplitude axis).
CURSOR [ ]: Expand the waveform horizontally (time axis).
CURSOR [ ]: Shrink the waveform horizontally (time axis).
7. Press [SCRUB].
[SCRUB] go out, the Pad Parameter screen reappears.
8. Press [DISPLAY] to return to the Basic screen.
45 msec
6
Adjusting the crossfade time
You can adjust the time over which two pads will be exchanged by the Pad
Crossfade function (Owner's Manual; p. 71).
1. Press [UTILITY].
The Menu are displayed as icon.
fig.1-06
2. Press CURSOR [ ] [ ] to select the
System icon.
3. Press [YES/ENTER].
The System Parameter screen appears.
fig.5-01
4. Press CURSOR [ ] to move the cursor to
“X-Fade Time” line.
5. Turn the TIME/VALUE dial to select the crossfade time: “1sec”–”10sec”
(units: second).
6. Press [DISPLAY] to return to the Basic screen.
7
Exchanging the contents of sequence tracks
—Exchange Track
A sequence track and its corresponding audio track cannot be played back at the
same time. For example, sequence track A and audio tracks 1-2 cannot be played
back simultaneously. In such cases, you can exchange the contents of the sequencer
track with another track, so that the sequence track and audio tracks can be played
simultaneously.
1. Press PAD SEQUENCING [EDIT].
[EDIT] lights, and the Sequence Edit menu are displayed as icons.
fig.34-10
2. Press CURSOR [ ] [ ] to select the
Exchange Track icon.
3. Press [YES/ENTER].
fig.34-10
The Exchange Track screen appears.
4. Press CURSOR [ ] [ ] to move the cursor, and turn the TIME/VALUE dial to
specify the two sequence tracks that are exchanged.
5. Press [YES/ENTER].
The two sequence tracks are exchanged.
6. Press [DISPLAY] return to the Basic screen.
For details, refer to “Playing
sequence tracks and audio
tracks simultaneously”
(Owner’s Manual; p. 97).
When you carry out the
Exchange Track procedure, the
entire contents of the sequence
tracks will be exchanged. It is
not possible to specify a region
of time that will be exchanged.
The status data of the sequence
tracks will also be exchanged.
8
Copying the contents of a sequence track
—Copy Track
The contents of a sequence track can be copied to another sequence track.
1. Press PAD SEQUENCING [EDIT].
[EDIT] lights, and the Sequence Edit menu are displayed as icons.
fig.34-10
2. Press CURSOR [ ] [ ] to select the
Copy Track icon.
3. Press [YES/ENTER].
fig.34-10
The Copy Track screen appears.
4. Press CURSOR [ ] to move the cursor to “Copy from Track.”
5. Turn to TIME/VALUE dial to select the copy-source track.
6. Press CURSOR [ ] to move the cursor to “Copy from Track.”
7. Turn to TIME/VALUE dial to select the track-copy destination.
8. Press [YES/ENTER].
The contents of the copy-source sequence track is copied to the copy-destination
track.
9. Press [DISPLAY] return to the Basic screen.
When you execute the Copy
Track operation, the entire
contents of the sequence track
will be copied. It is not
possible to copy only a
specified time region.
f the copy-destination
sequence track has already
b
een recorded, the entire
contents will be lost.
9
Editing a specified region of a sequence track
—Region In/Out
In the Sequence Play List screen, you can specify a region, then edit only that region.
You can also edit multiple tracks at once.
Specifying the editing region
1. Press PAD SEQUENCING [SEQ PLAY].
[SEQ PLAY] lights, and the Sequence Play
List screen appears.
2. Select the sequence tracks for playback as described in “Playing back sequence
tracks” (Owner’s Manual; p. 96).
Get the “Tr.SEL” (track select) box to be highlighted in black for the track(s) in which
you want to specify a region. You may select more than one track.
fig.34-10
3. Use the REW[ ] /FF [ ] or the
TIME/VALUE dial to move the “NOW”
(current location) to the starting point of
the segment.
4. Press [YES/ENTER].
fig.34-10
A mini-menu “SET REGION IN” appears.
5. Press [YES/ENTER] to specify the beginning (in point) of the segment.
ig.34-10
6. Use the REW [ ] /FF [ ] or the
TIME/VALUE dial to move the “NOW”
(current location) to the end point of the
segment.
7. Press [YES/ENTER].
A mini-menu appears.
fig.34-13
8. Press CURSOR [ ] to select the “SET
REGION OUT.”
9. Press [YES/ENTER] to specify the end (out point) of the segment.
In case edit region is specified,
you cannot execute editing
phrase by phrase basis (Quick
Edit). If you want to do such
editing, please cancel the
editing region as described in
“Canceling an editing region”
(p. 10).
For details of Quick Edit, refer
to “Edit on Sequence Play List
screen—Quick Edit” (Owner’s
Manual; p. 106).
If a region has already been
specified in step 4, press
CURSOR[ ] to select “SET
REGION IN.”
Press [YES/ENTER] in step 5,
the specified region will be
cancelled, and the In point will
b
e newly set.
10
Editing a specified region of a sequence track
Canceling an editing region
To cancel an editing region that you've specified, perform the following.
1. Press PAD SEQUENCING [SEQ PLAY].
[SEQ PLAY] lights, and the Sequence Play
List screen appears.
2. Press [YES/ENTER].
A mini-menu appears.
3. Press CURSOR [ ] to select the “CLEAR
REGION.”
4. Press [YES/ENTER].
The specified region are canceled.
Editing the specified region
Erasing Segments—Erase
This operation erases the phrases of the specified region, creating silence. If phrases
exist following the region, they will not move forward.
1. Specify the region that you want to erase,
as described in “Specifying the editing
region” (p. 9) of this booklet.
2. Press [YES/ENTER].
A mini-menu appears.
3. Press CURSOR [ ] to select the
“REGION ERASE?”
4. Press [YES/ENTER].
The specified region are erased.
11
Editing a specified region of a sequence track
Cutting Segments—Cut
This operation cuts the phrases of the specified region. Any phrases that followed
the region will be moved forward.
1. Specify the region that you want to cut, as
described in “Specifying the editing
region” (p. 9) of this booklet.
2. Press [YES/ENTER].
A mini-menu appears.
3. Press CURSOR [ ] to select the
“REGION CUT?”
4. Press [YES/ENTER].
The specified region are cut.
Moving to a Another Location—Move
This operation moves the phrases of the specified region to another location. The
phrases in the specified region will be erased; i.e., they will change to silence. If there
were any phrases in the move-destination, they will be overwritten by the phrases
from the specified region.
1. Specify the region that you want to move,
as described in “Specifying the editing
region” (p. 9) of this booklet.
2. Use the REW[ ] /FF [ ] or the
TIME/VALUE dial to set the move-
destination “NOW” (current location).
3. Press [YES/ENTER].
A mini-menu appears.
4. Press CURSOR [ ] to select the
“REGION MOVE?”
5. Press [YES/ENTER].
The specified region are moved.
12
Editing a specified region of a sequence track
Pasting to a Another Location—Paste
This operation pastes the phrases of the specified region to another location. If there
were any phrases in the paste-destination, they will be overwritten by the phrases
from the specified region.
1. Specify the region that you want to paste,
as described in “Specifying the editing
region” (p. 9) of this booklet.
2. Use the REW[ ] /FF [ ] or the
TIME/VALUE dial to set the paste-
destination “NOW” (current location).
3. Press [YES/ENTER].
A mini-menu appears.
4. Press CURSOR [ ] to select the
“REGION PASTE?”
5. Press [YES/ENTER].
The specified region are pasted.
Inserting to a Another Location—Insert
This operation inserts the phrases of the specified region to another location. If there
ware any phrases in the inserting location of backward, they will be moved back for
duration of specified region.
1. Specify the region that you want to insert,
as described in “Specifying the editing
region” (p. 9) of this booklet.
2. Use the REW[ ] /FF [ ] or the
TIME/VALUE dial to set the insert-
destination “NOW” (current location).
3. Press [YES/ENTER].
A mini-menu appears.
4. Press CURSOR [ ] to select the
“REGION INSERT?”
5. Press [YES/ENTER].
The specified region are inserted.
13
Muting (silencing) a specific audio track
During playback, you can switch audio tracks between muted (silent) and playing
statuses.
1. During playback, press [STATUS] for the audio track that you want to mute
(silence).
[STATUS] will change from green to blinking, and the sound of that audio track will
be muted (silenced).
2. Once again, press the [STATUS] key that you caused to blink in step 1.
[STATUS] will change from blinking to lighting solidly in green, and that audio track
will resume playing.
An audio track whose
[STATUS] was dark when
playback began cannot be
switched to Play status by
pressing [STATUS] during
playback. ([STATUS] will not
light in green.)
14
Using [STATUS] to select the track whose
parameters you want to adjust
When you want to adjust an audio track's mixer settings (pan, equalizer), or loop
effect settings, you can also press [STATUS] for that audio track to select it directly.
Setting the left/right position (pan) of each audio track
1. Hold down TRACK EDIT [PAN] and press AUDIO TRACK [STATUS] that you
want to adjust.
fig.43-01
The pan setting screen appears.
2. Turn the TIME/VALUE dial to set the pan.
3. Press [DISPLAY] to return to the Basic screen.
Adjusting the tone of each audio track
1. Hold down TRACK EDIT [EQ] and press AUDIO TRACK [STATUS] that you
want to adjust.
fig.43-02
The equalizer setting screen appears.
2. Press CURSOR [ ] [ ] to move the cursor to the line of the parameter you
want to adjust.
3. Turn the TIME/VALUE dial to change the value.
➔ For details on the parameters, refer to “Mixer effect parameter functions”
(Owner’s Manual; p. 174).
4. Press [DISPLAY] to return to the Basic screen.
Editing the loop effect settings
Chorus/delay/doubling
1. Hold down
LOOP EFFECT [DELAY],
and press AUDIO TRACK [STATUS] that
you want to adjust.
fig.43-02
The equalizer setting screen appears.
2. Turn the TIME/VALUE dial to adjust the send level.
3. Press [DISPLAY] to return to the Basic screen.
Reverb
1.
Hold
down
LOOP EFFECT [REVERB],
and press AUDIO TRACK [STATUS] that
you want to adjust.
fig.43-02
The equalizer setting screen appears.
2. Turn the TIME/VALUE dial to adjust the send level.
3. Press [DISPLAY] to return to the Basic screen.
In step 1, you can hold down
[DELAY] and press PAD
[STATUS] to select “PAD.”
For details on setting the effect
parameters, refer to “Editing
the loop effect settings”
(Owner’s Manual; p. 145–146).
In step 1, you can hold down
[REVERB] and press PAD
[STATUS] to select “PAD.”
15
Preventing tempo data from being read from
a CD-RW disc
When pads or sequences are stored in internal memory, you can specify that the
tempo data of a song saved on a CD-RW disc not be loaded when you insert a CD-
RW disc on which pads or sequences have been saved.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.1-06
2. Press CURSOR [ ] [ ] to select the
System icon.
3. Press [YES/ENTER].
The System Parameter screen appears.
fig.5-01
4. Press CURSOR [ ] to move the cursor to
“T.Map LoadCinfirm” line.
5. Turn the TIME/VALUE dial to select “ON.”
● T.Map LoadCinfirm (Tempo Map Load Confirm):
ON: You will be able to select whether the tempo data saved on the CD-RW disc
will be loaded.
OFF: The tempo data saved on the CD-RW disc will be loaded.
6. Press [DISPLAY] to return to the Basic screen.
If “T.Map LoadConfirm” is “ON”
Insert a CD-RW disc on which pads/sequences have been saved.
If internal memory contains pads/sequences, a message of “Load PAD/SEQ data?”
will be displayed.
If you press [NO/EXIT] at this time, a message of “Use song's tempo map?” (use the
tempo data of the song saved on the CD-RW disc?) will be displayed. Press either
[NO/EXIT] or [YES/ENTER] to select whether to load the tempo data from the song
on the CD-RW disc.
[NO/EXIT]: The tempo data in internal memory will be preserved. The tempo
data of the song saved on the CD-RW disc will not be loaded.
[YES/ENTER]: The tempo data of the song saved on the CD-RW disc will be
loaded. The tempo data in internal memory will be overwritten.
16
Using the tempo of a sample to modify the tempo map
Here's how you can easily modify the tempo map to match a drum loop sample on
which your song is based.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.1-06
2. Press CURSOR [ ] [ ] to select the
Tempo Map icon.
3. Press [YES/ENTER].
The Tempo Map Setting screen appears.
fig.5-01
4. Press CURSOR [ ] [ ] to move the
cursor to tempo whose tempo you want to
change.
5. Press the pad that contains the desired tempo data.
For example, if the sample tempo is “65.57”, a message of “Tempo → 65.57 Are you
sure? (OK to change the tempo to 65.57?) will be displayed.
6. Press [YES/ENTER].
The tempo map will be changed to the tempo
of the sample.
If you press [NO/EXIT], the tempo map will
not be changed.
7. Press [DISPLAY] to return to the Basic screen.
The tempo of a sample is
displayed in the upper right of
the pad parameter screen. For
details, refer to “Displaying
the correct tempo of a sample”
(Owner's Manual; p. 77).
For the procedure used to
create a tempo map, refer to
“Setting the tempo and rhythm
pattern of the song—Tempo
Map” (Owner's Manual; p. 117).
17
Using Pads/Sequences while you mix down
You can play sequence tracks and pads while mixing down. This can be done in any
combination: for example, you can mix down sequence tracks and pads together
with audio tracks, or mix down only pads and/or sequences.
Even if a CD-RW disc is not inserted, you can mix down just pads/sequences if
internal memory contains pads/sequences.
* When you mix down using pads/sequences, the time available for the mixdown will
be the remaining amount of sampling memory. For this reason, if you need to perform
lengthy mixdowns, we recommend that you expand the memory. The time available for mixdown
can be checked in the Song Information screen (Owner's Manual; p. 39).
1. Press AUDIO TRACK RECORD [MIX DOWN].
If the pads/sequences contained in the CDX-1’s internal memory, a message of
“Also use PAD/SEQ for Mixdown?” appears, [MIX DOWN] blinks.
If you press [YES/ENTER], you will be able to use pads/sequences, and
[MIX DOWN] will light.
If you do not want to use pads/sequences, press [NO/EXIT]. For the subsequent
steps, refer to step 1 of “Mixing down” (Owner's Manual; p. 133).
2. If you want to use sequence tracks, press [SEQ PLAY] to make it light.
For sequence tracks that you want to include in the mixdown. For details, refer to
“Playing sequence tracks and audio tracks simultaneously” (Owner’s Manual; p. 96).
3. For audio tracks that you want to include in the mixdown, press [STATUS] to
make the button light in green.
4. Make sure that master track [STATUS] light in red.
5. Press ZERO [ ] to return the SONG POSITION to “00:00:00-00” (beginning of
the song).
Alternatively, you can move to a desired location so that recording will start from
that point.
6. Press PLAY [ ].
Mixdown begins.
If you play samples pressing pads during mix down is processing, the sample
sounds in pads will be mixed down together. However, please be careful that sample
sound dose not come out in case four stereo (incl. audio track and sequence track)
are outputted. In such case, the pads goes out.
7. When mixdown is finished, press STOP [ ].
The screen will ask “Do you want to burn a CD? “
If you want to create an audio CD, press [YES/ENTER] and continue with the
procedure “Writing to a CD-R disc” (Owner’s Manual; p. 135).
If you want to make sure that the result of mixdown, press [NO/EXIT]. For details,
refer to “Listen to the result of Mixing down” (Owner’s Manual; p. 135).
When CD recorder screen or
CD player screen is appearing,
you cannot switch to mix down
eves pressing [MIX DOWN].
If you mix down without a
CD-RW disc, the “Data Type”
will be “Standard.”
If you mix down without a
CD-RW disc in step 1, a
message of “Also use
PAD/SEQ for Mixdown?” will
not appears.
A sequence track and its
corresponding audio track
cannot be played back
simultaneously. If you are
unable in step 3 to select an
audio track that you want to
mix down, you must first
exchange sequence tracks so
that the desired tracks can be
played back simultaneously.
For details, refer to
“Exchanging the content of
sequence tracks—Exchange
Track” (p. 7) in this booklet.
If you mix down without a
CD-RW disc, step 3 will not be
necessary.
18
Editing the Mastering Tool settings
You can edit the mastering tool settings while you listen to the mixdown. Select one
of the preset patches (P01–P21) that is closest to what you have in mind, and edit the
patch settings
Mastering Tools
The mastering tools are a convenient set of tools that divide the sound into high-
frequency, mid-frequency, and low-frequency ranges, and make the volume
consistent so that the audio CD can be created with the optimal levels.
fig.4-05
1. In step 1 of “Listen to the result of Mixing
down” (Owner’s Manual; p. 133), the
Mastering track screen appears.
2. Make sure that [MASTERING TOOLS] lights in red.
If [MASTERING TOOLS] is dark, press [MASTERING TOOLS], and it will go light
in red.
3. Press CURSOR [ ] to move the cursor to “MTK” line.
4. Turn the TIME/VALUE dial to select the mastering tool patch that you want to
edit.
5. Press [YES/ENTER].
The mastering tools effect block screen appears.
fi
fig.4-06e
6. Press CURSOR [ ] [ ] [ ] [ ]
to select an effect, and turn the
TIME/VALUE dial to turn the effect on/off.
7. Press CURSOR [ ] [ ] [ ] [ ] to select the effect whose parameters
you want to edit, and press [YES/ENTER].
fig.4-07
The parameter setting screen for the selected
effect appears.
8. Press CURSOR [ ] [ ] to select a parameter, and turn the TIME/VALUE dial
to edit the value.
For details on each parameter, refer to “Mastering Tools parameter list” (p. 20–22) in
this booklet.
9. If you would like to edit another effect, press [NO/EXIT] to return to the previous
screen, and repeat steps 6-8.
If you want to save the current effect settings, perform the procedure described in
“Saving mastering tools settings,” below.
fig.4-08
* Edited effect settings are temporary. If you return to the previous
screen without saving the edited patch, “TMP” will be displayed
in front of the patch name. While “TMP” is displayed, newly
selecting a different patch will cause the edited patch to revert to
its previous state, and your edits will be lost.
You can also edit the
mastering tool settings in the
CD Burning screen or CD
Recorder screen. However, it
will not be possible to audition
the results of the mastering
tool before writing to the CD-R
disc.
“IN” (input), “MIX” (mixer),
and “OUT” (output) of the
effect block are always on.
These cannot be turned off.
Effect on (solid line)
Effect off (dotted line)
19
Saving the mastering tool settings
You can assign a name (patch name) to the mastering tool settings you've edited, and
save your settings. This procedure is a continuation of “Editing the mastering tool
settings,” above.
Your edited patch can be saved at one of twenty-one patch numbers U01–U21, and
recalled at any time, just like a preset patch.
fig.4-09
1. In the mastering tools effect block screen,
press CURSOR [ ] to select “NAME.”
2. Press [YES/ENTER].
fig.4-10
The Patch Name input screen appears.
3. Press CURSOR [ ] [ ] to move to the desired character location, and
turn the TIME/VALUE dial to input patch name.
4. When you are finished inputting the patch name and editing the settings of each
effect, press [NO/EXIT] to return to the effect block screen.
fig.4-11
5. Press CURSOR [ ] to select “WRITE.”
fig.4-12
6. Press [YES/ENTER].
The Patch-save screen appears.
7. Turn the TIME/VALUE dial to select the patch-save destination (U01–U21).
8. After you have specified the patch-save destination, press [YES/ENTER].
When the data has been saved, you’re returned to the Mastering track screen.
You can input a patch name of
up to eight characters.
Patches are stored in internal
memory.
20
Mastering Tools parameter list
The Mastering Tools is compressor that splits sounds into different frequency band to unify their volumes.
Parameter (full name) Setting Function
● EQ (Equalizer): A 4-band equalizer.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the equalizer effect on/off.
Input Gain (Input Gain) -24–+12 dB
This parameter sets the overall volume before passing through the equalizer.
Low Type (Low Type) SHELV, PEAKING This parameter sets the type of the low frequency band equalizer
(Shelving type or peaking type).
Low Gain (Low Gain) -12–+12 dB This parameter sets the gain (amount of boost or cut) for the bass
equalizer.
Low Freq (Low Frequency) 20 Hz–2.00 kHz This parameter sets the central frequency for the low equalizer.
Low Q (Low Q) *1 0.3–16.0 This parameter sets the range of change in gain for the frequency set by
“Low Freq.” A larger value results in a narrower range of change.
Low-Mid Gain (Low Middle Gain) -12–+12 dB This parameter sets the gain (amount of boost or cut) for the low-midrange
equalizer.
Low-Mid Freq (Low Middle Frequency) 20 Hz–8.00 kHz This parameter sets the central frequency for the low-midrange equalizer.
Low-Mid Q (Low Middle Q) 0.3–16.0 This parameter sets the range of change in gain for the frequency set by
“Low-Mid Freq.” A larger value results in a narrower range of change.
High-Mid Gain (High Middle Gain) -12–+12 dB This parameter sets the gain (amount of boost or cut) for the high-midrange
equalizer.
High-Mid Freq
(High Middle Frequency)
20 Hz–8.00 kHz This parameter sets the central frequency for the high-midrange equalizer.
High-Mid Q (High Middle Q) 0.3–16.0 This parameter sets the range of change in gain for the frequency set by
“High-Mid Freq.” A larger value results in a narrower range of change.
High Type (High Type) SHELV, PEAKING This parameter sets the type of the High frequency band equalizer
(Shelving type or peaking type).
High Gain (High Gain) -12–+12 dB This parameter sets the gain (amount of boost or cut) for the treble
equalizer.
High Freq (High Frequency) 1.40–2.00 kHz This parameter sets the central frequency for the high equalizer.
High Q (High Q) *1 0.3–16.0 This parameter sets the range of change in gain for the frequency set by
“High Freq.” A larger value results in a narrower range of change.
Output Level (Output Level) -24–+12 dB This parameter adjusts the volume after the equalizer stage.
● B CUT (Bass Cut Filter):
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the bass cut filter effect on/off.
Bass Cut Freq (Bass Cut Frequency)
THRU, 20 Hz–2.00 kHz
This parameter sets the frequency for cutting off undesired low frequency
band sounds such as pop noise.
● ENH (Enhancer): This effect enhances the definition of the sound, and pushes it to the forefront.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the enhancer effect on/off.
Sensitivity (Sensitivity) 0–100 Adjusts the manner in which the enhancer will be applied relative to the
input signals.
Enhancer Freq (Enhancer Frequency) 1.00 –10.0 kHz Adjusts the frequency at which the enhancer effect will begin to be applied.
The effect will be made apparent in the frequencies above the frequency
set here.
Mix Level (Mix Level) -24–+12 dB Adjusts the amount of phase-shifted sound of the range set by “Frequency”
that is to be mixed with the input.
Compressor
Bass Cut
Filter EnhancerEqualizer Input Expander
Mixer Limiter Output
Input
Expander Compressor
High Freq
Mid Freq
Low Freq
High Freq
Mid Freq
Low Freq
Mixer
* Below shows the signal form "INPUT" to "MIXER."
21
Mastering Tools parameter list
● IN (Input): Specify the frequency points at which the original sound will be divided, so that the expander/compressor
can be applied independently to the low, mid, and high frequency ranges.
Input Gain (Input Gain) -24– +12dB
This parameter sets the overall volume before entering expander/compressor.
Input Delay (Input Delay) 0–10 ms This parameter sets the length of delay to add to the direct sound input.
Lo Split Freq (Low Split Frequency) 20–800 Hz This parameter sets the frequency at which the direct sound is split into
three bands (on the low frequency band side).
Hi Split Freq (High Split Frequency) 1.60–16.0 kHz This parameter sets the frequency at which the direct sound is split into
three bands (on the High frequency band side).
● EXP (Expander): Expands the dynamic range (the proportion between the loudest and softest sounds) at
a certain ratio.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the expander effects on/off.
Low Threshold (Low Threshold) -80–0 dB This parameter sets the volume at which the expander for the low
frequency band starts working.
Mid Threshold (Middle Threshold) -80–0 dB This parameter sets the volume at which the expander for the middle
frequency band starts working.
Hi Threshold (High Threshold) -80–0 dB This parameter sets the volume at which the expander for the high
frequency band starts working.
Low Ratio (Low Ratio) 1:1.0–1:16.0, 1:INF
This parameter sets the ratio at which the output in the low frequency band is
increased when the input level has dropped below the low threshold level.
Mid Ratio (Middle Ratio) 1:1.0–1:16.0, 1:INF
This parameter sets the ratio at which the output in the middle frequency band is
increased when the input level has dropped below the middle threshold level.
High Ratio (High Ratio) 1:1.0–1:16.0, 1:INF
This parameter sets the ratio at which the output in the middle frequency band
is increased when the input level has dropped below the High threshold level.
Low Attack (Low Attack) 0–100 ms
This parameter sets the time until when the low frequency band expander starts
working after the input level has exceeded the low threshold level.
Mid Attack (Middle Attack) 0–100 ms
This parameter sets the time until when the middle frequency band expander
starts working after the input level has exceeded the middle threshold level.
High Attack (High Attack) 0–100 ms
This parameter sets the time until when the High frequency band expander
starts working after the input level has exceeded the High threshold level.
Low Release (Low Release) 50–5000 ms
This parameter sets the time until when the low frequency band expander stops
working after the input level has dropped below the low threshold level.
Mid Release (Middle Release) 50–5000 ms
This parameter sets the time until when the middle frequency band expander stops
working after the input level has dropped below the middle threshold level.
High Release (High Release) 50–5000 ms
This parameter sets the time until when the High frequency band expander
stops working after the input level has dropped below the High threshold level.
Effect of “Input Delay” under Input
With ordinary compressors, a moment of delay occurs to suppress a level over instance after it has been
detected. With Mastering Tool, this problem is bypassed by using the input sound only for level detection and
adding a specified length of delay to the sound for processing and output. “Input Delay” under Input is the
setting of the delay time for this purpose. Note that supplying Delay Time causes time difference between
input and output of audio signals.
Splitting into frequency bands
To split into High, middle and low frequency bands, “Low
Split Freq” (Low Split Frequency) and “High Split Freq”
(High Split Frequency) under Input are used to specify
frequencies.
fig.42-1e
Freq
"Lo Split Freq""Hi Split Freq"Level
Low Freq Mid Freq High Freq
22
Mastering Tools parameter list
● COMP (Compressor) *2: Compressor the entire output signals when the input volume exceeds a specified value.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the compressor effects on/off.
Low Threshold (Low Threshold) -24–0 dB This parameter sets the volume at which the compressor for the low
frequency band starts working.
Mid Threshold (Middle Threshold) -24–0 dB This parameter sets the volume at which the compressor for the middle
frequency band starts working.
Hi Threshold (High Threshold) -24–0 dB This parameter sets the volume at which the compressor for the high
frequency band starts working.
Low Ratio (Low Ratio) 1:1.0–1:16.0, 1:INF This parameter sets the ratio at which the output in the low frequency band
is suppressed when the input level has exceeded the low threshold level.
Mid Ratio (Middle Ratio) 1:1.0–1:16.0, 1:INF
This parameter sets the ratio at which the output in the middle frequency band
is suppressed when the input level has exceeded the middle threshold level.
High Ratio (High Ratio) 1:1.0–1:16.0, 1:INF
This parameter sets the ratio at which the output in the High frequency band is
suppressed when the input level has exceeded the High threshold level.
Low Attack (Low Attack) 0–100 ms
This parameter sets the time until when the low frequency band compressor
starts working after the input level has exceeded the low threshold level.
Mid Attack (Middle Attack) 0–100 ms
This parameter sets the time until when the middle frequency band compressor
starts working after the input level has exceeded the middle threshold level.
High Attack (High Attack) 0–100 ms
This parameter sets the time until when the High frequency band compressor
starts working after the input level has exceeded the High threshold level.
Low Release (Low Release) 50–5000 ms
This parameter sets the time until when the low frequency band compressor
stops working after the input level has dropped below the low threshold level.
Mid Release (Middle Release) 50–5000 ms
This parameter sets the time until when the middle frequency band compressor
stops working after the input level has dropped below the middle threshold level.
High Release (High Release) 50–5000 ms
This parameter sets the time until when the High frequency band compressor
stops working after the input level has dropped below the High threshold level.
● MIX (Mixer): Adjust the volume of the low, mid, and high frequency ranges, and mix them.
Low Level (Low Level) -80–+6 dB This parameter sets the volume in the low frequency band after passing
through the expander and compressor.
Mid Level (Middle Level) -80–+6 dB This parameter sets the middle frequency band volume after passing
through the expander and compressor.
High Level (High Level) -80–+6 dB This parameter sets the volume in the High frequency band after passing
through the expander and compressor.
● LMT (Limiter): Prevents distortion by suppressing signals at High levels.
Effect On/Off (Effect On/Off) OFF, ON This parameter turns the limiter effects on/off.
Threshold (Threshold) -24–0 dB This parameter sets the volume at which the limiter starts working.
Attack (Attack) 0–100 ms This parameter sets the time until when the limiter starts working after the
input level has exceeded threshold level.
Release (Release) 50–5000 ms This parameter sets the time until when the limiter stops working after the
input level drops below the threshold level.
● OUT (Output): Provides settings concerning overall output.
Level (Level) -80– +6 dB This parameter sets the overall volume after passing through the limiter.
Soft Clip (Soft Clip) OFF, ON By turning this ON, suppresses conspicuous distortion that may occur
when the effect of compressor/limiter has been applied excessively.
Dither (Dither) OFF, 8–24 bit This parameter smooths the transition where the sound disappears.
*1 If “Low Type” or “High Type” is set to “SHELV” (Shelving Type), the setting for “Lo Q “or “High Q” is invalid.
*2 With Compressor (COMP), the level is automatically adjusted to the optimal with the settings for “Threshold” and “Ratio”. Setting
“Attack” to a relatively long time may cause distortion. For this reason, a margin of -6 dB is provided. Adjust the Mixer (MIX) level as
required.
23
Remembering the icon that was last selected
in a menu screen
You can cause the icon that was last selected in the following menu screens to be
remembered. This is convenient when you are repeatedly using the same menu item
to edit, since you will not have to re-select the desired icon each time.
1. Press [UTILITY].
The Menu are displayed as icon.
fig.1-06
2. Press CURSOR [ ] [ ] to select the
System icon.
3. Press [YES/ENTER].
The System Parameter screen appears.
fig.5-01
4. Press CURSOR [ ] to move the cursor to
“Keep Last Menu” line.
5. Turn the TIME/VALUE dial to select “ON.”
● Keep Last Menu:
ON: The last-selected icon will be remembered when you access a menu screen.
OFF: The first icon of the menu will be selected when you access a menu screen.
6. Press [DISPLAY] to return to the Basic screen.
Button Screen
[UTILITY] Utility Menu Screen
PAD SEQUENCING [TEMPO MAP] Pad Edit Menu Screen
PAD SEQENCING [EDIT] Sequence Edit Menu Screen
The data identifying the last-
selected icon in each screen
will be discarded when the
power is turned off. The next
time the power is turned on,
the icon at the beginning of the
menu will always be selected
when you open a menu screen.
24
Synchronization with a Sequence or Drum Machine
You can cause a MIDI sequencer or rhythm machine to operate in synchronization
with the button operations of the CDX-1.
1. Use a MIDI cable to connect the CDX-1 and your MIDI sequencer as shown in
the diagram.
fig.5-02e
2. Press [UTILITY].
The Menu are displayed as icon.
3. Press [YES/ENTER].
The MIDI settings screen appears.
fig.5-03
4. Press CURSOR [ ] [ ] to select the
MIDI icon.
fig.5-04
5. Press CURSOR [ ] to move the cursor to
“Sync Out” line.
6. Turn the TIME/VALUE dial to select “MIDI CLK.”
● Sync Out:
Select weather or not the synchronization signals that will sent from the MIDI
OUT/THRU connector.
OFF: Synchronization signals are not sent.
MTC: MIDI Time Code is sent.
MIDI CLK: MIDI Clock is sent.
fig.5-05
7. Press CURSOR [ ] to move the cursor to
“Out/Thru” line.
8. Turn the TIME/VALUE dial to select “OUT.”
9. Press [DISPLAY] to return to the Basic screen.
10. Make settings on your MIDI sequencer so that it can receive MTC from an
external device, and prepare it to play back MIDI song data.
For details on using, refer to the Owner’s Manual for your MIDI sequencer.
11. When the CDX-1 begins playing, the MIDI sequencer will also begin playing in
sync with it.
MIDI OUT/THRUMIDI IN
MIDI Sequencer
CDX-1
40455612 ’01-11-E2-21KS
… 7 …

Hulp nodig? Stel uw vraag in het forum

Spelregels
1

Forum

Roland-CDX-1

  • Ik heb 2 cdx-1 van roland die allebei niet willen opnemen dwz de status verlichting die moet gaan oplichten bij aanwijzen van kanaal 1-8 gaan niet branden wat zit er fout kan iemand mij helpen gr Nico Gesteld op 25-1-2022 om 22:02

    Reageer op deze vraag Misbruik melden

Misbruik melden

Gebruikershandleiding.com neemt misbruik van zijn services uitermate serieus. U kunt hieronder aangeven waarom deze vraag ongepast is. Wij controleren de vraag en zonodig wordt deze verwijderd.

Product:

Bijvoorbeeld antisemitische inhoud, racistische inhoud, of materiaal dat gewelddadige fysieke handelingen tot gevolg kan hebben.

Bijvoorbeeld een creditcardnummer, een persoonlijk identificatienummer, of een geheim adres. E-mailadressen en volledige namen worden niet als privégegevens beschouwd.

Spelregels forum

Om tot zinvolle vragen te komen hanteren wij de volgende spelregels:

Belangrijk! Als er een antwoord wordt gegeven op uw vraag, dan is het voor de gever van het antwoord nuttig om te weten als u er wel (of niet) mee geholpen bent! Wij vragen u dus ook te reageren op een antwoord.

Belangrijk! Antwoorden worden ook per e-mail naar abonnees gestuurd. Laat uw emailadres achter op deze site, zodat u op de hoogte blijft. U krijgt dan ook andere vragen en antwoorden te zien.

Abonneren

Abonneer u voor het ontvangen van emails voor uw Roland CDX-1 bij:


U ontvangt een email met instructies om u voor één of beide opties in te schrijven.


Ontvang uw handleiding per email

Vul uw emailadres in en ontvang de handleiding van Roland CDX-1 in de taal/talen: Engels als bijlage per email.

De handleiding is 6,94 mb groot.

 

U ontvangt de handleiding per email binnen enkele minuten. Als u geen email heeft ontvangen, dan heeft u waarschijnlijk een verkeerd emailadres ingevuld of is uw mailbox te vol. Daarnaast kan het zijn dat uw internetprovider een maximum heeft aan de grootte per email. Omdat hier een handleiding wordt meegestuurd, kan het voorkomen dat de email groter is dan toegestaan bij uw provider.

Stel vragen via chat aan uw handleiding

Stel uw vraag over deze PDF

Andere handleiding(en) van Roland CDX-1

Roland CDX-1 Gebruiksaanwijzing - Nederlands - 242 pagina's

Roland CDX-1 Gebruiksaanwijzing - Deutsch - 225 pagina's


Uw handleiding is per email verstuurd. Controleer uw email

Als u niet binnen een kwartier uw email met handleiding ontvangen heeft, kan het zijn dat u een verkeerd emailadres heeft ingevuld of dat uw emailprovider een maximum grootte per email heeft ingesteld die kleiner is dan de grootte van de handleiding.

Er is een email naar u verstuurd om uw inschrijving definitief te maken.

Controleer uw email en volg de aanwijzingen op om uw inschrijving definitief te maken

U heeft geen emailadres opgegeven

Als u de handleiding per email wilt ontvangen, vul dan een geldig emailadres in.

Uw vraag is op deze pagina toegevoegd

Wilt u een email ontvangen bij een antwoord en/of nieuwe vragen? Vul dan hier uw emailadres in.



Info