1 IN button 2 OUT 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

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.
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.

Control section

fig.14-13e
CD-RW/CD-R/AUDIO CD indicator section
An indicator will light to show the type of CD that is inserted.

2 YES/ENTER button

fig.14-14e

1 NO/EXIT button

1 CD-RW

2 CD-R

3 AUDIO CD

4 BUSY

CURSOR buttons

TIME/VALUE dial

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

NO/EXIT Button
This indicator will light in red when the inserted CD is being read or written.
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.

Eject button

fig.14-14ae

EJECT button

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 Eject button
This button opens or closes the CD disc tray.
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

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.
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

Stereo Headphones Electric Guitar Electric Bass Foot Switch (DP-2 etc.) DAT/MD Recorder etc. Mica

Rhythm Machine etc.

Power amp

AC Adaptor (PSB-2U)

Audio Set etc.

CD Player etc.

Keyboard, Rhythm Machine, etc.
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.
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.
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.

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).
Initially this is set to x8 (quarter note x 8 notes).

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__.
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.
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.
Adjusting the start/end points of the soundTrim 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

Length Length Start Point Loop Point End Point
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).

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. 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. 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).

In step 4, 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.
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 The timing at which you press a pad will not be adjusted.
Quantize is not applied to the timing at which you release a pad.
* 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.
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

* An event is an operation of pressing/releasing a pad.
Recording pad operations at the specified intervalStep 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 [ FF [ REW [ ]: ]: Extend (tie) the phrase of the preceding step by an additional step.
Record a rest for a length of one step, and advance the current location by one step.
]: Return to the previous step.
If You Become confused About Button Function During Recording

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

Prepare for recording

STANDARD LONG1 LONG2

Recording time
15 minutes 19 minutes 23 minutes
* 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.
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.
3. Press CURSOR [ ] to select the CD-RW Disc Format icon.
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.
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).

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. The mastering track screen appears.
If you press PLAY [ ] to play back the master track form top each time.

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 [ ].
If you wish to redo mixing down, press master track [STATUS] to make the button blink in red. Return to step 2 of Mixing down, above.
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).
Adjusting the mastering tools
The mastering tools are a convenient set of tools that divide the sound into highfrequency, 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. 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: PreMastr: LiveMix: PopMix: DanceMix: JinglMix: HardComp: SoftComp: ClnComp: DnceComp: OrchComp: VocalCmp: Acoustic: RockBand: Orchestr: LoBoost: Brighten: DJsVoice: PhoneVox: Cassette: Phono: Input Level Adjust the volume level (-2412 dB) that is sent to the mastering tools. The default setting is 0 dB. Tools for audio CD production Tools for video pre-mastering Tools for final mix of a live recording Tools for pop music Tools for dance music Tools for FM broadcast jingles Heavy compressor Light compressor Cut background noise to clean up the overall sound Compressor for dance music Compressor for orchestra Compressor for vocals Tools for acoustic guitar Tools for rock band. Tools for orchestra. Tools to emphasize the low frequency Tools to emphasize the high frequency Tools for a DJ voice Tools to model a telephone voice Suitable for cassette Tapes. Suitable for analog record disks.

Finalizing a CD-R disc

Heres 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

Once a CD-R disc has been finalized, no further data can be recorded to it.
3. Press CURSOR [ ] to select the CD-R/RW Disc icon.

Finalize (p. 204)

4. Press [YES/ENTER]. The CD-R/RW Disc Menu are displayed as icon.
5. Press CURSOR [ Finalize icon.

] to select the CD-R

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 youre returned to step 5.
Taking full advantage of the CDX-1
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 operationUndo
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 UndoRedo

1. Press [UNDO/REDO]. [UNDO/REDO] will light, and the previous undo operation will be undone.
Cueing to a precise locationPreview
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

Now Time Sound data

1second

PREVIEW TO

PREVIEW FROM

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 (AD) 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.

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 116. 1. Press [UTILITY]. The Menu are displayed as icon.
3. Press [YES/ENTER]. The MIDI settings screen appears. 4. Make sure that the cursor is located at the Pads Rx Ch. line.
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.
5. Turn the TIME/VALUE dial to select a channel in the range of 116. 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

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).

Pad MIDI Note

5 C3 C#3 D3 D#3 E51 52

F3 F#54

8 G3 55
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 164 are valid. These select pad banks 1 through 64 respectively. Program numbers 65128 will be ignored.
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).

MTC (p. 205)

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.
For details on operation of your MIDI sequencer, refer to the operating manual for your device.

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

MIDI IN

MIDI OUT

MIDI Sequencer CDX-1
4. Press [YES/ENTER]. The MIDI settings screen appears.
5. Press CURSOR [ Sync Out line.
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: MTC:
Synchronization signals will not be output. MIDI Time Code will be transmitted. ] to move the cursor to
7. Press CURSOR [ 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: 29N: 29D: 25: 24: 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. 29.97 frames per second, non-drop. This format is used for NTSC-format color video. 29.97 frames per seconds, drop-frame. This format is used for NTSC-format broadcast color video. 25 frames per second. This format is used for SECAM/PAL-format video and audio devices, and film. 24 frames per second. This format is used in the United States for video and audio devices for and film.
Frames (p. 205), NTSC-format (p. 206), SECAM/PAL-format (p. 206)
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.

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.

* : The flanger effect gives a twisting, jet-airplane-like character to the sound. : A sound with a subtly shifted pitch is added to the direct sound, making the final output sound thicker and broader. : By adding varied-phase portions, the phaser effect gives a whooshing, swirling character to the sound. : This effect changes the pitch of the original sound (up or down) within a range of two octaves. : An effect of multiple sounds heard together (a doubling effect) is produced. : 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).
PHASER (Phaser) * P.SHIFT (Pitch Shifter) DOUBL'N (Doubling) TRM/PAN (Tremolo/Pan)
In case of Phase, output will become monaural. OFF, ON SINGLE TAP SINGLE: 11400 mS TAP: 1700 mS This parameter turns the delay effect on/off. This is a simple delay. The delayed sound is panned across the left and right channels. This will be effective when stereo output is used. This parameter adjusts the delay time (i.e., the interval for which sound is delayed). 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.

Feedback (Feedback)

This adjusts the volume of the delay sound.
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.
*1 Compressor can be replaced with Defretter.
Bass Noise Modeling Compressor (*1) Suppressor Chorus (*2)

Defretter

Flanger Phaser Pitch Shifter Doubling Tremolo/Pan
Effect On/Off (Effect On/Off) Character (Character) Level (Level)
OFF, ON LOOSE, TIGHT 0100
This parameter turns the bass modeling effect on/off. Bass tone characteristic is set. When LOOSE is selected, as if the string gauge was getting thicker. This adjusts the volume of the bass modeling.
B.MDL (Bass Modeling): Models the sound of a bass guitar.
You should avoid playing chords when using the Bass modeling.
DEFRET (Defretter): This models a fretless bass.
Effect On/Off (Effect On/Off) Sensitivity (Sens) OFF, ON 0100 This parameter turns the defretter effect on/off. 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. 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. This controls the rate of the harmonics. Increasing the value will increase the harmonic content and therefore will create a more unusual sound. Adjusts the volume of the defretter sound.

Attack (Attack)

Depth (Depth) Level (Level)
n case of Phase, output will become monaural.

9. ACOUSTIC GUITAR

Insert Mode

INPUT (NORMAL)
INPUT (NORMAL), INPUT (REC DRY), TRACK18, TRACK1&27&8, MASTER
Mastering Tools Parameter

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 -2412 dB

Input Level

Master Parameter

Master Balance

Balance

L1000R100

MIDI Implementation
Model CDX-1 Version 1.01, Apl. 16 2001
MIDI Machine Control Commands
Status F0H Byte F0H 7FH Dev 06H aaH | bbH F7H * Data Bytes 7FH, Dev, 06H, aaH,., bb Status F7H
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 9nH Second mmH Third llH
n = MIDI Channel No.: mm = Note No.: ll = Velocity:
00H0FH (ch.1ch.16) 00H7FH (0127) 01H7FH (1127) / 00H = NOTE OFF
Description Status of System Exclusive Message Universal System Exclusive Message Realtime Header Device ID (10H or 7FH) MMC Command Message Command | Command EOX (End of System Exclusive Message)
See 2. MIDI Machine Control section.

Program Change

Works as bank switch when MIDI channel number is set for playing the sample. Status CnH Second ppH 00H0FH (ch.1ch.16) 00H3FH (063)

2. MIDI Machine Control

MIDI Machine Control Details

STOP (MCS)

Status F0H Byte F0H 7FH Dev 06H 01H F7H Data Bytes Status 7FH, Dev, 06H, 01H F7H Description Status of System Exclusive Message Universal System Exclusive Message Realtime Header Device ID (10H or 7FH) MMC Command Message STOP (MCS) EOX (End of System Exclusive Message)
n = MIDI Channel No.: pp = Program No.:

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 BnH Second 78H Third 00H
If the device ID on the message was as same as that of the receiving 10H or 7FH, the CDX-1 stops immediately.

n = MIDI Channel No.:

00H0FH (ch.1ch.16)
PLAY (MCS) 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 BnH Second 7BH Third 00H Status F0H Byte F0H 7FH Dev 06H 02H F7H Data Bytes Status 7FH, Dev, 06H, 02H F7H Description Status of System Exclusive Message Universal System Exclusive Message Realtime Header Device ID (10H or 7FH) MMC Command Message PLAY (MCS) 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.

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 F1H nnn = Message type: Second mmH (= 0nnndddd) 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 0HFH (015)

RECORD EXIT

Status F0H Byte F0H 7FH Dev 06H 07H F7H Data Bytes Status 7FH, Dev, 06H, 07H F7H Description Status of System Exclusive Message Universal System Exclusive Message Realtime Header Device ID (10H or 7FH) MMC Command Message RECORD EXIT EOX (End of System Exclusive Message)
dddd = 4 bit nibble data:
If the upper and lower 4 bits of the count are combined, these bit fields are assigned as follows. Frame Count xxx yyyyy Seconds Count Status F7H xx yyyyyy Minutes Count xx yyyyyy Hours Count x yy xxxyyyyy Reserved (000) Frame No. (029) xxyyyyyy Reserved (00) Seconds Count (059) xxyyyyyy Reserved (00) Minutes Count (059) xyyzzzzz Reserved (0) Time Code type 0 = 24 Frames/Sec 1 = 25 Frames/Sec 2 = 30 Frames/Sec (Drop Frame) 3 = 30 Frames/Sec (Non Drop Frame Hours Count (023)
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 F0H Data Bytes 7FH, Dev, 06H, 44H, 06H, 01H, hrH, mnH, scH, frH, ffH
Byte F0H 7FH Dev 06H 44H 06H 01H hrH, mnH, scH, frH, ffH F7H
Description Status of System Exclusive Message Universal System Exclusive Message Realtime Header Device ID (10H or 7FH) MMC Command Message LOCATE (MCP) Number of Bytes TARGET sub command Standard Time with Sub Frame EOX (End of System Exclusive Message)

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.
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 (Owners 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.
2. Press CURSOR [ ][ Tempo Match Now icon.
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: To: Specify the sample whose length you want to adjust. Specify the pad to which the length-adjusted sample will be assigned.
In case the expanding/ expanding level is in excess of 134% or less than 67%, the sample will not be made correct tempo.
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].
Modifying the pitch of a sample to create a new samplePitch Change
You can modify the pitch of a sample to create a new sample.
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.
2. Press CURSOR [ Pitch Change icon.
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: To: Specify the sample whose pitch you want to adjust. 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 (13) 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.