CXM 1978 AUTOMATONE™ INSTRUCTIONS 1978 was a big moment for reverb. It was the dawn of sprawl, the first time reverbs were capable of massive trails and infinite decay. The CXM1978 reaches back to that moment, allowing you to explore the charm of those late 70's imperfections, or hifi and lofi reimaginings. The reverb you'll find here is highly interactive and physical, built from a moving, evolving network of digital reflections. Each space has its own behaviour and response, just like true reverb, So, let's learn how to use it. FADERS The flying faders react to preset changes, expression, CV, and MID|, offering visual feedback of exactly what's going on. 2 gaan oO BASS, MIDS, CROSS, TREBLE These four faders combine to set the reverb time, The CXMI978 has a unique approach to reverb shaping that focuses on EQ rather than a simple decay control. By adjusting the EQ, you are actually setting the absorption of the walls that make up the reverb tank, The tone and behaviour are interwoven, just like physical reverb. BASS Sets the decay time below the crossover frequency MIDS Sets the decay time above the crossover frequency cross Sets the crossover point of the BASS and MIDS. You can think of this Ike a frequency splitter - everything above the crossover point goes to the MIDS control, everything below goes to the BASS control. A good way to wrap your head around this is by ‘turning up the MIDS slider completely, then adjusting CROSS, With CROSS all the way up, you will have a thin revert with a falely short decay, This is beeause most frequencies are being routed to the BASS control. As you bring CROSS down, both the decay time and EO expand, The benefit of this approach is you can give a unique decay time to both the BASS and MIDS, and set exactly how to divide the two. This can be used to create 3 pad of bass reverb that sits neatly beneath your playing, for ‘example. The range is from O Hz to 1700 Hz. Bass TREBLE Darkens the reflections by increasing absorption. TREBLE is. roots good example of how the EQ is interconnected - even with MIDS and BASS at max, the decay time will be auite short with TREBLE at minimum, MIX «===s «x= ITs o8ess Sets the analog balance between the Wet and Dry signals PRE-DLY Sets the delay before the onset of the reverb. The range of the Sen pre-delay sliders set by the CLOCK button, Additionally, the = HIGH setting of the DIFFUSION button adds a unique smeared feedback tothe pre-delay for flanged textures at short times | tnd smooth organic echoes et longer times (see CLOCK for ove more on this)FOOTSWITCH FUNCTIONS PRESET/BANK This button toggles between 10 saved presets (0-9 on the LED Display) for each bank, Holding down the PRESET/BANK button selects between the three banks indicated by the Bank LED, which is unit for the first bank of presets, RED for the second bank, GREEN for the third bank, All30 presets are accessible using only this switch, but MIDI control can offer more flexibility. BYPASS/SAVE Engaging Bypass toggles between whether the pedal is effecting Incoming audio or not. Holding down the button will save all audio and expression settings to the current preset. If you want to move and save the current settings to another preset number, hold down the JUMP arcade and press the PRESET stomp to find the number you want and then hold the BYPASS stomp to save it in that location, Movement between banks is allowable by holding down PRESET, ARCADE BUTTONS. JUMP The JUMP feature lets you instantly skip to preset O or 5, like a favorite selector. f JUMP is active when you hit the PRESET footswitch, it will ump to the selected destination. For example, if you are on Preset 7 and the JUMP button is blue, hitting the PRESET stomp will skip to Preset O. If you are on Preset 7 and the JUMP button is red, hitting the PRESET footswitch wil skip to Preset 5. Each preset can be saved with its own JUMP setting, JUMP makes it possible to toggle back and forth between presets 0 and 5, for example, or create custom groups within a bank for quick scrolling through your favorites. cLock Sets the fidelity, ancl lenath of the PRE-DLY control HIFI: A clean, modern take on the reverbs of yesteryear, with a low noise floor. 48%Hz sample rate, 32 bit input resolution, 42ms max pre-delay. STANDARD: 1978's finest, You can think of STANDARD mode as retro hifi, pleasantly flawed and limited by the technology of the time. 24 kHz sample rate, 16 bit input resolution, 168ms max pre-delay. LOFI: A fluid setting that can introduce a variety of textures from subtle digital sparkle to overt fering and degradation, The PRE-DLY slider has a dual purpose in LOFT ~ it works like a bucket brigade delay, where the ‘time’ knob adjusts the clock rate. The higher the pre-delay, the more the sound quality falls apart. 48kHz-2 4kHz sample rate (variable), 16 bit input resolution, 17 second max pre-delay, TANK MOD Sets the amount of modulation present in the CXM's reverb tank LOW. adds a subtle, organic liveliness to the reflections MED: siow speed and moderate depth fer chorus- like movement HIGH: fast speed and low depth for rotating speaker inspired overtones. DIFFUSION A deceptively mult-taceted control that sets the amount of, ‘smearing for the intial attack of the sound, but also engages some unique hidden behaviours LOW: No smearing on the attack (also called the transient), for a very clear and uncolored sound. Bonus for Hall - the LOW setting enables a sparse mode that surrounds the attack with a cloud of soft delay taps, specially designed for the Hall algorithm, MED: A softened attack, best heard on percussive sounds with a short decay. By spreading out the eneray of the attack, the reverb onset is slowed and the reflections inside: the reverb tank are more gentle overall HIGH: Introduces regeneration to the pre-delay, along with ‘an extremely softened attack. The effect of this regeneration | dependent on the pre-delay time ~ lower settings produce ‘comb filtering (lange) or very dense reflections, while higher settings (best with the LOFI CLOCK) yield distinct echoes like a delay. The feedback path includes the diffusion, so that every repeat of the pre-delay is more smeared, The regeneration amount is fixed. TYPE ROOM: A lively and ditect character, great for transforming static sounds into something with a natural sense of place. ROOM has the ability to provide both ambience and a feeling of groundedness and familiarity. Try pairing it with virtual lamps or instruments to Bring them to life. PLATE: Fast and dense, with a flexible character. Plate tends to be agreeable and easy to blend in ~ alongside the natural acoustic reverb captured in a recording, for example. A good ‘match fer beefing up percussion and vocals. HALL: A large space with a mecium build up of reflections. Well-suited to ambient walls of sound, the extended reflections are a great base for sculpting with the BASS/ MIDS/CROSS controls. Deep rumbling bass caverns and ‘ethereal upper-mid halos are easy to create. Don't forget, to explore the additional sparse mode with DIFFUSION set toLow,BALANCED 1/0 CXM 1978 has the ability to have either unbalanced or ultra-low-noise balanced inputs and outputs, Unbalanced VO is the default and in this mode, the bypass LED turns red when activated. Balanced /O can be engaged by nolding down the bypass stomp while powering the pedal, and in this case, the laypass LED turns green when activated. Your preferred mode will be remembered by the pedal when powered down, and if you'd like to switch, you need to hold down the bypass stomp while povrering the pedal again. AUX Using the Aux port on CXM, you can plug in a Meris Preset Switch with a TRS cable to access two modes: Preset mode and Performance mode. In Preset mode, the four switches on the Preset Switch will recall presets 1- 4 on each of the three laanks on CXM. Performance mode has more tot. Switches 1 and 2 on the Preset Switch allow you to recall the Heel and Toe positions, respectively, on a given preset. This lets you effectively have 3 presets for any dedicated preset slot. Heel and Toe positions are set in the expression menu, mentioned below, Press switch 1 to access tne Heel position. Press again to go back to your Standard preset position. Press switch 2 to access the toe position. Press again to go back to your standard preset position Switches 3 and 4 let you manipulate the buffer. Switch 3 instantly kil the reverb tall This is especially useful for dramatic, abrupt terminations to huge sounding trails. Switcn 4 acts as a kind of sustain locking mechanism, blocking your incoming Gry signal from entering the reverb path but maxing the reverb tails, allowing you to play over a familar (yet evolving and recirculating) reverb landscape. Press switcn 4 again to gracefully clear the butter, or abruptly clear the buffer by pressing Switch 3 or any of the buffer clearing arcades (Type, Diffusion and Clock) EXPRESSION To connect an expression pedal, insert a TRS cable from the expression pedal to the EXP jack on the back of the pedal. By default, the expression pedal controls no parameters and will need to be assigned to the sliders. This can also be used for 0-SV Control Voltage (CV). When using CV instead of expression, you should use a TRS cable with the ring floating, ‘These are available at chaseblissauio.com. Here is a sample setup instruction setup: EXPRESSION MENUS ‘There are three pages in this setup. Page "E* wil 1 = crcer expression setup Menus © = © assign which faders expression will control. Page “t” will set the position of each fader when expression ipa the way at the max toe on your treadie (or 5¥ z= ‘on CV). Page “H” will define the position of each he seat fe Expression Cornel = ‘on CV), When adjusting you can skip to any page i = sound wile fine tuning the T and H ranges of faders t selected for expression control, Expression fo the position Sesired when at fl HEEL [Ext Expression Setup Menus N OG BB WwHere is a sample setup instruction setup: 1 2 3 4 5 6 7 8 Enter Expression Setup Menus Switch to Global Mode Slide Faders up (om) oF down (otf) toassign to Expression Control Enter Toe Page Slide Faders selected on Expression ta the position Enter Heel Page Slide Faders selected on desired when a ful HEEL Exit Global Expression Setup Menus PRESET NAME HOVERBOARD Low, bass-focused reverb pad T © lie ill ge) ee 10 Ill | O@@0®@ Oo oO GLOBAL EXPRESSION ‘When in the Expression Setup Menus, you can switch to the GLOBAL Expression mode, Think of this as fone extra expression favorite setting that can be accessed from all presets. You can access this Global Expression setting from any preset, change it from any presets expression page, and it will instantly save to the global for all presets. This effectively gives you two expression options for each preset. One unique to each preset, and one common shared by al Here once you tap PRESET and BYPASS while on these pages you will now exit and use the Global ‘expression setting for all presets (even when you scroll presets). If you want to get back to using local ‘expression settings, simply tap BYPASS and PRESET, HOLD one of the foot switches until you see the LED. show the E, T or H without the asterisk and you have toggled back to the local expression mode for each preset Some of these concepts are much easier to ‘explain and demonstrate on video, and we have many tutorials avallable on our youtube channel at youtube.com/ChaseBlissAudio ‘We also lave to hear from customers and answer ‘questions so feel free to write us anytime at chaseblissaudio.com/contact PRESET NAME SCATTERED THOUGHTS Wispy mult-tap clusters T O8#0O0® Oe°L}eO M PDPRESET NAME NATURAL ACOUSTICS Pure, intimate room sound BoM C T M PD PRESET NAME ROTATING CHIME Regenerating lof artifacts with swirling modulation UU OeLsleO B c T PD PRESET NAME WANDERING WIND Feed ita note and watch it move PRESET NAME DISTANT ECHOES Dissolving delay/reverbs combo HN OeLleO B c PDPRESET NAME PRESET NAME WORLD'S BIGGEST ROOM BENDING HALL Impossible room with billowing trails Classy hall with surreal modulation BoM Cc T M PD BoM Cc T M PD OeLleO OeLleO PRESET NAME PRESET NAME BOTTOMLESS ALMOST 80’s Yeah, infinite reverb, nice Vintage modulated plate B c T M PD B c PD —ii— OmerisCXM 1978 AUTOMATONE™ MIDI CONTROL CHANGE CHANNELS FADERS sass Value Range: 0-27 (Ful owen is 0, Full up i127) Mos 15 Value Range: 0-27 (Ful down is0, Full upis 127) cross ¥6 Valve Range: 0-27 (Ful down i¢0, Full up ic 27) reeme 17 Yalue Range: 0-27 (Ful down 50, Full upis 127) ex 18 Yale Range: 0:27 (Ful down i¢0, Full upic 27) PRE-DLY 18 Value Range: 0-27 (Fu dow is 0, Full up i127) ARCADE BUTTONS. sue 22 Vatienange: 1 0H,2.0,3:5 ree 23 Vake Range: Room, 2: Pate, &: Hall DIFFUSION 24 ate Range: Low 2 Med, F49h TAMKMOD 25 —_alie Range: Low. 2 Med, 2:5gh c1oex 26 Vat Range tHe 2:Stndad, Lo OTHER reser 7 Yalue Range 0:29(CC# ceva to desea Eke reser) Saree 28 Any Vauewitigger mis event fend 29° Any Value will rigger this event Server AUKPERE 30 pay Vai tigger es event AUKPERE ay Vac Range: Sutton or) Suan at EXPRESSION 100 vPass/ ENeAGE Value Range 0-127 Ful down s 0, Fullup i127) Value Range Any value will uric EOM Lock 102 Vale Range: 0: ype. Nor >: Engage MERIS AUX SWITCH FUNCTIONS wrens rocoto crretnnk swiTcH2 Presat 2 the current bank swe 4 Presa inthe current bank PERFORMANCE MODE SWITCH (ist Press) Moves gers to expression heal paeien (arpregrammes) SWITCH 12nd Press) Return to core preset settnas SWITCH 2 (Ist Press) Moves sliders 0 exoresson toe postion (tpvearammec) after cee (abr cute rover tral) Locks ne susan of your reer tas 2nd Feures ory signal 0 output ‘SWITCH 1nd Press), SWITCH 4 (stress) ‘SWITCH 4 (ana Press) MIDI CONFIGURATION (cx141978™ allows al of ts parameters tobe contraed via contol change ‘messages, as well a t's preses tobe saved with control change messages, fn recaloe with program change messages, ‘To connect your CxM 1978" to a MIDI controler, all you need to do run a {tansare Spin Mibl cable frm the "Mlb! QUT” norton your MIB} eantaler to the "MIDIIN" porton the pedal. For your convenience. we have also included {MDI THRU" port allowing MID messages coming into the "MIDI IN” port to be passed downstream to other MID pedals, MIDI CHANNEL (2x04 1978 Is set to MIDI channel 2 by default. This can be changed by holding down both stomp switches simultaneously when you provide power te the peda and releasing the stomp switches once the seven segment tlsplay on the front of the pedal Ights up. The pedal snow looking for the fist program change message It sees and vill set self to whichever ehannel receives that message from. Note: ou may need to send that program change message more than one time, This is saved as the new MIDI ehanne! Unt you decide to change nt again, SAVING A PRESET VIA MID! You can save your current settings via MIDIto any ofthe 30 preset Sots Send CCH27 and the value (0-28) wit save the current configuration tothe intended preset sot Remember, you can also save a preset tothe curent Slot at any time by pressing and holding the SAVE stomp switch on the peda RECALLING A PRESET VIA MIDI Presets 0-29 are recaled using program changes 0-29. You can do ths by "sneing the corresponding program change # from your MOI contre Por ‘example, sending a program change message of "4 loads Bank one (let LED fh, preset four. Sending a message of "17" loads bank two (let LED 0), preset seven. Sencing a program change of "20" loads bank thee (itt LED Dreen), preset zere, CXM1972™ can be controled sith MID contol change messages. View the table shown in he Upper ett that outenes whieh MID! contol change. ‘message controls each CXM 1978™ parameter To control the AUX functions on your CXM 1978™ you can plugin a Meris Preset Saiten wha TRS calle 10 access (wo modes Preset mode and Performance mode. Switch between moves by halding the Jump arcade button while connecting your TRS eable to the Al por. Preset mode is simple, the four switches on the Preset Switch wil call presets 4 on each ofthe three barks 9 CXM Performance mode has more tot. Switches 1 and 2 on te Preset Switch allow yeu to recall the hee and toe positens, respectively, on ary given preset. This could aso allow you to effectively nave 3 presets for any ‘eicated preset sot Heel and toe postions are set in the expression men. Press switch 11o access the heel poston. Press again to go back to your ‘tancare preset postion. Press switch 2 to access the fe postion Press Again to go back to you" standard preset postion, Switches 3 and 4 are reaty fun and let you manipulate the reverb butte. Switch 3 instanty kis the reverb toi. Ths especially useful for dramatic abrupt terminations of huge reverb tals Switch 4 acts as a kind of sustain iseking mechanism, Blocking your ining dry signal from entering the ‘evra path but maxing the reverts tale store yout lay over fmar (yet evohing and recireubating) reverb landscape, Press switch & again to Sracetuly dear te buffer, or abrupty clear the buffer by pressing switch 3