Yamaha CBX-D5 Handleiding

Merk: Yamaha

Model: CBX-D5

Categorie: Digitale videorecorders (DVR)

Type: Handleiding

CBX-D5

DIGITAL RECORDING PROCESSOR

Owner's Manual 2

OPERATING MANUAL

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA

FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modiﬁcations not expressly approved by

Yamaha may void your authority, granted by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product

MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance

with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interfer-

ence with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the

users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interfer-

ence will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”,

please try to eliminate the problem by using one of the following measures:

Relocate either this product or the device that is being affected by the interference.

Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line ﬁlter/s.

In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable.

If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not

locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620

Dette apparat overholder det gaeldende EF-direktiv vedrørende

radiostøj.

Cet appareil est conforme aux prescriptions de la directive com-

munautaire 87/308/CEE.

Diese Geräte entsprechen der EG-Richtlinie 82/499/EWG und/

oder 87/308/EWG.

This product complies with the radio frequency interference

requirements of the Council Directive 82/499/EEC and/or 87/

308/EEC.

Questo apparecchio è conforme al D.M.13 aprile 1989 (Direttiva

CEE/87/308) sulla soppressione dei radiodisturbi.

Este producto está de acuerdo con los requisitos sobre interferen-

cias de radio frequencia ﬁjados por el Consejo Directivo 87/308/

CEE.

YAMAHA CORPORATION

IMPORTANT NOTICE FOR THE UNITED KINGDOM

Connecting the Plug and Cord

IMPORTANT: The wires in this mains lead are coloured in accordance

with the following code:

GREEN-AND-YELLOW : EARTH

BLUE : NEUTRAL

BROWN : LIVE

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 GREEN and YELLOW must be connected to

the terminal in the plug which is marked by the letter E or by the safety

earth symbol or coloured GREEN and YELLOW.

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.

SPECIAL MESSAGE SECTION

PRODUCT SAFETY MARKINGS: Yamaha electronic prod-

ucts may have either labels similar to the graphics shown

below or molded/stamped facsimiles of these graphics on the

enclosure. The explanation of these graphics appears on this

page. Please observe all cautions indicated on this page and

those indicated in the safety instruction section.

● Explanation of Graphical Symbols

The exclamation point within the equilat-

eral triangle is intended to alert the user to

the presence of important operating and

maintenance (servicing) instructions in the

literature accompanying the product.

The lightning ﬂash with arrowhead symbol

within the equilateral triangle is intended to

alert the user to the presence of uninsulated

“dangerous voltage” within the product’s

enclosure that may be of sufﬁcient magni-

tude to constitute a risk of electrical shock.

IMPORTANT NOTICE: All Yamaha electronic products are

tested and approved by an independent safety testing labora-

tory in order that you may be sure that when it is properly

installed and used in its normal and customary manner, all

foreseeable risks have been eliminated. DO NOT modify this

unit or commission others to do so unless speciﬁcally autho-

rized by Yamaha. Product performance and/or safety stan-

dards may be diminished. Claims ﬁled under the expressed

warranty may be denied if the unit is/has been modiﬁed.

Implied warranties may also be affected.

SPECIFICATIONS SUBJECT TO CHANGE: The informa-

tion contained in this manual is believed to be correct at the

time of printing. However, Yamaha reserves the right to

change or modify any of the speciﬁcations without notice or

obligation to update existing units.

CAUTION: TO REDUCE THE RISK OF ELEC

TRIC SHOCK, DO NOT REMOVE COVER (O

BACK). NO USER-SERVICEABLE PART

INSIDE. REFER SERVICING TO QUALIFIE

SERVICE PERSONNEL.

ENVIRONMENTAL ISSUES: Yamaha strives to produce

products that are both user safe and environmentally friendly.

We sincerely believe that our products and the production

methods used to produce them, meet these goals. In keeping

with both the letter and the spirit of the law, we want you to

be aware of the following:

Battery Notice: This product MAY contain a small nonre-

chargeable battery which (if applicable) is soldered in place.

The average life span of this type of battery is approximately

ﬁve years. When replacement becomes neccessary, contact a

qualiﬁed service representative to perform the replacement.

Warning: Do not attempt to recharge, disassemble, or inciner-

ate this type of battery. Keep all batteries away from children.

Dispose of used batteries promptly and as regulated by appli-

cable laws. Note: In some areas, the servicer is required by

law to return the defective parts. However, you do have the

option of having the servicer dispose of these parts for you.

Disposal Notice: Should this product become damaged

beyond repair, or for some reason its useful life is considered

to be at an end, please observe all local, state, and federal reg-

ulations that relate to the disposal of products that contain

lead, batteries, plastics, etc.

NOTICE: Service charges incurred due to lack of knowledge

relating to how a function or effect works (when the unit is

operating as designed) are not covered by the manufacturer’s

warranty, and are therefore the owners responsibility. Please

study this manual carefully and consult your dealer before

requesting service.

NAME PLATE LOCATION: The graphic below indicates the

location of the name plate. The model number, serial number,

power requirements, etc., are located on this plate. You

should record the model number, serial number, and the date

of purchase in the spaces provided below and retain this man-

ual as a permanent record of your purchase.

Model

Serial No.

Purchase Date

92-469 1

IMPORTANT SAFETY INSTRUCTIONS

INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,

AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.

WARNING — When using any electrical or electronic prod-

uct, basic precautions should always be followed. These pre-

cautions include, but are not limited to, the following:

Read all Safety Instructions, Installation Instructions,

Special Message Section items, and any Assembly

Instructions found in this manual BEFORE making any con-

nections, including connection to the main supply.

Main Power Supply Veriﬁcation: Yamaha products are

manufactured speciﬁcally for the supply voltage in the

area where they are to be sold. If you should move, or if any

doubt exists about the supply voltage in your area, please

contact your dealer for supply voltage veriﬁcation and (if

applicable) instructions. The required supply voltage is

printed on the name plate. For name plate location, please

refer to the graphic found in the Special Message Section of

this manual.

This product may be equipped with a polarized plug

(one blade wider than the other). If you are unable to

insert the plug into the outlet, turn the plug over and try again.

If the problem persists, contact an electrician to have the

obsolete outlet replaced. DO NOT defeat the safety purpose

of the plug.

Some electronic products utilize external power

supplies or adapters. DO NOT connect this type of

product to any power supply or adapter other than one

described in the owners manual, on the name plate, or specif-

ically recommended by Yamaha.

WARNING: Do not place this product or any other

objects on the power cord or place it in a position where

anyone could walk on, trip over, or roll anything over power

or connecting cords of any kind. The use of an extension cord

is not recommended! If you must use an extension cord, the

minimum wire size for a 25’ cord (or less) is 18 AWG.

NOTE: The smaller the AWG number, the larger the current

handling capacity. For longer extension cords, consult a local

electrician.

Ventilation: Electronic products, unless speciﬁcally

designed for enclosed installations, should be placed in

locations that do not interfere with proper ventilation. If

instructions for enclosed installations are not provided, it

must be assumed that unobstructed ventilation is required.

Temperature considerations: Electronic products

should be installed in locations that do not signiﬁcantly

contribute to their operating temperature. Placement of this

product close to heat sources such as; radiators, heat registers

and other devices that produce heat should be avoided.

This product was NOT designed for use in wet/damp

locations and should not be used near water or exposed

to rain. Examples of wet/damp locations are; near a swim-

ming pool, spa, tub, sink, or wet basement.

This product should be used only with the components

supplied or; a cart, rack, or stand that is recommended

by the manufacturer. If a cart, rack, or stand is used, please

observe all safety markings and instructions that accompany

the accessory product.

The power supply cord (plug) should be disconnected

from the outlet when electronic products are to be left

unused for extended periods of time. Cords should also be

disconnected when there is a high probability of lightening

and/or electrical storm activity.

Care should be taken that objects do not fall and liquids

are not spilled into the enclosure through any openings

that may exist.

Electrical/electronic products should be serviced by a

qualiﬁed service person when:

a. The power supply cord has been damaged; or

b. Objects have fallen, been inserted, or liquids have

been spilled into the enclosure through openings; or

c. The product has been exposed to rain; or

d. The product does not operate, exhibits a marked

change in performance; or

e. The product has been dropped, or the enclosure of

the product has been damaged.

Do not attempt to service this product beyond that

described in the user-maintenance instructions. All

other servicing should be referred to qualiﬁed service person-

nel.

This product, either alone or in combination with an

ampliﬁer and headphones or speaker/s, 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 vol-

ume level or at a level that is uncomfortable. If you experi-

ence any hearing loss or ringing in the ears, you should

consult an audiologist. IMPORTANT: The louder the sound,

the shorter the time period before damage occurs.

Some Yamaha products may have benches and/or

accessory mounting ﬁxtures that are either supplied as a

part of the product or as optional accessories. Some of these

items are designed to be dealer assembled or installed. Please

make sure that benches are stable and any optional ﬁxtures

(where applicable) are well secured BEFORE using. Benches

supplied by Yamaha are designed for seating only. No other

uses are recommended.

10.

11.

12.

13.

14.

15.

PLEASE KEEP THIS MANUAL

This information on safety is provided to comply with U.S.A. laws, but should be observed by users in all countiries.

92-469 2

1 Chapter : 1 Chapter :

Table of Contents

Introduction

..............................................1

Welcome to the CBX-D5...............................1

CBX-D5 features............................................1

Operating manual organization......................1

Important Notice............................................1

Unpacking .....................................................2

Installation......................................................2

Trademarks.....................................................2

Powering up a CBX-D5 System ....................2

CBX-D5 Terminology

..........................3

What is the CBX-D5?

...........................5

Inside the CBX-D5.........................................6

The CBX-D5 in a MIDI recording system.....7

Controls & Connections

...................8

Front panel .....................................................8

Rear panel ....................................................10

Connecting Hard Disk Drives

......13

What type of hard disk?...............................13

Hard disk size...............................................13

Choosing a hard disk....................................14

SCSI ............................................................14

SCSI cables..................................................15

Computer connection...................................15

SCSI ID setting ............................................16

SCSI termination..........................................17

Working with Hard Disks

...............18

Formatting....................................................18

Sound file management................................18

Sound file backup.........................................18

Computer utilities.........................................18

Hard disk fragmentation...............................19

Hard disk partitioning ..................................19

Recording

................................................20

Sampling frequency (REC FREQ)...............20

Digital input levels.......................................21

Setting the analog input level.......................21

Input level meters.........................................21

Headphone monitoring.................................21

Digital audio data containing SCMS ...........22

Digital audio data with emphasis.................22

20-bit digital audio.......................................22

Playback

.................................................. 23

Playback frequency (PB FREQ) ................. 23

Output level meters ..................................... 23

Sound file playback compatibility............... 23

Sound file regions........................................ 24

Converting the Sampling

Frequency & Digital Audio

Format in Real Time

...................... 25

Inputs & Outputs Explained

..... 26

ANALOG IN............................................... 26

ANALOG OUT........................................... 26

AES/EBU IN 1/2......................................... 27

AES/EBU OUT 1/2, 3/4.............................. 27

CD/DAT IN................................................. 27

CD/DAT OUT............................................. 27

Y2 IN........................................................... 28

Y2 OUT....................................................... 28

WORD CLK IN/OUT................................. 28

TO HOST connection

.................... 30

MIDI ........................................................... 30

Mac ............................................................. 31

PC-1 ............................................................ 32

PC-2 ............................................................ 32

TO HOST computer connecting cables ...... 33

Glossary

............................................... 34

Recording setup table

.................. 36

CBX-D5 Specifications

................ 37

Index

............................................................... 38

Appendix

.............................................. Add-1

Preset Effects ................................. Add-1

DSP/DEQ/DMIX Block Diagram.. Add-2

Preset effects parameter values ..... Add-3

Data-Value Assign Table ............... Add-5

Effect parameters............................ Add-8

MIDI Parameter............................ Add-24

MIDI Data Format........................ Add-28

MIDI Implementation chart.......... Add-32

Introduction 1Introduction 1Introduction 1

1 Introduction

Welcome to the CBX-D5

Thank you for purchasing a CBX-D5 Digital Recording Processor. Connecting the

CBX-D5 to a controlling computer with supporting software and an external hard disk will

provide up to four channels of CD quality audio recording, processing, and playback.

CBX-D5 features

• 4-channel system: 2-channel simultaneous recording, 4-channel playback.

• A/D conversion: 16-bit linear ∆ Σ modulation.

• D/A conversion: 18-bit with 8-times oversampling digital ﬁlter.

• Multi-band parametric DEQ for each channel.

• DSP provides 82 different reverb and modulation type effects.

• 4-input, 4-bus, 2-send digital mixer.

• Sampling frequencies: 48kHz, 44.1kHz, 32kHz, (22.05kHz analog input only).

• Analog inputs and outputs use professional style XLR type connectors.

• Digital I/O includes AES/EBU, CD/DAT & Y2 Yamaha format.

• 10 minutes of stereo audio requires approximately 100MB hard disk (fs=44.1kHz).

• Total recording time can be increased by adding more SCSI hard disks.

• All audio data processing is carried out within the CBX-D5, so much less is demanded

of the computer, eliminating data bottlenecks and slow screen redraws.

• Host computer connection allows direct connection to a computer without a MIDI

interface.

Operating manual organization

The CBX-D5 is supplied with three manuals: this Operating Manual, the System Setup

Guide, and a Test Program manual.

This Operating Manual contains full details about the CBX-D5 Digital Recording

Processor: what it is, how it works, and how to use it. It also contains an index that will

allow you to locate information quickly, and also a glossary of CBX-D5 terminology.

The System Setup Guide describes how to set up a recording system using the current

supporting computers and music programs. From time to time this guide will be updated

using single sheet supplements. Please see your Yamaha dealer for the latest supplement.

The Test Program manual should be used in conjunction with the Hardware Test Program

Disk for testing the CBX-D5 hardware.

Important Notice

YAMAHA AND THE SOFTWARE COMPANIES THAT PRODUCE CBX-D5

CONTROLLING SOFTWARE CANNOT BE HELD RESPONSIBLE FOR ANY LOSS

OF DATA OR FOR ANY DIRECT, INDIRECT, SPECIAL INCIDENTAL,

CONSEQUENTIAL OR OTHER DAMAGES SUFFERED BY THE USER OR OTHERS

RESULTING FROM THE USE OR PURCHASE OF THE CBX-D5, ITS

DOCUMENTATION, OR SUPPORTING SOFTWARE.

2 Chapter 1 : Introduction2 Chapter 1 : Introduction2 Chapter 1 : Introduction

Unpacking

The CBX-D5 packaging should contain the following items.

Store the packaging materials for future use.

Installation

The cosmetic appearance of the CBX-D5 has been designed to match typical computer

hardware. Its “footprint” size matches that of many computers so that it can easily be

installed with your other computer equipment.

The CBX-D5 should be placed on a ﬂat, stable surface.

The CBX-D5 can also be rack mounted using the supplied rack-mount kit. When installed

in the rack-mount kit the CBX-D5 requires 3U of rack space.

Trademarks

IBM



, PC-AT



, PS/1



, and PS/2



are registered trademarks of International Business

Machines Corporation.

Apple



and Macintosh



are registered trademarks of Apple Computer, Inc.

Atari



, ST



, TT



, and STE



are registered trademarks of Atari Corporation.

Mark of the Unicorn



is a registered trademark of Mark of the Unicorn, Inc.

All other trademarks are the property of their respective holders.

Powering up a CBX-D5 System

Some computer systems are a little bit fussy about which devices are switched on ﬁrst,

especially when a SCSI daisy chain is introduced into the system. As a good rule of

thumb, switch on all connected SCSI devices ﬁrst, then the computer.

1 CBX-D5 Serial No:

1 Power cable

1 8-pin mini DIN cable

1 MIDI cable

1 SCSI cable (50 to 50 Amphenol)

1 SCSI terminator

1 Rack-mount kit (L & R set)

Hardware Test Program Disk

Test Program Manual

1 This

Operating Manual

System Setup Guide

1 User Registration Card

NOTE: While using your CBX-D5 computer music system, do not switch off or

disconnect any device connected in the SCSI chain. Doing so will probably

lead to a system crash and you could loose valuable data.

CBX-D5 Terminology 3CBX-D5 Terminology 3CBX-D5 Terminology 3

2 CBX-D5 Terminology

SCSI

Pronounced scuzzy, the Small Computer System Interface is a connection format used for

connecting peripheral devices such as hard disks, printers, scanners, etc., to a computer.

Up to eight SCSI devices can be connected together in a daisy chain including the

controlling computer. Each device is given its own identity number from 0 to 7, this is

called the SCSI ID number.

The CBX-D5, a computer, and a hard disk are all connected as part of a SCSI daisy chain.

The SCSI connection carries audio data between the CBX-D5 and hard disk for recording

and playback, and also control data from the computer to the CBX-D5. The controlling

computer can also access the hard disk to perform basic sound ﬁle copy, delete, and backup

type functions. With the necessary software, digital audio data could be transferred

directly to the computer for on-screen waveform editing, etc.

The SCSI standard is quite a robust format, although, some care must be taken when

connecting and setting up SCSI devices. For full details about connecting SCSI hard disk

drives to the CBX-D5 see “Connecting Hard Disk Drives” on page 13.

Sound files

Just like other types of computer data, digital audio data is stored in ﬁles – sound ﬁles.

When recording starts, a sound ﬁle is created on the hard disk. This sound ﬁle can be given

a name, copied, and deleted just like any other computer ﬁle.

AES/EBU format

AES/EBU is a digital interface format established by the AES (Audio Engineering

Society) and EBU (European Broadcasting Union). It is used to transfer digital audio data

between professional digital audio equipment. Usually, two channels of digital audio (left

& right) are carried in one XLR type connection.

Although similar to the CD/DAT format, it is primarily intended for professional usage.

AES/EBU format connections can be found on most professional digital audio equipment

including hard disk recorders, digital mixers, professional DAT recorders, and many

digital VTRs.

CD/DAT format

Similar to the professional AES/EBU format, CD/DAT, or S/PDIF (Sony/Philips Digital

Interface Format) as it is otherwise known, is a digital interface format that is used to

transfer digital audio data between consumer type digital audio equipment such as CD

players, consumer DAT recorders, and the new DCC recorders.

Like the AES/EBU format, two channels of digital audio (left & right) are carried in one

connection, usually a phono/RCA jack type connection. Some MIDI samplers are ﬁtted

with a CD/DAT connection so that sample data can be transferred directly to a DAT

recorder for storage.

Y2 format

Y2 Yamaha format is a digital interface format developed by Yamaha that is used to

transfer digital audio data between Yamaha’s professional digital audio equipment. Two

channels of digital audio (left & right) are carried in one connection, usually an 8-pin DIN

type connection.

Yamaha’s professional digital audio products usually include the AES/EBU and CD/DAT

type formats as well as Y2, and the Y2 format can also be found on some other

manufacturers’ digital audio products. Yamaha’s professional digital audio products that

use Y2 include the DMR8 Digital Mixer/Recorder, DMC1000 Digital Mixing Console,

DRU8 Digital Recorder, and the DMP series of Digital Mixers.

4 Chapter 2 : CBX-D5 Terminology4 Chapter 2 : CBX-D5 Terminology4 Chapter 2 : CBX-D5 Terminology

Sampling frequency (REC FREQ)

During the analog to digital conversion process, the level of the analog audio signal is

sampled (measured) many times per second. Each of these sample measurements is then

stored as a 16-bit binary value. For digital to analog conversion (playback), these 16-bit

binary values are used to reconstruct the analog audio signal. The rate at which these

sample measurements take place is called the sampling frequency and you may already

know that the sampling frequency used by CD players is 44.1kHz.

The CBX-D5 can record audio using any one of four sampling frequencies: 48kHz,

44.1kHz, 32kHz, and 22.05kHz. The audio quality (bandwidth) of a digital system is

directly affected by the sampling frequency. Essentially, the audio bandwidth will be

roughly half the chosen sampling frequency. See “Sampling frequency (REC FREQ)” on

page 20 for more details.

Word clock

When a number of digital audio devices are connected together and data is digitally

transferred between them, it is essential that the data processing circuits of all devices are

synchronized. To achieve this, one device operates as a word clock master and all other

devices operate as word clock slaves. The frequency of the word clock corresponds

directly to the digital audio data’s sampling frequency.

If you only connect two digital audio devices, say the CBX-D5 to a DAT recorder, word

clock setup is quite straight forward and no word clock connections will be required.

However, when three devices are connected, serious thought will need to be given as to

which device is word clock master and how to make the word clock connections. See

“WORD CLK IN/OUT” on page 28 for more details.

To Host

An 8-pin mini DIN connector that allows direct connection to a computer that is running

CBX-D5 supporting software. This can be used when your computer does not have a

MIDI interface, i.e. MIDI input and output connections. See “TO HOST connection” on

page 30 for more details.

NOTE:

Word clock signals should not be confused with other synchronizing signals

such as SMPTE timecode and MTC (MIDI Timecode). Although both may

be used in a digital audio system, word clocks are for synchronizing digital

audio data processing circuits such as CPUs, D/A, A/D converters, etc., while

SMPTE and MTC timecodes are for synchronizing audio and video tape

machines, MIDI sequencers, etc., relative to time – hours, minutes, seconds,

and frames.

NOTE:

Not all CBX-D5 supporting music software can use this type of connection,

so please consult your Yamaha dealer before making a purchase.

What is the CBX-D5? 5What is the CBX-D5? 5What is the CBX-D5? 5

3 What is the CBX-D5?

The CBX-D5 is a Digital Recording Processor that, when connected to a controlling

computer with supporting software and an external hard disk, provides up to four channels

of CD quality audio recording, processing, and playback.

Computer based

The CBX-D5 is controlled by a computer that is running CBX-D5 supporting software.

All audio data processing takes place inside the CBX-D5, so there is very little demand on

the controlling computer. For this reason the CBX-D5 can be used with some of the less

powerful, less expensive computers such as the Apple Macintosh SE/30, Classic II, and

LC; and the Atari ST/STE. It also leaves the computer free to get on with other jobs such

as processing MIDI sequence data and screen updates.

The CBX-D5, computer, and hard disk are all connected as part of a SCSI daisy chain. The

SCSI connection carries audio data between the CBX-D5 and hard disk for recording and

playback, and also control data from the computer to the CBX-D5. A MIDI connection

between the CBX-D5 and computer carries continuous controller information for

real-time volume, EQ, and pan control of the CBX-D5’s digital mixer.

Four-channel system

The CBX-D5 is a 4-channel system, i.e., 2-channel simultaneous recording and

4-channel playback. Channels can be recorded while other channels playback.

The CBX-D5 needs about 100Mbytes of hard disk space to record 10 minutes of stereo

digital audio (fs = 44.1kHz). The available recording time can be increased by simply

adding more, or larger hard disk drives to the SCSI daisy chain.

CD quality & editing

The CBX-D5 records audio data at a 16-bit resolution, and with 44.1kHz and 48kHz

sampling frequencies it provides all the sound quality beneﬁts of the Compact Disc format

such as faithful reproduction, low noise, minimal distortion, etc.

Analog input and output signals are processed by 16-bit linear ∆ Σ modulation A/D and

18-bit 8-times oversampling D/A converters. Analog connections use balanced XLR type

connectors. Digital I/O consists of AES/EBU, CD/DAT, and Y2. Allowing digital audio

data transfer between the CBX-D5 and other digital audio equipment.

As well as the A/D, D/A converters, the CBX-D5 also contains a 4-input, 4-bus, 2-send

digital mixer; a DSP for digital effects; DEQ for real-time EQ control; and sampling

frequency converters that allow recording and playback at differing sampling frequencies.

As well as the sound quality, two other beneﬁts of recording with a CBX-D5 system as

opposed to analog tape are, the ability to nondestructively edit recordings and being able

to move audio data relative to time, a feature often referred to as audio time slip.

For a listing of some other CBX-D5 features, see “CBX-D5 features” on page 1.

The future

The CBX-D5 is a software dependent device, so with future supporting software it may be

possible to use the CBX-D5 for digital mixing with digital EQ and effects, sampling,

2-track mastering, waveform editing, and multimedia type applications.

6 Chapter 3 : What is the CBX-D5?6 Chapter 3 : What is the CBX-D5?6 Chapter 3 : What is the CBX-D5?

Inside the CBX-D5

The following block diagram shows how the CBX-D5 processes audio data as it travels

from input to output and to the external SCSI hard disks.

DIGITAL

MIXER

4 INPUT

4 BUS

2 SEND

A/D

CONVERTER

DIGITAL

INTERFACE

A/D

CONVERTER

CBX-D5

SCSI

CONTROLLER

PLAY BUFFER

(RAM)

CONVERTER

PLAY

CONTROL

DEQ

DEQPLAY

CONTROL

CONVERTER

DEQPLAY

CONTROL

CONVERTER

DEQPLAY

CONTROL

CONVERTER

CONTROLLER

DSP

EFFECTS

CONVERTER

PLAYBACK

WORDCLOCK

RECORD

WORDCLOCK

RECORD

BUFFER

(RAM)

INTERFACE

S/PDIF

INTERFACE

AES/EBU

INTERFACE

AES/EBU

INTERFACE

D/A

CONVERTER

D/A

CONVERTER

D/A

CONVERTER

D/A

CONVERTER

ANALOG IN 1

ANALOG IN 2

AES/EBU

IN 1/2

CD/DAT

IN 1/2

Y2 IN 1/2

WORD

CLK IN

WORD

CLK OUT

ANALOG

OUT 1

ANALOG

OUT 2

ANALOG

OUT 3

ANALOG

OUT 4

CD/DAT

OUT 1/2

Y2 OUT 1/2

AES/EBU

OUT 1/2

AES/EBU

OUT 3/4

VOLUME, PITCH

SYNC

MIDI

MIDI OUT, or

Serial port

MIDI IN, or

TO HOST

HARD

DISK 1

HARD

DISK 2

SCSI

INPUT MONITOR

SIGNAL PATH

Fs = Sampling Frequency

WORDCLOCK

AUDIO

MIDI

HOST COMPUTER

INPUT LEVEL

METER

OUTPUT

LEVEL

METERS

The CBX-D5 in a MIDI recording system 7The CBX-D5 in a MIDI recording system 7The CBX-D5 in a MIDI recording system 7

The CBX-D5 in a MIDI recording system

The following diagram shows how the CBX-D5 can be integrated into a MIDI sequencer

based music production system.

MIDI OUT

MIDI

OUT

SERIAL PORT

TO HOST

MIDI IN

MIDI SOUND

SAMPLER

MIDI DRUM MODULE

MIDI TONE

GENERATOR

MIDI

MULTI-EFFECTOR

MASTER

RECORDER

MONITOR AMP

HOST CABLE

AUDIO CABLE

MIDI CABLE

SCSI

HARD

DISK

CD/DAT

YAMAHA

CBX-D5

SCSI

GROUP

OUT x2

LINE IN x4

DIGITAL

TRANSFER

8 Chapter 4 : Controls & Connections8 Chapter 4 : Controls & Connections8 Chapter 4 : Controls & Connections

4 Controls & Connections

Front panel

1 POWER switch

Used to turn the power on and off. Press once to switch on, press again to switch off.

2 SOURCE indicators

Indicates the input selected for recording: AES/EBU, Y2, CD/DAT, or ANALOG. The

source input selection is made by the controlling software.

3 REC FREQ indicators

Indicates the selected sampling frequency for recording: 48kHz, 44.1kHz, 32kHz, and

22.05kHz (analog inputs only). The sampling frequency selection is made by the

controlling software.

4 PB FREQ indicators

Indicates the sampling frequency of the digital audio data that is being output by the

CBX-D5: 48kHz, or 44.1kHz. The playback sampling frequency setting is made by the

controlling software.

When the CBX-D5 is used with an external word clock, the digital outputs will operate at

the same frequency as the external word clock and that frequency will not be indicated by

the “PB FREQ” indicators.

Front panel 9Front panel 9Front panel 9

5 INPUT LEVEL meters

Two 12-segment LED bargraphs indicate the level of the incoming digital audio when the

input source is set to AES/EBU, CD/DAT, or Y2 (not affected by the level controls), or the

level of the analog input signals when the input source is set to ANALOG (controlled by

the “ANALOG IN” level controls).

6 OUTPUT LEVEL meters

Four 12-segment LED bargraphs that indicate the output level of channels 1 ~ 4. The

“CLIP” LED indicates an output level of +17dBm.

7 ANALOG IN LEVEL control

Independent level controls for analog input channels 1 and 2. As well as independent level

control, these controls can also be used to balance the left and right channels of a stereo

source connected to the analog inputs.

8 PHONES VOL

Adjusts the volume level of the headphones.

9 PHONES connection

A stereo 6.35 mm (1/4 inch) phone jack used for connecting a pair of stereo headphones.

All four CBX-D5 audio channels can be monitored – channels 1 and 3 appear in the left

speaker and channels 2 and 4 in the right.

NOTE:

Unlike peak meters on analog equipment that light up approximately 3 ~ 6dB

before signal clipping, CLIP LEDs on digital equipment light up when the

signal has actually clipped. Digital audio signal clipping normally produces

unpleasant distortion, pops, and clicks, so care must be taken when setting

the recording level for analog input signals. See “Recording” on page 20 for

more details.

NOTE:

Just like the input level meters, lighting an output level meter’s “CLIP” LED

should be avoided to prevent signal distortion. This situation may occur when

two or more CBX-D5 audio channels are mixed, or if excessive EQ is

applied. The CBX-D5 does not have any output level controls, the output

level is set by the controlling software.

NOTE:

These controls have no effect on the AES/EBU, CD/DAT, and Y2 digital

inputs and outputs.

10 Chapter 4 : Controls & Connections10 Chapter 4 : Controls & Connections10 Chapter 4 : Controls & Connections

Rear panel

The explanations below are only brief introductions to the CBX-D5’s rear panel

connections. For full details about the inputs and outputs, see “Inputs & Outputs

Explained” on page 26.

1 ANALOG IN 1&2

A pair of female XLR 3-31 type connectors used for inputting analog audio signals. These

are balanced inputs with a nominal input level of +4dBm and a maximum input level of

+22dBm. These could be connected to the outputs of a mixer, synthesizer, drum machine,

etc. Microphones, guitars, and equipment with an output level less than –20dBm must ﬁrst

be connected to a preampliﬁer, then to the CBX-D5.

2 ANALOG OUT 1 ~ 4

Four male XLR 3-32 type connectors used for outputting channels 1 ~ 4 as analog audio

signals. These are balanced outputs with a nominal output level of 0dBm and a maximum

output level of +17dBm. These could be connected to the inputs of a mixer, ampliﬁer, tape

recorder, or DAT recorder.

3 AES/EBU IN 1/2

A female XLR 3-31 type connector for inputting AES/EBU format digital audio. Only one

input connection is required for channels 1 and 2 because the AES/EBU format carries two

signals in one connection. These could be used when recording digital audio data from

professional digital audio equipment such as another hard disk recorder, a digital mixer,

digital recorder, or digital VTR.

NOTE:

When the Analog inputs are used unbalanced, the maximum input level is

reduced to +16dBm.

Rear panel 11Rear panel 11Rear panel 11

4 AES/EBU OUT 1/2 & 3/4

Two male XLR 3-32 type connectors for outputting AES/EBU format digital audio.

Channels 1 and 2 are output via “OUT 1/2”, and channels 3 and 4 via “OUT 3/4”. These

could be used to transfer digital audio data from the CBX-D5 to professional digital audio

equipment.

5 CD/DAT IN 1/2

A Phono/RCA jack for inputting CD/DAT format digital audio. Channels 1 and 2 are

carried in the same connection. This connection could be connected to the digital output

of a CD player or DAT recorder and allows digital audio recording without multiple D/A,

A/D audio data conversions. Some MIDI samplers are ﬁtted with this type of connection.

In this case your sound samples could be recorded directly to your CBX-D5 system.

6 CD/DAT OUT 1/2

A Phono/RCA jack for outputting CD/DAT format digital audio. Channels 1 and 2 are

carried in the same connection. This could be connected to the digital input of a DAT

recorder or DCC recorder, and allows digital audio recording without multiple D/A, A/D

audio data conversions.

7 Y2 IN 1/2

An 8-pin DIN socket for inputting Y2 Yamaha format digital audio. As with the AES/EBU

and CD/DAT formats, two audio channels are carried in the same connection. This could

be connected to one of Yamaha’s digital audio products such as a DMR8 Digital

Mixer/Recorder, DMC1000 Digital Mixing Console, DRU8 Digital Recorder, SPX1000

Effect Processor, or the DMP series of Digital Mixers.

8 Y2 OUT 1/2

An 8-pin DIN socket for outputting Y2 Yamaha format digital audio. This could be used

to transfer digital audio data from the CBX-D5 to one of the Yamaha professional digital

audio products listed above. You might not own one of these products yourself, but you

may need to transfer some of your audio data to a recording studio that does.

9 WORD CLK IN/OUT

Two BNC type connectors for inputting and outputting word clock signals. A common

word clock signal is used to synchronize data processing circuits when a number of digital

audio devices are connected together. For a full description of how and when to use these

connections, see “WORD CLK IN/OUT” on page 28.

NOTE:

It is widely known that the weakest links in a digital audio system are the A/D

and D/A converters. For once the audio has been converted into a digital

form, it is immune from all the problems usually associated with analog

equipment such as distortions and noise. Although the effects of multiple

conversions will be hard to spot, even for the best trained ears, it makes sense

that once converted, we try and keep the audio in a digital form by using these

digital I/O connections wherever possible.

12 Chapter 4 : Controls & Connections12 Chapter 4 : Controls & Connections12 Chapter 4 : Controls & Connections

0 MIDI IN

The CBX-D5 receives MIDI control data from the computer via this connection. To

prevent the CBX-D5’s control data being delayed by other MIDI devices, the CBX-D5

should be the ﬁrst device connected to your computer. Other MIDI devices should then be

connected to the CBX-D5’s MIDI THRU connection.

If your computer’s MIDI interface has two or three MIDI outputs, dedicate one for use

with the CBX-D5.

A MIDI OUT

When the CBX-D5 is being used as a MIDI interface, that is, a direct connection to a

computer via the To Host connection, MIDI data from the computer is output to other

MIDI devices from this connection. Also used for MIDI bulk dump.

B MIDI THRU

MIDI data appearing at the MIDI IN connection is buffered, then output from this

connection. In other words, all MIDI data appearing at the MIDI IN connector is output to

the MIDI THRU connector unaffected by the CBX-D5.

C TO HOST connector

An 8-pin mini DIN connector that allows direct connection to a computer that is running

CBX-D5 supporting software. This can be used when your computer does not have a

MIDI interface, i.e., MIDI input and output connections. See “TO HOST connection” on

page 30 for more details.

D TO HOST select switch

This switch setting depends on the type of computer connected to the “TO HOST”

connector. See “TO HOST connection” on page 30 for full details.

E SCSI connectors

Two 50-way Amphenol type connectors used to connect the CBX-D5 into the SCSI daisy

chain.

F SCSI ID selector

A thumb wheel type switch used to set the SCSI ID number of the CBX-D5. See “SCSI

ID setting” on page 16 for more details.

G Power inlet

A 3-pin power inlet socket. Connect the supplied power cable to this socket, then plug the

other end of the cable into an AC receptacle of the correct type.

NOTE:

Although not usually a problem on a small MIDI system, when more than

three MIDI devices are daisy chained together using MIDI IN and THRU

connections, MIDI data can sometimes be delayed, especially if you transmit

a lot of continuous controller data such as pitch bend or modulation wheel. If

MIDI delays do become a problem, use a MIDI THRU Box to distribute the

MIDI signal to each MIDI device.

NOTE:

The operation of the MIDI IN and MIDI OUT connections varies depending

on the position of the CBX-D5’s Host select switch. See “TO HOST

connection” on page 30 for full details.

Connecting Hard Disk Drives 13Connecting Hard Disk Drives 13Connecting Hard Disk Drives 13

5 Connecting Hard Disk Drives

Before connecting a hard disk drive, read through this chapter to familiarize yourself with

SCSI and how a SCSI daisy chain should be setup.

What type of hard disk?

If you don’t already have a hard disk or are thinking of buying a larger one, see the supplied

card for a listing of recommended disk drives.

Hard disk size

The following table shows approximate available recording times for various sizes of hard

disk. Available recording times are shown for all of the CBX-D5’s sampling frequencies,

and as you can see, with a higher sampling frequency – less time is available. This is

because using a high sampling frequency produces much more digital data, which means

a bigger sound ﬁle. See “Sampling frequency (REC FREQ)” on page 20 for more details

about selecting a sampling frequency.

Although it is doubtful that you will ever buy a hard disk smaller than 40MB for use with

the CBX-D5, the values below 40MB will be useful for checking the remaining record

time that is available on a hard disk that already contains some sound ﬁles.

Hard disk / Max.

Sound File Size

Stereo Recording (minutes) Mono Recording (minutes)

22.05

kHz

44.1

kHz

22.05

kHz

44.1

kHz

2000MB (2GB) 380 260 190 174 760 760 380 348

1000MB (1GB) 190 130 95 87 380 380 190 174

660MB 124 85 62 57 248 248 124 114

330MB 62 42 31 28 124 124 62 56

200MB 40 25 20 17 80 50 40 34

100MB 20 13 10 8 40 26 20 16

40MB 8 5 4 3.30 16 10 8 7

20MB 4 3 2 1.42 8 6 4 3.24

10MB 2 1.18 1 51

secs

4 2.36 2 1.42

5MB 1 38

secs

2 1.16 1 52

secs

1MB 12

secs

7 secs 6 secs 5 secs 24

secs

14 Chapter 5 : Connecting Hard Disk Drives14 Chapter 5 : Connecting Hard Disk Drives14 Chapter 5 : Connecting Hard Disk Drives

Choosing a hard disk

If you plan to buy a hard disk that is not listed on the supplied card, the following

speciﬁcations should be checked ﬁrst.

SCSI

For an general introduction to SCSI, see “SCSI” on page 3.

Setting up a SCSI daisy chain requires a little more than just making connections. SCSI

devices require ID numbers and the daisy chain must be terminated correctly. These are

explained in the following three sections, “SCSI cables”, “SCSI ID setting”, and “SCSI

termination”.

When using a SCSI daisy chain, the following points should be borne in mind.

• Allocate each device its own SCSI ID number.

• Terminate the SCSI bus correctly.

• Use quality cables and keep the length down.

• Use the little wire clips (or screws) on a SCSI connector to fasten the cable plugs

securely.

• All devices connected in the daisy chain must be switched on to use the system.

• Never switch off, or disconnect a device once the system has been switched on.

Specification Check Notes

Is it compatible with your computer?

Maybe it is advertised as compatible, or your

dealer recommends it.

Does it have two SCSI connectors? You need two to continue the SCSI daisy chain.

Are the SCSI connectors 25-pin

D-SUB, or 50-way Amphenol?

Macintosh computers are fitted with a 25-pin

D-SUB connector, while most other SCSI devices

have a 50-way Amphenol connector.

Are the SCSI cables supplied? If not, you will need to purchase them separately.

Can the SCSI ID be set from 0 ~ 7? (for

Macintosh you only need 0 ~ 6)

If not, it might clash with another device’s ID, in

which case you may have to rearrange the ID

numbers of some other SCSI devices in the

chain.

Does it have internal or external

termination?

External terminators are normally connected to

the rear of the SCSI device. If the device has an

internal terminator, make sure it can be switched

off so that any device can be positioned at the

end of the SCSI daisy chain.

Access Time?

Measured in milliseconds, this is an indication of

how fast data from different areas of the disk can

be retrieved. The maximum we recommend is

30ms. An access time slower than this may affect

the performance of the CBX-D5.

Data Transfer Rate?

Usually measured in Megabits per second

(Mbit/s), this shows how fast data can be written

to and read from the hard disk. The minimum we

recommend is 16Mbits/s. A transfer rate less than

this may affect the performance of the CBX-D5.

NOTE:

Switch off all your equipment before making any SCSI connections.

SCSI cables 15SCSI cables 15SCSI cables 15

SCSI cables

Most SCSI devices are supplied with a SCSI cable, but if you need to buy one, make sure

that it is designed for SCSI usage and that the connecters on either end of the cable are

correct for your application.

Cable length is an important issue, but it’s not the length of each individual SCSI cable,

it’s the total length of the SCSI daisy chain that must not exceed 6m (20ft).

Computer connection

Apple Macintosh

Apple Macintosh computers use a 25-pin D-SUB connector for the SCSI port, so use a

25-pin D-SUB to 50-way Amphenol type SCSI cable, usually supplied with an external

Macintosh hard disk drive.

Atari ST/STE

For Atari ST/STE computers, a Steinberg SCSI adaptor is required. This should be

connected to the Atari ST/STE’s “HARD DISK” port (DMA) using a 19-pin DSUB to

19-pin DSUB cable. An external hard disk drive can then be connected to the SCSI

adaptor’s SCSI connector using a 50-way to 25-pin SCSI cable.

Although it is possible to use just one external hard disk, it is highly recommended, for the

sake of data integrity, that you use at least two external hard disks: one disk for your

computer software and data such as Cubase Audio, MIDI song ﬁles, etc., and the other disk

purely for recording CBX-D5 sound ﬁles.

Atari TT

The Atari TT has a SCSI connection built-in, so a SCSI hard disk drive can be connected

directly.

Atari TT computers are ﬁtted with an internal hard disk as standard. The internal disk

should be used for your computer software and data such as Cubase Audio, MIDI song

ﬁles, etc., and an external hard disk should be used purely for recording CBX-D5 sound

ﬁles. An external hard disk must be used with an Atari TT, because it supplies the

termination power that is required by the SCSI bus.

IBM PC/AT compatible

For an IBM PC/AT compatible computer, a SCSI adaptor card is required. This should be

installed into one of the computer’s internal expansion slots.

NOTE:

Some Atari ST/STE hard disk drives already contain a SCSI adaptor,

however, they cannot be used as a substitute for the Steinberg adaptor.

HARD

DISK 1

CBX-D5HARD

DISK 2

SCSI SCSISCSI

Total length of SCSI daisy chain must not exceed 6m (20ft)

16 Chapter 5 : Connecting Hard Disk Drives16 Chapter 5 : Connecting Hard Disk Drives16 Chapter 5 : Connecting Hard Disk Drives

SCSI ID setting

The SCSI bus is a parallel type connection, and data on the bus is available to all devices.

However, communication will usually be between two devices only, so each device is

allocated an ID number, like an address number. In this way, only the device with the ID

number that is speciﬁed in the data will actually read and respond to the data.

If two devices share the same ID number, the system will probably crash, so make sure that

each device has its own ID number. SCSI devices usually have a DIP switch or, like the

CBX-D5, a thumb wheel switch for ID setting. Refer to the instructions supplied with your

particular SCSI device.

The Apple Macintosh example above shows six devices connected in a SCSI daisy chain

(seven including the computer). Each device has its own ID number. Note that the last

device in the chain is terminated. On a Apple Macintosh computer, SCSI ID 7 is reserved

for use by the computer, and ID 0 for the internal hard disk. Do not use either of these

IDs for any other SCSI device.

In the Atari ST/STE system shown above, ﬁve SCSI devices are connected in a daisy

chain. Hard disks must be set with continuous SCSI IDs starting from 0 (0, 1, 2, 3…).

However, the CBX-D5 can be set to SCSI ID 5 or 6. Do not set any device to SCSI ID 7.

In the Atari TT system shown above, six SCSI devices are connected in a daisy chain. Hard

disks must be set with continuous SCSI IDs starting from 1 (1, 2, 3, 4…). However, the

CBX-D5 can be set to SCSI ID 5 or 6. Do not set any device to SCSI ID 7.

HARD

DISK 1

CBX-D5HARD

DISK 2

SCSI SCSISCSI

ID No. 1 ID No. 2 ID No. 3

HARD

DISK 3

SCSI

DEVICE

SCSI

ID No. 4ID No. 5

SCSI

DEVICE

SCSI

ID No. 6

This device is

terminated

SCSI

Adaptor

HARD

DISK 2

HARD

DISK 1

SCSI SCSI

ID No. 0 ID No. 1

ID No. 2

HARD

DISK 3

SCSI

HARD

DISK 4

SCSI

ID No. 3ID No. 6

CBX-D5

SCSI

This device is

terminated

ATARI

ST/STE

19-pin

DSUB

HARD

DISK 1

HARD

DISK 2

HARD

DISK 1

SCSI SCSI

(internal hard disk

set to SCSI ID 0)

ID No. 1 ID No. 2

HARD

DISK 3

SCSI

HARD

DISK 4

SCSI

ID No. 3

ID No. 6

CBX-D5

SCSI

This device is

terminated

ATARI

SCSI

ID No. 4ID No. 5

SCSI termination 17SCSI termination 17SCSI termination 17

SCSI termination

Unlike audio signals, digital signals only have two values: high and low (+5V and 0V).

When no data is being transmitted, it is important that SCSI bus lines are kept in the high

state (+5V), so that when data is transmitted there is a clear distinction between high and

low pulses and the data is transferred without error. To achieve this, a device known as a

SCSI terminator is connected in the SCSI daisy chain. A terminator is usually ﬁtted to the

last device in the chain.

Some SCSI devices have a terminator built-in. In this case that device should be connected

at the end of the daisy chain. Other devices, like the CBX-D5, are supplied with an in-line

type terminator and this can be connected as shown below.

NOTE:

If the SCSI daisy chain is not terminated correctly, numerous problems

including data corruption, system crashes, and intermittent glitches can

occur. If you have just set up your SCSI daisy chain or have added a new

SCSI device to it and it is not working as it should, check that the SCSI daisy

chain is terminated correctly. If the problem persists, try connecting the SCSI

devices in a different order.

Terminate

this device

HARD

DISK 1

CBX-D5HARD

DISK 2

SCSI SCSISCSI

To the next

SCSI device

CBX-D5 (Top view)

(In this case the CBX-D5 is the last device

connected in the daisy chain, so the SCSI

terminator is connected as shown)

SCSI PLUG SCSI

TERMINATOR

HARD DISK 2

SCSI PLUGSCSI PLUG

SCSI CABLE

18 Chapter 6 : Working with Hard Disks18 Chapter 6 : Working with Hard Disks18 Chapter 6 : Working with Hard Disks

6 Working with Hard Disks

After connecting your hard disk, setting the SCSI ID, and installing the SCSI terminator,

you will need to format the hard disk before it can be used. If you have already powered

up your system you will notice that there isn’t a disk icon representing the new disk drive

on the desktop. This is because your computer could not mount the hard disk during

boot-up, due to it not being formatted.

Formatting

Most SCSI hard disks are supplied with their own disk formatting software, so please refer

to the hard disk’s Manual, and format the disk as speciﬁed.

Before disk formatting begins you will probably be asked to supply the SCSI ID of the

hard disk and maybe the required interleave value. The SCSI ID will be the number that

you set on that hard disk using its SCSI ID DIP switch or thumb wheel switch. If you have

to specify an interleave value, check the hard disk’s Manual. Also see the “Adding SCSI

disk drives” section of your computer manual.

When the disk has been formatted correctly and any supplied hard disk driver software has

been installed, a disk icon should appear on your computer’s desktop.

Sound file management

By double clicking on the disk’s icon you will be able to access sound ﬁles stored on the

disk. Sound ﬁles can be copied, deleted, size checked, etc., using the same menu

commands that you would use for your other computer ﬁles.

Sound file backup

Because the CBX-D5’s sound ﬁles can be managed just like your other computer ﬁles,

sound ﬁles can be backed up in much the same way using data compression and backup

utilities. However, due to the relatively large size of sound ﬁles, ﬂoppy disks are not the

most effective backup media. Removable hard disks and magneto optical disks are well

suited to this task and commonly available sizes include 44MB, 88MB, 128MB, and

650MB.

Another backup option is to digitally transfer your sound ﬁles to a DAT recorder. Then, if

you want them again in the future, just record them back to the CBX-D5.

Computer utilities

There are many computer utilities and desk accessories available for managing ﬁles and

hard disks such as a “ﬁle squashers”, “auto savers”, “hard disk size doublers”, etc. If you

choose to use a utility to work along side the CBX-D5, YOU DO SO AT YOUR OWN

RISK and no responsibility can be claimed for lost data, system crashes, and hardware

damage.

The CBX-D5 is designed to work with the software described in the System Setup Guide,

why risk losing your valuable audio data by using a “super disk space doubler”, or

“real-time data compressor”?

Hard disk fragmentation 19Hard disk fragmentation 19Hard disk fragmentation 19

Hard disk fragmentation

Hard disks record data into pre-formatted concentric tracks on a number of magnetic disks

that are mounted around a common spindle. Tracks are further divided into sectors, and

each sector can store 512bytes of data. On a newly formatted disk, ﬁles are recorded into

a continuous series of sectors as shown below.

As ﬁles are deleted and new ﬁles saved, ﬁles may be split (fragmented) over different areas

of the disk, losing the continuity of sectors. In this case, reading one ﬁle may cause the disk

drive to read sectors from many different parts of the disk, thus slowing down the overall

data read rate and making the disk drive work harder.

Disk defragmentation is quite important for hard disk audio recording, as it is better to

record data into a continuous series of empty hard disk sectors. If recording starts in an

empty sector, but then subsequent sectors in the series are used by another ﬁle, because

there is so much data being recorded, the disk drive does not have time to ﬁnd, then move

to another area on the disk, so recording may stop.

This is not a problem with a completely empty disk, but if a sound ﬁle is deleted, the next

recording might start in the deleted space, and recording might stop because there is not

enough continuous empty sectors available. This will be more noticeable on a smaller hard

disk where you have to keep deleting unwanted sound ﬁles to make way for new

recordings.

The answer is to use a good hard disk defragmentation utility when a sound ﬁle has been

deleted. By defragmenting the disk, all sound ﬁles will be moved up to the front end of the

disk, leaving the available disk space as a series of continuous sectors at the end of the disk.

Hard disk partitioning

Because the CBX-D5 can read and write to any hard disk drive connected in the SCSI

chain, it is able to use individual partitions of a hard disk drive that has been partitioned.

However, the CBX-D5 cannot record across hard disks or partitions, so the available

recording time will be limited to the size of the partition.

NOTE:

The time available for all recordings is not limited by the size of a hard disk

partition, it is the time available for one continuous recording, or one take

that is limited.

SECTOR

TRACK

FILE 1 FILE 2 FILE 3

SECTORS

FILE 1 FILE 4 FILE 3FILE 5a FILE 5b

Space previously

occupied b

file 2

FILE 5 has been

split – fragmented.

20 Chapter 7 : Recording20 Chapter 7 : Recording20 Chapter 7 : Recording

7 Recording

Sampling frequency (REC FREQ)

The CBX-D5 can record at any one of four sampling frequencies: 48kHz, 44.1kHz, 32kHz

(as speciﬁed by the AES), or 22.05kHz (analog input only). These sampling frequencies

are commonly used for digital audio, and each has its own speciﬁc applications.

The sampling frequency is set by the controlling software and the CBX-D5’s front panel

REC FREQ indicators show the selected frequency. The selected REC FREQ also

determines the clock rate for all internal processing, i.e., DSP, digital mixer, DEQ, etc.,

except for the output Fs converters, whose clock rate is determined by the PB FREQ.

48kHz

At 48kHz an audio bandwidth of about 22kHz is possible. Consumer DAT and DCC

recorders can record at 48kHz only. Professional equipment also supports this frequency.

44.1kHz

With this sampling frequency an audio bandwidth of about 20kHz is possible. This

frequency is used for all prerecorded CDs, DATs (if there are any), and DCC cassettes.

Although a higher audio bandwidth is possible using 48kHz, 44.1kHz is considered to be

good enough for most applications, and most professional digital audio engineers use this

sampling frequency.

32kHz

At this sampling frequency an audio bandwidth of about 15kHz is possible. This frequency

is widely used for broadcast applications where a 15kHz audio bandwidth, roughly that of

FM radio, is acceptable. Many DSB (Direct Satellite Broadcasting) transmissions use this

frequency, although, some may also use 48kHz.

22.05kHz

At this frequency an audio bandwidth of about 10kHz is available. This frequency is

widely used in multimedia applications. It might not seem very useful for your audio

applications, but if you are limited by hard disk space or the audio material you are

recording already has a limited bandwidth it may be useful.

Which sampling frequency?

Since the CBX-D5 contains a sampling frequency converter, digital audio can be output at

a different sampling frequency to that which was used during recording. However, playing

back a sound ﬁle at a higher sampling frequency will not improve the audio quality, as the

audio frequency bandwidth of a sound ﬁle is determined by the record sampling frequency,

not the playback frequency.

This leaves you with two deciding factors for choosing a sampling frequency. Firstly, what

audio bandwidth (audio quality) do you want to use, and secondly, how much free disk

space is available? See “Hard disk size” on page 13 for a listing of recording times that are

available at each sampling frequency for a given size of hard disk (free disk space).

Varispeed

With some tape based digital recorders it is possible to vary the speed of playback and

recording. When varispeed is used the sampling frequency of the digital audio is changed.

Since the CBX-D5 can playback digital audio at a sampling frequency different to that

used for recording, varispeed digital audio can be recorded.

NOTE:

When using the digital inputs, you should set the CBX-D5’s REC FREQ to

match the digital input signal’s sampling frequency. It is not essential, but we

recommend it.

Digital input levels 21Digital input levels 21Digital input levels 21

Digital input levels

Digital input signals entering the CBX-D5 cannot be level adjusted. This is the same for

most digital audio equipment, the idea being that once the level has been set during the

original A/D conversion it should not need readjustment. It also simpliﬁes the interfacing

of digital audio signals between equipment.

The level of the audio signal output via the CBX-D5’s digital outputs, however, can be

level adjusted, and this is set by the controlling software.

Setting the analog input level

The recording level for analog input signals can be set using the CBX-D5’s ANALOG IN

LEVEL controls. These controls allows independent level setting for channels 1 and 2 and

they can also be used to balance the left and right channels of a stereo source connected to

the analog inputs. The maximum analog input level is +22dBm.

These controls should be used in conjunction with the input level meters, which are

described below.

Input level meters

Unlike analog tape recorders, digital audio recorders are very unforgiving when it comes

to excessive signal levels. Digital audio signal clipping normally produces unpleasant

distortion, pops, and clicks, and unless you have some very sophisticated editing

equipment it is impossible to remove it after the event. So great care must be taken when

setting the recording level.

With a digital audio recorder such as the CBX-D5, noise and hiss produced by setting the

recording level too low is not a problem. However, setting the recording level too low will

reduce the effective dynamic range of the recording and with a dynamic range of 96dB

available it makes sense to use as much of it as possible.

Basically, the recording level should set so that the loudest signals light the –3, –6, –9

LEDs, but never light the CLIP LEDs. When recording with microphones, where sudden

signal increases are possible, it may be worth having a “dry run” before you hit the record

button. A compressor is a useful tool when recording vocals and acoustic instruments.

Headphone monitoring

During recording and playback, the four audio channels can be monitored using a pair of

stereo headphones. Headphones should be connected to the PHONES jack on the front

panel. The volume can be adjusted using the PHONES VOLUME control.

As you can see from the diagram below, channels 1 and 3 appear in the left speaker and

channels 2 and 4 in the right speaker.

* 96dB is the dynamic range available with a 16-bit digital system (6dB per bit).

Channel 1

Channel 2

Channel 3 Channel 4

22 Chapter 7 : Recording22 Chapter 7 : Recording22 Chapter 7 : Recording

Digital audio data containing SCMS

SCMS (Serial Copy Management System) is a protection system designed to stop illegal

digital copying of audio material. When a SCMS DAT recorder (most consumer DAT

recorders) receives a digital input signal with the copy protect ﬂag set to “protect”, it

cannot enter record mode, making digital tape duplication impossible.

If a digital signal that contains SCMS is input to the CBX-D5 it will not prevent the

CBX-D5 from recording. The digital audio will be recorded in a sound ﬁle without SCMS.

When digital audio data containing SCMS is input into the CBX-D5, and the output format

(set from the host computer) is set to Professional, output from the digital output jacks may

be muted. When the output format is set to Consumer however, the digital and analog

outputs will be unaffected.

It is possible to record a copyrighted musical composition, edit it and replay it with the

CBX-D5. However, the user will be held responsible for its use.

Digital audio data with emphasis

For some recordings, emphasis is applied to a digital audio signal. During playback, this

emphasis is automatically detected by the replay device and de-emphasis applied. You

may have seen the word EMPHASIS appear on a CD player or DAT recorder when a

prerecorded disc or tape with emphasis was played back.

The CBX-D5 has no emphasis functions, so if a digital signal that has been emphasized

is input to the CBX-D5 it will not automatically be de-emphasized and the CBX-D5 will

record the signal with the emphasis. During playback, a slight boosting of frequencies

above 3.5kHz will be noticeable.

20-bit digital audio

Some CD players are now 20-bit and there is a small but growing selection of 20-bit CD

recordings available. Some 20-bit recorders are already being used for professional

applications including Yamaha’s DMR8 and DRU8 recorders, which have always offered

20-bit recording.

If a 20-bit digital signal is input to the CBX-D5, it will be converted to a 16-bit signal

before recording. For the technically minded, 4-bits, starting from the LSB (Least

Signiﬁcant Bit) will be chopped off.

NOTE:

SCMS does not affect recordings made using analog connections, and it is only

second generation digital copying (copy of a copy) that is prohibited.

Playback 23Playback 23Playback 23

8 Playback

Playback frequency (PB FREQ)

During playback, sound ﬁles are read from disk, processed in the CBX-D5, then output.

The CBX-D5 can read sound ﬁles that were recorded at sampling frequencies between

11.025kHz and 48kHz. Once inside the CBX-D5, the data is processed at the currently set

REC FREQ. Then it is output to the digital outputs at a rate determined by the PB FREQ,

and to the analog outputs after analog to digital conversion.

The CBX-D5 can output digital audio at one of two sampling frequencies: 44.1kHz and

48kHz. The playback frequency is set by the controlling software and the CBX-D5’s PB

FREQ indicators show the selection.

The choice of playback frequency will usually be determined by the sampling frequency

of the device to which the digital audio is being sent, i.e., a DAT recorder, DCC recorder,

digital mixer, etc. There is nothing to be gained by playing a 44.1kHz recorded sound ﬁle

at 48kHz, and little to be lost by playing a 48kHz recorded sound ﬁle at 44.1kHz.

Output level meters

The four output level meters show the output level of each channel. The output level of

each channel can be controlled by the controlling software. The maximum output level is

+18dBm. So an analog output signal of about +18dBm will light the CLIP LED.

Sound file playback compatibility

As well as its own sound ﬁles, the CBX-D5 can also playback the following sound ﬁle

formats. These sound ﬁle formats are often used with the Apple Macintosh computer.

Sound Designer

Sound Designer II (mono and stereo)

Audio IFF (Interchange File Format)

The CBX-D5 can record and playback mono and stereo 2-channel interleave ﬁles.

4-channel interleave ﬁles can be played back only.

NOTE:

When the CBX-D5 is used with an external word clock, the digital outputs will

operate at the same frequency as the external word clock and that frequency

will not be indicated by the “PB FREQ” indicators.

MONO FILE

DATA

1 1 1 1 2 1 2 1 2 3 4 1 2 3 4

STEREO 2-CHANNEL

INTERLEAVE FILE DATA

4-CHANNEL INTERLEAVE

FILE DATA

24 Chapter 8 : Playback24 Chapter 8 : Playback24 Chapter 8 : Playback

Sound file regions

Your controlling software may allow you to select a section of a sound ﬁle so that it can

effectively be handled as an independent piece of sound data. Using different channels, the

CBX-D5 can playback two overlapping sections from the same sound ﬁle simultaneously.

REGIONS A & B CAN BE

PLAYED SIMULTANEOUSLY

REGION B

REGION A

SOUND FILE

Converting the Sampling Frequency & Digital Audio Format in Real Time 25Converting the Sampling Frequency & Digital Audio Format in Real Time 25Converting the Sampling Frequency & Digital Audio Format in Real Time 25

9 Converting the Sampling Frequency & Digital

Audio Format in Real Time

When transferring digital audio data between equipment, it is sometimes necessary to

convert from one digital audio format to another, say from CD/DAT to AES/EBU, or Y2

to CD/DAT. The CBX-D5 allows you to convert the digital audio format between

CD/DAT, AES/EBU, and Y2 in real time.

Real time means that you don’t actually have to record the digital audio, you just input it

to the CBX-D5, the CBX-D5 converts it, then outputs it for record monitoring.

As well as the digital audio format, the CBX-D5 also allows you to convert from one

sampling frequency to another, say from 44.1kHz to 48kHz or vice versa. Sampling

frequency conversion is useful if you have some DAT tapes, maybe masters, recorded at

48kHz and you want to transfer them directly to a CD disc recorder that will only accept

digital audio data at 44.1kHz.

Digital input and output source, record and playback sampling frequency settings are all

made via the controlling software, so you will need to refer to your Software Manuals. The

diagram below shows the conversion possibilities.

In the system shown below, 48kHz data from DAT recorder No. 1 is fed to the CBX-D5

using the CD/DAT connections. The CBX-D5 converts the sampling frequency to

44.1kHz, then outputs the data to DAT recorder No. 2 via the AES/EBU connections.

NOTE:

In this conﬁguration, SCMS and emphasis information will pass through the

CBX-D5 and will be output unchanged.

CBX-D5

AES/EBU

48, 44.1, 32kHz

CD/DAT (SPDIF)

48, 44.1, 32kHz

AES/EBU

48, 44.1kHz

CD/DAT (SPDIF)

48, 44.1kHz

AES/EBU OUT

CBX-D5

(48 to 44.1kHz)

DAT

RECORDER

No.2 (44.1kHz)

AES/EBU IN

DAT

RECORDER

No.1 (48kHz)

CD/DAT IN

S/PDIF OUT

REC FREQ = 48kHz

PB FREQ = 44.1kHz

26 Chapter 10 : Inputs & Outputs Explained26 Chapter 10 : Inputs & Outputs Explained26 Chapter 10 : Inputs & Outputs Explained

10 Inputs & Outputs Explained

ANALOG IN

A pair of female XLR 3-31 type connectors used for inputting analog audio signals. These

are balanced inputs with a nominal input level of +4dBm and a maximum input level of

+22dBm. These inputs are intended for use with balanced line level signals, i.e., from a

mixer, synthesizer, drum machine, etc. Microphones, guitars, and equipment with an

output level less than –20dBm must ﬁrst be connected to a preampliﬁer, then to the

CBX-D5.

The illustration below shows how an XLR to XLR type cable is wired.

XLR to XLR cable

XLR to phone jack cable

Although balanced, these inputs can be used with unbalanced signals. The diagram below

shows how a balanced XLR to unbalanced phone jack connecting cable should be wired.

ANALOG OUT

Four male XLR 3-32 type connectors used for outputting channels 1 ~ 4 as analog audio.

These are balanced outputs with a nominal output level of 0dBm and a maximum output

level of +17dBm. These could be connected to the inputs of a mixer, ampliﬁer, tape

recorder, DAT recorder, etc.

Cable wiring is the same as the “XLR to XLR cable” shown above. Connection to

unbalanced inputs is also possible by using an XLR to phone jack cable like the one shown

above. Note, however, that a 3-pin female XLR line socket would be used, not a 3-pin male

XLR plug as shown in the illustration.

NOTE:

You may buy your XLR connecting cables or you may decide to make your

own, either way always use good quality connectors and cable.

3-PIN MALE

XLR PLUG

PIN 1

PIN 3

PIN 2

PIN 1

PIN 3

PIN 2

3-PIN FEMALE

XLR LINE

SOCKET

1/4" PHONE JACK (mono)3-PIN MALE

XLR PLUG

SLEEVE

TIP

PIN 1

PIN 3

PIN 2

AES/EBU IN 1/2 27AES/EBU IN 1/2 27AES/EBU IN 1/2 27

AES/EBU IN 1/2

A female XLR 3-31 type connector for inputting AES/EBU format digital audio. This is a

balanced type connection and two channels, 1 and 2, are carried in the same connection.

This connection could be used when recording digital audio data from another hard disk

recorder, a digital mixer, DAT recorder, or digital VTR. The AES/EBU format is used

mainly on professional digital audio equipment.

Although an XLR to XLR type connecting cable is required, the recommended cable

impedance is different to that of typical audio XLR type connecting cables. You may ﬁnd

that typical audio XLR type cables work successfully, but to eliminate any risk of data

corruption it is best to use a cable that is speciﬁcally made for use with the AES/EBU

format. The recommended cable impedance for AES/EBU is 110Ω.

AES/EBU OUT 1/2, 3/4

Two male XLR 3-32 type connectors for outputting AES/EBU format digital audio.

Channels 1 and 2 are output via OUT 1/2, and channels 3 and 4 through OUT 3/4. These

connections could be used to transfer digital audio data from the CBX-D5 to professional

digital audio equipment.

Here again, it is best to use a cable that is speciﬁcally made for use with the AES/EBU

format. Follow the same recommendations given above for the AES/EBU IN connection.

CD/DAT IN

A Phono/RCA jack for inputting CD/DAT format digital audio. Two channels, 1 and 2

(left, right), are carried in the same connection. This connection could be connected to the

digital output of a CD player or DAT recorder and allows digital audio recording without

multiple D/A, A/D audio data conversions. Some MIDI samplers are ﬁtted with this type

of connection. In this case, sound samples could be transferred digitally between a sampler

and the CBX-D5. The CD/DAT format is found mainly on consumer type digital audio

equipment, although, most professional digital audio equipment supports it, too.

Phono/RCA type cables and connectors are commonly used for hi-ﬁ equipment, however,

there are connecting cables designed speciﬁcally for use with the CD/DAT format and

wherever possible they should be used.

CD/DAT OUT

A Phono/RCA jack for outputting CD/DAT format digital audio. Two channels, 1 and 2

(left/right), are carried in the same connection. This could be connected to the digital input

of a DAT recorder or DCC recorder, and it allows digital audio recording without multiple

D/A, A/D audio data conversions.

Like the CD/DAT IN connection, it’s best to use cables speciﬁcally made for the job.

NOTE:

You might have heard or read that AES/EBU type connections can be

connected directly to CD/DAT connections and vice versa. In some cases this

may work, but it is not recommended. To ensure data integrity, connect

AES/EBU outputs to AES/EBU inputs, and CD/DAT inputs to CD/DAT

outputs.

28 Chapter 10 : Inputs & Outputs Explained28 Chapter 10 : Inputs & Outputs Explained28 Chapter 10 : Inputs & Outputs Explained

Y2 IN

An 8-pin DIN socket for inputting Y2 Yamaha format digital audio. Two channels, 1 and

2 (left/right), are carried in the same connection. This could be connected to one of

Yamaha’s digital audio products including the DMR8 Digital Mixer/Recorder, DMC1000

Digital Mixing Console, DRU8 Digital Recorder, SPX1000 Effect Processor, and the

DMP series of Digital Mixers.

Special cables are available for use with this format. See your Yamaha dealer for details.

Y2 OUT

An 8-pin DIN socket for outputting Y2 Yamaha format digital audio. Two channels, 1 and

2 (left/right), are carried in the same connection. This could be used to transfer digital

audio data from the CBX-D5 to one of the Yamaha professional digital audio products

listed above.

Again, use the cables speciﬁcally recommended for use with the Y2 format.

WORD CLK IN/OUT

As we explained on page 4, when a number of digital audio devices are connected together

and data is digitally transferred between them, it is essential that the data processing

circuits of all devices are synchronized. To achieve this, one device operates as a word

clock master and all other devices operate as word clock slaves.

If you connect only two digital audio devices, say the CBX-D5 to a DAT recorder, word

clock setup is quite straight forward and no external word clock connections will be

required. This is because the AES/EBU, CD/DAT, and Y2 formats carry word clock

information within the digital audio data. However, when three or more devices are

connected in a digital system, word clock connections will be required.

The CBX-D5 can operate as either word clock master, using its own internal clock, or as

a slave sourcing its word clock from one of the digital inputs or from the WORD CLK IN

connection. This setting is made via the controlling software. The CBX-D5’s word clock

output signal is always at the same frequency as the digital outputs.

NOTE:

If all your audio connections are analog, no word clock connections are

required.

NOTE:

Although we have said that a word clock connection is not required when

only two devices are used, some devices may require a BNC word clock

connection as well as the digital audio connection. Making a separate

connection using the CBX-D5’s BNC connectors may also improve data

transfer and eliminate any chance of data errors.

NOTE:

Because the CBX-D5 can convert the sampling frequency of incoming

digital audio signals, the word clock output signal will not necessarily match

the recording sampling frequency.

WORD CLK IN/OUT 29WORD CLK IN/OUT 29WORD CLK IN/OUT 29

The following table shows how the WORD CLK IN/OUT connections work with each

word clock source. Word clock connections use coaxial BNC to BNC type cables.

If, for some reason the external word clock source should become disconnected or the

CBX-D5 cannot synchronize to it, the CBX-D5 will automatically switch to internal clock.

When the digital output signal is synced to an external word clock, the exact sampling

frequency cannot be guaranteed. So the sampling frequency speciﬁed in the digital

output’s channel status bits may be different to the actual output sampling frequency.

In the following example, data from the four CBX-D5 channels are being transferred to a

digital mixer, which is also connected to a Yamaha DRU8 8-Track Digital Recorder. The

DRU8 is word clock master supplying both the CBX-D5 and the DMC1000 Digital Mixer.

In this system, the external word clock connections are essential.

In this example, audio data from two DAT recorders is being mixed via a digital mixer.

DAT No. 1 does not have any word clock connections, so the digital audio is fed to the

CBX-D5 ﬁrst, then to the digital mixer. The CBX-D5 generates a word clock signal based

on the data from DAT No. 1 and feeds this signal to DAT No. 2, which syncs to the external

wordclock. The digital mixer derives its word clock from the AES/EBU inputs.

WORD CLOCK

SOURCE

CBX-D5 WORD CLK OUT CBX-D5 WORD CLK IN

AES/EBU Input

Outputs a word clock signal at the internal clock rate

(REC FREQ).

N/C

CD/DAT Input

Outputs a word clock signal at the internal clock rate

(REC FREQ).

N/C

Y2 Input

Outputs a word clock signal at the internal clock rate

(REC FREQ).

N/C

Internal Clock

Outputs a word clock signal at the internal clock rate

(REC FREQ).

N/C

WORD CLK IN

Outputs a word clock signal at the same rate as the

word clock at the WORD CLK IN.

Receives the external word

clock

WORD

CLK OUT

AES/EBU 1/2 OUT

CBX-D5

DMC1000

DIGITAL MIXER

WORDCLOCK SLAVE

(WORD CLK IN)

WORDCLOCK SLAVE

(wordclock sourced from

the WORD CLK IN

connectionl)

AES/EBU IN

WORD CLK IN

AES/EBU IN

AES/EBU 3/4 OUT

DRU8 DIGITAL

RECORDER

A Yamaha format connection

that can carry up to 8 digital

signals

WORDCLOCK MASTER

(Internal clock source)

WORD

CLK IN

CBX-D5

(synced to

AES/EBU input)

DIGITAL MIXER

(synced to

AES/EBU inputs)

AES/EBU

DAT No. 2

(synced to external

wordclock)

DAT No. 1

(no wordclock

connections)

AES/EBU

WORD CLOCK

30 Chapter 11 : TO HOST connection30 Chapter 11 : TO HOST connection30 Chapter 11 : TO HOST connection

11 TO HOST connection

As well as the standard MIDI IN, OUT, and THRU connections, the CBX-D5 also has a

“TO HOST” connection. This allows direct connection to computers that do not have a

built-in or external MIDI interface.

The CBX-D5 has four interface modes for connecting to a controlling computer: MIDI,

Mac, PC-1, and PC-2. These interface modes are explained below.

MIDI

This mode is for use with a computer that has a MIDI interface. That is, a computer with

a built-in MIDI interface, such as the Atari ST, STE, and TT range of computers, an Apple

Macintosh computer with an external MIDI interface unit, or a PC-9801 or IBM PC/AT

compatible type computer ﬁtted with a MIDI interface. Most MIDI music software can be

used with this type of connection.

The “HOST SELECT” switch should be set to MIDI.

The connecting MIDI cable should be of the type described in the “TO HOST computer

connecting cables” on page 33.

The table below explains how the MIDI signals are handled in MIDI mode.

Connection Function

TO HOST

RECEIVE No function.

SEND No function.

MIDI IN MIDI data is input and processed.

MIDI OUT System Exclusive data is output.

MIDI THRU Data appearing at the MIDI IN port is fed directly to the MIDI THRU port.

NOTE: Depending on the application software used, it is possible that the HOST

function on the CBX-D5 (the function that allows you to make a MIDI

connection to a host computer without a MIDI interface) may not work.

MIDI

OTHER MIDI

DEVICES

CBX-D5

MIDI INMIDI THRUMIDI IN

MIDI OUT

MIDI IN

HARD

DISK

SCSI

Mac 31Mac 31Mac 31

Mac

This mode is for use with an Apple Macintosh computer that is not connected to an

external MIDI interface unit. The CBX-D5 can be connected directly to one of the Apple

Mac's serial (RS-422) ports.

1) Connect the CBX-D5’s “TO HOST” connector to one of the Apple Mac’s serial ports

using the “Mac” connecting cable shown on page 33.

2) Set the CBX-D5’s “HOST SELECT” switch to Mac.

3) Switch on the Apple Mac and the CBX-D5.

4) Start the Apple Mac music software.

Your music software will probably require you to specify the type of MIDI interface you

are using. You should specify “Standard MIDI interface”. If it has a “MIDI Time Piece

option”, turn it off. If your software also requires you to specify the data rate, select 1MHz.

The table below explains how MIDI signals are handled in “Mac” mode. MIDI data is

carried to and from the computer via the “TO HOST” connection.

Connection Function Details

TO HOST

RECEIVE

MIDI data is input, processed, then fed to

the MIDI OUT port.

Synchronized. Data format: 8 bit, 1 stop

bit, no parity. 1MHz clock from CBX-D5 to

serial ports' HSKi data pin.

SEND

MIDI data received at the MIDI IN port is

output.

When the CBX-D5 is transmitting its Bulk

Dump data to the host computer, data

from the MIDI IN port is not sent to the host

computer. Any MIDI data received while a

Bulk Dump is in progress will be ignored.

MIDI IN

MIDI data received is output to the TO

HOST SEND.

The CBX-D5 does not respond to the MIDI

data appearing at the MIDI IN port, but to

the MIDI data from TO HOST RECEIVE.

MIDI OUT

MIDI data received at the TO HOST

RECEIVE is output.

MIDI THRU

MIDI data appearing at the MIDI IN port is

fed directly to the MIDI THRU.

MIDI

THRU ON

SERIAL

PORT

TO HOST

MIDI

OTHER MIDI

DEVICES

CBX-D5

MIDI INMIDI OUTMIDI IN

HARD

DISK

SCSI

32 Chapter 11 : TO HOST connection32 Chapter 11 : TO HOST connection32 Chapter 11 : TO HOST connection

PC-1

This mode is for use with an NEC PC-9801 type computer. The PC-9801 is a very popular

computer in Japan. The speciﬁcations are the same as those for “PC-2” mode except for

the baud rate. See “CBX-D5 Speciﬁcations” on page 37.

PC-2

This mode is for use with an IBM PC/AT compatible, PS/1, or PS/2 type computer that

does not have a MIDI interface card installed. The CBX-D5 can be connected directly to

the computers serial (RS-232C) port.

The music software used must be able support the CBX-D5’s “TO HOST” connection.

Please consult your Yamaha dealer for more details. If your software does not support the

“TO HOST” connection, the CBX-D5 can still be connected to this type of computer by

installing a MIDI interface card in the computer or by using an external MIDI interface.

1) Connect the CBX-D5’s “TO HOST” connector to one of the computer’s serial ports

using the “PC-2” connecting cable shown on page 33.

2) Set the CBX-D5’s “HOST SELECT” switch to PC-2.

3) Switch on the computer and the CBX-D5.

4) Start the computer music software.

The table below explains how the MIDI signals are handled in PC-2 mode. MIDI data is

carried to and from the computer via the “TO HOST” connection.

Connection Function Details

TO HOST

RECEIVE

MIDI data is input, processed, then fed to

the MIDI OUT port.

Synchronized. Data format: 8 bit, 1 stop

bit, no parity.

SEND

MIDI data received at the MIDI IN port is

output.

When the CBX-D5 is transmitting its Bulk

Dump data to the host computer, data

from the MIDI IN port is not sent to the host

computer. Any MIDI data received while a

Bulk Dump is in progress will be ignored.

MIDI IN

MIDI data received is output to the TO

HOST SEND.

The CBX-D5 does not respond to the MIDI

data appearing at the MIDI IN port, but to

the MIDI data from TO HOST RECEIVE.

MIDI OUT

MIDI data received at the TO HOST

RECEIVE is output.

MIDI THRU

MIDI data appearing at the MIDI IN port is

fed directly to the MIDI THRU.

MIDI

THRU

SERIAL

PORT

TO HOST

MIDI

OTHER MIDI

DEVICES

CBX-D5

MIDI INMIDI OUTMIDI IN

HARD

DISK

SCSI

CARD

TO HOST computer connecting cables 33TO HOST computer connecting cables 33TO HOST computer connecting cables 33

TO HOST computer connecting cables

MIDI

Standard MIDI cable. Maximum length 15 meters.

Mac

Apple Macintosh Peripheral cable “M0197”). Maximum length 2 meters.

PC-1

8-pin MINI DIN to D-SUB 25-pin cable. If your PC-1 type computer has a 9-pin serial

port, use the PC-2 type cable. Maximum length 1.8 meters.

PC-2

8-pin MINI DIN to D-SUB 9-pin cable. Maximum length 1.8 meters.

DIN 5-PINDIN 5-PIN

(GND)

MINI DIN

8-PIN

MINI DIN

8-PIN

(HSK o)

(RxD -)

(HSK i)

(GND)

(TxD -)

RxD +)

(GP i)

(TxD +)

D-SUB

MINI DIN

(TxD)

(GND)

(RxD)

(RTS)

(CTS)

(TxD)

(GND)

(RxD)

(RTS)

(CTS)

D-SUB

9-PIN

MINI DIN

34 Chapter 12 : Glossary34 Chapter 12 : Glossary34 Chapter 12 : Glossary

12 Glossary

A/D Converter: (Analog to Digital converter) A device

used to convert analog audio signals into PCM (Pulse Code

Modulated) digital audio. The CBX-D5 uses 16-bit linear ∆

Σ modulation A/D converters.

Access time: Measured in milliseconds, this is an

indication of how fast data from different areas of a hard disk

can be accessed.

AES/EBU: A digital interface format established by the

AES (Audio Engineering Society) and EBU (European

Broadcasting Union) that is used to transfer digital audio

data between professional digital audio equipment. Two

channels of digital audio (left & right) are carried in one

connection, usually an XLR type connection.

Audio IFF: (Audio Interchange File Format) A type of

sound ﬁle that is used by various Apple Macintosh based

digital audio devices. It is recommended by Apple

Computer, Inc.

Byte: A digital “word” containing 8 bits. A CBX-D5 digital

audio word contains 16 bits.

CD/DAT: See S/PDIF.

Cubase Audio: An integrated MIDI sequencer, digital

audio recording and editing program that can be used to

control the CBX-D5 via an Atari ST/STE or TT computer.

D/A converter: (Digital to Analog converter) The opposite

of an A/D converter, this device is used to convert PCM

digital audio data into an analog audio signal. The CBX-D5

uses 18-bit 8-times oversampling D/A converters.

Delta Sigma coding (∆ Σ): A digital audio coding format

that greatly improves a digital audio system’s performance

by using a very high sampling frequency and a 1-bit

resolution.

DEQ: (Digital Equalizer) An IC (Integrated Circuit)

designed speciﬁcally for equalizing digital audio data. The

CBX-D5’s DEQ IC is made by Yamaha.

Destructive editing: Editing an original recording that

cannot be recovered if you make a bad edit. For example,

razor blade editing a tape.

Digital Performer: An integrated MIDI sequencer, digital

audio recording and editing program that can be used to

control the CBX-D5 via an Apple Macintosh computer.

DMA: (Direct Memory Access) The ability to transfer data

to and from a system’s RAM without involving the CPU.

The Atari ST/STE computer has a DMA port.

DMA to SCSI Controller II: A hardware device made

by Steinberg that allows the connection of SCSI devices to

the DMA port of an Atari ST or STE.

DSP: (Digital Signal Processor) An IC (Integrated Circuit)

designed speciﬁcally for digital audio data processing. The

CBX-D5 uses the same Yamaha DSP IC as those used in

the SPX900 Multi-effect Processor and the DMR8 Digital

Mixer/Recorder.

Emphasis: Before A/D conversion a 6dB/octave boost

starting at 3.5kHz is applied to the audio signal. During D/A

conversion the emphasis is automatically detected by the

replay device and de-emphasis is applied.

Fragmentation: When a ﬁle is split into sections and

stored in different areas of a hard disk, i.e., in an

uncontinuous series of sectors.

Host connection: Used to connect the CBX-D5 to a

computer that does not have a MIDI interface. Connection

is made directly to one of the computer’s serial ports.

Mark of the Unicorn Digital Performer: A program

that integrates MIDI sequencing, digital audio recording and

editing and can be used to control the CBX-D5 via an Apple

Macintosh computer.

MIDI: (Musical Instrument Digital Interface) MIDI

allows electronic musical instruments to communicate with

each other.

MTC: (MIDI Timecode) The transmission of SMPTE

timecode via MIDI.

Nondestructive editing: As opposed to editing analog

tape, which is a once only – get it right ﬁrst time or else

procedure, hard disk recording allows nondestructive

editing. This means when you edit, you don’t actually edit

the sound ﬁle, you edit information that tells the CBX-D5

how to play the sound ﬁle. So if you make an accidental cut

or split, all is not lost because you still have the original

sound ﬁle.

Nyquist frequency: The audio frequency at which very

sharp low pass ﬁltering is applied to an analog signal before

A/D conversion. The nyquist theorem states that the

sampling frequency of a digital audio system must be at least

twice that of the highest audio frequency, otherwise severe

distortion called aliasing will occur.

Oversampling: A technique used to improve the noise and

distortion performance of a digital audio system by

increasing the effective sampling frequency so that the

nyquist frequency is set much higher than the highest audio

frequency.

PCM: (Pulse code modulation) The type of coding used to

represent analog audio as a series of pulses. The amplitude

of each pulse is stored as a binary word. The CBX-D5 uses

16-bit binary words.

Region: A section of a sound ﬁle that can be handled as an

independent piece of sound data, but is in fact identiﬁed

using start and end pointers to a region of a sound ﬁle

RS-232C: A serial communication protocol used on PC

compatible and Atari ST/STE computers, usually a 9- or

25-pin D-SUB type connector.

Glossary 35Glossary 35Glossary 35

RS-422: A balanced serial communication protocol used on

Macintosh computers, usually an 8-pin mini DIN connector.

Sampling frequency: The number of times per second

that sample measurements of an analog audio signal are

taken during A/D conversion. Typical sampling frequencies

are 32kHz, 44.1kHz, and 48kHz.

SCMS: (Serial Copy Management System) A protection

code designed to stop illegal digital copying of audio

material. When a consumer type DAT recorder receives a

digital input signal that contains SCMS, it cannot enter

record mode, so digital copying is impossible.

Serial port: A computer connection that can receive and

transmit computer data serially (RS-232C or RS-422).

SCSI: (Small Computer Systems Interface) Pronounced

Scuzzy, it is a connection format used for connecting

peripheral devices such as hard disks, printers, scanners, etc.,

to a computer. Up to eight SCSI devices can be connected

together in a daisy chain, with the controlling computer

connected at the end of the chain. See “SCSI” on page 3.

SCSI ID: The identifying address number allocated to each

device in a SCSI daisy chain. IDs from 0 to 7 are available.

See “SCSI ID setting” on page 16.

SCSI terminator: A device connected at the end of a

SCSI daisy chain to stabilize the SCSI bus. See “SCSI

termination” on page 17.

SMPTE timecode: A bi-phase code used to synchronize

audio and video equipment by communicating hours,

minutes, seconds, and frame information.

Sound ﬁle: A type of computer ﬁle that contains digital

audio data.

Soundbite: A term used by Mark of the Unicorn’s Digital

Performer software to describe a section of a sound ﬁle that

can be handled as an independent piece of sound data, but is

in fact identiﬁed using start and end pointers to a region of a

sound ﬁle.

Sound Designer ﬁles: A type of sound ﬁle that is used by

various Apple Macintosh and Digi Design digital audio

devices. There are two types of ﬁle: I & II.

S/PDIF: (Sony/Philips Digital Interface Format) A digital

interface format established by Sony and Philips that is used

to transfer digital audio data between consumer type digital

audio equipment such as CD players, consumer DAT

recorders, and the new DCC recorders. Two channels of

digital audio (left & right) are carried in one connection,

usually a phono/RCA jack type connection. On the CBX-D5

this format is referred to as CD/DAT.

Steinberg Cubase Audio: A program that integrates

MIDI sequencing, digital audio recording, and editing and

can be used to control the CBX-D5 via an Atari ST/STE or

TT type computer.

Time slip: The ability to move individual segments of

audio data relative to time.

Transfer rate: Usually measured in Megabits per second

(Mbit/s), this shows how fast data can be written to and read

from a hard disk.

Word clock: A clock signal that is used to synchronize the

data processing circuits of all devices connected in a digital

audio system. See “Word clock” on page 4.

Y2: A digital interface format developed by Yamaha that is

used to transfer digital audio data between Yamaha’s

professional digital audio equipment. Two channels of

digital audio (left & right) are carried in one connection,

usually an 8-pin DIN type connection. See “Y2 format” on

page 3.

Documenttranscriptie

DIGITAL RECORDING PROCESSOR CBX-D5 Owner's Manual 2 OPERATING MANUAL FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA 90620 * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA Dette apparat overholder det gaeldende EF-direktiv vedrørende radiostøj. Cet appareil est conforme aux prescriptions de la directive communautaire 87/308/CEE. Diese Geräte entsprechen der EG-Richtlinie 82/499/EWG und/ oder 87/308/EWG. This product complies with the radio frequency interference requirements of the Council Directive 82/499/EEC and/or 87/ 308/EEC. Questo apparecchio è conforme al D.M.13 aprile 1989 (Direttiva CEE/87/308) sulla soppressione dei radiodisturbi. Este producto está de acuerdo con los requisitos sobre interferencias de radio frequencia fijados por el Consejo Directivo 87/308/ CEE. YAMAHA CORPORATION IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord IMPORTANT: The wires in this mains lead are coloured in accordance with the following code: GREEN-AND-YELLOW : EARTH BLUE : NEUTRAL BROWN : LIVE 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 GREEN and YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or coloured GREEN and YELLOW. 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. SPECIAL MESSAGE SECTION PRODUCT SAFETY MARKINGS: Yamaha electronic products may have either labels similar to the graphics shown below or molded/stamped facsimiles of these graphics on the enclosure. The explanation of these graphics appears on this page. Please observe all cautions indicated on this page and those indicated in the safety instruction section. CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. ● Explanation of Graphical Symbols The exclamation point within the equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. The lightning flash with arrowhead symbol within the equilateral triangle is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electrical shock. IMPORTANT NOTICE: All Yamaha electronic products are tested and approved by an independent safety testing laboratory in order that you may be sure that when it is properly installed and used in its normal and customary manner, all foreseeable risks have been eliminated. DO NOT modify this unit or commission others to do so unless specifically authorized by Yamaha. Product performance and/or safety standards may be diminished. Claims filed under the expressed warranty may be denied if the unit is/has been modified. Implied warranties may also be affected. SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units. 92-469 1 ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following: Battery Notice: This product MAY contain a small nonrechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes neccessary, contact a qualified service representative to perform the replacement. Warning: Do not attempt to recharge, disassemble, or incinerate this type of battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by applicable laws. Note: In some areas, the servicer is required by law to return the defective parts. However, you do have the option of having the servicer dispose of these parts for you. Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. NOTICE: Service charges incurred due to lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service. NAME PLATE LOCATION: The graphic below indicates the location of the name plate. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase. Model Serial No. Purchase Date IMPORTANT SAFETY INSTRUCTIONS INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK, AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST. WARNING — When using any electrical or electronic product, basic precautions should always be followed. These precautions include, but are not limited to, the following: Read all Safety Instructions, Installation Instructions, Special Message Section items, and any Assembly Instructions found in this manual BEFORE making any connections, including connection to the main supply. 1. Main Power Supply Verification: Yamaha products are manufactured specifically for the supply voltage in the area where they are to be sold. If you should move, or if any doubt exists about the supply voltage in your area, please contact your dealer for supply voltage verification and (if applicable) instructions. The required supply voltage is printed on the name plate. For name plate location, please refer to the graphic found in the Special Message Section of this manual. 2. This product may be equipped with a polarized plug (one blade wider than the other). If you are unable to insert the plug into the outlet, turn the plug over and try again. If the problem persists, contact an electrician to have the obsolete outlet replaced. DO NOT defeat the safety purpose of the plug. 3. This product was NOT designed for use in wet/damp locations and should not be used near water or exposed to rain. Examples of wet/damp locations are; near a swimming pool, spa, tub, sink, or wet basement. 8. This product should be used only with the components supplied or; a cart, rack, or stand that is recommended by the manufacturer. If a cart, rack, or stand is used, please observe all safety markings and instructions that accompany the accessory product. 9. The power supply cord (plug) should be disconnected from the outlet when electronic products are to be left unused for extended periods of time. Cords should also be disconnected when there is a high probability of lightening and/or electrical storm activity. 10. Care should be taken that objects do not fall and liquids are not spilled into the enclosure through any openings that may exist. 11. 12. a. The power supply cord has been damaged; or b. Objects have fallen, been inserted, or liquids have been spilled into the enclosure through openings; or c. The product has been exposed to rain; or d. The product does not operate, exhibits a marked change in performance; or e. The product has been dropped, or the enclosure of the product has been damaged. Some electronic products utilize external power supplies or adapters. DO NOT connect this type of product to any power supply or adapter other than one described in the owners manual, on the name plate, or specifically recommended by Yamaha. 4. WARNING: Do not place this product or any other objects on the power cord or place it in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimum wire size for a 25’ cord (or less) is 18 AWG. NOTE: The smaller the AWG number, the larger the current handling capacity. For longer extension cords, consult a local electrician. 5. Ventilation: Electronic products, unless specifically designed for enclosed installations, should be placed in locations that do not interfere with proper ventilation. If instructions for enclosed installations are not provided, it must be assumed that unobstructed ventilation is required. 6. Temperature considerations: Electronic products should be installed in locations that do not significantly contribute to their operating temperature. Placement of this product close to heat sources such as; radiators, heat registers and other devices that produce heat should be avoided. 7. Electrical/electronic products should be serviced by a qualified service person when: Do not attempt to service this product beyond that described in the user-maintenance instructions. All other servicing should be referred to qualified service personnel. 13. This product, either alone or in combination with an amplifier and headphones or speaker/s, 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 consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs. 14. Some Yamaha products may have benches and/or accessory mounting fixtures that are either supplied as a part of the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended. 15. PLEASE KEEP THIS MANUAL This information on safety is provided to comply with U.S.A. laws, but should be observed by users in all countiries. 92-469 2 1 Chapter : Table of Contents 1 Introduction ..............................................1 Welcome to the CBX-D5...............................1 CBX-D5 features............................................1 Operating manual organization......................1 Important Notice ............................................1 Unpacking .....................................................2 Installation......................................................2 Trademarks.....................................................2 Powering up a CBX-D5 System ....................2 2 CBX-D5 Terminology ..........................3 3 What is the CBX-D5? ...........................5 Inside the CBX-D5.........................................6 The CBX-D5 in a MIDI recording system.....7 4 Controls & Connections ...................8 Front panel .....................................................8 Rear panel ....................................................10 5 Connecting Hard Disk Drives ......13 8 Playback .................................................. 23 Playback frequency (PB FREQ) ................. 23 Output level meters ..................................... 23 Sound file playback compatibility............... 23 Sound file regions........................................ 24 9 Converting the Sampling Frequency & Digital Audio Format in Real Time ...................... 25 10 Inputs & Outputs Explained ..... 26 ANALOG IN............................................... 26 ANALOG OUT........................................... 26 AES/EBU IN 1/2......................................... 27 AES/EBU OUT 1/2, 3/4.............................. 27 CD/DAT IN................................................. 27 CD/DAT OUT............................................. 27 Y2 IN........................................................... 28 Y2 OUT....................................................... 28 WORD CLK IN/OUT ................................. 28 What type of hard disk? ...............................13 Hard disk size...............................................13 Choosing a hard disk....................................14 SCSI ............................................................14 SCSI cables ..................................................15 Computer connection ...................................15 SCSI ID setting ............................................16 SCSI termination..........................................17 11 TO HOST connection .................... 30 6 Working with Hard Disks ...............18 13 Recording setup table .................. 36 Formatting....................................................18 Sound file management................................18 Sound file backup.........................................18 Computer utilities.........................................18 Hard disk fragmentation...............................19 Hard disk partitioning ..................................19 7 Recording ................................................20 Sampling frequency (REC FREQ)...............20 Digital input levels .......................................21 Setting the analog input level.......................21 Input level meters.........................................21 Headphone monitoring.................................21 Digital audio data containing SCMS ...........22 Digital audio data with emphasis .................22 20-bit digital audio .......................................22 MIDI ........................................................... 30 Mac ............................................................. 31 PC-1 ............................................................ 32 PC-2 ............................................................ 32 TO HOST computer connecting cables ...... 33 12 Glossary ............................................... 34 14 CBX-D5 Specifications ................ 37 Index ............................................................... 38 Appendix .............................................. Add-1 Preset Effects ................................. Add-1 DSP/DEQ/DMIX Block Diagram .. Add-2 Preset effects parameter values ..... Add-3 Data-Value Assign Table ............... Add-5 Effect parameters............................ Add-8 MIDI Parameter............................ Add-24 MIDI Data Format........................ Add-28 MIDI Implementation chart.......... Add-32 Introduction Introduction 1 1 1 Introduction Welcome to the CBX-D5 Thank you for purchasing a CBX-D5 Digital Recording Processor. Connecting the CBX-D5 to a controlling computer with supporting software and an external hard disk will provide up to four channels of CD quality audio recording, processing, and playback. CBX-D5 features • • • • • • • • • • • • 4-channel system: 2-channel simultaneous recording, 4-channel playback. A/D conversion: 16-bit linear ∆ Σ modulation. D/A conversion: 18-bit with 8-times oversampling digital filter. Multi-band parametric DEQ for each channel. DSP provides 82 different reverb and modulation type effects. 4-input, 4-bus, 2-send digital mixer. Sampling frequencies: 48kHz, 44.1kHz, 32kHz, (22.05kHz analog input only). Analog inputs and outputs use professional style XLR type connectors. Digital I/O includes AES/EBU, CD/DAT & Y2 Yamaha format. 10 minutes of stereo audio requires approximately 100MB hard disk (fs=44.1kHz). Total recording time can be increased by adding more SCSI hard disks. All audio data processing is carried out within the CBX-D5, so much less is demanded of the computer, eliminating data bottlenecks and slow screen redraws. • Host computer connection allows direct connection to a computer without a MIDI interface. Operating manual organization The CBX-D5 is supplied with three manuals: this Operating Manual, the System Setup Guide, and a Test Program manual. This Operating Manual contains full details about the CBX-D5 Digital Recording Processor: what it is, how it works, and how to use it. It also contains an index that will allow you to locate information quickly, and also a glossary of CBX-D5 terminology. The System Setup Guide describes how to set up a recording system using the current supporting computers and music programs. From time to time this guide will be updated using single sheet supplements. Please see your Yamaha dealer for the latest supplement. The Test Program manual should be used in conjunction with the Hardware Test Program Disk for testing the CBX-D5 hardware. Important Notice YAMAHA AND THE SOFTWARE COMPANIES THAT PRODUCE CBX-D5 CONTROLLING SOFTWARE CANNOT BE HELD RESPONSIBLE FOR ANY LOSS OF DATA OR FOR ANY DIRECT, INDIRECT, SPECIAL INCIDENTAL, CONSEQUENTIAL OR OTHER DAMAGES SUFFERED BY THE USER OR OTHERS RESULTING FROM THE USE OR PURCHASE OF THE CBX-D5, ITS DOCUMENTATION, OR SUPPORTING SOFTWARE. 2 2 Chapter Chapter 1 : Introduction 1 : Introduction Unpacking The CBX-D5 packaging should contain the following items. 1 CBX-D5 1 Power cable 1 8-pin mini DIN cable 1 MIDI cable 1 SCSI cable (50 to 50 Amphenol) 1 SCSI terminator 1 Rack-mount kit (L & R set) 1 Hardware Test Program Disk 1 Test Program Manual 1 This Operating Manual 1 System Setup Guide 1 User Registration Card Serial No: Store the packaging materials for future use. Installation The cosmetic appearance of the CBX-D5 has been designed to match typical computer hardware. Its “footprint” size matches that of many computers so that it can easily be installed with your other computer equipment. The CBX-D5 should be placed on a flat, stable surface. The CBX-D5 can also be rack mounted using the supplied rack-mount kit. When installed in the rack-mount kit the CBX-D5 requires 3U of rack space. Trademarks IBM, PC-AT, PS/1, and PS/2 are registered trademarks of International Business Machines Corporation. Appleand Macintosh are registered trademarks of Apple Computer, Inc. Atari, ST, TT, and STE are registered trademarks of Atari Corporation. Mark of the Unicorn is a registered trademark of Mark of the Unicorn, Inc. All other trademarks are the property of their respective holders. Powering up a CBX-D5 System Some computer systems are a little bit fussy about which devices are switched on first, especially when a SCSI daisy chain is introduced into the system. As a good rule of thumb, switch on all connected SCSI devices first, then the computer. NOTE: While using your CBX-D5 computer music system, do not switch off or disconnect any device connected in the SCSI chain. Doing so will probably lead to a system crash and you could loose valuable data. CBX-D5 CBX-D5 Terminology Terminology 3 3 2 CBX-D5 Terminology SCSI Pronounced scuzzy, the Small Computer System Interface is a connection format used for connecting peripheral devices such as hard disks, printers, scanners, etc., to a computer. Up to eight SCSI devices can be connected together in a daisy chain including the controlling computer. Each device is given its own identity number from 0 to 7, this is called the SCSI ID number. The CBX-D5, a computer, and a hard disk are all connected as part of a SCSI daisy chain. The SCSI connection carries audio data between the CBX-D5 and hard disk for recording and playback, and also control data from the computer to the CBX-D5. The controlling computer can also access the hard disk to perform basic sound file copy, delete, and backup type functions. With the necessary software, digital audio data could be transferred directly to the computer for on-screen waveform editing, etc. The SCSI standard is quite a robust format, although, some care must be taken when connecting and setting up SCSI devices. For full details about connecting SCSI hard disk drives to the CBX-D5 see “Connecting Hard Disk Drives” on page 13. Sound files Just like other types of computer data, digital audio data is stored in files – sound files. When recording starts, a sound file is created on the hard disk. This sound file can be given a name, copied, and deleted just like any other computer file. AES/EBU format AES/EBU is a digital interface format established by the AES (Audio Engineering Society) and EBU (European Broadcasting Union). It is used to transfer digital audio data between professional digital audio equipment. Usually, two channels of digital audio (left & right) are carried in one XLR type connection. Although similar to the CD/DAT format, it is primarily intended for professional usage. AES/EBU format connections can be found on most professional digital audio equipment including hard disk recorders, digital mixers, professional DAT recorders, and many digital VTRs. CD/DAT format Similar to the professional AES/EBU format, CD/DAT, or S/PDIF (Sony/Philips Digital Interface Format) as it is otherwise known, is a digital interface format that is used to transfer digital audio data between consumer type digital audio equipment such as CD players, consumer DAT recorders, and the new DCC recorders. Like the AES/EBU format, two channels of digital audio (left & right) are carried in one connection, usually a phono/RCA jack type connection. Some MIDI samplers are fitted with a CD/DAT connection so that sample data can be transferred directly to a DAT recorder for storage. Y2 format Y2 Yamaha format is a digital interface format developed by Yamaha that is used to transfer digital audio data between Yamaha’s professional digital audio equipment. Two channels of digital audio (left & right) are carried in one connection, usually an 8-pin DIN type connection. Yamaha’s professional digital audio products usually include the AES/EBU and CD/DAT type formats as well as Y2, and the Y2 format can also be found on some other manufacturers’ digital audio products. Yamaha’s professional digital audio products that use Y2 include the DMR8 Digital Mixer/Recorder, DMC1000 Digital Mixing Console, DRU8 Digital Recorder, and the DMP series of Digital Mixers. 4 4 Chapter Chapter 2 : CBX-D5 2 : CBX-D5 Terminology Terminology Sampling frequency (REC FREQ) During the analog to digital conversion process, the level of the analog audio signal is sampled (measured) many times per second. Each of these sample measurements is then stored as a 16-bit binary value. For digital to analog conversion (playback), these 16-bit binary values are used to reconstruct the analog audio signal. The rate at which these sample measurements take place is called the sampling frequency and you may already know that the sampling frequency used by CD players is 44.1kHz. The CBX-D5 can record audio using any one of four sampling frequencies: 48kHz, 44.1kHz, 32kHz, and 22.05kHz. The audio quality (bandwidth) of a digital system is directly affected by the sampling frequency. Essentially, the audio bandwidth will be roughly half the chosen sampling frequency. See “Sampling frequency (REC FREQ)” on page 20 for more details. Word clock When a number of digital audio devices are connected together and data is digitally transferred between them, it is essential that the data processing circuits of all devices are synchronized. To achieve this, one device operates as a word clock master and all other devices operate as word clock slaves. The frequency of the word clock corresponds directly to the digital audio data’s sampling frequency. If you only connect two digital audio devices, say the CBX-D5 to a DAT recorder, word clock setup is quite straight forward and no word clock connections will be required. However, when three devices are connected, serious thought will need to be given as to which device is word clock master and how to make the word clock connections. See “WORD CLK IN/OUT” on page 28 for more details. NOTE: Word clock signals should not be confused with other synchronizing signals such as SMPTE timecode and MTC (MIDI Timecode). Although both may be used in a digital audio system, word clocks are for synchronizing digital audio data processing circuits such as CPUs, D/A, A/D converters, etc., while SMPTE and MTC timecodes are for synchronizing audio and video tape machines, MIDI sequencers, etc., relative to time – hours, minutes, seconds, and frames. To Host An 8-pin mini DIN connector that allows direct connection to a computer that is running CBX-D5 supporting software. This can be used when your computer does not have a MIDI interface, i.e. MIDI input and output connections. See “TO HOST connection” on page 30 for more details. NOTE: Not all CBX-D5 supporting music software can use this type of connection, so please consult your Yamaha dealer before making a purchase. What What is the is the CBX-D5? CBX-D5? 5 5 3 What is the CBX-D5? The CBX-D5 is a Digital Recording Processor that, when connected to a controlling computer with supporting software and an external hard disk, provides up to four channels of CD quality audio recording, processing, and playback. Computer based The CBX-D5 is controlled by a computer that is running CBX-D5 supporting software. All audio data processing takes place inside the CBX-D5, so there is very little demand on the controlling computer. For this reason the CBX-D5 can be used with some of the less powerful, less expensive computers such as the Apple Macintosh SE/30, Classic II, and LC; and the Atari ST/STE. It also leaves the computer free to get on with other jobs such as processing MIDI sequence data and screen updates. The CBX-D5, computer, and hard disk are all connected as part of a SCSI daisy chain. The SCSI connection carries audio data between the CBX-D5 and hard disk for recording and playback, and also control data from the computer to the CBX-D5. A MIDI connection between the CBX-D5 and computer carries continuous controller information for real-time volume, EQ, and pan control of the CBX-D5’s digital mixer. Four-channel system The CBX-D5 is a 4-channel system, i.e., 2-channel simultaneous recording and 4-channel playback. Channels can be recorded while other channels playback. The CBX-D5 needs about 100Mbytes of hard disk space to record 10 minutes of stereo digital audio (fs = 44.1kHz). The available recording time can be increased by simply adding more, or larger hard disk drives to the SCSI daisy chain. CD quality & editing The CBX-D5 records audio data at a 16-bit resolution, and with 44.1kHz and 48kHz sampling frequencies it provides all the sound quality benefits of the Compact Disc format such as faithful reproduction, low noise, minimal distortion, etc. Analog input and output signals are processed by 16-bit linear ∆ Σ modulation A/D and 18-bit 8-times oversampling D/A converters. Analog connections use balanced XLR type connectors. Digital I/O consists of AES/EBU, CD/DAT, and Y2. Allowing digital audio data transfer between the CBX-D5 and other digital audio equipment. As well as the A/D, D/A converters, the CBX-D5 also contains a 4-input, 4-bus, 2-send digital mixer; a DSP for digital effects; DEQ for real-time EQ control; and sampling frequency converters that allow recording and playback at differing sampling frequencies. As well as the sound quality, two other benefits of recording with a CBX-D5 system as opposed to analog tape are, the ability to nondestructively edit recordings and being able to move audio data relative to time, a feature often referred to as audio time slip. For a listing of some other CBX-D5 features, see “CBX-D5 features” on page 1. The future The CBX-D5 is a software dependent device, so with future supporting software it may be possible to use the CBX-D5 for digital mixing with digital EQ and effects, sampling, 2-track mastering, waveform editing, and multimedia type applications. HOST COMPUTER SCSI HARD DISK 1 SCSI HARD DISK 2 MIDI MIDI AUDIO WORDCLOCK Fs CONVERTER MIDI IN, or TO HOST EQ DEQ DEQ DEQ DEQ RECORD WORDCLOCK INPUT MONITOR SIGNAL PATH CONTROLLER VOLUME, PITCH SYNC PLAY CONTROL PLAY CONTROL PLAY CONTROL Fs CONVERTER Fs CONVERTER PLAY CONTROL Fs CONVERTER Fs = Sampling Frequency PLAY BUFFER (RAM) CBX-D5 SCSI CONTROLLER MIDI OUT, or Serial port SCSI RECORD BUFFER (RAM) INPUT LEVEL METERS OUTPUT LEVEL METERS DSP EFFECTS 4 INPUT 4 BUS 2 SEND DIGITAL MIXER Fs CONVERTER Fs CONVERTER Fs CONVERTER Fs CONVERTER Fs CONVERTER Fs CONVERTER A/D CONVERTER A/D CONVERTER Y2 INTERFACE S/PDIF INTERFACE AES/EBU INTERFACE AES/EBU INTERFACE D/A CONVERTER D/A CONVERTER D/A CONVERTER D/A CONVERTER PLAYBACK WORDCLOCK DIGITAL INTERFACE Y2 OUT 1/2 CD/DAT OUT 1/2 AES/EBU OUT 3/4 AES/EBU OUT 1/2 ANALOG OUT 4 ANALOG OUT 3 ANALOG OUT 2 ANALOG OUT 1 WORD CLK OUT WORD CLK IN Y2 IN 1/2 CD/DAT IN 1/2 AES/EBU IN 1/2 ANALOG IN 2 ANALOG IN 1 6 6 Chapter Chapter 3 : What 3 : What is the is the CBX-D5? CBX-D5? Inside the CBX-D5 The following block diagram shows how the CBX-D5 processes audio data as it travels from input to output and to the external SCSI hard disks. TheThe CBX-D5 CBX-D5 in ainMIDI a MIDI recording recording system system 7 7 The CBX-D5 in a MIDI recording system The following diagram shows how the CBX-D5 can be integrated into a MIDI sequencer based music production system. MONITOR AMP MIDI MULTI-EFFECTOR MIDI TONE GENERATOR MASTER RECORDER MIDI DRUM MODULE MIDI SOUND SAMPLER GROUP OUT x2 LINE IN x4 MIDI OUT YAMAHA CBX-D5 SERIAL PORT TO HOST SCSI MIDI IN DIGITAL TRANSFER MIDI OUT CD/DAT MIDI CABLE AUDIO CABLE HOST CABLE HARD DISK SCSI 8 8 Chapter Chapter 4 : Controls 4 : Controls & Connections & Connections 4 Controls & Connections Front panel 1 POWER switch Used to turn the power on and off. Press once to switch on, press again to switch off. 2 SOURCE indicators Indicates the input selected for recording: AES/EBU, Y2, CD/DAT, or ANALOG. The source input selection is made by the controlling software. 3 REC FREQ indicators Indicates the selected sampling frequency for recording: 48kHz, 44.1kHz, 32kHz, and 22.05kHz (analog inputs only). The sampling frequency selection is made by the controlling software. 4 PB FREQ indicators Indicates the sampling frequency of the digital audio data that is being output by the CBX-D5: 48kHz, or 44.1kHz. The playback sampling frequency setting is made by the controlling software. When the CBX-D5 is used with an external word clock, the digital outputs will operate at the same frequency as the external word clock and that frequency will not be indicated by the “PB FREQ” indicators. Front Front panel panel 9 5 9 INPUT LEVEL meters Two 12-segment LED bargraphs indicate the level of the incoming digital audio when the input source is set to AES/EBU, CD/DAT, or Y2 (not affected by the level controls), or the level of the analog input signals when the input source is set to ANALOG (controlled by the “ANALOG IN” level controls). NOTE: 6 Unlike peak meters on analog equipment that light up approximately 3 ~ 6dB before signal clipping, CLIP LEDs on digital equipment light up when the signal has actually clipped. Digital audio signal clipping normally produces unpleasant distortion, pops, and clicks, so care must be taken when setting the recording level for analog input signals. See “Recording” on page 20 for more details. OUTPUT LEVEL meters Four 12-segment LED bargraphs that indicate the output level of channels 1 ~ 4. The “CLIP” LED indicates an output level of +17dBm. NOTE: 7 Just like the input level meters, lighting an output level meter’s “CLIP” LED should be avoided to prevent signal distortion. This situation may occur when two or more CBX-D5 audio channels are mixed, or if excessive EQ is applied. The CBX-D5 does not have any output level controls, the output level is set by the controlling software. ANALOG IN LEVEL control Independent level controls for analog input channels 1 and 2. As well as independent level control, these controls can also be used to balance the left and right channels of a stereo source connected to the analog inputs. NOTE: 8 These controls have no effect on the AES/EBU, CD/DAT, and Y2 digital inputs and outputs. PHONES VOL Adjusts the volume level of the headphones. 9 PHONES connection A stereo 6.35 mm (1/4 inch) phone jack used for connecting a pair of stereo headphones. All four CBX-D5 audio channels can be monitored – channels 1 and 3 appear in the left speaker and channels 2 and 4 in the right. 10 10 Chapter Chapter 4 : Controls 4 : Controls & Connections & Connections Rear panel The explanations below are only brief introductions to the CBX-D5’s rear panel connections. For full details about the inputs and outputs, see “Inputs & Outputs Explained” on page 26. 1 ANALOG IN 1&2 A pair of female XLR 3-31 type connectors used for inputting analog audio signals. These are balanced inputs with a nominal input level of +4dBm and a maximum input level of +22dBm. These could be connected to the outputs of a mixer, synthesizer, drum machine, etc. Microphones, guitars, and equipment with an output level less than –20dBm must first be connected to a preamplifier, then to the CBX-D5. NOTE: 2 When the Analog inputs are used unbalanced, the maximum input level is reduced to +16dBm. ANALOG OUT 1 ~ 4 Four male XLR 3-32 type connectors used for outputting channels 1 ~ 4 as analog audio signals. These are balanced outputs with a nominal output level of 0dBm and a maximum output level of +17dBm. These could be connected to the inputs of a mixer, amplifier, tape recorder, or DAT recorder. 3 AES/EBU IN 1/2 A female XLR 3-31 type connector for inputting AES/EBU format digital audio. Only one input connection is required for channels 1 and 2 because the AES/EBU format carries two signals in one connection. These could be used when recording digital audio data from professional digital audio equipment such as another hard disk recorder, a digital mixer, digital recorder, or digital VTR. RearRear panel panel 11 11 4 AES/EBU OUT 1/2 & 3/4 Two male XLR 3-32 type connectors for outputting AES/EBU format digital audio. Channels 1 and 2 are output via “OUT 1/2”, and channels 3 and 4 via “OUT 3/4”. These could be used to transfer digital audio data from the CBX-D5 to professional digital audio equipment. 5 CD/DAT IN 1/2 A Phono/RCA jack for inputting CD/DAT format digital audio. Channels 1 and 2 are carried in the same connection. This connection could be connected to the digital output of a CD player or DAT recorder and allows digital audio recording without multiple D/A, A/D audio data conversions. Some MIDI samplers are fitted with this type of connection. In this case your sound samples could be recorded directly to your CBX-D5 system. 6 CD/DAT OUT 1/2 A Phono/RCA jack for outputting CD/DAT format digital audio. Channels 1 and 2 are carried in the same connection. This could be connected to the digital input of a DAT recorder or DCC recorder, and allows digital audio recording without multiple D/A, A/D audio data conversions. NOTE: 7 It is widely known that the weakest links in a digital audio system are the A/D and D/A converters. For once the audio has been converted into a digital form, it is immune from all the problems usually associated with analog equipment such as distortions and noise. Although the effects of multiple conversions will be hard to spot, even for the best trained ears, it makes sense that once converted, we try and keep the audio in a digital form by using these digital I/O connections wherever possible. Y2 IN 1/2 An 8-pin DIN socket for inputting Y2 Yamaha format digital audio. As with the AES/EBU and CD/DAT formats, two audio channels are carried in the same connection. This could be connected to one of Yamaha’s digital audio products such as a DMR8 Digital Mixer/Recorder, DMC1000 Digital Mixing Console, DRU8 Digital Recorder, SPX1000 Effect Processor, or the DMP series of Digital Mixers. 8 Y2 OUT 1/2 An 8-pin DIN socket for outputting Y2 Yamaha format digital audio. This could be used to transfer digital audio data from the CBX-D5 to one of the Yamaha professional digital audio products listed above. You might not own one of these products yourself, but you may need to transfer some of your audio data to a recording studio that does. 9 WORD CLK IN/OUT Two BNC type connectors for inputting and outputting word clock signals. A common word clock signal is used to synchronize data processing circuits when a number of digital audio devices are connected together. For a full description of how and when to use these connections, see “WORD CLK IN/OUT” on page 28. 12 12 Chapter Chapter 4 : Controls 4 : Controls & Connections & Connections 0 MIDI IN The CBX-D5 receives MIDI control data from the computer via this connection. To prevent the CBX-D5’s control data being delayed by other MIDI devices, the CBX-D5 should be the first device connected to your computer. Other MIDI devices should then be connected to the CBX-D5’s MIDI THRU connection. If your computer’s MIDI interface has two or three MIDI outputs, dedicate one for use with the CBX-D5. NOTE: Although not usually a problem on a small MIDI system, when more than three MIDI devices are daisy chained together using MIDI IN and THRU connections, MIDI data can sometimes be delayed, especially if you transmit a lot of continuous controller data such as pitch bend or modulation wheel. If MIDI delays do become a problem, use a MIDI THRU Box to distribute the MIDI signal to each MIDI device. A MIDI OUT When the CBX-D5 is being used as a MIDI interface, that is, a direct connection to a computer via the To Host connection, MIDI data from the computer is output to other MIDI devices from this connection. Also used for MIDI bulk dump. NOTE: The operation of the MIDI IN and MIDI OUT connections varies depending on the position of the CBX-D5’s Host select switch. See “TO HOST connection” on page 30 for full details. B MIDI THRU MIDI data appearing at the MIDI IN connection is buffered, then output from this connection. In other words, all MIDI data appearing at the MIDI IN connector is output to the MIDI THRU connector unaffected by the CBX-D5. C TO HOST connector An 8-pin mini DIN connector that allows direct connection to a computer that is running CBX-D5 supporting software. This can be used when your computer does not have a MIDI interface, i.e., MIDI input and output connections. See “TO HOST connection” on page 30 for more details. D TO HOST select switch This switch setting depends on the type of computer connected to the “TO HOST” connector. See “TO HOST connection” on page 30 for full details. E SCSI connectors Two 50-way Amphenol type connectors used to connect the CBX-D5 into the SCSI daisy chain. F SCSI ID selector A thumb wheel type switch used to set the SCSI ID number of the CBX-D5. See “SCSI ID setting” on page 16 for more details. G Power inlet A 3-pin power inlet socket. Connect the supplied power cable to this socket, then plug the other end of the cable into an AC receptacle of the correct type. Connecting Connecting Hard Hard DiskDisk Drives Drives 13 13 5 Connecting Hard Disk Drives Before connecting a hard disk drive, read through this chapter to familiarize yourself with SCSI and how a SCSI daisy chain should be setup. What type of hard disk? If you don’t already have a hard disk or are thinking of buying a larger one, see the supplied card for a listing of recommended disk drives. Hard disk size The following table shows approximate available recording times for various sizes of hard disk. Available recording times are shown for all of the CBX-D5’s sampling frequencies, and as you can see, with a higher sampling frequency – less time is available. This is because using a high sampling frequency produces much more digital data, which means a bigger sound file. See “Sampling frequency (REC FREQ)” on page 20 for more details about selecting a sampling frequency. Hard disk / Max. Sound File Size Stereo Recording (minutes) Mono Recording (minutes) 22.05 kHz 32 kHz 44.1 kHz 48 kHz 22.05 kHz 32 kHz 44.1 kHz 48 kHz 2000MB (2GB) 380 260 190 174 760 760 380 348 1000MB (1GB) 190 130 95 87 380 380 190 174 660MB 124 85 62 57 248 248 124 114 330MB 62 42 31 28 124 124 62 56 200MB 40 25 20 17 80 50 40 34 100MB 20 13 10 8 40 26 20 16 40MB 8 5 4 3.30 16 10 8 7 20MB 4 3 2 1.42 8 6 4 3.24 10MB 2 1.18 1 51 secs 4 2.36 2 1.42 5MB 1 38 secs 30 secs 26 secs 2 1.16 1 52 secs 1MB 12 secs 7 secs 6 secs 5 secs 24 secs 24 secs 12 secs 10 secs Although it is doubtful that you will ever buy a hard disk smaller than 40MB for use with the CBX-D5, the values below 40MB will be useful for checking the remaining record time that is available on a hard disk that already contains some sound files. 14 14 Chapter Chapter 5 : Connecting 5 : Connecting Hard Hard DiskDisk Drives Drives Choosing a hard disk If you plan to buy a hard disk that is not listed on the supplied card, the following specifications should be checked first. Specification Check Is it compatible with your computer? Notes Maybe it is advertised as compatible, or your dealer recommends it. Does it have two SCSI connectors? You need two to continue the SCSI daisy chain. Are the SCSI connectors 25-pin D-SUB, or 50-way Amphenol? Macintosh computers are fitted with a 25-pin D-SUB connector, while most other SCSI devices have a 50-way Amphenol connector. Are the SCSI cables supplied? If not, you will need to purchase them separately. Can the SCSI ID be set from 0 ~ 7? (for Macintosh you only need 0 ~ 6) If not, it might clash with another device’s ID, in which case you may have to rearrange the ID numbers of some other SCSI devices in the chain. Does it have internal or external termination? External terminators are normally connected to the rear of the SCSI device. If the device has an internal terminator, make sure it can be switched off so that any device can be positioned at the end of the SCSI daisy chain. Access Time? Measured in milliseconds, this is an indication of how fast data from different areas of the disk can be retrieved. The maximum we recommend is 30ms. An access time slower than this may affect the performance of the CBX-D5. Data Transfer Rate? Usually measured in Megabits per second (Mbit/s), this shows how fast data can be written to and read from the hard disk. The minimum we recommend is 16Mbits/s. A transfer rate less than this may affect the performance of the CBX-D5. SCSI For an general introduction to SCSI, see “SCSI” on page 3. Setting up a SCSI daisy chain requires a little more than just making connections. SCSI devices require ID numbers and the daisy chain must be terminated correctly. These are explained in the following three sections, “SCSI cables”, “SCSI ID setting”, and “SCSI termination”. When using a SCSI daisy chain, the following points should be borne in mind. • Allocate each device its own SCSI ID number. • Terminate the SCSI bus correctly. • Use quality cables and keep the length down. • Use the little wire clips (or screws) on a SCSI connector to fasten the cable plugs securely. • All devices connected in the daisy chain must be switched on to use the system. • Never switch off, or disconnect a device once the system has been switched on. NOTE: Switch off all your equipment before making any SCSI connections. SCSI SCSI cables cables 15 15 SCSI cables Most SCSI devices are supplied with a SCSI cable, but if you need to buy one, make sure that it is designed for SCSI usage and that the connecters on either end of the cable are correct for your application. Cable length is an important issue, but it’s not the length of each individual SCSI cable, it’s the total length of the SCSI daisy chain that must not exceed 6m (20ft). SCSI HARD DISK 1 SCSI HARD DISK 2 SCSI CBX-D5 Total length of SCSI daisy chain must not exceed 6m (20ft) Computer connection Apple Macintosh Apple Macintosh computers use a 25-pin D-SUB connector for the SCSI port, so use a 25-pin D-SUB to 50-way Amphenol type SCSI cable, usually supplied with an external Macintosh hard disk drive. Atari ST/STE For Atari ST/STE computers, a Steinberg SCSI adaptor is required. This should be connected to the Atari ST/STE’s “HARD DISK” port (DMA) using a 19-pin DSUB to 19-pin DSUB cable. An external hard disk drive can then be connected to the SCSI adaptor’s SCSI connector using a 50-way to 25-pin SCSI cable. NOTE: Some Atari ST/STE hard disk drives already contain a SCSI adaptor, however, they cannot be used as a substitute for the Steinberg adaptor. Although it is possible to use just one external hard disk, it is highly recommended, for the sake of data integrity, that you use at least two external hard disks: one disk for your computer software and data such as Cubase Audio, MIDI song files, etc., and the other disk purely for recording CBX-D5 sound files. Atari TT The Atari TT has a SCSI connection built-in, so a SCSI hard disk drive can be connected directly. Atari TT computers are fitted with an internal hard disk as standard. The internal disk should be used for your computer software and data such as Cubase Audio, MIDI song files, etc., and an external hard disk should be used purely for recording CBX-D5 sound files. An external hard disk must be used with an Atari TT, because it supplies the termination power that is required by the SCSI bus. IBM PC/AT compatible For an IBM PC/AT compatible computer, a SCSI adaptor card is required. This should be installed into one of the computer’s internal expansion slots. 16 16 Chapter Chapter 5 : Connecting 5 : Connecting Hard Hard DiskDisk Drives Drives SCSI ID setting The SCSI bus is a parallel type connection, and data on the bus is available to all devices. However, communication will usually be between two devices only, so each device is allocated an ID number, like an address number. In this way, only the device with the ID number that is specified in the data will actually read and respond to the data. If two devices share the same ID number, the system will probably crash, so make sure that each device has its own ID number. SCSI devices usually have a DIP switch or, like the CBX-D5, a thumb wheel switch for ID setting. Refer to the instructions supplied with your particular SCSI device. ID No. 1 SCSI HARD DISK 1 ID No. 2 SCSI HARD DISK 2 ID No. 3 SCSI CBX-D5 SCSI ID No. 5 ID No. 6 SCSI DEVICE SCSI SCSI DEVICE ID No. 4 SCSI HARD DISK 3 This device is terminated The Apple Macintosh example above shows six devices connected in a SCSI daisy chain (seven including the computer). Each device has its own ID number. Note that the last device in the chain is terminated. On a Apple Macintosh computer, SCSI ID 7 is reserved for use by the computer, and ID 0 for the internal hard disk. Do not use either of these IDs for any other SCSI device. ID No. 0 ATARI ST/STE 19-pin DSUB SCSI Adaptor SCSI HARD DISK 1 ID No. 1 SCSI HARD DISK 2 SCSI ID No. 6 CBX-D5 ID No. 3 SCSI HARD DISK 4 ID No. 2 SCSI HARD DISK 3 This device is terminated In the Atari ST/STE system shown above, five SCSI devices are connected in a daisy chain. Hard disks must be set with continuous SCSI IDs starting from 0 (0, 1, 2, 3…). However, the CBX-D5 can be set to SCSI ID 5 or 6. Do not set any device to SCSI ID 7. ID No. 1 ATARI TT SCSI HARD DISK 1 ID No. 2 SCSI HARD DISK 1 ID No. 3 SCSI HARD DISK 2 SCSI ID No. 5 ID No. 6 (internal hard disk set to SCSI ID 0) CBX-D5 SCSI HARD DISK 4 ID No. 4 SCSI HARD DISK 3 This device is terminated In the Atari TT system shown above, six SCSI devices are connected in a daisy chain. Hard disks must be set with continuous SCSI IDs starting from 1 (1, 2, 3, 4…). However, the CBX-D5 can be set to SCSI ID 5 or 6. Do not set any device to SCSI ID 7. SCSI SCSI termination termination 17 17 SCSI termination Unlike audio signals, digital signals only have two values: high and low (+5V and 0V). When no data is being transmitted, it is important that SCSI bus lines are kept in the high state (+5V), so that when data is transmitted there is a clear distinction between high and low pulses and the data is transferred without error. To achieve this, a device known as a SCSI terminator is connected in the SCSI daisy chain. A terminator is usually fitted to the last device in the chain. Terminate this device HARD DISK 1 SCSI SCSI HARD DISK 2 SCSI CBX-D5 Some SCSI devices have a terminator built-in. In this case that device should be connected at the end of the daisy chain. Other devices, like the CBX-D5, are supplied with an in-line type terminator and this can be connected as shown below. CBX-D5 (Top view) HARD DISK 2 (In this case the CBX-D5 is the last device connected in the daisy chain, so the SCSI terminator is connected as shown) SCSI PLUG To the next SCSI device NOTE: SCSI PLUG SCSI PLUG SCSI TERMINATOR SCSI CABLE If the SCSI daisy chain is not terminated correctly, numerous problems including data corruption, system crashes, and intermittent glitches can occur. If you have just set up your SCSI daisy chain or have added a new SCSI device to it and it is not working as it should, check that the SCSI daisy chain is terminated correctly. If the problem persists, try connecting the SCSI devices in a different order. 18 18 Chapter Chapter 6 : Working 6 : Working withwith Hard Hard Disks Disks 6 Working with Hard Disks After connecting your hard disk, setting the SCSI ID, and installing the SCSI terminator, you will need to format the hard disk before it can be used. If you have already powered up your system you will notice that there isn’t a disk icon representing the new disk drive on the desktop. This is because your computer could not mount the hard disk during boot-up, due to it not being formatted. Formatting Most SCSI hard disks are supplied with their own disk formatting software, so please refer to the hard disk’s Manual, and format the disk as specified. Before disk formatting begins you will probably be asked to supply the SCSI ID of the hard disk and maybe the required interleave value. The SCSI ID will be the number that you set on that hard disk using its SCSI ID DIP switch or thumb wheel switch. If you have to specify an interleave value, check the hard disk’s Manual. Also see the “Adding SCSI disk drives” section of your computer manual. When the disk has been formatted correctly and any supplied hard disk driver software has been installed, a disk icon should appear on your computer’s desktop. Sound file management By double clicking on the disk’s icon you will be able to access sound files stored on the disk. Sound files can be copied, deleted, size checked, etc., using the same menu commands that you would use for your other computer files. Sound file backup Because the CBX-D5’s sound files can be managed just like your other computer files, sound files can be backed up in much the same way using data compression and backup utilities. However, due to the relatively large size of sound files, floppy disks are not the most effective backup media. Removable hard disks and magneto optical disks are well suited to this task and commonly available sizes include 44MB, 88MB, 128MB, and 650MB. Another backup option is to digitally transfer your sound files to a DAT recorder. Then, if you want them again in the future, just record them back to the CBX-D5. Computer utilities There are many computer utilities and desk accessories available for managing files and hard disks such as a “file squashers”, “auto savers”, “hard disk size doublers”, etc. If you choose to use a utility to work along side the CBX-D5, YOU DO SO AT YOUR OWN RISK and no responsibility can be claimed for lost data, system crashes, and hardware damage. The CBX-D5 is designed to work with the software described in the System Setup Guide, why risk losing your valuable audio data by using a “super disk space doubler”, or “real-time data compressor”? Hard Hard diskdisk fragmentation fragmentation 19 19 Hard disk fragmentation Hard disks record data into pre-formatted concentric tracks on a number of magnetic disks that are mounted around a common spindle. Tracks are further divided into sectors, and each sector can store 512bytes of data. On a newly formatted disk, files are recorded into a continuous series of sectors as shown below. TRACK 6 SECTORS 10 SECTORS 8 SECTORS FILE 1 FILE 2 FILE 3 SECTOR As files are deleted and new files saved, files may be split (fragmented) over different areas of the disk, losing the continuity of sectors. In this case, reading one file may cause the disk drive to read sectors from many different parts of the disk, thus slowing down the overall data read rate and making the disk drive work harder. Space previously occupied by file 2 FILE 1 FILE 4 FILE 5a FILE 3 FILE 5b FILE 5 has been split – fragmented. Disk defragmentation is quite important for hard disk audio recording, as it is better to record data into a continuous series of empty hard disk sectors. If recording starts in an empty sector, but then subsequent sectors in the series are used by another file, because there is so much data being recorded, the disk drive does not have time to find, then move to another area on the disk, so recording may stop. This is not a problem with a completely empty disk, but if a sound file is deleted, the next recording might start in the deleted space, and recording might stop because there is not enough continuous empty sectors available. This will be more noticeable on a smaller hard disk where you have to keep deleting unwanted sound files to make way for new recordings. The answer is to use a good hard disk defragmentation utility when a sound file has been deleted. By defragmenting the disk, all sound files will be moved up to the front end of the disk, leaving the available disk space as a series of continuous sectors at the end of the disk. Hard disk partitioning Because the CBX-D5 can read and write to any hard disk drive connected in the SCSI chain, it is able to use individual partitions of a hard disk drive that has been partitioned. However, the CBX-D5 cannot record across hard disks or partitions, so the available recording time will be limited to the size of the partition. NOTE: The time available for all recordings is not limited by the size of a hard disk partition, it is the time available for one continuous recording, or one take that is limited. 20 20 Chapter Chapter 7 : Recording 7 : Recording 7 Recording Sampling frequency (REC FREQ) The CBX-D5 can record at any one of four sampling frequencies: 48kHz, 44.1kHz, 32kHz (as specified by the AES), or 22.05kHz (analog input only). These sampling frequencies are commonly used for digital audio, and each has its own specific applications. The sampling frequency is set by the controlling software and the CBX-D5’s front panel REC FREQ indicators show the selected frequency. The selected REC FREQ also determines the clock rate for all internal processing, i.e., DSP, digital mixer, DEQ, etc., except for the output Fs converters, whose clock rate is determined by the PB FREQ. NOTE: When using the digital inputs, you should set the CBX-D5’s REC FREQ to match the digital input signal’s sampling frequency. It is not essential, but we recommend it. 48kHz At 48kHz an audio bandwidth of about 22kHz is possible. Consumer DAT and DCC recorders can record at 48kHz only. Professional equipment also supports this frequency. 44.1kHz With this sampling frequency an audio bandwidth of about 20kHz is possible. This frequency is used for all prerecorded CDs, DATs (if there are any), and DCC cassettes. Although a higher audio bandwidth is possible using 48kHz, 44.1kHz is considered to be good enough for most applications, and most professional digital audio engineers use this sampling frequency. 32kHz At this sampling frequency an audio bandwidth of about 15kHz is possible. This frequency is widely used for broadcast applications where a 15kHz audio bandwidth, roughly that of FM radio, is acceptable. Many DSB (Direct Satellite Broadcasting) transmissions use this frequency, although, some may also use 48kHz. 22.05kHz At this frequency an audio bandwidth of about 10kHz is available. This frequency is widely used in multimedia applications. It might not seem very useful for your audio applications, but if you are limited by hard disk space or the audio material you are recording already has a limited bandwidth it may be useful. Which sampling frequency? Since the CBX-D5 contains a sampling frequency converter, digital audio can be output at a different sampling frequency to that which was used during recording. However, playing back a sound file at a higher sampling frequency will not improve the audio quality, as the audio frequency bandwidth of a sound file is determined by the record sampling frequency, not the playback frequency. This leaves you with two deciding factors for choosing a sampling frequency. Firstly, what audio bandwidth (audio quality) do you want to use, and secondly, how much free disk space is available? See “Hard disk size” on page 13 for a listing of recording times that are available at each sampling frequency for a given size of hard disk (free disk space). Varispeed With some tape based digital recorders it is possible to vary the speed of playback and recording. When varispeed is used the sampling frequency of the digital audio is changed. Since the CBX-D5 can playback digital audio at a sampling frequency different to that used for recording, varispeed digital audio can be recorded. Digital Digital input input levels levels 21 21 Digital input levels Digital input signals entering the CBX-D5 cannot be level adjusted. This is the same for most digital audio equipment, the idea being that once the level has been set during the original A/D conversion it should not need readjustment. It also simplifies the interfacing of digital audio signals between equipment. The level of the audio signal output via the CBX-D5’s digital outputs, however, can be level adjusted, and this is set by the controlling software. Setting the analog input level The recording level for analog input signals can be set using the CBX-D5’s ANALOG IN LEVEL controls. These controls allows independent level setting for channels 1 and 2 and they can also be used to balance the left and right channels of a stereo source connected to the analog inputs. The maximum analog input level is +22dBm. These controls should be used in conjunction with the input level meters, which are described below. Input level meters Unlike analog tape recorders, digital audio recorders are very unforgiving when it comes to excessive signal levels. Digital audio signal clipping normally produces unpleasant distortion, pops, and clicks, and unless you have some very sophisticated editing equipment it is impossible to remove it after the event. So great care must be taken when setting the recording level. With a digital audio recorder such as the CBX-D5, noise and hiss produced by setting the recording level too low is not a problem. However, setting the recording level too low will reduce the effective dynamic range of the recording and with a dynamic range of 96dB* available it makes sense to use as much of it as possible. Basically, the recording level should set so that the loudest signals light the –3, –6, –9 LEDs, but never light the CLIP LEDs. When recording with microphones, where sudden signal increases are possible, it may be worth having a “dry run” before you hit the record button. A compressor is a useful tool when recording vocals and acoustic instruments. Headphone monitoring During recording and playback, the four audio channels can be monitored using a pair of stereo headphones. Headphones should be connected to the PHONES jack on the front panel. The volume can be adjusted using the PHONES VOLUME control. As you can see from the diagram below, channels 1 and 3 appear in the left speaker and channels 2 and 4 in the right speaker. Channel 1 L R Channel 3 * 96dB is the dynamic range available with a 16-bit digital system (6dB per bit). Channel 2 Channel 4 22 22 Chapter Chapter 7 : Recording 7 : Recording Digital audio data containing SCMS SCMS (Serial Copy Management System) is a protection system designed to stop illegal digital copying of audio material. When a SCMS DAT recorder (most consumer DAT recorders) receives a digital input signal with the copy protect flag set to “protect”, it cannot enter record mode, making digital tape duplication impossible. NOTE: SCMS does not affect recordings made using analog connections, and it is only second generation digital copying (copy of a copy) that is prohibited. If a digital signal that contains SCMS is input to the CBX-D5 it will not prevent the CBX-D5 from recording. The digital audio will be recorded in a sound file without SCMS. When digital audio data containing SCMS is input into the CBX-D5, and the output format (set from the host computer) is set to Professional, output from the digital output jacks may be muted. When the output format is set to Consumer however, the digital and analog outputs will be unaffected. It is possible to record a copyrighted musical composition, edit it and replay it with the CBX-D5. However, the user will be held responsible for its use. Digital audio data with emphasis For some recordings, emphasis is applied to a digital audio signal. During playback, this emphasis is automatically detected by the replay device and de-emphasis applied. You may have seen the word EMPHASIS appear on a CD player or DAT recorder when a prerecorded disc or tape with emphasis was played back. The CBX-D5 has no emphasis functions, so if a digital signal that has been emphasized is input to the CBX-D5 it will not automatically be de-emphasized and the CBX-D5 will record the signal with the emphasis. During playback, a slight boosting of frequencies above 3.5kHz will be noticeable. 20-bit digital audio Some CD players are now 20-bit and there is a small but growing selection of 20-bit CD recordings available. Some 20-bit recorders are already being used for professional applications including Yamaha’s DMR8 and DRU8 recorders, which have always offered 20-bit recording. If a 20-bit digital signal is input to the CBX-D5, it will be converted to a 16-bit signal before recording. For the technically minded, 4-bits, starting from the LSB (Least Significant Bit) will be chopped off. Playback Playback 23 23 8 Playback Playback frequency (PB FREQ) During playback, sound files are read from disk, processed in the CBX-D5, then output. The CBX-D5 can read sound files that were recorded at sampling frequencies between 11.025kHz and 48kHz. Once inside the CBX-D5, the data is processed at the currently set REC FREQ. Then it is output to the digital outputs at a rate determined by the PB FREQ, and to the analog outputs after analog to digital conversion. The CBX-D5 can output digital audio at one of two sampling frequencies: 44.1kHz and 48kHz. The playback frequency is set by the controlling software and the CBX-D5’s PB FREQ indicators show the selection. NOTE: When the CBX-D5 is used with an external word clock, the digital outputs will operate at the same frequency as the external word clock and that frequency will not be indicated by the “PB FREQ” indicators. The choice of playback frequency will usually be determined by the sampling frequency of the device to which the digital audio is being sent, i.e., a DAT recorder, DCC recorder, digital mixer, etc. There is nothing to be gained by playing a 44.1kHz recorded sound file at 48kHz, and little to be lost by playing a 48kHz recorded sound file at 44.1kHz. Output level meters The four output level meters show the output level of each channel. The output level of each channel can be controlled by the controlling software. The maximum output level is +18dBm. So an analog output signal of about +18dBm will light the CLIP LED. Sound file playback compatibility As well as its own sound files, the CBX-D5 can also playback the following sound file formats. These sound file formats are often used with the Apple Macintosh computer. Sound Designer Sound Designer II (mono and stereo) Audio IFF (Interchange File Format) The CBX-D5 can record and playback mono and stereo 2-channel interleave files. 4-channel interleave files can be played back only. MONO FILE DATA 1 1 1 STEREO 2-CHANNEL INTERLEAVE FILE DATA 1 1 2 1 2 4-CHANNEL INTERLEAVE FILE DATA 1 2 3 4 1 2 3 4 24 24 Chapter Chapter 8 : Playback 8 : Playback Sound file regions Your controlling software may allow you to select a section of a sound file so that it can effectively be handled as an independent piece of sound data. Using different channels, the CBX-D5 can playback two overlapping sections from the same sound file simultaneously. REGION B SOUND FILE REGION A REGIONS A & B CAN BE PLAYED SIMULTANEOUSLY Converting Converting the the Sampling Sampling Frequency Frequency & Digital & Digital Audio Audio Format Format in Real in Real Time Time 25 25 9 Converting the Sampling Frequency & Digital Audio Format in Real Time When transferring digital audio data between equipment, it is sometimes necessary to convert from one digital audio format to another, say from CD/DAT to AES/EBU, or Y2 to CD/DAT. The CBX-D5 allows you to convert the digital audio format between CD/DAT, AES/EBU, and Y2 in real time. Real time means that you don’t actually have to record the digital audio, you just input it to the CBX-D5, the CBX-D5 converts it, then outputs it for record monitoring. As well as the digital audio format, the CBX-D5 also allows you to convert from one sampling frequency to another, say from 44.1kHz to 48kHz or vice versa. Sampling frequency conversion is useful if you have some DAT tapes, maybe masters, recorded at 48kHz and you want to transfer them directly to a CD disc recorder that will only accept digital audio data at 44.1kHz. Digital input and output source, record and playback sampling frequency settings are all made via the controlling software, so you will need to refer to your Software Manuals. The diagram below shows the conversion possibilities. AES/EBU 48, 44.1, 32kHz AES/EBU 48, 44.1kHz Y2 48, 44.1, 32kHz Y2 48, 44.1kHz CBX-D5 CD/DAT (SPDIF) 48, 44.1, 32kHz NOTE: CD/DAT (SPDIF) 48, 44.1kHz In this configuration, SCMS and emphasis information will pass through the CBX-D5 and will be output unchanged. In the system shown below, 48kHz data from DAT recorder No. 1 is fed to the CBX-D5 using the CD/DAT connections. The CBX-D5 converts the sampling frequency to 44.1kHz, then outputs the data to DAT recorder No. 2 via the AES/EBU connections. DAT RECORDER No.1 (48kHz) S/PDIF OUT CD/DAT IN CBX-D5 (48 to 44.1kHz) REC FREQ = 48kHz PB FREQ = 44.1kHz AES/EBU OUT AES/EBU IN DAT RECORDER No.2 (44.1kHz) 26 26 Chapter Chapter 10 :10 Inputs : Inputs & Outputs & Outputs Explained Explained 10 Inputs & Outputs Explained ANALOG IN A pair of female XLR 3-31 type connectors used for inputting analog audio signals. These are balanced inputs with a nominal input level of +4dBm and a maximum input level of +22dBm. These inputs are intended for use with balanced line level signals, i.e., from a mixer, synthesizer, drum machine, etc. Microphones, guitars, and equipment with an output level less than –20dBm must first be connected to a preamplifier, then to the CBX-D5. The illustration below shows how an XLR to XLR type cable is wired. XLR to XLR cable 2 2 3 3 1 1 3-PIN MALE XLR PLUG PIN 2 PIN 2 PIN 3 PIN 3 PIN 1 PIN 1 3-PIN FEMALE XLR LINE SOCKET XLR to phone jack cable Although balanced, these inputs can be used with unbalanced signals. The diagram below shows how a balanced XLR to unbalanced phone jack connecting cable should be wired. 2 3 1 3-PIN MALE XLR PLUG 1/4" PHONE JACK (mono) PIN 2 TIP PIN 3 PIN 1 SLEEVE ANALOG OUT Four male XLR 3-32 type connectors used for outputting channels 1 ~ 4 as analog audio. These are balanced outputs with a nominal output level of 0dBm and a maximum output level of +17dBm. These could be connected to the inputs of a mixer, amplifier, tape recorder, DAT recorder, etc. Cable wiring is the same as the “XLR to XLR cable” shown above. Connection to unbalanced inputs is also possible by using an XLR to phone jack cable like the one shown above. Note, however, that a 3-pin female XLR line socket would be used, not a 3-pin male XLR plug as shown in the illustration. NOTE: You may buy your XLR connecting cables or you may decide to make your own, either way always use good quality connectors and cable. AES/EBU AES/EBU IN 1/2 IN 1/2 27 27 AES/EBU IN 1/2 A female XLR 3-31 type connector for inputting AES/EBU format digital audio. This is a balanced type connection and two channels, 1 and 2, are carried in the same connection. This connection could be used when recording digital audio data from another hard disk recorder, a digital mixer, DAT recorder, or digital VTR. The AES/EBU format is used mainly on professional digital audio equipment. Although an XLR to XLR type connecting cable is required, the recommended cable impedance is different to that of typical audio XLR type connecting cables. You may find that typical audio XLR type cables work successfully, but to eliminate any risk of data corruption it is best to use a cable that is specifically made for use with the AES/EBU format. The recommended cable impedance for AES/EBU is 110Ω. AES/EBU OUT 1/2, 3/4 Two male XLR 3-32 type connectors for outputting AES/EBU format digital audio. Channels 1 and 2 are output via OUT 1/2, and channels 3 and 4 through OUT 3/4. These connections could be used to transfer digital audio data from the CBX-D5 to professional digital audio equipment. Here again, it is best to use a cable that is specifically made for use with the AES/EBU format. Follow the same recommendations given above for the AES/EBU IN connection. CD/DAT IN A Phono/RCA jack for inputting CD/DAT format digital audio. Two channels, 1 and 2 (left, right), are carried in the same connection. This connection could be connected to the digital output of a CD player or DAT recorder and allows digital audio recording without multiple D/A, A/D audio data conversions. Some MIDI samplers are fitted with this type of connection. In this case, sound samples could be transferred digitally between a sampler and the CBX-D5. The CD/DAT format is found mainly on consumer type digital audio equipment, although, most professional digital audio equipment supports it, too. Phono/RCA type cables and connectors are commonly used for hi-fi equipment, however, there are connecting cables designed specifically for use with the CD/DAT format and wherever possible they should be used. CD/DAT OUT A Phono/RCA jack for outputting CD/DAT format digital audio. Two channels, 1 and 2 (left/right), are carried in the same connection. This could be connected to the digital input of a DAT recorder or DCC recorder, and it allows digital audio recording without multiple D/A, A/D audio data conversions. Like the CD/DAT IN connection, it’s best to use cables specifically made for the job. NOTE: You might have heard or read that AES/EBU type connections can be connected directly to CD/DAT connections and vice versa. In some cases this may work, but it is not recommended. To ensure data integrity, connect AES/EBU outputs to AES/EBU inputs, and CD/DAT inputs to CD/DAT outputs. 28 28 Chapter Chapter 10 :10 Inputs : Inputs & Outputs & Outputs Explained Explained Y2 IN An 8-pin DIN socket for inputting Y2 Yamaha format digital audio. Two channels, 1 and 2 (left/right), are carried in the same connection. This could be connected to one of Yamaha’s digital audio products including the DMR8 Digital Mixer/Recorder, DMC1000 Digital Mixing Console, DRU8 Digital Recorder, SPX1000 Effect Processor, and the DMP series of Digital Mixers. Special cables are available for use with this format. See your Yamaha dealer for details. Y2 OUT An 8-pin DIN socket for outputting Y2 Yamaha format digital audio. Two channels, 1 and 2 (left/right), are carried in the same connection. This could be used to transfer digital audio data from the CBX-D5 to one of the Yamaha professional digital audio products listed above. Again, use the cables specifically recommended for use with the Y2 format. WORD CLK IN/OUT NOTE: If all your audio connections are analog, no word clock connections are required. As we explained on page 4, when a number of digital audio devices are connected together and data is digitally transferred between them, it is essential that the data processing circuits of all devices are synchronized. To achieve this, one device operates as a word clock master and all other devices operate as word clock slaves. If you connect only two digital audio devices, say the CBX-D5 to a DAT recorder, word clock setup is quite straight forward and no external word clock connections will be required. This is because the AES/EBU, CD/DAT, and Y2 formats carry word clock information within the digital audio data. However, when three or more devices are connected in a digital system, word clock connections will be required. NOTE: Although we have said that a word clock connection is not required when only two devices are used, some devices may require a BNC word clock connection as well as the digital audio connection. Making a separate connection using the CBX-D5’s BNC connectors may also improve data transfer and eliminate any chance of data errors. The CBX-D5 can operate as either word clock master, using its own internal clock, or as a slave sourcing its word clock from one of the digital inputs or from the WORD CLK IN connection. This setting is made via the controlling software. The CBX-D5’s word clock output signal is always at the same frequency as the digital outputs. NOTE: Because the CBX-D5 can convert the sampling frequency of incoming digital audio signals, the word clock output signal will not necessarily match the recording sampling frequency. WORD WORD CLK CLK IN/OUT IN/OUT 29 29 The following table shows how the WORD CLK IN/OUT connections work with each word clock source. Word clock connections use coaxial BNC to BNC type cables. WORD CLOCK SOURCE CBX-D5 WORD CLK OUT CBX-D5 WORD CLK IN Outputs a word clock signal at the internal clock rate (REC FREQ). Outputs a word clock signal at the internal clock rate (REC FREQ). Outputs a word clock signal at the internal clock rate (REC FREQ). Outputs a word clock signal at the internal clock rate (REC FREQ). Outputs a word clock signal at the same rate as the word clock at the WORD CLK IN. AES/EBU Input CD/DAT Input Y2 Input Internal Clock WORD CLK IN N/C N/C N/C N/C Receives the external word clock If, for some reason the external word clock source should become disconnected or the CBX-D5 cannot synchronize to it, the CBX-D5 will automatically switch to internal clock. When the digital output signal is synced to an external word clock, the exact sampling frequency cannot be guaranteed. So the sampling frequency specified in the digital output’s channel status bits may be different to the actual output sampling frequency. In the following example, data from the four CBX-D5 channels are being transferred to a digital mixer, which is also connected to a Yamaha DRU8 8-Track Digital Recorder. The DRU8 is word clock master supplying both the CBX-D5 and the DMC1000 Digital Mixer. In this system, the external word clock connections are essential. WORD CLK OUT WORD CLK IN WORD CLK IN CBX-D5 AES/EBU 1/2 OUT AES/EBU IN AES/EBU 3/4 OUT AES/EBU IN WORDCLOCK SLAVE (WORD CLK IN) DRU8 DIGITAL RECORDER DMC1000 DIGITAL MIXER A Yamaha format connection that can carry up to 8 digital signals WORDCLOCK SLAVE (wordclock sourced from the WORD CLK IN connectionl) WORDCLOCK MASTER (Internal clock source) In this example, audio data from two DAT recorders is being mixed via a digital mixer. DAT No. 1 does not have any word clock connections, so the digital audio is fed to the CBX-D5 first, then to the digital mixer. The CBX-D5 generates a word clock signal based on the data from DAT No. 1 and feeds this signal to DAT No. 2, which syncs to the external wordclock. The digital mixer derives its word clock from the AES/EBU inputs. DAT No. 1 (no wordclock connections) AES/EBU CBX-D5 AES/EBU (synced to AES/EBU input) (synced to AES/EBU inputs) WORD CLOCK DAT No. 2 (synced to external wordclock) DIGITAL MIXER AES/EBU 30 30 Chapter Chapter 11 :11 TO: TO HOST HOST connection connection 11 TO HOST connection As well as the standard MIDI IN, OUT, and THRU connections, the CBX-D5 also has a “TO HOST” connection. This allows direct connection to computers that do not have a built-in or external MIDI interface. The CBX-D5 has four interface modes for connecting to a controlling computer: MIDI, Mac, PC-1, and PC-2. These interface modes are explained below. MIDI This mode is for use with a computer that has a MIDI interface. That is, a computer with a built-in MIDI interface, such as the Atari ST, STE, and TT range of computers, an Apple Macintosh computer with an external MIDI interface unit, or a PC-9801 or IBM PC/AT compatible type computer fitted with a MIDI interface. Most MIDI music software can be used with this type of connection. The “HOST SELECT” switch should be set to MIDI. The connecting MIDI cable should be of the type described in the “TO HOST computer connecting cables” on page 33. HARD DISK SCSI SCSI OTHER MIDI DEVICES MIDI IN CBX-D5 MIDI OUT MIDI THRU MIDI IN MIDI IN MIDI OUT The table below explains how the MIDI signals are handled in MIDI mode. Connection TO HOST Function RECEIVE No function. SEND No function. MIDI IN MIDI data is input and processed. MIDI OUT System Exclusive data is output. MIDI THRU Data appearing at the MIDI IN port is fed directly to the MIDI THRU port. NOTE: Depending on the application software used, it is possible that the HOST function on the CBX-D5 (the function that allows you to make a MIDI connection to a host computer without a MIDI interface) may not work. MacMac 31 31 Mac This mode is for use with an Apple Macintosh computer that is not connected to an external MIDI interface unit. The CBX-D5 can be connected directly to one of the Apple Mac's serial (RS-422) ports. 1) Connect the CBX-D5’s “TO HOST” connector to one of the Apple Mac’s serial ports using the “Mac” connecting cable shown on page 33. 2) Set the CBX-D5’s “HOST SELECT” switch to Mac. 3) Switch on the Apple Mac and the CBX-D5. 4) Start the Apple Mac music software. Your music software will probably require you to specify the type of MIDI interface you are using. You should specify “Standard MIDI interface”. If it has a “MIDI Time Piece option”, turn it off. If your software also requires you to specify the data rate, select 1MHz. HARD DISK MIDI THRU ON SCSI SCSI OTHER MIDI DEVICES MIDI IN CBX-D5 TO HOST MIDI OUT SERIAL PORT MIDI IN MIDI OUT The table below explains how MIDI signals are handled in “Mac” mode. MIDI data is carried to and from the computer via the “TO HOST” connection. Connection Function Details Synchronized. Data format: 8 bit, 1 stop MIDI data is input, processed, then fed to RECEIVE bit, no parity. 1MHz clock from CBX-D5 to the MIDI OUT port. serial ports' HSKi data pin. MIDI data received at the MIDI IN port is output. When the CBX-D5 is transmitting its Bulk Dump data to the host computer, data from the MIDI IN port is not sent to the host computer. Any MIDI data received while a Bulk Dump is in progress will be ignored. MIDI IN MIDI data received is output to the TO HOST SEND. The CBX-D5 does not respond to the MIDI data appearing at the MIDI IN port, but to the MIDI data from TO HOST RECEIVE. MIDI OUT MIDI data received at the TO HOST RECEIVE is output. MIDI THRU MIDI data appearing at the MIDI IN port is fed directly to the MIDI THRU. TO HOST SEND 32 32 Chapter Chapter 11 :11 TO: TO HOST HOST connection connection PC-1 This mode is for use with an NEC PC-9801 type computer. The PC-9801 is a very popular computer in Japan. The specifications are the same as those for “PC-2” mode except for the baud rate. See “CBX-D5 Specifications” on page 37. PC-2 This mode is for use with an IBM PC/AT compatible, PS/1, or PS/2 type computer that does not have a MIDI interface card installed. The CBX-D5 can be connected directly to the computers serial (RS-232C) port. The music software used must be able support the CBX-D5’s “TO HOST” connection. Please consult your Yamaha dealer for more details. If your software does not support the “TO HOST” connection, the CBX-D5 can still be connected to this type of computer by installing a MIDI interface card in the computer or by using an external MIDI interface. 1) Connect the CBX-D5’s “TO HOST” connector to one of the computer’s serial ports using the “PC-2” connecting cable shown on page 33. 2) Set the CBX-D5’s “HOST SELECT” switch to PC-2. 3) Switch on the computer and the CBX-D5. 4) Start the computer music software. HARD DISK MIDI THRU ON SCSI SCSI OTHER MIDI DEVICES MIDI IN SCSI CARD CBX-D5 TO HOST MIDI OUT SERIAL PORT MIDI IN MIDI OUT The table below explains how the MIDI signals are handled in PC-2 mode. MIDI data is carried to and from the computer via the “TO HOST” connection. Connection Function Details MIDI data is input, processed, then fed to Synchronized. Data format: 8 bit, 1 stop RECEIVE the MIDI OUT port. bit, no parity. MIDI data received at the MIDI IN port is output. When the CBX-D5 is transmitting its Bulk Dump data to the host computer, data from the MIDI IN port is not sent to the host computer. Any MIDI data received while a Bulk Dump is in progress will be ignored. MIDI IN MIDI data received is output to the TO HOST SEND. The CBX-D5 does not respond to the MIDI data appearing at the MIDI IN port, but to the MIDI data from TO HOST RECEIVE. MIDI OUT MIDI data received at the TO HOST RECEIVE is output. MIDI THRU MIDI data appearing at the MIDI IN port is fed directly to the MIDI THRU. TO HOST SEND TO TO HOST HOST computer computer connecting connecting cables cables 33 33 TO HOST computer connecting cables MIDI Standard MIDI cable. Maximum length 15 meters. DIN 5-PIN 4 4 2 2 5 5 DIN 5-PIN (GND) Mac Apple Macintosh Peripheral cable “M0197”). Maximum length 2 meters. MINI DIN 8-PIN 1 2 (HSK i) 2 1 (HSK o) 3 5 (RxD -) 4 4 (GND) 5 3 (TxD -) 6 8 RxD +) 7 7 (GP i) 8 6 (TxD +) MINI DIN 8-PIN PC-1 8-pin MINI DIN to D-SUB 25-pin cable. If your PC-1 type computer has a 9-pin serial port, use the PC-2 type cable. Maximum length 1.8 meters. MINI DIN 8-PIN 1 5 (CTS) 2 4 (RTS) 3 3 (RxD) 4 7 (GND) D-SUB 25-PIN 8 5 2 (TxD) PC-2 8-pin MINI DIN to D-SUB 9-pin cable. Maximum length 1.8 meters. MINI DIN 8-PIN 1 8 (CTS) 2 7 (RTS) 3 2 (RxD) 4 5 (GND) 8 5 3 (TxD) D-SUB 9-PIN 34 34 Chapter Chapter 12 :12 Glossary : Glossary 12 Glossary A/D Converter: (Analog to Digital converter) A device used to convert analog audio signals into PCM (Pulse Code Modulated) digital audio. The CBX-D5 uses 16-bit linear ∆ Σ modulation A/D converters. Access time: Measured in milliseconds, this is an indication of how fast data from different areas of a hard disk can be accessed. AES/EBU: A digital interface format established by the AES (Audio Engineering Society) and EBU (European Broadcasting Union) that is used to transfer digital audio data between professional digital audio equipment. Two channels of digital audio (left & right) are carried in one connection, usually an XLR type connection. Audio IFF: (Audio Interchange File Format) A type of sound file that is used by various Apple Macintosh based digital audio devices. It is recommended by Apple Computer, Inc. Byte: A digital “word” containing 8 bits. A CBX-D5 digital the SPX900 Multi-effect Processor and the DMR8 Digital Mixer/Recorder. Emphasis: Before A/D conversion a 6dB/octave boost starting at 3.5kHz is applied to the audio signal. During D/A conversion the emphasis is automatically detected by the replay device and de-emphasis is applied. Fragmentation: When a file is split into sections and stored in different areas of a hard disk, i.e., in an uncontinuous series of sectors. Host connection: Used to connect the CBX-D5 to a computer that does not have a MIDI interface. Connection is made directly to one of the computer’s serial ports. Mark of the Unicorn Digital Performer: A program that integrates MIDI sequencing, digital audio recording and editing and can be used to control the CBX-D5 via an Apple Macintosh computer. MIDI: (Musical Instrument Digital Interface) MIDI audio word contains 16 bits. allows electronic musical instruments to communicate with each other. CD/DAT: See S/PDIF. Cubase Audio: An integrated MIDI sequencer, digital MTC: (MIDI Timecode) The transmission of SMPTE audio recording and editing program that can be used to control the CBX-D5 via an Atari ST/STE or TT computer. Nondestructive editing: As opposed to editing analog D/A converter: (Digital to Analog converter) The opposite of an A/D converter, this device is used to convert PCM digital audio data into an analog audio signal. The CBX-D5 uses 18-bit 8-times oversampling D/A converters. Delta Sigma coding (∆ Σ): A digital audio coding format that greatly improves a digital audio system’s performance by using a very high sampling frequency and a 1-bit resolution. DEQ: (Digital Equalizer) An IC (Integrated Circuit) designed specifically for equalizing digital audio data. The CBX-D5’s DEQ IC is made by Yamaha. Destructive editing: Editing an original recording that cannot be recovered if you make a bad edit. For example, razor blade editing a tape. Digital Performer: An integrated MIDI sequencer, digital audio recording and editing program that can be used to control the CBX-D5 via an Apple Macintosh computer. DMA: (Direct Memory Access) The ability to transfer data to and from a system’s RAM without involving the CPU. The Atari ST/STE computer has a DMA port. timecode via MIDI. tape, which is a once only – get it right first time or else procedure, hard disk recording allows nondestructive editing. This means when you edit, you don’t actually edit the sound file, you edit information that tells the CBX-D5 how to play the sound file. So if you make an accidental cut or split, all is not lost because you still have the original sound file. Nyquist frequency: The audio frequency at which very sharp low pass filtering is applied to an analog signal before A/D conversion. The nyquist theorem states that the sampling frequency of a digital audio system must be at least twice that of the highest audio frequency, otherwise severe distortion called aliasing will occur. Oversampling: A technique used to improve the noise and distortion performance of a digital audio system by increasing the effective sampling frequency so that the nyquist frequency is set much higher than the highest audio frequency. PCM: (Pulse code modulation) The type of coding used to represent analog audio as a series of pulses. The amplitude of each pulse is stored as a binary word. The CBX-D5 uses 16-bit binary words. DMA to SCSI Controller II: A hardware device made by Steinberg that allows the connection of SCSI devices to the DMA port of an Atari ST or STE. Region: A section of a sound file that can be handled as an DSP: (Digital Signal Processor) An IC (Integrated Circuit) RS-232C: A serial communication protocol used on PC designed specifically for digital audio data processing. The CBX-D5 uses the same Yamaha DSP IC as those used in compatible and Atari ST/STE computers, usually a 9- or 25-pin D-SUB type connector. independent piece of sound data, but is in fact identified using start and end pointers to a region of a sound file Glossary Glossary 35 35 RS-422: A balanced serial communication protocol used on Macintosh computers, usually an 8-pin mini DIN connector. Sampling frequency: The number of times per second Transfer rate: Usually measured in Megabits per second (Mbit/s), this shows how fast data can be written to and read from a hard disk. that sample measurements of an analog audio signal are taken during A/D conversion. Typical sampling frequencies are 32kHz, 44.1kHz, and 48kHz. Word clock: A clock signal that is used to synchronize the SCMS: (Serial Copy Management System) A protection code designed to stop illegal digital copying of audio material. When a consumer type DAT recorder receives a digital input signal that contains SCMS, it cannot enter record mode, so digital copying is impossible. Y2: A digital interface format developed by Yamaha that is Serial port: A computer connection that can receive and data processing circuits of all devices connected in a digital audio system. See “Word clock” on page 4. used to transfer digital audio data between Yamaha’s professional digital audio equipment. Two channels of digital audio (left & right) are carried in one connection, usually an 8-pin DIN type connection. See “Y2 format” on page 3. transmit computer data serially (RS-232C or RS-422). SCSI: (Small Computer Systems Interface) Pronounced Scuzzy, it is a connection format used for connecting peripheral devices such as hard disks, printers, scanners, etc., to a computer. Up to eight SCSI devices can be connected together in a daisy chain, with the controlling computer connected at the end of the chain. See “SCSI” on page 3. Further reading SCSI ID: The identifying address number allocated to each 1) “Tapeless Sound Recording”, Francis Rumsey, Focal Press (Butterworth Group), 1990. A good introduction to tapeless recording including its advantages over tape, digital audio basics, digital interfaces, synchronization, and computer storage media. device in a SCSI daisy chain. IDs from 0 to 7 are available. See “SCSI ID setting” on page 16. SCSI terminator: A device connected at the end of a SCSI daisy chain to stabilize the SCSI bus. See “SCSI termination” on page 17. SMPTE timecode: A bi-phase code used to synchronize audio and video equipment by communicating hours, minutes, seconds, and frame information. Sound file: A type of computer file that contains digital audio data. Soundbite: A term used by Mark of the Unicorn’s Digital Performer software to describe a section of a sound file that can be handled as an independent piece of sound data, but is in fact identified using start and end pointers to a region of a sound file. Sound Designer files: A type of sound file that is used by various Apple Macintosh and Digi Design digital audio devices. There are two types of file: I & II. S/PDIF: (Sony/Philips Digital Interface Format) A digital interface format established by Sony and Philips that is used to transfer digital audio data between consumer type digital audio equipment such as CD players, consumer DAT recorders, and the new DCC recorders. Two channels of digital audio (left & right) are carried in one connection, usually a phono/RCA jack type connection. On the CBX-D5 this format is referred to as CD/DAT. Steinberg Cubase Audio: A program that integrates MIDI sequencing, digital audio recording, and editing and can be used to control the CBX-D5 via an Atari ST/STE or TT type computer. Time slip: The ability to move individual segments of audio data relative to time. For those users who would like to know more about the fascinating world of digital audio here are a few suggested books: 2) “Principles of Digital Audio”, Ken C. Pohlmann, Howard W.Sams & Co, 1989. Covering all aspects of digital audio, this book is ideal for the newcomer who wants to know the basics – plus a bit more. 3) “The Art of digital Audio”, John Watkinson, Focal Press (Butterworth Group), 1990. An essential read for digital audio professionals – but only for the serious! Any books related to the following subjects may also be of interest: digital audio, hard disk recording, compact disc, DAT, MIDI, computer music. 36 36 Chapter Chapter 13 :13 Recording : Recording setup setup table table 13 Recording setup table Recording Project Date Notes Sound files Sound File No. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 Sound File name Sound File Contents Sampling Frequency Input Source Length (Time) File Size (MB) CBX-D5 CBX-D5 Specifications Specifications 37 37 14 CBX-D5 Specifications Data format Number of channels Sampling frequency File format A/D converter 16-bit PCM 4-channel system: 2-channel simultaneous record, 4-channel playback (combination of playback and record available) Sound File Recording 22.05kHz, 32kHz, 44.1kHz, 48kHz Sound File Playback 11.025 ~ 48kHz Digital in 32kHz, 44.1kHz, 48kHz Digital out 44.1kHz, 48kHz, external word clock For digital I/O, internal sampling frequency conversion is available Mono, 2-channel interleave, 4-channel interleave 16-bit linear ∆ Σ modulation D/A converter DEQ (equalizer) DSP (effector) Digital mixer Connectors Controls Indicators Power requirements Power consumption ANALOG IN 1,2 ANALOG OUT 1,2,3,4 AES/EBU IN 1/2 AES/EBU OUT 1/2, 3/4 CD/DAT IN/ OUT 1/2 Y2 IN/OUT 1/2 WORD CLK IN/OUT MIDI IN, OUT, THRU TO HOST MIDI baud rate Mac baud rate PC1 baud rate PC2 baud rate SCSI Headphones ANALOG IN PHONES VOLUME Host select SCSI ID switch Power switch Record source Record Freq Playback Digital Out Freq Input level Output level U.S. model General model U.S. model General model (W x H x D) Dimensions Weight A list of supplied accessories is given on page 2. 0dB = 0.775V rms Specifications subject to change without notice. 18-bit with 8-times oversampling digital filter 4-channels of multi-band parametric equalization 82 reverb & modulation type effects 4-input, 4-bus, 2-send, 4-return XLR-3-31 type x2, +22dB (max) XLR-3-32 type x4, +17dB (max) XLR-3-31 type x1 XLR-3-32 type x2 Phono/RCA jack x2 8-pin DIN x2 BNC x2 5-pin DIN x3 8-pin mini DIN x1 31, 250 bps (bits per second) 31, 250 bps (1MHz clock) 31, 250 bps 38,400 bps 50-way Amphenol x2 (ANSI X3.131-1986) 6.35mm (1/4”) stereo phone jack x1 Independent control for channel 1 & 2 Mac, PC1, PC2, MIDI 0~7 on/off AES/EBU, CD/DAT, Y2, ANALOG 48k, 44.1k, 32k, 22.05k (22.05k analog inputs only) 48k, 44.1k 12-segment LED level meters x 2 (channels 1 & 2) 12-segment LED level meters x 4 (channels 1,2,3,4) 120V AC, 60Hz 220-240V AC 50Hz 35W 35W 310 x 113.6 x 378.2 mm (12.2˝ x 4.5˝ x 14.9˝) 7.5 kg (16.5 lbs) 38 38 Index Index Index A Access time, hard disk 14 AES/EBU format 1/2 inputs 27 1/2, 3/4 outputs 27 what is it? 3 Amphenol, SCSI connection 12 Analog input level 21 Analog inputs 26 Analog outputs 26 Apple Macintosh hard disks 15 To Host 31 Atari ST/STE hard disks 15 Atari TT hard disks 15 Audio IFF sound files 23 H Hard disks access time 14 Apple Macintosh 15 Atari ST/STE 15 Atari TT 15 choosing 14 connecting 13 data transfer rate 14 formatting 18 fragmentation 19 partitioning 19 PC/AT 15 SCSI 14 SCSI ID setting 16 SCSI termination 17 size 13 what type? 13 working with 18 Headphone monitoring 21 I ID setting 16 termination 17 what is it? 3 Setup table 36 Sound Designer sound files 23 Sound files backup 18 compatibility 23 fragmentation 19 interleave 23 managing 18 regions 24 what are they? 3 Specifications 37 System example 7 T Termination, SCSI 17 Terminology 3 To Host connecting cables 33 Mac 31 MIDI 30 PC-1 (PC-9801) 32 PC-2 (PC/AT) 32 what is it? 4 Trademarks 2 Transfer rate, hard disk 14 Backing up sound files 18 Block diagram 6 ID, SCSI setting 16 Input level meters 21 Installation 2 Introduction 1 C M CBX-D5 what is it? 5 CD/DAT format input 27 output 27 CD/DAT format, what is it? 3 Cleaning 2 Controls & Connections 8 Converting digital audio format 25 sampling frequency 25 MIDI IN, OUT, THRU 12 To Host 30 U O V Output level meters 23 Varispeed 20 P W Partitioning hard disks 19 PB FREQ 23 PC/AT hard disks 15 Playback 23 Warnings 2 Welcome 1 Word clock input and output 28 setup examples 28 R X Rear panel, an explanation 10 REC FREQ choosing 20 what is it? 4 Recording 20 XLR to phone jack cable 26 XLR to XLR input cable 26 B D Daisy chain, see SCSI Digital input level 21 Disk, see Hard disks E Emphasis 22 F Features 1 Formatting hard disks 18 Fragmentation, sound files 19 Front panel, an explanation 8 Further reading 35 G Glossary 34 S Safety information 2 Sampling frequency choosing 20 converting 25 what is it? 4 SCMS 22 SCSI cables 15 hard disks 14 Unpacking 2 Y Y2 format input 28 output 28 Y2 format, what is it? 3 Add-11 Appendix Preset Effects 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 Effect Name Orchestra Hall Concert Hall Warm Hall Vocal Hall Vocal Large Hall Vocal Small Hall Large Room Bright Small Room Backing Vocal Tight Room Smooth Room Small Vocal Room Slap Room Vocal Stage Vocal Club Female Vocal Club Sax Stage Vocal Plate Percussion Plate Big Plate Distant Plate Stone Room Cathedral Dark Church Tunnel Cavern Soft Caynon Alhambra Guitar Small Cellar Drum Room Bathroom Vocals Early Ref Vocal Early Ref Special Effect Early Ref Hall Early Ref Slap Plate Early Ref Spring Vocal Early Ref Reverse Vocal Gate Reverb Reverse Gate Delay L,R Vocal Multi Delay Stereo Echo Subtle Pitch Change Wide Guitar Multi Pitch Delay Aural Exciter Rotary Speaker Ring Modulator Category S:Rev Hall S:Rev Room S:Rev Stage S:Rev Plate S:Rev White Room S:Rev Tunnel S:Rev Canyon S:Rev Basement S:Early Ref. S:Gate Reverb S:Reverse Gate S:Delay L,R S:Delay L,C,R S:Stereo Echo S:Pitch Change 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 Effect Name Stadium Delay L,R->Rev Flange->Rev Gtr Cho Reverb Sympho->Rev Phaser->Rev Aural Exc->Rev Dist->Rev Dist->Dly L,R Dist->Echo High Cut Reverb EQ Mid Reverb Sparkling Reverb Mid Delay Deep Echo EQ->Flange Bass Chorus Elec Guitar EQ/Sympho Warm Phase St.Flange->Dly LR St.Chorus->Dly LR Symph->Dly LR St.Phasing->Dly LR Hall & Plate Echo & Rev Delay & Rev Flange & Chorus Flange & Sympho Sympho & Chorus Flange & Rev Chorus & Rev Sympho & Rev Flange & Dly LR Chorus & Dly LR Sympho & Dly LR Category C:Echo->Rev C:Delay L,R->Rev C:Flange->Rev C:Chorus->Rev C:Sympho->Rev C:Phaser->Rev C:Aural Exc->Rev C:Dist->Rev C:Dist->Dly L,R C:Dist->Echo C:EQ->Rev C:EQ->Dly L,R C:EQ->Echo C:EQ->Flange C:EQ->Chorus C:EQ->Symphonic C:EQ->Phaser C:St.Flange->Dly LR C:St.Chorus->Dly LR C:Symph->Dly LR C:St.Phasing->Dly LR D:Hall & Plate D:Echo & Rev D:Delay & Rev D:Flange & Chorus D:Flange & Sympho D:Sympho & Chorus D:Flange & Rev D:Chorus & Rev D:Sympho & Rev D:Flange & Dly LR D:Chorus & Dly LR D:Sympho & Dly LR The letter at the beginning of the "Category" indicates the Effect Mode. S:Single C:Cascade D:Dual S:Aural Exciter S:Rotary Speaker S:Ring Modulator * Aural Exciter is a registered trademark and manufactured under license from Aphex Systems Ltd. Add-2 2 Chapter : DSP/DEQ/DMIX Block Diagram Add-33 Preset effects parameter values No. 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 Effect Name 1 Orchestra Hall 19 Concert Hall 23 Warm Hall 17 Vocal Hall 21 Vocal Large Hall 34 Vocal Small Hall 19 Large Room 11 Bright Small Room 9 Backing Vocal Tight Room 9 Smooth Room 5 Small Vocal Room 9 Slap Room 3 Vocal Stage 13 Vocal Club 15 Female Vocal Club 13 Sax Stage 13 Vocal Plate 15 Percussion Plate 11 Big Plate 33 Distant Plate 17 Stone Room 9 Cathedral 33 Dark Church 19 Tunnel 31 Cavern 25 Soft Caynon 24 Alhambra Guitar 21 Small Cellar 9 Drum Room 17 Bathroom Vocals 5 Early Ref Vocal 2 Early Ref Special Effect 3 Early Ref Hall 1 Early Ref Slap Plate 4 Early Ref Spring Vocal 5 Early Ref Reverse Vocal 3 Gate Reverb 0 Reverse Gate 1 Delay L,R 9999 Vocal Multi Delay 8999 Stereo Echo 4998 Subtle Pitch Change 24 Wide Guitar 24 Multi Pitch Delay 24 0 Aural Exciter Rotary Speaker 74 Ring Modulator 20 Stadium 3199 Delay L,R->Rev 474 Flange->Rev 13 Gtr Cho Reverb 16 Sympho->Rev 13 2 8 8 1 1 4 2 6 7 5 2 3 3 5 3 3 6 5 7 3 3 5 7 3 4 5 4 8 3 4 8 14 159 27 15 15 27 21 21 9999 13499 4998 108 111 92 80 48 28 119 6399 90 56 45 3 10 10 10 10 8 7 9 6 8 6 5 8 10 9 8 8 10 5 7 10 4 10 10 2 10 10 10 5 9 3 10 10 8 10 6 10 5 10 4 319 639 149 99 239 119 159 199 319 319 159 332 479 319 319 79 479 639 101 99 99 639 299 299 639 1109 79 79 79 79 10 10 8 10 8 10 10 10 9999 4499 6749 124 4999 179 108 299 99 359 24 75 579 40 49 100 96 1599 119 107 9 11 75 40 13 Parameter Number 5 6 7 8 9 199 4 60 8 6 479 4 75 8 6 299 4 80 9 3 239 3 75 8 7 319 2 55 8 6 239 4 64 8 6 999 4 52 6 7 249 4 64 6 9 499 4 86 8 8 239 4 72 7 6 249 4 60 8 8 399 3 40 9 4 319 4 72 10 6 179 4 40 9 6 199 4 70 10 5 0 4 65 8 6 199 4 72 8 8 319 4 64 6 9 304 4 33 8 4 913 4 25 8 9 29 15 11 30 7 98 99 93 4 0 84 58 73 20 0 68 9 103 4 0 40 60 66 10 0 74 55 41 20 21 72 79 103 4 0 22 18 38 26 0 18 29 38 28 3 32 15 31 6 6 379 9 2499 111 0 639 18 7999 100 0 199 1 459 108 0 299 6 2399 105 7 239 13 239 123 0 1999 18 3999 119 0 49 12 199 99 0 399 18 3999 109 0 9999 109 4 3 0 8999 124 8 8 0 4999 124 9 9 0 100 24 88 319 100 24 89 399 100 106 3999 24 112 7999 1 5 43 11 17 20 8 8 1 8 7 2 6 10 20 20 17 20 18 18 24 24 22 20 17 18 22 16 22 24 22 23 16 25 20 20 17 22 24 10 23 22 24 22 13 23 22 23 22 23 16 24 22 24 24 100 7 45 78 399 148 499 70 75 20 15 20 0 0 0 0 0 15 22 24 15 22 11 0 0 0 6 0 6 0 12 0 0 0 19 7 0 10 0 0 13 0 0 99 299 199 299 399 399 499 199 199 99 12 13 14 4 4 4 4 4 4 4 4 4 4 60 30 40 10 70 70 70 70 70 70 0 2 0 2 2 2 1 1 1 1 Add-4 4 No. 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 Chapter : Effect Name Phaser->Rev Aural Exc->Rev Dist->Rev Dist->Dly L,R Dist->Echo High Cut Reverb EQ Mid Reverb Sparkling Reverb Mid Delay Deep Echo EQ->Flange Bass Chorus Elec Guitar EQ/Sympho Warm Phase St.Flange->Dly LR St.Chorus->Dly LR Symph->Dly LR St.Phasing->Dly LR Hall & Plate Echo & Rev Delay & Rev Flange & Chorus Flange & Sympho Sympho & Chorus Flange & Rev Chorus & Rev Sympho & Rev Flange & Dly LR Chorus & Dly LR Sympho & Dly LR 1 2 24 100 1 62 66 6 75 3 80 3 9 8 15 9 11 4 14 8 10 12 11 8 10 9 7 8 11 9 8 86 17 70 15 80 11 100 29 2 3199 2999 4799 4949 6 68 16 45 19 75 7 70 27 80 32 70 15 50 29 60 29 80 3 32 72 9 0 11 9 8 14 5 6 7 8 10 8 11 60 45 7 74 79 18 40 4 9 7 9 8 4 8 7 8 6 5 6 10 3 80 663 19 30 80 85 13 55 90 27 50 80 Parameter Number 6 7 8 9 3 239 24 0 10 219 20 24 1 359 40 0 3008 129 40 0 3199 84 50 0 3 35 796 40 12 6 265 70 9 14 421 26 11 2806 5628 100 6 4799 4999 67 7 11 35 72 7 28 50 30 9 14 69 9 28 100 45 4299 4149 4299 123 4299 4149 4299 126 4299 4299 4149 122 2081 7999 3988 119 9 7 8 897 10 299 78 3 7 599 40 24 18 75 45 19 75 18 75 45 15 3 7 249 6 30 2 6 449 0 10 2 10 726 22 3749 1559 3530 7079 133 4149 4299 4149 4299 113 2499 3749 4999 5099 133 5 9 0 9 9030 2999 11 8 13 9 7 7 8 3 8 4149 4149 3405 3718 15 2 6 10 18 15 19 21 20 40 40 35 40 29 100 100 100 100 100 40 40 40 17 15 15 11 12 13 3 3 3 10 10 8 4 6 9 14 16 20 25 24 24 25 * Aural Exciter is a registered trademark and manufactured under license from Aphex Systems Ltd. Add-55 Data-Value Assign Table Table 1 Rev Time Data Value (sec) Table Data Value (sec) 2 LPF Data Table Value (KHz) 3 HPF1 Data Value (Hz) 0 0.3 40 4.3 0 1.0 0 Thru 1 0.4 41 4.4 1 1.1 1 32 2 0.5 42 4.5 2 1.2 2 35 3 0.6 43 4.6 3 1.4 3 40 4 0.7 44 4.7 4 1.6 4 45 5 0.8 45 4.8 5 1.8 5 50 6 0.9 46 4.9 6 2.0 6 56 7 1.0 47 5.0 7 2.2 7 63 8 1.1 48 5.5 8 2.5 8 70 9 1.2 49 6.0 9 2.8 9 80 10 1.3 50 6.5 10 3.2 10 90 11 1.4 51 7.0 11 3.6 11 100 12 1.5 52 7.5 12 4.0 12 110 13 1.6 53 8.0 13 4.5 13 125 14 1.7 54 8.5 14 5.0 14 140 15 1.8 55 9.0 15 5.6 15 160 16 1.9 56 9.5 16 6.3 16 180 17 2.0 57 10.0 17 7.0 17 200 18 2.1 58 11.0 18 8.0 18 220 19 2.2 59 12.0 19 9.0 19 250 20 2.3 60 13.0 20 10.0 20 280 21 2.4 61 14.0 21 11.0 21 315 22 2.5 62 15.0 22 12.0 22 355 23 2.6 63 16.0 23 14.0 23 400 24 2.7 64 17.0 24 16.0 24 450 25 2.8 65 18.0 25 Thru 25 500 26 2.9 66 19.0 26 560 27 3.0 67 20.0 27 630 28 3.1 68 25.0 28 700 29 3.2 69 30.0 29 800 30 3.3 30 900 31 3.4 31 1000 32 3.5 33 3.6 34 3.7 35 3.8 36 3.9 37 4.0 38 4.1 39 4.2 Add-6 6 Chapter : Data-Value Assign Table Table 4 HPF2 Data Value (Hz) Table 5 Low Shelving Data Value (Hz) Table 6 Mid Presence Data Value (Hz) Table 7 High Shelving Data Value (Hz) 0 500 0 32 0 315 0 500 1 630 1 40 1 400 1 630 2 800 2 50 2 500 2 800 3 1000 3 63 3 630 3 1000 4 1200 4 80 4 800 4 1200 5 1600 5 100 5 900 5 1600 6 2000 6 125 6 1000 6 2000 7 2500 7 160 7 1200 7 2500 8 3200 8 200 8 1600 8 3200 9 4000 9 250 9 2000 9 4000 10 5000 10 315 10 2500 10 5000 11 6300 11 400 11 3200 11 6300 12 8000 12 500 12 4000 12 8000 13 10000 13 630 13 5000 13 10000 14 12000 14 800 14 6300 14 12000 15 16000 15 16000 15 1000 16 1200 17 1600 18 2000 Add-77 Data-Value Assign Table Table 8 Length Data Table Value (m) Data Value (m) Data Value (m) 0 0.5 40 11.2 80 22.7 0 1 0.8 41 11.5 81 23.0 1 2 1.0 42 11.8 82 23.3 3 1.3 43 12.1 83 4 1.5 44 12.3 5 1.8 45 12.6 6 2.0 46 7 2.3 8 9 9 Trans Time Data Data Value (ms) 2 40 3100 3 41 3600 2 4 42 4400 23.6 3 5 43 5400 84 23.9 4 6 44 6200 85 24.2 5 7 45 7200 12.9 86 24.5 6 8 46 8700 47 13.1 87 24.9 7 11 47 11000 2.6 48 13.4 88 25.2 8 12 48 12500 2.8 49 13.7 89 25.5 9 14 49 14500 10 3.1 50 14.0 90 25.8 10 17 50 17500 11 3.6 51 14.2 91 26.1 11 21 51 22000 12 3.9 52 14.5 92 26.5 12 24 13 4.1 53 14.8 93 26.8 13 28 14 4.4 54 15.1 94 27.1 14 34 15 4.6 55 15.4 95 27.5 15 43 16 4.9 56 15.6 96 27.8 16 49 17 5.2 57 15.9 97 28.1 17 57 18 5.4 58 16.2 98 28.5 18 68 19 5.7 59 16.5 99 28.8 19 85 20 5.9 60 16.8 100 29.2 20 97 21 6.2 61 17.1 101 29.5 21 114 22 6.5 62 17.3 102 29.9 22 137 23 6.7 63 17.6 103 30.2 23 170 24 7.0 64 17.9 24 195 25 7.2 65 18.2 25 230 26 7.5 66 18.5 26 280 27 7.8 67 18.8 27 340 28 8.0 68 19.1 28 390 29 8.3 69 19.4 29 450 30 8.6 70 19.7 30 550 31 8.8 71 20.0 31 680 32 9.1 72 20.2 32 780 33 9.4 73 20.5 33 910 34 9.6 74 20.8 34 1100 35 9.9 75 21.1 35 1400 36 10.2 76 21.4 36 1600 37 10.4 77 21.7 37 1800 38 10.7 78 22.0 38 2200 39 11.0 79 22.4 39 2700 Value (ms) Add-8 8 Chapter : Effect parameters Type No. 1 2 3 4 5 6 7 8 9 10 11 0:Orchestra Hall ~ 19:Distant Plate (Reverb Type) Parameter Name Reverb Time High Diffusion Initial Delay Reverb Delay Density ER/Rev Balance Low Gain High Gain LPF HPF Unit sec ms ms % dB dB KHz Hz Minimum 0.3 0.1 0 0.1 0.1 0 0 -12 -12 1 Thru Maximum 30.0 1.0 10 200.0 200.0 4 100 12 12 Thru 1000 Step/Table Table #1 0.1 1 0.1 0.1 1 1 2 2 Table #2 Table #3 Max.Int. 69 9 10 1999 1999 4 100 12 12 25 31 Type 20:Stone Room ~ 29:Bathroom Vocal (Room Simulation Type) No. Parameter Name Unit Minimum 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Reverb Time High Diffusion Initial Delay Width Height Depth Wall Vary HPF LPF Reverb Delay Density ER/Rev Balance Listening Position sec ms m m m Hz KHz ms % - 0.3 0.1 0 0.1 0.5 0.5 0.5 0 Thru 1 0.1 0 0 Front Maximum Step/Table 30.0 1.0 10 200.0 30.2 30.2 30.2 30 1000 Thru 200.0 4 100 Rear Table #1 0.1 1 0.1 Table #8 Table #8 Table #8 1 Table #3 Table #2 0.1 1 1 LocalTab 1 Max.Int. 69 9 10 1999 103 103 103 30 31 25 1999 4 100 2 Local Table 1 Data Value 0 1 2 Front Center Rear Add-99 Type No. 30:Early Ref Vocal ~ 35:Early Ref Reverse Vocal (Early Reflection Type) Parameter Name Unit 1 Type sec S-Hall Spring 2 3 4 5 6 7 8 9 10 Room Size Liveness Diffusion Initial Delay ER Number Feedback Delay Feedback Gain HPF LPF ms ms % Hz KHz 0.1 0 0 0.1 1 0.1 -99 Thru 1 20.0 10 10 400.0 19 800.0 99 1000 Thru Type No. Minimum Maximum Step/Table Unit 1 Type sec Type-A Type-B 2 3 4 5 6 7 8 9 10 Room Size Liveness Diffusion Initial Delay ER Number Feedback Delay Feedback Gain HPF LPF ms ms % Hz KHz 0.1 0 0 0.1 1 0.1 -99 Thru 1 20.0 10 10 400.0 19 800.0 99 1000 Thru No. 1 2 3 4 5 6 7 8 9 10 5 199 10 10 3999 18 7999 198 31 25 Local Table 1 Data Value 0 1 2 3 4 5 S-Hall L-Hall Random Reverse Plate Spring Local Table 1 Data Value 0 1 Type-A Type-B 36:Gate Reverb ~ 37:Reverse Gate Parameter Name Type LocalTab 1 0.1 1 1 0.1 1 0.1 1 Table #3 Table #2 Max.Int. Minimum Maximum Step/Table LocalTab 1 0.1 1 1 0.1 1 0.1 1 Table #3 Table #2 Max.Int. 1 199 10 10 3999 18 7999 198 31 25 38:Delay L,R Parameter Name Lch Delay Time Rch Delay Time Unit ms ms FB1 Delay Time FB2 Delay Time FB Gain FB1 High Control FB2 High Control HPF LPF ms ms % Hz KHz Minimum Maximum Step/Table 0.1 1360.0 0.1 0.1 1360.0 0.1 0.1 0.1 -99 0.1 0.1 Thru 1 1360.0 1360.0 99 1.0 1.0 1000 Thru 0.1 0.1 1 0.1 0.1 Table #3 Table #2 Max.Int. 13599 13599 13599 13599 198 9 9 31 25 Add-10 10 Type No. 1 2 3 4 5 6 7 8 9 10 Type No. 1 2 3 4 5 6 7 8 9 10 Type No. 1 2 3 4 5 6 7 8 9 10 Chapter : 39:Vocal Multi Delay (Delay L,C,R) Parameter Name Lch Delay Time Rch Delay Time Center Delay Time FB1 Delay Time FB2 Delay Time FB Gain FB1 High Control FB2 High Control HPF LPF Unit ms ms ms ms ms % Hz KHz Minimum Maximum Step/Table 0.1 1360.0 0.1 0.1 1360.0 0.1 0.1 1360.0 0.1 0.1 1360.0 0.1 0.1 1360.0 0.1 -99 99 1 0.1 1.0 0.1 0.1 1.0 0.1 Thru 1000 Table #3 1 Thru Table #2 Max.Int. 13599 13599 13599 13599 13599 198 9 9 31 25 Unit ms ms % ms ms % Hz KHz Minimum Maximum Step/Table 0.1 680.0 0.1 0.1 680.0 0.1 -99 99 1 0.1 680.0 0.1 0.1 680.0 0.1 -99 99 1 0.1 1.0 0.1 0.1 1.0 0.1 Thru 1000 Table #3 1 Thru Table #2 Max.Int. 6799 6799 198 6799 6799 198 9 9 31 25 Unit cent ms % % cent ms % % Minimum Maximum Step/Table -24 24 1 -100 100 1 0.1 650.0 0.1 -99 99 1 0 100 1 -24 24 1 -100 100.0 1 0.1 650.0 0.1 -99 99 1 0 100 1 Max.Int. 48 200 6499 198 100 48 200 6499 198 100 40:Stereo Echo Parameter Name Lch Init Delay Time Lch FB Delay Time Lch FB Gain Rch Init Delay Time Rch FB Delay Time Rch FB Gain Lch FB High Control Rch FB High Control HPF LPF 41:Subtle Pitch Change (Pitch Change 1) Parameter Name 1 Pitch 1 Fine 1 Delay 1 FB Gain 1 Level 2 Pitch 2 Fine 2 Delay 2 FB Gain 2 Level Add-11 11 Type No. 1 2 3 4 5 6 7 8 9 10 42:Wide Guitar (Pitch Change2) Unit cent ms % cent ms % Minimum Maximum Step/Table -24 24 1 -100 100 1 0.1 650.0 0.1 -99 99 1 -24 24 1 -100 100.0 1 0.1 650.0 0.1 -99 99 1 Max.Int. 48 200 6499 198 48 200 6499 198 Unit cent ms cent ms cent ms Minimum Maximum Step/Table -24 24 1 -100 100 1 0.1 1300.0 0.1 -24 24 1 -100 100 1 0.1 1300.0 0.1 -24 24.0 1 -100 100 1 0.1 1300.0 0.1 Max.Int. 48 200 12999 48 200 12999 48 200 12999 No. Parameter Name Unit Minimum Maximum Step/Table 1 HPF Hz 500 16000 Table #4 2 Enhance % 0 100 1 3 Mix Level % 0 100 1 4 Delay Time ms 0.1 650.0 0.1 5 6 7 8 9 10 * Aural Exciter® is a registered trademark and is manufactured under license from APHEX Systems Ltd. Max.Int. 15 100 100 6499 Type No. 1 2 3 4 5 6 7 8 9 10 Type Parameter Name L Pitch L Fine L Delay L FB Gain R Pitch R Fine R Delay R FB Gain 43:Multi Pitch Delay (Pitch Change3) Parameter Name 1 Pitch 1 Fine 1 Delay 2 Pitch 2 Fine 2 Delay 3 Pitch 3 Fine 3 Delay 44:Aural Exciter® * Add-12 12 Chapter : Type 45:Rotary Speaker No. Parameter Name Unit 1 2 3 4 5 6 7 8 9 10 Middle Speed Depth Transition Time L/M/H Speed Diff Switch L/M/H Low Gain High Gain Hz % ms Hz dB dB Type 46:Ring Modulator No. 1 2 3 4 5 6 7 8 9 10 Parameter Name Wave PM Depth Wave PM Freq Wave AM Depth Wave AM Freq Low Gain High Gain Type No. 1 2 3 4 5 6 7 8 9 10 Minimum Maximum Step/Table 0.05 0 2 0.05 Low -12 -12 40.00 100 22000 5.80 High 12 12 0.05 1 Table #9 0.05 LocalTab1 2 2 Max.Int. 799 100 51 115 2 12 12 Unit % Hz % Hz dB dB Minimum Maximum Step/Table 0 100 1 0.05 40 0.05 0 100 1 0.05 40 0.05 -12 12 2 -12 12 2 Max.Int. 100 799 100 799 12 12 Unit ms % ms % sec % % Hz KHz Minimum Maximum Step/Table 0.1 320.0 0.1 -99 99.0 1 0.1 320 0.1 -99 99.0 1 0.3 30.0 Table #1 0.1 1 0.1 0 100 1 0 100 1 Thru 1000 Table #3 1 Thru Table #2 Max.Int. 3199 198 3199 198 69 9 100 100 31 25 47:Stadium (Echo->Reverb) Parameter Name Echo Lch Delay Echo Lch FB Gain Echo Rch Delay Echo Rch FB Gain Reverb Time Reverb High ER/Rev Balance Rev Mix Level HPF LPF Local Table1 Data Value 0 1 2 Low Middle High Add-13 13 Type 48: Delay L,R -> Rev No. 1 2 3 4 5 6 7 8 9 10 Parameter Name Dly Lch Delay Dly Rch Delay Dly Lch FB Gain Dly Rch FB Gain Reverb Time Reverb High ER/Rev Balance Rev Mix Level HPF LPF Type 49: Flange -> Rev No. 1 2 3 4 5 6 7 8 9 10 Type No. 1 2 3 4 5 6 7 8 9 10 Unit ms ms % % sec % % Hz KHz Minimum Maximum Step/Table 0.1 640.0 0.1 0.1 640.0 0.1 -99 99 1 -99 99 1 0.3 30.0 Table #1 0.1 1 0.1 0 100 1 0 100 1 Thru 1000 Table #3 1 Thru Table #2 Max.Int. 6399 6399 198 198 69 9 100 100 31 25 Unit Hz % % % sec ms % Hz KHz Minimum Maximum Step/Table 0.05 40.00 0.05 0 100 1 0.1 100.0 0.1 0 99 1 0.3 30.0 Table #1 0.1 1 0.1 0.1 200 0.1 0 100 1 Thru 1000 Table #3 1 Thru Table #2 Max.Int. 799 100 999 99 69 9 1999 100 31 25 Parameter Name Chorus Mod Freq Chorus PM Depth Chorus AM Depth Unit Hz % % Minimum Maximum Step/Table 0.05 40.00 0.05 0 100 1 0 100.0 1 Max.Int. 799 100 100 Reverb Time Reverb High Rev Initial Delay Rev Mix Level HPF LPF sec ms % Hz KHz Parameter Name Modulation Freq Modulation Depth Modulation Delay Modulation FB Gain Reverb Time Reverb High Rev Initial Delay Rev Mix Level HPF LPF 50: Guitar Chorus Reverb (Chorus->Rev) 0.3 0.1 0.1 0 Thru 1 30.0 1 200 100 1000 Thru Table #1 0.1 0.1 1 Table #3 Table #2 69 9 1999 100 31 25 Add-14 14 Chapter : Type 51: Sympho -> Rev No. 1 2 3 4 5 6 7 8 9 10 Parameter Name Modulation Freq Modulation Depth Unit Hz % Reverb Time Reverb High Rev Initial Delay Rev Mix Level HPF LPF sec ms % Hz KHz Type 52: Phaser -> Rev No. 1 2 3 4 5 6 7 8 9 10 Parameter Name Modulation Freq Modulation Depth Modulation Delay Unit Hz % % Reverb Time Reverb High Rev Initial Delay Rev Mix Level HPF LPF sec ms % Hz KHz Type No. 1 2 3 4 5 6 7 8 9 10 Minimum Maximum Step/Table 0.05 40.00 0.05 0 100 1 0.3 0.1 0.1 0 Thru 1 30.0 1 200 100 1000 Thru Table #1 0.1 0.1 1 Table #3 Table #2 Minimum Maximum Step/Table 0.05 40.00 0.05 0 100 1 0.1 5.0 0.1 0.3 0.1 0.1 0 Thru 1 30.0 1 200 100 1000 Thru Table #1 0.1 0.1 1 Table #3 Table #2 Max.Int. 799 100 69 9 1999 100 31 25 Max.Int. 799 100 49 69 9 1999 100 31 25 53:Aural Exciter*->Rev Parameter Name HPF Enhance Mix Level Reverb Time High Diffusion Initial Delay Rev Mix Level HPF LPF Unit Hz % % sec ms % Hz KHz Minimum Maximum Step/Table 500 16000 Table #4 0 100 1 0 100 1 0.3 30.0 Table #1 0.1 1.0 0.1 0 10 1 0.1 200.0 0.1 0 100 1 Thru 1000 Table #3 1 Thru Table #2 * Aural Exciter® is a registered trademark and is manufactured under license from APHEX Systems Ltd. Max.Int. 15 100 100 69 9 10 1999 100 31 25 Add-15 15 Type No. 1 2 3 4 5 6 7 8 9 10 Type No. 1 2 3 4 5 6 7 8 9 10 Type No. 1 2 3 4 5 6 7 8 9 10 54: Distortion -> Rev Parameter Name Distortion Level Middle Freq Middle Gain Treble Gain Reverb Time Reverb High Rev Initial Delay Rev Mix Level HPF LPF Unit % Hz dB dB sec ms % Hz KHz Minimum Maximum Step/Table 0 100 1 315 6300 Table #6 -12 12 2 -12 12 2 0.3 30.0 Table #1 0.1 1.0 0.1 0.1 200 0.1 0 100 1 Thru 1000 Table #3 1 Thru Table #2 Max.Int. 100 14 12 12 69 9 1999 100 31 25 Unit % Hz dB dB ms ms % % Hz KHz Minimum Maximum Step/Table 0 100 1 315 6300 Table #6 -12 12 2 -12 12 2 0.1 1360.0 0.1 0.1 1360.0 0.1 -99 99 1 0 100 1 Thru 1000 Table #3 1 Thru Table #2 Max.Int. 100 14 12 12 13599 13599 198 100 31 25 Unit % Hz dB dB ms ms % % Hz KHz Minimum Maximum Step/Table 0 100 1 315 6300 Table #6 -12 12 2 -12 12 2 0.1 680.0 0.1 0.1 680.0 0.1 -99 99 1 0 100 1 Thru 1000 Table #3 1 Thru Table #2 Max.Int. 100 14 12 12 6799 6799 198 100 31 25 55: Distortion->Delay L,R Parameter Name Distortion Level Middle Freq Middle Gain Treble Gain Dly Lch Delay Dly Rch Delay Dly FB Gain Delay Mix Level HPF LPF 56: Distortion->Echo Parameter Name Distortion Level Middle Freq Middle Gain Treble Gain Echo Lch Delay Echo Rch Delay Echo FB Gain Echo Mix Level HPF LPF Add-16 16 Type Chapter : 57: HighCut Reverb ~ 59: Sparkling Reverb (EQ->Rev) No. 1 2 3 4 5 6 7 8 9 10 11 12 13 Parameter Name Low Freq Low Gain Mid Freq Mid Gain High Freq High Gain Reverb Time Initial Delay ER/Rev Balance Rev Mix Level Density Diffusion High Type 60: Mid Delay (EQ->Delay L,R) No. 1 2 3 4 5 6 7 8 9 10 Parameter Name Low Freq Low Gain Mid Freq Mid Gain High Freq High Gain Dly Lch Delay Dly Rch Delay Dly FB Gain Delay Mix Level Type No. 1 2 3 4 5 6 7 8 9 10 Unit Hz dB Hz dB Hz dB sec ms % % - Minimum Maximum Step/Table 32 2000 Table #5 -12 12 2 315 6300 Table #6 -12 12 2 500 16000 Table #7 -12 12 2 0.3 30 Table #1 0.1 200.0 0.1 0 100 1 0 100 1 0 3 1 0 10 1 0.1 1.0 0.1 Max.Int. 18 12 14 12 15 12 69 1999 100 100 3 10 9 Unit Hz dB Hz dB Hz dB ms ms % % Minimum Maximum Step/Table 32 2000 Table #5 -12 12 2 315 6300 Table #6 -12 12 2 500 16000 Table #7 -12 12 2 0.1 1360.0 0.1 0.1 1360.0 0.1 -99 99 1 0 100 1 Max.Int. 18 12 14 12 15 12 13599 13599 198 100 Unit Hz dB Hz dB Hz dB ms ms % % Minimum Maximum Step/Table 32 2000 Table #5 -12 12 2 315 6300 Table #6 -12 12 2 500 16000 Table #7 -12 12 2 0.1 680.0 0.1 0.1 680.0 0.1 -99 99 1 0 100 1 Max.Int. 18 12 14 12 15 12 6799 6799 198 100 61: Deep Echo (EQ->Echo) Parameter Name Low Freq Low Gain Mid Freq Mid Gain High Freq High Gain Echo Lch Delay Echo Rch Delay Echo FB Gain Echo Mix Level Add-17 17 Type No. 1 2 3 4 5 6 7 8 9 10 Type No. 1 2 3 4 5 6 7 8 9 10 Type No. 1 2 3 4 5 6 7 8 9 10 62: EQ->Flange Parameter Name Low Freq Low Gain Mid Freq Mid Gain High Freq High Gain Modulation Freq Modulation Depth Modulation FB Gain Flange Mix Level Unit Hz dB Hz dB Hz dB Hz % % % Minimum Maximum Step/Table 32 2000 Table #5 -12 12 2 315 6300 Table #6 -12 12 2 500 16000 Table #7 -12 12 2 0.05 40.0 0.05 0 100 1 0 99 1 0 100 1 Max.Int. 18 12 14 12 15 12 799 100 99 100 Unit Hz dB Hz dB Hz dB Hz % % % Minimum Maximum Step/Table 32 2000 Table #5 -12 12 2 315 6300 Table #6 -12 12 2 500 16000 Table #7 -12 12 2 0.05 40.0 0.05 0 100 1 0 100 1 0 100 1 Max.Int. 18 12 14 12 15 12 799 100 100 100 Parameter Name Low Freq Low Gain Mid Freq Mid Gain High Freq High Gain Modulation Freq Modulation Depth Unit Hz dB Hz dB Hz dB Hz % Minimum Maximum Step/Table 32 2000 Table #5 -12 12 2 315 6300 Table #6 -12 12 2 500 16000 Table #7 -12 12 2 0.05 40.0 0.05 0 100 1 Max.Int. 18 12 14 12 15 12 799 100 Sympho Mix Level % 63: Bass Chorus (EQ->Chorus) Parameter Name Low Freq Low Gain Mid Freq Mid Gain High Freq High Gain Chorus Mod Freq Chorus PM Depth Chorus AM Depth Chorus Mix Level 64: Elec Guitar EQ/Sympho (EQ->Sympho) 0 100 1 100 Add-18 18 Type No. 1 2 3 4 5 6 7 8 9 10 Type No. 1 2 3 4 5 6 7 8 9 10 Type No. 1 2 3 4 5 6 7 8 9 10 Chapter : 65: Warm Phase (EQ->Phaser) Parameter Name Low Freq Low Gain Mid Freq Mid Gain High Freq High Gain Modulation Freq Modulation Depth Modulation Delay Phaser Mix Level Unit Hz dB Hz dB Hz dB Hz % ms % Minimum Maximum Step/Table 32 2000 Table #5 -12 12 2 315 6300 Table #6 -12 12 2 500 16000 Table #7 -12 12 2 0.05 40.0 0.05 0 100 1 0.1 5.0 0.1 0 100 1 Max.Int. 18 12 14 12 15 12 799 100 49 100 Unit Hz % % % ms ms ms ms % % Minimum Maximum Step/Table 0.05 40.00 0.05 0 100 1 0.1 100.0 0.1 0 99 1 0.1 800.0 0.1 0.1 800.0 0.1 0.1 800.0 0.1 0.1 800.0 0.1 -99 99 1 0 100 1 Max.Int. 799 100 999 99 7999 7999 7999 7999 198 100 Parameter Name Chorus Mod Freq Chorus PM Depth Chorus AM Depth Unit Hz % % Minimum Maximum Step/Table 0.05 40.00 0.05 0 100 1 0 100.0 1 Max.Int. 799 100 100 Delay Lch Delay Delay Rch Delay Delay FB1 Delay Delay FB2 Delay Delay FB Gain Delay Mix Level ms ms ms ms % % 66: Flange -> Delay L,R Parameter Name Modulation Freq Modulation Depth Modulation Delay Modulation FB Gain Delay Lch Delay Delay Rch Delay Delay FB1 Delay Delay FB2 Delay Delay FB Gain Delay Mix Level 67: St.Chorus -> Delay L,R 0.1 0.1 0.1 0.1 -99 0 800.0 800.0 800.0 800.0 99 100 0.1 0.1 0.1 0.1 1 1 7999 7999 7999 7999 198 100 Add-19 19 Type No. 1 2 3 4 5 6 7 8 9 10 Type No. 1 2 3 4 5 6 7 8 9 10 Type No. 1 2 3 4 5 6 7 8 9 10 68: Sympho -> Delay L,R Parameter Name Modulation Freq Modulation Depth Unit Hz % Delay Lch Delay Delay Rch Delay Delay FB1 Delay Delay FB2 Delay Delay FB Gain Delay Mix Level ms ms ms ms % % Minimum Maximum Step/Table 0.05 40.00 0.05 0 100 1 0.1 0.1 0.1 0.1 -99 0 800.0 800.0 800.0 800.0 99 100 0.1 0.1 0.1 0.1 1 1 Max.Int. 799 100 7999 7999 7999 7999 198 100 69: Phaser -> Delay L,R Parameter Name Modulation Freq Modulation Depth Modulation Delay Unit Hz % % Delay Lch Delay Delay Rch Delay Delay FB1 Delay Delay FB2 Delay Delay FB Gain Delay Mix Level ms ms ms ms % % Minimum Maximum Step/Table 0.05 40.00 0.05 0 100 1 0.1 5.0 0.1 0.1 0.1 0.1 0.1 -99 0 800.0 800.0 800.0 800.0 99 100 0.1 0.1 0.1 0.1 1 1 Max.Int. 799 100 49 7999 7999 7999 7999 198 100 70: Hall & Plate Parameter Name Hall Reverb Time Hall High Hall Diffusion Hall Initial Delay Hall LPF Plate Reverb Time Plate High Plate Diffusion Plate Initial Delay Plate LPF Unit sec ms KHz sec ms KHz Minimum Maximum Step/Table 0.3 30.0 Table #1 0.1 1.0 0.1 0 10 1 0.1 200.0 0.1 1 Thru Table #2 0.3 30 Table #1 0.1 1 0.1 0 10 1 0.1 200 0.1 1 Thru Table #2 Max.Int. 69 9 10 1999 25 69 9 10 1999 25 Add-20 20 Type No. 1 2 3 4 5 6 7 8 9 10 Type Chapter : 71: Echo & Reverb Parameter Name Echo Lch Delay Echo Rch Delay Echo FB Gain Reverb Time Rev High Rev Diffusion Rev Initial Delay Rev ER/Rev Balance Rev HPF Rev LPF Unit ms ms % sec ms % Hz KHz Minimum Maximum Step/Table 0.1 320.0 0.1 0.1 320.0 0.1 -99 99 1 0.3 30.0 Table #1 0.1 1.0 0.1 0 10 1 0.1 200.0 0.1 0 100 1 Thru 1000 Table #3 1 Thru Table #2 Max.Int. 3199 3199 198 69 9 10 1999 100 31 25 Unit ms ms % sec ms % Hz KHz Minimum Maximum Step/Table 0.1 640.0 0.1 0.1 640.0 0.1 -99 99 1 0.3 30.0 Table #1 0.1 1.0 0.1 0 10 1 0.1 200.0 0.1 0 100 1 Thru 1000 Table #3 1 Thru Table #2 Max.Int. 6399 6399 198 69 9 10 1999 100 31 25 Minimum Maximum Step/Table 0.05 40.0 0.05 0 100.0 1 0.1 100 0.1 0 99.0 1 Max.Int. 799 100 999 99 72: Delay & Reverb No. 1 2 3 4 5 6 7 8 9 10 Parameter Name Delay Lch Delay Delay Rch Delay Delay FB Gain Reverb Time Rev High Rev Diffusion Rev Initial Delay Rev ER/Rev Balance Rev HPF Rev LPF Type 73: Flange & Chorus No. 1 2 3 4 5 6 7 8 9 10 Parameter Name Flange Mod Freq Flange Mod Depth Flange Mod Delay Flange Mod FB Gain Unit Hz % % % Chorus Mod Freq Chorus PM Depth Chorus AM Depth Hz % % 0.05 0 0 40 100.0 100 0.05 1 1 799 100 100 Add-21 21 Type 74: Flange & Sympho No. 1 2 3 4 5 6 7 8 9 10 Parameter Name Flange Mod Freq Flange Mod Depth Flange Mod Delay Flange Mod FB Gain Unit Hz % % % Sympho Mod Freq Sympho Mod Depth Hz % Type 75:Sympho & Chorus No. 1 2 3 4 5 6 7 8 9 10 Parameter Name Sympho Mod Freq Sympho Mod Depth Unit Hz % Chorus Mod Freq Chorus PM Depth Chorus AM Depth Hz % % Type No. 1 2 3 4 5 6 7 8 9 10 Minimum Maximum Step/Table 0.05 40.0 0.05 0 100.0 1 0.1 100 0.1 0 99.0 1 0.05 0 40 100.0 0.05 1 Minimum Maximum Step/Table 0.05 40.0 0.05 0 100.0 1 0.05 0 0 40 100.0 100 0.05 1 1 Max.Int. 799 100 999 99 799 100 Max.Int. 799 100 799 100 100 76: Flange & Rev Parameter Name Flange Mod Freq Flange Mod Depth Flange Mod Delay Flange Mod FB Gain Reverb Time Reverb High Rev Diffusion Rev Initial Delay HPF LPF Unit Hz % % % sec ms Hz KHz Minimum Maximum Step/Table 0.05 40.0 0.05 0 100.0 1 0.1 100 0.1 0 99.0 1 0.3 30.0 Table #1 0.1 1 0.1 0 10 1 0.1 200 0.1 Thru 1000 Table #3 1 Thru Table #2 Max.Int. 799 100 999 99 69 9 10 1999 31 25 Add-22 22 Chapter : Type 77: Chorus & Rev No. 1 2 3 4 5 6 7 8 9 10 Parameter Name Chorus Mod Freq Chorus PM Depth Chorus AM Depth Unit Hz % % Reverb Time Reverb High Rev Diffusion Rev Initial Delay HPF LPF sec ms Hz KHz Type 78: Sympho & Rev No. 1 2 3 4 5 6 7 8 9 10 Parameter Name Modulation Freq Modulation Depth Unit Hz % Reverb Time Reverb High Rev Diffusion Rev Initial Delay HPF LPF sec ms Hz KHz Type No. 1 2 3 4 5 6 7 8 9 10 Minimum Maximum Step/Table 0.05 40.0 0.05 0 100.0 1 0 100 1 0.3 0.1 0 0.1 Thru 1 30.0 1 10 200 1000 Thru Table #1 0.1 1 0.1 Table #3 Table #2 Minimum Maximum Step/Table 0.05 40.0 0.05 0 100.0 1 0.3 0.1 0 0.1 Thru 1 30.0 1 10 200 1000 Thru Table #1 0.1 1 0.1 Table #3 Table #2 Max.Int. 799 100 100 69 9 10 1999 31 25 Max.Int. 799 100 69 9 10 1999 31 25 79: Flange & Delay L,R Parameter Name Modulation Freq Modulation Depth Modulation Delay Modulation FB Gain Delay Lch Delay Delay Rch Delay Delay FB1 Delay Delay FB2 Delay Delay FB Gain LPF Unit Hz % % % ms ms ms ms % KHz Minimum Maximum Step/Table 0.05 40.00 0.05 0 100 1 0.1 100.0 0.1 0 99 1 0.1 800.0 0.1 0.1 800.0 0.1 0.1 800.0 0.1 0.1 800.0 0.1 -99 99 1 1 Thru Table #2 Max.Int. 799 100 999 99 7999 7999 7999 7999 198 25 Add-23 23 Type No. 1 2 3 4 5 6 7 8 9 10 Type No. 1 2 3 4 5 6 7 8 9 10 80: Chorus & Delay L,R Parameter Name Chorus Mod Freq Chorus PM Depth Chorus AM Depth Unit Hz % % Delay Lch Delay Delay Rch Delay Delay FB1 Delay Delay FB2 Delay Delay FB Gain LPF ms ms ms ms % KHz Minimum Maximum Step/Table 0.05 40.00 0.05 0 100 1 0 100.0 1 0.1 0.1 0.1 0.1 -99 1 800.0 800.0 800.0 800.0 99 Thru 0.1 0.1 0.1 0.1 1 Table #2 Max.Int. 799 100 100 7999 7999 7999 7999 198 25 81: Sympho & Delay L,R Parameter Name Modulation Freq Modulation Depth Unit Hz % Delay Lch Delay Delay Rch Delay Delay FB1 Delay Delay FB2 Delay Delay FB Gain LPF ms ms ms ms % KHz Minimum Maximum Step/Table 0.05 40.00 0.05 0 100 1 0.1 0.1 0.1 0.1 -99 1 800.0 800.0 800.0 800.0 99 Thru 0.1 0.1 0.1 0.1 1 Table #2 Max.Int. 799 100 7999 7999 7999 7999 198 25 Add-24 24 Chapter : MIDI Parameter Common parameter Channel parameter System parameter name Rec Source Rec Frequency Play Back Frequency Trigger Rec Mode on/off Trigger Rec Level Sync Mode Select MIDI Sync on/off Channel Status bit0 (out) Channel Status Sampling Freq value *1 *2 *3 *4 *5 *6 *4 *13 *14 Effect Return Sel/Level parameter name Effect Return 1 Select 1 Effect Return 1 Select 2 Effect Return 2 Select 1 Effect Return 2 Select 2 Effect Return 3 Select 1 Effect Return 3 Select 2 Effect Return 4 Select 1 Effect Return 4 Select 2 Effect Return 1 Level 1 Effect Return 1 Level 2 Effect Return 2 Level 1 Effect Return 2 Level 2 Effect Return 3 Level 1 Effect Return 3 Level 2 Effect Return 4 Level 1 Effect Return 4 Level 2 value *7 *7 *7 *7 *7 *7 *7 *7 0~127 0~127 0~127 0~127 0~127 0~127 0~127 0~127 DEQ parameter name Mode value *8 DSP2 parameter name Type Parameter 1 Parameter 2 : : Parameter 30 value 0~81 0~? (word) 0~? (word) : : 0~? (word) System (ch 0,1 only) parameter name Rec Monitor on/off value *4 Volume, Effect Send parameter name Channel Volume Bus 1 Select Bus 2 Select Bus 3 Select Bus 4 Select Bus 1 Volume Bus 2 Volume Bus 3 Volume Bus 4 Volume Effect Send 1 Level Effect Send 2 Level value 0~127 *7 *7 *7 *7 0~127 0~127 0~127 0~127 0~127 0~127 DEQ parameter name IIR1 Parameter value ** IIR2 Parameter ** IIR3 Parameter ** IIR4 Parameter ** ** IIR n parameter (n=1~4) parameter name Type Frequency Gain Q value *9 *10 *11 *12 Add-25 25 *1 value 0 1 2 3 source AES/EBU Y2 CD/DAT ANALOG *2 value 0 1 2 3 Freq (KHz) 48 44.4 32 22.05 *3 Sync mode Select = internal value Freq (KHz) 0 48 1 44.1 *4 value 0 1 on/off off on *5 value 0 1 2 3 4 5 6 7 8 Level (dB) –9 –15 –18 –24 –30 –36 –42 –48 –∞ *6 value 0 1 2 3 4 Mode internal external AES/EBU Y2 CD/DAT *7 value 0 1 2 3 4 Select OUT1 OUT2 OUT3 OUT4 mute *8 value 0 1 2 Mode Reserved Thru PEQ value 0 1 2 3 4 5 6 7 8 9 Type Through Lo1 Lo2 Hi1 Hi2 LoSh HISh Presence BandE1 BandPass *9 *10 Software Thru 4IIR/4Ch Freq 0 1 1 1 1 1 1 1 1 1 Gain 0 0 0 0 0 1 1 1 0 0 Q 0 0 1 0 1 0 0 1 1 1 0:invalid 1:valid value 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 Freq (Hz) 18 20 22 25 28 32 36 40 45 50 56 63 70 80 90 100 110 125 140 160 180 200 220 250 280 315 355 400 450 500 560 630 700 800 900 1000 1100 1200 1400 1600 1800 2000 2200 2500 2800 3200 3600 4000 4500 5000 5600 6300 7000 8000 9000 10000 11000 12000 14000 16000 18000 *11 value 0 : 30 Gain (dB) –15 : 15 *12 value 0 : 49 Q 0.1 : 5.0 *13 value 0 1 bit0 consumer professional *14 Sync mode Select = Channel status sampling Freq. other than internal value Freq (KHz) 0 48 1 44.1 2 32 When RecFreq=32kHz, values 59 & 60 are 15000Hz Add-26 26 Chapter : MIDI Parameter Map Common parameter Common Parameter (base address=h’2000) System Channel 0 Parameter (base address=h’0) Channel 1 Parameter (base address=h’0) Channel 2 Parameter (base address=h’0) Channel 3 Parameter (base address=h’0) Efct Rtn DEQ DSP2 Rec Source Rec Frequency Play Back Frequency Trigger Rec Mode on/off Trigger Rec Level Sync Mode Select MIDI Sync on/off Channel Status bit0 Channel Status Sampling Freq Reserved Reserved Reserved Effect Return 1 Select 1 Effect Return 1 Select 2 Effect Return 2 Select 1 Effect Return 2 Select 2 Effect Return 3 Select 1 Effect Return 3 Select 2 Effect Return 4 Select 1 Effect Return 4 Select 2 Effect Return 1 Level 1 Effect Return 1 Level 2 Effect Return 2 Level 1 Effect Return 2 Level 2 Effect Return 3 Level 1 Effect Return 3 Level 2 Effect Return 4 Level 1 Effect Return 4 Level 2 Reserved Reserved Reserved Reserved Mode Reserved Reserved Reserved Reserved Reserved Reserved Type Parameter 1 MSB Parameter 1 LSB Parameter 2 MSB Parameter 2 LSB Parameter 3 MSB Parameter 3 LSB Parameter 4 MSB Parameter 4 LSB Parameter 5 MSB Parameter 5 LSB 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 Parameter 6 MSB Parameter 6 LSB Parameter 7 MSB Parameter 7 LSB Parameter 8 MSB Parameter 8 LSB Parameter 9 MSB Parameter 9 LSB Parameter 10 MSB Parameter 10 LSB Parameter 11 MSB Parameter 11 LSB Parameter 12 MSB Parameter 12 LSB Parameter 13 MSB Parameter 13 LSB Parameter 14 MSB Parameter 14 LSB Parameter 15 MSB Parameter 15 LSB Parameter 16 MSB Parameter 16 LSB Parameter 17 MSB Parameter 17 LSB Parameter 18 MSB Parameter 18 LSB Parameter 19 MSB Parameter 19 LSB Parameter 20 MSB Parameter 20 LSB Parameter 21 MSB Parameter 21 LSB Parameter 22 MSB Parameter 22 LSB Parameter 23 MSB Parameter 23 LSB Parameter 24 MSB Parameter 24 LSB Parameter 25 MSB Parameter 25 LSB Parameter 26 MSB Parameter 26 LSB Parameter 27 MSB Parameter 27 LSB Parameter 28 MSB Parameter 28 LSB Parameter 29 MSB Parameter 29 LSB Parameter 30 MSB Parameter 30 LSB 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 Add-27 27 Channel N parameter System Vol,Efct Snd DEQ Rec Monitor on/off Reserved Reserved Reserved Reserved Reserved Channel Volume Reserve Bus 1 Select Bus 2 Select Bus 3 Select Bus 4 Select Bus 1 Volume Bus 2 Volume Bus 3 Volume Bus 4 Volume Effect Send 1 Level Effect Send 2 Level Reserved Reserved Reserved Reserved Reserved Reserved Reserved Reserved Reserved Reserved Reserved Reserved IIR 1 Parameter * IIR 2 Parameter * IIR 3 Parameter * IIR 4 Parameter * Reserved : Reserved 0 Valid only for ch 0, 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 * IIR n Parameter Type 37 Frequency 38 Gain Q 45 Reserved 46 Reserved Reserved 53 Reserved 54 61 62 69 0 1 2 3 4 5 6 7 Add-28 28 Chapter : MIDI Data Format 1. Block Diagram of MIDI Reception/Transmission <MIDI Reception Conditions> MIDI IN or TO HOST $F0,$43,$78,$41,$[ch#],$[pa/H],$[pa/L],$[bc/H],$[bc/L],$F7 PARAMETER REQUEST $F0,$43,$78,$41,$[ch#],$[pa/H],$[pa/L],$[bc/H],$[bc/L],{$[d/H],$[d/L]},$F7 PARAMETER DUMP switch is set to anything other than “MIDI”, the MIDI data are echoed back to HOST IN * If→theMIDIHostOUTSelector and MIDI IN → HOST OUT, respectively. <MIDI Transmission Conditions> MIDI IN or TO HOST $F0,$43,$78,$41,$[ch#],$[pa/H],$[pa/L],$[bc/H],$[bc/L],{$[d/H],$[d/L]},$F7 PARAMETER DUMP switch is set to anything other than “MIDI”, the MIDI data are echoed back to HOST IN * If→theMIDIHostOUTSelector and MIDI IN → HOST OUT, respectively. 2. Channel Messages Channel messages are not transmitted or received. If the Host Selector switch is set to anything other than “MIDI”, the MIDI data are echoed back to HOST IN → MIDI OUT and MIDI IN → HOST OUT, respectively. 3. System Messages The CBX-D5 handles System Exclusive messages like those below. Digital Track Message (Note 1) (Note 1) The Digital Track Message (hereafter referred to as DT) is comprised of the Yamaha System Exclusive ID and a Digital Track Command, and is a System Exclusive message. The Digital Track Messages used with this equipment are formatted as shown below. General format for the Digital Track Message 11110000 01000011 01111000 11110111 F0 43 78 <ab> *1 data bytes *2 F7 YAMAHA System Exclusive ID YAMAHA System Exclusive Sub ID DT command Add-29 29 *1 <ab> DT status (MS 3 bits) Sub status (LS 4 bits) 0-2: Reserved 3: DT status of encapsulated MIDI command Sub status equals to MIDI status code 4: DT status of device specific messages Substatus=0 → parameter dump Substatus=1 → parameter request 5 - 7: Reserved (See Table 1 for DT command formats.) *2 data bytes The format and length vary depending on the DT status byte. The first byte of the DT message is the channel number (It is usually from 0 to 3). Several DT commands may be contained in one DT message. The EOX (F7) command is used at the end of the DT message. From a standpoint of error correction, we recommend inserting breaks in DT messages at 100 ms intervals. DT command format (Table 1) 1: Encapsulated MIDI command (for details, see Table 2) Status 3 Substatus MIDI status byte Databyte[0] channel Databyte[1...] MIDI data bytes 2: Device specific messages 2.1 parameter dump Status 4 Substatus 0 Databyte[0] channel Databyte[1 - 2] parameter address Databyte[3 - 4] byte count Databyte[5...] data CAUTION: When recording to a hard disk, one unit is used for multi-channel recording/ playback. For this reason, parameters are separated into Common and Channel parameters. The parameter addresses used are as follows: Channel parameter base address = h'0 Common parameter base address = h'2000 Add-30 30 Chapter : Parameter Dump Format (Appendix 2.1) 11110000 F0 01000011 43 YAMAHA system exclusive ID 01111000 78 YAMAHA system exclusive sub ID 01000000 40 parameter dump status 0ccccccc nn channel number 0mmmmmmm mm parameter address Most significant 7bits [pa/H] 0I I I I I I I II parameter address Least significant 7bits [pa/L] parameter address = 0×80 *[pa/H] + [pa/L] 0x0000-0xx1FFF: channel parameter 0x0000-0x1FFF 0x2000-0xx3FFF: common parameter 0x0000-0x1FFF 0mmmmmmm* mm byte count Most significant 7bits [bc/H] 0I I I I I I I II byte count Least significant 7bits [bc/L] byte count = 0×80 *[bc/H] + [bc/L] 0ddddddd data .. .. .. .. . . 0ddddddd data 11110111 F7 2.2 parameter dump Status 4 Substatus 1 Databyte[0] channel Databyte[1 - 2] parameter address Databyte[3 - 4] byte count Parameter Request Format (Appendix 2.2) 11110000 F0 01000011 43 YAMAHA system exclusive ID 01111000 78 YAMAHA system exclusive sub ID 01000001 41 parameter request status 0ccccccc nn channel number 0mmmmmmm mm parameter address Most significant 7bits [pa/H] 0I I I I I I I II parameter address Least significant 7bits [pa/L] parameter address = 0×80 *[pa/H] + [pa/L] 0x0000-0xx1FFF: channel parameter 0x0000-0x1FFF 0x2000-0xx3FFF: common parameter 0x0000-0x1FFF 0mmmmmmm mm byte count Most significant 7bits [bc/H] 0I I I I I I I II byte count Least significant 7bits [bc/L] byte count = 0×80 *[bc/H] + [bc/L] 0ddddddd data .. .. .. .. . . 0ddddddd data 11110111 F7 Add-31 31 Encapsulated MIDI command (Table 2) Control changes (Assignable) 00000110 06 data entry for RPN 00000111 07 channel volume 00001011 0B channel expression 00010000 10 01100000 60 data increment for RPN 01100001 61 data decrement for RPN 01111000 78 All sound off No control numbers other than these may be used. Also, control values are not stored in the memory. RPN 00000000 00 Pitch bend range 79 reset all controllers Pitch bend Channel mode message 01111001 Add-32 32 Chapter : MIDI Implementation chart