Yamaha CBX-D5 Operating Manual
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Yamaha CBX-D5 Operating Manual

Yamaha CBX-D5 Operating Manual

Digital recording processor
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Download this manual See also: Troubleshooting Manual, Owner's Manual
DIGITAL RECORDING PROCESSOR
CBX-D5
Owner's Manual 2
OPERATING MANUAL

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Summary of Contents for Yamaha CBX-D5

  • Page 1 DIGITAL RECORDING PROCESSOR CBX-D5 Owner's Manual 2 OPERATING MANUAL...
  • Page 2 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...

  • Page 3: Special Message Section

    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.

  • Page 4: Important Safety Instructions

    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. been spilled into the enclosure through openings; or change in performance;...

  • Page 6: Table Of Contents

    Trademarks...2 Powering up a CBX-D5 System ...2 CBX-D5 Terminology What is the CBX-D5? Inside the CBX-D5...6 The CBX-D5 in a MIDI recording system...7 Controls & Connections Front panel ...8 Rear panel ...10 Connecting Hard Disk Drives What type of hard disk? ...13 Hard disk size...13...

  • Page 7: Introduction

    • 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.

  • Page 8: Unpacking

    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.

  • Page 9: Cbx-D5 Terminology

    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.
  • Page 10 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.

  • Page 11: What Is The Cbx-D5

    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.

  • Page 12: Inside The Cbx-D5

    Chapter 3 : What is the CBX-D5? 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.

  • Page 13: The Cbx-D5 In A Midi Recording System

    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 MULTI-EFFECTOR MIDI TONE GENERATOR MIDI DRUM MODULE MIDI SOUND SAMPLER GROUP OUT x2 LINE IN x4...

  • Page 14: Controls & Connections

    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...
  • Page 15 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.

  • Page 16: Rear Panel

    Chapter 4 : Controls & Connections 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.
  • Page 17 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.
  • Page 18 NOTE: 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.

  • Page 19: Connecting Hard Disk Drives

    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.

  • Page 20: Choosing A Hard Disk

    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.

  • Page 21: Scsi Cables

    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.

  • Page 22: Scsi Id Setting

    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. (internal hard disk set to SCSI ID 0) In the Atari TT system shown above, six SCSI devices are connected in a daisy chain.

  • Page 23: Scsi Termination

    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.

  • Page 24: Working With Hard Disks

    “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.

  • Page 25: Hard Disk Fragmentation

    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.

  • Page 26: 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.

  • Page 27: Digital Input Levels

    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.

  • Page 28: Digital Audio Data Containing Scms

    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.

  • Page 29: Playback

    +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.

  • Page 30: 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. SOUND FILE REGION B REGIONS A &...

  • Page 31: Converting The Sampling Frequency & Digital Audio Format In Real Time

    48, 44.1, 32kHz NOTE: 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.

  • Page 32: Inputs & Outputs Explained

    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.

  • Page 33: Aes/Ebu In 1/2

    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.

  • Page 34: Y2 In

    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.
  • Page 35 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.

  • Page 36: To Host Connection

    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.

  • Page 37: 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. Connect the CBX-D5’s “TO HOST” connector to one of the Apple Mac’s serial ports using the “Mac”...

  • Page 38: Pc-1

    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.

  • Page 39: To Host Computer Connecting Cables

    TO HOST computer connecting cables MIDI Standard MIDI cable. Maximum length 15 meters. DIN 5-PIN Apple Macintosh Peripheral cable “M0197”). Maximum length 2 meters. 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.

  • Page 40: Glossary

    Mark of the Unicorn Digital Performer: 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.
  • Page 41 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.

  • Page 42: Recording Setup Table

    Chapter 13 : Recording setup table Chapter 13 : Recording setup table Chapter 13 : Recording setup table 13 Recording setup table Recording Project Date Notes Sound files Sound File Sound File name Sampling Sound File Contents Frequency Input Length File Size Source (Time)

  • Page 43: Cbx-D5 Specifications

    14 CBX-D5 Specifications Data format Number of channels Sound File Recording Sound File Playback Sampling frequency Digital in Digital out For digital I/O, internal sampling frequency conversion is available File format A/D converter D/A converter DEQ (equalizer) DSP (effector) Digital mixer...

  • Page 44: Index

    15 Atari TT hard disks 15 Audio IFF sound files 23 Backing up sound files 18 Block diagram 6 CBX-D5 what is it? 5 CD/DAT format input 27 output 27 CD/DAT format, what is it? 3 Cleaning 2 Controls &...

  • Page 45: Appendix

    Appendix Preset Effects Effect Name Orchestra Hall S:Rev Hall Concert Hall Warm Hall Vocal Hall Vocal Large Hall Vocal Small Hall Large Room S:Rev Room Bright Small Room Backing Vocal Tight Room Smooth Room Small Vocal Room Slap Room Vocal Stage S:Rev Stage Vocal Club Female Vocal Club...

  • Page 46: Dsp/Deq/Dmix Block Diagram

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

  • Page 47: Preset Effects Parameter Values

    Preset effects parameter values 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...
  • Page 48 Add-4 Chapter : 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 &...

  • Page 49: Data-Value Assign Table

    Data-Value Assign Table Rev Time Table Data Value (sec) Data Value (sec) Table Data Value (KHz) 10.0 11.0 12.0 13.0 10.0 14.0 11.0 15.0 12.0 16.0 14.0 17.0 16.0 18.0 Thru 19.0 20.0 25.0 30.0 Add-5 HPF1 Table Data Value (Hz) Thru 1000...
  • Page 50 Add-6 Chapter : Chapter : Data-Value Assign Table HPF2 Low Shelving Table Table Data Value (Hz) Data 1000 1200 1600 2000 2500 3200 4000 5000 6300 8000 10000 12000 16000 Mid Presence Table Value (Hz) Data Value (Hz) 1000 1200 1600 2000 2500...
  • Page 51 Data-Value Assign Table Length Table Data Data Value (m) Value (m) 10.2 10.4 10.7 11.0 Data Value (m) 11.2 22.7 11.5 23.0 11.8 23.3 12.1 23.6 12.3 23.9 12.6 24.2 12.9 24.5 13.1 24.9 13.4 25.2 13.7 25.5 14.0 25.8 14.2 26.1 14.5...

  • Page 52: Effect Parameters

    Add-8 Chapter : Chapter : Effect parameters Type 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 Type 20:Stone Room ~ 29:Bathroom Vocal (Room Simulation Type) Parameter Name Reverb Time High...
  • Page 53 Type 30:Early Ref Vocal ~ 35:Early Ref Reverse Vocal (Early Reflection Type) Parameter Name Type Room Size Liveness Diffusion Initial Delay ER Number Feedback Delay Feedback Gain Type 36:Gate Reverb ~ 37:Reverse Gate Parameter Name Type Room Size Liveness Diffusion Initial Delay ER Number Feedback Delay...
  • Page 54 Add-10 Chapter : Chapter : Type 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 Type 40:Stereo Echo Parameter Name Lch Init Delay Time Lch FB Delay Time Lch FB Gain...
  • Page 55 Type 42:Wide Guitar (Pitch Change2) Parameter Name L Pitch L Fine L Delay L FB Gain R Pitch R Fine R Delay R FB Gain Type 43:Multi Pitch Delay (Pitch Change3) Parameter Name 1 Pitch 1 Fine 1 Delay 2 Pitch 2 Fine 2 Delay 3 Pitch...
  • Page 56 Add-12 Chapter : Chapter : Type 45:Rotary Speaker Parameter Name Middle Speed Depth Transition Time L/M/H Speed Diff Switch L/M/H Low Gain High Gain Type 46:Ring Modulator Parameter Name Wave PM Depth Wave PM Freq Wave AM Depth Wave AM Freq Low Gain High Gain Type...
  • Page 57 Type 48: Delay L,R -> Rev 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 Type 49: Flange -> Rev Parameter Name Modulation Freq Modulation Depth Modulation Delay Modulation FB Gain...
  • Page 58 Add-14 Chapter : Chapter : Type 51: Sympho -> Rev Parameter Name Modulation Freq Modulation Depth Reverb Time Reverb High Rev Initial Delay Rev Mix Level Type 52: Phaser -> Rev Parameter Name Modulation Freq Modulation Depth Modulation Delay Reverb Time Reverb High Rev Initial Delay Rev Mix Level...
  • Page 59 Type 54: Distortion -> Rev Parameter Name Distortion Level Middle Freq Middle Gain Treble Gain Reverb Time Reverb High Rev Initial Delay Rev Mix Level Type 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...
  • Page 60 Add-16 Chapter : Chapter : Type 57: HighCut Reverb ~ 59: Sparkling Reverb (EQ->Rev) 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)
  • Page 61 Type 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 Type 63: Bass Chorus (EQ->Chorus) Parameter Name Low Freq Low Gain Mid Freq Mid Gain High Freq High Gain...
  • Page 62 Add-18 Chapter : Chapter : Type 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 Type 66: Flange -> Delay L,R Parameter Name Modulation Freq Modulation Depth Modulation Delay...
  • Page 63 Type 68: Sympho -> Delay L,R Parameter Name Modulation Freq Modulation Depth Delay Lch Delay Delay Rch Delay Delay FB1 Delay Delay FB2 Delay Delay FB Gain Delay Mix Level Type 69: Phaser -> Delay L,R Parameter Name Modulation Freq Modulation Depth Modulation Delay Delay Lch Delay...
  • Page 64 Add-20 Chapter : Chapter : Type 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 Type 72: Delay & Reverb Parameter Name Delay Lch Delay Delay Rch Delay...
  • Page 65 Type 74: Flange & Sympho Parameter Name Flange Mod Freq Flange Mod Depth Flange Mod Delay Flange Mod FB Gain Sympho Mod Freq Sympho Mod Depth Type 75:Sympho & Chorus Parameter Name Sympho Mod Freq Sympho Mod Depth Chorus Mod Freq Chorus PM Depth Chorus AM Depth Type...
  • Page 66 Add-22 Chapter : Chapter : Type 77: Chorus & Rev Parameter Name Chorus Mod Freq Chorus PM Depth Chorus AM Depth Reverb Time Reverb High Rev Diffusion Rev Initial Delay Type 78: Sympho & Rev Parameter Name Modulation Freq Modulation Depth Reverb Time Reverb High Rev Diffusion...
  • Page 67 Type 80: Chorus & Delay L,R Parameter Name Chorus Mod Freq Chorus PM Depth Chorus AM Depth Delay Lch Delay Delay Rch Delay Delay FB1 Delay Delay FB2 Delay Delay FB Gain Type 81: Sympho & Delay L,R Parameter Name Modulation Freq Modulation Depth Delay Lch Delay...

  • Page 68: Midi Parameter

    Add-24 Chapter : Chapter : MIDI Parameter Common parameter System parameter name value 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 Effect Return Sel/Level parameter name value...
  • Page 69 value source AES/EBU CD/DAT ANALOG value Freq (KHz) 44.4 22.05 Sync mode Select = internal value Freq (KHz) 44.1 value on/off value Level (dB) –9 –15 –18 –24 –30 –36 –42 –48 – value Mode internal external AES/EBU CD/DAT value Select OUT1 OUT2...
  • Page 70 Add-26 Chapter : Chapter : MIDI Parameter Map Common Parameter (base address=h’2000) 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) Common parameter System Rec Source Rec Frequency Play Back Frequency Trigger Rec Mode on/off Trigger Rec Level Sync Mode Select...
  • Page 71 Channel N parameter System Rec Monitor on/off Reserved Reserved Reserved Reserved Reserved Vol,Efct Snd 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...

  • Page 72: Midi Data Format

    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 Exclu- sive ID and a Digital Track Command, and is a System Exclusive message.
  • Page 73 *1 <ab> DT status (MS 3 bits) 0-2: Reserved 3: DT status of encapsulated MIDI command 4: DT status of device specific messages 5 - 7: Reserved *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).
  • Page 74 = 0 80 *[bc/H] + [bc/L] 0ddddddd 0ddddddd 11110111 YAMAHA system exclusive ID YAMAHA system exclusive sub ID parameter dump status channel number parameter address Most significant 7bits [pa/H] parameter address Least significant 7bits [pa/L] byte count Most significant 7bits [bc/H] byte count Least significant 7bits [bc/L]...
  • Page 75 Encapsulated MIDI command (Table 2) Control changes (Assignable) 00000110 00000111 00001011 00010000 01100000 01100001 01111000 No control numbers other than these may be used. Also, control values are not stored in the memory. 00000000 Pitch bend Channel mode message 01111001 data entry for RPN channel volume channel expression...

  • Page 76: Midi Implementation Chart

    Add-32 Chapter : Chapter : MIDI Implementation chart...

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