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

BROWN

: NEUTRAL

: 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 ELEC-

TRIC 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.

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

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 product, basic precautions should always be followed. These precautions include, but are not limited to, the following:

1.

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.

2.

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.

3.

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.

4.

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.

5.

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.

6.

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.

7.

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.

8.

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.

9.

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.

10.

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.

11.

Care should be taken that objects do not fall and liquids are not spilled into the enclosure through any openings that may exist.

12.

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.

13.

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.

14.

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.

15.

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.

92-469 2

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

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

6

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

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

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

11

TO HOST connection

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

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

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

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

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

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

12

Glossary

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

13

Recording setup table

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

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

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.

1

2

Unpacking

The CBX-D5 packaging should contain the following items.

1

1

1

1

1

1

1

1

1

1

1

1

CBX-D5

Power cable

8-pin mini DIN cable

MIDI cable

SCSI cable (50 to 50 Amphenol)

SCSI terminator

Rack-mount kit (L & R set)

Hardware Test Program Disk

Test Program Manual

This Operating Manual

System Setup Guide

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

Atari



 and Macintosh



, ST



, TT



Mark of the Unicorn



are registered trademarks of Apple Computer, Inc.

, and STE



are registered trademarks of Atari Corporation.

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.

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.

3

4

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.

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.

5

6

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.

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

MULTI-EFFECTOR

MIDI TONE

GENERATOR

MIDI DRUM MODULE

MIDI SOUND

SAMPLER

GROUP

OUT x2

LINE IN x4

MONITOR AMP

MIDI

OUT

YAMAHA

CBX-D5

DIGITAL

TRANSFER

CD/DAT

TO HOST

MIDI IN

MIDI OUT

SCSI

HARD

DISK

SERIAL PORT

SCSI

MASTER

RECORDER

MIDI CABLE

AUDIO CABLE

HOST CABLE

8

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.

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).

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.

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.

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.

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.

NOTE: These controls have no effect on the AES/EBU, CD/DAT, and Y2 digital inputs and outputs.

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.

10 10 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.

NOTE: When the Analog inputs are used unbalanced, the maximum input level is reduced to +16dBm.

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.

Rear 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: 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.

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.

12 12 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.

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 Hard Disk 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

2000MB (2GB)

1000MB (1GB)

660MB

330MB

200MB

100MB

40MB

20MB

10MB

5MB

1MB

Stereo Recording (minutes)

22.05

kHz

380

32 kHz

260

44.1

kHz

190

48 kHz

174

20

8

4

2

190

124

62

40

130

85

42

25

13

5

3

1.18

95

62

31

20

10

4

2

1

87

57

28

17 kHz

760

8 40

3.30 16

1.42

51 secs

8

4

380

248

124

80

Mono Recording (minutes)

22.05

32 kHz

760

380

248

124

50

26

10

6

2.36

44.1

kHz

380

190

124

62

40

20

8

4

2

48 kHz

348

174

114

56

34

16

7

3.24

1.42

1 38 secs

30 secs

26 secs

2

12 6 secs 5 secs secs

24 secs

1.16

24 secs

1

12 secs

52 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 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.

Specification

Is it compatible with your computer?

Does it have two SCSI connectors?

Are the SCSI connectors 25-pin

D-SUB, or 50-way Amphenol?

Are the SCSI cables supplied?

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

Macintosh you only need 0 ~ 6)

Does it have internal or external termination?

Access Time?

Data Transfer Rate?

Check Notes

Maybe it is advertised as compatible, or your dealer recommends it.

You need two to continue the SCSI daisy chain.

Macintosh computers are fitted with a 25-pin

D-SUB connector, while most other SCSI devices have a 50-way Amphenol connector.

If not, you will need to purchase them separately.

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.

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.

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.

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 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 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.

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

SCSI

HARD

DISK 1

SCSI

HARD

DISK 2

SCSI

CBX-D5

SCSI

ID No. 6

SCSI

DEVICE

This device is terminated

SCSI

ID No. 5

SCSI

DEVICE

SCSI

ID No. 4

HARD

DISK 3

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.

ATARI

ST/STE

19-pin

DSUB

SCSI

Adaptor

SCSI

ID No. 0

HARD

DISK 1

SCSI

ID No. 1

HARD

DISK 2

SCSI

ID No. 6

CBX-D5

SCSI

ID No. 3

HARD

DISK 4

SCSI

ID No. 2

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.

ATARI

TT

SCSI

ID No. 1

HARD

DISK 1

SCSI

ID No. 2

HARD

DISK 1

SCSI

ID No. 3

HARD

DISK 2

SCSI

ID No. 6

CBX-D5

SCSI

ID No. 5

HARD

DISK 4

SCSI

ID No. 4

HARD

DISK 3

(internal hard disk set to SCSI ID 0)

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 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.

SCSI

HARD

DISK 1

SCSI

HARD

DISK 2

SCSI

Terminate this device

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.

HARD DISK 2

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

To the next

SCSI device

SCSI PLUG SCSI PLUG SCSI

TERMINATOR

SCSI CABLE

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.

18 18 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 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 5 has been split – fragmented.

FILE 5b

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 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 input 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

Channel 3

L R

Channel 2

Channel 4

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

22 22 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.

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 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 1

STEREO 2-CHANNEL

INTERLEAVE FILE DATA

1 2 1 2

4-CHANNEL INTERLEAVE

FILE DATA

1 2 3 4 1 2 3 4

24 24 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.

REGION B

SOUND FILE

REGION A

REGIONS A & B CAN BE

PLAYED SIMULTANEOUSLY

Converting the Sampling Frequency & Digital Audio Format in Real 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

Y2

48, 44.1, 32kHz

CBX-D5

AES/EBU

48, 44.1kHz

Y2

48, 44.1kHz

CD/DAT (SPDIF)

48, 44.1, 32kHz

CD/DAT (SPDIF)

48, 44.1kHz

NOTE: 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 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

2

3

1

3-PIN MALE

XLR PLUG

PIN 2

PIN 3

PIN 1

PIN 2

PIN 3

PIN 1

2

1

3-PIN FEMALE

XLR LINE

SOCKET

3

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

PIN 3

PIN 1

TIP

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 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 110

Ω

.

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 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

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 CLK 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

AES/EBU Input

CD/DAT Input

Y2 Input

Internal Clock

WORD CLK IN

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.

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

CBX-D5

WORDCLOCK SLAVE

(WORD CLK IN)

AES/EBU 1/2 OUT

AES/EBU 3/4 OUT

WORD CLK IN

AES/EBU IN

AES/EBU IN

DMC1000

DIGITAL MIXER

DRU8 DIGITAL

RECORDER

WORDCLOCK MASTER

(Internal clock source)

A Yamaha format connection that can carry up to 8 digital signals

WORDCLOCK SLAVE

(wordclock sourced from the WORD CLK IN connectionl)

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

(synced to

AES/EBU input)

AES/EBU

WORD CLOCK

DAT No. 2

(synced to external wordclock)

AES/EBU

DIGITAL MIXER

(synced to

AES/EBU inputs)

30 30 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.

HARD

DISK

SCSI

SCSI

CBX-D5

OTHER MIDI

DEVICES

MIDI IN MIDI THRU MIDI IN

MIDI OUT MIDI IN

MIDI OUT

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

Connection

TO HOST

RECEIVE No function.

SEND No function.

MIDI IN MIDI data is input and processed.

MIDI OUT

MIDI THRU

Function

System Exclusive data is output.

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.

Mac Mac 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.

OTHER MIDI

DEVICES

MIDI IN

HARD

DISK

SCSI

SCSI

MIDI OUT

CBX-D5

MIDI IN

MIDI OUT

TO HOST

MIDI

THRU ON

SERIAL

PORT

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

MIDI IN

MIDI data received is output to the TO

HOST SEND.

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.

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 THRU

MIDI data received at the TO HOST

RECEIVE is output.

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

32 32 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.

OTHER MIDI

DEVICES

MIDI IN

HARD

DISK

SCSI

SCSI

MIDI OUT

CBX-D5

MIDI IN

MIDI OUT

TO HOST

SCSI

CARD

MIDI

THRU

ON

SERIAL

PORT

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

MIDI IN

MIDI data received is output to the TO

HOST SEND.

Function Details

TO HOST

RECEIVE

SEND

MIDI data is input, processed, then fed to the MIDI OUT port.

Synchronized. Data format: 8 bit, 1 stop 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.

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 THRU

MIDI data received at the TO HOST

RECEIVE is output.

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

TO HOST computer connecting cables 33 33

TO HOST computer connecting cables

MIDI

Standard MIDI cable. Maximum length 15 meters.

DIN 5-PIN

4

2

5

4

2

5

(GND)

DIN 5-PIN

Mac

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

MINI DIN

8-PIN

6

7

8

4

5

1

2

3

4

3

8

7

6

2

1

5

(HSK i)

(HSK o)

(RxD -)

(GND)

(TxD -)

RxD +)

(GP i)

(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

3

4

1

2

8

5

5

4

3

7

(CTS)

(RTS)

(RxD)

(GND)

2 (TxD)

D-SUB

25-PIN

PC-2

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

MINI DIN

8-PIN

4

8

5

1

2

3 2

5

8

7

(CTS)

(RTS)

(RxD)

(GND)

3 (TxD)

D-SUB

9-PIN

34 34 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 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 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.

Further reading

For those users who would like to know more about the fascinating world of digital audio here are a few suggested books:

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.

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 13 : Recording setup table

13 Recording setup table

Recording Project

Date

Notes

Sound files

19

20

21

22

15

16

17

18

23

24

25

11

12

13

14

9

10

7

8

Sound File

No.

1

2

5

6

3

4

Sound File name Sound File Contents

Sampling

Frequency

Input

Source

Length

(Time)

File Size

(MB)

CBX-D5 Specifications 37 37

14 CBX-D5 Specifications

Data format

Number of channels

Sampling frequency

16-bit PCM

4-channel system:

2-channel simultaneous record, 4-channel playback (combination of playback and record available)

Sound File Recording

Sound File Playback

Digital in

Digital out

22.05kHz, 32kHz, 44.1kHz, 48kHz

11.025 ~ 48kHz

32kHz, 44.1kHz, 48kHz

44.1kHz, 48kHz, external word clock

For digital I/O, internal sampling frequency conversion is available

File format

A/D converter

D/A converter

DEQ (equalizer)

DSP (effector)

Digital mixer

Connectors

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

Controls

Indicators

Host select

SCSI ID switch

Power switch

Record source

Record Freq

Playback Digital Out Freq

Input level

Output level

Power requirements

Power consumption

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.

Mono, 2-channel interleave, 4-channel interleave

16-bit linear

∆ Σ modulation

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)

0dB = 0.775V rms

Specifications subject to change without notice.

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

B

Backing up sound files 18

Block diagram 6

C

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

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

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, SCSI setting 16

Input level meters 21

Installation 2

Introduction 1

M

MIDI

IN, OUT, THRU 12

To Host 30

O

Output level meters 23

P

Partitioning hard disks 19

PB FREQ 23

PC/AT hard disks 15

Playback 23

R

Rear panel, an explanation 10

REC FREQ choosing 20 what is it? 4

Recording 20

S

Safety information 2

Sampling frequency choosing 20 converting 25 what is it? 4

SCMS 22

SCSI cables 15 hard disks 14

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

U

Unpacking 2

V

Varispeed 20

W

Warnings 2

Welcome 1

Word clock input and output 28 setup examples 28

X

XLR to phone jack cable 26

XLR to XLR input cable 26

Y

Y2 format input 28 output 28

Y2 format, what is it? 3

Appendix

28

29

30

31

24

25

26

27

20

21

22

23

16

17

18

19

12

13

14

15

8

9

10

11

6

7

4

5

2

3

0

1

44

45

46

40

41

42

43

36

37

38

39

32

33

34

35

Preset Effects

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

S:Aural Exciter



S:Rotary Speaker

S:Ring Modulator

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

75

76

77

78

71

72

73

74

79

80

81

67

68

69

70

63

64

65

66

59

60

61

62

55

56

57

58

51

52

53

54

47

48

49

50

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

* Aural Exciter

 is a registered trademark and manufactured under license from Aphex Systems Ltd.

DSP/DEQ/DMIX Block Diagram

Preset effects parameter values

No.

0 Orchestra Hall

1

2

3

4

5

6

7 Bright Small Room

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

Tunnel

Effect Name

Concert Hall

Warm Hall

Vocal Hall

Vocal Large Hall

Vocal Small Hall

Large 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

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

1

19

23

17

21

34

19

11

9

9

5

9

3

13

15

13

13

15

11

33

17

9

33

19

31

25

24

21

9

17

5

2

3

1

4

5

3

0

1

27

15

15

27

21

21

9999 9999

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

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 1109 74

10

5

9

3

10

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

79

79

79

79

10

5

199

479

299

239

319

239

999

249

499

239

249

399

319

179

199

0

199

319

304

913

29

98

84

68

40

72

22

18

32

379

6

4

4

4

3

2

4

4

4

4

4

4

3

4

4

4

4

4

4

4

4

15

99

58

9

60

55

18

29

15

Parameter Number

7

60

75

80

75

55

64

52

64

86

72

60

40

72

40

70

65

72

64

33

25

11

93

73

103

66

41

79 103

38

38

31

8

8

8

9

8

8

8

6

6

8

7

8

9

10

9

10

8

8

6

8

8

30

4

20

4

10

20

4

26

28

6

9 2499 111

10 639 18 7999 100

9

0

0

7

0

4

9

8

9

5

6

6

6

8

4

8

6

7

9

6

6

3

7

6

6

0

21

0

0

3

6

0

0

8

10

6

10

5

10

8

10

8

10

10

10

9999

199

299

239

1999

49

399

9999

1

6

13

18

12

18

109

459

2399

239

3999

199

3999

4

108

105

123

119

99

109

3

0

7

0

0

0

0

0

39 Vocal Multi Delay

40 Stereo Echo

41

42

Subtle Pitch Change

Wide Guitar

8999 13499 4499

4998 4998 124

6749

4999

8999

4999

124

124

8

9

8

9

0

0

24

24

24 108 179 108 100 24

24 111 299 99 24 89

88

399

319

100

100 100

10

20

20

17

20

18

18

24

24

22

20

17

18

22

16

22

24

22

23

16

23

22

23

22

23

16

24

22

25

20

0

99

20 299

17 199

22 299

24 399

10 399

23 499

22 199

24 199

22

13

99

11

0

0

0

6

0

6

0

12

0

0

0

19

7

0

10

0

0

13

0

43 Multi Pitch Delay

44 Aural Exciter



45 Rotary Speaker

46 Ring Modulator

47 Stadium

48 Delay L,R->Rev

49 Flange->Rev

50 Gtr Cho Reverb

51 Sympho->Rev

24

0

74

20

92 359 24 106 3999 24 112 7999

80 75 579

48 40 49

28 100 96

1

5

8

8

7

3199 119 1599 119 43

474 6399 107

13

16

13

90

56

45

11

40

13

9

75

11

17

20

1

8

7

2

6

45

78

399

148

499

70

75

20

15

20

0

0

0

0

0

15

22

24

15

22

12

4

4

4

4

4

4

4

4

4

4

13

70

70

70

70

60

30

40

10

70

70

14

1

1

2

2

1

1

0

2

0

2

Effect Name

No.

52 Phaser->Rev

53 Aural Exc



->Rev

54 Dist->Rev

55 Dist->Dly L,R

56 Dist->Echo

57 High Cut Reverb

58 EQ Mid Reverb

59 Sparkling Reverb

60 Mid Delay

61 Deep Echo

62 EQ->Flange

63 Bass Chorus

64 Elec Guitar EQ/Sympho

65 Warm Phase

66 St.Flange->Dly LR

67 St.Chorus->Dly LR

68 Symph->Dly LR

69 St.Phasing->Dly LR

70 Hall & Plate

71 Echo & Rev

72 Delay & Rev

73 Flange & Chorus

74 Flange & Sympho

75 Sympho & Chorus

76 Flange & Rev

77 Chorus & Rev

78 Sympho & Rev

79 Flange & Dly LR

80 Chorus & Dly LR

81 Sympho & Dly LR

11

10

7

11

15

11

14

10

66

75

80

9

1 2 3

24 100 32

1 62 72

6

3

3

8

9

0

11

9

9

4

8

12

8

9

8

9

7

8

10

8

8

14

5

6

8

17

86

70

11

60

15 80

11 100 45

29 2 7

3199 2999 74

4799 4949 79

6 68 18

16

19

45

75

40

7

27

32

15

29

29

70

80

70

50

60

80

13

55

27

50

5

6

10

3

4 5 6

Parameter Number

7 8

9

7

9

0

3

10

239

219

24

20

9 1 359 40

9 9030 3008 129 40

9

0

24

0

0

8

6

8

7

8 2999 3199 84

4 11 3 35

50

796

0

40

8

13

9

7

12

9

6

14

265

421

70

26

40

35

11 2806 5628 100 40

6 4799 4999 67 29

19

21

20

40

10

18

15

7

8

3

8

7

7

9

9

11

28

14

28

35

50

69

100

72

30

45

100

100

100

100

80 4149 4299 4149 4299 123 100

4149 4299 4149 4299 126 40

3405 4299 4299 4149 122 40

3718 2081 7999 3988 119 40

663 15

19 2

30

80

6

9

7

18

7

10 299 78

599

75

8

40

45

897

3

24

17

15

15

85

90 15

30

10

19

18

3

2

2

75

75

7

6

10

45

249

449

726

6

0

22

16

20

25

80 3749 1559 3530 7079 133 24

4149 4299 4149 4299 113 24

2499 3749 4999 5099 133 25

11

3

3

3

12

10

10

8

13

4

6

9

14

* Aural Exciter

 is a registered trademark and manufactured under license from Aphex Systems Ltd.

Data-Value Assign Table

Table

1

Rev Time

27

28

29

30

23

24

25

26

19

20

21

22

15

16

17

18

35

36

37

38

39

31

32

33

34

11

12

13

14

9

10

7

8

Data Value (sec)

0 0.3

1

2

0.4

0.5

5

6

3

4

0.6

0.7

0.8

0.9

1.4

1.5

1.6

1.7

1.0

1.1

1.2

1.3

3.8

3.9

4.0

4.1

4.2

3.4

3.5

3.6

3.7

3.0

3.1

3.2

3.3

2.6

2.7

2.8

2.9

2.2

2.3

2.4

2.5

1.8

1.9

2.0

2.1

67

68

69

63

64

65

66

59

60

61

62

55

56

57

58

51

52

53

54

47

48

49

50

Data Value (sec)

40 4.3

41

42

4.4

4.5

43

44

45

46

4.6

4.7

4.8

4.9

7.0

7.5

8.0

8.5

5.0

5.5

6.0

6.5

16.0

17.0

18.0

19.0

20.0

25.0

30.0

9.0

9.5

10.0

11.0

12.0

13.0

14.0

15.0

Table

2

LPF

19

20

21

22

15

16

17

18

23

24

25

11

12

13

14

9

10

7

8

Data Value (KHz)

0 1.0

1

2

1.1

1.2

5

6

3

4

1.4

1.6

1.8

2.0

3.6

4.0

4.5

5.0

2.2

2.5

2.8

3.2

9.0

10.0

11.0

12.0

5.6

6.3

7.0

8.0

14.0

16.0

Thru

Table

3

HPF1

27

28

29

30

31

23

24

25

26

19

20

21

22

15

16

17

18

11

12

13

14

9

10

7

8

Data Value (Hz)

0 Thru

1

2

32

35

5

6

3

4

40

45

50

56

100

110

125

140

63

70

80

90

400

450

500

560

630

700

800

900

1000

160

180

200

220

250

280

315

355

Data-Value Assign Table

Table

4

HPF2

11

12

13

14

15

9

10

7

8

Data Value (Hz)

0 500

1

2

630

800

5

6

3

4

1000

1200

1600

2000

2500

3200

4000

5000

6300

8000

10000

12000

16000

Table

5

Low Shelving

Table

6

Mid Presence

Table

7

High Shelving

11

12

13

14

9

10

7

8

Data Value (Hz)

0 32

1

2

40

50

5

6

3

4

63

80

100

125

15

16

17

18

1000

1200

1600

2000

400

500

630

800

160

200

250

315

11

12

13

14

9

10

7

8

Data Value (Hz)

0 315

1

2

400

500

5

6

3

4

630

800

900

1000

1200

1600

2000

2500

3200

4000

5000

6300

11

12

13

14

15

9

10

7

8

Data Value (Hz)

0 500

1

2

630

800

5

6

3

4

1000

1200

1600

2000

2500

3200

4000

5000

6300

8000

10000

12000

16000

Data-Value Assign Table

Table

8

Length

26

27

28

29

22

23

24

25

18

19

20

21

14

15

16

17

34

35

36

37

30

31

32

33

38

39

10

11

12

13

8

9

6

7

Data Value (m)

0 0.5

1 0.8

4

5

2

3

1.0

1.3

1.5

1.8

3.1

3.6

3.9

4.1

2.0

2.3

2.6

2.8

9.6

9.9

10.2

10.4

8.6

8.8

9.1

9.4

10.7

11.0

7.5

7.8

8.0

8.3

6.5

6.7

7.0

7.2

5.4

5.7

5.9

6.2

4.4

4.6

4.9

5.2

66

67

68

69

62

63

64

65

58

59

60

61

54

55

56

57

74

75

76

77

70

71

72

73

78

79

50

51

52

53

46

47

48

49

Data Value (m)

40 11.2

41 11.5

42

43

44

45

11.8

12.1

12.3

12.6

12.9

13.1

13.4

13.7

14.0

14.2

14.5

14.8

19.7

20.0

20.2

20.5

20.8

21.1

21.4

21.7

22.0

22.4

17.3

17.6

17.9

18.2

18.5

18.8

19.1

19.4

15.1

15.4

15.6

15.9

16.2

16.5

16.8

17.1

98

99

100

101

94

95

96

97

102

103

90

91

92

93

86

87

88

89

Data Value (m)

80 22.7

81 23.0

82

83

84

85

23.3

23.6

23.9

24.2

24.5

24.9

25.2

25.5

25.8

26.1

26.5

26.8

27.1

27.5

27.8

28.1

28.5

28.8

29.2

29.5

29.9

30.2

Table

9

Trans Time

26

27

28

29

22

23

24

25

18

19

20

21

14

15

16

17

34

35

36

37

30

31

32

33

38

39

10

11

12

13

8

9

6

7

Data Value (ms)

0 2

1 3

4

5

2

3

4

5

6

7

17

21

24

28

8

11

12

14

1100

1400

1600

1800

550

680

780

910

2200

2700

280

340

390

450

137

170

195

230

68

85

97

114

34

43

49

57

46

47

48

49

50

51

Data Value (ms)

40 3100

41 3600

42

43

44

45

4400

5400

6200

7200

8700

11000

12500

14500

17500

22000

Effect parameters

Type 0:Orchestra Hall ~ 19:Distant Plate

(Reverb Type)

6

7

4

5

No.

1

2

3

8

9

10

11

Parameter Name

Reverb Time

High

Diffusion

Initial Delay

Reverb Delay

Density

ER/Rev Balance

Low Gain

High Gain

LPF

HPF ms ms

-

%

Unit sec

-

dB dB

KHz

Hz

Minimum

0.3

0.1

0

0.1

0.1

0

0

-12

-12

1

Thru

Maximum Step/Table

30.0

Table #1

1.0

10

0.1

1

200.0

200.0

4

100

0.1

0.1

1

1

12

12

Thru

1000

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

9

10

11

12

13

14

7

8

5

6

3

4

1

2

Reverb Time

High

Diffusion

Initial Delay

Width

Height

Depth

Wall Vary

HPF

LPF

Reverb Delay

Density

ER/Rev Balance

Listening Position

Unit

Hz

KHz ms

-

%

m m m

sec

-

ms

Minimum Maximum Step/Table Max.Int.

Thru

1

0.1

0

0

Front

0.5

0.5

0.5

0

0.3

0.1

0

0.1

30.0

1.0

10

200.0

30.2

30.2

30.2

30

1000

Thru

200.0

4

Table #1

0.1

1

0.1

Table #8

Table #8

Table #8

1

Table #3

Table #2

0.1

1

100 1

Rear LocalTab 1

31

25

1999

4

100

2

69

9

10

1999

103

103

103

30

Local

Table 1

Data

0

1

2

Value

Front

Center

Rear

Type 30:Early Ref Vocal ~ 35:Early Ref Reverse Vocal

(Early Reflection Type)

No.

1

8

9

6

7

10

4

5

2

3

Parameter Name

Type

Room Size

Liveness

Diffusion

Initial Delay

ER Number

Feedback Delay

Feedback Gain

HPF

LPF

Unit sec

-

-

ms

ms

%

Hz

KHz

0.1

0

0

0.1

1

0.1

-99

Thru

1

Minimum Maximum Step/Table Max.Int.

S-Hall 5 Spring LocalTab

1

20.0

10

0.1

1

10

400.0

19

800.0

1

0.1

1

0.1

99

1000

Thru

1

Table #3

Table #2

199

10

10

3999

18

7999

198

31

25

Type 36:Gate Reverb ~ 37:Reverse Gate

No.

1

8

9

6

7

10

4

5

2

3

Parameter Name

Type

Room Size

Liveness

Diffusion

Initial Delay

ER Number

Feedback Delay

Feedback Gain

HPF

LPF

Unit sec

ms

%

Hz

KHz

-

-

ms

0.1

0

0

0.1

1

0.1

-99

Thru

1

Minimum Maximum Step/Table Max.Int.

Type-A 1 Type-B LocalTab

1

20.0

10

0.1

1

10

400.0

19

800.0

1

0.1

1

0.1

99

1000

Thru

1

Table #3

Table #2

199

10

10

3999

18

7999

198

31

25

Type 38:Delay L,R

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

Lch Delay Time

Rch Delay Time

FB1 Delay Time

FB2 Delay Time

FB Gain

FB1 High Control

FB2 High Control

HPF

LPF

Unit ms ms ms ms

%

-

-

Hz

KHz

Minimum Maximum Step/Table Max.Int.

0.1

1360.0

0.1

13599

0.1

0.1

0.1

-99

0.1

0.1

Thru

1

1360.0

1360.0

1360.0

99

1.0

1.0

1000

Thru

0.1

0.1

0.1

1

0.1

0.1

Table #3

Table #2

13599

13599

13599

198

9

9

31

25

Local

Table 1

Data Value

2

3

0

1

4

5

S-Hall

L-Hall

Random

Reverse

Plate

Spring

Local

Table 1

Data Value

0

1

Type-A

Type-B

Add-10 Chapter :

Type 39:Vocal Multi Delay

(Delay L,C,R)

6

7

4

5

No.

1

2

3

8

9

10

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 ms ms

%

-

Unit ms ms ms

-

Hz

KHz

Minimum Maximum Step/Table Max.Int.

0.1

1360.0

0.1

13599

0.1

0.1

1360.0

1360.0

0.1

0.1

13599

13599

0.1

0.1

-99

0.1

1360.0

1360.0

99

1.0

0.1

0.1

1

0.1

13599

13599

198

9

0.1

Thru

1

1.0

1000

Thru

0.1

Table #3

Table #2

9

31

25

Type 40:Stereo Echo

6

7

4

5

No.

1

2

3

8

9

10

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 ms ms

%

-

Unit ms ms

%

-

Hz

KHz

Minimum Maximum Step/Table Max.Int.

0.1

680.0

0.1

6799

0.1

-99

680.0

99

0.1

1

6799

198

0.1

0.1

-99

0.1

680.0

680.0

99

1.0

0.1

0.1

1

0.1

6799

6799

198

9

0.1

Thru

1

1.0

1000

Thru

0.1

Table #3

Table #2

9

31

25

Type 41:Subtle Pitch Change

(Pitch Change 1)

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

1 Pitch

1 Fine

1 Delay

1 FB Gain

1 Level

2 Pitch

2 Fine

2 Delay

2 FB Gain

2 Level

Unit

cent ms

%

%

cent ms

%

%

Minimum Maximum Step/Table Max.Int.

-24 24 1 48

-100

0.1

100

650.0

1

0.1

200

6499

-99

0

-24

-100

99

100

24

100.0

1

1

1

1

198

100

48

200

0.1

-99

0

650.0

99

100

0.1

1

1

6499

198

100

6

7

4

5

No.

1

2

3

8

9

10

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

Unit

cent ms

%

cent ms

%

Minimum Maximum Step/Table Max.Int.

-24 24 1 48

-100

0.1

100

650.0

1

0.1

200

6499

-99

-24

-100

0.1

-99

99

24

100.0

650.0

99

1

1

1

0.1

1

198

48

200

6499

198

6

7

4

5

No.

1

2

3

8

9

10

Type 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

Unit

cent ms

cent ms

cent ms

Minimum Maximum Step/Table Max.Int.

-24 24 1 48

-100

0.1

100

1300.0

1

0.1

200

12999

-24

-100

0.1

-24

-100

0.1

24

100

1300.0

24.0

100

1300.0

1

1

0.1

1

1

0.1

48

200

12999

48

200

12999

Type 44:Aural Exciter ® *

6

7

4

5

No.

1

2

3

8

9

Parameter Name

HPF

Enhance

Mix Level

Delay Time

Unit

Hz

%

% ms

Minimum Maximum Step/Table Max.Int.

500 16000 Table #4 15

0

0

0.1

100

100

650.0

1

1

0.1

100

100

6499

10

* Aural Exciter ® is a registered trademark and is manufactured under license from APHEX Systems Ltd.

Add-12 Chapter :

Type 45:Rotary Speaker

No.

7

8

5

6

3

4

1

2

9

10

Parameter Name

Middle Speed

Depth

Transition Time

L/M/H Speed Diff

Switch L/M/H

Low Gain

High Gain

Type 46:Ring Modulator

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

Wave PM Depth

Wave PM Freq

Wave AM Depth

Wave AM Freq

Low Gain

High Gain

Type 47:Stadium

(Echo->Reverb)

6

7

4

5

No.

1

2

3

8

9

10

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

Unit

Hz

% ms

Hz

dB dB

Minimum Maximum Step/Table Max.Int.

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

799

100

51

115

2

12

12

Unit

%

Hz

%

Hz dB dB

Minimum Maximum Step/Table Max.Int.

0 100 1 100

0.05

0

40

100

0.05

1

799

100

0.05

-12

-12

40

12

12

0.05

2

2

799

12

12

Unit ms

% ms

% sec

-

%

%

Hz

KHz

Minimum Maximum Step/Table Max.Int.

0.1

320.0

0.1

3199

-99

0.1

99.0

320

1

0.1

198

3199

-99

0.3

0.1

0

99.0

30.0

1

100

1

Table #1

0.1

1

198

69

9

100

0

Thru

1

100

1000

Thru

1

Table #3

Table #2

100

31

25

Local

Table1

Data

0

1

2

Value

Low

Middle

High

Type 48: Delay L,R -> Rev

6

7

4

5

No.

1

2

3

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

Unit ms ms

%

% sec

-

%

%

Hz

KHz

Minimum Maximum Step/Table Max.Int.

0.1

640.0

0.1

6399

0.1

-99

640.0

99

0.1

1

6399

198

-99

0.3

0.1

0

99

30.0

1

100

1

Table #1

0.1

1

198

69

9

100

0

Thru

1

100

1000

Thru

1

Table #3

Table #2

100

31

25

Type 49: Flange -> Rev

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

Modulation Freq

Modulation Depth

Modulation Delay

Modulation FB Gain

Reverb Time

Reverb High

Rev Initial Delay

Rev Mix Level

HPF

LPF

Unit

Hz

%

%

% sec

ms

%

Hz

KHz

Minimum Maximum Step/Table Max.Int.

0.05

40.00

0.05

799

0

0.1

100

100.0

1

0.1

100

999

0

0.3

0.1

0.1

99

30.0

1

200

1

Table #1

0.1

0.1

99

69

9

1999

0

Thru

1

100

1000

Thru

1

Table #3

Table #2

100

31

25

6

7

4

5

No.

1

2

3

8

9

10

Type 50: Guitar Chorus Reverb

(Chorus->Rev)

Parameter Name

Chorus Mod Freq

Chorus PM Depth

Chorus AM Depth

Reverb Time

Reverb High

Rev Initial Delay

Rev Mix Level

HPF

LPF

Unit

Hz

%

% sec

ms

%

Hz

KHz

Minimum Maximum Step/Table Max.Int.

0.05

40.00

0.05

799

0

0

100

100.0

1

1

100

100

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 Chapter :

Type 51: Sympho -> Rev

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

Modulation Freq

Modulation Depth

Reverb Time

Reverb High

Rev Initial Delay

Rev Mix Level

HPF

LPF

Unit

Hz

%

Minimum Maximum Step/Table Max.Int.

0.05

40.00

0.05

799

0 100 1 100 sec

ms

%

Hz

KHz

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

Type 52: Phaser -> Rev

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

Modulation Freq

Modulation Depth

Modulation Delay

Reverb Time

Reverb High

Rev Initial Delay

Rev Mix Level

HPF

LPF

Unit

Hz

%

% sec

ms

%

Hz

KHz

Minimum Maximum Step/Table Max.Int.

0.05

40.00

0.05

799

0

0.1

100

5.0

1

0.1

100

49

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

Type 53:Aural Exciter



*->Rev

6

7

4

5

No.

1

2

3

8

9

10

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 Max.Int.

500 16000 Table #4 15

0

0

100

100

1

1

100

100

0.3

0.1

0

0.1

30.0

1.0

10

200.0

Table #1

0.1

1

0.1

69

9

10

1999

0

Thru

1

100

1000

Thru

1

Table #3

Table #2

100

31

25

* Aural Exciter ® is a registered trademark and is manufactured under license from APHEX Systems Ltd.

Type 54: Distortion -> Rev

6

7

4

5

No.

1

2

3

8

9

10

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 Max.Int.

0 100 1 100

315

-12

6300

12

Table #6

2

14

12

-12

0.3

0.1

0.1

12

30.0

1.0

200

2

Table #1

0.1

0.1

12

69

9

1999

0

Thru

1

100

1000

Thru

1

Table #3

Table #2

100

31

25

Type 55: Distortion->Delay L,R

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

Distortion Level

Middle Freq

Middle Gain

Treble Gain

Dly Lch Delay

Dly Rch Delay

Dly FB Gain

Delay Mix Level

HPF

LPF dB ms ms

%

Unit

%

Hz dB

%

Hz

KHz

Minimum Maximum Step/Table Max.Int.

0 100 1 100

315

-12

6300

12

Table #6

2

14

12

-12

0.1

0.1

-99

12

1360.0

1360.0

99

2

0.1

0.1

1

12

13599

13599

198

0

Thru

1

100

1000

Thru

1

Table #3

Table #2

100

31

25

Type 56: Distortion->Echo

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

Distortion Level

Middle Freq

Middle Gain

Treble Gain

Echo Lch Delay

Echo Rch Delay

Echo FB Gain

Echo Mix Level

HPF

LPF dB ms ms

%

Unit

%

Hz dB

%

Hz

KHz

Minimum Maximum Step/Table Max.Int.

0 100 1 100

315

-12

6300

12

Table #6

2

14

12

-12

0.1

0.1

-99

12

680.0

680.0

99

2

0.1

0.1

1

12

6799

6799

198

0

Thru

1

100

1000

Thru

1

Table #3

Table #2

100

31

25

Add-16 Chapter :

Type 57: HighCut Reverb ~ 59: Sparkling Reverb

(EQ->Rev)

8

9

10

11

12

13

6

7

4

5

No.

1

2

3

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 ms

%

%

-

-

-

Unit

Hz dB

Hz dB

Hz dB sec

Minimum Maximum Step/Table Max.Int.

32 2000 Table #5 18

-12

315

12

6300

2

Table #6

12

14

-12

500

-12

0.3

12

16000

12

30

2

Table #7

2

Table #1

12

15

12

69

0.1

0

0

0

0

0.1

200.0

100

100

3

10

1.0

0.1

1

1

1

1

0.1

1999

100

100

3

10

9

Type 60: Mid Delay

(EQ->Delay L,R)

6

7

4

5

No.

1

2

3

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 61: Deep Echo

(EQ->Echo)

6

7

4

5

No.

1

2

3

8

9

10

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 dB

Hz dB ms

Unit

Hz dB

Hz ms

%

%

Minimum Maximum Step/Table Max.Int.

32 2000 Table #5 18

-12

315

12

6300

2

Table #6

12

14

-12

500

-12

0.1

12

16000

12

1360.0

2

Table #7

2

0.1

12

15

12

13599

0.1

-99

0

1360.0

99

100

0.1

1

1

13599

198

100 dB

Hz dB ms

Unit

Hz dB

Hz ms

%

%

Minimum Maximum Step/Table Max.Int.

32 2000 Table #5 18

-12

315

12

6300

2

Table #6

12

14

-12

500

-12

0.1

12

16000

12

680.0

2

Table #7

2

0.1

12

15

12

6799

0.1

-99

0

680.0

99

100

0.1

1

1

6799

198

100

Type 62: EQ->Flange

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

Low Freq

Low Gain

Mid Freq

Mid Gain

High Freq

High Gain

Modulation Freq

Modulation Depth

Modulation FB Gain

Flange Mix Level dB

Hz dB

Hz

Unit

Hz dB

Hz

%

%

%

Minimum Maximum Step/Table Max.Int.

32 2000 Table #5 18

-12

315

12

6300

2

Table #6

12

14

-12

500

-12

0.05

12

16000

12

40.0

2

Table #7

2

0.05

12

15

12

799

0

0

0

100

99

100

1

1

1

100

99

100

Type 63: Bass Chorus

(EQ->Chorus)

6

7

4

5

No.

1

2

3

8

9

10

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 dB

Hz dB

Hz

Unit

Hz dB

Hz

%

%

%

Minimum Maximum Step/Table Max.Int.

32 2000 Table #5 18

-12

315

12

6300

2

Table #6

12

14

-12

500

-12

0.05

12

16000

12

40.0

2

Table #7

2

0.05

12

15

12

799

0

0

0

100

100

100

1

1

1

100

100

100

6

7

4

5

No.

1

2

3

8

9

10

Type 64: Elec Guitar EQ/Sympho

(EQ->Sympho)

Parameter Name

Low Freq

Low Gain

Mid Freq

Mid Gain

High Freq

High Gain

Modulation Freq

Modulation Depth

Sympho Mix Level dB

Hz dB

Hz

%

Unit

Hz dB

Hz

%

Minimum Maximum Step/Table Max.Int.

32 2000 Table #5 18

-12

315

12

6300

2

Table #6

12

14

-12

500

-12

0.05

0

12

16000

12

40.0

100

2

Table #7

2

0.05

1

12

15

12

799

100

0 100 1 100

Add-18 Chapter :

Type 65: Warm Phase

(EQ->Phaser)

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

Low Freq

Low Gain

Mid Freq

Mid Gain

High Freq

High Gain

Modulation Freq

Modulation Depth

Modulation Delay

Phaser Mix Level dB

Hz dB

Hz

Unit

Hz dB

Hz

% ms

%

Minimum Maximum Step/Table Max.Int.

32 2000 Table #5 18

-12

315

12

6300

2

Table #6

12

14

-12

500

-12

0.05

12

16000

12

40.0

2

Table #7

2

0.05

12

15

12

799

0

0.1

0

100

5.0

100

1

0.1

1

100

49

100

Type 66: Flange -> Delay L,R

6

7

4

5

No.

1

2

3

8

9

10

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

% ms ms ms

Unit

Hz

%

% ms

%

%

Minimum Maximum Step/Table Max.Int.

0.05

40.00

0.05

799

0

0.1

100

100.0

1

0.1

100

999

0

0.1

0.1

0.1

99

800.0

800.0

800.0

1

0.1

0.1

0.1

99

7999

7999

7999

0.1

-99

0

800.0

99

100

0.1

1

1

7999

198

100

Type 67: St.Chorus -> Delay L,R

6

7

4

5

No.

1

2

3

8

9

10

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

Delay Mix Level ms ms ms ms

%

%

Unit

Hz

%

%

Minimum Maximum Step/Table Max.Int.

0.05

40.00

0.05

799

0

0

100

100.0

1

1

100

100

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

Type 68: Sympho -> Delay L,R

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

Modulation Freq

Modulation Depth

Delay Lch Delay

Delay Rch Delay

Delay FB1 Delay

Delay FB2 Delay

Delay FB Gain

Delay Mix Level

Unit

Hz

%

Minimum Maximum Step/Table Max.Int.

0.05

40.00

0.05

799

0 100 1 100 ms ms ms ms

%

%

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

Type 69: Phaser -> Delay L,R

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

Modulation Freq

Modulation Depth

Modulation Delay

Delay Lch Delay

Delay Rch Delay

Delay FB1 Delay

Delay FB2 Delay

Delay FB Gain

Delay Mix Level ms ms ms ms

%

%

Unit

Hz

%

%

Minimum Maximum Step/Table Max.Int.

0.05

40.00

0.05

799

0

0.1

100

5.0

1

0.1

100

49

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

Type 70: Hall & Plate

6

7

4

5

No.

1

2

3

8

9

10

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 Max.Int.

0.3

30.0

Table #1 69

0.1

0

0.1

1

0.3

0.1

0

0.1

1

1.0

10

200.0

Thru

30

1

10

200

Thru

0.1

1

0.1

Table #2

Table #1

0.1

1

0.1

Table #2

9

10

1999

25

69

9

10

1999

25

Add-20 Chapter :

Type 71: Echo & Reverb

6

7

4

5

No.

1

2

3

8

9

10

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 Max.Int.

0.1

320.0

0.1

3199

0.1

-99

320.0

99

0.1

1

3199

198

0.3

0.1

0

0.1

30.0

1.0

10

200.0

Table #1

0.1

1

0.1

69

9

10

1999

0

Thru

1

100

1000

Thru

1

Table #3

Table #2

100

31

25

Type 72: Delay & Reverb

6

7

4

5

No.

1

2

3

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

Unit ms ms

% sec

-

ms

%

Hz

KHz

Minimum Maximum Step/Table Max.Int.

0.1

640.0

0.1

6399

0.1

-99

640.0

99

0.1

1

6399

198

0.3

0.1

0

0.1

30.0

1.0

10

200.0

Table #1

0.1

1

0.1

69

9

10

1999

0

Thru

1

100

1000

Thru

1

Table #3

Table #2

100

31

25

Type 73: Flange & Chorus

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

Flange Mod Freq

Flange Mod Depth

Flange Mod Delay

Flange Mod FB Gain

Chorus Mod Freq

Chorus PM Depth

Chorus AM Depth

Unit

Hz

%

%

%

Hz

%

%

Minimum Maximum Step/Table Max.Int.

0.05

40.0

0.05

799

0

0.1

0

100.0

100

99.0

1

0.1

1

100

999

99

0.05

0

0

40

100.0

100

0.05

1

1

799

100

100

Type 74: Flange & Sympho

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

Flange Mod Freq

Flange Mod Depth

Flange Mod Delay

Flange Mod FB Gain

Sympho Mod Freq

Sympho Mod Depth

Unit

Hz

%

%

%

Hz

%

Minimum Maximum Step/Table Max.Int.

0.05

40.0

0.05

799

0

0.1

0

100.0

100

99.0

1

0.1

1

100

999

99

0.05

0

40

100.0

0.05

1

799

100

Type 75:Sympho & Chorus

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

Sympho Mod Freq

Sympho Mod Depth

Chorus Mod Freq

Chorus PM Depth

Chorus AM Depth

Unit

Hz

%

Minimum Maximum Step/Table Max.Int.

0.05

40.0

0.05

799

0 100.0

1 100

Hz

%

%

0.05

0

0

40

100.0

100

0.05

1

1

799

100

100

Type 76: Flange & Rev

6

7

4

5

No.

1

2

3

8

9

10

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 Max.Int.

0.05

40.0

0.05

799

0

0.1

100.0

100

1

0.1

100

999

0

0.3

0.1

0

99.0

30.0

1

10

1

Table #1

0.1

1

99

69

9

10

0.1

Thru

1

200

1000

Thru

0.1

Table #3

Table #2

1999

31

25

Add-22 Chapter :

Type 77: Chorus & Rev

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

Chorus Mod Freq

Chorus PM Depth

Chorus AM Depth

Reverb Time

Reverb High

Rev Diffusion

Rev Initial Delay

HPF

LPF

Unit

Hz

%

% sec

-

ms

Hz

KHz

Minimum Maximum Step/Table Max.Int.

0.05

40.0

0.05

799

0

0

100.0

100

1

1

100

100

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

69

9

10

1999

31

25

Type 78: Sympho & Rev

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

Modulation Freq

Modulation Depth

Reverb Time

Reverb High

Rev Diffusion

Rev Initial Delay

HPF

LPF

Unit

Hz

%

Minimum Maximum Step/Table Max.Int.

0.05

40.0

0.05

799

0 100.0

1 100 sec

-

ms

Hz

KHz

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

69

9

10

1999

31

25

Type 79: Flange & Delay L,R

6

7

4

5

No.

1

2

3

8

9

10

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

% ms ms ms

Unit

Hz

%

% ms

%

KHz

Minimum Maximum Step/Table Max.Int.

0.05

40.00

0.05

799

0

0.1

100

100.0

1

0.1

100

999

0

0.1

0.1

0.1

99

800.0

800.0

800.0

1

0.1

0.1

0.1

99

7999

7999

7999

0.1

-99

1

800.0

99

Thru

0.1

1

Table #2

7999

198

25

Type 80: Chorus & Delay L,R

6

7

4

5

No.

1

2

3

8

9

10

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

LPF

Unit

Hz

%

% ms ms ms ms

%

KHz

Minimum Maximum Step/Table Max.Int.

0.05

40.00

0.05

799

0

0

100

100.0

1

1

100

100

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

7999

7999

7999

7999

198

25

Type 81: Sympho & Delay L,R

6

7

4

5

No.

1

2

3

8

9

10

Parameter Name

Modulation Freq

Modulation Depth

Delay Lch Delay

Delay Rch Delay

Delay FB1 Delay

Delay FB2 Delay

Delay FB Gain

LPF

Unit

Hz

%

Minimum Maximum Step/Table Max.Int.

0.05

40.00

0.05

799

0 100 1 100 ms ms ms ms

%

KHz

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

7999

7999

7999

7999

198

25

Add-24 Chapter :

MIDI Parameter

Common 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) value

*1

*2

*3

*4

*5

*6

*4

*13

Channel Status Sampling Freq *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

DEQ parameter name

Mode

DSP2 parameter name

Type

Parameter 1

Parameter 2

:

:

Parameter 30

*7

0~127

0~127

0~127

0~127

0~127

0~127

0~127

0~127

*7

*7

*7

*7 value

*7

*7

*7 value

*8 value

0~81

0~? (word)

0~? (word)

:

:

0~? (word)

Channel parameter

System (ch 0,1 only) parameter name

Rec Monitor on/off

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

DEQ parameter name

IIR1 Parameter

IIR2 Parameter

IIR3 Parameter

IIR4 Parameter value

*4 value

0~127

*7

*7

*7

*7

0~127

0~127

0~127

0~127

0~127

0~127 value

**

**

**

**

** IIR n parameter (n=1~4) parameter name

Type

Frequency

Gain

Q value

*9

*10

*11

*12

*1

*2

*3

*4

*5

*6

*7

*8

*9 value

0

1

2

3

4 value

0

1

2 value

0

1

2

5

6

3

4

7

8

9 value

0

1

2

5

6

3

4

7

8 value

0

1

2

3

4 value

0

1

2

3 value

0

1

2

3 source

AES/EBU

Y2

CD/DAT

ANALOG

Freq (KHz)

48

44.4

32

22.05

Sync mode Select = internal value Freq (KHz)

0

1

48

44.1

value

0

1 on/off off on

Select

OUT1

OUT2

OUT3

OUT4 mute

Mode

Reserved

Thru

PEQ

Type

Through

Lo1

Lo2

Hi1

Hi2

LoSh

HISh

Presence

BandE1

BandPass

Level (dB)

–9

–15

–18

–24

–30

–36

–42

–48

–

∞

Mode internal external

AES/EBU

Y2

CD/DAT

Software Thru

4IIR/4Ch

1

1

1

1

Freq Gain

0 0

1

1

0

0

1

1

0

0

1

1

1

1

0

0

0

0

0

1

Q

0

0

1

1

1

1

0:invalid

1:valid

55

56

57

58

59

60

51

52

53

54

47

48

49

50

43

44

45

46

39

40

41

42

35

36

37

38

31

32

33

34

27

28

29

30

23

24

25

26

19

20

21

22

15

16

17

18

*10 value Freq (Hz)

0 18

1

2

20

22

5

6

3

4

25

28

32

36

11

12

13

14

7

8

9

10

63

70

80

90

40

45

50

56

250

280

315

355

400

450

500

560

100

110

125

140

160

180

200

220

4000

4500

5000

5600

6300

7000

8000

9000

10000

11000

12000

14000

16000

18000

1600

1800

2000

2200

2500

2800

3200

3600

630

700

800

900

1000

1100

1200

1400

*11 value

0

:

30

*12 value

0

:

49

*13 value

0

1

0

1

2

Gain (dB)

–15

:

15

Q

0.1

:

5.0

bit0 consumer professional

*14 Sync mode Select =

Channel status sampling

Freq. other than internal value Freq (KHz)

48

44.1

32

When RecFreq=32kHz, values 59 & 60 are 15000Hz

Add-26 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

MIDI Sync on/off

Channel Status bit0

Channel Status Sampling Freq 8

Reserved 9

Reserved

Reserved

10

11

Efct Rtn Effect Return 1 Select 1

Effect Return 1 Select 2

Effect Return 2 Select 1

Effect Return 2 Select 2

12

13

14

15

6

7

4

5

2

3

0

1

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

28

29

30

31

24

25

26

27

20

21

22

23

16

17

18

19

DEQ Mode

Reserved

Reserved

Reserved

Reserved

Reserved

DSP2 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

44

45

46

47

40

41

42

43

48

49

36

37

38

39

32

33

34

35

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

78

79

80

81

74

75

76

77

70

71

72

73

66

67

68

69

62

63

64

65

58

59

60

61

54

55

56

57

50

51

52

53

94

95

96

97

90

91

92

93

98

99

86

87

88

89

82

83

84

85

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

Reserved

Reserved

Reserved

Reserved

Reserved

DEQ Reserved

Reserved

Reserved

Reserved

Reserved

Reserved

IIR 1 Parameter *

IIR 2 Parameter *

IIR 3 Parameter *

IIR 4 Parameter *

28

29

30

24

25

26

27

20

21

22

23

16

17

18

19

12

13

14

15

8

9

10

11

6

7

4

5

2

3

0 Valid only for ch 0, 1

1

37

38

45

46

53

54

* IIR n Parameter

Type

Frequency

Gain

Q

Reserved

Reserved

Reserved

Reserved

Reserved

:

Reserved

61

62

69

6

7

4

5

2

3

0

1

Add-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

* 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.

<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

* 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.

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

*1 <ab>

DT status (MS 3 bits)

0-2: Reserved

Sub status (LS 4 bits)

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]

Databyte[1...] channel

MIDI data bytes

2: Device specific messages

2.1 parameter dump

Status 4

Substatus 0

Databyte[0]

Databyte[1 - 2] channel parameter address

Databyte[3 - 4]

Databyte[5...] byte count 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 Chapter :

Parameter Dump Format (Appendix 2.1)

11110000

01000011

01111000

01000000

F0

43

78

40

YAMAHA system exclusive ID

YAMAHA system exclusive sub ID parameter dump status

0ccccccc

0 mmmmmmm nn mm channel number parameter address Most significant 7bits [pa/H]

0I I I I I I I I I 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

0 mmmmmmm * mm byte count Most significant 7bits [bc/H]

0I I I I I I I I I byte count = 0

×

80 *[bc/H] + [bc/L] byte count Least significant 7bits [bc/L]

0ddddddd data

..

...

...

..

0ddddddd data

11110111 F7

2.2 parameter dump

Status 4

Substatus 1

Databyte[0]

Databyte[1 - 2]

Databyte[3 - 4] channel parameter address byte count

Parameter Request Format (Appendix 2.2)

11110000

01000011

01111000

01000001

0ccccccc

F0

43

78

41 nn

YAMAHA system exclusive ID

YAMAHA system exclusive sub ID parameter request status channel number

0 mmmmmmm mm parameter address Most significant 7bits [pa/H]

0I I I I I I I I I 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

0 mmmmmmm mm byte count Most significant 7bits [bc/H]

0I I I I I I I I I byte count = 0

×

80 *[bc/H] + [bc/L] byte count Least significant 7bits [bc/L]

0ddddddd data

..

...

...

..

0ddddddd data

11110111 F7

Encapsulated MIDI command (Table 2)

Control changes (Assignable)

00000110

00000111

00001011

00010000

01100000

01100001

01111000

60

61

78

06

07

0B

10 data entry for RPN channel volume channel expression data increment for RPN data decrement for RPN

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

Pitch bend

Channel mode message

01111001 79 reset all controllers

Add-32 Chapter :

MIDI Implementation chart