Yamaha CBX-D5, CBXD5E2 User Manual

CBX-D5

DIGITAL RECORDING PROCESSOR

Owner's Manual 2 OPERATING MANUAL

FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modiﬁcations not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product.

2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.

3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures:

Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line ﬁlter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not

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

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

Dette apparat overholder det gaeldende EF-direktiv vedrørende radiostøj.

Cet appareil est conforme aux prescriptions de la directive communautaire 87/308/CEE.

Diese Geräte entsprechen der EG-Richtlinie 82/499/EWG und/ oder 87/308/EWG.

This product complies with the radio frequency interference requirements of the Council Directive 82/499/EEC and/or 87/ 308/EEC.

Questo apparecchio è conforme al D.M.13 aprile 1989 (Direttiva CEE/87/308) sulla soppressione dei radiodisturbi.

Este producto está de acuerdo con los requisitos sobre interferencias de radio frequencia ﬁjados por el Consejo Directivo 87/308/ CEE.

YAMAHA CORPORATION

IMPORTANT NOTICE FOR THE UNITED KINGDOM

Connecting the Plug and Cord

IMPORTANT: The wires in this mains lead are coloured in accordance with the following code:

GREEN-AND-YELLOW : EARTH BLUE : NEUTRAL BROWN : LIVE

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows:

The wire which is coloured GREEN and YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or coloured GREEN and YELLOW.

The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.

The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.

SPECIAL MESSAGE SECTION

R S D

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 (O BACK). NO USER-SERVICEABLE PART INSIDE. REFER SERVICING TO QUALIFIE 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 prod-

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

Read all Safety Instructions, Installation Instructions,

Special Message Section items, and any Assembly Instructions found in this manual BEFORE making any connections, including connection to the main supply.

Main Power Supply Veriﬁcation: Yamaha products are

manufactured speciﬁcally for the supply voltage in the area where they are to be sold. If you should move, or if any doubt exists about the supply voltage in your area, please contact your dealer for supply voltage veriﬁcation and (if applicable) instructions. The required supply voltage is printed on the name plate. For name plate location, please refer to the graphic found in the Special Message Section of this manual.

This product may be equipped with a polarized plug

(one blade wider than the other). If you are unable to insert the plug into the outlet, turn the plug over and try again. If the problem persists, contact an electrician to have the obsolete outlet replaced. DO NOT defeat the safety purpose of the plug.

Some electronic products utilize external power

supplies or adapters. DO NOT connect this type of product to any power supply or adapter other than one described in the owners manual, on the name plate, or specifically recommended by Yamaha.

WARNING: Do not place this product or any other

objects on the power cord or place it in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimum wire size for a 25’ cord (or less) is 18 AWG. NOTE: The smaller the AWG number, the larger the current handling capacity. For longer extension cords, consult a local electrician.

Ventilation: Electronic products, unless speciﬁcally

designed for enclosed installations, should be placed in locations that do not interfere with proper ventilation. If instructions for enclosed installations are not provided, it must be assumed that unobstructed ventilation is required.

Temperature considerations: Electronic products

should be installed in locations that do not signiﬁcantly contribute to their operating temperature. Placement of this product close to heat sources such as; radiators, heat registers and other devices that produce heat should be avoided.

This product was NOT designed for use in wet/damp

locations and should not be used near water or exposed to rain. Examples of wet/damp locations are; near a swimming pool, spa, tub, sink, or wet basement.

This product should be used only with the components

supplied or; a cart, rack, or stand that is recommended by the manufacturer. If a cart, rack, or stand is used, please observe all safety markings and instructions that accompany the accessory product.

The power supply cord (plug) should be disconnected

10.

from the outlet when electronic products are to be left unused for extended periods of time. Cords should also be disconnected when there is a high probability of lightening and/or electrical storm activity.

Care should be taken that objects do not fall and liquids

11.

are not spilled into the enclosure through any openings that may exist.

Electrical/electronic products should be serviced by a

12.

qualiﬁed service person when:

a. The power supply cord has been damaged; or

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

been spilled into the enclosure through openings; or c. The product has been exposed to rain; or d. The product does not operate, exhibits a marked

change in performance; or e. The product has been dropped, or the enclosure of

the product has been damaged. Do not attempt to service this product beyond that

13.

described in the user-maintenance instructions. All

other servicing should be referred to qualiﬁed service personnel.

This product, either alone or in combination with an

14.

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.

Some Yamaha products may have benches and/or

15.

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.

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

92-469 2

PLEASE KEEP THIS MANUAL

1 Chapter : 1 Chapter :

Table of Contents

Introduction

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

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

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

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

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

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

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

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

CBX-D5 Terminology

What is the CBX-D5?

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

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

Controls & Connections

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

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

Connecting Hard Disk Drives

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

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

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

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

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

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

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

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

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

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

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

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

......13

Playback

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

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

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

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

Converting the Sampling

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

Frequency & Digital Audio Format in Real Time

Inputs & Outputs Explained

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

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

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

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

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

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

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

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

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

TO HOST connection

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

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

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

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

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

Glossary

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

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

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

..... 26

Working with Hard Disks

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

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

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

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

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

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

Recording

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

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

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

Recording setup table

CBX-D5 Specifications

Index

Appendix

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

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

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

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

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.

Introduction 1Introduction 1Introduction 1

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 Hardwar e 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 D AMAGES SUFFERED BY THE USER OR O THERS RESULTING FROM THE USE OR PURCHASE OF THE CBX-D5, ITS DOCUMENTATION, OR SUPPORTING SOFTWARE.

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

Unpacking

The CBX-D5 packaging should contain the following items.

1 CBX-D5 Serial No: 1 Power cable 1 8-pin mini DIN cable 1 MIDI cable 1 SCSI cable (50 to 50 Amphenol) 1 SCSI terminator 1 Rack-mount kit (L & R set) 1 1 1 This 1 1 User Registration Card

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.

Hardware Test Program Disk Test Program Manual

Operating Manual

System Setup Guide

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 Mark of the Unicorn

and Macintosh are registered trademarks of Apple Computer, Inc.



, ST, TT, 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 Dri v es” on page13.

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.

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

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 (Son y/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.

Y amaha’s professional digital audio products usually include the AES/EBU and CD/DAT type formats as well as Y2, and the Y2 format can also be found on some other manufacturers’ digital audio products. Yamaha’s professional digital audio products that use Y2 include the DMR8 Digital Mixer/Recorder, DMC1000 Digital Mixing Console, DRU8 Digital Recorder, and the DMP series of Digital Mixers.

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

Sampling frequency (REC FREQ)

During the analog to digital conversion process, the level of the analog audio signal is sampled (measured) many times per second. Each of these sample measurements is then stored as a 16-bit binary value. For digital to analog conversion (playback), these 16-bit binary values are used to reconstruct the analog audio signal. The rate at which these sample measurements take place is called the sampling frequency and you may already know that the sampling frequency used by CD players is 44.1kHz.

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

44.1kHz, 32kHz, and 22.05kHz. The audio quality (bandwidth) of a digital system is directly affected by the sampling frequency. Essentially, the audio bandwidth will be roughly half the chosen sampling frequency . See “Sampling frequenc y (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 slav es. The frequency of the word clock corresponds directly to the digital audio data’s sampling frequenc y.

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. Howev er, when three devices are connected, serious thought will need to be given as to which device is word clock master and how to mak e the w ord clock connections. See “WORD CLK IN/OUT” on page 28 for more details.

NOTE:

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:

W ord 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.

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. F or this reason the CBX-D5 can be used with some of the less powerful, less expensi v e 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.

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

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 con verters. 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 conv erters that allo w recording and playback at differing sampling frequencies.

As well as the sound quality , tw o 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 relativ e to time, a feature often referred to as audio time slip.

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

The future

The CBX-D5 is a software dependent device, so with future supporting software it may be possible to use the CBX-D5 for digital mixing with digital EQ and effects, sampling, 2-track mastering, waveform editing, and multimedia type applications.

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

Inside the CBX-D5

The following block diagram shows how the CBX-D5 processes audio data as it travels from input to output and to the external SCSI hard disks.

AES/EBU

IN 1/2

CD/DAT

IN 1/2

ANALOG IN 1

ANALOG IN 2

Y2 IN 1/2

WORD

CLK IN

WORD

CLK OUT

ANALOG

OUT 1

ANALOG

OUT 2

ANALOG

OUT 3

ANALOG

OUT 4

AES/EBU

OUT 1/2

AES/EBU

OUT 3/4

CD/DAT

OUT 1/2

Y2 OUT 1/2

A/D

CONVERTER

A/D

CONVERTER

DIGITAL

INTERFACE

CONVERTER

INPUT MONITOR

PLAYBACK

WORDCLOCK

RECORD

WORDCLOCK

SIGNAL PATH

D/A

CONVERTER

DIGITAL

DEQ

PLAY

CONTROL

D/A

MIXER

DEQPLAY

D/A

CONVERTER

4 INPUT

DEQPLAY

CONTROL

CONVERTER

4 BUS

2 SEND

CONTROL

D/A

CONVERTER

DEQPLAY

CONTROL

AES/EBU

INTERFACE

DSP

EFFECTS

CONTROLLER

SYNC

VOLUME, PITCH

AES/EBU

INTERFACE

S/PDIF

INTERFACE

OUTPUT

LEVEL

INTERFACE

METERS

MIDI IN, or

TO HOST

INPUT LEVEL

METER

CONVERTER

SCSI

CONVERTER

(RAM)

PLAY BUFFER

HARD

DISK 1

(RAM)

BUFFER

RECORD

SCSI

CBX-D5

CONTROLLER

SCSI

HARD

DISK 2

CONVERTER

SCSI

CONVERTER

MIDI

MIDI OUT, or

Serial port

WORDCLOCK

AUDIO

MIDI

HOST COMPUTER

Fs = Sampling Frequency

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

The CBX-D5 in a MIDI recording system

The following diagram shows ho w the CBX-D5 can be inte grated into a MIDI sequencer based music production system.

MONITOR AMP

MIDI

MULTI-EFFECTOR

MIDI TONE

GENERATOR

MIDI DRUM MODULE

MIDI SOUND

SAMPLER

MIDI OUT

YAMAHA CBX-D5

DIGITAL TRANSFER

GROUP OUT x2

MIDI IN

MIDI OUT

LINE IN x4

TO HOST

SCSI

HARD

DISK

MASTER

RECORDER

SERIAL PORT

SCSI

CD/DAT

MIDI CABLE AUDIO CABLE HOST CABLE

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

4 Controls & Connections

Front panel

1 POWER switch

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

2 SOURCE indicators

Indicates the input selected for recording: AES/EBU, Y2, CD/DAT, or ANALOG. The source input selection is made by the controlling software.

3 REC FREQ indicators

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

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

4 PB FREQ indicators

Indicates the sampling frequency of the digital audio data that is being output by the CBX-D5: 48kHz, or 44.1kHz. The playback sampling frequency setting is made by the controlling software.

When the CBX-D5 is used with an external word clock, the digital outputs will operate at the same frequency as the external word clock and that frequency will not be indicated by the “PB FREQ” indicators.

Front panel 9Front panel 9Front panel 9

5 INPUT LEVEL meters

T wo 12-se gment LED bargraphs indicate the le vel of the incoming digital audio when the input source is set to AES/EBU, CD/DAT, or Y2 (not af fected 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 le vel meter’s “CLIP” LED should be avoided to pre vent 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 le vel 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 Chapter 4 : Controls & Connections10 Chapter 4 : Controls & Connections10 Chapter 4 : Controls & Connections

Rear panel

The explanations below are only brief introductions to the CBX-D5’s rear panel connections. For full details about the inputs and outputs, see “Inputs & Outputs Explained” on page 26.

1 ANALOG IN 1&2

A pair of female XLR 3-31 type connectors used for inputting analog audio signals. These are balanced inputs with a nominal input level of +4dBm and a maximum input le v el 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 11Rear panel 11Rear panel 11

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

Two male XLR 3-32 type connectors for outputting AES/EBU format digital audio. Channels 1 and 2 are output via “OUT 1/2”, and channels 3 and 4 via “OUT 3/4”. These could be used to transfer digital audio data from the CBX-D5 to professional digital audio equipment.

5 CD/DAT IN 1/2

A Phono/RCA jack for inputting CD/DAT format digital audio. Channels 1 and 2 are carried in the same connection. This connection could be connected to the digital output of a CD player or DAT recorder and allows digital audio recording without multiple D/A, A/D audio data conversions. Some MIDI samplers are ﬁtted with this type of connection. In this case your sound samples could be recorded directly to your CBX-D5 system.

6 CD/DAT OUT 1/2

A Phono/RCA jack for outputting CD/DAT format digital audio. Channels 1 and 2 are carried in the same connection. This could be connected to the digital input of a DAT recorder or DCC recorder, and allo ws 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, e ven for the best trained ears, it makes sense that once converted, we try and k eep 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 Y amaha 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 Mix ers.

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 . F or a full description of ho w and when to use these connections, see “WORD CLK IN/OUT” on page 28.

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

0 MIDI IN

The CBX-D5 receives MIDI control data from the computer via this connection. To prevent the CBX-D5’s control data being delayed by other MIDI devices, the CBX-D5 should be the ﬁrst device connected to your computer . Other MIDI devices should then be connected to the CBX-D5’s MIDI THRU connection.

If your computer’s MIDI interf ace has tw o 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 unaf fected 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

T wo 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 sock et, then plug the other end of the cable into an AC receptacle of the correct type.

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 b uying a larger one, see the supplied card for a listing of recommended disk drives.

Hard disk size

The following table shows approximate a vailable recording times for v arious sizes of hard disk. A vailable 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.

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

Hard disk / Max.

Sound File Size

2000MB (2GB) 380 260 190 174 760 760 380 348 1000MB (1GB) 190 130 95 87 380 380 190 174

660MB 124 85 62 57 248 248 124 114 330MB 62 42 31 28 124 124 62 56 200MB 40 25 20 17 80 50 40 34 100MB 20 13 10 8 40 26 20 16

40MB 8 5 4 3.30 16 10 8 7 20MB 4 3 2 1.42 8 6 4 3.24 10MB 2 1.18 1 51

5MB 1 38

1MB 12

Stereo Recording (minutes) Mono Recording (minutes)

22.05 kHz

secs

kHz

secs

7 secs 6 secs 5 secs 24

44.1 kHz

secs

kHz

secs

22.05 kHz

4 2.36 2 1.42

2 1.16 1 52

secs

kHz

secs

44.1 kHz

secs

kHz

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

Choosing a hard disk

If you plan to buy a hard disk that is not listed on the supplied card, the following speciﬁcations should be checked ﬁrst.

Specification Check Notes

Is it compatible with your computer? Does it have two SCSI connectors? You need two to continue the SCSI daisy chain. Are the SCSI connectors 25-pin

D-SUB, or 50-way Amphenol? Are the SCSI cables supplied? If not, you will need to purchase them separately.

Can the SCSI ID be set from 0 ~ 7? (for Macintosh you only need 0 ~ 6)

Does it have internal or external termination?

Access Time?

Data Transfer Rate?

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

Macintosh computers are fitted with a 25-pin D-SUB connector, while most other SCSI devices have a 50-way Amphenol connector.

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

Most SCSI devices are supplied with a SCSI cable, but if you need to b uy 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 e xceed 6m (20ft).

SCSI cables 15SCSI cables 15SCSI cables 15

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-w ay 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.

HARD

DISK 1

SCSI SCSISCSI

DISK 2

CBX-D5HARD

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 e xpansion slots.

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

SCSI ID setting

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

HARD

DISK 1

ID No. 6

SCSI

DEVICE

This device is terminated

SCSI SCSISCSI

SCSI

DISK 2

SCSI

DEVICE

SCSI

CBX-D5HARD

ID No. 4ID No. 5

HARD

DISK 3

SCSI

The Apple Macintosh example above sho ws six de vices connected in a SCSI daisy chain (seven including the computer). Each de vice has its own ID number. Note that the last device in the chain is terminated. On a Apple Macintosh computer, SCSI ID 7 is reserv ed for use by the computer, and ID 0 for the internal hard disk. Do not use either of these IDs for any other SCSI device.

ID No. 0 ID No. 1

HARD DISK 1

ID No. 3ID No. 6

HARD DISK 4

SCSI

HARD

DISK 2

ID No. 2

HARD

DISK 3

SCSI

ATARI

ST/STE

19-pin DSUB

SCSI

Adaptor

CBX-D5

This device is terminated

SCSI SCSI

SCSI

In the Atari ST/STE system shown above, ﬁv e SCSI devices are connected in a daisy chain. Hard disks must be set with continuous SCSI IDs starting from 0 (0, 1, 2, 3…). Howev er, the CBX-D5 can be set to SCSI ID 5 or 6. Do not set any device to SCSI ID 7.

ATARI

(internal hard disk set to SCSI ID 0)

SCSI

ID No. 1 ID No. 2

HARD

DISK 1

ID No. 6

CBX-D5

This device is terminated

SCSI SCSI

SCSI

HARD DISK 1

HARD DISK 4

SCSI

ID No. 3

HARD

DISK 2

ID No. 4ID No. 5

HARD

DISK 3

SCSI

In the Atari TT system shown above, six SCSI de vices are connected in a daisy chain. Hard disks must be set with continuous SCSI IDs starting from 1 (1, 2, 3, 4…). Howev er, the CBX-D5 can be set to SCSI ID 5 or 6. Do not set any device to SCSI ID 7.

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 termination 17SCSI termination 17SCSI termination 17

Terminate this device

HARD

DISK 1

SCSI SCSISCSI

DISK 2

CBX-D5HARD

Some SCSI devices have a terminator b uilt-in. In this case that device should be connected at the end of the daisy chain. Other devices, like the CBX-D5, are supplied with an in-line type terminator and this can be connected as shown below.

CBX-D5 (Top view)

terminator is connected as shown)

TERMINATOR

To the next SCSI device

NOTE:

HARD DISK 2

SCSI PLUGSCSI PLUG

SCSI CABLE

(In this case the CBX-D5 is the last device connected in the daisy chain, so the SCSI

SCSI PLUG SCSI

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

6 Working with Hard Disks

After connecting your hard disk, setting the SCSI ID, and installing the SCSI terminator, you will need to format the hard disk before it can be used. If you have already powered up your system you will notice that there isn’t a disk icon representing the new disk dri ve 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 softw are 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 lik e your other computer ﬁles, sound ﬁles can be backed up in much the same way using data compression and backup utilities. Howev er, due to the relatively large size of sound ﬁles, ﬂoppy disks are not the most effectiv e backup media. Remo vable 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

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.

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

TRACK

SECTOR

SECTORS10SECTORS

FILE 1 FILE 2 FILE 3

SECTORS

As ﬁles are deleted and new ﬁles saved, ﬁles may be split (fragmented) o ver 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 b

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

file 2

FILE 5 has been split – fragmented.

Disk defragmentation is quite important for hard disk audio recording, as it is better to record data into a continuous series of empty hard disk sectors. If recording starts in an empty sector, but then subsequent sectors in the series are used by another ﬁle, because there is so much data being recorded, the disk drive does not hav e time to ﬁnd, then mov e 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 mak e w ay 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 av ailable 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 driv e that has been partitioned. Howev er, 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 r ecordings 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 Chapter 7 : Recording20 Chapter 7 : Recording20 Chapter 7 : Recording

7 Recording

Sampling frequency (REC FREQ)

The CBX-D5 can record at any one of four sampling frequencies: 48kHz, 44.1kHz, 32kHz (as speciﬁed by the AES), or 22.05kHz (analog input only). These sampling frequencies are commonly used for digital audio, and each has its own speciﬁc applications.

The sampling frequency is set by the controlling software and the CBX-D5’s front panel REC FREQ indicators show the selected frequency. The selected REC FREQ also determines the clock rate for all internal processing, i.e., DSP, digital mixer, DEQ, etc., except for the output Fs conv erters, 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 frequenc y . 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 frequenc y.

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 conv erter, digital audio can be output at a different sampling frequency to that which was used during recording. Ho wever , 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 frequenc y . 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 v ary 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

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 interf acing 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 AN ALOG IN LEVEL controls. These controls allows independent lev el 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

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

Unlike analog tape recorders, digital audio recorders are very unforgi ving 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 ev ent. So great care must be tak en 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 lo w is not a problem. Howe ver , setting the recording le vel too lo w will reduce the effectiv e 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 Channel 4

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

Channel 2

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

Digital audio data containing SCMS

SCMS (Serial Copy Management System) is a protection system designed to stop illegal digital copying of audio material. When a SCMS DAT recorder (most consumer DAT recorders) receives a digital input signal with the copy protect ﬂag set to “protect”, it cannot enter record mode, making digital tape duplication impossible.

NOTE:

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 howev er, 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.

SCMS does not affect recordings made using analog connections, and it is only second generation digital copying (copy of a copy) that is prohibited.

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 gro wing selection of 20-bit CD recordings available. Some 20-bit recorders are already being used for professional applications including Y amaha’s DMR8 and DRU8 recorders, which ha ve always of fered 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.

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.

Playback 23Playback 23Playback 23

NOTE:

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 D AT 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 sho w 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 2 1 2 1 2 3 4 1 2 3 4

STEREO 2-CHANNEL INTERLEAVE FILE DATA

4-CHANNEL INTERLEAVE FILE DATA

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

Sound file regions

Your controlling software may allow you to select a section of a sound ﬁle so that it can effectiv ely 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 25Converting the Sampling Frequency & Digital Audio Format in Real Time 25Converting the Sampling Frequency & Digital Audio Format in Real Time 25

9 Converting the Sampling Frequency & Digital

Audio Format in Real Time

When transferring digital audio data between equipment, it is sometimes necessary to convert from one digital audio format to another, say from CD/DAT to AES/EBU, or Y2 to CD/DAT. The CBX-D5 allo ws 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 con v ert from one sampling frequency to another, say from 44.1kHz to 48kHz or vice v ersa. Sampling frequency conv ersion 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

CD/DAT (SPDIF)

48, 44.1, 32kHz

NOTE:

CBX-D5

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

AES/EBU

48, 44.1kHz

CD/DAT (SPDIF)

48, 44.1kHz

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

10 Inputs & Outputs Explained

ANALOG IN

A pair of female XLR 3-31 type connectors used for inputting analog audio signals. These are balanced inputs with a nominal input level of +4dBm and a maximum input le v el 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

3-PIN MALE XLR PLUG

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.

XLR PLUG

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.

PIN 2 PIN 3 PIN 1

TIP

SLEEVE

PIN 2 PIN 3 PIN 1

3-PIN FEMALE XLR LINE SOCKET

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

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, howe ver , 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

A female XLR 3-31 type connector for inputting AES/EBU format digital audio. This is a balanced type connection and two channels, 1 and 2, are carried in the same connection. This connection could be used when recording digital audio data from another hard disk recorder, a digital mixer, DAT recorder, or digital VTR. The AES/EBU format is used mainly on professional digital audio equipment.

Although an XLR to XLR type connecting cable is required, the recommended cable impedance is different to that of typical audio XLR type connecting cables. You may ﬁnd that typical audio XLR type cables work successfully, but to eliminate any risk of data

corruption it is best to use a cable that is speciﬁcally made for use with the AES/EBU format. The recommended cable impedance for AES/EBU is 110Ω.

AES/EBU OUT 1/2, 3/4

Two male XLR 3-32 type connectors for outputting AES/EBU format digital audio. Channels 1 and 2 are output via OUT 1/2, and channels 3 and 4 through OUT 3/4. These connections could be used to transfer digital audio data from the CBX-D5 to professional digital audio equipment.

Here again, it is best to use a cable that is speciﬁcally made for use with the AES/EBU format. Follow the same recommendations gi v en above for the AES/EBU IN connection.

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

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, howev er,

there are connecting cables designed speciﬁcally for use with the CD/D A T format and wherever possible they should be used.

CD/DAT OUT

A Phono/RCA jack for outputting CD/DAT format digital audio. Two channels, 1 and 2 (left/right), are carried in the same connection. This could be connected to the digital input of a DAT recorder or DCC recorder, and it allows digital audio recording without multiple D/A, A/D audio data conversions.

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

NOTE:

You might have heard or read that AES/EBU type connections can be connected directly to CD/DAT connections and vice versa. In some cases this may work, but it is not recommended. To ensure data integrity, connect AES/EBU outputs to AES/EBU inputs, and CD/DAT inputs to CD/DAT outputs.

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

Y2 IN

An 8-pin DIN socket for inputting Y2 Yamaha format digital audio. T w o channels, 1 and 2 (left/right), are carried in the same connection. This could be connected to one of Y amaha’ s digital audio products including the DMR8 Digital Mix er/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 Y amaha 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:

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 w ord clock master and all other devices operate as word clock slav es.

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. Howev er, when three or more devices are connected in a digital system, word clock connections will be required.

NOTE:

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.

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

Although we have said that a word clock connection is not required when only two devices are used, some devices may require a BNC word clock connection as well as the digital audio connection. Making a separate connection using the CBX-D5’s BNC connectors may also improve data transfer and eliminate any chance of data errors.

NOTE:

Because the CBX-D5 can convert the sampling frequency of incoming digital audio signals, the word clock output signal will not necessarily match the recording sampling frequency.

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

The following table shows how the WORD CLK IN/OUT connections work with each word clock source. Word clock connections use coaxial BNC to BNC type cables.

WORD CLOCK

SOURCE

AES/EBU Input

CD/DAT Input

Y2 Input

Internal Clock

WORD CLK IN

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.

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

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 Mix er. 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

AES/EBU IN AES/EBU IN

WORD CLK IN

DMC1000

DIGITAL MIXER

WORDCLOCK SLAVE

DRU8 DIGITAL

RECORDER

WORDCLOCK MASTER (Internal clock source)

A Yamaha format connection

that can carry up to 8 digital

signals

(wordclock sourced from the WORD CLK IN connectionl)

In this example, audio data from two D AT 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 DA T No. 2, which syncs to the external wordclock. The digital mixer deriv es its w ord clock from the AES/EB U inputs.

DAT No. 1

(no wordclock

connections)

AES/EBU

CBX-D5

(synced to

AES/EBU input)

WORD CLOCK

DAT No. 2

(synced to external

wordclock)

AES/EBU

DIGITAL MIXER

(synced to

AES/EBU inputs)

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

11 TO HOST connection

As well as the standard MIDI IN, OUT, and THRU connections, the CBX-D5 also has a “TO HOST” connection. This allows direct connection to computers that do not have a built-in or external MIDI interface.

The CBX-D5 has four interface modes for connecting to a controlling computer: MIDI, Mac, PC-1, and PC-2. These interface modes are explained below.

MIDI

This mode is for use with a computer that has a MIDI interface. That is, a computer with a built-in MIDI interface, such as the Atari ST , STE, and TT range of computers, an Apple Macintosh computer with an external MIDI interface unit, or a PC-9801 or IBM PC/AT compatible type computer ﬁtted with a MIDI interface. Most MIDI music software can be used with this type of connection.

The “HOST SELECT” switch should be set to MIDI. The connecting MIDI cable should be of the type described in the “TO HOST computer

connecting cables” on page 33.

HARD

OTHER MIDI

DEVICES

DISK

SCSI

CBX-D5

SCSI

MIDI OUT

MIDI INMIDI THRUMIDI IN

MIDI IN

MIDI OUT

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

Connection Function

TO HOST MIDI IN MIDI data is input and processed.

MIDI OUT System Exclusive data is output. MIDI THRU Data appearing at the MIDI IN port is fed directly to the MIDI THRU port.

RECEIVE No function. SEND No function.

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 31Mac 31Mac 31

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 “T O 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

HARD

DISK

SCSI

CBX-D5

MIDI INMIDI OUTMIDI IN MIDI OUT

SCSI

TO HOST

MIDI

THRU ON

SERIAL PORT

The table below explains ho w MIDI signals are handled in “Mac” mode. MIDI data is carried to and from the computer via the “TO HOST” connection.

Connection Function Details

Synchronized. Data format: 8 bit, 1 stop bit, no parity. 1MHz clock from CBX-D5 to serial ports' HSKi data pin.

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.

TO HOST

MIDI IN

MIDI OUT

MIDI THRU

RECEIVE

SEND

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

MIDI data received at the MIDI IN port is output.

MIDI data received is output to the TO HOST SEND.

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

PC-1

This mode is for use with an NEC PC-9801 type computer. The PC-9801 is a v ery 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 “T O 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

HARD

DISK

SCSI

CBX-D5

MIDI INMIDI OUTMIDI IN MIDI

SCSI

TO HOST

SCSI CARD

MIDI

THRU

SERIAL PORT

The table below explains ho w the MIDI signals are handled in PC-2 mode. MIDI data is carried to and from the computer via the “TO HOST” connection.

Connection Function Details

TO HOST

MIDI IN

MIDI OUT

MIDI THRU

RECEIVE

SEND

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

MIDI data received at the MIDI IN port is output.

MIDI data received is output to the TO HOST SEND.

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.

Synchronized. Data format: 8 bit, 1 stop bit, no parity.

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.

Yamaha CBX-D5, CBXD5E2 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual