Yamaha CBX-D5 Manual de usuario

CBX-D5

DIGITAL RECORDING PROCESSOR

Owner's Manual 2

OPERATING MANUAL

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

FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Dette apparat overholder det gaeldende EF-direktiv vedrørende

radiostøj.

Cet appareil est conforme aux prescriptions de la directive com-

munautaire 87/308/CEE.

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

oder 87/308/EWG.

This product complies with the radio frequency interference

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

308/EEC.

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

CEE/87/308) sulla soppressione dei radiodisturbi.

Este producto está de acuerdo con los requisitos sobre interferen-

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

CEE.

YAMAHA CORPORATION

IMPORTANT NOTICE FOR THE UNITED KINGDOM

Connecting the Plug and Cord

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

with the following code:

GREEN-AND-YELLOW : EARTH

BLUE : NEUTRAL

BROWN : LIVE

As the colours of the wires in the mains lead of this apparatus may not

correspond with the coloured markings identifying the terminals in your

plug, proceed as follows:

The wire which is coloured GREEN and YELLOW must be connected to

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

earth symbol or coloured GREEN and YELLOW.

The wire which is coloured BLUE must be connected to the terminal

which is marked with the letter N or coloured BLACK.

The wire which is coloured BROWN must be connected to the terminal

which is marked with the letter L or coloured RED.

SPECIAL MESSAGE SECTION

PRODUCT SAFETY MARKINGS: Yamaha electronic prod-

ucts may have either labels similar to the graphics shown

below or molded/stamped facsimiles of these graphics on the

enclosure. The explanation of these graphics appears on this

page. Please observe all cautions indicated on this page and

those indicated in the safety instruction section.

● Explanation of Graphical Symbols

The exclamation point within the equilat-

eral triangle is intended to alert the user to

the presence of important operating and

maintenance (servicing) instructions in the

literature accompanying the product.

The lightning ﬂash with arrowhead symbol

within the equilateral triangle is intended to

alert the user to the presence of uninsulated

“dangerous voltage” within the product’s

enclosure that may be of sufﬁcient magni-

tude to constitute a risk of electrical shock.

IMPORTANT NOTICE: All Yamaha electronic products are

tested and approved by an independent safety testing labora-

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

installed and used in its normal and customary manner, all

foreseeable risks have been eliminated. DO NOT modify this

unit or commission others to do so unless speciﬁcally autho-

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

dards may be diminished. Claims ﬁled under the expressed

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

Implied warranties may also be affected.

SPECIFICATIONS SUBJECT TO CHANGE: The informa-

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

time of printing. However, Yamaha reserves the right to

change or modify any of the speciﬁcations without notice or

obligation to update existing units.

CAUTION: TO REDUCE THE RISK OF ELEC

TRIC SHOCK, DO NOT REMOVE COVER (O

BACK). NO USER-SERVICEABLE PART

INSIDE. REFER SERVICING TO QUALIFIE

SERVICE PERSONNEL.

ENVIRONMENTAL ISSUES: Yamaha strives to produce

products that are both user safe and environmentally friendly.

We sincerely believe that our products and the production

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

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

be aware of the following:

Battery Notice: This product MAY contain a small nonre-

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

The average life span of this type of battery is approximately

ﬁve years. When replacement becomes neccessary, contact a

qualiﬁed service representative to perform the replacement.

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

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

Dispose of used batteries promptly and as regulated by appli-

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

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

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

Disposal Notice: Should this product become damaged

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

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

ulations that relate to the disposal of products that contain

lead, batteries, plastics, etc.

NOTICE: Service charges incurred due to lack of knowledge

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

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

warranty, and are therefore the owners responsibility. Please

study this manual carefully and consult your dealer before

requesting service.

NAME PLATE LOCATION: The graphic below indicates the

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

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

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

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

ual as a permanent record of your purchase.

Model

Serial No.

Purchase Date

92-469 1

IMPORTANT SAFETY INSTRUCTIONS

INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,

AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.

WARNING — When using any electrical or electronic prod-

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

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

Read all Safety Instructions, Installation Instructions,

Special Message Section items, and any Assembly

Instructions found in this manual BEFORE making any con-

nections, including connection to the main supply.

Main Power Supply Veriﬁcation: Yamaha products are

manufactured speciﬁcally for the supply voltage in the

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

doubt exists about the supply voltage in your area, please

contact your dealer for supply voltage veriﬁcation and (if

applicable) instructions. The required supply voltage is

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

refer to the graphic found in the Special Message Section of

this manual.

This product may be equipped with a polarized plug

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

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

If the problem persists, contact an electrician to have the

obsolete outlet replaced. DO NOT defeat the safety purpose

of the plug.

Some electronic products utilize external power

supplies or adapters. DO NOT connect this type of

product to any power supply or adapter other than one

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

ically recommended by Yamaha.

WARNING: Do not place this product or any other

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

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

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

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

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

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

handling capacity. For longer extension cords, consult a local

electrician.

Ventilation: Electronic products, unless speciﬁcally

designed for enclosed installations, should be placed in

locations that do not interfere with proper ventilation. If

instructions for enclosed installations are not provided, it

must be assumed that unobstructed ventilation is required.

Temperature considerations: Electronic products

should be installed in locations that do not signiﬁcantly

contribute to their operating temperature. Placement of this

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

and other devices that produce heat should be avoided.

This product was NOT designed for use in wet/damp

locations and should not be used near water or exposed

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

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

This product should be used only with the components

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

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

observe all safety markings and instructions that accompany

the accessory product.

The power supply cord (plug) should be disconnected

from the outlet when electronic products are to be left

unused for extended periods of time. Cords should also be

disconnected when there is a high probability of lightening

and/or electrical storm activity.

Care should be taken that objects do not fall and liquids

are not spilled into the enclosure through any openings

that may exist.

Electrical/electronic products should be serviced by a

qualiﬁed service person when:

a. The power supply cord has been damaged; or

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

been spilled into the enclosure through openings; or

c. The product has been exposed to rain; or

d. The product does not operate, exhibits a marked

change in performance; or

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

the product has been damaged.

Do not attempt to service this product beyond that

described in the user-maintenance instructions. All

other servicing should be referred to qualiﬁed service person-

nel.

This product, either alone or in combination with an

ampliﬁer and headphones or speaker/s, may be capable

of producing sound levels that could cause permanent hearing

loss. DO NOT operate for a long period of time at a high vol-

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

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

consult an audiologist. IMPORTANT: The louder the sound,

the shorter the time period before damage occurs.

Some Yamaha products may have benches and/or

accessory mounting ﬁxtures that are either supplied as a

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

items are designed to be dealer assembled or installed. Please

make sure that benches are stable and any optional ﬁxtures

(where applicable) are well secured BEFORE using. Benches

supplied by Yamaha are designed for seating only. No other

uses are recommended.

10.

11.

12.

13.

14.

15.

PLEASE KEEP THIS MANUAL

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

92-469 2

1 Chapter : 1 Chapter :

Table of Contents

Introduction

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

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

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

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

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

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

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

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

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

CBX-D5 Terminology

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

What is the CBX-D5?

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

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

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

Controls & Connections

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

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

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

Connecting Hard Disk Drives

......13

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

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

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

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

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

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

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

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

Working with Hard Disks

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

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

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

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

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

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

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

Recording

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

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

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

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

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

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

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

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

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

Playback

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

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

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

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

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

Converting the Sampling

Frequency & Digital Audio

Format in Real Time

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

Inputs & Outputs Explained

..... 26

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

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

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

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

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

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

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

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

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

TO HOST connection

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

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

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

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

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

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

Glossary

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

Recording setup table

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

CBX-D5 Specifications

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

Index

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

Appendix

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

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

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

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

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

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

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

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

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

Introduction 1Introduction 1Introduction 1

1 Introduction

Welcome to the CBX-D5

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

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

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

CBX-D5 features

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

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

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

• Multi-band parametric DEQ for each channel.

• DSP provides 82 different reverb and modulation type effects.

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

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

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

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

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

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

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

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

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

interface.

Operating manual organization

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

Guide, and a Test Program manual.

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

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

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

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

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

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

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

Disk for testing the CBX-D5 hardware.

Important Notice

YAMAHA AND THE SOFTWARE COMPANIES THAT PRODUCE CBX-D5

CONTROLLING SOFTWARE CANNOT BE HELD RESPONSIBLE FOR ANY LOSS

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

CONSEQUENTIAL OR OTHER DAMAGES SUFFERED BY THE USER OR OTHERS

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

DOCUMENTATION, OR SUPPORTING SOFTWARE.

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

Unpacking

The CBX-D5 packaging should contain the following items.

Store the packaging materials for future use.

Installation

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

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

installed with your other computer equipment.

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

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

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

Trademarks

IBM



, PC-AT



, PS/1



, and PS/2



are registered trademarks of International Business

Machines Corporation.

Apple



and Macintosh



are registered trademarks of Apple Computer, Inc.

Atari



, ST



, TT



, and STE



are registered trademarks of Atari Corporation.

Mark of the Unicorn



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

All other trademarks are the property of their respective holders.

Powering up a CBX-D5 System

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

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

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

1 CBX-D5 Serial No:

1 Power cable

1 8-pin mini DIN cable

1 MIDI cable

1 SCSI cable (50 to 50 Amphenol)

1 SCSI terminator

1 Rack-mount kit (L & R set)

Hardware Test Program Disk

Test Program Manual

1 This

Operating Manual

System Setup Guide

1 User Registration Card

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

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

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

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

2 CBX-D5 Terminology

SCSI

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

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

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

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

called the SCSI ID number.

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

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

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

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

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

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

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

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

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

Sound files

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

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

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

AES/EBU format

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

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

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

& right) are carried in one XLR type connection.

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

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

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

digital VTRs.

CD/DAT format

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

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

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

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

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

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

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

recorder for storage.

Y2 format

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

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

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

type connection.

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

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

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

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

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

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

Sampling frequency (REC FREQ)

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

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

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

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

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

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

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

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

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

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

page 20 for more details.

Word clock

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

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

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

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

directly to the digital audio data’s sampling frequency.

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

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

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

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

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

To Host

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

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

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

page 30 for more details.

NOTE:

Word clock signals should not be confused with other synchronizing signals

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

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

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

SMPTE and MTC timecodes are for synchronizing audio and video tape

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

and frames.

NOTE:

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

so please consult your Yamaha dealer before making a purchase.

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

3 What is the CBX-D5?

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

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

of CD quality audio recording, processing, and playback.

Computer based

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

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

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

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

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

as processing MIDI sequence data and screen updates.

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

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

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

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

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

Four-channel system

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

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

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

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

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

CD quality & editing

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The future

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

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

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

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

Inside the CBX-D5

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

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

DIGITAL

MIXER

4 INPUT

4 BUS

2 SEND

A/D

CONVERTER

DIGITAL

INTERFACE

A/D

CONVERTER

CBX-D5

SCSI

CONTROLLER

PLAY BUFFER

(RAM)

CONVERTER

PLAY

CONTROL

DEQ

DEQPLAY

CONTROL

CONVERTER

DEQPLAY

CONTROL

CONVERTER

DEQPLAY

CONTROL

CONVERTER

CONTROLLER

DSP

EFFECTS

CONVERTER

PLAYBACK

WORDCLOCK

RECORD

WORDCLOCK

RECORD

BUFFER

(RAM)

INTERFACE

S/PDIF

INTERFACE

AES/EBU

INTERFACE

AES/EBU

INTERFACE

D/A

CONVERTER

D/A

CONVERTER

D/A

CONVERTER

D/A

CONVERTER

ANALOG IN 1

ANALOG IN 2

AES/EBU

IN 1/2

CD/DAT

IN 1/2

Y2 IN 1/2

WORD

CLK IN

WORD

CLK OUT

ANALOG

OUT 1

ANALOG

OUT 2

ANALOG

OUT 3

ANALOG

OUT 4

CD/DAT

OUT 1/2

Y2 OUT 1/2

AES/EBU

OUT 1/2

AES/EBU

OUT 3/4

VOLUME, PITCH

SYNC

MIDI

MIDI OUT, or

Serial port

MIDI IN, or

TO HOST

HARD

DISK 1

HARD

DISK 2

SCSI

INPUT MONITOR

SIGNAL PATH

Fs = Sampling Frequency

WORDCLOCK

AUDIO

MIDI

HOST COMPUTER

INPUT LEVEL

METER

OUTPUT

LEVEL

METERS

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

The CBX-D5 in a MIDI recording system

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

based music production system.

MIDI OUT

MIDI

OUT

SERIAL PORT

TO HOST

MIDI IN

MIDI SOUND

SAMPLER

MIDI DRUM MODULE

MIDI TONE

GENERATOR

MIDI

MULTI-EFFECTOR

MASTER

RECORDER

MONITOR AMP

HOST CABLE

AUDIO CABLE

MIDI CABLE

SCSI

HARD

DISK

CD/DAT

YAMAHA

CBX-D5

SCSI

GROUP

OUT x2

LINE IN x4

DIGITAL

TRANSFER

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

4 Controls & Connections

Front panel

1 POWER switch

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

2 SOURCE indicators

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

source input selection is made by the controlling software.

3 REC FREQ indicators

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

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

controlling software.

4 PB FREQ indicators

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

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

controlling software.

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

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

the “PB FREQ” indicators.

Front panel 9Front panel 9Front panel 9

5 INPUT LEVEL meters

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

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

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

the “ANALOG IN” level controls).

6 OUTPUT LEVEL meters

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

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

7 ANALOG IN LEVEL control

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

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

source connected to the analog inputs.

8 PHONES VOL

Adjusts the volume level of the headphones.

9 PHONES connection

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

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

speaker and channels 2 and 4 in the right.

NOTE:

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

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

signal has actually clipped. Digital audio signal clipping normally produces

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

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

more details.

NOTE:

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

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

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

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

level is set by the controlling software.

NOTE:

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

inputs and outputs.

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

Rear panel

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

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

Explained” on page 26.

1 ANALOG IN 1&2

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

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

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

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

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

2 ANALOG OUT 1 ~ 4

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

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

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

recorder, or DAT recorder.

3 AES/EBU IN 1/2

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

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

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

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

digital recorder, or digital VTR.

NOTE:

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

reduced to +16dBm.

Rear panel 11Rear panel 11Rear panel 11

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

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

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

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

equipment.

5 CD/DAT IN 1/2

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

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

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

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

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

6 CD/DAT OUT 1/2

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

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

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

audio data conversions.

7 Y2 IN 1/2

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

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

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

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

Effect Processor, or the DMP series of Digital Mixers.

8 Y2 OUT 1/2

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

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

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

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

9 WORD CLK IN/OUT

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

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

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

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

NOTE:

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

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

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

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

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

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

digital I/O connections wherever possible.

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

0 MIDI IN

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

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

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

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

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

with the CBX-D5.

A MIDI OUT

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

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

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

B MIDI THRU

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

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

the MIDI THRU connector unaffected by the CBX-D5.

C TO HOST connector

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

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

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

page 30 for more details.

D TO HOST select switch

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

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

E SCSI connectors

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

chain.

F SCSI ID selector

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

ID setting” on page 16 for more details.

G Power inlet

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

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

NOTE:

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

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

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

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

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

MIDI signal to each MIDI device.

NOTE:

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

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

connection” on page 30 for full details.

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

5 Connecting Hard Disk Drives

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

SCSI and how a SCSI daisy chain should be setup.

What type of hard disk?

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

card for a listing of recommended disk drives.

Hard disk size

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

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

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

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

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

about selecting a sampling frequency.

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

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

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

Hard disk / Max.

Sound File Size

Stereo Recording (minutes) Mono Recording (minutes)

22.05

kHz

44.1

kHz

22.05

kHz

44.1

kHz

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

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

660MB 124 85 62 57 248 248 124 114

330MB 62 42 31 28 124 124 62 56

200MB 40 25 20 17 80 50 40 34

100MB 20 13 10 8 40 26 20 16

40MB 8 5 4 3.30 16 10 8 7

20MB 4 3 2 1.42 8 6 4 3.24

10MB 2 1.18 1 51

secs

4 2.36 2 1.42

5MB 1 38

secs

2 1.16 1 52

secs

1MB 12

secs

7 secs 6 secs 5 secs 24

secs

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

Choosing a hard disk

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

speciﬁcations should be checked ﬁrst.

SCSI

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

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

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

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

termination”.

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

• Allocate each device its own SCSI ID number.

• Terminate the SCSI bus correctly.

• Use quality cables and keep the length down.

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

securely.

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

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

Specification Check Notes

Is it compatible with your computer?

Maybe it is advertised as compatible, or your

dealer recommends it.

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

Are the SCSI connectors 25-pin

D-SUB, or 50-way Amphenol?

Macintosh computers are fitted with a 25-pin

D-SUB connector, while most other SCSI devices

have a 50-way Amphenol connector.

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

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

Macintosh you only need 0 ~ 6)

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

which case you may have to rearrange the ID

numbers of some other SCSI devices in the

chain.

Does it have internal or external

termination?

External terminators are normally connected to

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

internal terminator, make sure it can be switched

off so that any device can be positioned at the

end of the SCSI daisy chain.

Access Time?

Measured in milliseconds, this is an indication of

how fast data from different areas of the disk can

be retrieved. The maximum we recommend is

30ms. An access time slower than this may affect

the performance of the CBX-D5.

Data Transfer Rate?

Usually measured in Megabits per second

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

to and read from the hard disk. The minimum we

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

this may affect the performance of the CBX-D5.

NOTE:

Switch off all your equipment before making any SCSI connections.

SCSI cables 15SCSI cables 15SCSI cables 15

SCSI cables

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

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

correct for your application.

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

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

Computer connection

Apple Macintosh

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

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

Macintosh hard disk drive.

Atari ST/STE

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

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

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

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

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

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

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

purely for recording CBX-D5 sound ﬁles.

Atari TT

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

directly.

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

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

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

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

termination power that is required by the SCSI bus.

IBM PC/AT compatible

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

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

NOTE:

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

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

HARD

DISK 1

CBX-D5HARD

DISK 2

SCSI SCSISCSI

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

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

SCSI ID setting

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

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

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

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

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

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

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

particular SCSI device.

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

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

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

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

IDs for any other SCSI device.

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

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

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

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

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

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

HARD

DISK 1

CBX-D5HARD

DISK 2

SCSI SCSISCSI

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

HARD

DISK 3

SCSI

DEVICE

SCSI

ID No. 4ID No. 5

SCSI

DEVICE

SCSI

ID No. 6

This device is

terminated

SCSI

Adaptor

HARD

DISK 2

HARD

DISK 1

SCSI SCSI

ID No. 0 ID No. 1

ID No. 2

HARD

DISK 3

SCSI

HARD

DISK 4

SCSI

ID No. 3ID No. 6

CBX-D5

SCSI

This device is

terminated

ATARI

ST/STE

19-pin

DSUB

HARD

DISK 1

HARD

DISK 2

HARD

DISK 1

SCSI SCSI

(internal hard disk

set to SCSI ID 0)

ID No. 1 ID No. 2

HARD

DISK 3

SCSI

HARD

DISK 4

SCSI

ID No. 3

ID No. 6

CBX-D5

SCSI

This device is

terminated

ATARI

SCSI

ID No. 4ID No. 5

SCSI termination 17SCSI termination 17SCSI termination 17

SCSI termination

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

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

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

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

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

last device in the chain.

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

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

type terminator and this can be connected as shown below.

NOTE:

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

including data corruption, system crashes, and intermittent glitches can

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

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

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

devices in a different order.

Terminate

this device

HARD

DISK 1

CBX-D5HARD

DISK 2

SCSI SCSISCSI

To the next

SCSI device

CBX-D5 (Top view)

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

connected in the daisy chain, so the SCSI

terminator is connected as shown)

SCSI PLUG SCSI

TERMINATOR

HARD DISK 2

SCSI PLUGSCSI PLUG

SCSI CABLE

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

6 Working with Hard Disks

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

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

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

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

boot-up, due to it not being formatted.

Formatting

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

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

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

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

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

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

disk drives” section of your computer manual.

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

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

Sound file management

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

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

commands that you would use for your other computer ﬁles.

Sound file backup

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

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

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

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

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

650MB.

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

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

Computer utilities

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

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

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

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

damage.

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

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

“real-time data compressor”?

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

Hard disk fragmentation

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

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

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

a continuous series of sectors as shown below.

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

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

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

data read rate and making the disk drive work harder.

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

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

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

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

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

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

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

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

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

recordings.

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

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

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

Hard disk partitioning

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

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

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

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

NOTE:

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

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

that is limited.

SECTOR

TRACK

FILE 1 FILE 2 FILE 3

SECTORS

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

Space previously

occupied b

file 2

FILE 5 has been

split – fragmented.

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

7 Recording

Sampling frequency (REC FREQ)

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

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

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

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

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

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

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

48kHz

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

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

44.1kHz

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

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

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

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

sampling frequency.

32kHz

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

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

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

frequency, although, some may also use 48kHz.

22.05kHz

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

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

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

recording already has a limited bandwidth it may be useful.

Which sampling frequency?

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

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

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

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

not the playback frequency.

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

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

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

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

Varispeed

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

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

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

used for recording, varispeed digital audio can be recorded.

NOTE:

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

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

recommend it.

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

Digital input levels

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

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

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

of digital audio signals between equipment.

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

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

Setting the analog input level

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

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

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

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

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

described below.

Input level meters

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

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

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

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

setting the recording level.

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

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

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

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

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

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

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

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

Headphone monitoring

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

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

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

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

channels 2 and 4 in the right speaker.

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

Channel 1

Channel 2

Channel 3 Channel 4

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

Digital audio data containing SCMS

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

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

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

cannot enter record mode, making digital tape duplication impossible.

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

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

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

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

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

outputs will be unaffected.

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

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

Digital audio data with emphasis

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

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

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

prerecorded disc or tape with emphasis was played back.

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

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

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

above 3.5kHz will be noticeable.

20-bit digital audio

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

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

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

20-bit recording.

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

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

Signiﬁcant Bit) will be chopped off.

NOTE:

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

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

Playback 23Playback 23Playback 23

8 Playback

Playback frequency (PB FREQ)

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

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

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

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

and to the analog outputs after analog to digital conversion.

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

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

FREQ indicators show the selection.

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

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

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

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

Output level meters

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

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

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

Sound file playback compatibility

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

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

Sound Designer

Sound Designer II (mono and stereo)

Audio IFF (Interchange File Format)

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

4-channel interleave ﬁles can be played back only.

NOTE:

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

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

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

MONO FILE

DATA

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

STEREO 2-CHANNEL

INTERLEAVE FILE DATA

4-CHANNEL INTERLEAVE

FILE DATA

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

Sound file regions

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

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

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

REGIONS A & B CAN BE

PLAYED SIMULTANEOUSLY

REGION B

REGION A

SOUND FILE

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

9 Converting the Sampling Frequency & Digital

Audio Format in Real Time

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

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

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

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

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

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

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

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

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

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

digital audio data at 44.1kHz.

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

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

diagram below shows the conversion possibilities.

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

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

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

NOTE:

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

CBX-D5 and will be output unchanged.

CBX-D5

AES/EBU

48, 44.1, 32kHz

CD/DAT (SPDIF)

48, 44.1, 32kHz

AES/EBU

48, 44.1kHz

CD/DAT (SPDIF)

48, 44.1kHz

AES/EBU OUT

CBX-D5

(48 to 44.1kHz)

DAT

RECORDER

No.2 (44.1kHz)

AES/EBU IN

DAT

RECORDER

No.1 (48kHz)

CD/DAT IN

S/PDIF OUT

REC FREQ = 48kHz

PB FREQ = 44.1kHz

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

10 Inputs & Outputs Explained

ANALOG IN

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

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

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

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

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

CBX-D5.

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

XLR to XLR cable

XLR to phone jack cable

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

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

ANALOG OUT

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

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

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

recorder, DAT recorder, etc.

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

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

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

XLR plug as shown in the illustration.

NOTE:

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

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

3-PIN MALE

XLR PLUG

PIN 1

PIN 3

PIN 2

PIN 1

PIN 3

PIN 2

3-PIN FEMALE

XLR LINE

SOCKET

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

XLR PLUG

SLEEVE

TIP

PIN 1

PIN 3

PIN 2

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

AES/EBU IN 1/2

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

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

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

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

mainly on professional digital audio equipment.

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

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

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

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

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

AES/EBU OUT 1/2, 3/4

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

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

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

digital audio equipment.

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

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

CD/DAT IN

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

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

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

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

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

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

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

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

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

wherever possible they should be used.

CD/DAT OUT

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

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

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

D/A, A/D audio data conversions.

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

NOTE:

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

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

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

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

outputs.

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

Y2 IN

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

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

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

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

DMP series of Digital Mixers.

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

Y2 OUT

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

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

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

listed above.

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

WORD CLK IN/OUT

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

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

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

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

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

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

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

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

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

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

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

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

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

NOTE:

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

required.

NOTE:

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

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

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

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

transfer and eliminate any chance of data errors.

NOTE:

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

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

the recording sampling frequency.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

WORD CLOCK

SOURCE

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

AES/EBU Input

Outputs a word clock signal at the internal clock rate

(REC FREQ).

N/C

CD/DAT Input

Outputs a word clock signal at the internal clock rate

(REC FREQ).

N/C

Y2 Input

Outputs a word clock signal at the internal clock rate

(REC FREQ).

N/C

Internal Clock

Outputs a word clock signal at the internal clock rate

(REC FREQ).

N/C

WORD CLK IN

Outputs a word clock signal at the same rate as the

word clock at the WORD CLK IN.

Receives the external word

clock

WORD

CLK OUT

AES/EBU 1/2 OUT

CBX-D5

DMC1000

DIGITAL MIXER

WORDCLOCK SLAVE

(WORD CLK IN)

WORDCLOCK SLAVE

(wordclock sourced from

the WORD CLK IN

connectionl)

AES/EBU IN

WORD CLK IN

AES/EBU IN

AES/EBU 3/4 OUT

DRU8 DIGITAL

RECORDER

A Yamaha format connection

that can carry up to 8 digital

signals

WORDCLOCK MASTER

(Internal clock source)

WORD

CLK IN

CBX-D5

(synced to

AES/EBU input)

DIGITAL MIXER

(synced to

AES/EBU inputs)

AES/EBU

DAT No. 2

(synced to external

wordclock)

DAT No. 1

(no wordclock

connections)

AES/EBU

WORD CLOCK

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

11 TO HOST connection

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

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

built-in or external MIDI interface.

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

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

MIDI

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

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

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

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

used with this type of connection.

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

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

connecting cables” on page 33.

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

Connection Function

TO HOST

RECEIVE No function.

SEND No function.

MIDI IN MIDI data is input and processed.

MIDI OUT System Exclusive data is output.

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

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

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

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

MIDI

OTHER MIDI

DEVICES

CBX-D5

MIDI INMIDI THRUMIDI IN

MIDI OUT

MIDI IN

HARD

DISK

SCSI

Mac 31Mac 31Mac 31

Mac

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

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

Mac's serial (RS-422) ports.

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

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

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

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

4) Start the Apple Mac music software.

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

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

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

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

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

Connection Function Details

TO HOST

RECEIVE

MIDI data is input, processed, then fed to

the MIDI OUT port.

Synchronized. Data format: 8 bit, 1 stop

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

serial ports' HSKi data pin.

SEND

MIDI data received at the MIDI IN port is

output.

When the CBX-D5 is transmitting its Bulk

Dump data to the host computer, data

from the MIDI IN port is not sent to the host

computer. Any MIDI data received while a

Bulk Dump is in progress will be ignored.

MIDI IN

MIDI data received is output to the TO

HOST SEND.

The CBX-D5 does not respond to the MIDI

data appearing at the MIDI IN port, but to

the MIDI data from TO HOST RECEIVE.

MIDI OUT

MIDI data received at the TO HOST

RECEIVE is output.

MIDI THRU

MIDI data appearing at the MIDI IN port is

fed directly to the MIDI THRU.

MIDI

THRU ON

SERIAL

PORT

TO HOST

MIDI

OTHER MIDI

DEVICES

CBX-D5

MIDI INMIDI OUTMIDI IN

HARD

DISK

SCSI

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

PC-1

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

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

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

PC-2

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

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

the computers serial (RS-232C) port.

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

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

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

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

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

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

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

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

4) Start the computer music software.

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

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

Connection Function Details

TO HOST

RECEIVE

MIDI data is input, processed, then fed to

the MIDI OUT port.

Synchronized. Data format: 8 bit, 1 stop

bit, no parity.

SEND

MIDI data received at the MIDI IN port is

output.

When the CBX-D5 is transmitting its Bulk

Dump data to the host computer, data

from the MIDI IN port is not sent to the host

computer. Any MIDI data received while a

Bulk Dump is in progress will be ignored.

MIDI IN

MIDI data received is output to the TO

HOST SEND.

The CBX-D5 does not respond to the MIDI

data appearing at the MIDI IN port, but to

the MIDI data from TO HOST RECEIVE.

MIDI OUT

MIDI data received at the TO HOST

RECEIVE is output.

MIDI THRU

MIDI data appearing at the MIDI IN port is

fed directly to the MIDI THRU.

MIDI

THRU

SERIAL

PORT

TO HOST

MIDI

OTHER MIDI

DEVICES

CBX-D5

MIDI INMIDI OUTMIDI IN

HARD

DISK

SCSI

CARD

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

TO HOST computer connecting cables

MIDI

Standard MIDI cable. Maximum length 15 meters.

Mac

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

PC-1

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

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

PC-2

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

DIN 5-PINDIN 5-PIN

(GND)

MINI DIN

8-PIN

MINI DIN

8-PIN

(HSK o)

(RxD -)

(HSK i)

(GND)

(TxD -)

RxD +)

(GP i)

(TxD +)

D-SUB

MINI DIN

(TxD)

(GND)

(RxD)

(RTS)

(CTS)

(TxD)

(GND)

(RxD)

(RTS)

(CTS)

D-SUB

9-PIN

MINI DIN

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

12 Glossary

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

used to convert analog audio signals into PCM (Pulse Code

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

Σ modulation A/D converters.

Access time: Measured in milliseconds, this is an

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

can be accessed.

AES/EBU: A digital interface format established by the

AES (Audio Engineering Society) and EBU (European

Broadcasting Union) that is used to transfer digital audio

data between professional digital audio equipment. Two

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

connection, usually an XLR type connection.

Audio IFF: (Audio Interchange File Format) A type of

sound ﬁle that is used by various Apple Macintosh based

digital audio devices. It is recommended by Apple

Computer, Inc.

Byte: A digital “word” containing 8 bits. A CBX-D5 digital

audio word contains 16 bits.

CD/DAT: See S/PDIF.

Cubase Audio: An integrated MIDI sequencer, digital

audio recording and editing program that can be used to

control the CBX-D5 via an Atari ST/STE or TT computer.

D/A converter: (Digital to Analog converter) The opposite

of an A/D converter, this device is used to convert PCM

digital audio data into an analog audio signal. The CBX-D5

uses 18-bit 8-times oversampling D/A converters.

Delta Sigma coding (∆ Σ): A digital audio coding format

that greatly improves a digital audio system’s performance

by using a very high sampling frequency and a 1-bit

resolution.

DEQ: (Digital Equalizer) An IC (Integrated Circuit)

designed speciﬁcally for equalizing digital audio data. The

CBX-D5’s DEQ IC is made by Yamaha.

Destructive editing: Editing an original recording that

cannot be recovered if you make a bad edit. For example,

razor blade editing a tape.

Digital Performer: An integrated MIDI sequencer, digital

audio recording and editing program that can be used to

control the CBX-D5 via an Apple Macintosh computer.

DMA: (Direct Memory Access) The ability to transfer data

to and from a system’s RAM without involving the CPU.

The Atari ST/STE computer has a DMA port.

DMA to SCSI Controller II: A hardware device made

by Steinberg that allows the connection of SCSI devices to

the DMA port of an Atari ST or STE.

DSP: (Digital Signal Processor) An IC (Integrated Circuit)

designed speciﬁcally for digital audio data processing. The

CBX-D5 uses the same Yamaha DSP IC as those used in

the SPX900 Multi-effect Processor and the DMR8 Digital

Mixer/Recorder.

Emphasis: Before A/D conversion a 6dB/octave boost

starting at 3.5kHz is applied to the audio signal. During D/A

conversion the emphasis is automatically detected by the

replay device and de-emphasis is applied.

Fragmentation: When a ﬁle is split into sections and

stored in different areas of a hard disk, i.e., in an

uncontinuous series of sectors.

Host connection: Used to connect the CBX-D5 to a

computer that does not have a MIDI interface. Connection

is made directly to one of the computer’s serial ports.

Mark of the Unicorn Digital Performer: A program

that integrates MIDI sequencing, digital audio recording and

editing and can be used to control the CBX-D5 via an Apple

Macintosh computer.

MIDI: (Musical Instrument Digital Interface) MIDI

allows electronic musical instruments to communicate with

each other.

MTC: (MIDI Timecode) The transmission of SMPTE

timecode via MIDI.

Nondestructive editing: As opposed to editing analog

tape, which is a once only – get it right ﬁrst time or else

procedure, hard disk recording allows nondestructive

editing. This means when you edit, you don’t actually edit

the sound ﬁle, you edit information that tells the CBX-D5

how to play the sound ﬁle. So if you make an accidental cut

or split, all is not lost because you still have the original

sound ﬁle.

Nyquist frequency: The audio frequency at which very

sharp low pass ﬁltering is applied to an analog signal before

A/D conversion. The nyquist theorem states that the

sampling frequency of a digital audio system must be at least

twice that of the highest audio frequency, otherwise severe

distortion called aliasing will occur.

Oversampling: A technique used to improve the noise and

distortion performance of a digital audio system by

increasing the effective sampling frequency so that the

nyquist frequency is set much higher than the highest audio

frequency.

PCM: (Pulse code modulation) The type of coding used to

represent analog audio as a series of pulses. The amplitude

of each pulse is stored as a binary word. The CBX-D5 uses

16-bit binary words.

Region: A section of a sound ﬁle that can be handled as an

independent piece of sound data, but is in fact identiﬁed

using start and end pointers to a region of a sound ﬁle

RS-232C: A serial communication protocol used on PC

compatible and Atari ST/STE computers, usually a 9- or

25-pin D-SUB type connector.

Glossary 35Glossary 35Glossary 35

RS-422: A balanced serial communication protocol used on

Macintosh computers, usually an 8-pin mini DIN connector.

Sampling frequency: The number of times per second

that sample measurements of an analog audio signal are

taken during A/D conversion. Typical sampling frequencies

are 32kHz, 44.1kHz, and 48kHz.

SCMS: (Serial Copy Management System) A protection

code designed to stop illegal digital copying of audio

material. When a consumer type DAT recorder receives a

digital input signal that contains SCMS, it cannot enter

record mode, so digital copying is impossible.

Serial port: A computer connection that can receive and

transmit computer data serially (RS-232C or RS-422).

SCSI: (Small Computer Systems Interface) Pronounced

Scuzzy, it is a connection format used for connecting

peripheral devices such as hard disks, printers, scanners, etc.,

to a computer. Up to eight SCSI devices can be connected

together in a daisy chain, with the controlling computer

connected at the end of the chain. See “SCSI” on page 3.

SCSI ID: The identifying address number allocated to each

device in a SCSI daisy chain. IDs from 0 to 7 are available.

See “SCSI ID setting” on page 16.

SCSI terminator: A device connected at the end of a

SCSI daisy chain to stabilize the SCSI bus. See “SCSI

termination” on page 17.

SMPTE timecode: A bi-phase code used to synchronize

audio and video equipment by communicating hours,

minutes, seconds, and frame information.

Sound ﬁle: A type of computer ﬁle that contains digital

audio data.

Soundbite: A term used by Mark of the Unicorn’s Digital

Performer software to describe a section of a sound ﬁle that

can be handled as an independent piece of sound data, but is

in fact identiﬁed using start and end pointers to a region of a

sound ﬁle.

Sound Designer ﬁles: A type of sound ﬁle that is used by

various Apple Macintosh and Digi Design digital audio

devices. There are two types of ﬁle: I & II.

S/PDIF: (Sony/Philips Digital Interface Format) A digital

interface format established by Sony and Philips that is used

to transfer digital audio data between consumer type digital

audio equipment such as CD players, consumer DAT

recorders, and the new DCC recorders. Two channels of

digital audio (left & right) are carried in one connection,

usually a phono/RCA jack type connection. On the CBX-D5

this format is referred to as CD/DAT.

Steinberg Cubase Audio: A program that integrates

MIDI sequencing, digital audio recording, and editing and

can be used to control the CBX-D5 via an Atari ST/STE or

TT type computer.

Time slip: The ability to move individual segments of

audio data relative to time.

Transfer rate: Usually measured in Megabits per second

(Mbit/s), this shows how fast data can be written to and read

from a hard disk.

Word clock: A clock signal that is used to synchronize the

data processing circuits of all devices connected in a digital

audio system. See “Word clock” on page 4.

Y2: A digital interface format developed by Yamaha that is

used to transfer digital audio data between Yamaha’s

professional digital audio equipment. Two channels of

digital audio (left & right) are carried in one connection,

usually an 8-pin DIN type connection. See “Y2 format” on

page 3.

Further reading 35

Glossary 34

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

ID, SCSI setting 16

Input level meters 21

Installation 2

Introduction 1

MIDI

IN, OUT, THRU 12

To Host 30

Output level meters 23

Partitioning hard disks 19

PB FREQ 23

PC/AT

hard disks 15

Playback 23

Rear panel, an explanation 10

REC FREQ

choosing 20

what is it? 4

Recording 20

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

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

Unpacking 2

Varispeed 20

Warnings 2

Welcome 1

Word clock

input and output 28

setup examples 28

XLR to phone jack cable 26

XLR to XLR input cable 26

Y2 format

input 28

output 28

Y2 format, what is it? 3

11Add-1

Appendix

Preset Effects

* Aural Exciter is a registered trademark and manufactured

under license from Aphex Systems Ltd.

Effect Name Category Effect Name Category

0 Orchestra Hall S:Rev Hall 47 Stadium C:Echo->Rev

1 Concert Hall 48 Delay L,R->Rev C:Delay L,R->Rev

2 Warm Hall 49 Flange->Rev C:Flange->Rev

3 Vocal Hall 50 Gtr Cho Reverb C:Chorus->Rev

4 Vocal Large Hall 51 Sympho->Rev C:Sympho->Rev

5 Vocal Small Hall 52 Phaser->Rev C:Phaser->Rev

6 Large Room S:Rev Room 53 Aural Exc->Rev C:Aural Exc->Rev

7 Bright Small Room 54 Dist->Rev C:Dist->Rev

8 Backing Vocal Tight Room 55 Dist->Dly L,R C:Dist->Dly L,R

9 Smooth Room 56 Dist->Echo C:Dist->Echo

10 Small Vocal Room 57 High Cut Reverb C:EQ->Rev

11 Slap Room 58 EQ Mid Reverb

12 Vocal Stage S:Rev Stage 59 Sparkling Reverb

13 Vocal Club 60 Mid Delay C:EQ->Dly L,R

14 Female Vocal Club 61 Deep Echo C:EQ->Echo

15 Sax Stage 62 EQ->Flange C:EQ->Flange

16 Vocal Plate S:Rev Plate 63 Bass Chorus C:EQ->Chorus

17 Percussion Plate 64 Elec Guitar EQ/Sympho C:EQ->Symphonic

18 Big Plate 65 Warm Phase C:EQ->Phaser

19 Distant Plate 66 St.Flange->Dly LR C:St.Flange->Dly LR

20 Stone Room S:Rev White Room 67 St.Chorus->Dly LR C:St.Chorus->Dly LR

21 Cathedral 68 Symph->Dly LR C:Symph->Dly LR

22 Dark Church S:Rev Tunnel 69 St.Phasing->Dly LR C:St.Phasing->Dly LR

23 Tunnel 70 Hall & Plate D:Hall & Plate

24 Cavern S:Rev Canyon 71 Echo & Rev D:Echo & Rev

25 Soft Caynon 72 Delay & Rev D:Delay & Rev

26 Alhambra Guitar S:Rev Basement 73 Flange & Chorus D:Flange & Chorus

27 Small Cellar 74 Flange & Sympho D:Flange & Sympho

28 Drum Room

75 Sympho & Chorus D:Sympho & Chorus

29 Bathroom Vocals 76 Flange & Rev D:Flange & Rev

30 Early Ref Vocal S:Early Ref. 77 Chorus & Rev D:Chorus & Rev

31 Early Ref Special Effect 78 Sympho & Rev D:Sympho & Rev

32 Early Ref Hall 79 Flange & Dly LR D:Flange & Dly LR

33 Early Ref Slap Plate 80 Chorus & Dly LR D:Chorus & Dly LR

34 Early Ref Spring Vocal 81 Sympho & Dly LR D:Sympho & Dly LR

35 Early Ref Reverse Vocal

36 Gate Reverb S:Gate Reverb The letter at the beginning of the "Category"

indicates the Effect Mode.

37 Reverse Gate S:Reverse Gate

38 Delay L,R S:Delay L,R S:Single

39 Vocal Multi Delay S:Delay L,C,R C:Cascade

40 Stereo Echo S:Stereo Echo D:Dual

41 Subtle Pitch Change S:Pitch Change

42 Wide Guitar

43 Multi Pitch Delay

44 Aural Exciter S:Aural Exciter

45 Rotary Speaker S:Rotary Speaker

46 Ring Modulator S:Ring Modulator

2 Chapter : 2 Chapter : Add-2

DSP/DEQ/DMIX Block Diagram

33Add-3

Preset effects parameter values

Effect Name

Parameter Number

No. 1234567891011121314

0 Orchestra Hall 19 8 10 319 199 4 60 8 6 20 0

1 Concert Hall 23 8 10 639 479 4 75 8 6 20 0

2 Warm Hall 17 1 10 149 299 4 80 9 3 17 0

3 Vocal Hall 21 1 10 99 239 3 75 8 7 20 6

4 Vocal Large Hall 34 4 8 239 319 2 55 8 6 18 0

5 Vocal Small Hall 19 2 7 119 239 4 64 8 6 18 6

6 Large Room 11 6 9 159 999 4 52 6 7 24 0

7 Bright Small Room 9 7 6 199 249 4 64 6 9 24 12

8 Backing Vocal Tight Room 9 5 8 319 499 4 86 8 8 22 0

9 Smooth Room 5 2 6 319 239 4 72 7 6 20 0

10 Small Vocal Room 9 3 5 159 249 4 60 8 8 17 0

11 Slap Room 3 3 8 332 399 3 40 9 4 18 19

12 Vocal Stage 13 5 10 479 319 4 72 10 6 22 7

13 Vocal Club 15 3 9 319 179 4 40 9 6 16 0

14 Female Vocal Club 13 3 8 319 199 4 70 10 5 22 10

15 Sax Stage 13 6 8 79 0 4 65 8 6 24 0

16 Vocal Plate 15 5 10 479 199 4 72 8 8 22 0

17 Percussion Plate 11 7 5 639 319 4 64 6 9 23 13

18 Big Plate 33 3 7 101 304 4 33 8 4 16 0

19 Distant Plate 17 3 10 99 913 4 25 8 9 25 0

20 Stone Room 9 5 4 99 29 15 11 30 7 20 99 4 60 0

21 Cathedral 33 7 10 639 98 99 93 4 0 20 299 4 30 2

22 Dark Church 19 3 10 299 84 58 73 20 0 17 199 4 40 0

23 Tunnel 31 4 2 299 68 9 103 4 0 22 299 4 10 2

24 Cavern 25 5 10 639 40 60 66 10 0 24 399 4 70 2

25 Soft Caynon 24 4 10 1109 74 55 41 20 21 10 399 4 70 2

26 Alhambra Guitar 21 8 10 79 72 79 103 4 0 23 499 4 70 1

27 Small Cellar 9 3 5 79 22 18 38 26 0 22 199 4 70 1

28 Drum Room 17 4 9 79 18 29 38 28 3 24 199 4 70 1

29 Bathroom Vocals 5 8 3 79 32 15 31 6 6 22 99 4 70 1

30 Early Ref Vocal 2 14 10 10 379 9 2499 111 0 13

31 Early Ref Special Effect 3 159 10 10 639 18 7999 100 0 23

32 Early Ref Hall 1 27 8 8 199 1 459 108 0 22

33 Early Ref Slap Plate 4 15 10 10 299 6 2399 105 7 23

34 Early Ref Spring Vocal 5 15 6 8 239 13 239 123 0 22

35 Early Ref Reverse Vocal 3 27 10 10 1999 18 3999 119 0 23

36 Gate Reverb 0 21 5 10 49 12 199 99 0 16

37 Reverse Gate 1 21 10 10 399 18 3999 109 0 24

38 Delay L,R 9999 9999 9999 9999 109 4 3 0 22

39 Vocal Multi Delay 8999 13499 4499 6749 8999 124 8 8 0 24

40 Stereo Echo 4998 4998 124 4999 4999 124 9 9 0 24

41 Subtle Pitch Change 24 108 179 108 100 24 88 319 100 100

42 Wide Guitar 24 111 299 99 24 89 399 100

43 Multi Pitch Delay 24 92 359 24 106 3999 24 112 7999

44 Aural Exciter

 0 80 75 579

45 Rotary Speaker 74 48 40 49 1 8 7

46 Ring Modulator 20 28 100 96 5 8

47 Stadium 3199 119 1599 119 43 1 45 70 0 15

48 Delay L,R->Rev 474 6399 107 9 11 8 78 75 0 22

49 Flange->Rev 13 90 11 75 17 7 399 20 0 24

50 Gtr Cho Reverb 16 56 40 20 2 148 15 0 15

51 Sympho->Rev 13 45 13 6 499 20 0 22

4 Chapter : 4 Chapter : Add-4

* Aural Exciter is a registered trademark and manufactured

under license from Aphex Systems Ltd.

52 Phaser->Rev 24 100 32 9 3 239 24 0 18

53 Aural Exc->Rev 1 62 72 9 0 10 219 20 24 15

54 Dist->Rev 66 6979135940019

55 Dist->Dly L,R 75 3 0 9 9030 3008 129 40 0 21

56 Dist->Echo 80 3 11 8 2999 3199 84 50 0 20

57 High Cut Reverb 98941133579640403104

58 EQ Mid Reverb 15 988812626570403106

59 Sparkling Reverb 11 4 14 7 13 9 14 421 26 35 3 8 9

60 Mid Delay 14 8589112806 5628 100 40

61 Deep Echo 10 12 66764799 4999 67 29

62 EQ->Flange 11 87577113572100

63 Bass Chorus 10 98687285030100

64 Elec Guitar EQ/Sympho 7 8 10 10 3 9 14 69 100

65 Warm Phase 11 983892810045100

66 St.Flange->Dly LR 8 86 11 80 4149 4299 4149 4299 123 100

67 St.Chorus->Dly LR 17 70 60 4149 4299 4149 4299 126 40

68 Symph->Dly LR 15 80 3405 4299 4299 4149 122 40

69 St.Phasing->Dly LR 11 100 45 3718 2081 7999 3988 119 40

70 Hall & Plate 29 2 7 663 15 9 7 8 897 17

71 Echo & Rev 3199 2999 74 19 2 10 299 78 3 15

72 Delay & Rev 4799 4949 79 30 6 7 599 40 24 15

73 Flange & Chorus 6 68 18 80 18 75 45

74 Flange & Sympho 16 45 40 85 19 75

75 Sympho & Chorus 19 75 18 75 45

76 Flange & Rev 7 70 13 90 15 3 7 249 6 16

77 Chorus & Rev 27 80 55 30 2 6 449 0 20

78 Sympho & Rev 32 70 10 2 10 726 22 25

79 Flange & Dly LR 15 50 27 80 3749 1559 3530 7079 133 24

80 Chorus & Dly LR 29 60 50 4149 4299 4149 4299 113 24

81 Sympho & Dly LR 29 80 2499 3749 4999 5099 133 25

Effect Name

Parameter Number

No. 1234567891011121314

55Add-5

Data-Value Assign Table

Table 1

Rev Time

Table 2

LPF

Table 3

HPF1

Data Value (sec) Data Value (sec) Data Value (KHz) Data Value (Hz)

0 0.3 40 4.3 0 1.0 0 Thru

1 0.4 41 4.4 1 1.1 1 32

2 0.5 42 4.5 2 1.2 2 35

3 0.6 43 4.6 3 1.4 3 40

4 0.7 44 4.7 4 1.6 4 45

5 0.8 45 4.8 5 1.8 5 50

6 0.9 46 4.9 6 2.0 6 56

7 1.0 47 5.0 7 2.2 7 63

8 1.1 48 5.5 8 2.5 8 70

9 1.2 49 6.0 9 2.8 9 80

10 1.3 50 6.5 10 3.2 10 90

11 1.4 51 7.0 11 3.6 11 100

12 1.5 52 7.5 12 4.0 12 110

13 1.6 53 8.0 13 4.5 13 125

14 1.7 54 8.5 14 5.0 14 140

15 1.8 55 9.0 15 5.6 15 160

16 1.9 56 9.5 16 6.3 16 180

17 2.0 57 10.0 17 7.0 17 200

18 2.1 58 11.0 18 8.0 18 220

19 2.2 59 12.0 19 9.0 19 250

20 2.3 60 13.0 20 10.0 20 280

21 2.4 61 14.0 21 11.0 21 315

22 2.5 62 15.0 22 12.0 22 355

23 2.6 63 16.0 23 14.0 23 400

24 2.7 64 17.0 24 16.0 24 450

25 2.8 65 18.0 25 Thru 25 500

26 2.9 66 19.0 26 560

27 3.0 67 20.0 27 630

28 3.1 68 25.0 28 700

29 3.2 69 30.0 29 800

30 3.3 30 900

31 3.4 31 1000

32 3.5

33 3.6

34 3.7

35 3.8

36 3.9

37 4.0

38 4.1

39 4.2

6 Chapter : 6 Chapter : Add-6

Data-Value Assign Table

Table 4

HPF2

Table 5

Low Shelving

Table 6

Mid Presence

Table 7

High Shelving

Data Value (Hz) Data Value (Hz) Data Value (Hz) Data Value (Hz)

0 500 0 32 0 315 0 500

1 630 1 40 1 400 1 630

2 800 2 50 2 500 2 800

3 1000 3 63 3 630 3 1000

4 1200 4 80 4 800 4 1200

5 1600 5 100 5 900 5 1600

6 2000 6 125 6 1000 6 2000

7 2500 7 160 7 1200 7 2500

8 3200 8 200 8 1600 8 3200

9 4000 9 250 9 2000 9 4000

10 5000 10 315 10 2500 10 5000

11 6300 11 400 11 3200 11 6300

12 8000 12 500 12 4000 12 8000

13 10000 13 630 13 5000 13 10000

14 12000 14 800 14 6300 14 12000

15 16000 15 1000 15 16000

16 1200

17 1600

18 2000

77Add-7

Data-Value Assign Table

Table 8

Length

Table 9

Trans Time

Data

Value (m)

Data

Value (m)

Data

Value (m)

Data

Value (ms)

Data

Value (ms)

0 0.5 40 11.2 80 22.7 0 2 40 3100

1 0.8 41 11.5 81 23.0 1 3 41 3600

2 1.0 42 11.8 82 23.3 2 4 42 4400

3 1.3 43 12.1 83 23.6 3 5 43 5400

4 1.5 44 12.3 84 23.9 4 6 44 6200

5 1.8 45 12.6 85 24.2 5 7 45 7200

6 2.0 46 12.9 86 24.5 6 8 46 8700

7 2.3 47 13.1 87 24.9 7 11 47 11000

8 2.6 48 13.4 88 25.2 8 12 48 12500

9 2.8 49 13.7 89 25.5 9 14 49 14500

10 3.1 50 14.0 90 25.8 10 17 50 17500

11 3.6 51 14.2 91 26.1 11 21 51 22000

12 3.9 52 14.5 92 26.5 12 24

13 4.1 53 14.8 93 26.8 13 28

14 4.4 54 15.1 94 27.1 14 34

15 4.6 55 15.4 95 27.5 15 43

16 4.9 56 15.6 96 27.8 16 49

17 5.2 57 15.9 97 28.1 17 57

18 5.4 58 16.2 98 28.5 18 68

19 5.7 59 16.5 99 28.8 19 85

20 5.9 60 16.8 100 29.2 20 97

21 6.2 61 17.1 101 29.5 21 114

22 6.5 62 17.3 102 29.9 22 137

23 6.7 63 17.6 103 30.2 23 170

24 7.0 64 17.9 24 195

25 7.2 65 18.2 25 230

26 7.5 66 18.5 26 280

27 7.8 67 18.8 27 340

28 8.0 68 19.1 28 390

29 8.3 69 19.4 29 450

30 8.6 70 19.7 30 550

31 8.8 71 20.0 31 680

32 9.1 72 20.2 32 780

33 9.4 73 20.5 33 910

34 9.6 74 20.8 34 1100

35 9.9 75 21.1 35 1400

36 10.2 76 21.4 36 1600

37 10.4 77 21.7 37 1800

38 10.7 78 22.0 38 2200

39 11.0 79 22.4 39 2700

8 Chapter : 8 Chapter : Add-8

Effect parameters

Type 0:Orchestra Hall ~ 19:Distant Plate

(Reverb Type)

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Reverb Time sec 0.3 30.0 Table #1 69

2 High - 0.1 1.0 0.1 9

3 Diffusion - 0 10 1 10

4 Initial Delay ms 0.1 200.0 0.1 1999

5 Reverb Delay ms 0.1 200.0 0.1 1999

6 Density - 0414

7 ER/Rev Balance % 0 100 1 100

8 Low Gain dB -12 12 2 12

9 High Gain dB -12 12 2 12

10 LPF KHz 1 Thru Table #2 25

11 HPF Hz Thru 1000 Table #3 31

Type 20:Stone Room ~ 29:Bathroom Vocal

(Room Simulation Type)

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int. Local

Table 1

1 Reverb Time sec 0.3 30.0 Table #1 69 Data Value

2 High - 0.1 1.0 0.1 9

3 Diffusion - 0 10 1 10 0 Front

4 Initial Delay ms 0.1 200.0 0.1 1999 1 Center

5 Width m 0.5 30.2 Table #8 103 2 Rear

6 Height m 0.5 30.2 Table #8 103

7 Depth m 0.5 30.2 Table #8 103

8 Wall Vary - 0 30 1 30

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

11 Reverb Delay ms 0.1 200.0 0.1 1999

12 Density - 0414

13 ER/Rev Balance % 0 100 1 100

14 Listening Position - Front Rear LocalTab 1 2

99Add-9

Type 30:Early Ref Vocal ~ 35:Early Ref Reverse Vocal

(Early Reﬂection Type)

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int. Local

Table 1

1 Type sec S-Hall Spring LocalTab

5 Data Value

2 Room Size - 0.1 20.0 0.1 199

3 Liveness - 0 10 1 10 0 S-Hall

4 Diffusion - 0 10 1 10 1 L-Hall

5 Initial Delay ms 0.1 400.0 0.1 3999 2 Random

6 ER Number - 1 19 1 18 3 Reverse

7 Feedback Delay ms 0.1 800.0 0.1 7999 4 Plate

8 Feedback Gain % -99 99 1 198 5 Spring

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

Type 36:Gate Reverb ~ 37:Reverse Gate

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int. Local

Table 1

1 Type sec Type-A Type-B LocalTab

1 Data Value

2 Room Size - 0.1 20.0 0.1 199

3 Liveness - 0 10 1 10 0 Type-A

4 Diffusion - 0 10 1 10 1 Type-B

5 Initial Delay ms 0.1 400.0 0.1 3999

6 ER Number - 1 19 1 18

7 Feedback Delay ms 0.1 800.0 0.1 7999

8 Feedback Gain % -99 99 1 198

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

Type 38:Delay L,R

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Lch Delay Time ms 0.1 1360.0 0.1 13599

2 Rch Delay Time ms 0.1 1360.0 0.1 13599

4 FB1 Delay Time ms 0.1 1360.0 0.1 13599

5 FB2 Delay Time ms 0.1 1360.0 0.1 13599

6 FB Gain % -99 99 1 198

7 FB1 High Control - 0.1 1.0 0.1 9

8 FB2 High Control - 0.1 1.0 0.1 9

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

10 Chapter : 10 Chapter : Add-10

Type 39:Vocal Multi Delay

(Delay L,C,R)

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Lch Delay Time ms 0.1 1360.0 0.1 13599

2 Rch Delay Time ms 0.1 1360.0 0.1 13599

3 Center Delay Time ms 0.1 1360.0 0.1 13599

4 FB1 Delay Time ms 0.1 1360.0 0.1 13599

5 FB2 Delay Time ms 0.1 1360.0 0.1 13599

6 FB Gain % -99 99 1 198

7 FB1 High Control - 0.1 1.0 0.1 9

8 FB2 High Control - 0.1 1.0 0.1 9

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

Type 40:Stereo Echo

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Lch Init Delay Time ms 0.1 680.0 0.1 6799

2 Lch FB Delay Time ms 0.1 680.0 0.1 6799

3 Lch FB Gain % -99 99 1 198

4 Rch Init Delay Time ms 0.1 680.0 0.1 6799

5 Rch FB Delay Time ms 0.1 680.0 0.1 6799

6 Rch FB Gain % -99 99 1 198

7 Lch FB High Control - 0.1 1.0 0.1 9

8 Rch FB High Control - 0.1 1.0 0.1 9

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

Type 41:Subtle Pitch Change

(Pitch Change 1)

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 1 Pitch - -24 24 1 48

2 1 Fine cent -100 100 1 200

3 1 Delay ms 0.1 650.0 0.1 6499

4 1 FB Gain % -99 99 1 198

5 1 Level % 0 100 1 100

6 2 Pitch - -24 24 1 48

7 2 Fine cent -100 100.0 1 200

8 2 Delay ms 0.1 650.0 0.1 6499

9 2 FB Gain % -99 99 1 198

10 2 Level % 0 100 1 100

1111Add-11

Type 42:Wide Guitar

(Pitch Change2)

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 L Pitch - -24 24 1 48

2 L Fine cent -100 100 1 200

3 L Delay ms 0.1 650.0 0.1 6499

4 L FB Gain % -99 99 1 198

5 R Pitch - -24 24 1 48

6 R Fine cent -100 100.0 1 200

7 R Delay ms 0.1 650.0 0.1 6499

8 R FB Gain % -99 99 1 198

Type 43:Multi Pitch Delay

(Pitch Change3)

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 1 Pitch - -24 24 1 48

2 1 Fine cent -100 100 1 200

3 1 Delay ms 0.1 1300.0 0.1 12999

4 2 Pitch - -24 24 1 48

5 2 Fine cent -100 100 1 200

6 2 Delay ms 0.1 1300.0 0.1 12999

7 3 Pitch - -24 24.0 1 48

8 3 Fine cent -100 100 1 200

9 3 Delay ms 0.1 1300.0 0.1 12999

Type 44:Aural Exciter

® *

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 HPF Hz 500 16000 Table #4 15

2 Enhance % 0 100 1 100

3 Mix Level % 0 100 1 100

4 Delay Time ms 0.1 650.0 0.1 6499

* Aural Exciter® is a registered trademark and is manufactured under

license from APHEX Systems Ltd.

12 Chapter : 12 Chapter : Add-12

Type 45:Rotary Speaker

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int. Local

Table1

1 Middle Speed Hz 0.05 40.00 0.05 799 Data Value

2 Depth % 0 100 1 100

3 Transition Time ms 2 22000 Table #9 51 0 Low

4 L/M/H Speed Diff Hz 0.05 5.80 0.05 115 1 Middle

5 Switch L/M/H - Low High LocalTab1 2 2 High

6 Low Gain dB -12 12 2 12

7 High Gain dB -12 12 2 12

Type 46:Ring Modulator

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Wave PM Depth % 0 100 1 100

2 Wave PM Freq Hz 0.05 40 0.05 799

3 Wave AM Depth % 0 100 1 100

4 Wave AM Freq Hz 0.05 40 0.05 799

5 Low Gain dB -12 12 2 12

6 High Gain dB -12 12 2 12

Type 47:Stadium

(Echo->Reverb)

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Echo Lch Delay ms 0.1 320.0 0.1 3199

2 Echo Lch FB Gain % -99 99.0 1 198

3 Echo Rch Delay ms 0.1 320 0.1 3199

4 Echo Rch FB Gain % -99 99.0 1 198

5 Reverb Time sec 0.3 30.0 Table #1 69

6 Reverb High - 0.1 1 0.1 9

7 ER/Rev Balance % 0 100 1 100

8 Rev Mix Level % 0 100 1 100

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

1313Add-13

Type 48: Delay L,R -> Rev

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Dly Lch Delay ms 0.1 640.0 0.1 6399

2 Dly Rch Delay ms 0.1 640.0 0.1 6399

3 Dly Lch FB Gain % -99 99 1 198

4 Dly Rch FB Gain % -99 99 1 198

5 Reverb Time sec 0.3 30.0 Table #1 69

6 Reverb High - 0.1 1 0.1 9

7 ER/Rev Balance % 0 100 1 100

8 Rev Mix Level % 0 100 1 100

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

Type 49: Flange -> Rev

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Modulation Freq Hz 0.05 40.00 0.05 799

2 Modulation Depth % 0 100 1 100

3 Modulation Delay % 0.1 100.0 0.1 999

4 Modulation FB Gain % 0 99 1 99

5 Reverb Time sec 0.3 30.0 Table #1 69

6 Reverb High - 0.1 1 0.1 9

7 Rev Initial Delay ms 0.1 200 0.1 1999

8 Rev Mix Level % 0 100 1 100

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

Type 50: Guitar Chorus Reverb

(Chorus->Rev)

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Chorus Mod Freq Hz 0.05 40.00 0.05 799

2 Chorus PM Depth % 0 100 1 100

3 Chorus AM Depth % 0 100.0 1 100

5 Reverb Time sec 0.3 30.0 Table #1 69

6 Reverb High - 0.1 1 0.1 9

7 Rev Initial Delay ms 0.1 200 0.1 1999

8 Rev Mix Level % 0 100 1 100

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

14 Chapter : 14 Chapter : Add-14

* Aural Exciter® is a registered trademark and is manufactured under

license from APHEX Systems Ltd.

Type 51: Sympho -> Rev

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Modulation Freq Hz 0.05 40.00 0.05 799

2 Modulation Depth % 0 100 1 100

5 Reverb Time sec 0.3 30.0 Table #1 69

6 Reverb High - 0.1 1 0.1 9

7 Rev Initial Delay ms 0.1 200 0.1 1999

8 Rev Mix Level % 0 100 1 100

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

Type 52: Phaser -> Rev

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Modulation Freq Hz 0.05 40.00 0.05 799

2 Modulation Depth % 0 100 1 100

3 Modulation Delay % 0.1 5.0 0.1 49

5 Reverb Time sec 0.3 30.0 Table #1 69

6 Reverb High - 0.1 1 0.1 9

7 Rev Initial Delay ms 0.1 200 0.1 1999

8 Rev Mix Level % 0 100 1 100

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

Type 53:Aural Exciter*->Rev

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 HPF Hz 500 16000 Table #4 15

2 Enhance % 0 100 1 100

3 Mix Level % 0 100 1 100

4 Reverb Time sec 0.3 30.0 Table #1 69

5 High - 0.1 1.0 0.1 9

6 Diffusion - 0 10 1 10

7 Initial Delay ms 0.1 200.0 0.1 1999

8 Rev Mix Level % 0 100 1 100

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

1515Add-15

Type 54: Distortion -> Rev

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Distortion Level % 0 100 1 100

2 Middle Freq Hz 315 6300 Table #6 14

3 Middle Gain dB -12 12 2 12

4 Treble Gain dB -12 12 2 12

5 Reverb Time sec 0.3 30.0 Table #1 69

6 Reverb High - 0.1 1.0 0.1 9

7 Rev Initial Delay ms 0.1 200 0.1 1999

8 Rev Mix Level % 0 100 1 100

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

Type 55: Distortion->Delay L,R

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Distortion Level % 0 100 1 100

2 Middle Freq Hz 315 6300 Table #6 14

3 Middle Gain dB -12 12 2 12

4 Treble Gain dB -12 12 2 12

5 Dly Lch Delay ms 0.1 1360.0 0.1 13599

6 Dly Rch Delay ms 0.1 1360.0 0.1 13599

7 Dly FB Gain % -99 99 1 198

8 Delay Mix Level % 0 100 1 100

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

Type 56: Distortion->Echo

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Distortion Level % 0 100 1 100

2 Middle Freq Hz 315 6300 Table #6 14

3 Middle Gain dB -12 12 2 12

4 Treble Gain dB -12 12 2 12

5 Echo Lch Delay ms 0.1 680.0 0.1 6799

6 Echo Rch Delay ms 0.1 680.0 0.1 6799

7 Echo FB Gain % -99 99 1 198

8 Echo Mix Level % 0 100 1 100

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

16 Chapter : 16 Chapter : Add-16

Type 57: HighCut Reverb ~ 59: Sparkling Reverb

(EQ->Rev)

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Low Freq Hz 32 2000 Table #5 18

2 Low Gain dB -12 12 2 12

3 Mid Freq Hz 315 6300 Table #6 14

4 Mid Gain dB -12 12 2 12

5 High Freq Hz 500 16000 Table #7 15

6 High Gain dB -12 12 2 12

7 Reverb Time sec 0.3 30 Table #1 69

8 Initial Delay ms 0.1 200.0 0.1 1999

9 ER/Rev Balance % 0 100 1 100

10 Rev Mix Level % 0 100 1 100

11 Density - 0 3 1 3

12 Diffusion - 0 10 1 10

13 High - 0.1 1.0 0.1 9

Type 60: Mid Delay

(EQ->Delay L,R)

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Low Freq Hz 32 2000 Table #5 18

2 Low Gain dB -12 12 2 12

3 Mid Freq Hz 315 6300 Table #6 14

4 Mid Gain dB -12 12 2 12

5 High Freq Hz 500 16000 Table #7 15

6 High Gain dB -12 12 2 12

7 Dly Lch Delay ms 0.1 1360.0 0.1 13599

8 Dly Rch Delay ms 0.1 1360.0 0.1 13599

9 Dly FB Gain % -99 99 1 198

10 Delay Mix Level % 0 100 1 100

Type 61: Deep Echo

(EQ->Echo)

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Low Freq Hz 32 2000 Table #5 18

2 Low Gain dB -12 12 2 12

3 Mid Freq Hz 315 6300 Table #6 14

4 Mid Gain dB -12 12 2 12

5 High Freq Hz 500 16000 Table #7 15

6 High Gain dB -12 12 2 12

7 Echo Lch Delay ms 0.1 680.0 0.1 6799

8 Echo Rch Delay ms 0.1 680.0 0.1 6799

9 Echo FB Gain % -99 99 1 198

10 Echo Mix Level % 0 100 1 100

1717Add-17

Type 62: EQ->Flange

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Low Freq Hz 32 2000 Table #5 18

2 Low Gain dB -12 12 2 12

3 Mid Freq Hz 315 6300 Table #6 14

4 Mid Gain dB -12 12 2 12

5 High Freq Hz 500 16000 Table #7 15

6 High Gain dB -12 12 2 12

7 Modulation Freq Hz 0.05 40.0 0.05 799

8 Modulation Depth % 0 100 1 100

9 Modulation FB Gain % 0 99 1 99

10 Flange Mix Level % 0 100 1 100

Type 63: Bass Chorus

(EQ->Chorus)

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Low Freq Hz 32 2000 Table #5 18

2 Low Gain dB -12 12 2 12

3 Mid Freq Hz 315 6300 Table #6 14

4 Mid Gain dB -12 12 2 12

5 High Freq Hz 500 16000 Table #7 15

6 High Gain dB -12 12 2 12

7 Chorus Mod Freq Hz 0.05 40.0 0.05 799

8 Chorus PM Depth % 0 100 1 100

9 Chorus AM Depth % 0 100 1 100

10 Chorus Mix Level % 0 100 1 100

Type 64: Elec Guitar EQ/Sympho

(EQ->Sympho)

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Low Freq Hz 32 2000 Table #5 18

2 Low Gain dB -12 12 2 12

3 Mid Freq Hz 315 6300 Table #6 14

4 Mid Gain dB -12 12 2 12

5 High Freq Hz 500 16000 Table #7 15

6 High Gain dB -12 12 2 12

7 Modulation Freq Hz 0.05 40.0 0.05 799

8 Modulation Depth % 0 100 1 100

10 Sympho Mix Level % 0 100 1 100

18 Chapter : 18 Chapter : Add-18

Type 65: Warm Phase

(EQ->Phaser)

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Low Freq Hz 32 2000 Table #5 18

2 Low Gain dB -12 12 2 12

3 Mid Freq Hz 315 6300 Table #6 14

4 Mid Gain dB -12 12 2 12

5 High Freq Hz 500 16000 Table #7 15

6 High Gain dB -12 12 2 12

7 Modulation Freq Hz 0.05 40.0 0.05 799

8 Modulation Depth % 0 100 1 100

9 Modulation Delay ms 0.1 5.0 0.1 49

10 Phaser Mix Level % 0 100 1 100

Type 66: Flange -> Delay L,R

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Modulation Freq Hz 0.05 40.00 0.05 799

2 Modulation Depth % 0 100 1 100

3 Modulation Delay % 0.1 100.0 0.1 999

4 Modulation FB Gain % 0 99 1 99

5 Delay Lch Delay ms 0.1 800.0 0.1 7999

6 Delay Rch Delay ms 0.1 800.0 0.1 7999

7 Delay FB1 Delay ms 0.1 800.0 0.1 7999

8 Delay FB2 Delay ms 0.1 800.0 0.1 7999

9 Delay FB Gain % -99 99 1 198

10 Delay Mix Level % 0 100 1 100

Type 67: St.Chorus -> Delay L,R

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Chorus Mod Freq Hz 0.05 40.00 0.05 799

2 Chorus PM Depth % 0 100 1 100

3 Chorus AM Depth % 0 100.0 1 100

5 Delay Lch Delay ms 0.1 800.0 0.1 7999

6 Delay Rch Delay ms 0.1 800.0 0.1 7999

7 Delay FB1 Delay ms 0.1 800.0 0.1 7999

8 Delay FB2 Delay ms 0.1 800.0 0.1 7999

9 Delay FB Gain % -99 99 1 198

10 Delay Mix Level % 0 100 1 100

1919Add-19

Type 68: Sympho -> Delay L,R

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Modulation Freq Hz 0.05 40.00 0.05 799

2 Modulation Depth % 0 100 1 100

5 Delay Lch Delay ms 0.1 800.0 0.1 7999

6 Delay Rch Delay ms 0.1 800.0 0.1 7999

7 Delay FB1 Delay ms 0.1 800.0 0.1 7999

8 Delay FB2 Delay ms 0.1 800.0 0.1 7999

9 Delay FB Gain % -99 99 1 198

10 Delay Mix Level % 0 100 1 100

Type 69: Phaser -> Delay L,R

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Modulation Freq Hz 0.05 40.00 0.05 799

2 Modulation Depth % 0 100 1 100

3 Modulation Delay % 0.1 5.0 0.1 49

5 Delay Lch Delay ms 0.1 800.0 0.1 7999

6 Delay Rch Delay ms 0.1 800.0 0.1 7999

7 Delay FB1 Delay ms 0.1 800.0 0.1 7999

8 Delay FB2 Delay ms 0.1 800.0 0.1 7999

9 Delay FB Gain % -99 99 1 198

10 Delay Mix Level % 0 100 1 100

Type 70: Hall & Plate

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Hall Reverb Time sec 0.3 30.0 Table #1 69

2 Hall High - 0.1 1.0 0.1 9

3 Hall Diffusion - 0 10 1 10

4 Hall Initial Delay ms 0.1 200.0 0.1 1999

5 Hall LPF KHz 1 Thru Table #2 25

6 Plate Reverb Time sec 0.3 30 Table #1 69

7 Plate High - 0.1 1 0.1 9

8 Plate Diffusion - 0 10 1 10

9 Plate Initial Delay ms 0.1 200 0.1 1999

10 Plate LPF KHz 1 Thru Table #2 25

20 Chapter : 20 Chapter : Add-20

Type 71: Echo & Reverb

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Echo Lch Delay ms 0.1 320.0 0.1 3199

2 Echo Rch Delay ms 0.1 320.0 0.1 3199

3 Echo FB Gain % -99 99 1 198

4 Reverb Time sec 0.3 30.0 Table #1 69

5 Rev High - 0.1 1.0 0.1 9

6 Rev Diffusion - 0 10 1 10

7 Rev Initial Delay ms 0.1 200.0 0.1 1999

8 Rev ER/Rev Balance % 0 100 1 100

9 Rev HPF Hz Thru 1000 Table #3 31

10 Rev LPF KHz 1 Thru Table #2 25

Type 72: Delay & Reverb

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Delay Lch Delay ms 0.1 640.0 0.1 6399

2 Delay Rch Delay ms 0.1 640.0 0.1 6399

3 Delay FB Gain % -99 99 1 198

4 Reverb Time sec 0.3 30.0 Table #1 69

5 Rev High - 0.1 1.0 0.1 9

6 Rev Diffusion - 0 10 1 10

7 Rev Initial Delay ms 0.1 200.0 0.1 1999

8 Rev ER/Rev Balance % 0 100 1 100

9 Rev HPF Hz Thru 1000 Table #3 31

10 Rev LPF KHz 1 Thru Table #2 25

Type 73: Flange & Chorus

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Flange Mod Freq Hz 0.05 40.0 0.05 799

2 Flange Mod Depth % 0 100.0 1 100

3 Flange Mod Delay % 0.1 100 0.1 999

4 Flange Mod FB Gain % 0 99.0 1 99

6 Chorus Mod Freq Hz 0.05 40 0.05 799

7 Chorus PM Depth % 0 100.0 1 100

8 Chorus AM Depth % 0 100 1 100

2121Add-21

Type 74: Flange & Sympho

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Flange Mod Freq Hz 0.05 40.0 0.05 799

2 Flange Mod Depth % 0 100.0 1 100

3 Flange Mod Delay % 0.1 100 0.1 999

4 Flange Mod FB Gain % 0 99.0 1 99

6 Sympho Mod Freq Hz 0.05 40 0.05 799

7 Sympho Mod Depth % 0 100.0 1 100

Type 75:Sympho & Chorus

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Sympho Mod Freq Hz 0.05 40.0 0.05 799

2 Sympho Mod Depth % 0 100.0 1 100

6 Chorus Mod Freq Hz 0.05 40 0.05 799

7 Chorus PM Depth % 0 100.0 1 100

8 Chorus AM Depth % 0 100 1 100

Type 76: Flange & Rev

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Flange Mod Freq Hz 0.05 40.0 0.05 799

2 Flange Mod Depth % 0 100.0 1 100

3 Flange Mod Delay % 0.1 100 0.1 999

4 Flange Mod FB Gain % 0 99.0 1 99

5 Reverb Time sec 0.3 30.0 Table #1 69

6 Reverb High - 0.1 1 0.1 9

7 Rev Diffusion - 0 10 1 10

8 Rev Initial Delay ms 0.1 200 0.1 1999

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

22 Chapter : 22 Chapter : Add-22

Type 77: Chorus & Rev

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Chorus Mod Freq Hz 0.05 40.0 0.05 799

2 Chorus PM Depth % 0 100.0 1 100

3 Chorus AM Depth % 0 100 1 100

5 Reverb Time sec 0.3 30.0 Table #1 69

6 Reverb High - 0.1 1 0.1 9

7 Rev Diffusion - 0 10 1 10

8 Rev Initial Delay ms 0.1 200 0.1 1999

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

Type 78: Sympho & Rev

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Modulation Freq Hz 0.05 40.0 0.05 799

2 Modulation Depth % 0 100.0 1 100

5 Reverb Time sec 0.3 30.0 Table #1 69

6 Reverb High - 0.1 1 0.1 9

7 Rev Diffusion - 0 10 1 10

8 Rev Initial Delay ms 0.1 200 0.1 1999

9 HPF Hz Thru 1000 Table #3 31

10 LPF KHz 1 Thru Table #2 25

Type 79: Flange & Delay L,R

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Modulation Freq Hz 0.05 40.00 0.05 799

2 Modulation Depth % 0 100 1 100

3 Modulation Delay % 0.1 100.0 0.1 999

4 Modulation FB Gain % 0 99 1 99

5 Delay Lch Delay ms 0.1 800.0 0.1 7999

6 Delay Rch Delay ms 0.1 800.0 0.1 7999

7 Delay FB1 Delay ms 0.1 800.0 0.1 7999

8 Delay FB2 Delay ms 0.1 800.0 0.1 7999

9 Delay FB Gain % -99 99 1 198

10 LPF KHz 1 Thru Table #2 25

2323Add-23

Type 80: Chorus & Delay L,R

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Chorus Mod Freq Hz 0.05 40.00 0.05 799

2 Chorus PM Depth % 0 100 1 100

3 Chorus AM Depth % 0 100.0 1 100

5 Delay Lch Delay ms 0.1 800.0 0.1 7999

6 Delay Rch Delay ms 0.1 800.0 0.1 7999

7 Delay FB1 Delay ms 0.1 800.0 0.1 7999

8 Delay FB2 Delay ms 0.1 800.0 0.1 7999

9 Delay FB Gain % -99 99 1 198

10 LPF KHz 1 Thru Table #2 25

Type 81: Sympho & Delay L,R

No. Parameter Name Unit Minimum Maximum Step/Table Max.Int.

1 Modulation Freq Hz 0.05 40.00 0.05 799

2 Modulation Depth % 0 100 1 100

5 Delay Lch Delay ms 0.1 800.0 0.1 7999

6 Delay Rch Delay ms 0.1 800.0 0.1 7999

7 Delay FB1 Delay ms 0.1 800.0 0.1 7999

8 Delay FB2 Delay ms 0.1 800.0 0.1 7999

9 Delay FB Gain % -99 99 1 198

10 LPF KHz 1 Thru Table #2 25

24 Chapter : 24 Chapter : Add-24

MIDI Parameter

Common parameter Channel parameter

System System (ch 0,1 only)

parameter name value parameter name value

Rec Source *1 Rec Monitor on/off *4

Rec Frequency *2

Play Back Frequency *3

Trigger Rec Mode on/off *4 Volume, Effect Send

Trigger Rec Level *5 parameter name value

Sync Mode Select *6 Channel Volume 0~127

MIDI Sync on/off *4 Bus 1 Select *7

Channel Status bit0 (out) *13 Bus 2 Select *7

Channel Status Sampling Freq *14 Bus 3 Select *7

Bus 4 Select *7

Bus 1 Volume 0~127

Bus 2 Volume 0~127

Effect Return Sel/Level Bus 3 Volume 0~127

parameter name value Bus 4 Volume 0~127

Effect Return 1 Select 1 *7 Effect Send 1 Level 0~127

Effect Return 1 Select 2 *7 Effect Send 2 Level 0~127

Effect Return 2 Select 1 *7

Effect Return 2 Select 2 *7

Effect Return 3 Select 1 *7 DEQ

Effect Return 3 Select 2 *7 parameter name value

Effect Return 4 Select 1 *7 IIR1 Parameter **

Effect Return 4 Select 2 *7

Effect Return 1 Level 1 0~127 IIR2 Parameter **

Effect Return 1 Level 2 0~127

Effect Return 2 Level 1 0~127 IIR3 Parameter **

Effect Return 2 Level 2 0~127

Effect Return 3 Level 1 0~127 IIR4 Parameter **

Effect Return 3 Level 2 0~127

Effect Return 4 Level 1 0~127

Effect Return 4 Level 2 0~127

DEQ

parameter name value ** IIR n parameter (n=1~4)

Mode *8 parameter name value

Type *9

Frequency *10

DSP2 Gain *11

parameter name value Q *12

Type 0~81

Parameter 1 0~? (word)

Parameter 2 0~? (word)

Parameter 30 0~? (word)

2525Add-25

*1 value source *10 value Freq (Hz) *11 value Gain (dB)

0 AES/EBU 0 18 0 –15

1Y2 120 ::

2 CD/DAT 2 22 30 15

3 ANALOG 3 25

428 *12 value Q

*2 value Freq (KHz) 5 32 0 0.1

048 636 ::

1 44.4 7 40 49 5.0

232 845

3 22.05 9 50 *13 value bit0

10 56 0 consumer

*3 Sync mode Select = internal 11 63 1 professional

value Freq (KHz) 12 70

048 1380*14 Sync mode Select =

Channel status sampling

Freq. other than internal

1 44.1 14 90

15 100

*4 value on/off 16 110 value Freq (KHz)

0 off 17 125 048

1 on 18 140 1 44.1

19 160 2 32

*5 value Level (dB) 20 180

0 –9 21 200

1 –15 22 220

2 –18 23 250

3 –24 24 280

4 –30 25 315

5 –36 26 355

6 –42 27 400

7 –48 28 450

8–∞ 29 500

30 560

*6 value Mode 31 630

0 internal 32 700

1 external 33 800

2 AES/EBU 34 900

3 Y2 35 1000

4 CD/DAT 36 1100

37 1200

*7 value Select 38 1400

0 OUT1 39 1600

1 OUT2 40 1800

2 OUT3 41 2000

3 OUT4 42 2200

4 mute 43 2500

44 2800

*8 value Mode 45 3200

0 Reserved 46 3600

1 Thru Software Thru 47 4000

2 PEQ 4IIR/4Ch 48 4500

49 5000

*9 value Type Freq Gain Q 50 5600

0 Through 000 51 6300

1 Lo1 100 52 7000

2 Lo2 101 53 8000

3 Hi1 1 0 0 54 9000

4 Hi2 1 0 1 55 10000

5 LoSh 1 1 0 56 11000

6 HISh 1 1 0 57 12000

7 Presence 1 1 1 58 14000

8 BandE1 1 0 1 0:invalid 59 16000 When RecFreq=32kHz,

values 59 & 60 are 15000Hz9 BandPass 1 0 1 1:valid 60 18000

26 Chapter : 26 Chapter : Add-26

MIDI Parameter Map

Common parameter

Common Parameter

(base address=h’2000)

System Rec Source 0 Parameter 6 MSB 50

Rec Frequency 1 Parameter 6 LSB 51

Play Back Frequency 2 Parameter 7 MSB 52

Channel 0 Parameter

(base address=h’0)

Trigger Rec Mode on/off 3 Parameter 7 LSB 53

Trigger Rec Level 4 Parameter 8 MSB 54

Sync Mode Select 5 Parameter 8 LSB 55

Channel 1 Parameter

(base address=h’0)

MIDI Sync on/off 6 Parameter 9 MSB 56

Channel Status bit0 7 Parameter 9 LSB 57

Channel Status Sampling Freq 8 Parameter 10 MSB 58

Channel 2 Parameter

(base address=h’0)

Reserved 9 Parameter 10 LSB 59

Reserved 10 Parameter 11 MSB 60

Reserved 11 Parameter 11 LSB 61

Channel 3 Parameter

(base address=h’0)

Efct Rtn Effect Return 1 Select 1 12 Parameter 12 MSB 62

Effect Return 1 Select 2 13 Parameter 12 LSB 63

Effect Return 2 Select 1 14 Parameter 13 MSB 64

Effect Return 2 Select 2 15 Parameter 13 LSB 65

Effect Return 3 Select 1 16 Parameter 14 MSB 66

Effect Return 3 Select 2 17 Parameter 14 LSB 67

Effect Return 4 Select 1 18 Parameter 15 MSB 68

Effect Return 4 Select 2 19 Parameter 15 LSB 69

Effect Return 1 Level 1 20 Parameter 16 MSB 70

Effect Return 1 Level 2 21 Parameter 16 LSB 71

Effect Return 2 Level 1 22 Parameter 17 MSB 72

Effect Return 2 Level 2 23 Parameter 17 LSB 73

Effect Return 3 Level 1 24 Parameter 18 MSB 74

Effect Return 3 Level 2 25 Parameter 18 LSB 75

Effect Return 4 Level 1 26 Parameter 19 MSB 76

Effect Return 4 Level 2 27 Parameter 19 LSB 77

Reserved 28 Parameter 20 MSB 78

Reserved 29 Parameter 20 LSB 79

Reserved 30 Parameter 21 MSB 80

Reserved 31 Parameter 21 LSB 81

DEQ Mode 32 Parameter 22 MSB 82

Reserved 33 Parameter 22 LSB 83

Reserved 34 Parameter 23 MSB 84

Reserved 35 Parameter 23 LSB 85

Reserved 36 Parameter 24 MSB 86

Reserved 37 Parameter 24 LSB 87

DSP2 Reserved 38 Parameter 25 MSB 88

Type 39 Parameter 25 LSB 89

Parameter 1 MSB 40 Parameter 26 MSB 90

Parameter 1 LSB 41 Parameter 26 LSB 91

Parameter 2 MSB 42 Parameter 27 MSB 92

Parameter 2 LSB 43 Parameter 27 LSB 93

Parameter 3 MSB 44 Parameter 28 MSB 94

Parameter 3 LSB 45 Parameter 28 LSB 95

Parameter 4 MSB 46 Parameter 29 MSB 96

Parameter 4 LSB 47 Parameter 29 LSB 97

Parameter 5 MSB 48 Parameter 30 MSB 98

Parameter 5 LSB 49 Parameter 30 LSB 99

2727Add-27

Channel N parameter

System Rec Monitor on/off 0 Valid only for ch 0, 1

Reserved 1

Reserved 2

Reserved 3

Reserved 4

Reserved 5

Vol,Efct Snd Channel Volume 6

Reserve 7

Bus 1 Select 8

Bus 2 Select 9

Bus 3 Select 10

Bus 4 Select 11

Bus 1 Volume 12

Bus 2 Volume 13

Bus 3 Volume 14

Bus 4 Volume 15

Effect Send 1 Level 16

Effect Send 2 Level 17

Reserved 18

Reserved 19

Reserved 20

Reserved 21

Reserved 22

Reserved 23

DEQ Reserved 24

Reserved 25

Reserved 26

Reserved 27

Reserved 28

Reserved 29

IIR 1 Parameter *

30 * IIR n Parameter

Type 0

37 Frequency 1

IIR 2 Parameter * 38 Gain 2

45 Reserved 4

IIR 3 Parameter * 46 Reserved 5

Reserved 6

53 Reserved 7

IIR 4 Parameter * 54

Reserved

28 Chapter : 28 Chapter : Add-28

MIDI Data Format

1. Block Diagram of MIDI Reception/Transmission

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.

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 Exclu-

sive 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 F0

01000011 43 YAMAHA System Exclusive ID

01111000 78 YAMAHA System Exclusive Sub ID

<ab> *1 DT command

data bytes *2

11110111 F7

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

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

2929Add-29

*1 <ab>

(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)

2: Device speciﬁc messages

2.1 parameter dump

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

DT status (MS 3 bits) Sub status (LS 4 bits)

0-2: Reserved

3: DT status of encapsulated MIDI command Sub status equals to MIDI status code

4: DT status of device speciﬁc messages Substatus=0 → parameter dump

Substatus=1 → parameter request

5 - 7: Reserved

Status 3

Substatus MIDI status byte

Databyte[0] channel

Databyte[1...] MIDI data bytes

Status 4

Substatus 0

Databyte[0] channel

Databyte[1 - 2] parameter address

Databyte[3 - 4] byte count

Databyte[5...] data

30 Chapter : 30 Chapter : Add-30

Parameter Dump Format (Appendix 2.1)

2.2 parameter dump

Parameter Request Format (Appendix 2.2)

11110000 F0

01000011 43 YAMAHA system exclusive ID

01111000 78 YAMAHA system exclusive sub ID

01000000 40 parameter dump status

0ccccccc nn channel number

mmmmmmm mm

parameter address Most signiﬁcant 7bits [pa/H]

0IIIIIII II parameter address Least signiﬁcant 7bits [pa/L]

parameter address = 0×80 *[pa/H] + [pa/L]

0x0000-0xx1FFF: channel parameter 0x0000-0x1FFF

0x2000-0xx3FFF: common parameter 0x0000-0x1FFF

mmmmmmm

byte count Most signiﬁcant 7bits [bc/H]

0IIIIIII II byte count Least signiﬁcant 7bits [bc/L]

byte count = 0×80 *[bc/H] + [bc/L]

0ddddddd data

11110111 F7

Status 4

Substatus 1

Databyte[0] channel

Databyte[1 - 2] parameter address

Databyte[3 - 4] byte count

11110000 F0

01000011 43 YAMAHA system exclusive ID

01111000 78 YAMAHA system exclusive sub ID

01000001 41 parameter request status

0ccccccc nn channel number

mmmmmmm mm

parameter address Most signiﬁcant 7bits [pa/H]

0IIIIIII II parameter address Least signiﬁcant 7bits [pa/L]

parameter address = 0×80 *[pa/H] + [pa/L]

0x0000-0xx1FFF: channel parameter 0x0000-0x1FFF

0x2000-0xx3FFF: common parameter 0x0000-0x1FFF

mmmmmmm mm

byte count Most signiﬁcant 7bits [bc/H]

0IIIIIII II byte count Least signiﬁcant 7bits [bc/L]

byte count = 0×80 *[bc/H] + [bc/L]

0ddddddd data

11110111 F7

3131Add-31

Encapsulated MIDI command (Table 2)

Control changes (Assignable)

No control numbers other than these may be used.

Also, control values are not stored in the memory.

RPN

Pitch bend

Channel mode message

00000110 06 data entry for RPN

00000111 07 channel volume

00001011 0B channel expression

00010000 10

01100000 60 data increment for RPN

01100001 61 data decrement for RPN

01111000 78 All sound off

00000000 00 Pitch bend range

01111001 79 reset all controllers

32 Chapter : 32 Chapter : Add-32

MIDI Implementation chart

Yamaha CBX-D5 Manual de usuario

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