Benutzeranleitung / Produktwartung CBX-D5 des Produzenten Yamaha
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CBX-D5 DIGITAL RECORDING PROCESSOR Owner's Manual 2 OPERATING MANUAL.
* This applies only to products distributed by Y AMAHA CORPORA TION OF AMERICA FCC INFORMA TION (U .S.A.) 1. IMPOR T ANT NOTICE: DO NO T MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements.
SPECIAL MESSA GE SECTION PR ODUCT SAFETY MARKINGS: Y amaha electronic prod- ucts may hav e either labels similar to the graphics shown below or molded/stamped f acsimiles of these graphics on the enclosure. The explanation of these graphics appears on this page.
IMPOR T ANT SAFETY INSTR UCTIONS INFORMA TION RELA TING TO PERSON AL INJURY , ELECTRICAL SHOCK, AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST . W ARNING — When using any electrical or electronic prod- uct, basic precautions should always be follo wed.
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1 Chapter : 1 Chapter : Table of Contents 1 Introduction ..............................................1 Welcome to the CBX-D5 ............................... 1 CBX-D5 features............................................ 1 Operating manual organization .
Introduction 1 Introduction 1 Introduction 1 1 Introduction W elcome 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 e xternal hard disk will provide up to four channels of CD quality audio recording, processing, and playback.
2 Chapter 1 : Introduction 2 Chapter 1 : Introduction 2 Chapter 1 : Introduction Unpacking The CBX-D5 packaging should contain the follo wing items. Store the packaging materials for future use. Installation The cosmetic appearance of the CBX-D5 has been designed to match typical computer hardware.
CBX-D5 Terminology 3 CBX-D5 Terminology 3 CBX-D5 Terminology 3 2 CBX-D5 T erminology SCSI Pronounced scuzzy , the Small Computer System Interf ace is a connection format used for connecting peripheral de vices such as hard disks, printers, scanners, etc.
4 Chapter 2 : CBX-D5 Terminology 4 Chapter 2 : CBX-D5 Terminology 4 Chapter 2 : CBX-D5 Terminology Sampling frequency (REC FREQ) During the analog to digital con version process, the le vel of the analog audio signal is sampled (measured) many times per second.
What is the CBX-D5? 5 What is the CBX-D5? 5 What 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 e xternal hard disk, provides up to four channels of CD quality audio recording, processing, and playback.
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 follo wing block diagram sho ws ho w the CBX-D5 processes audio data as it tra v els from input to output and to the external SCSI hard disks.
The CBX-D5 in a MIDI recording system 7 The CBX-D5 in a MIDI recording system 7 The CBX-D5 in a MIDI recording system 7 The CBX-D5 in a MIDI recording system The follo wing diagram sho ws ho w the CBX-D5 can be integrated into a MIDI sequencer based music production system.
8 Chapter 4 : Controls & Connections 8 Chapter 4 : Controls & Connections 8 Chapter 4 : Controls & Connections 4 Controls & Connections Front panel 1 POWER switch Used to turn the po wer on and of f. Press once to switch on, press again to switch of f.
Front panel 9 Front panel 9 Front panel 9 5 INPUT LEVEL meters T wo 12-se gment LED bargraphs indicate the le vel of the incoming digital audio when the input source is set to AES/EBU, CD/D A T , or Y.
10 Chapter 4 : Controls & Connections 10 Chapter 4 : Controls & Connections 10 Chapter 4 : Controls & Connections Rear panel The explanations belo w 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.
Rear panel 11 Rear panel 11 Rear panel 11 4 AES/EBU OUT 1/2 & 3/4 T wo 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.
12 Chapter 4 : Controls & Connections 12 Chapter 4 : Controls & Connections 12 Chapter 4 : Controls & Connections 0 MIDI IN The CBX-D5 recei v es MIDI control data from the computer via this connection.
Connecting Hard Disk Drives 13 Connecting Hard Disk Drives 13 Connecting Hard Disk Drives 13 5 Connecting Hard Disk Drives Before connecting a hard disk dri ve, read through this chapter to familiarize yourself with SCSI and ho w a SCSI daisy chain should be setup.
14 Chapter 5 : Connecting Hard Disk Drives 14 Chapter 5 : Connecting Hard Disk Drives 14 Chapter 5 : Connecting Hard Disk Drives Choosing a hard disk If you plan to buy a hard disk that is not listed on the supplied card, the follo wing specifications should be checked first.
SCSI cables 15 SCSI cables 15 SCSI cables 15 SCSI cables Most SCSI de vices are supplied with a SCSI cable, but if you need to b uy one, make sure that it is designed for SCSI usage and that the connecters on either end of the cable are correct for your application.
16 Chapter 5 : Connecting Hard Disk Drives 16 Chapter 5 : Connecting Hard Disk Drives 16 Chapter 5 : Connecting Hard Disk Drives SCSI ID setting The SCSI bus is a parallel type connection, and data on the b us is a v ailable to all de vices.
SCSI termination 17 SCSI termination 17 SCSI termination 17 SCSI termination Unlike audio signals, digital signals only ha v e two v alues: high and lo w (+5V and 0V).
18 Chapter 6 : Working with Hard Disks 18 Chapter 6 : Working with Hard Disks 18 Chapter 6 : Working with Hard Disks 6 W orking 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.
Hard disk fragmentation 19 Hard disk fragmentation 19 Hard 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. T racks are further divided into sectors, and each sector can store 512bytes of data.
20 Chapter 7 : Recording 20 Chapter 7 : Recording 20 Chapter 7 : Recording 7 Recording Sampling frequency (REC FREQ) The CBX-D5 can record at any one of four sampling frequencies: 48kHz, 44.1kHz, 32kHz (as specified by the AES), or 22.05kHz (analog input only).
Digital input levels 21 Digital input levels 21 Digital input levels 21 Digital input levels Digital input signals entering the CBX-D5 cannot be le v el adjusted. This is the same for most digital audio equipment, the idea being that once the le v el has been set during the original A/D con v ersion it should not need readjustment.
22 Chapter 7 : Recording 22 Chapter 7 : Recording 22 Chapter 7 : Recording Digital audio data containing SCMS SCMS (Serial Copy Management System) is a protection system designed to stop illegal digital copying of audio material.
Playback 23 Playback 23 Playback 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.
24 Chapter 8 : Playback 24 Chapter 8 : Playback 24 Chapter 8 : Playback Sound file regions Y our controlling software may allo w you to select a section of a sound file so that it can ef fectiv ely be handled as an independent piece of sound data.
Converting the Sampling Frequency & Digital Audio Format in Real Time 25 Converting the Sampling Frequency & Digital Audio Format in Real Time 25 Converting the Sampling Frequency & Digita.
26 Chapter 10 : Inputs & Outputs Explained 26 Chapter 10 : Inputs & Outputs Explained 26 Chapter 10 : Inputs & Outputs Explained 10 Inputs & Outputs Explained ANALOG IN A pair of female XLR 3-31 type connectors used for inputting analog audio signals.
AES/EBU IN 1/2 27 AES/EBU IN 1/2 27 AES/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.
28 Chapter 10 : Inputs & Outputs Explained 28 Chapter 10 : Inputs & Outputs Explained 28 Chapter 10 : Inputs & Outputs Explained Y2 IN An 8-pin DIN socket for inputting Y2 Y amaha format digital audio. T wo channels, 1 and 2 (left/right), are carried in the same connection.
WORD CLK IN/OUT 29 WORD CLK IN/OUT 29 WORD CLK IN/OUT 29 The follo wing table sho ws ho w the W ORD CLK IN/OUT connections w ork with each word clock source.
30 Chapter 11 : TO HOST connection 30 Chapter 11 : TO HOST connection 30 Chapter 11 : TO HOST connection 11 TO HOST connection As well as the standard MIDI IN, OUT , and THR U connections, the CBX-D5 also has a “TO HOST” connection. This allo ws direct connection to computers that do not hav e a built-in or e xternal MIDI interface.
Mac 31 Mac 31 Mac 31 Mac This mode is for use with an Apple Macintosh computer that is not connected to an external MIDI interf ace unit. The CBX-D5 can be connected directly to one of the Apple Mac's serial (RS-422) ports.
32 Chapter 11 : TO HOST connection 32 Chapter 11 : TO HOST connection 32 Chapter 11 : TO HOST connection PC-1 This mode is for use with an NEC PC-9801 type computer . The PC-9801 is a very popular computer in Japan. The specifications are the same as those for “PC-2” mode except for the baud rate.
TO HOST computer connecting cables 33 TO HOST computer connecting cables 33 TO HOST computer connecting cables 33 TO HOST computer connecting cables MIDI Standard MIDI cable. Maximum length 15 meters. Mac Apple Macintosh Peripheral cable “M0197”).
34 Chapter 12 : Glossary 34 Chapter 12 : Glossary 34 Chapter 12 : Glossary 12 Glossary A/D Con verter: (Analog to Digital con verter) A de vice used to con vert analog audio signals into PCM (Pulse Code Modulated) digital audio. The CBX-D5 uses 16-bit linear ∆ Σ modulation A/D con v erters.
Glossary 35 Glossary 35 Glossary 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 con version.
36 Chapter 13 : Recording setup table 36 Chapter 13 : Recording setup table 36 Chapter 13 : Recording setup table 13 Recording setup table Sound files Recording Project Date Notes Sound File No.
CBX-D5 Specifications 37 CBX-D5 Specifications 37 CBX-D5 Specifications 37 14 CBX-D5 Specifications 0dB = 0.775V rms Specifications subject to change without notice.
38 Index 38 Index 38 Index Index A Access time, hard disk 14 AES/EBU format 1/2 inputs 27 1/2, 3/4 outputs 27 what is it? 3 Amphenol, SCSI connection 12 Analog input level 21 Analog inputs 26 Analog o.
1 1 Add-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 .
2 Chapter : 2 Chapter : Add-2 DSP/DEQ/DMIX Block Diagram.
3 3 Add-3 Preset effects parameter values Effect Name Parameter Number N o . 123456789 1 0 1 1 1 2 1 3 1 4 0 Orchestra Hall 19 8 10 319 199 4 60 8 6 20 0 1 Concer t Hall 23 8 10 639 479 4 75 8 6 20 0 .
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 Aur al Exc ->Re.
5 5 Add-5 Data-V alue Assign T able Table 1 Rev Time Table 2 LPF Table 3 HPF1 Data V alue (sec) Data V alue (sec) Data V alue (KHz) Data V alue (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.
6 Chapter : 6 Chapter : Add-6 Data-V alue Assign T able Table 4 HPF2 Table 5 Low Shelving Table 6 Mid Presence Table 7 High Shelving Data V alue (Hz) Data V alue (Hz) Data V alue (Hz) Data V alue (Hz).
7 7 Add-7 Data-V alue Assign T able Table 8 Length Table 9 T rans Time Data V alue (m) Data V alue (m) Data V alue (m) Data V alue (ms) Data V alue (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.
8 Chapter : 8 Chapter : Add-8 Effect parameters Type 0:Orchestra Hall ~ 19:Distant Plate (Rev erb T ype) No . Parameter Name Unit Minimum Maximum Step/T able Max.Int. 1 Rev erb Time sec 0.3 30.0 T able #1 69 2 High - 0.1 1.0 0.1 9 3 Diffusion - 0 10 1 10 4 Initial Delay ms 0.
9 9 Add-9 Type 30:Early Ref Vocal ~ 35:Early Ref Reverse Vocal (Early Reflection T ype) No . Parameter Name Unit Minimum Maximum Step/T able Max.Int. Local T able 1 1 T ype sec S-Hall Spring LocalT ab 1 5 Data V alue 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.
10 Chapter : 10 Chapter : Add-10 Type 39:Vocal Multi Delay (Delay L,C ,R) No . Parameter Name Unit Minimum Maximum Step/T able 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.
11 11 Add-11 Type 42:Wide Guitar (Pitch Change2) No . Parameter Name Unit Minimum Maximum Step/T able 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.
12 Chapter : 12 Chapter : Add-12 Type 45:Rotary Speaker No . Parameter Name Unit Minimum Maximum Step/T able Max.Int. Local T able1 1 Middle Speed Hz 0.05 40.00 0.05 799 Data V alue 2 Depth % 0 100 1 100 3 T ransition Time ms 2 22000 T able #9 51 0 Low 4 L/M/H Speed Diff Hz 0.
13 13 Add-13 Type 48: Delay L,R -> Rev No . Parameter Name Unit Minimum Maximum Step/T able 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 Rev erb Time sec 0.
14 Chapter : 14 Chapter : Add-14 * Aur al Exciter ® is a registered trademark and is manuf actured under license from APHEX Systems Ltd. Type 51: Sympho -> Rev No . Parameter Name Unit Minimum Maximum Step/T able Max.Int. 1 Modulation F req Hz 0.05 40.
15 15 Add-15 Type 54: Distortion -> Rev No . Parameter Name Unit Minimum Maximum Step/T able Max.Int. 1 Distor tion Lev el % 0 100 1 100 2 Middle F req Hz 315 6300 T able #6 14 3 Middle Gain dB -12 12 2 12 4 T reble Gain dB -12 12 2 12 5 Rev erb Time sec 0.
16 Chapter : 16 Chapter : Add-16 Type 57: HighCut Reverb ~ 59: Sparkling Reverb (EQ->Rev) No . Parameter Name Unit Minimum Maximum Step/T able Max.Int.
17 17 Add-17 Type 62: EQ->Flange No . Parameter Name Unit Minimum Maximum Step/T able Max.Int. 1 Low F req Hz 32 2000 T able #5 18 2 Low Gain dB -12 12 2 12 3 Mid F req Hz 315 6300 T able #6 14 4 Mid Gain dB -12 12 2 12 5 High F req Hz 500 16000 T able #7 15 6 High Gain dB -12 12 2 12 7 Modulation F req Hz 0.
18 Chapter : 18 Chapter : Add-18 Type 65: Warm Phase (EQ->Phaser) No . Parameter Name Unit Minimum Maximum Step/T able Max.Int. 1 Low F req Hz 32 2000 T able #5 18 2 Low Gain dB -12 12 2 12 3 Mid F req Hz 315 6300 T able #6 14 4 Mid Gain dB -12 12 2 12 5 High F req Hz 500 16000 T able #7 15 6 High Gain dB -12 12 2 12 7 Modulation F req Hz 0.
19 19 Add-19 Type 68: Sympho -> Delay L,R No . Parameter Name Unit Minimum Maximum Step/T able Max.Int. 1 Modulation F req Hz 0.05 40.00 0.05 799 2 Modulation Depth % 0 100 1 100 3 4 5 Delay Lch Dela y ms 0.1 800.0 0.1 7999 6 Delay Rch Dela y ms 0.
20 Chapter : 20 Chapter : Add-20 Type 71: Echo & Reverb No . Parameter Name Unit Minimum Maximum Step/T able 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 Rev erb Time sec 0.
21 21 Add-21 Type 74: Flange & Sympho No . Parameter Name Unit Minimum Maximum Step/T able Max.Int. 1 Flange Mod F req 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 6 Sympho Mod F req Hz 0.
22 Chapter : 22 Chapter : Add-22 Type 77: Chorus & Rev No . Parameter Name Unit Minimum Maximum Step/T able 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 4 5 Rev erb Time sec 0.3 30.
23 23 Add-23 Type 80: Chorus & Delay L,R No . Parameter Name Unit Minimum Maximum Step/T able 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 4 5 Delay Lch Dela y ms 0.1 800.0 0.1 7999 6 Delay Rch Dela y ms 0.
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 F reque.
25 25 Add-25 *1 value source *10 value Freq (Hz) *11 value Gain (dB) 0 AES/EBU 0 18 0 –15 1Y 2 1 2 0 :: 2 CD/D A T 2 22 30 15 3 ANALOG 3 25 42 8 *12 value Q *2 value F req (KHz) 5 32 0 0.
26 Chapter : 26 Chapter : Add-26 MIDI Parameter Map Common parameter Common P arameter (base address=h’2000) System Rec Source 0 P arameter 6 MSB 50 Rec F requency 1 P arameter 6 LSB 51 Play Bac k F.
27 27 Add-27 Channel N parameter System Rec Monitor on/off 0 V alid only f or ch 0, 1 Reserved 1 Reserved 2 Reserved 3 Reserved 4 Reserved 5 V ol,Efct Snd Channel V olume 6 Reserve 7 Bus 1 Select 8 Bu.
28 Chapter : 28 Chapter : Add-28 MIDI Data Format 1. Block Diagram of MIDI Reception/T ransmission <MIDI Reception Conditions> * If the Host Selector s witch is set to anything other than “MIDI”, the MIDI data are echoed back to HOST IN → MIDI OUT and MIDI IN → HOST OUT , respectively .
29 29 Add-29 *1 <ab> (See T able 1 f or DT command formats.) *2 data bytes The f or mat and length vary depending on the DT status byte. The first byte of the DT message is the channel n umber (It is usually from 0 to 3). Se veral DT commands ma y be contained in one DT message.
30 Chapter : 30 Chapter : Add-30 P arameter Dump F or mat (Appendix 2.1) 2.2 parameter dump P arameter Request F or mat (Appendix 2.2) 11110000 F0 01000011 43 Y AMAHA system exclusiv e ID 01111000 78 .
31 31 Add-31 Encapsulated MIDI command (T able 2) Control changes (Assignable) No control numbers other than these ma y be used. Also , control values are not stored in the memory .
32 Chapter : 32 Chapter : Add-32 MIDI Implementation chart.
Ein wichtiger Punkt beim Kauf des Geräts Yamaha CBX-D5 (oder sogar vor seinem Kauf) ist das durchlesen seiner Bedienungsanleitung. Dies sollten wir wegen ein paar einfacher Gründe machen:
Wenn Sie Yamaha CBX-D5 noch nicht gekauft haben, ist jetzt ein guter Moment, um sich mit den grundliegenden Daten des Produkts bekannt zu machen. Schauen Sie zuerst die ersten Seiten der Anleitung durch, die Sie oben finden. Dort finden Sie die wichtigsten technischen Daten für Yamaha CBX-D5 - auf diese Weise prüfen Sie, ob das Gerät Ihren Wünschen entspricht. Wenn Sie tiefer in die Benutzeranleitung von Yamaha CBX-D5 reinschauen, lernen Sie alle zugänglichen Produktfunktionen kennen, sowie erhalten Informationen über die Nutzung. Die Informationen, die Sie über Yamaha CBX-D5 erhalten, werden Ihnen bestimmt bei der Kaufentscheidung helfen.
Wenn Sie aber schon Yamaha CBX-D5 besitzen, und noch keine Gelegenheit dazu hatten, die Bedienungsanleitung zu lesen, sollten Sie es aufgrund der oben beschriebenen Gründe machen. Sie erfahren dann, ob Sie die zugänglichen Funktionen richtig genutzt haben, aber auch, ob Sie keine Fehler begangen haben, die den Nutzungszeitraum von Yamaha CBX-D5 verkürzen könnten.
Jedoch ist die eine der wichtigsten Rollen, die eine Bedienungsanleitung für den Nutzer spielt, die Hilfe bei der Lösung von Problemen mit Yamaha CBX-D5. Sie finden dort fast immer Troubleshooting, also die am häufigsten auftauchenden Störungen und Mängel bei Yamaha CBX-D5 gemeinsam mit Hinweisen bezüglich der Arten ihrer Lösung. Sogar wenn es Ihnen nicht gelingen sollte das Problem alleine zu bewältigen, die Anleitung zeigt Ihnen die weitere Vorgehensweise – den Kontakt zur Kundenberatung oder dem naheliegenden Service.
