User manual YAMAHA CBXD5E2

[. . . ] DIGITAL RECORDING PROCESSOR CBX-D5 Owner's Manual 2 OPERATING MANUAL FCC INFORMATION (U. S. A. ) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. [. . . ] The selected REC FREQ also determines the clock rate for all internal processing, i. e. , DSP, digital mixer, DEQ, etc. , except for the output Fs converters, whose clock rate is determined by the PB FREQ. NOTE: When using the digital inputs, you should set the CBX-D5's REC FREQ to match the digital input signal's sampling frequency. It is not essential, but we recommend it. 48kHz At 48kHz an audio bandwidth of about 22kHz is possible. Consumer DAT and DCC recorders can record at 48kHz only. Professional equipment also supports this frequency. 44. 1kHz With this sampling frequency an audio bandwidth of about 20kHz is possible. This frequency is used for all prerecorded CDs, DATs (if there are any), and DCC cassettes. Although a higher audio bandwidth is possible using 48kHz, 44. 1kHz is considered to be good enough for most applications, and most professional digital audio engineers use this sampling frequency. 32kHz At this sampling frequency an audio bandwidth of about 15kHz is possible. This frequency is widely used for broadcast applications where a 15kHz audio bandwidth, roughly that of FM radio, is acceptable. Many DSB (Direct Satellite Broadcasting) transmissions use this frequency, although, some may also use 48kHz. 22. 05kHz At this frequency an audio bandwidth of about 10kHz is available. This frequency is widely used in multimedia applications. It might not seem very useful for your audio applications, but if you are limited by hard disk space or the audio material you are recording already has a limited bandwidth it may be useful. Which sampling frequency? Since the CBX-D5 contains a sampling frequency converter, digital audio can be output at a different sampling frequency to that which was used during recording. However, playing back a sound file at a higher sampling frequency will not improve the audio quality, as the audio frequency bandwidth of a sound file is determined by the record sampling frequency, not the playback frequency. This leaves you with two deciding factors for choosing a sampling frequency. Firstly, what audio bandwidth (audio quality) do you want to use, and secondly, how much free disk space is available?See "Hard disk size" on page 13 for a listing of recording times that are available at each sampling frequency for a given size of hard disk (free disk space). Varispeed With some tape based digital recorders it is possible to vary the speed of playback and recording. When varispeed is used the sampling frequency of the digital audio is changed. Since the CBX-D5 can playback digital audio at a sampling frequency different to that used for recording, varispeed digital audio can be recorded. Digital input levels Digital input levels 21 21 Digital input levels Digital input signals entering the CBX-D5 cannot be level adjusted. This is the same for most digital audio equipment, the idea being that once the level has been set during the original A/D conversion it should not need readjustment. It also simplifies the interfacing of digital audio signals between equipment. The level of the audio signal output via the CBX-D5's digital outputs, however, can be level adjusted, and this is set by the controlling software. Setting the analog input level The recording level for analog input signals can be set using the CBX-D5's ANALOG IN LEVEL controls. These controls allows independent level setting for channels 1 and 2 and they can also be used to balance the left and right channels of a stereo source connected to the analog inputs. The maximum analog input level is +22dBm. These controls should be used in conjunction with the input level meters, which are described below. Input level meters Unlike analog tape recorders, digital audio recorders are very unforgiving when it comes to excessive signal levels. [. . . ] 799 100 Reverb Time Reverb High Rev Diffusion Rev Initial Delay HPF LPF sec ms Hz KHz 0. 3 0. 1 0 0. 1 Thru 1 30. 0 1 10 200 1000 Thru Table #1 0. 1 1 0. 1 Table #3 Table #2 69 9 10 1999 31 25 Type 79: Flange & Delay L, R No. 1 2 3 4 5 6 7 8 9 10 Parameter Name Modulation Freq Modulation Depth Modulation Delay Modulation FB Gain Delay Lch Delay Delay Rch Delay Delay FB1 Delay Delay FB2 Delay Delay FB Gain LPF Unit Hz % % % ms ms ms ms % KHz Minimum Maximum Step/Table 0. 05 40. 00 0. 05 0 100 1 0. 1 100. 0 0. 1 0 99 1 0. 1 800. 0 0. 1 0. 1 800. 0 0. 1 0. 1 800. 0 0. 1 0. 1 800. 0 0. 1 -99 99 1 1 Thru Table #2 Max. Int. 799 100 999 99 7999 7999 7999 7999 198 25 Add-23 23 Type 80: Chorus & Delay L, R No. 1 2 3 4 5 6 7 8 9 10 Parameter Name Chorus Mod Freq Chorus PM Depth Chorus AM Depth Delay Lch Delay Delay Rch Delay Delay FB1 Delay Delay FB2 Delay Delay FB Gain LPF Unit Hz % % ms ms ms ms % KHz Minimum Maximum Step/Table 0. 05 40. 00 0. 05 0 100 1 0 100. 0 1 0. 1 0. 1 0. 1 0. 1 -99 1 800. 0 800. 0 800. 0 800. 0 99 Thru 0. 1 0. 1 0. 1 0. 1 1 Table #2 Max. Int. [. . . ]