User manual YAMAHA CBXD5E3

[. . . ] 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. Failure to follow instructions could void your FCC authorization to use this product in the USA. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class "B" digital devices. [. . . ] Tracks are further divided into sectors, and each sector can store 512bytes of data. On a newly formatted disk, files are recorded into a continuous series of sectors as shown below. TRACK 6 SECTORS 10 SECTORS 8 SECTORS FILE 1 FILE 2 FILE 3 SECTOR As files are deleted and new files saved, files may be split (fragmented) over different areas of the disk, losing the continuity of sectors. In this case, reading one file may cause the disk drive to read sectors from many different parts of the disk, thus slowing down the overall data read rate and making the disk drive work harder. Space previously occupied by file 2 FILE 1 FILE 4 FILE 5a FILE 3 FILE 5b FILE 5 has been split ­ fragmented. Disk defragmentation is quite important for hard disk audio recording, as it is better to record data into a continuous series of empty hard disk sectors. If recording starts in an empty sector, but then subsequent sectors in the series are used by another file, because there is so much data being recorded, the disk drive does not have time to find, then move to another area on the disk, so recording may stop. This is not a problem with a completely empty disk, but if a sound file is deleted, the next recording might start in the deleted space, and recording might stop because there is not enough continuous empty sectors available. This will be more noticeable on a smaller hard disk where you have to keep deleting unwanted sound files to make way for new recordings. The answer is to use a good hard disk defragmentation utility when a sound file has been deleted. By defragmenting the disk, all sound files will be moved up to the front end of the disk, leaving the available disk space as a series of continuous sectors at the end of the disk. Hard disk partitioning Because the CBX-D5 can read and write to any hard disk drive connected in the SCSI chain, it is able to use individual partitions of a hard disk drive that has been partitioned. However, the CBX-D5 cannot record across hard disks or partitions, so the available recording time will be limited to the size of the partition. NOTE: The time available for all recordings is not limited by the size of a hard disk partition, it is the time available for one continuous recording, or one take that is limited. 20 20 Chapter 7 : Recording 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. Digital audio signal clipping normally produces unpleasant distortion, pops, and clicks, and unless you have some very sophisticated editing equipment it is impossible to remove it after the event. So great care must be taken when setting the recording level. With a digital audio recorder such as the CBX-D5, noise and hiss produced by setting the recording level too low is not a problem. However, setting the recording level too low will reduce the effective dynamic range of the recording and with a dynamic range of 96dB* available it makes sense to use as much of it as possible. Basically, the recording level should set so that the loudest signals light the ­3, ­6, ­9 LEDs, but never light the CLIP LEDs. When recording with microphones, where sudden signal increases are possible, it may be worth having a "dry run" before you hit the record button. A compressor is a useful tool when recording vocals and acoustic instruments. Headphone monitoring During recording and playback, the four audio channels can be monitored using a pair of stereo headphones. Headphones should be connected to the PHONES jack on the front panel. The volume can be adjusted using the PHONES VOLUME control. As you can see from the diagram below, channels 1 and 3 appear in the left speaker and channels 2 and 4 in the right speaker. Channel 1 Channel 3 L R Channel 2 Channel 4 * 96dB is the dynamic range available with a 16-bit digital system (6dB per bit). 22 22 Chapter 7 : Recording Chapter 7 : Recording Digital audio data containing SCMS SCMS (Serial Copy Management System) is a protection system designed to stop illegal digital copying of audio material. When a SCMS DAT recorder (most consumer DAT recorders) receives a digital input signal with the copy protect flag set to "protect", it cannot enter record mode, making digital tape duplication impossible. NOTE: SCMS does not affect recordings made using analog connections, and it is only second generation digital copying (copy of a copy) that is prohibited. If a digital signal that contains SCMS is input to the CBX-D5 it will not prevent the CBX-D5 from recording. [. . . ] 799 100 999 99 69 9 10 1999 31 25 Add-22 22 Chapter : Type 77: Chorus & Rev No. 1 2 3 4 5 6 7 8 9 10 Parameter Name Chorus Mod Freq Chorus PM Depth Chorus AM Depth Reverb Time Reverb High Rev Diffusion Rev Initial Delay HPF LPF Unit Hz % % sec ms Hz KHz Minimum Maximum Step/Table 0. 05 40. 0 0. 05 0 100. 0 1 0 100 1 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 Max. Int. 799 100 100 69 9 10 1999 31 25 Type 78: Sympho & Rev No. 1 2 3 4 5 6 7 8 9 10 Parameter Name Modulation Freq Modulation Depth Unit Hz % Minimum Maximum Step/Table 0. 05 40. 0 0. 05 0 100. 0 1 Max. Int. [. . . ]