Introduc tion Summar y of CP1 Stor y Behind the Bir th of CP1 Sound Making with CP1 C P 5 / C P Re v i e w
Exploring the Technology and Passion behind the Newest State-of-the-Art Model
In preparation for the year 2010, Yamahas CP stage pianos have evolved in a new direction. With state-of-the-art SCM technology, the CP1 stoically focuses on the pursuit of piano sound. The CP1, which returns to the roots of the CP stage pianos, is already generating significant buzz among musicians. In this special report, we will elucidate the construction of the CP1 and explore the true value of the CP1 as a stage piano by asking professional musicians to try it out. By listening to the sounds produced by some of the worlds most prolific musicians, you can evaluate the quality of the CP1 yourself.

The Yamaha CP1

A Stage Piano That Enthralls Musicians
IntroductionSummary of CP1
Background and Construction of This New Generation of Stage Pianos
The CP1 is equipped with a number of newly-developed technologies. First, lets explore the construction of this high-quality stage piano.
The Legacy of the Stage Piano Concept Inherited by the CP1
The number 1 has been passed on for generations to flagship Yamaha keyboards that epitomize the eras in which they are born. Examples from the past include the GX-1, which announced the arrival of the era of polyphonic synthesizers; the GS1, the vanguard of FM synthesizers; the DX1, the pinnacle of FM tone generators; and the VL1, the worlds first virtual acoustic tone generator. The newest successor to this number is the CP1, which started selling after much anticipation at the end of 2009. The legacy of the CP1 makes its status as a world-class instrument readily apparent. CP, the model number that comes before the number 1, is also the heir to an honorable history. That history began all the way back in 1976. Thats when the CP70 started selling. Its 73 keys had the same action as a grand piano, and its impact changed the history of music. The CP70 (see picture 1 ), which was referred to as an electric grand piano, was a special type of electric piano that had hammers that actually hit their strings. The resulting vibrations were detected by pickups and amplified by an amp. Compared with earlier pickupbased electric pianos that used pieces of metal or reeds and electric pianos that used an analog tone
t Picture 1 This is the CP70, an
electric piano with the same action as an acoustic piano. The sound that results from hitting one of the strings with a hammer is detected by a pickup and output.
generation method, the CP70 provided a sound and feel that were much closer to those of an acoustic piano. Along with the CP80, an 88-key model that started selling two years later in 1978, the CP70 was used extensively on the stage. The CP electric pianos were sold until the middle of the 1980s. They gradually disappeared after the introduction of PCM models that were capable of producing tones closer to those of an acoustic piano. However, the tones produced by the CP pianos had a different kind of appeal to them than those produced by acoustic pianos, and many artists love playing CP pianos even today. After 30 years, the CP model number was revived in 2006. The new models that were introduced were the CP300 and CP33 (see picture 2 ). Of course, these pianos do not have strings, but they are the successors to the stage piano concept of the CP80, and they are used often now as stationary pianos for rehearsals and in studios. And now, the CP1 has arrived. Its name indicates that it is the pinnacle of stage pianos.

p Picture 6 The newly developed NW-STAGE keyboard
performs consistently every time you play it. It matches firmly with any tone type and increases your range of expression.
pPicture 7 To select a tone (performance), use the buttons on the right to select a bank, and then press a number button.
pPicture 8 The six optimum parameters for changing the tone are pre-assigned to the knobs at the bottom of the screen (these parameters can be changed freely). For Preset-B-1, Case 71, in the picture, the following parameters are assigned to the six knobs in the center of the panel: the hammer striking point (StrkPos), hammer hardness (Hammer), output volume (Volume), power amp distortion (Drive), vibrato depth (Depth), and speed (Speed).
Story Behind the Birth of CP1
The Story of the Birth of the CP1, Told By One of Its Creators
A number of new technologies, such as the SCM tone generator and the NW-STAGE keyboard are installed in the CP1. We asked one of the members of the CP1 development group to tell us the story of the CP1s creation. that they would fit on a single page of the screen. As a consequence of this, we thoroughly scrutinized the non-adjustable parameters. For example, you cannot change the high and low frequencies of the pre-amps 3Band EQ for the CF 3Band and S6 3Band piano types, but we set separate, ideal frequencies for each piano. After saying this, Mr. Ohtaka continued saying a lot of hidden effort went into the CP1. But because its a piano, not a synthesizer, we focused more on having people enjoy playing it rather than on touting its technology and specifications. The CP1 is filled to the brim with hidden technology. Mr. Ide said, in the CPs up until now, we focused on creating better and better acoustic piano tones, but reevaluating the CPs role as stage pianos, we realized that good electric piano tones are also extremely important. Just as Mr. Ide says, with the vintage sounds of the Rd and Wr and pure Yamaha sounds, such as those of the CP and DX electric pianos, the CP1 has a rich assortment of electric piano tones. And the technology behind those tones is vast. Mr. Miura explained the development process as quoted below. For example, for the Rd, we started developing the pre-amp by acquiring the circuit diagram of the original instrument. Its a very unique instrument. We tried to model it accurately, but even when we analyzed it logically and created a model that should have matched the instrument precisely, some of the sounds just werent right. In the end, we found ourselves repeatedly creating sounds and making fine adjustments to create tone control characteristics that matched the waveforms of the CP1. One of the main issues for the electric piano sounds was distortion. The development group realized that the uniquely warm sound that comes from vintage instruments is a result of the natural distortion created by their internal circuitry, and they decided to reproduce that distortion in the CP1 pre-amp. As Yamaha worked on developing the VCM analog circuit modeling technology, we accumulated techniques for reproducing distortion. We are using those techniques in the CP1, said Mr. Miura. The way that distortion is produced varies depending on the year of the instrument being modeled. Elements such as the auto pan fluctuation also vary. Mr. Ohtaka said that the piano type and pre-amp combinations are fixed. You cant edit them as if you were using a synthesizer. For example, you cant set the piano type to 73 Rd I and the pre-amp to 78 Rd II. Mr. Ide continued, a product might seem interesting if you enable the use of an Rd preamp to play a Wr sound. We can make it possible to combine sounds more freely and adjust parameters in more detail, but that doesnt necessarily lead to a good sound, the kind of sound that musicians are striving for. There were a number of arguments, but in the end we decided to go with fixed combinations because they simply produced the best sound. The fixed combinations ensure that the instrument never misses its sweet spot.

There Was No Set Method, So We Built and Rebuilt It Over and Over Again
This is our flagship stage piano. When we asked about the concept behind the CP1, the product development producer, Kensuke Ide, replied by saying that its easy to say that something is number 1, but that making something that is better than everything else is impossible without an extraordinary amount of effort. Nevertheless, Mr. Ide, who worked on the development of the CP300 and CP33, still strived to make something that he could say is number one, as he makes clear in the quote below. Its rather difficult to keep playing at performances while maintenancing an old instrument. Thats why we decided to create an easily transportable keyboard that keeps the sounds of the old instruments and enables musicians to keep their performing power on the stage. Up until now, higher model numbers in the CP series corresponded to higher quality.However, historically, Yamaha flagship models have used 1 in their namesso we decided to show our dedication as a manufacturer to this product by reversing the normal logic and using the number 1 in its name. Mr. Ide spoke of the concepts behind the CP1 enthusiastically. However, the path to development was difficult. Fumitsugu Ohtaka, who handled the development of content (tones) for the development group, looks back on that path in the quote below. We were trying to make something with a degree of precision that was totally different from that of
previous models. The new technology known as SCM was of a type not seen before, so it didnt have a set method. We just had to build and rebuild over and over again. So it took us quite a lot of time. The CP1 is equipped with an SCM (Spectral Component Modeling) tone generator. The truth is, this name doesnt just refer to one tone generation method. Daisuke Miura, who worked on the tone generator modeling, explained it like this: Spectral component modeling is used to symbolically refer to a group of characteristics of this system. With frequency characteristic analysis (spectral), the CP1 can create natural and real sounds based on the speed with which the performer presses the keys. The piano types, effects, and amp all use modeling technology (modeling), and you can combine these elements to create your own unique customizations (component). Mr. Ide told us that technically, other than the fact that they are all produced using a modeling tone generator, the technologies that are used for each of the piano types are different. Its a complicated system that cannot be fully expressed with just a few words. According to Mr. Ide, the SCM tone generator is intended for producing sound. It focuses on making the performance feel good. It uses as much of the optimal technology for each sound as is necessary.

After All, the Sound Is the Key We Were Relentless in Our Pursuit of the Most Musical Sound
Some of the characteristics of the CP1 include what is referred to as a component system, in which blocks such as the effect block and the power amp block can be inserted and removed, and a customization feature that enables parameter values and types to be changed simply. However, the core of the CP1 sound, the combination of a piano type and a pre-amp in the piano block, is fixed (it is possible to turn the piano block on and off). This is because of the relentless focus on sound that we have been discussing. We carefully selected the parameters so
Members of CP1 Development Group
We Strove to Create a Keyboard with a Unique Sense of Value That Is Exhilarating to Play for Any Tone
The concept of never missing the sweet spot was applied thoroughly to every aspect of the CP1. This concept manifests itself in the subtle distortion that occurs when you apply a phaser effect and raise the drive and in the ability to mix the line and speaker output in the power amp block. Of course, this concept was not just applied to the tone generator, but also to the development of the keyboard. What the producer Mr. Ide strove for was a keyboard with a good response that wont make you tired on the stage. We asked Ichiro Ohsuga, who was the person in charge of keyboard development in the development group, about the process behind the development of the NW-STAGE keyboard. The NW (natural wood) keyboard, which is installed in the current model of the Clavinova, is the rightful successor to the legacy of the GH (grade hammer) keyboard, which simulates the feel of a grand piano, and it is even more refined than its predecessors. This time we enhanced the NW keyboard so that it would be more comfortable for a professional to play on a live stage and so playing both acoustic and electric piano tones on it would be an exhilarating experience. We strived to create a keyboard with a unique sense of value. The enhancement of the keyboard was always centered around how the performer feels when playing it. According to Mr. Ohsuga, the keyboard was developed to be easy for someone who is accustomed to playing pianos to get used to and to enable you to play with precision all the way to the end of a live performance without becoming tired. The developers strove toward this goal as they created the keyboard. It wasnt simply a matter of imitating a piano keyboard. There is a type of touch that is most appropriate for electronic instruments. On the other hand, we had to create a subtle touch that would enable someone to easily use the senses that they had developed training on a piano. In order to achieve this touch, Mr. Ohsuga said that even though the physical characteristics are different from those of a piano, we kept some piano-like elements to give performers a sense of security. To make it difficult for performers to tire while playing the piano, we added elements to make the keyboard feel more nimble, while at the same time maintaining an exquisitely balanced weight so that no control was lost. Also, the synthetic ivory was not just used to make the keyboard appear more piano-like, it also reduces the amount by which sweat on the fingers changes the friction between the fingers and the keys. By incorporating the multitude of elements discussed above and adjusting the keyboard to match the tone generator, the developers created a keyboard that has a good response and wont make you tired on the stage no matter which of the CP1s piano types are used with it.

05 / 06

Sound 4 Creating a Rock n Roll Sound by Adding Distortion in the Power Amp
Lets try out the sound of the Wr. Here, we selected Preset-B-16, 77 Tremolo. As the name implies, this is a sound with tremolo added to it (Track 07). If you raise the key off and power amp drive you get a very powerful sound that really stands out. It sounds great doesnt it? It makes you want to play staccato. Next, well try changing the power amp line/speaker balance. As you can tell, its very different from the sound of the preset (Track 08). We think this is a tone that can square off against a guitar in songs with a bluesy texture.

07 / 08

Sound 5 Using the Presets as They Are and Producing Vintage Sounds
Listening to the sounds of the CP made me feel nostalgic. The best way to produce vintage sounds is to use the presets as they are, so we are going to introduce some of the pure preset sounds. The interesting thing about the CP1 is that it has CP sounds from different years. A-9, CP8 Studio, (Track09) is from the 80s. The CP88 waveforms set for A-10, CP80 Live, (Track 10) are a modeled sound based on what a CP would sound like if it was built today. Even though they are all CPs, its interesting that their sounds are so different. Because the CP80 Live gives a richer impression and is more piercing, it is probably more suitable for live performances.

09 / 10

Sound 6 Use 816 Sounds and Play Them Magnificently
For the DX electric pianos, I chose Preset-A-14, DXEP 1, because I think it is the easiest to understand. This tone has a chorus known as 816Chorus added to it from the start. This is a reproduction of the chorus achieved on the famous TX816 through the detuning of eight DX tone generators. First, lets listen to the sound when the chorus is turned off (Track 11). Now, lets listen to the sound with the effect turned on (Track 12). To make the sound as magnificent as possible, I set the mix level to the maximum level of 127. I think this results in a pleasant detuned sound.

11 / 12

Sound 7 Layered Tones That Shine Even in Band Ensembles
Preset bank C contains useful layered tones that can be used on the stage. I will introduce two of those tones. C-11, FunkyWurli, is a combination of the Wr and DX electric piano sounds (Track 13). The DX electric piano has a touch wah added to it and produces a Clavinova-like sound. This sound is useful when you want to play the CP1 percussively, like a guitar. I am especially fond of C-16, What a CP! (Track 14). This is the layered sounds of a CF and an Rd. The balance is extremely good. Even in a band, Im sure this sound will resonate without sinking back.

13 / 14

CP5/CP50 Review Introduction to the CP Series Lineup
left are the controllers for these parts. In addition to adjusting the volume balance for each of the parts as if you were operating a mixer, you can also turn each part on or off by pressing the buttons below the knobs. You can also turn splitting on or off using the button on the panel. The knob farthest to the left is assigned to the sound received from the microphone connected to the microphone input on the rear panel. During times such as when you are playing and singing, you can use this knob to adjust the balance between your voice and the instrument sounds. You can also load and replay audio files. This means that with just the CP5, you can sing and play over an orchestra sound that you created using a PC or other device. While playing the piano, its not unusual to think I want to adjust the sound. In these situations, it is usually the brightness of the sound and the decay that performers want to adjust. Of course, this is impossible on an acoustic piano, but on the CP5, even this can be accomplished easily. The five knobs on the right of the front panel control the five-band master equalizer. Using these knobs, you can control the tone of your sound. For example, you can enhance the low sounds when there is only piano accompaniment in the beginning of a song, and then when the band comes in, you can lower the intensity of the low sounds and enhance the high sounds. Also, you can assign parameters freely to the three knobs in the center. For example, if you assign Release to one of the knobs, you can perform while making fine adjustments to the speed at which the notes decay. As discussed above, the CP5 is a high performance stage piano with a multitude of features for supporting piano performances on stage.

In Addition to Piano and Electric Piano Sounds, There Are 305 Various Instrument Voices
The CP5 is not just a lower-grade version of the CP1. It has the same SCM tone generation system as the CP1, and while it inherits the same fundamental design, it was conceptualized as a somewhat different type of instrument. One could say that the CP5s concept is that of a keyboard instrument that enables you to enjoy performing using different combinations of voices. This concept is made evident by the six knob controllers arranged on the left of the front panel. The CP5 has two acoustic piano voices and 17 types of electric piano voices, including those of electric pianos that used metal rods and plates (the Rd and Wr); pickupbased electric pianos, such as the venerable CP80, that used strings; and FM pianos, represented by
the DX series. For all of these voices, you can create original piano tones by adjusting parameters such as the hammer hardness and strike position and adjusting the parameters of components such as the amp and effects. Another one of the main characteristics of the CP5 is that it has 305 musical instrument tones that can be freely combined with piano tones to create the actual tones (referred to as performances) that you perform with. The instrument sounds are arranged by type and include guitar, bass, string, brass, synth reed, and synth pad sounds.
You Can Turn Sounds On and Off and Adjust Them Instantly While You Play
The CP5 has six parts, including the one part that is assigned to the mic. You can assign instruments to these parts when you play. The six knobs on the
Expressive Performances That Combine Sounds from the CP1 with a Variety of Tones
The CP50 is a compact stage piano that uses the SCM tone generator from the CP1. The CP50 has acoustic piano voices and 12 types of electric piano voices, including those of electric pianos that used metal rods and plates (the Rd and Wr); the venerable string-based piano sounds of the CP80; and the voices of FM pianos, which people are familiar with from the DX series. For these sounds you can adjust the level and decay for each range. You can adjust parameters that have been specifically prepared for each voice, such as the strike point and damper effect. You can also adjust the parameters of the modulation effect block, whose many effects include fader, flanger, chorus, delay, tremolo, and distortion
ef fects, and the parameters of the power-amp / compressor block. By making these adjustments, you can create sounds with extreme precision. In addition to the piano voices, there are 215 types of instrument voices that you can combine with piano tones to enjoy expressive performances. Also, to really get the most of the nuanced tones of the CP 50, we equipped it with a grade hammer keyboard, which reproduces different weights for different ranges, making the CP50 an instrument that enables the performers thoughts to be converted into sound as smoothly as possible.

Equipped with a Refined Controller and Recording and Playback Features
In addition to an expressiveness that surpasses
that of acoustic instruments, the CP50 also has real-time per formance flexibilit y that would be impossible to achieve on an acoustic instrument. There are three knobs and buttons on the left side of the front panel, and they can be used to turn on and off the three combined tones (parts) and adjust their balance. Even within a single song, you can change the tone according to the progression of the music. The sets of three knobs in the center and on the right side are also indispensable items. The three knobs on the right side control the threeband master equalizer. You can assign up to three of the parameters discussed above to the three assignable controllers in the center. By assigning decay or effect parameters to these knobs, even during per formances, you can make precise adjustments in real-time. The CP50 has 100 preset rhy thm patterns, and it can load and play.wav and MIDI files, so you can play over an orchestra sound that you created using a PC or other device. Also, the CP50 can record its own performances. In addition, just as with the CP1 and CP5, the DAW software application Cubase AI is included with the CP50, so if you have a PC, you can set up a music creation environment quickly. One of the great appeals of the CP50 is that if you have just one, you can do any thing. Also, it enables you to acquire the state-of-the-art SCM tone generator featured on the CP1 flagship model for a modest price. The CP50 packs all the features you need into a compact body, making it a stage keyboard that truly excels in cost performance.
In this day and age, digitally sampled realistic piano sounds are considered the norm for stage pianos. However, the original stage piano, which arrived in 1976, was the CP-70 electric grand piano, which used pickups with a grand piano structure. Even now, the name of the CP-70 can be seen in synthesizer presets, so even generations who never knew the era of the CP-70 may be familiar with its name. The CP-70 instantly took the world by storm. It was used by a vast number of musicians. The CP-70 and the various models that came after it defined an era. At the same time, pianos were released under the CP name that were totally different from the electric grand type of piano. These were what are known as electric pianos. Here, we will follow the legacy of the Yamaha CP series and explore its era, its sound, and its appeal.

Part 1 Part 2

The Yamaha CP-70/80 and Their Era

The age of YAMAHA CP

page 10
The Design of a Famous Instrument That Dominated an Era

Whats YAMAHA CP?

page 12

Part 3

Yamaha CP Gallery
Do you know all CP models?

page 14

Part 1
The YAMAHA CP Yamaha CP-70/80 and Their Era The age of
The CP-70/80 revolutionized the history of stage pianos and came to define an era. Here, we will examine the history from before these instruments arrived to the present.
The Night before the Arrival of the CP-70/80
Throughout history, pianos have been an essential instrument for rock and pop. We can all conjure up images of performers singing and playing the piano. From the rolling sounds of rock-and-roll pianos to the classical phrases of progressive rock, pianos have made their mark in a wide range of genres. However, having said that, its rather difficult to incorporate pianos into a band sound. This is especially true at live performances, where the extended setup time and limitations on the instrument layout pose great challenges. The first problem is size. Even a small grand piano has a length close to 2 m and a weight of over 200 kg. A full-sized concert grand is even larger. It would be impossible for someone to just walk around with their own piano, and it takes a group of people to set a piano up. What makes things even more difficult is that the sound is difficult to pick up. When you play a piano with a band, its necessary to use PA speakers to project the sound. In order to pick up all the sounds of a piano that has hundreds of strings stretched within its huge body, its necessary to set up multiple microphones at somewhat removed positions, just as one would when recording. However, if you do that, the sounds of the other instruments also make their way in. Even if you try to make the sound of the piano louder, you also end up making the sounds of the drums and guitar that made their way to the microphones louder too. Also, in that type of situation, its easy for feedback to occur. The result is that its easy for pianos to end up not having enough volume. Of course even now, it is not uncommon for microphones to be used in cases
tAn image of piano recording. To adequately pick up the sounds of a piano, multiple microphones are necessary as shown here.
where acoustic piano sounds are important, such as in performances of musicians who sing and play at the same time. Skilled engineers can effectively pick up the sound of a piano using two microphones, and pickups designed for pianos are now available. However, these techniques can usually only be used when the volume of other instruments is low or in an all-acoustic ensemble, and the reality is that picking up piano sounds is still difficult in very loud band performances. In fact, there are many players who have performed in clubs where the amount of setup time and the stage size is limited and who have suffered the experience of finding that the piano is drowned out by the volume of the rest of the band.

CP-60M CP-7 CP1

CP-35/25, CP-11 (Analog tone generation model)

CP-11W/7

CP-80D/70D (Graphic equalizer built in model) CP-80M/70M (MIDI equipped) CP60M (Upright piano type)

CP300 and CP33

CP1, CP5 and CP50

CP-300 CP-35

Part 2
The Yamaha CP pianos, which are the epitome of stage pianos, have a variety of different models with different ages and sizes. These models use a variety of different tone generation methods. The most famous models are the string-based electric grands, the CP-70/80 series. Here, focusing on this series, we will delve into the structures of the main models.
pThe action of the CP-70/80, which is the same as that of a grand piano. The hammer, which moves in sync with the keyboard, hits the strings stretched across the upper area.
When most keyboardists hear CP, the first things they think of are probably the CP-70 (73 keys) and the CP-80 (88 keys). Just as these pianos look like grand pianos from the outside, their internal structures and sound producing mechanisms are also extremely close to those of a grand piano. The relationship between a grand piano and the CP-70/80 is easy to understand if you think of it in terms of the relationship between an acoustic guitar and an electric guitar. The basic sound producing method of an electric guitar is the same as that of an acoustic guitar, but while an acoustic guitar uses its hollow body to amplify the sounds of the strings through resonance, an electric guitar is designed not to use resonance but to instead use pickups to detect the sounds of the strings and then transmit the sounds through an external amp. The CP-70/80 is also similar to a grand piano up to the point where it produces sounds by hitting the strings stretched across its steel frame using hammers connected to the keyboard. However, because the CP-70/80 does not have a table for amplifying the sounds of those strings, the raw sound that it produces is extremely faint. Instead of being amplified by a table, the vibrations are detected by piezoelectric pickups attached to each string and then finally transmitted as powerful sound by external playback equipment. The result is that a unique piano sound is produced that you can play at high volume without worrying about surrounding sounds being mixed in or feedback occurring.
pThe piezoelectric pickups installed below each string. Because the electronics for the pickups and controllers are all installed in the upper frame part, it only needs to be physically attached to the keyboard part. There is no need to use cables to attach the two parts.

However, to keep the size of the piano compact while maintaining the necessary tension and range, the designers only used two strings in the middle to high ranges, where three strings would be used on a normal piano. The designers also made the area of the low range where only one string is used larger than that of a normal piano. The result is that the sounds in these areas have their own unique nuance. They are simpler than the sounds of a normal acoustic piano. This unique nuance, along with the characteristics of the pickups, is one of the major elements that define the CP sound. Another characteristic of the CP-70/80 is that it is equipped with a three-band equalizer and a tremolo circuit.
pThe control panel on the left side of the CP-80 keyboard. The controls, from left to right, are the effect loop, volume, three-band equalizer, brilliance level, tremolo on/off, tremolo rate, and depth controls.
pA reliable cannon connector is used to connect the AC adapter.
pAs is appropriate for a stage piano, the CP output section is equipped with cannon (XLR) connectors. Unlike the 1/4 connectors below them, because the XLR connectors are special connectors for output to the PA system, their signals are not affected by the control panel volume. The pickup output is monaural, but because a stereo pan effect can be achieved when the tremolo effect is used, the output is stereo.
pThe control panel of the upright CP-60M, which was sold at the same time as the CP-70M/80M (the overall design is the same as that of the CP-70M/80M). The controls, from right to left, are the red power switch, the volume, the equalizer on/off switch and seven-band graphic equalizer, the effect loop on/off switches, the tremolo on/off, and the tremolo rate and depth. For the MIDI feature, a separate on/off switch and split-setting switch are available on a separate panel (on the left of the CP-60Ms power switch, and on the right of the CP-70M/80Ms power switch). In addition to the mechanical damper pedal, the foot switch can also be used as a MIDI sustain pedal.
The CP-70/80 series pedal. As you can see here, it is connected to the instrument by a rod. The CP-60M connector area. In addition to MIDI output, there are also power supply and foot switch connectors. It is equipped with two separate effect loops and output.
As described above, the CP-70/80 sound production system makes it truly worthy of being called an electric grand. However, the most significant characteristic of the CP is most likely the structure of its body. The keyboard area and frame area of the CP-70/80 can be separated and stored in two separate cases along with the pedals, legs, power supply, and other parts. The result is that the CP-70/80 is much easier to carry around than a grand piano. However, perhaps because of this structure, the feel of the keyboard is heavier than that of a piano.

There are a number of variations in the CP-70/80 series. First of all, the CP-70 sold in 1976 had a built-in power supply. In 1978, the CP-70B arrived. Its power supply was contained in an external AC adapter. The CP- 8 0, which had keys, also star ted selling that year. In the beginning of 1985, the CP-70D/80D was released. It had a seven-band graphic equalizer and two separate effect loops. In the summer of the same year, a model with the same features plus a midi output, the CP-70M/80M, was released, along with the upright CP-60M. It became possible for CPs to be connected by MIDI to a synthesizer, such as
the DX7, and layered in performances. While the body of the CP-60M could not be split up like older versions, it still had a design that was conducive to touring, with a keyboard section that could be folded down into the instrument. The M series were the last CP models to use strings. As a substitute for an acoustic piano, the CP70/80 is vastly superior to electric pianos that use reeds or tone bars, such as the Rhodes and Wurlitzer pianos, and to electronic pianos that use oscillators. Also, there are a number of artists who use the CP-70/80 for recording because of its unique sound. However, while the CP-70/80 is much lighter than a grand piano, it still weighs 100 kg, and the fact that it has to be tuned like a regular piano is a negative aspect that cant be overcome. So, with the arrival of much more compact yet still sufficiently real-sounding PCM tone generators, the CP-70/80 had to withdraw from the front line.
As shown here, its simple to connect the keyboard part (lower half) and the frame part (upper half). And there is a handle for carrying on the left side.
The other CPs released in the 1970s did not use strings, but instead used analog tone generators based on electronic oscillators. Of course, they were electronic pianos, and their sounds had a totally different character than the sound of the CP-70/80. Their fundamental structure was similar to that of an electronic organ or analog synthesizer: a single master oscillator produced the fundamentals for each of the key notes through the use of an IC for dividing the frequencies into those of a tempered scale. Then preset filters, VCAs, and other methods were used to modify the tones so that they were similar to those of a piano or harpsichord. Of course, the tones that these pianos produced were piano-like sounds produced by an analog synthesizer, and were not sufficient substitutes for a piano.
The most popular model in this popular series was the CP-30. It had two built-in tone generators, each with three piano tones and four harpsichord tones. The reason the CP-30 was so popular was because the tones of its two generators could be combined and detuned to produce unique new tones. Like the string-based CPs, the CP-30 was designed to be portable. For example, its lid could be separated into two parts and used as a stand. The CP-20/30 eventually developed into the expansion model, the CP-25/35. The CP-25/35 used a pulse tone generator with a key assigner circuit equipped with a processor for assigning played notes to the tone generator. This made decay control through envelopes possible. Like the CP-30, the CP-35 had two tone generators.

Other CP Series

Because it enabled users to set different decays for each tone generator, it enabled sophisticated sound creation in which the attack and delay time were used to change the tone. It also had a preset feature for changing tones at the push of a button, an equalizer, tremolo, and a flanger. Furthermore, in the beginning of the 1980s, products such as the CP-11 arrived. The CP-11 had an automatic accompaniment feature, which would later be found in portable keyboards, and its own built-in speakers.

pCP-30

Do you know all models?
The first-generation instrument from the same line as the CP-11. It started selling in 1977, the year after the CP-70 and CP-30. It was a smaller version of the CP30, which had 76 keys and two tone generators. While this version had 61 keys and one tone generator, like the CP-30, it had four tone tablets and touch response. Its price at the time was $740.

CP-60M

The upright model that came out in 1985. Like the CP-70M/80M, it was equipped with MIDI and a seven-band graphic equalizer. It was designed so that its keyboard area could be stored inside its body. Its price at the time was $1840.
The 88-key model that started selling in 1978. It had longer strings than the 73-key model and produced a purer, more natural tone. Functionally, it was the same as the CP-70B. Its price at the time was $4000.
This is a CP not from the string-based line but from the line of electronic pianos that used analog tone generators with electronic oscillators. It also had an automatic accompaniment feature and built-in speakers. Later came the CP-11W, which had a woodgrain panel. Its price in 1981 was $4250.
An electronic piano with an analog tone generator. It arrived in 1976 at the same time as the CP-70. In addition to a touch response like that of an acoustic piano, it also enabled musicians to enjoy sophisticated tone creation with two tone generators, two tones, two decays, two pitches, and two separate tremolo controls. Its price at the time was $950.
An instrument that was based on the CP30/20, this CP came about as a result of the tenacious pursuit of cost performance. Its price in 1979 was $499. Like the two instruments introduced above, this CP had four tone tablets and a five-band graphic equalizer.
This was the ultimate instrument from the second generation of electronic pianos with analog tone generators. It was an unquestionably professional instrument. Musicians could create sounds using two newly developed pulse tone generators, each with four types of wave switches for setting the tone generator waveform, and filter switches. It arrived in 1981, and sold for $1800.

This was an instrument for home use that was introduced in 1982. Like the other CPs before it, it had four tone tablets, but it also had a main chorus effect and two 5-watt speakers. After this, no electronic pianos with the name CP were released until 2006. At the time, it sold for $280.
The pinnacle of stage pianos, boasting functions and features designed for live performances and band ensembles. Its price is $3150.
This small, lightweight model is half as heavy as the CP300, and it has a depth of approximately 70% that of the CP300. Its price is $1700.

Specifications

CP1 CP5

Pedal Unit included.

Keyboard Maximum Polyphony Tone Generator Performances Preset User External Parts Voice Block Modulation Effect Block Power Amplifier / Compressor Block Reverb Master Compressor Master Equalizer Rhythm Number of Kits Number of Patterns Display Controllers
88 keys, NW-STAGE keyboard (Wooden synthetic ivory weighted keyboard) 128 SCM 16 x 3 banks 16 x 3 banks 16 x 3 banks (USB Flash Memory) piano types 10 types 8 types 8 types 5-band 55 character x 2 lines, VFD Pitch bend wheel, Master volume, Knobs 1 to 6 Output PHONES L/MONO, R (Unbalanced) L, R (Balanced) SUSTAIN, SOSTENUTO, SOFT, ASSIGNABLE x2 IN, OUT, THRU TO HOST, TO DEVICE 28W 1,385 x 420 x 173 mm 27.2 kg Power cord, Pedal unit, Illustrated Guide to the CP1 booklet, Owners Manual, Data List booklet, Software DVD-ROM*
88 keys, NW-STAGE keyboard (Wooden synthetic ivory weighted keyboard) 128 SCM + AWMx 4 groups x 3 banks 10 x 4 groups x 3 banks 10 x 4 groups x 3 banks (USB Flash Memory) piano voices + 305 other voices 49 types 8 types 8 types 3-band 5-band 24 character x 2 lines, VFD Pitch bend wheel, Master volume, Knobs 1 to 3, Part volume x 6, Gain Master equalizer x 5 PHONES L/MONO, R (Unbalanced) L, R (Balanced) SUSTAIN, ASSIGNABLE x2 x1 IN, OUT, THRU TO HOST, TO DEVICE 25W 1,381 x 405 x 174 mm 25.2 kg Power cord, Foot pedal FC3, Owners Manual, Owners Manual CD-ROM, Software DVD-ROM*
88 keys, GH keyboard 128 SCM + AWMx 4 groups x 3 banks 10 x 4 groups x 3 banks 10 x 4 groups x 3 banks (USB Flash Memory) piano voices + 215 other voices 49 types 8 types 3-band 3-band 24 character x 2 lines, VFD Pitch bend wheel, Master volume, Knobs 1 to 3, Part volume x 3, Master equalizer x 3 PHONES L/MONO, R (Unbalanced) SUSTAIN, ASSIGNABLE x1 IN, OUT, THRU TO HOST, TO DEVICE 7W 1,381 x 332 x 165 mm 20.9 kg Pow er ad a ptor PA-( or a n e quiv alent recommended by Yamaha), Foot pedal FC3, Owners Manual, Owners Manual CD-ROM, Software DVD-ROM*

Connectors

Foot Switch Foot Controller Mic Input MIDI USB Power Consumption Dimensions (W x D x H; not including pedal unit) Weight (not including pedal unit) Additional Package Contents
Options for CP1/CP5/CP50 Keyboard Stand: LG-800 Foot Pedal: FC3 Foot Switch: FC4, FC5 Foot Controller: FC7, FC9 Specifications and appearance are subject to change without notice.