On the CP1, in addition to the tone s of t wo acoustic pianos (the CF and the S 6 ) the tone s of electric pianos that use met al rods (the Rd I and Rd II ) and the tone of an electric piano that uses piec e s of met al (the Wr) are included. These electric piano tone s are inst alled by ye ar. 1971, 1973, and 1975 model Rd I tone s are inst alled. T he tone s of the 1978 Rd II are inst alled in addition to other tone s such a s those of the D yno. Two t ype s of Wr tones are inst alled : those of the Wr and those of the Wr. A tot al of 17 t ype s of keyboard tones are inst alled, including those of the CPand the DX electric pianos, which have FM tone generators. T he se are the piano t ypes referred to e arlier. E s sentially, it s a s if there are 17 instrument s inside of the CP1. The tones of these instrument s are proc e s sed by the blocks af ter the piano t ype block to
produc e tone s known a s par t s. A s writ ten e arlier, the CP1 ha s four blocks : a piano block, a modulation ef fect block, a power amp block, and a reverb block. In the piano block, when you select a piano t ype, a corre sponding pre -amp is selected. T h e c on figur a tion p a r a m e t e r s a r e t h e o p tim um s e t ting s for t h e pia no t y p e. For exa m ple, if you s e t t h e pia no t y p e to t h e Rd, you c a n a djus t p a r a m e t e r s b a s e d on t h e ins t r um e n t s s ound pro du c tion s y s t e m ( s e e pic t ur e 4 ) , su ch a s t h e d e c ay, r ele a s e, h a m m e r h a rdn e s s, ke y - of f ( t h e volum e of t h e s ound of a d a m p e r holding dow n a s t ring w h e n a ke y is r ele a s e d ) , a nd s t roke po sition ( t h e po sition of t h e vibr a ting obje c t t h a t is hit by t h e h a m m er). B y t ur ning on t h e m o du la tion e f f e c t blo c k , you c a n a d d e f f e c t s, su c h a s ph a s e r a nd c hor us e f f e c t s, t h a t a r e us e d
f r e qu e n tly w it h ele c t ric pia no s a nd t h a t a r e b a s e d on vin t a g e e f f e c tor s. A d dition ally, t h e pow e r a m p blo c k h a s a sim ula tor t h a t m od els t h e sp e a ke r s of a n ele c t ric pia no, so you c a n cr e a t e sounds a s if t h e y c a m e f rom a n ins t r u m e n t s a c t u al s p e a ke r s ( s e e pic t ur e 5 ). Fur thermore, the six most vit al adjustment parameters have be en c arefully selected and are a s signed to six knobs below the scre en. E ach of the pre set tone s consist s of t wo par t s. You c an turn the t wo par ts on and of f using the switche s at the top of the panel. The A-1 CF Grand tone that is played when you first turn on the CP1 actually ha s a DX electric piano tone a s signed to it s other par t, but this par t is of f by def ault. In other words, even when you are per forming using the grand piano tone, you c an inst antly turn the DX electric piano on and play the t wo par t s in unison.

t Picture 4 This is the piano type adjustment screen that appears when you press and hold the PIANO button. For Preset-B-1, Case 71, you can adjust the decay, release, key-off, stroke position, and hammer hardness. t Picture 5 This is the power-amp/compressor adjustment screen. This
screen also appears when you press and hold its corresponding button. Here, you can change the power amp type to a type other than the preset type.
Superb Performance Provided by a Newly Developed Keyboard and a Simple yet Refined Controller Area
The newly developed NW-STAGE keyboard is a wooden piano keyboard that limits vibrations and of fsets when the keys are hit (see picture 6 ). Not only does it conform well to the grand piano tone, it also conforms well to all the other tones as well, so that ever y tone feels natural when you play it. The sur faces of the keys are ivor y finished. They dont slip easily, and your fingers will feel comfor table when you play on them. You can set a velocit y cur ve to determine the relationship bet ween the volume and the strength with which the keys are hit. You can change tones using the but tons on the right of the panel. To select a tone, you specif y a combination of bank, group, and number (for example, Preset-A-9). The A group of the Preset bank contains the tones of the CF, S6, CP, and DX. The B group contains the tones of the various versions of the Rd and of the Wr. You can switch bet ween the tones in these groups with the simple push of a number but ton (see picture 7 ). In addition, there is a master keyboard feature that enables you to specif y four zones on the keyboard and generate sounds from up to four ex ternal tone generators. The six large knobs in the center of the CP1 panel stand out. While you may see them on a synthesizer, these kinds of control are rare on digital pianos. Parameters are pre-assigned to these, and you can change the tone by turning the knobs (see picture 8 ). The parameters that are assigned to the knobs var y depending on the per formance. For example, for CF Grand, the following six parameters are assigned : the low, mid, and high band equalizers ; the hammer hardness ; key-of f; and reverb. Of course, you can change how the knobs are assigned. So for example, instead of assigning key-of f to a knob, you could assign decay to it and adjust the decay time. On the stage, performers of ten worr y about these t ypes of parameters and whether they fit with the acoustic conditions and the sound of the band. One of the things that makes the CP1 such a superb stage piano is that it enables you to adjust these parameters easily. The knobs themselves are also large and easy to use. Special half-damping pedals are also included. There are three pedals : the sustain, sostenuto, and sof t pedals (the FC3 is necessar y for the use of the separately sold sustain pedal). Furthermore, not only is the CP1 equipped with assignable foot-switch and foot-controller inputs, the sostenuto and sof t pedals are also assignable, so you can adjust a variet y of dif ferent parameters while per forming. The CP1 is also equipped with USB por ts and other connectors. If you inser t a USB memor y device with your tone setup into the CP1, you can play without loading the setup into the user memor y. Finally, we would like to touch on the design of the CP1. The CP1 lives up to its name as a stage piano : it has a leather-finished paint job that is reminiscent of the CP80, and its other specifications, including those of its metallic top panel and wooden side panels, make it appear impressive and strong. The rounded CP1 logo exudes presence. The Yamaha logo glows ! And the large, easily operable knobs are innovative and new. This simple yet fresh design is one of the great appeals of the CP1. The more you use it, the more youll love it.

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.

Sound Processing Group Daisuke Miura
Contents Group Fumitsugu Ohtaka
DE Produce Group Kensuke Ide
We Thought of a New CP Image while Taking Its Legacy into Account
The people in charge of developing the tone generator and the keyboard were saying this will be a great piano. They were extremely confident. I did certainly feel pressure to come up with something that would meet their expectations, said Daizo Sato, who was in charge of the CP1s design. Mr. Ide said with a laugh, I asked him to make something that would look cool on stage. In terms of direction, I wanted to take the looks of the CP70 and CP80 into account. Because the piano is used on stage, its design needed to be simple, without anything excessive. I was hoping for something with beautility. Mr. Sato took that image and expanded on it. When I thought of a new CP design while taking its legacy into account, I felt instinctively that the traditional design of a black body with silver parts stretching across horizontally would be compatible with the look of a stage piano. One other thing that was necessary was to figure out how to convey the majesty of a flagship model. The overall image of an instrument is determined by the accumulation of a variety of details, so I decided to focus on details, starting with the paint job and the knobs. Takeshi Ando worked with Mr. Sato on the exterior of the CP1. The two of them started from scratch, without using any parts from existing products. They used extensive trial and error to bring their detailed vision to life. According to Mr. Ando, it was a tough job. All the parts were custom, and everything was new. I remember we tried so many different paint jobs. The seasons can affect the final product, so at the transitions between spring, summer, fall, and winter, we sought out the best conditions, and were then finally able to settle on the manufacturing specifications. Hidden technology is also used in the exterior of the CP1. One of example of this is the paint job. A team of painting specialists in Yamaha were developing a new painting method. Sato learned of this method by chance and was certain that he could use it on the CP1. So worked tirelessly to implement it. That is how the CP1s body, with its black leather-finished look and intense vintage feel, was born. Also, the side panels are wood, and a finish was used on them that shows the wood grain beneath it exquisitely. The glowing YAMAHA logo was Mr. Andos idea. He says he got the idea from the glowing license plates of automobiles. The CP1 logo was made to be three-dimensional and rounded, like the emblem on a car. As Mr. Ando and Sato worked on the look of the CP1, they were also focusing keenly on its operability. Mr. Sato said the following about the layout of the panel area:

HIF Development Group Ichiro Ohsuga Product Design Laboratory Daizo Sato
Mechanical Design Group Takeshi Ando
We focused the switches in the metal area and made it distinct from the leather-finished area. The goal of this was to distinguish the control area from the area of instrumental musical expression. Consequently, the switches are lined up without much space between them, but what we really focused on was making sure that performers wouldnt accidentally press a switch during a performance. Thats why we designed the CP1 with the highest vertical distance between the keyboard and the area behind it of any Yamaha electronic instrument. Creating a large step from the keyboard helps to prevent mistaken operations so that players can relax and focus on performing. We painted the switches using colors that blended with the metal to reduce the amount of information that enters the eyes and create an environment conducive to focusing on playing the instrument, Mr. Sato said, indicating that his pursuit of simplicity was not just aimed at producing visual beauty. The way an instrument looks can stimulate the performers feelings. If the performer feels good playing the instrument, were happy, said Mr. Sato. Surely, all the development team members feel the same way. While Mr. Ohtaka is confident that the CP1 sounds boast a heretofore unseen completeness, he also said that what we want isnt for performers to evaluate the CP1 as a technological device, but to evaluate it as an instrument according to its musical expressiveness. This spring, in addition to the CP1, other models in the series, namely the CP5 and CP50, will also be arriving. We want a variety of people to use these instruments, Mr. Ide said hopefully. In every step of development, we focused on creating an instrument that would make performers fingers dance naturally on the keys no matter what sound they were playing. When people hear that this is a flagship model, they may think well, my piano skills arent that good, but the CP1 is a piano that anyone can produce a good sound on. I would really like to invite anyone to give it a try.
The Sounds Born from the CP1 Are Meant for the Stage
The tones installed on the CP1 are equipped with the optimum parameters, and the CP1 makes highly free music creation possible. Here we will take a look at some of the CP1s tones and discuss how they were made.
Explained and performed by Jun Abe Photographed by Hironao Arai

Sound Making with CP1

Impression towards CP1
Personally, I have examined quite a few piano tone generators up until now, and Ive used a number of software synthesizers, but for playing, Ive always felt that hardware synthesizers were better in the long run. Its amazing how in the CP1, Yamaha has taken the advantages of a hardware synthesizer and used the technology that they have developed as a manufacturer to add software synthesizer nuances to it. The sounds in the CP1 are ideal for performing on the stage. I believe that many people have been waiting for these sounds. Of course, the CP1 can also be used extensively in recording. With regular pianos, the tuning and condition of the instrument can prevent musicians from recording good sounds. But if you use the CP1, you can quickly adjust the sound to the recording conditions.

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.

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.
The Arrival of the CP-70!
From 1950s to 70s, as the era of bands began, a number of stage pianos were proposed to deal with these problems. The Fender Rhodes, which is now praised for its unique sound, was one of the instruments developed as a solution, and electric pianos such as the RMI Electra Piano were also introduced. However, electro-mechanical pianos that produced sound using tone bars instead of strings and the analog electronic pianos of the time all produced sounds that were too different from those of acoustic pianos for them to be used as direct replacements. This was the context within which the long-awaited Yamaha CP-70 arrived in 1976. As the name electric grand suggests, the action was fundamentally the same as that of a piano. The sound resulting from hitting one of the strings with a hammer was detected by a specialized pickup and then output. Because the heart of the sound generation mechanism was the same as that of a grand piano, the sound
t The CP-70 / could be split into t wo pieces and c arried (from a Yamaha catalog of the time).

YAMAHA CP TIME LINE

YAMAHA CP
CP-70 (Electric Grand Piano) CP-30
CP-70B CP-80 (88 key model)
was also vastly different from that of the electric pianos developed up until then. The CP-70 was the first stage piano to create the same sound as an acoustic piano, so it caused a huge sensation. The CP-70 wasnt just a grand piano with pickups attached to it. One of the other main characteristics of the CP-70 is that a number of measures were taken to make it smaller and lighter. Specially developed strings were used to keep the string length extremely short. Also, while three strings are typically used for each of the mid high notes, only two strings are used in the CP-70, and the hammer action was partially simplified. The body had a case, and the keyboard section and string section could be separated during transport. The total weight exceeded 100 kg, but thanks to the CP-70s design, it could be transported easily through the use of a normal van. As for the tone, one of the most important parts, it had a uniqueness brought on by the reductions in weight and size mentioned above. Because the strings were shorter and the resonance from the body was less than that of a normal piano, the sustain was also shorter and notes faded quickly. While this was the case, through the positions and characteristics of the pickups, the sound of impact from the hammer was limited so that the higher ranges were smooth and the lower ranges did not get extremely out of control. The well managed sound did not mask other instruments in live performances, and the range was limited to make it easy for PA systems to handle. The unique, light, consistent sound was perfect for the brisk, distinct sounds of 80s fusion and new music. The CP-70 did not simply stop at being a stage replacement for the grand piano: the unique CP sound came to be loved by a variety of artists.

and other locations. There are also models in the CP series that dont use strings. The CP-30, which was released at the same time as the CP-70, was an electronic piano with an analog oscillator. As was typical for electronic pianos, the CP-30 had three piano tones in its presets and a harpsichord tone. While the tones of the CP-30 sounded different from those of a piano or electric piano, it had interesting features, such as the ability to blend two tones. This electronic piano series progressed to the lower-priced CP-20/10 before evolving into the CP-35/25 and then continuing to the CP-11. Historically, it could be said that these CPs were the last of the analog electronic pianos, and perhaps now more than ever, we should appreciate their unique flavor.
Moving Forward to the Digital CP
The CP-70/80 series was well-loved, but over the course of the 90s, as pianos that used digital sampling began to arrive, the CP-70/80 series role as stage pianos began to diminish. Even when the CP name was revived in 2006 with the Yamaha CP300/33, the new models were digital pianos with AWM tone generators. Not only were these types of digital stage pianos light and easy to configure, they also boasted incredibly versatile sound, with the ability to achieve sustain and low notes comparable to those of a grand piano and also to produce piercing sounds with enhanced hammer noise. With current stage pianos, its common to select from a wide range of piano sounds based on the melody and genre. As one of those piano sounds, the sound of the CP-70/80 still flourishes. The tone of the CP-70/80 is still the best match for playing 80s style arrangements and repertoire. Also, it is an excellent tone for rounding out a simple ensemble because it doesnt interfere with the band sound. When the sound of a normal acoustic piano is too heavy or stands out too much, the tone of the CP is the perfect choice. If you check your tone generator or piano presets, you will probably find the sound of the CP-70 / 80 listed under electric grand or electric acoustic piano.

The CP Lineup

The 73-key CP-70 was a popular model because it was compact and because having only 73 keys did not pose much of a problem for rock and pop. After a short period of time, the CP-70 was refined to a model with an external power supply, the CP-70B. The CP-70B was the epitome of the CP series, and its use was extremely common at the time. In addition, when the CP-70B was released in 1978, the CP-80, which had the same 88 keys as a grand piano, was also released. Sales of the CP-70/80 continued for over 10 years. Over this time, while the fundamental electric grand design didnt change, the instruments functionality was slowly improved. Models whose names ended in D were equipped with seven-band graphic equalizers. Models whose names ended in M were equipped further with MIDI OUT connectors. Also, the smaller upright CP-60M was introduced. It was seen frequently in practice studios

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.

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.