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.
qPicture 2 This is a representative modern stage piano, the CP300. It is equipped with an AWM tone
generator and an 88-key GH keyboard.
State-of-the-Art Tone Generator and a Component System That Enables You to Make Tones Freely

Of course, when you first turn on the CP1, it plays a grand piano tone. This tone is based on samples of Yamahas CFIIIS concert grand piano. However, the nuance of the sounds is distinct from that of normal PCM pianos. Whereas the sounds of a PCM piano feel as if they are piercing through the air, the piano tones of a CP1 piano feel as if they are being absorbed into the air. Another way of expressing this is to say that the CP1 has a warmer sound. It goes without saying that this sound is good for solo performances, but it should also blend harmoniously with the sounds of a band. This sound has a toughness to it that prevents it from being drowned out by other instruments. It is the sound of a stage piano that was clearly designed for band performances. The CP1 is equipped with a newly developed SCM (Spectral Component Modeling) tone generator. The tones of the CP1 (referred to as the performance) are created through the use of four blocks. These blocks are the piano, modulationeffect, power-amp/compressor, and reverb blocks. Additionally, the piano block, which corresponds to the instrument itself, consists of piano types and a pre-amp. The sound signal created by these four blocks passes through a master equalizer, and is then converted to sound (picture 3 ). Imagine that the actual piano sound is picked up by a microphone, and then sent to the PA, where effects are added to it. The resulting signal is then amplified additionally and output through the speakers. Then the sound reaches the ears of the listener after it is affected by the ambience of the hall. The four blocks of the CP1 can be said to simulate this process.
pPicture 3 The four blocks that are used to create the CP1 tones are displayed in order through the use of buttons. The piano block consists of the PIANO and PRE-AMPLIFIER sections. It is followed by the MODULATION EFFECT, POWER AMPLIFIER/COMPRESSOR, and REVERB blocks. At the end is the MASTER EQUALIZER. When a buttons indicator is lighted, it means that the corresponding block is on.
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

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.

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.

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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.
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.

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*