U.R.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation
©2009 Yamaha Corporation
WR95750 909 MWDH**-01A0
Printed in Japan
Illustrated Guide to the CP1
Only Yamaha could bring so much to the stage piano:
Perfect marriage of keyboard touch and sound was possible
only thanks to our extensive knowledge and experience of
the building of acoustic pianos.
Unrivalled richness of tone is a direct product of our tireless
participation in the development of pianos for stage and
recording environments.
And against the backdrop of our continued stage-piano
production since introducing the CP70 and CP80 in the
seventies, we have remained loyal to the proud tradition of
vintage electric pianos in the recreation of their unique
sound. Achieved through uncompromising pursuit of
perfection in an instrument that surpasses the sum of its
parts, allow us to present…
e Yamaha CP1 – Ultimate Stage Piano
Part1
Part 2
Master Equalizer
Modulation
Effect
Power Amplifier
/ Compressor
Piano Type Pre-Amplifier
Piano
Modulation
Effect
Power Amplifier
/ Compressor
Piano Type Pre-Amplifier
Piano
Reverb
Contents
Piano Block
01
02
03
04
Piano Type & Pre-Amplier Units
01-1 Acoustic Pianos
CFIIIS
S6B
01-2 Electric Pianos
CP80
Rd I
Rd II
Wr
01-3 Synthesizer Pianos
DX7
Modulation Eect Block
Power-Amplier/Compressor Block
Reverb Block
Performance
In the CP1, we have recreated the unique sounds not only of acoustic pianos, vintage electric pianos, and synthesizer piano voices, but also of the
effect units, amplifiers, and other equipment commonly used with each in actual performance and recording settings. As shown below, these
instruments and devices are recreated as four different types of structural block – namely, Piano, Modulation Effect, Power Amplifier/Compressor,
and Reverb – and CP1 voices are fashioned by arranging these blocks with the instrument's customization function. Referred to as Performances,
these voices can then be optimized for the current playing environment using a common Master Equalizer, affecting the instrument as a whole.
Within these pages, you will find an introduction to the various different piano sounds, effects, and amplifiers provided by the blocks used to
configure CP1 Performances. We hope that you will find the following descriptions, diagrams, and photographs useful in gaining a deeper
appreciation of what this wonderful instrument has to offer, and in addition, that this booklet will serve as a convenient reference when using the
CP1's unique customization feature.
The CP1 Concept
The acoustic piano voices of the CP1 effortlessly reproduce the
distinctive sounds of Yamaha grand pianos, which are among the
best in the world. When an acoustic piano is played live as part of a
band, the sound thereof is normally picked up using a number of
microphones and then mixed in order to prevent it from being
drowned out by the other instruments. As part of this process, the
signal from the microphones is boosted using pre-amplifiers and its
frequency characteristic is adjusted using tone control in order to
realize the best possible sound for the overall ensemble. For this
reason, the acoustic piano voices of the CP1 feature microphone
pre-amp simulators that can be used to optimize the sound in the
very same way.
01-1 Acoustic Pianos
01
Each of the CP1's Piano blocks
comprises a Piano Type unit and
a perfectly suited Pre-Amplifier
unit. Whenever you choose a
piano type, therefore, the ideal
pre-amplifier for that specific
piano will be automatically
selected. Broadly-speaking, the
Piano Block replicates three
different classes of piano sound –
namely, acoustic pianos, electric
pianos, and synthesizers. The
following pages will describe the
actual piano sounds that can be
realized in each of these classes.
Piano Block
Piano Type & Pre-Amplifier Units
Acoustic Pianos
The CFIIIS is the crowning glory of Yamaha's
concert grand piano range. Distinctive for its
rich harmonic overtones, this piano marries a
rich, deep low-mid register with clear and
bright highs.
Our insistence on sonic excellence extends
even to the soundboard, ribs, strings, bridge,
hammers, action, and pins – all of which are
manufactured in-house using state-of-the-art
production technologies. Furthermore, the
CFIIIS has been carefully designed to achieve
the best possible balance between each of
these parts while optimizing their overall
synergistic effect.
In the CP1, you will find that even the sound of
resonance between strings has been replicated
in order to recreate the luscious acoustics of
the CFIIIS. What's more, microphone pre-amps
featuring two- or three-band tone control and
perfectly tuned to the characteristics of the
CFIIIS have also been included to complete the
sound of this remarkable instrument.
Made possible through lavish application of
CFIIIS techniques and technologies,
the Yamaha S6B grand piano is produced at
the same plant, using carefully-selected parts,
and under the strictest quality and
engineering standards. Its modest size allows
for excellent overall balance,
both musically and structurally, and as a
result, this piano is perfectly suited to many
different styles of music. Delivering a warm,
deep sound, the S6B is ideal for extremely
expressive performances combining both
power and subtlety.
The rich tone of this grand piano is faithfully
reproduced in the CP1, even to the level of
resonance between strings.
In combination with this piano voice,
furthermore, you can also use a microphone
pre-amp unit with two- or three-band tone
control perfectly tuned to the S6B sound.
CF 3Band, CF 2Band
C F III S
S6 3Band, S6 2Band
S6B
Whenever an electric-piano key is played, a hammer mounted on the
keyboard strikes a resonator such as a string or reed. The vibration of the
resonator is converted into an electrical signal by a pickup, and this signal
is then amplified and adjusted to produce a sound. Featuring pre-amp units
capable of faithfully reproducing the acoustic characteristics of this
process, the electric piano voices of the CP1 authentically recreate the
sounds of the electric pianos that became so distinctive of the sixties and
seventies.
Striking its strings with an authentic grand
piano action and using pickups to convert
their vibration into an electrical signal, the
CP80 is an electric grand piano in the true
sense of the word. This instrument arrived on
the scene during the latter half of the
seventies and soon became famous for
exquisite keyboard touch rivaling that of
acoustic pianos, for fast compression-like
attack, and also for its unique harmonic
overtones. The CP80 voices reproduced in
the CP1 have been tuned to perfectly match
this instrument's keyboard. Furthermore, the
corresponding pre-amplifier unit faithfully
reproduces the three-range tone control of
the original, making it possible to easily
create a wide range of different sounds.
CP80, CP88
CP80
01-2 Electric Pianos
pickup
key
hammer
Electric Pianos
Producing a sound that became inseparable
from the jazz, rock, and pop music of the
seventies, the Rd I is now practically
synonymous with the electric piano. Over the
years, the resonator used in this piano has
changed from stiff wire to rod or metal plate
as the hammer transitioned from felt to
rubber. Meanwhile, technological advances
in the circuits and other components used in
pre-amplifiers paved the way for many
different variations of this instrument, each
producing a sound that became symbolic of
the corresponding period. In addition to
recreating the ambiance of the Rd I pianos of
a number of different time periods, the CP1
also features two-band tone control in
combination with an auto-pan effect having
unique, natural-sounding modulation and
controllable speed and depth.
The latter half of the seventies saw remarkable progress in making instruments louder in response to the demands of the times. A child of this
period, the Rd II electric piano employed the latest advances in technology to realize a unique, brilliant sound that was free of distortion even at
high volumes. With plastic replacing wood in this instrument's action, furthermore, it was possible to achieve timbral colors that were brighter and
more suited to pop than those of the Rd I. Also in this period, piano sounds with boosted high frequencies also became increasingly popular, as
did the practice of customizing pre-amps in order to achieve this tone. In response, a number of modification kits appeared on the market. The
CP1 expertly reproduces both the clear sound of the Rd II and the brighter, harder sound achieved through Dyno-type customization of the original
pre-amp. Each of these two piano types also features two-band tone control, allowing the Rd II to sound more solid; the Dyno, more metallic.
71Rd I, 73Rd I, 75Rd I
Rd I
78Rd II, Dyno
Rd II
The Pre-Amplifier unit has been provided with tone controls optimized
for each different piano type, and the following diagrams illustrate the
frequency characteristics corresponding to some typical parameter
settings.
The Hammer Stiffness parameter can be
used to make the piano sound harder or
softer in the same way as if the physical
properties of the hammers were to be
changed.
Typically occurring when an acoustic piano's
damper pedal is depressed, sympathetic
resonance can also be produced by
depressing the CP1's sustain pedal, and the
Damper Resonance Level parameter is used
to adjust the level thereof.
The Striking Position parameter is used to
reproduce the effect of moving the point at
which an electric piano's hammers strike the
resonators.
In order to allow for extremely-flexible creation of piano sounds, the
CP1's Piano Block features a wide range of sophisticated parameters for
each piano type and the associated pre-amp. What follows is an
introduction to some typical examples of parameters for acoustic and
electric piano sounds.
Piano Type Unit
Pre-Amplifier Unit
Sound Enhancement
Damper Resonance Level
Striking Position
Hammer Stiffness
Bass, Treble, Overtone
Sharing the limelight with the Rd pianos in
the sixties and seventies, the Wr electric
piano produced its distinctive sound by
striking flat steel-reed resonators with
hammers whose action closely resembled
that of an acoustic piano. Thanks to this
design, light playing produced a delicate
sound, while playing with force produced a
thick, heavy sound with unique distortion.
Earlier models were noted for a powerful
sound with a slightly higher level of
distortion; later models had a bright, clearly
defined tone. Both of these Wr variations can
be recreated by the CP1, as can the
pleasant-sounding distortion of this electric
piano and its unique tremolo effect. And with
three-band tone control also included, a
broad range of different sounds can be easily
configured.
69Wr, 77Wr
Wr
TrebleBass
Bass
Overtone
Dyno
73Rd I
DXEP 1, DXEP 2, DXEP 3, DXEP 4
DX7
The CP1 can also faithfully reproduce the piano sounds of the classic
Yamaha DX7 synthesizer. A synth produces sound by manipulating
signal waveforms using electronic circuits or digital signal
processing. Whenever this type of instrument is used as part of an
ensemble, furthermore, its line-output sound is processed using
pre-amplifier tone control in order to produce a frequency
characteristic that blends well with that of the other instruments. In
order to further enhance its synthesizer piano sounds, the CP1's
synth voices feature a tone controller capable of reproducing this
specific type of frequency characteristic.
Operating on the principle of FM tone generation, the Yamaha DX Series debuted at the beginning of the eighties as the world's first digital
synthesizers. The number of different sounds available and their sensitivity to different playing styles left musicians around the world in awe.
Singled out for particular praise and quickly finding a home in many different musical scenes were the electric piano sounds of the DX synths.
Produced by laying hard, high-order harmonic overtones that change delicately in response to touch over a warm, wide characteristic tone, this
totally new electric piano sound took to world by storm. The CP1 does not, however, limit itself to merely recreating the sounds of that time; rather,
a thicker tone more suited to today's musical scenes and optimized for highly-effective performance on a wooden keyboard can also be produced.
01-3 Synthesizer Pianos
Synthesizer Pianos
Small Phaser
The Small Phaser effect can be used to
reproduce the smooth, beautiful phasing
sound much loved by countless musicians
from the seventies onwards. In addition to
replicating the unique undulating nature of
this type of effect, Small Phaser is also
capable of producing a highly distinctive
distortion that can be adjusted using the
Drive parameter.
Max90, Max100
Max90 and Max100 replicate the
standard-type phasers popular with all
musicians of all levels, right up to top-flight
professionals. Max90 can be adjusted to
produce a unique distortion sound using the
Drive parameter; meanwhile, the Mode
parameter of the Max100 can be used to
recreate the modulation depth and feedback
settings distinctive of that effect.
Flanger
The Flanger modulation effect recreates
the sound and musicality of a variety of
flagship analog flanger units from the
seventies. As such, it is ideally suited to all
types of flanger-based sound creation.
Touch Wah, Pedal Wah
Touch Wah and Pedal Wah effortlessly
reproduce the acoustic and melodic
characteristics of many of the seventies'
leading filter sweep effects. All of your
wah-type effect needs – regardless of
whether filter sweeping is to be
controlled based on key velocity or
pedal operation – can be easily satisfied
using these effects.
Chorus
The Chorus modulation effect
reproduces the clear-cut, highly
adaptable sound of a synth-type
chorus unit.
D Chorus
D Chorus models the sound of the
famed rack-mounted stereo chorus unit
that soon became a standard in
recording studios following its release.
Irrespective of its soft, gentle
modulation, this effect can produce a
wide stereo sound, and it uniquely adds
brilliant harmonic overtones while
emphasizing attack.
816 Chorus
Famous for combining eight DX7s in
a single rack unit, Yamaha's TX816
featured a thick, detuned chorus
sound reproduced here by the 816
Chorus modulation effect.
Symphonic
A multi-stage chorus true to the
Yamaha tradition, Symphonic can be
used to replicate the ensemble effect of
the electronic organs and string
ensemble keyboards of the seventies.
By performing simultaneous, complex
modulation, this effect creates a
distinctive tone and sense of space that
other chorus effects cannot mimic,
deepening and widening the piano
sound in the process.
02
Each Modulation Effect block
contains a versatile collection of
modulation-type effects that will
prove indispensable in the
creation of piano sounds for both
stage and recording
environments. On this and the
following page, you will find a
brief introduction to each of the
available effects.
Modulation
Eect Block
Adding warm, vintage-type
distortion, 71Rd I is ideal for
enhancing the acoustic nuances
of electric pianos.
Also intended for use with
electric pianos, the 73Rd I
power-amp/speaker
combination produces a
spacious, more mellow tone.
75Rd I is an electric-piano
power amplifier that energizes
piano sounds to produce a
powerful, all-engulfing tone.
Particularly well suited to
chorus-type effects, the 78Rd II
power-amp/speaker
combination is characterized by
a clear, highly-present tone.
Capable of both power and
subtlety, the 69Wr power
amplifier enhances low-end
punch while enriching the
overall electric-piano sound.
For a higher degree of
presence, power-amplifier
77Wr adds a bright, colorful
ambience to electric piano
sounds.
Compressor 376 emulates the acoustic characteristics of the
analog compressors found in practically every recording studio.
This compressor is best suited to clear and crisp tones,
producing a thick, solid sound.
78Rd II
69Wr
71Rd I
73Rd I
75Rd I
77Wr
Compressor 376
Power Ampliers
Compressor
03
For further shaping of piano
sounds, the Power-Amplifier /
Compressor block can be used to
select either a power-amplifier
and speaker combination or a
compressor, each of which is
modeled with remarkable levels
of precision. The following
provides a brief introduction to
each of the virtual devices that
can be selected within this block.
Power Amplier /
Compressor Block
Woody Room
Woody Room replicates a
distinctive reverb effect featured in
the Yamaha DM2000 and other
digital mixers. Producing dense,
rich reverberation, it also adds a
sense of width and depth that
work hand-in-hand to enhance the
original sound.
Room1, Room2, Stage1, Stage2
As direct descendants of the classic SPX90 and SPX1000 digital
multi-effects processors, Room1, Room2, Stage1, and Stage2 provide
standard reverb sounds for use in practically any situation.
Rich Hall, Rich Plate, Rich Room
Inheriting the audio characteristics of the ProR3 digital reverberator, the
Rich Hall, Rich Plate, and Rich Room reverb algorithms produce a natural
sounding reverberation with a smooth decay.
We hope that this brief introduction has
provided all the information
you need to start enjoying the incredible CP1
and to enrich your playing experience.
The Reverb block provides a host
of exquisite reverb algorithms
originally developed by Yamaha
for use in professional-audio
applications. Each of this block's
reverb types is introduced briefly
on the right.
04
Reverb Block
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5
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