Yamaha CP50 User Manual download pdf (Page 3)

THE

VIEW FR()M THE

GTG

Three heavy

hitters in

the

keyboard world

put

the three CP

pianos

through their

paces.

Here's what

they

had

to say:

Michael

Ghegan on the CPSO

Justin

Timberlake, Pat

McGhee Band,

Cirque

du Soleil

michaelghegan.com

Controls:

I like the sensible navigation of

controls,

and the

general

ease

patch

nav-

igation, effects,

and editing on

the fly.

Keyboard

feel: This keyboard is a

tank.

It's solid under the

fingers and has a bit of

hard touch, but it's

great

for the meat-and-

potatoes

rock

gig.

Acoustic

pianos:

They cut through a

mix

very well. I like to

EO them a little to

get

the

midrange

right.

Electric

pianos:

I love the

Rhodes-like

pianos.

They have the

per{ect

amount of bell

tone and

attack, and are

warm with very

nice imaging.

The Wurly is also a very

good

sound, but

needs a bit of

EO.

Sumi"ty,

The CP50

very

good

key-

board

for the

weekend warrior,

rehearsal

space, and

home studio.

I found it to be a

very strong all-around

'board

for

working

bluesirock

player.

The

tonal

palette

is diverse

and covers

a lot of

ground.

The key action

has heft and

will withstand a

good

hand ham-

mering. lt's

nice to see a

quality

instrument

that can take a

beating and keep on

rolling!

lonathan Hamby on

the

CP5

Carrie

Underwood, Amy Grant,

Peter

Cetera

keytracks.net

Gontrols: I like that each voice and effect

section

has

a button to toggle

it on

and off

instantly-great for changing on the fly.

Keyboard

feel: lt's

a bit different

than

other

digital

pianos

I've used, but

I really

it.

The

parts

play

on this

piano

are more like

what

I would

play

a real

piano

than

any

other digital

piano

I've

tried.

Acoustic

pianos:

They're

well

done

from

top to bottom. On the CFlllS,

each regis-

ter

has its own character

without

getting

lost or overshadowing

other ranges like on

some

digital

pianos.

The

has its

own

character

as well, which is a

nice

alterna-

tive in certain situations.

Electric

pianos;

The Rhodes sounds are

really

great,

especially

with the

phaser

and

chorus

effects. Go start a Steely

Dan cover

bandl

The CPSO

[electric

grand]

also

really

well done.

Summary:

The CPS is

probably

better

suited

gigging

than the CP1 because

has a bigger

sound set. lt also

works

well

a writing or

practice

keyboard because

you

can record

performances

for

playback

as WAV

files to a

thumb

drive,

which is very

handy.

The CP5 has worked

really well for

me in

live situations.

$col{

Healy on the

GPI

Conan on TBS

bluedogmusic.com

Controls:

Everything is right

there

in front

you.

Changing

patches

and banks

a snap,

and saving

presets

painless.

The screen is

bright, and on the CP1

you

have some really

useful

parameters,

such as hammer hardness,

which lfind myself using the most.

Keyboard

feel:

The weighting feels natu-

ral, not too heavy, like a light to medium

Yamaha

grand.

lt is, I believe, the most real-

istic feel

of all

the digital

pianos

I've

played.

Acoustic

pianos:

The

overtones don't build

in an unnatural way as they do on so

many sampled

keyboards. The

pedaling

realistic, and ihe

imaging in headphones is

amazing. lt sounds

great

loud,

and cuts

through the band.

sounds

great

soft-the

mid octaves

are

warm

and rich. There's

perceptible

looping or cross-fading.

Electric

pianos:

The Rhodes sounds are

decent, a

little

quieter

than I'd like, but the

onboard

effects

really

add

punch.

The Wurly

good,

but the

growl

and bark sounds a

bit unnaiural to

me, especially compared to

other keyboards out

there, like the Nord.

their Peter Gabriel

glory. My ears say they're a

dead ringer

for

the origi-

nal

black

beast with

its

unmistakable

trapezoid-shaped

harp.

The CPl, CP5,

and CP50 all offer

good

variety ofEP

Voices

(13,

nine, and five,

respectively), with the CPl

adding authentic

DX7-style

pianos created by

a real FM tone

generator. Adjustable settings

for these

"DXEP"

sounds

include decay and release times,

attack and

release

tonal

character, and oscillator detune.

There's no operator

programming, though,

dont expect to

find

full DX7 lurking under

the hood. On the CP5

and CP50, DX

pianos

are

sample-based.

Yamaha's SCM seems tailor

made for killer

simulations.

Nearly

KEYBOARDMAG,COM

O3,2O11

Summary:

I've

used

onstage

in front of

15,000

people,

clubs

for

people,

records, and

in my

studio.

sounds

great

through

a stereo

P.A.

and through a

good

amp

in mono. I

play

it on the Conan show

on TBS, and

for recording sessions. I also

just

played

the CP5 alajazz

gig,

as well as

onstage

with

Jack

White. I

think

the CPs

are the best digital

pianos

out there, and

I've

played

them all.

I now

endorse

Yamaha,

but

it was because

I liked

the CP1

so much

that

this happened.

every

pro

I invited to

play

the

CP series raved about the

quality and real-

ism of the electric

pianos. As with

the

acoustic

piano

sounds, there's a

slight

loss in

detail

and dynamic range as

you migrate from the CPl to

the CP5 to the CP50, but

make no mistake-every one

of these retro

patches will bring the utmost

in vintage credibility to

your gig.

Piano

Details

Yamaha's goal of modeling the

nearly infinite array of variables that

make

up a

real piano's

sound

was met with

flying

colors

here. On the CPl, six

knobs

let you

alter

characteristics such as

hammer hardness, damper

1 2 3 4 5

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Yamaha CP50 User Manual Page 3

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