êÛÍÓ‚Ó‰ÒÚ‚Ó ÔÓθÁÓ‚‡ÚÂÎfl
è‰ ̇˜‡ÎÓÏ ‡·ÓÚ˚ Ò ËÌÒÚÛÏÂÌÚÓÏ ÔÓ˜ËÚ‡ÈÚ ‡Á‰ÂÎ «åÂ˚ ·ÂÁÓÔ‡ÒÌÓÒÚË» ̇ ÒÚ. 6-7.
ÇÄÜçé!
ì·Â‰ËÚÂÒ¸, ˜ÚÓ Ì‡ÔflÊÂÌË ‚ ÓÁÂÚÍ ÒÓÓÚ‚ÂÚÒÚ‚ÛÂÚ Ì‡ÔflÊÂÌ˲, Û͇Á‡ÌÌÓÏÛ Ì‡ ËÌÒÚÛÏÂÌÚÂ.
Ç ÌÂÍÓÚÓ˚ı ÒÎÛ˜‡flı ËÌÒÚÛÏÂÌÚ ÏÓÊÂÚ ·˚Ú¸ Ò̇·ÊÂÌ ÔÂÂÍβ˜‡ÚÂÎÂÏ Ì‡ÔflÊÂÌËfl, ÍÓÚÓ˚È
‡ÒÔÓÎÓÊÂÌ fl‰ÓÏ Ò ÒÂÚ‚˚Ï Í‡·ÂÎÂÏ. ì·Â‰ËÚÂÒ¸, ˜ÚÓ ÔÓÎÓÊÂÌË ÔÂÂÍβ˜‡ÚÂÎfl ÒÓÓÚ‚ÂÚÒÚ‚ÛÂÚ
̇ÔflÊÂÌ˲, ËÒÔÓθÁÛÂÏÓÏÛ ‚ ‚‡¯ÂÏ Â„ËÓÌÂ. èË ÔÓÒÚ‡‚Í ÔÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl
ÛÒÚ‡ÌÓ‚ÎÂÌ Ì‡ ̇ÔflÊÂÌË 240 Ç. èÎÓÒÍÓÈ ÓÚ‚ÂÚÍÓÈ ÔÓ‚ÂÌËÚ ÔÂÂÍβ˜‡ÚÂθ Ú‡Í, ˜ÚÓ·˚
Ó·ÓÁ̇˜ÂÌË ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â„Ó Ì‡ÔflÊÂÌËfl ·˚ÎÓ ‡ÒÔÓÎÓÊÂÌÓ ‚ÓÁΠÛ͇Á‡ÚÂÎfl ̇ Ô‡ÌÂÎË.
Ç·-Ò‡ÈÚ ÔˇÌËÌÓ Clavinova (̇ ‡Ì„ÎËÈÒÍÓÏ flÁ˚ÍÂ)
http://www.yamahaclavinova.com/
ëÓ·‡ÌË ÛÍÓ‚Ó‰ÒÚ‚ ÔÓ ÔÓ‰Û͈ËË ÍÓÏÔ‡ÌËË Yamaha
http://www2.yamaha.co.jp/manual/english/
M.D.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation
C 2002 Yamaha Corporation
DIC 338
ǂ‰ÂÌËÂ
SPECIAL MESSAGE SECTION
PRODUCT SAFETY MARKINGS: Yamaha electronic
products may have either labels similar to the graphics
shown below or molded/stamped facsimiles of these
graphics on the enclosure. The explanation of these
graphics appears on this page. Please observe all cautions
indicated on this page and those indicated in the safety
instruction section.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK.
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
See bottom of Keyboard enclosure for graphic symbol markings.
The exclamation point within the
equilateral triangle is intended to alert
the user to the presence of important
operating and maintenance (servicing) instructions in the literature
accompanying the product.
The lightning flash with arrowhead
symbol, within the equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous
voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electrical
shock.
Battery Notice: This product MAY contain a small non-
rechargable battery which (if applicable) is soldered in
place. The average life span of this type of battery is
approximately five years. When replacement becomes
necessary, contact a qualified service representative to
perform the replacement.
Warning: Do not attempt to recharge, disassemble, or
incinerate this type of battery. Keep all batteries away
from children. Dispose of used batteries promptly and as
regulated by applicable laws. Note: In some areas, the
servicer is required by law to return the defective parts.
However, you do have the option of having the servicer
dispose of these parts for you.
Disposal Notice: Should this product become damaged
beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and
federal regulations that relate to the disposal of products
that contain lead, batteries, plastics, etc.
NOTICE: Service charges incurred due to lack of knowl-
edge relating to how a function or effect works (when the
unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult
your dealer before requesting service.
NAME PLATE LOCATION: The graphic below indicates the location of the name plate. The model number,
serial number, power requirements, etc., are located on
this plate. You should record the model number, serial
number, and the date of purchase in the spaces provided
below and retain this manual as a permanent record of
your purchase.
IMPORTANT NOTICE: All Yamaha electronic products
are tested and approved by an independent safety testing
laboratory in order that you may be sure that when it is
properly installed and used in its normal and customary
manner, all foreseeable risks have been eliminated. DO
NOT modify this unit or commission others to do so
unless specifically authorized by Yamaha. Product performance and/or safety standards may be diminished.
Claims filed under the expressed warranty may be denied
if the unit is/has been modified. Implied warranties may
also be affected.
SPECIFICATIONS SUBJECT TO CHANGE: The
information contained in this manual is believed to be
correct at the time of printing. However, Yamaha reserves
the right to change or modify any of the specifications
without notice or obligation to update existing units.
ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally
friendly. We sincerely believe that our products and the
production methods used to produce them, meet these
goals. In keeping with both the letter and the spirit of the
law, we want you to be aware of the following:
92-469 1 (bottom)
CLP-130
Model
Serial No.
Purchase Date
CLP-120
Å·„Ó‰‡ËÏ Á‡ ÔÓÍÛÔÍÛ ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Yamaha Clavinova! å˚ ÂÍÓÏẨÛÂÏ ‚‡Ï ‚ÌËχÚÂθÌÓ ÔÓ˜ËÚ‡Ú¸ ˝ÚÓ
ÛÍÓ‚Ó‰ÒÚ‚Ó, ˜ÚÓ·˚ ‚ ÔÓÎÌÓÈ ÏÂ ‚ÓÒÔÓθÁÓ‚‡Ú¸Òfl ‚ÒÂÏË ÔÂ‰ӂ˚ÏË Ë Û‰Ó·Ì˚ÏË ÙÛÌ͈ËflÏË ˆËÙÓ‚Ó„Ó
ÔˇÌËÌÓ Clavinova.
å˚ Ú‡ÍÊ ÒÓ‚ÂÚÛÂÏ ‚‡Ï ÒÓı‡ÌËÚ¸ ˝ÚÓ ÛÍÓ‚Ó‰ÒÚ‚Ó ‚ ̇‰ÂÊÌÓÏ Ë ‰ÓÒÚÛÔÌÓÏ ÏÂÒÚ ‰Îfl ‰‡Î¸ÌÂȯ„Ó
ËÒÔÓθÁÓ‚‡ÌËfl.
é· ˝ÚÓÏ ÛÍÓ‚Ó‰ÒÚ‚Â
êÛÍÓ‚Ó‰ÒÚ‚Ó ÔÓθÁÓ‚‡ÚÂÎfl ÒÓÒÚÓËÚ ËÁ ÚÂı ÓÒÌÓ‚Ì˚ı ‡Á‰ÂÎÓ‚: «Ç‚‰ÂÌË», «ëÔ‡‚Ó˜ÌËÍ» Ë
«èËÎÓÊÂÌËÂ (Appendix)».
ǂ‰ÂÌË (ÒÚ. 2)
ë ˝ÚËÏ ‡Á‰ÂÎÓÏ ÒΉÛÂÚ ÓÁ̇ÍÓÏËÚ¸Òfl ‚ ÔÂ‚Û˛ Ó˜Â‰¸.
ëÔ‡‚Ó˜ÌËÍ (ÒÚ. 13)
ê‡Á‰ÂÎ ÒÓ‰ÂÊËÚ ÔÓ‰Ó·Ì˚ ҂‰ÂÌËfl Ó Ì‡ÒÚÓÈÍ ÙÛÌ͈ËÈ ËÌÒÚÛÏÂÌÚ‡.
èËÎÓÊÂÌË (ÒÚ. 69)
Ç ˝ÚÓÏ ‡Á‰ÂΠÒÓ‰ÂʇÚÒfl ÒÔ‡‚Ó˜Ì˚ χÚÂˇÎ˚.
* åÓ‰Âθ CLP-130/120 ‚ ˝ÚÓÏ ÛÍÓ‚Ó‰ÒÚ‚Â ÔÓθÁÓ‚‡ÚÂÎfl Ó·ÓÁ̇˜‡ÂÚÒfl Í‡Í CLP/Clavinova.
* àÎβÒÚ‡ˆËË Ë ÒÌËÏÍË ‰ËÒÔÎÂfl Ô˂‰ÂÌ˚ ‚ ÛÍÓ‚Ó‰ÒÚ‚Â ÔÓθÁÓ‚‡ÚÂÎfl ÚÓθÍÓ ‚ ͇˜ÂÒÚ‚Â ÔËÏÂÓ‚,
‚ ‰ÂÈÒÚ‚ËÚÂθÌÓÒÚË ‚Ò ÏÓÊÂÚ ‚˚„Îfl‰ÂÚ¸ ÌÂÒÍÓθÍÓ Ë̇˜Â.
íÓ„Ó‚˚ Á̇ÍË
• Apple Ë Macintosh fl‚Îfl˛ÚÒfl Óı‡ÌflÂÏ˚ÏË ÚÓ„Ó‚˚ÏË Á͇̇ÏË ÍÓÔÓ‡ˆËË Apple Computer.
• Windows fl‚ÎflÂÚÒfl Á‡„ËÒÚËÓ‚‡ÌÌ˚Ï ÚÓ‚‡Ì˚Ï Á̇ÍÓÏ ÍÓÔÓ‡ˆËË Microsoft.
• ÇÒ ÓÒڇθÌ˚ ÚÓ‚‡Ì˚ Á̇ÍË fl‚Îfl˛ÚÒfl ÒÓ·ÒÚ‚ÂÌÌÓÒÚ¸˛ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Ëı ‚·‰ÂθˆÂ‚.
Clavinova-Computer Connection — ˝ÚÓ ‰ÓÔÓÎÌËÚÂθÌÓ ÛÍÓ‚Ó‰ÒÚ‚Ó ‰Îfl ̇˜Ë̇˛˘Ëı, ‚ ÍÓÚÓÓÏ ÓÔËÒ˚‚‡ÂÚÒfl,
Í‡Í ËÒÔÓθÁÓ‚‡Ú¸ ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova Ò ÔÂÒÓ̇θÌ˚Ï ÍÓÏÔ¸˛ÚÂÓÏ Ë Ì‡ÒÚÓËÚ¸ ÒËÒÚÂÏÛ
Clavinova-äÓÏÔ¸˛ÚÂ (ÛÍÓ‚Ó‰ÒÚ‚Ó Ì ‡ÒÒ˜ËÚ‡ÌÓ Ì‡ ͇ÍÛ˛-ÎË·Ó ÍÓÌÍÂÚÌÛ˛ ÏÓ‰Âθ). èÓÎÛ˜ËÚ¸ ˝ÚÓÚ
‰ÓÍÛÏÂÌÚ ‚ ‚ˉ PDF-هȷ ̇ ‡Ì„ÎËÈÒÍÓÏ flÁ˚Í ÏÓÊÌÓ ÔÓ ÒÎÂ‰Û˛˘ÂÏÛ ‡‰ÂÒÛ ‚ àÌÚÂÌÂÚÂ:
ë‡ÈÚ ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova (ÚÓθÍÓ Ì‡ ‡Ì„ÎËÈÒÍÓÏ):
http://www.yamahaclavinova.com/
ëÓ·‡ÌË ÛÍÓ‚Ó‰ÒÚ‚ ÔÓ ÔÓ‰ÛÍÚ‡Ï Yamaha:
http://www2.yamaha.co.jp/manual/english/
CLP-130/120 é· ˝ÚÓÏ ÛÍÓ‚Ó‰ÒÚ‚Â
3
é„·‚ÎÂÌËÂ
ǂ‰ÂÌËÂ
SPECIAL MESSAGE SECTION ................................... 2
é· ˝ÚÓÏ ÛÍÓ‚Ó‰ÒÚ‚Â................................................ 3
ì͇Á‡ÚÂθ ÔËÏÂÌÂÌËÈ ............................................. 5
åÖêõ ÅÖáéèÄëçéëíà............................................ 6
ÑÓÔÓÎÌËÚÂθÌ˚ ÔË̇‰ÎÂÊÌÓÒÚË ....................... 8
é·ÒÎÛÊË‚‡ÌËÂ............................................................ 8
ë‚ÓÈÒÚ‚‡...................................................................... 9
èÓ‰„ÓÚӂ͇ Í ‡·ÓÚÂ............................................... 10
ä˚¯Í‡ Í·‚ˇÚÛ˚................................... 10
è˛ÔËÚ ....................................................... 10
ÇÍβ˜ÂÌË ÔËÚ‡ÌËfl ................................... 11
ê„ÛÎËӂ͇ „ÓÏÍÓÒÚË .............................. 11
ç‡Û¯ÌËÍË ................................................... 12
Ç˚Íβ˜‡ÚÂθ ‰Ë̇ÏËÍÓ‚ ........................... 12
ëÔ‡‚Ó˜ÌËÍ
äÓÏÔÓÌÂÌÚ˚.............................................................. 14
ÑÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÏÂÎÓ‰ËË ................................ 16
50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ .............................................. 17
à„‡ Ó‰ÌÓÈ ÛÍÓÈ ....................................... 18
îÛÌ͈Ëfl ÔÓ‚ÚÓ‡ A-B ................................ 20
à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â ..................................... 21
Ç˚·Ó ÚÂÏ·Ó‚............................................ 21
àÒÔÓθÁÓ‚‡ÌË Ô‰‡ÎÂÈ ............................. 21
[VARIATION] (CLP-130), [BRILLIANCE],
[REVERB] Ë [EFFECT] ........................... 22
óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËΠ̇ʇÚËfl —
[TOUCH] ................................................. 24
í‡ÌÒÔÓÌËÓ‚‡ÌË — [TRANSPOSE] ....... 25
ç‡ÎÓÊÂÌË ÚÂÏ·Ó‚.................................... 26
ê‡Á‰ÂÎÂÌË Í·‚ˇÚÛ˚ (CLP-130) ............ 27
àÒÔÓθÁÓ‚‡ÌË ÏÂÚÓÌÓχ ........................ 29
á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl ....................... 30
á‡ÔËÒ¸ ̇ ‰ÓÓÊÍÛ TRACK1 ...................... 30
èÂÂÁ‡ÔËÒ¸ ‰ÓÓÊÍË TRACK1 .................. 32
á‡ÔËÒ¸ ̇ ‰ÓÓÊÍÛ TRACK2 ...................... 32
àÁÏÂÌÂÌË ̇˜‡Î¸Ì˚ı ̇ÒÚÓÂÍ................ 34
ÇÓÒÔÓËÁ‚‰ÂÌË Á‡ÔËÒÂÈ ÔÂÒÂÌ ......................... 35
ÇÓÒÔÓËÁ‚‰ÂÌË ÔÂÒÌË ............................. 35
èÓÎÂÁÌ˚ ÙÛÌ͈ËË ‚ÓÒÔÓËÁ‚‰ÂÌËfl....... 36
ç‡ÒÚÓÈÍË — [FUNCTION]....................................... 37
éÒÌÓ‚Ì˚ ‰ÂÈÒÚ‚Ëfl ‚ ÂÊËÏ Function..... 38
éÔËÒ‡ÌË ÙÛÌ͈ËÈ .................................... 40
F1. íÓÌ͇fl ̇ÒÚÓÈ͇ ‚˚ÒÓÚ˚ Á‚Û͇..... 40
F2. Ç˚·Ó ÒÚÓfl ..................................... 41
F3. îÛÌ͈ËË ÔË Ì‡ÎÓÊÂÌËË ÚÂÏ·Ó‚ . 42
F4. (CLP-130)
îÛÌ͈ËË ÔË ‡Á‰ÂÎÂÌËË ÚÂÏ·Ó‚ ..43
4
CLP-130/120 é„·‚ÎÂÌËÂ
F5. (CLP-130) / F4. (CLP-120)
ÑÛ„Ë ÙÛÌ͈ËË .............................. 44
F6. (CLP-130) / F5. (CLP-120)
ÉÓÏÍÓÒÚ¸ ÏÂÚÓÌÓχ ..................... 45
F7. (CLP-130) / F6. (CLP-120)
ÉÓÏÍÓÒÚ¸ ÓÚÍβ˜ÂÌÌÓÈ Ô‡ÚËË .... 45
F8. (CLP-130) / F7. (CLP-120)
îÛÌ͈ËË MIDI................................ 45
F9. (CLP-130) / F8. (CLP-120)
îÛÌ͈ËË ÒÓı‡ÌÂÌËfl ...................... 48
é· ËÌÚÂÙÂÈÒÂ MIDI................................................. 49
èÓ‰Íβ˜ÂÌË ............................................................ 50
ê‡Á˙ÂÏ˚ ...................................................... 50
èÓ‰Íβ˜ÂÌËÂ Í ÍÓÏÔ¸˛ÚÂÛ ..................... 52
ìÒÚ‡ÌÂÌË ÌÂÔÓ·‰ÓÍ ........................................... 56
ÑÓÔÓÎÌËÚÂθÌ˚ ÔË̇‰ÎÂÊÌÓÒÚË Ë ÏÓ‰ÛÎË .... 56
ë·Ó͇ CLP-120......................................................... 57
ë·Ó͇ CLP-130......................................................... 60
ëÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚................................. 63
ëÔËÒÓÍ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı ÔÂÒÂÌ ........................ 66
è‰ÏÂÚÌ˚È Û͇Á‡ÚÂθ........................................... 67
Appendix
ëÔËÒÓÍ Ì‡ÒÚÓÂÍ ËÁ„ÓÚÓ‚ËÚÂÎfl ............................ 70
îÓÏ‡Ú MIDI-‰‡ÌÌ˚ı ............................................... 71
퇷Îˈ‡ ‡ÎËÁ‡ˆËË ËÌÚÂÙÂÈÒ‡ MIDI ................ 75
íÂıÌ˘ÂÒÍË ı‡‡ÍÚÂËÒÚËÍË................................ 76
ì͇Á‡ÚÂθ ÔËÏÂÌÂÌËÈ
ùÚÓÚ Û͇Á‡ÚÂθ ÔÓÏÓÊÂÚ ·˚ÒÚÓ Ì‡ÈÚË ÒÚ‡Ìˈ˚ Ò ÓÔËÒ‡ÌËÂÏ ÌÂflÒÌÓ„Ó ‚ÓÔÓÒ‡.
èÓÒÎۯ˂‡ÌËÂ
èÓÒÎۯ˂‡ÌË ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı ÔÂÒÂÌ Ò ‡ÁÌ˚ÏË ÚÂÏ·‡ÏË.................... «ÑÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÏÂÎÓ‰ËË» – 16
èÓÒÎۯ˂‡ÌË ÔÂÒÂÌ ËÁ ÒÔËÒ͇ 50 ıËÚÓ‚ ‰Îfl ÙÓÚÂÔ¸flÌÓ .......................................... «50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ» – 17
èÓÒÎۯ˂‡ÌË Á‡ÔËÒË ÒÓ·ÒÚ‚ÂÌÌÓÈ Ë„˚ ................................................. «ÇÓÒÔÓËÁ‚‰ÂÌË Á‡ÔËÒÂÈ ÔÂÒÂÌ» – 35
à„‡ ̇ Í·‚ˇÚÛÂ
àÒÔÓθÁÓ‚‡ÌË ÚÂı Ô‰‡ÎÂÈ ÛÔ‡‚ÎÂÌËfl ËÒÔÓÎÌÂÌËÂÏ........................................... «àÒÔÓθÁÓ‚‡ÌË Ô‰‡ÎÂÈ» – 21
Ç˚·Ó ÌÛÊÌÓÈ ‚˚ÒÓÚ˚ ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡ ............................................. «í‡ÌÒÔÓÌËÓ‚‡ÌË — [TRANSPOSE]» – 25
Ç˚·Ó ÚËÔ‡ ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË Í·‚ˇÚÛ˚...........................«óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËΠ̇ʇÚËfl — [TOUCH]» – 24
íÓÌ͇fl ̇ÒÚÓÈ͇ ‚˚ÒÓÚ˚ Á‚Û͇ ‚ÒÂ„Ó ËÌÒÚÛÏÂÌÚ‡
ÔË Ë„Â Ò ‰Û„ËÏË ËÌÒÚÛÏÂÌÚ‡ÏË ËÎË ÏÛÁ˚ÍÓÈ Ò ÍÓÏÔ‡ÍÚ-‰ËÒ͇ ........... «íÓÌ͇fl ̇ÒÚÓÈ͇ ‚˚ÒÓÚ˚ Á‚Û͇» – 40
àÁÏÂÌÂÌË ÚÂÏ·Ó‚
èÓÒÏÓÚ ÒÔËÒ͇ ÚÂÏ·Ó‚ .................................................................................. «ëÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚» – 63
àÏËÚ‡ˆËfl ÍÓ̈ÂÚÌÓ„Ó Á‡Î‡ ................................................................................ «ê‚Â·Â‡ˆËfl — [REVERB]» – 22
ëÓ˜ÂÚ‡ÌË ‰‚Ûı ÚÂÏ·Ó‚.....................................................................................................«ç‡ÎÓÊÂÌË ÚÂÏ·Ó‚» – 26
ê‡ÁÌ˚ ÚÂÏ·˚ ‰Îfl ΂ÓÈ Ë Ô‡‚ÓÈ ÛÍË .................................................. «ê‡Á‰ÂÎÂÌË Í·‚ˇÚÛ˚ (CLP-130)» – 27
ì‚Â΢ÂÌË flÍÓÒÚË ËÎË Ïfl„ÍÓÒÚË Á‚Û͇...................................... «ùÙÙÂÍÚ BRILLIANCE — [BRILLIANCE]» – 22
ÑÓ·‡‚ÎÂÌË ˝ÙÙÂÍÚ‡ ‡Ò¯ËÂÌËfl ËÎË Ì‡‡ÒÚ‡ÌËfl Ë Û·˚‚‡ÌËfl.................................«ùÙÙÂÍÚ˚ — [EFFECT]» – 23
ìÎÛ˜¯ÂÌË Á‚Û͇ ÔË ÔÓÏÓ˘Ë ˝ÙÙÂÍÚÓ‚ ...........................................«Ç‡ˇˆËË — [VARIATION] (CLP-130)» – 22
à„‡ ̇ Í·‚ˇÚÛÂ
éÚÍβ˜ÂÌË Á‚Û͇ ‰Îfl Ô‡ÚËË Î‚ÓÈ ËÎË Ô‡‚ÓÈ ÛÍË ....................................................... «à„‡ Ó‰ÌÓÈ ÛÍÓÈ» – 18
èÓ‚ÚÓ̇fl Ë„‡ Û͇Á‡ÌÌÓÈ Ù‡Á˚................................................................................. «îÛÌ͈Ëfl ÔÓ‚ÚÓ‡ A-B» – 20
à„‡ ‚ ˜ÂÚÍÓÏ, ÛÒÚÓȘ˂ÓÏ ËÚÏÂ......................................................................... «àÒÔÓθÁÓ‚‡ÌË ÏÂÚÓÌÓχ» – 29
à„‡ ÔË ÔÓÏÓ˘Ë Á‡ÔËÒ‡ÌÌÓÈ ÔÂÒÌË ........................................................ «á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl» – 30
á‡ÔËÒ¸
á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl.............................................................. «á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl» – 30
ç‡ÒÚÓÈÍË
ê„ÛÎËӂ͇ ̇ÒÚÓÂÍ ÔˇÌËÌÓ Clavinova .......................................................... «ç‡ÒÚÓÈÍË — [FUNCTION]» – 37
èÓ‰Íβ˜ÂÌË ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova Í ‰Û„ËÏ ÛÒÚÓÈÒÚ‚‡Ï
óÚÓ Ú‡ÍÓ MIDI ............................................................................................................... «é· ËÌÚÂÙÂÈÒ MIDI» – 49
á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl......................................................................................«ê‡Á˙ÂÏ˚ AUX OUT» – 50
ì‚Â΢ÂÌË „ÓÏÍÓÒÚË........................................................................................................«ê‡Á˙ÂÏ˚ AUX OUT» – 50
Ç˚‚Ó‰ Á‚ÛÍÓ‚ ‰Û„Ëı ËÌÒÚÛÏÂÌÚÓ‚ ̇ ÔˇÌËÌÓ Clavinova ..............................................«ê‡Á˙ÂÏ˚ AUX OUT» – 51
èÓ‰Íβ˜ÂÌËÂ Í ÍÓÏÔ¸˛ÚÂÛ ...............................................................................«èÓ‰Íβ˜ÂÌËÂ Í ÍÓÏÔ¸˛ÚÂÛ» – 52
ë·Ó͇
ë·Ó͇ Ë ‡Á·Ó͇ ÔˇÌËÌÓ Clavinova....................................................................... «ë·Ó͇ CLP-130/120» – 57-62
CLP-130/120 ì͇Á‡ÚÂθ ÔËÏÂÌÂÌËÈ
5
åÖêõ ÅÖáéèÄëçéëíà
ÇçàåÄíÖãúçé èêéóàíÄâíÖ, èêÖÜÑÖ óÖå èêàëíìèÄíú ä ùäëèãìÄíÄñàà
* ï‡ÌËÚ ‰‡ÌÌÓ ÛÍÓ‚Ó‰ÒÚ‚Ó, ˜ÚÓ·˚ ÏÓÊÌÓ ·˚ÎÓ Ó·‡ÚËÚ¸Òfl Í ÌÂÏÛ ‚ ‰‡Î¸ÌÂȯÂÏ.
èêÖÑìèêÖÜÑÖçàÖ
ÇÓ ËÁ·ÂʇÌË Ò¸ÂÁÌ˚ı Ú‡‚Ï Ë ‰‡Ê ÒÏÂÚË ÓÚ Û‰‡‡ ˝ÎÂÍÚ˘ÂÒÍËÏ ÚÓÍÓÏ, ÍÓÓÚÍÓ„Ó Á‡Ï˚͇ÌËfl, ÔÓ‚ÂʉÂÌËfl Ó·ÓÛ‰Ó‚‡ÌËfl, ÔÓʇ‡ Ë ‰Û„Ëı ÓÔ‡ÒÌÓÒÚÂÈ, ‚Ò„‰‡ Òӷ≇ÈÚ ÓÒÌÓ‚Ì˚Â
ÏÂ˚ ·ÂÁÓÔ‡ÒÌÓÒÚË, Ô˜ËÒÎÂÌÌ˚ ‰‡ÎÂÂ. ä ˝ÚËÏ ÏÂ‡Ï ÓÚÌÓÒËÚÒfl, ‚ ˜‡ÒÚÌÓÒÚË, ÒÎÂ‰Û˛˘ÂÂ.
ùÎÂÍÚÓÔËÚ‡ÌËÂ/͇·Âθ ÔËÚ‡ÌËfl
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ظ ÓÚ ‚Ó‰˚
àÒÔÓθÁÛÈÚ ÚÓθÍÓ Ì‡ÔflÊÂÌËÂ, ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ÂÂ
ËÌÒÚÛÏÂÌÚÛ. çÛÊÌÓ ̇ÔflÊÂÌË Û͇Á‡ÌÓ Ì‡ ËÌÒÚÛÏÂÌÚÂ.
èÂËӉ˘ÂÒÍË ÔÓ‚ÂflÈÚ ‚ËÎÍÛ ˝ÎÂÍÚÓËÌÒÚÛÏÂÌÚ‡ Ë
Û‰‡ÎflÈÚÂ Ò Ì „flÁ¸ Ë Ô˚θ.
àÒÔÓθÁÛÈÚ ÚÓθÍÓ Í‡·Âθ ÔËÚ‡ÌËfl Ë ‡Á˙ÂÏ, ‚ıÓ‰fl˘Ë ‚
ÍÓÏÔÎÂÍÚ ÔÓÒÚ‡‚ÍË.
䇷Âθ ÔËÚ‡ÌËfl Ì ‰ÓÎÊÂÌ Ì‡ıÓ‰ËÚ¸Òfl fl‰ÓÏ Ò ËÒÚÓ˜ÌË͇ÏË
ÚÂÔ· (̇„‚‡ÚÂÎflÏË, ‡‰Ë‡ÚÓ‡ÏË Ë Ú. Ô.). ç ‰ÓÔÛÒ͇ÈÚÂ
Ú‡ÍÊ ˜ÂÁÏÂÌÓ„Ó Ò„Ë·‡ÌËfl Ë ÔÓ‚ÂʉÂÌËfl ͇·ÂÎfl, ÌÂ
ÒÚ‡‚¸Ú ̇ ÌÂ„Ó ÚflÊÂÎ˚ Ô‰ÏÂÚ˚ Ë ‰ÂÊËÚÂ Â„Ó ‚ Ú‡ÍÓÏ
ÏÂÒÚÂ, „‰Â ̇ ÌÂ„Ó ÌÂθÁfl ̇ÒÚÛÔËÚ¸, Á‡‰ÂÚ¸ ÌÓ„ÓÈ ËÎË ˜ÚÓÌË·Û‰¸ ÔÓ ÌÂÏÛ ÔÂÂ͇ÚËÚ¸.
ç ÓÚÍ˚‚‡Ú¸
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Å„ËÚ ËÌÒÚÛÏÂÌÚ ÓÚ ‰Óʉfl, Ì ËÒÔÓθÁÛÈÚÂ Â„Ó fl‰ÓÏ
Ò ‚Ó‰ÓÈ, ‚ ÛÒÎÓ‚Ëflı Ò˚ÓÒÚË Ë ÔÓ‚˚¯ÂÌÌÓÈ ‚·ÊÌÓÒÚË; ÌÂ
ÒÚ‡‚¸Ú ̇ ÌÂ„Ó ÂÏÍÓÒÚË Ò ÊˉÍÓÒÚ¸˛, ÍÓÚÓ‡fl ÏÓÊÂÚ
‡ÁÎËÚ¸Òfl Ë ÔÓÔ‡ÒÚ¸ ‚ ÓÚ‚ÂÒÚËfl.
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çËÍÓ„‰‡ Ì ‚ÒÚ‡‚ÎflÈÚÂ Ë Ì ‚˚ÌËχÈÚ ‚ËÎÍÛ
˝ÎÂÍÚÓËÌÒÚÛÏÂÌÚ‡ ÏÓÍ˚ÏË Û͇ÏË.
ظ ÓÚ Ó„Ìfl
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ç ÒÚ‡‚¸Ú ̇ ËÌÒÚÛÏÂÌÚ „Ófl˘Ë Ô‰ÏÂÚ˚, ̇ÔËÏÂ
҂˜Ë. ÉÓfl˘ËÈ Ô‰ÏÂÚ ÏÓÊÂÚ ÛÔ‡ÒÚ¸ Ë ‚˚Á‚‡Ú¸ ÔÓʇ.
èË ‚̯ڇÚÌ˚ı ÒËÚÛ‡ˆËflı
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ç ÓÚÍ˚‚‡ÈÚ ËÌÒÚÛÏÂÌÚ Ë Ì Ô˚Ú‡ÈÚÂÒ¸ ‡ÁÓ·‡Ú¸ ËÎË
ÏÓ‰ËÙˈËÓ‚‡Ú¸ Â„Ó ‚ÌÛÚÂÌÌË ˜‡ÒÚË. Ç ÌÂÏ ÌÂÚ ˜‡ÒÚÂÈ,
ÍÓÚÓ˚ ‰ÓÎÊÂÌ Ó·ÒÎÛÊË‚‡Ú¸ ÔÓθÁÓ‚‡ÚÂθ. èË ÔÓfl‚ÎÂÌËË
ÌÂËÒÔ‡‚ÌÓÒÚË ÌÂωÎÂÌÌÓ ÔÂ͇ÚËÚ ˝ÍÒÔÎÛ‡Ú‡ˆË˛ Ë
Ó·‡ÚËÚÂÒ¸ Á‡ ÔÓÏÓ˘¸˛ Í ÒÔˆˇÎËÒÚ‡Ï ˆÂÌÚ‡ ÚÂıÌ˘ÂÒÍÓ„Ó
Ó·ÒÎÛÊË‚‡ÌËfl ÍÓÔÓ‡ˆËË Yamaha.
Ç ÒÎÛ˜‡Â ËÁÌÓÒ‡ Ë ÔÓ‚ÂʉÂÌËfl ͇·ÂÎfl ÔËÚ‡ÌËfl ËÎË ‡Á˙Âχ,
‡ Ú‡ÍÊ ÔË ‚ÌÂÁ‡ÔÌÓÏ ËÒ˜ÂÁÌÓ‚ÂÌËË Á‚Û͇ ‚Ó ‚ÂÏfl
˝ÍÒÔÎÛ‡Ú‡ˆËË, ÔË ÔÓfl‚ÎÂÌËË ÌÂÓ·˚˜ÌÓ„Ó Á‡Ô‡ı‡ Ë ‰˚χ
ÌÂωÎÂÌÌÓ ÓÚÍβ˜ËÚ ˝ÎÂÍÚÓÔËÚ‡ÌËÂ, ‚˚̸Ú ‚ËÎÍÛ ËÁ
ÓÁÂÚÍË Ë Ó·‡ÚËÚÂÒ¸ Á‡ ÔÓÏÓ˘¸˛ Í ÒÔˆˇÎËÒÚ‡Ï ˆÂÌÚ‡
ÚÂıÌ˘ÂÒÍÓ„Ó Ó·ÒÎÛÊË‚‡ÌËfl ÍÓÔÓ‡ˆËË Yamaha.
ÇçàåÄçàÖ
ÇÒ„‰‡ Òӷ≇ÈÚ ÒÎÂ‰Û˛˘Ë ÓÒÌÓ‚Ì˚ ÏÂ˚ ·ÂÁÓÔ‡ÒÌÓÒÚË ‚Ó ËÁ·ÂʇÌË ̇ÌÂÒÂÌËfl Ú‡‚Ï
ÒÂ·Â Ë ÓÍÛʇ˛˘ËÏ, ‡ Ú‡ÍÊ ÔÓ‚ÂʉÂÌËfl ËÌÒÚÛÏÂÌÚ‡ Ë ‰Û„Ó„Ó ËÏÛ˘ÂÒÚ‚‡.
ùÎÂÍÚÓÔËÚ‡ÌËÂ/͇·Âθ ÔËÚ‡ÌËfl
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åÂÒÚÓ ÛÒÚ‡ÌÓ‚ÍË
èË ÓÚÍβ˜ÂÌËË ‚ËÎÍË ÓÚ ËÌÒÚÛÏÂÌÚ‡ ËÎË ÓÚ ˝ÎÂÍÚÓÒÂÚË
·ÂËÚÂÒ¸ Á‡ ‚ËÎÍÛ, ‡ Ì Á‡ ͇·Âθ. Ç ÔÓÚË‚ÌÓÏ ÒÎÛ˜‡Â
ÏÓÊÌÓ Ôӂ‰ËÚ¸ ͇·Âθ.
éÚÍβ˜‡ÈÚ ËÌÒÚÛÏÂÌÚ ÓÚ ˝ÎÂÍÚÓÒÂÚË, ÂÒÎË Ô·ÌËÛÂÚ ÌÂ
ËÒÔÓθÁÓ‚‡Ú¸ Â„Ó ‚ Ú˜ÂÌË ‰ÎËÚÂθÌÓ„Ó ‚ÂÏÂÌË, ‡ Ú‡ÍÊ ‚Ó
‚ÂÏfl „ÓÁ˚.
ç ÔÓ‰Íβ˜‡ÈÚ ËÌÒÚÛÏÂÌÚ Í Ó‰ÌÓÈ ˝ÎÂÍÚ˘ÂÒÍÓÈ ÓÁÂÚÍÂ
Ò ‰Û„ËÏË ÛÒÚÓÈÒÚ‚‡ÏË (̇ÔËÏ ˜ÂÂÁ ÚÓÈÌËÍ).
ùÚÓ ÏÓÊÂÚ ÔË‚ÂÒÚË Í ÒÌËÊÂÌ˲ ͇˜ÂÒÚ‚‡ Á‚Û͇ ËÎË
ÔÂÂ„Â‚Û ÓÁÂÚÍË.
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ÇÌËχÚÂθÌÓ ÔÓ˜ËÚ‡ÈÚ ‰ÓÍÛÏÂÌÚ‡ˆË˛, ÓÔËÒ˚‚‡˛˘Û˛
ÔÓˆÂÒÒ Ò·ÓÍË.
çÂÔ‡‚Ëθ̇fl ÔÓÒΉӂ‡ÚÂθÌÓÒÚ¸ Ò·ÓÍË ËÌÒÚÛÏÂÌÚ‡
ÏÓÊÂÚ ÔË‚ÂÒÚË Í Â„Ó ÔÓ‚ÂʉÂÌ˲ ËÎË Ì‡ÌÂÒÚË Ú‡‚ÏÛ.
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(1)B-7
6
CLP-130/120 åÖêõ ÅÖáéèÄëçéëíà
1/2
ÇÓ ËÁ·ÂʇÌË ‰ÂÙÓχˆËË Ô‡ÌÂÎË Ë ÔÓ‚ÂʉÂÌËfl ‚ÌÛÚÂÌÌËı ÍÓÏÔÓÌÂÌÚÓ‚ ·Â„ËÚ ËÌÒÚÛÏÂÌÚ ÓÚ ˜ÂÁÏÂÌÓÈ Ô˚ÎË
Ë ÒËθÌÓÈ ‚Ë·‡ˆËË Ë Ì ËÒÔÓθÁÛÈÚÂ Â„Ó ÔË Ó˜Â̸ ‚˚ÒÓÍÓÈ
ËÎË ÌËÁÍÓÈ ÚÂÏÔ‡ÚÛ (̇ÔËÏÂ, ̇ ÒÓÎ̈Â, fl‰ÓÏ Ò
̇„‚‡ÚÂÎÂÏ ËÎË ‚ χ¯ËÌ ‚ ‰Ì‚ÌÓ ‚ÂÏfl).
ç ËÒÔÓθÁÛÈÚ ËÌÒÚÛÏÂÌÚ ‚ ÌÂÔÓÒ‰ÒÚ‚ÂÌÌÓÈ ·ÎËÁÓÒÚË ÓÚ
ÚÂ΂ËÁÓ‡, ‡‰ËÓÔËÂÏÌË͇, ÒÚÂÂÓÓ·ÓÛ‰Ó‚‡ÌËfl, ÏÓ·ËθÌÓ„Ó ÚÂÎÂÙÓ̇ Ë ‰Û„Ëı ˝ÎÂÍÚÓÔË·ÓÓ‚. Ç ÔÓÚË‚ÌÓÏ ÒÎÛ˜‡Â ‚ ËÌÒÚÛÏÂÌÚÂ, ÚÂ΂ËÁÓ ËÎË ‡‰ËÓÔËÂÏÌËÍ ÏÓÊÂÚ
‚ÓÁÌË͇ڸ ¯ÛÏ.
ÇÓ ËÁ·ÂʇÌË ÒÎÛ˜‡ÈÌÓ„Ó Ô‡‰ÂÌËfl ËÌÒÚÛÏÂÌÚ‡ Ì ÓÒÚ‡‚ÎflÈÚÂ Â„Ó ‚ ÌÂÛÒÚÓȘ˂ÓÏ ÔÓÎÓÊÂÌËË.
è‰ ÔÂÂÏ¢ÂÌËÂÏ ËÌÒÚÛÏÂÌÚ‡ ÓÚÒÓ‰ËÌËÚ ‚Ò ͇·ÂÎË.
ç ÛÒڇ̇‚ÎË‚‡ÈÚ ËÌÒÚÛÏÂÌÚ ‚ÔÎÓÚÌÛ˛ Í ÒÚÂÌ (ÌÂÓ·ıÓ‰ËÏ
ıÓÚfl ·˚ 3-Ò‡ÌÚËÏÂÚÓ‚˚È Á‡ÁÓ), ÔÓÒÍÓθÍÛ ˝ÚÓ ÏÓÊÂÚ
‚˚Á‚‡Ú¸ ÔÎÓıÛ˛ ˆËÍÛÎflˆË˛ ‚ÓÁ‰Ûı‡ Ë, Í‡Í ÒΉÒÚ‚ËÂ,
Ô„‚ ËÌÒÚÛÏÂÌÚ‡.
èÓ‰Íβ˜ÂÌËÂ
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àÒÔÓθÁÓ‚‡ÌË Ò͇ÏÂÈÍË (ÂÒÎË ÂÒÚ¸)
è‰ ÔÓ‰Íβ˜ÂÌËÂÏ ËÌÒÚÛÏÂÌÚ‡ Í ‰Û„ËÏ ˝ÎÂÍÚÓÌÌ˚Ï
ÍÓÏÔÓÌÂÌÚ‡Ï ÓÚÍβ˜ËÚ Ëı ÔËÚ‡ÌËÂ. è‰ ‚Íβ˜ÂÌËÂÏ
ËÎË ÓÚÍβ˜ÂÌËÂÏ ˝ÎÂÍÚÓÌÌ˚ı ÍÓÏÔÓÌÂÌÚÓ‚ ÛÒÚ‡ÌÓ‚ËÚÂ
ÏËÌËχθÌ˚È ÛÓ‚Â̸ „ÓÏÍÓÒÚË. ì·Â‰ËÚÂÒ¸ Ú‡ÍÊ ‚ ÚÓÏ,
˜ÚÓ Ì‡ ‚ÒÂı ÍÓÏÔÓÌÂÌÚ‡ı ÛÒÚ‡ÌÓ‚ÎÂÌ ÏËÌËχθÌ˚È ÛÓ‚Â̸
„ÓÏÍÓÒÚË, Ë ‚Ó ‚ÂÏfl Ë„˚ ̇ ËÌÒÚÛÏÂÌÚ ÔÓÒÚÂÔÂÌÌÓ
Û‚Â΢¸Ú „ÓÏÍÓÒÚ¸ ‰Ó ÌÛÊÌÓÈ.
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é·ÒÎÛÊË‚‡ÌËÂ
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ÑÎfl ˜ËÒÚÍË ËÌÒÚÛÏÂÌÚ‡ ÔÓθÁÛÈÚÂÒ¸ Ïfl„ÍÓÈ ÒÛıÓÈ
ËÎË Ò΄͇ ‚·ÊÌÓÈ Ú̸͇˛. çËÍÓ„‰‡ Ì ËÒÔÓθÁÛÈÚÂ
ÔflÚÌÓ‚˚‚Ó‰ËÚÂÎË, ‡ÒÚ‚ÓËÚÂÎË, ÊˉÍË ӘËÒÚËÚÂÎË
ËÎË ˜ËÒÚfl˘Ë ҇ÎÙÂÚÍË Ò ÔÓÔËÚÍÓÈ.
ëÓı‡ÌÂÌË ‰‡ÌÌ˚ı
ëÓı‡ÌÂÌËÂ Ë ‚ÓÒÒÚ‡ÌÓ‚ÎÂÌË ‰‡ÌÌ˚ı
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åÂ˚ ·ÂÁÓÔ‡ÒÌÓÒÚË ÔË ˝ÍÒÔÎÛ‡Ú‡ˆËË
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ÇÓ ËÁ·ÂʇÌË ÒÎÛ˜‡ÈÌÓ„Ó Ô‡‰ÂÌËfl Ò͇ÏÂÈÍË Ì ÓÒÚ‡‚ÎflÈÚÂ
 ‚ ÌÂÛÒÚÓȘ˂ÓÏ ÔÓÎÓÊÂÌËË.
ç ͇˜‡ÈÚÂÒ¸ ̇ Ò͇ÏÂÈÍÂ Ë Ì ˄‡ÈÚÂ, ÒÚÓfl ̇ ÌÂÈ.
àÒÔÓθÁÓ‚‡ÌË Ò͇ÏÂÈÍË Ì ÔÓ Ì‡Á̇˜ÂÌ˲ ÏÓÊÂÚ
ÔË‚ÂÒÚË Í ÌÂÒ˜‡ÒÚÌÓÏÛ ÒÎÛ˜‡˛ ËÎË Ú‡‚ÏÂ.
ë͇ÏÂÈ͇ Ô‰̇Á̇˜Â̇ ÚÓθÍÓ ‰Îfl Ó‰ÌÓ„Ó ˜ÂÎÓ‚Â͇.
ÖÒÎË ‚ËÌÚ˚ Ò͇ÏÂÈÍË ÓÒ··ÎË ‚ ÂÁÛθڇÚ ‰ÎËÚÂθÌÓ„Ó
ËÒÔÓθÁÓ‚‡ÌËfl, ÔÂËӉ˘ÂÒÍË Á‡‚Ë̘˂‡ÈÚ Ëı Ò ÔÓÏÓ˘¸˛
ÓÚ‚ÂÚÍË.
ëΉËÚÂ, ˜ÚÓ·˚ Í˚¯Í‡ Í·‚ˇÚÛ˚ Ì ÔˢÂÏË· ԇθˆ˚, Ë
Ì ‚ÒÚ‡‚ÎflÈÚ ԇθˆ˚ ËÎË ÛÍË ‚ ÓÚ‚ÂÒÚËfl ̇ ËÌÒÚÛÏÂÌÚÂ.
ëΉËÚ Á‡ ÚÂÏ, ˜ÚÓ·˚ ‚ ÓÚ‚ÂÒÚËfl ̇ Í˚¯ÍÂ, Ô‡ÌÂÎË Ë
Í·‚ˇÚÛ Ì ÔÓԇ· ·Ûχ„‡, ÏÂÚ‡Î΢ÂÒÍËÂ Ë ÔÓ˜ËÂ
Ô‰ÏÂÚ˚. ÖÒÎË ˝ÚÓ ÔÓËÁÓ¯ÎÓ, ÌÂωÎÂÌÌÓ ‚˚Íβ˜ËÚÂ
ÔËÚ‡ÌËÂ Ë ÓÚÒÓ‰ËÌËÚ ËÌÒÚÛÏÂÌÚ ÓÚ ˝ÎÂÍÚÓÒÂÚË. á‡ÚÂÏ
Ó·‡ÚËÚÂÒ¸ Á‡ ÔÓÏÓ˘¸˛ Í ÒÔˆˇÎËÒÚ‡Ï ˆÂÌÚ‡ ÚÂıÌ˘ÂÒÍÓ„Ó
Ó·ÒÎÛÊË‚‡ÌËfl ÍÓÔÓ‡ˆËË Yamaha.
ç Í·‰ËÚ ̇ ÔˇÌËÌÓ Ô‰ÏÂÚ˚ ËÁ ‚ËÌË·, Ô·ÒÚχÒÒ˚ ËÎË
ÂÁËÌ˚ — ˝ÚÓ ‚˚Á˚‚‡ÂÚ ‚˚ˆ‚ÂÚ‡ÌË ԇÌÂÎË ËÎË Í·‚ˇÚÛ˚.
ç ӷÎÓ͇˜Ë‚‡ÈÚÂÒ¸ ̇ ËÌÒÚÛÏÂÌÚ, Ì ÒÚ‡‚¸Ú ̇ Ì„Ó
ÚflÊÂÎ˚ Ô‰ÏÂÚ˚ Ë Ì ÔËÍ·‰˚‚‡ÈÚ ÒÎ˯ÍÓÏ ·Óθ¯ÓÈ
ÒËÎ˚ ÔË ÔÓθÁÓ‚‡ÌËË ÍÌÓÔ͇ÏË, ‚˚Íβ˜‡ÚÂÎflÏË Ë
‡Á˙ÂχÏË.
ç ÒΉÛÂÚ ‰ÓÎ„Ó ‡·ÓÚ‡Ú¸ Ò ‚˚ÒÓÍÓÈ ËÎË ÌÂÍÓÏÙÓÚÌÓÈ
„ÓÏÍÓÒÚ¸˛, Ú‡Í Í‡Í ˝ÚÓ ÏÓÊÂÚ ÔË‚ÂÒÚË Í ÔÓÚ ÒÎÛı‡.
èË ÔÓÚ ÒÎÛı‡ ËÎË Á‚ÓÌ ‚ Û¯‡ı Ó·‡ÚËÚÂÒ¸ Í ‚‡˜Û.
Ç Á‡‚ËÒËÏÓÒÚË ÓÚ Ì‡ÒÚÓÂÍ ÒÓı‡ÌÂÌËfl (ÒÚ. 48) ‰‡ÌÌ˚Â
ÒÓı‡Ìfl˛ÚÒfl ÓÍÓÎÓ Ì‰ÂÎË ÔÓÒΠÓÚÍβ˜ÂÌËfl ÔËÚ‡ÌËfl. èÓ
ËÒÚ˜ÂÌËË ˝ÚÓ„Ó ÒÓ͇ ‰‡ÌÌ˚ ·Û‰ÛÚ ÔÓÚÂflÌ˚. ç Á‡·˚‚‡ÈÚÂ
‚Íβ˜‡Ú¸ ÔËÚ‡ÌË ıÓÚfl ·˚ ‡Á ‚ ̉Âβ ̇ ÌÂÒÍÓθÍÓ ÏËÌÛÚ.
чÌÌ˚ ÏÓ„ÛÚ ·˚Ú¸ ÔÓÚÂflÌ˚ ËÁ-Á‡ ÌÂËÒÔ‡‚ÌÓÒÚË ËÎË
ÌÂÔ‡‚ËθÌÓÈ ‡·ÓÚ˚. ëÓı‡ÌflÈÚ ‚‡ÊÌ˚ ‰‡ÌÌ˚ ̇
‚̯ÌËı ÌÓÒËÚÂÎflı, ̇ÔËÏ ̇ ÛÒÚÓÈÒÚ‚Â ı‡ÌÂÌËfl
‰‡ÌÌ˚ı Yamaha MDF3 MIDI.
êÂÁ‚ÌÓ ÍÓÔËÓ‚‡ÌË ̇ ‚̯ÌË ÌÓÒËÚÂÎË
●
óÚÓ·˚ ‰‡ÌÌ˚ Ì ÔÓÔ‡ÎË ËÁ-Á‡ ÔÓ‚ÂʉÂÌËfl ÌÓÒËÚÂÎfl,
ÂÍÓÏẨÛÂÚÒfl ÒÓı‡ÌflÚ¸ ̇˷ÓΠ‚‡ÊÌ˚ ‰‡ÌÌ˚ ̇
‰‚Ûı ÌÓÒËÚÂÎflı.
äÓÔÓ‡ˆËfl Yamaha Ì ÌÂÒÂÚ ÓÚ‚ÂÚÒÚ‚ÂÌÌÓÒÚË Á‡ ÔÓ‚ÂʉÂÌËfl, ‚ÓÁÌËͯË ËÁ-Á‡ ÌÂÔ‡‚ËθÌÓÈ ˝ÍÒÔÎÛ‡Ú‡ˆËË ËÎË ËÁ-Á‡ ÏÓ‰ËÙË͇ˆËË
ËÌÒÚÛÏÂÌÚ‡, ‡ Ú‡ÍÊ Á‡ ÔÓÚÂflÌÌ˚ ËÎË ËÒÔÓ˜ÂÌÌ˚ ‰‡ÌÌ˚Â.
ÇÒ„‰‡ ‚˚Íβ˜‡ÈÚ ËÌÒÚÛÏÂÌÚ ÔÓÒΠÓÍÓ̘‡ÌËfl ‡·ÓÚ˚.
(1)B-7
2/2
CLP-130/120 åÖêõ ÅÖáéèÄëçéëíà
7
ÑÓÔÓÎÌËÚÂθÌ˚ ÔË̇‰ÎÂÊÌÓÒÚË
• ë·ÓÌËÍ Ô‡ÚËÚÛ «50 greats for the Piano»
• êÛÍÓ‚Ó‰ÒÚ‚Ó ÔÓθÁÓ‚‡ÚÂÎfl
Ç ˝ÚÓÏ ÛÍÓ‚Ó‰ÒÚ‚Â ÒÓ‰ÂʇÚÒfl ÔÓÎÌ˚ ËÌÒÚÛ͈ËË ÔÓ ‡·ÓÚÂ Ò ˆËÙÓ‚˚Ï ÔˇÌËÌÓ Clavinova.
• ë͇ÏÂÈ͇
Ç Á‡‚ËÒËÏÓÒÚË ÓÚ ÏÂÒÚ‡ ÔÓÍÛÔÍË Ò͇ÏÂÈ͇ ÏÓÊÂÚ ‚ıÓ‰ËÚ¸ ËÎË Ì ‚ıÓ‰ËÚ¸ ‚ ÍÓÏÔÎÂÍÚ.
é·ÒÎÛÊË‚‡ÌËÂ
èÓÚË‡ÈÚ ËÌÒÚÛÏÂÌÚ Ïfl„ÍÓÈ ÒÛıÓÈ ËÎË Ò΄͇ ‚·ÊÌÓÈ Ú̸͇˛.
ÇçàåÄçàÖ!
ç ËÒÔÓθÁÛÈÚ ‰Îfl Ó˜ËÒÚÍË ·ÂÌÁÓÎ, ‡ÒÚ‚ÓËÚÂθ, ÒÚˇθÌ˚È ÔÓÓ¯ÓÍ ËÎË Ú̸͇, Ó·‡·ÓÚ‡ÌÌÛ˛ ıËÏ˘ÂÒÍËÏ
‡ÒÚ‚ÓÓÏ. ç ÒÚ‡‚¸Ú ̇ ËÌÒÚÛÏÂÌÚ ‚ËÌËÎÓ‚˚Â, Ô·ÒÚχÒÒÓ‚˚Â Ë ÂÁËÌÓ‚˚ Ô‰ÏÂÚ˚.
Ç ÔÓÚË‚ÌÓÏ ÒÎÛ˜‡Â Ô‡ÌÂθ Ë Í·‚ˇÚÛ‡ ÏÓ„ÛÚ Ó·ÂÒˆ‚ÂÚËÚ¸Òfl ËÎË ËÒÔÓÚËÚ¸Òfl.
ÇçàåÄçàÖ!
è‰ ̇˜‡ÎÓÏ ‡·ÓÚ˚ Ò ËÌÒÚÛÏÂÌÚÓÏ ÔÓ˜ËÚ‡ÈÚ ‡Á‰ÂÎ «åÂ˚ ·ÂÁÓÔ‡ÒÌÓÒÚË» ̇ ÒÚ. 6–7.
ç‡ÒÚÓÈ͇
Ç ÓÚ΢ˠÓÚ ‡ÍÛÒÚ˘ÂÒÍÓ„Ó ÙÓÚÂÔˇÌÓ, ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova Ì ÌÛʉ‡ÂÚÒfl ‚ ̇ÒÚÓÈÍ Á‚Û͇.
éÌÓ ‚Ò„‰‡ ÓÒÚ‡ÂÚÒfl ÔÓÎÌÓÒÚ¸˛ ̇ÒÚÓÂÌÌ˚Ï.
í‡ÌÒÔÓÚËӂ͇
ñËÙÓ‚Ó ÔˇÌËÌÓ Clavinova ÏÓÊÌÓ ÔÂ‚ÓÁËÚ¸ ‚ÏÂÒÚÂ Ò ‰Û„ËÏË ‚¢‡ÏË. èÂÂÏ¢‡Ú¸ ËÌÒÚÛÏÂÌÚ
ÏÓÊÌÓ Í‡Í ‚ ÒÓ·‡ÌÌÓÏ, Ú‡Í Ë ‚ ‡ÁÓ·‡ÌÌÓÏ ‚ˉÂ.
ä·‚ˇÚÛ‡ ‰ÓÎÊ̇ ÔÂ‚ÓÁËÚ¸Òfl ‚ „ÓËÁÓÌڇθÌÓÏ ÔÓÎÓÊÂÌËË. ç ̇ÍÎÓÌflÈÚ ÂÂ Ë Ì ÒÚ‡‚¸Ú ̇·ÓÍ.
ç ÔÓ‰‚Â„‡ÈÚ ËÌÒÚÛÏÂÌÚ ˜ÂÁÏÂÌÓÈ ‚Ë·‡ˆËË ËÎË ÚflÒÍÂ.
8
CLP-130/120 ÑÓÔÓÎÌËÚÂθÌ˚ ÔË̇‰ÎÂÊÌÓÒÚË / é·ÒÎÛÊË‚‡ÌËÂ
ë‚ÓÈÒÚ‚‡
ñËÙÓ‚Ó ÔˇÌËÌÓ Yamaha Clavinova CLP-130/120 Ô‰ÒÚ‡‚ÎflÂÚ ÌË Ò ˜ÂÏ Ì Ò‡‚ÌËÏÛ˛ ‡ÎËÒÚ˘ÌÓÒÚ¸
Á‚Û͇ Ë ‚ÓÁÏÓÊÌÓÒÚ¸ Ë„˚ ÚÂÏ·ÓÏ ÓflÎfl, ÓË„Ë̇θÌÛ˛ ÚÂıÌÓÎӄ˲ ÚÓÌ-„ÂÌÂ‡ÚÓ‡ ÍÓÔÓ‡ˆËË Yamaha
«AWM Dynamic Stereo Sampling» ‰Îfl CLP-130 Ë «AWM Stereo Sampling» ‰Îfl CLP-120 ‰Îfl ÒÓÁ‰‡ÌËfl
̇Ò˚˘ÂÌÌ˚ı ÏÛÁ˚͇θÌ˚ı ÚÂÏ·Ó‚ Ë ÒÔˆˇθÌÛ˛ Í·‚ˇÚÛÛ Graded Hammer, ̇ ÍÓÚÓÓÈ ‚ÂÒ Ë
˜Û‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í·‚Ë¯Ë Á‡‚ËÒflÚ ÓÚ Â ‡ÒÔÓÎÓÊÂÌËfl.
íÂÏ·˚ «Grand Piano 1» Ë «Grand Piano 2» ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ CLP-130/120 ËÒÔÓθÁÛ˛Ú ÌÓ‚˚Â, Ú˘‡ÚÂθÌÓ
Á‡ÔËÒ‡ÌÌ˚Â Ò˝ÏÔÎ˚ ÔÓÎÌÓ„Ó ÍÓ̈ÂÚÌÓ„Ó ÓflÎfl. ÇÓ ‚ÂÏfl Ë„˚ Ò ÚÂÏ·ÓÏ ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ CLP-130
GrandPiano 1 ËÒÔÓθÁÛ˛ÚÒfl ÔflÚ¸ Ò˝ÏÔÎÓ‚, Á‡‚ËÒfl˘Ëı ÓÚ ÒÍÓÓÒÚË Ì‡Ê‡ÚËfl Í·‚˯ (‰Ë̇Ï˘ÂÒÍÓÂ
Ò˝ÏÔÎËÓ‚‡ÌËÂ), ÓÒÓ·Ó «ÒÛÒÚÂÈÌ»-Ò˝ÏÔÎËÓ‚‡ÌËÂ, ÔË Ì‡Ê‡ÚËË Ì‡ Ô‡‚Û˛ Ô‰‡Î¸ ‚ÓÒÔÓËÁ‚Ó‰fl˘ÂÂ
ÛÌË͇θÌ˚È ÂÁÓ̇ÌÒ ‰ÂÍË Ë ÒÚÛÌ ‡ÍÛÒÚ˘ÂÒÍÓ„Ó ÙÓÚÂÔˇÌÓ, Ë Ò˝ÏÔÎ˚ ÓÚÔÛ˘ÂÌÌÓÈ Í·‚˯Ë, ÍÓÚÓ˚Â
‰Ó·‡‚Îfl˛Ú ÚËıËÈ Á‚ÛÍ ÔË ÓÚÔÛÒ͇ÌËË Í·‚˯. àÌÒÚÛÏÂÌÚ˚ CLP-130/120 ÔÓÁ‚ÓÎfl˛Ú χÍÒËχθÌÓ
ÔË·ÎËÁËÚ¸Òfl Í Á‚Û˜‡Ì˲ ̇ÒÚÓfl˘Â„Ó ‡ÍÛÒÚ˘ÂÒÍÓ„Ó ÙÓÚÂÔ¸flÌÓ.
TEMPO [▼] [▲]
[REVERB] / [EFFECT]
[TRANSPOSE]
èË ÔÓÏÓ˘Ë ˝ÚËı ÍÌÓÔÓÍ ÏÓÊÌÓ ËÁÏÂÌflÚ¸ ÚÂÏÔ (ÒÍÓÓÒÚ¸)
ÔÂÒÌË Ë ‚˚·Ë‡Ú¸ ÔÓÎÂÁÌ˚ ÙÛÌ͈ËË (ÒÚ. 37-48).
ÑÓ·‡‚ÎÂÌËÂ Í Á‚ÛÍÛ Â‚Â·Â‡ˆËË
(REVERB) Ë ˝ÙÙÂÍÚÓ‚ (ÒÚ. 22, 23).
à„‡fl ̇ ÚÂı Ê ҇Ï˚ı
Í·‚˯‡ı, ÏÓÊÌÓ
ÔÓ‚˚¯‡Ú¸ ËÎË ÔÓÌËʇڸ
‚˚ÒÓÚÛ Á‚Û͇ ‚ÒÂÈ
Í·‚ˇÚÛ˚ Ú‡Í, ˜ÚÓ·˚ Ó̇
ÒÓÓÚ‚ÂÚÒÚ‚Ó‚‡Î‡ ‚˚ÒÓÚÂ
Á‚Û͇ ‰Û„Ó„Ó ËÌÒÚÛÏÂÌÚ‡
ËÎË Ô‚ˆ‡ (ÒÚ. 25).
è‡ÏflÚ¸ ÔˇÌËÌÓ Clavinova ÒÓ‰ÂÊËÚ 50 Á‡ÔËÒ‡ÌÌ˚ı ÔÂÒÂÌ.
ùÚ‡ ÒÂ͈Ëfl ‰‡ÂÚ ‚‡Ï ‚ÓÁÏÓÊÌÓÒÚ¸ ÒÎÛ¯‡Ú¸ ˝ÚË ÔÂÒÌË, ÛÔ‡ÊÌflÚ¸Òfl
ÔË ÔÓÏÓ˘Ë Û‰Ó·ÌÓÈ Ó·Û˜‡˛˘ÂÈ ÙÛÌ͈ËË, Á‡ÔËÒ˚‚‡Ú¸ Ë
‚ÓÒÔÓËÁ‚Ó‰ËÚ¸ ÒÓ·ÒÚ‚ÂÌÌÓ ËÒÔÓÎÌÂÌË (ÒÚ. 17-20, 30-36).
[METRONOME]
ìÔ‡‚ÎÂÌË ÙÛÌ͈ËflÏË
ÏÂÚÓÌÓχ (ÒÚ. 29).
[DEMO]
ÑÂÏÓÌÒÚ‡ˆËÓÌÌÛ˛
ÏÂÎӉ˲ ÏÓÊÌÓ
‚ÓÒÔÓËÁ‚ÂÒÚË ‚ β·ÓÏ
ÚÂÏ·Â (ÒÚ. 16).
MIN
MAX
START/STOP
BRIGHT
BRILLIANCE
[TOUCH]
Ç˚·Ë‡ÈÚ ËÁ 14 ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚, ‚Íβ˜‡fl ÚÂÏ·
Grand Piano 1 Ë Grand Piano 2 (ÒÚ. 21). åÓÊÌÓ Ú‡ÍÊÂ
ËÒÔÓθÁÓ‚‡Ú¸ ‰‚‡ ÚÂÏ·‡ Ó‰ÌÓ‚ÂÏÂÌÌÓ (ÒÚ. 26).
íÓÌ͇fl ̇ÒÚÓÈ͇
˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË Í
ÒËΠ̇ʇÚËfl (ÒÚ. 24).
GRAND
PIANO 1
GRAND
PIANO 2
E.PIANO
1
E.PIANO
2
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
CHURCH
ORGAN
JAZZ
ORGAN
STRINGS
CHOIR
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
äÌÓÔÍË ‚˚·Ó‡ ÚÂÏ·‡
DEMO
TEMPO
FUNCTION
METRONOME
— /NO +/ YES
PRESET
USER 1
USER 2
USER 3
TRACK
1
TRACK
2
START/STOP
REC
SONG
TEMPO / FUNCTION
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
ON
TOUCH TRANSPOSE
[BRILLIANCE]
[SPLIT]
èÓÎÁÛÌÍÓ‚˚È Â„ÛÎflÚÓ flÍÓÒÚË Á‚Û͇
(ÒÚ. 22).
ë ÔÓÏÓ˘¸˛ ˝ÚÓÈ ÙÛÌ͈ËË ÏÓÊÌÓ Ë„‡Ú¸ ‚ ‡ÁÌ˚ı ÚÂÏ·‡ı
Ô‡‚ÓÈ Ë Î‚ÓÈ Û͇ÏË (CLP-130) (ÒÚ. 27).
[MASTER VOLUME]
èÓÎÁÛÌÍÓ‚˚È Â„ÛÎflÚÓ
„ÓÏÍÓÒÚË Á‚Û͇ (ÒÚ. 11).
(CLP-130)
MIN
MAX
START/STOP
BRIGHT
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
E.PIANO
1
E.PIANO
2
CHURCH
ORGAN
JAZZ
ORGAN
STRINGS
CHOIR
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
DEMO
TEMPO
FUNCTION
METRONOME
TEMPO / FUNCTION
— / NO
+/ YES
PRESET
USER 1
USER 2
USER 3
TRACK
1
TRACK
2
START/STOP
REC
SONG
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
TOUCH
ON
TRANSPOSE
POWER
ê‡Á˙ÂÏ ‰Îfl
ÔÓ‰Íβ˜ÂÌËfl Í
Clavinova ͇·ÂÎfl
Ô‰‡ÎÂÈ (ÒÚ. 51).
OFF
ON
NORMAL
HP. SW
SPEAKER
PEDAL
PHONES
Ç˚Íβ˜‡ÚÂθ ‚ÒÚÓÂÌÌ˚ı
‰Ë̇ÏËÍÓ‚ (ÒÚ. 12).
ê‡Á˙ÂÏ ÔÓ‰Íβ˜ÂÌËfl
Ó·ÓÛ‰Ó‚‡ÌËfl Á‚ÛÍÓÁ‡ÔËÒË
(̇ÔËÏ χ„ÌËÚÓÙÓ̇)
‰Îfl Á‡ÔËÒË ÒÓ·ÒÚ‚ÂÌÌÓ„Ó
ËÒÔÓÎÌÂÌËfl (ÒÚ. 50).
R
L
LEVEL FIXED
R
L/L+R
AUX OUT
R
AUX IN
MIDI
Mac
PC-1
TO HOST
MIDI
PC-2
HOST SELECT
THRU
ê‡Á˙ÂÏ ÔÓ‰Íβ˜ÂÌËfl Òڇ̉‡ÚÌ˚ı ̇ۯÌËÍÓ‚. èË Ëı
ÔÓ‰Íβ˜ÂÌËË ÓÍÛʇ˛˘Ë ÌÂ
ÛÒÎ˚¯‡Ú ‚‡¯Û Ë„Û (ÒÚ. 12).
Ç˚ıÓ‰Ì˚ ‡Á˙ÂÏ˚ ‰Îfl
ÔÓ‰Íβ˜ÂÌËfl Í Clavinova
ÛÒËÎËÚÂÎfl, ÏËͯÂÌÓ„Ó ÔÛθڇ,
ÏËÍÓÙÓ̇, „ÓÏÍÓ„Ó‚ÓËÚÂÎfl
ËÎË Ó·ÓÛ‰Ó‚‡ÌËfl Á‚ÛÍÓÁ‡ÔËÒË
(ÒÚ. 51).
L/L+R
ùÚÓÚ ‡Á˙ÂÏ Ë ÒÂÎÂÍÚÓÌ˚È ÔÂÂÍβ˜‡ÚÂθ
ÔÓÁ‚ÓÎfl˛Ú ̇ÔflÏÛ˛ ÔÓ‰Íβ˜‡Ú¸Òfl Í èä ‰Îfl
ÒËÌÚÂÁËÓ‚‡ÌËfl ÏÛÁ˚ÍË Ë ‰Û„Ëı Á‡‰‡˜ (ÒÚ. 52-55).
OUT
IN
ê‡Á˙ÂÏ ÔÓ‰Íβ˜ÂÌËfl MIDI-ÛÒÚÓÈÒÚ‚ ‰Îfl
ËÒÔÓθÁÓ‚‡ÌËfl MIDI-ÙÛÌ͈ËÈ (ÒÚ. 45-47).
(é· ËÌÚÂÙÂÈÒÂ MIDI ➝ ÒÚ. 49.)
CLP-130/120 ë‚ÓÈÒÚ‚‡
9
èÓ‰„ÓÚӂ͇ Í ‡·ÓÚÂ
ä˚¯Í‡ Í·‚ˇÚÛ˚
ä‡Í ÓÚÍ˚Ú¸ Í˚¯ÍÛ Í·‚ˇÚÛ˚
çÂÏÌÓ„Ó ÔËÔÓ‰ÌËÏËÚ Í˚¯ÍÛ Ë ÔÓ‰‚Ë̸Ú ÂÂ
‚ÌÛÚ¸ ÍÓÔÛÒ‡.
ä‡Í Á‡Í˚Ú¸ Í˚¯ÍÛ Í·‚ˇÚÛ˚
èÓÚflÌËÚ Í˚¯ÍÛ Ì‡ Ò·fl Ë ÓÒÚÓÓÊÌÓ ÓÔÛÒÚËÚ ÂÂ
̇ Í·‚ˇÚÛÛ.
ÇçàåÄçàÖ!
ç ÔˢÂÏËÚ ԇθˆ˚, ÓÚÍ˚‚‡fl ËÎË Á‡Í˚‚‡fl Í˚¯ÍÛ.
ÇçàåÄçàÖ!
éÚÍ˚‚‡fl Ë Á‡Í˚‚‡fl Í˚¯ÍÛ, ‰ÂÊËڠ ‰‚ÛÏfl Û͇ÏË. ç ÓÚÔÛÒ͇ÈÚ Í˚¯ÍÛ, ÔÓ͇ Ó̇ Ì ÓÚÍÓÂÚÒfl ËÎË Á‡ÍÓÂÚÒfl
ÔÓÎÌÓÒÚ¸˛. ç Á‡˘ÂÏËÚ ҂ÓË ËÎË ˜ÛÊË ԇθˆ˚ (ÓÒÓ·ÂÌÌÓ Ô‡Î¸ˆ˚ ‰ÂÚÂÈ) ÏÂÊ‰Û Í˚¯ÍÓÈ Ë ÍÓÔÛÒÓÏ.
ÇçàåÄçàÖ!
ç Í·‰ËÚ ̇ Í˚¯ÍÛ Í·‚ˇÚÛ˚ ÏÂÚ‡Î΢ÂÒÍË Ô‰ÏÂÚ˚ ËÎË ·Ûχ„Û. èË ÓÚÍ˚ÚËË Í˚¯ÍË ÏÂÎÍË Ô‰ÏÂÚ˚
ÏÓ„ÛÚ ÔÓÔ‡ÒÚ¸ ‚ÌÛÚ¸ ÍÓÔÛÒ‡ ÔˇÌËÌÓ, Ë ËÁ‚Θ¸ Ëı ÓÚÚÛ‰‡ ·Û‰ÂÚ Ô‡ÍÚ˘ÂÒÍË Ì‚ÓÁÏÓÊÌÓ. ùÚÓ ÏÓÊÂÚ ÔË‚ÂÒÚË Í
ÔÓ‡ÊÂÌ˲ ÚÓÍÓÏ, ÍÓÓÚÍÓÏÛ Á‡Ï˚͇Ì˲, ÔÓÊ‡Û Ë ËÌ˚Ï Ò¸ÂÁÌ˚Ï ÔÓ‚ÂʉÂÌËflÏ ËÌÒÚÛÏÂÌÚ‡.
è˛ÔËÚ
ä‡Í ÔÓ‰ÌflÚ¸ Ô˛ÔËÚ
1. ç‡ÍÎÓÌËÚ ԲÔËÚ ̇ Ò·fl, ̇ÒÍÓθÍÓ ‚ÓÁÏÓÊÌÓ.
2. éÔÛÒÚËÚ ÏÂÚ‡Î΢ÂÒÍË ÙËÍÒ‡ÚÓ˚ ÒÔ‡‚‡ Ë Ò΂‡
̇ Ó·ÓÓÚÌÓÈ ÒÚÓÓÌ ԲÔËÚ‡.
3. ç‡ÍÎÓÌËÚ ԲÔËÚ ̇Á‡‰ Ú‡Í, ˜ÚÓ·˚ ÓÌ ÓÔË‡ÎÒfl ̇
ÙËÍÒ‡ÚÓ˚.
ä‡Í ÓÔÛÒÚËÚ¸ Ô˛ÔËÚ
1. ç‡ÍÎÓÌËÚ ԲÔËÚ ̇ Ò·fl, ̇ÒÍÓθÍÓ ‚ÓÁÏÓÊÌÓ.
2. èÓ‰ÌËÏËÚ ÏÂÚ‡Î΢ÂÒÍË ÙËÍÒ‡ÚÓ˚ (ÓÌË Ì‡ıÓ‰flÚÒfl ̇ Ó·ÓÓÚÌÓÈ ÒÚÓÓÌ ԲÔËÚ‡).
3. éÒÚÓÓÊÌÓ Ì‡ÍÎÓÌflÈÚ ԲÔËÚ ̇Á‡‰, ÔÓ͇ ÓÌ
ÔÓÎÌÓÒÚ¸˛ Ì ÎflÊÂÚ Ì‡ ÏÂÒÚÓ.
ÇçàåÄçàÖ!
ç ËÒÔÓθÁÛÈÚ ԲÔËÚ, ÂÒÎË ÓÌ ÔÓ‰ÌflÚ Ì‡ÔÓÎÓ‚ËÌÛ.
éÔÛÒ͇fl Ô˛ÔËÚ, ÔˉÂÊË‚‡ÈÚ „Ó, ÔÓ͇ ÓÌ ÔÓÎÌÓÒÚ¸˛
Ì ÎflÊÂÚ Ì‡ ÏÂÒÚÓ.
10
CLP-130/120 èÓ‰„ÓÚӂ͇ Í ‡·ÓÚÂ
ÇÍβ˜ÂÌË ÔËÚ‡ÌËfl
1.èÓ‰ÒÓ‰ËÌÂÌË ͇·ÂÎfl ÔËÚ‡ÌËfl
ÇÒÚ‡‚¸Ú ӉËÌ ÍÓ̈ ͇·ÂÎfl ‚ ‡Á˙ÂÏ AC INLET ÔˇÌËÌÓ Clavinova, ‰Û„ÓÈ ÍÓ̈ — ‚ ÓÁÂÚÍÛ.
Ç ÌÂÍÓÚÓ˚ı ÒÚ‡Ì‡ı ‚ ÍÓÏÔÎÂÍÚ ÔÓÒÚ‡‚ÍË ÏÓÊÂÚ ‚ıÓ‰ËÚ¸ ÔÂÂıÓ‰ÌËÍ ‰Îfl ÔÓ‰Íβ˜ÂÌËfl Í ÓÁÂÚÍ‡Ï Ò ‰Û„ËÏ
‡ÒÔÓÎÓÊÂÌËÂÏ ÍÓÌÚ‡ÍÚÓ‚.
1
2
(‚ˉ ÒÌËÁÛ)
(Ç ‡ÁÌ˚ı Òڇ̇ı ÓÁÂÚÍË ÓÚ΢‡˛ÚÒfl ÔÓ ÙÓÏÂ.)
2.ÇÍβ˜ÂÌË ÔËÚ‡ÌËfl
ç‡ÊÏËÚ ÍÌÓÔÍÛ [POWER].
• ÇÍβ˜ËÚÒfl ÔÓ‰Ò‚ÂÚ͇ ˝Í‡Ì‡ ‚ ˆÂÌÚ ÔÂ‰ÌÂÈ Ô‡ÌÂÎË Ë Ë̉Ë͇ÚÓ ÔËÚ‡ÌËfl, ̇ıÓ‰fl˘ËÈÒfl ̇
ÍÓÔÛÒ ÌËÊ ÎÂ‚Ó„Ó Í‡fl Í·‚ˇÚÛ˚.
[POWER]
à̉Ë͇ÚÓ ÔËÚ‡ÌËfl
ÑËÒÔÎÂÈ
é·˚˜ÌÓ ÓÚÓ·‡Ê‡ÂÚÒfl ÚÂÏÔ.
ÖÒÎË ‚˚ ÔÓ‰„ÓÚÓ‚ËÎËÒ¸ Í ‚˚Íβ˜ÂÌ˲ ÔËÚ‡ÌËfl, ÒÌÓ‚‡ ̇ÊÏËÚ ÍÌÓÔÍÛ [POWER].
• ÑËÒÔÎÂÈ Ë Ë̉Ë͇ÚÓ ÔËÚ‡ÌËfl ÔÓ„‡ÒÌÛÚ.
ä ëÇÖÑÖçàû
à̉Ë͇ÚÓ ÔËÚ‡ÌËfl
ÖÒÎË Á‡Í˚Ú¸ Í˚¯ÍÛ Í·‚ˇÚÛ˚, Ì ‚˚Íβ˜‡fl ËÌÒÚÛÏÂÌÚ, Ë̉Ë͇ÚÓ ·Û‰ÂÚ ÔÓ‰ÓÎʇڸ „ÓÂÚ¸, ÔÓ͇Á˚‚‡fl,
˜ÚÓ ‚ ËÌÒÚÛÏÂÌÚ ÔÓÒÚÛÔ‡ÂÚ ÔËÚ‡ÌËÂ.
ê„ÛÎËӂ͇ „ÓÏÍÓÒÚË
ìÒÚ‡ÌÓ‚ËÚ „ÛÎflÚÓ [MASTER VOLUME] ÔËÏÂÌÓ ÔÓÒÂ‰ËÌÂ, ÏÂÊ‰Û Ô‡‡ÏÂÚ‡ÏË «MIN» Ë «MAX».
燘‡‚ Ë„Û, „ÛÎflÚÓÓÏ [MASTER VOLUME] ÛÒÚ‡ÌÓ‚ËÚ ÓÔÚËχθÌÛ˛ „ÓÏÍÓÒÚ¸.
MIN
MAX
MASTER VOLUME
ìÏÂ̸¯ÂÌË „ÓÏÍÓÒÚË
ì‚Â΢ÂÌË „ÓÏÍÓÒÚË
ÇçàåÄçàÖ!
ç ËÒÔÓθÁÛÈÚ ÔˇÌËÌÓ Clavinova ̇ ‚˚ÒÓÍÓÏ ÛÓ‚Ì „ÓÏÍÓÒÚË ‰ÎËÚÂθÌÓ ‚ÂÏfl, ˝ÚÓ ÏÓÊÂÚ Ôӂ‰ËÚ¸ ÒÎÛı.
íÖêåàçéãéÉàü
ä ëÇÖÑÖçàû
MASTER VOLUME — ìÓ‚Â̸ „ÓÏÍÓÒÚË ‚ÒÂÈ Í·‚ˇÚÛ˚.
[MASTER VOLUME] ËÁÏÂÌflÂÚ „ÓÏÍÓÒÚ¸ ‚˚ıÓ‰ÌÓ„Ó Ò˄̇· Ò ‡Á˙Âχ [PHONES] Ë ‚ıÓ‰ÌÓ„Ó — Ò AUX IN.
CLP-130/120 èÓ‰„ÓÚӂ͇ Í ‡·ÓÚÂ
11
ç‡Û¯ÌËÍË
èÓ‰Íβ˜ËÚ ̇ۯÌËÍË Í Ó‰ÌÓÏÛ ËÁ ‡Á˙ÂÏÓ‚ [PHONES]
(ç‡Û¯ÌËÍË).
ç‡ ËÌÒÚÛÏÂÌÚ ÂÒÚ¸ ‰‚‡ ‡Á˙Âχ [PHONES].
åÓÊÌÓ ÔÓ‰ÒÓ‰ËÌËÚ¸ ‰‚‡ ÍÓÏÔÎÂÍÚ‡ Òڇ̉‡ÚÌ˚ı
ÒÚÂÂÓ̇ۯÌËÍÓ‚. (ÖÒÎË ËÒÔÓθÁÛÂÚÒfl Ó‰ËÌ ÍÓÏÔÎÂÍÚ
̇ۯÌËÍÓ‚, Â„Ó ÏÓÊÌÓ ÔÓ‰ÒÓ‰ËÌËÚ¸ Í Î˛·ÓÏÛ ‡Á˙ÂÏÛ.)
‚ˉ ÒÌËÁÛ
OFF
ON
NORMAL
HP. SW
SPEAKER
PHONES
ÔÓ‰Íβ˜ÂÌËÂ
Òڇ̉‡ÚÌ˚ı
ÒÚÂÂÓ̇ۯÌËÍÓ‚
àÒÔÓθÁÓ‚‡ÌË Ͳ˜Í‡ ‰Îfl ̇ۯÌËÍÓ‚
ä˛˜ÓÍ ‰Îfl ̇ۯÌËÍÓ‚ ‚ıÓ‰ËÚ ‚ ÍÓÏÔÎÂÍÚ ÔˇÌËÌÓ CLP-130/120 Ë
ÔÓÁ‚ÓÎflÂÚ ‚¯‡Ú¸ ̇ۯÌËÍË Ì‡ ÍÓÔÛÒ. á‡ÍÂÔËÚ Í˛˜ÓÍ ‰Îfl ̇ۯÌËÍÓ‚ ̇ ÍÓÔÛÒÂ Ò ÔÓÏÓ˘¸˛ ‰‚Ûı ‚ËÌÚÓ‚ (4 ×10 ÏÏ) Í‡Í ÔÓ͇Á‡ÌÓ Ì‡
ËÒÛÌÍÂ.
ÇçàåÄçàÖ!
ç ‚¯‡ÈÚ ̇ ˝ÚÓÚ Í˛˜ÓÍ Ì˘„Ó, ÍÓÏ ̇ۯÌËÍÓ‚. Ç ÔÓÚË‚ÌÓÏ ÒÎÛ˜‡Â
ÏÓÊÌÓ Ôӂ‰ËÚ¸ ÔˇÌËÌÓ ËÎË Í˛˜ÓÍ.
Ç˚Íβ˜‡ÚÂθ ‰Ë̇ÏËÍÓ‚
ùÚÓÚ ‚˚Íβ˜‡ÚÂθ ‚Íβ˜‡ÂÚ Ë ‚˚Íβ˜‡ÂÚ ‚ÒÚÓÂÌÌ˚ ‰Ë̇ÏËÍË.
NORMAL (HP. SW) ............ ÑË̇ÏËÍË ‚ÓÒÔÓËÁ‚Ó‰flÚ Á‚ÛÍ, ÂÒÎË Ì ÔÓ‰Íβ˜ÂÌ˚ ̇ۯÌËÍË.
ON ..................................... ÑË̇ÏËÍË ‚Ò„‰‡ ‚ÓÒÔÓËÁ‚Ó‰flÚ Á‚ÛÍ.
OFF .................................... ÑË̇ÏËÍË Ì ‚ÓÒÔÓËÁ‚Ó‰flÚ Á‚ÛÍ.
OFF
ON
NORMAL
HP. SW
SPEAKER
PHONES
12
CLP-130/120 èÓ‰„ÓÚӂ͇ Í ‡·ÓÚÂ
ëÔ‡‚Ó˜ÌËÍ
äÓÏÔÓÌÂÌÚ˚ ............................................................... 14
ÑÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÏÂÎÓ‰ËË..................................... 16
50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ .................................................. 17
à„‡ Ó‰ÌÓÈ ÛÍÓÈ ................................................. 18
îÛÌ͈Ëfl ÔÓ‚ÚÓ‡ A-B .......................................... 20
à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â.......................................... 21
Ç˚·Ó ÚÂÏ·Ó‚ ...................................................... 21
àÒÔÓθÁÓ‚‡ÌË Ô‰‡ÎÂÈ ....................................... 21
[VARIATION] (CLP-130), [BRILLIANCE],
[REVERB] Ë [EFFECT]......................................... 22
óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËΠ̇ʇÚËfl — [TOUCH] .. 24
í‡ÌÒÔÓÌËÓ‚‡ÌË — [TRANSPOSE] ................. 25
ç‡ÎÓÊÂÌË ÚÂÏ·Ó‚ .............................................. 26
ê‡Á‰ÂÎÂÌË Í·‚ˇÚÛ˚ (CLP-130) ...................... 27
àÒÔÓθÁÓ‚‡ÌË ÏÂÚÓÌÓχ................................... 29
á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl ............................. 30
á‡ÔËÒ¸ ̇ ‰ÓÓÊÍÛ TRACK1 ................................ 30
èÂÂÁ‡ÔËÒ¸ ‰ÓÓÊÍË TRACK1............................. 32
á‡ÔËÒ¸ ̇ ‰ÓÓÊÍÛ TRACK2 ................................ 32
àÁÏÂÌÂÌË ̇˜‡Î¸Ì˚ı ̇ÒÚÓÂÍ .......................... 34
ê‡Á‰ÂÎ ÒÓ‰ÂÊËÚ ÔÓ‰Ó·Ì˚ ҂‰ÂÌËfl Ó Ì‡ÒÚÓÈÍÂ
ÙÛÌ͈ËÈ ËÌÒÚÛÏÂÌÚ‡.
F6. (CLP-130) / F5. (CLP-120) ÉÓÏÍÓÒÚ¸
ÏÂÚÓÌÓχ............................................................45
F7. (CLP-130) / F6. (CLP-120) ÉÓÏÍÓÒÚ¸
ÓÚÍβ˜ÂÌÌÓÈ Ô‡ÚËË.......................................45
F8. (CLP-130) / F7. (CLP-120) îÛÌ͈ËË MIDI.......45
F9. (CLP-130) / F8. (CLP-120) îÛÌ͈ËË
ÒÓı‡ÌÂÌËfl...........................................................48
é· ËÌÚÂÙÂÈÒ MIDI ..................................................49
èÓ‰Íβ˜ÂÌË ..............................................................50
ê‡Á˙ÂÏ˚..................................................................50
èÓ‰Íβ˜ÂÌËÂ Í ÍÓÏÔ¸˛ÚÂÛ.................................52
ìÒÚ‡ÌÂÌË ÌÂÔÓ·‰ÓÍ................................................56
ÑÓÔÓÎÌËÚÂθÌ˚ ÔË̇‰ÎÂÊÌÓÒÚË Ë ÏÓ‰ÛÎË ............56
ë·Ó͇ CLP-120 ..........................................................57
ë·Ó͇ CLP-130 ..........................................................60
ëÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚ ......................................63
ëÔËÒÓÍ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı ÔÂÒÂÌ .............................66
è‰ÏÂÚÌ˚È Û͇Á‡ÚÂθ ...............................................67
ÇÓÒÔÓËÁ‚‰ÂÌË Á‡ÔËÒÂÈ ÔÂÒÂÌ ............................... 35
ÇÓÒÔÓËÁ‚‰ÂÌË ÔÂÒÌË ....................................... 35
èÓÎÂÁÌ˚ ÙÛÌ͈ËË ‚ÓÒÔÓËÁ‚‰ÂÌËfl ................. 36
ç‡ÒÚÓÈÍË — [FUNCTION] ...................................... 37
éÒÌÓ‚Ì˚ ‰ÂÈÒÚ‚Ëfl ‚ ÂÊËÏ Function ............... 38
éÔËÒ‡ÌË ÙÛÌ͈ËÈ............................................... 40
F1. íÓÌ͇fl ̇ÒÚÓÈ͇ ‚˚ÒÓÚ˚ Á‚Û͇ .................... 40
F2. Ç˚·Ó ÒÚÓfl .................................................... 41
F3. îÛÌ͈ËË ÔË Ì‡ÎÓÊÂÌËË ÚÂÏ·Ó‚ ................ 42
F4. (CLP-130) îÛÌ͈ËË ÔË ‡Á‰ÂÎÂÌËË
ÚÂÏ·Ó‚............................................................ 43
F5. (CLP-130) / F4. (CLP-120) ÑÛ„Ë ÙÛÌ͈ËË .... 44
CLP-130/120
13
äÓÏÔÓÌÂÌÚ˚
ÇÂıÌflfl Ô‡ÌÂθ (CLP-130)
2
4
MIN
5
8
TEMPO/ OTHER VALUE
TEMPO
FUNCTION
MASTER VOLUME
MELLOW
3
7
6
MAX
START/STOP
BRIGHT
DEMO
BRILLIANCE
METRONOME
— /NO +/ YES
USER 1
USER 2
USER 3
PRESET
TEMPO / FUNCTION
TRACK
1
TRACK
2
START/STOP
REC
SONG
9
GRAND
PIANO 2
GRAND
PIANO 1
E.PIANO
1
JAZZ
ORGAN
CHURCH
ORGAN
STRINGS
E.PIANO
2
HARPSICHORD
CHOIR
E.CLAVICHORD
VIBRAPHONE
WOOD
BASS
GUITAR
A
E.BASS
MIN
MAX
START/STOP
BRIGHT
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
E.PIANO
1
E.PIANO
2
CHURCH
ORGAN
JAZZ
ORGAN
STRINGS
CHOIR
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
DEMO
METRONOME
TEMPO
FUNCTION
TEMPO / FUNCTION
— / NO
+/ YES
PRESET
USER 1
USER 2
USER 3
TRACK
1
SONG
TRACK
2
START/ STOP
REC
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
TOUCH
ROOM
HALL 1
HALL 2
STAGE
SPLIT
VOICE
MELLOW
B
C
CHORUS
PHASER
TREMOLO
DELAY
HARD
MEDIUM
SOFT
D
VARIATION
REVERB
0
EFFECT
ON
TOUCH TRANSPOSE
ON
TRANSPOSE
POWER
M
1
N
O
A-1 B-1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2 D2 E2 F2 G2 A2 B2 C3 D3 E3 F3 G3 A3 B3 C4 D4 E4 F4 G4 A4 B4 C5 D5 E5 F5 G5 A5 B5 C6 D6 E6 F6 G6 A6 B6 C7
PEDAL
E
ê‡Á˙ÂÏ˚
(CLP-130)
R
L
LEVEL FIXED
OFF
ON
NORMAL
HP. SW
SPEAKER
K
R
L/L+R
R
L/L+R
AUX OUT
AUX IN
F
G
MIDI
PHONES
L
Mac
PC-1
MIDI
PC-2
TO HOST
HOST SELECT
H
I
THRU
1
2
3
4
5
6
7
8
14
[POWER]....................................................... 11
[MASTER VOLUME] ..................................... 11
[BRILLIANCE] ............................................... 22
[DEMO] ......................................................... 16
[START/STOP].............................................. 29
[TEMPO/FUNCTION #▲▼] ................... 29, 38
ë‚ÂÚÓ‰ËÓ‰Ì˚È Ë̉Ë͇ÚÓ .......................... 15
[–/NO] / [+/YES]
[PRESET]
[USER1] [USER2] [USER3] (CLP-130)
[TRACK1] [TRACK2]
SONG [START/STOP]
[REC]........................................... 17–20, 30–36
CLP-130/120 äÓÏÔÓÌÂÌÚ˚
9
0
A
B
C
D
E
F
G
OUT
IN
J
äÌÓÔÍË ‚˚·Ó‡ ÚÂÏ·‡................................21
[SPLIT] (CLP-130) .........................................27
[REVERB] ......................................................22
[EFFECT].......................................................22
[TOUCH] ........................................................24
[TRANSPOSE]...............................................25
ê‡Á˙ÂÏ PEDAL .............................................51
ê‡Á˙ÂÏ AUX OUT .........................................50
ê‡Á˙ÂÏ AUX IN .............................................51
ÇÂıÌflfl Ô‡ÌÂθ (CLP-120)
4
2
MIN
5
8
TEMPO/ OTHER VALUE
TEMPO
FUNCTION
MASTER VOLUME
MELLOW
3
7
6
MAX
START/STOP
BRIGHT
DEMO
BRILLIANCE
METRONOME
— /NO +/ YES
TRACK
1
PRESET
TEMPO / FUNCTION
TRACK
2
START/STOP
REC
SONG
9
GRAND
PIANO 2
GRAND
PIANO 1
CHURCH
ORGAN1
E.PIANO
1
JAZZ
ORGAN
CHURCH
ORGAN2
E.PIANO
2
HARPSICHORD1
STRINGS
1
STRINGS
2
HARPSICHORD2
A
VIBRAPHONE
CHOIR
GUITAR
REVERB
VOICE
MIN
MAX
START/STOP
BRIGHT
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
E.PIANO
1
E.PIANO
2
HARPSICHORD 1
HARPSICHORD 2
VIBRAPHONE
CHURCH
ORGAN 1
CHURCH
ORGAN 2
JAZZ
ORGAN
STRINGS
1
STRINGS
2
CHOIR
GUITAR
ROOM
HALL 1
HALL 2
STAGE
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
DEMO
METRONOME
TEMPO
FUNCTION
— / NO
+/ YES
PRESET
TRACK
1
TRACK
2
START/STOP
SONG
TEMPO / FUNCTION
REC
CHORUS
PHASER
TREMOLO
DELAY
REVERB
VOICE
EFFECT
HARD
MEDIUM
SOFT
TOUCH
B
C
CHORUS
PHASER
TREMOLO
DELAY
HARD
MEDIUM
SOFT
ROOM
HALL 1
HALL 2
STAGE
EFFECT
D
ON
TOUCH TRANSPOSE
ON
TRANSPOSE
POWER
M
1
N
A-1 B-1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2 D2 E2 F2 G2 A2 B2 C3 D3 E3 F3 G3 A3 B3 C4 D4 E4 F4 G4 A4 B4 C5 D5 E5 F5 G5 A5 B5 C6 D6 E6 F6 G6 A6 B6 C7
O
ê‡Á˙ÂÏ˚ (CLP-120)
OFF
ON
NORMAL
HP. SW
SPEAKER
K
MIDI
LEVEL FIXED
THRU
Mac
PC-1
PHONES
H
I
J
K
L
R
L
R
L/L+R
R
OUT
IN
MIDI
PC-2
L/L+R
AUX OUT
AUX IN
F
G
[TO HOST] .............................................. 49–55
HOST SELECT ....................................... 49–55
MIDI [IN] [OUT] [THRU] .......................... 49–55
[SPEAKER] ................................................... 12
L
M
N
O
TO HOST
HOST SELECT
H
I
PEDAL
J
E
[PHONES]......................................................12
èË„ÎÛ¯ÂÌË (΂‡fl Ô‰‡Î¸)......................22
ëÓÒÚÂÌÛÚÓ (Ò‰Ìflfl Ô‰‡Î¸).......................22
ëÛÒÚÂÈÌ (Ô‡‚‡fl Ô‰‡Î¸).............................21
ÑËÒÔÎÂÈ
• èÓ‚ÂflÈÚ ‰ËÒÔÎÂÈ ‚ ˆÂÌÚ ‚ÂıÌÂÈ Ô‡ÌÂÎË ÔÓÒΠ͇ʉÓÈ ÓÔÂ‡ˆËË.
• Ç Á‡‚ËÒËÏÓÒÚË ÓÚ ÓÔÂ‡ˆËË Ì‡ ‰ËÒÔΠÓÚÓ·‡Ê‡˛ÚÒfl ‡Á΢Ì˚ Á̇˜ÂÌËfl, Í‡Í ÔÓ͇Á‡ÌÓ ÌËÊÂ.
íÂÏÔ
(Ó·˚˜ÌÓ)
çÓÏ ÔÂÒÌË ËÁ ÒÔËÒ͇
“50 Greats for the Piano”
çÓÏ ÙÛÌ͈ËË
á̇˜ÂÌË ԇ‡ÏÂÚ‡
CLP-130/120 äÓÏÔÓÌÂÌÚ˚
15
ÑÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÏÂÎÓ‰ËË
ÑÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÏÂÎÓ‰ËË Ô‰̇Á̇˜ÂÌ˚ ‰Îfl ‰ÂÏÓÌÒÚ‡ˆËË ‚ÒÂı ÚÂÏ·Ó‚ ÔˇÌËÌÓ CLP-130/120.
2 5
MIN
4
MAX
START/STOP
BRIGHT
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
E.PIANO
1
E.PIANO
2
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
CHURCH
ORGAN
JAZZ
ORGAN
STRINGS
CHOIR
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
3
DEMO
METRONOME
TEMPO
FUNCTION
— /NO +/ YES
PRESET
USER 1
USER 2
USER 3
TEMPO / FUNCTION
TRACK
1
TRACK
2
START/STOP
REC
SONG
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
ON
TOUCH TRANSPOSE
ÑÂÈÒÚ‚Ëfl
1. ÇÍβ˜ÂÌË ÔËÚ‡ÌËfl
(ÖÒÎË ÔËÚ‡ÌË ¢ Ì ‚Íβ˜ÂÌÓ.) ç‡ÊÏËÚ ÍÌÓÔÍÛ [POWER].
ÖÒÎË ÔËÚ‡ÌË ‚Íβ˜ÂÌÓ, ‰ÓÎÊÂÌ „ÓÂÚ¸ Ó‰ËÌ ËÁ Ò‚ÂÚÓ‰ËÓ‰Ì˚ı
Ë̉Ë͇ÚÓÓ‚ ÍÌÓÔÓÍ ÚÂÏ·‡.
ìÒÚ‡ÌÓ‚ËÚ „ÛÎflÚÓ [MASTER VOLUME] ÔËÏÂÌÓ ÔÓÒÂ‰ËÌÂ,
ÏÂÊ‰Û ÓÚÏÂÚ͇ÏË «MIN» Ë «MAX». 燘‡‚ Ë„Û, ÛÒÚ‡ÌÓ‚ËÚÂ
„ÛÎflÚÓÓÏ [MASTER VOLUME] ÓÔÚËχθÌÛ˛ „ÓÏÍÓÒÚ¸.
2. ÇÍβ˜ÂÌË ÂÊËχ ‰ÂÏÓÌÒÚ‡ˆËË
óÚÓ·˚ ‚Íβ˜ËÚ¸ ÂÊËÏ ‰ÂÏÓÌÒÚ‡ˆËË, ̇ÊÏËÚ ÍÌÓÔÍÛ [DEMO].
à̉Ë͇ÚÓ˚ ÍÌÓÔÓÍ ÚÂÏ·Ó‚ ·Û‰ÛÚ ÔÓÒΉӂ‡ÚÂθÌÓ ÏË„‡Ú¸.
3. ÇÓÒÔÓËÁ‚‰ÂÌË ‰ÂÏÓÌÒÚ‡ˆËË ÚÂÏ·‡
ÑÎfl ̇˜‡Î‡ ‚ÓÒÔÓËÁ‚‰ÂÌËfl ‚ÒÂı ÔÂÒÂÌ Ò ‰ÂÏÓÌÒÚ‡ˆËÓÌÌÓÈ ÏÂÎÓ‰ËË
‰Îfl ÓÔ‰ÂÎÂÌÌÓ„Ó ÚÂÏ·‡, ̇ÊÏËÚ ÍÌÓÔÍÛ ˝ÚÓ„Ó ÚÂÏ·‡. (ÖÒÎË
̇ʇڸ ÍÌÓÔÍÛ SONG [START/STOP], ‡ Ì ÍÌÓÔÍÛ ÚÂÏ·‡, ̇˜ÌÂÚÒfl
‚ÓÒÔÓËÁ‚‰ÂÌË ‰ÂÏÓÌÒÚ‡ˆËÓÌÌÓÈ ÏÂÎÓ‰ËË ‰Îfl ÚÂÏ·‡ GRAND
PIANO 1.)
ç‡ÒÚÓÈ͇ „ÓÏÍÓÒÚË Ë flÍÓÒÚË Á‚Û͇
ÑÎfl ËÁÏÂÌÂÌËfl „ÓÏÍÓÒÚË ËÒÔÓθÁÛÈÚ „ÛÎflÚÓ [MASTER VOLUME],
‡ ‰Îfl ËÁÏÂÌÂÌËfl flÍÓÒÚË — [BRILLIANCE] (ÒÚ. 22).
4. éÒÚ‡Ìӂ͇ ‰ÂÏÓÌÒÚ‡ˆËË ÚÂÏ·‡
ÑÎfl ÓÒÚ‡ÌÓ‚ÍË ‚ÓÒÔÓËÁ‚‰ÂÌËfl ̇ÊÏËÚ ÍÌÓÔÍÛ SONG [START/STOP]
ËÎË ÍÌÓÔÍÛ ‚ÓÒÔÓËÁ‚Ó‰ËÏÓ„Ó ÚÂÏ·‡.
5. Ç˚ıÓ‰ ËÁ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌÓ„Ó ÂÊËχ
óÚÓ·˚ ‚ÂÌÛÚ¸Òfl Í Ó·˚˜ÌÓÏÛ ÂÊËÏÛ, ̇ÊÏËÚ ÍÌÓÔÍÛ [DEMO].
à̉Ë͇ÚÓ˚ ÍÌÓÔÓÍ ÚÂÏ·Ó‚ ÔÂÂÒÚ‡ÌÛÚ ÔÓÒΉӂ‡ÚÂθÌÓ ÏË„‡Ú¸.
ä ëÇÖÑÖçàû
ëÔËÒÓÍ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı
ÔÂÒÂÌ Ô˂‰ÂÌ Ì‡ ÒÚ. 66.
èêàåÖóÄçàÖ
èË ‰ÂÏÓÌÒÚ‡ˆËË ÔÂÒÂÌ ÔËÂÏ
MIDI-‰‡ÌÌ˚ı Ì‚ÓÁÏÓÊÂÌ.
ÑÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÔÂÒÌË Ì Ô‰‡˛ÚÒfl ˜ÂÂÁ ‡Á˙ÂÏ˚ MIDI.
èêàåÖóÄçàÖ
ÑÂÏÓÌÒÚ‡ˆË˛ ÔÂÒÂÌ ÌÂθÁfl
‚˚Á‚‡Ú¸, ÂÒÎË Ë‰ÂÚ Á‡ÔËÒ¸
(ÒÚ. 30) ËÎË ‚ÓÒÔÓËÁ‚‰ÂÌËÂ
ÔÂÒÂÌ ÔÓθÁÓ‚‡ÚÂÎfl (ÒÚ. 35).
íÖêåàçéãéÉàü
êÂÊËÏ — ÒÓÒÚÓflÌËÂ, ‚ ÍÓÚÓÓÏ
ÏÓÊÌÓ ‚˚ÔÓÎÌËÚ¸ ÓÔ‰ÂÎÂÌÌÛ˛ ÙÛÌÍˆË˛. Ç ÂÊËÏÂ
‰ÂÏÓÌÒÚ‡ˆËË ÏÓÊÌÓ ÒÎÛ¯‡Ú¸
‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÏÂÎÓ‰ËË.
èêàåÖóÄçàÖ
íÂÏÔ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı
ÏÂÎÓ‰ËÈ ËÁÏÂÌflÚ¸ ÌÂθÁfl.
Ç ‰ÂÏÓÌÒÚ‡ˆËÓÌÌÓÏ ÂÊËÏÂ
ÌÂθÁfl ËÒÔÓθÁÓ‚‡Ú¸ ÙÛÌÍˆË˛
ÓÚÍβ˜ÂÌËfl Ô‡ÚËË (ÒÚ. 45) Ë
ÙÛÌÍˆË˛ ÔÓ‚ÚÓ‡ A–B (ÒÚ. 20).
èêàåÖóÄçàÖ
ç‡ CLP-130 ÏÓÊÌÓ ÔÓÒÎۯ˂‡Ú¸ ‰ÂÏÓÌÒÚ‡ˆË˛ ÚÂÏ·Ó‚
ÙÓÚÂÔ¸flÌÓ Ò ‡Á΢Ì˚ÏË
˝ÙÙÂÍÚ‡ÏË, ̇ʇ‚ ÍÌÓÔÍÛ
[VARIATION], ‡ Á‡ÚÂÏ ÍÌÓÔÍÛ
ÌÛÊÌÓ„Ó ÚÂÏ·‡. èÓÎÌ˚È ÒÔËÒÓÍ
‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı Á‚ÛÍÓ‚ Ò
‡Á΢Ì˚ÏË ˝ÙÙÂÍÚ‡ÏË ‰Îfl
ÙÓÚÂÔ¸flÌÓ Ì‡ıÓ‰ËÚÒfl ‚
‡Á‰ÂΠ«éÔËÒ‡ÌËÂ
‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı Á‚ÛÍÓ‚ ‰Îfl
ÚÂÏ·‡ ÙÓÚÂÔ¸flÌÓ» ̇ ÒÚ. 66.
16
CLP-130/120 ÑÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÏÂÎÓ‰ËË
50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ
Ç Ô‡ÏflÚË Clavinova ÒÓ‰ÂÊËÚÒfl 50 ÔÂÒÂÌ ‰Îfl ÙÓÚÂÔ¸flÌÓ. ùÚË ÔÂÒÌË ÏÓÊÌÓ ÔÓÒÚÓ ÒÎÛ¯‡Ú¸ (ÒÚ. 17)
ËÎË ËÒÔÓθÁÓ‚‡Ú¸ ‰Îfl ÛÔ‡ÊÌÂÌËÈ (ÒÚ. 18). åÓÊÌÓ Ú‡ÍÊ ӷ‡ÚËÚ¸Òfl Í ÔË·„‡ÂÏÓÏÛ Ò·ÓÌËÍÛ «50
greats for the Piano» Ò ÌÓÚ‡ÏË 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ.
2 -1 1 4
MIN
MAX
START/STOP
BRIGHT
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
E.PIANO
1
E.PIANO
2
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
CHURCH
ORGAN
JAZZ
ORGAN
STRINGS
CHOIR
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
2 -2 3
DEMO
METRONOME
TEMPO
FUNCTION
— /NO +/ YES
TEMPO / FUNCTION
PRESET
USER 1
USER 2
USER 3
TRACK
1
TRACK
2
START/STOP
REC
SONG
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
ON
TOUCH TRANSPOSE
ÑÂÈÒÚ‚Ëfl
1. ÇÍβ˜ÂÌË ÂÊËχ ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ
óÚÓ·˚ ‚Íβ˜ËÚ¸ ÂÊËÏ ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ, ̇ÊÏËÚ ÍÌÓÔÍÛ [PRESET].
ᇄÓflÚÒfl Ë̉Ë͇ÚÓ˚ [PRESET], [TRACK1] Ë [TRACK2].
2. ÇÓÒÔÓËÁ‚‰ÂÌË β·ÓÈ ËÁ 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ
2-1
2-2
ç‡ÊËχÈÚ ÍÌÓÔÍË [–/NO], [+/YES], ˜ÚÓ·˚
‚˚·‡Ú¸ ÌÓÏÂ ÏÂÎÓ‰ËË, ÍÓÚÓÛ˛ ıÓÚËÚÂ
‚ÓÒÔÓËÁ‚ÂÒÚË (ÌÓÏÂ ÔÓfl‚ËÚÒfl ̇ Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ
Ë̉Ë͇ÚÓÂ).
1 – 50:
ÇÓÒÔÓËÁ‚‰ÂÌË ÚÓθÍÓ ÔÂÒÌË Ò
‚˚·‡ÌÌ˚Ï ÌÓÏÂÓÏ.
ALL:
èÓÒΉӂ‡ÚÂθÌÓ ‚ÓÒÔÓËÁ‚‰ÂÌË ‚ÒÂı
‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ.
rnd:
çÂÔÂ˚‚ÌÓ ‚ÓÒÔÓËÁ‚‰ÂÌË ‚ÒÂı ‚ÒÚÓÂÌÌ˚ı
ÔÂÒÂÌ ‚ ÒÎÛ˜‡ÈÌÓÏ ÔÓfl‰ÍÂ.
ÌÓÏÂ ÔÂÒÌË
óÚÓ·˚ ̇˜‡Ú¸ ‚ÓÒÔÓËÁ‚‰ÂÌËÂ, ̇ÊÏËÚ ÍÌÓÔÍÛ SONG [START/STOP].
ç‡ÒÚÓÈ͇ „ÓÏÍÓÒÚË
ÑÎfl ̇ÒÚÓÈÍË „ÓÏÍÓÒÚË ËÒÔÓθÁÛÈÚ „ÛÎflÚÓ [MASTER VOLUME].
ç‡ÒÚÓÈ͇ ÚÂÏÔ‡
ÑÎfl ̇ÒÚÓÈÍË ÚÂÏÔ‡ ‚ÓÒÔÓËÁ‚‰ÂÌËfl
ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ÍÌÓÔÍË [TEMPO/
FUNCTION# ▼ ▲]. é·˚˜Ì˚È ÚÂÏÔ
ÏÓÊÌÓ ‚ÓÒÒÚ‡ÌÓ‚ËÚ¸, ̇ʇ‚ Ó‰ÌÓ‚ÂÏÂÌÌÓ ÍÌÓÔÍË [▼] Ë [▲].
3. éÒÚ‡Ìӂ͇ ‚ÓÒÔÓËÁ‚‰ÂÌËfl
ùÚÓ ‚˚Á˚‚‡ÂÚ ÓÚÌÓÒËÚÂθÌÓ ËÁÏÂÌÂÌËÂ
ÚÂÏÔ‡ ‚ ‰Ë‡Ô‡ÁÓÌ ÓÚ «-50» ˜ÂÂÁ «---»
‰Ó «50» (χÍÒËχθÌÓ); ‰Ë‡Ô‡ÁÓÌ
Á‡‚ËÒËÚ ÓÚ ‚˚·‡ÌÌÓÈ ÔÂÒÌË.
ÇÓÒÔÓËÁ‚‰ÂÌË ‡‚ÚÓχÚ˘ÂÒÍË
Á‡Í‡Ì˜Ë‚‡ÂÚÒfl ÔÓÒΠÁ‡‚Â¯ÂÌËfl ‚˚·‡ÌÌÓÈ ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË.
óÚÓ·˚ ÓÒÚ‡ÌÓ‚ËÚ¸ ÔÂÒÌ˛ ‚Ó ‚ÂÏfl ‚ÓÒÔÓËÁ‚‰ÂÌËfl (ËÎË ÌÂÔÂ˚‚ÌÓ„Ó ‚ÓÒÔÓËÁ‚‰ÂÌËfl), ̇ÊÏËÚ ÍÌÓÔÍÛ SONG [START/STOP].
• ä‡Í Á‡ÔÛÒÚËÚ¸ ÌÂÔÂ˚‚ÌÓ ‚ÓÒÔÓËÁ‚‰ÂÌË ‰Û„ÓÈ ÔÂÒÌË, ÓÔËÒ‡ÌÓ
‚˚¯Â ‚ ÔÛÌÍÚ 2.
èêàåÖóÄçàÖ
êÂÊËÏ ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ ÌÂθÁfl
‚Íβ˜ËÚ¸ ‚ ÂÊËÏ ‰ÂÏÓÌÒÚ‡ˆËË (ÒÚ. 16), ‚ÓÒÔÓËÁ‚‰ÂÌËfl
(ÒÚ. 35) ËÎË Á‡ÔËÒË ÔÂÒÌË
ÔÓθÁÓ‚‡ÚÂÎfl (ÒÚ. 30).
íÖêåàçéãéÉàü
èÂÒÌfl — ‚ CLP-130/120 ÔÂÒÌÂÈ
̇Á˚‚‡˛ÚÒfl ‰‡ÌÌ˚ ËÒÔÓÎÌflÂÏÓ„Ó ÔÓËÁ‚‰ÂÌËfl. ùÚÓ Ú‡ÍÊÂ
ÓÚÌÓÒËÚÒfl Í ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚Ï
Ë ‚ÒÚÓÂÌÌ˚Ï ÏÂÎÓ‰ËflÏ.
ä ëÇÖÑÖçàû
é‰ÌÓ‚ÂÏÂÌÌÓ Ò ‚ÓÒÔÓËÁ‚‰ÂÌËÂÏ ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË ÏÓÊÌÓ
Ë„‡Ú¸ ̇ Í·‚˯‡ı. åÓÊÌÓ ËÁÏÂÌËÚ¸ ÚÂÏ· ‰Îfl Í·‚ˇÚÛ˚.
ä ëÇÖÑÖçàû
åÓÊÌÓ Ì‡ÒÚÓËÚ¸ flÍÓÒÚ¸ (ÒÚ. 22)
Ë ÚËÔ Â‚Â·Â‡ˆËË (ÒÚ. 22) ‰Îfl
ÚÂÏ·‡ Í·‚ˇÚÛ˚ Ë ‚ÓÒÔÓËÁ‚‰ÂÌËfl ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË. ÑÎfl
ÚÂÏ·‡ ÏÓÊÌÓ ËÁÏÂÌflÚ¸ Ë ÚËÔ
˝ÙÙÂÍÚ‡ (ÒÚ. 23), Ë ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËΠ̇ʇÚËfl (ÒÚ. 24).
èêàåÖóÄçàÖ
èË ‚˚·Ó ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË
ËÎË ÔË Ì‡˜‡Î ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÌÓ‚ÓÈ ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË
‚ ÂÊËÏÂ «ALL» ËÎË «rnd»
‡‚ÚÓχÚ˘ÂÒÍË ÛÒڇ̇‚ÎË‚‡ÂÚÒfl ÚÂÏÔ ÔÓ ÛÏÓΘ‡Ì˲ «---».
èêàåÖóÄçàÖ
ÖÒÎË ‚˚·‡Ì‡ ‰Û„‡fl ÔÂÒÌfl (ËÎË
‰Û„‡fl ÔÂÒÌfl ‚˚·‡Ì‡ ‚Ó ‚ÂÏfl
‚ÓÒÔÓËÁ‚‰ÂÌËfl
ÔÓÒΉӂ‡ÚÂθÌÓÒÚË ÔÂÒÂÌ),
ÒÓÓÚ‚ÂÚÒÚ‚ÂÌÌÓ ·Û‰ÂÚ ‚˚·‡Ì
ÔÓ‰ıÓ‰fl˘ËÈ ÚËÔ Â‚Â·Â‡ˆËË.
CLP-130/120 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ
17
4. Ç˚ıÓ‰ ËÁ ÂÊËχ ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ
óÚÓ·˚ ‚˚ÈÚË ËÁ ÂÊËχ ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ, ̇ÊÏËÚ ÍÌÓÔÍÛ
[PRESET]. à̉Ë͇ÚÓ ÓÚÍβ˜‡ÂÚÒfl Ë ËÌÒÚÛÏÂÌÚ ‚ÓÁ‚‡˘‡ÂÚÒfl
‚ Ó·˚˜Ì˚È ÂÊËÏ.
èêàåÖóÄçàÖ
Ç ÂÊËÏÂ ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ
ÔËÂÏ MIDI ‰‡ÌÌ˚ı Ì‚ÓÁÏÓÊÂÌ.
чÌÌ˚ ÔÂÒÂÌ ‰Îfl ÙÓÚÂÔ¸flÌÓ
Ì Ô‰‡˛ÚÒfl ˜ÂÂÁ ‡Á˙ÂÏ˚
MIDI.
àÒÔÓθÁÓ‚‡ÌË ÙÛÌ͈ËÈ Ó·Û˜ÂÌËfl
èË Ê·ÌËË ÏÓÊÌÓ ÓÚÍβ˜ËÚ¸ Ô‡Ú˲ ΂ÓÈ ËÎË Ô‡‚ÓÈ ÛÍË Ë
Ò‡ÏÓÒÚÓflÚÂθÌÓ ÔÓÔÓ·Ó‚‡Ú¸ ‚ÓÒÔÓËÁ‚ÂÒÚË ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Û˛ Ô‡Ú˲
(ÙÛÌ͈Ëfl ÓÚÍβ˜ÂÌËfl Ô‡ÚËË), ÌÂÔÂ˚‚ÌÓ ÔÓ‚ÚÓflfl Û͇Á‡ÌÌÛ˛ Ù‡ÁÛ
ÔÂÒÌË (ÙÛÌ͈Ëfl ÔÓ‚ÚÓ‡ ÔÂÒÌË A-B). èÓ‰Ó·Ì ÒÏ. ÒÚ. 18-20.
à„‡ Ó‰ÌÓÈ ÛÍÓÈ
50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ Á‡ÔËÒ‡Ì˚ Ú‡Í, ˜ÚÓ Ô‡ÚËË Î‚ÓÈ Ë Ô‡‚ÓÈ ÛÍË Ì‡ıÓ‰flÚÒfl ̇ ‡ÁÌ˚ı ‰ÓÓÊ͇ı.
èÓ Ê·Ì˲ ÏÓÊÌÓ ÔË„ÎÛ¯ËÚ¸ Ô‡ÚËË Î‚ÓÈ, Ô‡‚ÓÈ ËÎË Ó·ÂËı ÛÍ, ˜ÚÓ ‰‡ÂÚ ‚ÓÁÏÓÊÌÓÒÚ¸ ‡Áۘ˂‡Ú¸
Í‡Ê‰Û˛ ËÁ ÌËı ÓÚ‰ÂθÌÓ. ÑÎfl ÔÓË„˚‚‡ÌËfl Ô‡ÚËË Ô‡‚ÓÈ ÛÍË Ì‡ÊÏËÚ ÍÌÓÔÍÛ [TRACK1], ‡ ΂ÓÈ
— [TRACK2].
1
MIN
MAX
START/STOP
BRIGHT
BRILLIANCE
3
GRAND
PIANO 1
GRAND
PIANO 2
CHURCH
ORGAN
JAZZ
ORGAN
E.PIANO
1
E.PIANO
2
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
2
DEMO
METRONOME
TEMPO
FUNCTION
— /NO +/ YES
PRESET
USER 1
USER 2
USER 3
TEMPO / FUNCTION
TRACK
1
TRACK
2
START/STOP
REC
STRINGS
CHOIR
SONG
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
ON
TOUCH TRANSPOSE
ÑÂÈÒÚ‚Ëfl
1. éÚÍβ˜ÂÌË ‡Áۘ˂‡ÂÏÓÈ Ô‡ÚËË
Ç˚·‡‚ ÔÂÒÌ˛ ‰Îfl ÛÔ‡ÊÌÂÌËÈ, ÓÚÍβ˜ËÚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Û˛ Ô‡Ú˲
ÍÌÓÔÍÓÈ [TRACK1] ËÎË [TRACK2].
èÓÒΠ‚˚·Ó‡ ÔÂÒÌË Á‡„Ó‡˛ÚÒfl Ó·‡ Ë̉Ë͇ÚÓ‡ — [TRACK1] Ë [TRACK2].
ùÚÓ ÓÁ̇˜‡ÂÚ, ˜ÚÓ ·Û‰ÛÚ ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸Òfl Ó·Â Ô‡ÚËË. ÖÒÎË Ì‡Ê‡Ú¸ Ó‰ÌÛ
ËÁ ÍÌÓÔÓÍ, ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ËÈ Ë̉Ë͇ÚÓ ÔÓ„‡ÒÌÂÚ Ë Ô‡ÚËfl Á‚Û˜‡Ú¸ ÌÂ
·Û‰ÂÚ.
• ç‡Ê‡ÚË ÍÌÓÔÍË ÔÓÔÂÂÏÂÌÌÓ ‚Íβ˜‡ÂÚ Ë ‚˚Íβ˜‡ÂÚ
‚ÓÒÔÓËÁ‚‰ÂÌËÂ.
2. ÇÓÒÔÓËÁ‚‰ÂÌËÂ Ë Ë„‡ ̇ Í·‚˯‡ı
óÚÓ·˚ ̇˜‡Ú¸ ‚ÓÒÔÓËÁ‚‰ÂÌËÂ, ̇ÊÏËÚ ÍÌÓÔÍÛ SONG [START/STOP].
éÚÍβ˜ÂÌÌÛ˛ Ô‡Ú˲ Ë„‡ÈÚ ̇ Í·‚˯‡ı.
èêàåÖóÄçàÖ
îÛÌ͈Ëfl ÓÚÍβ˜ÂÌËfl Ô‡ÚËË
‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË ÌÂ ÏÓÊÂÚ
ËÒÔÓθÁÓ‚‡Ú¸Òfl ÔË ‚ÓÒÔÓËÁ‚‰ÂÌËË Ò Ô‡‡ÏÂÚ‡ÏË ALL ËÎË
rnd (ÒÚ. 17).
ä ëÇÖÑÖçàû
è‡ÚËË ÏÓÊÌÓ ÓÚÍβ˜‡Ú¸ Ë
‚Íβ˜‡Ú¸ ‰‡Ê ‚Ó ‚ÂÏfl
‚ÓÒÔÓËÁ‚‰ÂÌËfl.
ä ëÇÖÑÖçàû
îÛÌ͈Ëfl „ÓÏÍÓÒÚË ÓÚÍβ˜ÂÌÌÓÈ Ô‡ÚËË ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË,
ÓÔËÒ‡Ì̇fl ̇ ÒÚ. 45, ÔÓÁ‚ÓÎflÂÚ
‚˚·‡Ú¸ „ÓÏÍÓÒÚ¸ ÓÚÍβ˜ÂÌÌÓÈ Ô‡ÚËË ‚ ‰Ë‡Ô‡ÁÓÌ ÓÚ 0
(·ÂÁ Á‚Û͇) ‰Ó 20. é·˚˜ÌÓ
ËÒÔÓθÁÛÂÚÒfl Á̇˜ÂÌË 5.
18
CLP-130/120 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ
Ä‚ÚÓχÚ˘ÂÒÍËÈ Á‡ÔÛÒÍ ‚ÓÒÔÓËÁ‚‰ÂÌËfl Ó‰ÌÓ‚ÂÏÂÌÌÓ Ò Ì‡˜‡ÎÓÏ
Ë„˚ ̇ Í·‚˯‡ı (Synchro Start)
ÖÒÎË ÙÛÌ͈Ëfl ÒËÌıÓÌÌÓ„Ó Á‡ÔÛÒ͇ ‚Íβ˜Â̇,
‚ÓÒÔÓËÁ‚‰ÂÌË ‚˚·‡ÌÌÓÈ ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË
̇˜Ë̇ÂÚÒfl ‡‚ÚÓχÚ˘ÂÒÍË, Ó‰ÌÓ‚ÂÏÂÌÌÓ Ò
̇˜‡ÎÓÏ Ë„˚ ̇ Í·‚˯‡ı.
óÚÓ·˚ ‚Íβ˜ËÚ¸ ÙÛÌÍˆË˛ ÒËÌıÓÌÌÓ„Ó
ÌÓÏÂ ÔÂÒÌË
Á‡ÔÛÒ͇, ̇ÊÏËÚ ÍÌÓÔÍÛ SONG [START/STOP],
Û͇Á‡ÚÂθ
ÒËÌıÓÌÌÓ„Ó
Ó‰ÌÓ‚ÂÏÂÌÌÓ Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ ‚Íβ˜ÂÌÌÓÈ
Á‡ÔÛÒ͇
Ô‡ÚËË. Ç ÌËÊÌÂÏ Ô‡‚ÓÏ Û„ÎÛ ‰ËÒÔÎÂfl
ÔÓfl‚ËÚÒfl ÚӘ͇.
(óÚÓ·˚ ÓÚÍβ˜ËÚ¸ ÙÛÌÍˆË˛ ÒËÌıÓÌÌÓ„Ó Á‡ÔÛÒ͇, ÔÓ‚ÚÓËÚÂ
Ô‰˚‰Û˘Ë ‰ÂÈÒÚ‚Ëfl.)
ÇÓÒÔÓËÁ‚‰ÂÌË ̇˜ÌÂÚÒfl Ó‰ÌÓ‚ÂÏÂÌÌÓ Ò Ì‡˜‡ÎÓÏ Ë„˚ ̇ Í·‚˯‡ı.
èêàåÖóÄçàÖ
ÖÒÎË, ̇ÊËχfl ÍÌÓÔÍÛ SONG
[START/STOP], Û‰ÂÊË‚‡Ú¸
ÍÌÓÔÍÛ ÓÚÍβ˜ÂÌÌÓÈ ‰ÓÓÊÍË,
˝Ú‡ ‰ÓÓÊ͇ ‚Íβ˜‡ÂÚÒfl Ë
ËÌÒÚÛÏÂÌÚ ÔÂÂıÓ‰ËÚ ‚ ÂÊËÏ
ÒËÌıÓÌÌÓ„Ó Á‡ÔÛÒ͇.
ÇÍβ˜ÂÌËÂ Ë ÓÚÍβ˜ÂÌË ÔË ÔÓÏÓ˘Ë Î‚ÓÈ Ô‰‡ÎË
èË ÔÓÏÓ˘Ë ÂÊËχ ΂ÓÈ Ô‰‡ÎË (ÒÚ. 44) Á‡ ΂ÓÈ Ô‰‡Î¸˛ ÏÓÊÌÓ
Á‡ÍÂÔËÚ¸ ÙÛÌÍˆË˛ ‚Íβ˜ÂÌËfl Ë ÓÚÍβ˜ÂÌËfl ‚ÓÒÔÓËÁ‚‰ÂÌËfl
‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË.
èêàåÖóÄçàÖ
èË ‚˚·Ó ÌÓ‚ÓÈ ÔÂÒÌË ‡‚ÚÓχÚ˘ÂÒÍË ‚Íβ˜‡˛ÚÒfl Ó·Â
Ô‡ÚËË.
3. éÒÚ‡Ìӂ͇ ‚ÓÒÔÓËÁ‚‰ÂÌËfl
äÓ„‰‡ ÔÂÒÌfl Á‡Í‡Ì˜Ë‚‡ÂÚÒfl, ‚ÓÒÔÓËÁ‚‰ÂÌË ‡‚ÚÓχÚ˘ÂÒÍË ÔÂÍ‡˘‡ÂÚÒfl Ë ÔˇÌËÌÓ Clavinova ̇ıÓ‰ËÚ Ì‡˜‡ÎÓ ÔÂÒÌË. óÚÓ·˚ ÓÒÚ‡ÌÓ‚ËÚ¸ ÔÂÒÌ˛ ̇ ÒÂ‰ËÌÂ, ̇ÊÏËÚ ÍÌÓÔÍÛ SONG[START/STOP].
CLP-130/120 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ
19
îÛÌ͈Ëfl ÔÓ‚ÚÓ‡ A-B
îÛÌÍˆË˛ ÔÓ‚ÚÓ‡ Ä-Ç ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ‰Îfl ÌÂÔÂ˚‚ÌÓ„Ó ÔÓ‚ÚÓÂÌËfl Û͇Á‡ÌÌÓÈ Ù‡Á˚
‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË. Ç ÒÓ˜ÂÚ‡ÌËË Ò ÓÔËÒ‡ÌÌÓÈ ÌËÊ ÙÛÌ͈ËÂÈ ÓÚÍβ˜ÂÌËfl Ô‡ÚËË Ó‰ÌÓÈ ÛÍË
˝Ú‡ ÙÛÌ͈Ëfl ‰‡ÂÚ ÔÂ͇ÒÌÛ˛ ‚ÓÁÏÓÊÌÓÒÚ¸ ‡Áۘ˂‡Ú¸ ÒÎÓÊÌ˚ ÓÚ˚‚ÍË.
1
MIN
MAX
START/STOP
BRIGHT
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
E.PIANO
1
E.PIANO
2
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
CHURCH
ORGAN
JAZZ
ORGAN
STRINGS
CHOIR
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
2
DEMO
METRONOME
TEMPO
FUNCTION
— /NO +/ YES
PRESET
USER 1
USER 2
USER 3
TRACK
1
TRACK
2
START/STOP
REC
SONG
TEMPO / FUNCTION
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
ON
TOUCH TRANSPOSE
ÑÂÈÒÚ‚Ëfl
1. ì͇Á‡ÌË ̇˜‡Î‡ (A) Ë ÍÓ̈‡ (B) Ù‡Á˚ Ë Ì‡˜‡ÎÓ
ÛÔ‡ÊÌÂÌËfl
Ç˚·ÂËÚ ‚ÒÚÓÂÌÌÛ˛ ÔÂÒÌ˛ Ë Ì‡˜ÌËÚ ÂÂ
‚ÓÒÔÓËÁ‚‰ÂÌËÂ, Á‡ÚÂÏ ‚ ̇˜‡Î Ù‡Á˚,
ÍÓÚÓÛ˛ ıÓÚËÚ ÔÓ‚ÚÓËÚ¸, ̇ÊÏËÚ ÍÌÓÔÍÛ
[TEMPO/FUNCTION#].
ùÚÓ ÓÔ‰ÂÎflÂÚ ÚÓ˜ÍÛ «A»
(̇ Ë̉Ë͇ÚÓ ÔÓfl‚ËÚÒfl
).
óÚÓ·˚ Á‡‰‡Ú¸ ÍÓ̈ Ù‡Á˚ («B»), ‚ ÍÓ̈ Ù‡Á˚
ÒÌÓ‚‡ ̇ÊÏËÚ ÍÌÓÔÍÛ [TEMPO/FUNCTION#].
ùÚÓ ÓÔ‰ÂÎflÂÚ ÚÓ˜ÍÛ «Ç»
(̇ Ë̉Ë͇ÚÓ ÔÓfl‚ËÚÒfl
).
ÅÛ‰ÂÚ ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸Òfl Ù‡Á‡ ÏÂÊ‰Û ÚӘ͇ÏË
«Ä» Ë «Ç».
2. éÒÚ‡Ìӂ͇ ‚ÓÒÔÓËÁ‚‰ÂÌËfl
óÚÓ·˚ ÓÒÚ‡ÌÓ‚ËÚ¸ ‚ÓÒÔÓËÁ‚‰ÂÌË ÏÂÊ‰Û Á‡‰‡ÌÌ˚ÏË ÚӘ͇ÏË «Ä» Ë «Ç»,
̇ÊÏËÚ ÍÌÓÔÍÛ SONG [START/STOP]. èÓ‚ÚÓÌÓ ‚ÓÒÔÓËÁ‚‰ÂÌË A-B
‚ÓÁÓ·ÌÓ‚ËÚÒfl, ÂÒÎË Â˘Â ‡Á ̇ʇڸ SONG [START/STOP].
óÚÓ·˚ Û‰‡ÎËÚ¸ ÚÓ˜ÍË «A» Ë «B», Ó‰ËÌ ‡Á ̇ÊÏËÚ ÍÌÓÔÍÛ [TEMPO/
FUNCTION#].
20
CLP-130/120 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ
èêàåÖóÄçàÖ
îÛÌ͈Ëfl ÔÓ‚ÚÓ‡ Ä-Ç Ì ÏÓÊÂÚ
ËÒÔÓθÁÓ‚‡Ú¸Òfl ÔË ‚ÓÒÔÓËÁ‚‰ÂÌËË Ò Ô‡‡ÏÂÚ‡ÏË «ALL»
ËÎË «rnd» (ÒÚ. 17).
èêàåÖóÄçàÖ
• óÚÓ·˚ ÛÒÚ‡ÌÓ‚ËÚ¸ ÚÓ˜ÍÛ «A»
‚ Ò‡ÏÓÏ Ì‡˜‡Î ÔÂÒÌË,
̇ÊÏËÚ ÍÌÓÔÍÛ [TEMPO/
FUNCTION#] ‰Ó ̇˜‡Î‡
‚ÓÒÔÓËÁ‚‰ÂÌËfl.
• óÚÓ·˚ ÛÒÚ‡ÌÓ‚ËÚ¸ ÚÓ˜ÍÛ «B»
‚ Ò‡ÏÓÏ ÍÓ̈ ÔÂÒÌË,
̇ÊÏËÚ ÍÌÓÔÍÛ [TEMPO/
FUNCTION#] ÔÓÒΠÚÓ„Ó, ͇Í
‚ÓÒÔÓËÁ‚‰ÂÌË Á‡ÍÓ̘ËÚÒfl,
ÌÓ Ë̉Ë͇ÚÓ
¢ ÌÂ
ËÒ˜ÂÁ Ò ‰ËÒÔÎÂfl.
ä ëÇÖÑÖçàû
Ç ÚӘ͠«Ä» ‡‚ÚÓχÚ˘ÂÒÍË
̇˜Ë̇ÂÚÒfl Á‡Ú‡ÍÚ (˝ÚÓ
ÔÓÏÓ„‡ÂÚ ÔÓ‰„ÓÚÓ‚ËÚ¸Òfl Í
̇˜‡ÎÛ Ù‡Á˚). é‰Ì‡ÍÓ ÂÒÎË
ÚӘ͇ «Ä» ÛÒÚ‡ÌÓ‚ÎÂ̇ ‚ Ò‡ÏÓÏ
̇˜‡Î ÔÂÒÌË, ‡‚ÚÓχÚ˘ÂÒÍÓ„Ó
Á‡Ú‡ÍÚ‡ Ì ·Û‰ÂÚ.
èêàåÖóÄçàÖ
á̇˜ÂÌËfl ÚÓ˜ÂÍ «Ä» Ë «Ç»
‡‚ÚÓχÚ˘ÂÒÍË Û‰‡Îfl˛ÚÒfl ÔË
‚˚·ÓÂ ÌÓ‚ÓÈ ÔÂÒÌË.
à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â
Ç˚·Ó ÚÂÏ·Ó‚
äÌÓÔÍË ‚˚·Ó‡ ÚÂÏ·‡
MIN
MAX
MELLOW
START/STOP
BRIGHT
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
CHURCH
ORGAN
JAZZ
ORGAN
E.PIANO
1
E.PIANO
2
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
DEMO
METRONOME
TEMPO
FUNCTION
— /NO +/ YES
PRESET
TEMPO / FUNCTION
USER 1
USER 2
USER 3
TRACK
1
TRACK
2
START/STOP
REC
STRINGS
SONG
CHOIR
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
ON
TOUCH TRANSPOSE
ÑÂÈÒÚ‚Ëfl
Ç˚·ÂËÚ ÌÛÊÌ˚È ÚÂÏ· Ò ÔÓÏÓ˘¸˛ Ó‰ÌÓÈ ËÁ ÍÌÓÔÓÍ [VOICE].
ä ëÇÖÑÖçàû
óÚÓ·˚ ÔÓÁ̇ÍÓÏËÚ¸Òfl Ò ÚÂÏ·‡ÏË, ÏÓÊÌÓ ÔÓÒÎÛ¯‡Ú¸ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÔÂÒÌË ‰Îfl Í‡Ê‰Ó„Ó ÚÂÏ·‡ (ÒÚ. 16). ÅÓÎÂÂ
ÔÓ‰Ó·ÌÛ˛ ËÌÙÓχˆË˛ Ó
‚ÒÚÓÂÌÌ˚ı ÚÂÏ·‡ı ÒÏ. ‚
ÒÔËÒÍÂ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚
̇ ÒÚ. 63.
燘‡‚ Ë„Û, ÛÒÚ‡ÌÓ‚ËÚ „ÛÎflÚÓÓÏ [MASTER VOLUME] ÓÔÚËχθÌÛ˛
„ÓÏÍÓÒÚ¸.
íÖêåàçéãéÉàü
íÂÏ· — ‰Îfl Clavinova ˝ÚÓ ÚÓÌ
ËÎË Á‚ÛÍ, ËÏËÚËÛ˛˘ËÈ Á‚Û˜‡ÌË ÏÛÁ˚͇θÌ˚ı ËÌÒÚÛÏÂÌÚÓ‚
Ë ‰Û„Ëı ËÒÚÓ˜ÌËÍÓ‚ Á‚Û͇.
ä ëÇÖÑÖçàû
ÉÓÏÍÓÒÚ¸ ÏÓÊÌÓ Â„ÛÎËÓ‚‡Ú¸
ÒËÎÓÈ Ì‡Ê‡ÚËfl Í·‚˯, ıÓÚfl
ÔË ÌÂÍÓÚÓ˚ı ̇ÒÚÓÈ͇ı
˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË Í ÒËÎÂ
̇ʇÚËfl Ó̇ Ô‡ÍÚ˘ÂÒÍË ÌÂ
‚ÎËflÂÚ Ì‡ Á‚Û˜‡ÌË ÌÂÍÓÚÓ˚ı
ÏÛÁ˚͇θÌ˚ı ËÌÒÚÛÏÂÌÚÓ‚.
ëÏ. «ëÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı
ÚÂÏ·Ó‚» ̇ ÒÚ. 63.
àÒÔÓθÁÓ‚‡ÌË Ô‰‡ÎÂÈ
ì ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova ÂÒÚ¸ ÚË Ô‰‡ÎË,
ÍÓÚÓ˚ ‚˚ÔÓÎÌfl˛Ú Ú Ê ÙÛÌ͈ËË, ˜ÚÓ Ë Ô‰‡ÎË
‡ÍÛÒÚ˘ÂÒÍÓ„Ó ÔˇÌËÌÓ.
èêàåÖóÄçàÖ
ÖÒÎË Ô‡‚‡fl Ô‰‡Î¸ Ì ‡·ÓÚ‡ÂÚ, ۷‰ËÚÂÒ¸, ˜ÚÓ ¯ÌÛ Ô‰‡ÎË
Ô‡‚ËθÌÓ ÔÓ‰Íβ˜ÂÌ Í „·‚ÌÓÈ
˜‡ÒÚË (ÒÚ. 61: CLP-130, ÒÚ. 58:
CLP-120).
ÑÂÏÔÙÂ̇fl (Ô‡‚‡fl) Ô‰‡Î¸
è‡‚‡fl Ô‰‡Î¸ ‡·ÓÚ‡ÂÚ Ú‡Í ÊÂ, Í‡Í Ô‡‚‡fl Ô‰‡Î¸
‡ÍÛÒÚ˘ÂÒÍÓ„Ó ÙÓÚÂÔ¸flÌÓ. ÖÒÎË Ô‡‚‡fl Ô‰‡Î¸
̇ʇڇ, ÌÓÚ‡ Á‚Û˜ËÚ ‰Óθ¯Â (˝ÙÙÂÍÚ «ÓÚÍ˚Ú˚ı
ÒÚÛÌ»). éÚÔÛÒ͇ÌË Ô‰‡ÎË ÔË‚Ó‰ËÚ Í Ï„ÌÓ‚ÂÌÌÓÏÛ Á‡ÚÛı‡Ì˲ ÔÓ‰ÎÂÌÌÓ„Ó Á‚Û͇.
ÖÒÎË Ì‡ CLP-130 ‚˚·‡Ì ÚÂÏ· GRAND PIANO 1,
̇ʇÚË ̇ Ô‡‚Û˛ Ô‰‡Î¸ ÔË‚Ó‰ËÚ ‚ ‰ÂÈÒÚ‚ËÂ
«ÒÛÒÚÂÈÌ»-Ò˝ÏÔÎ˚ ‰Îfl ÚÓ˜ÌÓ„Ó ‚ÓÒÔÓËÁ‚‰ÂÌËfl
ÛÌË͇θÌÓ„Ó ÂÁÓ̇ÌÒ‡ ‰ÂÍË Ë ÒÚÛÌ ‡ÍÛÒÚ˘ÂÒÍÓ„Ó
ÓflÎfl.
ÖÒÎË Ì‡Ê‡Ú¸ Ô‡‚Û˛ Ô‰‡Î¸,
‚Ò ÔÓË„˚‚‡ÂÏ˚ ÌÓÚ˚ ·Û‰ÛÚ
Á‚Û˜‡Ú¸, ÔÓ͇ ‚˚ Ì ÓÚÔÛÒÚËÚÂ
Ô‰‡Î¸.
ä ëÇÖÑÖçàû
ÉÎÛ·ËÌÛ ˝ÙÙÂÍÚ‡ ÒÛÒÚÂÈÌÒ˝ÏÔÎÓ‚ ÏÓÊÌÓ Ì‡ÒÚÓËÚ¸
‚ ÙÛÌ͈Ëflı Ô‰‡ÎÂÈ (Pedal
Functions) ‚ ÂÊËÏÂ Function
(ÒÚ. 44).
CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â
21
ëÓÒÚÂÌÛÚÓ (Ò‰Ìflfl Ô‰‡Î¸)
ÖÒÎË, ÔÓ͇ ̇ʇڇ Í·‚˯‡ ËÎË ‡ÍÍÓ‰, ̇ʇڸ ̇
ÒÂ‰Ì˛˛ Ô‰‡Î¸, ÌÓÚ˚ ·Û‰ÛÚ Á‚Û˜‡Ú¸, ÔÓ͇ Ô‰‡Î¸
Ì ·Û‰ÂÚ ÓÚÔÛ˘Â̇ (Í‡Í ÔË Ì‡Ê‡ÚËË Ì‡ Ô‡‚Û˛
Ô‰‡Î¸), ÌÓ ‚Ò ÌÓÚ˚, ÔÓË„˚‚‡ÂÏ˚ ÔÓÒΠ˝ÚÓ„Ó
ÔӉ΂‡Ú¸Òfl Ì ·Û‰ÛÚ. ùÚÓ ‰‡ÂÚ ‚ÓÁÏÓÊÌÓÒÚ¸
ÔÓ‰ÎËÚ¸ Á‚Û˜‡ÌË ‡ÍÍÓ‰‡, ÂÒÎË Ì‡ÔËÏÂ ÌÓÚ˚,
Ë‰Û˘Ë Á‡ ÌËÏ, Ë„‡˛ÚÒfl ÒÚ‡Í͇ÚÓ.
ä ëÇÖÑÖçàû
íÂÏ·˚ Ó„‡Ì‡, ÒÚÛÌÌ˚ı Ë
ıÓ‡ ÔÓ‰ÓÎʇ˛Ú Á‚Û˜‡Ú¸,
ÔÓ͇ ̇ʇڇ Ò‰Ìflfl Ô‰‡Î¸.
ÖÒÎË Ì‡Ê‡Ú¸ ÒÂ‰Ì˛˛ Ô‰‡Î¸,
ÍÓ„‰‡ ̇ʇڇ Í·‚˯‡, ÌÓÚ‡
·Û‰ÂÚ Á‚Û˜‡Ú¸, ÔÓ͇ ‚˚ ÌÂ
ÓÚÔÛÒÚËÚ Ô‰‡Î¸.
èË„ÎÛ¯ÂÌË Á‚Û͇ (΂‡fl Ô‰‡Î¸)
ä ëÇÖÑÖçàû
îÛÌ͈Ëfl ÂÊËχ ΂ÓÈ Ô‰‡ÎË
(ÒÚ. 44) ÏÓÊÂÚ Á‡ÍÂÔËÚ¸ Á‡
˝ÚÓÈ Ô‰‡Î¸˛ ÙÛÌÍˆË˛ ‚Íβ˜ÂÌËfl Ë ÓÚÍβ˜ÂÌËfl ÔÂÒÌË ËÎË
ÙÛÌÍˆË˛ ‚‡Ë‡ˆËË (CLP-130).
äÓ„‰‡ ̇ʇڇ ΂‡fl Ô‰‡Î¸, „ÓÏÍÓÒÚ¸ ̇ÊËχÂÏ˚ı ÌÓÚ ÛÏÂ̸¯‡ÂÚÒfl Ë Ò΄͇
ÏÂÌflÂÚÒfl ÚÂÏ·. ç‡ ÌÓÚ˚, ÍÓÚÓ˚ ‚ ÏÓÏÂÌÚ Ì‡Ê‡ÚËfl ΂ÓÈ Ô‰‡ÎË ÛÊ Á‚Û˜‡ÎË,
˝Ú‡ Ô‰‡Î¸ Ì ‚ÎËflÂÚ.
[VARIATION] (CLP-130), [BRILLIANCE],
[REVERB] Ë [EFFECT]
[—/NO] [+/YES]
[BRILLIANCE]
MIN
MAX
START/STOP
BRIGHT
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
CHURCH
ORGAN
JAZZ
ORGAN
E.PIANO
1
E.PIANO
2
[REVERB]
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
[VARIATION]
DEMO
METRONOME
TEMPO
FUNCTION
TEMPO / FUNCTION
— /NO +/ YES
PRESET
USER 1
USER 2
USER 3
TRACK
1
TRACK
2
START/STOP
REC
STRINGS
CHOIR
SONG
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
[EFFECT]
HARD
MEDIUM
SOFT
ON
TOUCH TRANSPOSE
[VARIATION] (CLP-130)
Ç Á‡‚ËÒËÏÓÒÚË ÓÚ ‚˚·Ó‡ ÚËÔ‡ ÔÓÁ‚ÓÎflÂÚ ÏÂÌflÚ¸ ‰Û„ÓÈ ‡ÒÔÂÍÚ ˝ÙÙÂÍÚ‡.
ᇠ·ÓΠÔÓ‰Ó·ÌÓÈ ËÌÙÓχˆËÂÈ Ó ‚‡ˇˆËflı Ó·‡ÚËÚÂÒ¸ Í ÒÔËÒÍÛ ‚ÒÚÓÂÌÌ˚ı
ÚÂÏ·Ó‚ ̇ ÒÚ. 63.
ÑÂÈÒÚ‚Ëfl
LJˇˆËfl ‚Íβ˜‡ÂÚÒfl Ë ‚˚Íβ˜‡ÂÚÒfl ̇ʇÚËÂÏ ÍÌÓÔÍË [VARIATION] ËÎË
ÍÌÓÔÍË ‚˚·‡ÌÌÓ„Ó ÚÂÏ·‡.
èË Í‡Ê‰ÓÏ Ì‡Ê‡ÚËË Ì‡ ÍÌÓÔÍÛ [VARIATION] Á‡„Ó‡ÂÚÒfl Ë̉Ë͇ÚÓ (ON).
[BRILLIANCE]
ùÚÓÚ „ÛÎflÚÓ ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ‰Îfl ̇ÒÚÓÈÍË ÚÓ̇θÌÓÒÚË ËÎË ÚÂÏ·‡
‚˚‚Ó‰ËÏÓ„Ó Á‚Û͇.
àÒÔÓθÁÛÂÚÒfl ‰Ë‡Ô‡ÁÓÌ ÓÚ MELLOW (Ïfl„ÍËÈ) ‰Ó BRIGHT (flÍËÈ).
[REVERB]
ùÚ‡ ̇ÒÚÓÈ͇ ÔÓÁ‚ÓÎflÂÚ ÛÏÂ̸¯‡Ú¸ ËÎË Û‚Â΢˂‡Ú¸ ˝ÙÙÂÍÚ˚ ˆËÙÓ‚ÓÈ
‚Â·Â‡ˆËË, ÍÓÚÓ˚ ‰Ó·‡‚Îfl˛Ú Á‚ÛÍÛ „ÎÛ·ËÌÛ Ë ‚˚‡ÁËÚÂθÌÓÒÚ¸,
ÒÓÁ‰‡‚‡fl ‡ÎËÒÚ˘ÌÛ˛ ‡ÍÛÒÚ˘ÂÒÍÛ˛ Ò‰Û.
OFF:
ROOM:
HALL 1:
HALL 2:
STAGE:
22
ÖÒÎË ‚Â·Â‡ˆËfl Ì ‚˚·‡Ì‡, Ë̉Ë͇ÚÓ REVERB Ì „ÓËÚ.
ÑÓ·‡‚ÎflÂÚ Á‚ÛÍÛ ÌÂÔÂ˚‚Ì˚È ˝ÙÙÂÍÚ ‚Â·Â‡ˆËË, ÒıÓ‰Ì˚È
Ò ‡ÍÛÒÚ˘ÂÒÍÓÈ ‚Â·Â‡ˆËÂÈ, ÍÓÚÓÛ˛ ÒÎ˚¯ÌÓ ‚ ÍÓÏ̇ÚÂ.
àÒÔÓθÁÛÂÚÒfl ‰Îfl ‡Ò¯ËÂÌËfl ‚Â·Â‡ˆËË. èË ËÏËÚ‡ˆËË
ÂÒÚÂÒÚ‚ÂÌÌÓÈ ‚Â·Â‡ˆËË Ì·Óθ¯Ó„Ó ÍÓ̈ÂÚÌÓ„Ó Á‡Î‡.
àÒÔÓθÁÛÂÚÒfl ‰Îfl ¢ ·Óθ¯Â„Ó ‡Ò¯ËÂÌËfl ‚Â·Â‡ˆËË.
èË ËÏËÚ‡ˆËË ÂÒÚÂÒÚ‚ÂÌÌÓÈ ‚Â·Â‡ˆËË ·Óθ¯Ó„Ó Á‡Î‡.
àÏËÚËÛÂÚ ‚Â·Â‡ˆË˛ ÒˆÂÌ˚.
CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â
ä ëÇÖÑÖçàû
é·˚˜Ì‡fl ̇ÒÚÓÈ͇ — OFF.
íÖêåàçéãéÉàü
é·˚˜Ì‡fl ̇ÒÚÓÈ͇ — ˝ÚÓ
Á‡‚Ó‰Ò͇fl ÛÒÚ‡Ìӂ͇ ̇ ÏÓÏÂÌÚ,
ÍÓ„‰‡ ‚˚ ‚Ô‚˚ ‚Íβ˜‡ÂÚÂ
ËÌÒÚÛÏÂÌÚ Clavinova.
ä ëÇÖÑÖçàû
îÛÌ͈Ëfl ÂÊËχ ΂ÓÈ Ô‰‡ÎË,
(ÒÚ. 44) ÏÓÊÂÚ Á‡ÍÂÔËÚ¸ Á‡
˝ÚÓÈ Ô‰‡Î¸˛ ÙÛÌÍˆË˛ ‚Íβ˜ÂÌËfl Ë ÓÚÍβ˜ÂÌËfl ÔÂÒÌË ËÎË
ÙÛÌÍˆË˛ ‚‡Ë‡ˆËË (CLP-130).
èêàåÖóÄçàÖ
ÖÒÎË ‰Îfl Ô‡‡ÏÂÚ‡
BRILLIANCE ‚˚·‡ÌÓ Á̇˜ÂÌËÂ
BRIGHT, Á‚ÛÍ ·Û‰ÂÚ ÌÂÏÌÓ„Ó
„ÓϘÂ. ÖÒÎË ‰Îfl Ô‡‡ÏÂÚ‡
MASTER VOLUME Á‡‰‡Ì
‚˚ÒÓÍËÈ ÛÓ‚Â̸, Á‚ÛÍ ÏÓÊÂÚ
ËÒ͇ʇڸÒfl. Ç ˝ÚÓÏ ÒÎÛ˜‡Â
ÒÌËÁ¸Ú ÛÓ‚Â̸ Ô‡‡ÏÂÚ‡
MASTER VOLUME.
ä ëÇÖÑÖçàû
臇ÏÂÚ˚ ÚËÔ‡ ‚·‡ˆËË
(‚ ÚÓÏ ˜ËÒΠԇ‡ÏÂÚ OFF) Ë
 „ÎÛ·Ë̇ Ò‚ÓË ‰Îfl ͇ʉӄÓ
ÚÂÏ·‡.
ÑÂÈÒÚ‚Ëfl
ç‡Ê‡ÚË ÍÌÓÔÍË [REVERB] ÔÓÔÂÂÏÂÌÌÓ ‚Íβ˜‡ÂÚ Ë ‚˚Íβ˜‡ÂÚ ‚Â·Â‡ˆË˛.
èË Í‡Ê‰ÓÏ Ì‡Ê‡ÚËË Ì‡ ÍÌÓÔÍÛ [VARIATION] ÔÓÒΉӂ‡ÚÂθÌÓ Á‡„Ó‡˛ÚÒfl
Ë̉Ë͇ÚÓ˚. ÖÒÎË Ë̉Ë͇ÚÓ˚ Ì „ÓflÚ, ˝ÙÙÂÍÚ Ì ÒÓÁ‰‡ÂÚÒfl.
чÊ ÂÒÎË ‰Îfl ̇ÒÚÓÈÍË REVERB ‚˚·‡ÌÓ Á̇˜ÂÌË «OFF», ÔË ‚˚·ÓÂ
ÚÂÏ·‡ GRAND PIANO 1 ÒÓÁ‰‡ÂÚÒfl ˝ÙÙÂÍÚ ‚Â·Â‡ˆËË ‰ÂÍË.
ç‡ÒÚÓÈ͇ „ÎÛ·ËÌ˚ ‚·‡ˆËË
ç‡ÒÚÓÈÚ „ÎÛ·ËÌÛ ‚Â·Â‡ˆËË ‰Îfl ‚˚·‡ÌÌÓ„Ó
ÚÂÏ·‡ ÔË ÔÓÏÓ˘Ë ÍÌÓÔÓÍ [–/NO] [+/YES],
Û‰ÂÊË‚‡fl ̇ʇÚÓÈ ÍÌÓÔÍÛ [REVERB]. ÉÎÛ·ËÌÛ
‚Â·Â‡ˆËË ÏÓÊÌÓ Á‡‰‡‚‡Ú¸ ‚ Ô‰Â·ı ÓÚ 0 ‰Ó 20.
ÖÒÎË Ì‡Ê‡Ú‡ ÍÌÓÔ͇ [REVERB], ÚÂÍÛ˘Â Á̇˜ÂÌËÂ
„ÎÛ·ËÌ˚ ÔÓfl‚ÎflÂÚÒfl ̇ ‰ËÒÔÎÂÂ.
ä ëÇÖÑÖçàû
„ÎÛ·Ë̇ 0: ·ÂÁ ˝ÙÙÂÍÚ‡
„ÎÛ·Ë̇
[EFFECT]
äÌÓÔ͇ [EFFECT] ÔÓÁ‚ÓÎflÂÚ ‚˚·‡Ú¸ ˝ÙÙÂÍÚ ‰Îfl Ôˉ‡ÌËfl Á‚ÛÍÛ ·Óθ¯ÂÈ
„ÎÛ·ËÌ˚ Ë ÊË‚ÓÒÚË.
OFF:
CHORUS:
PHASER:
TREMOLO:
DELAY:
ä ëÇÖÑÖçàû
éÚÔÛÒÚË‚ ÍÌÓÔÍÛ [REVERB],
‚˚ ËÁÏÂÌËÚ ÚËÔ Â‚Â·Â‡ˆËË.
ÖÒÎË ‚˚ ËÁÏÂÌflÂÚ „ÎÛ·ËÌÛ
‚·‡ˆËË, Û‰ÂÊË‚‡fl
ÍÌÓÔÍÛ [REVERB], ̇ʇÚË ̇
ÍÌÓÔÍÛ [REVERB] ÌÂ ËÁÏÂÌËÚ
ÚËÔ Â‚Â·Â‡ˆËË.
ÖÒÎË ˝ÙÙÂÍÚ Ì ‚˚·‡Ì, Ë̉Ë͇ÚÓ EFFECT Ì „ÓËÚ
àÒÍfl˘ËÈÒfl, ‡Ò¯Ëfl˛˘ËÈ ˝ÙÙÂÍÚ
ÑÓ·‡‚ÎflÂÚ Á‚ÛÍÛ ˝ÙÙÂÍÚ ‡ÒÔÓÒÚ‡ÌÂÌËfl
ùÙÙÂÍÚ ÚÂÏÓÎÓ
ùÙÙÂÍÚ ˝ıÓ
„ÎÛ·Ë̇ 20: χÍÒËχθ̇fl
„ÎÛ·Ë̇
‚·‡ˆËË
ä ëÇÖÑÖçàû
é·˚˜Ì˚ ԇ‡ÏÂÚ˚ „ÎÛ·ËÌ˚
Ò‚ÓË Û Í‡Ê‰Ó„Ó ÚÂÏ·‡.
ä ëÇÖÑÖçàû
íËÔ ˝ÙÙÂÍÚ‡ (‚ ÚÓÏ ˜ËÒÎÂ
Ô‡‡ÏÂÚ OFF) Ë Â„Ó „ÎÛ·Ë̇ ÔÓ
ÛÏÓΘ‡Ì˲ Ò‚ÓË ‰Îfl ͇ʉӄÓ
ÚÂÏ·‡.
ÑÂÈÒÚ‚Ëfl
ÑÎfl ‚˚·Ó‡ ÚËÔ‡ ˝ÙÙÂÍÚ‡ ̇ÊËχÈÚ ÍÌÓÔÍÛ [EFFECT], ÔÓ͇ Ì Á‡„ÓËÚÒfl
Ë̉Ë͇ÚÓ ÌÛÊÌÓ„Ó ˝ÙÙÂÍÚ‡ (Ë̉Ë͇ÚÓ˚ Á‡„Ó‡˛ÚÒfl ÔÓÒΉӂ‡ÚÂθÌÓ ÔË
͇ʉÓÏ Ì‡Ê‡ÚËË Ì‡ ÍÌÓÔÍÛ [EFFECT]). ÖÒÎË Ë̉Ë͇ÚÓ˚ Ì „ÓflÚ, ˝ÙÙÂÍÚ
Ì ÒÓÁ‰‡ÂÚÒfl.
ç‡ÒÚÓÈ͇ „ÎÛ·ËÌ˚ ˝ÙÙÂÍÚ‡
ç‡ÒÚÓÈÚ „ÎÛ·ËÌÛ ˝ÙÙÂÍÚ‡ ‰Îfl ‚˚·‡ÌÌÓ„Ó ÚÂÏ·‡
ÔË ÔÓÏÓ˘Ë ÍÌÓÔÓÍ [–/NO] Ë [+/YES], Û‰ÂÊË‚‡fl
̇ʇÚÓÈ ÍÌÓÔÍÛ [EFFECT].
ÉÎÛ·ËÌÛ ˝ÙÙÂÍÚ‡ ÏÓÊÌÓ Á‡‰‡‚‡Ú¸ ‚ Ô‰Â·ı ÓÚ 0 ‰Ó
20. ÖÒÎË Ì‡Ê‡Ú‡ ÍÌÓÔ͇ [EFFECT], ÚÂÍÛ˘Â Á̇˜ÂÌËÂ
„ÎÛ·ËÌ˚ ÔÓfl‚ÎflÂÚÒfl ̇ Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ Ë̉Ë͇ÚÓÂ.
„ÎÛ·Ë̇
ä ëÇÖÑÖçàû
éÚÔÛÒÚË‚ ÍÌÓÔÍÛ [EFFECT], ‚˚
ËÁÏÂÌËÚÂ ÚËÔ ˝ÙÙÂÍÚ‡. ÖÒÎË ‚˚
ËÁÏÂÌflÂÚ ԇ‡ÏÂÚ „ÎÛ·ËÌ˚,
Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ [EFFECT],
̇ʇÚË ̇ ÍÌÓÔÍÛ [EFFECT]
ÌÂ ËÁÏÂÌËÚ ÚËÔ ˝ÙÙÂÍÚ‡.
ä ëÇÖÑÖçàû
„ÎÛ·Ë̇ 0:
·ÂÁ ˝ÙÙÂÍÚ‡
„ÎÛ·Ë̇ 20: χÍÒËχθ̇fl
„ÎÛ·Ë̇ ˝ÙÙÂÍÚ‡
ä ëÇÖÑÖçàû
臇ÏÂÚ˚ „ÎÛ·ËÌ˚ ÔÓ
ÛÏÓΘ‡Ì˲ Ò‚ÓË ‰Îfl ͇ʉӄÓ
ÚÂÏ·‡.
CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â
23
óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËΠ̇ʇÚËfl —
[TOUCH]
åÓÊÌÓ ‚˚·‡Ú¸ ˜ÂÚ˚ ‡Á΢Ì˚ı ÚËÔ‡ ‰Ë̇Ï˘ÂÒÍÓÈ ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË Í·‚ˇÚÛ˚ Í ÒËÎÂ
̇ʇÚËfl HARD, MEDIUM, SOFT ËÎË FIXED, ÔÓ‰ıÓ‰fl˘Ëı ‰Îfl Ë„˚ ‚ ‡Á΢Ì˚ı ÒÚËÎflı Ë Ò
‡Á΢Ì˚ÏË Ì‡ÒÚÓÈ͇ÏË.
HARD:
óÚÓ·˚ ‰ÓÒÚ˘¸ χÍÒËχθÌÓÈ „ÓÏÍÓÒÚË, ÒË· ̇ʇÚËfl ̇
Í·‚Ë¯Ë ‰ÓÎÊ̇ ·˚Ú¸ Ó˜Â̸ ·Óθ¯ÓÈ.
ä·‚Ë¯Ë ‡„ËÛ˛Ú Ì‡ ÒËÎÛ Ì‡Ê‡ÚËfl Ó·˚˜Ì˚Ï Ó·‡ÁÓÏ.
å‡ÍÒËχθ̇fl „ÓÏÍÓÒÚ¸ ‰ÓÒÚË„‡ÂÚÒfl ÔË ÓÚÌÓÒËÚÂθÌÓ
Ì·Óθ¯ÓÈ ÒËΠ̇ʇÚËfl.
ÉÓÏÍÓÒÚ¸ ÌÓÚ Ì Á‡‚ËÒËÚ ÓÚ ÒËÎ˚ ̇ʇÚËfl. ÉÓÏÍÓÒÚ¸ ÏÓÊÌÓ
̇ÒÚ‡Ë‚‡Ú¸.
MEDIUM:
SOFT:
FIXED:
ä ëÇÖÑÖçàû
ùÚ‡ ̇ÒÚÓÈ͇ Ì ËÁÏÂÌflÂÚ ‚ÂÒ
Í·‚ˇÚÛ˚.
ä ëÇÖÑÖçàû
é·˚˜Ì‡fl ̇ÒÚÓÈ͇ — MEDIUM.
ä ëÇÖÑÖçàû
íËÔ ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË Í ÒËÎÂ
̇ʇÚËfl ·Û‰ÂÚ Ó·˘ËÏ ‰Îfl ‚ÒÂı
ÚÂÏ·Ó‚. é‰Ì‡ÍÓ Ì‡ÒÚÓÈÍË
˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË Í ÒËΠ̇ʇÚËfl ÏÓ„ÛÚ Ò··Ó ‚ÎËflÚ¸ ËÎË
‚ÓÓ·˘Â Ì ‚ÎËflÚ¸ ̇ ÌÂÍÓÚÓ˚Â
ÚÂÏ·˚, ÍÓÚÓ˚ ӷ˚˜ÌÓ ÌÂ
‡„ËÛ˛Ú Ì‡ ‰Ë̇ÏËÍÛ Í·‚ˇÚÛ˚. (ëÏ. ÒÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı
ÚÂÏ·Ó‚ ̇ ÒÚ. 63.)
[—/NO] [+/YES]
MIN
MAX
START/STOP
BRIGHT
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
CHURCH
ORGAN
JAZZ
ORGAN
E.PIANO
1
E.PIANO
2
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
[TOUCH]
DEMO
METRONOME
TEMPO
FUNCTION
— /NO +/ YES
PRESET
USER 1
USER 2
USER 3
TEMPO / FUNCTION
TRACK
1
TRACK
2
START/STOP
REC
STRINGS
CHOIR
SONG
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
ON
TOUCH TRANSPOSE
ÑÂÈÒÚ‚Ëfl
ÑÎfl ‚˚·Ó‡ ÚËÔ‡ ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË Í ÒËΠ̇ʇÚËfl ̇ÊËχÈÚ ÍÌÓÔÍÛ [TOUCH],
ÔÓ͇ Ì Á‡„ÓËÚÒfl Ë̉Ë͇ÚÓ ÌÛÊÌÓ„Ó ˝ÙÙÂÍÚ‡ (Ë̉Ë͇ÚÓ˚ Á‡„Ó‡˛ÚÒfl
ÔÓÒΉӂ‡ÚÂθÌÓ ÔË Í‡Ê‰ÓÏ Ì‡Ê‡ÚËË Ì‡ ÍÌÓÔÍÛ [TOUCH]). ÖÒÎË ‚˚·‡Ì
Ô‡‡ÏÂÚ «FIXED», Ë̉Ë͇ÚÓ˚ Ì „ÓflÚ.
àÁÏÂÌÂÌË „ÓÏÍÓÒÚË, ÂÒÎË ‚˚·‡Ì Ô‡‡ÏÂÚ FIXED
ÖÒÎË ‚˚·‡Ì Ô‡‡ÏÂÚ «FIXED», „ÓÏÍÓÒÚ¸ ÌÓÚ, ËÒÔÓÎÌflÂÏ˚ı ‚ ÂÊËÏ FIXED ÏÓÊÌÓ ÛÒÚ‡ÌÓ‚ËÚ¸ ÔË
ÔÓÏÓ˘Ë ÍÌÓÔÓÍ [–/NO] Ë [+/YES], Û‰ÂÊË‚‡fl ̇ʇÚÓÈ
ÍÌÓÔÍÛ [TOUCH]. ç‡ ‰ËÒÔΠÔÓfl‚ÎflÂÚÒfl ÚÂÍÛ˘ËÈ
ÛÓ‚Â̸ „ÓÏÍÓÒÚË. ÉÓÏÍÓÒÚ¸ ÏÓÊÌÓ ËÁÏÂÌflÚ¸ ‚
‰Ë‡Ô‡ÁÓÌ ÓÚ 1 ‰Ó 127. Ç Í‡˜ÂÒÚ‚Â Ó·˚˜ÌÓÈ ËÒÔÓθÁÛÂÚÒfl
̇ÒÚÓÈ͇ 64.
ä ëÇÖÑÖçàû
1: ÏËÌËχθ̇fl „ÓÏÍÓÒÚ¸
127: χÍÒËχθ̇fl „ÓÏÍÓÒÚ¸
ÛÓ‚Â̸ „ÓÏÍÓÒÚË
ä ëÇÖÑÖçàû
ÉÓÏÍÓÒÚ¸ ‰Îfl ÂÊËχ FIXED —
Ӊ̇ ‰Îfl ‚ÒÂı ÚÂÏ·Ó‚.
ä ëÇÖÑÖçàû
éÚÔÛÒÚË‚ ÍÌÓÔÍÛ [TOUCH],
‚˚ ËÁÏÂÌËÚ ÚËÔ ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË. ÖÒÎË ‚˚ ËÁÏÂÌflÂÚÂ
„ÓÏÍÓÒÚ¸, Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ
[TOUCH], ̇ʇÚË ̇ ˝ÚÛ
ÍÌÓÔÍÛ Ì ÏÂÌflÂÚ ÚËÔ ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË. (éÒÚ‡ÌÂÚÒfl ‚˚·‡Ì
Ô‡‡ÏÂÚ «FIXED».)
24
CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â
í‡ÌÒÔÓÌËÓ‚‡ÌË — [TRANSPOSE]
îÛÌ͈Ëfl Ú‡ÌÒÔÓÌËÓ‚‡ÌËfl ‚ ˆËÙÓ‚ÓÏ ÔˇÌËÌÓ Clavinova ÔÓÁ‚ÓÎflÂÚ ÔÓ‚˚¯‡Ú¸ ËÎË ÔÓÌËʇڸ ‚˚ÒÓÚÛ
Á‚Û͇ ‚ÒÂÈ Í·‚ˇÚÛ˚ Ò ËÌÚ‚‡ÎÓÏ ‡‚Ì˚Ï ÔÓÎÛÚÓÌÛ, ˜ÚÓ·˚ ӷ΄˜ËÚ¸ Ë„Û ‚ ÒÎÓÊÌ˚ı ÚÓ̇θÌÓÒÚflı,
Ë ‰‡ÂÚ ‚ÓÁÏÓÊÌÓÒÚ¸ ΄ÍÓ ÔÓ‰Ó·‡Ú¸ ‚˚ÒÓÚÛ Á‚Û͇ Í·‚ˇÚÛ˚, ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Û˛ ‰Ë‡Ô‡ÁÓÌÛ „ÓÎÓÒ‡
Ô‚ˆ‡ ËÎË ‰Û„Ëı ËÌÒÚÛÏÂÌÚÓ‚. ç‡ÔËÏÂ, ÂÒÎË ÛÒÚ‡ÌÓ‚ËÚ¸ ‚Â΢ËÌÛ Ú‡ÌÒÔÓÌËÓ‚‡ÌËfl ̇ 5, ÚÓ ÔË
̇ʇÚËË Ì‡ Í·‚ˇÚÛ Í·‚Ë¯Ë C (‰Ó) ·Û‰ÂÚ Á‚Û˜‡Ú¸ ÌÓÚ‡ F (Ù‡). í‡ÍËÏ Ó·‡ÁÓÏ ÏÓÊÌÓ Ë„‡Ú¸ ÔÂÒÌ˛,
Í‡Í ˝ÚÓ ‰Â·ÂÚÒfl ‚ ‰Ó-χÊÓÂ, ‡ Clavinova Ú‡ÌÒÔÓÌËÛÂÚ Á‚ÛÍ ‚ Ù‡-χÊÓ.
[—/NO] [+/YES]
MIN
MAX
START/STOP
BRIGHT
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
E.PIANO
1
E.PIANO
2
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
CHURCH
ORGAN
JAZZ
ORGAN
STRINGS
CHOIR
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
[TRANSPOSE]
DEMO
METRONOME
TEMPO
FUNCTION
TEMPO / FUNCTION
— /NO +/ YES
PRESET
USER 1
USER 2
USER 3
TRACK
1
TRACK
2
START/STOP
REC
SONG
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
ON
TOUCH TRANSPOSE
ÑÂÈÒÚ‚Ëfl
óÚÓ·˚ ÔÓ‚˚ÒËÚ¸ ËÎË ÔÓÌËÁËÚ¸ ‚˚ÒÓÚÛ Á‚Û͇, ËÒÔÓθÁÛÈÚ ÍÌÓÔÍË [–/NO] Ë [+/YES], Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ
[TRANSPOSE]. á̇˜ÂÌË Ú‡ÌÒÔÓÌËÓ‚‡ÌËfl ÔÓfl‚ÎflÂÚÒfl
̇ Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ Ë̉Ë͇ÚÓÂ, ÂÒÎË Û‰ÂÊË‚‡ÂÚÒfl ÍÌÓÔ͇
[TRANSPOSE]. èÓ ÛÏÓΘ‡Ì˲ Á̇˜ÂÌËÂ
Ú‡ÌÒÔÓÌËÓ‚‡ÌËfl ‡‚ÌÓ 0.
Á̇˜ÂÌË ڇÌÒÔÓÌËÓ‚‡ÌËfl
à̉Ë͇ÚÓ ÍÌÓÔÍË [TRANSPOSE] „ÓËÚ, ÂÒÎË ‚˚·‡ÌÌÓ Á̇˜ÂÌËÂ
Ú‡ÌÒÔÓÌËÓ‚‡ÌËfl Ì ‡‚ÌÓ 0. ç‡Ê‡ÚË ÍÌÓÔÍË [TRANSPOSE] ÔÓÒÎÂ
˝ÚÓ„Ó ‚Íβ˜‡ÂÚ ËÎË ‚˚Íβ˜‡ÂÚ ÙÛÌÍˆË˛ Ú‡ÌÒÔÓÌËÓ‚‡ÌËfl.
íÖêåàçéãéÉàü
í‡ÌÒÔÓÌËÓ‚‡ÌË — ˝ÚÓ
ËÁÏÂÌÂÌË ÚÓ̇θÌÓÒÚË ÔÂÒÌË.
ç‡ ˆËÙÓ‚ÓÏ ÔˇÌËÌÓ Clavinova
Ú‡ÌÒÔÓÌËÓ‚‡ÌË ËÁÏÂÌflÂÚ
‚˚ÒÓÚÛ Á‚Û͇ ‚ÒÂÈ Í·‚ˇÚÛ˚.
ä ëÇÖÑÖçàû
ÑˇԇÁÓÌ Ú‡ÌÒÔÓÌËÓ‚‡ÌËfl:
-12: -12 ÔÓÎÛÚÓÌÓ‚ (̇ Ó‰ÌÛ
ÓÍÚ‡‚Û ÌËÊÂ)
0:
Òڇ̉‡Ú̇fl ‚˚ÒÓÚ‡ Á‚Û͇
12:
12 ÔÓÎÛÚÓÌÓ‚ (̇ Ó‰ÌÛ
ÓÍÚ‡‚Û ‚˚¯Â)
ä ëÇÖÑÖçàû
çÓÚ˚ ÌËÊÂ Ë ‚˚¯Â ‰Ë‡Ô‡ÁÓ̇
Îfl ÒÛ·ÍÓÌÚÓÍÚ‡‚˚ – ‰Ó ÔflÚÓÈ
ÓÍÚ‡‚˚ ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ
CLP-130/120 Á‚Û˜‡Ú ÒÓÓÚ‚ÂÚÒÚ‚ÂÌÌÓ Ì‡ Ó‰ÌÛ ÓÍÚ‡‚Û ‚˚¯Â
ËÎË ÌËÊÂ.
CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â
25
ç‡ÎÓÊÂÌË ÚÂÏ·Ó‚
ç‡ ‚ÒÂÈ Í·‚ˇÚÛ ÏÓÊÌÓ Ó‰ÌÓ‚ÂÏÂÌÌÓ Ë„‡Ú¸ ‰‚ÛÏfl ÚÂÏ·‡ÏË. ùÚÓ ÔÓÁ‚ÓÎflÂÚ ËÏËÚËÓ‚‡Ú¸
ÏÂÎӉ˘ÂÒÍËÈ ‰Û˝Ú ËÎË ÒÓ˜ÂÚ‡Ú¸ ‰‚‡ ÔÓıÓÊËı ÚÂÏ·‡ ‰Îfl ÔÓÎÛ˜ÂÌËfl ·ÓΠ̇Ò˚˘ÂÌÌÓ„Ó Á‚Û͇.
1
MIN
MAX
START/STOP
BRIGHT
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
E.PIANO
1
E.PIANO
2
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
CHURCH
ORGAN
JAZZ
ORGAN
STRINGS
CHOIR
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
2
DEMO
METRONOME
TEMPO
FUNCTION
— /NO +/ YES
PRESET
USER 1
USER 2
USER 3
TRACK
1
TRACK
2
START/STOP
REC
SONG
TEMPO / FUNCTION
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
ON
TOUCH TRANSPOSE
ÑÂÈÒÚ‚Ëfl
1. ÇÍβ˜ÂÌË ÂÊËχ ̇ÎÓÊÂÌËfl (Dual)
èêàåÖóÄçàÖ (CLP-130)
êÂÊËÏ˚ Dual Ë Split (ÒÚ. 27)
ÌÂθÁfl ‚˚Á‚‡Ú¸ Ó‰ÌÓ‚ÂÏÂÌÌÓ.
é‰ÌÓ‚ÂÏÂÌÌÓ Ì‡ÊÏËÚ ÍÌÓÔÍË ‰‚Ûı ÚÂÏ·Ó‚ (ËÎË Ì‡ÊÏËÚ ÍÌÓÔÍÛ
Ó‰ÌÓ„Ó ÚÂÏ·‡, Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ ‰Û„Ó„Ó). ÖÒÎË ‚Íβ˜ËÚÒfl ÂÊËÏ
Dual, Á‡„ÓflÚÒfl Ë̉Ë͇ÚÓ˚ Ó·ÓËı ‚˚·‡ÌÌ˚ı ÚÂÏ·Ó‚.
• Ç ÒÓÓÚ‚ÂÚÒÚ‚ËË Ò ÌÛÏÂ‡ˆËÂÈ
ÚÂÏ·Ó‚, Û͇Á‡ÌÌÓÈ ÒÔ‡‚‡,
ÚÂÏ· Ò ÏÂ̸¯ËÏ ÌÓÏÂÓÏ
ÒÚ‡ÌÓ‚ËÚÒfl ÚÂÏ·ÓÏ 1, ‰Û„ÓÈ ÚÂÏ·ÓÏ 2.
é˜Â‰ÌÓÒÚ¸ ÌÛχˆËË ÚÂÏ·Ó‚
1
2
3
4
5
6
7
GRAND
PIANO 1
GRAND
PIANO 2
E.PIANO
1
E.PIANO
2
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
CHURCH
ORGAN
JAZZ
ORGAN
STRINGS
CHOIR
GUITAR
WOOD
BASS
E.BASS
13
14
VOICE
8
9
10
11
12
êÂÊËÏ Function ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ CLP-130/120 Ó·ÂÒÔ˜˂‡ÂÚ ‰ÓÒÚÛÔ
Í ÌÂÍÓÚÓ˚Ï ‰Û„ËÏ ÙÛÌ͈ËflÏ ÂÊËχ Dual, ̇ÔËÏÂ Í Ì‡ÒÚÓÈÍÂ
·‡Î‡ÌÒ‡ „ÓÏÍÓÒÚË ËÎË Ì‡ÒÚÓÈÍ ÓÍÚ‡‚˚ (ÒÚ. 42). (ÖÒÎË ÙÛÌ͈ËË
ÂÊËχ Dual Ì ̇ÒÚÓÂÌ˚, ‰Îfl Í‡Ê‰Ó„Ó ÚÂÏ·‡ ·Û‰ÛÚ ËÒÔÓθÁÓ‚‡Ì˚
̇ÒÚÓÈÍË ÔÓ ÛÏÓΘ‡Ì˲.)
2. Ç˚ıÓ‰ ËÁ ÂÊËχ Dual Ë ‚ÓÁ‚‡Ú ‚ Ó·˚˜Ì˚È ÂÊËÏ
óÚÓ·˚ ‚ÂÌÛÚ¸Òfl ‚ Ó·˚˜Ì˚È ÂÊËÏ Ë„˚ Ò Ó‰ÌËÏ ÚÂÏ·ÓÏ, ̇ÊÏËÚÂ
ÍÌÓÔÍÛ Î˛·Ó„Ó ÚÂÏ·‡.
ä ëÇÖÑÖçàû
[VARIATION] Ë Dual (CLP-130)
à̉Ë͇ÚÓ ÍÌÓÔÍË [VARIATION]
„ÓËÚ, ÂÒÎË ‰Îfl Ó‰ÌÓ„Ó ËÎË
Ó·ÓËı ÚÂÏ·Ó‚ ‚ ÂÊËÏÂ Dual
ËÒÔÓθÁÛÂÚÒfl ‚‡Ë‡ˆËfl. Ç ÂÊËÏ Dual ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸
ÍÌÓÔÍÛ [VARIATION] ‰Îfl
‚Íβ˜ÂÌËfl Ë ÓÚÍβ˜ÂÌËfl
‚‡Ë‡ˆËË Ó·ÓËı ÚÂÏ·Ó‚.
óÚÓ·˚ ‚Íβ˜ËÚ¸ ËÎË ÓÚÍβ˜ËÚ¸
‚‡Ë‡ˆË˛ ‰Îfl Ó‰ÌÓ„Ó ËÁ
ÚÂÏ·Ó‚, ̇ÊÏËÚ ÍÌÓÔÍÛ
ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â„Ó ÚÂÏ·‡ ÔË
̇ʇÚÓÈ ÍÌÓÔÍ ‰Û„Ó„Ó ÚÂÏ·‡.
ä ëÇÖÑÖçàû
[REVERB] Ë ÂÊËÏ Dual
èËÓËÚÂÚÌ˚Ï fl‚ÎflÂÚÒfl ÚËÔ
‚·‡ˆËË, ‚˚·‡ÌÌ˚È ‰Îfl
ÚÂÏ·‡ 1. (ÖÒÎË Â‚Â·Â‡ˆËfl
ÓÚÍβ˜Â̇, ÚËÔ Â‚Â·Â‡ˆËË
ÚÂÏ·‡ 2 Ì ËÒÔÓθÁÛÂÚÒfl.)
ç‡ÒÚÓÈÍË „ÎÛ·ËÌ˚ ‚·‡ˆËË, ҉·ÌÌ˚ ÍÌÓÔ͇ÏË [–/NO]
ËÎË [+/YES] ÔË Ì‡Ê‡ÚÓÈ ÍÌÓÔÍÂ
[REVERB] (ÒÚ. 22),
ÔËÏÂÌfl˛ÚÒfl ÚÓθÍÓ Í ÚÂÏ·Û 1.
ä ëÇÖÑÖçàû
[EFFECT] Ë ÂÊËÏ Dual
é‰ËÌ ÚËÔ ˝ÙÙÂÍÚ‡ ÏÓÊÂÚ ·˚Ú¸
ÔËÓËÚÂÚÌ˚Ï ÔÓ ÓÚÌÓ¯ÂÌ˲ Í
‰Û„ÓÏÛ. ÉÎÛ·Ë̇ ÓÔ‰ÂÎflÂÚÒfl ‚
ÒÓÓÚ‚ÂÚÒÚ‚ËË Ò Ó·˚˜ÌÓÈ
„ÎÛ·ËÌÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚.
ë ÔÓÏÓ˘¸˛ ÙÛÌ͈ËË F3 (ÒÚ. 42)
ÏÓÊÌÓ Ì‡ÒÚÓËÚ¸ „ÎÛ·ËÌÛ ‰Îfl
Í‡Ê‰Ó„Ó ÚÂÏ·‡ ÔÓ Ò‚ÓÂÏÛ
ÛÒÏÓÚÂÌ˲. ç‡ÒÚÓÈÍË „ÎÛ·ËÌ˚
˝ÙÙÂÍÚ‡, ҉·ÌÌ˚ ÍÌÓÔ͇ÏË
[–/NO] ËÎË [+/YES] ÔË Ì‡Ê‡ÚÓÈ
ÍÌÓÔÍÂ [EFFECT] (ÒÚ. 23),
ÔËÏÂÌfl˛ÚÒfl ÚÓθÍÓ Í ÚÂÏ·Û 1.
26
CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â
ê‡Á‰ÂÎÂÌË Í·‚ˇÚÛ˚ (CLP-130)
êÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ ÔÓÁ‚ÓÎflÂÚ ËÒÔÓθÁÓ‚‡Ú¸ Ó‰ËÌ ÚÂÏ· ‰Îfl ΂ÓÈ ÛÍË Ë ‰Û„ÓÈ ‰Îfl Ô‡‚ÓÈ.
ç‡ÔËÏÂ, ΂ÓÈ ÛÍÓÈ ÏÓÊÌÓ Ë„‡Ú¸ ·‡ÒÓ‚Û˛ Ô‡Ú˲ Ò ÚÂÏ·ÓÏ WOOD BASS ËÎË ELECTRIC BASS,
‡ Ô‡‚ÓÈ - ÏÂÎӉ˲.
äÌÓÔÍË ‚˚·Ó‡ ÚÂÏ·‡
MIN
MAX
START/STOP
BRIGHT
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
E.PIANO
1
E.PIANO
2
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
CHURCH
ORGAN
JAZZ
ORGAN
STRINGS
CHOIR
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
[SPLIT]
DEMO
TEMPO
FUNCTION
METRONOME
— /NO +/ YES
PRESET
USER 1
USER 2
USER 3
TRACK
1
TRACK
2
START/STOP
REC
SONG
TEMPO / FUNCTION
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
ON
TOUCH TRANSPOSE
ÑÂÈÒÚ‚Ëfl
1. ÇÍβ˜ÂÌË ÂÊËχ ‡Á‰ÂÎÂÌËfl (Split)
ç‡ÊÏËÚ ÍÌÓÔÍÛ [SPLIT], ˜ÚÓ·˚ Á‡„ÓÂÎÒfl  Ë̉Ë͇ÚÓ. ë̇˜‡Î‡ ‰Îfl
΂ÓÈ ÛÍË ÔÓ ÛÏÓΘ‡Ì˲ ‚˚·Ë‡ÂÚÒfl ÚÂÏ· WOOD BASS.
êÂÊËÏ Function ‰‡ÂÚ ‰ÓÒÚÛÔ Í ÌÂÍÓÚÓ˚Ï ‰Û„ËÏ ÙÛÌ͈ËflÏ ÂÊËχ Split
(ÒÚ. 43). (ÖÒÎË ÙÛÌ͈ËË ÂÊËχ Split Ì ̇ÒÚÓÂÌ˚, ‰Îfl Í‡Ê‰Ó„Ó ÚÂÏ·‡
·Û‰ÛÚ ËÒÔÓθÁÓ‚‡Ì˚ ̇ÒÚÓÈÍË ÔÓ ÛÏÓΘ‡Ì˲.)
èêàåÖóÄçàÖ
êÂÊËÏ˚ Dual (ÒÚ. 26) Ë Split
(ÒÚ. 26) ÌÂθÁfl ËÒÔÓθÁÓ‚‡Ú¸
Ó‰ÌÓ‚ÂÏÂÌÌÓ.
2. ì͇Á‡ÌË ÚÓ˜ÍË ‡Á‰ÂÎÂÌËfl (Ô‡‚ÓÈ Ë Î‚ÓÈ ˜‡ÒÚË
Í·‚ˇÚÛ˚)
åÓÊÌÓ ÔÂÂÌÂÒÚË ÚÓ˜ÍÛ ‡Á‰ÂÎÂÌËfl Í·‚ˇÚÛ˚ ̇ β·Û˛ ‰Û„Û˛
Í·‚˯Û, ̇ʇ‚ ÂÂ, Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ [SPLIT] (̇Á‚‡ÌË ÚÂÍÛ˘ÂÈ
Í·‚Ë¯Ë ‡Á‰ÂÎÂÌËfl Í·‚ˇÚÛ˚ ÓÚÓ·‡Ê‡ÂÚÒfl ̇
Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ Ë̉Ë͇ÚÓÂ, ÔÓ͇ Û‰ÂÊË‚‡ÂÚÒfl ÍÌÓÔ͇ [SPLIT]).
ä ëÇÖÑÖçàû
ᇉ‡Ì̇fl ÚӘ͇ ‡Á‰ÂÎÂÌËfl
Í·‚ˇÚÛ˚ (split point) ‚ıÓ‰ËÚ
‚ ÎÂ‚Û˛ ˜‡ÒÚ¸.
èËÏ Ë̉Ë͇ˆËË ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl Í·‚ˇÚÛ˚
(F 2)
‰ËÂÁ — ˜ÂÚ‡ ̇‚ÂıÛ
(G2)
ä ëÇÖÑÖçàû
íÓ˜ÍÛ ‡Á‰ÂÎÂÌËfl ÏÓÊÌÓ
Á‡‰‡Ú¸ Ë ÔË ÔÓÏÓ˘Ë ÙÛÌ͈ËË
Function 4 (ÒÚ. 43).
(A 2)
·ÂÏÓθ — ˜ÂÚ‡ ‚ÌËÁÛ
é·˚˜ÌÓ ÚӘ͇ ‡Á‰ÂÎÂÌËfl Í·‚ˇÚÛ˚ ÛÒÚ‡ÌÓ‚ÎÂ̇ ̇ Í·‚˯ ه
χÎÓÈ ÓÍÚ‡‚˚.
ÖÒÎË ÚÓ˜ÍÛ ‡Á‰ÂÎÂÌËfl Ì Ú·ÛÂÚÒfl ËÁÏÂÌËÚ¸, Ì ‚˚ÔÓÎÌflÈÚ ˝ÚË
‰ÂÈÒÚ‚Ëfl.
CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â
27
3. Ç˚·Ó ÚÂÏ·‡ ‰Îfl Ô‡‚ÓÈ ÛÍË
ç‡ÊÏËÚ ÍÌÓÔÍÛ ÚÂÏ·‡.
4. Ç˚·Ó ÚÂÏ·‡ ‰Îfl ΂ÓÈ ÛÍË
ç‡ÊÏËÚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Û˛ ÍÌÓÔÍÛ ÚÂÏ·‡, Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ
[SPLIT]. (à̉Ë͇ÚÓ ÍÌÓÔÍË ÚÂÏ·‡ ΂ÓÈ ÛÍË ·Û‰ÂÚ „ÓÂÚ¸,
ÔÓ͇ ̇ʇڇ ÍÌÓÔ͇ [SPLIT].)
ÑÎfl ‚Íβ˜ÂÌËfl Ë ÓÚÍβ˜ÂÌËfl ‚‡ˇˆËË ‰Îfl ÌËÊÌÂ„Ó ÚÂÏ·‡,
Û‰ÂÊË‚‡ÈÚ ÍÌÓÔÍÛ [SPLIT] Ë Ì‡ÊÏËÚ ÍÌÓÔÍÛ [VARIATION]
ËÎË ÍÌÓÔÍÛ ‚˚·‡ÌÌÓ„Ó Ì‡ ˝ÚÓÚ ÏÓÏÂÌÚ ÚÂÏ·‡.
5. Ç˚ıÓ‰ ËÁ ÂÊËχ Split Ë ‚ÓÁ‚‡Ú ‚ Ó·˚˜Ì˚È ÂÊËÏ
ç‡ÊÏËÚ ÍÌÓÔÍÛ [SPLIT] ¢ ‡Á, ˜ÚÓ·˚  Ë̉Ë͇ÚÓ ÔÓ„‡Ò.
ä ëÇÖÑÖçàû
[VARIATION] Ë ÂÊËÏ Split
ÑÎfl ÚÂÏ·Ó‚ ‚ ÂÊËÏÂ Split
ÏÓÊÌÓ ‚Íβ˜‡Ú¸ Ë ‚˚Íβ˜‡Ú¸
‚‡Ë‡ˆË˛. é·˚˜ÌÓ ‚ ÂÊËÏÂ
Split „ÓËÚ Ë̉Ë͇ÚÓ ÚÂÏ·‡
Ô‡‚ÓÈ ÛÍË. äÌÓÔÍÛ
[VARIATION] ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ‰Îfl ‚Íβ˜ÂÌËfl Ë ÓÚÍβ˜ÂÌËfl ‚‡Ë‡ˆËË ÚÂÏ·‡ Ô‡‚ÓÈ
ÛÍË. é‰Ì‡ÍÓ ÂÒÎË Û‰ÂÊË‚‡ÂÚÒfl ÍÌÓÔ͇ [SPLIT], „ÓËÚ
Ë̉Ë͇ÚÓ ÚÂÏ·‡ ΂ÓÈ ÛÍË.
Ç ˝ÚÓÏ ÒÎÛ˜‡Â ÍÌÓÔ͇
[VARIATION] ‚Íβ˜‡ÂÚ Ë
‚˚Íβ˜‡ÂÚ ‚‡Ë‡ˆË˛ ‰Îfl
ÚÂÏ·‡ ΂ÓÈ ÛÍË.
ä ëÇÖÑÖçàû
[REVERB] Ë ÂÊËÏ Split
èËÓËÚÂÚÌ˚Ï fl‚ÎflÂÚÒfl ÚËÔ
‚·‡ˆËË, ‚˚·‡ÌÌ˚È ‰Îfl
ÚÂÏ·‡ Ô‡‚ÓÈ ÛÍË. (ÖÒÎË
‚·‡ˆËfl ÓÚÍβ˜Â̇, ÚËÔ
‚·‡ˆËË ÚÂÏ·‡ ΂ÓÈ
ÛÍË Ì ·Û‰ÂÚ ËÒÔÓθÁÓ‚‡Ú¸Òfl.)
ç‡ÒÚÓÈÍË „ÎÛ·ËÌ˚
‚·‡ˆËË, ҉·ÌÌ˚ ̇
Ô‡ÌÂÎË ÛÔ‡‚ÎÂÌËfl (̇ÔËÏÂ
̇ʇÚËÂÏ ÍÌÓÔÓÍ [–/NO] ËÎË
[+/YES], ÍÓ„‰‡ Û‰ÂÊË‚‡ÂÚÒfl
ÍÌÓÔ͇ [REVERB] ÒÏ. ÒÚ. 22),
ÔËÏÂÌfl˛ÚÒfl ÚÓθÍÓ Í ÚÂÏ·Û
Ô‡‚ÓÈ ÛÍË.
ä ëÇÖÑÖçàû
[EFFECT] Ë ÂÊËÏ Split
é‰ËÌ ÚËÔ ˝ÙÙÂÍÚ‡ fl‚ÎflÂÚÒfl
ÔËÓËÚÂÚÌ˚Ï ÔÓ ÓÚÌÓ¯ÂÌ˲ Í
‰Û„ÓÏÛ. ÉÎÛ·Ë̇ ÓÔ‰ÂÎflÂÚÒfl
‚ ÒÓÓÚ‚ÂÚÒÚ‚ËË Ò Ó·˚˜ÌÓÈ
„ÎÛ·ËÌÓÈ ‰Îfl ‰‡ÌÌÓÈ
ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚.
ë ÔÓÏÓ˘¸˛ ÙÛÌ͈ËË F4 (ÒÚ. 43)
ÏÓÊÌÓ ËÁÏÂÌËÚ¸ „ÎÛ·ËÌÛ ‰Îfl
Í‡Ê‰Ó„Ó ÚÂÏ·‡ ÔÓ Ò‚ÓÂÏÛ
ÛÒÏÓÚÂÌ˲. ç‡ÒÚÓÈÍË
„ÎÛ·ËÌ˚ ˝ÙÙÂÍÚ‡, ҉·ÌÌ˚Â
̇ Ô‡ÌÂÎË ÛÔ‡‚ÎÂÌËfl (̇ÔËÏ ̇ʇÚËÂÏ ÍÌÓÔÓÍ [–/NO]
ËÎË [+/YES] ÔË Ì‡Ê‡ÚÓÈ ÍÌÓÔÍÂ
[EFFECT] ÒÏ. ÒÚ. 23),
ÔËÏÂÌfl˛ÚÒfl ÚÓθÍÓ Í ÚÂÏ·Û
Ô‡‚ÓÈ ÛÍË.
28
CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â
àÒÔÓθÁÓ‚‡ÌË ÏÂÚÓÌÓχ
Ç ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova ‚ÒÚÓÂÌ ÏÂÚÓÌÓÏ (ÔË·Ó, Á‡‰‡˛˘ËÈ ÚÂÏÔ ËÒÔÓÎÌÂÌËfl), ˜ÚÓ Û‰Ó·ÌÓ
‰Îfl ÛÔ‡ÊÌÂÌËÈ.
1
2
MIN
[TEMPO/FUNCTION# ▲▼]
MAX
START/STOP
BRIGHT
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
E.PIANO
1
E.PIANO
2
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
CHURCH
ORGAN
JAZZ
ORGAN
STRINGS
CHOIR
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
[—/NO] [+/YES]
DEMO
METRONOME
TEMPO
FUNCTION
— /NO +/ YES
PRESET
USER 1
USER 2
USER 3
TEMPO / FUNCTION
TRACK
1
TRACK
2
START/STOP
REC
SONG
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
ON
TOUCH TRANSPOSE
ÑÂÈÒÚ‚Ëfl
1. á‡ÔÛÒÍ ÏÂÚÓÌÓχ
á‚ÛÍ ÏÂÚÓÌÓχ ‚Íβ˜‡ÂÚÒfl ̇ʇÚËÂÏ
ÍÌÓÔÍË METRONOME [START/STOP].
ç‡ÒÚÓÈ͇ ÚÂÏÔ‡
à̉Ë͇ÚÓ ‰ÓÎË ÏË„‡ÂÚ
‚ ÚÂÍÛ˘ÂÏ ÚÂÏÔÂ.
èË ÔÓÏÓ˘Ë ÍÌÓÔÓÍ [TEMPO/FUNCTION# ▼, ▲] ÚÂÏÔ ÏÂÚÓÌÓχ Ë ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÔÂÒÌË, Á‡ÔËÒ‡ÌÌÓÈ ÔÓθÁÓ‚‡ÚÂÎÂÏ (Á‡ÔËÒ¸ ÔÂÒÂÌ ÓÔË҇̇ ‚
ÒÎÂ‰Û˛˘ÂÏ ‡Á‰ÂÎÂ), ÏÓÊÌÓ ËÁÏÂÌflÚ¸ ‚ ‰Ë‡Ô‡ÁÓÌ ÓÚ 32 ‰Ó 280 Û‰‡Ó‚ ‚
ÏËÌÛÚÛ (ÂÒÎË „ÓËÚ Ë̉Ë͇ÚÓ ÍÌÓÔÍË [TEMPO/FUNCTION# ▼, ▲]
[TEMPO]).
ç‡ÒÚÓÈ͇ ˜‡ÒÚÓÚ˚ Ò˄̇· ÏÂÚÓÌÓχ
ó‡ÒÚÓÚÛ Ò˄̇ÎÓ‚ (Û‰‡Ó‚) ÏÂÚÓÌÓχ ÏÓÊÌÓ
Á‡‰‡Ú¸ ÔË ÔÓÏÓ˘Ë ÍÌÓÔÓÍ [–/NO] Ë [+/YES],
Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ METRONOME [START/STOP].
åÓÊÌÓ ÛÒÚ‡ÌÓ‚ËÚ¸ ‰Óβ ̇ 0, 2, 3, 4, 5 ËÎË 6.
íÂÍÛ˘Â Á̇˜ÂÌË ÔÓfl‚ÎflÂÚÒfl ̇ Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ
Ë̉Ë͇ÚÓÂ, ÂÒÎË Ì‡Ê‡Ú‡ ÍÌÓÔ͇ METRONOME
[START/STOP].
‰ÓÎfl
ä ëÇÖÑÖçàû
ÖÒÎË „ÓËÚ Ë̉Ë͇ÚÓ
[FUNCTION#] ÍÌÓÔÍË [TEMPO/
FUNCTION#], ̇ÊÏËÚ ÍÌÓÔÍÛ
[TEMPO/FUNCTION#], ˜ÚÓ·˚
Á‡„ÓÂÎÒfl Ë̉Ë͇ÚÓ [TEMPO].
ä ëÇÖÑÖçàû
ÉÓÏÍÓÒÚ¸ ÏÂÚÓÌÓχ ÏÓÊÌÓ
̇ÒÚÓËÚ¸ ÔË ÔÓÏÓ˘Ë ÙÛÌ͈ËË
Metronome Volume ‚ ÂÊËÏÂ
Function (ÒÚ. 45).
2. éÒÚ‡Ìӂ͇ ÏÂÚÓÌÓχ
éÚÍβ˜ËÚ¸ ÏÂÚÓÌÓÏ ÏÓÊÌÓ ÍÌÓÔÍÓÈ METRONOME [START/STOP].
CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â
29
á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl
ÇÓ ‚ÂÏfl ÛÔ‡ÊÌÂÌËÈ ËÌÓ„‰‡ ÔÓÎÂÁÌÓ ÔÓÒÎÛ¯‡Ú¸ ÒÓ·ÒÚ‚ÂÌÌÛ˛ Ë„Û Ì‡
CLP-130/120. åÓÊÌÓ, ̇ÔËÏÂ, Á‡ÔËÒ‡Ú¸ ÚÓθÍÓ Ô‡Ú˲ ΂ÓÈ ÛÍË, ‡
Á‡ÚÂÏ ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸  ‚Ó ‚ÂÏfl ÛÔ‡ÊÌÂÌËÈ Ô‡‚ÓÈ ÛÍÓÈ. àÎË, Ú‡Í
Í‡Í ÏÓÊÌÓ Á‡ÔËÒ‡Ú¸ ‰‚ ‰ÓÓÊÍË ÓÚ‰ÂθÌÓ, ÏÓÊÌÓ ÔÓ ÓÚ‰ÂθÌÓÒÚË
Á‡ÔËÒ‡Ú¸ Ô‡ÚËË Î‚ÓÈ Ë Ô‡‚ÓÈ ÛÍË ËÎË Ó·Â Ô‡ÚËË Ë ÔÓÒÎÛ¯‡Ú¸, ͇Í
ÓÌË Á‚Û˜‡Ú ÔË ‚ÓÒÔÓËÁ‚‰ÂÌËË. ç‡ ‰‚ ‰ÓÓÊÍË CLP-130 ÏÓÊÌÓ Á‡ÔËÒ‡Ú¸ ‰Ó ÚÂı ÔÂÒÂÌ ÔÓθÁÓ‚‡ÚÂÎfl (Ó‰ÌÛ ÔÂÒÌ˛ ÔÓθÁÓ‚‡ÚÂÎfl ̇ CLP-120).
ä ëÇÖÑÖçàû
á‡ÔËÒ‡Ú¸ Ò‚Ó˛ Ë„Û ÏÓÊÌÓ Ì‡
χ„ÌËÚÓÙÓÌ ËÎË ‰Û„Ó ÛÒÚÓÈÒÚ‚Ó ˜ÂÂÁ AUX OUT (ÒÚ. 50).
íÖêåàçéãéÉàü
á‡ÔËÒ¸ Ë ÒÓı‡ÌÂÌË ‰‡ÌÌ˚ı
îÓÏ‡Ú ‰‡ÌÌ˚ı ÔË Á‡ÔËÒË Ì‡
͇ÒÒÂÚÛ ÓÚ΢‡ÂÚÒfl ÓÚ ÙÓχڇ
‰‡ÌÌ˚ı, Á‡ÔËÒ˚‚‡ÂÏ˚ı ‚
Ô‡ÏflÚ¸ Clavinova. ç‡ Í‡ÒÒÂÚÛ
Á‡ÔËÒ˚‚‡˛ÚÒfl ‡Û‰ËÓÒ˄̇Î˚.
äÓ„‰‡ ‚˚ ÔÓË„˚‚‡ÂÚÂ
Á‡ÔËÒ‡ÌÌ˚ ÔÂÒÌË, Clavinova
„ÂÌÂËÛÂÚ Á‚ÛÍ ‚ ÒÓÓÚ‚ÂÚÒÚ‚ËË
Ò ËÌÙÓχˆËÂÈ, ÍÓÚÓ‡fl
ı‡ÌËÚÒfl ‚ Ô‡ÏflÚË. èÓ˝ÚÓÏÛ
Á‡ÔËÒ¸ ‚ Ô‡ÏflÚ¸ Clavinova
ÚӘ̠·˚ÎÓ ·˚ ̇Á‚‡Ú¸
ÒÓı‡ÌÂÌËÂÏ. çÓ ‚ ˝ÚÓÈ ÍÌË„Â
˜‡ÒÚÓ ËÒÔÓθÁÛÂÚÒfl ÒÎÓ‚Ó
Á‡ÔËÒ¸, Ú‡Í Í‡Í ˝ÚÓ Í‡ÊÂÚÒfl
·ÓΠÎӄ˘Ì˚Ï.
á‡ÔËÒ¸ ̇ ‰ÓÓÊÍÛ TRACK1
1 4 5 6 7
MIN
MAX
START/STOP
BRIGHT
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
CHURCH
ORGAN
JAZZ
ORGAN
E.PIANO
1
E.PIANO
2
DEMO
METRONOME
TEMPO
FUNCTION
TEMPO / FUNCTION
— /NO +/ YES
PRESET
USER 1
USER 2
USER 3
TRACK
1
TRACK
2
START/STOP
REC
STRINGS
CHOIR
SONG
ÑÂÈÒÚ‚Ëfl
ÇçàåÄçàÖ!
á‡Ï˜‡ÌËfl Ó Á‡ÔËÒË
èÓÒΠÓÚÍβ˜ÂÌËfl ÔËÚ‡ÌËfl ‚Ò Á‡ÔËÒ‡ÌÌ˚ ‰‡ÌÌ˚ ÔÂÒÌË ÔÓθÁÓ‚‡ÚÂÎfl ı‡ÌflÚÒfl ‚
Ô‡ÏflÚË ÔˇÌËÌÓ ÓÍÓÎÓ Ì‰ÂÎË. ÖÒÎË ÌÛÊÌÓ, ˜ÚÓ·˚ ‰‡ÌÌ˚ ı‡ÌËÎËÒ¸ ‰Óθ¯Â, ‚Íβ˜‡ÈÚÂ
ÔËÚ‡ÌË ıÓÚfl ·˚ ‡Á ‚ ̉Âβ ̇ ÌÂÒÍÓθÍÓ ÏËÌÛÚ.
àÒÔÓθÁÛfl ÙÛÌÍˆË˛ Ô‰‡˜Ë ‰‡ÌÌ˚ı (ÒÚ. 47), ‰‡ÌÌ˚ ÏÓÊÌÓ Ú‡ÍÊ ı‡ÌËÚ¸ ̇ ‚̯ÌËı ÛÒÚÓÈÒÚ‚‡ı, ̇ÔËÏ ̇ ÛÒÚÓÈÒÚ‚Â MIDI Data Filer MDF3 ÍÓÔÓ‡ˆËË Yamaha.
1. Ç˚·ÂËÚ ÔÂÒÌ˛ ‰Îfl Á‡ÔËÒË. (CLP-130)
óÚÓ·˚ ‚˚·‡Ú¸ ÔÂÒÌ˛ ‰Îfl Á‡ÔËÒË, ̇ÊÏËÚ ÍÌÓÔÍÛ [USER 1/2/3].
ᇄÓËÚÒfl Ë̉Ë͇ÚÓ ‚˚·‡ÌÌÓÈ ÔÂÒÌË. (ÖÒÎË Ë̉Ë͇ÚÓ˚ Ì „ÓflÚ,
ÔÂÒÌfl Ì ‚˚·‡Ì‡.)
2. ᇉ‡ÈÚ ‚Ò Ô‚Ó̇˜‡Î¸Ì˚ ̇ÒÚÓÈÍË.
èÂ‰ ̇˜‡ÎÓÏ Á‡ÔËÒË ‚˚·ÂËÚ ÚÂÏ·, ÍÓÚÓ˚È ıÓÚËÚ Á‡ÔËÒ‡Ú¸ (ËÎË
ÚÂÏ·˚, ÂÒÎË ·Û‰ÂÚ ËÒÔÓθÁÓ‚‡Ì ÂÊËÏ Dual ËÎË Split). ç‡ÒÚÓÈÚ ‚ÒÂ
‰Û„Ë ԇ‡ÏÂÚ˚ (ÚÂÏÔ, ‚Â·Â‡ˆËfl Ë Ú. ‰.). åÓÊÌÓ Ú‡ÍÊ ̇ÒÚÓËÚ¸
„ÓÏÍÓÒÚ¸.
ÉÓÏÍÓÒÚ¸ ÏÓÊÌÓ Ì‡ÒÚ‡Ë‚‡Ú¸ „ÛÎflÚÓÓÏ [MASTER VOLUME].
30
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
2
3
CLP-130/120 á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
ON
TOUCH TRANSPOSE
èêàåÖóÄçàÖ (CLP-130)
Ç ÂÊËÏ ‰ÂÏÓÌÒÚ‡ˆËË ‰Îfl
‚˚·Ó‡ ÔÂÒÌË ÌÂθÁfl ËÒÔÓθÁÓ‚‡Ú¸ ÍÌÓÔÍÛ [USER 1/2/3].
èêàåÖóÄçàÖ
á‡ÔËÒ¸ Ì‚ÓÁÏÓÊ̇ ‚ ÂÊËÏÂ
‰ÂÏÓÌÒÚ‡ˆËË Ë ÂÊËÏÂ
‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ.
èêàåÖóÄçàÖ
óÚÓ·˚ Ì ÔÓÚÂflÚ¸ ‰‡ÌÌ˚Â:
CLP-130
ÖÒÎË Ì‡ ‰ÓÓÊÍ ÂÒÚ¸ ‰‡ÌÌ˚Â,
ÔË Ì‡Ê‡ÚËË [USER 1/2/3]
Ë̉Ë͇ÚÓ ‰ÓÓÊÍË ·Û‰ÂÚ
ÁÂÎÂÌ˚Ï. èÓÏÌËÚÂ, ˜ÚÓ
Á‡ÔËÒ˚‚‡fl ÌÓ‚˚ ‰‡ÌÌ˚ ̇
˝ÚÛ ‰ÓÓÊÍÛ, ‚˚ ÒÚˇÂÚÂ
Ëϲ˘ËÂÒfl Ú‡Ï ‰‡ÌÌ˚Â.
CLP-120
ç‡ÊÏËÚ ÍÌÓÔÍÛ [TRACK1/2].
ÖÒÎË Á‡„ÓÂÎÒfl ÁÂÎÂÌ˚È
Ë̉Ë͇ÚÓ, ̇ ‰ÓÓÊÍ ÛÊÂ
ÂÒÚ¸ ‰‡ÌÌ˚Â. èÓÏÌËÚÂ, ˜ÚÓ
ÔË Á‡ÔËÒË ÌÓ‚˚ı ‰‡ÌÌ˚ı
ÒÚ‡˚Â ·Û‰ÛÚ ÒÚÂÚ˚.
3. ÇÍβ˜ËÚ ÂÊËÏ „ÓÚÓ‚ÌÓÒÚË Í Á‡ÔËÒË.
óÚÓ·˚ ‚Íβ˜ËÚ¸ ÂÊËÏ „ÓÚÓ‚ÌÓÒÚË Í Á‡ÔËÒË,
̇ÊÏËÚ ÍÌÓÔÍÛ [REC]. á‡ÔËÒ¸ ¢ ÌÂ
̇˜Ë̇ÂÚÒfl.
à̉Ë͇ÚÓ [TRACK1] ËÎË [TRACK2] Á‡ÏË„‡ÂÚ
Í‡ÒÌ˚Ï Ò‚ÂÚÓÏ.
é·˙ÂÏ Ô‡ÏflÚË, ‰ÓÒÚÛÔÌ˚È ‰Îfl Á‡ÔËÒË,
ÓÚÓ·‡Ê‡ÂÚÒfl ̇ Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ Ë̉Ë͇ÚÓ ‚
ÍËÎÓ·‡ÈÚ‡ı, ÚӘ͇ ‚ Ô‡‚ÓÏ ÌËÊÌÂÏ Û„ÎÛ
Ë̉Ë͇ÚÓ‡ ÏË„‡ÂÚ ‚ ÒÓÓÚ‚ÂÚÒÚ‚ËË Ò ÚÂÍÛ˘ËÏË
̇ÒÚÓÈ͇ÏË ÚÂÏÔ‡ ÏÂÚÓÌÓχ.
Ë̉Ë͇ÚÓ ÏË„‡ÂÚ
åÓÊÌÓ ÓÚÍβ˜ËÚ¸ ÂÊËÏ „ÓÚÓ‚ÌÓÒÚË Í Á‡ÔËÒË ‰Ó ̇˜‡Î‡ Á‡ÔËÒË, ‚ÚÓÓÈ
‡Á ̇ʇ‚ ÍÌÓÔÍÛ [REC].
4. Ç˚·ÂËÚ ‰ÓÓÊÍÛ ‰Îfl Á‡ÔËÒË.
ÖÒÎË ÂÊËÏ „ÓÚÓ‚ÌÓÒÚË Í Á‡ÔËÒË ‚Íβ˜ÂÌ Ì‡ Ô‰˚‰Û˘ÂÏ ˝Ú‡ÔÂ, ‰Îfl
Á‡ÔËÒË ‡‚ÚÓχÚ˘ÂÒÍË ‚˚·Ë‡ÂÚÒfl ÔÓÒΉÌflfl Á‡ÔËÒ‡Ì̇fl ‰ÓÓÊ͇, Ë
 Ë̉Ë͇ÚÓ (ÍÌÓÔ͇ [TRACK1] ËÎË [TRACK2]) Á‡„ÓËÚÒfl Í‡ÒÌ˚Ï
Ò‚ÂÚÓÏ. ÖÒÎË ‚˚ ıÓÚËÚ ҉·ڸ Á‡ÔËÒ¸ ̇ ‰Û„Û˛ ‰ÓÓÊÍÛ, ̇ÊÏËÚÂ
ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Û˛ ÍÌÓÔÍÛ, ˜ÚÓ·˚ Ë̉Ë͇ÚÓ ˝ÚÓÈ ‰ÓÓÊÍË Ì‡˜‡Î
„ÓÂÚ¸ Í‡ÒÌ˚Ï Ò‚ÂÚÓÏ.
5. 燘ÌËÚ Á‡ÔËÒ¸.
á‡ÔËÒ¸ ̇˜Ë̇ÂÚÒfl ‡‚ÚÓχÚ˘ÂÒÍË, ÍÓ„‰‡ ‚˚ ̇ÊËχÂÚ Í·‚Ë¯Û Ì‡
Í·‚ˇÚÛ ËÎË ÍÌÓÔÍÛ SONG [START/STOP]. ÇÓ ‚ÂÏfl Á‡ÔËÒË Ì‡
‰ËÒÔΠÔÓfl‚ÎflÂÚÒfl ÌÓÏÂ ÚÂÍÛ˘Â„Ó Ú‡ÍÚ‡.
6. éÒÚ‡ÌÓ‚ËÚ Á‡ÔËÒ¸.
óÚÓ·˚ ÓÒÚ‡ÌÓ‚ËÚ¸ Á‡ÔËÒ¸, ̇ÊÏËÚ ÍÌÓÔÍÛ [REC] ËÎË ÍÌÓÔÍÛ
SONG [START/STOP].
à̉Ë͇ÚÓ Á‡ÔËÒ‡ÌÌÓÈ ‰ÓÓÊÍË ·Û‰ÂÚ „ÓÂÚ¸ ÁÂÎÂÌ˚Ï Ò‚ÂÚÓÏ,
ÔÓ͇Á˚‚‡fl, ˜ÚÓ Ì‡ ‰ÓÓÊÍ ÚÂÔÂ¸ ÂÒÚ¸ ‰‡ÌÌ˚Â. (êÂÊËÏ Á‡ÔËÒË
ÓÚÍβ˜‡ÂÚÒfl ‡‚ÚÓχÚ˘ÂÒÍË.)
7. ÇÓÒÔÓËÁ‚‰ËÚ Á‡ÔËÒ‡ÌÌÓÂ.
ÑÎfl ‚ÓÒÔÓËÁ‚‰ÂÌËfl Á‡ÔËÒ‡ÌÌÓ„Ó Ì‡ÊÏËÚ ÍÌÓÔÍÛ SONG [START/
STOP].
óÚÓ·˚ ÓÒÚ‡ÌÓ‚ËÚ¸ ÔÂÒÌ˛ ̇ ÒÂ‰ËÌÂ, ̇ÊÏËÚ ÍÌÓÔÍÛ SONG [START/
STOP].
èêàåÖóÄçàÖ
é·˙ÂÏ ‰ÓÒÚÛÔÌ˚È ‰Îfl Á‡ÔËÒË:
é·˙ÂÏ ‚ ÍËÎÓ·‡ÈÚ‡ı (‰ËÌˈ‡
ËÁÏÂÂÌËfl ‰‡ÌÌ˚ı) Û͇Á˚‚‡ÂÚ,
͇ÍÓÈ Ó·˙ÂÏ ‰ÓÒÚÛÔÂÌ ‰Îfl
Á‡ÔËÒË Ì‡ ˆËÙÓ‚ÓÏ ÔˇÌËÌÓ
Clavinova. Ç Á‡‚ËÒËÏÓÒÚË ÓÚ
ËÒÔÓθÁÓ‚‡ÌËfl Ô‰‡ÎÂÈ Ë
‰Û„Ëı Ù‡ÍÚÓÓ‚ ̇ ˆËÙÓ‚ÓÂ
ÔˇÌËÌÓ CLP-130/120 ÏÓÊÌÓ ‰Ó
9400 ÌÓÚ.
ä ëÇÖÑÖçàû (CLP-130)
ÖÒÎË ÔÂÒÌfl ÔÓθÁÓ‚‡ÚÂÎfl
([USER 1/2/3]) Ì ‚˚·‡Ì‡
(Ë̉Ë͇ÚÓ Ì „ÓËÚ), ̇ʇÚËÂ
̇ ÍÌÓÔÍÛ [REC] Ô˂‰ÂÚ Í
ÚÓÏÛ, ˜ÚÓ ·Û‰ÛÚ ‚˚·‡Ì˚
Ô‡‡ÏÂÚ˚ [USER 1] [TRACK1]
Ë ‚Íβ˜ËÚÒfl ÂÊËÏ „ÓÚÓ‚ÌÓÒÚË
Í Á‡ÔËÒË.é‰ÌÓ‚ÂÏÂÌÌÓ ·Û‰ÂÚ
ÓÚÍβ˜ÂÌÓ ‚ÓÒÔÓËÁ‚‰ÂÌËÂ,
ÂÒÎË Ì‡ ‚ÚÓÓÈ ‰ÓÓÊÍÂ
([TRACK2]) ÂÒÚ¸ ‰‡ÌÌ˚Â.
ä ëÇÖÑÖçàû
ÖÒÎË ÔË Ì‡˜‡Î Á‡ÔËÒË
‚Íβ˜ÂÌ ÏÂÚÓÌÓÏ, ‚˚ ÒÏÓÊÂÚÂ
ÒÎ˚¯‡Ú¸ Â„Ó Ò˄̇Î˚, ÌÓ
Á‡ÔËÒ˚‚‡Ú¸Òfl ÓÌË Ì ·Û‰ÛÚ.
ä ëÇÖÑÖçàû
ÑÓÔÓÎÌËÚÂθÌ˚ ҂‰ÂÌËfl Ó
Á‡ÔËÒË Ô˂‰ÂÌ˚ ̇ ÒÚ. 33.
ä ëÇÖÑÖçàû
èË ÔÓÏÓ˘Ë ÙÛÌ͈ËË ÂÊËχ
΂ÓÈ Ô‰‡ÎË, ÓÔËÒ‡ÌÌÓÈ Ì‡
ÒÚ. 44, Á‡ ΂ÓÈ Ô‰‡Î¸˛
ÏÓÊÌÓ Á‡ÍÂÔËÚ¸ ÙÛÌÍˆË˛
‚Íβ˜ÂÌËfl/ÓÚÍβ˜ÂÌËfl Á‡ÔËÒË.
èêàåÖóÄçàÖ
ÖÒÎË ‚ ÛÒÚÓÈÒÚ‚Â ‰Îfl Á‡ÔËÒË
ÔÓ˜ÚË Ì ÓÒÚ‡ÎÓÒ¸ ÏÂÒÚ‡,
Ë̉Ë͇ÚÓ Á‡ÔËÒË ‰ÓÓÊÍË
̇˜Ë̇ÂÚ ÏË„‡Ú¸. ÖÒÎË ‚Ó
‚ÂÏfl Á‡ÔËÒË Ó·˙ÂÏ Ô‡ÏflÚË
ÔÓÎÌÓÒÚ¸˛ ËÒ˜ÂÔ˚‚‡ÂÚÒfl,
̇ ‰ËÒÔΠÔÓfl‚ËÚÒfl ̇‰ÔËÒ¸
«FUL» Ë Á‡ÔËÒ¸ ‡‚ÚÓχÚ˘ÂÒÍË
ÓÒÚ‡ÌÓ‚ËÚÒfl. (ÇÒ Á‡ÔËÒ‡ÌÌ˚Â
‰Ó ˝ÚÓ„Ó ‰‡ÌÌ˚ ·Û‰ÛÚ
ÒÓı‡ÌÂÌ˚.)
èêàåÖóÄçàÖ
ÖÒÎË ‰Îfl ̇˜‡Î‡ Á‡ÔËÒË Ì‡Ê‡Ú¸
ÍÌÓÔÍÛ SONG [START/STOP],
‡ Á‡ÚÂÏ Â˘Â ‡Á ̇ʇڸ  ‰Îfl
Á‡‚¯ÂÌËfl Á‡ÔËÒË, ‚ÒÂ
‰‡ÌÌ˚Â, Ô‰‚‡ËÚÂθÌÓ
Á‡ÔËÒ‡ÌÌ˚ ̇ ‚˚·‡ÌÌÛ˛
‰ÓÓÊÍÛ, ·Û‰ÛÚ Û‰‡ÎÂÌ˚.
CLP-130/120 á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl
31
èÂÂÁ‡ÔËÒ¸ ‰ÓÓÊÍË TRACK1
Ç ˝ÚÓÏ ‡Á‰ÂΠÔÓ͇Á‡ÌÓ, Í‡Í ÔÂÂÁ‡ÔËÒ‡Ú¸ ‰ÓÓÊÍÛ, ÂÒÎË ‚‡Ï Ì ̇‚ËÚÒfl ËÒÔÓÎÌÂÌËÂ.
1. ÖÒÎË ÌÛÊÌÓ, ‚˚·ÂËÚ ÚÂÏ· ËÎË ÚÂÏ·˚ (‡ Ú‡ÍÊ ‰Û„Ë ̇ÒÚÓÈÍË)
‰Îfl ÔÂÂÁ‡ÔËÒË.
ÖÒÎË ‚˚ ıÓÚËÚ ËÁÏÂÌËÚ¸ Ô‡‡ÏÂÚ˚, ÔÓ‚ÚÓËÚ ¯‡„ 1 ̇ ÒÚ. 30.
2. ֢ ‡Á ‚Íβ˜ËÚ ÂÊËÏ „ÓÚÓ‚ÌÓÒÚË Í Á‡ÔËÒË.
֢ ‡Á ̇ÊÏËÚ ÍÌÓÔÍÛ [REC].
à̉Ë͇ÚÓ ‚˚·‡ÌÌÓÈ ‰ÓÓÊÍË ÏË„‡ÂÚ Í‡ÒÌ˚Ï ˆ‚ÂÚÓÏ.
ÑÎfl ÔÂÂÁ‡ÔËÒË ÒΉÛÈÚ ËÌÒÚÛ͈ËflÏ Ì‡ ÒÚ. 31, ̇˜Ë̇fl Ò ¯‡„‡ 5.
ä ëÇÖÑÖçàû
ÖÒÎË ÔË ÔÂÂÁ‡ÔËÒË ‰ÓÓÊÍË
ËÎË Á‡ÔËÒË ‰Û„ÓÈ ‰ÓÓÊÍË ‚˚
ıÓÚËÚ ËÁÏÂÌËÚ¸ ÚÂÏÔ, ˜‡ÒÚÓÚÛ
Ò˄̇ÎÓ‚ ÏÂÚÓÌÓχ, ÚËÔ
‚·‡ˆËË ËÎË ˝ÙÙÂÍÚ‡,
҉·ÈÚ ˝ÚÓ ÔÓÒΠ‚Íβ˜ÂÌËfl
ÂÊËχ „ÓÚÓ‚ÌÓÒÚË Í Á‡ÔËÒË
(¯‡„ 3).
èêàåÖóÄçàÖ
çÂθÁfl ̇˜‡Ú¸ ÔÂÂÁ‡ÔËÒ¸ Ò
Ò‰ËÌ˚ ÔÂÒÌË.
á‡ÔËÒ¸ ̇ ‰ÓÓÊÍÛ TRACK2
Ç ˝ÚÓÏ ‡Á‰ÂΠ‡ÒÒ͇Á˚‚‡ÂÚÒfl Ó ÚÓÏ, Í‡Í Á‡ÔËÒ‡Ú¸ ̇ ‚ÚÓÛ˛ ‰ÓÓÊÍÛ ‰Û„Û˛ Ô‡Ú˲.
1. Ç˚·ÂËÚ ÚÂÏ· ËÎË ÚÂÏ·˚ (‡ Ú‡ÍÊ ‰Û„Ë ̇ÒÚÓÈÍË) ‰Îfl Á‡ÔËÒË.
Ç˚·ÂÂÚ ÚÂÏ·(˚) ‰Îfl Á‡ÔËÒË. èË ÌÂÓ·ıÓ‰ËÏÓÒÚË ‚˚·ÂËÚ ‰Û„ËÂ
̇ÒÚÓÈÍË.
2. ֢ ‡Á ‚Íβ˜ËÚ ÂÊËÏ „ÓÚÓ‚ÌÓÒÚË Í Á‡ÔËÒË.
֢ ‡Á ̇ÊÏËÚ ÍÌÓÔÍÛ [REC].
à̉Ë͇ÚÓ ‚˚·‡ÌÌÓÈ ‰ÓÓÊÍË ÏË„‡ÂÚ Í‡ÒÌ˚Ï ˆ‚ÂÚÓÏ.
3. Ç˚·ÂËÚ ‰ÓÓÊÍÛ ‰Îfl Á‡ÔËÒË.
Ç˚·ÂËÚ ‰ÓÓÊÍÛ, ÍÓÚÓ‡fl ¢ Ì Á‡ÔË҇̇. ᇄÓËÚÒfl Í‡ÒÌ˚È
Ë̉Ë͇ÚÓ ‚˚·‡ÌÌÓÈ ‰ÓÓÊÍË. (à̉Ë͇ÚÓ ‰ÓÓÊÍË, ̇ ÍÓÚÓÓÈ
ÒÓ‰ÂʇÚÒfl ‡Ì Á‡ÔËÒ‡ÌÌ˚ ‰‡ÌÌ˚Â, ·Û‰ÂÚ ÁÂÎÂÌ˚Ï.)
ëÎÛ¯‡fl Á‡ÔËÒ‡ÌÌÛ˛ ‰ÓÓÊÍÛ, ÏÓÊÌÓ ÔË Í‡Ê‰ÓÏ ÔÓıÓ‰Â
Á‡ÔËÒ˚‚‡Ú¸ ÌÓ‚˚ Á‚ÛÍË Ë ÌÓÚ˚.
ëΉÛÈÚ ËÌÒÚÛ͈ËflÏ Ì‡ ÒÚ. 31, ̇˜Ë̇fl Ò ¯‡„‡ 5.
32
CLP-130/120 á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl
ä ëÇÖÑÖçàû
ÖÒÎË ÔË ÔÂÂÁ‡ÔËÒË ‰ÓÓÊÍË
ËÎË Á‡ÔËÒË ‰Û„ÓÈ ‰ÓÓÊÍË ‚˚
ıÓÚËÚ ËÁÏÂÌËÚ¸ ÚÂÏÔ, ˜‡ÒÚÓÚÛ
Ò˄̇ÎÓ‚ ÏÂÚÓÌÓχ, ÚËÔ
‚·‡ˆËË ËÎË ˝ÙÙÂÍÚ‡,
҉·ÈÚ ˝ÚÓ ÔÓÒΠ‚Íβ˜ÂÌËfl
ÂÊËχ „ÓÚÓ‚ÌÓÒÚË Í Á‡ÔËÒË
(¯‡„ 3).
èêàåÖóÄçàÖ
ÖÒÎË ‚Ó ‚ÂÏfl Á‡ÔËÒË ‚˚ ÌÂ
ıÓÚËÚ ÒÎ˚¯‡Ú¸ Ô‰‚‡ËÚÂθÌÓ Á‡ÔËÒ‡ÌÌÛ˛ ‰ÓÓÊÍÛ
(̇ÔËÏ ÂÒÎË ‚˚ ıÓÚËÚÂ
Á‡ÔËÒ‡Ú¸ Òӂ¯ÂÌÌÓ ‰Û„Û˛
ÔÂÒÌ˛), ̇ÊÏËÚ ÍÌÓÔÍÛ
‚ÓÒÔÓËÁ‚‰ÂÌËfl ˝ÚÓÈ ‰ÓÓÊÍË
‰Ó ÚÓ„Ó, Í‡Í Ì‡Ê‡Ú¸ ÍÌÓÔÍÛ
[REC] (ÒÏ. ¯‡„ 2), ˜ÚÓ·˚ ÂÂ
Ë̉Ë͇ÚÓ ÔÓ„‡Ò.
ìÒÚÓÈÒÚ‚Ó Á‡ÔËÒË ÔÂÒÂÌ ÔÓθÁÓ‚‡ÚÂÎfl Á‡ÔËÒ˚‚‡ÂÚ ÒÎÂ‰Û˛˘ËÂ
‰‡ÌÌ˚Â:
èÓÏËÏÓ ÌÓÚ Ë ÚÂÏ·‡, ‚ ÍÓÚÓÓÏ ËÒÔÓÎÌflÂÚÒfl ÔÂÒÌfl, Á‡ÔËÒ˚‚‡˛ÚÒfl
‰ÓÔÓÎÌËÚÂθÌ˚ ‰‡ÌÌ˚Â.
ä ˝ÚËÏ ‰‡ÌÌ˚Ï ÓÚÌÓÒflÚÒfl ‰‡ÌÌ˚ ӷ ÓÚ‰ÂθÌ˚ı ‰ÓÓÊ͇ı Ë ‚ÒÂÈ ÔÂÒÌÂ.
ëÏ. ‰‡ÎÂÂ.
éÚ‰ÂθÌ˚ ‰ÓÓÊÍË
•
•
•
•
•
•
•
•
•
•
•
•
•
àÒÔÓÎÌflÂÏ˚ ÌÓÚ˚
Ç˚·Ó ÚÂÏ·‡
àÒÔÓθÁÓ‚‡ÌË ‚‡ˇˆËË (ÍÌÓÔ͇ [VARIATION]) (CLP-130)
艇θ (Ô‡‚‡fl\΂‡fl\Ò‰Ìflfl)
ÉÎÛ·Ë̇ ‚Â·Â‡ˆËË (ÍÌÓÔ͇ [REVERB])
ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ (ÍÌÓÔ͇ [EFFECT])
íÂÏ·˚ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ (Dual)
Ň·ÌÒ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ (F3)
ëÏ¢ÂÌË ‚˚ÒÓÚ˚ Á‚Û͇ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ (F3)
ëÏ¢ÂÌË ÓÍÚ‡‚˚ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ (F3)
íÂÏ·˚ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ (Split) (CLP-130)
Ň·ÌÒ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ (F4:CLP-130)
ëÏ¢ÂÌË ÓÍÚ‡‚˚ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ (F4:CLP-130)
ÇÒfl ÔÂÒÌfl
•
•
•
•
íÂÏÔ
ó‡ÒÚÓÚ‡ Ò˄̇· (‰ÓÎfl)
íËÔ ‚Â·Â‡ˆËË (ÍÌÓÔ͇ [REVERB]), ‚ ÚÓÏ ˜ËÒΠÁ̇˜ÂÌË OFF
íËÔ ˝ÙÙÂÍÚ‡ (ÍÌÓÔ͇ [EFFECT]), ‚ ÚÓÏ ˜ËÒΠÁ̇˜ÂÌË OFF
CLP-130/120 á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl
33
àÁÏÂÌÂÌË ̇˜‡Î¸Ì˚ı ̇ÒÚÓÂÍ
燘‡Î¸Ì˚ ̇ÒÚÓÈÍË (‰‡ÌÌ˚Â, Á‡ÔËÒ˚‚‡ÂÏ˚ ‚ ̇˜‡Î ÔÂÒÌË) ÏÓÊÌÓ ËÁÏÂÌËÚ¸ ÔÓÒΠÁ‡ÔËÒË.
ç‡ÔËÏÂ, ÔÓÒΠÁ‡ÔËÒË ÏÓÊÌÓ ËÁÏÂÌËÚ¸ ÚÂÏ· ‰Îfl ÒÓÁ‰‡ÌËfl ÌÓ‚ÓÈ Ó·ÒÚ‡ÌÓ‚ÍË ËÎË Ì‡ÒÚÓËÚ¸
ÚÂÏÔ ÔÓ Ò‚ÓÂÏÛ ‚ÍÛÒÛ.
åÓÊÌÓ ËÁÏÂÌflÚ¸ ÒÎÂ‰Û˛˘Ë ̇˜‡Î¸Ì˚ ̇ÒÚÓÈÍË.
éÚ‰ÂθÌ˚ ‰ÓÓÊÍË
•
•
•
•
•
•
Ç˚·Ó ÚÂÏ·‡
àÒÔÓθÁÓ‚‡ÌË ‚‡ˇˆËË (ÍÌÓÔ͇ [VARIATION]) (CLP-130)
ÉÎÛ·Ë̇ ‚Â·Â‡ˆËË (ÍÌÓÔ͇ [REVERB])
ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ (ÍÌÓÔ͇ [EFFECT])
íÂÏ·˚ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ (Dual)
íÂÏ·˚ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ (Split ) (CLP-130)
ÇÒfl ÔÂÒÌfl
•
•
•
•
íÂÏÔ
ó‡ÒÚÓÚ‡ Ò˄̇· (‰ÓÎfl)
íËÔ ‚Â·Â‡ˆËË (ÍÌÓÔ͇ [REVERB]), ‚ ÚÓÏ ˜ËÒΠÁ̇˜ÂÌË OFF
íËÔ ˝ÙÙÂÍÚ‡ (ÍÌÓÔ͇ [EFFECT]), ‚ ÚÓÏ ˜ËÒΠÁ̇˜ÂÌË OFF
1. ÑÎfl ËÁÏÂÌÂÌËfl ̇˜‡Î¸Ì˚ı ̇ÒÚÓÂÍ ‚Íβ˜ËÚ ÂÊËÏ Á‡ÔËÒË Ë ‚˚·ÂËÚÂ
‰ÓÓÊÍÛ.
ᇄÓËÚÒfl Í‡ÒÌ˚È Ë̉Ë͇ÚÓ. (чÌÌ˚Â, Ó·˘Ë ‰Îfl ‰‚Ûı ‰ÓÓÊÂÍ, ÏÓÊÌÓ
ËÁÏÂÌËÚ¸ ‰Îfl ͇ʉÓÈ ‰ÓÓÊÍË.)
2. àÁÏÂÌËÚ ̇ÒÚÓÈÍË ÔË ÔÓÏÓ˘Ë Ô‡ÌÂÎË ÛÔ‡‚ÎÂÌËfl.
ç‡ÔËÏÂ, ÂÒÎË ‚˚ ıÓÚËÚ ËÁÏÂÌËÚ¸ Á‡ÔËÒ‡ÌÌ˚È ÚÂÏ· Ò [E. PIANO 1] ̇
[E.PIANO 2], ̇ÊÏËÚ ÍÌÓÔÍÛ [E. PIANO 2].
ÅÛ‰¸Ú ÓÒÚÓÓÊÌ˚ Ë Ì ̇ÊÏËÚ ÒÎÛ˜‡ÈÌÓ ÍÌÓÔÍÛ SONG [START/STOP]
ËÎË Í·‚Ë¯Û Ì‡ Í·‚ˇÚÛÂ, ˝ÚÓ Ô˂‰ÂÚ Í Ì‡˜‡ÎÛ Á‡ÔËÒË Ë Û‰‡ÎÂÌ˲ ‚ÒÂı
‰‡ÌÌ˚ı, Ô‰‚‡ËÚÂθÌÓ Á‡ÔËÒ‡ÌÌ˚ı ̇ ‚˚·‡ÌÌÛ˛ ‰ÓÓÊÍÛ.
3. ÑÎfl ‚˚ıÓ‰‡ ËÁ ÂÊËχ Á‡ÔËÒË Ì‡ÊÏËÚ ÍÌÓÔÍÛ [REC].
ÅÛ‰¸Ú ÓÒÚÓÓÊÌ˚ Ë Ì ̇ÊÏËÚ ÒÎÛ˜‡ÈÌÓ ÍÌÓÔÍÛ SONG [START/STOP]
ËÎË Í·‚Ë¯Û Ì‡ Í·‚ˇÚÛÂ, ˝ÚÓ Ô˂‰ÂÚ Í Ì‡˜‡ÎÛ Á‡ÔËÒË Ë Û‰‡ÎÂÌ˲
‚ÒÂı ‰‡ÌÌ˚ı, Ô‰‚‡ËÚÂθÌÓ Á‡ÔËÒ‡ÌÌ˚ı ̇ ‚˚·‡ÌÌÛ˛ ‰ÓÓÊÍÛ.
34
CLP-130/120 á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl
èêàåÖóÄçàÖ
åÓÊÌÓ ÓÚÏÂÌËÚ¸ ËÁÏÂÌÂÌËfl,
‚ÌÂÒÂÌÌ˚ ‚ ̇˜‡Î¸Ì˚Â
̇ÒÚÓÈÍË, ‚˚·‡‚ ÔÓÒΠ¯‡„‡ 2
‰Û„Û˛ ‰ÓÓÊÍÛ Ë ‚˚ȉfl ËÁ
ÂÊËχ Á‡ÔËÒË ‚Ó ‚ÂÏfl
¯‡„‡ 3, Ì ̇ÊËχfl ÍÌÓÔÍÛ
[REC]. (àÁÏÂÌÂÌËfl, ‚ÌÂÒÂÌÌ˚ ‚
̇˜‡Î¸Ì˚ ‰‡ÌÌ˚Â, Ó·˘Ë ‰Îfl
‰‚Ûı ‰ÓÓÊÂÍ, Ú‡ÍÊ ·Û‰ÛÚ
ÓÚÏÂÌÂÌ˚.)
ÇÓÒÔÓËÁ‚‰ÂÌË Á‡ÔËÒÂÈ ÔÂÒÂÌ
á‡ÔËÒ‡ÌÌ˚ ÔÂÒÌË ÏÓÊÌÓ ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸ Ò ÔÓÏÓ˘¸˛ ÙÛÌ͈ËË Record
(ÒÚ. 30–34). à„‡Ú¸ ÏÓÊÌÓ Ó‰ÌÓ‚ÂÏÂÌÌÓ Ò ÔÓË„˚‚‡ÌËÂÏ ‚ÒÚÓÂÌÌÓÈ
ÔÂÒÌË.
èêàåÖóÄçàÖ
чÌÌ˚ ÔÂÒÂÌ Ì Ô‰‡˛ÚÒfl
˜ÂÂÁ ‡Á˙ÂÏ˚ MIDI.
ÇÓÒÔÓËÁ‚‰ÂÌË ÔÂÒÌË
1
MIN
MAX
START/STOP
BRIGHT
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
E.PIANO
1
E.PIANO
2
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
CHURCH
ORGAN
JAZZ
ORGAN
STRINGS
CHOIR
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
2 3
DEMO
METRONOME
TEMPO
FUNCTION
— /NO +/ YES
PRESET
TEMPO / FUNCTION
USER 1
USER 2
USER 3
TRACK
1
TRACK
2
START/STOP
REC
SONG
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
ON
TOUCH TRANSPOSE
èêàåÖóÄçàÖ (CLP-130)
Ç ÂÊËÏ ‰ÂÏÓÌÒÚ‡ˆËË ‰Îfl
‚˚·Ó‡ ÔÂÒÌË ÌÂθÁfl ËÒÔÓθÁÓ‚‡Ú¸ ÍÌÓÔÍÛ [USER 1/2/3].
ÑÂÈÒÚ‚Ëfl
1. Ç˚·Ó ÌÛÊÌÓÈ ÔÂÒÌË (CLP-130)
óÚÓ·˚ ‚˚·‡Ú¸ ÔÂÒÌ˛ ‰Îfl Á‡ÔËÒË, ̇ÊÏËÚ ÍÌÓÔÍÛ [USER 1/2/3].
ᇄÓËÚÒfl Ë̉Ë͇ÚÓ ‚˚·‡ÌÌÓÈ ÔÂÒÌË. (ÖÒÎË Ë̉Ë͇ÚÓ˚ Ì „ÓflÚ,
ÔÂÒÌfl Ì ‚˚·‡Ì‡.)
2. á‡ÔÛÒÍ ‚ÓÒÔÓËÁ‚‰ÂÌËfl
ç‡ÊÏËÚ ÍÌÓÔÍÛ SONG [START/STOP].
èË ‚ÓÒÔÓËÁ‚‰ÂÌËË ÔÓfl‚ÎflÂÚÒfl ÌÓÏÂ ÚÂÍÛ˘Â„Ó Ú‡ÍÚ‡.
• ÇÓ ‚ÂÏfl ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÔÂÒÌË ÏÓÊÌÓ Ë„‡Ú¸ ̇ Í·‚˯‡ı.
à„‡Ú¸ ÏÓÊÌÓ ‚ ÚÂÏ·Â, ÓÚ΢ÌÓÏ ÓÚ ÚÂÏ·‡ ‚ÓÒÔÓËÁ‚‰ÂÌËfl,
‚˚·‡‚ ÚÂÏ· ̇ Ô‡ÌÂÎË.
èêàåÖóÄçàÖ
á‡ÔËÒ‡ÌÌ˚ ÔÂÒÌË ÌÂθÁfl
‚ÓÒÔÓËÁ‚ÂÒÚË ‚ ÂÊËÏÂ
‰ÂÏÓÌÒÚ‡ˆËË Ë ÂÊËÏÂ
‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË.
èêàåÖóÄçàÖ
áÂÎÂÌ˚ Ë̉Ë͇ÚÓ˚ Ì Á‡„Ó‡˛ÚÒfl ‡‚ÚÓχÚ˘ÂÒÍË ÔË ‚Íβ˜ÂÌËË ÔËÚ‡ÌËfl, ‰‡Ê ÂÒÎË ‚
ÛÒÚÓÈÒÚ‚Â ÂÒÚ¸ ‰‡ÌÌ˚Â. è‰
‚ÓÒÔÓËÁ‚‰ÂÌËÂÏ Ì‡ÊÏËÚÂ
ÍÌÓÔÍË ‰ÓÓÊÂÍ.
èêàåÖóÄçàÖ
ÖÒÎË ‚ ÛÒÚÓÈÒÚ‚Â ÌÂÚ ‰‡ÌÌ˚ı,
‚ÓÒÔÓËÁ‚‰ÂÌË Ì‚ÓÁÏÓÊÌÓ.
ç‡ÒÚÓÈ͇ „ÓÏÍÓÒÚË
ç‡ÒÚÓÈÚ „ÓÏÍÓÒÚ¸ „ÛÎflÚÓÓÏ [MASTER VOLUME].
ç‡ÒÚÓÈ͇ ÚÂÏÔ‡
ÑÎfl ̇ÒÚÓÈÍË ÚÂÏÔ‡ ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ÍÌÓÔÍË
[TEMPO/FUNCTION# ▼, ▲]. ÇÓÁ‚‡Ú Í Ó·˚˜ÌÓÏÛ ÚÂÏÔÛ ÔÂÒÌË ÔÓËÒıÓ‰ËÚ
ÔË Ó‰ÌÓ‚ÂÏÂÌÌÓÏ Ì‡Ê‡ÚËË ÍÌÓÔÓÍ [▼] Ë [▲].
3. éÒÚ‡Ìӂ͇ ‚ÓÒÔÓËÁ‚‰ÂÌËfl
äÓ„‰‡ ÔÂÒÌfl Á‡Í‡Ì˜Ë‚‡ÂÚÒfl, Clavinova ‡‚ÚÓχÚ˘ÂÒÍË ÓÒڇ̇‚ÎË‚‡ÂÚÒfl Ë
̇ıÓ‰ËÚ Ì‡˜‡ÎÓ ÔÂÒÌË. óÚÓ·˚ ÓÒÚ‡ÌÓ‚ËÚ¸ ÔÂÒÌ˛ ̇ ÒÂ‰ËÌÂ, ̇ÊÏËÚÂ
ÍÌÓÔÍÛ SONG [START/STOP].
ä ëÇÖÑÖçàû
åÓÊÌÓ Ë„‡Ú¸ Ò Ò‡ÏËÏ ÒÓ·ÓÈ,
Á‡ÔËÒ‡‚ Ô‡Ú˲ ËÎË ÔÂÒÌ˛ ‰Îfl
‰‚Ûı ÙÓÚÂÔ¸flÌÓ, Á‡ÚÂÏ Ë„‡Ú¸
Ó‰ÌÛ ˜‡ÒÚ¸ Ò‡ÏÓÏÛ, ÔÓ͇ ˉÂÚ
‚ÓÒÔÓËÁ‚‰ÂÌË Á‡ÔËÒ‡ÌÌÓ„Ó.
ä ëÇÖÑÖçàû
ÖÒÎË ËÒÔÓθÁÓ‚‡ÎÒfl ÏÂÚÓÌÓÏ,
ÔÓ ÓÍÓ̘‡ÌËË ‚ÓÒÔÓËÁ‚‰ÂÌËfl
ÓÌ ÓÚÍβ˜ËÚÒfl ‡‚ÚÓχÚ˘ÂÒÍË.
ä ëÇÖÑÖçàû
àÁÏÂÌÂÌË ÚËÔ‡ ‚·‡ˆËË
̇ Ô‡ÌÂÎË ËÁÏÂÌflÂÚ Í‡Í Â‚Â·Â‡ˆË˛ ‚ÓÒÔÓËÁ‚‰ÂÌËfl, Ú‡Í
Ë Í·‚ˇÚÛ˚.
ä ëÇÖÑÖçàû
àÁÏÂÌÂÌË ÚËÔ‡ ˝ÙÙÂÍÚ‡ ̇ Ô‡ÌÂÎË ËÁÏÂÌflÂÚ ˝ÙÙÂÍÚ Ë ‚ÓÒÔÓËÁ‚‰ÂÌËfl, Ë Í·‚ˇÚÛ˚.
CLP-130/120 ÇÓÒÔÓËÁ‚‰ÂÌË Á‡ÔËÒÂÈ ÔÂÒÂÌ
35
èÓÎÂÁÌ˚ ÙÛÌ͈ËË ‚ÓÒÔÓËÁ‚‰ÂÌËfl
ÇÍβ˜ÂÌËÂ Ë ‚˚Íβ˜ÂÌË ‚ÓÒÔÓËÁ‚‰ÂÌËfl ‰ÓÓÊÂÍ
ÖÒÎË ‚˚ ‚˚·Ë‡ÂÚ ÔÂÒÌ˛ ̇ ˆËÙÓ‚ÓÏ ÔˇÌËÌÓ Clavinova, Ë̉Ë͇ÚÓ˚
‰ÓÓÊÂÍ, ̇ ÍÓÚÓ˚ı ÂÒÚ¸ ‰‡ÌÌ˚ ([TRACK1], [TRACK2] ËÎË Ó·‡) „ÓflÚ ÁÂÎÂÌ˚Ï
Ò‚ÂÚÓÏ. çÂÁ‡‚ËÒËÏÓ ÓÚ ÚÓ„Ó, Ë„‡˛Ú ̇ Clavinova ËÎË ÌÂÚ, ̇ʇÚË ˝ÚËı ÍÌÓÔÓÍ
‰ÓÓÊÂÍ ‚˚Íβ˜‡ÂÚ Ë̉Ë͇ÚÓ˚ Ë ‰‡ÌÌ˚Â Ò ˝ÚËı ‰ÓÓÊÂÍ ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸Òfl ÌÂ
·Û‰ÛÚ. ç‡Ê‡ÚË ÍÌÓÔÓÍ ÔÓÔÂÂÏÂÌÌÓ ‚Íβ˜‡ÂÚ Ë ÓÚÍβ˜‡ÂÚ ‰ÓÓÊÍË.
á‡ÔÛÒÍ ‚ÓÒÔÓËÁ‚‰ÂÌËfl Ó‰ÌÓ‚ÂÏÂÌÌÓ Ò Ì‡˜‡ÎÓÏ Ë„˚ (Synchro Start)
Ç˚ ÏÓÊÂÚ Á‡ÔÛÒ͇ڸ ‚ÓÒÔÓËÁ‚‰ÂÌËÂ, Í‡Í ÚÓθÍÓ Ì‡˜ÌÂÚ ˄‡Ú¸ ̇ Í·‚˯‡ı.
ùÚÓ Ì‡Á˚‚‡ÂÚÒfl ÙÛÌ͈ËÂÈ ÒËÌıÓÌÌÓ„Ó Á‡ÔÛÒ͇ (Synchro Start).
óÚÓ·˚ ‚Íβ˜ËÚ¸ ÙÛÌÍˆË˛ ÒËÌıÓÌÌÓ„Ó Á‡ÔÛÒ͇, ̇ÊÏËÚ ÍÌÓÔÍÛ SONG
[START/STOP], Ó‰ÌÓ‚ÂÏÂÌÌÓ Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ ‚Íβ˜ÂÌÌÓÈ ‰ÓÓÊÍË.
íӘ͇ ‚ Ô‡‚ÓÏ ÌËÊÌÂÏ Û„ÎÛ ‰ËÒÔÎÂfl ·Û‰ÂÚ ÏË„‡Ú¸ ‚
ÚÂÍÛ˘ÂÏ ÚÂÏÔÂ.
(óÚÓ·˚ ÓÚÍβ˜ËÚ¸ ÙÛÌÍˆË˛ ÒËÌıÓÌÌÓ„Ó Á‡ÔÛÒ͇,
ÔÓ‚ÚÓËÚ Ô‰˚‰Û˘Ë ‰ÂÈÒÚ‚Ëfl.)
Ë̉Ë͇ÚÓ ÏË„‡ÂÚ
ÇÓÒÔÓËÁ‚‰ÂÌË ̇˜ÌÂÚÒfl Ó‰ÌÓ‚ÂÏÂÌÌÓ Ò Ì‡˜‡ÎÓÏ
Ë„˚ ̇ Í·‚˯‡ı.
ùÚ‡ ÙÛÌ͈Ëfl ÔÓÎÂÁ̇, ÂÒÎË ÌÛÊÌÓ ÒËÌıÓÌËÁËÓ‚‡Ú¸ ̇˜‡ÎÓ ‚ÓÒÔÓËÁ‚‰ÂÌËfl Ò
̇˜‡ÎÓÏ Ò‚ÓÂÈ Ë„˚.
á‡ÍÂÔÎÂÌË Á‡ ΂ÓÈ Ô‰‡Î¸˛ ÙÛÌ͈ËË ÍÌÓÔÍË Ì‡˜‡Î‡/ÓÒÚ‡ÌÓ‚ÍË ÔÂÒÌË
èË ÔÓÏÓ˘Ë ÙÛÌ͈ËË «ÇÍβ˜ÂÌËÂ Ë ÓÚÍβ˜ÂÌËÂ Ò ÔÓÏÓ˘¸˛ Ô‰‡ÎË» (ÒÚ. 44)
Á‡ ΂ÓÈ Ô‰‡Î¸˛ ÏÓÊÌÓ Á‡ÍÂÔËÚ¸ ÙÛÌÍˆË˛ ̇˜‡Î‡ Ë ÓÒÚ‡ÌÓ‚ÍË ÔÂÒÌË.
ùÚÓ Û‰Ó·ÌÓ ‰Îfl ̇˜‡Î‡ ‚ÓÒÔÓËÁ‚‰ÂÌËfl Á‡ÔËÒ‡ÌÌÓÈ Ô‡ÚËË ‚ β·ÓÈ ÏÓÏÂÌÚ
ÔÓÒΠ̇˜‡Î‡ Ë„˚.
36
CLP-130/120 ÇÓÒÔÓËÁ‚‰ÂÌË Á‡ÔËÒÂÈ ÔÂÒÂÌ
ä ëÇÖÑÖçàû
ÑÓÓÊÍË ÏÓÊÌÓ ÓÚÍβ˜‡Ú¸ Ë
‚Íβ˜‡Ú¸ ‰Ó ËÎË ‚Ó ‚ÂÏfl
‚ÓÒÔÓËÁ‚‰ÂÌËfl. ÖÒÎË ÓÚÍβ˜ÂÌ˚ Ó·Â ‰ÓÓÊÍË CLP-120,
‚ÓÒÔÓËÁ‚‰ÂÌË Ì ̇˜ÌÂÚÒfl
(ËÎË ·Û‰ÂÚ ÓÒÚ‡ÌÓ‚ÎÂÌÓ).
ä ëÇÖÑÖçàû
åÓÊÌÓ Ì‡ÒÚÓËÚ¸ „ÓÏÍÓÒÚ¸
˜‡ÒÚË ÔÂÒÌË ËÁ ÒÔËÒ͇
«50 Greats for the Piano»,
‰Îfl ÍÓÚÓÓÈ ‚ÓÒÔÓËÁ‚‰ÂÌËÂ
ÓÚÍβ˜ÂÌÓ (ÒÚ.18, 45). ÇÓ
‚ÂÏfl ‚ÓÒÔÓËÁ‚‰ÂÌËfl
Á‡ÔËÒ‡ÌÌÓÈ ÔÂÒÌË „ÓÏÍÓÒÚ¸
ÓÚÍβ˜ÂÌÌÓÈ ‰ÓÓÊÍË ‚Ò„‰‡
‡‚̇ 0.
èêàåÖóÄçàÖ
ÖÒÎË Ì‡Ê‡Ú¸ ÍÌÓÔÍÛ SONG
[START/STOP], Û‰ÂÊË‚‡fl
ÍÌÓÔÍÛ ÓÚÍβ˜ÂÌÌÓÈ ‰ÓÓÊÍË,
‚Íβ˜‡ÂÚÒfl ‚ÓÒÔÓËÁ‚‰ÂÌËÂ
‰ÓÓÊÍË Ë ÙÛÌ͈Ëfl ÒËÌıÓÌÌÓ„Ó
Á‡ÔÛÒ͇ ÔÂÂıÓ‰ËÚ ‚ ÂÊËÏ
ÓÊˉ‡ÌËfl.
íÖêåàçéãéÉàü
ëËÌıÓÌÌ˚È — Ó‰ÌÓ‚ÂÏÂÌÌ˚È, ̇˜Ë̇˛˘ËÈÒfl Ó‰ÌÓ‚ÂÏÂÌÌÓ.
ç‡ÒÚÓÈÍË — [FUNCTION]
óÚÓ·˚ ÎÛ˜¯Â ËÒÔÓθÁÓ‚‡Ú¸ ÙÛÌ͈ËË Clavinova, ÏÓÊÌÓ Á‡‰‡‚‡Ú¸ ‡Á΢Ì˚ ԇ‡ÏÂÚ˚, ̇ÔËÏÂ
ÚÓ˜ÌÛ˛ ̇ÒÚÓÈÍÛ ‚˚ÒÓÚ˚ Á‚Û͇, ÚÂÏ· ÏÂÚÓÌÓχ, ÔÓ‚ÚÓÌÓ ‚ÓÒÔÓËÁ‚‰ÂÌËÂ Ë Ú. ‰.
ÑÓÒÚÛÔÌ˚ ÒÎÂ‰Û˛˘Ë ԇ‡ÏÂÚ˚:
Ç CLP-130 ÂÒÚ¸ ‰Â‚flÚ¸ ÓÒÌÓ‚Ì˚ı ÙÛÌ͈ËÈ, ‡ ‚ CLP-120 — ‚ÓÒÂϸ.
ì ÌÂÍÓÚÓ˚ı ˝ÚËı ÙÛÌ͈ËÈ ÂÒÚ¸ ‡Á΢Ì˚ ÔÓ‰ÂÊËÏ˚.
ëÔËÒÓÍ Ô‡‡ÏÂÚÓ‚
îÛÌ͈Ëfl
èÓ‰ÂÊËÏ
CLP-130
CLP-120
ëÚ‡Ìˈ‡
F1
F1
40
íÓÌ͇fl ̇ÒÚÓÈ͇ ‚˚ÒÓÚ˚
—
Ç˚·Ó ÒÚÓfl
ëÚÓÈ
F2.1
F2.1
41
éÒÌӂ̇fl ÌÓÚ‡
F2.2
F2.2
41
Ň·ÌÒ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚
F3.1
F3.1
42
àÁÏÂÌÂÌË ˜‡ÒÚÓÚ ÚÂÏ·Ó‚ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl
F3.2
F3.2
42
í‡ÌÒÔÓÌËÓ‚‡ÌË ÚÂÏ·‡ 1 ̇ ÓÍÚ‡‚Û
F3.3
F3.3
42
í‡ÌÒÔÓÌËÓ‚‡ÌË ÚÂÏ·‡ 2 ̇ ÓÍÚ‡‚Û
F3.4
F3.4
42
ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ‰Îfl ÚÂÏ·‡ 1
F3.5
F3.5
42
ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ‰Îfl ÚÂÏ·‡ 2
F3.6
F3.6
42
èÂÂÁ‡„ÛÁ͇
F3.7
F3.7
42
íӘ͇ ‡Á‰ÂÎÂÌËfl Í·‚ˇÚÛ˚
F4.1
—
43
ìÒÚ‡ÌÓ‚ÎÂÌË ·‡Î‡ÌÒ‡ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚
F4.2
—
43
í‡ÌÒÔÓÌËÓ‚‡ÌË ԇ‚Ó„Ó ÚÂÏ·‡ ̇ ÓÍÚ‡‚Û
F4.3
—
43
í‡ÌÒÔÓÌËÓ‚‡ÌË ÎÂ‚Ó„Ó ÚÂÏ·‡ ̇ ÓÍÚ‡‚Û
F4.4
—
43
ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ‰Îfl Ô‡‚Ó„Ó ÚÂÏ·‡
F4.5
—
43
ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ‰Îfl ÎÂ‚Ó„Ó ÚÂÏ·‡
F4.6
—
43
ÑˇԇÁÓÌ Ô‡‚ÓÈ Ô‰‡ÎË
F4.7
—
43
èÂÂÁ‡„ÛÁ͇
F4.8
—
43
êÂÊËÏ ‡·ÓÚ˚ ΂ÓÈ Ô‰‡ÎË
F5.1
F4.1
44
ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ΂ÓÈ Ô‰‡ÎË
F5.2
F4.2
44
ÉÎÛ·Ë̇ «ÒÛÒÚÂÈÌ»-Ò˝ÏÔ·
F5.3
—
44
ÉÓÏÍÓÒÚ¸ Ò˝ÏÔ· ÓÚÔÛ˘ÂÌÌÓÈ Í·‚˯Ë
F5.4
—
44
îÛÌ͈ËË ‚ ÂÊËÏÂ
̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚
îÛÌ͈ËË ‚ ÂÊËÏÂ
‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚
ÑÛ„Ë ÙÛÌ͈ËË
ÉÓÏÍÓÒÚ¸ ÏÂÚÓÌÓχ
—
F6
F5
45
ÉÓÏÍÓÒÚ¸ ÓÚÍβ˜ÂÌÌÓÈ
Ô‡ÚËË ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË
—
F7
F6
45
îÛÌ͈ËË MIDI
Ç˚·Ó ͇̇· Ô‰‡˜Ë ‰‡ÌÌ˚ı MIDI
F8.1
F7.1
45
Ç˚·Ó ͇̇· ÔËÂχ ‰‡ÌÌ˚ı MIDI
F8.2
F7.2
46
îÛÌ͈Ëfl ÎÓ͇θÌÓ„Ó ÍÓÌÚÓÎfl (Local Control ON/OFF)
F8.3
F7.3
46
àÁÏÂÌÂÌË ÔÓ„‡ÏÏ˚ (Program Change) ON/OFF
F8.4
F7.4
46
îÛÌ͈Ëfl Control Change ON/OFF
F8.5
F7.5
46
îÛÌ͈Ëfl MIDI Transmit Transpose
F8.6
F7.6
47
艇˜‡ ÒÓÒÚÓflÌËfl Ô‡ÌÂÎË (Panel/Status Transmit)
F8.7
F7.7
47
艇˜‡ ‰‡ÌÌ˚ı (Bulk Data Send)
F8.8
F7.8
47
íÂÏ·
F9.1
F8.1
48
MIDI
F9.2
F8.2
48
Ç˚ÒÓÚ‡ Á‚Û͇
F9.3
F8.3
48
ÑÛ„ËÂ
F9.4
F8.4
48
îÛÌ͈ËË ÒÓı‡ÌÂÌËfl
CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION]
37
éÒÌÓ‚Ì˚ ‰ÂÈÒÚ‚Ëfl ‚ ÂÊËÏ Function
ÑÎfl ËÒÔÓθÁÓ‚‡ÌËfl ÙÛÌ͈ËÈ ‚˚ÔÓÎÌËÚ ÒÎÂ‰Û˛˘Ë ‰ÂÈÒÚ‚Ëfl.
(ÖÒÎË, ËÒÔÓθÁÛfl ÙÛÌÍˆË˛, ‚˚ Ì Á̇ÂÚÂ, ˜ÚÓ Ì‡‰Ó ҉·ڸ, ‚ÂÌËÚÂÒ¸ Í ˝ÚÓÈ ÒÚ‡ÌËˆÂ Ë ÓÁ̇ÍÓϸÚÂÒ¸
Ò ÓÒÌÓ‚Ì˚ÏË ‰ÂÈÒÚ‚ËflÏË.)
1 5
MIN
2 4
MAX
START/
STOP
BRIGHT
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
E.PIANO
1
E.PIANO
2
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
CHURCH
ORGAN
JAZZ
ORGAN
STRINGS
CHOIR
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
3 4
DEMO
METRONOME
TEMPO
FUNCTION
– /NO
+/ YES
PRESET
USER 1
USER 2
USER 3
TEMPO / FUNCTION
TRACK
1
TRACK
2
START/
STOP
REC
SONG
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
TOUCH
ON
TRANSPOSE
ÑÂÈÒÚ‚Ëfl
1. ÇÍβ˜ËÚ ÂÊËÏ Function.
ç‡ÊÏËÚ ÍÌÓÔÍÛ [TEMPO/FUNCTION#], ˜ÚÓ·˚ Á‡„ÓÂÎÒfl  Ë̉Ë͇ÚÓ
[FUNCTION#].
ç‡ ‰ËÒÔΠÔÓfl‚ËÚÒfl
. (à̉Ë͇ÚÓ «
» ËÁÏÂÌflÂÚÒfl ‚ Á‡‚ËÒËÏÓÒÚË
ÓÚ ÒÓÒÚÓflÌËfl ËÌÒÚÛÏÂÌÚ‡ Ë ÓÚ ÒÔÓÒÓ·‡ Â„Ó ËÒÔÓθÁÓ‚‡ÌËfl.)
2. Ç˚·ÂËÚ ÙÛÌÍˆË˛.
àÒÔÓθÁÛÈÚ ÍÌÓÔÍË [TEMPO/FUNCTION# ▼, ▲] ‰Îfl ‚˚·Ó‡ ËÁ ÙÛÌ͈ËÈ
F1F9 (CLP-130) / F1F8 (CLP-120) ÌÛÊÌÓÈ ÙÛÌ͈ËË.
TEMPO
FUNCTION
TEMPO / FUNCTION
èêàåÖóÄçàÖ
îÛÌ͈ËË ÌÂθÁfl ‚˚·‡Ú¸ ‚
ÂÊËÏ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı
Ë ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ, ËÎË ÂÒÎË
‡·ÓÚ‡ÂÚ ÛÒÚÓÈÒÚ‚Ó Á‡ÔËÒË
ÔÂÒÂÌ ÔÓθÁÓ‚‡ÚÂÎfl.
èêàåÖóÄçàÖ
óÚÓ·˚ ÓÚÏÂÌËÚ¸ ÙÛÌÍˆË˛
̇ ¯‡„ 2, 3 ËÎË 4, ̇ÊÏËÚÂ
ÍÌÓÔÍÛ [TEMPO/FUNCTION#
▼, ▲] ‰Îfl ‚˚ıÓ‰‡ ËÁ ÂÊËχ
Function.
3. àÒÔÓθÁÛÈÚ ÍÌÓÔÍË [–/NO] [+/YES].
ÖÒÎË Û ÙÛÌ͈ËÈ ÌÂÚ ÔÓ‰ÂÊËÏÓ‚, ̇˜ÌËÚ ÛÒÚ‡ÌÓ‚ÍÛ Ô‡‡ÏÂÚÓ‚.
ÖÒÎË Û ÙÛÌ͈ËË ÂÒÚ¸ ÔÓ‰ÂÊËÏ˚, ‰Îfl ‚˚ıÓ‰‡ ‚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ËÈ
ÔÓ‰ÂÊËÏ Ì‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES].
4. Ç˚ÔÓÎÌËÚ ÓÔ‡ˆËË Ò ÌÛÊÌÓÈ ÙÛÌ͈ËÂÈ ÔË ÔÓÏÓ˘Ë
‰‚Ûı ÒÎÂ‰Û˛˘Ëı ÍÌÓÔÓÍ.
1 [TEMPO/FUNCTION# ▼, ▲]
Ç˚·Ó ÌÛÊÌÓÈ ÙÛÌ͈ËË ËÎË ÔÓ‰ÂÊËχ.
2 [–/NO] ËÎË [+/YES]
Ç˚·‡‚ ÌÛÊÌÛ˛ ÙÛÌÍˆË˛ ËÎË ÔÓ‰ÂÊËÏ, ÛÒÚ‡ÌÓ‚ËÚ ԇ‡ÏÂÚ˚
ON/OFF, ‚˚·ÂËÚ ÚËÔ ËÎË ÒÓÓÚ‚ÂÚÒÚ‚ÂÌÌÓ ËÁÏÂÌËÚ Á̇˜ÂÌËÂ.
Ç Á‡‚ËÒËÏÓÒÚË ÓÚ Ì‡ÒÚÓÈÍË, ̇ÒÚÓÈÍÛ ÔÓ ÛÏÓΘ‡Ì˲
(ËÒÔÓθÁÛÂÚÒfl ÔË ÔÂ‚ÓÏ ‚Íβ˜ÂÌËË ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ
Clavinova) ÏÓÊÌÓ ‚ÓÒÒÚ‡ÌÓ‚ËÚ¸, Ó‰ÌÓ‚ÂÏÂÌÌÓ Ì‡Ê‡‚ ÍÌÓÔÍË
[–/NO] Ë [+/YES].
38
CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION]
ä ëÇÖÑÖçàû
èÓÒΠ‚˚·Ó‡ ÙÛÌ͈ËË Ô‚˚È
‡Á ̇ʇڸ ÍÌÓÔÍÛ [–/NO] ËÎË
[+/YES] ̇ ‰ËÒÔΠÔÓfl‚ËÚÒfl
ÚÂÍÛ˘‡fl ̇ÒÚÓÈ͇.
èËÏ 2. ÑÂÈÒÚ‚Ëfl Ò ÙÛÌ͈ËÂÈ F1. — ÚÓÌ͇fl ̇ÒÚÓÈ͇ ‚˚ÒÓÚ˚ Á‚Û͇
TEMPO
FUNCTION
чÌÌ˚ ̇ ‰ËÒÔÎÂÂ
TEMPO
FUNCTION
TEMPO / FUNCTION
ÇÍβ˜ËÚ ÂÊËÏ Function.
TEMPO / FUNCTION
Ç˚·ÂËÚ ÌÛÊÌÛ˛ ÙÛÌÍˆË˛.
чÌÌ˚ ̇ ‰ËÒÔÎÂÂ
— /NO +/ YES
àÁÏÂÌËÚ Á̇˜ÂÌËÂ.
èËÏ 2. ÑÂÈÒÚ‚Ëfl Ò ÙÛÌ͈ËÂÈ F3.1 — ·‡Î‡ÌÒ ‚ ÂÊËÏ Dual
TEMPO
FUNCTION
TEMPO / FUNCTION
TEMPO / FUNCTION
ÇÍβ˜ËÚ ÂÊËÏ Function.
+/ YES
чÌÌ˚ ̇ ‰ËÒÔÎÂÂ
TEMPO
FUNCTION
Ç˚·ÂËÚ ÌÛÊÌÛ˛ ÙÛÌÍˆË˛.
чÌÌ˚ ̇ ‰ËÒÔÎÂÂ
TEMPO
FUNCTION
TEMPO / FUNCTION
èÂÂȉËÚÂ Í ‚˚·ÓÛ
ÔÓ‰ÂÊËχ.
— /NO +/ YES
Ç˚·ÂËÚ ÌÛÊÌ˚È ÔÓ‰ÂÊËÏ.
чÌÌ˚ ̇ ‰ËÒÔÎÂÂ
àÁÏÂÌËÚ Á̇˜ÂÌËÂ.
5. á‡ÍÓ̘˂ ËÒÔÓθÁÓ‚‡Ú¸ ÙÛÌÍˆË˛, ҉·ÈÚÂ
ÒÎÂ‰Û˛˘ÂÂ.
óÚÓ·˚ ‚˚ÈÚË ËÁ ÂÊËχ Function, ̇ÊÏËÚ ÍÌÓÔÍÛ [TEMPO/FUNCTION#],
˜ÚÓ·˚ Á‡„ÓÂÎÒfl Ë̉Ë͇ÚÓ [TEMPO].
CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION]
39
éÔËÒ‡ÌË ÙÛÌ͈ËÈ
F1. íÓÌ͇fl ̇ÒÚÓÈ͇ ‚˚ÒÓÚ˚ Á‚Û͇
åÓÊÌÓ Ì‡ÒÚÓËÚ¸ ‚˚ÒÓÚÛ Á‚Û͇ ‚ÒÂ„Ó ËÌÒÚÛÏÂÌÚ‡. ùÚ‡ ÙÛÌ͈Ëfl ÔÓÎÂÁ̇, ÂÒÎË Ì‡ Clavinova
Ë„‡˛Ú ‚ ÒÓÔÓ‚ÓʉÂÌËË ‰Û„Ëı ËÌÒÚÛÏÂÌÚÓ‚
ËÎË ÏÛÁ˚ÍË Ò ÍÓÏÔ‡ÍÚ-‰ËÒ͇.
1. èÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚÂ
.
2. äÌÓÔÍË [–/NO] Ë [+/YES] ÔË Í‡Ê‰ÓÏ Ì‡Ê‡ÚËË
ÔÓÌËʇ˛Ú Ë ÔÓ‚˚¯‡˛Ú ‚˚ÒÓÚÛ Á‚Û˜‡ÌËfl
Í·‚Ë¯Ë ãfl Ô‚ÓÈ ÓÍÚ‡‚˚ ÔË·ÎËÁËÚÂθÌÓ
̇ 0,2 Ɉ.
.....
.....
ÑÂÒflÚ˚ ‰ÓÎË „Âˆ‡ ÓÚϘ‡˛ÚÒfl ̇ Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ
Ë̉Ë͇ÚÓÂ Ò ÔÓÏÓ˘¸˛ Ó‰ÌÓÈ ËÎË ‰‚Ûı ÚÓ˜ÂÍ (ÒÏ.
ÒÎÂ‰Û˛˘ËÈ ÔËÏÂ).
ÑËÒÔÎÂÈ
á̇˜ÂÌËÂ
440,0
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
440,2
427,0–453,0 (Ɉ)
440,4
ëڇ̉‡Ú̇fl ̇ÒÚÓÈ͇:
440,6
440,0 (Ɉ)
440,8
íÖêåàçéãéÉàü
Ɉ („ˆ) — ˝ÚÓ Â‰ËÌˈ‡ ËÁÏÂÂÌËfl ˜‡ÒÚÓÚ˚ Á‚Û͇,
ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘‡fl ˜ËÒÎÛ ÍÓη‡ÌËÈ Á‚ÛÍÓ‚ÓÈ ‚ÓÎÌ˚ ‚
ÒÂÍÛ̉Û.
ä ëÇÖÑÖçàû
åÓÊÌÓ Ú‡ÍÊ ÏÂÌflÚ¸ ‚˚ÒÓÚÛ Á‚Û͇ ̇ Í·‚ˇÚÛ (Ì ‚
ÂÊËÏÂ Function).
ì‚Â΢ÂÌË ‚˚ÒÓÚ˚ (Ò ËÌÚ‚‡ÎÓÏ ÔËÏÂÌÓ 0,2 Ɉ):
ç‡ÊÏËÚ ӉÌÓ‚ÂÏÂÌÌÓ Í·‚Ë¯Ë ãfl Ë ëË ÒÛ·ÍÓÌÚÓÍÚ‡‚˚
(‰‚ ͇ÈÌË Ò΂‡ ·ÂÎ˚ Í·‚Ë¯Ë Ì‡ Í·‚ˇÚÛÂ) Ë Î˛·Û˛
Í·‚Ë¯Û ÏÂÊ‰Û ÑÓ Ë ëË Ô‚ÓÈ ÓÍÚ‡‚˚.
ìÏÂ̸¯ÂÌË ‚˚ÒÓÚ˚ (Ò ËÌÚ‚‡ÎÓÏ ÔËÏÂÌÓ 0,2 Ɉ):
ç‡ÊÏËÚ ӉÌÓ‚ÂÏÂÌÌÓ Í·‚Ë¯Ë ãfl Ë ãfl ÒÛ·ÍÓÌÚÓÍÚ‡‚˚
(͇ÈÌË Ò΂‡ ·ÂÎÛ˛ Ë ˜ÂÌÛ˛ Í·‚˯Ë) Ë Î˛·Û˛ Í·‚˯Û
ÏÂÊ‰Û ÑÓ Ë ëË Ô‚ÓÈ ÓÍÚ‡‚˚.
ÇÓÒÒÚ‡ÌÓ‚ÎÂÌË ËÒıÓ‰ÌÓÈ ‚˚ÒÓÚ˚: ç‡ÊÏËÚÂ
Ó‰ÌÓ‚ÂÏÂÌÌÓ Í·‚Ë¯Ë ãfl Ë ãfl ÒÛ·ÍÓÌÚÓÍÚ‡‚˚ (͇ÈÌËÂ
Ò΂‡ ·ÂÎÛ˛ Ë ˜ÂÌÛ˛ Í·‚Ë¯Ë ) Ë Î˛·Û˛ Í·‚Ë¯Û ÏÂÊ‰Û ÑÓ
Ë ëË Ô‚ÓÈ ÓÍÚ‡‚˚.
• àÌÙÓχˆË˛ Ó Ì‡Á‚‡ÌËflı Í·‚˯ Ë Ëı ̇Á̇˜ÂÌËflı ÒÏ. ‚ ‡Á‰ÂΠ«äÓÏÔÓÌÂÌÚ˚» ̇ ÒÚ. 14.
(ÇÓ ‚ÂÏfl ÓÔËÒ‡ÌÌÓÈ ‚˚¯Â Ôӈ‰Û˚ ‰ËÒÔÎÂÈ
ÔÓ͇Á˚‚‡ÂÚ ˜‡ÒÚÓÚÛ ‚ Ɉ
...
. èÓÒΠÁ‡‚Â¯ÂÌËfl Ôӈ‰Û˚ ‰ËÒÔÎÂÈ ‚ÓÁ‚‡˘‡ÂÚÒfl Í ËÒıÓ‰ÌÓÏÛ Á̇˜ÂÌ˲.)
40
CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION]
ä ëÇÖÑÖçàû
ç‡ÒÚÓÈÍÛ ÏÓÊÌÓ Ú‡ÍÊ ÔÓËÁ‚Ó‰ËÚ¸ Ò ËÌÚ‚‡ÎÓÏ
ÔËÏÂÌÓ 1 Ɉ (Ì ‚ ÂÊËÏ Function).
ì‚Â΢ÂÌË ËÎË ÛÏÂ̸¯ÂÌË ‚˚ÒÓÚ˚
Ò ËÌÚ‚‡Î‡ÏË 1 Ɉ: ç‡ÊÏËÚ ӉÌÓ‚ÂÏÂÌÌÓ Í·‚Ë¯Ë ãfl Ë
ãfl ÒÛ·ÍÓÌÚÓÍÚ‡‚˚ (͇ÈÌË Ò΂‡ ·ÂÎÛ˛ Ë ˜ÂÌÛ˛ Í·‚˯Ë)
ËÎË Í·‚Ë¯Ë ãfl Ë ëË ÒÛ·ÍÓÌÚÓÍÚ‡‚˚ (‰‚ ͇ÈÌˠ΂˚Â
·ÂÎ˚ Í·‚˯Ë) Ë ÍÌÓÔÍÛ [–/NO] ËÎË [+/YES].
ÇÓÒÒÚ‡ÌÓ‚ÎÂÌË ËÒıÓ‰ÌÓÈ ‚˚ÒÓÚ˚: ç‡ÊÏËÚÂ
Ó‰ÌÓ‚ÂÏÂÌÌÓ Í·‚Ë¯Ë ãfl Ë ãfl ÒÛ·ÍÓÌÚÓÍÚ‡‚˚ (͇ÈÌËÂ
Ò΂‡ ·ÂÎÛ˛ Ë ˜ÂÌÛ˛ Í·‚˯Ë) ËÎË Í·‚Ë¯Ë ãfl Ë ëË
ÒÛ·ÍÓÌÚÓÍÚ‡‚˚ (‰‚ ͇ÈÌˠ΂˚ ·ÂÎ˚ Í·‚˯Ë) Ë
ÍÌÓÔÍË [–/NO] [+/YES].
(ÇÓ ‚ÂÏfl ÓÔËÒ‡ÌÌÓÈ ‚˚¯Â Ôӈ‰Û˚ ‰ËÒÔÎÂÈ
ÔÓ͇Á˚‚‡ÂÚ ˜‡ÒÚÓÚÛ ‚ Ɉ
...
. èÓÒÎÂ
Á‡‚Â¯ÂÌËfl Ôӈ‰Û˚ ‰ËÒÔÎÂÈ ‚ÓÁ‚‡˘‡ÂÚÒfl
Í ËÒıÓ‰ÌÓÏÛ Á̇˜ÂÌ˲.)
F2. Ç˚·Ó ÒÚÓfl
åÓÊÌÓ ‚˚·‡Ú¸ ÌÛÊÌ˚È ÒÚÓÈ.
ꇂÌÓÏÂÌÓ ÚÂÏÔÂËÓ‚‡ÌÌ˚È ÒÚÓÈ — ˝ÚÓ
̇˷ÓΠ˜‡ÒÚÓ ËÒÔÓθÁÛÂÏ˚È ÒÓ‚ÂÏÂÌÌ˚È
ÏÂÎӉ˘ÂÒÍËÈ ÒÚÓÈ ÙÓÚÂÔ¸flÌÓ. é‰Ì‡ÍÓ ‚
ËÒÚÓËË ÒÛ˘ÂÒÚ‚Ó‚‡ÎÓ ·Óθ¯Ó ÍÓ΢ÂÒÚ‚Ó
‰Û„Ëı ÒÚÓ‚, ÏÌÓ„Ë ËÁ ÍÓÚÓ˚ı fl‚Îfl˛ÚÒfl
ÓÒÌÓ‚ÓÈ ÓÔ‰ÂÎÂÌÌ˚ı ÏÛÁ˚͇θÌ˚ı ʇÌÓ‚.
åÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ‚Ò ˝ÚË ÒÚÓË Ì‡
ËÌÒÚÛÏÂÌÚÂ Clavinova.
1. èÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚÂ
.
2. ç‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES], ˜ÚÓ·˚ ÔÂÂÈÚË ‚ ÔÓ‰ÂÊËÏ ÛÒÚ‡ÌÓ‚ÍË ÒÚÓfl, Á‡ÚÂÏ ËÒÔÓθÁÛÈÚÂ
ÍÌÓÔÍË [TEMPO/FUNCTION# ▼, ▲] ‰Îfl ‚˚·Ó‡
ÒÚÓfl. ç‡ÊËχÈÚ ÍÌÓÔÍË [–/NO] Ë [+/YES] ‰Îfl
‚˚·Ó‡ ÌÓχ ÒÚÓfl.
èÓ‰ÂÊËÏ˚
ëÚÓÈ
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
1: ꇂÌÓÏÂÌÓ ÚÂÏÔÂËÓ‚‡ÌÌ˚È
2: óËÒÚ˚È Ï‡ÊÓ
3: óËÒÚ˚È ÏËÌÓ
4: èËÙ‡„ÓÂÈÒÍËÈ ÒÚÓÈ
5: å‰ˇθÌ˚È ÒÚÓÈ
6: ëÚÓÈ ÇÂÍÏÂÈÒÚÂ‡
7: ëÚÓÈ äËÌ·Â„Â‡
ꇂÌÓÏÂÌÓ ÚÂÏÔÂËÓ‚‡ÌÌ˚È ÒÚÓÈ
éÍÚ‡‚‡ ‰ÂÎËÚÒfl ̇ ‰‚Â̇‰ˆ‡Ú¸ ‡‚Ì˚ı ËÌÚÂ‚‡ÎÓ‚.
ç‡Ë·ÓΠÔÓÔÛÎflÌ˚È ÒÓ‚ÂÏÂÌÌ˚È ÏÂÎӉ˘ÂÒÍËÈ
ÒÚÓÈ ‰Îfl ÙÓÚÂÔ¸flÌÓ.
óËÒÚ˚È Ï‡ÊÓ/óËÒÚ˚È ÏËÌÓ
éÒÌÓ‚‡Ì ̇ ÂÒÚÂÒÚ‚ÂÌÌ˚ı Ó·ÂÚÓ̇ı, ÚË Ï‡ÊÓÌ˚ı
‡ÍÍÓ‰‡ ÔË ÔÓÏÓ˘Ë ˝ÚÓ„Ó ÒÚÓfl ÒÓÁ‰‡˛Ú
ÔÂÍ‡ÒÌ˚È, ˜ËÒÚ˚È Á‚ÛÍ. àı ËÌÓ„‰‡ ËÒÔÓθÁÛ˛Ú
‰Îfl ıÓÓ‚˚ı Ô‡ÚËÈ.
é·˚˜Ì‡fl ̇ÒÚÓÈ͇:
èËÙ‡„ÓÂÈÒÍËÈ ÒÚÓÈ
ÖÒÎË ‚˚ ‚˚·Ë‡ÂÚ Ì ‡‚ÌÓÏÂÌÓ ÚÂÏÔÂËÓ‚‡ÌÌ˚È ÒÚÓÈ, ‚‡Ï ̇‰Ó ÓÔ‰ÂÎËÚ¸ ÚÓÌËÍÛ. (ᇉ‡ÌËÂ
ÚÓÌËÍË ‚ ÂÊËÏ ‡‚ÌÓÏÂÌÓ ÚÂÏÔÂËÓ‚‡ÌÌÓ„Ó
ÒÚÓfl Ì ‡·ÓÚ‡ÂÚ. éÒÌÓ‚ÌÛ˛ ÌÓÚÛ ÏÓÊÌÓ Á‡‰‡Ú¸ ÔË
ËÒÔÓθÁÓ‚‡ÌËË ‰Û„Ëı ÒÚÓ‚.)
ùÚÓÚ ÒÚÓÈ, ‡Á‡·ÓÚ‡ÌÌ˚È ‰‚Ì„˜ÂÒÍËÏ
ÙËÎÓÒÓÙÓÏ èËÙ‡„ÓÓÏ, ÓÒÌÓ‚‡Ì ̇ ˜ËÒÚÓÈ Í‚ËÌÚÂ.
Ç ˝ÚÓÏ ÒÎÛ˜‡Â ÚÂˆËfl ÌÂÒÚ‡·Ëθ̇, ıÓÚfl Í‚‡Ú‡ Ë
Í‚ËÌÚ‡ Á‚Û˜‡Ú ÔÂÍ‡ÒÌÓ Ë ÔÓ‰ıÓ‰flÚ ‰Îfl ÌÂÍÓÚÓ˚ı
ÏÂÎÓ‰ËÈ.
å‰ˇθÌ˚È ÒÚÓÈ
ùÚÓÚ ÒÚÓÈ fl‚ÎflÂÚÒfl ÛÎÛ˜¯ÂÌÌ˚Ï ‚‡ˇÌÚÓÏ
ÔËÙ‡„ÓÂÈÒÍÓ„Ó ÒÚÓfl, ‚ ÌÂÏ ÛÒÚ‡ÌÂ̇ ÌÂÒÚ‡·ËθÌÓÒÚ¸ ÚÂˆËË. ùÚÓÚ ÒÚÓÈ ·˚Î ÔÓÔÛÎflÂÌ Ò ÍÓ̈‡
XVI ÔÓ ÍÓ̈ XVIII ‚Â͇, ËÏ ÔÓθÁÓ‚‡ÎÒfl ÉẨÂθ.
ëÚÓË ÇÂÍχÈÒÚ‡ Ë äË̷„‡
1: ꇂÌÓÏÂÌÓ ÚÂÏÔÂËÓ‚‡ÌÌ˚È
éÒÌӂ̇fl ÌÓÚ‡
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
é·˚˜Ì‡fl ̇ÒÚÓÈ͇:
• èËÏÂ Á‡‰‡ÌËfl ÚÓÌËÍË
(F)
(G)
‰ËÂÁ — ˜ÂÚ‡ ̇‚ÂıÛ
(A )
·ÂÏÓθ — ˜ÂÚ‡ ‚ÌËÁÛ
ùÚË ÒÚÓË fl‚Îfl˛ÚÒfl ÂÁÛθڇڇÏË ‡Á΢Ì˚ı ÒÓ˜ÂÚ‡ÌËÈ ÒÚÓfl MeanTone Ë ÔËÙ‡„ÓÂÈÒÍÓ„Ó ÒÚÓfl.
Ç ˝ÚËı ÒÚÓflı Ô‰ÒÚ‡‚ÎÂÌËÂ Ë Ó˘Û˘ÂÌË ÓÚ ÔÂÒÂÌ
ÏÂÌflÂÚÒfl Ò ÔÓÏÓ˘¸˛ ÏÓ‰ÛÎflˆËË. éÌË ˜‡ÒÚÓ ËÒÔÓθÁÓ‚‡ÎËÒ¸ ‚ ˝ÔÓıÛ Å‡ı‡ Ë ÅÂÚıÓ‚Â̇. àı Ú‡ÍÊ ˜‡ÒÚÓ
ËÒÔÓθÁÛ˛Ú ‚ ̇ÒÚÓfl˘Â ‚ÂÏfl ̇ Í·‚ÂÒËÌÂ, ˜ÚÓ·˚
‚ÓÒÔÓËÁ‚Ó‰ËÚ¸ ÏÛÁ˚ÍÛ ÚÓÈ ˝ÔÓıË.
CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION]
41
í‡ÌÒÔÓÌËÓ‚‡ÌË ÚÂÏ·‡ 1 ̇ ÓÍÚ‡‚Û
F3. îÛÌ͈ËË ÔË Ì‡ÎÓÊÂÌËË ÚÂÏ·Ó‚
í‡ÌÒÔÓÌËÓ‚‡ÌË ÚÂÏ·‡ 2 ̇ ÓÍÚ‡‚Û
åÓÊÌÓ Á‡‰‡‚‡Ú¸ ‡Á΢Ì˚ ԇ‡ÏÂÚ˚ ‚
ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚, ˜ÚÓ·˚ ÛÎÛ˜¯ËÚ¸
̇ÒÚÓÈÍË ÔÓË„˚‚‡ÂÏ˚ı ÔÂÒÂÌ, ̇ÔËÏÂ
ËÁÏÂÌËÚ¸ ·‡Î‡ÌÒ „ÓÏÍÓÒÚË ÏÂÊ‰Û ÚÂÏ·‡ÏË.
ç‡ÒÚÓÈÍË ‚ ˝ÚÓÏ ÂÊËÏ ‚˚ÔÓÎÌfl˛ÚÒfl
ÓÚ‰ÂθÌÓ ‰Îfl ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚.
1. Ç˚·ÂËÚ ÚÂÏ·˚ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl,
ÔÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚÂ
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: -1, 0, 1
é·˚˜Ì‡fl ̇ÒÚÓÈ͇: ê‡Á΢̇ ‰Îfl ͇ʉÓÈ
ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚.
Ç˚ÒÓÚÛ ÚÓ̇ ÏÓÊÌÓ ÒÏ¢‡Ú¸ ̇ ˆÂÎÛ˛ ÓÍÚ‡‚Û ‚‚Âı
Ë ‚ÌËÁ ÓÚ‰ÂθÌÓ ‰Îfl ÚÂÏ·Ó‚ 1 Ë 2. Ç Á‡‚ËÒËÏÓÒÚË ÓÚ
ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl Á‚Û˜‡ÌËÂ
ÍÓÏ·Ë̇ˆËË ÏÓÊÂÚ ÛÎÛ˜¯ËÚ¸Òfl, ÂÒÎË Ó‰ËÌ ËÁ
ÚÂÏ·Ó‚ Ú‡ÌÒÔÓÌËÓ‚‡Ú¸ ̇ ÓÍÚ‡‚Û ‚‚Âı ËÎË ‚ÌËÁ.
.
2. ç‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES], ˜ÚÓ·˚ ÔÂÂÈÚË ‚ ÔÓ‰ÂÊËÏ Ì‡ÒÚÓÈÍË Ì‡ÎÓÊÂÌËfl ÚÂÏ·Ó‚, Á‡ÚÂÏ
ËÒÔÓθÁÛÈÚ ÍÌÓÔÍË [TEMPO/FUNCTION# ▼, ▲]
‰Îfl ‚˚·Ó‡ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ÂÈ Ì‡ÒÚÓÈÍË.
ç‡ÊËχÈÚ ÍÌÓÔÍË [–/NO] Ë [+/YES] ‰Îfl ÔÓ‰·Ó‡
ÌÂÓ·ıÓ‰ËÏ˚ı Á̇˜ÂÌËÈ.
èêàåÖóÄçàÖ
ÖÒÎË ‚˚ Ì ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚, ÚÓ ‚ÏÂÒÚÓ
ÔÓfl‚ËÚÒfl
Ë ‚˚ Ì ÒÏÓÊÂÚ ËÁÏÂÌflÚ¸ ̇ÒÚÓÈÍË. åÓÊÌÓ
ÔÂÂÍβ˜‡Ú¸Òfl ÏÂÊ‰Û ÂÊËÏÓÏ Function Ë ÂÊËÏÓÏ
̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚.
èÓ‰ÂÊËÏ˚
Ň·ÌÒ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
0 – 20 (èË 10 Ó·‡ ÚÂÏ·‡ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ·Û‰ÛÚ Ò·‡Î‡ÌÒËÓ‚‡Ì˚. á̇˜ÂÌËfl
ÏÂ̸¯Â 10 ·Û‰ÛÚ Û‚Â΢˂‡Ú¸ „ÓÏÍÓÒÚ¸
ÚÂÏ·‡ 2 ÔÓ Ò‡‚ÌÂÌ˲ Ò ÚÂÏ·ÓÏ 1, ‡
Á̇˜ÂÌËfl ·Óθ¯Â 10 Û‚Â΢˂‡˛Ú „ÓÏÍÓÒÚ¸
ÚÂÏ·‡ 1 ÔÓ Ò‡‚ÌÂÌ˲ Ò ÚÂÏ·ÓÏ 2.)
é·˚˜Ì‡fl ̇ÒÚÓÈ͇:
ì ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚ Ò‚Ófl.
é‰ËÌ ËÁ ÚÂÏ·Ó‚ ÏÓÊÌÓ ‚˚·‡Ú¸ ‚ ͇˜ÂÒÚ‚Â
„·‚ÌÓ„Ó, ‡ ‰Û„ÓÈ ÏÓÊÂÚ Á‚Û˜‡Ú¸ ‚ Ïfl„ÍÓÈ,
ÔË„ÎÛ¯ÂÌÌÓÈ Ï‡ÌÂÂ.
ëÏ¢ÂÌË ‚˚ÒÓÚ˚ ÔË Ì‡ÎÓÊÂÌËË
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
-10 – 0 – 10 (èË ÔÓÎÓÊËÚÂθÌ˚ı Á̇˜ÂÌËflı
‚˚ÒÓÚ‡ ÚÂÏ·‡ 1 ‚ÓÁ‡ÒÚ‡ÂÚ, ‡ ‚˚ÒÓÚ‡ ÚÂÏ·‡
2 ÔÓÌËʇÂÚÒfl. èË ÓÚˈ‡ÚÂθÌ˚ı Á̇˜ÂÌËflı ‚˚ÒÓÚ‡ ÚÂÏ·‡ 1 ÔÓÌËʇÂÚÒfl, ‡ ‚˚ÒÓÚ‡
ÚÂÏ·‡ 2 ‚ÓÁ‡ÒÚ‡ÂÚ.)
ä ëÇÖÑÖçàû
óÂÏ ÌËÊ ÚÂÏ·, ÚÂÏ ¯Ë ‰Ë‡Ô‡ÁÓÌ Á̇˜ÂÌËÈ ËÁÏÂÌÂÌËfl
‚˚ÒÓÚ˚ (±60 % ‰Îfl ÌÓÚ˚ ãfl ÒÛ·ÍÓÌÚÓÍÚ‡‚˚, ±5 % ‰Îfl ÌÓÚ˚
ÑÓ ÔflÚÓÈ ÓÍÚ‡‚˚). (100 % ÒÓÓÚ‚ÂÚÒÚ‚Û˛Ú Ó‰ÌÓÏÛ ÔÓÎÛÚÓÌÛ.)
é·˚˜Ì‡fl ̇ÒÚÓÈ͇:
ì ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚ Ò‚Ófl.
ëÏ¢ÂÌË ‚˚ÒÓÚ˚ Á‚Û͇ ÚÂÏ·Ó‚ 1 Ë 2 ÒÓÁ‰‡ÂÚ ·ÓÎÂÂ
̇Ò˚˘ÂÌÌ˚È Á‚ÛÍ.
42
CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION]
ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ‰Îfl ÚÂÏ·‡ 1
ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ‰Îfl ÚÂÏ·‡ 2
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: 0 – 20
é·˚˜Ì‡fl ̇ÒÚÓÈ͇: ê‡Á΢̇ ‚ Á‡‚ËÒËÏÓÒÚË ÓÚ
ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚.
Ç ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ ˝ÚË ÙÛÌ͈ËË
ÔÓÁ‚ÓÎfl˛Ú ÓÚ‰ÂθÌÓ ÛÒڇ̇‚ÎË‚‡Ú¸ „ÎÛ·ËÌÛ ˝ÙÙÂÍÚ‡
‰Îfl ÚÂÏ·Ó‚ 1 Ë 2. è‡‡ÏÂÚ˚ „ÎÛ·ËÌ˚ ˝ÙÙÂÍÚ‡
ÏÓÊÌÓ ËÁÏÂÌflÚ¸ ÚÓθÍÓ ‚ ÂÊËÏ [EFFECT]. óÚÓ·˚
‚Íβ˜ËÚ¸ ÂÊËÏ [EFFECT], ÌÂÓ·ıÓ‰ËÏÓ Ò̇˜‡Î‡
‚˚ÈÚË ËÁ ÂÊËχ Function.
• é Ô‡‡ÏÂÚ‡ı «ÚÂÏ· 1» Ë «ÚÂÏ· 2» ÒÏ. ÒÚ. 26.
èÂÂÁ‡„ÛÁ͇
ùÚ‡ ÙÛÌ͈Ëfl ‚ÓÒÒڇ̇‚ÎË‚‡ÂÚ ‰Îfl ‚ÒÂı ÙÛÌ͈ËÈ
‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ Ó·˚˜Ì˚ Á̇˜ÂÌËfl.
ÑÎfl ‚ÓÒÒÚ‡ÌÓ‚ÎÂÌËfl ËÒıÓ‰Ì˚ı Á̇˜ÂÌËÈ Ì‡ÊÏËÚÂ
ÍÌÓÔÍÛ [+/YES].
ä ëÇÖÑÖçàû
äéåÅàçÄñàü äãÄÇàò:
åÓÊÌÓ ÔÂÂÈÚË ÔflÏÓ Í ÙÛÌ͈ËflÏ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl
ÚÂÏ·Ó‚
, ̇ʇ‚ ÍÌÓÔÍÛ [TEMPO/FUNCTION#] ,
Ó‰ÌÓ‚ÂÏÂÌÌÓ Û‰ÂÊË‚‡fl ÍÌÓÔÍË ‰‚Ûı ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Ëı
ÚÂÏ·Ó‚.
óÚÓ·˚ ‚˚ÈÚË ËÁ ÂÊËχ Function, ̇‰Ó Ú‡ÍÊ ̇ʇڸ ÍÌÓÔÍÛ
[TEMPO/FUNCTION#], ˜ÚÓ·˚ Á‡„ÓÂÎÒfl Ë̉Ë͇ÚÓ TEMPO.
é·˚˜Ì‡fl ̇ÒÚÓÈ͇:
F4. (CLP-130)
îÛÌ͈ËË ÔË ‡Á‰ÂÎÂÌËË ÚÂÏ·Ó‚
ì ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚ Ò‚Ófl.
ìÓ‚Â̸ „ÓÏÍÓÒÚË Í‡Ê‰Ó„Ó ÚÂÏ·‡ ‚ ÂÊËÏÂ
‡Á‰ÂÎÂÌËfl ÏÓÊÌÓ Ì‡ÒÚÓËÚ¸.
Ç ˝ÚÓÏ ÏÂÌ˛ ÏÓÊÌÓ Á‡‰‡‚‡Ú¸ ‡Á΢Ì˚Â
Ô‡‡ÏÂÚ˚ ‰Îfl ÂÊËχ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚.
åÂÌflfl ÚÓ˜ÍÛ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ ËÎË ‰Û„ËÂ
Ô‡‡ÏÂÚ˚, ÏÓÊÌÓ ‰Ó·ËÚ¸Òfl ÓÔÚËχθÌÓ„Ó
Á‚Û˜‡ÌËfl ËÒÔÓÎÌflÂÏÓÈ ÔÂÒÌË.
ùÚË Ì‡ÒÚÓÈÍË ÏÓÊÌÓ ÛÒÚ‡ÌÓ‚ËÚ¸ ÓÚ‰ÂθÌÓ ‰Îfl
͇ʉÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚.
1. Ç˚·ÂËÚ ÚÂÏ·˚ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl,
ÔÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚÂ
í‡ÌÒÔÓÌËÓ‚‡ÌË ԇ‚Ó„Ó ÚÂÏ·‡
í‡ÌÒÔÓÌËÓ‚‡ÌË ÎÂ‚Ó„Ó ÚÂÏ·‡
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: -1, 0, 1
é·˚˜Ì‡fl ̇ÒÚÓÈ͇: ë‚Ófl ‰Îfl ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË
.
2. ç‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES], ˜ÚÓ·˚ ÔÂÂÈÚË ‚ ÔÓ‰ÂÊËÏ Ì‡ÒÚÓÈÍË ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚, Á‡ÚÂÏ
ËÒÔÓθÁÛÈÚ ÍÌÓÔÍË [TEMPO/FUNCTION# ▼, ▲]
‰Îfl ‚˚·Ó‡ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Ëı Ô‡‡ÏÂÚÓ‚. ÑÎfl
‚˚·Ó‡ Á̇˜ÂÌËÈ ËÒÔÓθÁÛÈÚ ÍÌÓÔÍË [–/NO] Ë
[+/YES].
èêàåÖóÄçàÖ
ÖÒÎË ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ Ì ‚Íβ˜ÂÌ, ‚ÏÂÒÚÓ
ÔÓfl‚ËÚÒfl
Ë ‚˚ Ì ÒÏÓÊÂÚ ‚˚·‡Ú¸ ÙÛÌ͈ËË ‚ ÂÊËÏÂ
‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚. çÂÓ·ıÓ‰ËÏÓ ‚˚ÈÚË ËÁ ÂÊËχ Function,
ÔÂʉ ˜ÂÏ ÔÂÂıÓ‰ËÚ¸ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚.
ÚÂÏ·Ó‚
Ç˚ÒÓÚÛ Á‚Û͇ ÏÓÊÌÓ ÒÏ¢‡Ú¸ ̇ ˆÂÎÛ˛ ÓÍÚ‡‚Û ‚‚Âı
Ë ‚ÌËÁ ÓÚ‰ÂθÌÓ ‰Îfl Ô‡‚Ó„Ó Ë ÎÂ‚Ó„Ó ÚÂÏ·‡.
Ç˚·ÂËÚ ̇ÒÚÓÈÍÛ, ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Û˛ ÌÓÚÌÓÏÛ
‰Ë‡Ô‡ÁÓÌÛ ÔÓË„˚‚‡ÂÏ˚ı ÔÂÒÂÌ.
ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ‰Îfl Ô‡‚Ó„Ó ÚÂÏ·‡
ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ‰Îfl ÎÂ‚Ó„Ó ÚÂÏ·‡
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: 0 – 20
é·˚˜Ì‡fl ̇ÒÚÓÈ͇: ë‚Ófl ‰Îfl ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË
ÚÂÏ·Ó‚
ùÚË ÙÛÌ͈ËË ÔÓÁ‚ÓÎfl˛Ú ÓÚ‰ÂθÌÓ ÛÒڇ̇‚ÎË‚‡Ú¸
„ÎÛ·ËÌÛ ˝ÙÙÂÍÚ‡ ‰Îfl ÎÂ‚Ó„Ó Ë Ô‡‚Ó„Ó ÚÂÏ·‡ ‚
ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚.
è‡‡ÏÂÚ˚ „ÎÛ·ËÌ˚ ˝ÙÙÂÍÚ‡ ÏÓÊÌÓ ÏÂÌflÚ¸ ÚÓθÍÓ
‚ ÂÊËÏ [EFFECT]. èÂ‰ ‚Íβ˜ÂÌËÂÏ ÂÊËχ
[EFFECT] ÌÂÓ·ıÓ‰ËÏÓ ‚˚ÈÚË ËÁ ÂÊËχ Function.
ÑˇԇÁÓÌ Ô‡‚ÓÈ Ô‰‡ÎË
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: ALL (‰Îfl Ó·ÓËı ÚÂÏ·Ó‚)
èÓ‰ÂÊËÏ˚
íӘ͇ ‡Á‰ÂÎÂÌËfl
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: ÇÒfl Í·‚ˇÚÛ‡
é·˚˜Ì‡fl ÛÒÚ‡Ìӂ͇: î‡ Ï‡ÎÓÈ ÓÍÚ‡‚˚
ìÒÚ‡ÌÓ‚ËÚ ̇ Í·‚ˇÚÛ ÚÓ˜ÍÛ, ‡Á‰ÂÎfl˛˘Û˛
Ô‡ÚËË Ô‡‚ÓÈ Ë Î‚ÓÈ ÛÍË (ÚÓ˜ÍÛ ‡Á‰ÂÎÂÌËfl).
ç‡Ê‡Ú‡fl Í·‚˯‡ ÓÚÌÓÒËÚÒfl Í ‰Ë‡Ô‡ÁÓÌÛ ‰Îfl Ô‡ÚËË
΂ÓÈ ÛÍË.
• ÇÏÂÒÚÓ ÚÓ„Ó, ˜ÚÓ·˚ ̇ÊËχڸ ÍÌÓÔÍË [–/NO] Ë
[+/YES], ÏÓÊÌÓ ‚‚ÂÒÚË ÚÓ˜ÍÛ ‡Á‰ÂÎÂÌËfl, ̇ÊËχfl
ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Û˛ Í·‚Ë¯Û Ì‡ Í·‚ˇÚÛÂ.
• ÖÒÎË ÂÊËÏ Function Ì Á‡‰ÂÈÒÚ‚Ó‚‡Ì, ÏÓÊÌÓ
ËÁÏÂÌËÚ¸ ÚÓ˜ÍÛ ‡Á‰ÂÎÂÌËfl, ̇ʇ‚
ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Û˛ Í·‚Ë¯Û Ë Û‰ÂÊË‚‡fl ÔË ˝ÚÓÏ
ÍÌÓÔÍÛ [SPLIT] (ÒÚ. 27).
• èËÏÂ Á̇˜ÂÌËfl ‰Îfl ÚÓ˜ÍË ‡Á‰ÂÎÂÌËfl
Í·‚ˇÚÛ˚
(F2)
(G2)
‰ËÂÁ — ˜ÂÚ‡ ̇‚ÂıÛ
(A 2)
1 (‰Îfl Ô‡‚Ó„Ó ÚÂÏ·‡)
2 (‰Îfl ÎÂ‚Ó„Ó ÚÂÏ·‡)
é·˚˜Ì‡fl ̇ÒÚÓÈ͇: ALL
îÛÌ͈Ëfl ‰Ë‡Ô‡ÁÓ̇ Ô‡‚ÓÈ Ô‰‡ÎË ÓÔ‰ÂÎflÂÚ,
‚ÎËflÂÚ ÎË ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ Ô‡‚‡fl
Ô‰‡Î¸ ̇ Ô‡‚˚È, ΂˚È ËÎË Ó·‡ ÚÂÏ·‡.
èÂÂÁ‡„ÛÁ͇
ùÚ‡ ÙÛÌ͈Ëfl ‚ÓÒÒڇ̇‚ÎË‚‡ÂÚ ‚Ò ÙÛÌ͈ËË ÂÊËχ
‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ ‚ Á̇˜ÂÌËË ÔÓ ÛÏÓΘ‡Ì˲. ÑÎfl
‚ÓÒÒÚ‡ÌÓ‚ÎÂÌËfl Á̇˜ÂÌËÈ ÔÓ ÛÏÓΘ‡Ì˲ ̇ÊÏËÚÂ
ÍÌÓÔÍÛ [+/YES].
ä ëÇÖÑÖçàû
äéåÅàçÄñàü äãÄÇàò:
åÓÊÌÓ ÔÂÂÈÚË ÔflÏÓ Í ÙÛÌ͈ËflÏ ÂÊËχ ‡Á‰ÂÎÂÌËfl
ÚÂÏ·Ó‚
, ̇ʇ‚ ÍÌÓÔÍÛ [TEMPO/FUNCTION#],
Ó‰ÌÓ‚ÂÏÂÌÌÓ Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ [SPLIT].
óÚÓ·˚ ‚˚ÈÚË ËÁ ÂÊËχ Function, ̇‰Ó Ú‡ÍÊ ̇ʇڸ ÍÌÓÔÍÛ
[TEMPO/FUNCTION#], ˜ÚÓ·˚ Á‡„ÓÂÎÒfl Ë̉Ë͇ÚÓ TEMPO.
·ÂÏÓθ — ˜ÂÚ‡ ‚ÌËÁÛ
Ň·ÌÒ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
0 – 20 (á̇˜ÂÌËÂ10 ÛÒڇ̇‚ÎË‚‡ÂÚ ‡‚Ì˚È
·‡Î‡ÌÒ ÏÂÊ‰Û ÚÂÏ·‡ÏË ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl.
á̇˜ÂÌËfl ÏÂ̸¯Â 10 Û‚Â΢˂‡˛Ú „ÓÏÍÓÒÚ¸
ÎÂ‚Ó„Ó ÚÂÏ·‡ ÔÓ Ò‡‚ÌÂÌ˲ Ò Ô‡‚˚Ï, ‡
Á̇˜ÂÌËfl ‚˚¯Â 10 Û‚Â΢˂‡˛Ú „ÓÏÍÓÒÚ¸
Ô‡‚Ó„Ó ÚÂÏ·‡ ÔÓ Ò‡‚ÌÂÌ˲ Ò Î‚˚Ï.)
CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION]
43
F5. (CLP-130) / F4. (CLP-120)
ÑÛ„Ë ÙÛÌ͈ËË
ùÚ‡ ÙÛÌ͈Ëfl ÔÓÁ‚ÓÎflÂÚ ‚˚·‡Ú¸ ‰Îfl ΂ÓÈ
Ô‰‡ÎË Ó‰ËÌ ËÁ ÂÊËÏÓ‚, Û͇Á‡ÌÌ˚ı ÌËÊÂ.
1. ÇÍβ˜ËÚ ÂÊËÏ Function Ë ‚˚·ÂËÚÂ
(CLP-130)/
(CLP-120).
2. ç‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES], ˜ÚÓ·˚ ÔÂÂÈÚË ‚
ÔÓ‰ÂÊËÏ ‰Û„Ëı ÙÛÌ͈ËÈ, Á‡ÚÂÏ ËÒÔÓθÁÛÈÚÂ
ÍÌÓÔÍË [TEMPO/FUNCTION# ▼, ▲] ‰Îfl ‚˚·Ó‡
ÌÛÊÌÓ„Ó ÔÓ‰ÂÊËχ. ç‡ÊËχÈÚ ÍÌÓÔÍÛ [–/NO]
ËÎË [+/YES] ‰Îfl ‚˚·Ó‡ ÌÛÊÌÓÈ ÙÛÌ͈ËË
Ô‰‡ÎË ËÎË ÛÒÚ‡ÌÓ‚ÍË Á̇˜ÂÌËÈ.
èÓ‰ÂÊËÏ
(CLP-130)/
(CLP-120)
êÂÊËÏ Î‚ÓÈ Ô‰‡ÎË
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
1. ょfl Ô‰‡Î¸ (ÔË„ÎÛ¯ÂÌËÂ)
èÓ͇ ̇ʇڇ ΂‡fl Ô‰‡Î¸, „ÓÏÍÓÒÚ¸ ÔÓË„˚‚‡ÂÏ˚ı ÌÓÚ ·Û‰ÂÚ ÔË„ÎÛ¯Â̇, ‡ ÚÂÏ· Ò΄͇ ËÁÏÂÌÂÌ. ùÚ‡ Ô‰‡Î¸ Ì ‚ÎËflÂÚ Ì‡ ÛÊ Á‚Û˜‡˘Ë ÌÓÚ˚.
2. á‡ÔÛÒÍ ËÎË ÓÒÚ‡Ìӂ͇ ÔÂÒÌË
Ç ˝ÚÓÏ ÂÊËÏ ÏÓÊÌÓ Á‡ÔÛÒ͇ڸ ËÎË ÓÒڇ̇‚ÎË‚‡Ú¸ ‚ÓÒÔÓËÁ‚‰ÂÌË ÔÂÒÌË. Ç ˝ÚÓÏ ÂÊËϠ΂‡fl
Ô‰‡Î¸ ‡·ÓÚ‡ÂÚ Í‡Í ÍÌÓÔ͇ SONG [START/STOP]
̇ Ô‡ÌÂÎË.
3. LJˇˆËfl (CLP-130)
Ç ˝ÚÓÏ ÂÊËÏ ÏÓÊÌÓ ‚Íβ˜‡Ú¸ Ë ‚˚Íβ˜‡Ú¸
‚‡ˇˆË˛ ÚÂÏ·Ó‚. Ç ˝ÚÓÏ ÂÊËϠ΂‡fl Ô‰‡Î¸
‡·ÓÚ‡ÂÚ Í‡Í ÍÌÓÔ͇ [VARIATION] ̇ Ô‡ÌÂÎË.
é·˚˜Ì‡fl ̇ÒÚÓÈ͇: 1 (ょfl Ô‰‡Î¸)
(CLP-130)/
(CLP-120)
ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ΂ÓÈ Ô‰‡ÎË
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
é·˚˜Ì‡fl ̇ÒÚÓÈ͇:
1 – 15
3
ùÚ‡ ÙÛÌ͈Ëfl Á‡‰‡ÂÚ „ÎÛ·ËÌÛ ˝ÙÙÂÍÚ‡ ΂ÓÈ Ô‰‡ÎË.
(CLP-130) ÉÎÛ·Ë̇
«ÒÛÒÚÂÈÌ»-Ò˝ÏÔ·
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
é·˚˜Ì‡fl ̇ÒÚÓÈ͇:
0 – 20
12
ÑÎfl ÚÂÏ·‡ GRAND PIANO 1 ËÒÔÓθÁÛ˛ÚÒfl
ÒÔˆˇθÌ˚ «ÒÛÒÚÂÈÌ»-Ò˝ÏÔÎ˚, ÍÓÚÓ˚ ÔË
̇ʇÚËË Ô‡‚ÓÈ Ô‰‡ÎË ‚ÓÒÒÓÁ‰‡˛Ú ÛÌË͇θÌ˚È
ÂÁÓ̇ÌÒ ‰ÂÍË Ë ÒÚÛÌ ‡ÍÛÒÚ˘ÂÒÍÓ„Ó ÓflÎfl.
ùÚ‡ ÙÛÌ͈Ëfl ÔÓÁ‚ÓÎflÂÚ Ì‡ÒÚÓËÚ¸ „ÎÛ·ËÌÛ ˝ÚÓ„Ó
˝ÙÙÂÍÚ‡.
44
CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION]
(CLP-130)
ÉÓÏÍÓÒÚ¸ Ò˝ÏÔ· ÓÚÔÛ˘ÂÌÌÓÈ Í·‚˯Ë
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
é·˚˜Ì‡fl ̇ÒÚÓÈ͇:
0 – 20
10
åÓÊÌÓ Ì‡ÒÚÓËÚ¸ „ÓÏÍÓÒÚ¸ Á‚Û͇ ÓÚÔÛ˘ÂÌÌÓÈ
Í·‚Ë¯Ë (ÚËıËÈ Á‚ÛÍ, ‚ÓÁÌË͇˛˘ËÈ, ÍÓ„‰‡
ÓÚÔÛÒ͇˛Ú Í·‚˯Û) ‰Îfl ÚÂÏ·Ó‚ [GRAND PIANO1],
[HARPSICHORD], [E.CLAVICHORD] (‡ Ú‡ÍÊ ‰Îfl Ëı
‚‡ˇˆËÈ).
F6. (CLP-130) / F5. (CLP-120)
ÉÓÏÍÓÒÚ¸ ÏÂÚÓÌÓχ
ÉÓÏÍÓÒÚ¸ ÏÂÚÓÌÓχ ÏÓÊÌÓ ÏÂÌflÚ¸.
àÒÔÓθÁÛÈÚ ˝ÚÛ ÙÛÌÍˆË˛ ‰Îfl ̇ÒÚÓÈÍË
„ÓÏÍÓÒÚË ÏÂÚÓÌÓχ.
1. èÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚÂ
(CLP-130)/
(CLP-120).
2. ᇉ‡ÈÚ ÌÛÊÌÛ˛ „ÓÏÍÓÒÚ¸ ÏÂÚÓÌÓχ Ò
ÔÓÏÓ˘¸˛ ÍÌÓÔÓÍ [–/NO] Ë [+/YES].
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
é·˚˜Ì‡fl ̇ÒÚÓÈ͇:
1 – 20
10
ä ëÇÖÑÖçàû
äéåÅàçÄñàü äãÄÇàò:
åÓÊÌÓ ÔÂÂÈÚË ÔflÏÓ Í ÙÛÌ͈ËflÏ ÏÂÚÓÌÓχ
(CLP130)/
(CLP-120), ̇ʇ‚ ÍÌÓÔÍÛ [TEMPO/FUNCTION#] Ë
Ó‰ÌÓ‚ÂÏÂÌÌÓ Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ METRONOME [START/
STOP].
óÚÓ·˚ ‚˚ÈÚË ËÁ ÂÊËχ Function, ̇‰Ó Ú‡ÍÊ ̇ʇڸ ÍÌÓÔÍÛ
[TEMPO/FUNCTION#], ˜ÚÓ·˚ Á‡„ÓÂÎÒfl Ë̉Ë͇ÚÓ TEMPO.
F7. (CLP-130) / F6. (CLP-120)
ÉÓÏÍÓÒÚ¸ ÓÚÍβ˜ÂÌÌÓÈ Ô‡ÚËË
ùÚ‡ ÙÛÌ͈Ëfl Á‡‰‡ÂÚ „ÓÏÍÓÒÚ¸, Ò ÍÓÚÓÓÈ Á‚Û˜ËÚ
«ÓÚÍβ˜ÂÌ̇fl» Ô‡ÚËfl ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË.
ç‡ÒÚÓÈÚ ۉӷÌÛ˛ ‰Îfl ‚‡Ò „ÓÏÍÓÒÚ¸ Ë
ËÒÔÓθÁÛÈÚ ÓÚÍβ˜ÂÌÌÛ˛ Ô‡Ú˲ ‚ ͇˜ÂÒÚ‚Â
ÛÍÓ‚Ó‰ÒÚ‚‡ ‰Îfl Ò‚ÓÂÈ Ë„˚.
1. èÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚÂ
(CLP-130)/
(CLP-120).
2. ìÒÚ‡ÌÓ‚ËÚ ÌÛÊÌÛ˛ „ÓÏÍÓÒÚ¸ Ò ÔÓÏÓ˘¸˛
ÍÌÓÔÓÍ [–/NO] Ë [+/YES].
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
é·˚˜Ì‡fl ̇ÒÚÓÈ͇:
0 – 20
5
F8. (CLP-130) / F7. (CLP-120)
îÛÌ͈ËË MIDI
åÓÊÌÓ Á‡‰‡Ú¸ ̇ÒÚÓÈÍË MIDI-ËÌÚÂÙÂÈÒ‡.
ÑÓÔÓÎÌËÚÂθÌÛ˛ ËÌÙÓχˆË˛ Ó MIDI ÏÓÊÌÓ
ÔÓÎÛ˜ËÚ¸ ‚ ‡Á‰ÂΠ«é· ËÌÚÂÙÂÈÒ MIDI»
(ÒÚ. 49).
ä ëÇÖÑÖçàû
óÚÓ·˚ ËÒÔÓθÁÓ‚‡Ú¸ MIDI-‡Á˙ÂÏ˚, ÔÂÂÍβ˜‡ÚÂθ HOST
SELECT ̇ ÌËÊÌÂÈ Ô‡ÌÂÎË ËÌÒÚÛÏÂÌÚ‡ ̇‰Ó ÛÒÚ‡ÌÓ‚ËÚ¸ ‚
ÔÓÎÓÊÂÌË «MIDI». ÖÒÎË ‚˚ ÔÓθÁÛÂÚÂÒ¸ ‡Á˙ÂÏÓÏ TO HOST,
ÛÒÚ‡ÌÓ‚ËÚ ÔÂÂÍβ˜‡ÚÂθ HOST SELECT ‚ ÔÓÎÓÊÂÌËÂ,
ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â ÚËÔÛ ‚‡¯Â„Ó ÍÓÏÔ¸˛Ú‡ (ÒÚ. 49-55).
èË ˝ÚÓÏ ‚Ò ÛÒÚ‡ÌÓ‚ÍË ‰Îfl MIDI, ÓÔËÒ‡ÌÌ˚ ÌËÊÂ, ·Û‰ÛÚ
‚ÎËflÚ¸ ̇ MIDI-Ò˄̇Î, ‚ıÓ‰fl˘ËÈ Ë ‚˚ıÓ‰fl˘ËÈ ˜ÂÂÁ ‡Á˙ÂÏ
TO HOST.
1. èÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚÂ
(CLP-130)/
(CLP-120).
2. ç‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES], ˜ÚÓ·˚ ÔÂÂÈÚË ‚
ÂÊËÏ ÛÒÚ‡ÌÓ‚ÍË MIDI, Á‡ÚÂÏ ËÒÔÓθÁÛÈÚÂ
ÍÌÓÔÍË [TEMPO/FUNCTION# ▼, ▲] ‰Îfl ‚˚·Ó‡
ÌÛÊÌÓ„Ó ÔÓ‰ÂÊËχ. ç‡ÊËχÈÚ ÍÌÓÔÍÛ [–/NO]
ËÎË [+/YES] ‰Îfl ÛÒÚ‡ÌÓ‚ÍË ‚˚·‡ÌÌÓ„Ó
Ô‡‡ÏÂÚ‡.
èÓ‰ÂÊËÏ
(CLP-130)/
(CLP-120)
Ç˚·Ó ͇̇· Ô‰‡˜Ë ‰‡ÌÌ˚ı MIDI
èË Ì‡ÒÚÓÈÍ ÛÔ‡‚ÎÂÌËfl MIDI-ËÌÚÂÙÂÈÒÓÏ ‰Îfl
ÛÒÔ¯ÌÓÈ ÔÂ‰‡˜Ë ‰‡ÌÌ˚ı MIDI-͇̇Î˚
ÔÂ‰‡˛˘Â„Ó Ë ÔËÌËχ˛˘Â„Ó Ó·ÓÛ‰Ó‚‡ÌËfl
‰ÓÎÊÌ˚ ·˚Ú¸ Ô˂‰ÂÌ˚ ‚ ÒÓÓÚ‚ÂÚÒÚ‚ËÂ.
ë ÔÓÏÓ˘¸˛ ˝ÚÓ„Ó Ô‡‡ÏÂÚ‡ ÏÓÊÌÓ Û͇Á‡Ú¸ ͇̇Î,
ÔÓ ÍÓÚÓÓÏÛ ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova ·Û‰ÂÚ
ÔÂ‰‡‚‡Ú¸ MIDI-‰‡ÌÌ˚Â.
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
1 – 16, OFF (ÔÂ‰‡˜Ë ÌÂÚ)
é·˚˜Ì‡fl ̇ÒÚÓÈ͇: 1
èêàåÖóÄçàÖ
Ç ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ ‰‡ÌÌ˚ ‰Îfl ÚÂÏ·‡ 1
Ô‰‡˛ÚÒfl ÔÓ Û͇Á‡ÌÌÓÏÛ ‰Îfl ÌÂ„Ó Í‡Ì‡ÎÛ. Ç ÂÊËÏÂ
‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ (CLP-130) ‰‡ÌÌ˚ ԇ‚Ó„Ó ÚÂÏ·‡
Ô‰‡˛ÚÒfl ÔÓ Û͇Á‡ÌÌÓÏÛ ‰Îfl ÌÂ„Ó Í‡Ì‡ÎÛ. Ç ÂÊËÏÂ
̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ ‰‡ÌÌ˚ ÚÂÏ·‡ 2 Ô‰‡˛ÚÒfl ÔÓ Í‡Ì‡ÎÛ,
ÌÓÏ ÍÓÚÓÓ„Ó ·Óθ¯Â ÌÓχ Û͇Á‡ÌÌÓ„Ó Í‡Ì‡Î‡. Ç ÂÊËÏÂ
‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ (CLP-130) ‰‡ÌÌ˚ ÎÂ‚Ó„Ó ÚÂÏ·‡
Ô‰‡˛ÚÒfl ÔÓ Í‡Ì‡ÎÛ, ÌÓÏ ÍÓÚÓÓ„Ó ·Óθ¯Â ÌÓχ
Û͇Á‡ÌÌÓ„Ó Í‡Ì‡Î‡. ÖÒÎË ‚ β·ÓÏ ÂÊËÏ Ô‰‡˛˘ËÈ Í‡Ì‡Î
ÛÒÚ‡ÌÓ‚ÎÂÌ ‚ ÔÓÎÓÊÂÌË «OFF», ‰‡ÌÌ˚ Ì Ô‰‡˛ÚÒfl.
èêàåÖóÄçàÖ
чÌÌ˚ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı Ë ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ Ë ‰‡ÌÌ˚Â
ÔÂÒÂÌ ÔÓθÁÓ‚‡ÚÂÎfl Ì Ô‰‡˛ÚÒfl ˜ÂÂÁ MIDI.
CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION]
45
(CLP-130)/
(CLP-120)
(CLP-120)
Ç˚·Ó ͇̇· ÔËÂχ MIDI-‰‡ÌÌ˚ı
àÁÏÂÌÂÌË ÔÓ„‡ÏÏ˚ ON/OFF
èË Ì‡ÒÚÓÈÍ ÛÔ‡‚ÎÂÌËfl MIDI-ËÌÚÂÙÂÈÒÓÏ ‰Îfl
ÛÒÔ¯ÌÓÈ ÔÂ‰‡˜Ë ‰‡ÌÌ˚ı MIDI-͇̇Î˚ ÔÂ‰‡˛˘Â„Ó Ë ÔËÌËχ˛˘Â„Ó Ó·ÓÛ‰Ó‚‡ÌËfl ‰ÓÎÊÌ˚ ·˚Ú¸
Ô˂‰ÂÌ˚ ‚ ÒÓÓÚ‚ÂÚÒÚ‚ËÂ. ë ÔÓÏÓ˘¸˛ ˝ÚÓ„Ó Ô‡‡ÏÂÚ‡ ÏÓÊÌÓ Û͇Á‡Ú¸ ͇̇Î, ÔÓ ÍÓÚÓÓÏÛ ˆËÙÓ‚ÓÂ
ÔˇÌËÌÓ Clavinova ·Û‰ÂÚ ÔÓÎÛ˜‡Ú¸ MIDI-‰‡ÌÌ˚Â.
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
ALL, 1&2, 1-16
é·˚˜Ì‡fl ̇ÒÚÓÈ͇: ALL
é·˚˜ÌÓ CLP-130/120 ‡„ËÛÂÚ Ì‡ ÌÓÏÂ‡
ËÁÏÂÌÂÌËfl MIDI-ÔÓ„‡ÏÏ˚, ÔÓÎÛ˜ÂÌÌ˚ Ò
‚̯ÌÂÈ Í·‚ˇÚÛ˚ ËÎË ÓÚ ‰Û„Ó„Ó MIDIÛÒÚÓÈÒÚ‚‡, ‚˚·Ë‡fl ‰Îfl ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â„Ó Í‡Ì‡Î‡
ÚÂÏ· Ò ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ËÏ ÌÓÏÂÓÏ (ÚÂÏ· ̇
Í·‚ˇÚÛ Ì ËÁÏÂÌflÂÚÒfl). èË ‚˚·Ó ӉÌÓ„Ó ËÁ
Ò‚ÓËı ÚÂÏ·Ó‚, ˆËÙÓ‚Ó ÔˇÌËÌÓ CLP-130/120
Ó·˚˜ÌÓ ÔÂ‰‡ÂÚ ÌÓÏÂ ËÁÏÂÌÂÌËfl MIDIÔÓ„‡ÏÏ˚, ÂÒÎË ‚̯Ì MIDI-ÛÒÚÓÈÒÚ‚Ó
̇ÒÚÓÂÌÓ Ì‡ ÔËÂÏ ‰‡ÌÌ˚ı, ̇ ÌÂÏ ·Û‰ÂÚ ‚˚·‡Ì
ÚÂÏ· ËÎË ÔÓ„‡Ïχ Ò ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ËÏ ÌÓÏÂÓÏ.
èË ÔÓÏÓ˘Ë ˝ÚÓÈ ÙÛÌ͈ËË ÏÓÊÌÓ Á‡ÔÂÚËÚ¸ ÔËÂÏ
Ë ÔÂ‰‡˜Û ÌÓÏÂÓ‚ ËÁÏÂÌÂÌËfl ÔÓ„‡ÏÏ˚, Ú.Â.
‚˚·‡ÌÌ˚ ̇ ÔˇÌËÌÓ CLP-130/120 ÚÂÏ·˚ ÌÂ
·Û‰ÛÚ ‚ÎËflÚ¸ ̇ ‚̯Ì MIDI-ÛÒÚÓÈÒÚ‚Ó.
ä ëÇÖÑÖçàû
ALL:
ÑÓÒÚÛÔÂÌ ÂÊËÏ ÔËÂχ ÌÂÒÍÓθÍËı ÚÂÏ·Ó‚ (Multi-timbre). ë
Â„Ó ÔÓÏÓ˘¸˛ ÏÓÊÌÓ Ó‰ÌÓ‚ÂÏÂÌÌÓ ÔËÌËχڸ ‡Á΢Ì˚Â
Ô‡ÚËË ÔÓ ‚ÒÂÏ 16 Í‡Ì‡Î‡Ï MIDI, ˜ÚÓ ‰‡ÂÚ ˆËÙÓ‚ÓÏÛ
ÔˇÌËÌÓ Clavinova ‚ÓÁÏÓÊÌÓÒÚ¸ ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸ ‰‡ÌÌ˚Â
ÔÂÒÌË, ÔÓÎÛ˜ÂÌÌ˚Â Ò ÍÓÏÔ¸˛Ú‡ ËÎË ÒÂÍ‚ÂÌÒ‡ ÔÓ
ÌÂÒÍÓθÍËÏ Í‡Ì‡Î‡Ï.
1&2:
ÑÓÒÚÛÔÂÌ ÂÊËÏ ÔËÂχ 1&2. ë Â„Ó ÔÓÏÓ˘¸˛ ÏÓÊÌÓ Ó‰ÌÓ‚ÂÏÂÌÌÓ ÔËÌËχڸ ÚÓθÍÓ ÔÓ Í‡Ì‡Î‡Ï 1 Ë 2, ˜ÚÓ ‰‡ÂÚ
ˆËÙÓ‚ÓÏÛ ÔˇÌËÌÓ Clavinova ‚ÓÁÏÓÊÌÓÒÚ¸ ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸
‰‡ÌÌ˚ ÔÂÒÌË, ÔÓÎÛ˜ÂÌÌ˚Â Ò ÍÓÏÔ¸˛Ú‡ ËÎË ÒÂÍ‚ÂÌÒ‡ ÔÓ
Í‡Ì‡Î‡Ï 1 Ë 2.
ä ëÇÖÑÖçàû
àÁÏÂÌÂÌË ÔÓ„‡ÏÏ˚ Ë ‰Û„Ë ÔÓ‰Ó·Ì˚ ÒÓÓ·˘ÂÌËfl ÌÂ
‚ÎËfl˛Ú ̇ ̇ÒÚÓÈÍË Ô‡ÌÂÎË CLP-130/120 ËÎË Á‚Û˜‡ÌË ÌÓÚ,
ÔÓË„˚‚‡ÂÏ˚ı ̇ Í·‚ˇÚÛÂ.
èêàåÖóÄçàÖ
Ç ÂÊËÏ ‰ÂÏÓÌÒÚ‡ˆËË ËÎË ‚ÓÒÔÓËÁ‚‰ÂÌËfl ‚ÒÚÓÂÌÌÓÈ
ÔÂÒÌË MIDI-‰‡ÌÌ˚ Ì ÔËÌËχ˛ÚÒfl.
(CLP-130)/
(CLP-120)
îÛÌ͈Ëfl Local
îÛÌ͈Ëfl Local ‰‡ÂÚ ‚ÓÁÏÓÊÌÓÒÚ¸ ÛÔ‡‚ÎflÚ¸ ‡·ÓÚÓÈ
‚ÒÚÓÂÌÌÓ„Ó ÚÓÌ-„ÂÌÂ‡ÚÓ‡ Ò Í·‚ˇÚÛ˚ CLP-130/
120, Ú. Â. ‚ÒÚÓÂÌÌ˚ ÚÂÏ·˚ ÏÓ„ÛÚ ÔÓË„˚‚‡Ú¸Òfl
ÔflÏÓ Ì‡ Í·‚ˇÚÛÂ. ùÚÓ ‚ÓÁÏÓÊÌÓ, ÂÒÎË ÙÛÌ͈Ëfl
Local ‚Íβ˜Â̇ (‚˚·‡Ì Ô‡‡ÏÂÚ Local Control On),
Ú. Â. ‚ÌÛÚÂÌÌËÈ ÚÓÌ-„ÂÌÂ‡ÚÓ ÍÓÌÚÓÎËÛÂÚÒfl
ÎÓ͇θÌÓ, Ò Í·‚ˇÚÛ˚ ËÌÒÚÛÏÂÌÚ‡.
ÖÒÎË ˝Ú‡ ÙÛÌ͈Ëfl ÓÚÍβ˜Â̇ (‚˚·‡Ì Ô‡‡ÏÂÚ
Local control OFF), ‚ÒÚÓÂÌÌ˚Â ÚÂÏ·˚ ÌÂ ·Û‰ÛÚ
‚ÓÒÔÓËÁ‚Ó‰ËÚÒfl Ò Í·‚ˇÚÛ˚ CLP-130/120, ÌÓ
ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘‡fl MIDI-ËÌÙÓχˆËfl ‚Ò ‡‚ÌÓ
ÔÂ‰‡ÂÚÒfl ˜ÂÂÁ ‡Á˙ÂÏ MIDI OUT ÔË Ì‡Ê‡ÚËË
Í·‚˯. é‰ÌÓ‚ÂÏÂÌÌÓ Ò ˝ÚËÏ ‚ÒÚÓÂÌÌ˚È ÚÓÌ„ÂÌÂ‡ÚÓ ‡„ËÛÂÚ Ì‡ MIDI-ËÌÙÓχˆË˛,
ÔÓÎÛ˜ÂÌÌÛ˛ ˜ÂÂÁ ‡Á˙ÂÏ MIDI IN.
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
ON/OFF
é·˚˜Ì‡fl ̇ÒÚÓÈ͇: ON
46
(CLP-130)/
CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION]
ä ëÇÖÑÖçàû
àÌÙÓχˆË˛ Ó ÌÓχı ËÁÏÂÌÂÌËfl ÔÓ„‡ÏÏ˚ ‰Îfl ‚ÒÂı
ÚÂÏ·Ó‚ CLP-130/120 ÒÏ. ̇ ÒÚ. 71 ‚ ‡Á‰ÂΠîÓÏ‡Ú MIDI‰‡ÌÌ˚ı.
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
é·˚˜Ì‡fl ̇ÒÚÓÈ͇:
(CLP-130)/
ON/OFF
ON
(CLP-120)
îÛÌ͈Ëfl Control Change ON/OFF
é·˚˜ÌÓ CLP-130/120 ‡„ËÛÂÚ Ì‡ ‰‡ÌÌ˚Â
Ó· ËÁÏÂÌÂÌËË ˝ÎÂÏÂÌÚÓ‚ ÛÔ‡‚ÎÂÌËfl MIDI,
ÔÓÎÛ˜ÂÌÌ˚Â Ò ‚̯ÌÂ„Ó MIDI-ÛÒÚÓÈÒÚ‚‡ ËÎË
Í·‚ˇÚÛ˚, ˜ÚÓ ÔË‚Ó‰ËÚ Í ÚÓÏÛ, ˜ÚÓ Ì‡ ÚÂÏ· ‚
ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ÂÏ Í‡Ì‡Î ‚ÎËflÂÚ Ô‰‡Î¸, ‡ Ú‡ÍÊÂ
‰Û„Ë ̇ÒÚÓÈÍË ÛÔ‡‚ÎÂÌËfl, ÔÓÎÛ˜ÂÌÌ˚Â Ò ˝ÚÓ„Ó
ÛÒÚÓÈÒÚ‚‡ (˝ÚÓ Ì ‚ÓÁ‰ÂÈÒÚ‚ÛÂÚ Ì‡ ÚÂÏ·
Í·‚ˇÚÛ˚).
èˇÌËÌÓ CLP-130/120 Ú‡ÍÊ ÔÂ‰‡ÂÚ ËÌÙÓχˆË˛
Ó· ËÁÏÂÌÂÌËË ˝ÎÂÏÂÌÚÓ‚ ÛÔ‡‚ÎÂÌËfl MIDIËÌÚÂÙÂÈÒÓÏ ÔË ‡·ÓÚ Ô‰‡ÎË ËÎË ‰Û„Ëı
˝ÎÂÏÂÌÚÓ‚ ÛÔ‡‚ÎÂÌËfl.
èË ÔÓÏÓ˘Ë ˝ÚÓÈ ÙÛÌ͈ËË ÏÓÊÌÓ Á‡ÔÂÚËÚ¸ ÔËÂÏ
Ë ÔÂ‰‡˜Û ‰‡ÌÌ˚ı Ó· ËÁÏÂÌÂÌËË ˝ÎÂÏÂÌÚÓ‚
ÛÔ‡‚ÎÂÌËfl, Ú‡Í ˜ÚÓ, ̇ÔËÏÂ, Ô‰‡Î¸ Ë ‰Û„ËÂ
˝ÎÂÏÂÌÚ˚ ÛÔ‡‚ÎÂÌËfl CLP-130/120 Ì ·Û‰ÛÚ ‚ÎËflÚ¸
̇ ‚̯Ì MIDI-ÛÒÚÓÈÒÚ‚Ó.
ä ëÇÖÑÖçàû
ÅÓΠ‰ÂڇθÌÛ˛ ËÌÙÓχˆË˛ Ó· ËÁÏÂÌÂÌËË ˝ÎÂÏÂÌÚÓ‚
ÛÔ‡‚ÎÂÌËfl, ÍÓÚÓ˚ ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ‚ CLP-130/120
ÒÏ. ‚ ‡Á‰ÂΠîÓÏ‡Ú MIDI-‰‡ÌÌ˚ı ̇ ÒÚ. 71.
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
é·˚˜Ì‡fl ̇ÒÚÓÈ͇:
ON/OFF
ON
(CLP-130)/
(CLP-120)
(CLP-130)/
(CLP-120)
îÛÌ͈Ëfl MIDI Transmit Transpose
艇˜‡ χÒÒË‚‡ ‰‡ÌÌ˚ı
ùÚ‡ ÙÛÌ͈Ëfl ÔÓÁ‚ÓÎflÂÚ Ú‡ÌÒÔÓÌËÓ‚‡Ú¸ ‚‚Âı ËÎË
‚ÌËÁ ̇ ÔÓÎÛÚÓÌ ÏÛÁ˚͇θÌ˚ MIDI-‰‡ÌÌ˚Â, ÔÂ‰‡‚‡ÂÏ˚ CLP-130/120 (‚ÒÂ„Ó Ì‡ 12 ÔÓÎÛÚÓÌÓ‚ ‚‚Âı
ËÎË ‚ÌËÁ). Ç˚ÒÓÚ‡ Á‚Û͇ Ò‡ÏÓ„Ó ÔˇÌËÌÓ CLP-130/
120 Ì ÏÂÌflÂÚÒfl.
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
-12 – 0 – 12 (‚ ÔÓÎÛÚÓ̇ı)
é·˚˜Ì‡fl ̇ÒÚÓÈ͇: 0
åÓÊÌÓ ÒÓı‡ÌËÚ¸ ‰‡ÌÌ˚ ÚÂÍÛ˘ÂÈ ÔÂÒÌË ÔˇÌËÌÓ
Clavinova, ÔÂ‰‡‚ Ëı ‚ ‚ˉ χÒÒË‚‡ MIDI-‰‡ÌÌ˚ı
̇ MIDI-Ù‡ÈÎÂ (̇ÔËÏÂ MDF3) ËÎË Ì‡ ÒÂÍ‚ÂÌÒÓ. ÑÎfl ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÒÓı‡ÌÂÌÌÓÈ ÔÂÒÌË ÌÛÊÌÓ ÔÂÂÔËÒ‡Ú¸ χÒÒË‚ ‰‡ÌÌ˚ı Ò Á‡ÔÓÏË̇˛˘Â„Ó
ÛÒÚÓÈÒÚ‚‡ ‚ Ô‡ÏflÚ¸ Clavinova.
(CLP-130)/
(CLP-120)
艇˜‡ ÒÓÒÚÓflÌËfl Ô‡ÌÂÎË
åÓÊÌÓ ÔÂ‰‡‚‡Ú¸ ‚Ò ÚÂÍÛ˘Ë ̇ÒÚÓÈÍË Ô‡ÌÂÎË
CLP-130/120 (‚˚·‡ÌÌ˚È ÚÂÏ· Ë Ú. ‰.) ˜ÂÂÁ ‡Á˙ÂÏ
MIDI OUT. ùÚÓ ÓÒÓ·ÂÌÌÓ ÔÓÎÂÁÌÓ, ÂÒÎË ‚˚ ·Û‰ÂÚÂ
Á‡ÔËÒ˚‚‡Ú¸ Ò‚ÓË ÏÂÎÓ‰ËË Ì‡ ÛÒÚÓÈÒÚ‚Ó ‰Îfl Á‡ÔËÒË
MIDI-‰‡ÌÌ˚ı, ̇ÔËÏÂ ÛÒÚÓÈÒÚ‚Ó MIDI Data
Filer MDF3 ÍÓÔÓ‡ˆËË Yamaha, ÍÓÚÓÓ ·Û‰ÂÚ
ÛÔ‡‚ÎflÚ¸ ˆËÙÓ‚˚Ï ÔˇÌËÌÓ CLP-130/120 ÔË
‚ÓÒÔÓËÁ‚‰ÂÌËË. ÖÒÎË ‰‡ÌÌ˚Â Ó Ì‡ÒÚÓÈ͇ı Ô‡ÌÂÎË
CLP-130/120 ·˚ÎË ÔÂ‰‡Ì˚ Ë Á‡ÔËÒ‡Ì˚ ̇ ÛÒÚÓÈÒÚ‚Ó ‰Îfl Á‡ÔËÒË Ë Ó·‡·ÓÚÍË MIDI-‰‡ÌÌ˚ı
‰Ó ̇˜‡Î‡ Ë„˚, ÔË ‚ÓÒÔÓËÁ‚‰ÂÌËË Á‡ÔËÒ‡ÌÌÓÈ
ÏÂÎÓ‰ËË Ì‡ ˆËÙÓ‚ÓÏ ÔˇÌËÌÓ CLP-130/120 ˝ÚË
̇ÒÚÓÈÍË ·Û‰ÛÚ ‚ÓÒÒڇ̇‚ÎË‚‡Ú¸Òfl ‡‚ÚÓχÚ˘ÂÒÍË.
íÖêåàçéãéÉàü
чÌÌ˚Â Ó Ì‡ÒÚÓÈ͇ı Ô‡ÌÂÎË:
чÌÌ˚Â, ÍÓÚÓ˚ ÒÓ‰ÂÊ‡Ú Ì‡·Ó ̇ÒÚÓÂÍ Ô‡ÌÂÎË ‰Îfl
ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova.
ÑÂÈÒÚ‚Ëfl
1. ç‡ÒÚÓÈÚ ԇÌÂθ ÛÔ‡‚ÎÂÌËfl.
2. ëÓ‰ËÌËÚ ÔˇÌËÌÓ Clavinova Ò ÒÂÍ‚ÂÌÒÓÓÏ
˜ÂÂÁ MIDI-‡Á˙ÂÏ Ë Ì‡ÒÚÓÈÚ ÒÂÍ‚ÂÌÒÓ ̇
ÔËÂÏ Ì‡ÒÚÓÂÍ Ô‡ÌÂÎË.
3. èÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚÂ
(CLP-130)/
(CLP-120).
4. ç‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES] ‰Îfl ÔÂ‰‡˜Ë ‰‡ÌÌ˚ı Ó
̇ÒÚÓÈ͇ı Ô‡ÌÂÎË.
èË ÛÒÔ¯ÌÓÈ ÔÂ‰‡˜Â ‰‡ÌÌ˚ı ̇ Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ
Ë̉Ë͇ÚÓ ÔÓfl‚ËÚÒfl
.
ä ëÇÖÑÖçàû
ëÔËÒÓÍ ‰‡ÌÌ˚ı Ó Ì‡ÒÚÓÈ͇ı, Ô‰‡‚‡ÂÏ˚ı Ò ÔÓÏÓ˘¸˛ ˝ÚÓÈ
ÙÛÌ͈ËË, ÒÏ. ̇ ÒÚ. 72.
ä ëÇÖÑÖçàû
èËÂÏ Ô‰‡ÌÌ˚ı ‰‡ÌÌ˚ı:
1. ëÓ‰ËÌËÚ Clavinova ˜ÂÂÁ ‡Á˙ÂÏ MIDI Ò ÛÒÚÓÈÒÚ‚ÓÏ, ̇
ÍÓÚÓÓ ‡Ì ·˚ÎË Ô‰‡Ì˚ ‰‡ÌÌ˚Â Ó Ì‡ÒÚÓÈ͇ı.
2. 燘ÌËÚ Ô‰‡˜Û ‰‡ÌÌ˚ı Ó Ì‡ÒÚÓÈ͇ı Ò ÛÒÚÓÈÒÚ‚‡.
Clavinova ‡‚ÚÓχÚ˘ÂÒÍË ÔÓÎÛ˜ËÚ ‰‡ÌÌ˚Â, ÍÓÚÓ˚ ·Û‰ÛÚ
ËÒÔÓθÁÓ‚‡Ì˚ ‰Îfl ̇ÒÚÓÂÍ Ô‡ÌÂÎË.
(ÑÎfl ÛÒÔ¯ÌÓ„Ó ÔËÂχ ‰‡ÌÌ˚ı ÔËÌËχ˛˘Â Ëı ˆËÙÓ‚ÓÂ
ÔˇÌËÌÓ Clavinova ‰ÓÎÊÌÓ ·˚Ú¸ ÚÓÈ Ê ÏÓ‰ÂÎË, ˜ÚÓ Ë
ÔˇÌËÌÓ, Ò ÍÓÚÓÓ„Ó ‰‡ÌÌ˚ ·˚ÎË Ô‰‡Ì˚ ̇ ÒÂÍ‚ÂÌÒÓ.)
íÖêåàçéãéÉàü
å‡ÒÒË‚ ‰‡ÌÌ˚ı — ÔÓÎÌ˚È Ì‡·Ó ËÎË ‡Ò¯ËÂÌ̇fl
ÔÓÒΉӂ‡ÚÂθÌÓÒÚ¸ ‰‡ÌÌ˚ı
ÑÂÈÒÚ‚Ëfl
1. á‡Ô˯ËÚÂ Ò‚Ó˛ Ë„Û ‚ Ô‡ÏflÚ¸ Clavinova.
2. ëÓ‰ËÌËÚ Clavinova Ò MIDI-Ù‡ÈÎÂÓÏ MDF3
˜ÂÂÁ ‡Á˙ÂÏ MIDI Ë Ì‡ÒÚÓÈÚ MDF3 ̇ ÔËÂÏ
χÒÒË‚‡ ‰‡ÌÌ˚ı.
3. èÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚÂ
(CLP-130)/
(CLP-120).
4. ç‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES] ‰Îfl ̇˜‡Î‡ ÔÂ‰‡˜Ë
‰‡ÌÌ˚ı.
èË ÛÒÔ¯ÌÓÈ ÔÂ‰‡˜Â ‰‡ÌÌ˚ı ̇ Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ
Ë̉Ë͇ÚÓ ÔÓfl‚ËÚÒfl
.
èêàåÖóÄçàÖ
ÇÓ ‚ÂÏfl Ô‰‡˜Ë χÒÒË‚‡ ‰‡ÌÌ˚ı MIDI-‰‡ÌÌ˚Â Ó Í·‚˯‡ı
Ë Ì‡ÒÚÓÈ͇ı Ô‡ÌÂÎË Ì Ô‰‡˛ÚÒfl.
ä ëÇÖÑÖçàû
èËÂÏ (‚ÓÁ‚‡Ú) Ô‰‡ÌÌ˚ı ‰‡ÌÌ˚ı:
1. ëÓ‰ËÌËÚ CLP-130/120 ˜ÂÂÁ ‡Á˙ÂÏ MIDI Ò ÛÒÚÓÈÒÚ‚ÓÏ,
̇ ÍÓÚÓÓ ·˚ÎË Ô‰‡Ì˚ ‰‡ÌÌ˚Â.
2. 燘ÌËÚ Ô‰‡˜Û ‰‡ÌÌ˚ı Ò ÛÒÚÓÈÒÚ‚‡.
CLP-130/120 ‡‚ÚÓχÚ˘ÂÒÍË ÔÓÎÛ˜ËÚ ˝ÚË ‰‡ÌÌ˚Â. (èË ˝ÚÓÏ
‚Ò ÒÚ‡˚ ‰‡ÌÌ˚ ËÁ Ô‡ÏflÚË Clavinova ·Û‰ÛÚ Û‰‡ÎÂÌ˚.)
á‡ÚÂÏ ËÒÔÓθÁÛÈÚ ӷ˚˜ÌÛ˛ Ôӈ‰ÛÛ ‚ÓÒÔÓËÁ‚‰ÂÌËfl.
(ÑÎfl ÛÒÔ¯ÌÓ„Ó ÔËÂχ ‰‡ÌÌ˚ı ÔËÌËχ˛˘Â Ëı ˆËÙÓ‚ÓÂ
ÔˇÌËÌÓ Clavinova ‰ÓÎÊÌÓ ·˚Ú¸ ÚÓÈ Ê ÏÓ‰ÂÎË, ˜ÚÓ Ë
ÔˇÌËÌÓ, Ò ÍÓÚÓÓ„Ó ‰‡ÌÌ˚ ·˚ÎË Ô‰‡Ì˚ ̇ MIDI-Ù‡ÈÎÂ.)
èêàåÖóÄçàÖ
èÂÂÁ‡„ÛÁ͇ Ì‚ÓÁÏÓÊ̇ ‚ ÂÊËÏ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌÓÈ Ë
‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË, ‡ Ú‡ÍÊ ‚Ó ‚ÂÏfl ‡·ÓÚ˚ ÛÒÚÓÈÒÚ‚‡ ‰Îfl
Á‡ÔËÒË ÔÂÒÂÌ ÔÓθÁÓ‚‡ÚÂÎfl Ë ‚ ÂÊËÏ Function.
ä ëÇÖÑÖçàû
ÅÓΠÔÓ‰Ó·ÌÛ˛ ËÌÙÓχˆË˛ Ó Ô‰‡˜Â Ë ÔËÂÏÂ
χÒÒË‚Ó‚ ‰‡ÌÌ˚ı ˜ÂÂÁ ‡Á˙ÂÏ MIDI ÒÏ. ‚ ÒÔ‡‚Ó˜ÌÓÏ
ÛÍÓ‚Ó‰ÒÚ‚Â ÔÓ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ÂÏÛ MIDI-ÛÒÚÓÈÒÚ‚Û.
ä ëÇÖÑÖçàû
ÅÓΠ‰ÂڇθÌÛ˛ ËÌÙÓχˆË˛ Ó Ô‰‡˜Â Ë ÔËÂÏ ‰‡ÌÌ˚ı
Ó Ì‡ÒÚÓÈ͇ı ˜ÂÂÁ ‡Á˙ÂÏ MIDI ÒÏ. ‚ ÛÍÓ‚Ó‰ÒÚ‚Â
ÔÓθÁÓ‚‡ÚÂÎfl ÔÓ‰Íβ˜ÂÌÌÓ„Ó ÛÒÚÓÈÒÚ‚‡ MIDI.
CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION]
47
éÔËÒ‡ÌË ÔÓ‰ÂÊËÏÓ‚
F9. (CLP-130) / F8. (CLP-120)
îÛÌ͈ËË ÒÓı‡ÌÂÌËfl
(CLP-130)/
íÖêåàçéãéÉàü
ëÓı‡ÌÂÌËÂ
åÓÊÌÓ ÒÓı‡ÌËÚ¸ ÌÂÍÓÚÓ˚ ̇ÒÚÓÈÍË, ̇ÔËÏÂ
‚˚·‡ÌÌ˚È ÚÂÏ· Ë ÚËÔ Â‚Â·Â‡ˆËË, ˜ÚÓ·˚ Ì ÔÓÚÂflÚ¸ Ëı
ÔË ÓÚÍβ˜ÂÌËË ÔËÚ‡ÌËfl ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova.
ÖÒÎË ÙÛÌ͈Ëfl ÒÓı‡ÌÂÌËfl ‚Íβ˜Â̇, ÔË ÓÚÍβ˜ÂÌËË
ÔËÚ‡ÌËfl ̇ÒÚÓÈÍË ÒÓı‡Ìfl˛ÚÒfl. ÖÒÎË ÙÛÌ͈Ëfl ÒÓı‡ÌÂÌËfl
ÓÚÍβ˜Â̇, ÔË ‚˚Íβ˜ÂÌËË ÔËÚ‡ÌËfl ̇ÒÚÓÈÍË ·Û‰ÛÚ
ÔÓÚÂflÌ˚. Ç ˝ÚÓÏ ÒÎÛ˜‡Â ÔÓÒΠ‚Íβ˜ÂÌËfl ÔËÚ‡ÌËfl ·Û‰ÛÚ
ËÒÔÓθÁÓ‚‡Ú¸Òfl ̇ÒÚÓÈÍË ÔÓ ÛÏÓΘ‡Ì˲ (Ô‚Ó̇˜‡Î¸Ì˚Â
̇ÒÚÓÈÍË). (ëÔËÒÓÍ Ù‡·Ë˜Ì˚ı ̇ÒÚÓÂÍ ÔÓ ÛÏÓΘ‡Ì˲
̇ıÓ‰ËÚÒfl ̇ ÒÚ. 70.)
é‰Ì‡ÍÓ Ò‡ÏË Ì‡ÒÚÓÈÍË ÒÓı‡ÌÂÌËfl Ë ÒÓ‰ÂÊËÏÓÂ
ÛÒÚÓÈÒÚ‚‡ ‰Îfl Á‡ÔËÒË ÔÂÒÂÌ ÔÓθÁÓ‚‡ÚÂÎfl
ÒÓı‡Ìfl˛ÚÒfl ‚Ò„‰‡.
ÇçàåÄçàÖ!
чÊ ÂÒÎË ÙÛÌ͈Ëfl ÒÓı‡ÌÂÌËfl ‚Íβ˜Â̇ ÔË ÔÓÏÓ˘Ë
Ó‰ÌÓÈ ËÁ ÓÔËÒ‡ÌÌ˚ı ÌËÊ ÙÛÌ͈ËÈ, ÔÓÒΠÓÚÍβ˜ÂÌËfl
ÔËÚ‡ÌËfl ‰‡ÌÌ˚ ·Û‰ÛÚ ı‡ÌËÚ¸Òfl Ì ·Óθ¯Â ̉ÂÎË.
èÓ ËÒÚ˜ÂÌËË ˝ÚÓ„Ó ‚ÂÏÂÌË ‚ÒÂÏ Ì‡ÒÚÓÈÍ‡Ï ·Û‰ÛÚ
‚ÓÁ‚‡˘ÂÌ˚ Ó·˚˜Ì˚ Á̇˜ÂÌËfl. ÖÒÎË ÌÛÊÌÓ ı‡ÌËÚ¸
̇ÒÚÓÈÍË Ì‡ ·ÓΠ‰ÎËÚÂθÌ˚È ÒÓÍ, ıÓÚfl ·˚ ‡Á ‚
̉Âβ ̇ ÌÂÒÍÓθÍÓ ÏËÌÛÚ ‚Íβ˜‡ÈÚ ÔËÚ‡ÌËÂ.
îÛÌÍˆË˛ ÒÓı‡ÌÂÌËfl ÏÓÊÌÓ ‚Íβ˜‡Ú¸ Ë
‚˚Íβ˜‡Ú¸ ‰Îfl ͇ʉÓÈ ËÁ ÒÎÂ‰Û˛˘Ëı „ÛÔÔ
ÙÛÌ͈ËÈ (ÔÓ‰ÂÊËÏÓ‚).
1. èÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚÂ
(CLP-130)/
(CLP-120).
2. ç‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES], ˜ÚÓ·˚ ÔÂÂÈÚË ‚ ÔÓ‰ÂÊËÏ ÙÛÌ͈ËË ÒÓı‡ÌÂÌËfl, Á‡ÚÂÏ ÍÌÓÔ͇ÏË
[TEMPO/FUNCTION# ▼, ▲] ‚˚·ÂËÚ ÙÛÌ͈ËË.
ç‡ÊÏËÚ ÍÌÓÔÍÛ [–/NO] ËÎË [+/YES] ‰Îfl
‚Íβ˜ÂÌËfl ËÎË ‚˚Íβ˜ÂÌËfl ÙÛÌ͈ËË
ÒÓı‡ÌÂÌËfl.
èÓ‰ÂÊËÏ
(CLP-130)/
(CLP-120)
íÂÏ·
(CLP-130)/
(CLP-120)
MIDI
(CLP-130)/
(CLP-120)
Ç˚ÒÓÚ‡ Á‚Û͇
(CLP-130)/
(CLP-120)
ÑÛ„ËÂ
ÑˇԇÁÓÌ Á̇˜ÂÌËÈ:
é·˚˜Ì‡fl ̇ÒÚÓÈ͇:
48
ON/OFF
OFF (‚ÒÂ „ÛÔÔ˚)
CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION]
(CLP-120)
íÂÏ·
• íÂÏ· (Í·‚ˇÚÛ‡, ÂÊËÏ Ì‡ÎÓÊÂÌËfl, ÂÊËÏ
‡Á‰ÂÎÂÌËfl (CLP-130))
• êÂÊËÏ Ì‡ÎÓÊÂÌËfl (ON/OFF, ÚÂÏ· Ë ÙÛÌ͈ËË
̇ÎÓÊÂÌËfl ‰Îfl ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚)
• êÂÊËÏ ‡Á‰ÂÎÂÌËfl (CLP-130) (ON/OFF, ÚÂÏ· Ë
ÙÛÌ͈ËË ‡Á‰ÂÎÂÌËfl ‰Îfl ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË
ÚÂÏ·Ó‚)
• ê‚Â·Â‡ˆËfl (ON/OFF, ÚËÔ Ë „ÎÛ·Ë̇ ‰Îfl
Í‡Ê‰Ó„Ó ÚÂÏ·‡)
• ùÙÙÂÍÚ (ON/OFF, ÚËÔ Ë „ÎÛ·Ë̇ ‰Îfl ͇ʉӄÓ
ÚÂÏ·‡)
• LJˇˆËfl (CLP-130) (‰Îfl Í‡Ê‰Ó„Ó ÚÂÏ·‡)
• óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËΠ̇ʇÚËfl (‚Íβ˜‡fl
„ÓÏÍÓÒÚ¸ Ò Ô‡‡ÏÂÚÓÏ FIXED)
• åÂÚÓÌÓÏ (‰ÓÎfl, ̇ÒÚÓÈÍË „ÓÏÍÓÒÚË
(CLP-130)/
(CLP-120))
• ÉÓÏÍÓÒÚ¸ ÓÚÍβ˜ÂÌÌÓÈ Ô‡ÚËË ‚ÒÚÓÂÌÌÓÈ
ÔÂÒÌË (̇ÒÚÓÈÍË
(CLP-130)/
(CLP120))
F9.2:
(CLP-130)/
(CLP-120)
îÛÌ͈ËË MIDI (̇ÒÚÓÈÍË
CLP-120)
(ÓÊˉ‡ÂÚÒfl ‰Îfl
CLP-120)
(CLP-130)/
MIDI
CLP-130/
CLP-130/
(CLP-120)
ç‡ÒÚÓÈ͇ ‚˚ÒÓÚ˚ Á‚Û͇
• í‡ÌÒÔÓÌËÓ‚‡ÌËÂ
• ç‡ÒÚÓÈ͇ ‚˚ÒÓÚ˚ Á‚Û͇ (̇ÒÚÓÈÍË
)
• Ç˚·Ó ÒÚÓfl (‚Íβ˜‡fl ÚÓÌËÍÛ) (̇ÒÚÓÈÍË
(CLP-130)/
(CLP-120)
ÑÛ„Ë ÙÛÌ͈ËË (̇ÒÚÓÈÍË
CLP-120)
)
ÑÛ„ËÂ
CLP-130/
ÇÓÒÒÚ‡ÌÓ‚ÎÂÌË ̇ÒÚÓÂÍ ÔÓËÁ‚Ó‰ËÚÂÎfl
ÇÒ ̇ÒÚÓÈÍË ÂÊËχ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚, ÂÊËχ
‡Á‰ÂÎÂÌËfl, ‚Â·Â‡ˆËË, ˝ÙÙÂÍÚÓ‚, ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË Í ÒËΠ̇ʇÚËfl, ̇ÒÚÓÈÍË ‚˚ÒÓÚ˚ Á‚Û͇ Ë
̇ÒÚÓÈÍË, ËÁÏÂÌÂÌÌ˚ ÙÛÌ͈ËflÏË ÒÓı‡ÌÂÌËfl,
ÏÓÊÌÓ ‚ÓÒÒÚ‡ÌÓ‚ËÚ¸ ‚ Á̇˜ÂÌËË ÔÓ ÛÏÓΘ‡Ì˲
(Á̇˜ÂÌËË, Á‡‰‡ÌÌÓÏ ÔÓËÁ‚Ó‰ËÚÂÎÂÏ), Û‰ÂÊË‚‡fl
Í·‚Ë¯Û ÑÓ ÔflÚÓÈ ÓÍÚ‡‚˚ (҇χfl Ô‡‚‡fl Í·‚˯‡ ̇
Í·‚ˇÚÛÂ) Ë Ì‡Ê‡‚ ÍÌÓÔÍÛ [POWER], ‚Íβ˜‡˛˘Û˛
ÔËÚ‡ÌËÂ. ùÚ‡ ÓÔÂ‡ˆËfl Ú‡ÍÊ ÒÚË‡ÂÚ ‚Ò Á‡ÔËÒ‡ÌÌ˚ ÔÂÒÌË ÔÓθÁÓ‚‡ÚÂÎfl Ë ÓÚÍβ˜‡ÂÚ ‚Ò ̇ÒÚÓÈÍË
ÒÓı‡ÌÂÌËfl (F9), ÛÒڇ̇‚ÎË‚‡fl ‰Îfl ÌËı Á̇˜ÂÌËÂ
«OFF». (ëÔËÒÓÍ Ì‡ÒÚÓÂÍ ÔÓËÁ‚Ó‰ËÚÂÎfl ÒÏ. ̇
ÒÚ. 70.)
é· ËÌÚÂÙÂÈÒ MIDI
MIDI (ˆËÙÓ‚ÓÈ ËÌÚÂÙÂÈÒ ‰Îfl ÏÛÁ˚͇θÌ˚ı ËÌÒÚÛÏÂÌÚÓ‚) — ˝ÚÓ
Òڇ̉‡ÚÌ˚È ÙÓÏ‡Ú Ô‰‡˜Ë Ë ÔËÂχ ‰‡ÌÌ˚ı. éÌ ÔÓÁ‚ÓÎflÂÚ
ÔÓ‚Ó‰ËÚ¸ Ó·ÏÂÌ ‰‡ÌÌ˚ÏË ÏÂÊ‰Û MIDI-ÛÒÚÓÈÒÚ‚‡ÏË Ë ÔÂÒÓ̇θÌ˚ÏË
ÍÓÏÔ¸˛Ú‡ÏË.
èË ÔÓÏÓ˘Ë MIDI-ËÌÚÂÙÂÈÒ‡ ÏÓÊÌÓ ÛÔ‡‚ÎflÚ¸ MIDI-ÛÒÚÓÈÒÚ‚ÓÏ,
ÔÓ‰Íβ˜ÂÌÌ˚Ï Í ÔˇÌËÌÓ Clavinova, ËÎË ÛÔ‡‚ÎflÚ¸ ÔˇÌËÌÓ Clavinova
Ò ÔÓ‰Íβ˜ÂÌÌÓ„Ó MIDI-ÛÒÚÓÈÒÚ‚‡ ËÎË ÍÓÏÔ¸˛Ú‡.
MIDI-‡Á˙ÂÏ˚
MIDI
Mac
PC-1
MIDI
PC-2
ä ëÇÖÑÖçàû
ꇷӘË MIDI-‰‡ÌÌ˚Â Ë ÍÓχ̉˚
Ô‰‡˛ÚÒfl ‚ ‚ˉ ˆËÙÓ‚˚ı
Á̇˜ÂÌËÈ.
ä ëÇÖÑÖçàû
í‡Í Í‡Í MIDI-‰‡ÌÌ˚Â, ÍÓÚÓ˚Â
ÏÓÊÌÓ Ô‰‡‚‡Ú¸ Ë ÔÓÎÛ˜‡Ú¸,
Á‡‚ËÒflÚ ÓÚ ÚËÔ‡ MIDIÛÒÚÓÈÒÚ‚‡, Ôӂ¸Ú ÔÓ
Ú‡·Îˈ ı‡‡ÍÚÂËÒÚËÍ MIDIËÌÚÂÙÂÈÒ‡, ͇ÍË ‰‡ÌÌ˚ Ë
ÍÓχ̉˚ ÏÓÊÂÚ Ô‰‡‚‡Ú¸ Ë
ÔËÌËχڸ ‚‡¯Â ÛÒÚÓÈÒÚ‚Ó.
퇷ÎËˆÛ ı‡‡ÍÚÂËÒÚËÍ MIDIËÌÚÂÙÂÈÒ‡ ‰Îfl Clavinova ÒÏ.
̇ ÒÚ. 75.
HOST SELECT
THRU
OUT
IN
(CLP-130)
MIDI [IN]:
ÑÎfl ÔËÂχ MIDI-‰‡ÌÌ˚ı.
MIDI [OUT]: ÑÎfl ÔÂ‰‡˜Ë MIDI-‰‡ÌÌ˚ı.
MIDI [THRU]: ÑÎfl ÔÂ‰‡˜Ë ‰‡ÌÌ˚ı, ÔÓÎÛ˜ÂÌÌ˚ı ˜ÂÂÁ ‡Á˙ÂÏ MIDI [IN],
·ÂÁ ËÁÏÂÌÂÌËfl.
MIDI-͇·ÂÎË
èêàåÖóÄçàÖ
ÖÒÎË ‚˚ ËÒÔÓθÁÛÂÚ MIDI‡Á˙ÂÏ˚, ÛÒÚ‡ÌÓ‚ËÚÂ
ÔÂÂÍβ˜‡ÚÂθ [HOST SELECT]
‚ ÔÓÎÓÊÂÌËÂ MIDI (ÒÚ. 54).
èÓ‰„ÓÚÓ‚¸Ú ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Ë MIDI-͇·ÂÎË.
ê‡Á˙ÂÏ [TO HOST]
àÒÔÓθÁÛÈÚ ˝ÚÓÚ ‡Á˙ÂÏ ‰Îfl ÔÓ‰Íβ˜ÂÌËfl ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova
Í ÍÓÏÔ¸˛ÚÂÛ.
Mac
PC-1
TO HOST
MIDI
PC-2
HOST SELECT
èêàåÖóÄçàÖ
ÖÒÎË ‚˚ ËÒÔÓθÁÛÂÚ ‡Á˙ÂÏ
[TO HOST], ÛÒÚ‡ÌÓ‚ËÚÂ
ÔÂÂÍβ˜‡ÚÂθ [HOST
SELECT], ‚ ÒÓÓÚ‚ÂÚÒÚ‚ËË Ò
ÚËÔÓÏ ËÒÔÓθÁÛÂÏÓ„Ó
ÍÓÏÔ¸˛Ú‡ (ÒÚ. 54).
ä ëÇÖÑÖçàû
èÓ‰Ó·ÌÛ˛ ËÌÙÓχˆË˛ Ó·
ËÌÚÂÙÂÈÒÂ MIDI ÏÓÊÌÓ
ÔÓÎÛ˜ËÚ¸ ËÁ ‡Á΢Ì˚ı
ÊÛ̇ÎÓ‚ Ë ‰Û„Ëı ËÁ‰‡ÌËÈ.
CLP-130/120 é· ËÌÚÂÙÂÈÒÂ MIDI
49
èÓ‰Íβ˜ÂÌËÂ
ê‡Á˙ÂÏ˚
ÇçàåÄçàÖ!
è‰ ÔÓ‰Íβ˜ÂÌËÂÏ ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova Í ‰Û„ËÏ ÛÒÚÓÈÒÚ‚‡Ï ‚˚Íβ˜ËÚ ÔËÚ‡ÌË ‚ÒÂı ÒÓ‰ËÌflÂÏ˚ı
ÍÓÏÔÓÌÂÌÚÓ‚. èÂʉ ˜ÂÏ ‚Íβ˜‡Ú¸ ËÎË ‚˚Íβ˜‡Ú¸ Ó·ÓÛ‰Ó‚‡ÌËÂ, ÒΉÛÂÚ ÛÒÚ‡ÌÓ‚ËÚ¸ ÏËÌËχθÌÛ˛ „ÓÏÍÓÒÚ¸ (0).
Ç ÔÓÚË‚ÌÓÏ ÒÎÛ˜‡Â Ó·ÓÛ‰Ó‚‡ÌË ÏÓÊÂÚ ·˚Ú¸ ÔÓ‚ÂʉÂÌÓ, ‡ ‚˚ Ò‡ÏË ÏÓÊÂÚ ÔÓÎÛ˜ËÚ¸ Û‰‡ ˝ÎÂÍÚ˘ÂÒÍËÏ ÚÓÍÓÏ.
PEDAL
6
CLP-130
MIDI
Mac
PC-1
TO HOST
MIDI
PC-2
R
L
LEVEL FIXED
HOST SELECT
THRU
3
OUT
4
R
L/L+R
AUX OUT
IN
L/L+R
AUX IN
1
5
R
2
CLP-120
MIDI
LEVEL FIXED
THRU
Mac
PC-1
R
L
R
L/L+R
R
OUT
IN
MIDI
PC-2
L/L+R
AUX OUT
AUX IN
TO HOST
HOST SELECT
1
2
3
4
PEDAL
5
6
1 ê‡Á˙ÂÏ˚ AUX OUT [R] [L] Ë [R] [L/L+R] (‰Îfl ̇ۯÌËÍÓ‚)
ùÚË ‡Á˙ÂÏ˚ ÏÓÊÌÓ ÔÓ‰Íβ˜‡Ú¸ Í ÒÚÂÂÓÒËÒÚÂÏ ‰Îfl ÛÒËÎÂÌËfl Á‚Û͇
Clavinova ËÎË Í Í‡ÒÒÂÚÌÓÏÛ Ï‡„ÌËÚÓÙÓÌÛ ‰Îfl Á‡ÔËÒË ‚‡¯Â„Ó ËÒÔÓÎÌÂÌËfl.
é·‡ÚËÚÂÒ¸ Í ÒıÂÏÂ Ë ËÒÔÓθÁÛÈÚ ‰Îfl ÔÓ‰Íβ˜ÂÌËfl ‡Û‰ËÓ͇·ÂÎË.
èêàåÖóÄçàÖ
êÂÍÓÏẨÛÂÚÒfl ËÒÔÓθÁÓ‚‡Ú¸
‡Û‰ËÓ͇·ÂÎË Ë ¯ÚÂÍÂ˚ Ò ÒÓÔÓÚË‚ÎÂÌËÂÏ, ·ÎËÁÍËÏ Í ÌÛβ.
ÇçàåÄçàÖ!
ç ̇ԇ‚ÎflÈÚ Ò˄̇Î˚ Ò ‡Á˙Âχ AUX OUT ̇ ‚ıÓ‰˚ AUX IN. ÖÒÎË ‚˚ ÔÓ‰Íβ˜‡ÂÚÂ
‚̯Ì ÛÒÚÓÈÒÚ‚Ó ˜ÂÂÁ ‡Á˙ÂÏ AUX OUT, Ì ÔÓ‰ÒÓ‰ËÌflÈÚ ˝ÚÓ ‡Û‰ËÓÛÒÚÓÈÒÚ‚Ó Í
‚ıÓ‰‡Ï AUX IN Clavinova. èË Ú‡ÍÓÏ ÔÓ‰Íβ˜ÂÌËË ‚ıÓ‰ÌÓÈ Ò˄̇Î, ÔÓÒÚÛÔ‡˛˘ËÈ ˜ÂÂÁ
‡Á˙ÂÏ˚ AUX IN, ÒÚ‡ÌÂÚ ‚˚ıÓ‰Ì˚Ï Ò˄̇ÎÓÏ ‡Á˙Âχ AUX OUT. ëÓÁ‰‡‚‡Âχfl ÔË ˝ÚÓÏ
‡Û‰ËÓÔÂÚÎfl ‚˚Á˚‚‡ÂÚ Á‚ÛÍÓ‚˚ ÍÓη‡ÌËfl, ÔÂÔflÚÒÚ‚ÛÂÚ ÌÓχθÌÓÏÛ
‚ÓÒÔÓËÁ‚‰ÂÌ˲ Ë ÏÓÊÂÚ ‚˚‚ÂÒÚË ËÁ ÒÚÓfl Ó·‡ ÛÒÚÓÈÒÚ‚‡.
ÇçàåÄçàÖ!
ÖÒÎË ÔˇÌËÌÓ Clavinova ÔÓ‰Íβ˜ÂÌÓ Í ‚̯ÌÂÈ ‡Û‰ËÓÒËÒÚÂÏ ˜ÂÂÁ ‡Á˙ÂÏ AUX OUT,
ÒΉÛÂÚ Ò̇˜‡Î‡ ‚Íβ˜‡Ú¸ ÔËÚ‡ÌË Clavinova Ë ÚÓθÍÓ ÔÓÒΠ˝ÚÓ„Ó ÔËÚ‡ÌË ‚̯ÌÂÈ
‡Û‰ËÓÒËÒÚÂÏ˚. Ç˚Íβ˜‡Ú¸ ÔËÚ‡ÌË ÒΉÛÂÚ ‚ Ó·‡ÚÌÓÏ ÔÓfl‰ÍÂ.
Clavinova
ëÚÂÂÓÒËÒÚÂχ
R
L
LEVEL FIXED
R
L/L+R
AUX OUT
AUX IN
¯ÚÂÍÂ
RCA
¯ÚÂÍÂ
RCA
‡Û‰ËÓ͇·Âθ
èÓ‰Íβ˜ÂÌË ÒËÌÚÂÁ‡ÚÓ‡ Ë ‡Û‰ËÓÒËÒÚÂÏ˚ Ò
ÔÓÏÓ˘¸˛ ¯ÚÂÍÂÓ‚ RCA («Ú˛Î¸Ô‡Ì˚») ÔË‚Ó‰ËÚ
Í Ô‰‡˜Â ‚̯ÌÂÏÛ ÛÒÚÓÈÒÚ‚Û Ò˄̇·
ÙËÍÒËÓ‚‡ÌÌÓ„Ó ÛÓ‚Ìfl. èË ˝ÚÓÏ ÔÓÎÓÊÂÌËÂ
„ÛÎflÚÓ‡ [MASTER VOLUME] Ë„ÌÓËÛÂÚÒfl.
50
CLP-130/120 èÓ‰Íβ˜ÂÌËÂ
Òڇ̉‡ÚÌ˚È
¯ÚÂÍÂ
̇ۯÌËÍÓ‚
ä Á‚ÛÍÓ‚˚Ï ÍÓÎÓÌ͇Ï
Ò ÛÒËÎËÚÂÎflÏË
ëÓ‰ËÌË‚ ÒËÌÚÂÁ‡ÚÓ Ë ‡Û‰ËÓÒËÒÚÂÏÛ
Ò ÔÓÏÓ˘¸˛ Òڇ̉‡ÚÌ˚ı ¯ÚÂÍÂÓ‚
‰Ë‡ÏÂÚÓÏ 3,5 ÏÏ («ÏËÌË-‰ÊÂÍ»), ÏÓÊÌÓ
„ÛÎËÓ‚‡Ú¸ „ÓÏÍÓÒÚ¸ Á‚Û͇ ̇ ‚˚ıÓ‰Â
‡Û‰ËÓÒËÒÚÂÏ˚ Ò ÔÓÏÓ˘¸˛ „ÛÎflÚÓ‡
[MASTER VOLUME].
èêàåÖóÄçàÖ
ç‡ÒÚÓÈ͇ „ÛÎflÚÓÓ‚
„ÓÏÍÓÒÚË [MASTER VOLUME]
Ë ˝ÙÙÂÍÚ‡ [BRILLIANCE]
ÔˇÌËÌÓ Clavinova Ì ‚ÎËflÂÚ Ì‡
‚˚ıÓ‰ÌÓÈ Ò˄̇Π‡Á˙ÂÏÓ‚ AUX
OUT (LEVEL FIXED).
2 ê‡Á˙ÂÏ˚ AUX IN [R], [L/L+R]
ä ˝ÚËÏ ‡Á˙ÂÏ‡Ï ÏÓÊÌÓ ÔÓ‰ÒÓ‰ËÌflÚ¸ ÒÚÂÂÓ‚˚‚Ó‰˚ ‰Û„Ó„Ó ËÌÒÚÛÏÂÌÚ‡,
˜ÚÓ ÔÓÁ‚ÓÎflÂÚ ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸ Á‚ÛÍ ‰Û„Ó„Ó ËÌÒÚÛÏÂÌÚ‡ ˜ÂÂÁ ‰Ë̇ÏËÍË
Clavinova. é·‡ÚËÚÂÒ¸ Í ÒıÂÏÂ Ë ËÒÔÓθÁÛÈÚ ‰Îfl ÔÓ‰Íβ˜ÂÌËfl ‡Û‰ËÓ͇·ÂÎË.
ÇçàåÄçàÖ!
ÖÒÎË Í ‚ıÓ‰‡Ï AUX IN ÔˇÌËÌÓ Clavinova ÔÓ‰Íβ˜ÂÌÓ ‚̯Ì ÛÒÚÓÈÒÚ‚Ó, Ò̇˜‡Î‡
‚Íβ˜‡ÈÚ ÔËÚ‡ÌË ˝ÚÓ„Ó ‚̯ÌÂ„Ó ÛÒÚÓÈÒÚ‚‡, ‡ Á‡ÚÂÏ ÔËÚ‡ÌË Clavinova. Ç˚Íβ˜‡Ú¸
ÔËÚ‡ÌË ÒΉÛÂÚ ‚ Ó·‡ÚÌÓÏ ÔÓfl‰ÍÂ.
Clavinova
R
ëڇ̉‡ÚÌ˚È
¯ÚÂÍÂ
̇ۯÌËÍÓ‚
L/L+R
AUX IN
AUX OUT
AUX IN
ëڇ̉‡ÚÌ˚È
¯ÚÂÍÂ
̇ۯÌËÍÓ‚
ÄÛ‰ËÓ͇·Âθ
ÉÂ̇ÚÓ ÚÓ̇
èêàåÖóÄçàÖ
臇ÏÂÚ˚ ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ
Clavinova [MASTER VOLUME]
Ë [BRILLIANCE],
ÛÒڇ̇‚ÎË‚‡ÂÏ˚Â Ò ÔÓÏÓ˘¸˛
ÔÓÎÁÛÌÍÓ‚Ó„Ó Â„ÛÎflÚÓ‡,
‚ÎËfl˛Ú ̇ ‚ıÓ‰ÌÓÈ Ò˄̇Î
‡Á˙ÂÏÓ‚ AUX IN, ‚ ÚÓ ‚ÂÏfl
Í‡Í Ô‡‡ÏÂÚ˚ [REVERB]
Ë [EFFECT] Ì ‚ÎËfl˛Ú.
èêàåÖóÄçàÖ
ÑÎfl ÔÓ‰Íβ˜ÂÌËfl ÔˇÌËÌÓ
Clavinova Í ÏÓ̇ۇθÌÓÏÛ
ÛÒÚÓÈÒÚ‚Û (ÛÒÚÓÈÒÚ‚Û Ò Ó‰ÌËÏ
̇ۯÌËÍÓÏ) ËÒÔÓθÁÛÈÚ ÚÓθÍÓ
‡Á˙ÂÏ AUX IN [L/L+R] ËÎË
‡Á˙ÂÏ AUX OUT [L/L+R].
3 ê‡Á˙ÂÏ TO HOST
ùÚÓÚ ‡Á˙ÂÏ ‰‡ÂÚ ‚ÓÁÏÓÊÌÓÒÚ¸ ÔflÏÓ ÔÓ‰Íβ˜ËÚ¸Òfl Í èä. (ëÏ. ‡Á‰ÂÎ
«èÓ‰Íβ˜ÂÌËÂ Í ÔÂÒÓ̇θÌÓÏÛ ÍÓÏÔ¸˛ÚÂÛ» ̇ ÒÚ. 52.)
4 èÂÂÍβ˜‡ÚÂθ [HOST SELECT]
ùÚÓÚ ÔÂÂÍβ˜‡ÚÂθ ‰ÓÎÊÂÌ ·˚Ú¸ ÛÒÚ‡ÌÓ‚ÎÂÌ ‚ ÒÓÓÚ‚ÂÚÒÚ‚ËË Ò ÚËÔÓÏ
ÔÓ‰Íβ˜‡ÂÏÓ„Ó MIDI-ÛÒÚÓÈÒÚ‚‡ ËÎË èä. (ëÏ. ‡Á‰ÂÎ «èÓ‰Íβ˜ÂÌË Í
ÔÂÒÓ̇θÌÓÏÛ ÍÓÏÔ¸˛ÚÂÛ» ̇ ÒÚ. 52.)
5 ê‡Á˙ÂÏ˚ MIDI [IN], [OUT], [THRU]
ÑÎfl ÔÓ‰Íβ˜ÂÌËfl ‚̯ÌËı MIDI-ÛÒÚÓÈÒÚ‚ ˜ÂÂÁ ˝ÚË ‡Á˙ÂÏ˚ ËÒÔÓθÁÛÈÚÂ
MIDI-͇·ÂÎË.
ì·Â‰ËÚÂÒ¸ ‚ ÚÓÏ, ˜ÚÓ ÔË ËÒÔÓθÁÓ‚‡ÌËË ˝ÚËı ‡Á˙ÂÏÓ‚ ÔÂÂÍβ˜‡ÚÂθ
HOST SELECT ̇ıÓ‰ËÚÒfl ‚ ÔÓÎÓÊÂÌËË «MIDI».
(ëÏ. ‡Á‰ÂÎ «é· ËÌÚÂÙÂÈÒ MIDI» ̇ ÒÚ. 49.)
6 ê‡Á˙ÂÏ PEDAL
èÓ‰Íβ˜ËÚ ͇·Âθ Ô‰‡ÎÂÈ Í Ô‰‡Î¸ÌÓÏÛ ·ÎÓÍÛ. (ëÏ. ‡Á‰ÂÎ «ë·Ó͇
ÔÓ‰ÒÚ‡‚ÍË ‰Îfl Í·‚ˇÚÛ˚» ̇ ÒÚ. 57-62.)
CLP-130/120 èÓ‰Íβ˜ÂÌËÂ
51
èÓ‰Íβ˜ÂÌËÂ Í ÍÓÏÔ¸˛ÚÂÛ
åÓÊÌÓ ÔÓÒÎۯ˂‡Ú¸ ÏÛÁ˚͇θÌ˚ ‰‡ÌÌ˚Â Ò ÍÓÏÔ¸˛Ú‡ ̇ ÔˇÌËÌÓ Clavinova, ÔÓ‰Íβ˜Ë‚ ÍÓÏÔ¸˛ÚÂ
Í ‡Á˙ÂÏÛ TO HOST (ËÎË MIDI).
èêàåÖóÄçàÖ ÖÒÎË Clavinova ËÒÔÓθÁÛÂÚÒfl ‰Îfl ÔÓÒÎۯ˂‡ÌËfl, ÚÂÏ·˚, ÍÓÚÓ˚ı ÌÂÚ Ì‡ ÔˇÌËÌÓ Clavinova, ·Û‰ÛÚ ËÒ͇ʇڸÒfl.
Clavinova-Computer Connection — ˝ÚÓ ‰ÓÔÓÎÌËÚÂθÌÓ ÛÍÓ‚Ó‰ÒÚ‚Ó ‰Îfl ̇˜Ë̇˛˘Ëı, ‚ ÍÓÚÓÓÏ ÓÔËÒ˚‚‡ÂÚÒfl,
Í‡Í ËÒÔÓθÁÓ‚‡Ú¸ ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova Ò ÔÂÒÓ̇θÌ˚Ï ÍÓÏÔ¸˛ÚÂÓÏ Ë Ì‡ÒÚÓËÚ¸ ÒËÒÚÂÏÛ ClavinovaäÓÏÔ¸˛ÚÂ (ÛÍÓ‚Ó‰ÒÚ‚Ó Ì ‡ÒÒ˜ËÚ‡ÌÓ Ì‡ ͇ÍÛ˛-ÎË·Ó ÍÓÌÍÂÚÌÛ˛ ÏÓ‰Âθ). èÓÎÛ˜ËÚ¸ ˝ÚÓÚ ‰ÓÍÛÏÂÌÚ ‚ ‚ˉÂ
هȷ PDF ̇ ‡Ì„ÎËÈÒÍÓÏ flÁ˚Í ÏÓÊÌÓ ÔÓ ÒÎÂ‰Û˛˘ÂÏÛ ‡‰ÂÒÛ ‚ àÌÚÂÌÂÚÂ:
ë‡ÈÚ ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova (ÚÓθÍÓ Ì‡ ‡Ì„ÎËÈÒÍÓÏ):
http://www.yamahaclavinova.com/
ëÓ·‡ÌË ÛÍÓ‚Ó‰ÒÚ‚ ÔÓ ÔÓ‰ÛÍÚ‡Ï Yamaha:
http://www2.yamaha.co.jp/manual/english/
íË ÒÔÓÒÓ·‡ ÔÓ‰Íβ˜ÂÌËfl ÔˇÌËÌÓ Clavinova Í èä
1. ëÓ‰ËÌÂÌË ÔÓÒΉӂ‡ÚÂθÌÓ„Ó ÔÓÚ‡ èä Ò ‡Á˙ÂÏÓÏ TO HOST ËÌÒÚÛÏÂÌÚ‡ Clavinova (ÒÚ. 53)
2. àÒÔÓθÁÓ‚‡ÌË MIDI-ËÌÚÂÙÂÈÒ‡ Ë MIDI-‡Á˙ÂÏÓ‚ Clavinova (ÒÚ. 54).
3. àÒÔÓθÁÓ‚‡ÌË USB-ÔÓÚ‡ ÍÓÏÔ¸˛ÚÂ‡ Ë USB-ËÌÚÂÙÂÈÒ‡ UX256, UX96 ËÎË UX16 (ÒÚ. 55).
ᇠ·ÓΠÔÓ‰Ó·Ì˚Ï ÓÔËÒ‡ÌËÂÏ Ó·‡ÚËÚÂÒ¸ Í ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ËÏ ÒÚ‡Ìˈ‡Ï.
èêàåÖóÄçàÖ èÂʉ ˜ÂÏ ÔÓ‰Íβ˜‡Ú¸ ÔˇÌËÌÓ Clavinova Í èä Ë ÛÒڇ̇‚ÎË‚‡Ú¸ ÔÂÂÍβ˜‡ÚÂθ HOST SELECT, ‚˚Íβ˜ËÚ ÔËÚ‡ÌËÂ
Ó·ÓËı ÛÒÚÓÈÒÚ‚. ëÓ‰ËÌË‚ ÛÒÚÓÈÒÚ‚‡ Ë ÛÒÚ‡ÌÓ‚Ë‚ ÔÂÂÍβ˜‡ÚÂθ, ‚Íβ˜ËÚ Ò̇˜‡Î‡ ÍÓÏÔ¸˛ÚÂ, ‡ Á‡ÚÂÏ ÔˇÌËÌÓ
Clavinova.
èêàåÖóÄçàÖ ÖÒÎË ÔÓÚ [TO HOST] ÔˇÌËÌÓ Clavinova Ì ËÒÔÓθÁÛÂÚÒfl, ÓÚÒÓ‰ËÌËÚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ËÈ Í‡·Âθ. ÖÒÎË Í‡·Âθ ÓÒÚ‡‚ËÚ¸
ÔÓ‰Íβ˜ÂÌÌ˚Ï, ˝ÚÓ ÏÓÊÂÚ ‚˚Á‚‡Ú¸ ÌÂÔÓ·‰ÍË ‚ ‡·ÓÚ Clavinova.
èêàåÖóÄçàÖ
Ì ÔÓfl‚ËÚÒfl ̇ ‰ËÒÔÎÂÂ, ÂÒÎË Ì ‚Íβ˜ÂÌ ÍÓÏÔ¸˛ÚÂ, ÌÂÔ‡‚ËθÌÓ ÔÓ‰ÒÓ‰ËÌÂÌ Í‡·Âθ, ÔÂÂÍβ˜‡ÚÂθ HOST
SELECT ̇ıÓ‰ËÚÒfl Ì ‚ ÌÛÊÌÓÏ ÔÓÎÓÊÂÌËË, ‡ Ú‡ÍÊ ÂÒÎË Ì ‡·ÓÚ‡˛Ú MIDI-‰‡È‚ ËÎË MIDI-ÔËÎÓÊÂÌËÂ. Ç ˝ÚÓÏ
ÒÎÛ˜‡Â ÓÚÍβ˜ËÚ ÔËÚ‡ÌË ÔˇÌËÌÓ Clavinova Ë ÍÓÏÔ¸˛Ú‡ Ë Ôӂ¸Ú ÒÓ‰ËÌÂÌË ͇·ÂÎfl, ‡ Ú‡ÍÊ ÔÓÎÓÊÂÌËÂ
ÔÂÂÍβ˜‡ÚÂ-Îfl HOST SELECT. èÓ‚ÂË‚ ÒÓ‰ËÌÂÌËÂ Ë ÔÓÎÓÊÂÌË ÔÂÂÍβ˜‡ÚÂÎfl HOST SELECT, ÔÓ‰Íβ˜ËÚÂ
ÔËÚ‡ÌË Ò̇˜‡Î‡ Í ÍÓÏÔ¸˛ÚÂÛ, ‡ Á‡ÚÂÏ Í ÔˇÌËÌÓ Clavinova Ë Ôӂ¸Ú ‡·ÓÚÛ MIDI-‰‡È‚‡ Ë MIDI-ÔËÎÓÊÂÌËfl.
èêàåÖóÄçàÖ ÖÒÎË ÔÂÂÍβ˜‡ÚÂθ [HOST SELECT] ÛÒÚ‡ÌÓ‚ÎÂÌ ‚ ÔÓÎÓÊÂÌË «PC-1», «PC-2» ËÎË «Mac», ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ÔÓÚ
[TO HOST]. é‰Ì‡ÍÓ ÔË ˝ÚÓÏ ÓÚÍβ˜‡˛ÚÒfl ÔÓÚ˚ MIDI, ÔÓÒÍÓθÍÛ Ó·ÏÂÌ ‰‡ÌÌ˚ÏË ˜ÂÂÁ ˝ÚË ÔÓÚ˚ Ì ÔÓËÁ‚Ó‰ËÚÒfl.
ë ‰Û„ÓÈ ÒÚÓÓÌ˚, ÂÒÎË ÔÂÂÍβ˜‡ÚÂθ [HOST SELECT] ÛÒÚ‡ÌÓ‚ÎÂÌ ‚ ÔÓÎÓÊÂÌË «MIDI», ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ‡Á˙ÂÏ˚
MIDI, ÌÓ Ì ‡Á˙ÂÏ [TO HOST], Ú‡Í Í‡Í Ó·ÏÂÌ ‰‡ÌÌ˚ÏË ˜ÂÂÁ ‡Á˙ÂÏ [TO HOST] ‚ ˝ÚÓÏ ÒÎÛ˜‡Â Ì ÔÓËÁ‚Ó‰ËÚÒfl.
52
CLP-130/120 èÓ‰Íβ˜ÂÌËÂ
1. ëÓ‰ËÌÂÌË COM-ÔÓÚ‡ èä Ò ‡Á˙ÂÏÓÏ [TO HOST] ËÌÒÚÛÏÂÌÚ‡ Clavinova
ëÓ‰ËÌËÚ ÔÓÒΉӂ‡ÚÂθÌ˚È ÔÓÚ èä (RS-232C ËÎË RS-422) Ò ‡Á˙ÂÏÓÏ TO HOST Clavinova.
èË Ú‡ÍÓÏ ÔÓ‰Íβ˜ÂÌËË Clavinova ‡·ÓÚ‡ÂÚ Í‡Í MIDI-ÛÒÚÓÈÒÚ‚Ó Ë ÒÔˆˇθÌÓ„Ó MIDI-ËÌÚÂÙÂÈÒ‡ Ì ÌÛÊÌÓ.
èÓ‰Íβ˜ÂÌËÂ
ÑÎfl ÔÓ‰Íβ˜ÂÌËfl ÔÓÒΉӂ‡ÚÂθÌÓ„Ó ÔÓÚ‡ èä (RS-232C ËÎË RS-422) Í ‡Á˙ÂÏÛ TO HOST ËÌÒÚÛÏÂÌÚ‡
Clavinova ËÒÔÓθÁÛÈÚ ÒÔˆˇθÌ˚È ÔÓÒΉӂ‡ÚÂθÌ˚È Í‡·Âθ (ÒÚ. 53).
Clavinova
Mac
PC-1
TO HOST
MIDI
PC-2
èËϘ‡ÌË ‰Îfl ÔÓθÁÓ‚‡ÚÂÎÂÈ
Windows Ó MIDI-‰‡È‚ÂÂ
HOST SELECT
ÑÎfl ÔÂ‰‡˜Ë ‰‡ÌÌ˚ı ÏÂʉÛ
ÔÓÒΉӂ‡ÚÂθÌ˚Ï ÔÓÚÓÏ èä Ë
‡Á˙ÂÏÓÏ TO HOST ÔˇÌËÌÓ
Clavinova ÌÂÓ·ıÓ‰ËÏÓ ÛÒÚ‡ÌÓ‚ËÚ¸ ÒÔˆˇθÌ˚È MIDI‰‡È‚Â (‰Îfl Windows — ‰‡È‚Â
Yamaha CBX). Ö„Ó ÏÓÊÌÓ
Á‡„ÛÁËÚ¸ ËÁ ·Ë·ÎËÓÚÂÍË XG
(XG Library), ‡ÒÔÓÎÓÊÂÌÌÓÈ Ì‡
‚·-Ò‡ÈÚ ÍÓÏÔ‡ÌËË Yamaha.
http://www.yamaha-xg.com
TO HOST
RS-232C (9-ÍÓÌÚ‡ÍÚÌ˚È ÚËÔ‡ D) RS-232C (25-ÍÓÌÚ‡ÍÚÌ˚È ÚËÔ‡ D)
Windows
Windows
ÔÓÚ ÏÓ‰Âχ
Macintosh
íËÔ˚ ÔÓÒΉӂ‡ÚÂθÌ˚ı ͇·ÂÎÂÈ Ë ÍÓÌÚ‡ÍÚ˚
Ç ÒÓÓÚ‚ÂÚÒÚ‚ËË Ò ÚËÔÓÏ ÔÓ‰Íβ˜‡ÂÏÓ„Ó èä ËÒÔÓθÁÛÈÚ ӉËÌ ËÁ ÒÎÂ‰Û˛˘Ëı ͇·ÂÎÂÈ.
Windows (COM-ÔÓÚ, 9-ÍÓÌÚ‡ÍÚÌ˚È ‡Á˙ÂÏ ÚËÔ‡ D)
8-ÍÓÌÚ‡ÍÚÌ˚È ÏËÌˇÁ˙ÂÏ ÚËÔ‡ DIN ➝ 9-ÍÓÌÚ‡ÍÚÌ˚È ‡Á˙ÂÏ ÚËÔ‡ D
(Yamaha CCJ-PC2 ËÎË ˝Í‚Ë‚‡ÎÂÌÚ̇fl ÏÓ‰Âθ)
1
8-ÍÓÌÚ‡ÍÚÌ˚È
ÏËÌˇÁ˙ÂÏ DIN 2
8 (CTS)
7 (RTS)
2 (RxD)
5 (GND)
3
4
8
5
9-ÍÓÌÚ‡ÍÚÌ˚È
‡Á˙ÂÏ ÚËÔ‡ D
Macintosh
èÂËÙÂËÈÌ˚È ÒËÒÚÂÏÌ˚È ‡Á˙ÂÏ ➝ 8-ÍÓÌÚ‡ÍÚÌ˚È ‡Á˙ÂÏ
(Yamaha CCJ-MAC ËÎË ˝Í‚Ë‚‡ÎÂÌÚ̇fl ÏÓ‰Âθ)
1
8-ÍÓÌÚ‡ÍÚÌ˚È
ÏËÌˇÁ˙ÂÏ DIN 2
3
4
5
6
7
8
3 (TxD)
Windows (COM-ÔÓÚ, 25-ÍÓÌÚ‡ÍÚÌ˚È ‡Á˙ÂÏ ÚËÔ‡ D)
8-ÍÓÌÚ‡ÍÚÌ˚È ÏËÌˇÁ˙ÂÏ DIN ➝ 25-ÍÓÌÚ‡ÍÚÌ˚È ‡Á˙ÂÏ ÚËÔ‡ D
(Yamaha CCJ-PC1NF ËÎË ˝Í‚Ë‚‡ÎÂÌÚ̇fl ÏÓ‰Âθ)
ëıÂχ ÍÓÌÚ‡ÍÚÓ‚
ç‡ ‰Ë‡„‡ÏÏ ÔÓ͇Á‡Ì‡ ÒıÂχ ÍÓÌÚ‡ÍÚÓ‚ ‰Îfl Í‡Ê‰Ó„Ó Í‡·ÂÎfl.
çÓχ ÍÓÌÚ‡ÍÚÓ‚ (‚ˉ ÒÔ‰Ë)
8-ÍÓÌÚ‡ÍÚÌ˚È
ÏËÌˇÁ˙ÂÏ DIN
8-ÍÓÌÚ‡ÍÚÌ˚È
1
ÏËÌˇÁ˙ÂÏ DIN 2
3
4
8
5
5 (CTS)
4 (RTS)
3 (RxD)
7 (GND)
2 (HSK i) 8-ÍÓÌÚ‡ÍÚÌ˚È
1 (HSK O) ÏËÌˇÁ˙ÂÏ DIN
5 (RxD-)
4 (GND)
3 (TxD-)
8 (RxD+)
7 (GP-)
6 (TxD+)
25-ÍÓÌÚ‡ÍÚÌ˚È ‡Á˙ÂÏ ÚËÔ‡ D
9-ÍÓÌÚ‡ÍÚÌ˚È
‡Á˙ÂÏ ÚËÔ‡ D
25-ÍÓÌÚ‡ÍÚÌ˚È
‡Á˙ÂÏ ÚËÔ‡ D
2 (TxD)
CLP-130/120 èÓ‰Íβ˜ÂÌËÂ
53
ìÒÚ‡Ìӂ͇ ÔÂÂÍβ˜‡ÚÂÎfl HOST SELECT ËÌÒÚÛÏÂÌÚ‡ Clavinova
ìÒÚ‡ÌÓ‚ËÚ ÔÂÂÍβ˜‡ÚÂθ HOST SELECT ̇ Clavinova ‚ ÒÓÓÚ‚ÂÚÒÚ‚ËË Ò ÚËÔÓÏ èä.
• Macintosh: «Mac» (ÒÍÓÓÒÚ¸ ÔÂ‰‡˜Ë ‰‡ÌÌ˚ı: 31 250 ·ËÚ/ÒÂÍ, 1 åɈ)
• Windows: «PC-2» (ÒÍÓÓÒÚ¸ ÔÂ‰‡˜Ë ‰‡ÌÌ˚ı: 38 400 ·ËÚ/ÒÂÍ)
ä ëÇÖÑÖçàû ÖÒÎË ÓÔ‡ˆËÓÌ̇fl ÒËÒÚÂχ ‚‡¯Â„Ó ÍÓÏÔ¸˛Ú‡ ̇˜Ë̇ÂÚ ‰‡‚‡Ú¸ Ò·ÓË ÔË ËÒÔÓθÁÓ‚‡ÌËË ‚˚¯ÂÔ˜ËÒÎÂÌÌ˚ı
̇ÒÚÓÂÍ, ˝ÚÓ Á̇˜ËÚ, ˜ÚÓ ÔÓ„‡ÏÏÌÓ ӷÂÒÔ˜ÂÌË Ì ÔÓ‰‰ÂÊË‚‡ÂÚ Ëı. Ç ˝ÚÓÏ ÒÎÛ˜‡Â ̇ÒÚÓÈÍË ÒΉÛÂÚ ËÁÏÂÌËÚ¸.
낸ÚÂÒ¸ Ò ÛÍÓ‚Ó‰ÒÚ‚ÓÏ ÔÓ ËÒÔÓθÁÛÂÏÓÏÛ èé Ë ÛÒÚ‡ÌÓ‚ËÚ ÔÂÂÍβ˜‡ÚÂθ HOST SELECT ‚ ÔÓÎÓÊÂÌËÂ,
ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â ÔÓ‰‰ÂÊË‚‡ÂÏÓÈ ÒÍÓÓÒÚË Ô‰‡˜Ë ‰‡ÌÌ˚ı. (ëÍÓÓÒÚ¸ Ô‰‡˜Ë ‰‡ÌÌ˚ı ‚ ÔÓÁˈËË «PC-1»
‡‚̇ 31250 ·ËÚ/ÒÂÍ.)
2. àÒÔÓθÁÓ‚‡ÌË MIDI-ËÌÚÂÙÂÈÒ‡ Ë MIDI-‡Á˙ÂÏÓ‚ Clavinova
èÓ‰Íβ˜ÂÌËÂ
àÒÔÓθÁÛÈÚ MIDI-ËÌÚÂÙÂÈÒÌÓ ÛÒÚÓÈÒÚ‚Ó ‰Îfl ÔÓ‰Íβ˜ÂÌËfl èä Í ËÌÒÚÛÏÂÌÚÛ Clavinova Ò ÔÓÏÓ˘¸˛
ÒÔˆˇθÌ˚ı MIDI-͇·ÂÎÂÈ.
Clavinova
MIDI
Mac
PC-1
MIDI
PC-2
HOST SELECT
THRU
OUT
MIDI OUT
(CLP-130)
IN
MIDI
IN
MIDI
OUT
MIDI
OUT
MIDI
IN
MIDI
IN
MIDI-ËÌÚÂÙÂÈÒ
MIDI-ËÌÚÂÙÂÈÒ
Windows
ìÒÚ‡Ìӂ͇ ÔÂÂÍβ˜‡ÚÂÎfl HOST SELECT ËÌÒÚÛÏÂÌÚ‡ Clavinova
ìÒÚ‡ÌÓ‚ËÚ ÔÂÂÍβ˜‡ÚÂθ HOST SELECT ‚ ÔÓÎÓÊÂÌË «MIDI».
54
CLP-130/120 èÓ‰Íβ˜ÂÌËÂ
Macintosh
3. èÓ‰Íβ˜ÂÌË Clavinova Í ÍÓÏÔ¸˛ÚÂÛ ˜ÂÂÁ Ú‡ÍË USB-ËÌÚÂÙÂÈÒ˚, Í‡Í UX256,
UX96 ËÎË UX16
èÓ‰Íβ˜ËÚ USB-ÔÓÚ ÍÓÏÔ¸˛ÚÂ‡ Í USB-ËÌÚÂÙÂÈÒÛ (̇ÔËÏÂ, UX256, UX96, ËÎË UX16) Ò ÔÓÏÓ˘¸˛
USB-͇·ÂÎfl. ìÒÚ‡ÌÓ‚ËÚ ‰‡È‚Â (ÔÓÒÚ‡‚ÎflÂÚÒfl ‚ ÍÓÏÔÎÂÍÚÂ Ò USB-ËÌÚÂÙÂÈÒÓÏ) ̇ ÍÓÏÔ¸˛ÚÂ Ë
ÔÓ‰Íβ˜ËÚ USB-ËÌÚÂÙÂÈÒ Í Clavinova Ò ÔÓÏÓ˘¸˛ ÔÓÒΉӂ‡ÚÂθÌÓ„Ó Í‡·ÂÎfl ËÎË MIDI-͇·ÂÎÂÈ.
ᇠ·ÓΠÔÓ‰Ó·ÌÓÈ ËÌÙÓχˆËÂÈ Ó·‡˘‡ÈÚÂÒ¸ Í ÛÍÓ‚Ó‰ÒÚ‚Û ÔÓ USB-ËÌÚÂÙÂÈÒÛ.
èËÏ ÔÓ‰Íβ˜ÂÌËfl Clavinova ˜ÂÂÁ USB-ËÌÚÂÙÂÈÒ Ò ÔÓÏÓ˘¸˛ ÔÓÒΉӂ‡ÚÂθÌÓ„Ó Í‡·ÂÎfl
ËÎË
Mac
PC-1
TO HOST
䇷Âθ USB
HOST SELECT
ëڇ̉‡ÚÌ˚È 8-ÍÓÌÚ‡ÍÚÌ˚È ÒËÒÚÂÏÌ˚È Í‡·Âθ ‰Îfl Machintosh
äÓÏÔ¸˛ÚÂ
Clavinova
USB-ËÌÚÂÙÂÈÒ
MIN
MAX
START/
STOP
BRIGHT
DEMO
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
E.PIANO
1
E.PIANO
2
CHURCH
ORGAN
JAZZ
ORGAN
STRINGS
CHOIR
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
METRONOME
TEMPO
FUNCTION
— / NO
+/ YES
PRESET
USER 1
USER 2
USER 3
TRACK
1
TRACK
2
START/
STOP
REC
SONG
TEMPO / FUNCTION
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
TOUCH
ON
TRANSPOSE
POWER
èËÏ ÔÓ‰Íβ˜ÂÌËfl Clavinova ˜ÂÂÁ USB-ËÌÚÂÙÂÈÒ Ò ÔÓÏÓ˘¸˛ MIDI-͇·ÂÎÂÈ
MIDI
MIDI
䇷Âθ USB
OUT
HOST SELECT
IN
MIDI-͇·ÂÎË
äÓÏÔ¸˛ÚÂ
Clavinova
USB-ËÌÚÂÙÂÈÒ
MIN
MAX
START/
STOP
BRIGHT
BRILLIANCE
GRAND
PIANO 1
GRAND
PIANO 2
E.PIANO
1
E.PIANO
2
CHURCH
ORGAN
JAZZ
ORGAN
STRINGS
CHOIR
HARPSICHORD
E.CLAVICHORD
VIBRAPHONE
VARIATION
GUITAR
WOOD
BASS
E.BASS
SPLIT
TEMPO/ OTHER VALUE
MASTER VOLUME
MELLOW
DEMO
METRONOME
TEMPO
FUNCTION
TEMPO / FUNCTION
— / NO
+/ YES
PRESET
USER 1
USER 2
USER 3
TRACK
1
SONG
TRACK
2
START/
STOP
REC
VOICE
ROOM
HALL 1
HALL 2
STAGE
REVERB
CHORUS
PHASER
TREMOLO
DELAY
EFFECT
HARD
MEDIUM
SOFT
TOUCH
ON
TRANSPOSE
POWER
CLP-130/120 èÓ‰Íβ˜ÂÌËÂ
55
ìÒÚ‡ÌÂÌË ÌÂÔÓ·‰ÓÍ
èÓ·ÎÂχ
ÇÓÁÏÓÊÌ˚ Ô˘ËÌ˚ Ë ÒÔÓÒÓ·˚ ÛÒÚ‡ÌÂÌËfl
Clavinova Ì ‚Íβ˜‡ÂÚÒfl.
Clavinova Ì ÔÓ‰Íβ˜Â̇ ‚ ÓÁÂÚÍÛ. èӂ¸Ú ÔÓ‰Íβ˜ÂÌË ͇·ÂÎfl Í ‡Á˙ÂÏÛ Ì‡
Clavinova Ë Í ÓÁÂÚÍÂ (ÒÚ. 11).
èË ‚Íβ˜ÂÌËË Ë ÓÚÍβ˜ÂÌËË ÔËÚ‡ÌËfl
ÒÎ˚¯Ì˚ ˘ÂΘÍË Ë ıÎÓÔÍË.
í‡Í ‚Ò„‰‡ ÔÓËÒıÓ‰ËÚ ÔË ÔÓ‰‡˜Â ˝ÎÂÍÚÓÔËÚ‡ÌËfl.
ëÎ˚¯ÂÌ ¯ÛÏ ËÁ ‰Ë̇ÏËÍÓ‚ Ë Ì‡Û¯ÌËÍÓ‚.
òÛÏ ÏÓÊÂÚ ·˚Ú¸ ÒΉÒÚ‚ËÂÏ ÔÓÏÂı, ‚˚Á‚‡ÌÌ˚ı ËÒÔÓθÁÓ‚‡ÌËÂÏ ÏÓ·ËθÌÓ„Ó
ÚÂÎÂÙÓ̇ ‚ ÌÂÔÓÒ‰ÒÚ‚ÂÌÌÓÈ ·ÎËÁÓÒÚË ÓÚ Clavinova. éÚÍβ˜ËÚ ÏÓ·ËθÌ˚È ÚÂÎÂÙÓÌ
ËÎË ËÒÔÓθÁÛÈÚÂ Â„Ó ÔÓ‰‡Î¸¯Â ÓÚ Clavinova.
é·˘ËÈ ÛÓ‚Â̸ „ÓÏÍÓÒÚË ÒÎ˯ÍÓÏ ÌËÁÍËÈ,
ËÎË Á‚ÛÍ ÓÚÒÛÚÒÚ‚ÛÂÚ ‚ÓÓ·˘Â.
• Ç˚·‡Ì ÒÎ˯ÍÓÏ ÌËÁÍËÈ ÛÓ‚Â̸ „ÓÏÍÓÒÚË; ÛÒÚ‡ÌÓ‚ËÚ ÌÛÊÌ˚È ÛÓ‚Â̸ „ÓÏÍÓÒÚË
Ò ÔÓÏÓ˘¸˛ „ÛÎflÚÓ‡ [MASTER VOLUME].
• ì·Â‰ËÚÂÒ¸ ‚ ÚÓÏ, ˜ÚÓ Ì‡Û¯ÌËÍË Ì ÔÓ‰Íβ˜ÂÌ˚ Í ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ÂÏÛ ‡Á˙ÂÏÛ (ÂÒÎË
ÔÂÂÍβ˜‡ÚÂθ SPEAKER ÛÒÚ‡ÌÓ‚ÎÂÌ ‚ ÔÓÎÓÊÂÌË «NORMAL»). ÖÒÎË
ÔÂÂÍβ˜‡ÚÂθ SPEAKER ÛÒÚ‡ÌÓ‚ÎÂÌ ‚ ÔÓÎÓÊÂÌË «OFF», ÔÓÒÚ‡‚¸ÚÂ Â„Ó ‚
ÔÓÎÓÊÂÌËÂ «NORMAL» ËÎË «ON» (ÒÚ. 12).
• ì·Â‰ËÚÂÒ¸, ˜ÚÓ ‰Îfl ÙÛÌ͈ËË Local (ÒÚ. 46) ‚˚·‡Ì Ô‡‡ÏÂÚ «ON».
ÑË̇ÏËÍË Ì ÓÚÍβ˜‡˛ÚÒfl ÔË
ÔÓ‰ÒÓ‰ËÌÂÌËË Ì‡Û¯ÌËÍÓ‚.
ÇÓÁÏÓÊÌÓ ÔÂÂÍβ˜‡ÚÂθ SPEAKER ̇ıÓ‰ËÚ¸Òfl ‚ ÔÓÎÓÊÂÌËË «ON». ìÒÚ‡ÌÓ‚ËÚÂ
ÔÂÂÍβ˜‡ÚÂθ SPEAKER ‚ ÔÓÎÓÊÂÌË «NORMAL» (ÒÚ. 12).
臂‡fl Ô‰‡Î¸ Ì ‡·ÓÚ‡ÂÚ ËÎË Á‚ÛÍ
ÔӉ΂‡ÂÚÒfl, ‰‡Ê ÂÒÎË Ó̇ Ì ̇ʇڇ.
ÇÓÁÏÓÊÌÓ, ͇·Âθ Ô‰‡ÎÂÈ ÌÂÔ‡‚ËθÌÓ ÔÓ‰Íβ˜ÂÌ. ì·Â‰ËÚÂÒ¸, ˜ÚÓ Í‡·Âθ Ô‰‡ÎÂÈ
ÔÎÓÚÌÓ ‚ÒÚ‡‚ÎÂÌ ‚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ËÈ ‡Á˙ÂÏ (ÒÚ. 57-62).
ä ëÇÖÑÖçàû ÖÒÎË Ì‡ ‰ËÒÔΠÔÓfl‚ÎflÂÚÒfl ÒÓÓ·˘ÂÌËÂ
Ô‰ÒÚ‡‚ËÚÂβ ÍÓÔÓ‡ˆËË Yamaha.
, ÔÓËÁÓ¯ÂÎ ‚ÌÛÚÂÌÌËÈ Ò·ÓÈ. Ç ˝ÚÓÏ ÒÎÛ˜‡Â Ó·‡ÚËÚÂÒ¸ Í ÏÂÒÚÌÓÏÛ
ÑÓÔÓÎÌËÚÂθÌ˚ ÔË̇‰ÎÂÊÌÓÒÚË
Ë ÏÓ‰ÛÎË
ÑÓÔÓÎÌËÚÂθÌ˚ ÔË̇‰ÎÂÊÌÓÒÚË
ë͇ÏÂÈ͇ BC-100
ì‰Ó·Ì‡fl Ò͇ÏÂÈ͇, ҉·Ì̇fl ÒÔˆˇθÌÓ ‰Îfl Ë„˚ ̇ ˆËÙÓ‚ÓÏ ÔˇÌËÌÓ Clavinova ÍÓÔÓ‡ˆËË Yamaha.
ëÚÂÂÓ̇ۯÌËÍË HPE-160
ã„ÍËÂ Ë ˝ÙÙÂÍÚË‚Ì˚ ̇ۯÌËÍË Ò Ïfl„ÍËÏË ÔÓÍ·‰Í‡ÏË ‰Îfl Û¯ÂÈ.
ÑÓÔÓÎÌËÚÂθÌ˚ ÏÓ‰ÛÎË
åÓ‰Ûθ DOU-10 Disk Orchestra Unit
êfl‰ MIDI-ÙÛÌ͈ËÈ ‰Îfl Á‡ÔËÒË Ë ‚ÓÒÔÓËÁ‚‰ÂÌËfl, ‡ Ú‡ÍÊ èé Yamaha DOC, Disklavier PianoSoft™
Ë ‰ËÒÍ Ò Ù‡È·ÏË General MIDI/Standard MIDI ‰Îfl ‡Ò¯ËÂÌËfl ‚ÓÁÏÓÊÌÓÒÚÂÈ ‚ÓÒÔÓËÁ‚‰ÂÌËfl.
56
CLP-130/120 ìÒÚ‡ÌÂÌË ÌÂÔÓ·‰ÓÍ
ë·Ó͇ CLP-120
ÇçàåÄçàÖ!
• ÅÛ‰¸Ú ‚ÌËχÚÂθÌ˚: Ì ÔÂÂÔÛÚ‡ÈÚ ÍÓÏÔÓÌÂÌÚ˚ Ë ÛÒڇ̇‚ÎË‚‡ÈÚ Ëı Ô‡‚ËθÌÓ. Ç˚ÔÓÎÌflÈÚ ҷÓÍÛ
•
•
•
•
Òӄ·ÒÌÓ ÒÎÂ‰Û˛˘ÂÈ ËÌÒÚÛ͈ËË.
ÑÎfl Ò·ÓÍË Ú·ÛÂÚÒfl Ì ÏÂÌ ‰‚Ûı ˜ÂÎÓ‚ÂÍ.
àÒÔÓθÁÛÈÚ ‚ËÌÚ˚ Û͇Á‡ÌÌÓ„Ó ‡Áχ. àÒÔÓθÁÓ‚‡ÌË ‰Û„Ëı ‚ËÌÚÓ‚ ÏÓÊÂÚ Ôӂ‰ËÚ¸ ËÌÒÚÛÏÂÌÚ.
èÓÒΠÁ‡‚¯ÂÌËfl Ò·ÓÍË Í‡Ê‰ÓÈ ˜‡ÒÚË Á‡ÚflÌËÚ ‚ËÌÚ˚.
ÑÎfl ‡Á·ÓÍË ËÌÒÚÛÏÂÌÚ‡ ‚˚ÔÓÎÌËÚ ËÌÒÚÛÍˆË˛ ‚ Ó·‡ÚÌÓÏ ÔÓfl‰ÍÂ.
èË„ÓÚÓ‚¸Ú ÍÂÒÚÓ‚Û˛ ÓÚ‚ÂÚÍÛ.
Ç˚̸Ú ËÁ Ô‡ÍÂÚ‡ ÒÎÂ‰Û˛˘Ë ÍÓÏÔÎÂÍÚÛ˛˘ËÂ.
1. èËÍÂÔËÚ ·ÓÍÓ‚˚ ԇÌÂÎË Í ·ÎÓÍÛ
Ô‰‡ÎÂÈ.
äÂÔÂÊ ‰Îfl Ò·ÓÍË
ÑÎËÌÌ˚Â ‚ËÌÚ˚ 6 x 25 ÏÏ, 4 ¯Ú. 1
äÓÓÚÍËÂ ‚ËÌÚ˚ 6 x 16 ÏÏ, 4 ¯Ú. 2
ë‡ÏÓÂÁ˚ 4 x 20 ÏÏ, 4 ¯Ú. 4
ÅÓÍÓ‚‡fl Ô‡ÌÂθ
(Ô‡‚‡fl)
ÑÂʇÚÂÎË ‰Îfl ͇·ÂÎÂÈ, 2 ¯Ú.
(1) éÚ‚flÊËÚÂ Ë ‡ÒÔflÏËÚÂ
ÛÔ‡ÍÓ‚‡ÌÌ˚È Í‡·Âθ,
(2) èËÍÂÔËÚ ·ÎÓÍ Ô‰‡ÎÂÈ Ò
ÔËÍÂÔÎÂÌÌ˚È Í ÌËÊÌÂÈ
ÔÓÏÓ˘¸˛ ˜ÂÚ˚Âı ‰ÎËÌÌ˚ı
˜‡ÒÚË ·ÎÓ͇ Ô‰‡ÎÂÈ.
‚ËÌÚÓ‚ 6×25 ÏÏ 1.
ëÓı‡ÌËÚ ‚ËÌËÎÓ‚˚È
Ç̇˜‡Î ÔËÍÂÔËÚ ԇÌÂθ
¯ÌÛÓÍ, ÓÌ ÔÓ̇‰Ó·ËÚÒfl
Ò Ó‰ÌÓÈ ÒÚÓÓÌ˚, Á‡ÚÂÏ — Ò
‚‡Ï ̇ ˝Ú‡Ô 5.
‰Û„ÓÈ.
íÓÌÍËÂ ‚ËÌÚ˚ 4 x 12 ÏÏ, 2 ¯Ú. 3
2. èËÍÂÔËÚ Á‡‰Ì˛˛ Ô‡ÌÂθ.
É·‚̇fl ˜‡ÒÚ¸
ÅÓÍÓ‚‡fl
Ô‡ÌÂθ
(΂‡fl)
ÅÓÍÓ‚‡fl Ô‡ÌÂθ
(΂‡fl)
ᇉÌflfl Ô‡ÌÂθ
(2) èËÍÂÔËÚ ‚ÂıÌ˛˛
˜‡ÒÚ¸ Á‡‰ÌÂÈ Ô‡ÌÂÎË Í
ÍÓ̯ÚÂÈÌ‡Ï ·ÓÍÓ‚ÓÈ
Ô‡ÌÂÎË ‰‚ÛÏfl ÚÓÌÍËÏË
‚ËÌÚ‡ÏË 4×12 ÏÏ 3.
ÅÓÍÓ‚‡fl
Ô‡ÌÂθ
(Ô‡‚‡fl)
ÅÎÓÍ Ô‰‡ÎÂÈ
䇷Âθ Ô‰‡ÎÂÈ,
ÔËÍÂÔÎÂÌÌ˚È ‚ÌÛÚË
䇷Âθ ÔËÚ‡ÌËfl
ä ëÇÖÑÖçàû
ä˛˜ÓÍ ‰Îfl ̇ۯÌËÍÓ‚ ‚ıÓ‰ËÚ ‚ ÍÓÏÔÎÂÍÚ CLP-120. Ö„Ó
ÏÓÊÌÓ ÔËÍÂÔËÚ¸ Í ÔˇÌËÌÓ Clavinova Ë ‚¯‡Ú¸ ̇ Ì„Ó
̇ۯÌËÍË (ÒÚ. 12).
(1) ì‰ÂÊË‚‡fl
Ô‡ÌÂθ ‚ ̇ÍÎÓÌÌÓÏ
ÔÓÎÓÊÂÌËË, Í‡Í ÔÓ͇Á‡ÌÓ Ì‡ ËÒÛÌÍÂ, ÔÓÏÂÒÚËڠ ÌËÊÌËÈ Í‡È
̇ Ò΄͇ ‚˚ÒÚÛÔ‡˛˘Ë ˜‡ÒÚË ÌÓÊÂÍ.
ëÓ‚ÏÂÒÚËÚ ‚ÂıÌ˛˛
˜‡ÒÚ¸ Á‡‰ÌÂÈ Ô‡ÌÂÎË Ò
·ÓÍÓ‚˚ÏË Ô‡ÌÂÎflÏË.
(3) èËÍÂÔËÚ ÌËÊÌ˛˛ ˜‡ÒÚ¸
Á‡‰ÌÂÈ Ô‡ÌÂÎË Í ·ÎÓÍÛ Ô‰‡ÎÂÈ Ò ÔÓÏÓ˘¸˛ ˜ÂÚ˚Âı
Ò‡ÏÓÂÁÓ‚ 4×20 ÏÏ 4.
CLP-130/120 ë·Ó͇ CLP-120
57
3. ìÒÚ‡ÌÓ‚ËÚ „·‚ÌÛ˛ ˜‡ÒÚ¸.
ÇçàåÄçàÖ!
5. èÓ‰ÒÓ‰ËÌËÚ ͇·Âθ Ô‰‡ÎË.
(1) ÇÒÚ‡‚¸Ú ‚ËÎÍÛ Í‡·ÂÎfl Ô‰‡ÎË ‚
‡Á˙ÂÏ ‰Îfl Ô‰‡ÎË ÒÔ‰Ë.
PEDA
L
• ç ÔˢÂÏËÚ ԇθˆ˚ ÏÂÊ‰Û ÓÒÌÓ‚Ì˚Ï ÛÒÚÓÈÒÚ‚ÓÏ
Ë Á‡‰ÌÂÈ ËÎË ·ÓÍÓ‚˚ÏË Ô‡ÌÂÎflÏË. ÅÛ‰¸Ú Ô‰ÂθÌÓ
ÓÒÚÓÓÊÌ˚ Ë Ì ÛÓÌËÚ ÓÒÌÓ‚ÌÛ˛ ˜‡ÒÚ¸.
• ÑÂÊËÚ Í·‚ˇÚÛÛ ÚÓθÍÓ Ú‡Í, Í‡Í ÔÓ͇Á‡ÌÓ Ì‡
ËÒÛÌÍÂ.
èË ÛÒÚ‡ÌÓ‚Í ‰ÂÊËÚ ÛÍË Ì‡ ‡ÒÒÚÓflÌËË
Ì ÏÂÌ 10 ÒÏ ÓÚ Í‡Â‚.
(3) á‡ÍÂÔËÚÂ
Ò‚Ó·Ó‰ÌÛ˛ ˜‡ÒÚ¸
͇·ÂÎfl Ô‰‡ÎË
¯ÌÛÓÏ.
(2) èËÍÂÔËÚ ‰ÂʇÚÂÎË ‰Îfl
͇·ÂÎfl Í Á‡‰ÌÂÈ Ô‡ÌÂÎË Ë
Á‡˘ÂÎÍÌËÚ Ëı.
R
ÌÂ ÏÂÌÂÂ
10 ÒÏ
4. á‡ÍÂÔËÚ „·‚ÌÛ˛ ˜‡ÒÚ¸.
6. ìÒÚ‡ÌÓ‚ËÚ ÔÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl Ë
ÔÓ‰ÒÓ‰ËÌËÚ ͇·Âθ ÔËÚ‡ÌËfl.
(1) ê‡ÒÔÓÎÓÊËÚ ËÌÒÚÛÏÂÌÚ ÔÓ
ˆÂÌÚÛ Ú‡Í, ˜ÚÓ·˚ Á‡ÁÓ˚
ÒÔ‡‚‡ Ë Ò΂‡ ·˚ÎË ‡‚Ì˚.
MIDIPC-1
PC-2
Mac
110
127
220
(2) á‡ÍÂÔËÚ „·‚ÌÛ˛ ˜‡ÒÚ¸
ÒÔÂÂ‰Ë Ò ÔÓÏÓ˘¸˛ ÍÓÓÚÍËı ‚ËÌÚÓ‚ 6×16 ÏÏ 2.
240
èÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl
Ç ÌÂÍÓÚÓ˚ı „ËÓ̇ı Ú·ÛÂÚÒfl ÛÒÚ‡ÌÓ‚ËÚ¸ ÔÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl. èÓ‚Â¸ÚÂ, Ô‡‚ËθÌÓ ÎË
ÓÌ ÛÒÚ‡ÌÓ‚ÎÂÌ, ÔÂʉ ˜ÂÏ ÔÓ‰Íβ˜‡Ú¸ ͇·Âθ
ÔËÚ‡ÌËfl. ÑÎfl ÛÒÚ‡ÌÓ‚ÍË ÔÂÂÍβ˜‡ÚÂÎfl ̇ 110,
127, 220 ËÎË 240 ‚ÓÎ¸Ú ÔÎÓÒÍÓÈ ÓÚ‚ÂÚÍÓÈ ÔÓ‚ÂÌËÚ ‰ËÒÍ Ú‡Í, ˜ÚÓ·˚ ̇ÔflÊÂÌË ‚‡¯Â„Ó „ËÓ̇
̇ıÓ‰ËÎÓÒ¸ ̇ÔÓÚË‚ Û͇Á‡ÚÂÎfl ̇ Ô‡ÌÂÎË. èË
ÔÓÒÚ‡‚Í ÔÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl ÛÒÚ‡ÌÓ‚ÎÂÌ
̇ ̇ÔflÊÂÌË ‚ 240 Ç. Ç˚·‡‚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ÂÂ
̇ÔflÊÂÌËÂ, ÔÓ‰Íβ˜ËÚ ͇·Âθ ÔËÚ‡ÌËfl Í ‡Á˙ÂÏÛ AC INLET Ë Í ˝ÎÂÍÚÓÒÂÚË. Ç‡Ï ÏÓ„ÛÚ ÔÓ̇‰Ó·ËÚ¸Òfl ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Ë ÔÂÂıÓ‰ÌËÍË.
èêÖÑìèêÖÜÑÖçàÖ
çÂÔ‡‚Ëθ̇fl ÛÒÚ‡Ìӂ͇ ÔÂÂÍβ˜‡ÚÂÎfl ̇ÔflÊÂÌËfl ÏÓÊÂÚ Ò¸ÂÁÌÓ Ôӂ‰ËÚ¸ ˆËÙÓ‚Ó ÔˇÌËÌÓ
Clavinova ËÎË ‚˚Á‚‡Ú¸ Ò·ÓÈ ‚ Â„Ó ‡·ÓÚÂ.
58
CLP-130/120 ë·Ó͇ CLP-120
7. ìÒÚ‡ÌÓ‚ËÚ ÓÔÓÌ˚È ‚ËÌÚ.
èÓ‚Ó‡˜Ë‚‡ÈÚ ÓÔÓÌ˚È ‚ËÌÚ ‰Ó ÚÂı ÔÓ, ÔÓ͇ ÓÌ Ì ÔˉÂÚ
‚ ÚÂÒÌ˚È ÍÓÌÚ‡ÍÚ Ò ÔÓ‚ÂıÌÓÒÚ¸˛ ÔÓ·.
èÓÒΠҷÓÍË Ôӂ¸Ú ÒÎÂ‰Û˛˘ÂÂ.
• ç ÓÒÚ‡ÎÓÒ¸ ÎË Î˯ÌËı ‰ÂÚ‡ÎÂÈ?
➝ èÓ‚Â¸Ú Ôӈ‰ÛÛ Ò·ÓÍË Ë ËÒÔ‡‚¸ÚÂ
ӯ˷ÍË.
• ç Ï¯‡ÂÚ ÎË ÔˇÌËÌÓ Clavinova ÓÚÍ˚‚‡Ú¸
‰‚ÂË Ë ÔÂÂÏ¢‡Ú¸ Ô‰ÏÂÚ˚?
➝ èÓÒÚ‡‚¸Ú ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova ‚
Û‰Ó·ÌÓÂ ÏÂÒÚÓ.
• ç ÔÂÂ͇Ú˚‚‡˛ÚÒfl ÎË ‰ÂÚ‡ÎË ‚ÌÛÚË
Clavinova, ÍÓ„‰‡ ‚˚ Â„Ó ÚflÒÂÚÂ?
➝ á‡ÚflÌËÚ ‚Ò ‚ËÌÚ˚.
• 艇ÎË „ÂÏflÚ ËÎË ·ÓÎÚ‡˛ÚÒfl ÔË Ì‡Ê‡ÚËË?
➝ èÓ‚ÂÌËÚ ÙËÍÒËÛ˛˘ËÈ ‚ËÌÚ Ú‡Í, ˜ÚÓ·˚
ÓÌ Ú‚Â‰Ó ÒÚÓflΠ̇ ÔÓÎÛ.
• 䇷ÂÎË Ô‰‡ÎË Ë ÔËÚ‡ÌËfl ÔÎÓÚÌÓ ‚ÒÚ‡‚ÎÂÌ˚ ‚
‡Á˙ÂÏ˚?
➝ èÓ‚Â¸Ú ÒÓ‰ËÌÂÌËfl.
• ÖÒÎË ÓÒÌӂ̇fl ˜‡ÒÚ¸ ËÌÒÚÛÏÂÌÚ‡ ÒÍËÔËÚ
ËÎË ÌÂÛÒÚÓȘ˂‡, ÍÓ„‰‡ ‚˚ Ë„‡ÂÚ ̇
Í·‚˯‡ı, ÔÓÒÏÓÚËÚ ÒıÂÏÛ Ò·ÓÍË Ë
Á‡ÚflÌËÚ ‚Ò ‚ËÌÚ˚.
ÖÒÎË ÌÛÊÌÓ ÔÂÂÌÂÒÚË ÒÓ·‡ÌÌ˚È ËÌÒÚÛÏÂÌÚ,
‚Ò„‰‡ ·ÂËÚÂÒ¸ Á‡ ÌËÊÌ˛˛ ˜‡ÒÚ¸ ÓÒÌÓ‚ÌÓ„Ó
·ÎÓ͇.
ÇçàåÄçàÖ!
ç ·ÂËÚÂÒ¸ Á‡ Í˚¯ÍÛ Í·‚ˇÚÛ˚ ËÎË ‚ÂıÌ˛˛
˜‡ÒÚ¸. ùÚÓ ÏÓÊÂÚ ÔË‚ÂÒÚË Í ÔӘ ËÌÒÚÛÏÂÌÚ‡
ËÎË Ú‡‚ÏÂ.
ä˚¯Í‡
ÇÂıÌflfl ˜‡ÒÚ¸
CLP-130/120 ë·Ó͇ CLP-120
59
ë·Ó͇ CLP-130
ÇçàåÄçàÖ!
• ÅÛ‰¸Ú ‚ÌËχÚÂθÌ˚: Ì ÔÂÂÔÛÚ‡ÈÚ ÍÓÏÔÓÌÂÌÚ˚ Ë ÛÒڇ̇‚ÎË‚‡ÈÚ Ëı Ô‡‚ËθÌÓ. Ç˚ÔÓÎÌflÈÚ ҷÓÍÛ
Òӄ·ÒÌÓ ÒÎÂ‰Û˛˘ÂÈ ËÌÒÚÛ͈ËË.
• ÑÎfl Ò·ÓÍË Ú·ÛÂÚÒfl Ì ÏÂÌ ‰‚Ûı ˜ÂÎÓ‚ÂÍ.
• çÂÓ·ıÓ‰ËÏÓ ËÒÔÓθÁÓ‚‡Ú¸ ‚ËÌÚ˚ Û͇Á‡ÌÌÓ„Ó ‡Áχ. àÒÔÓθÁÓ‚‡ÌË ‰Û„Ëı ‚ËÌÚÓ‚ ÏÓÊÂÚ Ôӂ‰ËÚ¸
ËÌÒÚÛÏÂÌÚ.
• èÓÒΠÁ‡‚¯ÂÌËfl Ò·ÓÍË Í‡Ê‰ÓÈ ˜‡ÒÚË Á‡ÚflÌËÚ ‚ËÌÚ˚.
• ÑÎfl ‡Á·ÓÍË ËÌÒÚÛÏÂÌÚ‡ ‚˚ÔÓÎÌËÚ ËÌÒÚÛÍˆË˛ ‚ Ó·‡ÚÌÓÏ ÔÓfl‰ÍÂ.
èË„ÓÚÓ‚¸Ú ÍÂÒÚÓ‚Û˛ ÓÚ‚ÂÚÍÛ.
Ç˚̸Ú ËÁ Ô‡ÍÂÚ‡ ÒÎÂ‰Û˛˘Ë ÍÓÏÔÎÂÍÚÛ˛˘ËÂ.
1. èËÍÂÔËÚ ·ÓÍÓ‚˚ ԇÌÂÎË Í ·ÎÓÍÛ
Ô‰‡ÎÂÈ.
äÂÔÂÊ ‰Îfl Ò·ÓÍË
ÑÎËÌÌ˚Â ‚ËÌÚ˚ 6 x 25 ÏÏ, 4 ¯Ú. 1
äÓÓÚÍËÂ ‚ËÌÚ˚ 6 x 16 ÏÏ, 4 ¯Ú. 2
ë‡ÏÓÂÁ˚ 4 x 20 ÏÏ, 4 ¯Ú. 4
(1) éÚ‚flÊËÚÂ Ë ‡ÒÔflÏËÚÂ
ÛÔ‡ÍÓ‚‡ÌÌ˚È Í‡·Âθ,
ÔËÍÂÔÎÂÌÌ˚È Í ÌËÊÌÂÈ (2) èËÒÓ‰ËÌËÚ ·ÎÓÍ Ô‰‡ÎÂÈ Ò
ÔÓÏÓ˘¸˛ ˜ÂÚ˚Âı ‰ÎËÌÌ˚ı
˜‡ÒÚË ·ÎÓ͇ Ô‰‡ÎÂÈ.
‚ËÌÚÓ‚ 6×25 ÏÏ 1. Ç̇˜‡ÎÂ
ëÓı‡ÌËÚ ‚ËÌËÎÓ‚˚È
ÔËÍÂÔËÚ ԇÌÂθ Ò Ó‰ÌÓÈ
¯ÌÛÓÍ, ÓÌ ÔÓ̇‰Ó·ËÚÒfl
ÒÚÓÓÌ˚, Á‡ÚÂÏ — Ò ‰Û„ÓÈ.
‚‡Ï ̇ ˝Ú‡Ô 5.
2. èËÍÂÔËÚ Á‡‰Ì˛˛ Ô‡ÌÂθ.
É·‚̇fl ˜‡ÒÚ¸
ᇉÌflfl Ô‡ÌÂθ
䇷Âθ ÔËÚ‡ÌËfl
ä ëÇÖÑÖçàû
ä˛˜ÓÍ ‰Îfl ̇ۯÌËÍÓ‚ ‚ıÓ‰ËÚ ‚ ÍÓÏÔÎÂÍÚ CLP-130. åÓÊÌÓ
ÔËÍÂÔËÚ¸ Â„Ó Í ÔˇÌËÌÓ Clavinova Ë ‚¯‡Ú¸ ̇ Ì„Ó
̇ۯÌËÍË (ÒÚ. 12).
60
CLP-130/120 ë·Ó͇ CLP-130
(2) èËÍÂÔËÚ ‚ÂıÌ˛˛
˜‡ÒÚ¸ Á‡‰ÌÂÈ Ô‡ÌÂÎË Í
ÍÓ̯ÚÂÈÌ‡Ï ·ÓÍÓ‚ÓÈ
Ô‡ÌÂÎË ‰‚ÛÏfl ÚÓÌÍËÏË
‚ËÌÚ‡ÏË 4×12 ÏÏ 3.
ÅÓÍÓ‚‡fl
Ô‡ÌÂθ
(Ô‡‚‡fl)
ÅÎÓÍ Ô‰‡ÎÂÈ
䇷Âθ Ô‰‡ÎÂÈ,
ÔËÍÂÔÎÂÌÌ˚È ‚ÌÛÚË
ÅÓÍÓ‚‡fl Ô‡ÌÂθ
(Ô‡‚‡fl)
ÑÂʇÚÂÎË ‰Îfl ͇·ÂÎÂÈ, 2 ¯Ú.
íÓÌÍËÂ ‚ËÌÚ˚ 4 x 12 ÏÏ, 2 ¯Ú. 3
ÅÓÍÓ‚‡fl
Ô‡ÌÂθ
(΂‡fl)
ÅÓÍÓ‚‡fl Ô‡ÌÂθ
(΂‡fl)
(1) ì‰ÂÊË‚‡fl
Ô‡ÌÂθ ‚ ̇ÍÎÓÌÌÓÏ
ÔÓÎÓÊÂÌËË, Í‡Í ÔÓ͇Á‡ÌÓ Ì‡ ËÒÛÌÍÂ, ÔÓÏÂÒÚËڠ ÌËÊÌËÈ Í‡È
̇ Ò΄͇ ‚˚ÒÚÛÔ‡˛˘Ë ˜‡ÒÚË ÌÓÊÂÍ.
ëÓ‚ÏÂÒÚËÚ ‚ÂıÌ˛˛
˜‡ÒÚ¸ Á‡‰ÌÂÈ Ô‡ÌÂÎË Ò
·ÓÍÓ‚˚ÏË Ô‡ÌÂÎflÏË.
(3) èËÍÂÔËÚ ÌËÊÌ˛˛ ˜‡ÒÚ¸
Á‡‰ÌÂÈ Ô‡ÌÂÎË Í ·ÎÓÍÛ
Ô‰‡ÎÂÈ Ò ÔÓÏÓ˘¸˛ ˜ÂÚ˚Âı
Ò‡ÏÓÂÁÓ‚ 4×20 ÏÏ 4.
3. ìÒÚ‡ÌÓ‚ËÚ „·‚ÌÛ˛ ˜‡ÒÚ¸.
ÇçàåÄçàÖ!
5. èÓ‰ÒÓ‰ËÌËÚ ͇·Âθ Ô‰‡ÎÂÈ.
(1) ÇÒÚ‡‚¸Ú ‚ËÎÍÛ Í‡·ÂÎfl Ô‰‡ÎÂÈ
ÒÔÂÂ‰Ë ‚ ‡Á˙ÂÏ ‰Îfl Ô‰‡ÎÂÈ.
PEDA
L
• ç ÔˢÂÏËÚ ԇθˆ˚ ÏÂÊ‰Û ÓÒÌÓ‚Ì˚Ï ÛÒÚÓÈÒÚ‚ÓÏ
Ë Á‡‰ÌÂÈ ËÎË ·ÓÍÓ‚˚ÏË Ô‡ÌÂÎflÏË. ÅÛ‰¸Ú Ô‰ÂθÌÓ
ÓÒÚÓÓÊÌ˚ Ë Ì ÛÓÌËÚ ÓÒÌÓ‚ÌÛ˛ ˜‡ÒÚ¸.
• ÑÂÊËÚ Í·‚ˇÚÛÛ ÚÓθÍÓ Ú‡Í, Í‡Í ÔÓ͇Á‡ÌÓ Ì‡
ËÒÛÌÍÂ.
èË ÛÒÚ‡ÌÓ‚Í ‰ÂÊËÚ ÛÍË Ì‡ ‡ÒÒÚÓflÌËË
Ì ÏÂÌ 10 ÒÏ ÓÚ Í‡Â‚.
(3) á‡ÍÂÔËÚÂ
Ò‚Ó·Ó‰ÌÛ˛
˜‡ÒÚ¸ ͇·ÂÎfl
Ô‰‡ÎË ¯ÌÛÓÏ.
(2) èËÍÂÔËÚ ‰ÂʇÚÂÎË ‰Îfl
͇·ÂÎfl Í Á‡‰ÌÂÈ Ô‡ÌÂÎË Ë
Á‡˘ÂÎÍÌËÚ Ëı.
R
ÌÂ ÏÂÌÂÂ
10 ÒÏ
4. á‡ÍÂÔËÚ „·‚ÌÛ˛ ˜‡ÒÚ¸.
(1) ê‡ÒÔÓÎÓÊËÚ ËÌÒÚÛÏÂÌÚ ÔÓ
ˆÂÌÚÛ Ú‡Í, ˜ÚÓ·˚ Á‡ÁÓ˚
ÒÔ‡‚‡ Ë Ò΂‡ ·˚ÎË ‡‚Ì˚.
6. ìÒÚ‡ÌÓ‚ËÚ ÒÂÎÂÍÚÓ Ì‡ÔflÊÂÌËfl Ë
ÔÓ‰ÒÓ‰ËÌËÚ ͇·Âθ ÔËÚ‡ÌËfl.
110
127
220
(2) á‡ÍÂÔËÚ „·‚ÌÛ˛ ˜‡ÒÚ¸
ÒÔÂÂ‰Ë Ò ÔÓÏÓ˘¸˛ ÍÓÓÚÍËı
‚ËÌÚÓ‚ 6×16 ÏÏ 2.
240
èÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl
Ç ÌÂÍÓÚÓ˚ı „ËÓ̇ı Ú·ÛÂÚÒfl ÛÒÚ‡ÌÓ‚ËÚ¸ ÔÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl. èÓ‚Â¸ÚÂ, Ô‡‚ËθÌÓ ÎË
ÓÌ ÛÒÚ‡ÌÓ‚ÎÂÌ, ÔÂʉ ˜ÂÏ ÔÓ‰Íβ˜‡Ú¸ ͇·Âθ
ÔËÚ‡ÌËfl. ÑÎfl ÛÒÚ‡ÌÓ‚ÍË ÔÂÂÍβ˜‡ÚÂÎfl ̇ 110,
127, 220 ËÎË 240 ‚ÓÎ¸Ú ÔÎÓÒÍÓÈ ÓÚ‚ÂÚÍÓÈ ÔÓ‚ÂÌËÚ ‰ËÒÍ Ú‡Í, ˜ÚÓ·˚ ̇ÔflÊÂÌË ‚‡¯Â„Ó „ËÓ̇
̇ıÓ‰ËÎÓÒ¸ ̇ÔÓÚË‚ Û͇Á‡ÚÂÎfl ̇ Ô‡ÌÂÎË. èË
ÔÓÒÚ‡‚Í ÔÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl ÛÒÚ‡ÌÓ‚ÎÂÌ
̇ ̇ÔflÊÂÌË ‚ 240 Ç. Ç˚·‡‚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ÂÂ
̇ÔflÊÂÌËÂ, ÔÓ‰Íβ˜ËÚ ͇·Âθ ÔËÚ‡ÌËfl Í ‡Á˙ÂÏÛ AC INLET Ë Í ˝ÎÂÍÚÓÒÂÚË. Ç‡Ï ÏÓ„ÛÚ ÔÓ̇‰Ó·ËÚ¸Òfl ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Ë ÔÂÂıÓ‰ÌËÍË.
èêÖÑìèêÖÜÑÖçàÖ
çÂÔ‡‚Ëθ̇fl ÛÒÚ‡Ìӂ͇ ÔÂÂÍβ˜‡ÚÂÎfl ̇ÔflÊÂÌËfl ÏÓÊÂÚ Ò¸ÂÁÌÓ Ôӂ‰ËÚ¸ ˆËÙÓ‚Ó ÔˇÌËÌÓ
Clavinova ËÎË ‚˚Á‚‡Ú¸ Â„Ó ÌÂÔ‡‚ËθÌÛ˛ ‡·ÓÚÛ.
CLP-130/120 ë·Ó͇ CLP-130
61
7. ìÒÚ‡ÌÓ‚ËÚ ÓÔÓÌ˚È ‚ËÌÚ.
èÓ‚Ó‡˜Ë‚‡ÈÚ ÓÔÓÌ˚È ‚ËÌÚ ‰Ó ÚÂı ÔÓ, ÔÓ͇ ÓÌ Ì ÔˉÂÚ
‚ ÚÂÒÌ˚È ÍÓÌÚ‡ÍÚ Ò ÔÓ‚ÂıÌÓÒÚ¸˛ ÔÓ·.
èÓÒΠҷÓÍË Ôӂ¸Ú ÒÎÂ‰Û˛˘ÂÂ.
• ç ÓÒÚ‡ÎÓÒ¸ ÎË Î˯ÌËı ‰ÂÚ‡ÎÂÈ?
➝ èÓ‚Â¸Ú ҷÓÍÛ Ë ËÒÔ‡‚¸Ú ӯ˷ÍË.
• ç Ï¯‡ÂÚ ÎË ÔˇÌËÌÓ Clavinova ÓÚÍ˚‚‡Ú¸
‰‚ÂË Ë Ô‰‚Ë„‡Ú¸ Ô‰ÏÂÚ˚?
➝ èÓÒÚ‡‚¸Ú ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova
‚ Û‰Ó·ÌÓÂ ÏÂÒÚÓ.
• ç ÔÂÂ͇Ú˚‚‡˛ÚÒfl ÎË ‰ÂÚ‡ÎË ‚ÌÛÚË
Clavinova, ÍÓ„‰‡ ‚˚ ÚflÒÂÚ ËÌÒÚÛÏÂÌÚ?
➝ á‡ÚflÌËÚ ‚Ò ‚ËÌÚ˚.
• ç ÒÏ¢‡ÂÚÒfl ÎË Ô‰‡Î¸Ì˚È ·ÎÓÍ Ë ÌÂ
ÒÎ˚¯ÌÓ ÎË „ÓıÓÚ‡ ÔË Ì‡Ê‡ÚËË Ì‡ Ô‰‡ÎË?
➝ èÓ‚ÂÌËÚ ÙËÍÒËÛ˛˘ËÈ ‚ËÌÚ Ú‡Í, ˜ÚÓ·˚
ÓÌ Ú‚Â‰Ó ÒÚÓflΠ̇ ÔÓÎÛ.
• 䇷ÂÎË Ô‰‡ÎË Ë ÔËÚ‡ÌËfl ÔÎÓÚÌÓ ‚ÒÚ‡‚ÎÂÌ˚
‚ ‡Á˙ÂÏ˚?
➝ èÓ‚Â¸Ú ÒÓ‰ËÌÂÌËfl.
• ÖÒÎË ÓÒÌӂ̇fl ˜‡ÒÚ¸ ËÌÒÚÛÏÂÌÚ‡ ÒÍËÔËÚ
ËÎË ÌÂÛÒÚÓȘ˂‡, ÍÓ„‰‡ ‚˚ Ë„‡ÂÚ ̇
Í·‚˯‡ı, ÔÓÒÏÓÚËÚ ÒıÂÏÛ Ò·ÓÍË Ë
Á‡ÚflÌËÚ ‚Ò ‚ËÌÚ˚.
ÖÒÎË ÌÛÊÌÓ ÔÂÂÌÂÒÚË ÒÓ·‡ÌÌ˚È ËÌÒÚÛÏÂÌÚ,
‚Ò„‰‡ ·ÂËÚÂÒ¸ Á‡ ÌËÊÌ˛˛ ˜‡ÒÚ¸ ÓÒÌÓ‚ÌÓ„Ó
·ÎÓ͇.
ÇçàåÄçàÖ!
ç ·ÂËÚÂÒ¸ Á‡ Í˚¯ÍÛ Í·‚ˇÚÛ˚ ËÎË ÂÂ
‚ÂıÌ˛˛ ˜‡ÒÚ¸. ùÚÓ ÏÓÊÂÚ ÔË‚ÂÒÚË Í ÔÓ˜Â
ËÌÒÚÛÏÂÌÚ‡ ËÎË Ú‡‚ÏÂ.
ä˚¯Í‡
ÇÂıÌflfl ˜‡ÒÚ¸
62
CLP-130/120 ë·Ó͇ CLP-130
ëÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚
CLP-130
ç‡Á‚‡ÌËÂ
GRANDPIANO 1
(êÓflθ)
VARIATION
GRANDPIANO 2
(êÓflθ)
VARIATION
E.PIANO 1
VARIATION
E.PIANO 2
VARIATION
HARPSICHORD
(ä·‚ÂÒËÌ)
ëÚÂÂÓÒ˝ÏÔÎËÓ‚‡ÌËÂ
óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËÎÂ
̇ʇÚËfl
ë˝ÏÔÎËÓ‚‡ÌË Á‚Û͇
ÑË̇Ï˘ÂÒÍÓÂ
ÓÚÔÛ˘ÂÌÌÓÈ
Ò˝ÏÔÎËÓ‚‡ÌËÂ*1
Í·‚˯Ë
(Key-Off)*2
éÔËÒ‡ÌË ÚÂÏ·Ó‚
ë˝ÏÔÎ˚, ÏÓ‰ÂÎËÛ˛˘Ë Á‚Û˜‡ÌË ÍÓ̈ÂÚÌÓ„Ó
ÓflÎfl. ÇÍβ˜ÂÌ˚ ÚË ÛÓ‚Ìfl ‰Ë̇Ï˘ÂÒÍÓ„Ó
Ò˝ÏÔÎËÓ‚‡ÌËfl, Ò˝ÏÔÎ˚ Ô‡‚ÓÈ Ô‰‡ÎË Ë Ò˝ÏÔÎ˚
ÓÚÔÛ˘ÂÌÌ˚ı Í·‚˯, ˜ÚÓ ÔÓÁ‚ÓÎflÂÚ ‰Ó·ËÚ¸Òfl
‡ÎËÒÚ˘ÌÓ„Ó Á‚Û˜‡ÌËfl ‡ÍÛÒÚ˘ÂÒÍÓ„Ó ÓflÎfl.
ùÚÓÚ ÚÂÏ· Ô‚ÓÒıÓ‰ÌÓ ÔÓ‰ıÓ‰ËÚ ‰Îfl ËÒÔÓÎÌÂÌËfl
Í·ÒÒ˘ÂÒÍËı ÏÛÁ˚͇θÌ˚ı ÔÓËÁ‚‰ÂÌËÈ, Í‡Í Ë
‰Îfl ÔÓËÁ‚‰ÂÌËÈ ‰Û„Ó„Ó ÒÚËÎfl, ËÒÔÓÎÌflÂÏ˚ı ̇
‡ÍÛÒÚ˘ÂÒÍÓÏ ÔˇÌËÌÓ.
íÂÔÎ˚È Ë Ïfl„ÍËÈ Á‚ÛÍ ÙÓÚÂÔ¸flÌÓ. ïÓÓ¯Ó
ÔÓ‰ıÓ‰ËÚ ‰Îfl Í·ÒÒ˘ÂÒÍËı ÔÓËÁ‚‰ÂÌËÈ.
é·˙ÂÏÌ˚È Ë flÒÌ˚È Á‚ÛÍ ÙÓÚÂÔ¸flÌÓ Ò
ÓÚ˜ÂÚÎË‚˚Ï ˝ÙÙÂÍÚÓÏ Â‚Â·Â‡ˆËË. èÓ‰ıÓ‰ËÚ
‰Îfl ÔÓÔÛÎflÌÓÈ ÏÛÁ˚ÍË.
ÜË‚ÓÈ Ó·˙ÂÏÌ˚È Á‚ÛÍ ÙÓÚÂÔ¸flÌÓ. èÓ‰ıÓ‰ËÚ ‰Îfl
ÔÓÔÛÎflÌÓÈ ËÎË ÓÍ-ÏÛÁ˚ÍË.
á‚ÛÍ ˝ÎÂÍÚ˘ÂÒÍÓ„Ó ÔˇÌËÌÓ, ÒÓÁ‰‡‚‡ÂÏ˚È Ò
ÔÓÏÓ˘¸˛ ÏÂÚÓ‰‡ ˜‡ÒÚÓÚÌÓÈ ÏÓ‰ÛÎflˆËË.
óÂÁ‚˚˜‡ÈÌÓ ÏÛÁ˚͇θÌ˚È ÒÚËθ, ‚ ÍÓÚÓÓÏ
ÒÓ˜ÂÚ‡˛ÚÒfl ‡Á΢Ì˚ ÚÂÏ·˚ ‚ Á‡‚ËÒËÏÓÒÚË ÓÚ
‰Ë̇Ï˘ÂÒÍËı Ò‚ÓÈÒÚ‚ Í·‚ˇÚÛ˚. èÓ‰ıÓ‰ËÚ ‰Îfl
Ó·˚˜ÌÓÈ ÔÓÔÛÎflÌÓÈ ÏÛÁ˚ÍË.
ëËÌÚÂÁËÓ‚‡ÌÌ˚È Á‚ÛÍ ˝ÎÂÍÚÓÌÌÓ„Ó ÔˇÌËÌÓ,
˜‡ÒÚÓ ËÒÔÓθÁÛÂÏ˚È ‚ ÔÓÔÛÎflÌÓÈ ÏÛÁ˚ÍÂ. Ç
ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ (DUAL) ÓÌ ıÓÓ¯Ó
ÒÓ˜ÂÚ‡ÂÚÒfl ÒÓ Á‚Û˜‡ÌËÂÏ ‡ÍÛÒÚ˘ÂÒÍÓ„Ó
ÙÓÚÂÔ¸flÌÓ.
á‚ÛÍ ˝ÎÂÍÚ˘ÂÒÍÓ„Ó ÙÓÚÂÔ¸flÌÓ, ÒÓÁ‰‡‚‡ÂÏ˚È
ÔË Û‰‡Â ÏÓÎÓÚÓ˜ÍÓ‚ Ó ÏÂÚ‡Î΢ÂÒÍË Ô·ÒÚËÌÍË.
åfl„ÍËÈ Á‚ÛÍ ÔË Î„ÍÓÏ Ì‡Ê‡ÚËË Ì‡ Í·‚Ë¯Ë Ë
‡„ÂÒÒË‚Ì˚È — ÔË ·ÓΠÒËθÌÓÏ.
ë΄͇ ËÁÏÂÌÂÌÌ˚È Á‚ÛÍ ˝ÎÂÍÚ˘ÂÒÍÓ„Ó ÔˇÌËÌÓ,
˜‡ÒÚÓ ËÒÔÓθÁÛÂÏ˚È ‚ ÔÓÔÛÎflÌÓÈ Ë ÓÍ-ÏÛÁ˚ÍÂ.
á‚Û˜‡ÌË ˝ÚÓ„Ó ËÌÒÚÛÏÂÌÚ‡ ı‡‡ÍÚÂÌÓ ‰Îfl
ÏÛÁ˚ÍË ‚ ÒÚËΠ·‡ÓÍÍÓ. ä·‚ÂÒËÌ — ˝ÚÓ ÒÚÛÌÌ˚È
ËÌÒÚÛÏÂÌÚ, ‰Îfl ˝ÚÓ„Ó ÒÚËÎfl Ì ‚‡ÊÂÌ Ô‡‡ÏÂÚ,
ÓÔ‰ÂÎfl˛˘ËÈ ÒËÎÛ Ì‡Ê‡ÚËfl ̇ Í·‚˯Ë. é‰Ì‡ÍÓ
‰Îfl ˝ÚÓ„Ó ÒÚËÎfl ı‡‡ÍÚÂÂÌ ÓÒÓ·ÂÌÌ˚È Á‚ÛÍ,
ÒÓÁ‰‡‚‡ÂÏ˚È ÓÚÔÛ˘ÂÌÌ˚ÏË Í·‚˯‡ÏË.
VARIATION
ëÓ˜ÂÚ‡ÌËÂ Ò ÚÂÏ Ê ÚÂÏ·ÓÏ, ÌÓ Ì‡ ÓÍÚ‡‚Û ‚˚¯Â,
‰Îfl ÔÓÎÛ˜ÂÌËfl ·ÓΠflÍÓ„Ó Á‚Û͇.
E. CLAVICHORD
(ùÎÂÍÚ˘ÂÒÍËÈ
Í·‚ÂÒËÌ)
åÓÎÓÚÓ˜ÍÓ‚˚È Í·‚˯Ì˚È ËÌÒÚÛÏÂÌÚ, ‚ ÍÓÚÓÓÏ
Á‚ÛÍ Ó·‡ÁÛÂÚÒfl Ò ÔÓÏÓ˘¸˛ ˝ÎÂÍÚ˘ÂÒÍËı
Á‚ÛÍÓÒÌËχÚÂÎÂÈ. ó‡ÒÚÓ ËÒÔÓθÁÛÂÚÒfl ‰Îfl ÒÚËÎÂÈ
Ù‡ÌÍ Ë ÒÓÛÎ. Ö„Ó ÚÓÌ ÒÓÓÚ‚ÂÚÒÚ‚ÛÂÚ ı‡‡ÍÚÂÌÓÏÛ
Á‚ÛÍÛ ÓÚÔÛ˘ÂÌÌ˚ı Í·‚˯.
VARIATION
ÇÍβ˜‡ÂÚ ÒÔˆËÙ˘ÂÒÍËÈ ‚ÒÚÓÂÌÌ˚È ˝ÙÙÂÍÚ.
CLP-130/120 ëÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚
63
ç‡Á‚‡ÌËÂ
ëÚÂÂÓÒ˝ÏÔÎËÓ‚‡ÌËÂ
óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËÎÂ
̇ʇÚËfl
VIBRAPHONE
VARIATION
ë˝ÏÔÎËÓ‚‡ÌË Á‚Û͇
ÑË̇Ï˘ÂÒÍÓÂ
ÓÚÔÛ˘ÂÌÌÓÈ
Ò˝ÏÔÎËÓ‚‡ÌËÂ*1
Í·‚˯Ë
(Key-Off)*2
éÔËÒ‡ÌË ÚÂÏ·Ó‚
ÇË·ÓÙÓÌ ÒÓ Ò‡‚ÌËÚÂθÌÓ Ïfl„ÍËÏË ÍÓÎÓÚۯ͇ÏË.
óÂÏ ÒËθÌ ۉ‡˚ ÔÓ Í·‚˯‡Ï, ÚÂÏ ·ÓÎÂÂ
ÏÂÚ‡Î΢ÂÒÍËÏ ÒÚ‡ÌÓ‚ËÚÒfl ÚÓÌ.
ëÚÂÂÓÒ˝ÏÔÎËÓ‚‡ÌÌ˚È, Ó·˙ÂÏÌ˚È Ë
‡ÎËÒÚ˘Ì˚È Á‚ÛÍ Ï‡ËÏ·˚.
CHURCH ORGAN
(ˆÂÍÓ‚Ì˚È
Ó„‡Ì)
íËÔ˘Ì˚È Á‚ÛÍ Ó„‡Ì‡ (8 ÙÛÚÓ‚ + 4 ÙÛÚ‡ + 2 ÙÛÚ‡).
ïÓÓ¯Ó ÔÓ‰ıÓ‰ËÚ ‰Îfl ËÒÔÓÎÌÂÌËfl ‰ÛıÓ‚ÌÓÈ
ÏÛÁ˚ÍË ÔÂËÓ‰‡ ·‡ÓÍÍÓ.
VARIATION
á‚ÛÍ ÔÓÎÌÓÈ ÍÓÔÛÎ˚ Ó„‡Ì‡, ˜‡ÒÚÓ ‡ÒÒÓˆËËÛÂÏ˚È
Ò ÚÓÍ͇ÚÓÈ Ë ÙÛ„ÓÈ à.ë. Ňı‡.
JAZZ ORGAN
VARIATION
á‚ÛÍ ˝ÎÂÍÚÓÓ„‡Ì‡ ÚËÔ‡ tonewheel (ÚÂıÌÓÎÓ„Ëfl
ÚÓÌÓ‚Ó„Ó ÍÓÎÂÒ‡). òËÓÍÓ ËÒÔÓθÁÛÂÚÒfl ‚
‰Ê‡ÁÓ‚˚ı Ë ÓÍ-ÒÚËÎflı.
ùÙÙÂÍÚ ‚‡˘‡˛˘Â„ÓÒfl ‰Ë̇ÏË͇ Ò ‡Á΢ÌÓÈ
ÒÍÓÓÒÚ¸˛. ëÍÓÓÒÚ¸ ‚‡Ë‡ˆËÈ ÔË ˝ÚÓÏ ·Óθ¯Â.
ÖÒÎË ˝ÙÙÂÍÚ variation ÔËÏÂÌflÂÚÒfl ÔË
‡ÍÍÓ‰Ó‚ÓÈ Ë„Â, Â„Ó ÒÍÓÓÒÚ¸ ·Û‰ÂÚ ÔÓÒÚÓflÌÌÓ
ÏÂÌflÚ¸Òfl.
STRINGS
(ÒÚÛÌÌ˚Â
ËÌÒÚÛÏÂÌÚ˚)
ëÚÂÂÓÒ˝ÏÔÎËÓ‚‡ÌÌ˚È ·Óθ¯ÓÈ ÒÚÛÌÌ˚È
‡Ì҇Ϸθ Ò Â‡ÎËÒÚ˘ÌÓÈ Â‚Â·Â‡ˆËÂÈ.
èÓÔÓ·ÛÈÚ ÒÓ‰ËÌËÚ¸ ˝ÚÓÚ ÚÂÏ· Ò ÙÓÚÂÔˇÌÓ ‚
ÂÊËÏÂ DUAL.
VARIATION
ë‚Ó·Ó‰ÌÓ Á‚Û˜‡ÌË ÒÚÛÌÌÓ„Ó ‡Ì҇ϷÎfl Ò
ωÎÂÌÌÓÈ ‡Ú‡ÍÓÈ. èÓÔÓ·ÛÈÚ ÒÓ‰ËÌËÚ¸ ˝ÚÓÚ
ÚÂÏ· Ò ÙÓÚÂÔˇÌÓ ËÎË ˝ÎÂÍÚ˘ÂÒÍËÏ ÔˇÌËÌÓ ‚
ÂÊËÏÂ DUAL.
CHOIR
VARIATION
GUITAR („ËÚ‡‡)
VARIATION
WOOD BASS
VARIATION
E.BASS
VARIATION
ÅÓθ¯ÓÈ Ò‚Ó·Ó‰Ì˚È Á‚ÛÍ ıÓ‡. à‰Â‡ÎÂÌ ‰Îfl
ÒÓÁ‰‡ÌËfl ·Ó„‡Ú˚ı „‡ÏÓÌËÈ ‚ ωÎÂÌÌÓÈ ÏÛÁ˚ÍÂ.
ïÓÓ‚ÓÈ ÚÂÏ· Ò Ï‰ÎÂÌÌÓÈ ‡Ú‡ÍÓÈ. èÓÔÓ·ÛÈÚÂ
ÒÓ‰ËÌËÚ¸ ˝ÚÓÚ ÚÂÏ· Ò ÙÓÚÂÔˇÌÓ ËÎË
˝ÎÂÍÚ˘ÂÒÍËÏ ÔˇÌËÌÓ ‚ ÂÊËÏ DUAL.
íÂÔÎÓÂ Ë ÂÒÚÂÒÚ‚ÂÌÌÓ Á‚Û˜‡ÌË „ËÚ‡˚ Ò
ÌÂÈÎÓÌÓ‚˚ÏË ÒÚÛ̇ÏË. èË Ë„Â ÒÓÁ‰‡ÂÚÒfl
ÔËflÚ̇fl ÒÔÓÍÓÈ̇fl ‡ÚÏÓÒÙ‡.
üÍËÈ Á‚ÛÍ ˝ÎÂÍÚÓ„ËÚ‡˚. èÓ‰ıÓ‰ËÚ ‰Îfl
ËÒÔÓÎÌÂÌËfl ÔÓÔÛÎflÌÓÈ ÏÛÁ˚ÍË.
äÓÌÚ‡·‡Ò Ò ı‡‡ÍÚÂÌ˚Ï Á‚ÛÍÓÏ, Í‡Í ÓÚ
ÔËÍÓÒÌÓ‚ÂÌËfl ԇθˆÂ‚ Í ÒÚÛ̇Ï. à‰Â‡Î¸Ì˚È
ÒÚËθ ‰Îfl ËÒÔÓÎÌÂÌËfl ‰Ê‡ÁÓ‚ÓÈ Ë Î‡ÚËÌÓ‡ÏÂË͇ÌÒÍÓÈ ÏÛÁ˚ÍË.
á‚Û˜‡ÌË ·‡Ò‡ ÒÓ˜ÂÚ‡ÂÚÒfl Ò Û‰‡Ì˚ÏË
ËÌÒÚÛÏÂÌÚ‡ÏË. à‰Â‡Î¸Ì˚È ÒÚËθ ‰Îfl
·ÎÛʉ‡˛˘Ëı ·‡ÒÓ‚˚ı ÎËÌËÈ ‚ ‰Ê‡ÁÓ‚˚ı
ÏÂÎÓ‰Ëflı.
á‚ÛÍ ˝ÎÂÍÚ˘ÂÒÍÓÈ ·‡Ò-„ËÚ‡˚. èËÏÂÌflÂÚÒfl ‚
fl‰Â ÏÛÁ˚͇θÌ˚ı ÒÚËÎÂÈ: ‰Ê‡ÁÂ, ÓÍÂ, ÔÓÔÏÛÁ˚ÍÂ Ë Ú. ‰.
ÅÂÁ·‰Ó‚˚È ·‡Ò, ÔÓ‰ıÓ‰fl˘ËÈ ‰Îfl Ú‡ÍËı ÒÚËÎÂÈ,
Í‡Í ‰Ê‡Á, Ù¸˛ÊÌ Ë Ú. ‰.
*1. ÑË̇Ï˘ÂÒÍÓÂ Ò˝ÏÔÎËÓ‚‡ÌË ÔÓÁ‚ÓÎflÂÚ ‰Ó·ËÚ¸Òfl ÚÓ˜ÌÓ„Ó ÒÓÓÚ‚ÂÚÒÚ‚Ëfl ÚÂÏ·‡Ï ̇ ‡ÍÛÒÚ˘ÂÒÍÓÏ
ËÌÒÚÛÏÂÌÚÂ Ò ÔÓÏÓ˘¸˛ ·˚ÒÚÓ„Ó ÔÂÂÍβ˜ÂÌËfl Ò˝ÏÔÎÓ‚.
*2. ë˝ÏÔÎ ÏÓ‰ÂÎËÛÂÚ Ò··Ó Á‚Û˜‡ÌË ÓÚÔÛ˘ÂÌÌ˚ı Í·‚˯.
64
CLP-130/120 ëÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚
CLP-120
ç‡Á‚‡ÌËÂ
ëÚÂÂÓÒ˝ÏÔÎËÓ‚‡ÌËÂ
óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËÎÂ
̇ʇÚËfl
ÑË̇Ï˘ÂÒÍÓÂ
Ò˝ÏÔÎËÓ‚‡ÌËÂ*1
ë˝ÏÔÎËÓ‚‡ÌË Á‚Û͇
ÓÚÔÛ˘ÂÌÌ˚ı
Í·‚˯*2
éÔËÒ‡ÌË ÚÂÏ·Ó‚
GRANDPIANO 1
á‡ÔËÒË Ò˝ÏÔÎÓ‚ ÍÓ̈ÂÚÌÓ„Ó ÓflÎfl. ùÚÓÚ
ÚÂÏ· Ô‚ÓÒıÓ‰ÌÓ ÔÓ‰ıÓ‰ËÚ ‰Îfl ËÒÔÓÎÌÂÌËfl
Í·ÒÒ˘ÂÒÍËı ÏÛÁ˚͇θÌ˚ı ÔÓËÁ‚‰ÂÌËÈ, ‡
Ú‡ÍÊ ‰Îfl ÔÓËÁ‚‰ÂÌËÈ ‰Û„Ó„Ó ÒÚËÎfl,
ËÒÔÓÎÌflÂÏ˚ı ̇ ‡ÍÛÒÚ˘ÂÒÍÓÏ ÔˇÌËÌÓ.
GRANDPIANO 2
é·˙ÂÏÌ˚È Ë flÒÌ˚È Á‚ÛÍ ÙÓÚÂÔ¸flÌÓ Ò
ÓÚ˜ÂÚÎË‚˚Ï ˝ÙÙÂÍÚÓÏ Â‚Â·Â‡ˆËË.
èÓ‰ıÓ‰ËÚ ‰Îfl ÔÓÔÛÎflÌÓÈ ÏÛÁ˚ÍË.
E.PIANO 1
á‚ÛÍ ˝ÎÂÍÚ˘ÂÒÍÓ„Ó ÔˇÌËÌÓ, ÒÓÁ‰‡‚‡ÂÏ˚È
Ò ÔÓÏÓ˘¸˛ ÏÂÚÓ‰‡ ˜‡ÒÚÓÚÌÓÈ ÏÓ‰ÛÎflˆËË.
èÓ‰ıÓ‰ËÚ ‰Îfl ÔÓÔÛÎflÌÓÈ ÏÛÁ˚ÍË.
E.PIANO 2
á‚ÛÍ ˝ÎÂÍÚ˘ÂÒÍÓ„Ó ÙÓÚÂÔ¸flÌÓ, ÒÓÁ‰‡‚‡ÂÏ˚È ÔË Û‰‡Â ÏÓÎÓÚÓ˜ÍÓ‚ Ó ÏÂÚ‡Î΢ÂÒÍËÂ
Ô·ÒÚËÌÍË. åfl„ÍËÈ ÚÓÌ ÔË Î„ÍÓÏ Ì‡Ê‡ÚËË
̇ Í·‚Ë¯Ë Ë ‡„ÂÒÒË‚Ì˚È — ÔË ·ÓÎÂÂ
ÒËθÌÓÏ.
HARPSICHORD 1
á‚Û˜‡ÌË ˝ÚÓ„Ó ËÌÒÚÛÏÂÌÚ‡ ı‡‡ÍÚÂÌÓ ‰Îfl
ÏÛÁ˚ÍË ‚ ÒÚËΠ·‡ÓÍÍÓ. ä·‚ÂÒËÌ — ˝ÚÓ
ÒÚÛÌÌ˚È ËÌÒÚÛÏÂÌÚ, ‰Îfl ˝ÚÓ„Ó ÒÚËÎfl ÌÂ
‚‡ÊÂÌ Ô‡‡ÏÂÚ, ÓÔ‰ÂÎfl˛˘ËÈ ÒËÎÛ
̇ʇÚËfl ̇ Í·‚˯Ë. é‰Ì‡ÍÓ ‰Îfl ˝ÚÓ„Ó
ÒÚËÎfl ı‡‡ÍÚÂÂÌ ÓÒÓ·ÂÌÌ˚È Á‚ÛÍ,
ÒÓÁ‰‡‚‡ÂÏ˚È ÓÚÔÛ˘ÂÌÌ˚ÏË Í·‚˯‡ÏË.
HARPSICHORD 2
ëÓ˜ÂÚ‡ÌËÂ Ò ÚÂÏ Ê ÚÂÏ·ÓÏ, ÌÓ Ì‡ ÓÍÚ‡‚Û
‚˚¯Â, ‰Îfl ÔÓÎÛ˜ÂÌËfl ·ÓΠflÍÓ„Ó Á‚Û͇.
VIBRAPHONE
ÇË·ÓÙÓÌ ÒÓ Ò‡‚ÌËÚÂθÌÓ Ïfl„ÍËÏË
ÍÓÎÓÚۯ͇ÏË. óÂÏ ÒËθÌ ۉ‡˚, ÚÂÏ ·ÓÎÂÂ
ÏÂÚ‡Î΢ÂÒÍËÏ ÒÚ‡ÌÓ‚ËÚÒfl ÚÓÌ.
CHURCH ORGAN 1
íËÔ˘Ì˚È Á‚ÛÍ Ó„‡Ì‡ Ò Â„ËÒÚ‡ÏË 8 ÙÛÚÓ‚,
4 ÙÛÚ‡ Ë 2 ÙÛÚ‡. ïÓÓ¯ ‰Îfl ËÒÔÓÎÌÂÌËfl
‰ÛıÓ‚ÌÓÈ ÏÛÁ˚ÍË ÔÂËÓ‰‡ ·‡ÓÍÍÓ.
CHURCH ORGAN 2
á‚ÛÍ ÔÓÎÌÓÈ ÍÓÔÛÎ˚ Ó„‡Ì‡, ˜‡ÒÚÓ ‡ÒÒÓˆËËÛÂÏ˚È Ò ÚÓÍ͇ÚÓÈ Ë ÙÛ„ÓÈ à.ë. Ňı‡.
JAZZ ORGAN
á‚ÛÍ ˝ÎÂÍÚÓÓ„‡Ì‡ ÚËÔ‡ tonewheel
(ÚÂıÌÓÎÓ„Ëfl ÙÓÌ˘ÂÒÍÓ„Ó ÍÓÎÂÒ‡). òËÓÍÓ
ËÒÔÓθÁÛÂÚÒfl ‚ ‰Ê‡ÁÓ‚˚ı Ë ÓÍ-ÒÚËÎflı.
STRINGS 1
ëÚÂÂÓÒ˝ÏÔÎËÓ‚‡ÌÌ˚È ·Óθ¯ÓÈ ÒÚÛÌÌ˚È
‡Ì҇Ϸθ Ò Â‡ÎËÒÚ˘ÌÓÈ Â‚Â·Â‡ˆËÂÈ.
èÓÔÓ·ÛÈÚ ÒÓ‰ËÌËÚ¸ ˝ÚÓÚ ÚÂÏ· Ò
ÙÓÚÂÔˇÌÓ ‚ ÂÊËÏ DUAL.
STRINGS 2
ë‚Ó·Ó‰Ì˚È Á‚ÛÍ ÒÚÛÌÌÓ„Ó ‡Ì҇ϷÎfl Ò
ωÎÂÌÌÓÈ ‡Ú‡ÍÓÈ. èÓÔÓ·ÛÈÚ ÒÓ‰ËÌËÚ¸
˝ÚÓÚ ÚÂÏ· Ò ÙÓÚÂÔˇÌÓ ËÎË ˝ÎÂÍÚ˘ÂÒÍËÏ
ÔˇÌËÌÓ ‚ ÂÊËÏ DUAL.
CHOIR
ÅÓθ¯ÓÈ Ò‚Ó·Ó‰Ì˚È Á‚ÛÍ ıÓ‡. à‰Â‡ÎÂÌ ‰Îfl
ÒÓÁ‰‡ÌËfl ·Ó„‡Ú˚ı „‡ÏÓÌËÈ ‚ ωÎÂÌÌÓÈ
ÏÛÁ˚ÍÂ.
GUITAR
íÂÔÎ˚È Ë ÂÒÚÂÒÚ‚ÂÌÌ˚È Á‚ÛÍ „ËÚ‡˚ Ò
ÌÂÈÎÓÌÓ‚˚ÏË ÒÚÛ̇ÏË. èË Ë„Â ÒÓÁ‰‡ÂÚÒfl
ÔËflÚ̇fl, ÒÔÓÍÓÈ̇fl ‡ÚÏÓÒÙ‡.
*1. ÑË̇Ï˘ÂÒÍÓÂ Ò˝ÏÔÎËÓ‚‡ÌË ÔÓÁ‚ÓÎflÂÚ ‰Ó·ËÚ¸Òfl ÚÓ˜ÌÓ„Ó ÒÓÓÚ‚ÂÚÒÚ‚Ëfl ÚÂÏ·‡Ï ̇ ‡ÍÛÒÚ˘ÂÒÍÓÏ
ËÌÒÚÛÏÂÌÚÂ Ò ÔÓÏÓ˘¸˛ ·˚ÒÚÓ„Ó ÔÂÂÍβ˜ÂÌËfl Ò˝ÏÔÎÓ‚.
*2. ë˝ÏÔÎ ÏÓ‰ÂÎËÛÂÚ Ò··Ó Á‚Û˜‡ÌË ÓÚÔÛ˘ÂÌÌ˚ı Í·‚˯.
CLP-130/120 ëÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚
65
ëÔËÒÓÍ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı ÔÂÒÂÌ
ç‡Á‚‡ÌË ÚÂÏ·‡
CLP-130
CLP-120
GRAND PIANO1
ç‡Á‚‡ÌË ԸÂÒ˚
ìÚ¯ÂÌË ‹ 3
äÓÏÔÓÁËÚÓ
î. ãËÒÚ
HARPSICHORD
ɇ‚ÓÚ
HARPSICHORD1
à.ë. Ňı
HARPSICHORD2
àÌ‚Â̈Ëfl ‹ 1
ì͇Á‡ÌÌ˚ ԸÂÒ˚ — ˝ÚÓ ÍÓÓÚÍË ÔÂÂ‡·ÓÚ‡ÌÌ˚ ÓÚ˚‚ÍË ËÁ ÓË„Ë̇θÌ˚ı ÔÓËÁ‚‰ÂÌËÈ.
ÇÒ ÓÒڇθÌ˚ ÔÂÒÌË fl‚Îfl˛ÚÒfl ÒÓ·ÒÚ‚ÂÌÌÓÒÚ¸˛ ÍÓÏÔ‡ÌËË (© Yamaha Corporation, 2002).
éÔËÒ‡ÌË ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı ÚÂÏ·Ó‚ ÙÓÚÂÔ¸flÌÓ (CLP-130)
ç‡Á‚‡ÌË ÚÂÏ·‡
66
ÑÂÏÓÌÒÚ‡ˆËfl ÚÂÏ·‡ ÙÓÚÂÔˇÌÓ
GRAND PIANO1
ëÚÂÂÓÒ˝ÏÔÎËÓ‚‡ÌËÂ
GRAND PIANO1
åÓÌÓÙÓÌ˘ÂÒÍÓÂ Ò˝ÏÔÎËÓ‚‡ÌËÂ
E.PIANO1
ÑË̇Ï˘ÂÒÍÓÂ Ò˝ÏÔÎËÓ‚‡ÌËÂ, ψˆÓ-ÔˇÌÓ
E.PIANO2
ÑË̇Ï˘ÂÒÍÓÂ Ò˝ÏÔÎËÓ‚‡ÌËÂ, ψˆÓ-ÙÓÚÂ
HARPSICHORD
ÑË̇Ï˘ÂÒÍÓÂ Ò˝ÏÔÎËÓ‚‡ÌËÂ, ÙÓÚÂ
E.CLAVICHORD
ë˝ÏÔÎËÓ‚‡ÌËÂ Ò Ô‡‚ÓÈ Ô‰‡Î¸˛
VIBRAPHONE
ë˝ÏÔÎËÓ‚‡ÌË ·ÂÁ Ô‡‚ÓÈ Ô‰‡ÎË
CHURCH ORGAN
ë˝ÏÔÎËÓ‚‡ÌËÂ Ò Û˜ÂÚÓÏ Á‚Û͇ ÓÚÔÛ˘ÂÌÌ˚ı Í·‚˯
JAZZ ORGAN
ë˝ÏÔÎËÓ‚‡ÌË ·ÂÁ Û˜ÂÚ‡ Á‚Û͇ ÓÚÔÛ˘ÂÌÌ˚ı Í·‚˯
CLP-130/120 ëÔËÒÓÍ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı ÔÂÒÂÌ
è‰ÏÂÚÌ˚È Û͇Á‡ÚÂθ
0-9
P
50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ.....................................................17
PHONES................................................................... 12, 15
50 Greats for the Piano ...................................................17
POWER ..................................................................... 11, 14
PRESET .................................................................... 14, 17
Ä
ALL (Ò‚ÂÚÓ‰ËÓ‰Ì˚È Ë̉Ë͇ÚÓ).................................17
R
AUX IN ...........................................................................51
REC ➝ Á‡ÔËÒ¸ ......................................................... 14, 31
AUX OUT .......................................................................50
REVERB ................................................................... 14, 22
rnd (Ò‚ÂÚÓ‰ËÓ‰Ì˚È Ë̉Ë͇ÚÓ) .................................. 17
B
BRILLIANCE...........................................................14, 22
S
Scn (Ò‚ÂÚÓ‰ËÓ‰Ì˚È Ë̉Ë͇ÚÓ) .................................. 56
D
DEMO .......................................................................14, 16
SPEAKER ................................................................. 12, 15
Specifications .................................................................. 76
Start/Stop (Á‡ÔÛÒÍ/ÓÒÚ‡Ìӂ͇ Á‡ÔËÒË) ....................... 31
START/STOP (SONG) ................................................. 14
E
EFFECT ....................................................................14, 23
T
TEMPO ............................................................... 14, 17, 35
F
TEMPO (METRONOME) ........................................... 29
TO HOST .................................................................. 15, 49
Factory Setting List .........................................................70
TOUCH..................................................................... 14, 24
FUL (Ò‚ÂÚÓ‰ËÓ‰Ì˚È Ë̉Ë͇ÚÓ) ................................31
TRACK1/2 (50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ) ............................. 18
FUNCTION .......................................................14, 40–48
ÓÒÌÓ‚Ì˚ ‰ÂÈÒÚ‚Ëfl .................................................38
TRACK1/2 (Á‡ÔËÒ¸) ...................................................... 31
TRANSPOSE ........................................................... 14, 25
Function Parameter List .................................................70
H
HOST SELECT ..................................................15, 51, 54
U
USB ................................................................................. 55
USER 1/2/3 (CLP-130) ................................................. 30
HST (Ò‚ÂÚÓ‰ËÓ‰Ì˚È Ë̉Ë͇ÚÓ) ................................52
L
List
Factory Setting ..........................................................70
M
MASTER VOLUME ................................................11, 14
METRONOME ........................................................14, 29
MIDI................................................................................49
MIDI [IN] [OUT] [THRU] .....................................15, 51
V
VARIATION (CLP-130) ............................................... 22
VOICE ....................................................................... 14, 21
Ç
‚Íβ˜ÂÌËÂ Ë ‚˚Íβ˜ÂÌËÂ
‚ÓÒÔÓËÁ‚‰ÂÌË ‰ÓÓÊÂÍ ..................................... 36
‰ÂÏÓÌÒÚ‡ˆËfl .......................................................... 16
ÏÂÚÓÌÓÏ ............................................................ 14, 29
Ò ÔÓÏÓ˘¸˛ Ô‰‡ÎË .................................................. 36
MIDI Data Format .........................................................71
‚ÒÚÓÂÌÌ˚Â ÔÂÒÌË ➝
50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ ‰Îfl ÙÓÚÂÔ¸flÌÓ.................... 17
MIDI-‰‡È‚Â ................................................................53
‚ÒÚÓÂÌÌ˚Â ÚÂÏ·˚ ................................................63–65
MIDI-͇·ÂÎË......................................................49, 54, 55
‚˚ÒÓÚ‡ Á‚Û͇ ➝ ÚÓÌ͇fl ̇ÒÚÓÈ͇ ............................. 40
CLP-130/120 è‰ÏÂÚÌ˚È Û͇Á‡ÚÂθ
67
‰Îfl ÔË„ÎÛ¯ÂÌËfl Á‚Û͇ .............................. 15, 22, 44
Ô‡‚‡fl........................................................................ 21
ÒÓÒÚÂÌÛÚÓ .................................................................. 22
Ò‰Ìflfl ..................................................................... 15
ÒÛÒÚÂÈÌ ...................................................................... 15
É
„ÓÏÍÓÒÚ¸ ÏÂÚÓÌÓχ ...................................................45
Ñ
‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÔÂÒÌË ...........................................66
‰ÂÏÔÙÂ̇fl Ô‰‡Î¸ .................................................21, 43
‰Ó·‡‚ÎÂÌË ‚‡ˇˆËÈ ...................................................22
‰ÓÔÓÎÌËÚÂθÌ˚ ÔË̇‰ÎÂÊÌÓÒÚË ...............................8
á
Á‡ÔËÒ¸ ..............................................................................30
̇˜‡Î¸Ì˚ ̇ÒÚÓÈÍË .............................................34
Á‡ÔÛÒÍ Ë ÓÒÚ‡Ìӂ͇ ‚ÓÒÔÓËÁ‚‰ÂÌËfl
50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ ...............................................17
‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÏÂÎÓ‰ËË .................................16
Á‡ÔËÒ‡ÌÌ˚ ÔÂÒÌË ...................................................35
ÔÓÎÂÁÌ˚ ÙÛÌ͈ËË ‚ÓÒÔÓËÁ‚‰ÂÌËfl ..................36
ÔÂÂÁ‡ÔËÒ¸...................................................................... 32
ÔÓ‰Íβ˜ÂÌË ................................................................. 50
ÔÓ‰Íβ˜ÂÌË ÔÂÒÓ̇θÌÓ„Ó ÍÓÏÔ¸˛ÚÂ‡ ............... 52
ÔÓÒΉӂ‡ÚÂθÌ˚È Í‡·Âθ ..................................... 53, 55
Ô‡‚‡fl Ô‰‡Î¸ .......................................................... 15, 44
Ô˛ÔËÚ ............................................................................ 10
ê
‡Á˙ÂÏ˚ .......................................................................... 50
AUX IN ..................................................................... 14
AUX OUT ................................................................. 14
MIDI ................................................................... 49, 54
PEDAL ................................................................ 14, 51
ÂÊËÏ˚
Dual ..................................................................... 26, 42
SPLIT (CLP-130) ......................................... 14, 27, 43
à
Ë„‡ Ó‰ÌÓÈ ÛÍÓÈ (50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ) .................18
ë
ä
Ò·Ó͇ .......................................................................57–62
Í˚¯Í‡ Í·‚ˇÚÛ˚ ......................................................10
Ò‚ÂÚÓ‰ËÓ‰Ì˚È Ë̉Ë͇ÚÓ ............................................ 14
ã
ÒËÌıÓÌÌ˚È Á‡ÔÛÒÍ
50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ .............................................. 19
Á‡ÔËÒ‡ÌÌ˚ ÔÂÒÌË................................................... 36
΂‡fl Ô‰‡Î¸ .......................................................15, 22, 44
å
ÏÂ˚ ·ÂÁÓÔ‡ÒÌÓÒÚË .....................................................6–7
ÒÔËÒÓÍ
‚ÒÚÓÂÌÌ˚Â ÚÂÏ·˚ ..........................................63–65
‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÔÂÒÌË ..................................... 66
ÙÛÌ͈ËË ................................................................... 37
Ò‰Ìflfl Ô‰‡Î¸ ........................................................ 15, 22
ç
̇ÒÚÓÈ͇
FUNCTION .............................................................37
‚˚ÒÓÚ‡ Á‚Û͇ .............................................................40
„ÓÏÍÓÒÚ¸ (50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ).........................17
„ÓÏÍÓÒÚ¸ ‰ÂÏÓÌÒÚ‡ˆËË .......................................16
„ÓÏÍÓÒÚ¸ ÏÂÚÓÌÓχ .............................................45
ÚÂÏÔ (50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ) ..................................17
ÚÂÏÔ‡ (Á‡ÔËÒ‡ÌÌ˚ ÔÂÒÌË).....................................35
flÍÓÒÚ¸ ......................................................................16
̇ÒÚÓÈ͇ ➝ ÚÓÌ͇fl ̇ÒÚÓÈ͇
‚˚ÒÓÚ‡ Á‚Û͇ .............................................................40
ÒÚÓÈ ............................................................................... 41
í
Ú‡ÌÒÔÓÚËӂ͇ ............................................................. 8
ì
ÛÒÚ‡ÌÂÌË ÌÂÔÓ·‰ÓÍ ................................................. 56
î
é
Ó·˚˜Ì‡fl ̇ÒÚÓÈ͇ .......................................................22
ÓÔËÒ‡ÌË ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı ÚÂÏ·Ó‚ .....................66
ÙÛÌ͈ËË
MIDI ......................................................................... 45
ÒÓı‡ÌÂÌËfl ............................................................... 48
ÙÛÌ͈Ëfl ÔÓ‚ÚÓ‡ A-B
50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ .............................................. 20
è
Ô‡ÚËfl ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË ............................................45
Ô‰‡Î¸
‰ÂÏÔÙÂ̇fl ..............................................................21
68
CLP-130/120 è‰ÏÂÚÌ˚È Û͇Á‡ÚÂθ
ó
˜Û‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËΠ̇ʇÚËfl .............................. 24
Appendix
Ç ˝ÚÓÏ ‡Á‰ÂΠÒÓ‰ÂʇÚÒfl ҂‰ÂÌËfl Ó· ÛÒÚ‡ÌÂÌËË ÌÂËÒÔ‡‚ÌÓÒÚÂÈ, ÓÔËÒ‡ÌË ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚ Ë ‰Û„‡fl
ËÌÙÓχˆËfl.
Factory Setting List / Liste der Vorgabeeinstellungen / Liste des réglages / ëÔËÒÓÍ Ì‡ÒÚÓÂÍ
ËÁ„ÓÚÓ‚ËÚÂÎfl ......................................................................................................................................... 70
MIDI Data Format / MIDI-Datenformat / Format des données MIDI / îÓÏ‡Ú MIDI-‰‡ÌÌ˚ı................. 71
MIDI Implementation Chart / MIDI Implementierung stabelle /
Feuille d’implantation MIDI / 퇷Îˈ‡ ‡ÎËÁ‡ˆËË ËÌÚÂÙÂÈÒ‡ MIDI .................................................... 75
Specifications / Technische Daten / Caractéristiques techniques / íÂıÌ˘ÂÒÍË ı‡‡ÍÚÂËÒÚËÍË ............... 76
CLP-130/120
69
Factory Setting List / Liste der Vorgabeeinstellungen /
Liste des réglages / ëÔËÒÓÍ Ì‡ÒÚÓÂÍ ËÁ„ÓÚÓ‚ËÚÂÎfl
Backup Group
Voice
CLP-130
CLP-120
F9.1
F8.1
OFF
—
—
0 (no accent)
F9.1
F8.1
120
—
—
0
F9.3
F8.3
GRAND PIANO 1
Variation (CLP-130)
OFF
Dual Mode
OFF
Split Mode (CLP-130)
OFF
Split Mode Left Voice (CLP-130)
WOOD BASS
Reverb Type
Preset for each voice
Reverb Depth
Preset for each voice
Effect Type
Preset for each voice
Effect Depth
Preset for each voice
Touch Sensitivity
MEDIUM
Volume in the FIXED Mode
64
Metronome
Metronome Time Signature
Tempo
Transpose
Function
CLP-130
70
CLP-120
Function
Default
F1
F1
Tuning
A3=440Hz
F2.1
F2.1
Scale
1 (Equal Temperament)
F2.2
F2.2
Base Note
C
F3.1
F3.1
Dual Balance
Preset for each voice combination
F3.2
F3.2
Dual Detune
Preset for each voice combination
F3.3, F3.4
F3.3, F3.4
Dual Octave Shift
Preset for each voice combination
F3.5, F.3.6
F3.5, F.3.6
Dual Effect Depth
Preset for each voice combination
F4.1
—
Split Point
F2
F4.2
—
Split Balance
Preset for each voice combination
F4.3, F4.4
—
Split Octave Shift
Preset for each voice combination
F4.5, F4.6
—
Split Effect Depth
Preset for each voice combination
F4.7
—
Damper Pedal Range
ALL
F5.1
F4.1
Left Pedal Mode
1 (Soft Pedal)
F5.2
F4.2
Soft Pedal Effect Depth
3
F5.3
—
Sustain Sample Depth
12
F5.4
—
Keyoff Sample Volume
10
F6
F5
Metronome Volume
10
F7
F6
Preset Song Part Cancel Volume
5
F8.1
F7.1
MIDI Transmit Channel
1
F8.2
F7.2
MIDI Receive Channel
ALL
F8.3
F7.3
Local Control
ON
F8.4
F7.4
Program Change Send & Receive
ON
F8.5
F7.5
Control Change Send & Receive
ON
F8.6
F7.6
MIDI Transmit Transpose
0
F9
F8
Backup
All OFF
CLP-130/120 Appendix
Backup Group
CLP-130
CLP-120
F9.3
F8.3
F9.1
F8.1
F9.4
F8.4
F9.1
F8.1
F9.2
F8.2
Always backed up
MIDI Data Format / MIDI-Datenformat
/ Format des données MIDI / îÓÏ‡Ú MIDI-‰‡ÌÌ˚ı
If you’re already very familiar with MIDI, or are using a
computer to control your music hardware with computergener-ated MIDI messages, the data provided in this section
can help you to control the CLP-130/120.
Falls Sie bereits mit MIDI vertraut sind oder einen
Computer zur Erzeugung von MIDI-Steuermeldungen für die
Instrumente verwenden, können Sie sich zur Steuerung des
CLP-130/120 nach den im folgenden Abschnitt aufgeführten
Spezifikationen richten.
Si vous êtes très familier avec l’interface MIDI ou si vous
utilisez un ordinateur pour commander votre matériel de
musique au moyen de messages MIDI générés par
ordinateur, les données suivantes vous seront utiles et vous
aideront à commander le CLP-130/120.
1. NOTE ON/OFF
3. MODE MESSAGES
Data format: [9nH] -> [kk] -> [vv]
ÖÒÎË ‚˚ Á̇ÍÓÏ˚ Ò MIDI-ËÌÚÂÙÂÈÒÓÏ ËÎË ËÒÔÓθÁÛÂÚÂ
ÍÓÏÔ¸˛Ú ‰Îfl ÛÔ‡‚ÎÂÌËfl ÏÛÁ˚͇θÌ˚ÏË ÛÒÚÓÈÒÚ‚‡ÏË ÔË
ÔÓÏÓ˘Ë ÒÓÁ‰‡‚‡ÂÏ˚ı ÍÓÏÔ¸˛ÚÂÓÏ MIDI-ÒÓÓ·˘ÂÌËÈ, ҂‰ÂÌËfl
ËÁ ˝ÚÓ„Ó ‡Á‰Â· ÔÓÏÓ„ÛÚ ‚‡Ï ÛÔ‡‚ÎflÚ¸ CLP-130/120.
Data format: [BnH] -> [cc] -> [vv]
9nH = Note ON/OFF event (n = channel number)
kk =
Note number (Transmit: 09H ~ 78H = A-2 ~ C8 /
Receive: 00H ~ 7FH = C-2 ~ G8)*
vv =
Velocity (Key ON = 01H ~ 7FH, Key OFF = 00H)
Data format: [8nH] -> [kk] -> [vv] (reception only)
8nH = Note OFF event (n = channel number)
kk =
Note number: 00H ~ 7FH = C-2 ~ G8
vv =
Velocity
* If received value exceeds the supported range for the
selected voice, the note is adjusted by the necessary number of octaves.
2. CONTROL CHANGE
Data format: [BnH] -> [cc] -> [vv]
BnH = Control change (n = channel number)
cc =
Control number
vv =
Data Range
(1) Bank Select
ccH
Parameter
Data Range (vvH)
00H
Bank Select MSB
00H:Normal
20H
Bank Select LSB
00H...7FH
Bank selection processing does not occur until receipt of
next Program Change message.
(2) Main Volume (reception only)
ccH
Parameter
Data Range (vvH)
07H
Volume MSB
00H...7FH
(3) Expression
ccH
Parameter
0BH Expression MSB
Data Range (vvH)
00H...7FH
(4) Damper
ccH
Parameter
40H
Damper MSB
Data Range (vvH)
00H...7FH
(5) Sostenuto
ccH
Parameter
42H
Sostenuto
Data Range (vvH)
00H-3FH:off, 40H-7FH:on
(6) Soft Pedal
ccH
Parameter
43H
Soft Pedal
Data Range (vvH)
00H-3FH:off, 40H-7FH:on
(7) Effect1 Depth (Reverb Send Level)
ccH
Parameter
Data Range (vvH)
5BH Effect1 Depth
00H...7FH
Adjusts the reverb send level.
(8) Effect4 Depth (Variation Effect Send Level)
ccH
Parameter
Data Range (vvH)
5EH Effect4 Depth
00H...7FH
BnH = Control event (n = channel number)
cc =
Control number
vv =
Data Range
(1) All Sound Off
ccH
Parameter
Data Range (vvH)
78H
All Sound Off
00H
Switches off all sound from the channel. Does not reset Note
On and Hold On conditions established by Channel Messages.
(2) Reset All Controllers
ccH
Parameter
79H
Reset All Controllers
Resets controllers as follows.
Controller
Expression
Damper Pedal
Sostenuto
Soft Pedal
Data Range (vvH)
00H
Value
127 (max)
0 (off)
0 (off)
0 (off)
(3) Local Control (reception only)
ccH
Parameter
Data Range (vvH)
7AH Local Control
00H (off), 7FH (on)
(4) All Notes Off
ccH
Parameter
Data Range (vvH)
7BH All Notes Off
00H
Switches OFF all the notes that are currently ON on the specified channel. Any notes being held by the damper or sostenuto pedal will continue to sound until the pedal is released.
(5) Omni Off (reception only)
ccH
Parameter
Data Range (vvH)
7CH Omni Off
00H
Same processing as for All Notes Off.
(6) Omni On (reception only)
ccH
Parameter
Data Range (vvH)
7DH Omni On
00H
Same processing as for All Notes Off.
(7) Mono (reception only)
ccH
Parameter
Data Range (vvH)
7EH Mono
00H
Same processing as for All Sound Off.
(8) Poly (reception only)
ccH
Parameter
Data Range (vvH)
7FH
Poly
00H
Same processing as for All Sound Off.
• When control change reception is turned OFF in the Function
mode, control change data will not be transmitted or received
except for Bank Select and Mode messages.
• Local on/off, OMNI on/off are not transmitted. (The appropriate
note off number is supplied with “All Note Off” transmission).
• When a voice bank MSB/LSB is received, the number is
stored in the internal buffer regardless of the received order,
then the stored value is used to select the appropriate voice
when a program change message is received.
• The Multi-timbre and Poly modes are always active. No
change occurs when OMNI ON, OMNI OFF, MONO, or POLY
mode messages are received.
CLP-130/120 Appendix
71
4. PROGRAM CHANGE
6. SYSTEM EXCLUSIVE MESSAGES
(Yamaha MIDI Format)
Data format: [CnH] -> [ppH]
CnH = Program event (n = channel number)
ppH = Program change number
P.C.#=Program Change number
CLP-130
GRANDPIANO 1
VARIATION
GRANDPIANO 2
VARIATION
E.PIANO 1
VARIATION
E.PIANO 2
VARIATION
HARPSICHORD
VARIATION
E. CLAVICHORD
VARIATION
VIBRAPHONE
VARIATION
CHURCH ORGAN
VARIATION
JAZZ ORGAN
VARIATION
STRINGS
VARIATION
CLP-120
GRANDPIANO 1
—
GRANDPIANO 2
—
E.PIANO 1
—
E.PIANO 2
—
HARPSICHORD 1
HARPSICHORD 2
—
—
VIBRAPHONE
—
CHURCH ORGAN 1
CHURCH ORGAN 2
JAZZ ORGAN
—
STRINGS 1
STRINGS 2
CHOIR
VARIATION
GUITAR
VARIATION
WOOD BASS
VARIATION
E.BASS
VARIATION
CHOIR
MSB
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
LSB
122
123
112
112
122
122
122
123
122
123
122
123
122
122
123
122
122
123
122
122
P.C.#
0
0
0
1
5
88
4
4
6
6
7
7
11
12
19
19
16
16
48
49
0
0
0
0
0
0
0
0
122
123
122
122
122
124
122
122
52
52
24
25
32
32
33
35
—
GUITAR
—
—
—
—
—
• When program change reception is turned OFF in the Function mode, no program change data is transmitted or
received. Also, Bank MSB/LSB is not transmitted or received.
5. SYSTEM REALTIME MESSAGES
[rrH]
F8H: Timing clock
FAH: Start
FCH: Stop
FEH: Active sensing
Data
F8H
Transmission
Transmitted every
96 clocks
FAH
Recorder start
FCH
Recorder stop
FEH
Transmitted every
200 milliseconds
Reception
Received as 96-clock tempo timing
when MIDI clock is set to External
Recorder start
Not received when the MIDI clock is
set to Internal.
Recorder stop
Not received when the MIDI clock is
set to Internal.
If a signal is not received via MIDI for
more than 400 milliseconds, the
same processing will take place for
All Sound Off, All Notes Off and Reset
All Controllers as when those signals
are received.
• Caution: If an error occurs during MIDI reception, the Damper,
Sostenuto, and Soft effects for all channels are turned off and
an All Note Off occurs.
72
CLP-130/120 Appendix
Panel Data Transmit
Data format: [F0H] -> [43H] -> [0nH] -> [7CH] -> ... -> [F7H]
F0H, 43H, 0nH, 7CH (n: channel number)
00H, 2DH (data length)
43H, 4CH, 20H, 20H (CL)
43H, 4CH, 50H, 27H, 30H, 32H (CLP02)
30H, 30H (version x, y)
[PANEL DATA]
[CHECK SUM (1byte)] = 0-(43H+4CH+20H+......+Data end)
F7H
• Panel Data Contents
(1) 1'st Voice
(2) Dual On/Off
(3) Dual Voice
(4) Dual Balance
(5) Dual Detune
(6) Dual Voice1 Octave
(7) Dual Voice2 Octave
(8) Dual Voice1 Effect Depth
(9) Dual Voice2 Effect Depth
(10) Split On/Off
(11) Split Voice
(12) Split Point
(13) Split Balance
(14) Split Voice1 Octave
(15) Split Voice2 Octave
(16) Split Voice1 Effect Depth
(17) Split Voice2 Effect Depth
(18) Split Dumper Mode
(19) Reverb Type 1
(20) Reverb Type 2
(21) Reverb Depth 1
(22) Reverb Depth 2
(23) Effect Type 1
(24) Effect Type 2
(25) Effect Depth
(26) Variation On/Off
(27) Touch Sensitivity
(28) Fixed Data
(29) Left Pedal
(30) Soft Pedal Depth
(31) Absolute tempo low byte
(32) Absolute tempo high byte
(33) Key-Off Sampling Depth
• Panel data send requests cannot be received.
7. SYSTEM EXCLUSIVE MESSAGES
(Universal System Exclusive)
(1) Universal Realtime Message
Data format: [F0H] -> [7FH] -> [XnH] -> [04H] -> [01H] ->
[llH] -> [mmH] -> [F7H]
MIDI Master Volume
• Simultaneously changes the volume of all channels.
• When a MIDI master volume message is received, the volume
only has affect on the MIDI receive channel, not the panel
master vol-ume.
F0H = Exclusive status
7FH = Universal Realtime
7FH = ID of target device
04H = Sub-ID #1=Device Control Message
01H = Sub-ID #2=Master Volume
llH = Volume LSB
mmH = Volume MSB
F7H = End of Exclusive
or
F0H = Exclusive status
7FH = Universal Realtime
XnH = When n is received n=0~F, whichever is received.
X = don’t care
04H = Sub-ID #1=Device Control Message
01H = Sub-ID #2=Master Volume
llH = Volume LSB
mmH = Volume MSB
F7H = End of Exclusive
(2) Universal Non-Realtime Message (GM On)
General MIDI Mode On
Data format: [F0H] -> [7EH] -> [XnH] -> [09H] -> [01H] ->
[F7H]
F0H = Exclusive status
7EH = Universal Non-Realtime
7FH = ID of target device
09H = Sub-ID #1=General MIDI Message
01H = Sub-ID #2=General MIDI On
F7H = End of Exclusive
or
F0H = Exclusive status
7EH = Universal Non-Realtime
XnH = When received, n=0~F.
X = don’t care
09H = Sub-ID #1=General MIDI Message
01H = Sub-ID #2=General MIDI On
F7H = End of Exclusive
When the General MIDI mode ON message is received, the
MIDI system will be reset to its default settings.
This message requires approximately 50ms to execute, so
suffi-cient time should be allowed before the next message is
sent.
8. SYSTEM EXCLUSIVE MESSAGES (XG Standard)
(1) XG Native Parameter Change
Data format: [F0H] -> [43H] -> [1nH] -> [4CH] -> [hhH] ->
[mmH] -> [llH] -> [ddH] -> [F7H]
F0H = Exclusive status
43H = YAMAHA ID
1nH = When received, n=0~F.
When transmitted, n=0.
4CH = Model ID of XG
hhH = Address High
mmH = Address Mid
llH = Address Low
ddH = Data
|
F7H = End of Exclusive
Data size must match parameter size (2 or 4 bytes).
When the XG System On message is received, the MIDI system will be reset to its default settings.
The message requires approximately 50ms to execute, so
sufficient time should be allowed before the next message is
sent.
(2) XG Native Bulk Data (reception only)
Data format: [F0H] -> [43H] -> [0nH] -> [4CH] -> [aaH] ->
[bbH] -> [hhH] -> [mmH] -> [llH] ->[ddH] ->...->
[ccH] -> [F7H]
F0H = Exclusive status
43H = YAMAHA ID
0nH = When received, n=0~F.
When transmitted, n=0.
4CH = Model ID of XG
aaH = ByteCount
bbH = ByteCount
hhH = Address High
mmH = Address Mid
llH = Address Low
ddH = Data
|
|
|
|
ccH = Check sum
F7H = End of Exclusive
• Receipt of the XG SYSTEM ON message causes reinitialization of relevant parameters and Control Change values. Allow
sufficient time for processing to execute (about 50 msec)
before sending the CLP-130/120 another message.
• XG Native Parameter Change message may contain two or
four bytes of parameter data (depending on the parameter
size).
• For information about the Address and Byte Count values,
refer to Table 1 below. Note that the table’s Total Size value
gives the size of a bulk block. Only the top address of the
block (00H, 00H, 00H) is valid as a bulk data address.
9. SYSTEM EXCLUSIVE MESSAGES
(Clavinova MIDI Format)
Data format: [F0H] -> [43H] -> [73H] -> [xxH] -> [nnH] -> [F7H]
F0H = Exclusive status
43H = Yamaha ID
73H = Clavinova ID
01H = Product ID (CLP common)
or
7F=
Extended Product ID
xxH = Product ID (CLP-130: 26H / CLP-120: 25H)
nnH = Substatus
nn
Control
02H
Internal MIDI clock
03H
External MIDI clock
06H
Bulk Data (the bulk data follows 06H)
F7H = End of Exclusive
* When nn=02H or 03H, Clavinova common ID (01H) is
rec-ognized as well as 75H.
BULK DUMP FORMAT
F0H, 43H, 73H
75F, xxH
= Product ID (CLP-130: 26H /
CLP-120: 25H)
06H
= Bulk ID
05H
= Sequence data
0nH, 0nH, 0nH, 0nH, 0nH, 0nH, 0nH, 0nH = Data length
[BULK DATA]
=
[CHECK SUM (1byte)]
= 0-sum (BULK DATA)
F7H
= End of Exclusive
10. SYSTEM EXCLUSIVE MESSAGES (Special Control)
Data format: [F0H] -> [43H] -> [73H] -> [66H] -> [11H] ->
[0nH] -> [ccH] -> [vvH] -> [F7H]
F0H =
43H =
73H =
7FH =
xxH =
11H =
0nH =
cc =
vv =
F7H =
Exclusive status
Yamaha ID
Clavinova ID
Extended Product ID
Product ID (CLP-130: 26H / CLP-120: 25H)
Special control
Control MIDI change (n=channel number)
Control number
Value
End of Exclusive
Control
Split Point
Metronome
0n
Always 00H
Always 00H
ccH
14H
1BH
vvH
14H : Split Key Number
00H : off
01H : –
02H : 2/4
03H : 3/4
04H : 4/4
05H : 5/4
06H : 6/4
7FH : No accent
Damper Level ch: 00H-0FH 3DH(Sets the Damper Level
for each channel)
00H-7FH
Channel Detune ch: 00H-0FH 43H (Sets the Detune value
for each channel)
00H-7FH
Voice Reserve ch: 00H-0FH 45H
00H : Reserve off
7FH : on*
* When Volume, Expression is received for Reserve On, they
will be effective from the next Key On. Reserve Off is normal.
11. SYSTEM EXCLUSIVE MESSAGES (Others)
Data format: [F0H] -> [43H] -> [1nH] -> [27H] -> [30H] -> [00H]
-> [00H] -> [mmH] -> [llH] -> [ccH] -> [F7H]
Master Tuning (XG and last message priority) simultaneously
changes the pitch of all channels.
F0H = Exclusive Status
43H = Yamaha ID
1nH = When received, n=0~F.
When transmitted, n=0.
27H = Model ID of TG100
30H = Sub ID
00H
=
00H
=
mmH = Master Tune MSB
llH = Master Tune LSB
ccH = don’t care (under 7FH)
F7H = End of Exclusive
CLP-130/120 Appendix
73
<Table 1>
MIDI Parameter Change table (SYSTEM)
Address (H) Size (H)
Data (H)
00 00 00
4
020C - 05F4(*1)
01
02
03
04
1
05
1
06
1
7E
7F
TOTAL SIZE 07
00 - 7F
—
34 - 4C(*2)
00
00
Parameter
MASTER TUNE
MASTER VOLUME
—
TRANSPOSE
XG SYSTEM ON
RESET ALL PARAMETERS
Description
-50 - +50[cent]
1st bit 3 - 0 ➝ bit 15 - 12
2nd bit 3 - 0 ➝ bit 11 - 8
3rd bit 3 - 0 ➝ bit 7 - 4
4th bit 3 - 0 ➝ bit 3 - 0
0 - 127
Default value (H)
00 04 00 00
400
-12 - +12[semitones]
00=XG sytem ON
00=ON (receive only)
40
7F
*1: Values lower than 020CH select -50 cents. Values higher than 05F4H select +50 cents.
*2: Values from 28H through 33H are interpreted as -12 through -1. Values from 4DH through 58H are interpreted as +1 through +12.
<Table 2>
MIDI Parameter Change table (EFFECT 1)
Refer to the “Effect MIDI Map” for a complete list of Reverb, Chorus and Variation type numbers.
Address (H)
02 01 00
Size (H)
2
02 01 40
2
Data (H)
00-7F
00-7F
Parameter
REVERB TYPE MSB
REVERB TYPE LSB
00-7F
VARIATION TYPE MSB
00-7F
VARIATION TYPE LSB
• “VARIATION” refers to the EFFECT on the panel.
Description
Refer to Effect MIDI Map
00 : basic type
Default value (H)
01(=HALL1)
00
Refer to Effect MIDI Map
00 : basic type
00(=Effect off)
00
Description
0 - 127
Default value (H)
7F
<Table 3>
MIDI Parameter Change table (MULTI PART)
Address (H) Size (H)
08 nn 11
1
nn = Part Number
• Effect MIDI Map
REVERB
ROOM
HALL 1
HALL 2
STAGE
Sound board
MSB
02H
01H
01H
03H
03H
LSB
10H
10H
11H
10H
12H
MSB
42H
48H
46H
05H
LSB
10H
10H
10H
10H
EFFECT
CHORUS
PHASER
TREMOLO
DELAY
74
CLP-130/120 Appendix
Data (H)
00 - 7F
Parameter
DRY LEVEL
퇷Îˈ‡ ‡ÎËÁ‡ˆËË ËÌÚÂÙÂÈÒ‡ MIDI
YAMAHA [Clavinova]
Model: CLP-130/120
퇷Îˈ‡ ‡ÎËÁ‡ˆËË ËÌÚÂÙÂÈÒ‡ MIDI
Function
Transmitted
Recognized
Basic
Channel
Default
Changed
1
1 - 16
1
1 - 16
Mode
Default
Messages
Altered
3
X
*****************
1
X
X
: True voice
9 - 120
*****************
0 - 127
0 - 127
Velocity
Note ON
Note OFF
O 9nH, v=1 - 127
O 9nH, v=0
O 9nH, v=1 - 127
O 9nH, v=0 or 8nH
After
Touch
Key’s
Ch’s
X
X
X
X
X
X
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
*****************
O
O
O
Note
Number
Pitch Bender
Control Change
Program
Change
0, 32
7
11
64
66
67
91
94
: True #
System Exclusive
Common
: Song Position
: Song Select
: Tune
X
X
X
X
X
X
System
Real Time
: Clock
: Commands
O
O
O
O
: All sounds off
: Reset All Controllers
: Local ON/OFF
: All Notes OFF
: Active Sense
: Reset
O
O
X
O
O
X
O (120, 126, 127)
O (121)
O (122)
O (123 - 125)
O
X
Aux
Messages
Date: 24-OCT-2001
Version: 1.0
Remarks
*1
Poly Mode only
Bank Select
Volume
Expression
Damper
Sostenuto
Soft pedal
Reverb Depth
Effect Depth
Notes : *1 = Recieve Mode is always multi timbre and Poly mode.
Mode 1: OMNI ON, POLY
Mode 3: OMNI OFF, POLY
Mode 2: OMNI ON, MONO
Mode 4: OMNI OFF, MONO
O : Yes
X : No
CLP-130/120 Appendix
75
Specifications / Technische Daten /
Caractéristiques techniques / íÂıÌ˘ÂÒÍË ı‡‡ÍÚÂËÒÚËÍË
Item
CLP-130
Keyboard
Sound Source
CLP-120
88 keys (A-1 - C7)
AWM Dynamic Stereo Sampling
Polyphony
Voice Selection
AWM Stereo Sampling
64 Notes Max.
14 × 2 variations for each voice
Effect
14
Reverb, Effect, Brilliance
Volume
Master Volume
Controls
Dual, Split, Metoronome, Transpose, Touch
(Hard/Midium/Soft/Fixed), Functions, Speaker
ON/OFF
Recording/Playback
2-track recording/playback (CLP-130: 3/CLP-120: 1 user songs), Tempo Adjustment, Synchro
Start
Pedal
Demo Songs
Jacks/Connectors
Main Amplifiers
Speakers
Dimensions (W × D × H)
(with music stand)
Weight
Accessories
Dual, Metoronome, Transpose, Touch (Hard/
Midium/Soft/Fixed), Functions, Speaker ON/
OFF
Damper, Sostenuto, Soft
14 voice Demo Songs, 50 preset Songs
MIDI (IN/OUT/THRU), PHONES × 2, AUX IN, AUX OUT(L/L+R,R), AUX OUT (LEVEL
FIXED)(L,R), TO HOST
40W × 2
20W × 2
16cm × 2, 5cm × 2
16cm × 2
1370mm × 518mm × 850mm
[53 15/16" × 20 3/8" × 33 7/16"]
(1370mm × 518mm × 1020mm)
[53 15/16" × 220 3/8" × 40 1/8"]
1370mm × 518mm × 850mm
[53 15/16" × 20 3/8" × 33 7/16"]
(1370mm × 518mm × 1022mm)
[53 15/16" × 220 3/8" × 40 1/4"]
54kg (119lbs., 1oz)
51kg (112lbs., 7oz)
Owner’s Manual, “50 greats for the Piano” (Music Book), Bench (included or optional depending on locale)
* Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change
or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the
same in every locale, please check with your Yamaha dealer.
* Die technischen Daten und Beschreibungen in dieser Bedienungsanleitung dienen nur der Information. Yamaha Corp. behält sich
das Recht vor, Produkte oder deren technische Daten jederzeit ohne vorherige Ankündigung zu verändern oder zu modifizieren. Da
die technischen Daten, das Gerät selbst oder Sonderzubehör nicht in jedem Land gleich sind, setzen Sie sich im Zweifel bitte mit
Ihrem Yamaha-Händler in Verbindung.
* Les caractéristiques techniques et les descriptions du mode d’emploi ne sont données que pour information. Yamaha Corp. se
réserve le droit de changer ou modifier les produits et leurs caractéristiques techniques à tout moment sans aucun avis. Du fait que
les caractéristiques techniques, les équipements et les options peuvent différer d’un pays à l’autre, adressez-vous au distributeur
Yamaha le plus proche.
* íÂıÌ˘ÂÒÍË ı‡‡ÍÚÂËÒÚËÍË Ë Ëı ÓÔËÒ‡ÌËfl ‚ ‰‡ÌÌÓÏ ÛÍÓ‚Ó‰ÒÚ‚Â ÔÓθÁÓ‚‡ÚÂÎfl Ô‰̇Á̇˜ÂÌ˚ ÚÓθÍÓ ‰Îfl Ó·˘Â„Ó
҂‰ÂÌËfl. äÓÔÓ‡ˆËfl Yamaha ÒÓı‡ÌflÂÚ Á‡ ÒÓ·ÓÈ Ô‡‚Ó ËÁÏÂÌflÚ¸ Ë ÏÓ‰ËÙˈËÓ‚‡Ú¸ ÔÓ‰ÛÍÚ˚ Ë Ëı ÚÂıÌ˘ÂÒÍËÂ
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Ô‰ÒÚ‡‚ËÚÂθÒÚ‚ÓÏ ÍÓÔÓ‡ˆËË Yamaha ‰Îfl ÔÓÎÛ˜ÂÌËfl ‰ÓÔÓÎÌËÚÂθÌ˚ı ҂‰ÂÌËÈ.
76
CLP-130/120 Appendix
IMPORTANT SAFETY INSTRUCTIONS
INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,
AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.
WARNING- When using any electrical or electronic product,
basic precautions should always be followed. These precautions
include, but are not limited to, the following:
1.
Read all Safety Instructions, Installation Instructions, Special Message Section items, and any Assembly Instructions
found in this manual BEFORE making any connections, including connection to the main supply.
2.
Main Power Supply Verification: Yamaha products are
manufactured specifically for the supply voltage in the area
where they are to be sold. If you should move, or if any doubt
exists about the supply voltage in your area, please contact your
dealer for supply voltage verification and (if applicable) instructions. The required supply voltage is printed on the name plate.
For name plate location, please refer to the graphic found in the
Special Message Section of this manual.
3.
This product may be equipped with a polarized plug (one
blade wider than the other). If you are unable to insert the plug
into the outlet, turn the plug over and try again. If the problem
persists, contact an electrician to have the obsolete outlet
replaced. Do NOT defeat the safety purpose of the plug.
4.
Some electronic products utilize external power supplies
or adapters. Do NOT connect this type of product to any power
supply or adapter other than one described in the owners manual,
on the name plate, or specifically recommended by Yamaha.
5.
WARNING: Do not place this product or any other
objects on the power cord or place it in a position where anyone
could walk on, trip over, or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimum wire
size for a 25’ cord (or less) is 18 AWG. NOTE: The smaller the
AWG number, the larger the current handling capacity. For
longer extension cords, consult a local electrician.
6.
Ventilation: Electronic products, unless specifically
designed for enclosed installations, should be placed in locations
that do not interfere with proper ventilation. If instructions for
enclosed installations are not provided, it must be assumed that
unobstructed ventilation is required.
7.
Temperature considerations: Electronic products should
be installed in locations that do not significantly contribute to
their operating temperature. Placement of this product close to
heat sources such as; radiators, heat registers and other devices
that produce heat should be avoided.
8.
This product was NOT designed for use in wet/damp locations and should not be used near water or exposed to rain.
Examples of wet/damp locations are; near a swimming pool,
spa, tub, sink, or wet basement.
9.
This product should be used only with the components
supplied or; a cart, rack, or stand that is recommended by the
manufacturer. If a cart, rack, or stand is used, please observe all
safety markings and instructions that accompany the accessory
product.
10.
The power supply cord (plug) should be disconnected
from the outlet when electronic products are to be left unused for
extended periods of time. Cords should also be disconnected
when there is a high probability of lightning and/or electrical
storm activity.
11. Care should be taken that objects do not fall and liquids are
not spilled into the enclosure through any openings that may exist.
12.
Electrical/electronic products should be serviced by a
qualified service person when:
a. The power supply cord has been damaged; or
b. Objects have fallen, been inserted, or liquids have been
spilled into the enclosure through openings; or
c. The product has been exposed to rain: or
d. The product dose not operate, exhibits a marked change
in performance; or
e. The product has been dropped, or the enclosure of the
product has been damaged.
13. Do not attempt to service this product beyond that
described in the user-maintenance instructions. All other servicing should be referred to qualified service personnel.
14.
This product, either alone or in combination with an
amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss.
DO NOT operate for a long period of time at a high volume level
or at a level that is uncomfortable. If you experience any hearing
loss or ringing in the ears, you should consult an audiologist.
IMPORTANT: The louder the sound, the shorter the time period
before damage occurs.
15.
Some Yamaha products may have benches and/or accessory
mounting fixtures that are either supplied as a part of the product
or as optional accessories. Some of these items are designed to be
dealer assembled or installed. Please make sure that benches are
stable and any optional fixtures (where applicable) are well
secured BEFORE using. Benches supplied by Yamaha are
designed for seating only. No other uses are recommended.
PLEASE KEEP THIS MANUAL
92-469-2
FCC INFORMATION (U.S.A.)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by
Yamaha may void your authority, granted by the FCC, to
use the product.
2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality
shielded cables. Cable/s supplied with this product
MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.
3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations,
Part 15 for Class “B” digital devices. Compliance with
these requirements provides a reasonable level of
assurance that your use of this product in a residential
environment will not result in harmful interference with
other electronic devices. This equipment generates/
uses radio frequencies and, if not installed and used
according to the instructions found in the users manual,
may cause interference harmful to the operation of
other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur
in all installations. If this product is found to be the
source of interference, which can be determined by
turning the unit “OFF” and “ON”, please try to eliminate
the problem by using one of the following measures:
Relocate either this product or the device that is being
affected by the interference.
Utilize power outlets that are on different branch (circuit
breaker or fuse) circuits or install AC line filter/s.
In the case of radio or TV interference, relocate/reorient
the antenna. If the antenna lead-in is 300 ohm ribbon
lead, change the lead-in to co-axial type cable.
If these corrective measures do not produce satisfactory results, please contact the local retailer authorized
to distribute this type of product. If you can not locate
the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600
Orangethorpe Ave, Buena Park, CA90620
The above statements apply ONLY to those products
distributed by Yamaha Corporation of America or its
subsidiaries.
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
IMPORTANT NOTICE FOR THE UNITED KINGDOM
Connecting the Plug and Cord
IMPORTANT. The wires in this mains lead are coloured in
accordance with the following code:
BLUE
: NEUTRAL
BROWN : LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured makings identifying the terminals in your plug proceed as follows:
The wire which is coloured BLUE must be connected to
the terminal which is marked with the letter N or coloured
BLACK.
The wire which is coloured BROWN must be connected to
the terminal which is marked with the letter L or coloured
RED.
Making sure that neither core is connected to the earth terminal of the three pin plug.
(2 wires)
• This applies only to products distributed by Yamaha-Kemble Music
(U.K.) Ltd.
CAUTION: TO PREVENT ELECTRIC SHOCK, MATCH
WIDE BLADE OF PLUG TO WIDE SLOT, FULLY INSERT.
ATTENTION: POUR ÉVITER LES CHOCS ÉLECTRIQUES, INTRODUIRE LA LAME LA PLUS LARGE DE
LA FICHE DANS LA BORNE CORRESPONDANTE DE LA
PRISE ET POUSSER JUSQU’AU FOND.
(polarity)
• This applies only to products distributed by Yamaha Canada Music
Ltd.
• Ceci ne s’applique qu’aux produits distribués par Yamaha Canada
Musique Ltée.
(class B)
For details of products, please contact your nearest Yamaha or the
authorized distributor listed below.
Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou
au distributeur le plus proche de vous figurant dans la liste suivante.
NORTH AMERICA
CANADA
Yamaha Canada Music Ltd.
135 Milner Avenue, Scarborough, Ontario,
M1S 3R1, Canada
Tel: 416-298-1311
U.S.A.
Yamaha Corporation of America
6600 Orangethorpe Ave., Buena Park, Calif. 90620,
U.S.A.
Tel: 714-522-9011
CENTRAL & SOUTH AMERICA
MEXICO
Yamaha de Mexico S.A. De C.V.,
Departamento de ventas
Javier Rojo Gomez No.1149, Col. Gpe Del
Moral, Deleg. Iztapalapa, 09300 Mexico, D.F.
Tel: 686-00-33
BRAZIL
Yamaha Musical do Brasil LTDA.
Av. Rebouças 2636, São Paulo, Brasil
Tel: 011-853-1377
ARGENTINA
Yamaha de Panamá S.A. Sucursal de Argentina
Viamonte 1145 Piso2-B 1053,
Buenos Aires, Argentina
Tel: 1-4371-7021
PANAMA AND OTHER LATIN
AMERICAN COUNTRIES/
CARIBBEAN COUNTRIES
Yamaha de Panamá S.A.
Torre Banco General, Piso 7, Urbanización Marbella,
Calle 47 y Aquilino de la Guardia,
Ciudad de Panamá, Panamá
Tel: 507-269-5311
EUROPE
THE UNITED KINGDOM
Yamaha-Kemble Music (U.K.) Ltd.
Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, England
Tel: 01908-366700
IRELAND
Danfay Ltd.
61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin
Tel: 01-2859177
GERMANY/SWITZERLAND
Yamaha Europa GmbH.
Siemensstraße 22-34, 25462 Rellingen,
F.R. of Germany
Tel: 04101-3030
AUSTRIA
Yamaha Music Austria
Schleiergasse 20, A-1100 Wien Austria
Tel: 01-60203900
THE NETHERLANDS
Yamaha Music Nederland
Kanaalweg 18G, 3526KL, Utrecht, The Netherlands
Tel: 030-2828411
BELGIUM
Yamaha Music Belgium
Keiberg Imperiastraat 8, 1930 Zaventem, Belgium
Tel: 02-7258220
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten
Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen
Bestimmungsländern erhältlich.
èÓ‰Ó·Ì ӷ ˝ÚÓÏ ËÌÒÚÛÏÂÌÚ ÏÓÊÌÓ ÛÁ̇ڸ Û ÛÔÓÎÌÓÏÓ˜ÂÌÌÓ„Ó
Ô‰ÒÚ‡‚ËÚÂÎfl ÍÓÔÓ‡ˆËË Yamaha ‚ ‚‡¯ÂÏ „ËÓÌÂ.
ASIA
FRANCE
Yamaha Musique France,
Division Claviers
BP 70-77312 Marne-la-Vallée Cedex 2, France
Tel: 01-64-61-4000
ITALY
Yamaha Musica Italia S.P.A.
Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: 02-935-771
SPAIN/PORTUGAL
Yamaha-Hazen Electronica Musical, S.A.
Ctra. de la Coruna km. 17, 200, 28230
Las Rozas (Madrid) Spain
Tel: 91-201-0700
GREECE
Philippe Nakas S.A.
Navarinou Street 13, P.Code 10680, Athens, Greece
Tel: 01-364-7111
SWEDEN
HONG KONG
Tom Lee Music Co., Ltd.
11/F., Silvercord Tower 1, 30 Canton Road,
Tsimshatsui, Kowloon, Hong Kong
Tel: 2737-7688
INDONESIA
PT. Yamaha Music Indonesia (Distributor)
PT. Nusantik
Gedung Yamaha Music Center, Jalan Jend. Gatot
Subroto Kav. 4, Jakarta 12930, Indonesia
Tel: 21-520-2577
KOREA
Yamaha Music Korea Ltd.
Tong-Yang Securities Bldg. 16F 23-8 Yoido-dong,
Youngdungpo-ku, Seoul, Korea
Tel: 02-3770-0661
MALAYSIA
Yamaha Music Malaysia, Sdn., Bhd.
Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,
Petaling Jaya, Selangor, Malaysia
Tel: 3-703-0900
Yamaha Scandinavia AB
J. A. Wettergrens Gata 1
Box 30053
S-400 43 Göteborg, Sweden
Tel: 031 89 34 00
PHILIPPINES
DENMARK
YS Copenhagen Liaison Office
Generatorvej 8B
DK-2730 Herlev, Denmark
Tel: 44 92 49 00
FINLAND
F-Musiikki Oy
Kluuvikatu 6, P.O. Box 260,
SF-00101 Helsinki, Finland
Tel: 09 618511
Yupangco Music Corporation
339 Gil J. Puyat Avenue, P.O. Box 885 MCPO,
Makati, Metro Manila, Philippines
Tel: 819-7551
SINGAPORE
Yamaha Music Asia Pte., Ltd.
11 Ubi Road #06-00, Meiban Industrial Building,
Singapore
Tel: 65-747-4374
TAIWAN
NORWAY
Norsk filial av Yamaha Scandinavia AB
Grini Næringspark 1
N-1345 Østerås, Norway
Tel: 67 16 77 70
ICELAND
Skifan HF
Skeifan 17 P.O. Box 8120
IS-128 Reykjavik, Iceland
Tel: 525 5000
OTHER EUROPEAN COUNTRIES
Yamaha Europa GmbH.
Siemensstraße 22-34, 25462 Rellingen,
F.R. of Germany
Tel: 04101-3030
Yamaha KHS Music Co., Ltd.
10F, 150, Tun-Hwa Northroad,
Taipei, Taiwan, R.O.C.
Tel: 02-2713-8999
THAILAND
Siam Music Yamaha Co., Ltd.
121/60-61 RS Tower 17th Floor,
Ratchadaphisek RD., Dindaeng,
Bangkok 10320, Thailand
Tel: 02-641-2951
THE PEOPLE’S REPUBLIC OF CHINA
AND OTHER ASIAN COUNTRIES
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2317
OCEANIA
AFRICA
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2312
MIDDLE EAST
TURKEY/CYPRUS
Yamaha Europa GmbH.
Siemensstraße 22-34, 25462 Rellingen,
F.R. of Germany
Tel: 04101-3030
OTHER COUNTRIES
Yamaha Music Gulf FZE
LB21-128 Jebel Ali Freezone
P.O.Box 17328, Dubai, U.A.E.
Tel: 971-4-881-5868
AUSTRALIA
Yamaha Music Australia Pty. Ltd.
Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia
Tel: 3-9693-5111
NEW ZEALAND
Music Houses of N.Z. Ltd.
146/148 Captain Springs Road, Te Papapa,
Auckland, New Zealand
Tel: 9-634-0099
COUNTRIES AND TRUST
TERRITORIES IN PACIFIC OCEAN
Yamaha Corporation,
Asia-Pacific Music Marketing Group
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-2312
HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division
Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650
Tel: 053-460-3273
[CL] 23
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Ç·-Ò‡ÈÚ ÔˇÌËÌÓ Clavinova (̇ ‡Ì„ÎËÈÒÍÓÏ flÁ˚ÍÂ)
http://www.yamahaclavinova.com/
ëÓ·‡ÌË ÛÍÓ‚Ó‰ÒÚ‚ ÔÓ ÔÓ‰Û͈ËË ÍÓÏÔ‡ÌËË Yamaha
http://www2.yamaha.co.jp/manual/english/
M.D.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation
C 2002 Yamaha Corporation
DIC 338