Yamaha CP-30 Owner's manual

Yamaha CP-30 Owner's manual
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electronic piano operating manual ne 5 YAMAHA
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introduction
table of contents
For the musician on tour, the CP-30
Electronic Piano combines the qualities
of touch, expression and sound variety
in a very portable, rugged package. Also,
the CP-30 has a wide flat top, perfect
for stacking your multi-key board system.
If you're a studio musician, the
CP-30 gives you the ability to shift
from one color sound to another—easily
and quickly—on the same keyboard, a
keyboard that feels very similar to an
acoustic piano. In addition, the CP-30's
two channels tune independently and
electronically with a separate knob for
each channel, and you know what kinds
of problems that will solve.
If youre a composer, the CP-30's
wide variety of sounds can help you
overcome that “one-color” tired-out
sound you may now be working with.
The piano's flat top is just right for
scoring. In fact, for any keyboard
musician, the CP-30's unique combina-
tion of sound and features make this a
very versatile instrument,
The CP-30 is velocity sensitive, just
like a traditional piano. This means that
when you strike the keys harder, it gets
louder (continuous loudness variation,
not a stepped change), yet the CP-30
has no strings or rods to get out of
tune, no complicated action to stick
or break. The CP-30 is an alt electronic
piano; the only moving parts in the key-
board are the keys and the reliable leaf
switches they activate.
Yamaha worked closely with top
performing artists during the CP-30's
development. Their many valuable
suggestions helped perfect the touch,
the sound, the features—in fact, the
whole concept—of the Yamaha Elec-
tronic Piano. Thus, the CP-30 is an
Instrument developed for you, the
musician and artist. When you play
the Yamaha CP-30 Electronic Piano,
feel its responsiveness, and hear its
repertoire of sounds, you will under-
stand why Yamaha, with over nine
decades of keyboard instrument experi-
ence, is the leader in contemporary
keyboards.
2 setup
4 electronic connections
AC Power
Output Jacks
Pedal Jacks
5 controls and switches
AC Power Switch & Pilot
Volume
Balance
Bass & Treble Tone Controls
Piano/Harpsichord Switches
Tremolo Switches
Speed & Intensity Controls
Decay | & II Controls
Sustain Pedal
Pitch Controls
6 speaker/amplifier systems
7 electronic service
travel case
CP-30 specifications
8 A4115H amplifier controls & jacks
A4115H amplifier specifications
A4115H speaker specifications
setup
1. Remove the lid by lifting tha four
Frant cachos and slipping the lid off its
rear hinges
7. Remove the sustain pedal and the
contents à! tha nccomiorida potióh fram
the lad.
3. Split the lid into two parte by un
CNAE ano rérridry mg Ine [ho le
braces and unfastening the inside catch.
NOTE: The ten halves of the id
bëcone fre C- 205 haga
1, Place the main body of the CP-:31)
ón ¡a back odos, and Та ono len to
gach side of the piano using two of the
large thumb sorews, [Altornataly, sat th
СР. on a stool or table and work
From benaath, |
E, Using ho of the large thumb
ICAA. Taier Пн БР Не! ВАМ ее
leg and the nearest canter hole in the
CHA0% underside, Hapeat this procedure
using tha remaining lag brace and
EMMA
В, Sat he CP- 30 upright
This completas the physical assembly
of the CP-30.
lo disarsemble the CP:30. perform
steps 1 through O In reverse order, The
Braces and thumisérews hold the legs
together to farm the led: io cabios, tha
sustain pedal can be stored in the ld
for traveling
electronic connections
—W
WA 5 NING А ir os LS Se TO RAIN OR MOISTURE.
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Voltage Selector AC Power Output Jacks
Before plugging in the power cord,
make sure the VOLTAGE SELECTOR
on the side panel is properly set for
your locality. {U.S. and Canadian
models are preset and thus don’t have
this feature.}
Connect the female end of the AC
power cable to the three prong AC
jack on the CP-30's right side.
We recommend use of the self-
powered Yamaha A4115H speaker
system, due to its wide, flat frequency
response. However, the CP-30 may be
used with almost any speaker/amplifier
system. When using the CP-30 with a
standard guitar amplifier, it's a good
idea to plug the AC cables of both the
CP-30 and the guitar amplifier into the
same AC outlet box or the same AC
plug strip. By connecting the AC
cables of both units to the same AC
outlet and then connecting the CP-30's
output to the guitar amp's input with a
shielded cable (see following section),
you insure that the chassis of both
devices will be at the same ground
potential, avoiding any possible shock
hazard. (Not applicable for the model
with the 2P-plug.)
OUTPUTS | and || contain the
stereo signals as discussed below.
OUTPUT | + Il is a mono mix of OUT-
PUTS | and Il. Each jack is a high
impedance, low line level, standard tip/
sleeve phone jack. (Low line level is
nominal —20dB or an average of
77.5 millivolts output). Use any high
quality phone-to-phone patch cable to
connect the CP-30 to a standard guitar
amplifier, a high impedance mixer such
as Yamaha's PM-170 or directly to an
amplifier/speaker system combination
such as the Yamaha A4115H*,
Pedal Jacks
Plug the SUSTAIN pedal into the
SUSTAIN jack. Even if the SUSTAIN
pedal is not plugged in, the keys will
sustain normally when you hold them
down.
Plug an optional footswitch into the
TREMOLO jack. A footswitch will start
or stop the TREMOLO effect if it has
been set “on” by the front panel
TREMOLO I and |! rocker switches.
If a footswitch is not connected to the
TREMOLO jack, the front panel
TREMOLO controls will operate
normally, and the TREMOLO effect
can be started or stopped with the
TREMOLO | and Il switches.
>
a
*Set the INPUT LEVEL switch on the
PM-170 or the A4115H ta the “-20dBm”
position (for nominal —20dB sensitivity).
controls and switches
AC Power Switch and Pilot
Push the switch once to turn the
CP-30 “on,” and again to turn power
“off.” The Pilot lamp is illuminated
when the AC power is “on.”
Volume
The VOLUME contro! sets the
overall level in all three output jacks.
Balance
The BALANCE control adjusts the
relative level of OUTPUT | compared to
OUTPUT Il and is similar to a ‘“panning’’
controi on a stereo mixer. In addition,
the BALANCE control sets the relative
mix of OUTPUT | effects and OUT-
PUT Il effects in the mono | + [I
OUTPUT.
Bass and Treble Tone Controls
The BASS and TREBLE controls
both affect the entire keyboard,
changing the sound in all three output
jacks. Centering the controls (12 o'clock)
pr provides “Hat” frequency response.
Experiment with the TONE controls to
learn how they can alter the CP-30's
sound.
Piano/Harpsichord Switches
To understand the function of these
switches, one must recognize that the
CP-30 is a true stereo instrument, not a
split keyboard. There are two com-
pletely separate generator systems and
each output channel carries the sound
of all 76 keys.
The stereo output consists of
channels | and 11. OUTPUT | carries
the sounds created by the four PIANO/
HARPSICHORD switches labeled by
the numeral “1” above them. OUT-
PUT II carries the sounds created by
the four PIANO/HARPSICHORD
switches labeled by the numeral “I”
above them. (OUTPUT | + Il is a mono
mix of the sounds in OUTPUT | and
OUTPUT II.)
The sound created in OUTPUT | by
its PIANO 1 switch is different from
the sound created in OUTPUT II by its
PIANO 1 switch. The same is true for
the PIANO 2, PIANO 3 and HARPSI-
CHORD switches. The differences
between channels | and Il when the
“same” sounds are selected are similar
to the differences you might expect
from two different acoustic pianos.
Thus, by selecting different combina-
tions of the eight PIANO/HARPSI-
CHORD switches, you can create
numerous and varied stereo effects
from OUTPUT | and OUTPUT II, or
you can add richness to the mono mix
(OUTPUT | + 11).
Tremolo Switches, Speed and
Intensity Controls
The Tremolo controls further
enhance the CP-30's available sounds.
Tremolo automatically and smoothly
varies the output volume up and down.
The two TREMOLO rocker switches
(1 8: H) start and stop the effect in
OUTPUT |, OUTPUT II or both.
Selecting either TREMOLO switch
(lor ll) puts TREMOLO in the mono
output (QUTPUT I + 11). The Tremolo
footswitch allows you to remotely
start or stop the Tremolo effect. How-
ever, the footswitch will not turn
Tremolo on or off in an output unless
the corresponding TREMOLO rocker
switch has first been selected.
The TREMOLO INTENSITY con-
trol sets the depth of the tremolo effect
{the modulation percentage). Lower
settings yield a more shallow tremolo
effect, and higher settings yield a more
intense tremolo effect. The TREMOLO
SPEED control varies the rate of the
TREMOLO effect (the modulation fre-
quency). Higher settings of the SPEED
control cause the volume to vary more
rapidly; lower settings cause the volume
to vary more slowly.
y AA
N TR ML I | I — Fr II — 1“ BALANCE | TOME — VOLUME FER
PH INTENSITY
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Fi ri
When both OUTPUT | and OUT-
PUT Il are connected to different
amplifier/speaker systems (such as two
A4115H amplified speaker systems),
and TREMOLO rocker switches | and
Il are activated, TREMOLO lowers the
volume level in OUTPUT | at the same
time it raises the level in OUTPUT I,
and vice-versa. The sound will seem to
move from one speaker to the other in
a ‘rotary’’ manner, similar to a rotary
organ speaker. It is not necessary to use
both outputs to obtain a TREMOLO
effect, however, and TREMOLO
operates normally in the mono | + ||
QUTPUT. The tremolo obtained from
one speaker is similar to the tremolo
provided by a guitar amplifier.
Decay | and Il Controls and
Sustain Pedal
The keyboard notes “sustain” when
you hold down the keys or when you
depress the SUSTAIN pedal, just like
a standard acoustic piano. In other
words, holding down the sustain pedal
sustains a note just like holding down
one of the keys. The maximum sustain
time in each output is controlled from a
very short staccato to a very long
sustain by the corresponding DECAY
control, Adjusting the sustain time
differently for channels | and IE can
create many interesting sounds. For _
example, setting DECAY | for a short
sustain and DECAY 1] for a long sustain
means that any note played will appear
in OUTPUT | with a staccato sound at
the same time it appears in OUTPUT II
with a long sustain.
Pitch Controls
The PITCH controls vary the pitch
of their corresponding channels over a
wide range. Each PITCH control tunes
the entire keyboard for that channel.
Thus, you can adjust the two channels
separately for a ““de-tuned” effect, or
tune them exactly the same.
spoaker amplifier systems
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The sound of the CP-30 will depend
Lo à large darie on the amplifier and
spéæker system. If you use several key
bonrta, you may also wish to un A ko
board mixer. In any case, it's a good
dés to choose these items carefully,
I wou have à Multi-Kéyvboard setup,
we recommend the Yamaha PM-170, &
Ня stored œutput mikar wath YU
meters and BASS and TREBLE aduwali-
ration on gwary input, This mixer gan
then feed any amplhifier/spoakar system
Alternately, use a sel F-povwergd mixer
such of the Yamahno EM: 150, Tho key
board outputs, including the CP-30
outputs. can be fed to the mixer input,
and the ouipuls can be commpctici
directly to a pair of speakers such as
Yamaha 54 116HM%
For amplified ipeaker systeme, We
recommend the Yamaha A411 16H, a
Cel powered, Two-way speakar syetom
with a very natural, accurate sono and
a witli. smooth Ней pattarn, Tho
A4115H can be driven directly from
the CP-30"% outputs, or from the output
of a PM: 170 or similar mixer. In the
studio, the sound can be taken direct
from he CP:201 or tram à microphone
placed near îhe ASTTSH, With his ser-
up, thare should Be littia or no aucibla
difference whether the plano la “direct”
or miked, On the stage, the Ad116H"s
high жел Ну Вл high power outgart
mear 181 You can have high volume
lavo: Tras 61 в! РЕНИ,
2.
The A4115H's controls ara simolée
to operate. If you are Lieing USE DNB
A4 1 15H, connect a prone- to prnone
patch able baten the CPA's manda
[I + II} output and aither one of the
A4116H's input |acks. For two
Ad 116Hs, connect a sale fram tha
| and || outputs on the CP30 to one
МЫ pach A4116M, Sat the
A411EH's INPUT LEVEL switch to
the “"=20dBm'” position, anc Set Its
INPUT VOLUME as roquirod. The HI
LEVEL control sets the volume level of
tha High fragqueney horn (à rotation Lo
the low frequency woofer,
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electronic service
travel case
CP-30 specifications
If you suspect an electronic problem,
first check all connecting cables, AC
power cables and fuses. Make sure there
is AC power at the AC outlet, and
check the settings of all controls and
switches. If you have two speakers con-
nected, and the problem seems to occur
primarily in one speaker, first check
connecting cables {the best way to check
a cable is to replace it with a known
good one}, then try reversing the cables
at the CP-30's output jacks. If the pro-
blem remains in the same speaker, the
fault is probably in that speaker or its
amplifier. If the problem switches
speakers when you reverse the cables,
the fault is probably in the CP-30's
electronics.
Any electronic malfunction should
be referred to a qualified Yamaha
service technician.
SCALE RANGE
Disassembled, the CP-30 is compact,
easy to carry and suitable for light duty
traveling, such as in a station wagon or
van. For heavy cartage {commercial
trucking or air-freight as examples), we
recommend that you use an additional
travel case.
A - 1,726mm (50-1/4"")
B - 181mm (7-1/8°")
C - 641mm (25-1/4")
A - 155mm {6-1/8'')
Keyboard: 76 keys (E; — ga)
Controls: PITCH; DECAY; TREMOLO;
Eight PIANO/HARPSICHORD
SWITCHES to alter the sound (four
for each of the two stereo output
channels); BALANCE; BASS and
TREBLE Tone Controls; and
VOLUME.
Jack Panel;
Foot Switch Jacks: TREMOLO;
SUSTAIN
Output Jacks: CHANNEL |,
CHANNEL H, MONO (I+f1)
Dimensions:
Net Weight: 54Kg (119ibs.)
В - 641mm (25-1/4'')
C - 1,276mm {50-1 /4'')
D - 742mm (29-1/4"")
Height to Keyboard - 733.7mm (28-7/8"")
Total Height - 790mm {31-1/8''}
Tw
31
(261.63) {440.00}
88
BR
(41 dol 3
Az
(27.50)
PIANO
Cs
(4186.01)
(Frequency in Hz)
RESPONSE (0B:
A4115H amplifier controls & jacks
A4115H amplifier specifications
A4115H speaker specifications
Input Jacks: Two (parallel) standard tip-
sleeve phone jack which accept
unbalanced, line level sources.
Input Level Control: An input attenu-
ator controls the volume level of
the amplifier,
Input Level Switch: A slide switch
selects ~20dBm or 0dBm nominal
input level: for compatibility with
low or high level lines.
H.F. Level Control: An “L-Pad” attenu-
ator (for constant impedance) adjusts
the volume level of the high-
frequency driver.
Output Power: 100 Watts continuous
average sine wave power into an
8-ohm load at 0.1% T.H.D.
Frequency Response: 10Hz to 30kHz
+0, -1dB with the INPUT LEVEL
switch in the “OdBm’’ position;
40Hz to 50kHz +0, -3dB with the
INPUT LEVEL SWITCH in the
“-20dBm” position.
Power Bandwidth: 20Hz to 20kHz
(at 100 watts into an 8-ohm load
at 0.1% T.H.D.).
Total Harmonic Distortion: Less than
0.01% at 80 watts into 8 ohms.
Damping Factor: 90 from 20Hz to
3kHz.
Hum and Noise: -73dB (0.17mV)t
Slew Rate: 25 volts per microsecond.
Input Sensitivity (input level for 100-
watts into an 8-ohm load): OdB (0.775
volts) with the INPUT LEVEL switch
set at the “OdBm” position; —20dB
{77.5mV) with the INPUT LEVEL
switch set at the “—20dBm” position.
Input Impedance: 8k-ohms with the
INPUT LEVEL CONTROL at the
maximum clockwise position.
System Impedance: 8-chms nominal,
7-ohms minimum,
Sensitivity: 101dB SPL at 1 meter with
1 watt input (DIN and JIS standard) ™;
52dB SPL at 30 feet, 1 milliwatt
input {EIA standard).
Frequency Response: 70Hz to 15kHz,
+6dB (referred to 101dB SPL).
Dispersion: 70-degrees horizontal by
40-degrees vertical {angles between
6dB down points at 1kHz).
Crossover Transition Frequency and
Slope: 2kHz at 12dB/octave
Enclosure Type: Combination —
front-loaded horn/ducted-port bass
reflex, with separate high frequency
horn/compression driver.
Finish: Black leatherette with metal
corner caps and black (removable)
griile.
Dimensions:
Height: 9208mm (35-3/4)
Width: 610mm (24)
Depth: 452mm (17-3/4")
Weight: 58Kg (127.91bs.)
Driver Nominal Cone | Voice Coil Nominal Continuous Pink- Peak Rated Power Magnet Flux
(Loudspeaker) | Model Diameter Diameter impedance | Sensitivity ** Noise Power Rating Power Bandwidth Weight Density
Woofer JA 3803 | 15” (38cm) 2.6" (66cm) 8 ohms 99d B 120 Watts 240 Watts 20Hz-20kHz 6.0Kg (13.21bs.) 12.500 Gauss
Horn {Driver JA 4201 — 1.8" 14.2ст) 8 ohms 10406 20 Watts 40 Watts 2kH7-20kHr 2.2Kg (4.81bs5,) 15,000 Gauss
NOTE: The Yamaha S4115H speaker system is identical to the A4115H, except it contains no amplifier.
A4115H Frequency Response
1
500 1K
FREGUENC? ¿Hz
2H 5K
A4115H Horizontal 180° dispersion
RESPONSE (dB)
код
À
25
&
tMeasured with a 6dB/octave filter at
12.5kHz {equivalent to a 20kHz filter with
infinite dB /octave attenuation).
Ad 115H Vertical 180° dispersion
UPPER
0"
N
A
Ea
O EN
VE
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*Sensitivity at 4 feet, with 1 watt is 1.75dB
below DIN/JIS standard.
* *Sensitivity is extremely significant, since
an increase of only 3dB in sensitivity is
equivalent to doubling the amplifier power.
In other words, a bO-Watt amp used with a
speaker that is 3dB more sensitive than
another speaker, will produce the same
sound level as a 100-Watt amp used with
the less sensitive speaker.
Specifications subject to change without notice,
>
== €) YAMAHA
NIPPON GAKKI CO., LTD. HAMAMATSU, JAPAN
| LOM-201 | 8085 &.6 Printed in Japan
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