Yamaha CP-70B Operating Manual
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Yamaha CP-80: The Electric Grand that's More Than Just Portable
The Yamaha CP-80 Electric Grand is a revolutionary instrument that combines the sound and feel of an acoustic grand with the convenience and versatility of an electric piano. With its compact size and lightweight design, the CP-80 is perfect for musicians on the go. But don't let its portability fool you—this piano packs a punch in terms of sound and features.
The CP-80 features a unique hybrid design that combines traditional acoustic piano strings with sophisticated electronics. This results in a sound that is both rich and expressive, with a wide dynamic range and excellent sustain. The CP-80 also features a variety of built-in effects, including tremolo, bass, middle, and treble, allowing you to customize your sound to perfection.
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CP-/08 electric grand operating manual € YAMAHA introduction table of contents The Yamaha CP-70B Electric Grand incorporates significant advances in electric piano technology. It is a hybrid acoustic/electric piano with very nearly the sound and feel of an acoustic grand; yet it is considerably lighter and more compact. With its excellent tuning stability and small size, the CP-70B solves many of the problems formerly encountered by anyone using a grand piano on tour, in the studio or in a small club. The Electric Grand is a piano only Yamaha could have built. The Electric Grand is built to travel, but it was conceived to be a lot more than just a portable piano. Consider the club that doesn’t have room for a full sized grand piano. The Electric Grand will fit on almost any size stage. In the studio, the Electric Grand eliminates the need for microphones and pickups, avoiding probtems with leakage and coloration. What's more, its recorded sound is very “acoustic.” Because of its small size and light weight, CP-70B lets you take your own instrument to the concert, rehearsal hall, club or studio. You can forget about troubles with rented instruments or unfamiliar “house’ pianos that just don’t have the sound or action you like. If you choose, the Electric Grand can deliver sounds other than that of the traditional acoustic piano. Now you can get those “electric” sounds from a piano that has the expression and response you like. You can easily enjoy plug-in effects, like an echo/reverb unit © or any pedal device, enhancing the available sound variations. Yet you can move quickly from electric sounds back to the sound of an acoustic grand piano .. . all without having to change key- boards. The Electric Grand is a problem solver, but that's not all. It is an instru- ment in its own right. It actually ex- pands upon the applications of the conventional piano. Ît can stand up to the rigors of a concert tour. It holds its tune under conditions that could easily put a standard piano badly out of tune. Since it interfaces with electronic effects units, the Electric Grand can sound as electric and funky as you want. Still, the Electric Grand embodies a unique blend of acoustic piano strings with sophisticated electronics so that, when heard through a good sound reinforce- ment system, the Electric Grand can sound as acoustic as a conventional piano fitted with a microphone or pickup. Play the Electric Grand and you'll understand and appreciate that Yamaha made this compact grand piano for a wide variety of applications. 2 setup 6 electronic connections AC Adaptor Balanced and Unbalanced Circuits High Impedance Circuits Low Impedance Circuits Circuit Levels 7 CP-70B Output Jacks Patch Jacks 8 how to use the controls Power Switch Volume Tremolo (Depth/Speed/On-Off) Bass, Middle, Treble How to Use the Sustain/Damper Pedal 9 speaker/amplifier systems 10 service Tuning the CP-70B 11 String Replacement Voicing Regulation Electronic Service Travel Case 12 CP-70B specifications A4115H controls and jacks 13 A4115H amplifier specifications A4115H speaker specifications 14 CP-70B overall circuit diagram 16 CP-70B block diagram setup 1. Remove he hop cover from the keyboard section by unfastening the two latchoes an the Trant, Opén thi cover until the half-rounsd hinges disorngago, añel Lift the Cor from the unit. 2. Alter Niting thi two latëhes, CHI Ihe accessors compartment in the Covor You Just removed from the Key board section. LIft out AC adaptor, pedal assembly. four leg braces and the faur legs with leg anchors pa tlælly screwed onto the ends of the legs 1. Cno ata time, Bagjinaing with (a Cotton legs, position tre Four eg Over the mounting plates on the underside al thie keyboard section, Motice that pach leg anchor 15 angled; orient sach anchor so the log points outward toward the nearest comer of the instrument. Slide the stds aon nach leg anchar into the Keyed holes in tha corresponding mounting plate д. Бонна) орет fag Tully Into the threaded lag anchor. IT is necessary to till tha Ку Bran rel Dec hon back slightly to allow clearance for the lega, so ba sure to support the keyboard, Once ho bottom ngs are secured, the instrument is better balanced, and the LITE lea can bo croient ace, B, Insert one thumbscrew through the eyelet and of two of the four leg braces, pnd then loosely Ehraad ne screw Into the vrderside of the keyboard section А ога this procodurs with the ath Илл Белем ап thé remaiñing tero lég braces. but da not tighten gither thumb screw Tully O. Place the hooked end of each Img a traca aver to ' ankles” of ho feo corresponding legs. The hook should do Bates an the round kris led 120 ECFENY and the log Tuba, not Detwean (he sCrew and the foot, Tighten the knurled lag étrows to hold the hooks againgt tha lag tubes. Then tighten the thumbs cne ws rom Step 6, 1, After checking the legs to be pertain thy are steady, set tha keyboard spdkion upright, A Place the sustain/damper pedal in pod tian, ba he rito! conter año ot the rear edge of the keyboard section, Place the two pedal retaining chains over the top of the feat on the front legs [between the knurled thumb crew and tha foot). The chant must not Da twisted or tangled. 9. Repotitian the eustain/dampor pedal as mecossary to take up any slack in the retaining chains. 10, Intert tha small and of the pedal upright rod into the hole in the top of tha sustain/dampor podal, 11. Insert the large, threaded snd of the pedal upright red into tha hole provided for it in the bottom of the keyboard section and screw it into place. Tha rod should be perpendicular 1a the Neo, 12, Remove the two speaker cables = a from the retaining straps in the rear of the keyboard section, E TE Wedd badd dd MT" "PAC A МММ ОТАН ЩИ UE aE tree SRR | 141, Aeleaso he hommaor hold-doisva bar by pressing the tao spring loaded retaning brackote, one on gach snd of the bar and then lifting the hold-down bar. The bar will swing a full 180 СО ОНО toward tha rear of the key board section. NOTE: The keyboard à nd ready ro accent the harp section, In the Tous ses, acarcise Han ta SoU CIAVTI SINT BNE Bx poked era parís in hath SEC VOTE 14. Lift the two rear latches on the batiom of the harp section, Thon set the harp section on its back and remove the Bottom cover Кум || ng it up untill | o al it can be slid out of Its half-round : ; himpas. % 15. Locate the harp section on the Noor, Behind the Keyboard section nd up thie harp soction om 115 Narrow and, with ihe exposed mechanitm 1scing toward tho kay board section. Lift up the harp and, tilting it forward slightly, engaga the three hall-round hingas on the roar of the keyboard section 16. Be sure the three hinges ara hilly angageed, and then tilt tha harp section down over the keyboard section, Fasten the two sections together with the pair of latches on the sides. This completes the physical am bl of the plano, electronic connections AC Adaptor Connect the ZLA typo 2-pin famala plug of the supplied AC adaptor to the MLR type 2-pin male plug labeled “AC ADAPTOR" an the right side of the CP:708. Then plugin the male end of thi AC adaptor The AC adaptor steps the AC line voltage down to the low voltage DC current needed to operato the CP-708, IT you go on the road and play In elties where the voltage differs from that in Y CUT Area, all you have 16 de 14 16 change the AC adaptor, If the AC adaptor is damaged of misplaced, you can obtain a replace ment Tram Yamaha only, Do not use an AC sdaptor other than supplied fram manufacturer to prevent fire or shock hazard. We ean provide you the following types of the AC adaptor of the CP-70B. UE, E Canadian model: GASDIED 11204 AC EF] Augtralisn & South African model: CABODESR IZ20% AC BOMOHZE European mocked: GAROHS 1720 AC Hz] “General” охот! пни: САБ (00 AC ВОН 1 Japanags mock; GARIOEN (1004 AC BOVEDHdE] We recommend use of the self. powered Yamaha A411 16H speaker system, due to lts wide, flat frequency response. However, the CP-708 may be used with almost any speaker/amplifior system. Balanced and Unbalanced Circuits The tarms "balanced" and "un- balanced" refer to a type of circuit, not to circuit stability, The fact that a circult le Balanced or unbalanced dos not indicate anything about its imped- anda or Ita input oF output livael, A balanced, single channel circuit has two signal carrying wires, and usually has a third wire, the shield, wrapped or braided around the outside of the two signal carrying wires. The shield helps prevent external noises (hum, radio station pickup, and so on) from entering tha circuit, In a balanced elrcuit, the shield does not carry any program or music signal. An unbalanced, single channel clrcult also has two signal carry lng wires, but ore of them is usally the shield, The shield of an un- balanced circuit serves bo carry signal ni well as to block noise. Balanced circuits tend to reduce extermal noise plekup better than unbalanced circuits, especially over long cable runs. An un: balanced circuit will generally perform ns will a8 a Balanced cireult far short cable runs of up to about 8 meters 125 feat), except In areas having strong fields af electrical noise. In most cases, balanced outputs dhowld be cannectad tá balanced Im: puts, and unbalanced outputs should bo connected ta unbalanond inputs, Tha CP:7708's XLR outputs are balanced, and its phone jack outputs are unbalanced, High Impedance and Low Impedance Circuits Low impedance circuits are usually dafined as those with input or output impedances af B00-ahms ar less, High impedance circuits are usually defined at cio With Input oF output impod- ances of 5000-ohms or higher, Cireul ts wilh impodancas betwaen these hwo values may be either high or low im pedance, or they may be called “medium impedance,’ The fact that a circuit is high or low Impedance says nothing about its level or about whather it Is balanced or unbalanced, In addition, there le nathing inherently good or bad about a high ora low impodanca circuit A high Impedance circuit, however, Will sustain somo high Érequenty loses if cable lengths are longer than about a meters [76 feet), whereas à low imped. anta Clrcuit can tolerato longer cable lengths with minimal losses. Ganerally, when making connec ton between two devices, their impedances should match (i.e, connect high imped- ance outputs so high impedance inputs and low impedance outputs to low impedance inputs), Circuit Lavals Low level circuits include micro- phones and instrument pickups. Medium or “line level cireults include preampli- fer and mixer outputs, Sometimes hi-fi lime level (typically =18dB, 123 milli volts) is considered to be a medium line level, whereas professional line level (40 A, 1.43 volts) ls considered to be a high line level. High level circuits, a3 comparée to line lovel clreuiti, const mainly of power amplifier outputs (speaker limps). Circult lovels may vary within these genoral catagories. When making connections between two devions, thair nominal javorago) Invols should ba the same (e. microphones to microphone-lovel inputs, line level out: puts to line level inputs, and so on). A > —" CP-70B Output Jacks Tho CP- FOB hm two teti of outputs Two low impedance, balanced "XLA"” jacks are provided to feed the CP-708% CUEPUE to a mixer ar other device with à low impedance, balanced, low line layel Input, | The CP: 7088 low lina levil output is —20dB, which is 77.5 milli volts). Two high impedance, unbalanced phone jacks are provided t6 feed an un- balanced, high impedance, low line lgwel dévios euoh dé à guitar amplifier ar tha Yamaha Ad 1 18H speaker system, (The output level of the phone jacks is the game as that of the XLR's, —20dB]. The TREMOLO discussion on Page 8 ék plains the distinction АННО ha "CH 1" and "CH 27 output jacks, Essantially, if you are using only ong amplifier/speaker, 11 makes no differ- Ende whether you Connsst if Eo output “l'or output 2." 'Whan using two amplifier/speaker units, the only time vou will hoër any differance batwaeon thé "1°" and "2° outpurts 5 ven thé TREMOLO is in vs 0 là connect the CP. 708 5 autpu tô à low impedance mixer like the Yamaha PR: 10, PRI 400, PRA OO ar PM- 1000, use & shielded XLH-ta-X LH cable, Set the INPUT level switch on the Yamaha mixer to the '—20d8m” position. The CP-708 5 VOLUME control does nat affect the XLR outputs, Thus, thess outputs ara ideal for Teading a tarse recorder ar a house sound system, In other words, if you adpust the VOLUME control to change the output level at the phone packs [and the monitor amplifier) spaakor system fad by thon phone Jacks), wou won't Interfere with the recording ar with 10 balance of tha Nous sound system. Use a high quality phone-to-phone cabo to connoct the CP- 7081 phone Jack outputs to the Yamaha A4115H amplified speaker system, to a high Impédance mixer input [such as Yamaha's PM-170] af to any standard guitar amplifior input, Guitar coll-cords will work, but they tend to have poor shialding and may causa hum in your system. When feeding the unbalanced inputs on the Yamaha FM-A70 or on similar mixers, switch tho INPUT leval switch of the device to the *—200d8m position (that ig, 16 à nominal gentitivity corresponding to approximately 77.6 millweoltél, Output Jack Panel and con 018 To Yamaha PAS-ixor or other balanced enpasí SLA ts ELA pa Canas lo Yameha PRA- Aia e or Hier balanced Inpul Phi 6) phone catch calrlés Fo tea Yamaha 44115H ам Пе ea a у ATS OF ather ampliteripraker В with high impeclance Impucs Patch Jacks Tho two PATCH jacks an tha front control panel are for effects devices such as “'wah-wah,” “phaser” and other padale, or for echo'reverb unite, Use a good quality phone-to- phone shielded carla Tram tho PATCH OUT jack to the pobetsary device's Input and another cable from the accessory device's output to the PATCH IN jack. The Input and output levels at the PATCH jacks are compatible with most accessory pocale and echo/rever units having phone jack Inputs and outputs Lts af tha PATCH |aoks PATCH QUT IN Phi ный Ба рб а patch cabe IM UT т + | | 'WMahawah" pedals, acho revarh Umila or othar allecta devicos May Le comnecied da (he PATCH OUT jecis. Keap cables as shot és possible РУ. РАН? маи (на а гон! има НЙ Pid: FAD mixer funbafamcsd perp) PAT mias FEO mad how to use the controls Power Switch Fhe Pawar switch it locatod on the Fight side of {he piano. Because the CH-TOB's sound is acoustically created, Y EPI LE hear tound al decreasnel Ha LAO when the Power switch is “off,” How- gver, unioss the Power switch is an” the CLP-700'5 electronics are noi opéré tonal and no sound will be fed to any X Da Mixor, arpiiTiér or speaks SY ELEM. Volume The VOLUME control sats tha volume at the phone jack outputs, but does not afizoct 1ha lnvel of the XLA tata, Tremolo (Depth/Spead,/ On-Off) The Tremola controle furthar ná hance Me 17-708 availatwe sounds. Tremola autom atically and smooihly várles {he output volume Up and dawn The TREMOLO ON/OFF switch starts and stops ha tremola affect. The SPEED control varias the rate of the tremolo effgct (the modulation Tre: gquoney), Higher settings of the SPEED control causé thé volume to vary more rapidly lower settings cause the volurma to vary more slowly, The DEPTH con- tré sois the intonsity of the tremolo elect (the modulation percentage! Lower settings yield a more shallow Iramaolo elect, highar sattings yield a More intense tremolo effect When both outputs are used, tremolo lowers thio volume lavel 1m Givin phone jack output at the same time it raises the oval in the extlsor PM |ack output, Similarly, the volume goes up In one ALR connector as il goes down in the other, This alternating change in level between the Mo. 1 and No. 2 outputs whan Tramalo li an” ls the only difference between the Mo. 1 and No, 2 MALES. It is not noceséary 16 Lito both pronme Jacks or both XLA connectors: ne tremolo e Meat obtained from ona upcalker le similar to the ramalo ero vided by a guitar amplifier, However, if the two phone |ack outputs or the two X LA outputs are connected 10 wo different amplifior/speaker units (such as two Ad 11EH amplified spoaka Systems), the sound will seem to move from one speaker to the other in à rotary” manner, similar to a true rotary organ speaker. In other words two-channel trémalé gives more “mation” to the sound than single- channel tremolo Ci ty | Bass, Middla, Trable The the tono controls set the tons character of both the XLA ano the phone jack outputs, The CP. 0B fra: 5 quancy resporso la Tar” when all inrue ) Lone Contras are centered (No, 5 position), and tho controls havo conto detents to help vou quickly achieve the “flat” setting. Esch tone control affects the entire keyboard, not just one section. Mo throes tana controls allow tha musician to alter the plano’s sound character to fit the mood of the perfor mance. Exparimanting will allow you té determine the aptimurm setting for a aan style of musica How to Uso the Sustain/Damper Pedal The CP:708'5 SustainDaoampar pedal Operatos just like 1e sustan/damper pedal on à standard acoustic piano Cara Tul tetup (sos Pagos 3 & 4) will SEE Propar operator, a „ МНН speaker/amplifier systems The sound of the CP-708 will depend The AJ115H's controls are simple to to a large degree on the amplifier and operate. If you are using just one speaker system, 46 11's & good idea to A4115H;, connect à phons-to-phone Choose these items carefully. We recom- patch cable between the CP-708 and mand the Yamaha Sad 1 16H amplified alther ang of tha Ad 118M input |acks. speaker system, which has a very For two A4116H's, connect a cable from smooth, natural sound, In the studio, ang af tha two phone jack outputs an the sound can be taken direct from the the GP 708 to one input on each Ad4116H, CP-708% XLA output or from a micro- Set the A4116H"s INPUT LEVEL phono placed near the A41T16H, With switch ta tha "=20d Bm" position, and this setup, there should be little or no set its INPUT VOLUME as required. œuditdn difference whothor the piano ls The H.F, LEVEL control sets the volume “direct” or thé A4115H la miked, Cn level of the high frequency hom in. the stage, the A4116H's high sensitivity relation to the low frequency woofer. and high power output mean that you NOTE: If vou wish to use more man can have high volume levels free of o Ad 15H, pou can “bridge” two or audiko distortion, Also, becauto tha more Ad 1 IEMs rar CP708 has pzosectio ekupi so phane-tophone cable from the unused noes, iret Jack of the ALT 15M being fed by you don't have to ba concernad about the CP-708 to an Input [ack on the next feedback (howling. ASTISH. CP:700 Capa Jack Penal Phone to phars patch ealsloi Tú axira 44115H Га extra A411 18H ipoakers {&prarai| speakers lopricral) A4! 15H contraleck panel and rives! cômnections ta a СР-РОЙ far “rotary” tremolo efect service Tuning the CP-70B Thats Instructions are moant only for & qualified plana tuner. Tha CP:708's axcellont tuning stability la partially attributabte to its "HMumid-A-Seal” pin block, ia lack of a conventional soundboard and its unique downmbeaning-anly bridge, Tuning stability moana that vou sont nood to tune the CP-708 as often as a conven- tonal acoustic piand, but when It does require tuning, the CP-708 tunas just Hks a conventional pame. Thus, amy qualified piano tuner can de the job lá gain accéss to the tuning pins, mmova the 6 scrows that secura the front section al ha top panal, and told it back. In order to hear all the harmonics for accurate tuning, tho CP-708 and its amplifier and speaker tem should be on,” Altarnataly, Use a headphone amplifier and head phones. Take caro to avoid contact with the CP- 708 3 electronios, esperially viivon using metal tools, Because of the nature of the har- monté ot àvibrating string, (tk gero ral ly possible to have a string correct tuned and still hear a heat” when tha string i$ sounded simultaneously with another tone one ootave higher. This phenomenon may be more pronounced im the CP-708 due to Its basic design concopt arming at fre maximum portability Me accompanying curve will be help veian tum ng Des ignated KE ANO Sing numbers | | я a o i =! i A E sl =x: PTH Brus Bo J = Aka o ira пы ë о 1 iil E 1 i N i | я | в = 1 к | + 1 13 A В | É — — 1 1 = = ; i 1 18 | i E = E | 1 ' = — E = | A 1 = a | 1 FE) 1 1 ï E a ra EE E 1 a i я Г | Теа | т 1 1 1 т Т Fa ai | } . - ' JL 1 ad a 4 i 1 11 1d | 1} | 3u | 3 | т 1 PE . 1 1 jui a! rl al ii 31 i | dd EN F ти E 1 de N я I 1 1 a in de | = di 13 E i L il E 14 BE E i § ik LH ! ! 1 F di 1 Г Ef | dE En E F | i 1F 1 1 i Im = ik 1 1 [E rl | —— o vi i La в ä 1 = | F da а i a E HE 1 | i d | Hi т I | — - | aa | Im ligt | | % Ei i Е | - F106 Bi E BE i i id | 1 | i k + 1 | {= i | ne 1 | 1 1 | as i 1 #15 k ; 1 i "1 i 1 Ed iN k ii —— | | wl IE i KE i i TT y me 1 + 4 | ! i ТЕ i FE | i i Treble NE k da NOTE: Shaded keys sre пог! ол [бо CA TOR, Tuning curve ol thé CP-708 ; | E | a ; t 1 ' 4 4 i 1 { i | I — | | 1 1 1 | 1 1 1 ' в в | k =H | ! ih : — ный 1 NOTE: Values may oe variar air modifica dian pS. String Replacement Tha CP:708 has no sound board, and lts bridge ls wage designed, Still, string replacement is straightforward and can be dong easily by any qualified plano technician, Treble (nonswrapped] strings should be roplaced with standard plana Mire ol the appropriate gauge, All éTappad strings should be replaced with Yamaha CP-708 strings, Order strings by string number, [San diagram on previous Mago.) a A жа Pala ea e aa 1 1 Ne j 177 fu | WEE A go Р J pi НН NA TE A ra ra» Mart D. Voicing Da not attempt to ula convontional Mess 10 volce the LP. 708% hammers Landing, filling ог вер гнев в вгу с The felt). These are not appl calla since the CP-TOB has specially designed ham. mari los lane woar. The phatagraph illustrates the difference between the CP-T08's hammers (which are covered with à durable, synthetic buckskin like material and have a hard rubber corel and tho hammer: on á convoentignal acoustic grand piand, Aftor io CP: 708 has bean played for ноте Time, a groove may appear If me hammers” covering, While a shallow groove id necoptable, a doep grosse ol cut will alter the tonality. To correct any change in tonality, the Bar technician can replace tha synthetic skin material, Alternately, remove the skin, shift Its position slightly, and re glue it using white glue, Fop — Convent oral MARES fFottom CE FOR Mamimer Regulation While tha CP: 706 is designed to tako the abuses of touring, its action may need regulation from time do time, Sinca these adjustments are similar 10 regula- tion adjustments on a conventional siouitia grand plano, they ¿in bo par: formed by any qualified piano technician, Electronic Service If vou suspect an electronic problem, first check all connecting cables and AC ndaptor, Mako sure thare is AC power at the AC outlet, and check the settings of all controle and switches. H the problem seems to occur primarily in one speaker, and vou have nao épéakort connméctéél, firiét chaëk con necting cables (the best way to check a catda la to mpleca [E with à known good one), Then try reversing the cables in the CP-70B's output jacks, If the pro- Юн remains in the same speaker, tha fault is probably in that speaker or its amplifiar, If tha problem evwitchos speakers when vou reverse the cables, the fault is probably In he CP-708's ВПС ЕАИС Any alactronic malfunction should be referred to a qualified Yamaha sarvice technician, A schematic of the CP-T0B's alectronies section Is located on Fages 14 & 15, Travel Case The CP-708 disassembles into two COMPACT, 206 to carry Picos that aro suitable for light duty traveling, such as If & station wagon or van, For heavy cartago (commardial trucking or aie freight as examples), we recommend vou Vte additional travel casos, IT you Duy custom built cates, they should meet “ATA 300" specifications (ATA=Air Transport Authority). The following dimensions are for such cases: VOTE: AN dimereios are ón pra! Orense (inside the foam) Koyboard Section: B17 long x 9-3/4" wide x 26" high, Use 2' foam on ail vices. Harp Section: 51" lang x 6-3/4" wide x 36-1/2' high, Use 27 foam around the sides (the 8-3/4" wide area) and 3” foam an the large, flat top and bottom surfaces, 11 12 CP-70B specifications A4115H controls & jacks Action: Similar to Yamaha's Grand Pianos with modified dampers for fast action, and synthetic “buck- skin” hammers for long wear. Strings: Key numbers 1-15, one string per tone. Key numbers 16-73, two strings per tone. First 59 strings made with highest grade solid copper wrapping. Keys: 73 keys from No. 8E to No. 80E. Pickups: Independent piezoelectric pickup system. Controls: Power ON-OFF switch; over- all VOLUME control: BASS, MIDDLE and TREBLE tone controls (detented at ‘’flat”’ response); TREMOLO ON-OFF Switch; Tre- molo SPEED and DEPTH controls. Sustain/Damper pedal supplied. Jacks: Two 600-ohm, balanced, trans- former-isolated XLR output jacks (one for each phase of the Tremolo}; two unbalanced, tip-steeve (standard) phone jacks, carrying the same out- put as the XLR jacks, but subject to the VOLUME control; PATCH QUT and IN jacks for accessory devices. A - 748 5mm (29-1/2'') B - 946.5mm {(37-1/4""} C- 1,296mm (51") D-1,045mm (41-1/8"') Height to keyboard - 733mm (28-7/8') A - 901mm (35-1/2"") B - 461mm {18-1/8’') C - 1,296mm (51) D - 173mm (6-3/4") Power Consumption: AC, 50/60Hz; 2.5W (in case of the AC adaptor in use). Net Weight: Lower section — 62kg (136.7 Ibs.), (inciuding lid, legs and sustain pedal). Top section — 68kg (149.9 Ibs.) (including lid). Finish: Black with leatherette siding and cover. Other Features: Recessed carrying handles (upper section), Integral carrying handles (lower section), slip fittings, Metal corners. Standard Accessories: AC adaptor, Sustain/Damper Pedal, A -1,2396mm (51) B - 245mm (9-5/8'') C - 636mm (25) Specifications subject to change without notice, Input Jacks: Two (parallel) standard tip-sleeve phone jack which accept unbalanced, line level sources. Input Level Control: An input attenua- tor controls the volume level of the amplifier. Input Level Switch: A slide switch selects —20dBm or OdBm nominal input level: for compatibility with low or high level lines. H.F. Level Control: An “L-Pad” attenuator (for constant impedance) adjusts the volume level of the high- frequency driver. RESPONSE (di A4115H amplifier specifications A4115H speaker specifications Output Power: 100 Watts continuous average sine wave power into an 8-0hm 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 “—20d8m” 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, with an 8-ohm load. Hum and Noise: —73dB (0.17mV)* Slew Rate: 25 volts per microsecond Input Sensitivity (input level for 100-watts into an 8-ohm load): 0dB (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-ohms 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 (EJA 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 (removabie) grille. Dimensions: Height: 908mm (35-3/4"") Width: 610mm (24) Depth: 452mm (17-3/4”) Weight: 58kg (127.9 Ibs.) 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" (6.6cm) 8 ohms 994B 120 Watts 240 Watts | 20Hz-20kHz 6.0kg (13.2 Ibs.) | 12,500 Gauss Horn/Driver JA4701 — 1.6" (4.2cm) 8 ohms 10448 20 Watts 40 Watts 2kHz-20k Hz 2.2kg {4.8 Ibs.) 16,000 Gauss NOTE: The Yamaha S4115H speaker system is identical to the A4115H, except it contains no amplifier. — A4115H Frequency Response 500 1K FHFOUENC* (Hz| TH SK *Measured with a 6dB/octave filter at 12.5kHz (equivalent to a 20kHz filter with infinite dB/octave attenuation). A4115H Horizontal 180° dispersion т y RESPONSE (dB) *Sensitivity at 4 feet, with 1 watt is 1.75dB below DIN/JIS standard. A4115H Vertical 180° dispersion E J и t Sensitivity is extremely significant, since an increase of only 3dB in sensitivity is equivalent to doubling the amplifier power. In other words, a 50-Watt amp used with a speaker that is 3dB more sensitive than an- other speaker, will produce the same sound level as a 100-Watt amp used with the less sensitive speaker, Specifications subject to change without notice, 13 CP-70B overall circuit diagram PICKUP UNIT| TR! — пн tp E E HE A WI, из ox che ES 5 =] m - y — | — — dao м cioz $ PREAMP|LIFIER2200F er 03 73 PIEZOELECTRIC PICKUFS FET — 3% ; = * * + cio! I 6103 ell? 15F 166 25€ 266 37€ 38F 50F SIF 56B 570 73€ on Qu 0.1 0.1 | == L J O. Fy Tantalum ++ x —m x го м < , I II IT II II II 1 = Ef vou Eels 83 , > «= La TT 2 q BLOCK BLOCK BLOCK BLOCK BLOCK BLOCK $ oSxg © ST Sul a © = NO 1 NO.2 NO3 NO 4 NOS NOE ЕО чех = > + < > ré 5 or un e: Ts m Em = o = y = E «> [ra fond = м E It — we S || = = 2 MIXING RESISTOR = 5 x MIDDL BASS TREBLE a co = Ea > I I 1 с126 Г IN (= 20dBm) | y Je | RISO RIS7 A 39K 39K | PATCH | 1cI02(1/2) xv OUT - 20dAm) RC4558DN od J 1 | г dx = Yin | 53 TRIOZ Lo E | | € l2scasec | $ — — — — — = — IVER | Ë | FRONT PANEL | mE Y 17 < ы ее I > > ES | OSCI , | _ Ld [Тв] Te. ' < = ou n= о zo = , | № SPEED sE Toe: | NL TREMOL а LEFT PANEL] I. Го] [О] — нд BE (SIGNAL OUTPUTS) + y € — и № L | H > To > 3 ONE E cat = x BUFFER * BUFFER BUFFER BUFFER S FETE|AMPLIFIER AMPLIFIER FETS {AMPLIFIER — |FETS|AMPLIFIER ыы 7507 r= ни) o 7 6) CH 1 A 0.1 | I IH HH | e_ LT РЕ BALANCED OUTPUTS CIs |r (XLR-3-32} L— 10/25 6090025 L— 110/28 0 os L WH (-2008m) Rés le] NR [Sa tos )cHe EN] Bed 9x) = o? 2 Eo EOS FO} 15 © У = © = VOLUME Lo AIO0Kx2 |} IL RE E CH 1 | ин UNBALANCED OUTPUTS 20 = = ll cH. NU GY M =. ee ee _ 3x N (PS) Her [RIGHT PANEL РЕ — -~ [Ta] al — — TRIO Yo SOURCE] VOLTAGE FOR PRE AMPLIFIER (POWER SOURCE) = ------=-----————— 25C458C | TR20I ICPOI DRIVER 25C458 FS7BI2L — _RE Hol El | | зи AC ADAPTOR INPUT 557 71 | | e (XLR-2-32) N POWER -- 49 | 53 Se W. +16 — YE + os + E ved ow he | 15° si TEE a ès Se r PILOT SS N - LAMP E GR E ON x lic naaa ООО ОО АООНАИ SOURCE VOLTAGE FOR TREMOLO CIRCUIT — TO Frome _— - == ee (Earth) — ——== WIRE COLOR ABBREVIATIONS BL > Black VI» Yıolet BR HF Brown GY P Gray RE > Rod WH > White OR + Orange GG P Grass Graan YE P Yellow 5B Y Sky Blua СЯ № Grean РК № Pink BE } Elus CP-70B block diagram TO EFFECTS DEVICES I xr ЛИ Fr NN J = Es e = E fr N ——— = == => Fearon {№ =204Вт) | FET I FET 2,3 i FETa 5 FET & PRE AÑA BUFFER CHI Wy AMPLIFIER AMPLIFIER iTO MIXER ste} + In PRE TONE | | PRE | | CONTROL 73 PIEZOELECTRIC PICKUPS AMPLIFIER AMPLIFIER | | BALANCED GUTPUTS E , ZIXLR-3-32, - 20dBmj) y = Mag AM BUFFER cuz , PATCH OUTI-200amA Mi AMPLIFIER 2 L ——— | BASS TREBLE FRONT PANEL ta STRING E———---———— STRING (30K) oop (BONO | TANK) В BUFFER — AMPLIFIER 1 UNBALANCED OUTPUTS (- 20d8m) A - = —————— | acTion | E = u сна = _— BUFFER 192 Л ; TO АМРИНЕВ; \——————У AMPLIFIER [SPEAKER SYSTEMS) a - — {+ —_——, Es + EA | = BOARD BOARD SPEED PHOTO PHOTO VOLUME (BIOUK X 23 KEY# 1 73KEYS KEY#73 +8 COUPLER COUPLER (AIGOK X 2) —_—_l—— = E— e ———] ий. DEPTH {C20K X21 (TO AC SOCKET) TRIO! TRI02 TO PREAMPLIFIER POWER SW. TREMOLO AND BUFFER STAGE — AC ADAPTOR INPUT IC 102 DRIVER DRIVER | o oz a ay ONNECTOR OSCILLATOR я — Lo € TO TREMOLO DSCILLATOR STAGE AN PILOT LAMP ES щи = = 16 = @ YAMAHA International Corp., Box 6600, Buena Park, Calif. 930622. LOM-203L | 8141 47 Printed in Japan
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Key Features
- Hybrid acoustic/electric piano with traditional and electric sounds
- Excellent tuning stability
- Compact and lightweight design
- Eliminates the need for microphones and pickups
- Versatile for use in tours, studios, and clubs
- Interfaces with electronic effects units
- Offers a blend of acoustic and electric sounds
Related manuals
Frequently Answers and Questions
Is the Yamaha CP-70B suitable for live performances?
What types of sounds can the Yamaha CP-70B produce?
Is the Yamaha CP-70B difficult to set up?
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