Yamaha CP-70B Operating Manual

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
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РЕ — -~ [Ta] al — —
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= ------=-----—————
25C458C | TR20I ICPOI
DRIVER 25C458 FS7BI2L
— _RE Hol
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557 71 | | e (XLR-2-32)
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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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