User manual YAMAHA CP-70 ELECTRIC GRAND PARTS LIST

[. . . ] While the Owner's Manual is packaged together with the stage piano as a hardcopy booklet, this Reference Manual and the Data List are provided as pdf documents on the bundled CD-ROM. Owner's Manual (hardcopy booklet) The Owner's Manual describes how to set up your CP5 or CP50 and how to perform basic operations. Reference Manual (this pdf document) This Reference Manual describes the internal design of your CP5 or CP50 and the various parameters that can be adjusted and set. Data List (pdf document) The Data List document provides a list of all CP5 or CP50 presets (or Performances); a breakdown of the types of Modulation Effect and Power-Amplifier / Compressor* blocks available for selection; a list of the parameters that can be set for each of these blocks; and MIDI-related reference material. (*: CP5 only) Using this Reference Manual The first page of the section Internal Design of the CP5 & CP50 contains a block diagram illustrating the various components of your stage piano's sound production system, and by clicking any of the arrows within this diagram, you can conveniently jump to a description of the corresponding component. Using the tabs along the right side of each page from the Reference section, you can easily access details regarding the parts making up each Performance and the various setting areas opened by pressing buttons on the control panel. These tabs also serve as a useful means of quickly getting to grips with the internal design of your CP5 or CP50 and with how the various setting areas and control-panel buttons are related to each other. [. . . ] As shown in the graph below, the larger the value set, the greater the degree to which MIDI velocities vary in response to changes in the playing velocity (i. e. , the steeper the slope of the graph). If a value of 0 is set, the MIDI velocities are totally unaffected by different playing velocities, resulting in a response similar to that of an organ, where playing strength has practically no effect on the sound produced. Setting values: 0 to 127 When VelOfs (below) is 64: VelDpt = 127 VelDpt = 64 127 Actual velocity output (to tone generators) VelDpt = 32 [FILE] 0 Played velocity 127 VelDpt = 0 Appendix VelOfs (Velocity Sensitivity Offset) This parameter is used to raise or lower all MIDI velocities sent from the current part. As shown in the graphs, 64 is subtracted from the value set here to determine the actual amount by which the MIDI velocities are adjusted. That said, however, if the resultant MIDI velocity is less than 1, a value of 1 is set; similarly, if the resultant MIDI velocity is greater than 127, a value of 127 is set. Setting values: 0 to 127 When VelDpt (above) is 64 and VelOfs is 32: 127 127 When VelDpt is 64 and VelOfs is 96: Actual velocity output (to tone generators) 0 64 127 Actual velocity output (to tone generators) 0 64 127 Played velocity When VelDpt is 64 and VelOfs is 64: 127 Played velocity Actual velocity output (to tone generators) 0 64 127 Played velocity 28 CP5/CP50 Reference Manual Page 5 On-screen name (and full name) PortaSw (Portamento Switch) Description This parameter is used to turn the portamento effect on or off for the current part. Setting values: on or off This parameter is used to set the amount of time it takes for portamento pitch sweeps with the current part. Setting values: 0 to 127 This parameter is used to specify how the current part's playing style will affect the way in which portamento is applied. Setting values: fingr (Finger mode) or full (Full mode) fingr Portamento is only applied when you play legato (i. e. , playing the next note before releasing the previous one). Internal Design of the CP5 & CP50 Reference Left & Right Parts Time (Portamento Time) [VOICE] [PRE-AMP] [MOD-FX] [PWR-AMP] (CP5 only) [LEFT1]/[LEFT2]/[RIGHT1]/ [RIGHT2] (CP5) [LEFT]/[RIGHT] (CP50) [COMMON] Song Setting Area [SONG SETTING] [RECORD] TRACK Part [TRACK] Mode (Portamento Mode) full Portamento is applied to all notes. 6 F. Cutof (Filter Cutoff) The term "cutoff frequency" is used to describe the center frequency at which a filter cuts unwanted frequencies. By setting the cutoff frequency, you can change the way in which the filter affects the sound of the part. This parameter is used to increase or decrease the cutoff frequency relative to that set for the current part. The current zone will control another musical device connected to the stage piano. The current zone will control both the built-in Tone Generator and another musical device connected to the stage piano. This parameter is used to select a MIDI transmit channel for control signals from the current zone. A setting may be made only when Target is set to "MIDI" or "both". Setting values: 1 to 16 This parameter is used to transpose the current zone in units of one octave. Setting values: -3 to +0 to +3 This parameter is used to transpose the current zone in units of one semitone. Setting values: -11 to +0 to +11 (semitones) These parameters are used to define a keyboard section for the current zone. Specifically, Knob 2 is used to set the lowest note; Knob 3, the highest. Setting values: C-2 to G8 Set by turning Knobs 2 and 3, these parameters can be used to specify bank select MSB, bank select LSB, and program change values to be sent to the corresponding external musical device as MIDI messages. It should be noted that the actual sounds produced will depend on the type of musical device being used. Meanwhile, if these parameters are set to "off", no bank select MSB, bank select LSB, or program change values will be send as MIDI messages from the zone in question. [. . . ] After setting a parameter based on these messages, therefore, it is wise to set the RPN to Null (7FH, 7FH) in order to avoid unexpected changes. Your CP5 or CP50 supports selection of the following parameters using RPN LSB and MSB messages. Expression (Control No. 11) Expression messages can be used to change the level of expression or intonation of each part. Setting a value of 127 produces maximum volume, while 0 silences the part in question. [. . . ]