Ref e r e n c e M a n u a l Contents Reference Guides ..........................................................................................2 Using this Reference Manual ........................................................................2 Internal Design of the CP5 & CP50 3 Principal Components ...................................................................................3 Tone Generator .............................................................................................
Reference Guides Reference Guides Your CP5 or CP50 stage piano comes with three different reference guides — the Owner’s Manual, the Reference Manual (this document), and the Data 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.
Internal Design of the CP5 & CP50 Principal Components The internal design of your CP5 or CP50 is divided into three main sections — namely, the Tone Generator, the Song Setting area, and the Controller.
Internal Design of the CP5 & CP50 > Tone Generator Tone Generator Your stage piano's Tone Generator produces sounds based on performance data that you create by playing the keyboard, operating the sequencer, and using various controllers. In specific terms, the Tone Generator is made up of Performances, a Master Compressor block, and a Master Equalizer block. The term “Performance” is used to describe a single preset that allows a number of voices to be produced together.
Internal Design of the CP5 & CP50 > Tone Generator Left & Right Parts The left and right parts that make up each Performance respond to your playing of the keyboard or to MIDI input and use the built-in Tone Generator to produce the appropriate sounds in response. The CP5 has four such parts — LEFT1, LEFT2, RIGHT1, and RIGHT2 — while the CP50 has two — LEFT and RIGHT.
Internal Design of the CP5 & CP50 > Tone Generator Roles of Blocks & Common Settings Area The roles of each of the blocks and the Common Settings area that make up CP5 and CP50 parts are as follows. Voice Block The Voice block is used to specify the type of musical-instrument sound that will be produced for the corresponding part by the Tone Generator.
Internal Design of the CP5 & CP50 > Tone Generator TRACK Part Each CP5 or CP50 Performance can also contain a backing track for playing back as an accompaniment to your keyboard performances. Three different types of backing track can be selected — namely, Preset Drum Patterns, User Songs, and Wave files. Whenever you select a Preset Drum Pattern or a Wave file located on a USB flash-memory device, the TRACK part can be used to set its volume, pan, and reverb send level.
Internal Design of the CP5 & CP50 > Tone Generator NOTICE If you overwrite a Performance in the User Performance memory, it will be permanently deleted. In order to avoid loosing irreplaceable data, therefore, you should take special care when selecting where to store newly-created Performances. NOTE Performance 1 from Group A within the USR1 memory bank will always be selected when you press the [USER] button while holding down the [EXIT] button.
Internal Design of the CP5 & CP50 > Tone Generator HINT Using External Performance Memories In order to save Performances in an External Performance memory or to use an External Performance memory from a USB flash-memory device, the USB flash-memory device in question must be plugged into your CP5 or CP50.
Internal Design of the CP5 & CP50 > Song Setting Area Song Setting Area The Song Setting area is used to record and play MIDI sequences and audio files for use as Performance backing tracks. MIDI sequences can take the form of built-in Preset Drum Patterns (playback only) or User Songs that you can both record and play. Meanwhile, the Song Setting area’s audio functions allow you to record Wave files to a USB flashmemory device and to play back Wave files previously stored on such a device.
Internal Design of the CP5 & CP50 > Controller Controller Your stage piano’s Controller consists of the keyboard, pitch bend wheel, knobs, foot pedals, and other input devices used while playing. It is important to bear in mind that the keyboard itself does not generate any sound; instead, it sends note, velocity, and other performance-related signals to a tone generator, which then produces sounds in response.
Reference Internal Design of the CP5 & CP50 This section provides a detailed description of the parameters used to configure your CP5 or CP50. Reference Left & Right Parts Left & Right Parts R [VOICE] The following describes the parameters that can be set for left and right parts on a block-by-block basis. These descriptions apply to the LEFT1, LEFT2, RIGHT1, and RIGHT2 parts on the CP5, and to the LEFT and RIGHT parts on the CP50.
Voice name Description Internal Design of the CP5 & CP50 DX Woody With its rich, woody body, the DX Woody voice delivers a mellower electric-piano sound. DX FTine Recreating a classic voice from the DX electric piano, the DX FTine shows off the characteristic attack sound of this instrument. DX 7 II With the body portion of the sound changing in response to how you play, the DX 7 II will allow you to experience the wonderful richness of expression for which the DX electric piano was renowned.
On-screen name (and full name) H Hammer (Hammer Stiffness) CP5 only — CF Grand, S6 Grand, CP80, CP88, 71Rd I, 73Rd I, 75Rd I, 78Rd II, Dyno, 69Wr, and 77Wr Description This parameter is used to adjust the apparent softness or hardness of the piano sound in much the same way as if softer or harder hammers were used to strike the strings. It is available on the CP5 only.
Modulation Effect Block Using a Modulation Effect block, an audio effect can be applied to the part’s voice in order to modify its spatial characteristics.
After selecting Other as the modulation effect type, you will be able to use Knobs 2 and 3 to choose effect categories and individual effects. The following table identifies and describes the different types of effect that are available for selection within the Other group.
On-screen name (and full name) Description Internal Design of the CP5 & CP50 Effect category: Distortion (DST) Reference AmpSim1 (Amp Simulator 1) Amp Simulator 1 replicates the sound produced by guitar amplifiers. AmpSim2 (Amp Simulator 2) Amp Simulator 2 replicates the sound produced by guitar amplifiers. CmpDst (Compressor-Distortion) Compressor & Distortion combines compression and distortion effects.
For non-piano voices: Internal Design of the CP5 & CP50 Effect category Ins1Type MOD > SmallPha E Reference Left & Right Parts Effect name R [VOICE] In the case of non-piano voices, effects can be selected from the categories that make up the Other group as described above. In addition, the modulation effects, which are primarily for PIANO and E.PIANO voices, are grouped together in the MOD category. For more details regarding these effects, see For PIANO and E.PIANO voices (page 15).
On-screen name (and full name) R S T Associated effects Description Rate Small Phaser This parameter is used to adjust the modulation speed. Reso (Resonance Offset) Touch Wah and Pedal Wah This parameter is used to set the resonance offset value. Sens. (Sensitivity) Touch Wah This parameter is used to adjust how sensitive the filter-sweep effect is to playing velocity.
On-screen name (and full name) D Description Internal Design of the CP5 & CP50 Delay Time R>L This parameter is used to set the time that elapses between input of sound via the right channel and output via the left channel. Reference Density Reverb effects: This parameter is used to set the reverb density. Left & Right Parts Early Reflections: This parameter is used to set the density of early reflections. R [VOICE] Depth This parameter is used to set the depth of the simulated room.
On-screen name (and full name) E F Description Internal Design of the CP5 & CP50 EQ Mid Width This parameter is used to set the width of the mid-frequency EQ band. EQ Width This parameter is used to set the width of the mid-frequency EQ band. Reference ER/Rev Balance This parameter is used to set the relative volumes of early reflections and reverberation.
On-screen name (and full name) L Description L/R Depth This parameter is used to set the depth of the left-right panning effect. L/R Diffusion This parameter is used to set the difference between left and right delay times in order to produce a more spacious sound. Lag This parameter is used to set a time lag for delay times specified in terms of note lengths. LFO Depth SPX Chorus, Classic Flanger, and Ring Modulator: This parameter is used to set the depth of modulation.
On-screen name (and full name) M Description Internal Design of the CP5 & CP50 Mod LPF Cutoff Frequency This parameter is used to set the cutoff frequency for the low pass filter applied to the modulated sound. Reference Mod LPF Resonance This parameter is used to set the resonance of the modulated sound’s low-pass filter. Left & Right Parts Mod Mix Balance Noisy: This parameter is used to set the mix balance for the modulated element.
On-screen name (and full name) R Description Internal Design of the CP5 & CP50 Resonance This parameter is used to set the resonance of the filter. Reverb Delay This parameter is used to set the interval between early reflections and subsequent full reverberation. Reverb Time This parameter is used to set how long it takes for the reverb sound to fade to silence. R [VOICE] Room Size This parameter is used to set the size of the simulated room in which the instrument is being played.
Power-Amplifier / Compressor Block (CP5 only) Using the Power-Amplifier / Compressor block, you can choose either a faithful recreation of one of many power amplifiers used with electric pianos or a compressor to further enhance the sound created by the currently-selected part's Voice and Modulation Effect blocks. This block is available on the CP5 only.
For non-piano voices: Internal Design of the CP5 & CP50 Effect category Ins2Type PWR > 71Rd I E Reference Left & Right Parts Effect name R [VOICE] In the case of non-piano voices, effects are selected from the categories that make up the Other group as described above. In addition, the power amplifiers and the compressor designed for PIANO and E.PIANO voices are grouped together in the PWR category. See For PIANO and E.PIANO voices (page 25) for more details on these.
Other Settings for Left & Right This section describes how to set volume, panning, note limits, and other parameters for left and right parts. The Part Setting screen is shown on page 11.
Page 3 On-screen name (and full name) TuningNo. (Micro Tuning Number) TunRoot (Micro Tuning Root) 4 PrtMode (Part Mode) Description Internal Design of the CP5 & CP50 05 Werckmeist (Werckmeister) 06 Kirnberger The Werckmeister and Kirnberger scales improve the mean-tone and Pythagorean scales by combining them in different ways. Both are uniquely characterized by the way in which modulation can change the nuances of individual songs.
Page 5 On-screen name (and full name) Description Internal Design of the CP5 & CP50 PortaSw (Portamento Switch) This parameter is used to turn the portamento effect on or off for the current part. Setting values: on or off Time (Portamento Time) 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 Reference Left & Right Parts Mode (Portamento Mode) F.
Page 9 0 (10) On-screen name (and full name) RcvCC (Receive Control Change) RcvPB (Receive Pitch Bend) CP5 parts: RcvFC1 (Receive Foot Controller 1) RcvFC2 (Receive Foot Controller 2) RcvFS (Receive Assignable Foot Switch) CP50 parts: RcvFC (Receive Foot Controller) RcvFS (Receive Assignable Foot Switch) Description These parameters are used to turn on or off the receipt of Control Change and other MIDI messages by the current part.
Common Settings Area The Common Settings area is used to set parameters affecting all left and right parts in the current Performance. The Common Settings screen extends over five individual pages.
Zone Edit Screen Settings are made on the Zone Edit screen when your CP5 or CP50 is to be used as a master keyboard. By setting the ZoneSw parameter to “on”, you can split the keyboard into a maximum of four zones, and if these zones are then assigned to the built-in Tone Generator and external musical devices, it will be possible to play them all from the stage piano’s keyboard. To access the Zone Edit screen, press Knob 3 (ZoneEdit [PUSH]) from Page 2 of the Common Settings screen.
Page 8 On-screen name (and full name) CP5 zones: TxFC1 (Transmit Foot Controller 1) TxFC2 (Transmit Foot Controller 2) Description These parameters are used to turn on or off the transmission of MIDI messages generated by Foot Controller 1, Foot Controller 2, Sustain pedal, the assignable foot switch, and the Pitch Bend wheel from the current zone.
Setting Controllers (Pages 3 to 5) Internal Design of the CP5 & CP50 Press the [COMMON] button Navigate to Page 3, 4, or 5 using the [L PAGE] and [PAGE R] buttons Turn Knobs 1 to 3 Edit Sequence Reference Left & Right Parts On-screen name (and full name) Page Pages 3 to 5 Source Description R [PRE-AMP] This parameter is used to select the controller to be edited.
Song Setting Area Internal Design of the CP5 & CP50 The Song Setting area is used to configure tracks used to provide backing to your performances. The Song Setting screen displayed by pressing the [SONG SETTING] button will be covered first of all, and this will be followed by a description of the Record screen, which is accessed using the [REC] button.
Page 2 On-screen name (and full name) Tempo Description This parameter is used to select the playback tempo for the backing track and metronome. The tempo can also be adjusted using the Tempo parameter from the Record screen (page 37). Setting values: 30 to 300 NOTE To synchronize the backing-track tempo with that of an external MIDI device or DAW application, set the MIDISyn parameter (page 46) from Page 6 of the Utility screen to “ext” or “auto”.
Record Screen The Record screen allows you to record User Songs or Wave files for use as backing tracks, and it contains four individual pages.
Page 2 On-screen name (and full name) Mode Description This parameter is used to select a recording mode. It is not available, however, when Rec has been set to “Wave”. Setting values: replace or overdub Any data contained within the User Song selected for recording will be overwritten with your new performance data. R [VOICE] overdub R [PRE-AMP] Your new performance data will be added to any data contained within the User Song selected for recording.
TRACK Part Internal Design of the CP5 & CP50 Whenever a Preset Drum Pattern or a Wave file has been selected as the Performance’s backing track, the corresponding data will be assigned to the TRACK part. The following provides a detailed description of the parameters used to configure this part.
MIC INPUT Part (CP5 only) Internal Design of the CP5 & CP50 This section provides a detailed description of the parameters used to configure the CP5’s MIC INPUT part. The setting screen for this part contains two pages.
Page 3 On-screen name (and full name) Description CompTh (Compressor Threshold) This parameter is used to set the input level at which the compressor starts compressing the sound. Setting values: -48dB to -6dB CompRat (Compression Ratio) This parameter is used to set the compression ratio. Setting values: 1.0 to 20.0 CompOut (Compressor Output Level) This parameter is used to adjust the compressor’s output level. Setting values: 0 to 127 L.
Settings for All Parts Internal Design of the CP5 & CP50 Reverb Block This section describes the parameters used to configure the reverb effect that is applied to all of the parts from each of your stage piano’s Performances. Settings for these parameters are made via the Reverb screen, which contains two pages.
Settings for All Performances Master Compressor Block This section describes the parameters used to configure the compressor applied to all of the Performances on your CP5 or CP50. These settings are made via the Master Compressor screen, which contains seven pages.
Utility Area This section describes the utility parameters that affect the entire CP5 or CP50 system. Settings for these parameters are made via the Utility screen, which contains thirteen pages.
Page 4 On-screen name (and full name) CtrlAsn (Controller Assign) Description Internal Design of the CP5 & CP50 This parameter is used to select the controller to be assigned.
Page 6 On-screen name (and full name) MIDISyn (MIDI Synchronization) Description This parameter is used to specify whether playback of User Songs or Preset Drum Patterns on your CP5 or CP50 is to be synchronized with the built-in clock or with an external clock from a connected MIDI device. Setting values: int (internal), ext (external), or auto int (Internal) ext (External) auto 7 TrnsRcvSw (Transmit & Receive Switch) Playback will be synchronized with the built-in clock.
Page 9 On-screen name (and full name) Shape Description Internal Design of the CP5 & CP50 This parameter is used to specify whether shelving or peaking equalization is to be applied within the two end bands — namely, Low and High. It is available only when MEQ has been set to “Low” or “High”. Setting values: shelv (Shelving EQ), peak (Peaking EQ) shelv Signals at all frequencies either above (“High”) or below (“Low”) the specified frequency will be uniformly boosted or cut.
Page On-screen name (and full name) A (11) Bright (Brightness) Description This parameter is used to set the brightness of the stage piano’s display. Setting values: 1 to 4 (brightest) NOTE The brightness can also be reduced by holding down the [UTILITY] button and pressing the [L PAGE] button, and it can be increased by holding down the [UTILITY] button and pressing the [PAGE R] button.
File Area Using the File area, you can perform a range of file management operations such as saving the entire content of the stage piano’s User Memory on a USB flash-memory device and restoring data previously saved on this type of device. The File screen contains two pages, and its functions are described below.
Save Internal Design of the CP5 & CP50 The parameters to be set on the Save screen are as follows. On-screen name (and full name) Description Reference Left & Right Parts This parameter is used to specify the type of file to be saved on the USB flash-memory device. When you have specified the appropriate type, press the [ENTER] button to proceed. To return to Page 1 of the File screen without saving data, press the [EXIT] button.
On-screen name (and full name) Description The name of the External Performance data file is displayed in the Name field. This will always be “EXTBANK” and cannot be changed. When you press the [ENTER] button, you will be asked to confirm that you wish to proceed. Press either Knob 1 (YES [PUSH]) or the [ENTER] button to save the data, or press either Knob 3 (NO [PUSH]) or the [EXIT] button to return to the Name screen.
On-screen name (and full name) Type File Description Perf Internal Design of the CP5 & CP50 A single performance from the specified file* will be loaded into the stage piano’s User Memory, overwriting the User Performance selected using the Dst parameter (below). (*: CP5 data has the extension .C5A; CP50 data, the extension .C6A.) Ext An entire External Performance memory* will be loaded into the stage piano. (*: CP5 data is named “EXTBANK.C5E”; CP50 data is named “EXTBANK.C6E”.
If Type has been set to “SMF”: Internal Design of the CP5 & CP50 Dst 001[aaaaaaaa] EXITU ENTERD Reference Left & Right Parts R [VOICE] R [PRE-AMP] << Are you sure? >> <> On-screen name (and full name) Dst (Destination) Description R [MOD-FX] R [PWR-AMP] (CP5 only) R [LEFT1]/[LEFT2]/[RIGHT1]/ [RIGHT2] (CP5) [LEFT]/[RIGHT] (CP50) R [COMMON] This parameter is used to select a User Song number (1 to 128) to hold the loaded data.
Appendix > MIDI Appendix MIDI Musical Instrument Digital Interface (MIDI) is a global standard designed to allow performance, voice, and other data to be transferred between musical instruments As such, data communication is assured even between musical instruments and equipment from different manufacturers. In addition to data generated by playing the keyboard or selecting a Performance, a wide range of other information types — such as tempo and instrument controls — can also be exchanged via MIDI.
Appendix > MIDI Control Change MIDI Control Change messages are used to control volume, stereo panning, and many other parameters, and as shown below, each message type has its own unique control number. Bank Select MSB (Control No. 0) Bank Select LSB (Control No. 32) Bank Select MSB and LSB messages are used to remotely select a memory bank from another MIDI device. The actual bank to be selected is determined by combining the MSB and LSB values.
Appendix > MIDI Channel Mode Messages System Messages 2nd byte 3rd byte Message 120 0 All Sound Off 121 0 Reset All Controllers 123 0 All Notes Off All Sound Off (Control No. 120) All Sound Off messages are used to silence all sounds being generated by both parts. Note that the status of channel messages such as Hold 1 and Sostenuto is maintained in such a case. Reset All Controllers (Control No.
Yamaha Web Site (English only) http://www.yamahasynth.com/ Yamaha Manual Library http://www.yamaha.co.jp/manual/ U.R.G.