Yamaha CPX1200II

110 Guitarist August 2012
YAMAHA APX1200II & CPX1200II £1,198 EACH
ElEctro-acoustics
needs a very clear, powerful
signal to work well and no
existing pickup was giving us
what we needed. But the
original embedded pickup
made adjusting the saddle
height extremely hard, so we
redeveloped it to get the same
performance from a separate
undersaddle. And, as a
by-product to the SRT-driving
capability, the new pickup’s
output is higher, clearer and
much more dynamic.”
The control panel for both
guitars is identical and features
three centre-indented rotaries
for low, mid and high, and
larger rotaries for volume and
blend, which offers a good
degree of control over the
pickup and mic-recorded
images. A three-way switch
allows for selection of one of
three mic-recorded images
each with the push-button
option of close- or far-mic’ing,
giving a total of six digitally
processed options. In truth the
subtle tonal differences of the
mic-modelling are unlikely to
be discernible in an onstage
band setting, more so for the
solo performer. However, for
home and studio recording
scenarios, mic modelling is a
clever and welcome function.
Both our review models
feature solid Sitka spruce tops
and solid rosewood back and
sides. They also come with
high-quality semi-hard cases,
which we were particularly
impressed with.
Bringing them in line with
recent updates to the 500 and
700 guitars, the APX and CPX
1200 models feature new
lightweight, double-action
truss rods; replacing the single-
action, aluminium channel
rods found on older models.
Access to the new truss rod is
now via the soundhole as
opposed to behind the nut – as a
result the headstock doesn’t
need a truss-rod cover giving it
an altogether cleaner look. This
is further augmented by the
addition of a stylish translucent
black tint.
Other cosmetic upgrades to
the APX include a shaped,
wave-style fretboard end that
overhangs the oval-shaped
soundhole; the extra length
home to a couple of extra frets
(one half-width) though it’s a
nimble fingered player that can
make use of them.
And, at last, we see the back of
those cheap-looking plastic
soundhole edgings – something
we felt always let the cosmetics
of APX guitars down – replaced
here with an aesthetically
pleasing wood and abalone
soundhole rosette.
APX1200II
First impressions of the APX
are great, across the board. It
feels lightweight and
comfortable with an excellent
out-of-the-box set-up; electric
players will adapt easily.
The solid Sitka spruce
soundboard is a fine selection
featuring a straight, consistent
grain, though it doesn’t appear
to be bookmatched. The solid
rosewood back and sides are
bound with mahogany and, in
the case of the soundboard,
finished with three-ply black
and white coachlining.
Mahogany has also been used
alongside abalone for the
soundhole rosette and very
well-finished it is too.
Like the CPX, this APX feels
well constructed and finished,
and although comparatively
thin, the guitar’s high-gloss
finish is well executed.
Sounds
Yamaha’s stated purpose for
the APX1200II is for plugged-in
performance, be it onstage or in
the studio. With that in mind,
we’d be forgiven for focusing on
its electro capabilities, but that
would be missing a trick: this is
still a good acoustic guitar.
While the APX’s lack of body
mass does have an effect on its
ability to offer a thick, rounded
bass, it does project a strong
mid-range and the high end is
sparklingly clear and bright.
Volume and sustain levels are
comparatively good bearing in
mind the guitar’s size – the
APX offers an instantly likable
and usable acoustic tone.
Plugged in, it leaps into life
with a punchy, bright ‘snap’.
Rolling off the signal from the
pickup in favour of the mic
models took the slightly
metallic-sounding edge off the
tone, and further rolling the
mids off we were able to warm
things up considerably. The
guitar definitely handles
dynamics and variations in
right-hand techniques with far
more precision when plugged
in than it does in acoustic mode.
Despite our best efforts at
encouragement and plenty of
opportunity, the APX resisted
feedback – even at full volume –
making the supplied rubber
feedback-busting soundhole
insert redundant. Overall, an
impressive performance.
CPX1200II
Boasting a full 15mm extra
width, the CPX has much more
of a traditional acoustic guitar
body size than its stablemate.
With the same wood choice as
the APX, the thin gloss finish is
particularly noticeable in this
translucent black colour with
Die-cast enclosed ebony tuners and a tasteful motif adorn the CPX’s headstock
The APX handles dynamics and
variations in right-hand techniques
with far more precision plugged in
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GIT357.rev_yamaha.indd 110 6/12/12 1:52 PM