Yamaha’s CP extend goes route back to the electro– acoustic grands and all– simple electronic pianos of the mid-1970s, when MIDI and economically accessible testing were as yet confident glimmers in a fashioner’s eye. The name left for two decades, previously being relaunched with a scope of advanced stage pianos that incorporated the CP1, which I audited in SOS in the June 2010 issue. Furthermore, now it appears the inheritance has gone to only two new models, the CP4 Stage and CP40 Stage. They have a considerable measure in like manner, however it’s the CP4 that is the more fit, and which is the subject of this audit. That past age of CPs, however still recorded as present on Yamaha’s site, appears to have been discreetly suspended — surely they’re not promptly accessible in retail channels.
So what do we have on offer with the CP4 Stage? All things considered, it’s a 88– note organize console with one of Yamaha’s NW (common wood) speed delicate activities incorporated with a weight– sparing suspension made for the most part of plastic. Yamaha CP4 Stage Piano There’s a wide soundset on board that can be reviewed from devoted front-board classification catches, console parts and sound layering, and very broad impacts preparing. It’s not entirely a preset machine either: some level of sound tweaking is conceivable through a menu framework based around a two– line 80– character LCD show.
The CP4 Stage utilizes Yamaha’s 88-key NW– GH (Natural Wood Graded Hammer) console activity. Wood is in fact obvious on the sides of the white keys when a nearby key is discouraged — most likely a thin facade attached to plastic underneath. I don’t know about the ‘manufactured ivory’ guarantee however. It’s a considerable measure like numerous advanced acoustic piano consoles, very glossy, and in no way like as finished to the eye or touch as my Roland RD700NX, not to mention a 1900 Steinway. Investigating the console further, there’s no mid– stroke escapement feel, and my subjective impression is of a moderately shallow activity with as much ‘spring’ and ‘swing’ (in a manner of speaking) over a firm yet tranquil and strong keybed.
On the off chance that some of that sounds negative, I don’t mean it to. Having played the CP4 for a long time I think it has outstanding amongst other stage piano activities right now accessible. Speed degree for the acoustic pianos is extremely brilliant, and it’s anything but difficult to control the uproarious, the calm, and everything in the middle. That was valid, I found, for the inside voices and in addition for controlling computer– based piano libraries through MIDI. Critically, however, the activity does not appear to be excessively liberal or sumptuous for the electric piano sounds.
Acoustic pianos in light of Yamaha’s CFX, CF and S6 grands are accessible in the CP4 Stage, rang with three devoted front-board catches. In any case, at that point every ha 14 elective renditions, got to with a turn of the front-board dial or the – 1/+1 catches by it. There are mono, ‘comp[ressed]’, ‘shake’ and ‘dim’ variations, alongside others that get an addition of ‘Fl’, ‘+’ and ‘– ‘. I don’t know what ‘Fl’ remains for, but rather ‘+’ and ‘- ‘ appear to move the entire specimen set up or down, skewing the consonant range a bit, and making for either a marginally strident or plummy impact. Likewise, I say tests, yet the innovation here is really Yamaha’s Spectral Component Modeling, which no uncertainty utilizes tests in some piece of the sound age process, however stays away from all conspicuous speed exchanging and sudden key– mapping sways. Successfully, as well.
The quality and playability is cheerful noteworthy. ‘CFX St’, in view of Yamaha’s most costly acoustic amazing, is only a stunning piano to play for pop, jazz or established. Unintentionally, I had the CP4 Stage available while I was additionally evaluating Garritan’s fine (and vast) CFX Concert Grand specimen library, and there wasn’t much to pick between them. Both demonstrated equipped for energizing lucidity close by warm nearness and smooth manage, and offered a great dynamic range and responsiveness.
Including a lot of adaptability to the fundamental sound palette is a scope of impacts that can be connected in a few distinctive ways. At a sort of worldwide level, and open at the same time from the Main, Split and Layer parts, are the System impacts: Chorus, Reverb and a compressor. The Chorus has various calculations that rushed to flanging, staging and straight deferrals as well, while the reverb has 11 unique characters including very respectable rooms, lobbies, stages and plates. At that point there are two multi– impacts generators that can be adaptably apportioned to any of the three Main/Split/Layer parts, which can be stacked up with reverbs, deferrals, tremolos and Leslie speakers, contortion, lo– fi medicines, wahs, EQs and the sky is the limit from there. The quality is for the most part great as well.
Additional adaptability for the System impacts originates from that point being autonomous send levels for each part, which are recallable as a component of a Performance and effortlessly balanced on the fly when the part sliders are changed to a devoted send– level mode. Notwithstanding, while I adored having the more proficient part impacts to play with too, I was baffled to find that turning them on and off with their front-board catches causes a short interference in the sound yield. So they’re obviously intended to be set up and left, instead of effectively flipped.