Yamaha Electronic Keyboard CP5 User Manual

Principal Components ...................................................................................3

Tone Generator .............................................................................................4

Song Setting Area .......................................................................................10

Controller ....................................................................................................11

Left & Right Parts ........................................................................................12

Song Setting Area .......................................................................................35

TRACK Part .................................................................................................39

MIC INPUT Part (CP5 only) .........................................................................40

Settings for All Parts ....................................................................................42

Settings for All Performances ......................................................................43

MIDI .............................................................................................................54

Yamaha Corp. reserves the right to update or modify this manual at any time without prior notice.

The most up-to-date version is freely available for download from the following web page.

http://www.yamaha.co.jp/manual/

CP5 /CP50 Reference Manual

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 Set-

ting area, and the Controller.

CP5/CP50

Controller

Song Setting Area

Tone Generator

Performances

RIGHT1/RIGHT

MIDI record

and play

LEFT1/LEFT

User Songs

LEFT2

RIGHT2

Master

Compressor

block

Master

Equalizer

block

Preset Drum Patterns

Reverb

block

TRACK

MIC INPUT

Audio record

and play

Wave

MIC INPUT

: Components available on CP5 only.

USB flash-memory device

Click

from the diagram to jump to the corresponding page.

CP5/CP50 Reference Manual

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 key-

board, operating the sequencer, and using various controllers. In specific terms, the Tone Generator is made up of Per-

formances, 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.

Meanwhile, the Master Compressor block and the Master Equalizer block are used to adjust the dynamics and tone of

the sounds produced by individual Performances. Master Compressor and Master Equalizer settings are stored sepa-

rately from Performances; therefore, they affect the stage piano as a whole and can be adjusted to perfectly match the

environment in which it is being played. The basic flow of signals between these components is as follows.

Performance

LEFT1/LEFT

LEFT2

RIGHT1/RIGHT

Master

Compressor

block

Master

Equalizer

block

RIGHT2

TRACK

MIC INPUT

Reverb

block

:The LEFT2, RIGHT2, and MIC INPUT parts are available

on the CP5 only.

Each Performance comprises a number of different parts and a Reverb block. As shown below, CP5 Performances con-

tain six different parts, while CP50 Performances have three. Furthermore, the types of sound that can be handled vary

from part to part. For more information on parts, see page 5.

 CP5 Parts

• Left and right parts: LEFT1, LEFT2, RIGHT1, and RIGHT2

• TRACK part

• MIC INPUT part

 CP50 Parts

• Left and right parts: LEFT and RIGHT

• TRACK part

The sound of each Performance is completed by applying a common reverb effect to the sound of each of the selected

parts. As a final step, furthermore, the sound of the stage piano itself can be perfectly matched to its playing environment

by setting the Master Compressor and Master Equalizer blocks, which affect all Performances in the same way.

CP5/CP50 Reference Manual

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. Regardless of the number available, you

can freely arrange these parts in a layered configuration or a split configuration for left and right hands to best suit your

playing style. When layering parts, overlapping playing sections are defined by setting note limits for each (page 32).

When splitting parts, meanwhile, a split point is set (page 31) so that notes to the left and right of that point can be played

using the left and right parts, respectively. Layering and splitting can be setup using the Split parameter (page 31) from

the Common Settings area.

Layered parts

Split parts

LEFT1 or LEFT

Split point

LEFT2

RIGHT1 or RIGHT

LEFT1 or LEFT

LEFT2

RIGHT1 or RIGHT

RIGHT2

Parts available on CP5 only.

Each CP5 part is subdivided into four distinct blocks known as the Voice block, the Pre-Amplifier block, the Modulation

Effect block, and the Power-Amplifier / Compressor block. In the CP50, meanwhile, three blocks are used for each part

— namely, the Voice block, the Pre-Amplifier block, and the Modulation Effect block.

Parts

Modulation

Effect block

Power-Amplifier /

Compressor block

Voice

block

Pre-Amplifier

block

Only CP5 parts feature a Power-Amplifier / Compressor block.

In these blocks, we have recreated the unique sounds not only of acoustic pianos and classic electric pianos, but also of

a wide range of effect units, amplifiers, and other devices commonly used with each in actual performance and record-

ing settings. Using the Piano Customize function to freely assemble blocks, you can both replicate standard vintage set-

tings and also create original hardware combinations that would never be possible in the real world. Furthermore, your

CP5 or CP50 also comes complete with many other voices such as strings and guitars, and these can be combined with

piano voices to produce unique, exciting sounds.

Each Performance allows the sounds produced by its various parts to be sent through the common Reverb block for fin-

ishing. In addition, Performances also contain a Common Settings area that allows a name, a keyboard mode, and con-

troller parameters to be set for each. These common settings can be used to make final adjustments to the individual

Performances that you create.

Meanwhile, your CP5 or CP50 is pre-loaded with an impressive selection of Preset Performances, specially created by

artfully combining the above-described parts and blocks to produce just the right sounds. Finally, the Master Compres-

sor and Master Equalizer blocks, which affect all Performances in the same way, can be used to ensure that the sound of

your stage piano is always perfectly matched to its playing environment.

CP5/CP50 Reference Manual

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. Using a range of advanced sound-synthesis techniques, your CP5 or CP50 can faithfully repro-

duce the unique sonic characteristics of a broad spectrum of acoustic pianos and classic electric pianos. In addition to

piano sounds, furthermore, Voice blocks also offer a selection of other types of musical instruments, such as strings, gui-

tar, and bass, and these are conveniently arranged into different instrument categories. For more information regarding

piano voices (as selected from the PIANO and E.PIANO categories), refer to Voice Block (page 12) from the Reference

section below. For more information regarding other instrument categories and voices, refer to the Data List pdf docu-

ment.

 Pre-Amplifier Block

The Pre-Amplifier block is used to set pre-amplifier parameters and to make other adjustments uniquely affecting piano

voices. As such, this block is available only when a piano voice has been selected (from the PIANO or E.PIANO cate-

gory). In addition to pre-amplifiers actually used with various types of pianos in live performance settings, the Pre-Ampli-

fier block also replicates many other parameters perfectly configured for the enhancement of piano sounds. Whenever

you select a voice from the PIANO or E.PIANO category within the Voice block, a specific set of parameters for that par-

ticular voice will be made available in the Pre-Amplifier block. For details on Pre-Amplifier block parameters, see Pre-

Amplifier Block (page 13) from the Reference section below.

 Modulation Effect Block

Within each Modulation Effect block, you will find a versatile collection of modulation-type effects that are indispensable

to piano sound design for stage and recording environments. Positioned immediately after the Voice and Pre-Amplifier

blocks for the corresponding part, this block processes to the raw instrument sound. Whenever a non-piano voice is

selected within the Voice block, furthermore, the Modulation Effect block functions as an insertion effect. Using Modula-

tion Effect blocks, individual parts can be processed with different effects, each of which features a number of freely-

adjustable parameters. For details on the types of modulation effect available for use and the corresponding parameters,

see Modulation Effect Block (page 15) from the Reference section below.

 Power-Amplifier / Compressor Block (CP5 only)

For further shaping of voices, the Power-Amplifier / Compressor block contained within each CP5 part can be used to

select either a power amplifier or a compressor, each of which is modeled with remarkable levels of precision. Positioned

immediately after the part’s Modulation Effect block, this block adjusts the overall tone. Whenever a non-piano voice is

selected within the Voice block, furthermore, the Power-Amplifier / Compressor block functions as an insert-type effect.

Using Power-Amplifier / Compressor blocks, individual parts can be processed with different effects, each of which fea-

tures a number of freely-adjustable parameters. For details on the types of power-amplifier and the compressor available

for use and the corresponding parameters, see Power-Amplifier / Compressor Block (page 25) from the Reference sec-

tion below.

 Common Settings Area

The Common Settings area is used to assign names to your Performances, to specify a keyboard mode for the left and

right parts, and to setup controllers. If you wish to use your CP5 or CP50 as a master keyboard for controlling other MIDI

devices, the relevant settings are made here. For details on Common Settings area parameters, see Common (page 31)

from the Reference section below.

CP5/CP50 Reference Manual

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 key-

board 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. For more details on these parameters,

see TRACK Part (page 39) from the Reference section below.

MIC INPUT Part (CP5 only)

With the CP5, a microphone can be plugged into the MIC INPUT connector so that you can conveniently sing along as

you play. Each CP5 Performance features a MIC INPUT part that can be used to adjust the volume, pan, and effect set-

tings for the audio input via this connector. Furthermore, this audio can also be processed using a noise gate, compres-

sor, equalizer, and insertion effect. For more details, see MIC INPUT Part (page 40) from the Reference section below.

MIC INPUT Part

MIC INPUT

Noise Gate

Compressor

Insertion Effect

Reverb Block

The Reverb block on your CP5 or CP50 provides a host of exquisite reverb algorithms originally developed by Yamaha

for use in professional-audio applications. This block allows a common reverb effect to be applied to all parts from the

current Performance, and each features a number of freely configurable parameters. For details on the types of reverb

effect available for use and the corresponding parameters, see Reverb (page 42) from the Reference section below.

Makeup of Performance Memories

Your CP5 or CP50 can store Performances in three main memory areas — namely, the Preset Performance memory, the

User Performance memory, and an External Performance memory. The specific roles of each of these memory areas are

described below.

Preset Performance Memory

Accessed using the [PRE] button, the Preset Performance memory is used to hold the Performance presets that come

ready-made with your CP5 or CP50. This memory area contains three individual memory banks — PRE1, PRE2, and

PRE3. Each time you press the [PRE] button, a different Preset Performance memory bank will be selected. Four memory

groups (A, B, C, and D) are contained within each memory bank, and each one of these groups can hold ten Perfor-

mances. Press one of the group buttons [A] to [D] followed by one of the number buttons [1] to [10] to choose the corre-

sponding Performance from the currently selected External Performance memory bank. In order that they will always be

available for use, Preset Performances cannot be overwritten with other Performances that you have modified or created.

As such, the Preset Performance memory is read-only.

NOTE Performance 1 from Group A within the PRE1 memory bank will always be selected when you press the [PRE] button while

holding down the [EXIT] button.

NOTE For a list of all Preset Performances, see the Data List pdf document.

User Performance Memory

Accessed using the [USER] button, the User Performance memory is used to store original Performances that you have

created. This memory area contains three individual memory banks — USR1, USR2, and USR3. Each time you press the

[USER] button, a different User Performance memory bank will be selected. Four memory groups (A, B, C, and D) are

contained within each memory bank, and each one of these groups can hold ten Performances. Press one of the group

buttons [A] to [D] followed by one of the number buttons [1] to [10] to choose the corresponding Performance from the

currently selected User Performance memory bank. In the stage piano's default condition, the User Performance mem-

ory contains exactly the same content as the Preset Performance memory.

CP5/CP50 Reference Manual

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.

External Performance Memory

Accessed using the [EXT] button, an External Performance memory is read into your CP5 or CP50 from a plugged-in

USB flash-memory device. This memory area can be used to store original Performances that you have created, and it

contains three individual memory banks — EXT1, EXT2, and EXT3. Each time you press the [EXT] button, a different

External Performance memory bank will be selected. Four memory groups (A, B, C, and D) are contained within each

memory bank, and each one of these groups can hold ten Performances. Press one of the group buttons [A] to [D] fol-

lowed by one of the number buttons [1] to [10] to choose the corresponding Performance from the currently selected

External Performance memory bank. In order to use an External Performance memory stored on a USB flash-memory

device, the memory device must be plugged into your CP5 or CP50, and the stage piano must have loaded the corre-

sponding data into a dedicated section of its internal memory (DRAM).

NOTE Performance 1 from Group A within the EXT1 memory bank will always be selected when you press the [EXT] button while

holding down the [EXIT] button.

Preset Performance Memory

User Performance Memory

PRE1 bank

PRE2 bank

PRE3 bank

USR1 bank

USR2 bank

USR3 bank

Group A

Performance

Numbers 1 to 10

Group B

Performance

Numbers 1 to 10

Group C

Performance

Numbers 1 to 10

Group D

Performance

Numbers 1 to 10

External Performance Memory

EXT1 bank

EXT2 bank

EXT3 bank

Group A

Performance

Numbers 1 to 10

Group B

Performance

Numbers 1 to 10

Group C

Performance

Numbers 1 to 10

Group D

Performance

Numbers 1 to 10

CP5/CP50 Reference Manual

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. When you do so,

the stage piano will behave in a number of different ways depending on whether or not it already contains an External

Performance memory and when the USB flash-memory device was last plugged in. Each of these actions is described

below.

 Root directory does not contain an External Performance memory:

As soon as you plug in a USB flash-memory device, your stage piano will check its root directory for an External

Performance memory. If none exists, it will create one in the form of a file named EXTBANK.C5E or EXTBANK.C6E.

<< Making external >>

memory...

 Root directory contains an External Performance memory:

If an External Performance memory already exists in the root directory of the USB flash-memory device, the action taken will

— as described below — depend on whether or not that specific memory device was previously plugged in and removed

after you turned on the stage piano.

• Not previously plugged in after turning on the stage piano:

If the USB flash-memory device is being plugged in for the first time after turning on your CP5 or CP50, the data from its

External Performance memory will be automatically loaded into a dedicated section of the instrument's internal memory

(DRAM).

<< [EXIT] to cancel. >>

NOTE If a different USB flash-memory device has already been plugged in and removed after turning on the stage piano, the

instrument will operate in line with the description from Previously plugged in after turning on the stage piano (below).

NOTICE

Whenever an External Performance memory from a USB flash-memory device is loaded into the stage piano, all External

Performance memory data from the DRAM and data in the Edit Buffer will be overwritten. Before plugging in a USB flash-

memory device, therefore, be sure to store any important External Performances residing in the DRAM and any

Performances located within the Edit Buffer and containing unsaved modifications.

• Previously plugged in after turning on the stage piano:

Whenever you plug in a USB flash-memory device that has already been plugged in and removed at least once after

turning on the stage piano, you will be asked whether or not its External Performance memory should be loaded. If the

External Performance memory currently loaded into the stage piano contains irreplaceable Performances with unsaved

modifications, be sure to press Knob 3 (NO [PUSH]) at this time.

<< Load?(EXT perf) >>

<<YES[PUSH] NO[PUSH]>>

CP5/CP50 Reference Manual

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 flash-

memory device and to play back Wave files previously stored on such a device.

Song Setting Area

Tone Generator

Performances

RIGHT1/RIGHT

MIDI record

and play

LEFT1/LEFT

User Songs

LEFT2

RIGHT2

Master

Compressor

block

Preset Drum

Patterns

Master

Equalizer

block

Reverb

block

TRACK

MIC INPUT*

Audio record

and play

Wave

Parts available on CP5 only.

Audio output

USB flash-memory device

Recording MIDI & Audio Data

Recording of User Songs and Wave files is carried out using the Record screen (page 37). In the case of User Songs,

you record your keyboard performance as MIDI data, and this can be played back using the sound created by the cur-

rent Performance’s left and right parts. When creating Wave files for direct storage as audio data on a USB flash-memory

device, meanwhile, you can record your keyboard performance together with the Preset Drum Pattern or User Song set

as the backing track. It should be noted that Preset Drum Patterns cannot be re-recorded as MIDI data on the stage

piano, and that recorded MIDI data cannot be stored as Preset Drum Patterns.

Playing MIDI & Audio Data

For each Performance, you can choose a single Preset Drum Pattern, User Song, or Wave file for playback as a backing

track, and this selection is made on the Song Setting screen (page 35). The actual part(s) that will be used for playback

will depend on the type of backing track that you select. Preset Drum Patterns and Wave files are handled by the TRACK

part (page 7) from the Tone Generator’s currently-selected Performance, and within this part, you can set the backing

track’s volume, pan, and effect send level.

Preset Drum Patterns are MIDI sequences that play built-in drum kit sounds totally unrelated to the voices selected for

the Performance’s left and right parts; therefore, they will always play back using the drum kit sounds selected on the

Song Setting screen, regardless of left and right part settings. User Songs, on the other hand, are handled by left and

right parts (page 5), and for this reason, the sound that they produce will be affected by these parts’ voice and effect set-

tings. As these MIDI sequences are recorded using the sound of the left and right parts, they function perfectly as back-

ing tracks for the corresponding Performance.

CP5/CP50 Reference Manual

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. In

the same way, the other Controller devices also send signals to the tone generator whenever they are operated. Specifi-

cally speaking, the signals produced and sent by the keyboard and other devices are MIDI messages, and therefore,

they can also be sent to other MIDI devices or a computer via the MIDI OUT connector or the USB TO HOST port. Please

note, however, that data produced by the knobs is not output from the instrument in this way.

CP5/CP50 Reference Manual

Reference

This section provides a detailed description of the parameters used to configure your CP5 or CP50.

Left & Right Parts

Left & Right Parts

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.

[RIGHT2] (CP5)

Voice Block

The Voice block is used to set a basic sound for the currently selected part.

Song Setting Area

Configuring Voice Parameters

Edit Sequence

Press the [VOICE] button  Turn Knob 1 and Knob 2 or press buttons [1] to [10]

TRACK Part

Voices on your CP5 or CP50 are arranged into a number of different categories based on instru-

ment type or sound characteristics (i.e., piano, guitar, bass, etc.). For the purpose of explanation,

this section will introduce the voices from the PIANO and E.PIANO (electric piano) categories as

typical examples of the voices available on your stage piano. For details regarding all categories

and voices, refer to the Data List pdf document.

MIC INPUT Part

Settings for All Parts

Settings for All Performances

Voice name

PIANO Category

CF Grand*

Description

The CF Grand piano has a straightforward sound, making it suitable for practically all musical

genres. Featuring a broad dynamic range, this piano type provides for highly expressive perfor-

mances.

S6 Grand*

(CP5 only)

In contrast to the two CF-series pianos, the S6 Grand has a more compact, woody sound. Allowing

you to play with both warmth and power, it is ideal for a diverse range of musical genres.

E. PIANO Category

CP80*

CP88*

Reproducing the classic sound of the Yamaha CP80 Electric Grand Piano, the CP80 piano type can

also be used to recreate an unique “Eighties” feel by boosting the high frequencies with the accom-

panying pre-amplifier.

The CP88 piano and accompanying pre-amplifier deliver a nostalgia-laden sound distinctive of the

Yamaha CP80 Electric Grand Piano, particularly in the mid-frequency range.

71Rd I

(CP5 only)

The 71Rd I is the earliest-sounding of the CP5's Rd-series electric pianos. With the soft attack and

fast decay distinctive of felt hammers, it produces a mellow, hollow tone.

73Rd I

(CP5 only)

The 73Rd I piano replicates an electric piano with rubber-topped hammers, and compared to the

71 Rd I, it has a slightly brighter, more sustained tone. Overall, this Rd-series piano produces a

dark, heavy sound.

75Rd I

The 75Rd I piano reproduces the bright, sustained sound of an electric piano featuring high-perfor-

mance versions of tines, pickups, and other sound-generating components.

78Rd II

(CP5 only)

Replicating the effect of plastic hammers and a high-fidelity, integrated-circuit pre-amplifier, the

78Rd II boasts the brightest sound of the Rd series.

The Dyno piano type significantly boosts the high-frequency range of the 78Rd II to give a sparkling

“Eighties” sound.

Dyno

(CP5 only)

69Wr

In contrast to the Rd piano types provided by the CP5 or CP50. the 69Wr is characterized by a gen-

tle attack and fast decay. Furthermore, this piano type features a tight dynamic range.

77Wr

Rounding off the vintage electric piano lineup of CP5 or CP50, the 77Wr piano type features a stron-

ger attack and more brilliant overall tone than the 69Wr.

DX Legend

The DX Legend reproduces the indispensable vintage sound of the DX electric piano, which

remains a classic even to this day.

CP5/CP50 Reference Manual

Voice name

DX Woody

DX FTine

Description

With its rich, woody body, the DX Woody voice delivers a mellower electric-piano sound.

Recreating a classic voice from the DX electric piano, the DX FTine shows off the characteristic

attack sound of this instrument.

Left & Right Parts

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.

DX Mellow

DX Crisp

The DX Mellow voice is gentle and well suited to ballads; however, powerful playing will still pro-

duce a much harder sound.

Although relatively full-bodied, the DX Crisp remains highly present within an ensemble thanks to its

unique attack sound.

[RIGHT2] (CP5)

NOTE Piano types marked with an asterisk (*) can have their tuning adjusted by setting the TunCrv parameter (Tuning Curve)

to “stretch” (page 44).

Song Setting Area

Pre-Amplifier Block

The Pre-Amplifier block has an effect on the sound only when a voice from the PIANO or E.PIANO

category has been selected for the part in question. In such a case, furthermore, a unique set of

parameters specifically for the selected type of piano will be made available in this block.

TRACK Part

Configuring Pre-Amplifier Block Parameters

MIC INPUT Part

Settings for All Parts

Press and hold the [PRE-AMP] button (for at least one second)  Navigate to the

Edit Sequence

required page using the [LPAGE] and [PAGE R] buttons  Turn Knobs 1 to 3

Pre-Amplifier block parameters are chosen automatically based on the type of piano voice selected

so that the sound of that voice can be perfectly adjusted. For this reason, the parameters displayed

will vary from voice to voice. In the following table, you will find a description of all of this block’s

parameters in alphabetic order.

Settings for All Performances

On-screen name

(and full name)

Associated voices

Description

Bass

CP80, CP88, 71Rd I,

73Rd I, 75Rd I, 78Rd II,

Dyno, 69Wr, and 77Wr

This parameter is used to adjust the volume of the

low-frequency component.

Brill. (Brilliance)

CP80 and CP88

This parameter is used to adjust the brightness of

the sounds produced.

DampReso

(Damper Resonance

Level)

CF Grand and S6 Grand

This parameter is used in combination with a con-

nected Sustain pedal to recreate the sound of

strings resonating in response to pressing of an

acoustic piano's damper pedal. In specific terms,

the DampReso parameter sets the depth of this

resonance.

Setting values: -16 to +16

Decay (Decay Time)

All piano voices

This parameter is used to adjust how fast a note

decays while the key is being held down.

Setting values: -16 to +16

NOTE The same setting can be made using the

EGDcy parameter (page 29) from the Part

Setting screen.

Depth (Vibrato Depth)

Gain (Input Gain)

71Rd I, 73Rd I, 75Rd I,

78Rd II, 69Wr, and 77Wr

This parameter is used to adjust the depth of the

pre-amplifier vibrato.

All voices from E.PIANO

category

This parameter is used to adjust the output vol-

ume. If set to 100 or greater when 71Rd I, 73Rd I,

75Rd I, 78Rd II, Dyno, 69Wr, or 77Wr has been set

as the part's voice, drive will also be added to the

sound.

NOTE Output from the Pre-Amplifier block will be muted briefly whenever one of the following tone-control parameters is

modified.

• CP80 or CP88 pre-amplifier: Bass, Middle, Treble, or Brill

• 71Rd I, 73Rd I, or 75Rd I pre-amplifier: Bass

• 78Rd II pre-amplifier: Treble

• Dyno pre-amplifier: Bass or Overtone

CP5/CP50 Reference Manual

Modulation Effect Block

Using a Modulation Effect block, an audio effect can be applied to the part’s voice in order to mod-

ify its spatial characteristics.

Left & Right Parts

Selecting Modulation Effect Block Types

Press and hold the [MOD-FX] button (for at least one second)  Navigate to Page 1

Edit Sequence

using the [LPAGE] button if necessary  Turn Knobs 1 to 3

The following tables identify and describe the different types of effect that can be selected in each

Modulation Effect block. If you have selected a voice from the PIANO or E.PIANO category for the

current part, this block’s selection page will give priority to a group of effects specially designed for

piano voices (i.e., the modulation effects). A range of additional general-purpose effects can also

be selected from the block’s Other group. Meanwhile, if you have selected a non-piano voice, all of

these effects — including those primarily for piano voices — will be available for selection by cate-

gory as insertion effects.

[RIGHT2] (CP5)

Song Setting Area

For PIANO and E.PIANO voices:

TRACK Part

ModFxType

SmallPha

MIC INPUT Part

Selected modulation effect

Settings for All Parts

On-screen name

(and full name)

Description

Settings for All Performances

SmallPha (Small Phaser)

Max90

Small Phaser operates like a vintage phaser, applying a unique sweeping effect.

Max90 emulates a vintage phaser, producing a more traditional-sounding effect.

Max100

Another vintage-type phaser, Max100 can modify the sound in a number of differ-

ent ways based on its Mode parameter setting.

Flanger

The Flanger effect reproduces the sound of a vintage flanger.

TouchWah (Touch Wah)

Touch Wah produces a classic filter-sweep effect in response to how hard or soft

the keyboard is played.

PedalWah (Pedal Wah)

Another classic filter-sweep effect, Pedal Wah is operated using a pedal or

another controller. In order to use this effect, it is necessary to specify which con-

troller is to be used, and this can be done by selecting the controller on Page 4 of

the Common Settings screen (page 34) and setting “MdEffect” as its destination.

Chorus

The Chorus effect applies a standard chorus.

D Chorus

D Chorus produces a chorus effect that is more natural sounding, softer, and

wider.

816Cho (816Chorus)

Famous for combining eight DX7s in a single rack unit, Yamaha's TX816 featured

a thick, detuned chorus sound that is reproduced here by the 816Chorus modula-

tion effect.

Sympho (Symphonic)

Other

Symphonic uses multi-stage modulation to produce a wider-sounding chorus.

The Other group contains general-purpose effects that are suitable for use with

voices other than those from the PIANO and E.PIANO categories. Within this

group, you can select from a wide range of effects in a number of different catego-

ries. See the table on the following page for more details regarding these catego-

ries and effects.

CP5/CP50 Reference Manual

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.

Effect category Effect name

Left & Right Parts

ModFxType

other > DLY > CrsDly

On-screen name

(and full name)

Description

[RIGHT2] (CP5)

Effect category: Delay (DLY)

CrsDly (Cross Delay)

Cross Delay contains two individual delays with cross-over feedback to produce a

sound that swirls between the left and right channels.

Song Setting Area

T-CrsDly (Tempo Cross Delay)

Tempo Cross Delay processes sound in the same way as Cross Delay, but allows

the delay times to be synchronized with the playback tempo.

T-DlyMono

(Tempo Delay Mono)

Tempo Delay Mono is a monaural delay effect that allows the delay time to be syn-

chronized with the playback tempo.

TRACK Part

T-DlySt (Tempo Delay Stereo)

Tempo Delay Stereo is a stereo delay effect that allows the delay time to be syn-

chronized with the playback tempo.

MIC INPUT Part

Settings for All Parts

DlyLR (Delay LR)

Delay LR features a pair of left and right feedback-type delays.

DlyLCR (Delay LCR)

DlyLR(St) (Delay LR (Stereo))

Delay LCR features three individual delays, one each for the left, center, and right.

Delay LR (Stereo) processes sound in the same way as Delay LR but has fully inde-

pendent left and right channels.

Settings for All Performances

Effect category: Chorus (CHO)

G Cho (G Chorus)

2Mod (2 Modulator)

G Chorus produces a rich, deep chorus with complex modulation.

2 Modulator is a chorus effect allowing pitch and amplitude modulation to be

adjusted for a more natural, spacious tone.

SPX Cho (SPX Chorus)

The SPX Chorus effect enhances modulation and spaciousness using a three-

phase LFO.

Ensemble (Ensemble Detune)

Ensemble Detune adds a slightly pitch-shifted sound to produce a modulation-free

chorus.

Effect category: Flanger (FLG)

ClscFlg (Classic Flanger)

T-Flg (Tempo Flanger)

As its name suggests, Classic Flanger produces a conventional flanger effect.

Tempo Flanger features an LFO that can be synchronized with the playback tempo.

DynaFlg (Dynamic Flanger)

The Dynamic Flanger effect can control its delay modulation in real time based on

the level of the input signal.

Effect category: Phaser (PHA)

T-Pha (Tempo Phaser)

Tempo Phaser features an LFO that can be synchronized with the playback tempo.

DynaPha (Dynamic Phaser)

The Dynamic Phaser effect can control its phase shift in real time based on the

level of the input signal.

Effect category: Tremolo & Rotary (T&R)

AutoPan (Auto Pan)

Auto Pan is an effect that cyclically moves the sound between left and right in the

stereo field.

Tremolo

Tremolo is used to cyclically modulate the volume of the input signal.

Rotary Speaker simulates the unique sound of a classic rotary-type speaker.

Rotary (Rotary Speaker)

CP5/CP50 Reference Manual

On-screen name

(and full name)

Description

Effect category: Distortion (DST)

AmpSim1 (Amp Simulator 1)

AmpSim2 (Amp Simulator 2)

Amp Simulator 1 replicates the sound produced by guitar amplifiers.

Amp Simulator 2 replicates the sound produced by guitar amplifiers.

Compressor & Distortion combines compression and distortion effects.

Left & Right Parts

CmpDst

(Compressor-Distortion)

CmpDst+

(Compression-Distortion-

Delay)

The Compression-Distortion-Delay effect combines compression, distortion, and

delay effects.

[RIGHT2] (CP5)

Effect category: Compressor (CMP)

ClscCmp

(Classic Compressor)

Relatively fast-acting, the Classic Compressor effect is well suited to solo perfor-

mances.

Song Setting Area

MCmp

(Multiband Compressor)

Multiband Compressor can be used to apply compression independently in three

specific frequency bands.

Effect category: Lo-fi (L-F)

TRACK Part

Lo-Fi

Lo-Fi is used to creatively degrade the audio quality of the incoming signal.

The Noisy effect can be used to intentionally add noise to the input signal.

Noisy

MIC INPUT Part

D-Turn (Digital Turntable)

Digital Turntable adds the noise, clicks, and pops characteristic of old analog

records.

Settings for All Parts

Effect category: Tech (TEC)

RingMod (Ring Modulator)

Ring Modulator gives the input signal a more metallic sounding character.

Settings for All Performances

DynaRing

(Dynamic Ring Modulator)

The Dynamic Ring Modulator effect can control its oscillator frequency in real time

based on the level of the input signal.

DynaFlt (Dynamic Filter)

Auto Syn (Auto Synth)

Dynamic Filter can control its filter cutoff frequency in real time based on the level

of the input signal.

The Auto Syn effect uses delay and modulation to make the input signal sound as if

it was produced using a synthesizer.

Isoltr (Isolator)

Isolator uses powerful filters to control the volume of individual frequency bands.

The Tech Modulation effect applies a special type of modulation to the input signal.

TechMod (Tech Modulation)

Effect category: Misc (MSC)

EQ501 (EQ 501)

EQ 501 is a five-band equalizer utilizing Yamaha’s Virtual Circuitry Modeling (VCM)

technology.

Enhans (Harmonic Enhancer)

TalkMod (Talking Modulator)

PchChg (Pitch Change)

ER (Early Reflections)

Harmonic Enhancer adds higher-order harmonics to enhance a sound’s presence.

The Talking Modulator effect adds a vowel-type formant to the input signal.

As its name suggests, Pitch Change can modify the pitch of the input signal.

Early Reflections is a type of reverb effect that replicates the sound of the input sig-

nal being reflected once or twice off a simulated room’s hard surfaces without the

subsequent full reverberation.

CP5/CP50 Reference Manual

For non-piano voices:

Ins1Type

Effect category

MOD > SmallPha

Left & Right Parts

Effect name

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). All effects for non-piano voices function as

insertion effects.

[RIGHT2] (CP5)

Configuring Modulation Effect Block Parameters

Song Setting Area

Press and hold the [MOD FX] button (for at least one second)  Navigate to the second

Edit Sequence

and subsequent pages using the [LPAGE] and [PAGE R] buttons  Turn Knobs 1 to 3

TRACK Part

Each Modulation Block effect is configured using a different set of parameters, which adjust the

sound of the effect in various ways. The following tables will describe the functions of each of these

parameters in alphabetic order, first for the modulation effects (specially designed for PIANO and

E.PIANO voices) and then for the effects from the Other group.

MIC INPUT Part

Settings for All Parts

NOTE For more details on the specific parameters associated with each different type of effect, see the Modulation Effect

parameter list in the Data List pdf document.

Settings for All Performances

Parameters for modulation effects

On-screen name

Associated effects

Description

(and full name)

Bottom

Touch Wah and Pedal Wah

This parameter is used to set the lowest point

in the filter's sweep range.

Color

Delay

Depth

Drive

Small Phaser

Symphonic

This parameter is used to adjust the way in

which the phaser sweeps.

This parameter is used to set an offset for the

modulation delay time.

Flanger, Chorus, 816Chorus, and

Symphonic

This parameter is used to adjust the depth of

modulation.

Small Phaser and Max90

Touch Wah and Pedal Wah

Flanger and 816Chorus

This parameter is used to set the phaser's

input level.

This parameter is used to adjust the way in

which the sound distorts.

Feedback

This parameter is used adjust the degree to

which output from the effect is fed back into

its input.

Manual

Mix

Flanger

This parameter is used to set the offset value

for delay modulation.

Flanger, Chorus, 816Chorus, and

Symphonic

This parameter is used to adjust the volume

of the wet sound (i.e., the sound produced by

the effect).

Mode

Max100

This parameter is used to select the phaser

mode.

PdlCtrl

(Pedal Control)

Pedal Wah

816Chorus

This parameter is used to set the cutoff fre-

quency for the wah filter.

Phase

This parameter is used to set the phase offset

for the chorus effect.

CP5/CP50 Reference Manual

On-screen name

(and full name)

Associated effects

Small Phaser

Description

Rate

This parameter is used to adjust the modula-

tion speed.

Reso

(Resonance Offset)

Touch Wah and Pedal Wah

Touch Wah

This parameter is used to set the resonance

offset value.

Left & Right Parts

Sens. (Sensitivity)

This parameter is used to adjust how sensi-

tive the filter-sweep effect is to playing veloc-

ity.

Speed

Top

Max90, Max100, Flanger, Chorus,

816Chorus, and Symphonic

This parameter is used to adjust the modula-

tion speed.

[RIGHT2] (CP5)

Touch Wah and Pedal Wah

This parameter is used to set the highest

point in the filter's sweep range.

Type

Max90

This parameter is used to select the phaser

type.

Song Setting Area

D Chorus

This parameter is used to select the chorus

type.

TRACK Part

Parameters for Other effects

MIC INPUT Part

On-screen name

(and full name)

Description

Settings for All Parts

AEG Phase

AM Depth

This parameter is used to offset the AEG phase.

This parameter is used to set the depth of amplitude modulation.

This parameter is used to adjust the phase of the right channel’s amplitude modulation.

This parameter is used to adjust the speed of amplitude modulation.

This parameter is used to select a waveform for amplitude modulation.

This parameter is used to set the type of amplifier to be simulated.

Settings for All Performances

AM Inverse R

AM Speed

AM Wave

AMP Type

Analog Feel

This parameter is used to add the sonic characteristics of an analog flanger to the effect

sound.

Attack

This parameter is used to set the amount of time that elapses between arrival of an input

signal and activation of the compressor.

Attack Time

Bit Assign

This parameter is used to adjust the envelope follower’s attack time.

This parameter is used to set the way in which the Word Length setting affects the input

signal.

Click Density

Click Level

This parameter is used to adjust the frequency of clicks added to the input signal.

This parameter is used to adjust the volume of clicks added to the input signal.

Common Release

Affecting all three compression bands, this parameter is used to set the amount of time

that elapses until the sound is no longer being compressed.

Compress

This parameter is used to set the input-signal level at which the compressor starts to

process the sound (i.e., the threshold).

Decay

This parameter is used to control the way in which the reverb sound decays.

This parameter is used to set the delay volume for the center channel.

Delay Level C

Delay Mix

This parameter is used to set the delay volume in cases where multiple effects are

applied.

Delay Offset

This parameter is used to set an offset for the modulation delay time.

Delay Time

This parameter is used to set the delay time as a note value or absolute time.

These parameters are used to set delay times for the center, left, and right channels.

Delay Time C, L, R

Delay Time L>R

This parameter is used to set the time that elapses between input of sound via the left

channel and output via the right channel.

Delay Time Ofst R

This parameter is used to set the delay time for the right channel as an offset.

CP5/CP50 Reference Manual

On-screen name

(and full name)

Description

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.

Density

Reverb effects: This parameter is used to set the reverb density.

Early Reflections: This parameter is used to set the density of early reflections.

This parameter is used to set the depth of the simulated room.

Left & Right Parts

Depth

Detune

Device

This parameter is used to set the degree to which pitches are detuned.

This parameter is used to select one of a number of devices that distort the sound in dif-

ferent ways.

[RIGHT2] (CP5)

Diffusion

This parameter is used to adjust the spaciousness of the sound produced.

This parameter is used to set the direction of envelope-follower modulation.

Direction

Divide Freq High

This parameter is used to set the mid-to-high frequency when splitting the sound into

three bands.

Song Setting Area

Divide Freq Low

Drive

This parameter is used to set the low-to-mid frequency when splitting the sound into

three bands.

Distortion effects, Noisy, and Slice: This parameter is used to adjust the way in which the

sound distorts.

TRACK Part

Miscellaneous effects: This parameter is used to set the degree to which the effect is

applied.

MIC INPUT Part

Settings for All Parts

Drive Horn

Drive Rotor

Dry Level

This parameter is used to set the depth of modulation produced through rotation of the

high-frequency horn.

This parameter is used to set the depth of modulation produced through rotation of the

low-frequency rotor.

Settings for All Performances

This parameter is used to adjust the volume of the dry sound (i.e., the unprocessed

sound).

Dry LPF Cutoff

Frequency

This parameter is used to set the cutoff frequency for the low pass filter applied to the

dry sound.

Dry Mix Level

This parameter is used to adjust the volume of the dry sound (i.e., the unprocessed

sound).

Dry Send to Noise

Dry/Wet Balance

This parameter is used to adjust how much of the dry signal is sent to the noise effect.

This parameter is used to set the balance between the dry sound and the wet sound

(i.e., the sound produced by the effect).

Dyna Level Offset

This parameter is used to set an offset for adjusting the level of the envelope follower’s

output.

Dyna Threshold

Level

This parameter is used to set the minimum level at which the envelope follower affects

the input signal.

Edge

This parameter is used to specify a curve that determines how the sound is distorted.

Emphasis

This parameter is used to change the high-frequency characteristics of the processed

sound.

EQ Frequency

EQ Gain

This parameter is used to set the EQ frequency.

This parameter is used to set how much the EQ will boost or cut the sound at the corre-

sponding frequency.

EQ High Frequency

EQ High Gain

This parameter is used to set the center frequency of the high-frequency EQ band.

This parameter is used to set the amount by which the high-frequency EQ band is

boosted or cut.

EQ Low Frequency

EQ Low Gain

This parameter is used to set the center frequency of the low-frequency EQ band.

This parameter is used to set the amount by which the low-frequency EQ band is

boosted or cut.

EQ Mid Frequency

EQ Mid Gain

This parameter is used to set the center frequency of the mid-frequency EQ band.

This parameter is used to set the amount by which the mid-frequency EQ band is

boosted or cut.

CP5/CP50 Reference Manual

On-screen name

(and full name)

Description

EQ Mid Width

EQ Width

This parameter is used to set the width of the mid-frequency EQ band.

This parameter is used to set the relative volumes of early reflections and reverberation.

Left & Right Parts

ER/Rev Balance

F/R Depth

This parameter is used to set the front-to-rear pan depth (and has an effect only when

Pan Direction is set to “Lturn” or “Rturn”).

FB Hi Damp Ofst R

FB Level Ofst R

This parameter is used to set the decay level for right-channel high frequencies as an

offset.

This parameter is used to set the right-channel feedback level as an offset.

[RIGHT2] (CP5)

Feedback High

Damp

This parameter is used to set the rate of decay for feedback high frequencies (with

smaller values representing faster decay speeds).

Feedback Level

Reverb effects and Early Reflections: This parameter is used to set the feedback level

for the initial delay sound.

Song Setting Area

Delay effects, Chorus effects, Flanger effects, Tech effects, and Compression-Distortion-

Delay: This parameter is used to set how much of the delay sound is fed back into the

effect’s input (with negative values indicating that its phase is inverted).

TRACK Part

Tempo Phaser and Dynamic Phaser: This parameter is used to set how much of the

phaser output is fed back into the effect’s input (with negative values indicating that its

phase is inverted).

MIC INPUT Part

Feedback Level 1, 2 These parameters are used to set the feedback level for the first and second delay

sounds.

Settings for All Parts

Feedback Time

This parameter is used to set the feedback delay time.

Feedback Time 1,

2, L, R

These parameters are used to set the delay time for feedback delay 1, feedback delay

2, the left feedback delay, and the right feedback delay.

Settings for All Performances

Filter Type

Lo-Fi: This parameter is used to select a tonal characteristic.

Dynamic Filter: This parameter is used to select a filter type.

These parameters are used to fine tune the first and second pitch settings.

This parameter is used to set the height of the simulated room.

Fine 1, 2

Height

High Attack

This parameter is used to set the amount of time that elapses before compression is fully

applied in the high-frequency band.

High Gain

High Level

High Mute

High Ratio

This parameter is used to set the output level of the high-frequency band.

This parameter is used to set the high-frequency level.

This parameter is used to activate and deactivate high-frequency muting.

REV-X Hall and REV-X Room: This parameter is used to adjust the high-frequency com-

ponent.

Multiband Compressor: This parameter is used to set the compression ratio for the high-

frequency band.

High Threshold

Horn Speed Fast

Horn Speed SLow

Initial Delay

This parameter is used to set the input-signal level at which the compressor starts to

process the sound in the high-frequency band.

This parameter is used to set the speed of rotation of the high-frequency horn at the

“fast” setting.

This parameter is used to set the speed of rotation of the high-frequency horn at the

“slow” setting.

This parameter is used to set the amount of time that elapses before early reflections are

produced.

Initial Delay 1, 2

These parameters are used to set the amount of time that elapses before the first and

second early reflections are produced.

Initial Delay Lch,

Rch

These parameters are used to set the amount of time that elapses before the left and

right early reflections are produced.

Input Mode

Input Select

This parameter is used to switch between mono and stereo input.

This parameter is used to select an input channel.

CP5/CP50 Reference Manual

On-screen name

(and full name)

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.

Left & Right Parts

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.

Tempo Phaser: This parameter is used to set the depth of phase modulation.

[RIGHT2] (CP5)

LFO Phase

Difference

This parameter is used to set the left-right phase difference between modulation wave-

forms (where a setting of 64 represents zero degrees or no phase difference).

LFO Speed

Chorus effects, Flanger effects, Tremolo, and Ring Modulator:

This parameter is used to set the modulation frequency.

Song Setting Area

Tempo Flanger and Tempo Phaser: This parameter is used to set the modulation speed

in terms of note lengths.

Auto Pan: This parameter is used to set the auto-pan frequency.

TRACK Part

LFO Wave

Flanger effects and Ring Modulator: This parameter is used to select a modulation

waveform.

Auto Pan: This parameter is used to set the panning curve.

MIC INPUT Part

Liveness

This parameter is used to set the way in which early reflections decay.

Settings for All Parts

Low Attack

This parameter is used to set the amount of time that elapses before compression is fully

applied in the low-frequency band.

Low Gain

Low Level

Low Mute

Low Ratio

This parameter is used to set the output level of the low-frequency band.

This parameter is used to set the low-frequency level.

Settings for All Performances

This parameter is used to activate and deactivate low-frequency muting.

REV-X Hall and REV-X Room:

This parameter is used to adjust the low-frequency component.

Multiband Compressor: This parameter is used to set the compression ratio for the low-

frequency band.

Low Threshold

This parameter is used to set the input-signal level at which the compressor starts to

process the sound in the low-frequency band.

LPF Resonance

Mic L-R Angle

This parameter is used to set the resonance of the input signal’s low-pass filter.

This parameter is used to set the left-right inclination of the microphone used to capture

the speaker's output.

Mid Attack

This parameter is used to set the amount of time that elapses before compression is fully

applied in the mid-frequency band.

Mid Gain

This parameter is used to set the output level of the mid-frequency band.

This parameter is used to set the mid-frequency level.

Mid Level

Mid Mute

This parameter is used to activate and deactivate mid-frequency muting.

This parameter is used to set the compression ratio for the mid-frequency band.

Mid Ratio

Mid Threshold

This parameter is used to set the input-signal level at which the compressor starts to

process the sound in the mid-frequency band.

Mix Level

This parameter is used to set how much of the effect sound is mixed back into the dry

sound.

Mod Depth

This parameter is used to set the depth of modulation.

Mod Depth Ofst R

Mod Feedback

This parameter is used to set the modulation depth for the right channel as an offset.

This parameter is used to set the amount of the output signal that is fed back to the mod-

ulation.

Mod Gain

This parameter is used to adjust the modulation gain level.

CP5/CP50 Reference Manual

On-screen name

(and full name)

Description

Mod LPF Cutoff

Frequency

This parameter is used to set the cutoff frequency for the low pass filter applied to the

modulated sound.

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.

Tech Modulation: This parameter is used to adjust the volume of the modulated sound.

This parameter is used to adjust the speed of modulation.

Mod Speed

Mod Wave Type

Modulation Phase

This parameter is used to select the modulation waveform.

[RIGHT2] (CP5)

This parameter is used to set the left-right phase difference between modulation wave-

forms.

Move Speed

Noise Level

This parameter is used to set the amount of time that elapses until the sound set using

the Vowel parameter is produced.

Song Setting Area

This parameter is used to adjust the noise level.

Noise LPF Cutoff

Frequency

This parameter is used to set the cutoff frequency for the low pass filter applied to noise.

TRACK Part

Noise LPF Q

This parameter is used to set the resonance of the low pass filter applied to noise.

This parameter is used to set the depth of noise modulation.

This parameter is used to set the speed of noise modulation.

This parameter is used to adjust how the noise sounds.

Noise Mod Depth

Noise Mod Speed

Noise Tone

MIC INPUT Part

Settings for All Parts

On/Off Switch

This parameter is used to activate and deactivate the isolator in order that changes in

the tone can be rapidly produced.

Settings for All Performances

OSC Frequency

Coarse

This parameter is used to set the frequency of modulation of the input waveform.

This parameter is used to fine tune the frequency of modulation of the input waveform.

These parameters are used to set the level of the sound output by the effect.

OSC Frequency

Fine

Output Gain

Output Level

Output Level 1, 2

These parameters are used to set the levels of the sounds output by the first and second

effects.

Over Drive

This parameter is used to adjust the way in which the sound distorts.

These parameters are used to adjust the first and second pan settings.

This parameter is used to select an auto-pan type.

Pan 1, 2

Pan Direction

Phase Shift Offset

Pitch 1, 2

This parameter is used to set the offset value for phase modulation.

These parameters are used to adjust the first and second pitch settings in semitone

units.

PM Depth

This parameter is used to set the depth of pitch modulation.

Pre Mod HPF Cutoff

Frequency

This parameter is used to set the cutoff frequency for the pre-modulation high-pass filter.

Pre-LPF Cutoff

Frequency

This parameter is used to set the cutoff frequency for the low-pass filter.

Pre-LPF

This parameter is used to set the resonance of the input signal’s low-pass filter.

Resonance

Presence

Often seen on guitar amplifiers and the like, this parameter is used to control the high-

frequency band.

Ratio

This parameter is used to set the compression ratio.

Release

This parameter is used to set the amount of time over which the compressor stops com-

pressing the sound.

Release Curve

Release Time

This parameter is used to select a release curve for the envelope follower.

This parameter is used to adjust the envelope follower’s release time.

CP5/CP50 Reference Manual

On-screen name

(and full name)

Description

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.

Left & Right Parts

Reverb Time

Room Size

This parameter is used to set how long it takes for the reverb sound to fade to silence.

This parameter is used to set the size of the simulated room in which the instrument is

being played.

Rotor Speed Fast

Rotor Speed Slow

This parameter is used to set the speed of rotation of the low-frequency rotor at the “fast”

setting.

[RIGHT2] (CP5)

This parameter is used to set the speed of rotation of the low-frequency rotor at the

“slow” setting.

Rotor/Horn Balance This parameter is used to set the relative volumes of the high-frequency horn and the

low-frequency rotor.

Song Setting Area

Sampling Freq.

Control

This parameter is used to set the sampling frequency.

Sensitivity

Dynamic Flanger, Dynamic Phaser, and Tech effects: This parameter is used to set how

sensitive the modulation is to changes in the input level.

TRACK Part

VCM Touch Wah: This parameter is used to set how sensitive the wah filter is to changes

in the input level.

MIC INPUT Part

Slow-Fast Time of

Horn

This parameter is used to set how long it takes for the high-frequency horn to switch

between fast and slow rotation speeds.

Settings for All Parts

Slow-Fast Time of

Rotor

This parameter is used to set how long it takes for the low-frequency rotor to switch

between fast and slow rotation speeds.

Space Type

Speaker Type

Speed Control

Spread

This parameter is used to select the type of space simulation to be applied.

This parameter is used to select the type of speaker to be simulated.

This parameter is used to set the rotation speed as “fast” or “slow”.

This parameter is used to set how wide the effect's output sounds.

This parameter is used to set the number of phase-shifter steps.

Settings for All Performances

Stage

Threshold

This parameter is used to set the input-signal level at which the effect starts to process

the sound.

Type

This parameter is used to select a reflected-sound type.

This parameter is used to select a vowel type.

Vowel

Wall Vary

This parameter is used to specify the type of wall in the simulated room (with higher val-

ues producing more diffuse reflections).

Width

This parameter is used to set the width of the simulated room.

Word Length

This parameter is used to set the resolution of the distorted signal (i.e., how coarse the

output sounds).

CP5/CP50 Reference Manual

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 cre-

ated by the currently-selected part's Voice and Modulation Effect blocks. This block is available on

the CP5 only.

Left & Right Parts

Selecting Power-Amplifier / Compressor Block Types

Press and hold the [PWR-AMP] button (for at least one second)  Navigate to Page 1

Edit Sequence

using the [LPAGE] button if necessary  Turn Knobs 1 to 3

[RIGHT2] (CP5)

The following table identifies and describes the different power amplifier / compressor types avail-

able within the Power-Amplifier / Compressor block. If you have selected a voice from the PIANO or

E.PIANO category for the current part, this block’s selection page will give priority to power amplifi-

ers and a compressor specially designed for piano voices. Furthermore, a range of general-pur-

pose effects can also be selected from the block’s Other group. Meanwhile, if you have selected a

non-piano voice, the power amplifiers, the compressor, and all other effects will be available for

selection as insertion effects.

Song Setting Area

TRACK Part

For PIANO and E.PIANO voices:

MIC INPUT Part

Settings for All Parts

PwrAmpType

71Rd I

Selected power-amplifier / compressor type

Settings for All Performances

On-screen name

(and full name)

Description

71Rd I (PowerAmp 71Rd I)

73Rd I (PowerAmp 73Rd I)

PowerAmp 71Rd I is ideal for enhancing the acoustic nuances of electric pianos.

Also intended for use with electric pianos, the 73Rd I power-amp/speaker combi-

nation produces a more spacious tone.

75Rd I (PowerAmp 75Rd I)

78Rd II (PowerAmp 78Rd II)

69Wr (PowerAmp 69Wr)

77Wr (Power Amp 77Wr)

Clean (Clean Amp)

PowerAmp 75Rd I is an electric-piano power amplifier that realizes a powerful, all-

engulfing tone.

Particularly well suited to chorus-type effects, the 78Rd II power-amp/speaker

combination is characterized by a clear, highly-present tone.

The 69Wr power amplifier enhances low-end punch while enriching the overall

electric-piano sound.

A higher degree of presence can be added to electric piano voices using the

77Wr power amplifier.

Modeling an ideal power amplifier, Clean Amp boosts sounds evenly across the

entire frequency spectrum.

Comp376 (Compressor 376)

Other

Compressor 376 is a vintage-type compressor that can be used to control the

dynamics of your piano sounds.

The Other group contains general-purpose effects that are suitable for use with

voices other than those from the PIANO and E.PIANO categories. Within this

group, you can select from a wide range of effects in a number of different catego-

ries. These categories and effects are identical to those from the Modulation Effect

block, and more details can be obtained from the table on page 16.

CP5/CP50 Reference Manual

For non-piano voices:

Ins2Type

Effect category

PWR > 71Rd I

Left & Right Parts

Effect name

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. All effects for non-piano voices function as

insertion effects.

[RIGHT2] (CP5)

Configuring Power-Amplifier / Compressor Block Parameters

Song Setting Area

Press and hold the [PWR-AMP] button (for at least one second)  Navigate to the

second and subsequent pages using the [LPAGE] and [PAGE R] buttons  Turn Knobs

Edit Sequence

TRACK Part

1 to 3

Each power-amplifier / compressor type is configured using a different set of parameters, which

adjust the sound produced by the block in various ways. All parameters for the power amplifiers

and the compressor specially designed for PIANO and E.PIANO voices are described in alphabetic

order in the following table. The effects from the Other group are identical to those from the Modula-

tion Effect block, and details on their parameters can be obtained from the table on page 19.

MIC INPUT Part

Settings for All Parts

NOTE For more details on the specific parameters associated with each different type of effect, see the Power-Amplifier /

Compressor parameter list in the Data List pdf document.

Settings for All Performances

Power-Amplifier & Compressor Parameters

On-screen name

(and full name)

Associated effects

Compressor 376

Description

Attack

This parameter is used to set the amount of time

that elapses between arrival of an input signal and

activation of the compressor.

Drive

Compressor 376

This parameter is used to adjust the degree to

which compression is applied.

LineBal

(Line Balance)

PowerAmp 71Rd I/73Rd I/

75Rd I/78Rd II/69Wr/77Wr

This parameter is used to adjust the balance

between the speaker output (S) and line output (L).

Output

PowerAmp 71Rd I/73Rd I/

75Rd I/78Rd II/69Wr/77Wr,

Compressor 376, and Clean

Amp

This parameter is used to set the output level.

Ratio

Compressor 376

This parameter is used to set the compression

ratio.

Release

Compressor 376

This parameter is used to set the amount of time

over which the compressor stops compressing the

sound.

CP5/CP50 Reference Manual

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.

Press and hold (for at least one second) the [LEFT 1], [LEFT 2], [RIGHT 1], or [RIGHT 2]

button (CP5), or the [LEFT] or [RIGHT] button (CP50)  Navigate to the required page

using the [LPAGE] and [PAGE R] buttons  Turn or press Knobs 1 to 3

Left & Right Parts

Edit Sequence

On-screen name

(and full name)

Page

Description

[RIGHT2] (CP5)

Volume

This parameter is used to adjust the part’s output level.

Setting values: 0 to 127

Pan

This parameter is used to adjust the part’s stereo panning.

Setting values: L63 (far left) to C (center) to R63 (far right)

Song Setting Area

RevSend (Reverb Send)

This parameter is used to set how much of the part’s output signal is sent to

the Reverb block. Higher values produce a more pronounced reverb

sound.

Setting values: 0 to 127

TRACK Part

NoteSht (Note Shift)

Detune

This parameter is used to adjust the part’s pitch in steps of one semitone.

Setting values: -24 to +24 (semitones)

MIC INPUT Part

This parameter is used to fine tune the part’s pitch in steps of 0.1 Hertz.

Setting values: -12.8 to +12.7 (Hz)

Settings for All Parts

PBRange

(Pitch Bend Range)

This parameter is used to set the degree to which the Pitch Bend wheel

changes the pitch of the current part in steps of one semitone. With a set-

ting of 12, for example, the Pitch Bend wheel can change the pitch

between -12 (i.e., one octave down) and +12 (i.e., one octave up).

Setting values: 0 to 12

Settings for All Performances

TuningNo.

This parameter is used to select a musical tuning system. In total, your CP5

or CP50 can replicate seven tuning systems. While the Equal Temperament

tuning system has now become standard for pianos, a wide number of

other systems were developed over the years before it was adopted, and

these systems invariably paved the way for the birth of new musical styles.

By selecting a different tuning system, you can play tunes from the corre-

sponding styles of music and enjoy their unique nuances.

Setting values:

(Micro Tuning Number)

00 Equal Temp (Equal Temperament)

The range of pitches in each octave is divided equally into twelve parts,

with each half-step evenly spaced in pitch. Today, this is by far the most

popular tuning system for pianos.

01 PureMaj (Pure Major)

02 PureMin (Pure Minor)

These two tuning systems preserve the pure mathematical intervals of each

scale, especially for triad chords (root, third, fifth). These characteristics are

best heard in vocal harmonies — such as choirs and a cappella singing.

03 Pythag (Pythagorean)

This scale was devised by the famous Greek philosopher, Pythagoras, and

is created from a series of perfect fifths, which are collapsed into a single

octave. The thirds in this tuning are not so smooth, but the fourths and fifths

are beautiful and suitable for certain leads.

04 MeanTn (Mean Tone)

This scale was created as an improvement on the Pythagorean scale by

making the major third interval sound smoother. It was especially popular

from the latter part of the 16th century to the end of the 18th century, with

Handel being one of its most notable users.

CP5/CP50 Reference Manual

On-screen name

(and full name)

Page

Description

05 Werckmeist (Werckmeister)

TuningNo.

(Micro Tuning Number)

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. Often applied during the time of Bach and Beethoven,

they are used today to reproduce the music of that era on harpsichords.

Left & Right Parts

TunRoot

(Micro Tuning Root)

This parameter is used to select the root note for the part’s tuning system.

No setting is required in the case of certain tuning systems.

Setting values: C to B

[RIGHT2] (CP5)

PrtMode (Part Mode)

This parameter is used to specify the part’s playing mode.

Setting values: mono (monophonic) or poly (polyphonic)

mono

Only one note will be sounded at any time, regardless of how many keys are

played. For many instrument sounds (such as bass and synth lead), this allows a

more natural and smoother sounding legato performance than “poly”.

Song Setting Area

poly

Multiple notes and chords can be played.

VelDpt

(Velocity Sensitivity Depth)

This parameter is used to define how the velocity with which the keys are

played affects the MIDI velocities actually sent from the current part. 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.

TRACK Part

MIC INPUT Part

Settings for All Parts

Setting values: 0 to 127

When VelOfs (below) is 64:

Settings for All Performances

VelDpt = 127

VelDpt = 64

127

Actual velocity output

VelDpt = 32

(to tone generators)

VelDpt = 0

127

Played velocity

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:

When VelDpt is 64

and VelOfs is 96:

127

Actual

velocity

Actual

velocity

output

(to tone

generators)

(to tone

generators)

127

Played velocity

When VelDpt is 64

and VelOfs is 64:

127

Actual

velocity

output

(to tone

generators)

127

Played velocity

CP5/CP50 Reference Manual

On-screen name

(and full name)

Page

Description

PortaSw

This parameter is used to turn the portamento effect on or off for the current

(Portamento Switch)

part.

Setting values: on or off

Left & Right Parts

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

Mode (Portamento Mode)

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

[RIGHT2] (CP5)

Portamento is only applied when you play legato (i.e., playing the next note

before releasing the previous one).

full

Portamento is applied to all notes.

Song Setting Area

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.

TRACK Part

Setting values: -64 to +0 to +63

F.Reso (Filter Resonance)

This parameter is used to increase or decrease the filter resonance relative

to that set for the current part.

MIC INPUT Part

Setting values: -64 to +0 to +63

Settings for All Parts

EGAtk (AEG Attack Time)

EGDcy (AEG Decay Time)

EGRel (AEG Release

Time)

These parameters are used to adjust the attack, decay, and release times

for the part’s amplitude envelope generator. The higher the value set, the

longer it will take for the amplitude to reach the next level (i.e., the slower

the change in volume).

Settings for All Performances

Setting values: -16 to +16

EGAtk (AEG Attack Time)

Sets the amount of time it takes for the amplitude to reach its maximum

level after a key is played.

EGDcy (AEG Decay Time)

Sets the amount of time it takes for the amplitude to drop to the decay level

after reaching its maximum.

EGRel (AEG Release Time)

Sets the amount of time it takes for the amplitude to drop to zero after the

key is released.

Amplitude

Attack

level

Decay

level

Time

Attack

time

Decay

time

Release

time

Key played (Note On)

Key released (Note Off)

NOTE The EGDcy and EGRel settings can also be adjusted using the Decay

and Release parameters (page 13) from the Pre-Amplifier block.

NoteLimit (Note Limits)

These parameters are used to define a keyboard section for the current

part. Specifically, Knob 1 is used to set the lowest note in the section; Knob

2 is used to set the highest.

Setting values: C-2 to G8

CP5/CP50 Reference Manual

On-screen name

(and full name)

Page

Description

RcvCC

(Receive Control Change)

RcvPB

These parameters are used to turn on or off the receipt of Control Change

and other MIDI messages by the current part.

Setting values: on or off

(Receive Pitch Bend)

Left & Right Parts

NOTE When RcvCC is set to “off”, all other control-change receive parameters

(with the exception of RcvPB) will become unavailable.

0 (10)

CP5 parts:

RcvFC1 (Receive Foot

Controller 1)

RcvFC2 (Receive Foot

Controller 2)

RcvFS (Receive

Assignable Foot Switch)

[RIGHT2] (CP5)

CP50 parts:

RcvFC (Receive Foot

Controller)

RcvFS (Receive

Assignable Foot Switch)

Song Setting Area

A (11)

RcvSus

(Receive Sustain Pedal)

RcvVol

TRACK Part

(Receive Volume)

RcvPan

MIC INPUT Part

(Receive Pan)

Settings for All Parts

Settings for All Performances

CP5/CP50 Reference Manual

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.

Left & Right Parts

Setting Performance Names & Playing Modes (Pages 1 and 2)

Press the [COMMON] button  Navigate to Page 1 or 2 using the [LPAGE] and

Edit Sequence

[PAGE R] buttons  Turn or press Knobs 1 and 2

[RIGHT2] (CP5)

Page

On-screen name

Name

Description

Names can be up to 10 characters in length, and details on how they are

set can be found in the Basic Operations section of the Owner’s Manual

booklet.

Song Setting Area

Cursor

Data

Knob 1 can be turned to move the cursor within the Name field.

Knob 2 can be turned to change the character at the current cursor posi-

tion.

Setting values:

TRACK Part

• Lower case letters ................. abcdefghijklmnopqrstuvwxyz

• Upper case letters ................. ABCDEFGHIJKLMNOPQRSTUVWXYZ

• Numbers and symbols .......... 0123456789!”#$%&'()*+,-./:;<=>?@[\]^_`{|}~

MIC INPUT Part

Settings for All Parts

Split

This parameter is used to specify whether or not the keyboard will be split

into upper and lower sections, overriding the individual parts’ NoteLimit set-

tings. When set to “on”, the Performance’s left and right parts are assigned

to sections above and below the key set using the Point parameter. When

Split is set to “off”, meanwhile, the individual parts’ NoteLimit settings (page

29) will apply.

Settings for All Performances

Setting values: on or off

Point (Split Point)

ZoneEdit

This parameter is used to set the point (or key) at which the keyboard is

split between left and right parts.

Setting values: C-2 to G8

Press Knob 3 to open the Zone Edit screen (page 32).

CP5/CP50 Reference Manual

Zone Edit Screen

Settings are made on the Zone Edit screen when your CP5 or CP50 is to be used as a master key-

board. 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.

Left & Right Parts

Press the [COMMON] button  Navigate to Page 2 using the [LPAGE] and [PAGE R]

buttons  Press Knob 3 (ZoneEdit [PUSH])

Edit Sequence

[RIGHT2] (CP5)

On-screen name

(and full name)

Page

Description

All

pages

Zone

This parameter is used to select the zone to be edited. As Page 1 affects all

zones, however, this parameter’s setting is displayed as “COMMON” on that page.

Setting values: zone1, zone2, zone3, or zone4

Song Setting Area

ZoneSw

(Zone Switch)

This parameter is used to turn on and off splitting of the keyboard into four distinct

zones.

TRACK Part

Target

This parameter is used to select a destination for control signals from the current

zone.

Setting values: off .........The current zone will be disabled.

TG.........The current zone will control the built-in Tone Generator.

MIDI......The current zone will control another musical device

connected to the stage piano.

MIC INPUT Part

Settings for All Parts

both ......The current zone will control both the built-in Tone Gen-

erator and another musical device connected to the

stage piano.

Settings for All Performances

TransCh

(Transmit Channel)

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

Octave

This parameter is used to transpose the current zone in units of one octave.

Setting values: -3 to +0 to +3

Trnsps (Transpose)

This parameter is used to transpose the current zone in units of one semitone.

Setting values: -11 to +0 to +11 (semitones)

NoteLimit

(Note Limits)

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

MIDIBankSel

(MIDI Bank Select)

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 corre-

sponding external musical device as MIDI messages. In this way, you can select a

sound to be played by the current zone. 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 pro-

gram change values will be send as MIDI messages from the zone in question.

Setting values: MIDIBankSel...... off, 0 to 127

MIDIPgmChg

(MIDI Program

Change)

MIDIPgmChg..... off, 1 to 128

Volume

Pan

This parameter is used to adjust the volume of the current zone.

Setting values: 0 to 127

This parameter is used to adjust the stereo panning of the current zone.

Setting values: L63 to C to R63

CP5/CP50 Reference Manual

On-screen name

(and full name)

Page

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 values: on or off

CP5 zones:

TxFC1

(Transmit Foot

Controller 1)

TxFC2

Left & Right Parts

(Transmit Foot

Controller 2)

CP50 zones:

TxFC

(Transmit Foot

Controller)

[RIGHT2] (CP5)

TxSus

(Transmit Sustain

Pedal)

TxFS

(Transmit Foot

Switch)

Song Setting Area

0 (10)

TxPB

(Transmit Pitch

Bend Wheel)

TRACK Part

MIC INPUT Part

Settings for All Parts

Settings for All Performances

CP5/CP50 Reference Manual

Setting Controllers (Pages 3 to 5)

Press the [COMMON] button  Navigate to Page 3, 4, or 5 using the [LPAGE] and

[PAGE R] buttons  Turn Knobs 1 to 3

Edit Sequence

Left & Right Parts

On-screen name

(and full name)

Page

Description

Pages

3 to 5

Source

This parameter is used to select the controller to be edited.

Setting values:

CP5 Performances:

PB (Pitch Bend wheel), FC1 (Foot Controller 1), FC2 (Foot Controller 2),

FS (assignable foot switch)

CP50 Performances:

[RIGHT2] (CP5)

PB (Pitch Bend wheel), FC (Foot Controller), FS (assignable foot switch)

Song Setting Area

FC1 or FC2 (CP5) / FC (CP50)

Foot controller(s) connected to the FOOT CONTROLLER jack(s)

Foot switch connected to the ASSIGNABLE jack

TRACK Part

These parameters are used to assign the controllers selected using

Source with a function for the corresponding part.

Setting values: As follows.

CP5:

L1Dest (LEFT1 Destination)

L2Dest (LEFT2 Destination)

MIC INPUT Part

CP50:

LDest (LEFT Destination)

Source

Destination

Settings for All Parts

PB (Pitch Bend)

off or modFx (modulation

effect)

CP5:

R1Dest (RIGHT1 Destination)

R2Dest (RIGHT2 Destination)

FC1 or FC2 (CP5 Foot Control-

ler 1 or 2) / FC (CP50 Foot

Controller)

off, volume, or modFx

Settings for All Performances

CP50:

RDest (RIGHT Destination)

FS (assignable foot switch)

off, vibrato, modFx, or

pwrAmp (CP5 only)

NOTE If “modFx” is selected as a destination with Source set to “PB”,

“FC1”, “FC2”, or “FC”, you can then use the corresponding

controller to adjust one of the parameters from the Modulation

Effect block up or down with respect to the current setting. For

details on the actual parameter that will be assigned, see the

Modulation Effect block's parameter list in the Data List pdf

document. Specifically, the parameter marked  in the Control field

will be assigned to the controller.

NOTE If Source is set to “FS”, the function assigned as the destination can

be turned on and off by pressing the controller in question. If the

destination is specified as “vibrato”, “modFx”, or “pwrAmp”,

pressing the controller will have the same effect as pressing the

[PRE-AMP], [MOD-FX], or [PWR-AMP] button. For details on how

this will affect the sound, refer to the Quick Guide section from the

Owner’s Manual booklet.

Mode (Switch Mode)

This parameter is available only when Source has been set to “FS”. It is

used to specify whether the controller in question will operate as a

latch-type or momentary-type switch. Latch-type switches remain on or

off after being operated, while momentary-type switches remain on only

while they are being operated.

Setting values: momentary or latch

CP5/CP50 Reference Manual

Song Setting Area

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.

Left & Right Parts

Song Setting Screen

This section describes the selection of a backing track, setting of a tempo, and other similar opera-

tions performed via the Song Setting screen, which contains three pages.

[RIGHT2] (CP5)

Press the [SONG SETTING] button  Navigate to the required page using the [LPAGE]

Edit Sequence

and [PAGE R] buttons  Turn or press Knobs 1 to 3

Song Setting Area

On-screen name

(and full name)

Page

Description

Type

This parameter is used to indicate the type of data to be used as the backing

track.

TRACK Part

Setting values: PreDrum (Preset Drum Pattern), UsrSong (User Song), or Wave

(Wave file)

MIC INPUT Part

NOTE For more details regarding these setting values, refer to page 3 of Internal

Design of the CP5 & CP50.

Settings for All Parts

When Type is set to “PreDrum”:

Name of selected drum phrase or drum kit

Settings for All Performances

Type

[8Beat

PreDrum Phrase

001

For setting

Number

Turn Knob 2 to switch between “Phrase” and “Kit” as the type of setting to be

made. If you choose “Phrase”, you will be able to select a drum phrase number

using Knob 3. Meanwhile, if you choose “Kit”, you will be able to select a drum

kit (i.e., a set of drum sounds) using Knob 3. The name of the selected phrase

or kit will be shown at the top-right of the display.

When Type is set to “UsrSong”:

Name of selected User Song

Type

UsrSong

[UsrSong001]E

001

Number

Turn Knob 3 to select a User Song number. The name of the selected User

Song will be shown at the top-right of the display.

When Type is set to “Wave”:

Type

Wave

[Wave001 ]

File name

Turn Knob 3 to select a Wave file from the root directory of the USB flash-mem-

ory device plugged into your CP5 or CP50.

CP5/CP50 Reference Manual

On-screen name

(and full name)

Page

Description

Tempo

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).

Left & Right Parts

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”. When “ext” is selected or when “auto” is

selected and MIDI Clock messages are being received from an external

source, the tempo will be displayed as “ext” and modification will not be

possible.

Beat

This parameter is used to set a time signature for the backing track and metro-

nome. The time signature can also be adjusted using the Beat parameter from

the Record screen (page 37).

[RIGHT2] (CP5)

Setting values: 1/4 to 16/4, 1/8 to 16/8, 1/16 to 16/16

StartKey

This parameter is used to set a note that can be played either to start playback

of the selected backing track or to start recording. Hold down the [J] (Stop)

button and press the [R/K] (Play / Pause) button to set playback or recording

to Standby condition. In this condition, the Key-on Start function will start play-

back or recording whenever the key corresponding to the note set here is

played. If you select “all”, any key can be played to start playback or recording.

Setting values: C-2 to G8 or all

Song Setting Area

TRACK Part

AutoKeyOn

This parameter is used to control whether or not Standby condition for backing

track playback using the Key-on Start function will be activated automatically

whenever the current Performance is selected. Whenever you select a Perfor-

mance having this parameter set to “on”, the lamp to the top-left of the [R/K]

(Play / Pause) button will start to flash and playback can then be started by

playing the key set using the StartKey parameter.

MIC INPUT Part

Settings for All Parts

Setting values: off or on

Settings for All Performances

Rename

Press Knob 1 to open the Rename screen and modify the name of the selected

backing-track data. Renaming is only possible when you have set Type from

Page 1 to “UsrSong” or “Wave”. On this screen, you can turn Knob 1 (Cursor) to

move the cursor within the displayed name. Then, using Knob 2 (Data), you can

change the character at the cursor position. When you have finished renaming

the data, press the [ENTER] button to return to Page 3 of the Song Setting

screen. Alternatively, you can press the [EXIT] button to return without renaming

the data.

NOTE If you have selected a Wave file recorded using your CP5 or CP50, be sure

to leave the 7th and 8th characters in the file name – namely, } and { –

unchanged. If these characters were to be modified, the replay volume on

your stage piano would become extremely low as a result.

CAUTION

If you have selected a Wave file that was not recorded using your CP5 or

CP50, be sure not to add } and { as the 7th and 8th characters of the file

name. Failure to observe this precaution could lead to extremely high vol-

umes upon playback (as the output level is increased automatically when-

ever these characters are in the positions indicated).

Delete

Knob 2 can be pressed on this page to delete unneeded backing data. When

you do so, you will be asked to confirm that you wish to proceed with deletion.

Deletion is only possible when you have set Type from Page 1 to “UsrSong” or

“Wave”. To delete the data, press either Knob 1 (YES [PUSH]) or the [ENTER]

button. To cancel the deletion process, press either Knob 3 (NO [PUSH]) or the

[EXIT] button.

MemInfo

(Memory Information)

Press Knob 3 to call up a screen providing information on the Sequence Mem-

ory — a specific area of memory used to store User Songs. The items shown on

this screen are as follows.

Free This field displays the amount of free space in the Sequence Memory.

The free memory is also displayed as a percentage of the area’s overall

capacity.

Total This field displays the total size of the Sequence Memory.

CP5/CP50 Reference Manual

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.

Press the [RECORD] button  Navigate to the required page using the [LPAGE] and

[PAGE R] buttons  Turn or press Knobs 1 to 3

Left & Right Parts

Edit Sequence

On-screen name

(and full name)

Page

Description

Rec (Recording Type)

Modified using Knob 1, this parameter specifies the type of data to be

recorded. Select “Song” to record your performance as a User Song, or select

“Wave” to record it as a Wave file on a USB flash-memory device plugged into

the stage piano.

[RIGHT2] (CP5)

Setting values: Song (User Song) or Wave (Wave file)

Song

Song Setting Area

If Type has been set to “UsrSong” on the Song Setting screen (page 35), indicating

that a User Song is to be used as the backing track, the User Song selected on that

screen will be used to record your performance data. Alternatively, if Type has been

set to “PreDrum” or “Wave”, indicating that a Preset Drum Pattern or Wave file is to be

used as the backing track, an empty User Song will be automatically selected for

recording of your performance data. If, however, no empty User Songs are available,

a message will be displayed to notify you of this. In order to proceed with recording in

such a case, you will first of all need to delete an unneeded User Song via the Song

Setting screen (page 35).

TRACK Part

MIC INPUT Part

Wave

Settings for All Parts

When this option is selected, your performance will be stored as a Wave file on a USB

flash-memory device plugged into the stage piano, and an unused name will be auto-

matically chosen for that file.

Name

This parameter is available only when Rec is set to “Wave”. In such a case,

press Knob 3 to open the Name screen and specify a new name for the Wave

file to be recorded. On this screen, you can turn Knob 1 (Cursor) to move the

cursor within the displayed name. Then, using Knob 2 (Data), you can change

the character at the cursor position. Wave file names can contain upper case

letters, numbers, and symbols. When you have finished specifying a name,

press the [ENTER] button to return to Page 1 of the Record screen. If a Wave

file with the same name already exists on the USB flash-memory device

plugged into your CP5 or CP50, an error message will be displayed when you

try to start recording. In such a case, specify a different name and press the

[ENTER] button once again. To return to the Record screen without specifying a

new name, press the [EXIT] button.

Settings for All Performances

Name screen

Name=[WAVE001 ]

(Cursor) (Data)

NOTE Whenever Wave files are being recorded on your CP5 or CP50, the

characters } and { are automatically added to the file name at the 7th and

8th positions, and they cannot be changed on this screen. Although names

can be edited after recording, these two characters should not be removed.

When compared with the volume of performances on the keyboard, the

volume of Wave files recorded on the stage piano is extremely low;

accordingly, the playback level is automatically increased for Wave files with

} and { characters in the positions indicated in order to maintain a good

balance between keyboard and playback levels.

CP5/CP50 Reference Manual

On-screen name

(and full name)

Page

Description

Mode

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

Left & Right Parts

replace

Any data contained within the User Song selected for recording will be overwritten

with your new performance data.

overdub

Your new performance data will be added to any data contained within the User Song

selected for recording.

Meas (Measure)

This parameter is used to select the start point for recording. It is not available,

however, when Rec has been set to “Wave”.

Setting values: 001 to 999

[RIGHT2] (CP5)

NOTE If you have selected a User Song already containing data for recording, the

Meas parameter can be set to any measure up to the last one containing

data.

Song Setting Area

Tempo

This parameter is used to select the playback tempo for the backing track and

metronome. When Rec has been set to “Song”, this tempo will be used for play-

back after recording. The tempo can also be adjusted using the Tempo param-

eter from the Song Setting screen (page 35).

TRACK Part

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”. When “ext” is selected or when “auto” is

selected and MIDI Clock messages are being received from an external

source, the tempo will be displayed as “ext” and modification will not be

possible.

MIC INPUT Part

Settings for All Parts

Beat

This parameter is used to set a time signature for the backing track and metro-

nome. The time signature can also be adjusted using the Beat parameter from

the Song Setting screen (page 35).

Settings for All Performances

Setting values: 1/4 to 16/4, 1/8 to 16/8, 1/16 to 16/16

Click

This parameter is used to turn the metronome on and off. The same setting can

be made using the Click parameter from Page 7 of the Utility screen.

Setting values: on or off

RecCount

This parameter is used to turn count-in at the start of recording on or off. The

same setting can be made using the RecCnt parameter from Page 7 of the Util-

ity screen.

Setting values: on or off

Undo

This parameter becomes available whenever recordings have been made, and

it allows you to undo the most recent. When you press Knob 3 to undo a record-

ing, you will be asked to confirm that you wish to proceed. To do so, press

either Knob 1 (YES [PUSH]) or the [ENTER] button. To cancel the undo process,

press either Knob 3 (NO [PUSH]) or the [EXIT] button. It should be noted that

this parameter will not become available when Rec has been set to “Wave”.

CP5/CP50 Reference Manual

TRACK Part

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.

Left & Right Parts

Edit Sequence

Press and hold the [TRACK] button (for at least one second)  Turn Knobs 1 to 3

On-screen name

(and full name)

Description

Volume

This parameter is used to adjust the part’s output level. It can also be set at any

time using the [TRACK] knob on the control panel.

Setting values: 0 to 127

[RIGHT2] (CP5)

Pan

This parameter is used to adjust the part’s stereo panning. It is available only when

a Preset Drum Pattern has been selected for use as the backing track.

Setting values: L63 (far left) to C (center) to R63 (far right)

Song Setting Area

RevSend (Reverb Send)

This parameter is used to set how much of the part’s output signal is sent to the

Reverb block. Higher values produce a more pronounced reverb sound. It is avail-

able only when a Preset Drum Pattern has been selected for use as the backing

track.

TRACK Part

Setting values: 0 to 127

MIC INPUT Part

Settings for All Parts

Settings for All Performances

CP5/CP50 Reference Manual

MIC INPUT Part (CP5 only)

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.

Left & Right Parts

Press and hold the [MIC INPUT] button (for at least one second)  Navigate to the

Edit Sequence

required page using the [LPAGE] and [PAGE R] buttons  Turn or press Knobs 1 to 3

On-screen name

(and full name)

Page

Description

Volume

This parameter is used to adjust the part’s output level. It can also be set at any

time using the [MIC INPUT] knob on the control panel.

Setting values: 0 to 127

[RIGHT2] (CP5)

Pan

This parameter is used to adjust the part’s stereo panning.

Setting values: L63 (far left) to C (center) to R63 (far right)

Song Setting Area

RevSend (Reverb

Send)

This parameter is used to set how much of the part’s output signal is sent to the

Reverb block. Higher values produce a more pronounced reverb sound.

Setting values: 0 to 127

MicFx (Mic Effects)

By pressing Knob 1 on this page, you can open the Mic Effects screen (see

below) in order to configure the compressor, noise gate, and EQ that act on the

microphone input.

TRACK Part

MIC INPUT Part

MicIns (Mic Insert

Effect)

By pressing Knob 2 on this page, you can open the Mic Insert Effect screen

(page 41) in order to select and configure an insertion effect for the microphone

input.

Settings for All Parts

Settings for All Performances

Mic Effects Screen

From the Mic Effects screen, you can set parameters affecting the compressor, noise gate, and EQ

that act on audio signals input via the MIC INPUT jack. This screen contains a total of seven pages.

Press and hold the [MIC INPUT] button (for at least one second)  Navigate to Page 2

using the [PAGE R] button  Press Knob 1  Navigate to the required page using the

[LPAGE] and [PAGE R] buttons  Turn Knobs 1 to 3

Edit Sequence

On-screen name

(and full name)

Page

Description

NoiseSw

This parameter is used to turn on or off the noise gate for microphone input signals.

(Noise Gate Switch)

Setting values: on or off

CompSw

This parameter is used to turn on or off the compression of microphone input sig-

(CompressorSwitch) nals.

Setting values: on or off

NoisAtk

(Noise Gate Attack)

This parameter is used to set the amount of time that elapses between arrival of an

input signal and activation of the noise gate.

Setting values: 1ms to 40ms

NoisRel

(Noise Gate

Release)

This parameter is used to set the amount of time over which the noise gate stops

silencing the input signal.

Setting values: 10ms to 680ms

NoisTh

This parameter is used to set the level at which the noise gate starts silencing the

(Noise Threshold)

input signal.

Setting values: -73dB to -30dB

CompAtk

(Compressor Attack)

This parameter is used to set the amount of time that elapses between arrival of an

input signal and activation of the compressor.

Setting values: 1ms to 40ms

CompRel

(Compressor

Release)

This parameter is used to set the amount of time over which the compressor stops

compressing the sound.

Setting values: 10ms to 680ms

CP5/CP50 Reference Manual

On-screen name

(and full name)

Page

Description

CompTh

(Compressor

Threshold)

This parameter is used to set the input level at which the compressor starts com-

pressing the sound.

Setting values: -48dB to -6dB

Left & Right Parts

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.Freq

This parameter is used to set a low-band frequency for boosting or cutting of the

[RIGHT2] (CP5)

(Low Frequency)

sound.

Setting values: 32Hz to 2.0kHz

L.Gain (Low Gain)

This parameter is used to set the degree to which low-band frequencies will be

boosted or cut.

Song Setting Area

Setting values: -12dB to +12dB

M.Freq

(Mid Frequency)

This parameter is used to set a mid-band frequency around which the sound will

be boosted or cut.

Setting values: 100Hz to 10.0kHz

TRACK Part

M.Gain (Mid Gain)

M.Width (Mid Width)

This parameter is used to set the degree to which mid-band frequencies will be

boosted or cut.

Setting values: -12dB to +12dB

MIC INPUT Part

This parameter is used to set the width of the mid-frequency EQ band.

Setting values: 0.1 to 12.0

Settings for All Parts

H.Freq

(High Frequency)

This parameter is used to set a high-band frequency for boosting or cutting of the

sound.

Setting values: 500Hz to 16.0kHz

Settings for All Performances

H.Gain (High Gain)

This parameter is used to set the degree to which high-band frequencies will be

boosted or cut.

Setting values: -12dB to +12dB

Mic Insert Effect Screen

From the Mic Insert Effect screen, you can select and configure an insertion effect to process audio

signals input via the MIC INPUT jack. Depending on the effect selected, this screen can contain up

to six pages.

Press and hold the [MIC INPUT] button (for at least one second)  Navigate to Page 2

using the [PAGE R] button or [2] button  Press Knob 2  Navigate to the required

page using the [LPAGE] and [PAGE R] buttons  Turn Knobs 1 to 3

Edit Sequence

On-screen name

(and full name)

Page

Description

MicInsType

(Mic Insert Effect

Type)

This parameter is used to select a category and effect type for the MIC INPUT

part’s audio signals. These categories and effects are identical to those from the

Modulation Effect block’s Other group, and more details can be obtained from the

table on page 16.

2 to 6 Effect parameters

The parameters presented on Page 2 onward will depend on the MicInsType set-

tings. For more details, see Parameters for non-piano voice effects (page 19).

CP5/CP50 Reference Manual

Settings for All Parts

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.

Left & Right Parts

Press and hold the [REVERB] button (for at least one second)  Navigate to the

Edit Sequence

required page using the [LPAGE] and [PAGE R] buttons  Turn Knobs 1 to 3

[RIGHT2] (CP5)

On-screen name

(and full name)

Page

Description

RevType

(Reverb Type)

This parameter is used to select the type of reverb to be applied.

Setting values: RichHall, RichPlt, RichRoom, WoodRoom, Room1, Room2,

Stage1, or Stage2

Song Setting Area

Emulation of hall acoustics with a rich, deep reverb sound.

Emulation of a rich, sustained plate reverb sound.

RichHall (Rich Hall)

RichPlt (Rich Plate)

TRACK Part

Emulation of room acoustics with a gentle reverb sound.

RichRoom

(Rich Room)

MIC INPUT Part

Emulation of room acoustics with a warm reverb sound.

WoodRoom

Settings for All Parts

(Woody Room)

Emulation of room acoustics with a crisp reverb sound.

Emulation of room acoustics with a deeper reverb sound.

Room1

Room2

Stage1

Settings for All Performances

Emulation of stage acoustics with a wide, sustained reverb

sound.

Emulation of the reverb typical of a smaller stage.

Stage2

RevTime

(Reverb Time)

This parameter is used to set how long it takes in seconds for the reverb sound to

fade to silence.

Setting values: WoodRoom......................0.3s to 10.0s

Other reverb types...........0.3s to 30.0s

HPF (High-pass

Filter Cutoff)

This parameter is used to set the cutoff frequency for the Reverb block's high-pass

filter.

Setting values: 20Hz to 8.0kHz

FBHiDamp

(Feedback High

Damping)

This parameter is used to adjust the brightness’ of the reverb sound. At higher set-

tings, it takes longer for the high-frequency component to decay, producing a

brighter overall reverb sound. This parameter is not displayed on-screen when

RevType has been set to “WoodRoom”.

Setting values: 0.1 to 1.0

CP5/CP50 Reference Manual

Settings for All Performances

Master Compressor Block

This section describes the parameters used to configure the compressor applied to all of the Per-

formances on your CP5 or CP50. These settings are made via the Master Compressor screen,

which contains seven pages.

Left & Right Parts

[Press and hold the [MASTER COMPRESSOR] button (for at least one second) 

Navigate to the required page using the [LPAGE] and [PAGE R] buttons  Turn Knobs

1 to 3

Edit Sequence

[RIGHT2] (CP5)

On-screen name

(and full name)

Page

Description

LowTh

(Low Threshold)

This parameter is used to set the input-signal level at which the compressor starts

to process the sound in the low-frequency band.

Setting values: -54dB to -6dB

Song Setting Area

LowAtk (Low Attack)

This parameter is used to set the amount of time that elapses between arrival of an

input signal and activation of compression in the low-frequency band.

Setting values: 1ms to 200ms

TRACK Part

LowRat (Low Ratio)

LowGain (Low Gain)

This parameter is used to set the compression ratio for the low-frequency band.

Setting values: 1.0 to 20.0

MIC INPUT Part

Settings for All Parts

This parameter is used to set the output level of the low-frequency band.

Setting values: -∞ to +18dB

MidTh

(Mid Threshold)

This parameter is used to set the input-signal level at which the compressor starts

to process the sound in the mid-frequency band.

Setting values: -54dB to -6dB

Settings for All Performances

MidAtk (Mid Attack)

This parameter is used to set the amount of time that elapses between arrival of an

input signal and activation of compression in the mid-frequency band.

Setting values: 1ms to 200ms

MidRat (Mid Ratio)

MidGain (Mid Gain)

This parameter is used to set the compression ratio for the mid-frequency band.

Setting values: 1.0 to 20.0

This parameter is used to set the output level of the mid-frequency band.

Setting values: -∞ to +18dB

HiTh

(High Threshold)

This parameter is used to set the input-signal level at which the compressor starts

to process the sound in the high-frequency band.

Setting values: -54dB to -6dB

HiAtk (High Attack)

This parameter is used to set the amount of time that elapses between arrival of an

input signal and activation of compression in the high-frequency band.

Setting values: 1ms to 200ms

HiRat (High Ratio)

HiGain (High Gain)

This parameter is used to set the compression ratio for the high-frequency band.

Setting values: 1.0 to 20.0

This parameter is used to set the output level of the high-frequency band.

Setting values: -∞ to +18dB

DivFrqL

(Dividing Frequency

Low)

This parameter is used to set the low-to-mid frequency when splitting the sound

into three bands.

Setting values: 16Hz to 20kHz

DivFrqH

(Dividing Frequency

High)

This parameter is used to set the mid-to-high frequency when splitting the sound

into three bands.

Setting values: 16Hz to 20kHz

CmnRel

(Common Release)

Affecting all three compression bands, this parameter is used to set the amount of

time that elapses until the sound is no longer being compressed.

Setting values: 10ms to 3000ms

CP5/CP50 Reference Manual

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.

Press the [UTILITY] button  Navigate to the required page using the [LPAGE] and

[PAGE R] buttons  Turn or press Knobs 1 to 3

Left & Right Parts

Edit Sequence

On-screen name

(and full name)

Page

Description

MasterTune

(Master Tuning)

This parameter is used to adjust the tuning of all sounds produced by the stage

piano's built-in Tone Generator in units of one cent.

[RIGHT2] (CP5)

NOTE The CP5 or CP50 default tuning is 440 Hz for A3, and 4 cents are roughly

equivalent to 1 Hz.

Setting values: -102.4 to +102.3 (cents)

Song Setting Area

VelCrv

(Velocity Curve)

This parameter is used to select a curve for determining how the actual velocities will

be generated and transmitted according to the strength with which you play notes on

the keyboard.

Setting values: norm (Normal), soft, hard, wide, or fixed

TRACK Part

The Normal curve produces velocities in direct proportion to the strength

of your keyboard playing.

norm

(Normal)

The Soft curve makes it easier to produce high velocities across the

entire keyboard.

soft

MIC INPUT Part

Settings for All Parts

The Hard curve makes it more difficult to produce high velocities across

the entire keyboard.

hard

wide

The Wide curve accentuates your playing strength by producing lower

velocities in response to softer playing and louder velocities in response

to harder playing. As such, you can use this setting to expand the

dynamic range of your performances.

Settings for All Performances

The Fixed curve can be used to send a fixed velocity to the Tone Gener-

ator regardless of how hard or soft you play the keyboard. When

selected, you can adjust FixdLvl using Knob 2 to set the actual velocity

to be sent between 1 and 127.

fixed

FixdLvl (Fixed

Level)

This parameter is available only when VelCrv has been set to “fixed”. Regardless of

the actual strength of playing, velocities at this level will be sent for all keys played.

Setting values: 1 to 127

TunCrv (Tuning

Curve)

This parameter is used to select one of two tuning characteristics for the entire key-

board.

Setting values: flat or stretch

With the Flat curve, the frequency (in Hertz) doubles for each octave

increment between keys across the entire keyboard.

flat

The Stretch curve models the characteristic response of an acoustic

piano. When compared with the Flat curve, lower keys are tuned slightly

flatter; higher keys, slightly sharper.

stretch

NOTE Not all piano voices are affected by the “stretch” setting. For more details, refer to

the PIANO and E.PIANO voice lists (page 12).

SusPedal (Sustain

Pedal)

This parameter is used to indicate the type of foot controller plugged into the SUS-

TAIN foot-switch jack on the rear panel.

Setting values: FC3(HalfOn), FC3(HalfOff), or FC4/5

Choose this setting when using the bundled FC3 foot controller for half-

damper playing.

FC3(HalfOn)

FC3(HalfOff)

FC4/5

Choose this setting when using the bundled FC3 foot controller but not

the half-damper playing technique.

Choose this setting when using an optional FC4 or FC5 foot controller.

CP5/CP50 Reference Manual

On-screen name

(and full name)

Page

Description

CtrlAsn

This parameter is used to select the controller to be assigned.

(Controller Assign)

Setting values:

For the CP5

Left & Right Parts

FC1 (Foot Controller 1), FC2 (Foot Controller 2), or FS (assignable foot switch)

For the CP50

FC (Foot Controller) or FS (assignable foot switch)

Foot controller connected to the corresponding FOOT CONTROLLER

jack

FC1 or FC2

(CP5) / FC

(CP50)

Foot switch connected to the ASSIGNABLE jack

[RIGHT2] (CP5)

CtrlNo

(Control Number)

This parameter is used to specify a control change number for the controller

selected using CtrlAsn.

Setting values:

If CtrlAsn is set to “FC1”, “FC2”, or “FC”

00 (off), or 01 to 95

If CtrlAsn is set to “FS”

Song Setting Area

00 (off), 01 to 95, 98 (Ply/Stop), 99 (PcInc), or 100 (PcDec)

RcvCh

(Receive Channel)

This parameter is used to set the channel on which to receive MIDI messages.

Setting values: 1 to 16, omni, or off

TRACK Part

Messages will be received on all MIDI channels.

omni

MIC INPUT Part

TxCh

(Transmit Channel)

This parameter is used to set the channel on which to transmit MIDI messages pro-

duced by playing the keyboard and operating controllers.

Setting values: 1 to 16, or off

Settings for All Parts

NOTE If the ZoneSw parameter from the Common Settings area’s Zone Edit screen is set

to “on”, the TxCh parameter will have no effect and MIDI messages will be

transmitted in line with that screen’s TransCh settings (page 32).

Settings for All Performances

LocalSw (Local

Control Switch)

This parameter is used to turn local control on and off. When “off” is selected, the

stage piano's built-in Tone Generator is essentially disconnected from the keyboard

and controllers, and no sound will be produced in response to playing of the key-

board. The stage piano does, however, continue to transmit MIDI messages when

LocalSw has been set to “off”, and the Tone Generator will continue to produce

sound in response to MIDI messages received from external devices.

Setting values: on or off

DevNo.

(Device Number)

This parameter is used to set a MIDI device number for your CP5 or CP50. In order to

successfully exchange Bulk Dump data, parameter changes, or other system exclu-

sive messages, this number must match the Device Number of the external MIDI

device.

Setting values: 1 to 16, all, or off

System exclusive messages for all MIDI device numbers will be

received. Meanwhile, data will be transmitted from the stage piano using

Device Number 1.

all

No exchange of Bulk Dump data, parameter settings, or other system

exclusive messages with other devices will be possible. In addition, an

error message may be displayed if you attempt to perform such an oper-

ation.

off

In/Out

This parameter is used to specify the interface to be used for exchanging MIDI mes-

(MIDI In/Out)

sages.

Setting values: MIDI or USB

The MIDI connectors will be used.

The USB TO HOST port will be used.

MIDI

USB

NOTE It is not possible to exchange MIDI messages via the MIDI connectors and the

USB TO HOST port at the same time. Be sure, therefore, to set this parameter

correctly in accordance with your equipment setup.

CP5/CP50 Reference Manual

On-screen name

(and full name)

Page

Description

MIDISyn (MIDI

Synchronization)

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.

Left & Right Parts

Setting values: int (internal), ext (external), or auto

Playback will be synchronized with the built-in clock. Use this setting

when your CP5 or CP50 is to be used alone or as the master clock

source for other equipment.

int (Internal)

Playback will be synchronized with an external clock on another MIDI

device. Use this setting when the external MIDI device is to be used as

master. In such a case, be sure to setup the external MIDI device to

transmit MIDI Clock messages to the stage piano.

ext (External)

[RIGHT2] (CP5)

MIDI Clock messages received from an external device will be priori-

tized over the stage piano’s current tempo. In other words, playback will

be synchronized to MIDI Clock messages whenever they are received,

and the internal tempo will be used in all other cases. This setting is use-

ful when you wish to alternate between synchronization with the external

and built-in clocks (by turning the former on and off).

auto

Song Setting Area

TrnsRcvSw

This parameter is used to specify whether Bank Select and Program Change MIDI

messages are to be exchanged between the stage piano and external MIDI devices.

Setting values: off, bank (Bank Select), pgm (Program Change), bank&pgm (Bank

Select & Program Change)

(Transmit &

Receive Switch)

TRACK Part

Neither Bank Select nor Program Change MIDI messages will be trans-

mitted and received.

off

MIC INPUT Part

Settings for All Parts

Bank Select MIDI messages will be transmitted and received, but Pro-

gram Change MIDI messages will not.

bank

(Bank Select)

Program Change MIDI messages will be transmitted and received, but

Bank Select MIDI messages will not.

pgm

(Program

Change)

Settings for All Performances

Both Bank Select and Program Change MIDI messages will be transmit-

ted and received.

bank&pgm

(Bank Select

& Program

Change)

Click

This parameter is used to turn the metronome on and off. The same operation can be

performed using the Click parameter from Page 3 of the Record screen (page 37).

Setting values: on or off

RecCnt

(Record Count-in)

This parameter is used to turn count-in at the start of recording on or off. The same

setting can be made using the RecCnt parameter from Page 4 of the Record screen.

Setting values: on or off

MIDIClock

(MIDI Clock)

This parameter is used to enable (“on”) or disable (“off”) the sending of MIDI Clock

messages (i.e., F8 Timing Clock) via the MIDI OUT connector.

Setting values: on or off

MIDICtrl

(MIDI Control)

This parameter is used to specify whether or not System Realtime messages (i.e., FA

Start, FB Continue, and FC Stop) will be sent and received via MIDI.

Setting values: off, in, out, in/out

off .........System Realtime messages are neither sent nor received.

in ..........System Realtime messages are received but not sent.

out ........System Realtime messages are sent but not received.

in/out.....System Realtime messages are sent and received.

MEQ (Master

This parameter is used to select the master-equalizer frequency band to be set.

0 (10) Equalizer Band)

Setting values:

For the CP5

Low, LowMid, Mid, HighMid, or High

For the CP50

Low, Mid, or High

CP5/CP50 Reference Manual

On-screen name

(and full name)

Page

Description

Shape

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”.

Left & Right Parts

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.

EQ High

EQ Low

Gain

Frequency

Gain

Frequency

[RIGHT2] (CP5)

–

Frequency

Song Setting Area

peak

Signals within a band of frequencies around the specified frequency will be boosted or cut

in a localized fashion.

Gain

Frequency

TRACK Part

Frequency

MIC INPUT Part

Settings for All Parts

–

Gain

This parameter is used to specify how much signal levels in the vicinity of the fre-

quency set using the Freq parameter will be boosted or cut. Gain levels for the indi-

vidual frequency bands can also be set using the [MASTER EQUALIZER] knobs on

the control panel.

Settings for All Performances

Setting values: -12dB to +12dB

0 (10) Freq (Frequency)

This parameter is used to set the central frequency around which levels will be cut or

boosted.

Setting values:

Low

When Shape is set to “shelv”: 32Hz to 2.0kHz

When Shape is set to “peak”: 63Hz to 2.0kHz

LowMid, Mid, and HighMid

100Hz to 10.0kHz

High

500Hz to 16.0kHz

Q (Resonance)

This parameter is used to create a range of different frequency-curve characteristics

in the vicinity of the frequency set using the Freq parameter. If you set a large value,

a narrower band of frequencies will be boosted or cut, and the tone will change

markedly around the center frequency. If you set a smaller value, a wider band of fre-

quencies will be boosted or cut, and the tone will change more gradually around the

center frequency.

Setting values: 0.1 to 12.0

0.1

12.0

Frequency

–

Frequency

NOTE The Q parameter is unavailable for the Low and High bands when their respective

Shape parameters have been set to “shelv”.

CP5/CP50 Reference Manual

On-screen name

(and full name)

Page

Description

A (11) Bright (Brightness)

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 [LPAGE] button, and it can be increased by holding down the

[UTILITY] button and pressing the [PAGE R] button.

Left & Right Parts

AutoLoad

This parameter is used to turn on or off automatic loading of an All file (page 51) from

the plugged-in USB flash-memory device when the stage piano is turned on. In order

to use this function, the name of the All file for automatic loading must be set to either

“AUTOLOAD.C5A” (CP5) or “AUTOLOAD.C6A” (CP50). Furthermore, the auto-load

file must be saved to the root directory of a USB flash-memory device, and that

device must be plugged into your stage piano before it is turned on.

Setting values: on or off

[RIGHT2] (CP5)

B (12) StartUp

This parameter is used to select the Performance to be automatically selected when

you turn on your CP5 or CP50.

Song Setting Area

Setting values:

PRE1: A01 to D10, PRE2: A01 to D10, PRE3: A01 to D10

USR1: A01 to D10, USR2: A01 to D10, USR3: A01 to D10

EXT1: A01 to D10, EXT2: A01 to D10, EXT3: A01 to D10

TRACK Part

C (13) BulkDmp

Using the Bulk Dump function, all data for the currently-selected Performance can

be sent to a computer or external MIDI device in the form of MIDI system exclusive

data (i.e., bulk data). Press Knob 1 to perform a Bulk Dump. When asked to confirm

that you wish to proceed, press Knob 1 (YES [PUSH]) or the [ENTER] button to do

so. Alternatively, if you do not wish to proceed, press Knob 3 (NO [PUSH]) or the

[EXIT] button.

MIC INPUT Part

Settings for All Parts

NOTE In order to utilize the Bulk Dump function, the DevNo. parameter (page 45) must

be used to set the stage piano's device number correctly. For more details on

Bulk Dump procedures, refer to the Owner’s Manual booklet.

Settings for All Performances

FactSet

(Factory Reset)

The Factory Set function can be used to restore the stage piano’s User Memory to its

initial condition. Press Knob 2 to perform a Factory Reset. When asked to confirm

that you wish to proceed, press Knob 1 (YES [PUSH]) or the [ENTER] button to do

so. Alternatively, if you do not wish to proceed, press Knob 3 (NO [PUSH]) or the

[EXIT] button.

NOTICE

Whenever the Factory Set function is used to restore initial settings, all Performance

data, all User Songs, and system settings (i.e., from the Utility area, the Master

Compressor block, and the Transpose area, etc.) within User Memory will be reset to

the default condition. Care should, therefore, be taken to avoid overwriting

irreplaceable data. Furthermore, it is wise to regularly create backup copies of

important Performance data and system settings on a USB flash-memory device,

computer, or the like.

CP5/CP50 Reference Manual

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.

Left & Right Parts

Press the [FILE] button  Navigate to the required page using the [LPAGE] and

[PAGE R] buttons  Turn or press Knobs 1 to 3

Edit Sequence

On-screen name

(and full name)

Page

Description

[RIGHT2] (CP5)

Save

This function is used to create files containing CP5 or CP50 data within the root

directory of the plugged-in USB flash-memory device. The Save screen can be

opened by pressing Knob 1. See page 50 for details regarding the content of this

screen.

Song Setting Area

Load

This function is used to read files containing CP5 or CP50 data from the root direc-

tory of the plugged-in USB flash-memory device. The Load screen can be opened

by pressing Knob 2. See page 51 for details regarding the content of this screen.

NOTICE

TRACK Part

Whenever data is loaded from a USB flash-memory device, all data at the specified

destination will be overwritten. It is wise, therefore, to regularly create backup

copies of important Performances on a USB flash-memory device or the like.

MIC INPUT Part

Rename

Delete

This function is used to rename the All file on the plugged-in USB flash-memory

device. The Rename screen can be opened by pressing Knob 3. See page 53 for

details regarding the content of this screen.

Settings for All Parts

This function is used to delete the All file from the plugged-in USB flash-memory

device. The Delete screen can be opened by pressing Knob 1. See page 53 for

details regarding the content of this screen.

Settings for All Performances

Format

This function is used to format the plugged-in USB flash-memory device, initializing

the entire content of its memory. Press Knob 2 to perform a Format operation.

When asked to confirm that you wish to proceed, press Knob 1 (YES [PUSH]) or

the [ENTER] button to do so. Alternatively, if you do not wish to proceed, press

Knob 3 (NO [PUSH]) or the [EXIT] button to return to Page 2 of the File screen.

NOTICE

When a USB flash-memory device is formatted, all data saved on it will be

permanently erased. Before formatting a memory device, therefore, ensure that it

contains no irreplaceable data.

MemInfo

(Memory Info)

This function is used to confirm how much free space is available on the plugged-

in USB flash-memory device. When you press Knob 3, the following details will be

displayed.

Free

This value indicates the amount of free space currently available on the USB flash-

memory device plugged into your CP5 or CP50. The free memory is also displayed

as a percentage of the device's overall capacity.

Total

This value indicates the total memory capacity of the USB flash-memory device

plugged into your CP5 or CP50.

CP5/CP50 Reference Manual

Save

The parameters to be set on the Save screen are as follows.

On-screen

name

Description

(and full name)

Left & Right Parts

Type

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.

Setting values: All, Ext (External), or SMF (Standard MIDI File)

All User Performance memory data, all User Songs, and system settings (i.e., from the Utility

area, the Master Equalizer block, and the Transpose area, etc.) will be saved as a single file.

The extension .C5A is used for CP5 data; the extension .C6A, for CP50 data. The External

Performance memory is not part of the User Memory and will not, therefore, be included in

this file.

All

[RIGHT2] (CP5)

All External Performance memory data will be saved as a single file. CP5 data will be given

the file name EXTBANK.C5E; CP50 data, the filename EXTBANK.C6E.

Ext

Song Setting Area

The selected User Song will be saved as a MIDI file with the extension .MID.

SMF

If Type has been set to “All”:

TRACK Part

Name=[aaaaaaaa]

(Cursor) (Data)

EXITU

ENTERD

MIC INPUT Part

Settings for All Parts

Settings for All Performances

Are you sure?

<<YES[PUSH]

NO[PUSH]>>

On-screen name

(and full name)

Description

Name

This parameter is used to specify a name for the All file to be saved. You can

turn Knob 1 (Cursor) to move the cursor within the displayed name. Then, using

Knob 2 (Data), you can change the character at the cursor position. The name

of an All file can contain upper case letters, numbers, and symbols. After you

have finished naming the file, press the [ENTER] button. When asked to confirm

that you wish to proceed, press either Knob 1 (YES [PUSH]) or the [ENTER] but-

ton to save the data, or press either Knob 3 (NO [PUSH]) or the [EXIT] button to

return to the Name screen.

If Type has been set to “Ext”:

Name=[EXTBANK ]

(Cursor) (Data)

EXITU

ENTERD

Are you sure?

<<YES[PUSH]

NO[PUSH]>>

CP5/CP50 Reference Manual

On-screen name

(and full name)

Description

Name

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.

Left & Right Parts

NOTE Each USB flash-memory device can contain just one External Performance

memory file (i.e., EXTBANK.C5E for the CP5 or EXTBANK.C6E for the

CP50).

If Type has been set to “SMF”:

[RIGHT2] (CP5)

Src

EXITU

001[UserSong01]

ENTERD

Song Setting Area

TRACK Part

Name=[aaaaaaaa]

(Cursor) (Data)

EXITU

ENTERD

MIC INPUT Part

Settings for All Parts

Are you sure?

Settings for All Performances

<<YES[PUSH]

NO[PUSH]>>

On-screen name

(and full name)

Description

Src (Source)

Turn Knob 1 to select the User Song to be saved. Note that this screen will only

be displayed if User Song data has been recorded. Press the [ENTER] button

to proceed to the screen for naming the User Song to be saved. Alternatively,

you can press the [EXIT] button to return to the Type screen.

Name

This parameter is used to specify a file name for the User Song to be saved.

You can turn Knob 1 (Cursor) to move the cursor within the displayed name.

Then, using Knob 2 (Data), you can change the character at the cursor posi-

tion. User Song names can contain upper case letters, numbers, and symbols.

After you have finished naming the file, press the [ENTER] button. When 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.

Load

The parameters to be set on the Load screen are as follows.

On-screen name

(and full name)

Description

Type

This parameter is used to specify the type of file to be loaded into your CP5 or CP50. When

you have selected the required type, press the [ENTER] button. Alternatively, you can press

the [EXIT] button to return to Page 1 of the File screen. If no files of the specified type are pres-

ent in the root directory of the USB flash-memory device plugged into your CP5 or CP50, it will

not be possible to proceed to the next page using the [ENTER] button.

Setting values: All, Perf (Performance), Ext (External), or SMF (Standard MIDI File)

Data from the specified file* will be loaded into the stage piano’s User Memory, overwriting

everything except the External Performance data. (*: CP5 data has the extension .C5A;

CP50 data, the extension .C6A.)

All

CP5/CP50 Reference Manual

On-screen name

(and full name)

Description

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.)

Type

Perf

Left & Right Parts

An entire External Performance memory* will be loaded into the stage piano.

(*: CP5 data is named “EXTBANK.C5E”; CP50 data is named “EXTBANK.C6E”.)

Ext

A standard MIDI file, which has the extension .MID, will be loaded into the stage piano.

SMF

File

This parameter is used to select the file to be loaded. Whenever Type has been specified as

“Ext”, it will be set to “001[EXTBANK]”.

[RIGHT2] (CP5)

File

001[aaaaaaaa]

EXITU

ENTERD

When you have selected the required file, press the [ENTER] button. If “All” or “Ext” has been

set for Type, you will be asked to confirm that you wish to proceed with loading. Press either

Knob 1 (YES [PUSH]) or the [ENTER] button to do so. Alternatively, if you have selected “Perf”

or “SMF”, follow the procedure described below to load the required data. To return to the File

page without loading any data, press either Knob 3 (NO [PUSH]) or the [EXIT] button.

Song Setting Area

If Type has been set to “Perf”:

TRACK Part

Src

EXITU

MIC INPUT Part

USR1:A01[UserPerf1 ]D

Settings for All Parts

Settings for All Performances

Dst

EXITU

USR1:A02[UserPerf2 ]D

Are you sure?

<<YES[PUSH]

NO[PUSH]>>

On-screen name

(and full name)

Description

Src (Source)

These parameters are used to specify a single Performance to be loaded from the

selected file. Specify a User Performance memory bank (USR1 to USR3) using

Knob 1, and specify a group (A to D) and number (01 to 10) using Knob 2. Further-

more, you can also select “all” for the group and number using Knob 2, indicating

that all Performances from the User Performance memory bank specified using

Knob 1 will be loaded. Press the [ENTER] button to proceed to a page allowing a

destination to be selected for the loaded data. Alternatively, you can press the

[EXIT] button to return to the File page.

Dst (Destination)

These parameters are used to select the User Performance to hold the loaded

data. Specify a User Performance memory bank (USR1 to USR3) using Knob 1,

and specify a group (A to D) and number (01 to 10) using Knob 2. If “all” has been

selected for Src above, this parameter will also be set to “all”, meaning that data

will be loaded into all Performances from the User Performance memory bank

selected with Knob 1. After you have specified a destination, press the [ENTER]

button. When asked to confirm that you wish to proceed, press either Knob 1 (YES

[PUSH]) or the [ENTER] button to load the data, or press either Knob 3 (NO

[PUSH]) or the [EXIT] button to return to the Dst page.

CP5/CP50 Reference Manual

If Type has been set to “SMF”:

Dst

001[aaaaaaaa]

EXITU

ENTERD

Left & Right Parts

Are you sure?

<<YES[PUSH]

NO[PUSH]>>

[RIGHT2] (CP5)

On-screen name

(and full name)

Description

Dst (Destination)

This parameter is used to select a User Song number (1 to 128) to hold the loaded

data.

Song Setting Area

Rename

TRACK Part

The parameters to be set on the Rename screen are as follows.

On-screen name

Description

MIC INPUT Part

(and full name)

Settings for All Parts

Type

This field displays the type of file to be renamed. Only All files can be remained, and therefore,

this setting cannot be changed. Press the [ENTER] button to proceed to the next page. To

return to Page 1 of the File screen without renaming data, press the [EXIT] button. If no All file

is present in the root directory of the USB flash-memory device plugged into your CP5 or

CP50, it will not be possible to proceed to the next page using the [ENTER] button.

Settings for All Performances

File

This parameter is used to select the file to be renamed.

File

001[aaaaaaa]

EXITU

ENTERD

When you have selected the required file, press the [ENTER] button. To return to the File page

without loading any data, press either Knob 3 (NO [PUSH]) or the [EXIT] button.