| Yamaha CP-70 | |
|---|---|
 | |
| Manufacturer | Yamaha Corporation |
| Dates | 1976–1985 |
| Technical specifications | |
| Polyphony | Full |
| Synthesis type | Electromechanical |
| Input/output | |
| Keyboard | 73 keys (CP-70, CP-70B) 88 keys (CP-80) |
TheYamaha CP-70 is anelectric piano manufactured byYamaha Corporation between 1976 and 1985. The instrument was based on earlier electric piano technology, but took advantage of improvedpickups along with the company's longstanding experience in manufacturing acoustic pianos.
The new technology and a lack of asoundboard gave it a more accurate emulation of an acoustic piano than earlier models. It was well received and used by a number of musicians in the late 1970s and early 1980s, including theGrateful Dead'sKeith Godchaux andGenesis'Tony Banks. It continues to be used in the 21st century by a number of artists, and it is still possible to buy replacement parts.
The CP-70 has the samepiano action as an acoustic instrument, using wooden keys to operate hammers which hit strings, but it does not contain asoundboard. It has a smaller number of specially manufactured strings, reducing the overall weight.[1] In particular, the bass strings are very short compared to an acoustic instrument,26+3⁄4 inches (67.9 cm) instead of around 7 feet (213 cm)).[2] The strings are amplified bypiezo-electric pickups mounted on the harp casting that induce an electric current from vibrations, in a similar manner to pickups on anacoustic guitar.[3]
The choice of piezo-electric pickups and their mounting position avoids the problems with earlier electric pianos, where magnetic pickups carried harmonic information at a particular distance on the string. The lack of a soundboard means it is difficult for the instrument tofeedback.[3] The signal from the pickups is sent to apreamplifier which features a stereobalanced line signal via a pair ofXLR connector output jacks, in addition to the more familiarquarter-inch jack outputs.[4]
The CP-70 is designed for touring. The harp can be detached from the key assembly and the instrument's legs and can be stored in the key assembly's lid.[5] An optional road case is available.[4] The CP-70's flat top allows other keyboards and synthesisers to be stacked on top of it.[5]
There had been numerous attempts to manufacturer a piano that was both portable and sounded like the acoustic grand model.Benjamin Miessner had been working on pickup and amplification techniques since the 1930s, and discovered that capturing the harmonic information and nuances of sound was difficult and changed as pickup positions and configurations were altered.[6] Yamaha had been working on pickup technology sinceWorld War II, and took advantage of Japanese culture at the time which permitted research information to be exchanged between companies without threat of intellectual property lawsuits, as in the US.[3] They used this knowledge to create a series of robust piezo-electric pickups, and combined it with their experience in manufacturing acoustic pianos to make an electric instrument.[3]
The CP-70 was first manufactured in 1976, and cost $4,000.[4] According toToto'sDavid Paich, Yamaha invited a group of pianists inLos Angeles to test the instrument before manufacturing. After playing, they were "just freaking out over it".[2] The first model had problems with tuning, and an upgraded version, the CP-70B, was introduced at theNAMM Show in 1978, along with the CP-80, which featured a full 88-note keyboard.[5] It also introduced aneffects loop. The CP-70D and CP-80D models added agraphic equaliser. The final models to be released were theMIDI equipped CP-70M and CP-80M, which were released at the end of 1985.[4]
The CP-70B and later models have very stable tuning, compared to other electric pianos. The lack of a soundboard means that vibration from transport and humidity is unlikely to change the sound.[7]
Because the CP-70 uses custom-made strings, sourcing new ones can be problematic. Each iteration of the instrument used a different type of string, although some of the treble strings can be replaced with standard ones from an acoustic piano. As of 2019, there were two companies in the US supplying the appropriate custom strings for the CP-70.[8]
The CP-70 was used by a number of prominent keyboardists, includingKeith Emerson,George Duke,Charly Garcia,Little Feat'sBill Payne,Heart'sHoward Leese,Patrick Moraz,Michael McDonald,Magne Furuholmen ofA-ha andBilly Joel.[9] DuringCold Chisel's live performances, singerJimmy Barnes leapt onto keyboardistDon Walker's CP-70.[10] TheGrateful Dead'sKeith Godchaux began playing a CP-70 as it was easier to transport one to gigs than an acoustic grand piano.[11] His successorBrent Mydland also briefly used it in 1982 before switching to digital synthesizers.Led Zeppelin'sJohn Paul Jones encased a CP-70 inside a white case to resemble an acoustic piano.[1]Genesis'Tony Banks used the instrument extensively, such as the hit "That's All" and "Taking It All Too Hard", and preferred recording with it over an acoustic piano.[5]
The CP-70 achieved its commercial peak during the advent ofMTV and was therefore prominently featured on music videos.[5]Keane'sTim Rice-Oxley uses a CP-70 as his main instrument with the band.[1]Alicia Keys has used a CP-70 as her main touring piano, which she custom-painted. During the tour forThe Element of Freedom, her CP-70 featured the words "Freedom" and "Love" painted on its side.[5]
References
Sources
| Synthesizers |  | |
|---|---|---|
| Modules | ||
| Samplers | ||
| Workstations | ||
| Drum machines | ||
| Grooveboxes | ||
| MIDI controllers | ||
| Music computers | ||
| Sequencers | ||
| Organs | ||
| Pianos | ||
| Consumer keyboards | ||