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Yamaha CP-1 Rhodes


burningbusch

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But the main problem with the Scarbee sets (which I love and have used extensively live and in the studio) is latency, no matter how fast your processor is. There is this little bit that doesn't seem like much, but when you trigger them with a keyboard that is also producing sound, it really is noticeable.

 

Endorsing Artist/Ambassador for MAG Organs and Motion Sound Amplifiers, Organ player for SRT - www.srtgroove.com

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Impressively professional demo, Busch. Well done.

 

I don't mind if it sounds exactly like a Rhodes or not. Rhodes was always an anomaly to me anyway; it never tried to sound like a piano or any other instrument. I went through 8 of them over time, and based on the demo, there's enough Rhodes' character in the CP to satisfy me. Several stood out that I liked, like the last one "Delicate" and the "felt" sound.

 

Wish Yamaha could put these sounds in a dedicated faux Rhodes keyboard at a reduced price. I'd buy it.

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Thanks ProfD for posting the comparison chart again.

 

I guess my question should have been does the CP1 use physical modeling to get that linear quality, avoiding the usual jumpiness of switching samples? And will the linear response be in the CP50 and the CP5 for their Rhodes? Will they behave like the CP1 Rhodes or will they still be jumpy?

 

And will Yamaha actually put an authentic sounding Suitcase or Stage Rhodes in the cheaper CP50 model or will they do what they usally do: put the hyper bell tone Rhodes in the cheaper model?

 Find 600 of my jazz piano arrangements and tutorials for educational purposes at patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book."

 

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Jazz,

 

I recall another post where someone verified that the Rhodes model in the CP-50 will be the "75" which can be heard in the previous demo.

Endorsing Artist/Ambassador for MAG Organs and Motion Sound Amplifiers, Organ player for SRT - www.srtgroove.com

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"I recall another post where someone verified that the Rhodes model in the CP-50 will be the "75" which can be heard in the previous demo."

 

"The CP5 has all of the Rhodes from the CP1. The CP50 only has one."

 

Just to confirm, these posters are 100% correct. The CP5 has all of the Spectral Component Models of the CP1 and the CP50 has the 75 model.

Director of Marketing

Pro Audio and Combo Division

Yamaha Corporation of America

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Do they all behave with the same "linear" response?

 Find 600 of my jazz piano arrangements and tutorials for educational purposes at patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book."

 

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  • 3 years later...

Zombie thread alert :):crazy:

 

Was browsing YT videos and this was fairly new. He's a good player but seems really taken with the DX7 end of the CP1 and FM in general by looking at his videos. I guess different type of sounds speak to different folks.. ;)

 

[video:youtube]http://www.youtube.com/watch?v=avCyiiIE7ac&feature=player_embedded

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Zombie thread alert :):crazy:

 

Was browsing YT videos and this was fairly new. He's a good player but seems really taken with the DX7 end of the CP1 and FM in general by looking at his videos. I guess different type of sounds speak to different folks.. ;)

 

[video:youtube]http://www.youtube.com/watch?v=avCyiiIE7ac&feature=player_embedded

 

 

 

 

 

 

 

Zombie thread alert, indeed....While listening to that an eery shift occurred; 1987 started to unfold around me. The cell phone faded from view, and my JP-50 began to morph into a D-50. Good thing I grabbed my iPad - it worked liked the penny from "Somewhere In Time". :D

'Someday, we'll look back on these days and laugh; likely a maniacal laugh from our padded cells, but a laugh nonetheless' - Mr. Boffo.

 

We need a barfing cat emoticon!

 

 

 

 

 

 

 

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Yeah, that demo using the DX Tines brings back memories of the mid to late 80s. :laugh:

 

Otherwise, I still dig FM especially with that metallic sound layered underneath a Rhodes or Wurli. IMO, that extra bite makes it cut through the mix better.

 

DF, go ahead and unload that Nord Piano and get the CP5 already mayne. :D:cool:

PD

 

"The greatest thing you'll ever learn, is just to love and be loved in return."--E. Ahbez "Nature Boy"

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I guess different type of sounds speak to different folks.. ;)

It sure speaks to me :) Awesome playing, and just a gorgeous example of an FM EP. I don't remember DX FM ever sounding that good.

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Yeah, nice playing. I like the ending. It's one of those tunes that is harder to play than you might expect.

 

The CP1 uses real FM, or something like it, which accounts for the good DX-Rhodes sound. Like a lot of players, I grew tired of that sound from over-exposure. But I still like it. It did have some positives going for it. I think there's a place for it. Maybe it will have a comeback?

 

By the way, the CP1/CP5/CP50 comparison chart link earlier in this thread is a dead link. The comparison chart is now here:

 

Yamaha CP1 CP5 CP50 Comparison Chart

 

 

 

 

 

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Hey Richard, how's it going ?

 

Yeah, you know I've always had to work on Shadow of your smile to make it sound like anything. It is a hard tune. I think it's the key maybe. I'm always vacillating whether to play F#m7 or F#m7 b5 on that first chord for the blowing. And then an altered B7 or just a straight B9. The way the C#m7 b5 comes in too just makes the whole flow real challenging to string something melodically throughout that first A section.

 

I guess different type of sounds speak to different folks.. ;)

It sure speaks to me :) Awesome playing, and just a gorgeous example of an FM EP. I don't remember DX FM ever sounding that good.

 

Yeah I didn't mean that in a condescending way Bill. It is gorgeous, both the sound and playing. Like Richard said, I probably got my fill of it like we all did. But since you don't hear it that often today, especially in this type of context, it's kinda nice.

 

I remember Clare Fischer had an affinity for the DX7 tine sound and used it extensively with Salsa Picante.

 

DF, go ahead and unload that Nord Piano and get the CP5 already mayne. :D:cool:

 

:laugh:

 

Yeah Prof, working on it man. :cool: Trying to find one used (but not too thrashed) at a good price but not having much luck . The two I have played off of CL recently looked and felt like they'd been through the mill. Might bite the bullet and just buy new.

 

Will probably hold onto the NP2 for the time being. Still sounds good, easy to transport , not my favorite action but I've played much worse. It has the small footprint in case I get a solo gig where I have to set up in an elevator.. :cry::laugh:

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Awesome playing, and just a gorgeous example of an FM EP. I don't remember DX FM ever sounding that good.

That's because most of us tend to associate that sound with all the cheesey/schmaltzy music that used it, and flooded the airwaves to the point we learned to hate the sound. Which is kind of a shame, because the reason that sound got so popular in the first place was because it was so dynamic and expressive in the right hands. The clip above is testimony to that. :)

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Steve

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DF, go ahead and unload that Nord Piano and get the CP5 already mayne. :D:cool:

:laugh:

 

Yeah Prof, working on it man. :cool: Trying to find one used (but not too thrashed) at a good price but not having much luck . The two I have played off of CL recently looked and felt like they'd been through the mill. Might bite the bullet and just buy new.

Yeah, I believe my GAS for the SV-1 has subsided. :laugh:

 

The SV-1 is fun to play but the CP5 has more capabilities. So, if I ever have to replace my Motif, I'd snatch up a CP5 too. :cool:

PD

 

"The greatest thing you'll ever learn, is just to love and be loved in return."--E. Ahbez "Nature Boy"

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Hey Richard, how's it going ?

 

Yeah, you know I've always had to work on Shadow of your smile to make it sound like anything. It is a hard tune. I think it's the key maybe. I'm always vacillating whether to play F#m7 or F#m7 b5 on that first chord for the blowing. And then an altered B7 or just a straight B9. The way the C#m7 b5 comes in too just makes the whole flow real challenging to string something melodically throughout that first A section.

Hi, Dave

 

I'm ok, thanks. Yep, those are the kinds of things that make SOYS challenging, fer sure. I usually play F#m7 for blowing. I think it's because I'm hearing the C# melody note in my head, and because I think that a straight F#m7 in bar 1 makes it distinct. That's my theory, anyway.

 

Try this in bars 8 thru 12, it's a thing I came up with:

|F#m7b5 |B7 |Em7 A7 |Dm7 G7 | C#m7b5 | etc.

 

Richard

 

 

 

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