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Yamaha CP4 - first impressions


dazzjazz

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Chuck--having sold my CP5 in May of 2012, I've been using the Nord Piano 2 since. I bought the CP5 in August of 2010 and used it on every gig until the schlep got to be too much.

 

The CP5 was pretty much retired from active use around Nov. of 2011. I started using the original NP88 a little before that. So all totaled, I've been exclusively red with both the NP88 & NP2 now for a little over 2 years. So I feel I have a pretty decent perspective of both the Yamaha and Nord pianos.

 

If you're talking about NP2 vs CP4...I've probably had an hour and fifteen minutes on the Yamaha total in the two occasions I've played it. That was long enough for me to know which one would work better for what I do. :)

 

The NP2 still does the job and I've learned to put up with the quirkiness of it. In some contexts and acoustically good rooms, the sound is stunningly realistic live.

 

Nord has made great strides the last few years with the introduction of the "long release" & "string resonance" features, along with the new Faziloi, Yamaha Bright Grand and Bosendorfer samples. Yet the player connection seems to always lag way behind for me. So consequently, I've never been personally happy with my playing on any of the more serious listening performances where there wasn't a good acoustic, and I had to use the Nord. The past two years on certain gigs, I've tried to get in that mindset of--"it ain't me" and just do my best. I've really tried to not let it get too under my skin. I'm getting way better with that mental approach but still not quite there yet. ;)

 

So yes, it will be nice to get back to what I feel is more home base for me--Yamaha digital pianos. Like I've said quite often here and other places--I highly regretted selling the CP5.

 

For people like me (that come from an acoustic jazz/classical background), Yamaha just seems to do the right things with regard to sound, action and total player connection on their instruments.

 

I'd have the CP4 right now if not for going up to Point Reyes Station in Marin County next week to get measured/fit for a custom mountain bike from legendary builder Steve Potts. :cool:

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Congrats, Darren, nice looking board. Must...resist...GAS...

 

I don't think so, Aidan. You're already circling the drain of GAS and there's a Yamaha box at the other end... ;)

'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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For people like me (that come from an acoustic jazz/classical background), Yamaha just seems to do the right things with regard to sound, action and total player connection on their instruments.

 

+1

 

I'd have the CP4 right now if not for going up to Point Reyes Station in Marin County next week to get measured/fit for a custom mountain bike from legendary builder Steve Potts. :cool:

 

Wow! Green with envy here! :sick::cool:

 

Yeah, I'd have it right now too, if it would be available here in Germany. But first I have to get rid of my good old CP5.

Yamaha C3 | CP4 | CK88 | P-121 | Sauter 108 Studio | Schimmel 112 |

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For people like me (that come from an acoustic jazz/classical background), Yamaha just seems to do the right things with regard to sound, action and total player connection on their instruments.

 

+2

 

The CP4 is one of those significant upgrades that is going to bring me back to a two keyboard setup. I'm getting tired of the compromises and work-arounds that come with everything else.

____________________________________
Rod

Here for the gear.

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How are the onboard speakers?

 Find 660 of my jazz piano arrangements of standards for educational purposes and tutorials at www.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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Can't wait to try one....

 

I have bought most of the pianos I have owned without trying them out first... more to do with where I have lived to be honest. I remember getting the Yamaha P80 and being blown away by it... would love to play one of those again just to see if it actually was any good. I remember getting the P120 and being so disappointed... RD700GX was a good upgrade but was kinda heavy...

 

Only keyboard I tried beforehand was the Korg SV1 (they had one in a shop in Paris) which was a nice board to have as it was something I could easily go to gigs with and setup... plus it seemed to sound nice when I sat in the audience and heard others play it! However, the action was wanting... will be good to actually try out the CP4 this time!

 

 

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Can't wait to try one....

 

I have bought most of the pianos I have owned without trying them out first... more to do with where I have lived to be honest. I remember getting the Yamaha P80 and being blown away by it... would love to play one of those again just to see if it actually was any good. I remember getting the P120 and being so disappointed... RD700GX was a good upgrade but was kinda heavy...

 

Only keyboard I tried beforehand was the Korg SV1 (they had one in a shop in Paris) which was a nice board to have as it was something I could easily go to gigs with and setup... plus it seemed to sound nice when I sat in the audience and heard others play it! However, the action was wanting... will be good to actually try out the CP4 this time!

 

Aren't you a real Fender Rhodes fellow, or is that someone else we were on a thread together with?

You don't have ideas, ideas have you

We see the world, not as it is, but as we are. "One mans food is another mans poison". I defend your right to speak hate. Tolerance to a point, not agreement

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Dave --

 

I get what you mean about the player/keyboard connection with a Yamaha keybed. Long list of Yamaha keyboards and pianos in my world: the CP-5, the N2, a U1, a CP88 at one time -- and of course my darling 6' grand.

 

But I gig with Nords.

 

You're right -- the Nord NP2 has the sounds, but you never feel connected through they keybed. It's almost like it's someone else playing. I've always thought that was my problem -- I should just spend more time -- but after your comments I think there's more than that.

 

Thanks for the perspective ...

Want to make your band better?  Check out "A Guide To Starting (Or Improving!) Your Own Local Band"

 

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Well I used the CP4 last night for the first time on a jazz quartet gig, playing fairly simple standards and blues. I ran my rig in mono, using one balanced XLR cable into my QSC K10.

 

During sound check I compared the stereo CFIII sample with the mono, and decided that the stereo sounded better, even though I was only getting half the information. During the sets I switched back and forth between the same a few times to get more perspective, and stuck with the stereo version. I also tried the CFX and ultimately preferred it, even though it's a big bold sound.

 

Yamaha have done something curious with the naming of the variations each piano.

Some are labelled as St, then St+, St- and Mn, Mn+ and Mn-. From the manuals, it is not clear what these mean. In terms of stereo, St+ could mean a wider stereo image or it could mean the right side of the image with St- being the left. However this logic doesn't really apply to the Mono files, or does it?

 

The mono files sound good though, and are a little fatter but less detailed than half the stereo image. As the CFX is already the size of King Kong, I opted for the more detail.

 

As for the action, I enjoyed the workout and felt I hit my stride in the second set. I wouldn't say I have completed adjusted to the action, but that could be influenced by the fact that the last month has been nothing but organ gigs, and the action on the CP4 is yet to be played in. I felt more confident than I did on the NS2 though, and from memory that took me some time to get used to also.

 

The cabinet is overly plasticky, and feels cheap as a result, but I realise this is where Yamaha has shaved the weight from. We can't have it both ways. Yamaha have use plastic ends on top line boards since the 80s (ah I wish I still had my KX76 - best non weight action ever!) but I think this might be a first as the cabinet is entirely plastic.

 

The display is recessed, which is going to be a dust trap, but as a buddy pointed out, it lets you leave your iPad there comfortably. Good thinking Yamaha.

 

My band mates were suitably impressed, giving many compliments on the sound.

I didn't get an opportunity to use the Rhodes samples - it simply wasn't appropriate on this gig. I have tried them through my QSC though (my first audition was through headphones) and I feel I must retract most of my original post regarding the actions suitability to playing them. They feel fine!

 

Again I'm tempted to buy another QSC to run stereo on all gigs....

 

I have checked out some of the editing features and the 3 user manuals. There's a LOT under the hood. I was particularly impressed that there is a resonant filter with its own envelope generator. Given the quality of some of the synth patches, I imagine one could coax many textures from this board. The amp models and other stomp box type effects are very good too. One thing I haven't quite mastered yet is the architecture and relationship between basic tones and performances. The manual is a little contradictory here and I think that is what is confusing me. I'll have to figure it out and report back or perhaps someone else can? The 3 controller sliders that can be switched between volume, chorus and reverb are a good idea. I must admit I had gotten used to the immediacy of the NS2, so I will miss being able to grab a knob for most on the fly edits.

 

Clavinet. Now this is a strange sound on this board, and I can't say I've ever thought Yamaha's interpretation of the D6 to be anywhere near right. This one sounds more like a harpsichord to me. Lucky it's not something I use often. Perhaps someone will develop one for the iPad soon and I up an use the master keyboard functions to replace it?

 

In terms of gig bag, I wanted a Fusion bag as they are very light. Unfortunately the Australian Distributor is not stocking them anymore, so I had to get an SKB 88 narrow model with inline skate wheels. It's a good bag, but you cannot fit the Yamaha music rest in the side pockets (d'oh). Perhaps this will be the impetus to get me to put all charts on iPad from now on. Unfortunately it's a heavy bag, damn it, but it will protect the board very well.

 

That's all I can think of right now. I'm gigging all weekend on organ so I won't check this baby out again till late next week I imagine. Till then, here's a pic from the gig...

 

http://i1239.photobucket.com/albums/ff506/dazzjazz1/ba60aab48ad04b948ba8b10271649b64_zps6aed0c92.jpg

www.dazzjazz.com

PhD in Jazz Organ Improvisation.

BMus (Hons) Jazz Piano.

my YouTube is Jazz Organ Bites

1961 A100.Leslie 45 & 122. MAG P-2 Organ. Kawai K300J. Yamaha CP4. Moog Matriarch. KIWI-8P.

 

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Thanks for that nice review. I especially enjoy reading reviews of keyboards in live performance situations. Interesting how you preferred the stereo programs over the mono patches!

"We don't stop playing because we grow old; we grow old because we stop playing."

- George Bernard Shaw

 

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Yamaha have done something curious with the naming of the variations each piano.

Some are labelled as St, then St+, St- and Mn, Mn+ and Mn-. From the manuals, it is not clear what these mean. In terms of stereo, St+ could mean a wider stereo image or it could mean the right side of the image with St- being the left. However this logic doesn't really apply to the Mono files, or does it?

 

On my Motif, the + and - means that the entire sampleset is keymapped either up or down the keyboard from where the samples were originally taken. Up makes the sound a bit brighter and thinner, down darker and thicker. In addition - if there's a break in the sampleset in a place that bothers you, you can move it to another location by choosing one of these variations.

 

BTW Motifs give you the tools to custom keymap it's samplesets yourself, although it's one of the most frustrating and hair pulling adventures you'll ever go through in programming. Rolands (and my new PX-5s) make this task a breeze.

 

Its just one of many things that constantly remind me why I will never purchase another Motif again. This new CP4 is another story though :)

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I've been going through the CP4 manual, and I can't see where the "local off" parameter is one of the options in Master Mode. On my CP33, I turn "local off" for my left hand bass to transmit to my motif rack without the CP sounding. Surely I have missed this?

Jim Wells

Tallahassee, FL

 

www.pureplatinumband.com

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One thing I haven't been able to determine is whether the CP4 allows the user to save splits, layers, and other patch changes as presets. Any information on this would be much appreciated.
Yamaha CP4, MainStage 3 on MacBook Pro, Hammond A102 w/ Leslie 147, Fender Rhodes Stage Mark I, Wurlitzer 200a, Roland Juno 60, Nektar T6.
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It sounds like a challenging machine, I suppose Yamaha is being clear "this is a good machine" for reasons. It's a guess how much can be edited to the point of much better, more interesting sounds. I recall I could sure do some things with editing motif sounds, but I'd not say I can create a whole new range of them, and actually that might not even be such a great idea given the sort of taste that has been built in.

 

Today I was making whole new Kurzweil piano sounds, and tomorrow I'll compare them with the demos from Yamaha, for fun. I wonder if the deep editing is possible to make this stage piano really interestingly different!

 

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Got to play one at the local GC today. Spent about 30 minutes before some idiot decided to "make beatz" on the Fantom right next to me...at 120db. Sheesh.

 

Anyway, from what little I could tell through a little Behringer keyboard amp - it plays wonderfully fluid, I personally totally dig the action. CFS piano sounded great given the amp used. Difficult for me to tell what the spectrum of EPs is and how it will sound over real amplification, but I didn't hear anything that doesn't promise to sound superb. Very utilitarian plastic construction.

 

The clavs are...interesting. But just when I was trying to spend some thoughtful time with the string sounds, it was welcome to drum loops on the Fantom time.

 

The ace in the hole for me is the piano sounds. Connection to finger/action seems really sweet. Can't wait for my preorder from SW to show up.

..
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I had the opportunity to play the CP-4 today. I think it is a great DP with many strengths but in no way do I feel it is superior to the CP-5 as a musical instrument. It is lighter and to some the interface may seem easier but the overall sound and playing experience is much better on the CP-5.

 

The bargain at the moment seems to be the number of good demo CP-5's at blow out prices.

 

Just my .02 cents

Peace

 

 

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I had the opportunity to play the CP-4 today. I think it is a great DP with many strengths but in no way do I feel it is superior to the CP-5 as a musical instrument. It is lighter and to some the interface may seem easier but the overall sound and playing experience is much better on the CP-5.

 

The bargain at the moment seems to be the number of good demo CP-5's at blow out prices.

 

Just my .02 cents

 

Can't say I disagree with anything you posted. But my 60 year old body definitely is saying to me...cp4, cp4. :cry:

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I asked keyboard wizard Dave Ferris, about why he thought playing the CP5 hurt my finger tips. I turned the touch to Soft, and turned the volume up, so I could play lighter; but I am still a bit fearful of the CP5 I bought 6 weeks ago.

Anyone out here have a clue what is going on with these fingertips and the CP5??

You don't have ideas, ideas have you

We see the world, not as it is, but as we are. "One mans food is another mans poison". I defend your right to speak hate. Tolerance to a point, not agreement

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I asked keyboard wizard Dave Ferris, about why he thought playing the CP5 hurt my finger tips. I turned the touch to Soft, and turned the volume up, so I could play lighter; but I am still a bit fearful of the CP5 I bought 6 weeks ago.

Anyone out here have a clue what is going on with these fingertips and the CP5??

I don't know what causes it, but I used to get the same thing, mainly in my right pinky, from the P120. That was one reason I got rid of it, and the other being the awful mono sound. The CP4 looks like everything that I had hoped for when the CP5 came out. I ended up with a PX3 instead, and have not experienced the pinky problem since. And the mono sound is fine too. I'm keen to get a CP4 though. I spent some months rehearing for a band on a CP33 and that was OK, so I'm hopeful it won't be a problem.

 

 

Legend Live, Leslie 251/147, Yamaha UX1, CP4, CK61, Hammond SK1, Ventilator, Privia PX3, Behringer 2600, Korg Triton LE, various guitars and woodwinds, drum kits …

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"Pinky", eh? I believe in my case, it is more than one finger. Anyone else out here... this fingertip discomfort??

Dave Ferris, mentioned something about having this kind of discomfort as well.. but not on a yamaha. Weirdest thing!

You don't have ideas, ideas have you

We see the world, not as it is, but as we are. "One mans food is another mans poison". I defend your right to speak hate. Tolerance to a point, not agreement

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So.... where are all these demo CP-5's at blowout prices?

 

At this point I would have to look at what the advantages of the CP-4 over the CP-5 would be besides the weight. I really don't schlep a DP all that much these days. I do most of my stuff on a 22 lb. Numa organ, though I might want to add some EP sounds to that via Motif rack or something similar.

 

I would like to have the best DP out there for the money right now. Unfortunately, it's not going to be a Casio.

 

So if there are really some ridiculous deals on CP-5's out there I would like to hear about it. I guess I could sacrifice this newest CFX sample, because I really like the action on the CP-5.

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I'd have the CP4 right now if not for going up to Point Reyes Station in Marin County next week to get measured/fit for a custom mountain bike from legendary builder Steve Potts. :cool:

 

This sounds like more fun for sure!

 

Yamaha P22 Upright / Nord Stage 2 SW73
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Somehow I cannot, for the life of me, figure out how to save a performance with a different name! I can edit the name easily enough, but the usual Save routine, which works on other edits fine, doesn't seem to apply to the name editing.

 

Anyone?

www.dazzjazz.com

PhD in Jazz Organ Improvisation.

BMus (Hons) Jazz Piano.

my YouTube is Jazz Organ Bites

1961 A100.Leslie 45 & 122. MAG P-2 Organ. Kawai K300J. Yamaha CP4. Moog Matriarch. KIWI-8P.

 

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