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Bryan Ferry at Live Aid (with my CP70!)


Dave Weiser

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A friend just posted this on Facebook, Bryan Ferry at Live Aid covering John Lennon's Jealous Guy.

 

The CP70 being played by Jon Carin now sits in my studio! I was only 13 at the time of the concert but was tuned in to Philly radio for as much of it as possible. (It was either 94.1 WYSP or 93.3 WMMR, can't remember.)

 

[video:youtube]

 

The CP still sounds and feels fantastic. Amazing instruments those things.

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The CP still sounds and feels fantastic. Amazing instruments those things.

 

get ready to duck, Dave. :laugh:

There are several CP haters on this forum. I love the action on my CP 70. The sound is what it is. Markyboard has a CP 80 and Eric just bought a CP 70 last year. There isn't much neutrality here. People either love 'em or hate 'em. I'm keeping mine. Plus it makes a great stand for my Arp String Ensemble. :thu:

:nopity:
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I have a CP80 - love it..! I really can't see where all the CP-hate comes from, unless you have to move them, they're great instruments...

mostly from the wonkiness in the bottom end, I presume.

Moving them certainly is a pain in the butt also.

:nopity:
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Back in the 80's I gigged a Prophet 10 on top of a CP70. Neither belonged to me, they were property of the other KB player in the band - who gigged a CS80.

 

He was incredibly gracious, as a guy and as a player, and I learned a ton about working together with another KB player in a band.

 

And Lord, we made a huge glorious noise together, that is for sure.

 

..
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Yea back in the 80s i had one also. Pain to move but stayed in tune fairly well. I remember we used to start the first set with White Sister by Toto and the piano kicked it off and i Had the CP70, Hammond Organ with 147 leslie and a couple of synths. Ah the good ole days. Eventually sold all vintage gear. I have a Kronos now and all is well.
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The CP still sounds and feels fantastic. Amazing instruments those things.

 

get ready to duck, Dave. :laugh:

There are several CP haters on this forum. I love the action on my CP 70. The sound is what it is. Markyboard has a CP 80 and Eric just bought a CP 70 last year. There isn't much neutrality here. People either love 'em or hate 'em. I'm keeping mine. Plus it makes a great stand for my Arp String Ensemble. :thu:

 

Well my take on it is that it's a very nice specimen of CP70, which is a very stylized, specific thing. Whether or not someone fancies the CP sound is a matter of taste.

 

How the CP fills in for a piano or compares to other kinds of instruments is another topic altogether.

 

After working on digital keyboards day in and day out for years, it's a treat for me to have something in my studio with wooden keys, real strings and hammers, etc, something that actually creates sound by vibrating. I still marvel at how the CP sits right at the intersection of artistic craft and clever pre-digital engineering.

 

And every time I move the damned thing I marvel at how there will be a hole in my floor to China if I drop it!

 

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it's a treat for me to have something in my studio with wooden keys, real strings and hammers, etc, something that actually creates sound by vibrating.

 

next time you are going to be in the DC area let me know. I have a plethora of these type of devices. I'll invite Mark Towles.(He lives about an hour north of me.) We'll get down. :2thu::boing:

:nopity:
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it's a treat for me to have something in my studio with wooden keys, real strings and hammers, etc, something that actually creates sound by vibrating.

 

next time you are going to be in the DC area let me know. I have a plethora of these type of devices. I'll invite Mark Towles.(He lives about an hour north of me.) We'll get down. :2thu::boing:

 

Right on, would love to check 'em out! Mark is a killer player.

 

Went to school in DC for year back in a past life, 1990-91, before throwing it all away to pursue music! Love it down there, great city.

 

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My impression of the CP was that every time I played it, the action felt shallow, and I found myself beating up my hands with that early bottoming.

 

Do I remember that wrong?

 

I was more than happy to graduate to a MKS-20 Piano 3. It served the same musical purpose but had a way more coherent bass.

Moe

---

 

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One of my favorite geek activities is to mess with eq-ing and compressing the snot out of my CP-80. Got into it again for a few days last week. I love that compressed "thonky" sound. And yeah, the CP-80 is not a piano. Who cares?
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I love the sound of it and use CP80 samples a lot in my Genesis trib. :)

Korg Kronos 61 (2); Kurzweil PC4, Roland Fantom-06, Casio PX-350M; 2015 Macbook Pro and 2012 Mac Mini (Logic Pro X and Mainstage), GigPerformer 4.

 

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I think there's only one serious hater of the CPs here, but his hatred of the CPs is epic. :D

"I'm so crazy, I don't know this is impossible! Hoo hoo!" - Daffy Duck

 

"The good news is that once you start piano you never have to worry about getting laid again. More time to practice!" - MOI

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Lot of those floating around in the 80's. They sure did make a great synth stand. :D

 

Here's what mine looked like:

 

http://i107.photobucket.com/albums/m305/Koda_Vonnor/Misc/ExceptionRig1983_02.jpg

 

~ vonnor

Gear:

Hardware: Nord Stage3, Korg Kronos 2, Novation Summit

Software: Cantabile 3, Halion Sonic 3 and assorted VST plug-ins.

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I've always thought the CP70/CP80 needed a goodly amount of chorus effect to sound good.

 

What, if any, effects do you prefer to use with a CP70/CP80?

Happy Friday, guys. :cheers:

 

Tom

 

"Music expresses that which cannot be put into words and that which cannot remain silent." - Victor Hugo
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I usually like a little chorus on CP, esp if it's for a classic usage case like a haunting Peter Gabriel song or an 80s pop anthem like The Buggle's Video Killed the Radio Star.

 

But in the right setting I also like it straight up, like Bernie Worrell's sound on the P-Funk Beverly Theater album. First few minutes are gold.

 

[video:youtube]

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People either love 'em or hate 'em.
I guess I'm the exception. I got one abused in 1980, and it was my main piano for 17 years. Once I got the MR76 I found I didn't play it much, preferring something that sounded more like a piano (despite the fact that the CP70 sound was right up my alley in a lot of ways, with it's super high sustain level.)

 

As much as I loved it all those years, I sure was happy to let it go, and I don't miss it a bit. Were I to find one set up for a gig, I'd enjoy a little nostalgia and have fun playing it, but I wouldn't want that as a regular thing.

 

My impression of the CP was that every time I played it, the action felt shallow, and I found myself beating up my hands with that early bottoming.
It's pretty much a standard Yamaha acoustic grand piano action, so either you're misremembering, or your experience was on the upright (which I haven't played).

 

I've always thought the CP70/CP80 needed a goodly amount of chorus effect to sound good.

Ack! Ptui! Ptui! I'm a lover of effects, especially stereo, and spent many hours searching for any effects I liked on the CP70, and found exactly zero.

 

However, I probably have some old recordings where I used an MSR pitch-shift doubler on it, but only because I had bass, drums, and keyboards bounced down to a single track on a 4-track, and wanted to lift an image out when mixing in the other three tracks of whatever. In that case, I knew beforehand not to play any sustained high notes, which would get all phasey with the MSR.

 

I haven't found any effects I like on an acoustic guitar, either, except perhaps a little tube preamp warming. Perhaps I just like my acoustic stuff to sound real, not fake.

 

I nearly always use stereo imaging (chorus or pitch-shift doubling) on guitar, Rhodes, and synths. I remember someone telling me I sounded like Pat Metheney, and I had to find out who HE was. (Not that I played anything like him!) Yeah, that was a long time ago, around when the PMG white album came out.

 

I wonder what I'd do today, recording a CP70. I detest the sound of a mono track panned (one of the reasons why I think the grammy for engineering on Norah Jones's album was a travesty). Probably carefully tuned stereo reverb, to put it in a bit of a room, and that's all.

 

Regarding the CP80, I never found any use for the keys on it that weren't on the CP70. As much as I used the low E on the CP70 and loved it (for what it was), and as much as I love low D and C on a real piano, those notes just fell flat when played on a CP80. Useless, IMHO. So to me, a CP80 is just a CP70 that's a lot harder to move and takes more room. And that surprised me, because I thought the CP80 had a bigger harp, so it should have sounded better, but that's not my (albeit limited) experience.

 

I used the CP70 patch on the CP4 long enough to say "Yeah, that's pretty close, though without the dynamics when you really bang on it." and haven't used it again. But then I don't play any Peter Gabriel tunes!

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I've always thought the CP70/CP80 needed a goodly amount of chorus effect to sound good.

 

Ack! Ptui! Ptui! I'm a lover of effects, especially stereo, and spent many hours searching for any effects I liked on the CP70, and found exactly zero.

 

However, I probably have some old recordings where I used an MSR pitch-shift doubler on it...

 

Hey Mr. LearJet, whatza MSR? :facepalm::boing:

 

 

 

 

 

 

 

"Music expresses that which cannot be put into words and that which cannot remain silent." - Victor Hugo
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