Yamaha Electronic Keyboard CP5 User Manual

Reference Manual  
Contents  
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.  
 
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  
Song Setting Area  
Performances  
RIGHT1/RIGHT  
MIDI record  
and play  
LEFT1/LEFT  
User Songs  
Master  
Compressor  
block  
Master  
Equalizer  
block  
Reverb  
block  
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.  
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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.  
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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  
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.  
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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.  
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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  
EQ  
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.  
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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  
Group A  
Group A  
Group A  
Group A  
Group A  
Performance  
Performance  
Performance  
Performance  
Performance  
Performance  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Group B  
Group B  
Group B  
Group B  
Group B  
Group B  
Performance  
Performance  
Performance  
Performance  
Performance  
Performance  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Group C  
Group C  
Group C  
Group C  
Group C  
Group C  
Performance  
Performance  
Performance  
Performance  
Performance  
Performance  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Group D  
Group D  
Group D  
Group D  
Group D  
Group D  
Performance  
Performance  
Performance  
Performance  
Performance  
Performance  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
External Performance Memory  
EXT1 bank  
EXT2 bank  
EXT3 bank  
Group A  
Group A  
Group A  
Performance  
Performance  
Performance  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Group B  
Group B  
Group B  
Performance  
Performance  
Performance  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Group C  
Group C  
Group C  
Performance  
Performance  
Performance  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
Group D  
Group D  
Group D  
Performance  
Performance  
Performance  
Numbers 1 to 10  
Numbers 1 to 10  
Numbers 1 to 10  
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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).  
<<  
Loading...  
>>  
<< [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]>>  
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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.  
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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.  
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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.  
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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  
B
D
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.  
G
All voices from E.PIANO  
category  
This parameter is used to adjust the volume of the  
signal input into the Pre-Amplifier block.  
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CP5/CP50 Reference Manual  
 
   
On-screen name  
(and full name)  
Associated voices  
Description  
H
Hammer  
(Hammer Stiffness)  
CP5 only — CF Grand,  
S6 Grand, CP80, CP88,  
71Rd I, 73Rd I, 75Rd I,  
78Rd II, Dyno, 69Wr, and  
77Wr  
This parameter is used to adjust the apparent soft-  
ness or hardness of the piano sound in much the  
same way as if softer or harder hammers were  
used to strike the strings. It is available on the CP5  
only.  
Left & Right Parts  
Setting values: Soft2, Soft1, Normal, Hard1, and  
Hard2  
High  
DX Legend, DX Woody,  
DX FTine, DX 7 II,  
This parameter is used to adjust the volume of the  
high-frequency component.  
DX Mellow, and DX Crisp  
[RIGHT2] (CP5)  
HighMid (High Middle)  
DX Legend, DX Woody,  
DX FTine, DX 7 II,  
DX Mellow, and DX Crisp  
This parameter is used to adjust the volume of the  
high-middle frequency component.  
K
L
Key-off  
(Key-off Noise Level)  
CF Grand, S6 Grand,  
CP80, CP88, 71Rd I, 73Rd  
I, 75Rd I, 78Rd II, Dyno,  
69Wr, and 77Wr  
This parameter is used to recreate the sound of  
dampers pressing against the strings when you  
remove your fingers from the keyboard. In specific  
terms, the Key-off parameter sets the volume of  
this key-off noise.  
Song Setting Area  
Setting values: -16 to +16  
TRACK Part  
Low  
DX Legend, DX Woody,  
DX FTine, DX 7 II,  
This parameter is used to adjust the volume of the  
low-frequency component.  
DX Mellow, and DX Crisp  
MIC INPUT Part  
LowMid (Low middle)  
DX Legend, DX Woody,  
DX FTine, DX 7 II,  
DX Mellow, and DX Crisp  
This parameter is used to adjust the volume of the  
low-middle frequency component.  
Settings for All Parts  
M
Middle  
CP80 and CP88  
69Wr and 77Wr  
Dyno  
This parameter is used to adjust the volume of the  
mid-frequency component.  
Settings for All Performances  
MidBoost (Mid Boost)  
Normal  
This parameter is used to adjust the volume of the  
mid-frequency component.  
N
O
R
This parameter is used to adjust the volume of the  
mid-frequency component.  
Overtone  
Dyno  
This parameter is used to adjust the volume of the  
high-frequency component.  
Release (Release Time)  
All piano voices  
This parameter is used to adjust how fast a note  
decays after the key is released.  
Setting values: -16 to +16  
NOTE The same setting can be made using the  
EGRel parameter (page 29) from the Part  
Setting screen.  
S
Speed (Vibrato Speed)  
71Rd I, 73Rd I, 75Rd I,  
and 78Rd II  
This parameter is used to adjust the speed of the  
pre-amplifier vibrato.  
StrkPos (Striking Position)  
71Rd I, 73Rd II, 75Rd I,  
78Rd II, Dyno, 69Wr, and  
77Wr  
This parameter is used to replicate the effect of  
changing the position at which the resonators are  
struck by the hammers.  
Setting values: Top3 to Top1, Default, or Rear1 to  
Rear3  
T
V
Treble  
CP80, CP88, 71Rd I,  
73Rd , 75Rd I, 78Rd II,  
69Wr, and 77Wr  
This parameter is used to adjust the volume of the  
high-frequency component.  
Volume  
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  
14  
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  
E
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.  
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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  
E
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)  
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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.  
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CP5/CP50 Reference Manual  
 
For non-piano voices:  
Ins1Type  
E
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)  
B
C
D
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.  
F
Feedback  
This parameter is used adjust the degree to  
which output from the effect is fed back into  
its input.  
M
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.  
P
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.  
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CP5/CP50 Reference Manual  
 
On-screen name  
(and full name)  
Associated effects  
Small Phaser  
Description  
R
S
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)  
T
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  
A
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.  
B
C
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).  
D
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.  
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CP5/CP50 Reference Manual  
 
 
On-screen name  
(and full name)  
Description  
D
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.  
E
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.  
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CP5/CP50 Reference Manual  
 
On-screen name  
(and full name)  
Description  
E
F
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 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  
H
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.  
I
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.  
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CP5/CP50 Reference Manual  
 
On-screen name  
(and full name)  
Description  
L
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.  
M
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.  
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CP5/CP50 Reference Manual  
 
On-screen name  
(and full name)  
Description  
M
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  
N
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  
O
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.  
P
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.  
R
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.  
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CP5/CP50 Reference Manual  
 
On-screen name  
(and full name)  
Description  
R
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  
S
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  
T
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.  
V
Vowel  
W
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).  
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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  
E
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.  
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CP5/CP50 Reference Manual  
 
     
For non-piano voices:  
Ins2Type  
E
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  
A
Attack  
This parameter is used to set the amount of time  
that elapses between arrival of an input signal and  
activation of the compressor.  
D
L
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).  
O
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.  
R
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.  
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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)  
1
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  
2
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  
3
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.  
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CP5/CP50 Reference Manual  
 
 
On-screen name  
(and full name)  
Page  
Description  
05 Werckmeist (Werckmeister)  
3
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)  
4
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  
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  
127  
Actual  
velocity  
Actual  
velocity  
output  
output  
(to tone  
generators)  
(to tone  
generators)  
0
64  
127  
0
64  
127  
Played velocity  
Played velocity  
When VelDpt is 64  
and VelOfs is 64:  
127  
Actual  
velocity  
output  
(to tone  
generators)  
0
64  
127  
Played velocity  
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CP5/CP50 Reference Manual  
 
On-screen name  
(and full name)  
Page  
Description  
5
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  
6
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  
7
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  
0
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.  
8
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  
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CP5/CP50 Reference Manual  
 
     
On-screen name  
(and full name)  
Page  
Description  
9
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  
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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  
1
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  
2
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).  
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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  
1
2
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  
3
4
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  
5
6
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  
7
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  
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CP5/CP50 Reference Manual  
 
     
On-screen name  
(and full name)  
Page  
Description  
8
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)  
9
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  
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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)  
FS  
Foot switch connected to the ASSIGNABLE jack  
TRACK Part  
3
4
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.  
5
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  
34  
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  
1
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  
]E  
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  
E
[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.  
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CP5/CP50 Reference Manual  
 
     
On-screen name  
(and full name)  
Page  
Description  
2
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  
3
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  
4
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.  
4
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.  
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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  
1
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)  
E
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.  
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CP5/CP50 Reference Manual  
 
   
On-screen name  
(and full name)  
Page  
Description  
2
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  
3
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  
4
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”.  
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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  
39  
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  
1
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  
2
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  
1
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  
2
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  
3
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  
40  
CP5/CP50 Reference Manual  
 
   
On-screen name  
(and full name)  
Page  
Description  
3
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  
4
5
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  
6
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  
7
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  
1
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).  
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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  
1
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  
2
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  
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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  
1
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  
2
3
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  
4
5
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  
6
7
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  
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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  
1
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  
2
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).  
3
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.  
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CP5/CP50 Reference Manual  
 
   
On-screen name  
(and full name)  
Page  
Description  
4
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  
FS  
[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)  
5
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  
6
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.  
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CP5/CP50 Reference Manual  
 
   
On-screen name  
(and full name)  
Page  
Description  
6
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  
7
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  
8
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.  
9,  
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  
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CP5/CP50 Reference Manual  
 
 
On-screen name  
(and full name)  
Page  
Description  
9
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)  
0
0
Frequency  
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  
0
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  
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”.  
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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.  
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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)  
1
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  
2
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.  
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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]>>  
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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  
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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.  
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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.  
Name  
This parameter is used to specify a new name for the selected file. You can turn Knob 1 (Cur-  
sor) to move the cursor within the displayed name. Then, using Knob 2 (Data), you can  
change the character at the cursor position. File names can contain upper case letters, num-  
bers, and symbols. When you have specified a new name, press the [ENTER] button to com-  
plete the renaming process. Alternatively, you can press the [EXIT] button to return to the File  
page.  
Delete  
The parameters to be set on the Delete screen are as follows.  
On-screen name  
Description  
(and full name)  
Type  
This field displays the type of file to be deleted. Only All files can be deleted, and therefore,  
this setting cannot be changed. To proceed to the next page, press the [ENTER] button. Alter-  
natively, you can press the [EXIT] button to return to Page 2 of the File screen. 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.  
File  
This parameter is used to select the file to be deleted.  
File  
001[aaaaaaaa]  
EXITU  
ENTERD  
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 delete the data, or press either  
Knob 3 (NO [PUSH]) or the [EXIT] button to return to the File page.  
53  
CP5/CP50 Reference Manual  
 
   
Appendix  
MIDI  
Musical Instrument Digital Interface (MIDI) is a global standard designed to allow performance, voice, and other data to  
be transferred between musical instruments As such, data communication is assured even between musical instruments  
and equipment from different manufacturers.  
In addition to data generated by playing the keyboard or selecting a Performance, a wide range of other information  
types — such as tempo and instrument controls — can also be exchanged via MIDI. Using the powerful functionality  
provided by this technology, therefore, you can not only play other instruments using your CP5 or CP50 keyboard and  
controllers, but you can also change pan and reverb settings for each part and adjust audio effect settings. In fact,  
practically all of the parameters that can be set using the CP5 or CP50 control panel can also be remotely controlled from  
another MIDI device.  
In this section, data and values will be displayed in binary, decimal, and hexadecimal formats. In order to indicate  
hexadecimal values, an “H” is displayed at the beginning of the data line or after the values themselves. Furthermore, “n”  
is used to represent an arbitrary integer (or whole number).  
MIDI Channels  
MIDI cable  
Any item of MIDI performance data can be transmitted  
and received on one of sixteen MIDI channels. Therefore,  
performance data for up to sixteen different instrument  
parts can be simultaneously exchanged over a single  
MIDI keyboard or synthesizer  
(such as the MOTIF XS)  
CP5 or CP50  
MIDI cable.  
MIDI channels are very similar in nature to TV channels,  
in that each TV station transmits its broadcasts on a spe-  
cific channel. Your TV, for example, receives many differ-  
Supported MIDI Message Types  
ent programs at the same time from different TV stations,  
Broadly speaking, MIDI messages can be divided into  
and you select which program to watch by choosing the  
two groups — channel messages and system messages.  
corresponding channel.  
A description of each different type of channel message  
and system message supported by the CP5 or CP50 is  
Weather Report  
provided below. Further details can be found in the MIDI  
Data Format and MIDI Implementation Chart sections of  
the Data List booklet.  
News  
2
1
News  
Channel Messages  
2
MIDI channel messages contain performance-related  
information, and each one is sent on a specific MIDI  
channel.  
In much the same way, multiple transmitting devices in a  
MIDI system can each be set to send data on a separate  
channel (i.e., a MIDI Transmit channel), which link with  
the system’s receiving devices via MIDI cables. If a  
receiving device’s MIDI channel (i.e., a MIDI Receive  
channel) matches a MIDI Transmit channel, the receiving  
device will produce sound according to the data sent by  
the corresponding transmitting device. For details  
regarding MIDI Transmit and MIDI Receive channels, see  
page 45 of the Reference section.  
Note On & Note Off  
Note On and Note Off messages are generated when a  
keyboard is played. Specifically, a Note On message is  
produced when a key is pressed; a Note Off message,  
when it is released. Each of these messages contains a  
specific note number corresponding to the key that was  
pressed, in addition to a velocity value indicating how  
hard the key was struck.  
MIDI note numbers range from 0 (C -2) to 127 (G8), with  
middle C (C3) represented by 60. Velocity values, which  
are contained within Note On messages only, range from  
1 to 127.  
54  
CP5/CP50 Reference Manual  
 
     
Appendix > MIDI  
Soft (Control No. 67)  
Control Change  
Soft messages can be used to modify the sound of notes in the  
same way as a piano’s Soft pedal. Setting a value between 64  
and 127 turns soft on, reducing the volume and slightly softening  
the timbre; meanwhile, values between 0 and 63 turn it off.  
MIDI Control Change messages are used to control  
volume, stereo panning, and many other parameters, and  
as shown below, each message type has its own unique  
control number.  
Release Time (Control No. 72)  
Bank Select MSB (Control No. 0)  
Bank Select LSB (Control No. 32)  
Release Time messages can be used to adjust the AEG release  
time for each part. Values of 0 to 127 correspond to offset values  
of -64 to +63, which are used to reduce or increase the release  
time accordingly.  
Bank Select MSB and LSB messages are used to remotely  
select a memory bank from another MIDI device. The actual  
bank to be selected is determined by combining the MSB and  
LSB values. In terms of the CP5 or CP50, a Performance bank  
can be set using the LSB value. Any selection will not, however,  
become effective until the next Program Change message is  
received. Whenever selecting a Performance from a new  
memory bank in this way, therefore, it is good practice to send a  
Bank Select MSB message, a Bank Select LSB message, and a  
Program Change message together in this order. For more  
details on memory banks and Performances, see the Data List  
booklet.  
Decay Time (Control No. 75)  
Decay Time messages can be used to adjust the AEG decay  
time for each part. Setting values of 0 to 127 correspond to offset  
values of -64 to +63, which are used to reduce or increase the  
decay time accordingly. The larger the value, the longer it takes  
for the sound to decay after the initial attack.  
Effect 1 Depth (reverb send level) (Control No. 91)  
Effect 1 Depth messages can be used to adjust a reverb effect’s  
send level.  
Bank Entry MSB (Control No. 6)  
Bank Entry LSB (Control No. 38)  
Bank Entry MSB and LSB messages are used to set the  
parameter selected using RPN MSB and RPN LSB messages  
(see below). The actual value to be set is determined by  
combining the MSB and LSB values.  
Data Increment (Control No. 96)  
Data Decrement (Control No. 97)  
Data Increment and Data Decrement messages can be used to  
increment and decrement pitch bend sensitivity, fine tune, or  
coarse tune in steps of 1 (assuming that the parameter to be  
adjusted has been set in advance using RPN messages (see  
below)).  
Main Volume (Control No. 7)  
Main Volume messages can be used to adjust the volume of  
each part. Setting a value of 127 produces maximum volume,  
while 0 silences the part in question. These messages can be  
useful when adjusting the relative volumes of each part.  
RPN LSB (registered parameter number LSB)  
(Control No. 100)  
RPN MSB (registered parameter number MSB)  
(Control No. 101)  
Pan (Control No. 10)  
RPN LSB and MSB messages are used primarily to facilitate the  
setting of offset values for pitch bend sensitivity, tuning, and  
other part parameters. In specific terms, the parameter to be  
modified is first selected using these messages, and the above-  
mentioned Data Increment and Data Decrement messages are  
then used to change the parameter setting. It should be noted  
that, once an RPN has been set, all subsequent data entry  
messages on the same channel will affect the selected  
parameter. After setting a parameter based on these messages,  
therefore, it is wise to set the RPN to Null (7FH, 7FH) in order to  
avoid unexpected changes. Your CP5 or CP50 supports  
selection of the following parameters using RPN LSB and MSB  
messages.  
Pan messages can be used to adjust the stereo panning of each  
part. Setting a value of 127 moves the sound fully to the right,  
while 0 moves it to the far left and 64 places it in the middle of  
the stereo field.  
Expression (Control No. 11)  
Expression messages can be used to change the level of  
expression or intonation of each part. Setting a value of 127  
produces maximum volume, while 0 silences the part in  
question. These messages can be useful when you wish to  
adjust the volume to add expression during performances.  
Hold 1 (Control No. 64)  
Hold 1 messages can be used to modify the sound of notes in  
the same way as a piano’s Sustain pedal. Setting a value  
between 64 and 127 turns sustain on, while values between 0  
and 63 turn it off. When turned on, notes will sustain longer than  
normal after the corresponding Note Off message is received.  
RPN MSB  
00H  
RPN LSB  
00H  
Parameter name  
Pitch Bend Sensitivity  
RPN Null  
7FH  
7FH  
Sostenuto (Control No. 66)  
Sostenuto messages can be used to modify the sound of notes  
in the same way as a piano’s Sostenuto pedal. Setting a value  
between 64 and 127 turns sostenuto on, while values between 0  
and 63 turn it off. If sostenuto is turned on while the note  
generated by a specific Note On message is playing, it will be  
sustained longer until the corresponding Note Off message is  
received.  
55  
CP5/CP50 Reference Manual  
 
Appendix > MIDI  
Channel Mode Messages  
System Messages  
Rather than being associated with a specific channel,  
MIDI system messages are used for synchronization of  
devices and other behavior of the instrument as a whole.  
2nd byte  
120  
3rd byte  
Message  
0
0
0
All Sound Off  
121  
Reset All Controllers  
All Notes Off  
System Exclusive Messages  
123  
Used to perform bulk data dumps and to change  
parameters, MIDI system exclusive messages contain a  
device number, allowing them to operate as if on a  
unique MIDI channel. In order for this type of message to  
be exchanged between devices, both the sending and  
receiving devices must be set to the same device  
number. Using system exclusive messages, you can  
control practically every parameter on the CP5 or CP50  
from another MIDI device.  
All Sound Off (Control No. 120)  
All Sound Off messages are used to silence all sounds being  
generated by both parts. Note that the status of channel  
messages such as Hold 1 and Sostenuto is maintained in such a  
case.  
Reset All Controllers (Control No. 121)  
A Reset All Controllers message is used to return each of the  
following controllers to their default values.  
System Realtime Messages  
Controller  
Pitch Bend  
Expression  
Hold 1  
Default value  
Active Sensing (FEH)  
0 (center)  
127 (maximum)  
0 (off)  
Active Sensing is a type of MIDI message used to prevent  
unexpected results in cases where a MIDI cable is disconnected  
or damaged while the instrument is being played. Upon the  
receipt of an Active Sensing message, the CP5 or CP50 will  
begin to monitor the status of connected MIDI cables. If no MIDI  
data is received over the next 300 ms, the instrument will  
conclude that a problem has occurred with a MIDI cable, and in  
response, it will act as if an All Notes Off message and a Reset  
All Controllers message had been received.  
Sostenuto  
Soft  
0 (off)  
0 (off)  
RPN  
Number not specified; internal data will not  
be changed.  
All Notes Off (Controller No.123)  
Timing Clock (F8H)  
An All Notes Off message is used to turn off all notes for each  
part. If, however, Hold 1 or Sostenuto is turned on at this time,  
notes will continue to play until these controllers are turned off.  
Timing Clock messages are transmitted with a fixed interval (i.e.,  
24 times per 1/4 note) to synchronize connected MIDI  
instruments. To specify whether to use the stage piano’s internal  
clock or clock signals received via MIDI, press the [UTILITY]  
button followed by the [6] button, and then set the MIDISyn  
parameter as required.  
Omni Mode Off (Control No.124)  
Omni Mode Off messages have the same effect as an All Notes  
Off message. In addition, this message also sets the  
instrument’s receive channel to 1.  
Omni Mode On (Control No. 125)  
Omni Mode On messages have the same effect as an All Notes  
Off message. In addition, this message also sets the  
instrument’s receive channel to “omni”.  
Program Change  
MIDI Program Change messages are used to select  
different Performances. When combined with Bank  
Select MSB and LSB messages, furthermore, it is  
possible to select Performances from any of the  
instrument’s memory banks via MIDI.  
For more details on memory banks and Performances,  
see the Data List booklet.  
NOTE Program change numbers (0 to 127) are one less than the  
corresponding number in the Data List document. To select  
program No. 16, for example, you would need to send a message  
with program change number 15.  
Pitch Bend  
Pitch Bend messages are continuous controller  
messages that allow the pitch of designated notes to be  
raised or lowered by a specified amount over a specified  
duration.  
56  
CP5/CP50 Reference Manual  
 
Yamaha Web Site (English only)  
Yamaha Manual Library  
U.R.G., Pro Audio & Digital Instrument Division, Yamaha Corporation  
© 2010 Yamaha Corporation  
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