Kurzweil pcr2user ユーザーズマニュアル
4
PC2 Classic Keys User’s Guide
Yamaha CP-80
Known commonly as the “electric grand”, the CP-80 (88 notes), along with it’s smaller counterpart, the CP-70 (76
notes), was the product of clever engineering combined with traditional piano-making craftsmanship. Inside the
CP-80, are the basic workings of a real acoustic piano, which have been altered to fit into a smaller enclosure. On
the outside, the CP-80 looks like a “grand” version of the Rhodes, covered in tolex, with the top portion extending
in the rear to accommodate the piano harp inside. Up until the mid-1980’s, when sampled pianos became avail-
able, the CP-70/80 was the only instrument capable of providing a decent substitute for a real piano. While it
served this purpose well, the CP-70/80 had some unique features, which allowed it to have its own very distinct
sound when desired.
notes), was the product of clever engineering combined with traditional piano-making craftsmanship. Inside the
CP-80, are the basic workings of a real acoustic piano, which have been altered to fit into a smaller enclosure. On
the outside, the CP-80 looks like a “grand” version of the Rhodes, covered in tolex, with the top portion extending
in the rear to accommodate the piano harp inside. Up until the mid-1980’s, when sampled pianos became avail-
able, the CP-70/80 was the only instrument capable of providing a decent substitute for a real piano. While it
served this purpose well, the CP-70/80 had some unique features, which allowed it to have its own very distinct
sound when desired.
With single strings on the lower notes, and double strings on the rest, the CP-70/80 included a modified Yamaha
grand piano action and employed piezo-electric transducers in lieu of pickups. The original CP series featured bass
and treble tone controls and a tremolo circuit. Later, seven bands of EQ, balanced outputs and MIDI capabilities
were added (CP-70/80B and M models). Often used with chorus and compression effects, the CP-80 was known
for having more “punch” than an acoustic piano. Production began in 1977 and ended in 1987.
grand piano action and employed piezo-electric transducers in lieu of pickups. The original CP series featured bass
and treble tone controls and a tremolo circuit. Later, seven bands of EQ, balanced outputs and MIDI capabilities
were added (CP-70/80B and M models). Often used with chorus and compression effects, the CP-80 was known
for having more “punch” than an acoustic piano. Production began in 1977 and ended in 1987.
RMI Electra-Piano
Built by Rocky Mount Instruments, a division of the Allen Organ Company, from 1967-1980, the RMI Electra-Piano
is the one electric piano represented in Classic Keys, which did not produce sound by electro-mechanical means.
With an electronic tone-generator for each note, un-weighted plastic keys, which were not touch-sensitive, and a
set of “stops” for sound selection, the RMI more closely resembled an organ than anything else. Both sustain and
volume pedals were included with the unit. Most were black tolex-covered consoles with 61 (later 68) keys, and
rested on a set of metal legs.
is the one electric piano represented in Classic Keys, which did not produce sound by electro-mechanical means.
With an electronic tone-generator for each note, un-weighted plastic keys, which were not touch-sensitive, and a
set of “stops” for sound selection, the RMI more closely resembled an organ than anything else. Both sustain and
volume pedals were included with the unit. Most were black tolex-covered consoles with 61 (later 68) keys, and
rested on a set of metal legs.
There were five stops on the RMI, which controlled the tone: Piano, Piano PP, Harpsi, Harpsi PP, and Lute. There
were two additional stops; Accenter, which added in an attack “thump” as well as Organ Mode, which extended
the decay of held notes.
were two additional stops; Accenter, which added in an attack “thump” as well as Organ Mode, which extended
the decay of held notes.
Though not capable of producing a realistic piano sound, the RMI did provide a viable “electric harpsichord/clav-
ichord” tone. In addition, the overall sound of the RMI was warm, yet manageable, and lent itself nicely to the use
of effects processors and pedals. The RMI appeared on a variety of albums in the early and mid seventies, and was
featured prominently in the music of the progressive rock bands Genesis and Yes.
ichord” tone. In addition, the overall sound of the RMI was warm, yet manageable, and lent itself nicely to the use
of effects processors and pedals. The RMI appeared on a variety of albums in the early and mid seventies, and was
featured prominently in the music of the progressive rock bands Genesis and Yes.