Review - Yamaha CP33 Stage Piano

!±8± Review - Yamaha CP33 Stage Piano

The Yamaha CP33 Digital Stage Piano is the entry digital piano in Yamaha's professional stage piano lineup. This is basically the same piano as the Yamaha CP300 but about 00 cheaper. The CP33 is a large step up from the P-series units in both sound and feel.

This piano is perfect for a professional gigging musician or an amateur that wants a serious digital piano. Let me cut to the chase - the sound is vibrant, sparking and authentic. You can actually hear harmonic overtones and felt dampers when using the pedal. I had the privilege of finding one for sale at my local music store (these pianos are hard to find) and the sound was so sweet and inspiring I had to drag myself away from the keyboard.

Not only does a piano have to have a magical sound that will inspire you to keep playing it also needs to be responsive to your fingers. Well let me tell you, the CP33 feels great. This piano has impressive keyboard action that really lets you express yourself thanks to their advanced Graded Hammer Effect technology that gradually increases the resistance of the keys as you hit the lower notes. As a serious musician realistic piano action is very important to me and the Yamaha CP33 gets top marks here.

All in all, the Yamaha CP33 stage piano is a very balanced digital piano suitable for the professional musician. Sure there are many fine digital pianos out there that cost less but if you can afford it, it's truly worth the few extra hundred bucks -- you'll thank me in the long run.

The CP33 is one classy digital piano for the serious pro musician and the amateur alike. This keyboard is an investment that you'll never regret.

Review - Yamaha CP33 Stage Piano

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Yamaha CP1 Stage Piano

!±8± Yamaha CP1 Stage Piano

Brand : Yamaha | Rate : | Price : $4,999.99
Post Date : Nov 28, 2011 05:15:14 | Usually ships in 24 hours

Yamaha CP1 Stage Piano

The development of the new CP series started with the no-compromise CP1. This is a premium instrument with a commitment to both tradition and innovation. The core sound technology inside the new CP Series was completely re-designed from the ground up. A unique new Spectral Component Modeling tone generation system recreates the sound of acoustic and vintage electronic pianos more faithfully than anything else has ever done. This new technology responds to the player's touch allowing more creative expression than ever before possible. Yamaha even developed a special NW-STAGE wooden key action specifically to meet the demands of top pros. Simply put, this combination of touch and tone make the CP1 the most expressive stage piano that has ever been created.

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Yamaha Hardshell Case For CP300, P250, P200

!±8± Yamaha Hardshell Case For CP300, P250, P200

Rate : | Price : $449.99 | Post Date : Nov 26, 2011 15:23:31
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Deluxe hardshell molded case for CP300

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The Piano's Key Mechanism System - Part 1

!±8± The Piano's Key Mechanism System - Part 1

The piano, while similar in some of its features too many other kinds of musical instruments, differs materially in several important points from all other kinds. It resembles the Violin, Harp, Guitar, Zither, Dulcimer, in its being stringed. It resembles the Drum, Triangle, Cymbals, Tambourine, Dulcimer, in its being dependent on percussion for the production of its tone; and it resembles the Organ, Clarinet, Concertina, in its being keyed.

But it differs from all of these instruments in the following important points. Firstly, in its being dependent on the player's method of finger push on the key for its quality of tone. Secondly, in its being dependent on rapidity of finger push for its quantity of tone and thirdly, in its being dependent on keys for the means of producing percussion. The actual mechanism of percussion, namely, the hammers, being reachable only through the pressing of the keys.

It is probably from a want of appreciation of this last fact, that the piano has come to be considered rather as a keyed instrument than as a stringed one.

The distinctive feature of the piano is, then, the system of its key mechanism.

As the seat of tone, the wire, is made to sound only by a series of communication, starting with the key, it is therefore necessary to understand the method by which this communication is conducted and kept open.

The piano key is, basically, a lever that's lifts the hammer that strikes the string. It is a lever of the first class, its fulcrum, or prop, lying between the power and the weight. In the case of the piano, this fulcrum, or centre on which the lever works, is placed about halfway between its two ends, the hammer (with some small intermediate mechanism) being the weight, and the finger the power acting on it. The very limited area should be noticed within which the action of the key is confined.

The immediate factor of tone is the hammer. The hammer, by means of intermediate mechanism, being in direct and close contact with the far end of the key, is raised when the near end is depressed by the finger or any weight; and the force with which the hammer is made to strike the string is in proportion to the speed brought to bear on the piano key by the finger at the moment of the push. Quantity of tone is thus the result of the amount of speed used in pushing the key down.

When the string has been struck by the hammer, the hammer falls back immediately, to allow the string to vibrate freely. This fall back of the hammer is, however, not a return to the position occupied by it before the stroke; it does not fall completely back until the key is allowed to rise. When the key rises, the hammer then falls back into its original position, and thus is ready to make a fresh stroke.

It is of great importance for the student to remember that the hammer is always at some distance from the wire. Except during the very short period of time spent in striking; that after having struck the wire it leaves it instantaneously to assume the half position described above; and that it is powerless to do any more work until after the key has been allowed to rise.

The Piano's Key Mechanism System - Part 1

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Yamaha Stand For CP300

!±8± Yamaha Stand For CP300

Brand : Yamaha | Rate : | Price : $179.99
Post Date : Nov 23, 2011 01:02:34 | Usually ships in 24 hours

Yamaha Stand For CP300

Deluxe stand for CP300

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Yamaha Speaker Stands - Durable and Sturdy

!±8± Yamaha Speaker Stands - Durable and Sturdy

Yamaha speaker stands are tripod stands that typically come in a pair. These aluminum units are lightweight but durable and sturdy. They weigh only five pounds each, and can safely hold seventy pounds of weight each. These stands are typically used for Yamaha STAGEPAS 300 speakers, as well as other compatible speakers with a 1 3/8" tube. Their height is adjustable. The stand has a safety support pin and dual locking clamps for the secure mounting of your equipment at an adjusted height.

The units are highly portable - they collapse and fit into their canvas carry bag (the bag is typically included with the package). They are also highly ergonomic and versatile, as any tripod design. These stands are great for use at various events where they may need to be moved often. They are commonly used by mobile DJs, gigging bands, and houses of worship. They are easy to adjust and move around. The units typically come with a one year warranty.

These stands can also be obtained for free with some of the Yamaha speakers, such as the S115V - a popular 15 inch club-type speaker. This speaker has an excellent low-frequency performance, higher power handling, a great horn, and strong grilles. This rugged cabinetry produces clean powerful sound and comes at an excellent cost. The durable and well made S115V speaker weighs around 60 lbs. If you already have this speaker but for some reason don't have a stand for it, then matching Yamaha speaker stands can help you move your music to the next level of performance.

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The Piano - Key, Hammer And String - Part 2

!±8± The Piano - Key, Hammer And String - Part 2

When a key on an acoustic piano is pressed down, the resulting sound continues for a considerable time after the press of the key has taken place, and stops when the key is released and allowed to rise. This elimination of sound is caused by action of a second piece of piano mechanism, called the damper. The dampers are small pieces of wood with felt attached to them.

This mechanism is so connected with the key that the latter cannot be moved without occasioning a movement of its own damper. Each key is thus the means by which both a hammer and a damper are moved to action, the hammer for producing tone, the damper for stopping it. (In the case of a few of the top keys of the piano, the damper mechanism is wanting.)

The damper lies constantly touching the string, except during the holding down of the key, when it is removed from its place and kept off the string as long as the key is held down. After a pushdown of the key, if the key is kept down, it will be noticed that (1) the hammer resting at its half-position and (2) the damper removed from the string. When the key is allowed to rise, the hammer falls completely back, and the damper returns to the string, and, by touching it, stops the tone.

If there were no provision for the stoppage of tone, the effect of any performance would be the same as that produced when the right foot pedal is held down during playing. The putting down of the pedal causing the removal of all the dampers from the strings, and creating in consequence the effect as of each separate sound floating about among all the others.

In the case of the hammer, it was pointed out that its complete work is finished in the shortest possible time, that it is finished instantaneously, and that although the key be kept down (and therefore may be understood to be fulfilling some function), still nothing more must be expected from the hammer.

It will be remembered that the key has two mechanisms depending upon it, namely, that for producing the tone, and that for stopping it. As long as the key is held down, it is doing a part of its work, as soon as the key is allowed to rise a change takes place and the tone stops.

It has been already shown that the work of the hammer is completed at the moment of the stroke. It must therefore be the work of the damper which the keeping down of the key is instrumental in furthering. As opposed to the hammer's work being finished as soon as the key is down, the work of the damper is not completed until the key rises. The work of the damper is to stop the tone; and as that stoppage cannot take place until the string is re-touched by the damper, which touch cannot take place until the key comes up; the work of the damper is therefore not finished until the key is allowed to rise.

The positive action of the hammer takes place when the key is pushed down. The positive action of the damper takes place when the key is released and allowed to rise. The negative action of both hammer and damper, namely, their leaving the string, gives the latter freedom to vibrate after the stroke. While therefore both the hammer and the damper begin their work at the same moment, they complete it at different times, the hammer instantaneously, and the damper not until the piano key is allowed to rise.

All work done between the completion of the hammer's work and the completion of the damper's work is done by the sounding board of the piano; but as this intermediate work is altogether beyond control of the finger, it cannot come under any consideration concerning the manner of touching the keys.

The Piano - Key, Hammer And String - Part 2

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