YAMAHA CP35 (01) PDF Document

The initial setup for the YAMAHA CP35 involves several physical assembly steps:

Step 1: Lay the YAMAHA CP35 on the floor as shown and open the lid fully by unlatching the four catches (1-4).

Step 2: Detach the lid from the body by lifting it so as to slip it off its rear hinges. The AC cord, leg braces, and the sustain pedal are provided inside of the lid. Unscrew the thumbscrews (1-4) and remove the leg braces. Note: Make sure not to lose these thumbscrews, for they will be used when connecting the main body and legs.

Step 3: Unlatch the catch found inside of the lid and pull the lid apart right and left. Note: The two halves of the lid become the YAMAHA CP35’s legs.

Step 4: Place the main body of the YAMAHA CP35 on its back edge and fasten one leg to each side of the body using two of the thumbscrews removed in step 2. Fix the main body and the legs securely with the leg braces. Set the YAMAHA CP35 upright and check each thumbscrew for tightness. This completes the physical assembly of the YAMAHA CP35. Connect both the output cord to the amplifier and the sustain pedal.

Step 5: Set the voltage selector to the proper line voltage of that area where YAMAHA CP35 is used and set the switches and controls. And then connect the AC cable to the AC INLET jack on the YAMAHA CP35 firmly. (Refer to page 6 and 7 for more details).

The PITCH I and PITCH II controls independently adjust the pitch of the YAMAHA CP35’s sound channels I and II, respectively. Turning either of these controls to the right (clockwise) raises the pitch of the respective channel, while turning to the left (counterclockwise) lowers pitch.

Setting channel I and channel II to different pitches produces a “detune” effect creating a fatter, honky-tonk piano type sound.

Pitch control range is approximately from 436Hz to 453Hz. Setting the PITCH controls to approximately 10 o’clock provides 440Hz (A3) tuning.

The DECAY I and DECAY II controls independently adjust the decay time of sound channels I and II, respectively. Turning either of these controls to the right (clockwise) lengthens the decay time of the respective channel, while turning to the left (counterclockwise) shortens decay time.

The DECAY controls can each be set to eight different positions. Once the pitch, tone and balance of the two sound channels have been set, the DECAY I and II controls can be used to create a broad variety of decay time combinations providing extra sound control flexibility.

By setting exceptionally long decay times it is possible to create sustained, organ-like tones.

The tremolo effect produces periodic variations in the volume of the sound. Turning the TREMOLO SPEED control to the right (clockwise) increases the speed of the volume variation, while turning it to the left (counterclockwise) creates a slower tremolo sound.

If the YAMAHA CP35’s independent OUT 1 and OUT 2 outputs are connected to separate amplifier and speaker systems, the sound will seem to sweep back and forth between the two speakers at a rate determined by the TREMOLO SPEED control.

This control determines by how much the volume of the sound is varied by the tremolo effect. Turning the TREMOLO DEPTH control to the right (clockwise) produces a larger variation in volume, while turning it to the left (counterclockwise) produces a smaller (shallower) volume variation.

Pressing the TREMOLO SWITCH turns the tremolo effect on or off. Pressing this switch causes its LED indicator to light showing that the tremolo effect is on. Pressing it a second time turns the tremolo effect off (LED “off”).

Note that tremolo output from OUT 1 and 2 is reverse phase. If both of the tremolo outputs from OUT 1 and OUT 2 are mixed with the monaural signal by using a mixer, the tremolo effect is not produced.

The flanger effect produces a pleasant “swooshing” or “swirling” effect with long tones, and adds interesting tonal variation to staccato passages.

Pressing the FLANGER switch causes its LED indicator to light showing that the flanger effect is on. Pressing it a second time turns the flanger effect off (LED “off”).

The WAVE I and II selectors independently select the waveform shape of the channel I and channel II tone generators, respectively. Four different basic waveforms (A, B, C and D) can be selected for each channel, providing a broad range of subtle tonal variations.

Note: The WAVE selectors are only effective when the PRESETS selectors (10) are not in use.

These selectors determine the tonal quality of the sound. An independent set of four FILTER selectors is provided for each sound channel. Pressing any FILTER selector causes its LED indicator to light showing that the respective filter is activated.

FILTER SELECTOR 1 activates a low-pass filter thereby producing a round, warm sound. This effect is the same for channel I and channel II.

FILTER SELECTOR 2 activates a low-pass filter with a higher cutoff frequency than that of FILTER SELECTOR 1, thereby producing a somewhat harder sound. The channel I FILTER 2 selector adds an attack to the sound, while the channel II FILTER 2 selector does not.

FILTER SELECTOR 3 activates a bandpass filter which produces a clear, well-defined sound. This effect is the same for channel I and channel II.

FILTER SELECTOR 4 activates a high-pass filter thereby producing a hard, bright sound. The channel I FILTER 4 selector adds an attack to the sound, while the channel II FILTER 4 selector does not.

Note: FILTER selectors 1 through 4 (channels I and II) are only effective when the PRESETS selectors (10) are not in use. When any of the PRESETS sounds are in use, filter settings are held in “standby”, and the selected filter LED’s flash to indicate the standby mode. Changing filter settings while any PRESETS selector is in use causes no change in sound quality.

These selectors raise the pitch of channel II by the designated interval with respect to channel I.

Pressing the 5th selector causes the pitch of channel II to be an interval of perfect fifth higher than channel I.

Pressing the 8th selector causes the pitch of channel II to be one octave higher than channel I.

Pressing both the 5th and 8th selectors causes the pitch of channel II to be an interval of perfect 12th (an octave and a fifth) higher than channel I.

Note: The 5th and 8th selectors are only effective when the PRESETS selectors (10) are not in use. When any of the PRESETS sounds are in use, 8th and 5th selector settings are held in “standby”, and the selected interval LED(s) flash to indicate the standby mode.

PRESETS have priority over the FILTER selectors, so pressing a PRESETS selector, even while the FILTER selectors are in use, immediately switches to the PRESETS sound.

1. Immediate switching from the FILTER sound to the PRESETS sound is accomplished simply by pressing the desired PRESETS selector. When a PRESETS selector is pressed, active FILTER settings are held in “standby” with their respective LED indicators flashing.

2. The PRESETS sounds consist of pre-programmed channel I and II WAVE, FILTER, BALANCE, and channel II 5th and 8th selector settings.

3. Controls which do affect the sound when the PRESETS are in use are PITCH, DECAY, TREMOLO, FLANGER, EQUALIZER and VOLUME.

4. FILTER settings can be selected or altered while the PRESETS are in use without immediately affecting the sound. FILTER settings selected in this way are indicated by the appropriate FILTER indicator LED(s) flashing. WAVE and BALANCE settings can also be altered in advance while the PRESETS are in use.

5. Immediate switching from the PRESETS sound to the FILTER sound is accomplished by pressing the activated PRESETS selector (lighted LED) a second time.

Note: PRESETS selectors, PRESETS selector and FILTER selector settings cannot be combined.

In addition to the combination of FILTER I 1-4 and FILTER II 1-4, using channel I and II DECAY WAVE allows you to adjust the timbre at will. Be sure to take advantage of the sound creation possibilities of DECAY I and II.

The BALANCE control determines the relative volumes of channels I and II, i.e., “mixing” between channels I and II. Turning the BALANCE control to the right (clockwise) increases the volume of channel II in relation to channel I, while turning it to the left (counterclockwise) increases the volume of channel I in relation to channel II.

Note: The BALANCE control is only effective when the PRESETS selectors (10) are not in use.

BASS: Turning the BASS control to the right (clockwise) emphasizes the low-frequency range thereby producing a fat, heavy sound. Turning this control to the left (counterclockwise) de-emphasizes the low-frequency range, while, set to its center position response is virtually flat.

TREBLE: Turning the TREBLE control to the right (clockwise) emphasizes the high-frequency range thereby producing a light, bright sound. Turning this control to the left (counterclockwise) de-emphasizes the high-frequency range, while, at its center position response is virtually flat.

The VOLUME control controls the overall volume level of the YAMAHA CP35 sound. Turning the VOLUME control to the right (clockwise) increases overall volume, while turning it to the left (counterclockwise) decreases overall volume.

This multi-pin terminal can be connected to the Yamaha CS70M Dual Channel Polyphonic Synthesizer KEYCODE INPUT connector with a keyboard cable (KC-1, option), permitting the CS70M to be played from the YAMAHA CP35 keyboard.

A foot switch (FC-4, contained as accessory) plugged into the TREMOLO jack can be used to turn the TREMOLO effect on and off. The effect of the foot switch is the same as that of the front-panel TREMOLO switch. TREMOLO can be turned on or off using the footswitch even if the front-panel TREMOLO switch is off.

A foot switch (FC-4, contained as accessory) plugged into this jack permits foot on/off control of YAMAHA CP35 sustain. Sustain length is determined by the front-panel DECAY I and II controls. FC-4, one unit is contained in product as accessory. More foot switches (FC-4 or FC-5) are available optionally.

These three-pin balanced XLR-TYPE output connectors should be used in cases where long cable runs are necessary in order to reduce hum and noise pickup.

When the TREMOLO effect is activated, the volume variation output from channel 2 is reverse phase from that of channel 1. When the TREMOLO effect is not activated, output from channel 1 and channel 2 is identical.

These standard phone plug outputs should be used when connecting the YAMAHA CP35 to conventional musical instrument amplifiers.

When the TREMOLO effect is activated, the volume variation output from channel 2 is reverse phase from that of channel 1. When the TREMOLO effect is not activated, output from channel 1 and channel 2 is identical.

Plugging a pair of stereo or mono headphones into this jack provides convenient private monitoring of the YAMAHA CP35 output. Headphone volume is controlled by the main VOLUME control (13).

This switch turns signal output from the BALANCED OUTPUT and OUTPUT connectors on or off. The PHONES output remains active even if the LINE switch is turned OFF.

When the POWER switch is initially turned on, the front-panel power indicator, and PRESETS 1 indicator light, and the FILTER I-1, II-3 indicators flash indicating standby. Playing the keyboard produces the PRESETS 1 sound.