Kurzweil K2661, Справочник музыканта

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G-4
Vintage Electric Pianos ROM Option
Yamaha CP-80
Known commonly as the “electric grand”, the CP-80 (88 notes), along with its 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
fi t 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 available, 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
modi
fi ed 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.
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 instrument represented in Vintage EPs which did not produce
sound by electromechanical 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 fi ve stops on the RMI for 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.
Though not capable of producing a realistic piano sound, the RMI, with its Harpsi stops did
provide a viable “electric harpsichord/clavichord” tone. In addition, the overall sound of the
RMI was warm, yet thin and manageable, and lent itself nicely to the use of effects processors
and pedals. The RMI was most widely used by progressive-rock bands like Genesis and Yes in
the early to mid-1970s, although it has also appeared in a broad variety of other settings.