Kurzweil K2600 Vintage Electric Pianos User Manual page 4

K2600 Vintage Electric Pianos User's Guide
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 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 available, the CP-70/80 was the only instrument capable of pro-
viding 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 mod-
els). 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-gen-
erator 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 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 harpsi-
chord/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.
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