CLP800 Specs

CLP800 Specs

CLP-895GP

CLP-885

CLP-875

CLP-845

CLP-865GP

CLP-835

CLP-825

Size/Weight
Dimensions Width 1,430 mm [56-5/16″] 1,461 mm [57-1/2″] Polished finish: 1,467 mm [57-3/4″] 1,450 mm [57-1/16″] Polished finish: 1,455 mm [57-5/16″] 1,450 mm [57-1/16″] Polished finish: 1,455 mm [57-5/16″] 1,430 mm [56-5/16″] 1,450 mm [57-1/16″] Polished finish: 1,455 mm [57-5/16″] 1,350 mm [53-1/8″] Polished finish: 1,353 mm [53-1/4″]
Height 932 mm [36-11/16″] (with music rest raised: 1,094 mm [43-1/16″]) 1,027 mm [40-7/16″] Polished finish: 1,029 mm [40-1/2″] 967 mm [38-1/16″] (with music rest raised: 1,130 mm [44-1/2″]) Polished finish: 970 mm [38-3/16″] (with music rest raised: 1,131 mm [44-1/2″]) 927 mm [36-1/2″] (with music rest raised: 1,091 mm [42-15/16″]) Polished finish: 930 mm [36-5/8″] (with music rest raised: 1,092 mm [43-0″]) 932 mm [36-11/16″] (with music rest raised: 1,094 mm [43-1/16″]) 927 mm [36-1/2″] (with music rest raised: 1,083 mm [42-5/8″]) Polished finish: 930 mm [36-5/8″] (with music rest raised: 1,084 mm [42-11/16″]) 849 mm [33-7/16″] (with music rest raised: 1,003 mm [39-1/2″]) Polished finish: 851 mm [33-1/2″] (with music rest raised: 1,005 mm [39-9/16″])
Depth 1,237 mm [48-11/16″] 494 mm [19-7/16″] Polished finish: 494 mm [19-7/16″] 465 mm [18-5/16″] Polished finish: 465 mm [18-5/16″] 460 mm [18-1/8″] Polished finish: 460 mm [18-1/8″] 1,146 mm [45-1/8″] 460 mm [18-1/8″] Polished finish: 460 mm [18-1/8″] 411 mm [16-3/16″] Polished finish: 411 mm [16-3/16″]
Weight Weight 135 kg [297 lb, 10 oz] 87 kg [191 lb, 13 oz] Polished finish: 90 kg [198 lb, 7 oz] 71 kg [156 lb, 8 oz] Polished finish: 74 kg [163 lb, 2 oz] 60 kg [132 lb, 4 oz] Polished finish: 63 kg [138 lb, 14 oz] 106 kg [233 lb, 11 oz] 57 kg [125 lb, 11 oz] Polished finish: 60 kg [132 lb, 4 oz] 45 kg [99 lb, 3 oz] Polished finish: 47 kg [103 lb, 10 oz]
Dimensions of Packing Box W x H x D 1,582 mm x 784 mm x 814 mm [62-5/16″ x 30-7/8″ x 32-1/16″] 1,590 mm x 621 mm x 730 mm [62-5/8″ x 24-7/16″ x 28-3/4″] 1,571 mm x 639 mm x 569 mm [61-7/8″ x 25-3/16″ x 22-3/8″] 1,571 mm x 639 mm x 569 mm [61-7/8″ x 25-3/16″ x 22-3/8″]
Control Interface
Keyboard Number of Keys 88 88 88 88 88 88 88
Type GrandTouch™ keyboard: wooden keys (white only), synthetic ebony and ivory key tops, escapement GrandTouch™ keyboard: wooden keys (white only), synthetic ebony and ivory key tops, escapement GrandTouch™ keyboard: wooden keys (white only), synthetic ebony and ivory key tops, escapement GrandTouch-S™ keyboard: wooden keys (white only), synthetic ebony and ivory key tops, escapement GrandTouch-S™ keyboard: synthetic ebony and ivory key tops, escapement GrandTouch-S™ keyboard: synthetic ebony and ivory key tops, escapement GrandTouch-S™ keyboard: synthetic ebony and ivory key tops, escapement
Touch Sensitivity Hard2, Hard1, Medium, Soft1, Soft2, Fixed Hard2, Hard1, Medium, Soft1, Soft2, Fixed Hard2, Hard1, Medium, Soft1, Soft2, Fixed Hard2, Hard1, Medium, Soft1, Soft2, Fixed Hard2, Hard1, Medium, Soft1, Soft2, Fixed Hard2, Hard1, Medium, Soft1, Soft2, Fixed Hard, Medium, Soft, Fixed
88-key Linear Graded Hammers Yes Yes Yes
Counterweight Yes Yes
Pedal Number of Pedals 3: Damper (with half-pedal function), Sostenuto, Soft 3: Damper (with half-pedal function), Sostenuto, Soft 3: Damper (with half-pedal function), Sostenuto, Soft 3: Damper (with half-pedal function), Sostenuto, Soft 3: Damper (with half-pedal function), Sostenuto, Soft 3: Damper (with half-pedal function), Sostenuto, Soft 3: Damper (with half-pedal function), Sostenuto, Soft
GrandTouch Pedals Yes (with GP Response Damper) Yes (with GP Response Damper) Yes (with GP Response Damper) Yes Yes Yes Yes
Assignable Functions Sustain (Switch), Sustain (Continuous), Sostenuto, Soft, Pitch Bend Up, Pitch Bend Down, Rotary Speed, Vibe Rotor, Song Play/Pause Sustain (Switch), Sustain (Continuous), Sostenuto, Soft, Pitch Bend Up, Pitch Bend Down, Rotary Speed, Vibe Rotor, Song Play/Pause Sustain (Switch), Sustain (Continuous), Sostenuto, Soft, Pitch Bend Up, Pitch Bend Down, Rotary Speed, Vibe Rotor, Song Play/Pause Sustain (Switch), Sustain (Continuous), Sostenuto, Soft, Pitch Bend Up, Pitch Bend Down, Rotary Speed, Vibe Rotor, Song Play/Pause Sustain (Switch), Sustain (Continuous), Sostenuto, Soft, Pitch Bend Up, Pitch Bend Down, Rotary Speed, Vibe Rotor, Song Play/Pause Sustain (Switch), Sustain (Continuous), Sostenuto, Soft, Pitch Bend Up, Pitch Bend Down, Rotary Speed, Vibe Rotor, Song Play/Pause
Display Type Full Dots LCD Full Dots LCD Full Dots LCD Full Dots LCD Full Dots LCD Full Dots LCD
Language English, Japanese English, Japanese English, Japanese English, Japanese English, Japanese English, Japanese
Panel Type Touch sensors Touch sensors Touch sensors Buttons Buttons Buttons
Language English English English English English English English
Cabinet
Key Cover Style Sliding Folding Sliding Sliding Sliding Sliding Sliding
Music Rest Yes Yes Yes Yes Yes Yes Yes
Music Braces Yes Yes Yes Yes Yes Yes Yes
Voices
Tone Generator Piano Sound Yamaha CFX, Bösendorfer Imperial Yamaha CFX, Bösendorfer Imperial Yamaha CFX, Bösendorfer Imperial Yamaha CFX, Bösendorfer Imperial Yamaha CFX, Bösendorfer Imperial Yamaha CFX, Bösendorfer Imperial Yamaha CFX, Bösendorfer Imperial
Binaural Sampling Yes (“CFX Grand” and “Bösendorfer” only) Yes (“CFX Grand” and “Bösendorfer” only) Yes (“CFX Grand” and “Bösendorfer” only) Yes (“CFX Grand” and “Bösendorfer” only) Yes (“CFX Grand” and “Bösendorfer” only) Yes (“CFX Grand” and “Bösendorfer” only) Yes (“CFX Grand” only)
Virtual Resonance Modeling (VRM) Yes Yes Yes Yes Yes Yes Yes
Grand Expression Modeling Yes Yes Yes Yes Yes Yes Yes
Polyphony Number of Polyphony (Max.) 256 256 256 256 256 256 256
Preset Number of Voices 53 Voices + 480 XG Voices + 14 Drum/SFX Kits 53 Voices + 480 XG Voices + 14 Drum/SFX Kits 38 38 38 38 10
Compatibility XG (GM), GS (for Song playback), GM2 (for Song playback) XG (GM), GS (for Song playback), GM2 (for Song playback)
Effects
Types Reverb 7 types 7 types 7 types 7 types 7 types 7 types 4 types
Chorus 3 types 3 types 3 types 3 types 3 types 3 types
Brilliance 7 types + User 7 types + User 7 types + User 7 types + User 7 types + User 7 types + User
Insertion Effect 12 types 12 types 12 types 12 types 12 types 12 types
Intelligent Acoustic Control (IAC) Yes Yes Yes Yes Yes Yes Yes
Stereophonic Optimizer Yes Yes Yes Yes Yes Yes Yes
Functions Dual/Layers Yes Yes Yes Yes Yes Yes Yes
Split Yes Yes Yes Yes Yes Yes
Duo Yes Yes Yes Yes Yes Yes Yes
Songs
Preset Number of Preset Songs 27 Voice Demo + 50 Classics + 303 Lesson Songs 27 Voice Demo + 50 Classics + 303 Lesson Songs 23 Voice Demo + 50 Classics + 303 Lesson Songs 23 Voice Demo + 50 Classics + 303 Lesson Songs 23 Voice Demo + 50 Classics + 303 Lesson Songs 23 Voice Demo + 50 Classics + 303 Lesson Songs 10 Voice Demo + 50 Classics + 303 Lesson Songs
MIDI Recording Number of Songs 250 250 250 250 250 250 1
Number of Tracks 16 16 16 16 16 16 2
Data Capacity Approx. 500 KB/Song (approx. 22,000 notes) Approx. 500 KB/Song (approx. 22,000 notes) Approx. 500 KB/Song (approx. 22,000 notes) Approx. 500 KB/Song (approx. 22,000 notes) Approx. 500 KB/Song (approx. 22,000 notes) Approx. 500 KB/Song (approx. 22,000 notes) Approx. 250 KB/Song (approx. 11,000 notes)
Audio Recording (USB flash drive) Recording Time (max.) 80 minutes/Song 80 minutes/Song 80 minutes/Song 80 minutes/Song 80 minutes/Song 80 minutes/Song
Compatible Data Format Playback SMF (Format 0, Format 1), WAV (44.1 kHz, 16-bit, stereo) SMF (Format 0, Format 1), WAV (44.1 kHz, 16-bit, stereo) SMF (Format 0, Format 1), WAV (44.1 kHz, 16-bit, stereo) SMF (Format 0, Format 1), WAV (44.1 kHz, 16-bit, stereo) SMF (Format 0, Format 1), WAV (44.1 kHz, 16-bit, stereo) SMF (Format 0, Format 1), WAV (44.1 kHz, 16-bit, stereo) SMF (Format 0, Format 1)
Recording SMF (Format 0), WAV (44.1 kHz, 16-bit, stereo) SMF (Format 0), WAV (44.1 kHz, 16-bit, stereo) SMF (Format 0), WAV (44.1 kHz, 16-bit, stereo) SMF (Format 0), WAV (44.1 kHz, 16-bit, stereo) SMF (Format 0), WAV (44.1 kHz, 16-bit, stereo) SMF (Format 0), WAV (44.1 kHz, 16-bit, stereo) SMF (Format 0)
Functions
Piano Room Yes Yes Yes Yes Yes Yes
Rhythm Number of Rhythms 20 20 20 20 20 20
Overall Controls Metronome Yes Yes Yes Yes Yes Yes Yes
Tempo Range 5 – 500 5 – 500 5 – 500 5 – 500 5 – 500 5 – 500 5 – 280
Transpose −12 – 0 – +12 −12 – 0 – +12 −12 – 0 – +12 −12 – 0 – +12 −12 – 0 – +12 −12 – 0 – +12 −6 – 0 – +6
Tuning 414.8 – 440.0 – 466.8 Hz (approx. 0.2 Hz increments) 414.8 – 440.0 – 466.8 Hz (approx. 0.2 Hz increments) 414.8 – 440.0 – 466.8 Hz (approx. 0.2 Hz increments) 414.8 – 440.0 – 466.8 Hz (approx. 0.2 Hz increments) 414.8 – 440.0 – 466.8 Hz (approx. 0.2 Hz increments) 414.8 – 440.0 – 466.8 Hz (approx. 0.2 Hz increments) 414.8 – 440.0 – 466.8 Hz (approx. 0.2 Hz increments)
Scale Type 7 types 7 types 7 types 7 types 7 types 7 types
USB Audio Interface 44.1 kHz, 24 bit, stereo 44.1 kHz, 24 bit, stereo 44.1 kHz, 24 bit, stereo 44.1 kHz, 24 bit, stereo 44.1 kHz, 24 bit, stereo 44.1 kHz, 24 bit, stereo 44.1 kHz, 24 bit, stereo
Bluetooth Audio, MIDI (varies by area) Audio, MIDI (varies by area) Audio, MIDI (varies by area) Audio, MIDI (varies by area) Audio, MIDI (varies by area) Audio, MIDI (varies by area) Audio, MIDI (varies by area)
Storage and Connectivity
Storage Internal Memory Total maximum size approx. 1.4 MB Total maximum size approx. 1.4 MB Total maximum size approx. 1.4 MB Total maximum size approx. 1.4 MB Total maximum size approx. 1.4 MB Total maximum size approx. 1.4 MB
External Drives USB flash drive USB flash drive USB flash drive USB flash drive USB flash drive USB flash drive
Connectivity Headphones Standard stereo phone jack (× 2) Standard stereo phone jack (× 2) Standard stereo phone jack (× 2) Standard stereo phone jack (× 2) Standard stereo phone jack (× 2) Standard stereo phone jack (× 2) Standard stereo phone jack (× 2)
AUX IN Stereo mini jack Stereo mini jack Stereo mini jack Stereo mini jack Stereo mini jack Stereo mini jack
AUX OUT Standard phone jack (L/L+R, R) Standard phone jack (L/L+R, R) Standard phone jack (L/L+R, R) Standard phone jack (L/L+R, R) Standard phone jack (L/L+R, R) Standard phone jack (L/L+R, R)
USB TO DEVICE Type A Type A Type A Type A Type A Type A
USB TO HOST Type B Type B Type B Type B Type B Type B Type B
DC IN 24 V 24 V 24 V 24 V 24 V 16 V 16 V
Amplifiers and Speakers
Amplifiers (45 W + 45 W + 45 W) × 2 (45 W + 30 W + 40 W) × 2 (45 W + 25 W + 40 W) × 2 (45 W + 45 W) × 2 (45 W + 35 W) × 2 30 W × 2 20 W × 2
Speakers (16 cm + 8 cm with Waveguide + 2.5 cm (dome) with Waveguide) × 2, Spruce Cone Speaker (16 cm with diffuser + 8 cm with diffuser + 2.5 cm (dome) with Bidirectional Horn) × 2, Spruce Cone Speaker (16 cm + 8 cm with diffuser + 2.5 cm (dome) with Bidirectional Horn) × 2 (16 cm with diffuser + 8 cm with diffuser) × 2 (16 cm with diffuser + 5 cm) × 2 16 cm with diffuser × 2 12 cm with diffuser × 2
Power Supply
AC Adaptor PA-500 PA-500 PA-500 PA-500 PA-500 PA-300C PA-300C
Power Consumption 60 W (When using PA-500 AC adaptor) 55 W (When using PA-500 AC adaptor) 55 W (When using PA-500 AC adaptor) 30 W (When using PA-500 AC adaptor) 55 W (When using PA-500 AC adaptor) 18 W (When using PA-300C AC adaptor) 12 W (When using PA-300C AC adaptor)
Auto Power Off Yes Yes Yes Yes Yes Yes Yes
Accessories
Included Accessories Owner’s Manual, “50 Classical Music Masterpieces” Music Book, Online Member Product Registration, Bench*, Power cord*/AC adaptor* (PA-500) *Varies by area Owner’s Manual, “50 Classical Music Masterpieces” Music Book, Online Member Product Registration, Bench*, Power cord*/AC adaptor* (PA-500) *Varies by area Owner’s Manual, “50 Classical Music Masterpieces” Music Book, Online Member Product Registration, Bench*, Power cord*/AC adaptor* (PA-500) *Varies by area Owner’s Manual, “50 Classical Music Masterpieces” Music Book, Online Member Product Registration, Bench*, Power cord*/AC adaptor* (PA-500) *Varies by area Owner’s Manual, “50 Classical Music Masterpieces” Music Book, Online Member Product Registration, Bench*, Power cord*/AC adaptor* (PA-500) *Varies by area Owner’s Manual, “50 Classical Music Masterpieces” Music Book, Online Member Product Registration, Bench*, Power cord*/AC adaptor* (PA-300C) *Varies by area Owner’s Manual, “50 Classical Music Masterpieces” Music Book, Online Member Product Registration, Bench*, Power cord*/AC adaptor* (PA-300C) *Varies by area
Separately Sold Accessories Headphones (HPH-150, HPH-100, HPH-50), Pedal unit (FC35), AC adaptor (PA-500), USB wireless LAN adaptor (UD-WL01) Headphones (HPH-150, HPH-100, HPH-50), Pedal unit (FC35), AC adaptor (PA-500), USB wireless LAN adaptor (UD-WL01) Headphones (HPH-150, HPH-100, HPH-50), Pedal unit (FC35), AC adaptor (PA-500), USB wireless LAN adaptor (UD-WL01) Headphones (HPH-150, HPH-100, HPH-50), Pedal unit (FC35), AC adaptor (PA-500), USB wireless LAN adaptor (UD-WL01) Headphones (HPH-150, HPH-100, HPH-50), Pedal unit (FC35), AC adaptor (PA-500), USB wireless LAN adaptor (UD-WL01) Headphones (HPH-150, HPH-100, HPH-50), Pedal unit (FC35), AC adaptor (PA-300C), USB wireless LAN adaptor (UD-WL01) Headphones (HPH-150, HPH-100, HPH-50), Pedal unit (FC35), AC adaptor (PA-300C)

DKC900 Upgrade Kit

DKC900 Upgrade Kit

DKC-900 Upgrade Kit

Hardware Upgrade for Mark IV and E3 generation Disklavier Supported file formats: Standard MIDI, MP3, WAV, Analog-MIDI 500 built-in songs Available songs: 9,000 Streaming radio service with 30+ channels Streaming video service (free with radio subscription) Compatible storage media: USB Flash Memory (up to 128GB) MIDI connectivity: 5-pin MIDI IN/OUT, USB TO HOST Audio connectivity: Analog audio IN x2, analog audio OUT x 4, digital coax OUT (2CH) Data connectivity: LAN, USB TO DEVICE x 3 (uprights x 2) Control integration: iOS/Android app, Mac/PC browser, MusicCast app, custom API Compatible models: Mark IV (all models) E3 (all models) Supplied accessories: Owner’s manual, Built-in song list, Audio cable, AC Adaptor, USB wireless LAN adaptor, Bracket Optional accessories: Bracket for CF Series Grand Piano (DKCB-900CF) Specifications as of 01/2020. Specifications subject to change without notice.

DKC-900
Size/Weight
Dimensions Width Switch Box: 220 mm/Control Center Unit: 224 mm
Height Switch Box: 30 mm/Control Center Unit: 76 mm
Depth Switch Box: 70 mm/Control Center Unit: 130 mm
Voices
Tone Generation Piano Sound CFX Binaural Sampling, CFX Stereo Sampling
Polyphony Number of Polyphony (Max.) 256
Number of Voices (Playing) 16 (Piano, Electric Piano 1-3, Harpsichord 1 & 2, Vibraphone, Celesta, Pipe Organ 1-4, Jazz Organ, Strings, Choir, Synth Pad)
Preset Featured Voices Normal Voices: 480/Drum Voices: 12 kits total
Compatibility XG Yes
GM Yes
Songs
Number of Built-in Songs 500
Compatible Data Format SMF (Standard MIDI File, Format 0 & 1), MP3, WAV
Compatible Song Format PianoSoft, PianoSoft Plus, PianoSoft Audio, SmartKey
Functions
Overall Controls Tuning 414.8 Hz to 466.8 Hz (tunable in 0.2 Hz increments)
Storage and Connectivity
Connectivity Headphones Mini Stereo Jack x1
MIDI IN/OUT
OUTPUT Yes
DIGITAL OUT Yes
USB TO DEVICE x3
USB TO HOST Yes
LAN Yes
OMNI (SYNC) IN/OUT
Compatible Storage Media USB Flash Memory (Optional) Yes
Power Supply
Power Requirements AC 100 V to 240 V, 50/60 Hz
Accessories
Included Accessories Others Owner’s manual, Built-in song list, Audio cable, AC adaptor, USB wireless LAN adaptor, Bracket

5 Levels of Yamaha

5 Levels of Yamaha

5 Levels of Yamaha

Starting from the wood components, the 5 levels of Yamaha pianos vary in selection of materials and resources designated to each level of manufacturing. All of our wood is naturally seasoned for at least 6 months. It is then graded and re-evaluated after kiln drying. Soundboards make up only about 10-15% of the wood at Kitami. And of that 10-15%, only 1% of that 10 to 15% goes to our CF line of concert instruments. This top 1% wood is delivered as kiln dried planks to the CF workshop where they build rims, frames and custom soundboards for each piano. From ‘farm to table’, the CF piano can take up to 3 years to build. It is our highest level of hand-crafted instruments, the pinnacle of manufacturing.

Each level thereafter, receives grading of wood according to its level. SX and CX have the grand piano “X” treatment (GPX) but their soundboards are handled in a more streamlined production line process at Kitami.

Next, the GC and GB1K soundboards are cut by laser, still rendering these precision instruments.

By 2012, the ever-so-popular C line of grands then received the GPX treatment of soundboards and re-design designating them CX.

The S series had been previously established, it took on a whole new level after the X series was implemented. As well, the 2 lines of SX and CX feature new cabinets, hammers and wire along with new scale designs.

Yamaha Hammer Felt: The SX line.  When asked about this piano, I’ve described it as a clear lake that you throw a few pebbles into the water and you can hear and feel every ripple with incredible sustain – amazing!  The SX series of grands has been developed in between the CX line and the CFX concert level. It has a different voice. We like to think of the CFX as a concert piano and as such, it’s voiced primarily for concert settings. It’s often placed in a large venue and so the SX (also with GPX soundboards and re-design) has been intentionally designed with our A.R.E. processing – a type of wood enhancement through torrefaction.

The A.R.E. In essence is the process of fast-tracking the aging of wood of the rim to bring about more resonance like aged guitars and violins. And Kakegawa handles this curing of wood, and when you change the rim, you change the tone. Everything about pianos is inter-related. It requires a different soundboard and subsequently different hammers. Because it is a slightly higher grade than the CX line, it also has a higher grade of wood as well. The curing of the wood on the SX line takes several weeks to complete. It’s quite a controlled process.

To recap, you have CFX at the top, built in the small Concert Piano Workshop – where just about everything is made by hand, receiving kiln-dried planks from Kitami. The wood for the rest of the lines is more production line process. The SX and CX lines have parts that are kiln-dried at Kitami but the SX has extra age-enhanced (for lack of a better term) rims and slightly higher-grade materials. And all the soundboards for SX and CX are precision cut by laser. Once wood parts are processed for SX and CX lines, as well as the GC series, they’re then sent over to Kakegawa where they receive additional evaluation and are seasoned for destination prior to assembly.

The GC and GB1K lines.

After the CX line of pianos is our very popular GC series. It’s a value priced C grand that doesn’t include the GPX soundboard and is reminiscent of the former C1 and C2. They hold their own and are a joy to play. There are only 2 sizes in this line. One thing that sets Yamaha apart even our most basic pianos is that we do our own wood procurement and processing. Often times wood is outsourced. Not so with Yamaha. We have our own wood scouts and wood graders at Kitami and so pianos from the CF, SX, CX and GC all go through our Kitami mill. That leaves our GB1K, which is a unique grand model. The majority of its parts and components come from Japan and are then shipped to our Yamaha factory in Indonesia for assembly.

Yamaha Iwata Forge
Iwata houses the cast iron foundry. The majority of Yamaha frames are what they call V-Pro.
V-Pro, an abbreviation for Vacuum Processed was first applied with Yamaha shortly after that process was patented. Rather than sand casting by gravity, the V-Pro frames in essence apply a vacuum to the mold and subsequent suction moves the molten iron into place. The end result is very consistent and very precise. We do the CF pianos in sand cast but the majority of our instrument frames are made by V-Pro.
The CF line have sand casting not because it is a better process, and not a product of scale – you build far fewer concert grand pianos and so it is cost prohibitive to set up V-Pro for that line. Actually, Contrary to popular belief, Yamaha uses a combination of materials in the CF piano frames that are implemented at different times during the casting process. This is not possible using the V-Pro method, and so we do traditional sand casting for those pianos. Special care is taken when casting CF frames in order to optimize its attributes. Because of this, the preferred method is traditional sand casting by hand.

Yamaha Key Strike Machine: Once the wood and cast iron are made and seasoned for destination, they are then moved to Kakegawa for assembly, that’s where the pianos really come together. Rims, frames and cast iron are shipped there and parts are fitted. This includes all cabinet pieces, action parts, keys and stringing. The pianos then move through an automated key striking machine that depress the keys about 300,000 times to settle all of the new parts. The pianos are then regulated, tuned and polished.
The Concert Piano Workshop handles the top regulation of the concert instruments. Regulation refers to the small adjustments to the action parts and keys to make the pianos responsive to the performer. Voicing, altering the piano’s tone also happen on the CF pianos in the Concert Piano Workshop. For these pianos, there aren’t really limits to these processes. When it’s done, it’s done. The SX line receives similar treatment from the Concert Piano Workshop for regulation and voicing. The CX and GC pianos, however are worked on in the production line, the CX line receiving a minimum of 3 levels of regulation refinements. Substantial time is allotted for each piano bring out each piano’s maximum potential in touch and tone.

What kind of piano should a beginner buy?

What kind of piano should a beginner buy?

This is a question that has been asked by every parent looking to give their children an instrument to practice on while taking piano lessons. Most professionals believe pianos that have real weighted keys, touch sensitive actions, and 88 keys are minimal requirements. The Yamaha Clavinova Digital Pianos are accepted by many Universities and Piano Labs for Piano majors to practice on and so would be an excellent choice for parents in many cases.

What kind of piano should a beginner buy

Can I buy an inexpensive piano for their lessons at first?

If you buy a bad piano, and your child gets good, can you really tell? This is a funny line, but the truth is it is probably worse. The student with an inferior instrument is going to be discouraged if what he or she hears is not that good. Also, If you have a quality piano teacher and your child takes lessons for 4 or more years, the cost is something like this: $150 times 12 equals $1,800 per year and this times 4 years equals $7,200. Why would you not get the best piano you can to take advantage of these years making both student and teacher happy.

Should we purchase an Acoustic Piano or Digital?

Until recently the best answer was acoustic because of multiple factors; However, the better Digital Pianos like the Yamaha Clavinova have gotten so good, and don’t ever need tuning, and students can practice with headphones. But I strongly recommend listening to your teacher for advise about this. Yamaha has wonderful acoustic and digital pianos for this very situation and is one of the most respected pianos in the world.

Should I buy new or used?

When you purchase a new instrument, you will get a warranty. Good quality pianos will look, feel, and play well. When you purchase used you may not have the experience to even know it is playing like it should or not. Each used instrument is a unique set of circumstances and actually may help teach bad habits, and incorrect hearing. I went to college with a man who had perfect pitch, but had learned incorrectly on an out of tune old upright.

 

Benefits of Piano

Benefits of Piano

What are the Benefits of achieving Piano level 2?

    1. Substantial increase in neural connectivity
    2. Significantly higher SAT scores
    3. Greatly reduced risk of drug/alcohol abuse
    4. Notable reduction of anti-social behaviors
    5. Increased self esteem
    6. Enhanced ability to concentrate/focus
    7. Development of personal discipline
    8. Superior working memory, auditory skills, and cognitive flexibility

What are the Benefits of achieving Piano level 2?

Children who are allowed to quit music lessons usually quit early. When parents insist on helping their children to get to a level where they can play well, they’re not as likely to quit! Your goal should be to help your child get to Level 2. Once they’re at Level 2, they will almost always never stop playing the piano!

Here’s how we define Level 2:

The ability to read an intermediate piece of music; play using both hands; use the expression pedals; and sound musical.
In other words, kids who get to Level 2 become smarter, happier and more well-rounded!

Girl Playing Father Watches

Helping your child reach Level 2 on piano is the single most effective way you can give them a leg up in life!

 

Gray Market

Gray Market

FOUR THINGS YOU NEED TO KNOW ABOUT GRAY MARKET PIANOS (By David Durben)

“BUYER BEWARE” TAKES ON NEW MEANING WHEN IT COMES TO THESE INSTRUMENTS.

Have you ever heard the term “gray market piano”? Many people shopping for pianos may come across this phrase when doing research online or speaking with a dealer. Shopping for a new piano can be a daunting task, and if you have little (or no) experience buying one, it can be easy to be misdirected by sellers offering gray market pianos – instruments purchased in large quantities in Japan or other Asian countries, packed into shipping containers, and then brought into the United States for resale. They may be great instruments in excellent shape – and they often come with an attractive price tag – but before you jump at the opportunity to buy one, there are a few things you need to know:

1. You may be looking at major repair problems down the road. Only a handful of piano makers, including Yamaha, build pianos specifically for the three major world markets: Asia, which is a moist climate; Europe, which is fairly dry by comparison; and the U.S., which is considered to be extremely dry. (Keep in mind that we are talking about the INDOOR climate, as opposed to outdoors.) In winter, heating systems remove substantial moisture from the air, and in summer, air conditioning systems also lower the humidity. In addition, American homes tend to be better insulated than homes in many other countries, further isolating the interior from whatever moisture might be in the outside air.

The problem is that, when a piano that’s intended for a moist climate is placed in a dry environment, there is the likelihood that its structural integrity will be threatened as the wooden parts lose moisture. This in turn can cause warping of case parts, cracks in the soundboard and/or loose tuning pins. And while soundboard cracks are often only cosmetic in nature, loose tuning pins will have a direct effect on the ability of the piano to hold its tuning. If that happens, the only practical solution is to re-pin the piano with oversized tuning pins – a procedure that typically comes with a fairly high price tag, since it often encompasses re-stringing the piano too. That’s why, when Yamaha builds pianos destined for the U.S., it seasons the critical wooden components – including the soundboard, bridges, ribs and pin block – by drying them to a much lower moisture content using computer-controlled kilns and other advanced manufacturing technologies.

2. Lack of warranty. There is absolutely no factory warranty coverage on gray market pianos, so if you ever need any of the (likely, and likely expensive) repairs cited above – or any other repairs, for that matter – you’re strictly on your own.

3. “New” may not really be new. Many gray market pianos represented as “new” are actually used pianos that have been reconditioned by independent piano shops. Others have been sold to third party entities, who then ship the products into the U.S. for unauthorized sales.

4. Replacement parts can be difficult to find. It’s always a good idea to verify the true origin and backstory behind any major purchase. You wouldn’t buy an existing house or a used car without trying to learn all you can about its history, would you? The unfortunate reality is that you won’t ever truly know everything about a gray market piano, ranging from its cabinet style and finish to its year of manufacture and/or internal components. There are many models and styles of piano built for other areas of the world that are quite different from those sold in the U.S. As a result, finding parts can become a rather complicated affair for the owner of a gray market piano since even the manufacturer may be unable to assist you.

If you or someone you know is being offered a gray market Yamaha piano, or if you want to verify whether or not your Yamaha piano was built for use in the United States, you can use our free serial number finder tool available here.

ALL U3 Pianos are not the same

ALL U3 Pianos are not the same

What’s the difference between U3F, U3G, U3H, U3M, U3A, U3N Yamaha U3 pianos?

First of all, Yamaha established the International Corporation (current Yamaha Corporation of America) in 1960 and introduced their pianos to the US in small quantities. The U3 style also was not yet popular in the USA at that time when most purchased decorator style console pianos. The additional lettering system that Yamaha have used for their U3 line of pianos can be a bit confusing and often not even known. Check out the following to help improve your understanding of this model.

Manufacture location

The first thing to say is that the Yamaha U3 is made in Japan at the Hamamatsu factory which is responsible for making all of Yamaha’s highest quality pianos including the Yamaha CFX concert grand piano.

Beyond that, you will want to know what year it was made and whether there were any good or bad periods of Yamaha piano manufacture. You should also fully understand what a GRAY MARKET piano is. Please also read about this.

What do the letters stand for

If you look just to the left of the serial number of most Yamaha U3 pianos you will usually see a letter. The most common tends to be “U3H” but it can be anything from U3F, U3G, U3H, U3M, U3A, U3N, U3E. If you do not see the extra letter, you can determine the year made from the serial number and know which series it is. Here are some bits of information about what those letterings stand for.

Here are my comments about the various models

Yamaha U3F

The F has shown up in the later 1990’s series; However most of the serial numbers of these pianos will range from around 100,000 up to 1,000,000. If the piano is in original condition or has only had minimal reconditioning work then you should try to avoid that piano. If the piano has been properly and professionally reconditioned then it should be fine but I would still recommend that (a) you get the piano inspected by an independent technician and (b) perhaps save up $1,000 more to buy a U3G (below) instead

Yamaha U3G

These models date from the early 1970s, have serial numbers between 1,000,000 and 2,000,000 and are a better option compared with the U3F (above). The U3G is likely to have a similar, soft sound to the U3F (particularly in the bottom few octaves) although the rest of the keyboard can sound very nice if properly reconditioned. Overall, my opinion on the U3G is that you should try hard to stretch your budget and go for a newer model if possible. If you must buy a U3G please do hire your own independent technician to inspect the piano for you, it will be the best $100 you can spend. You must make sure a piano of this period has been properly reconditioned and will hold it’s tuning.

Yamaha U3H (1970-1980)

Yamaha U3 pianos in this category are mostly good and have serial numbers ranging from 2,000,000 up to 3,000,000. The U3H comes from a time when Yamaha had perfected what a modern piano should be. Strong, reliable, consistent, warm tone, beautiful action and, most importantly, top quality materials and top quality workmanship which (in my opinion) you don’t find in any of the modern pianos being produced by countless piano factories that are springing up all over the world producing cheaper and cheaper pianos. The U3H ranges from about 1970-1980 and I find that from the 1975 point onwards the qualify is very high. Some of the early 70s U3H pianos can be very nice but I recommend sticking to the later ones.

Yamaha U3M (1980-1982)

You can trust a Yamaha U3M to be of a very high standard of build quality. You do still need to make sure that a full reconditioning process has been carried out before buying a piano from this period but providing that work has been carried out to the right standard then you will get yourself a very nice piano at a sensible price.

The Yamaha U3M typically has a nice, positive tone about it but without being harsh or overly bright like some of the younger U3s can sometimes be.

Yamaha U3A (1983-1988)

The U3A can sometimes have a slightly stronger bottom 2 octaves than the U3M but this is only an occasional blip and by no means a set rule. I fully recommend this model alongside the U3M.

What Piano Level Am I

Primer (Level pre-1):

  • Knows finger numbers
  • Knows musical alphabet
  • Basic staff awareness
  • Basic keyboard awareness
  • Can play one hand at at time
  • Has proper hand placement and form
  • Developing rhythm and steady beat
  • Generally music from method books
  • Generally practices 10-15 mins/day

Beginner (Levels 1-2):

  • Bass and Treble Clef
  • Plays both hands together
  • Play rhythms more comfortably
  • Keeps steady beat
  • Left hand plays mainly basic chords
  • Dynamics and articulations
  • Can play C, G, and F key signatures
  • Generally practices 15-20 mins/day

Late Beginner (Level 3):

  • Major and minor chords, scales, and arpeggios
  • Left hand becomes more complex
  • More complex rhythms introduced
  • Can play songs with 2 flats/sharps
  • Technique developing
  • Sight reading developing
  • Musicality developing
  • Generally practices 20-30 mins/day

Often people ask “What piano level am I, and why does it matter?”Many educators rank piano levels as the above:

Clavinova vs Arius

Clavinova vs Arius

Step Ups From YDP 184 To CLP-735:

  • New Yamaha CFX Sampling
  • CFX Binaural Sampling
  • Split Mode
  • USB to DEVICE
  • Grand Touch-S vs GH3
  • Escapement action system, which is more like an acoustic grand.
  • WiFi connectivity (with optional UD-WL01)
  • Improved Virtual Resonance Modeling (VRM)
  • WAV audio playback & recording (via USB to DEVICE)
  • 1/8″ Aux Input
  • 1/4″ L&R Aux Output
  • 16-track, 250 song recorder (vs. 2-track, 1 song)
  • Bosendorfer Sample in the CLP-735
  • 5 Year Parts and Labor in your home warranty vs 3 years drop off warranty on YDP184
  • Another difference between the Arius and Clavinova is how their headphone sound. One of the biggest advantages of a digital piano over an acoustic one is the ability to practice silently and the CLP700 series has stepped it up a notch with binaural sampling. To put it simply, when you wear headphones whilst playing any CLP700 piano, it’s as if your sat in the playing position of $200k Yamaha CFX concert grand piano. The sound hits the front of you in wonderful stereo, as it would be if playing an acoustic grand, instead of just directly into your ear from the sample. It’s a strange sensation at first! It makes playing with headphones feel more natural and enables you to do it for longer without ear fatigue.