The Disklavier is fundamentally a traditional, acoustic piano with a built-in record-and-playback system. The record-and-playback system and its related features have changed substantially over the years, but one aspect of the Disklavier has remained constant: The Disklavier system has always been offered as a factory-installed system – never as a retrofit for existing pianos.

1987 – MX100A and MX100B

The first model Disklavier was the MX100A, which was available in a studio model upright called the U1. The control unit was built into the cabinet.The MX100A featured a remarkably sophisticated recording system for its day, a system that included hammer sensors — an innovation that was not available on most player piano systems from other companies at that time. Pedal sensors on these early instruments, however, were limited to recording only two values: on and off (or fully down and fully up).

This early Disklavier model included fundamental features that have been included on every Disklavier since – such as tempo control, transposition, and connectivity with external MIDI devices.

In a short period of time, the MX100A was superseded by the MX100B. The most noticeable difference was the color of the LED display on the control unit, which was changed from red to green.

Both the MX100A and the MX100B pre-dated the industry-standard song file format known as Standard MIDI Files (SMF), which is the format used today. For this reason, these early Disklaviers recorded in the proprietary MIDI format from Yamaha known as E-SEQ. Although modern Disklaviers do not record in E-SEQ format, they will read this older type of song file and even convert E-SEQ to SMF. E-SEQ song files were stored on double-density (DD) 3½ inch floppy disks.

1989 – Wagon Grand

Starting in 1989, Yamaha began marketing the Disklavier system in the various grand piano models that were available at the time. The control unit had a rather substantial power supply that required it to be housed in a 30″ cabinet on wheels that was often referred to as a wagon. Lacking a more formal model designation, these instruments became informally known as Wagon Grand Disklaviers.

Like the MX100A and MX100B, the Wagon Grand provided hammer sensors. It also featured 16 increments of pedal recording — an important step forward in the evolution of the instrument. Like the MX100A and MX100B, the Wagon Grand recorded on DD floppy disks in E-SEQ format.

1992 – Mark II and Mark IIXG

A number of consumer and standard models of Disklavier were introduced in the early-to-mid 1990s. Most noteworthy were the Mark II and Mark IIXG systems. These were available in the studio model and U1 upright, as well as in most sizes of grand pianos.

The first of these was the Mark II, which made its debut in 1990. In the case of the upright version, the control unit was built into the cabinet, as it was in the case of the MX100A and MX100B. The Mark II control unit, however, was much more sophisticated, offering many more options for copying song files, MIDI configuration, and so forth. The instrument recorded on DD floppy disks in E-SEQ format, but was able to play song files in the SMF format known as Type 0.

The Mark II control unit for grand pianos did not have a wagon control unit. Instead, a relatively small control unit was devised for this instrument and mounted under the keys.

The Mark IIXG followed the Mark II in 1992. Its control unit was a bit smaller but was packed with many new features, including:

– Built-in tone generator with 128 General MIDI (GM) voices and drum kit, as well as the Yamaha extended GM voice set known as XG.
– Multitrack recording.
– Recording in SMF Type 0 format.
– Playback of both SMF Type 0 and Type 1 song files.
– Support for both DD and HD (high density) floppy disks.
– Conversion of song files between E-SEQ and SMF.
– Built-in memory for storing song files.
– More features for song file management.
– Improved support for MIDI interaction with computers.
– Support for future firmware upgrades.

During the 1990s, it was possible to obtain a kit that would upgrade a Mark II to a Mark IIXG.

Disklaviers with Silent Systems

During the era of the Mark II and the Mark IIXG, a number of upright (U1) versions of the Disklavier were introduced that were equipped with a Silent system. This system provided a mute rail that, when engaged, would allow a full keystroke but prevent the hammer from hitting the string. This made it possible for a pianist to play the instrument with headphones on, listening to an advanced digital piano sample.

The Silent system was not available in grand piano models until the Disklavier PRO was released.

1998 – Disklavier PRO

An important historical moment in the evolution of the Disklavier occurred in 1998. The new PRO Disklavier — with a Mark IIXG control unit — offered unprecedented recording accuracy and playback realism.

With improved solenoids and a new moving magnet sensor and key sensor servo, the Disklavier PRO was capable of recording and playing back performance data with greater resolution than the MIDI spec normally accommodates.

Prior to the Disklavier PRO, all models of Disklavier were somewhat limited with respect to their playback dynamic range. Thunderous chords would be played back a bit softer than recorded and whisper-quiet playing would be played back a bit louder.

The Disklavier PRO, on the other hand, was capable of reproducing the full range of dynamics — and it did so with 8 times the resolution of normal MIDI data, recording hammer velocity, key down velocity, and key up velocity on a high resolution scale of 0-1023. The instrument used normally unused MIDI controller messages combined with key aftertouch messages to store the extra bits of resolution in a Type 0 Standard MIDI File. This high-resolution performance data was called extended precision (XP) data.

With the introduction of the Disklavier PRO, pedals were no longer limited to 16 increments but were recorded on a scale of 0-127, thus taking advantage of the full granularity of the MIDI specification. The PRO even recorded and accurately reproduced brushed notes – keys that were moved slightly during the performance without the hammers actually hitting the strings.

Available only in C3 (6’1″) and larger grand pianos, the Disklavier PRO looked outwardly like any other Mark IIXG Disklavier. Its control unit provided the same user functions as other Mark IIXG pianos. There was one important difference, however: The Mark IIXG PRO was the first Disklavier grand to include the Silent system.

Within three years of the initial release of the Disklavier PRO, a firmware upgrade added the capability of recording and playing back MIDI performances that were synchronized with MIDI Time Code (MTC). When used with a converter, Disklavier PRO recordings could be synchronized with video using industry-standard SMTPE time code.

2000 – Disklavier PRO 2000

In 2000, in celebration of the 100th anniversary of the very first Yamaha piano, Yamaha presented the world with a concept piano that demonstrated remarkable, future possibilities. Called the Disklavier PRO 2000 it was a C7 (7’6″) piano with a Disklavier PRO system installed, housed in a case that was based on the modern design called Neo.

The PRO 2000 was visually noteworthy for its clear, acrylic glass, split lid and built-in computer monitor. Indeed, the piano came with a Windows 98 PC mounted underneath and connected to a touchscreen monitor that was positioned to the left of the clear music desk.

In addition to providing  video-synchronized performances, the PRO 2000 also included score-following software called Home Concert 2000 from TimeWarp Technologies, as well as an advanced generator that included a built-in performance mode.

Only 9 of these instruments were produced, and they were later sold for $333,000, making them the most expensive Yamaha piano of all time.

In 2002, the Minnesota International Piano-e-Competition made history by enabling pianist Yefim Bronfman to judge the competition from Japan. The sonata round of the event was recorded with a Disklavier PRO concert grand piano with synchronized video. The video and MIDI files were uploaded over the Internet and reproduced for Bronfman in Japan, where he watched the contestants on a large screen and listened to a concert grand Disklavier reproduce the performances.

2002 – Mark III

In 2002, Yamaha updated the Disklavier once again, introducing the Mark III standard Disklavier (available in the U1 upright and most models of grands) and the Mark III PRO, available in the C3 and larger pianos.

The Mark III control unit and interface was nearly identical to that of the Mark IIXG. All standard models included the Silent system and improved playback that could be made quieter for the benefit of consumers who enjoyed listening with the volume turned very low.

In addition, the Mark III PRO offered double the resolution for the pedals, enabling recording on a scale of 0-255.

The Mark III control unit included something new: a CD drive in addition to the traditional floppy drive. The purpose of the CD drive was not to record MIDI data but rather to play back audio recordings, making three new features available:

1) Audio-sync Recording: This made it possible to play along with an audio recording and add a piano part that would be automatically synchronized on subsequent playback.

2) PianoSoft Plus Recordings: The CD drive was capable of playing a new type of format called PianoSoft Plus. These kinds of recordings contained normal instrumental and/or vocal audio on the left channel and MIDI data encrypted as audio on the right channel. During playback, the Disklavier would intelligently send the left-channel audio to both the left and right speakers and decode the right-channel audio for playback by the piano itself.

3) Smart PianoSoft Recordings: This made it possible for artists to create piano recordings that enhanced existing audio CDs. A Smart PianoSoft Recording consisted of two separate recordings: a commercial audio CD and a Disklavier MIDI recording on floppy disk, both played back in perfect sync.

2004 – Mark IV

The year 2004 saw the introduction of the Mark IV. Standard and PRO models were available on the C3 and larger grands. A high quality consumer model was available on the C2 (5’8″) grand and smaller pianos.

The Mark IV brought a number of technical innovations to both the standard and the PRO models. Especially noteworthy was a design change to the hammer sensors which were altered from a metal shutter to gray scale sensors, enabling continuous monitoring of hammer position.

In addition to all of these technical improvements, the Disklavier feature set expanded considerably including:

A few years later, Yamaha released a controller app for the Mark IV that runs on the iPhone, iPod touch, and iPad. The app provides access to the most commonly used features of the instrument.

2009 – The DKC-850 Upgrade (Out of production and no longer available)

IIn 2009, Yamaha began to offer an upgraded control unit for older model Disklaviers. Outwardly, it is identical to the E3 control unit (which is called the DKC-800) and offers the same user features.

The DKC-850 can be used as a replacement control unit for Mark IIXG and Mark III Disklaviers – both PRO versions and non-PRO versions. It does not change the recording and playback capabilities of the sensors and solenoids in these earlier Disklaviers, but it does provide a user experience that is nearly identical to that of the E3, including connectivity for USB storage devices and access to advanced features such as DisklavierRadio and DisklavierTV.

The DKC-850 can also be used as an add-on control unit for the Mark II Disklavier, connecting to the Mark II control unit with MIDI cables. Other than turning on the old control unit, the Disklavier owner can then ignore the old control unit and use the features of the DKC-850 instead. It should be noted, however, that DisklavierRadio and DisklavierTV are not supported in this configuration.

2018 – The DKC-900 Upgrade (only E3 or Mark IV)

The Yamaha DKC-900 is an upgrade control unit designed to bring modern Enspire functionality to older Disklavier E3 and Mark IV player piano systems. It replaces the older, bulkier control boxes with a streamlined, discreet unit that allows for wireless control via smartphones and tablets.

2012 – E3 – 2nd Generation

In 2012, Yamaha replaced the Mark IV series with standard and PRO versions of the E3. The standard version (complete with hammer sensors) was made available on the C2 and smaller grand pianos. All larger pianos (from the C3 on up) were outfitted with the PRO system.

About the same time as the introduction of the second generation E3s, Yamaha introduced a new feature for the Mark IV, E3 and DKC-850 called DisklavierTV. DisklavierTV is built on a technology called RemoteLive that enables the live streaming and archiving of video, audio and Disklavier performance data (e.g. MIDI data). By connecting a compatible Disklavier to both the Internet and to a computer, Disklavier owners can watch as well as listen to live and archived performances that are reproduced on their own piano — even performances that include instrumental and vocal audio.

The introduction of the second generation E3 coincided with the debut of a new series of grand pianos called the CX series. CX pianos are based on design principles that were previously featured on the CFX concert grand piano, an instrument that made its way to the concert stage in 2010.

CX series pianos were the result of years of research and development. The instruments feature a thickened back frame for improved support, providing a rich and resonant tone. They include a new, revolutionary piano wire as well as hammers based on those found in the CFX concert grand.

The ENSPIRE made its debut in 2016 and ushered in a new era of advanced player piano technology and wireless control. The ENSPIRE line consists of:

ENSPIRE PRO

Available in pianos of the C3X size and larger, the ENSPIRE PRO continues the tradition of PRO model Disklaviers, providing the highest resolution recording and playback paired with the highest quality acoustic pianos, now enhanced by Hammer Sensor Feedback.

ENSPIRE ST

Available in the C2X size and smaller grands as well as in 2 upright models, the ENSPIRE ST offers standard Disklavier features, including full recording and playback functionality. All ST models also include the SILENT feature.

ENSPIRE CL

The ENSPIRE CL is a playback-only model available in a 5′ grand.

Differences Between ENSPIRE models

Outwardly, the various ENSPIRE models are difficult to distinguish from traditional pianos that lack the Disklavier system. The typical control box that was visibly positioned under the keyboard of earlier models has been replaced with a very small and nearly invisible “switch box” positioned much farther under the keys:

Although a few Disklavier features can be accessed using the switch box, it is expected that the user will normally use their own mobile device or even a computer web browser to interact with the instrument. Yamaha provides a custom ENSPIRE Controller app for both iOS and Android™ devices.

Communication between a mobile device or computer and the piano is established using normal network protocols. There are three connection methods for the ENSPIRE:

1) Using a standard Ethernet cable to a local area network. Computing devices with access to the same network can be used to control the piano.

2) Wirelessly to a local area network using the WPS protocol to a WPS-compatible router. Computing devices with access to the same network can be used to control the piano.

3) By creating its own wireless access point (i.e. private network) using the included UD-WL01 wireless LAN adaptor. Computing devices that connect to the ENSPIRE’s access point can be used to control the piano. Although the ENSPIRE Controller app for iOS and Android mobile devices is typically used to access the piano’s functions, it is also possible to access them with an HTML 5-compatible web browser running on any platform. The browser must be directed to the local IP address of the piano in order to establish a connection with the instrument.

The ENSPIRE is further distinguished by a number of new or substantially enhanced features, including:

Binaural CFX Piano Sample

When the piano is placed into Quiet mode, the instrument plays a new sample of the 9′ Yamaha CFX concert grand piano that can be heard on headphones. This sample was recorded binaurally (i.e. from the player’s perspective) and provides unprecedented realism.

Binaural sampling is a unique technique that captures the source instrument using equipment designed to replicate the auditory response of the human ear. In this way, the Quiet mode of the Disklavier ENSPIRE recreates the performance space of the Yamaha CFX concert grand, including the effects of incremental use of the sustain pedal and sympathetic string resonance.

Performance Voices

Similar to a feature that was available previously only on the Mark IV, the ENSPIRE has a set of performance voices that can be layered onto the native acoustic piano sound or used alone in Quiet mode.

In addition to the CFX concert grand voice, there are three electric pianos, two harpsichords, vibraphone, celesta, four pipe organs, jazz organ, strings, choir and synth pad.

Advanced DSP Servos

The original Disklavier PRO introduced moving magnet sensors and key sensors that enabled the instrument to monitor itself during recording and playback, effectively providing an internal feedback loop that ensured the highest quality recording and playback available at the time.

Over the years, Yamaha has continued the development and application of similar feedback loops in a variety of standard and PRO models. The ENSPIRE PRO has taken these innovations even further with the introduction of hammer sensor feedback in addition to key, pedal, and moving magnet monitoring.

USB Audio Recording

Previously available only on the Mark IV, the ENSPIRE has reintroduced real-time USB audio recording. While playing the instrument, you can simultaneously capture an audio recording that is created using the CFX concert grand piano sample or other chosen performance voice. The recording is saved to a connected USB flash drive. This feature provides, in essence, “microphone-free” audio recording.

Improved XG Tone Generator

The ENSPIRE also includes a more advanced set of 480 XG voices that were derived from the world-class line of Clavinova digital pianos from Yamaha.

Additional MIDI Features

The MIDI In and Out ports and the USB “To Host” port can be used simultaneously for MIDI communication. When coupled with either Yamaha Bluetooth^® LE MIDI adapters (MD-BT01 or UD-BT01, available separately), wireless MIDI transmission and reception are possible.

MusicCast Whole-home Audio Integration

The ENSPIRE can be integrated into a wireless whole-home audio system using Yamaha MusicCast technology. By doing this, the user is no longer limited to the listening space of the acoustic piano but can enjoy piano music anywhere in the home via MusicCast wireless speakers and AV products. Control of the instrument is integrated into the MusicCast Controller app’s user interfaces, making control of the instrument easy and intuitive.

Today, the ENSPIRE PRO series of Disklavier pianos represents the flagship of Yamaha piano technology – combining the most advanced Disklavier system with the finest acoustic piano design from Yamaha.

Yamaha U3 pianos are not all the same. While they share a 131cm (52″) height and consistent design standards, U3s vary significantly by production year, letter series (e.g., U3F, U3H, U3A), and condition. Key differences exist in soundboard quality, hammer felt, and cabinet design, generally with newer models (1980s and later) offering improved, warmer tone and action precision.

Key Differences in Yamaha U3 Models:
Production Era & Series Letters: The U3 has been produced for decades. Earlier models like the U3G (1960s/70s) can be brighter or have thinner tones, while the U3H (1970s) is considered a massive, high-quality leap in consistency.
Design Upgrades: Newer models like the U3A or newer 1990s models often feature superior materials, such as improved hammer felts and improved, more responsive action, compared to older, high-volume production models like the H-series.

Condition & Reconditioning: Due to their age (many are sold as used/refurbished), two U3s of the same year can sound very different based on how they were used and the quality of their reconditioning.

Gray market Yamaha U3 pianos are used Japanese-market instruments imported to the US, often cheaper but lacking Yamaha factory support, warranty, and potentially seasoned for Japan’s higher humidity, making them more susceptible to tuning instability or cracking in dry U.S. climates compared to models originally made for the USA.

Key Comparison Points:
Climate Seasoning: U3s made for the USA are “seasoned” to endure drier, heated North American homes. Gray market pianos, meant for Japan’s temperate climate, may have wood with higher moisture content, increasing risks of soundboard cracking or tuning issues in dry conditions.
Warranty & Support: Gray market pianos (often 20–40 years old, or more) have no manufacturer warranty, and authorized Yamaha technicians may not have access to specific parts for older Japanese models.
Reconditioning: Many, though not all, grey market pianos are rebuilt/refurbished by third-party importers, not Yamaha itself, leading to inconsistent quality.
Resale Value: Gray market U3s generally have lower resale value and are viewed with suspicion by many dealers.
Price: Due to currency fluctuations and importation strategies, gray market U3s are often priced lower than officially imported counterparts.
Ultimately, grey market pianos require careful inspection by a technician for potential issues related to their age and previous climate.

A refurbished 30-year-old Yamaha U3 that has been played for another 20 years (making it 50 years old in total) will typically be at a critical turning point where its major components likely need professional attention again.

While the U3 is known for exceptional longevity and a “lifetime” build quality, natural materials like wool, wood, and leather inevitably degrade over a 20-year span of use.

What to Expect After 20 Years of Additional Use
Action and Touch: The internal action parts (hammers, dampers, and bushings) will likely be “tired” and less responsive. Yamaha U3s from the 1970s and early 80s often experience issues with hammer butt spring cords becoming brittle, which can cause sluggish key return.
Tone Quality: The tone may become overly bright, “shrill,” or “metallic” as hammer felts harden and develop deep grooves from hitting the strings. The bass section might lose its original depth and richness as strings age and oxidize.
Tuning Stability: After 50 years of string tension and seasonal humidity changes, the tuning pins may begin to lose their grip (torque), making it harder for the piano to stay in tune between regular service visits.
Soundboard Condition: While U3 soundboards are robust, they may develop minor cracks or lose some “crown” (curvature) after five decades, which slightly reduces the piano’s overall resonance and volume.

Maintenance & Longevity

Refurbishment Cycle: Experts generally recommend a cycle of refurbishing every 20–25 years to renew the action, touch, and tone. If yours hasn’t been serviced significantly since it was 30, it is likely due for another round of reconditioning.
Market Value: A well-maintained 50-year-old U3 value is heavily dependent on an independent technician’s evaluation. Point to remember is a 50 year old piano has a build date of 1976.  Many of the used U3 pianos were built around that time or before. The fact is not many Yamaha pianos, especially U3 or U1 uprights were sold new in the U.S. The piano of choice at that time were American made furniture style cabinets pianos. The current taste has taken a turn more favorable to the institutional style of the U series, and the MSRP price of a new U3  is $15,699 with sale prices still well above 10K. This tends to drive consumers to look for a “GOOD USED ONE” That is why the information in this post is critical for the consumer to see All U3 Professional Upright Pianos Are Not The Same.

The different versions of the Yamaha U3 piano

The Yamaha U3 (52″ upright) has evolved through several distinct versions since its introduction in the 1950s, with suffixes typically indicating the production era and specific mechanical refinements.

Core Production Eras (Standard U3)
Each major series introduced changes to materials, action components, and tonal characteristics.

• Yamaha U3F (1960s): Features a different cabinet design and often a softer, more muffled tone.
• Yamaha U3G (1971–1975): An improvement over the F series with a similar soft tone but better overall build quality.
• Yamaha U3H (1972–1980): Known for a warm, rich tone and consistent action.
• Yamaha U3M (1980–1982): Known for a very consistent build and a positive, clear tone that is rarely harsh.
• Yamaha U3A (1982–1987): Similar to the U3M but often features a slightly stronger bass response; it is a highly recommended model for balance between price and quality.
• Yamaha U30 / U300 (1990s): Newer versions of the U3 (often for export or younger Japanese domestic markets) with slightly more slender cabinet designs and no lock/key feature.

The current version of the Yamaha U3 professional upright piano is simply the Yamaha U3 (often part of the modern U-Series). While the “U3” name has remained constant for decades, the current production models—manufactured in Yamaha’s Kakegawa factory in Japan—incorporate significant design refinements introduced over the years.

• The main distinctions between models in the CLP-800 series (e.g., CLP-825, CLP-835, CLP-845, CLP-865GP, CLP-875, CLP-885, CLP-895GP) often center on hardware quality and acoustic technology:
• Keyboard Action: The entry-level models (CLP-825, CLP-835, CLP-845) use the GrandTouch-S™ keyboard, while higher-end models (CLP-875, CLP-885, CLP-895GP) feature the more advanced GrandTouch™ keyboard, which includes wooden white keys, 88-key linear graded hammers, and counterweights for an even more authentic feel.
• Pedals: Higher-end models (CLP-875, CLP-885, CLP-895GP) are equipped with the GP Response Damper Pedal, which offers graded resistance to more accurately simulate an acoustic grand piano’s pedaling.
• Speaker System and Amplification: The quality and power of the built-in speaker systems scale up with the model number. Premium models feature multi-way speaker systems with diffusers, waveguides, and bi-directional horns to create a more immersive, room-filling sound experience (Grand Acoustic Imaging).
• Control Panel Interface: Lower models use traditional buttons, whereas the high-end models (CLP-875, CLP-885, CLP-895GP) incorporate touch-sensor control panels that disappear when not in use, providing a seamless, elegant appearance.
• Additional Voices and Features: While all models share core features like binaural sampling for headphones and Virtual Resonance Modeling (VRM), higher-end models include a larger variety of voices (up to 53 + 480 XG voices) and more advanced effects/compatibility.

Handcrafted by Yamaha master builders at our Concert Piano Workshop in Kakegawa, Japan
Rims: Mahogany and hard maple
Soundboard: European Spruce
Soundboard Ribs: European Spruce
Back Posts: 4 – Yezo Spruce
Bridge Construction: Two-piece separated
Frame: Hand molded, sand casted iron
Tone Collector: Yes
Key Material: Seasoned Sitka spruce
White Key surfaces: Ivorite™
Black Key surfaces: Ebony
Fallboard: Soft-close
Lid lock: Yes
Pedal: Shift/Sostenuto/Damper with adjustable lyre brace
Caster: Heavy duty double-wheeled solid brass casters with locks
Weight: 901 lbs (409 kg)

Crafted by Yamaha in Kakegawa, Japan
Soundboard: European Spruce
Soundboard Ribs: European Spruce
Back Posts: 3 – Spruce
Bridge Construction: Two-piece separated
Frame: V-Pro Vacuum Shield Mold Process
Tone Collector: Yes
Key Material: Seasoned spruce
White Key surfaces: Ivorite™
Black Key surfaces: Wood composite
Fallboard: Soft-close
Lid lock: Yes
Pedal: Shift/Sostenuto/Damper
Caster: Heavy duty double-wheeled solid brass casters with locks
Weight: 859 lbs (390 kg)

The Yamaha GPX refers to a specific soundboard design used in their grand pianos, primarily the concert grand models. It’s a proprietary system that optimizes soundboard resonance and consistency, leading to a more vibrant and responsive piano sound.

Return to “The 5 Levels of Yamaha“

This GPX system involves scientific scanning, treatment, shaping, and cutting of soundboards to maximize resonance and ensure consistency. [1, 2]
Here’s a more detailed look: [1]

• GPX and Soundboard Optimization: Yamaha’s GPX system focuses on optimizing the soundboard design to achieve maximum resonance and consistency.
• Soundboard Treatment: The GPX system includes techniques like scientific scanning, shaping, and cutting of soundboards to ensure each piano has the optimal soundboard for its individual needs.
• Improved Tone and Consistency: The result of the GPX treatment is a piano with a more vibrant, present, and resonant sound, with a consistent tonal quality.
• Concert Grand Application: The GPX system was primarily used in Yamaha’s concert grand pianos, which benefit from the enhanced sound quality.

X Marks the Spot: One of the major changes that has become pivotal in the making of this new grand piano is the GPX system. GPX refers to Grand Piano “X” soundboard design. According to Hirota from Yamaha, “the GPX soundboard leveraged in-house techniques and proprietary technologies to help our engineers better understand the outcome of energies from specific soundboard designs when integrated with the rest of the piano. When combined with the traditional craft of soundboard building, these methods allowed us to improve not only the design and building process, but the outcome and consistency of the soundboard.”
Trees, by nature are anything but uniform. It’s as if Yamaha devised a way to scientifically scan, treat, shape and cut the soundboards for each piano to optimize maximum resonance. With this proprietary predictive technique, it allows them to marry the soundboard to the rest of the piano for ultimate tone and consistency. The GPX proved to be integral to the new concert grand pianos. Having had the pleasure of playing these pianos, it’s apparent that the new Yamaha design of pianos feel very live, present and resonant – much more than I have experienced with former models. While Yamaha pianos were great before, this new GPX manufacturing technique has pushed dynamic possibilities to yet higher standards.

All Yamaha pianos are very high-quality instruments and while there are differences among the tiers of grand pianos, Yamaha DNA of manufacturing excellence is present in all of our instruments. The five lines of pianos from the top down are CF, SX, CX, GC and GB1K. CF is the highest tier and is built in our Concert Piano Workshop, a separate workshop within the Kakegawa facility. The CFX is our flagship instrument, designed for concert level performance and concert venues. The SX has a different voice. It’s almost like a ‘personal concert piano’. Often owned by professors or professionals, the SX offers a more intimate sound. Next is the CX series, our most popular level of our grand pianos. Many of the “X” concert procedures are featured in this line. After that is our GC series. It is more cost effective than the CX line and reminiscent of yesteryear’s C line. And finally is the GB1K – not exactly a line of pianos but an entry into Yamaha grands. It differs in that it is the only grand piano that is manufactured in our Indonesia factory with most of the parts coming out of Japan.
Starting from the wood components, each level 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. While 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.
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 (Thermochemical process that aims to decrease the water and volatiles contents from the biomass)
The A.R.E. is the process of fast-tracking the aging of wood of the rim to bring about more resonance like aged guitars and violins. Kakegawa handles curing of wood.
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 and 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.
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.
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.
Contrary to popular belief, we use 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.
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.