DOCSLIB.ORG

CLP-585/575/545/535/565GP Owner's Manual

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CLP-585/575/545/535/565GP Owner's Manual English Owner’s Manual CLP- 585 CLP- 575 Mode d’emploi Français CLP- 545 CLP-535 CLP-565GP IMPORTANT — Check your power supply — (CLP-585/575) Make sure that your local AC mains voltage matches the voltage specified on the name plate on the bottom panel. In some areas a voltage selector may be provided on the bottom panel of the main keyboard unit near the power cord. Make sure that the voltage selector is set for the voltage in your area. The voltage selector is set at 240V when the unit is initially shipped. To change the setting use a “minus” screwdriver to rotate the selector dial so that the correct voltage appears next to the pointer on the panel. Before using the instrument, be sure to read “PRECAUTIONS” on pages 6−7. For information on assembling the instrument, refer to the instructions at the end of this manual. IMPORTANT — Vérifiez votre alimentation électrique — (CLP-585/575) Vérifiez que la tension de votre alimentation secteur correspond à celle qui est spécifiée sur la plaque du fabricant, située sur le panneau inférieur. Dans certaines régions, un sélecteur de tension peut être installé sur le panneau inférieur du clavier principal, à proximité du cordon d’alimentation. Assurez-vous que le sélecteur de tension est réglé sur la tension utilisée dans votre région. En usine, le sélecteur est initialement paramétré sur 240 V. Pour modifier ce réglage, utilisez un tournevis plat et faites tourner le cadran du sélecteur jusqu'à ce que la valeur souhaitée apparaisse à côté de l’indicateur sur le panneau. Avant d’utiliser l’instrument, lisez attentivement la section « PRÉCAUTIONS D'USAGE » aux pages 6 et 7. Pour plus d’informations sur l’assemblage de l’instrument, reportez-vous aux instructions figurant à la fin de ce manuel. EN FR FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY does not guarantee that interference will not occur in THIS UNIT! all installations. If this product is found to be the This product, when installed as indicated in the source of interference, which can be determined by instructions contained in this manual, meets FCC turning the unit “OFF” and “ON”, please try to requirements. Modifications not expressly approved eliminate the problem by using one of the following by Yamaha may void your authority, granted by the measures: FCC, to use the product. Relocate either this product or the device that is 2. IMPORTANT: When connecting this product to being affected by the interference. accessories and/or another product use only high Utilize power outlets that are on different branch (circuit quality shielded cables. Cable/s supplied with this breaker or fuse) circuits or install AC line filter/s. product MUST be used. Follow all installation In the case of radio or TV interference, relocate/ instructions. Failure to follow instructions could void reorient the antenna. If the antenna lead-in is 300 your FCC authorization to use this product in the ohm ribbon lead, change the lead-in to co-axial type USA. cable. 3. NOTE: This product has been tested and found to If these corrective measures do not produce comply with the requirements listed in FCC satisfactory results, please contact the local retailer Regulations, Part 15 for Class “B” digital devices. authorized to distribute this type of product. If you can Compliance with these requirements provides a not locate the appropriate retailer, please contact reasonable level of assurance that your use of this Yamaha Corporation of America, Electronic Service product in a residential environment will not result in Division, 6600 Orangethorpe Ave, Buena Park, harmful interference with other electronic devices. CA90620 This equipment generates/uses radio frequencies The above statements apply ONLY to those products and, if not installed and used according to the distributed by Yamaha Corporation of America or its instructions found in the users manual, may cause subsidiaries. interference harmful to the operation of other electronic devices. Compliance with FCC regulations * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (class B) COMPLIANCE INFORMATION STATEMENT IMPORTANT NOTICE FOR THE UNITED KINGDOM (DECLARATION OF CONFORMITY PROCEDURE) Connecting the Plug and Cord Responsible Party : Yamaha Corporation of America Address : 6600 Orangethorpe Ave., Buena IMPORTANT. The wires in this mains lead are coloured in Park, Calif. 90620 accordance with the following code: BLUE : NEUTRAL Telephone : 714-522-9011 BROWN : LIVE Type of Equipment : Digital Piano Model Name : CLP-585/CLP-575/CLP-545/ As the colours of the wires in the mains lead of this appa- ratus may not correspond with the coloured makings iden- CLP-535/CLP-565GP tifying the terminals in your plug proceed as follows: This device complies with Part 15 of the FCC Rules. The wire which is coloured BLUE must be connected Operation is subject to the following two conditions: to the terminal which is marked with the letter N or 1) this device may not cause harmful interference, and coloured BLACK. 2) this device must accept any interference received The wire which is coloured BROWN must be connected to including interference that may cause undesired the terminal which is marked with the letter L or coloured operation. RED. See user manual instructions if interference to radio Making sure that neither core is connected to the earth ter- reception is suspected. minal of the three pin plug. * This applies only to products distributed by (FCC DoC) (2 wires) YAMAHA CORPORATION OF AMERICA. OBSERVERA! Apparaten kopplas inte ur växelströmskällan (nätet) så länge som den ar ansluten till vägguttaget, även om själva apparaten har stängts av. ADVARSEL: Netspændingen til dette apparat er IKKE afbrudt, sålænge netledningen sidder i en stikkontakt, som er tændt — også selvom der er slukket på apparatets afbryder. VAROITUS: Laitteen toisiopiiriin kytketty käyttökytkin ei irroita koko laitetta verkosta. (standby) SPECIAL MESSAGE SECTION PRODUCT SAFETY MARKINGS: Yamaha electronic ENVIRONMENTAL ISSUES: Yamaha strives to products may have either labels similar to the graphics produce products that are both user safe and shown below or molded/stamped facsimiles of these environmentally friendly. We sincerely believe that our graphics on the enclosure. The explanation of these products and the production methods used to produce graphics appears on this page. Please observe all them, meet these goals. In keeping with both the letter cautions indicated on this page and those indicated in the and the spirit of the law, we want you to be aware of the safety instruction section. following: Battery Notice: This product MAY contain a small non- CAUTION rechargeable battery which (if applicable) is soldered in RISK OF ELECTRIC SHOCK place. The average life span of this type of battery is DO NOT OPEN approximately five years. When replacement becomes necessary, contact a qualified service representative to CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK. perform the replacement. DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. Warning: Do not attempt to recharge, disassemble, or REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. incinerate this type of battery. Keep all batteries away from children. Dispose of used batteries promptly and as See bottom of Keyboard enclosure for graphic symbol markings. regulated by applicable laws. Note: In some areas, the servicer is required by law to return the defective parts. The exclamation point within the However, you do have the option of having the servicer equilateral triangle is intended to alert dispose of these parts for you. the user to the presence of important operating and maintenance Disposal Notice: Should this product become damaged (servicing) instructions in the beyond repair, or for some reason its useful life is literature accompanying the product. considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of The lightning flash with arrowhead products that contain lead, batteries, plastics, etc. symbol, within the equilateral triangle, is intended to alert the user NOTICE: Service charges incurred due to lack of to the presence of uninsulated knowledge relating to how a function or effect works “dangerous voltage” within the (when the unit is operating as designed) are not covered product’s enclosure that may be of by the manufacturer’s warranty, and are therefore the sufficient magnitude to constitute a owners responsibility. Please study this manual carefully risk of electrical shock. and consult your dealer before requesting service. IMPORTANT NOTICE: All Yamaha electronic NAME PLATE LOCATION: The graphic below products are tested and approved by an independent indicates the location of the name plate. The model safety testing laboratory in order that you may be sure number, serial number, power requirements, etc., are that when it is properly installed and used in its normal located on this plate. You should record the model and customary manner, all foreseeable risks have been number, serial number, and the date of purchase in the eliminated. DO NOT modify this unit or commission spaces provided below and retain this manual as a others to do so unless specifically authorized by Yamaha. permanent record of your purchase. Product performance and/or safety standards may be diminished. Claims filed under the expressed warranty may be denied if the unit is/has been modified. Implied warranties may also be affected. SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update Model existing units. Serial No. 92-469- 1 (bottom) Purchase Date Explanation of Graphical Symbols The lightning flash with arrowhead symbol CAUTION within an equilateral triangle is intended to RISK OF ELECTRIC SHOCK alert the user to the presence of uninsulated DO NOT OPEN “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to CAUTION: TO REDUCE THE RISK OF persons.
Load more

Recommended publications
  • Multiphonics of the Grand Piano – Timbral Composition and Performance with Flageolets
    Multiphonics of the Grand Piano – Timbral Composition and Performance with Flageolets Juhani VESIKKALA Written work, Composition MA Department of Classical Music Sibelius Academy / University of the Arts, Helsinki 2016 SIBELIUS-ACADEMY Abstract Kirjallinen työ Title Number of pages Multiphonics of the Grand Piano - Timbral Composition and Performance with Flageolets 86 + appendices Author(s) Term Juhani Topias VESIKKALA Spring 2016 Degree programme Study Line Sävellys ja musiikinteoria Department Klassisen musiikin osasto Abstract The aim of my study is to enable a broader knowledge and compositional use of the piano multiphonics in current music. This corpus of text will benefit pianists and composers alike, and it provides the answers to the questions "what is a piano multiphonic", "what does a multiphonic sound like," and "how to notate a multiphonic sound". New terminology will be defined and inaccuracies in existing terminology will be dealt with. The multiphonic "mode of playing" will be separated from "playing technique" and from flageolets. Moreover, multiphonics in the repertoire are compared from the aspects of composition and notation, and the portability of multiphonics to the sounds of other instruments or to other mobile playing modes of the manipulated grand piano are examined. Composers tend to use multiphonics in a different manner, making for differing notational choices. This study examines notational choices and proposes a notation suitable for most situations, and notates the most commonly produceable multiphonic chords. The existence of piano multiphonics will be verified mathematically, supported by acoustic recordings and camera measurements. In my work, the correspondence of FFT analysis and hearing will be touched on, and by virtue of audio excerpts I offer ways to improve as a listener of multiphonics.
    [Show full text]
  • Beethoven and the Piano
    Beethoven and the Piano Beethoven was not only a prolific composer for Beethoven’s early life was one of significant Yet Beethoven’s relationship with the piano – as As well as his 32 piano sonatas, sets of variations the piano, but for much of his life was a change in the technology of keyboard with most of the people in his life – was hardly and many other shorter piano works, it was only celebrated piano virtuoso. Rather like Liszt instruments: namely the gradual transition from smooth. He forged his early reputation in Vienna natural that Beethoven should unite the piano several decades later, Beethoven’s pianism the use of the harpsichord to the piano in no small measure as a pianist (he was, among with another ‘instrument’ so critical to his output, enthralled and perplexed in equal measure. (significantly, his earliest keyboard works were other things, a quite brilliant improviser), though the orchestra, and between 1790 and 1809 he Contemporary reports describe his piano playing composed to be played on either instrument). there was always a sense on Beethoven’s part composed five piano concertos. The combination as strikingly expressive, bold and technically Harpsichord sound is produced when a series of that for all the new technical and expressive of piano and orchestra provided Beethoven great brilliant. If that were not enough, while Beethoven quills pluck the instrument’s strings, a mechanical potential offered by the instrument, it was never scope for presenting and developing ideas; it was capable of playing exquisite lyricism on the process that allows for only limited dynamic quite adequate for his creative needs.
    [Show full text]
  • Creating Adaptive Technology to Play the Piano
    Creating adaptive technology to play the piano Final Report December 12, 2012 Team Members Taylor Lamberty Myranda Schmitt Jolene Enge Nyna Choi Client Vicki Janisch Mary Advisor Dr. Willis Tompkins Abstract AgrAbility of Wisconsin (AAW) supports Wisconsin farmers and their families by accommodating disability in agriculture and promoting disability awareness [1]. Our client is Vicki Janisch who is an outreach coordinator for AAW. Her long time client is Mary, a Wisconsin farmer who has rheumatoid arthritis and as a result has had a below-the-knee amputation of her right leg in addition to bilateral knee replacements and left ankle fusion. Mary’s passion is playing the piano. Both of her ankles have little to no flexion, which prevents her from using the damper pedal that is necessary to create a rich, full sound. Some current adaptive devices exist, but are not ideally suited to our client’s greatest need of portability. Our device features a simple design that utilizes a wedge to actuate the pedal. Through modification, we were ultimately able to achieve a compact, low profile, lightweight device that is portable and is easy to use. 2 Table of Contents Abstract 2 Background Client Description 4 Current Devices 4 Problem Motivation 5 Design Requirements 6 Design Alternatives 7 Wedge & Lever System 7 Free Weight and Pulley System 9 Translating System 9 Gliding Platform and Wedge System 10 Design Matrix 10 Design Matrix Criteria 12 Effectiveness 12 Patient Comfort 12 Portability 12 Safety 12 Durability 13 Final Design 13 Force Analysis 14 Testing 14 Cost 15 Future Work 16 Timeline 16 References 18 Appendix 19 3 Background Client Description Our client is Vicki Janisch, an Outreach Specialist for AgrAbility of Wisconsin (AAW).
    [Show full text]
  • Owner's Manual
    Concert Performer Series Digital Piano Owner’s Manual Model: CP116 All descriptions and specifications in this manual are subject to change without notice. II Important Safety Instructions SAVE THESE INSTRUCTIONS INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS WARNING Examples of Picture Symbols TO REDUCE THE RISK OF CAUTION FIRE OR ELECTRIC denotes that care should be taken. SHOCK, DO NOT EXPOSE The example instructs the user to take care RISK OF ELECTRIC SHOCK THIS PRODUCT TO RAIN not to allow fingers to be trapped. DO NOT OPEN OR MOISTURE. denotes a prohibited operation. The example instructs that disassembly of AVIS : RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR. the product is prohibited. TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). denotes an operation that should be NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. carried out. The lighting flash with arrowhead symbol, within The example instructs the user to remove the an equilateral triangle, is intended to alert the user The exclamation point within an equilateral triangle to the presence of uninsulated "dangerous voltage" is intended to alert the user to the presence of power cord plug from the AC outlet. within the product's enclosure that may be of important operating and maintenance (servicing) sufficient magnitude to constitute a risk of electric instructions in the leterature accompanying the shock to persons. product. Read all the instructions before using the product. WARNING - When using electric products, basic precautions should always be followed, including the following. Indicates a potential hazard that could result in death WARNING or serious injury if the product is handled incorrectly.
    [Show full text]
  • Games, Ghosts, and Glamour
    Games, Ghosts, and Glamour: The Player Piano in Domestic America, 1890-1930 Devanney Haruta An honors thesis for the Brown University Music Department November 29, 2016 Primary Reader: Dana Gooley Secondary Readers: Anne Searcy, Joshua Tucker 1 PRELUDE Keyboards are all around us, on our cell phones and laptops, mediating our writing, our correspondence, our digital expression, and accompanying our communication with audible punctuations of sound. Alphanumeric keys read digital input and produce sound in digital and mechanical output. The player piano, a mechanical musical instrument from the late nineteenth and early twentieth centuries, utilized a similar keyboard interface. With its humming pneumatics and predetermined sequence of musical pitches, the instrument can teach us about our modern interactions with technologies that produce sound both within and outside of our immediate control. How we interact with both modern digital and historic instrument technologies reveals the importance of physical objects in our lives, and can even teach us about our modes of interaction as well as about ourselves as humans. The player piano is an instrument that became commercially widespread across the United States in the late nineteenth and early twentieth centuries. The instrument walks a hazy boundary between interactive musical interface and independently controlled music player, simultaneously reinforcing and challenging the piano’s established identity in the American domestic space. The player piano is an intriguing historical object, but what is its relevance to contemporary musicology? Understanding the player piano’s identity as a musical interface, a body of control, and a cultural symbol sheds light on modern musicology, organology, and technology studies.
    [Show full text]
  • American Musical Instrument Society
    Journal of the American Musical Instrument Society VOLUME XL• 2014 CONTENTS Comments and Reflections upon the 40th Anniversary 5 Issue of the JOURNAL OF THE AMERICAN MUSICAL INSTRUMENT SOCIETY Congratulations from the President ALBERT R. RICE, President- AMIS Milestones WILLIAM E. HETTRICK, Former Editor of the Journal In the Beginning CYNTHIA ADAMS HOOVER, Founding Member of AMIS The 1799 Organized Upright Grand Piano 9 in Williamsburg: A Preliminary Report JOHN R. WATSON Guitar Stringing in Late Nineteenth-Century 29 North America: The Emergence of Steel NICHOLAS PYALL Echoes from the Fall of Richmond: The Instruments 75 and Career of Bandmaster George R. Choate ROBERT E. ELIASON AND CURT H. DAVIS The Raoux Family of Master Hom Makers in France: 112 New Documents and Perspectives TULA GIANNINI The Android Clarinetist by ComelisJacobus van 163 Oeckelen (1838) ALBERT R. RrcE Ingrid Larssen: A Female Saxophonist in the Nazi Era 190 HEIKE FRICKE APPENDIX: COLOR PHOTOGRAPHS 219 BOOK REVIEWS Robert Bigio. Rudall, Rose & Carte: The Art of the Flute in Britain 240 REVIEWED BY SUSAN BERDAHL Mary Cyr. Style and Performance for Bowed String Instruments 243 in French Baroque Music REVIEWED BY BRANDI BERRY Bernard Brauchli, Alberto Caiazzo, and Judith Wardman, eds. 245 De Clavicordio IX: Proceedings of the IX International Clavichord Symposium. Bernard Brauchli, Alberto Caiazzo, and Judith Wardman, eds. 245 De Clavicordio X: Proceedings of the X International Clavichord Symposium REVIEWED BY JOHN KOSTER Sumi Cunji and Henry Johnson. A Dictionary of Traditional 249 Japanese Musical Instruments: From Prehistory to the Edo Period REVIEWED BY JEREMY MONTAGU Anthony Hammond. Pierre Cochereau: Organist of Notre-Dame 252 REVIEWED BY TIMOTHY TIKKER Communication 257 Recent Publications 259 A list compiled by Pam Dennis Contributors 273 Guidelines for Contributors: A Summary 277 The Curt Sachs Award 279 Organization and Membership 280 Friends of AMIS 281 44th Annual Meeting 283 The 1799 Organized Upright Grand Piano in Williamsburg: A Preliminary Report* JOHN R.
    [Show full text]
  • Piano Pedals
    Piano Pedals The right pedal is called the damper or sustain pedal. It releases the dampers from the strings and allows a tone or multiple tones to be sustained. This is one function. The other is the fact that it opens harmonic string resonance. A chord for example played with the sustain pedal down sounds fuller since related strings also vibrate slightly even when not activated by a hammer. For composing the following symbols are used: pedal down. pedal off. Sometimes horizontal brackets are used. Since the piano was invented around 1700 by Bartolomeo Cristofori the instrument at that time did not have pedals. The first damper pedal was introduced in 1777. This explains why composer such as Bach and Mozart did not have any pedal notation in their piano scores. As a composer and pianist, Beethoven experimented extensively with pedal. His first marking to indicate use of a pedal in a score was in his first two piano concertos, in 1795. The Soft Pedal is the pedal on the left side, and it’s also called the una corda ( one string) pedal. This pedal changes the tone of the piano to a slightly softer sound. Normally, when you play a piano key, the hammer strikes three strings for each given pitch in the middle and upper section of the keyboard. Depressing the soft pedal causes the keys and hammers to shift slightly to the right, allowing the hammer to reach only one or two strings. This is true for the grand piano. Most upright pianos use another technology. They move the hammers slightly forward so the travel distance to the strings is shorter.
    [Show full text]
  • Grand Rhapsody Piano User Guide Contents
    GRAND RHAPSODY PIANO USER GUIDE CONTENTS CHAPTER 1 INTRODUCTION ............................................................................................ 2 Acknowledgement .............................................................................................................................................. 2 1.1 Product Overview ........................................................................................................................................ 3 1.2 Concepts and Terminology ......................................................................................................................... 4 1.3 Components ................................................................................................................................................ 5 1.4 Functional Block/Flow Diagram ................................................................................................................... 5 CHAPTER 2 QUICK START GUIDE ................................................................................... 6 CHAPTER 3 INTERFACE AND CONTROLS ..................................................................... 7 3.1 Interface ...................................................................................................................................................... 7 Expanded View ............................................................................................................................................................................... 7 Collapsed View ..............................................................................................................................................................................
    [Show full text]
  • Nord Piano 3 English User Manual V1x-Edition-D.Pdf
    NORD ELECTRO 5 USER MAnuAL OS V1.X | 1 User Manual English Nord Piano 3 OS Version: 1.x Edition: D Part No. 50446 Copyright Clavia DMI AB Edition: D 2 | NORD ELECTRO 5 USER MAnuAL OS V1.X The lightning flash with the arrowhead symbol within CAUTION - ATTENTION an equilateral triangle is intended to alert the user to the RISK OF ELECTRIC SHOCK presence of uninsulated voltage within the products en- DO NOT OPEN closure that may be of sufficient magnitude to constitute RISQUE DE SHOCK ELECTRIQUE a risk of electric shock to persons. NE PAS OUVRIR Le symbole éclair avec le point de flèche à l´intérieur d´un triangle équilatéral est utilisé pour alerter l´utilisateur de la presence à l´intérieur du coffret de ”voltage dangereux” non isolé d´ampleur CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK suffisante pour constituer un risque d`éléctrocution. DO NOT REMOVE COVER (OR BACK). NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL. The exclamation mark within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the ATTENTION:POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE literature accompanying the product. PAS ENLEVER LE COUVERCLE. AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L´USAGER. Le point d´exclamation à l´intérieur d´un triangle équilatéral est CONFIER L´ENTRETIEN AU PERSONNEL QUALIFE. employé pour alerter l´utilisateur de la présence d´instructions AVIS: POUR EVITER LES RISQUES D´INCIDENTE OU D´ELECTROCUTION, importantes pour le fonctionnement et l´entretien (service) dans le N´EXPOSEZ PAS CET ARTICLE A LA PLUIE OU L´HUMIDITET.
    [Show full text]
  • Acoustic Feel with a Digital Edge. Yamaha Hybrid Pianos Give You The
    Acoustic feel with a digital edge. Yamaha hybrid pianos give you the best of both worlds. AvantGrand N3 Yamaha hybrid pianos offer you the rich, resonant tone, textured harmonics, and superb touch and response of an acoustic piano, combined with state-of-the-art technology that AvantGrand N2 only Yamaha can provide. With a compact, elegant design, these instruments deliver authentic piano performance in any setting. Experience a piano like no other—experience a Yamaha hybrid piano. AvantGrand N1 N U 1 Thanks to a specially designed grand-piano action and a wooden keyboard, the AvantGrand truly becomes an extension of your body as you play. The nuanced touch and response of the grand piano are an essential standard yardstick for piano quality. It offers the player a specially-developed grand piano action that A real grand piano that you can play features the same configuration as the action of a real grand. The hammers strike the "strings" from underneath, anywhere, anytime. The AvantGrand series allowing minute adjustments to the weight distribution of features the same action used in Yamaha’s the hammers, and to the movement of the hammers themselves, for a smoother feel when playing. In addition renowned grand pianos, combined with to a hammer sensor, this instrument employs a cutting-edge technology that allows you to non-contact key sensor that has no effect on the movement experience grand piano performance at any of the keys, affording excellent recognition of the player's pressure on the keyboard, timing, and the other delicate volume. Whether it’s the compact N1 with its nuances that affect musical expression.
    [Show full text]
  • YDP-V240 Owner's Manual
    Owner’s Manual Bedienungsanleitung Mode d’emploi Manual de instrucciones For information on assembling the keyboard stand, refer to the instructions at the end of this manual. IMPORTANT — Check your power supply — Make sure that your local AC mains voltage matches the voltage specified on the name plate on the bottom panel. In some areas a voltage selector may be provided on the bottom panel of the main keyboard unit near the power cord. Make sure that the voltage selector is set for the voltage in your area. The voltage selector is set at 240V when the unit is initially shipped. To change the setting use a “minus” screwdriver to rotate the selector dial so that the correct voltage appears next to the pointer on the panel. Weitere Informationen über die Montage des Keyboard-Ständers erhalten Sie in den Anweisungen am Ende dieses Handbuchs. WICHTIG — Überprüfen Sie Ihren Netzanschluss — Vergewissern Sie sich, dass die Spannung in Ihrem örtlichen Stromnetz mit der Spannung übereinstimmt, die auf dem Typenschild auf der Unterseite des Instruments angegeben ist. In bestimmten Regionen ist auf der Unterseite des Keyboards in der Nähe des Netzkabels ein Spannungswähler angebracht. Vergewissern Sie sich, dass der Spannungswähler auf die Spannung Ihres lokalen Stromnetzes eingestellt ist. Dieser Spannungswähler ist bei Auslieferung auf 240 V eingestellt. Sie können die Einstellung mit einem Schlitzschraubenzieher ändern. Drehen Sie dazu den Wählschalter, bis der Pfeil auf dem Instrument auf die richtige Spannung zeigt. Pour obtenir des informations sur l'assemblage du support du clavier, reportez-vous aux instructions à la fin de ce manuel. IMPORTANT — Contrôler la source d'alimentation — Vérifiez que la tension spécifiée sur le panneau inférieur correspond à la tension du secteur.
    [Show full text]
  • Music Programme :Music
    DM İSTANBUL TECHNICAL UNIVERSITY INSTITUTE OF SOCIAL SCIENCES A STUDY ON THE AUTHENTICITY AND EVOLUTION OF PIANO TECHNIQUE FOR SPANISH PIANO MUSIC: WITH SELECTIONS FROM THE REPERTOIRE OF ALBÉNIZ, GRANADOS AND FALLA IF NECESSARY THIRDLINE Ph.D. Thesis by Beray SELEN Department :Music Programme :Music JUNE 2009 i ii FOREWORD This doctorate thesis, titled " A Study On The Authenticity and Evolution of Piano Technique for Spanish Piano Music: With Selections From the Repertoire of Albéniz, Granados and Falla," was prepared at the I.T.U. Social Sciences Institute, Dr. Erol Uçer Center for Advanced Studies in Music (MIAM). This thesis presents results from my concern on the specifics of performance issues regarding Spanish Piano repertoire as well as my lifelong aim in trying to find a synthesis between factors outside of piano performance. These factors come from the core of the music and the culture it is born out of, and may be used in a way to help improve the performance aspect. My personal interest in the difficult and rhythmically complex nature of Spanish music gave rise to a further elaboration of this ideal through the Spanish piano repertoire of Albéniz, Granados and Falla. Coinciding with the writing process of this thesis, I had the chance to discover more useful aspects of music that are beyond just technical aspects of keyboard playing. In retrospect, this study allowed me to arrive at a further instrumental “overarching” angle to help and guide people interested in Spanish Piano repertoire. The project aims at investigating whether it is possible to see aspects of the Spanish piano music from diverse perspectives.
    [Show full text]