Download Yamaha CLP-130 Specifications
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êÛÍÓ‚Ó‰ÒÚ‚Ó ÔÓθÁÓ‚‡ÚÂÎfl è‰ ̇˜‡ÎÓÏ ‡·ÓÚ˚ Ò ËÌÒÚÛÏÂÌÚÓÏ ÔÓ˜ËÚ‡ÈÚ ‡Á‰ÂÎ «åÂ˚ ·ÂÁÓÔ‡ÒÌÓÒÚË» ̇ ÒÚ. 6-7. ÇÄÜçé! ì·Â‰ËÚÂÒ¸, ˜ÚÓ Ì‡ÔflÊÂÌË ‚ ÓÁÂÚÍ ÒÓÓÚ‚ÂÚÒÚ‚ÛÂÚ Ì‡ÔflÊÂÌ˲, Û͇Á‡ÌÌÓÏÛ Ì‡ ËÌÒÚÛÏÂÌÚÂ. Ç ÌÂÍÓÚÓ˚ı ÒÎÛ˜‡flı ËÌÒÚÛÏÂÌÚ ÏÓÊÂÚ ·˚Ú¸ Ò̇·ÊÂÌ ÔÂÂÍβ˜‡ÚÂÎÂÏ Ì‡ÔflÊÂÌËfl, ÍÓÚÓ˚È ‡ÒÔÓÎÓÊÂÌ fl‰ÓÏ Ò ÒÂÚ‚˚Ï Í‡·ÂÎÂÏ. ì·Â‰ËÚÂÒ¸, ˜ÚÓ ÔÓÎÓÊÂÌË ÔÂÂÍβ˜‡ÚÂÎfl ÒÓÓÚ‚ÂÚÒÚ‚ÛÂÚ Ì‡ÔflÊÂÌ˲, ËÒÔÓθÁÛÂÏÓÏÛ ‚ ‚‡¯ÂÏ Â„ËÓÌÂ. èË ÔÓÒÚ‡‚Í ÔÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl ÛÒÚ‡ÌÓ‚ÎÂÌ Ì‡ ̇ÔflÊÂÌË 240 Ç. èÎÓÒÍÓÈ ÓÚ‚ÂÚÍÓÈ ÔÓ‚ÂÌËÚ ÔÂÂÍβ˜‡ÚÂθ Ú‡Í, ˜ÚÓ·˚ Ó·ÓÁ̇˜ÂÌË ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â„Ó Ì‡ÔflÊÂÌËfl ·˚ÎÓ ‡ÒÔÓÎÓÊÂÌÓ ‚ÓÁΠÛ͇Á‡ÚÂÎfl ̇ Ô‡ÌÂÎË. Ç·-Ò‡ÈÚ ÔˇÌËÌÓ Clavinova (̇ ‡Ì„ÎËÈÒÍÓÏ flÁ˚ÍÂ) http://www.yamahaclavinova.com/ ëÓ·‡ÌË ÛÍÓ‚Ó‰ÒÚ‚ ÔÓ ÔÓ‰Û͈ËË ÍÓÏÔ‡ÌËË Yamaha http://www2.yamaha.co.jp/manual/english/ M.D.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation C 2002 Yamaha Corporation DIC 338 ǂ‰ÂÌË SPECIAL MESSAGE SECTION PRODUCT SAFETY MARKINGS: Yamaha electronic products may have either labels similar to the graphics shown below or molded/stamped facsimiles of these graphics on the enclosure. The explanation of these graphics appears on this page. Please observe all cautions indicated on this page and those indicated in the safety instruction section. CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK. DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. See bottom of Keyboard enclosure for graphic symbol markings. The exclamation point within the equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. The lightning flash with arrowhead symbol, within the equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electrical shock. Battery Notice: This product MAY contain a small non- rechargable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement. Warning: Do not attempt to recharge, disassemble, or incinerate this type of battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by applicable laws. Note: In some areas, the servicer is required by law to return the defective parts. However, you do have the option of having the servicer dispose of these parts for you. Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. NOTICE: Service charges incurred due to lack of knowl- edge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service. NAME PLATE LOCATION: The graphic below indicates the location of the name plate. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase. IMPORTANT NOTICE: All Yamaha electronic products are tested and approved by an independent safety testing laboratory in order that you may be sure that when it is properly installed and used in its normal and customary manner, all foreseeable risks have been eliminated. DO NOT modify this unit or commission others to do so unless specifically authorized by Yamaha. 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 existing units. ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following: 92-469 1 (bottom) CLP-130 Model Serial No. Purchase Date CLP-120 Å·„Ó‰‡ËÏ Á‡ ÔÓÍÛÔÍÛ ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Yamaha Clavinova! å˚ ÂÍÓÏẨÛÂÏ ‚‡Ï ‚ÌËχÚÂθÌÓ ÔÓ˜ËÚ‡Ú¸ ˝ÚÓ ÛÍÓ‚Ó‰ÒÚ‚Ó, ˜ÚÓ·˚ ‚ ÔÓÎÌÓÈ Ï ‚ÓÒÔÓθÁÓ‚‡Ú¸Òfl ‚ÒÂÏË Ô‰ӂ˚ÏË Ë Û‰Ó·Ì˚ÏË ÙÛÌ͈ËflÏË ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova. å˚ Ú‡ÍÊ ÒÓ‚ÂÚÛÂÏ ‚‡Ï ÒÓı‡ÌËÚ¸ ˝ÚÓ ÛÍÓ‚Ó‰ÒÚ‚Ó ‚ ̇‰ÂÊÌÓÏ Ë ‰ÓÒÚÛÔÌÓÏ ÏÂÒÚ ‰Îfl ‰‡Î¸ÌÂÈ¯Â„Ó ËÒÔÓθÁÓ‚‡ÌËfl. é· ˝ÚÓÏ ÛÍÓ‚Ó‰ÒÚ‚Â êÛÍÓ‚Ó‰ÒÚ‚Ó ÔÓθÁÓ‚‡ÚÂÎfl ÒÓÒÚÓËÚ ËÁ ÚÂı ÓÒÌÓ‚Ì˚ı ‡Á‰ÂÎÓ‚: «Ç‚‰ÂÌË», «ëÔ‡‚Ó˜ÌËÍ» Ë «èËÎÓÊÂÌË (Appendix)». ǂ‰ÂÌË (ÒÚ. 2) ë ˝ÚËÏ ‡Á‰ÂÎÓÏ ÒΉÛÂÚ ÓÁ̇ÍÓÏËÚ¸Òfl ‚ ÔÂ‚Û˛ Ә‰¸. ëÔ‡‚Ó˜ÌËÍ (ÒÚ. 13) ê‡Á‰ÂÎ ÒÓ‰ÂÊËÚ ÔÓ‰Ó·Ì˚ ҂‰ÂÌËfl Ó Ì‡ÒÚÓÈÍ ÙÛÌ͈ËÈ ËÌÒÚÛÏÂÌÚ‡. èËÎÓÊÂÌË (ÒÚ. 69) Ç ˝ÚÓÏ ‡Á‰ÂΠÒÓ‰ÂʇÚÒfl ÒÔ‡‚Ó˜Ì˚ χÚ¡Î˚. * åÓ‰Âθ CLP-130/120 ‚ ˝ÚÓÏ ÛÍÓ‚Ó‰ÒÚ‚Â ÔÓθÁÓ‚‡ÚÂÎfl Ó·ÓÁ̇˜‡ÂÚÒfl Í‡Í CLP/Clavinova. * àÎβÒÚ‡ˆËË Ë ÒÌËÏÍË ‰ËÒÔÎÂfl Ô˂‰ÂÌ˚ ‚ ÛÍÓ‚Ó‰ÒÚ‚Â ÔÓθÁÓ‚‡ÚÂÎfl ÚÓθÍÓ ‚ ͇˜ÂÒÚ‚Â ÔËÏÂÓ‚, ‚ ‰ÂÈÒÚ‚ËÚÂθÌÓÒÚË ‚Ò ÏÓÊÂÚ ‚˚„Îfl‰ÂÚ¸ ÌÂÒÍÓθÍÓ Ë̇˜Â. íÓ„Ó‚˚ Á̇ÍË • Apple Ë Macintosh fl‚Îfl˛ÚÒfl Óı‡ÌflÂÏ˚ÏË ÚÓ„Ó‚˚ÏË Á͇̇ÏË ÍÓÔÓ‡ˆËË Apple Computer. • Windows fl‚ÎflÂÚÒfl Á‡Â„ËÒÚËÓ‚‡ÌÌ˚Ï ÚÓ‚‡Ì˚Ï Á̇ÍÓÏ ÍÓÔÓ‡ˆËË Microsoft. • ÇÒ ÓÒڇθÌ˚ ÚÓ‚‡Ì˚ Á̇ÍË fl‚Îfl˛ÚÒfl ÒÓ·ÒÚ‚ÂÌÌÓÒÚ¸˛ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Ëı ‚·‰ÂθˆÂ‚. Clavinova-Computer Connection — ˝ÚÓ ‰ÓÔÓÎÌËÚÂθÌÓ ÛÍÓ‚Ó‰ÒÚ‚Ó ‰Îfl ̇˜Ë̇˛˘Ëı, ‚ ÍÓÚÓÓÏ ÓÔËÒ˚‚‡ÂÚÒfl, Í‡Í ËÒÔÓθÁÓ‚‡Ú¸ ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova Ò ÔÂÒÓ̇θÌ˚Ï ÍÓÏÔ¸˛ÚÂÓÏ Ë Ì‡ÒÚÓËÚ¸ ÒËÒÚÂÏÛ Clavinova-äÓÏÔ¸˛Ú (ÛÍÓ‚Ó‰ÒÚ‚Ó Ì ‡ÒÒ˜ËÚ‡ÌÓ Ì‡ ͇ÍÛ˛-ÎË·Ó ÍÓÌÍÂÚÌÛ˛ ÏÓ‰Âθ). èÓÎÛ˜ËÚ¸ ˝ÚÓÚ ‰ÓÍÛÏÂÌÚ ‚ ‚ˉ PDF-هȷ ̇ ‡Ì„ÎËÈÒÍÓÏ flÁ˚Í ÏÓÊÌÓ ÔÓ ÒÎÂ‰Û˛˘ÂÏÛ ‡‰ÂÒÛ ‚ àÌÚÂÌÂÚÂ: ë‡ÈÚ ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova (ÚÓθÍÓ Ì‡ ‡Ì„ÎËÈÒÍÓÏ): http://www.yamahaclavinova.com/ ëÓ·‡ÌË ÛÍÓ‚Ó‰ÒÚ‚ ÔÓ ÔÓ‰ÛÍÚ‡Ï Yamaha: http://www2.yamaha.co.jp/manual/english/ CLP-130/120 é· ˝ÚÓÏ ÛÍÓ‚Ó‰ÒÚ‚Â 3 é„·‚ÎÂÌË ǂ‰ÂÌË SPECIAL MESSAGE SECTION ................................... 2 é· ˝ÚÓÏ ÛÍÓ‚Ó‰ÒÚ‚Â................................................ 3 ì͇Á‡ÚÂθ ÔËÏÂÌÂÌËÈ ............................................. 5 åÖêõ ÅÖáéèÄëçéëíà............................................ 6 ÑÓÔÓÎÌËÚÂθÌ˚ ÔË̇‰ÎÂÊÌÓÒÚË ....................... 8 é·ÒÎÛÊË‚‡ÌËÂ............................................................ 8 ë‚ÓÈÒÚ‚‡...................................................................... 9 èÓ‰„ÓÚӂ͇ Í ‡·ÓÚÂ............................................... 10 ä˚¯Í‡ Í·‚ˇÚÛ˚................................... 10 è˛ÔËÚ ....................................................... 10 ÇÍβ˜ÂÌË ÔËÚ‡ÌËfl ................................... 11 ê„ÛÎËӂ͇ „ÓÏÍÓÒÚË .............................. 11 ç‡Û¯ÌËÍË ................................................... 12 Ç˚Íβ˜‡ÚÂθ ‰Ë̇ÏËÍÓ‚ ........................... 12 ëÔ‡‚Ó˜ÌËÍ äÓÏÔÓÌÂÌÚ˚.............................................................. 14 ÑÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÏÂÎÓ‰ËË ................................ 16 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ .............................................. 17 à„‡ Ó‰ÌÓÈ ÛÍÓÈ ....................................... 18 îÛÌ͈Ëfl ÔÓ‚ÚÓ‡ A-B ................................ 20 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â ..................................... 21 Ç˚·Ó ÚÂÏ·Ó‚............................................ 21 àÒÔÓθÁÓ‚‡ÌË Ô‰‡ÎÂÈ ............................. 21 [VARIATION] (CLP-130), [BRILLIANCE], [REVERB] Ë [EFFECT] ........................... 22 óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËΠ̇ʇÚËfl — [TOUCH] ................................................. 24 í‡ÌÒÔÓÌËÓ‚‡ÌË — [TRANSPOSE] ....... 25 ç‡ÎÓÊÂÌË ÚÂÏ·Ó‚.................................... 26 ê‡Á‰ÂÎÂÌË Í·‚ˇÚÛ˚ (CLP-130) ............ 27 àÒÔÓθÁÓ‚‡ÌË ÏÂÚÓÌÓχ ........................ 29 á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl ....................... 30 á‡ÔËÒ¸ ̇ ‰ÓÓÊÍÛ TRACK1 ...................... 30 èÂÂÁ‡ÔËÒ¸ ‰ÓÓÊÍË TRACK1 .................. 32 á‡ÔËÒ¸ ̇ ‰ÓÓÊÍÛ TRACK2 ...................... 32 àÁÏÂÌÂÌË ̇˜‡Î¸Ì˚ı ̇ÒÚÓÂÍ................ 34 ÇÓÒÔÓËÁ‚‰ÂÌË Á‡ÔËÒÂÈ ÔÂÒÂÌ ......................... 35 ÇÓÒÔÓËÁ‚‰ÂÌË ÔÂÒÌË ............................. 35 èÓÎÂÁÌ˚ ÙÛÌ͈ËË ‚ÓÒÔÓËÁ‚‰ÂÌËfl....... 36 ç‡ÒÚÓÈÍË — [FUNCTION]....................................... 37 éÒÌÓ‚Ì˚ ‰ÂÈÒÚ‚Ëfl ‚ ÂÊËÏ Function..... 38 éÔËÒ‡ÌË ÙÛÌ͈ËÈ .................................... 40 F1. íÓÌ͇fl ̇ÒÚÓÈ͇ ‚˚ÒÓÚ˚ Á‚Û͇..... 40 F2. Ç˚·Ó ÒÚÓfl ..................................... 41 F3. îÛÌ͈ËË ÔË Ì‡ÎÓÊÂÌËË ÚÂÏ·Ó‚ . 42 F4. (CLP-130) îÛÌ͈ËË ÔË ‡Á‰ÂÎÂÌËË ÚÂÏ·Ó‚ ..43 4 CLP-130/120 é„·‚ÎÂÌË F5. (CLP-130) / F4. (CLP-120) ÑÛ„Ë ÙÛÌ͈ËË .............................. 44 F6. (CLP-130) / F5. (CLP-120) ÉÓÏÍÓÒÚ¸ ÏÂÚÓÌÓχ ..................... 45 F7. (CLP-130) / F6. (CLP-120) ÉÓÏÍÓÒÚ¸ ÓÚÍβ˜ÂÌÌÓÈ Ô‡ÚËË .... 45 F8. (CLP-130) / F7. (CLP-120) îÛÌ͈ËË MIDI................................ 45 F9. (CLP-130) / F8. (CLP-120) îÛÌ͈ËË ÒÓı‡ÌÂÌËfl ...................... 48 é· ËÌÚÂÙÂÈÒ MIDI................................................. 49 èÓ‰Íβ˜ÂÌË ............................................................ 50 ê‡Á˙ÂÏ˚ ...................................................... 50 èÓ‰Íβ˜ÂÌËÂ Í ÍÓÏÔ¸˛ÚÂÛ ..................... 52 ìÒÚ‡ÌÂÌË ÌÂÔÓ·‰ÓÍ ........................................... 56 ÑÓÔÓÎÌËÚÂθÌ˚ ÔË̇‰ÎÂÊÌÓÒÚË Ë ÏÓ‰ÛÎË .... 56 ë·Ó͇ CLP-120......................................................... 57 ë·Ó͇ CLP-130......................................................... 60 ëÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚................................. 63 ëÔËÒÓÍ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı ÔÂÒÂÌ ........................ 66 è‰ÏÂÚÌ˚È Û͇Á‡ÚÂθ........................................... 67 Appendix ëÔËÒÓÍ Ì‡ÒÚÓÂÍ ËÁ„ÓÚÓ‚ËÚÂÎfl ............................ 70 îÓÏ‡Ú MIDI-‰‡ÌÌ˚ı ............................................... 71 퇷Îˈ‡ ‡ÎËÁ‡ˆËË ËÌÚÂÙÂÈÒ‡ MIDI ................ 75 íÂıÌ˘ÂÒÍË ı‡‡ÍÚÂËÒÚËÍË................................ 76 ì͇Á‡ÚÂθ ÔËÏÂÌÂÌËÈ ùÚÓÚ Û͇Á‡ÚÂθ ÔÓÏÓÊÂÚ ·˚ÒÚÓ Ì‡ÈÚË ÒÚ‡Ìˈ˚ Ò ÓÔËÒ‡ÌËÂÏ ÌÂflÒÌÓ„Ó ‚ÓÔÓÒ‡. èÓÒÎۯ˂‡ÌË èÓÒÎۯ˂‡ÌË ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı ÔÂÒÂÌ Ò ‡ÁÌ˚ÏË ÚÂÏ·‡ÏË.................... «ÑÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÏÂÎÓ‰ËË» – 16 èÓÒÎۯ˂‡ÌË ÔÂÒÂÌ ËÁ ÒÔËÒ͇ 50 ıËÚÓ‚ ‰Îfl ÙÓÚÂÔ¸flÌÓ .......................................... «50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ» – 17 èÓÒÎۯ˂‡ÌË Á‡ÔËÒË ÒÓ·ÒÚ‚ÂÌÌÓÈ Ë„˚ ................................................. «ÇÓÒÔÓËÁ‚‰ÂÌË Á‡ÔËÒÂÈ ÔÂÒÂÌ» – 35 à„‡ ̇ Í·‚ˇÚÛ àÒÔÓθÁÓ‚‡ÌË ÚÂı Ô‰‡ÎÂÈ ÛÔ‡‚ÎÂÌËfl ËÒÔÓÎÌÂÌËÂÏ........................................... «àÒÔÓθÁÓ‚‡ÌË Ô‰‡ÎÂÈ» – 21 Ç˚·Ó ÌÛÊÌÓÈ ‚˚ÒÓÚ˚ ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡ ............................................. «í‡ÌÒÔÓÌËÓ‚‡ÌË — [TRANSPOSE]» – 25 Ç˚·Ó ÚËÔ‡ ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË Í·‚ˇÚÛ˚...........................«óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËΠ̇ʇÚËfl — [TOUCH]» – 24 íÓÌ͇fl ̇ÒÚÓÈ͇ ‚˚ÒÓÚ˚ Á‚Û͇ ‚ÒÂ„Ó ËÌÒÚÛÏÂÌÚ‡ ÔË Ë„Â Ò ‰Û„ËÏË ËÌÒÚÛÏÂÌÚ‡ÏË ËÎË ÏÛÁ˚ÍÓÈ Ò ÍÓÏÔ‡ÍÚ-‰ËÒ͇ ........... «íÓÌ͇fl ̇ÒÚÓÈ͇ ‚˚ÒÓÚ˚ Á‚Û͇» – 40 àÁÏÂÌÂÌË ÚÂÏ·Ó‚ èÓÒÏÓÚ ÒÔËÒ͇ ÚÂÏ·Ó‚ .................................................................................. «ëÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚» – 63 àÏËÚ‡ˆËfl ÍÓ̈ÂÚÌÓ„Ó Á‡Î‡ ................................................................................ «ê‚·‡ˆËfl — [REVERB]» – 22 ëÓ˜ÂÚ‡ÌË ‰‚Ûı ÚÂÏ·Ó‚.....................................................................................................«ç‡ÎÓÊÂÌË ÚÂÏ·Ó‚» – 26 ê‡ÁÌ˚ ÚÂÏ·˚ ‰Îfl ΂ÓÈ Ë Ô‡‚ÓÈ ÛÍË .................................................. «ê‡Á‰ÂÎÂÌË Í·‚ˇÚÛ˚ (CLP-130)» – 27 ì‚Â΢ÂÌË flÍÓÒÚË ËÎË Ïfl„ÍÓÒÚË Á‚Û͇...................................... «ùÙÙÂÍÚ BRILLIANCE — [BRILLIANCE]» – 22 ÑÓ·‡‚ÎÂÌË ˝ÙÙÂÍÚ‡ ‡Ò¯ËÂÌËfl ËÎË Ì‡‡ÒÚ‡ÌËfl Ë Û·˚‚‡ÌËfl.................................«ùÙÙÂÍÚ˚ — [EFFECT]» – 23 ìÎÛ˜¯ÂÌË Á‚Û͇ ÔË ÔÓÏÓ˘Ë ˝ÙÙÂÍÚÓ‚ ...........................................«Ç‡Ë‡ˆËË — [VARIATION] (CLP-130)» – 22 à„‡ ̇ Í·‚ˇÚÛ éÚÍβ˜ÂÌË Á‚Û͇ ‰Îfl Ô‡ÚËË Î‚ÓÈ ËÎË Ô‡‚ÓÈ ÛÍË ....................................................... «à„‡ Ó‰ÌÓÈ ÛÍÓÈ» – 18 èÓ‚ÚÓ̇fl Ë„‡ Û͇Á‡ÌÌÓÈ Ù‡Á˚................................................................................. «îÛÌ͈Ëfl ÔÓ‚ÚÓ‡ A-B» – 20 à„‡ ‚ ˜ÂÚÍÓÏ, ÛÒÚÓȘ˂ÓÏ ËÚÏÂ......................................................................... «àÒÔÓθÁÓ‚‡ÌË ÏÂÚÓÌÓχ» – 29 à„‡ ÔË ÔÓÏÓ˘Ë Á‡ÔËÒ‡ÌÌÓÈ ÔÂÒÌË ........................................................ «á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl» – 30 á‡ÔËÒ¸ á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl.............................................................. «á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl» – 30 ç‡ÒÚÓÈÍË ê„ÛÎËӂ͇ ̇ÒÚÓÂÍ ÔˇÌËÌÓ Clavinova .......................................................... «ç‡ÒÚÓÈÍË — [FUNCTION]» – 37 èÓ‰Íβ˜ÂÌË ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova Í ‰Û„ËÏ ÛÒÚÓÈÒÚ‚‡Ï óÚÓ Ú‡ÍÓ MIDI ............................................................................................................... «é· ËÌÚÂÙÂÈÒ MIDI» – 49 á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl......................................................................................«ê‡Á˙ÂÏ˚ AUX OUT» – 50 ì‚Â΢ÂÌË „ÓÏÍÓÒÚË........................................................................................................«ê‡Á˙ÂÏ˚ AUX OUT» – 50 Ç˚‚Ó‰ Á‚ÛÍÓ‚ ‰Û„Ëı ËÌÒÚÛÏÂÌÚÓ‚ ̇ ÔˇÌËÌÓ Clavinova ..............................................«ê‡Á˙ÂÏ˚ AUX OUT» – 51 èÓ‰Íβ˜ÂÌËÂ Í ÍÓÏÔ¸˛ÚÂÛ ...............................................................................«èÓ‰Íβ˜ÂÌËÂ Í ÍÓÏÔ¸˛ÚÂÛ» – 52 ë·Ó͇ ë·Ó͇ Ë ‡Á·Ó͇ ÔˇÌËÌÓ Clavinova....................................................................... «ë·Ó͇ CLP-130/120» – 57-62 CLP-130/120 ì͇Á‡ÚÂθ ÔËÏÂÌÂÌËÈ 5 åÖêõ ÅÖáéèÄëçéëíà ÇçàåÄíÖãúçé èêéóàíÄâíÖ, èêÖÜÑÖ óÖå èêàëíìèÄíú ä ùäëèãìÄíÄñàà * ï‡ÌËÚ ‰‡ÌÌÓ ÛÍÓ‚Ó‰ÒÚ‚Ó, ˜ÚÓ·˚ ÏÓÊÌÓ ·˚ÎÓ Ó·‡ÚËÚ¸Òfl Í ÌÂÏÛ ‚ ‰‡Î¸ÌÂȯÂÏ. èêÖÑìèêÖÜÑÖçàÖ ÇÓ ËÁ·ÂʇÌË Ò¸ÂÁÌ˚ı Ú‡‚Ï Ë ‰‡Ê ÒÏÂÚË ÓÚ Û‰‡‡ ˝ÎÂÍÚ˘ÂÒÍËÏ ÚÓÍÓÏ, ÍÓÓÚÍÓ„Ó Á‡Ï˚͇ÌËfl, ÔÓ‚ÂʉÂÌËfl Ó·ÓÛ‰Ó‚‡ÌËfl, ÔÓʇ‡ Ë ‰Û„Ëı ÓÔ‡ÒÌÓÒÚÂÈ, ‚Ò„‰‡ Òӷ≇ÈÚ ÓÒÌÓ‚Ì˚ ÏÂ˚ ·ÂÁÓÔ‡ÒÌÓÒÚË, Ô˜ËÒÎÂÌÌ˚ ‰‡ÎÂÂ. ä ˝ÚËÏ ÏÂ‡Ï ÓÚÌÓÒËÚÒfl, ‚ ˜‡ÒÚÌÓÒÚË, ÒÎÂ‰Û˛˘ÂÂ. ùÎÂÍÚÓÔËÚ‡ÌËÂ/͇·Âθ ÔËÚ‡ÌËfl ● ● ● ● ظ ÓÚ ‚Ó‰˚ àÒÔÓθÁÛÈÚ ÚÓθÍÓ Ì‡ÔflÊÂÌËÂ, ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â ËÌÒÚÛÏÂÌÚÛ. çÛÊÌÓ ̇ÔflÊÂÌË Û͇Á‡ÌÓ Ì‡ ËÌÒÚÛÏÂÌÚÂ. èÂËӉ˘ÂÒÍË ÔÓ‚ÂflÈÚ ‚ËÎÍÛ ˝ÎÂÍÚÓËÌÒÚÛÏÂÌÚ‡ Ë Û‰‡ÎflÈÚÂ Ò Ì „flÁ¸ Ë Ô˚θ. àÒÔÓθÁÛÈÚ ÚÓθÍÓ Í‡·Âθ ÔËÚ‡ÌËfl Ë ‡Á˙ÂÏ, ‚ıÓ‰fl˘Ë ‚ ÍÓÏÔÎÂÍÚ ÔÓÒÚ‡‚ÍË. 䇷Âθ ÔËÚ‡ÌËfl Ì ‰ÓÎÊÂÌ Ì‡ıÓ‰ËÚ¸Òfl fl‰ÓÏ Ò ËÒÚÓ˜ÌË͇ÏË ÚÂÔ· (̇„‚‡ÚÂÎflÏË, ‡‰Ë‡ÚÓ‡ÏË Ë Ú. Ô.). ç ‰ÓÔÛÒ͇ÈÚ ڇÍÊ ˜ÂÁÏÂÌÓ„Ó Ò„Ë·‡ÌËfl Ë ÔÓ‚ÂʉÂÌËfl ͇·ÂÎfl, Ì ÒÚ‡‚¸Ú ̇ ÌÂ„Ó ÚflÊÂÎ˚ Ô‰ÏÂÚ˚ Ë ‰ÂÊËÚÂ Â„Ó ‚ Ú‡ÍÓÏ ÏÂÒÚÂ, „‰Â ̇ ÌÂ„Ó ÌÂθÁfl ̇ÒÚÛÔËÚ¸, Á‡‰ÂÚ¸ ÌÓ„ÓÈ ËÎË ˜ÚÓÌË·Û‰¸ ÔÓ ÌÂÏÛ ÔÂÂ͇ÚËÚ¸. ç ÓÚÍ˚‚‡Ú¸ ● ● Å„ËÚ ËÌÒÚÛÏÂÌÚ ÓÚ ‰Óʉfl, Ì ËÒÔÓθÁÛÈÚÂ Â„Ó fl‰ÓÏ Ò ‚Ó‰ÓÈ, ‚ ÛÒÎÓ‚Ëflı Ò˚ÓÒÚË Ë ÔÓ‚˚¯ÂÌÌÓÈ ‚·ÊÌÓÒÚË; Ì ÒÚ‡‚¸Ú ̇ ÌÂ„Ó ÂÏÍÓÒÚË Ò ÊˉÍÓÒÚ¸˛, ÍÓÚÓ‡fl ÏÓÊÂÚ ‡ÁÎËÚ¸Òfl Ë ÔÓÔ‡ÒÚ¸ ‚ ÓÚ‚ÂÒÚËfl. ● çËÍÓ„‰‡ Ì ‚ÒÚ‡‚ÎflÈÚÂ Ë Ì ‚˚ÌËχÈÚ ‚ËÎÍÛ ˝ÎÂÍÚÓËÌÒÚÛÏÂÌÚ‡ ÏÓÍ˚ÏË Û͇ÏË. ظ ÓÚ Ó„Ìfl ● ç ÒÚ‡‚¸Ú ̇ ËÌÒÚÛÏÂÌÚ „Ófl˘Ë Ô‰ÏÂÚ˚, ̇ÔËÏ ҂˜Ë. ÉÓfl˘ËÈ Ô‰ÏÂÚ ÏÓÊÂÚ ÛÔ‡ÒÚ¸ Ë ‚˚Á‚‡Ú¸ ÔÓʇ. èË ‚̯ڇÚÌ˚ı ÒËÚÛ‡ˆËflı ● ç ÓÚÍ˚‚‡ÈÚ ËÌÒÚÛÏÂÌÚ Ë Ì Ô˚Ú‡ÈÚÂÒ¸ ‡ÁÓ·‡Ú¸ ËÎË ÏÓ‰ËÙˈËÓ‚‡Ú¸ Â„Ó ‚ÌÛÚÂÌÌË ˜‡ÒÚË. Ç ÌÂÏ ÌÂÚ ˜‡ÒÚÂÈ, ÍÓÚÓ˚ ‰ÓÎÊÂÌ Ó·ÒÎÛÊË‚‡Ú¸ ÔÓθÁÓ‚‡ÚÂθ. èË ÔÓfl‚ÎÂÌËË ÌÂËÒÔ‡‚ÌÓÒÚË ÌÂωÎÂÌÌÓ ÔÂ͇ÚËÚ ˝ÍÒÔÎÛ‡Ú‡ˆË˛ Ë Ó·‡ÚËÚÂÒ¸ Á‡ ÔÓÏÓ˘¸˛ Í ÒÔˆˇÎËÒÚ‡Ï ˆÂÌÚ‡ ÚÂıÌ˘ÂÒÍÓ„Ó Ó·ÒÎÛÊË‚‡ÌËfl ÍÓÔÓ‡ˆËË Yamaha. Ç ÒÎÛ˜‡Â ËÁÌÓÒ‡ Ë ÔÓ‚ÂʉÂÌËfl ͇·ÂÎfl ÔËÚ‡ÌËfl ËÎË ‡Á˙Âχ, ‡ Ú‡ÍÊ ÔË ‚ÌÂÁ‡ÔÌÓÏ ËÒ˜ÂÁÌÓ‚ÂÌËË Á‚Û͇ ‚Ó ‚ÂÏfl ˝ÍÒÔÎÛ‡Ú‡ˆËË, ÔË ÔÓfl‚ÎÂÌËË ÌÂÓ·˚˜ÌÓ„Ó Á‡Ô‡ı‡ Ë ‰˚χ ÌÂωÎÂÌÌÓ ÓÚÍβ˜ËÚ ˝ÎÂÍÚÓÔËÚ‡ÌËÂ, ‚˚̸Ú ‚ËÎÍÛ ËÁ ÓÁÂÚÍË Ë Ó·‡ÚËÚÂÒ¸ Á‡ ÔÓÏÓ˘¸˛ Í ÒÔˆˇÎËÒÚ‡Ï ˆÂÌÚ‡ ÚÂıÌ˘ÂÒÍÓ„Ó Ó·ÒÎÛÊË‚‡ÌËfl ÍÓÔÓ‡ˆËË Yamaha. ÇçàåÄçàÖ ÇÒ„‰‡ Òӷ≇ÈÚ ÒÎÂ‰Û˛˘Ë ÓÒÌÓ‚Ì˚ ÏÂ˚ ·ÂÁÓÔ‡ÒÌÓÒÚË ‚Ó ËÁ·ÂʇÌË ̇ÌÂÒÂÌËfl Ú‡‚Ï ÒÂ·Â Ë ÓÍÛʇ˛˘ËÏ, ‡ Ú‡ÍÊ ÔÓ‚ÂʉÂÌËfl ËÌÒÚÛÏÂÌÚ‡ Ë ‰Û„Ó„Ó ËÏÛ˘ÂÒÚ‚‡. ùÎÂÍÚÓÔËÚ‡ÌËÂ/͇·Âθ ÔËÚ‡ÌËfl ● ● ● åÂÒÚÓ ÛÒÚ‡ÌÓ‚ÍË èË ÓÚÍβ˜ÂÌËË ‚ËÎÍË ÓÚ ËÌÒÚÛÏÂÌÚ‡ ËÎË ÓÚ ˝ÎÂÍÚÓÒÂÚË ·ÂËÚÂÒ¸ Á‡ ‚ËÎÍÛ, ‡ Ì Á‡ ͇·Âθ. Ç ÔÓÚË‚ÌÓÏ ÒÎÛ˜‡Â ÏÓÊÌÓ Ôӂ‰ËÚ¸ ͇·Âθ. éÚÍβ˜‡ÈÚ ËÌÒÚÛÏÂÌÚ ÓÚ ˝ÎÂÍÚÓÒÂÚË, ÂÒÎË Ô·ÌËÛÂÚ Ì ËÒÔÓθÁÓ‚‡Ú¸ Â„Ó ‚ Ú˜ÂÌË ‰ÎËÚÂθÌÓ„Ó ‚ÂÏÂÌË, ‡ Ú‡ÍÊ ‚Ó ‚ÂÏfl „ÓÁ˚. ç ÔÓ‰Íβ˜‡ÈÚ ËÌÒÚÛÏÂÌÚ Í Ó‰ÌÓÈ ˝ÎÂÍÚ˘ÂÒÍÓÈ ÓÁÂÚÍÂ Ò ‰Û„ËÏË ÛÒÚÓÈÒÚ‚‡ÏË (̇ÔËÏ ˜ÂÂÁ ÚÓÈÌËÍ). ùÚÓ ÏÓÊÂÚ ÔË‚ÂÒÚË Í ÒÌËÊÂÌ˲ ͇˜ÂÒÚ‚‡ Á‚Û͇ ËÎË ÔÂÂ„Â‚Û ÓÁÂÚÍË. ● ● ● ë·Ó͇ ● ● ÇÌËχÚÂθÌÓ ÔÓ˜ËÚ‡ÈÚ ‰ÓÍÛÏÂÌÚ‡ˆË˛, ÓÔËÒ˚‚‡˛˘Û˛ ÔÓˆÂÒÒ Ò·ÓÍË. çÂÔ‡‚Ëθ̇fl ÔÓÒΉӂ‡ÚÂθÌÓÒÚ¸ Ò·ÓÍË ËÌÒÚÛÏÂÌÚ‡ ÏÓÊÂÚ ÔË‚ÂÒÚË Í Â„Ó ÔÓ‚ÂʉÂÌ˲ ËÎË Ì‡ÌÂÒÚË Ú‡‚ÏÛ. ● (1)B-7 6 CLP-130/120 åÖêõ ÅÖáéèÄëçéëíà 1/2 ÇÓ ËÁ·ÂʇÌË ‰ÂÙÓχˆËË Ô‡ÌÂÎË Ë ÔÓ‚ÂʉÂÌËfl ‚ÌÛÚÂÌÌËı ÍÓÏÔÓÌÂÌÚÓ‚ ·Â„ËÚ ËÌÒÚÛÏÂÌÚ ÓÚ ˜ÂÁÏÂÌÓÈ Ô˚ÎË Ë ÒËθÌÓÈ ‚Ë·‡ˆËË Ë Ì ËÒÔÓθÁÛÈÚÂ Â„Ó ÔË Ó˜Â̸ ‚˚ÒÓÍÓÈ ËÎË ÌËÁÍÓÈ ÚÂÏÔ‡ÚÛ (̇ÔËÏÂ, ̇ ÒÓÎ̈Â, fl‰ÓÏ Ò Ì‡„‚‡ÚÂÎÂÏ ËÎË ‚ χ¯ËÌ ‚ ‰Ì‚ÌÓ ‚ÂÏfl). ç ËÒÔÓθÁÛÈÚ ËÌÒÚÛÏÂÌÚ ‚ ÌÂÔÓÒ‰ÒÚ‚ÂÌÌÓÈ ·ÎËÁÓÒÚË ÓÚ ÚÂ΂ËÁÓ‡, ‡‰ËÓÔËÂÏÌË͇, ÒÚÂÂÓÓ·ÓÛ‰Ó‚‡ÌËfl, ÏÓ·ËθÌÓ„Ó ÚÂÎÂÙÓ̇ Ë ‰Û„Ëı ˝ÎÂÍÚÓÔË·ÓÓ‚. Ç ÔÓÚË‚ÌÓÏ ÒÎÛ˜‡Â ‚ ËÌÒÚÛÏÂÌÚÂ, ÚÂ΂ËÁÓ ËÎË ‡‰ËÓÔËÂÏÌËÍ ÏÓÊÂÚ ‚ÓÁÌË͇ڸ ¯ÛÏ. ÇÓ ËÁ·ÂʇÌË ÒÎÛ˜‡ÈÌÓ„Ó Ô‡‰ÂÌËfl ËÌÒÚÛÏÂÌÚ‡ Ì ÓÒÚ‡‚ÎflÈÚÂ Â„Ó ‚ ÌÂÛÒÚÓȘ˂ÓÏ ÔÓÎÓÊÂÌËË. è‰ ÔÂÂÏ¢ÂÌËÂÏ ËÌÒÚÛÏÂÌÚ‡ ÓÚÒÓ‰ËÌËÚ ‚Ò ͇·ÂÎË. ç ÛÒڇ̇‚ÎË‚‡ÈÚ ËÌÒÚÛÏÂÌÚ ‚ÔÎÓÚÌÛ˛ Í ÒÚÂÌ (ÌÂÓ·ıÓ‰ËÏ ıÓÚfl ·˚ 3-Ò‡ÌÚËÏÂÚÓ‚˚È Á‡ÁÓ), ÔÓÒÍÓθÍÛ ˝ÚÓ ÏÓÊÂÚ ‚˚Á‚‡Ú¸ ÔÎÓıÛ˛ ˆËÍÛÎflˆË˛ ‚ÓÁ‰Ûı‡ Ë, Í‡Í ÒΉÒÚ‚ËÂ, Ô„‚ ËÌÒÚÛÏÂÌÚ‡. èÓ‰Íβ˜ÂÌË ● àÒÔÓθÁÓ‚‡ÌË Ò͇ÏÂÈÍË (ÂÒÎË ÂÒÚ¸) è‰ ÔÓ‰Íβ˜ÂÌËÂÏ ËÌÒÚÛÏÂÌÚ‡ Í ‰Û„ËÏ ˝ÎÂÍÚÓÌÌ˚Ï ÍÓÏÔÓÌÂÌÚ‡Ï ÓÚÍβ˜ËÚ Ëı ÔËÚ‡ÌËÂ. è‰ ‚Íβ˜ÂÌËÂÏ ËÎË ÓÚÍβ˜ÂÌËÂÏ ˝ÎÂÍÚÓÌÌ˚ı ÍÓÏÔÓÌÂÌÚÓ‚ ÛÒÚ‡ÌÓ‚ËÚ ÏËÌËχθÌ˚È ÛÓ‚Â̸ „ÓÏÍÓÒÚË. ì·Â‰ËÚÂÒ¸ Ú‡ÍÊ ‚ ÚÓÏ, ˜ÚÓ Ì‡ ‚ÒÂı ÍÓÏÔÓÌÂÌÚ‡ı ÛÒÚ‡ÌÓ‚ÎÂÌ ÏËÌËχθÌ˚È ÛÓ‚Â̸ „ÓÏÍÓÒÚË, Ë ‚Ó ‚ÂÏfl Ë„˚ ̇ ËÌÒÚÛÏÂÌÚ ÔÓÒÚÂÔÂÌÌÓ Û‚Â΢¸Ú „ÓÏÍÓÒÚ¸ ‰Ó ÌÛÊÌÓÈ. ● ● ● ● é·ÒÎÛÊË‚‡ÌË ● ÑÎfl ˜ËÒÚÍË ËÌÒÚÛÏÂÌÚ‡ ÔÓθÁÛÈÚÂÒ¸ Ïfl„ÍÓÈ ÒÛıÓÈ ËÎË Ò΄͇ ‚·ÊÌÓÈ Ú̸͇˛. çËÍÓ„‰‡ Ì ËÒÔÓθÁÛÈÚ ÔflÚÌÓ‚˚‚Ó‰ËÚÂÎË, ‡ÒÚ‚ÓËÚÂÎË, ÊˉÍË ӘËÒÚËÚÂÎË ËÎË ˜ËÒÚfl˘Ë ҇ÎÙÂÚÍË Ò ÔÓÔËÚÍÓÈ. ëÓı‡ÌÂÌË ‰‡ÌÌ˚ı ëÓı‡ÌÂÌËÂ Ë ‚ÓÒÒÚ‡ÌÓ‚ÎÂÌË ‰‡ÌÌ˚ı ● åÂ˚ ·ÂÁÓÔ‡ÒÌÓÒÚË ÔË ˝ÍÒÔÎÛ‡Ú‡ˆËË ● ● ● ● ● ÇÓ ËÁ·ÂʇÌË ÒÎÛ˜‡ÈÌÓ„Ó Ô‡‰ÂÌËfl Ò͇ÏÂÈÍË Ì ÓÒÚ‡‚ÎflÈڠ ‚ ÌÂÛÒÚÓȘ˂ÓÏ ÔÓÎÓÊÂÌËË. ç ͇˜‡ÈÚÂÒ¸ ̇ Ò͇ÏÂÈÍÂ Ë Ì ˄‡ÈÚÂ, ÒÚÓfl ̇ ÌÂÈ. àÒÔÓθÁÓ‚‡ÌË Ò͇ÏÂÈÍË Ì ÔÓ Ì‡Á̇˜ÂÌ˲ ÏÓÊÂÚ ÔË‚ÂÒÚË Í ÌÂÒ˜‡ÒÚÌÓÏÛ ÒÎÛ˜‡˛ ËÎË Ú‡‚ÏÂ. ë͇ÏÂÈ͇ Ô‰̇Á̇˜Â̇ ÚÓθÍÓ ‰Îfl Ó‰ÌÓ„Ó ˜ÂÎÓ‚Â͇. ÖÒÎË ‚ËÌÚ˚ Ò͇ÏÂÈÍË ÓÒ··ÎË ‚ ÂÁÛθڇÚ ‰ÎËÚÂθÌÓ„Ó ËÒÔÓθÁÓ‚‡ÌËfl, ÔÂËӉ˘ÂÒÍË Á‡‚Ë̘˂‡ÈÚ Ëı Ò ÔÓÏÓ˘¸˛ ÓÚ‚ÂÚÍË. ëΉËÚÂ, ˜ÚÓ·˚ Í˚¯Í‡ Í·‚ˇÚÛ˚ Ì ÔˢÂÏË· ԇθˆ˚, Ë Ì ‚ÒÚ‡‚ÎflÈÚ ԇθˆ˚ ËÎË ÛÍË ‚ ÓÚ‚ÂÒÚËfl ̇ ËÌÒÚÛÏÂÌÚÂ. ëΉËÚ Á‡ ÚÂÏ, ˜ÚÓ·˚ ‚ ÓÚ‚ÂÒÚËfl ̇ Í˚¯ÍÂ, Ô‡ÌÂÎË Ë Í·‚ˇÚÛ Ì ÔÓԇ· ·Ûχ„‡, ÏÂÚ‡Î΢ÂÒÍËÂ Ë ÔӘˠԉÏÂÚ˚. ÖÒÎË ˝ÚÓ ÔÓËÁÓ¯ÎÓ, ÌÂωÎÂÌÌÓ ‚˚Íβ˜ËÚ ÔËÚ‡ÌËÂ Ë ÓÚÒÓ‰ËÌËÚ ËÌÒÚÛÏÂÌÚ ÓÚ ˝ÎÂÍÚÓÒÂÚË. á‡ÚÂÏ Ó·‡ÚËÚÂÒ¸ Á‡ ÔÓÏÓ˘¸˛ Í ÒÔˆˇÎËÒÚ‡Ï ˆÂÌÚ‡ ÚÂıÌ˘ÂÒÍÓ„Ó Ó·ÒÎÛÊË‚‡ÌËfl ÍÓÔÓ‡ˆËË Yamaha. ç Í·‰ËÚ ̇ ÔˇÌËÌÓ Ô‰ÏÂÚ˚ ËÁ ‚ËÌË·, Ô·ÒÚχÒÒ˚ ËÎË ÂÁËÌ˚ — ˝ÚÓ ‚˚Á˚‚‡ÂÚ ‚˚ˆ‚ÂÚ‡ÌË ԇÌÂÎË ËÎË Í·‚ˇÚÛ˚. ç ӷÎÓ͇˜Ë‚‡ÈÚÂÒ¸ ̇ ËÌÒÚÛÏÂÌÚ, Ì ÒÚ‡‚¸Ú ̇ ÌÂ„Ó ÚflÊÂÎ˚ Ô‰ÏÂÚ˚ Ë Ì ÔËÍ·‰˚‚‡ÈÚ ÒÎ˯ÍÓÏ ·Óθ¯ÓÈ ÒËÎ˚ ÔË ÔÓθÁÓ‚‡ÌËË ÍÌÓÔ͇ÏË, ‚˚Íβ˜‡ÚÂÎflÏË Ë ‡Á˙ÂχÏË. ç ÒΉÛÂÚ ‰ÓÎ„Ó ‡·ÓÚ‡Ú¸ Ò ‚˚ÒÓÍÓÈ ËÎË ÌÂÍÓÏÙÓÚÌÓÈ „ÓÏÍÓÒÚ¸˛, Ú‡Í Í‡Í ˝ÚÓ ÏÓÊÂÚ ÔË‚ÂÒÚË Í ÔÓÚ ÒÎÛı‡. èË ÔÓÚ ÒÎÛı‡ ËÎË Á‚ÓÌ ‚ Û¯‡ı Ó·‡ÚËÚÂÒ¸ Í ‚‡˜Û. Ç Á‡‚ËÒËÏÓÒÚË ÓÚ Ì‡ÒÚÓÂÍ ÒÓı‡ÌÂÌËfl (ÒÚ. 48) ‰‡ÌÌ˚ ÒÓı‡Ìfl˛ÚÒfl ÓÍÓÎÓ Ì‰ÂÎË ÔÓÒΠÓÚÍβ˜ÂÌËfl ÔËÚ‡ÌËfl. èÓ ËÒÚ˜ÂÌËË ˝ÚÓ„Ó ÒÓ͇ ‰‡ÌÌ˚ ·Û‰ÛÚ ÔÓÚÂflÌ˚. ç Á‡·˚‚‡ÈÚ ‚Íβ˜‡Ú¸ ÔËÚ‡ÌË ıÓÚfl ·˚ ‡Á ‚ ̉Âβ ̇ ÌÂÒÍÓθÍÓ ÏËÌÛÚ. чÌÌ˚ ÏÓ„ÛÚ ·˚Ú¸ ÔÓÚÂflÌ˚ ËÁ-Á‡ ÌÂËÒÔ‡‚ÌÓÒÚË ËÎË ÌÂÔ‡‚ËθÌÓÈ ‡·ÓÚ˚. ëÓı‡ÌflÈÚ ‚‡ÊÌ˚ ‰‡ÌÌ˚ ̇ ‚̯ÌËı ÌÓÒËÚÂÎflı, ̇ÔËÏ ̇ ÛÒÚÓÈÒÚ‚Â ı‡ÌÂÌËfl ‰‡ÌÌ˚ı Yamaha MDF3 MIDI. êÂÁ‚ÌÓ ÍÓÔËÓ‚‡ÌË ̇ ‚̯ÌË ÌÓÒËÚÂÎË ● óÚÓ·˚ ‰‡ÌÌ˚ Ì ÔÓÔ‡ÎË ËÁ-Á‡ ÔÓ‚ÂʉÂÌËfl ÌÓÒËÚÂÎfl, ÂÍÓÏẨÛÂÚÒfl ÒÓı‡ÌflÚ¸ ̇˷ÓΠ‚‡ÊÌ˚ ‰‡ÌÌ˚ ̇ ‰‚Ûı ÌÓÒËÚÂÎflı. äÓÔÓ‡ˆËfl Yamaha Ì ÌÂÒÂÚ ÓÚ‚ÂÚÒÚ‚ÂÌÌÓÒÚË Á‡ ÔÓ‚ÂʉÂÌËfl, ‚ÓÁÌËͯË ËÁ-Á‡ ÌÂÔ‡‚ËθÌÓÈ ˝ÍÒÔÎÛ‡Ú‡ˆËË ËÎË ËÁ-Á‡ ÏÓ‰ËÙË͇ˆËË ËÌÒÚÛÏÂÌÚ‡, ‡ Ú‡ÍÊ Á‡ ÔÓÚÂflÌÌ˚ ËÎË ËÒÔÓ˜ÂÌÌ˚ ‰‡ÌÌ˚Â. ÇÒ„‰‡ ‚˚Íβ˜‡ÈÚ ËÌÒÚÛÏÂÌÚ ÔÓÒΠÓÍÓ̘‡ÌËfl ‡·ÓÚ˚. (1)B-7 2/2 CLP-130/120 åÖêõ ÅÖáéèÄëçéëíà 7 ÑÓÔÓÎÌËÚÂθÌ˚ ÔË̇‰ÎÂÊÌÓÒÚË • ë·ÓÌËÍ Ô‡ÚËÚÛ «50 greats for the Piano» • êÛÍÓ‚Ó‰ÒÚ‚Ó ÔÓθÁÓ‚‡ÚÂÎfl Ç ˝ÚÓÏ ÛÍÓ‚Ó‰ÒÚ‚Â ÒÓ‰ÂʇÚÒfl ÔÓÎÌ˚ ËÌÒÚÛ͈ËË ÔÓ ‡·ÓÚÂ Ò ˆËÙÓ‚˚Ï ÔˇÌËÌÓ Clavinova. • ë͇ÏÂÈ͇ Ç Á‡‚ËÒËÏÓÒÚË ÓÚ ÏÂÒÚ‡ ÔÓÍÛÔÍË Ò͇ÏÂÈ͇ ÏÓÊÂÚ ‚ıÓ‰ËÚ¸ ËÎË Ì ‚ıÓ‰ËÚ¸ ‚ ÍÓÏÔÎÂÍÚ. é·ÒÎÛÊË‚‡ÌË èÓÚˇÈÚ ËÌÒÚÛÏÂÌÚ Ïfl„ÍÓÈ ÒÛıÓÈ ËÎË Ò΄͇ ‚·ÊÌÓÈ Ú̸͇˛. ÇçàåÄçàÖ! ç ËÒÔÓθÁÛÈÚ ‰Îfl Ó˜ËÒÚÍË ·ÂÌÁÓÎ, ‡ÒÚ‚ÓËÚÂθ, ÒÚˇθÌ˚È ÔÓÓ¯ÓÍ ËÎË Ú̸͇, Ó·‡·ÓÚ‡ÌÌÛ˛ ıËÏ˘ÂÒÍËÏ ‡ÒÚ‚ÓÓÏ. ç ÒÚ‡‚¸Ú ̇ ËÌÒÚÛÏÂÌÚ ‚ËÌËÎÓ‚˚Â, Ô·ÒÚχÒÒÓ‚˚Â Ë ÂÁËÌÓ‚˚ Ô‰ÏÂÚ˚. Ç ÔÓÚË‚ÌÓÏ ÒÎÛ˜‡Â Ô‡ÌÂθ Ë Í·‚ˇÚÛ‡ ÏÓ„ÛÚ Ó·ÂÒˆ‚ÂÚËÚ¸Òfl ËÎË ËÒÔÓÚËÚ¸Òfl. ÇçàåÄçàÖ! è‰ ̇˜‡ÎÓÏ ‡·ÓÚ˚ Ò ËÌÒÚÛÏÂÌÚÓÏ ÔÓ˜ËÚ‡ÈÚ ‡Á‰ÂÎ «åÂ˚ ·ÂÁÓÔ‡ÒÌÓÒÚË» ̇ ÒÚ. 6–7. ç‡ÒÚÓÈ͇ Ç ÓÚ΢ˠÓÚ ‡ÍÛÒÚ˘ÂÒÍÓ„Ó ÙÓÚÂÔˇÌÓ, ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova Ì ÌÛʉ‡ÂÚÒfl ‚ ̇ÒÚÓÈÍ Á‚Û͇. éÌÓ ‚Ò„‰‡ ÓÒÚ‡ÂÚÒfl ÔÓÎÌÓÒÚ¸˛ ̇ÒÚÓÂÌÌ˚Ï. í‡ÌÒÔÓÚËӂ͇ ñËÙÓ‚Ó ÔˇÌËÌÓ Clavinova ÏÓÊÌÓ Ô‚ÓÁËÚ¸ ‚ÏÂÒÚÂ Ò ‰Û„ËÏË ‚¢‡ÏË. èÂÂÏ¢‡Ú¸ ËÌÒÚÛÏÂÌÚ ÏÓÊÌÓ Í‡Í ‚ ÒÓ·‡ÌÌÓÏ, Ú‡Í Ë ‚ ‡ÁÓ·‡ÌÌÓÏ ‚ˉÂ. ä·‚ˇÚÛ‡ ‰ÓÎÊ̇ Ô‚ÓÁËÚ¸Òfl ‚ „ÓËÁÓÌڇθÌÓÏ ÔÓÎÓÊÂÌËË. ç ̇ÍÎÓÌflÈÚ ÂÂ Ë Ì ÒÚ‡‚¸Ú ̇·ÓÍ. ç ÔÓ‰‚„‡ÈÚ ËÌÒÚÛÏÂÌÚ ˜ÂÁÏÂÌÓÈ ‚Ë·‡ˆËË ËÎË ÚflÒÍÂ. 8 CLP-130/120 ÑÓÔÓÎÌËÚÂθÌ˚ ÔË̇‰ÎÂÊÌÓÒÚË / é·ÒÎÛÊË‚‡ÌË ë‚ÓÈÒÚ‚‡ ñËÙÓ‚Ó ÔˇÌËÌÓ Yamaha Clavinova CLP-130/120 Ô‰ÒÚ‡‚ÎflÂÚ ÌË Ò ˜ÂÏ Ì ҇‚ÌËÏÛ˛ ‡ÎËÒÚ˘ÌÓÒÚ¸ Á‚Û͇ Ë ‚ÓÁÏÓÊÌÓÒÚ¸ Ë„˚ ÚÂÏ·ÓÏ ÓflÎfl, ÓË„Ë̇θÌÛ˛ ÚÂıÌÓÎӄ˲ ÚÓÌ-„Â̇ÚÓ‡ ÍÓÔÓ‡ˆËË Yamaha «AWM Dynamic Stereo Sampling» ‰Îfl CLP-130 Ë «AWM Stereo Sampling» ‰Îfl CLP-120 ‰Îfl ÒÓÁ‰‡ÌËfl ̇Ò˚˘ÂÌÌ˚ı ÏÛÁ˚͇θÌ˚ı ÚÂÏ·Ó‚ Ë ÒÔˆˇθÌÛ˛ Í·‚ˇÚÛÛ Graded Hammer, ̇ ÍÓÚÓÓÈ ‚ÂÒ Ë ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í·‚Ë¯Ë Á‡‚ËÒflÚ ÓÚ Â ‡ÒÔÓÎÓÊÂÌËfl. íÂÏ·˚ «Grand Piano 1» Ë «Grand Piano 2» ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ CLP-130/120 ËÒÔÓθÁÛ˛Ú ÌÓ‚˚Â, Ú˘‡ÚÂθÌÓ Á‡ÔËÒ‡ÌÌ˚Â Ò˝ÏÔÎ˚ ÔÓÎÌÓ„Ó ÍÓ̈ÂÚÌÓ„Ó ÓflÎfl. ÇÓ ‚ÂÏfl Ë„˚ Ò ÚÂÏ·ÓÏ ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ CLP-130 GrandPiano 1 ËÒÔÓθÁÛ˛ÚÒfl ÔflÚ¸ Ò˝ÏÔÎÓ‚, Á‡‚ËÒfl˘Ëı ÓÚ ÒÍÓÓÒÚË Ì‡Ê‡ÚËfl Í·‚˯ (‰Ë̇Ï˘ÂÒÍÓÂ Ò˝ÏÔÎËÓ‚‡ÌËÂ), ÓÒÓ·Ó «ÒÛÒÚÂÈÌ»-Ò˝ÏÔÎËÓ‚‡ÌËÂ, ÔË Ì‡Ê‡ÚËË Ì‡ Ô‡‚Û˛ Ô‰‡Î¸ ‚ÓÒÔÓËÁ‚Ó‰fl˘Â ÛÌË͇θÌ˚È ÂÁÓ̇ÌÒ ‰ÂÍË Ë ÒÚÛÌ ‡ÍÛÒÚ˘ÂÒÍÓ„Ó ÙÓÚÂÔˇÌÓ, Ë Ò˝ÏÔÎ˚ ÓÚÔÛ˘ÂÌÌÓÈ Í·‚˯Ë, ÍÓÚÓ˚ ‰Ó·‡‚Îfl˛Ú ÚËıËÈ Á‚ÛÍ ÔË ÓÚÔÛÒ͇ÌËË Í·‚˯. àÌÒÚÛÏÂÌÚ˚ CLP-130/120 ÔÓÁ‚ÓÎfl˛Ú χÍÒËχθÌÓ ÔË·ÎËÁËÚ¸Òfl Í Á‚Û˜‡Ì˲ ̇ÒÚÓfl˘Â„Ó ‡ÍÛÒÚ˘ÂÒÍÓ„Ó ÙÓÚÂÔ¸flÌÓ. TEMPO [▼] [▲] [REVERB] / [EFFECT] [TRANSPOSE] èË ÔÓÏÓ˘Ë ˝ÚËı ÍÌÓÔÓÍ ÏÓÊÌÓ ËÁÏÂÌflÚ¸ ÚÂÏÔ (ÒÍÓÓÒÚ¸) ÔÂÒÌË Ë ‚˚·Ë‡Ú¸ ÔÓÎÂÁÌ˚ ÙÛÌ͈ËË (ÒÚ. 37-48). ÑÓ·‡‚ÎÂÌËÂ Í Á‚ÛÍÛ Â‚Â·Â‡ˆËË (REVERB) Ë ˝ÙÙÂÍÚÓ‚ (ÒÚ. 22, 23). à„‡fl ̇ ÚÂı Ê ҇Ï˚ı Í·‚˯‡ı, ÏÓÊÌÓ ÔÓ‚˚¯‡Ú¸ ËÎË ÔÓÌËʇڸ ‚˚ÒÓÚÛ Á‚Û͇ ‚ÒÂÈ Í·‚ˇÚÛ˚ Ú‡Í, ˜ÚÓ·˚ Ó̇ ÒÓÓÚ‚ÂÚÒÚ‚Ó‚‡Î‡ ‚˚ÒÓÚ Á‚Û͇ ‰Û„Ó„Ó ËÌÒÚÛÏÂÌÚ‡ ËÎË Ô‚ˆ‡ (ÒÚ. 25). è‡ÏflÚ¸ ÔˇÌËÌÓ Clavinova ÒÓ‰ÂÊËÚ 50 Á‡ÔËÒ‡ÌÌ˚ı ÔÂÒÂÌ. ùÚ‡ ÒÂ͈Ëfl ‰‡ÂÚ ‚‡Ï ‚ÓÁÏÓÊÌÓÒÚ¸ ÒÎÛ¯‡Ú¸ ˝ÚË ÔÂÒÌË, ÛÔ‡ÊÌflÚ¸Òfl ÔË ÔÓÏÓ˘Ë Û‰Ó·ÌÓÈ Ó·Û˜‡˛˘ÂÈ ÙÛÌ͈ËË, Á‡ÔËÒ˚‚‡Ú¸ Ë ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸ ÒÓ·ÒÚ‚ÂÌÌÓ ËÒÔÓÎÌÂÌË (ÒÚ. 17-20, 30-36). [METRONOME] ìÔ‡‚ÎÂÌË ÙÛÌ͈ËflÏË ÏÂÚÓÌÓχ (ÒÚ. 29). [DEMO] ÑÂÏÓÌÒÚ‡ˆËÓÌÌÛ˛ ÏÂÎӉ˲ ÏÓÊÌÓ ‚ÓÒÔÓËÁ‚ÂÒÚË ‚ β·ÓÏ ÚÂÏ·Â (ÒÚ. 16). MIN MAX START/STOP BRIGHT BRILLIANCE [TOUCH] Ç˚·Ë‡ÈÚ ËÁ 14 ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚, ‚Íβ˜‡fl ÚÂÏ· Grand Piano 1 Ë Grand Piano 2 (ÒÚ. 21). åÓÊÌÓ Ú‡ÍÊ ËÒÔÓθÁÓ‚‡Ú¸ ‰‚‡ ÚÂÏ·‡ Ó‰ÌÓ‚ÂÏÂÌÌÓ (ÒÚ. 26). íÓÌ͇fl ̇ÒÚÓÈ͇ ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË Í ÒËΠ̇ʇÚËfl (ÒÚ. 24). GRAND PIANO 1 GRAND PIANO 2 E.PIANO 1 E.PIANO 2 HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION CHURCH ORGAN JAZZ ORGAN STRINGS CHOIR GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME MELLOW äÌÓÔÍË ‚˚·Ó‡ ÚÂÏ·‡ DEMO TEMPO FUNCTION METRONOME — /NO +/ YES PRESET USER 1 USER 2 USER 3 TRACK 1 TRACK 2 START/STOP REC SONG TEMPO / FUNCTION VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT ON TOUCH TRANSPOSE [BRILLIANCE] [SPLIT] èÓÎÁÛÌÍÓ‚˚È Â„ÛÎflÚÓ flÍÓÒÚË Á‚Û͇ (ÒÚ. 22). ë ÔÓÏÓ˘¸˛ ˝ÚÓÈ ÙÛÌ͈ËË ÏÓÊÌÓ Ë„‡Ú¸ ‚ ‡ÁÌ˚ı ÚÂÏ·‡ı Ô‡‚ÓÈ Ë Î‚ÓÈ Û͇ÏË (CLP-130) (ÒÚ. 27). [MASTER VOLUME] èÓÎÁÛÌÍÓ‚˚È Â„ÛÎflÚÓ „ÓÏÍÓÒÚË Á‚Û͇ (ÒÚ. 11). (CLP-130) MIN MAX START/STOP BRIGHT BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 E.PIANO 1 E.PIANO 2 CHURCH ORGAN JAZZ ORGAN STRINGS CHOIR HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME MELLOW DEMO TEMPO FUNCTION METRONOME TEMPO / FUNCTION — / NO +/ YES PRESET USER 1 USER 2 USER 3 TRACK 1 TRACK 2 START/STOP REC SONG VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT TOUCH ON TRANSPOSE POWER ê‡Á˙ÂÏ ‰Îfl ÔÓ‰Íβ˜ÂÌËfl Í Clavinova ͇·ÂÎfl Ô‰‡ÎÂÈ (ÒÚ. 51). OFF ON NORMAL HP. SW SPEAKER PEDAL PHONES Ç˚Íβ˜‡ÚÂθ ‚ÒÚÓÂÌÌ˚ı ‰Ë̇ÏËÍÓ‚ (ÒÚ. 12). ê‡Á˙ÂÏ ÔÓ‰Íβ˜ÂÌËfl Ó·ÓÛ‰Ó‚‡ÌËfl Á‚ÛÍÓÁ‡ÔËÒË (̇ÔËÏ χ„ÌËÚÓÙÓ̇) ‰Îfl Á‡ÔËÒË ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl (ÒÚ. 50). R L LEVEL FIXED R L/L+R AUX OUT R AUX IN MIDI Mac PC-1 TO HOST MIDI PC-2 HOST SELECT THRU ê‡Á˙ÂÏ ÔÓ‰Íβ˜ÂÌËfl Òڇ̉‡ÚÌ˚ı ̇ۯÌËÍÓ‚. èË Ëı ÔÓ‰Íβ˜ÂÌËË ÓÍÛʇ˛˘Ë Ì ÛÒÎ˚¯‡Ú ‚‡¯Û Ë„Û (ÒÚ. 12). Ç˚ıÓ‰Ì˚ ‡Á˙ÂÏ˚ ‰Îfl ÔÓ‰Íβ˜ÂÌËfl Í Clavinova ÛÒËÎËÚÂÎfl, ÏËͯÂÌÓ„Ó ÔÛθڇ, ÏËÍÓÙÓ̇, „ÓÏÍÓ„Ó‚ÓËÚÂÎfl ËÎË Ó·ÓÛ‰Ó‚‡ÌËfl Á‚ÛÍÓÁ‡ÔËÒË (ÒÚ. 51). L/L+R ùÚÓÚ ‡Á˙ÂÏ Ë ÒÂÎÂÍÚÓÌ˚È ÔÂÂÍβ˜‡ÚÂθ ÔÓÁ‚ÓÎfl˛Ú ̇ÔflÏÛ˛ ÔÓ‰Íβ˜‡Ú¸Òfl Í èä ‰Îfl ÒËÌÚÂÁËÓ‚‡ÌËfl ÏÛÁ˚ÍË Ë ‰Û„Ëı Á‡‰‡˜ (ÒÚ. 52-55). OUT IN ê‡Á˙ÂÏ ÔÓ‰Íβ˜ÂÌËfl MIDI-ÛÒÚÓÈÒÚ‚ ‰Îfl ËÒÔÓθÁÓ‚‡ÌËfl MIDI-ÙÛÌ͈ËÈ (ÒÚ. 45-47). (é· ËÌÚÂÙÂÈÒ MIDI ➝ ÒÚ. 49.) CLP-130/120 ë‚ÓÈÒÚ‚‡ 9 èÓ‰„ÓÚӂ͇ Í ‡·ÓÚ ä˚¯Í‡ Í·‚ˇÚÛ˚ ä‡Í ÓÚÍ˚Ú¸ Í˚¯ÍÛ Í·‚ˇÚÛ˚ çÂÏÌÓ„Ó ÔËÔÓ‰ÌËÏËÚ Í˚¯ÍÛ Ë ÔÓ‰‚Ë̸ڠ ‚ÌÛÚ¸ ÍÓÔÛÒ‡. ä‡Í Á‡Í˚Ú¸ Í˚¯ÍÛ Í·‚ˇÚÛ˚ èÓÚflÌËÚ Í˚¯ÍÛ Ì‡ Ò·fl Ë ÓÒÚÓÓÊÌÓ ÓÔÛÒÚËڠ ̇ Í·‚ˇÚÛÛ. ÇçàåÄçàÖ! ç ÔˢÂÏËÚ ԇθˆ˚, ÓÚÍ˚‚‡fl ËÎË Á‡Í˚‚‡fl Í˚¯ÍÛ. ÇçàåÄçàÖ! éÚÍ˚‚‡fl Ë Á‡Í˚‚‡fl Í˚¯ÍÛ, ‰ÂÊËڠ ‰‚ÛÏfl Û͇ÏË. ç ÓÚÔÛÒ͇ÈÚ Í˚¯ÍÛ, ÔÓ͇ Ó̇ Ì ÓÚÍÓÂÚÒfl ËÎË Á‡ÍÓÂÚÒfl ÔÓÎÌÓÒÚ¸˛. ç Á‡˘ÂÏËÚ ҂ÓË ËÎË ˜ÛÊË ԇθˆ˚ (ÓÒÓ·ÂÌÌÓ Ô‡Î¸ˆ˚ ‰ÂÚÂÈ) ÏÂÊ‰Û Í˚¯ÍÓÈ Ë ÍÓÔÛÒÓÏ. ÇçàåÄçàÖ! ç Í·‰ËÚ ̇ Í˚¯ÍÛ Í·‚ˇÚÛ˚ ÏÂÚ‡Î΢ÂÒÍË Ô‰ÏÂÚ˚ ËÎË ·Ûχ„Û. èË ÓÚÍ˚ÚËË Í˚¯ÍË ÏÂÎÍË Ô‰ÏÂÚ˚ ÏÓ„ÛÚ ÔÓÔ‡ÒÚ¸ ‚ÌÛÚ¸ ÍÓÔÛÒ‡ ÔˇÌËÌÓ, Ë ËÁ‚Θ¸ Ëı ÓÚÚÛ‰‡ ·Û‰ÂÚ Ô‡ÍÚ˘ÂÒÍË Ì‚ÓÁÏÓÊÌÓ. ùÚÓ ÏÓÊÂÚ ÔË‚ÂÒÚË Í ÔÓ‡ÊÂÌ˲ ÚÓÍÓÏ, ÍÓÓÚÍÓÏÛ Á‡Ï˚͇Ì˲, ÔÓÊ‡Û Ë ËÌ˚Ï Ò¸ÂÁÌ˚Ï ÔÓ‚ÂʉÂÌËflÏ ËÌÒÚÛÏÂÌÚ‡. è˛ÔËÚ ä‡Í ÔÓ‰ÌflÚ¸ Ô˛ÔËÚ 1. ç‡ÍÎÓÌËÚ ԲÔËÚ Ì‡ Ò·fl, ̇ÒÍÓθÍÓ ‚ÓÁÏÓÊÌÓ. 2. éÔÛÒÚËÚ ÏÂÚ‡Î΢ÂÒÍË ÙËÍÒ‡ÚÓ˚ ÒÔ‡‚‡ Ë Ò΂‡ ̇ Ó·ÓÓÚÌÓÈ ÒÚÓÓÌ ԲÔËÚ‡. 3. ç‡ÍÎÓÌËÚ ԲÔËÚ Ì‡Á‡‰ Ú‡Í, ˜ÚÓ·˚ ÓÌ ÓÔˇÎÒfl ̇ ÙËÍÒ‡ÚÓ˚. ä‡Í ÓÔÛÒÚËÚ¸ Ô˛ÔËÚ 1. ç‡ÍÎÓÌËÚ ԲÔËÚ Ì‡ Ò·fl, ̇ÒÍÓθÍÓ ‚ÓÁÏÓÊÌÓ. 2. èÓ‰ÌËÏËÚ ÏÂÚ‡Î΢ÂÒÍË ÙËÍÒ‡ÚÓ˚ (ÓÌË Ì‡ıÓ‰flÚÒfl ̇ Ó·ÓÓÚÌÓÈ ÒÚÓÓÌ ԲÔËÚ‡). 3. éÒÚÓÓÊÌÓ Ì‡ÍÎÓÌflÈÚ ԲÔËÚ Ì‡Á‡‰, ÔÓ͇ ÓÌ ÔÓÎÌÓÒÚ¸˛ Ì ÎflÊÂÚ Ì‡ ÏÂÒÚÓ. ÇçàåÄçàÖ! ç ËÒÔÓθÁÛÈÚ ԲÔËÚ, ÂÒÎË ÓÌ ÔÓ‰ÌflÚ Ì‡ÔÓÎÓ‚ËÌÛ. éÔÛÒ͇fl Ô˛ÔËÚ, ÔˉÂÊË‚‡ÈÚ „Ó, ÔÓ͇ ÓÌ ÔÓÎÌÓÒÚ¸˛ Ì ÎflÊÂÚ Ì‡ ÏÂÒÚÓ. 10 CLP-130/120 èÓ‰„ÓÚӂ͇ Í ‡·ÓÚ ÇÍβ˜ÂÌË ÔËÚ‡ÌËfl 1.èÓ‰ÒÓ‰ËÌÂÌË ͇·ÂÎfl ÔËÚ‡ÌËfl ÇÒÚ‡‚¸Ú ӉËÌ ÍÓ̈ ͇·ÂÎfl ‚ ‡Á˙ÂÏ AC INLET ÔˇÌËÌÓ Clavinova, ‰Û„ÓÈ ÍÓ̈ — ‚ ÓÁÂÚÍÛ. Ç ÌÂÍÓÚÓ˚ı Òڇ̇ı ‚ ÍÓÏÔÎÂÍÚ ÔÓÒÚ‡‚ÍË ÏÓÊÂÚ ‚ıÓ‰ËÚ¸ ÔÂÂıÓ‰ÌËÍ ‰Îfl ÔÓ‰Íβ˜ÂÌËfl Í ÓÁÂÚÍ‡Ï Ò ‰Û„ËÏ ‡ÒÔÓÎÓÊÂÌËÂÏ ÍÓÌÚ‡ÍÚÓ‚. 1 2 (‚ˉ ÒÌËÁÛ) (Ç ‡ÁÌ˚ı Òڇ̇ı ÓÁÂÚÍË ÓÚ΢‡˛ÚÒfl ÔÓ ÙÓÏÂ.) 2.ÇÍβ˜ÂÌË ÔËÚ‡ÌËfl ç‡ÊÏËÚ ÍÌÓÔÍÛ [POWER]. • ÇÍβ˜ËÚÒfl ÔÓ‰Ò‚ÂÚ͇ ˝Í‡Ì‡ ‚ ˆÂÌÚ Ô‰ÌÂÈ Ô‡ÌÂÎË Ë Ë̉Ë͇ÚÓ ÔËÚ‡ÌËfl, ̇ıÓ‰fl˘ËÈÒfl ̇ ÍÓÔÛÒ ÌËÊ ÎÂ‚Ó„Ó Í‡fl Í·‚ˇÚÛ˚. [POWER] à̉Ë͇ÚÓ ÔËÚ‡ÌËfl ÑËÒÔÎÂÈ é·˚˜ÌÓ ÓÚÓ·‡Ê‡ÂÚÒfl ÚÂÏÔ. ÖÒÎË ‚˚ ÔÓ‰„ÓÚÓ‚ËÎËÒ¸ Í ‚˚Íβ˜ÂÌ˲ ÔËÚ‡ÌËfl, ÒÌÓ‚‡ ̇ÊÏËÚ ÍÌÓÔÍÛ [POWER]. • ÑËÒÔÎÂÈ Ë Ë̉Ë͇ÚÓ ÔËÚ‡ÌËfl ÔÓ„‡ÒÌÛÚ. ä ëÇÖÑÖçàû à̉Ë͇ÚÓ ÔËÚ‡ÌËfl ÖÒÎË Á‡Í˚Ú¸ Í˚¯ÍÛ Í·‚ˇÚÛ˚, Ì ‚˚Íβ˜‡fl ËÌÒÚÛÏÂÌÚ, Ë̉Ë͇ÚÓ ·Û‰ÂÚ ÔÓ‰ÓÎʇڸ „ÓÂÚ¸, ÔÓ͇Á˚‚‡fl, ˜ÚÓ ‚ ËÌÒÚÛÏÂÌÚ ÔÓÒÚÛÔ‡ÂÚ ÔËÚ‡ÌËÂ. ê„ÛÎËӂ͇ „ÓÏÍÓÒÚË ìÒÚ‡ÌÓ‚ËÚ „ÛÎflÚÓ [MASTER VOLUME] ÔËÏÂÌÓ ÔÓÒ‰ËÌÂ, ÏÂÊ‰Û Ô‡‡ÏÂÚ‡ÏË «MIN» Ë «MAX». 燘‡‚ Ë„Û, „ÛÎflÚÓÓÏ [MASTER VOLUME] ÛÒÚ‡ÌÓ‚ËÚ ÓÔÚËχθÌÛ˛ „ÓÏÍÓÒÚ¸. MIN MAX MASTER VOLUME ìÏÂ̸¯ÂÌË „ÓÏÍÓÒÚË ì‚Â΢ÂÌË „ÓÏÍÓÒÚË ÇçàåÄçàÖ! ç ËÒÔÓθÁÛÈÚ ÔˇÌËÌÓ Clavinova ̇ ‚˚ÒÓÍÓÏ ÛÓ‚Ì „ÓÏÍÓÒÚË ‰ÎËÚÂθÌÓ ‚ÂÏfl, ˝ÚÓ ÏÓÊÂÚ Ôӂ‰ËÚ¸ ÒÎÛı. íÖêåàçéãéÉàü ä ëÇÖÑÖçàû MASTER VOLUME — ìÓ‚Â̸ „ÓÏÍÓÒÚË ‚ÒÂÈ Í·‚ˇÚÛ˚. [MASTER VOLUME] ËÁÏÂÌflÂÚ „ÓÏÍÓÒÚ¸ ‚˚ıÓ‰ÌÓ„Ó Ò˄̇· Ò ‡Á˙Âχ [PHONES] Ë ‚ıÓ‰ÌÓ„Ó — Ò AUX IN. CLP-130/120 èÓ‰„ÓÚӂ͇ Í ‡·ÓÚ 11 ç‡Û¯ÌËÍË èÓ‰Íβ˜ËÚ ̇ۯÌËÍË Í Ó‰ÌÓÏÛ ËÁ ‡Á˙ÂÏÓ‚ [PHONES] (ç‡Û¯ÌËÍË). ç‡ ËÌÒÚÛÏÂÌÚ ÂÒÚ¸ ‰‚‡ ‡Á˙Âχ [PHONES]. åÓÊÌÓ ÔÓ‰ÒÓ‰ËÌËÚ¸ ‰‚‡ ÍÓÏÔÎÂÍÚ‡ Òڇ̉‡ÚÌ˚ı ÒÚÂÂÓ̇ۯÌËÍÓ‚. (ÖÒÎË ËÒÔÓθÁÛÂÚÒfl Ó‰ËÌ ÍÓÏÔÎÂÍÚ Ì‡Û¯ÌËÍÓ‚, Â„Ó ÏÓÊÌÓ ÔÓ‰ÒÓ‰ËÌËÚ¸ Í Î˛·ÓÏÛ ‡Á˙ÂÏÛ.) ‚ˉ ÒÌËÁÛ OFF ON NORMAL HP. SW SPEAKER PHONES ÔÓ‰Íβ˜ÂÌË Òڇ̉‡ÚÌ˚ı ÒÚÂÂÓ̇ۯÌËÍÓ‚ àÒÔÓθÁÓ‚‡ÌË Ͳ˜Í‡ ‰Îfl ̇ۯÌËÍÓ‚ ä˛˜ÓÍ ‰Îfl ̇ۯÌËÍÓ‚ ‚ıÓ‰ËÚ ‚ ÍÓÏÔÎÂÍÚ ÔˇÌËÌÓ CLP-130/120 Ë ÔÓÁ‚ÓÎflÂÚ ‚¯‡Ú¸ ̇ۯÌËÍË Ì‡ ÍÓÔÛÒ. á‡ÍÂÔËÚ Ͳ˜ÓÍ ‰Îfl ̇ۯÌËÍÓ‚ ̇ ÍÓÔÛÒÂ Ò ÔÓÏÓ˘¸˛ ‰‚Ûı ‚ËÌÚÓ‚ (4 ×10 ÏÏ) Í‡Í ÔÓ͇Á‡ÌÓ Ì‡ ËÒÛÌÍÂ. ÇçàåÄçàÖ! ç ‚¯‡ÈÚ ̇ ˝ÚÓÚ Í˛˜ÓÍ Ì˘„Ó, ÍÓÏ ̇ۯÌËÍÓ‚. Ç ÔÓÚË‚ÌÓÏ ÒÎÛ˜‡Â ÏÓÊÌÓ Ôӂ‰ËÚ¸ ÔˇÌËÌÓ ËÎË Í˛˜ÓÍ. Ç˚Íβ˜‡ÚÂθ ‰Ë̇ÏËÍÓ‚ ùÚÓÚ ‚˚Íβ˜‡ÚÂθ ‚Íβ˜‡ÂÚ Ë ‚˚Íβ˜‡ÂÚ ‚ÒÚÓÂÌÌ˚ ‰Ë̇ÏËÍË. NORMAL (HP. SW) ............ ÑË̇ÏËÍË ‚ÓÒÔÓËÁ‚Ó‰flÚ Á‚ÛÍ, ÂÒÎË Ì ÔÓ‰Íβ˜ÂÌ˚ ̇ۯÌËÍË. ON ..................................... ÑË̇ÏËÍË ‚Ò„‰‡ ‚ÓÒÔÓËÁ‚Ó‰flÚ Á‚ÛÍ. OFF .................................... ÑË̇ÏËÍË Ì ‚ÓÒÔÓËÁ‚Ó‰flÚ Á‚ÛÍ. OFF ON NORMAL HP. SW SPEAKER PHONES 12 CLP-130/120 èÓ‰„ÓÚӂ͇ Í ‡·ÓÚ ëÔ‡‚Ó˜ÌËÍ äÓÏÔÓÌÂÌÚ˚ ............................................................... 14 ÑÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÏÂÎÓ‰ËË..................................... 16 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ .................................................. 17 à„‡ Ó‰ÌÓÈ ÛÍÓÈ ................................................. 18 îÛÌ͈Ëfl ÔÓ‚ÚÓ‡ A-B .......................................... 20 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â.......................................... 21 Ç˚·Ó ÚÂÏ·Ó‚ ...................................................... 21 àÒÔÓθÁÓ‚‡ÌË Ô‰‡ÎÂÈ ....................................... 21 [VARIATION] (CLP-130), [BRILLIANCE], [REVERB] Ë [EFFECT]......................................... 22 óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËΠ̇ʇÚËfl — [TOUCH] .. 24 í‡ÌÒÔÓÌËÓ‚‡ÌË — [TRANSPOSE] ................. 25 ç‡ÎÓÊÂÌË ÚÂÏ·Ó‚ .............................................. 26 ê‡Á‰ÂÎÂÌË Í·‚ˇÚÛ˚ (CLP-130) ...................... 27 àÒÔÓθÁÓ‚‡ÌË ÏÂÚÓÌÓχ................................... 29 á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl ............................. 30 á‡ÔËÒ¸ ̇ ‰ÓÓÊÍÛ TRACK1 ................................ 30 èÂÂÁ‡ÔËÒ¸ ‰ÓÓÊÍË TRACK1............................. 32 á‡ÔËÒ¸ ̇ ‰ÓÓÊÍÛ TRACK2 ................................ 32 àÁÏÂÌÂÌË ̇˜‡Î¸Ì˚ı ̇ÒÚÓÂÍ .......................... 34 ê‡Á‰ÂÎ ÒÓ‰ÂÊËÚ ÔÓ‰Ó·Ì˚ ҂‰ÂÌËfl Ó Ì‡ÒÚÓÈÍ ÙÛÌ͈ËÈ ËÌÒÚÛÏÂÌÚ‡. F6. (CLP-130) / F5. (CLP-120) ÉÓÏÍÓÒÚ¸ ÏÂÚÓÌÓχ............................................................45 F7. (CLP-130) / F6. (CLP-120) ÉÓÏÍÓÒÚ¸ ÓÚÍβ˜ÂÌÌÓÈ Ô‡ÚËË.......................................45 F8. (CLP-130) / F7. (CLP-120) îÛÌ͈ËË MIDI.......45 F9. (CLP-130) / F8. (CLP-120) îÛÌ͈ËË ÒÓı‡ÌÂÌËfl...........................................................48 é· ËÌÚÂÙÂÈÒ MIDI ..................................................49 èÓ‰Íβ˜ÂÌË ..............................................................50 ê‡Á˙ÂÏ˚..................................................................50 èÓ‰Íβ˜ÂÌËÂ Í ÍÓÏÔ¸˛ÚÂÛ.................................52 ìÒÚ‡ÌÂÌË ÌÂÔÓ·‰ÓÍ................................................56 ÑÓÔÓÎÌËÚÂθÌ˚ ÔË̇‰ÎÂÊÌÓÒÚË Ë ÏÓ‰ÛÎË ............56 ë·Ó͇ CLP-120 ..........................................................57 ë·Ó͇ CLP-130 ..........................................................60 ëÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚ ......................................63 ëÔËÒÓÍ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı ÔÂÒÂÌ .............................66 è‰ÏÂÚÌ˚È Û͇Á‡ÚÂθ ...............................................67 ÇÓÒÔÓËÁ‚‰ÂÌË Á‡ÔËÒÂÈ ÔÂÒÂÌ ............................... 35 ÇÓÒÔÓËÁ‚‰ÂÌË ÔÂÒÌË ....................................... 35 èÓÎÂÁÌ˚ ÙÛÌ͈ËË ‚ÓÒÔÓËÁ‚‰ÂÌËfl ................. 36 ç‡ÒÚÓÈÍË — [FUNCTION] ...................................... 37 éÒÌÓ‚Ì˚ ‰ÂÈÒÚ‚Ëfl ‚ ÂÊËÏ Function ............... 38 éÔËÒ‡ÌË ÙÛÌ͈ËÈ............................................... 40 F1. íÓÌ͇fl ̇ÒÚÓÈ͇ ‚˚ÒÓÚ˚ Á‚Û͇ .................... 40 F2. Ç˚·Ó ÒÚÓfl .................................................... 41 F3. îÛÌ͈ËË ÔË Ì‡ÎÓÊÂÌËË ÚÂÏ·Ó‚ ................ 42 F4. (CLP-130) îÛÌ͈ËË ÔË ‡Á‰ÂÎÂÌËË ÚÂÏ·Ó‚............................................................ 43 F5. (CLP-130) / F4. (CLP-120) ÑÛ„Ë ÙÛÌ͈ËË .... 44 CLP-130/120 13 äÓÏÔÓÌÂÌÚ˚ ÇÂıÌflfl Ô‡ÌÂθ (CLP-130) 2 4 MIN 5 8 TEMPO/ OTHER VALUE TEMPO FUNCTION MASTER VOLUME MELLOW 3 7 6 MAX START/STOP BRIGHT DEMO BRILLIANCE METRONOME — /NO +/ YES USER 1 USER 2 USER 3 PRESET TEMPO / FUNCTION TRACK 1 TRACK 2 START/STOP REC SONG 9 GRAND PIANO 2 GRAND PIANO 1 E.PIANO 1 JAZZ ORGAN CHURCH ORGAN STRINGS E.PIANO 2 HARPSICHORD CHOIR E.CLAVICHORD VIBRAPHONE WOOD BASS GUITAR A E.BASS MIN MAX START/STOP BRIGHT BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 E.PIANO 1 E.PIANO 2 CHURCH ORGAN JAZZ ORGAN STRINGS CHOIR HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME DEMO METRONOME TEMPO FUNCTION TEMPO / FUNCTION — / NO +/ YES PRESET USER 1 USER 2 USER 3 TRACK 1 SONG TRACK 2 START/ STOP REC VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT TOUCH ROOM HALL 1 HALL 2 STAGE SPLIT VOICE MELLOW B C CHORUS PHASER TREMOLO DELAY HARD MEDIUM SOFT D VARIATION REVERB 0 EFFECT ON TOUCH TRANSPOSE ON TRANSPOSE POWER M 1 N O A-1 B-1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2 D2 E2 F2 G2 A2 B2 C3 D3 E3 F3 G3 A3 B3 C4 D4 E4 F4 G4 A4 B4 C5 D5 E5 F5 G5 A5 B5 C6 D6 E6 F6 G6 A6 B6 C7 PEDAL E ê‡Á˙ÂÏ˚ (CLP-130) R L LEVEL FIXED OFF ON NORMAL HP. SW SPEAKER K R L/L+R R L/L+R AUX OUT AUX IN F G MIDI PHONES L Mac PC-1 MIDI PC-2 TO HOST HOST SELECT H I THRU 1 2 3 4 5 6 7 8 14 [POWER]....................................................... 11 [MASTER VOLUME] ..................................... 11 [BRILLIANCE] ............................................... 22 [DEMO] ......................................................... 16 [START/STOP].............................................. 29 [TEMPO/FUNCTION #▲▼] ................... 29, 38 ë‚ÂÚÓ‰ËÓ‰Ì˚È Ë̉Ë͇ÚÓ .......................... 15 [–/NO] / [+/YES] [PRESET] [USER1] [USER2] [USER3] (CLP-130) [TRACK1] [TRACK2] SONG [START/STOP] [REC]........................................... 17–20, 30–36 CLP-130/120 äÓÏÔÓÌÂÌÚ˚ 9 0 A B C D E F G OUT IN J äÌÓÔÍË ‚˚·Ó‡ ÚÂÏ·‡................................21 [SPLIT] (CLP-130) .........................................27 [REVERB] ......................................................22 [EFFECT].......................................................22 [TOUCH] ........................................................24 [TRANSPOSE]...............................................25 ê‡Á˙ÂÏ PEDAL .............................................51 ê‡Á˙ÂÏ AUX OUT .........................................50 ê‡Á˙ÂÏ AUX IN .............................................51 ÇÂıÌflfl Ô‡ÌÂθ (CLP-120) 4 2 MIN 5 8 TEMPO/ OTHER VALUE TEMPO FUNCTION MASTER VOLUME MELLOW 3 7 6 MAX START/STOP BRIGHT DEMO BRILLIANCE METRONOME — /NO +/ YES TRACK 1 PRESET TEMPO / FUNCTION TRACK 2 START/STOP REC SONG 9 GRAND PIANO 2 GRAND PIANO 1 CHURCH ORGAN1 E.PIANO 1 JAZZ ORGAN CHURCH ORGAN2 E.PIANO 2 HARPSICHORD1 STRINGS 1 STRINGS 2 HARPSICHORD2 A VIBRAPHONE CHOIR GUITAR REVERB VOICE MIN MAX START/STOP BRIGHT BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 E.PIANO 1 E.PIANO 2 HARPSICHORD 1 HARPSICHORD 2 VIBRAPHONE CHURCH ORGAN 1 CHURCH ORGAN 2 JAZZ ORGAN STRINGS 1 STRINGS 2 CHOIR GUITAR ROOM HALL 1 HALL 2 STAGE TEMPO/ OTHER VALUE MASTER VOLUME MELLOW DEMO METRONOME TEMPO FUNCTION — / NO +/ YES PRESET TRACK 1 TRACK 2 START/STOP SONG TEMPO / FUNCTION REC CHORUS PHASER TREMOLO DELAY REVERB VOICE EFFECT HARD MEDIUM SOFT TOUCH B C CHORUS PHASER TREMOLO DELAY HARD MEDIUM SOFT ROOM HALL 1 HALL 2 STAGE EFFECT D ON TOUCH TRANSPOSE ON TRANSPOSE POWER M 1 N A-1 B-1 C0 D0 E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2 D2 E2 F2 G2 A2 B2 C3 D3 E3 F3 G3 A3 B3 C4 D4 E4 F4 G4 A4 B4 C5 D5 E5 F5 G5 A5 B5 C6 D6 E6 F6 G6 A6 B6 C7 O ê‡Á˙ÂÏ˚ (CLP-120) OFF ON NORMAL HP. SW SPEAKER K MIDI LEVEL FIXED THRU Mac PC-1 PHONES H I J K L R L R L/L+R R OUT IN MIDI PC-2 L/L+R AUX OUT AUX IN F G [TO HOST] .............................................. 49–55 HOST SELECT ....................................... 49–55 MIDI [IN] [OUT] [THRU] .......................... 49–55 [SPEAKER] ................................................... 12 L M N O TO HOST HOST SELECT H I PEDAL J E [PHONES]......................................................12 èË„ÎÛ¯ÂÌË (΂‡fl Ô‰‡Î¸)......................22 ëÓÒÚÂÌÛÚÓ (Ò‰Ìflfl Ô‰‡Î¸).......................22 ëÛÒÚÂÈÌ (Ô‡‚‡fl Ô‰‡Î¸).............................21 ÑËÒÔÎÂÈ • èÓ‚ÂflÈÚ ‰ËÒÔÎÂÈ ‚ ˆÂÌÚ ‚ÂıÌÂÈ Ô‡ÌÂÎË ÔÓÒΠ͇ʉÓÈ ÓÔ‡ˆËË. • Ç Á‡‚ËÒËÏÓÒÚË ÓÚ ÓÔ‡ˆËË Ì‡ ‰ËÒÔΠÓÚÓ·‡Ê‡˛ÚÒfl ‡Á΢Ì˚ Á̇˜ÂÌËfl, Í‡Í ÔÓ͇Á‡ÌÓ ÌËÊÂ. íÂÏÔ (Ó·˚˜ÌÓ) çÓÏ ÔÂÒÌË ËÁ ÒÔËÒ͇ “50 Greats for the Piano” çÓÏ ÙÛÌ͈ËË á̇˜ÂÌË ԇ‡ÏÂÚ‡ CLP-130/120 äÓÏÔÓÌÂÌÚ˚ 15 ÑÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÏÂÎÓ‰ËË ÑÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÏÂÎÓ‰ËË Ô‰̇Á̇˜ÂÌ˚ ‰Îfl ‰ÂÏÓÌÒÚ‡ˆËË ‚ÒÂı ÚÂÏ·Ó‚ ÔˇÌËÌÓ CLP-130/120. 2 5 MIN 4 MAX START/STOP BRIGHT BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 E.PIANO 1 E.PIANO 2 HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION CHURCH ORGAN JAZZ ORGAN STRINGS CHOIR GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME MELLOW 3 DEMO METRONOME TEMPO FUNCTION — /NO +/ YES PRESET USER 1 USER 2 USER 3 TEMPO / FUNCTION TRACK 1 TRACK 2 START/STOP REC SONG VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT ON TOUCH TRANSPOSE ÑÂÈÒÚ‚Ëfl 1. ÇÍβ˜ÂÌË ÔËÚ‡ÌËfl (ÖÒÎË ÔËÚ‡ÌË ¢ Ì ‚Íβ˜ÂÌÓ.) ç‡ÊÏËÚ ÍÌÓÔÍÛ [POWER]. ÖÒÎË ÔËÚ‡ÌË ‚Íβ˜ÂÌÓ, ‰ÓÎÊÂÌ „ÓÂÚ¸ Ó‰ËÌ ËÁ Ò‚ÂÚÓ‰ËÓ‰Ì˚ı Ë̉Ë͇ÚÓÓ‚ ÍÌÓÔÓÍ ÚÂÏ·‡. ìÒÚ‡ÌÓ‚ËÚ „ÛÎflÚÓ [MASTER VOLUME] ÔËÏÂÌÓ ÔÓÒ‰ËÌÂ, ÏÂÊ‰Û ÓÚÏÂÚ͇ÏË «MIN» Ë «MAX». 燘‡‚ Ë„Û, ÛÒÚ‡ÌÓ‚ËÚ „ÛÎflÚÓÓÏ [MASTER VOLUME] ÓÔÚËχθÌÛ˛ „ÓÏÍÓÒÚ¸. 2. ÇÍβ˜ÂÌË ÂÊËχ ‰ÂÏÓÌÒÚ‡ˆËË óÚÓ·˚ ‚Íβ˜ËÚ¸ ÂÊËÏ ‰ÂÏÓÌÒÚ‡ˆËË, ̇ÊÏËÚ ÍÌÓÔÍÛ [DEMO]. à̉Ë͇ÚÓ˚ ÍÌÓÔÓÍ ÚÂÏ·Ó‚ ·Û‰ÛÚ ÔÓÒΉӂ‡ÚÂθÌÓ ÏË„‡Ú¸. 3. ÇÓÒÔÓËÁ‚‰ÂÌË ‰ÂÏÓÌÒÚ‡ˆËË ÚÂÏ·‡ ÑÎfl ̇˜‡Î‡ ‚ÓÒÔÓËÁ‚‰ÂÌËfl ‚ÒÂı ÔÂÒÂÌ Ò ‰ÂÏÓÌÒÚ‡ˆËÓÌÌÓÈ ÏÂÎÓ‰ËË ‰Îfl ÓÔ‰ÂÎÂÌÌÓ„Ó ÚÂÏ·‡, ̇ÊÏËÚ ÍÌÓÔÍÛ ˝ÚÓ„Ó ÚÂÏ·‡. (ÖÒÎË Ì‡Ê‡Ú¸ ÍÌÓÔÍÛ SONG [START/STOP], ‡ Ì ÍÌÓÔÍÛ ÚÂÏ·‡, ̇˜ÌÂÚÒfl ‚ÓÒÔÓËÁ‚‰ÂÌË ‰ÂÏÓÌÒÚ‡ˆËÓÌÌÓÈ ÏÂÎÓ‰ËË ‰Îfl ÚÂÏ·‡ GRAND PIANO 1.) ç‡ÒÚÓÈ͇ „ÓÏÍÓÒÚË Ë flÍÓÒÚË Á‚Û͇ ÑÎfl ËÁÏÂÌÂÌËfl „ÓÏÍÓÒÚË ËÒÔÓθÁÛÈÚ „ÛÎflÚÓ [MASTER VOLUME], ‡ ‰Îfl ËÁÏÂÌÂÌËfl flÍÓÒÚË — [BRILLIANCE] (ÒÚ. 22). 4. éÒÚ‡Ìӂ͇ ‰ÂÏÓÌÒÚ‡ˆËË ÚÂÏ·‡ ÑÎfl ÓÒÚ‡ÌÓ‚ÍË ‚ÓÒÔÓËÁ‚‰ÂÌËfl ̇ÊÏËÚ ÍÌÓÔÍÛ SONG [START/STOP] ËÎË ÍÌÓÔÍÛ ‚ÓÒÔÓËÁ‚Ó‰ËÏÓ„Ó ÚÂÏ·‡. 5. Ç˚ıÓ‰ ËÁ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌÓ„Ó ÂÊËχ óÚÓ·˚ ‚ÂÌÛÚ¸Òfl Í Ó·˚˜ÌÓÏÛ ÂÊËÏÛ, ̇ÊÏËÚ ÍÌÓÔÍÛ [DEMO]. à̉Ë͇ÚÓ˚ ÍÌÓÔÓÍ ÚÂÏ·Ó‚ ÔÂÂÒÚ‡ÌÛÚ ÔÓÒΉӂ‡ÚÂθÌÓ ÏË„‡Ú¸. ä ëÇÖÑÖçàû ëÔËÒÓÍ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı ÔÂÒÂÌ Ô˂‰ÂÌ Ì‡ ÒÚ. 66. èêàåÖóÄçàÖ èË ‰ÂÏÓÌÒÚ‡ˆËË ÔÂÒÂÌ ÔËÂÏ MIDI-‰‡ÌÌ˚ı Ì‚ÓÁÏÓÊÂÌ. ÑÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÔÂÒÌË Ì Ô‰‡˛ÚÒfl ˜ÂÂÁ ‡Á˙ÂÏ˚ MIDI. èêàåÖóÄçàÖ ÑÂÏÓÌÒÚ‡ˆË˛ ÔÂÒÂÌ ÌÂθÁfl ‚˚Á‚‡Ú¸, ÂÒÎË Ë‰ÂÚ Á‡ÔËÒ¸ (ÒÚ. 30) ËÎË ‚ÓÒÔÓËÁ‚‰ÂÌË ÔÂÒÂÌ ÔÓθÁÓ‚‡ÚÂÎfl (ÒÚ. 35). íÖêåàçéãéÉàü êÂÊËÏ — ÒÓÒÚÓflÌËÂ, ‚ ÍÓÚÓÓÏ ÏÓÊÌÓ ‚˚ÔÓÎÌËÚ¸ ÓÔ‰ÂÎÂÌÌÛ˛ ÙÛÌÍˆË˛. Ç ÂÊËÏ ‰ÂÏÓÌÒÚ‡ˆËË ÏÓÊÌÓ ÒÎÛ¯‡Ú¸ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÏÂÎÓ‰ËË. èêàåÖóÄçàÖ íÂÏÔ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı ÏÂÎÓ‰ËÈ ËÁÏÂÌflÚ¸ ÌÂθÁfl. Ç ‰ÂÏÓÌÒÚ‡ˆËÓÌÌÓÏ ÂÊËÏ ÌÂθÁfl ËÒÔÓθÁÓ‚‡Ú¸ ÙÛÌÍˆË˛ ÓÚÍβ˜ÂÌËfl Ô‡ÚËË (ÒÚ. 45) Ë ÙÛÌÍˆË˛ ÔÓ‚ÚÓ‡ A–B (ÒÚ. 20). èêàåÖóÄçàÖ ç‡ CLP-130 ÏÓÊÌÓ ÔÓÒÎۯ˂‡Ú¸ ‰ÂÏÓÌÒÚ‡ˆË˛ ÚÂÏ·Ó‚ ÙÓÚÂÔ¸flÌÓ Ò ‡Á΢Ì˚ÏË ˝ÙÙÂÍÚ‡ÏË, ̇ʇ‚ ÍÌÓÔÍÛ [VARIATION], ‡ Á‡ÚÂÏ ÍÌÓÔÍÛ ÌÛÊÌÓ„Ó ÚÂÏ·‡. èÓÎÌ˚È ÒÔËÒÓÍ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı Á‚ÛÍÓ‚ Ò ‡Á΢Ì˚ÏË ˝ÙÙÂÍÚ‡ÏË ‰Îfl ÙÓÚÂÔ¸flÌÓ Ì‡ıÓ‰ËÚÒfl ‚ ‡Á‰ÂΠ«éÔËÒ‡ÌË ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı Á‚ÛÍÓ‚ ‰Îfl ÚÂÏ·‡ ÙÓÚÂÔ¸flÌÓ» ̇ ÒÚ. 66. 16 CLP-130/120 ÑÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÏÂÎÓ‰ËË 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ Ç Ô‡ÏflÚË Clavinova ÒÓ‰ÂÊËÚÒfl 50 ÔÂÒÂÌ ‰Îfl ÙÓÚÂÔ¸flÌÓ. ùÚË ÔÂÒÌË ÏÓÊÌÓ ÔÓÒÚÓ ÒÎÛ¯‡Ú¸ (ÒÚ. 17) ËÎË ËÒÔÓθÁÓ‚‡Ú¸ ‰Îfl ÛÔ‡ÊÌÂÌËÈ (ÒÚ. 18). åÓÊÌÓ Ú‡ÍÊ ӷ‡ÚËÚ¸Òfl Í ÔË·„‡ÂÏÓÏÛ Ò·ÓÌËÍÛ «50 greats for the Piano» Ò ÌÓÚ‡ÏË 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ. 2 -1 1 4 MIN MAX START/STOP BRIGHT BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 E.PIANO 1 E.PIANO 2 HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION CHURCH ORGAN JAZZ ORGAN STRINGS CHOIR GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME MELLOW 2 -2 3 DEMO METRONOME TEMPO FUNCTION — /NO +/ YES TEMPO / FUNCTION PRESET USER 1 USER 2 USER 3 TRACK 1 TRACK 2 START/STOP REC SONG VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT ON TOUCH TRANSPOSE ÑÂÈÒÚ‚Ëfl 1. ÇÍβ˜ÂÌË ÂÊËχ ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ óÚÓ·˚ ‚Íβ˜ËÚ¸ ÂÊËÏ ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ, ̇ÊÏËÚ ÍÌÓÔÍÛ [PRESET]. ᇄÓflÚÒfl Ë̉Ë͇ÚÓ˚ [PRESET], [TRACK1] Ë [TRACK2]. 2. ÇÓÒÔÓËÁ‚‰ÂÌË β·ÓÈ ËÁ 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ 2-1 2-2 ç‡ÊËχÈÚ ÍÌÓÔÍË [–/NO], [+/YES], ˜ÚÓ·˚ ‚˚·‡Ú¸ ÌÓÏ ÏÂÎÓ‰ËË, ÍÓÚÓÛ˛ ıÓÚËÚ ‚ÓÒÔÓËÁ‚ÂÒÚË (ÌÓÏ ÔÓfl‚ËÚÒfl ̇ Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ Ë̉Ë͇ÚÓÂ). 1 – 50: ÇÓÒÔÓËÁ‚‰ÂÌË ÚÓθÍÓ ÔÂÒÌË Ò ‚˚·‡ÌÌ˚Ï ÌÓÏÂÓÏ. ALL: èÓÒΉӂ‡ÚÂθÌÓ ‚ÓÒÔÓËÁ‚‰ÂÌË ‚ÒÂı ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ. rnd: çÂÔÂ˚‚ÌÓ ‚ÓÒÔÓËÁ‚‰ÂÌË ‚ÒÂı ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ ‚ ÒÎÛ˜‡ÈÌÓÏ ÔÓfl‰ÍÂ. ÌÓÏ ÔÂÒÌË óÚÓ·˚ ̇˜‡Ú¸ ‚ÓÒÔÓËÁ‚‰ÂÌËÂ, ̇ÊÏËÚ ÍÌÓÔÍÛ SONG [START/STOP]. ç‡ÒÚÓÈ͇ „ÓÏÍÓÒÚË ÑÎfl ̇ÒÚÓÈÍË „ÓÏÍÓÒÚË ËÒÔÓθÁÛÈÚ „ÛÎflÚÓ [MASTER VOLUME]. ç‡ÒÚÓÈ͇ ÚÂÏÔ‡ ÑÎfl ̇ÒÚÓÈÍË ÚÂÏÔ‡ ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ÍÌÓÔÍË [TEMPO/ FUNCTION# ▼ ▲]. é·˚˜Ì˚È ÚÂÏÔ ÏÓÊÌÓ ‚ÓÒÒÚ‡ÌÓ‚ËÚ¸, ̇ʇ‚ Ó‰ÌÓ‚ÂÏÂÌÌÓ ÍÌÓÔÍË [▼] Ë [▲]. 3. éÒÚ‡Ìӂ͇ ‚ÓÒÔÓËÁ‚‰ÂÌËfl ùÚÓ ‚˚Á˚‚‡ÂÚ ÓÚÌÓÒËÚÂθÌÓ ËÁÏÂÌÂÌË ÚÂÏÔ‡ ‚ ‰Ë‡Ô‡ÁÓÌ ÓÚ «-50» ˜ÂÂÁ «---» ‰Ó «50» (χÍÒËχθÌÓ); ‰Ë‡Ô‡ÁÓÌ Á‡‚ËÒËÚ ÓÚ ‚˚·‡ÌÌÓÈ ÔÂÒÌË. ÇÓÒÔÓËÁ‚‰ÂÌË ‡‚ÚÓχÚ˘ÂÒÍË Á‡Í‡Ì˜Ë‚‡ÂÚÒfl ÔÓÒΠÁ‡‚¯ÂÌËfl ‚˚·‡ÌÌÓÈ ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË. óÚÓ·˚ ÓÒÚ‡ÌÓ‚ËÚ¸ ÔÂÒÌ˛ ‚Ó ‚ÂÏfl ‚ÓÒÔÓËÁ‚‰ÂÌËfl (ËÎË ÌÂÔÂ˚‚ÌÓ„Ó ‚ÓÒÔÓËÁ‚‰ÂÌËfl), ̇ÊÏËÚ ÍÌÓÔÍÛ SONG [START/STOP]. • ä‡Í Á‡ÔÛÒÚËÚ¸ ÌÂÔÂ˚‚ÌÓ ‚ÓÒÔÓËÁ‚‰ÂÌË ‰Û„ÓÈ ÔÂÒÌË, ÓÔËÒ‡ÌÓ ‚˚¯Â ‚ ÔÛÌÍÚ 2. èêàåÖóÄçàÖ êÂÊËÏ ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ ÌÂθÁfl ‚Íβ˜ËÚ¸ ‚ ÂÊËÏ ‰ÂÏÓÌÒÚ‡ˆËË (ÒÚ. 16), ‚ÓÒÔÓËÁ‚‰ÂÌËfl (ÒÚ. 35) ËÎË Á‡ÔËÒË ÔÂÒÌË ÔÓθÁÓ‚‡ÚÂÎfl (ÒÚ. 30). íÖêåàçéãéÉàü èÂÒÌfl — ‚ CLP-130/120 ÔÂÒÌÂÈ Ì‡Á˚‚‡˛ÚÒfl ‰‡ÌÌ˚ ËÒÔÓÎÌflÂÏÓ„Ó ÔÓËÁ‚‰ÂÌËfl. ùÚÓ Ú‡ÍÊ ÓÚÌÓÒËÚÒfl Í ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚Ï Ë ‚ÒÚÓÂÌÌ˚Ï ÏÂÎÓ‰ËflÏ. ä ëÇÖÑÖçàû é‰ÌÓ‚ÂÏÂÌÌÓ Ò ‚ÓÒÔÓËÁ‚‰ÂÌËÂÏ ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË ÏÓÊÌÓ Ë„‡Ú¸ ̇ Í·‚˯‡ı. åÓÊÌÓ ËÁÏÂÌËÚ¸ ÚÂÏ· ‰Îfl Í·‚ˇÚÛ˚. ä ëÇÖÑÖçàû åÓÊÌÓ Ì‡ÒÚÓËÚ¸ flÍÓÒÚ¸ (ÒÚ. 22) Ë ÚËÔ Â‚Â·Â‡ˆËË (ÒÚ. 22) ‰Îfl ÚÂÏ·‡ Í·‚ˇÚÛ˚ Ë ‚ÓÒÔÓËÁ‚‰ÂÌËfl ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË. ÑÎfl ÚÂÏ·‡ ÏÓÊÌÓ ËÁÏÂÌflÚ¸ Ë ÚËÔ ˝ÙÙÂÍÚ‡ (ÒÚ. 23), Ë ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËΠ̇ʇÚËfl (ÒÚ. 24). èêàåÖóÄçàÖ èË ‚˚·Ó ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË ËÎË ÔË Ì‡˜‡Î ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÌÓ‚ÓÈ ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË ‚ ÂÊËÏ «ALL» ËÎË «rnd» ‡‚ÚÓχÚ˘ÂÒÍË ÛÒڇ̇‚ÎË‚‡ÂÚÒfl ÚÂÏÔ ÔÓ ÛÏÓΘ‡Ì˲ «---». èêàåÖóÄçàÖ ÖÒÎË ‚˚·‡Ì‡ ‰Û„‡fl ÔÂÒÌfl (ËÎË ‰Û„‡fl ÔÂÒÌfl ‚˚·‡Ì‡ ‚Ó ‚ÂÏfl ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÔÓÒΉӂ‡ÚÂθÌÓÒÚË ÔÂÒÂÌ), ÒÓÓÚ‚ÂÚÒÚ‚ÂÌÌÓ ·Û‰ÂÚ ‚˚·‡Ì ÔÓ‰ıÓ‰fl˘ËÈ ÚËÔ Â‚Â·Â‡ˆËË. CLP-130/120 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ 17 4. Ç˚ıÓ‰ ËÁ ÂÊËχ ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ óÚÓ·˚ ‚˚ÈÚË ËÁ ÂÊËχ ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ, ̇ÊÏËÚ ÍÌÓÔÍÛ [PRESET]. à̉Ë͇ÚÓ ÓÚÍβ˜‡ÂÚÒfl Ë ËÌÒÚÛÏÂÌÚ ‚ÓÁ‚‡˘‡ÂÚÒfl ‚ Ó·˚˜Ì˚È ÂÊËÏ. èêàåÖóÄçàÖ Ç ÂÊËÏ ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ ÔËÂÏ MIDI ‰‡ÌÌ˚ı Ì‚ÓÁÏÓÊÂÌ. чÌÌ˚ ÔÂÒÂÌ ‰Îfl ÙÓÚÂÔ¸flÌÓ Ì Ô‰‡˛ÚÒfl ˜ÂÂÁ ‡Á˙ÂÏ˚ MIDI. àÒÔÓθÁÓ‚‡ÌË ÙÛÌ͈ËÈ Ó·Û˜ÂÌËfl èË Ê·ÌËË ÏÓÊÌÓ ÓÚÍβ˜ËÚ¸ Ô‡Ú˲ ΂ÓÈ ËÎË Ô‡‚ÓÈ ÛÍË Ë Ò‡ÏÓÒÚÓflÚÂθÌÓ ÔÓÔÓ·Ó‚‡Ú¸ ‚ÓÒÔÓËÁ‚ÂÒÚË ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Û˛ Ô‡Ú˲ (ÙÛÌ͈Ëfl ÓÚÍβ˜ÂÌËfl Ô‡ÚËË), ÌÂÔÂ˚‚ÌÓ ÔÓ‚ÚÓflfl Û͇Á‡ÌÌÛ˛ Ù‡ÁÛ ÔÂÒÌË (ÙÛÌ͈Ëfl ÔÓ‚ÚÓ‡ ÔÂÒÌË A-B). èÓ‰Ó·Ì ÒÏ. ÒÚ. 18-20. à„‡ Ó‰ÌÓÈ ÛÍÓÈ 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ Á‡ÔËÒ‡Ì˚ Ú‡Í, ˜ÚÓ Ô‡ÚËË Î‚ÓÈ Ë Ô‡‚ÓÈ ÛÍË Ì‡ıÓ‰flÚÒfl ̇ ‡ÁÌ˚ı ‰ÓÓÊ͇ı. èÓ Ê·Ì˲ ÏÓÊÌÓ ÔË„ÎÛ¯ËÚ¸ Ô‡ÚËË Î‚ÓÈ, Ô‡‚ÓÈ ËÎË Ó·ÂËı ÛÍ, ˜ÚÓ ‰‡ÂÚ ‚ÓÁÏÓÊÌÓÒÚ¸ ‡Áۘ˂‡Ú¸ Í‡Ê‰Û˛ ËÁ ÌËı ÓÚ‰ÂθÌÓ. ÑÎfl ÔÓË„˚‚‡ÌËfl Ô‡ÚËË Ô‡‚ÓÈ ÛÍË Ì‡ÊÏËÚ ÍÌÓÔÍÛ [TRACK1], ‡ ΂ÓÈ — [TRACK2]. 1 MIN MAX START/STOP BRIGHT BRILLIANCE 3 GRAND PIANO 1 GRAND PIANO 2 CHURCH ORGAN JAZZ ORGAN E.PIANO 1 E.PIANO 2 HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME MELLOW 2 DEMO METRONOME TEMPO FUNCTION — /NO +/ YES PRESET USER 1 USER 2 USER 3 TEMPO / FUNCTION TRACK 1 TRACK 2 START/STOP REC STRINGS CHOIR SONG VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT ON TOUCH TRANSPOSE ÑÂÈÒÚ‚Ëfl 1. éÚÍβ˜ÂÌË ‡Áۘ˂‡ÂÏÓÈ Ô‡ÚËË Ç˚·‡‚ ÔÂÒÌ˛ ‰Îfl ÛÔ‡ÊÌÂÌËÈ, ÓÚÍβ˜ËÚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Û˛ Ô‡Ú˲ ÍÌÓÔÍÓÈ [TRACK1] ËÎË [TRACK2]. èÓÒΠ‚˚·Ó‡ ÔÂÒÌË Á‡„Ó‡˛ÚÒfl Ó·‡ Ë̉Ë͇ÚÓ‡ — [TRACK1] Ë [TRACK2]. ùÚÓ ÓÁ̇˜‡ÂÚ, ˜ÚÓ ·Û‰ÛÚ ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸Òfl Ó·Â Ô‡ÚËË. ÖÒÎË Ì‡Ê‡Ú¸ Ó‰ÌÛ ËÁ ÍÌÓÔÓÍ, ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ËÈ Ë̉Ë͇ÚÓ ÔÓ„‡ÒÌÂÚ Ë Ô‡ÚËfl Á‚Û˜‡Ú¸ Ì ·Û‰ÂÚ. • ç‡Ê‡ÚË ÍÌÓÔÍË ÔÓÔÂÂÏÂÌÌÓ ‚Íβ˜‡ÂÚ Ë ‚˚Íβ˜‡ÂÚ ‚ÓÒÔÓËÁ‚‰ÂÌËÂ. 2. ÇÓÒÔÓËÁ‚‰ÂÌËÂ Ë Ë„‡ ̇ Í·‚˯‡ı óÚÓ·˚ ̇˜‡Ú¸ ‚ÓÒÔÓËÁ‚‰ÂÌËÂ, ̇ÊÏËÚ ÍÌÓÔÍÛ SONG [START/STOP]. éÚÍβ˜ÂÌÌÛ˛ Ô‡Ú˲ Ë„‡ÈÚ ̇ Í·‚˯‡ı. èêàåÖóÄçàÖ îÛÌ͈Ëfl ÓÚÍβ˜ÂÌËfl Ô‡ÚËË ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË Ì ÏÓÊÂÚ ËÒÔÓθÁÓ‚‡Ú¸Òfl ÔË ‚ÓÒÔÓËÁ‚‰ÂÌËË Ò Ô‡‡ÏÂÚ‡ÏË ALL ËÎË rnd (ÒÚ. 17). ä ëÇÖÑÖçàû è‡ÚËË ÏÓÊÌÓ ÓÚÍβ˜‡Ú¸ Ë ‚Íβ˜‡Ú¸ ‰‡Ê ‚Ó ‚ÂÏfl ‚ÓÒÔÓËÁ‚‰ÂÌËfl. ä ëÇÖÑÖçàû îÛÌ͈Ëfl „ÓÏÍÓÒÚË ÓÚÍβ˜ÂÌÌÓÈ Ô‡ÚËË ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË, ÓÔËÒ‡Ì̇fl ̇ ÒÚ. 45, ÔÓÁ‚ÓÎflÂÚ ‚˚·‡Ú¸ „ÓÏÍÓÒÚ¸ ÓÚÍβ˜ÂÌÌÓÈ Ô‡ÚËË ‚ ‰Ë‡Ô‡ÁÓÌ ÓÚ 0 (·ÂÁ Á‚Û͇) ‰Ó 20. é·˚˜ÌÓ ËÒÔÓθÁÛÂÚÒfl Á̇˜ÂÌË 5. 18 CLP-130/120 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ Ä‚ÚÓχÚ˘ÂÒÍËÈ Á‡ÔÛÒÍ ‚ÓÒÔÓËÁ‚‰ÂÌËfl Ó‰ÌÓ‚ÂÏÂÌÌÓ Ò Ì‡˜‡ÎÓÏ Ë„˚ ̇ Í·‚˯‡ı (Synchro Start) ÖÒÎË ÙÛÌ͈Ëfl ÒËÌıÓÌÌÓ„Ó Á‡ÔÛÒ͇ ‚Íβ˜Â̇, ‚ÓÒÔÓËÁ‚‰ÂÌË ‚˚·‡ÌÌÓÈ ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË Ì‡˜Ë̇ÂÚÒfl ‡‚ÚÓχÚ˘ÂÒÍË, Ó‰ÌÓ‚ÂÏÂÌÌÓ Ò Ì‡˜‡ÎÓÏ Ë„˚ ̇ Í·‚˯‡ı. óÚÓ·˚ ‚Íβ˜ËÚ¸ ÙÛÌÍˆË˛ ÒËÌıÓÌÌÓ„Ó ÌÓÏ ÔÂÒÌË Á‡ÔÛÒ͇, ̇ÊÏËÚ ÍÌÓÔÍÛ SONG [START/STOP], Û͇Á‡ÚÂθ ÒËÌıÓÌÌÓ„Ó Ó‰ÌÓ‚ÂÏÂÌÌÓ Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ ‚Íβ˜ÂÌÌÓÈ Á‡ÔÛÒ͇ Ô‡ÚËË. Ç ÌËÊÌÂÏ Ô‡‚ÓÏ Û„ÎÛ ‰ËÒÔÎÂfl ÔÓfl‚ËÚÒfl ÚӘ͇. (óÚÓ·˚ ÓÚÍβ˜ËÚ¸ ÙÛÌÍˆË˛ ÒËÌıÓÌÌÓ„Ó Á‡ÔÛÒ͇, ÔÓ‚ÚÓËÚ Ô‰˚‰Û˘Ë ‰ÂÈÒÚ‚Ëfl.) ÇÓÒÔÓËÁ‚‰ÂÌË ̇˜ÌÂÚÒfl Ó‰ÌÓ‚ÂÏÂÌÌÓ Ò Ì‡˜‡ÎÓÏ Ë„˚ ̇ Í·‚˯‡ı. èêàåÖóÄçàÖ ÖÒÎË, ̇ÊËχfl ÍÌÓÔÍÛ SONG [START/STOP], Û‰ÂÊË‚‡Ú¸ ÍÌÓÔÍÛ ÓÚÍβ˜ÂÌÌÓÈ ‰ÓÓÊÍË, ˝Ú‡ ‰ÓÓÊ͇ ‚Íβ˜‡ÂÚÒfl Ë ËÌÒÚÛÏÂÌÚ ÔÂÂıÓ‰ËÚ ‚ ÂÊËÏ ÒËÌıÓÌÌÓ„Ó Á‡ÔÛÒ͇. ÇÍβ˜ÂÌËÂ Ë ÓÚÍβ˜ÂÌË ÔË ÔÓÏÓ˘Ë Î‚ÓÈ Ô‰‡ÎË èË ÔÓÏÓ˘Ë ÂÊËχ ΂ÓÈ Ô‰‡ÎË (ÒÚ. 44) Á‡ ΂ÓÈ Ô‰‡Î¸˛ ÏÓÊÌÓ Á‡ÍÂÔËÚ¸ ÙÛÌÍˆË˛ ‚Íβ˜ÂÌËfl Ë ÓÚÍβ˜ÂÌËfl ‚ÓÒÔÓËÁ‚‰ÂÌËfl ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË. èêàåÖóÄçàÖ èË ‚˚·Ó ÌÓ‚ÓÈ ÔÂÒÌË ‡‚ÚÓχÚ˘ÂÒÍË ‚Íβ˜‡˛ÚÒfl Ó·Â Ô‡ÚËË. 3. éÒÚ‡Ìӂ͇ ‚ÓÒÔÓËÁ‚‰ÂÌËfl äÓ„‰‡ ÔÂÒÌfl Á‡Í‡Ì˜Ë‚‡ÂÚÒfl, ‚ÓÒÔÓËÁ‚‰ÂÌË ‡‚ÚÓχÚ˘ÂÒÍË ÔÂ͇˘‡ÂÚÒfl Ë ÔˇÌËÌÓ Clavinova ̇ıÓ‰ËÚ Ì‡˜‡ÎÓ ÔÂÒÌË. óÚÓ·˚ ÓÒÚ‡ÌÓ‚ËÚ¸ ÔÂÒÌ˛ ̇ Ò‰ËÌÂ, ̇ÊÏËÚ ÍÌÓÔÍÛ SONG[START/STOP]. CLP-130/120 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ 19 îÛÌ͈Ëfl ÔÓ‚ÚÓ‡ A-B îÛÌÍˆË˛ ÔÓ‚ÚÓ‡ Ä-Ç ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ‰Îfl ÌÂÔÂ˚‚ÌÓ„Ó ÔÓ‚ÚÓÂÌËfl Û͇Á‡ÌÌÓÈ Ù‡Á˚ ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË. Ç ÒÓ˜ÂÚ‡ÌËË Ò ÓÔËÒ‡ÌÌÓÈ ÌËÊ ÙÛÌ͈ËÂÈ ÓÚÍβ˜ÂÌËfl Ô‡ÚËË Ó‰ÌÓÈ ÛÍË ˝Ú‡ ÙÛÌ͈Ëfl ‰‡ÂÚ ÔÂ͇ÒÌÛ˛ ‚ÓÁÏÓÊÌÓÒÚ¸ ‡Áۘ˂‡Ú¸ ÒÎÓÊÌ˚ ÓÚ˚‚ÍË. 1 MIN MAX START/STOP BRIGHT BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 E.PIANO 1 E.PIANO 2 HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION CHURCH ORGAN JAZZ ORGAN STRINGS CHOIR GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME MELLOW 2 DEMO METRONOME TEMPO FUNCTION — /NO +/ YES PRESET USER 1 USER 2 USER 3 TRACK 1 TRACK 2 START/STOP REC SONG TEMPO / FUNCTION VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT ON TOUCH TRANSPOSE ÑÂÈÒÚ‚Ëfl 1. ì͇Á‡ÌË ̇˜‡Î‡ (A) Ë ÍÓ̈‡ (B) Ù‡Á˚ Ë Ì‡˜‡ÎÓ ÛÔ‡ÊÌÂÌËfl Ç˚·ÂËÚ ‚ÒÚÓÂÌÌÛ˛ ÔÂÒÌ˛ Ë Ì‡˜ÌËڠ ‚ÓÒÔÓËÁ‚‰ÂÌËÂ, Á‡ÚÂÏ ‚ ̇˜‡Î هÁ˚, ÍÓÚÓÛ˛ ıÓÚËÚ ÔÓ‚ÚÓËÚ¸, ̇ÊÏËÚ ÍÌÓÔÍÛ [TEMPO/FUNCTION#]. ùÚÓ ÓÔ‰ÂÎflÂÚ ÚÓ˜ÍÛ «A» (̇ Ë̉Ë͇ÚÓ ÔÓfl‚ËÚÒfl ). óÚÓ·˚ Á‡‰‡Ú¸ ÍÓ̈ Ù‡Á˚ («B»), ‚ ÍÓ̈ هÁ˚ ÒÌÓ‚‡ ̇ÊÏËÚ ÍÌÓÔÍÛ [TEMPO/FUNCTION#]. ùÚÓ ÓÔ‰ÂÎflÂÚ ÚÓ˜ÍÛ «Ç» (̇ Ë̉Ë͇ÚÓ ÔÓfl‚ËÚÒfl ). ÅÛ‰ÂÚ ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸Òfl Ù‡Á‡ ÏÂÊ‰Û ÚӘ͇ÏË «Ä» Ë «Ç». 2. éÒÚ‡Ìӂ͇ ‚ÓÒÔÓËÁ‚‰ÂÌËfl óÚÓ·˚ ÓÒÚ‡ÌÓ‚ËÚ¸ ‚ÓÒÔÓËÁ‚‰ÂÌË ÏÂÊ‰Û Á‡‰‡ÌÌ˚ÏË ÚӘ͇ÏË «Ä» Ë «Ç», ̇ÊÏËÚ ÍÌÓÔÍÛ SONG [START/STOP]. èÓ‚ÚÓÌÓ ‚ÓÒÔÓËÁ‚‰ÂÌË A-B ‚ÓÁÓ·ÌÓ‚ËÚÒfl, ÂÒÎË Â˘Â ‡Á ̇ʇڸ SONG [START/STOP]. óÚÓ·˚ Û‰‡ÎËÚ¸ ÚÓ˜ÍË «A» Ë «B», Ó‰ËÌ ‡Á ̇ÊÏËÚ ÍÌÓÔÍÛ [TEMPO/ FUNCTION#]. 20 CLP-130/120 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ èêàåÖóÄçàÖ îÛÌ͈Ëfl ÔÓ‚ÚÓ‡ Ä-Ç Ì ÏÓÊÂÚ ËÒÔÓθÁÓ‚‡Ú¸Òfl ÔË ‚ÓÒÔÓËÁ‚‰ÂÌËË Ò Ô‡‡ÏÂÚ‡ÏË «ALL» ËÎË «rnd» (ÒÚ. 17). èêàåÖóÄçàÖ • óÚÓ·˚ ÛÒÚ‡ÌÓ‚ËÚ¸ ÚÓ˜ÍÛ «A» ‚ Ò‡ÏÓÏ Ì‡˜‡Î ÔÂÒÌË, ̇ÊÏËÚ ÍÌÓÔÍÛ [TEMPO/ FUNCTION#] ‰Ó ̇˜‡Î‡ ‚ÓÒÔÓËÁ‚‰ÂÌËfl. • óÚÓ·˚ ÛÒÚ‡ÌÓ‚ËÚ¸ ÚÓ˜ÍÛ «B» ‚ Ò‡ÏÓÏ ÍÓ̈ ÔÂÒÌË, ̇ÊÏËÚ ÍÌÓÔÍÛ [TEMPO/ FUNCTION#] ÔÓÒΠÚÓ„Ó, Í‡Í ‚ÓÒÔÓËÁ‚‰ÂÌË Á‡ÍÓ̘ËÚÒfl, ÌÓ Ë̉Ë͇ÚÓ Â˘Â Ì ËÒ˜ÂÁ Ò ‰ËÒÔÎÂfl. ä ëÇÖÑÖçàû Ç ÚӘ͠«Ä» ‡‚ÚÓχÚ˘ÂÒÍË Ì‡˜Ë̇ÂÚÒfl Á‡Ú‡ÍÚ (˝ÚÓ ÔÓÏÓ„‡ÂÚ ÔÓ‰„ÓÚÓ‚ËÚ¸Òfl Í Ì‡˜‡ÎÛ Ù‡Á˚). é‰Ì‡ÍÓ ÂÒÎË ÚӘ͇ «Ä» ÛÒÚ‡ÌÓ‚ÎÂ̇ ‚ Ò‡ÏÓÏ Ì‡˜‡Î ÔÂÒÌË, ‡‚ÚÓχÚ˘ÂÒÍÓ„Ó Á‡Ú‡ÍÚ‡ Ì ·Û‰ÂÚ. èêàåÖóÄçàÖ á̇˜ÂÌËfl ÚÓ˜ÂÍ «Ä» Ë «Ç» ‡‚ÚÓχÚ˘ÂÒÍË Û‰‡Îfl˛ÚÒfl ÔË ‚˚·Ó ÌÓ‚ÓÈ ÔÂÒÌË. à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â Ç˚·Ó ÚÂÏ·Ó‚ äÌÓÔÍË ‚˚·Ó‡ ÚÂÏ·‡ MIN MAX MELLOW START/STOP BRIGHT BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 CHURCH ORGAN JAZZ ORGAN E.PIANO 1 E.PIANO 2 HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME DEMO METRONOME TEMPO FUNCTION — /NO +/ YES PRESET TEMPO / FUNCTION USER 1 USER 2 USER 3 TRACK 1 TRACK 2 START/STOP REC STRINGS SONG CHOIR VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT ON TOUCH TRANSPOSE ÑÂÈÒÚ‚Ëfl Ç˚·ÂËÚ ÌÛÊÌ˚È ÚÂÏ· Ò ÔÓÏÓ˘¸˛ Ó‰ÌÓÈ ËÁ ÍÌÓÔÓÍ [VOICE]. ä ëÇÖÑÖçàû óÚÓ·˚ ÔÓÁ̇ÍÓÏËÚ¸Òfl Ò ÚÂÏ·‡ÏË, ÏÓÊÌÓ ÔÓÒÎÛ¯‡Ú¸ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÔÂÒÌË ‰Îfl Í‡Ê‰Ó„Ó ÚÂÏ·‡ (ÒÚ. 16). ÅÓΠÔÓ‰Ó·ÌÛ˛ ËÌÙÓχˆË˛ Ó ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·‡ı ÒÏ. ‚ ÒÔËÒÍ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚ ̇ ÒÚ. 63. 燘‡‚ Ë„Û, ÛÒÚ‡ÌÓ‚ËÚ „ÛÎflÚÓÓÏ [MASTER VOLUME] ÓÔÚËχθÌÛ˛ „ÓÏÍÓÒÚ¸. íÖêåàçéãéÉàü íÂÏ· — ‰Îfl Clavinova ˝ÚÓ ÚÓÌ ËÎË Á‚ÛÍ, ËÏËÚËÛ˛˘ËÈ Á‚Û˜‡ÌË ÏÛÁ˚͇θÌ˚ı ËÌÒÚÛÏÂÌÚÓ‚ Ë ‰Û„Ëı ËÒÚÓ˜ÌËÍÓ‚ Á‚Û͇. ä ëÇÖÑÖçàû ÉÓÏÍÓÒÚ¸ ÏÓÊÌÓ Â„ÛÎËÓ‚‡Ú¸ ÒËÎÓÈ Ì‡Ê‡ÚËfl Í·‚˯, ıÓÚfl ÔË ÌÂÍÓÚÓ˚ı ̇ÒÚÓÈ͇ı ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË Í ÒËΠ̇ʇÚËfl Ó̇ Ô‡ÍÚ˘ÂÒÍË Ì ‚ÎËflÂÚ Ì‡ Á‚Û˜‡ÌË ÌÂÍÓÚÓ˚ı ÏÛÁ˚͇θÌ˚ı ËÌÒÚÛÏÂÌÚÓ‚. ëÏ. «ëÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚» ̇ ÒÚ. 63. àÒÔÓθÁÓ‚‡ÌË Ô‰‡ÎÂÈ ì ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova ÂÒÚ¸ ÚË Ô‰‡ÎË, ÍÓÚÓ˚ ‚˚ÔÓÎÌfl˛Ú Ú Ê ÙÛÌ͈ËË, ˜ÚÓ Ë Ô‰‡ÎË ‡ÍÛÒÚ˘ÂÒÍÓ„Ó ÔˇÌËÌÓ. èêàåÖóÄçàÖ ÖÒÎË Ô‡‚‡fl Ô‰‡Î¸ Ì ‡·ÓÚ‡ÂÚ, ۷‰ËÚÂÒ¸, ˜ÚÓ ¯ÌÛ Ô‰‡ÎË Ô‡‚ËθÌÓ ÔÓ‰Íβ˜ÂÌ Í „·‚ÌÓÈ ˜‡ÒÚË (ÒÚ. 61: CLP-130, ÒÚ. 58: CLP-120). ÑÂÏÔÙÂ̇fl (Ô‡‚‡fl) Ô‰‡Î¸ 臂‡fl Ô‰‡Î¸ ‡·ÓÚ‡ÂÚ Ú‡Í ÊÂ, Í‡Í Ô‡‚‡fl Ô‰‡Î¸ ‡ÍÛÒÚ˘ÂÒÍÓ„Ó ÙÓÚÂÔ¸flÌÓ. ÖÒÎË Ô‡‚‡fl Ô‰‡Î¸ ̇ʇڇ, ÌÓÚ‡ Á‚Û˜ËÚ ‰Óθ¯Â (˝ÙÙÂÍÚ «ÓÚÍ˚Ú˚ı ÒÚÛÌ»). éÚÔÛÒ͇ÌË Ô‰‡ÎË ÔË‚Ó‰ËÚ Í Ï„ÌÓ‚ÂÌÌÓÏÛ Á‡ÚÛı‡Ì˲ ÔÓ‰ÎÂÌÌÓ„Ó Á‚Û͇. ÖÒÎË Ì‡ CLP-130 ‚˚·‡Ì ÚÂÏ· GRAND PIANO 1, ̇ʇÚË ̇ Ô‡‚Û˛ Ô‰‡Î¸ ÔË‚Ó‰ËÚ ‚ ‰ÂÈÒÚ‚Ë «ÒÛÒÚÂÈÌ»-Ò˝ÏÔÎ˚ ‰Îfl ÚÓ˜ÌÓ„Ó ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÛÌË͇θÌÓ„Ó ÂÁÓ̇ÌÒ‡ ‰ÂÍË Ë ÒÚÛÌ ‡ÍÛÒÚ˘ÂÒÍÓ„Ó ÓflÎfl. ÖÒÎË Ì‡Ê‡Ú¸ Ô‡‚Û˛ Ô‰‡Î¸, ‚Ò ÔÓË„˚‚‡ÂÏ˚ ÌÓÚ˚ ·Û‰ÛÚ Á‚Û˜‡Ú¸, ÔÓ͇ ‚˚ Ì ÓÚÔÛÒÚËÚ Ô‰‡Î¸. ä ëÇÖÑÖçàû ÉÎÛ·ËÌÛ ˝ÙÙÂÍÚ‡ ÒÛÒÚÂÈÌÒ˝ÏÔÎÓ‚ ÏÓÊÌÓ Ì‡ÒÚÓËÚ¸ ‚ ÙÛÌ͈Ëflı Ô‰‡ÎÂÈ (Pedal Functions) ‚ ÂÊËÏ Function (ÒÚ. 44). CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â 21 ëÓÒÚÂÌÛÚÓ (Ò‰Ìflfl Ô‰‡Î¸) ÖÒÎË, ÔÓ͇ ̇ʇڇ Í·‚˯‡ ËÎË ‡ÍÍÓ‰, ̇ʇڸ ̇ ÒÂ‰Ì˛˛ Ô‰‡Î¸, ÌÓÚ˚ ·Û‰ÛÚ Á‚Û˜‡Ú¸, ÔÓ͇ Ô‰‡Î¸ Ì ·Û‰ÂÚ ÓÚÔÛ˘Â̇ (Í‡Í ÔË Ì‡Ê‡ÚËË Ì‡ Ô‡‚Û˛ Ô‰‡Î¸), ÌÓ ‚Ò ÌÓÚ˚, ÔÓË„˚‚‡ÂÏ˚ ÔÓÒΠ˝ÚÓ„Ó ÔӉ΂‡Ú¸Òfl Ì ·Û‰ÛÚ. ùÚÓ ‰‡ÂÚ ‚ÓÁÏÓÊÌÓÒÚ¸ ÔÓ‰ÎËÚ¸ Á‚Û˜‡ÌË ‡ÍÍÓ‰‡, ÂÒÎË Ì‡ÔËÏ ÌÓÚ˚, Ë‰Û˘Ë Á‡ ÌËÏ, Ë„‡˛ÚÒfl ÒÚ‡Í͇ÚÓ. ä ëÇÖÑÖçàû íÂÏ·˚ Ó„‡Ì‡, ÒÚÛÌÌ˚ı Ë ıÓ‡ ÔÓ‰ÓÎʇ˛Ú Á‚Û˜‡Ú¸, ÔÓ͇ ̇ʇڇ Ò‰Ìflfl Ô‰‡Î¸. ÖÒÎË Ì‡Ê‡Ú¸ ÒÂ‰Ì˛˛ Ô‰‡Î¸, ÍÓ„‰‡ ̇ʇڇ Í·‚˯‡, ÌÓÚ‡ ·Û‰ÂÚ Á‚Û˜‡Ú¸, ÔÓ͇ ‚˚ Ì ÓÚÔÛÒÚËÚ Ô‰‡Î¸. èË„ÎÛ¯ÂÌË Á‚Û͇ (΂‡fl Ô‰‡Î¸) ä ëÇÖÑÖçàû îÛÌ͈Ëfl ÂÊËχ ΂ÓÈ Ô‰‡ÎË (ÒÚ. 44) ÏÓÊÂÚ Á‡ÍÂÔËÚ¸ Á‡ ˝ÚÓÈ Ô‰‡Î¸˛ ÙÛÌÍˆË˛ ‚Íβ˜ÂÌËfl Ë ÓÚÍβ˜ÂÌËfl ÔÂÒÌË ËÎË ÙÛÌÍˆË˛ ‚‡Ë‡ˆËË (CLP-130). äÓ„‰‡ ̇ʇڇ ΂‡fl Ô‰‡Î¸, „ÓÏÍÓÒÚ¸ ̇ÊËχÂÏ˚ı ÌÓÚ ÛÏÂ̸¯‡ÂÚÒfl Ë Ò΄͇ ÏÂÌflÂÚÒfl ÚÂÏ·. ç‡ ÌÓÚ˚, ÍÓÚÓ˚ ‚ ÏÓÏÂÌÚ Ì‡Ê‡ÚËfl ΂ÓÈ Ô‰‡ÎË ÛÊ Á‚Û˜‡ÎË, ˝Ú‡ Ô‰‡Î¸ Ì ‚ÎËflÂÚ. [VARIATION] (CLP-130), [BRILLIANCE], [REVERB] Ë [EFFECT] [—/NO] [+/YES] [BRILLIANCE] MIN MAX START/STOP BRIGHT BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 CHURCH ORGAN JAZZ ORGAN E.PIANO 1 E.PIANO 2 [REVERB] HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME MELLOW [VARIATION] DEMO METRONOME TEMPO FUNCTION TEMPO / FUNCTION — /NO +/ YES PRESET USER 1 USER 2 USER 3 TRACK 1 TRACK 2 START/STOP REC STRINGS CHOIR SONG VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT [EFFECT] HARD MEDIUM SOFT ON TOUCH TRANSPOSE [VARIATION] (CLP-130) Ç Á‡‚ËÒËÏÓÒÚË ÓÚ ‚˚·Ó‡ ÚËÔ‡ ÔÓÁ‚ÓÎflÂÚ ÏÂÌflÚ¸ ‰Û„ÓÈ ‡ÒÔÂÍÚ ˝ÙÙÂÍÚ‡. ᇠ·ÓΠÔÓ‰Ó·ÌÓÈ ËÌÙÓχˆËÂÈ Ó ‚‡Ë‡ˆËflı Ó·‡ÚËÚÂÒ¸ Í ÒÔËÒÍÛ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚ ̇ ÒÚ. 63. ÑÂÈÒÚ‚Ëfl LJˇˆËfl ‚Íβ˜‡ÂÚÒfl Ë ‚˚Íβ˜‡ÂÚÒfl ̇ʇÚËÂÏ ÍÌÓÔÍË [VARIATION] ËÎË ÍÌÓÔÍË ‚˚·‡ÌÌÓ„Ó ÚÂÏ·‡. èË Í‡Ê‰ÓÏ Ì‡Ê‡ÚËË Ì‡ ÍÌÓÔÍÛ [VARIATION] Á‡„Ó‡ÂÚÒfl Ë̉Ë͇ÚÓ (ON). [BRILLIANCE] ùÚÓÚ Â„ÛÎflÚÓ ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ‰Îfl ̇ÒÚÓÈÍË ÚÓ̇θÌÓÒÚË ËÎË ÚÂÏ·‡ ‚˚‚Ó‰ËÏÓ„Ó Á‚Û͇. àÒÔÓθÁÛÂÚÒfl ‰Ë‡Ô‡ÁÓÌ ÓÚ MELLOW (Ïfl„ÍËÈ) ‰Ó BRIGHT (flÍËÈ). [REVERB] ùÚ‡ ̇ÒÚÓÈ͇ ÔÓÁ‚ÓÎflÂÚ ÛÏÂ̸¯‡Ú¸ ËÎË Û‚Â΢˂‡Ú¸ ˝ÙÙÂÍÚ˚ ˆËÙÓ‚ÓÈ Â‚Â·Â‡ˆËË, ÍÓÚÓ˚ ‰Ó·‡‚Îfl˛Ú Á‚ÛÍÛ „ÎÛ·ËÌÛ Ë ‚˚‡ÁËÚÂθÌÓÒÚ¸, ÒÓÁ‰‡‚‡fl ‡ÎËÒÚ˘ÌÛ˛ ‡ÍÛÒÚ˘ÂÒÍÛ˛ Ò‰Û. OFF: ROOM: HALL 1: HALL 2: STAGE: 22 ÖÒÎË Â‚Â·Â‡ˆËfl Ì ‚˚·‡Ì‡, Ë̉Ë͇ÚÓ REVERB Ì „ÓËÚ. ÑÓ·‡‚ÎflÂÚ Á‚ÛÍÛ ÌÂÔÂ˚‚Ì˚È ˝ÙÙÂÍÚ Â‚Â·Â‡ˆËË, ÒıÓ‰Ì˚È Ò ‡ÍÛÒÚ˘ÂÒÍÓÈ Â‚Â·Â‡ˆËÂÈ, ÍÓÚÓÛ˛ ÒÎ˚¯ÌÓ ‚ ÍÓÏ̇ÚÂ. àÒÔÓθÁÛÂÚÒfl ‰Îfl ‡Ò¯ËÂÌËfl ‚·‡ˆËË. èË ËÏËÚ‡ˆËË ÂÒÚÂÒÚ‚ÂÌÌÓÈ Â‚Â·Â‡ˆËË Ì·Óθ¯Ó„Ó ÍÓ̈ÂÚÌÓ„Ó Á‡Î‡. àÒÔÓθÁÛÂÚÒfl ‰Îfl ¢ ·Óθ¯Â„Ó ‡Ò¯ËÂÌËfl ‚·‡ˆËË. èË ËÏËÚ‡ˆËË ÂÒÚÂÒÚ‚ÂÌÌÓÈ Â‚Â·Â‡ˆËË ·Óθ¯Ó„Ó Á‡Î‡. àÏËÚËÛÂÚ Â‚Â·Â‡ˆË˛ ÒˆÂÌ˚. CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â ä ëÇÖÑÖçàû é·˚˜Ì‡fl ̇ÒÚÓÈ͇ — OFF. íÖêåàçéãéÉàü é·˚˜Ì‡fl ̇ÒÚÓÈ͇ — ˝ÚÓ Á‡‚Ó‰Ò͇fl ÛÒÚ‡Ìӂ͇ ̇ ÏÓÏÂÌÚ, ÍÓ„‰‡ ‚˚ ‚Ô‚˚ ‚Íβ˜‡ÂÚ ËÌÒÚÛÏÂÌÚ Clavinova. ä ëÇÖÑÖçàû îÛÌ͈Ëfl ÂÊËχ ΂ÓÈ Ô‰‡ÎË, (ÒÚ. 44) ÏÓÊÂÚ Á‡ÍÂÔËÚ¸ Á‡ ˝ÚÓÈ Ô‰‡Î¸˛ ÙÛÌÍˆË˛ ‚Íβ˜ÂÌËfl Ë ÓÚÍβ˜ÂÌËfl ÔÂÒÌË ËÎË ÙÛÌÍˆË˛ ‚‡Ë‡ˆËË (CLP-130). èêàåÖóÄçàÖ ÖÒÎË ‰Îfl Ô‡‡ÏÂÚ‡ BRILLIANCE ‚˚·‡ÌÓ Á̇˜ÂÌË BRIGHT, Á‚ÛÍ ·Û‰ÂÚ ÌÂÏÌÓ„Ó „ÓϘÂ. ÖÒÎË ‰Îfl Ô‡‡ÏÂÚ‡ MASTER VOLUME Á‡‰‡Ì ‚˚ÒÓÍËÈ ÛÓ‚Â̸, Á‚ÛÍ ÏÓÊÂÚ ËÒ͇ʇڸÒfl. Ç ˝ÚÓÏ ÒÎÛ˜‡Â ÒÌËÁ¸Ú ÛÓ‚Â̸ Ô‡‡ÏÂÚ‡ MASTER VOLUME. ä ëÇÖÑÖçàû 臇ÏÂÚ˚ ÚËÔ‡ ‚·‡ˆËË (‚ ÚÓÏ ˜ËÒΠԇ‡ÏÂÚ OFF) Ë Â „ÎÛ·Ë̇ Ò‚ÓË ‰Îfl Í‡Ê‰Ó„Ó ÚÂÏ·‡. ÑÂÈÒÚ‚Ëfl ç‡Ê‡ÚË ÍÌÓÔÍË [REVERB] ÔÓÔÂÂÏÂÌÌÓ ‚Íβ˜‡ÂÚ Ë ‚˚Íβ˜‡ÂÚ Â‚Â·Â‡ˆË˛. èË Í‡Ê‰ÓÏ Ì‡Ê‡ÚËË Ì‡ ÍÌÓÔÍÛ [VARIATION] ÔÓÒΉӂ‡ÚÂθÌÓ Á‡„Ó‡˛ÚÒfl Ë̉Ë͇ÚÓ˚. ÖÒÎË Ë̉Ë͇ÚÓ˚ Ì „ÓflÚ, ˝ÙÙÂÍÚ Ì ÒÓÁ‰‡ÂÚÒfl. чÊ ÂÒÎË ‰Îfl ̇ÒÚÓÈÍË REVERB ‚˚·‡ÌÓ Á̇˜ÂÌË «OFF», ÔË ‚˚·Ó ÚÂÏ·‡ GRAND PIANO 1 ÒÓÁ‰‡ÂÚÒfl ˝ÙÙÂÍÚ Â‚Â·Â‡ˆËË ‰ÂÍË. ç‡ÒÚÓÈ͇ „ÎÛ·ËÌ˚ ‚·‡ˆËË ç‡ÒÚÓÈÚ „ÎÛ·ËÌÛ Â‚Â·Â‡ˆËË ‰Îfl ‚˚·‡ÌÌÓ„Ó ÚÂÏ·‡ ÔË ÔÓÏÓ˘Ë ÍÌÓÔÓÍ [–/NO] [+/YES], Û‰ÂÊË‚‡fl ̇ʇÚÓÈ ÍÌÓÔÍÛ [REVERB]. ÉÎÛ·ËÌÛ Â‚Â·Â‡ˆËË ÏÓÊÌÓ Á‡‰‡‚‡Ú¸ ‚ ԉ·ı ÓÚ 0 ‰Ó 20. ÖÒÎË Ì‡Ê‡Ú‡ ÍÌÓÔ͇ [REVERB], ÚÂÍÛ˘Â Á̇˜ÂÌË „ÎÛ·ËÌ˚ ÔÓfl‚ÎflÂÚÒfl ̇ ‰ËÒÔÎÂÂ. ä ëÇÖÑÖçàû „ÎÛ·Ë̇ 0: ·ÂÁ ˝ÙÙÂÍÚ‡ „ÎÛ·Ë̇ [EFFECT] äÌÓÔ͇ [EFFECT] ÔÓÁ‚ÓÎflÂÚ ‚˚·‡Ú¸ ˝ÙÙÂÍÚ ‰Îfl Ôˉ‡ÌËfl Á‚ÛÍÛ ·Óθ¯ÂÈ „ÎÛ·ËÌ˚ Ë ÊË‚ÓÒÚË. OFF: CHORUS: PHASER: TREMOLO: DELAY: ä ëÇÖÑÖçàû éÚÔÛÒÚË‚ ÍÌÓÔÍÛ [REVERB], ‚˚ ËÁÏÂÌËÚ ÚËÔ Â‚Â·Â‡ˆËË. ÖÒÎË ‚˚ ËÁÏÂÌflÂÚ „ÎÛ·ËÌÛ Â‚Â·Â‡ˆËË, Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ [REVERB], ̇ʇÚË ̇ ÍÌÓÔÍÛ [REVERB] Ì ËÁÏÂÌËÚ ÚËÔ Â‚Â·Â‡ˆËË. ÖÒÎË ˝ÙÙÂÍÚ Ì ‚˚·‡Ì, Ë̉Ë͇ÚÓ EFFECT Ì „ÓËÚ àÒÍfl˘ËÈÒfl, ‡Ò¯Ëfl˛˘ËÈ ˝ÙÙÂÍÚ ÑÓ·‡‚ÎflÂÚ Á‚ÛÍÛ ˝ÙÙÂÍÚ ‡ÒÔÓÒÚ‡ÌÂÌËfl ùÙÙÂÍÚ ÚÂÏÓÎÓ ùÙÙÂÍÚ ˝ıÓ „ÎÛ·Ë̇ 20: χÍÒËχθ̇fl „ÎÛ·Ë̇ ‚·‡ˆËË ä ëÇÖÑÖçàû é·˚˜Ì˚ ԇ‡ÏÂÚ˚ „ÎÛ·ËÌ˚ Ò‚ÓË Û Í‡Ê‰Ó„Ó ÚÂÏ·‡. ä ëÇÖÑÖçàû íËÔ ˝ÙÙÂÍÚ‡ (‚ ÚÓÏ ˜ËÒΠԇ‡ÏÂÚ OFF) Ë Â„Ó „ÎÛ·Ë̇ ÔÓ ÛÏÓΘ‡Ì˲ Ò‚ÓË ‰Îfl Í‡Ê‰Ó„Ó ÚÂÏ·‡. ÑÂÈÒÚ‚Ëfl ÑÎfl ‚˚·Ó‡ ÚËÔ‡ ˝ÙÙÂÍÚ‡ ̇ÊËχÈÚ ÍÌÓÔÍÛ [EFFECT], ÔÓ͇ Ì Á‡„ÓËÚÒfl Ë̉Ë͇ÚÓ ÌÛÊÌÓ„Ó ˝ÙÙÂÍÚ‡ (Ë̉Ë͇ÚÓ˚ Á‡„Ó‡˛ÚÒfl ÔÓÒΉӂ‡ÚÂθÌÓ ÔË Í‡Ê‰ÓÏ Ì‡Ê‡ÚËË Ì‡ ÍÌÓÔÍÛ [EFFECT]). ÖÒÎË Ë̉Ë͇ÚÓ˚ Ì „ÓflÚ, ˝ÙÙÂÍÚ Ì ÒÓÁ‰‡ÂÚÒfl. ç‡ÒÚÓÈ͇ „ÎÛ·ËÌ˚ ˝ÙÙÂÍÚ‡ ç‡ÒÚÓÈÚ „ÎÛ·ËÌÛ ˝ÙÙÂÍÚ‡ ‰Îfl ‚˚·‡ÌÌÓ„Ó ÚÂÏ·‡ ÔË ÔÓÏÓ˘Ë ÍÌÓÔÓÍ [–/NO] Ë [+/YES], Û‰ÂÊË‚‡fl ̇ʇÚÓÈ ÍÌÓÔÍÛ [EFFECT]. ÉÎÛ·ËÌÛ ˝ÙÙÂÍÚ‡ ÏÓÊÌÓ Á‡‰‡‚‡Ú¸ ‚ ԉ·ı ÓÚ 0 ‰Ó 20. ÖÒÎË Ì‡Ê‡Ú‡ ÍÌÓÔ͇ [EFFECT], ÚÂÍÛ˘Â Á̇˜ÂÌË „ÎÛ·ËÌ˚ ÔÓfl‚ÎflÂÚÒfl ̇ Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ Ë̉Ë͇ÚÓÂ. „ÎÛ·Ë̇ ä ëÇÖÑÖçàû éÚÔÛÒÚË‚ ÍÌÓÔÍÛ [EFFECT], ‚˚ ËÁÏÂÌËÚ ÚËÔ ˝ÙÙÂÍÚ‡. ÖÒÎË ‚˚ ËÁÏÂÌflÂÚ ԇ‡ÏÂÚ „ÎÛ·ËÌ˚, Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ [EFFECT], ̇ʇÚË ̇ ÍÌÓÔÍÛ [EFFECT] Ì ËÁÏÂÌËÚ ÚËÔ ˝ÙÙÂÍÚ‡. ä ëÇÖÑÖçàû „ÎÛ·Ë̇ 0: ·ÂÁ ˝ÙÙÂÍÚ‡ „ÎÛ·Ë̇ 20: χÍÒËχθ̇fl „ÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ä ëÇÖÑÖçàû 臇ÏÂÚ˚ „ÎÛ·ËÌ˚ ÔÓ ÛÏÓΘ‡Ì˲ Ò‚ÓË ‰Îfl Í‡Ê‰Ó„Ó ÚÂÏ·‡. CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â 23 óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËΠ̇ʇÚËfl — [TOUCH] åÓÊÌÓ ‚˚·‡Ú¸ ˜ÂÚ˚ ‡Á΢Ì˚ı ÚËÔ‡ ‰Ë̇Ï˘ÂÒÍÓÈ ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË Í·‚ˇÚÛ˚ Í ÒËΠ̇ʇÚËfl HARD, MEDIUM, SOFT ËÎË FIXED, ÔÓ‰ıÓ‰fl˘Ëı ‰Îfl Ë„˚ ‚ ‡Á΢Ì˚ı ÒÚËÎflı Ë Ò ‡Á΢Ì˚ÏË Ì‡ÒÚÓÈ͇ÏË. HARD: óÚÓ·˚ ‰ÓÒÚ˘¸ χÍÒËχθÌÓÈ „ÓÏÍÓÒÚË, ÒË· ̇ʇÚËfl ̇ Í·‚Ë¯Ë ‰ÓÎÊ̇ ·˚Ú¸ Ó˜Â̸ ·Óθ¯ÓÈ. ä·‚Ë¯Ë Â‡„ËÛ˛Ú Ì‡ ÒËÎÛ Ì‡Ê‡ÚËfl Ó·˚˜Ì˚Ï Ó·‡ÁÓÏ. å‡ÍÒËχθ̇fl „ÓÏÍÓÒÚ¸ ‰ÓÒÚË„‡ÂÚÒfl ÔË ÓÚÌÓÒËÚÂθÌÓ Ì·Óθ¯ÓÈ ÒËΠ̇ʇÚËfl. ÉÓÏÍÓÒÚ¸ ÌÓÚ Ì Á‡‚ËÒËÚ ÓÚ ÒËÎ˚ ̇ʇÚËfl. ÉÓÏÍÓÒÚ¸ ÏÓÊÌÓ Ì‡Òڇ˂‡Ú¸. MEDIUM: SOFT: FIXED: ä ëÇÖÑÖçàû ùÚ‡ ̇ÒÚÓÈ͇ Ì ËÁÏÂÌflÂÚ ‚ÂÒ Í·‚ˇÚÛ˚. ä ëÇÖÑÖçàû é·˚˜Ì‡fl ̇ÒÚÓÈ͇ — MEDIUM. ä ëÇÖÑÖçàû íËÔ ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË Í ÒËΠ̇ʇÚËfl ·Û‰ÂÚ Ó·˘ËÏ ‰Îfl ‚ÒÂı ÚÂÏ·Ó‚. é‰Ì‡ÍÓ Ì‡ÒÚÓÈÍË ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË Í ÒËΠ̇ʇÚËfl ÏÓ„ÛÚ Ò··Ó ‚ÎËflÚ¸ ËÎË ‚ÓÓ·˘Â Ì ‚ÎËflÚ¸ ̇ ÌÂÍÓÚÓ˚ ÚÂÏ·˚, ÍÓÚÓ˚ ӷ˚˜ÌÓ Ì ‡„ËÛ˛Ú Ì‡ ‰Ë̇ÏËÍÛ Í·‚ˇÚÛ˚. (ëÏ. ÒÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚ ̇ ÒÚ. 63.) [—/NO] [+/YES] MIN MAX START/STOP BRIGHT BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 CHURCH ORGAN JAZZ ORGAN E.PIANO 1 E.PIANO 2 HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME MELLOW [TOUCH] DEMO METRONOME TEMPO FUNCTION — /NO +/ YES PRESET USER 1 USER 2 USER 3 TEMPO / FUNCTION TRACK 1 TRACK 2 START/STOP REC STRINGS CHOIR SONG VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT ON TOUCH TRANSPOSE ÑÂÈÒÚ‚Ëfl ÑÎfl ‚˚·Ó‡ ÚËÔ‡ ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË Í ÒËΠ̇ʇÚËfl ̇ÊËχÈÚ ÍÌÓÔÍÛ [TOUCH], ÔÓ͇ Ì Á‡„ÓËÚÒfl Ë̉Ë͇ÚÓ ÌÛÊÌÓ„Ó ˝ÙÙÂÍÚ‡ (Ë̉Ë͇ÚÓ˚ Á‡„Ó‡˛ÚÒfl ÔÓÒΉӂ‡ÚÂθÌÓ ÔË Í‡Ê‰ÓÏ Ì‡Ê‡ÚËË Ì‡ ÍÌÓÔÍÛ [TOUCH]). ÖÒÎË ‚˚·‡Ì Ô‡‡ÏÂÚ «FIXED», Ë̉Ë͇ÚÓ˚ Ì „ÓflÚ. àÁÏÂÌÂÌË „ÓÏÍÓÒÚË, ÂÒÎË ‚˚·‡Ì Ô‡‡ÏÂÚ FIXED ÖÒÎË ‚˚·‡Ì Ô‡‡ÏÂÚ «FIXED», „ÓÏÍÓÒÚ¸ ÌÓÚ, ËÒÔÓÎÌflÂÏ˚ı ‚ ÂÊËÏ FIXED ÏÓÊÌÓ ÛÒÚ‡ÌÓ‚ËÚ¸ ÔË ÔÓÏÓ˘Ë ÍÌÓÔÓÍ [–/NO] Ë [+/YES], Û‰ÂÊË‚‡fl ̇ʇÚÓÈ ÍÌÓÔÍÛ [TOUCH]. ç‡ ‰ËÒÔΠÔÓfl‚ÎflÂÚÒfl ÚÂÍÛ˘ËÈ ÛÓ‚Â̸ „ÓÏÍÓÒÚË. ÉÓÏÍÓÒÚ¸ ÏÓÊÌÓ ËÁÏÂÌflÚ¸ ‚ ‰Ë‡Ô‡ÁÓÌ ÓÚ 1 ‰Ó 127. Ç Í‡˜ÂÒÚ‚Â Ó·˚˜ÌÓÈ ËÒÔÓθÁÛÂÚÒfl ̇ÒÚÓÈ͇ 64. ä ëÇÖÑÖçàû 1: ÏËÌËχθ̇fl „ÓÏÍÓÒÚ¸ 127: χÍÒËχθ̇fl „ÓÏÍÓÒÚ¸ ÛÓ‚Â̸ „ÓÏÍÓÒÚË ä ëÇÖÑÖçàû ÉÓÏÍÓÒÚ¸ ‰Îfl ÂÊËχ FIXED — Ӊ̇ ‰Îfl ‚ÒÂı ÚÂÏ·Ó‚. ä ëÇÖÑÖçàû éÚÔÛÒÚË‚ ÍÌÓÔÍÛ [TOUCH], ‚˚ ËÁÏÂÌËÚ ÚËÔ ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË. ÖÒÎË ‚˚ ËÁÏÂÌflÂÚ „ÓÏÍÓÒÚ¸, Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ [TOUCH], ̇ʇÚË ̇ ˝ÚÛ ÍÌÓÔÍÛ Ì ÏÂÌflÂÚ ÚËÔ ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË. (éÒÚ‡ÌÂÚÒfl ‚˚·‡Ì Ô‡‡ÏÂÚ «FIXED».) 24 CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â í‡ÌÒÔÓÌËÓ‚‡ÌË — [TRANSPOSE] îÛÌ͈Ëfl Ú‡ÌÒÔÓÌËÓ‚‡ÌËfl ‚ ˆËÙÓ‚ÓÏ ÔˇÌËÌÓ Clavinova ÔÓÁ‚ÓÎflÂÚ ÔÓ‚˚¯‡Ú¸ ËÎË ÔÓÌËʇڸ ‚˚ÒÓÚÛ Á‚Û͇ ‚ÒÂÈ Í·‚ˇÚÛ˚ Ò ËÌÚ‚‡ÎÓÏ ‡‚Ì˚Ï ÔÓÎÛÚÓÌÛ, ˜ÚÓ·˚ ӷ΄˜ËÚ¸ Ë„Û ‚ ÒÎÓÊÌ˚ı ÚÓ̇θÌÓÒÚflı, Ë ‰‡ÂÚ ‚ÓÁÏÓÊÌÓÒÚ¸ ΄ÍÓ ÔÓ‰Ó·‡Ú¸ ‚˚ÒÓÚÛ Á‚Û͇ Í·‚ˇÚÛ˚, ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Û˛ ‰Ë‡Ô‡ÁÓÌÛ „ÓÎÓÒ‡ Ô‚ˆ‡ ËÎË ‰Û„Ëı ËÌÒÚÛÏÂÌÚÓ‚. ç‡ÔËÏÂ, ÂÒÎË ÛÒÚ‡ÌÓ‚ËÚ¸ ‚Â΢ËÌÛ Ú‡ÌÒÔÓÌËÓ‚‡ÌËfl ̇ 5, ÚÓ ÔË Ì‡Ê‡ÚËË Ì‡ Í·‚ˇÚÛ Í·‚Ë¯Ë C (‰Ó) ·Û‰ÂÚ Á‚Û˜‡Ú¸ ÌÓÚ‡ F (Ù‡). í‡ÍËÏ Ó·‡ÁÓÏ ÏÓÊÌÓ Ë„‡Ú¸ ÔÂÒÌ˛, Í‡Í ˝ÚÓ ‰Â·ÂÚÒfl ‚ ‰Ó-χÊÓÂ, ‡ Clavinova Ú‡ÌÒÔÓÌËÛÂÚ Á‚ÛÍ ‚ Ù‡-χÊÓ. [—/NO] [+/YES] MIN MAX START/STOP BRIGHT BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 E.PIANO 1 E.PIANO 2 HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION CHURCH ORGAN JAZZ ORGAN STRINGS CHOIR GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME MELLOW [TRANSPOSE] DEMO METRONOME TEMPO FUNCTION TEMPO / FUNCTION — /NO +/ YES PRESET USER 1 USER 2 USER 3 TRACK 1 TRACK 2 START/STOP REC SONG VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT ON TOUCH TRANSPOSE ÑÂÈÒÚ‚Ëfl óÚÓ·˚ ÔÓ‚˚ÒËÚ¸ ËÎË ÔÓÌËÁËÚ¸ ‚˚ÒÓÚÛ Á‚Û͇, ËÒÔÓθÁÛÈÚ ÍÌÓÔÍË [–/NO] Ë [+/YES], Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ [TRANSPOSE]. á̇˜ÂÌË ڇÌÒÔÓÌËÓ‚‡ÌËfl ÔÓfl‚ÎflÂÚÒfl ̇ Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ Ë̉Ë͇ÚÓÂ, ÂÒÎË Û‰ÂÊË‚‡ÂÚÒfl ÍÌÓÔ͇ [TRANSPOSE]. èÓ ÛÏÓΘ‡Ì˲ Á̇˜ÂÌË ڇÌÒÔÓÌËÓ‚‡ÌËfl ‡‚ÌÓ 0. Á̇˜ÂÌË ڇÌÒÔÓÌËÓ‚‡ÌËfl à̉Ë͇ÚÓ ÍÌÓÔÍË [TRANSPOSE] „ÓËÚ, ÂÒÎË ‚˚·‡ÌÌÓ Á̇˜ÂÌË ڇÌÒÔÓÌËÓ‚‡ÌËfl Ì ‡‚ÌÓ 0. ç‡Ê‡ÚË ÍÌÓÔÍË [TRANSPOSE] ÔÓÒΠ˝ÚÓ„Ó ‚Íβ˜‡ÂÚ ËÎË ‚˚Íβ˜‡ÂÚ ÙÛÌÍˆË˛ Ú‡ÌÒÔÓÌËÓ‚‡ÌËfl. íÖêåàçéãéÉàü í‡ÌÒÔÓÌËÓ‚‡ÌË — ˝ÚÓ ËÁÏÂÌÂÌË ÚÓ̇θÌÓÒÚË ÔÂÒÌË. ç‡ ˆËÙÓ‚ÓÏ ÔˇÌËÌÓ Clavinova Ú‡ÌÒÔÓÌËÓ‚‡ÌË ËÁÏÂÌflÂÚ ‚˚ÒÓÚÛ Á‚Û͇ ‚ÒÂÈ Í·‚ˇÚÛ˚. ä ëÇÖÑÖçàû ÑˇԇÁÓÌ Ú‡ÌÒÔÓÌËÓ‚‡ÌËfl: -12: -12 ÔÓÎÛÚÓÌÓ‚ (̇ Ó‰ÌÛ ÓÍÚ‡‚Û ÌËÊÂ) 0: Òڇ̉‡Ú̇fl ‚˚ÒÓÚ‡ Á‚Û͇ 12: 12 ÔÓÎÛÚÓÌÓ‚ (̇ Ó‰ÌÛ ÓÍÚ‡‚Û ‚˚¯Â) ä ëÇÖÑÖçàû çÓÚ˚ ÌËÊÂ Ë ‚˚¯Â ‰Ë‡Ô‡ÁÓ̇ Îfl ÒÛ·ÍÓÌÚÓÍÚ‡‚˚ – ‰Ó ÔflÚÓÈ ÓÍÚ‡‚˚ ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ CLP-130/120 Á‚Û˜‡Ú ÒÓÓÚ‚ÂÚÒÚ‚ÂÌÌÓ Ì‡ Ó‰ÌÛ ÓÍÚ‡‚Û ‚˚¯Â ËÎË ÌËÊÂ. CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â 25 ç‡ÎÓÊÂÌË ÚÂÏ·Ó‚ ç‡ ‚ÒÂÈ Í·‚ˇÚÛ ÏÓÊÌÓ Ó‰ÌÓ‚ÂÏÂÌÌÓ Ë„‡Ú¸ ‰‚ÛÏfl ÚÂÏ·‡ÏË. ùÚÓ ÔÓÁ‚ÓÎflÂÚ ËÏËÚËÓ‚‡Ú¸ ÏÂÎӉ˘ÂÒÍËÈ ‰Û˝Ú ËÎË ÒÓ˜ÂÚ‡Ú¸ ‰‚‡ ÔÓıÓÊËı ÚÂÏ·‡ ‰Îfl ÔÓÎÛ˜ÂÌËfl ·ÓΠ̇Ò˚˘ÂÌÌÓ„Ó Á‚Û͇. 1 MIN MAX START/STOP BRIGHT BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 E.PIANO 1 E.PIANO 2 HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION CHURCH ORGAN JAZZ ORGAN STRINGS CHOIR GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME MELLOW 2 DEMO METRONOME TEMPO FUNCTION — /NO +/ YES PRESET USER 1 USER 2 USER 3 TRACK 1 TRACK 2 START/STOP REC SONG TEMPO / FUNCTION VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT ON TOUCH TRANSPOSE ÑÂÈÒÚ‚Ëfl 1. ÇÍβ˜ÂÌË ÂÊËχ ̇ÎÓÊÂÌËfl (Dual) èêàåÖóÄçàÖ (CLP-130) êÂÊËÏ˚ Dual Ë Split (ÒÚ. 27) ÌÂθÁfl ‚˚Á‚‡Ú¸ Ó‰ÌÓ‚ÂÏÂÌÌÓ. é‰ÌÓ‚ÂÏÂÌÌÓ Ì‡ÊÏËÚ ÍÌÓÔÍË ‰‚Ûı ÚÂÏ·Ó‚ (ËÎË Ì‡ÊÏËÚ ÍÌÓÔÍÛ Ó‰ÌÓ„Ó ÚÂÏ·‡, Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ ‰Û„Ó„Ó). ÖÒÎË ‚Íβ˜ËÚÒfl ÂÊËÏ Dual, Á‡„ÓflÚÒfl Ë̉Ë͇ÚÓ˚ Ó·ÓËı ‚˚·‡ÌÌ˚ı ÚÂÏ·Ó‚. • Ç ÒÓÓÚ‚ÂÚÒÚ‚ËË Ò ÌÛχˆËÂÈ ÚÂÏ·Ó‚, Û͇Á‡ÌÌÓÈ ÒÔ‡‚‡, ÚÂÏ· Ò ÏÂ̸¯ËÏ ÌÓÏÂÓÏ ÒÚ‡ÌÓ‚ËÚÒfl ÚÂÏ·ÓÏ 1, ‰Û„ÓÈ ÚÂÏ·ÓÏ 2. é˜Â‰ÌÓÒÚ¸ ÌÛχˆËË ÚÂÏ·Ó‚ 1 2 3 4 5 6 7 GRAND PIANO 1 GRAND PIANO 2 E.PIANO 1 E.PIANO 2 HARPSICHORD E.CLAVICHORD VIBRAPHONE CHURCH ORGAN JAZZ ORGAN STRINGS CHOIR GUITAR WOOD BASS E.BASS 13 14 VOICE 8 9 10 11 12 êÂÊËÏ Function ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ CLP-130/120 Ó·ÂÒÔ˜˂‡ÂÚ ‰ÓÒÚÛÔ Í ÌÂÍÓÚÓ˚Ï ‰Û„ËÏ ÙÛÌ͈ËflÏ ÂÊËχ Dual, ̇ÔËÏÂ Í Ì‡ÒÚÓÈÍ ·‡Î‡ÌÒ‡ „ÓÏÍÓÒÚË ËÎË Ì‡ÒÚÓÈÍ ÓÍÚ‡‚˚ (ÒÚ. 42). (ÖÒÎË ÙÛÌ͈ËË ÂÊËχ Dual Ì ̇ÒÚÓÂÌ˚, ‰Îfl Í‡Ê‰Ó„Ó ÚÂÏ·‡ ·Û‰ÛÚ ËÒÔÓθÁÓ‚‡Ì˚ ̇ÒÚÓÈÍË ÔÓ ÛÏÓΘ‡Ì˲.) 2. Ç˚ıÓ‰ ËÁ ÂÊËχ Dual Ë ‚ÓÁ‚‡Ú ‚ Ó·˚˜Ì˚È ÂÊËÏ óÚÓ·˚ ‚ÂÌÛÚ¸Òfl ‚ Ó·˚˜Ì˚È ÂÊËÏ Ë„˚ Ò Ó‰ÌËÏ ÚÂÏ·ÓÏ, ̇ÊÏËÚ ÍÌÓÔÍÛ Î˛·Ó„Ó ÚÂÏ·‡. ä ëÇÖÑÖçàû [VARIATION] Ë Dual (CLP-130) à̉Ë͇ÚÓ ÍÌÓÔÍË [VARIATION] „ÓËÚ, ÂÒÎË ‰Îfl Ó‰ÌÓ„Ó ËÎË Ó·ÓËı ÚÂÏ·Ó‚ ‚ ÂÊËÏ Dual ËÒÔÓθÁÛÂÚÒfl ‚‡Ë‡ˆËfl. Ç ÂÊËÏ Dual ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ÍÌÓÔÍÛ [VARIATION] ‰Îfl ‚Íβ˜ÂÌËfl Ë ÓÚÍβ˜ÂÌËfl ‚‡Ë‡ˆËË Ó·ÓËı ÚÂÏ·Ó‚. óÚÓ·˚ ‚Íβ˜ËÚ¸ ËÎË ÓÚÍβ˜ËÚ¸ ‚‡Ë‡ˆË˛ ‰Îfl Ó‰ÌÓ„Ó ËÁ ÚÂÏ·Ó‚, ̇ÊÏËÚ ÍÌÓÔÍÛ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â„Ó ÚÂÏ·‡ ÔË Ì‡Ê‡ÚÓÈ ÍÌÓÔÍ ‰Û„Ó„Ó ÚÂÏ·‡. ä ëÇÖÑÖçàû [REVERB] Ë ÂÊËÏ Dual èËÓËÚÂÚÌ˚Ï fl‚ÎflÂÚÒfl ÚËÔ Â‚Â·Â‡ˆËË, ‚˚·‡ÌÌ˚È ‰Îfl ÚÂÏ·‡ 1. (ÖÒÎË Â‚Â·Â‡ˆËfl ÓÚÍβ˜Â̇, ÚËÔ Â‚Â·Â‡ˆËË ÚÂÏ·‡ 2 Ì ËÒÔÓθÁÛÂÚÒfl.) ç‡ÒÚÓÈÍË „ÎÛ·ËÌ˚ ‚·‡ˆËË, ҉·ÌÌ˚ ÍÌÓÔ͇ÏË [–/NO] ËÎË [+/YES] ÔË Ì‡Ê‡ÚÓÈ ÍÌÓÔÍ [REVERB] (ÒÚ. 22), ÔËÏÂÌfl˛ÚÒfl ÚÓθÍÓ Í ÚÂÏ·Û 1. ä ëÇÖÑÖçàû [EFFECT] Ë ÂÊËÏ Dual é‰ËÌ ÚËÔ ˝ÙÙÂÍÚ‡ ÏÓÊÂÚ ·˚Ú¸ ÔËÓËÚÂÚÌ˚Ï ÔÓ ÓÚÌÓ¯ÂÌ˲ Í ‰Û„ÓÏÛ. ÉÎÛ·Ë̇ ÓÔ‰ÂÎflÂÚÒfl ‚ ÒÓÓÚ‚ÂÚÒÚ‚ËË Ò Ó·˚˜ÌÓÈ „ÎÛ·ËÌÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚. ë ÔÓÏÓ˘¸˛ ÙÛÌ͈ËË F3 (ÒÚ. 42) ÏÓÊÌÓ Ì‡ÒÚÓËÚ¸ „ÎÛ·ËÌÛ ‰Îfl Í‡Ê‰Ó„Ó ÚÂÏ·‡ ÔÓ Ò‚ÓÂÏÛ ÛÒÏÓÚÂÌ˲. ç‡ÒÚÓÈÍË „ÎÛ·ËÌ˚ ˝ÙÙÂÍÚ‡, ҉·ÌÌ˚ ÍÌÓÔ͇ÏË [–/NO] ËÎË [+/YES] ÔË Ì‡Ê‡ÚÓÈ ÍÌÓÔÍ [EFFECT] (ÒÚ. 23), ÔËÏÂÌfl˛ÚÒfl ÚÓθÍÓ Í ÚÂÏ·Û 1. 26 CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â ê‡Á‰ÂÎÂÌË Í·‚ˇÚÛ˚ (CLP-130) êÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ ÔÓÁ‚ÓÎflÂÚ ËÒÔÓθÁÓ‚‡Ú¸ Ó‰ËÌ ÚÂÏ· ‰Îfl ΂ÓÈ ÛÍË Ë ‰Û„ÓÈ ‰Îfl Ô‡‚ÓÈ. ç‡ÔËÏÂ, ΂ÓÈ ÛÍÓÈ ÏÓÊÌÓ Ë„‡Ú¸ ·‡ÒÓ‚Û˛ Ô‡Ú˲ Ò ÚÂÏ·ÓÏ WOOD BASS ËÎË ELECTRIC BASS, ‡ Ô‡‚ÓÈ - ÏÂÎӉ˲. äÌÓÔÍË ‚˚·Ó‡ ÚÂÏ·‡ MIN MAX START/STOP BRIGHT BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 E.PIANO 1 E.PIANO 2 HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION CHURCH ORGAN JAZZ ORGAN STRINGS CHOIR GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME MELLOW [SPLIT] DEMO TEMPO FUNCTION METRONOME — /NO +/ YES PRESET USER 1 USER 2 USER 3 TRACK 1 TRACK 2 START/STOP REC SONG TEMPO / FUNCTION VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT ON TOUCH TRANSPOSE ÑÂÈÒÚ‚Ëfl 1. ÇÍβ˜ÂÌË ÂÊËχ ‡Á‰ÂÎÂÌËfl (Split) ç‡ÊÏËÚ ÍÌÓÔÍÛ [SPLIT], ˜ÚÓ·˚ Á‡„ÓÂÎÒfl  Ë̉Ë͇ÚÓ. ë̇˜‡Î‡ ‰Îfl ΂ÓÈ ÛÍË ÔÓ ÛÏÓΘ‡Ì˲ ‚˚·Ë‡ÂÚÒfl ÚÂÏ· WOOD BASS. êÂÊËÏ Function ‰‡ÂÚ ‰ÓÒÚÛÔ Í ÌÂÍÓÚÓ˚Ï ‰Û„ËÏ ÙÛÌ͈ËflÏ ÂÊËχ Split (ÒÚ. 43). (ÖÒÎË ÙÛÌ͈ËË ÂÊËχ Split Ì ̇ÒÚÓÂÌ˚, ‰Îfl Í‡Ê‰Ó„Ó ÚÂÏ·‡ ·Û‰ÛÚ ËÒÔÓθÁÓ‚‡Ì˚ ̇ÒÚÓÈÍË ÔÓ ÛÏÓΘ‡Ì˲.) èêàåÖóÄçàÖ êÂÊËÏ˚ Dual (ÒÚ. 26) Ë Split (ÒÚ. 26) ÌÂθÁfl ËÒÔÓθÁÓ‚‡Ú¸ Ó‰ÌÓ‚ÂÏÂÌÌÓ. 2. ì͇Á‡ÌË ÚÓ˜ÍË ‡Á‰ÂÎÂÌËfl (Ô‡‚ÓÈ Ë Î‚ÓÈ ˜‡ÒÚË Í·‚ˇÚÛ˚) åÓÊÌÓ ÔÂÂÌÂÒÚË ÚÓ˜ÍÛ ‡Á‰ÂÎÂÌËfl Í·‚ˇÚÛ˚ ̇ β·Û˛ ‰Û„Û˛ Í·‚˯Û, ̇ʇ‚ ÂÂ, Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ [SPLIT] (̇Á‚‡ÌË ÚÂÍÛ˘ÂÈ Í·‚Ë¯Ë ‡Á‰ÂÎÂÌËfl Í·‚ˇÚÛ˚ ÓÚÓ·‡Ê‡ÂÚÒfl ̇ Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ Ë̉Ë͇ÚÓÂ, ÔÓ͇ Û‰ÂÊË‚‡ÂÚÒfl ÍÌÓÔ͇ [SPLIT]). ä ëÇÖÑÖçàû ᇉ‡Ì̇fl ÚӘ͇ ‡Á‰ÂÎÂÌËfl Í·‚ˇÚÛ˚ (split point) ‚ıÓ‰ËÚ ‚ ÎÂ‚Û˛ ˜‡ÒÚ¸. èËÏ Ë̉Ë͇ˆËË ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl Í·‚ˇÚÛ˚ (F 2) ‰ËÂÁ — ˜ÂÚ‡ ̇‚ÂıÛ (G2) ä ëÇÖÑÖçàû íÓ˜ÍÛ ‡Á‰ÂÎÂÌËfl ÏÓÊÌÓ Á‡‰‡Ú¸ Ë ÔË ÔÓÏÓ˘Ë ÙÛÌ͈ËË Function 4 (ÒÚ. 43). (A 2) ·ÂÏÓθ — ˜ÂÚ‡ ‚ÌËÁÛ é·˚˜ÌÓ ÚӘ͇ ‡Á‰ÂÎÂÌËfl Í·‚ˇÚÛ˚ ÛÒÚ‡ÌÓ‚ÎÂ̇ ̇ Í·‚˯ ه χÎÓÈ ÓÍÚ‡‚˚. ÖÒÎË ÚÓ˜ÍÛ ‡Á‰ÂÎÂÌËfl Ì Ú·ÛÂÚÒfl ËÁÏÂÌËÚ¸, Ì ‚˚ÔÓÎÌflÈÚ ˝ÚË ‰ÂÈÒÚ‚Ëfl. CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â 27 3. Ç˚·Ó ÚÂÏ·‡ ‰Îfl Ô‡‚ÓÈ ÛÍË ç‡ÊÏËÚ ÍÌÓÔÍÛ ÚÂÏ·‡. 4. Ç˚·Ó ÚÂÏ·‡ ‰Îfl ΂ÓÈ ÛÍË ç‡ÊÏËÚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Û˛ ÍÌÓÔÍÛ ÚÂÏ·‡, Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ [SPLIT]. (à̉Ë͇ÚÓ ÍÌÓÔÍË ÚÂÏ·‡ ΂ÓÈ ÛÍË ·Û‰ÂÚ „ÓÂÚ¸, ÔÓ͇ ̇ʇڇ ÍÌÓÔ͇ [SPLIT].) ÑÎfl ‚Íβ˜ÂÌËfl Ë ÓÚÍβ˜ÂÌËfl ‚‡Ë‡ˆËË ‰Îfl ÌËÊÌÂ„Ó ÚÂÏ·‡, Û‰ÂÊË‚‡ÈÚ ÍÌÓÔÍÛ [SPLIT] Ë Ì‡ÊÏËÚ ÍÌÓÔÍÛ [VARIATION] ËÎË ÍÌÓÔÍÛ ‚˚·‡ÌÌÓ„Ó Ì‡ ˝ÚÓÚ ÏÓÏÂÌÚ ÚÂÏ·‡. 5. Ç˚ıÓ‰ ËÁ ÂÊËχ Split Ë ‚ÓÁ‚‡Ú ‚ Ó·˚˜Ì˚È ÂÊËÏ ç‡ÊÏËÚ ÍÌÓÔÍÛ [SPLIT] ¢ ‡Á, ˜ÚÓ·˚  Ë̉Ë͇ÚÓ ÔÓ„‡Ò. ä ëÇÖÑÖçàû [VARIATION] Ë ÂÊËÏ Split ÑÎfl ÚÂÏ·Ó‚ ‚ ÂÊËÏ Split ÏÓÊÌÓ ‚Íβ˜‡Ú¸ Ë ‚˚Íβ˜‡Ú¸ ‚‡Ë‡ˆË˛. é·˚˜ÌÓ ‚ ÂÊËÏ Split „ÓËÚ Ë̉Ë͇ÚÓ ÚÂÏ·‡ Ô‡‚ÓÈ ÛÍË. äÌÓÔÍÛ [VARIATION] ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ‰Îfl ‚Íβ˜ÂÌËfl Ë ÓÚÍβ˜ÂÌËfl ‚‡Ë‡ˆËË ÚÂÏ·‡ Ô‡‚ÓÈ ÛÍË. é‰Ì‡ÍÓ ÂÒÎË Û‰ÂÊË‚‡ÂÚÒfl ÍÌÓÔ͇ [SPLIT], „ÓËÚ Ë̉Ë͇ÚÓ ÚÂÏ·‡ ΂ÓÈ ÛÍË. Ç ˝ÚÓÏ ÒÎÛ˜‡Â ÍÌÓÔ͇ [VARIATION] ‚Íβ˜‡ÂÚ Ë ‚˚Íβ˜‡ÂÚ ‚‡Ë‡ˆË˛ ‰Îfl ÚÂÏ·‡ ΂ÓÈ ÛÍË. ä ëÇÖÑÖçàû [REVERB] Ë ÂÊËÏ Split èËÓËÚÂÚÌ˚Ï fl‚ÎflÂÚÒfl ÚËÔ Â‚Â·Â‡ˆËË, ‚˚·‡ÌÌ˚È ‰Îfl ÚÂÏ·‡ Ô‡‚ÓÈ ÛÍË. (ÖÒÎË Â‚Â·Â‡ˆËfl ÓÚÍβ˜Â̇, ÚËÔ Â‚Â·Â‡ˆËË ÚÂÏ·‡ ΂ÓÈ ÛÍË Ì ·Û‰ÂÚ ËÒÔÓθÁÓ‚‡Ú¸Òfl.) ç‡ÒÚÓÈÍË „ÎÛ·ËÌ˚ ‚·‡ˆËË, ҉·ÌÌ˚ ̇ Ô‡ÌÂÎË ÛÔ‡‚ÎÂÌËfl (̇ÔËÏ ̇ʇÚËÂÏ ÍÌÓÔÓÍ [–/NO] ËÎË [+/YES], ÍÓ„‰‡ Û‰ÂÊË‚‡ÂÚÒfl ÍÌÓÔ͇ [REVERB] ÒÏ. ÒÚ. 22), ÔËÏÂÌfl˛ÚÒfl ÚÓθÍÓ Í ÚÂÏ·Û Ô‡‚ÓÈ ÛÍË. ä ëÇÖÑÖçàû [EFFECT] Ë ÂÊËÏ Split é‰ËÌ ÚËÔ ˝ÙÙÂÍÚ‡ fl‚ÎflÂÚÒfl ÔËÓËÚÂÚÌ˚Ï ÔÓ ÓÚÌÓ¯ÂÌ˲ Í ‰Û„ÓÏÛ. ÉÎÛ·Ë̇ ÓÔ‰ÂÎflÂÚÒfl ‚ ÒÓÓÚ‚ÂÚÒÚ‚ËË Ò Ó·˚˜ÌÓÈ „ÎÛ·ËÌÓÈ ‰Îfl ‰‡ÌÌÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚. ë ÔÓÏÓ˘¸˛ ÙÛÌ͈ËË F4 (ÒÚ. 43) ÏÓÊÌÓ ËÁÏÂÌËÚ¸ „ÎÛ·ËÌÛ ‰Îfl Í‡Ê‰Ó„Ó ÚÂÏ·‡ ÔÓ Ò‚ÓÂÏÛ ÛÒÏÓÚÂÌ˲. ç‡ÒÚÓÈÍË „ÎÛ·ËÌ˚ ˝ÙÙÂÍÚ‡, ҉·ÌÌ˚ ̇ Ô‡ÌÂÎË ÛÔ‡‚ÎÂÌËfl (̇ÔËÏ ̇ʇÚËÂÏ ÍÌÓÔÓÍ [–/NO] ËÎË [+/YES] ÔË Ì‡Ê‡ÚÓÈ ÍÌÓÔÍ [EFFECT] ÒÏ. ÒÚ. 23), ÔËÏÂÌfl˛ÚÒfl ÚÓθÍÓ Í ÚÂÏ·Û Ô‡‚ÓÈ ÛÍË. 28 CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â àÒÔÓθÁÓ‚‡ÌË ÏÂÚÓÌÓχ Ç ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova ‚ÒÚÓÂÌ ÏÂÚÓÌÓÏ (ÔË·Ó, Á‡‰‡˛˘ËÈ ÚÂÏÔ ËÒÔÓÎÌÂÌËfl), ˜ÚÓ Û‰Ó·ÌÓ ‰Îfl ÛÔ‡ÊÌÂÌËÈ. 1 2 MIN [TEMPO/FUNCTION# ▲▼] MAX START/STOP BRIGHT BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 E.PIANO 1 E.PIANO 2 HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION CHURCH ORGAN JAZZ ORGAN STRINGS CHOIR GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME MELLOW [—/NO] [+/YES] DEMO METRONOME TEMPO FUNCTION — /NO +/ YES PRESET USER 1 USER 2 USER 3 TEMPO / FUNCTION TRACK 1 TRACK 2 START/STOP REC SONG VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT ON TOUCH TRANSPOSE ÑÂÈÒÚ‚Ëfl 1. á‡ÔÛÒÍ ÏÂÚÓÌÓχ á‚ÛÍ ÏÂÚÓÌÓχ ‚Íβ˜‡ÂÚÒfl ̇ʇÚËÂÏ ÍÌÓÔÍË METRONOME [START/STOP]. ç‡ÒÚÓÈ͇ ÚÂÏÔ‡ à̉Ë͇ÚÓ ‰ÓÎË ÏË„‡ÂÚ ‚ ÚÂÍÛ˘ÂÏ ÚÂÏÔÂ. èË ÔÓÏÓ˘Ë ÍÌÓÔÓÍ [TEMPO/FUNCTION# ▼, ▲] ÚÂÏÔ ÏÂÚÓÌÓχ Ë ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÔÂÒÌË, Á‡ÔËÒ‡ÌÌÓÈ ÔÓθÁÓ‚‡ÚÂÎÂÏ (Á‡ÔËÒ¸ ÔÂÒÂÌ ÓÔË҇̇ ‚ ÒÎÂ‰Û˛˘ÂÏ ‡Á‰ÂÎÂ), ÏÓÊÌÓ ËÁÏÂÌflÚ¸ ‚ ‰Ë‡Ô‡ÁÓÌ ÓÚ 32 ‰Ó 280 Û‰‡Ó‚ ‚ ÏËÌÛÚÛ (ÂÒÎË „ÓËÚ Ë̉Ë͇ÚÓ ÍÌÓÔÍË [TEMPO/FUNCTION# ▼, ▲] [TEMPO]). ç‡ÒÚÓÈ͇ ˜‡ÒÚÓÚ˚ Ò˄̇· ÏÂÚÓÌÓχ ó‡ÒÚÓÚÛ Ò˄̇ÎÓ‚ (Û‰‡Ó‚) ÏÂÚÓÌÓχ ÏÓÊÌÓ Á‡‰‡Ú¸ ÔË ÔÓÏÓ˘Ë ÍÌÓÔÓÍ [–/NO] Ë [+/YES], Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ METRONOME [START/STOP]. åÓÊÌÓ ÛÒÚ‡ÌÓ‚ËÚ¸ ‰Óβ ̇ 0, 2, 3, 4, 5 ËÎË 6. íÂÍÛ˘Â Á̇˜ÂÌË ÔÓfl‚ÎflÂÚÒfl ̇ Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ Ë̉Ë͇ÚÓÂ, ÂÒÎË Ì‡Ê‡Ú‡ ÍÌÓÔ͇ METRONOME [START/STOP]. ‰ÓÎfl ä ëÇÖÑÖçàû ÖÒÎË „ÓËÚ Ë̉Ë͇ÚÓ [FUNCTION#] ÍÌÓÔÍË [TEMPO/ FUNCTION#], ̇ÊÏËÚ ÍÌÓÔÍÛ [TEMPO/FUNCTION#], ˜ÚÓ·˚ Á‡„ÓÂÎÒfl Ë̉Ë͇ÚÓ [TEMPO]. ä ëÇÖÑÖçàû ÉÓÏÍÓÒÚ¸ ÏÂÚÓÌÓχ ÏÓÊÌÓ Ì‡ÒÚÓËÚ¸ ÔË ÔÓÏÓ˘Ë ÙÛÌ͈ËË Metronome Volume ‚ ÂÊËÏ Function (ÒÚ. 45). 2. éÒÚ‡Ìӂ͇ ÏÂÚÓÌÓχ éÚÍβ˜ËÚ¸ ÏÂÚÓÌÓÏ ÏÓÊÌÓ ÍÌÓÔÍÓÈ METRONOME [START/STOP]. CLP-130/120 à„‡ ‚ ‚˚·‡ÌÌÓÏ ÚÂÏ·Â 29 á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl ÇÓ ‚ÂÏfl ÛÔ‡ÊÌÂÌËÈ ËÌÓ„‰‡ ÔÓÎÂÁÌÓ ÔÓÒÎÛ¯‡Ú¸ ÒÓ·ÒÚ‚ÂÌÌÛ˛ Ë„Û Ì‡ CLP-130/120. åÓÊÌÓ, ̇ÔËÏÂ, Á‡ÔËÒ‡Ú¸ ÚÓθÍÓ Ô‡Ú˲ ΂ÓÈ ÛÍË, ‡ Á‡ÚÂÏ ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸  ‚Ó ‚ÂÏfl ÛÔ‡ÊÌÂÌËÈ Ô‡‚ÓÈ ÛÍÓÈ. àÎË, Ú‡Í Í‡Í ÏÓÊÌÓ Á‡ÔËÒ‡Ú¸ ‰‚ ‰ÓÓÊÍË ÓÚ‰ÂθÌÓ, ÏÓÊÌÓ ÔÓ ÓÚ‰ÂθÌÓÒÚË Á‡ÔËÒ‡Ú¸ Ô‡ÚËË Î‚ÓÈ Ë Ô‡‚ÓÈ ÛÍË ËÎË Ó·Â Ô‡ÚËË Ë ÔÓÒÎÛ¯‡Ú¸, Í‡Í ÓÌË Á‚Û˜‡Ú ÔË ‚ÓÒÔÓËÁ‚‰ÂÌËË. ç‡ ‰‚ ‰ÓÓÊÍË CLP-130 ÏÓÊÌÓ Á‡ÔËÒ‡Ú¸ ‰Ó ÚÂı ÔÂÒÂÌ ÔÓθÁÓ‚‡ÚÂÎfl (Ó‰ÌÛ ÔÂÒÌ˛ ÔÓθÁÓ‚‡ÚÂÎfl ̇ CLP-120). ä ëÇÖÑÖçàû á‡ÔËÒ‡Ú¸ Ò‚Ó˛ Ë„Û ÏÓÊÌÓ Ì‡ χ„ÌËÚÓÙÓÌ ËÎË ‰Û„Ó ÛÒÚÓÈÒÚ‚Ó ˜ÂÂÁ AUX OUT (ÒÚ. 50). íÖêåàçéãéÉàü á‡ÔËÒ¸ Ë ÒÓı‡ÌÂÌË ‰‡ÌÌ˚ı îÓÏ‡Ú ‰‡ÌÌ˚ı ÔË Á‡ÔËÒË Ì‡ ͇ÒÒÂÚÛ ÓÚ΢‡ÂÚÒfl ÓÚ ÙÓχڇ ‰‡ÌÌ˚ı, Á‡ÔËÒ˚‚‡ÂÏ˚ı ‚ Ô‡ÏflÚ¸ Clavinova. ç‡ Í‡ÒÒÂÚÛ Á‡ÔËÒ˚‚‡˛ÚÒfl ‡Û‰ËÓÒ˄̇Î˚. äÓ„‰‡ ‚˚ ÔÓË„˚‚‡ÂÚ Á‡ÔËÒ‡ÌÌ˚ ÔÂÒÌË, Clavinova „ÂÌÂËÛÂÚ Á‚ÛÍ ‚ ÒÓÓÚ‚ÂÚÒÚ‚ËË Ò ËÌÙÓχˆËÂÈ, ÍÓÚÓ‡fl ı‡ÌËÚÒfl ‚ Ô‡ÏflÚË. èÓ˝ÚÓÏÛ Á‡ÔËÒ¸ ‚ Ô‡ÏflÚ¸ Clavinova ÚӘ̠·˚ÎÓ ·˚ ̇Á‚‡Ú¸ ÒÓı‡ÌÂÌËÂÏ. çÓ ‚ ˝ÚÓÈ ÍÌË„Â ˜‡ÒÚÓ ËÒÔÓθÁÛÂÚÒfl ÒÎÓ‚Ó Á‡ÔËÒ¸, Ú‡Í Í‡Í ˝ÚÓ Í‡ÊÂÚÒfl ·ÓΠÎӄ˘Ì˚Ï. á‡ÔËÒ¸ ̇ ‰ÓÓÊÍÛ TRACK1 1 4 5 6 7 MIN MAX START/STOP BRIGHT BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 CHURCH ORGAN JAZZ ORGAN E.PIANO 1 E.PIANO 2 DEMO METRONOME TEMPO FUNCTION TEMPO / FUNCTION — /NO +/ YES PRESET USER 1 USER 2 USER 3 TRACK 1 TRACK 2 START/STOP REC STRINGS CHOIR SONG ÑÂÈÒÚ‚Ëfl ÇçàåÄçàÖ! á‡Ï˜‡ÌËfl Ó Á‡ÔËÒË èÓÒΠÓÚÍβ˜ÂÌËfl ÔËÚ‡ÌËfl ‚Ò Á‡ÔËÒ‡ÌÌ˚ ‰‡ÌÌ˚ ÔÂÒÌË ÔÓθÁÓ‚‡ÚÂÎfl ı‡ÌflÚÒfl ‚ Ô‡ÏflÚË ÔˇÌËÌÓ ÓÍÓÎÓ Ì‰ÂÎË. ÖÒÎË ÌÛÊÌÓ, ˜ÚÓ·˚ ‰‡ÌÌ˚ ı‡ÌËÎËÒ¸ ‰Óθ¯Â, ‚Íβ˜‡ÈÚ ÔËÚ‡ÌË ıÓÚfl ·˚ ‡Á ‚ ̉Âβ ̇ ÌÂÒÍÓθÍÓ ÏËÌÛÚ. àÒÔÓθÁÛfl ÙÛÌÍˆË˛ Ô‰‡˜Ë ‰‡ÌÌ˚ı (ÒÚ. 47), ‰‡ÌÌ˚ ÏÓÊÌÓ Ú‡ÍÊ ı‡ÌËÚ¸ ̇ ‚̯ÌËı ÛÒÚÓÈÒÚ‚‡ı, ̇ÔËÏ ̇ ÛÒÚÓÈÒÚ‚Â MIDI Data Filer MDF3 ÍÓÔÓ‡ˆËË Yamaha. 1. Ç˚·ÂËÚ ÔÂÒÌ˛ ‰Îfl Á‡ÔËÒË. (CLP-130) óÚÓ·˚ ‚˚·‡Ú¸ ÔÂÒÌ˛ ‰Îfl Á‡ÔËÒË, ̇ÊÏËÚ ÍÌÓÔÍÛ [USER 1/2/3]. ᇄÓËÚÒfl Ë̉Ë͇ÚÓ ‚˚·‡ÌÌÓÈ ÔÂÒÌË. (ÖÒÎË Ë̉Ë͇ÚÓ˚ Ì „ÓflÚ, ÔÂÒÌfl Ì ‚˚·‡Ì‡.) 2. ᇉ‡ÈÚ ‚Ò Ô‚Ó̇˜‡Î¸Ì˚ ̇ÒÚÓÈÍË. è‰ ̇˜‡ÎÓÏ Á‡ÔËÒË ‚˚·ÂËÚ ÚÂÏ·, ÍÓÚÓ˚È ıÓÚËÚ Á‡ÔËÒ‡Ú¸ (ËÎË ÚÂÏ·˚, ÂÒÎË ·Û‰ÂÚ ËÒÔÓθÁÓ‚‡Ì ÂÊËÏ Dual ËÎË Split). ç‡ÒÚÓÈÚ ‚Ò ‰Û„Ë ԇ‡ÏÂÚ˚ (ÚÂÏÔ, ‚·‡ˆËfl Ë Ú. ‰.). åÓÊÌÓ Ú‡ÍÊ ̇ÒÚÓËÚ¸ „ÓÏÍÓÒÚ¸. ÉÓÏÍÓÒÚ¸ ÏÓÊÌÓ Ì‡Òڇ˂‡Ú¸ „ÛÎflÚÓÓÏ [MASTER VOLUME]. 30 HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME MELLOW 2 3 CLP-130/120 á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT ON TOUCH TRANSPOSE èêàåÖóÄçàÖ (CLP-130) Ç ÂÊËÏ ‰ÂÏÓÌÒÚ‡ˆËË ‰Îfl ‚˚·Ó‡ ÔÂÒÌË ÌÂθÁfl ËÒÔÓθÁÓ‚‡Ú¸ ÍÌÓÔÍÛ [USER 1/2/3]. èêàåÖóÄçàÖ á‡ÔËÒ¸ Ì‚ÓÁÏÓÊ̇ ‚ ÂÊËÏ ‰ÂÏÓÌÒÚ‡ˆËË Ë ÂÊËÏ ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ. èêàåÖóÄçàÖ óÚÓ·˚ Ì ÔÓÚÂflÚ¸ ‰‡ÌÌ˚Â: CLP-130 ÖÒÎË Ì‡ ‰ÓÓÊÍ ÂÒÚ¸ ‰‡ÌÌ˚Â, ÔË Ì‡Ê‡ÚËË [USER 1/2/3] Ë̉Ë͇ÚÓ ‰ÓÓÊÍË ·Û‰ÂÚ ÁÂÎÂÌ˚Ï. èÓÏÌËÚÂ, ˜ÚÓ Á‡ÔËÒ˚‚‡fl ÌÓ‚˚ ‰‡ÌÌ˚ ̇ ˝ÚÛ ‰ÓÓÊÍÛ, ‚˚ ÒÚˇÂÚ Ëϲ˘ËÂÒfl Ú‡Ï ‰‡ÌÌ˚Â. CLP-120 ç‡ÊÏËÚ ÍÌÓÔÍÛ [TRACK1/2]. ÖÒÎË Á‡„ÓÂÎÒfl ÁÂÎÂÌ˚È Ë̉Ë͇ÚÓ, ̇ ‰ÓÓÊÍ ÛÊ ÂÒÚ¸ ‰‡ÌÌ˚Â. èÓÏÌËÚÂ, ˜ÚÓ ÔË Á‡ÔËÒË ÌÓ‚˚ı ‰‡ÌÌ˚ı ÒÚ‡˚ ·Û‰ÛÚ ÒÚÂÚ˚. 3. ÇÍβ˜ËÚ ÂÊËÏ „ÓÚÓ‚ÌÓÒÚË Í Á‡ÔËÒË. óÚÓ·˚ ‚Íβ˜ËÚ¸ ÂÊËÏ „ÓÚÓ‚ÌÓÒÚË Í Á‡ÔËÒË, ̇ÊÏËÚ ÍÌÓÔÍÛ [REC]. á‡ÔËÒ¸ ¢ Ì ̇˜Ë̇ÂÚÒfl. à̉Ë͇ÚÓ [TRACK1] ËÎË [TRACK2] Á‡ÏË„‡ÂÚ Í‡ÒÌ˚Ï Ò‚ÂÚÓÏ. é·˙ÂÏ Ô‡ÏflÚË, ‰ÓÒÚÛÔÌ˚È ‰Îfl Á‡ÔËÒË, ÓÚÓ·‡Ê‡ÂÚÒfl ̇ Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ Ë̉Ë͇ÚÓ ‚ ÍËÎÓ·‡ÈÚ‡ı, ÚӘ͇ ‚ Ô‡‚ÓÏ ÌËÊÌÂÏ Û„ÎÛ Ë̉Ë͇ÚÓ‡ ÏË„‡ÂÚ ‚ ÒÓÓÚ‚ÂÚÒÚ‚ËË Ò ÚÂÍÛ˘ËÏË Ì‡ÒÚÓÈ͇ÏË ÚÂÏÔ‡ ÏÂÚÓÌÓχ. Ë̉Ë͇ÚÓ ÏË„‡ÂÚ åÓÊÌÓ ÓÚÍβ˜ËÚ¸ ÂÊËÏ „ÓÚÓ‚ÌÓÒÚË Í Á‡ÔËÒË ‰Ó ̇˜‡Î‡ Á‡ÔËÒË, ‚ÚÓÓÈ ‡Á ̇ʇ‚ ÍÌÓÔÍÛ [REC]. 4. Ç˚·ÂËÚ ‰ÓÓÊÍÛ ‰Îfl Á‡ÔËÒË. ÖÒÎË ÂÊËÏ „ÓÚÓ‚ÌÓÒÚË Í Á‡ÔËÒË ‚Íβ˜ÂÌ Ì‡ Ô‰˚‰Û˘ÂÏ ˝Ú‡ÔÂ, ‰Îfl Á‡ÔËÒË ‡‚ÚÓχÚ˘ÂÒÍË ‚˚·Ë‡ÂÚÒfl ÔÓÒΉÌflfl Á‡ÔËÒ‡Ì̇fl ‰ÓÓÊ͇, Ë Â Ë̉Ë͇ÚÓ (ÍÌÓÔ͇ [TRACK1] ËÎË [TRACK2]) Á‡„ÓËÚÒfl ͇ÒÌ˚Ï Ò‚ÂÚÓÏ. ÖÒÎË ‚˚ ıÓÚËÚ ҉·ڸ Á‡ÔËÒ¸ ̇ ‰Û„Û˛ ‰ÓÓÊÍÛ, ̇ÊÏËÚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Û˛ ÍÌÓÔÍÛ, ˜ÚÓ·˚ Ë̉Ë͇ÚÓ ˝ÚÓÈ ‰ÓÓÊÍË Ì‡˜‡Î „ÓÂÚ¸ ͇ÒÌ˚Ï Ò‚ÂÚÓÏ. 5. 燘ÌËÚ Á‡ÔËÒ¸. á‡ÔËÒ¸ ̇˜Ë̇ÂÚÒfl ‡‚ÚÓχÚ˘ÂÒÍË, ÍÓ„‰‡ ‚˚ ̇ÊËχÂÚ Í·‚Ë¯Û Ì‡ Í·‚ˇÚÛ ËÎË ÍÌÓÔÍÛ SONG [START/STOP]. ÇÓ ‚ÂÏfl Á‡ÔËÒË Ì‡ ‰ËÒÔΠÔÓfl‚ÎflÂÚÒfl ÌÓÏ ÚÂÍÛ˘Â„Ó Ú‡ÍÚ‡. 6. éÒÚ‡ÌÓ‚ËÚ Á‡ÔËÒ¸. óÚÓ·˚ ÓÒÚ‡ÌÓ‚ËÚ¸ Á‡ÔËÒ¸, ̇ÊÏËÚ ÍÌÓÔÍÛ [REC] ËÎË ÍÌÓÔÍÛ SONG [START/STOP]. à̉Ë͇ÚÓ Á‡ÔËÒ‡ÌÌÓÈ ‰ÓÓÊÍË ·Û‰ÂÚ „ÓÂÚ¸ ÁÂÎÂÌ˚Ï Ò‚ÂÚÓÏ, ÔÓ͇Á˚‚‡fl, ˜ÚÓ Ì‡ ‰ÓÓÊÍ ÚÂÔ¸ ÂÒÚ¸ ‰‡ÌÌ˚Â. (êÂÊËÏ Á‡ÔËÒË ÓÚÍβ˜‡ÂÚÒfl ‡‚ÚÓχÚ˘ÂÒÍË.) 7. ÇÓÒÔÓËÁ‚‰ËÚ Á‡ÔËÒ‡ÌÌÓÂ. ÑÎfl ‚ÓÒÔÓËÁ‚‰ÂÌËfl Á‡ÔËÒ‡ÌÌÓ„Ó Ì‡ÊÏËÚ ÍÌÓÔÍÛ SONG [START/ STOP]. óÚÓ·˚ ÓÒÚ‡ÌÓ‚ËÚ¸ ÔÂÒÌ˛ ̇ Ò‰ËÌÂ, ̇ÊÏËÚ ÍÌÓÔÍÛ SONG [START/ STOP]. èêàåÖóÄçàÖ é·˙ÂÏ ‰ÓÒÚÛÔÌ˚È ‰Îfl Á‡ÔËÒË: é·˙ÂÏ ‚ ÍËÎÓ·‡ÈÚ‡ı (‰ËÌˈ‡ ËÁÏÂÂÌËfl ‰‡ÌÌ˚ı) Û͇Á˚‚‡ÂÚ, ͇ÍÓÈ Ó·˙ÂÏ ‰ÓÒÚÛÔÂÌ ‰Îfl Á‡ÔËÒË Ì‡ ˆËÙÓ‚ÓÏ ÔˇÌËÌÓ Clavinova. Ç Á‡‚ËÒËÏÓÒÚË ÓÚ ËÒÔÓθÁÓ‚‡ÌËfl Ô‰‡ÎÂÈ Ë ‰Û„Ëı Ù‡ÍÚÓÓ‚ ̇ ˆËÙÓ‚Ó ÔˇÌËÌÓ CLP-130/120 ÏÓÊÌÓ ‰Ó 9400 ÌÓÚ. ä ëÇÖÑÖçàû (CLP-130) ÖÒÎË ÔÂÒÌfl ÔÓθÁÓ‚‡ÚÂÎfl ([USER 1/2/3]) Ì ‚˚·‡Ì‡ (Ë̉Ë͇ÚÓ Ì „ÓËÚ), ̇ʇÚË ̇ ÍÌÓÔÍÛ [REC] Ô˂‰ÂÚ Í ÚÓÏÛ, ˜ÚÓ ·Û‰ÛÚ ‚˚·‡Ì˚ Ô‡‡ÏÂÚ˚ [USER 1] [TRACK1] Ë ‚Íβ˜ËÚÒfl ÂÊËÏ „ÓÚÓ‚ÌÓÒÚË Í Á‡ÔËÒË.é‰ÌÓ‚ÂÏÂÌÌÓ ·Û‰ÂÚ ÓÚÍβ˜ÂÌÓ ‚ÓÒÔÓËÁ‚‰ÂÌËÂ, ÂÒÎË Ì‡ ‚ÚÓÓÈ ‰ÓÓÊÍ ([TRACK2]) ÂÒÚ¸ ‰‡ÌÌ˚Â. ä ëÇÖÑÖçàû ÖÒÎË ÔË Ì‡˜‡Î Á‡ÔËÒË ‚Íβ˜ÂÌ ÏÂÚÓÌÓÏ, ‚˚ ÒÏÓÊÂÚ ÒÎ˚¯‡Ú¸ Â„Ó Ò˄̇Î˚, ÌÓ Á‡ÔËÒ˚‚‡Ú¸Òfl ÓÌË Ì ·Û‰ÛÚ. ä ëÇÖÑÖçàû ÑÓÔÓÎÌËÚÂθÌ˚ ҂‰ÂÌËfl Ó Á‡ÔËÒË Ô˂‰ÂÌ˚ ̇ ÒÚ. 33. ä ëÇÖÑÖçàû èË ÔÓÏÓ˘Ë ÙÛÌ͈ËË ÂÊËχ ΂ÓÈ Ô‰‡ÎË, ÓÔËÒ‡ÌÌÓÈ Ì‡ ÒÚ. 44, Á‡ ΂ÓÈ Ô‰‡Î¸˛ ÏÓÊÌÓ Á‡ÍÂÔËÚ¸ ÙÛÌÍˆË˛ ‚Íβ˜ÂÌËfl/ÓÚÍβ˜ÂÌËfl Á‡ÔËÒË. èêàåÖóÄçàÖ ÖÒÎË ‚ ÛÒÚÓÈÒÚ‚Â ‰Îfl Á‡ÔËÒË ÔÓ˜ÚË Ì ÓÒÚ‡ÎÓÒ¸ ÏÂÒÚ‡, Ë̉Ë͇ÚÓ Á‡ÔËÒË ‰ÓÓÊÍË Ì‡˜Ë̇ÂÚ ÏË„‡Ú¸. ÖÒÎË ‚Ó ‚ÂÏfl Á‡ÔËÒË Ó·˙ÂÏ Ô‡ÏflÚË ÔÓÎÌÓÒÚ¸˛ ËÒ˜ÂÔ˚‚‡ÂÚÒfl, ̇ ‰ËÒÔΠÔÓfl‚ËÚÒfl ̇‰ÔËÒ¸ «FUL» Ë Á‡ÔËÒ¸ ‡‚ÚÓχÚ˘ÂÒÍË ÓÒÚ‡ÌÓ‚ËÚÒfl. (ÇÒ Á‡ÔËÒ‡ÌÌ˚ ‰Ó ˝ÚÓ„Ó ‰‡ÌÌ˚ ·Û‰ÛÚ ÒÓı‡ÌÂÌ˚.) èêàåÖóÄçàÖ ÖÒÎË ‰Îfl ̇˜‡Î‡ Á‡ÔËÒË Ì‡Ê‡Ú¸ ÍÌÓÔÍÛ SONG [START/STOP], ‡ Á‡ÚÂÏ Â˘Â ‡Á ̇ʇڸ  ‰Îfl Á‡‚¯ÂÌËfl Á‡ÔËÒË, ‚Ò ‰‡ÌÌ˚Â, Ô‰‚‡ËÚÂθÌÓ Á‡ÔËÒ‡ÌÌ˚ ̇ ‚˚·‡ÌÌÛ˛ ‰ÓÓÊÍÛ, ·Û‰ÛÚ Û‰‡ÎÂÌ˚. CLP-130/120 á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl 31 èÂÂÁ‡ÔËÒ¸ ‰ÓÓÊÍË TRACK1 Ç ˝ÚÓÏ ‡Á‰ÂΠÔÓ͇Á‡ÌÓ, Í‡Í ÔÂÂÁ‡ÔËÒ‡Ú¸ ‰ÓÓÊÍÛ, ÂÒÎË ‚‡Ï Ì ̇‚ËÚÒfl ËÒÔÓÎÌÂÌËÂ. 1. ÖÒÎË ÌÛÊÌÓ, ‚˚·ÂËÚ ÚÂÏ· ËÎË ÚÂÏ·˚ (‡ Ú‡ÍÊ ‰Û„Ë ̇ÒÚÓÈÍË) ‰Îfl ÔÂÂÁ‡ÔËÒË. ÖÒÎË ‚˚ ıÓÚËÚ ËÁÏÂÌËÚ¸ Ô‡‡ÏÂÚ˚, ÔÓ‚ÚÓËÚ ¯‡„ 1 ̇ ÒÚ. 30. 2. ֢ ‡Á ‚Íβ˜ËÚ ÂÊËÏ „ÓÚÓ‚ÌÓÒÚË Í Á‡ÔËÒË. ֢ ‡Á ̇ÊÏËÚ ÍÌÓÔÍÛ [REC]. à̉Ë͇ÚÓ ‚˚·‡ÌÌÓÈ ‰ÓÓÊÍË ÏË„‡ÂÚ Í‡ÒÌ˚Ï ˆ‚ÂÚÓÏ. ÑÎfl ÔÂÂÁ‡ÔËÒË ÒΉÛÈÚ ËÌÒÚÛ͈ËflÏ Ì‡ ÒÚ. 31, ̇˜Ë̇fl Ò ¯‡„‡ 5. ä ëÇÖÑÖçàû ÖÒÎË ÔË ÔÂÂÁ‡ÔËÒË ‰ÓÓÊÍË ËÎË Á‡ÔËÒË ‰Û„ÓÈ ‰ÓÓÊÍË ‚˚ ıÓÚËÚ ËÁÏÂÌËÚ¸ ÚÂÏÔ, ˜‡ÒÚÓÚÛ Ò˄̇ÎÓ‚ ÏÂÚÓÌÓχ, ÚËÔ Â‚Â·Â‡ˆËË ËÎË ˝ÙÙÂÍÚ‡, ҉·ÈÚ ˝ÚÓ ÔÓÒΠ‚Íβ˜ÂÌËfl ÂÊËχ „ÓÚÓ‚ÌÓÒÚË Í Á‡ÔËÒË (¯‡„ 3). èêàåÖóÄçàÖ çÂθÁfl ̇˜‡Ú¸ ÔÂÂÁ‡ÔËÒ¸ Ò Ò‰ËÌ˚ ÔÂÒÌË. á‡ÔËÒ¸ ̇ ‰ÓÓÊÍÛ TRACK2 Ç ˝ÚÓÏ ‡Á‰ÂΠ‡ÒÒ͇Á˚‚‡ÂÚÒfl Ó ÚÓÏ, Í‡Í Á‡ÔËÒ‡Ú¸ ̇ ‚ÚÓÛ˛ ‰ÓÓÊÍÛ ‰Û„Û˛ Ô‡Ú˲. 1. Ç˚·ÂËÚ ÚÂÏ· ËÎË ÚÂÏ·˚ (‡ Ú‡ÍÊ ‰Û„Ë ̇ÒÚÓÈÍË) ‰Îfl Á‡ÔËÒË. Ç˚·ÂÂÚ ÚÂÏ·(˚) ‰Îfl Á‡ÔËÒË. èË ÌÂÓ·ıÓ‰ËÏÓÒÚË ‚˚·ÂËÚ ‰Û„Ë ̇ÒÚÓÈÍË. 2. ֢ ‡Á ‚Íβ˜ËÚ ÂÊËÏ „ÓÚÓ‚ÌÓÒÚË Í Á‡ÔËÒË. ֢ ‡Á ̇ÊÏËÚ ÍÌÓÔÍÛ [REC]. à̉Ë͇ÚÓ ‚˚·‡ÌÌÓÈ ‰ÓÓÊÍË ÏË„‡ÂÚ Í‡ÒÌ˚Ï ˆ‚ÂÚÓÏ. 3. Ç˚·ÂËÚ ‰ÓÓÊÍÛ ‰Îfl Á‡ÔËÒË. Ç˚·ÂËÚ ‰ÓÓÊÍÛ, ÍÓÚÓ‡fl ¢ Ì Á‡ÔË҇̇. ᇄÓËÚÒfl ͇ÒÌ˚È Ë̉Ë͇ÚÓ ‚˚·‡ÌÌÓÈ ‰ÓÓÊÍË. (à̉Ë͇ÚÓ ‰ÓÓÊÍË, ̇ ÍÓÚÓÓÈ ÒÓ‰ÂʇÚÒfl ‡Ì Á‡ÔËÒ‡ÌÌ˚ ‰‡ÌÌ˚Â, ·Û‰ÂÚ ÁÂÎÂÌ˚Ï.) ëÎÛ¯‡fl Á‡ÔËÒ‡ÌÌÛ˛ ‰ÓÓÊÍÛ, ÏÓÊÌÓ ÔË Í‡Ê‰ÓÏ ÔÓıӉ Á‡ÔËÒ˚‚‡Ú¸ ÌÓ‚˚ Á‚ÛÍË Ë ÌÓÚ˚. ëΉÛÈÚ ËÌÒÚÛ͈ËflÏ Ì‡ ÒÚ. 31, ̇˜Ë̇fl Ò ¯‡„‡ 5. 32 CLP-130/120 á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl ä ëÇÖÑÖçàû ÖÒÎË ÔË ÔÂÂÁ‡ÔËÒË ‰ÓÓÊÍË ËÎË Á‡ÔËÒË ‰Û„ÓÈ ‰ÓÓÊÍË ‚˚ ıÓÚËÚ ËÁÏÂÌËÚ¸ ÚÂÏÔ, ˜‡ÒÚÓÚÛ Ò˄̇ÎÓ‚ ÏÂÚÓÌÓχ, ÚËÔ Â‚Â·Â‡ˆËË ËÎË ˝ÙÙÂÍÚ‡, ҉·ÈÚ ˝ÚÓ ÔÓÒΠ‚Íβ˜ÂÌËfl ÂÊËχ „ÓÚÓ‚ÌÓÒÚË Í Á‡ÔËÒË (¯‡„ 3). èêàåÖóÄçàÖ ÖÒÎË ‚Ó ‚ÂÏfl Á‡ÔËÒË ‚˚ Ì ıÓÚËÚ ÒÎ˚¯‡Ú¸ Ô‰‚‡ËÚÂθÌÓ Á‡ÔËÒ‡ÌÌÛ˛ ‰ÓÓÊÍÛ (̇ÔËÏ ÂÒÎË ‚˚ ıÓÚËÚ Á‡ÔËÒ‡Ú¸ Òӂ¯ÂÌÌÓ ‰Û„Û˛ ÔÂÒÌ˛), ̇ÊÏËÚ ÍÌÓÔÍÛ ‚ÓÒÔÓËÁ‚‰ÂÌËfl ˝ÚÓÈ ‰ÓÓÊÍË ‰Ó ÚÓ„Ó, Í‡Í Ì‡Ê‡Ú¸ ÍÌÓÔÍÛ [REC] (ÒÏ. ¯‡„ 2), ˜ÚÓ·˚  Ë̉Ë͇ÚÓ ÔÓ„‡Ò. ìÒÚÓÈÒÚ‚Ó Á‡ÔËÒË ÔÂÒÂÌ ÔÓθÁÓ‚‡ÚÂÎfl Á‡ÔËÒ˚‚‡ÂÚ ÒÎÂ‰Û˛˘Ë ‰‡ÌÌ˚Â: èÓÏËÏÓ ÌÓÚ Ë ÚÂÏ·‡, ‚ ÍÓÚÓÓÏ ËÒÔÓÎÌflÂÚÒfl ÔÂÒÌfl, Á‡ÔËÒ˚‚‡˛ÚÒfl ‰ÓÔÓÎÌËÚÂθÌ˚ ‰‡ÌÌ˚Â. ä ˝ÚËÏ ‰‡ÌÌ˚Ï ÓÚÌÓÒflÚÒfl ‰‡ÌÌ˚ ӷ ÓÚ‰ÂθÌ˚ı ‰ÓÓÊ͇ı Ë ‚ÒÂÈ ÔÂÒÌÂ. ëÏ. ‰‡ÎÂÂ. éÚ‰ÂθÌ˚ ‰ÓÓÊÍË • • • • • • • • • • • • • àÒÔÓÎÌflÂÏ˚ ÌÓÚ˚ Ç˚·Ó ÚÂÏ·‡ àÒÔÓθÁÓ‚‡ÌË ‚‡Ë‡ˆËË (ÍÌÓÔ͇ [VARIATION]) (CLP-130) 艇θ (Ô‡‚‡fl\΂‡fl\Ò‰Ìflfl) ÉÎÛ·Ë̇ ‚·‡ˆËË (ÍÌÓÔ͇ [REVERB]) ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ (ÍÌÓÔ͇ [EFFECT]) íÂÏ·˚ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ (Dual) Ň·ÌÒ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ (F3) ëÏ¢ÂÌË ‚˚ÒÓÚ˚ Á‚Û͇ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ (F3) ëÏ¢ÂÌË ÓÍÚ‡‚˚ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ (F3) íÂÏ·˚ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ (Split) (CLP-130) Ň·ÌÒ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ (F4:CLP-130) ëÏ¢ÂÌË ÓÍÚ‡‚˚ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ (F4:CLP-130) ÇÒfl ÔÂÒÌfl • • • • íÂÏÔ ó‡ÒÚÓÚ‡ Ò˄̇· (‰ÓÎfl) íËÔ Â‚Â·Â‡ˆËË (ÍÌÓÔ͇ [REVERB]), ‚ ÚÓÏ ˜ËÒΠÁ̇˜ÂÌË OFF íËÔ ˝ÙÙÂÍÚ‡ (ÍÌÓÔ͇ [EFFECT]), ‚ ÚÓÏ ˜ËÒΠÁ̇˜ÂÌË OFF CLP-130/120 á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl 33 àÁÏÂÌÂÌË ̇˜‡Î¸Ì˚ı ̇ÒÚÓÂÍ ç‡˜‡Î¸Ì˚ ̇ÒÚÓÈÍË (‰‡ÌÌ˚Â, Á‡ÔËÒ˚‚‡ÂÏ˚ ‚ ̇˜‡Î ÔÂÒÌË) ÏÓÊÌÓ ËÁÏÂÌËÚ¸ ÔÓÒΠÁ‡ÔËÒË. ç‡ÔËÏÂ, ÔÓÒΠÁ‡ÔËÒË ÏÓÊÌÓ ËÁÏÂÌËÚ¸ ÚÂÏ· ‰Îfl ÒÓÁ‰‡ÌËfl ÌÓ‚ÓÈ Ó·ÒÚ‡ÌÓ‚ÍË ËÎË Ì‡ÒÚÓËÚ¸ ÚÂÏÔ ÔÓ Ò‚ÓÂÏÛ ‚ÍÛÒÛ. åÓÊÌÓ ËÁÏÂÌflÚ¸ ÒÎÂ‰Û˛˘Ë ̇˜‡Î¸Ì˚ ̇ÒÚÓÈÍË. éÚ‰ÂθÌ˚ ‰ÓÓÊÍË • • • • • • Ç˚·Ó ÚÂÏ·‡ àÒÔÓθÁÓ‚‡ÌË ‚‡Ë‡ˆËË (ÍÌÓÔ͇ [VARIATION]) (CLP-130) ÉÎÛ·Ë̇ ‚·‡ˆËË (ÍÌÓÔ͇ [REVERB]) ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ (ÍÌÓÔ͇ [EFFECT]) íÂÏ·˚ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ (Dual) íÂÏ·˚ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ (Split ) (CLP-130) ÇÒfl ÔÂÒÌfl • • • • íÂÏÔ ó‡ÒÚÓÚ‡ Ò˄̇· (‰ÓÎfl) íËÔ Â‚Â·Â‡ˆËË (ÍÌÓÔ͇ [REVERB]), ‚ ÚÓÏ ˜ËÒΠÁ̇˜ÂÌË OFF íËÔ ˝ÙÙÂÍÚ‡ (ÍÌÓÔ͇ [EFFECT]), ‚ ÚÓÏ ˜ËÒΠÁ̇˜ÂÌË OFF 1. ÑÎfl ËÁÏÂÌÂÌËfl ̇˜‡Î¸Ì˚ı ̇ÒÚÓÂÍ ‚Íβ˜ËÚ ÂÊËÏ Á‡ÔËÒË Ë ‚˚·ÂËÚ ‰ÓÓÊÍÛ. ᇄÓËÚÒfl ͇ÒÌ˚È Ë̉Ë͇ÚÓ. (чÌÌ˚Â, Ó·˘Ë ‰Îfl ‰‚Ûı ‰ÓÓÊÂÍ, ÏÓÊÌÓ ËÁÏÂÌËÚ¸ ‰Îfl ͇ʉÓÈ ‰ÓÓÊÍË.) 2. àÁÏÂÌËÚ ̇ÒÚÓÈÍË ÔË ÔÓÏÓ˘Ë Ô‡ÌÂÎË ÛÔ‡‚ÎÂÌËfl. ç‡ÔËÏÂ, ÂÒÎË ‚˚ ıÓÚËÚ ËÁÏÂÌËÚ¸ Á‡ÔËÒ‡ÌÌ˚È ÚÂÏ· Ò [E. PIANO 1] ̇ [E.PIANO 2], ̇ÊÏËÚ ÍÌÓÔÍÛ [E. PIANO 2]. ÅÛ‰¸Ú ÓÒÚÓÓÊÌ˚ Ë Ì ̇ÊÏËÚ ÒÎÛ˜‡ÈÌÓ ÍÌÓÔÍÛ SONG [START/STOP] ËÎË Í·‚Ë¯Û Ì‡ Í·‚ˇÚÛÂ, ˝ÚÓ Ô˂‰ÂÚ Í Ì‡˜‡ÎÛ Á‡ÔËÒË Ë Û‰‡ÎÂÌ˲ ‚ÒÂı ‰‡ÌÌ˚ı, Ô‰‚‡ËÚÂθÌÓ Á‡ÔËÒ‡ÌÌ˚ı ̇ ‚˚·‡ÌÌÛ˛ ‰ÓÓÊÍÛ. 3. ÑÎfl ‚˚ıÓ‰‡ ËÁ ÂÊËχ Á‡ÔËÒË Ì‡ÊÏËÚ ÍÌÓÔÍÛ [REC]. ÅÛ‰¸Ú ÓÒÚÓÓÊÌ˚ Ë Ì ̇ÊÏËÚ ÒÎÛ˜‡ÈÌÓ ÍÌÓÔÍÛ SONG [START/STOP] ËÎË Í·‚Ë¯Û Ì‡ Í·‚ˇÚÛÂ, ˝ÚÓ Ô˂‰ÂÚ Í Ì‡˜‡ÎÛ Á‡ÔËÒË Ë Û‰‡ÎÂÌ˲ ‚ÒÂı ‰‡ÌÌ˚ı, Ô‰‚‡ËÚÂθÌÓ Á‡ÔËÒ‡ÌÌ˚ı ̇ ‚˚·‡ÌÌÛ˛ ‰ÓÓÊÍÛ. 34 CLP-130/120 á‡ÔËÒ¸ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ËÒÔÓÎÌÂÌËfl èêàåÖóÄçàÖ åÓÊÌÓ ÓÚÏÂÌËÚ¸ ËÁÏÂÌÂÌËfl, ‚ÌÂÒÂÌÌ˚ ‚ ̇˜‡Î¸Ì˚ ̇ÒÚÓÈÍË, ‚˚·‡‚ ÔÓÒΠ¯‡„‡ 2 ‰Û„Û˛ ‰ÓÓÊÍÛ Ë ‚˚ȉfl ËÁ ÂÊËχ Á‡ÔËÒË ‚Ó ‚ÂÏfl ¯‡„‡ 3, Ì ̇ÊËχfl ÍÌÓÔÍÛ [REC]. (àÁÏÂÌÂÌËfl, ‚ÌÂÒÂÌÌ˚ ‚ ̇˜‡Î¸Ì˚ ‰‡ÌÌ˚Â, Ó·˘Ë ‰Îfl ‰‚Ûı ‰ÓÓÊÂÍ, Ú‡ÍÊ ·Û‰ÛÚ ÓÚÏÂÌÂÌ˚.) ÇÓÒÔÓËÁ‚‰ÂÌË Á‡ÔËÒÂÈ ÔÂÒÂÌ á‡ÔËÒ‡ÌÌ˚ ÔÂÒÌË ÏÓÊÌÓ ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸ Ò ÔÓÏÓ˘¸˛ ÙÛÌ͈ËË Record (ÒÚ. 30–34). à„‡Ú¸ ÏÓÊÌÓ Ó‰ÌÓ‚ÂÏÂÌÌÓ Ò ÔÓË„˚‚‡ÌËÂÏ ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË. èêàåÖóÄçàÖ Ñ‡ÌÌ˚ ÔÂÒÂÌ Ì Ô‰‡˛ÚÒfl ˜ÂÂÁ ‡Á˙ÂÏ˚ MIDI. ÇÓÒÔÓËÁ‚‰ÂÌË ÔÂÒÌË 1 MIN MAX START/STOP BRIGHT BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 E.PIANO 1 E.PIANO 2 HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION CHURCH ORGAN JAZZ ORGAN STRINGS CHOIR GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME MELLOW 2 3 DEMO METRONOME TEMPO FUNCTION — /NO +/ YES PRESET TEMPO / FUNCTION USER 1 USER 2 USER 3 TRACK 1 TRACK 2 START/STOP REC SONG VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT ON TOUCH TRANSPOSE èêàåÖóÄçàÖ (CLP-130) Ç ÂÊËÏ ‰ÂÏÓÌÒÚ‡ˆËË ‰Îfl ‚˚·Ó‡ ÔÂÒÌË ÌÂθÁfl ËÒÔÓθÁÓ‚‡Ú¸ ÍÌÓÔÍÛ [USER 1/2/3]. ÑÂÈÒÚ‚Ëfl 1. Ç˚·Ó ÌÛÊÌÓÈ ÔÂÒÌË (CLP-130) óÚÓ·˚ ‚˚·‡Ú¸ ÔÂÒÌ˛ ‰Îfl Á‡ÔËÒË, ̇ÊÏËÚ ÍÌÓÔÍÛ [USER 1/2/3]. ᇄÓËÚÒfl Ë̉Ë͇ÚÓ ‚˚·‡ÌÌÓÈ ÔÂÒÌË. (ÖÒÎË Ë̉Ë͇ÚÓ˚ Ì „ÓflÚ, ÔÂÒÌfl Ì ‚˚·‡Ì‡.) 2. á‡ÔÛÒÍ ‚ÓÒÔÓËÁ‚‰ÂÌËfl ç‡ÊÏËÚ ÍÌÓÔÍÛ SONG [START/STOP]. èË ‚ÓÒÔÓËÁ‚‰ÂÌËË ÔÓfl‚ÎflÂÚÒfl ÌÓÏ ÚÂÍÛ˘Â„Ó Ú‡ÍÚ‡. • ÇÓ ‚ÂÏfl ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÔÂÒÌË ÏÓÊÌÓ Ë„‡Ú¸ ̇ Í·‚˯‡ı. à„‡Ú¸ ÏÓÊÌÓ ‚ ÚÂÏ·Â, ÓÚ΢ÌÓÏ ÓÚ ÚÂÏ·‡ ‚ÓÒÔÓËÁ‚‰ÂÌËfl, ‚˚·‡‚ ÚÂÏ· ̇ Ô‡ÌÂÎË. èêàåÖóÄçàÖ á‡ÔËÒ‡ÌÌ˚ ÔÂÒÌË ÌÂθÁfl ‚ÓÒÔÓËÁ‚ÂÒÚË ‚ ÂÊËÏ ‰ÂÏÓÌÒÚ‡ˆËË Ë ÂÊËÏ ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË. èêàåÖóÄçàÖ áÂÎÂÌ˚ Ë̉Ë͇ÚÓ˚ Ì Á‡„Ó‡˛ÚÒfl ‡‚ÚÓχÚ˘ÂÒÍË ÔË ‚Íβ˜ÂÌËË ÔËÚ‡ÌËfl, ‰‡Ê ÂÒÎË ‚ ÛÒÚÓÈÒÚ‚Â ÂÒÚ¸ ‰‡ÌÌ˚Â. è‰ ‚ÓÒÔÓËÁ‚‰ÂÌËÂÏ Ì‡ÊÏËÚ ÍÌÓÔÍË ‰ÓÓÊÂÍ. èêàåÖóÄçàÖ ÖÒÎË ‚ ÛÒÚÓÈÒÚ‚Â ÌÂÚ ‰‡ÌÌ˚ı, ‚ÓÒÔÓËÁ‚‰ÂÌË Ì‚ÓÁÏÓÊÌÓ. ç‡ÒÚÓÈ͇ „ÓÏÍÓÒÚË ç‡ÒÚÓÈÚ „ÓÏÍÓÒÚ¸ „ÛÎflÚÓÓÏ [MASTER VOLUME]. ç‡ÒÚÓÈ͇ ÚÂÏÔ‡ ÑÎfl ̇ÒÚÓÈÍË ÚÂÏÔ‡ ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ÍÌÓÔÍË [TEMPO/FUNCTION# ▼, ▲]. ÇÓÁ‚‡Ú Í Ó·˚˜ÌÓÏÛ ÚÂÏÔÛ ÔÂÒÌË ÔÓËÒıÓ‰ËÚ ÔË Ó‰ÌÓ‚ÂÏÂÌÌÓÏ Ì‡Ê‡ÚËË ÍÌÓÔÓÍ [▼] Ë [▲]. 3. éÒÚ‡Ìӂ͇ ‚ÓÒÔÓËÁ‚‰ÂÌËfl äÓ„‰‡ ÔÂÒÌfl Á‡Í‡Ì˜Ë‚‡ÂÚÒfl, Clavinova ‡‚ÚÓχÚ˘ÂÒÍË ÓÒڇ̇‚ÎË‚‡ÂÚÒfl Ë Ì‡ıÓ‰ËÚ Ì‡˜‡ÎÓ ÔÂÒÌË. óÚÓ·˚ ÓÒÚ‡ÌÓ‚ËÚ¸ ÔÂÒÌ˛ ̇ Ò‰ËÌÂ, ̇ÊÏËÚ ÍÌÓÔÍÛ SONG [START/STOP]. ä ëÇÖÑÖçàû åÓÊÌÓ Ë„‡Ú¸ Ò Ò‡ÏËÏ ÒÓ·ÓÈ, Á‡ÔËÒ‡‚ Ô‡Ú˲ ËÎË ÔÂÒÌ˛ ‰Îfl ‰‚Ûı ÙÓÚÂÔ¸flÌÓ, Á‡ÚÂÏ Ë„‡Ú¸ Ó‰ÌÛ ˜‡ÒÚ¸ Ò‡ÏÓÏÛ, ÔÓ͇ ˉÂÚ ‚ÓÒÔÓËÁ‚‰ÂÌË Á‡ÔËÒ‡ÌÌÓ„Ó. ä ëÇÖÑÖçàû ÖÒÎË ËÒÔÓθÁÓ‚‡ÎÒfl ÏÂÚÓÌÓÏ, ÔÓ ÓÍÓ̘‡ÌËË ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÓÌ ÓÚÍβ˜ËÚÒfl ‡‚ÚÓχÚ˘ÂÒÍË. ä ëÇÖÑÖçàû àÁÏÂÌÂÌË ÚËÔ‡ ‚·‡ˆËË Ì‡ Ô‡ÌÂÎË ËÁÏÂÌflÂÚ Í‡Í Â‚Â·Â‡ˆË˛ ‚ÓÒÔÓËÁ‚‰ÂÌËfl, Ú‡Í Ë Í·‚ˇÚÛ˚. ä ëÇÖÑÖçàû àÁÏÂÌÂÌË ÚËÔ‡ ˝ÙÙÂÍÚ‡ ̇ Ô‡ÌÂÎË ËÁÏÂÌflÂÚ ˝ÙÙÂÍÚ Ë ‚ÓÒÔÓËÁ‚‰ÂÌËfl, Ë Í·‚ˇÚÛ˚. CLP-130/120 ÇÓÒÔÓËÁ‚‰ÂÌË Á‡ÔËÒÂÈ ÔÂÒÂÌ 35 èÓÎÂÁÌ˚ ÙÛÌ͈ËË ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÇÍβ˜ÂÌËÂ Ë ‚˚Íβ˜ÂÌË ‚ÓÒÔÓËÁ‚‰ÂÌËfl ‰ÓÓÊÂÍ ÖÒÎË ‚˚ ‚˚·Ë‡ÂÚ ÔÂÒÌ˛ ̇ ˆËÙÓ‚ÓÏ ÔˇÌËÌÓ Clavinova, Ë̉Ë͇ÚÓ˚ ‰ÓÓÊÂÍ, ̇ ÍÓÚÓ˚ı ÂÒÚ¸ ‰‡ÌÌ˚ ([TRACK1], [TRACK2] ËÎË Ó·‡) „ÓflÚ ÁÂÎÂÌ˚Ï Ò‚ÂÚÓÏ. çÂÁ‡‚ËÒËÏÓ ÓÚ ÚÓ„Ó, Ë„‡˛Ú ̇ Clavinova ËÎË ÌÂÚ, ̇ʇÚË ˝ÚËı ÍÌÓÔÓÍ ‰ÓÓÊÂÍ ‚˚Íβ˜‡ÂÚ Ë̉Ë͇ÚÓ˚ Ë ‰‡ÌÌ˚Â Ò ˝ÚËı ‰ÓÓÊÂÍ ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸Òfl Ì ·Û‰ÛÚ. ç‡Ê‡ÚË ÍÌÓÔÓÍ ÔÓÔÂÂÏÂÌÌÓ ‚Íβ˜‡ÂÚ Ë ÓÚÍβ˜‡ÂÚ ‰ÓÓÊÍË. á‡ÔÛÒÍ ‚ÓÒÔÓËÁ‚‰ÂÌËfl Ó‰ÌÓ‚ÂÏÂÌÌÓ Ò Ì‡˜‡ÎÓÏ Ë„˚ (Synchro Start) Ç˚ ÏÓÊÂÚ Á‡ÔÛÒ͇ڸ ‚ÓÒÔÓËÁ‚‰ÂÌËÂ, Í‡Í ÚÓθÍÓ Ì‡˜ÌÂÚ ˄‡Ú¸ ̇ Í·‚˯‡ı. ùÚÓ Ì‡Á˚‚‡ÂÚÒfl ÙÛÌ͈ËÂÈ ÒËÌıÓÌÌÓ„Ó Á‡ÔÛÒ͇ (Synchro Start). óÚÓ·˚ ‚Íβ˜ËÚ¸ ÙÛÌÍˆË˛ ÒËÌıÓÌÌÓ„Ó Á‡ÔÛÒ͇, ̇ÊÏËÚ ÍÌÓÔÍÛ SONG [START/STOP], Ó‰ÌÓ‚ÂÏÂÌÌÓ Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ ‚Íβ˜ÂÌÌÓÈ ‰ÓÓÊÍË. íӘ͇ ‚ Ô‡‚ÓÏ ÌËÊÌÂÏ Û„ÎÛ ‰ËÒÔÎÂfl ·Û‰ÂÚ ÏË„‡Ú¸ ‚ ÚÂÍÛ˘ÂÏ ÚÂÏÔÂ. (óÚÓ·˚ ÓÚÍβ˜ËÚ¸ ÙÛÌÍˆË˛ ÒËÌıÓÌÌÓ„Ó Á‡ÔÛÒ͇, ÔÓ‚ÚÓËÚ Ô‰˚‰Û˘Ë ‰ÂÈÒÚ‚Ëfl.) Ë̉Ë͇ÚÓ ÏË„‡ÂÚ ÇÓÒÔÓËÁ‚‰ÂÌË ̇˜ÌÂÚÒfl Ó‰ÌÓ‚ÂÏÂÌÌÓ Ò Ì‡˜‡ÎÓÏ Ë„˚ ̇ Í·‚˯‡ı. ùÚ‡ ÙÛÌ͈Ëfl ÔÓÎÂÁ̇, ÂÒÎË ÌÛÊÌÓ ÒËÌıÓÌËÁËÓ‚‡Ú¸ ̇˜‡ÎÓ ‚ÓÒÔÓËÁ‚‰ÂÌËfl Ò Ì‡˜‡ÎÓÏ Ò‚ÓÂÈ Ë„˚. á‡ÍÂÔÎÂÌË Á‡ ΂ÓÈ Ô‰‡Î¸˛ ÙÛÌ͈ËË ÍÌÓÔÍË Ì‡˜‡Î‡/ÓÒÚ‡ÌÓ‚ÍË ÔÂÒÌË èË ÔÓÏÓ˘Ë ÙÛÌ͈ËË «ÇÍβ˜ÂÌËÂ Ë ÓÚÍβ˜ÂÌËÂ Ò ÔÓÏÓ˘¸˛ Ô‰‡ÎË» (ÒÚ. 44) Á‡ ΂ÓÈ Ô‰‡Î¸˛ ÏÓÊÌÓ Á‡ÍÂÔËÚ¸ ÙÛÌÍˆË˛ ̇˜‡Î‡ Ë ÓÒÚ‡ÌÓ‚ÍË ÔÂÒÌË. ùÚÓ Û‰Ó·ÌÓ ‰Îfl ̇˜‡Î‡ ‚ÓÒÔÓËÁ‚‰ÂÌËfl Á‡ÔËÒ‡ÌÌÓÈ Ô‡ÚËË ‚ β·ÓÈ ÏÓÏÂÌÚ ÔÓÒΠ̇˜‡Î‡ Ë„˚. 36 CLP-130/120 ÇÓÒÔÓËÁ‚‰ÂÌË Á‡ÔËÒÂÈ ÔÂÒÂÌ ä ëÇÖÑÖçàû ÑÓÓÊÍË ÏÓÊÌÓ ÓÚÍβ˜‡Ú¸ Ë ‚Íβ˜‡Ú¸ ‰Ó ËÎË ‚Ó ‚ÂÏfl ‚ÓÒÔÓËÁ‚‰ÂÌËfl. ÖÒÎË ÓÚÍβ˜ÂÌ˚ Ó·Â ‰ÓÓÊÍË CLP-120, ‚ÓÒÔÓËÁ‚‰ÂÌË Ì ̇˜ÌÂÚÒfl (ËÎË ·Û‰ÂÚ ÓÒÚ‡ÌÓ‚ÎÂÌÓ). ä ëÇÖÑÖçàû åÓÊÌÓ Ì‡ÒÚÓËÚ¸ „ÓÏÍÓÒÚ¸ ˜‡ÒÚË ÔÂÒÌË ËÁ ÒÔËÒ͇ «50 Greats for the Piano», ‰Îfl ÍÓÚÓÓÈ ‚ÓÒÔÓËÁ‚‰ÂÌË ÓÚÍβ˜ÂÌÓ (ÒÚ.18, 45). ÇÓ ‚ÂÏfl ‚ÓÒÔÓËÁ‚‰ÂÌËfl Á‡ÔËÒ‡ÌÌÓÈ ÔÂÒÌË „ÓÏÍÓÒÚ¸ ÓÚÍβ˜ÂÌÌÓÈ ‰ÓÓÊÍË ‚Ò„‰‡ ‡‚̇ 0. èêàåÖóÄçàÖ ÖÒÎË Ì‡Ê‡Ú¸ ÍÌÓÔÍÛ SONG [START/STOP], Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ ÓÚÍβ˜ÂÌÌÓÈ ‰ÓÓÊÍË, ‚Íβ˜‡ÂÚÒfl ‚ÓÒÔÓËÁ‚‰ÂÌË ‰ÓÓÊÍË Ë ÙÛÌ͈Ëfl ÒËÌıÓÌÌÓ„Ó Á‡ÔÛÒ͇ ÔÂÂıÓ‰ËÚ ‚ ÂÊËÏ ÓÊˉ‡ÌËfl. íÖêåàçéãéÉàü ëËÌıÓÌÌ˚È — Ó‰ÌÓ‚ÂÏÂÌÌ˚È, ̇˜Ë̇˛˘ËÈÒfl Ó‰ÌÓ‚ÂÏÂÌÌÓ. ç‡ÒÚÓÈÍË — [FUNCTION] óÚÓ·˚ ÎÛ˜¯Â ËÒÔÓθÁÓ‚‡Ú¸ ÙÛÌ͈ËË Clavinova, ÏÓÊÌÓ Á‡‰‡‚‡Ú¸ ‡Á΢Ì˚ ԇ‡ÏÂÚ˚, ̇ÔËÏ ÚÓ˜ÌÛ˛ ̇ÒÚÓÈÍÛ ‚˚ÒÓÚ˚ Á‚Û͇, ÚÂÏ· ÏÂÚÓÌÓχ, ÔÓ‚ÚÓÌÓ ‚ÓÒÔÓËÁ‚‰ÂÌËÂ Ë Ú. ‰. ÑÓÒÚÛÔÌ˚ ÒÎÂ‰Û˛˘Ë ԇ‡ÏÂÚ˚: Ç CLP-130 ÂÒÚ¸ ‰Â‚flÚ¸ ÓÒÌÓ‚Ì˚ı ÙÛÌ͈ËÈ, ‡ ‚ CLP-120 — ‚ÓÒÂϸ. ì ÌÂÍÓÚÓ˚ı ˝ÚËı ÙÛÌ͈ËÈ ÂÒÚ¸ ‡Á΢Ì˚ ÔÓ‰ÂÊËÏ˚. ëÔËÒÓÍ Ô‡‡ÏÂÚÓ‚ îÛÌ͈Ëfl èÓ‰ÂÊËÏ CLP-130 CLP-120 ëÚ‡Ìˈ‡ F1 F1 40 íÓÌ͇fl ̇ÒÚÓÈ͇ ‚˚ÒÓÚ˚ — Ç˚·Ó ÒÚÓfl ëÚÓÈ F2.1 F2.1 41 éÒÌӂ̇fl ÌÓÚ‡ F2.2 F2.2 41 Ň·ÌÒ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ F3.1 F3.1 42 àÁÏÂÌÂÌË ˜‡ÒÚÓÚ ÚÂÏ·Ó‚ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl F3.2 F3.2 42 í‡ÌÒÔÓÌËÓ‚‡ÌË ÚÂÏ·‡ 1 ̇ ÓÍÚ‡‚Û F3.3 F3.3 42 í‡ÌÒÔÓÌËÓ‚‡ÌË ÚÂÏ·‡ 2 ̇ ÓÍÚ‡‚Û F3.4 F3.4 42 ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ‰Îfl ÚÂÏ·‡ 1 F3.5 F3.5 42 ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ‰Îfl ÚÂÏ·‡ 2 F3.6 F3.6 42 èÂÂÁ‡„ÛÁ͇ F3.7 F3.7 42 íӘ͇ ‡Á‰ÂÎÂÌËfl Í·‚ˇÚÛ˚ F4.1 — 43 ìÒÚ‡ÌÓ‚ÎÂÌË ·‡Î‡ÌÒ‡ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ F4.2 — 43 í‡ÌÒÔÓÌËÓ‚‡ÌË ԇ‚Ó„Ó ÚÂÏ·‡ ̇ ÓÍÚ‡‚Û F4.3 — 43 í‡ÌÒÔÓÌËÓ‚‡ÌË ÎÂ‚Ó„Ó ÚÂÏ·‡ ̇ ÓÍÚ‡‚Û F4.4 — 43 ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ‰Îfl Ô‡‚Ó„Ó ÚÂÏ·‡ F4.5 — 43 ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ‰Îfl ÎÂ‚Ó„Ó ÚÂÏ·‡ F4.6 — 43 ÑˇԇÁÓÌ Ô‡‚ÓÈ Ô‰‡ÎË F4.7 — 43 èÂÂÁ‡„ÛÁ͇ F4.8 — 43 êÂÊËÏ ‡·ÓÚ˚ ΂ÓÈ Ô‰‡ÎË F5.1 F4.1 44 ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ΂ÓÈ Ô‰‡ÎË F5.2 F4.2 44 ÉÎÛ·Ë̇ «ÒÛÒÚÂÈÌ»-Ò˝ÏÔ· F5.3 — 44 ÉÓÏÍÓÒÚ¸ Ò˝ÏÔ· ÓÚÔÛ˘ÂÌÌÓÈ Í·‚Ë¯Ë F5.4 — 44 îÛÌ͈ËË ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ îÛÌ͈ËË ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ ÑÛ„Ë ÙÛÌ͈ËË ÉÓÏÍÓÒÚ¸ ÏÂÚÓÌÓχ — F6 F5 45 ÉÓÏÍÓÒÚ¸ ÓÚÍβ˜ÂÌÌÓÈ Ô‡ÚËË ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË — F7 F6 45 îÛÌ͈ËË MIDI Ç˚·Ó ͇̇· Ô‰‡˜Ë ‰‡ÌÌ˚ı MIDI F8.1 F7.1 45 Ç˚·Ó ͇̇· ÔËÂχ ‰‡ÌÌ˚ı MIDI F8.2 F7.2 46 îÛÌ͈Ëfl ÎÓ͇θÌÓ„Ó ÍÓÌÚÓÎfl (Local Control ON/OFF) F8.3 F7.3 46 àÁÏÂÌÂÌË ÔÓ„‡ÏÏ˚ (Program Change) ON/OFF F8.4 F7.4 46 îÛÌ͈Ëfl Control Change ON/OFF F8.5 F7.5 46 îÛÌ͈Ëfl MIDI Transmit Transpose F8.6 F7.6 47 艇˜‡ ÒÓÒÚÓflÌËfl Ô‡ÌÂÎË (Panel/Status Transmit) F8.7 F7.7 47 艇˜‡ ‰‡ÌÌ˚ı (Bulk Data Send) F8.8 F7.8 47 íÂÏ· F9.1 F8.1 48 MIDI F9.2 F8.2 48 Ç˚ÒÓÚ‡ Á‚Û͇ F9.3 F8.3 48 ÑÛ„Ë F9.4 F8.4 48 îÛÌ͈ËË ÒÓı‡ÌÂÌËfl CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION] 37 éÒÌÓ‚Ì˚ ‰ÂÈÒÚ‚Ëfl ‚ ÂÊËÏ Function ÑÎfl ËÒÔÓθÁÓ‚‡ÌËfl ÙÛÌ͈ËÈ ‚˚ÔÓÎÌËÚ ÒÎÂ‰Û˛˘Ë ‰ÂÈÒÚ‚Ëfl. (ÖÒÎË, ËÒÔÓθÁÛfl ÙÛÌÍˆË˛, ‚˚ Ì Á̇ÂÚÂ, ˜ÚÓ Ì‡‰Ó ҉·ڸ, ‚ÂÌËÚÂÒ¸ Í ˝ÚÓÈ ÒÚ‡ÌËˆÂ Ë ÓÁ̇ÍÓϸÚÂÒ¸ Ò ÓÒÌÓ‚Ì˚ÏË ‰ÂÈÒÚ‚ËflÏË.) 1 5 MIN 2 4 MAX START/ STOP BRIGHT BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 E.PIANO 1 E.PIANO 2 HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION CHURCH ORGAN JAZZ ORGAN STRINGS CHOIR GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME MELLOW 3 4 DEMO METRONOME TEMPO FUNCTION – /NO +/ YES PRESET USER 1 USER 2 USER 3 TEMPO / FUNCTION TRACK 1 TRACK 2 START/ STOP REC SONG VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT TOUCH ON TRANSPOSE ÑÂÈÒÚ‚Ëfl 1. ÇÍβ˜ËÚ ÂÊËÏ Function. ç‡ÊÏËÚ ÍÌÓÔÍÛ [TEMPO/FUNCTION#], ˜ÚÓ·˚ Á‡„ÓÂÎÒfl  Ë̉Ë͇ÚÓ [FUNCTION#]. ç‡ ‰ËÒÔΠÔÓfl‚ËÚÒfl . (à̉Ë͇ÚÓ « » ËÁÏÂÌflÂÚÒfl ‚ Á‡‚ËÒËÏÓÒÚË ÓÚ ÒÓÒÚÓflÌËfl ËÌÒÚÛÏÂÌÚ‡ Ë ÓÚ ÒÔÓÒÓ·‡ Â„Ó ËÒÔÓθÁÓ‚‡ÌËfl.) 2. Ç˚·ÂËÚ ÙÛÌÍˆË˛. àÒÔÓθÁÛÈÚ ÍÌÓÔÍË [TEMPO/FUNCTION# ▼, ▲] ‰Îfl ‚˚·Ó‡ ËÁ ÙÛÌ͈ËÈ F1F9 (CLP-130) / F1F8 (CLP-120) ÌÛÊÌÓÈ ÙÛÌ͈ËË. TEMPO FUNCTION TEMPO / FUNCTION èêàåÖóÄçàÖ îÛÌ͈ËË ÌÂθÁfl ‚˚·‡Ú¸ ‚ ÂÊËÏ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı Ë ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ, ËÎË ÂÒÎË ‡·ÓÚ‡ÂÚ ÛÒÚÓÈÒÚ‚Ó Á‡ÔËÒË ÔÂÒÂÌ ÔÓθÁÓ‚‡ÚÂÎfl. èêàåÖóÄçàÖ óÚÓ·˚ ÓÚÏÂÌËÚ¸ ÙÛÌÍˆË˛ ̇ ¯‡„ 2, 3 ËÎË 4, ̇ÊÏËÚ ÍÌÓÔÍÛ [TEMPO/FUNCTION# ▼, ▲] ‰Îfl ‚˚ıÓ‰‡ ËÁ ÂÊËχ Function. 3. àÒÔÓθÁÛÈÚ ÍÌÓÔÍË [–/NO] [+/YES]. ÖÒÎË Û ÙÛÌ͈ËÈ ÌÂÚ ÔÓ‰ÂÊËÏÓ‚, ̇˜ÌËÚ ÛÒÚ‡ÌÓ‚ÍÛ Ô‡‡ÏÂÚÓ‚. ÖÒÎË Û ÙÛÌ͈ËË ÂÒÚ¸ ÔÓ‰ÂÊËÏ˚, ‰Îfl ‚˚ıÓ‰‡ ‚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ËÈ ÔÓ‰ÂÊËÏ Ì‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES]. 4. Ç˚ÔÓÎÌËÚ ÓÔ‡ˆËË Ò ÌÛÊÌÓÈ ÙÛÌ͈ËÂÈ ÔË ÔÓÏÓ˘Ë ‰‚Ûı ÒÎÂ‰Û˛˘Ëı ÍÌÓÔÓÍ. 1 [TEMPO/FUNCTION# ▼, ▲] Ç˚·Ó ÌÛÊÌÓÈ ÙÛÌ͈ËË ËÎË ÔÓ‰ÂÊËχ. 2 [–/NO] ËÎË [+/YES] Ç˚·‡‚ ÌÛÊÌÛ˛ ÙÛÌÍˆË˛ ËÎË ÔÓ‰ÂÊËÏ, ÛÒÚ‡ÌÓ‚ËÚ ԇ‡ÏÂÚ˚ ON/OFF, ‚˚·ÂËÚ ÚËÔ ËÎË ÒÓÓÚ‚ÂÚÒÚ‚ÂÌÌÓ ËÁÏÂÌËÚ Á̇˜ÂÌËÂ. Ç Á‡‚ËÒËÏÓÒÚË ÓÚ Ì‡ÒÚÓÈÍË, ̇ÒÚÓÈÍÛ ÔÓ ÛÏÓΘ‡Ì˲ (ËÒÔÓθÁÛÂÚÒfl ÔË Ô‚ÓÏ ‚Íβ˜ÂÌËË ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova) ÏÓÊÌÓ ‚ÓÒÒÚ‡ÌÓ‚ËÚ¸, Ó‰ÌÓ‚ÂÏÂÌÌÓ Ì‡Ê‡‚ ÍÌÓÔÍË [–/NO] Ë [+/YES]. 38 CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION] ä ëÇÖÑÖçàû èÓÒΠ‚˚·Ó‡ ÙÛÌ͈ËË Ô‚˚È ‡Á ̇ʇڸ ÍÌÓÔÍÛ [–/NO] ËÎË [+/YES] ̇ ‰ËÒÔΠÔÓfl‚ËÚÒfl ÚÂÍÛ˘‡fl ̇ÒÚÓÈ͇. èËÏ 2. ÑÂÈÒÚ‚Ëfl Ò ÙÛÌ͈ËÂÈ F1. — ÚÓÌ͇fl ̇ÒÚÓÈ͇ ‚˚ÒÓÚ˚ Á‚Û͇ TEMPO FUNCTION чÌÌ˚ ̇ ‰ËÒÔΠTEMPO FUNCTION TEMPO / FUNCTION ÇÍβ˜ËÚ ÂÊËÏ Function. TEMPO / FUNCTION Ç˚·ÂËÚ ÌÛÊÌÛ˛ ÙÛÌÍˆË˛. чÌÌ˚ ̇ ‰ËÒÔΠ— /NO +/ YES àÁÏÂÌËÚ Á̇˜ÂÌËÂ. èËÏ 2. ÑÂÈÒÚ‚Ëfl Ò ÙÛÌ͈ËÂÈ F3.1 — ·‡Î‡ÌÒ ‚ ÂÊËÏ Dual TEMPO FUNCTION TEMPO / FUNCTION TEMPO / FUNCTION ÇÍβ˜ËÚ ÂÊËÏ Function. +/ YES чÌÌ˚ ̇ ‰ËÒÔΠTEMPO FUNCTION Ç˚·ÂËÚ ÌÛÊÌÛ˛ ÙÛÌÍˆË˛. чÌÌ˚ ̇ ‰ËÒÔΠTEMPO FUNCTION TEMPO / FUNCTION èÂÂȉËÚÂ Í ‚˚·ÓÛ ÔÓ‰ÂÊËχ. — /NO +/ YES Ç˚·ÂËÚ ÌÛÊÌ˚È ÔÓ‰ÂÊËÏ. чÌÌ˚ ̇ ‰ËÒÔΠàÁÏÂÌËÚ Á̇˜ÂÌËÂ. 5. á‡ÍÓ̘˂ ËÒÔÓθÁÓ‚‡Ú¸ ÙÛÌÍˆË˛, ҉·ÈÚ ÒÎÂ‰Û˛˘ÂÂ. óÚÓ·˚ ‚˚ÈÚË ËÁ ÂÊËχ Function, ̇ÊÏËÚ ÍÌÓÔÍÛ [TEMPO/FUNCTION#], ˜ÚÓ·˚ Á‡„ÓÂÎÒfl Ë̉Ë͇ÚÓ [TEMPO]. CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION] 39 éÔËÒ‡ÌË ÙÛÌ͈ËÈ F1. íÓÌ͇fl ̇ÒÚÓÈ͇ ‚˚ÒÓÚ˚ Á‚Û͇ åÓÊÌÓ Ì‡ÒÚÓËÚ¸ ‚˚ÒÓÚÛ Á‚Û͇ ‚ÒÂ„Ó ËÌÒÚÛÏÂÌÚ‡. ùÚ‡ ÙÛÌ͈Ëfl ÔÓÎÂÁ̇, ÂÒÎË Ì‡ Clavinova Ë„‡˛Ú ‚ ÒÓÔÓ‚ÓʉÂÌËË ‰Û„Ëı ËÌÒÚÛÏÂÌÚÓ‚ ËÎË ÏÛÁ˚ÍË Ò ÍÓÏÔ‡ÍÚ-‰ËÒ͇. 1. èÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚ . 2. äÌÓÔÍË [–/NO] Ë [+/YES] ÔË Í‡Ê‰ÓÏ Ì‡Ê‡ÚËË ÔÓÌËʇ˛Ú Ë ÔÓ‚˚¯‡˛Ú ‚˚ÒÓÚÛ Á‚Û˜‡ÌËfl Í·‚Ë¯Ë ãfl Ô‚ÓÈ ÓÍÚ‡‚˚ ÔË·ÎËÁËÚÂθÌÓ Ì‡ 0,2 Ɉ. ..... ..... ÑÂÒflÚ˚ ‰ÓÎË „ˆ‡ ÓÚϘ‡˛ÚÒfl ̇ Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ Ë̉Ë͇ÚÓÂ Ò ÔÓÏÓ˘¸˛ Ó‰ÌÓÈ ËÎË ‰‚Ûı ÚÓ˜ÂÍ (ÒÏ. ÒÎÂ‰Û˛˘ËÈ ÔËÏÂ). ÑËÒÔÎÂÈ á̇˜ÂÌË 440,0 ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: 440,2 427,0–453,0 (Ɉ) 440,4 ëڇ̉‡Ú̇fl ̇ÒÚÓÈ͇: 440,6 440,0 (Ɉ) 440,8 íÖêåàçéãéÉàü Ɉ („ˆ) — ˝ÚÓ Â‰ËÌˈ‡ ËÁÏÂÂÌËfl ˜‡ÒÚÓÚ˚ Á‚Û͇, ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘‡fl ˜ËÒÎÛ ÍÓη‡ÌËÈ Á‚ÛÍÓ‚ÓÈ ‚ÓÎÌ˚ ‚ ÒÂÍÛ̉Û. ä ëÇÖÑÖçàû åÓÊÌÓ Ú‡ÍÊ ÏÂÌflÚ¸ ‚˚ÒÓÚÛ Á‚Û͇ ̇ Í·‚ˇÚÛ (Ì ‚ ÂÊËÏ Function). ì‚Â΢ÂÌË ‚˚ÒÓÚ˚ (Ò ËÌÚ‚‡ÎÓÏ ÔËÏÂÌÓ 0,2 Ɉ): ç‡ÊÏËÚ ӉÌÓ‚ÂÏÂÌÌÓ Í·‚Ë¯Ë ãfl Ë ëË ÒÛ·ÍÓÌÚÓÍÚ‡‚˚ (‰‚ ͇ÈÌË Ò΂‡ ·ÂÎ˚ Í·‚Ë¯Ë Ì‡ Í·‚ˇÚÛÂ) Ë Î˛·Û˛ Í·‚Ë¯Û ÏÂÊ‰Û ÑÓ Ë ëË Ô‚ÓÈ ÓÍÚ‡‚˚. ìÏÂ̸¯ÂÌË ‚˚ÒÓÚ˚ (Ò ËÌÚ‚‡ÎÓÏ ÔËÏÂÌÓ 0,2 Ɉ): ç‡ÊÏËÚ ӉÌÓ‚ÂÏÂÌÌÓ Í·‚Ë¯Ë ãfl Ë ãfl ÒÛ·ÍÓÌÚÓÍÚ‡‚˚ (͇ÈÌË Ò΂‡ ·ÂÎÛ˛ Ë ˜ÂÌÛ˛ Í·‚˯Ë) Ë Î˛·Û˛ Í·‚Ë¯Û ÏÂÊ‰Û ÑÓ Ë ëË Ô‚ÓÈ ÓÍÚ‡‚˚. ÇÓÒÒÚ‡ÌÓ‚ÎÂÌË ËÒıÓ‰ÌÓÈ ‚˚ÒÓÚ˚: ç‡ÊÏËÚ ӉÌÓ‚ÂÏÂÌÌÓ Í·‚Ë¯Ë ãfl Ë ãfl ÒÛ·ÍÓÌÚÓÍÚ‡‚˚ (͇ÈÌË Ò΂‡ ·ÂÎÛ˛ Ë ˜ÂÌÛ˛ Í·‚Ë¯Ë ) Ë Î˛·Û˛ Í·‚Ë¯Û ÏÂÊ‰Û ÑÓ Ë ëË Ô‚ÓÈ ÓÍÚ‡‚˚. • àÌÙÓχˆË˛ Ó Ì‡Á‚‡ÌËflı Í·‚˯ Ë Ëı ̇Á̇˜ÂÌËflı ÒÏ. ‚ ‡Á‰ÂΠ«äÓÏÔÓÌÂÌÚ˚» ̇ ÒÚ. 14. (ÇÓ ‚ÂÏfl ÓÔËÒ‡ÌÌÓÈ ‚˚¯Â Ôӈ‰Û˚ ‰ËÒÔÎÂÈ ÔÓ͇Á˚‚‡ÂÚ ˜‡ÒÚÓÚÛ ‚ Ɉ ... . èÓÒΠÁ‡‚¯ÂÌËfl Ôӈ‰Û˚ ‰ËÒÔÎÂÈ ‚ÓÁ‚‡˘‡ÂÚÒfl Í ËÒıÓ‰ÌÓÏÛ Á̇˜ÂÌ˲.) 40 CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION] ä ëÇÖÑÖçàû ç‡ÒÚÓÈÍÛ ÏÓÊÌÓ Ú‡ÍÊ ÔÓËÁ‚Ó‰ËÚ¸ Ò ËÌÚ‚‡ÎÓÏ ÔËÏÂÌÓ 1 Ɉ (Ì ‚ ÂÊËÏ Function). ì‚Â΢ÂÌË ËÎË ÛÏÂ̸¯ÂÌË ‚˚ÒÓÚ˚ Ò ËÌÚ‚‡Î‡ÏË 1 Ɉ: ç‡ÊÏËÚ ӉÌÓ‚ÂÏÂÌÌÓ Í·‚Ë¯Ë ãfl Ë ãfl ÒÛ·ÍÓÌÚÓÍÚ‡‚˚ (͇ÈÌË Ò΂‡ ·ÂÎÛ˛ Ë ˜ÂÌÛ˛ Í·‚˯Ë) ËÎË Í·‚Ë¯Ë ãfl Ë ëË ÒÛ·ÍÓÌÚÓÍÚ‡‚˚ (‰‚ ͇ÈÌˠ΂˚ ·ÂÎ˚ Í·‚˯Ë) Ë ÍÌÓÔÍÛ [–/NO] ËÎË [+/YES]. ÇÓÒÒÚ‡ÌÓ‚ÎÂÌË ËÒıÓ‰ÌÓÈ ‚˚ÒÓÚ˚: ç‡ÊÏËÚ ӉÌÓ‚ÂÏÂÌÌÓ Í·‚Ë¯Ë ãfl Ë ãfl ÒÛ·ÍÓÌÚÓÍÚ‡‚˚ (͇ÈÌË Ò΂‡ ·ÂÎÛ˛ Ë ˜ÂÌÛ˛ Í·‚˯Ë) ËÎË Í·‚Ë¯Ë ãfl Ë ëË ÒÛ·ÍÓÌÚÓÍÚ‡‚˚ (‰‚ ͇ÈÌˠ΂˚ ·ÂÎ˚ Í·‚˯Ë) Ë ÍÌÓÔÍË [–/NO] [+/YES]. (ÇÓ ‚ÂÏfl ÓÔËÒ‡ÌÌÓÈ ‚˚¯Â Ôӈ‰Û˚ ‰ËÒÔÎÂÈ ÔÓ͇Á˚‚‡ÂÚ ˜‡ÒÚÓÚÛ ‚ Ɉ ... . èÓÒΠÁ‡‚¯ÂÌËfl Ôӈ‰Û˚ ‰ËÒÔÎÂÈ ‚ÓÁ‚‡˘‡ÂÚÒfl Í ËÒıÓ‰ÌÓÏÛ Á̇˜ÂÌ˲.) F2. Ç˚·Ó ÒÚÓfl åÓÊÌÓ ‚˚·‡Ú¸ ÌÛÊÌ˚È ÒÚÓÈ. ꇂÌÓÏÂÌÓ ÚÂÏÔÂËÓ‚‡ÌÌ˚È ÒÚÓÈ — ˝ÚÓ Ì‡Ë·ÓΠ˜‡ÒÚÓ ËÒÔÓθÁÛÂÏ˚È ÒÓ‚ÂÏÂÌÌ˚È ÏÂÎӉ˘ÂÒÍËÈ ÒÚÓÈ ÙÓÚÂÔ¸flÌÓ. é‰Ì‡ÍÓ ‚ ËÒÚÓËË ÒÛ˘ÂÒÚ‚Ó‚‡ÎÓ ·Óθ¯Ó ÍÓ΢ÂÒÚ‚Ó ‰Û„Ëı ÒÚÓ‚, ÏÌÓ„Ë ËÁ ÍÓÚÓ˚ı fl‚Îfl˛ÚÒfl ÓÒÌÓ‚ÓÈ ÓÔ‰ÂÎÂÌÌ˚ı ÏÛÁ˚͇θÌ˚ı ʇÌÓ‚. åÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ‚Ò ˝ÚË ÒÚÓË Ì‡ ËÌÒÚÛÏÂÌÚ Clavinova. 1. èÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚ . 2. ç‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES], ˜ÚÓ·˚ ÔÂÂÈÚË ‚ ÔÓ‰ÂÊËÏ ÛÒÚ‡ÌÓ‚ÍË ÒÚÓfl, Á‡ÚÂÏ ËÒÔÓθÁÛÈÚ ÍÌÓÔÍË [TEMPO/FUNCTION# ▼, ▲] ‰Îfl ‚˚·Ó‡ ÒÚÓfl. ç‡ÊËχÈÚ ÍÌÓÔÍË [–/NO] Ë [+/YES] ‰Îfl ‚˚·Ó‡ ÌÓχ ÒÚÓfl. èÓ‰ÂÊËÏ˚ ëÚÓÈ ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: 1: ꇂÌÓÏÂÌÓ ÚÂÏÔÂËÓ‚‡ÌÌ˚È 2: óËÒÚ˚È Ï‡ÊÓ 3: óËÒÚ˚È ÏËÌÓ 4: èËÙ‡„ÓÂÈÒÍËÈ ÒÚÓÈ 5: å‰ˇθÌ˚È ÒÚÓÈ 6: ëÚÓÈ ÇÂÍÏÂÈÒÚ‡ 7: ëÚÓÈ äË̷„‡ ꇂÌÓÏÂÌÓ ÚÂÏÔÂËÓ‚‡ÌÌ˚È ÒÚÓÈ éÍÚ‡‚‡ ‰ÂÎËÚÒfl ̇ ‰‚Â̇‰ˆ‡Ú¸ ‡‚Ì˚ı ËÌÚ‚‡ÎÓ‚. ç‡Ë·ÓΠÔÓÔÛÎflÌ˚È ÒÓ‚ÂÏÂÌÌ˚È ÏÂÎӉ˘ÂÒÍËÈ ÒÚÓÈ ‰Îfl ÙÓÚÂÔ¸flÌÓ. óËÒÚ˚È Ï‡ÊÓ/óËÒÚ˚È ÏËÌÓ éÒÌÓ‚‡Ì ̇ ÂÒÚÂÒÚ‚ÂÌÌ˚ı Ó·ÂÚÓ̇ı, ÚË Ï‡ÊÓÌ˚ı ‡ÍÍÓ‰‡ ÔË ÔÓÏÓ˘Ë ˝ÚÓ„Ó ÒÚÓfl ÒÓÁ‰‡˛Ú ÔÂ͇ÒÌ˚È, ˜ËÒÚ˚È Á‚ÛÍ. àı ËÌÓ„‰‡ ËÒÔÓθÁÛ˛Ú ‰Îfl ıÓÓ‚˚ı Ô‡ÚËÈ. é·˚˜Ì‡fl ̇ÒÚÓÈ͇: èËÙ‡„ÓÂÈÒÍËÈ ÒÚÓÈ ÖÒÎË ‚˚ ‚˚·Ë‡ÂÚ Ì ‡‚ÌÓÏÂÌÓ ÚÂÏÔÂËÓ‚‡ÌÌ˚È ÒÚÓÈ, ‚‡Ï ̇‰Ó ÓÔ‰ÂÎËÚ¸ ÚÓÌËÍÛ. (ᇉ‡ÌË ÚÓÌËÍË ‚ ÂÊËÏ ‡‚ÌÓÏÂÌÓ ÚÂÏÔÂËÓ‚‡ÌÌÓ„Ó ÒÚÓfl Ì ‡·ÓÚ‡ÂÚ. éÒÌÓ‚ÌÛ˛ ÌÓÚÛ ÏÓÊÌÓ Á‡‰‡Ú¸ ÔË ËÒÔÓθÁÓ‚‡ÌËË ‰Û„Ëı ÒÚÓ‚.) ùÚÓÚ ÒÚÓÈ, ‡Á‡·ÓÚ‡ÌÌ˚È ‰Â‚Ì„˜ÂÒÍËÏ ÙËÎÓÒÓÙÓÏ èËÙ‡„ÓÓÏ, ÓÒÌÓ‚‡Ì ̇ ˜ËÒÚÓÈ Í‚ËÌÚÂ. Ç ˝ÚÓÏ ÒÎÛ˜‡Â ÚˆËfl ÌÂÒÚ‡·Ëθ̇, ıÓÚfl Í‚‡Ú‡ Ë Í‚ËÌÚ‡ Á‚Û˜‡Ú ÔÂ͇ÒÌÓ Ë ÔÓ‰ıÓ‰flÚ ‰Îfl ÌÂÍÓÚÓ˚ı ÏÂÎÓ‰ËÈ. å‰ˇθÌ˚È ÒÚÓÈ ùÚÓÚ ÒÚÓÈ fl‚ÎflÂÚÒfl ÛÎÛ˜¯ÂÌÌ˚Ï ‚‡Ë‡ÌÚÓÏ ÔËÙ‡„ÓÂÈÒÍÓ„Ó ÒÚÓfl, ‚ ÌÂÏ ÛÒÚ‡ÌÂ̇ ÌÂÒÚ‡·ËθÌÓÒÚ¸ ÚˆËË. ùÚÓÚ ÒÚÓÈ ·˚Î ÔÓÔÛÎflÂÌ Ò ÍÓ̈‡ XVI ÔÓ ÍÓ̈ XVIII ‚Â͇, ËÏ ÔÓθÁÓ‚‡ÎÒfl ÉẨÂθ. ëÚÓË ÇÂÍχÈÒÚ‡ Ë äË̷„‡ 1: ꇂÌÓÏÂÌÓ ÚÂÏÔÂËÓ‚‡ÌÌ˚È éÒÌӂ̇fl ÌÓÚ‡ ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: é·˚˜Ì‡fl ̇ÒÚÓÈ͇: • èËÏ Á‡‰‡ÌËfl ÚÓÌËÍË (F) (G) ‰ËÂÁ — ˜ÂÚ‡ ̇‚ÂıÛ (A ) ·ÂÏÓθ — ˜ÂÚ‡ ‚ÌËÁÛ ùÚË ÒÚÓË fl‚Îfl˛ÚÒfl ÂÁÛθڇڇÏË ‡Á΢Ì˚ı ÒÓ˜ÂÚ‡ÌËÈ ÒÚÓfl MeanTone Ë ÔËÙ‡„ÓÂÈÒÍÓ„Ó ÒÚÓfl. Ç ˝ÚËı ÒÚÓflı Ô‰ÒÚ‡‚ÎÂÌËÂ Ë Ó˘Û˘ÂÌË ÓÚ ÔÂÒÂÌ ÏÂÌflÂÚÒfl Ò ÔÓÏÓ˘¸˛ ÏÓ‰ÛÎflˆËË. éÌË ˜‡ÒÚÓ ËÒÔÓθÁÓ‚‡ÎËÒ¸ ‚ ˝ÔÓıÛ Å‡ı‡ Ë ÅÂÚıÓ‚Â̇. àı Ú‡ÍÊ ˜‡ÒÚÓ ËÒÔÓθÁÛ˛Ú ‚ ̇ÒÚÓfl˘Â ‚ÂÏfl ̇ Í·‚ÂÒËÌÂ, ˜ÚÓ·˚ ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸ ÏÛÁ˚ÍÛ ÚÓÈ ˝ÔÓıË. CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION] 41 í‡ÌÒÔÓÌËÓ‚‡ÌË ÚÂÏ·‡ 1 ̇ ÓÍÚ‡‚Û F3. îÛÌ͈ËË ÔË Ì‡ÎÓÊÂÌËË ÚÂÏ·Ó‚ í‡ÌÒÔÓÌËÓ‚‡ÌË ÚÂÏ·‡ 2 ̇ ÓÍÚ‡‚Û åÓÊÌÓ Á‡‰‡‚‡Ú¸ ‡Á΢Ì˚ ԇ‡ÏÂÚ˚ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚, ˜ÚÓ·˚ ÛÎÛ˜¯ËÚ¸ ̇ÒÚÓÈÍË ÔÓË„˚‚‡ÂÏ˚ı ÔÂÒÂÌ, ̇ÔËÏ ËÁÏÂÌËÚ¸ ·‡Î‡ÌÒ „ÓÏÍÓÒÚË ÏÂÊ‰Û ÚÂÏ·‡ÏË. ç‡ÒÚÓÈÍË ‚ ˝ÚÓÏ ÂÊËÏ ‚˚ÔÓÎÌfl˛ÚÒfl ÓÚ‰ÂθÌÓ ‰Îfl ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚. 1. Ç˚·ÂËÚ ÚÂÏ·˚ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl, ÔÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚ ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: -1, 0, 1 é·˚˜Ì‡fl ̇ÒÚÓÈ͇: ê‡Á΢̇ ‰Îfl ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚. Ç˚ÒÓÚÛ ÚÓ̇ ÏÓÊÌÓ ÒÏ¢‡Ú¸ ̇ ˆÂÎÛ˛ ÓÍÚ‡‚Û ‚‚Âı Ë ‚ÌËÁ ÓÚ‰ÂθÌÓ ‰Îfl ÚÂÏ·Ó‚ 1 Ë 2. Ç Á‡‚ËÒËÏÓÒÚË ÓÚ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl Á‚Û˜‡ÌË ÍÓÏ·Ë̇ˆËË ÏÓÊÂÚ ÛÎÛ˜¯ËÚ¸Òfl, ÂÒÎË Ó‰ËÌ ËÁ ÚÂÏ·Ó‚ Ú‡ÌÒÔÓÌËÓ‚‡Ú¸ ̇ ÓÍÚ‡‚Û ‚‚Âı ËÎË ‚ÌËÁ. . 2. ç‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES], ˜ÚÓ·˚ ÔÂÂÈÚË ‚ ÔÓ‰ÂÊËÏ Ì‡ÒÚÓÈÍË Ì‡ÎÓÊÂÌËfl ÚÂÏ·Ó‚, Á‡ÚÂÏ ËÒÔÓθÁÛÈÚ ÍÌÓÔÍË [TEMPO/FUNCTION# ▼, ▲] ‰Îfl ‚˚·Ó‡ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ÂÈ Ì‡ÒÚÓÈÍË. ç‡ÊËχÈÚ ÍÌÓÔÍË [–/NO] Ë [+/YES] ‰Îfl ÔÓ‰·Ó‡ ÌÂÓ·ıÓ‰ËÏ˚ı Á̇˜ÂÌËÈ. èêàåÖóÄçàÖ ÖÒÎË ‚˚ Ì ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚, ÚÓ ‚ÏÂÒÚÓ ÔÓfl‚ËÚÒfl Ë ‚˚ Ì ÒÏÓÊÂÚ ËÁÏÂÌflÚ¸ ̇ÒÚÓÈÍË. åÓÊÌÓ ÔÂÂÍβ˜‡Ú¸Òfl ÏÂÊ‰Û ÂÊËÏÓÏ Function Ë ÂÊËÏÓÏ Ì‡ÎÓÊÂÌËfl ÚÂÏ·Ó‚. èÓ‰ÂÊËÏ˚ Ň·ÌÒ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: 0 – 20 (èË 10 Ó·‡ ÚÂÏ·‡ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ·Û‰ÛÚ Ò·‡Î‡ÌÒËÓ‚‡Ì˚. á̇˜ÂÌËfl ÏÂ̸¯Â 10 ·Û‰ÛÚ Û‚Â΢˂‡Ú¸ „ÓÏÍÓÒÚ¸ ÚÂÏ·‡ 2 ÔÓ Ò‡‚ÌÂÌ˲ Ò ÚÂÏ·ÓÏ 1, ‡ Á̇˜ÂÌËfl ·Óθ¯Â 10 Û‚Â΢˂‡˛Ú „ÓÏÍÓÒÚ¸ ÚÂÏ·‡ 1 ÔÓ Ò‡‚ÌÂÌ˲ Ò ÚÂÏ·ÓÏ 2.) é·˚˜Ì‡fl ̇ÒÚÓÈ͇: ì ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚ Ò‚Ófl. é‰ËÌ ËÁ ÚÂÏ·Ó‚ ÏÓÊÌÓ ‚˚·‡Ú¸ ‚ ͇˜ÂÒÚ‚Â „·‚ÌÓ„Ó, ‡ ‰Û„ÓÈ ÏÓÊÂÚ Á‚Û˜‡Ú¸ ‚ Ïfl„ÍÓÈ, ÔË„ÎÛ¯ÂÌÌÓÈ Ï‡ÌÂÂ. ëÏ¢ÂÌË ‚˚ÒÓÚ˚ ÔË Ì‡ÎÓÊÂÌËË ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: -10 – 0 – 10 (èË ÔÓÎÓÊËÚÂθÌ˚ı Á̇˜ÂÌËflı ‚˚ÒÓÚ‡ ÚÂÏ·‡ 1 ‚ÓÁ‡ÒÚ‡ÂÚ, ‡ ‚˚ÒÓÚ‡ ÚÂÏ·‡ 2 ÔÓÌËʇÂÚÒfl. èË ÓÚˈ‡ÚÂθÌ˚ı Á̇˜ÂÌËflı ‚˚ÒÓÚ‡ ÚÂÏ·‡ 1 ÔÓÌËʇÂÚÒfl, ‡ ‚˚ÒÓÚ‡ ÚÂÏ·‡ 2 ‚ÓÁ‡ÒÚ‡ÂÚ.) ä ëÇÖÑÖçàû óÂÏ ÌËÊ ÚÂÏ·, ÚÂÏ ¯Ë ‰Ë‡Ô‡ÁÓÌ Á̇˜ÂÌËÈ ËÁÏÂÌÂÌËfl ‚˚ÒÓÚ˚ (±60 % ‰Îfl ÌÓÚ˚ ãfl ÒÛ·ÍÓÌÚÓÍÚ‡‚˚, ±5 % ‰Îfl ÌÓÚ˚ ÑÓ ÔflÚÓÈ ÓÍÚ‡‚˚). (100 % ÒÓÓÚ‚ÂÚÒÚ‚Û˛Ú Ó‰ÌÓÏÛ ÔÓÎÛÚÓÌÛ.) é·˚˜Ì‡fl ̇ÒÚÓÈ͇: ì ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚ Ò‚Ófl. ëÏ¢ÂÌË ‚˚ÒÓÚ˚ Á‚Û͇ ÚÂÏ·Ó‚ 1 Ë 2 ÒÓÁ‰‡ÂÚ ·ÓΠ̇Ò˚˘ÂÌÌ˚È Á‚ÛÍ. 42 CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION] ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ‰Îfl ÚÂÏ·‡ 1 ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ‰Îfl ÚÂÏ·‡ 2 ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: 0 – 20 é·˚˜Ì‡fl ̇ÒÚÓÈ͇: ê‡Á΢̇ ‚ Á‡‚ËÒËÏÓÒÚË ÓÚ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚. Ç ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ ˝ÚË ÙÛÌ͈ËË ÔÓÁ‚ÓÎfl˛Ú ÓÚ‰ÂθÌÓ ÛÒڇ̇‚ÎË‚‡Ú¸ „ÎÛ·ËÌÛ ˝ÙÙÂÍÚ‡ ‰Îfl ÚÂÏ·Ó‚ 1 Ë 2. 臇ÏÂÚ˚ „ÎÛ·ËÌ˚ ˝ÙÙÂÍÚ‡ ÏÓÊÌÓ ËÁÏÂÌflÚ¸ ÚÓθÍÓ ‚ ÂÊËÏ [EFFECT]. óÚÓ·˚ ‚Íβ˜ËÚ¸ ÂÊËÏ [EFFECT], ÌÂÓ·ıÓ‰ËÏÓ Ò̇˜‡Î‡ ‚˚ÈÚË ËÁ ÂÊËχ Function. • é Ô‡‡ÏÂÚ‡ı «ÚÂÏ· 1» Ë «ÚÂÏ· 2» ÒÏ. ÒÚ. 26. èÂÂÁ‡„ÛÁ͇ ùÚ‡ ÙÛÌ͈Ëfl ‚ÓÒÒڇ̇‚ÎË‚‡ÂÚ ‰Îfl ‚ÒÂı ÙÛÌ͈ËÈ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ Ó·˚˜Ì˚ Á̇˜ÂÌËfl. ÑÎfl ‚ÓÒÒÚ‡ÌÓ‚ÎÂÌËfl ËÒıÓ‰Ì˚ı Á̇˜ÂÌËÈ Ì‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES]. ä ëÇÖÑÖçàû äéåÅàçÄñàü äãÄÇàò: åÓÊÌÓ ÔÂÂÈÚË ÔflÏÓ Í ÙÛÌ͈ËflÏ ‚ ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ , ̇ʇ‚ ÍÌÓÔÍÛ [TEMPO/FUNCTION#] , Ó‰ÌÓ‚ÂÏÂÌÌÓ Û‰ÂÊË‚‡fl ÍÌÓÔÍË ‰‚Ûı ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Ëı ÚÂÏ·Ó‚. óÚÓ·˚ ‚˚ÈÚË ËÁ ÂÊËχ Function, ̇‰Ó Ú‡ÍÊ ̇ʇڸ ÍÌÓÔÍÛ [TEMPO/FUNCTION#], ˜ÚÓ·˚ Á‡„ÓÂÎÒfl Ë̉Ë͇ÚÓ TEMPO. é·˚˜Ì‡fl ̇ÒÚÓÈ͇: F4. (CLP-130) îÛÌ͈ËË ÔË ‡Á‰ÂÎÂÌËË ÚÂÏ·Ó‚ ì ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚ Ò‚Ófl. ìÓ‚Â̸ „ÓÏÍÓÒÚË Í‡Ê‰Ó„Ó ÚÂÏ·‡ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÏÓÊÌÓ Ì‡ÒÚÓËÚ¸. Ç ˝ÚÓÏ ÏÂÌ˛ ÏÓÊÌÓ Á‡‰‡‚‡Ú¸ ‡Á΢Ì˚ ԇ‡ÏÂÚ˚ ‰Îfl ÂÊËχ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚. åÂÌflfl ÚÓ˜ÍÛ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ ËÎË ‰Û„Ë ԇ‡ÏÂÚ˚, ÏÓÊÌÓ ‰Ó·ËÚ¸Òfl ÓÔÚËχθÌÓ„Ó Á‚Û˜‡ÌËfl ËÒÔÓÎÌflÂÏÓÈ ÔÂÒÌË. ùÚË Ì‡ÒÚÓÈÍË ÏÓÊÌÓ ÛÒÚ‡ÌÓ‚ËÚ¸ ÓÚ‰ÂθÌÓ ‰Îfl ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚. 1. Ç˚·ÂËÚ ÚÂÏ·˚ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl, ÔÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚ í‡ÌÒÔÓÌËÓ‚‡ÌË ԇ‚Ó„Ó ÚÂÏ·‡ í‡ÌÒÔÓÌËÓ‚‡ÌË ÎÂ‚Ó„Ó ÚÂÏ·‡ ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: -1, 0, 1 é·˚˜Ì‡fl ̇ÒÚÓÈ͇: ë‚Ófl ‰Îfl ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË . 2. ç‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES], ˜ÚÓ·˚ ÔÂÂÈÚË ‚ ÔÓ‰ÂÊËÏ Ì‡ÒÚÓÈÍË ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚, Á‡ÚÂÏ ËÒÔÓθÁÛÈÚ ÍÌÓÔÍË [TEMPO/FUNCTION# ▼, ▲] ‰Îfl ‚˚·Ó‡ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Ëı Ô‡‡ÏÂÚÓ‚. ÑÎfl ‚˚·Ó‡ Á̇˜ÂÌËÈ ËÒÔÓθÁÛÈÚ ÍÌÓÔÍË [–/NO] Ë [+/YES]. èêàåÖóÄçàÖ ÖÒÎË ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ Ì ‚Íβ˜ÂÌ, ‚ÏÂÒÚÓ ÔÓfl‚ËÚÒfl Ë ‚˚ Ì ÒÏÓÊÂÚ ‚˚·‡Ú¸ ÙÛÌ͈ËË ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚. çÂÓ·ıÓ‰ËÏÓ ‚˚ÈÚË ËÁ ÂÊËχ Function, ÔÂʉ ˜ÂÏ ÔÂÂıÓ‰ËÚ¸ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚. ÚÂÏ·Ó‚ Ç˚ÒÓÚÛ Á‚Û͇ ÏÓÊÌÓ ÒÏ¢‡Ú¸ ̇ ˆÂÎÛ˛ ÓÍÚ‡‚Û ‚‚Âı Ë ‚ÌËÁ ÓÚ‰ÂθÌÓ ‰Îfl Ô‡‚Ó„Ó Ë ÎÂ‚Ó„Ó ÚÂÏ·‡. Ç˚·ÂËÚ ̇ÒÚÓÈÍÛ, ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Û˛ ÌÓÚÌÓÏÛ ‰Ë‡Ô‡ÁÓÌÛ ÔÓË„˚‚‡ÂÏ˚ı ÔÂÒÂÌ. ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ‰Îfl Ô‡‚Ó„Ó ÚÂÏ·‡ ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ‰Îfl ÎÂ‚Ó„Ó ÚÂÏ·‡ ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: 0 – 20 é·˚˜Ì‡fl ̇ÒÚÓÈ͇: ë‚Ófl ‰Îfl ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚ ùÚË ÙÛÌ͈ËË ÔÓÁ‚ÓÎfl˛Ú ÓÚ‰ÂθÌÓ ÛÒڇ̇‚ÎË‚‡Ú¸ „ÎÛ·ËÌÛ ˝ÙÙÂÍÚ‡ ‰Îfl ÎÂ‚Ó„Ó Ë Ô‡‚Ó„Ó ÚÂÏ·‡ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚. 臇ÏÂÚ˚ „ÎÛ·ËÌ˚ ˝ÙÙÂÍÚ‡ ÏÓÊÌÓ ÏÂÌflÚ¸ ÚÓθÍÓ ‚ ÂÊËÏ [EFFECT]. è‰ ‚Íβ˜ÂÌËÂÏ ÂÊËχ [EFFECT] ÌÂÓ·ıÓ‰ËÏÓ ‚˚ÈÚË ËÁ ÂÊËχ Function. ÑˇԇÁÓÌ Ô‡‚ÓÈ Ô‰‡ÎË ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: ALL (‰Îfl Ó·ÓËı ÚÂÏ·Ó‚) èÓ‰ÂÊËÏ˚ íӘ͇ ‡Á‰ÂÎÂÌËfl ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: ÇÒfl Í·‚ˇÚÛ‡ é·˚˜Ì‡fl ÛÒÚ‡Ìӂ͇: î‡ Ï‡ÎÓÈ ÓÍÚ‡‚˚ ìÒÚ‡ÌÓ‚ËÚ ̇ Í·‚ˇÚÛ ÚÓ˜ÍÛ, ‡Á‰ÂÎfl˛˘Û˛ Ô‡ÚËË Ô‡‚ÓÈ Ë Î‚ÓÈ ÛÍË (ÚÓ˜ÍÛ ‡Á‰ÂÎÂÌËfl). ç‡Ê‡Ú‡fl Í·‚˯‡ ÓÚÌÓÒËÚÒfl Í ‰Ë‡Ô‡ÁÓÌÛ ‰Îfl Ô‡ÚËË Î‚ÓÈ ÛÍË. • ÇÏÂÒÚÓ ÚÓ„Ó, ˜ÚÓ·˚ ̇ÊËχڸ ÍÌÓÔÍË [–/NO] Ë [+/YES], ÏÓÊÌÓ ‚‚ÂÒÚË ÚÓ˜ÍÛ ‡Á‰ÂÎÂÌËfl, ̇ÊËχfl ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Û˛ Í·‚Ë¯Û Ì‡ Í·‚ˇÚÛÂ. • ÖÒÎË ÂÊËÏ Function Ì Á‡‰ÂÈÒÚ‚Ó‚‡Ì, ÏÓÊÌÓ ËÁÏÂÌËÚ¸ ÚÓ˜ÍÛ ‡Á‰ÂÎÂÌËfl, ̇ʇ‚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Û˛ Í·‚Ë¯Û Ë Û‰ÂÊË‚‡fl ÔË ˝ÚÓÏ ÍÌÓÔÍÛ [SPLIT] (ÒÚ. 27). • èËÏ Á̇˜ÂÌËfl ‰Îfl ÚÓ˜ÍË ‡Á‰ÂÎÂÌËfl Í·‚ˇÚÛ˚ (F2) (G2) ‰ËÂÁ — ˜ÂÚ‡ ̇‚ÂıÛ (A 2) 1 (‰Îfl Ô‡‚Ó„Ó ÚÂÏ·‡) 2 (‰Îfl ÎÂ‚Ó„Ó ÚÂÏ·‡) é·˚˜Ì‡fl ̇ÒÚÓÈ͇: ALL îÛÌ͈Ëfl ‰Ë‡Ô‡ÁÓ̇ Ô‡‚ÓÈ Ô‰‡ÎË ÓÔ‰ÂÎflÂÚ, ‚ÎËflÂÚ ÎË ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ Ô‡‚‡fl Ô‰‡Î¸ ̇ Ô‡‚˚È, ΂˚È ËÎË Ó·‡ ÚÂÏ·‡. èÂÂÁ‡„ÛÁ͇ ùÚ‡ ÙÛÌ͈Ëfl ‚ÓÒÒڇ̇‚ÎË‚‡ÂÚ ‚Ò ÙÛÌ͈ËË ÂÊËχ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ ‚ Á̇˜ÂÌËË ÔÓ ÛÏÓΘ‡Ì˲. ÑÎfl ‚ÓÒÒÚ‡ÌÓ‚ÎÂÌËfl Á̇˜ÂÌËÈ ÔÓ ÛÏÓΘ‡Ì˲ ̇ÊÏËÚ ÍÌÓÔÍÛ [+/YES]. ä ëÇÖÑÖçàû äéåÅàçÄñàü äãÄÇàò: åÓÊÌÓ ÔÂÂÈÚË ÔflÏÓ Í ÙÛÌ͈ËflÏ ÂÊËχ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ , ̇ʇ‚ ÍÌÓÔÍÛ [TEMPO/FUNCTION#], Ó‰ÌÓ‚ÂÏÂÌÌÓ Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ [SPLIT]. óÚÓ·˚ ‚˚ÈÚË ËÁ ÂÊËχ Function, ̇‰Ó Ú‡ÍÊ ̇ʇڸ ÍÌÓÔÍÛ [TEMPO/FUNCTION#], ˜ÚÓ·˚ Á‡„ÓÂÎÒfl Ë̉Ë͇ÚÓ TEMPO. ·ÂÏÓθ — ˜ÂÚ‡ ‚ÌËÁÛ Å‡Î‡ÌÒ ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: 0 – 20 (á̇˜ÂÌËÂ10 ÛÒڇ̇‚ÎË‚‡ÂÚ ‡‚Ì˚È ·‡Î‡ÌÒ ÏÂÊ‰Û ÚÂÏ·‡ÏË ‚ ÂÊËÏ ‡Á‰ÂÎÂÌËfl. á̇˜ÂÌËfl ÏÂ̸¯Â 10 Û‚Â΢˂‡˛Ú „ÓÏÍÓÒÚ¸ ÎÂ‚Ó„Ó ÚÂÏ·‡ ÔÓ Ò‡‚ÌÂÌ˲ Ò Ô‡‚˚Ï, ‡ Á̇˜ÂÌËfl ‚˚¯Â 10 Û‚Â΢˂‡˛Ú „ÓÏÍÓÒÚ¸ Ô‡‚Ó„Ó ÚÂÏ·‡ ÔÓ Ò‡‚ÌÂÌ˲ Ò Î‚˚Ï.) CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION] 43 F5. (CLP-130) / F4. (CLP-120) ÑÛ„Ë ÙÛÌ͈ËË ùÚ‡ ÙÛÌ͈Ëfl ÔÓÁ‚ÓÎflÂÚ ‚˚·‡Ú¸ ‰Îfl ΂ÓÈ Ô‰‡ÎË Ó‰ËÌ ËÁ ÂÊËÏÓ‚, Û͇Á‡ÌÌ˚ı ÌËÊÂ. 1. ÇÍβ˜ËÚ ÂÊËÏ Function Ë ‚˚·ÂËÚ (CLP-130)/ (CLP-120). 2. ç‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES], ˜ÚÓ·˚ ÔÂÂÈÚË ‚ ÔÓ‰ÂÊËÏ ‰Û„Ëı ÙÛÌ͈ËÈ, Á‡ÚÂÏ ËÒÔÓθÁÛÈÚ ÍÌÓÔÍË [TEMPO/FUNCTION# ▼, ▲] ‰Îfl ‚˚·Ó‡ ÌÛÊÌÓ„Ó ÔÓ‰ÂÊËχ. ç‡ÊËχÈÚ ÍÌÓÔÍÛ [–/NO] ËÎË [+/YES] ‰Îfl ‚˚·Ó‡ ÌÛÊÌÓÈ ÙÛÌ͈ËË Ô‰‡ÎË ËÎË ÛÒÚ‡ÌÓ‚ÍË Á̇˜ÂÌËÈ. èÓ‰ÂÊËÏ (CLP-130)/ (CLP-120) êÂÊËÏ Î‚ÓÈ Ô‰‡ÎË ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: 1. ょfl Ô‰‡Î¸ (ÔË„ÎÛ¯ÂÌËÂ) èÓ͇ ̇ʇڇ ΂‡fl Ô‰‡Î¸, „ÓÏÍÓÒÚ¸ ÔÓË„˚‚‡ÂÏ˚ı ÌÓÚ ·Û‰ÂÚ ÔË„ÎÛ¯Â̇, ‡ ÚÂÏ· Ò΄͇ ËÁÏÂÌÂÌ. ùÚ‡ Ô‰‡Î¸ Ì ‚ÎËflÂÚ Ì‡ ÛÊ Á‚Û˜‡˘Ë ÌÓÚ˚. 2. á‡ÔÛÒÍ ËÎË ÓÒÚ‡Ìӂ͇ ÔÂÒÌË Ç ˝ÚÓÏ ÂÊËÏ ÏÓÊÌÓ Á‡ÔÛÒ͇ڸ ËÎË ÓÒڇ̇‚ÎË‚‡Ú¸ ‚ÓÒÔÓËÁ‚‰ÂÌË ÔÂÒÌË. Ç ˝ÚÓÏ ÂÊËϠ΂‡fl Ô‰‡Î¸ ‡·ÓÚ‡ÂÚ Í‡Í ÍÌÓÔ͇ SONG [START/STOP] ̇ Ô‡ÌÂÎË. 3. LJˇˆËfl (CLP-130) Ç ˝ÚÓÏ ÂÊËÏ ÏÓÊÌÓ ‚Íβ˜‡Ú¸ Ë ‚˚Íβ˜‡Ú¸ ‚‡Ë‡ˆË˛ ÚÂÏ·Ó‚. Ç ˝ÚÓÏ ÂÊËϠ΂‡fl Ô‰‡Î¸ ‡·ÓÚ‡ÂÚ Í‡Í ÍÌÓÔ͇ [VARIATION] ̇ Ô‡ÌÂÎË. é·˚˜Ì‡fl ̇ÒÚÓÈ͇: 1 (ょfl Ô‰‡Î¸) (CLP-130)/ (CLP-120) ÉÎÛ·Ë̇ ˝ÙÙÂÍÚ‡ ΂ÓÈ Ô‰‡ÎË ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: é·˚˜Ì‡fl ̇ÒÚÓÈ͇: 1 – 15 3 ùÚ‡ ÙÛÌ͈Ëfl Á‡‰‡ÂÚ „ÎÛ·ËÌÛ ˝ÙÙÂÍÚ‡ ΂ÓÈ Ô‰‡ÎË. (CLP-130) ÉÎÛ·Ë̇ «ÒÛÒÚÂÈÌ»-Ò˝ÏÔ· ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: é·˚˜Ì‡fl ̇ÒÚÓÈ͇: 0 – 20 12 ÑÎfl ÚÂÏ·‡ GRAND PIANO 1 ËÒÔÓθÁÛ˛ÚÒfl ÒÔˆˇθÌ˚ «ÒÛÒÚÂÈÌ»-Ò˝ÏÔÎ˚, ÍÓÚÓ˚ ÔË Ì‡Ê‡ÚËË Ô‡‚ÓÈ Ô‰‡ÎË ‚ÓÒÒÓÁ‰‡˛Ú ÛÌË͇θÌ˚È ÂÁÓ̇ÌÒ ‰ÂÍË Ë ÒÚÛÌ ‡ÍÛÒÚ˘ÂÒÍÓ„Ó ÓflÎfl. ùÚ‡ ÙÛÌ͈Ëfl ÔÓÁ‚ÓÎflÂÚ Ì‡ÒÚÓËÚ¸ „ÎÛ·ËÌÛ ˝ÚÓ„Ó ˝ÙÙÂÍÚ‡. 44 CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION] (CLP-130) ÉÓÏÍÓÒÚ¸ Ò˝ÏÔ· ÓÚÔÛ˘ÂÌÌÓÈ Í·‚Ë¯Ë ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: é·˚˜Ì‡fl ̇ÒÚÓÈ͇: 0 – 20 10 åÓÊÌÓ Ì‡ÒÚÓËÚ¸ „ÓÏÍÓÒÚ¸ Á‚Û͇ ÓÚÔÛ˘ÂÌÌÓÈ Í·‚Ë¯Ë (ÚËıËÈ Á‚ÛÍ, ‚ÓÁÌË͇˛˘ËÈ, ÍÓ„‰‡ ÓÚÔÛÒ͇˛Ú Í·‚˯Û) ‰Îfl ÚÂÏ·Ó‚ [GRAND PIANO1], [HARPSICHORD], [E.CLAVICHORD] (‡ Ú‡ÍÊ ‰Îfl Ëı ‚‡Ë‡ˆËÈ). F6. (CLP-130) / F5. (CLP-120) ÉÓÏÍÓÒÚ¸ ÏÂÚÓÌÓχ ÉÓÏÍÓÒÚ¸ ÏÂÚÓÌÓχ ÏÓÊÌÓ ÏÂÌflÚ¸. àÒÔÓθÁÛÈÚ ˝ÚÛ ÙÛÌÍˆË˛ ‰Îfl ̇ÒÚÓÈÍË „ÓÏÍÓÒÚË ÏÂÚÓÌÓχ. 1. èÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚ (CLP-130)/ (CLP-120). 2. ᇉ‡ÈÚ ÌÛÊÌÛ˛ „ÓÏÍÓÒÚ¸ ÏÂÚÓÌÓχ Ò ÔÓÏÓ˘¸˛ ÍÌÓÔÓÍ [–/NO] Ë [+/YES]. ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: é·˚˜Ì‡fl ̇ÒÚÓÈ͇: 1 – 20 10 ä ëÇÖÑÖçàû äéåÅàçÄñàü äãÄÇàò: åÓÊÌÓ ÔÂÂÈÚË ÔflÏÓ Í ÙÛÌ͈ËflÏ ÏÂÚÓÌÓχ (CLP130)/ (CLP-120), ̇ʇ‚ ÍÌÓÔÍÛ [TEMPO/FUNCTION#] Ë Ó‰ÌÓ‚ÂÏÂÌÌÓ Û‰ÂÊË‚‡fl ÍÌÓÔÍÛ METRONOME [START/ STOP]. óÚÓ·˚ ‚˚ÈÚË ËÁ ÂÊËχ Function, ̇‰Ó Ú‡ÍÊ ̇ʇڸ ÍÌÓÔÍÛ [TEMPO/FUNCTION#], ˜ÚÓ·˚ Á‡„ÓÂÎÒfl Ë̉Ë͇ÚÓ TEMPO. F7. (CLP-130) / F6. (CLP-120) ÉÓÏÍÓÒÚ¸ ÓÚÍβ˜ÂÌÌÓÈ Ô‡ÚËË ùÚ‡ ÙÛÌ͈Ëfl Á‡‰‡ÂÚ „ÓÏÍÓÒÚ¸, Ò ÍÓÚÓÓÈ Á‚Û˜ËÚ «ÓÚÍβ˜ÂÌ̇fl» Ô‡ÚËfl ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË. ç‡ÒÚÓÈÚ ۉӷÌÛ˛ ‰Îfl ‚‡Ò „ÓÏÍÓÒÚ¸ Ë ËÒÔÓθÁÛÈÚ ÓÚÍβ˜ÂÌÌÛ˛ Ô‡Ú˲ ‚ ͇˜ÂÒÚ‚Â ÛÍÓ‚Ó‰ÒÚ‚‡ ‰Îfl Ò‚ÓÂÈ Ë„˚. 1. èÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚ (CLP-130)/ (CLP-120). 2. ìÒÚ‡ÌÓ‚ËÚ ÌÛÊÌÛ˛ „ÓÏÍÓÒÚ¸ Ò ÔÓÏÓ˘¸˛ ÍÌÓÔÓÍ [–/NO] Ë [+/YES]. ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: é·˚˜Ì‡fl ̇ÒÚÓÈ͇: 0 – 20 5 F8. (CLP-130) / F7. (CLP-120) îÛÌ͈ËË MIDI åÓÊÌÓ Á‡‰‡Ú¸ ̇ÒÚÓÈÍË MIDI-ËÌÚÂÙÂÈÒ‡. ÑÓÔÓÎÌËÚÂθÌÛ˛ ËÌÙÓχˆË˛ Ó MIDI ÏÓÊÌÓ ÔÓÎÛ˜ËÚ¸ ‚ ‡Á‰ÂΠ«é· ËÌÚÂÙÂÈÒ MIDI» (ÒÚ. 49). ä ëÇÖÑÖçàû óÚÓ·˚ ËÒÔÓθÁÓ‚‡Ú¸ MIDI-‡Á˙ÂÏ˚, ÔÂÂÍβ˜‡ÚÂθ HOST SELECT ̇ ÌËÊÌÂÈ Ô‡ÌÂÎË ËÌÒÚÛÏÂÌÚ‡ ̇‰Ó ÛÒÚ‡ÌÓ‚ËÚ¸ ‚ ÔÓÎÓÊÂÌË «MIDI». ÖÒÎË ‚˚ ÔÓθÁÛÂÚÂÒ¸ ‡Á˙ÂÏÓÏ TO HOST, ÛÒÚ‡ÌÓ‚ËÚ ÔÂÂÍβ˜‡ÚÂθ HOST SELECT ‚ ÔÓÎÓÊÂÌËÂ, ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â ÚËÔÛ ‚‡¯Â„Ó ÍÓÏÔ¸˛Ú‡ (ÒÚ. 49-55). èË ˝ÚÓÏ ‚Ò ÛÒÚ‡ÌÓ‚ÍË ‰Îfl MIDI, ÓÔËÒ‡ÌÌ˚ ÌËÊÂ, ·Û‰ÛÚ ‚ÎËflÚ¸ ̇ MIDI-Ò˄̇Î, ‚ıÓ‰fl˘ËÈ Ë ‚˚ıÓ‰fl˘ËÈ ˜ÂÂÁ ‡Á˙ÂÏ TO HOST. 1. èÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚ (CLP-130)/ (CLP-120). 2. ç‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES], ˜ÚÓ·˚ ÔÂÂÈÚË ‚ ÂÊËÏ ÛÒÚ‡ÌÓ‚ÍË MIDI, Á‡ÚÂÏ ËÒÔÓθÁÛÈÚ ÍÌÓÔÍË [TEMPO/FUNCTION# ▼, ▲] ‰Îfl ‚˚·Ó‡ ÌÛÊÌÓ„Ó ÔÓ‰ÂÊËχ. ç‡ÊËχÈÚ ÍÌÓÔÍÛ [–/NO] ËÎË [+/YES] ‰Îfl ÛÒÚ‡ÌÓ‚ÍË ‚˚·‡ÌÌÓ„Ó Ô‡‡ÏÂÚ‡. èÓ‰ÂÊËÏ (CLP-130)/ (CLP-120) Ç˚·Ó ͇̇· Ô‰‡˜Ë ‰‡ÌÌ˚ı MIDI èË Ì‡ÒÚÓÈÍ ÛÔ‡‚ÎÂÌËfl MIDI-ËÌÚÂÙÂÈÒÓÏ ‰Îfl ÛÒÔ¯ÌÓÈ Ô‰‡˜Ë ‰‡ÌÌ˚ı MIDI-͇̇Î˚ Ô‰‡˛˘Â„Ó Ë ÔËÌËχ˛˘Â„Ó Ó·ÓÛ‰Ó‚‡ÌËfl ‰ÓÎÊÌ˚ ·˚Ú¸ Ô˂‰ÂÌ˚ ‚ ÒÓÓÚ‚ÂÚÒÚ‚ËÂ. ë ÔÓÏÓ˘¸˛ ˝ÚÓ„Ó Ô‡‡ÏÂÚ‡ ÏÓÊÌÓ Û͇Á‡Ú¸ ͇̇Î, ÔÓ ÍÓÚÓÓÏÛ ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova ·Û‰ÂÚ Ô‰‡‚‡Ú¸ MIDI-‰‡ÌÌ˚Â. ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: 1 – 16, OFF (Ô‰‡˜Ë ÌÂÚ) é·˚˜Ì‡fl ̇ÒÚÓÈ͇: 1 èêàåÖóÄçàÖ Ç ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ ‰‡ÌÌ˚ ‰Îfl ÚÂÏ·‡ 1 Ô‰‡˛ÚÒfl ÔÓ Û͇Á‡ÌÌÓÏÛ ‰Îfl ÌÂ„Ó Í‡Ì‡ÎÛ. Ç ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ (CLP-130) ‰‡ÌÌ˚ ԇ‚Ó„Ó ÚÂÏ·‡ Ô‰‡˛ÚÒfl ÔÓ Û͇Á‡ÌÌÓÏÛ ‰Îfl ÌÂ„Ó Í‡Ì‡ÎÛ. Ç ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ ‰‡ÌÌ˚ ÚÂÏ·‡ 2 Ô‰‡˛ÚÒfl ÔÓ Í‡Ì‡ÎÛ, ÌÓÏ ÍÓÚÓÓ„Ó ·Óθ¯Â ÌÓχ Û͇Á‡ÌÌÓ„Ó Í‡Ì‡Î‡. Ç ÂÊËÏ ‡Á‰ÂÎÂÌËfl ÚÂÏ·Ó‚ (CLP-130) ‰‡ÌÌ˚ ÎÂ‚Ó„Ó ÚÂÏ·‡ Ô‰‡˛ÚÒfl ÔÓ Í‡Ì‡ÎÛ, ÌÓÏ ÍÓÚÓÓ„Ó ·Óθ¯Â ÌÓχ Û͇Á‡ÌÌÓ„Ó Í‡Ì‡Î‡. ÖÒÎË ‚ β·ÓÏ ÂÊËÏ Ô‰‡˛˘ËÈ Í‡Ì‡Î ÛÒÚ‡ÌÓ‚ÎÂÌ ‚ ÔÓÎÓÊÂÌË «OFF», ‰‡ÌÌ˚ Ì Ô‰‡˛ÚÒfl. èêàåÖóÄçàÖ Ñ‡ÌÌ˚ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı Ë ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ Ë ‰‡ÌÌ˚ ÔÂÒÂÌ ÔÓθÁÓ‚‡ÚÂÎfl Ì Ô‰‡˛ÚÒfl ˜ÂÂÁ MIDI. CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION] 45 (CLP-130)/ (CLP-120) (CLP-120) Ç˚·Ó ͇̇· ÔËÂχ MIDI-‰‡ÌÌ˚ı àÁÏÂÌÂÌË ÔÓ„‡ÏÏ˚ ON/OFF èË Ì‡ÒÚÓÈÍ ÛÔ‡‚ÎÂÌËfl MIDI-ËÌÚÂÙÂÈÒÓÏ ‰Îfl ÛÒÔ¯ÌÓÈ Ô‰‡˜Ë ‰‡ÌÌ˚ı MIDI-͇̇Î˚ Ô‰‡˛˘Â„Ó Ë ÔËÌËχ˛˘Â„Ó Ó·ÓÛ‰Ó‚‡ÌËfl ‰ÓÎÊÌ˚ ·˚Ú¸ Ô˂‰ÂÌ˚ ‚ ÒÓÓÚ‚ÂÚÒÚ‚ËÂ. ë ÔÓÏÓ˘¸˛ ˝ÚÓ„Ó Ô‡‡ÏÂÚ‡ ÏÓÊÌÓ Û͇Á‡Ú¸ ͇̇Î, ÔÓ ÍÓÚÓÓÏÛ ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova ·Û‰ÂÚ ÔÓÎÛ˜‡Ú¸ MIDI-‰‡ÌÌ˚Â. ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: ALL, 1&2, 1-16 é·˚˜Ì‡fl ̇ÒÚÓÈ͇: ALL é·˚˜ÌÓ CLP-130/120 ‡„ËÛÂÚ Ì‡ ÌÓχ ËÁÏÂÌÂÌËfl MIDI-ÔÓ„‡ÏÏ˚, ÔÓÎÛ˜ÂÌÌ˚Â Ò ‚̯ÌÂÈ Í·‚ˇÚÛ˚ ËÎË ÓÚ ‰Û„Ó„Ó MIDIÛÒÚÓÈÒÚ‚‡, ‚˚·Ë‡fl ‰Îfl ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â„Ó Í‡Ì‡Î‡ ÚÂÏ· Ò ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ËÏ ÌÓÏÂÓÏ (ÚÂÏ· ̇ Í·‚ˇÚÛ Ì ËÁÏÂÌflÂÚÒfl). èË ‚˚·Ó ӉÌÓ„Ó ËÁ Ò‚ÓËı ÚÂÏ·Ó‚, ˆËÙÓ‚Ó ÔˇÌËÌÓ CLP-130/120 Ó·˚˜ÌÓ Ô‰‡ÂÚ ÌÓÏ ËÁÏÂÌÂÌËfl MIDIÔÓ„‡ÏÏ˚, ÂÒÎË ‚̯Ì MIDI-ÛÒÚÓÈÒÚ‚Ó Ì‡ÒÚÓÂÌÓ Ì‡ ÔËÂÏ ‰‡ÌÌ˚ı, ̇ ÌÂÏ ·Û‰ÂÚ ‚˚·‡Ì ÚÂÏ· ËÎË ÔÓ„‡Ïχ Ò ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ËÏ ÌÓÏÂÓÏ. èË ÔÓÏÓ˘Ë ˝ÚÓÈ ÙÛÌ͈ËË ÏÓÊÌÓ Á‡ÔÂÚËÚ¸ ÔËÂÏ Ë Ô‰‡˜Û ÌÓÏÂÓ‚ ËÁÏÂÌÂÌËfl ÔÓ„‡ÏÏ˚, Ú.Â. ‚˚·‡ÌÌ˚ ̇ ÔˇÌËÌÓ CLP-130/120 ÚÂÏ·˚ Ì ·Û‰ÛÚ ‚ÎËflÚ¸ ̇ ‚̯Ì MIDI-ÛÒÚÓÈÒÚ‚Ó. ä ëÇÖÑÖçàû ALL: ÑÓÒÚÛÔÂÌ ÂÊËÏ ÔËÂχ ÌÂÒÍÓθÍËı ÚÂÏ·Ó‚ (Multi-timbre). ë Â„Ó ÔÓÏÓ˘¸˛ ÏÓÊÌÓ Ó‰ÌÓ‚ÂÏÂÌÌÓ ÔËÌËχڸ ‡Á΢Ì˚ ԇÚËË ÔÓ ‚ÒÂÏ 16 Í‡Ì‡Î‡Ï MIDI, ˜ÚÓ ‰‡ÂÚ ˆËÙÓ‚ÓÏÛ ÔˇÌËÌÓ Clavinova ‚ÓÁÏÓÊÌÓÒÚ¸ ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸ ‰‡ÌÌ˚ ÔÂÒÌË, ÔÓÎÛ˜ÂÌÌ˚Â Ò ÍÓÏÔ¸˛Ú‡ ËÎË ÒÂÍ‚ÂÌÒ‡ ÔÓ ÌÂÒÍÓθÍËÏ Í‡Ì‡Î‡Ï. 1&2: ÑÓÒÚÛÔÂÌ ÂÊËÏ ÔËÂχ 1&2. ë Â„Ó ÔÓÏÓ˘¸˛ ÏÓÊÌÓ Ó‰ÌÓ‚ÂÏÂÌÌÓ ÔËÌËχڸ ÚÓθÍÓ ÔÓ Í‡Ì‡Î‡Ï 1 Ë 2, ˜ÚÓ ‰‡ÂÚ ˆËÙÓ‚ÓÏÛ ÔˇÌËÌÓ Clavinova ‚ÓÁÏÓÊÌÓÒÚ¸ ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸ ‰‡ÌÌ˚ ÔÂÒÌË, ÔÓÎÛ˜ÂÌÌ˚Â Ò ÍÓÏÔ¸˛Ú‡ ËÎË ÒÂÍ‚ÂÌÒ‡ ÔÓ Í‡Ì‡Î‡Ï 1 Ë 2. ä ëÇÖÑÖçàû àÁÏÂÌÂÌË ÔÓ„‡ÏÏ˚ Ë ‰Û„Ë ÔÓ‰Ó·Ì˚ ÒÓÓ·˘ÂÌËfl Ì ‚ÎËfl˛Ú ̇ ̇ÒÚÓÈÍË Ô‡ÌÂÎË CLP-130/120 ËÎË Á‚Û˜‡ÌË ÌÓÚ, ÔÓË„˚‚‡ÂÏ˚ı ̇ Í·‚ˇÚÛÂ. èêàåÖóÄçàÖ Ç ÂÊËÏ ‰ÂÏÓÌÒÚ‡ˆËË ËÎË ‚ÓÒÔÓËÁ‚‰ÂÌËfl ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË MIDI-‰‡ÌÌ˚ Ì ÔËÌËχ˛ÚÒfl. (CLP-130)/ (CLP-120) îÛÌ͈Ëfl Local îÛÌ͈Ëfl Local ‰‡ÂÚ ‚ÓÁÏÓÊÌÓÒÚ¸ ÛÔ‡‚ÎflÚ¸ ‡·ÓÚÓÈ ‚ÒÚÓÂÌÌÓ„Ó ÚÓÌ-„Â̇ÚÓ‡ Ò Í·‚ˇÚÛ˚ CLP-130/ 120, Ú. Â. ‚ÒÚÓÂÌÌ˚ ÚÂÏ·˚ ÏÓ„ÛÚ ÔÓË„˚‚‡Ú¸Òfl ÔflÏÓ Ì‡ Í·‚ˇÚÛÂ. ùÚÓ ‚ÓÁÏÓÊÌÓ, ÂÒÎË ÙÛÌ͈Ëfl Local ‚Íβ˜Â̇ (‚˚·‡Ì Ô‡‡ÏÂÚ Local Control On), Ú. Â. ‚ÌÛÚÂÌÌËÈ ÚÓÌ-„Â̇ÚÓ ÍÓÌÚÓÎËÛÂÚÒfl ÎÓ͇θÌÓ, Ò Í·‚ˇÚÛ˚ ËÌÒÚÛÏÂÌÚ‡. ÖÒÎË ˝Ú‡ ÙÛÌ͈Ëfl ÓÚÍβ˜Â̇ (‚˚·‡Ì Ô‡‡ÏÂÚ Local control OFF), ‚ÒÚÓÂÌÌ˚ ÚÂÏ·˚ Ì ·Û‰ÛÚ ‚ÓÒÔÓËÁ‚Ó‰ËÚÒfl Ò Í·‚ˇÚÛ˚ CLP-130/120, ÌÓ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘‡fl MIDI-ËÌÙÓχˆËfl ‚Ò ‡‚ÌÓ Ô‰‡ÂÚÒfl ˜ÂÂÁ ‡Á˙ÂÏ MIDI OUT ÔË Ì‡Ê‡ÚËË Í·‚˯. é‰ÌÓ‚ÂÏÂÌÌÓ Ò ˝ÚËÏ ‚ÒÚÓÂÌÌ˚È ÚÓÌ„Â̇ÚÓ Â‡„ËÛÂÚ Ì‡ MIDI-ËÌÙÓχˆË˛, ÔÓÎÛ˜ÂÌÌÛ˛ ˜ÂÂÁ ‡Á˙ÂÏ MIDI IN. ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: ON/OFF é·˚˜Ì‡fl ̇ÒÚÓÈ͇: ON 46 (CLP-130)/ CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION] ä ëÇÖÑÖçàû àÌÙÓχˆË˛ Ó ÌÓχı ËÁÏÂÌÂÌËfl ÔÓ„‡ÏÏ˚ ‰Îfl ‚ÒÂı ÚÂÏ·Ó‚ CLP-130/120 ÒÏ. ̇ ÒÚ. 71 ‚ ‡Á‰ÂΠîÓÏ‡Ú MIDI‰‡ÌÌ˚ı. ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: é·˚˜Ì‡fl ̇ÒÚÓÈ͇: (CLP-130)/ ON/OFF ON (CLP-120) îÛÌ͈Ëfl Control Change ON/OFF é·˚˜ÌÓ CLP-130/120 ‡„ËÛÂÚ Ì‡ ‰‡ÌÌ˚ ӷ ËÁÏÂÌÂÌËË ˝ÎÂÏÂÌÚÓ‚ ÛÔ‡‚ÎÂÌËfl MIDI, ÔÓÎÛ˜ÂÌÌ˚Â Ò ‚̯ÌÂ„Ó MIDI-ÛÒÚÓÈÒÚ‚‡ ËÎË Í·‚ˇÚÛ˚, ˜ÚÓ ÔË‚Ó‰ËÚ Í ÚÓÏÛ, ˜ÚÓ Ì‡ ÚÂÏ· ‚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ÂÏ Í‡Ì‡Î ‚ÎËflÂÚ Ô‰‡Î¸, ‡ Ú‡ÍÊ ‰Û„Ë ̇ÒÚÓÈÍË ÛÔ‡‚ÎÂÌËfl, ÔÓÎÛ˜ÂÌÌ˚Â Ò ˝ÚÓ„Ó ÛÒÚÓÈÒÚ‚‡ (˝ÚÓ Ì ‚ÓÁ‰ÂÈÒÚ‚ÛÂÚ Ì‡ ÚÂÏ· Í·‚ˇÚÛ˚). èˇÌËÌÓ CLP-130/120 Ú‡ÍÊ Ô‰‡ÂÚ ËÌÙÓχˆË˛ Ó· ËÁÏÂÌÂÌËË ˝ÎÂÏÂÌÚÓ‚ ÛÔ‡‚ÎÂÌËfl MIDIËÌÚÂÙÂÈÒÓÏ ÔË ‡·ÓÚ Ô‰‡ÎË ËÎË ‰Û„Ëı ˝ÎÂÏÂÌÚÓ‚ ÛÔ‡‚ÎÂÌËfl. èË ÔÓÏÓ˘Ë ˝ÚÓÈ ÙÛÌ͈ËË ÏÓÊÌÓ Á‡ÔÂÚËÚ¸ ÔËÂÏ Ë Ô‰‡˜Û ‰‡ÌÌ˚ı Ó· ËÁÏÂÌÂÌËË ˝ÎÂÏÂÌÚÓ‚ ÛÔ‡‚ÎÂÌËfl, Ú‡Í ˜ÚÓ, ̇ÔËÏÂ, Ô‰‡Î¸ Ë ‰Û„Ë ˝ÎÂÏÂÌÚ˚ ÛÔ‡‚ÎÂÌËfl CLP-130/120 Ì ·Û‰ÛÚ ‚ÎËflÚ¸ ̇ ‚̯Ì MIDI-ÛÒÚÓÈÒÚ‚Ó. ä ëÇÖÑÖçàû ÅÓΠ‰ÂڇθÌÛ˛ ËÌÙÓχˆË˛ Ó· ËÁÏÂÌÂÌËË ˝ÎÂÏÂÌÚÓ‚ ÛÔ‡‚ÎÂÌËfl, ÍÓÚÓ˚ ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ‚ CLP-130/120 ÒÏ. ‚ ‡Á‰ÂΠîÓÏ‡Ú MIDI-‰‡ÌÌ˚ı ̇ ÒÚ. 71. ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: é·˚˜Ì‡fl ̇ÒÚÓÈ͇: ON/OFF ON (CLP-130)/ (CLP-120) (CLP-130)/ (CLP-120) îÛÌ͈Ëfl MIDI Transmit Transpose 艇˜‡ χÒÒË‚‡ ‰‡ÌÌ˚ı ùÚ‡ ÙÛÌ͈Ëfl ÔÓÁ‚ÓÎflÂÚ Ú‡ÌÒÔÓÌËÓ‚‡Ú¸ ‚‚Âı ËÎË ‚ÌËÁ ̇ ÔÓÎÛÚÓÌ ÏÛÁ˚͇θÌ˚ MIDI-‰‡ÌÌ˚Â, Ô‰‡‚‡ÂÏ˚ CLP-130/120 (‚ÒÂ„Ó Ì‡ 12 ÔÓÎÛÚÓÌÓ‚ ‚‚Âı ËÎË ‚ÌËÁ). Ç˚ÒÓÚ‡ Á‚Û͇ Ò‡ÏÓ„Ó ÔˇÌËÌÓ CLP-130/ 120 Ì ÏÂÌflÂÚÒfl. ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: -12 – 0 – 12 (‚ ÔÓÎÛÚÓ̇ı) é·˚˜Ì‡fl ̇ÒÚÓÈ͇: 0 åÓÊÌÓ ÒÓı‡ÌËÚ¸ ‰‡ÌÌ˚ ÚÂÍÛ˘ÂÈ ÔÂÒÌË ÔˇÌËÌÓ Clavinova, Ô‰‡‚ Ëı ‚ ‚ˉ χÒÒË‚‡ MIDI-‰‡ÌÌ˚ı ̇ MIDI-Ù‡ÈΠ(̇ÔËÏ MDF3) ËÎË Ì‡ ÒÂÍ‚ÂÌÒÓ. ÑÎfl ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÒÓı‡ÌÂÌÌÓÈ ÔÂÒÌË ÌÛÊÌÓ ÔÂÂÔËÒ‡Ú¸ χÒÒË‚ ‰‡ÌÌ˚ı Ò Á‡ÔÓÏË̇˛˘Â„Ó ÛÒÚÓÈÒÚ‚‡ ‚ Ô‡ÏflÚ¸ Clavinova. (CLP-130)/ (CLP-120) 艇˜‡ ÒÓÒÚÓflÌËfl Ô‡ÌÂÎË åÓÊÌÓ Ô‰‡‚‡Ú¸ ‚Ò ÚÂÍÛ˘Ë ̇ÒÚÓÈÍË Ô‡ÌÂÎË CLP-130/120 (‚˚·‡ÌÌ˚È ÚÂÏ· Ë Ú. ‰.) ˜ÂÂÁ ‡Á˙ÂÏ MIDI OUT. ùÚÓ ÓÒÓ·ÂÌÌÓ ÔÓÎÂÁÌÓ, ÂÒÎË ‚˚ ·Û‰ÂÚ Á‡ÔËÒ˚‚‡Ú¸ Ò‚ÓË ÏÂÎÓ‰ËË Ì‡ ÛÒÚÓÈÒÚ‚Ó ‰Îfl Á‡ÔËÒË MIDI-‰‡ÌÌ˚ı, ̇ÔËÏ ÛÒÚÓÈÒÚ‚Ó MIDI Data Filer MDF3 ÍÓÔÓ‡ˆËË Yamaha, ÍÓÚÓÓ ·Û‰ÂÚ ÛÔ‡‚ÎflÚ¸ ˆËÙÓ‚˚Ï ÔˇÌËÌÓ CLP-130/120 ÔË ‚ÓÒÔÓËÁ‚‰ÂÌËË. ÖÒÎË ‰‡ÌÌ˚Â Ó Ì‡ÒÚÓÈ͇ı Ô‡ÌÂÎË CLP-130/120 ·˚ÎË Ô‰‡Ì˚ Ë Á‡ÔËÒ‡Ì˚ ̇ ÛÒÚÓÈÒÚ‚Ó ‰Îfl Á‡ÔËÒË Ë Ó·‡·ÓÚÍË MIDI-‰‡ÌÌ˚ı ‰Ó ̇˜‡Î‡ Ë„˚, ÔË ‚ÓÒÔÓËÁ‚‰ÂÌËË Á‡ÔËÒ‡ÌÌÓÈ ÏÂÎÓ‰ËË Ì‡ ˆËÙÓ‚ÓÏ ÔˇÌËÌÓ CLP-130/120 ˝ÚË Ì‡ÒÚÓÈÍË ·Û‰ÛÚ ‚ÓÒÒڇ̇‚ÎË‚‡Ú¸Òfl ‡‚ÚÓχÚ˘ÂÒÍË. íÖêåàçéãéÉàü чÌÌ˚Â Ó Ì‡ÒÚÓÈ͇ı Ô‡ÌÂÎË: чÌÌ˚Â, ÍÓÚÓ˚ ÒÓ‰ÂÊ‡Ú Ì‡·Ó ̇ÒÚÓÂÍ Ô‡ÌÂÎË ‰Îfl ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova. ÑÂÈÒÚ‚Ëfl 1. ç‡ÒÚÓÈÚ ԇÌÂθ ÛÔ‡‚ÎÂÌËfl. 2. ëÓ‰ËÌËÚ ÔˇÌËÌÓ Clavinova Ò ÒÂÍ‚ÂÌÒÓÓÏ ˜ÂÂÁ MIDI-‡Á˙ÂÏ Ë Ì‡ÒÚÓÈÚ ÒÂÍ‚ÂÌÒÓ Ì‡ ÔËÂÏ Ì‡ÒÚÓÂÍ Ô‡ÌÂÎË. 3. èÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚ (CLP-130)/ (CLP-120). 4. ç‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES] ‰Îfl Ô‰‡˜Ë ‰‡ÌÌ˚ı Ó Ì‡ÒÚÓÈ͇ı Ô‡ÌÂÎË. èË ÛÒÔ¯ÌÓÈ Ô‰‡˜Â ‰‡ÌÌ˚ı ̇ Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ Ë̉Ë͇ÚÓ ÔÓfl‚ËÚÒfl . ä ëÇÖÑÖçàû ëÔËÒÓÍ ‰‡ÌÌ˚ı Ó Ì‡ÒÚÓÈ͇ı, Ô‰‡‚‡ÂÏ˚ı Ò ÔÓÏÓ˘¸˛ ˝ÚÓÈ ÙÛÌ͈ËË, ÒÏ. ̇ ÒÚ. 72. ä ëÇÖÑÖçàû èËÂÏ Ô‰‡ÌÌ˚ı ‰‡ÌÌ˚ı: 1. ëÓ‰ËÌËÚ Clavinova ˜ÂÂÁ ‡Á˙ÂÏ MIDI Ò ÛÒÚÓÈÒÚ‚ÓÏ, ̇ ÍÓÚÓÓ ‡Ì ·˚ÎË Ô‰‡Ì˚ ‰‡ÌÌ˚Â Ó Ì‡ÒÚÓÈ͇ı. 2. 燘ÌËÚ Ô‰‡˜Û ‰‡ÌÌ˚ı Ó Ì‡ÒÚÓÈ͇ı Ò ÛÒÚÓÈÒÚ‚‡. Clavinova ‡‚ÚÓχÚ˘ÂÒÍË ÔÓÎÛ˜ËÚ ‰‡ÌÌ˚Â, ÍÓÚÓ˚ ·Û‰ÛÚ ËÒÔÓθÁÓ‚‡Ì˚ ‰Îfl ̇ÒÚÓÂÍ Ô‡ÌÂÎË. (ÑÎfl ÛÒÔ¯ÌÓ„Ó ÔËÂχ ‰‡ÌÌ˚ı ÔËÌËχ˛˘Â Ëı ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova ‰ÓÎÊÌÓ ·˚Ú¸ ÚÓÈ Ê ÏÓ‰ÂÎË, ˜ÚÓ Ë ÔˇÌËÌÓ, Ò ÍÓÚÓÓ„Ó ‰‡ÌÌ˚ ·˚ÎË Ô‰‡Ì˚ ̇ ÒÂÍ‚ÂÌÒÓ.) íÖêåàçéãéÉàü å‡ÒÒË‚ ‰‡ÌÌ˚ı — ÔÓÎÌ˚È Ì‡·Ó ËÎË ‡Ò¯ËÂÌ̇fl ÔÓÒΉӂ‡ÚÂθÌÓÒÚ¸ ‰‡ÌÌ˚ı ÑÂÈÒÚ‚Ëfl 1. á‡Ô˯ËÚÂ Ò‚Ó˛ Ë„Û ‚ Ô‡ÏflÚ¸ Clavinova. 2. ëÓ‰ËÌËÚ Clavinova Ò MIDI-Ù‡ÈÎÂÓÏ MDF3 ˜ÂÂÁ ‡Á˙ÂÏ MIDI Ë Ì‡ÒÚÓÈÚ MDF3 ̇ ÔËÂÏ Ï‡ÒÒË‚‡ ‰‡ÌÌ˚ı. 3. èÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚ (CLP-130)/ (CLP-120). 4. ç‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES] ‰Îfl ̇˜‡Î‡ Ô‰‡˜Ë ‰‡ÌÌ˚ı. èË ÛÒÔ¯ÌÓÈ Ô‰‡˜Â ‰‡ÌÌ˚ı ̇ Ò‚ÂÚÓ‰ËÓ‰ÌÓÏ Ë̉Ë͇ÚÓ ÔÓfl‚ËÚÒfl . èêàåÖóÄçàÖ ÇÓ ‚ÂÏfl Ô‰‡˜Ë χÒÒË‚‡ ‰‡ÌÌ˚ı MIDI-‰‡ÌÌ˚Â Ó Í·‚˯‡ı Ë Ì‡ÒÚÓÈ͇ı Ô‡ÌÂÎË Ì Ô‰‡˛ÚÒfl. ä ëÇÖÑÖçàû èËÂÏ (‚ÓÁ‚‡Ú) Ô‰‡ÌÌ˚ı ‰‡ÌÌ˚ı: 1. ëÓ‰ËÌËÚ CLP-130/120 ˜ÂÂÁ ‡Á˙ÂÏ MIDI Ò ÛÒÚÓÈÒÚ‚ÓÏ, ̇ ÍÓÚÓÓ ·˚ÎË Ô‰‡Ì˚ ‰‡ÌÌ˚Â. 2. 燘ÌËÚ Ô‰‡˜Û ‰‡ÌÌ˚ı Ò ÛÒÚÓÈÒÚ‚‡. CLP-130/120 ‡‚ÚÓχÚ˘ÂÒÍË ÔÓÎÛ˜ËÚ ˝ÚË ‰‡ÌÌ˚Â. (èË ˝ÚÓÏ ‚Ò ÒÚ‡˚ ‰‡ÌÌ˚ ËÁ Ô‡ÏflÚË Clavinova ·Û‰ÛÚ Û‰‡ÎÂÌ˚.) á‡ÚÂÏ ËÒÔÓθÁÛÈÚ ӷ˚˜ÌÛ˛ Ôӈ‰ÛÛ ‚ÓÒÔÓËÁ‚‰ÂÌËfl. (ÑÎfl ÛÒÔ¯ÌÓ„Ó ÔËÂχ ‰‡ÌÌ˚ı ÔËÌËχ˛˘Â Ëı ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova ‰ÓÎÊÌÓ ·˚Ú¸ ÚÓÈ Ê ÏÓ‰ÂÎË, ˜ÚÓ Ë ÔˇÌËÌÓ, Ò ÍÓÚÓÓ„Ó ‰‡ÌÌ˚ ·˚ÎË Ô‰‡Ì˚ ̇ MIDI-Ù‡ÈÎÂ.) èêàåÖóÄçàÖ èÂÂÁ‡„ÛÁ͇ Ì‚ÓÁÏÓÊ̇ ‚ ÂÊËÏ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌÓÈ Ë ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË, ‡ Ú‡ÍÊ ‚Ó ‚ÂÏfl ‡·ÓÚ˚ ÛÒÚÓÈÒÚ‚‡ ‰Îfl Á‡ÔËÒË ÔÂÒÂÌ ÔÓθÁÓ‚‡ÚÂÎfl Ë ‚ ÂÊËÏ Function. ä ëÇÖÑÖçàû ÅÓΠÔÓ‰Ó·ÌÛ˛ ËÌÙÓχˆË˛ Ó Ô‰‡˜Â Ë ÔËÂÏ χÒÒË‚Ó‚ ‰‡ÌÌ˚ı ˜ÂÂÁ ‡Á˙ÂÏ MIDI ÒÏ. ‚ ÒÔ‡‚Ó˜ÌÓÏ ÛÍÓ‚Ó‰ÒÚ‚Â ÔÓ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ÂÏÛ MIDI-ÛÒÚÓÈÒÚ‚Û. ä ëÇÖÑÖçàû ÅÓΠ‰ÂڇθÌÛ˛ ËÌÙÓχˆË˛ Ó Ô‰‡˜Â Ë ÔËÂÏ ‰‡ÌÌ˚ı Ó Ì‡ÒÚÓÈ͇ı ˜ÂÂÁ ‡Á˙ÂÏ MIDI ÒÏ. ‚ ÛÍÓ‚Ó‰ÒÚ‚Â ÔÓθÁÓ‚‡ÚÂÎfl ÔÓ‰Íβ˜ÂÌÌÓ„Ó ÛÒÚÓÈÒÚ‚‡ MIDI. CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION] 47 éÔËÒ‡ÌË ÔÓ‰ÂÊËÏÓ‚ F9. (CLP-130) / F8. (CLP-120) îÛÌ͈ËË ÒÓı‡ÌÂÌËfl (CLP-130)/ íÖêåàçéãéÉàü ëÓı‡ÌÂÌË åÓÊÌÓ ÒÓı‡ÌËÚ¸ ÌÂÍÓÚÓ˚ ̇ÒÚÓÈÍË, ̇ÔËÏ ‚˚·‡ÌÌ˚È ÚÂÏ· Ë ÚËÔ Â‚Â·Â‡ˆËË, ˜ÚÓ·˚ Ì ÔÓÚÂflÚ¸ Ëı ÔË ÓÚÍβ˜ÂÌËË ÔËÚ‡ÌËfl ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova. ÖÒÎË ÙÛÌ͈Ëfl ÒÓı‡ÌÂÌËfl ‚Íβ˜Â̇, ÔË ÓÚÍβ˜ÂÌËË ÔËÚ‡ÌËfl ̇ÒÚÓÈÍË ÒÓı‡Ìfl˛ÚÒfl. ÖÒÎË ÙÛÌ͈Ëfl ÒÓı‡ÌÂÌËfl ÓÚÍβ˜Â̇, ÔË ‚˚Íβ˜ÂÌËË ÔËÚ‡ÌËfl ̇ÒÚÓÈÍË ·Û‰ÛÚ ÔÓÚÂflÌ˚. Ç ˝ÚÓÏ ÒÎÛ˜‡Â ÔÓÒΠ‚Íβ˜ÂÌËfl ÔËÚ‡ÌËfl ·Û‰ÛÚ ËÒÔÓθÁÓ‚‡Ú¸Òfl ̇ÒÚÓÈÍË ÔÓ ÛÏÓΘ‡Ì˲ (Ô‚Ó̇˜‡Î¸Ì˚ ̇ÒÚÓÈÍË). (ëÔËÒÓÍ Ù‡·Ë˜Ì˚ı ̇ÒÚÓÂÍ ÔÓ ÛÏÓΘ‡Ì˲ ̇ıÓ‰ËÚÒfl ̇ ÒÚ. 70.) é‰Ì‡ÍÓ Ò‡ÏË Ì‡ÒÚÓÈÍË ÒÓı‡ÌÂÌËfl Ë ÒÓ‰ÂÊËÏÓ ÛÒÚÓÈÒÚ‚‡ ‰Îfl Á‡ÔËÒË ÔÂÒÂÌ ÔÓθÁÓ‚‡ÚÂÎfl ÒÓı‡Ìfl˛ÚÒfl ‚Ò„‰‡. ÇçàåÄçàÖ! чÊ ÂÒÎË ÙÛÌ͈Ëfl ÒÓı‡ÌÂÌËfl ‚Íβ˜Â̇ ÔË ÔÓÏÓ˘Ë Ó‰ÌÓÈ ËÁ ÓÔËÒ‡ÌÌ˚ı ÌËÊ ÙÛÌ͈ËÈ, ÔÓÒΠÓÚÍβ˜ÂÌËfl ÔËÚ‡ÌËfl ‰‡ÌÌ˚ ·Û‰ÛÚ ı‡ÌËÚ¸Òfl Ì ·Óθ¯Â ̉ÂÎË. èÓ ËÒÚ˜ÂÌËË ˝ÚÓ„Ó ‚ÂÏÂÌË ‚ÒÂÏ Ì‡ÒÚÓÈÍ‡Ï ·Û‰ÛÚ ‚ÓÁ‚‡˘ÂÌ˚ Ó·˚˜Ì˚ Á̇˜ÂÌËfl. ÖÒÎË ÌÛÊÌÓ ı‡ÌËÚ¸ ̇ÒÚÓÈÍË Ì‡ ·ÓΠ‰ÎËÚÂθÌ˚È ÒÓÍ, ıÓÚfl ·˚ ‡Á ‚ ̉Âβ ̇ ÌÂÒÍÓθÍÓ ÏËÌÛÚ ‚Íβ˜‡ÈÚ ÔËÚ‡ÌËÂ. îÛÌÍˆË˛ ÒÓı‡ÌÂÌËfl ÏÓÊÌÓ ‚Íβ˜‡Ú¸ Ë ‚˚Íβ˜‡Ú¸ ‰Îfl ͇ʉÓÈ ËÁ ÒÎÂ‰Û˛˘Ëı „ÛÔÔ ÙÛÌ͈ËÈ (ÔÓ‰ÂÊËÏÓ‚). 1. èÂÂȉËÚ ‚ ÂÊËÏ Function Ë ‚˚·ÂËÚ (CLP-130)/ (CLP-120). 2. ç‡ÊÏËÚ ÍÌÓÔÍÛ [+/YES], ˜ÚÓ·˚ ÔÂÂÈÚË ‚ ÔÓ‰ÂÊËÏ ÙÛÌ͈ËË ÒÓı‡ÌÂÌËfl, Á‡ÚÂÏ ÍÌÓÔ͇ÏË [TEMPO/FUNCTION# ▼, ▲] ‚˚·ÂËÚ ÙÛÌ͈ËË. ç‡ÊÏËÚ ÍÌÓÔÍÛ [–/NO] ËÎË [+/YES] ‰Îfl ‚Íβ˜ÂÌËfl ËÎË ‚˚Íβ˜ÂÌËfl ÙÛÌ͈ËË ÒÓı‡ÌÂÌËfl. èÓ‰ÂÊËÏ (CLP-130)/ (CLP-120) íÂÏ· (CLP-130)/ (CLP-120) MIDI (CLP-130)/ (CLP-120) Ç˚ÒÓÚ‡ Á‚Û͇ (CLP-130)/ (CLP-120) ÑÛ„Ë ÑˇԇÁÓÌ Á̇˜ÂÌËÈ: é·˚˜Ì‡fl ̇ÒÚÓÈ͇: 48 ON/OFF OFF (‚Ò „ÛÔÔ˚) CLP-130/120 ç‡ÒÚÓÈÍË — [FUNCTION] (CLP-120) íÂÏ· • íÂÏ· (Í·‚ˇÚÛ‡, ÂÊËÏ Ì‡ÎÓÊÂÌËfl, ÂÊËÏ ‡Á‰ÂÎÂÌËfl (CLP-130)) • êÂÊËÏ Ì‡ÎÓÊÂÌËfl (ON/OFF, ÚÂÏ· Ë ÙÛÌ͈ËË Ì‡ÎÓÊÂÌËfl ‰Îfl ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚) • êÂÊËÏ ‡Á‰ÂÎÂÌËfl (CLP-130) (ON/OFF, ÚÂÏ· Ë ÙÛÌ͈ËË ‡Á‰ÂÎÂÌËfl ‰Îfl ͇ʉÓÈ ÍÓÏ·Ë̇ˆËË ÚÂÏ·Ó‚) • ê‚·‡ˆËfl (ON/OFF, ÚËÔ Ë „ÎÛ·Ë̇ ‰Îfl Í‡Ê‰Ó„Ó ÚÂÏ·‡) • ùÙÙÂÍÚ (ON/OFF, ÚËÔ Ë „ÎÛ·Ë̇ ‰Îfl Í‡Ê‰Ó„Ó ÚÂÏ·‡) • LJˇˆËfl (CLP-130) (‰Îfl Í‡Ê‰Ó„Ó ÚÂÏ·‡) • óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËΠ̇ʇÚËfl (‚Íβ˜‡fl „ÓÏÍÓÒÚ¸ Ò Ô‡‡ÏÂÚÓÏ FIXED) • åÂÚÓÌÓÏ (‰ÓÎfl, ̇ÒÚÓÈÍË „ÓÏÍÓÒÚË (CLP-130)/ (CLP-120)) • ÉÓÏÍÓÒÚ¸ ÓÚÍβ˜ÂÌÌÓÈ Ô‡ÚËË ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË (̇ÒÚÓÈÍË (CLP-130)/ (CLP120)) F9.2: (CLP-130)/ (CLP-120) îÛÌ͈ËË MIDI (̇ÒÚÓÈÍË CLP-120) (ÓÊˉ‡ÂÚÒfl ‰Îfl CLP-120) (CLP-130)/ MIDI CLP-130/ CLP-130/ (CLP-120) ç‡ÒÚÓÈ͇ ‚˚ÒÓÚ˚ Á‚Û͇ • í‡ÌÒÔÓÌËÓ‚‡ÌË • ç‡ÒÚÓÈ͇ ‚˚ÒÓÚ˚ Á‚Û͇ (̇ÒÚÓÈÍË ) • Ç˚·Ó ÒÚÓfl (‚Íβ˜‡fl ÚÓÌËÍÛ) (̇ÒÚÓÈÍË (CLP-130)/ (CLP-120) ÑÛ„Ë ÙÛÌ͈ËË (̇ÒÚÓÈÍË CLP-120) ) ÑÛ„Ë CLP-130/ ÇÓÒÒÚ‡ÌÓ‚ÎÂÌË ̇ÒÚÓÂÍ ÔÓËÁ‚Ó‰ËÚÂÎfl ÇÒ ̇ÒÚÓÈÍË ÂÊËχ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚, ÂÊËχ ‡Á‰ÂÎÂÌËfl, ‚·‡ˆËË, ˝ÙÙÂÍÚÓ‚, ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚË Í ÒËΠ̇ʇÚËfl, ̇ÒÚÓÈÍË ‚˚ÒÓÚ˚ Á‚Û͇ Ë Ì‡ÒÚÓÈÍË, ËÁÏÂÌÂÌÌ˚ ÙÛÌ͈ËflÏË ÒÓı‡ÌÂÌËfl, ÏÓÊÌÓ ‚ÓÒÒÚ‡ÌÓ‚ËÚ¸ ‚ Á̇˜ÂÌËË ÔÓ ÛÏÓΘ‡Ì˲ (Á̇˜ÂÌËË, Á‡‰‡ÌÌÓÏ ÔÓËÁ‚Ó‰ËÚÂÎÂÏ), Û‰ÂÊË‚‡fl Í·‚Ë¯Û ÑÓ ÔflÚÓÈ ÓÍÚ‡‚˚ (҇χfl Ô‡‚‡fl Í·‚˯‡ ̇ Í·‚ˇÚÛÂ) Ë Ì‡Ê‡‚ ÍÌÓÔÍÛ [POWER], ‚Íβ˜‡˛˘Û˛ ÔËÚ‡ÌËÂ. ùÚ‡ ÓÔ‡ˆËfl Ú‡ÍÊ ÒÚˇÂÚ ‚Ò Á‡ÔËÒ‡ÌÌ˚ ÔÂÒÌË ÔÓθÁÓ‚‡ÚÂÎfl Ë ÓÚÍβ˜‡ÂÚ ‚Ò ̇ÒÚÓÈÍË ÒÓı‡ÌÂÌËfl (F9), ÛÒڇ̇‚ÎË‚‡fl ‰Îfl ÌËı Á̇˜ÂÌË «OFF». (ëÔËÒÓÍ Ì‡ÒÚÓÂÍ ÔÓËÁ‚Ó‰ËÚÂÎfl ÒÏ. ̇ ÒÚ. 70.) é· ËÌÚÂÙÂÈÒ MIDI MIDI (ˆËÙÓ‚ÓÈ ËÌÚÂÙÂÈÒ ‰Îfl ÏÛÁ˚͇θÌ˚ı ËÌÒÚÛÏÂÌÚÓ‚) — ˝ÚÓ Òڇ̉‡ÚÌ˚È ÙÓÏ‡Ú Ô‰‡˜Ë Ë ÔËÂχ ‰‡ÌÌ˚ı. éÌ ÔÓÁ‚ÓÎflÂÚ ÔÓ‚Ó‰ËÚ¸ Ó·ÏÂÌ ‰‡ÌÌ˚ÏË ÏÂÊ‰Û MIDI-ÛÒÚÓÈÒÚ‚‡ÏË Ë ÔÂÒÓ̇θÌ˚ÏË ÍÓÏÔ¸˛Ú‡ÏË. èË ÔÓÏÓ˘Ë MIDI-ËÌÚÂÙÂÈÒ‡ ÏÓÊÌÓ ÛÔ‡‚ÎflÚ¸ MIDI-ÛÒÚÓÈÒÚ‚ÓÏ, ÔÓ‰Íβ˜ÂÌÌ˚Ï Í ÔˇÌËÌÓ Clavinova, ËÎË ÛÔ‡‚ÎflÚ¸ ÔˇÌËÌÓ Clavinova Ò ÔÓ‰Íβ˜ÂÌÌÓ„Ó MIDI-ÛÒÚÓÈÒÚ‚‡ ËÎË ÍÓÏÔ¸˛Ú‡. MIDI-‡Á˙ÂÏ˚ MIDI Mac PC-1 MIDI PC-2 ä ëÇÖÑÖçàû ꇷӘË MIDI-‰‡ÌÌ˚Â Ë ÍÓχ̉˚ Ô‰‡˛ÚÒfl ‚ ‚ˉ ˆËÙÓ‚˚ı Á̇˜ÂÌËÈ. ä ëÇÖÑÖçàû í‡Í Í‡Í MIDI-‰‡ÌÌ˚Â, ÍÓÚÓ˚ ÏÓÊÌÓ Ô‰‡‚‡Ú¸ Ë ÔÓÎÛ˜‡Ú¸, Á‡‚ËÒflÚ ÓÚ ÚËÔ‡ MIDIÛÒÚÓÈÒÚ‚‡, Ôӂ¸Ú ÔÓ Ú‡·Îˈ ı‡‡ÍÚÂËÒÚËÍ MIDIËÌÚÂÙÂÈÒ‡, ͇ÍË ‰‡ÌÌ˚Â Ë ÍÓχ̉˚ ÏÓÊÂÚ Ô‰‡‚‡Ú¸ Ë ÔËÌËχڸ ‚‡¯Â ÛÒÚÓÈÒÚ‚Ó. 퇷ÎËˆÛ ı‡‡ÍÚÂËÒÚËÍ MIDIËÌÚÂÙÂÈÒ‡ ‰Îfl Clavinova ÒÏ. ̇ ÒÚ. 75. HOST SELECT THRU OUT IN (CLP-130) MIDI [IN]: ÑÎfl ÔËÂχ MIDI-‰‡ÌÌ˚ı. MIDI [OUT]: ÑÎfl Ô‰‡˜Ë MIDI-‰‡ÌÌ˚ı. MIDI [THRU]: ÑÎfl Ô‰‡˜Ë ‰‡ÌÌ˚ı, ÔÓÎÛ˜ÂÌÌ˚ı ˜ÂÂÁ ‡Á˙ÂÏ MIDI [IN], ·ÂÁ ËÁÏÂÌÂÌËfl. MIDI-͇·ÂÎË èêàåÖóÄçàÖ ÖÒÎË ‚˚ ËÒÔÓθÁÛÂÚ MIDI‡Á˙ÂÏ˚, ÛÒÚ‡ÌÓ‚ËÚ ÔÂÂÍβ˜‡ÚÂθ [HOST SELECT] ‚ ÔÓÎÓÊÂÌË MIDI (ÒÚ. 54). èÓ‰„ÓÚÓ‚¸Ú ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Ë MIDI-͇·ÂÎË. ê‡Á˙ÂÏ [TO HOST] àÒÔÓθÁÛÈÚ ˝ÚÓÚ ‡Á˙ÂÏ ‰Îfl ÔÓ‰Íβ˜ÂÌËfl ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova Í ÍÓÏÔ¸˛ÚÂÛ. Mac PC-1 TO HOST MIDI PC-2 HOST SELECT èêàåÖóÄçàÖ ÖÒÎË ‚˚ ËÒÔÓθÁÛÂÚ ‡Á˙ÂÏ [TO HOST], ÛÒÚ‡ÌÓ‚ËÚ ÔÂÂÍβ˜‡ÚÂθ [HOST SELECT], ‚ ÒÓÓÚ‚ÂÚÒÚ‚ËË Ò ÚËÔÓÏ ËÒÔÓθÁÛÂÏÓ„Ó ÍÓÏÔ¸˛Ú‡ (ÒÚ. 54). ä ëÇÖÑÖçàû èÓ‰Ó·ÌÛ˛ ËÌÙÓχˆË˛ Ó· ËÌÚÂÙÂÈÒ MIDI ÏÓÊÌÓ ÔÓÎÛ˜ËÚ¸ ËÁ ‡Á΢Ì˚ı ÊÛ̇ÎÓ‚ Ë ‰Û„Ëı ËÁ‰‡ÌËÈ. CLP-130/120 é· ËÌÚÂÙÂÈÒ MIDI 49 èÓ‰Íβ˜ÂÌË ê‡Á˙ÂÏ˚ ÇçàåÄçàÖ! è‰ ÔÓ‰Íβ˜ÂÌËÂÏ ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova Í ‰Û„ËÏ ÛÒÚÓÈÒÚ‚‡Ï ‚˚Íβ˜ËÚ ÔËÚ‡ÌË ‚ÒÂı ÒÓ‰ËÌflÂÏ˚ı ÍÓÏÔÓÌÂÌÚÓ‚. èÂʉ ˜ÂÏ ‚Íβ˜‡Ú¸ ËÎË ‚˚Íβ˜‡Ú¸ Ó·ÓÛ‰Ó‚‡ÌËÂ, ÒΉÛÂÚ ÛÒÚ‡ÌÓ‚ËÚ¸ ÏËÌËχθÌÛ˛ „ÓÏÍÓÒÚ¸ (0). Ç ÔÓÚË‚ÌÓÏ ÒÎÛ˜‡Â Ó·ÓÛ‰Ó‚‡ÌË ÏÓÊÂÚ ·˚Ú¸ ÔÓ‚ÂʉÂÌÓ, ‡ ‚˚ Ò‡ÏË ÏÓÊÂÚ ÔÓÎÛ˜ËÚ¸ Û‰‡ ˝ÎÂÍÚ˘ÂÒÍËÏ ÚÓÍÓÏ. PEDAL 6 CLP-130 MIDI Mac PC-1 TO HOST MIDI PC-2 R L LEVEL FIXED HOST SELECT THRU 3 OUT 4 R L/L+R AUX OUT IN L/L+R AUX IN 1 5 R 2 CLP-120 MIDI LEVEL FIXED THRU Mac PC-1 R L R L/L+R R OUT IN MIDI PC-2 L/L+R AUX OUT AUX IN TO HOST HOST SELECT 1 2 3 4 PEDAL 5 6 1 ê‡Á˙ÂÏ˚ AUX OUT [R] [L] Ë [R] [L/L+R] (‰Îfl ̇ۯÌËÍÓ‚) ùÚË ‡Á˙ÂÏ˚ ÏÓÊÌÓ ÔÓ‰Íβ˜‡Ú¸ Í ÒÚÂÂÓÒËÒÚÂÏ ‰Îfl ÛÒËÎÂÌËfl Á‚Û͇ Clavinova ËÎË Í Í‡ÒÒÂÚÌÓÏÛ Ï‡„ÌËÚÓÙÓÌÛ ‰Îfl Á‡ÔËÒË ‚‡¯Â„Ó ËÒÔÓÎÌÂÌËfl. é·‡ÚËÚÂÒ¸ Í ÒıÂÏÂ Ë ËÒÔÓθÁÛÈÚ ‰Îfl ÔÓ‰Íβ˜ÂÌËfl ‡Û‰ËÓ͇·ÂÎË. èêàåÖóÄçàÖ êÂÍÓÏẨÛÂÚÒfl ËÒÔÓθÁÓ‚‡Ú¸ ‡Û‰ËÓ͇·ÂÎË Ë ¯ÚÂÍÂ˚ Ò ÒÓÔÓÚË‚ÎÂÌËÂÏ, ·ÎËÁÍËÏ Í ÌÛβ. ÇçàåÄçàÖ! ç ̇ԇ‚ÎflÈÚ Ò˄̇Î˚ Ò ‡Á˙Âχ AUX OUT ̇ ‚ıÓ‰˚ AUX IN. ÖÒÎË ‚˚ ÔÓ‰Íβ˜‡ÂÚ ‚̯Ì ÛÒÚÓÈÒÚ‚Ó ˜ÂÂÁ ‡Á˙ÂÏ AUX OUT, Ì ÔÓ‰ÒÓ‰ËÌflÈÚ ˝ÚÓ ‡Û‰ËÓÛÒÚÓÈÒÚ‚Ó Í ‚ıÓ‰‡Ï AUX IN Clavinova. èË Ú‡ÍÓÏ ÔÓ‰Íβ˜ÂÌËË ‚ıÓ‰ÌÓÈ Ò˄̇Î, ÔÓÒÚÛÔ‡˛˘ËÈ ˜ÂÂÁ ‡Á˙ÂÏ˚ AUX IN, ÒÚ‡ÌÂÚ ‚˚ıÓ‰Ì˚Ï Ò˄̇ÎÓÏ ‡Á˙Âχ AUX OUT. ëÓÁ‰‡‚‡Âχfl ÔË ˝ÚÓÏ ‡Û‰ËÓÔÂÚÎfl ‚˚Á˚‚‡ÂÚ Á‚ÛÍÓ‚˚ ÍÓη‡ÌËfl, ÔÂÔflÚÒÚ‚ÛÂÚ ÌÓχθÌÓÏÛ ‚ÓÒÔÓËÁ‚‰ÂÌ˲ Ë ÏÓÊÂÚ ‚˚‚ÂÒÚË ËÁ ÒÚÓfl Ó·‡ ÛÒÚÓÈÒÚ‚‡. ÇçàåÄçàÖ! ÖÒÎË ÔˇÌËÌÓ Clavinova ÔÓ‰Íβ˜ÂÌÓ Í ‚̯ÌÂÈ ‡Û‰ËÓÒËÒÚÂÏ ˜ÂÂÁ ‡Á˙ÂÏ AUX OUT, ÒΉÛÂÚ Ò̇˜‡Î‡ ‚Íβ˜‡Ú¸ ÔËÚ‡ÌË Clavinova Ë ÚÓθÍÓ ÔÓÒΠ˝ÚÓ„Ó ÔËÚ‡ÌË ‚̯ÌÂÈ ‡Û‰ËÓÒËÒÚÂÏ˚. Ç˚Íβ˜‡Ú¸ ÔËÚ‡ÌË ÒΉÛÂÚ ‚ Ó·‡ÚÌÓÏ ÔÓfl‰ÍÂ. Clavinova ëÚÂÂÓÒËÒÚÂχ R L LEVEL FIXED R L/L+R AUX OUT AUX IN ¯ÚÂÍ RCA ¯ÚÂÍ RCA ‡Û‰ËÓ͇·Âθ èÓ‰Íβ˜ÂÌË ÒËÌÚÂÁ‡ÚÓ‡ Ë ‡Û‰ËÓÒËÒÚÂÏ˚ Ò ÔÓÏÓ˘¸˛ ¯ÚÂÍÂÓ‚ RCA («Ú˛Î¸Ô‡Ì˚») ÔË‚Ó‰ËÚ Í Ô‰‡˜Â ‚̯ÌÂÏÛ ÛÒÚÓÈÒÚ‚Û Ò˄̇· ÙËÍÒËÓ‚‡ÌÌÓ„Ó ÛÓ‚Ìfl. èË ˝ÚÓÏ ÔÓÎÓÊÂÌË „ÛÎflÚÓ‡ [MASTER VOLUME] Ë„ÌÓËÛÂÚÒfl. 50 CLP-130/120 èÓ‰Íβ˜ÂÌË Òڇ̉‡ÚÌ˚È ¯ÚÂÍ ̇ۯÌËÍÓ‚ ä Á‚ÛÍÓ‚˚Ï ÍÓÎÓÌÍ‡Ï Ò ÛÒËÎËÚÂÎflÏË ëÓ‰ËÌË‚ ÒËÌÚÂÁ‡ÚÓ Ë ‡Û‰ËÓÒËÒÚÂÏÛ Ò ÔÓÏÓ˘¸˛ Òڇ̉‡ÚÌ˚ı ¯ÚÂÍÂÓ‚ ‰Ë‡ÏÂÚÓÏ 3,5 ÏÏ («ÏËÌË-‰ÊÂÍ»), ÏÓÊÌÓ Â„ÛÎËÓ‚‡Ú¸ „ÓÏÍÓÒÚ¸ Á‚Û͇ ̇ ‚˚ıӉ ‡Û‰ËÓÒËÒÚÂÏ˚ Ò ÔÓÏÓ˘¸˛ „ÛÎflÚÓ‡ [MASTER VOLUME]. èêàåÖóÄçàÖ ç‡ÒÚÓÈ͇ „ÛÎflÚÓÓ‚ „ÓÏÍÓÒÚË [MASTER VOLUME] Ë ˝ÙÙÂÍÚ‡ [BRILLIANCE] ÔˇÌËÌÓ Clavinova Ì ‚ÎËflÂÚ Ì‡ ‚˚ıÓ‰ÌÓÈ Ò˄̇Π‡Á˙ÂÏÓ‚ AUX OUT (LEVEL FIXED). 2 ê‡Á˙ÂÏ˚ AUX IN [R], [L/L+R] ä ˝ÚËÏ ‡Á˙ÂÏ‡Ï ÏÓÊÌÓ ÔÓ‰ÒÓ‰ËÌflÚ¸ ÒÚÂÂÓ‚˚‚Ó‰˚ ‰Û„Ó„Ó ËÌÒÚÛÏÂÌÚ‡, ˜ÚÓ ÔÓÁ‚ÓÎflÂÚ ‚ÓÒÔÓËÁ‚Ó‰ËÚ¸ Á‚ÛÍ ‰Û„Ó„Ó ËÌÒÚÛÏÂÌÚ‡ ˜ÂÂÁ ‰Ë̇ÏËÍË Clavinova. é·‡ÚËÚÂÒ¸ Í ÒıÂÏÂ Ë ËÒÔÓθÁÛÈÚ ‰Îfl ÔÓ‰Íβ˜ÂÌËfl ‡Û‰ËÓ͇·ÂÎË. ÇçàåÄçàÖ! ÖÒÎË Í ‚ıÓ‰‡Ï AUX IN ÔˇÌËÌÓ Clavinova ÔÓ‰Íβ˜ÂÌÓ ‚̯Ì ÛÒÚÓÈÒÚ‚Ó, Ò̇˜‡Î‡ ‚Íβ˜‡ÈÚ ÔËÚ‡ÌË ˝ÚÓ„Ó ‚̯ÌÂ„Ó ÛÒÚÓÈÒÚ‚‡, ‡ Á‡ÚÂÏ ÔËÚ‡ÌË Clavinova. Ç˚Íβ˜‡Ú¸ ÔËÚ‡ÌË ÒΉÛÂÚ ‚ Ó·‡ÚÌÓÏ ÔÓfl‰ÍÂ. Clavinova R ëڇ̉‡ÚÌ˚È ¯ÚÂÍ ̇ۯÌËÍÓ‚ L/L+R AUX IN AUX OUT AUX IN ëڇ̉‡ÚÌ˚È ¯ÚÂÍ ̇ۯÌËÍÓ‚ ÄÛ‰ËÓ͇·Âθ ÉÂ̇ÚÓ ÚÓ̇ èêàåÖóÄçàÖ è‡‡ÏÂÚ˚ ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova [MASTER VOLUME] Ë [BRILLIANCE], ÛÒڇ̇‚ÎË‚‡ÂÏ˚Â Ò ÔÓÏÓ˘¸˛ ÔÓÎÁÛÌÍÓ‚Ó„Ó Â„ÛÎflÚÓ‡, ‚ÎËfl˛Ú ̇ ‚ıÓ‰ÌÓÈ Ò˄̇Π‡Á˙ÂÏÓ‚ AUX IN, ‚ ÚÓ ‚ÂÏfl Í‡Í Ô‡‡ÏÂÚ˚ [REVERB] Ë [EFFECT] Ì ‚ÎËfl˛Ú. èêàåÖóÄçàÖ ÑÎfl ÔÓ‰Íβ˜ÂÌËfl ÔˇÌËÌÓ Clavinova Í ÏÓ̇ۇθÌÓÏÛ ÛÒÚÓÈÒÚ‚Û (ÛÒÚÓÈÒÚ‚Û Ò Ó‰ÌËÏ Ì‡Û¯ÌËÍÓÏ) ËÒÔÓθÁÛÈÚ ÚÓθÍÓ ‡Á˙ÂÏ AUX IN [L/L+R] ËÎË ‡Á˙ÂÏ AUX OUT [L/L+R]. 3 ê‡Á˙ÂÏ TO HOST ùÚÓÚ ‡Á˙ÂÏ ‰‡ÂÚ ‚ÓÁÏÓÊÌÓÒÚ¸ ÔflÏÓ ÔÓ‰Íβ˜ËÚ¸Òfl Í èä. (ëÏ. ‡Á‰ÂÎ «èÓ‰Íβ˜ÂÌËÂ Í ÔÂÒÓ̇θÌÓÏÛ ÍÓÏÔ¸˛ÚÂÛ» ̇ ÒÚ. 52.) 4 èÂÂÍβ˜‡ÚÂθ [HOST SELECT] ùÚÓÚ ÔÂÂÍβ˜‡ÚÂθ ‰ÓÎÊÂÌ ·˚Ú¸ ÛÒÚ‡ÌÓ‚ÎÂÌ ‚ ÒÓÓÚ‚ÂÚÒÚ‚ËË Ò ÚËÔÓÏ ÔÓ‰Íβ˜‡ÂÏÓ„Ó MIDI-ÛÒÚÓÈÒÚ‚‡ ËÎË èä. (ëÏ. ‡Á‰ÂÎ «èÓ‰Íβ˜ÂÌËÂ Í ÔÂÒÓ̇θÌÓÏÛ ÍÓÏÔ¸˛ÚÂÛ» ̇ ÒÚ. 52.) 5 ê‡Á˙ÂÏ˚ MIDI [IN], [OUT], [THRU] ÑÎfl ÔÓ‰Íβ˜ÂÌËfl ‚̯ÌËı MIDI-ÛÒÚÓÈÒÚ‚ ˜ÂÂÁ ˝ÚË ‡Á˙ÂÏ˚ ËÒÔÓθÁÛÈÚ MIDI-͇·ÂÎË. ì·Â‰ËÚÂÒ¸ ‚ ÚÓÏ, ˜ÚÓ ÔË ËÒÔÓθÁÓ‚‡ÌËË ˝ÚËı ‡Á˙ÂÏÓ‚ ÔÂÂÍβ˜‡ÚÂθ HOST SELECT ̇ıÓ‰ËÚÒfl ‚ ÔÓÎÓÊÂÌËË «MIDI». (ëÏ. ‡Á‰ÂÎ «é· ËÌÚÂÙÂÈÒ MIDI» ̇ ÒÚ. 49.) 6 ê‡Á˙ÂÏ PEDAL èÓ‰Íβ˜ËÚ ͇·Âθ Ô‰‡ÎÂÈ Í Ô‰‡Î¸ÌÓÏÛ ·ÎÓÍÛ. (ëÏ. ‡Á‰ÂÎ «ë·Ó͇ ÔÓ‰ÒÚ‡‚ÍË ‰Îfl Í·‚ˇÚÛ˚» ̇ ÒÚ. 57-62.) CLP-130/120 èÓ‰Íβ˜ÂÌË 51 èÓ‰Íβ˜ÂÌËÂ Í ÍÓÏÔ¸˛ÚÂÛ åÓÊÌÓ ÔÓÒÎۯ˂‡Ú¸ ÏÛÁ˚͇θÌ˚ ‰‡ÌÌ˚Â Ò ÍÓÏÔ¸˛Ú‡ ̇ ÔˇÌËÌÓ Clavinova, ÔÓ‰Íβ˜Ë‚ ÍÓÏÔ¸˛ÚÂ Í ‡Á˙ÂÏÛ TO HOST (ËÎË MIDI). èêàåÖóÄçàÖ ÖÒÎË Clavinova ËÒÔÓθÁÛÂÚÒfl ‰Îfl ÔÓÒÎۯ˂‡ÌËfl, ÚÂÏ·˚, ÍÓÚÓ˚ı ÌÂÚ Ì‡ ÔˇÌËÌÓ Clavinova, ·Û‰ÛÚ ËÒ͇ʇڸÒfl. Clavinova-Computer Connection — ˝ÚÓ ‰ÓÔÓÎÌËÚÂθÌÓ ÛÍÓ‚Ó‰ÒÚ‚Ó ‰Îfl ̇˜Ë̇˛˘Ëı, ‚ ÍÓÚÓÓÏ ÓÔËÒ˚‚‡ÂÚÒfl, Í‡Í ËÒÔÓθÁÓ‚‡Ú¸ ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova Ò ÔÂÒÓ̇θÌ˚Ï ÍÓÏÔ¸˛ÚÂÓÏ Ë Ì‡ÒÚÓËÚ¸ ÒËÒÚÂÏÛ ClavinovaäÓÏÔ¸˛Ú (ÛÍÓ‚Ó‰ÒÚ‚Ó Ì ‡ÒÒ˜ËÚ‡ÌÓ Ì‡ ͇ÍÛ˛-ÎË·Ó ÍÓÌÍÂÚÌÛ˛ ÏÓ‰Âθ). èÓÎÛ˜ËÚ¸ ˝ÚÓÚ ‰ÓÍÛÏÂÌÚ ‚ ‚ˉ هÈ· PDF ̇ ‡Ì„ÎËÈÒÍÓÏ flÁ˚Í ÏÓÊÌÓ ÔÓ ÒÎÂ‰Û˛˘ÂÏÛ ‡‰ÂÒÛ ‚ àÌÚÂÌÂÚÂ: ë‡ÈÚ ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova (ÚÓθÍÓ Ì‡ ‡Ì„ÎËÈÒÍÓÏ): http://www.yamahaclavinova.com/ ëÓ·‡ÌË ÛÍÓ‚Ó‰ÒÚ‚ ÔÓ ÔÓ‰ÛÍÚ‡Ï Yamaha: http://www2.yamaha.co.jp/manual/english/ íË ÒÔÓÒÓ·‡ ÔÓ‰Íβ˜ÂÌËfl ÔˇÌËÌÓ Clavinova Í èä 1. ëÓ‰ËÌÂÌË ÔÓÒΉӂ‡ÚÂθÌÓ„Ó ÔÓÚ‡ èä Ò ‡Á˙ÂÏÓÏ TO HOST ËÌÒÚÛÏÂÌÚ‡ Clavinova (ÒÚ. 53) 2. àÒÔÓθÁÓ‚‡ÌË MIDI-ËÌÚÂÙÂÈÒ‡ Ë MIDI-‡Á˙ÂÏÓ‚ Clavinova (ÒÚ. 54). 3. àÒÔÓθÁÓ‚‡ÌË USB-ÔÓÚ‡ ÍÓÏÔ¸˛Ú‡ Ë USB-ËÌÚÂÙÂÈÒ‡ UX256, UX96 ËÎË UX16 (ÒÚ. 55). ᇠ·ÓΠÔÓ‰Ó·Ì˚Ï ÓÔËÒ‡ÌËÂÏ Ó·‡ÚËÚÂÒ¸ Í ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ËÏ ÒÚ‡Ìˈ‡Ï. èêàåÖóÄçàÖ èÂʉ ˜ÂÏ ÔÓ‰Íβ˜‡Ú¸ ÔˇÌËÌÓ Clavinova Í èä Ë ÛÒڇ̇‚ÎË‚‡Ú¸ ÔÂÂÍβ˜‡ÚÂθ HOST SELECT, ‚˚Íβ˜ËÚ ÔËÚ‡ÌË ӷÓËı ÛÒÚÓÈÒÚ‚. ëÓ‰ËÌË‚ ÛÒÚÓÈÒÚ‚‡ Ë ÛÒÚ‡ÌÓ‚Ë‚ ÔÂÂÍβ˜‡ÚÂθ, ‚Íβ˜ËÚ Ò̇˜‡Î‡ ÍÓÏÔ¸˛ÚÂ, ‡ Á‡ÚÂÏ ÔˇÌËÌÓ Clavinova. èêàåÖóÄçàÖ ÖÒÎË ÔÓÚ [TO HOST] ÔˇÌËÌÓ Clavinova Ì ËÒÔÓθÁÛÂÚÒfl, ÓÚÒÓ‰ËÌËÚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ËÈ Í‡·Âθ. ÖÒÎË Í‡·Âθ ÓÒÚ‡‚ËÚ¸ ÔÓ‰Íβ˜ÂÌÌ˚Ï, ˝ÚÓ ÏÓÊÂÚ ‚˚Á‚‡Ú¸ ÌÂÔÓ·‰ÍË ‚ ‡·ÓÚ Clavinova. èêàåÖóÄçàÖ Ì ÔÓfl‚ËÚÒfl ̇ ‰ËÒÔÎÂÂ, ÂÒÎË Ì ‚Íβ˜ÂÌ ÍÓÏÔ¸˛ÚÂ, ÌÂÔ‡‚ËθÌÓ ÔÓ‰ÒÓ‰ËÌÂÌ Í‡·Âθ, ÔÂÂÍβ˜‡ÚÂθ HOST SELECT ̇ıÓ‰ËÚÒfl Ì ‚ ÌÛÊÌÓÏ ÔÓÎÓÊÂÌËË, ‡ Ú‡ÍÊ ÂÒÎË Ì ‡·ÓÚ‡˛Ú MIDI-‰‡È‚ ËÎË MIDI-ÔËÎÓÊÂÌËÂ. Ç ˝ÚÓÏ ÒÎÛ˜‡Â ÓÚÍβ˜ËÚ ÔËÚ‡ÌË ÔˇÌËÌÓ Clavinova Ë ÍÓÏÔ¸˛Ú‡ Ë Ôӂ¸Ú ÒÓ‰ËÌÂÌË ͇·ÂÎfl, ‡ Ú‡ÍÊ ÔÓÎÓÊÂÌË ÔÂÂÍβ˜‡ÚÂ-Îfl HOST SELECT. èÓ‚ÂË‚ ÒÓ‰ËÌÂÌËÂ Ë ÔÓÎÓÊÂÌË ÔÂÂÍβ˜‡ÚÂÎfl HOST SELECT, ÔÓ‰Íβ˜ËÚ ÔËÚ‡ÌË Ò̇˜‡Î‡ Í ÍÓÏÔ¸˛ÚÂÛ, ‡ Á‡ÚÂÏ Í ÔˇÌËÌÓ Clavinova Ë Ôӂ¸Ú ‡·ÓÚÛ MIDI-‰‡È‚‡ Ë MIDI-ÔËÎÓÊÂÌËfl. èêàåÖóÄçàÖ ÖÒÎË ÔÂÂÍβ˜‡ÚÂθ [HOST SELECT] ÛÒÚ‡ÌÓ‚ÎÂÌ ‚ ÔÓÎÓÊÂÌË «PC-1», «PC-2» ËÎË «Mac», ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ÔÓÚ [TO HOST]. é‰Ì‡ÍÓ ÔË ˝ÚÓÏ ÓÚÍβ˜‡˛ÚÒfl ÔÓÚ˚ MIDI, ÔÓÒÍÓθÍÛ Ó·ÏÂÌ ‰‡ÌÌ˚ÏË ˜ÂÂÁ ˝ÚË ÔÓÚ˚ Ì ÔÓËÁ‚Ó‰ËÚÒfl. ë ‰Û„ÓÈ ÒÚÓÓÌ˚, ÂÒÎË ÔÂÂÍβ˜‡ÚÂθ [HOST SELECT] ÛÒÚ‡ÌÓ‚ÎÂÌ ‚ ÔÓÎÓÊÂÌË «MIDI», ÏÓÊÌÓ ËÒÔÓθÁÓ‚‡Ú¸ ‡Á˙ÂÏ˚ MIDI, ÌÓ Ì ‡Á˙ÂÏ [TO HOST], Ú‡Í Í‡Í Ó·ÏÂÌ ‰‡ÌÌ˚ÏË ˜ÂÂÁ ‡Á˙ÂÏ [TO HOST] ‚ ˝ÚÓÏ ÒÎÛ˜‡Â Ì ÔÓËÁ‚Ó‰ËÚÒfl. 52 CLP-130/120 èÓ‰Íβ˜ÂÌË 1. ëÓ‰ËÌÂÌË COM-ÔÓÚ‡ èä Ò ‡Á˙ÂÏÓÏ [TO HOST] ËÌÒÚÛÏÂÌÚ‡ Clavinova ëÓ‰ËÌËÚ ÔÓÒΉӂ‡ÚÂθÌ˚È ÔÓÚ èä (RS-232C ËÎË RS-422) Ò ‡Á˙ÂÏÓÏ TO HOST Clavinova. èË Ú‡ÍÓÏ ÔÓ‰Íβ˜ÂÌËË Clavinova ‡·ÓÚ‡ÂÚ Í‡Í MIDI-ÛÒÚÓÈÒÚ‚Ó Ë ÒÔˆˇθÌÓ„Ó MIDI-ËÌÚÂÙÂÈÒ‡ Ì ÌÛÊÌÓ. èÓ‰Íβ˜ÂÌË ÑÎfl ÔÓ‰Íβ˜ÂÌËfl ÔÓÒΉӂ‡ÚÂθÌÓ„Ó ÔÓÚ‡ èä (RS-232C ËÎË RS-422) Í ‡Á˙ÂÏÛ TO HOST ËÌÒÚÛÏÂÌÚ‡ Clavinova ËÒÔÓθÁÛÈÚ ÒÔˆˇθÌ˚È ÔÓÒΉӂ‡ÚÂθÌ˚È Í‡·Âθ (ÒÚ. 53). Clavinova Mac PC-1 TO HOST MIDI PC-2 èËϘ‡ÌË ‰Îfl ÔÓθÁÓ‚‡ÚÂÎÂÈ Windows Ó MIDI-‰‡È‚ HOST SELECT ÑÎfl Ô‰‡˜Ë ‰‡ÌÌ˚ı ÏÂÊ‰Û ÔÓÒΉӂ‡ÚÂθÌ˚Ï ÔÓÚÓÏ èä Ë ‡Á˙ÂÏÓÏ TO HOST ÔˇÌËÌÓ Clavinova ÌÂÓ·ıÓ‰ËÏÓ ÛÒÚ‡ÌÓ‚ËÚ¸ ÒÔˆˇθÌ˚È MIDI‰‡È‚ (‰Îfl Windows — ‰‡È‚ Yamaha CBX). Ö„Ó ÏÓÊÌÓ Á‡„ÛÁËÚ¸ ËÁ ·Ë·ÎËÓÚÂÍË XG (XG Library), ‡ÒÔÓÎÓÊÂÌÌÓÈ Ì‡ ‚·-Ò‡ÈÚ ÍÓÏÔ‡ÌËË Yamaha. http://www.yamaha-xg.com TO HOST RS-232C (9-ÍÓÌÚ‡ÍÚÌ˚È ÚËÔ‡ D) RS-232C (25-ÍÓÌÚ‡ÍÚÌ˚È ÚËÔ‡ D) Windows Windows ÔÓÚ ÏÓ‰Âχ Macintosh íËÔ˚ ÔÓÒΉӂ‡ÚÂθÌ˚ı ͇·ÂÎÂÈ Ë ÍÓÌÚ‡ÍÚ˚ Ç ÒÓÓÚ‚ÂÚÒÚ‚ËË Ò ÚËÔÓÏ ÔÓ‰Íβ˜‡ÂÏÓ„Ó èä ËÒÔÓθÁÛÈÚ ӉËÌ ËÁ ÒÎÂ‰Û˛˘Ëı ͇·ÂÎÂÈ. Windows (COM-ÔÓÚ, 9-ÍÓÌÚ‡ÍÚÌ˚È ‡Á˙ÂÏ ÚËÔ‡ D) 8-ÍÓÌÚ‡ÍÚÌ˚È ÏËÌˇÁ˙ÂÏ ÚËÔ‡ DIN ➝ 9-ÍÓÌÚ‡ÍÚÌ˚È ‡Á˙ÂÏ ÚËÔ‡ D (Yamaha CCJ-PC2 ËÎË ˝Í‚Ë‚‡ÎÂÌÚ̇fl ÏÓ‰Âθ) 1 8-ÍÓÌÚ‡ÍÚÌ˚È ÏËÌˇÁ˙ÂÏ DIN 2 8 (CTS) 7 (RTS) 2 (RxD) 5 (GND) 3 4 8 5 9-ÍÓÌÚ‡ÍÚÌ˚È ‡Á˙ÂÏ ÚËÔ‡ D Macintosh èÂËÙÂËÈÌ˚È ÒËÒÚÂÏÌ˚È ‡Á˙ÂÏ ➝ 8-ÍÓÌÚ‡ÍÚÌ˚È ‡Á˙ÂÏ (Yamaha CCJ-MAC ËÎË ˝Í‚Ë‚‡ÎÂÌÚ̇fl ÏÓ‰Âθ) 1 8-ÍÓÌÚ‡ÍÚÌ˚È ÏËÌˇÁ˙ÂÏ DIN 2 3 4 5 6 7 8 3 (TxD) Windows (COM-ÔÓÚ, 25-ÍÓÌÚ‡ÍÚÌ˚È ‡Á˙ÂÏ ÚËÔ‡ D) 8-ÍÓÌÚ‡ÍÚÌ˚È ÏËÌˇÁ˙ÂÏ DIN ➝ 25-ÍÓÌÚ‡ÍÚÌ˚È ‡Á˙ÂÏ ÚËÔ‡ D (Yamaha CCJ-PC1NF ËÎË ˝Í‚Ë‚‡ÎÂÌÚ̇fl ÏÓ‰Âθ) ëıÂχ ÍÓÌÚ‡ÍÚÓ‚ ç‡ ‰Ë‡„‡ÏÏ ÔÓ͇Á‡Ì‡ ÒıÂχ ÍÓÌÚ‡ÍÚÓ‚ ‰Îfl Í‡Ê‰Ó„Ó Í‡·ÂÎfl. çÓχ ÍÓÌÚ‡ÍÚÓ‚ (‚ˉ ÒÔ‰Ë) 8-ÍÓÌÚ‡ÍÚÌ˚È ÏËÌˇÁ˙ÂÏ DIN 8-ÍÓÌÚ‡ÍÚÌ˚È 1 ÏËÌˇÁ˙ÂÏ DIN 2 3 4 8 5 5 (CTS) 4 (RTS) 3 (RxD) 7 (GND) 2 (HSK i) 8-ÍÓÌÚ‡ÍÚÌ˚È 1 (HSK O) ÏËÌˇÁ˙ÂÏ DIN 5 (RxD-) 4 (GND) 3 (TxD-) 8 (RxD+) 7 (GP-) 6 (TxD+) 25-ÍÓÌÚ‡ÍÚÌ˚È ‡Á˙ÂÏ ÚËÔ‡ D 9-ÍÓÌÚ‡ÍÚÌ˚È ‡Á˙ÂÏ ÚËÔ‡ D 25-ÍÓÌÚ‡ÍÚÌ˚È ‡Á˙ÂÏ ÚËÔ‡ D 2 (TxD) CLP-130/120 èÓ‰Íβ˜ÂÌË 53 ìÒÚ‡Ìӂ͇ ÔÂÂÍβ˜‡ÚÂÎfl HOST SELECT ËÌÒÚÛÏÂÌÚ‡ Clavinova ìÒÚ‡ÌÓ‚ËÚ ÔÂÂÍβ˜‡ÚÂθ HOST SELECT ̇ Clavinova ‚ ÒÓÓÚ‚ÂÚÒÚ‚ËË Ò ÚËÔÓÏ èä. • Macintosh: «Mac» (ÒÍÓÓÒÚ¸ Ô‰‡˜Ë ‰‡ÌÌ˚ı: 31 250 ·ËÚ/ÒÂÍ, 1 åɈ) • Windows: «PC-2» (ÒÍÓÓÒÚ¸ Ô‰‡˜Ë ‰‡ÌÌ˚ı: 38 400 ·ËÚ/ÒÂÍ) ä ëÇÖÑÖçàû ÖÒÎË ÓÔ‡ˆËÓÌ̇fl ÒËÒÚÂχ ‚‡¯Â„Ó ÍÓÏÔ¸˛Ú‡ ̇˜Ë̇ÂÚ ‰‡‚‡Ú¸ Ò·ÓË ÔË ËÒÔÓθÁÓ‚‡ÌËË ‚˚¯ÂÔ˜ËÒÎÂÌÌ˚ı ̇ÒÚÓÂÍ, ˝ÚÓ Á̇˜ËÚ, ˜ÚÓ ÔÓ„‡ÏÏÌÓ ӷÂÒÔ˜ÂÌË Ì ÔÓ‰‰ÂÊË‚‡ÂÚ Ëı. Ç ˝ÚÓÏ ÒÎÛ˜‡Â ̇ÒÚÓÈÍË ÒΉÛÂÚ ËÁÏÂÌËÚ¸. 낸ÚÂÒ¸ Ò ÛÍÓ‚Ó‰ÒÚ‚ÓÏ ÔÓ ËÒÔÓθÁÛÂÏÓÏÛ èé Ë ÛÒÚ‡ÌÓ‚ËÚ ÔÂÂÍβ˜‡ÚÂθ HOST SELECT ‚ ÔÓÎÓÊÂÌËÂ, ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â ÔÓ‰‰ÂÊË‚‡ÂÏÓÈ ÒÍÓÓÒÚË Ô‰‡˜Ë ‰‡ÌÌ˚ı. (ëÍÓÓÒÚ¸ Ô‰‡˜Ë ‰‡ÌÌ˚ı ‚ ÔÓÁˈËË «PC-1» ‡‚̇ 31250 ·ËÚ/ÒÂÍ.) 2. àÒÔÓθÁÓ‚‡ÌË MIDI-ËÌÚÂÙÂÈÒ‡ Ë MIDI-‡Á˙ÂÏÓ‚ Clavinova èÓ‰Íβ˜ÂÌË àÒÔÓθÁÛÈÚ MIDI-ËÌÚÂÙÂÈÒÌÓ ÛÒÚÓÈÒÚ‚Ó ‰Îfl ÔÓ‰Íβ˜ÂÌËfl èä Í ËÌÒÚÛÏÂÌÚÛ Clavinova Ò ÔÓÏÓ˘¸˛ ÒÔˆˇθÌ˚ı MIDI-͇·ÂÎÂÈ. Clavinova MIDI Mac PC-1 MIDI PC-2 HOST SELECT THRU OUT MIDI OUT (CLP-130) IN MIDI IN MIDI OUT MIDI OUT MIDI IN MIDI IN MIDI-ËÌÚÂÙÂÈÒ MIDI-ËÌÚÂÙÂÈÒ Windows ìÒÚ‡Ìӂ͇ ÔÂÂÍβ˜‡ÚÂÎfl HOST SELECT ËÌÒÚÛÏÂÌÚ‡ Clavinova ìÒÚ‡ÌÓ‚ËÚ ÔÂÂÍβ˜‡ÚÂθ HOST SELECT ‚ ÔÓÎÓÊÂÌË «MIDI». 54 CLP-130/120 èÓ‰Íβ˜ÂÌË Macintosh 3. èÓ‰Íβ˜ÂÌË Clavinova Í ÍÓÏÔ¸˛ÚÂÛ ˜ÂÂÁ Ú‡ÍË USB-ËÌÚÂÙÂÈÒ˚, Í‡Í UX256, UX96 ËÎË UX16 èÓ‰Íβ˜ËÚ USB-ÔÓÚ ÍÓÏÔ¸˛Ú‡ Í USB-ËÌÚÂÙÂÈÒÛ (̇ÔËÏÂ, UX256, UX96, ËÎË UX16) Ò ÔÓÏÓ˘¸˛ USB-͇·ÂÎfl. ìÒÚ‡ÌÓ‚ËÚ ‰‡È‚ (ÔÓÒÚ‡‚ÎflÂÚÒfl ‚ ÍÓÏÔÎÂÍÚÂ Ò USB-ËÌÚÂÙÂÈÒÓÏ) ̇ ÍÓÏÔ¸˛ÚÂ Ë ÔÓ‰Íβ˜ËÚ USB-ËÌÚÂÙÂÈÒ Í Clavinova Ò ÔÓÏÓ˘¸˛ ÔÓÒΉӂ‡ÚÂθÌÓ„Ó Í‡·ÂÎfl ËÎË MIDI-͇·ÂÎÂÈ. ᇠ·ÓΠÔÓ‰Ó·ÌÓÈ ËÌÙÓχˆËÂÈ Ó·‡˘‡ÈÚÂÒ¸ Í ÛÍÓ‚Ó‰ÒÚ‚Û ÔÓ USB-ËÌÚÂÙÂÈÒÛ. èËÏ ÔÓ‰Íβ˜ÂÌËfl Clavinova ˜ÂÂÁ USB-ËÌÚÂÙÂÈÒ Ò ÔÓÏÓ˘¸˛ ÔÓÒΉӂ‡ÚÂθÌÓ„Ó Í‡·ÂÎfl ËÎË Mac PC-1 TO HOST 䇷Âθ USB HOST SELECT ëڇ̉‡ÚÌ˚È 8-ÍÓÌÚ‡ÍÚÌ˚È ÒËÒÚÂÏÌ˚È Í‡·Âθ ‰Îfl Machintosh äÓÏÔ¸˛Ú Clavinova USB-ËÌÚÂÙÂÈÒ MIN MAX START/ STOP BRIGHT DEMO BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 E.PIANO 1 E.PIANO 2 CHURCH ORGAN JAZZ ORGAN STRINGS CHOIR HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME MELLOW METRONOME TEMPO FUNCTION — / NO +/ YES PRESET USER 1 USER 2 USER 3 TRACK 1 TRACK 2 START/ STOP REC SONG TEMPO / FUNCTION VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT TOUCH ON TRANSPOSE POWER èËÏ ÔÓ‰Íβ˜ÂÌËfl Clavinova ˜ÂÂÁ USB-ËÌÚÂÙÂÈÒ Ò ÔÓÏÓ˘¸˛ MIDI-͇·ÂÎÂÈ MIDI MIDI 䇷Âθ USB OUT HOST SELECT IN MIDI-͇·ÂÎË äÓÏÔ¸˛Ú Clavinova USB-ËÌÚÂÙÂÈÒ MIN MAX START/ STOP BRIGHT BRILLIANCE GRAND PIANO 1 GRAND PIANO 2 E.PIANO 1 E.PIANO 2 CHURCH ORGAN JAZZ ORGAN STRINGS CHOIR HARPSICHORD E.CLAVICHORD VIBRAPHONE VARIATION GUITAR WOOD BASS E.BASS SPLIT TEMPO/ OTHER VALUE MASTER VOLUME MELLOW DEMO METRONOME TEMPO FUNCTION TEMPO / FUNCTION — / NO +/ YES PRESET USER 1 USER 2 USER 3 TRACK 1 SONG TRACK 2 START/ STOP REC VOICE ROOM HALL 1 HALL 2 STAGE REVERB CHORUS PHASER TREMOLO DELAY EFFECT HARD MEDIUM SOFT TOUCH ON TRANSPOSE POWER CLP-130/120 èÓ‰Íβ˜ÂÌË 55 ìÒÚ‡ÌÂÌË ÌÂÔÓ·‰ÓÍ èÓ·ÎÂχ ÇÓÁÏÓÊÌ˚ Ô˘ËÌ˚ Ë ÒÔÓÒÓ·˚ ÛÒÚ‡ÌÂÌËfl Clavinova Ì ‚Íβ˜‡ÂÚÒfl. Clavinova Ì ÔÓ‰Íβ˜Â̇ ‚ ÓÁÂÚÍÛ. èӂ¸Ú ÔÓ‰Íβ˜ÂÌË ͇·ÂÎfl Í ‡Á˙ÂÏÛ Ì‡ Clavinova Ë Í ÓÁÂÚÍ (ÒÚ. 11). èË ‚Íβ˜ÂÌËË Ë ÓÚÍβ˜ÂÌËË ÔËÚ‡ÌËfl ÒÎ˚¯Ì˚ ˘ÂΘÍË Ë ıÎÓÔÍË. í‡Í ‚Ò„‰‡ ÔÓËÒıÓ‰ËÚ ÔË ÔÓ‰‡˜Â ˝ÎÂÍÚÓÔËÚ‡ÌËfl. ëÎ˚¯ÂÌ ¯ÛÏ ËÁ ‰Ë̇ÏËÍÓ‚ Ë Ì‡Û¯ÌËÍÓ‚. òÛÏ ÏÓÊÂÚ ·˚Ú¸ ÒΉÒÚ‚ËÂÏ ÔÓÏÂı, ‚˚Á‚‡ÌÌ˚ı ËÒÔÓθÁÓ‚‡ÌËÂÏ ÏÓ·ËθÌÓ„Ó ÚÂÎÂÙÓ̇ ‚ ÌÂÔÓÒ‰ÒÚ‚ÂÌÌÓÈ ·ÎËÁÓÒÚË ÓÚ Clavinova. éÚÍβ˜ËÚ ÏÓ·ËθÌ˚È ÚÂÎÂÙÓÌ ËÎË ËÒÔÓθÁÛÈÚÂ Â„Ó ÔÓ‰‡Î¸¯Â ÓÚ Clavinova. é·˘ËÈ ÛÓ‚Â̸ „ÓÏÍÓÒÚË ÒÎ˯ÍÓÏ ÌËÁÍËÈ, ËÎË Á‚ÛÍ ÓÚÒÛÚÒÚ‚ÛÂÚ ‚ÓÓ·˘Â. • Ç˚·‡Ì ÒÎ˯ÍÓÏ ÌËÁÍËÈ ÛÓ‚Â̸ „ÓÏÍÓÒÚË; ÛÒÚ‡ÌÓ‚ËÚ ÌÛÊÌ˚È ÛÓ‚Â̸ „ÓÏÍÓÒÚË Ò ÔÓÏÓ˘¸˛ „ÛÎflÚÓ‡ [MASTER VOLUME]. • ì·Â‰ËÚÂÒ¸ ‚ ÚÓÏ, ˜ÚÓ Ì‡Û¯ÌËÍË Ì ÔÓ‰Íβ˜ÂÌ˚ Í ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ÂÏÛ ‡Á˙ÂÏÛ (ÂÒÎË ÔÂÂÍβ˜‡ÚÂθ SPEAKER ÛÒÚ‡ÌÓ‚ÎÂÌ ‚ ÔÓÎÓÊÂÌË «NORMAL»). ÖÒÎË ÔÂÂÍβ˜‡ÚÂθ SPEAKER ÛÒÚ‡ÌÓ‚ÎÂÌ ‚ ÔÓÎÓÊÂÌË «OFF», ÔÓÒÚ‡‚¸ÚÂ Â„Ó ‚ ÔÓÎÓÊÂÌË «NORMAL» ËÎË «ON» (ÒÚ. 12). • ì·Â‰ËÚÂÒ¸, ˜ÚÓ ‰Îfl ÙÛÌ͈ËË Local (ÒÚ. 46) ‚˚·‡Ì Ô‡‡ÏÂÚ «ON». ÑË̇ÏËÍË Ì ÓÚÍβ˜‡˛ÚÒfl ÔË ÔÓ‰ÒÓ‰ËÌÂÌËË Ì‡Û¯ÌËÍÓ‚. ÇÓÁÏÓÊÌÓ ÔÂÂÍβ˜‡ÚÂθ SPEAKER ̇ıÓ‰ËÚ¸Òfl ‚ ÔÓÎÓÊÂÌËË «ON». ìÒÚ‡ÌÓ‚ËÚ ÔÂÂÍβ˜‡ÚÂθ SPEAKER ‚ ÔÓÎÓÊÂÌË «NORMAL» (ÒÚ. 12). 臂‡fl Ô‰‡Î¸ Ì ‡·ÓÚ‡ÂÚ ËÎË Á‚ÛÍ ÔӉ΂‡ÂÚÒfl, ‰‡Ê ÂÒÎË Ó̇ Ì ̇ʇڇ. ÇÓÁÏÓÊÌÓ, ͇·Âθ Ô‰‡ÎÂÈ ÌÂÔ‡‚ËθÌÓ ÔÓ‰Íβ˜ÂÌ. ì·Â‰ËÚÂÒ¸, ˜ÚÓ Í‡·Âθ Ô‰‡ÎÂÈ ÔÎÓÚÌÓ ‚ÒÚ‡‚ÎÂÌ ‚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ËÈ ‡Á˙ÂÏ (ÒÚ. 57-62). ä ëÇÖÑÖçàû ÖÒÎË Ì‡ ‰ËÒÔΠÔÓfl‚ÎflÂÚÒfl ÒÓÓ·˘ÂÌË Ô‰ÒÚ‡‚ËÚÂβ ÍÓÔÓ‡ˆËË Yamaha. , ÔÓËÁÓ¯ÂÎ ‚ÌÛÚÂÌÌËÈ Ò·ÓÈ. Ç ˝ÚÓÏ ÒÎÛ˜‡Â Ó·‡ÚËÚÂÒ¸ Í ÏÂÒÚÌÓÏÛ ÑÓÔÓÎÌËÚÂθÌ˚ ÔË̇‰ÎÂÊÌÓÒÚË Ë ÏÓ‰ÛÎË ÑÓÔÓÎÌËÚÂθÌ˚ ÔË̇‰ÎÂÊÌÓÒÚË ë͇ÏÂÈ͇ BC-100 ì‰Ó·Ì‡fl Ò͇ÏÂÈ͇, ҉·Ì̇fl ÒÔˆˇθÌÓ ‰Îfl Ë„˚ ̇ ˆËÙÓ‚ÓÏ ÔˇÌËÌÓ Clavinova ÍÓÔÓ‡ˆËË Yamaha. ëÚÂÂÓ̇ۯÌËÍË HPE-160 ã„ÍËÂ Ë ˝ÙÙÂÍÚË‚Ì˚ ̇ۯÌËÍË Ò Ïfl„ÍËÏË ÔÓÍ·‰Í‡ÏË ‰Îfl Û¯ÂÈ. ÑÓÔÓÎÌËÚÂθÌ˚ ÏÓ‰ÛÎË åÓ‰Ûθ DOU-10 Disk Orchestra Unit êfl‰ MIDI-ÙÛÌ͈ËÈ ‰Îfl Á‡ÔËÒË Ë ‚ÓÒÔÓËÁ‚‰ÂÌËfl, ‡ Ú‡ÍÊ èé Yamaha DOC, Disklavier PianoSoft™ Ë ‰ËÒÍ Ò Ù‡È·ÏË General MIDI/Standard MIDI ‰Îfl ‡Ò¯ËÂÌËfl ‚ÓÁÏÓÊÌÓÒÚÂÈ ‚ÓÒÔÓËÁ‚‰ÂÌËfl. 56 CLP-130/120 ìÒÚ‡ÌÂÌË ÌÂÔÓ·‰ÓÍ ë·Ó͇ CLP-120 ÇçàåÄçàÖ! • ÅÛ‰¸Ú ‚ÌËχÚÂθÌ˚: Ì ÔÂÂÔÛÚ‡ÈÚ ÍÓÏÔÓÌÂÌÚ˚ Ë ÛÒڇ̇‚ÎË‚‡ÈÚ Ëı Ô‡‚ËθÌÓ. Ç˚ÔÓÎÌflÈÚ ҷÓÍÛ • • • • Òӄ·ÒÌÓ ÒÎÂ‰Û˛˘ÂÈ ËÌÒÚÛ͈ËË. ÑÎfl Ò·ÓÍË Ú·ÛÂÚÒfl Ì ÏÂÌ ‰‚Ûı ˜ÂÎÓ‚ÂÍ. àÒÔÓθÁÛÈÚ ‚ËÌÚ˚ Û͇Á‡ÌÌÓ„Ó ‡Áχ. àÒÔÓθÁÓ‚‡ÌË ‰Û„Ëı ‚ËÌÚÓ‚ ÏÓÊÂÚ Ôӂ‰ËÚ¸ ËÌÒÚÛÏÂÌÚ. èÓÒΠÁ‡‚¯ÂÌËfl Ò·ÓÍË Í‡Ê‰ÓÈ ˜‡ÒÚË Á‡ÚflÌËÚ ‚ËÌÚ˚. ÑÎfl ‡Á·ÓÍË ËÌÒÚÛÏÂÌÚ‡ ‚˚ÔÓÎÌËÚ ËÌÒÚÛÍˆË˛ ‚ Ó·‡ÚÌÓÏ ÔÓfl‰ÍÂ. èË„ÓÚÓ‚¸Ú ÍÂÒÚÓ‚Û˛ ÓÚ‚ÂÚÍÛ. Ç˚̸Ú ËÁ Ô‡ÍÂÚ‡ ÒÎÂ‰Û˛˘Ë ÍÓÏÔÎÂÍÚÛ˛˘ËÂ. 1. èËÍÂÔËÚ ·ÓÍÓ‚˚ ԇÌÂÎË Í ·ÎÓÍÛ Ô‰‡ÎÂÈ. äÂÔÂÊ ‰Îfl Ò·ÓÍË ÑÎËÌÌ˚ ‚ËÌÚ˚ 6 x 25 ÏÏ, 4 ¯Ú. 1 äÓÓÚÍË ‚ËÌÚ˚ 6 x 16 ÏÏ, 4 ¯Ú. 2 ë‡ÏÓÂÁ˚ 4 x 20 ÏÏ, 4 ¯Ú. 4 ÅÓÍÓ‚‡fl Ô‡ÌÂθ (Ô‡‚‡fl) ÑÂʇÚÂÎË ‰Îfl ͇·ÂÎÂÈ, 2 ¯Ú. (1) éÚ‚flÊËÚÂ Ë ‡ÒÔflÏËÚ ÛÔ‡ÍÓ‚‡ÌÌ˚È Í‡·Âθ, (2) èËÍÂÔËÚ ·ÎÓÍ Ô‰‡ÎÂÈ Ò ÔËÍÂÔÎÂÌÌ˚È Í ÌËÊÌÂÈ ÔÓÏÓ˘¸˛ ˜ÂÚ˚Âı ‰ÎËÌÌ˚ı ˜‡ÒÚË ·ÎÓ͇ Ô‰‡ÎÂÈ. ‚ËÌÚÓ‚ 6×25 ÏÏ 1. ëÓı‡ÌËÚ ‚ËÌËÎÓ‚˚È Ç̇˜‡Î ÔËÍÂÔËÚ ԇÌÂθ ¯ÌÛÓÍ, ÓÌ ÔÓ̇‰Ó·ËÚÒfl Ò Ó‰ÌÓÈ ÒÚÓÓÌ˚, Á‡ÚÂÏ — Ò ‚‡Ï ̇ ˝Ú‡Ô 5. ‰Û„ÓÈ. íÓÌÍË ‚ËÌÚ˚ 4 x 12 ÏÏ, 2 ¯Ú. 3 2. èËÍÂÔËÚ Á‡‰Ì˛˛ Ô‡ÌÂθ. É·‚̇fl ˜‡ÒÚ¸ ÅÓÍÓ‚‡fl Ô‡ÌÂθ (΂‡fl) ÅÓÍÓ‚‡fl Ô‡ÌÂθ (΂‡fl) ᇉÌflfl Ô‡ÌÂθ (2) èËÍÂÔËÚ ‚ÂıÌ˛˛ ˜‡ÒÚ¸ Á‡‰ÌÂÈ Ô‡ÌÂÎË Í ÍÓ̯ÚÂÈÌ‡Ï ·ÓÍÓ‚ÓÈ Ô‡ÌÂÎË ‰‚ÛÏfl ÚÓÌÍËÏË ‚ËÌÚ‡ÏË 4×12 ÏÏ 3. ÅÓÍÓ‚‡fl Ô‡ÌÂθ (Ô‡‚‡fl) ÅÎÓÍ Ô‰‡ÎÂÈ ä‡·Âθ Ô‰‡ÎÂÈ, ÔËÍÂÔÎÂÌÌ˚È ‚ÌÛÚË ä‡·Âθ ÔËÚ‡ÌËfl ä ëÇÖÑÖçàû ä˛˜ÓÍ ‰Îfl ̇ۯÌËÍÓ‚ ‚ıÓ‰ËÚ ‚ ÍÓÏÔÎÂÍÚ CLP-120. Ö„Ó ÏÓÊÌÓ ÔËÍÂÔËÚ¸ Í ÔˇÌËÌÓ Clavinova Ë ‚¯‡Ú¸ ̇ ÌÂ„Ó Ì‡Û¯ÌËÍË (ÒÚ. 12). (1) ì‰ÂÊË‚‡fl Ô‡ÌÂθ ‚ ̇ÍÎÓÌÌÓÏ ÔÓÎÓÊÂÌËË, Í‡Í ÔÓ͇Á‡ÌÓ Ì‡ ËÒÛÌÍÂ, ÔÓÏÂÒÚËڠ ÌËÊÌËÈ Í‡È Ì‡ Ò΄͇ ‚˚ÒÚÛÔ‡˛˘Ë ˜‡ÒÚË ÌÓÊÂÍ. ëÓ‚ÏÂÒÚËÚ ‚ÂıÌ˛˛ ˜‡ÒÚ¸ Á‡‰ÌÂÈ Ô‡ÌÂÎË Ò ·ÓÍÓ‚˚ÏË Ô‡ÌÂÎflÏË. (3) èËÍÂÔËÚ ÌËÊÌ˛˛ ˜‡ÒÚ¸ Á‡‰ÌÂÈ Ô‡ÌÂÎË Í ·ÎÓÍÛ Ô‰‡ÎÂÈ Ò ÔÓÏÓ˘¸˛ ˜ÂÚ˚Âı Ò‡ÏÓÂÁÓ‚ 4×20 ÏÏ 4. CLP-130/120 ë·Ó͇ CLP-120 57 3. ìÒÚ‡ÌÓ‚ËÚ „·‚ÌÛ˛ ˜‡ÒÚ¸. ÇçàåÄçàÖ! 5. èÓ‰ÒÓ‰ËÌËÚ ͇·Âθ Ô‰‡ÎË. (1) ÇÒÚ‡‚¸Ú ‚ËÎÍÛ Í‡·ÂÎfl Ô‰‡ÎË ‚ ‡Á˙ÂÏ ‰Îfl Ô‰‡ÎË ÒÔ‰Ë. PEDA L • ç ÔˢÂÏËÚ ԇθˆ˚ ÏÂÊ‰Û ÓÒÌÓ‚Ì˚Ï ÛÒÚÓÈÒÚ‚ÓÏ Ë Á‡‰ÌÂÈ ËÎË ·ÓÍÓ‚˚ÏË Ô‡ÌÂÎflÏË. ÅÛ‰¸Ú Ô‰ÂθÌÓ ÓÒÚÓÓÊÌ˚ Ë Ì ÛÓÌËÚ ÓÒÌÓ‚ÌÛ˛ ˜‡ÒÚ¸. • ÑÂÊËÚ Í·‚ˇÚÛÛ ÚÓθÍÓ Ú‡Í, Í‡Í ÔÓ͇Á‡ÌÓ Ì‡ ËÒÛÌÍÂ. èË ÛÒÚ‡ÌÓ‚Í ‰ÂÊËÚ ÛÍË Ì‡ ‡ÒÒÚÓflÌËË Ì ÏÂÌ 10 ÒÏ ÓÚ Í‡Â‚. (3) á‡ÍÂÔËÚ ҂ӷӉÌÛ˛ ˜‡ÒÚ¸ ͇·ÂÎfl Ô‰‡ÎË ¯ÌÛÓÏ. (2) èËÍÂÔËÚ ‰ÂʇÚÂÎË ‰Îfl ͇·ÂÎfl Í Á‡‰ÌÂÈ Ô‡ÌÂÎË Ë Á‡˘ÂÎÍÌËÚ Ëı. R Ì ÏÂÌ 10 ÒÏ 4. á‡ÍÂÔËÚ „·‚ÌÛ˛ ˜‡ÒÚ¸. 6. ìÒÚ‡ÌÓ‚ËÚ ÔÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl Ë ÔÓ‰ÒÓ‰ËÌËÚ ͇·Âθ ÔËÚ‡ÌËfl. (1) ê‡ÒÔÓÎÓÊËÚ ËÌÒÚÛÏÂÌÚ ÔÓ ˆÂÌÚÛ Ú‡Í, ˜ÚÓ·˚ Á‡ÁÓ˚ ÒÔ‡‚‡ Ë Ò΂‡ ·˚ÎË ‡‚Ì˚. MIDIPC-1 PC-2 Mac 110 127 220 (2) á‡ÍÂÔËÚ „·‚ÌÛ˛ ˜‡ÒÚ¸ ÒÔÂÂ‰Ë Ò ÔÓÏÓ˘¸˛ ÍÓÓÚÍËı ‚ËÌÚÓ‚ 6×16 ÏÏ 2. 240 èÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl Ç ÌÂÍÓÚÓ˚ı „ËÓ̇ı Ú·ÛÂÚÒfl ÛÒÚ‡ÌÓ‚ËÚ¸ ÔÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl. èӂ¸ÚÂ, Ô‡‚ËθÌÓ ÎË ÓÌ ÛÒÚ‡ÌÓ‚ÎÂÌ, ÔÂʉ ˜ÂÏ ÔÓ‰Íβ˜‡Ú¸ ͇·Âθ ÔËÚ‡ÌËfl. ÑÎfl ÛÒÚ‡ÌÓ‚ÍË ÔÂÂÍβ˜‡ÚÂÎfl ̇ 110, 127, 220 ËÎË 240 ‚ÓÎ¸Ú ÔÎÓÒÍÓÈ ÓÚ‚ÂÚÍÓÈ ÔÓ‚ÂÌËÚ ‰ËÒÍ Ú‡Í, ˜ÚÓ·˚ ̇ÔflÊÂÌË ‚‡¯Â„Ó Â„ËÓ̇ ̇ıÓ‰ËÎÓÒ¸ ̇ÔÓÚË‚ Û͇Á‡ÚÂÎfl ̇ Ô‡ÌÂÎË. èË ÔÓÒÚ‡‚Í ÔÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl ÛÒÚ‡ÌÓ‚ÎÂÌ Ì‡ ̇ÔflÊÂÌË ‚ 240 Ç. Ç˚·‡‚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â ̇ÔflÊÂÌËÂ, ÔÓ‰Íβ˜ËÚ ͇·Âθ ÔËÚ‡ÌËfl Í ‡Á˙ÂÏÛ AC INLET Ë Í ˝ÎÂÍÚÓÒÂÚË. Ç‡Ï ÏÓ„ÛÚ ÔÓ̇‰Ó·ËÚ¸Òfl ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Ë ÔÂÂıÓ‰ÌËÍË. èêÖÑìèêÖÜÑÖçàÖ çÂÔ‡‚Ëθ̇fl ÛÒÚ‡Ìӂ͇ ÔÂÂÍβ˜‡ÚÂÎfl ̇ÔflÊÂÌËfl ÏÓÊÂÚ Ò¸ÂÁÌÓ Ôӂ‰ËÚ¸ ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova ËÎË ‚˚Á‚‡Ú¸ Ò·ÓÈ ‚ Â„Ó ‡·ÓÚÂ. 58 CLP-130/120 ë·Ó͇ CLP-120 7. ìÒÚ‡ÌÓ‚ËÚ ÓÔÓÌ˚È ‚ËÌÚ. èÓ‚Ó‡˜Ë‚‡ÈÚ ÓÔÓÌ˚È ‚ËÌÚ ‰Ó ÚÂı ÔÓ, ÔÓ͇ ÓÌ Ì ÔˉÂÚ ‚ ÚÂÒÌ˚È ÍÓÌÚ‡ÍÚ Ò ÔÓ‚ÂıÌÓÒÚ¸˛ ÔÓ·. èÓÒΠҷÓÍË Ôӂ¸Ú ÒÎÂ‰Û˛˘ÂÂ. • ç ÓÒÚ‡ÎÓÒ¸ ÎË Î˯ÌËı ‰ÂÚ‡ÎÂÈ? ➝ èӂ¸Ú Ôӈ‰ÛÛ Ò·ÓÍË Ë ËÒÔ‡‚¸Ú ӯ˷ÍË. • ç Ï¯‡ÂÚ ÎË ÔˇÌËÌÓ Clavinova ÓÚÍ˚‚‡Ú¸ ‰‚ÂË Ë ÔÂÂÏ¢‡Ú¸ Ô‰ÏÂÚ˚? ➝ èÓÒÚ‡‚¸Ú ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova ‚ Û‰Ó·ÌÓ ÏÂÒÚÓ. • ç ÔÂÂ͇Ú˚‚‡˛ÚÒfl ÎË ‰ÂÚ‡ÎË ‚ÌÛÚË Clavinova, ÍÓ„‰‡ ‚˚ Â„Ó ÚflÒÂÚÂ? ➝ á‡ÚflÌËÚ ‚Ò ‚ËÌÚ˚. • 艇ÎË „ÂÏflÚ ËÎË ·ÓÎÚ‡˛ÚÒfl ÔË Ì‡Ê‡ÚËË? ➝ èÓ‚ÂÌËÚ ÙËÍÒËÛ˛˘ËÈ ‚ËÌÚ Ú‡Í, ˜ÚÓ·˚ ÓÌ Ú‚Â‰Ó ÒÚÓflΠ̇ ÔÓÎÛ. • 䇷ÂÎË Ô‰‡ÎË Ë ÔËÚ‡ÌËfl ÔÎÓÚÌÓ ‚ÒÚ‡‚ÎÂÌ˚ ‚ ‡Á˙ÂÏ˚? ➝ èӂ¸Ú ÒÓ‰ËÌÂÌËfl. • ÖÒÎË ÓÒÌӂ̇fl ˜‡ÒÚ¸ ËÌÒÚÛÏÂÌÚ‡ ÒÍËÔËÚ ËÎË ÌÂÛÒÚÓȘ˂‡, ÍÓ„‰‡ ‚˚ Ë„‡ÂÚ ̇ Í·‚˯‡ı, ÔÓÒÏÓÚËÚ ÒıÂÏÛ Ò·ÓÍË Ë Á‡ÚflÌËÚ ‚Ò ‚ËÌÚ˚. ÖÒÎË ÌÛÊÌÓ ÔÂÂÌÂÒÚË ÒÓ·‡ÌÌ˚È ËÌÒÚÛÏÂÌÚ, ‚Ò„‰‡ ·ÂËÚÂÒ¸ Á‡ ÌËÊÌ˛˛ ˜‡ÒÚ¸ ÓÒÌÓ‚ÌÓ„Ó ·ÎÓ͇. ÇçàåÄçàÖ! ç ·ÂËÚÂÒ¸ Á‡ Í˚¯ÍÛ Í·‚ˇÚÛ˚ ËÎË ‚ÂıÌ˛˛ ˜‡ÒÚ¸. ùÚÓ ÏÓÊÂÚ ÔË‚ÂÒÚË Í ÔӘ ËÌÒÚÛÏÂÌÚ‡ ËÎË Ú‡‚ÏÂ. ä˚¯Í‡ ÇÂıÌflfl ˜‡ÒÚ¸ CLP-130/120 ë·Ó͇ CLP-120 59 ë·Ó͇ CLP-130 ÇçàåÄçàÖ! • ÅÛ‰¸Ú ‚ÌËχÚÂθÌ˚: Ì ÔÂÂÔÛÚ‡ÈÚ ÍÓÏÔÓÌÂÌÚ˚ Ë ÛÒڇ̇‚ÎË‚‡ÈÚ Ëı Ô‡‚ËθÌÓ. Ç˚ÔÓÎÌflÈÚ ҷÓÍÛ Òӄ·ÒÌÓ ÒÎÂ‰Û˛˘ÂÈ ËÌÒÚÛ͈ËË. • ÑÎfl Ò·ÓÍË Ú·ÛÂÚÒfl Ì ÏÂÌ ‰‚Ûı ˜ÂÎÓ‚ÂÍ. • çÂÓ·ıÓ‰ËÏÓ ËÒÔÓθÁÓ‚‡Ú¸ ‚ËÌÚ˚ Û͇Á‡ÌÌÓ„Ó ‡Áχ. àÒÔÓθÁÓ‚‡ÌË ‰Û„Ëı ‚ËÌÚÓ‚ ÏÓÊÂÚ Ôӂ‰ËÚ¸ ËÌÒÚÛÏÂÌÚ. • èÓÒΠÁ‡‚¯ÂÌËfl Ò·ÓÍË Í‡Ê‰ÓÈ ˜‡ÒÚË Á‡ÚflÌËÚ ‚ËÌÚ˚. • ÑÎfl ‡Á·ÓÍË ËÌÒÚÛÏÂÌÚ‡ ‚˚ÔÓÎÌËÚ ËÌÒÚÛÍˆË˛ ‚ Ó·‡ÚÌÓÏ ÔÓfl‰ÍÂ. èË„ÓÚÓ‚¸Ú ÍÂÒÚÓ‚Û˛ ÓÚ‚ÂÚÍÛ. Ç˚̸Ú ËÁ Ô‡ÍÂÚ‡ ÒÎÂ‰Û˛˘Ë ÍÓÏÔÎÂÍÚÛ˛˘ËÂ. 1. èËÍÂÔËÚ ·ÓÍÓ‚˚ ԇÌÂÎË Í ·ÎÓÍÛ Ô‰‡ÎÂÈ. äÂÔÂÊ ‰Îfl Ò·ÓÍË ÑÎËÌÌ˚ ‚ËÌÚ˚ 6 x 25 ÏÏ, 4 ¯Ú. 1 äÓÓÚÍË ‚ËÌÚ˚ 6 x 16 ÏÏ, 4 ¯Ú. 2 ë‡ÏÓÂÁ˚ 4 x 20 ÏÏ, 4 ¯Ú. 4 (1) éÚ‚flÊËÚÂ Ë ‡ÒÔflÏËÚ ÛÔ‡ÍÓ‚‡ÌÌ˚È Í‡·Âθ, ÔËÍÂÔÎÂÌÌ˚È Í ÌËÊÌÂÈ (2) èËÒÓ‰ËÌËÚ ·ÎÓÍ Ô‰‡ÎÂÈ Ò ÔÓÏÓ˘¸˛ ˜ÂÚ˚Âı ‰ÎËÌÌ˚ı ˜‡ÒÚË ·ÎÓ͇ Ô‰‡ÎÂÈ. ‚ËÌÚÓ‚ 6×25 ÏÏ 1. Ç̇˜‡Î ëÓı‡ÌËÚ ‚ËÌËÎÓ‚˚È ÔËÍÂÔËÚ ԇÌÂθ Ò Ó‰ÌÓÈ ¯ÌÛÓÍ, ÓÌ ÔÓ̇‰Ó·ËÚÒfl ÒÚÓÓÌ˚, Á‡ÚÂÏ — Ò ‰Û„ÓÈ. ‚‡Ï ̇ ˝Ú‡Ô 5. 2. èËÍÂÔËÚ Á‡‰Ì˛˛ Ô‡ÌÂθ. É·‚̇fl ˜‡ÒÚ¸ ᇉÌflfl Ô‡ÌÂθ 䇷Âθ ÔËÚ‡ÌËfl ä ëÇÖÑÖçàû ä˛˜ÓÍ ‰Îfl ̇ۯÌËÍÓ‚ ‚ıÓ‰ËÚ ‚ ÍÓÏÔÎÂÍÚ CLP-130. åÓÊÌÓ ÔËÍÂÔËÚ¸ Â„Ó Í ÔˇÌËÌÓ Clavinova Ë ‚¯‡Ú¸ ̇ ÌÂ„Ó Ì‡Û¯ÌËÍË (ÒÚ. 12). 60 CLP-130/120 ë·Ó͇ CLP-130 (2) èËÍÂÔËÚ ‚ÂıÌ˛˛ ˜‡ÒÚ¸ Á‡‰ÌÂÈ Ô‡ÌÂÎË Í ÍÓ̯ÚÂÈÌ‡Ï ·ÓÍÓ‚ÓÈ Ô‡ÌÂÎË ‰‚ÛÏfl ÚÓÌÍËÏË ‚ËÌÚ‡ÏË 4×12 ÏÏ 3. ÅÓÍÓ‚‡fl Ô‡ÌÂθ (Ô‡‚‡fl) ÅÎÓÍ Ô‰‡ÎÂÈ ä‡·Âθ Ô‰‡ÎÂÈ, ÔËÍÂÔÎÂÌÌ˚È ‚ÌÛÚË ÅÓÍÓ‚‡fl Ô‡ÌÂθ (Ô‡‚‡fl) ÑÂʇÚÂÎË ‰Îfl ͇·ÂÎÂÈ, 2 ¯Ú. íÓÌÍË ‚ËÌÚ˚ 4 x 12 ÏÏ, 2 ¯Ú. 3 ÅÓÍÓ‚‡fl Ô‡ÌÂθ (΂‡fl) ÅÓÍÓ‚‡fl Ô‡ÌÂθ (΂‡fl) (1) ì‰ÂÊË‚‡fl Ô‡ÌÂθ ‚ ̇ÍÎÓÌÌÓÏ ÔÓÎÓÊÂÌËË, Í‡Í ÔÓ͇Á‡ÌÓ Ì‡ ËÒÛÌÍÂ, ÔÓÏÂÒÚËڠ ÌËÊÌËÈ Í‡È Ì‡ Ò΄͇ ‚˚ÒÚÛÔ‡˛˘Ë ˜‡ÒÚË ÌÓÊÂÍ. ëÓ‚ÏÂÒÚËÚ ‚ÂıÌ˛˛ ˜‡ÒÚ¸ Á‡‰ÌÂÈ Ô‡ÌÂÎË Ò ·ÓÍÓ‚˚ÏË Ô‡ÌÂÎflÏË. (3) èËÍÂÔËÚ ÌËÊÌ˛˛ ˜‡ÒÚ¸ Á‡‰ÌÂÈ Ô‡ÌÂÎË Í ·ÎÓÍÛ Ô‰‡ÎÂÈ Ò ÔÓÏÓ˘¸˛ ˜ÂÚ˚Âı Ò‡ÏÓÂÁÓ‚ 4×20 ÏÏ 4. 3. ìÒÚ‡ÌÓ‚ËÚ „·‚ÌÛ˛ ˜‡ÒÚ¸. ÇçàåÄçàÖ! 5. èÓ‰ÒÓ‰ËÌËÚ ͇·Âθ Ô‰‡ÎÂÈ. (1) ÇÒÚ‡‚¸Ú ‚ËÎÍÛ Í‡·ÂÎfl Ô‰‡ÎÂÈ ÒÔÂÂ‰Ë ‚ ‡Á˙ÂÏ ‰Îfl Ô‰‡ÎÂÈ. PEDA L • ç ÔˢÂÏËÚ ԇθˆ˚ ÏÂÊ‰Û ÓÒÌÓ‚Ì˚Ï ÛÒÚÓÈÒÚ‚ÓÏ Ë Á‡‰ÌÂÈ ËÎË ·ÓÍÓ‚˚ÏË Ô‡ÌÂÎflÏË. ÅÛ‰¸Ú Ô‰ÂθÌÓ ÓÒÚÓÓÊÌ˚ Ë Ì ÛÓÌËÚ ÓÒÌÓ‚ÌÛ˛ ˜‡ÒÚ¸. • ÑÂÊËÚ Í·‚ˇÚÛÛ ÚÓθÍÓ Ú‡Í, Í‡Í ÔÓ͇Á‡ÌÓ Ì‡ ËÒÛÌÍÂ. èË ÛÒÚ‡ÌÓ‚Í ‰ÂÊËÚ ÛÍË Ì‡ ‡ÒÒÚÓflÌËË Ì ÏÂÌ 10 ÒÏ ÓÚ Í‡Â‚. (3) á‡ÍÂÔËÚ ҂ӷӉÌÛ˛ ˜‡ÒÚ¸ ͇·ÂÎfl Ô‰‡ÎË ¯ÌÛÓÏ. (2) èËÍÂÔËÚ ‰ÂʇÚÂÎË ‰Îfl ͇·ÂÎfl Í Á‡‰ÌÂÈ Ô‡ÌÂÎË Ë Á‡˘ÂÎÍÌËÚ Ëı. R Ì ÏÂÌ 10 ÒÏ 4. á‡ÍÂÔËÚ „·‚ÌÛ˛ ˜‡ÒÚ¸. (1) ê‡ÒÔÓÎÓÊËÚ ËÌÒÚÛÏÂÌÚ ÔÓ ˆÂÌÚÛ Ú‡Í, ˜ÚÓ·˚ Á‡ÁÓ˚ ÒÔ‡‚‡ Ë Ò΂‡ ·˚ÎË ‡‚Ì˚. 6. ìÒÚ‡ÌÓ‚ËÚ ÒÂÎÂÍÚÓ Ì‡ÔflÊÂÌËfl Ë ÔÓ‰ÒÓ‰ËÌËÚ ͇·Âθ ÔËÚ‡ÌËfl. 110 127 220 (2) á‡ÍÂÔËÚ „·‚ÌÛ˛ ˜‡ÒÚ¸ ÒÔÂÂ‰Ë Ò ÔÓÏÓ˘¸˛ ÍÓÓÚÍËı ‚ËÌÚÓ‚ 6×16 ÏÏ 2. 240 èÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl Ç ÌÂÍÓÚÓ˚ı „ËÓ̇ı Ú·ÛÂÚÒfl ÛÒÚ‡ÌÓ‚ËÚ¸ ÔÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl. èӂ¸ÚÂ, Ô‡‚ËθÌÓ ÎË ÓÌ ÛÒÚ‡ÌÓ‚ÎÂÌ, ÔÂʉ ˜ÂÏ ÔÓ‰Íβ˜‡Ú¸ ͇·Âθ ÔËÚ‡ÌËfl. ÑÎfl ÛÒÚ‡ÌÓ‚ÍË ÔÂÂÍβ˜‡ÚÂÎfl ̇ 110, 127, 220 ËÎË 240 ‚ÓÎ¸Ú ÔÎÓÒÍÓÈ ÓÚ‚ÂÚÍÓÈ ÔÓ‚ÂÌËÚ ‰ËÒÍ Ú‡Í, ˜ÚÓ·˚ ̇ÔflÊÂÌË ‚‡¯Â„Ó Â„ËÓ̇ ̇ıÓ‰ËÎÓÒ¸ ̇ÔÓÚË‚ Û͇Á‡ÚÂÎfl ̇ Ô‡ÌÂÎË. èË ÔÓÒÚ‡‚Í ÔÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl ÛÒÚ‡ÌÓ‚ÎÂÌ Ì‡ ̇ÔflÊÂÌË ‚ 240 Ç. Ç˚·‡‚ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â ̇ÔflÊÂÌËÂ, ÔÓ‰Íβ˜ËÚ ͇·Âθ ÔËÚ‡ÌËfl Í ‡Á˙ÂÏÛ AC INLET Ë Í ˝ÎÂÍÚÓÒÂÚË. Ç‡Ï ÏÓ„ÛÚ ÔÓ̇‰Ó·ËÚ¸Òfl ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Ë ÔÂÂıÓ‰ÌËÍË. èêÖÑìèêÖÜÑÖçàÖ çÂÔ‡‚Ëθ̇fl ÛÒÚ‡Ìӂ͇ ÔÂÂÍβ˜‡ÚÂÎfl ̇ÔflÊÂÌËfl ÏÓÊÂÚ Ò¸ÂÁÌÓ Ôӂ‰ËÚ¸ ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova ËÎË ‚˚Á‚‡Ú¸ Â„Ó ÌÂÔ‡‚ËθÌÛ˛ ‡·ÓÚÛ. CLP-130/120 ë·Ó͇ CLP-130 61 7. ìÒÚ‡ÌÓ‚ËÚ ÓÔÓÌ˚È ‚ËÌÚ. èÓ‚Ó‡˜Ë‚‡ÈÚ ÓÔÓÌ˚È ‚ËÌÚ ‰Ó ÚÂı ÔÓ, ÔÓ͇ ÓÌ Ì ÔˉÂÚ ‚ ÚÂÒÌ˚È ÍÓÌÚ‡ÍÚ Ò ÔÓ‚ÂıÌÓÒÚ¸˛ ÔÓ·. èÓÒΠҷÓÍË Ôӂ¸Ú ÒÎÂ‰Û˛˘ÂÂ. • ç ÓÒÚ‡ÎÓÒ¸ ÎË Î˯ÌËı ‰ÂÚ‡ÎÂÈ? ➝ èӂ¸Ú ҷÓÍÛ Ë ËÒÔ‡‚¸Ú ӯ˷ÍË. • ç Ï¯‡ÂÚ ÎË ÔˇÌËÌÓ Clavinova ÓÚÍ˚‚‡Ú¸ ‰‚ÂË Ë Ô‰‚Ë„‡Ú¸ Ô‰ÏÂÚ˚? ➝ èÓÒÚ‡‚¸Ú ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova ‚ Û‰Ó·ÌÓ ÏÂÒÚÓ. • ç ÔÂÂ͇Ú˚‚‡˛ÚÒfl ÎË ‰ÂÚ‡ÎË ‚ÌÛÚË Clavinova, ÍÓ„‰‡ ‚˚ ÚflÒÂÚ ËÌÒÚÛÏÂÌÚ? ➝ á‡ÚflÌËÚ ‚Ò ‚ËÌÚ˚. • ç ÒÏ¢‡ÂÚÒfl ÎË Ô‰‡Î¸Ì˚È ·ÎÓÍ Ë Ì ÒÎ˚¯ÌÓ ÎË „ÓıÓÚ‡ ÔË Ì‡Ê‡ÚËË Ì‡ Ô‰‡ÎË? ➝ èÓ‚ÂÌËÚ ÙËÍÒËÛ˛˘ËÈ ‚ËÌÚ Ú‡Í, ˜ÚÓ·˚ ÓÌ Ú‚Â‰Ó ÒÚÓflΠ̇ ÔÓÎÛ. • 䇷ÂÎË Ô‰‡ÎË Ë ÔËÚ‡ÌËfl ÔÎÓÚÌÓ ‚ÒÚ‡‚ÎÂÌ˚ ‚ ‡Á˙ÂÏ˚? ➝ èӂ¸Ú ÒÓ‰ËÌÂÌËfl. • ÖÒÎË ÓÒÌӂ̇fl ˜‡ÒÚ¸ ËÌÒÚÛÏÂÌÚ‡ ÒÍËÔËÚ ËÎË ÌÂÛÒÚÓȘ˂‡, ÍÓ„‰‡ ‚˚ Ë„‡ÂÚ ̇ Í·‚˯‡ı, ÔÓÒÏÓÚËÚ ÒıÂÏÛ Ò·ÓÍË Ë Á‡ÚflÌËÚ ‚Ò ‚ËÌÚ˚. ÖÒÎË ÌÛÊÌÓ ÔÂÂÌÂÒÚË ÒÓ·‡ÌÌ˚È ËÌÒÚÛÏÂÌÚ, ‚Ò„‰‡ ·ÂËÚÂÒ¸ Á‡ ÌËÊÌ˛˛ ˜‡ÒÚ¸ ÓÒÌÓ‚ÌÓ„Ó ·ÎÓ͇. ÇçàåÄçàÖ! ç ·ÂËÚÂÒ¸ Á‡ Í˚¯ÍÛ Í·‚ˇÚÛ˚ ËÎË Â ‚ÂıÌ˛˛ ˜‡ÒÚ¸. ùÚÓ ÏÓÊÂÚ ÔË‚ÂÒÚË Í ÔӘ ËÌÒÚÛÏÂÌÚ‡ ËÎË Ú‡‚ÏÂ. ä˚¯Í‡ ÇÂıÌflfl ˜‡ÒÚ¸ 62 CLP-130/120 ë·Ó͇ CLP-130 ëÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚ CLP-130 ç‡Á‚‡ÌË GRANDPIANO 1 (êÓflθ) VARIATION GRANDPIANO 2 (êÓflθ) VARIATION E.PIANO 1 VARIATION E.PIANO 2 VARIATION HARPSICHORD (ä·‚ÂÒËÌ) ëÚÂÂÓÒ˝ÏÔÎËÓ‚‡ÌË óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËΠ̇ʇÚËfl ë˝ÏÔÎËÓ‚‡ÌË Á‚Û͇ ÑË̇Ï˘ÂÒÍÓ ÓÚÔÛ˘ÂÌÌÓÈ Ò˝ÏÔÎËÓ‚‡ÌËÂ*1 Í·‚Ë¯Ë (Key-Off)*2 éÔËÒ‡ÌË ÚÂÏ·Ó‚ ë˝ÏÔÎ˚, ÏÓ‰ÂÎËÛ˛˘Ë Á‚Û˜‡ÌË ÍÓ̈ÂÚÌÓ„Ó ÓflÎfl. ÇÍβ˜ÂÌ˚ ÚË ÛÓ‚Ìfl ‰Ë̇Ï˘ÂÒÍÓ„Ó Ò˝ÏÔÎËÓ‚‡ÌËfl, Ò˝ÏÔÎ˚ Ô‡‚ÓÈ Ô‰‡ÎË Ë Ò˝ÏÔÎ˚ ÓÚÔÛ˘ÂÌÌ˚ı Í·‚˯, ˜ÚÓ ÔÓÁ‚ÓÎflÂÚ ‰Ó·ËÚ¸Òfl ‡ÎËÒÚ˘ÌÓ„Ó Á‚Û˜‡ÌËfl ‡ÍÛÒÚ˘ÂÒÍÓ„Ó ÓflÎfl. ùÚÓÚ ÚÂÏ· Ô‚ÓÒıÓ‰ÌÓ ÔÓ‰ıÓ‰ËÚ ‰Îfl ËÒÔÓÎÌÂÌËfl Í·ÒÒ˘ÂÒÍËı ÏÛÁ˚͇θÌ˚ı ÔÓËÁ‚‰ÂÌËÈ, Í‡Í Ë ‰Îfl ÔÓËÁ‚‰ÂÌËÈ ‰Û„Ó„Ó ÒÚËÎfl, ËÒÔÓÎÌflÂÏ˚ı ̇ ‡ÍÛÒÚ˘ÂÒÍÓÏ ÔˇÌËÌÓ. íÂÔÎ˚È Ë Ïfl„ÍËÈ Á‚ÛÍ ÙÓÚÂÔ¸flÌÓ. ïÓÓ¯Ó ÔÓ‰ıÓ‰ËÚ ‰Îfl Í·ÒÒ˘ÂÒÍËı ÔÓËÁ‚‰ÂÌËÈ. é·˙ÂÏÌ˚È Ë flÒÌ˚È Á‚ÛÍ ÙÓÚÂÔ¸flÌÓ Ò ÓÚ˜ÂÚÎË‚˚Ï ˝ÙÙÂÍÚÓÏ Â‚Â·Â‡ˆËË. èÓ‰ıÓ‰ËÚ ‰Îfl ÔÓÔÛÎflÌÓÈ ÏÛÁ˚ÍË. ÜË‚ÓÈ Ó·˙ÂÏÌ˚È Á‚ÛÍ ÙÓÚÂÔ¸flÌÓ. èÓ‰ıÓ‰ËÚ ‰Îfl ÔÓÔÛÎflÌÓÈ ËÎË ÓÍ-ÏÛÁ˚ÍË. á‚ÛÍ ˝ÎÂÍÚ˘ÂÒÍÓ„Ó ÔˇÌËÌÓ, ÒÓÁ‰‡‚‡ÂÏ˚È Ò ÔÓÏÓ˘¸˛ ÏÂÚÓ‰‡ ˜‡ÒÚÓÚÌÓÈ ÏÓ‰ÛÎflˆËË. óÂÁ‚˚˜‡ÈÌÓ ÏÛÁ˚͇θÌ˚È ÒÚËθ, ‚ ÍÓÚÓÓÏ ÒÓ˜ÂÚ‡˛ÚÒfl ‡Á΢Ì˚ ÚÂÏ·˚ ‚ Á‡‚ËÒËÏÓÒÚË ÓÚ ‰Ë̇Ï˘ÂÒÍËı Ò‚ÓÈÒÚ‚ Í·‚ˇÚÛ˚. èÓ‰ıÓ‰ËÚ ‰Îfl Ó·˚˜ÌÓÈ ÔÓÔÛÎflÌÓÈ ÏÛÁ˚ÍË. ëËÌÚÂÁËÓ‚‡ÌÌ˚È Á‚ÛÍ ˝ÎÂÍÚÓÌÌÓ„Ó ÔˇÌËÌÓ, ˜‡ÒÚÓ ËÒÔÓθÁÛÂÏ˚È ‚ ÔÓÔÛÎflÌÓÈ ÏÛÁ˚ÍÂ. Ç ÂÊËÏ ̇ÎÓÊÂÌËfl ÚÂÏ·Ó‚ (DUAL) ÓÌ ıÓÓ¯Ó ÒÓ˜ÂÚ‡ÂÚÒfl ÒÓ Á‚Û˜‡ÌËÂÏ ‡ÍÛÒÚ˘ÂÒÍÓ„Ó ÙÓÚÂÔ¸flÌÓ. á‚ÛÍ ˝ÎÂÍÚ˘ÂÒÍÓ„Ó ÙÓÚÂÔ¸flÌÓ, ÒÓÁ‰‡‚‡ÂÏ˚È ÔË Û‰‡Â ÏÓÎÓÚÓ˜ÍÓ‚ Ó ÏÂÚ‡Î΢ÂÒÍË Ô·ÒÚËÌÍË. åfl„ÍËÈ Á‚ÛÍ ÔË Î„ÍÓÏ Ì‡Ê‡ÚËË Ì‡ Í·‚Ë¯Ë Ë ‡„ÂÒÒË‚Ì˚È — ÔË ·ÓΠÒËθÌÓÏ. ë΄͇ ËÁÏÂÌÂÌÌ˚È Á‚ÛÍ ˝ÎÂÍÚ˘ÂÒÍÓ„Ó ÔˇÌËÌÓ, ˜‡ÒÚÓ ËÒÔÓθÁÛÂÏ˚È ‚ ÔÓÔÛÎflÌÓÈ Ë ÓÍ-ÏÛÁ˚ÍÂ. á‚Û˜‡ÌË ˝ÚÓ„Ó ËÌÒÚÛÏÂÌÚ‡ ı‡‡ÍÚÂÌÓ ‰Îfl ÏÛÁ˚ÍË ‚ ÒÚËΠ·‡ÓÍÍÓ. ä·‚ÂÒËÌ — ˝ÚÓ ÒÚÛÌÌ˚È ËÌÒÚÛÏÂÌÚ, ‰Îfl ˝ÚÓ„Ó ÒÚËÎfl Ì ‚‡ÊÂÌ Ô‡‡ÏÂÚ, ÓÔ‰ÂÎfl˛˘ËÈ ÒËÎÛ Ì‡Ê‡ÚËfl ̇ Í·‚˯Ë. é‰Ì‡ÍÓ ‰Îfl ˝ÚÓ„Ó ÒÚËÎfl ı‡‡ÍÚÂÂÌ ÓÒÓ·ÂÌÌ˚È Á‚ÛÍ, ÒÓÁ‰‡‚‡ÂÏ˚È ÓÚÔÛ˘ÂÌÌ˚ÏË Í·‚˯‡ÏË. VARIATION ëÓ˜ÂÚ‡ÌËÂ Ò ÚÂÏ Ê ÚÂÏ·ÓÏ, ÌÓ Ì‡ ÓÍÚ‡‚Û ‚˚¯Â, ‰Îfl ÔÓÎÛ˜ÂÌËfl ·ÓΠflÍÓ„Ó Á‚Û͇. E. CLAVICHORD (ùÎÂÍÚ˘ÂÒÍËÈ Í·‚ÂÒËÌ) åÓÎÓÚÓ˜ÍÓ‚˚È Í·‚˯Ì˚È ËÌÒÚÛÏÂÌÚ, ‚ ÍÓÚÓÓÏ Á‚ÛÍ Ó·‡ÁÛÂÚÒfl Ò ÔÓÏÓ˘¸˛ ˝ÎÂÍÚ˘ÂÒÍËı Á‚ÛÍÓÒÌËχÚÂÎÂÈ. ó‡ÒÚÓ ËÒÔÓθÁÛÂÚÒfl ‰Îfl ÒÚËÎÂÈ Ù‡ÌÍ Ë ÒÓÛÎ. Ö„Ó ÚÓÌ ÒÓÓÚ‚ÂÚÒÚ‚ÛÂÚ ı‡‡ÍÚÂÌÓÏÛ Á‚ÛÍÛ ÓÚÔÛ˘ÂÌÌ˚ı Í·‚˯. VARIATION ÇÍβ˜‡ÂÚ ÒÔˆËÙ˘ÂÒÍËÈ ‚ÒÚÓÂÌÌ˚È ˝ÙÙÂÍÚ. CLP-130/120 ëÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚ 63 ç‡Á‚‡ÌË ëÚÂÂÓÒ˝ÏÔÎËÓ‚‡ÌË óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËΠ̇ʇÚËfl VIBRAPHONE VARIATION ë˝ÏÔÎËÓ‚‡ÌË Á‚Û͇ ÑË̇Ï˘ÂÒÍÓ ÓÚÔÛ˘ÂÌÌÓÈ Ò˝ÏÔÎËÓ‚‡ÌËÂ*1 Í·‚Ë¯Ë (Key-Off)*2 éÔËÒ‡ÌË ÚÂÏ·Ó‚ ÇË·ÓÙÓÌ ÒÓ Ò‡‚ÌËÚÂθÌÓ Ïfl„ÍËÏË ÍÓÎÓÚۯ͇ÏË. óÂÏ ÒËθÌ ۉ‡˚ ÔÓ Í·‚˯‡Ï, ÚÂÏ ·ÓΠÏÂÚ‡Î΢ÂÒÍËÏ ÒÚ‡ÌÓ‚ËÚÒfl ÚÓÌ. ëÚÂÂÓÒ˝ÏÔÎËÓ‚‡ÌÌ˚È, Ó·˙ÂÏÌ˚È Ë Â‡ÎËÒÚ˘Ì˚È Á‚ÛÍ Ï‡ËÏ·˚. CHURCH ORGAN (ˆÂÍÓ‚Ì˚È Ó„‡Ì) íËÔ˘Ì˚È Á‚ÛÍ Ó„‡Ì‡ (8 ÙÛÚÓ‚ + 4 ÙÛÚ‡ + 2 ÙÛÚ‡). ïÓÓ¯Ó ÔÓ‰ıÓ‰ËÚ ‰Îfl ËÒÔÓÎÌÂÌËfl ‰ÛıÓ‚ÌÓÈ ÏÛÁ˚ÍË ÔÂËÓ‰‡ ·‡ÓÍÍÓ. VARIATION á‚ÛÍ ÔÓÎÌÓÈ ÍÓÔÛÎ˚ Ó„‡Ì‡, ˜‡ÒÚÓ ‡ÒÒÓˆËËÛÂÏ˚È Ò ÚÓÍ͇ÚÓÈ Ë ÙÛ„ÓÈ à.ë. Ňı‡. JAZZ ORGAN VARIATION á‚ÛÍ ˝ÎÂÍÚÓÓ„‡Ì‡ ÚËÔ‡ tonewheel (ÚÂıÌÓÎÓ„Ëfl ÚÓÌÓ‚Ó„Ó ÍÓÎÂÒ‡). òËÓÍÓ ËÒÔÓθÁÛÂÚÒfl ‚ ‰Ê‡ÁÓ‚˚ı Ë ÓÍ-ÒÚËÎflı. ùÙÙÂÍÚ ‚‡˘‡˛˘Â„ÓÒfl ‰Ë̇ÏË͇ Ò ‡Á΢ÌÓÈ ÒÍÓÓÒÚ¸˛. ëÍÓÓÒÚ¸ ‚‡Ë‡ˆËÈ ÔË ˝ÚÓÏ ·Óθ¯Â. ÖÒÎË ˝ÙÙÂÍÚ variation ÔËÏÂÌflÂÚÒfl ÔË ‡ÍÍÓ‰Ó‚ÓÈ Ë„Â, Â„Ó ÒÍÓÓÒÚ¸ ·Û‰ÂÚ ÔÓÒÚÓflÌÌÓ ÏÂÌflÚ¸Òfl. STRINGS (ÒÚÛÌÌ˚ ËÌÒÚÛÏÂÌÚ˚) ëÚÂÂÓÒ˝ÏÔÎËÓ‚‡ÌÌ˚È ·Óθ¯ÓÈ ÒÚÛÌÌ˚È ‡Ì҇Ϸθ Ò Â‡ÎËÒÚ˘ÌÓÈ Â‚Â·Â‡ˆËÂÈ. èÓÔÓ·ÛÈÚ ÒÓ‰ËÌËÚ¸ ˝ÚÓÚ ÚÂÏ· Ò ÙÓÚÂÔˇÌÓ ‚ ÂÊËÏ DUAL. VARIATION ë‚Ó·Ó‰ÌÓ Á‚Û˜‡ÌË ÒÚÛÌÌÓ„Ó ‡Ì҇ϷÎfl Ò Ï‰ÎÂÌÌÓÈ ‡Ú‡ÍÓÈ. èÓÔÓ·ÛÈÚ ÒÓ‰ËÌËÚ¸ ˝ÚÓÚ ÚÂÏ· Ò ÙÓÚÂÔˇÌÓ ËÎË ˝ÎÂÍÚ˘ÂÒÍËÏ ÔˇÌËÌÓ ‚ ÂÊËÏ DUAL. CHOIR VARIATION GUITAR („ËÚ‡‡) VARIATION WOOD BASS VARIATION E.BASS VARIATION ÅÓθ¯ÓÈ Ò‚Ó·Ó‰Ì˚È Á‚ÛÍ ıÓ‡. à‰Â‡ÎÂÌ ‰Îfl ÒÓÁ‰‡ÌËfl ·Ó„‡Ú˚ı „‡ÏÓÌËÈ ‚ ωÎÂÌÌÓÈ ÏÛÁ˚ÍÂ. ïÓÓ‚ÓÈ ÚÂÏ· Ò Ï‰ÎÂÌÌÓÈ ‡Ú‡ÍÓÈ. èÓÔÓ·ÛÈÚ ÒÓ‰ËÌËÚ¸ ˝ÚÓÚ ÚÂÏ· Ò ÙÓÚÂÔˇÌÓ ËÎË ˝ÎÂÍÚ˘ÂÒÍËÏ ÔˇÌËÌÓ ‚ ÂÊËÏ DUAL. íÂÔÎÓÂ Ë ÂÒÚÂÒÚ‚ÂÌÌÓ Á‚Û˜‡ÌË „ËÚ‡˚ Ò ÌÂÈÎÓÌÓ‚˚ÏË ÒÚÛ̇ÏË. èË Ë„Â ÒÓÁ‰‡ÂÚÒfl ÔËflÚ̇fl ÒÔÓÍÓÈ̇fl ‡ÚÏÓÒÙ‡. üÍËÈ Á‚ÛÍ ˝ÎÂÍÚÓ„ËÚ‡˚. èÓ‰ıÓ‰ËÚ ‰Îfl ËÒÔÓÎÌÂÌËfl ÔÓÔÛÎflÌÓÈ ÏÛÁ˚ÍË. äÓÌÚ‡·‡Ò Ò ı‡‡ÍÚÂÌ˚Ï Á‚ÛÍÓÏ, Í‡Í ÓÚ ÔËÍÓÒÌÓ‚ÂÌËfl ԇθˆÂ‚ Í ÒÚÛ̇Ï. à‰Â‡Î¸Ì˚È ÒÚËθ ‰Îfl ËÒÔÓÎÌÂÌËfl ‰Ê‡ÁÓ‚ÓÈ Ë Î‡ÚËÌÓ‡ÏÂË͇ÌÒÍÓÈ ÏÛÁ˚ÍË. á‚Û˜‡ÌË ·‡Ò‡ ÒÓ˜ÂÚ‡ÂÚÒfl Ò Û‰‡Ì˚ÏË ËÌÒÚÛÏÂÌÚ‡ÏË. à‰Â‡Î¸Ì˚È ÒÚËθ ‰Îfl ·ÎÛʉ‡˛˘Ëı ·‡ÒÓ‚˚ı ÎËÌËÈ ‚ ‰Ê‡ÁÓ‚˚ı ÏÂÎÓ‰Ëflı. á‚ÛÍ ˝ÎÂÍÚ˘ÂÒÍÓÈ ·‡Ò-„ËÚ‡˚. èËÏÂÌflÂÚÒfl ‚ fl‰Â ÏÛÁ˚͇θÌ˚ı ÒÚËÎÂÈ: ‰Ê‡ÁÂ, ÓÍÂ, ÔÓÔÏÛÁ˚ÍÂ Ë Ú. ‰. ÅÂÁ·‰Ó‚˚È ·‡Ò, ÔÓ‰ıÓ‰fl˘ËÈ ‰Îfl Ú‡ÍËı ÒÚËÎÂÈ, Í‡Í ‰Ê‡Á, Ù¸˛ÊÌ Ë Ú. ‰. *1. ÑË̇Ï˘ÂÒÍÓÂ Ò˝ÏÔÎËÓ‚‡ÌË ÔÓÁ‚ÓÎflÂÚ ‰Ó·ËÚ¸Òfl ÚÓ˜ÌÓ„Ó ÒÓÓÚ‚ÂÚÒÚ‚Ëfl ÚÂÏ·‡Ï ̇ ‡ÍÛÒÚ˘ÂÒÍÓÏ ËÌÒÚÛÏÂÌÚÂ Ò ÔÓÏÓ˘¸˛ ·˚ÒÚÓ„Ó ÔÂÂÍβ˜ÂÌËfl Ò˝ÏÔÎÓ‚. *2. ë˝ÏÔÎ ÏÓ‰ÂÎËÛÂÚ Ò··Ó Á‚Û˜‡ÌË ÓÚÔÛ˘ÂÌÌ˚ı Í·‚˯. 64 CLP-130/120 ëÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚ CLP-120 ç‡Á‚‡ÌË ëÚÂÂÓÒ˝ÏÔÎËÓ‚‡ÌË óÛ‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËΠ̇ʇÚËfl ÑË̇Ï˘ÂÒÍÓÂ Ò˝ÏÔÎËÓ‚‡ÌËÂ*1 ë˝ÏÔÎËÓ‚‡ÌË Á‚Û͇ ÓÚÔÛ˘ÂÌÌ˚ı Í·‚˯*2 éÔËÒ‡ÌË ÚÂÏ·Ó‚ GRANDPIANO 1 á‡ÔËÒË Ò˝ÏÔÎÓ‚ ÍÓ̈ÂÚÌÓ„Ó ÓflÎfl. ùÚÓÚ ÚÂÏ· Ô‚ÓÒıÓ‰ÌÓ ÔÓ‰ıÓ‰ËÚ ‰Îfl ËÒÔÓÎÌÂÌËfl Í·ÒÒ˘ÂÒÍËı ÏÛÁ˚͇θÌ˚ı ÔÓËÁ‚‰ÂÌËÈ, ‡ Ú‡ÍÊ ‰Îfl ÔÓËÁ‚‰ÂÌËÈ ‰Û„Ó„Ó ÒÚËÎfl, ËÒÔÓÎÌflÂÏ˚ı ̇ ‡ÍÛÒÚ˘ÂÒÍÓÏ ÔˇÌËÌÓ. GRANDPIANO 2 é·˙ÂÏÌ˚È Ë flÒÌ˚È Á‚ÛÍ ÙÓÚÂÔ¸flÌÓ Ò ÓÚ˜ÂÚÎË‚˚Ï ˝ÙÙÂÍÚÓÏ Â‚Â·Â‡ˆËË. èÓ‰ıÓ‰ËÚ ‰Îfl ÔÓÔÛÎflÌÓÈ ÏÛÁ˚ÍË. E.PIANO 1 á‚ÛÍ ˝ÎÂÍÚ˘ÂÒÍÓ„Ó ÔˇÌËÌÓ, ÒÓÁ‰‡‚‡ÂÏ˚È Ò ÔÓÏÓ˘¸˛ ÏÂÚÓ‰‡ ˜‡ÒÚÓÚÌÓÈ ÏÓ‰ÛÎflˆËË. èÓ‰ıÓ‰ËÚ ‰Îfl ÔÓÔÛÎflÌÓÈ ÏÛÁ˚ÍË. E.PIANO 2 á‚ÛÍ ˝ÎÂÍÚ˘ÂÒÍÓ„Ó ÙÓÚÂÔ¸flÌÓ, ÒÓÁ‰‡‚‡ÂÏ˚È ÔË Û‰‡Â ÏÓÎÓÚÓ˜ÍÓ‚ Ó ÏÂÚ‡Î΢ÂÒÍË Ô·ÒÚËÌÍË. åfl„ÍËÈ ÚÓÌ ÔË Î„ÍÓÏ Ì‡Ê‡ÚËË Ì‡ Í·‚Ë¯Ë Ë ‡„ÂÒÒË‚Ì˚È — ÔË ·ÓΠÒËθÌÓÏ. HARPSICHORD 1 á‚Û˜‡ÌË ˝ÚÓ„Ó ËÌÒÚÛÏÂÌÚ‡ ı‡‡ÍÚÂÌÓ ‰Îfl ÏÛÁ˚ÍË ‚ ÒÚËΠ·‡ÓÍÍÓ. ä·‚ÂÒËÌ — ˝ÚÓ ÒÚÛÌÌ˚È ËÌÒÚÛÏÂÌÚ, ‰Îfl ˝ÚÓ„Ó ÒÚËÎfl Ì ‚‡ÊÂÌ Ô‡‡ÏÂÚ, ÓÔ‰ÂÎfl˛˘ËÈ ÒËÎÛ Ì‡Ê‡ÚËfl ̇ Í·‚˯Ë. é‰Ì‡ÍÓ ‰Îfl ˝ÚÓ„Ó ÒÚËÎfl ı‡‡ÍÚÂÂÌ ÓÒÓ·ÂÌÌ˚È Á‚ÛÍ, ÒÓÁ‰‡‚‡ÂÏ˚È ÓÚÔÛ˘ÂÌÌ˚ÏË Í·‚˯‡ÏË. HARPSICHORD 2 ëÓ˜ÂÚ‡ÌËÂ Ò ÚÂÏ Ê ÚÂÏ·ÓÏ, ÌÓ Ì‡ ÓÍÚ‡‚Û ‚˚¯Â, ‰Îfl ÔÓÎÛ˜ÂÌËfl ·ÓΠflÍÓ„Ó Á‚Û͇. VIBRAPHONE ÇË·ÓÙÓÌ ÒÓ Ò‡‚ÌËÚÂθÌÓ Ïfl„ÍËÏË ÍÓÎÓÚۯ͇ÏË. óÂÏ ÒËθÌ ۉ‡˚, ÚÂÏ ·ÓΠÏÂÚ‡Î΢ÂÒÍËÏ ÒÚ‡ÌÓ‚ËÚÒfl ÚÓÌ. CHURCH ORGAN 1 íËÔ˘Ì˚È Á‚ÛÍ Ó„‡Ì‡ Ò Â„ËÒÚ‡ÏË 8 ÙÛÚÓ‚, 4 ÙÛÚ‡ Ë 2 ÙÛÚ‡. ïÓÓ¯ ‰Îfl ËÒÔÓÎÌÂÌËfl ‰ÛıÓ‚ÌÓÈ ÏÛÁ˚ÍË ÔÂËÓ‰‡ ·‡ÓÍÍÓ. CHURCH ORGAN 2 á‚ÛÍ ÔÓÎÌÓÈ ÍÓÔÛÎ˚ Ó„‡Ì‡, ˜‡ÒÚÓ ‡ÒÒÓˆËËÛÂÏ˚È Ò ÚÓÍ͇ÚÓÈ Ë ÙÛ„ÓÈ à.ë. Ňı‡. JAZZ ORGAN á‚ÛÍ ˝ÎÂÍÚÓÓ„‡Ì‡ ÚËÔ‡ tonewheel (ÚÂıÌÓÎÓ„Ëfl ÙÓÌ˘ÂÒÍÓ„Ó ÍÓÎÂÒ‡). òËÓÍÓ ËÒÔÓθÁÛÂÚÒfl ‚ ‰Ê‡ÁÓ‚˚ı Ë ÓÍ-ÒÚËÎflı. STRINGS 1 ëÚÂÂÓÒ˝ÏÔÎËÓ‚‡ÌÌ˚È ·Óθ¯ÓÈ ÒÚÛÌÌ˚È ‡Ì҇Ϸθ Ò Â‡ÎËÒÚ˘ÌÓÈ Â‚Â·Â‡ˆËÂÈ. èÓÔÓ·ÛÈÚ ÒÓ‰ËÌËÚ¸ ˝ÚÓÚ ÚÂÏ· Ò ÙÓÚÂÔˇÌÓ ‚ ÂÊËÏ DUAL. STRINGS 2 ë‚Ó·Ó‰Ì˚È Á‚ÛÍ ÒÚÛÌÌÓ„Ó ‡Ì҇ϷÎfl Ò Ï‰ÎÂÌÌÓÈ ‡Ú‡ÍÓÈ. èÓÔÓ·ÛÈÚ ÒÓ‰ËÌËÚ¸ ˝ÚÓÚ ÚÂÏ· Ò ÙÓÚÂÔˇÌÓ ËÎË ˝ÎÂÍÚ˘ÂÒÍËÏ ÔˇÌËÌÓ ‚ ÂÊËÏ DUAL. CHOIR ÅÓθ¯ÓÈ Ò‚Ó·Ó‰Ì˚È Á‚ÛÍ ıÓ‡. à‰Â‡ÎÂÌ ‰Îfl ÒÓÁ‰‡ÌËfl ·Ó„‡Ú˚ı „‡ÏÓÌËÈ ‚ ωÎÂÌÌÓÈ ÏÛÁ˚ÍÂ. GUITAR íÂÔÎ˚È Ë ÂÒÚÂÒÚ‚ÂÌÌ˚È Á‚ÛÍ „ËÚ‡˚ Ò ÌÂÈÎÓÌÓ‚˚ÏË ÒÚÛ̇ÏË. èË Ë„Â ÒÓÁ‰‡ÂÚÒfl ÔËflÚ̇fl, ÒÔÓÍÓÈ̇fl ‡ÚÏÓÒÙ‡. *1. ÑË̇Ï˘ÂÒÍÓÂ Ò˝ÏÔÎËÓ‚‡ÌË ÔÓÁ‚ÓÎflÂÚ ‰Ó·ËÚ¸Òfl ÚÓ˜ÌÓ„Ó ÒÓÓÚ‚ÂÚÒÚ‚Ëfl ÚÂÏ·‡Ï ̇ ‡ÍÛÒÚ˘ÂÒÍÓÏ ËÌÒÚÛÏÂÌÚÂ Ò ÔÓÏÓ˘¸˛ ·˚ÒÚÓ„Ó ÔÂÂÍβ˜ÂÌËfl Ò˝ÏÔÎÓ‚. *2. ë˝ÏÔÎ ÏÓ‰ÂÎËÛÂÚ Ò··Ó Á‚Û˜‡ÌË ÓÚÔÛ˘ÂÌÌ˚ı Í·‚˯. CLP-130/120 ëÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚ 65 ëÔËÒÓÍ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı ÔÂÒÂÌ ç‡Á‚‡ÌË ÚÂÏ·‡ CLP-130 CLP-120 GRAND PIANO1 ç‡Á‚‡ÌË ԸÂÒ˚ ìÚ¯ÂÌË ‹ 3 äÓÏÔÓÁËÚÓ î. ãËÒÚ HARPSICHORD ɇ‚ÓÚ HARPSICHORD1 à.ë. Ňı HARPSICHORD2 àÌ‚Â̈Ëfl ‹ 1 ì͇Á‡ÌÌ˚ ԸÂÒ˚ — ˝ÚÓ ÍÓÓÚÍË Ô‡·ÓÚ‡ÌÌ˚ ÓÚ˚‚ÍË ËÁ ÓË„Ë̇θÌ˚ı ÔÓËÁ‚‰ÂÌËÈ. ÇÒ ÓÒڇθÌ˚ ÔÂÒÌË fl‚Îfl˛ÚÒfl ÒÓ·ÒÚ‚ÂÌÌÓÒÚ¸˛ ÍÓÏÔ‡ÌËË (© Yamaha Corporation, 2002). éÔËÒ‡ÌË ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı ÚÂÏ·Ó‚ ÙÓÚÂÔ¸flÌÓ (CLP-130) ç‡Á‚‡ÌË ÚÂÏ·‡ 66 ÑÂÏÓÌÒÚ‡ˆËfl ÚÂÏ·‡ ÙÓÚÂÔˇÌÓ GRAND PIANO1 ëÚÂÂÓÒ˝ÏÔÎËÓ‚‡ÌË GRAND PIANO1 åÓÌÓÙÓÌ˘ÂÒÍÓÂ Ò˝ÏÔÎËÓ‚‡ÌË E.PIANO1 ÑË̇Ï˘ÂÒÍÓÂ Ò˝ÏÔÎËÓ‚‡ÌËÂ, ψˆÓ-ÔˇÌÓ E.PIANO2 ÑË̇Ï˘ÂÒÍÓÂ Ò˝ÏÔÎËÓ‚‡ÌËÂ, ψˆÓ-ÙÓÚ HARPSICHORD ÑË̇Ï˘ÂÒÍÓÂ Ò˝ÏÔÎËÓ‚‡ÌËÂ, ÙÓÚ E.CLAVICHORD ë˝ÏÔÎËÓ‚‡ÌËÂ Ò Ô‡‚ÓÈ Ô‰‡Î¸˛ VIBRAPHONE ë˝ÏÔÎËÓ‚‡ÌË ·ÂÁ Ô‡‚ÓÈ Ô‰‡ÎË CHURCH ORGAN ë˝ÏÔÎËÓ‚‡ÌËÂ Ò Û˜ÂÚÓÏ Á‚Û͇ ÓÚÔÛ˘ÂÌÌ˚ı Í·‚˯ JAZZ ORGAN ë˝ÏÔÎËÓ‚‡ÌË ·ÂÁ Û˜ÂÚ‡ Á‚Û͇ ÓÚÔÛ˘ÂÌÌ˚ı Í·‚˯ CLP-130/120 ëÔËÒÓÍ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı ÔÂÒÂÌ è‰ÏÂÚÌ˚È Û͇Á‡ÚÂθ 0-9 P 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ.....................................................17 PHONES................................................................... 12, 15 50 Greats for the Piano ...................................................17 POWER ..................................................................... 11, 14 PRESET .................................................................... 14, 17 Ä ALL (Ò‚ÂÚÓ‰ËÓ‰Ì˚È Ë̉Ë͇ÚÓ).................................17 R AUX IN ...........................................................................51 REC ➝ Á‡ÔËÒ¸ ......................................................... 14, 31 AUX OUT .......................................................................50 REVERB ................................................................... 14, 22 rnd (Ò‚ÂÚÓ‰ËÓ‰Ì˚È Ë̉Ë͇ÚÓ) .................................. 17 B BRILLIANCE...........................................................14, 22 S Scn (Ò‚ÂÚÓ‰ËÓ‰Ì˚È Ë̉Ë͇ÚÓ) .................................. 56 D DEMO .......................................................................14, 16 SPEAKER ................................................................. 12, 15 Specifications .................................................................. 76 Start/Stop (Á‡ÔÛÒÍ/ÓÒÚ‡Ìӂ͇ Á‡ÔËÒË) ....................... 31 START/STOP (SONG) ................................................. 14 E EFFECT ....................................................................14, 23 T TEMPO ............................................................... 14, 17, 35 F TEMPO (METRONOME) ........................................... 29 TO HOST .................................................................. 15, 49 Factory Setting List .........................................................70 TOUCH..................................................................... 14, 24 FUL (Ò‚ÂÚÓ‰ËÓ‰Ì˚È Ë̉Ë͇ÚÓ) ................................31 TRACK1/2 (50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ) ............................. 18 FUNCTION .......................................................14, 40–48 ÓÒÌÓ‚Ì˚ ‰ÂÈÒÚ‚Ëfl .................................................38 TRACK1/2 (Á‡ÔËÒ¸) ...................................................... 31 TRANSPOSE ........................................................... 14, 25 Function Parameter List .................................................70 H HOST SELECT ..................................................15, 51, 54 U USB ................................................................................. 55 USER 1/2/3 (CLP-130) ................................................. 30 HST (Ò‚ÂÚÓ‰ËÓ‰Ì˚È Ë̉Ë͇ÚÓ) ................................52 L List Factory Setting ..........................................................70 M MASTER VOLUME ................................................11, 14 METRONOME ........................................................14, 29 MIDI................................................................................49 MIDI [IN] [OUT] [THRU] .....................................15, 51 V VARIATION (CLP-130) ............................................... 22 VOICE ....................................................................... 14, 21 Ç ‚Íβ˜ÂÌËÂ Ë ‚˚Íβ˜ÂÌË ‚ÓÒÔÓËÁ‚‰ÂÌË ‰ÓÓÊÂÍ ..................................... 36 ‰ÂÏÓÌÒÚ‡ˆËfl .......................................................... 16 ÏÂÚÓÌÓÏ ............................................................ 14, 29 Ò ÔÓÏÓ˘¸˛ Ô‰‡ÎË .................................................. 36 MIDI Data Format .........................................................71 ‚ÒÚÓÂÌÌ˚ ÔÂÒÌË ➝ 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ ‰Îfl ÙÓÚÂÔ¸flÌÓ.................... 17 MIDI-‰‡È‚ ................................................................53 ‚ÒÚÓÂÌÌ˚ ÚÂÏ·˚ ................................................63–65 MIDI-͇·ÂÎË......................................................49, 54, 55 ‚˚ÒÓÚ‡ Á‚Û͇ ➝ ÚÓÌ͇fl ̇ÒÚÓÈ͇ ............................. 40 CLP-130/120 è‰ÏÂÚÌ˚È Û͇Á‡ÚÂθ 67 ‰Îfl ÔË„ÎÛ¯ÂÌËfl Á‚Û͇ .............................. 15, 22, 44 Ô‡‚‡fl........................................................................ 21 ÒÓÒÚÂÌÛÚÓ .................................................................. 22 Ò‰Ìflfl ..................................................................... 15 ÒÛÒÚÂÈÌ ...................................................................... 15 É „ÓÏÍÓÒÚ¸ ÏÂÚÓÌÓχ ...................................................45 Ñ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÔÂÒÌË ...........................................66 ‰ÂÏÔÙÂ̇fl Ô‰‡Î¸ .................................................21, 43 ‰Ó·‡‚ÎÂÌË ‚‡Ë‡ˆËÈ ...................................................22 ‰ÓÔÓÎÌËÚÂθÌ˚ ÔË̇‰ÎÂÊÌÓÒÚË ...............................8 á Á‡ÔËÒ¸ ..............................................................................30 ̇˜‡Î¸Ì˚ ̇ÒÚÓÈÍË .............................................34 Á‡ÔÛÒÍ Ë ÓÒÚ‡Ìӂ͇ ‚ÓÒÔÓËÁ‚‰ÂÌËfl 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ ...............................................17 ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÏÂÎÓ‰ËË .................................16 Á‡ÔËÒ‡ÌÌ˚ ÔÂÒÌË ...................................................35 ÔÓÎÂÁÌ˚ ÙÛÌ͈ËË ‚ÓÒÔÓËÁ‚‰ÂÌËfl ..................36 ÔÂÂÁ‡ÔËÒ¸...................................................................... 32 ÔÓ‰Íβ˜ÂÌË ................................................................. 50 ÔÓ‰Íβ˜ÂÌË ÔÂÒÓ̇θÌÓ„Ó ÍÓÏÔ¸˛Ú‡ ............... 52 ÔÓÒΉӂ‡ÚÂθÌ˚È Í‡·Âθ ..................................... 53, 55 Ô‡‚‡fl Ô‰‡Î¸ .......................................................... 15, 44 Ô˛ÔËÚ ............................................................................ 10 ê ‡Á˙ÂÏ˚ .......................................................................... 50 AUX IN ..................................................................... 14 AUX OUT ................................................................. 14 MIDI ................................................................... 49, 54 PEDAL ................................................................ 14, 51 ÂÊËÏ˚ Dual ..................................................................... 26, 42 SPLIT (CLP-130) ......................................... 14, 27, 43 à Ë„‡ Ó‰ÌÓÈ ÛÍÓÈ (50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ) .................18 ë ä Ò·Ó͇ .......................................................................57–62 Í˚¯Í‡ Í·‚ˇÚÛ˚ ......................................................10 Ò‚ÂÚÓ‰ËÓ‰Ì˚È Ë̉Ë͇ÚÓ ............................................ 14 ã ÒËÌıÓÌÌ˚È Á‡ÔÛÒÍ 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ .............................................. 19 Á‡ÔËÒ‡ÌÌ˚ ÔÂÒÌË................................................... 36 ΂‡fl Ô‰‡Î¸ .......................................................15, 22, 44 å ÏÂ˚ ·ÂÁÓÔ‡ÒÌÓÒÚË .....................................................6–7 ÒÔËÒÓÍ ‚ÒÚÓÂÌÌ˚ ÚÂÏ·˚ ..........................................63–65 ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ ÔÂÒÌË ..................................... 66 ÙÛÌ͈ËË ................................................................... 37 Ò‰Ìflfl Ô‰‡Î¸ ........................................................ 15, 22 ç ̇ÒÚÓÈ͇ FUNCTION .............................................................37 ‚˚ÒÓÚ‡ Á‚Û͇ .............................................................40 „ÓÏÍÓÒÚ¸ (50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ).........................17 „ÓÏÍÓÒÚ¸ ‰ÂÏÓÌÒÚ‡ˆËË .......................................16 „ÓÏÍÓÒÚ¸ ÏÂÚÓÌÓχ .............................................45 ÚÂÏÔ (50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ) ..................................17 ÚÂÏÔ‡ (Á‡ÔËÒ‡ÌÌ˚ ÔÂÒÌË).....................................35 flÍÓÒÚ¸ ......................................................................16 ̇ÒÚÓÈ͇ ➝ ÚÓÌ͇fl ̇ÒÚÓÈ͇ ‚˚ÒÓÚ‡ Á‚Û͇ .............................................................40 ÒÚÓÈ ............................................................................... 41 í Ú‡ÌÒÔÓÚËӂ͇ ............................................................. 8 ì ÛÒÚ‡ÌÂÌË ÌÂÔÓ·‰ÓÍ ................................................. 56 î é Ó·˚˜Ì‡fl ̇ÒÚÓÈ͇ .......................................................22 ÓÔËÒ‡ÌË ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ˚ı ÚÂÏ·Ó‚ .....................66 ÙÛÌ͈ËË MIDI ......................................................................... 45 ÒÓı‡ÌÂÌËfl ............................................................... 48 ÙÛÌ͈Ëfl ÔÓ‚ÚÓ‡ A-B 50 ‚ÒÚÓÂÌÌ˚ı ÔÂÒÂÌ .............................................. 20 è Ô‡ÚËfl ‚ÒÚÓÂÌÌÓÈ ÔÂÒÌË ............................................45 Ô‰‡Î¸ ‰ÂÏÔÙÂ̇fl ..............................................................21 68 CLP-130/120 è‰ÏÂÚÌ˚È Û͇Á‡ÚÂθ ó ˜Û‚ÒÚ‚ËÚÂθÌÓÒÚ¸ Í ÒËΠ̇ʇÚËfl .............................. 24 Appendix Ç ˝ÚÓÏ ‡Á‰ÂΠÒÓ‰ÂʇÚÒfl ҂‰ÂÌËfl Ó· ÛÒÚ‡ÌÂÌËË ÌÂËÒÔ‡‚ÌÓÒÚÂÈ, ÓÔËÒ‡ÌË ‚ÒÚÓÂÌÌ˚ı ÚÂÏ·Ó‚ Ë ‰Û„‡fl ËÌÙÓχˆËfl. Factory Setting List / Liste der Vorgabeeinstellungen / Liste des réglages / ëÔËÒÓÍ Ì‡ÒÚÓÂÍ ËÁ„ÓÚÓ‚ËÚÂÎfl ......................................................................................................................................... 70 MIDI Data Format / MIDI-Datenformat / Format des données MIDI / îÓÏ‡Ú MIDI-‰‡ÌÌ˚ı................. 71 MIDI Implementation Chart / MIDI Implementierung stabelle / Feuille d’implantation MIDI / 퇷Îˈ‡ ‡ÎËÁ‡ˆËË ËÌÚÂÙÂÈÒ‡ MIDI .................................................... 75 Specifications / Technische Daten / Caractéristiques techniques / íÂıÌ˘ÂÒÍË ı‡‡ÍÚÂËÒÚËÍË ............... 76 CLP-130/120 69 Factory Setting List / Liste der Vorgabeeinstellungen / Liste des réglages / ëÔËÒÓÍ Ì‡ÒÚÓÂÍ ËÁ„ÓÚÓ‚ËÚÂÎfl Backup Group Voice CLP-130 CLP-120 F9.1 F8.1 OFF — — 0 (no accent) F9.1 F8.1 120 — — 0 F9.3 F8.3 GRAND PIANO 1 Variation (CLP-130) OFF Dual Mode OFF Split Mode (CLP-130) OFF Split Mode Left Voice (CLP-130) WOOD BASS Reverb Type Preset for each voice Reverb Depth Preset for each voice Effect Type Preset for each voice Effect Depth Preset for each voice Touch Sensitivity MEDIUM Volume in the FIXED Mode 64 Metronome Metronome Time Signature Tempo Transpose Function CLP-130 70 CLP-120 Function Default F1 F1 Tuning A3=440Hz F2.1 F2.1 Scale 1 (Equal Temperament) F2.2 F2.2 Base Note C F3.1 F3.1 Dual Balance Preset for each voice combination F3.2 F3.2 Dual Detune Preset for each voice combination F3.3, F3.4 F3.3, F3.4 Dual Octave Shift Preset for each voice combination F3.5, F.3.6 F3.5, F.3.6 Dual Effect Depth Preset for each voice combination F4.1 — Split Point F2 F4.2 — Split Balance Preset for each voice combination F4.3, F4.4 — Split Octave Shift Preset for each voice combination F4.5, F4.6 — Split Effect Depth Preset for each voice combination F4.7 — Damper Pedal Range ALL F5.1 F4.1 Left Pedal Mode 1 (Soft Pedal) F5.2 F4.2 Soft Pedal Effect Depth 3 F5.3 — Sustain Sample Depth 12 F5.4 — Keyoff Sample Volume 10 F6 F5 Metronome Volume 10 F7 F6 Preset Song Part Cancel Volume 5 F8.1 F7.1 MIDI Transmit Channel 1 F8.2 F7.2 MIDI Receive Channel ALL F8.3 F7.3 Local Control ON F8.4 F7.4 Program Change Send & Receive ON F8.5 F7.5 Control Change Send & Receive ON F8.6 F7.6 MIDI Transmit Transpose 0 F9 F8 Backup All OFF CLP-130/120 Appendix Backup Group CLP-130 CLP-120 F9.3 F8.3 F9.1 F8.1 F9.4 F8.4 F9.1 F8.1 F9.2 F8.2 Always backed up MIDI Data Format / MIDI-Datenformat / Format des données MIDI / îÓÏ‡Ú MIDI-‰‡ÌÌ˚ı If you’re already very familiar with MIDI, or are using a computer to control your music hardware with computergener-ated MIDI messages, the data provided in this section can help you to control the CLP-130/120. Falls Sie bereits mit MIDI vertraut sind oder einen Computer zur Erzeugung von MIDI-Steuermeldungen für die Instrumente verwenden, können Sie sich zur Steuerung des CLP-130/120 nach den im folgenden Abschnitt aufgeführten Spezifikationen richten. Si vous êtes très familier avec l’interface MIDI ou si vous utilisez un ordinateur pour commander votre matériel de musique au moyen de messages MIDI générés par ordinateur, les données suivantes vous seront utiles et vous aideront à commander le CLP-130/120. 1. NOTE ON/OFF 3. MODE MESSAGES Data format: [9nH] -> [kk] -> [vv] ÖÒÎË ‚˚ Á̇ÍÓÏ˚ Ò MIDI-ËÌÚÂÙÂÈÒÓÏ ËÎË ËÒÔÓθÁÛÂÚ ÍÓÏÔ¸˛Ú ‰Îfl ÛÔ‡‚ÎÂÌËfl ÏÛÁ˚͇θÌ˚ÏË ÛÒÚÓÈÒÚ‚‡ÏË ÔË ÔÓÏÓ˘Ë ÒÓÁ‰‡‚‡ÂÏ˚ı ÍÓÏÔ¸˛ÚÂÓÏ MIDI-ÒÓÓ·˘ÂÌËÈ, ҂‰ÂÌËfl ËÁ ˝ÚÓ„Ó ‡Á‰Â· ÔÓÏÓ„ÛÚ ‚‡Ï ÛÔ‡‚ÎflÚ¸ CLP-130/120. Data format: [BnH] -> [cc] -> [vv] 9nH = Note ON/OFF event (n = channel number) kk = Note number (Transmit: 09H ~ 78H = A-2 ~ C8 / Receive: 00H ~ 7FH = C-2 ~ G8)* vv = Velocity (Key ON = 01H ~ 7FH, Key OFF = 00H) Data format: [8nH] -> [kk] -> [vv] (reception only) 8nH = Note OFF event (n = channel number) kk = Note number: 00H ~ 7FH = C-2 ~ G8 vv = Velocity * If received value exceeds the supported range for the selected voice, the note is adjusted by the necessary number of octaves. 2. CONTROL CHANGE Data format: [BnH] -> [cc] -> [vv] BnH = Control change (n = channel number) cc = Control number vv = Data Range (1) Bank Select ccH Parameter Data Range (vvH) 00H Bank Select MSB 00H:Normal 20H Bank Select LSB 00H...7FH Bank selection processing does not occur until receipt of next Program Change message. (2) Main Volume (reception only) ccH Parameter Data Range (vvH) 07H Volume MSB 00H...7FH (3) Expression ccH Parameter 0BH Expression MSB Data Range (vvH) 00H...7FH (4) Damper ccH Parameter 40H Damper MSB Data Range (vvH) 00H...7FH (5) Sostenuto ccH Parameter 42H Sostenuto Data Range (vvH) 00H-3FH:off, 40H-7FH:on (6) Soft Pedal ccH Parameter 43H Soft Pedal Data Range (vvH) 00H-3FH:off, 40H-7FH:on (7) Effect1 Depth (Reverb Send Level) ccH Parameter Data Range (vvH) 5BH Effect1 Depth 00H...7FH Adjusts the reverb send level. (8) Effect4 Depth (Variation Effect Send Level) ccH Parameter Data Range (vvH) 5EH Effect4 Depth 00H...7FH BnH = Control event (n = channel number) cc = Control number vv = Data Range (1) All Sound Off ccH Parameter Data Range (vvH) 78H All Sound Off 00H Switches off all sound from the channel. Does not reset Note On and Hold On conditions established by Channel Messages. (2) Reset All Controllers ccH Parameter 79H Reset All Controllers Resets controllers as follows. Controller Expression Damper Pedal Sostenuto Soft Pedal Data Range (vvH) 00H Value 127 (max) 0 (off) 0 (off) 0 (off) (3) Local Control (reception only) ccH Parameter Data Range (vvH) 7AH Local Control 00H (off), 7FH (on) (4) All Notes Off ccH Parameter Data Range (vvH) 7BH All Notes Off 00H Switches OFF all the notes that are currently ON on the specified channel. Any notes being held by the damper or sostenuto pedal will continue to sound until the pedal is released. (5) Omni Off (reception only) ccH Parameter Data Range (vvH) 7CH Omni Off 00H Same processing as for All Notes Off. (6) Omni On (reception only) ccH Parameter Data Range (vvH) 7DH Omni On 00H Same processing as for All Notes Off. (7) Mono (reception only) ccH Parameter Data Range (vvH) 7EH Mono 00H Same processing as for All Sound Off. (8) Poly (reception only) ccH Parameter Data Range (vvH) 7FH Poly 00H Same processing as for All Sound Off. • When control change reception is turned OFF in the Function mode, control change data will not be transmitted or received except for Bank Select and Mode messages. • Local on/off, OMNI on/off are not transmitted. (The appropriate note off number is supplied with “All Note Off” transmission). • When a voice bank MSB/LSB is received, the number is stored in the internal buffer regardless of the received order, then the stored value is used to select the appropriate voice when a program change message is received. • The Multi-timbre and Poly modes are always active. No change occurs when OMNI ON, OMNI OFF, MONO, or POLY mode messages are received. CLP-130/120 Appendix 71 4. PROGRAM CHANGE 6. SYSTEM EXCLUSIVE MESSAGES (Yamaha MIDI Format) Data format: [CnH] -> [ppH] CnH = Program event (n = channel number) ppH = Program change number P.C.#=Program Change number CLP-130 GRANDPIANO 1 VARIATION GRANDPIANO 2 VARIATION E.PIANO 1 VARIATION E.PIANO 2 VARIATION HARPSICHORD VARIATION E. CLAVICHORD VARIATION VIBRAPHONE VARIATION CHURCH ORGAN VARIATION JAZZ ORGAN VARIATION STRINGS VARIATION CLP-120 GRANDPIANO 1 — GRANDPIANO 2 — E.PIANO 1 — E.PIANO 2 — HARPSICHORD 1 HARPSICHORD 2 — — VIBRAPHONE — CHURCH ORGAN 1 CHURCH ORGAN 2 JAZZ ORGAN — STRINGS 1 STRINGS 2 CHOIR VARIATION GUITAR VARIATION WOOD BASS VARIATION E.BASS VARIATION CHOIR MSB 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 LSB 122 123 112 112 122 122 122 123 122 123 122 123 122 122 123 122 122 123 122 122 P.C.# 0 0 0 1 5 88 4 4 6 6 7 7 11 12 19 19 16 16 48 49 0 0 0 0 0 0 0 0 122 123 122 122 122 124 122 122 52 52 24 25 32 32 33 35 — GUITAR — — — — — • When program change reception is turned OFF in the Function mode, no program change data is transmitted or received. Also, Bank MSB/LSB is not transmitted or received. 5. SYSTEM REALTIME MESSAGES [rrH] F8H: Timing clock FAH: Start FCH: Stop FEH: Active sensing Data F8H Transmission Transmitted every 96 clocks FAH Recorder start FCH Recorder stop FEH Transmitted every 200 milliseconds Reception Received as 96-clock tempo timing when MIDI clock is set to External Recorder start Not received when the MIDI clock is set to Internal. Recorder stop Not received when the MIDI clock is set to Internal. If a signal is not received via MIDI for more than 400 milliseconds, the same processing will take place for All Sound Off, All Notes Off and Reset All Controllers as when those signals are received. • Caution: If an error occurs during MIDI reception, the Damper, Sostenuto, and Soft effects for all channels are turned off and an All Note Off occurs. 72 CLP-130/120 Appendix Panel Data Transmit Data format: [F0H] -> [43H] -> [0nH] -> [7CH] -> ... -> [F7H] F0H, 43H, 0nH, 7CH (n: channel number) 00H, 2DH (data length) 43H, 4CH, 20H, 20H (CL) 43H, 4CH, 50H, 27H, 30H, 32H (CLP02) 30H, 30H (version x, y) [PANEL DATA] [CHECK SUM (1byte)] = 0-(43H+4CH+20H+......+Data end) F7H • Panel Data Contents (1) 1'st Voice (2) Dual On/Off (3) Dual Voice (4) Dual Balance (5) Dual Detune (6) Dual Voice1 Octave (7) Dual Voice2 Octave (8) Dual Voice1 Effect Depth (9) Dual Voice2 Effect Depth (10) Split On/Off (11) Split Voice (12) Split Point (13) Split Balance (14) Split Voice1 Octave (15) Split Voice2 Octave (16) Split Voice1 Effect Depth (17) Split Voice2 Effect Depth (18) Split Dumper Mode (19) Reverb Type 1 (20) Reverb Type 2 (21) Reverb Depth 1 (22) Reverb Depth 2 (23) Effect Type 1 (24) Effect Type 2 (25) Effect Depth (26) Variation On/Off (27) Touch Sensitivity (28) Fixed Data (29) Left Pedal (30) Soft Pedal Depth (31) Absolute tempo low byte (32) Absolute tempo high byte (33) Key-Off Sampling Depth • Panel data send requests cannot be received. 7. SYSTEM EXCLUSIVE MESSAGES (Universal System Exclusive) (1) Universal Realtime Message Data format: [F0H] -> [7FH] -> [XnH] -> [04H] -> [01H] -> [llH] -> [mmH] -> [F7H] MIDI Master Volume • Simultaneously changes the volume of all channels. • When a MIDI master volume message is received, the volume only has affect on the MIDI receive channel, not the panel master vol-ume. F0H = Exclusive status 7FH = Universal Realtime 7FH = ID of target device 04H = Sub-ID #1=Device Control Message 01H = Sub-ID #2=Master Volume llH = Volume LSB mmH = Volume MSB F7H = End of Exclusive or F0H = Exclusive status 7FH = Universal Realtime XnH = When n is received n=0~F, whichever is received. X = don’t care 04H = Sub-ID #1=Device Control Message 01H = Sub-ID #2=Master Volume llH = Volume LSB mmH = Volume MSB F7H = End of Exclusive (2) Universal Non-Realtime Message (GM On) General MIDI Mode On Data format: [F0H] -> [7EH] -> [XnH] -> [09H] -> [01H] -> [F7H] F0H = Exclusive status 7EH = Universal Non-Realtime 7FH = ID of target device 09H = Sub-ID #1=General MIDI Message 01H = Sub-ID #2=General MIDI On F7H = End of Exclusive or F0H = Exclusive status 7EH = Universal Non-Realtime XnH = When received, n=0~F. X = don’t care 09H = Sub-ID #1=General MIDI Message 01H = Sub-ID #2=General MIDI On F7H = End of Exclusive When the General MIDI mode ON message is received, the MIDI system will be reset to its default settings. This message requires approximately 50ms to execute, so suffi-cient time should be allowed before the next message is sent. 8. SYSTEM EXCLUSIVE MESSAGES (XG Standard) (1) XG Native Parameter Change Data format: [F0H] -> [43H] -> [1nH] -> [4CH] -> [hhH] -> [mmH] -> [llH] -> [ddH] -> [F7H] F0H = Exclusive status 43H = YAMAHA ID 1nH = When received, n=0~F. When transmitted, n=0. 4CH = Model ID of XG hhH = Address High mmH = Address Mid llH = Address Low ddH = Data | F7H = End of Exclusive Data size must match parameter size (2 or 4 bytes). When the XG System On message is received, the MIDI system will be reset to its default settings. The message requires approximately 50ms to execute, so sufficient time should be allowed before the next message is sent. (2) XG Native Bulk Data (reception only) Data format: [F0H] -> [43H] -> [0nH] -> [4CH] -> [aaH] -> [bbH] -> [hhH] -> [mmH] -> [llH] ->[ddH] ->...-> [ccH] -> [F7H] F0H = Exclusive status 43H = YAMAHA ID 0nH = When received, n=0~F. When transmitted, n=0. 4CH = Model ID of XG aaH = ByteCount bbH = ByteCount hhH = Address High mmH = Address Mid llH = Address Low ddH = Data | | | | ccH = Check sum F7H = End of Exclusive • Receipt of the XG SYSTEM ON message causes reinitialization of relevant parameters and Control Change values. Allow sufficient time for processing to execute (about 50 msec) before sending the CLP-130/120 another message. • XG Native Parameter Change message may contain two or four bytes of parameter data (depending on the parameter size). • For information about the Address and Byte Count values, refer to Table 1 below. Note that the table’s Total Size value gives the size of a bulk block. Only the top address of the block (00H, 00H, 00H) is valid as a bulk data address. 9. SYSTEM EXCLUSIVE MESSAGES (Clavinova MIDI Format) Data format: [F0H] -> [43H] -> [73H] -> [xxH] -> [nnH] -> [F7H] F0H = Exclusive status 43H = Yamaha ID 73H = Clavinova ID 01H = Product ID (CLP common) or 7F= Extended Product ID xxH = Product ID (CLP-130: 26H / CLP-120: 25H) nnH = Substatus nn Control 02H Internal MIDI clock 03H External MIDI clock 06H Bulk Data (the bulk data follows 06H) F7H = End of Exclusive * When nn=02H or 03H, Clavinova common ID (01H) is rec-ognized as well as 75H. BULK DUMP FORMAT F0H, 43H, 73H 75F, xxH = Product ID (CLP-130: 26H / CLP-120: 25H) 06H = Bulk ID 05H = Sequence data 0nH, 0nH, 0nH, 0nH, 0nH, 0nH, 0nH, 0nH = Data length [BULK DATA] = [CHECK SUM (1byte)] = 0-sum (BULK DATA) F7H = End of Exclusive 10. SYSTEM EXCLUSIVE MESSAGES (Special Control) Data format: [F0H] -> [43H] -> [73H] -> [66H] -> [11H] -> [0nH] -> [ccH] -> [vvH] -> [F7H] F0H = 43H = 73H = 7FH = xxH = 11H = 0nH = cc = vv = F7H = Exclusive status Yamaha ID Clavinova ID Extended Product ID Product ID (CLP-130: 26H / CLP-120: 25H) Special control Control MIDI change (n=channel number) Control number Value End of Exclusive Control Split Point Metronome 0n Always 00H Always 00H ccH 14H 1BH vvH 14H : Split Key Number 00H : off 01H : – 02H : 2/4 03H : 3/4 04H : 4/4 05H : 5/4 06H : 6/4 7FH : No accent Damper Level ch: 00H-0FH 3DH(Sets the Damper Level for each channel) 00H-7FH Channel Detune ch: 00H-0FH 43H (Sets the Detune value for each channel) 00H-7FH Voice Reserve ch: 00H-0FH 45H 00H : Reserve off 7FH : on* * When Volume, Expression is received for Reserve On, they will be effective from the next Key On. Reserve Off is normal. 11. SYSTEM EXCLUSIVE MESSAGES (Others) Data format: [F0H] -> [43H] -> [1nH] -> [27H] -> [30H] -> [00H] -> [00H] -> [mmH] -> [llH] -> [ccH] -> [F7H] Master Tuning (XG and last message priority) simultaneously changes the pitch of all channels. F0H = Exclusive Status 43H = Yamaha ID 1nH = When received, n=0~F. When transmitted, n=0. 27H = Model ID of TG100 30H = Sub ID 00H = 00H = mmH = Master Tune MSB llH = Master Tune LSB ccH = don’t care (under 7FH) F7H = End of Exclusive CLP-130/120 Appendix 73 <Table 1> MIDI Parameter Change table (SYSTEM) Address (H) Size (H) Data (H) 00 00 00 4 020C - 05F4(*1) 01 02 03 04 1 05 1 06 1 7E 7F TOTAL SIZE 07 00 - 7F — 34 - 4C(*2) 00 00 Parameter MASTER TUNE MASTER VOLUME — TRANSPOSE XG SYSTEM ON RESET ALL PARAMETERS Description -50 - +50[cent] 1st bit 3 - 0 ➝ bit 15 - 12 2nd bit 3 - 0 ➝ bit 11 - 8 3rd bit 3 - 0 ➝ bit 7 - 4 4th bit 3 - 0 ➝ bit 3 - 0 0 - 127 Default value (H) 00 04 00 00 400 -12 - +12[semitones] 00=XG sytem ON 00=ON (receive only) 40 7F *1: Values lower than 020CH select -50 cents. Values higher than 05F4H select +50 cents. *2: Values from 28H through 33H are interpreted as -12 through -1. Values from 4DH through 58H are interpreted as +1 through +12. <Table 2> MIDI Parameter Change table (EFFECT 1) Refer to the “Effect MIDI Map” for a complete list of Reverb, Chorus and Variation type numbers. Address (H) 02 01 00 Size (H) 2 02 01 40 2 Data (H) 00-7F 00-7F Parameter REVERB TYPE MSB REVERB TYPE LSB 00-7F VARIATION TYPE MSB 00-7F VARIATION TYPE LSB • “VARIATION” refers to the EFFECT on the panel. Description Refer to Effect MIDI Map 00 : basic type Default value (H) 01(=HALL1) 00 Refer to Effect MIDI Map 00 : basic type 00(=Effect off) 00 Description 0 - 127 Default value (H) 7F <Table 3> MIDI Parameter Change table (MULTI PART) Address (H) Size (H) 08 nn 11 1 nn = Part Number • Effect MIDI Map REVERB ROOM HALL 1 HALL 2 STAGE Sound board MSB 02H 01H 01H 03H 03H LSB 10H 10H 11H 10H 12H MSB 42H 48H 46H 05H LSB 10H 10H 10H 10H EFFECT CHORUS PHASER TREMOLO DELAY 74 CLP-130/120 Appendix Data (H) 00 - 7F Parameter DRY LEVEL 퇷Îˈ‡ ‡ÎËÁ‡ˆËË ËÌÚÂÙÂÈÒ‡ MIDI YAMAHA [Clavinova] Model: CLP-130/120 퇷Îˈ‡ ‡ÎËÁ‡ˆËË ËÌÚÂÙÂÈÒ‡ MIDI Function Transmitted Recognized Basic Channel Default Changed 1 1 - 16 1 1 - 16 Mode Default Messages Altered 3 X ***************** 1 X X : True voice 9 - 120 ***************** 0 - 127 0 - 127 Velocity Note ON Note OFF O 9nH, v=1 - 127 O 9nH, v=0 O 9nH, v=1 - 127 O 9nH, v=0 or 8nH After Touch Key’s Ch’s X X X X X X O O O O O O O O O O O O O O O O O ***************** O O O Note Number Pitch Bender Control Change Program Change 0, 32 7 11 64 66 67 91 94 : True # System Exclusive Common : Song Position : Song Select : Tune X X X X X X System Real Time : Clock : Commands O O O O : All sounds off : Reset All Controllers : Local ON/OFF : All Notes OFF : Active Sense : Reset O O X O O X O (120, 126, 127) O (121) O (122) O (123 - 125) O X Aux Messages Date: 24-OCT-2001 Version: 1.0 Remarks *1 Poly Mode only Bank Select Volume Expression Damper Sostenuto Soft pedal Reverb Depth Effect Depth Notes : *1 = Recieve Mode is always multi timbre and Poly mode. Mode 1: OMNI ON, POLY Mode 3: OMNI OFF, POLY Mode 2: OMNI ON, MONO Mode 4: OMNI OFF, MONO O : Yes X : No CLP-130/120 Appendix 75 Specifications / Technische Daten / Caractéristiques techniques / íÂıÌ˘ÂÒÍË ı‡‡ÍÚÂËÒÚËÍË Item CLP-130 Keyboard Sound Source CLP-120 88 keys (A-1 - C7) AWM Dynamic Stereo Sampling Polyphony Voice Selection AWM Stereo Sampling 64 Notes Max. 14 × 2 variations for each voice Effect 14 Reverb, Effect, Brilliance Volume Master Volume Controls Dual, Split, Metoronome, Transpose, Touch (Hard/Midium/Soft/Fixed), Functions, Speaker ON/OFF Recording/Playback 2-track recording/playback (CLP-130: 3/CLP-120: 1 user songs), Tempo Adjustment, Synchro Start Pedal Demo Songs Jacks/Connectors Main Amplifiers Speakers Dimensions (W × D × H) (with music stand) Weight Accessories Dual, Metoronome, Transpose, Touch (Hard/ Midium/Soft/Fixed), Functions, Speaker ON/ OFF Damper, Sostenuto, Soft 14 voice Demo Songs, 50 preset Songs MIDI (IN/OUT/THRU), PHONES × 2, AUX IN, AUX OUT(L/L+R,R), AUX OUT (LEVEL FIXED)(L,R), TO HOST 40W × 2 20W × 2 16cm × 2, 5cm × 2 16cm × 2 1370mm × 518mm × 850mm [53 15/16" × 20 3/8" × 33 7/16"] (1370mm × 518mm × 1020mm) [53 15/16" × 220 3/8" × 40 1/8"] 1370mm × 518mm × 850mm [53 15/16" × 20 3/8" × 33 7/16"] (1370mm × 518mm × 1022mm) [53 15/16" × 220 3/8" × 40 1/4"] 54kg (119lbs., 1oz) 51kg (112lbs., 7oz) Owner’s Manual, “50 greats for the Piano” (Music Book), Bench (included or optional depending on locale) * Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer. * Die technischen Daten und Beschreibungen in dieser Bedienungsanleitung dienen nur der Information. Yamaha Corp. behält sich das Recht vor, Produkte oder deren technische Daten jederzeit ohne vorherige Ankündigung zu verändern oder zu modifizieren. Da die technischen Daten, das Gerät selbst oder Sonderzubehör nicht in jedem Land gleich sind, setzen Sie sich im Zweifel bitte mit Ihrem Yamaha-Händler in Verbindung. * Les caractéristiques techniques et les descriptions du mode d’emploi ne sont données que pour information. Yamaha Corp. se réserve le droit de changer ou modifier les produits et leurs caractéristiques techniques à tout moment sans aucun avis. Du fait que les caractéristiques techniques, les équipements et les options peuvent différer d’un pays à l’autre, adressez-vous au distributeur Yamaha le plus proche. * íÂıÌ˘ÂÒÍË ı‡‡ÍÚÂËÒÚËÍË Ë Ëı ÓÔËÒ‡ÌËfl ‚ ‰‡ÌÌÓÏ ÛÍÓ‚Ó‰ÒÚ‚Â ÔÓθÁÓ‚‡ÚÂÎfl Ô‰̇Á̇˜ÂÌ˚ ÚÓθÍÓ ‰Îfl Ó·˘Â„Ó Ò‚Â‰ÂÌËfl. äÓÔÓ‡ˆËfl Yamaha ÒÓı‡ÌflÂÚ Á‡ ÒÓ·ÓÈ Ô‡‚Ó ËÁÏÂÌflÚ¸ Ë ÏÓ‰ËÙˈËÓ‚‡Ú¸ ÔÓ‰ÛÍÚ˚ Ë Ëı ÚÂıÌ˘ÂÒÍË ı‡‡ÍÚÂËÒÚËÍË ·ÂÁ Ô‰‚‡ËÚÂθÌÓ„Ó Û‚Â‰ÓÏÎÂÌËfl. èÓÒÍÓθÍÛ ÚÂıÌ˘ÂÒÍË ı‡‡ÍÚÂËÒÚËÍË, ‚ıÓ‰fl˘Â ‚ ÍÓÏÔÎÂÍÚ Ó·ÓÛ‰Ó‚‡ÌËÂ Ë Â„Ó Ô‡‡ÏÂÚ˚ ÏÓ„ÛÚ ËÏÂÚ¸ ÌÂÍÓÚÓ˚ ÓÚ΢Ëfl ‚ Á‡‚ËÒËÏÓÒÚË ÓÚ ÒÚ‡Ì˚, Ò‚flÊËÚÂÒ¸ Ò ÏÂÒÚÌ˚Ï ÚÓ„Ó‚˚Ï Ô‰ÒÚ‡‚ËÚÂθÒÚ‚ÓÏ ÍÓÔÓ‡ˆËË Yamaha ‰Îfl ÔÓÎÛ˜ÂÌËfl ‰ÓÔÓÎÌËÚÂθÌ˚ı ҂‰ÂÌËÈ. 76 CLP-130/120 Appendix IMPORTANT SAFETY INSTRUCTIONS INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK, AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST. WARNING- When using any electrical or electronic product, basic precautions should always be followed. These precautions include, but are not limited to, the following: 1. Read all Safety Instructions, Installation Instructions, Special Message Section items, and any Assembly Instructions found in this manual BEFORE making any connections, including connection to the main supply. 2. Main Power Supply Verification: Yamaha products are manufactured specifically for the supply voltage in the area where they are to be sold. If you should move, or if any doubt exists about the supply voltage in your area, please contact your dealer for supply voltage verification and (if applicable) instructions. The required supply voltage is printed on the name plate. For name plate location, please refer to the graphic found in the Special Message Section of this manual. 3. This product may be equipped with a polarized plug (one blade wider than the other). If you are unable to insert the plug into the outlet, turn the plug over and try again. If the problem persists, contact an electrician to have the obsolete outlet replaced. Do NOT defeat the safety purpose of the plug. 4. Some electronic products utilize external power supplies or adapters. Do NOT connect this type of product to any power supply or adapter other than one described in the owners manual, on the name plate, or specifically recommended by Yamaha. 5. WARNING: Do not place this product or any other objects on the power cord or place it in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimum wire size for a 25’ cord (or less) is 18 AWG. NOTE: The smaller the AWG number, the larger the current handling capacity. For longer extension cords, consult a local electrician. 6. Ventilation: Electronic products, unless specifically designed for enclosed installations, should be placed in locations that do not interfere with proper ventilation. If instructions for enclosed installations are not provided, it must be assumed that unobstructed ventilation is required. 7. Temperature considerations: Electronic products should be installed in locations that do not significantly contribute to their operating temperature. Placement of this product close to heat sources such as; radiators, heat registers and other devices that produce heat should be avoided. 8. This product was NOT designed for use in wet/damp locations and should not be used near water or exposed to rain. Examples of wet/damp locations are; near a swimming pool, spa, tub, sink, or wet basement. 9. This product should be used only with the components supplied or; a cart, rack, or stand that is recommended by the manufacturer. If a cart, rack, or stand is used, please observe all safety markings and instructions that accompany the accessory product. 10. The power supply cord (plug) should be disconnected from the outlet when electronic products are to be left unused for extended periods of time. Cords should also be disconnected when there is a high probability of lightning and/or electrical storm activity. 11. Care should be taken that objects do not fall and liquids are not spilled into the enclosure through any openings that may exist. 12. Electrical/electronic products should be serviced by a qualified service person when: a. The power supply cord has been damaged; or b. Objects have fallen, been inserted, or liquids have been spilled into the enclosure through openings; or c. The product has been exposed to rain: or d. The product dose not operate, exhibits a marked change in performance; or e. The product has been dropped, or the enclosure of the product has been damaged. 13. Do not attempt to service this product beyond that described in the user-maintenance instructions. All other servicing should be referred to qualified service personnel. 14. This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs. 15. Some Yamaha products may have benches and/or accessory mounting fixtures that are either supplied as a part of the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended. PLEASE KEEP THIS MANUAL 92-469-2 FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/ uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries. * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: BLUE : NEUTRAL BROWN : LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured makings identifying the terminals in your plug proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Making sure that neither core is connected to the earth terminal of the three pin plug. (2 wires) • This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. CAUTION: TO PREVENT ELECTRIC SHOCK, MATCH WIDE BLADE OF PLUG TO WIDE SLOT, FULLY INSERT. ATTENTION: POUR ÉVITER LES CHOCS ÉLECTRIQUES, INTRODUIRE LA LAME LA PLUS LARGE DE LA FICHE DANS LA BORNE CORRESPONDANTE DE LA PRISE ET POUSSER JUSQU’AU FOND. (polarity) • This applies only to products distributed by Yamaha Canada Music Ltd. • Ceci ne s’applique qu’aux produits distribués par Yamaha Canada Musique Ltée. (class B) For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011 CENTRAL & SOUTH AMERICA MEXICO Yamaha de Mexico S.A. De C.V., Departamento de ventas Javier Rojo Gomez No.1149, Col. Gpe Del Moral, Deleg. Iztapalapa, 09300 Mexico, D.F. Tel: 686-00-33 BRAZIL Yamaha Musical do Brasil LTDA. Av. Rebouças 2636, São Paulo, Brasil Tel: 011-853-1377 ARGENTINA Yamaha de Panamá S.A. Sucursal de Argentina Viamonte 1145 Piso2-B 1053, Buenos Aires, Argentina Tel: 1-4371-7021 PANAMA AND OTHER LATIN AMERICAN COUNTRIES/ CARIBBEAN COUNTRIES Yamaha de Panamá S.A. Torre Banco General, Piso 7, Urbanización Marbella, Calle 47 y Aquilino de la Guardia, Ciudad de Panamá, Panamá Tel: 507-269-5311 EUROPE THE UNITED KINGDOM Yamaha-Kemble Music (U.K.) Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700 IRELAND Danfay Ltd. 61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin Tel: 01-2859177 GERMANY/SWITZERLAND Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 AUSTRIA Yamaha Music Austria Schleiergasse 20, A-1100 Wien Austria Tel: 01-60203900 THE NETHERLANDS Yamaha Music Nederland Kanaalweg 18G, 3526KL, Utrecht, The Netherlands Tel: 030-2828411 BELGIUM Yamaha Music Belgium Keiberg Imperiastraat 8, 1930 Zaventem, Belgium Tel: 02-7258220 Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. èÓ‰Ó·Ì ӷ ˝ÚÓÏ ËÌÒÚÛÏÂÌÚ ÏÓÊÌÓ ÛÁ̇ڸ Û ÛÔÓÎÌÓÏÓ˜ÂÌÌÓ„Ó Ô‰ÒÚ‡‚ËÚÂÎfl ÍÓÔÓ‡ˆËË Yamaha ‚ ‚‡¯ÂÏ Â„ËÓÌÂ. ASIA FRANCE Yamaha Musique France, Division Claviers BP 70-77312 Marne-la-Vallée Cedex 2, France Tel: 01-64-61-4000 ITALY Yamaha Musica Italia S.P.A. Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771 SPAIN/PORTUGAL Yamaha-Hazen Electronica Musical, S.A. Ctra. de la Coruna km. 17, 200, 28230 Las Rozas (Madrid) Spain Tel: 91-201-0700 GREECE Philippe Nakas S.A. Navarinou Street 13, P.Code 10680, Athens, Greece Tel: 01-364-7111 SWEDEN HONG KONG Tom Lee Music Co., Ltd. 11/F., Silvercord Tower 1, 30 Canton Road, Tsimshatsui, Kowloon, Hong Kong Tel: 2737-7688 INDONESIA PT. Yamaha Music Indonesia (Distributor) PT. Nusantik Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 21-520-2577 KOREA Yamaha Music Korea Ltd. Tong-Yang Securities Bldg. 16F 23-8 Yoido-dong, Youngdungpo-ku, Seoul, Korea Tel: 02-3770-0661 MALAYSIA Yamaha Music Malaysia, Sdn., Bhd. Lot 8, Jalan Perbandaran, 47301 Kelana Jaya, Petaling Jaya, Selangor, Malaysia Tel: 3-703-0900 Yamaha Scandinavia AB J. A. Wettergrens Gata 1 Box 30053 S-400 43 Göteborg, Sweden Tel: 031 89 34 00 PHILIPPINES DENMARK YS Copenhagen Liaison Office Generatorvej 8B DK-2730 Herlev, Denmark Tel: 44 92 49 00 FINLAND F-Musiikki Oy Kluuvikatu 6, P.O. Box 260, SF-00101 Helsinki, Finland Tel: 09 618511 Yupangco Music Corporation 339 Gil J. Puyat Avenue, P.O. Box 885 MCPO, Makati, Metro Manila, Philippines Tel: 819-7551 SINGAPORE Yamaha Music Asia Pte., Ltd. 11 Ubi Road #06-00, Meiban Industrial Building, Singapore Tel: 65-747-4374 TAIWAN NORWAY Norsk filial av Yamaha Scandinavia AB Grini Næringspark 1 N-1345 Østerås, Norway Tel: 67 16 77 70 ICELAND Skifan HF Skeifan 17 P.O. Box 8120 IS-128 Reykjavik, Iceland Tel: 525 5000 OTHER EUROPEAN COUNTRIES Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 Yamaha KHS Music Co., Ltd. 10F, 150, Tun-Hwa Northroad, Taipei, Taiwan, R.O.C. Tel: 02-2713-8999 THAILAND Siam Music Yamaha Co., Ltd. 121/60-61 RS Tower 17th Floor, Ratchadaphisek RD., Dindaeng, Bangkok 10320, Thailand Tel: 02-641-2951 THE PEOPLE’S REPUBLIC OF CHINA AND OTHER ASIAN COUNTRIES Yamaha Corporation, Asia-Pacific Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2317 OCEANIA AFRICA Yamaha Corporation, Asia-Pacific Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2312 MIDDLE EAST TURKEY/CYPRUS Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 OTHER COUNTRIES Yamaha Music Gulf FZE LB21-128 Jebel Ali Freezone P.O.Box 17328, Dubai, U.A.E. Tel: 971-4-881-5868 AUSTRALIA Yamaha Music Australia Pty. Ltd. Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia Tel: 3-9693-5111 NEW ZEALAND Music Houses of N.Z. Ltd. 146/148 Captain Springs Road, Te Papapa, Auckland, New Zealand Tel: 9-634-0099 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation, Asia-Pacific Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2312 HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-3273 [CL] 23 êÛÍÓ‚Ó‰ÒÚ‚Ó ÔÓθÁÓ‚‡ÚÂÎfl è‰ ̇˜‡ÎÓÏ ‡·ÓÚ˚ Ò ËÌÒÚÛÏÂÌÚÓÏ ÔÓ˜ËÚ‡ÈÚ ‡Á‰ÂÎ «åÂ˚ ·ÂÁÓÔ‡ÒÌÓÒÚË» ̇ ÒÚ. 6-7. ÇÄÜçé! ì·Â‰ËÚÂÒ¸, ˜ÚÓ Ì‡ÔflÊÂÌË ‚ ÓÁÂÚÍ ÒÓÓÚ‚ÂÚÒÚ‚ÛÂÚ Ì‡ÔflÊÂÌ˲, Û͇Á‡ÌÌÓÏÛ Ì‡ ËÌÒÚÛÏÂÌÚÂ. Ç ÌÂÍÓÚÓ˚ı ÒÎÛ˜‡flı ËÌÒÚÛÏÂÌÚ ÏÓÊÂÚ ·˚Ú¸ Ò̇·ÊÂÌ ÔÂÂÍβ˜‡ÚÂÎÂÏ Ì‡ÔflÊÂÌËfl, ÍÓÚÓ˚È ‡ÒÔÓÎÓÊÂÌ fl‰ÓÏ Ò ÒÂÚ‚˚Ï Í‡·ÂÎÂÏ. ì·Â‰ËÚÂÒ¸, ˜ÚÓ ÔÓÎÓÊÂÌË ÔÂÂÍβ˜‡ÚÂÎfl ÒÓÓÚ‚ÂÚÒÚ‚ÛÂÚ Ì‡ÔflÊÂÌ˲, ËÒÔÓθÁÛÂÏÓÏÛ ‚ ‚‡¯ÂÏ Â„ËÓÌÂ. èË ÔÓÒÚ‡‚Í ÔÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl ÛÒÚ‡ÌÓ‚ÎÂÌ Ì‡ ̇ÔflÊÂÌË 240 Ç. èÎÓÒÍÓÈ ÓÚ‚ÂÚÍÓÈ ÔÓ‚ÂÌËÚ ÔÂÂÍβ˜‡ÚÂθ Ú‡Í, ˜ÚÓ·˚ Ó·ÓÁ̇˜ÂÌË ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â„Ó Ì‡ÔflÊÂÌËfl ·˚ÎÓ ‡ÒÔÓÎÓÊÂÌÓ ‚ÓÁΠÛ͇Á‡ÚÂÎfl ̇ Ô‡ÌÂÎË. Ç·-Ò‡ÈÚ ÔˇÌËÌÓ Clavinova (̇ ‡Ì„ÎËÈÒÍÓÏ flÁ˚ÍÂ) http://www.yamahaclavinova.com/ ëÓ·‡ÌË ÛÍÓ‚Ó‰ÒÚ‚ ÔÓ ÔÓ‰Û͈ËË ÍÓÏÔ‡ÌËË Yamaha http://www2.yamaha.co.jp/manual/english/ M.D.G., Pro Audio & Digital Musical Instrument Division, Yamaha Corporation C 2002 Yamaha Corporation DIC 338