Yamaha CVP-202 Clavinova - User Manual

Yamaha CVP-202 Clavinova

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Table of Contents:

  • Page 2 – CAUTION; SPECIAL MESSAGE SECTION
  • Page 3 – èêÄÇàãÄ íÖïçàäà ÅÖáéèÄëçéëíà; ÇçàåÄíÖãúçé èêéóàíÄâíÖ, èêÖÜÑÖ óÖå èêàëíìèÄíú ä ùäëèãìÄíÄñàà
  • Page 4 – ÑÓÔÓÎÌËÚÂÎ ̧Ì ̊ ÔË̇‰ÎÂÊÌÓÒÚË; ÑËÒÍÂÚ‡ Music Software Collection (Ë Music Book); ç‡ ̋ÚÓÈ ÔÛÒÚÓÈ ‰ËÒÍÂÚ ÏÓÊÌÓ Á‡ÔËÒ ̊‚‡Ú ̧ ÒÓ·ÒÚ‚ÂÌÌÓ ËÒÔÓÎÌÂÌËÂ.; êÛÍÓ‚Ó‰ÒÚ‚Ó ÔÓÎ ̧ÁÓ‚‡ÚÂÎfl; Ç Á‡‚ËÒËÏÓÒÚË ÓÚ ÏÂÒÚ‡ ÔÓÍÛÔÍË, Ò͇ÏÂÈ͇ ÏÓÊÂÚ ‚ıÓ‰ËÚ ̧ ËÎË Ì ‚ıÓ‰ËÚ ̧ ‚ ÍÓÏÔÎÂÍÚ.; íÓ‚‡Ì ̊ Á̇ÍË; àÏÂÌ̇fl Ô·ÒÚË̇; îÓÏ‡Ú Disk Orchestra Collection
  • Page 5 – ÇÓÁÏÓÊÌÓÒÚË ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova; ñËÙÓ‚Ó ÔˇÌËÌÓ CVP-202 ӷ·‰‡ÂÚ ·ÓÎ ̧ ̄ËÏ Ì‡·ÓÓÏ ‚ ̊‡ÁËÚÂÎ ̧Ì ̊ı Ë ‰Ë̇ÏË ̃Ì ̊ı ÚÂÏ·Ó‚,
  • Page 6 – é„·‚ÎÂÌËÂ; èÓ‰„ÓÚӂ͇ Í ‡·ÓÚÂ
  • Page 8 – Ç Í‚‡‰‡ÚÌ ̊ı ÒÍӷ͇ı Û͇Á ̊‚‡ ̨ÚÒfl ̇Á‚‡ÌËfl ÍÌÓÔÓÍ,; ÜËÌ ̊È ̄ËÙÚ; RIGHT1; ëÚÂÎÍË ‚ Ó· ̇flÒÌÂÌËflı ÓÔ‡ˆËÈ; óÚÓ· ̊ ÓÚÎË ̃‡Ú ̧ ̋Ú‡Ô ̊ ÓÔ‡ˆËË ÓÚ ÂÁÛÎ ̧Ú‡Ú‡, ËÒÔÓÎ ̧ÁÛ ̨ÚÒfl ‡ÁÌ ̊Â; ùÚ‡Ô ̊ ÓÔ‡ˆËË; Operation results; É·‚‡ 1: èÓ‰„ÓÚӂ͇ Í ‡·ÓÚe; éÔËÒ‡ÌË ÛÍÓ‚Ó‰ÒÚ‚‡
  • Page 9 – àÒÔÓÎ ̧ÁÓ‚‡ÌË ‰ËÒÍÓ‚Ó‰‡
  • Page 10 – ä‡Í ÓÚÍ ̊Ú ̧ Í ̊ ̄ÍÛ Í·‚ˇÚÛ ̊:; è ̨ÔËÚ; èÓ‰ÍÎ ̨ ̃ÂÌË ˆËÙÓ‚Ó„Ó
  • Page 11 – èÓ‰ÍÎ ̨ ̃ËÚ ͇·ÂÎ ̧ ÔËÚ‡ÌËfl.; GrandPiano 1; éÚ„ÛÎËÛÈÚ „ÓÏÍÓÒÚ ̧.; ä ̨ ̃ÓÍ ‰Îfl Ì‡Û ̄ÌËÍÓ‚:; ÇÍÎ ̨ ̃ÂÌËÂ Ë ‚ ̊ÍÎ ̨ ̃ÂÌË ËÌÒÚÛÏÂÌÚ‡; èÓ‰ÍÎ ̨ ̃ÂÌË ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova
  • Page 12 – è‡ÌÂÎ ̧ ÛÔ‡‚ÎÂÌËfl Ë ‡Á ̇ÂÏ ̊
  • Page 14 – Ç ̊·ÂËÚ ÂÊËÏ ‚ÓÒÔÓËÁ‚‰ÂÌËfl.; åÓÊÌÓ ‚ ̊·‡Ú ̧ Ó‰ËÌ ËÁ eÊËÏÓ‚:; ç‡ÊÏËÚ ÍÌÓÔÍÛ; Ç ̊·ÂËÚ ÔÂÒÌ ̨ Ë Ì‡ ̃ÌËÚ ‚ÓÒÔÓËÁ‚e‰eÌËÂ.; äÓ„‰‡ ‚ ̊·Ë‡ÂÚÒfl ÔÂÒÌfl, ‚ÓÒÔÓËÁ‚‰ÌË ‡‚ÚÓχÚË ̃eÒÍË Ì‡ ̃ÌÂÚÒfl ‚; (A) ÑÎfl ÔÓÒÎÛ ̄Ë‚‡ÌËfl Ó‰ÌÓÈ ËÁ ̃ÂÚ ̊Âı ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ ̊ı ÔÂÒÂÌ; ÇÓÒÔÓËÁ‚‰eÌË ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ ̊ı ÔÂÒÂÌ
  • Page 15 – (C) ÑÎfl ÔÓÒÎÛ ̄Ë‚‡ÌËfl ‰ÂÏÓÌÒÚ‡ˆËÓÌÌÓ„Ó ÒÚËÎfl ̇ÊÏËÚ ÍÌÓÔÍÛ; ÑÎfl ̇ÒÚÓÈÍË „ÓÏÍÓÒÚË ËÒÔÓÎ ̧ÁÛÈÚe ÔÓÎÁÛÌÓÍ; éÒÚ‡ÌÓ‚ËÚ ‚ÓÒÔÓËÁ‚‰eÌË ‰ÂÏÓÌÒÚ‡ˆËÓÌÌÓÈ ÔÂÒÌË.; ÑÎfl Ôe͇ ̆eÌËfl ‚ÓÒÔÓËÁ‚e‰eÌËfl ̇ÊÏËÚe ÍÌÓÔÍÛ; Ç ̊ıÓ‰ ËÁ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌÓ„Ó ÂÊËχ.; ÑÎfl ‚ ̊ıÓ‰‡ ËÁ ‰ÂÏÓÌÒÚ‡ˆËÓÌÌÓ„Ó ÂÊËχ ̇ÊÏËÚ ÒÌÓ‚‡ ÍÌÓÔÍÛ; à„‡ ‚ÏÂÒÚÂ Ò ‰ÂÏÓÌÒÚ‡ˆËÓÌÌÓÈ ÔÂÒÌÂÈ; ÇÓ ‚ÂÏfl ‚ÓÒÔÓËÁ‚‰eÌËfl ‰ÂÏÓÌÒÚ‡ˆËÓÌÌÓÈ ÔÂÒÌË ÏÓÊÌÓ Ë„‡Ú ̧ ̇; ÇÓÒÔÓËÁ‚‰eÌË ‰ÂÏÓÌÒÚ‡ˆËÓÌÌ ̊ı ÔÂÒÂÌ
  • Page 16 – Ç ̊·Ó ÙÛÌ͈ËË; çÓ ÔÂʉ ̃ÂÏ ÏÂÌflÚ ̧ ̇ÒÚÓÈÍË Í‡ÍÓÈ-ÚÓ ÙÛÌ͈ËË, ÌÂÓ·ıÓ‰ËÏÓ ‚ ̊·‡Ú ̧; KBD VOL; É·‚‡ 2: éÒÌÓ‚Ì ̊ ÓÔe‡ˆËË; ùÎÂÏÂÌÚ ̊ ÛÔ‡‚ÎeÌËfl ̇ Üä- ͇̋Ìe
  • Page 17 – àÁÏÂÌÂÌË ̇ÒÚÓÂÍ; àÒÔÓÎ ̧ÁÓ‚‡ÌË Üä-ÍÌÓÔÓÍ
  • Page 18 – RIGHT1 VOICE; àÁÏÂÌÂÌË ̇ÒÚÓÂÍ Ò ÔÓÏÓ ̆ ̧ ̨ ÏÂÌ ̨
  • Page 19 – Midi Grand; ëÏÂ̇ ÒÚ‡Ìˈ ̇ ͇̋ÌÂ; ÇÓÁ‚‡Ú Í Á̇ ̃ÂÌË ̨ ÙÛÌ͈ËË ÔÓ ÛÏÓÎ ̃‡ÌË ̨; TUNE
  • Page 20 – îÛÌ͈ËË ‚ ÔflÏÓÛ„ÓÎ ̧Ì ̊ı ‡Ï͇ı
  • Page 21 – ÇÓÁ‚‡Ú Í „·‚ÌÓÏÛ ͇̋ÌÛ
  • Page 22 – ëÓÓ· ̆ÂÌËfl; ÏÓÊÌÓ ‰‚ÛÏfl ÒÔÓÒÓ·‡ÏË:; ùÚÓ ÒÓÓ· ̆ÂÌË ÓÒÚ‡ÂÚÒfl ̇ ͇̋Ì ÔËÏÂÌÓ 3 ÒÂÍÛ̉ ̊. ç‡ÊÏËÚÂ
  • Page 23 – ç‡ÒÚÓÈ͇ Ó· ̆ÂÈ „ÓÏÍÓÒÚË; ÑÎfl ÛÒÚ‡ÌÓ‚ÍË Ó· ̆ÂÈ „ÓÏÍÓÒÚË; ÑÎfl ÛÒÚ‡ÌÓ‚ÍË „ÓÏÍÓÒÚË; ç‡ÒÚÓÈ͇ „ÓÏÍÓÒÚË ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡ ËÎË ÔÂÒÌË; Ç ̊·ÂËÚ ÙÛÌÍˆË ̨; ç‡ÒÚÓÈ͇ „ÓÏÍÓÒÚË Í·‚ˇÚÛ ̊; ê„ÛÎËӂ͇ „ÓÏÍÓÒÚË
  • Page 24 – åËÍ ̄e ‡‚ÚÓχÚË ̃eÒÍÓ„Ó ‡ÍÍÓÏÔ‡ÌeÏeÌÚa; ùÚÓÚ ̋Í‡Ì MIXER ÔÓfl‚ÎflÂÚÒfl, ÍÓ„‰‡ ‚ ̊ Ì ËÒÔÓÎ ̧ÁÛÂÚ ÂÊËÏ Song.; ç‡ÒÚÓÈ͇ ÛÓ‚ÌÂÈ ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡ ËÎË ÔÂÒÌË; Song Mixer; ùÚÓÚ ̋Í‡Ì MIXER ÔÓfl‚ÎflÂÚÒfl ‚ ÂÊËÏ Song. ÑÓÔÓÎÌËÚÂÎ ̧Ì ̊Â
  • Page 25 – á‡ÔÛÒÍ Ë ÓÒÚ‡Ìӂ͇ ÏÂÚÓÌÓχ; àÒÔÓÎ ̧ÁÓ‚‡ÌË ÏÂÚÓÌÓχ; åÂÚÓÌÓÏ; ê„ÛÎËӂ͇ ÚÂÏÔ‡
  • Page 26 – àÁÏÂÌÂÌË ̇ÒÚÓÂÍ ÏÂÚÓÌÓχ
  • Page 27 – Ç ̊ÁÓ‚ËÚ ÂÊËχ HELP; Ç ̊·ÂËÚ ÌÛÊÌ ̊È flÁ ̊Í ‰Îfl ÂÊËχ ÒÔ‡‚ÍË (; àÒÔÓÎ ̧ÁÛÈÚ Üä-ÍÌÓÔÍË; íÂÏ ̊ ÒÔ‡‚ÍË
  • Page 29 – Ç ̊·Ó ÚÂÏ·Ó‚; íËÔ ̊ ÚÂÏ·Ó‚; Ç ̊·ÂËÚ „ÛÔÔÛ ÚÂÏ·Ó‚.; Ç ̊·ÂËÚ ÌÛÊÌ ̊È ÚÂÏ· Ò ÔÓÏÓ ̆ ̧ ̨ ÒÓÓÚ‚ÂÚÒÚ‚Û ̨ ̆ÂÈ ÍÌÓÔÍË VOICE.; Ç ̊·Ó ÚÂÏ·‡ ̇ ͇̋Ì VOICE SELECT
  • Page 30 – Ç ̊·Ó ÚÂÏ·Ó‚ ̇ „·‚ÌÓÏ ͇̋ÌÂ
  • Page 31 – Ç ̊‚Ó‰ ̇ÒÚÓÂÍ Í·‚ˇÚÛ ̊ ‰Îfl ÓÒÌÓ‚ÌÓ„Ó ÚÂÏ·‡; ç‡ÒÚÓÈÍË Í·‚ˇÚÛ ̊ ‰Îfl ÓÒÌÓ‚ÌÓ„Ó ÚÂÏ·‡
  • Page 32 – ç‡ÒÚÓÈÚ „ÓÏÍÓÒÚ ̧ ÓÒÌÓ‚ÌÓ„Ó ÚÂÏ·‡.; ç‡ÒÚÓÈ͇ „ÓÏÍÓÒÚË ÓÒÌÓ‚ÌÓ„Ó ÚÂÏ·‡; ç‡ÒÚÓÈ͇ ÓÍÚ‡‚ ̊ ÓÒÌÓ‚ÌÓ„Ó ÚÂÏ·‡; ç‡ÒÚÓÈ͇ ÒÚÂÂÓ-ÔÓÁˈËË ÓÒÌÓ‚ÌÓ„Ó ÚÂÏ·‡
  • Page 33 – ÑÎfl ÒÏÂÌ ̊ ÓÒÌÓ‚ÌÓ„Ó ÚÂÏ·‡ ‚ ÂÊËÏ Dual ‚ ̊·ÂËÚ ÙÛÌÍˆË ̨; Ç ̊·Ó ÓÒÌÓ‚ÌÓ„Ó ÚÂÏ·‡.; ‰Îfl ‚ÓÁ‚‡Ú‡ Í ÓÒÌÓ‚ÌÓÏÛ ͇̋ÌÛ.; Ç ̊·Ó ‚ÚÓÓ„Ó ÚÂÏ·‡; ÑÎfl ‚ ̊·Ó‡ ‚ÚÓÓ„Ó ÚÂÏ·‡ ‰ÓÎÊ̇ · ̊Ú ̧ ‚ÍÎ ̨ ̃Â̇ ÙÛÌ͈Ëfl; ëÏÂ̇ ocÌo‚ÌÓ„Ó ÚÂÏ·‡ ‚ ÂÊËÏ Dual Mode
  • Page 34 – ç‡ÒÚÓÈÍË Í·‚ˇÚÛ ̊ ‰Îfl ‚ÚÓÓ„Ó ÚÂÏ·‡; ç‡ÒÚÓÈÚ „ÓÏÍÓÒÚ ̧ ‚ÚÓÓ„Ó ÚÂÏ·‡.; ç‡ÒÚÓÈ͇ ÓÍÚ‡‚ ̊ ‚ÚÓÓ„Ó ÚÂÏ·‡; à„‡ ‰‚ÛÏfl ÚÂÏ·‡ÏË Ó‰ÌÓ‚ÂÏÂÌÌÓ: ÂÊËÏ Dual
  • Page 35 – ç‡ÒÚÓÈ͇ ÒÚÂÂÓ-ÔÓÁˈËË ‚ÚÓÓ„Ó ÚÂÏ·‡; àÁÏÂÌÂÌË ‚ ̊ÒÓÚ ̊ ‚ÚÓÓ„Ó ÚÂÏ·‡; ç‡ÒÚÓÈÚ „ÎÛ·ËÌÛ ÒÏ ̆ÂÌËfl.; Ç ̊ıÓ‰ ËÁ ÂÊËχ Dual
  • Page 36 – ëÏÂ̇ „·‚ÌÓ„Ó ÚÂÏ·‡ ‚ ÂÊËÏ Split; à„‡ ‰‚ÛÏfl ÚÂÏ·‡ÏË ‚ ‡ÁÌ ̊ı; ‰Îfl; ÑÎfl ‚ ̊·Ó‡ ÎÂ‚Ó„Ó ÚÂÏ·‡ ‰ÓÎÊ̇ · ̊Ú ̧ ‚ÍÎ ̨ ̃Â̇ ÙÛÌ͈Ëfl; Ç ̊·Ó ÎÂ‚Ó„Ó ÚÂÏ·‡
  • Page 37 – LEFT VOICE; Ç ̊‚Ó‰ ̇ÒÚÓÂÍ Í·‚ˇÚÛ ̊ ‰Îfl ÎÂ‚Ó„Ó ÚÂÏ·‡; ç‡ÒÚÓÈ͇ „ÓÏÍÓÒÚË ÎÂ‚Ó„Ó ÚÂÏ·‡; ç‡ÒÚÓÈÍË Í·‚ˇÚÛ ̊ ‰Îfl ÎÂ‚Ó„Ó ÚÂÏ·‡; ç‡ÒÚÓÈÚ „ÓÏÍÓÒÚ ̧ ÎÂ‚Ó„Ó ÚÂÏ·‡.; à„‡ ‰‚ÛÏfl ÚÂÏ·‡ÏË ‚ ‡ÁÌ ̊ı ÒÚÓÓ̇ı Í·‚ˇÚÛ ̊: ÂÊËÏ Split
  • Page 38 – ç‡ÒÚÓÈ͇ ÒÚÂÂÓ-ÔÓÁˈËË ÎÂ‚Ó„Ó ÚÂÏ·‡; ç‡ÒÚÓÈ͇ ÓÍÚ‡‚ ̊ ÎÂ‚Ó„Ó ÚÂÏ·‡
  • Page 39 – àÁÏÂÌËÚ ÚÓ ̃ÍÛ ‡Á‰ÂÎÂÌËfl.; SPLIT POINT; àÁÏÂÌÂÌË ÚÓ ̃ÍË ‡Á‰ÂÎÂÌËfl Í·‚ˇÚÛ ̊; SPLIT POINT; Ç ̊ıÓ‰ ËÁ ÂÊËχ Split; é‰ÌÓ‚ÂÏÂÌÌÓ ËÒÔÓÎ ̧ÁÓ‚‡ÌË ÙÛÌ͈ËÈ Dual Ë Split
  • Page 40 – àÒÔÓÎ ̧ÁÓ‚‡ÌË Ô‰‡ÎÂÈ
  • Page 41 – É·‚‡ 4: ê‚·‡ˆËfl Ë ‰Û„Ë ̋ÙÙÂÍÚ ̊; ê‚·‡ˆËfl; ÇÍÎ ̨ ̃ÂÌËÂ Ë ‚ ̊ÍÎ ̨ ̃ÂÌË ‚·‡ˆËË; àÁÏÂÌÂÌË ̇ÒÚÓÂÍ Â‚Â·Â‡ˆËË; Ç ̊‚Ó‰ ̇ÒÚÓÂÍ Â‚Â·Â‡ˆËË
  • Page 42 – ç‡ÒÚÓÈ͇ Ó· ̆ÂÈ „ÎÛ·ËÌ ̊; TOTAL DEPTH; àÁÏÂÌÂÌË ÚËÔ‡ ‚·‡ˆËË
  • Page 43 – ᇉ‡ÈÚ ӷ ̆Û ̨ „ÎÛ·ËÌÛ ̋ÙÙÂÍÚ‡ ‚·‡ˆËË.; RHYTHM; ᇉ‡ÈÚ „ÎÛ·ËÌÛ Â‚Â·Â‡ˆËË.; LEFT; ç‡ÒÚÓÈ͇ „ÎÛ·ËÌ ̊ ‚·‡ˆËË ‰Îfl ͇ʉÓÈ ̃‡ÒÚË
  • Page 44 – àÁÏÂÌÂÌË ̇ÒÚÓÂÍ ̋ÙÙÂÍÚ‡ Chorus; ùÙÙÂÍÚ Chorus; Ç ̊‚Ó‰ ̇ÒÚÓÂÍ Chorus; ç‡ÊÏËÚ ÍÌÓÔÍÛ PAGE [; Ñ‚‡Ê‰ ̊ ̇ÊÏËÚ ÍÌÓÔÍÛ PAGE [; CHORUS; àÁÏÂÌÂÌË ÚËÔ‡ ̋ÙÙÂÍÚ‡ Chorus
  • Page 45 – ç‡ÒÚÓÈ͇ „ÎÛ·ËÌ ̊ ̋ÙÙÂÍÚ‡ Chorus ‰Îfl ͇ʉÓÈ Ô‡ÚËË; ᇉ‡ÈÚ „ÎÛ·ËÌÛ ̋ÙÙÂÍÚ‡ Chorus.
  • Page 46 – ÇÍÎ ̨ ̃ÂÌË ̋ÙÙÂÍÚÓ‚; àÁÏÂÌÂÌË ̇ÒÚÓÂÍ ̋ÙÙÂÍÚÓ‚; éÚÓ·‡ÊÂÌË ̇ÒÚÓÂÍ ̋ÙÙÂÍÚ‡
  • Page 47 – àÁÏÂÌÂÌË ÚËÔ‡ ̋ÙÙÂÍÚ‡; àÒÔÓÎ ̧ÁÓ‚‡ÌË ̋ÙÙÂÍÚÓ‚ ÔË ‚ÓÒÔÓËÁ‚‰ÂÌËË ÚÂÏ·‡; LJ ̧ËÓ‚‡ÌË ̋ÙÙÂÍÚ‡
  • Page 48 – ᇉ‡ÈÚ „ÎÛ·ËÌÛ ̋ÙÙÂÍÚ‡.; ç‡ÒÚÓÈ͇ „ÎÛ·ËÌ ̊ ̋ÙÙÂÍÚ‡ ‰Îfl ͇ʉÓÈ Ô‡ÚËË; ç‡ÒÚÓÈÍË Ì‡ ÒÚ‡Ìˈ EFFECT DEPTH ÔÓÁ‚ÓÎfl ̨Ú ÛÒÚ‡ÌÓ‚ËÚ ̧
  • Page 49 – É·‚‡ 5: ëÚËÎË ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡; Ç ̊·Ó ÒÚËÎÂÈ ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡; Ç ̊·Ó ÒÚËÎfl; íËÔ ̊ ÒÚËÎÂÈ; • èÓÎ ̧ÁÓ‚‡ÚÂÎ ̧ÒÍË ÒÚËÎË: 4; Ç ̊·ÂËÚ „ÛÔÔÛ ÒÚËÎÂÈ ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡.
  • Page 50 – Ç ̊·ÂËÚ ÌÛÊÌ ̊È ÒÚËÎ ̧ Ò ÔÓÏÓ ̆ ̧ ̨ ÒÓÓÚ‚ÂÚÒÚ‚Û ̨ ̆ÂÈ ÍÌÓÔÍË Ì‡ Üä-‰ËÒÔÎÂÂ.; Ç ̊·‡Ú ̧ ÒÚËÎ ̧ ÏÓÊÌÓ Ú‡ÍÊÂ Ò ÔÓÏÓ ̆ ̧ ̨ ‰ËÒ͇ ‰Îfl ‚‚Ó‰‡ ‰‡ÌÌ ̊ı ËÎË ÍÌÓÔÓÍ; ÇÓÁ‚‡Ú Í „·‚ÌÓÏÛ ͇̋ÌÛ.; óÚÓ· ̊ ÔÂÂÈÚË Í „·‚ÌÓÏÛ ͇̋ÌÛ, ̇ÊÏËÚ ÍÌÓÔÍÛ
  • Page 51 – LJ ̧ËÓ‚‡ÌË ÒÚËÎfl; Ç ̊·Ó ‚‡Ë‡ˆËË; ÇÓÒÔÓËÁ‚‰ÂÌË ÒÚËÎÂÈ
  • Page 52 – ÑÓÔÓÎÌËÚÂÎ ̧Ì ̊ ‚ÓÁÏÓÊÌÓÒÚË ‚ÒÚ‡‚ÓÍ; àÁÏÂÌÂÌË ‚ÒÚ‡‚ÍË; á‡ÔÛÒÍ ÒÚËÎfl ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡; é· ̊ ̃Ì ̊È Á‡ÔÛÒÍ; ÇÓÒÔÓËÁ‚‰ÂÌË ÒÚËÎÂÈ ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡
  • Page 53 – ëËÌıÓÌËÁËÓ‚‡ÌÌ ̊È Á‡ÔÛÒÍ; ìÒÚ‡ÌÓ‚ËÚ ÙÛÌÍˆË ̨ ÒËÌıÓÌËÁËÓ‚‡ÌÌÓ„Ó Á‡ÔÛÒ͇.
  • Page 54 – ÑÓ·‡‚ÎÂÌË ËÌÚÓ‰Û͈ËË; ùÚ‡ ÙÛÌ͈Ëfl ÔÓÁ‚ÓÎflÂÚ Û͇ÒËÚ ̧ ̇ ̃‡ÎÓ ÏÂÎÓ‰ËË Ò ÔÓÏÓ ̆ ̧ ̨; Ç ̊·ÂËÚ ÓÒÌÓ‚ÌÛ ̨ ̃‡ÒÚ ̧.
  • Page 55 – ëÛ ̆ÂÒÚ‚ÛÂÚ Ú‡ÍÊ ÌÂÒÍÓÎ ̧ÍÓ ÒÔÓÒÓ·Ó‚ ÓÒÚ‡ÌÓ‚ÍË ÔÓË„ ̊‚‡ÌËfl ÒÚËÎfl; é· ̊ ̃̇fl ÓÒÚ‡Ìӂ͇; ÑÎfl ÓÒÚ‡ÌÓ‚ÍË ‚ÓÒÔÓËÁ‚‰ÂÌËfl ̇ÊÏËÚ ÍÌÓÔÍÛ; éÒÚ‡Ìӂ͇ ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÒÚËÎfl ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡; ÑÓ·‡‚ÎÂÌË ÙË̇·; ÑÎfl ÔÓË„ ̊‚‡ÌËfl ÙË̇· ‰Ó ÔÂ͇ ̆ÂÌËfl Á‚Û ̃‡ÌËfl ÒÚËÎfl, ̇ÊÏËÚÂ; îÛÌ͈Ëfl FADE IN; ùÚ‡ ÙÛÌ͈Ëfl ÔÓÁ‚ÓÎflÂÚ ÔÓÒÚÂÔÂÌÌÓ Û‚ÂÎË ̃Ë‚‡Ú ̧ „ÓÏÍÓÒÚ ̧
  • Page 56 – FADE OUT
  • Page 57 – àÒÔÓÎ ̧ÁÓ‚‡ÌË ‡‚ÚÓ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡; Single Finger; à„,‡ Ò ‡‚ÚÓ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚÓÏ
  • Page 58 – á‡ÔÛÒÍ ‡‚ÚÓ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡; ìÒÚ‡ÌÓ‚ËÚ ÚÂÏÔ Ë „,ÓÏÍÓÒÚ ̧ ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡.; á‡ÔÛÒÚËÚ ‡‚ÚÓ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ.; Ç ̊ÍÎ ̨ ̃ÂÌË ‡‚ÚÓ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡
  • Page 59 – àÁÏÂÌÂÌË ̇ÒÚ,ÓÂÍ ‡‚ÚÓ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡; ÑÎfl ‚ ̊·Ó‡ ÂÊËχ ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡ ËÒÔÓÎ ̧ÁÛÈÚ ÍÌÓÔÍË
  • Page 60 – êÂÊËÏ ̊ ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡; åÂÚÓ‰ÓÏ Single Finger ÏÓÊÌÓ Ë„‡Ú ̧ ÒÎÂ‰Û ̨ ̆Ë ̃ÂÚ ̊ ÚËÔ‡ ‡ÍÍÓ‰Ó‚:; Fingered 1; ÑÎfl ÛÔ‡‚ÎÂÌËfl ‡‚ÚÓ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚÓÏ Ë„‡ÈÚ Π̨· ̊ ‡ÍÍÓ‰ ̊ ‚ ΂ÓÈ; Multi Finger; ùÚÓÚ ÏÂÚÓ‰ ÔÓÁ‚ÓÎflÂÚ ÛÔ‡‚ÎflÚ ̧ ‡‚ÚÓ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚÓÏ Ò ÔÓÏÓ ̆ ̧ ̨; ìÔ‡‚ÎflÚ ̧ ‡‚ÚÓ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚÓÏ ÏÓÊÌÓ Ì‡Ê‡ÚËÂÏ Ó‰ÌÓÈ, ‰‚Ûı ËÎË
  • Page 61 – Fingered 2; ÑÎfl ÛÔ‡‚ÎÂÌËfl ‡‚ÚÓ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚÓÏ ·ÂËÚ ‡ÍÍÓ‰ ̊ ‚ ΂ÓÈ ̃‡ÒÚË; Full Keyboard; èË ‚ ̊·Ó ÂÊËχ Full Keyboard Clavinova ·Û‰ÂÚ ‡‚ÚÓχÚË ̃ÂÒÍË
  • Page 62 – àÒÔÓÎ ̧ÁÓ‚‡ÌË ÙÛÌ͈ËË Synchronized Stop; SYNCHRO STOP; èÓ‰Ò͇Á͇ ÔÓ ‡ÍÍÓ,‰‡Ï; CHORD ASSIST; ÇÍÎ ̨ ̃ËÚ ÙÛÌÍˆË ̨ Chord Assistance.; CHORD ASSIST
  • Page 64 – ENTER; éÒÚ‡ÌÓ‚ËÚ ‡‚ÚÓ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ.
  • Page 65 – Ç ˆËÙÓ‚ÓÏ ÔˇÌËÌÓ Clavinova ËÒÔÓÎ ̧ÁÛ ̨ÚÒfl ÔflÚ ̧ Ô‡ÚËÈ; ê„ÛÎËӂ͇ ÛÓ‚ÌÂÈ ÓÚ‰ÂÎ ̧Ì ̊ı ÏÛÁ ͇̊Π̧Ì ̊ı Ô‡ÚËÈ; åÓÊÌÓ ÓÚ‰ÂÎ ̧ÌÓ Ì‡ÒÚÓËÚ ̧ „ÓÏÍÓÒÚ ̧ ͇ʉÓÈ Ô‡ÚËË ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡; ç‡ÊÏËÚ ̇ Üä-‰ËÒÔΠÍÌÓÔÍÛ ‰Îfl Ô‡ÚËË, „ÓÏÍÓÒÚ ̧ ÍÓÚÓÓÈ Ì‡‰Ó; à„‡ Ò ‡‚ÚÓ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚÓÏ
  • Page 66 – èÓ‚ÚÓËÚ ̄‡„Ë
  • Page 67 – ÑÛ„Ë ÙÛÌ͈ËË ‡‚ÚÓ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡; ë ÔÓÏÓ ̆ ̧ ̨ ‚ÒÚÓÂÌÌÓÈ ‚ ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova ÏÛÁ ͇̊Π̧ÌÓÈ; éÚÓ·‡ÊÂÌË ͇̋̇ Music Database.; ç‡ ͇̋Ì MUSIC DATABASE Ô˂ӉËÚÒfl ÒÔËÒÓÍ Ì‡ÒÚÓÂÍ Ô‡ÌÂÎË, ÍÓÚÓ ̊È
  • Page 68 – èË ÌÂÓ·ıÓ‰ËÏÓÒÚË ÓÚÒÓÚËÛÈÚ ÒÔËÒÓÍ.; SORT; Ç ̊·Ó Ë ‚ ̊ÁÓ‚ ̇ÒÚÓÈÍË Ô‡ÌÂÎË.; SET; ÇÓÁ‚‡ ̆ÂÌË ̇ „·‚Ì ̊È ͇̋Ì.; éÚÍÎ ̨ ̃ÂÌË ÏÛÁ ͇̊Π̧ÌÓÈ ·‡Á ̊ ‰‡ÌÌ ̊ı.
  • Page 69 – ÑÓ·‡‚ÎÂÌË „‡ÏÓÌËÁ‡ˆËË; ÇÍÎ ̨ ̃ÂÌË ÙÛÌ͈ËË Harmony.; éÚÍÎ ̨ ̃ÂÌË ÙÛÌ͈ËË Harmony.; éÚÓ·‡ÊÂÌË ̇ÒÚÓÂÍ „‡ÏÓÌËÁ‡ˆËË
  • Page 70 – Ç ̊·Ó ÚËÔ‡ „‡ÏÓÌËÁ‡ˆËË; TYPE; íËÔ ̊ „‡ÏÓÌËÁ‡ˆËË; TYPE
  • Page 71 – àÁÏÂÌÂÌË ÒÍÓÓÒÚË „‡ÏÓÌËÁ‡ˆËË; Ç ̊·ÂËÚ ÙÛÌÍˆË ̨ SPEED.; Ç ̊·ÂËÚ ̇ÒÚÓÈÍÛ SPEED.; àÁÏÂÌÂÌË „ÓÏÍÓÒÚË „‡ÏÓÌËÁ‡ˆËË; Ç ̊·ÂËÚ ÙÛÌÍˆË ̨ VOLUME.; Ç ̊·ÂËÚ ̇ÒÚÓÈÍÛ VOLUME.
  • Page 72 – ì‰Ó·ÒÚ‚Ó ÙÛÌ͈ËË One Touch Setting (̇ÒÚÓÈ͇ «‚ Ó‰ÌÓ Í‡Ò‡ÌË»); èË ÌÂÓ·ıÓ‰ËÏÓÒÚË Ì‡ÊÏËÚ ÍÌÓÔÍÛ; Ç ̊·ÂËÚ ̇ÒÚÓÈÍÛ Ô‡ÌÂÎË.; ç‡ÊÏËÚ ӉÌÛ ËÁ ̃ÂÚ ̊Âı ÔÓÌÛÏÂÓ‚‡ÌÌ ̊ı ÍÌÓÔÓÍ ÔÓ‰; Ç ̊·‡‚ ̇ÒÚÓÈÍÛ Ô‡ÌÂÎË ÔË ËÒÔÓÎ ̧ÁÓ‚‡ÌËË ÙÛÌ͈ËË One Touch
  • Page 73 – ëÓÁ‰‡ÌË ÒÓ·ÒÚ‚ÂÌÌ ̊ı ÒÚËÎÂÈ; á‡ÔËÒ ̧ ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ÒÚËÎfl; ÑÎfl Á‡ÔËÒË ‚‡ ̄Ëı ÒÓ·ÒÚ‚ÂÌÌ ̊ı ÒÚËÎÂÈ ËÒÔÓÎ ̧ÁÛÈÚ ÒÎÂ‰Û ̨ ̆Û ̨; CUSTOM STYLE
  • Page 74 – Ç ̊·ÂËÚ ËÒıÓ‰Ì ̊È ÒÚËÎ ̧.; Select a source
  • Page 75 – Ç ̊·Ó ‰ÎËÌ ̊ ÏÛÁ ͇̊Π̧ÌÓÈ ̃‡ÒÚË:; ÖÒÎË ‚ ̊ ÔӉ·ÎË Ô‰ ̊‰Û ̆Ë ÓÔ‡ˆËË:
  • Page 76 – REC; OK; Ç ̊·ÂËÚ ԇÚË ̨, ÍÓÚÓÛ ̨ ‚ ̊ ıÓÚËÚ Á‡ÔËÒ‡Ú ̧.; PART; Ç ̊·Ó ÚÂÏ·‡ ‰Îfl Ô‡ÚËË.
  • Page 77 – á‡ÔËÒ ̧ ‚ ̊·‡ÌÌÓÈ Ô‡ÚËË.; CLEAR; SOLO
  • Page 78 – Ç ̊‡‚ÌË‚‡ÌË Á‡ÔËÒ‡ÌÌÓÈ Ô‡ÚËË.; èËÒ‚ÓÈÚ ËÏfl ÒÓ·ÒÚ‚ÂÌÌÓÏÛ ÒÚËÎ ̨.
  • Page 79 – ëÓı‡ÌËÚ ÔÓÎ ̧ÁÓ‚‡ÚÂÎ ̧ÒÍËÈ ÒÚËÎ ̧.
  • Page 80 – RECALL SECTION; STYLE CLEAR; é·flÁ‡ÚÂÎ ̧ÌÓ ÒÓı‡ÌflÈÚ ‰‡ÌÌ ̊Â!
  • Page 81 – ÉÓÏÍÓÒÚ ̧ Ë ̋ÙÙÂÍÚ ̊; Ç ̊·ÂËÚÂ ̃‡ÒÚ ̧ Ë Ô‡ÚË ̨.
  • Page 82 – ìÒÚ‡ÌÓ‚ËÚ Á̇ ̃ÂÌËÂ Ë „ÎÛ·ËÌÛ ‚ ̊·‡ÌÌÓ„Ó Ô‡‡ÏÂÚ‡.; ëÓı‡ÌÂÌË ÒÚËÎÂÈ Ì‡ ‰ËÒÍÂÚÛ
  • Page 84 – ÇÓÒÔÓËÁ‚‰ÂÌË ÒÓ·ÒÚ‚ÂÌÌ ̊ı ÒÚËÎÂÈ; ëÓÓ· ̆ÂÌËfl ‚ ÂÊËÏ Custom Style (ëÓ·ÒÚ‚ÂÌÌ ̊È ÒÚËÎ ̧)
  • Page 86 – àÒÔÓÎ ̧ÁÓ‚‡ÌË هÈÎÓ‚ ÒÚËÎÂÈ; é ÙÓχÚ هÈÎÓ‚ ÒÚËÎfl ÍÓÔÓ‡ˆËË Yamaha; ᇄÛÁ͇ ÒÚËÎÂÈ Ò ‰ËÒÍÂÚ ̊; LOAD SINGLE; ALL LOAD
  • Page 87 – Ç ̊·ÂËÚ fl ̃ÂÈÍÛ Ô‡ÏflÚË Ë Á‡„ÛÁËÚ ÒÚËÎ ̧.
  • Page 88 – èÓÒΠÓÍÓÌ ̃‡ÌËfl ‡·ÓÚ ̊ Ò ‰ËÒÍÂÚÓÈ Style File ̇ÊÏËÚ ÍÌÓÔÍÛ EJECT
  • Page 89 – àÒÔÓÎ ̧ÁÓ‚‡ÌË „ËÒÚ‡ˆËÓÌÌ ̊ı Ù‡ÈÎÓ‚; óÚÓ· ̊ ÒÓı‡ÌËÚ ̧ ̇ÒÚÓÈÍÛ Ô‡ÌÂÎË ‚ ‚ˉ „ËÒÚ‡ˆËÓÌÌÓ„Ó Ù‡È· ‚; ç‡ÒÚÓÈ͇ ÌÂÓ·ıÓ‰ËÏ ̊ı ̋ÎÂÏÂÌÚÓ‚ ÛÔ‡‚ÎÂÌËfl.; ëÔËÒÓÍ Ì‡ÒÚÓÂÍ, ÒÓı‡ÌÂÌÌ ̊ı Ò ÔÓÏÓ ̆ ̧ ̨ ÙÛÌ͈ËË Registration, ÒÏ. ‚; ëÓı‡ÌÂÌË ̇ÒÚÓÈÍË Ô‡ÌÂÎË; Ç ̊·Ó „ËÒÚ‡ˆËÓÌÌÓ„Ó ·‡Ì͇.
  • Page 90 – ê„ËÒÚ‡ˆËfl ̇ÒÚÓÈÍË Ô‡ÌÂÎË.; Ç ̊ÁÓ‚ Á‡Â„ËÒÚËÓ‚‡ÌÌ ̊ı ̇ÒÚÓÂÍ Ô‡ÌÂÎË; Ç ̊·Ó „ËÒÚ‡ˆËÓÌÌÓ„Ó Ù‡È·.
  • Page 91 – á̇ ̃ÓÍ Í‡‡Ì‰‡ ̄‡ ÔÓfl‚ËÚÒfl ̇ ͇̋Ì ÒÔ‡‚‡ ÓÚ; óÚÓ· ̊ Ô‰ÓÚ‚‡ÚËÚ ̧ ËÁÏÂÌÂÌË ÓÔ‰ÂÎÂÌÌ ̊ı ̇ÒÚÓÂÍ Ô‡ÌÂÎË ‚Ó; ᇠ̆ËÚ‡ ̇ÒÚÓÂÍ Ô‡ÌÂÎË; Ç ÒÔËÒÍ ÏÂÌ ̨ ͇Ú„ÓËË ‰Îfl Á‡ÏÓÓÁÍË ÔÓÏ ̃ÂÌ ̊ Á‚ÂÁ‰Ó ̃ÍÓÈ (; ç‡ÊÏËÚÂ
  • Page 92 – ì͇Á‡ÌË ͇Ú„ÓËË ‰Îfl Á‡ÏÓÓÁÍË.; ÇÍÎ ̨ ̃ÂÌË ËÎË ‚ ̊ÍÎ ̨ ̃ÂÌË ÙÛÌ͈ËË Freeze.
  • Page 93 – É·‚‡ 7: á‡ÔËÒ ̧ Ë ‚ÓÒÔÓËÁ‚‰ÂÌË ÔÂÒÂÌ; ÇÓȉËÚ ‚ ÂÊËÏ Song Play.; éÒÚÓÓÊÌÓ ‚ÒÚ‡‚ ̧Ú ‰ËÒÍÂÚÛ «Music Software Collection» (ëÓ·‡ÌËÂ; ÇÓÒÔÓËÁ‚‰ÂÌË ÔÂÒÌË
  • Page 94 – á̇ ̃ÍË Ù‡ÈÎÓ‚
  • Page 95 – á‡ÔÛÒÍ Ë ÓÒÚ‡Ìӂ͇ ‚ÓÒÔÓËÁ‚‰ÂÌËfl.
  • Page 96 – é· ̊ ̃ÌÓ ÚÂÏÔ Ó·ÓÁ̇ ̃‡ÂÚÒfl ˆËÙ‡ÏË. àÌÓ„‰‡ ÔÂÒÌË Á‡ÔËÒ‡Ì ̊ ‚; ÖÒÎË ‚ ̊ Á‡ÍÓÌ ̃ËÎË ‡·ÓÚ‡Ú ̧ Ò ‰ËÒÍÂÚÓÈ, ̇ÊÏËÚ ÍÌÓÔÍÛ EJECT Ë
  • Page 97 – ‚ ̊·‡Ú ̧, ͇ÍÓÈ ÍÌÓÔÍ ·Û‰ÂÚ ÒÓÓÚ‚ÂÚÒÚ‚Ó‚‡Ú ̧ ͇͇fl ‰ÓÓÊ͇.; ÇÍÎ ̨ ̃ÂÌËÂ Ë ‚ ̊ÍÎ ̨ ̃ÂÌË ÓÚ‰ÂÎ ̧Ì ̊ı Ô‡ÚËÈ ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡; é· ̊ ̃ÌÓ Ò ÔÓÏÓ ̆ ̧ ̨ ÍÌÓÔÍË Ì‡ Üä- ͇̋ÌÂ
  • Page 98 – ç‡Á̇ ̃ÂÌË ‰ÓÓÊÂÍ Ô‡ÚËflÏ
  • Page 99 – R VOICE; ìÔ‡‚ÎÂÌË ӷ ̆ÂÈ „ÓÏÍÓÒÚ ̧ ̨ ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÔÂÒÌË
  • Page 100 – Ç ̊·ÂËÚ ‰ÓÓÊÍÛ, ‚ ÍÓÚÓÛ ̨ ·Û‰ÛÚ ‚ÌÂÒÂÌ ̊ ËÁÏÂÌÂÌËfl.; àÁÏÂÌÂÌË ̇ÒÚÓÂÍ Ì‡ ͇̋Ì MIXER
  • Page 101 – Ç ̊·ÂËÚ ԇ‡ÏÂÚ ‰Îfl ‰‡ÍÚËÓ‚‡ÌËfl.; ÑÎfl ‚ ̊·Ó‡ ÌÛÊÌÓ„Ó Ô‡‡ÏÂÚ‡ ̇ÊÏËÚÂ; ꉇÍÚËÓ‚‡ÌË ԇ‡ÏÂÚ‡ ËÎË Ì‡ÒÚÓÈÍË.; ÑÎfl ËÁÏÂÌÂÌËfl Ô‡‡ÏÂÚ‡ ËÎË Ì‡ÒÚÓÈÍË ÏÓÊÌÓ ‚ÓÒÔÓÎ ̧ÁÓ‚‡Ú ̧Òfl; ç‡ ÔˇÌËÌÓ Clavinova ËÏ ̨ÚÒfl Û‰Ó·Ì ̊ ÙÛÌ͈ËË ÔÓ‚ÚÓ‡; îÛÌ͈ËË ÔÓ‚ÚÓ‡
  • Page 102 – èÓ‚ÚÓÂÌË هÁ ̊; îÛÌ͈Ëfl 1 Song Repeat; îÛÌ͈Ëfl AB Repeat
  • Page 103 – è‡ÛÁ‡; BÓÒÔÓËÁ‚‰ÂÌËÂÏ ÔecÌË
  • Page 104 – ÑÛ„Ë ̋ÎÂÏÂÌÚ ̊ ÛÔ‡‚ÎÂÌËfl ‚ÓÒÔÓËÁ‚‰ÂÌËÂÏ; ëÓ‚ÏÂÒÚËÏÓÒÚ ̧ ÔÓ„‡ÏÏÌÓ„Ó Ó·ÂÒÔ ̃ÂÌËfl; ç‡ ˆËÙÓ‚ÓÏ ÔˇÌËÌÓ CVP-202 ÏÓÊÌÓ ‚ÓÒÔÓËÁ‚Ó‰ËÚ ̧ ÒÎÂ‰Û ̨ ̆ËÂ; èÂÒÌË, Á‡ÔËÒ‡ÌÌ ̊ ̇ ‰Û„Ëı ËÌÒÚÛÏÂÌÚ‡ı; èÂÒÌË, Á‡ÔËÒ‡ÌÌ ̊ ̇ ˆËÙÓ‚ ̊ı ÔˇÌËÌÓ ÏÓ‰ÂÎÂÈ Clavinova, ÓÚÎË ̃Ì ̊ı
  • Page 105 – ìÔ‡‚ÎÂÌËÂ Ó·Û ̃ÂÌËÂÏ; èˇÌËÌÓ Clavinova ÔÓÁ‚ÓÎflÂÚ ‚ ̊·‡Ú ̧ Ó‰ËÌ ËÁ ÚÂı ÏÂÚÓ‰Ó‚ Ó·Û ̃ÂÌËfl,; åÂÚÓ‰ ̊ Ó·Û ̃ÂÌËfl Ë ‚ ̊‚Ó‰ ÌÓÚ Ì‡ ̋Í‡Ì (Piano Roll); íÂÌËӂ͇ ËÚÏË ̃ÌÓÒÚË Ë„ ̊: Easy Play; èÓÒÍÓÎ ̧ÍÛ ÏÂÚÓ‰ Easy Play Ô‰ÔÓ·„‡ÂÚ, ̃ÚÓ ‚ ̊ Ó·Û ̃‡ÂÚÂÒ ̧ ÚÓÎ ̧ÍÓ; é·Û ̃ÂÌË ÔÓ ÏÂÚÓ‰Û: Next Note; åÂÚÓ‰ Next Note ÔÓÁ‚ÓÎflÂÚ Û‚Ë‰ÂÚ ̧, ͇ÍÛ ̨ Í·‚Ë ̄Û ÒΉÛÂÚ Ì‡Ê‡Ú ̧, Ò
  • Page 106 – à„‡ «î‡Á‡ Á‡ Ù‡ÁÓÈ»: ÏÂÚÓ‰ Sound Repeat; ìÒÚ‡ÌÓ‚ËÚ ÔÂÒÌ ̨, ÍÓÚÓÛ ̨ ‚ ̊ ·Û‰ÂÚ ‡ÁÛ ̃Ë‚‡Ú ̧.; àÒÔÓÎ ̧ÁÓ‚‡ÌËÂ Ó·Û ̃‡ ̨ ̆ÂÈ ÙÛÌ͈ËË Guide
  • Page 107 – Ç ̊·Ó ÏÂÚÓ‰‡ Ó·Û ̃ÂÌËfl.
  • Page 108 – ÑÛ„ËÂ Ó·Û ̃‡ ̨ ̆Ë ÙÛÌ͈ËË
  • Page 109 – ç‡ÒÚÓÈ͇ ̃ËÒ· ÔÓ‚ÚÓÓ‚ (Sound Repeat Number)
  • Page 110 – á‡ÔËÒ ̧ ÔÂÒÂÌ; ëÚÛÍÚÛ‡ ÔÂÒÌË; èÂÒÌfl ÏÓÊÂÚ ÒÓÒÚÓflÚ ̧ ËÁ ÌÂÒÍÓÎ ̧ÍËı ËÌÒÚÛÏÂÌڇΠ̧Ì ̊ı Ô‡ÚËÈ,; 퇷Îˈ‡ ‰ÓÓÊÂÍ ÔÂÒÌË; Ç ıӉ ‡·ÓÚ ̊ ÏÓ„ÛÚ ÔÓfl‚ÎflÚ ̧Òfl ‡ÁÎË ̃Ì ̊ Ô‰ÛÔÂʉÂÌËfl,
  • Page 111 – èÂʉ ̃ÂÏ ÔÓËÁ‚Ó‰ËÚ ̧ Á‡ÔËÒ ̧ ̇ ÔË·„‡ÂÏÛ ̨ ̃ËÒÚÛ ̨ ‰ËÒÍÂÚÛ,; 臇ÏÂÚ ̊ Á‡ÔËÒË: îÓÏ‡Ú ‰ËÒÍÂÚ; YES; ç‡ Üä-‰ËÒÔΠÔÓfl‚ËÚÒfl ÒÚÓ͇ Ë̉Ë͇ÚÓ‡ ‚ ̊ÔÓÎÌÂÌËfl
  • Page 112 – ÇÒÚ‡‚ ̧Ú ÓÚÙÓχÚËÓ‚‡ÌÌÛ ̨ ‰ËÒÍÂÚÛ.; ì·Â‰ËÚÂÒ ̧, ̃ÚÓ Á‡ ̆ÂÎ͇ Á‡ ̆ËÚ ̊ ÓÚ Á‡ÔËÒË ÛÒÚ‡ÌÓ‚ÎÂ̇ ‚ ÔÓÁËˆË ̨; Å ̊ÒÚ‡fl Á‡ÔËÒ ̧; Ç ̊·ÂËÚ ÌÓÏ Á‡ÔËÒ ̊‚‡ÂÏÓÈ ÔÂÒÌË.; Ç ̊·‡ÌÌ ̊È ÌÓÏ Û͇Á ̊‚‡ÂÚ, ÍÛ‰‡ ·Û‰ÂÚ Á‡ÔË҇̇ ÔÂÒÌfl. ÖÒÎË fl‰ÓÏ Ò
  • Page 114 – Ç ̊·ÂËÚ ÚÂÏ· Ë ÒÚËÎ ̧ ‡ÍÍÓÏÔ‡ÌÂÏÂÌÚ‡, ÛÒÚ‡ÌÓ‚ËÚ ‚ Ó· ̊ ̃ÌÓÏ; ç‡ ̃ÌËÚ ˄‡Ú ̧ ̇ Í·‚ˇÚÛ ËÎË Ì‡ÊÏËÚ ÍÌÓÔÍÛ
  • Page 115 – ÇÓÒÔÓËÁ‚‰ÂÌË Á‡ÔËÒ‡ÌÌÓ„Ó.; Ç ̊·ÂËÚ ËÌÒÚÛÏÂÌÚ ‰Îfl Á‡ÔËÒË.; TRACK
  • Page 116 – Ç ̊·ÂËÚ ‰ÓÓÊÍÛ ‰Îfl Á‡ÔËÒË.
  • Page 117 – ìÒÚ‡ÌÓ‚ËÚ ‚Ò ÌÂÓ·ıÓ‰ËÏ ̊ ԇ‡ÏÂÚ ̊.; äÓ„‰‡ ‰ÓÓÊÍË ‰Îfl Á‡ÔËÒË ‚ ̊·‡Ì ̊, ÛÒÚ‡ÌÓ‚ËÚ ‚Ò ÌÂÓ·ıÓ‰ËÏ ̊Â
  • Page 118 – ÑÓ·‡‚ÎÂÌË ÌÓ‚ ̊ı ‰ÓÓÊÂÍ
  • Page 120 – Ç ̊·ÂËÚ ÂÊËÏ Ì‡ ̃‡Î‡ ÔÂÂÁ‡ÔËÒË.; Ç ̊·ÂËÚ ÂÊËÏ ÓÍÓÌ ̃‡ÌËfl ÔÂÂÁ‡ÔËÒË.; á‡ÔÛÒÚËÚ ‚ÓÒÔÓËÁ‚‰ÂÌËÂ Ë Á‡ÔËÒ ̧.; ÖÒÎË ‚ ̊·‡Ì ÂÊËÏ
  • Page 121 – ÄÍÍÓ‰Ó‚‡fl ÔÓÒΉӂ‡ÚÂÎ ̧ÌÓÒÚ ̧; èÓ‚ÚÓËÚ ̄‡„Ë Ò 1 ÔÓ 3 ‰Îfl · ̊ÒÚÓÈ Á‡ÔËÒË: ‚ÒÚ‡‚ ̧ÚÂ; ÇÍÎ ̨ ̃ËÚ ÙÛÌÍˆË ̨ Chord Sequence.
  • Page 122 – èÂÂÏÂÒÚËÚ ÍÛÒÓ Í ÚÓ ̃Í ‚‚Ó‰‡.; ç‡ ‰ËÒÔΠڇÍÚ ̊ ÓÚÓ·‡Ê‡ ̨ÚÒfl ‚ ‚ˉ „ÓËÁÓÌڇΠ̧ÌÓÈ ÎËÌËË Ò; óÚÓ· ̊ ÔÂÂÏÂÒÚËÚ ̧ ÚÂÛ„ÓÎ ̧Ì ̊È ÍÛÒÓ ‚‰ÓÎ ̧ ÎËÌËË Ú‡ÍÚ‡ Í
  • Page 123 – ǂ‰ËÚ ‡ÍÍÓ‰ ̊ Ë/ËÎË ÛÒÚ‡ÌÓ‚ËÚ ËÁÏÂÌÂÌËfl ÒÚËÎfl.; ROOT; чÌÌ ̊Â, Á‡ÔËÒ ̊‚‡ÂÏ ̊Â Ò ÔÓÏÓ ̆ ̧ ̨ ÙÛÌ͈ËË Chord Sequence
  • Page 124 – ÑÛ„Ë ÙÛÌ͈ËË Chord Sequence; ALL DELETE
  • Page 125 – END MARK; óÚÓ· ̊ ‰Ó·‡‚ËÚ ̧ ÏÂÚÍÛ ÓÍÓÌ ̃‡ÌËfl ‚ ÚÂÍÛ ̆ ÔÓÎÓÊÂÌË ÍÛÒÓ‡,; óÚÓ· ̊ ‚ÍÎ ̨ ̃ËÚ ̧ ËÎË ‚ ̊ÍÎ ̨ ̃ËÚ ̧ Á‚ÛÍ ËÚχ, ̇ÊÏËÚ ÍÌÓÔÍÛ
  • Page 126 – ÑÛ„Ë ÙÛÌ͈ËË Record Edit; Setup Memory; Ç ̊·Ó ÙÛÌ͈ËË Setup Memory.; SETUP MEMORY
  • Page 127 – Song Name
  • Page 129 – ì͇Á‡ÌË ‰ÓÓÊÍË ‰Îfl Û‰‡ÎÂÌËfl.
  • Page 130 – Ç ̊ÔÓÎÌÂÌË ÓÔ‡ˆËË Quantize.; ì͇Á‡ÌË «‡Áχ» ‚ ̊‡‚ÌË‚‡ÌËfl.
  • Page 131 – Ç ̊·Ó ‰ÓÓÊÍË ‰Îfl ‰‡ÍÚËÓ‚‡ÌËfl.; Ç ̊·Ó Ô‡‡ÏÂÚÓ‚, ÍÓÚÓ ̊ ÌÂÓ·ıÓ‰ËÏÓ ËÁÏÂÌËÚ ̧.; SELECT; ç‡ÒÚÓÈÍË Ì‡ ͇̋Ì INITIAL EDIT
  • Page 132 – Ç ̊ıÓ‰ ËÁ ÏÂÌ ̨ ÙÛÌ͈ËË Initial Edit.
  • Page 133 – é CVP MEMORY Song; á‡ÔËÒ ̧ ·ÂÁ ËÒÔÓÎ ̧ÁÓ‚‡ÌËfl ‰ËÒÍÂÚ ̊; CVP MEMORY
  • Page 134 – TILITY; 艷„‡ ̨ÚÒfl ÒÎÂ‰Û ̨ ̆Ë ÙÛÌ͈ËË:
  • Page 135 – èÓÎÂÁÌ ̊ ÙÛÌ͈ËË ‡ÁÏ ̆ÂÌ ̊ ̇ 16 ÒÚ‡Ìˈ‡ı ͇̋̇ (ÒÏ. Ú‡·ÎËˆÛ Ì‡; Ç ̊ÔÓÎÌËÚ ÌÛÊÌÛ ̨ ÓÔ‡ˆË ̨.; ÑÎfl ‚ ̊ÁÓ‚‡ ÒÚ‡Ìˈ ̊ Ò ÌÛÊÌÓÈ ÙÛÌ͈ËÂÈ ÔÓÎ ̧ÁÛÈÚÂÒ ̧ ÍÌÓÔ͇ÏË PAGE
  • Page 136 – Tune; ä·‚ˇÚÛ‡; Transpose
  • Page 137 – Key Touch Ë Fixed Velocity; KEY TOUCH; ç‡ÒÚÓÈÍË Key Touch
  • Page 138 – Left Pedal Ë Glide Range; 艇Π̧; ç‡ÒÚÓÈÍË LEFT PEDAL; ë ÔÓÏÓ ̆ ̧ ̨ ̋ÚÓÈ ÙÛÌ͈ËË ÏÓÊÌÓ Ì‡ÒÚÓËÚ ̧ ÎÂ‚Û ̨ Ô‰‡Î ̧ ̇
  • Page 139 – î‡ÈÎ ̊ Registration Ë Setup; îÛÌ͈ËË Ì‡ ̋ÚÓÈ ÒÚ‡Ìˈ ËÒÔÓÎ ̧ÁÛ ̨ÚÒfl ‰Îfl Á‡„ÛÁÍË, ÒÓı‡ÌÂÌËfl,; ÑËÒÍÂÚ‡; èË ÒÓı‡ÌÂÌËË ‰‡ÌÌ ̊ı „ËÒÚ‡ˆËÓÌÌÓÈ Ô‡ÏflÚË Ì‡ÒÚÓÈ͇
  • Page 140 – Ç ̊·Ó ÓÔ‡ˆËË Ò Ù‡ÈÎÓÏ.; ç‡ÊÏËÚ ÍÌÓÔÍÛ START.; LOAD; SAVE
  • Page 141 – DELETE; NAME
  • Page 142 – Song Copy Ë Disk Copy; ë ÔÓÏÓ ̆ ̧ ̨ ÙÛÌ͈ËÈ Ì‡ ̋ÚÓÈ ÒÚ‡Ìˈ ÏÓÊÌÓ ÍÓÔËÓ‚‡Ú ̧ ÔÂÒÂÌÌ ̊Â; Ç ̊·Ó ÙÛÌ͈ËË ÍÓÔËÓ‚‡ÌËfl.; ÖÒÎË ‚ ̄‡„ 1 ‚ ̊ ‚ ̊·‡ÎË ÙÛÌÍˆË ̨
  • Page 143 – Ç ̊·ÂËÚ ÌÓÏÂ, ÔÓ‰ ÍÓÚÓ ̊Ï ıÓÚËÚ ÒÍÓÔËÓ‚‡Ú ̧ ÔÂÒÌ ̨.
  • Page 144 – Song Delete; çÂÌÛÊÌ ̊ ÔÂÒÌË ÏÓÊÌÓ Û‰‡ÎËÚ ̧ Ò ‰ËÒÍÂÚ ̊ ̇ ̋ÚÓÏ ͇̋ÌÂ. ÅÛ‰ ̧ÚÂ; Ç ̊ÔÓÎÌËÚ ÓÔ‡ˆË ̨ Û‰‡ÎÂÌËfl.
  • Page 145 – Song Data Transform; ë ÔÓÏÓ ̆ ̧ ̨ ̋ÚÓÈ ÙÛÌ͈ËË ÏÓÊÌÓ ÔÂÓ·‡ÁÓ‚‡Ú ̧ ÔÂÒÌ ̨, Á‡ÔËÒ‡ÌÌÛ ̨ ̇; Ç ̊·ÂËÚ ÙÓÏ‡Ú ‰‡ÌÌ ̊ı.; ç‡ÊÏËÚ ÍÌÓÔÍÛ TRANSFORM.; ÖÒÎË ‚ ̄‡„ 2 ‚ ̊·‡Ì‡ ÙÛÌ͈Ëfl
  • Page 146 – îÓÏ‡Ú ‰ËÒÍÂÚ ̊; ÑËÒÍÂÚ ̊, ÍÓÚÓ ̊ ‚ ̊ ÒӷˇÂÚÂÒ ̧ ËÒÔÓÎ ̧ÁÓ‚‡Ú ̧ ‰Îfl ÒÓı‡ÌÂÌËfl; ÇÒÚ‡‚ ̧Ú ‰ËÒÍÂÚÛ ‰Îfl ÙÓχÚËÓ‚‡ÌËfl; ì·Â‰ËÚÂÒ ̧ ‚ ÚÓÏ, ̃ÚÓ Á‡ ̆ÂÎ͇ Á‡ ̆ËÚ ̊ ÓÚ Á‡ÔËÒË Ì‡ ‰ËÒÍÂÚ ̇ıÓ‰ËÚÒfl; Ç ̊ÔÓÎÌËÚ ÓÔ‡ˆË ̨ ÙÓχÚËÓ‚‡ÌËfl.
  • Page 147 – MIDI; SEND CH; OFF; Local Control; ON
  • Page 148 – ëËÌıÓÌËÁ‡ˆËfl; íÂÏÔÓÏ ‚ÓÒÔÓËÁ‚‰ÂÌËfl ÔÂÒÌË ËÎË ÒÚËÎfl Ó· ̊ ̃ÌÓ ÛÔ‡‚ÎflÂÚ; MIDI Filter; ëÓÓ· ̆ÂÌËfl Program Change; é· ̊ ̃ÌÓ ÔˇÌËÌÓ Clavinova ‡„ËÛÂÚ Ì‡ ÌÓχ ËÁÏÂÌÂÌËfl MIDI-
  • Page 149 – ëÓÓ· ̆ÂÌËfl Control Change; CONTROL; ëÓÓ· ̆ÂÌËfl System Exclusive; Receive Filter
  • Page 150 – ACMP; MIDI TRANSPOSE; MIDI Transpose
  • Page 151 – Song Transmission; Remote Keyboard; REMOTE KBD
  • Page 152 – ëÓı‡ÌÂÌËÂ; Backup
  • Page 153 – Recall
  • Page 154 – Utility; ìÒÚ‡Ìӂ͇ ÙÛÌ͈ËË Micro Tuning; ìÒÚ‡ÌÓ‚ËÚ ҉‚Ë„ ÔÓ ‚ ̊ÒÓÚÂ.; ÇÒÚ‡‚ ̧Ú ‰ËÒÍÂÚÛ ‚ ‰ËÒÍÓ‚Ó‰.
  • Page 155 – Preset Scale
  • Page 156 – ç‡ÒÚÓÈ͇ User Scale (ÏÛÁ ͇̊Π̧ÌÓ„Ó ÒÚÓfl ÔÓÎ ̧ÁÓ‚‡ÚÂÎfl)
  • Page 157 – î‡ÈÎ ̊ User Scale (ÏÛÁ ͇̊Π̧ÌÓ„Ó ÒÚÓfl ÔÓÎ ̧ÁÓ‚‡ÚÂÎfl); ëÓ·ÒÚ‚ÂÌÌ ̊È ÏÛÁ ͇̊Π̧Ì ̊È ÒÚÓÈ ÏÓÊÌÓ Á‡ÔËÒ‡Ú ̧ ̇ ‰ËÒÍÂÚ ‚ ‚ˉÂ; ËÎË; èÓÒΠÚÓ„Ó, Í‡Í ‚ ̊ ̇ÊÏÂÚ ÍÌÓÔÍÛ
  • Page 158 – èÓ‰ÍÎ ̨ ̃ÂÌË ‡Û‰ËÓÛÒÚÓÈÒÚ‚; ç‡Û ̄ÌËÍË; ç‡Û ̄ÌËÍË ÒΉÛÂÚ ÔÓ‰ÍÎ ̨ ̃‡Ú ̧ Í Ó‰ÌÓÏÛ; ë ÔÓÏÓ ̆ ̧ ̨ ‡Á ̇ÂÏÓ‚ AUX IN Ë AUX OUT, ‡ÒÔÓÎÓÊÂÌÌ ̊ı Ò΂‡ ̇; ê‡Á ̇ÂÏ ̊ AUX IN; ÄÛ‰ËÓ ‚ıÓ‰ Ë ‚ ̊ıÓ‰; á‚ÛÍË ‰Û„Ëı ËÌÒÚÛÏÂÌÚÓ‚ ËÎË
  • Page 159 – ê‡Á ̇ÂÏ ̊ AUX OUT; èÓ‰ÒÓ‰ËÌË‚ ‡Û‰ËÓ-͇·ÂÎË Í
  • Page 160 – èÓ‰ÒÓ‰ËÌÂÌË MIDI-ÛÒÚÓÈÒÚ‚; èÓ‰ÍÎ ̨ ̃ÂÌËÂ Í „·‚ÌÓÏÛ ÍÓÏÔ ̧ ̨ÚÂÛ; èÓ‰ÍÎ ̨ ̃ÂÌËÂ Í ‡ÁÎË ̃Ì ̊Ï ÛÒÚÓÈÒÚ‚‡Ï; ÖÒÎË ‚ ̊ ËÒÔÓÎ ̧ÁÛÂÚ ‡Á ̇ÂÏ ̊
  • Page 161 – èË Ú‡ÍÓÏ ÔÓ‰ÍÎ ̨ ̃ÂÌËË ˆËÙÓ‚Ó ÔˇÌËÌÓ Clavinova ‡·ÓÚ‡ÂÚ Í‡Í MIDI-; èÓ‰ÍÎ ̨ ̃ÂÌËÂ; íËÔ ̊ ÔÓÒΉӂ‡ÚÂÎ ̧Ì ̊ı ͇·ÂÎÂÈ Ë ̄Ú ̊ ̧ÍÓ‚ ̊ ÍÓÌÚ‡ÍÚ ̊; Ç Á‡‚ËÒËÏÓÒÚË ÓÚ ÚËÔ‡ ÔÓ‰ÍÎ ̨ ̃‡ÂÏÓ„Ó ÍÓÏÔ ̧ ̨Ú‡ ËÒÔÓÎ ̧ÁÛÈÚ ӉËÌ ËÁ
  • Page 162 – èÓ‰ÍÎ ̨ ̃ÂÌË ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova Í; èË ÔÓÏÓ ̆Ë USB-͇·ÂÎfl ÔÓ‰ÍÎ ̨ ̃ËÚ USB-ÔÓÚ ÍÓÏÔ ̧ ̨Ú‡ Í USB-ËÌÚÂÙÂÈÒÛ; ìÒÚ‡Ìӂ͇ ÔÂÂÍÎ ̨ ̃‡ÚÂÎfl [HOST SELECT] ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova; ìÒÚ‡ÌÓ‚ËÚ ÔÂÂÍÎ ̨ ̃‡ÚÂÎ ̧ [HOST SELECT] ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova ‚
  • Page 163 – èËÎÓÊÂÌËÂ; ëÔËÒÍË ̋ÙÙÂÍÚÓ‚; íËÔ ̊ ‚·‡ˆËË; ÚËÔ ̊ ̋ÙÙÂÍÚÓ‚ Chorus
  • Page 164 – íËÔ ̊ ̋ÙÙÂÍÚÓ‚
  • Page 167 – êÂÊËÏ Custom Style
  • Page 170 – ìÒÚ‡ÌÂÌË ÌÂÔÓ·‰ÓÍ
  • Page 171 – èÓ·ÎÂχ
  • Page 172 – ëÓ‚ÏÂÒÚËÏÓÒÚ ̧ MIDI-ÛÒÚÓÈÒÚ‚ Ë ‰‡ÌÌ ̊ı; îÓÏ‡Ú ÒÂÍ‚Â̈ËË; îÓÏ‡Ú ‡ÒÔ‰ÂÎÂÌËfl ÚÂÏ·Ó‚; ëÓ‚ÏÂÒÚËÏÓÒÚ ̧ ‰‡ÌÌ ̊ı; éÒÌÓ‚ÌÓÂ, ̃ÚÓ ÌÛÊÌÓ ÔÓ‚ÂËÚ ̧
  • Page 173 – è‰ÏÂÚÌ ̊È Û͇Á‡ÚÂÎ ̧
  • Page 176 – IMPORTANT SAFETY INSTRUCTIONS; PLEASE KEEP THIS MANUAL
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êÛÍÓ‚Ó‰ÒÚ‚Ó ÔÓθÁÓ‚‡ÚÂÎfl

ÇÄÜçé!

èӂ¸Ú ËÒÚÓ˜ÌËÍ ÔËÚ‡ÌËfl

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̇ÔflÊÂÌ˲, Û͇Á‡ÌÌÓÏÛ Ì‡ ËÌÒÚÛÏÂÌÚÂ. Ç ÌÂÍÓÚÓ˚ı
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̇ÔflÊÂÌËfl, ‡ÒÔÓÎÓÊÂÌÌ˚È fl‰ÓÏ Ò ÒÂÚ‚˚Ï Í‡·ÂÎÂÏ.
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ÔÂÂÍβ˜‡ÚÂθ ̇ÔflÊÂÌËfl ÛÒÚ‡ÌÓ‚ÎÂÌ Ì‡ ̇ÔflÊÂÌË ‚
240 Ç. èË ÔÓÏÓ˘Ë ÓÚ‚ÂÚÍË ÔÓ‚ÂÌËÚ ÔÂÂÍβ˜‡ÚÂθ Ú‡Í,
˜ÚÓ·˚ Ó·ÓÁ̇˜ÂÌË ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â„Ó Ì‡ÔflÊÂÌËfl ·˚ÎÓ
‡ÒÔÓÎÓÊÂÌÓ ‚ÓÁΠÛ͇Á‡ÚÂÎfl ̇ Ô‡ÌÂÎË.

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Summary

Page 2 - CAUTION; SPECIAL MESSAGE SECTION

92-469- ➀ (bottom) ENVIRONMENTAL ISSUES: Yamaha strives to pro- duce products that are both user safe and environmentallyfriendly. We sincerely believe that our products and theproduction methods used to produce them, meet thesegoals. In keeping with both the letter and the spirit of thelaw, we want...

Page 3 - èêÄÇàãÄ íÖïçàäà ÅÖáéèÄëçéëíà; ÇçàåÄíÖãúçé èêéóàíÄâíÖ, èêÖÜÑÖ óÖå èêàëíìèÄíú ä ùäëèãìÄíÄñàà

3 CVP-202 • ç ‚ÒÚ‡‚ÎflÈÚÂ Ë Ì ÓÌflÈÚ ·Ûχ„Û, ÏÂÚ‡Î΢ÂÒÍËÂ Ë ÔӘˠԉÏÂÚ˚ ‚ ÓÚ‚ÂÒÚËfl ̇ Í˚¯ÍÂ, Ô‡ÌÂÎË Ë Í·‚ˇÚÛÂ. ÖÒÎË ˝ÚÓ ÒÎÛ˜ËÎÓÒ¸, ÌÂωÎÂÌÌÓ ‚˚Íβ˜ËÚÂËÌÒÚÛÏÂÌÚ Ë ‚˚̸Ú ͇·Âθ ÔËÚ‡ÌËfl ËÁ ÓÁÂÚÍË. á‡ÚÂÏ Ó·‡ÚËÚÂÒ¸ Á‡ ÔÓÏÓ˘¸˛ ÍÒÔˆˇÎËÒÚ‡Ï ˆÂÌÚ‡ ÚÂıÌ˘ÂÒÍÓ„Ó Ó·ÒÎÛÊË‚‡ÌËfl ÍÓÔÓ‡ˆËË Yamaha. • ç Í·...

Page 4 - ÑÓÔÓÎÌËÚÂÎ ̧Ì ̊ ÔË̇‰ÎÂÊÌÓÒÚË; ÑËÒÍÂÚ‡ Music Software Collection (Ë Music Book); ç‡ ̋ÚÓÈ ÔÛÒÚÓÈ ‰ËÒÍÂÚ ÏÓÊÌÓ Á‡ÔËÒ ̊‚‡Ú ̧ ÒÓ·ÒÚ‚ÂÌÌÓ ËÒÔÓÎÌÂÌËÂ.; êÛÍÓ‚Ó‰ÒÚ‚Ó ÔÓÎ ̧ÁÓ‚‡ÚÂÎfl; Ç Á‡‚ËÒËÏÓÒÚË ÓÚ ÏÂÒÚ‡ ÔÓÍÛÔÍË, Ò͇ÏÂÈ͇ ÏÓÊÂÚ ‚ıÓ‰ËÚ ̧ ËÎË Ì ‚ıÓ‰ËÚ ̧ ‚ ÍÓÏÔÎÂÍÚ.; íÓ‚‡Ì ̊ Á̇ÍË; àÏÂÌ̇fl Ô·ÒÚË̇; îÓÏ‡Ú Disk Orchestra Collection

4 CVP-202 Å·„Ó‰‡ËÏ Á‡ ÔÓÍÛÔÍÛ ˆËÙÓ‚Ó„Ó ÔˇÌËÌÓ Yamaha Clavinova! êÂÍÓÏẨÛÂÏ ‚ÌËχÚÂθÌÓ ÔÓ˜ËÚ‡Ú¸˝ÚÓ ÛÍÓ‚Ó‰ÒÚ‚Ó, ˜ÚÓ·˚ ‚ ÔÓÎÌÓÈ Ï ‚ÓÒÔÓθÁÓ‚‡Ú¸Òfl ‚ÒÂÏË Ô‰ӂ˚ÏË Ë Û‰Ó·Ì˚ÏË ÙÛÌ͈ËflÏˈËÙÓ‚Ó„Ó ÔˇÌËÌÓ Clavinova. å˚ Ú‡ÍÊ ÒÓ‚ÂÚÛÂÏ ‰Âʇڸ ˝ÚÓ ÛÍÓ‚Ó‰ÒÚ‚Ó ‚ ̇‰ÂÊÌÓÏ Ë Û‰Ó·ÌÓÏÏÂÒÚ ‰Îfl ‰‡Î¸ÌÂÈ¯Â„Ó ËÒÔÓÎ...

Other Yamaha Synthesizers Models

All Yamaha Synthesizers