yamaha lcd display free sample

What is the name of the ugliest display ever made? It’s the one for SY-77. Looks like some old 80’s calculator lol. Anyway, a friend brought this unit for restoration so I have decided to document the process. I am a proud owner of the TG-77 module version of the SY. It is one of the most powerful hardware digital synthesizers ever made. The only thing with more power released during that era are the Kurzweil K2x00 series, but that’s another topic.

So I have bought a new display to have it installed in the unit. My only fear was, will it work? I did some replacements in the past and have some experience there. Fortunately there is one thing that will help a lot in this task and that is the fact the SY-77 has a display ribbon connector access point on the very back of the PCB boards. Literally right after you lift up the hood (or the bottom plate to be more exact) you will find a display ribbon connector there.

The first task was to buy a ribbon cable and IDC connector (20 pin). I have soldered the cable to the display and crimped the IDC onto the other end carefully taking care for the pin layout. Display ready! But will it work? Quick run to the unit, disconnecting the old ribbon, connecting the new ribbon to have the display connected. And….. It does not work!

My fears came true. The “age” difference between the two displays is simply too big. Display is completely black when powered on, indicating a wrong contrast. Even with the LCD contrast knob turned full counter clockwise, it is still completely black as we can see on the image below.

Back to the bench. Time to install a potentiometer between the positive voltage and LCD contrast voltage supply, turning it until I can get a contrast in some reasonable range.

In my case it was 10k. Please do not take any of these values as any sort of reference because the outcome of every display will be different due to different manufacturer specs. Anyway, moved back to the synth, connected the display. And…. It works!

The problem with SY-77 is that it supplies super high voltage to the backlight EL foil and we can not use the existing power supply source. So I have decided to borrow some current from the display module to power up the backlight. Of course by using a current limiting resistor. But which value to use?

I briefly connected the LED element and measured 150mA current draw which is too much. Most manufacturers recommend 100mA max for these backlight units. So I have decided to throttle it down a bit to 70-80mA to ensure the long life of this backlight. In my case it was 1.6k ohm. Please do not take any of these values as any sort of reference because the outcome of every display will be different due to different manufacturer specs. Anyway, tested it again, this time with current limiter, and it works!

Finally we have a LED backlight!! Good bye to that crappy EL foil doing nothing, just whining high pitch noise. Running at 75% power should definitely give a 100,000 hours rating. I would never recommend burning a LED element at 100% power, especially for studios that have units powered on 24/7. To make sure I am in the correct brightness “ballpark” I brought my E-MU E5000 as a reference, and sure enough at 75mA the brightness is exactly the same as on SY-77. I guess folks at E-MU were thinking about the longevity of their displays as well because I know both displays can go more.

Here is the finished modification. Two wires and two resistors in the end. Looks simple, but took a lot of R&D. Maybe not the prettiest look but it gets the job done and the display works. Most importantly the contrast knob on the back of the unit now has full range.

This is the downside of replacing old displays with the new. They require many modifications. As we can see we had to do two modifications so far in order to work. Soon we will see it requires one more, this time to properly fit into the unit.

After some quick tests I realized that putting the new LCD display was not as easy as expected. The hole (raster) standard has changed a little bit and because of that I had to modify the LCD board and the enclosing plastic cover using the Dremel tool.

Finally it fits, both the holes and the frame which I resized. It would have been very frustrating to go thru all of this – disassembling the unit, modifying the new display, only to learn one can not fit a display in!! Fortunately there is enough space left inside to allow this modification. It seems that the original display was just 2 millimeters smaller in height and had.

Now it was time to wash the exterior since I have to take apart everything in order to reach the LCD screen. So let’s combine practical with useful. The only proper way to do this is to take a camera snapshot of every board before you remove it, its all connectors and screws. I actually used a graphics marker to mark the position where the screws were located because many of the boards have multiple holes and not all are populated by screws. It is a multi layer design! There are boards on top of other boards. So be very careful with screw and cable management!

I used compressed air and then a glass cleaning solution to make sure the display bezel and glass are without one single dust from the inside. I hate seeing dust particles in front of the screen! This is my personal obsession so you can ignore this part of the restoration.

Do not rush as you risk damaging the PCB traces. With that being said I would say these Yamahas have some of the best PCB boards that I have ever worked with. In the images below we can see the fresh new switches installed on both button boards.

This is very important part of the process as most of these batteries from the late 80s are reaching their end times (hats off to exceptions). Here is a quick look at voltmeter display. The battery is is running low and no longer provides 3V.

This inverter was used to power up the EL foil display. Since our unit no longer uses EL foil but LED to provide the light to the LCD, this inverter is no longer needed. We will remove it because it produces a very high whining tone that can be irritating after a while. On top of that, this interference can also leak into the audio path. So we will remove this inverter.

It is located on the jack board. And should be removed if you upgraded your display to LED. With the inverter removed we can call this project completed!

Every button can now be operated with the pinky finger. It is a super sensitive now. Alpha dial works perfectly after being cleaned with compresses air, and so do sliders. Visually, the unit looks completely new! As it just came from the store. The new green LED display looks super sexy! By the way, this was one of the filthiest synthesizers I have ever worked with. The display area was so gross that I decided not to post any pictures. I assume this unit was used in live situation before it came to the current owner who decided to send me the unit for refurbishment. For those wondering, how much would job like this cost, below 300 notes there is no way I would do a job like this!

Yamaha"s new budget phrase sampler is designed to allow rapid creation of phrase‑ and loop‑based music. Derek Johnson & Debbie Poyser put it to the test.

Hands up who remembers Yamaha"s little blue‑grey, videocassette‑sized sampling box, the SU10? Launched as part of their portable "Walkstation" series in 1996 (and reviewed SOS March "96), this unassuming £299 device marked Yamaha"s successful return to sampler manufacture after a long absence. Since the SU10"s launch, Yamaha have made great strides in the sampling arena, gaining enough confidence to introduce their sophisticated A3000 studio sampler (reviewed SOS July "97) and SU700 groove‑sampler variant (reviewed April "99), following them up with the highly regarded A5000 (and A4000, both reviewed April 2000). The cheap and cheerful approach of the SU10, however, hasn"t been forgotten. The beginner/portable sampler market is still there to be served — and lately it"s been augmented by a DJ and aspiring DJ fraternity for whom a phrase‑based sampler is ideal. Enter the SU10 for the 21st century: the appropriately silver‑clad SU200.

To deal with the basics first, Yamaha"s new baby is a 6‑voice polyphonic phrase sampler with eight pads (not velocity sensitive) for triggering loops and one‑shot samples, plus an extra "Audio In" pad for mixing external audio alongside samples — hit this pad to allow the audio to sound, then again to mute it. Up to 24 samples can be held in memory, divided into three banks of eight samples each. The SU200 offers only data‑compressed sampling, but is able to squeeze a maximum of 333 seconds of sample time from less than 1Mb of unexpandable onboard flash sample memory (samples don"t disappear on power down). This fairly amazing figure, it should be noted, is available only at the lowest of four sample "grades", namely High (44.1kHz); Standard (22.05kHz); Long (11.025kHz); and Extra Long (5.5125kHz). The High grade, at the other extreme, yields 42 seconds of mono sampling. Since the 200 can sample in stereo, these figures are halved for stereo samples.

Though rather light when lifted, the package Yamaha have chosen for the SU200 is immediately appealing. Its matte‑silver plastic finish is complemented by opaque, illuminating buttons, black legending, and three chunky control knobs, and its illuminating trigger pads are suitably large and finger‑friendly. The respectable selection of controls is clearly labelled, and while there"s some doubling up of buttons for various functions, this is fortunately kept to a minimum.

The custom backlit display, similar to the SU10"s, comes into play when samples are to be be recorded, as it hosts an input‑level meter, and also generally keeps you informed as to the status of samples (for example, their "grade" and whether they"re mono or stereo). In addition, it has a numerical section showing sample start and end times to help with trimming samples, and keeps tabs on remaining sample memory as you work. It lacks a contrast control, though, and can be tricky to see at some angles in some lighting conditions — could be awkward on stage.

The audio source is connected to the relevant input, and input level adjusted using plus and minus buttons under the SU200"s LCD. A sample grade is chosen, and a trigger mode set — sampling can be initiated manually, or automatically when a user‑settable trigger level is reached. Before sampling, it"s necessary to choose a pad for the sample to go to, as well as whether it"ll be mono or stereo and then you"re off. Samples can"t be named, by the way, so you might want to keep notes.

Once the desired audio is in place, it can be assigned a volume level (but not a pan position), copied to another pad if desired, and trimmed. You do this initially by using your ears: play back the sample, hitting the Start Point and End Point buttons on the fly where you want the sample to start and end. These points can then be fine‑tuned with the help of front‑panel controls and the display, which lets you edit in terms of individual samples and tempo. The latter option is ideal if you know a sample"s tempo, since samples taken in auto trigger mode should have a clean start; trim the end until the correct tempo shows in the display, and you have a perfect loop. The Point Clear button erases any erroneous points, and unwanted data at either side of the edit points can also be erased, returning precious RAM to the global pool. Now simply carry on sampling.

One further fly in the ointment is that, as mentioned above, Yamaha seem to have assumed that all samples will be one or two bars long, and that"s the basis on which the SU200 works out sample tempos for Loop‑Track Play mode. If a sample is longer, the SU200 calculates its tempo incorrectly and applies the wrong correction to get it to play in tempo with the other pads. The results can be interesting, but perhaps not always what you"re looking for! In some cases, the SU recognises a 2‑bar loop as one bar anyway — this consistently happened during the review with 2‑bar samples of hi‑hat patterns, for example.

As mentioned earlier, the SU"s effects are not effects as in reverb, chorus, and so on (though there is a simple delay) but rather ways of putting your samples through the sonic mangle. This is one area in which the SU200 does rather better than the SU10. Yamaha seem to have borrowed a couple of interesting tricks from the SU700/A3000 samplers and built simplified versions of them into the 200, which can only be good news.

Loop Remix: another bit of effective trickery from Yamaha"s more expensive samplers, this process "breaks the sample into multiple pieces and rearranges these pieces into a different order" — they might even be reversed. The knobs in this case control how many chunks a sample is divided into (all done by ear), plus how much reverse playback of chunks is included. It"s great on vocal samples.

Time: this is lumped with effects in the manual, though it"s activated by a button near the Tap Tempo switch, whereupon you use the tap tempo button or one of the knobs to change a sample"s tempo in real time; the manual notes that this introduces a distortion effect, but whether that was deliberate on Yamaha"s part or just a side‑effect of the process is anyone"s guess — it sounds more like noise than meaningful distortion to these ears. Whatever the case, this effect can actually sound great on vocal samples.

We"ve got to return a mixed verdict on the SU200. For even moderately serious samplists, the compromises that occur when balancing polyphony and effects usage against sample rate, scratching against polyphony, and so on, are aggravating (these people could do worse than aim for the excellent SU700 instead). The MIDI spec is very basic, and the sound leaves something to be desired if you"re accustomed to even budget studio samplers. Perhaps Yamaha should not have offered the ability to use samples recorded at different rates in the same pad bank, since it has a detrimental effect on sound quality.

Yamaha are always generous when it comes to supplying their samplers with raw material, and the SU200 is no exception. A CD full of Yamaha and third‑party samples is bundled in the package, offering a huge collection of rhythmic and melodic loops, hits and sound effects arranged in 99 tracks, each with up to 25 audio snippets. Many of the rhythmic entries are grouped according to tempo for ease of matching. Quality is good, and selection varied, with a decent range of contemporary styles covered.

Since the SU200 doesn"t name files or samples you"ll need a pen and paper to keep track of what samples are going where. The exception is when you save a WAV file to a card from your computer and then load that file into the SU: the first six characters of the file"s name show up in the SU"s display.

A wide variety of yamaha lcd display options are available to you, You can also choose from original manufacturer, odm yamaha lcd display,As well as from tft, fstn/cstn yamaha lcd display.

The CLP735 establishes itself with superbly accurate samples of the Yamaha CFXIII 9′ concert grand piano, and the Bosendorfer Imperial concert grand. In addition to these outstanding voices, the CLP-735 also features two new fortepiano voices, along with a variety of rhythms.

Yamaha has focussed it’s considerable resources on making the Yamaha CLP735, along with the entire CLP700 series, the most accurate reproduction of a concert grand piano experience possible. The Yamaha CLP-735 delivers Yamaha’s most sophisticated technologies, such as the GrandTouch-S key action, Virtual Resonance Modelling and Grand Expression modelling, all of which imbue the instrument with an unbeatable sense of authenticity, giving the player a genuinely realistic touch, response and sound.

The GrandTouch-S key action of the CLP-735 is Yamaha’s ‘longest’ feeling key action – that is to say, it fully replicates the response of a concert grand piano’s key length. Featuring synthetic ivory and ebony keytops to minimise slippage and maximise tactility and contact, the CLP735 plays the same way as a concert grand, offering identical feedback and response from the key mechanism.

The Yamaha CLP735 features both Virtual Resonance Modelling (VRM) and Grand Expression Modelling – essentially algorithmically-generated replications of the ways in which an acoustic soundboard (frame and strings, etc) interact with each other and with the sonic vibration of played notes.

Enjoy newly-sampled voices of the Yamaha CFXIII and Bosendorfer Imperial concert grand pianos, amongst a whole host of other high-quality instrument sounds, all delivered through a sophisticated 2 x 16cm speaker system with a 2 x 30 watt amplification.

Alternatively, enjoy the Yamaha CLP735 through headphones, where Yamaha’s Binaural sampling generates sound as perceived from the appropriate side of the instrument (low notes from the left, high notes from the right), and Stereophonic Optimiser technology ensures a fatigue-free playing experience, generating a subtle ambient ‘cushion’ between the player and the headphone earpiece.

The first thing you’ll notice about the Yamaha CLP735 when compared to the entry-level Yamaha CLP725 is the introduction of an LCD screen and control panel.

From lesson songs to a visual menu of the instrument’s voices, Smart Pianist expands your enjoyment of the Yamaha CLP735 – it can even convert your iOS music library songs into a chord chart for your to play along with, via the Chord Tracker feature!

They were followed by LCDs, which consumed less power and provided more detail in a smaller space. But these early LCDs had a problem - they used ambient light because they didn"t have any internal illumination. So they weren"t very easy to read in the dark - unlike 7-segment displays. (and for guitar pedals and some other "need to be visible in the dark" applications, then 7-segment displays are back in fashion!)

The second generation of LCDs had LED backlights, which were often green in the early days, although yellow and red were also possible (red looks very distinctive!). Nowadays you can get green, yellow, red, blue and even white, although LCDs have been, to some extent, superseded by OLEDs, although there is a tendency for OLEDs to be very small, maybe even tiny, in size.

The TX7 is an interesting device to photograph, because the sloping front panel means that it almost always has a reflection of a window or a ceiling light in it. In the photo above, the only way to avoid this is to take the photo from an angle which is so low that the LCD is being viewed from the wrong angle, and so looks worse that it actually is. But a photo where the LCD is readable also has windows and ceiling lights reflected in it! Modern house building trends, like large windows, skylights and arrays of small LED ceiling lights, just make it worse. Even taken from a crazy angle, there"s still a reflection - you can see an edge between the T and the X.

So years of struggling with the TX7"s display finally persuaded me to do something about it - and I bought a backlit LCD. There are two types of backlight for LCDs: electro-luminescent panels (several different variants), and LEDs, Electroluminescent panels use a high frequency, high voltage oscillator to light up a panel behind the LCD, and the pale blue "EL Foil" variety seem to have lives of a few years - so for example, my Kawai K5, Korg Wavestation and Yamaha SY99 all have electroluminescent backlights that no longer work. Replacing these displays (or the inverter electronics, which seem to contain the parts that fail) buys you another few years, and then they die again (my K5, for example). On gear which is already vintage, then the strain of major surgery to replace a display every few years seems like a dangerous gamble...

Anyway, I bought a replacement LCD (with a green LED backlight) for the TX7 from Chris at CPMagneticMedia on ebay.co.uk. It arrived very quickly, and was well packaged, bubble-wrapped on the outside, and then that dark reflective anti-static plastic inside. Fitting it was straight-forward: the TX7 needs only a few screws removing to open it up, and the LCD is easily accessible. The small black plastic "pop rivet" connectors that are used to fasten the LCD onto the mounting brackets are quite fiddly, so here"s a quick guide to releasing and installing them if you aren"t familiar with how they work.

Once the LCD is securely held in the brackets, there"s a temptation to over-tighten the screws on the brackets, which the detailed instruction PDF warns you not to do! It was interesting to see that Yamaha had put an empty header with +5 and Ground on the main PCB, which made the backlight power easy to hook up, and I did wonder if Yamaha intended it to be used for a backlit LCD upgrade...

The end result tones with the cyan buttons on the TX7 rather nicely, and it is consistent with many of the 1990s Yamaha LCDs that also used green backlights:

Most importantly, it is now easily readable in high ambient lighting, with reflections, with ceiling lights, and in the dark. Much better, and I wish I had done it a long time ago. If it wasn"t for my bad experience with the K5, then I might consider doing it for some of my other vintage synths. (although in general, many 80s synths require quite a lot of disassembly in order to get to the display and replace it, and that can be a lot of work...) Maybe one day...

Even so, I knew that the PSR-E363 was running on fumes, and the sounds were in desperate need of an update to bring it up to par. That brings us to the Yamaha PSR-E373, one of the most hyped-up updates to this long-running product line.

Yamaha promised quite a lot with this new keyboard, and I was very interested to see how much actually changed. After a lot of waiting, I finally got my hands on a test unit.

I’ll spoil my general impressions here. This isn’t another boring, iterative upgrade to the tried and tested PSR-E3X3 series. Yamaha did a lot of things right here, and I’ll do my best to cover every significant change and determine if this keyboard lives up to the marketing hype.

The control layout follows the standard arranger keyboard convention, with buttons flanking a backlit monochromeLCD screen in the center of the keyboard.

The LCD screen is one of the first changes I noticed. Previous models featured an orange backlight with bad viewing angles, which was a minor gripe I had with the PSR-E363. On the new PSR-E373, the backlight is now white with a bluish tint, which is a lot easier on the eyes.

The PSR-E373’s keyboard is a much-needed improvement to Yamaha’s typical unweighted key setup, and I can honestly say that it’s one of the better keybeds I’ve ever seen on budget arranger keyboards.

The biggest news is that Yamaha ported over sounds from their higher-end models. The default piano sound is a copy of the Live! Concert Grand Piano voice from the more expensive PSR-EW410 (which in turn was pulled from Yamaha’s $5000 Tyros).

This is the default sound you get upon booting up the PSR-E373, and it’s also always accessible via thePortable Grand button to the right of the LCD screen.

The electric pianos are a highlight. Much like their acoustic counterparts, Yamaha has improved on their sonic fidelity, and you end up getting some gorgeous, lush electric pianos that blow the competition out of the water.

Also, I’m still not a fan of the large subset of XGlite sounds. XGlite is Yamaha’s reimplementation of the General MIDI 2 standard, and these sounds are clearly inferior to the ‘panel voices’, which are designed specifically for the keyboard model they’re included on.

Cheesy names aside, these are Yamaha’s spotlighted sounds on most of their keyboards. Any sound with these labels are simply more detailed presets that use more involved sampling techniques to get a higher degree of realism.

Another interesting improvement is the inclusion of 11 new Super Articulation Lite voices, which are stripped down variations of Yamaha’s Super Articulation voices from their higher-end keyboards like the Genos and Clavinova CSP-150.

SAL is a fancy way of describing dynamic sample switching. For example, when you’re using a nylon stringed guitar sound, you can hold down the ‘Articulation’ button to the right of the LCD screen to play harmonic notes instead.

Luckily, Yamaha thought of this, and you can dive into the functions menu to assign your sustain pedal to articulation mode, allowing you to emulate articulation switching using your feet (but notably, this disables the sustain functionality, so it’s a trade off you’ll need to consider).

If I had to theorize how Yamaha achieved this leap in quality, I’d attribute it to their new ‘tone generator LSI’, which is Yamaha’s patented tone generation electronics signal chain. Even repeat sounds from prior models sound better on a side-by-side test.

The Yamaha PSR-E373 has48 notes of maximum polyphony, the same as the PSR-E363. The same comments in our past review still apply, and this is a very low amount, especially by 2021 standards.

A polyphony count of 48 means you can only play up to 48 sounds at once before you hear abrupt cutoffs. The way Yamaha counteracts this is by some clever programming.

The Yamaha PSR-E373 includes dual 2.5W speakers, which are perfectly usable for home-based practice, but probably insufficient to handle live venues of significant size.

Yamaha has always been really good with tuning their speakers, and the same level of polish is retained with this new model. While you’ll inevitably hear a bit of distortion at high volumes, reasonable levels should be totally fine.

If you’re into the social media craze, you could even use Yamaha’s Rec’n’Share app with the PSR-E373 to record your playing before sharing it with your friends and family.

I do wish Yamaha included Bluetooth connectivity, as more and more smartphones are losing their headphone jacks. However, that’s a really petty nitpick, and it’s hard to complain at this price point.

Yamaha sells the matching L-2C stand, but it is a bit of the expensive side. The PSR-E373’s standard size means it will work well enough with any generic X- or Z-stands.

I’m one of the rare individuals who preferred Yamaha’s PSR-E363 over Casio’s cheaper, and arguably more powerful offerings. I always felt that Yamaha had the edge in terms of sounds, but that seems to be the minority opinion.

However, if you don’t mind missing out on realistic keys, and just want a massive feature set to lose yourself in, the Yamaha PSR-E373 is tough to beat.

With our recent reviews of Roland’s RD-88 and Casio’s PX-S series, we know that these companies have incredible sound generation techniques that go way beyond Yamaha’s purely sample-based approach, and having those technologies in a budget keyboard will only benefit us, consumers.

The history of the well-known company Yamaha dates back to 1887, the year Yamaha was founded by Torakusu Yamaha in Japan. The product range includes articles from the areas of electronics, HIFI and musical instruments. The “Yamaha Motor Corporation” is a subsidiary company (founded in 1955). This corporation manufactures motorcycles, quads, engines etc. The new Yamaha mid-mounted electric bike engines became a real competition for the successful Bosch electric bike drive systems.

The first Yamaha mid-mounted engine was already introduced onto the market in the year 1993 (!). Especially in Asia, Yamaha electric bike drive systems are very popular.

In 2014, Yamaha released a new mid-mounted engine drive system called “Next generation”. These drive systems are being used in, for example, GIANT E Bikes (Full-series, Prime & Explore series). The new Yamaha engines belong to the best electric bike drive systems on the market. They represent a genuine alternative to comparable Bosch engines.

The Yamaha Next Generation E Bike engines are based on a 4 sensor technology (pedal frequency, power, engine speed, speed sensor). The associated battery (400 Wh) is much more powerful than its predecessor.

During the last years, there have been miscellaneous technological developments in the area of Yamaha drive systems. As a result, we nowadays have to distinguish between different Yamaha electric bike drive systems (current status 2017):

The Yamaha PW engine has been brought onto the market in 2014. Nowadays, it is being used in many electric bikes. This engine attracted considerable attention because it was relatively small and lightweight, but nevertheless very strong (70 Nm). Thanks to its three sensors the engine had very fine response behaviour. There were four support modes. Here we compiled the most important technical data of the Yamaha PW (Powerdrive) engine:

This powerful drive system has been brought onto the market in 2017. It was especially developed for the use in E-Mountain Bikes. Something very interesting about this drive system is a fifth support mode (“Extra Power Mode”), which is optimized for steep ascents. The reaction behaviour has been improved, too. The power has been raised to 80 Nm. In comparison to the Yamaha PW drive system, the engine support is much more subtle. The weight of the engine has been reduced from 3,5 to 3,1 kg. Another new feature is a powerful 500 Wh battery.

By the way: The electric bike manufacturer GIANT also uses the PW-X mid-mounted engines, but calls the system “SyncDrive Pro”, because it has been equipped with a special software developed by GIANT. The torque is 80 Nm, too. The performance has also been slightly increased – as a result, in the “Power” mode the support now reaches up to 360%. Even the weight and the measurements have been slightly reduced (in comparison to Yamaha PW-X). GIANT SyncDrive Pro comes with the powerful 500 Wh battery, too (however, older models can be upgraded with this battery, too).

The compact Yamaha SyncDrive mid-mounted engine has a capacity of 250 W and a powerful maximum torque of 70 Nm. What´s so special about this system is the so-called “Zero Cadence Support” – that means, the engine supports from the first crank turn, without any delay. Another advantage of this system is that the engine with crank set can be combined with a double chain ring, which enables you to ride with a higher pedal frequency on gradients. The system has got 4 support modes. In most cases, the Yamaha SyncDrive system is equipped with a 400 Wh battery.

Yes! In the meantime there are at least six recommendable tuning tools which you can use to tune Yamaha electric bike engines to make them much faster. There are tuning tools for all Yamaha drive systems available: Powerdrive / SyncDrive / PW-X.

We want to present you some really good Yamaha electric bike tuning Products – for example, the new BluePed module, the Badassebikes Chiptuning Box and the Sx2 Dongle.

The BluePed module is one of the most elegant tuning solutions for electric bikes with Yamaha PW mid-mounted engines with LCD / LED display. This tuning tool can be conveniently controlled with a free Smartphone App. One of the big advantages of this device is that it offers an unusually large number of configuration options. The BluePed module does not only take away your electric bike engines 25 km/h speed restriction, it also enables you to set the level of the maximum engine support individually from 15 km/h up to 75 km/h (about 47 mph). Another advantage of this tuning tool is that your electric bike display will show all data correctly (current speed etc.). But if you use the BluePed App, your Smartphone display can even show you many more parameters! Hint: In principle, the BluePed App is only needed to adjust the settings of the BluePed module (wirelessly via Bluetooth). All settings will be automatically saved. Due to the fact that the BluePed device can be switched on / off with your electric bikes light switch, you do not have to take your Smartphone with you every time you want to use your bike. Compatible with Yamaha Powerdrive. more

The nine-foot CFX is a is a full sized concert grand piano characterized by a wide palette of tonal colors and the ability to create the most subtle expressive nuances. The CFX can project over the sound of a symphony orchestra, even in very large halls. The crowning glory of the Yamaha line, today"s CFX concert grand incorporates numerous refinements in performance, elevating this revered instrument to an even higher standard of excellence. The CLP Clavinova puts the majesty of this $180,000 concert grand right at your fingertips.

If the piano is getting played for 20min, 45min, or hours a day, the noise of the piano can be disruptive to the home and the noise of the home can be distracting for the pianist. When you need to practice and the tv is on, the other kids are doing homework and the baby is sleeping, you’ll be grateful for headphones. If you think the Clavinova sounds great through speakers, just wait until you hear it through a nice set of headphones! Yamaha uses Binaural sampling which is a fancy way to describe a sophisticated recording technique using a special combination of microphones to reproduce the sound of an acoustic piano to the human ear through headphones.

Pianists prefer grand pianos not only because of the way they sound, but also because of the way the keys respond to their touch. When grand piano keys are struck, there is a certain weight or resistance to the touch. Similarly, when keys are released, they return to a resting position based on the balance between the key and the internal mechanics of the keyboard. It is difficult to reproduce the natural return of the keys of a grand piano in a digital piano, due to differences in the mechanics. Yamaha carefully studied these characteristics when developing the GrandTouch keyboard, and has now reproduced this fine balance in the Clavinova digital piano. The result is GrandTouch - detailed grand piano feel that allows for uniform tone control, precise rhythm and smooth melodic expression - fundamental to an exceptional musical performance.

Featuring Yamaha Smooth Release technology, Clavinova offers the crisp tone heard when playing staccato as well as the lingering sound produced by releasing the keys more. This provides finely-nuanced response to the pianist’s playing.