Yamaha Design “Synapses” CX Series


German Design Award

The CX Series-grand pianos designed to be a new standard.


From beginners to maestros, from living rooms to music schools, the CX Series features a variety of sizes that reflect its identity, offering a model for any performer and performance environment.


The keyboard ends are some of the most identifying features of a grand piano. The design of the CX Series emphasizes a connection and balance between the legs and body of the instrument while keeping excess visual elements to a minimum, allowing performers to concentrate on their playing during long performances.


The legs are devoid of any traditional ornamentation, with the design instead emphasizing the their length and the beauty of their lines. The pedal box has been newly designed with the box itself supported on both sides, creating a compact yet highly functional design.


A new form has been chosen for the music stand used on CX Series pianos. Anticipating that musicians will spend many hours practicing, all extraneous decoration has been removed from the newly shaped stand, leaving flowing, curving lines that allow it to match perfectly with the varying lengths of the range of models in the CX Series, from the smaller C1X up to the C7X, the largest in the lineup.

Yoshihisa Sugiura
Yoshihisa Sugiura
Yamaha Design Laboratory

Atsushi Kitazawa
Atsushi Kitazawa
Yamaha Design Laboratory

Playability that matches the environment in which the piano is played, and the view from in front of the keyboard.

With a 45-year history that began with its release in 1967, the C Series has been a leading series of grand pianos, offering a broad range of models. The new CX Series utilizes the technology and sound creation know-how accured during the crafting of the flagship CFX concert grand piano, and represents a major change from the lineup of the models in the C Series.
With a design centered on the concept of creating a new standard for grand pianos suited to the modern age, CX Series pianos are primarily intended for use as practice instruments in studios, music colleges, and the home, where the CFX was created specifically for use in large halls. The keyboard ends at both sides of the keyboard have been designed, for example, with few elements that attract the attention and pressure the performer. The focus on the exterior beauty of the instrument has resulted in a piano that places little or no mental stress on musicians and enables them to practice for long hours without losing concentration. We designed the music stand to provide sufficient space to place scores on, and gave it a shape that allows the sound of the vibrating strings to reach the ears of the players with ease.
With this change in models, we have revised the tuning forks mark, the emblems, and the logotypes for each emblem, embossing them in the frame that is at the heart of the piano’s sound, seeking to present the appeal of the unified image of the entire series. Additionally, when designing a large instrument such as the grand piano, we were aware that the physical instrument presents a very different impression to what is seen on a plan or a computer screen. That is why, when crafting the physical design mockups of the legs and keyboard ends, we took them to the factory and checked the balance with each of the different C Series models current at the time, from C1 through to C7. We then returned to the Design Laboratory for adjustments, a cycle that was repeated many times in order to develop the more intricate areas of the instrument. Although it was a challenge, I am proud that we were were able to take part in the transition to a new lineup of the grand pianos that represent Yamaha.

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