Ex Parte Westphal

Patent Trial and Appeal Board

Jun 20, 2016

12361072 (P.T.A.B. Jun. 20, 2016)

UNITED STA TES p A TENT AND TRADEMARK OFFICE
APPLICATION NO. FILING DATE FIRST NAMED INVENTOR
12/361,072 01/28/2009 Geoffry A. Westphal
34018 7590 06/22/2016
GREENBERG TRAURIG, LLP
77 WEST WACKER DRIVE
SUITE 3100
CHICAGO, IL 60601-1732
UNITED STATES DEPARTMENT OF COMMERCE
United States Patent and Trademark Office
Address: COMMISSIONER FOR PATENTS
P.O. Box 1450
Alexandria, Virginia 22313-1450
www .uspto.gov
ATTORNEY DOCKET NO. CONFIRMATION NO.
31083.28US1 7575
EXAMINER
SCHNIREL, ANDREW B
ART UNIT PAPER NUMBER
2625
NOTIFICATION DATE DELIVERY MODE
06/22/2016 ELECTRONIC
Please find below and/or attached an Office communication concerning this application or proceeding.
The time period for reply, if any, is set in the attached communication.
Notice of the Office communication was sent electronically on above-indicated "Notification Date" to the
following e-mail address( es):
j arosikg@gtlaw.com
chiipmail@gtlaw.com
escobedot@gtlaw.com
PTOL-90A (Rev. 04/07)
UNITED STATES PATENT AND TRADEMARK OFFICE
BEFORE THE PATENT TRIAL AND APPEAL BOARD
Ex parte GEOFFRY A. WESTPHAL
Appeal2013-010168
Application 12/361,072
Technology Center 2600
Before JOHN A. JEFFERY, BRADLEY W. BAUMEISTER, and
DENISE M. POTHIER, Administrative Patent Judges.
POTHIER, Administrative Patent Judge.
DECISION ON APPEAL
STATEMENT OF THE CASE
Appellant appeals under 35 U.S.C. § 134(a) from the Examiner's
rejection of claims 12-17. App. Br. 1. 1 Claims 1-11 were canceled in a
Response filed June 18, 2012. We have jurisdiction under 35 U.S.C. § 6(b).
We reverse.
1 Throughout this opinion, we refer to ( 1) the Final Action (Final Act.)
mailed December 21, 2012, (2) Appeal Brief (App. Br.) filed April 23, 2013;
(3) the Examiner's Answer (Ans.) mailed June 21, 2013; and (3) the Reply
Brief (Reply Br.) filed August 13, 2013.
Appeal2013-010168
Application 12/361,072
Invention
Appellant's invention relates to input devices for computers, including
a computer mouse that provides a touchless input interface. See Spec. 1 :4--5.
In one embodiment, a mouse (e.g., 100) has sensor subsystems (e.g.,
114L/114R) that senses surface movements (e.g., user's finger movements)
representing finger gestures, such as finger taps or swipes, proximate to one
or both sides of the mouse. Spec. 4:18-21, 5:3-13, Figs. 1-2. These sensed
movements may be used by a computer to cause (1) locations on computer
display to be pointed to or (2) information on the computer display to be
moved and/ or selected. Spec. 5: 10-6: 13.
Claim 12 is reproduced below with emphasis:
12. A computer input device, comprising:
a housing in which is carried a processing circuit;
a memory having instructions for controlling operations of the
processing circuit;
first and second touchless sensor subsystems in communication with
the processing circuit, each of the first and second toitchless sensor
subsystems being adapted to monitor a movement of a corresponding one of
first and second surfaces relative to the housing occurring in spaced
proximity to the housing and to provide to the processing circuit a signal
indicative of the movement of the corresponding one of the first and second
surfaces relative to the housing occurring in spaced proximity to the
housing; and
a transmission circuit under control of the processing circuit for
issuing transmission signals to a computer in response to the signal provided
by each of the first and second touchless sensor subsystems such that the
transmission signals correspond to the movement of the corresponding one
of the first and second surfaces relative to the housing occurring in spaced
proximity to the housing as monitored by each of the first and second
touchless sensor subsystems.
2
Appeal2013-010168
Application 12/361,072
The Examiner relies on the following as evidence of unpatentability:
Bohn
Hinckley
US 2003/0006965 Al
US 6,559,830 Bl
The Rejections
Jan.9,2003
May 6, 2003
Claims 12-15 are rejected under 35 U.S.C. § 102(b) as anticipated by
Hinckley. Ans. 4--8.
Claim 17 is rejected under 35 U.S.C. § 103(a) as unpatentable over
Hinckley. Ans. 8-9.
Claim 16 is rejected under 35 U.S.C. § 103(a) as unpatentable over
Hinckley and Bohn. Ans. 9-10.
THE ANTICIPATION REJECTION OVER HINCKLEY
Regarding independent claim 12 and the recited "touchless sensor
subsystems," the Examiner find that Hinckley teaches "a user will move
their hand proximate to the sensor and the sensor \~1ill detect that the users
hand has moved within range of the sensor" (Ans. 11 ), and "a sensor [in
Hinckley] that senses the change in the presence of a user's finger will
monitor a movement as claimed because the user has to move [his or her]
finger in order to change [the] state of the sensor" (Ans. 13). Among other
arguments, Appellant argues that Hinckley's proximity sensors are not used
to monitor movement as recited. App. Br. 3--4. Specifically, Appellant
contends that Hinckley's proximity sensors do not monitor a surface
movement relative to the housing, because they merely sense when a surface
(e.g., a user's hand) is proximate to the sensors. App. Br. 4--6; Reply Br.
2-3.
3
Appeal2013-010168
Application 12/361,072
ISSUE
Under§ 102, has the Examiner erred in rejecting claim 12 by finding
that Hinckley discloses "each of the first and second touchless sensor
subsystems being adapted to monitor a movement of a corresponding one of
first and second surfaces relative to the housing occurring in spaced
proximity to the housing"?
ANALYSIS
Appellant's main contention is that Hinckley's proximity sensors are
not adapted to monitor a surface movement "relative to the housing
occurring in spaced proximity to the housing" as recited in independent
claim 12. App. Br. 4--6; Reply Br. 3--4. We agree.
During examination of a patent application, a claim is given its
broadest reasonable construction and read "in light of the specification as it
would be interpreted by one of ordinary skill in the art." In re Am. A cad. of
Sci. Tech Ctr., 367 F.3d 1359, 1364 (Fed. Cir. 2004) (citations and internal
quotation marks omitted). Turning to the disclosure, the Examiner states
that the above recited "touchless sensor subsystems" (e.g., 114L/114R) "are
to be used to sense movements of the surface, e.g., a user's hand or fingers,
proximate to the left and/or right sides of the computer input device 100."
Spec. 4: 19--21, quoted in Ans. 10-11. The disclosure further includes non-
exhaustive examples of such sensors that sense surface movements,
including optical sensors that function to emit light using an LED. Spec.
5:3-5. The Examiner also includes in the record a definition of "movement"
as "the act or process of moving or [a] change of place or position or
4
Appeal2013-010168
Application 12/361,072
posture." Ans. 11 (quoting from merriam-webster.com). 2 We agree this is a
reasonable understanding of the term "movement."
Similar to the optical sensor discussed in the Specification, Hinckley
discloses sensors that use reflected light from an LED to detect when the
user is proximate the sensor. Hinckley 5:47-52, cited in Ans. 5, 11. Given
the sensor similarity, along with determining that the limitation "adapted to
monitor a [surface] movement" includes when a sensor senses a user that
moves a hand from outside of the sensor range to within range, the Examiner
states Hinckley's sensors are adapted "to monitor a surface movement
relative to" the computer input device's housing as recited.
Yet, as the disclosure states (Spec. 4: 19-21) and Appellant notes
(App. Br. 4), the recited "sensor subsystems" monitor surface movements
proximate to the input device. One such "subsystem" involves capturing
sequential images and performing mathematical analysis of the successive
frames to determine the movement's direction, magnitude, and speed. Spec.
5:3-10. Although the disclosure indicates that this example is "meant to be
illustrative" (Spec. 7: 16), the disclosure informs our understanding of how
the recited sensor subsystems monitor surface movements not surface
proximity.
On the other hand, Hinckley' s sensors subsystems detects when a
user's "surface" (e.g., a user's hand or fingers) is within range of a sensor-
not when the user surface is moving proximate to the sensor. See Hinckley
5:35-37 (stating "a touch sensor is touched ... when the user is sufficiently
2 Definition l(a) of movement, available athttp://www.merriam-
webster.com/dictionary/movement (last visited June 10, 2016) ("the act or
process of moving; especially: change of place or position or
posture.")
5
Appeal2013-010168
Application 12/361,072
proximate the sensor in the case of the proximity sensor."). For example,
when a user surface is within range, and the user surface moves but remains
within range of the sensor, Hinckley's proximity sensor does not detect
movement, but rather only senses that the user remains within range of the
sensor. That is, the sensor detects the proximity of a user's surface to the
sensor, but does not monitor the user's actual movement "occurring in
spaced proximity to the housing" as recited.
To be sure, the Examiner highlights two scenarios in Hinckley, when
the sensors (e.g., 692 and 696 in Figures 9A and 9C, cited in Ans. 5) respond
to user movement. These include when the user (e.g., a hand) moves within
or moves outside the sensor's proximity range. See Ans. 11, 13. However,
such sensing of the user's hand moving in or out of range of the proximity
sensor in these scenarios is incidental. Hinckley's sensors are in fact only
sensing proximity-not movement. App. Br. 4--5; Reply Br. 2-3.
As indicated in In re Man Machine Interface LLC, No. 2015-01562,
2016 WL 1567181, at *4 (Fed. Cir. Apr. 19, 2016), the phrase "adapted to"
can be used broadly to mean capable of or suitable for performing a
function. Even so, the court indicates that the "adapted to" phrase, as used
in the claims and the Specification, can take on a narrower meaning. Id.
Here, the instant disclosure discloses the touchless sensor subsystems (e.g.,
114 L/R) sense surface movements when the user's hand or finger is
proximate to the computer input device and reporting such surface
movement information to the sensor. Spec. 4:18-21, 5:10-13, 20-23. There
is no discussion of detecting proximity of the user's hand or finger.
Additionally, proximity sensors are mentioned in the Background section,
arguably distinguishing such sensors from the claimed "touchless sensor
6
Appeal2013-010168
Application 12/361,072
subsystems" adapted to monitor surface movement in spaced proximity to
the housing. See Spec. 2:5-8 (acknowledging proximity sensors in the
Background Section that detect when a hand is outside of, or in close
proximity to, a housing).
We do not import a specific example from the disclosure into claim 12
when construing the phrase, "touchless sensor subsystems ... adapted to
monitor a movement of a corresponding one of first and second surfaces
relative to the housing occurring in spaced proximity to the housing." Even
so, one skilled would have construed the above phrase, when read in light of
the disclosure, to include sensors that monitor actual surface movements
relative to the housing and occurring in spaced proximity to the housing (i.e.,
monitor something more than proximity of a surface to the housing). As
explained above, although Hinckley's system arguably incidentally responds
to user surface movements, it nevertheless merely detects the surface's
proximity resulting from those movements-not the movements themselves.
Therefore, Hinckley' s sensors are not adapted to monitor the recited surface
movements.
We thus are constrained to find that Hinckley, as proposed, does not
anticipate claim 12.
However, we note for the record the Roland® Synthesizer SH-201
Owner's Manual (2006) ("Roland") discusses a "computer input device,"
namely a music keyboard adapted to send data to a computer, where the
keyboard includes an optical sensor that monitors user movements relative
to a housing. See Roland 2, 7, 20-21 (discussing moving a hand above a
sensor to control settings, such as pitch, volume, or brightness); see also id.
54 (discussing connecting to the keyboard to a computer). We make no
7
Appeal2013-010168
Application 12/361,072
determination for the first time on appeal whether this reference teaches the
elements recited in claim 12. We leave such determination to the Examiner.
Accordingly, Appellant has persuaded us of error in the rejection of
(1) independent claim 12, and (2) dependent claims 13-15 for similar
reasons.
THE REMAINING REJECTIONS
Appellant has not presented separate arguments for the remaining
rejections. App. Br. 3---6. However, these rejections concern dependent
claims 16 and 17, which depend from claim 12. Hinckley is still relied upon
to teach the recited touchless sensor subsystem. See Ans. 8-10. We thus do
not sustain these rejections for the reasons previously discussed.
CONCLUSION
The Examiner erred in rejecting claims 12-17 under§§ 102 or 103.
DECISION
The Examiner's decision rejecting claims 12-17 is reversed.
REVERSED
8
Notice of References Cited
*
Document Number Date
Country Code-Number-Kind Code MM-YYYY
A US-
B US-
c US-
D US-
E US-
F US-
G US-
H US-
I US-
J US-
K US-
L US-
M US-
*
Document Number Date
Country Code-Number-Kind Code MM-YYYY
N
0
p
Q
11 ~ I
Application/Control No.
12/361,072
Examiner
SCHNIREL, ANDREW B
U.S. PATENT DOCUMENTS
Name
FOREIGN PATENT DOCUMENTS
Country
NON-PATENT DOCUMENTS
Name
Applicant(s)/Patent Under
Reexamination
Art Unit
I Page 2699 of
Classification
Classification
* Include as applicable: Author, Title Date, Publisher, Edition or Volume, Pertinent Pages)
u Roland Synthesizer SH 201, Roland Corp, Copyright 2006, 84 pages
v
w
x
*A copy of this reference 1s not being furnished with this Office action. (See MPEP § 707.05(a).)
Dates in MM-YYYY format are publication dates. Classifications may be US or foreign.
U.S. Patent and Trademark Office
PT0-892 (Rev. 01-2001) Notice of References Cited Part of Paper No.
SYNTHESIZER .. 11-i!'lll
'Diank you, and congratulations on your d1oice of the Roland SI·f--20L
r
~~~~~ ~"-"t-..~~""-~'Rt-~~~~~~·
Befora using this unit, carefully read the sections entitled: "USING THE UNIT SAFEL V"
(p. S) and "IMPORTANT NOTES" (p. 10). These sections provide important information
concerning the proper operation of the unit Additionally, in order to feel assured that
you have gained a good grasp of every feature provided by your new unit, Owner's
manual should be read in its entirety. The manual should be saved and kept on hand as a
convenient reference.
To learn about the performance functions ...
Playing sounds ............................................................................... p. 16
To create your own sounds ...
c:reating sounds ............................................................................. p. 27
Para1nete.r list ................................................................................. p. 60
Block diagrarn ................................................................................ p. 75
To learn how the knobs and buttons work ...
Panel descr.iplions ............................................................................ p. 2
Panel index ..................................................................................... p. 76.
Contents ............................................................................................. p. 4
Index ................................................................................................ p. 78
• .A!l prndw:f rwmes mentioned in tl1is document 111·1? tmden111rh·s m· regi;:tered Cra1h?1t111rks o/ i.Jidr respeai<.1e owner~.
Copyright© 2006 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND CORPORATION.
Panel descriptions
Top Panel
OSC 1 /OSC 2 (p. 28)
This is the creative core, where the process of
sound production on the synthesizer begins.
It generates the t<:;iveforn1 lhat determines the
chanicter of the sound, and determin~-:.~ the pi tdi.
PITCH ENV (p. 31)
'Ihis cret1tes lin1.~'·varying d1;mges in pitch, sudi.as
the subtle pikJ\ devfa lion that oco.trs wh~n you
bq;in blowing a note on a brass instrumen I, or the
dram Mic pitch swoop of '"-n electronic drum.
1• I
if DUAUSPLIT Button (p. 46)
~~ 'Tliis button lE"ts you layer hvo dHfrm2nt sounds that have be(:ln ,,·reahxJ
:i~
& by th<~ OSC 1 /2, MJX/MOD, .H"LTE.R, '\'>.">..'.:0~'<\.':.-X•::-::~""''~~'1.'>.1~:;.;:..1~::.;.:~~f~('::.~,)~~·.;;:;:::;-*.;~~Kl.&N~'-.\!;;;.~-;;"""S.;-;.-:;,'>.-.;~~~~'<~"'..•';i~'\'':-...'·:,y:;t;::..,t:;...\..,'\....._';,;...-;,~N,:01~:$..~~:::::.,\•'"(;.i~
Rear Panel
2
~/:~~--;:..·::::?,:.;-,-.~~,.,,,;;:,:n'~~·}'"..N"~..;;j~N;:;,:.::,~;~:;~:~._ ,~:;"$;~·;~~1:::&:.F,·X;'»N>\-:::1.~·~,;·.~.;:N~~~&~~'}';.::.-;s;!:.~~i;t~~'t~»..'-.~~~~·;:;.~.:~~'::-N;:~.:::<.,1:-.t~~:\~"';;.,y~~
. MIX/MOD TI~ ~· FILTER (p. 34) ~
( P. 32) '·,·~.~ ...' t,i. ~.·· :~ :; This ildjw;;ts the brightness or lhickner;s of the sound ~
'1 ~! produced in the MDing tht~ pitch (PITCH) ........................................................................................................ 20
C11ans>ing tlie volume to add expn~ssion to your performance (EXPRESS) ......................... 20
C11anging I.he brightness or other aspects of the sound (FILTER/ ASSIGN) ........................ 21
Sustaining the .notes (Hold p(~dal) ......................................................... --............................................... 21
Adding dynamics to yDm· performance (Expression peda.l) .............................................................. 21
Automatically playing arpeggios (ARPEGGIO) .................................................................................. 22
Playing arpeggios (ON/HOLD) ................................................................................................. 2.2
Sdecting how the arp<'ggio is to sound (SELECT) ................................................................... 23
Recording your t:iei:formance (RECORDER) ........................................................................................ 24
Recording ....................................................................................................................................... 24
Saving a recorded ph:rase ....................................................................................................... -- .... 25
.P.layba(:k .......................................................................................................................................... 26
Creating sou ndsllli .. lllilll Ill l'lll!ill'fl .. .......... ... 111,,.Jll" .......... ••••• w ... "'"' "' ........... •• ,. ...... llll llllllll llli··· Iii ......... .._"'"''"" ................... •1111:.t l'lil27
Bow sounds are created .......................................................................................................................... 2.7
Specifying the waveform and pitch (OSC) ........................................................................................... 28
OSC 1 (or>cillat.or l) button/DSC 2. (osdllator 2) button. ............................................. ., ........... 28
v\lA VE buttons ............................................................................................................................... 2.8
P.lTCl-1 kn.ob ................................................................................................................................... 29
DETUNE knob ................................ ,. ............................................................................................. 29
.PW /FEEDBACK (Pulse Width/Feedback) knob ..................................................................... 30
rNTERVi\L button.;; ....................................................................................................................... 30
PITCH ENV (pitch envelope) sliders ......................................... , ............................................... 31
Combining waveforms to create rkh or metallic sounds (MIX/MOD) ........................................... 32
TYPE button ................................................................................................................................... 32
BALANCE knob ............................................................................................................................ 33
LOv\i FREQ (low· frequency) button ...... _. .......... ., ....................................................................... 33
4
' ' '. ! '
Contents
Specifying tl:m brightness and thickness of the sound (FrLTER) ....................................................... 34
TYPE butto:n ................................................................................................................................... 34
SLOPE button ................................................................................................................................ 35
CtJTC).FF .knc,b ................................................................................................................................ 35
.RES(JNAN"l~E knob ................................................................................................................. ., ... 36
KEY FOLLC)W knob ...................................................................................................................... 36
FILTER ENV (filter envelope) sliders ......................................................................................... 37
Specifying how th~~ sound begin .. s and ends (AMP) ............................ ., .............................................. 38
LEVEL knob ................................................................................................................................... 38
AMP ENV (amp envelope) sliders ............................................................................................. 38
Creating a powerful, distort~'d sound (OVERDRIVE) ................................ ,. ...................................... 39
()\'E.RD.RIVE button ..................................................................................................................... 39
M~odulating the sound (LFO) .................................................................................................................. 40
LFO 1 button/ L.FO 2 button .................. -- .................................................................................... 40
SJ-IAPE buttons ................................................................................. : ............................................ 40
RATE knob ..................................................................................................................................... 41
lJESTJN . .A TR)N 1 .......................................................................................................................... 42
.DESTIN.A TR)N. 2 ....... ,, ................................................................................................................. 43
Adding depth and spadousness to Lhe scmnd (EFFECTS) ................................................................. 44
.EDIT button .................................................................................................................................... 44
.FX ()N (effect on) button .............................................................................................................. 44
TIME knob ...................................................................................................................................... 45
DE.PT.I-I knob ................................................... ,. ............................................................................. 45
Combi11ing two sounds (DUAL/SPLTT) ............................................................................................... 46
Layering two sounds to play them simultam~ou,-:;ly (DUAL) ................................................. 46
Playing different sounds in the right 0:md left lrn.nds (SPLIT) ................................... ,. ............ 47
Saving a sound you creafa;~ (WRITE) ...................................................................................................... 48
Performing with sound from your digital audio playeri etc.
(EXT IN) "'"'"'""" ........... ,.,.,.."' 1(111(111 .. ....... •"'"'"" ""' IC!Ol!OI" lllloilllill ii•••• ........ "'.~ lllilllll ...... If"""'"'"'" ................. "' ltlli .. l'ill'IMlllll ......... """'."'"' ~ 49
Connecting your dig·ital audio player, etc. .......................... ., ............................................................... 49
Ad_justing the volun:ie from the external source (INPUT VOL knob) ................................... 49
Canceling the cer1ti~r sound (CENTER CANCEL ON button) ................................. ., ........... 49
Modifying the sound from the external sourcE.~ (AUDIO HI.TEI{) ...... ,. ............... ,. .......................... 50
r1I:rER C)N button ............................................................................................ ,. .......................... 50
TYPE button ................................................................................................................................... 50
SL()PE butt.on ........................................................................................... ,. ................................... 51
C"LJ]"()FF knob ................................................................................................ · ................................ 51
.RESC).NAN.CE knob ...................................................................................................................... 51
Using the keyboard to play sound from an external source (WAVE, EXT IN) ................... , ......... 52
Producing so11nd from the external devic(~ only when you play the keyboard .................. 53
Using the SH~201 together with your computer or another sound
module 11()1 .. .......... "-"!OI ""'"" .................... lli:lllillliloilll• '"'"" ..... " ""' ""'llil,.,,. ..................... ;ioj lllilllll'.JI .. ....... ..... 111,,. "' ... "" ........... llilllillllli Iii .......... "" 54
Using your computer to record sound or performance data from tllli.~ SH-20"1 {USH) .................... 54
USB audio signal flow .................................................................................................................. 55
Creating sounds in greater detai.l (Editor)/
Using your computer to manage patches (Libraria11) ... ., .................................................................... 56
Using SlJ.·201 Editor to create sounds arid arpeggios ............................................................. 56
Using SH-201 Librarian tci manage patches .............................................................................. 56
SH-201 Editor System rec1uirements .......................................................................................... 57
Using the SH-201 as a controller or a sound module (MJDI) ..................................... ,. ...................... 58
About .~1JDI connectors ........................................................................ , ....................................... 58
MII)]' channe.ls ................................................................................................................................ 58
Using an external sequencer to play the SI-l-201 's inkmal sound genera.tor (MLDI IN) .... .59
Using the SH-201's keyboard and .knobs to play an E.~xternal sound module
(.Mll)l CJLJT) ...................................................................... ,. ............................................................ 59
5
Contents
Parameter 1 ist .. ""'"'""""··· ..... "',Ill!"!("""" .. ""····· ...... "'.,.,.. ........... "'"" .... ,.. .... '" ...... "'Iii ... Iii ....... ....... io: ............... 60
()SC MIX/MC)!) para:tneters ................................................................................................................... 60
FILTER & AMP paran1eters .................................................................................................................... 61.
LP() panuneters ........... ., ............................................................................................................................ 62
EPFECTS parmnE~ters .. ., ........................................................................................................................... 63
P ATCTI C<)MM()N parai:neters ............................................................................................................. 64
ARPEG·Gil') pararneters ........................................................................................................................... 66
About arpeggio style-8 ................................................................................................................... 67
SYSTEM COMMON parameters ........................................................................................................... 68
0th.er panuneters ...................................................................................................................................... 70
Setting the SPLIT f'()lNT ......................................................................................................................... 71
Sdting tlw PITCH BEND l'!ANGE .............................................................................................. ,, ......... 71
Control change message list ....... "'"'"'"'M"'"'""""',.,."'""i't"'"'" ........ ,., .......... llli .................. 1111 ..................... :.ioc1111111 72
MIDI implementation chart .. w ........ w .................... 11 .... 111 ........ 11 ........... lll .. .Jjlii ....... 111.,.'!lj .... "' .................. """'" "'"" 73
Block diagram " .......... ~ .. -... ... 1111 .......... ••• "'" .. " llflllillli .. .......... "' ... .... 1111 .. .-w ...... * .. •"'II"" Kll.lfll ...... 111111•• .... llll ll:llli ................... ""'llli 75
Patch I ist ........ 1111"'"' "'""" ........... "' ................... ... 1o11.,."'"' .... 1111 .. ....... ._. .... "' "'"'1111 ..... .......................................................... ................ 84
6
Main features
Operating layout that's faithful to synthesizer basics
'D1e operating panel is laid out in a way that helps you l11f:uitlvely tinderstanclhow a sy:nlhesizer produces sound.
If you're using a synthesizer for lb;~ first tim.e to create sound you'll find the SH-201 easy to learn, and if you're
fa mi.liar with the basics of analog synthE!Sizers you'll be able to start using il immediately even without the
owner·'s manual.
HighMquality and practical analog modeling sounds
Tbe SH-2ll1 contain':< an armlog rnodehng sound generator that distills the essencE! of Roland's sound-generating
t·echnology. From familiar sy11th leads and. bosses to motion pads and synt.h sounds for contm.xtpm:ary dance
music, !he SH.-201 gives you a broad variety of tup-notch sounds.
Audio input iack that's great for DJ performance
'Ihe SH-201 is eqtiippi~d with audio input jacks for connecting your digihil audio player or an external sampler.
You can modify thr.se sounds in real time by lurnin~; the knobs to control the dedicated filter th<1t's briilHn. You
can also u.se an external audio source as the oscitl.ator for the sound generation section, and LlSe tlw keyboard or
the arpeggiator to ilpply thythm variation to the sound (p. 49).
Enhanced linkage with your computer
The USB connector supports both USB-MIDI connection and USB audio input/output. The SH-201 cm:t1es with
dedicated editor software that provides foll editing capabil1ty for crealing more complex sounds or for
programming the internal arpeggiator, as well as librarian software for saving and managing your owr1 si.mnds
(p. 56). The dedicaH~d editor is also provided as a plug-in version that y<.)U can run from within your VSTi ..
cornpatibk DAW.
Use the D Beam controller for more visual performances
The Sl'J.201's D Heam controller lets you produce dramal.ic changes in the sound simply by movit1g; yollf hand
above the sensot. You can use !his fo mnlrnl a wide range of U1e setti11gs that tire nssign~~d to the panel knobs. The
D Beam can add a more inhmsely visual element to yout sh1ge performance (p, 20).
Two*tone structure for creating diverse and expressive sounds
W11ile the Sll-201 is a mert~ 5.2 kg in wdght, it packs the sound-gener;~ting power of h-1ro analog synthesizers,
let.ting you play upper and lower tones simultaneously. You can split U1e two tones to d.ifferent areils of the
keyboard, or layer them lo create ric:h and complex sounds (p. 46).
7
Playing sounds
20
Hy moving your hand over the D Beam controller
l.ocaled at the uppc!r ldl l)f the k~~yboard, yon can vary
the pitch or volume of the sound w.::cording to the height
of your hand.
The usable range of the D Beam controller
The diagram at left shoV1rs the
usable :range of the D Beam
conlr~)ller, Moving your hand
outside this range will produce no
effect.
Press the PITCH button located bdow the D Be;im controller so it's lit.
PITCH EXPRESS
!DD
Whim you hold down a key a11d move your hand up or down above the D Beam rnnl:roller, the pitch will ch<1nge.
Prnss the PITCH bu.Hon once again so it:> light got~:S off, and fhr. pitch will no longer be affected when you move
you.r hand above the D Beam Controller.
Press the EXPRESS button located below the D Beam controller $0 it's lit.
When you hold down a key and move yom hand up or down above l'h~~ D Beam controller, the volume will
change, letting you add exprnssion to your perfomia:nce.
Press the EXPRESS button once a~;ain so its light goes off, and the volume will no longer be affected when you
mov~~ your hand above the ()Heam controller.
Active Expression
By using F.XPirnss wHh a pakh that is set to DUAL (p. 46), you can obtain ari Active Expression effect that
combines the two tones.
Only the UI'PER tone will be he<,rd when the volmne i.s low, and the LOWER tone will be added as !hr? volume
increases.
H you want to use Active Expression, hold down the CANCEL button a.nd press the ACTIVE EXPRl~SSION
button, thus switching "ON'' ACTIVE EXPHESSTON, which is a PATCH COMMON parameter (p. 65).
Playing sounds
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Press the F1LTER/ ASSIGN button located below the D Beam controller so it's lit
When you hold down a key and move your hand up or down above lhe D Be< that are lit red, thli! higher the sensitivity setling.
Pressing a higher--numbered NUMBER hc1Hon will in.crease the sensitivity.
If you conned a pedal swHch (DP series; sold
separately) to the rear panel PEDAL jack, the
notes you play while holding down the pedal
will ccmtin ue sounding even if you take y<)IH
hand off th~~ keyhoarcL (This is called Hold.)
ff you want to use a pedal switc:h as a hold
pedal, bold down the CANCEL butt.on and
press the NUMBER 1 buHon before using it
(PEDAL ASSIGN {p. 69)).
If you conned an expressi.on pedal (EV-5; sold
S€!parately) to the re;3t panel. PEDAL jack, you
can use the pedal to control tl1e volun1e,
addin~~ dynamic expression to your
performance.
If you want to use an expn~ssion pedal, hold
clown the CANCEL button and press the
NUMBER 6 bittm1 bdore using it (PEDAL
ASSIGN (p. 69)).
* Use only the spec.y'i.ed expression pedal (EV-5; sold separately). By connecting any otlwr expres(;ion pedals, ym.i i-isk. c1msing
ma({.cmcfion rmd/m· damage lo the unit
21
!.
54
Using the SH-201 together with your
computer or another sound module
Ym1 can use the SH-201 in rn.ore sophisticated ways by connecting it to yom computer or to ot:her MIDI
equipment.
ff you've connected the SH-201 to your computer vfa USB, you'll be able to record the sound of the SH-·201 or the
sound from 11 device connected to the SH-201's INPUT jacks into your DAW (Digital Auclio Workst;ition)
soft.war~~ on the comput.er, acnd to play back the sound from the DA 'Non a speaker system connecb~d to lhe
OlHPUT jacks (lf the SH-201. ('This ls referred lo as "lJSB attdio" fundi.onality.)
You c.an al;;o lL'>e your seq,Jence software to record the performance data (MIDI data) from the SH-201. ('111is is
referred. lo as "USB MIDI" functionality.)
* Yim can w;e USB iwdi.o and USB MID.I at the same time.
Installing the USB driver in your computer
lu orcfor to use the SH-201 from your computer as a USB device, yott must first install the USB driver. The USB
driver is provided on the included "SH-201 Editor CD."
• Windows users
Refor to "l~eadme_E.b:t" on the '1SH-201 Edit.or CD,''
• Macintosh users.
Refer to "HeadMe(EngHsh).txt" nn the "SH-20:1 Editor CD."
Making ecmnedions
Use'' USB cable (sold separately) to (~OJU\ect. thE! SH-201 to your computer.
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e.; ~ L [fl ll~~
~ D
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USB coble
USB connector
Windows