Roland CP-40 User manual

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Thank you, and congratulations on your choice of the CP-40 Pitch-to-MIDI Converter.
To take full advantage of the superb features offered by the CP-40, and to ensure satisfaction for years
to come, please read this Owner’s Manual in its entirety before starting out.
BM CONTENTS
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Copyright © 1990 by ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in
any form without the permission of ROLAND CORPORATION.

Features
of
the
CP-40
@
The
CP-40
converts
audio
signals
from
microphone
or
line-level
input
sources
into
MIDI
signals
in
real
time
Audio
information,
whether
from
someone
singing
or
playing
an
electric
guitar,
is
instantaneously
converted
into
MIDI
signals.
This
conveniently
allows
you
to
gain
control
over
other
MIDI
devices
—
without
requiring
a MIDI
equipped
keyboard,
or
guitar
controller.
@ Volume and Pitch Changes are also Controllable
The
volume
level
of
input
audio
signals
can
be
output
as
either
Velocity
or
Expression
messages.
Moreover,
since
even
small
shifts
in
pitch
(those
less
than
a
semi-tone)
can
be
transmitted
as
Pitch
Bend
messages,
every
nuance
of
your
music
is
captured.
@ Convenient for input into a Desktop Music System
The
MIDI
data
generated
by
the
CP-40
can
be
used
as
an
input
source
for
real-time
recording
in
Desktop
Music
Systems
(such
as
Roland’s
“TENTRAX”)
or
MIDI
sequencers
(such
as
the
MC-500mk
II).

B IMPORTANT NOTES
When
using
an
AC
adaptor,
be
sure
that
it
is
one
supplied
by
the
manufacturer.
Use
of
any
other
power
adaptor
could
result in
damage, malfunction,
or
electric
shock.
[Power Supply]
@ When making any connections with other devices, always turn off the power to all equipment first;
this will help prevent damage or malfunction.
@ Do not use this unit on the same power circuit with any device that will generate line noise, such as
a motor or variable lighting system.
@ The power supply required for this unit is shown on its nameplate. Ensure that the line voltage of
your installation meets this requirement.
@ Avoid damaging the power cord; do not step on it, place heavy objects on it etc.
@ When disconnecting the AC adaptor from the outlet, grasp the plug itself; never pull on the cord.
@ If the unit is to remain unused for a long period of time, unplug the power cord.
[Placement]
@
Do
not
subject
the
unit
to
temperature
extremes
(eg.
direct
sunlight
in
an
enclosed
vehicle).
Avoid
using
or
string
the
unit
in
dusty
or
humid
areas
or
areas
that
are
subject
to
high
vibration
levels.
@
Using
the
unit
near
power
amplifiers
(or
other
equipment
containing
large
transformers)
may
induce
hum.
@ This unit may interfere with radio and television reception. Do not use this unit in the vicinity of
such receivers.
@ Do not expose this unit to temperature extremes (eg. direct sunlight in an enclosed vehicle can
deform or discolor the unit) or install it near devices that radiate heat.
[Maintenance |
@ For everyday cleaning wipe the unit with a soft, dry cloth (or one that has been slightly dampened
with
water).
To
remove
stubborn
dirt,
use
a
mild
neutral
detergent.
Afterwards,
be
sure
to
wipe
the unit thoroughly with a soft, dry cloth.
@
Never
use
benzene,
alcohol
or
solvents
of
any
kind,
to
avoid
the
risk
of
discoloration
and/or
deformation.

ARAL
RAA
PAL
{ Additional Precautions |
@
Protect
the
unit
from
strong
impact.
@
Do
not
allow
objects
or
liquids
of
any
kind
to
penetrate
the
unit.
In
the
event
of
such
an
occurrence,
discontinue
use
immediately.
Contact
qualified
service
personnel
as
soon
as
possible.
@
Should
a
malfunction
occur
(or
if
you
suspect
there
is
a
problem)
discontinue
use
immediately.
Contact
qualified
service
personnel
as
soon
as
possible.
[About the Supplied Microphone |
@
Before
using
the
supplied
microphone
you
need
to
install
a
battery.
(Dry
battery:R03(AAA)type)
@
The
microphone
is
provided
with
its
own
power
switch
(turns
current
from
battery
on
and
off).
Always
make
sure
to
slide
it
to
the
“OFF”
position
when
the
microphone
is
not
being
used.
Roland
ON
Power
ON
OFF Power OFF
@
On
average,
the
battery
should
last
for
about
5,000
hours.
However,
anytime
you
notice
that
the
microphone
has
decreased
in
sensitivity,
or
that
the
sounds
picked
up
are
not
converted
to
MIDI
correctly,
replace
the
battery
with
a
new
one.
@
If
you
do
not
intend
to
use
the
microphone
for
an
extended
period
of
time,
remove
the
battery
as
a
precaution
against
leakage
and
possible
damage.

@How to Replace the Battery}
@) Remove off the windscreen covering the tip of the microphone.
Zé:
al
Wind
screen
(ese
BP
@ Screw off the microphone’s cap by turning it counterclockwise.
B
@ Remove the battery, and while carefully observing the polarity (“}” versus “—"}, replace it with a
new one.
@
O
Dry Battery
@ Once the new battery is in place, reverse steps (7) and (2) to screw on the cap and replace the
windscreen.

1. PANEL DESCRIPTIONS
(1) Front Panel
_ @ Input Jack
This jack accepts input of the audio signal. Connect the supplied microphone (or
one of your own) or the patch cord from an electric instrument (guitar, etc.) to this
jack.
. © Parameter Indicators
These LEDs indicate the parameters selected in the Edit mode. They also indicate
the degree to which the input signal has drifted from a known reference pitch.
_-@ Display
The Display indicates the current mode status, the note name of the pitch being
input, the MIDI parameter settings.
_ @ Select Button
| This button allows selection of the parameters that are set in the Edit mode.
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-——- @ Value Buttons
These buttons are used to alter the values of the parameters in the Edit mode.
~-@ Edit Button
This button switches the unit between the Edit mode and the Normal mode.
nn Control Slider
This slider is used to send MIDI data—— Control Change No. 16. When con-
nected to the Tentrax Desktop Music System, the Control Slider can be used to
select note or rest durations in step time recording.
a @ Input Level Slider
This slider adjusts the input level.
Se @ input Level Indicator
When the indicator is green, the input signal is at an appropriate level. When the
indicator is red, the input level is excessive.
(2) Rear Panel
roo @ DC IN Jack
Accepts connection of the supplied AC adaptor.
@ MIDI Connectors
Connectors for transmitting and receiving MIDI messages.
Cy ON _OFF VOICE GUITAR
2 GF @
cr.a0
| @ INST Switch
! This switch is provided to accommodate different input sources*. When a micro-
phone is connected to the Input jack, the switch should be set to VOICE. When
using an electronic instrument, set it to GUITAR.
*
Please
note
that
this
switch
is
not
a
sensitivity
selector.
It
is
designed
to
accommodate
a
particular
envelope
characterisitic
of
the
input
signal.
~~
@
Merge
Switch
This switch determines whether or not data received at MIDI IN will be sent from
MIDI OUT. When set to ON, data received at MIDI IN will be sent from MIDI OUT.
7

2. GETTING STARTED
(1) MIDI Data Transmitted by the CP-40
The types of MIDI data capable of being transmitted by the CP-40 are explained in the following.
@ MIDI Data Output As a Representation of Source Signals Being Input
Audio signals entering the CP-40 are converted, then output as the following types of MIDI data:
#Note Messages: Note On, Note Off, Velocity
¢ Control Change Messages: Expression (Control No. 11)
* Pitch Bend Messages
* When Velocity/Expression (VELO/EXP) is set at E1/E2, EXPRESSION messages will be generated in a form
reflecting the amplitude of the sound. However, when VELO/EXP is set at V1/V2, no EXPRESSION messages
will be generated. Instead, the sound’s amplitude will be output in terms of VELOCITY. (see page 17, “Velocity/
Expression”)
@ Control Slider
By moving the Control Slider, the following MIDI data is transmitted:
Control Change Messages: General-Purpose Controller No. 1 (Control No. 16).
© About the MIDI Implementation Chart
MIDI is able to transmit and receive data between various types of devices, but not all devices are able to transmit and
receive the same types of data. The owner's manual of each MIDI device has a “MID! Implementation Chart” which
shows the types of data that the device is able to transmit and receive. (see page 23.)
All Implementation Charts are a standard size, so that you can place two charts side by side to see how two devices
will be able to communicate with each other.
MIDI Device B

(2) Making Connections
While referring to the diagrams below, make the proper connections for the setup you have in mind.
@ Setup which uses a desktop music system, such as Tentrax
To
Audio System
Supplied Mic
Desktop Music System MIDI Sound Module
(Tentrax, or the like)
Electric Guitar, etc.
@ Setup using a MIDI sequencer
To
Audio System
ais
EE
MIDI Sound Module
Supplied Mic
MIDI Sequencer
(MC-500mkIl, etc.)
Electric Guitar, etc.

@ Settings for the INST switch
The
INST
switch
on
the
rear
of
the
unit
should
be
set
to
the
proper
position;
the
one
which
is
suitable
for
the
type
of
device
you
have
connected
to the
Input
jack.
VOICE GUITAR
INST
When using supplied microphone dl { When using electric guitar, etc.
VOICE: Position to use when you have the supplied microphone connected. (Sus-
tained signal device.)
GUITAR : Use this position for guitars and like instruments. (Devices with decay-
ing signal.)
@ Merge Switch
With
the
Merge
switch
on
the
unit’s
rear
panel
put
at
the
“ON”
position,
all
MIDI
data
that
arrives
at
the
unit’s
MIDI
IN
will
be
mixed
with
the
data
it
generates
internally,
and
the
resulting
merged
data
is
output
from
MIDI
OUT.
The
setup
below
shows
the
connections
you
would
make
if
you
want
to
send
to
a
MIDI
sequencer,
or
similar
device,
all
the
performance
information
generated
by
the
CP-40,
in
combination
with
data
from
another
MIDI
device
(such
as
a
MIDI
equipped
keyboard).
To
Audio System
ATUL
MIDI Keyboard
Supplied Mic
MIDI Sound Module
Desktop Music System
(Tentrax, or the like)
MERGE = ON
10

(3) Powering Up
After making sure all MIDI cables are connected properly, turn on the power for any MIDI devices you
have connected. Then, turn on power to the CP-40.
@ Insert the plug on the power cord into an outlet.
(2 Connect the AC adaptor to the DC IN jack.
The display, as well as the parameter indicators will light.
* This unit requires a few moments after it is turned on before it is ready for operation, due to its circuitry protection
feature.
1]

3. THE TWO MODES
The
CP-40
has
two
modes
of
operation
——
Normal
and
Edit.
In
the
Normal
mode,
audio
signals
arriving
from
a
source,
either
voice
or
guitar,
are
converted
in
real-time
into
MIDI
data.
In
the
Edit
mode,
a
variety
of
settings
are
made,
including
those
determining
the
types
of
MIDI
data
to
be
generated.
To switch between the two modes, press the EDIT button.
°
EDIT
a
Normal Mode 4 Edit Mode
(1) Normal Mode
The
main
work
of
the
unit,
the
conversion
to
MIDI
data
of
audio
signals
that
are
input
from
either
voice
or
guitar,
is
accomplished
while
in
this
mode.
While
in
this
mode
you
can
also
monitor
the
notes
composing
the
music
being
input.
@ When No Sound fs Being Input
If
no
sound
has
yet
been
input
to
the
unit,
or
if
more
than
3
seconds
has
passed
since
the
last
signals
were
received,
the
display
will
show
you
the
setting
that
is
in
effect
for
the
INST
switch.
flee ~
VOICE ——> im] (_ GUITAR ——» Lf Ls
* When the supplied microphone is connected to the Input jack, the INST switch needs to be put at VOICE. When
using
an
electric
guitar
or
similar
instrument,
put
it
at
GUITAR.
If
you
should
have
the
INST
switch
set
incorrectly, you will not be able to obtain a reliable conversion to MID! data.
@ While Sound Is Being Input
While sound arrives at the unit’s input jack, the display provides you with a readout of the notes.
12

PPA APRALRAR ALAA RAR PRPRL RA ALR RRA NR AARP RDA ALAA AOL AA APL APARNA PLL LAPEER.
Note that with respect to a note shown in the display, you can also refer to the five parameter
indicators to check if the note strays from the normal pitch, and if so by how much.
Normal Pitch Pitch Is High Pitch Is Low
Vv
oO
mMoicH
WY
oO
MiodicH
Vv
oO
moicH
VW
OO
oct
sHiet
Vv
e-
OCT.
SHIFT
Ww
O
Oct
SHIFT
e
>
VELO/EXP
@
©
VELO/EXP
@
OO
VELO/EXP
A&
O-
BEND
MODE
A&
O.
BEND
MODE
A
O_
BEND
MODE
A&
O
THRESHOLD
A
O.
THRESHOLD
A
-«
THRESHOLD
(2) Edit Mode
The Edit mode is where you make the settings selecting how you want the audio signals that are input
to be converted to MIDI data.
Two separate sets of settings need to be made for the Edit mode. One is for the times the INST switch
is set to VOICE, and another for the times it is set to GUITAR.
VOICE GUITAR
MIDI Configuration
@ MIDI Channel
MID! Configuration
@ MIDI Channel
@ Octave Shift
@Velocity/Expression
@Bend Mode
@ Threshold
@ Octave Shift
@ Velocity/Expression
@Bend Mode
@ Threshold
For details on how to make the settings determining how MIDI data will be transmitted, refer to “5.
CONFIGURING MIDI DATA.” (see page 16)
* Any settings you make for the Edit mode are not retained once power is turned off, they always revert to their
default values.
* MIDI data can also be transmitted while in the Edit mode.
13

4.
ADJUSTING
INPUT
LEVEL
In
order
to
obtain
the
most
reliable
conversion
into
MIDI
data,
it
is
important
that
you
adjust
the
unit
so
the
Input
Level
is
at
the
most
appropriate
level
for
the
particular
audio
signal
you
intend
to
use.
‘7)
Make
sure
you
have
the
INST
switch
set
to
the
position
that
is
best
for
the
type
of
device
you
have
connected.
When
the
supplied
microphone,
or
any
other
microphone
is
connected
to
the
Input
Jack,
the
switch
should
be
put
at
VOICE.
When
using
an
electric
guitar,
or
other
electronic
musical
instrument,
put
it
at
GUITAR.
VOICE GUITAR
im |
INST
When
using
supplied
microphone
2]
=
When
using
electric
guitar,
etc.
(7)
Move
the
Input
Slider
to
adjust
the
level
of
the
input
signal
while
you
input
sound
coming
from
the
microphone
or
guitar.
INPUT LEVEL CONTROL
(|
° e
: : SELECT
°
cee
The
input
level
is
monitored
by
viewing
the
Input
Level
Indicator.
Green:
Means
a
signal
of
a
level
greater
than
the
threshold
level
(the
level
at
which
conversion
to
MIDI
starts)
is
being
input.
Red: Indicates that the signal is of an excessive level.
To
adjust
the
level:
While
watching
the
Input
Level
Indicator,
move
the
Input
Level
Slider
until
you
find
the
position
where
the
indicator
lights
in
red
only
every
now
and
then.
*
Whenever
the
input
signals
are
below
the
threshold
level,
the
CP-40
does
not
attempt
to
make
any
conversion
of
those
signals
to
MIDI
data.
Note
also
that
the
environment
in
which
the
unit
is
used
can
influence
how
it
responds.
Errors
can
be
produced
due
to
surrounding
noise,
and
the
resulting
MIDI
conversion
may
not
be
as
expected.
If
such
problems
are
experienced, try adjusting the Threshold Level. (see page 18)
14

[Getting the Best Input]
@ Using a Microphone
Have the mouth fairly close to the microphone, and try to produce sounds with a strong attack. It also
helps to clearly separate each tone produced.
* If lyrics are simply sung in a consecutive, normal fashion, the conversion to MID! may not always be correct.
@ Using an Electric Guitar
Try to avoid having multiple notes played by muting individual notes one by one.
* As long as individual notes are sounded, many devices other than a microphone or guitar could be used. However,
you may not always be able to obtain a satisfactory conversion to MIDI.
15

5.
CONFIGURING
MIDI
DATA
The
available
range
of
settings,
accessed
through
the
Edit
mode,
allow
you
to
control
how
the
audio
signals you input will be converted to MIDI data.
@ Using the Edit Mode
@
From
the
Normal
mode,
press
the
EDIT
button.
This
puts
you
in
the
Edit
mode.
@
Select
the
parameter
for
which
you
wish
to
change
settings
by
pressing
the
Select
button.
The
parameter
indicator
corresponding
to
the
currently
selected
parameter
will
be
lit.
In
the
display
you
see
the
value
that
is
currently
active
for
the
selected
parameter.
@
Using
the
Value
buttons
(+
/—),
make
any
desired
changes
in
the
value.
4)
When
finished,
once
again
press
the
Edit
button.
This
takes
you
out
of
the
Edit
mode.
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*
Changes
in
a
number
of
parameters
can
be
made
simply
by
repeating
steps
@
and
@)
before
leaving
the
Edit
mode.
*
Once
you
have
finished
making
setting
changes,
you
should
always
press
the
EDIT
button
and
return
to
the
Normal
mode.
That
way
you
avoid
accidently
altering
settings
while
using
the
unit.
* Information about the settings for all the Edit mode parameters is stored in two separate sets, one for the VOICE
and one for the GUITAR positions on the INST switch.
*
All
setting
changes
for
the
Edit
mode
parameters
are
no
longer
remembered
once
power
is
turned
off;
they
revert
to their default values.
16

(1) MIDI Channel (MIDI CH)
This setting determines the channel on which the MIDI data will be sent out.
Any number from 1 through 16 can be selected.
(2) Octave Shift (OCT. SHIFT)
Amount (in octaves) by which transmitted note messages will be shifted either upwards or downwards
in pitch.
The amount of shift ranges from —2 to +2.
(3) Velocity/ Expression (VELO/ EXP)
The fluctuations in sound volume occurring in the input audio signals can be converted to either
Velocity or Expression MIDI messages. The choice between them is made using this setting. In
addition, each type of message generation has other options which select how fluctuations in the input
level will be interpreted during the conversion process.
The various settings available for Velocity/Expression, and how each works is outlined below:
VO: Velocity is transmitted and always remains at a value of 96, regardless of the input level. In
other words, the MIDI data does not reflect volume changes in the original.
V1: Note messages with a Velocity of 64-127, the value being in direct correspondence with the input
level, are transmitted.
V2: Note messages with a Velocity of 1-127, the value being in direct correspondence with the input
level, are transmitted.
E1: MIDI messages with an Expression value of 64-127, representing the input level, are transmitted.
The Velocity of the note messages is fixed at 127.
E2: MIDI messages with an Expression value of 1-127, representing the input level, are transmitted.
The Velocity of the note messages is fixed at 127.
* Note that when VO, Vi, or V2 are selected, no Expression messages will be generated.
VELO/EXP 127 vi/el
96 vo
64 v2/E2
iT > LEVEL
* Velocity and Expression changes cannot be obtained at the same time.
17

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(4) Bend Mode (BEND MODE)
This
setting
determines
how
the
MIDI
data
that
is
generated
translates
the
fluctuations
in
pitch
occurring in the original input.
The following settings are available:
4: Only Note messages are transmitted; in halftone steps.
At this setting no pitch bend information is generated.
2:
Note
messages
are
transmitted
in
halftone
steps.
In
between,
Pitch
Bend
messages
are
sent.
If
the
pitch
of
the
input
sound
changes
consecutively,
retriggering
takes
place
at
halftone
steps.
3:
Pitch
Bend
messages
are
generated.
They
can
fluctuate
within
a
range
of
1
octave
above
or
below
the
base.
(5) Threshold (THRESHOLD)
This
setting
determines
the
level
at
which
Note
messages
(Note
On,
Note
Off)
will
start
being
generated.
It
is
set
as
a
number
from
1
through
3.
The
higher
the
number,
the
greater
the
level
needs
to
be
for
Note
messages
to
be
transmitted.
Level
Level! of Input Sound
Threshold 3
Threshold 2
Threshold |
= — Time
Note On Note Off
* When the way MIDI messages are being sent out seems inappropriate, perhaps because of surrounding noise,
try setting the Threshold to a higher number.
@ Default Settings
Each
time
the
power
on
the
CP-40
is
turned
on,
the
settings
for
all
the
Edit
mode
parameters
will
default
to
the
settings
shown
below:
Voice | Guitar
MIDI Channel i | S|
Octave
Shift
:
Velocity/Expression V2 V2
Bend Mode 3 3
Threshold
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18