Advertisement
———Ó
A €€——————
d
~ i contains &
ing five perio:
r (like the Roland $4C-50 or MY-30;
^s face it, Hs capabilities
at Hmied; is not a foll-blowa segue
however, team up with a dedicated sequencer io get al! the capabilities that the Recorder lacks, such as:
By
recording on six channels in Mono mode, you can record and playback
y
£E
y
play
i guitar playing s
s
GB» hookir
@Y ou can rec
$ You have a
up another sound module. you can create
some really enormous multi-Purt ensemble sounds.
tyback longer songs that require more memory.
5 10 all the advan
cer would have.
oard skills required?
But best of all, armed only with a gui
ay record your music in real-time on a MIDI sequenver! Ni
r. vou car
Making
the Connection
MIDI OUT.
MIDI IN
l MIDI OUT
MIDI IN
|
|
¥
nooo
AVI SHOE
Gi OC moo
Sequencer
Sound module (in this case, a keyboard)
© Refer to the first part of this chapter and make all the necessary settings tor your guitar to
play an external sound module.
o Turn on the "Soft Thru" (or equivalent feature) of your sequencer to send an exact copy of
the GR - i's MID! messages
to the MID! OUT
of ihe sequencer
(and on to the external
module) during recording.
@ When all is ready. play a little on the quitar to see if the external sound moduie is responding
to the MIDI messages.
(©) No problems? Follow the instructions in the sequencer manual for recording, and t
some!
x When
recording in Mono
mode with a Type A or Type C module,
as we talked about
P, 6-2). you must be able to record on six channels af onc:
is unable to handle the simultaneous recording of multiple chann:
Poly mode to make your recording. Like
if you run short of channels and don't have
six to spare, Poly mode is the way to go.
6:519
Advertisement
