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3. Teaming
Up
with
an
External
MIDI.
Sequencer
SoM
=
c
E
emnes
etuer
[]Hooking
Up the GR-1
and a Sequencer
Phe GR - E itself has a modest multi-dmbral sound module on board, so you don't nece
the external sound module in the previous example; you can just team up a sequencer wi
and go from there. This lets you record and playback guitar parts that you couldn't accomplish on the
Recorder alone. (Remember. the guitar part requires six MIDI channels.)
Making
the Connection
r
MIDEIN
MIDE OUT
MIDI IN i
MIDI OUT
sequencer
© Turn on the "Soft Thru" (or equivalent feature) of your sequencer to send an exact copy of
the GR - 1's MIDI messages to the MIDI OUT of the sequencer (and back to the GR- 1 MIDI
IN) during recording.
e Turn the "LOCAL ON/OFF' setting of the GR - 1 to Off (=r P. 6-21).
MIDI
messages
from the GR - 1 guitar controller section will no longer be sent to the internal
("local") guitar sound
module,
meaning that it will be played exclusively by messages from the
external ("remote") sequencer. This Local Off setting prevents "collisions" of MIDI data coming from
both guitar and sequencer when Soft Thru is turned on.
* Local On is the setting you'li want for most other purposes.
@ Set the Voice Reserve if needed. You can use this to make best use of a fimited number of
voices and reduce voice stealing (<r P. 5-30).
e When recording all parts with the guitar, be sure to record a multi-timbral sound module first
(record a guitar module last).
—
1 Set the basic
channel
to match
the
receive
channel
of the
Part
you
are
recording. When you do this, you should no longer hear the guitar part (refer to
the first part of this chapter, «7 P. 6-2).
* This is because if there is some overlap of the channels used by the guitar module and the
mulli-timbral module, the multi-timbral module takes precedence.
D—
2 Set MID! Receive mode to Poly. (<7 P. 6-4).
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