Saving Your Style; Recording Other Tracks And Divisions; Muting Tracks While Recording Others; Remarks - Roland G-70 Owner's Manual

G-70 Music Workstation
Programming Styles (Style Composer)

Saving your Style

Make it a habit to save your Styles as frequently as pos-
sible. After all, if someone decided to switch off your
G-70 now, you would lose everything you have pro-
grammed so far.
(1) Press the [SAVE] field on the STYLE COMPOSER
page.
The display changes to:
This page allows you to save the current Style to the
internal memory, a memory card or a floppy disk.
• Press the [EXTERNAL¥MEMORY], [FLOPPY] or
[INTERNAL¥MEMORY] field to select the area where
you want to save the Style.
• Enter the name for the file.
See page 49. If necessary, you can also supply the
required COUNTRY and GENRE information for use
with the STYLE FINDER function (only available if you
select the internal memory or a memory card).
Note: The G-70 supports both upper- and lower-case letters
for file names. Choose whichever is more convenient (or
clearer).
(2) Press the [EXECUTE] field to save the data.
The G-70 returns to the STYLE COMPOSER page.

Recording other tracks and divisions

You can now record the second track – probably the
bass. If you'd like to do the guided tour again, return to
page 180. Do not forget to set the key for the bass part
(see "Specifying the key (for melodic parts)" on p. 181).
Once the first Division is finished, you can record other
Divisions. Use the clone function (page 181) to record
several patterns in one go.
Do not forget to record the Fills, Intros and Endings to
complete your Style. There are two groups of three fills:
"Up" 1~3 and "Dwn" 1~3. "Up" fills are used when you
switch on the [AUTO¥FILL¥IN] button and then press a
VARIATION button of a higher number (transition from
[1] to [2], for example).
"Dwn" fills are used when you switch on the
[AUTO¥FILL¥IN] button and then press a VARIATION but-
ton of a lower number.
Intros are usually used at the beginning of a song and
End patterns provide professional closing sections.
Note: The ABass track is monophonic. You can only record sin-
gle-note patterns.
184

Muting tracks while recording others

After programming a few tracks, you may find that cer-
tain parts tend to confuse you. That is why the G-70
allows you to mute tracks that you do not want to hear
during recording.
(1) On the STYLE COMPOSER page (which should be
displayed now), press the [MUTE] field and the lines
of the Style tracks you don't want to hear. Such
tracks are flagged with an "M".
(2) Press the [MUTE] field again to switch off the func-
tion of the same name.
Note: This mute setting only applies to the STYLE COMPOSER
page. During normal Arranger playback, all tracks that contain
data are played back. Use the ERASE function to remove parts
that should not appear in your accompaniments (see p. 191).
ISolo
If you need to listen to a track in isolation, press the
[SOLO] field and the field of the track you want to
solo and start playback. This mutes all other tracks,
while the selected track is flagged with an "S". You
can also select the track to be soloed using the [ß][†]
buttons.
Press the [SOLO] field again to switch off the func-
tion of the same name.

Remarks

IWorking from top to bottom – programming
hints
If you listen carefully to the factory Styles, you will
notice that most Divisions of a Style are very similar
to one another and that the element of "evolution"
or "amplification" between the various levels is usu-
ally derived from adding instruments to otherwise
identical patterns. The MAIN [2] division may, for
instance, add an electric guitar to the drums, bass
and organ lines of the MAIN [1] level, while the foun-
dation of the MAIN [2] level is still the same.
Therefore: always start by recording the most com-
plex accompaniment (MAIN [4]) while cloning all
other looped divisions (page 181). Then move to the
MAIN [3] Division and delete certain tracks
(page 191), so that this division sounds somewhat
simpler.
The next step would then be to select the MAIN [2]
pattern and delete both the bells and whistles and
the distorted guitar.