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Chapter 9 Connecting to External Sound Generators and Sequencers
About “Local Control Off”
While the GR-33’s internal sound generator and guitar
controller are connected together, it is set to “Local On.” In
contrast to this, “Local Off” is when the GR-33’s internal
sound generator and guitar controller are separated, and
only MIDI message from a sequencer is played. Also, guitar
performance message is output only from MIDI OUT.
fig.9-14
Collisions of performance data from both the guitar and the
sequencer that occur at times such as when “soft thru” is
enabled can be prevented by turning off local control.
To turn off local control, switch the power off and back on
while holding down the [PLAY] button. (The setting for
turning off local control is canceled when the power is
switched on again, and is not saved in memory.)
* The detailed behavior of internal functions differs depending
on whether local control is on or off. Local control is normally
on, but you should be sure to switch off local control when a
loop connection with external equipment is used.
Making a MIDI loop connection with local control remaining
on may result in problems or faulty operation, such as failure
to recognize switch operations.
* Set MIDI [PC], MIDI [CC0], and MIDI [CC32] only when a
MIDI loop connection is not being used.
Creating Realistic Plucked String
Instrument Sounds (Data)
Using the GR-33 to input parts for guitars and similar string
instruments, including harps, koto, and others, makes it
possible to achieve voicing and an expressive feeling of
dispersions for separately plucked strings that cannot be
reproduced with keyboard input. When doing this, however,
attention should be given to the following points.
❍ Make sure that no Quantize function (a function which
forces data with loose input timing to conform to precise
timing as eighth notes, sixteenth notes, or the like) has
been enabled for input-data timing on the sequencer.
❍ When performing post-recording operation on the
sequencer to shift the position of data, make sure that
Bend messages are also shifted along with Note
messages, so as not to destroy the correspondences
between the two types of messages.
Also, those special changes in pitch that can only be
produced by a guitar synthesizer (such as using the tremolo
bar and harmonized bending) can also be input to the
sequencer and played by means of transmission in the Mono
mode, which uses one MIDI channel for each string.
Recording Arpeggiator and
Harmonist Performances
■
Recording Arpeggiator Effects on a Sequencer
Example 1:
Arpeggiate the notes of the external MIDI sound generator,
and record the results
Set the EFFECTS “HAR/ARP SELECT” setting in the Patch
Edit mode to “Arpeggio Ext,” then take the steps 1, 2 and 4 of
“Input Procedures and Settings for Each Device” on p. 93.
(Please don’t take step 3.) After taking step 4, play the guitar
and make sure that the external MIDI sound generator is
arpeggiated. Then, go to step 5 to record it.
Example 2:
Arpeggiate the GR-33’s first and second tones, and record the
results
Set the EFFECTS “HAR/ARP SELECT” setting in the Patch
Edit mode to “Arpeggio 1st,” “Arpeggio 2nd,” or “Arpeggio
1&2,” and carry out recording. (Arpeggios are played while
recording, but only the original guitar-performance
information—and not arpeggio information itself—is
recorded on the sequencer.) If the same patch is used during
playback, performance information is received from MIDI IN
and the GR-33 rebuilds the arpeggios.
* The setting “Arpeggio All” is not suitable for “HAR/ARP
SELECT” when a sequencer and the GR-33 are connected by a
MIDI cable (local control off).
Sequencer
GR-33
PITCH
TO MIDI
Sound
Generator
GK IN
Local Control
OFF
MIDI IN
MIDI IN
MIDI OUT
MIDI OUT
Thru function to
MIDI OUT: On
S
Y
N
T
H
V
O
L
D
OW
N
/
S
1
U
P
/
S
2
M
I
X
G
U
I
T
A
R
S
Y
N
T
H