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Editing 16-track songs
G-70 Music Workstation
r
165
● MIX—The data in the selected range of the source track
are added to the data on the destination track.
In most instances, “REPLACE” is probably a good choice
when you set DATA TYPE to “ALL” or when you wish to
substitute a given “message cluster” (the use of the
Modulation axis of the lever, for example) for other mes-
sages of the same type (thus creating a perfect repro-
duction of a given control string).
“MIX”, on the other hand, may be useful for adding data
to a number of beats or bars that were not there before,
while keeping the original notes in those places. You can
choose the kind of data to be copied using “DATA TYPE”.
Note: The G-70 has no Undo function. Saving your song
before copying will allow you to load the previous version if
something goes wrong.
■COPY TIMES (1~999)
Sets the number of copies you wish to make. The value “3”
means that you will end up with 3 contiguous copies,
whereby the second copy is placed immediately after the
first, etc.
■DATA TYPE
Allows you to select the data to be copied:
When you select “Note”, a FROM NOTE and TO NOTE field
appear that allow you to set the upper and lower limit of the
notes to be copied. (
See also “Fine-tuning the setting range”
on p. 163.)
■DST TRACK
This is where you select the track to which you want to
copy the selected data. If you set SRC TRACK to “ALL”, the
DST TRACK setting cannot be changed.
■INTO
The bar, beat and CPT values of the position the first data
of the source track will be copied to.
■EXECUTE
Press this field to confirm your settings and copy the data.
Note: Though you can also copy data from track 10 (the main
Drum track) to a “music” track, and vice versa, this is only use-
ful if you assign a Drum Set to the selected destination (DST)
track. A drum track indeed sounds odd when played by a piano,
for example (and a piano part is not necessarily suited for
drumming).
INSERT allows you to insert new data and shift data
that lie behind the FROM position further towards
the end of the song (this is the exact opposite of
DELETE). These empty measures can be “filled” using
the COPY function or by recording new phrases in
that area (using PUNCH IN/OUT, for example).
(page 164).
Note: The Insert function does not provide a TO pointer.
Instead, you have to specify the length of the insert using the
FOR values.
■TRACK (ALL, 1~16)
Allows you to select the track you wish to edit. You can
also select “ALL” here, in which case the operation applies
to all tracks.
■FROM
● BAR (1~[last measure of the track or song])—Refers to
the first measure to be edited. By default, the FROM
value is set to the beginning of the selected track(s).
● BEAT (1~[number of beats per bar])—Specifies the
beat position. The number of selectable beats depends
on the time signature in the selected area.
● CPT (1~119)—Refers to the starting CPT position. “CPT”
is short for “Clock Pulse Time”, the smallest unit used by
the G-70. (There are 120 CPTs to every beat of a 4/4 bar.)
Change this setting only if your edit operation should
start after the selected beat.
■FOR
Specifies how many bars, beats, and CPTs are to be inserted.
● BAR, BEAT, CPT—See above.
■TIME SIGNATURE
If TRACK= “ALL”, you can use these fields to set the time
signature of the new measures (1~32 & 2, 4, 8, 16).
■Execute
Press this field to confirm your settings and edit the data.
ALL All parameters listed below.
Note Only note messages.
P.Bender Pitch Bend data.
Control
Change
Control change messages.
Prog. C Program change messages.
NRPN Non-registered-parameter-number parameters.
These are parameter control functions of the GS/
GM2 format that are easier to use than SysEx
messages (but basically have the same function).
RPN Registered-parameter-number parameters. They
work like NRPN messages, except that they are
only understood by GM and GM2-compatible
sound modules.
CAF Channel Aftertouch messages. If you don’t really
need them, these messages should definitely be
erased, because they use a lot of memory.
INSERT