68
Chapter 6 Using MIDI
Adjusting the Feel Produced in Playing the Guitar (PLAY FEEL)
This selects the response of the synth sound relative to the picking
dynamics.
Changing this setting depending on the performance style used with
the guitar or the tone allows you to express dynamics more
naturally.
1.
Follow Steps 1–2 in “Setting the Transmission
Mode (MODE)” (p. 67) to display the GTR TO
MIDI screen.
2.
Press PAGE [ ] to display Page 1.
3.
Adjust the setting with [F2] (SELECT) or the F2
knob.
• FEEL1–FEEL4
FEEL1 is the mode that gives sounds the broadest variation in
volume based on the picking dynamics. As the setting number
is increased, it becomes easier to produce high volume sounds
even with weaker picking.
This allows you to play with consistent volume, whether you
tap the strings or use rough picking.
• NO DYNA
In this mode, sounds are played at a fixed volume regardless
of the picking strength.
• STRUM
This suppresses the output of sounds from weaker picking.
This setting allows you to prevent undesired sounds
produced when playing rhythm or due to incidental contact
with strings from incorrect picking.
Changing the Pitch in Semitone Units (CHROMATIC)
When using string bending or other such techniques to gradually
change the pitch with the guitar or bass, you can set the VG-99 so
that the pitch of the MIDI messages being output changes in
semitone increments.
1.
Follow Steps 1–2 in “Setting the Transmission
Mode (MODE)” (p. 67) to display the GTR TO
MIDI screen.
2.
Press PAGE [ ] to display Page 1.
3.
Adjust the setting with [F3] (SELECT) or the F3
knob.
• OFF
Normal Pitch Bend messages are output. The pitch varies
continuously in keeping with the string bending or vibrato.
• TYPE 1
When the pitch changes, this setting applies the results of the
pitch change information without stopping the note that is
playing.
This produces a unique effect, whereby there is no attack
sound when the pitches change, similar to slurring on a
recorder.
• TYPE 2
When the pitch changes, the VG-99 retriggers (replays) the
sound at the changed pitch, producing pitch changes only at
the semitone increments.
As a result, the attack sound plays each time the pitch
changes. The attenuation of the string vibration following the
moment the string is played is reflected in the gradual fading
of the retriggered sound.
• TYPE 3
As with TYPE 2, sounds are retriggered at the changed pitch,
expressing the pitch changes only in semitones.
However, instead of reflecting the attenuation of the string
vibration, the retriggered sound is the same as that when the
string was initially played.
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