16
Please use the following functions to get the most out of your B1D and G50.
How can you effectively use the Split
Mode functions?
As an example, you can play a slap bass tone on the
first and second strings, and a fingered bass tone on
the third and fourth strings, each style (or string) can
be assigned sounds. You can get the best characteristics
out of each style (or strings) by assigning different
tones to different strings (
→
Refer to the G50 owner’s
manual: pg. 17).
How can you effectively use the Split
Mode in relation to picking position.
As an example, you can set up your bass so that by
playing in the normal picking position you can play a
fingered bass tone, and playing closer to the bridge
you can play a slap bass tone, and switch between the
two sounds by just changing your playing position (
→
Refer to the G50 owner’s manual : pg. 16 [Q: Split]).
Program change data is transmitted when the split
mode is active (when the tone is changed), and this
data can be used with a sequencer as well.
How can you effectively use the
Picking Position Control function?
If you set the G50’s [H: Program Number] to a synth
bass tone, and set the [T: Picking Position Control] to
“
74
” (filter cut-off frequency), you can create a techno-
bass tone (
→
Refer to the G50 owner’s manual: pg. 17).
How can you effectively use the Touch
Control function?
If you set the G50’s [H: Program Number] to a synth
bass tone, and set the [W: Touch Control] to “
74
”
(filter cut-off frequency), you can create a synth-bass
tone (
→
Refer to the G50 owner’s manual: pg. 17).
How can you effectively use the
Sustain 2 function?
Use a non-decaying tone, pluck and hold the lowest
string (multiple strings can also be held), and you can
play a melody on the other strings while the low string
pitch sustains (
→
Refer to the G50 owner’s manual: pg. 18).
How can you effectively use the Hold
function?
Use a non-decaying tone, play a chord and hold it,
play a melody with a different tone while the chord
holds. Also, by assigning an [H: Program Number]
program that is set to “
oFF
”, to the [Y: Sustain/Hold
Pedal] you can hold a chord and play the direct bass
sound over the chord (
→
Refer to the G50 owner’s
manual: pg. 18).
Is the direct bass sound, coming from the
G50, inferior?
The B1D has an internal buffer so there should be no
problems with noise, but variations in signal levels
may make the sound produced by the G50 may be a
little louder or softer than the bass’s direct sound.
Getting the most out of your B1D & G50
What playing style will you use?
Set the G50’s [A: Playing Style] to the “
Pic
” (pick)
setting if you are going to play with your fingers.
When using a pick, as long as you use a firm attack, not
letting the pick “slide” over the strings, there should be
no problems.
If you are going to use a slap technique, set the [A:
Playing Style] to the “
SLP
” (slap) setting. However, it
is recommended that you mix the direct bass sound with
the synth so that the slap attack covers up any delay in
the triggering of synth sounds.
Also, the synth sound is sometimes delayed due to the
difficulties in accurately processing the slap attack, it is
recommended that a “sweep” type of synth sound be
used to provide a better overall sound (
→
Refer to the
G50 owner’s manual: pg. 14).
Can you adjust the dynamics?
Set the G50’s [D: Velocity] setting according to the type
of sound you will be using. The following settings are
possible, “
nAr
” (narrow), “
nor
” (normal), “
uui
”
(wide), “
1
”-”
127
” (fixed). The velocity setting
specifies how the G50 will control the dynamic range of
your playing style.
When programming data for a sequencer “
nAr
” or
“
1
”-”
127
” (fixed) settings will keep velocity data to a
average.
Also, the “
uui
” (wide) setting can be used in conjunc-
tion with a velocity switch to change synth sounds with
velocity (
→
Refer to the G50 owner’s manual: pg. 14).
Do you want to decrease pitch bend data
going to the sequencer?
Set the G50’s [E: Chromatic] setting to “
On
” or “
Au
”.
Or set the [G: Pitch Bend Range] setting to “
0
” and
pitch bend data will not be produced at all (
→
Refer to
the G50 owner’s manual: pgs. 14-15).
Can you control the synthesizer’s attack
and release?
By setting one of the G50’s control numbers as follows
[M(O): Assignable Control Number] to “
73
” (Attack
Time) or to “
72
” (Release Time), you can control the
parameter with [N(P): Assignable Control Value]. Value: 0
(Short) - 64 (Factory Default) - 127 (Long) (
→
Refer to
pg. 16 in the G50 Owner’s Manual).
Depending on the type of tone generator, it may be
impossible to carry out some control changes. If that is the
case, the Attack and Release Times should be set on the
tone generator itself.
Do you use a fretless bass?
You can use a fretless bass as well as fretted one. If you
set the G50’s [E: Chromatic] setting to “
oFF
”, the
sensitivity and unique pitch characteristics of the fretless
bass will be accurately reproduced by the G50 (
→
Refer
to the G50 owner’s manual: pgs. 14-15).
