Roland G-70 User manual

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Owner’s Manual

CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION
: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE:
BROWN:
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
NEUTRAL
LIVE
The lightning flash with arrowhead symbol, within an equilateral tri-
angle, is intended to alert the user to the presence of uninsulated
“dangerous voltage” within the product’s enclosure that may be of
sufficient magnitude to constitute a risk of electric shock to per-
sons.
The exclamation point within an equilateral triangle is intended to
alert the user to the presence of important operating and mainte-
nance (servicing) instructions in the literature accompanying the
product.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS
SAVE THESE INSTRUCTIONS
WARNING – When using electric products, basic precautions should always be followed, including the following:
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any of the ventilation openings. Install in accor-
dance with the manufacturers instructions.
8. Do not install near any heat sources such as radiators, heat reg-
isters, stoves, or other apparatus (including amplifiers) that pro-
duce heat.
9. Do not defeat safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the
other.
A grounding type plug has two blades and third grounding
prong. The wide blade or the third prong are provided for your
safety. If the provided plug does not fit into your outlet, consult
an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched partic-
ularly at plugs, convenience receptacles, and the point where
they exit from the apparatus.
11. Only use attachments/accessories specified by the manufactur-
er.
12. Never use with a cart, stand, tripod, bracket, or
table except as specified by the manufacturer, or
sold with the apparatus. When a cart is used,
use caution when moving the cart/apparatus
combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or when unused
for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing is re-
quired when the apparatus has been damaged in any way, such
as power-supply cord or plug is damaged, liquid has been
spilled or objects have fallen into the apparatus, the apparatus
has been exposed to rain or moisture, does not operate normal-
ly, or has been dropped.
WARNING – To reduce the risk of fire or electric shock, do not expose this device to rain or moisture.
For the U.K.
The technology used in the G-70 is covered by patents pending in certain countries throughout the world.

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Owner’s Manual
ENGLISH ENGLISH ENGLISH ENGLISH
Thank you for purchasing the Roland G-70 Music Workstation. The G-70 is Roland’s most complete arranger keyboard
yet a collection of all major advantages a Roland instrument can offer: perfect accompaniments high-class sounds
the possibility to expand the number of sounds via an optional expansion board (SRX series) a D Beam controller vir-
tual organ drawbars professional effects a Vocal Harmonist the Cover functions first introduced on Roland’s unique
DisCover 5 keyboard… There’s simply too much to mention in this introduction.
Much care has been taken to facilitate access to all those countless functions which is why the G-70 comes with a full-
color touch screen and a user interface that walks you through anything you may want to do with your G-70.
To get the most out of the G-70 and to ensure many years of trouble-free service we urge you to read through this
Owner’s Manual thoroughly.
To avoid confusion let’s agree to use the word “button” for all keys on the front panel and use “key” only when refer-
ring to the G-70’s keyboard.
To save space (and time) let us agree to use the word “song” when referring to Standard MIDI Files.
Before using this instrument carefully read the “Important notes” on p. 11. They provide information concerning the
proper operation of the G-70. Be sure to keep this manual in a safe place for future reference.
Copyright © 2004 ROLAND EUROPE. All rights reserved. No part of this publication may be reproduced in any form without the written permission of Roland Europe S.p.a.

Features
4
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G-70 Music Workstation
Features
Roland’s most comprehensi e arranger instru-
ment e er
The G-70 is quite simply a superlative instrument with
the most advanced and best sound generation technol-
ogy Roland has to offer. It combines Roland’s Virtual
ToneWheel technology (derived from our successful VK
series) with a superb internal sound source (based on
the acclaimed Fantom-X series) and the possibility to
expand your sound arsenal using a wave expansion
board of Roland’s SRX series.
New interface concept
The G-70 was designed from the ground up to put its
massive array of functions at your fingertips. The full-
color touch-sensitive screen and the large number of
front-panel buttons usually provide direct access to the
available functions thus doing away with the need to
wade through countless menus.
Parameters that belong together from a musician’s
point of view are usually located on the same or adja-
cent display pages while setting them has been greatly
simplified with respect to earlier arranger instruments.
Co er functions and Makeup Tools for Standard
MIDI Files and Music Styles
Reorchestrating existing Standard MIDI Files and Music
Styles has become a breeze thanks to high-quality Song
and Style Cover presets and an intuitive instrument-
based set of MAKEUP TOOLS parameters that allow you
to “revoice” your songs and Styles without spending
hours editing single events.
The structure of Standard MIDI Files can be changed in
real-time thanks to four programmable MARK & JUMP
memories which allows you to play extended versions
of prerecorded songs.
Adapti e Chord Voicing technology
The G-70’s Arranger not only boasts a new structure
(with 4 accompaniment levels 4 Intros and 4 Ending
phrases) but also relies on a more musical real-time
conversion of the chords you play into meaningful
accompaniment phrases. Roland’s patent-applied-for
ACV technology can indeed transpose Music Style parts
in such a way as to eliminate unnatural jumps of
strings lines piano chords etc.
Professional Vocal Harmonist
Another highlight of the G-70 is its Vocal Harmonist
that adds automatic harmonies to your singing com-
plete with several modes for transforming your (or
someone else’s) voice.
This implies of course that you can connect an
optional (Roland DR-10 or DR-20) microphone to the
G-70. Other signal sources (synthesizers etc.) can also
be connected. Note that a separate EXTERNAL AUDIO IN
part with its own effect section is also provided allow-
ing you to add external line-level signals (of a sound
module CD player etc.) to your playing.
The signals generated by your singing and/or the Vocal
Harmonist can either be added to the signals of the
MAIN OUTPUT sockets or transmitted directly to one or
two mixer channels (or additional amplifiers) via the
dedicated VOCAL HARMONIST OUTPUT sockets.
Superfast Recorder and comprehensi e 16-track
sequencer
The G-70 provides two approaches for recording new
song material: a Recorder function with a straightfor-
ward REC-START-STOP approach and a fully-featured
16-track sequencer with track-based and detailed
microscope editing functions.
Like many other functions on the G-70 the Recorder
interacts with other sections: you can link a song to
each User Program you can cause any Standard MIDI
File to be transposed automatically to a range that
allows you to sing with ease the chords of the songs
you play back are recognized automatically and dis-
played etc.
Finder functions for songs, Music Styles and User
Programs
Another highlight of the G-70 is the fact that you can
work with an almost unlimited number of songs Music
Styles and User Programs (in the internal memory on
memory card or floppy disk). Though there are still fac-
tory Music Styles you can also work with “CUSTOM”
links to accompaniments in the internal memory or on
memory card and even select such “external” Styles on
the fly. The same high-speed access system is available
for Standard MIDI Files (songs) and User Programs.
Thanks to the clever Finder databases the difference
between what’s internal and what resides in an “exter-
nal” memory has become almost imperceptible.
Play List function
Thanks to the G-70’s Play List function you can pro-
gram set lists for your performances. The advantage of
such song chains is that you won’t have to look for the
desired songs on stage.
Furthermore you can already prepare the next song
while the current one is still running (NEXT SONG func-
tion).
D Beam controller
The G-70 has the acclaimed D Beam Controller* for
intuitive song and Style playback control and additional
DJ-like effects via movements over an invisible beam of
infrared light. And of course the BENDER/MODULA-
TION lever is also there as are sockets for optional foot-
switches and an expression pedal.
(* D Beam technology licensed from Interactive Light Inc.)

Features
G-70 Music Workstation
r
5
…and so much more
Listing all of the G-70’s advantages and functions
would take another ten pages while you must be dying
to put it through its paces. That is why we would like to
ask you to read this manual from cover to cover. You’ll
find that the G-70 is quite unlike any other instrument
you know.
Have fun!

Using the unit safely
6
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G-70 Music Workstation
Using the unit safely
• Before using this instrument be sure to read the instruc-
tions below and the Owner’s Manual.
.................................................................................................
• Do not open or perform any internal modifications on
the unit.
.................................................................................................
• Do not attempt to repair the G-70 or replace parts
within it (except when this manual provides specific
instructions directing you to do so). Refer all servicing to
your retailer the nearest Roland Service Center or an
authorized Roland distributor as listed on the “Informa-
tion” page.
.................................................................................................
• Never use or store the G-70 in places that are:
• Subject to temperature extremes (e.g. direct sunlight
in an enclosed vehicle near a heating duct on top of
heat-generating equipment); or are
• Damp (e.g. baths washrooms on wet floors); or are
• Humid; or are
• Exposed to rain; or are
• Dusty; or are
• Subject to high levels of vibration.
.................................................................................................
• This unit should be used only with a rack or stand that
is recommended by Roland.
.................................................................................................
• Make sure you always have the unit placed in such a way
that it is level and sure to remain stable. Never place it on
stands that could wobble or on inclined surfaces.
.................................................................................................
• The instrument should only be connected to a power
supply of the type described in the operating instruc-
tions or as marked on the G-70.
.................................................................................................
• Do not excessively twist or bend the power cord nor
place heavy objects on it. Doing so can damage the cord
producing severed elements and short circuits. Damaged
cords are fire and shock hazards!
................................................................................................
• This instrument either alone or in combination with an
amplifier and headphones or speakers may be capable of
producing sound levels that could cause permanent
hearing loss. Do not operate for a long period of time at a
high volume level or at a level that is uncomfortable. If
you experience any hearing loss or ringing in the ears
you should immediately stop using the unit and consult
an audiologist.
................................................................................................
• Do not allow any objects (e.g. flammable material coins
pins); or liquids of any kind (water soft drinks etc.) to
penetrate the unit.
................................................................................................
• In households with small children an adult should pro-
vide supervision until the child is capable of following all
rules essential for the safe operation of the G-70.
................................................................................................
• Protect the unit from strong impact.
(Do not drop it!)
................................................................................................
• Do not force the G-70’s power cord to share an outlet
with an unreasonable number of other devices. Be espe-
cially careful when using extension cords—the total
power used by all devices you have connected to the
extension cord’s outlet must never exceed the power rat-
ing (watts/amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat up and
eventually melt through.
................................................................................................
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
* Material damage refers to damage or
other adverse effects caused with
respect to the home and all its
furnishings, as well to domestic
animals or pets.
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
The ●symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the power-
cord plug must be unplugged from the outlet.
The symbol alerts the user to important instructions
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
The symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
must not be done is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the unit must never be disassembled.

Using the unit safely
G-70 Music Workstation
r
7
• Before using the G-70 in a foreign country consult with
your retailer the nearest Roland Service Center or an
authorized Roland distributor as listed on the “Informa-
tion” page.
.................................................................................................
• The G-70 should be located so that its location or posi-
tion does not interfere with its proper ventilation.
.................................................................................................
• This unit for use only with Roland keyboard stand KS-12.
Use with other stands may result in instability and cause
possible injury.
.................................................................................................
• Always grasp only the plug on the power-supply cord
when plugging into or unplugging from an outlet or
this unit.
.................................................................................................
• Try to prevent cords and cables from becoming entan-
gled. Also all cords and cables should be placed out of
the reach of children.
.................................................................................................
• Never climb on top of nor place heavy objects on the
unit.
.................................................................................................
• Never handle the power cord or its plugs with wet hands
when plugging into or unplugging from an outlet or
this unit.
.................................................................................................
• If you need to move the instrument take note of the pre-
cautions listed below. Make sure to have a firm grip to
protect yourself from injury and the instrument from
damage.
• Disconnect the power cord.
• Disconnect all cords coming from external devices.
• Remove the music stand.
.................................................................................................
• Before cleaning the unit turn off the power and unplug
the power cord from the outlet.
.................................................................................................
• Whenever you suspect the possibility of lightning in your
area disconnect the power cord from the outlet.
.................................................................................................
• Should you remove screws make sure to put them in a
safe place out of children’s reach so there is no chance
of them being swallowed accidentally.
.................................................................................................

Contents
8
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G-70 Music Workstation
Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Important notes . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
1. Panel descriptions. . . . . . . . . . . . . . . . . . . . . . . . . . 13
Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
2. Settin up and demo son s. . . . . . . . . . . . . . . . . . 20
Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Switching the G-70 on/off . . . . . . . . . . . . . . . . . . . . . 21
Internal Memory Protect . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Setting the display contrast . . . . . . . . . . . . . . . . . . . . . . . .21
Switching off the G-70 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Interactive demo of the G-70. . . . . . . . . . . . . . . . . . . 22
The main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
3. Quick Start. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
The general idea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Playing to an automatic accompaniment. . . . . . . . . 25
Professional transitions: Fill In . . . . . . . . . . . . . . . . . . . . . .26
Intro & Ending . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Selecting Music Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Changing the tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Using the Keyboard parts . . . . . . . . . . . . . . . . . . . . . . 28
Playing with an Upper and/or Lower part . . . . . . . . . . . . 28
Alternating between sounds . . . . . . . . . . . . . . . . . . . . . . . . 29
Selecting sounds for the Keyboard parts . . . . . . . . . . . . .29
Drumming on the keyboard . . . . . . . . . . . . . . . . . . . . . . . .31
Selecting sounds from an SRX expansion board . . . . . . . 32
Using the Harmonic Bars. . . . . . . . . . . . . . . . . . . . . . . 33
If you like a registration… . . . . . . . . . . . . . . . . . . . . . . . . . .34
About the MANUAL field . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Using just one organ sound and bass pedals . . . . . . . . . . 34
Using effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
Using a “beat box” with the organ. . . . . . . . . . . . . . . . . . . 35
Working with the Music Assistant . . . . . . . . . . . . . . . 36
If the desired registration is not displayed… . . . . . . . . . . 36
To save time… . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Using the Finder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Playing back songs (Standard MIDI Files) . . . . . . . . . 38
Quick location of the song you need. . . . . . . . . . . . . . . . .38
Starting playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
Other practical playback functions . . . . . . . . . . . . . . . . . .39
Using the Song Cover function . . . . . . . . . . . . . . . . . . . . . 41
Minus One . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Vocal Harmonist function . . . . . . . . . . . . . . . . . . . . . . 42
Setting up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
Adding harmonies to your singing. . . . . . . . . . . . . . . . . . . 44
Who specifies the harmonies? . . . . . . . . . . . . . . . . . . . . . .44
Not convinced so far? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Voice-FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Auto Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46
Using the Vocoder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Talk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Automatic transposition (Singer Key) . . . . . . . . . . . . . . . .48
Displaying Lyrics and chord information . . . . . . . . . . . . .49
Displaying scores. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Recording your music . . . . . . . . . . . . . . . . . . . . . . . . . 52
Recording with Style backing . . . . . . . . . . . . . . . . . . . . . . .52
Listening to your song . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Recording without accompaniment. . . . . . . . . . . . . . . . . .53
Adding more parts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Saving your song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
4. About the Keyboard modes . . . . . . . . . . . . . . . . . .56
Arranger Piano and Organ modes . . . . . . . . . . . . . . 56
Split and Whole modes . . . . . . . . . . . . . . . . . . . . . . . . 57
Using the SPLIT Keyboard Mode . . . . . . . . . . . . . . . . . . . . .57
Using WHOLE mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
Switching parts on and off . . . . . . . . . . . . . . . . . . . . . . . . .57
5. Usin the performance functions . . . . . . . . . . . . .58
Pitch Bend and Modulation . . . . . . . . . . . . . . . . . . . . 58
Transposition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Setting the transposition interval via the display . . . . . .58
Global Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59
Octave. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Key Touch (velocity sensitivity) . . . . . . . . . . . . . . . . . 60
Master Tune. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Aftertouch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
ASSIGN SW buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Using the D Beam Controller . . . . . . . . . . . . . . . . . . . 64
Using optional footswitches. . . . . . . . . . . . . . . . . . . . 67
FC7 PEDAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67
Hold Footswitch (Sustain) . . . . . . . . . . . . . . . . . . . . . . . . . .68
Foot Switch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69
Expression (Foot Pedal). . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Scale Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Metronome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
6. Additional Arran er/Style functions . . . . . . . . . . .74
Playback functions (Style Control) . . . . . . . . . . . . . . 74
Starting a Music Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74
Stopping Style playback . . . . . . . . . . . . . . . . . . . . . . . . . . . .74
About Sync Start & Stop . . . . . . . . . . . . . . . . . . . . . . . . . . .75
Selecting other Style divisions . . . . . . . . . . . . . . . . . . 75
Other ways of selecting Arranger patterns . . . . . . . . . . . .75
Bass Inversion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75
Melody Intelligence . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Using the Style Cover function . . . . . . . . . . . . . . . . . 76
Saving a Style with a COVER alteration. . . . . . . . . . . . . . .77
One Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Ignoring certain One Touch settings (Hold) . . . . . . . . . . .78
Programming your own One Touch settings (WRITE) . . .79
More refined Arranger settings . . . . . . . . . . . . . . . . . 79
Chord recognition area (ZONE) . . . . . . . . . . . . . . . . . . . . . .79
Arranger Type (chord mode) . . . . . . . . . . . . . . . . . . . . . . . .80
Arranger Hold. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
Intro & Ending Alteration. . . . . . . . . . . . . . . . . . . . . . . . . . .80
Dynamic Arranger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
Tempo-related settings (Arranger Options) . . . . . . . 81
Style Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
TEMPO CHANGE (RITARD and ACCELER) . . . . . . . . . . . . . .82
Working with ‘external’ Styles . . . . . . . . . . . . . . . . . . 83
Using the CUSTOM memories . . . . . . . . . . . . . . . . . . . . . . .83
Programming CUSTOM assignments . . . . . . . . . . . . . . . . .83
Disk User . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
Contents

Contents
G-70 Music Workstation
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Style Finder: quickly locating Styles. . . . . . . . . . . . . . 86
Quick location of the Style you need. . . . . . . . . . . . . . . . .86
Editing the Style Finder information . . . . . . . . . . . . . . . . .87
7. Advanced Keyboard part functions . . . . . . . . . . . 90
Upper 3 Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Tuning Upper2: Coarse Tune and Fine Tune . . . . . . . 90
Portamento for UP1 and UP2 . . . . . . . . . . . . . . . . . . . 91
Portamento Time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91
Portamento Mode: Mono/Poly . . . . . . . . . . . . . . . . . . . . . .92
Lower Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Tone Edit: editing Keyboard parts . . . . . . . . . . . . . . . 93
8. Usin the mixer functions & effects . . . . . . . . . . 95
Mixing Keyboard parts . . . . . . . . . . . . . . . . . . . . . . . . . 95
Volume and status of the Style parts . . . . . . . . . . . . 96
Editing the Keyboard effects processors . . . . . . . . . . 97
Reverb for Keyboard parts. . . . . . . . . . . . . . . . . . . . . . . . . .97
Chorus for Keyboard parts. . . . . . . . . . . . . . . . . . . . . . . . . . 98
Using the multi-effects processor (Multi-FX). . . . . 100
Selecting another MFX type and editing it. . . . . . . . . . .100
Linking Multi-FX type selection to the Upper1 part
(Upper 1 M-FX Link) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Effects for Songs and Styles . . . . . . . . . . . . . . . . . . . 101
Reverb for Style/Song parts . . . . . . . . . . . . . . . . . . . . . . .101
Chorus for Style/Song parts . . . . . . . . . . . . . . . . . . . . . . .102
Using the individual outputs and audio inputs . . . 103
Output assign (PART OUTPUTS) . . . . . . . . . . . . . . . . . . . .103
Using the audio inputs. . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Using the Mastering Tools . . . . . . . . . . . . . . . . . . . . . 105
Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105
Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Mixing Vocal Harmonist signals . . . . . . . . . . . . . . . . 107
Reverb Delay and Chorus effects. . . . . . . . . . . . . . . . . . .107
9. Workin with User Pro rams . . . . . . . . . . . . . . . 111
Saving your settings to a User Program . . . . . . . . . 111
Selecting User Programs . . . . . . . . . . . . . . . . . . . . . .112
Cancel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112
Choosing User Programs manually . . . . . . . . . . . . . . . . .113
Selecting User Programs with [DOWN][UP] . . . . . . . . . .113
Working with the User Program Finder. . . . . . . . . . . . . .113
Quick location of the User Program you need. . . . . . . .114
Selectively loading User Program settings
(User Program Hold) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
Automatic functions for User Programs . . . . . . . . . 116
Song Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116
Linking a MIDI Set to a User Program . . . . . . . . . . . . . . .116
User Program Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
Editing User Program Finder information. . . . . . . . 117
Editing the User Program Finder information . . . . . . . .118
Editing an Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120
Music Assistant functions . . . . . . . . . . . . . . . . . . . . . 121
Creating new Music Assistant registrations . . . . . . . . . .121
Editing Music Assistant registrations. . . . . . . . . . . . . . . .122
Saving a Music Assistant entry. . . . . . . . . . . . . . . . . . . . .122
10. Son and Style Makeup Tools . . . . . . . . . . . . . . . 124
Mixing Song or Style parts . . . . . . . . . . . . . . . . . . . . 124
Using the Makeup Tools. . . . . . . . . . . . . . . . . . . . . . . 125
General procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126
PALETTE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127
SOUND EDIT for sounds . . . . . . . . . . . . . . . . . . . . . . . . . . .127
SOUND EDIT for Drum Sets . . . . . . . . . . . . . . . . . . . . . . . .128
DRUM INSTR EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128
COMMON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129
Saving your modified song or Style . . . . . . . . . . . . 130
11. Editin the Vocal Harmonist parts . . . . . . . . . . .131
Singer settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Voice-FX settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Auto Pitch settings. . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Vocoder settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Small settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Ensemble settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
12. More refined son functions . . . . . . . . . . . . . . . .138
Using the Fade-In/Out function. . . . . . . . . . . . . . . . 138
Programming MARK & JUMP locations . . . . . . . . . 139
Working with the Song Finder . . . . . . . . . . . . . . . . . 140
Locating files with the Song Finder . . . . . . . . . . . . . . . . 140
Editing the Song Finder information . . . . . . . . . . . . . . . 141
Editing an Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Play List function . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Programming Play Lists . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Editing Play Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Using Play Lists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Managing Play Lists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
13. Editin Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150
Adding Lyrics to a song . . . . . . . . . . . . . . . . . . . . . . . 150
Exporting Lyrics data as text file . . . . . . . . . . . . . . . 152
14. Usin the 16-track sequencer . . . . . . . . . . . . . . .153
About the sequencer’s main page . . . . . . . . . . . . . . 153
General considerations . . . . . . . . . . . . . . . . . . . . . . . 153
Example 1: Recording a song from scratch . . . . . . 154
Preparations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Example 2: Adding tracks . . . . . . . . . . . . . . . . . . . . . 157
Saving your song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Editing 16-track songs. . . . . . . . . . . . . . . . . . . . . . . . 159
Easy editing and useful functions. . . . . . . . . . . . . . . . . . 159
Editing one or several tracks (TRACK EDIT) . . . . . . . . . . 159
Editing song data using Microscope Edit . . . . . . . . 174
General notes about MICRO EDIT . . . . . . . . . . . . . . . . . . 174
Editing events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Other edit operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
15. Pro rammin Styles (Style Composer) . . . . . . . . 178
Concept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Recording Styles from scratch . . . . . . . . . . . . . . . . . 179
Starting the Style Composer . . . . . . . . . . . . . . . . . . . . . . 179
Clearing the RAM memory (Initialize Style) . . . . . . . . . 179
Getting ready for the first track . . . . . . . . . . . . . . . . . . . 180
Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Auditioning your Style and adding more tracks . . 183
Saving your Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Recording other tracks and divisions . . . . . . . . . . . . . . . 184
Muting tracks while recording others . . . . . . . . . . . . . . 184
Remarks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Using existing Styles . . . . . . . . . . . . . . . . . . . . . . . . . 185
Starting with all tracks of an existing Style . . . . . . . . . 185
Copying individual Style tracks . . . . . . . . . . . . . . . . . . . . 186
Editing Styles on the fly via additional recordings 187
Adding notes in realtime . . . . . . . . . . . . . . . . . . . . . . . . . 187
Adding controller data in realtime . . . . . . . . . . . . . . . . . 187
Adding or changing settings of existing parts . . . . . . . 187
Expression Panpot Reverb Chorus . . . . . . . . . . . . . . . . 188
Changing the preset tempo. . . . . . . . . . . . . . . . . . . . . . . 189
Style Track Edit functions . . . . . . . . . . . . . . . . . . . . . 189

Contents
10
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G-70 Music Workstation
Editing individual Style events (Style Micro Edit) . 197
General notes about STYLE MICRO EDIT . . . . . . . . . . . . .197
Editing events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199
Other edit operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200
16. Disk/Media functions . . . . . . . . . . . . . . . . . . . . . . 202
The how-to’s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Loading data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Saving data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Rename functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Copy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
17. Archivin data usin a computer (USB) . . . . . . . 210
Backing up all of the G-70’s data. . . . . . . . . . . . . . . . . . .212
18. MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
The how-to’s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Accessing the MIDI functions . . . . . . . . . . . . . . . . . . . . . .213
Working with presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214
Editing procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214
Editing MIDI parameters . . . . . . . . . . . . . . . . . . . . . . 215
Keyboard Style Song parts. . . . . . . . . . . . . . . . . . . . . . . .215
MIDI System parameters . . . . . . . . . . . . . . . . . . . . . . . . . .216
MIDI Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Writing a MIDI Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .219
Using MIDI Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .219
MIDI Set selection at power-on . . . . . . . . . . . . . . . . . . . .220
19. Miscellaneous . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Using V-LINK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
General settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Touch Screen Beep . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .222
Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .222
Initializing the G-70 (Factory Reset) . . . . . . . . . . . . . . . .223
20. Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
21. Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Installing a wave expansion board. . . . . . . . . . . . . . 226
How to install a wave expansion board . . . . . . . . . . . . .226
Accessing the ‘Patches’ of SRX-series expansion
boards via MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
MFX and IFX types and parameters . . . . . . . . . . . . . 228
22. MIDI Implementation Chart. . . . . . . . . . . . . . . . . 248
23. Chord Intelli ence . . . . . . . . . . . . . . . . . . . . . . . . 249
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

G-70 Music Workstation r
11
Important notes
In addition to the items listed under “Using the unit safely” on p. 6, please read and observe the following:
Power supply
• Do not use this instrument on the same power circuit with any
device that will generate line noise (such as an electric motor or
variable lighting system).
• Before connecting the G-70 to other devices turn off the power
to all units. This will help prevent malfunctions and/or damage to
speakers or other devices.
• Although the LCD and LEDs are switched off when the POWER
switch is switched off this does not mean that the unit has been
completely disconnected from the source of power. If you need to
turn off the power completely first turn off the POWER switch
then unplug the power cord from the power outlet. For this rea-
son the outlet into which you choose to connect the power cord’s
plug should be one that is within easy reach.
Placement
• Using the G-70 near power amplifiers (or other equipment con-
taining large power transformers) may induce hum. To alleviate
the problem change the orientation of this instrument or move it
further away from the source of interference.
• This instrument may interfere with radio and television reception.
Do not use it in the vicinity of such receivers.
• Observe the following when using the unit’s floppy disk drive. For
further details refer to “Before using floppy disks (handling the
floppy disk drive)”.
• Do not place the unit near devices that produce a strong mag-
netic field (e.g. loudspeakers).
• Install the G-70 on a solid level surface.
• Do not move the unit or subject it to vibration while the drive is
operating.
• Do not expose the G-70 to direct sunlight place it near devices
that radiate heat leave it inside an enclosed vehicle or otherwise
subject it to temperature extremes. Excessive heat can deform or
discolor the G-70.
• To avoid possible breakdown do not use the G-70 in a wet area
such as an area exposed to rain or other moisture.
• Do not allow objects to remain on the keyboard. This can be the
cause of malfunction such as keys ceasing to produce sound.
Maintenance
• For everyday cleaning wipe the G-70 with a soft dry cloth or one
that has been slightly dampened with water. To remove stubborn
dirt use a mild non-abrasive detergent. Afterwards be sure to
wipe the instrument thoroughly with a soft dry cloth.
• Never use benzene thinner alcohol or solvents of any kind to
avoid the possibility of discoloration and/or deformation.
Repairs and data
• Please be aware that all data contained in the instrument’s mem-
ory may be lost when it is sent for repairs. In certain cases (such as
when circuitry related to memory itself is out of order) we regret
that it may not be possible to restore the data. Roland assumes no
liability concerning such loss of data.
Additional precautions
• Please be aware that the memory contents can be irretrievably lost
as a result of a malfunction or the improper operation of the
instrument.
• Use a reasonable amount of care when using the G-70’s buttons
other controls and jacks/connectors. Rough handling can lead to
malfunctions.
• Never strike or apply strong pressure to the display.
• When connecting/disconnecting cables grasp the connector
itself—never pull on the cable. This way you will avoid causing
shorts or damage to the cable’s internal elements.
• A small amount of heat will radiate from the G-70 during normal
operation. This is perfectly normal.
• To avoid disturbing your neighbors try to keep the G-70’s volume
at reasonable levels. You may prefer to use headphones so you do
not need to be concerned about those around you (especially late
at night).
• When you need to transport the G-70 package it in the box
(including padding) that it came in. Otherwise you will need to use
equivalent packaging materials or a flightcase.
• Use only the specified expression pedal (EV-5 EV-7; sold sepa-
rately). By connecting any other expression pedals you risk caus-
ing malfunction and/or damage to the G-70.
About the touch screen
• Wipe off stains on the touch screen using ethanol but do not
allow the ethanol to soak into the joint of the upper fume and the
bottom glass for it may otherwise cause peeling or malfunction.
Do not use organic solvents or detergents other than ethyl alcohol
(ethanol).
Before using floppy disks (handling the floppy
disk dri e)
• Install the G-70 on a solid level surface in an area free from vibra-
tion. If the unit must be installed at an angle be sure the installa-
tion does not exceed the permissible range: upward 2°; down-
ward 18°.
• Avoid using the G-70 immediately after it has been moved to a
location with a level of humidity that is greatly different than its
former location. Rapid changes in the environment can cause con-
densation to form inside the drive which will adversely affect the
operation of the drive and/or damage floppy disks. When the unit
has been moved allow it to become accustomed to the new envi-
ronment (allow a few hours) before operating it.
• To insert a disk push it gently but firmly into the drive—it will click
into place. To remove a disk press the EJECT button firmly. Do not
use excessive force to remove a disk which is lodged in the drive.
• Never attempt to remove a floppy disk from the drive while the
drive is operating (the indicator is lit); damage could result to both
the disk and the drive.
• Remove any disk from the drive before powering up or down.
• To prevent damage to the disk drive’s heads always try to hold the
floppy disk in a level position (not tilted in any direction) while
inserting it into the drive. Push it in firmly but gently. Never use
excessive force.
• To avoid the risk of malfunction and/or damage insert only floppy
disks into the disk drive. Never insert any other type of disk. Avoid
getting paper clips coins or any other foreign objects inside the
drive.
Handling floppy disks
• Floppy disks contain a plastic disk with a thin magnetic coating.
Microscopic precision is required to enable storage of large
amounts of data on such a small surface area. To preserve their
integrity please observe the following when handling floppy disks:
• Never touch the magnetic medium inside the disk.
• Do not use or store floppy disks in dirty or dusty areas.

Important notes
12
r
G-70 Music Workstation
• Do not subject floppy disks to temperature extremes (e.g. direct
sunlight in an enclosed vehicle). Recommended temperature
range: 10°~50°C (50°~122°F).
• Do not expose floppy disks to strong magnetic fields such as
those generated by loudspeakers.
• Floppy disks have a “WRITE” tab which can protect the disk from
accidental erasure. It is recommended that the tab be kept in
the PROTECT position and moved to the WRITE position only
when you wish to write new data onto the disk.
• Disks containing important performance data for this instru-
ment should always be locked (have their write protect tab slid
to the PROTECT position) before you insert them into the drive
of another device.
• The identification label should be firmly affixed to the disk. If
the label comes loose while the disk is in the drive it may be
difficult to remove the disk.
• Put the disk back into its case for storage.
Memory Backup
• If the power to this unit is not switched on for an extended period
of time the contents of memory will be lost and the unit will
revert to its factory defaults. To avoid the loss of important data
that has been placed in memory a backup of your data should be
periodically created (see p. 210).
Before using memory cards
• Some data cards are equipped with a PROTECT switch which when
turned on protects your data from accidental erasure. (The G-70
also has such a switch.) It is recommended that the switch be kept
at the ON position and switched to OFF only at the times you wish
to write new data onto the card.
• This unit’s memory card slot accepts CompactFlash and Smart-
Media™ (3.3V) memory cards. Microdrive storage media are com-
patible. (You need a commercially available adapter plug for
SmartMedia™ cards.)
• Carefully insert the memory Card all the way in—until it is firmly in
place.
• Never touch the terminals of the memory card. Also avoid getting
the terminals dirty.
• CompactFlash and SmartMedia (3.3V) cards are constructed using
precision components. Handle the cards carefully paying particu-
lar note to the following.
• To prevent damage to the cards from static electricity be sure
to discharge any static electricity from your own body before
handling the cards.
• Do not touch or allow metal to come into contact with the con-
tact portion of the cards.
• Do not bend drop or subject cards to strong shock or vibration.
• Do not keep cards in direct sunlight in closed vehicles or other
such locations (storage temperature: –25~85°C).
• Do not allow cards to become wet.
• Do not disassemble or modify the cards.
• Never remove the memory card or turn off the power while an
operation –such as reading or writing data or formatting– is being
performed on the memory card. Doing so can destroy the data on
the memory card and/or render the memory card itself unusable.
• If you affix the write-protect label to the write-protect area of a
SmartMedia™ card you will not be able to format the card or write
data to it. If you wish to format the card or write data to it do so
without the label affixed. For details on the write-protect sticker
refer to the owner’s manual for your memory card.
• If you attempt to format a card or write data to it when the write-
protect label is affixed an error message will appear. In that case
either insert another card or remove the write-protect label.
• At power-on do not remove/insert a card while the G-70 is updat-
ing its internal data (wait until the messages “Song database
checking…” and “User Program database checking…” have disap-
peared).
• Never turn on the power when a memory card is inserted partway
into the slot. Doing so will damage the data in internal memory.
Memory cards usable with the G-70
• The G-70 can use commercially available CompactFlash and
SmartMedia memory cards. You can purchase such cards at a
computer shop or digital camera dealer.
• Memory cards you purchase must meet the following conditions.
• Power supply voltage: 3 3V
• Capacity: 4 8 16 32 64 128 256 512MB 1GB 2GB 4GB (2GB
and 4GB only with Microdrive)
• The G-70 cannot use cards of types other than the above.
Liability and copyright
• Unauthorized recording distribution sale lending public perfor-
mance broadcasting or the like in whole or in part of a work
(musical composition video broadcast public performance or the
like) whose copyright is held by a third party is prohibited by law.
• Do not use this unit for purposes that could infringe on a copy-
right held by a third party. Roland assumes no responsibility what-
soever with regard to any infringements of third-party copyrights
arising through your use of this unit.
Rear side of the disk
WRITE
(you can save data to the disk)
PROTECT
(you cannot save data)
Protect tab
On Off
• SmartMedia is a trademark of Toshiba Corp.
• Compact Flash and are trademarks of SanDisk Corporation
and licensed by CompactFlash association. Roland Corporation is
an authorized licensee of the CompactFlash™ and CF logo trade-
marks.
• All product names mentioned in this document are trademarks or
registered trademarks of their respective owners.

Front panel
G-70 Music Workstation r
13
1. Panel escriptions
Front panel
A MASTER VOLUME knob
Use this knob to set the G-70’s global output volume
(all sections). The setting of this knob also determines
the volume in the headphones you may have con-
nected.
B BALANCE knob
This knob allows you to set the balance between the
Arranger or song parts (“ACCOMP”) and the solo
sounds (“KEYBOARD”).
C EXT SOURCE knob
Use this knob to set the volume of an audio source (a
synthesizer MP3 player etc.) connected to the
EXTERNAL SOURCE sockets on the G-70’s rear panel.
D
RECORDER section
[PLAY¥LIST] button: Press this button to access the
display where you can select a list of songs to be
played back edit existing lists program new ones
etc. When the indicator of this button lights [|√] [º]
[‰] [PLAY÷STOP¥®÷ª] are used to control playback of
the current song. Hold down [PLAY¥LIST] while press-
ing [MINUS¥ONE] to select the demo mode.
[NEXT¥SONG] button: You can already load a new
song while the current Standard MIDI File is still play-
ing. If you want the Recorder to start playback of the
newly selected song automatically press this button.
If the [PLAY¥LIST] button lights this button allows
you to select the next song of the selected List.
[MINUS¥ONE] button: Press this button to switch off
the part you want to play (or sing) yourself. The part
to be muted is selectable (page 41).
[16-TRA K¥SEQUEN ER] button: Press this button to
access the G-70’s sequencer (MIDI recorder). This
sequencer goes way beyond anything you may know
from previous Roland arranger instruments (see
p. 153).
[|√] [º] [‰] [PLAY÷STOP¥®÷ª]: These buttons allow
you to return to the beginning of the current song
“rewind” or “fast-forward” in one-measure steps and
to start and stop playback of the selected song.
Press the [RE ¥∏] button to record a new song (see
p. 52).
E STYLE section
These buttons allow you to select one of the twelve
Music Style families. The button of the selected fam-
ily lights.
F D Beam controller
This controller allows you to influence the timbre of
the notes you play to control song playback and to
create some unique effects. All you need to do is
move your hand up/down or left/right above the two
“eyes”.
The buttons below it allow you to assign the desired
function to the D Beam controller. See p. 64.
G MARK JUMP section
These buttons ([1]~[4]) allow you to jump to one of
four stored locations inside the currently selected
song. You can program the desired locations for
songs that do not yet contain them.
A
DF
G
E
B
C
1234
DJ GEAR SFX INST CTRL
BALL
ROOM
LIVE
BAND
DISCO
DANCE
JAZZ
BLUES
BOSSA
SAMBA
CONTEMP
LATIN WORLD
8 BEAT 16 BEAT
50's& 60's
ROCK
PLAY
LIST
NEXT
SONG
MINUS
ONE
16 TRACKS
SEQUENCER
PLAY/STOPFWDBWD
/
TOP
DEMO
REC
EXT SOURCE
ACCOMP
KEYBOARD
MIN MAX
VOLUME
BALANCE
MIN MAX
MASTER
STYLE
RECORDER
MARK & JUMP
D BEAM
Note: You can press and hold most buttons to jump to an associated display page.

Panel descriptions
14
r
G-70 Music Workstation
H ASSIGN SW section
[ASSIGN¥SW¥1] and [ASSIGN¥SW¥2] are assignable
buttons. You can use them to directly access fre-
quently used functions that are only available via the
function menu. The ASSIGN SW assignments belong
to the settings that can be written to a User Program.
If you don’t change their assignment they can be
used to trigger the FADE IN and FADE OUT functions.
I STYLE CONTROL section
Use these buttons to select the desired Music Style
pattern and to start/stop Music Style playback (see
p. 25).
J USER PROGRAM section
These buttons allow you to select the desired User
Program (registration memory). You can also select
the previous ([DOWN]) or next ([UP]) User Program.
By pressing these two buttons simultaneously you
leave the User Program environment.
The [HOLD] button allows you to ignore several set-
tings of subsequently loaded User Programs (see
p. 115).
K LCD CONTRAST knob
Use this knob to adjust the display’s contrast if it is
difficult to read. The display itself is a touch screen
and therefore needs to be clear at all times (so that
you know what you are doing).
Note: The display may take some time to warm up. That is why
you may have to change the contrast several times after pow-
ering on.
L MUSIC ASSISTANT button
Press this button to access the MUSIC ASSISTANT
environment where you can select Music Style regis-
trations for a given song you want to play. You can
also program your own Music Assistant registrations.
M LYRICS & SCORE button
Press this button if you want the lyrics contained in
the songs to appear in the display. At the same time
the chords of the notes played by the song parts will
also be displayed. This however is information that is
“extracted” (derived) in realtime by the G-70. This
function can even display the notes of the selected
part as a score.
N EFFECTS button
This button provides access to the display pages
where you can set the effects parameters of the
G-70’s parts.
O DISK & MEDIA button
Press this button if you wish to save/load data from a
the internal memory a floppy disk or PCM/CIA card.
You will also find data management functions here
like deleting files formatting floppies or cards etc.
(page 202).
P COVER button
This button provides access to pre-programmed tem-
plates that allow you to quickly modify a song’s or
Music Style’s character. Press it once or twice to
select the Song or Style level. See pages 41 and 76.
Q MAKEUP TOOLS button
Press this button to modify the settings of the cur-
rent song or Music Style if the pre-programmed
Cover settings do not provide what you’re looking
for. See page 124.
HI J
FADE
OUT
FADE
IN
21
CANCEL
12345678
SET LIST HOLD DOWN UP
START/STOP12
VARIATION
34
AUTO
FILL IN
INTRO MAIN END/RIT START STOP
SYNCBASS
INVERSION
STYLE CONTROL ASSIGN SW
USER PROGRAM
K
L
P
M
Q
N
R
S
O
EXIT
MENU
MAKEUP
TOOLS
DISK & MEDIA
EFFECTS
LYRICS & SCORE
MUSIC
ASSISTANT
SONG
STYLE
SONG
STYLE
LCD
CONTRAST

Front panel
G-70 Music Workstation r
15
R MENU button
Press this button to call up a menu that provides
access to more in-depth G-70 functions you may
only wish to set from time to time.
S EXIT button
Press this button to return to the previously selected
display page or the G-70’s main page.
T Assignable sliders
These sliders can be used as virtual drawbars (when
the [HARMONI ¥BAR] button lights). In that case
refer to the footage indications above the sliders for
their specific function (page 33).
Note: The HARMONIC BAR function is only available for the
following parts: UP1 LW1 and MBS.
There are also three buttons that allow you to specify
the part group whose settings you want to change:
[PART] (Keyboard parts) [STYLE] (Arranger parts) and
[SONG] (recorder parts).
The TYPE buttons finally are used to select the
parameter that can be changed using the sliders
(reverb or chorus send level stereo position or vol-
ume).
U TEMPO section
[METRONOME] button: Press this button to switch
the internal metronome on or off.
The remaining buttons allow you to set the tempo of
the metronome the Arranger or the recorder/
sequencer.
V DATA ENTRY section
The dial can be used to set the value of the parameter
field that is currently highlighted. Turn it to scroll
through the available settings. You can also press it
to call up a numeric key pad that allows you to enter
the desired value by pressing the corresponding fields
in the display.
To change the selected value in small steps press
[DE ] (lower value) or [IN ] (higher value). The
[ß][†][®][√] buttons are used to select a parameter for
editing (something you can also do by pressing the
corresponding display field).
While the main page is displayed the [DATA÷ENTRY]
dial and [DE ]/[IN ] buttons also allow you to set the
tempo.
W
EASY SETTING section
This key pad allows you to reconfigure the G-70 by
pressing just one button: [ARR] (use the Arranger in
split mode) [ORGAN] (the name says it all) and
[PIANO] (assign a piano sound to the entire key-
board). See also page 56.
X FINDER section
Press one of these buttons to quickly locate songs
([SONG]) Music Styles ([STYLE]) or User Programs
([USER¥PRG]) in the internal memory on floppy disk
or an external memory card. See pages 38 86 and
113.
Y KBD MODE section
Press the [SPLIT] button if you want to play different
sounds with your left and right hands (page 56). (It is
even possible to add a second split point see
page 90.)
TU
SONG
STYLE
PAGE
PAGE
16' 5-1/3' 8' 4' 2-2/3' 2' 1-3/5' 1-1/3' 1'
HARMONIC
BAR
PART
REVERB
PANPOT
CHORUS
VOLUME
MODETYPE
DBEAM EFFECT M.INT MBS LW 2 LW 1 UP 3 UP 2 UP 1
DEFAULT
TAP
METRO
NOME
FAST SLOW
TEMPO
V
X
Y
Z
a
W
ARR ORGAN PIANO
WHOLE
SPLIT
USER PRG
STYLESONG
INCDEC
DATA ENTRY
NUMERIC PAD (PUSH)
KBD MODE
FINDER
EASY SETTING
OVER
MIN MAX
OFF MAX
INPUT GAINEFFECTS
OFF MAXOFF MAX
ENSEMBLE SMALL
HARMONY VOCODER
PITCH
AUTO
SINGER
VOICE TALK VOICE FX
VOCAL HARMONIST
BRASSVOCAL SYNTHWIND
HARMONIC
BAR
PIANO
E.PIANO
KEYBOARD CHR PERC ORGAN ACCORDION A.GUITAR
E.GUITAR
BASS STRINGS
PAD
ETHNIC
SAX
TRUMPET
SRX
EXPANSION
DRUMS
PERCUSS
SFX
TONE
Note: You can press and hold most buttons to jump to an associated display page.

Panel descriptions
16
r
G-70 Music Workstation
Press the [WHOLE] button to assign one or several
sounds to the entire keyboard (without a split). See
page 56.
Z VOCAL HARMONIST section
The buttons and knobs in this section are used to set
the Vocal Harmonist function the microphone level
and the effects applied to the signals received via the
Vocal Harmonist MIC INPUT socket. See page 42.
a TONE section
The TONE buttons allow you to select one of 16 inter-
nal Tone families. You can then use the display to
specify the desired sound within that family.
The [SRX¥EXPANSION] button is only available after
you install an optional wave expansion board into the
G-70.
Note: SRX sounds can be assigned to the following Keyboard
parts: UP1/2/3 LW1/2 and MBS.
Press the [HARMONI ¥BAR] button to activate the
“Harmonic Bar” section whose sound can be set using
the assignable sliders (T) that double as virtual
drawbars.
b KEYBOARD PART section
The TONE ASSIGN buttons are used to specify the
Keyboard part you wish to assign a different sound to
page 29. “Keyboard parts” are the parts you can play
yourself. The G-70 contains many other parts that
are played “automatically” by the Arranger or
Recorder.
The PART ON/OFF buttons allow you to switch the
desired Keyboard parts on and off.
c ONE TOUCH section
These buttons allow you to select the desired One
Touch memory. There are four memories per internal
Music Style and the 120 Link memories. They work a
lot like the User Programs because they assign dif-
ferent sounds and effects settings to the Keyboards
parts and carry out some other changes. See page 78.
d TRANSPOSE section
These buttons allow you to transpose the G-70 up
([]) or down ([ƒ]) in semitone steps. You can also
specify which parts are to be transposed (page 58).
If neither button lights no manual transposition is
used.
TONE EFFECTS section
Press the [MULTI¥FX] button to add a different effect
to the Keyboard parts (page 100). (This processor is
also available for the D Beam and the MELODY INTELL
parts.)
Press the [MELODY¥INTELLIGEN E] button (so that it
lights) to add an automatic counter-melody (second
and third voice) to your solos or melodies (see p. 76).
f V-LINK button
Press this button to take advantage of the G-70’s V-
LINK functionality for controlling video material via
certain performance functions and the right-most
keys on the G-70’s keyboard. By using V-LINK-com-
patible video equipment visual effects can be easily
linked to and made part of the expressive elements of
a performance. By connecting the G-70 to an
optional Edirol DV-7PR or V-4 you can switch images
in synchronization with music or use the G-70’s per-
formance functions or right-most keys to switch
clips control playback speed etc.
bcdf
PART ON/OFF
MBS LW 2 LW 1 UP 3 UP 2 UP 1
TONE ASSIGN
CANCEL
1234
MULTI
FX
MELODY
INTELL
KEYBOARD PART TRANSPOSEONE TOUCH
TONE EFFECTS

Front panel
G-70 Music Workstation r
17
g BENDER/MODULATION le er
When pushed towards the back of the G-70 this
lever will add modulation to the notes of the Key-
board parts you are playing at that time. Move it to
the left or right to temporarily lower or increase the
pitch of the Keyboard part notes you are playing. For
the HARMONIC BAR sounds and the sounds of the
TONE [ORGAN] family you can use the Modulation
axis to alternate between the fast and slow Rotary
speeds.
h Floppy disk dri e
This is where you can insert 2DD or 2HD floppy disks
for external storage of your Music Styles User Pro-
grams Recorder songs and MIDI Sets. Press the eject
button to remove the disk from the drive.
Note: Do not remove the floppy disk while the G-70 accesses
the disk (to load/save data etc.). Doing so may damage both
the floppy disk and the drive’s head.
i PHONES socket
The G-70 comes with a headphone socket. Be sure to
connect high-quality headphones to this socket
(Roland RH-200 RH-50 or RH-25 optional).
h i
g

Panel descriptions
18
r
G-70 Music Workstation
Rear panel
A FC7 PEDAL socket
This is where you connect an optional FC-7 foot-
switch unit that allows you to start stop and select
Style divisions by foot. The functions of this foot
switch unit are programmable (and apply to the
entire G-70).
B HOLD FOOTSWITCH socket
An optional DP-2 DP-6 or BOSS FS-5U footswitch
connected to this socket can be used for holding the
Keyboard-part notes. (The Melody Intell part can also
be sustained in this way.) This function is also
referred to as “Sustain” or “Damper”.
C FOOT SWITCH socket
Connecting an optional DP-2 DP-6 or FS-5U to this
socket allows you to control an assignable function
by foot.
D
FOOT PEDAL socket
Connect an optional EV-5 EV-7 or BOSS FV-300L
expression pedal to this socket to control the volume
of one or several parts or another parameter by foot.
E MIDI THRU/OUT/IN sockets
These sockets allow you to connect the G-70 to
external MIDI devices for a variety of applications:
receiving song data in realtime from an external
sequencer transmitting your playing (and the data of
the song you are playing back) to an external
sequencer using the G-70 as master keyboard in
your MIDI setup etc.
Note: The MIDI functions can be accessed via the G-70’s Menu
(page 213). Frequently used MIDI settings can be written and
recalled as “MIDI Sets”.
F USB port
The USB port can be used for archiving purposes and
MIDI data transfer from/to a computer.
G PCMCIA slot
This is where you can insert a memory card (PCMCIA
CompactFlash SmartMedia™ or Microdrive). Memory
cards that are not PCMCIA cards can only be inserted
if you use an appropriate adapter (available at your
computer store). See also the precautions on p. 12.
H INTERNAL MEMORY protect switch
This cap hides a switch that allows you to lock (
protect) and unlock ( ) the internal memory. See
page 21.
I VIDEO OUTPUT socket
Connect this socket to the appropriate input of your
TV or monitor. In that case the lyrics of songs that
contain such information and the note information
extracted in realtime (page 49) will be displayed on
screen even if the [LYRI S&S ORE] button does not
light (in which case the lyrics chords and notes no
longer appear in the G-70’s display).
Note: The signal format (PAL or NTSC) can be set via a MENU
function.
J METRONOME LEVEL knob and OUT socket
The G-70’s metronome signals can be transmitted to
the METRONOME OUT socket. You can connect head-
phones (Roland RH-200 RH-25 or RH-50) to this
socket. This is useful for a drummer for example (as
“Click Track”). Use the METRONOME [LEVEL] knob to
set the metronome volume in the headphones.
K
EXTERNAL SOURCE/AUDIO IN L/R sockets
This is where you can connect the audio outputs of
an external signal source (CD/MP3 player synthe-
sizer etc.). If the source has 1/4” outputs you either
need adapter plugs (1/4”→ RCA/Cinch) or Roland
PJ-1M cables. These inputs are only suitable for line-
level signals.
Note that they are stereo (with a left and right chan-
nel). If you only connect one cable to “L” (or “R”) the
signal is only audible on the left (or right) channel.
The volume of the signal received via these inputs
can be set with the C EXT SOURCE knob.
ABCD E F G IH
OUTPUT
PROTECT
VIDEO
INTERNAL MEMORY
PCMCIA
THRU INOUT
MIDI
SWITCH
FOOT
PEDAL
FOOT
FOOTSWITCH
HOLD
FC7 PEDAL
(left side)
JK L M N O
(right side)

Front panel
G-70 Music Workstation r
19
L VOCAL HARMONIST section
INPUT switch: If you connect a microphone to the
INPUT socket set this switch to “MIC”. To try out the
Vocal Harmonist function for other signals (guitar
external synthesizers & modules CDs MDs etc.) set
this switch to “LINE”.
Note: For the “LINE” setting to work with electric guitars or
basses you need to connect such instruments to an effects
pedal or rack effect (in bypass mode) and connect the effect’s
output to the INPUT socket.
INPUT socket: This is where you can to connect an
optional microphone (like a Roland DR-10 or DR-20)
or other external signal source you wish to process
using the G-70’s Vocal Harmonist facility. This is a
combo socket to which you can connect either a bal-
anced XLR or unbalanced 1/4” jack. (The socket does
not provide phantom power.)
Note: The INPUT socket is mono.
OUTPUT R & L sockets: If connected to a mixing con-
sole amplifier etc. these sockets transmit the signal
received via the INPUT socket and processed with the
G-70’s Vocal Harmonist facility. If no jacks are con-
nected here the Vocal Harmonist signals are trans-
mitted via the OUTPUT sockets (see below).
M
OUTPUT section
DIRECT R/L sockets: When you first switch on the
G-70 these audio outputs are not used (all signals
are sent to the MAIN R & L/MONO sockets). You can
however assign any desired signal to these sockets
(page 103).
MAIN R & L/MONO sockets: These sockets need to
be connected to an external amplifier mixing con-
soles etc. Depending on whether you are also using
the Vocal Harmonist OUTPUT sockets (see above) the
present sockets either transmit only the music gener-
ated by the Arranger Recorder and Keyboard parts or
both the tone generator’s and Vocal Harmonist’s sig-
nals.
Note: If you can/want to use only one channel on your exter-
nal amplifier connect the L/MONO socket to its input. For opti-
mum sound quality we recommend working in stereo though.
N POWER ON button
Press this button to switch the G-70 on and off.
O AC socket
This is where you need to connect the supplied power
cord.

Setting up and demo songs
20
r
G-70 Music Workstation
2. Setting up an emo songs
You must be dying to try out your new G 70 to see what it is capable of. We’ll get to that in a minute. But first we need
to connect it.
Connections
The G 70 does not contain internal speakers. You therefore need to connect it to an external amplifier (Roland’s KC
series, for example) or use optional headphones (Roland RH 25, RH 50 or RH 200, for example).
Be sure to switch off both the G 70 and the external devices you want to connect before making or breaking audio and/
or MIDI connections. If you do not have access to the sound system of the venue where you are performing, ask the local
engineer to set the volume to the minimum level.
Note: Try to use dynamic microphones whenever possible. You can also connect a condenser microphone however provided you use a DI box
(with power supply).
Note: Except for the power cable all other items shown above are optional. See your Roland dealer for details.
Note: There is no absolute need to connect the Vocal Harmonist OUTPUT sockets. If you don’t your singing and the Harmonist effects will be
transmitted via the main MAIN sockets (ONLY if you don’t connect anything to the Vocal Harmonist OUTPUT sockets). If you use these connec-
tors the Vocal Harmonist signals are no longer transmitted to the headphones.
AC
PEDAL
FOOT
SWITCH
FOOT
FOOTSW.
HOLD
Roland
MAIN
R, L/MONO
DIRECT
R, L
VOCAL
HARMONIST
OUTPUT
VOCAL
HARMONIST
INPUT
EXTERNAL
SOURCE
METRONOME
OUT
Keyboard amplifier,
active speakers, etc.
Mixing console, keyboard
amplifier, active speakers
—OPTIONAL— Dynamic microphone (select “MIC”)
Other signal source (select “LINE”)
[Microphone: DR-10 or DR-20]
*Connect the microphone using an
unbalanced mono 1/4” or a bal-
anced XLR jack.
Expression pedal
(EV-5, EV-7)
Stereo headphones
(RH-25, RH-50 or RH-200)
Footswitches
(DP-2, DP-6, or
BOSS FS-5U)
To wall outlet
CD/MP3 player, etc.
Stereo headphones