Well, that 'Recorder' feature in the G70 is usually my starting off point...

I try to capture as close to the final arrangement as I can in a 'live' play-through. It helps me solidify the structure, and flow of the piece. After that is done, it gets saved as an SMF, then transfered by USB to my computer. It then gets opened in Cubase, at which point, the sky's the limit!

I can edit the sequence, rearrange the sequence, change sounds volumes, dynamics, whatever I want to, at this point. If there are odd meter bars, it's often easier to do them at this point than try to finagle the arranger into it on the initial capture. I can also clean up any noticeable 'glitches' (everybody has them!), and put any tempo changes, rits, etc., in at this point.

From this point on, it depends on what the sequence is for...

If it's a backing track for the gig, it gets transfered back to the G70, and maybe some last minute EQ and drumkit adjustments are made in the Makeup Tools section to finalize things, then I'll import a text file of either the lyrics, or a chord chart and any instructions I might want to remember (Mark/Jump points, bars intro, that sort of thing) and sync that up.

If it's a bed for a client, for transfer to their studio, I'll record each of the parts as an audio track, and break out and solo most of the drums separately (but I'll often provide a 'best guess' drum mix as well, in case it's good enough!), and I'll take off all reverb, but usually leave on any chorus, if it's part of the signature sound. Then I deliver the audio tracks and the SMF of the session, for them to overdub at their convenience. They can also replace any of my G70 sounds at this point with VSTi's or their own keyboard sounds, if they wish.

If it's a project I am doing entirely at my home studio, at this point I'll record the talent's singing, guitar playing, whatever else needs audio for it (or go to the main studio and track there to a mix), break out all the tracks to audio tracks, and either use them or replace with VSTi's, then mix and master...

How much or little of the original arranger output finally makes it to the finished track depends a lot on how close the style is to what we want. Sometimes, it ends up as little more than a 'guide track' for all the parts to be replaced with either real players, or me playing parts one at a time. Bass lines, especially, I usually find, HAVE to be replaced, preferably by a real bassist. Drums are often layered with some audio loops, Stylus, that sort of thing, if we haven't time to get a real drummer in (or the budget!).

But, I feel the strongest point about the whole process is, if you can find a style remotely similar to what you have in mind, an arranger makes creating, at the very least, great 'guide tracks' in as little time as humanly possible, and sometimes they can even end up in the finished product, if they suit the song well.

Hope this helps...