I am afraid the G1000 had no better editing that the G70 does (except perhaps for the routing of aftertouch, which lost a few important destinations - LFO speed being the main one for me)...
In point of fact, Roland arrangers have NEVER offered true voice editing. They merely allow offsets to the ROM programming of the voice.
Vibrato.... Rate Depth and Delay. No changing waveform TYPES, no changing destinations of the LFO's, no inversion of responses, nothing like that.
Filter and Amp envelopes.. A, D and R. And no independent envelopes for Amp and Filter, simply the same offsets for both. No inversion, no changing destinations, not even a sustain parameter.
Filter.... simple Cutoff and Resonance parameters. No changing slopes, poles or anything.
And that, my friend, is IT...
There is a simple parameter tied to some of the Fantom sounds (called a C1 parameter) that sometimes, on some patches, can do some additional work on more complex envelopes (changing an sfz's rate, e.g.) or cross fading two oscillators for a fast/slow Leslie sample fade, but once again, that's IT...
And, to add insult to injury, many of the sounds, especially those derived from more complex FantomX sounds, these barebones parameters don't even address them (different part structure, I would imagine)..
Eight parameters IN TOTAL (and one that only works on a few sounds)
Barebones indeed..!
No oscillator control, no pitch control, no pitch envelopes, no LFO types, the list goes on and on. And then add to that, no User Tone storage. You have to edit the voice, and store it with your Registration (UPG), and if you want the same voice in another registration, you have to go in and repeat all your work...
Now, if you are willing to work with a sys-ex editor, you MIGHT be able to get to a few more parameters, but you can only alter them externally, and store the edit in a sequence to repeat the edit... It's just NOT a serious editing system...
But fair enough, Roland don't really mean it to be. They do provide well over a thousand sounds, and most of them are pretty spot on for most bread and potatoes sounds, and have a pretty huge collection of synth leads and pads that nine times out of ten will nail a sound you are needing. But if you want to create something utterly unique (and be able to store it for future recall), the G70 (and all the Roland's) are not really a good choice.
Me, when I need something unique for a production, I'll go to my Triton or Kurzweil (or VSTi's) and create it there. But most of the time onstage, I'm not shooting for that. I want easy sound selection, and easy editing. At least the ONE good thing about such a barebones editing system is, you hold one button for a second or so above the Part on/off switches, and the edit page comes up, and ALL the sliders now are assigned to those parameters. So, while you have little choice of what you can edit, it is REALLY easy to get to and adjust all that you CAN...
Probably a lot easier than adjusting a PA voice in the heat of performance. For me, that is sufficient. Better a few parameters easily got to than a plethora that take pages and pages of button pushing to get to... Live music making is still my priority when it comes to arrangers...
You want geek editing heaven? Get a K2600... Parameter nirvana
You want to adjust something basic, quickly? Get a Roland!
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