Because of the shift away from MIDI towards audio stuff nowadays, there is very little in the way of new SMF content optimized for modern keyboards. It’s unlikely that anything you can find is set up with the best Tones modern arrangers have. I’d be willing to bet I don’t have a single SMF made for anything more recent than an SC-88 Canvas module, and probably 99% are for basic Sound Canvas...

Styles, not so much. Arranger manufacturers always make sure that their newest styles fully use the newest Tones and Kits, so it’s always an uphill battle comparing styles and commercial SMF’s because the sequence uses the legacy sounds, not the latest.

My previous post might be a bit much to digest in one go, but approach it one sector at a time. Firstly, change the sounds. Start with the strings, the backbone of any orchestra. If the sequence has separate tracks for violins, cellos and basses, so much the better. If just one strings track, just play the sequence in Makeup Tools and select the string track, then start listening as you change to other string section sounds. The best one will usually jump out at you.

After that (and saving it as a different file, so you can compare to the original as you go along), maybe work on the brass, etc..

You’d be amazed at how quickly it goes, once you get the basic workflow. If you use sequences to play with, the dividends are enormous, and a backing track that sounds dated and flat can become as good as anything your latest styles can do. Some of the people making those old SMF’s were very talented players, they just were working with very dated equipment and sounds. Play the same sequences through the better sounds and they can really come alive!

Maybe after learning the workflow for simply replacing sounds, you can then move on to adjusting their volumes or effects etc., but it all STARTS with replacing the old sounds with the new...