Did anyone notice, the sax solo wasn’t being played at all?

It’s pre-recorded licks that work with certain chord changes. Bit like how Band in a Box’s Soloist works. Only difference is, BIAB knows the changes you want in advance. I wonder how well this works if you start to do changes in less than standard places, etc.?

I can see how the repetitive nature of accompaniment is not a big deal when you’re putting something non-repetitive on top of it. It’s how arrangers have worked for decades. I am not so sure about using audio phrases as the actual lead though. Forget for the minute the technical challenges of getting this to work around non-rote changes and changes in non-standard places, but now the actual solo isn’t you playing at all…

This is rather what Gary is referring to when his audience thought he was not actually playing, that it was karaoke. But it really WAS him other than the backing.

At what point does it actually become what the audience may already think it is? For me, I think it comes when the lead isn’t played at all. And I think this is what Rick Beato is referencing. The minute you are trying to disguise that you aren’t playing what the audience thinks you are, you’re swimming some murky waters.

At what point does it become DJ-ing?