how do you know that Don? just sayin'

Donny......If I’m to believe, over the years, your self-praise and self-adulation and your eternal position as President, CEO, treasurer, and major stockholder of the DNJ fan club, then I’d also have to believe that all the musical talent in the world was given to you, and that the rest of us commoners will have to settle for whatever crumbs are left!

That's not fair, but "it IS what it is!"

Because he has posted several things and they were really good.

Don,

I'm at a "low point" right now with the music (as most of you already know), so.....true or false, thanks ever so much for the compliment. And I really mean the word "compliment" as it's coming from one of my peers whom I greatly respect for his own playing ability.

...and it's a good time to say this as maybe a bit of advice for other players. Don't.....as in DON'T.......let a day go by without hitting that keyboard. I've lost a lot of my playing ability from not using it on the arranger....playing the piano or playing the accordion is not quite the same. But, the good news is that, when you re-enter the arranger domain, after a few weeks it starts to come back to you.

Mark

Ian.....thank you for this huge reply to my confusion over this style thing. I want to digest what you said here and then continue with some questions if you don't mind.

I actually really like the way they designed the PA3x and it's versatility and easy access to controls, etc so if I can conquer this style thing, it might just be a game changer for me!

I repeat what Gary said here:

"I agree, Donny, but it's those great styles that continue to inspire me to play, and more often than not, that inspiration makes me, and many others better players and performers. Without good styles, the keyboard is nothing more than a glorified piano or organ, IMO. It's the styles that make the keyboard and the players make those styles come to life."

To be continued......

Mark

No high-speed so I can't see this video......can someone tell me what is it about?

Mark

Sorry, I've thought about it and I really couldn't let it go for less than $200. After all, it IS in mint condition. And it's somewhat of a collector's item as it was purchased at the world-famous Frankie V's Audio Works in Milford, Connecticut. That alone makes it worth more than your average PA3x.

But........if you throw in a Hooter's girl and a six-pack of Hershey Bars, well...I would consider your offers!

MARK

Ian.......I finally got a chance to sit down and read through this thread. Thanks for giving me an idea of how a style is made. It must take an incredible amount of talent to be able to do all those parts.

I understand what you're saying about moving parts about (from other styles). But even then, I'm not going to get what I'm hearing in my head.

I made up this great arrangement of If I Were A Rich Man (Fiddler on the Roof) as a cha-cha. But the basic rhythm just drags on my PA3x. What makes the arrangement work is "percussion" fills that I would need to make up (as I hear it in my arrangement).

And that's the way I want to play. As you know, it's not just melody notes that makes a song work......it's everything else around it working together.

I'm just not going to have time. I'm still trying to learn French and how to tie my shoelaces!

BTW.....I often thought what should be done by someone is to NOT make complete styles and fills. But DO make strings of 1 or 2 measure variations of different dance rhythms that one could take as a platform to expand upon. The same with "fill's" particularly as you can then draw from a bank of them and insert them anywhere in a style. Most "fill's" will work in any style! Why throw a good "fill" into a pre-made style where you might not ever discover it.

BTW 2......thanks for the web site. I was wondering where you guys get these from?

Mark

You should explore the multi-pads. Seems like they are designed to do exactly what you want.