This seems a bit silly to ask, but I started on organ many years ago, and became accustomed to L&R sounds when I switched to arrangers. I have many arrangements on my SD40 with almost non-existent left sounds, which I would have to make if using my controller instead of my SK1.

The question is whether it is worth the work, as I see arrangers played all the time with LH used for chords for the arranger only. I normally use LH sounds to add to accomp and transition fills etc, but don't have to.

The question is whether it is worth the work, as I see arrangers played all the time with LH used for chords for the arranger only. I normally use LH sounds to add to accomp and transition fills etc, but don't have to.

Bernie, I would never give up my left hand sounds, it tells my right hand what to do. They are not seperate, both hands work with one thought.
John C.

Timing is everything. We were just looking ahead a little to plan out some of the future topics we want to cover in our Ketron video series. Turns out one is going to be how to edit the Lower1 and Lower2 voices on Ketron SD instruments.

Sometimes we use them and there are times when we have them muted. Like Bernie, we come from the organ world so very used to having them.

With Yamaha, you can move that left hand voice up the keyboard well beyond the split point, thus use it as not only a left hand layer, but also a lead voice for your right hand.

Neat feature,

Gary

It seems to me, then, it is not absolutely necessary, especially, with a full style playing. The SD40 has all the tools to work with, but to balance the different volume parameters is tricky and laborious. to try and get a softer voice level raised without the whole style. I am working with master, style, 2 lower, and chorus volumes.

Maybe good old Curt can enlighten me with an upcoming video segment.

This won't help you Bernie, but I suspect you might already know on SD90 there is a physical volume fader on the front panel for "Lower." The makes it a little better than drilling into the style view to adjust the Lower volumes.

And not just on Yamaha, but on KORG as well - can't speak for other brands as I have not owned them ...

More often than not, my left hand voice is an Organ ... It provides some fullness and some counter melody when I want ...
Three right voices and one left voice are all independent of each other, so setting volume controls etc. is very easy ...
I would assume Yamaha works in a similar way ?

It is the same old story; Modules are so handy and portable, but there are concessions to be made, but also workarounds are there. If I want the former, I better be prepared for the latter. With all that my SD40 can do, I really shouldn't complain about the lack of a separate left volume control slider, but I do anyway.

I'm not a very skilled player. All I ever do with my left hand is specify chords (and usually with just 1 or 2 keys pressed.) So I don't use the left voice personally.

What I have found is that many styles have a "pad" track, usually in an advanced variation, which gives the same effect as playing full, sustained chords with the left hand. A lot of the organ music I play sounds best with ONLY this track and the bass track activated. Combined with sync stop, I can almost fool non-musicians into thinking that I know what I'm doing!

I do something similar, and often I will revoice the pad to another voice (organ e.g.), or, I use Style Creator to put that pad in less advanced parts of the style.

Also, any rhythmic parts (chord 1 and 2 and Phrase 1 and 2) can also be subbed into other variations, but, simplest of all is using the pad as you described.

Ian

Great thought, I'll try that.
p.s.
Good to see you Ian. Join us more often,

Bernie

Thanks Bernie. The best thing about using the style pad voice/sound ( I often need to raise the volume) is that it appears to be "voiced" perfectly for the chord changes, no issues with ON BASS fingering etc., whereas using a panel voice/sound in the LH requires friggin around with octaves and also trying to "voice" it right so that it doesn't get muddy or get out of range on some of the chords.

I have lots of time to experiment now that I'm retired from all gigging. The S775 is a real hoot, especially with the live tone controls which can control filter cutoff and dozens of other parameters including the effects...also has some simple but useful arpeggiator riffs and multi-pads...pretty cool for such an entry level instrument that still has the pro covered too. Styles from the Tyros3/CVP-509 and earlier will work perfectly, giving me all kinds of raw material to make new stuff.

OT...A few months ago, I heard a guy playing a Hammond SK-1 through a Centerpoint Space Station system (I believe it had a sub) and, if you closed your eyes, you were hearing a B-3 plus a Leslie (internal sim) with all the spatial and swirliness of the latter...absolutely amazing...that's what prompted me to ask you about the Hammond. He had the SK-1 sitting atop a real Rhodes which appeared to be going through the same sound system...very nice indeed.

It was a tough choice, but I'm glad I chose the PSR.

Ian

Is a "Pad Track", the same as a "Multipad"?
John C.

John...."Pad track" refers to the Pad part within a style...it's called "Pad" on the Yamahas....not sure if it is called something else on other brands.

Sometimes the Phrase 1 & 2 tracks in the style contain usable bits as well.

Ian

I used the term "pad" in a generic sense. This is a lush backing track that usually has a polyphonic score of sustained instruments such as strings, choir, organ, or synth pad. If the style engine has a chord form parameter, they will usually be voiced "close," changing as few notes as possible during chord progressions. They usually have a "dark" timbre so as not to take away from the melody or rhythmic phrases. Sometimes they also have a longer attack and release. What you want to avoid is a strong rhythmic pattern, because then it will be less versatile (locked in to a specific tempo and time signature.)

On a Roland this type of sound might be found on any of the Accompaniment (AC) tracks. Look at orchestral or ballroom styles like Slow Fox, Slow Waltz, etc. for instruments like Slow Strings, Contrabass, etc. Usually arrangers have a facility to listen to each of the accompaniment tracks in isolation. This will help you find one that's suitable.

When you've mixed a couple of tracks like this into a user style and add a subtle bass line, you end up with something very close to Yamaha's "free play" styles. Even the less expensive Casios have a style like this called "String Quartet." If you activate Sync Stop, the backing will fade away when you release the keys, and the bass will give a new attack with each chord. This is great for playing rubato, or any kind of music that doesn't follow a strict time signature (which would otherwise be very hard to play on an arranger.) Free play styles aren't magic or special programming- just a unique application of what most arrangers have been able to do all along!

Definately true..

But when you choose fingered or fingered on bass
You can also play left hand 1 or 2 finger parts with the left voice
I often have a piano part in the left hand to play some accompanying notes.

Or as you said, with the 76 keys wide keyboard...
Chords to the left, a wide range for piano in the middle..
And a solo instrument on top..
This works great for me in somgs with not to many chord changes..