"You're gonna wanna know this !"

Chapter 1 (by Uncle Dave)

Making money in the music business is easy.
Making a LIVING in the music business is a lot harder.
Making a living, creating something beautiful .. AND enjoying it -- now, that's heaven!
There are a few things you're gonna wanna know before you buy a portable keyboard and head out to Hollywood. As a professional entertainer spanning 5 decades of music I have learned a few tricks along the way that I will gladly share with you now.

First: It's not all glamorous. When you see a performer do a two hour show -- you never see the work BEHIND the scenes that led up to the stage. There are hours of caffeine powered rehearsals, fueled by fragile psyches and inflated egos that all go unseen to the audience. This is the "BIZ" part of Show Biz!

Second: It's ALL about energy. Say it with me ...... "It's all about energy"
Music is much more than notes on a page. Without the soul and emotion of a performer -- the notes are meaningless. Add a "human" element and a collection of random dots can take on a beauty so powerful that lives will be touched, eyes brought to tears, and heartaches mended. Music is THAT powerful, and musicians need to harness that power and respect it's place in the world.

Many people depend of music to enrich their lives, calm their nerves or simply entertain them. We, as the makers of music have an obligation to provide a creative product that can lift the soul and enlighten the spirit.
Today's digital keyboards are so "packed" with automatic features, that it's easy to rely on the machine for inspiration, but don't fall into the lazy trap of auto-everything! Even the fastest cars need to be driven, and it still takes a human pilot to land the space shuttle as it thunders toward earth in an anti-aerodynamic race with death. The same is true of playing the keyboard. YOU need to pilot the unit to get the most out of it. Don't be satisfied with pushing the start button, and watching all the pretty little lights. Get your hands ON the keys, and get to know the joy of creation.

The simplest tip I can give you is "Have fun"
Music is supposed to be fun ... according to Mr. Holland, anyway.

Try this at home kids -
Learn a simple note sequence or melody, and memorize it. It can be short or long -- easy or hard. the important thing is to memorize it.
Now - rearrange the notes while playing the same rhythm and see what you come up with. Then rearrange the rhythm and keep the same notes. Now you have three separate ideas from one simple starting point.

That's it! You've just created a fresh new, original idea! Congratulations!
You are now ready for your next tip on making music with your portable keyboard!
(batterrrrrrrrrrrrrrrrup!)

AUDIENCE PSYCHOLOGY 101
(The 'people' side of the biz)
by Bsharp

Be it a concert, lounge, Elks lodge, wedding reception, private house party or background music at a fine dining restaurant, no one in your audience gives a hoot about the technical things you have to know in order to entertain them. They just came to be with friends or to enjoy an evening out. So, help them.

As entertainers we have to be chameleon-like, ready to change the nature of our music and entertainment as the evening progresses and be intuitive enough to recognize when we should be "background" and when to be in in the forefront...and how to seque from one mode to another.

Most dinner/dances and parties have a common thread or unspoken format to them. When guests arrive, and maybe for the first hour or so, there is a "sniffing period", similar to when dogs meet each other. The purpose of the "sniffing" is for the guests to get acquainted or re-acquainted with each other. The music takes a back seat.

When meals are served, the food is the star of the show. Don't even try to compete with that. If you are playing during dining, the music should enhance the meal and table conversations by being pleasant and at a reduced volume.

But, when the "sniffing" and meals are finished, don't be shy about stepping up the pace and the volume a notch. If your thing is music only, get them dancing. If you are a personality type of musician/entertainer, talk to them - get them involved - make them smile - or better yet laugh out loud while providing what you think is the most appropriate music for the ocassion.

Taking requests can often help you gauge what will please them most...but don't let them program your performance. Keep them guessing. Give them treats and a variety of tempos and styles.

As the evening progresses, the natural flow of your material and the mood you create will permeate the room and build an atmosphere of enjoyment they all expected to have when they left for the event. Nobody came to have a rotten time. Build on their expectations.

Structure your sets so when you take a break you leave them wanting more.

Always show your appreciation for a good audience. Never show your disdain for a bad one.

Finally, have a big finish - something for them to remember you by. And, be sure to have your business cards handy. If you are lucky, you will need them...hopefully, lots of them.

A man stopped to ask a street busker how to get to Carnegie Hall.
The street busker replied PRACTICE MAN - PRACTICE MAN - PRACTICE MAN.

Graham UK

[This message has been edited by Graham UK (edited 12-15-2001).]

Very good points.

Thanks guys.

Eric

U/D & BSharp: These were beautiful and true
posts. Your thoughts and words flowed to-gether so smothly, and I am sure your music flows together in the same manner. There is no substitute for experience coupled with talent, and so many on this forum have them both. Please inspire us again, every now and then as you have done here. ARJ

Thanx guys, but lets try to keep the comments OFF this thread, so it can be more of a work in progress. We can talk about it in another post, kay? I want this to be as close to a group-written book as can be.
Thanx, now lets hear some other points on the biz !

Other than the advice allready posted, the best advice I can give is this:
When all else fails, take a break. Step back for a couple of days, you'll be suprised at the results.

The sound of silence . . . . .
(by Uncle dave)


Nothing sounds sweeter than beautiful music, and sometimes, it's the NOTHING that makes it so beautiful! We have the technology to add, add, add and layer upon layer till we have the sonic equivalent of ...................................
a huge Farfisa organ!

I've found that the more tones I layer together -- the more it gets "organ-esq". Less is definitely more in many cases. When laying down a backing sequence of chords under a melody (live or recorded) make sure you leave room for the melody to skate around and take some liberties. Backgrounds should be just that ... in the background. When it's time for your solo -- then you can show them what cha got!

When playing with today's modern keyboards, try to remember to add some silence. It makes ALL the difference between music & noise. Wind players need to breathe, so if you are using a sax or trumpet tone, make sure you end the notes at a reasonable time. It will sound UNnatural if the instrument is played out of character. Learn the correct note range of the solo instruments, and stick to it. Nothing takes away from the realism of a sound like the wrong playing range or style technique.

For example -
* don't use pitch bend on an acoustic piano
* don't glissando (with a trumpet sound) on all white keys
* don't play an acoustic bass in the highest register, or use 5 note chords either

All these things will "suggest" to your listener that the sound is phony.
Sure, we ALL know that it IS phony, but we can pull off a few tricks with smoke & mirrors if we learn the "inner" personality traits of each instrument we emulate.

Here are some more tips to add realism to your solos --
* add pitch bend and vibrato to all guitars, especially steel(Hawaiian) guitars
* make sure the sax player "breathes" once in a while (all wind instruments)
* if you use auto arrangers, make sure you turn them off every so often! Use a break of silence at the end of a phrase to let the melody "sing through" or use the sync start/stop in tandem to produce dynamic "hits" to accent a phrase, like a quarter note triplet in a 4/4 measure. (rest..rest..) DAH.. DAH.. DAH... DAAAAAH !
(That sounded great, here at my desk !)
A good place to try the start/stop sync is in the Don & Juan song
"What's your name" - At the end it has a tag line .....
What's your name (DAH DAH DAH) ............
What's your name ..................................... Shooby doo, bop ba dah !

and lastly, play some million sellers, using the right instrument sound
eg:

"Stranger on the shore" - clarinet
"I can't get started with you" - trumpet
"I'm getting sentimental over you" - trombone
"Music box dancer" or "Last date" - piano
"Whiter shade of pale" - organ
"Europa" or "Songbird" - saxophone

These songs all have an identifiable sound that is an audio "signature" to the listener. If you play them with the right sound -- your crowd will identify with them as they did to the original. It really helps to add to the legitimacy of a show. It's great to develop YOUR own special sound, but remember to give the people what they know too. One of the reasons that DJ's became so popular was because many bands stopped learning the "feel" and "identity" of the hit songs. If you have a loyal following -- you can experiment with styles and feel, but if you play the "outside" (meaning -- weddings, banquets, and other private parties) you NEED to know how to please a wide variety of ages and backgrounds. Versatility will save your butt more times than creativity.

Here's the thought for the day -

Sometimes the best notes are the ones you DON'T play!
Celebrate the silence !

"Hello darkness, my old friend............................................."

Great discussion! Does all this apply to DJs?
Mario

Mario,
I'm trying to keep this post JUST for the tips & tricks. Maybe we can start a Q&A post to go alongside it. As for your DJ question -- if you're serious, there is an entirely different school of thought when approaching entertainment as a DJ. I sometimes go out as one, and the mind set is distinctive to the craft.

First - One thing that's missing is the "personal" touch in each song, so the em-cee needs to add that on his/her own. I don't recommend talking over every number, but a little chatter can really help to open up a room.
Second - A lot of DJ's play too d*** loud. ( bands too ) Look at the size of the room, placement of the speakers, and age of the crowd. Factor all these in together and play accordingly. I like to make the host ask me to turn it UP, before they ask anything else!
Third - Develop your own collection of "specialty" songs. These are lifesavers at parties that need a jump start. Some guaranteed crowd pleasers STILL include:
*The electric slide
*The macarena
*Old time R&R
*Hot hot hot
*YMCA
*The chicken dance
*NYNY
* * * This list can go on for pages ..........
It doesn't matter if YOU'RE tired of hearing this stuff - it fills the dance floor and brings the crowd together. Take my advice and play the hits!

Soft, instrumental jazzy stuff is great during cocktails,.
Smooth big band ballads, and classic singers work great at dinner
(Sinatra, Bennett, Streisand, etc)
After dinner - Motown classics (like Temps, Tops, & Supremes) will ALWAYS get the floor crowded. Once the dance floor is active -- you "play the room"
Never do more than three of ANY type song in a row, always give the crowd a second chance at a dance they seem to respond to. Too many times, there is a handful of young girls hogging the floor, so the DJ will cater to them because it's fun to watch them dance.... but 100 others are SITTING at the tables! Next he plays a slow song, and the floor fills up, and right after ..... it's back to the modern tunes, and he loses the floor. Give 'em at least two chances if they respond to a certain type of song.
Mix it up -- use all the tricks in your bag - Cha Cha's, Disco, Swing - use it all!

Try not to avoid the younger set, but don't play the harder edge stuff that will be offensive to the older folks -- there are plenty of tunes that fall in the middle of the road, that the kids will love, and the old folks won't hate. This is important -- you never want to isolate any part of the crowd. Your job as an entertainer is to unite the crowd and provide a vehicle for them to enjoy the time together with. It's a privilege, and don't ever forget that performers are in the service business.

I feel as if I should contribute something here. Here's a couple of elementary tips on operation and some random thoughts:

Regarding "silence"--many players new to PSRs don't know that, when in a fingered acc mode, if you hit three adjacent notes in the chord section, everything stops except the drums. This is quite useful for doing exactly what Uncle Dave said. There are many songs that call for this (Land Of A Thousand Dances, What'd I say, etc.) and this is merely a shortcut to killing everything except the drums. Of course it doesn't work with one-finger or multi-finger modes.
Which brings to mind another point. It's easy when you first go to an arranger keyboard from another instrument, say a trumpet, to use the one-finger mode. Do yourself a favor, and spend a day or so learning to play the full chords. One-finger mode only recognizes a very few chords and will dramatically limit your progress in becoming an arranger musician. I'm not saying there aren't valid uses for one-finger mode, but it is essential to your musical growth to learn the chords.
Also, there is another side to arranger playing, especially for those who have limited right-hand skills. Let the arranger play. You can work with the volume levels on the individual style parts, bringing up, say a piano part for one song, increasing the guitar part on the same style for another song or a different section of the same song. Save your changes to registration. This adds variety to your repertoire. Be careful not to overplay the right hand. If you can't play something that is complimentary to the song you're doing, SIT ON your right hand and let the arranger do the work. Just play simple lead lines when the solo comes. As your skills improve, start doing more of the playing yourself, becoming careful to add to what the arranger is doing, not undermine it.
You will need to learn to think like a guitar player, or a sax man when using those instruments. Often converted piano players have a hard time adjusting to arrangers because they are not used to having the "help" of the arranger section. Either turn off the arranger, or use it to your advantage.
Another tip that someone MAY not know, on most PSRs and many other brands, pressing the + and - keys simultanously will set the selected parameter to the default setting.
For instance, each song has a default tempo, the transposer defaults to zero, the effects have defaults settings, and this "trick" immediately resets.
DonM

One of the very important things I can say about music is that you can't let anyone bring you down and destroy your dream. If you are a real musician, you know it. Don't let anyone else try to tell you different. There will always be someone out there that doesn't like your music. But what you have to realize is this...there are also thousands of people out there that WILL like it. Don't let someone that likes heavy metal put down your classical, or vice versa. My husband often tells me my music is boring. (I play a combination of classical, soft rock, blues, jazz, and classic rock) Coming from a guy who listens to heavy metal and some old rap...I tend not to let it bother me. Remember, if you enjoy your style...so will others.

Also, a real musician never lives a moment without music. Music follows them around like an aura...always there, always a work in progress. I'm always composing, at work and out on the go. I'm learning now how to be able to write music when I'm away from my keyboard. That way, I don't lose songs by forgetting them before I get a chance to get home and record them. Getting to know what notes are what when you haven't an instrument is hard, at least for me. But it is a good idea to study this as well.

A musician can sit there and anylize a piece...try to imagine what the person was thinking when they wrote it...studying every note and every expression the musician had made in the piece. For me, music has always been a study. "That's great how he did that drum solo", or, "Listen to the way the pianist paused in that one spot to allow the audience to linger on that one moment, letting it fade before he finishes the piece." Study other musicians' styles. Every musician is made from the combined styles of others that they've listened to their whole lives...really listen to theirs.

One thing I always do when I burn my pieces onto a cd is listen to them endlessly in the car on the way to work, or where ever I go in the car. Then I can study my own work and figure out what I want to change, or what I want to add. Always a work in progress. Always always...

Another thing I want to add is how a song may be ruined when one tries to make it too complicated. Sometimes the most beautiful songs have a simple melody, a simple beat. I once used to make the mistake of trying to make my music as complicated as possible. Perhaps trying to show my potential as a musician. Like saying, "Look what I can do!" Well, lately I've been concentrating on making a simple melody, and adding just enough layers to enhance that melody, not to bury it!

Well, hope this all makes sense. I've been a musician my whole life. Music has always been major to me. It wins out over anything else, always.

-Tracey

Ladys and Gentlemen:
Today is Jan 13, 2002. Today I am sitting here reading and reacting to several posts started on Dec.12, 2001 by Uncle Dave, Tracy, Bsharp and others in the subject of "peforming and playing music" in general. kind of late for my response, but better late than never. First, let me thank you guys for taking the time to offer such a comprehensive and profound insight into the subject.
Music, (behind my dear wife)is the # 1 thing in my life and I take quite seriously. I have 35 years in the business and, at 59, I am very thankful that I am still able to make a living and enjoy it at the same time. Your thoughts an suggestions on the subject are so refreshing and helpful that I've decided to print them and compile them for future reference; specially for those days when I feel discouraged (and eventually we all do)I need some reasurance and encouragement to continue. You guys are definitely are versed on the subject extremely well and I identify with you in so many ways that is scary. To UncleDave who, I heard is writing a book, make sure this is one become part of its chapters. Just on this subject alone, you have a future book buyer.
Thanks agan, and sorry for the late reaction.
Mario

PRESERVING YOUR VOICE

Something Uncle Dave said a while back really hit home with me last night. And that is resting the voice on breaks. Last night I did a party of about 170 and on every break it seemed I could barely get off stage before I was beckoned to a table. The noise level was such it felt like a strain to hold a conversation...and I felt it when I went back on. I don't want to be inaccessible to anyone, but ducking out the back the door for the breaks was very tempting.

"Schmoozing" with the audience is an incredibly important part of what many of us do...but if the breaks are as strenuous on your voice as performing, it might be a good idea to weigh the consequences and disappear once in awhile.

That's definatly a "Catch22" in the biz. You have to greet your fans, but you have to save your pipes too - tough to do.

This is certainly news to me because UncleDave started 'this' thread (in the first place) as a 'RESPONSE' to my earlier thread where I had announced that "I" was working on a book about 'arranger keyboard playing'.
http://www.synthzone.com/ubbs/Forum37/HTML/002534.html

It appeared to me that the purpose of this thread (initiated by Uncle Dave) was to steer people away from my book project idea, suggesting that he had a "better idea", suggesting that instead, that we all write the book together: "chapter by chapter".

I admire & respect UncleDave's long music experience & knowledge, but if UncleDave's 'REAL' intent was just to re-direct people's interest away from my initial thread because he was coming out with a book of his own, then I think it was an 'under handed' approach to discourage interest in my book project in favor of his. I truly hope I'm wrong about this because I thought this forum was supposed to be supportive of fellow forum members. Uncle Dave? Please clarify.
- Scott

Scott,
Loosen your laces, buddy. This is NOT about you.

First of all - I've mentioned before the idea of writing a book of "experiences" not a tech manual, and it's not a priority....just a goal for sometime in the future. I've kept running notes on interesting situations for a long time now ... they will probably sit for a longer time.

Second - Who cares if I write or you write or NO one writes? If you feel qualified or motivated to write a book ..... be my guest. What I do, or don't do is not an issue.

Third - My "idea" thread was not aimed at you in any way. I thought we could all share many diversified ideas in a common place. I still think we can all benefit from the experiences of others. (Underhanded ??? C'mon .... that was harsh)

You take things too literally, and you quote too much, and you research too much, and you just plain FUSS too much. You need to stop reacting like we're all addressing YOU personally. (and please - NO more about your precious Steinway "B" !!!)

I respect the fact that you have a passion for your trade, but you need to calm down. Unless I address a post to you - please don't assume that you are on my mind. I'm just trying to spread a little knowledge around so that others can get some "easy" lessons from what I've learned the hard way. That's all. You and I are NOT competitors.

I'm sure that in your own little world you are well liked and respected, but you are not the "answer" for all the future arranger users. I don't even like to think of myself as an "Arranger player" - I'm NOT - I'm a musician that USES an arranger keyboard. ( and not always either) It's not such a mysterious art form ... it just takes another kind of motor response to add to keyboard technique. I don't think the average musician is cut out to "arrange" an entire band (even a "band in a can"). Many of the players that I admire the most are NOT good at the solo gig. It's a different mentality, and it's one that needs a "born-in" knack to master. All musicians are not arrangers, just as all players can't be teachers. Reading a book will never make it easy to "lead the band" - you have to have the feel for it.

It's pretty obvious that something about me gets under your skin, and I'm sorry about that, but I have a lot of years in MANY different aspects of the biz to share, and you know what .........these little arranger keyboards are such a small part of what's important in the big picture, I just can't get that excited. Please don't drag this through the mud - it's not a challenge. You can still write your book - I won't stand in the way.

I just like to contribute what I know to the pot. If you've had enough of me - that's OK. I know I bring a lot to the table, but it's not for everyone's taste. I'm a WYSIWYG kind of person - no hidden agenda's - no secrtes. This is what you get. Let's not bicker - there's plenty of room for all of us to state our thoughts. It's up to you to act on what you think is right for you - that's all.

Still friends?

Ok, I apologize if I appeared over reactive in my response, but I had never given the issue much of a thought until I read Mario's post here. UD, in fact, if you do write a book, I'll probably be first in line to purchase it. Gotta go play my Steinway now.

Scott,
I'm just as proud of my new guitar as you are about your piano. Don't hold your breath waiting for ME to complete a book project. That's a task I'm saving for retirement .... yeah - That'll happen!
Did I ever tell you that when my 8 yr old (Allison) was born, I did the math and figured out that I have to sing 400,000 more songs before she's out of college?
Sure ..... I'll retire ........ right.

(I really do hope we're still ok, Scott)

Whoa

Cool it asking for clarification in a forum isn't exactly unheard of . I don't feel that your tone was appropriate.

example
"You take things too literally, and you quote too much, and you research too much, and you just plain FUSS too much. You need to stop reacting like we're all addressing YOU personally. (and please - NO more about your precious Steinway "B" !!!)"


It was laced with sarcasm and I didn't feel that you substantiated any of the claims that you made about Scott. You want the bickering to stop? Then why don't you lead the way - you're the respected elder of this forum and I expect all little a bit more from you. You want to talk about someone taking things to literally, being fussy take a look in mirror. You obviously put some serious thought into the post. hmmmm that's kind of fussy don't you think?Talk about calming down - please. You're the one trying to make this forum competitive.

I've been reading post on this forum since it began and I've learned allot from many people and I hope that it can continue to be a positive experience for everyone.
I think that you may have second thoughts about your post and that's why you've started the Olive Branch Thread. Nice gesture

Let's all use this forum for the real reason it was created - Thanks!

I could have just deleted the post, but my only defense is that I am also a passionate individual. Sometimes I need to shoot from the hip to express my self, and if I come on too strong, I am the first to apologize. I am not alone in the thoughts I posted, and I DID offer the olive branch just to make sure that the intention was not taken as malicious.
Those are my thoughts, and I can't apologize for that, but I assure you - there is NO hurtful agenda behind the words.
I believe in speaking your mind. Everyone is pretty quick to jump on me when they need to, and I'm still here.
I admire your candor and the tact in your post. Thanx for adding your take on it.

Uncle Dave

I can appreciate that you are a passionate person and you say you shoot from the hip.
(which is cool because I do too) why do you say that "I am not alone in the thoughts I posted" it's really only appropriate to speak for yourself if that is truly your
philosophy. Just an observation take it or leave it.

Respectfully,

Kmac

My disclaimer was because I knew the material was sensitive, so i ran it by a "test audience" first. We all agreed it should be said. I volunteered to be the voice.

Interesting approach - must be hard to arrange your outside meetings. I encourage everyone to feel comfortable to voice their own concerns here. As long as they are posted in a diplomatic way.

Cheers

Kmac: First of all, thanks for your words of support. Yes, the intention of my earlier post here was not to start a war of words, but to 'get clarification' from Uncle Dave. Though I admit (and proudly so too) that I have a thing for detail (could it be part of my asian upbringing?!), I was pretty shocked to hear UD say: "You take things too literally, and you quote too much, and you research too much, and you just plain FUSS too much. You need to stop reacting like we're all addressing YOU personally. (and please - NO more about your precious Steinway "B" !!!)". I decided to 'shrug it off' as Uncle Dave just having 'another bad day' again, because this 'didn't sound' like the same guy that I had had telephone & email conversations with in the past. I remembered 'those' conversations to be nothing but cordial & friendly.

As forum members, we come from a wide diversity of personalities, backgrounds and cultures around the world. I think this (in addition to our shared passion for music thru arranger keyboards of course) is what makes this forum so special. Btw: Kmac what Country do you live in?

Anyway, I don't think there was really ever a war between Uncle Dave and myself. Competition? Perhaps. Afterall, I guess that's part of the American spirit. I have a lot of respect for Uncle Dave's background & experience, but acknowledge that we may just have a different 'style' (east coast/west coast?). In the end though, I think we actually 'agree' most of the time. I'd really like to move forward now in a spirit of friendship. - Scott

Mee too!
I never wanted to hurt you Scott. Honest.

HI Scott

Nice to see that things on the forum are on the up and up now. I am from Canada .

I really liked the beginning of the thread. When I read Unle Dave's post...Its not just about "arrangers", "forum members" or "personal achievements". After all the hoopla, I just want to help close it out by returning to the original topic, and its one up and coming professional musicians should take great note of. Its a good point Dave..
I played Professional, meaning my only source of income (not on arrangers) for just over 10 years while living overseas. Yeh I started "busking" with my guitar and some friends, got to clubs, went on to small tours and did some nice festivals. Got to see a lot, sleep a lot (trying to be nice) and practiced all the rest of time.
To your point U-Dave- about energy, I had some, but I learned to recognize why the "M-Jacksons, Madonna's, LZepplin's ELP (all the rockers) did so incredibly well. They really had the energy to GIVE to the large audience. Its no joke, I felt it in my own little world, in the local music store the "lookers" used to crowd around while I ripped out my jazz chord solo's or Tony Rice bluegrass licks. Yeh I was giving it out and it felt good. But I was lost in the 40,000 seat crowd of the Marlboro's festivals, nervous and scared shitless (excited?) in my own way, despite sucking up every bit of energy from the featured acts (met Kenny Rogers man). The "aura" is pretty cool and you can feel it.
I met Danny Devito once- you figure a guy who looks like Danny Devito in your school and tell me he's gonna be famous- that is pure energy, I tell you the man is amazing and "YOU" get the sixth sense if he comes up behind you cause you can feel his presence (dont you dare). Its a very special gift and you dont have to be famous to enjoy and most of you know (cause we like our little worlds and its groupies)
Anyway, more than the silly remarks we tend to make the idea U-Dave has is still solid to me, I did not see him instigate any such remarks, but rather return some silly one with silly ones. Funny cause Scott, I love to read your posts too. No way U-Dave is gonna right a book like yours (Sorry U-Dave).
Scott I will buy your book and should I have my arranger just yet (PSR2000 is coming soon) I expect to learn a lot about arrangers and their use from you.
Finally to tie up your comments (ScottY), I and a partner (just 2) have a small computer consultant company in NYC. If I ever thought about what the other 10,000 computer consultants (the comp) are doing, I would probably quit. Once you get an idea, follow through with it be it a book or a song, so what if someone has a similar one (its bound to happen), you just have to keep the blinders on, complete it and thrust it out to the world, let it find its place... and keep trying should it be dwarfed by another.
Both of you (along with DonM) are my favorite reads so you best keep getting along, hell if each of you tried to write the same book I bet they would be so different we'd have to buy both.
You guys are the best and I am happy to put my two cents in.
Cheers and have fun, on and off the stage.
Tgalf

Oh boy, what I've started here!!! Sorry I am late to say that I never meant to cause what I've stared. As a new member, I hardly new anyone, including Scottyee, and thru this post I had just read, I was able to get to know a lot of "positive" qualities about lot of the members, (including Scottyee). I thought it was only natural to complement whomever started the thread (which in this case I thought it was UD) My appologies gentlemen for al the trouble. I will be more careful in the future and try to keep up with all the threads
Peace for All.
Mario

PRESERVING YOUR STYLES, MULTIPADS, AND MIDIS

Your keyboard and sound system are the probably the first things you think about protecting. You may even have backup keyboards and multiple amps and speakers. You handle them with care, buy and use covers for them and perform basic maintenance on them to keep them in good running order.

But don't forget the software that is so unique to what you do. You may spend hours, weeks or months creating the styles that make your music your trademark. You copy them to floppy...and probably make backups of those floppies which you may carry in your gig bag just in case of a tragic Floppy Disc accident.

Without worry of being neurotic, you should also have a copy of all those discs tucked away at home or in a safe place. If you have a CD burner, copy them all to CD and enjoy the comfort of knowing all your styles, pads and midis are easily retrievable from a variety of formats.

Each keyboard has features that may be unique from others, which also should be saved. As an example the PSR2000 has an operating system with 3 different file folders for styles and multi pads: 1. Presets, 2. User, 3. Floppy Disc. Should you have to recreate the setup you use all the time, and you rely on User Files that you have inputted, you will need a back up of those as well.

Like it or not, arranger keyboardists must be part librarian and archivist to avoid technical catastropies that hinder the ability to be consistently good performers.

Its the "grunt work" you do behind the scenes that make what you do on stage look so easy.

I looked in on this and I like the subject. i get quite confused at times about it all and I kinda drift a bit -- I think we all need to talk about it and support each other. It is fun - it is work- it is tough at times. Sometimes it can seem that it is even "wrong" to practice in the "middle of a fine day" (YOU SHOULD BE WORKING!!!!!!) I liked your opening words Dave and I expect I will always watch for these type issues. Pierce