I use mine for recording, as many people will...that's why it's laid out much like a the old tape recorders.

Some use them for Karaoke, some use them for practice, and some use them when they gig to sing and/or play over a SMF, either one they've created themselves, or a commercial one.

Nothing wrong with playing over a SMF...lots of people do it...I just choose not to...styles are more flexible for me.

As you always say, Donny...it depends on your needs.

Ian

Ian......
good advice well taken....believe me I know what Im doing & I know what works & sounds right for me when I'm gigging. The E60 is a quality arranger with many very nice features just not in the cards for my needs at this time. Even with Yamaha's S900 navigational deficiencies, I make it work for me & my needs all the good outweighs the bad.

Here is the SMF by Tune1000 http://www.mediafire.com/?sharekey=c80ea3b3fdf7ab58ab1eab3e9fa335ca4ac7fd54e6bca260

[Soapbox mode on]

Speaking of practice, midifiles like this one -laid down with such a craft and talent- are excellent learning tools, because the musicians who recorded them spent hours listening to the original song, so for example the piano track plays exactly the same notes played by Jobim. And, since every sequencer today has the option of displaying the notes of each track, with a click of your mouse you have a faithful transcription of the original song.

They make also an excellent starting point to create a style, so I would say that they are really a great investment.

[Soapbox mode off]

Hmmmmm, and to make a copyrighted file public, is that any good idea?

GJ

The song sounds great ...
The only reason for me to know if it is a midi file or a style is so that I can determine if I can make it sound like that in a 'live' situation ...
t.
PS I am NOT EVEN SUGGESTING that Fran acted in this way, but any musician who posts a recording by someone other than him/her self, and tries to make others think it is him/her playing is like a golfer who cheats on the score card ... they are only fooling themselves ... What's the point?
t.

Well, as it has already been said...the title of the post is "Just recorded on the G70".

How much of it is Fran?

Did he "record" this tune, or was it a SMF just "played back' on the G70 after re-voicing?

Mmmmmm.....

Should the title have read..."Commercial SMF edited and played back on the G70"?

The file sounds great on my S900, especially when re-voiced with the SA Flamenco Guitar and the SA Sax.

It is well done SMF for sure.

Ian

Do you mean you always want that F#m7b5, or just for giggles and grins, now and again?

Because, if it was an occasional thing, a well placed F# would get the job done. If it was a permanent reharmonization, it's a snap on the Roland's to edit the track...

No-one's saying anyone HAS to use either method. They both have mutually exclusive advantages, though. Yes, reharmonization, if you have the skill, is easier done on the arranger side. Playing a two handed part (for instance, nailing the sax's scoops and inflections) is easier done on the SMF side.

It all depends on what you consider the most important aspect of the track. For me, on this particular tune, it would be all about nailing Getz's phrasing and bending. Most sax parts strike me that way. I never heard a sax player yet who didn't scoop, dive and moan his way around a part (even when they weren't trying!), and a large number of his best pitch tricks happen EXACTLY at chord boundaries....

I keep trying to point out the Chord Sequencer was the PERFECT meld of arranger play and SMF play advantages. You could reharmonize to your hearts content, every night a different set of changes, had you the skill, but after doing that, you could then play a tasty two hand solo without being tied up repeating the changes.

But of course, along with so many other great features off so many great arrangers that few bothered to figure out, it got dropped...

Actually I change the chords around a lot, usually in the last verse, and sometimes even in the second chorus, and I find it works best for the standards.

It is nice to have the choice depending on my mood, and arranger mode works best for me.

I have my own way of getting around the lack of (or demise of) the chord sequencer and still keep myself in my preferred arranger mode...I use a pedal for pitch bending...not for everyone I suppose, but neither are SMF.

Some people get proficient at using SMF, using markers etc for getting the most out of a performance...I chose developing my skills in arranger mode and getting adept with using the pedal and also creating/assembling my own unique styles so I don't sound like the next guy with a PSR-S900 or Tyros...it's just my way.

I've even made a style that allows you to play with no fixed tempo...best for slow orchestral pieces, but again, it gives me more scope whilst using my favoured arranger mode.

It doesn't make it any more "right" than using SMF but is right for me, and that's who I have to please.

BTW, I listened to your Joe Zawinul 'A Remark You Made' again...he was a favorite of mine too and truly one of his best ballads...very nicely done, I must say...you are a fine player.

Ian

No doubt...Diki can play!


Russ