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..