Bernie, even at this age we are still learning; we are forgetting, but with the right attitude we are still able to learn and grow. I find the more I learn about my keyboard, the more I learn about me. I’m not sure how that works.

Bernie, your post is filled with good wisdom; it was a pleasure reading it, thank you.
John C.

I almost gave up posting how I am working with the regs. and PlayList on my Sx900. Bernie’s post has me going again --- this time I’ll approach the subject differently.

1-Create a band with the 8 regs. I use:
Reg 1 Piano Reg2 Trumpet Reg3 Clarinet Reg 4 Sax Section
Reg 5 Trombone Reg 6 Light Brass
Reg 8 Med. Brass Reg8 Strong Brass
When you save the Band, DO NOT save the STYLE when saving.
Select your style you selected for the song and save it in Reg 1. Make sure you are also saving the style. Now select/load the band you created.

You now have a style you selected for the song, and a band. Name and save.

That is all you have to do for every song you add into the Sx900.
Select the style you want for the song, save it in Reg 1. Make sure you are also saving the style when saving. Now select/load the band you created.

You now have a song/style, and a band. That is all you have to do for every song you add. Did I miss anything? Part is coming.

Open for questions, John C.

Thanks John

It is now clearer how you set up the registrations. I think it has a lot of merit. Thanks for sharing.
Bernie

I rather feel that some of the imbalance in Roland ROM Styles has a fair bit to do with the default Mastering Presets. I find them rather aggressive, and can often alter the balance of a style when listened to with them turned off.

The thing is, Roland’s ROM styles are a collection of some brand new styles, but a large percentage (as with all arrangers) are older styles from earlier models. Unfortunately, most of these earlier arrangers didn’t have the same Mastering Tools section, or only had one for the overall output, and were usually set less intrusively (an aggressive compressor on the final output tends to have your lead sound duck the style if you get a bit frisky!). So, play old styles through new Master presets, or use newer kits with more dynamics, you’ll often get styles that need a bit of tweaking.

But, put in the work, you invariably have a better final sound than your last arranger. And that’s somewhat the point of buying one, isn’t it?!

Yes, in a perfect world, where arrangers sold in huge numbers and manufacturers had the budget to make sure everything was perfect OOTB, we wouldn’t have to do some of this ourselves, but that boat sailed a decade ago! And due to the different playback systems that amateurs and pros use, there really isn’t one Mastering setting that works across the board.

I think with the BK series onwards, Roland voiced these far more towards those using pretty small underpowered speakers, and compressed heavier and EQ’d a lot more bottom in. This made them a bit tubby and choked the dynamics when played through a proper high power pro rig. So, just like I always have, pretty much the first thing I do with any arranger is turn off all mastering stuff. It’s amazing how often this opens up an arranger’s sound and makes it more lively and dynamic! I can always add some back in if I’m in a super quiet gig and want to tame my dynamics, but it’s harder to remove for a louder gig than add for a quieter one.

Any mastering engineer will tell you the easiest way to ruin a good mix is a poorly set up three band compressor! And yet, that’s what they slap on the final output of most arrangers and expect one preset to cover the whole gig! Tread carefully at the end of your chain, it’s easier to ruin something than improve it!