HOW TO CREATE YOUR OWN STYLES USING PATTERNS FROM OTHER STYLES
This tutorial does not say anything about the procedure itself, but is intended for those who already know how to use the function.
It is actually very easy to create new styles this way, but there are some factors that it is important to be aware of:
EFFECTS
All effects from the style you get data from are copied to your basic style, which can result in everything sounding completely wild, because effects such as O-verb are often inserted in drums and perc, which rarely works well when you change the pattern for these.
However, this is easy to fix by going into the MFX Send for the base style, and reducing the values in drums and perc for the effect, which are typically placed in FX1.
TIME SIGNATURE
It is always an advantage that both styles have the same signature; e.g. 4/4. However, it can often work well to use different ones, but this is very individual.
TEMPO
It is a good rule of thumb to lock the tempo on the base style when looking for suitable patterns from other styles, but the tempo can be changed successfully, which however requires some experience.
NUMBER OF BARS
It is an advantage that the style you get patterns from has the same number of bars for all intros, variations, fills/break and endings, but this can be difficult to fulfill - anyway; variations in the number of bars can really help to create a new style and create unexpected possibilities for variations.
OUTPUT VOLUME
Output volume must always be checked in the Finalizer, because this is almost always louder and too loud, and must be reduced to approximately -20 to -15dB max.
This tutorial does not say anything about the procedure itself, but is intended for those who already know how to use the function.
It is actually very easy to create new styles this way, but there are some factors that it is important to be aware of:
EFFECTS
All effects from the style you get data from are copied to your basic style, which can result in everything sounding completely wild, because effects such as O-verb are often inserted in drums and perc, which rarely works well when you change the pattern for these.
However, this is easy to fix by going into the MFX Send for the base style, and reducing the values in drums and perc for the effect, which are typically placed in FX1.
TIME SIGNATURE
It is always an advantage that both styles have the same signature; e.g. 4/4. However, it can often work well to use different ones, but this is very individual.
TEMPO
It is a good rule of thumb to lock the tempo on the base style when looking for suitable patterns from other styles, but the tempo can be changed successfully, which however requires some experience.
NUMBER OF BARS
It is an advantage that the style you get patterns from has the same number of bars for all intros, variations, fills/break and endings, but this can be difficult to fulfill - anyway; variations in the number of bars can really help to create a new style and create unexpected possibilities for variations.
OUTPUT VOLUME
Output volume must always be checked in the Finalizer, because this is almost always louder and too loud, and must be reduced to approximately -20 to -15dB max.
Shared knowledge provides increased knowledge
If we all share everything we have, we all have everything
Every theory is only a hypothesis until it is practically proven
KEYBOARDS, SYNTHS & MODULES I HAVE HAD AND HAVE
Casio CTK 811-ex ||| Roland EXR-7 76 ||| Yamaha DGX-620 ||| Yamaha PSR-550 ||| Yamaha PSR-S700 ||| Korg Pa800 ||| Korg Pa3X 61 ||| Deebach XMS-Pro ||| Ketron Ajamsonic ||| Casio WK-7500 ||| Yamaha Tyros5 61 ||| vArranger ||| Ketron Audya5 61 ||| Yamaha PSR S950 ||| Solton X8 Chromatic ||| Yamaha Tyros4 10th Anniversary ||| Korg Pa4X 61 ||| Roland BK-7m ||| Technics KN-6000 ||| Technics KN-7000 ||| Roli Seaboard RISE 49 ||| Deebach MAX Plus ||| Yamaha Genos ||| Korg Pa700 ||| Korg Kronos2 73 ||| Tyros4 61 ||| Deebach BlackBox ||| Korg Pa2X Pro ||| Yamaha A3000 ||| Ghenos Plus ||| Medeli AKX10 ||| Korg Nautilus 73 ||| Yamaha DGX-670 ||| Korg Krome EX-88 ||| Korg OASYS 76 Sondius-XG version ||| Korg Pa5X 76 (Pythagoras Tuned) ||| Yamaha Tyros1 ||| Ketron Audya 76 (Own developed OS) ||| Yamaha PSR-3000 ||| Yamaha 9000 Pro ||| Yamaha MODX M8 ||| Korg Grandstage X ||| Roland Juno-D7 ||| Korg Kronos 1 73 (Pythagoras Tuned)
MY PA EQUIPMENT NON-ACTIVE AND ACTIVE
Aune S6 32 bit/384 kb DAC ||| Topping USB Isolator ||| MOTU 32 bit Audio Interface ||| TEYUN Q26 32 bit/384 kb Audio Interface ||| FM Acoustics FM 300A Power amp ||| FM Acoustics FM 255 Resolution Series Pre amp ||| MBL 6010 Pre Amp ||| STAX SR-L300 (Lambda) electrostatic headphones with STAX SRM-252S Amplifier ||| beyerdynamic T70 headphones (without pads) ||| Baffle horns equipped with Seas Exotic 8" fullrange units ||| JBL horns with Compression Planar membranes ||| Fountek NeoPro 5i (Special Edition) ribbon tweeters with Compression Planar membranes ||| Hexagonal subwoofer with 12 pieces Push&Pull coupled Seas Prestige 8" units, 1 item 10" slave unit and built-in XTZ power amplifiers & Cambridge Azur 640A as pre amplifier ||| Yamaha HS-5 active monitors connected to all keyboards
If we all share everything we have, we all have everything
Every theory is only a hypothesis until it is practically proven
KEYBOARDS, SYNTHS & MODULES I HAVE HAD AND HAVE
Casio CTK 811-ex ||| Roland EXR-7 76 ||| Yamaha DGX-620 ||| Yamaha PSR-550 ||| Yamaha PSR-S700 ||| Korg Pa800 ||| Korg Pa3X 61 ||| Deebach XMS-Pro ||| Ketron Ajamsonic ||| Casio WK-7500 ||| Yamaha Tyros5 61 ||| vArranger ||| Ketron Audya5 61 ||| Yamaha PSR S950 ||| Solton X8 Chromatic ||| Yamaha Tyros4 10th Anniversary ||| Korg Pa4X 61 ||| Roland BK-7m ||| Technics KN-6000 ||| Technics KN-7000 ||| Roli Seaboard RISE 49 ||| Deebach MAX Plus ||| Yamaha Genos ||| Korg Pa700 ||| Korg Kronos2 73 ||| Tyros4 61 ||| Deebach BlackBox ||| Korg Pa2X Pro ||| Yamaha A3000 ||| Ghenos Plus ||| Medeli AKX10 ||| Korg Nautilus 73 ||| Yamaha DGX-670 ||| Korg Krome EX-88 ||| Korg OASYS 76 Sondius-XG version ||| Korg Pa5X 76 (Pythagoras Tuned) ||| Yamaha Tyros1 ||| Ketron Audya 76 (Own developed OS) ||| Yamaha PSR-3000 ||| Yamaha 9000 Pro ||| Yamaha MODX M8 ||| Korg Grandstage X ||| Roland Juno-D7 ||| Korg Kronos 1 73 (Pythagoras Tuned)
MY PA EQUIPMENT NON-ACTIVE AND ACTIVE
Aune S6 32 bit/384 kb DAC ||| Topping USB Isolator ||| MOTU 32 bit Audio Interface ||| TEYUN Q26 32 bit/384 kb Audio Interface ||| FM Acoustics FM 300A Power amp ||| FM Acoustics FM 255 Resolution Series Pre amp ||| MBL 6010 Pre Amp ||| STAX SR-L300 (Lambda) electrostatic headphones with STAX SRM-252S Amplifier ||| beyerdynamic T70 headphones (without pads) ||| Baffle horns equipped with Seas Exotic 8" fullrange units ||| JBL horns with Compression Planar membranes ||| Fountek NeoPro 5i (Special Edition) ribbon tweeters with Compression Planar membranes ||| Hexagonal subwoofer with 12 pieces Push&Pull coupled Seas Prestige 8" units, 1 item 10" slave unit and built-in XTZ power amplifiers & Cambridge Azur 640A as pre amplifier ||| Yamaha HS-5 active monitors connected to all keyboards



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