How many Reg Banks can I get on my PSR970?

[YammyFan]

I'm up to #80 .   I can't seem to set up Registration Bank  # 81 help me please. Yammyfan.

[Fred Smith]

I'm up to #80 .   I can't seem to set up Registration Bank  # 81 help me please. Yammyfan.

You can have thousands of banks. What happens when you try to save #81?

Cheers,
Fred

[YammyFan]

Thanks, Fred for your swift reply which helped me enormously. I went immediately to my PSR 970 and  put in # 81 no trouble at all.  I can offer no explanation of what I was doing wrong yesterday. I am in high spirits today !!!!! Thanks a million.

[Normanfernandez]

Just to add to this.
There is no limit to how many registration banks you can have.
Just till you run out of memory

[gabrielschuck]

Hi Enildo and others,
Interesting to find a topic on this subject here!
I'm also one of the people here in Brazil who was already researching and trying to understand how Brazilian style programmers manage to make these tricks.
From what I could find out and also from the information brought here, we don't need to go very far. Yamaha has already done this and certainly someone very expert has understood the logic and is using it creatively.

The first proof of this is in yamaha's own "Alpen Pack". For users who have this pack, a special attention to the last voice that I don't remember the exact name now, I know for sure that it's the last one.
Notice that when playing the notes individually, what you hear (depending on the intensity) is a chord and not a single note. And there are variations of that same chord depending on the velocity layers.
So, in one octave are the major chords, in the other the minor ones and also the 7th chords.
What happens is what Enildo suggests. There is an instruction in the style file to play the notes of a certain octave according to the instructed chord. If it is major, it uses the corresponding notes of the major chords of one octave of the voice, if it is minor of another octave, and so on.
In practice it would be like recording a bass single note always using the root of the chord, without any ostinato. When playing the style, the keyboard understands that it must use the root of the chord. But the sample assigned to that note is the chord itself with variations.
No need to use a separate channel for each chord anymore.
I remember like it was today when I played a special chord like those with the 7th in some styles of the PSR510 and suddenly I heard a cymbal more in style. This shows that Yamaha already did this by defining a behavior to the style when certain chord changes occur.
Some more current styles (and again the Alpen pack is a great reference), when the chord, for example, is a minor seventh, the bass line happens to do the opposite, that is, instead of playing the tonic of the chord first, it plays the fifth for then the tonic.

Of course, using a real loop instrument as the basis for a style has its advantages and disadvantages.
Joe is also right, in general the vast majority of styles have always used midi and, of course, depending on the voices (which may even be from the keyboard itself) it is possible to achieve impressive results while saving expansion memory space.

I don't know if I made myself understood either, my English isn't that good either.
regards,
Gabriel