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Audition patches with the actual MIDI rhythm and register of the song. A sound that impresses on a held chord may leave too much tail around a busy part; a smaller patch may fit better once bass, drums and voice are playing.

Use performance and note length to establish the part before adding more effects. Keep output volume sensible while changing patches so the decision comes from tone and articulation rather than a louder audition.

EFX changes its available controls with the selected type. Set the effect for a specific task, such as giving a keyboard part movement or a lead more edge, then balance EFX Level and its sends to chorus and reverb.

The host exposes generic EFX slots, while their musical meaning follows the chosen algorithm. Read the current type's labels instead of carrying a numeric recipe from an unrelated EFX type.

Chorus Output offers MIX, REV and MIX+REV. Sending chorus into the ambience can create a different space from adding a clearly audible chorus return beside it. Compare the routing with the part playing at its final level.

Use a short room or stage for rhythmic keyboard parts and a hall for more exposed sustained material. DELAY and PAN-DLY are separate ambience types; Reverb Delay Feedback belongs to those delay choices.