Well ,  I sure feel like I took this thread way OT ...Oh Boy  , as they say ,  in for the bean all in for the burrito
I have listened to Bella Fleck .....great player ...very expressive and unique ....

I was talking more along the lines of where some players fall into some sort of specialty type of expression  where they get locked into it and they cant play anything but that ...It could be genre specific or just the way they happen to play ...
 
I had the good fortune of being very good friends with a few guitar players that were way out of my league ...
A few off the top of my head were Joe Pass , Emily Remeler , Ed Cherry and Tony De Caprio  ... to name a few
I would sit down and jam with each of them all the time and they would leave my a$$ in the dust ...I was OK w it ...
I wasn't taking lessons w any of them , we were friends and they were teaching me how to really play  by putting me in a situation where I got to play w them one on one where they exposed the full power of the song VIA the thousands of hours of playing the tunes they called on me ...
The foundation they exposed me to left a lasting impression on me .
The first time I played w Joe was at a private diner and he asked me to play my best stuff for him . He fired up a cigar and started batting his eyes at me like Mae West  as I went through all my finger contortions and fret board gymnastics ...
When I was done he took the guitar and said to me watch this ...he then proceeded to play Green Dolphin Street using only one chord shape for the whole tune and he sounded 10 times better than I ever could ...
It was the power of the song man and knowing what to leave out playing the guitar was secondary ...
Each of the other players I have mentioned have taught me the same type of  thing VIA different ways ...
IMHO it all boils down the the power of the song and using your God given talents to serve the song first ...
 
Anyway sorry to go so OT ...FWIW I happen to love Hornpipes , Jigs , Reels and much of the traditional Celtic and other songs that gets played and featured in Bluegrass ...
I have charts on all of them and I don't mind sucking at the mandolin while trying to play them
 
I guess to bring it back to topic , A guy Like Craig to me is just like a Joe Pass when it comes to knowing his way around a DAW ...for me to say that about myself ....not today that's for sure ...someday I hope ...
 
nice rapping w you
 
Kenny

I once borrowed a banjo from a friend while he was away for the summer, and found it really easy to get to grips with because of my guitar playing experience. I fingerpick everything and do a lot of single note rolls across multiple strings, utilizing open strings and adjacent strings to play scale runs, so it all felt very familiar to me. I have lots of experience dabbling in different guitar tunings, so it wasn't that much of a challenge to get used to the banjo tuning. Made me realize that once you have the basics of strings, frets and picking down, it's easy enough to transfer to another stringed and fretted instrument. Some friends and I recorded something on an old 4-track when we were stoned and when I listen to it today, I think ya know, that's not bad for only having picked the thing up less than a month ago. Last night as it happens I randomly stumbled across a YouTube video which featured that old recording as the music (they stole it of course, but that's YT for ya) but that's another story! The point is, I think once you're solid with the basics of a DAW, it's not such a big deal to transfer those skills across to a new one. 
 
There's always going to be a period when you have to think about the differences in the new one. The biggest hurdle for me is remembering keyboard modifiers for common actions, for instance whereas in the old DAW it's CTRL-click, in the new DAW it's ALT-click. It's a bit like learning a new language. At first you have to translate everything in the new language to your native tongue. But if you stick at it long enough, you begin to think in the new language without having to translate. The ultimate goal is to achieve a sort of "dual boot" mind that is happy with both ways of doing things. 

Joe freakin' Pass!  I'm impressed.  Never had that type of credential. However, just this month I did a gig backing up two of James Browns' former sidemen, Fred Thomas on bass (and it was his showcase gig) and "Funky" Leroy Harper, Jr. on Sax, with other fine musicians, too. It was a great time. Never too late, I guess. I moved recently from Boston, so many Berklee alums have crossed my path, too, including a couple of their current geetar professors. But nobody really famous...good for you.