There are some 1920 Preset Performances in MONTAGE. The USER area can store 640 of your own Performances. A set of 640 Performances can be placed in a Library. There can be eight Libraries - each containing as many as 640 Performances - resident on your MONTAGE. So let's get started!
Let's begin by being clear about this entity called a PERFORMANCE, so we can intelligently discuss the "Live Set", which is a collection of Performances arranged in specific order for quick access. We need to know exactly what makes a PERFORMANCE tick.
A PERFORMANCE can be made up of as few as one Part and as many as sixteen Parts. Each Part can be a complete instrument sound on its own made from either a multi-sampled AWM2 program, or an FM-X synth program. Each slot in a Performance can be addressed as an individually playable program or you can "link" as many as eight by placing them under KBD CTRL (Keyboard Control) using as many as 8 separate Arpeggiators!
And on top of this: A Performance can also be a collection of programs arranged in a specific order for quick access. We will need to know how to make efficient use of an individual PERFORMANCE and how to take advantage of the LIVE SET so that you can make an intelligent decision about how you wish to configure YOUR setup. There is a lot of flexibility (and no one-way to work).
Shown below is the MIXING view when a PERFORMANCE contains a Single Part:
A PART is the fundamental playable sound. If you are familiar with the Motif series, each PART is the equivalent power of a complete Motif-series VOICE. Within a PART are the Waveforms responsible for the tone - these are the oscillators - the sound building blocks. An AWM2 PART, for example, can have as many as 8 Waveforms. A Waveform is a collection of as many as 256 samples mapped to the keyboard with note ranges and velocity ranges. A PART can stand alone, or can be combined with other PARTs to build an extremely detailed sound. The more Waveforms available, the more detail and nuance you can add to your sound. When you hear an acoustic guitar sound performed on a Montage utilizing the Motion Control Engine with its expanded articulations and morphing environments versus an acoustic guitar sound that doesn't have access to all of this - the difference is stunning. It's not trivial when you hear it and it is certainly not trivial when you perform it. Being able to control the incredible nuance within the instrument sounds here, is what Motion Control and the MONTAGE expanded architecture is all about.
Parts 1-8 have the option of being placed into a single massive playable entity, where you can split, layer, and assign some portions for real time direct play while others are under control of one of eight arpeggiators. It is when addressing eight Parts simultaneously that the massive Controller Matrix of MONTAGE comes into full play. You will find a wide variety of different types of Performance programs. But one key to understanding the MONTGE is the understanding that these are not simply layered sounds being addressed together (as if you had 8 MIDI modules you were triggering all together), instead each can have a unique relationship to your control. You can bring in certain Elements only when you need to express a specific articulation. Each of the eight Keyboard Control Parts has 32 knob controlled parameters; 8 of which are completely assignable and scalable to your requirements - it is this that is new and expanded in MONTAGE. If you just MIDI'ed 8 synth modules together and used cc074 to control Filter Cutoff, you'd have two options: either all the filters changed together or you could set a Part to ignore cc074. All or nothing at all. Well, on MONTAGE not only does each AWM2 Part have its own 8 Filters, but each one of those 8 filters is individually and directly addressable and controllable. You can assign a different movement, even movement in opposite directions, open some, closing others, customized and controlled with a single gesture (via the Super Knob). This is not like anything you've necessarily encountered before.
The movement of these individual parameters can be ganged or linked to the movement of the Super Knob - called that simply because it can be responsible for such dramatic changes. When sound designing, these Keyboard Controlled PARTs can be used for very unique and highly refined music transitions. On an advanced programming level you can design sounds for any specific purpose. In other words, with one approach of problem solving, you could use two slots of a LIVE SET to transition from one instrument to another, however, with another approach you could merge the two instruments into a single Keyboard Controlled entity where the transition is customized and personal. Each person will need to seek the depth level they wish to dive down to... There are PERFORMANCES where this is demonstrated to great effect - and we'll take a look at some of these.
Typically, if you are using simple Control Change (cc) message everything on the channel must either respond to or ignore the message. MONTAGE uses direct Parameter Change messages which allow you individually customize movement in response to the control message. The PART Assignable Knobs can be directly assigned to specific parameter destinations, even assigned to multiple parameter destinations within the PART, it can be addressed via MIDI using standard cc messages; and it can be linked to the Super Knob. The massive Controller Matrix in MONTAGE is an innovation. When Pan is selected as a Destination, for example, you can send each PART, each Element, under Keyboard Control in a different direction, each with a completely different customized movement curve and amount. Instead of just the 'usual suspects' cc message Destinations, you can select from over 250 parameter Destinations within the synth engine. And the Super Knob and the PART AssignKnobs are all about this deeper multi-dimensional control.
When controlling the MONTAGE via MIDI (from a MIDI sequence or from an external device/controller) you will want to explore assigning your Control Change (cc) message to the specific Assign Knob (cc17-24) each acts as a PART "super knob", in that each can be tasked with controlling multiple parameter destinations simultaneously. MONTAGE offers both types of control; you have dedicated "Quick Access" Knobs for cc5 Portamento, cc10 Pan, cc71 Harmonic Content, cc72 Release Time, cc73 Attack Time, cc74 Brightness, cc75 Decay Time, cc91 RevSend, and cc94 VarSend
Shown below is the MIXING view when a PERFORMANCE contains 8 PARTs under KEYBOARD CONTROL (Kbd Ctrl). The KBD CTRL icon appears for Parts 1-8.
Each Performance slot that contains an AWM2 sampled based Part (equivalent to a Motif XF Voice), can have as many as eight Oscillators, eight Filters, eight filter envelope generators, eight amplitude envelope generators, etc., etc. Or a PART can contain an FM-X Part. The FM-X engine, coincidentally, has eight Operators (more on this in a future article) and its own complete set of controllable parameters.
In the screenshot shown below, a Multi Part KBD CTRL sound occupies PARTS 1 and 2 (green keyboard icon) while PARTS 3 through 16 each have a Single Part sound available for immediate individual selection or available for simultaneous play from a sequencer or via MIDI file/or external controller.
See the Light
Shown below is the [PART CONTROL] button (1) which turns the top two rows of right front panel buttons into "PART SELECT 1-16" buttons.
When [PART CONTROL] is lit, you read the second number - the one after the slash mark.
When [PERFORMANCE CONTROL] is lit you read the first number the one before the slash.
See the dotted lines leading from the [PART CONTROL] to "PART SELECT 1-16"
See the dotted lines from the [PERFORMANCE CONTROL] button to the "PART SELECT" and "PART MUTE" 1/8 buttons.
Pressing PART SELECT [1/1] or [2/2] will play the PARTs under "KBD CTRL" in our example above, pressing any of the others will allow the keyboard to play the single PART assigned to that slot. You can move between these PARTS via the dedicated buttons seamlessly without any sound glitch or loss of continuity. When you select a PART with the right front panel, the left front panel turns into the control panel for the synth PART you just selected. You have access to 24 Quick Access parameters via the three rows of functions labeled TONE (1), EQ/FX (2), ARP/MS (3) ...shown below. And you have the currently selected PART's eight Assignable Knobs, when the [ASSIGN] button (4) is lit; plus you always have access to the Super Knob. (The Super Knob is always active, nothing needs to selected or lit in order for it to function - it functions any time you access it directly or via an FC7 pedal assigned to control it). And yes, all 16 Parts have access to the 24 Quick Access Knobs and have their own 8 Assignable Knobs!
The FADERs work so that any time you have selected a PART numbered 1 through 8, the FADERs automatically correspond to the PARTs, 1-8. And when you select a PART numbered 9 through 16, the FADERS automatically adjust to that range, respectively. The MULTI button works the same way, when lit, you can select 8 side-by-side PAN knobs, 8 side-by-side SENDS to the VARIATION Effect, or 8 side-by-side SENDS to the REVERB Effect. Naturally, the Ribbon, the Assign Switches 1/2, the Motion Control ON/OFF, the Motion Sequence Trigger, the Foot Controllers, the Sustain pedal, the Assignable Foot Switch, the Pitch Bend and the Mod Wheel all immediately apply to the currently selected PART or Keyboard Control PARTS. The lights and the cursor highlight in the screen will always indicate exactly what you can expect from your Controllers. Knowing what they are going to do when you touch them brings a level of comfort to performing - the lights and indicators will get your there.
Assembling your own Multi Part Performances
You must begin to think about MULTI-PART sounds as your "featured" instrument. It is going to be one that can have great detail and expression. It's the one you leave for yourself (as keyboardist) to play in a featured situation.
A single Part AWM2 Performance is the equivalent to a Motif XF VOICE. In fact, all 1352 XF Voice programs are available in MONTAGE as single Part Performances and make up the core of is 1920 factory Presets. A single Part Performance has an instrument sound in slot 1 and then fifteen empty slots. When building your own USER programs each Performance can contain sixteen Parts! at maximum. In a performing situation one way to use this type of PERFORMANCE setup is to place the sounds you are going to use into this one program. Quick and completely seamless access (selection) among these sixteen Part programs is available via the sixteen dedicated direct [PART CONTROL] > PART SELECT buttons.
The PARTs assembled in your own custom User Performances could represent your favorite sixteen "go-to" sounds. By placing them side-by-side in a single recallable Performance, you have seamless transitioning between the Parts by using the [PART CONTROL] PART SELECT 1-16 buttons to directly switch between the active Part. You can hold one Part with the sustain pedal, while you switch and begin playing the new sound while continuing to sustain the original. You can hold one Part by holding the keys, while you switch to another using the sustain pedal on the newly selected Part. When you directly select a Part it becomes the active sound - and your arsenal of controllers immediately control the active Part. Each Part can even be linked to an external device for control (using the ZONE MASTER keyboard settings).
The PARTs assembled in your Performance could represent the instruments you are using to playback a MIDI file or that you are triggering from your favorite DAW computer program. How you use a Performance can be designed by you, for whatever purpose you require.
Full Digital Mixer
On the MIXING screen you can see each of the sixteen PARTS and their communal parameters: Each has a Volume setting (Fader), a PAN position, Dry Level, Sends to the Variation and the Reverb (System) Effects, a 3-Band EQ pre the Insertion Effect block, a 2-Band EQ post the Insertion Effect blocks, the KBD CTRL icon on the first 8 Parts, a SOLO and a MUTE button. If you were to press the [EDIT] button while a PART is selected, you would drop into EDITING the synth sound assigned to this channel/slot - this EDIT area will include access to the Oscillator, the Filters, the envelopes and of course, the Dual Insertion Effect blocks which are, technically speaking, part of the Synth instrument (and is why they do not appear on this mixer view). You can assign physical controllers to manipulate the synth Part and its two assigned Insertion Effects.
Think of the MIXING screen as the band's Mixer (because it is), think of dropping into EDIT as modifying the Synthesizer engine (the instrument) assigned to the current slot.
Each PART in a PERFORMANCE can be a completely unique customized instrument for whatever use. For example, a unique version of your Favorite piano can appear in as many different PERFORMANCES as you deem fit. And the MONTAGE allows you to completely customize it in each use case! Think of the PERFORMANCE as a place to gather your sounds for a specific use. How you organize your data is strictly a personal preference. And can range from the very basic single instrument requirements to very complex setups integrating external devices with multiple internal sounds. The MONTAGE seeks to accommodate the full gamut.
Your PERFORMANCE could represent any combination of different sounds. Perhaps you want to have a PERFORMANCE that features the multi-Part CFX CONCERT piano (KBD CTRL in PARTS 1-4), while PARTs 5-16 are your favorite other twelve "go-to" sounds. You can certainly combine one multi-Part Keyboard Controlled Performance with a series of single Parts. Depending on your needs, you may never have to leave this one PERFORMANCE. Knowing when you need to actually create a new PERFORMANCE is a programming skill you will need to work that out for yourself. But recognize assembling your favorite sounds into one Performance is very doable and represents one of the workflows.
Additionally, some PARTS can be assigned to playback from the PERFORMANCE RECORDER while you use other PARTS to play along with the MIDI data or AUDIO file. This is how this works: Any single PERFORMANCE can be accessed prior to activating the PLAY/REC feature. But you must access the PERFORMANCE prior to playing back or recording - therefore, it makes sense to have a prepared PERFORMANCE for each SONG... use the Load feature "Song&Perf" so that your sixteen PARTS are in place before starting playback. (That is how this works). We'll look at some examples of this, as well.
An understanding of the construction of Performances will help you decide on how best to transition between sounds that you need to access. There are going to be times on-stage when you need to smoothly transition between instrument sounds. There are other times when you have plenty of time to move between instrument sounds. Don't talk yourself into the corner where you think you need both hands on the keyboard at all times! This is a synthesizer, "playing" the front panel is part of what playing a synthesizer is all about... Knowing that there are times when you can actually work the front panel can help you plan out your Performances and plan out how you'll list them in your "Live Set". You may need just one slot for the whole gig, you may need scores of slots for the first set. The mileage here will vary dramatically, user-to-user. However, knowing the power of a single Performance can serve both types of user. Efficient use of the available program resources can save you lots of time and effort.
Seamless Sound Switching, [PART SELECT] Transitions, and Synth Programming
SSS works between large Multi (8) Part Performances. But also know you can switch seamlessly between single Parts in a Performance via the [PART SELECT] buttons. And for those of you who program, you can create a sound that morphs between Elements/Operators, morphs between PARTs and does exactly what you need for the specific transition you require. Knowing which will work for you will be important.
SSS is specifically for overhanging one sound (hold/sustain) while you switch to a new sound and begin playing it without cutting off the first sound. Knowing how to use this is a skill worth a few minutes time to master. This can be done via the screen, buttons or even with a foot switch.
Part Select transitions are handled strictly by the front panel buttons and allows you to instantly play the newly selected Part, while you can still hold/sustain the previous PART. These [PART SELECT] buttons are the fastest way to transition between two factory Preset sounds. There will be no hesitation or sonic glitch whatever using the select buttons. press the [PART CONTROL] function to switch the top two rows of buttons to direct PART SELECT 1-16 buttons.
Synth Programming the MONTAGE has the ability to transition sounds simply in the programming. In fact, many of the factory Presets show this off to great affect, the Choir-to-Choir/Strings-to Choir/Strings/Pipe Organ is pretty dramatic. You can have one sound morph into another, morph in to many (ensemble), or smoothly switch using the Motion Control Engine to morph sounds and/or the innovative XA Control (Expanded Articulation Control) which was designed to be musically invisible when transitioning Elements.
The LIVE SET Function
Placing a Performance into the USER LIVE SET could not be easier:
Call up the PERFORMANCE you would like to include in your USER LIVE SET
Press [SHIFT] + [LIVE SET] to "Register" the current Performance in the lowest available empty space in the USER Live Set area.
You will see a white highlight flashing around the Live Set slot. Touch the slot you wish to place this PERFORMANCE.
Each slot can be used to call up: a single Part Performance; a multi Part Performance; a Performance associated with a MIDI or AUDIO file you are going to play along with; a Performance that is set up for an external device (like a laptop or tablet) to play; or, any combination of things you have put together. There is no one way to use these tools - so we encourage you to be creative.
LIVE SET Examples
Creating your own Live Set could not be easier.
Recall the Performance you wish to assign
Hold [SHIFT] + [LIVE SET] (Register) to register the current Performance to the first empty location in the User Live Set
A box will outline (highlight) in white the location
Touch that box or the location you wish to place this Performance.
What is it? A LIVE SET can be used to organize your sounds for performing on stage. Each time you increment to a new Live Set slot you are recalling (repatching) Insertion Effects for the variousParts, scores of oscillators, filters, amplifiers, envelope generators, etc. Each slot can be a whole set's worth of sounds, or it could be just a single setup among several others for a single composition. That's going to be up to you. Once you recall a "slot", you may wish to interact with your front panel to control your various sounds. Don't be afraid to use your front panel while on stage: you are not locked into looking at that 'set list' grid view if you'd prefer to "play/interact" with the synth engine. Motion Control is all about having access to the parameters you need, exactly when you need them.
If your LIVE SET slot contains a PERFORMANCE with 8 or less PARTS, it can utilize SSS (Seamless Sound Switching) which allows you to hold one sound while silently switching to another. For example, holding the last chord of one section of music while switching to another sound. If, however, your PERFORMANCE contains more than 8 PARTS, there will be a slight pause while a new PERFORMANCE is recalled. This should not be a problem once you understand how to prepare your data for on-stage access. Simply prepare for the situations where you need to transition rapidly. Part of the concept of Motion Control is transitioning sounds - prepare by learning to merge instruments so they "perform" as you musically require. MONTAGE is a synth!
The grid of sixteen slots of the Live Set screen are duplicated on the right front panel of lighted buttons, so that you have the sixteen slots of the current PAGE and access to sixteen PAGES of LIVE SETS.
NEW CONCEPTS: Looking at the LIVE SET gird screen, or not
Leaving the LIVE SET screen grid maybe a scary prospect, at first, but your LIVE SET is just a user created, custom list, laid out in the order you find convenient to access the programs. The MONTAGE display does not have to be on that LIVE SET screen grid to follow your listing. You can use a momentary Foot Switch to advance through your LIVE SET's programs, in the listed order, even while you are looking at the PERFORMANCE (HOME) screen or any other screen. You do not have to be viewing the LIVE SET grid of 16 slots to be using your LIVE SET. In fact, you may prefer not to view it (unless you've forgotten what's coming up next).
Recall the Preset LIVE SET: "Best of MONTAGE 1"
Connect an FC5 (momentary) Foot Switch to the Assignable Foot Switch jack
[UTILITY] > "Settings" > "MIDI I/O" > set the FS ASSIGN = Live Set+
Press [EXIT] to return to the LIVE SET screen.
With a Yamaha FC5 plugged into the Assignable Foot Switch jack, (FS = Live Set+) a simple press will advance to the next item in your programmed list. You will find this very handy, because you will unlikely want to have access to your full front panel and screen to view your assigned parameters. Activate the [PERFORMANCE CONTROL] which allows you to interact with your currently selected sound, turning the Faders into "drawbars", or selecting a set of pre-assigned functions for the eight AsgnKnobs for the Part you select to play/feature. You'll want to have access to the [PART SELECT] function while on stage so you can move like a gazelle between the sounds you need, when you need them.
You may already know that the FS will advance you through these 16 programs with each press. But here's the "did you know?" moment: start by selecting "CFX + FM EP", in the upper left corner of the LIVE SET grid; Press [PERFORMANCE (Home)] button to navigate so you are looking at the Performance (Home) screen of "CFX + FM EP". Step on the FS to advance to "Wax and Wane" > step again to advance to "Pearly Gates" and so on. You do not have to be looking at the "Live Set" grid, the pedal advances you through the most recently accessed Live Set, in the order you listed them. Continue advancing through the list one by one. The pedal will advance you through the currently active LIVE SET list even without the grid screen showing. You don't need to see the grid unless you've forgotten what's coming next. Returning to the LIVE SET view, by pressing [LIVE SET], resets the list to the top.
The USER LIVE SETS: You have eight BANKs containing USER 1-8. Each of the eight BANKs has 16 PAGES. You can organize your data as you see fit. Each BANK could represent a different band, if you happen to play in multiple situations. LIVE SETS are stored in their own MONTAGE Folder. LIVE SETS can be placed in your Read Only Memory (LIBRARY) for access. LIVE SETs can be recalled from the DATA UTILITY > LIVE SET folder and returned to current USER memory.
Each user will have to figure the most efficient way to utilize and manage your LIVE SETS. If you play in a situation where you are constantly changing and altering your set list order, you may require an external solution. The MONTAGE's current system does not have an "insert" function where subsequent assignments are pushed back, nor a "delete" function where assignments close rank, therefore, you will need to rely on an external application to assist you in instant realignment of programs. Since MONTAGE Performances are small bulk data packets, such an external application is not impossible, in the future.
Download Examples (see very bottom of the article: "LiveSet Examples.zip")
Warning: Please make a backup USER file of your work before loading the download example file. The example file will overwrite your internal User memory. If you make a backup you can restore your User setup after learning from the tutorial.
Let's look at the download examples of some typical "LIVE SETS" _ USER 1, PAGE 1
The purpose of these programs is to serve as examples of the different TYPES of Performances and how you might use them on a gig... We will highlight some of the entries and explain their particular use.
"My CFX Concert"
Press [LIVE SET] - select slot 1: "My CFX Concert" and go to its Home screen.
Here we have a multi Part, single instrument Performance. The "CFX Concert" in its full 4-Part, multi Element glory, is here, by itself, for when I need a solo piano, with lots of nuance. I don't use this piano when I'm in with other instruments, because much of what it does extremely well is in the soft and medium strike ranges. I use this particular program when an acoustic piano sound is used as a solo instrument (a rubato introduction, for example, before the rest of the band comes in). The acoustic piano I use in heavily instrumented compositions is typically a bit brighter and setup to cut through the mix of other instruments. I use this big multi Part acoustic piano for solo use or accompanying a vocalist or in small jazz trio ensembles where (frankly) the nuance can be heard and appreciated. And "Featured"!
In slot 2 of this LIVE SET is a Performance made up of Single Part programs. It contains my sixteen favorite "go-to" sounds so I can cover a wide variety of standard gigs with just this one PERFORMANCE slot.
Touch slot 2 to recall "Favorites" and then go to its Home screen... Or if you are using the FS for advancing through "Live Set+" simply advance to the Home screen.
My edited version of the Single Part "CFX PopStudioGrand". This piano is designed to be the Single PART CFX! It is initially selected to play when the PERFORMANCE is recalled (KBD CTRL is active), but I designed this to be played by accessing each of the sixteen PARTs, separately, using the [PART CONTROL] > [PART SELECT] 1-16 buttons.
When a PERFORMANCE has active PARTS in the 9-16 area, you will see a icon in the upper right corner of the screen indicating that "9......16" has potentially active PARTS available.
Press [PART CONTROL]
This turns the top two rows of numbered buttons into Part Select - buttons.
Press a PART SELECT button to instantly be in communication with that Part.
_ Try switching between Parts using these two rows of buttons, while [PART CONTROL] is lit. Notice how this is a glitch-free method to move between your favorite single Part programs. Selecting via the front panel buttons is changing the transmit channels so we are accessing a different individual channel and our controllers switch with us. As you access a Part the controller's functions switch with you. You can however, hold the sustain pedal on one PART, move to a new PART and play. Or you can hold the keys of one PART, move to a new PART and play using the sustain pedal on the new PART.
_ Try switching the Faders from controlling Part Volume 1-8, or 9-16, to controlling Element/Operator Volume. Once you've selected a Part via [PART CONTROL], press the [PERFORMANCE CONTROL] button, the FADERs now work to "perform" and "control" the selected PART - and give you Element/Operator Level control.
[PART CONTROL] each FADER controls a Part Volume 1-8 or 9-16
[PERFORMANCE CONTROL] gives FADERs access to the individual Element/Operator levels 1-8
New with version 1.20.x is the ability to store, on a per Performance basis, whether "Performance Control", "Part Control", or "Element/Operator Control" is initially selected. This means you can have the Faders set as "virtual drawbars" when you first recall a B3 sound.
From the HOME screen: touch "Motion Control" > "Overview" > select CONTROL FUNCTION you want initially available, then [STORE] your Performance.
Theory of this 'LIVE SET' Use: Here I have assembled a solid "bread and butter" set of sounds with which I could do a standard gig. If ever you have some one come up and sit in, without having to baby-sit them, you could place them in this single Performance and they have everything they need, easily accessible via the [PART SELECT] 1-16 buttons and the 24 quick access plus 8 Assign Knob parameters and the physical controls (MW, PB, RB, FC1/2, AsSw1/2, etc.).
Acoustic piano: I've edited the CFX data to suit my needs. I built this from the "CFX PopStudio Grand" a Single Part version of the "CFX Concert". The multi Part "CFX Concert" makes use of its 18 Element construction with extensive detail on the soft and medium strikes, using this on a hard thumping number where you don't play anything under a velocity of 100 would be a waste. I tweaked the Single Part CFX to cut through a band. I use the "CFX Concert" for solo piano work.
Strings: These Single Part Strings have a hidden feature: This is based on the "St Ensemble K" which has the orchestrral brass on the Super Knob, and an orchestral bell tone in the upper octaves... All in a single Part, showing the full power of a single Montage component. Notice moving the Super Knob moves only one linked parameter. The "MediumLargeSection" was chosen, again, because of its flexibility: the A.Sw1 changes the articulation from arco (bowed) to pizzacato (plucked).
Electric Piano: Rhodes style, "Dyno Chorus MW", complete with L/R movement and Phaser. I also included the FM-X Wurli, "FM Wr 1" because of its uniquely playable character.
Jazz organ: two B3s. I lean on the Jazz oriented side, so my "drawbar" B3 has Element 1 sounding the first four 8-8-8-8 full out as a solid jazz foundation, followed by an Element (Fader) each for 2 2/3', 2', 1 3/5', 1 1/3', 1', a noise Element and a Percussion Element, gives me strong basis for the Jazz organs I use. The second is straight up a "Jimmy Smith" jazz organ, "The Jazz Organ", which is just fine with me. James Oscar Smith (Jimmy) for those who may not know, was the founding father of B3 popularity in the world... Legend has it he locked himself in a shed for a year and emerged the beast of the B3.
This one Performance has guitars (acoustic and electric), strings, brass, synth brass, synth lead, a well rounded basic gig set. You, of course, will select your own favorites and begin to make your own collections.
When assembling your sounds into custom Performances, like this, you can begin to customize the AssignKnobs on a per Part basis, linking those Part Assign Knob parameters and/or if you wish, with the Super Knob. When you create a new Performance by merging or adding existing programs, the PART level controller assignments are brought along, automatically, but you must establish new relationships between your newly added PARTs and this Performance's SuperKnob. A Part, quite naturally, does not bring along its Super Knob relationship when added to a new Performance - the COMMON parameters of this Performance need to be established. But the good news, for each individual Part, 1-16, you can establish a unique relationship with Super Knob control. And you don't have to guess what an individual Part AssignKnob is controlling because you can give it a custom 'Display Name' or you can simply "get" the parameter name. This assignment will appear above the Knob in the screen when you select the Part.
As you get to know your favorite sounds, you can begin to customize exactly which performing parameters you want to have realtime direct AssignKnob access to and which ones should be ganged together on the Super Knob's movement. Take your time.
Take a look at the tweaks made to PARTs listed here, when you select a PART, for example, you can see what your AssignKnobs are doing. You can customize the knobs so you have access to any parameters you feel you want direct access to when playing this sound.
In this example, each of the sixteen instruments is a Single Part and has an equal weight. A Part plays/sounds only when selected directly. Once selected, the front panel can be used to interact with that sound. Because all Parts are equal, only one of them is activated when you first access this Performance or you press the upper [COMMON] button. Typically, a KBD CTRL icon is lit to designate the sound set to be played when Performance Common is selected. You can use the KBD CTRL icon to quickly layer a couple of sounds, if you desire. Once you are familiar with operations you can quickly create split and layers without leaving the Home screen! Positions of the PARTs can be EXCHANGED using an option of the "Copy" feature. ([SHIFT] + [EDIT])
Return to LIVE SET - select slot 3 "MovieScore" and go to its Home screen or advance using LiveSet+
Here we have a MONTAGE "merged" combination built up from an Orchestral Brass Swell, a String Orchestra and a ranged Timpani sound. Dynamic use of the FC7 controlling Super Knob brings your best John Williams themes to dramatic life. Here we are, again, using KBD CTRL to address multiple Parts. If I need this type of thing for a particular theatrical introduction or interlude, I can use Performance slots 6-16 for holding convenient "go-to" Single sounds for what follows. This way I can easily switch between the big theatrical score setup and any individual instrument(s) I require immediately. In Parts 9-16, for individual use, I have "go-to" bread and butter sounds. Again [PART CONTROL] gives me quick access to individual Parts 9-16.
Notes: This Performance was created initially by using the Performance "Merge" function, (+) adding Parts to an existing Multi Part program ("Orch Brass Swell") to create a new customized instrument, in this case one that morphs strings, brass and dramatic timpani effects based on velocity and Super Knob control. This sort of "merge" programming, covered in depth in Tony "Tones" Escueta's video spot, is a type of transitioning that is keyboard oriented and extremely musical, from a performing point of view. You can customize the selection of sounds to suit your personal musical needs. This represents a type of musical instrument merging that can be accomplished within Montage.
When a PERFORMANCE has active PARTS in the 9-16 area, you will see an icon in the upper right corner of the screen indicating that Parts "9.......16" have potentially active PARTS available. I've elected to add eight Single Part programs to slots 9-16 - sound related to the Movie Score - sounds I need to switch to immediately during this recording session.
When viewing PARTs 9-16 (shown below), you can see the icon in the upper right corner indicates that specifically PARTs 1-5 are occupied back on the first view: Below [PART SELECT 9] has been pressed (cursor highlight indicates this).
Theory of use: By building this merged multi Part Performance up from the Orchestra Brass Swell Performance, we are using the Super Knob programming (links between the Brass Ensemble Parts and the Super Knob) in the original configuration. We must add links to the Super Knob movement for our newly added Parts, if desired. Remember, when you "merge" a new Part into an existing program, only the "Part" edit assignments are brought along, the upper "Common" level (Super Knob assignement) settings are not brought along. The Common level settings of its new home now apply. The new location for the Part in this new Performance, means a new relationship with the Super Knob (upper level) programming. When you merge a Part into an existing Performance make new associations with the Super Knob on a per Part basis. A maximum of sixteen Source/Destination Control sets exist for the upper level links.
The take away here is that a PERFORMANCE can be combination of a MULTI PART construction (like the MovieScore: String/Brass/Timpani) using Super Knob multiple morphing parameters and individual sounds that can be used in the same composition. One MULTI Performance can occupy a PERFORMANCE, the other slots are always available for whatever individual PARTs you might need to switch to within the context of the current composition. The MULTI PART (KBD CTRL) sounds are interactive and linked such that selecting any one of them selects them all, likewise, selecting [COMMON] selects them all.
Here a PERFORMANCE is setup with an acoustic bass for (uninterrupted) left hand walking, and uses the SCENE buttons to switch right hand sounds: Acoustic piano, Electric Piano, Vibraphone, and Jazz Guitar. Scenes are instantaneously recallable conditions. Here we are using it to switch right hand sounds. Part 1 is the left hand bass and the right hand sound is changed in each of the blue SCENE buttons. This is a perfect use for Scene buttons because, presumably you are "walking the bass" with your left hand and need to swap the right hand lead sound while maintaining the walking bass... This is not "seamless transitioning", this is a 'switch', the bass remains sounding, while you change to the next right hand sound.
Viewing and editing the stored values in any SCENE can be done by touching "Scene" in the left column of the Home screen. This will drop you into an area where you can view and edit what is assigned to each Scene 1-8
The SCENEs 1-8 are along the top of the screen. Activating a Scene initially is as simple as holding [SHIFT] + [SCENE x] where 'x' is a Scene number 1-8 (Blue button). Once active the MEMORY will show ON. Scenes can be used to instantly recall these select parameters.
To better understand SCENE memory switches, think of light or motion pictures. When a scene change takes place in a movie, the directory can elect to morph one into another by fading out and fading in, the director can even overlap scenes do the trees in forest intermingle, momentarily with the skyscrapers of the city scene. Or the director can simply switch from one still frame to a completely different still frame with an entirely different scene. A Scene change in the theatre is accomplished most often with a discernable pause, because all elements might need to change or at least enough things change to warrant a fresh set.
It is only one weapon in the arsenal of recall/automation tools available. It is not sonically seamless, it's a switch, not a dimmer or crossfader, it's designed for those types of changes that a switch would work. In music, the more typical use is this method of switching instruments, after all, the sax player actually must put the instrument down before switching to the flute. The smooth overlapping of 'strings' into a piano riff, is accomplished in this engine with other functions (morphing, XA Control, SSS, Part Select) that support the continuity of the sounds involved.
(Credit: Phil Clendeninn)
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