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  1. Aldo
  2. Sherlock Holmes
  3. MONTAGE
  4. Friday, 12 July 2019
Hi to everybody,

I'm a new montage users, and I would like to learn a little better how it works with the use of an external MIDI sequencer

I read the article MASTERING MONTAGE: MIDI rec on Daw and I watched the video on YT as well
but I have few questions to better understand the complete process

As far as I understood, on montage I have to select PERFORMANCE, INIT and then select MULTI/GM
With this operation I create a template of 16 channels/tracks

Question 1: when I select a sound (performance) using a single part it's easy to understand that I can assign up to 16 different sound, but what I have to to when I want to use Seattle section (7sounds) and other 9 single parts or any other combination of sounds that uses more than one part?

Question 2: montage is capable to keep the insert FX on each sound, fantastic, but I assume that the system FX must be shared between parts, how I can manage this?

Question 3: after that I complete the assignment of the different sounds,FX and so on, do I have to save it as a USER PERFORMANCE?


Thank you very much for your help

Aldo
Responses (5)
Accepted Answer Pending Moderation
Question 1: when I select a sound (performance) using a single part it's easy to understand that I can assign up to 16 different sound, but what I have to to when I want to use Seattle section (7sounds) and other 9 single parts or any other combination of sounds that uses more than one part?


Send the same MIDI note on/off messages to each PART of the multi-PART instruments (such as Seattle Sections).

Question 2: montage is capable to keep the insert FX on each sound, fantastic, but I assume that the system FX must be shared between parts, how I can manage this?


Understanding that system FX are shared between each PART - manage them how you think is best. Can't really answer this for you.

Options:

1) Turn off system effects completely (no PART adds system effects)
2) Turn system effects only on one PART and not others ("binary" on/off)
3) Adjust relative levels of each PART individually - some PARTs receiving more or less of the system effects (variation and/or reverb) according to taste

You can "visualize" shared effects as effects that would, in a real-world setting, apply to all instruments of a recording. Things like the room - which includes reverb. All instruments recorded in the same room would receive the same reverb settings assuming you use reverb to simulate room reflections.
  1. more than a month ago
  2. MONTAGE
  3. # 1
Accepted Answer Pending Moderation
Thanks a lot for the answer, any suggestion about Q3? How can keep all my setting when I turn montage off? I do save it as a new user performance?
  1. more than a month ago
  2. MONTAGE
  3. # 2
Accepted Answer Pending Moderation
Saving your settings as a user Performance would retain your changes. Montage Connect will also save settings.
  1. more than a month ago
  2. MONTAGE
  3. # 3
Accepted Answer Pending Moderation
Question 1: when I select a sound (performance) using a single part it's easy to understand that I can assign up to 16 different sound, but what I have to to when I want to use Seattle section (7sounds) and other 9 single parts or any other combination of sounds that uses more than one part?
This is an important thing to understand about approaching using the Performance Recorder... there are several ways to approach using it. Single Parts, as you mention, are easy to understand, because each Part is on a different MIDI Channel and everything aligns automatically.

Multi Part Recording is slightly different because instead of stacking the the 7 Parts of the “Seattle Sections” on the same MIDI Channel (as was done in previous models) so that the keyboard which only transmitted on one channel could trigger them all at the same time... here you actually use the KBD CTRL icon to “link” the multiple Parts so that you can transmit to each of them, simultaneously.

The paradigm change here is that you can actually transmit simultaneously on as many as eight channels. Therefore, setting up the Performance is an important part of determining what gets recorded by the Performance Recorder. If you activate the green KBD CTRL icon on several Parts and then select them for real time play, these determine what tracks go into record and what gets documented as new data.

_ In any Performance you can have KBD CTRL Parts and non-KBD CTRL Parts.
_ The linked KBD CTRL Parts must exist in Parts 1-8 while you are recording to the Performance Recorder...

say you wanted to record the 7-Part “Seattle Sections” Strings — yet use Parts 8-16 for Single Part instruments, you certainly can. Build your custom Performance by starting with “Seattle Sections” and “+” add new Parts by “merging” them to this Performance starting at Part 8. Leave this newly added Parts with KBD CTRL inactive.... this means to hear/play/record them you must *select* them directly... as individual instruments (which we know is easy to understand).

If you place the cursor in a “Common” area (that is, at “Home”, or if you have selected any one of the KBD CTRL linked Parts) you will play and hear the “Seattle Sections”. If, however, you *select* a non-KBD CTRL Part you will be able to play/hear just that Part. This is exactly how the Record feature works... if you play the keys - what you hear is what is ready to be recorded.

Question 2: montage is capable to keep the insert FX on each sound, fantastic, but I assume that the system FX must be shared between parts, how I can manage this?
You manage this by recognizing how common this is in the real world. The System Effects are those used to recreate the current acoustical environment that the members of your musical ensemble are currently performing in. Each Part has a Send into the Reverb and Variation Effects, the same way each channel of a band’s mixer would have a Send amount into the Auxiliary Effects... One recreates the reflections of the room, the other for Time Delay Type Effects... both basic spatial orientation.

What you want to do from a synthesis standpoint is pay close attention to the “Control” > “Control Assign” settings for your starting Instrument sound... in the example, starting with “Seattle Sections” means your band members (the Parts you “+” Merge to this Performance will need to Enter the room (acoustic) with the string section. As you add (‘merge’) new Parts pay close attention to how/where they sit with the room designed for the String section... do not be afraid to make changes to accommodate your new band members. The Super Knob is actively morphing the 1st Violins, 2nd Violins, Violas, Cellos, and ContraBasses (Parts 1-5) with a solo Violin/Viola/Cello in Part 7... that is done on the upper COMMON level of this Performance. As you can anticipate, you must pay attention to what affect that will have on any new instruments you add to the Performance.

It is on the upper Common level of the Performance architecture that you will need to make these adjustments. The Control Assignments on this upper level are unique to this program. In other words, when you “+” Add a new Part to Seattle Sections, while it brings along its own Insertion Effects and Part Control Assignments, none of the upper level Common Assignments are activated, automatically. You must review and decide on each upper level assignment in this newly customized Performance. You must determine what, if anything, happens with the Common Assign and Super Knobs for each Part you “merge” to the “Seattle Sections”

Say you add (merge) an instrument to Part 8... while its Part Assign Knob settings will all be brought along and activated automatically, any relationship it had with the upper Common Assign and Super Knobs of its previous Home location are not activated, initially. They remain in the Edit Buffer.... awaiting your review/activation. Basically, you must determine if you have resources remaining to make the assignment and, more importantly, whether they make sense in this new context.

Question 3: after that I complete the assignment of the different sounds,FX and so on, do I have to save it as a USER PERFORMANCE?
You do not have to... but it is highly recommended, especially if you want to return to this configuration in the future. We recommend you give it a unique name and Store it to your USER bank... or capture it with MONTAGE CONNECT.

Anytime you put time and effort into programming something it is a good idea to press [STORE]. You are given an opportunity to NAME your creation and if you started with a Factory Preset, you will be offered a chance to “Store as New Performance”... or if you started with a User Performance you can either update the current Performance or write an entire new Performance.

Thanks for the question. It includes some important concepts. Please see the articles on Performance Basics for details on Performances that include both a Multi Part configuration and several individually accessible single Parts. Not only useful “live” but when setting up to record.

Extra Credit
The USER Bank can hold 640 Performances. When you go to [UTILITY] > “Contents” > “Data Utility” > tap the Performance Folder... it will show you what’s in your current User Bank and show you the count out of 640 (upper right corner) “x/640”. This Contents Folder is where you can manage your current User Bank Data.

Part of your workflow with MONTAGE may include transfer of data recorded in the Performance Recorder to your favorite DAW. This is facilitated through MONTAGE CONNECT (all data recorded as MIDI to the Performance Recorder is automatically stored to the “Contents” > “Data Utility” > Song Folder, MONTAGE CONNECT has direct access to that Folder via a USB connection; Additionally you can export it as a .mid File to a USB stick.
  1. more than a month ago
  2. MONTAGE
  3. # 4
Accepted Answer Pending Moderation
Thanks a lot to both of you for the reply
  1. more than a month ago
  2. MONTAGE
  3. # 5
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