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MONTAGifying MOTIF: “Smooth Guitar”

Written by Bad Mister on May 16, 2018. Posted in MONTAGE.

MONTAGifying the Motif XF Performance Smooth Guitar

PART 1: Power Standard Kit 2
PART 2: Velo Bass
PART 3: Analog Sweep
PART 4: Arched Top

This Performance features Drums and Bass under arpeggio control, an analog sweep pad sound that will outline your left-hand chords, while you play lead with a right-hand Arched Top Jazz Guitar. Typically, the root of your left hand chord will define the root for the bass-line, however, there are some hidden (“Easter Eggs”) chord recognition tricks to be found.

We will use this PERFORMANCE to learn about some of the options you have for customization. Again whether or not this type of groove is your thing, we invite you to follow along and find out about the concepts being discussed. Then you can apply them to whatever type of music you are putting together.

Initially, play with this Performance as is, follow along with this article and on the second time through seek to make your own choices and use what you have learned to customize the data you select.

To start: Please adjust the TEMPO. This is one of the first things you may want to try when recalling a PERFORMANCE. Listening to it at a different tempo can generate new ideas – same as starting in a different key from those to which you normally gravitate can force you to begin with a different approach. Besides we are looking for inspiration – challenge yourself. I’ve slowed the tempo to 105. This will let us better get a feel for this basic 16th note groove.

To adjust the tempo: Simply touch the TEMPO setting on the top line of the screen and use the DATA DIAL to dial the Tempo down to 105.
Alternate Method: Press [UTILITY] > “Tempo Settings”.
Press [EXIT] to return to the PERFORMANCE.

This time we’ll take a look at just how much we can manipulate what is on offer. The Analog Sweep (pad) in PART 3 (C-2 through B2) will need to be played (voiced) so that the bass line can be determined. The Bass will typically look at the root note of the chord (not necessarily the lowest note, but it can determine the root of most major, minor, dominant, diminished, and augmented chord voicings).

We’ll start our exploration with the Drums. We want to point out the conservative Volume settings for the four PARTS: 62-51-63 and 86, respectively. This is done purposefully so you can add instruments and play a lead on top without struggling to be heard. Sound level, like most things will when combined, add up; the more sounds playing at once, the more the total level. If you fill the entire dynamic range with just one instrument, you’ll have no room to add others to the mix.

Play a chord in the region below middle “C” and get the Drums and Bass going. The idea here is to use the left hand area to construct chord changes for the right hand lead.

Let’s MUTE the Bass. You can do so by touching the [PART MUTE 2] button (row 2) right front panel. It’s light will dim indicating it is currently muted: the MUTE icon appears on PART 2 in the screen.

• Raise the first FADER so that the Drums are set to about 90.

About FADER movement: The Faders will need to be moved so that they “hook” the red light marker that indicates the actual current setting (62). Because the FADERS are not motorized, they may not initially reflect the current value. It is necessary to move the FADER so that it “hooks” (engages) the stored value (62), and once it does, the FADER is then “live” from that moment on. If the Fader is all the way down, you will need to move it up through the setting of “62” before it becomes “live”; if the Fader is all the way up, you will need to move it down through “62” before the Fader becomes “live”.

PART 1: Power Standard Kit 2
• Press [PART SELECT 1]
By pressing the PART SELECT button, the FADERS now become Element Levels for 8 drum Elements. The Drum Kits in MONTAGE have 73 Elements but the Faders here will control the following 8 Keys, which are the principal Drums in a typical Drum Kit:
– BD = C1
– SD = D1
– HH Close = F#1 (Closed)
– HH Pedal = G#1 (Pedal)
– HH Open = A#1 (Open)
– Low Tom = A1
– Hi Tom = D2
– Crash = C#2

Shown above is the HOME (View) screen with PART 1 selected… You can see the DRUM KEY LEVELs of the Key Mapped Drums. (You can toggle the HOME view between viewing the KNOBS and this screen).

Extra Credit: This drum key mapping information can come in handy, particularly, if you are creating your own drum grooves for MONTAGE Arpeggios. For example, there are usually drum creation tools in most DAWs, when opting to create your own data you may want to use this basic Key Map for your created data. (We should mention that not all Drum Arps use this Map). If you use your DAW to create your Drum grooves, you can export them as .MID files to a USB Stick and then load them to the MONTAGE SONG area. You can convert these from the MONTAGE Song quickly to USER ARPEGGIOS which can then be selected as Arpeggios for your own PERFORMANCEs. By using these Drum Key assignments, you will be able to use the PART Element FADERS to control the principal drums sounds. (This just adds another bit of real time control and while it is not all 73 Drums it does represent the core of the Drum Kit). Each Drum can be individually set as to its volume within the EDIT architecture, but having the principal drums conveniently setup on Faders can be very helpful when mixing In “Live” situations.

Hint: when generating your own Drum data recognizing that you can adjust (via offset) the Velocity of the Phrase can help you build more convincing and flexible drum grooves.

While not all Drum Arps in the MONTAGE use the principal Key mapping, you can make use of it in data that you create yourself. When Editing Drum PARTS you can put any Drum sound on any KEY. You can easily EXCHANGE KEY assignments within a Drum Kit, even between Kits. Any Drum can be assigned to any KEY. But the KEY MAP for the Fader uses those listed above.

MIX
ARP 1 (associated with SCENE 1) has BD, SD, HH Close and HH Open. Using the FADERs (1, 2, 3 and 5), create a mix for these four sounds. Move the FADERS so that you have all of them “live” – set them at minimum, then start to set a mix.

I suggest starting with the HH Close and HH Open. Set these so that you can hear them, then bring in the Kick (BD) and Snare (SD) to create a balanced drum groove. Try to avoid the situation where you have everything at maximum. You want to ensure that the Hihats can be heard. The idea is to mix – to leave room for accents.

In other words, if all your snare drum and kick drum hits are at maximum (127) you will not be able to create an accented hit. But if you get the listener accustomed to a lower volume level, the accent can still have its desired effect: “to surprise” the listener with a sudden burst of engery. If everything is max at all time you leave no room for dynamics.

In general, a good rule of thumb is to leave room – because the level of your entire mix is cumulative. Don’t use the entire dynamic range for your drums.

We want to call your attention to the upper [COMMON] button:
• Press [COMMON] – The green LED “PART 1-8” located just to the left of the FADERS, lights – the FADERS revert to PART Volumes. FADER 1 will now control the entire Drum Kit, as PART 1
• Press [PART SELECT 1] just to the right of the upper COMMON button and the FADERS now become the 8 select principal Drums of the Kit. The green LED next to “ELEMENT/OPERATOR” lights.

Get used to the fact that you can easily adjust the volume of the overall Kit by simply pressing [COMMON], and then you can drop in and edit the individual Elements of the Drum Kit when you select the PART ([PART SELECT]).

With PART 1 selected, Press the KNOB FUNCTION button for the “ARP/MS” row. The screen will show the “PART 1 Arp/MS” Assign Knobs: Swing, Unit, Gate Time, Velocity, (which affect the Arpeggios) and Amplitude, Shape, Smooth, Random (which affect the Motion sequences).

The first four parameters directly affect the currently playing ARPEGGIO. With KNOB 4 (Velocity) you can lower and raise the Velocity – 100% is normal – meaning it will playback exactly what was recorded. Velocity is different from Volume (although related). Changing just the Volume level will not change the sample that is being accessed, however, changing the Velocity certainly will – particularly if the samples are set to particular Velocity ranges. You will observe immediately different snare drums can be heard at different velocities. There are actually five different Snare Drum samples in the Waveform assigned to Note “D1”: “Sd PowerB 1-5St”. Increasing the Velocity from 100% to 101% is enough to switch the arp phrase from accessing a different Snare (which has a more pronounced ‘snap’). This Velocity is affecting all Drum data so you will also observe changes in the Hihats, as well. Depending on the Drum Kit there will be different Velocity mapping within the Kit.

Swing – in order to make MIDI data ‘swing’ we need to understand how it goes about documenting NOTE data. In general, a MIDI sequencer may have a resolution of, for example, 480 pulses per quarter note. This means it divides each quarter note into 480 equal parts. Each note you play must land on one of these 480 note-timing locations. Swing is about how it divides the timing of the data. Let’s use either eighth note swing and sixteenth note swing as examples. We know that a quarter note (480) is made up of two eighth notes (240+240) – in strict timing, each is given 50% of the time value. In making something swing you would give more of the % time to the first segment and shorten the time allowed for the second segment. For eighth note swing the “and” (upbeat) would be delayed slightly – and a sixteenth note swing would delay the even numbered 16ths. The tempo remains the same but the timing stress is shifted. As musicians we count 4/4 time as follows:

Counting as quarter notes: 1 2 3 4
Counting as eight notes: 1 + 2 + 3 + 4 +
Counting as sixteenth notes: 1 e + a 2 e + a 3 e + a 4 e + a

Swing 16th would delay the “e” and the “a”. When we say “delay”, we are talking about how instead of the Hihat Closed landing on clock pulses 120 pulses apart:
Beat 1: Clock 000
Beat 1: Clock 120
Beat 1: Clock 240
Beat 1: Clock 360

It would shift the even numbered steps late:
Beat 1: Clock 000
Beat 1: Clock 139
Beat 1: Clock 240
Beat 1: Clock 379

The number of clock ticks is less important than how it “feels” – how it sounds to your ears, how it literally feels musically.

We can think of this by imagining an individual walking walking in time. Straight time is like a march – equal value and weight given to both the left foot and the right foot – you are marching. Swing time is more like a “cool walk” – where the first step is elongated and the second is shortened. You are still walking at tempo, still covering the same distance, but one has a dip-in-the-hip, a bit of glide-in-the-stride… that’s Swing: the law of falling behind and catching up. It can be described in many ways, but it really comes down to when it “feels right, it is right”.

Unit – The term is short for “Unit Multiply” – and deals with how the Arpeggio phrase will Reference the tempo. 100% means the phrase will play normally – a setting of 50% means the phrase will play using half the allotted time (double time); and, a setting of 200% means the phrase will take twice as long to play through (cut time). You can offset an ARP Phrase to turn this around and give it an entirely different feel.

Gate Time – The term “gate” refers to a device that is on when open and off when closed. And refers to the duration of Note data. Most Drum Elements are set to NOT Receive Note-Off and this will cause them to ignore changes in the Gate Time parameter. We will use this more effectively on “normal” (non-Drum) musical sounds.

Play FX = Feel:
Lets play a bit with what are referred to as the ARPEGGIO PLAY FX. These can change subtlely or radically how the drum groove feels. And significantly, these are accessible for real time manipulation via these dedicated Knob functions, and can be captured in “snapshot” memory (SCENEs)… you can use these Scenes to recall different ‘feels’ in real-time. We will setup a couple of different settings so we can compare (A/B) the difference.

Try the following: Create an initial SCENE 1 by capturing the PART 1 ARP/MS settings: Swing = +0, Unit = 100% and Velocity = 100%
• Press [SHIFT] + [SCENE 1]
The screen briefly reads “Scene Stored.” By storing the original setting as SCENE 1 we can always return to the original feel of the Performance. And it will allow us to easily compare – the feel

Next:
Increase the “Swing” value for PART 1 to +25 and set the Velocity to 105%:

SwingVel
Press [SHIFT] + [SCENE 2] to document this change into the second Scene.

Now you can do a bit of A/B comparison. Remember the “swing” is being applied to the Hihat Closed which is doing a basic 16th note pattern. This is a very fundamental funk groove (think Earth Wind and Fire, Daft Punk, What You Won’t Do for Love, . . . etc).

You can drop in to edit even deeper into the basic “feel” of this arpegigo phrase by navigating to the PART’s Arpeggio page:
• Press [EDIT]
With the lower [COMMON] selected, touch “Arpeggio” > “Common”:

ArpCommonFX
It is on this screen where you can see the parameters controlling the Drum Arp Phrase. In the screenshot above, the highlight sits on the “ARP/MS Grid” which is set to a sixteenth note (120 clock pulses). You can vary the “Quantize Strength” – when set to 100% you can use the ARP GRID to requantize the arp. It is possible to go from straight time to an all out shuffle by manipulating these parameters. The “Quantize Strength” can be less strict with great effect, remember it is how if feels, more than the number setting. For now with Drums you want to work with VELOCITY, ARP/MS GRID, QUANTIZE STRENGTH, SWING.

With “Quantize Strength” at 100% and the “ARP/MS” Grid at “120” (16th), we are quantizing the arp data to a 16th Note, then we are clock-shifting the even numbered 16th notes late in the beat to create a “swing” feel.

Make a Shuffle by setting the “Quantize Strength” to 100% and the “ARP/MX Grid” at “160” (eighth note triplet), Swing should start at +0.
Experiment. Set to taste. With these four parameters you can change much about any arpeggio phrase.

PART 2: Velo Bass
Return to the HOME screen.
UnMUTE the Bass and work with the Bass and the Drum phrases.
Store SCENE 1 with no change to the Bass (other than it is now active).

But for setting up SCENE 2:
Try setting the “Swing” = +25; “Gate Time” to 89% and the “Velocity” to 83% – This changes the note to a shorter, but phatter sound. The Velocity change goes from one sampled layer to another by reducing the velocity. (Always remember to try negative as well as positive – break the habit of thinking all change occurs by increasing – a lot of magic happens when you decrease!):
BassScn2
For SCENE 3, start with settings of SCENE 2 but change the “Unit” = 200%, “Gate Time” to 100%, and the “Velocity” = 62%
The UNIT MULTIPLY can change the feel of bass line to a held tone “on the one”. Do not worry if the sync falls apart as you change the UNIT parameter – this is not something you want to change while an arp is playing. It is a setting you want to make and then RECALL via the SCENE button. Doing so will mean it will immediately change from 4/4 to cut-time at the measure line. Try it – press [STOP] and then work the SCENE buttons:
BassScn3

PART 3: Analog Sweep
The Analog Sweep is raised an octave so that it can be split to your left hand and yet work as your chords. We mentioned that here the chord can also determine the note that the bass is going to be playing. Although the Analog Pad is not using an arpeggio (you are playing it direct) you are only able to play it below the middle “C” split point.

PART 4: Arched Top
This hollow body Jazz Guitar sound uses the AsSW1 (for pitch scoop) and AsSW2 (for Wes Montgomery type octaves).

Adding ARPEGGIOS
Lets ADD (“+”) a rhythm guitar to our band at PART 5.
From the HOME screen.
Touch the “+” in PART 5 to ADD (merge) a new PART to our PERFORMANCE.

Bank = Preset
Attribute = Single
Search: Mega 1coil Clean

What we will do is assign an ARP Phrase to this PART:
– Press [EDIT]
– Touch “Arpeggio” > “Individual”
– Touch the NAME area of the ARP 1 Phrase to see the pop-in menu
– Touch “Number”
– Type in “1802”
– Touch “Done”

“[Mg]MB_16Bt Med_C”
Mega Guitar Arp. Main B Section, 16th Note Medium Tempo

While in the “Arpeggio” area:
– Touch “Common” to view the PART ARP parameters
– Set “Octave Shift” = +1
– Set the “Note Limit” to C-2 ~ B2

The Note Limit here will set the region of KEYS that will be able to give chord information to the PART 5 Arpeggiator:
GtrArpAssign
Adjust the “Velocity” – increment both negative and positive. In order to know what will result, you will have to try it. Take your time.
Adjust the “Gate Time”.
Adjust the “Swing”.

When adding this new member to the band, think about placement on the ‘stage’ – not every one needs to be standing at stage center. Work with Pan… by panning the rhythm guitar slightly to the left or right will give it a place on the virtual ‘stage’. Experiment with Velocity, Gate Time, Quantize Strength, Swing.

Try it out for yourself!

Questions/comments? Join the conversation on the Forum here.

And stay tuned – more to come!

Download here: Smooth_Guitar.X7B

MONTAGifying MOTIF: “Worship Center”

Written by Bad Mister on May 16, 2018. Posted in MONTAGE.

This extremely popular MOTIF XF Performance combined Strings, Pipe Organ, Brass, and Choir sounds which could be mixed using the front panel Control Sliders. We’ll use this Performance to show how the MONTAGE’s Motion Control Synthesis Engine can be applied to real time interaction with these four sounds. This deep realtime interaction is what MONTAGification can do to MOTIF XF Performances. The article assumes you are following along, making each edit as you go. By stepping through the tutorial you will get a feel for how to navigate and make the connections/assignments. All PARTS share the System Effects and the Master Effect. Individual Send amounts to the Reverb and Variation; and all sounds together go through the Master Effect.

PART 1: Large Section
PART 2: Reedy Pipe
PART 3: Orchestra Brass
PART 4: Nativity

SYSTEM EFFECTS: Reverb = “Rev-X Hall”; Variation = “Tempo Delay Stereo”
MASTER EFFECT: VCM Compressor 376

When initially recalled, all four PARTS are active and you get a rather full, thick sound – naturally, all PARTS are sounding together in a layer. What you did on the Motif XF was to adjust the Control Sliders, 1-4, to bring in and out the different sounds as you needed. Or you manipulated the MUTE buttons to play a particular sound or combination of sounds. With MONTAGE, these four instruments can be combined and recalled in different combinations, and with the Control Matrix, they can be controlled in unique ways that you can design.

Note: Please recognize that we are using these XF Performances as basic jumping off points. Once you are comfortable with the concepts being discussed, feel free to substitute with sounds of your own choosing. At the end of this article find the MONTAGE CONNECT .X7B file that can be bulked to your MONTAGE from your computer. The file is ZIPPED – unzip it and copy the file “Worship Center.X7B” to your computer.

PART 1 “Large Section”
This is a 5-Element string orchestra sound built where Elements 1, 2 and 3 form a 3-way (soft-med-hard) velocity switching stereo composite string section. This is layered with a full Ensemble Mix stereo waveform in Element 4 (which is a single Element that is the entire string orchestra as a single stereo Waveform) you will hear that this is used as a brighter tone, plus Element 5 is the full orchestra Pizzicato stereo (this plucked sound is assigned as an ‘articulation’ on AsSw 1 if we activate the Receive Switch). When playing this Part, the core of the sound (Elements 1, 2 and 3) respond to your velocity, the single Element (4) Ensemble Mix is assigned to Assign Knob 2 (Element Level) and can be balanced with the others to create the size string section you desire:

Press [SOLO] upper right front panel.
Select [PART SELECT 1] to solo the “Large Section” Part.

Let’s explore the Knob assignments. Initially, the TONE row of ‘Quick Edit’ Knob Functions is selected. Because PART 1 is selected, the Knob parameter indicated will affect Part 1, only. Each Part has its own set of 24 Knob Functions via the three rows (TONE, EQ/FX, ARP/MS), plus each Part has eight Assignable Knobs of its own (when [ASSIGN] is lit). In order to see, hear, and understand we will start our journey here:

Press [SHIFT] + [HOME] to go to the now familiar “OVERVIEW” screen.
Here you can see the Controllers, AssignKnobs, Faders, and Super Knob assignment overview.

Touch the shortcut box “Part 1 Control Settings”.
This takes you directly to the PART 1 Control Assign screen.
Make sure the “Auto Select” is active (green).

Press the [ASSIGN] button located just to the left of the Super Knob to activate the PART 1’s Assign Knobs.
Turn Assign Knob 1, the “Display Filter” will recall all Destinations assigned to Part 1’s Assign Knob 1:

You can see that PART 1 Assign 1 is going to control a change in both the Amplitude Envelope Generator Attack and Release. Each Destination has its own screen – above “Destination 3”, in blue, is actively being shown. Move the cursor to Destination 4 to view its Curve, Polarity, Ratio, etc.

Turn this knob, listen and observe. The Attack is reduced and the Release Time is increased as you turn the knob from its “stored condition” (at 12 o’clock). Increasing this from 12 o’clock gives the strings a slower response – at 12 o’clock you can articulate a quick phrase, at 5 o’clock you are moving slow chords. Moving the Knob counterclockwise from 12 o’clock gives very short (unnatural) Attack and Release Times.

The RATIO is going to determine the range of effectiveness. All eight Element SW (Element Switches) are ON, this means that all the Elements will be affected by the change to the envelope. We learned last time to check along the bottom of the screen to see which Elements are actually being called upon for sound while you are playing the keys. At any time. Elements 1, 2, or 3 is responding depending on the velocity and Element 4 at all times during normal play; Element 5 only when you select an XA CONTROL (via the AsSw1, if set ON* – *currently the RECEIVE SWITCH is set to OFF – later in the article we will see how to activate the Pizzicato Element).

While on this screen lets give the “Display Name” an entry – the default name “Assign 1” does not help us remember what this Knob is assigned to do:
Touch the “Display Name” box.
Give this Knob the name: AEG.
Touch “Done”.

Turn Assign Knob 2 to recall its settings.
Listen to the affect this has on the String PART. It is controlling the Element Level of Element 4 (highlighted in the screenshot below) – Element 4 is the EnsMix Element that sounds at all velocities. Element 1, 2 and 3 are switched OFF, Element 5 is only in as an Articulation, and Elements 6-8 are not used:

Elem4Level
Element 4 changes the size of the string section – when Assign Knob 2 is at minimum versus at maximum, you can hear that the string section has increased in size. As you can see the Polarity is Bi-Directional, meaning that increasing from the stored 12 o’clock position will increase the Level of Element 4.

Touch the “Display Name” box and change name this Assignment from “Assign 2” to: EnsMix.
Touch “Done”.

You can isolate Element 4. On your right front panel, the bottom row of buttons are the “Element Mute/Solo 1-8” (row 4). Those lit brightly when [MUTE] is selected are unMUTED (sounding)… The one lit brightly when the lower [SOLO] button is selected is sounding.
So in addition to SOLO’ing the PART in the PERFORMANCE (with the upper MUTE/SOLO buttons), you can SOLO the Element within the solo’d PART (with the lower MUTE/SOLO buttons).

Solo Element 4 by pressing the 4th button on the bottom row.
Press [SOLO] > [4].

Now isolated, you can clearly hear that Assign Knob 2 is controlling the output of this Element as you go from minimum toward maximum. (Again, RATIO is the amount of change and the direction of change).
When done, press the lower [MUTE] button to bring back in the other Elements.

Try this: MUTE Element 4 by turning its lamp off.
Play the string sound and observe the Elem1-Elem2-Elem3 across the bottom of the screen to see/hear when each of these Elements is set to trigger.
Bring back in Element 4 and increase and decrease the level using Assign Knob 2.
You can hear how the Element 4 can brighten the overall string sound, and how the AEG changes affect the speed with which you can articulate phrases.

Also affecting our overall perception of the String PART is how it interacts with its Insertion Effects.
Touch “Effect” > “Routing”.

This is the ROUTING screen for Elements through the Insertion Blocks:
RoutingInserts1
Notice the routing lines which show that Element 1 and 2 (that is, the soft and medium string orchestra, Elements 1 and 2) are going through the VCM EQ 501 at Insertion “A”, while the hard string orchestra (Element 3) and the Ensemble Mix (Element 4) are going through the second VCM EQ 501 at Insertion “B”. This is how the strings get brighter in timbre as you play harder and as you bring in more of Element 4 (via PART 1 AssignKnob 2) – the EQ in Insertion Block “B” is a brighter setting. The Pizzicato Element (5) is set to THRU (bypass) the INSERTION block entirely.

Also influencing the size of this string orchestra is the position of the MW. This can be used for subtle or dramatic effect. MW is assigned to VAR SEND (the amount of signal going to the TEMPO DELAY STEREO). The MW is set to Control the VAR SEND, the Polarity is Uni-Directional, so moving the MW up will send more signal and returning the MW to minimum will return the SEND amount to its original “stored” setting. Up until about halfway you are not aware of the complete repeat – it simply sounds as if you are hearing more strings. This illusion, which is so easily adjusted here would take a team of carpenters weeks to accomplish. The amount of repeat (echo) you hear in a room is determined by how far away the ceiling and walls are from the sound source; what they are made out of also influences how much of a repeat you hear. The complete repeat (echo) gets very audible once you pass about halfway; this is pure sci-fi.

While exploring you will make the discovery that the Ribbon is listed as controlling COARSE tuning but that there is no response: (we also mentioned the Pizzicato articulation):
Ribbon
Often when programming merging PARTs into a PERFORMANCE may have assignments that do not necessarily work when you are combining them with others – and you may simply opt to deactivate the reception of that controller. Here you can either DELETE the Control Box (Delete is in the lower right corner) or you can simply deactiave the receiption of a particular Controller.

If you touch the “Receive SW” option in column two in the screen, you will be shown the Active and Inactive Controllers for the PART:

RibbonOFF
In the “Worship Center” Performance the Assign Switch 1/2 were deactivated for PART 1 – If you want the Element 5 (Pizzicato) to be active, you will want to set “A.SW1” = ON (as shown above). The Assign Switches can be made Momentary (quick On/Off), or Latch (stays On or stays Off) by navigating to upper [COMMON] > “General” > Set “Assign 1 Mode” = Latch.

If you would like to experiment with the COARSE tune on the Ribbon (great for manual vibrato and for Looney Tunes cartoon-like orchestral pitch bends) activate the RB = ON switch.

When exploring, always remember that if you cannot find how an assignment works – it may be that it is simply disabled here on the Receive Switch screen. Always think Transmit/Receive – even with Controllers.

When PART 1 is *selected* the ‘nicknames’ we entered for “Display Name” will remind us what is assigned to those Knobs:
P1AsKnLrgStr
Now, let’s work with the ENS MIX assignment (assigned to PART 1 ASSIGN 2) – we know that this will bring up the “Elem Level” of Element 4 of the String PART. Let’s link that movement to the Super Knob. This will allow us to use a Yamaha FC7 sweep-type pedal plugged into the FOOT CONTROLLER 2 jack to swell the strings as we perform. Having a FC7 Foot Pedal control the Super Knob allows you to keep both hands on the keys while controlling multiple parameters in exacting ways (as we’ll begin to see).

First, let’s make FOOT CONTROLLER 2 = to the SUPER KNOB. This is programmable on a per PERFORMANCE basis.
From the HOME screen:
Press [EDIT].
Press [COMMON].
Touch “Control” > “Control Number”:

FC2SuperKN
Highlight the “Foot Ctrl 2” box and dial up to “Super Knob” the highest setting.
Now the position of the FC7 Foot Pedal will determine the position of the Super Knob.

Press [PART SELECT 1] to view our “Large Section” PART and navigate to the AsgnKnob 2 screen
In the screenshot below – let’s recount what we are looking at:

EnsMixlink1
We are looking at PART 1 and at what is assigned to PART 1’s Assign Knob 2. Assign Knob 2 is controlling the Element Level of all Elements except 1, 2 and 3 (which are switched “OFF” to this control). So the Output Level of the EnsMix (Elem4) and the Pizzicato (Elem5) will be affected by this Knob’s movement.

In order to link the movement of this PART AssignKnob to the Super Knob we must move to the Common level of the architecture. Here’s how:

Touch the shortcut box “Edit Common Control Settings” to be whisked directly to where you can make this assignment.

We are going to want to assign PART 1 ASSIGN KNOB 2 to one of the eight COMMON ASSIGN KNOBs. Since nothing is assigned as yet, initially, the field will be blank.

On this COMMON level of the architecture, the SUPER KNOB automatically defaults to controlling the eight Common Assign Knobs. We are linking our PART’s Assign 2 Knob to the first of the eight COMMON Assign Knobs.

Here’s how:

Touch the “+” icon to ADD a Source/Destination Assignment field.
Touch the default parameter that appears in the box to open the list of OPTIONS and select “Part 1” > “Part 1 Assign 2” instead – and then press [ENTER] as shown below:

EnsMixLink2
This translates to on the EDIT COMMON level, COMMON AssignKnob 1 (Source) is set to control the DESTINATION which is assigned to “Part 1 Assign 2” which is doing Element Level.

Now as you move the SUPER KNOB while on the COMMON level – you will observe that all eight COMMON Assign Knobs move together with the Super Knob – you will hear the EnsMix come up in Level. Try moving COMMON Assign Knob 1 directly. It is the one linked to control PART Assign Knob 2.

Touch the shortcut box “Edit Part 1 Control Settings” to be returned to the point of origin – PART 1.
Now when you move the SUPER KNOB, while on PART 1 level of editing – you can see ASSIGN KNOB 2 move. PART Assign Knob 2 is being controlled by the Super Knob (And we know it is the Common Assign Knob 1):
SuperKN EnsMix
Translation: Currently, PART 1 – our Large Section strings – has one parameter linked to the SUPER KNOB and it is the Element Level of the “EnsMix” Element (4) – the one we renamed. This gives us real time control over the Element responsible for increasing the size and brightness of our string section.The fact that it is assigned to the SUPER KNOB means that no matter what is selected, this parameter will be able to be changed. We do not have to make PART 1 the selected Part in order to have control over this portion of the sound! Super Knob assignments always occur when the Super Knob is moved… and as you will learn as you get deeper into MONTAGE – that is across ALL 16 PARTS!!!

Let’s take a look at the Pipe Organ in PART 2…

PART 2 “Reedy Pipe”
This is a 3-Element Pipe Organ (an appropriate Bach-type arpeggio in-waiting):

With the upper [SOLO] button active, select [PART SELECT 2].

Exploring from the “OVERVIEW” ([SHIFT] + [HOME]) take the shortcut “Edit Part 2 Control Settings” to view PART 2 parameter.
You will discover that MW is doing CUTOFF, for Element 2 which (as you can hear) moving the Wheel up darkens the tone of the Pipe Organ (thus the negative RATIO).
PART Assign Knob 1 is VAR SEND (Tempo Delay Stereo) and a minor VOLUME adjustment.
PART Assign Knob 2 is Element Level for Element 1 controlling ranks of the pipe organ – which works in a similar manner to the EnsMix in the String orchestra sound. It is like pulling out the Stops on the Pipe Organ.

Review the assignments:
Turn Assign Knob 1
Highlight the VAR SEND which will increase the send to the Delay.
Set the “Display Name” = Delay:
Delay
Turn Assign Knob 2 to recall its Display.
Here Assign Knob 2 is Element Level for Element 1 (you can see, below, the Switches are OFF for Elements 2 and 3).
Here set the “Display Name” = Stops:
Stops
We can assign control of this Element Level and link it to the COMMON Assign Knob which will let us control this Element via the Super Knob.

You would do so as follows:
Touch the shortcut box “Edit Common Control Settings”.
You will see our previous assignment which we make to COMMON Assign 1. We could use any of the eight COMMON Assign Knobs but lets keep this simple, at first, and let assign this to COMMON Assign Knob 2 .
Turn Assign Knob 2 to recall its field – which is blank.
Touch the “+” ADD icon and select “PART 2 ASSIGN 2”.
The “Source” = AsgnKnob2.
This will link the control of Element Level (Elem1) to position of the COMMON Assign 2 Knob (Which is linked to Super Knob position).

Try performing the “Reedy Organ” Pipe Organ, using the FC7 to swell the sound.

PART 3 “Orchestra Brass”
This is a 7-Element brass orchestra sound built with velocity switching French Horns and and two different velocity switching brass ensemble sections – giving this sound a great degree of harmonic timbre change from soft to hard. While is SOLO mode, press [PART SELECT 3] to solo the Orchestra Brass. The harmonic chaos is orchestral brass is quite different from soft to loud. There is a rounded tone when played lightly and a certain characteristic “blatt” achieved at forte volumes.

PART 4 “Nativity”
This is a 3-Element Choir sound. Made up of the Ooh Choir Element and two synth voice Elements. Assign Knob 1 is Element Level for Element 2 and Assign Knob 2 is Element Level for Element 3.

Experiment 1
GOAL: Let’s assign the four PARTS so that we are playing Orchestra Strings + Orchestra Brass initially, and morph from this combination to the Choir voices and finally add the Pipe Organ to the choir.
Undo the SOLO button by pressing the upper [MUTE] button and ensure that all four PARTS are sounding (Second row buttons 1-4 should be lit brightly).

The four PARTS in this PERFORMANCE were single VOICES in the Motif XF – and therefore have just two Assign Knobs programmed – we can expand our control in MONTAGE. We will begin by programming each of the four PARTS so that the PART Assign Knob 3 will do PART VOLUME – this will allow us to customize how each responds to our control gestures. Here’s how we will do it:
From the HOME screen:
Press [EDIT].
Press [PART SELECT 1].
Part 1 and Common appear in blue in the lower left corner.
Touch “Mod/Control” > “Control Assign”.

We can so so by adding a PART Assign Knob 3 for each PART, in turn. Below when you turn Assign Knob 3, you will initially see a blank field. Start with PART 1:
SuperKnobAS3
Touch the “+” to ADD a Source/Destination. Touch the default assignment that initially appears and select “PART PARAM” > “VOLUME”:

Press [ENTER].

Set the Polarity = Bi-directional.
Set the Ratio = +63.
For now, leave the PARAM 1 = 5:
Polarity63
Touch the box “Destination to Name” – this will assign the name “Volume” to the PART Assign Knob 3.

Press [PART SELECT 2].
Repeat the exact same setup by ADDing PART Assign Knob 3 > set to PART Parameter = Volume, set the Polarity to Bi, set the Ratio to +63, set the Destination Name = Volume for each PART 2, PART 3 and PART 4.

When you have completed this task, each of the four PARTS will have their AssignKnob 3 set to control its PART VOLUME. This is the first step to linking them all to the Super Knob. It is always the PART Assign Knob that is linked to one of the eight COMMON Assign Knob’s movement.

What we will be attempting to accomplish is linking the Orchestra Strings (PART 1) and the Orchestra Brass (PART 3) to one COMMON Assign Knob (AsgnKnob1) – while linking the Pipe Organ and Choir to the movement of a second COMMON Assign Knob (AsgnKnob2). This will allow us to address Strings/Brass as one entity and Pipe Organ/Choir as a separate entity.

You may wonder why you have to REPEAT the setting for each PART, and ask, “Isn’t there a way to set them all at the same time.” Actually, we want the ability to set them individually, as we will see in a minute. This is because we still want some independence between the layers and how they respond to controller movement. For example, our goal is to have Strings and Brass instruments work as a layer when we begin to play; we will morph from this into the Choir sound alone, and finally morph the Pipe Organ in with the Choir.

Return to PART 1’s Controller area: “Mod/Control” > “Control Assign” > turn Assign Knob 3 to recall the first of these PART VOLUME assignments.
Touch the shortcut box “Edit Common Control Settings” to which will take us to the COMMON “Control Assign” screen where we can link to the Super Knob’s Assign Knobs.

Our goal is to link PART 1 Assign Knob 3 (Volume of the Strings) and PART 3 Assign Knob 3 (Volume of the Brass) to COMMON ASSIGN KNOB 1:

Touch the first available “+” to ADD the assignments.
Select PART 1 ASSIGN 3.
Touch “+” to ADD.
Select PART 3 ASSIGN 3.

Below you can see Destination 3: PART 1 ASSIGN 3 is linked to SOURCE = AsgnKnob1.
You can also see that Destination 4: PART 3 ASSIGN 3 is also linked to SOURCE = AsgnKnob1.
(you also see our previous assignment Destination 1: PART 1 ASSIGN 2 which is doing EnsMix Element Level).

LinkP1 P3
Turn Assign Knob 2 to recall its assignments.
Touch the “+” to ADD the following to links:
PART 2 ASSIGN 3
PART 4 ASSIGN 3

This will link the VOLUME of the Pipe Organ and the VOLUME of the Choir to the position of COMMON Assign Knob 2… which we know, reflects movement of the Super Knob:
P2A2 P2A3 P4A3
Here’s our next step: To go back to each PART and customize the response of each to its Control movement. Remember we want to have the Strings and Brass initially, then morph to the Choir (alone) and then bring the Pipe Organ up behind the Choir!

Our current situation is that all four PARTs will follow the movment of your Super Knob, together. This is the typical situation when working with a multiple part synthesizer layers. When you layer the sounds to play them, they all respond together when you start to use your controllers.

We had you group the String and Brass to COMMON Assign Knob 1 and the Pipe Organ and Choir to COMMON Assign Knob 2, so that we could link their initial movment. We want to start with String and Brass on the keyboard initially. Current sitation when the Super Knob is at minimum – there should be no sound. All four PARTS move minimum to maximum along with Super Knob movement. This is because the Super Knob is controlling all eight of its Assign Knobs with the exact same scaling.

If the upper COMMON button is lit, notice how turning the Super Knob moves all 8 Common Assign Knobs the same. Since we want the Strings and Brass live initially we need to reverse its movement. We can accomplish this in a couple of ways. We will experiment here with reversing the direction of COMMON Assign Knob 1. This will mean that when Super Knob is at minimum those PARTS under its control will be at maximum and it will behave in the opposite direction… fading out as you turn the Knob up.

Here’s how:
Press the [PERFORMANCE (HOME)] button to return to the HOME screen.
Touch “Motion Control”.
Touch “Super Knob”.

For Assign Knob 1 set the “1” Value (green) = 127.
Set the “2” Value (blue) = 0:
SuperReverse
Above you can see that Assign Knob 1 will move in the opposite direction of the other Knobs.

Now the Strings and Brass are in initially (Super Knob set to minimum) and as you raise the Knob (or move toe down on the the FC7) they begin to fade as the Pipe Organ and Choir start to come in.

But how do we separate the response of the Pipe Organ and the Choir?

This is where the individual settings the four Assignment makes sense – we can now tweak exactly how each of the PARTS behave in response to the movement of the assigned Controller.
In our example, we can do this easily by returning to the PART Control Assign area, and with AUTO SELECT take a look at the PART assignment to ASSIGN KNOB 3.

Here is where we can adjust the way in which each responds to the movement of the Control. All are using the “Standard” (linear) Curve Type. We will use the PARAM 1 setting to “shape” the application and the RATIO to determine “how much” is applied. Ratio helps to determine the minimum as well as the maximum.

__ PART 1 AssignKnob 3 is set to PARAM 1 = 5 which gives us a very linear response. On the HOME screen SOLO PART 1 (Strings) and turn the Super Knob. Remembering that we have reversed the Super Knob application you should hear a steady decline in volume as you turn the Super Knob up. You have access to the EnsMix via PART Assign Knob 2.

__ PART 2 AssignKnob 3 set the PARAM 1 = 8 (shown below) with PART 2 (Pipe Organ) Solo’d turn the Super Knob. You should observe that this delays the rise in volume until you reach at least 2 o’clock and then it rapidly rises in volume thereafter. This will make the space for our Choir:
Param1 8
__ PART 3 AssignKnob 3 is set to PARAM 1 = 5 which gives the Brass the same linear response as the Strings in PART 1. Remember that we reversed the COMMON Assign Knobs direction so the response will be that it fades out as the Super Knob is turned clockwise.

__ PART 4 AssignKnob 3 set the PARAM 1 = 4 (shown below) with PART 4 Solo’d turn the Super Knob. You should observe that the Choir is silent initially but start to come in around 10 o’clock and continues to rise from here. By setting Param 1 to “4”, we can have more overlap of orchestral string/brass and choir…
Param1 4
Final Thoughts
Use these advanced concepts to build your own sounds. Select PARTS you find interesting. Don’t be afraid to explore the Assignments made by the original programmer. Study what they have done, experiment. We mentioned that there are several ways to approach sound designing… and you will discover this to be very true. As an example when we reversed the direction of control at the “COMMON Assign Knob’ – but as you might imagine, you can certainly reverse the applicaton of the Control within the “PART Assign Knob” setup itself. Which one you choose will really depend on what else you might need to accomplish. In general, when you have a COMMON Assign Knob moving in reverse, you can link almost anything you need to decrease to it, simply because its direction is correct for what you desire – then you can scale the degree of application within the PART Assignment itself. This is some of what is new and exciting about MONTAGE as a synthesis engine – the degree of control you have on the behavior of the sound in response to your input in the Controller area.

Questions or comments about this article? Join the conversation on the Forum here.

And stay tuned for more from Bad Mister to help you get the most out of your MONTAGE!

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