Mastering MONTAGE: Montage USER and LIBRARY Files

There are 1920 Preset Performances in the Montage. These are in permanent Read Only Memory. You will never lose these and they will be in your Montage always. It would take a major factory version update to rewrite the ROM area.

Any of the 1920 Preset Performances can be edited, but when you go to *store* the data, your edited Performance will be written to the User area of the Montage. It is very important that you rename your newly edited creation so that you can distinguish it from the original. Finding exactly where data “goes” in the Montage is all about Category Search. It will be your friend, if you give things unique names (even if you only add your initials) this will make it easier to find when you search.

When searching, use the Bank” function to limit and fine tune your search. Shown below is the options when you touch “BANK”. You can search just Presets, or just User, or just within an installed Library.

SearchBank

There are zero Performances in the User area when you first got your Montage. (This is quite different from previous Yamaha synths where every slot was occupied by a “placeholder”). You can at any time view and manage the Performances in your User area, by navigating to the User Performance folder:
Press [UTILITY] > “Contents” > “Data Utility” > you will see folders of your current situation, select the “Performance” folder.

PerfFolder

You will be shown how many of the 640 potential locations you have actually filled. And each User Performance will be listed. In the screenshot below 25 out of the possible 640 Performances are occupied. The icon in the upper right corner of each box indicates that touching the box will cause a option pop-in box to appear at the left side of the screen. (The “JOB” box in the upper right allows you to select multiple Performances when managing Performances).

InsidePerfFolder

File Names
When you get a file, the three characters after the file name will tell you everything you need to know about that file.

For example, a file designated .X7U is a Montage User file. If you attempt to Load this file, you will receive a warning in the screen…

Overwritten

Fail to read it carefully at your peril. It will warn you that loading this file will overwrite the data in current memory. This is neither unusual, nor extraordinary. It is your responsibility to always create a backup file of your ‘User’ work before loading in new data.

So before you load any data to your USER area, you will want to create a backup file of your work. You have two options to back up your work, you can SAVE your data to a connected USB stick (for long term storage), as either a USER (.X7U) or a LIBRARY (.X7L) file.
[UTILITY] > “Contents” > “Save/Store” > set the CONTENTS TYPE = USER file or LIBRARY file.

There are several differences between the USER File and the LIBRARY File. And it is important to understand this difference. We’ll cover this in a moment.

You can also load the following file types to the USER area of the Montage. These will also overwrite your current User area.
(.X3A) – a Motif XF “ALL” data file will load 512 normal and 32 Drum kits -filling 544/640 locations
(.X3V) – a Motif XF “ALL VOICE” file will load 512 normal and 32 Drum kits – filling 544/640 locations
(.X3E) – a Motif XF “EDITOR” file
(Note: The Montage can also load Motif XF All Arpeggio, and All Waveform file types but these do not impact your Performances.)

These Motif XF file types will replace the data in your USER AREA if you choose to direct them there.
These file types can also be loaded directly into a Library area… which will not overwrite your User area. (more on this in a moment).
A Library file can only be created by a Montage.
A Library file can be loaded without overwriting your USER AREA.
A Library file can install data into one of eight LIBRARY locations in your Montage.

LIBRARY Area
And this is key: a LIBRARY location is a READ ONLY MEMORY area, just like the Preset data that is burned in by Yamaha at the factory in Hamamatsu, Japan, the only difference is this is semi-permanent Read Only Memory that *you* get to decide upon and you can customize for your individual Montage.

Instead of just storing the Waveforms and Samples in this semi-permanent memory (as the XF and MOXF did), the Montage also stores each Performance (up to 640), the arpeggios, the microtunings, the custom control Curves, the custom Motion Sequences and the Live Sets you’ve created with that data. You are creating your own customized “presets”. The Library will always be there, exactly like the factory Presets are always there. And because each Library is autonomous, it does not depend on what’s currently in your USER AREA. (If you owned a Motif XF/XS or a MOXF, it was possible to have the Waveforms/Samples in place but not have the Voice data loaded in memory. This can’t happen in Montage). When you place something in a Library location its there with everything it needs to be played (just like your Preset data always has everything it needs). But you can rewrite this, later, if you change your mind or wish to add to it!

At this point, only a Montage can create the .X7L file. So to create a LIBRARY you must assemble what you wish to place in that Library into your USER area. From the USER area you can SAVE as a “Library File” – this creates a .X7L file on your USB stick.

Once you have that file… You can then install it to one of 8 Library locations. Please note: first you create the .X7L file, then you must Load that file to accomplish the installation of the data. Read again if that’s confusing. Once your assembled data is in a FILE that has the .X7L extension, then and only then can you write that data into the Read Only Memory area that is a Montage Library. (A .X7U file cannot be loaded directly into a Library).

Libraries can vary in size. The Bosendorfer Library comes as a .X7L file. You can install this in your Read Only Memory by loading Content Type = “Library File”. This does not overwrite anything in your USER area… It goes straight to the special, lowest numbered empty Library location.

LibraryFileLoad

A Library does not ‘have to’ include Waveforms and Samples, it can just be XF voices which get converted to single Part Performances. It can be any number of Performances from 1 to 640. The Bosendorfer Library uses just 16/640 Performance slots. But if you have XF Voice libraries (no samples) they too can be installed in a Library. So you can have every sound that you have in your Montage.

The Library Shuffle
You can load the Motif XF data (.X3A, .X3V, .X3E) directly to a Montage Library slot by selecting “Contents Type” = Library File. Everything that is necessary to make it play will be installed. You can then audition the sounds, decide which ones you think are “keepers”. The ones you want to keep you can IMPORT to USER. Why would you want to import them into USER? Because you assemble the data that you want to keep and then create your own custom library. You may only like half of the sounds in the Library you’ve purchased or downloaded, you can pick which ones you like, move them into your USER area, assemble them create and customize them, then ultimately WRITE (save) your own LIBRARY FILE. Use it to take the place of the one you initially installed to audition.

Montage will handle all the heavylifting, managing the data behind the scenes. The IMPORT LIBRARY function alerts the system to keep track of the Waveform/Sample data in addition to the Performance parameters that use that data. If you do not use the IMPORT LIBRARY function, you may lose the relationship between the PART and its Waveform/Samples. The act of “importing” is more significant than just calling up a Library Performance and storing it to internal. The act of importing includes the link between the PERFORMANCE PART and its Waveform data.

So a good practice when purchasing a Library or simply trying out new data, is to load it into the Library area to audition it, pick the data you like, then using the “Import Library” function assemble the “keeper data” into your (initialized) User area… Create your own custom Library file… Finally, install it and then clear the waste by deleting…

Useful tools/tips:
_ Always backup your work.
_ You can manage your current USER area in UTILITY > Contents > Data Utility > select the folder
_You can delete unwanted Performances by using the “Job” function in the Performance folder (this does not remove Waveforms/Samples)
_ If your data is installed in a Library you can clear all User Performances and start with a clean slate: UTILITY > Settings > System > select “Initialize User Data”
_ You can delete unwanted Libraries by entering the Library folder, select an item, tap “Delete”
_ You can assemble data from a Library by using the “Import Library” function (version 1.10 and later): UTILITY > Contents > Library Import
_ Songs remain in memory in a separate “DATA UTILITY” folder (as many as 64 and they are not moved to Libraries or saved or deleted with the User data. Always make .mid files out of your Song data so you have backups.

What I always say to myself when I finish a session:
There are only two kinds of technology users, those who back up their data and those who eventually have castrophes.

Mastering MONTAGE: Motion Sequence Study

This study will look into the scope of the Motion Sequencer. Here there are 8 Motion Sequences and three PARTS are involved. And we will look at the significance of the MS LANE assignments. In this particular PERFORMANCE the maximum of eight Lanes are in use. In the screenshot below, you can see that PART 1 has three Lanes active (ON), PART 2 has three Lanes active (ON) and PART 3 has two Lanes active (ON). The “Active” box indicates 8/8 – all possible Lanes are in use. It is typical that all 16 Parts have their PART SWITCH set to ON, nothing happens until a Lane is activated, and a maximum of eight Lanes at once is the rule.
From the HOME screen > touch “Motion Control” > touch “Motion Seq”

OverViewMotionSeq

Along the bottom of the screen you can see the Motion Sequence Select boxes… you can have different Motion patterns for each. The end result is a combination of the eight active Lanes. It can be very interesting to isolate and hear the contribution of each of the eight Lanes individually. After playing the sound come back to this screen and turn OFF all but the very first MS LANE assigned to PART 1, as shown below. This will allow us to see and hear and understand just how and what is going on…and how it got to where it is…

OverviewIsolate

Now we have isolated just a single Lane, lets navigate to PART 1 and take a close-up look at this particular Motion Sequence Lane and it’s impact on the total movement within the Performance.

Press [EDIT]
Press [PART SELECT 1/1] to view PART 1 parameters
Touch “Common” (blue) low left corner or press the lower [COMMON] button on the right front panel which gives you access to the workings within the selected Part
Touch “MotionSeq” > “Lane” (shown below)
Below: Lane 1 is selected, the LaneSW is On, Sequence 1 is selected.

JustMSeq1

Notice the SYNC = TEMPO _each Performance has a tempo value, 128 in the example
The UNITY MULTIPLY = 200% _(half time to the set tempo) takes twice as long to complete the sequence
KEY ON RESET = OFF _free running at current tempo
LOOP = ON 
VELOCITY LIMIT = 1-127 _all velocities; Motion Sequences can be initiated via velocity.
CYCLE = 8 steps _(half the complete tour) steps divide the time

Basically this equates to each cycle is one measure because at 200% we are half the tempo but 8 steps being half the length… each cycle is one measure at 128bpm.

EXTRA CREDIT: things to try, see and hear:
_ Touch the box “Edit Sequence”
_ Play and listen to this… hold a chord while the Motion Sequence applies the controller movement. You can tell this is assigned to Filter Cutoff (we will take a look at “Mod/Control”, where this is assigned to MS LANE 1 later in the article). You should quickly be able to see and hear the accented movements on count 7 and 8. 
_ Use the FADERs 1-8 to interact with the AMPLITUDES of each of the 8 Steps. When you highlight the Motion Sequence grid, the 8 Faders correspond to Steps 1-8 or Steps 9-16. The red LED indicators outline the current Amplitude of the corresponding Step. Increase and then decrease Faders 7 and 8 while holding a chord to hear the amplitude change. The physical Fader must pass through the red indicator to “hook” it, once it grabs hold the physical Fader will match the current value.
_ Use the blue SCENE 1-8 buttons (retasked) to change the PULSE Type of the Steps 1-8. A Blue light gives you Pulse B, no light gives you Pulse A.

You may notice that the Motion Sequence is freely running – in other words, it does not restart when you initially trigger a chord or note. This is because KEY ON RESET = OFF. (Super Knob can flash tempo). Try changing the KEY ON RESET to “1st ON” and “Each ON” to learn/experience the differences.
Also set the LOOP to OFF so that you hear that a Motion Sequence can, indeed, be triggered to play through just once. This opens the doors to all kinds of automation possibilities. Motion Sequences can be Sync’d to the behavior of the assigned Arpeggio (more on this in future articles).

Please note: That when the KEY ON RESET is freewheeling (OFF) and the UNIT MULTIPLY is set to a high value, the changes you make may not be heard immediately. For example, if the UNIT MULTIPLY is set to 2400%, 3200% or out to 6400% you may have to wait quite a while for the current cycle to complete – meaning you may not hear a change you expect until the currently playing cycle completes. However, if KEY ON RESET is engaged (“1st On” or “Each On”) then retriggering a note/chord will immediately restart the cycle. Just FYI.

Let’s see and hear the contribution of the next LANE. First turn LANE 1’s “LaneSW” OFF – this can be done right on this screen, as well.
Move the Cursor to LANE 2 
Set the Lane2 LaneSW = ON (shown below) notice it’s MS grid for Sequence Select 1 is completely different from Lane 1

JustMSeqLn2

Notice the UNIT MULTIPLY (2400%) and the CYCLE length (2). So this creates a rise and fall in the opening and closing of the Filter Cutoff but this swell is occuring at the set interval of time referencing the current tempo.
Again experiment with FADERs 1 and 2 to adjust the AMPLITUDE… Use the SCENE buttons to change Pulse A/B Type. And experiment with the UNIT MULTIPLY.

You will notice that at the current settings when you re-activate LANE 1 (LaneSW =ON) you can hear how they interact. This swell in the filter from completely closed to completely open to closed again, you can increase the number of cycles by reducing the UNIT MULTIPLY. Turn back on LaneSW1 to hear these two Lanes together. Separate is completely different from when activated together. Experiment…

Next isolate Lane 3 (ON) and turn LaneSW OFF for LANEs 1 and 2. (Shown below)

JustMSeqLn3

You may not hear this immediately… change the position of the SUPER KNOB to about 2 o’clock or 3 o’clock (Yes, the position of the Super Knob can also influence what you hear and how things respond). By turning the Super Knob, you now can hear that this Lane is certainly assigned to Pan Position. Pan can be to select Elements within a Part (so this is not a broad channel-wide control like cc010) it is a direct parameter assignment. A Control Change message, like cc010, would, by definition, Pan everything on the current channel together. Imagine sending in cc010 from an external MIDI controller or from a DAW, all Parts would pan together. Here we can select specific Elements within each Part to pan as we desire… It’s simply a much deeper level of control.

Notice the UNIT MULTIPLY is 200% and the CYCLE is 8… You have the following movement: hard left, hard right, center, center, hard right, center center, hard right.

Again combine this with the previous two Lane; switch LaneSW ON for both LANEs 1 and 2 to hear them all together. We now have heard the three Lane assignments to PART 1, of Motion Sequence 1. Only the tip of iceberg… 

Experiment now that you have all three Lanes active, by selecting the SEQUENCE SELECT items in the screen – switch them to SEQUENCE SELECT 2, then 3 and so on. They all advance together and, yes, each SEQUENCE SELECT’s settings can be completely unique.

Lane1 we know is Cutoff
Part1MS1Dst1

In the PART 1 “Mod/Control” > “Control Assign” box, (shown above) Motion Sequence Lane 1 is the Source, and the Destination is the Filter Cutoff of each of the active Elements. This particular PART has four Elements – you can see the blue numbers along the bottom of the screen and the four lighted buttons on the bottom row of the right front panel which represent the active Elements. (All Element Switches default to “opting in”).

Lane2 is also Cutoff
Part1MS2Dst2
Motion Sequence Lane 2 is also assigned to control the Cutoff frequencey of the active Elements, but as we know it has a different shape, amplitude and pulse rate.

Lane3 is Element Pan
Part1MS3Dst3
Motion Sequence Lane 3 is assigned to the Destination Element Pan… again all Element Switches are set to opt in, but you can select to opt out by turning OFF a particular Element.

Notice in each of the CONTROL ASSIGN screens when the SOURCE is a Motion Sequence Lane, you can jump directly to edit that sequence using the “Edit Motion Sequencer” shortcut box (next to the Display Filter).

Experiment
Below I’ve set LANE 1 and LANE 3 active on SEQUENCE SELECT #7 (turning Lane 2 OFF) The fading repeated pattern (16 steps of LANE 1) pans left and right according the Amplitude settings of LANE 3.

Seq7Ln1and3

We have just activated the three Motion Sequence Lanes for PART 1. Rinse and repeat exploring PART 2 and its three Motion Sequence Lanes, and finally PART 3 and its two Motion Sequence Lanes. Take your time, there is tons to explore just within this Performance. Remember there are 8 Motion Sequences… They very much parallel for Controllers what Notes are for Arpeggios.

Motion Sequences can be LOADED from the PRESET Motion Sequence Folder, you can create your own from scratch and save and load them as you desire. 

© 2024 Yamaha Corporation of America and Yamaha Corporation. All rights reserved.    Terms of Use | Privacy Policy | Contact Us