It seems to me that a "local on/off" switch for each Master Keyboard zone would make the CP4 far more useful as a master controller.

Local Control is a MIDI function that disconnects the signal path between the keyboard, MW, Control Sliders, PB Wheel, etc., and routes their messages as MIDI commands OUT via MIDI instead of communicating directly to the instrument's internal tone engine.

The MASTER KEYBOARD functions, found in each PERFORMANCE of the CP4 Stage, address only external devices; that is, the settings of the Master Keyboard Zones do not address the internal tone engine, locally, therefore a LOCAL ON/OFF per Zone is an oxymoron. Normally, the Zones have nothing to do with triggering the internal tone generator. (So that request is impossible).

I don't want to just dismiss what you are talking about, because I'm not really clear on what it is you need to accomplish. But the request for a local on/off switch is not possible because the Zones do not address the internal engine. A Zone is never Locally ON (active). But perhaps I'm taking this too literally...

There are four external Zones.
Each Performance can have a unique Master Keyboard setup.
These Master Keyboard Zones are independent from your internal PART setup which is always really just two physical regions: an upper/lower situation with the SPLIT Part being lower, and MAIN/LAYER Parts being upper.
Your four external Master Keyboard Zones only address the external devices.

In other words, the Split Point for the CP4 Stage internal PARTS, has no affect on the Master Keyboard Note Limits you set. It has no affect on what controllers do in that Zone. Those parameters are setup independently per your four possible external Zones.

And vice versa, your four external Zones have no affect on the internal Parts.

We suggest you work the NOTE LIMITs, and individual Zone TRANSMIT SWITCHES, to create what you need externally. These are found in each Master Keyboard setup.

What you *do* have, per Master Keyboard Zone, is a set of TRANSMIT SWITCHES, which can act as controller-OFF for any defined region going out via MIDI. Zones are EXTERNAL entities. Use the Note Limit High and Low to isolate Key-On control... You can set a Zone to a region of G8-G8 if you would like that Zone to not trigger your external device. In such a case the physical controllers can still affect that Zone, although the keys would not.

(But the keyboard will always trigger the internal engine, always, as long as Local Control is ON. That is the definition of the parameter).

I have not setup and tried much with a computer as the sound module for the externally controlled Zones. (Just not something I do...) But as you say you have found a way to do it externally, you should use that. Because the LOCAL CONTROL = OFF, as we're sure you know, prevents only the CP4 Stage from triggering itself. Only.

I think what you are trying to ask for is a way to incorporate the internal Parts into your external Zones. This does not happen now, because again, the internal tone engine always plays itself when local control is ON. The Main Voice is always active (and unless you reduce its volume to zero, it will always sound when Local Control is ON).

The fact that you wound up routing signal externally to accomplish your goal, is proper thinking because the CP4 STAGE does not address itself internally via the Master Keyboard function, at all. If you want to use, for example, the Main PART only up to note C4, there is no way to do this internally. That is not how this works. If you want to use the CP4 Stage as a tone generator through MIDI ... Well, from what you've written, you can create regions of play for whatever...
Main is channel 1
Layer is channel 2
Split is channel 3

Internal:
The Main PART plays across the entire note range at all times unless you press [SPLIT]... And at that point the upper/lower function takes over. If you activate [LAYER] it will occupy the upper region. There is a SPLIT POINT (as in *one* split point).

External:
Four independent Zones for external use. Note Limits are used (not a Split Point) this allows for 2, even 3 or 4 different regions. These regions are set independently from whatever you have setup for your internal Parts.

Thanks for your reply. Your explanation matches my understanding perfectly, with one exception, and that's your assertion that "local off" would be an oxymoron.

Local Control is a MIDI function that disconnects the signal path between the keyboard, MW, Control Sliders, PB Wheel, etc., and routes their messages as MIDI commands OUT via MIDI instead of communicating directly to the instrument's internal tone engine.

Exactly. Well, almost exactly. it routes their messages as MIDI commands OUT via MIDI whether local is on or off; local on/off only affects whether they're also forwarded to the internal sound engine. But you know that, of course.

Clearly, there is a MIDI switching/gating functional block between the controls (keys, sliders, wheels, pedals) and two other functional blocks, the sound engine and the MIDI transmission. Apparently, the current architecture is that this MIDI switch has two functions:

1) forward MIDI data to MIDI transmission block. The Master Keyboard parameters control this MIDI transmission block.
2) If Local is On, also forward MIDI data to the sound engine.

What I'm asking is to refactor the switching function and Master Keyboard section, so that the (new) "local on/off" control for a zone affects whether MIDI data for a zone is forwarded to the sound engine. That's exactly what "local on/off" means, just applying it to a zone rather than to the whole keyboard.

Note also that "local on/off" is a global control, so if we only want it for certain Performances, we're screwed.

This really shouldn't be that major an architectural change. I'm a software engineer, and I recognize that refactoring always involves risks. But please run this by the developers, once you've recognized the virtues.

This feature would allow the CP4 to actually be a useful and straightforward controller with internal sounds, as opposed to a keyboard that is either an instrument or a controller, but not very effectively both at the same time. It would make the zones extremely useful for relatively simple setups, where we just need an extra zone for a few songs; otherwise we run locally. It would avoid the MIDI latency inherent in requiring MIDI echo on a laptop in order to use zones along with internal sounds. It would allow use of an external sound module that's not as flexible in MIDI routing as a softsynth host like Cantabile, Forte, or Mainstage.

Currently, either the CP4 is a great stage piano, where you can easily enough add external layers, or it is a 4-zone controller, where you either can't use the internal sounds, or you have to carefully manage all the MIDI routing (echoing) externally. With this feature, it would be a relatively simple-to-configure controller with 4 zones.

Let's take an example. I have a song where I use a synth bass on the bottom, piano in the middle, and strings on top (third zone). The CP4 isn't capable of this by itself, which is fine; that's why I have another sound source. How I'd like to set it up is to use the CP4 for the synth bass and piano, using the performance's split point. So far, so good. Next I'd like to set up a zone on the top of the keyboard to send to the external module for the strings. I can do that, but unfortunately, it gets layered over piano.

If I had that "local off" switch for this (the only, in this case) zone, the MIDI messages for that zone would be squelched between CP4's controller section and its sound engine section. (Which is exactly what "local off" means: don't send keyboard MIDI data to local sound engine.)

Thanks again for your consideration.

No, I think you have a good handle on how it works. You may not agree on the decision that was made - the MAIN, LAYER, SPLIT concept of real time access to the internal engine was one of the prime directives here. Unlike the MASTER mode (as found on the Motif-series, the MOXF-series, the S-series) where there is a separate MASTER mode and you address both internal and external devices via the instruments MASTER mode programs, the CP4 Stage design mandates - the on-the-fly programming of the internal engine. The separate Master mode is really for folks who want to setup 'ahead of time' and design very intricate regions combining both internal and external items.

If you do plan on using an external control device (computer w/Mainstage, etc.) then you can setup to address the CP STAGE through MIDI. In that situation, you would work with LOCAL OFF and let all the routing and Note Limit commands take place in the computer. Information coming into the CP4 STAGE via MIDI will not respect the internal engine's SPLIT POINT - when using the CP STAGE as a module each PART will receive on a separate MIDI Channel.

Certainly since the Motif XF/XS, the MO/MOX/MOXF, and all the S-series work as you describe, engineering is certainly aware of this. I think they simply had a different thing in mind. Instead of the MASTER Keyboard functions being in a separate Mode, each Program on the CP4 Stage has the ability to setup a 4-zone external setup. If you plan on using soft synths on a computer or you plan on using an external control devices (Mainstage), then (in actuality) those devices should be responsible for creating the zones and switches as you require.

If you do not want the CP4 Stage to sound in a particular setup you can turn the LAYER or SPLIT OFF - if you do not want the MAIN sound to play, you can program its volume on a per PERFORMANCE basis - so you are only "screwed" if you choose to be 🙂

I will, of course, pass along your idea... but it's not something I think was overlooked (not at all). I think they wanted to make the CP4 STAGE as convenient for the broadest spectrum of potential customers. How many are creating splits and layers on-the-fly and how many are building splits combining both internal and external parts simultaneously? (Just saying). Maybe it can have both... Thanks for contributing your thoughts.

I'm not talking about creating multiple splits on the fly. I just want to be able to use the CP4's architecture for almost everything, but also have the ability to have an external zone or two now and then, without local echo, for some songs, without having to program EVERYTHING on the external module, and without having to suffer the added latency of MIDI echo all the time.

I'm not surprised that Master mode on the more complex instruments handles this in a more natural fashion. And I agree wholeheartedly with the orientation of the CP4's UI: it's really excellent for the CP4's purpose and market, and it's remarkably easy to use and intuitive, to me (having never owned any Yamaha keyboards other than CP70).

This feature would add a significant use-case for lots of performers to the CP4, without adding significant complexity to the UI, or subverting it in any way. Without this feature, CP4 is extremely limited as a controller for typical live purposes. Adding this feature would turn it into actually having a useful 4-zone capability complete with internal sounds (limited to the main/split/layer architecture, which is fine!), without extensive programming of external gear.

How many are building splits combining both internal and external parts simultaneously? I'd expect anyone using external gear and Master Keyboard section at all to want to do this. Don't take my word for it; poll your sources. The CP4 has excellent pianos and epianos and other voices, and I'd be astonished if people wouldn't be using them, just because they happen to have external modules.

Thanks again for your consideration.

Jeff wrote:
How many are building splits combining both internal and external parts simultaneously? I'd expect anyone using external gear and Master Keyboard section at all to want to do this.

As a matter of fact, I too am struggling right now with this issue, since I'd like to incorporate a module in my live work, so I'm afraid I have to wholeheartedly agree with Jeff's opinion.

OTOH I realize Yamaha's marketings politics & strategies evidently trying to protect the sales of their Motif/MoX/S-Series. 😉

Thanks for your thoughts, too, but we highly doubt that you actually understand anything about "Yamaha's marketing politics & strategies". Not from that comment 🙂 that's just silly. And I see your smiley face there so I know you are just kidding, so I'll poke you back...

What would be helpful, however, and what you would be fully qualified to understand and address is an example of exactly what YOU would like to do. I don't mean to sound snippy but if I am to discuss your request with engineering your comment about "politics & strategies" will not translate and will be non-constructive, in fact, more like ludicrous and out of place. However, an example of what YOU want to accomplish would be on-point and something helpful. Your choice. (Include what type of external device, hardware module, computer-based plug-in, etc. Don't say it is the same as the original poster, because it probably is similar, but not the "same". The devil's always in the details!

Let us know, be specific, if you're serious... Thanks in advance. I'm not an engineer, I'm a musician... I know enough to leave engineering to the engineers, marketing to the marketing folks and politics (completely) alone. 🙂

If you want to play an external module and work it into a setup where you are addressing both that external module and internal CP4 Stage sounds split and/or layered together, the solution is simple: address the *entire* setup using MIDI. This means using an external device to address all devices in your setup via their MIDI INPUTs (including the CP4 Stage). The thing that you have to understand, what I called the oxymoron, is that the CP4 Stage does not address its own internal tone generator via MIDI. For example, shut local control OFF on your CP4 Stage.

Playing the keys will cause nothing to sound. Key presses and controller movements will, of course, be manifest OUT via MIDI. Connect to the external control device. Setup your splits, layers, and zones with this external device. there will be no latency as feared by the OP, all devices will receive data simultaneously. You will be using the CP4 Stage as a controller, the MIDI device will be wholly responsible for dividing and routing of the MIDI data.

If you don't want to spend any additional money on an external device, then all the more reason to tell us the specific details of YOUR situation, so it can be considered, (comments about politics and strategies, would be lost on the folks who could solve the issue) - and are actually counterproductive. 🙂 thanks, let us know.

What a nuisance it would be to have to program externally all the setups I already have and like on the CP4. Programming everything externally, I can't just hit the split and layer buttons and expect them to do anything, unless I do a nontrivial amount of setup on the external device, possibly for every patch where I want to be able to do this.

Now, I understand that for someone with a very sophisticated setup who is using zones on most songs, like a friend I have in an 80's band, it's not unusual to do everything externally. Then they have complete control and need to know the least about certain details of the keyboard. But I believe there are a lot of us for whom the CP4 does most of what we want, but occasionally we want to add a third or 4th zone to what we already have and love. With the current design, no can do. We have to reimplement all of our performances, duplicating them all externally. In many cases, that's just mapping a program change to a voice, when there are no splits or layers involved. But if there are splits or layers, we have to fiddle. For a split, messages have to be mapped to a different MIDI channel. For a layer, it has to be duplicated and mapped to a different MIDI channel. The split point needs to be programmed. Each of the part sliders has to be mapped to whatever we want it to do, whether that's the default for what the slider does, or if we've already programmed the CP4 to do what we want.

The thing is, the CP4 isn't a good choice for anyone who's doing extensive external MIDI zoning, unless it's just one of several keyboards in the rig, because while it has a nice set of controls for what it does do, it doesn't have nearly enough for the sophisticated rig with extensive external programming. There'd need to be another keyboard in the rig with extra sliders and knobs.

You're unnecessarily limiting the CP4 market by avoiding a very simple, intuitive feature. As it is, it's either a great stage piano without zones, or it's a great piano keyboard to hook up to a complex rig. In neither case is the 4-zone feature of the CP4 of any use. Note that I do use a single external zone a lot. I just can't imagine how I'd ever use more than one in any meaningful way. It's a feature without a purpose. Add one control, equivalent to "local off" for that zone, and it'd be extremely useful.

Regarding latency, we must be miscommunicating about latency, because there is clearly an increase (possibly trivial but at the very least two milliseconds if using hardware MIDI). The CP4 has to transmit the MIDI note-on message. A MIDI note-on message takes three bytes, and at the word length and transmission rate of hardware (DIN) MIDI, that imparts a 1 ms delay. Then, if there are any software latencies in the external device, those are added to the minimum 2 ms. Don't take my word for it, ask the engineers.

Using MIDI/USB, we don't have the clock-related transmission delay, but we do have any latencies imposed by the USB drivers. Those vary considerably, unfortunately.

So, just to clarify. Let's say I wanted to create a performance where the bottom octave is bari sax, the middle is piano, and the top two octaves is a horn section. I don't mind using a MIDI module for the bari sax. Is this possible with the CP4, without the piano doubling the bari sax?

Wes wrote:

So, just to clarify. Let's say I wanted to create a performance where the bottom octave is bari sax, the middle is piano, and the top two octaves is a horn section. I don't mind using a MIDI module for the bari sax. Is this possible with the CP4, without the piano doubling the bari sax?

Wes, welcome to Yamaha Synth!

Just to clarify the topic, again...

The INTERNAL CP4 Stage Tone Generator
A PERFORMANCE (capital letters used to denote the Mode found in the CP4 Stage), is defined by three internal PARTS called "Main", "Layer" and "Split". To understand this internal structure is to understand the meaning of the words MAIN, LAYER and SPLIT as defined by the CP4 Stage. Not what you may previously have thought, but how they are defined in the CP4 Stage... and it is no so difficult a change from what you know, intuitively.

MAIN is the principal sound that occupies all keys of the keyboard. The MAIN PART is always selected. It is the main sound.

LAYER is a second sound that will occupy all the same keys of the keyboard along with the MAIN sound. So LAYER here, literally means layered across the same notes. The LAYER PART can be activated by turning its PART SWITCH On.

SPLIT is a third sound that will define your LEFT hand or the LOWER region of the keyboard. It is defined by a parameter specifically called the "SPLIT POINT". There is and can only be one SPLIT POINT. Everything LEFT of the SPLIT POINT is considered the SPLIT PART, everything RIGHT of, and including the SPLIT POINT is considered either MAIN or MAIN+LAYER. The SPLIT is activated by turning its PART SWITCH On.

So your first premise that you divide the PERFORMANCE into three regions (is not possible). SPLIT, by the definition here, defines two regions, an UPPER and a LOWER Region. The Lower region will be occupied by the VOICE you select for the SPLIT PART. The Upper region will be occupied by the VOICE you have selected for the MAIN PART and (possibly) the VOICE you have selected for the LAYER PART.

But never can there be the bottom octave as one sound, the middle (sic) as another sound, while the top two octaves are something else. Never, ever. That is not how the internal PARTS work on the CP4 Stage. That is not covered in the definition of the PARTS of a PERFORMANCE for the CP4 Stage. There can be three PARTS true, but they can be assigned to the keyboard in very specific ways. UPPER and LOWER.,.. there is no "middle".

The EXTERNAL Master Keyboard Control functions
Built into each PERFORMANCE program is a four ZONE Master Keyboard Controller function - which is what is on-topic for this thread - the original poster is interested in how to integrate the MASTER KEYBOARD CONTROLLER functions with the internal tone generator. They are not linked in a way that allows for easily substituting an external Zone for the internal tone generator Part... since the Master Keyboard Controller's ZONE setup is strictly designed to control what gets sent OUT via MIDI.
They are, in fact, two separate things.

The Master Keyboard Controller function, found within each PERFORMANCE, addresses just the external devices. It does not address the internal CP4 Stage Tone Generator. This is what is the point raised by the original poster. The realtime functionality of the Upper/Lower with the Split Point, while an on-point advantage for the performer using the CP4 Stage as their one and only axe, makes it difficult for those trying to integrate external devices with internal Parts in their setup. The way the Master Keyboard Control Functions work it may require that they address all devices from one central place (external control).

This is particularly the case when you involve software synthesizers (that are generated on a computer), because routing to them becomes an issue. They are not always optimized for things like Program Changes, Note limits, Controller assignments, Volume and Pan settings, etc. in this kind of hybrid setup (either). It can be very frustrating. Sometimes they are designed to receive "any" incoming MIDI channel (which creates a problem), sometimes you can select just a single MIDI channel (but you cannot note limit)... it's the wild, wild west... there are so many different scenarios - when you include "external" devices.

When the CP4 Stage's Master Keyboard Control function is OFF:
The MAIN Part defaults to controlling the Voice you select across the entire keyboard and what you play on the MAIN sound transmits OUT on MIDI channel 1. If you activate the LAYER Part it transmits OUT on MIDI Channel 2... and when you activate the SPLIT you are now transmitting on MIDI channel 3 from the lower portion of the keybed.

If you turn LOCAL CONTROL OFF then the CP4 Stage does not trigger itself, however, the MAIN, LAYER and SPLIT buttons or the Master Keyboard Control Functions are now going to determine what happens. If you turn ON the Master Keyboard Control function switch, how the CP4 Stage transmits OUT via MIDI is determined by the parameters setup for the ZONEs. When the Master Keyboard Control function switch is OFF, the CP4 Stage is transmitting on 3 MIDI Channels simultaneously determined by the MAIN (Ch 1), LAYER (Ch 2) and SPLIT (Ch 3) buttons and regions (even though the internal tone engine is not responding directly).

What the original poster is interested in is a way to address both INTERNAL and EXTERNAL devices simultaneously... as if you were addressing the internal Tone Generator via MIDI, the same as you are addressing the external devices. The answer is clear: You must address the CP4 Stage as one of your modules (via MIDI). Clearly addressing it directly and routing OUT via MIDI are at odds. The original poster wants both cake and to eat it, too... 🙂

SUMMARY
The CP4 Stage has its own 3 PARTS, Main/Layer/Split. Those PARTS, when activated, send MIDI on three Channels, 1, 2 and 3 respectively (fixed) according to the Part Switch.
The Master Keyboard Control function can send MIDI on any selected MIDI channel, 1-16, via four separate programmable Zones
When you activate the Master Keyboard Control switch (ON), the CP4 Stage no longer sends on the fixed Channels 1, 2 and 3, unless defined in the ZONE setups.
The Master Keyboard Control Switch deactivates MIDI Transmit of the Main/Layer/Split setup.
Whether or not the CP4 Stage is triggering its own sounds is determined by the front panel PART Switches and the LOCAL CONTROL setting.
When LOCAL is OFF - naturally, the keys do not trigger the internal tone engine. The MAIN/LAYER/SPLIT buttons will still determine what happens OUT via MIDI on channels 1, 2 and 3 respectively.
However, once the Master Keyboard Control Switch is set ON, all MIDI OUT is determine by the ZONE parameter settings of the current PERFORMANCE.

There are four ZONES for external routing... if you have a computer involved, you will need to "echo" the MIDI signal to each target device. Using a computer application to determine what goes where and how (note limit regions).

Is this possible with the CP4, without the piano doubling the bari sax?

Quick answer: No, not without using LOCAL OFF and setting it up on a reasonably sophisticated external device (e.g., computer). You couldn't do this with a simple MIDI rack module.

However, if my suggestion were implemented, the answer would be "Yes, this is fairly easy". You'd configure the main/layer as the top section, using the CP4's split point to separate the top from the middle, and set the Split part to whatever you want in the middle. You'd configure a zone for the bottom part, using the CP4 Performance "Master Keyboard" feature, sending the notes to the external module, and setting my desired feature to cause the CP4 to ignore notes in this zone. (Which I'd call "zone local off".)

It's for things exactly like this that I would want the feature. The few gigs where I need it, I'll be relying on my previous main keyboard instead, and the CP4 will stay at home.

Regarding this:

What the original poster is interested in is a way to address both INTERNAL and EXTERNAL devices simultaneously... as if you were addressing the internal Tone Generator via MIDI, the same as you are addressing the external devices. The answer is clear: You must address the CP4 Stage as one of your modules (via MIDI). Clearly addressing it directly and routing OUT via MIDI are at odds. The original poster wants both cake and to eat it, too... 🙂

But we can have our cake and eat it too. What we can't do is have our cake and eat only some of it.

We can have our cake and eat it to using LOCAL ON and Master Keyboard together. I do this all the time, and it's lovely, to layer an external voice over the CP4. (Admittedly when I do this with a split I have to also program the same split point in the Master Keyboard section -- no problem.) Every note I play goes two places: to the internal generator, and to MIDI output. I just want a way to be able to inhibit sending the note to the internal tone generator, when I want.

That would make the 4-zone feature of the CP4's Master Keyboard section actually useful. As it is, any more than two zones are hardly useful, since to use them you need to program an external device, so you might as well use just one zone and program everything (including the zones) on the external device. But no doubt someone somewhere is using it fruitfully. Maybe.

Jeff,

The question is where does local off occur in the midi flow.

Does local off status render it to just a key bed that sends out on the global channel?
Are the master zoning parameters before the local off function? Available at the midi input?

I also have would very much like this to work as you suggest.

The controller zoning functions should exist at the top layer. In fact since it is a choice to run it either as "What you see is what you get." (WYSIWYG) (with some deeper editing like now) or Controller mode per Performance, it would not be stepping away from the main design focus at all really.

For a lot of players WYSIWYG is the way of using it and nothing changes.

Master controller keyboard menu puts all the zone functions directly under the keyboard output internally.
Then the sound generator of the CP4 listens on channels 1,2,and 3 as designed.
Don't want to use the internal sound?
Use other channels.

What you can't get around is exactly as Bad Mister noted about layer 1 and 2
across the entire range and #3 as solo split.

The input to the sound generator is crippled in this way

Until now.

1. This is important. Utility/MIDI/LocalSW set to off. Hold utility down and do a store.
You don't want to start a midi loop.
It does bad things.

2. Plug a midi cable from midi out to midi in.
3.. Set a Performance to master keyboard on.
4. Set your zone splits, volumes etc. up. It will use the programs of the performance that was there.
The program send parameters won't do anything here
5. Turn on the split,layer, and main buttons
6. Maneuver in the screen using arrow button to sound you want to change and do so.
7. Save it as a performance.

It saves it and everything else is there as before.

In global I set it to midi USB after doing all this but as soon as you plug in a viable midi over USB, it steals it away.
A midi solution midi thru will get you the outside connectivity you want.
I also powered off to see if it was OK. Yep. Same functionality.

CP4 midi out to in of the midi thru.
Out 1 of the midi thru box to CP4 midi in.
Out 2 to the rest of the world.

From my scans it looks like its sending volume,pan,full bank select,program.
So you could make this work if you want.

So local off is after Master Keyboard.
And an old trick from YEARS ago works.

If you don't want any of this.
Pull out that MIDI cable that loops back in.
INIT the performance if you want to get it back.
Utility/MIDI/LocalSW set to on. Hold utility down and do a store.

John

Another strong P.S. to my above reply,

I will never part with this key bed. Ever. Unless something is done about the crippled zoning
and Performance mode (see below).
Do these and I'll go to the bank right now and buy another one. I'll keep this one too thank you very much.

Assigning Performances to voice category buttons like you can a default sound. Nope.

You have to be in Performance mode, hold down shift, spin the dial or use yes/no between banks, press the correct voice category button.( it's just a number.1-16. Where?)
Or just spin the dial.
While your playing?

Yamaha set list maker? Can't with my trick above that I can find.

Those buttons with LED's when pressed are so right there to be leveraged for a better live keyboard experience.

Ideas?
The up down arrows as bank A-H select or shift voice catagory button A.Piano-Organ for A-H followed any of the category buttons to select Performance.
There you have your master mode back.

I'm done.

Thanks for listening. I hope this is useful.

John

John, we are not sure we are following your post.

Assigning Performances to voice category buttons like you can a default sound. Nope.

Well, yes you can. It's called Performance Direct Select mode and it has already been implemented. Your partial statement here is not a sentence, nor a question, we can't tell if you know about assigning Performances to the numbered (Category) buttons or not.

Hold [SHIFT] + [PERFORMANCE]
You enter "PERFORMANCE DIRECT SELECT" mode (button flashes)
You can now select any Performance by pressing a numbered button [1]-[16], directly
Hold [SHIFT] + [+1/YES] to advance to the next set of sixteen Performances.
Use [SHIFT] + [-1/NO] to move back through the sets of sixteen Performances.
There are 8 Banks of sixteen. A-H

Yamaha set list maker? Can't with my trick above that I can find.

The Yamaha "Set List Organizer" App works perfectly with the CP4 Stage's "PERFORMANCE DIRECT SELECT" function... Allowing you to jump from Bank to Bank to get to your various Performances quickly and efficiently.

If you knew this, sorry, for pointing out the obvious.
If this is new to you, hope it helps!