Please see two possible solutions outlined in this thread:
Controlling the Volume of all 16 Parts…

Hello BM,

Actually I just would like one part of the pattern to be faded out.

I carried out tests today. This is what I observed :
- Crescendo would occur on certain elements of AWM2 parts only or globally on FM parts, desired number of measures obviously not taken into account (quick increase in 1-2 beat even if 8 measures are set)
- Decrescendo cannot be triggered at all

Seems like a bug unless some user tells us the opposite.

Seems like a bug unless some user tells us the opposite.

I observe no bug. I find it works great. Perhaps you can provide more details about what you are doing (wrong).

Hello again,

Pictured attached:
- part 9
- proof part 9 is recorded scene 7
- settings

Responding to:

- Crescendo would occur on certain elements of AWM2 parts only or globally on FM parts, desired number of measures obviously not taken into account (quick increase in 1-2 beat even if 8 measures are set)

- Decrescendo cannot be triggered at all

Which seems to convey that crescendo works but decrescendo does not. Based on that:

When attempting to do a decrescendo on Part 9 - what does Part 9's Mod/Control -> Control Assign menu show for the MS Lane you are using (MS Lane as the source, volume as the destination)?

I'm looking for the shape and parameters of the curve.

If you have a standard unipolar curve with a negative ratio then your starting volume shown in the screen capture for Part 9 is "13" which is essentially already silent and offsetting values smaller than 13 do not give you much of a decrescendo. I'm not sure this is the case - but, if it is: you can quickly "fix" this by using a bipolar curve instead with a negative ratio. Now the left-hand side of your modulation is going to add to the baseline of 13 (higher volume) and then decrescendo down and eventually also get into the subtracting territory.

Or you could reprogram the volume and change this from 13 to 100 (or whatever your full volume is) and then use a unipolar negative ratio standard curve.

Or you could change the "Control Assign" curve to be a unipolar POSITIVE ratio curve. Where - when the MS Lane is outputting "0", your offset is 0 and when MS Lane is outputting "127" your MS Lane is ADDING to the baseline of 13. To end up with a decrescendo out of this you would go to the MS Lane setup and change the pulses to reverse (assuming they were ramping from low to high to begin with - you can reverse this so the pulse starts at the highest point then ramps down to 0).

Again, there's a lot of inference here so you may have other things going on -- but this is what comes to mind at the moment.

Hello Jason,

Nice to be answered that fast.

You missed the fact I use the "edit job" option, not any MS.

On another note, I noticed that volume of the part may influence results for MS, probably there may be the same kind of influence for decrescendos in edit job.

Let me test, thankyou.

The crescendo feature will modify the note-on velocities upwards or downwards.

If you have elements that are not velocity sensitive then you will not hear any crescendo or decrescendo. One example of this is the Init Normal (AWM2) piano(ish) Part. This is setup as not velocity sensitive. Organs generally should not be velocity sensitive. And then the particulars of each Part you are actually using - there may be variability in the dynamic response to velocity changes.

If you want to crescendo/decrescendo Parts that are not velocity sensitive then you would either need to edit the parameters to those Parts you want better response from. Alternatively, you could employ a volume/level based crescendo/decrescendo instead.

Also, if Part 9 is at volume 13 (and not offset by something else) then velocity increasing is not going to get you very far even if the Part is velocity sensitive. You would need to adjust the volume upwards in order to give your velocity-controlled volume changes the necessary dynamic range to achieve what you're after.

My 2c...

whatever it is you are trying to do, move it to Parts 1-8, rather than Parts 9-16.

I do not profess to know all the detailed workings of the MODX, but it does seem to be the case that if you use Parts 9-16.... all bets are off.

Parts 9-16 behave differently than Parts 1-8.

I treat my MODX as Parts 1-8. I assume Parts 9-16 to be last resort "spares" for external, MIDI played/automated "extras" if I have absolutely exhausted Parts 1-8.

Disclaimer: My usage has never been so complex I have needed Parts 9-16. Parts 9-16 have been observed by me as "maybe one day I'll need them, useful to know".

Crescendo/Decrescendo: General musical behaviors
Hammered, struck and plucked instruments (percussive) define Crescendo and Decrescendo differently from how bowed and blown instruments (self-oscillating)… in order to realize a percussive instrument performing crescendo/decrescendo you do so by increasing/decreasing the Note-On Velocities — once a note is initiated Velocity has but the single value at the front of the event.
Self-oscillating instruments where the musician’s pressure is constantly involved means they fade differently than bowed and blown type instruments, Non-percussive (sustaining) instruments, and can fade out during held notes.

Perhaps Crescendo/Decrescendo is not the feature you need to be using… instead use Volume/Expression to fade sounds out (as originally answered). All types of instruments will respond to Volume/Expression (unless the Receive Switch = Off).

And as J points out, non-Velocity sensitive instruments, like synth basses and leads are sometimes, can be impervious to Velocity changes altogether… in a case where a Part is not Velocity responsive, you’d be better served reducing the output using Volume or Expression messages (not note-on Velocity).

In Pattern mode, you can Overdub Controllers in real-time.
Select the Track in question (only the Track, or Tracks, you wish to affect)
Set Rec Type = Overdub;
Set Loop = Off (important while overdubbing) guarantees your recording of the control data stays within the measure Length.
This will allow you to overwrite just the Controllers you engage.
Say you engage a specific Controller while in Overdub Record, only the engaged Controller’s data will be rewritten. All other Notes and Controllers will remain unchanged.

This powerful feature allows you to add such changes after-the-fact.

Other possible causes:
How many measures are in Scene 7?
Your first screenshot is incomplete (why), it shows Scene 7 but not the Length?
Your Decrescendo is set to happen at measure 25 through to almost the end of measure 32 (7 measures, and 479 clocks)…. Which is one clock tick short of 8 measures.
If the Scene does not have measures actually numbered 25, 26, 27, 28, 29, 30, 31, and 32, then no Decrescendo is scheduled to happen. Say for example Scene 7 is Length = 8, it will never reach measures 25. The “Record Length” = the Length setting that is written into the Tracks phrase must be at least 32 measures when you initially record it.

By the way there are 480 clocks in a measure.
Setting it to 25:1:000 thru 32:4:479
Is like setting a clock without the final minute, an hour has 60 full minutes, never 59.
12 o’clock — 1 o’clock is an hour… say you’re dealing with a clock:
12:00 to — 12:59 is one click short of an hour.
12:00 to — 1:00 is one full hour
Just FYI

Please more information. If you would like to reduce the output of a sound, helpful information would include the name and nature of the Sound (I can see it is a synth Lead, but not which one… many analog leads are not responsive to Velocity changes… but would certainly be responsive to changing the Part Volume or Expression).

These are not “bugs” — just standard MIDI functions

FYI: it matters not which Track and Part contains the data. Pattern Tracks 1-16 all behave the same. Tracks 9-16 are not spares or any such thing, they are simply individual Tracks. The exception is you can play any of the KBD CTRL enabled Parts, 1-8, simultaneously.

Every Part, has its own dedicated Track.

[quotePost id=118658]
And as J points out, non-Velocity sensitive instruments, like synth basses and leads are sometimes, can be impervious to Velocity changes altogether… in a case where a Part is not Velocity responsive, you’d be better served reducing the output using Volume or Expression messages (not note-on Velocity).[/quotePost]

Did not read J with the attention he deserves! I actually chose a part non sensitive to velocity!

[quotePost id=118658]
In Pattern mode, you can Overdub Controllers in real-time.
Select the Track in question (only the Track, or Tracks, you wish to affect)
Set Rec Type = Overdub;
Set Loop = Off (important while overdubbing) guarantees your recording of the control data stays within the measure Length.
This will allow you to overwrite just the Controllers you engage.
Say you engage a specific Controller while in Overdub Record, only the engaged Controller’s data will be rewritten. All other Notes and Controllers will remain unchanged.

This powerful feature allows you to add such changes after-the-fact.
[/quotePost]
I've already used this trick to modify a pitch issue, would have never think using it for another parameter, don't know why...
I finally achieve my goal using the method above:
- affected volume of part 9 to superknob (unused)
- overdubbed part 9 moving superknob to get the nicest effect ????

Many thanks again for your time and support ????