Hi Larry,
Welcome to YamahaSynth! We can certain begin to answer your questions, but forgive me if I mix in some advice with the answers.

The best way to layer sounds is one at a time. Begin simply, gain an understanding of the concepts, then proceed.
Owner’s Manual, page 40: “How Parts are assigned to a Performance”. “Creating a Performance by combining Parts”.

Editing the “ADSR” means you have come from 20th century terminology... in general, you want to change the Amplitude Envelope Generator (Attack-Decay-Sustain-Release) this is available via ‘quick edit’ Knob Control or in depth control at the individual oscillator level of the edit architecture... if all you want is a quicker attack, you can offset the envelope using the dedicated front panel Knob for “Attack”. Or you could choose a quick bow stroke string sound to begin with...

Many of the existing sounds already have these things programmed... (what a great way to learn about how to do these things: Study the Factory Presets. You are not asking for something so radically new or different that it wouldn’t already appear in the massive amount of Preset string sounds on offer. Spend time learning how to explore the existing string sounds. Often the quick attack bow stroke might be assigned to an [ASSIGN1] or [ASSIGN2] button, or may be on Velocity. Use the Audition button to hear the sounds performed - the audition phrase is a real-time performance of that program. Watch for Super Knob, Assign Switches, etc., as the data plays...

The MODX offers EQ at every level of the architecture... every Normal AWM2 Part has a 3-band EQ pre the Dual Insertion Effects block, and a 2-band EQ post the Insert Effects.

You can EQ each individual Part, you have a Master EQ that you can apply overall.
If that wasn’t enough... each Element within a Part has its own Element EQ... and among the boutique Effects available for the Insertion Effect block and the Master Effect block are the Yamaha VCM 501 EQ.

All user creations are stored initially to the USER Bank. You can store some 640 Performances in the User Bank. You can create a User File .X8U to save the data to a usb stick. A User Bank can be installed to Flash making it always available in what is called a Library. You can install 8 Libraries.

thank you Bad MIster for your reply. last time I wrote to you was when I needed help with my Motif ES6 and the PLG boards. Long time ago and glad you are still on board. I think I know how to layer performances(voices that I'm used to). I have a MOX6 that I layered voices then used the EQ and attack settings, then saved them. nice rich and ballsy dx piano and strings. the section to the left of the super knob is the same on the MOX. is that how I make these changes to the performances in the MODX. when layering performances do I have to make these changes to each and every one of the performances that I am layering, or if I make the changes to the first performance, will the changes affect all the performances that I am layering. also to make changes in the EQ and attack, is that the correct way to make these changes( to the left of the super knob) on the MODX. I'm kind of thick, so I would appreciate a step by step, easy way to do this. I was kind of lost in your last reply.....thanx....Larry

There is not a batch mode for editing parameters. In other words, editing parameters in one place will not change the settings in another place. So yes, changes you make need to be done over and over if using the MODX interface and you want to change the programmed values of things which replicate through several PARTs or through several elements.

If the PART-level changes are highly related. In other words - if PART 2 is almost the same as PART 1 with exception of little tweaks worth of difference - then you could copy PART 1 to PART 2 and then only edit the differences instead of editing multiple places where they should be the same. Whichever approach is easier. Typically PARTs are not so related that you can copy as a starting place. This would be more common perhaps for FM-X.

There are tools you can pay for which may help offline (computer) editing which may have more cut-and-paste options than available on MODX.

thank you Bad MIster for your reply. last time I wrote to you was when I needed help with my Motif ES6 and the PLG boards. Long time ago and glad you are still on board. I think I know how to layer performances(voices that I'm used to). I have a MOX6 that I layered voices then used the EQ and attack settings, then saved them. nice rich and ballsy dx piano and strings. the section to the left of the super knob is the same on the MOX. is that how I make these changes to the performances in the MODX. when layering performances do I have to make these changes to each and every one of the performances that I am layering, or if I make the changes to the first performance, will the changes affect all the performances that I am layering. also to make changes in the EQ and attack, is that the correct way to make these changes( to the left of the super knob) on the MODX. I'm kind of thick, so I would appreciate a step by step, easy way to do this. I was kind of lost in your last reply.....thanx....Larry

There is no one way to approach programming or making changes — we cannot stress that enough!

We break it down to “snorkeling” (staying near the surface when editing sounds) and “scuba diving” going deep and editing things at the source. Each method has its use and its place. Plus there are so many ways to accomplish something as simple as adjusting the Attack Time...

Example, the Quick Edit Knobs (just to the left of the Super Knob) very similar to the Quick Edit Knobs you recall from the MOX, allow for quick “snorkeling” level edits by offsetting important parameters, addressing either an individual Part or the entire program (Common). It works very much the same as this did on the MOX. Quick, fast, easy, designed for real-time offsetting while performing.

On the “scuba dive” you can drop into the individual Part and edit the source data at the Element/Operator Level of the architecture. This also was possible on the MOX series. You had two Assign Knobs per Program (Voice), but when you combined Voices into a Performance, you had no way to address all four Parts via their Assign Knobs simultaneously ... you had to directly select the Part to access its Assign Knob. Because the MODX allows detailed control across multiple Parts (as many as 16), it’s like the Quick Edit function but at a highly definable level. In the MOX the Assign Knobs worked when you directly selected a Part... in MODX, you can link Part Assign Knob movement to the “Super” Knob's movement. The difference is profound, and is your preference.

It means, you can adjust all 16 Parts via the Super Knob system, not just the 8 you can directly play simultaneously... this means the Super Knob can be adjusting both what you are playing directly with the keys (KBD CTRL) and it can be making adjustments to the Parts that might be playing back a MIDI File or are being played externally.

If you have the right string sound (matters not how many Parts it is) you could use the Quick Edit “Attack” Knob to Offset all the component Parts together. This could quickly and easily get the job done. Say you recalled the 7 Part “Seattle Sections” string orchestra Performance, the quickest way to slow the Attack would be to set the Quick Edit “Attack” Knob to Common and slow the Attack by turning it clockwise from the 12 o’clock position. But say you wanted to slow the Attack in greater detail, you have the option of dropping into edit and adjusting the individual attack portion of the envelopes of all 15 Elements (3 for the first violins, 3 for the second violins, 3 for the violas, 3 for the cellos, 3 for the contra basses)... fine tuning each as you prefer. Perhaps you want quicker bow stroke attacks on just the cello and bass sections... and simultaneously you want a broad slow swell to the violas and violins... a single gesture can be designed to make all the changes as you desire.

Alternatively, pressing an [AsSw2], for example, recalls the quick ‘spicato’ bow attack articulation, on demand. I mention this because there are more than one way to accomplish your goal. Articulations is a word you’ll see coming up again and again. Often the MW or an Assign Knob is used to adjust AEG Attack and/or AEG Release in a detailed programmed manner. Again fashioning a single gesture that accomplishes multiple things.

Use the COPY function: The COPY function, as you may guess, let’s you copy work you’ve done previously. You also have a “copy” function that works as part of the Category Search Function. You can have previous programming come along when you select a Part.

Here’s how that works:
If you have used the Quick Edit “snorkel” method to offset the parameters via the Knob functions, these parameters cannot be brought along with this Part whenever you wish to use it in another Performance. These are designed to be just quick offsets for real-time use while performing.

If you have assigned AEG ATTACK, for example, to a physical Assignable controller, this allows you to adjust the Attack on a deeper level... defining exactly how it will change within the “Control Set”. You may be familiar with this term from your MOX... where you had 6 per Voice; in MODX you have a massive 16 Source/Destination Control Sets per Part, plus the “Depth” Function has been greatly improved to allow you to define direction, degree, curve, shape.... of application!

You can select which Element’s Attack will be adjusted and by how much in each Control Set. Not all items under your control need to do the same thing (as with Quick Edit) — this means you can be increasing the Attack of some, decreasing the Attack of others... and so on... all simultaneously. This level of deeper programming (at the Part-Element/Operator level of the architecture) can be copied with the Part and used whenever you wish to use this Part in any other Performance.

Often the MW or an Assign Knob is used to adjust AEG Attack and/or AEG Release... these type controller assignments automatically travel with the Part wherever you choose to use it. Even complex Super Knob assignments can be accessed/updated when you use this Part in any other Performance. (Again, you will want to learn to explore current assignments before you start making your own.

In general, when building sounds, say you were building a Multi-Part single instrument, you develop a workflow so that you work starting from Part 1 - here you would Setup the basic functions for the instrument sound you are building. You would copy this Part to multiple slots ([SHIFT] + [EDIT]) keeping the AEG, FEG, Effect routing scenarios etc., consistent in all Parts... then you can go in and refine your programming... replacing just those things that would need to be different for each Part.

If you are a tweaker (you work with other people’s work) you can use the Melas Performance Editor to surgically copy/paste any portion of the programming. The computer program allows you take a look at any programming technique that appears and just copy that and apply it where you desire.

You will find there are many ways to do things
In either case, studying what is already programmed is a key to proceeding and being able to get the most out of the synth.

Step-by-Step instructions are only possible if we set a goal to aim at and then target it specifically. Each visit, check for new tutorials on the MODX.
In general, layering and splitting can be done without leaving the [PERFORMANCE (HOME)] screen.
Recall “CFX Stage”
Here’s how:
Press [CATEGORY]
Set Bank = Preset
Set Attribute = Single
Set Main = Piano
Touch “CFX Stage” > [ENTER]

The “CFX Stage” occupies slot 1
Touch the “+” in slot 2 to ADD a new Part
The “Performance Merge” search screen appears
Set Bank = Preset
Set Attribute = Single
Touch “String” under “Main”
Touch “Ensemble” under “Sub”
Select “Quick Bows” > [ENTER]

You have layered these two sounds across all keys “C-2” through “G8” (you can see the Range of each on the HOME screen.

Creating a Split is as easy as touching and manipulating the range for Part.

If you are a tweaker ... Phil - that means something entirely different in the musician world I'm from :o. I'm going to assume you have no idea what i mean.

tons of great advice. Thousands of ways to skin a cat in MODX. To the OP: If you add a string part and a brass part - and you want to change the attack on the string part (maybe it was more pad than string?) - you press Edit, select that string Part, and you can just turn the Attack knob. easy as that, youll see the offset value changing on the screen. turning left shortens the attack time, as you'd expect. Find your desired level of attack and save your performance. voila, only that one part affected.

if you don't get what you want out of part level offsets, then you have to deep "scuba" dive to the the element level. much more is possible but it is more complicated. Trade-off. thats BM language now ...