Not really. There's a global way to change the velocity curve. It's sort of the same thing - but velocity offset has 128 values (lots of variation) and the velocity curve has 4 levels of variation (Normal, Soft, Hard, and Wide). What you'll find is that none of these may be the same as cranking up the individual PART velocity offsets as was done in the video. And these curves aren't exactly like an offset - because it's a curve variation. But it's the closest thing to an offset.

Notice there's a 5th global velocity setting of "Fixed" I didn't mention. That's because it's not like the others. All of the 4 velocity curves mentioned above allow for softer piano strikes to translate to quieter notes and "harder" (faster) piano strikes to translate to louder notes. The "Fixed" velocity doesn't allow for this. It will change all strikes - no matter how fast/slow hard/soft you strike piano keys to the same fixed value you set with no variation. So it's not at all like applying an offset. While the others are "more" like applying an offset.

There's no real global offset.

The guy in the video seems a bit befuddled by how the Audition Phrase sounds full and “loud”...while his playing sounds “thin” (and weak) ...he asks what’s the difference...

In your own mind, picture the person playing that Audition Phrase, (the Audition Phrase is MIDI data that is triggering the same exact sound he is playing) - compare it to his feather light touch. It’s a touch-sensitive keyboard sound, if you’re worried about breaking a fingernail perhaps he’s chosen the wrong instrument sound... or he needs to make an adjustment to his particular playing style.

What’s the difference? In that video it is likely mostly the approach! You should be able to play exactly like the Audition Phrase... it is playing the same sound you are. Audition Phrases are a MIDI File usually played in real-time by a single musician in one pass.

When/if you hear a difference between the Audition Phrase and you playing the same sound it is one of two things:
1) Your touch and approach to attacking the keys
Or
2) the Part Volume has been regulated by the MIDI File

The different acoustic piano sounds in the MODX/MONTAGE are programmed for different purposes. If you live in a world where LOUDER is what you are after (and that is where *you* are at) you have two choices:
1) play the pianoforte (literally translates to “soft-loud”) with gusto (the difference between the Audition players approach, and Mr Video is tremendous (and kind of reveals an agenda).
2) learn to adjust the instrument to your playing style (highly recommended, because individual preferences are definitely encouraged)

If you tap the keys lightly and want to sound like you are playing with the gusto of the Audition Phrase, you can setup the Velocity to give you more output from your light touch (Velocity Offset/Velocity Depth). It’s a synthesizer, you can adjust this. BUT (and there is always a big ol’ but...) recognize that if you target strictly LOUD, then playing soft will not necessarily be as expressive... which maybe fine in some musical situations.

“Thin” is a word typically used to describe an issue with EQ. Consider the following:
Sound can be loud and thin, simultaneously.
Sound can be phat and soft, simultaneously.
Sound cannot be thin and phat simultaneously, nor can it be loud and soft simultaneously.

So louder does not make a sound necessarily less thin, not at all. Here is perhaps a better way to frame this...

...perhaps the word “thin” was chosen poorly on his part. The acoustic piano sounds are named, and the names hint at how they should be used (a sort of hint from the programmers). “CFX Concert” would be an acoustic piano designed to be played as a solo instrument (this does not mean you cannot use it an ensemble situation, it only means it was designed as your “concert” or solo piano). it has lots of detail, 18 Elements 9-way velocity switching, etc... recalling this to pound out a Jerry Lee Lewis lick would be a waste of resources (again, not saying you can’t, just stating a fact)

An acoustic piano named with the words “Pop/Rock” in the title (most people would deduce...) is designed to be played in a situation where other instruments are also playing. So you can anticipate that it has more ability to cut through an ensemble of guitars, bass and drums.

Most of the acoustic pianos have some EQ capability assigned and accessible to the player via the Part AssignKnobs. You cannot EQ a sound properly until you place it in context... the context includes what you are playing and the other instrument playing with you.

I think the term he was looking for was one that expresses “in your face”... I would not have a problem with the criticism that some of the programs are more “in your face” than others. Not all sounds need to be “in your face”... but if that is what you are going for, then I suggest that this be the question that you ask.

Most programs are NOT programmed to be “in your face”, they are designed so you can combine them with others, they are programmed to support a variety of performing approaches. The MODX is 16-Part multi-timbral... if you choose an acoustic piano and want it to fill the entire bandwidth, don’t expect to be able to add 15 other Parts, all of them being “in your face”... that is not how it (sound) works.

Summary:
Are you interested in an acoustic piano that you can...
...Use as a solo instrument — the MODX/MONTAGE need not do anything else at the same time?
...Use as an ensemble instrument — layered with or in addition to several other instruments?

EXAMPLE:
I recently redid a soundalike sequence of Van Halen’s “Jump” (classic)
For the multi-timbral sequence the OB-8 synth sound was one Part among the 16 single Parts for the Sequence... and it sounds spot on in that context. Balanced in the mix with the other instruments...

I then built a four Part “OB-8” sound for use when playing this song with a live band on stage... I no longer have to use the synth to create the drums, the bass, the lead and rhythm guitars, etc., etc. simultaneously, therefore I can use the entire bandwidth of the synth to build just the big phat analog synth keyboard sound.
The difference is profound... yes, the dedicated synth version is bigger, phatter, thicker... yes, a whole lot more ”in your face”... because I designed it that way, for the particular use case. It is the only sound I need the MODXMONTAGE to do.

I could not use this sound *and* do 15 other sounds where they all have that “in your face” thing... not simultaneously. I would need to multi-Track ala “Les Paul-style” (one overdub, as audio, at a time).

Let us know what you are looking to do... include how you plan on using the sound (in a sequence? As your main sound in a live situation?)
What else does the MODX need to be doing at the time?

Extra Credit:
Working with Velocity:
Understanding Velocity Sensitivity

The following tutorial written pre-MODX covers in depth the Velocity Depth/Velocity Offset feature. If you own a MODX you can download the Motif XF Performance data from the official Download Page:
MONTAGifying the Motif XF Performances: Winds and Strings

The guy in the video likes the high velocity samples better than the low velocity samples so he sets velocity offsets to bias towards the samples he likes.

I don't think it's about loud vs. soft. It's about character. Seems like he has a grasp of what's going on.

There's another frame of reference, from me, a beginner.

I do not yet have the ability to strike the keys with accuracy, confidence and controlled "Gusto".

A Global Setting for Velocity Offset would be useful for beginners, with a lighter touch, thus allowing us to reach those "Gusto" samples at some fraction of the key hitting power normally required.

Accomplished pianists may never need to use it. Beginners may only need to use it through the early days, and later switch it off. Either way, its a useful option to have, and not unnecessary/redundant.

I tried the Global/Utility velocity curves. The problem is, you still need to strike the keys very hard (full velocity) to get the "gusto" samples.

Accomplished pianists may never need to use it. Beginners may only need to use it through the early days, and later switch it off. Either way, its a useful option to have, and not unnecessary/redundant.

I tried the Global/Utility velocity curves. The problem is, you still need to strike the keys very hard (full velocity) to get the "gusto" samples.

That is not true — you can make it (program it) so this is true, but it seems that you want to do the opposite. The only problem with being a “beginner” is you can wind up trying something and because you don’t know yet how it works you can conclude something like this. The statement is simply not true.

Being a “beginner” to synthesis is one thing, if you are new to playing keyboards overall (I’m not afraid to tell you __ practice). Gaining control of playing with the proper amount of “gusto” only comes with practice. My favorite saying: there is no shortcut to experience.
The amount of effort we are talking about here is not a huge amount...

BTW the Audition Phrases are MIDI data and can therefore change settings to the preferences of the person who actually performed the data. This includes the overall output Volume of the Performance.

That's why I said it would be a "useful option". If veteran pianists would make use of it also, then that just adds to the list of benefits.

Having to edit every part in every performance you ever create to adjust the velocity depth how you like it... thats a lot of work.

Why not just set it once?

Its like having to adjust the height of your bicycle seat every time you go for a ride.

Having to edit every part in every performance you ever create to adjust the velocity depth how you like it... thats a lot of work.

I couldn’t disagree more.

I was talking to a friend the other day, and a similar discussion came up — or at least it applies here:

Back in the day before modern convenience... back when you carried an additional keyboard for every sound you wanted to play on a gig. You had much more respect for things... example, you lugged your Rhodes or Wurli for a “piano” sound (unless you were a touring musician with a road crew, in which case you had a CP80). Oh, if you needed a Clavinet sound, add that keyboard and stand to your gear lugged to the gig. Heaven forbid you need an organ for a few numbers... You need a lead sound, pack up the MiniMoog or Arp Odyssey and stand... Back in the 1980’s the best selling keyboard stands were the Ultimate Support Triple-tier stands (lol).

Oh yeah, *you* had to make adjustments per keyboard; customizing them whenever you could — because each was a completely different feel. And you customized (at great expense and time investment) each of your instruments. I must have put hundreds of man-hours “programming” my Rhodes Suitcase73, between changing tines, tuning, and replacing felts, etc.

Each keyboard was a unique valuable individual work of ART. As soon as keyboard synths started emulating every possible sound, those individual pieces of art, start to become less precious. I get it- traveling with half a dozen boards was horrible... that spawned the synth that emulated other keyboards etc.

Now you have one product that does it all... After all, when you have PRESETs to choose from everything is *cheapened* a bit... you initially had keyboards with 8 Presets, then 16, then 32, then 128, take your MODX ... you have 2,227 factory Presets..., 2,739 in the MONTAGE, yikes! (In reality, you will not use even a tenth of them!)

I’m just saying, it sounds (incredibly) lazy, to say ‘you mean I actually have program each of the sounds that I do use?’ yikes, I know I’m getting old but, really? lol

Today: We want the instrument programmable, but then complain when we have to program!

One of keyboard musician’s oxymoronic stances... alas.

... thats a lot of work.

And you wouldn’t want it any other way! At least I wouldn’t want it any other way!
The reason you get 2227 Presets is precisely because of the ‘feeling’ that it’s a lot of work — you are provided variations so you can just choose.

By the way, you’ll notice (across manufacturers, even) there are usually deeply editable products (for Yamaha these are the Synths MONTAGE/MODX) and then there are intermediately editable products and completely preset products available... to accommodate these different customer groups (when you’re in a deeply editable product, understand that it’s there to be programmed!)

Just some thoughts...

@ Bad Mister....

I'm the same way with Guitars, Amps and Effects. I've learned over the years to wrangle the best from any guitar, amp or effect put in front of me - through tweaking, nudging, programming - through experience.

I get a little exasperated when I see the newer generation wanting everything "plug and play"... push a button and Go. God Forbid they should ever need to read a 5 page Manual or adjust any controls away from 12 Noon. If the sound in their head isn't immediately there when they switch a product on... they either ask for a refund, or sell it, followed by a disgruntled slating post on whichever gear forum they troll. It's bizarre, but true.

For me, right now, on the MODX, I feel a keyboard velocity option would be useful.

But I also understand your point; that what I am experiencing right now is a necessary part of the learning process. Its like when you start playing guitar, your finger tips split open, your hand muscles ache for ever... but you just have to push through it. Thats where the journey stops for many would-be guitarists.

I've always been inquisitive. I am currently "cramming" through the Manuals, which is throwing up a lot of questions and head scratching. Consider that fair warning.

I believe, this is the best, if not the only, useful site for Montage/MODX.... so a big thanks, to you and J for all your altruistic contribution and support.

Should I become just half as knowledgeable as yourself or J, rest assured, I will be more than happy to share that knowledge with whomever should ask.

🙂

... glancing over the fence it's interesting that Korg's Nautilus has a "Dynamics" knob (and perhaps global settings for it) that makes adjustments discussed in this thread as if Korg read this thread and provided a knob on their own keyboard.

Now that doesn't help the here-and-now - but it's interesting sometimes to see what the competition is doing and provide something tangible for discussion.

Yes, The Nautilus has that, and it's a great feature to have.

Also I have trouble reaching the max velocities on my MODX6. Which is a pity, because with many of the (Electric) Pianos and Guitars the Elements in a Part have different velocity ranges and different samples play the harder the keys are hit ... but ... with me the samples of the highest velocities never play.

Which has not to do with playing 'gusto'. I just did a test, simply hammering a key and recording the MIDI: velocity seldom reaches over 115 while hammering. With normal 'gusto' play it seldom goes above 105.

With my playing skill I simply can't reach the highest 20% of the keyboard's dynamic range. If I want to compensate for that, I'd have to change the velocity ranges of every Element in a Part, multiple Parts in a Performance.

Yes ... it's nice that the synth allows us to do that, but it's a lot of work. There's a computer inside, why not use it? How wonderful it would be if there's a global setting to tune the 'Velocity Sensitivity', such that a range of say 0-105 wile playing the keys internally is mapped to 0-127?

More people experience this velocity issue with the MODX key bed ... here's a thread on the subject:
https://www.yamahamusicians.com/forum/viewtopic.php?f=186&t=16681

[UTILITY] button,
"Settings" -> "Sound" left-hand touchscreen menus,
Parameter "Velocity Curve". I have mine set to "Soft".

Although I see the other thread referenced mention velocity global settings, I didn't see it spelled out or if some were OK with changing this setting or not. I know some tried this setting - even setting to "Fixed" and velocity of 127 in order to force the instrument to max velocity.

Of course the other option is to get a more configurable MIDI controller (with or without embedded synth) and MIDI connect that keyboard to MODX.

The Yamaha synths globally have a "small, medium, large" amount of configuration - which doesn't seem to cover all the bases. Some other keyboards have a lot more options for keyboard feel - including the ability to adjust individual keys or ranges of keys. So from a configuration standpoint - a different MIDI controller/synth may serve better. Of course you can menu dive and save off your own user versions if you're up to fiddling.

If you want a global velocity offset, I think there is the possibility of turning Local Off, and going MIDI Out into a velocity conversion device, and then come back in the MIDI In. The device could be a MIDI Solutions Velocity Converter, or probably software on a laptop or possibly iOS device.