Volume for the channel can be independent of the volume for the PART used for MIDI. Element volumes. Or switch elements off. Or ... there's really lots of ways to stop the tone generator from playing notes (while still passing intended MIDI through) if you need a dummy PART to get past a limitation.

I'm not knocking your request for a firmware update -- it just may be a while (if ever) - so you may need to come up with something sooner.

M,
I was traveling this week and wanted to wait until I could verify all things in the response so that you can get the most out of the system, as it is now. (I don't believe in waiting for firmware changes)...

Starting at the beginning
Let’s try to deal with your issues, one at a time and then try to find you a workflow that can work. We can’t guarantee that MONTAGE/MODX will fit smoothly into previous workflows in every case. What is different about these units causes some disruptions in normal procedures. Also we can see from the above discussion that your observations are on-point for the most part. It is the way these synths transmit and receive MIDI data that is likely different from other instruments you’ve owned. Hopefully, in the response below some light can be shed on possible workarounds or workflow changes. You are the only one that must be comfortable with your workflow. So these are suggestions - you will need to determine for yourself how it should/could work for you.

We’ll deal with the "Parameter with Part" Function default, and the "Quick Setup" Function, which seems to be the source of some confusion, and we’ll discuss some things you can potentially capture and restore externally for each Project session. As you'll see it has a lot to do with HOW you are connected - as to what you can do... more options available via USB, than 5-pin MIDI.

There are certain items, that by design, are not memorized by neither internal, nor external, utilities... but should be accessed when necessary, or only when required.
In general: There are several 'macros' - shortcuts, that make sets of parameter adjustments with a single button tap... like the Quick Setups...

I need all the KBD Ctrls set to “off” except for the first one, so I switch them off. I re-save the Perf on itself but if I send a PC to the MODX, the Part has now the KBD Ctrl set to “on” automatically. Same for the ARP On switch.

The MODX, absolutely stores and recalls the condition of KBD CTRL status as stored. Your observation is that, when you recall it using a Program Change via MIDI, what gets recalled does not resemble what you stored. That’s curious can you give an example of the MSB/LSB you are using to recall that Performance.
But it is a fact that KBD CTRL condition (active/inactive) should be able to be recalled - When I work with a 16-part Multi setup, I always store all Parts with KBD CTRL inactive. This reminds anyone calling it up that there is no real time keyboard sounds available while on the COMMON level of the architecture (like when the HOME screen is first selected). In order to play any of the 16 PARTS you simply SELECT it directly.

PART SELECTION
Press [PART SELECT__MUTE/SOLO] > Make sure SELECT is active and touch the number PART you wish to play
or
On the HOME screen tap the TYPE/NAME box of the PART you want to play. I personally like NO PARTS active on those setups I have as multi-timbral sequence songs.

If I save the Perf with Receive switches for Parts 9 to 16 set to “off”, once the unit is shut down they revert to “on”.

Unclear. There are no per Part MIDI Receive Switches to set to OFF, in the traditional sense. The MIDI RECEIVE CHANNEL parameter does not exist. More on this in a moment. You are attempting to workaround this by silencing the MODX Parts that share the same channel (I suppose).

As for the Quick Setup settings, I understood that I could save my own “MIDI Rec on DAW” setting, but it’s not. Everytime I recall this option, all the parameters (audio output, for example) revert to their default state (+6dB reverts to +0dB). Same for the KBD Ctrl Lock. No custom setting is saved.

OUTPUT GAIN
See page 189 of the MODX Reference Manual for the list of parameters that can be memorized in the three Quick Setup template locations.

Output Gain can be memorized in the context where it would be used. By this I mean, it is primarily used to manipulate the RECORD Output Gain levels. If you set MIDI I/O = MIDI, that is you are not routing anything via USB - well, the AUDIO I/O settings for Output GAIN will not be stored in your template. However, if you are utilizing USB (the icon next to the keyboard on the very top line of the screen is a bright blue USB icon, then you will be able to store and recall, the AUDIO GAIN settings for Main L&R, USB Main, USB 1-8.

It appears you must be using the USB connection to memorize these AUDIO GAIN parameter settings. It is not clear to me your exact application. But that should explain some of the mystery.

If you are using standard 5-pin MIDI (instead of USB) then manually setting the OUTPUT GAIN for Main L&R should not be a big deal — as you would/should always check output levels before recording as a standard procedure. Output Gain can be included in the Quick Setup settings for 1, 2, and 3 as long as the Setup includes you using USB.

KBD CTRL
KBD CTRL is a status you select concerning addressing the internal tone engine via the MODX Keyboard. And this status is stored to the Performance for any of the simultaneously addressable Parts, 1-8. It is not a parameter that travels with the individual instrument that you select to occupy a particular Part... it is rather a parameter on the upper level of the architecture; as it links the active Parts in a unique way to interact with the local Keys. It is a COMMON parameter setting

The global setting for KBD CTRL LOCK (found on the EFFECT SWITCH BYPASS page - Global A/D was also added here). If you set this to OFF, then you can freely set all Parts KBD CTRL to inactive - this way you only play a PART when it is *Selected*. And this can definitely be stored, both internally to a USER Bank location and can be setup as your default Preset anytime you start a project… Set your custom "start condition" MULTI (including KBD CTRL settings) to MODX CONNECT (but again this will require USB).

You are, I assume, sending single (Part) Program Changes (63/LSB/PC).... that would mean you are assuming that the KBD CTRL status is a part of the Single Part. It is not.

KBD CTRL status of the first eight Parts is stored at the Performance level of the architecture and is a function of the Keyboard, not the Tone Generator Part.

One of the main differences in MONTAGE/MODX is there is no Voice Mode. You are recalling Single Part programs, one per Part slot, from within the instrument’s memory.

Please try: storing your single program in the condition you wish it to arrive when recalled. This will tell you if the status is stored with the individual single program. For example, the "Arp On" (blue) pops ‘on’ because the program you are recalling has the Arp stored in the On condition (simply it’s stored that way) and when replacing single Parts within a Performance the “Parameter with Part” setting defaults to recalling settings from the original location. The "Mixing", "Arp/MS", "Scene" and if active, "Zone" settings can be brought along with recalling the instrument.

Just FYI: There is no downside to the Part Arp being ‘On’. One wants this to default to On when you approach building Multi Part Performances and are utilizing multiple Arpeggiators in the same Performance. For example: If you are adding a Drum Kit, you are most likely going to want to assign an Arpeggiator to play the drums... you see, from that approach, having to then turn Arp On would be seen as an extra step. Therefore, it is quite normal to find many of the Factory Single Part programs stored with the associated Arps set to ‘On’. Being ‘On’ will do nothing unless the Master Arp On/Off is also active. So it is a non-issue in most cases. Your mileage may vary.

Conclusion: It is a fact that the default condition is to ‘opt in’ on the Part bringing along its parameter settings into the current Performance. This is the cause of what you observe... For your purpose, you want set these options to inactive.

One solution would be to create your own Default MIXING setup as the ‘start point’ — in Effect, create your own custom Init “Multi/GM”. It could then contain the settings that would work for you concerning the Tone Generator. As to the “Parameter with Part” Option... that seems to persist once set. But you cannot store it that way.

If using USB to a computer MODX CONNECT can handle restoring your preferred Multi start Point for you. If not able to (it does require USB) you can STORE a Performance that represents your particular favorite 'start condition' in the User Bank.

I always used my workstations or modules with just one multi-timbral Patch, customizing it via control and program changes according to the song played on my DAW.

Since I use other modules in my MIDI chain, I need some Parts/Channels to be disabled on each module, cause I each machine to play different parts. On the Motif Rack, for example, I can set MIDI Channels to “off”

I presently use the MODX on channels 1 to 8, my Motif Rack on channels 11 to 15 and my UltraNova on channel 16. I need to disable the Receive SW on the MODX for Parts 11 to 16, cause if I leave them to “on”, everytime I send a PC, it will activate the respective Part and I’ll end up with 2 sounds playing (i.e. a PC sent on ch 11 will play on my Motif and ALSO on my MODX). That's quite frustrating.

You may have always worked a certain way, you may come to the conclusion that you need to make some adjustments to your current way of working.

Workflow Requirements
The way most would solve this is to simply utilize the multi Port system built-in to the MIDI spec. Implemented to break the 16 channel limit, but ideal for keeping data discreet when multiple sound engines are engaged in a single setup.

When used in a configuration of several multi-timbral devices, each can use a completely separate Port for discreet communication. This is a tried-and-true method used in most situations where multiple tone engines are involved - it is widely/mainly used to workaround the 16 channel limit built into the MIDI spec. By giving each device its own Port it has its own set of 16 channels. Each device therefore can never be sent any MIDI data it’s not supposed to handle. It does require either USB or FW to carry multiple PORTS - a pair of standard 5-pin MIDI cables equals 'a' PORT. 16 channels In, 16 channels Out.

Your issue: you are placing multiple devices on a single Port, (the same Port), you are restricting yourself to just the 16 part multi-timbral limit built into a basic MIDI configuration. Therefore, it is quite reasonable/understandable that when working with multiple devices that are each 16-Part capable, you require to turn "Off" the MIDI Channel Receive Switch for unused Parts in each device. This would be necessitated when using standard 5-pin MIDI connections and utilizing MIDI THRU port cabling to daisy-chain your devices together. This is a viable method, but does have its limitations (as we are discussing/discovering).

Before USB-MIDI, which is a multi-port System, MIDI distribution boxes were used to intelligently distribute standard 5-pin MIDI to multiple devices. The MOTU MIDI Time Piece was one such device “THRU Box”... you could input your signal on one 5-pin MIDI jack and manage which channels were sent, or not sent, to each device. It could take a 5-pin MIDI In and route to multiple 5-pin MIDI Out connectors, filtering channels you desired to filter so as to accomplish separation.

The standard 5-pin, “daisy-chain” method is still viable, but it does require that you have the ability to manually disable the MIDI Channels you don’t want to receive for each device.

MIDI Receive Off?
How you ‘turn Off’ the reception is solved per device... and this can differ radically on the type of tone device. The Motif-Rack (2002), for example, had the ability to select MIDI Receive Channels “1-16, or Off” for each Part of a Multi Program. Being a ‘rack’ unit, what it transmits Out is mostly never a concern — it is mostly a Receive only device.

The MODX (2018) does not have a MIDI Receive Channel “1-16, or Off” Option per Part... neither would most multi-timbral modules that would need to respond to GM commands (where the 16 Parts and 16 Channels must correspond). MODX has no MIDI Receive Channel parameter, per se, because the Part slots of the MODX, 1-16, are hardwired to the corresponding Receive Channel number. If you send a message IN to a slot, it has no choice but to respond. No choice. Whether or not a sound is programmed there, initially... it is there awaiting a message.

This means you need to find another method to prevent (filter) MIDI data from arriving where you don’t want it. You want the MODX to behave like a Motif-Rack with the Part Receive Channel parameter = “Off”.

Suggestion: Please, after building your setup from the “Multi/GM” Init template, then simply deactivate the “Parameter with Part” options so that any subsequent single Part selections recalled (even if via Program Change) will ‘inherit’ settings, rather than bringing along previous Mixing, Arp/MS, Scene, and/or Zone settings from their original Home.

From the manual....
"Parameter with Part: Determines whether or not to read and use the parameter values for the next Performance. When the set of parameters is set to ‘off’, the current setting values are continuously used even when the next Performance is selected."

Once you have deactivated the “Parameter with Part” options, this remains as a preference at least for this session. It does reset on power down. And it is not stored in a Quick Setup. If you wish to opt out, you must place this on your “To do” checklist when connecting to a computer.

“For this session” is a phrase I use to explain settings that are not going to remain forever... they will reset to a nominal default at boot up. They are those settings you would make “only when necessary”.

A usual mandate for the hardware is to reboot in the most playable state — particularly instruments like electronic keyboards that contain sounds. Expect the hardware to behave so that when you reboot certain things will reset to a condition that support it playing and behaving normally. No one wants to get to a gig and have to remember that Local Control was Off... I haven't gone through every parameter - but that is typically the thought process - POWERING on means you want to make NOISE!!!

These things that don’t remain you maybe able to capture and restore using bulk messages; this is where the data is retained externally; for example, in either your DAW or by running the MODX CONNECT utility along with your DAW. For example, when I open a New Project, in Cubase, the Cubase Template that I made restores the Init start condition Performance Multi that I designed for my particular workflow.

You can actually have several depending on what type of approach you are using for the Project. Creating your own “Default Mixing” is taking command of what’s suggested by the firmware.

Then when sending your external Program Changes ... the Part will inherit your MIXING settings, it will not cause the ARP ON to pop On, etc., etc.

The “Parameter with Part” Option Switches condition are settings you must make manually. Once made (opting out) this setting appears to remain that way... at least through the current power on session.

Deeper waters...
I’m sure you can manipulate most things using Parameter Change messages (Sysex). Depending on how you are configuring your setup this might be a practical (or completely impractical) solution.

And easy way to defeat Parts 9-16 from playing when you want them silent is simply STORE your Default MULTI with Part Output = OFF.

FINAL WORD: But CONTEXT is alway going to be a consideration. The AUDIO GAIN function to be stored in a custom QUICK SETUP requires you be actively connected to an audio Record HOST via USB.

Hi Bad Mister, huge thanks for your time and effort. I'm impressed.

Please let me print out your suggestions and check them in the studio as I have a chance. I need (at least) a couple of spare hours to understand and try everything. I'll surely switch from standard MIDI connection to USB.

The “Parameter with Part” option sounds interesting. I have a big list of things to check and try in my workflow. For now big thanks again, talk soon.

Hi Bad Mister,

I finally had the chance to print, study and verify everything you wrote in your detailed post. I solved almost all the issues by switching from 5 pin to USB. Having separate midi ports makes everything easy. The "Parameters with Part" option also solved the "KBD Ctrl" problem, even if "Arp On" seems to bypass that. Not a problem since no Arp will play if the Arp button (hardware, thanks God!) is set to off.

So thanks very much for your advice. The only thing that randomly happens is: when I stop Cubase, sometimes the Multi/GM reverts to its original status, I mean sounds and mixing settings. Not a big problem but it's unclear why.

Lastly, I wish I could merge (and play) Multi Performances into my Multi/GM, but that's impossible since midi RX channels can't be modified. If the merged Multi takes two or three parts (and relative MIDI channels), I just can use one of its sounds per Part, so I'll have to be stuck on single Performances. Not a major issue, I can live with it.

Big thanks again.

PS I can't use MODX Connect because I'm on Mavericks and the app needs a more recent OS. I can't upgrade it for a number of reasons, but it's ok.

So thanks very much for your advice. The only thing that randomly happens is: when I stop Cubase, sometimes the Multi/GM reverts to its original status, I mean sounds and mixing settings. Not a big problem but it's unclear why.

Sounds like a “Preference” setting in Cubase... which can reset or what is called ‘Chase’ events... when you fast forward or rewind to a specific measure location you can have the software send current settings (cc, program changes, etc.).

This Preference returns your connected device to the ‘start condition’. If your settings change (you use program changes, you move controllers, etc., etc) during the composition, you may wish to have this active — just make sure it is returning to the settings you wish to be active at measure 001, beat 01. This is definitely “a feature” you have yet to make work FOR YOU, currently, it’s resetting to something you don’t want. To make this work FOR you, you need it to reset to exactly the settings you desire. This is where a utility like MODX CONNECT becomes very essential... it automatically Saves and can automatically Restore your “start condition” settings per Project.

Lastly, I wish I could merge (and play) Multi Performances into my Multi/GM, but that's impossible since midi RX channels can't be modified. If the merged Multi takes two or three parts (and relative MIDI channels), I just can use one of its sounds per Part, so I'll have to be stuck on single Performances. Not a major issue, I can live with it.

Not true. First, it is possible to “merge” Multi Part Performances into a Multi/GM Template, you do so a Part at a time; Not sure why you would but you could.

Your question is not about “merging” as much as it is about triggering (layering) all those Parts together. Well, you can!
What you haven’t figured out yet is that ... yes, the Parts will be on separate MIDI channels. However, you can easily remedy this by how you setup to record...

If you have Cubase Pro, you would use the INPUT TRANSFORMER and create the multiple tracks in real-time. The Input Transformer allows you to directly record Multi Part Performances directly to multiple separate Tracks.

If you have a lesser version of Cubase (without the Input Transformer) you would either:
1) Setup Routing so you set one Track for recording (Set to “ANY”), then use DISSOLVE PARTS to split the recorded data to the appropriate number of multiple Tracks for playback.
2) Record your Multi Part Performances to the MODX’s Internal Song Recorder, and drag and drop the results to Cubase via MODX CONNECT.

Why these work
The MODX transmits data on multiple MIDI channels... this data is identical on all channels unless an Arpeggiator is active.

To record data generated by the Arpeggiator you must activate “Arp Out”

When an Arp is used on a Part you can have the MODX transmit the Arp generated data instead of what you play to that MIDI channel
This is why separate MIDI Channels must be used, when Arps are involved the data transmitted Out on their channel is different from the Parts set to play normally. Obviously, Drum Arp notes are not what YOU played.

Many users are defeated (unnecessarily) because they have gotten so used to the ‘workaround’ of assigning multiple Parts to the same MIDI channel in order to create a layer, that they never stopped to figure out you can accomplish the same thing by duplicating the MIDI data in the DAW on a second Track, accomplishes the exact same thing.

We assume you say it can’t be done, to ask how you would do it...

The MODX can be set to transmit multiple channels; whenever the KBD CTRL icon is active for a Part it can be transmitting on that channel. If you want to transmit on 1, 2, and 3 then activate the KBD CTRL icon on those three Parts. If no Arpeggios are involved, then all three Parts will respond properly to the same data... what many don’t realize the settings like Note Limits and Velocity Limits are not applied to the MIDI data, they are functions of the Tone Generator.

When KBD CTRL is not active, those Parts can be played back via Tracks in the DAW

If Arpeggio data is involved then you must set “Arp Out” = On, which prevents direct key presses from exiting the MODX on those channels having an active Arpeggiator.

Conclusion
Therefore, yes, if you have Cubase Pro, the recording of multiple Part Performances is easier (Input Transformer). You can simply activate the same number of Tracks you’re using as Parts.

But even if you have Cubase AI, you simply have to understand that the MODX tends to transmit on multiple channels ... and because Cubase Tracks default to recording all incoming data, you only need to activate one Track during record... you separate the data, after the fact, using the MIDI function called DISSOLVE PARTS by channel — this places each MIDI CHANNEL on a separate Track.

This means rather than layering the Tone Generator sounds on the same Receive Channel, you transmit on separate channels and work the data in the DAW, (by using Dissolve Parts). You get the SAME RESULTS.

PS I can't use MODX Connect because I'm on Mavericks and the app needs a more recent OS. I can't upgrade it for a number of reasons, but it's ok.

Mavericks... Ultimately this will wind up holding you back in more and more areas... when you decide to finally change, you’ll want to add MODX CONNECT to your workflow. It is an important part of the workflow you should be taking advantage of.

If you need help in learning to record and dissolve multiple Part Performances, let us know.

Extra Credit: You’ll notice that KBD CTRL can be active on any of the first 8 Parts, if you are wondering how you would use Parts 9-16...
It’s important to know that Parts can be copied or moved to other locations using the COPY/EXCHANGE feature... and the corresponding data in the DAW can easily be set to match the new MIDI Channel number.

Because, when recording multiple Part Performances, you will have less musical parts you can use... if your strings take up 4 Parts and your piano 4 Parts, you’ll have used 8 to create just two tracks... rendering your data to Audio becomes a key part of the workflow.

Hi Bad Mister, thanks very much for your detailed explanation & suggestions. Yes I know the “reset on stop” problem could depend on a Cubase setting. The strange thing is this happens randomly. I’ll further investigate.

As far as the multiple Performances merging, of course I knew I can duplicate my track as many times as the amount their respective Parts, but that’s not a practical solution for me. Working with lots of tracks' copies would be really confusing. This is the workaround I used back in the days when memory and polyphony of modules were limited and expensive, so I used to build layers by multiplying the same track for each sound I wanted to layer. Not a big deal.

Yes I know Mavericks is a holdback for many reasons, but I can’t change it at the present moment, cause too many drivers and applications wouldn’t work on more recent OSs. My Cubase version (5, full package) is ten years old, my audio/midi interface is old as well, and so my mac. I think all the stuff in the studio should have more or less the same age. OSs are more and more demanding in terms of CPU and RAM resources, old machines/interfaces are no longer supported and their drivers don’t run on more recent OSs. There’s some tolerance, but is limited. My Mac is from 2011, which is pre-history in the IT world.