There is no one way to use any sequencer. It all depends on what you want to accomplish. The functions are exactly the same as they are on the MONTAGE. Please see the different articles already posted in the LEARN area of this site - they address the MODX, as well.

What you can do to prepare for MODX 2.0, is improve your skills in Performance creation, Controller Assignment, and navigation. If you have not done so learn the difference between the three different Category Search functions for selecting sounds.

1) Performance Category Search
2) Performance Merge
3) Part Category Search

The first changes the entire Performance. The second adds a second Performance to empty slots of an existing Performance. And the third replaces an existing (single) Part with a different (single) Part. Each is different, has a different use, and has different options. (In doing scores and scores of trainings on this with customers, I’ve discovered many are unaware of the important differences between these 3 different searches. And once they become aware, it is a major leap forward in their ability to use the synthesizer).

The way the Performance Recorder works that is, perhaps, new and different, is you can record more than one Part at a time. At maximum you can record eight Parts simultaneously. You do so by transmitting to the Parts.

Instead of simply placing all eight Parts on the same MIDI receive channel (as is the traditional way to play 8 Parts) you actually transmit a separate stream of data to each Part. This allows you to play music and control arpeggiators simultaneously. And because the Controller Matrix can address each Part directly, the Parts you are controlling can each be programmed to behave exactly as you design. A gesture to change volume, or Pan position, or filter cutoff, or effect parameters can be customized on a per Part basis. If all Parts are on the same MIDI channel, the either all do the same thing, or move in the same direction, or brighten or darken together, or get more reverb or less, together... but with this system you design how and what and by how much each control gesture changes something with a Part.

You don’t edit cc10 messages if you don’t like how the sound FX moved across the stereo field, in this synth engine you edit how the Part responds to recorded gesture. You don’t necessarily edit cc7 or cc11 messages if you want to change the fade out, you can adjust how the individual Part behaves in response the the control gesture.

A Performance can contain 16 Parts... you can setup and just play one Part at a time and do 16 individual tracks, in 16 individual passes.
But you could record two Parts at a time and do 16 tracks in just 8 passes.
Or you could record eight Parts at a time and do 16 tracks in just 2 passes.
And almost every combination in between.

The thing to recognize: each Part has its own dedicated Track, that Track will contain information that tells the assigned Part exactly what to do. When you place the unit in Record, what determines which Track, or which Tracks, get recorded depends solely on your current *selection*.

If you have been playing with the Motion Control Synthesis Engine, you know that not all Parts are set to sound simultaneously. Programming on this engine is a matter of bringing in different Parts when you wish them to sound. For example, a three Part Brass ensemble may only sound its first Part, until you activate its other components with a control gesture (could be an articulation that only occurs via an Assign Switch condition, or a Foot Pedal, a Velocity Switch, or maybe it just fades in with the MW or Super Knob position). Therefore, Tracks are waiting for you to activate them, you activate them by communicating with its Part

Those programmed Parts are linked by the KBD CTRL icon.. literally, you are activating this icon so that playing the Keyboard will be able to control these sounds. The Parts linked by KBD CTRL are linked - as long as you are in communication with any one of them, the others await the specific gesture that tells them to sound.

If a Part is not linked by the KBD CTRL icon, it is like a separate (individual) synth. As soon as you *select* it, you are playing that synth Part, it has its own dedicated Track. And that dedicated Track will record whatever you do to that Part.

When building you recording if you are performing a Multi-Part sound, you must set that up using Part locations 1-8 because these are the Parts that can be actively linked for play. Once you record your Multi Part data, you COPY/EXCHANGE the data to other Parts/Tracks.

Say you record a String Orchestra piece using the seven Part ”Seattle Sections”, after recording your strings, you can *Exchange the Parts* so they occupy 9-15, instead of 1-7. You can *Copy the Tracks* reuniting them so that they play properly.... thus freeing the Part 1-8 locations for more MultiPart recordings.

Those who think and say, Parts 9-16 is only for single Part programs are short changing themselves, because they have not explored the instrument... and they are not seeing the full picture.

Yes, some sounds are setup for “live” play, some are ideal for sequencing in a MIDI situation. Those setup for live play and live performing, are also ideal when recording or rending Audio. Audio Recording, is the next natural level of production. Yes, ”Seattle Sections” gives me 7 MIDI tracks, but in the Audio domain I have options about how I wish to document the Performance.. as a stereo Audio Track, or I could record each orchestra section to its own stereo Audio Track. I can separate the first violins, second violins each time their own stereo Track, or combine them to one stereo a Track.

I only mention this because different workflows for different purposes. If your goal is a final mix that needs to be submitted for say a TV jingle, you are not going to stay MIDI. But if you final goal is using the data for backing tracks to compliment your band onstage, then your final data and workflow will be entirely different and may need to remain MIDI.

Where most people get in trouble is when they think everyone is interested in doing what they do. Some folks never make use of the 32 audio bus outputs, others make their living doing serious studio work where have the ability to send the recording engineer separate outputs on the Kick, Snare, Hihats, and stereo pair for the Tom-Toms, a separate stereo pair for percussion, etc., all from a single MIDI drum Track.

So you have a wide range of workflows. Much like there is no instructional guide for an acoustic piano, or a recording console.. there can only be a basic guide to the functions.. much of how you apply these basic fundamentals is totally a creative process, and much of this you must work out for yourself.

Take your time, the articles already posted will apply to the MODX - operation is identical to the MONTAGE. And when there is a navigational difference, the article will have a separate paragraph for each Model.

Category Search, Performance construction, and navigation.. are the keys to the new Pattern function in the Performance Recorder.
Also, if you can formulate the question about what you are trying to accomplish (remember, different workflows will exist for different end goals), that is what this forum is for... tell us what you trying to accomplish, we’ll do our best to customize the answer for your use case.