Using note shift will avoid stretching. "Part Setting" -> "Pitch"

Thanks Jason.... Note Shift allows only 2 Octave Movement.... unless I'm missing your drift?

What about Zones? I've been reading about them, still not got my head around the whole Zones/MIDI thing yet.

Thinking aloud.... could I set up a Zone on the Bass Keys to target the high keys for the High Strings Part?... but leave the bass keys still playing the mini moog bass parts?

EDIT: Live... I'm pretty sure RW just played a Gm Left Hand and had some tech wizardry to make it play "the whole orchestra".

I am trying to get it so all notes above can be played on just 1 note - the G1.

On a per part basis, can you make it so that Pressing G1 on one Part1, will also play G5 on Part2?

In effect I want to Transpose the C5 to B5 Key Octave to be in the C1-B1 position on the keyboard - but ONLY for 1 Part. I will be using the C5-B5 Key positions to play another "instrument" i.e. Chimes, Part 4.

and

EDIT: Live... I'm pretty sure RW just played a Gm Left Hand and had some tech wizardry to make it play "the whole orchestra".

We are pretty sure it wasn’t done as described above (lol).

I’m not really sure how you intend to use this, but if it is a big hit that you need to create, perhaps a better tactic would be to build the sound, (no compromise) using all the assets at your disposal to build it (including both hands to play the sound), use up to eight Parts to build it, if need be; then record it as an Audio clip - fashion it into a Waveform that you can LOAD to the MODX; now you can just trigger the entire hit from “G1” (or whatever single Key you desire).

Making it a single stereo Element (using one note of polyphony, and when you hit it (just the one key) you get the entire sound including Effects.
Leaving the rest of the MODX to do whatever else you require.

Disclaimer: I’m not completely sure it would work for your situation, but when you are attempting to play a sampled instrument so far from its intended range, if you were building the program yourself, you would decide to put the original pitch closer to the physical key range that you intend to use. (You would do this because you are aware of the Physics of what happens when an audio file is played back at higher and higher speeds).

Now if you build your sounds completely out of a pure synthesis technology (analog synths, or FM synthesis) you will not fall to the same acoustical physics (munchkinization or chipmunking) that happens when you attempt to stretch samples beyond their original limits... they can go there but the sound, intelligibility and stuff like that suffer.

Important to know:
__ Coarse tuning plays the audio faster or slower
__ Note Shifting changes the physical location of the Key that triggers the sound (no additional strain on the audio)
__ Zone (maybe knowing this will save you a bunch of time) allows you to, like Note Shifting, change the Key that triggers the sound, without stretching the audio) but Zones are a Part parameter, meaning each note will require a Part.

Zones
When you look at the HOME screen, each Part has its numbered slot... when you activate the Zone Master function, each of the Part slots can be setup to additionally be a Zone. Being a Zone means, the Part now has a means to integrate external and internal devices into the same Performance. The MODX can transmit on 8 KBD CTRL Parts, 1-8, simultaneously. That means internally, and now with Zones, you can set that Controlled Part to be an external device. Make sense?

The external can have a similar set of privileges to every other MODX Part. That Zone, if located in a Part 1-8 can be designated as under linked KBD CTRL — this means your 8 KBD CTRL Parts can include Zones... a Zone can address either an internal or external device, or both. Your use case is to use its ability to give more than three additional octaves of Shifting!

In your case, you would need a Zone slot for each internal Pitch you’d want to sound.
G1 could trigger the string sound four octaves up, by Note Shifting the Part the maximum +24, activating the Zone, under the “Zone Settings” for that Part slot route the Zone internal (INT SW = ON) - you can ‘shift’ the Zone the additional distance, as needed.
The Zone can be Note Shifted an additional +/-3 Octaves, plus Transposed by +/-11 whole steps.

Use the Transpose (steps) to ‘tune’ the notes of the chord - recognize it would take a Part per note of your chord — once each String Part is Note Shifted the maximum +24, you can get the additional 2 octaves of Note Shift using the Zone settings.
Octave +2 and Transpose +0 to create G5 from pressing G1
Octave +2 and Transpose +3 to create Bb5
Octave +2 and Transpose -5 to create D5

Not very economical... and would leave you virtually no room for playing your right hand sound.

I recommend the other approach... if playing with samples/sampling is not your forte, take heart in that a single hit would be the easiest type to create (if that is what this is)
Building a “playable instrument” is at the deep end of the sampling pool. But if this is a one shot / sound effect type sound ... create the audio
Build a MODX Waveform. (You can make it sound spectacular).

Cubase can be used to record the Audio... make a 16 or 24-bit stereo Waveform
There are plenty of tutorial resources available for creating .Wav data... Steinberg YouTube Channel
Prepare the data for loading to the MODX as a New Waveform

Simple one shot/sound effect type audio sampling is fairly easy (no looping or fancy stuff), but if you need to create a more complex, playable instrument sounds, look into “Sample Robot”, the Melas “Waveform Editor” (if you get bit by the sampling bug, these are powerful tools for the more advanced stuff)

Anthony are you on Soundmondo? If so I can upload on to there.
Thanks to COVID in the UK my band can’t play and I have time on my hands when alone with the montage

I have the Gm Cm Dm chords and bass on the notes G0 to D1
To get the chords I copied the elements ‘within’ each part and then coarse tuned the duplicates to get the minor chord in the inversion above
I have done this for the layers of organ, string machine, analog pad and then added bass
The volumes are linked to the superknob so the chord can be faded in
Added Bonus: the lead is in the middle of the keys and the wine glasses are at the top

Thanks BM. What you suggest is probably a bit further down the path from where I am right now, but the "making your own samples/waveforms" tips have already got me thinking about possibilities for other PF songs.

Regards Note Shift, I got to a "close but no cigar" position. I dropped the Strings by 24, and raised the Bass by 12.
So I got it all playing on G2 - it works!!

FWIW... I wrote my first post from memory, and I stuffed up.

Now I am with MODX again, this is what it was originally (before any note or pitch shifting).
Key Board Limits set to separate the 2 parts.

Part 1 = Mini Three, Note Limit G1-D2 (Only G1 to D2 sound)
Part 2 = 3 Octave Strings, Note Limit Eb2-Gb1 (E0 to Gb1, and Eb2 to G6 sound).

Left Hand Notes
G0, G1

Right Hand Notes
G4, Bb4 and D5

After trying suggestions from J...

In Part 2 -
I copied element 1&2 to make Element 5&6, and Element 7&8. I pitch shifted (Coarse) 5&7 up a minor 3rd, and 6&8 up a 5th.... Sounds great on G4 (1 finger chord). Sounds Garbage on G0. I need to rethink the Strings sub-octave Bass... maybe a different part, or add "strings elements" to the Moog Bass.

I did something similar copying elements of the "Mini Three". The 2nd set of elements I changed coarse tuning by subtracting 12. This left one element with -24. That element started beating around low C so I limited the range (element range of just that one element) from C#1-G8 which stopped the problem. Note shift doesn't help versus coarse tuning (stretching) since even the original non-stretched sound would start beating the same way in the lowest octave. Cutting this off of the lowest element of Mini Three acts like foldback on an organ.

BTW: I could have used octave pitch effects here (probably insertion for the bass) - but I wanted more granular control of the lowest octave bass note that I could achieve with element keyboard ranges. Something I couldn't have done with a -12 pitch effect.

Then I did the same as you did with the strings - sort of. Just took one Part of "3 Octave Strings" and note shifted them +24. To create the minor 3rd root position triad - I didn't add anything else. I used the "Pitch" effect instead. I could have used this as an insertion effect - but I elected to leave the insertion effects alone and instead used the system effects. I changed the Variation effect only from what it was to "Pitch Change". I took "Mini Three" out of sending to variation - you should do this to any other Part as well except strings. And the string part the Pitch effect allows for 2 different pitches. I chose pitch 1 to be +3 (semitones, or a minor 3rd) and 2nd pitch to be +7 (5th). I adjusted the delay for each pitch to minimum and panned it all center. Although you can pan these how you want. I also didn't mind the default detuning - but I canceled out the detuning (+0 for both pitches). This is all pretty much to taste.

That's one way to conserve polyphony. Sounded OK to me but I wasn't comparing against any reference (the PF recording).

Also - adjust the Var send for the string part so you get the right balance of root vs. m3+5. I also adjusted Variation return.

Just an idea.

Or you may prefer not using effects as you have last constructed using element copies for the m3 and 5th for the strings. Or, if you like the effects for pitch shifted strings - you may think the insertion effect is a better candidate. This is juggling limited resources and choosing which effect to trade out and trade in. It's all a part of the fun of a synth.

Also, if you need something other than a m3 chord unfortunately the pitch shift effect doesn't let you modulate the pitch offsets inside the effect. What you can do, however, is modulate the output level of the m3 so you can take out the m3 and only have root + 5th which works for "all" basic triads except augmented/diminished. I tied the Var output level of the m3 pitch to superknob so I could roll off the m3 if I wanted to. You mentioned all the chords are minor - so maybe it doesn't matter.

If you used insertion effects for the "Pitch Change" effect, you'd have more choices for modulation sources. Like maybe an A.SW(1 or 2) to cut off that m3 in the strings.

It's all a part of the fun of a synth.

Exactly. After playing guitar all these years, Synth is like being given the keys to a Ferrari.