Only with local control off does the montage arps play back properly thats cool but with local control off the screen change buttons don't work .

What "screen change buttons" don't work?

Bad Mister wrote:

Only with local control off does the montage arps play back properly thats cool but with local control off the screen change buttons don't work .

What "screen change buttons" don't work?

Whoops sorry I meant the blue Scene buttons 1-8

Glad you got your problem fixed but I'm left wondering how to fix this problem if I run into it. Is the number of key setting a configuration parameter in Cubase? If so how do I find the setting and if not where was just changed?

Please make a note of this: When properly configured to record to your DAW, the Scene buttons, the Super Knob, and all other functions are supposed to be working, otherwise you have not setup properly and need to review your settings.

If you are recording multiple MIDI channels simultaneously to Cubase remember the following settings:
If the Performance is normal play only (no arpeggios) use the "MIDI Rec on DAW" Quick Setup
If the Performance includes Arpeggios, use the "Arp Rec on DAW" Quick Setup
In both cases create one MIDI Track in Cubase with the OUT Channel set to "Any" so MIDI data arriving from the Montage e hoes back on the correct channels... the channels the data came in on.

Your MIDI Track in Cubase is receiving MIDI from Montage on Port 1, MIDI OUT should also be Montage Port 1, and the Channel should be "Any"

If you are using arpeggios, make sure Cubase is sending MIDI CLOCK OUT to Montage on Port 1
Go to TRANSPORT on the Cubase menu bar, select "PROJECT SYNCHRONIZATION SETTINGS..." > MIDI CLOCK OUT DESTINATION > check Montage-1

Scene events (Sysex), Super Knob (Sysex or cc) data are transmitted on the basic channel of the Montage, channel 1. If Channel 1 data is not moving back and forth your Scene buttons and Super knob will not animate. Take that as indication you have a routing issue.

Jason wrote:

Glad you got your problem fixed but I'm left wondering how to fix this problem if I run into it. Is the number of key setting a configuration parameter in Cubase? If so how do I find the setting and if not where was just changed?

Yes J theres a setting in Cubase that allows you to move the chord pads down several octaves .
On the side of the chord pads is a "e" icon that shows the settings menu and there under "remote control - pad control-pad control range" .
From there you can adjust to fit the size of the keyboard your using .

My problem was I had it set for my Montage 8 which has huge real-estate to set up so when I use that same setting for my New Montage 6 it was all out of wack
because the octave range is shorter but you can adjust it with octave transpose button and set to your liking .

I hope Yamaha continues to develop this Montage Cubase combo , I was against it at 1st coming from the Motif XF with sequencer but I notice as I get better as a musician and engineer I realize this is one amazing combination .

Thanks J for all your contribution here and to Sir Bad Mister you already know Respect

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Strange that setting a key range would make much of a difference given the Montage 8 only has 88 keys while the tone generator, under MIDI control, can turn on/off up to 128 unique notes (0-127). All three keyboards (Montage 6, Montage 7, Montage 8) share this feature and the only difference is how many white and black keys you can access at one time without having to press the octave key to access more range above or below the range of the physical keys.

Cubase, tied to Montage via MIDI for this chord feature, would seemingly be unaffected by the keyboard "length" (for playing notes of the ARP) since Cubase can address all 128 notes for any keyboard type.

I do not have direct experience with this feature - so maybe there's direct keyboard input involved here - but it's difficult to see how keyboard range would make a feature fail or pass unless the arpeggio's key range to trigger the ARP was located outside of the physical key range - and this is the problem. This would be an issue of ARP range more than anything else - and you can setup "non-optimal" ARP ranges without Cubase.

Even so, there are situations when you actually want the notes to be outside the playable range of the keyboard. In the past, with a 61 key keyboard, I used the range of the keyboard outside the default key range to switch to a different split. I had to press octave + several times to move the, then "voice", into the playable range of the keyboard. If I had an ARP associated with that voice, I would also place the ARP range outside of the normal / default range of the keyboard.

Jason wrote:

Even so, there are situations when you actually want the notes to be outside the playable range of the keyboard. In the past, with a 61 key keyboard, I used the range of the keyboard outside the default key range to switch to a different split. I had to press octave + several times to move the, then "voice", into the playable range of the keyboard. If I had an ARP associated with that voice, I would also place the ARP range outside of the normal / default range of the keyboard.

Exactly ! wow you hit it right on . It was all about the arp range for me .
Yes my problem was with the arps not playing properly because I was playing in a range that the arp needed for notes so lowering the octave gave me the space to let the arp play freely .
With the 88 you don't have to lower the octave just move the chords to the 1st octave .

Does this mean that a montage-6 may not allow you to hear some of the factory patches as fully intended because some ARPS or other are not being triggered because the 61 note version can't access the proper keys without some transposition?

No, there is no difference between a 61, 76 or 88 key version. The issue with setting Note Limit regions is you must clearly understand the difference between the Part Note Limits (which affect what notes will make sound), versus the Arp Note Limits (which determine which notes provide instructions to the Arpeggiators. They are often set to different ranges.

Even with no difference - I think the follow-up question is more around if the range that exists (that is the same range for all 3 keybeds) is so narrow that it "alienates" a 61 or 76 note keybed. It's a fair question - here was the best I could speculate:

It's very unlikely that presets would use such a narrow region as to make triggering more difficult on smaller boards.

It would be easier to answer definitively if there were a handful of presets - but there are nearly 2000. A manual of presets which documented, along with all the controls and what they do (ribbon, mod, assignable knobs, superknob, assign1/2, etc) - the key range of each part, element, and arp may be faster/easier than other methods (going one by one through presets to look it up). Software could parse a bulk dump (not X7B, but a dump of each performance) or user file (X7U) to answer this if someone were to write such a thing. I'm sure Yamaha gave their preset programmers a checklist which included consideration for the 61-note keybed as the target control surface in order to avoid the situation you are concerned about.

Not ARPs - but you do know that drum voice key based performances have 73 notes and therefore do not fit entirely within the default key range of a 61 note keybed in order to play all individual notes without using transpose/octave. This goes back many generations/decades and is part of the value-add for choosing the larger keybeds (trading off cost, weight, and stage/studio footprint size).

Thank you Bad Mister and Jason