Assuming you have at least firmware 1.10 installed, you could use a modified workflow where you setup the envelopes on one element - then copy ("replicate") that element to other locations - "cleaning up" any specifics which would need to change for the other elements. There are diminishing returns if the number of other items which need to change is greater than the number of envelope settings you were able to "get out of" changing by doing the copy operation.

There are certainly lots of areas where the GUI could be improved to accommodate programming - so I wouldn't mind more options. Sometimes, there is some can kicking down the road with some references that some software editor may provide more options. Not sure this is in the works.

Hi Jason. Thanks for your help. I had indeed considered that since I have done this on the Motif XF many times. The Motif at least had the ability to group element synth engine pages into groups of four which made things ONLY Just a tad easier but, over-all AWM2 has never been worked-out very well. Is it possible that we could ask for the type of mode that I refer to? There could be a parameter for linking parallel operations across two or more elements. it could be relative or absolute. Are you aware of this feature which has already been available even with synths that are of 90's vintage?
Many of Yamaha's familiar employees brag regarding this "Scuba Diving" invitation, which I have to say requires a few modernized feature.
Montage has some distinguished faculties so, why not improve the fundamental programming navigation to reflect this new keyboard of Yamaha. Copying sections of modules such as FILT, AMP, and PITCH back and forth as we had considered is very compromised.
One thing I'll say is that Yamaha CAN and SHOULD take this opportunity to tidy-up and pull together the fundamental programming of a synth that they brag about as "going deep" Really? One would have to keep coming up for air as this type of tedious navigation is unsophisticated.

Having only owned very simple "stage" pianos of Roland (RD-300 circa 1980), non-programmable instruments (Rhodes, Hammond), and only having used - in any detail - Yamaha products (EX5R, MO6, S90XS, Montage) - I'm more familiar with "the Yamaha way" than anything else. The underlying components have received some evolutionary changes - but is heavily leveraged from past "core" logic. The interface also has followed suit in providing more of an evolutionary experience. The MO6 has much in common with the Montage in terms of the programming experience.

Regardless of my ownership/programming history, I do follow what you're asking for and agree it'd be nice to have some batch automation.

The last Motif offering may have offered some helpers. Even Montage has a few "screens" of redundant settings (settings that can be found elsewhere in the GUI) more in table form for quicker multi-element editing (what's displayed in the "All" screens). This is good. It looks like good ideas are "dabbled with" and "sprinkled" here and there - possibly to "pilot" different ways to provide an interface to the programmer. When there is a good idea (or what I think is one) - I find that the idea does not go "all out" - since the idea is not applied everywhere where I would think such an idea would make sense. I'm keeping things a bit vague because I'm both complementing the capacity for developing sensible programming controls while also being critical of a willingness to depart much from past paradigms. More philosophical than anything else. Philosophy and company culture are big boats and difficult to steer to a different direction.

The touch screen in a Yamaha Motif (or "baby Motif" in terms of some marketing bullets) is like the first year a car introduces a new engine or transmission. It's the heart of the GUI since you interface with it - but it's basically the first foray into this kind of interface for this class of product. So there's a learning curve here - and maybe Montage is more of an inflection point than the best "landing pad". Hopefully the next gen will learn how to maximize the potential and Yamaha can build on what was started.

As far as asking - I think we can ask for the moon. There are limits in many dimensions. The architecture of the software may "lock out" certain requests because the changes are too disruptive to receive adequate testing to make Montage's support timeline. It's hard to know what falls into this category - that's what asking is for (vs. demanding). There may be hardware limitations (memory, registers, etc.). There may be other constraints such as design goals internal to the project which your request "violates" or even - there may be hurdles if your idea is not "accepted" as carrying enough weight - judged on some metrics you may or may not learn (not "needed" widely enough, not accomplishing a goal deemed as "musical", etc). But the potential "holes" in a request shouldn't cause the request from stepping up to the plate.

If for nothing else - the request provides Yamaha direct feedback of how customers use their products and what would make the experience better. In aggregate, this does steer ships.

I want to, for example, edit the AMP ENVs of all active elements simultaneously. I'm hoping at least one of the following three types (found in many other synth engines) is available. One type is available in the Motif XF which, is to at least have one page to address, I think, four at-a-time on a page and the remaining four element's AMP ENVs on the second page. I haven't found this on Montage. The other types would be Relative, where each parameter is locked or scaled up or down but keeps the same ratios across all like element parameter fields and the other is Absolute where as soon as you move one entry the parameters across other like element fields become identical and then scale up/down simultaneously.
I've only been able to find just one elements page at a time and this is very poor for programming if indeed this is the case. Please advise .

In the Motif XF you can *view* 4 Elements on one screen and the other 4 Elements on another but those screens are still about Editing each Envelope separately. Is that what you mean? Or do we take you literally and do you really mean simultaneously?

Either way this is Montage, so we'll concentrate on how things work here, now.

In the AWM2 engine each normal Element has an individually programmable (8 segment) Amplitude Envelope Generator. Each normal Part can have a maximum of 8 Elements. Each drum Part can have a maximum of 73 Elements.

_When you select the "Part" you can simultaneously offset the Attack, Decay, Sustain and Release of all the Element AEGs, by adding (+) or subtracting (-) values from the individual AEG values.

In the FM-X engine each Operator includes is own individually programmable (9 segment) AEG. Each FM-X Part can have a maximum of 8 Operators.

_When you select an FM-X "Part" you can simultaneously offset the Attack, Decay, Sustain and Release of the FM-X sound by adding/subtracting values and shaping the overall contour.

For both AWM2 and FM-X: _When you select "Common" you can simultaneously offset the ADSR of all 16 Parts, again by adding/subtracting to/from the individual AEG values. This is handled by the dedicated front panel Quick Edit knobs.

When you use the QUICK EDIT knobs (upper left front panel) you have direct access to either all Parts together (Common) or you can select a Part and have direct control of the ADSR of all the Part's AEG. To view these parameters in your screen:
From the HOME screen: touch "Motion Control" > "Quick Edit"
These offsets can be stored immediately to the Performance. This is very similar to the XF.

Every Part, whether AWM2 or FM-X, can be programmed such that you have direct control of an AEG parameter via a Motion Sequence, or via an Assignable Knob (which can then be linked to the Super Knob). You can select individual Element/Operators or group them as you may require. This is available because among the over 200 potential Control Destinations are the individual parameters of the Element or Operators Amplitude Envelope. And with 16 Destinations per Part you can opt to Control just about any portion of any component's AEG -Element and/or Operator Switches allow you to Group them or isolate them. The direct, and shape of the Control is entirely configurable.

So both overall (quick access) shaping of the Envelope and surgical shaping of the Envelopes is possible on Montage. There ate plenty of examples in the factory Performance set. In particular the Bosendorfer "Imperial Grand Piano" has both AEG Attack and Release assigned to the MW. The controllers recreate repositioning the listener from sitting at the instrument, to being in the last row of an impossibly large space. Part of the illusion is to slow the Attack and Release portions of the AEG, to reduce the sharp focus and support the illusion of distance generated by the Super Knobs control over Reverb Time, and Send Levels.