There are octave + / - buttons on Montage for shifting octaves from the perspective of what the physical keys map to. I believe your request is to add some parameter which allows the same function as note shift, but does so in octave increments. Although sometimes I have to get creative with note shift (use of octave button) - there is a facility to further extend note shift using the elements:

https://yamahasynth.com/forum/part-trasposition-more-than-24

Some of the tricks I use with note shift and using the octave key:

https://www.yamahasynth.com/forum/zone-master-octave-transpose-and-midi-single-mode-issue

So your min/max for AWM2 when combining with element coarse tuning is -72 minimum and +72 maximum.

This is the AWM2 equivalent to the FM-X suggestion for extending shift range.

When combined with the external octave trick, AWM2 can go from minimum window of [-96 to +48] or maximum window of [-48 to +96] still allowing other parts to stay at non-transposed.

Dileepa wrote:

Hi there.
01. I think it is important to have an octave shift feature. It saves the note shifting values.
02. There is no sample wave edit in Montage. We have to go back to the computer to edit it and we need to import it again. (Other major brands has it).
03. Part level lock function is important too. So that we can increase or decrease the levels in one ratio.
Thanks

Thanks for your thoughts on Montage.

There already are Octave -/+ Transpose buttons located on the front panel.
When dealing with sampled instruments (AWM2) you are dealing with digital audio recordings of actual instrument and natural sounds. There is a limit to just how far you can stretch the pitch of these recordings and still consider them musically useful. This is a judgement made by the designers (subjective to be sure, but just because you think it would be cool to have a bassoon that played in the range of a piccolo, doesn't mean samples is the best way to go about doing this - it doesn't make it a good idea).
The FM-X engine can deal with the tuning of created sounds in a much more organic way.

Usually musicians looking for Octave change it is to place the normal sound of an instrument in a non-traditional region of the keyboard. For example, you might still want the bassoon to sound in its normally tenor to baritone range but would like to map it to the right hand region of the keyboard... a purely logistical change in location.

Many users mixup the Transpose function with the Note Shift function. Probably they just figure they accomplish the same thing so they they don't always appreciate the difference. The terms are used in a specific way within the Yamaha Synth engine:
TRANSPOSE - is a function of the keyboard transmitting
NOTE SHIFT - is a function of the tone generator receiving

When you press the Key designated as middle C (C3 on a Yamaha), it generates a MIDI Note-on event for Note#60.
If you Transpose the Keyboard you change the event that is generated by that Key. If you Transpose the Keyboard +1 Octave, pressing middle C (the physical Key) will create a Note-on event C4 Note#72

If, on the other hand, you Note Shift the receiving Part +12 semitones, instead, when you press middle C you change the pitch of the result (it sounds like C4) but the Note-on event is still Note#60

Sure, they both sound one Octave higher, the significance of one being a function of transmitting, and the other being a function of receiving has implications Out via MIDI. TRANSPOSE affects all receiving devices. NOTE SHIFT only affects the local Part you edit.

Add to the discussion, each instrument can be tuned... both Coarse Tuning and Fine Tuning parameters exist within the instrument's construction... each (AWM2) Element and its Waveform can be tuned. Again this would be local to the Part and would not affect anything Out via MIDI. Physical laws comes into play when you attempt to "stretch" a sample too far from its intended range... when Yamaha sampled the violin section, there are no notes below G2 on the violins...because there are no notes below G2 to sample. In many cases a composite string section waveform takes over, in some Performances the Sections are true to the instrument ranges.

If you attempt to meet your requirements by Tuning the instrument, the may be sonic penalties to pay, as the laws of physics and munchkinization take over.

What many musicians confuse when dealing with samples, is the limits. Samples are not completely liquid and moldable. It is best to think of samples as you would a guitar string... when you purchase a D string, it is gauged to best reproduce tones in and around that pitch on a standard tuned guitar. You can only use it up or down but so far (above or below) it's target pitch... try to take up too far, the string will pop, try to tune it down too far, it doesn't support a steady pitch. The D string (like an AWM2 sample) has a limited range of practical usefulness.

The Montage, I'm sure you know by now, is not a sampler. Motif-series included an Integrated Sampler, Montage does not, its focus is elsewhere. Sample editing, for those who wish to do that, can be done on a computer. We think it is the best tool for that job, and when it comes to performing the music made with that sound, we feel the Montage is the best tool for that job. When we say something like "most musicians" are using computers for sequencing, or for creating/editing samples, we recognize that does exclude some, and does include everyone. But reality is, the job of manipulating and editing samples is handled so much more efficiently and elegantly on a computer... why wouldn't you?

The item about Part lock(?) sounds like you have a question about how to fade multiple Parts up or down in volume simultaneously - if that is the case, there already exist several methods to do this.... let us know a bit more about what you have in mind.

Thanks a lot for the reply.