Shows overdub here:
https://www.youtube.com/watch?v=ku39jiK7x8Y

Additional ...
https://www.youtube.com/watch?v=x9kyWVo4UPM

Different presentation - also demonstrates overdub
https://www.youtube.com/watch?v=FFDil5y5SI0

[quotePost id=115200]Hi everyone, it's my first time asking something in the forum, I hope someone can help me.

I created two parts using the FM_X engine, I recorded in midi a first time (not in arpeggio mode), and when I tried to change the record type, to record a second time, I realized that it was only possible to record in replace mode and that the other modalities did not appear.

Would anyone be kind enough to help me solve my problem?

P.S. my Montage 8 is already updated to the latest version.

Best regards and hopefully good.
[/quotePost]It helps to understand that when you press the [RECORD] button, all Tracks go into record. In order for data to be documented to the Performance Recorder a MONTAGE Part must occupy the slot. Each Performance Part has its own dedicated Track (16). If you are in communication with a Part, whatever you do to that Part is recorded to its Track.

If you have a two Part Performance, where you are playing both Parts, simultaneously, then two Tracks will be recorded.
In general, when you engage the keyboard what you hear is what gets recorded.

The internal Performance Recorder has three functions: “MIDI” Song (linear record), “Audio” (direct to USB stick) and “Pattern” (loop-based MIDI record). It is designed to capture your performing on the MONTAGE.

Navigation Tip:
To access the Performance Recorder feature from the [PERFORMANCE (HOME)] screen you can either touch “Play/Rec” in the screen or you can press the front panel [•] Record button.

__ Use the touch screen “Play/Rec” approach when you want to return to the current Sequencer data associated with this Performance, if any.
__ Use the hardware [•] Record button approach when you want to initiate a new recording for the current Performance.
__ Alternatively, you could hit the [>] Play button – this will also take you to the Play/Rec Function and select the last accessed item in the Recorder.

Recommended: Give your MIDI Song or Pattern Sequence a Name as soon as possible. The fact that it is “Song 012” or “Pattern 005”, is immediately forgotten -
…without a name I run into many users who “lose” their data… not realizing they requested a new session, by accident. The name helps you find your data if you mistakenly hit a wrong button.

Only hit the Record button when on the Sequencer screen and you mean to enter Record… doing so from the HOME screen increments you to the NEXT EMPTY Sequencer number. It makes sense to be on the Sequencer screen when working and overdubbing.

In order to enter the Performance Recorder: From the [PERFORMANCE (HOME)] screen, tap “Play/Rec” > select the type of recording you wish to do.

Let’s review the linear MIDI Song Record:
If you wish to add additional Note data, you must do so by selecting “Rec Type” = Overdub.
If you wish redo what you have recorded, you would do so by selecting “Rec Type” = Replace.
If you wish to selectively replace specific measures of your original recording you would select “Rec Type” = Punch In/Out.
(All Tracks go into Record)

If you wanted to add a different musical part to your original two-Part recording, you would need to be in OVERDUB record, and make sure the new Part is the only one set to respond to your Key presses. For example, if your original two FM-X Parts create a chordal backdrop, and you wish to add a bass line, you would add a Bass Part to Part 3, and configure your MONTAGE so that when you press the keys you are playing just the bass Part in Part 3. You do so by selecting Part 3 — Since Parts 1 and 2 are already documented to playback via their MIDI Track, you must deactivate KBD CTRL for those Parts; What you hear when you play the keys is what will be recorded.

Once you have recalled Recorder Type you desire, you would hit the [RECORD] button, and set “Rec Type” = Overdub
Any additional recording (this means any recording beyond the original recording) must be Overdubbed… remember all Tracks go into Record, and every Part has its own Track.

Therefore, on your original pass you recorded Parts 1 and 2 to their respective MONTAGE Tracks, they both sounded simultaneously because you linked them using KBD CTRL. Once documented to the MIDI Song, you can deactivate KBD CTRL for those Parts… unless you wish ‘replace’ what is recorded, or unless you wish to add to it with ‘overdub’ or selectively replace specific measures with ‘punch in/out’.

If you only wish to add a single instrument, make sure it is the only one able to respond to your key presses, and make sure you select “Rec Type” = Overdub.

One example of recording to the linear MIDI Song portion of the Performance Recorder is where you are interacting with multiple MONTAGE Parts simultaneously, you might be using the Performance Scenes to automate when to recall specific Drum Arps, Guitar Arps, Bass Arps mixed with your playing various keyboard and synth sounds. You can move between sounding Parts using the Super Knob/Assign Knobs, etc. Every thing you do will be documented to the sequencer either exactly as you performed it or so that the MONTAGE can recreate it in real-time. Performance Scenes can determine which Parts you transmitting to as you perform, it can change the mix volumes, effect send amounts, even determine which Parts are Muted and unMuted.

You will notice your [SCENE] button presses are documented allowing you to dynamically change what is happening to your Performance.

You have the option of transferring the ARP data to the Sequence data as MIDI events (“Arp Rec” = On) or leaving the data as real-time triggerable data (“Arp Rec” = Off)… (you do not have to transfer the Arp data to Track events — this is useful when you have Arp Phrases synchronizing with Motion Sequences). Motion Sequences are always applied (in real-time) to the resulting audio output and are never (ever) recorded as events to the Sequencer. Just FYI: There are times when you want to leave your Arpeggio Phrases as real-time items and you record only the “trigger notes”, not the Arpeggiator generated Phrase.

In the linear MIDI Song, you can play for as long as you desire… later you can Edit and capture just the portions you like and build those into a final composition. You can surgically move regions of data for re-recording, or editing from the linear MIDI Song to a Pattern Sequencer Scene. Data can be moved to the Pattern Sequencer, redone and then placed back into the linear structure, if you desire. Or rearranged into eight looping Patterns that can be from 1 to 256 measures, each.

Let’s review the Loop Record feature “Pattern”
The advantage of working out ideas in a loop-based recording sequencer are many. It allows you to breakdown a long extended MIDI Song, into more manageable musical regions for convenience. You might want to use a Verse, Verse, Chorus, Verse (AABA) compositional format. You might want to break down a long linear MIDI Song into smaller regions to strategically place drum fills and other build components into your creation. Being able to “Get Phrase” and “Put Phrase” data from Song to Pattern and Pattern to Song, makes these two MIDI sequencer functions a formidable compositional tool.

Say you created a ten minute ‘jam’ by recording into a linear MIDI Song, and you decide the combination of things you were doing at measure 145:1:000 through 153:1:000 was the perfect 8 measure groove for the first and third Verses… Pattern Jobs let you go into the linear MIDI Song structure and grab (“Get Phrase”) just those 8 measures and make that Pattern Scene (Verse 1). Perhaps, the 32-bar solo you took starting at measure 169 is worthy of keeping, you can grab just that Track or all Tracks at that point and make Pattern Scene from that data. You can define regions of measures up to 256 maximum per Pattern Scene.

Other methods allow you to build your composition completely in the Pattern Sequencer — you must tell it the Time Signature and Record Length of each SCENE prior to Record. Very different from the linear MIDI Song, where you play as long as you like. Also the Tempo of Pattern Sequencer Scenes are fixed such that they all share the same Tempo.

Once you begin using these two portions of MIDI Recording, you will see how they can work together to create a finished composition. When you have Arpeggios involved in “playing” some of the Parts, the Pattern Sequencer will automatically transfer the assigned Arp data to the Pattern sequencer Tracks as MIDI events, if/when you place it in Record.

Pattern Scenes are musical regions of your composition, that can be linked to playback in any order (Chained). Each can be set to play as many times and for as many measures as you require. A Pattern Chain can be converted into a linear MIDI Song — where you record Tempo changes, overdub additional linear musical parts, overdub linear automation commands. Both the linear and looping MIDI recorders can “overdub” controller data. Engaging a controller while in Overdub record allows you to rewrite just the engaged controller information — it works like automation updating.

Takeaways:
Each of the 16 Parts has a dedicated MIDI Track.
If you are in communication with a Part, the data will be recorded to its own Track.
All Tracks go into Record when Record is engaged.
The first pass is the original recording, all additional recording is an Overdub.
Recording Arpeggio data to a MIDI Song Track is optional (your choice)
Arpeggios are transferred to Pattern Sequencer Tracks, automatically, when Record is engaged. Use “Key On Start” = On and “Loop” = Off when transferring Arpeggio Phrases to the Pattern Sequencer — this guarantees accuracy start and end points.