Bad Mister,

I do appreciate your reply and continuing guidance. I had tried to add Instruments to the already existing Performance based on the instructions in your Reply #7 above, which I now understand was specific to New Performances only. Your Reply #10 was posted later, and clarified the difference between setting up the Parts of a new vs. already existing Performance. Lesson learned.

I do have a few follow-up questions as I still can't locate the original Performance I had set up in the Montage. Please note that before posting questions here, I typically do searches of the 1000+ page manual, Forum searches, Google searches, YouTube searches, etc. As I said, I appreciate the information available through this Forum, and hope the answers posted might help some other musicians new to Montage/Cubase. Here goes:

1) Is there a way to pull up Performances I have created and stored on the Montage that are not stored in the Library? And am I supposed to be storing them in the Library upon creation vs just storing them?

2) Since my originally created X7B Performance file seems to have been overwritten in Montage Connect, turning on the Montage, Cubase and Montage now lands me in a one Instrument Performance. How do I either retrieve the originally stored Performance file or, if I start over and recreate the Performance again on the Montage, how do I then get that stored into Montage Connect?

3) What should be the ongoing order of turning on or engaging the Montage, Cubase and Montage Connect? Is it A) Plug in USB; B) Turn on Montage; C) Open Montage Connect (either through Cubase or by clicking on the Montage Connect icon on my Taskbar)? D) Click on Load? Is this necessary if I have AutoSave On? And turning off, after saving my Cubase Project, do I have to Save in Montage Connect before closing that program, or do I not have to do that if I AutoSave is on? Or is the order just described incorrect?

Sorry for so many questions, but I'm not yet comprehending the flow. I don't mind doing research or being referred to some reference material so I don't have to ask for so much detail. I would also not mind purchasing online or video courses to learn this stuff faster.

Thanks again.

1) Is there a way to pull up Performances I have created and stored on the Montage that are not stored in the Library? And am I supposed to be storing them in the Library upon creation vs just storing them?

Press [CATEGORY SEARCH]. You can change the "Bank" filter to "User" which will only show Performances you have [STORE]'d (which always go to the User bank). Filtering in this manner may make things easier - but so would saving your Performances with useful names you can easily find. Say every Performance you create starts with your initials "DCR" (I'm just making this up). Then you could search for "DCR" and only your creations would come up. OR you could mark all of your creations with the "Favorites" option - and then filter by only favorites. This is another way. It's up to you. Most importantly, if you start with a Preset Performance and modify it - don't save it with the default name (which is the same name). Change it to something meaningful/customized/easy to find.

I don't use Connect - so I won't chime in on those.

1) Is there a way to pull up Performances I have created and stored on the Montage that are not stored in the Library? And am I supposed to be storing them in the Library upon creation vs just storing them?

In order to pull up (recall) a Performance that you have created, that Performance must be stored.
This means you must have pressed [STORED] > selected “Create New Performance” or “Overwrite current Performance” — this action will write the data to an internal USER Bank location. Just before it writes the data to the User Bank you are given a chance to name/rename the Performance (highly recommended).

If you do not give your edited data a name, it will be stored with the current name (and you will not be able to identify it as easily because you now have two Performances with the same name).

The MONTAGE can hold as many as 640 User Performances in the internal memory.
You can view the Performances that currently occupy the internal USER memory by pressing [UTILITY] > “Contents” > “Data Utility”
Here you can tap the folder named “Performance” - to review and manage your User Performances.
There are User Bank Folders for your User Arps, your User Live Sets, your User Motion Sequences, your User Waveforms.

Important thing to know: Data in the current User Bank is overwritten when you load the next .X7U File. One User Bank load replaces completely the previous User Bank data. This is why you SAVE a file.
The data in your USER bank can be coverted to a Library File, by setting “Content Type” = save as “Library File” — this action will write a special file type.X7L that can be later loaded into the MONTAGE’s Flash Memory (8 Libraries).

An alternate method to store a Performance is to capture a MIDI Bulk dump using MONTAGE CONNECT (.X7B). But please notice not of all the User data is stored to MONTAGE CONNECT. The MONTAGE CONNECT file assumes the User Arps, User Live Sets, User Motion Sequences, and User Waveforms etc., are already in their respective locations... it restores everything else involving the Performance settings.

You do not have to create a Library until you have enough data to warrant it.
The User Bank is converted into a Library File. It is the .X7L file that includes the instructions on “burning” the data to Flash and the information to create the Search catalog.

This means it can contain as many as
640 Performances
8 User Live Set Banks (256 slots each)
2048 Waveforms
256 Arpeggios
256 Motion Sequences
32 Curves
8 MicroTunings

When data is installed to one of the 8 available Library slots, it will be as permanently accessible as the Factory Preset data.
It cannot be overwritten by Loading a file (exception is the BACKUP File .X7A - which overwrites everything).

2) Since my originally created X7B Performance file seems to have been overwritten in Montage Connect, turning on the Montage, Cubase and Montage now lands me in a one Instrument Performance. How do I either retrieve the originally stored Performance file or, if I start over and recreate the Performance again on the Montage, how do I then get that stored into Montage Connect?

When running MONTAGE CONNECT inside of Cubase, it can capture a bulk of your current Performance which it bundles with the Cubase CPR File.
If you manually overwrite the data with the wrong Performance - you must recreate your Performance.

I (again) highly recommend that you activate “Auto Sync” = On in the lower right corner of the program. This will SAVE and RESTORE your Performance, automatically (removing the possibility of you manually overwriting the data by mistake).

When Auto Sync = On, you do not have to mess with MONTAGE CONNECT... It can run without you messing with it (unless you wish to use one of its other features). When used as a plug-in inside Cubase, Cubase manages the folder to keep your Performances used with a Cubase Project. If/when you run MONTAGE CONNECT as a stand-alone program (without Cubase) you direct the data to any folder yo7 desire on your computer.

3) What should be the ongoing order of turning on or engaging the Montage, Cubase and Montage Connect?

Make all cable connections first.
Turn the MONTAGE On
Power up the computer
Launch Cubase
Finally launch MONTAGE CONNECT
If, as recommended, and you have “Auto Sync” = On when you open a Cubase Project, it will automatically launch MONTAGE CONNECT which will automatically bulk your Performance back to the MONTAGE.

If you are creating a New Project.
Please see the following articles:
MONTAGE CONNECT Default Performance
What is MONTAGE CONNECT

Thanks for that information. I can see that I successfully stored the Performance I recreated today. I can manage it in the Data Utility, but can't figure how to load it onto the Montage and then to Sync it with Montage Connect to use with my current Cubase Project. Please advise...

Looks like Jason's tip will enable me to search for and locate performances using the Category Search function filtering by User. But I'm still not sure how to, once it's loaded, transfer it to Cubase via Montage Connect per my question above...

Please see my (now completed) post above #17

Based on Reply #17, I was successful in saving a Performance on the Montage, then transferring it into Cubase with Montage Connect. The new Performance I created was to clone the instruments I had chosen for the original Performance that I had not understood I needed to save. I noticed however, that this time around the Soprano Sax part I had used (I believe it was the Mellow Soprano the first time around), does not sound as authentic as before (and this is the case regardless of whether Cubase is involved or not). In other words, previously, the Soprano Sax Part had a relatively convincing, breathy Sax sound - which we all know is difficult to simulate on a keyboard. Now, however, it sounds more artificial. I'm listening with the same headphones (Yamaha PAC HPH-MT7 Monitoring Headphones) and I am certain the sound of the instrument is different. Rebooting the Montage makes no difference.

I haven't changed any sound settings that I'm aware of - I haven't started to experiment with tweaking Parts (layering, adding effects, etc.), although I want to work on that next. So, I'm wondering:

1) Is there a specific method to recapture the original sound of a Part; and
2) Which processing techniques might help in making Soprano Sax - and other Sax sounds on the Montage, for that matter, more authentic?

Thanks.

The new Performance I created was to clone the instruments I had chosen for the original Performance that I had not understood I needed to save. I noticed however, that this time around the Soprano Sax part I had used (I believe it was the Mellow Soprano the first time around), does not sound as authentic as before (and this is the case regardless of whether Cubase is involved or not). In other words, previously, the Soprano Sax Part had a relatively convincing, breathy Sax sound - which we all know is difficult to simulate on a keyboard. Now, however, it sounds more artificial.

The sound you hear initially, should match the sound you hear when playing back the recording (be that recording MIDI or Audio). Not just close, I’m talking, exactly. In theory, you should not be able to distinguish between what you heard when you were playing it versus when you play it back.

It is not clear if you are talking about recording to Cubase or just programming your Performance. But in either case, knowing what you are monitoring and how you assemble your Performance, will be very important.

Sonic differences can occur in several ways:
Monitoring issue: Either you were monitoring yourself improperly during record (a common mistake), or you have isolated Parts to separate audio destinations and are now monitoring them without certain System Effects.

Say you setup to record MIDI data to Cubase. If both pathways are active, that is, Local Control = On and you are echoing back the through a MIDI Track to the Tone Generator, you will hear a double signal. Monitoring like this will give a thicker, swirling type sound — it will sound like a slight chorus effect is being applied — you can understand that this doubling is not being recorded, you are monitoring improperly.

Learn to hear this doubling as an error in monitoring... if you think you like this ‘effect’, then learn how to set it up properly (with an Effect processor assignment, instead of a mistake in monitoring). Remember, as a improper routing situation, it is not being documented/recorded. That is why on playback, when you only hear one of the signal paths — it will sound different from when you originally recorded.

When recording Audio to Cubase, doubling occurs when both the USB Out and the Analog Out are monitored simultaneously— if Direct Monitor is On, the signal goes direct to the Analog Out as normal, but also a digital version goes to the DAW (Cubase) and then Returns to the MONTAGE as audio interface, then to the Analog Out. Double. Choose to Monitor only one during record, because on playback you will hear only the result of one feed.

Alternative
Cubase not involved: you mention something about your Performance being a clone (sorry, I don’t understand what is being said here).

In programming your own Performances, you can do so by “merging” several Performances into one. When doing so there are several things that can change about the selection. When teaching about this concept in audio engineering we talk about how any instrument, alone, sounds one way, but will sound different when placed in an ensemble. It’s a human perception thing...

In the case of the synthesizer, an instrument “Mellow Soprano”, when in a Single Part Performance, has access to 5 Effect processors. Two belong to the instrument sound itself — and should considered apart of the instrument) the other three belong to the over system and recreate the outer environment, the room acoustics.

The two processors that are apart of the instrument sound are called the Insertion Effects. These effects travel with the “Mellow Soprano” Sax sound wherever it goes. When you merge it into a new Performance, it automatically keeps these two processors and the Part Controller Assignments.

The three processors that are not, technically speaking, apart of the instrument are the two System Effects (Reverb, Variation) and the Master Effect. The System Effects work on a SEND/RETURN scenario like you would find on any mixing console — every channel has a Send To these Effect processors, and the Return From these processors gets mixed back to the main stereo flow. Then all signal together goes through the Master Effect (often called “a DJ Effect”... it is putting an effect on a finish product. (When a DJ puts an effect on the signal, it is post (after) everything).

When you move the Mellow Soprano from its Single Part HOME, into another Performance... the Reverb, the Variation and the Master Effect are likely to be different. You can understand this as the Sax joined the band, and is now in a different room together with the band. The acoustics are likely different than when the Sax was at home, now in the rehearsal hall, the acoustics are entirely different.

Part parameters include the (2) Insertion Effects.
Common parameters - there is only one set of Common parameters per Performance. When you “merge” several Parts into the same Performance there can be only one set of room acoustics. Make sense?

You’ll need to give us the details of the Parts you merged to be able to pinpoint what is different.
Because there can be only one set of Common parameters per Performance, all links from the merged Part to the Super Knob will be deactivated. This does not mean they are lost... they are simply deactivated

If you wish to reactivate any of the links to the Common level Assign Knobs and Super Knob, you must review the assignment and reactivate the link. This is necessary because previously the Mellow Soprano was in Part 1 (when at HOME), however, now that it has joined the band, it is likely to be in another Part number. Plus you need to review what may already be assigned to a particular KNOB. There is a maximum of 16 assignments... you must also check to see if you have a Control Assignment available.

Because the upper level programming (like the links to the SuperKnob) is initially stripped off, and may need to be reviewed and reactivated, your newly merged version may sound different in its new HOME.

We don’t have enough information to help you with this specifically. But there are many things that can change when creating your own custom Performances. Understanding what changes is knowable and when you take a close look at the architecture, logical.

If this is your lead instrument - instead of merging it to a different Performance, merge the other instruments into the Mellow Soprano
Instead of the Sax player going to someone’s house, invite the others over to your Sax player’s house (er, HOME).

In short: select the Mellow Sax part in your newly configured performance by tapping on it, or any of the other ways to select it. Set knobs to Tone by tapping the Tone button (highest button on your keyboard, above the knobs) and swivel Cutoff all the way to the right (the first knob). That might have been what you'd previously done to it, via the Super Knob or Assignable Knob One, to make it sound 'breathier".

the Soprano Sax part I had used (I believe it was the Mellow Soprano the first time around), does not sound as authentic as before

This information is not sufficient to determine what is causing the difference in sound. "... as before" does not detail how the soprano sax sound was used before when it sounded fine.

My assumption was "before" the soprano sax was recalled from a factory preset that only had the soprano sound by itself. And "after" the soprano sound was merged into an existing performance. If this is true - then the types of differences that occur in this case are fairly clear. If this is not true, then there's a different path to take.

If true - then the two items BM pointed out are the two reasons why sounds are different when merged. System effects are bound to be different when you "transplant" a sound from its original Performance into a new/different Performance. And also if the sound you are using originally had Part-level or even Performance-level assignable knobs that alter the sound - then these are also going to be "lost" during the transplant. It's the doctor's job to do some reconstructive surgery.

As one method to manage your Frankenstein ...

Sometimes one sound is more altered than another by merging (transplanting). Whenever creating a "Frankenstein" Performance - one where you merge in one or more sounds to an original sound - you always start with the first sound which is unaltered.

Your keyboard instrument seems like on Part 1, Bass on Part 2, and so on. So the keyboard Part is the unaltered one that defines the system effects available for all other transplanted sounds and also has its superknob/assignable knobs all in tact.

If you instead start with the soprano as the 1st Performance - then it will have all of its knobs and system effects in-tact. Then merge in the keyboard/bass/etc. You'll be now possibly creating a different sounding keyboard - but it may not be as noticeable depending on what your ears need to hear.

If this interpretation of "before" and "after" doesn't fit - then there may be some other types of things going on.

Regards,
Jason

I'm using Montage Connect to communicate between the Montage and Cubase. I have a Performance set up for a particular song I'm working on. But now I've added VST plugins in Cubase (Keyscape, Trillian, Kontakt, etc.) to bring in some additional instruments that I wish to record, this time using the Montage as a keyboard controller for the VST plugins.

I'm having trouble understanding how to properly set this up, such that I'm using Montage Connect for the Montage sounds, combined with the VST's in the same Cubase song.

Thanks...

https://www.youtube.com/watch?v=4JrL4USbzTU

Jason - Thanks for the YouTube link. Very helpful information from Blake regarding Montage Connect, and his own keyboard chops are impressive as well!

However, I'm still trying to understand how to use Montage Connect for Montage-based sounds on certain tracks, together with VST instruments triggered by the Montage on other tracks, in Cubase (I'm thinking the same question could be posed with respect to other DAWS). I've tried contacting Cubase tech support in the past regarding Montage Connect-related questions but they say that is outside their scope.

I'm guessing the answer is simple, but nonetheless is above my current ability to figure this out on my own.

As always, I appreciate the help...

I think I can just about reproduce everything you have going there, but I'm not sure what the struggle is. Not specifically.

Montage Connect is going to more easily associate Montage sounds with a given Cubase project.

That project can also have tracks with VST connections. And connecting Montage to those tracks is a matter of MIDI routing.

I'm not sure exactly the sticky point is that I could express as "when David does _____, something specific doesn't happen right and wishes it did".

Is it safe to say that you have the Connect part mastered and the Montage parts are doing what you expect. So that's "off the table" and now you just need guidance on how to connect Montage to your VSTs? Doing so wouldn't undo what Connect is currently doing for you -- so if that could be the focus then I could start looking at that vantage point.

I'd love to have Keyscape (and the other VSTs you use) to give more specific guidance but I would probably just use Halion as a proxy for Keyscape (et al) here.

It would be a stretch to see I've "mastered" Montage Connect 😉 . But I do have it working between the Montage and Cubase. So, yes, it would be the midi mapping I'm trying to grasp, with the VST instruments working in Cubase with the Montage as controller, together with Montage Connect for the Montage instruments...