You didn't mention what was tried with the speakers themselves:

MIC/Line switch, HPF, D-Contour. I'd probably set to MIC eventually - but start with Line. In other words - if Line + 12:00 level is too low, I'd probably adjust to MIC instead of trying to add dB on the output side. I'd set D-Contour off at first - because I'd want dynamic range vs. the marketing information about helping dance music thump beats vs. saturating. Something to try both ways - but I'd think better off. HPF I'd probably leave off so you get full spectrum vs. just >120Hz.

What's "Peak" showing? I would expect "Limit" should never be illuminating during operation - as this is a more severe indicator.

I've found in the past piano is really finicky with respect to sound reinforcement - with seemingly a narrow window of equipment that "sings" - and a wide array of equipment that produces the result your experiencing. Although there are master controls for EQ (Montage) - you may need/want to get a dedicated (hardware) EQ to handle this as it would be easier to "dial in" rather than doing the menu dive thing. Plus if you use other speakers - they may not be as harsh in the top-end which would mean "constantly" (depending on how much you change speaker configs) changing the Montage settings vs. just dialing in the DSRs and calling it "quits".

One technical item for Montage - take a look at [UTILITY] under "Settings" -> "Midi I/O" and check your setting for "Controller Reset" - with options "Hold" or "Reset". I've run into an issue with experimenting with this feature and forgetting to set it back to "Reset".

The issue I had was that "CFX + FM EP" started sounding horrible in the upper keys. The sound was very unbalanced - and there was an effect (reverb+sustain) that jumped out big time on the top keys. The problem ended being that settings were "inherited" from previous performances because MIDI controllers did not reset to "defaults" assigned in the new performance recalled. This is unlikely to be your problem - but generally something to check if performances start going "wacky" on you when previously they were fine. I know this (your issue) is a pairing-with-certain-hardware (speakers/monitors) issue - but just wanted to throw out something else to check - as improbable as it may be. This may also help someone else along the way.

By the way - another user has your same setup:

https://www.yamahasynth.com/forum/little-help-needed

So perhaps you can trade notes?

The fact that I couldn't find the DSR monitors in your attached picture is good. Because the DSR series is not exactly a near-field monitor. I'm guessing they're somewhere relatively far from you and not "in your face" like those two closest (larger) monitors in your attachment. I was ready to call foul - but those are obviously not the DSR speakers. Not sure what they (the larger/front speakers in your attachment) are - hopefully they are suitable for near-field.

... an interesting discussion about the DSR speakers - biased towards live use paired with a sub (both of which change the listening characteristics of the speakers). There are several references to listening to the speakers in the wrong context - such that the impression is harsh/shrill if "going against the grain" of intended use. Items like near-field (proximity) were touched upon. Lack of sub to balance the spectrum (causing a harsh sound due to attempting to boost lows by just turning up the level). How they are not meant necessarily for "quiet" (coffee shop gigs) which invite more mids (other speakers better suited for that) -- but also mention of being able to EQ dial-in that if you want to "warm" up the sound for low volume applications. Etc. I didn't mill through all the pages - just the first one.

http://forums.prosoundweb.com/index.php?topic=159315.0

It's an interesting read and probably enough resonance (as in matching what you're trying to do vs. how you're utilizing the speakers -- and the shared experience of using these under different configurations/placements/etc).

jayeson wrote:

Through my studio monitors and headphones my acoustic Monty samples are amazing.

However, trying to get that warmth and smoothness through these high end PA speakers is driving me goofy!

I have EQ "ed endlessly and even tried some compression with no luck.

The speakers were checked out and are fine. Other Montage sounds are very good on them and they have skads of low end and power.

Does anybody have some EQ live setting or favourite verb types for the CFX and Imperial that are working in a medium volume live setting?

Thanks

One thing is for sure, EQ'ing, like you are asking about, is very much specific to the situation. That is, the room you are in, the conditions in that room, what else is playing, the distances involved, the acoustic volume involved (and to a lesser degree the temperature and the number of smokers at the gig)... etc.

The Montage offers EQs at different levels throughout the architecture. Waveforms can have individual EQ, each Part has a 3-band EQ pre-Insert Effects, and a 2-band EQ post-Insert Effects, which can be used to fix a component or instrument sound. Made to EQ and balance sounds to each other in a mix. Then the Master EQ (through which all Parts using the System Outputs pass) is used to adjust the Montage to the room you are performing in. You can STORE Offsets to this EQ in each Performance.

A exercise in futility would be to try to suggest EQ settings based on a description in words (I wouldn't do it and sign off on it) any advise would need to be evaluated on site. Are there reflective surfaces (there are some particularly troublesome for the piano) glass or metal, for example. Rugs on the floor or walls, ceilings are they metal, plaster, wood? Too many variables...

Gain staging is a general area we can mention... first time I heard the DSR112 with a keyboard, the sound guy insisted on getting all the gain from the speakers - the keyboard volume could hardly be raised without blowing us out of the room... i finally convinced them to reduced it so that I could actually send some significant amount of signal into the system. The difference in quality was immediate. Give the powered speaker a good amount of signal to work with, set the overall output of the powered speaker "to taste" (how loud you need to be in the room). If you send too little signal in - the overall quality can suffer (unnecessarily).

Are you using a mixer between the keyboard and speakers? This can help with the overall signal preparation for the amp of your powered speaker. This is what I tend to recommend (I'm old school because I'm old, and the rules of audio haven't changed that much)! Beyond giving you an additional mix Stage, often the inputs of a mixer can pad the signal just enough to take a bit of the edge off. Piano, of all percussion family instruments outputs a rather unique set of frequencies and spikey transients. I use a small format MG06 before going to the DSRs

That's something to try. Plugging a keyboard directly into a 1300W power amp... I know it's a new day, and you can do that (theoretically) but I've found the small format mixer a very elegant solution (particularly with the piano sounds)...

Yo guys are awesome! Excellent info to work with. Most definitely no contour or high pass for my acoustic pianos. Mic input as opposed to line input. The line in has a wee bit of hiss which I choose not to like much. I haven't taken the setup to the gig but have been experimenting in my studio. It has floor to ceiling 6" GIK bass traps and reflection panels. I tuned the room and it is very flat. However, it is nowhere near the size of the gigs. It may be possible that this speaker may be just too powerful to tame in a 20X15 foot room.It certainly has phenomenal mid and high frequency projection. Perhaps the titanium driver is adding to the harshness in the close quarters of my studio. I've fiddled with the Montage compression and it can smooth some frequencies, with only a slight loss of dynamics. Also the many available EQ options on board are very helpful

This whole exercise has forced me to dive deeper into the live sound possibilities of this amazing "board". Which is all good. I am using the Yamaha MG12XU with it Phil.

When I bought my Montage I basically terminated my 600 gigs of various piano sample libraries.
I'm rather fussy about having the sound reproduced in live situations as close to the way I hear it when recording. Which is phenomenal!

So I have lots to work with hear and feel confident I can tweak things to my satisfaction

I will keep you posted.

PS Jason those large monitors are Klein and Hummel 0410 midfields. 80 lbs each and have "yuuuge" amounts of super clean watts.
You should hear the Montage through those bad boys
They provide the "wow" factor when clients sit at the back of the room for a listen.