ARPs and Motion Sequencing are two things I have not really learned much about yet, and I don't even know what the difference between the two are. They both appear to be doing something similar or the same..!?

Notes are to Arpeggios like Parameter Control Change is to Motion Sequences.
The typical Arpeggio is a flourish of Note-On events that respond to keyboard control.
The typical Motion Sequence contains no Note-On events, instead it is made up of controller data.

While an Arp sounds like a melody, a MS doesn’t make sound itself... it could be a series of messages that are used to open and close a filter, or Pan left to right and back... you cannot hear a Motion Sequence. However, if you are playing a synth sound during the time a Motion Sequence is running you will hear that filter open and close, you will hear that sound Pan left to right and back again.

The Motion Sequence makes no sound on its own, it applies change to parameters that in turn, change the sound of the notes you are playing.

Both make reference and can respond to the synth’s clock, both can be assigned to a Scene... any Arp Select 1-8, any Motion Seq Select 1-8 can be assigned to any Scene 1-8.
8 Arpeggio can be set to play at any one time;
8 Motion Sequences can be set to be active at one time.
Both can be told to Loop, but can be set to “play once” when triggered.
Both can be made by the user. You can store 256 User Arps, you can store 256 User Motion Sequencers.

Back to 'Drum PARTs' for a minute for a couple of quick questions ... What is the difference between Assign Mode "Single" & " Multi" for a particular note? Also, what does the "Rcv Note Off" do when it's "On" vs "Off" for a particular note?

The ASSIGN MODE can be set to "single" or “multi”. “Single” is so that only one instance of the Waveform assigned to this Key can occur at a time. If ASSIGN MODE is set to "multi", then multiple key presses will start multiple Waveform. This make a big difference on sounds with long decays... cymbals, Audio Loops/clips, etc.
Single - each new Note-On replaces the previous.
Multi - multiple versions of the Waveform can happen and each completes it Envelope.

RECEIVE NOTE OFF, is what makes drum sounds play without you having to hold down the key. This is what separates drum and percussion sounds from "normal" musical sounds. In a normal musical sound you hold the key down until you want the sound to stop and when you let go KEY-OFF is sent and the sound moves immediately to the RELEASE parameter of the Envelope. With drum sounds you do not HOLD the key down. You want the entire drum envelope (AEG) to transpire without having to keep your finger on the key.

In order to get a full understanding of this parameter, press note A2 (the "A" just below middle "C" ) do the following: This will be a CRASH cymbal; set the RECEIVE NOTE OFF parameter ON. It now will behave like a regular (Normal) keyboard sound... meaning as soon as you release the key the sound will stop. This can be useful in creating a "choke" cymbal.
Assign Mode = Multi might work here so each cymbal strike rings

If you assign an Audio Loop to a Drum Key with “Receive Note Off” = Off the audio clip can continue to play without you having to hold down the key – because, additionally, you could set the AEG (Amplitude Envelope Generator) so "Decay2 Time" is 127 (HOLD)... it will play forever...

In such a case you would use the ALTERNATE GROUP setting to stop the sound... Any Drum Keys placed in the same “Alternate Group” will replace the playback of any other in the same group. This is how the Closed High Hat, Pedal High Hat and the Open High Hat replace each other. And is how the Mute Triangle stops the Open Triangle. You can use another Drum Key (C0~C6) to play the role as the ‘Stop Key’ (Set it’s volume to 0 if you want it to be silent).

ARPs and Motion Sequencing are two things I have not really learned much about yet, and I don't even know what the difference between the two are. They both appear to be doing something similar or the same..!?

Notes are to Arpeggios like Parameter Control Change is to Motion Sequences.
The typical Arpeggio is a flourish of Note-On events that respond to keyboard control.
The typical Motion Sequence contains no Note-On events, instead it is made up of controller data.

The Motion Sequence makes no sound on its own, it applies change to parameters that in turn, change the sound of the notes you are playing.

Both make reference and can respond to the synth’s clock,
Both can be made by the user. You can store 256 User Arps, you can store 256 User Motion Sequencers.

Interesting stuff...looking forward to wrapping my head around it all at some point. Starting with User ARPs.

Are there any videos or instructional guides on how to create you own ARPs?

The ASSIGN MODE can be set to "single" or “multi”. “Single” is so that only one instance of the Waveform assigned to this Key can occur at a time. If ASSIGN MODE is set to "multi", then multiple key presses will start multiple Waveform. This make a big difference on sounds with long decays... cymbals, Audio Loops/clips, etc.
Single - each new Note-On replaces the previous.
Multi - multiple versions of the Waveform can happen and each completes it Envelope.

Definitely will be setting most of my drum sounds to Single, especially a Ride cymbal!

RECEIVE NOTE OFF, is what makes drum sounds play without you having to hold down the key. This is what separates drum and percussion sounds from "normal" musical sounds. In a normal musical sound you hold the key down until you want the sound to stop and when you let go KEY-OFF is sent and the sound moves immediately to the RELEASE parameter of the Envelope. With drum sounds you do not HOLD the key down. You want the entire drum envelope (AEG) to transpire without having to keep your finger on the key.

Again, a ride cymbal or crash immediately comes to mind. Definitely will be leaving this set to RECEIVE NOTE OFF in most instances/notes.

Thanks!

ARPs and Motion Sequencing are two things I have not really learned much about yet, and I don't even know what the difference between the two are. They both appear to be doing something similar or the same..!?

Notes are to Arpeggios like Parameter Control Change is to Motion Sequences.
The typical Arpeggio is a flourish of Note-On events that respond to keyboard control.
The typical Motion Sequence contains no Note-On events, instead it is made up of controller data.

The Motion Sequence makes no sound on its own, it applies change to parameters that in turn, change the sound of the notes you are playing.

Both make reference and can respond to the synth’s clock,
Both can be made by the user. You can store 256 User Arps, you can store 256 User Motion Sequencers.

Interesting stuff...looking forward to wrapping my head around it all at some point. Starting with User ARPs.

Are there any videos or instructional guides on how to create your own ARPs?

The ASSIGN MODE can be set to "single" or “multi”. “Single” is so that only one instance of the Waveform assigned to this Key can occur at a time. If ASSIGN MODE is set to "multi", then multiple key presses will start multiple Waveform. This make a big difference on sounds with long decays... cymbals, Audio Loops/clips, etc.
Single - each new Note-On replaces the previous.
Multi - multiple versions of the Waveform can happen and each completes it Envelope.

Definitely will be setting most of my drum sounds to Single, especially a Ride cymbal!

RECEIVE NOTE OFF, is what makes drum sounds play without you having to hold down the key. This is what separates drum and percussion sounds from "normal" musical sounds. In a normal musical sound you hold the key down until you want the sound to stop and when you let go KEY-OFF is sent and the sound moves immediately to the RELEASE parameter of the Envelope. With drum sounds you do not HOLD the key down. You want the entire drum envelope (AEG) to transpire without having to keep your finger on the key.

Again, a ride cymbal or crash immediately comes to mind. Definitely will be leaving this set to RECEIVE NOTE OFF in most instances/notes.

Thanks!

It is possible to have the MONTAGE Play/Rec feature record just the “trigger notes” versus recording the output of the Arpeggiator.
You are given this option just prior to engaging record... It’s found on the Record Setup screen where you can set a Tempo, a Time Signature, Quantize, Click and whether or not you will be recording the Arpeggio Output or not.

Tempo you can change later, but the Time Signature and whether or not your Record what YOU play (Trigger Notes) or what the Arp Phrase “plays”... these cannot be changed later... and must be set prior to Recording!

Background
When you opt to not record the Arp Out, only the chords and notes controlling the Arpeggios are documented... meaning when played back you will need to re-arm the Arpeggiator because it will need to react, in real-time, to the trigger note data. This includes Song data converted to Audition Phrases.

That said, what you may not be appreciating is that the Record function “Arp Rec” is telling the recorder to either look to the actual Keyboard for messages or to look at the data coming Out from the Arpeggiator, it’s Either/Or on a per Part basis.

If the KBD CTRL icon is active (green) playing the MONTAGE Keys while Record is active, those Parts will be documented.
If ARP REC is Off, then what you actually played on the keyboard is documented on each of the Tracks... the same data is recorded for each Part. Each has its own instructions as to what to do with the data.
If the Arpeggiator is active for a Part, you will hear the Arp Phrase sound, but only the “trigger notes” are documented to the Track... this means if you want to hear it playback as you performed it, you would need to reset the Arpeggiator because when playing it back the same “trigger notes” are needed to make it happen. The same Note Limits must be in place for the data to make sense (very important).

This allows you to now assign an entirely different Arpeggio Phrase. If you change the Arp Phrase the newly assigned Phrase will follow the “trigger notes” recorded to the corresponding track. What sounds will be completely different.

I am not clear on what you want to do... but just remember: there is one Performance, 16 Parts, there is one Keyboard. Whatever you play by touching the keyboard is determined by which Parts have the KBD CTRL icon active (Select any one of them or select Performance COMMON, and you are addressing all of them). Otherwise to communicate from the Keyboard to a Part, you must *select* that Part directly.

So KBD CTRL is a Group, all others are individuals.
In a situation where you are controlling Arpeggios, the physical Keyboard is “limited” to exact Ranges of Velocity and Notes that will influence (or not influence) the results. That’s how it’s able to do what it does. The same data is fed from one set of keys, what each of the KBD CTRL Parts do with it is determined in the Part settings. Example: You may not want your right hand melody influencing the chord quality of the guitar Part you are controlling with your left hand. When playing back the data the Note Limits must be in place so that the corresponding Part can sort the data

Whatever you attempt must be done with knowledge of these physical requirements. Hope that helps.

... following up the arpeggio triggering discussion with a note about motion sequence. Most modes of motion sequence trigger in much the same way as arpeggios so the concept of how it is triggered can follow much of what was described for arpeggios. In these key trigger modes the only difference is that motion sequence cannot limit by note range as arpeggios can. So each motion sequence of each PART will always be looking at the full 128 notes as trigger notes with no way to limit this. Again - in the note trigger modes. Motion sequence has a way to trigger by ARPs which is slightly different because ARPs themselves can be limited by note range. Secondary use of ARPs by motion sequence would allow for the limits imposed by the ARP. It's very uncommon that motion sequences are triggered by ARPs - so "most of the time" you can ignore this difference.

Oddly, half of the recipe is baked (commentary added because I wished motion sequence would have added note limits to trigger notes). Motion sequence does have velocity limits for the trigger - so that can be used to filter trigger notes in the same manner as ARPs.

It is not really that odd that Note Limits apply to Arpeggios which include Note-On events, and since Motion Sequences do not include Note-On events, at all, that this particular Limit does not apply. Again, a Motion Sequence is a documentation of value changes, Control data. Not Note data. A Motion Sequence is not even movement of a specific parameter, it’s just value change... you pick the parameter, or parameters, that respond to the value change by linking it in the Control Set.

Motion Sequences can be applied to entire Parts or just to specific Elements within a Part, depending on the specific parameter Destination selected. If you wish to “limit” the application of a Motion Sequence to a specific Note range this could be accomplished by dividing the sound among multiple Elements or even multiple Parts. I’m not sure I understand how you are envisioning this, but you can easily accomplish Note Limits by dividing the sound into separate components — if you only want a MSeq to apply to a specific Note region use separate Elements or separate Parts to do it. Elements and Parts can have Note Limits.

Element programming is available on those parameter Destinations that allow access to per Element Switches. Some Destinations preclude you selecting whether or not the Element is addressable individually. Some Destinations are Part Destinations and therefore there is no option but to create another Part to accomplish the goal. In this duplicate Part you set it up so that the Note Range you desire to MS does while the other does not.

This is a fundamental feature of utilizing multiple Parts to create a playable sound. If you truly only want to apply a Motion Sequence to a specific Key Range, or Velocity Range... you do so through programming.

It is possible to have the MONTAGE Play/Rec feature record just the “trigger notes” versus recording the output of the Arpeggiator.
You are given this option just prior to engaging record... It’s found on the Record Setup screen where you can set a Tempo, a Time Signature, Quantize, Click and whether or not you will be recording the Arpeggio Output or not.

Tempo you can change later, but the Time Signature and whether or not your Record what YOU play (Trigger Notes) or what the Arp Phrase “plays”... these cannot be changed later... and must be set prior to Recording!

If the KBD CTRL icon is active (green) playing the MONTAGE Keys while Record is active, those Parts will be documented.
If ARP REC is Off, then what you actually played on the keyboard is documented on each of the Tracks... the same data is recorded for each Part. Each has its own instructions as to what to do with the data.
If the Arpeggiator is active for a Part, you will hear the Arp Phrase sound, but only the “trigger notes” are documented to the Track... this means if you want to hear it playback as you performed it, you would need to reset the Arpeggiator because when playing it back the same “trigger notes” are needed to make it happen. The same Note Limits must be in place for the data to make sense (very important).

This allows you to now assign an entirely different Arpeggio Phrase. If you change the Arp Phrase the newly assigned Phrase will follow the “trigger notes” recorded to the corresponding track. What sounds will be completely different.

I am not clear on what you want to do... but just remember: there is one Performance, 16 Parts, there is one Keyboard. Whatever you play by touching the keyboard is determined by which Parts have the KBD CTRL icon active (Select any one of them or select Performance COMMON, and you are addressing all of them). Otherwise to communicate from the Keyboard to a Part, you must *select* that Part directly.

I just want to be able to record the “trigger notes” for various PARTs and Enable or Disable the ARPs for those parts. However I want to record each ARP PART's “trigger notes” at different times & preferably via the DAW!
But when I go to the Record Setup screen (if I do the recording via the Performance Recorder on the Montage) and set Arp Rec = OFF, after recording the first PART, it only allows me to "Replace" only and not be able to "Overdub" the 'trigger notes' when trying to record another different PART. What am I missing?

But what I'd really like to be able to do is record the MIDI of the "Trigger Notes" via the DAW, edit it as needed, and later have them play via an ARP. Is this possible? If so, how to I set it so the DAW recorded "Trigger Notes" play an ARP in a Song/Audtiion?

I've tried everything to try and get the "Trigger Notes" to play the ARP on different PARTs, but I can't get it to work..!?

[EDIT: I tried setting Arp Rec = OFF for a new Song, then recorded the “trigger notes” for PART 1. When enabling ARP, it works and plays the ARP; however i couldn't record any other PARTs/instruments using "Overdub" because Replace was the only option. So I saved that Song as a MIDI file, then edited it in Pro Tools, recording Track 2 (PART 2) and Track 3 (PART3)...I even tried it with KBD CTRL On. Then I saved as a MIDI file to USB, loaded the USB back to that Performance's Song, enabling ARP on PART 1-3, but none of them play the ARP, not with KBD CTRL On or Off, I have ARP enabled on Master and each PART, but it no longer plays the ARP on even PART 1 like it did initially.]

*Please confirm that this does not & will not work, and that playing ARPs via a Song or Audition is limited to just Recording "1 PART only" (or 1 group of PARTs at the same time using KBD CTRL) via the Montage Performance Recorder with Arp Rec = OFF, and it is not possible to then record more different PARTs and have their ARPs play via the Song/Adution ...!
Otherwise, if this is not the case and I should be able to record several PARTs at different times (possibly even via the DAW) and then later have the Song/Audition play the ARP on each of them, please explain what I am doing wrong and how I can do this via the DAW MIDI Recording..!?

________________

Also, are there any videos or instructional guides on how to create you own ARPs? I'd like to create my own ARP...!

Thanks!

It is not really that odd that Note Limits apply to Arpeggios which include Note-On events, and since Motion Sequences do not include Note-On events, at all, that this particular Limit does not apply. Again, a Motion Sequence is a documentation of value changes, Control data. Not Note data. A Motion Sequence is not even movement of a specific parameter, it’s just value change... you pick the parameter, or parameters, that respond to the value change by linking it in the Control Set.

We seem to have different opinions of what seems to make sense and what seems limiting. Ignoring the ARP-triggered motion sequence, motion sequences are triggered by note-on events. You can have the cycles run all the way through once, or loop, or have cycles interrupted and started over the next time you press a new keyboard key. The modulation I have happening as a result of striking a key (the start, trigger of the cycle(s) ) I would like/wish more control and say maybe only one key can do this modulation. Or a group. Or the top/bottom (reverse range). Or entire keyboard. I just think the triggering would better serve goals if note range was a part of the options. I'm fine with missing the boat on Montage/MODX - but something to consider for the future. Control ARPs, the cousin of motion sequence, allows for note ranges. They do not play notes (control-only ARPs). Having velocity as the sole knob to turn to limit the trigger seems odd given how triggers, note range, and velocity all go hand-in-hand for the "same" sorts of things elsewhere in the architecture. In order to accomplish note range - I have to "burn" an ARP - which doesn't always lend itself to the task if the PART already has ARPs for other things.

More than lobby for the feature - I thought it was worthwhile to underscore the limitation so a new user/programmer of motion sequence can be aware of the landscape. Your note range may be limited inside your PART to a very small range. This does not limit motion sequence. Even if your sounding notes are limited in range to an octave around middle-C, notes at very top and bottom of the keyboard (every note) will still modulate or retrigger your motion sequence. It's important to not think there are some other magic limits to trigger/retrigger most modes of motion sequence.

I just want to be able to record the “trigger notes” for various PARTs and Enable or Disable the ARPs for those parts. However I want to record each ARP PART's “trigger notes” at different times & preferably via the DAW!
But when I go to the Record Setup screen (if I do the recording via the Performance Recorder on the Montage) and set Arp Rec = OFF, after recording the first PART, it only allows me to "Replace" only and not be able to "Overdub" the 'trigger notes' when trying to record another different PART. What am I missing?

But what I'd really like to be able to do is record the MIDI of the "Trigger Notes" via the DAW, edit it as needed, and later have them play via an ARP. Is this possible? If so, how to I set it so the DAW recorded "Trigger Notes" play an ARP in a Song/Audtiion?

I've tried everything to try and get the "Trigger Notes" to play the ARP on different PARTs, but I can't get it to work..!?

[EDIT: I tried setting Arp Rec = OFF for a new Song, then recorded the “trigger notes” for PART 1. When enabling ARP, it works and plays the ARP; however i couldn't record any other PARTs/instruments using "Overdub" because Replace was the only option. So I saved that Song as a MIDI file, then edited it in Pro Tools, recording Track 2 (PART 2) and Track 3 (PART3)...I even tried it with KBD CTRL On. Then I saved as a MIDI file to USB, loaded the USB back to that Performance's Song, enabling ARP on PART 1-3, but none of them play the ARP, not with KBD CTRL On or Off, I have ARP enabled on Master and each PART, but it no longer plays the ARP on even PART 1 like it did initially.]

*Please confirm that this does not & will not work, and that playing ARPs via a Song or Audition is limited to just Recording "1 PART only" (or 1 group of PARTs at the same time using KBD CTRL) via the Montage Performance Recorder with Arp Rec = OFF, and it is not possible to then record more different PARTs and have their ARPs play via the Song/Adution ...!
Otherwise, if this is not the case and I should be able to record several PARTs at different times (possibly even via the DAW) and then later have the Song/Audition play the ARP on each of them, please explain what I am doing wrong and how I can do this via the DAW MIDI Recording..!?
________________

Also, are there any videos or instructional guides on how to create you own ARPs? I'd like to create my own ARP...!

Thanks!

*So, I am going to conclude & presume that it is indeed NOT possible to record the "Trigger Notes" of a PART to a MIDI track on a DAW, edit the MIDI track data as needed, save to USB & load into the Montage as an Audition for that same Performance, and then have the ARP play the "Trigger Notes" in the Audition..!?

If my conclusion/presumption is incorrect, please let me know what I am doing wrong...

________________

Regarding custom User ARPs, are there any good videos or instructional guides on how to create your own ARPs? I'd like to create my own ARP...!

Did you conclude this after reviewing BM's answer - including:

It is possible to have the MONTAGE Play/Rec feature record just the “trigger notes” versus recording the output of the Arpeggiator.
You are given this option just prior to engaging record... It’s found on the Record Setup screen where you can set a Tempo, a Time Signature, Quantize, Click and whether or not you will be recording the Arpeggio Output or not.

Tempo you can change later, but the Time Signature and whether or not your Record what YOU play (Trigger Notes) or what the Arp Phrase “plays”... these cannot be changed later... and must be set prior to Recording!

Background
When you opt to not record the Arp Out, only the chords and notes controlling the Arpeggios are documented... meaning when played back you will need to re-arm the Arpeggiator because it will need to react, in real-time, to the trigger note data. This includes Song data converted to Audition Phrases.

Because the answer says "It is possible".

Did you conclude this after reviewing BM's answer - including:

It is possible to have the MONTAGE Play/Rec feature record just the “trigger notes” versus recording the output of the Arpeggiator.
You are given this option just prior to engaging record... It’s found on the Record Setup screen where you can set a Tempo, a Time Signature, Quantize, Click and whether or not you will be recording the Arpeggio Output or not.

Tempo you can change later, but the Time Signature and whether or not your Record what YOU play (Trigger Notes) or what the Arp Phrase “plays”... these cannot be changed later... and must be set prior to Recording!

Background
When you opt to not record the Arp Out, only the chords and notes controlling the Arpeggios are documented... meaning when played back you will need to re-arm the Arpeggiator because it will need to react, in real-time, to the trigger note data. This includes Song data converted to Audition Phrases.

Because the answer says "It is possible".

Yes, that was my presumption based on the scenario BM is describing vs the scenario/method of recording/playback that I am asking about being possible or not (using a DAW).

What BM is describing as "possible" is in the Montage 'Performance Recorder' (Not via a DAW), and from any instructions I've read in that & previous posts, as well as everything I've tried, ARP only works for recording/playback of 1 single PART of a Song/Audition (or potentially multiple PARTs if they all have KBD CTRL enabled, but in that case they would all play the same "trigger notes", so no separate recording of different PARTs possible: i.e. Bass vs Piano vs Guitar, etc.)!

If you or anyone knows of a way to make ARPs work during playback on multiple 'unique' PARTs/MIDI tracks of a Song/Audition that were each recorded one by one with their own MIDI data recorded on a DAW, please share ... that is ultimately the question I am seeking the answers to. Even if I can get an ARP to work on just one PART's MIDI that has been edited in a DAW, whereby other PART's MIDI was recorded as well(but don't need ARPs), that would be awesome. But I can't seem to find a way to make that work, nor any documentation that describes how it can be done using a DAW as the editor...

The target seems to be moving slightly.

save to USB & load into the Montage as an Audition for that same Performance, and then have the ARP play the "Trigger Notes" in the Audition..

What this indicates to me is that although you use a DAW - the end-game is an Audition button that will serve up the trigger notes.

I know you've said different things in this thread - including somehow wanting to either dynamically have your DAW change what it sends or dynamically have arpeggios change what they have stored. But in the above - what I was responding to - you seemed to be asking about the possibility of the audition button to supply trigger notes for your ARPs. And this was answered as (paraphrase) "yes" by the previous message from BM.

The target seems to be moving slightly.

save to USB & load into the Montage as an Audition for that same Performance, and then have the ARP play the "Trigger Notes" in the Audition..

What this indicates to me is that although you use a DAW - the end-game is an Audition button that will serve up the trigger notes.

The end-game is an Audition button that will serve up all sequencing of various tracks/PARTs including the trigger notes for one or possibly more of the PARTs, that at certain times throughout the song, will have ARP engaged for those "trigger Notes", but at other times possibly that same PART would have the ARP triggered via me pressing notes/chords on the keyboard. Also possibly switch the ARP type for that PART via Scenes as the song goes on.

My plan for playing live gigs is to have all Performances chosen via 'Live Set' buttons, hit the "Audition" button and have a mix of playing layers, splits, ARPs via the keyboard and sometimes the ARPs via the sequencing in the Audition.
I know I could just as easily do some "Arp Rec on DAW" while recording that PART's MIDI sequencing in various sections of the song, and then later when playing the Audition, have the ARP enabled/engaged (which does nothing anyway to play back DAW recorded "trigger notes" ) , then have times throughout the Song/Audition where I manually press the keys for that PART to play the ARP(s) ... but I was hoping there was a way that the ARP could play the "trigger notes" instead. Maybe I want to change the scenes to different types of ARP patterns and not be bound to the "Arp Rec on DAW" pre-set/recorded notes. Basically for that PART that will likely be for ARPs only, I would sometimes press the keys to engage the ARP and other times the trigger notes I recorded on the midi track in Pro Tools for that PART would engage the ARP as the DAW MIDI Recorded Song/Audition plays on.

I know you've said different things in this thread - including somehow wanting to either dynamically have your DAW change what it sends or dynamically have arpeggios change what they have stored. But in the above - what I was responding to - you seemed to be asking about the possibility of the audition button to supply trigger notes for your ARPs. And this was answered as (paraphrase) "yes" by the previous message from BM.

Yes, it is possible, but not useable for my purposes. Using BM's instructions I was able to get 1 PART on the onboard 'Performance Recorder' to record/play an ARP against the trigger notes for that PART, and even if I saved the Song and selected "Update User Auditions", it will play as an Audition. Unfortunately, recording anything for a Song or Audition via the 'Performance Recorder', especially while the "Arp Rec = OFF" is painful and not really usable for doing an entire song. Firstly because there is no "Overdub" option, thus no possibility for editing nor for recording additional sequenced PARTs. Secondly, even if there was an "Overdub" option while the the "Arp Rec = OFF", I would still want to edit via the DAW because the 'Performance Recorder' is just too limiting.

In the end, what I wanted this functionality for involves not just a single PART or a KDB CTRL'd group of PARTs, recorded on the Performance Recorder. It is to have the ARP engage the "trigger notes" of a PART that was recorded (or at least edited) via the DAW, so that I can have all the other PARTs sequenced/edited via the DAW as well. This doesn't work. I wish there was a way to make it work, but it seems limited to only the application that BM described.

I'll give you just one example of what I want to be able to do, which is not really practical or even possible via the 'Performance Recorder' with "Arp Rec = OFF".

Radio Ga Ga (Queen)
https://www.youtube.com/watch?v=azdwsXLmrHE

I want to hit the Audition button to start the edited DAW recorded sequencing, while on PART 1 (Scene 1) I have the ARP engaged and press the keyboard notes for the ARP you hear with my left hand as part of the Intro. PART 1 would be split to the lower 1/3rd of the keyboard. Then in the next section of the Intro when it changes, I'll still play the ARP with my left hand for a bit longer, and start playing PART 2 strings with my right hand in the middle section of the keyboard. And right near the end of that section of the song's intro, I want the DAW recorded "trigger notes" to kick in and take over the ARP, while I shift my left hand to play the strings and my right hand to trigger the vocoder you hear in the song via PART 3 at the top section of the keyboard. As the song plays out, I want to continue having the lower PART 1 ARP engaged via the Audition, but then when everything goes back to just drums and ARP, I want to change back and take over the ARP using my left hand again.

Sure, I could have all the ARP stuff that I don't play with my left hand pre-recorded using the "Arp Rec on DAW" template; however it would be nice to have some flexibility to maybe change up the ARP type throughout the song via Scenes. Near the end of the song, the ARP plays and it's like they had a SuperKnob back then making it go crazy for a bit.

In the end, this all boils down to a "nice to have", IF it is possible to do! Nice to have options if the functionality is available. But the example I just gave is not possible to do, unless I am completely missing something or there is some kinda "workaround" that someone knows of that would allow me to do it...

There are several different things you want to possibly happen. I would suggest to start implementing these so that you start to get more familiar with the nuts/bolts. The totality of what you've described wanting to happen is not typical use - but that shouldn't necessarily dissuade you. Like music, before going outside - it's best to learn the "inside" rules as a foundation. Setup some user ARPs. Record auditions. Get those triggering. See what you can do with what you have. Start to discover what the knobs/buttons/settings do.

Many times the box is smaller than your imagination - and you cannot do anything but work within the boundaries of the box. This is part of the fun of operating a synth - reaching further than it can operate and compromising to still achieve your goals (sometimes letting go of smaller ones) to make music the way you want -- or close enough to it.

I know you've been doing some of this already - so that's good. I would just like to get to plataus where you've accomplished (100%) different sections of what you want.

I read your last post and much of the nuts/bolts of how to do the first part (scenes to change ARPs, Audition OR your local keys to trigger those ARPs) has been answered/addressed - is doable - and should become phrased as past-tense - as in, you've done that. Now you're working on ...

The audition route responded to deals with pre-producing a MIDI file in your DAW and/or performance recorder. Some of what you've said about the performance recorder seems like not properly using the track switches - or expecting overdub to do more than what it does (it cannot layer over pre-recorded notes for a given track). But using performance recorder seems "redundant" if you have a DAW - since the DAW has less limitations in what you can do and doesn't "lock up" your Montage interface while recording/editing.

Breaking this down into smaller pieces - then crossing those pieces off the list by getting them accomplished is the approach I'm taking which seems incompatible with what you want.

As mentioned - not sure why you'd use Performance Recorder when you have a DAW you're willing to use. That said - I want to make sure you're using the Performance Recorder to the full potential. I'll take a stab at just that part right now.

1) Setup part 1: First, setup a Performance with 3 PARTs. Make sure each PART is a single-PART type (where the sound only takes one single PART to fully produce the individual instrument's sound). Place your favorite bass in PART 1 (single PART), acoustic piano in PART 2 (single PART), and strings in PART 3 (single PART). You don't need these exact instruments - just something to work with so I can refer to something concrete.

2) Setup part 2: Turn OFF keyboard control on all PARTs from the [PERFORMANCE] (HOME) screen. Once you're in the Performance Recorder screen - you cannot have access to the keyboard control on/off settings and there's no way to change these "on the fly" under this mode - so it's just easiest (when using single-PART instruments) to turn them all OFF.

3) Press the record button in the transport section to get you into the Performance Recorder screen. By default, this should show recording a new MIDI song with a default "NewSong##" name. It's fine to leave everything as-is.

4) Press some buttons to select which PART you want to record. a) Press the Number A [1] button. This button is labeled "1/1" under the PART SELECT silkscreen - buttons to the right of the touchscreen. This will select PART 1 (the bass)

5) Press Record + Play in the transport controls. If you've setup like me, you'll have a couple measures of count-in. Then start playing the bass part until you're finished. Press STOP.

6) Select the acoustic piano PART by pressing the Number A [2] button (it's labeled "2/2" ). Press RECORD, make sure "Overdub" is set for the record type then press PLAY. Wait for the count-in and record the acoustic piano PART. Note: you'll hear the bass playing back at the same time. If you don't want this, turn OFF the "PLAY" for track 1. Press STOP when you're done with the acoustic piano.

7) Select the strings PART by pressing the Number A [3] button ("3/3" ). Press RECORD - check for "Overdub" - press PLAY. You know the drill.

When you press PLAY - you should hear all 3 PARTs individually tracked as you recorded them. If you made a mistake - re-record the track with the mistake. Press the Number A [1-3] button that corresponds to the PART you want to record. What this does is SELECTS the PART - and since keyboard control is OFF for all PARTs - only the single PART you SELECT will be activated for recording.

See if this generally gets you in the ballpark of negating your experience with only being able to record PART 1.

Slightly more advanced:

Note that if you DO use a multi-PART instrument, this can be accommodated too. If you only have ONE multi-PART instrument, then you can handle this case fairly easily without having to "pop out" of the Performance recorder. What you would do is leave keyboard control ON for only the PARTs that comprise this multi-PART instrument and turn OFF keyboard control for all other PARTs (which are all single-PART instruments). When you're recording the multi-PART instrument, you can SELECT any of the PARTs (with Number A [?] ?=the PART number) that are within the multi-PART instrument. If the instrument uses 4 PARTs - then ANY of the 4 PARTs can be selected. Each will work the same. For recording the single-PART instruments - you would select those PARTs individually and the multi-PART instrument should not sound while those PARTs are selected. Part of how keyboard select works.