It’s not the MONTAGE that seizes Control, it may seem that way, but it is not aggressive, by nature. it’s the way your computer Preferences are set... those can be changed to serve your workflow.

You are free to use whatever device you want as your audio interface. Typically, the application (DAW), in your case Logic Pro, would handle which device is set to be the principal audio interface.

On a Mac you can build an Aggregate Audio device, which allows you to combine audio inputs from multiple audio sources. You would setup so that the RME is the principle audio device (the one that connects to your speakers)... and setup as many audio buses from the MONTAGE as you require. If you are sending MONTAGE audio via USB in this setup, you will need to monitor through the RME (it connects to the speakers).

— What that means is, in order to hear yourself playing the MONTAGE, you would need to connect analog to the audio interface which will let you hear what you are playing.
All audio devices would connect to the RME for monitoring purposes.

That is one way to setup. You would have to decide if this what you need. The MONTAGE offers 32 bus outputs. Different workflows for different purposes. If you use the MONTAGE during ‘tracking’ you might opt to use it digitally via USB. Often you may need to record complete audio stems of MONTAGE Parts - that is when the 32 bus outputs is vital.

The producer and engineer want separate kick, snare, hihat, bass, and keys, stereo outs on the strings, stereo outs on the brass, and oh yeah, stereo outs on the synth pad.. you can do all that simultaneously with the MONTAGE USB outs. But if you’re not doing that kind of production you could skip that and just connect Main L&R to the RME and forego the digital USB audio. You can still lay down complete stems, but you’ll need to do them one at a time, using the solo function.

Summary: You have the ability, with 32 audio bus outputs, to configure all manner of routing scenarios. But unless you are going to take advantage of the audio isolation, it makes no sense to do it. It’s there when you need it.

Most professional DAWs, and I’m sure Logic Pro has a way to do so... allow you to have several audio configurations that you can name, store and recall whenever necessary. You don’t always need to take separate outputs on every little thing. Use the isolation possibilities when you need them. It makes no sense to separately isolate a Part if you have no plan to do something specific to it. It makes no sense to separate all the Drum sounds if you are only going to just reassemble them. It you have an idea to process the snare differently than can be done onboard the MONTAGE, then by all means, it makes sense.

In other words, the mixing/balancing of the different component can be done on board... save isolating to a USB audio output for those items you are going to process further in your DAW.

If there is a special or featured sound, having the ability to route it in isolation can make all the difference. But use it because it serves what you are trying to accomplish. You want to get to place where you are doing things because there is a reason, not just because it’s possible.

If you open 32 audio buses, there is a CPU penalty to pay. So open what you need. Why load your computer with having to look at all those buses if you are not using them. If/When configuring the system is still a chore, you want ONE setup that you’ll use every time. When you reach the comfort-zone with configuring and reconfiguring your system, you just create what you need and get to work.

It comes with repetition. Like muscle memory. And there is no shortcut to experience. Each time you reconfigure you’re System, you will notice certain functions need to be in place to do what you need to do... that is you developing your own workflow. Once you reach that comfort zone, you no longer see it as a chore, it’s just something you do. Then you can create, name and store your own templates. Until you do, consider all preset templates as suggestions.. they can only get you close.