You have to correct your definitions a bit to fit how Montage actually works. You can only play one Performance at a time. When you combine two or more Factory Performances you literally combine them (called "merge") into one new Performance.

This first seems like it's just semantics, until you realize that each Performance has two basic levels of editing... the individual Part Edit parameters, and an upper COMMON level that serves to rule over all the assembled Parts. It is on this upper COMMON level that the Super Knob and its associated 8 AssignKnob live.

It has but one upper COMMON set of overall parameters that apply to all Parts.

So, while the Parts of four different 2-Part Performances can be "merged".... there can be only one set of COMMON parameters to rule over all Parts. By definition.

A Part, or Parts, always can bring along its own Control Assignments to its own 8 AssignKnobs, the relationship to the upper COMMON level of the Performance is unique for every Performance. So when you 'merge Performance' - you must create a new relationship with the upper COMMON level in this new situation.

Let's talk through an example, "CFX + FM EP" is actually a merged Performance... obviously. it merged the four Part "CFX Concert" with a single Part FM-X DX7 electric piano. As you know the Super Knob morphs between the acoustic piano (minimum) and the FM piano (maximum)... but imagine these two entities as separate Performances:

Call up the four Part "CFX Concert"
Press the "+" in Part 5 to "Merge" a new Single Part with this four Part.
The CATEGORY SEARCH - Performance MERGE screen appears
Set the search functions as follows:
Bank: Preset
Attribute: FM-X
Part: Part 1
Main: Keyboard
Sub: FM Piano

Find the "Classic '80's DX7 EP".
Select it

When these two sounds are *merged*, the relationship of the "CFX Concert" to the Super Knob is in place, but by adding the FM-X Part, it has no relationship with its new home in this Performance. If you want to morph the acoustic into the FM-X, that relationship needs to arranged between the Parts as they now exist... as they now exist in this newly merged relationship.

Instead of being Part 1 as it was in the Preset location, the FM-X EP is now PART 5 of this brand new Performance... this new Performance's COMMON level has no reference to a Part 5, at all... until you merged them there was no Part 5.

There is nothing wrong, you just have to create COMMON assignments that include any new Parts you merge.

Each Performance can have 16 Control Assign Source/Destination sets... each new Part merged into this new environment will need to have its own relationship with the COMMON level (any previous assignment on this upper Common level would be meaningless in this new home).

Once you understand the Super Knob and its 8 associated AssignKnobs on that upper COMMON level, as being the set of parameters that rules over all 16 Parts together, you start to understand how and why each newly added (merged) Part must be programmed for a new relationship in each Performance in which you use it.

Extra Credit
And just to give a parallel instance: if the Performance you start with (CFX Concert, in the example above) has REVERB = HD HALL, and VARIATION = SPX HALL as the (Common) System Effects. These are the Effects shared by all Parts, in common, via an individual Send amount Control on the mixer.

Well, each new "merged" Parts will also now have their own SEND amount to these same COMMON System Effects, HD HALL and SPX HALL. Things on the upper COMMON level are shared by all Performance Parts.... make sense? They are as much a unique part of this Performance as the Super Knob assignments.

Each merged Performance cannot bring its own System Effects... there is one Common System Effects block that all Parts of the Performance share.
Each merged Performance cannot bring its own Super Knob assignments... there is one Common Super Knob assignment setup that applies to all Parts of the current Performance.

OK thanks. As I suspected. Thank yo for the detailed answer.

Looking forward to that online boot camp!

Karl

For a visual (common level assignable knobs), you can look at the picture in this thread:

https://www.yamahasynth.com/forum/controlling-filter-cutoff-with-superknob#reply-22106

They would be the the purple knobs which are shown pointing to different PART-level assignable knobs (in green) - different PARTs and a different knob within each of those PARTs. I've shown them as spread out since it makes the picture easier to read - but each of the common knobs could have pointed to a PART Assignable Knob #1 (instead of 1, 2, 4, and 7 in the picture). Say PART #1 Assignable Knob 1, PART #2 Assignable Knob 1, Part #3 Assignable Knob 1, Part #4 Assignable Knob 1. This organization is actually more prevalent in the presets.

Jason - Thanks for that additional info.

I have decided on an easier approach (for me)—which follows for those of you who would like to switch back and forth between different motion controlled super knob performances on stage.

Scenario: I am developing an arrangement for Bob Marley's 'Stir It Up,' which uses synthesis modulation in the intro (and chorus), and then a wah wah guitar (touch wah AF1) for verses and solos. As stated, I want to be able to easily switch between these two, live.

1. I defined the synthesis performance and named it 'Stir It Up 1' (SIU-1) in the live performance bank.
2. I defined touch wah AF2 as another performance, and named it 'Stir It Up 2' (SIU-2) in the live performance bank.

I positioned SIU-1 and SIU-2 adjacent to each other on the live performance screen.

Montage's seamless sound switching makes this easy. When I want to switch sounds, I press the sustain pedal in the last measure of SIU-1, then tap SIU-2 on the live performance screen, with no sound gap to bring in the wah wah guitar. Switching back the same way to SIU-1 for the chorus.

Voilà! This works seamlessly (as 'SSS' implies).

Still looking forward to the online Montage boot camp.

Cheers,
Karl