Multi/GM isn't a mode. It's a factory present Performance. If you recall Multi/GM (the preset) then, by definition, it will have a piano in every PART. You can change (edit) Multi/GM just like any other Performance (it's no different). The changes you make can be [STORE]'d and you can name this anything you wish. Then don't recall Multi/GM, but recall the new user Performance you saved.

You can also use Connect to save your setup as a file and use that instead.

I see. Thank you. So then what factory settings in the GM/multi performance make it different than other performances with respect to recording in Cubase?

The difference with Mutli/GM vs any other factory presets is that it's the only one with anything in PARTs 9-16. There's a place-holder sound ("warm bodies" ) in every PART. If you start with anything else, you're going to have to add something to all the other empty slots if you want those PARTs to sound. I said before a piano in every PART - true except for PART 10 which is a drum kit. Matching that GM MIDI has a convention to use MIDI channel 10 as drums.

If you always have the same basic track organization (say bass on track 1, piano on track 2, and so on ..) - you may want to make your own "warm body" clone of Multi/GM that just has a different mix of instruments. "My Multi/GM" - and place a bass in PART 1, a single-PART piano in PART 2, and so on. You can have different ones for different starting points. "Jazz Multi/GM", "EDM Multi/GM". It doesn't have to have "Multi/GM" in the name - whatever you want. But each would have all 16 PARTs utilized with single-PART instruments so you get both a "warm body" in every slot -- and maybe one that's closer to being the right instrument (than piano).

... and you don't necessarily need to start with "Multi/GM" to create something like this. You can start with a single PART instrument and add 15 more.

Multi/GM may have another unique characteristic setting vs. your "typical" Performance. I still don't have my keyboard online - so I can't explore. Maybe it's the output setting for each PART. Maybe something else.

... one of the other difference is the foot control 2 setting for this Performance. "All" other Performances have FC2 set to superknob. Multi/GM sets this to CC4 which is designated as "Foot Controller" per:

https://www.midi.org/specifications-old/item/table-3-control-change-messages-data-bytes-2

CC4 isn't a standard GM-thing (it's meaning isn't dictated in the GM-1 spec). So this was just seemingly set to let superknob act on its own and allow the FootController2 modulate something else with an open CC in the lower range.

https://www.yamahasynth.com/ask-a-question/why-start-with-the-multi-gm-performance

... I believe FC2's setting was what I was grasping for before as one of the differences vs. every other Performance.

Ah, that makes sense. I really appreciate the explanation. Ok one more question while I have you. Once you’ve recorded all those midi parts into Cubase, what is the most efficient way to transition them to disparate audio tracks for mixing in Cubase (with insert efx)?

Thanks again

I take it at first it would be most efficient to follow some tutorial - then branch out.

https://www.yamahasynth.com/montage-category/montage-and-cubase-pro-9-workflow
https://www.yamahasynth.com/montage-category/cubase-setup-guide-workflow-audio-rec-on-daw

There's a few of them out there to look at and cover audio.

1) Let’s say you set up 16 parts and record them into Cubase via midi and save the song in your computer. Then you turn your computer and Montage off. Next day you open song in Cubase and turn on Montage. Does Montage open in GM/MULTI mode again and remember the parts you selected last time ? Or do you have to put montage back in GM/MULTI MODE and re-select all the parts you were using again?

Jason is correct, MULTI/GM is not a mode, it is an Init Template. When using Cubase with your MONTAGE you should make sure you setup and run MONTAGE CONNECT. This utility will run in Cubase as a VSTi and can be setup to automatically capture your MONTAGE settings, and when next you open the Cubase Project it will automatically restore those settings. It is not even necessary to store your MONTAGE Performance onboard the synth. Cubase will faithfully capture and restore your Performance in detail.

2) Does montage allow you to save multiple GM/MULTI’s so you can have multiple templates for Cubase recording all set up to capture ideas quickly, or is there only one setup and you have to change it every time you load a new song into Cubase?

If you wish you can store the Performance in your MONTAGE, but it is not necessary if you are using MONTAGE CONNECT.

You can learn about MONTAGE CONNECT here: What is MONTAGE CONNECT?

So then what factory settings in the GM/multi performance make it different than other performances with respect to recording in Cubase?

Each of the 16 Parts contains a single instrument. Because each slot has a “placeholder”, when selecting an instrument to replace the placeholder, you will be using “Part Category Search”.

Starting with any other configuration would mean you are adding “+” or what is called “merging” a new Performance to an existing Performance... this utilizes the “Performance Merge” search engine. Performance Merge allows multiple Part instruments to used.

The difference being, the former will replace the existing Part slot with a single Part, while the latter allows you “merge” either single or multiple Part programs to your current Performance setup — it does so by placing the merged data into a previously empty slot. The former lets you choose to bring along previous settings (Mixing, Arp, MSeq, Scenes, Zones) or inherit those currently setup in the Performance. When you “merge” Performances, however, each selection maintains its previous settings.

The MULTI/GM template is very much like working with the previous generation’s Song mode (Motif XF) where each of the 16 Parts begins as a single separate instrument, on its own MIDI channel.

You can choose to use either method, or a combination of the methods.

Guys, thanks so much. Very helpful. Montage Connect sounds awesome. So if I’m understanding you correctly, it stores a snapshot of the Montage in the Cubase project file, and when you load the Cubase project file again Connect sends its data to Montage and restores it to the settings that were last active? It almost sounds like it does what the Motif “all” file would do , yes?

Well, if you mean that it keeps a complete Mixing setup for each Project (Sequence), then yes. But it is only storing the sounds you used in the 16 Part slots, and all their settings in the Performance. Each Project will have a different setup which CONNECT bulks back to the MONTAGE when you open the Project. (Set “Auto Sync” to On).

Got it, thanks. So I read through all the tutorials and I have a question..

from tutorial: What to take away from this: Recording MONTAGE PARTS to separate audio tracks in your DAW, would be done when you wish to further process the PARTs with plug-in Effects within your computer environment. Those PARTS that are fine just as they are can be bused on the "MAIN L&R" to a stereo track and utilize the MONTAGE's Reverberation and Variation effects (in addition to their own 2 Insertion Effects). You can choose which Parts you wish to record separately... You may opt to record just the featured instruments to separate tracks. Your mileage will vary per the project... It's your choice!

Ok so let’s say I’ve recorded 16 midi tracks in Cubase and I’m using Montage’s insert effects (on all tracks), master effects and variation effects. I’m done midi sequencing in Cubase and now I need to record *each* cubase midi track to a cubase audio track (for further mixing in Cubase). In Cubase I will create 16 stereo audio tracks to capture the incoming signal. In Montage I will change the setting in UTILITY to “Audio rec on DAW,” which, per the tutorial, auto-assigns each PART output in Montage to a USB output. Back in Cubase I arm all 16 audio tracks I created, and hit “record.” Cubase sends the midi signal to Montage, Montage sends the audio back to Cubase and simultaneously all 16 audio tracks are recorded until I press the “stop” button in Cubase.

Do I have all of this correct? If yes, next I mute all of my midi tracks in Cubase and play back my audio tracks. My question is: will all of my audio tracks be recorded with Montage insert, master and variation effects ? And if the answer is no, then can you please tell me the process I would use to accomplish my goal of recording all midi tracks to separate audio tracks in cubase with montage effects on each?

Thank you!

Do I have all of this correct?

No, not quite. when you record Audio to the DAW, each Part is recorded with its 3-band EQ, with its two Insertion Effects, and with its 2-band EQ; but without Reverb, without the Variation Effect, without the Master Effect, without the Master EQ.

This is the same as in a real world Recording Studio. Each Part is recorded to the multi-Track in isolation - therefore all “shared” processors are not included on the isolated buses. Things like Reverb and Time Delay Effects (used to recreate room acoustics) and your Master Effect and Master EQ, are applied during final mixdown. Decisions about how much Reverb and Time Delay Effects that position instruments in the stereo panorama are added only after all instruments, vocals, and other instruments have been assembled. (This is traditional, not a mandate, by any means).

On a studio console, the individual instruments are recorded to the multi-track via *direct* Outputs prior to the Sends to the Reverb, and other ‘shared’ Effects, but with their own Effects (example: the Guitar player has a Distortion and wah pedal, those are Insertion Effects. The organist has a Leslie and an overdrive, etc. These are effects that the individual musician controls in real-time. This way you can just the isolated instrument sound on each audio track.

When all the different components of the Song are assemble, then is when things like room acoustics (reverberation and most time delay Effects are added). As you may realize an individual musician could have their own Delay effect... so it is very flexible. Notice that many of the Reverb Types and time delay Types are also available as Insertion Effects. So there is no one-way to work, there is no one-way you have to work. But the MONTAGE allows for the traditional workflow, and allows you to be creative.

The reasoning behind not committing to an amount of Reverb etc, until the final mixdown is based on the difficulty to remove communal effects — how much Reverb is a commitment hard to undo... plus, while all channels of the console have a Send into the Reverb, and a separate Send into the Variation Effect, the return from those Effects are routed to the Stereo L/R Output. This means it’s a composite signal that includes a ‘wet’ image of each channel sent in. This completely defeats the idea of isolation.

will all of my audio tracks be recorded with Montage insert, master and variation effects ?

They will be recorded with the Part 3-band EQ (which is pre the Insertion A and Insertion B Effects, and the 2-band EQ which is post the Insertion Effect blocks).

You will have isolated instruments on each Track. We should mention: Drums... each Drum from within the Drum Kit can be routed to its own output bus or you can combine them as you would in a real-world studio. Example, the Kick Drum might be routed on its own mono bus. You might combine the snare, sidestick, and rimshot to a single mono bus, the three different hihat articulations might be combined and routed to their own mono bus. You might create a Stereo Output bus for the tom-toms to create their own pan situation, and so on.

This is accomplished by setting the “Output Select” parameter for your Drum Kit Part = “Drum”. What this does is allow each individual Drum Key to routed to any of the available buses.

Great info much appreciated. One other question.

As I sequence a song in Cubase, I will be doing some light mixing in the montage of course.. a little panning, a little gain adjustment, etc on each performance part. Correct me if I’m wrong but when I record those parts to Cubase audio tracks, those pan and gain adjustments I made to each montage part will be lost, won’t they? And if yes, that means I will need to make those adjustments again on each Cubase audio track to recreate the mix I had before? Is that right?

That is correct when you are routing signal via the Assignable USB Outputs. If you want to simply capture your MONTAGE mix, you would not use the USB1-30 assignable Outputs... just setup a stereo Audio Track in Cubase and capture the Main L&R Output. The Main L&R include all the processing done in MONTAGE.

IMPORTANT: It is not an either/or situation. In general, you windup doing some combination of workflows. Example, with all the boutique processing in the MONTAGE, you’ll likely only need to route those specific items that wish to process separately to the individual assignable Outputs.

There is no automatic value or benefit to routing every Part to a separate audio Output and a separate Audio Track. In fact, unless you have a specific plan to process a Part separately, you might well conclude NOT to route a Part separately.

As you correctly surmise, you would have to recreate everything now as audio. If you Pan a guitar left while it is MIDI, routing it to its own separate Audio Track would mean to recreate that same Pan position would mean you’d need to Pan that Audio Track Left to achieve that same positioning... and so on. You are breaking it down to reassemble it! (which only makes sense if you have a specific plan to improve it some how).

Routing everything to it’s own Audio Track does not automatically improve anything... in fact, you will work quite hard to get it back to how you had it sounding in the MONTAGE alone. In general, only those instruments you wish to process further in your DAW should be candidates for separation. Say you have a special plugin Effect you wish to use on a lead guitar sound. Or you want to punch up just the Kick and Snare with a specific plugin processor... in other words, have a plan for those items you separate.

If you simple separate everything — you are undoing and redoing everything.

I recommend to folks new to all of this... try everything. Create a mix entirely in the MONTAGE (just the Main L&R Out to a Stereo .wav) — Set it aside. Then do a mix where you attempt to improve it by taking individual Outputs to separate audio tracks in your DAW — break it all down and build it back as Audio, then do a mix to a Stereo .wav... afterwards... compare your two methods. (Experience is the best teacher!)

See if you have actually improved it. Play both mixes for others you know and trust. Recognizing that it’s all very subjective, and that there will always be things you’ll want to improve. Make an honest evaluation. Did you improve on things when you separated and then reassembled the Project? (You’ll know you worked more on it, but did you improve on it? Be honest with yourself. Ask your trusted friend—do they hear what you hear?

Two important tips I learned as a young recording engineer:
1) you really never finish a mix, you simply stop working on it... (at some point)
2) others do not always hear what you hear

These are hard earned nuggets. The first from a longtime, highly respected recording engineer, the second from Mr. Steveland Morris (famous musician, singer/songwriter, Grammy-winner, genius)... he would walk around for days listening to mixes of his tunes, and if he tired of it, at any point, he knew it wasn’t ready.

Find your own best workflow. There is no best way to arrive at the end goal. But don’t record everything separately unnecessarily. There is not an automatic benefit. Record separate outs when you have an idea (specifically) on how you are going to improve on it.

Hope that helps.

Great insights. I’m trying to establish the most efficient and repeatable songwriting and production process possible using just the montage and cubase, so your insights help a lot.

One of the issues of grouping most tracks together as a single audio file in cubase is that once I add vocals and backing vocals, I need to be able to further EQ, pan, compress, etc. montage instruments to get the right mix (as you know).... unless I were to record vocals while tracks are still in midi form in cubse, in which case I would still have control over them in montage and could keep mixing. ?

I don’t think I have ever recorded vocal tracks in Cubase with midi tracks. Not sure how that would work out because once I rendered midi tracks to a single audio track, the single audio track would be out of sync with the vocal tracks due to the slight recording delay at the beginning of the single audio track. I could come close to aligning the vocal tracks with the mixdown track, but probably not get it perfect - which stinks. It’s also kind of a kludge to do it this way?

However, if I add vocals AFTER i render midi tracks to a single stereo audio track, I won’t heve any timing issues but now I won’t have any control over individual tracks like eq, dynamics etc to ensure everything fits with the vocals nicely.

What are your thoughts about all this? Also how would you go about composing, recording and mixing a song with montage instruments only, vocals and cubase?

For the record, I have composed most of my music for the last 20 years on a motif sequencer in pattern mode. It is super easy, and forces me to use my ears. The problem is I never figured out and efficient process for getting the tracks over to the computer. I find if I bring them over to the computer separately then I have to remix the whole thing again. And if I bring them over as one single stereo audio track (as you’ve suggested), then once I record vocals I find that I need to make tweaks to individual tracks, and of course I can’t because they are all grouped in one single audio track now. It’s a real conundrum and has vexed me for many years.

So what I end up doing for those songs that I have to publish (for instance when somebody pays me to write a song for them, a jingle, etc)., I create the song in cubase using VSTi’s only (which I am not wild about doing because imo vsti’s don’t sound even close to as good as Motif voices/performances), And I don’t even get to use my Motif—except that I might overdub a track here or there.

I’m just adding some background here so you can see where I’m coming from. I would love nothing more than to establish an efficient and repeatable workflow that would allow me to use nothing but Montage instruments in all of my productions.

Thanks again for your great insights!

Mark