Each Performance has a volume stored inside of it. When you recall a Performance directly, the programmed volume is part of the settings just like the changes in sounds are part of the settings and so the keyboard assumes whatever volume is inside the Performance.

I said "directly" because you can send an MSB/LSB/PC combination which will recall (directly) any Performance in the factory presets OR user bank OR any one of the 8 library slots.

... however, you can also "indirectly" load Performances because you can also use a different MSB/LSB/PC combination which tells Montage to recall a Performance through the Live Set feature. Under most circumstances recalling a Performance through Live Set would be no different than recalling the Performance directly. BUT - Live Set allows for you to save a Performance volume to the Live Set slot that's different than the Performance's saved volume. So you can adjust the volume of the recalled Performance inside the Live Set slot and then use Live Set's MSB/LSB/PC combination to recall a Performance with that different volume offset.

The other (different) thing you can do is "simply" edit the Performance itself and change the volume then save the result as a user Performance. And have Cubase recall that user Performance with the adjusted volume. If the original Performance (before volume adjustment) started as a user bank Performance - then this is the simple path. Just overwrite the Performance when you [STORE] with the new volume setting that matches all other Performances (do this for all). If the Performance started out as a Library or factory Preset - then you'd need to create a new user Performance first with the volume adjusted version of the original Performance and also change the MSB/LSB/PC you use to recall the user Performance instead of the Library or Preset that you were originally using.

If you want the volumes to match, it's under your power to do so. You need to program each Performance to assume the volume you want when you switch to the Performance.

If your volume is going to be different when you switch (not always the same) and you want the volume to maintain the same level - whatever you've manually adjusted it to - as where your last Performance left off --- then you'll have to not switch Performances. Instead switch out PARTs. In order to have this work the way you were thinking it should (by not switching out PARTs but the entire Performance) - there would have to be a "Global Volume" like we have Global A/D and Global Tempo that have been added over time. That doesn't exist that I'm aware of.

By changing instruments as you are doing, rather than inheriting the current mixer settings, they are recalling the stored settings as programmed when the Patch list was made (one reason to not use Patch lists for changing instruments assigned to Parts). Below we’ll show you the recommended method... which completely avoids the issue.

Since you mention you are using a ‘Patch File’, my guess is you are at the mercy of your Patch File... especially if you are recalling factory Performance Parts. Before we get to the solution... let’s deal with a Cubase Preference that can impact settings like Volume.

Cubase has a “MIDI” Preference that will “Chase Events”
When you STOP the transport and return to any specific measure location, this Preference setting can be used to “look” into the Track data and reset your controllers, Program Changes, Sysex, etc., etc., to the value or condition most recently happening for each Track. This is how when you return to the top of data, no matter how much data has been altered during playback, these *selected* item are “looked up” by Cubase (this is referred to as “Chasing events”), and reissued. This is very cool because if you faded a track out (to 0 volume) at measure 56, when you roll back to measure 40, CHASE EVENTS, will lookup and return this Part the volume setting that was relevant at measure 40. You see see without this, correct playback would be impossible... ).

Go to Cubase > Preferences > MIDI > setup the items you want the program to “chase”.

It is unlikely that you are using Bank Select and Program Changes at the top of your Cubase Project (who would do that... I can think of plenty of reasons why that would NOT be a good idea) if you are we can recommend a much better way to recall the MONTAGE Performance you are using: MONTAGE CONNECT - can store all of your initial settings and can automatically restore the Performance to your MONTAGE immediately upon you opening the Project. (Auto On).

In general, you would only use Bank Select and Program Change, when absolutely necessary, to change a Part during musical playback. Since that is not the issue you are having, we will not go into that here. Your issue is that when you substitute a new instrument in an existing Part, the Part ignores the current settings for that particular Part slot... and the Volume changes (you say it gets louder, but it could just as easily get softer) the fact remains the Volume is changing and you would rather it does not...

((We should mention the MONTAGE also has a “Chase Event” function that can lookup the last (most recent) setting for Program Change, Controllers, and PB Wheel... again, for when fast forwarding or rewinding to a new location, this ensures playback is as intended.))

What you can do...
The MONTAGE has a built-in feature, that allows you to replace (substitute one Part for an existing Part) an instrument in your Performance and have it inherit the current settings for that Part slot. That is, the Volume, Note Limit region, Pan position, Reverb Send, etc., etc., etc., will all remain as previously set by you.

For example, when you have a couple of Parts creating a Piano / Bass Split — meaning you’ve already set the Note Limit ranges, and the Reverb Send, and the relative Volumes, but you now want to *try out* a dozen or so other basses. This means you wish to keep all the work you’ve done creating the split point, effects, and balance... all you want to do is slip in a new Bass — and have it inherit the mixer settings!

This is best handled onboard the MONTAGE as follows:
Select the PART you wish to work on
Press [CATEGORY SEARCH]
By selecting the PART first, this launches the third type of program Search, called “Part Category Search”

“Part Category Search”
Appears when you have selected an existing Part and you wish to *replace* it with another. The top line of the screen will identify this type of search by indicating the Part number and exactly what you are getting ready to do.

When the “Part Category Search” is initiated you will see several option boxes along the center bottom of the screen:
“Parameter With Part” - when these are green the settings *stored* with the Part automatically come along with your selection. (That’s exactly what happens when you use your Patch List, your Patch List is completely unaware of the mixer settings you have made, and therefore dutifully recalls the Part as it was stored at the time the Patch list was made — whom ever made the Patch List was unaware of your Volume setting, unaware of your Note Limits, unaware of your Reverb Send amount, etc., etc., etc. — You can prevent the selection you make from making the same mistake, by opting out on the “Param with Part” functions...

Mixing - this is what let’s you either inherit current settings or reset to those originally stored with the Part
Arp/MotionSeq - this allows you to either keep the Arp and Motion Seq you created/selected, or reset to those original stored with Part
Scene - this allows you to either keep the stored Scene offsets you created for this Part, or reset to those originally stored
Zone - (if Zone Master is active) allows you to keep the Zone Settings you made for this Part Slot, or reset to those stored with the source Part slot (if any) excellent when a Part slot is setup to control an external device (Zone).

Green means you are opting In on resetting to the stored values
Grey means your new selection will inherit the current volume, the current, Note Limits, the current Reverb Send amount.

This method of replacing Parts is far superior to a Patch List that is unaware of anything but the original factory settings.
The Patch List is an ancient way of working that has this limitation (as pointed out) It is convenient to be sure. I attempt whenever I have the opportunity, to introduce the Category Search functions built into the MONTAGE/MODX, because in many instances they can serve you better. They include your current User and Library Banks automatically. (Making a new Patch List for each Project is not feasible).

In your particular issue, it is not a matter of MSB/LSB/PC, at all, however. And you certainly don’t need to wait for a non-existent Global feature. You simply want to change the program occupying an existing Part. Well, there is already a feature that does this... quite handsomely.

Extra Credit:
There are three different Category Search features when looking for Instrument programs:
_ There is “Performance Category Search” — changes all 16 potential Parts altogether.
_ There is “Performance Merge” — adds an additional Performance to the current Performance Parts (seen only by touching “+” in an empty Part slot, used to ADD (Merge) a new program to the existing Performance Parts
_ There is “Part Category Search” — expressly for replacing an existing Part with a new program... (as explained, that is what you want... and it is here that you can opt in or opt out on what gets brought along with your new selection).

Final Note:
You can still use the old Patch List system, (been around for 30+ years), but know it’s limitations. It is usually only a listing of the instrument’s presets at the time it was made. As a substitute for the “Performance Category Search” - replacing the entire 16-Part Performance it is fine... it gives you the fixed Factory Presets, but for what you described as your issue it not doing the job.

Hope that helps.

Hi Patrick, Jason, Bad Mister.

Hope you're doing well.

Came across this post and it ties in with some other research I was doing and thought just to add my 5 pennies worth in case it may be of some use. (thank you as ever for the response Bad Mister, I was having the same issue with the volume change and was hoping for a global volume update in the future, in the mean time I will look into the part merge functions). I do however use the Montage connect vst3 for recall on projects which is fine and Jason's advice on overwriting the performance with the adjusted volume is a credible option.

I did want to add however in regard to patch script editing etc. If you have, as I do, the excellent tools (and fairly inexpensive) for the Montage provided by John Melas, in particular the total librarian then you are able to take a real time snapshot of your banks, including your user files. You can then export to a patch script file for Cubase. Save the file in user/documents/Steinberg/Cubase ver **/scripts/patchnames/inactive/Yamaha and then use the Cubase midi device manager to create the Montage as a midi device with the latest performances. This way, if you are wanting to use the 30+ year old program selection method within Cubase then you can, and with the latest and entire library. I would say of course that a lot of this could have been avoided if a Montage vst3 control interface had been created. I mean Access (early Virus) managed a graphical pc editor, and that must be coming up to 20 years ago at least and in more recent times with the TI range. Maybe even a comprehensive IOS app like I have for the X32 mixer would have been useful too. I love the Montage but I have to dig at something.

The research that led me here was in relation to sysex programming in order that I can switch parts, programs, change volumes and obviously a whole host of controls in real time in order to maximise the power of the Montage in a studio/DAW situation. Any advice, pros/cons or better ways to achieve this level of functionality would be very welcome and appreciated. I am currently recording multi-part performances to audio (at 192Khz) so this limits (even with a very fast pc and the fastest SSD's) the number of tracks I can utilise at any one time. Some of my projects can become quite large so it is useful to be able to switch multiple parameters and automate the Montage and utilise completely in real time and not having to bounce to audio. In relation to that, yes I can use as 16 part timbral which some might think is adequate but I don't always use single part performances and by doing so would limit the flexibility of the Montage. It also does not get mentioned enough that only by outputting all parts to Main L/R will the signal output through the master effects which is also a disappointment and hard to understand why it was made that way, again without real time manipulation, would decrease the power and flexibility of the Montage.

Thanks for your time.

Thank you Bad Mister, Jason, Zed.
Lots of valuable information in here.