Great idea! This could also allow us to seamlessly mute parts when changing scenes. By setting a part's note range in a scene to G8 -G8 for example, existing notes should decay naturally but no new notes would trigger.

If they could implement a system whereby users can set the midi channels of the parts within a performance (rather than them being assigned to match the part number) then groups of parts could be linked to play together (in a more flexible way than through keyboard control) and the part select buttons then would be able to trigger these groups without the sound cutting out - in the same way as they do for single part sounds currently.

Agreed about the scene flexibility. Note ranges, A. SW1/2 settings, etc. At some point I suppose we run out of memory to store the information if the list gets too long if we are not already at the limit. And if scenes are saved in the save files - then it's not optimal to change the format of the save file. Open source Montage? Surely that would not happen either.

However, it's great to feedback what would enhance the Montage 2.

I'm sure there are a few unused bytes lying around in the save file format. Saving the note ranges would require only 16 bytes, plus 2 more bytes for the A.SW states. A number of posts here have commented on the desirability of seamless scene switching.

Totally agree. Music is about selecting keys and pitches. A scene without a changeable range settings is like driving a stick car without a shift or steering wheel. It's nice to have state of the art gps-navigation, but what's the use of that if you can not change speed or direction? A work-around by driving a complete block in the opposite direction? Inefficient.

A second request is control over the mute-status or SSS. When I press the sustain pedal I expect the played note to last until the pedal is released.Now the machine is taking over and decides that my played note should be killed immediately, just by selecting/replacing another part/instrument? Sorry strings or padded piano, take a break, it's now the turn of the brass-section?

These two aberrations are my main annoyance when playing the montage live. It would be a relief if that could be fixed.
For the remainder: great instrument, although there are more items on the wishlist. But they are not vital. The two above, however, are.

I'm all for it. I really hope they can accomplish this in a firmware update.

When auditioning sounds with the "SSS" label, I did notice that using the keyboard in the conventional way - meaning holding down a note from one SSS performance then loading a new performance - the note cut out. Honestly I can't say (now, from memory) if both performances had the "SSS" label.

I'm not really finding what I'm looking for.

"T3 Uber Funk", "Tectonic Dub", "Warped Bass Traxx", "Electro Boo, and "Turn It On" seem like a slight stretch of the term "SSS". Since I guess SSS only applies to the core element and not arps or motion sequence - the sound cuts off entirely when switching from "T3 Uber Funk", "Warped Bass Traxx", "Tectonic Dub", etc. to another performance. I think those three performances should lose their SSS certification. Same is almost true for "Bell Majestic" in which the core of the sound switches off when going to another performance. "DJ Montage" mostly cuts out. Compare with "Electron" or "Marine Life" which although their ARP related sounds cut off - there's still enough of I suppose non-arp pads that still sound to carry over a performance switch. In this case, I would say "Electron" and "Marine Life" qualify for SSS - but "DJ Montage" likely doesn't because too much drops out even when holding notes. There are other examples of preset performances which cut out.

Not sure if the architecture allows for also keeping the ARP and Motion Control/Sequence going while holding the note and switching performances (SSS+?). Possibly place on the list of the next opportunity to enhance.

... getting back to the mute status/SSS previous reply:

I had another comment about noticing less than optimal response to using the sustain pedal in another context (emulating what a real piano would do for piano voices). Wonder if there's some general cleanup around the sustain code that could be done to remedy both.

Edit: Link to previous sustain observation:

https://yamahasynth.com/forum/montage-sustain-response-pianos

Back to the original subject matter: using scenes to affect the pitch range of a sound.

First, let me say the following "solution" does not fit all use cases. It does not adjust the note range in terms of the "split range" (lowest key to make a sound to highest key). Rather it allows for an element to be shifted around the keyboard which may open up some possibilities for solving the original issue(s). If the element has times when it can be muted to avoid layering when using a pitch-adjusted version of the sound, then this may be a way to accomplish the task at hand - use part volume in the scene save - and shift the elements around by pitch (octave).

What can be done to change the octave of an element by a motion sequence is:

1) Setup Part(#) - Common
a) Mod/Control -> Control/Assign
i) Display Filter: MS Lane 1
ii) Add a Destination (click +): Pitch
iii) Curve Type: Standard
iv) Polarity: Uni, Ratio +24, Param 1: 5 (for steady ramp)
Note: Ratio can be tweaked to get more or less granularity out of the pitch variation
b) Motion Seq -> Lane
i) Speed 1, Cyle 1, Everything "On" except lanes 2-4 and lane 1 trigger.
ii) From here click "Edit Sequence"
c) Under "Edit Sequence" of a lane
i) Smooth 0, Amplitude 64 = 8va, Amplitude 126 = 16va. using above suggested values in parts "a)" and "b)"
ii) Change curve to a new user curve (I'm using user 7 since I have other curves already defined) and edit the new user curve
ii.1) For Input set all values to max showing 0, 121, 122, 123, 124, 125, 126, 127
ii.2) For Output, set first value to 110 (output under 0 input) rest of output values can be set to 0
Note: changing this first value of 110 to different smaller values will decrease decrease the maximum pitch variation but will give greater granularity in microtuning.

This sets up a template for changing the pitch in the 8va direction. For 8vb, set "a)" ratio to -24 and set user curve "0" input's output to 103 (instead of 110).

Also, as I listen to different ranges of the keyboard - this isn't perfect. There are areas where the pitch is not correct. Rather than an end-to-end solution, it's a framework which may be adjusted to fit your needs through further experimentation.

The downside is the element with effects sounds different with these adjusted than playing the note with a higher key. Not everything translates using this method but may be good enough.

I'll be using it to avoid having two copies of the same part in order to cover a range change (not sounded note, but played keys) of the same sound. However, I'm not out of parts yet so it may be easier to "burn" a part instead.

Just thought I'd share since I think most of this can be saved in a scene.

Edit: For 16vb, I found the following parameters are better:

User curve value for Input=0, Output=76
Mon/Control: Ratio -32
Edit - Part1 - Lane1 - Sequence1 - Amplitude as 127

My application is moving a string part up 2 octaves in playing position while keeping the sounding notes the same, so the above works for me.

Although there are "gotchas" and the sound is better without using this form of shifting, so I just ultimately copied another duplicate part to cover the other range.

Wow, that's going in pretty deep. Thanks for the suggestion and info. Unfortunately, it doesn't help me in my immediate need, but I will certainly experiment with that.

Right now I'm not sure there's a more efficient method than duplicating parts. There are more open spots and even before I had multiple performances with one song. Now I can manage with the duplicated voice to get most of those to one performance. I also have some parts which I squeezed on the last few notes and bottom notes of the range playing them in a different key (yet sounding in the key of the tune due to the pitch shift) so I could "compress" the notes in the space.