Performances can be switched by sending PC+Bank LSB/MSB through MIDI. Changing performances is "locked out" during recording - but using MIDI is a way to record this change.

Part switching can be handled by using the Number A [1]-[16] buttons. Be sure you have the keyboard in [PART CONTROL] mode or Number A [9]-[16] will be dedicated to MUTE (when in "Performance Control" mode). I tested this using the Multi/GM init performance.

If parts have velocity or other rules that make them respond to keyboard control - then this is another way to make one part record vs. another.

When I look at what's recorded with the recorder, I see all MIDI events including SysEx being recorded. So superknob movement is being recorded and played back. I haven't tested to see if the saved .MID filters out anything or not - not sure why it would.

If you want to have the assignable knobs output the CC vs SysEx - you'll have to switch back to "Performance Control" mode so the keyboard places faders/assignable knobs into "ELEMENT/OPERATOR" mode (green LED).

Again, something monitoring the MIDI activity is useful to "see" this.

Edit: adding that page 175 of the data list (montage_en_dl_v110_b0.pdf) has a table showing

"*3 Relation between BANK CHANGE and PROGRAM is as follows:"

Where the MSB/LSB + Program # ("PC") can be seen. A few excerpts:

MSB=63, LSB=0, Program # = 0-127 is shown as Performance (Single Part) Preset 1
If you run through these, you'll notice Program 0-127 map to the data list (page 2) performance list Number 1-128.

Change LSB to 1 in order to pick up the next 128 performances ... and so on

As "single part" this is I think a scaled-down version of the preset and therefore does not change the current performance name, etc.

MSB=63, LSB=64, Program # = 0-127 is shown as Performance (Multi Part) Preset 1

Same as above, except is the full-blown part and therefore, you will see the performance name change as if selecting from category search.

You can see the table other entries for library, GM, etc.

Thanks for your reply Jason. I expect to have a Montage in two weeks so, its a little vague to me at this time regarding physical navigation.
..."I see all MIDI events including SysEx being recorded. So superknob movement is being recorded and played back...."
OK, then MIDI pgm change should also "stick"
Here is what I hope to accomplish. Choose an empty sequencer track say, trk.16 sending out on MIDI ch.16. Somehow, record pgm change numbers maybe by physically selecting a part. I've done this for years on other sequencers. On the dedicated track(s) that I have used with this setup in the past, local was set to OFF and the data sent out to an external effects processor for use in live performance.
One might suggest that, why not just insert pgm change messages in a DAW, then record this into Montage but, I don't know if that works. Also, I do know that Montage will record mod wheel and other controllers but, as to how ... So, for example, I used to record pgm. change, mod wheel and data slider while sequencer was running by simply moving/touching at desired measure/bar/beat and later shifting, +/- where needed.
Presently, I expect to be performing very soon with Montage and my electric violin processed with dedicated processor. I've always performed this way and now with Montage soon to be my only board, I'm hoping there will be an elegant way to achieve this. Surely there are several members including yourself and the MAN Mr. Badmister will provide clear answer. Thanks in advance.

Just to be clear regarding my objectives. Have two MIDI seq. tracks available- each one able to record pgm change, and three other messages consisting of physical button, sliders, wheel, or pedals for a total of only four different cc numbers on each of the two tracks.

Without using an external controller, I didn't see an on-board way to force a Bank/PC change since the interface locks out navigating to [CATEGORY SEARCH]. Therefore, I was saying you need an external source for that MIDI message targeted to Montage. The recorder does record the message - but the control on-board is limited.

Not-limited-controls are: the assignable knobs, super knob, and other physical controls which retain their function and will be recorded by the recorder.

The main use for the recorder is a scratchpad. Also somewhat tied to arpeggio creation. For a more capable sequencer, you need to hook up an external computer.

Stepping through your recorded MIDI file on a granular level on the Montage isn't going to happen. It can record these things, but a step editor is not part of the deal. Again, the computer is needed.

For what you describe - I would bite the bullet and use Cubase which is bundled with Montage to do this. All of this is part of the Montage philosophy of where work should be accomplished.

My answer was outlining what the recorder does record - and noting that the bank/PC change is not going to be something you can do with the interface.

The only asterisk here would be I'm sure you can use a foot switch (haven't tested) to advance to another performance and that would be recorded - although you would need to do some prep work to make that happen. Diminishing returns vs. a computer. What I did test was using my PC to send MSB/LSB+PC which are respected and recorded by the recorder.

To do what you are describing as your end goal, I'd record a MIDI file with the changes I want on the computer and turn that into an arpeggio which should retain everything. Then assign the arp to the PART you want with any limits on key range (maybe just one key). For the MSB/LSB+PC change anyhow - that's what I would do.

Up and down the description of what you get with Montage are bold letters - "this is not a full blown sequencer". Even at times, avoiding the word sequencer altogether and only calling it a recorder.

I'm not sure it matters for you so much how you get from point A to point B. That now there are different methods. You just need to learn the ropes of how this can get done - which is different than your previous workflow. You'll still get to point B.

AFAIK, even though the sequencer offers just basic recording as compared to the Motif's rather full editing abilities, the Montage's knobs, wheels, buttons, monophonic aftertouch, velocity and others, do get recorded. Can a MIDI program number change be recorded? 1st, do the parts have a MIDI PGM number or do the performances have a Bank number? When the sequencer is recording, will it record any switching of any parts or performances and or can the MS or super knob, switch or engage, different parts or performances? if so, will any of those be recorded into sequencer?

Compared to the Motif full fledged Sequencer, the Montage does not have a traditional Sequencer. So let's start by clearing this up. Some take the tactic of circumventing the facts; the fact is it is not a traditional sequencer, it is referred to as a Performance Recorder.

If you read through and grasp what this means, you will prevent misunderstanding and unrealistic expectations. In other words, once you fully grasp its design purpose, then and only then will it make any sense.

So let's start by saying it is more akin to the direct Performance Record feature introduced on the MOTIF XS/XF and MOXF-series.

A PERFORMANCE in all of these product represents a program with multiple Parts, perhaps even multiple Arpeggiators happening under keyboard control, simultaneously. When Direct Performance Record was activated the current multiple Part program could be performed and documented to individual Tracks of the MIDI recorder. Even though you were initially transmitting on a single channel the Motif/MOXF would divide each Part to a separate channel, then it would copy the four Parts to four Parts of a Mixing, where it would reunite the MIDI data with the Part it made sense for. This was necessary in order to play all together, yet document them to the recorder separately and playing back the data made musician sense.

A PERFORMANCE on Montage is an entity where you can trigger up to eight Parts, with up to eight Arpeggiators simultaneously, but instead of transmitting on just a single channel initially you are transmitting on as many as eight MIDI channels simultaneously. The concept here is different from the traditional sequential recording situation where you record one track at a time.

The Performance Recorder is designed to record multiple Parts simultaneously. That is its primary function. Building, although constructing is a better term, a Performance on Montage could engage scores of controller assignments, tones of parameter movement via LFOs and Motion Sequences, multiple arpeggios, and controller movements that bring sounds in and out. The Motion Control Synthesis Engine has a MIDI/Audio PLAY/REC feature that is primarily optimized to document your interaction with a Montage "construction" in a single pass.

Yes it has 16 tracks, perhaps leading you to believe it is a traditional sequencer. It is not. It is therefore not designed, to do some of the basic things your asking. Sure you can change sounds, but not by Bank Select and Program Change message (talking about on board) of course, you can use these with an external DAW... The MIDI side of the Play/Rec feature can playback traditional sequence data and is fully implemented in that way.

But in its primary function there would never be a need for a Bank Select or Program Change, "changes" in the currently active sounds are handled within the single Performance via some Motion Control system function, like "morphing" between sounds using the Super Knob, or recalling a different set of instruments with the Performance via a Scene "snapshot". But by definition it is a Performance Recorder. Your Performance has 16 Parts - eight of which you can interact with and control simultaneously.

The concept is to construct a basic setup that includes, say, your basic framework of instruments by interacting with them simultaneously... Then you can immediately drag n drop your basic framework into your favorite DAW. MONTAGE CONNECT is a utility program that will let you drag your Montage Song directly into your DAW as a .mid file, then you can either render this as audio (using either a FREEZE option, or render it as audio), this way it frees your Montage hardware for additional tracking. When you have a multiple Part Performance, you Part allocation goes quickly... This is why the Montage has such a robust Audio busing system... The workflow will consist both MIDi and Audio data management.

Program Changes and Bank Select messages are handled from your computer DAW, not the internal Performance Recorder.

I mentioned this PLAY/REC (Performance Recorder) has both a MIDI and an Audio component... The concept is the same, to document your interaction with a single Montage Performance... The data, be it a .mid or a .wav can be easily moved to your favorite computer DAW, where you can build your musical composition.

Rather than duplicate a traditional Sequencer -research shows us that the majority of musicians at this price point are using pro DAWs) the recorder on the Montage does (easily) the complex task of recording multiple streams of data simultaneously, something many find out is not so simply handled by a DAW setup to basically record one track at a time.

Montage can record this way to your DAW, as well, but when you start introducing the multi-dimensional, multiple channels of Montage Performances, you quickly begin to understand (perhaps) what the role of the internal Performance Recorder is and why it works the way it does.

Please do not attempt to use it as a traditional sequencer without a full understanding of its actual role in the Motion Control Synthesis Engine.
Hope that helps.

Greetings and thanks to Bad Mister and Jason. There is a lot to the Montage and I see that a good grasp of its design is important for my work.
Both of you have offered a lot of information which, I will re-read several times.
I'm very impressed with what Yamaha has done here and I had several years ago also conceived of a new direction in hardware synths in which one was always in performance mode because when you play you are performing. I sincerely hope that Yamaha does very well with this unit in order that we would see further products as off-shoots.