Super Articulation 2 as found in the Tyros-series
Mainly for wind instrument Voices, a special Yamaha technology called AEM has been used, which features detailed samples of special expressive techniques used on those specific instruments - to bend or slide into notes, to "join" different notes together, or to add expressive nuances at the end of a note, etc.

Articulation Element Modeling (AEM)
Articulation Element Modeling (AEM) is the technology for simulating this characteristic of instruments. During performance, the most appropriate sound samples are selected in sequence in real time, from huge quantities of sampled data. They are smoothly joined and sounded - as would naturally occur on an actual acoustic instrument.

XA CONTROL found in programmable synthesizers
There is no "Super Articulation 2!" in Montage, and while there are some similarities, they are very different in the details. The Montage is a fully editable synth, there is no editing of the feature in SA2 engine. Montage has what, in synthesizers, is called XA CONTROL - perhaps there are similarities that causes you to ask the question. It allows the Motif-series, MOX/MOXF series synthesizer to dynamically switch sounding Elements during performance (similar but not exactly the same thing) but in the implementation on the synthesizer the player can edit, customize even create their own uses for the Xpanded Articulation Control. Control is a key word in the synthesizers (because you can edit the Elements).

Montage features the new Motion Control Synthesis Engine which allows dynamic change during performance. Designed with the synthesizer player in mind, because you have a fully controllable, assignable massive controller matrix that allows for multi-dimensional sound control. For example, morphing between sounds, or conditions within the same sound. More than just switching articulations (although the switching and knitting of sounds is certainly a part of what this matrix can do) is not the only thing, it's about customizing the sounds to the player's performing gestures. A different focus than the SA2! engine.

It is a matter of a completely different focus, not that one does something more or less than the other. The products should not be mixed up. One is a synthesizer, the other is not focused on that concept of customizing/building your own.

Hope that helps.

Thanks, so let's take the CFX or the Bosen. These instruments are created by massive sampling which incorporates adjustable elements found in XA control mode which can also combine various PARTS assigned to the creation of one instrument. Can one assume that this process, as opposed to the SA2 engine, lends itself to a more realistic sounding acoustic instrument? Pianos seem to sound better on the Montage than Tyros, also, can we expect more multipart, large sampled instruments I.e. Cello, flute, violin etc. like the CFX in the future?

Thanks, so let's take the CFX or the Bosen. These instruments are created by massive sampling which incorporates adjustable elements found in XA control mode which can also combine various PARTS assigned to the creation of one instrument.

XA CONTROL is incorporated in the CFX or Bosendorfer sounds to recreate the sound at KeyOff. In general, the KeyOff control is the one articulation hammered percussion instruments can certainly use. That is apart of XA CONTROL but would not necessarily qualify as a Super Articulation 2 function in Tyros.

Definition of Super Articulation 2 (from Tyros 5 Manual)
For wind instrument Voices and Violin Voices, a special technology called AEM has been used, which features detailed samples of special expressive techniques used on those specific instruments—to bend or slide into notes, to “join” different notes together, or to add expressive nuances at the end of a note, etc. You can add these articulations by playing legato or non-legato, or by jumping in pitch by around an octave. For example, using the Clarinet Voice, if you hold a C note and play the Bb above, you’ll hear a glissando up to the Bb. Some “note off” effects are also produced automatically when you hold a note for over a certain time. Each S.Art2! Voice has its own default vibrato setting, so that when you select a S.Art2! Voice, the appropriate vibrato is applied regardless of the Modulation wheel position. You can adjust the vibrato by moving the Modulation wheel.

Definition of Super Articulation (1)
These Voices provide many benefits with great playability and expressive control in real time.
For example, with the Saxophone Voice, if you play a C and then a D in a very legato way, you will hear the note change seamlessly, as though a saxophone player played it in a single breath. Similarly with the Concert Guitar Voice and play the D note strongly, the D note would sound as a “hammer on,” without the string being plucked again. Depending on how you play, other effects such as “shaking” or breath noises (for the Trumpet Voice), or finger noises (for the Guitar Voice) are produced.

If you recognize any similarity - it's because there is some. Significantly, I'm repeating myself, the implementation in the synthesizers allows for user customization. The synthesizer person we presume enjoys synthesis and customization. Not all functions of the Tyros are in the Montage, and vice versa not all functions found in Montage are in Tyros. Made by two entirely different Division within the company.

Can one assume that this process, as opposed to the SA2 engine, lends itself to a more realistic sounding acoustic instrument?

That's always going to be subjective, and greatly involves the individual sitting at the keys. The gear is not "professional", the player is the professional. Realistic sounding is very much a performance skill... These are samples we are talking about so they sound realistic, you are talking about a subjective thing - the performance of these sound. Just because the technology can do these certain gestures does not mean the performer uses them well.

Pianos seem to sound better on the Montage than Tyros,

That is your opinion, or do you state that as a fact? Not sure that's not just always going to be opinion. Different piano, nuff said.

also, can we expect more multipart, large sampled instruments I.e. Cello, flute, violin etc. like the CFX in the future?

Sure. Why not. Took 100 years of expertise, and a decade of design to conceive and construct the CFX ... We'll get right on it! 🙂

I believe you can count on new sounds... This is a robust engine with plenty of room to grow. They're probably trying to figure out the best way to being making them available. But really, you haven't played all the sounds in the Montage yet. You're not going to tell me you've found all the Easter eggs in the Montage basket, are you? 🙂