Thank you Cassie and Phil 😉

Hallo.

Thank You For The Arpeggio Introduction.
It Is Very Helpful.
Is It Neccessary To Record The Arpeggio Notes In A Specific Key As C Maj 7 For The Best Chord Recognition
As It Is Neccessary When Recording Working Phrases For The Tyros For Example.
I Missed This Part In Your Introduction.
Sometimes When I Just Record Arpeggio Phrases And Set Them To Original Notes
Some Chords Sound Different While Being Arpeggio Triggered.
I Think There Are Rules For That Too.
I Am Looking Forward On A Third Part About That.
I Mainly Use User Arpeggios.
But I Am Used To The PSR 8000 Part Recordings.
Mostly I Succeed With Trying Out.
But I Need A More Basic Understanding On How To Achieve What I Really Want To Hear In The Arpeggios
To Have Them Playing The Right Thirds And Fifths On Every Chord.
Thank You Very Much For Your Help And Introduction To This Important Topic.
Greetings Alex.

I have a question . I record a Midi ARP on Cubase with a 4 bars single track guitar ...I don't assign this track to any particularly voice for this track ...Export this track as a midi data to my USB ... what do I need to do in order to have it to the Montage for ARP
Please list the step by step to follow .

Thanks

Record your data to Cubase (if you wish) _how you do that without assigning a sound, I don't know. It doesn't matter

Use the Cubase FILE option EXPORT > MIDI FILE*
Make sure the File has the extension .mid
With that data on your USB stick, move it physically to the Montage

Place the USB stick in Montage
Press [UTILITY]
Touch "Contents" > "Load"

Touch the the box that represents your USB drive to view its contents
Touch the box with the title of your .mid file this will load it to the Montage player

Touch the box at the top of screen that displays the song title to see the pop-in options
Touch "USER ARP"
The rest you know...

*Have your Cubase Preferences for MIDI FILE set so EXPORT MIDI OPTION is setup to create a TYPE 0, 480 pulse per quarter note

Sorry for a little confusion here, I said that " I dont assign my record ARP to any sounds on the Montage, But I used the cubase to record it...Its sounds good on the Cubase.

I follow the instruction to load the Midi ARP into the Montage, But I cant use it for the ARP as i wish..I am not sure how...Does anyone have successful by chance? Please list your procedures

Thanks

Use the Cubase FILE option EXPORT > MIDI FILE*
Make sure the File has the extension .mid
With that data on your USB stick, move it physically to the Montage

Place the USB stick in Montage
Press [UTILITY]
Touch "Contents" > "Load"

Is It Neccessary To Record The Arpeggio Notes In A Specific Key As C Maj 7 For The Best Chord Recognition

No, any key is fine, because when making chord intelligent (Org Note) arpeggio phrases you get to set the "Original Notes Root". Arpeggios work to detect major/minor thirds, augmented/diminished fifths, major/dominant sevenths, which have the same relationship in all keys.

Although there is a similarity between Arpeggios as found here, and what the Tyros/PSR does. Technically speaking, the Style engine does not have an Arpeggiator. The rules are different.

@ Tho
Before doing your own, try to reproduce the example given.
Get that to work... Then try your own data.

Sorry but I really don´t understand this tutorial at all. I looked thru the elements of "Mega Nylon". Fine. But how do you do this? How do you assign the 4 ARP tracks to different elements? How do you record one after the other and determine what they sould do to which element? There aren´t 4 arp recording tracks here - you record a single arp "track" first and then later you can chose 4 tracks, which defies logic. What to do with them? It makes absolutely no sense at all to me.
Anyone done an ARP like that yet?

The "Mega Nylon" uses three of the four possible Arp tracks (did you really attempt to do it?)
I wrote exactly what might be recorded to create this particular arpeggio phrase.

First listen closely to the different arp phrases discussed while fingering the chords mentioned. The idea is to hear within them "how they were constructed". The notation recreates exactly what must have been recorded to recreate the Bossa Nova assigned as Arp 4 of the Maga Nylon PART.

Place the "Mega Nylon" in the first three Parts of a new Performance. That is, in Part 1, in Part 2 and in Part 3. You do this because in the end all three tracks will be assigned to just one instance of this sound. But to record and convert the phrase they are recorded separately and then converted into a single phrase.

Record the first line on Track 1 - this will be the chords
Record the second line on Track 2 - this will be the thumb bass
Record the noise sound fx on Track 3 - this will be the finger noises

Once you've recorded these three things to three tracks. Setup the "Put Track to Arpeggio" dialog box as shown.
Your result will be an arpeggio phrase equivalent to what you hear in the Bossa Nova phrase as assigned to Arp4 of the Preset: Mega Nylon
It uses three of the available arp tracks.

Did you place Mega Nylon in three Parts 1, 2, 3?
Did you record the three written phrases one to each track?
Do you understand the difference in the Convert Types?
Did you set the User Arp function as shown in the article: phrase 1 uses Orginal Note, phrase 2 uses Original Note, phrase three uses Fixed Note?

Hi Bad Mister, no I did not try to record a multi track ARP because I want to understand the logic first. And I don´t get it yet. If I choose a guitar sound from the presets and want to make one of those fancy ARPs with noise and thumb bass, how do I even know which element has the noise, which has the thumb and so on? How does it work with preset guitar ARPs? How do they work with different guitar sounds when they trigger specific elements, (and I don´t suppose every guitar sound has the noise and other extras in the same element or note range)?

Those are the exact questions answered in the article.

If I choose a guitar sound from the presets and want to make one of those fancy ARPs with noise and thumb bass, how do I even know which element has the noise, which has the thumb and so on?

That is exactly what I did in the article, I selected one of those fancy Arps with noise and thumb bass, and show you how to isolate the different Elements.

How does it work with preset guitar ARPs?

The article shows how the preset guitar Arp is made!

How do they work with different guitar sounds when they trigger specific elements, (and I don´t suppose every guitar sound has the noise and other extras in the same element or note range)?

The prefix MEGA is a special Guitar or Bass sound that includes noises, and articulations accessed either by velocity switching or note range mapping. The Data List booklet lists every Arp and the type of sound that was used to create it.

If you just read the article without pushing the buttons, without Muting Elements, Soloing Elements as you go, without experiencing hearing the results, then you can't really learn anything from this tutorial. Sorry, it's meant to do it as you read. Step by step. (It's like you're putting me on, because what you ask: That's exactly what the the article does).

Get back to me when you DO try it.

Not trying to put you on! Ok, we´re getting somewhere here. The info about MEGA sounds explains the logic behind how these arps communicate with different sounds that I didn´t understand. I read on Moessieurs site that MEGA sounds can only be played with MG Arps and vice versa. Important info that clears up some of the confusion. I did follow the lesson and push buttons, mute elements, that was all clear, but then I got lost when it came to recording.
I´ll try again.

Arpeggios work to detect major/minor thirds, augmented/diminished fifths, major/dominant sevenths, which have the same relationship in all keys.

Thank You Very Much Bad Mister.
This Is What I Need To Know.
Good To Have That Clear.
Now I Just Need To Find A Good Ressource About Music Theory.
If Anyone Knows A Good And Easy To Follow Ressource About The Quoted Relationships I Really Appreciate If You Post It Here.

Many Greetings Alex.

As you can tell it is very, very difficult to "play" in real time, some MEGA Part instruments, (there is one that is made up of eight different velocity regions). Impossible to "play" as a human but perfect when you can control the precise velocity when recording it as MIDI. An arpeggio is data that can be repeated. You can "fix" the velocity of your keyboard transmit so that it triggers just where you want. Or you can edit the data in your DAW.

OK, I recorded a 3 track Arp with Mega Nylon. It sounds awful but it does indeed trigger different elements and makes guitar noises. Easier for me to play a real guitar thow than to try to recreate it like this. But I understand how this works now, and given my poor skills at it I´ve decided to leave the mega-arp-making to the pros. There are enough great mega guitar arps on the montage - now that I know what they are and how to find them I´m thrilled!