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This is what I am doing, and I just want to make sure there isn't an easier way. (Please note that at this time I am not using USB or Montage Connect. I am using regular MIDI cables, with a MIDIsport interface, and a Steinberg UR44 for audio recording of my synths.)
I've got the Concert CFX piano performance loaded, which is comprised of Parts 1 - 4.
I want to make a MIDI recording, so that I can fix timing, notes, etc., before committing to audio.
To do this, in Digital Performer, I utilize four MIDI tracks, with the output of each track going to each of the four Montage Parts. The input for each track is Montage-1 (channel one).
Local control on the Montage is OFF.
I record into Digital Performer on all four tracks simultaneously. I then fix timing and notes on one of the MIDI tracks, and copy the edited track to the other three tracks (since they all need to be identical).
I then play back all four MIDI tracks, while arming a stereo audio track from the UR44.
The end result is an audio recording of the Montage Concert CFX, as I played it, but with the fixed notes.
The reason I think it needs to be done this way is because in order for me to hear the four Montage Parts, I need to send to Parts 1-4 out of DP. And as far as I know, the only way to do this is via four MIDI tracks.
Is this how this is done, or am I missing something? No doubt I am.
Thanks.
Michael
Posted : 27/06/2017 3:52 am
I will continue my answer here as this is related...
There are several ways to approach recording the "CFX Concert" (four Part) acoustic piano as MIDI data. Again, there is no one single method. Here is a suggestion:
Set the MIDI I/O Mode = Single
Press [UTILITY]
Touch "Settings" > "Advanced"
Select MIDI I/O Mode = Single
Set a single MIDI channel on which to communicate to/from your DAW
This will create a single channel stream of MIDI data from Montage so that you can easily record a single channel's worth of data to your DAW. This, in essence, makes the Montage like any monotimbral synth that transmits and receives on a single channel. Recording your "CFX Concert" in this fashion will give you a shortcut to assembling your performing data (instead of winding up with four tracks of data)... you can setup a single MIDI track in your DAW and record normally.
There is no fundamental difference in how Montage behaves in MIDI I/O Mode Single (except any Arpeggio data is not transmitted Out via MIDI).
With this method you arrive at a single track with one channel of MIDI data, that can be easily edited, used for notation, etc, and then rendered as audio. Obviously, the Montage is not multi-timbral in Single mode. But for when you need a single channel stream of data, Single mode is the ticket.
Obviously, this is not a viable method when you wish to record multiple Parts before rendering audio... record, edit, render... then you can use the audio Track to playback your piano, return the Montage to Multi (keep the MIDI Track, but muted as your "safety-undo" in case later you want to "fix" something).
Multi channels Out from the Montage (MIDI I/O mode = Multi) is the default... and should be used when
1) you are playing a Multi Part Performance that includes several separate instruments, particularly when some are under control of an Arpeggiator. Naturally, in such a situation you actually want to keep the MIDI streams separate (like Drum Arps, Bass Arps, etc)
2) you are going to want to use the Montage as a multi-timbral tone module in the one-sound-per-Part tradition.
It's when you encounter a single instrument (piano) that uses multiple Parts (CFX Concert) that stream four channels of the same data is "strange" (and not what you need)
Other examples are Performances that are called "Swell". The Trumpet Swell is actually four Parts that include a soft, medium soft, medium loud and loud Waveforms... instead of using velocity switching, you're actually triggering all four Parts at all times, which of the layers is actually sounding at any one moment is a result of where the Super Knob is positioned. So the soft (pianissimo) sample set only sounds when the controller is at low range, as you increase the controller position it gets louder to a point, and then suddenly fades out if you continue to increase. The medium soft (mp) Waveform is not heard at low range of the Controller but comes in as the soft waveform begins to fade out, the medium-loud comes in even later in the movement of the Controller, and so on... moving the Super Knob with your FC7 pedal morphs you through the dramatic timbral changes of a trumpet horn section. The harmonic 'chaos' increases as you apply the Control... and you're in charge!
Instead of just a prerecorded Swell or a Swell that simple gets louder, you get all the dynamic and dramatic harmonic content explosion you'd expect from an acoustic horn section. Here the "Swell" is organic and real... your controller movement 'plays' across multiple Parts. You can see and hear how this is quite different from simply using cc007 or cc011 to create this musical gesture.
FYI: [UTILITY] > "Settings" > "MIDI I/O"
Super Knob movement can be set to a CC number which gets placed on Channel 1
Scene change buttons can also be assigned a CC number which gets paced on Channel 1
If Super Knob CC = Off the Knob generates Sysex
If Scene CC = Off the buttons generate Sysex.
Posted : 27/06/2017 5:44 pm
Great question, and great answer. Thanks, guys!:)
Posted : 28/06/2017 6:09 am
