Yamaha MOTIF8 Handleiding

Merk: Yamaha

Model: MOTIF8

Categorie: Digitale piano's

Type: Handleiding

Deze handleiding is ook geschikt voor

06E0

PRODUCT SAFETY MARKINGS:

Yamaha electronic products

may have either labels similar to the graphics shown below or

molded/stamped facsimiles of these graphics on the enclosure.

The explanation of these graphics appears on this page. Please

observe all cautions indicated on this page and those indicated in

the safety instruction section.

The exclamation point within the equilateral triangle

is intended to alert the user to the presence of

important operating and maintenance (servicing)

instructions in the literature accompanying the

product.

The lightning flash with arrowhead symbol, within

the equilateral triangle, is intended to alert the user

to the presence of uninsulated “dangerous

voltage” within the product’s enclosure that may be

of sufficient magnitude to constitute a risk of

electrical shock.

IMPORTANT NOTICE:

All Yamaha electronic products are tested

and approved by an independent safety testing laboratory in order

that you may be sure that when it is properly installed and used in

its normal and customary manner, all foreseeable risks have been

eliminated. DO NOT modify this unit or commission others to do so

unless specifically authorized by Yamaha. Product performance

and/or safety standards may be diminished. Claims filed under the

expressed warranty may be denied if the unit is/has been modified.

Implied warranties may also be affected.

SPECIFICATIONS SUBJECT TO CHANGE:

The information

contained in this manual is believed to be correct at the time of

printing. However, Yamaha reserves the right to change or modify

any of the specifications without notice or obligation to update

existing units.

ENVIRONMENTAL ISSUES:

Yamaha strives to produce products

that are both user safe and environmentally friendly. We sincerely

believe that our products and the production methods used to

produce them, meet these goals. In keeping with both the letter and

the spirit of the law, we want you to be aware of the following:

Battery Notice:

This product MAY contain a small non-

rechargeable battery which (if applicable) is soldered in place. The

average life span of this type of battery is approximately five years.

When replacement becomes necessary, contact a qualified service

representative to perform the replacement.

Warning:

Do not attempt to recharge, disassemble, or incinerate

this type of battery. Keep all batteries away from children. Dispose

of used batteries promptly and as regulated by applicable laws.

Note: In some areas, the servicer is required by law to return the

defective parts. However, you do have the option of having the

servicer dispose of these parts for you.

Disposal Notice:

Should this product become damaged beyond

repair, or for some reason its useful life is considered to be at an

end, please observe all local, state, and federal regulations that

relate to the disposal of products that contain lead, batteries,

plastics, etc.

NOTICE:

Service charges incurred due to lack of knowledge

relating to how a function or effect works (when the unit is operating

as designed) are not covered by the manufacturer’s warranty, and

are therefore the owners responsibility. Please study this manual

carefully and consult your dealer before requesting service.

NAME PLATE LOCATION:

The graphic below indicates the

location of the name plate. The model number, serial number,

power requirements, etc., are located on this plate. You should

record the model number, serial number, and the date of purchase

in the spaces provided below and retain this manual as a

permanent record of your purchase.

Model

Serial No.

Purchase Date

SPECIAL MESSAGE SECTION

CAUTION: TO REDUCE THE RISK OF

ELECTRIC SHOCK, DO NOT REMOVE

COVER (OR BACK). NO USER-SERVICEABLE

PARTS INSIDE. REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL.

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION

POWER

OFF

INLET

mLAN

EXPANSION

CAUTION

POWER

OFF

INLET

CAUTION

ATTENTION

WARNING

RISK OF ELECTRIC SHOCK

:RISQUE DE CHOC ÉLECTRIQUE NE PAS OUVRIR.

THIS DEVICE COMPLIES WITH PART 15 OF THE

THE FOLLOWING TWO CONDITIONS:

(1) THIS DEVICE MAY NOT CAUSE HARMFUL INT

(2) THIS DEVICE MUST ACCEPT ANY INTERFERE

THAT MAY CAUSE UNDESIRED OPERATION.

THIS CLASS B DEIGITAL APPARATUS COMPL

DU CANADA.

CET APPAREIL NUMÉRIQUE DE LA CLASSE

TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.

DO NOT OPEN

POWER

OFF

INLET

MOTIF6

MOTIF7

MOTIF8

92-469- 1 (rear)

INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,

AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.

WARNING-

When using any electrical or electronic product,

basic precautions should always be followed. These precautions

include, but are not limited to, the following:

Read all Safety Instructions, Installation Instructions, Special

Message Section items, and any Assembly Instructions found in

this manual BEFORE making any connections, including

connection to the main supply.

Do not attempt to service this product beyond that

described in the user-maintenance instructions. All other servicing

should be referred to qualified service personnel.

Main Power Supply Verification: Yamaha products are

manufactured specifically for the supply voltage in the area where

they are to be sold. If you should move, or if any doubt exists about

the supply voltage in your area, please contact your dealer for

supply voltage verification and (if applicable) instructions. The

required supply voltage is printed on the name plate. For name

plate location, please refer to the graphic found in the Special

Message Section of this manual.

DANGER

-Grounding Instructions: This product must be

grounded and therefore has been equipped with a three pin

attachment plug. If this product should malfunction, the ground pin

provides a path of low resistance for electrical current, reducing the

risk of electrical shock. If your wall socket will not accommodate this

type plug, contact an electrician to have the outlet replaced in

accordance with local electrical codes. Do NOT modify the plug or

change the plug to a different type!

WARNING

: Do not place this product or any other objects

on the power cord or place it in a position where anyone could walk

on, trip over, or roll anything over power or connecting cords of any

kind. The use of an extension cord is not recommended! If you must

use an extension cord, the minimum wire size for a 25’ cord (or less)

is 18 AWG. NOTE: The smaller the AWG number, the larger the

current handling capacity. For longer extension cords, consult a

local electrician.

Ventilation: Electronic products, unless specifically

designed for enclosed installations, should be placed in locations

that do not interfere with proper ventilation. If instructions for

enclosed installations are not provided, it must be assumed that

unobstructed ventilation is required.

Temperature considerations: Electronic products should be

installed in locations that do not seriously contribute to their

operating temperature. Placement of this product close to heat

sources such as; radiators, heat registers etc., should be avoided.

This product was NOT designed for use in wet/damp

locations and should not be used near water or exposed to rain.

Examples of wet /damp locations are; near a swimming pool, spa,

tub, sink, or wet basement.

This product should be used only with the components

supplied or; a cart ,rack, or stand that is recommended by the

manufacturer. If a cart, rack, or stand is used, please observe all

safety markings and instructions that accompany the accessory

product.

10.

The power supply cord (plug) should be disconnected from

the outlet when electronic products are to be left unused for

extended periods of time. Cords should also be disconnected when

there is a high probability of lightning and/or electrical storm

activity.

11.

Care should be taken that objects do not fall and liquids are

not spilled into the enclosure through any openings that may exist.

12.

Electrical/electronic products should be serviced by a

qualified service person when:

a. The power supply cord has been damaged; or

b. Objects have fallen, been inserted, or liquids have been

spilled into the enclosure through openings; or

c. The product has been exposed to rain; or

d. The product does not operate, exhibits a marked change

in performance; or

e. The product has been dropped, or the enclosure of the

product has been damaged.

13.

This product, either alone or in combination with an amplifier

and headphones or speaker/s, may be capable of producing sound

levels that could cause permanent hearing loss. DO NOT operate

for a long period of time at a high volume level or at a level that is

uncomfortable. If you experience any hearing loss or ringing in the

ears, you should consult an audiologist.

IMPORTANT

: The louder the sound, the shorter the time period

before damage occurs.

14.

Some Yamaha products may have benches and/or

accessory mounting fixtures that are either supplied as a part of the

product or as optional accessories. Some of these items are

designed to be dealer assembled or installed. Please make sure

that benches are stable and any optional fixtures (where

applicable) are well secured BEFORE using. Benches supplied by

Yamaha are designed for seating only. No other uses are

recommended.

PLEASE KEEP THIS MANUAL

IMPORTANT SAFETY INSTRUCTIONS

92-469-3

(2)-8

1/2

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

* Please keep this manual in a safe place for future reference.

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical

shock, short-circuiting, damages, ﬁre or other hazards. These precautions include, but are not limited to, the following:

• Only use the voltage speciﬁed as correct for the instrument. The required voltage

is printed on the name plate of the instrument.

• Check the electric plug periodically and remove any dirt or dust which may have

accumulated on it.

• Use only the supplied power cord/plug.

• Do not place the power cord near heat sources such as heaters or radiators, and

do not excessively bend or otherwise damage the cord, place heavy objects on it,

or place it in a position where anyone could walk on, trip over, or roll anything

over it.

• This instrument contains no user-serviceable parts. Do not attempt to

disassemble or modify the internal components in any way.

• Do not expose the instrument to rain, use it near water or in damp or wet

conditions, or place containers on it containing liquids which might spill into any

openings.

• Never insert or remove an electric plug with wet hands.

• Do not put burning items, such as candles, on the unit.

A burning item may fall over and cause a ﬁre.

• If the power cord or plug becomes frayed or damaged, or if there is a sudden loss

of sound during use of the instrument, or if any unusual smells or smoke should

appear to be caused by it, immediately turn off the power switch, disconnect the

electric plug from the outlet, and have the instrument inspected by qualiﬁed

Yamaha service personnel.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to

the instrument or other property. These precautions include, but are not limited to, the following:

• Always connect the three-pin attachment plug to a properly grounded power

source. (For more information about the main power supply, see page 20.)

• When removing the electric plug from the instrument or an outlet, always hold the

plug itself and not the cord. Pulling by the cord can damage it.

• Remove the electric plug from the outlet when the instrument is not to be used for

extended periods of time, or during electrical storms.

• Do not connect the instrument to an electrical outlet using a multiple-connector.

Doing so can result in lower sound quality, or possibly cause overheating in the

outlet.

• Do not expose the instrument to excessive dust or vibrations, or extreme cold or

heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent

the possibility of panel disﬁguration or damage to the internal components.

• Do not use the instrument in the vicinity of a TV, radio, stereo equipment, mobile

phone, or other electric devices. Otherwise, the instrument, TV, or radio may

generate noise.

• Do not place the instrument in an unstable position where it might accidentally fall

over.

• Before moving the instrument, remove all connected cables.

• Do not place objects in front of the instrument's air vent, since this may prevent

adequate ventilation of the internal components, and possibly result in the

instrument overheating.

Power supply/Power cord

Do not open

Water warning

Fire warning

If you notice any abnormality

Power supply/Power cord Location

(2)-8

2/2

• Before connecting the instrument to other electronic components, turn off the

power for all components. Before turning the power on or off for all components,

set all volume levels to minimum. Also, be sure to set the volumes of all

components at their minimum levels and gradually raise the volume controls

while playing the instrument to set the desired listening level.

• When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners,

solvents, cleaning ﬂuids, or chemical-impregnated wiping cloths.

• Do not insert a ﬁnger or hand in any gaps on the instrument.

• Never insert or drop paper, metallic, or other objects into the gaps on the panel or

keyboard. If this happens, turn off the power immediately and unplug the power

cord from the AC outlet. Then have the instrument inspected by qualiﬁed Yamaha

service personnel.

• Do not place vinyl, plastic or rubber objects on the instrument, since this might

discolor the panel or keyboard.

• Do not rest your weight on, or place heavy objects on the instrument, and do not

use excessive force on the buttons, switches or connectors.

• Do not operate the instrument for a long period of time at a high or uncomfortable

volume level, since this can cause permanent hearing loss. If you experience any

hearing loss or ringing in the ears, consult a physician.

• This instrument has a built-in lithium backup battery. When you unplug the power

cord from the AC outlet, the SRAM data (see page 63) is retained. However, if the

backup battery fully discharges, this data will be lost. When the backup battery is

running low, the LCD display indicates “Change internal battery.” In this case,

immediately save the data to a Memory Card (SmartMedia)/a SCSI disk then have

qualiﬁed Yamaha service personnel replace the backup battery.

Saving and backing up your data

For instruments with DRAM (RAM that does not retain data)

• DRAM data (see page 63) is lost when you turn off the power to the instrument.

Save the data to a Memory Card (SmartMedia)/a SCSI disk.

For instruments with SRAM (RAM that retains data by using a lithium

battery)

• SRAM data (see page 63) is retained when the power is turned off, as long as the

backup battery retains a charge. However, the data could be lost due to

malfunction or incorrect operation. Save important data to a Memory Card

(SmartMedia)/a SCSI disk.

Backing up the Memory Card (SmartMedia)/SCSI disk

•To protect against data loss through media damage, we recommend that you save

your important data onto twoMemory Cards (SmartMedia)/SCSI disk.

Yamaha cannot be held responsible for damage caused by improper use or modiﬁcations to the instrument, or data that is lost or destroyed.

Always turn the power off when the instrument is not in use.

Make sure to discard used batteries according to local regulations.

Connections

Maintenance

Handling caution

Backup battery

Saving data

FCC INFORMATION (U.S.A.)

IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions contained in this

manual, meets FCC requirements. Modifications not expressly approved by

Yamaha may void your authority, granted by the FCC, to use the product.

2. IMPORTANT:

When connecting this product to accessories and/or another

product use only high quality shielded cables. Cable/s supplied with this

product MUST be used. Follow all installation instructions. Failure to follow

instructions could void your FCC authorization to use this product in the USA.

3. NOTE:

This product has been tested and found to comply with the

requirements listed in FCC Regulations, Part 15 for Class "B" digital devices.

Compliance with these requirements provides a reasonable level of

assurance that your use of this product in a residential environment will not

result in harmful interference with other electronic devices. This equipment

generates/uses radio frequencies and, if not installed and used according to

the instructions found in the users manual, may cause interference harmful to

the operation of other electronic devices. Compliance with FCC regulations

does not guarantee that interference will not occur in all installations. If this

product is found to be the source of interference, which can be determined

by turning the unit "OFF" and "ON", please try to eliminate the problem by

using one of the following measures:

Relocate either this product or the device that is being affected by the

interference.

Utilize power outlets that are on different branch (circuit breaker or fuse)

circuits or install AC line filter/s.

In the case of radio or TV interference, relocate/reorient the antenna. If the

antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type

cable.

If these corrective measures do not produce satisfactory results, please

contact the local retailer authorized to distribute this type of product. If you

can not locate the appropriate retailer, please contact Yamaha Corporation

of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena

Park, CA90620

The above statements apply ONLY to those products distributed by

Yamaha Corporation of America or its subsidiaries.

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.

(class B)

IMPORTANT NOTICE FOR THE UNITED KINGDOM

Connecting the Plug and Cord

WARNING:

THIS APPARATUS MUST BE EARTHED

IMPORTANT. The wires in this mains lead are coloured in accordance with

the following code:

GREEN-AND-YELLOW :EARTH

BLUE :NEUTRAL

BROWN :LIVE

As the colours of the wires in the mains lead of this apparatus may not

correspond with the coloured markings identifying the terminals in your

plug proceed as follows:

The wire which is coloured GREEN-and-YELLOW must be connected to

the terminal in the plug which is marked by the letter E or by the safety

earth symbol or colored GREEN or GREEN-and-YELLOW.

The wire which is coloured BLUE must be connected to the terminal which

is marked with the letter N or coloured BLACK.

The wire which is coloured BROWN must be connected to the terminal

which is marked with the letter L or coloured RED.

* This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd.

(3 wires)

NEDERLAND / THE NETHERLANDS

• Dit apparaat bevat een lithium batterij voor geheugen back-up.

• This apparatus contains a lithium battery for memory back-up.

• Raadpleeg uw leverancier over de verwijdering van de batterij op het

moment dat u het apparaat ann het einde van de levensduur afdankt of

de volgende Yamaha Service Afdeiing:

Yamaha Music Nederland Service Afdeiing

Kanaalweg 18-G, 3526 KL UTRECHT

Tel. 030-2828425

• For the removal of the battery at the moment of the disposal at the end

of the service life please consult your retailer or Yamaha Service Center

as follows:

Yamaha Music Nederland Service Center

Address :Kanaalweg 18-G, 3526 KL UTRECHT

Tel :030-2828425

• Gooi de batterij niet weg, maar lever hem in als KCA.

• Do not throw away the battery. Instead, hand it in as small chemical

waste.

(lithium disposal)

ADVARSEL!

Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må

kun ske med batteri af samme fabrikat og type. Levér det brugte batteri

tilbage til leverandoren.

VARNING

Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en

ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt

batteri enligt fabrikantens instruktion.

VAROITUS

Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo

ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo

valmistajan ohjeiden mukaisesti.

(lithium caution)

MOTIF Introduction

Introduction

Congratulations and thank you for your purchase of the Yamaha MOTIF Music Production Synthesizer!

You now own what is perhaps the best-sounding, most versatile, and certainly most powerful synthesizer and total music

production instrument on the planet.

We strove to put virtually all our synthesizer technology and music making know-how into one instrument — and we

succeeded. The new MOTIF not only gives you the latest and greatest sounds and rhythms (as well as the ability to create

and sample your own), it gives you powerful, easy-to-use tools for playing, combining and controlling these dynamic

sounds/rhythms — in real time, as you perform!

Take time to look through this manual carefully. It’s packed with important information on how to get the most from this

amazing instrument.

Dive in now and enjoy!

Package Contents

The following items have been included with your MOTIF. Check to see that you have everything listed here.

• Synthesizer • AC Power cord • CD-ROM x 3

• Owners Manual (this book) • Data List • Installation Guide

About the included CD-ROM

The accompanying CD-ROM features special software for use with the MOTIF. Included is a Voice Editor, which gives you

comprehensive and intuitive editing tools for the MOTIF, and a File Manager, which lets you easily transfer data between

the storage device connected to your MOTIF and a computer. For details, see the separate Installation Guide or the online

manuals included with the software.

Do NOT attempt to play back Track 1 (which contains the software data) on an audio CD player. Doing so may result in damage

to your audio equipment and speakers, as well as your hearing.

About This Manual

This manual consists of the following sections.

■

The Controls & Connectors

Use this section to ﬁnd out about all of the buttons, controls and connectors of the MOTIF.

■

Setting Up

Before going on to any other part of the manual, we strongly suggest you read this section

ﬁrst. It shows you how to get started playing and using your new MOTIF.

■

Basic Structure

This section provides a detailed overview of all of the main functions and features of the

MOTIF, and shows how they ﬁt together.

■

Basic Operation

This section introduces you to the basic operating conventions of the MOTIF, such as

editing values and changing settings.

■

Quick Start Guide

In this tutorial section, youll take a guided tour through the various functions of the

MOTIF, and get some hands-on experience in playing and using it.

■

Reference

The MOTIF encyclopedia. This section explains all parameters, settings, functions,

features, modes and operations in full detail.

■

Appendix

This section contains detailed information on the MOTIF such as Speciﬁcations and an

Alert Message List as well as instructions for installing optional equipment

(e.g., SIMM modules, AIEB2, mLAN8E interface, and Plug-in Boards).

■

Data List (separate booklet)

This contains various important lists such as the Voice List, Preset Pattern Phrase List,

Effect List, MIDI Data Format, and MIDI Implementation Chart.

■

Installation Guide (separate booklet)

Refer to this for instructions on installing the included software programs (on the CD-

ROM) to your computer.

●

Copying of the commercially available music sequence data and/or digital audio ﬁles is strictly prohibited, except for

your own personal use.

●

The illustrations and LCD screens as shown in this Owner’s Manual are for instructional purposes only, and may

appear somewhat different from those on your instrument.

●

The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of their

respective companies.

MOTIF Introduction

Important Features

■

Wide range of

dynamic and authentic voices

— over

512 in total, with 49 drum kits. Use the

CATEGORY

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-time External Control

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM /

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/ PERF.PART/ ZONE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-time External Control

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM /

PERCUSSION

MUSICAL FX COMBI

CATEGORY

BANK

GROUP

NUMBER

SECTION

TRACK

SELECT

MUTE

SOLO

PLG 2

COMMON

ELEMENT/ PERF.PART/ ZONE

MOTIF The Controls & Connectors

Front Panel

The Control & Connectors

MOTIF8

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTA CK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQ LOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

SEQ

TRANSPORT

LOCATE

REC

VOICE PERFORM MASTER

SEQUENCER

SONG

PATT ERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

1 OCTAVE [UP] and [DOWN] buttons (page 127)

Use these buttons to change the note range of the

keyboard. To restore the normal octave setting,

press both buttons simultaneously.

n Because of its extended keyboard, the MOTIF 8

does not have OCTAVE buttons.

2 PITCH bend wheel (page 48)

Controls the pitch bend effect. You can also assign

other functions to this controller.

3 MODULATION wheel (page 48)

Controls the modulation effect. You can also assign

other functions to this controller.

4 MASTER VOLUME

Adjusts the volume of the overall sound, as output

from the rear-panel OUTPUT L/MONO and R

jacks as well as the PHONES jack.

5 [KNOB CONTROL FUNCTION] button and

four Knobs (pages 48, 132)

These four highly versatile knobs let you adjust

various aspects or parameters of the current Voice.

Use the [KNOB CONTROL FUNCTION] button to

change the parameter set for the knobs. The

corresponding LED lights to indicate which group

of parameters are active.

MOTIF The Controls & Connectors

Front Panel

The Control & Connectors

6 [CS1] - [CS4] (Control Slider) (page 48)

Controls the volume of each part/element.

In the Master mode, the Zone setting (page 271)

allows you to assign various functions (Control

Change numbers) to these Sliders other than the

volume.

7 [REMOTE CONTROL ON/OFF] button

(page 256)

When this is on, the following panel controls can be

used to directly control mixing and transport

functions on your sequencer software.

• Knobs

• Control Sliders

• [SEQ TRANSPORT] buttons

• [TRACK SELECT] button

• [MUTE] button

8 [EFFECT BYPASS] buttons

For enabling/disabling Effect Bypass. Press the

button (the LED lights) to bypass effect processing

of the current Voice or Performance.

The bypassed effects (Reverb, Chorus, Variation, or

Insertion) are speciﬁed in the Utility Mode

(page 250).

9 [ARPEGGIO ON/OFF] button (page 55)

Press this button to enable or disable playback of

the Arpeggio for each Voice, Performance, Song, or

Pattern. If the Arpeggio Switch of the selected part

is set to off in the Performance/Song/Pattern mode,

however, pressing this button has no effect.

SF 1SF 2 SF 3

SONG SCENE

SF 4 SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-time External Control

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSION

DRUM /

PERCUSION

MUSICAL FX COMBI

CATEGORY

BANK

GROUP

NUMBER

SECTION

TRACK

SELECT

MUTE

SOLO

PLG 2

COMMON

ELEMENT/ PERF.PART/ ZONE

MOTIF The Controls & Connectors

Front Panel

The Control & Connectors

) SEQ TRANSPORT buttons

(page 78, 179, 183, 217, 221)

These buttons control recording and playback of the

Song/Pattern sequence data.

[](Top) button

Instantly returns to the ﬁrst beginning of the

current song or pattern (i.e., the ﬁrst beat of the ﬁrst

measure).

[](Reverse) button

Press brieﬂy to move back one measure at a time, or

hold to continuously rewind.

[](Forward) button

Press brieﬂy to move forward one measure at a time,

or hold to continuously fast-forward.

[REC] (Record) button

Press this to enable recording (Song or pattern

phrase). (The indicator lights.)

[](Stop) button

Press to stop recording or playback.

[](Play) button

Press to start playback from the current point in the

song or pattern. During recording and playback, the

indicator ﬂashes at the current tempo.

! MODE buttons (page 67)

These buttons select the MOTIF operating modes

(e.g., Voice mode).

@ LCD Display

The MOTIF’s large backlit LCD displays the

parameters and values related to the currently

selected operation or mode.

# LCD Contrast Control

Use this control to set the LCD display for optimum

legibility.

$ [F1] - [F6] (Function) buttons (page 71)

These buttons located directly below the LCD

display call up the corresponding functions

indicated in the display. In the display hierarchy,

these functions [F] rank just below the modes.

% [SF1] - [SF5] (Sub Function) buttons (page 71)

These buttons located directly below the LCD

display call up the corresponding sub functions

indicated in the display. In the display hierarchy,

these sub functions [SF] rank just below the

functions [F].

These buttons can be also used to store/recall the

Song Scene (page 115) in the Song Play/Song

Record/Pattern Chain Record modes.

^ [INFORMATION] button (page 73)

For calling up a special “help” feature that shows

information about the currently selected mode. You

can go back to the previous display by pressing this

button again or pressing any other button.

& Data dial (page 72)

For editing (changing the value of) the currently

selected parameter. To increase the value, turn the

dial right (clockwise); to decrease the value, turn the

dial left (counter-clockwise). If a parameter with a

wide value range is selected, you can change the value

in broader strokes by quickly turning the dial.

* [INC/YES] button (page 72)

For increasing the value of the currently selected

parameter. Also use it to actually execute a Job or a

Store operation.

( [DEC/NO] button (page 72)

For decreasing the value of the currently selected

parameter. Also use it to cancel a Job or a Store

operation.

n When editing (changing) the value of the

parameter, it is convenient to use the [INC/YES]

button and the [DEC/NO] button simultaneously.

Pressing the [DEC/NO] button while holding the

[INC/YES] button increases the value by 10.

Pressing the [INC/YES] button while holding the

[DEC/NO] button decreases the value by 10.

º Cursor Buttons (page 72)

The cursor buttons move the “cursor” around the

LCD display screen, highlighting and selecting the

various parameters.

¡ [EXIT] button (page 72)

The menus and displays of the MOTIF are

organized according to a hierarchical structure.

Press this button to exit from the current display

and return to the previous level in the hierarchy.

MOTIF The Controls & Connectors

Front Panel

The Control & Connectors

™ [ENTER] button

Use this button to execute a Job or a Store

operation. Also use this button to actually enter a

number when selecting a Memory or Bank for Voice

or Performance. In the File mode, use this button to

go to the next lowest level in the selected directory.

£ SLOT 1-3 lamps (page 282)

These three lamps show the installation status of

the Plug-in Boards.

If the Plug-in Board has been correctly installed, the

corresponding SLOT lamp will light.

n The Vocal Harmony Plug-in Board (PLG100-VH)

can be installed only to slot 1. It cannot be installed

to slot 2 or 3.

n The Multi part Plug-in Board (PLG100-XG) can be

installed only to slot 3. It cannot be installed to slot

1 or 2.

¢ BANK buttons (page 124)

Each button selects a Voice or Performance Bank.

When the [CATEGORY SEARCH] button is turned

on, these buttons can be used to select the desired

category (printed below each button). When the

[SECTION] button is turned on in the Pattern

mode, these buttons are used to select the desired

section.

∞ GROUP [A] - [H] buttons (page 124)

Each button selects a Voice or Performance Group.

When the [CATEGORY SEARCH] button is turned

on, these buttons can be used to select the desired

category (printed below each button). When the

[SECTION] button is turned on in the Pattern

mode, these buttons are used to select the desired

section.

§ NUMBER [1] - [16] buttons (page 124)

Use of these buttons differs depending on the on/off

status of the [TRACK SELECT] and [MUTE]

buttons.

¶ [CATEGORY SEARCH] button (page 126)

When this button is turned on in the Performance

mode, the [BANK] and [GROUP] buttons can be

used to select the Performance category.

When this button is turned on in another mode, the

[BANK] and [GROUP] buttons can be used to select

the Voice category.

• [SECTION] button (page 218)

When this button is turned on in the Pattern mode,

the [BANK] and [GROUP] buttons can be used to

select the Pattern Section.

ª [TRACK SELECT] button (page 181)

Turning this button on in the Song/Pattern mode

enables the NUMBER [1] - [16] buttons for

selecting corresponding Song/Pattern tracks. The

on/off status of this button affects the NUMBER [1]

- [16] buttons in different ways, depending on the

selected mode. (See § “NUMBER [1] - [16]

buttons” above.)

‚ [MUTE] button (page 180)

Turning this button on in the Song/Pattern mode

enables the NUMBER [1] - [16] buttons for muting

corresponding Song/Pattern tracks.

Press one of the NUMBER [1] - [16] buttons while

holding this button to solo the corresponding track

of the current selected Song/Pattern.

The on/off status of this button affects the

NUMBER [1] - [16] buttons in different ways,

depending on the selected mode. (See § “NUMBER

[1] - [16] buttons” above.)

Functions of the NUMBER [1] - [16] buttons

When [TRACK

SELECT] is on

When [MUTE]

is on

When both

[TRACK SELECT]

[MUTE] are off

Voice Play mode

Keyboard transmit

channel setting

—

Voice selection,

according to Groups

A - H

Voice Edit mode

Element selection(1 - 4) and Element

Mute setting(9 - 12)

—

Performance Play

mode

Keyboard transmit

channel setting

Performance part

Mute setting

(1 - 4)

Performance or

Voice selection (if

cursor is located at

Voice name),

according to Groups

A - H

Performance Edit

mode

Performance part

selection (1 - 4)

Master Play mode

Zone selection

(1 - 4)

—

Master selection,

according to Groups

A - H

Master Edit mode

Zone selection

(1 - 4)

Zone Mute setting

(1 - 4)

—

Song/Pattern

mode

Song/Pattern

track selection

Song/Pattern

track Mute setting

Song/Style selection,

according to Groups

A - H

Song/Pattern

Mixing mode

Song/Pattern part

selection

Song/Pattern part

Mute setting

MOTIF The Controls & Connectors

Rear Panel

The Control & Connectors

Rear Panel

MOTIF6

MOTIF7

MOTIF8

CAUTION

POWER

OFF

INLET

mLAN

EXPANSION

CAUTION

POWER

OFF

INLET

mLAN

EXPANSION

CAUTION

ATTENTION

WARNING

RISK OF ELECTRIC SHOCK

:RISQUE DE CHOC ÉLECTRIQUE NE PAS OUVRIR.

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO

THE FOLLOWING TWO CONDITIONS:

(1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND

(2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDINGINTERFERENCE

THAT MAY CAUSE UNDESIRED OPERATION.

THIS CLASS B DEIGITAL APPARATUS COMPLIES WITH CANADIAN ICES-003.

DU CANADA.

CET APPAREIL NUMÉRIQUE DE LA CLASSE B EST CONFORME À LA NORME NMB-003

TO REDUCE THE RISK OF FIRE OR ELECTRIC

SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE.

DO NOT OPEN

mLAN

EXPANSION

POWER

OFF

INLET

MOTIF The Controls & Connectors

Rear Panel

The Control & Connectors

Rear Panel

OPTICAL

OUTPUT USB THRU

MIDI

BREATH

SUSTAIN

FOOT

SWITCH

FOOT

CONTROLLER

OUTPUT

OUT

ASSIGNABLE

OUTPUT

ASSIGNAB LE

MONO

PHONES

INPUT

GAIN

1RL

SCSI

CARD

3.3V

GREEN

YELLOW

ORANGE

Plug-in SLOT

OPTICAL

OUTPUT

USB

THRU

MIDI

OUT

SCSI

BREATH

SUSTAIN

FOOT

SWITCH

FOOT

CONTROLLER

ASSIGNAB LE

CARD

3.3V

OUTPUT

ASSIGNABLE

OUTPUT

L MONO

PHONES

INPUT

GAIN

GREEN

YELLOW

ORANGE

Plug-in SLOT

OPTICAL

OUTPUT

USB

THRU

MIDI

OUT

SCSI

CARD

3.3V

BREATH

SUSTAIN

FOOT

SWITCH

ASSIGNAB LE

FOOT

CONTROLLER

OUTPUT

ASSIGNABLE

OUTPUT

L MONO

PHONES

A D INPUT

GAIN

GREEN

YELLOW

ORANGE

Plug-in SLOT

MOTIF The Controls & Connectors

Rear Panel

The Control & Connectors

1 POWER Switch (page 29)

Press to turn power ON or OFF.

2 AC Power Cord Socket (page 20)

Be sure the plug the AC power cord into this socket

before plugging the power cord into an AC outlet.

Use only the AC power cord supplied with the

MOTIF. If the supplied cord is lost or damaged and

needs to be replaced, contact your Yamaha dealer.

The use of an inappropriate replacement can pose a

ﬁre and shock hazard!

3 mLAN expansion board (mLAN8E) or I/O

expansion board (AIEB2) cover (page 22)

Either the mLAN expansion board (mLAN8E) or

the I/O expansion board (AIEB2) sold separately

can be installed to the MOTIF.

With the mLAN8E board, you can conveniently

and easily hook up your MOTIF to other mLAN-

compatible instruments or devices. The AIEB2

board gives you additional digital I/O options,

featuring both optical and coaxial connectors.

Moreover, the board also includes three stereo

ASSIGNABLE OUTPUT pairs (six analog jacks).

4 OPTICAL OUT connectors (page 22)

For output of digital audio, via optical ﬁber cables

(at 44.1kHz).

5 USB connector (page 25)

For connection to a computer having a USB

interface. The USB interface provides multi-port

MIDI operation not possible with a single MIDI

connection.

n The USB connection can only be used for transfer of

MIDI data. No audio data can be transfered via USB.

USB

USB is an abbreviation for Universal Serial Bus. It is

a serial interface for connecting a computer with

peripheral devices, and enables much faster data

transfer (12Mbps) compared to conventional serial

port connections. Also, it allows “hot swapping”

(connecting peripheral devices while the power to

the computer is on).

6 MIDI IN/OUT/THRU connectors (page 24)

MIDI IN is for receiving control or performance

data from another MIDI device, such as an external

sequencer.

MIDI THRU is simply for redirecting any received

MIDI data (via MIDI IN) to connected devices,

allowing convenient chaining of additional MIDI

instruments.

MIDI OUT is for transmitting all control,

performance and playback data from the MOTIF to

another MIDI device, such as an external sequencer.

7 BREATH Controller Jack (page 28)

Connect an optional Yamaha BC2 Breath Controller

here for expressive breath control capability.

8 FOOT SWITCH jacks (page 28)

For connection of optional FC4 or FC5

Footswitches. When connected to the SUSTAIN

jack, the Footswitch controls sustain. When

connected to ASSIGNABLE, it can control one of

various different assignable functions.

9 FOOT CONTROLLER jacks (page 28)

For connection of optional foot controllers (FC7,

etc.). Each jack lets you continuously control one of

various different assignable functions — such as

volume, tone, pitch, or other aspects of the sound.

) ASSIGNABLE OUT L and R jacks (page 21)

Line level audio signals are output from the MOTIF

via these phone jacks (1/4" mono phone plug).

These outputs are independent of the main output

(at the L/MONO and R jacks below), and can be

freely assigned to any of the Parts. This lets you

route speciﬁc Voices or sounds for processing with a

favorite outboard effect unit.

! OUTPUT L/MONO and R jacks (page 21)

Line level audio signals are output via these phone

jacks. For monophonic output, use just the L/

MONO jack.

@ PHONES jack (page 21)

For connection to a pair of stereo headphones.

# A/D INPUT jacks (page 23)

External audio signals can be input via these phone

jacks. These are used primarily for recording

samples — either with a microphone, making the

proper Utility settings (page 250), or from other

audio equipment, such as a CD or MD player. With

the optional Vocal Harmony Plug-in board

(PLG100-VH, page 35), you can also apply special

effects and harmonies to the microphone input.

$ GAIN knob

For adjusting the input gain of the audio at the A/D

INPUT jacks (above). Depending on the connected

device (microphone, CD player, etc.), you may need

to adjust this for optimum level.

% SCSI connectors (page 27)

This SCSI-2 50-pin connector (D-sub, half-pitch)

can be used to connect to an external SCSI data

storage device — allowing you to conveniently save

and store large quantities of data.

MOTIF The Controls & Connectors

Rear Panel

The Control & Connectors

^ Card slot (pages 64, 262)

Insert a Memory Card here to transfer various data

to/from the MOTIF. Read carefully the precautions

on using a Memory Card (page 289) before

inserting a card.

& Plug-in board cover (page 35)

Installing an optional Plug-in Board to the MOTIF

lets you greatly expand the sonic palette of the

instrument. Up to three boards can be installed to

the MOTIF’s rear panel.

■ When the optional mLAN8E has been installed:

1 SERIAL I/O connector

For connecting the mLAN8E directly to a personal

computer via a serial cable. Use this jack to connect

the mLAN8E and the computer when using the

mLAN Patchbay and mLAN Mixer in Windows.

This is not used to input or output MIDI or audio

signals.

2 mLAN (IEEE1394) connector1, 2, 3

For connecting mLAN devices or IEEE1394-

compatible devices via IEEE1394 standard (6-pin)

cables.

About mLAN

“mLAN” is a digital network designed for musical

applications. It uses and extends the industry

standard IEEE 1394 high performance serial bus.

For details, refer to the Guide Book of the

mLAN8E.

The name “mLAN” and its logo (above) are

trademarks.

■ When the optional AIEB2 has been installed:

1 OPTICAL IN, OUT connectors (pages 22, 23)

Use these connectors to input or output digital

signals over optical-ﬁber cable. You can use the

OPTICAL IN to record a digital signal of frequency

48kHz, 44.1kHz, or 32kHz. The OPTICAL OUT

connector outputs a digital signal of frequency

44.1kHz.

2 DIGITAL IN, OUT connectors (pages 22, 23)

Use these connectors to input or output digital

signals over coaxial (RCA-pin) cable. The digital

signal format is CD/DAT (S/P DIF). You can use

the DIGITAL IN connector to record a digital signal

of frequency 48kHz, 44.1kHz, or 32kHz. The

DIGITAL OUT connector outputs a digital signal of

frequency 44.1kHz.

3 ASSIGNABLE OUT jacks (AS1 to AS6)

(page 22)

Additional analog output jacks. Each pair (1&2,

3&4, 5&6) operates independently of all other

outputs on the MOTIF.

1 2 3

MOTIF Setting Up

Power Supply

Setting Up

This section explains how to connect your MOTIF to an AC power source, external audio and MIDI devices, and a

computer system. Only switch the MOTIF on after you have made all the necessary connections.

It is recommended that you read this section before using the MOTIF.

Power Supply

1 Make sure the POWER switch on the MOTIF is set to OFF.

2 Connect the supplied power cord to the AC INLET terminal on the instrument’s rear panel.

3 Connect the other end of the power cord to an AC outlet. Make sure your MOTIF meets the voltage requirement

for the country or region in which it is being used.

Make sure your MOTIF is rated for the AC voltage supplied in the area in which it is to be used (as listed on the rear

panel). Connecting the unit to the wrong AC supply can cause serious damage to the internal circuitry and may even

pose a shock hazard!

Use only the AC power cord supplied with the MOTIF. If the supplied cord is lost or damaged and needs to be

replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a ﬁre and shock hazard!

The type of AC power cord provided with the MOTIF may be different depending on the country in which it is

purchased (a third prong may be provided for grounding purposes). Improper connection of the grounding conductor

can create the risk of electrical shock. Do NOT modify the plug provided with the MOTIF. If the plug will not ﬁt the

outlet, have a proper outlet installed by a qualiﬁed electrician. Do not use a plug adapter which defeats the grounding

conductor.

Power cord

(included)

AC INLET terminal

rear panel

MOTIF Setting Up

Connections

Setting Up

Connections

Connecting to External Audio Equipment

Since the MOTIF has no built-in speakers, you’ll need an external audio system or a set of stereo headphones to

properly monitor it. The following illustrations show various connection examples; use the one most similar to your

intended setup.

Analog output

■ Connecting stereo powered speakers

A pair of powered speakers can accurately produce the instrument’s rich sounds with their own pan and effect

settings. Connect your powered speakers to the OUTPUT L/MONO and R jacks on the rear panel.

n When using just one powered speaker, connect it to the OUTPUT L/MONO jack on the rear panel.

■ Connecting to a mixer

There are extra audio outputs in addition to the OUTPUT (L/MONO and R) jacks. Connect these outputs to a mixer

for separately controlling the outputs of up to four Parts in Performance mode (page 164).

MOTIF

Headphones

PHONES

OUTPUT

L /MONO

Powered speaker (Left) Powered speaker (Right)

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

12345678910111213141516LR

Headphones

MOTIF

Mixer

Speaker

Amplifier

OUTPUT L

OUTPUT

L/MONO

PHONES

ASSIGNABLE

OUTPUT L, R

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

MOTIF Setting Up

Connections

Setting Up

■ Connecting to a mixer (with the optional AIEB2)

You can expand the MOTIF’s output capabilties with six additional OUTPUT jacks for outputting extra individual

parts, by installing the optional I/O board (AIEB2).

n Connecting a pair of headphones does not affect audio output from the OUTPUT (L/MONO and R) jacks. You can monitor the

same sounds via headphones and at the OUTPUT jacks.

Digital output

■ When using the OPTICAL OUTPUT connector:

This connector enables direct digital output of MOTIF playback and digital through-put.

■ When the optional AIEB2 I/O board has been installed:

The board enables direct digital output of MOTIF sound also via the coaxial cable.

For purposes of compatibility, the AIEB2 board includes two different output types: OPTICAL OUT (optical ﬁber)

and DIGITAL OUT (coaxial cable). Note that both of these outputs always produce identical signals.

MOTIF

12345678910111213141516LR

Mixer

Speaker

Amplifier

OUTPUT L

OUTPUT

L/MONO

ASSIGNABLE

OUTPUT L

Headphone

PHONES

AIEB2

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

DAT

MOTIF

DAT or CD recorder

OPTICAL

OUTPUT

OPTICAL

INPUT

Record

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

DAT DAT

MOTIF

DAT or CD recorder

DIGITAL

OUTPUT

OPTICAL

OUTPUT

DIGITAL

INPUT

OPTICAL

INPUT

Record

Coaxial cable

Optical cable

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

MOTIF Setting Up

Connections

Setting Up

A/D input

■ Connecting a microphone or other audio equipment (analog input)

You can record or import external sounds or waveform data and use them as instrument sounds (see

“Sampling” on page 58). When recording from an external audio source, connect a microphone or the audio source

to the A/D INPUT jacks.

n After the above connections are complete, you are ready to set up for recording. When starting a recording, you may need to adjust the

input gain of the audio source using the GAIN knob. (page 18).

■ Connecting to mLAN-compatible audio equipment

n The sound via either of the mLAN jacks and the A/D INPUT jacks can be input. You can set which jacks are used in the Utility

mode (page 252).

Digital input (when the optional AIEB2 has been installed)

By installing the optional AIEB2 I/O expansion board, you can directly record digital audio from digital sources —

such as a CD player or DAT deck. For maximum compatibility and ﬂexibility, the AIEB2 board includes two

different input types: OPTICAL (optical ﬁber) and DIGITAL (coaxial cable).

n Either one of the connectors (OPTICAL or DIGITAL) can be used; however, both cannot be used at the same time. Select which

connector is used for digital input in the Utility mode. See page 249.

Audio Device (Stereo)

Sampling

Mic

(MONO)

AD INPUT

MOTIF MOTIF

Apply effects to the microphone

sound by using the Vocal Harmony

Plug-in board (PLG100-VH).

AD INPUT

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

mLAN jacks

Sampling

MOTIF

mLAN audio device

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

DAT

DAT or CD recorder

OPTICAL

INPUT

OPTICAL

OUTPUT

Sampling

Optical cable

DAT

DAT or CD recorder

DIGITAL

INPUT

DIGITAL

OUTPUT

Sampling

Coaxial cable

MOTIF

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

MOTIF Setting Up

Connections

Setting Up

Connecting External MIDI Equipment

Using a standard MIDI cable (available separately), you can connect an external MIDI device, and control it from the

MOTIF. Likewise, you can use an external MIDI device (such as a keyboard or sequencer) to control the sounds on

the MOTIF. Below are several different MIDI connection examples; use the one most similar to your intended setup.

■ Controlling from an external MIDI keyboard

■ Controlling an external MIDI keyboard

■ Recording and playback using an external MIDI sequencer

■ Controlling another MIDI device via MIDI THRU

In the above setup, Synthesizer 2 can be played from the MOTIF (via MIDI OUT), while the external sequencer

plays Synthesizer 1 (via MIDI THRU).

n The MIDI cable should be no greater than 15 meters in length, and there should be no more than three devices in a MIDI chain

(chained in series via each unit’s MIDI THRU). To connect more units, use a MIDI Thru Box for parallel connections. You may

encounter errors if the MIDI cables are too long or if too many devices are chained together via their MIDI THRU connectors.

■ Using an mLAN interface (when an optional mLAN8E has been installed)

n Any one of the these interfaces can be used for MIDI data transmission/reception: the MIDI connectors, the mLAN terminal

connector, or the USB connector. However, they cannot be used at the same time. Select which connector is used for MIDI data

transfer in the Utility mode. See page 259.

Extrnal MIDI keyboard or synthesizer

MUSIC SYNTHESIZER

REALTIME CONTROL

EXTENDED SYNTHESIS

MOTIF

MIDI OUT

MIDI IN

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

External MIDI keyboard or synthesizer

MUSIC SYNTHESIZER

REALTIME CONTROL

EXTENDED SYNTHESIS

MOTIF

MIDI OUT

MIDI IN

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

MOTIF

MIDI OUT

MIDI IN

External MIDI sequencer

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

External MIDI sequencer

External MIDI synthesizer 1

External MIDI synthesizer 2

MOTIF

MIDI OUT

MIDI IN

MIDI THRUMIDI IN

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

mLan keyboard

IEEE1394 cable

Transmit & Receive

MOTIF

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

MOTIF Setting Up

Connections

Setting Up

Connecting to a Personal Computer

By connecting a computer, you can transfer data between the MOTIF and the computer via MIDI, and use the

computer to control, edit and organize data on the MOTIF. For example, you can use the included Voice Editor

program to edit the MOTIF’s voices. There’s also a special File Utility program that lets you use your computer to

manage ﬁles in the Memory Card inserted in the MOTIF’s CARD slot or ﬁles in the SCSI device connected to the

MOTIF.

■ Using an USB interface

n If you are using the Remote Control function to control operations on a computer sequencer, we recommend making connections

with a USB cable.

n The USB connection can only be used for transfer of MIDI data. No audio data can be transfered via USB.

n When you connect your computer to the MOTIF as illustrated above, you will need to select “USB” for MIDI data transmission in

the Utility mode. (page 258)

About the USB connector

USB cables have different connectors on each end: the A type and the B type. When using the USB connection,

connect the A type to your computer and the B type to the MOTIF.

Disconnecting/connecting the USB cable or turning the power off/on may cause the computer operation to hang-up,

or may stop the MOTIF from functioning properly. Be careful NOT to disrupt the USB connection or turn the power

on/off in the following operating conditions.

• While the MOTIF is recognizing the device or while loading the driver.

• While starting or shutting down the operating system.

• While computer operation is suspended (with power management controls such as sleep or hibernation).

• While a MIDI application is starting.

The computer may also hang up and/or the MOTIF’s functions may stop if you do the following:

• Turn the power on/off, or connect/disconnect the cable too often.

• Enter the sleep mode while trasmitting the MIDI data, and resume operation.

• Disconnect/connect the cable while the MOTIF is on.

• Turn the MOTIF on/off, start the computer, or install driver software while a huge amount of data is being transferred.

Computer with a USB Interface

USB cable

MOTIF

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

MOTIF

MIDI OUT

MIDI IN

MIDI cable

MIDI IN

MIDI OUT

External MIDI synthesizer

External MIDI sequencer

Computer with a USB interface

USB cable

transmission & receive

MOTIF Setting Up

Connections

Setting Up

■ Using an IEEE1394 interface (when an optional mLAN8E has been installed)

■ Using a MIDI interface

●Using the computer’s MIDI interface

●Using an external MIDI interface

n Please use the appropriate MIDI interface for your computer.

n If you are using a computer that has a USB interface, make sure to connect the computer and the MOTIF by USB. (The data

transfer rate is faster than MIDI and you’ll have access to multiple MIDI ports.)

Local On/Off - When Connected to a Computer

When connecting the MOTIF to a computer, the keyboard performance data is generally sent to the computer, and

then returned from the computer to play the tone generator or sound source. If the Local Switch is set to “on,” a

“double” sound may result, since the tone generator is receiving performance data from both the keyboard directly and

the computer. Use the setting suggestions below as a guideline; speciﬁc instructions may differ depending on your

computer and the software used.

When MIDI “Echo” is enabled on the software/computer, set the MOTIF Local Switch to “off.”

n When transmitting or receiving System Exclusive data (such as with the Bulk Dump function), use the setting example

below, making sure that MIDI “Echo” on the computer software is set to “off.”

MOTIF

IEEE1394 cable

Computer with a IEEE1394 interface

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

Echo Back On

Local Off

Computer with

Application Software

Tone

Generator

Keyborad

MOTIF Local Sw=off

IN OUT

USB

OUT

MOTIF Setting Up

Connections

Setting Up

When MIDI “Echo” is disabled on the software/computer, set the MOTIF Local Switch to “on.”

n Although not indicated in the illustration above, the MOTIF actually receives and responds to MIDI data from the

computer application (sequencer), regardless of the Local Sw setting on the MOTIF.

* MIDI “Echo” is a function on sequencers that takes any data received via the MIDI IN and “echoes” it (or sends

it as is) through the MIDI OUT. In some software, this function is also called “MIDI Thru.”

n Refer to the owner's manual of your particular software for speciﬁc instructions.

Connecting to an External SCSI Device

Reference (page 262)

This SCSI-2 50-pin connector (D-sub, half-pitch) can be used to connect to an external SCSI data storage device —

allowing you to conveniently save and store large quantities of data. For details about SCSI and connecting SCSI

devices, see page 64.

n The SCSI ID for the MOTIF and for the connected SCSI device are set in the File mode (page 265).

◆ MOTIF-compatible SCSI devices/disks

• Only DOS-format disks can be used by the MOTIF for saving data. Disks formatted by the MOTIF are

formatted using DOS format.

• Disks formatted to DOS format by a personal computer can be used with the MOTIF. However, for best results,

we recommend using disks formatted by the MOTIF.

• When formatted using the MOTIF, disks with a capacity of less than 2GB are formatted using FAT16 format,

and larger disks are formatted using FAT32 format.

• MO disks which can be used with the MOTIF include capacities of 128 MB, 230 MB, and 540 MB. MO disks

with a capacity of 640 MB and above cannot be used.

• The MOTIF can use removable media of capacities of up to 2 GB. Even if larger drives are connected, the

MOTIF can only use a maximum of 2 GB. Furthermore, all removable media are formatted using the FAT16

format, and partitioning is not possible.

• When a 31 GB disk is formatted, four 7.75 GB partitions will be created automatically.

Echo Back Off

Local On

Computer with

Application Software

MOTIF Local Sw=on

OUTUSB

Tone

Generator

Keyborad

Hard Disk, etc.

SCSI

MOTIF

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

MOTIF Setting Up

Connections

Setting Up

Connecting Various Controllers

Quick Start Guide (page 48)

The MOTIF features several controller jacks on the rear panel — letting you independently control various aspects

of the sound and a variety of functions with optional controllers.

BREATH

SUSTAIN

FOOT

SWITCH

FOOT

CONTROLLER

ASSIGNABLE

FC7

BC3

FC7

FC4

FC5

FC4

FC5

MOTIF Setting Up

Powering Up

Setting Up

Powering Up

Power-on Procedure

Once you’ve made all the necessary connections between your MOTIF and any other devices, make sure that all

volume settings are turned down all the way to zero. Then turn on the every device in your setup in the order of

MIDI masters (senders), MIDI slaves (receivers), then audio equipment (mixers, ampliﬁers, speakers, etc.). This

ensures smooth signal ﬂow from the ﬁrst device to the last (ﬁrst MIDI, then audio).

When powering down the setup, ﬁrst turn down the volume for each audio devices, then switch off

each device in the reverse order (ﬁrst audio devices, then MIDI).

n If the SCSI device is connected to the MOTIF, ﬁrst turn the SCSI device on and follow the instructions below. When turning the

power off in this case, turn the SCSI device off after all other devices.

When using the MOTIF as MIDI receiver:

Switching the MOTIF On

n Before you switch your MOTIF on or off, ﬁrst turn down the volume of any audio equipment connected to it.

1 Press the POWER switch.

After a while, the default display appears (as set in the Utility parameter, Power On Mode Display).

2 Raise the sound system volume to a reasonable level.

3 Gradually raise the VOLUME control while playing the keyboard to set the desired listening level.

213

MOTIF Basic Structure

Mode

Basic Structure

Mode

The MOTIF is organized with various modes, each covering a different set of operations and functions.

■ Voice mode

Basic Structure (page 42) · Basic Operation (page 67)

Quick Start Guide (page 80) · Reference (page 121)

● Voice Play mode

In this mode, Normal Voices and Drum Voices can

be played. By installing an optional Plug-in Board,

you can have an even greater selection of Voices.

● Voice Edit mode

In this mode, Normal Voices and Drum Voices can

be created and edited.

● Voice Job mode

In this mode, you can copy and initialize Voices, and

perform other similar operations (Jobs) on them.

● Voice Store mode

In this mode, you can store edited voices as User

Voices in internal memory. You can also save them

to Memory Card or an external SCSI device in the

File mode (below).

Voice Play mode

Voice mode

Sequencer mode

(Multi mode)

Sampling mode

Master mode

Utility mode

File mode

Keyboard Playback mode

Voice Edit mode

Voice Job mode

Voice Store mode

VOICE

PERFORM

SONG

PATTERN

FILE

MASTER

UTILITY

INTEGRATED

SAMPLING

Performance Play mode

Performance mode

Performance Edit mode

Performance Job mode

Performance Store mode

Song Play mode

Song mode

Song Record mode

Song Edit mode

Song Job mode

Song Mixing mode

Pattern Play mode

Pattern mode

Pattern Record mode

Pattern Edit mode

Pattern Job mode

Pattern Mixing mode

Master Play mode

Master Edit mode

Master Job mode

Master Store mode

Sampling Record mode

Sampling Edit mode

Sampling Job mode

Job mode

MOTIF Basic Structure

Mode

Basic Structure

■ Performance mode

Basic Structure (page 42) · Basic Operation (page 67)

Quick Start Guide (page 88) · Reference (page 160)

● Performance Play mode

In this mode, Performances can be played — letting

you use Voice splits, layers, etc,.

● Performance Edit mode

In this mode, Performances can be created and

edited.

● Performance Job mode

In this mode, you can copy and initialize

Performances, and perform other similar operations

(Jobs) on them.

● Performance Store mode

In this mode, you can save edited Performances as

User Performances in internal memory. You can

also save them to Memory Card or an external SCSI

device in the File mode (below).

■ Song mode

Basic Structure (page 51) · Basic Operation (page 67)

Quick Start Guide (page 78) · Reference (page 177)

● Song Play mode

In this mode, you can use the sequencer and its

various functions (e.g., Track Mute/Solo) in playing

back Songs.

● Song Record mode

In this mode, you can use the sequencer to record

your keyboard performance to a User Song. The

MOTIF lets you record up to 16 separate sequence

tracks.

● Song Edit mode

In this mode, you can edit the MIDI events of each

track of the recorded Song.

● Song Job mode

In this mode, you can perform a variety of

operations on the Song data, such as copying and

erasing. These can be done on individual measures,

or on entire tracks.

● Song Mixing mode

In this mode, you can set the tone generation

parameters of each part of the recorded Song.

■ Pattern mode

Basic Structure (page 51) · Basic Operation (page 67)

Quick Start Guide (page 100) · Reference (page 215)

● Pattern Play mode

In this Mode, you can use the sequencer to play

back Patterns. You can combine various Phrases (by

using the Patch function) to create a Pattern.

● Pattern Record mode

In this mode, you can use the sequencer to record

your keyboard performance to a User Phrase — the

basic building block for Patterns. The MOTIF lets

you record up to 16 separate sequence tracks.

● Pattern Edit mode

In this mode, you can edit the MIDI events of each

track of the recorded Pattern Phrase.

● Pattern Job mode

In this mode, you can perform a variety of

operations on the Pattern data, such as copying and

erasing. These can be done on individual measures,

or on entire tracks.

● Pattern Mixing mode

In this mode, you can set the tone generation

parameters of each part of the recorded Pattern.

■ Sampling mode

Basic Structure (page 58) · Basic Operation (page 67)

Quick Start Guide (page 100) · Reference (page 233)

This mode is s sub-mode of the Voice/Performance/

Song/Pattern mode. Press the [INTEGRATED

SAMPLING] button in each mode to enter the

Sampling mode, and press the same button after

sampling to go back to the previous mode.

● Sampling Record mode

In this mode, you can record sounds into the

MOTIF from a microphone or other audio source.

These sounds (Samples) can then be played back in

real time via keyboard or can be saved to the Song/

Pattern track.

Moreover, you can process a recorded Sample (for

example, with Chorus or another effect), then re-

record it as a new Sample — using the Resampling

function.

● Sampling Edit mode

In this mode, you can edit recorded Samples — for

example, their loop points and other parameters.

● Sampling Job mode

In this mode, you can copy and delete Samples, and

perform other similar operations (Jobs) on them.

MOTIF Basic Structure

Mode

Basic Structure

■ Utility mode

Basic Operation (page 67) · Reference (page 249)

This mode is a sub-mode of the Voice/Performance/

Song/Pattern mode. Press the [UTILITY] button in

each mode to enter the Sampling mode and press the

same button after sampling to go back to the previous

mode.

In this mode, you can set parameters that apply to the

entire system of the MOTIF. These include MIDI

settings and global setup parameters.

● Utility Job mode

In this Mode, you can restore the MOTIF’s factory

settings.

■ Master mode

Basic Structure (page 56) · Basic Operation (page 68)

Quick Start Guide (page 93) · Reference (page 268)

This mode gives you a convenient way to register the

settings that are often used in the Voice, Performance,

Song and Pattern mode to User Master, and to instantly

recall them with simple operations.

For the Voice or Performance mode, you can make

additional Master Keyboard function settings (e.g.,

separate Zone settings), and register them to a User

Master.

● Master Play mode

In this mode, you can select the desired User Master

to play the MOTIF.

● Master Edit mode

In this mode, you can edit the Master settings.

● Master Job mode

In this mode, various jobs for Master settings are

provided.

● Master Store mode

In this mode, you can store settings for each mode

to the internal memory as a User Master.

■ File mode

Basic Structure (page 63) · Basic Operation (page 68)

Quick Start Guide (page 97) · Reference (page 261)

In this mode, you can save/load all your important

original data to/from Memory Card (the MOTIF

features a built-in Card slot) or an external SCSI

storage device for future recall.

MOTIF Basic Structure

System Overview

Basic Structure

System Overview

This section provides an overview of the MOTIF’s wide range of sophisticated and versatile features. The MOTIF is

made up of several blocks, as shown here.

Controller block

Basic Structure (pages 37, 48)

This block consists of the keyboard, Pitch Bend and Modulation Wheels, Ribbon Controller, Sound Control knobs,

and so on. The keyboard itself doesn’t generate sounds, but instead sends note, velocity and other information (MIDI

data) to the synthesizer’s tone generator section when you play notes. The controllers also send changes.

Information from the keyboard and controllers can be transmitted to other external MIDI devices through the MIDI

OUT connector or the USB connector.

Sequencer block

Basic Structure (page 51) · Quick Start Guide (pages 99 ~ 118) · Reference (pages 177, 215)

This block lets you create songs and patterns by recording/editing musical performances (MIDI data) recorded from

the controller block, and then plays back this data, transmitting it to the tone generator block.

The sequencer block can be operated in the Song mode, in the Pattern mode, and in using the Arpeggio feature.

When a song or a pattern is played back, the musical data of each sequence track is transmitted to the tone generator

block according to the Transmit Channel settings.

n Details about track structure of a Song/Pattern/Arpeggio are described on pages 51 and 52 respectively.

Sampling block

Keyboard Controllers

MIDI sequence data

• Song

• Pattern

• Arpeggio

• Voice

• Performance

• Reverb

• Chorus

• Variation

• Master Equalizer

Microphone or

audio equipment

A/D Input

Internal AWM2

Plug-in board

DSP

MIDI data

MIDI out

MIDI data MIDI data MIDI data

Controller block

External MIDI device

Sequencer block

Effect block

Tone Generator block

Output

KN 1 KN 2 KN 3 KN 4

Sequencer

Tone Generator block

(example)

part 1

(Receive channel 3)

(Receive channel 2)

(Receive channel 10)

(Receive channel 1)

(Receive channel 9)

(Receive channel 16)

part 2

part 3

part 4

part 15

part 16

Track 1

Track 2

Track 3

Track 16

Percussion

Strings

Bass

Piano Ch1

Ch2

Ch3

Ch16

MOTIF Basic Structure

System Overview

Basic Structure

Tone Generator block

The tone generator block is what actually produces sound in response to the MIDI messages received from the

sequencer block, the controller block, and from the MIDI IN connector or the USB connector.

The following example illustrates the signal ﬂow within a Voice.

n For details on the Voice structure, see page 40.

Internal AWM2 Tone Generator and optional Plug-in board

The tone generator block in the MOTIF consists of the built-in AWM2 and optional Plug-in units.

● AWM2(Advanced Wave Memory2)

AWM2 (Advanced Wave Memory 2) is a synthesis system based on sampled waves (sound material), and is used in

many Yamaha synthesizers. For extra realism, each AWM2 Voice uses multiple samples of a real instrument’s

waveform. Furthermore, a wide variety of envelope generator, ﬁlter, modulation, and other parameters can be

applied to the basic waveform.

You can create your own waves via microphone or from external audio equipment by using the Sampling function.

These are then stored in internal RAM and can be used just like the preseet waves.

One voice can use up to four waves (elements) in AWM2 tone generator.

n AWM2 is not just limited to general musical instruments (Normal Voices). It can also be used for setting up percussive

instruments (Drum Voices). For details on Normal and Drum Voices, see page 45.

● Plug-in board

Plug-in Boards give you an enormous amount of additional sonic ﬂexibility and power. When installed, they work

seamlessly and transparently within the system of the MOTIF — meaning that you can use their sounds and

functions just as if they were built right into the MOTIF at the factory.

The boards that are available for and can be installed to the MOTIF are described below.

Up to three Plug-in boards can be installed to the MOTIF. These boards are not simply a source of more Voices; they

are also tone generators in their own right and extend the system-level speciﬁcations such as maximum polyphony.

In addition, they allow you to use synthesis systems besides AWM2. You can play Plug-in Voices just like ordinary

internal Voices and use them as Parts in a Performance (page 42).

The MOTIF is compatible with the Modular Synthesis Plug-in System (see next page). There are three types of

Modular Synthesis Plug-in System-compatible Plug-in Boards: Single Part, Multi-Part and Effect Plug-in Board. Using

these, you can build your own system based on the sounds you require.

Voice

Osillator

See page 46 See page 47 See page 47

See page 45

Pitch

Pitch Envelope

Generator

Filter Envelope

Generator

Low Frequency

Oscillator

Amplitude Envelope

Generator

Filter Amplitude

Element 1

Element 2

Element 3

Element 4

PEG FEG

LFO

AEG

Internal AWM2

Tone Generator

Plug-in board (optional)

MOTIF Basic Structure

System Overview

Basic Structure

Plug-in board line-up

● Single Part Plug-in Boards

Single Part Plug-in Boards let you add a completely different synthesizer or tone generator and play its voices by

using a single part of the MOTIF.

• Analog Physical Modeling Plug-in Board (PLG150-AN)

Using Analog Physical Modeling (AN) synthesis, the very latest digital technology is used to accurately reproduce

the sound of analog synthesizers. With this board installed, you have real-time control over the playback of

vintage synthesizer sounds as well as the very latest sounds heard in today’s club-oriented music.

• Piano Plug-in Board (PLG150-PF)

A massive waveform memory is dedicated to the reproduction of piano sounds. This board offers 136 stereo

sounds, including a number of acoustic and electric pianos, and up to 64-note polyphony. You can even install two

of these boards to double the polyphony to 128 notes.

•Advanced DX/TX Plug-in Board (PLG150-DX)

The sounds of the DX7 are available on this Plug-in Board. Unlike PCM-based tone generators, this board uses the

powerful FM Synthesis system — the same as found on DX-series synthesizers — for extraordinarily versatile

and dynamic sound shaping potential. Sounds are compatible with those of the DX7, and the board can even

receive DX7 data via MIDI bulk dump.

• Virtual Acoustic Plug-in Board (PLG150-VL)

With Virtual Acoustic (VA) synthesis, the sounds of real instruments are modeled (simulated) in real time, giving

a degree of realism that cannot be achieved using conventional PCM-based synthesis techniques. When playing

these sounds using an optional MIDI Wind Controller (WX5), you can even capture some of the physical feel of

woodwind instruments.

● Effect Plug-in Board

•Vocal Harmony Plug-in Board (PLG100-VH)

With this board installed, you can add harmonies to selected parts using four types of effects.

Chorus parts for vocals can be created automatically from chords that have been prepared and stored as MIDI

data. You can also use the MOTIF like a vocoder by connecting and using a microphone while playing the

keyboard.

● Multi-Part Plug-in Board

Multi-Part Plug-in Boards let you expand the voice polyphony of the MOTIF by giving you a full 16 independent

instrumental parts. By using this type of board to play back sequencer tracks, you can reserve the maximum

polyphony of the MOTIF for your keyboard performance.

• XG Plug-in Board (PLG100-XG)

This Plug-in Board is a 16-part XG sound generator. You can play back XG/GM song ﬁles using the rich variety of

sounds and effects on this board.

n Additional Plug-in Boards will be available in the future.

About MODULAR SYNTHESIS PLUG-IN SYSTEM

The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular

Synthesis-Plug-in-compatible synthesizers, tone generators and sound cards. This enables you to easily and effectively

take advantage of the latest and most sophisticated synthesizer and effects technology, allowing you to keep pace with

the rapid and multi-faceted advances in modern music production.

MOTIF Basic Structure

System Overview

Basic Structure

Maximum Polyphony

The maximum sonic polyphony is 62 for AWM2, plus the polyphony of the Plug-in Board (if installed). The actual

note polyphony will vary depending on the type of tone generator unit used, the number of Elements in the Voice,

and the note polyphony of the Plug-in Board.

In the case of AWM2 Voices, the polyphony ﬁgure of 63 is divided by the number of Elements in the Voice.

Part structure of the Tone Generator block

The MOTIF plays its sounds (with the Tone Generator block) in response to MIDI data, received from the Controller

block or Sequencer block.

MIDI data is assigned to one of sixteen channels, and the MOTIF is capable of simultaneously playing sixteen

separate parts, via the sixteen MIDI channels. However, we can overcome the sixteen-channel limit by using

separate MIDI “ports,” each supporting sixteen channels. The multiple sound sources of the MOTIF (internal tone

generator and Plug-in Boards) take advantage of the three MIDI ports included on the instrument.

As shown in the above illustration, up to 48 parts can be used in the modes (excepting the Voice mode). However,

the number of parts that are actually used is a maximum of 34 in the Song and Pattern modes, as we’ll see later in

some examples.

n See page 30 for details about the modes.

n The USB cable supports up to eight separate MIDI ports. The MOTIF

’s Tone Generator block supports three separate ports as

illustrated above, and the MOTIF

’s MIDI Thru function supports eight separate MIDI ports.

n The MIDI cable and IEEE cable (when the mLAN8E has been installed) cannot handle MIDI port data.

These parts are used in

modes other than the

Voice mode.

Tone Generator block

Part for Voice mode

Port 1

Port 2

Port 3

part 1

part 2

part 14

part 15

part 16

part 17

part 18

part 30

part 31

part 32

part 33

part 34

part 46

part 47

part 48

MOTIF Basic Structure

System Overview

Basic Structure

Relationship between the Part structure of the Tone Generator block and the

Controller/Sequencer block for each mode

● Voice mode

n In the Voice mode, the MIDI port number is 1.

n The Multi-Part Plug-in Board cannot be used in the Voice mode. However, other Plug-in Boards can be used.

● Performance mode

n In the Performance mode, the MIDI port number is 1.

n The Multi-Part Plug-in Board cannot be used in the Performance mode. However, other Plug-in Boards can be used.

The sequencer block is not

available in the Voice mode.

Part 1-48 are not used.

Tone Generator block

(Internal / Plug-in)

Part for Voice mode

Port 1 Port 2 Port 3

part 1

part 2

part 3

part 4

part 5

part 16

part 17

part 18

part 30

part 31

part 32

part 33

part 34

part 46

part 47

part 48

Keyboard

Controllers

Output

Controller block

KN 1 KN 2 KN 3 KN 4

Parts 5-13 and 17-48

are not used.

A maximum of four parts can be used among parts 1-4 and 14-16.

Parts that are set to on in the Performance Play mode are used.

Keyboard Controllers

Output

Controller block

Tone Generator block (Internal / Plug-in)

Port 1 Port 2 Port 3

Part 1

Part 2

Part 3

Part 4

Part 5

Part 14

Part 15

Part 16

Part 17

Part 18

Part 30

Part 31

Part 32

Part 33

Part 34

Part 46

Part 47

Part 48

PLG3 part

PLG2 part

PLG1 part

The sequencer block is

not available in the

Performance mode.

KN 1 KN 2 KN 3 KN 4

MOTIF Basic Structure

System Overview

Basic Structure

● Song/Pattern mode

External sequencer

MIDI sequence data

(Song / Pattern)

Tone Generator block (example)

Sequencer block

Port 1 Port 2

(Multi-Part Plug-in

Board)

Port 3

(Single Part Plug-in

Board)

Part 1

Part 2

Part 3

Track 1

Track 2

Track 3

Track 4

Track 15

Track 16

Part 4

Part 15

Part 17

Part 18

Part 30

Part 31

Part 32

PLG1 part

PLG2 part

Part 16

Part 33

Parts 33-46

are not

used.

Part 34

Part 46

Part 47

Part 48

In the Song / Pattern Mixing mode, the only parts

that sound are the currectly selected (edited)

part, and parts having the same receive channel

as the selected one.

MIDI cables by themselves cannot

handle data from multiple ports. If a

MIDI cable is used to transmit data

from an external sequencer, only

the Port 1 parts are used. To take

advantage of the multiple ports of

the MOTIF, use a USB cable.

When the Multi-Part Plug-in board and two Single Part Plug-in

boards have been installed:

Each track of music (MIDI) data sounds a

corresponding part on the MOTIF,

according to the MIDI channel settings.

(The receive channel for each part must

match the transmit channel of each track.)

Keyboard

Controllers

Controller block

KN 1 KN 2 KN 3 KN 4

MOTIF Basic Structure

System Overview

Basic Structure

Effect block

This block of the MOTIF applies effects to the output of the tone generator, processing and enhancing the sound

using sophisticated DSP (digital signal processing) technology.

Effect structure

The MOTIF’s effect processing features the following effect units.

■ System Effects (Reverb, Chorus, Variation)

System Effects are applied to the overall sound, whether it be a voice, an entire performance setup, a song, etc.

With System effects, the sound of each part is sent to the effect according to the effect Send Level for each part. The

processed sound (referred to as “wet”) is sent back to the mixer, according to the Return Level, and output — after

being mixed with the unprocessed “dry” sound. This arrangement lets you prepare an optimum balance of the effect

sound and the original sound of the parts.

• Reverb

The Reverb effects add a warm ambience to the sound, simulating the complex reﬂections of actual performance

spaces, such as a concert hall or a small club. A total of 12 different Reverb types are available.

• Chorus

The Chorus effects use modulation to create a rich ensemble sound — as if one part were being played by several

instruments simultaneously. A total of 25 different Chorus types are available.

• Variation

The Variation effects provide a wide variety of sound transformations and enhancements. A total of 25 different

Variation types are available. Variation is not available in the Voice mode.

■ Insertion Effects (1, 2)

Insertion effects can be applied individually to each part.

Insertion effects are mainly used to directly process a single part. The depth of the effect is adjusted by setting the

dry/wet balance. Since an Insertion effect can only be applied to one particular part, it should be used for sounds you

want to drastically change. You can also set the balance so that only the effect sound is heard, by setting Wet to

100%.The MOTIF features two Insertion effect systems — one with a total of 104 internal effect types and the other

with 25.

■ Plug-in Insertion Effects

This is a special effect system, only available when an effect-type Plug-in Board is installed. Plug-in Board effects are

not available in the Voice mode.

■ Master Equalizer

Usually an equalizer is used to correct the sound output from amps or speakers to match the special character of the

room. The sound is divided into several frequency bands, then by raising or lowering the level for each band, the

correction is made.

Adjusting the sound you play according to the genre—classical music being more reﬁned, pops music more crisp, and

rock music more dynamic—can also serve to draw out the special characteristics of the music and make your

performance more enjoyable.

The MOTIF possesses a high grade ﬁve-band digital equalizer function.

The four knobs can be used to adjust the gain of the four bands (among ﬁve).

MOTIF Basic Structure

System Overview

Basic Structure

Effect connection

● In the Voice mode:

Reference (page 137)

You can select the Insertion connection among three types.

n The parallel connection is not available for Plug-in voices.

● In the Performance mode:

Reference (page 169)

The diagram below indicates the connection when the Vocal Harmony Plug-in Board (PLG100-VH) is installed to slot 1.

nThe Vocal Harmony Plug-in Board (PLG100-VH) can be installed only to slot 1. It cannot be installed to slot 2 or 3.

You can select the Insertion connection

from the three types shown below.

Tone Generator

block

Element 1

Element 2

Element 3

Element 4

This determines which Insertion

system, 1 or 2, is applied to each

Element (or to each key when the

Drum voice is selected). The

Insertion effect can also be

bypassed.

1 to 2

2 to 1

parallel

Return Level

Send Level

Insertion Effect

Output

Master Equalizer

System Effect

Reverb

Chorus

Part 1-4,

Plug-in part 2-3

Select the part to which the

Insertion effect is applied from

parts 1-4 and Plug-in parts 2-3.

The connection type depends

on the setting of the Voice

assigned to the selected part.

Select the part to which

the Plug-in Insertion

effect is applied from

parts 1-4, Plug-in parts

2-3 and A/D Input part.

Tone Generator

block

A/D Input

• External audio source

• Microphone sound

Return Level

Send Level

Insertion Effect

(Plug-in)

Insertion Effect

Output

Master Equalizer

System Effect

Reverb

Chorus

Variation

MOTIF Basic Structure

System Overview

Basic Structure

● In the Song/Pattern mode:

Reference (page 210)

The diagram below indicates the connection when the Vocal Harmony Plug-in Board (PLG100-VH) is installed to

slot 1 and the Multi part Plug-in Board (PLG-100XG) is installed to slot 3.

* Please note that the Insertion Effect, Insertion Effect (Plug-in), and the System Effect cannot cannot be applied to

parts 17~32 (using the Multi-part Plug-in board). The signal from parts 17~32 is directly sent to the Master

Equalizer.

n The Vocal Harmony Plug-in Board (PLG100-VH) can be installed only to slot 1. It cannot be installed to slot 2 or 3.

n The Multi part Plug-in Board (PLG100-XG) can be installed only to slot 3. It cannot be installed to slot 1 or 2.

Part 17-32 *

(When the Multi-part Plug-

in board has been installed)

Plug-in Part 2

(When the Single part Plug-

in board has been installed)

Part 1~16

Tone Generator

block

A/D Input

• External audio source

• Microphone sound

Select the part to which the Insertion

effect is applied. The connection type

depends on the setting of the Voice

assigned to the selected part.

Select the part to which

the Plug-in Insertion

effect is applied.

Return Level

Send Level

Output

System Effect

Reverb

Chorus

Variation

Insertion Effect

PLG100-VH

Insertion Effect

(Plug-in)

Master Equalizer

MOTIF Basic Structure

Main functions

Basic Structure

Main functions

Voices and Performances

Quick Start Guide (pages 80, 88) · Reference (pages 121, 160)

A Voice is the main sound of the MOTIF, made up of a variety of parameter settings. Each Voice can consist of up to

four separate Elements, each of which is a high-quality wave, or basic sound.

A Performance, on the other hand, is a program in which multiple Voices (parts) are combined — in a layer, or in

other conﬁgurations. Each Performance can contain up to four different Parts.

One Voice One Performance

Element 1 Element 2 Element 3 Element 4

Up to four elements

Parameter settings

(Voice Edit)

Voice 1 Voice 2 Voice 3 Voice 4

Up to four voices

Parameter settings

(Performance Edit)

Oscillator

See page 46 See page 47 See page 47

See page 45

Pitch

Pitch Envelope

Generator

Filter Envelope

Generator

Low Frequency

Oscillator

Amplitude Envelope

Generator

Filter Amplitude

Parameters related to the

Tone Generator block

Parameters released to the Effect block Parameters related to the Controller block

PEG FEG

LFO

AEG

Set the following parameters for each Element to create the Voice.

Return

level

Send

level

System Effect

Reverb

Chorus

Insertion Effect

Master

Equalizer

KN 1 KN 2 KN 3 KN 4

MOTIF Basic Structure

Main functions

Basic Structure

In the Voice Play mode, you can select and play any of these Voices. In the Performance Play mode, you can select and

play any of these Performances.

On the previous page, the illustration shows the structure of one Voice/Performance. The illustration below shows

the overall memory structure of all Voices and Performances. Taken together, these illustrations can help you better

understand the structure of the MOTIF’s Voices and Performances. These two illustrations help you to understand

the structure of Voice/Performance.

Preset 1

(128 Normal Voices)

Group A~H

Number 1~16

Voice

Preset 2

(128 Normal Voices)

Preset Voice

(384 Normal Voices + 48 Drum Voices)

Group A~H

Number 1~16

Voice

Preset 3

(128 Normal Voices)

Group A~H

Group A~C

Group A~H

Number 1~16

Voice

Preset 1

(48 Drum Voices)

Preset 1

Number 1~16

Voice

Plug-in Voice

(The maximum amount of Preset and Users Banks is three -depending on

the number of Plug-in Board that are installed.)

User

(128)

GM Preset

(128 Normal Voices)

Group A~H

Number 1~16

Voice

GM Preset

(1 Drum Voices)

GM Preset Voice

(128 Normal Voices+1Drum Voices)

Voice

User

(128 Normal Voices)

Group A~H

Number 1~16

Voice

User

(16 Drum Voices)

User Voice

(128 Normal Voices+16 Drum Voices)

Voices Performance

(AN, PF, DX board: 64 voice VL

board: 192 voice )

Preset 2

Number 1~16

Voice

(AN, PF, DX board: 64 voice VL

board: 192 voice )

Preset 3

Number 1~16

Voice

(AN, PF, DX board: 64 voice VL

board: 192 voice )

User 1

(64 Voice)

Number 1~16

Voice

Group A~H

User 2

(64 Voice)

Number 1~16

Voice

Group A~H

User 3

(64 Voice)

Number 1~16

Voice

Group A~H

Number 1~16

Performance

For instructions on selecting Voices /

Performances, see pages 124 and 162.

Indicates the separate "Banks"

of Voices / Performances.

Number 1~16

Voice

Group A~C

Number 1~16

Voice

MOTIF Basic Structure

Main functions

Basic Structure

Waves and Elements

Waves are the waveforms that make up the Elements, which in turn make up a Voice. A total of 1309 high-quality

preset Waves are available. As shown in the following illustration, when creating a Voice, you can select the Wave to

be used as an Element and then set its level, pitch, tone and other parameters.

User Waves — Samples

One very powerful feature of the MOTIF is its ability to import external audio samples (such as computer WAV/

AIFF ﬁles), and record audio as well — and then use those samples as instrument sounds for playback. You can

record Waves through the microphone or line level jacks, and you can load Waves saved on Memory Card or an

external SCSI device.

The Waves can then be processed and assigned to notes on the keyboard. You can play them via the keyboard or you

can assign them as Parts of a Song/Pattern.

Element 1

Element 4

Element 2

Element 3

Velocity

One Voice

Wave 1~1309

Memory Card

SCSI device

Load

A/D INPUT jacks

DIGITAL IN

connector

mLAN (IEEE1394)

connector

SEQ

TRANSPORT

LOCATE

REC

When the optional AIEB2

has been installed to the

MOTIF.

When the optional

mLAN8E has been

installed to the MOTIF.

Sampling

Internal DRAM 4MB (Can be expanded up to 64 MB

by installing optional SIMM memory modules.)

Wave

MOTIF Basic Structure

Main functions

Basic Structure

Normal Voice and Drum Voice

Internally, there are two Voice Types: Normal Voices

and Drum Voices. Normal Voices are mainly pitched

musical instrument-type sounds that can be played

over the range of the keyboard. Drum Voices are

mainly percussion/drum sounds that are assigned to

individual notes on the keyboard. A collection of

assigned percussion/drum wave or Normal Voice is

known as a Drum Kit.

GM voice

GM is a worldwide standard for Voice organization and

MIDI functions of synthesizers and tone generators. It

was designed primarily to ensure that any song data

created with a speciﬁc GM device would sound

virtually the same on any other GM device — no

matter the manufacturer or the model. The GM Voice

bank on the MOTIF is designed to appropriately play

back GM song data. However, keep in mind that the

sound may not be exactly the same as played by the

original tone generator.

Voice structure

One voice consists of Oscillator, Pitch, Filter,

Amplitude, LFO and various parameters as shown

on page 42. You can create the basic voice character by

setting these four parameters.

■ Oscillator

Reference (page 137)

This unit outputs the wave of each Element.

You can set the note range for each Element (the range

of notes on the keyboard over which the Element will

sound) as well as the velocity response (the range of

note velocities within which the Element will sound).

For example, you could set one Element to sound in an

upper range of the keyboard, and another Element to

sound in a lower range. Thus, even within the same

Voice, you can have two different sounds for different

areas of the keyboard or you can make the two Element

ranges overlap so that their sounds are layered over a

set range.

Furthermore, you can set each Element to respond to

different velocity ranges so that one Element sounds

for lower note velocities, whereas another Element

sounds for higher note velocities.

Drum Voice

Key 1 Key 2Key 3Key 4 Key 5 Key 76

Normal Voice

Voice

Element 1~4

Element 1

Element 4

Element 2

Element 3

Velocity

Note Range

MOTIF Basic Structure

Main functions

Basic Structure

■ Pitch

Reference (page 138)

This unit controls the pitch of each Element output

from OSC. You can detune Elements, apply Pitch

Scaling and so on. Also, by setting the PEG (Pitch

Envelope Generator), you can control how the pitch

changes over time.

● PEG (Pitch Envelope Generator)

Using the PEG, you can control the transition in

pitch from the moment a note is pressed on the

keyboard to the point at which it is released. As

illustrated at right, the Pitch Envelope consists of

ﬁve Time (transition speed) parameters and ﬁve

Level (pitch) parameters. This is useful for creating

automatic changes in pitch. Furthermore, different

PEG parameters can be set for each Element.

■ Filter

Quick Start Guide (page 84) · Reference (page 140)

This unit modiﬁes the tone of each Element output

from Pitch by cutting the output of a speciﬁc frequency

portion of the sound. You can also set the Filter

Envelope Generator (FEG), to control how the ﬁlter

works over time — letting you set up dynamic changes

in tone.

● Cutoff Frequency and Resonance

Filters work by allowing the portion of the signal

lower than a given frequency to pass, and cutting

the portion of the signal above that frequency. This

frequency is referred to as the cutoff frequency. You

can produce a relatively bright or darker sound by

setting the cutoff.

A parameter that boosts the level of the signal in the

area of the cutoff frequency is called Resonance. By

emphasizing the overtones in this area, this can

produce a distinctive “peaky” tone, making the

sound brighter and harder.

● About the main Filter types

The Low Pass Filter is shown in the illustration

above — however, the MOTIF features other Filter

types as well. This section introduces you to the

four types.

•Low Pass Filter (above)

This only passes signals below the Cutoff frequency.

You can then use the Reso (Resonance) parameter to

add further character to the sound.

• High Pass Filter

This only passes signals above the Cutoff frequency.

You can then use the Reso (Resonance) parameter to

add further character to the sound.

Release

Level

Attack

Level

Hold Level

Attack

Time

Hold

Time

Decay1

Time

Decay2

Time

Release

Time

Decay1

Level

Sustain

Level

Key off

Time

Level

Cutoff frequency

Frequency (pitch)

Level

These resonance are

"passed" by the filter.

Cutoff frequency

Resonance

Frequency (pitch)

Level

Resonance

Cutoff Frequency

These frequencies are

"passed" by the filter.

MOTIF Basic Structure

Main functions

Basic Structure

• Band Pass Filter

This only passes a band of signals around the Cutoff

frequency. The width of this band can be varied.

• Band Elimination Filter

This attenuates a band of signals around the Cutoff

frequency, but passes everything else.

● FEG (Filter Envelope Generator)

Using the FEG, you can control the transition in

tone from the moment a note is pressed on the

keyboard to the point at which it is released. As

illustrated at right, the Filter Envelope consists of

ﬁve Time (transition speed) parameters and ﬁve

Level parameters (for the amount of ﬁltering).

When you press a note on the keyboard, the cutoff

frequency will change according to these envelope

settings. This is useful for creating automatic wah

effects, for example. Furthermore, different FEG

parameters can be set for each Element.

■ Amplitude

Reference (page 145)

This unit controls the output level (amplitude) of each

Element output from Filter. The signals are then sent

at this level to the Effect block. Also, by setting the

AEG (Amplitude Envelope Generator), you can

control how the volume changes over time.

● AEG (Amplitude Envelope Generator)

Using the AEG, you can control the transition in

volume from the moment a note is pressed on the

keyboard to the point at which it is released. As

illustrated at right, the Amplitude Envelope consists

of ﬁve Time (transition speed) parameters and ﬁve

Level parameters (for the amount of ﬁltering).

When you press a note on the keyboard, the volume

will change according to these envelope settings.

Furthermore, different AEG parameters can be set

for each Element.

■ LFO (Low Frequency Oscillator)

Reference (page 147)

As its name suggests, the LFO creates waveforms of a

low frequency.

These waveforms can be used to vary the pitch, ﬁlter or

amplitude of each Element to create effects such as

vibrato, wah and tremolo. LFO can be set

independently for each Element; it can also be set

globally for all Elements.

Range passed

Frequency

Level

Cutoff range Cutoff range

Center frequency

Cutoff range

Frequency

Level

Range passed Range passed

Center frequency

Release

Level

Attack

Level

Hold Level

Attack

Time

Hold

Time

Decay1

Time

Decay2

Time

Release

Time

Decay1

Level

Sustain

Level

Key off

Time

Level

Release

Level

Attack

Level

Init

Level

Attack

Time

Decay1

Time

Decay2

Time

Release

Time

Decay1

Level

Sustain

Level

Key off

Time

Level

MOTIF Basic Structure

Main functions

Basic Structure

Controllers

The MOTIF gives you an amazing amount of control

options. Not only is it equipped with the conventional

Pitch Bend and Modulation Wheels, it also features

special knobs and sliders — and has an additional set

of rear-panel jacks for connecting foot controllers and

footswitches. You can connect controllers to the rear

panel jacks to control various parameters by foot as

well as by hand.

This section explains the basic functions of each

controller.

Pitch Bend Wheel

This wheel’s prime function is to control pitch.

Move the wheel up or down to bend the pitch up or

down.

n Pitch Bend Range can be set for each Voice (page 132).

The wheel can also be assigned other parameters

(page 134).

n Even if a different parameter is assigned to the wheel,

Pitch Bend messages are still transmitted through MIDI

OUT when it is being used.

Modulation Wheel

The more you move this wheel up, the greater the

modulation that is applied to the sound.

n Modulation depth can also be set beforehand. Also, the

wheel can be assigned to different parameters, such as

volume or pan (page 134).

Knobs

These knobs let you change various aspects of the

Voice’s sound in real time — while you play. Turn a

knob to the right to increase the value, and left to

decrease it. You can change which particular group of

functions or parameters the knobs are assigned to by

pressing the [KNOB CONTROL FUNCTION] button.

Selecting the ASSIGN group (A, B, 1, 2) lets you

control a group of user-assignable functions.

n Common system parameters are assigned to Knobs [A]

and [B] (page 256). Voice-speciﬁc parameters are

assigned to Knobs [1] and [2] (page 132). Knobs [1] and

[2] can be assigned to Control Set Source.

n A preset of suitable parameter settings is assigned to each

Voice. By using each knobs [1] and [2], you are in effect

adjusting these settings by a certain amount. If these

parameters are already preset at their minimum or

maximum settings, the settings cannot be exceeded.

Control Sliders (CS)

In the Voice mode, these are used to control the volume

of each of the four Elements. In the Performance

mode, these are used to control the volume of the

four parts. In the Song/Pattern mode, these let you

adjust the volume of speciﬁc tracks,(parts)

depending on which group of tracks is currently

selected.

When the Zone Switch is set to on in the Master Play

mode, various functions (Control Number) can be

assigned to these Control Sliders (page 273).

Pitch Bend

Wheel

Modulation

Wheel

Pitch Up

Pitch Down

Pitch Bend

Wheel

Modulation

Wheel

Deeper

KNOB

CONTROL

FUNCTION

PA N

REVERB

CHORUS

TEMPO

AT TACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

KN 1 KN 2 KN 3 KN 4

When the selected

tracks (parts) are 1-4:

12 3 4

When the selected

tracks (parts) are 5-8:

5678

When the selected

tracks (parts) are 9-12:

9101112

When the selected

tracks (parts) are 13-16:

13 14 15 16

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

MOTIF Basic Structure

Main functions

Basic Structure

Foot Controller

An optional Foot Controller (such as the FC7),

connected to the FOOT CONTROLLER jacks

(page 18) on the rear panel, can be assigned to a

number of controller parameters. By using a foot

controller for parameter control, both your hands are

left free to play the keyboard (or to operate other

controllers), — exceptionally convenient when you’re

playing live.

n Foot Controller parameters can be set for each Voice.

Footswitch (assignable)

An optional Yamaha FC4 or FC5 Foot Switch

connected to the rear panel FOOT SWITCH

ASSIGNABLE jack (page 18) can be assigned to a

range of parameters. It is suited for switch-type (on/

off) controls, such as Portamento Switch, increment/

decrement of a Voice or Performance Number, start/

stop of the Sequencer, and holding the Arpeggiator on

or off.

n The parameter assigned to the Footswitch is set in the

Utility mode (page 256).

Footswitch (sustain)

An optional FC4 or FC5 Footswitch connected to the

SUSTAIN jack on the rear panel (page 18) lets you

control sustain — particularly useful when playing

piano and strings voices.

n You cannot assign a function other than Sustain to the

SUSTAIN jack.

Breath Controller

You can connect an optional Breath Controller (BC3)

to the BREATH jack (page 18) on the rear panel. Then

use it to control a large number of the MOTIF’s

parameters, particularly those controlled by a wind

player’s breath: dynamics, timbre, pitch and so on.

The Breath Controller is ideally suited for realistic

expression with wind instrument type Voices.

n Breath Controller parameters can be set for each Voice.

Aftertouch

Aftertouch lets you change the sound (adding vibrato,

for example) by applying further pressure to a note on

the keyboard while it is being held down. This allows

real-time expression and control. Aftertouch can be

used to control a wide variety of parameters

(page 134).

Control Sets

Aside from their default parameters, keyboard

aftertouch, the controllers and some of the knobs on

the front panel can be assigned to various parameters,

as explained on page 48. For example, you could assign

Resonance to the Modulation Wheel and set aftertouch

to apply vibrato. You are free to assign parameters to

suit the kind of sound being played.

These controller assignments are known as Control

Sets. As the following illustration shows, you can

assign up to six different Control Sets per Voice.

Within each Control Set, the controller is known as the

Source (Src) and the parameter controlled by the

Source is known as the Destination (Dest). There are

various Dest parameters available; some will apply to

the Voice as a whole, while some will be speciﬁc to each

of its Elements. Details are given in the Controls List of

the separate Data List.

n Details about the available Dest parameter settings are

given in the Destination Parameter List of the separate

Data List.

n The Element Switches (page 134) will be disabled if the

Dest parameter setting is not speciﬁed for the Elements

(i.e., to settings 00 to 33).

■ Using one source to control several

destinations

By creating Control Sets, you can change soundsin a

variety of ways.

For example, set the Src (Source) parameter of Control

Set 1 to MW (Modulation Wheel) and the Dest

(Destination) parameter to ELFO-PM (Element LFO

Pitch Modulation Depth). Then set the Src parameter

of Control Set 2 also to MW, but set the Dest parameter

to ELM PAN (Element Pan). You will also need to

specify the Element to be controlled and also the depth

(amount) of control.

In this example, when you move the Modulation Wheel

upward, the amount of Pitch Modulation increases

accordingly, and the Element is panned from left to

right. In this way, you can have the sound change in

several different ways, simply by adjusting a single

controller.

Destination

Control Parameters

Depth

Depth of control

Source

Voice

Control Sets

Controller

PB,MW,etc

ON/OFF ON/OFF ON/OFF ON/OFF

Elements 234

1~6

MOTIF Basic Structure

Main functions

Basic Structure

■ Using several sources to control one

destination

Continuing from the example above, now create

another Control Set where Src is set to FC (Foot

Controller) and Dest is set to ELFO-PM (Element LFO

Pitch Modulation Depth). Again, specify the Element

to be controlled and also the depth of control.

Now, Pitch Modulation is assigned to both the

Modulation Wheel and Foot Controller. In other

words, you can also assign several Src controllers to

each Dest parameter.

By assigning all six Control Sets, you will have a

stunning degree of real-time control over the

synthesizer’s sounds.

■ Control Sets and External MIDI Control

In a Control Set, the controllers are assigned to the

internal parameters of the synthesizer. However, some

controllers were originally designed for a particular

purpose, and send pre-deﬁned MIDI Control Change

messages when used, regardless of their Control Set

allocations within the synthesizer.

For example, the Pitch Bend Wheel, Modulation Wheel

and keyboard aftertouch were originally designed to

control pitch bend, modulation and aftertouch.

Therefore, when you use these controllers, pitch bend,

modulation and aftertouch information is always sent

to the MIDI Out.

Let’s say the Pan parameter is assigned to the Pitch

Bend Wheel in a Control Set. Now, when you move the

Pitch Bend Wheel, the internal tone generator of the

synthesizer will pan the sound; however, at the same

time, the original pre-deﬁned Pitch Bend messages will

still be sent to the MIDI Out.

The controllers can also send MIDI Control Change

messages to control the parameters of external MIDI

devices. These assignments can be set in the Utility

Mode.

n Since Pitch Bend Wheel, Modulation Wheel and

keyboard aftertouch are pre-deﬁned with speciﬁc MIDI

controls, other MIDI Control Change numbers cannot be

assigned to them.

You can also set up a controller such that it sends one

kind of Control message to the synthesizer’s internal

tone generator yet another kind to the MIDI Out.

For example, in a Control Set you could assign

resonance to Assignable Knob [1]. Then, in the Utility

Mode, you could assign Control Change Number 1

(Modulation) to the same knob. Now, when you turn

the knob, resonance will be applied to the sound of the

internal tone generator; however, at the same time,

modulation information will be sent to the external

MIDI device connected to the MIDI Out.

ELFO-PM

Dest

ELM PAN

Dest

SET 1 SET 2

Src

(Modulation Wheel)

Src

(Modulation Wheel)

Moving the

Modulation Wheel

changes both the

amount of Pitch

Modulation and the

pan position.

ELFO-PM

Dest

ELFO-PM

Dest

SET 1 SET 3

Src

(Modulation Wheel)

Src

(Foot Controller)

You can control the

pitch modulation effect

using either of

Modulation Wheel

(MW) and Foot

Controller (FC).

OUT

Tone Generator

Pitch LFO1 PAN

MIDI

MIDI Control

Pitch Bend

Wheel

Controller Set

MOTIF Basic Structure

Main functions

Basic Structure

Song and Pattern

(Sequencer mode)

Basic Operation (page 67) · Reference (pages 177, 215)

Songs and Patterns are MIDI sequence data consisting

of 16 tracks.

● A Song on the MOTIF is effectively the same as a

Song on a sequencer, and playback automatically

stops at the end of the recorded data.

● In the MOTIF, the term “pattern” refers to a

relatively short pattern — say, 4 to 16 measures (up

to 256 measures) — which is used for looped

playback. Therefore, once Pattern playback starts, it

continues until you press the [J] button. The

MOTIF features a variety of preset Phrase data that

is used as the basic material in making up Patterns.

Track structure of Song

The following illustration shows the track structure of

Song. Songs are created by recording MIDI data to

individual tracks.

Song playback uses up to 16 parts (from those shown above).

Song 64

Song 63

Tone Generator block (example)

Port 1 Port 2

(Multi-Part Plug-in

board)

Port 3

(Single part Plug-in

board)

part 1

part 2

part 3

part 4

part 15

part 17

part 18

part 30

part 31

part 32

PLG1 part

PLG2 part

part 16

part 33

Parts 33-46

are not used.

part 34

part 46

part 47

part 48

When a Multi-Part Plug-in board and two Single part Plug-in

boards have been installed:

Song Mixing

Song 01

Song 02

Song 62

Tempo track Tempo change

Scene track

Tr ack mute status/Scene memory change

(including tempo, transpose etc,)

Track 1 MIDI sequence data

Track 2 MIDI sequence data

Track 3 MIDI sequence data

Track 16 MIDI sequence data

MIDI OUT

External

Tone

Generator

Scene

MOTIF Basic Structure

Main functions

Basic Structure

Track structure of Pattern

Patterns consist of Phrases (as shown below), and you

can create them by recording MIDI data for each track,

and by freely arranging the various Phrases (Preset/User).

Pattern playback uses up to 16 parts (from those shown

above).

■ Style and Section

A Pattern consists of a “Style” (musical style) and a

“Section” (pattern variation). You can play the Pattern

by selecting a Style and its Section.

■ Phrase

This is the basic MIDI sequence data — and the

smallest unit — used in creating a Pattern.

“Phrase” is a musical Pattern Phrase for a single

instrument, such as a rhythm pattern for the rhythm

part, a bass line for the bass part, or a chord backing for

the guitar part. The MOTIF features 128 Preset

Patterns, and features memory space for 256 of your

own original User Phrases.

Pattern creation by the Patch

function (Pattern)

Quick Start Guide (page 105) · Reference (page 219)

The Patch function allows you to create a “composite”

style by combining various Phrases from the Preset and

User Phrases as shown below.

MIDI tracks and Sample tracks

The Song/Pattern tracks (1 - 16) of the MOTIF are

divided into two groups: MIDI tracks and Sample

tracks.

■ MIDI tracks

These are tracks in which the performance data (used

to play the internal Voices or Plug-in Voices) is

recorded as MIDI data. This is the same as sequence

tracks on a MIDI sequencer.

■ Sample tracks — with Sample Voices

Voices which are automatically created and stored

using the Sampling feature (page 58) in the sequencer

(Song/Pattern) mode, are referred to as “Sample

Voices.” tracks using these Sample Voices are referred

to as “Sample” tracks — to distinguish them from the

MIDI tracks.

Sample Voices are stored as original, dedicated Voices

for each Song or Style. This means that you cannot

take a Sample Voice belonging to one Song or Style and

use it in another Song or Style. For details on Sample

Voices and the Sampling function, see page 233.

Style 64

Style 63

Tone Generator block (example)

Port 1 Port 2

(Multi-Part Plug-in

board)

Port 3

(Single Part Plug-in

board)

Part 1

Part 2

Part 3

Part 4

Part 15

Part 17

Part 18

Part 30

Part 31

Part 32

PLG1part

PLG2 part

Part 16

Part 33

Part 33-46

are not used.

Part 34

Part 46

Part 47

Part 48

Pattern Mixing

External

Tone

Generator

Style 02

Style 03

Style 62

MIDI OUT

When a Multi-Part Plug-in board and two Single part Plug-in

boards have been installed:

Style 01

16 Sections

123 16

Pattern

Track 1 Phrase (MIDI sequence data)

Phrase (MIDI sequence data)

Tra ck 2

Tra ck 3

Tra ck 16

Style 35

User Phrases 1-256

(Created via Pattern recording.)

Style 01

16 Sections

12 16

Pattern

Trac k 1

Trac k 2

Trac k 3

Trac k 4

Trac k 5

Trac k 16

User Phrases 1-256

(Created via Pattern recording.)

User Phrase

Preset Phrases

1-128

Preset Phrase

You can copy the desired Phrase from other

styles to the currently selected Style / Section.

MOTIF Basic Structure

Main functions

Basic Structure

MIDI track recording method

The following explanations are important points for

you to keep in mind as you record your User Songs/

Patterns.

■ Realtime recording and Step recording

With realtime recording, the MOTIF functions in the

same way as a tape recorder, recording the

performance data as it is played. This allows you to

capture all the nuances of an actual performance.

With step recording, you can compose your

performance by “writing” it down one event at a time.

This is a non-realtime, step recording method —

similar to writing music notation onto paper.

■ Replace and Overdub (Song/Pattern)

● Replace

You can use this method when you want to overwrite

an already recorded track with new data. The ﬁrst

recording is lost, and the new one takes its place.

● Overdub

You can use this method when you want to add

more data to a track that already contains data. The

ﬁrst recording is not lost, and the new one is added.

This method lets you build up a complex phrase

together with Loop recording (below).

■ Loop Recording (Pattern)

Pattern repeats the rhythm pattern of several measures

(4 to 16 measures) in a “loop,” and its recording is also

done using loops.

This method is convenient when recording a Pattern

Phrase using the Overdub method (above).

As shown in the example below, notes that you record

will play back from the next repetition (loop), letting

you record while hearing previously recorded material.

n Loop Recording can only be used with Realtime

recording.

Style 50

Style 49

Style 02

Style 03

Style 48

Style 01

16 Sections

123 16

After selecting

the Song number

and track

After selecting

the Song number

and track

Song 01

Trac k 1

Trac k 2

Trac k 3

Trac k 16

MIDI data recording

In this example, Track 1 is a MIDI

track, and Track 3 is an Sample track.

Recording a Sample

(Sampling)

Store as a Sample Voice

After selecting the

Style number,

Section and track

After selecting the

Style number,

Section and track

Pattern

Trac k 1

Trac k 2

Trac k 3

Trac k 16

MIDI data recording

In this example, Track 1 is a MIDI

track, and Track 3 is an Sample track.

Recording a Sample

(Sampling)

Store as a Sample Voice





• Loop 1st round

Bass Drum

Snare Drum

Bass Drum

Snare Drum

Hi-Hat

• Loop 2nd round

• Loop 3rd round

MOTIF Basic Structure

Main functions

Basic Structure

■ Punch In/Out (Song)

You can use this method when you want to re-record

only over a speciﬁc area of the track. In this case, you

must set the start and end points before you begin the

re-recording.

In the eight-measure example below, the third

measures through the ﬁfth measure are re-recorded.

n Punch In/Out Recording can only be used with Realtime

recording.

n Note that Punch In/Out method always replaces

(destroys) the original data over the speciﬁed area.

Sample track recording method

(Sampling)

See page 58.

Song Chain

This function allows songs to be “chained” together for

automatic sequential playback. The MOTIF allows you

to create one Song Chain data.

Pattern Chain

Pattern Chain allows you to string several different

Patterns together to make a single Song. You can have

the MOTIF automatically change Styles and Sections

by creating Pattern Chains in this way beforehand.

You can also use them when creating Songs based on a

certain Pattern, since the created Pattern Chains can be

converted into a Song. The MOTIF allows you to

create one Pattern Chain data.

● Before re-recording

● After re-recording

Punch In Punch out

Recording start

Newly recorded data

Recording stop

34567 8

1234567 8

Song 01 Song 22 Song 15

Pattern track

Style/Section change

Track mute setting

Tempo change

Scene track

Tempo track

Style 01

Section J

Pattern Chain

EXAMPLE

Style 05

Section H

Style 26

Section P

MOTIF Basic Structure

Main functions

Basic Structure

Arpeggio

Quick Start Guide (page 91) · Reference (page 128)

This function automatically triggers preset arpeggio

phrases, according to the keys you play.

The Arpeggio function is particularly suited to dance/

techno music genres. You can assign the desired

Arpeggio Types to each Voice/Performance, and adjust

the tempo. You can also set the Arpeggio playback

method, Velocity range and Play Effects to create your

own original grooves. What’s more, Arpeggio playback

can be transmitted through the MIDI Out.

Arpeggio structure

The following illustration shows the Arpeggio

structure.

Four playback types of Arpeggio

Arpeggio types are divided into the four following

categories.

■ Sequence

Creates a general arpeggio phrase. Mainly octave up/

down phrases.

■ Phrase

Creates phrases that are more musical than Sequence.

Starting with “Techno,” there are phrases for a wide

variety of musical genres, and for creating backing

tracks for guitar, piano and other instruments.

■ Drum Pattern

Creates drum pattern-type phrases. Any note produces

the same drum pattern.

This type is ideal for use with drum and percussion

sounds.

■ Control

Creates tonal changes by the control change data

sequence. No note data is created.

Song/Pattern and Arpeggio

■ Recording Arpeggios to a Song/Pattern

You can record Arpeggio data to a Song or Pattern.

The actual note data of the Arpeggio is recorded as is to

a speciﬁc track in the Song/Pattern during recording,

when you set Arpeggio Record to ON.

■ Arpeggio on/off during Song/Pattern

playback

Also, Arpeggio On/Off can be set individually for each

part of a Song/Pattern. Just like playing Arpeggios

manually from the keyboard, this inserts Arpeggios in

the playback of Song/Pattern sequence data.

Arpeggio data

Each Arpeggio can assigned to

each Voice/Performance.

•In the Voice

mode

•In the Performance

mode

Preset 1

(128)

Preset2

(128)

User

(128)

Voice Performance

Arpeggio

MOTIF Basic Structure

Main functions

Basic Structure

Creating User Arpeggios

Actually, there is no direct operation for recording

Arpeggios. First, you have to record a Phrase to a Song

track. Then, use the appropriate Song Job function to

convert the data to Arpeggio data.

n Arpeggio data consists of four tracks. However, data

conversion in the Song Job is done one track at a time.

Master (Master mode)

Quick Start Guide (page 93) · Reference (page 268)

The MOTIF is loaded with such a wealth of different features,

functions and operations, you may ﬁnd it difﬁcult to locate

and call up the particular feature you need.This is where the

Master function comes in handy. You can use it to memorize

the operations you use most often in each mode, and call them

up instantly anytime you need them with a single button

press. The MOTIF has space for a total of 128 of your own

User Master settings.

•Zone(*) is available only when you specify “Voice” or “Performance” in the Memory

display in the Master Play mode and store the settings to a User Master. Details are

described later.

•Parameters other than those shown above (e.g., Knob/Slider settings) can be

stored. See page 273 for details.

Keep in mind that the settings you can store to a User

Master in the Voice/Performance mode differ from

those you can store in the Song/Pattern mode. Here

are the main differences:

● Storing settings in the Song/Pattern mode

In general, you can store speciﬁc Song numbers in the

Song mode, Pattern numbers in the Pattern mode.

n Operations and settings in File mode, Utility mode

and Sampling mode cannot be stored to a User

Master.

● Storing settings in the Voice/Performance

mode

In addition to speciﬁc Voice or Performance numbers,

you can also store master keyboard functions — such

as the Zone settings, in which the MOTIF keyboard is

divided into up to four different Zones.

Converted via

the Song Job.

Song

User

(128)

Trac k 1

Trac k 2

Trac k 3

Trac k 16

Arpeggio

Trac k 1

Trac k 2

Trac k 3

Trac k 4

Recording

Master number Setting examples

Master 001 Voice mode Voice number 102

Master 002 Voice mode Voice number 88

Master 003 Performance mode Performance number 043 *Zone Switch Off

Master 004 Performance mode Performance number 059 *Zone Switch Off

Master 005

Performance mode Performance number 077 *Zone Switch On

Master 006

Performance mode Performance number 093 *Zone Switch On

Master 007 Song mode Song 018

Master 008 Song mode Song 008

Master 009 Pattern mode Pattern 014

Master 010 Pattern mode Pattern 029

•

Master 128 Song mode Song 035

MIDI ch1 MIDI ch2 MIDI ch3 MIDI ch4

Tone Generator block

MIDI ch8 MIDI ch9

Tone Generator block

MOTIF Basic Structure

Main functions

Basic Structure

Four Zones (Voice Performance mode)

In the Voice Performance mode, the keyboard can be

divided into a maximum of four separate Zones (as

shown below) — each with its own MIDI channel

setting. In this way, you can use just a single

keyboard to control several different instrument parts

independently. Moreover, you can have these

independent Zones control different channels on

connected MIDI devices as well.

You can set these four Zones and store them as a

User Master in the Master mode.

The four Zones can also be conﬁgured as Voice

“layers” — letting you have more than one Voice

sound at the same time when you play within a

single Zone. (See the example below.)

■ Split

You can use the Zone settings to create a “Split” —

dividing the keyboard into two key ranges, at a

speciﬁc note (split point).

In the example below, the keyboard is split at C3,

with the lower range used to trigger Arpeggios, and

the upper range used conventionally to play a Voice.

■ Layer

You can also use the Zone settings to create a

“Layer” — in which the keyboard is used to play two

separate parts simultaneously, in unison with each

other.

In the example below, the keyboard plays two Voices

in unison — one an internal Voice, and the other a

Plug-in Voice.

MIDI ch1

MIDI OUT MIDI OUT MIDI OUT MIDI OUT

MIDI ch2 MIDI ch3 MIDI ch4

Tone Generator block (Internal/Plug-in)

External Tone Generator

Keyboard (Max 4 zone)

ZONE2 ZONE3ZONE1

ZONE4

MIDI ch1

MIDI OUT MIDI OUT

MIDI OUT

MIDI ch2 MIDI ch3

MIDI ch4

Tone Generator block (Internal/Plug-in)

External Tone Generator

Ch1

Part 1

For playing

Arpeggios

Ch2

Part 2

For playing a Voice

Lower Upper

Split point

(C3)

Layer (Upper)

Layer (Lower)

Part 1

Voice

Plug-in 1 Part

Plug-in Voice

MOTIF Basic Structure

Main functions

Basic Structure

Sampling

Quick Start Guide (page 99) · Reference (page 233)

Sampling is a powerful function that lets you bring your own recorded sounds — voice, instrument, rhythm,

special sound effects, etc. — into the system of the MOTIF, and play those sounds just like any other MOTIF

sound. Individual waveform data contained in the MOTIF is referred to as a “Sample.”

The following diagram shows the Sampling structure.

A/D INPUT jacks

DIGITAL IN

connector

mLAN (IEEE1394)

connector

When the optional AIEB2

has been installed to the

MOTIF

When the optional

mLAN8E has been

installed to the MOTIF

Waveform

Internal DRAM 4MB (Can be expanded up to 64 MB by

installing optional SIMM memory modules.)

Wave

SEQ

TRANSPORT

LOCATE

REC

A/D converter

Key Bank setting

Assigned to a

Performance part

Store as a User Voice

D/A converter

Output (sound)

Voice / Performance

mode

Song / Pattern

mode

Key Bank setting

(Automatically set when the

Sampling type is set to "Slice + Seq".)

By selecting the desired Song / Pattern

track, it is assigned to the appropriate

Mixing part as a Sample Voice.

Is automatically stored as on original

Sample Voice for the selected Song /

When the Sampling type is set to

"Sample + Note" or "Slice + Seq"

MOTIF Basic Structure

Main functions

Basic Structure

Data created by Sampling

Regardless of the mode, the raw Sampled data is the

same, of course. However, various parameters are

different, depending on the particular mode or

settings. Brieﬂy, here is an explanation of what

kinds of data are created in the Sampling function.

● Sampling data common to all modes

•Wave (Sample data)

This is the raw audio data stored in the MOTIF’s

memory when sampling. For details on Wave, see

page 44.

•Key Bank

The note range and velocity range to which the

Sample is assigned, is called the Key Bank.

•Waveform

The group of Key Banks to which sample data is

assigned is called the Waveform.

For a clearer idea of the explanations above, see the following

illustration. In this example, the Waveform is made up of ﬁve

Samples, assigned to a key range of D#2 - F4, in ﬁve Key Banks.

● Data created by sampling in the Voice/

Performance mode

• User Voice

The sample data of Waves recorded or imported to

the MOTIF cannot be played directly. First, they

must be saved as User Voices, which when selected,

can be played from the keyboard or sequencer. Also,

these User Voices can be assigned as Performance

parts — just as with the Preset Voices.

● Data created by sampling in the Song/

Pattern mode

• Sample Voice

Voices that are automatically stored when sampling in the

Song/Pattern mode are referred to as “Sample Voices.”

Sample Voices can be assigned to instrument parts

corresponding to the track which was assigned in the

Sampling Setup display, and they can be sounded while

Song/Pattern data is being played back.

Sample Voices are original, dedicated Voices for the

particular Song/Pattern that was selected when sampling.

Because of this, you cannot take a Sample Voice belonging

to one Song or Pattern and use it in another Song or

PatternIn essence, Sample Voice data is the same as that of

Normal Voices or Drum Voices — with the exception that

you cannot select Sample Voices in the Voice or

Performance mode. (However, you CAN select the Wave

of the Sample Voice in Voice Edit.)

• Note Data (when the Sample type is set to

“Sample + Note” )

This not only stores the sampled wave as a Sample

Voice in the Song/Pattern mode, but it also records it

to the assigned sequencer track.

•Key Bank and Sequence data according to

Audio phrase (when the Sample type is set to

“Slice + Seq”)

Velocity

127

Key bank

Wave form

Key Number

(Note Number)

Waveform

2F4

Sample 1 Sample 2 Sample 4

Sample 3 Sample 5

Song or Pattern

Sampling

Track 1

Track 2

Track 3

Track 16

Specify the track.

Store as a Sample Voice



Sample

Voice

Sequence

data

Fixed to C - 2

Assigned to

a specified

key (note)



Sample

voice

Sequence

data

Fixed to C - 2

Sliced into

several parts

and assigned

to keys (notes)

MOTIF Basic Structure

Main functions

Basic Structure

User Voices/Sample Voices and Waveform

n When using the Sampling function, samples are stored to destination waveforms in numerical order, starting from the lowest

number waverform.

n Up to 128 keybanks can be assigned to a single waveform. The MOTIF allows for creation of a maximum 8192 keybanks.

n You can select and check the 256 waveforms mentioned above from the Oscillator display in Voice Element Edit (page 137).

Velocity Keybank

Wave form

Sample1

Key number

(Note number)

127

C#2 A#2 G#3 F4

Sample 2 Sample 4

Sample 3 Sample 5

Waveform

(User 001~256)

When entering the Sampling mode

from the Voice/Performance mode

Sampling

● User's Voice

(001~128)

When entering the Sampling mode

from the Pattern mode

Style 64

16 section

123 4

Pattern

Song01

Song 64

Track1

001

002

003

004

005

006

007

008

009

010

251

252

253

254

255

256

002

003

004

005

128

Track2

Track3

Track16

Track1

Track2

Track3

Track16

● Recorded to the specified track

as a Sample voice.

● Recorded to the specified track

as a Sample voice.

When entering the Sampling mode

from the Song mode

MOTIF Basic Structure

Main functions

Basic Structure

Three methods of Sample Recording

Start

You can start sample recording with one of three

methods. This section covers the Sample Recording

Start methods corresponding to the available Trigger

modes. For information on setting the Trigger mode,

see page 237.

■ When Trigger mode is set to “Manual”:

Regardless of the selected mode, sampling starts

soon after you press the[F6] (REC) button in the

Sampling Setup display (page 236). Sampling also

starts regardless of the playback/stop status of the

Song/Pattern.

■ When Trigger mode is set to “Level”:

After pressing the [F6] (REC) button in the

Sampling Setup display (in any mode), sampling

starts as soon as a strong enough audio signal is

received. The threshold for this audio-triggered start

is called the Trigger Level (explained in the

illustration below).

As you can see, the higher the Trigger Level setting,

the louder the input audio needs to be in order to

start sampling. On the other hand, if the Trigger

Level is set too low, a soft noise may be enough to

inadvertently start sampling. Sampling also starts

regardless of the playback/stop status of the Song/

Pattern.

■ When Trigger mode is set to “Meas”:

After pressing the [F6] (REC) button in the

Sampling Setup display (page 236), start and stop of

sampling is linked to playback of the Song/Pattern.

This setting is available only when the Song/Pattern

mode and recording type (Rec Type) are set to

“Slice + Seq” or “Sample + Note.”

Sample playback types

Samples can be played back in the following three

different ways.

■ One Shot

When you press a note on the keyboard, the Sample

plays from beginning to end just once. This type of

playback is commonly used for drum and percussion

sounds.

ABC D E

Sample recording start here.

Recording

trigger level.

ABC D E

Sample recording start here.

Level

Punch In Punch Out

Sampling

start

Song/Pattern

start

Wave data

Sampling

stop

34567 8

1234567 8

Start Pont

Key on

End Point

MOTIF Basic Structure

Main functions

Basic Structure

■ Loop

This is used primarily to create long continuous

sounds, such as brass and strings, or instruments

with naturally long decay, such as piano. An

appropriate part of the sample near the end is looped

to reproduce a long sustain or decay.

When you play a note on the keyboard, the Sample

plays from the start point to the end point. It then

returns to the loop start point and plays to the end

point again, and keeps doing this until you release

the note. With musical instruments in general, the

characteristic part of the sound (the “attack” section)

is usually at the beginning, just after the start point.

After this, the sound does not vary a great deal while

the note is being held, and you can set the loop and

end points at either end of this section. When

playing back a Sample of an instrument that has

been looped like this, the attack section of the sound

is played back once and then the looped section is

played back continuously until you release the note.

Looping is also way of creating usable instrument

sounds without using up too much memory.

You can set each point in the Sampling mode.

Since the MOTIF is capable of displaying the entire

image of the sampled audio data in the LCD (zoom

in and zoom out are available), you can edit the loop

points visually — making sample editing accurate and

easy.

■ Reverse

When you press a note on the keyboard, the Sample

plays from end to beginning just once. This is useful

for creating reversed cymbal sounds and other

special effects.

Sample Wave Loop Playback

Start Pont Top Point End Point

Start Point End Point

MOTIF Basic Structure

Main functions

Basic Structure

Internal Memory and File Management

Quick Start Guide (page 97) · Reference (page 261)

The MOTIF creates a variety of different kinds of data, including Voice, Performance, Song, and Pattern. In

this section, how to store the various types of data and use the memory devices/media for storing them.

Memory Structure

This diagram details the relationship among the MOTIF’s functions and the internal memory, memory card,

and various external storage devices/media.

Please make note of the following points

when using bulk transmission between

SRAM memory and an external MIDI device.

•

Bulk transmission cannot be used to

transfer the data of User Arpeggios

and part of the System settings.

• Bulk transmission to an external MIDI

device is executed only when MOTIF

receives a bulk request message.

IBM

Personal System/V

PS/V

Personal System/V

Recall Buffer

Compare Buffer

(DRAM)

Other than "Master Edit"

Preset Data (ROM)

• Voice

• Plug-in Voice

• Preset Phrase (Pattern)

• Preset Arpeggio

• Demo

External MIDI device

MIDI bulk

Edit Buffer(DRAM)

• Voice Edit

• Plug-in Voice Edit

• Performance Edit

• Master Edit

Store

User Memory (RAM)

SRAM

• User Plug-in Voice

(64 Voices x 3 boards)

• User Performance (128)

• User Master (128)

• User Arpeggio (128)

• System setting

(Utility setting)

• User Voice

(Normal 128, Drum 16)

DRAM

• Song

• Song Chain

• Waveform

(Sample Voice)

• Pattern (Phrase)

•˚Style

• Pattern Chain

• Song Chain

• Pattern Record

• Pattern Patch

• Song Record

Store

• Pattern Chain

• Sampling

Store

• Pattern Mixing Edit

• Song Mixing Edit

Computer

• Plug-in Voice Edit using

the computer

Plug-in board(DRUM)

• Plug-in All Bulk

File extensions

".W2W"

File extensions

".W2B"

• File extensions ".WAV" and

".AIF"

• A5000/4000/3000 data

• SU700 data

• AKAI format data

File extensions

".W2S"

File extensions

".W2P"

File extensions

".MID"

File extensions ".W2A"

File extensions

".W2V"

File extensions

".W2G"

• File extensions ".WAV" and

".AIF"

• A5000/4000/3000 data

• AKAI format data

Memory Card

External SCSI device

Load / Save

Covert (Job)

MOTIF Internal Memory

MOTIF Basic Structure

Main functions

Basic Structure

Internal Memory

● ROM and RAM

ROM (Read Only Memory) is memory designed

speciﬁcally for reading out of data, and as such

data cannot be written to it. This is the location

where preset data for the instrument is

permanently stored.

On the other hand, RAM (Random Access

Memory) allows both reading and writing of data.

This is the location for the edit buffer data and

data created by editing or recording.

● SRAM and DRAM

The MOTIF uses two different kinds of RAM ,

depending on the condition for storing the data:

SRAM (Static RAM) and DRAM (Dynamic

RAM). The data contained in SRAM is

maintained indeﬁnitely, unless the backup battery

(lithium battery; page 5) power is too low. On the

other hand, data contained in DRAM is lost when

the power is turned off. Because of this, you

should always store any data residing in DRAM

to a memory card or an external SCSI device

before turning off the power.

Edit Buffer (DRAM) and Recall

Buffer (DRAM)

● Edit Buffer and User Memory

The edit buffer is the memory location for edited

data of these types: Voice, Performance, Master,

Song, Song Mixing, and Pattern Mixing. Data

edited in this location will be stored to the User

Memory.

If you select another Voice, Performance, Master,

Song, or Pattern, the entire contents of the edit

buffer will be rewrittenwith the newly selected

Voice/Performance/Master/Song Mixing/Pattern

Mixing data. Make sure to store any important

data before selecting another Voice, etc.

● Edit Buffer and Recall Buffer

If you’ve selected another Voice or Performance

without storing the one you were editing, you can

recall your original edits, since the edit buffer’s

contents are stored in backup memory. Keep in

mind that the recall buffer is available only in the

Voice or Performance mode.

Memory Card/External SCSI storage

device

To ensure that your data stored to User Memory are

maintained, it is the best way to save important data

to Memory Card or external SCSI device so that you

can keep them indeﬁnitely. See page 289 for details

about Memory Card and see page 27 for details about

SCSI device.

There are two different ways to save data created on

the MOTIF to memory card or an external SCSi

device:

• By saving all data in the User memory as a single

ﬁle (with the extension “.W2A”).

• By saving the ﬁles separately according to their

speciﬁc functions (with the extensions

corresponding to each type). See page 262

for details.

• Memory Card • SCSI device

Hard disk etc.

SCSI

MOTIF Basic Structure

Main functions

Basic Structure

Remote Control to Computer Sequence Software

Quick Start Guide (page 119) · Reference (page 256)

When the [REMOTE CONTROL ON/OFF] button is turned on, the following buttons/controllers can control

the Audio track mixer and sequencer transport of the computer sequence software connected to the MOTIF.

J∆

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

[SEQ TRANSPORT] buttons

Controls the transport functions on the computer sequence

software.

SEQ TRANSPORT

LOCATE

REC

[MUTE] button

When this is turned on, the NUMBER [1] - [16]

buttons are used to turn the corresponding tracks of

the computer sequence software on or off.

TRACK

SELECT

MUTE

SOLO

NUMBER

ELEMENT/ PERF.PART/ ZONE

NUMBER button[1]~[16]

These buttons are used to select the corresponding

tracks of the computer sequencer software, or to

turn those tracks on/off, depending on the on/off

status of the [TRACK SELECT] button and [MUTE]

button.

TRACK

SELECT

MUTE

SOLO

NUMBER

ELEMENT/ PERF.PART/ ZONE

[TRACK SELECT]

button

When this is turned on, the NUMBER

[1] - [16] buttons are used to select the

corresponding tracks of the computer

sequence software.

TRACK

SELECT

MUTE

SOLO

NUMBER

ELEMENT/ PERF.PART/ ZONE

Knob

Adjusts the Pan, Effect send level, and Equalizer

for each track of the computer sequencer.

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

Control Sliders

Adjusts the Volume for each track of the computer

sequence software.

MOTIF Basic Structure

Main functions

Basic Structure

Computer Sequence Software

The following computer sequence software programs can be controlled via the MOTIF’s Remote Control

function.

Windows

Cubase VST/32

Logic Audio Plutinum Ver4.6

Cakewalk ProAudio Ver9.0

Pro Tools V5.0

Macintosh

Cubase VST 5.0

Logic Audio Plutinum Ver4.6

Pro Tools V5.0

n The parameters to be controlled via the Remote Control function differ depending on the computer sequence software. For

details, see the Reference section on page 257.

n For certain software programs, it may be necessary to install the setting ﬁle in the included CD-ROM. For details on how to

install, see the Installation Guide manual.

MOTIF Basic Operation

Calling up the Operation Displays

Basic Operation

In this section, we’ll take a look at the fundamental operating conventions of the MOTIF. Here, you’ll learn the

basics — how to select modes, call up the various functions, change settings, and edit parameter values. Take time to

familiarize yourself with these nuts-and-bolts operations, and you’ll be on your way to mastering the instrument.

Calling up the Operation Displays

To call up a desired display or parameter, ﬁrst select a mode, then select one of the function menus of the mode. The

section below shows you the button presses necessary to navigate through the various modes and sub-modes.

Selecting Modes

The MOTIF is organized into various modes, each covering a different set of operations and functions.

n For more information on each mode, see page 30.

Four Main modes (Play modes) — Voice, Performance, Song, Pattern

To select another mode, simply press the corresponding mode button.

Two Sub-modes — Sampling, Utility

The four main modes (Voice, Performance, Song, and Pattern) have sub-modes — Sampling mode and Utility mode.

These two sub-modes can be selected in each main mode.

Keep in mind that the particular displays and parameters in the Sampling and Utility modes differ depending on

which main mode was active before calling up the sub-mode. For details on the speciﬁc differences, refer to the

corresponding explanations in the Reference section.

To select another mode, simply press the corresponding mode button.

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

● Voice Play mode

● Performance Play mode

● Song Play mode

● Pattern Play mode

Keyboard playback modes Sequencer modes (multi-timbral operation)

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

From the Voice mode From the Performance mode From the Song mode From the Pattern mode

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

● Sampling mode

MOTIF Basic Operation

Calling up the Operation Displays

Basic Operation

To select another mode, simply press the corresponding mode button.

n Please note that the displays and parameters are different depending on the modes before entering the Sampling/Utility mode.

Special Modes — Master mode and File mode

In addition to the modes described above, special two modes are provided — Master mode and File mode.

To select another mode, simply press the corresponding mode button.

Mixing mode (in the Song/Pattern mode)

The two Sequencer modes, Song and Pattern, feature a special Mixing mode.

To exit from the File mode and select another mode, simply press the corresponding mode button.

(The [EXIT] button cannot be used here.)

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

From the Voice mode

● Utility mode

From the Performance mode From the Song mode From the Pattern mode

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

When the selected Master

is set to the Song mode :

When the selected Master

is set to the Pattern mode :

When the selected Master

is set to the Voice mode :

When the selected Master is

set to the Performance mode :

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

● Master Play mode

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

● File mode

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

● Song Mixing mode ●Pattern Mixing mode

MOTIF Basic Operation

Calling up the Operation Displays

Basic Operation

Record mode (in the Song/Pattern and Sampling mode)

The MOTIF also features Record modes — one for sequencing in the Song and Pattern modes, and one for sample

recording in the Sampling mode.

Press the [EXIT] button to exit from the Sampling Record mode.

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

● Song Record mode

■ Press the [STOP] button to exit from Song

Record mode to the Song Play mode.

■ Press the [STOP] button to exit from the Pattern

Record mode to the Pattern Play mode.

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

● Pattern Record mode

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

From the Voice mode

● Sampling Record mode

From the Performance mode From the Song mode From the Pattern mode

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

MOTIF Basic Operation

Calling up the Operation Displays

Basic Operation

Edit mode

The four main modes (Voice/Performance/Song/Pattern), the Sampling mode and the Master mode described above

all have their own speciﬁc Edit modes.

Press the [EXIT] button to exit from the Edit mode.

Job mode

Most of the mores described above — the main modes (Voice, Performance, Song, Pattern), the

two sub-modes (Sampling and Utility), the Mixing mode (in Song and Pattern), and the Master

mode — have their own speciﬁc Job modes.

To call up the Job mode, press the [JOB] button while one of the modes listed above is active.

Since the [JOB] button does not have an indicator lamp, check the display to see whether the Job

mode is selected or not.

● Voice Edit mode ● Performance Edit mode ● Song Edit mode ● Pattern Edit mode

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

From the Voice mode From the Song mode

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

From the Performance mode From the Pattern mode

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

● Sampling Edit mode

● Master Edit mode ● Song MIxing Edit mode ● Pattern Mixing Edit mode

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

MOTIF Basic Operation

Calling up the Operation Displays

Basic Operation

Store mode

The Voice Play mode, Performance Play mode, Song Mixing mode, Pattern Mixing mode, and

Master Play mode have their own speciﬁc Store modes.

To call up the Store mode, press the [STORE] button while one of the modes listed above is active.

Since the [STORE] button does not have an indicator lamp, check the display to see whether the

Store mode is selected or not.

Selecting Functions and Parameters

Each mode described above contains various displays, with various functions and parameters. To navigate your way

through these displays and select a desired function, use the [F1] - [F6] buttons and the [SF1] - [SF5] buttons.

When you select a mode, the available displays or menus appear directly above the buttons at the bottom of the

display (as shown below).

Using the Function buttons [F1] - [F6]

Depending on the currently selected mode, up to six functions are available and can be called up with the [F1] - [F6]

buttons. Keep in mind that the available functions differ depending on the selected mode.

Using the Sub-Function buttons [SF1] - [SF5]

Depending on the currently selected mode, up to ﬁve functions (sub-functions) are available and can be called up

with the [SF1] - [SF5] buttons. Keep in mind that the available functions differ depending on the selected mode.

(Some displays may not have any sub-functions for these buttons.)

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

These functions can be selected via the

corresponding button ([F1] - [F6]).

In this example, press the [F5] button to go

to the LFO display.

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

These functions can be selected via the

corresponding button ([SF1]-[SF5]).

In this example, press the [SF5] button

to go to the SCALE display.

MOTIF Basic Operation

Display-based Controls

Basic Operation

How to leave the current display

For most operations (especially editing and Job- or Store-related), pressing the [EXIT] button will let you leave the

current display and return you to the next highest level or to the normal play mode display.

Display-based Controls

Data Entry

Conﬁrmation Message

When you execute certain operations, such as those in the Job, Store, and File modes, the MOTIF shows a

conﬁrmation message. This lets you actually execute the operation or cancel it if desired.

If a conﬁrmation message (like the one illustrated above) appears, press the [INC/YES] button to execute the

operation or press the [DEC/NO] button to cancel it.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

1Moving the cursor

Use these four buttons to navigate the display,

moving the cursor around the various selectable

items and parameters in the screen. When

selected, the relevant item is highlighted

(the cursor appears as a dark block with inverse

characters).

2Changing (editing) values

Rotating the data dial to the right (clockwise)

increases the value, while rotating it to the left

(counter-clockwise) decreases it.

For parameters with large value ranges, you can

increase the value by 10 by simultaneously

holding down the [INC/YES] button and pressing

the [DEC/NO] button. To decrease by 10, do the

opposite; simultaneously hold down the [DEC/NO]

button and press the [INC/YES] button.

MOTIF Basic Operation

Display-based Controls

Basic Operation

Information Display

This convenient function lets you call up relevant details about the selected mode — simply by pressing the

[INFORMATION] button. For example, when the Voice mode is active, you can quickly check information about

which voice bank is selected, what Play mode (poly or mono) is being used, which effects are applied, and so on.

In the Song Play mode, you can instantly ﬁnd out how much memory is being used and how much is left over for

additional recording.

Control Knobs and Sliders

This extremely versatile and powerful section on the panel gives you instant, real-time control over the sound and

certain functions of the MOTIF. For example, you can use these to shift the Pan position, adjust the Reverb or

Chorus effect, change the Tempo of a song or pattern, tweak the EQ, perform dynamic ﬁlter sweeps, alter the Volume

balance of the elements in a voice or the tracks of a song, and do many other things as well — all in real time, as you

perform. The Knobs are also assignable to various functions, letting you control virtually any aspect of the sound or

operation you desire (pages 254 and 256).

1 Select the row of functions you wish to control by pressing the [KNOB CONTROL FUNCTION] button.

The corresponding indicator lights, showing you which row is active. For example if you want to use the Knobs

to control Pan, Reverb, Chorus and Tempo, press the [KNOB CONTROL FUNCTION] button (repeatedly if

necessary) until the top indicator is lit.

2 Turn the appropriate Knob ([KN1] - [KN4]) to adjust the desired function.

INFORMATION

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

1 Pan, Effect Send. and Tempo

2 Filter and EG

3 Assign

4 Master EQ

Press this repeatedly to

select each function row.

In this example display, the Pan, Effect Send

and Tempo controls have been called up.

MOTIF Basic Operation

Display-based Controls

Basic Operation

The available functions are shown at the top of the display, and the value changes as you turn the corresponding

Knob. For example, to change the amount of Reverb (in the top row), turn Knob 2. To change the Pan position,

turn Knob 1.

If the “Rev” knob in the display is dark, any tweaking you do to the Knob immediately affects the sound.

However, if the knob in the display is light, turning the knob will not have any effect until you reach the current

setting. Once you’ve adjusted the Knob to that setting point, the display knob turns dark, and you can tweak the

sound.

3 Move the appropriate Sliders ([CS1] - [CS4]) as well.

The Sliders are generally for controlling levels, but they have different functions depending on the selected mode.

For example, in the Voice mode, they are used to adjust the levels of the four elements in a voice. In the

Performance mode, they control the levels of the four parts. In the Song and Pattern modes, they are used to

change the levels of the sixteen tracks — four at a time. (In the last case, you can select different groups of

four by pressing the appropriate [NUMBER] button, [1] - [16].)

Please note that moving the slider will not have any effect until you reach the current setting.

For more information on the Knobs and Sliders, see page 48.

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

MOTIF Basic Operation

Display-based Controls

Basic Operation

Note (Key) settings

Several MOTIF parameters let you set a key range for a function — for example, in setting up a keyboard split — by

specifying certain note values. You can use the [INC/YES] and [DEC/NO] buttons or data dial to set these

parameters, or you can directly enter the values from the keyboard by pressing the appropriate keys (as shown

below). In the example display here, element 1 of a voice is being edited.

Naming

The MOTIF allows you to create your own original data such as voices, performances, songs, and styles. You can also

freely name the data as desired.

The following data types can be named.

• User voices..............................................................................page 130

• User performance ..................................................................page 166

• User songs ..............................................................................page 204

• User styles ..............................................................................page 232

• User phrases ...........................................................................page 230

• User masters...........................................................................page 271

• User waveform ......................................................................page 247

• Files saved to memory card or SCSI storage device .............page 267

The example below applies when naming a User voice (page 130).

1 Move the cursor to the ﬁrst position of the name by using the Cursor button.

2 Select a character by using the [INC/YES] button, [DEC/NO] button or the data dial.

When Note Limit is selected, the [KBD] mark appears,

indicating that you can use the keyboard to set the value.

Simultaneously hold down the [INFORMATION] button and

press the appropriate key.

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

DEC/NO INC/YES

MOTIF Basic Operation

Display-based Controls

Basic Operation

3 Move the cursor to the next position of the name by using the Cursor button.

4 Enter the other characters as desired by repeating steps #1 - #3 above.

Using the Character List

In steps #2 and #3 above, you can use the special Character List, which shows you all the available characters, and

makes it easier to select the characters.

Press and hold down the [INFORMATION] button to display the pop-up Character List. To select a character from

the list, keep holding down the [INFORMATION] button and use the [INC/YES] and [DEC/NO] buttons or data

dial.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

INFORMATION

INSERTION

When the cursor is located at the Name, this [LIST] icon appears and you can call

up the Character List display by holding the [INFORMATION] button. Release the

[INFORMATION] button to return back to the original display.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

1Move the cursor to the desired position.

2Select a character by using the

[INC/YES] button, [DEC/NO] button

or the data dial.

While holding the [INFORMATION] button....

MOTIF Quick Start Guide

Playing the Demos

Quick Start Guide

This helpful and informative section of the manual takes you on a guided tour of the MOTIF, explaining virtually all

of the important functions by example and giving you important, hands-on experience as you actually start using the

instrument. Read through these practical instructions carefully — this is the best way to get to know the

sophisticated functions of the MOTIF and to discover just how much it has to offer. Each set of instructions gives

you the basic tools you need to master the instrument. If you’re in need of more information or details, go straight to

the Reference section — the relevant page number is indicated here at the beginning of each topic.

Playing the Demos

Here’s the best place to start your explorations of the MOTIF. The Song and Master Demos have been specially

programmed so you can hear just how amazing the sounds are, and ﬁnd out just how powerful the instrument really is.

Auto Demo Load

Reference (page 252)

The MOTIF features special Demo data (Song and Master programs) which is stored to ROM and can be loaded to DRAM by

using the Auto Demo Load function. When this parameter is set to “on,” the Demo song data is automatically loaded when

the power is turned on. The Auto Demo Load parameter is set to off when the MOTIF is shipped from the factory. (Under

normal playing circumstances, you’ll want to use the full memory of the instrument and won’t want to have the Demo

programs automatically load.) Before you can play the Demos, you’ll need to turn this function on (as described below).

The Demo programs are now loaded to the MOTIF, and you can try them out in the instructions that follow.

Call up the OTHER display.

SF4

Move the cursor to “AutoDemoLoad.”

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

Set “AutoDemoLoad” to ON.

DEC/NO INC/YES

Enter the Utility mode and call up the GENERAL display.

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

POWER

OFF

POWER

OFF

Turn the power off by pressing

the [POWER] switch.

Turn the power on again by

pressing the [POWER] switch.

MOTIF Quick Start Guide

Playing the Demos

Quick Start Guide

Playing the Song Demo

A variety of Demo songs have been programmed to the MOTIF, showcasing its dynamic voices and giving you a taste

of the sophisticated sequencing functions inside.

To instantly return to the beginning of the song, press the [ ] (Top) button.

For details about song control, see page 14.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Start the selected song.

When playback of the selected song is finished,

the song automatically stops.

SEQ TRANSPORT

LOCATE

REC

SEQ TRANSPORT

LOCATE

REC

Top button

You can stop the song anytime during playback by pressing the [■]

button. This pauses the song at the current position. To resume

playback of the song from that point, press the [F] again.

Stop song playback manually, if you want.

Select a song.

Decreases

number

Decreases

number

Increases

number

Increases

number

DEC/NO INC/YES

If it isn’t currently highlighted,

move the cursor to the Song

number/name.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

Press the [SONG] mode button to enter

the Song mode.

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

POWER

OFF

Turn the power ON.

MOTIF Quick Start Guide

Playing the Demos

Quick Start Guide

Playing the Master Demo

The MOTIF has so many powerful features, functions, and modes, it may seem difﬁcult to understand them all and

grasp how they work together. One good place to start learning about the various pieces in the MOTIF puzzle is the

Master mode.

Master programs are special setups that let you work across the mode boundaries of the MOTIF (Voice, Performance,

Song, and Pattern), and let you instantly select a desired conﬁguration for the entire instrument. We’ve programmed

a variety of Master programs to show you how this powerful feature can be used. Try some of these out now. (You’ll

be setting up your own Master programs later in this Guide.)

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Play the selected Master program.

• When the Mode is set to

Voice or Performance, play

the keyboard.

SEQ TRANSPORT

LOCATE

REC

• When the Mode is set to

Song or Pattern, press the

[F] (Play) button.

Enter the Master mode.

MODE

VOICE PERFORM MASTER

Select a Master.

Decreases

number

Decreases

number

Increases

number

Increases

number

DEC/NO INC/YES

Mode

MOTIF Quick Start Guide

Playing Voices

Quick Start Guide

Playing Voices

Reference (page 124)

The Voice Play mode is where you select and play the instrument sounds (voices) of the MOTIF.

Thanks to an amazing 85MB of wave ROM and over 700 voices to choose from (even more when you install optional Plug-in

boards!), the MOTIF has just about any sound you’ll ever need, no matter what kind of music you create — from luscious

piano, strings, and other acoustic instruments to cutting-edge synth, dance, and electronica sounds.

Plus, with the full 62-note polyphony, you can play fat chords and arpeggios — and sustain them without ever having to

worry about the sound cutting out. The MOTIF provides several different voice banks: Preset 1 - 3, GM Preset, User, and

Plug-in 1 - 3 (when optional Plug-in boards are installed). Select a bank and try out some of these different voices right now.

Selecting a voice

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Select a Voice number.

Select a Voice Group.

Voices in each Bank are divided into Groups

[A] ~ [H]. Select a Group to display the

voices that belong to the selected Group.

Group

Select a Normal Voice Bank.

Select a Plug-in Voice Bank.

Select a Voice Bank.

n When shipped from the factory,

the MOTIF contains a full set

of specially programmed User

voices in the User bank.

Naturally, you can edit these

and overwrite them if you

want. You can also restore

them to the original factory set

by using the Utility Job (page

260). For details about Voice

Banks and Groups, see page

124.

• Normal Voice

• Drum Voice

PLG 2

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

PRE 1

PRE 2

PRE 3

USER

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

DRUM KITS

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

Enter the Voice Play mode.

When the Voice Play mode is active, the

currently selected voice is shown in huge

letters — so you can easily check which

voice you’re about to play.

MODE

VOICE PERFORM MASTER

Bank name

Decreases

number

Decreases

number

Increases

number

Increases

number

DEC/NO INC/YES

MOTIF Quick Start Guide

Playing Voices

Quick Start Guide

Using the Category Search function

Reference (page 126)

The MOTIF features a powerful Category Search function that gives you quick access to the sounds you want,

irrespective of their bank locations. Simply select a voice category, such as A. PIANO or SYN LEAD, and you can

browse through all related voices one by one — and audition each of them, too. Plus, you can use the special

Favorites category to store the voices you use most.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Favorite Category

Use this convenient function to store all your favorite, often-used voices in a single, easy-to-access location — and call

them up by pressing the [FAVORITIES] button. Select any voice you want, from any desired category, and enter each

to the Favorites Category. In this way, you can go directly to all the voices you use the most, without having to hop

around other Categories — a great aid when playing live.

Select the desired Category, then move the cursor to your favorite voice in the Category list, and press the [F5] button

to checkmark the the box next to the voice name. (You can un-checkmark it by pressing the [F5] button again.) Go

on to other Categories and continue registering your favorites. After you’ve checkmarked all the voices you want, press

the [DRUMKIT/FAVORITE] button to store them to the Favorites Category. All the voices you’ve checkmarked — and

only those voices — will be shown in the list. To exit from the Favorites Category, simply press the

[DRUMKIT/FAVORITE] button again.

Select a voice.

Step through the available voices by using

the data dial. You can also use the

[INC/YES] and [DEC/NO] buttons, or use

the cursor [ ]/[ ] buttons.

Select a Category.

• Select a Category.

Press the Category buttons to display the Category

name and the voice list. The first voice in this

Category is selected.

CATEGORY

PLG 2

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

MOTIF Quick Start Guide

Playing Voices

Quick Start Guide

Keyboard Octave (MOTIF6/MOTIF7)

Sometimes when playing a voice, you may wish to play in a lower or higher pitch range. For example, you may want

to shift the pitch down lower to get extra bass notes, or shift up to get higher notes for leads and solos. The Octave

Up/Down controls let you do this quickly and easily.

Each time you press the [OCTAVE UP] button on the panel, the overall pitch of the voice goes up by one octave.

Likewise, each press of the [OCTAVE DOWN] button takes the pitch down by one octave. The range is from -3 to

+3, with 0 being standard pitch. When this is set to Octave Up, the lamp of the [OCTAVE UP] button lights, and

when it is set to Octave Down, the [OCTAVE DOWN] button’s lamp lights. The current octave setting is shown at

the top right of the display. You can instantly restore standard pitch (0) by simultaneously pressing both the

[OCTAVE UP] button and the [OCTAVE DOWN] button (both lamps turn off).

n Octave Up/Down works in conjuction with with the TUNE setting (in Voice Edit, page 138) and the Note Shift setting (in Utility

Mode, page 250). This means that if the the pitch has already been shifted up or down with those settings, you may not be able to

use Octave Up/Down to shift the full three octaves.

n If using Octave Up/Down results in pitches outside the note range of the voice (C-2 - G8), the invalid pitches are sounded at the

previous octave (down or up).

n This function can be used also in the Performance mode or Master mode.

OCTAVE

DOWN

MOTIF Quick Start Guide

Editing Voices

Quick Start Guide

Editing Voices

The Voice Play mode not only lets you play voices, it lets you perform a variety of basic, yet powerful editing operations on

them as well. For example, you can change the EG settings to give the voice a softer or harder attack, or change the release

to make it sustain. You can also adjust similar settings for the ﬁlter, and change the tone of the voice. Moreover, a special

set of Control knobs on the panel let you tweak the sound — including pan, EG, effects, ﬁlter, and more — in real time as

you play. Naturally, you can also store your newly created voice for future recall (page 86).

Quick Voice editing

Reference (page 127)

The [ ] Indicator

If you alter any parameters in the Voice Play mode, the [ ] indicator will appear in the

top left of the display. This indicates that the current voice has been modified but not yet

stored.

Edit indicator

Select the desired menu.

PORTA (Portamento) display

From this display you can select monophonic or polyphonic playback

and set the Portamento parameters. Portamento is used to create a

smooth transition in pitch from the first note played on the keyboard to

the next.

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

Set the value of each parameter.

Move the cursor to the desired parameter and change the value by using

the [INC/YES] and [DEC/NO] buttons or the data dial.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

DEC/NO INC/YES

PLG 2

CATEGORY

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

EG (Envelope Generator) display

• AEG (Amplitude Envelope Generator)

The AEG controls how the volume of the voice changes in time,

from the instant you press a key to after you release it. For example,

setting a small Attack value results in an instantaneous, sharp sound

when you press a key.

• FEG (Filter Envelope Generator)

The FEG controls how the tonal quality of the voice changes in time,

as affected by the filter. Here, you can also set the Cutoff

frequency and Resonance for the filter.

ARP (Arpeggio) display

The basic Arpeggio parameters (e.g., type, tempo) are

provided in this display.

Basic Structure (page 46)

Cutoff Frequency (page 46)

Resonance (page 46)

MOTIF Quick Start Guide

Editing Voices

Quick Start Guide

Voice editing with the Control knobs

Reference (page 132)

These knobs let you change various aspects of the Voice’s sound in real time — while you play. Turn a knob to the

right to increase the value, and left to decrease it. If you want to keep the edits you make, you can store them to a new

voice (page 86).

n Each voice of the MOTIF has been programmed with a default or standard parameter value. Using these knobs offsets the default

or standard parameter value. Regardless of the size of the offset, the minimum and maximum limits cannot be exceeded.

n Using these knobs in the Performance mode affects the currently selected performance, and not the voices themselves.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

Press this repeatedly to select each function row.

Selecting the controllable functions

Functions assigned to each knob can be selected among four types as illustrated below.

Use the [KNOB CONTROL FUNCTION] button to change the parameter set for the knobs. The corresponding LED lights

to indicate which group of parameters are active and the Control of the available functions appear in the LCD display as

shown below.

Press the [EXIT] button to go back to the original display.

n If the “Rev” knob in the display is dark, any tweaking you

do to the Knob immediately affects the sound. However, if

the knob in the display is light, turning the knob will not

have any effect until you reach the current setting. Once

you’ve adjusted the Knob to that setting point, the display

knob turns dark, and you can tweak the sound.

Pan, Effect Send, and Tempo

Assign

Filter and EG

Master EQ

MOTIF Quick Start Guide

Editing Voices

Quick Start Guide

About each assigned function

ATTACK RELEASECUTOFF

RESONANCE

KN 1 KN 2 KN 3 KN 4

Filter and EG

Attack

time

Key on

Release

time

Key off

ATTACK

Determines the attack time of the sound. For example, you can

adjust a strings voice so that the sound gradually swells in

volume by setting a slow attack time — simply turn the

[ATTACK] knob to the right. For a more percussive attack, turn

the knob to the left.

RELEASE

Determines the release time of the sound. Turning the knob to

the right sets a long release time and (depending on the

selected voice) lets the sound sustain after the key is released.

To produce a sharp release, in which the sound abruptly cuts

off, set a short release time.

n When the Drum voice is selected, this is used as Decay time.

Pan, Effect Send, and Tempo

Signal

PAN

REVERB

CHORUS

TEMPO

KN 1 KN 2 KN 3 KN 4

PAN

Determines the stereo pan

position of the voice.

TEMPO

Determines the tempo of the Arpeggio

assigned to the currently selected voice.

In the Song/Pattern/Arpeggio mode,

this determines the tempo of the selected

song or pattern.

Assign

These knobs can be assigned to a variety of functions, letting you create your own custom set of real-time controls.

For details about Knobs A/B, see page 256. For details about Knobs 1/2, see page 254.

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQLO WMID MID MEQ HI MID MEQ HIGH

Gain

Master EQ

Adjusts the master (global) EQ settings for the entire voice. The settings made here are applied as offsets to the EQ settings (with the exception

of “MID”) in the Utility mode, page 253.

REVERB

Determines the amount of

Reverb effect that is applied

to the voice.

CHORUS

Determines the amount of

Chorus effect that is applied

to the voice.

CUTOFF

Determines the Filter

cutoff frequency.

RESONANCE

Boosts the level of the

signal in the area of the

cutoff frequency.

Try using the Cutoff and

Resonance controls above

in tandem. For example,

set Resonance to a certain

level, then sweep the

Cutoff control.

MOTIF Quick Start Guide

Storing edited Voices

Quick Start Guide

Storing edited Voices

Reference (page 160)

Once you’ve edited a voice, you can store it to the internal memory (SRAM). Up to 128 Normal Voices and up to 16

Drum Voices can be stored.

n For details about memory structure, see page 63.

When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up

to computer, a separate Memory Card or some other storage device. (See page 64.)

A wider variety of detailed editing controls is also available in the Voice Edit mode.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Press the [STORE] button in the Voice mode.

Select the destination Voice Memory by using the [INC/YES] and

[DEC/NO] buttons or the data dial.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

Press the [ENTER] button. (The display prompts you for confirmation.)

To execute the Store operation, press the [INC/YES] button. After the voice has been stored, a

“Completed” message appears and operation returns to the original display.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

n To cancel the Store operation, press the [DEC/NO] button.

For Store operations that take longer to process, you will see the message "Executing..." during processing.

off the power of the MOTIF while this message is displayed, you risk corrupting your data.

Destination

Decreases

number

Decreases

number

Increases

number

Increases

number

DEC/NO INC/YES

MOTIF Quick Start Guide

Storing edited Voices

Quick Start Guide

About Plug-in Voices

Basic Structure (page 34)

Plug-in Boards give you an enormous amount of additional sonic ﬂexibility and power. When installed, they work

seamlessly and transparently within the system of the MOTIF — meaning that you can use their sounds and

functions just as if they were built right into the MOTIF at the factory. Up to three Plug-in boards can be installed to

the MOTIF. If the Plug-in Board has been correctly installed, the corresponding SLOT lamp will light, the voice data

appropriate for the installed board is set up automatically as Plug-in voices and you can select the Plug-in bank as

well as the built-in Voice bank.

The Plug-in voices can be edited via the MOTIF’s panel operation in much the same way as User voices. After

editing, up to 64 Plug-in voices for each Plug-in board can be stored.

Editing and saving Board voices

Reference (page 159)

Included among the Board voices is a special set of voices — called Board Custom voices — which can be edited by a

computer connected to the MOTIF, using special editing software included with the Plug-in board.

Because the Plug-in boards do not have SRAM and the edited voice data will be lost when turning the power off, the

edited Board Custom voice data should be saved to the memory card or the SCSI device connected to the MOTIF. The

Board Custom voice data saved to the memory card or SCSI device can be loaded automatically when turning the

power on by using the Auto Load function.

1 Edit the Board voice by using the Voice Editor.

2 Transmit the edited data to the memory (DRAM) on the Plug-in board.

3 Save the data in the memory (DRAM) to the memory card.

4 Set Auto Load to on in the Utility mode (page 252).

5 When turning the power on next time, the Board Custom voice data saved to the memory card is automatically

loaded to the memory on the Plug-in board.

PLG 2

CATEGORY

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-time External Control

Surface

Modular

Synthesis Plug-in

System

SLOT 1 SLOT 2 SLOT 3

PRE 2

PRE 3

USER PLG 1

PLG 3

KEYBOARD

ORGAN

GUITAR /

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

BANK

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/ YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

Computer with application software

MOTIF

Plug-in board

1 Edit

2 Transmit

Memory card

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/ YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

MOTIF

Plug-in board

3 Save

Set this to on.

MOTIF Quick Start Guide

Playing Performances

Quick Start Guide

Playing Performances

Basic Structure (page 42) · Reference (page 162)

In the Performance mode, you can select and play individual User performances.

In a performance, you can mix several different voices together in a layer, or split them across the keyboard, or even

set up a combination layer/split. Each Performance can contain up to four different Parts.

n For details about the performances and their memory (bank) structure, see page 42.

Selecting a Performance

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ ZONE

Play the keyboard.

Select a Performance Group.

Performances in each Bank are divided into Groups A~H. Select a Group to display

the performances that belong to the selected Group.

n All performances are stored to a single bank, so you need not select a bank here.

Select a Performance number.

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM /

PERCUSSION

MUSICAL FX COMBI

SECTION

GROUP

Performance

Group

Enter the Performance Play mode.

MODE

VOICE PERFORM MASTER

When the Performance Play mode is active,

the currently selected performance is shown in

huge letters — so you can easily check which

performance you’re about to play.

Decreases

number

Decreases

number

Increases

number

Increases

number

DEC/NO INC/YES

TRACK

SELECT

MUTE

SOLO

NUMBER

ELEMENT/ PERF.PART/ ZONE

Performance Part on/off

Each performance can contain a maximum of four parts, selected from a total of seven — internal Parts 1 - 4 and Plug-in Parts 1 - 3.

1 Press the [MUTE] button so that its indicator lights.

2 Press any of the [1] - [4] buttons you wish to mute. The part

corresponding to the unlit indicator is muted.

3 Press the [MUTE] button again so that its indicator goes out.

n The Category Search

function and Keyboard

Octave function can be used

also in the Performance Play

mode in the same way as in

the Voice Play mode.

MOTIF Quick Start Guide

Editing Performances (Layer/Split)

Quick Start Guide

Editing Performances (Layer/Split)

Basic Structure (page 45) · Reference (page 170)

Performances can be made up of a maximum of four parts (voices), selected from the internal tone generator Parts 1 - 4

and Plug-in board Parts 1 - 3.

You can create a performance by layering several voices together, and by assigning different voices to separate ranges

of the keyboard. You can then store up to 128 of your original, edited performances to internal User memory.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

PRE1 PRE2 PRE3 USER PL1

Built-in tone generator parts Plug-in parts

PL2 PL3

Layer Split

PRE1 PRE2 PRE3 USER PL1

Built-in tone generator parts Plug-in parts

PL2 PL3

SONG SCENE

SF 1 SF 2 SF 3 SF 4 SF 5

F1 F2 F3 F4 F6F5

INFORMATION

SONG SCENE

SF 1 SF 2 SF 3 SF 4 SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Assign the built-in voice

to the selected part.

Delete the voice assignment

of the selected part.

Assign the Plug-in voice

to the selected part.

DEC/NO INC/YES

Call up the VOICE display by pressing the

[F3] button in the Performance Play mode.

Assign the desired voice to each part.

Move the cursor to the desired part and select a voice by pressing the [F1] or

[F2] button.

Specify the note range of each part, as required.

You can set the lowest note of the range over which the voice of the selected part

sounds by pressing the desired key while holding the [SF4] button. To set the

highest note of the range, press the desired key while holding the [SF5] button.

This lets you create a split keyboard, with up to four different parts (voices)

sounding in four different ranges. You can also overlap parts to create layers.

Change the volume of each part and adjust the

relative balance among the four parts by using

the Control sliders.

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTA CK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

Note Limit Low Note Limit High

SF 4 SF 5

MOTIF Quick Start Guide

Storing the edited Performance

Quick Start Guide

Storing the edited Performance

Reference (page 176)

Once you’ve edited a performance, you can store it to the internal memory (SRAM). Up to 128 performances can be stored.

n For details about memory structure, see page 63.

When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up

to computer, a separate Memory Card or some other storage device. (See page 97.)

The Portamento, EG (Envelope Generator), and Arpeggio parameters can be edited by calling up the corresponding

display via the [F4] - [F6] buttons in the same way as in the Voice mode.

A wider variety of detailed editing controls is also available in the Performance Edit mode. See page 165.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIG H

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/ YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Press the [STORE] button in the Performance mode.

Select the destination Voice Memory by using the [INC/YES]

and [DEC/NO] buttons or the data dial.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

Press the [ENTER] button. (The display prompts you for confirmation.)

To execute the Store operation, press the [INC/YES] button. After the voice has been stored,

a “Completed” message appears and operation returns to the original display.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

n To cancel the Store operation, press the [DEC/NO] button.

For Store operations that take longer to process, you will see the message "Executing..." during processing.

If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data.

Destination

Decreases

number

Decreases

number

Increases

number

Increases

number

DEC/NO INC/YES

MOTIF Quick Start Guide

Using the Arpeggio function

Quick Start Guide

Using the Arpeggio function

Basic Structure (page 55) · Reference (pages 128, 165)

The MOTIF features a powerful and highly versatile arpeggiator that lets you automatically trigger preset arpeggios,

phrases, rhythmic sequences and special “human” patterns — depending on the keys you play, or even the velocity

with which you play them. You can assign the desired Arpeggio type to each voice or performance, and adjust the

tempo in real time as the Arpeggio plays. In the Song and Pattern modes, you can assign desired Arpeggio types to

each Mixing setup, for use in songs and patterns.

Arpeggio playback

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Select a Voice/Performance.

CATEGORY

DRUM KITS

FAVORITES

PLG 2

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM /

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

COMMON

ELEMENT/ PERF.PART/ ZONE

Play the keyboard.

While holding the key(s), the Arpeggio is played back according to

the played note, Arpeggio type, tempo, note limit settings, and so

on.

n In the Voice Play mode, the Arpeggio is played back via the selected

voice.

n In the Performance/Song Mixing/Pattern Mixing mode, the Arpeggio

is played back via the voice assigned to the selected part when the

Arpeggio Switch of the selected part is set to on.

Turn the Arpeggio on by pressing the ARPEGGIO [ON/OFF]

button.

n When you select a voice or performance for which the Arpeggio

Switch is set to on, the ARPEGGIO [ON/OFF] button is

automatically turned on.

n The on/off status of the ARPEGGIO [ON/OFF] button can be

stored to each voice, performance, or Mixing setup.

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MOTIF Quick Start Guide

Using the Arpeggio function

Quick Start Guide

Arpeggio Type, Tempo, and Limit

A variety of Arpeggio types are provided with the MOTIF. You can change the tempo of Arpeggio as desired.

The Arpeggio function is available in all modes.

The explanation below applies to the Performance Play mode.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Call up the ARP (Arpeggio) display by pressing the

[F6] button in the Performance Play mode.

Set the Velocity Limit for Arpeggio playback.

Move the cursor to the Velocity Limit

parameter and set.

The Arpeggio is played back only when the key is

played at a velocity within this range.

Set the Arpeggio part switch.

You can set the Arpeggio playback

on or off for each part. Move the

cursor to the checkbox of the

desired part and checkmark the

box to on.

Store the Arpeggio settings to

the desired User Performance.

The Arpeggio settings can be

stored to a User Voice, a User

Performance, or a Song/Pattern

Mixing setup.

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Select an Arpeggio Bank.

Move the cursor to the Bank parameter and select.

DEC/NO INC/YES

Select an Arpeggio Type.

Move the cursor to the Type parameter and select.

DEC/NO INC/YES

Set the Tempo for Arpeggio playback.

Move the cursor to the Tempo parameter and set.

DEC/NO INC/YES

Low Limit High Limit

Low

Limit

High

Limit

127

MOTIF Quick Start Guide

Using as a Master Keyboard

Quick Start Guide

Using as a Master Keyboard

Basic Structure (page 56) · Reference (page 268 )

The MOTIF is loaded with such a wealth of different features, functions and operations, you may ﬁnd it difﬁcult to

locate and call up the particular feature you need. This is where the Master function comes in handy. You can use it

to memorize the operations you use most often in each mode, and call them up instantly anytime you need them with

a single button press. The MOTIF has space for a total of 128 of your own User Master settings.

Memorize to a Master

The selected mode and program are memorized to a Master in the Master Play mode.

Master No.4 Song mode: 05

Master No.3 Voice mode: USER (B08)

Master No.1 Voice mode: PRE1 (A10)

Master No.2 Performance mode: PRE1 (F7)

PLG 2

CATEGORY

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ ZONE

Enter the Master mode and select a Master

number (page 269).

Name the Master.

You can name the Master in the Master Edit mode (page 75).

You can also set the functions assigned to the Control Knobs/Sliders (page 273).

Call up the MEMORY display by pressing the

[F2] button.

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Select the mode to be memorized.

Select the desired program (voice, performance, song, or style number) to

be memorized.

DEC/NO INC/YES

Mode

DEC/NO INC/YES

DRUM KITS

FAVORITES

PLG 2

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR /

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM /

PERCUSSION

MUSICAL FX COMBI

COMMON

ELEMENT/ PERF.PART/ ZONE

Program

MOTIF Quick Start Guide

Using as a Master Keyboard

Quick Start Guide

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

n To cancel the Store operation, press the [DEC/NO] button.

For Store operations that take longer to process, you will see the message “Executing…” during processing.

If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data.

Press the [STORE] button to enter the Master Store mode.

Select a destination Master.

Press the [ENTER] button.

Execute the Store operation.

Destination

Store the settings to a Master.

The edited Masters can be stored to the internal memory (SRAM). Up to 128 Masters can be stored.

n For details about memory structure, see page 63.

When you execute this, the settings for the destination memory will be overwritten. Important data should always

be backed up to computer, a separate Memory Card or some other storage device. (See page 97.)

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MOTIF Quick Start Guide

Using as a Master Keyboard

Quick Start Guide

Master Keyboard settings

● Layer/Split settings using an external tone generator

The MOTIF can function as a comprehensive, versatile master keyboard, for both live and studio applications.

When a Master is set to the Voice or Performance mode, you can make settings for four independent Zones. This

makes it possible to control voices of an external MIDI device over several different channels — in addition to the

internal voices of the MOTIF itself. You can do this by setting the sound range of the keyboard for each Zone and

assigning different MIDI channels to each range.

For example, this lets you layer several voices together, including those of a connected MIDI tone generator. Plus,

you can separate the voices into different keyboard ranges, and play completely different sounds with your left and

right hands. In the example below, we’ll set up three Zones as shown below. We’ll program a split at the note C3. In

the lower range (B2 and lower), a bass voice and cymbal voice will sound. In the upper range (C3 and above), we’ll

layer piano and vibraphone voices — played from an external MIDI tone generator. Using this sophisticated setup,

you can easily sound like an entire jazz group, with just your two hands.

In the example instructions here, we’ll use the Voice mode for the Master.

PLG 2

CATEGORY

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Enter the Master Edit

mode.

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

Select a Voice in the Master Play mode.

Set the Mode to Voice, then select the PRE1 bank and voice 123.

Set the Zone Switch to on.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

Zone 2

(Piano)

Zone 3

(Vibraphone)

Zone 1

(Bass + Cymbal)

MOTIF Quick Start Guide

Using as a Master Keyboard

Quick Start Guide

● Control Number settings

Here in the KN/CS display of the Master Edit mode, you can set how the Control knobs and sliders will affect each

Zone. This lets you specify a MIDI Control Change number for each knob and slider. In the example below, the

Control knobs for all Zones have been set to 10 (Pan), and the sliders have been set to 11 (Expression). In this way,

you can control the stereo position of each Zone with the appropriate knob, and use the sliders to adjust the relative

volume balance among the Zones.

This setting is available only when the Zone Switch is set to on from the Memory display in the Master Play mode.

PLG 2

CATEGORY

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1 SF 2 SF 3 SF 4 SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

Store the settings to a Master

(page 94).

Call up the NOTE display.

Each Zone will sound the assigned voice within the note range set above.

Set the Note Limit H (High) of Zone 1 to B2. Set the Note Limit L (Low) of Zone 1 to C-2.

Set the Note Limit H (High) of Zone 2 and 3 to G8. Set the Note Limit L (Low) of Zone 2

and 3 to C3.

SF 1 SF 2 SF 3 SF 4 SF 5

F1 F2 F3 F6F5

Call up the display for Zone editing.

Press any of the buttons.

Call up the TRANS display.

Set the TG Switch of Zone 1 to on and

set those for all other Zones to off. This is

for transmitting the data played only in

the Zone 1 to the built-in tone generator.

Set the MIDI Switch of the Zone 2 and 3

to on and set the ones of the other Zones

to off. This is for transmitting the data

played in the Zone 2 and 3 to the

external tone generator.

Set the MIDI transmit channel of Zone 1

to 1. Set the MIDI transmit channel of

Zone 2 and 3 to match the Receive

channel of the external tone generator

(slave).

Make sure the external tone generator is

set to multi-timbral operation (different

voices for each of the 16 MIDI channels),

and select the appropriate voices on the

tone generator, corresponding to the

MIDI channels you set in above.

SF 1 SF 2 SF 3 SF 4 SF 5

F1 F2 F3 F6F5

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

AT TACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

MOTIF Quick Start Guide

Saving/Loading data

Quick Start Guide

Saving/Loading data

Basic Structure (page 63) · Reference (page 266)

Many different types of data are created when using the MOTIF, and the following types are automatically

maintained in memory, even if the power is turned off: Voice, Performance, Master, Arpeggio and System settings

(parameters set in the Utility mode). Since the other data (e.g., wave data recorded via the Sampling function, Song,

Pattern) is lost when turning the power off, you should save it to a memory card or SCSI device connected to the

MOTIF. Data created on the MOTIF can be saved to Memory card or SCSI device in a variety of ﬁle types. By

selecting “All” as the ﬁle type to be saved, all your original MOTIF data can be saved to Memory card/SCSI device.

However, when loading this “All” data back to the MOTIF, you can choose a speciﬁc data type to be loaded (e.g., one

voice or one song), as illustrated below.

n For details about using Memory cards, see page 289. For details about using SCSI devices, see page 264 and page 290.

Saving data

n Before you can use a new Memory card or external SCSI device with the MOTIF, you’ll have to format it from the MOTIF.

See page 265 for details.

Voice

Performance

Master

System

Song

Pattern

Wave

Memory card

Save

SCSI device

All

Memory card

Load

SCSI device

One song

One voice

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Enter the File

mode by pressing

the [FILE] mode.

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Select a file type to be saved.

Here, select “All.”

n For details about file type to be saved, see

page 262.

Press the [ENTER] button.

Press the [INC/YES] button to

execute the Save operation.

Select a folder to which the data is to be

saved.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

Call up the SAVE display.

Select a device to which the data is to be saved.

Move the cursor to the Current parameter and select

“CARD” or “SCSI.”

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Call up the CONFIG display.

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Device

Free space

n You can name the folder by using the [F4] button

and create a new folder by using the [F6] button.

MOTIF Quick Start Guide

Saving/Loading data

Quick Start Guide

Loading data

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Enter the File

mode by pressing

the [FILE] button.

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Select a file type to be loaded.

Here, select “Voice.”

n For details about the file types that can be

loaded, see page 263.

Press the [ENTER] button to

execute the Load operation.

Select a file to be loaded.

Here, select a file with the extension “.W2V,” press the [ENTER] button, and select the desired

voice.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

Call up the LOAD display.

Select the device from which the data is

to be loaded.

Move the cursor to the Current parameter

and select “CARD” or “SCSI.”

Call up the CONFIG display.

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Device

Free space

Select the destination User memory to

which the data is to be loaded.

n Loading data to the MOTIF

automatically erases and replaces

any existing data in the User

memory. Make sure to save any

important data to a Memory

card/SCSI device before

performing any Load operations.

[ENTER]

button

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

Sampling with Song Playback (Integrated Sampling

Sequencer)

In this section, we’ll delve into one of the most important and powerful features of the MOTIF — the Integrated

Sampling Sequencer.

Today’s digital music producers and artists use a mutlitude of advanced tools to get the job done — including MIDI,

sampling, audio editing and much more. Cutting and pasting beats, loops and patterns together is an integral part of

the music making process. The MOTIF lets you work in the same way, fully integrating sampling with MIDI

sequencing — making it easier than ever before to produce great tracks.

Below is a summary of the steps you’ll take as you create a new song.

■ Creating Rhythm track

1 Sampling to a Pattern Track

2Recording MIDI data to a Pattern Track

3 Assigning a Preset Phrase to a Pattern Track (Patch function)

4 Using the Groove function

5Pattern Mixing

6Creating the Pattern Chain

■ Creating a Song

7 Copy the Pattern Chain data to the Song

8 MIDI recording to Song Tracks

9 Sampling to Song Track

10 Song Track Mute and Scene

11 Song Mixing and storing the settings as a template

12 Saving and Exporting the recorded song to external PC (File Utility)

100

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

1. Sampling to a Pattern Track

Basic Structure (page 52) · Reference (page 234)

First, record your favorite rhythm phrase from an audio CD (or other source) to the MOTIF via the Sampling

function.

n For details about how to connect the external audio equipment to the MOTIF, see page 23 .

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Enter the

Pattern mode.

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Call up the PLAY display.

Select the Style number and Section to be recorded.

Style number

• Selecting a Style number

• Selecting a Section

Section

CATEGORY

PLG 2

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM /

PERCUSSION

MUSICAL FX COMBI

SECTION

Enter the

Sampling mode.

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Call up the DEST display.

Select a track to be recorded.

Here, select track 3.

DEC/NO INC/YES

Press the [SECTION] button, then the appropriate button [A]

~ [H].

Decreases

number

Decreases

number

Increases

number

Increases

number

DEC/NO INC/YES

101

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

PLG 2

CATEGORY

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ ZONE

Select a sampling type.

For Type, select “slice+seq.”

Select a sampling source.

For Source, select “A/D.”

Select "stereo" or "mono."

Sampling

frequency

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMAT IO N

Monitor levelTrigger mode

Input level

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Call up the SOURCE display.

Set the Slice related parameters.

The following display appears after stopping sampling since the

sampling type has been set to “slice+seq” in step #7. You’ll need

to trim your sample of extraneous beats, so that it will loop

properly. Do this by using the Start, Loop, and End parameters

in the display below. (For details, see page 237.) As you edit

these parameters, press the [SF1] button (Audition) to hear the

changes you’ve made.

Execute the Slice operation.

Once you’ve edited the sample so that it loops properly, call up

the SLICE display and set the parameters as needed. (For details,

see page 238.)

Enter the Sampling Standby mode.

From this display, set the Trigger mode. Here, select “manual.”

Play back the external CD player to check the Input level. You

can adjust the Input level for optimum level by using the GAIN

knob on the rear panel.

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Start sampling.

Press the [F6] button to start sampling. Also start the external

CD player to play back the rhythm phrase to be recorded.

Stop sampling by pressing the [F6] button again.

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Go back to the Pattern play mode

and play the Pattern to hear the

recorded sample.

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

102

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

2. Recording MIDI data to a Pattern Track

Basic Structure (page 53) · Reference (page 221)

Now that you’ve recorded a rhythm sample to a Pattern and sliced it, the next step is to record some MIDI parts and

add them to the Pattern. You can record MIDI in two ways: Realtime and Step.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

DEC/NO INC/YES

Select a Recording type.

Replace

You can use this method when

you want to overwrite an

already recorded track with

new data.

Overdub

You can use this method when

you want to add more data to a

track that already contains data.

Step

You can compose your

performance by “writing” it

down one event at a time.

To step on page 104

To step on page 103

After setting the measure length and

meter (time signature), enter the

Pattern Record mode.

SEQ TRANSPORT

LOCATE

REC

103

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

● Realtime recording (when selecting replace or overdub in step #2)

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Select a track 2 to be recorded and set the tempo.

Set the Arpeggio related parameters from

the ARP display (page 223).

Record to other tracks as desired by repeating steps #3 - 11.

Turn the Click on.

Track to be recorded

DEC/NO INC/YES

Meter Tem po

Measure length

Call up the VOICE display.

Select the desired voice to be recorded to a track (phrase).

DEC/NO INC/YES

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Play the

keyboard.

Start

recording.

SEQ TRANSPORT

LOCATE

REC

Stop recording.

SEQ TRANSPORT

LOCATE

REC

Press the [ ]

button to hear

the newly

SEQ TRANSPORT

LOCATE

REC

TRACK

SELECT

MUTE

SOLO

ELEMENT/ PERF.PART/ ZONE

104

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

● Step recording (when selecting step in step #2)

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Select a track 2 to be recorded and set the MIDI event type to

be recorded and tempo.

Start recording.

DEC/NO INC/YES

Call up the VOICE display.

Select the desired voice to be recorded to a track (phrase).

DEC/NO INC/YES

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Record to other tracks as desired by

repeating steps #3 - 8.

Stop recording.

SEQ TRANSPORT

LOCATE

REC

Press the [ ] button to hear

the newly recorded pattern.

SEQ TRANSPORT

LOCATE

REC

TRACK

SELECT

MUTE

SOLO

ELEMENT/ PERF.PART/ ZONE

Track to be recorded

Meter

MIDI event type

Temp o

Measure length

Here, enter the Note Event.

Move the cursor to the Pointer and set the

location to be entered.

Set the velocity (Value), Step Time, and Gate

Time.

Press the key to be recorded.

Repeat steps #1 - 3 to enter the notes one after

another.

SEQ TRANSPORT

LOCATE

REC

Press [F3] to enter a rest as long as the specified step time.

When the [F4] button is pressed to enter a tie, the preceding

note is lengthened to the full step time.

Press this to actually delete the note events at the

current cursor position.

Moves the pointer backward by one step

and deletes all notes at that location.

105

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

3. Assigning a Preset Phrase to a Pattern Track (Patch function)

Basic Structure (page 52) · Reference (page 219)

The Patch function lets you assign a Preset phrase or a User phrase (recorded in the Pattern Record mode) to each

track and create a pattern that contains up to 16 tracks.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Call up the PATCH display.

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Select a Phrase Bank and number.

Move the cursor to Bank and select “pre” or “user. ”

Select a track to which the phrase is assigned.

DEC/NO INC/YES

Then, move the cursor to the number parameter and set it.

Keep in mind that only User phrases that have been recorded

to the currently selected style can be selected here. If you

want to assign a phrase that has been recorded to another

style, use the Phrase Copy Job (page 228).

Press the [ ]

button to hear

the pattern.

SEQ TRANSPORT

LOCATE

REC

Assign phrases to

the other tracks

as desired.

TRACK

SELECT

MUTE

SOLO

ELEMENT/ PERF.PART/ ZONE

106

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

4. Using the Groove function

Reference (page 218 )

The Grid Groove function makes it possible to adjust the pitch, timing, length, and velocity of notes in a speciﬁed

track on a measure-long 16th-note grid. This lets you easily come up with a wide variety of rhythmic feels and

grooves that would be difﬁcult or impossible to create using precise, yet rigid sequencer operations. Moreover, Grid

Groove is a playback-only operation, meaning that it leaves the original recorded data intact.

Grid Groove can also be applied to sample tracks that contain samples processed with the Slice function, as well as

normal MIDI tracks.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1 SF 2 SF 3 SF 4 SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

Call up the GROOVE display.

SF 1 SF 2 SF 3 SF 4 SF 5

F1 F2 F3 F4 F6F5

Select a track.

TRACK

SELECT

MUTE

SOLO

Press the [ ] button to

hear the edited pattern.

n Keep in mind that if you make an

edit at a specific 16th note position

and there is no MIDI data at that

point, the track will not change.

SEQ TRANSPORT

LOCATE

REC

Make Grid Groove settings

for other tracks as desired.

Set the parameters.

Move the cursor to the desired parameter and grid point and set the offset value.

This affects song playback without actually changing the sequence data.

DEC/NO INC/YES

Each aspect of the track to be offset (pitch, time, length, velocity) is indicated by

a different graphic.

plus

VELO OFFSET

GATE OFFSET

CLOCK SHIFT

NOTE OFFSET

0minus

107

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

5. Pattern Mixing

Reference (page 232)

Now that you have a ﬁnished section and pattern, you can apply the Pattern Mixing controls to ﬁne-tune it and

enhance it — by adusting the levels of each track or part, selecting different voices, and tweaking the effect-related settings.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Enter the Pattern

Mixing mode.

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

Highlight the desired

parameter and change the

value.

Store the Song Mixing setup to User Memory.

Call up the desired display.

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Select a part to be edited.

DEC/NO INC/YES

Set the other parameters by

repeating steps #2 - 4.

EXIT

ENTER

EXECUTE

DEC/NO INC/YES

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

Go back to the Pattern Play

mode.

n Not each section but each

style has one Pattern Mixing

setting.

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

TRACK

SELECT

MUTE

SOLO

ELEMENT/ PERF.PART/ ZONE

108

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

6. Creating a Pattern Chain

Basic Structure (page 54) · Reference (page 219)

Now that you’ve got your audio samples, loops, MIDI data, and patterns in the MOTIF, here’s where the fun really

begins. The Pattern Chain feature lets you arrange all of the pieces of your song in real time. As you record a Pattern

Chain, play back your original patterns and sections, and switch among them on the ﬂy. This intuitive, hands-on

approach to arranging lets you come up with great ideas and amazing songs — quickly and easily.

n For details about Pattern Chain and its track and memory structure, see page 54.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTAC K RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ ZONE

Stop recording.

Press the [ ] button to

hear your new pattern

chain.

SEQ TRANSPORT

LOCATE

REC

SEQ TRANSPORT

LOCATE

REC

Pattern Chain Track

Tempo

Select a track and tempo.

CATEGORY

PLG 2

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM /

PERCUSSION

MUSICAL FX COMBI

SECTION

Start recording.

SEQ TRANSPORT

LOCATE

REC

While recording, you can change the Section

at the desired timing.

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

Enter the Pattern Chain mode by

pressing the [F6] button in the Pattern

Play mode.

Enter the Pattern Chain Record mode

by pressing the [REC] button.

SEQ TRANSPORT

LOCATE

REC

109

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

7. Copying the Pattern Chain data to a Song

Reference (page 221)

Now that you’ve created a hip Pattern Chain, you can copy it to a song track and use it as the basic rhythm track for

a song. This is done from the Pattern Chain Edit mode.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Select a Song number to which

the Pattern Chain is to be copied.

Destination Song number

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

Enter the Pattern Chain Edit mode by

pressing the [EDIT] mode in the Pattern

Chain Play mode.

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

Call up the SONG display.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

Specify the measure number to which the

converted data is to be copied.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

Press the [ENTER] button.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

Press the [INC/YES] button to

execute the Copy operation.

Decreases

number

Decreases

number

Increases

number

Increases

number

DEC/NO INC/YES

110

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

8. MIDI recording to Song Tracks

Basic Structure (page 51) · Reference (page 183)

Now, take your basic building blocks and move over to the Song mode to do some more work on your song. Let’s say

for the sake of example that you’ve recorded MIDI data for nearly all the tracks — except for maybe some rhythm

guitar parts and some solos on piano and organ. The MOTIF gives you two methods of recording these. Realtime

recording lets you record much as you would with a tape recorder, playing the parts in real time while you listen to

the backing rhythm tracks you created earlier. The other method, Step recording, lets you enter each note

individually, much like writing down the notes on paper.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Enter the Song Record

mode.

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM /

PERCUSSION

MUSICAL FX COMBI

Select the song to which the Pattern Chain data

has been copied.

ELEMENT/ PERF.PART/ ZONE

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

Enter the Song

mode.

Song number

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

Call up the PLAY display.

DEC/NO INC/YES

Select a Recording type.

Replace

You can use this

method when you

want to overwrite

an already

recorded track with

new data.

Overdub

You can use this

method when you

want to add more

data to a track that

already contains

data.

Punch

You can use this method

when you want to re-

record only over a specific

area of the track. In this

case, you must set the start

and end points before you

begin the re-recording.

Step

You can compose

your performance

by entering it one

event at a time.

To step on page 111

To step on page 112

SEQ TRANSPORT

LOCATE

REC

111

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

● Realtime recording (when selecting “replace,” “overdub,” or “punch”

in step #5)

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Select the desired voice to be recorded to a track.

Bank

1~16

Select a track to be recorded and set the tempo.

DEC/NO INC/YES

TRACK

SELECT

MUTE

SOLO

ELEMENT/PERF.PART/ZONE

DEC/NO INC/YES

TRACK

SELECT

MUTE

SOLO

ELEMENT/PERF.PART/ZONE

SF 1 SF 2 SF 3 SF 4 SF 5

F1 F2 F3 F4 F6F5

Call up the VOICE display.

Set the Arpeggio

parameters as

desired from the

ARP display

(page 189).

Tempo

Number

Start recording.

Press the [ ] button.

You will be given

a one-measure

count-in prior to

the first measure

actually recorded.

SEQ TRANSPORT

LOCATE

REC

Stop recording.

SEQ TRANSPORT

LOCATE

REC

Press the [ ]

button to hear

the newly

recorded song.

SEQ TRANSPORT

LOCATE

REC

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

Turn the Click on.

Play the

keyboard.

Record to other tracks as

desired by repeating steps

#6 - 14.

Scene track

Tempo track

112

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

● Step recording (when selecting “step” in step #5)

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ ZONE

Call up the VOICE display.

Select a track to be recorded and set the MIDI event type to be

recorded.

Select the desired voice to be recorded to the track.

TempoMIDI event

Bank

DEC/NO INC/ YES

Recording

track

DEC/NO INC/YES

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

TRACK

SELECT

MUTE

SOLO

ELEMENT/ PERF.PART/ ZONE

CATEGORY

DRUM KITS

FAVORITES

PLG 2

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM /

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

COMMON

ELEMENT/ PERF.PART/ ZONE

Number

Start recording.

Record to other tracks as desired

by repeating steps #6 - 12.

Stop recording.

SEQ TRANSPORT

LOCATE

REC

Press the [ ] button to hear the

newly recorded song.

SEQ TRANSPORT

LOCATE

REC

Here, enter the Note Event.

Move the cursor to the Pointer and set the

location to be entered (page 185).

Set the velocity (Value), Step Time, and Gate

Time (page 185).

Press the key to be recorded.

Repeat steps #1 - 3 to enter notes one after

another.

SEQ TRANSPORT

LOCATE

REC

Press [F3] to enter a rest as long as the specified step time.

When the [F4] button is pressed to enter a tie, the

preceding note is lengthened to the full step time.

Press this to actually delete the note events at the

current cursor position.

Moves the pointer backward by one step

and deletes all notes at that location.

Tempo track

1-16

113

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

9. Sampling to a Song Track

Basic Structure (page 54) · Reference (page 234)

We’ll pay another visit to the sampling feature, and sweeten our song with some “ear candy” sound effects and

background vocals. The sampling we did earlier was of a different variety; you sampled a rhythm in the Pattern mode

and “sliced” it into separate pieces so that it would loop properly and automatically adjust to any tempo changes.

Here, we’ll try a different type of sampling, where the Slice operation is unnecessary — since a short sound effect

doesn’t need to stay in tempo, and you can sing the background parts in time with the song as you sample them.

n For details about how to connect external audio equipment or a microphone to the MOTIF, see page 23 .

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTAC K RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ ZONE

Call up the DEST display.

SF 1 SF 2 SF 3 SF 4 SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Enter the

Sampling Record

mode.

SEQUENCER

SONG

PAT TERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

In the Song Play mode, specify the point

(measure) in the song at which the

recorded sample will start.

DEC/NO INC/YES

Select a track to be recoeded.

Call up the SOURCE display.

SF 1 SF 2 SF 3 SF 4 SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Select "stereo" or "mono."

Sampling

frequency

DEC/NO INC/YES

TRACK

SELECT

MUTE

SOLO

ELEMENT/PERF.PART/ZONE

Select a sampling type.

For Type, select “sample+note.”

Select a sampling source.

For Source, select “A/D.”

114

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1 SF 2 SF 3 SF 4 SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

Go back to the Song Play mode

and play the song to hear the

recorded sample.

Record samples to

other tracks as

desired by

repeating steps

#1 - 9.

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

Stop sampling by pressing the [F6] button again.

SF 1 SF 2 SF 3 SF 4 SF 5

F1 F2 F3 F4 F6F5

INFORMATION

SF 1 SF 2 SF 3 SF 4 SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Enter the Sampling Standby mode.

From this display, set the Trigger mode. Here, select “manual.” Play

back the external CD player to check the Input level. You can adjust the

Input level for optimum level by using the GAIN knob on the rear panel.

Trigger mode

Input level

Monitor level

Start sampling.

Press the [F6] button to start sampling. Also start the

external CD player to play back the phrase to be recorded

or sing into the microphone.

SF 1 SF 2 SF 3 SF 4 SF 5

F1 F2 F3 F4 F6F5

INFORMATION

115

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

10. Song Track Mute and Scene

Reference (pages 180, 181)

These two powerful features give you even greater real-time arranging control. You can turn tracks on and off and

switch among Song Scenes, as the song plays — and all your moves can be recorded to the special Scene track. This not

only lets you hear the various song arranging possiblities, it lets you record them on the spot.

For example, sample an audio rhythm phrase to one of the tracks of your song, and turn on the Track Loop function

(page 182). As the song is playing, you can ﬂy the rhythm part in and out of the song by alternately un-muting and

muting the track. To do this, enable recording and select the Scene track (as described in step #3 of MIDI recording on

page 103), and record your track mutes in time with the music by pressing the Track number button, then the appropriate

track number buttons. This hands-on approach really lets you feel the changes you make — since you perform them in time

with the rhythm — and gives you the power to improvise great musical arrangements on the ﬂy.

In addition to Track Mute, the MOTIF also features a versatile Song Scene function. Song Scene lets you make

various changes to the tracks (such as pan, volume, and others), and take a “snapshot” of those settings — which you

can recall at any time with a single button press.

A maximum of ﬁve Scenes can be stored, to the ﬁve Scene buttons ([SF1] - [SF5]). To instantly call up a Scene and

change the tracks, simply press the appropriate button [SF1] - [SF5]. Just as with Track Mute, you can record these

Scene changes as well, by “playing” your button presses along with the music.

You can use the Song Scene function from either the PLAY display in the Song Play mode or the SETUP display in the

Song Record mode. In the example instructions below, the PLAY display in the Song Play mode has been called up.

Scene track

Mute on Mute on Mute on Mute on

Track 1

1 2 3 4 5 6 7 8

Track 1

Song Playback

TRACK

SELECT

MUTE

SOLO

TRACK

SELECT

MUTE

SOLO

SF 1SF 2 SF 3SF 4SF 5

Store

Setting 1

Setting 3

Setting 5

TRACK

SELECT

MUTE

SOLO

Setting 2

Store

Setting 4

SONG SCENE

116

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

You can recall the

desired Song Scene

settings by simply

pressing any of the

Song Scene

([SF1]~[SF5])

buttons.

When you call up a certain

Song Scene, the values for

the Control knobs/sliders

instantly jump to the settings

made for the Scene

(regardless of the pysical

position of the

knobs/sliders).

Save the Song data to a

memory card or SCSI device

(page 97).

Create other Song Scenes as desired.

Change the settings again, as you did in

step #2, and store the Song Scene to a

different button, as you did in step #3.

Store the settings to a Song Scene.

...and press the appropriate button ([SF1] ~ [SF5]).

Simultaneously hold down the [STORE] button...

Make the desired settings for the Song Scene.

• Select a track and set it up as you want with the desired voice, then change

the pan and volume settings by using the Control knobs and sliders. Each track

can have its own independent settings.

• You can even mute/un-mute several track together at the same time — for

dramatic arrangement tricks in which several instruments drop out or come in

instantaneously.

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

Select a song in the Song Play mode.

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SF 1 SF 2 SF 3 SF 4 SF 5

DEC/NO INC/YES

SOLO

TRACK

SELECT

MUTE

SOLO

ELEMENT/PERF.PART/ZONE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

TRACK

SELECT

MUTE

SOLO

ELEMENT/PERF.PART/ZONE

TRACK

SELECT

MUTE

SOLO

ELEMENT/PERF.PART/ZONE

117

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

11. Song Mixing and storing the settings as a template

Reference (page 205)

In this ﬁnal step (other than saving your precious work, which we’ll cover next), you can mix down your tracks with

the Song Mixing function — adjusting the volume balance and pan setting of all the parts and tweaking the effect

levels. Moreover, you can save your mixing settings as a template (up to sixteen templates can be saved), then call up

the appropriate template when mixing down a song that has a similar track structure.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIG H

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART /ZONE

Select the destination template number.

Move the cursor to the template number and select the number to

which the settings are to be stored.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

Name the template.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

Set the desired parameters

for the other parts, repeating

steps #2 - 4 above.

Call up the desired display.

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Select a part.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

TRACK

SELECT

MUTE

SOLO

ELEMENT/ PERF.PART/ ZONE

n When a Multi part Plug-in board (PLG-100XG) has been installed to slot 3, the

display for Parts 17 - 32 can be called up. When a Single part Plug-in board has

been installed to any of the three slots, the PLG 1~3 part display can be called up.

Enter the Song Mixing

mode.

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

Select the

desired

parameter

and adjust it.

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

n For details about naming, see page 75.

Call up the TEMPLATE display.

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

Execute the Store operation.

SF 1SF 2 SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

n The template stored above can be recalled by pressing

the [SF4] (GET) button from this display.

Template number

Template name

n A wider variety of detailed editing

controls is also available in the

Song Mixing Edit mode.

118

MOTIF Quick Start Guide

Sampling with Song Playback (Integrated Sampling Sequencer)

Quick Start Guide

12. Saving and Exporting the recorded song to external PC (File Utility)

Reference (page 262)

Now that you’ve created your masterpiece, you’ll want to save it. You can save song data to a Memory card or SCSI

device in the File mode (page 261).

However, for safekeeping and organizational/archival purposes, you may want to store your MOTIF data to a

computer. You may also want to use your computer to do further editing and recording to your MOTIF-created

songs. The File Utility software (contained on the included CD-ROM) lets you do that and more — allowing you to

transfer ﬁles back and forth between a computer and the MOTIF via a standard USB cable connection.

Here’s a practical example. Let’s say you want to add a long section of audio data to your song, such as a lead vocal or

an extended guitar solo. Since recording that to the MOTIF may not be entirely practical or possible, you may want

to transfer your song to a computer, then record and edit the new audio tracks on the computer. First, you should

save the song data in Standard MIDI File (SMF) format to Memory card or a connected SCSI device, then transfer the

MIDI ﬁle to the computer with the File Utility software. Once you’ve imported the MIDI ﬁle to sequencer software

on your computer, match the MIDI send and receive channels (computer-to-MOTIF) so that each track of the

sequencer song data plays the appropriate part on the MOTIF. Finally, play back the song and record the desired

audio parts (vocals, solos, etc.) using your audio/MIDI sequencer.

n For details about the File Utility software, refer to the electronic documentation contained in the included CD-ROM.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/ YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

Save

File Utility

Memory card SCSI device

Load

119

MOTIF Quick Start Guide

Remote Control for external sequencer (Real-time external control surface)

Quick Start Guide

Remote Control for external sequencer

(Real-time external control surface)

Basic Structure (page 65) · Reference (page 256)

In the last section, you saw how a computer could be used conveniently to augment the features of the MOTIF. Here,

we’ll look at a feature that turns the tables and lets you conveniently use the MOTIF to control your computer.

The Remote Control function lets you use the hardware controls on the panel of the MOTIF to control a variety of

fundamental operations on the sequencing software of your computer. You can mute your tracks, control the

sequencer transport (Play, Stop, Record, etc.), mix both MIDI and audio tracks (up to 16) with the MOTIF’s knobs

and sliders, pan the tracks, control EQ, and tweak effect sends — all without ever touching the mouse. Not only is

this a more convenient and efﬁcient way to work — since it gives you dedicated controls for the functions you use

the most — it also (with the knobs and sliders) gives you ﬁner control over crucial level parameters. If you’ve ever

used a mixing console or a hardware sequencer, you’ll love being able to ﬁnally control your sequencing software

with buttons, knobs, and sliders.

Setting Up

Before you can use the Remote Control function, you’ll need to set up the system as described below.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQ LOWMID M EQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4 SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-time External Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM /

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/ PERF.PART/ ZONE

Select the template for your particular sequence software in the Utility mode on the MOTIF (above).

Connect your computer to the MOTIF via USB cable. See page 25.

Install the USB MIDI driver and the setup file for the sequence software (contained in the included CD-ROM) to your computer.

For details on how to install, see the Installation Guide manual.

Enter the Utility mode.

Move the cursor to the

MIDI IN/OUT parameter

and set to USB.

Call up the OTHER display

in the MIDI menu.

Call up the REMOTE display in

the CTLASN menu.

Select the Template type.

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

120

MOTIF Quick Start Guide

Remote Control for external sequencer (Real-time external control surface)

Quick Start Guide

Using the Remote Control function

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQ LOWMID M EQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4 SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-time External Control

Surface

Modular

Synthesis Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM /

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/ PERF.PART/ ZONE

Turn the Remote Control function on by pressing the

[REMOTE CONTROL ON/OFF] button so that its lamp flashes.

REMOTE

CONTROL

ON/OFF

Control the selected track of the sequencer by

using the Control knobs.

For details about the parameters that can be controlled, see

page 257.

Control the transport functions on the sequencer.

The [SEQ TRANSPORT] buttons can be used to control Start, Stop,

Forward, Rewind, and Record on the computer sequence software.

Select a track on your computer’s sequencer from

the MOTIF.

The [1]~[16] buttons correspond to the respective numbered

tracks on your computer’s sequence software.

Control the level of selected track of the sequencer

by using the Control sliders.

Turn the track of the sequencer on or off (mute).

The [1]~[16] buttons correspond to the respective numbered

tracks on your computer’s sequence software.

Operate the Control knobs or sliders on the MOTIF's panel as required.

n Functions to be controlled by the MOTIF differ depending on the software you use. For details, see page 256.

SEQ TRANSPORT

LOCATE

REC

TRACK

SELECT

MUTE

SOLO

NUMBER

ELEMENT/ PERF.PART/ ZONE

TRACK

SELECT

MUTE

SOLO

NUMBER

ELEMENT/ PERF.PART/ ZONE

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQ LO WMID MEQ HIGH

When the selected tracks are 1-4:

When the selected tracks are 5-8:

When the selected tracks are 9-12:

When the selected tracks are 13-16:

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

121

MOTIF Reference

Function Tree

Reference Voice mode

Reference

This section is devoted to explaining the function of every setting of every parameter in every display of the MOTIF. If you

have questions like “I wonder what this button does...” or “How does this parameter work?” — this is the section you should

refer to.The Reference section is divided according to the various modes of the MOTIF. As you use this section, please keep in

mind the following points:

● The section for each main mode (Voice, Performance, Song, Pattern, Sampling, Utility, File, and Master) begins

with a Function Tree chart. Each chart shows the various menus and parameter groups for the mode — exactly as

they are organized and appear in the display. Using these and the simpliﬁed chart of the modes on page 30, you

can easily understand the relationship of the various functions and parameters as they apply to the entire

operation of the MOTIF.

● At the beginning of the section of each mode, you’ll ﬁnd “Basic Procedure” instructions. These brieﬂy show you

the necessary operation steps for the relevant mode, and are applicable to all of the functions and parameters in

that mode. In other words, once you’ve mastered the Basic Procedure of the mode, you’ll be able to quickly and

easily work your way through any and all of the operations in the mode.

Voice Mode

Basic Structure (page 42)

Function Tree

This section is devoted to the Voice mode. To see how the Voice mode relates to the entire structure of the MOTIF

and its other modes and functions, see the simpliﬁed chart in “Basic Structure” on page 30.

The following detailed chart shows all of the display menus and parameter groups of the Voice modes — giving you a

quick, easy-to-understand overview of the voice-related functions of the MOTIF.Brackets around a word or phrase

(e.g., [F1]) indicate speciﬁc button names or panel operations.

[INFORMATION] VOICE INFORMATION

[VOICE] VOICE PLAY

[F1] VOICE PLAY

[F2] PLUG-IN BANK

[F4] VOICE PORTA

[F5] VOICE EG

[F6] VOICE ARPEGGIO

[CATEGORY] VOICE CATEGORY SEARCH

[FAVORITE]

[EDIT] VOICE EDIT (NORMAL)

[COMMON] NORMAL COMMON

[F1] NORMAL COMMON GENERAL

[SF1] NAME

[SF2] PLAYMODE

[SF3] MEQ OFFSET

[SF4] PORTA

[SF5] OTHER

[F2] NORMAL COMMON OUTPUT

OUTPUT

[F3] NORMAL COMMON ARPEGGIO

[SF1] TYPE

[SF2] LIMIT

[SF3] PLAY FX

[SF5] CLEAR USER ARPEGGIO

[F4] NORMAL COMMON CONTROLLER SET

[SF1] SET1/2

[SF2] SET3/4

[SF3] SET5/6

[F5] NORMAL COMMON LFO

[SF1] WAVE

[SF2] DELAY

[SF3] DESTINATION1

[SF4] DESTINATION2

[SF5] DESTINATION3

[VOICE]

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 275

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 124

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 124

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 127

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 129

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 131

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 131

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 133

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 133

. . . . . . . . . . . . . . . . . . . . . P. 132

. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 135

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 135

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136

122

MOTIF Reference

Function Tree

Reference Voice mode

[F6] NORMAL COMMON EFFECT

[SF1] EFFECT CONNECT

[SF2] INSERTION1

[SF3] INSERTION2

[SF4] REVERB

[SF5] CHORUS

[Element selection] NORMAL ELEMENT 1-4

[F1] NORMAL ELEMENT OSCILLATOR

[SF1] WAVE

[SF2] OUTPUT

[SF3] LIMIT

[F2] NORMAL ELEMENT PITCH

[SF1] TUNE

[SF2] VELOCITY SENS

[SF3] PEG

[SF4] KEY FOLLOW

[F3] NORMAL ELEMENT FILETER

[SF1] TYPE

[SF2] VELOCITY SENS

[SF3] FEG

[SF4] KEY FOLLOW

[SF5] SCALING

[F4] NORMAL ELEMENT AMPLITUDE

[SF1] LEVEL/PAN

[SF2] VELOCITY SENS

[SF3] AEG

[SF4] KEY FOLLOW

[SF5] SCALING

[F5] NORMAL ELEMENT LFO

[F6] NORMAL ELEMENT EQ

[EDIT] VOICE EDIT (DRUM)

[COMMON] DRUM COMMON

[F1] DRUM COMMON GENERAL

[SF1] NAME

[SF3] MEQ OFFSET

[SF5] OTHER

[F2] DRUM COMMON OUTPUT

OUTPUT

[F3] DRUM COMMON ARPEGGIO

[SF1] TYPE

[SF2] LIMIT

[SF3] PLAY FX

[SF5] CLEAR USER ARPEGGIO

[F4] DRUM COMMON CONTROLLER SET

[SF1] SET1/2

[SF2] SET3/4

[SF3] SET5/6

[F6] DRUM COMMON EFFECT

[SF1] EFFECT CONNECT

[SF2] INSERTION1

[SF3] INSERTION2

[SF4] REVERB

[SF5] CHORUS

[Key selection] DRUM KEY C0-C6

[F1] DRUM KEY OSCILLATOR

[SF1] WAVE

[SF2] OUTPUT

[SF5] OTHER

[F2] DRUM KEY PITCH

[SF1] TUNE

[SF2] VELOCITY SENS

[F3] DRUM KEY FILTER

[SF1] CUTOFF

[SF2] VELOCITY SENS

[F4] DRUM KEY AMPLITUDE

[SF1] LEVEL/PAN

[SF2] VELOCITY SENS

[SF3] AEG

[F6] DRUM KEY EQ

[VOICE]

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 138

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 138

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 138

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 139

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 139

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 139

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 140

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 140

. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 142

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 143

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 143

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 144

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 145

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 145

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 145

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 145

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 146

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 146

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 147

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 148

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 148

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149

. . . . . . . . . . . . . . . . . . . . . P. 149

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149

. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 153

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137

. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137

123

MOTIF Reference

Function Tree

Reference Voice mode

[EDIT] VOICE EDIT (PLUG-IN)

[COMMON] PLUG-IN COMMON

[F1] PLUG-IN COMMON GENERAL

[SF1] NAME

[SF2] PLYMODE

[SF3] MEQ OFFSET

[SF4] PORTAMENTO

[SF5] OTHER

[F2] PLUG-IN COMMON OUTPUT

OUTPUT

[F3] PLUG-IN COMMON ARPEGGIO

[SF1] TYPE

[SF2] LIMIT

[SF3] PLAY FX

[SF5] CLEAR USER ARPEGGIO

[F4] PLUG-IN COMMON CONTROLLER SET

[SF1] SET1/2

[SF2] MW

[SF3] AT

[SF4] AC

[F6] PLUG-IN COMMON EFFECT

[SF1] EFFECT CONNECT

[SF2] INSERTION1

[SF3] INSERTION2

[SF4] REVERB

[SF5] CHORUS

[Element selection] PLUG-IN ELEMENT

[F1] PLUG-IN ELEMENT OSCILLATOR

[SF1] WAVE

[SF5] OTHER

[F2] PLUG-IN ELEMENT PITCH

[F3] PLUG-IN ELEMENT FILETER

[F4] PLUG-IN ELEMENT NATIVE PARAMETER

[F5] PLUG-IN ELEMENT LFO

[F6] PLUG-IN ELEMENT EQ

[EDIT] VOICE COMPARE

[JOB] VOICE JOB

[F1] INITIALIZE

[F2] EDIT RECALL

[F3] COPY

[F4] BULK DUMP

[STORE] VOICE STORE

[VOICE]

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 153

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154

. . . . . . . . . . . . . . . . . . . . . P. 154

. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155

. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156

. . . . . . . . . . . . . . . . . . . . . . . . . . P. 156

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 157

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 129

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 158

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 158

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 158

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 158

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 159

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 159

124

MOTIF Reference

Voice Play mode

Reference Voice mode

Voice Play mode

Basic Structure (page 30) · Quick Start Guide (page 80)

In this mode, you can select and play individual Preset

and User voices, as well as Plug-in voices (when

installed).

n For details about voice types and memory (bank)

structure, see page 43.

◆ Basic Procedure

1 Press the [VOICE] button to enter the Voice Play

mode. (The indicator lights.)

● Bank and Voice Program number

● Category and Voice name

2 Select a voice.

3 Set the Keyboard Octave or MIDI transmit

channel.

4 Select the menu you wish to edit by pressing the

[F1] - [F6] buttons and edit the parameters in each

display.

n When the Plug-in voice is selected (when the

Single part Plug-in board is installed), you can

press the [F2] button to call up the BANK display.

5 Store the settings edited in step #4 to the User

Memory as required.

6 Press any other mode button to exit from the Voice

Play mode.

• For detailed instructions on steps #2 - #4, see the

following explanations.

•For details on step #5, refer to “Voice Store

mode” on page 159.

Voice Selection

The explanations here apply to step #2 of the Basic

Procedure described above.

There are four ways in which you can select a Voice.

• Using the BANK, GROUP, NUMBER buttons

• Using the [INC/YES] and [DEC/NO] buttons

• Using the data dial

• Using the Category Search function

■ Using the BANK, GROUP, NUMBER

buttons

1 Press any of the BANK buttons to select a Bank.

• To select a Normal voice, press any of the

[PRE1] - [USER] buttons.

VOICE

Indicates the Keyboard

MIDI transmit channel.

See page 127 for details.

Indicates the functions

assigned to the respective

Control knobs. See pages

254 and 256 for details.

Indicates Keyboard Octave

setting set via the [OCTAVE]

buttons. See page 127 for

details.

Indicates the current

selected voice.

Number (selected via the

NUMBER [1]-[16] buttons)

Group (selected via the

GROUP [A]-[H] buttons)

Bank (selected via the BANK buttons)

Voice Program number (corresponding to

Groups A to H and Numbers 01 to 16)

Voice nameCategory

nThe explanations here apply when

these four button indicators are off.

PLG 2

CATEGORY

DRUM KITS

FAVORITES

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM /

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/ PERF.PART/ ZONE

PRE 1

PRE 2

PRE 3

USER

A. PIANO

KEYBOARD

ORGAN

GUITAR /

PLUCKED

BASS

125

MOTIF Reference

Voice Play mode

Reference Voice mode

• To select a Plug-in voice, press any of the

[PLG1] - [PLG3] buttons.

• To select a Drum voice, simultaneously hold the

[DRUM KITS] button and press the [PRE1],

[GM] or [USER] button.

The following display (or one similar) appears.

2 Press any of the GROUP [A] - [H] buttons to select

a Group.

3 Press any of the NUMBER [1] - [16] buttons to

select a Voice. The MOTIF returns back to the

Voice Play display.

● Voice program numbers and the corresponding

Group/Numbers

PLG 2PLG 1

PLG 3

STRINGS

BRASS

REED/PIPE

PRE 1

PRE 2

PRE 3

USER

A. PIANO

KEYBOARD

ORGAN

GUITAR /

PLUCKED

BASS

DRUM KITS

FAVORITES

COMMON

Voice Program

Number

Group Number Voice Program

Number

Group Number

001 A 1 065 E 1

002 A 2 066 E 2

003 A 3 067 E 3

004 A 4 068 E 4

005 A 5 069 E 5

006 A 6 070 E 6

007 A 7 071 E 7

008 A 8 072 E 8

009 A 9 073 E 9

010 A 10 074 E 10

011 A 11 075 E 11

012 A 12 076 E 12

013 A 13 077 E 13

014 A 14 078 E 14

015 A 15 079 E 15

016 A 16 080 E 16

017 B 1 081 F 1

018 B 2 082 F 2

019 B 3 083 F 3

020 B 4 084 F 4

021 B 5 085 F 5

022 B 6 086 F 6

023 B 7 087 F 7

024 B 8 088 F 8

025 B 9 089 F 9

026 B 10 090 F 10

027 B 11 091 F 11

028 B 12 092 F 12

029 B 13 093 F 13

030 B 14 094 F 14

031 B 15 095 F 15

032 B 16 096 F 16

033 C 1 097 G 1

034 C 2 098 G 2

035 C 3 099 G 3

036 C 4 100 G 4

037 C 5 101 G 5

038 C 6 102 G 6

039 C 7 103 G 7

040 C 8 104 G 8

041 C 9 105 G 9

042 C 10 106 G 10

043 C 11 107 G 11

044 C 12 108 G 12

045 C 13 109 G 13

046 C 14 110 G 14

047 C 15 111 G 15

048 C 16 112 G 16

049 D 1 113 H 1

050 D 2 114 H 2

051 D 3 115 H 3

052 D 4 116 H 4

053 D 5 117 H 5

054 D 6 118 H 6

055 D 7 119 H 7

056 D 8 120 H 8

057 D 9 121 H 9

058 D 10 122 H 10

059 D 11 123 H 11

060 D 12 124 H 12

061 D 13 125 H 13

062 D 14 126 H 14

063 D 15 127 H 15

064 D 16 128 H 16

126

MOTIF Reference

Voice Play mode

Reference Voice mode

■ Using the [INC/YES] and [DEC/NO]

buttons

Pressing the [INC/YES] button increases the number by 1.

Pressing the [DEC/NO] button decreases the number by 1.

Use the [INC/YES] and [DEC/NO] buttons to step up

or down through the available voices. Naturally, this

also lets you switch to the next available Group, up or

down. For example, if the currently selected voice is

A16, pressing the [INC/YES] button selects Voice B01.

Hold either button down to continuously scroll

through the voices.

■ Using the data dial

Rotating the data dial to the right (clockwise) increases

voice number, while rotating it to the left (counter-

clock wise) decreases it. This control works in the

same way as the [INC/YES] and [DEC/NO] buttons,

but lets you scroll through the voices more quickly.

This convenient feature lets you select voices according

to their instrument type or application. The voices are

divided into sixteen different categories, and these

category keywords often give you a clear idea of the

characteristics of a voice that might not be apparent

from its name.

■ Using the Category Search function

Category Search lets you quickly locate the type of

voice you need, regardless of its bank location. For

example, by specifying the A. PIANO category, you can

instantly call up a list of all the available piano-type

voices contained in the MOTIF, and select the desired

piano voice from the list.

The MOTIF also features a “Favorites” category, to

which you can assign your favorite voices. This is

convenient especially in live performance situations,

giving you quick access to often-used voices — no

matter what their particular category or bank.

1 Press the [CATEGORY SEARCH] button so that

its indicator lights. The following Voice category

display appears.

2 Press any of the [PLG1] - [PLG3] and the [A] - [H]

buttons to select a Category. The ﬁrst voice in the

selected category is called up by this operation.

n The voice categories are printed below the [PLG1] -

[PLG3] and [A] - [H] buttons.

n Sub categories are listed at the bottom of the Voice

category display. Pressing the [F1] - [F6] buttons

call up the ﬁrst voice in the selected sub category.

3 Press the Cursor [F] button to move the cursor

to the voice.

4 Select a voice by using the data dial.

DEC/NO INC/YES

Decreases number Increases number

nThe explanations here apply when

these four button indicators are off.

PLG 2

CATEGORY

DRUM KITS

FAVORITES

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM /

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/ PERF.PART/ ZONE

Category Voice

Sub category

Category Voice

Sub category

127

MOTIF Reference

Voice Play mode

Reference Voice mode

● Favorite Category

1~4 Use the same operation as in “Using the

Category Search function” above.

5 Select your favorite voice and press the [F5] button

to assign it to the Favorite Category.

n To remove the selected voice from the Favorite

Category, simply press the [F5] button again.

6 Set other voices to the Favorite Category as

required.

7 Press the [FAVORITE] button to see the voices set

to the Favorite Category in steps #5 - 6.

Keyboard Octave and Keyboard

MIDI transmit channel settings

The explanations here apply to step #3 of the Basic

Procedure on page 124.

The two parameters set here affect all selected voices.

However, these parameters cannot be stored to the

voice by using the Voice Store mode (page 159).

■ Keyboard octave setting

The [OCTAVE] buttons allow the keyboard to be

transposed up or down by one octave. Pressing the

[UP] and the [DOWN] buttons together at the same

time will return the setting to the initial value (0).

n The MOTIF 8 has no [OCTAVE] buttons.

■ Keyboard MIDI transmit channel setting

Press the [TRACK SELECT] button so that its indicator

lights, and press any of the NUMBER [1] - [16] buttons

to change the Keyboard MIDI transmit channel.

n You can set this parameter also in the Utility mode

(page 258). This parameter cannot be stored in the Voice

Store mode.

Voice editing in the Voice Play mode

The explanations here apply to step #4 of the Basic

Procedure on page 124.

The Voice Play mode lets you perform a variety of

general editing operations on the selected voice. For

more detailed and comprehensive editing operations,

use the Voice Edit mode.

n When a Plug-in voice is selected, some parameters

cannot be edited.

n The parameters that have the same name in the Voice

Play mode and in the Voice Edit mode have the same

functions and settings.

◆ The [ ] Indicator

If you alter any parameters in the Voice Play mode, the

[] indicator will appear in the top left of the display.

This indicates that the current voice has been modiﬁed

but not yet stored.

If you select another voice during editing, the [ ]

indicator will disappear and all your edits will be lost.

It is a good idea to store the edited voice data from the

Voice Store mode (page 159). Even if you lose the voice

edited data, you can restore it by using the Edit Recall

function (page 158).

Category Voice

Sub category

DRUM KITS

FAVORITES

COMMON

Keyboard MIDI transmit channel

Keyboard octave setting

OCTAVE

DOWN

TRACK

SELECT

MUTE

SOLO

NUMBER

ELEMENT/ PERF.PART/ ZONE

Edit indicator

128

MOTIF Reference

Voice Play mode

Reference Voice mode

● [F2] Voice Play Plug-in Bank

From this display you can select the particular bank

on the Plug-in board, and determine whether you

will be using a Plug-in voice or a “Board” voice.

Simply put, the difference between the two types of

voices is this:

• Board voices are unprocessed, unaltered voices

of the Plug-in board — the “raw material” for

Plug-in voices.

• Plug-in voices are edited Board voices — voices

that have been specially programmed and

processed for optimum use with the MOTIF.

For more details, see page 153.

❏ Settings When a Plug-in voice using the Plug-in

board installed to slot 1 is selected:

PLG1USR (User Plug-in voice), PLGPRE1

(Preset Plug-in voice), 032/000 ... (Indicates

the Bank Select MSB/LSB of the Board

voice. These values differ depending on the

installed Plug-in board)

n This display is available only when the Plug-in

board is installed to the MOTIF and the Plug-in

voice is selected.

● [F4] Voice Play Portamento

From this display you can select monophonic or

polyphonic playback and set the Portamento

parameters.

Portamento is used to create a smooth transition in

pitch from the ﬁrst note played on the keyboard to

the next.

• Mono/Poly

Determines whether the Voice is played back

monophonically (single notes only) or polyphonically

(multiple simultaneous notes).

❏ Settings Mono, Poly

• PortaSw

Determines whether Portamento is on or off.

❏ Settings off, on

• PortaTime

Determines the pitch transition time. Higher values result

in longer transition times.

❏ Settings 0 ~127

•PortaMode

Determines the Portamento mode. The behavior of the

Portamento varies depending on whether Mono/Poly is set

to “mono” or “poly.”

❏ Settings ﬁngered, fulltime

When Mono/Poly is set to “mono”:

With the “ﬁngered” setting, Portamento is only applied

when you play legato (playing the next note before

releasing the previous one). With the “fulltime”

setting, Portamento is always applied.

When Mono/Poly is set to “poly”:

This is the same as for “mono,” except that Portamento

is applied to multiple notes.

● [F5] Voice Play EG (Envelope Generator)

Basic Structure (page 46)

This display contains the basic EG settings, both

volume and ﬁlter, for the voice, as well as the ﬁlter’s

cutoff frequency and resonance settings. The

settings made here are applied as offsets to the AEG

and FEG settings in the Voice Edit mode.

The full names of the available parameters are

shown in the chart below, as they appear in the

display.

❏ Settings -64 ~ 0 ~ +63 (except --- above)

● [F6] Voice Play Arpeggio

Basic Structure (page 55)

This display contains the basic settings for Arpeggio

playback, including Type and Tempo.

• Bank

Determines the Bank.

❏ Settings pre1, pre2, user

• Type

Determines the Arpeggio type. The two-letter preﬁx before

the name indicates the general Arpeggio category.

ATK DCY SUS REL DEPTH CUTOFF RESO

AEG

Attack

time

Decay

time

Sustain

level

Releas

e Time

--- --- ---

FEG --- Depth

Cutoff

frequency

Resonance

129

MOTIF Reference

Voice Edit mode

Reference Voice mode

•Tempo

Determines the Arpeggio Tempo. When MIDI sync

(page 258) is turned on, “MIDI” is displayed here and

cannot be set.

❏ Settings 1 ~ 300

• Velocity Limit

Determines the lowest and highest velocity in the

Arpeggio’s velocity range. The Arpeggio plays when you

play the note with the velocity in this range.

❏ Settings 1 ~ 127

n Keys played outside the set limit sound normally

without any Arpeggio.

• Switch

Determines whether Arpeggio is on or off. You can also

turn Arpeggio on/off from the front panel with the

[ARPEGGIO ON/OFF] button.

❏ Settings off, on

• Hold

Determines whether the Arpeggio playback is “held” or

not. When this is set to “on,” the Arpeggio cycles

automatically, even if you release your ﬁngers from the

keys, and it continues to cycle until the next key is pressed.

❏ Settings off, on

Voice Edit mode

In this mode, Normal Voices and Drum Voices can be

created and edited.

There are three kinds of Voices: Normal Voices, Drum

Voices and Plug-in Voices (if a Plug-in board has been

installed). The following section shows how to edit the

different kinds of voices and explains the parameters

available.

◆ The [ ] Indicator

If you alter any parameters in Voice Edit Mode, the [ ]

indicator will appear in the top left of the display. This

indicates that the current voice has been modiﬁed but

not yet stored.

n Even if you exit to the Voice Play mode, your edited

settings for the current voice will be maintained — as

long as you don’t select another voice.

n The [ ] indicator is also displayed in the Voice Play

mode.

◆ The Compare Function

This convenient function lets you switch between the

edited voice and its original, unedited condition —

allowing you to listen to the difference between the

two and better hear how your edits affect the sound.

1 In the Voice Edit mode, press the [COMPARE]

button so that its indicator ﬂashes.

The [ ] indicator is shown at the top of the

display (in place of the [ ] indicator), and the

original, unedited voice is restored for monitoring.

2 Press the [EDIT] button again to disable the

“Compare” function and restore the settings for

your edited Voice.

n While Compare is active, you cannot make edits to

the voice.

Normal Voice Edit

◆ Common edit and Element edit

A Voice can consist of up to four elements (page 42).

Use Common Edit to edit the settings common to all

four elements. There are two types of Voice Edit

displays: those for Common Edit, and those for editing

individual elements.

EDIT

COMPARE

130

MOTIF Reference

Voice Edit mode

Reference Voice mode

◆ Basic Procedure

1 Press the [VOICE] button to enter the Voice Play

mode. (The indicator lights.)

2 Select a Normal voice to be edited.

3 Press the [EDIT] button to enter the Voice Edit

mode. (The indicator lights.)

4 Select an element to be edited.

•To edit parameters common to all four elements,

press the [DRUM KITS] button (which serves as

a “COMMON” button here).

•To edit parameters of the individual elements,

select the desired element with the

corresponding NUMBER button ([1] - [4]).

You can mute other elements (those you aren’t

editing and don’t wish to hear) by using the

NUMBER [9] - [12] buttons. Sounded elements

are indicated by lit buttons; the indicator of the

button corresponding to the sounded element

lights.

5 Select the menu you wish to edit by pressing the

[F1] - [F6] and [SF1] - [SF5] buttons.

6 Edit the parameters for the selected voice.

7 Store the settings edited in step #6 to the User

Memory as required.

8 Press the [EXIT] button to exit from the Voice Edit

mode.

•For details on step #2

, refer to “Voice Play mode”

on page 124.

•For detailed instructions on steps #5 - #6

, see the

explanations below.

•For details on step #7

, refer to “Voice Store

mode” on page 159.

■ Common edit

● [F1]-[SF1] Normal Common General Name

Basic operation (page 75)

From this display you can assign the category (sub

and main) of the selected voice, and create a name

for the voice. The voice name can contain up to 10

characters. For detailed instructions on naming a

voice, see “Basic Operation” on page 75.

● [F1]-[SF2] Normal Common General

Play mode

From this display you can make various settings for

the tone generator of the MOTIF, and assign

different Micro Tuning settings.

COMMON

Element1

Element2

Element3

Element4

Indicates a display for editing Element 1.

Indicates a Common Edit display.

DRUM KITS

FAVORITES

COMMON

Element selection

Element mute

setting

ELEMENT/ PERF.PART/ZONE

131

MOTIF Reference

Voice Edit mode

Reference Voice mode

• Mono/Poly

Determines whether the Voice is played back

monophonically (single notes only) or polyphonically

(multiple simultaneous notes).

❏ Settings Mono, Poly

•KeyAsgnMode

When this is set to “single,” double playback of the same

note is prevented. This is useful when two or more

instances of the same note are received nearly

simultaneously, or without a corresponding note off

message. To allow playback of each instance of the same

note, set this to “multi.”

❏ Settings single, multi

• MicroTuning

Determines the tuning system for the voice. Normally, this

should be set to 00 (Equal temperament); however thirty-

one additional tuning systems are available for a variety of

tuning applications and effects.

❏ Settings See below.

● [F1]-[SF3] Normal Common General

Master EQ Offset

From this display you can adjust the master (global)

EQ settings for the entire voice. The settings made

here are applied as offsets to the EQ settings (with

the exception of “MID”) in the Utility mode,

page 253.

❏ Settings -64 ~ 0 ~+63

● [F1]-[SF4] Normal Common General

Portamento

This display allows you to set the Portamento

related parameters. Portamento is used to create a

smooth transition in pitch from the ﬁrst note played

on the keyboard to the next.

• Switch

Determines whether Portamento is on or off.

❏ Settings off, on

• Time

Determines the pitch transition time. Higher values result

in a longer pitch change time, when Time Mode below is

set to “Time.” (When Time Mode is set to “Rate,” higher

values result in a faster pitch change time.)

❏ Settings 0 ~127

• Mode

Determines the Portamento mode. With the “ﬁngered”

setting, Portamento is only applied when you play legato

(playing the next note before releasing the previous one).

With the “fulltime” setting, Portamento is always applied.

❏ Settings fulltime, ﬁngered

• TimeMode

This determines how the Time parameter above affects the

Portamento effect. Setting this to “Time” makes the above

parameter a true time scale — the higher the value, the

longer the time. The “Rate” setting simply reverses this,

for a rate scale — the higher the value, the faster the rate

(in other words, the shorter the time). Naturally, you

should set this to your own personal preference, depending

on whether you think of Portamento in terms of time or

rate.

❏ Settings rate, time

ate

Sets the Time parameter range to reﬂect “rate”:

0 (slow) - 127 (fast)

No. Type Key Comments

00 Equal

temperament

The “compromise” tuning used for most of

the last 200 years of Western music, and

found on most electronic keyboards.

Each half step is exactly 1/12 of an

octave, and music can be played in any

key with equal ease. However, none of

the intervals are perfectly in tune.

01~12 Pure major C~B This tuning is designed so that most of

the intervals (especially the major third

and perfect ﬁfth) in the major scale are

pure. This means that other intervals will

be correspondingly out of tune. You need

to specify the key (C~B) you will be

playing in.

13~24 Pure minor A~G

# The same as Pure Major, but designed

for the minor scale.

25 Werckmeister Andreas Werckmeiser, a contemporary of

Bach, designed this tuning so that

keyboard instruments could be played in

any key. Each key has a unique

character.

26 Kirnberger Johann Philipp Kirnberger was also

concerned with tempering the scale to

allow performances in any key.

27 Vallotti & Young Francescatonio Vallotti and Thomas

Young (both mid-1700s) devised this

adjustment the Pythagorean tuning which

the ﬁrst six ﬁfths are lower by the same

amount.

28 1/4 shifted This is the normal equal tempered scale

shifted up 50 cents.

29 1/4 tone Twenty-four equally spaced notes per

octave. (Play twenty-four notes to move

one octave.)

30 1/8 tone Forty-eight equally spaced notes per

octave. (Play forty-eight notes to move

one octave.)

31 Indian C~B Usually observed in the Indian music

(white keys [C~B] only).

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

KN 1 KN 2 KN 3 KN 4

132

MOTIF Reference

Voice Edit mode

Reference Voice mode

time

Sets the Time parameter range to reﬂect “time”:

0 (fast) - 127 (slow)

● [F1]-[SF5] Normal Common General Other

From this display you can set the control functions

for the Knobs, and determine the up/down range

for the Pitch Bend wheel.

• Knob Assign

Determines the function for the assignable Knobs (1-4).

Pressing the [KNOB CONTROL FUNCTION] button on

the panel sets the desired function row, which is

automatically stored to memory with the currently

selected voice.

❏ Settings

• ChoCtrl

Determines the depth of the Chorus effect, as controlled by

the Knob assigned to Chorus Send.

❏ Settings -64 ~ 63

• PBUpper, PBLower

These two parameters determine the pitch change range of

the Pitch Bend wheel.

❏ Settings -48 ~ 24

• Assign A, Assign B, Assign 1, Assign 2

This lets you directly set and memorize the value for each

Assign Knob (A, B, 1, and 2), from the Knob itself. Simply

tweak the knob to the desired setting.

● [F2] Normal Common Output

•Volume

Determines the output level of the Voice.

❏ Settings 0 ~ 127

•Pan

Determines the stereo pan position of the Voice. You can

also adjust this parameter using the PAN knob on the

front panel.

❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right)

•RevSend

Determines the Send level of the signal sent from Insertion

Effect 1/2 (or the bypassed signal) to the Reverb effect.

You can also adjust this parameter using the REVERB

knob on the front panel.

❏ Settings 0 ~ 127

• ChoSend

Determines the Send level of the signal sent from Insertion

Effect 1/2 (or the bypassed signal) to the Chorus effect.

You can also adjust this parameter using the [CHORUS]

knob on the front panel of the MOTIF.

❏ Settings 0 ~ 127

● [F3]-[SF1] Normal Common Arpeggio

Arpeggio type

Basic Structure (page 55)

The basic parameters (e.g., type, tempo) of the

Arpeggio are provided in this display.

When user arpeggio is selected, you can clear the

selected arpeggio data by using the [SF5] button.

• Bank

Determines the Bank.

❏ Settings pre1, pre2, user

• Type

Determines the Arpeggio type. The two-letter preﬁx before

the name indicates the general Arpeggio category.

•Tempo

Determines the Arpeggio Tempo. When MIDI sync

(page 258) is turned on, “MIDI” is displayed here and

cannot be set.

❏ Settings 1 ~ 300

• Switch

Determines whether Arpeggio is on or off. You can also

turn Arpeggio on/off from the front panel with the

[ARPEGGIO ON/OFF] button.

❏ Settings off, on

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

Pan & Send

Tone

Assign

MeqGain

This apppears only when user arpeggio is

selected and cursor is located at Type.

133

MOTIF Reference

Voice Edit mode

Reference Voice mode

• Hold

Determines whether the Arpeggio playback is “held” or

not. When this is set to “on,” the Arpeggio cycles

automatically, even if you release your ﬁngers from the

keys, and it continues to cycle until the next key is pressed.

❏ Settings sync-off (see below), off, on

sync-off

The ﬁrst time you press a key, the ﬁrst note of the

arpeggiator pattern is played. From the second and

subsequent key presses, the arpeggiator note that is

played back depends on the arpeggiator tempo and the

timing of the arpeggio pattern. For example, in the case

of a 1-bar arpeggio pattern, if the second key press falls

on the third beat of the bar, the arpeggio pattern plays

back from the third beat onward. In other words, the

ﬁrst key press is used to start the arpeggio pattern and

thereafter you can use the key to “mute” or “un-mute”

the pattern by, respectively, holding it down or

releasing it. This is particularly useful when the

arpeggiator is being used to generate drum patterns.

•KeyMode

Determines how the Arpeggio plays back when playing the

keyboard. Three modes are available.

❏ Settings sort, thru, direct

sort

Plays back notes in ascending order from the lowest

key pressed to the highest.

thru

Plays back notes in the order in which the keys are

pressed.

dir

ect

Plays back the notes exactly as you play them. If

changes to Voice parameters (such as Pan or Cutoff

frequency) are included in the Arpeggio sequence data,

they will be applied and reproduced whenever the

Arpeggio plays back.

n If the Arpeggio Category is set to Ct, you will not

hear any sounds unless you select “direct” here.

n With the “sort” and “thru” settings, the order in

which notes are played back will depend on the

Arpeggio sequence data.

•VelMode

This determines the playback velocity of the Arpeggio, or

how it responds to your own playing strength. Two modes

are available: original and thru.

❏ Settings original, thru

original

The Arpeggio plays back at the preset velocities.

thru

The Arpeggio plays back according to the velocity of

your playing. For example, if you play the notes

strongly, the playback volume of the Arpeggio

increases.

● [F3]-[SF2] Normal Common Arpeggio

Arpeggio limit

• Note Limit

Determines the lowest and highest notes in the Arpeggio’s

note range. Notes played in this range trigger the Arpeggio.

❏ Settings C -2 ~ G8

n You can also create a lower and an upper trigger

range for the Arpeggio, with a “hole” in the middle,

by specifying the highest note ﬁrst. For example,

setting a Note Limit of “C5 -C4” lets you trigger the

Arpeggio by playing notes in the two ranges of C -2

to C4 and C5 to G8; notes played between C4 and

C5 have no effect on the Arpeggio.

n You can also set the range directly from the

keyboard, by holding down the [INFORMATION]

button and pressing the desired low and high keys.

•Velocity Limit

Determines the lowest and highest velocity in the

Arpeggio’s velocity range. This lets you control when the

Arpeggio sounds by your playing strength.

❏ Settings 1 ~ 127

n You can also create separate low and high trigger

ranges for the Arpeggio playback, with a velocity

“hole” in the middle, by specifying the maximum

value ﬁrst. For example, setting a Velocity Limit of

93 - 34 lets you play the Arpeggio from two

separate velocity ranges: soft (1 - 34) and hard (93 -

127). Notes played at middle velocities between 35

and 92 do not play the Arpeggio.

● [F3]-[SF3] Normal Common Arpeggio

Play FX (Effect)

These Play Effect parameters let you control the

playback of the Arpeggio in useful and interesting

ways. By changing the timing and velocity of the

notes, you can change the rhythmic “feel” of the

Arpeggio.

• Unit

Adjust the Arpeggio playback time. For example, if you set

a value of 200%, the playback time will be doubled and the

tempo halved. On the other hand, if you set a value of

50%, the playback time will be halved and the tempo

doubled. Normal playback time is 100%.

❏ Settings 50%, 66%, 75%, 100%, 133%, 150%,

200%

134

MOTIF Reference

Voice Edit mode

Reference Voice mode

•Velocity Rate

Determines how much the Velocity of the Arpeggio

playback is offset from the original value. For example, a

setting of 100% means the original values are used.

Settings below 100% will reduce the velocity of the

Arpeggio notes, whereas settings above 100% will increase

the velocities.

❏ Settings 0% ~ 200%

n The Velocity cannot be decreased or increased

beyond its normal range of 1 to 127; any values

outside that range will automatically be limited to

the minimum or maximum.

• Gate Time Rate

Determines how much the Gate Time (length) of the

Arpeggio notes is offset from the original value. A setting

of 100% means the original values are used.

Settings below 100% will shorten the gate times of the

Arpeggio notes, whereas settings above 100% will

lengthen them.

❏ Settings 0% ~ 200%

n The Gate Time cannot be decreased beyond its

normal minimum of 1; any values outside that

range will automatically be limited to the

minimum.

● [F4]-[SF1], [SF2], [SF3] Normal Common

Control Set Set1/2, Set3/4, Set5/6

Basic Structure (page 48)

The controllers and knobs on the front panel can be

used to change and adjust a variety of parameters — in

real time, and simultaneously.

For example, keyboard aftertouch can be used to

control vibrato and the Modulation Wheel could be

used to control Resonance. They can even be used to

control parameters within individual Elements. These

control assignments are called “Control Sets.” You can

assign up to six different Control Sets per Voice. The

six individual Control Sets are divided into pairs in the

display: Sets 1/2, Sets 3/4 and Sets 5/6.

• ElementSw

Determines whether or not the selected controller affects

each individual element.

❏ Settings Elements 1 to 4 enabled (“1” to “4”) or

disabled (“-”)

n This parameter is disabled if the Destination

parameter below is set to a value from 00 to 33.

• Source

Determines which panel controller is to be assigned and

used for the selected Set. This controller then is used to

control the parameter set in Destination below.

❏ Settings PB (Pitch Bend Wheel), MW (Modulation

Wheel), AT (After Touch), FC1 (Foot

Controller 1), FC2 (Foot Controller2),

FS (Footswitch), BC (Breath Controller),

KN1 (Knob ASSIGN 1), KN2 (Knob

ASSIGN 2)

n Keep in mind that unlike the other controllers, the

ASSIGN A and B knobs can each be assigned to

one common function for the entire Voice mode,

and not to different functions for each individual

voice. Also see the Utility mode (page 256).

• Dest (Destination)

Determines the parameter that is controlled by the Source

controller (above).

❏ Settings For a complete list of the available

parameters/controls, refer to the separate

Data List booklet.

• Depth

Determines the degree to which the Source controller

affects the Destination parameter. For negative values, the

controller operation is reversed; maximum controller

settings produce minimum parameter changes.

❏ Settings -64 ~ 0 ~+63

Control Set 1~6

Keyboard

Modulation wheel

Knob

Controller

Set 1

Element 1

Element 2

Element 3

Element 4

135

MOTIF Reference

Voice Edit mode

Reference Voice mode

● [F5]-[SF1] Normal Common LFO Wave

Basic Structure (page 47)

From this display you can make a variety of LFO-

related settings, including Wave, Speed, Tempo, and

sync/phase settings.

•Wave

Determines the LFO Wave.

❏ Settings tri, tri+, sawup, sawdwn, squ1/4, squ1/3,

squ, squ2/3, squ3/4, trpzp, S/H 1, S/H 2,

user

• Speed

Determines the speed of the LFO Wave modulation.

Higher values result in faster modulation speeds.

❏ Settings 0 ~ 63

•Tempo Sync

Determines whether or not the LFO is synchronized to the

tempo of the Arpeggio or sequencer (song or pattern).

Setting this to “on” allows you to keep the LFO effects in

perfect sync with the Arpeggio or sequencer playback.

❏ Settings off (not synchronized), on (synchronized)

•Tempo Speed

This parameter is available only when Tempo Sync above

has been set to “on.” It allows you to make detailed note

value settings that determine how the LFO pulses in sync

with the Arpeggio or sequencer.

❏ Settings 16th, 8th/3 (eighth-note triplets), 16th.

(dotted sixteenth notes), 8th 4th/3 (quarter-

note triplets), 8th. (dotted eighth notes), 4th

(quarter notes), 2nd/3 (half-note triplets),

4th. (dotted quarter notes),

2nd (half notes), whole/3 (whole-note

triplets), 2nd. (dotted half notes), 4th x 4

(quarter-note quadruplets; four quarter notes

to the beat), 4th x 5 (quarter-note quintuplets;

ﬁve quarter notes to the beat),

4th x 6 (quarter-note sextuplets; six quarter

notes to the beat), 4th x 7 (quarter-note

septuplets; seven quarter notes to the beat),

4th x 8 (quarter-note octuplets; eight quarter

notes to the beat)

n The actual length of the note depends on the

internal or external MIDI tempo setting.

•Key On Reset

Determines whether or not the LFO is reset each time a

note is pressed. The following three settings are available.

❏ Settings off, each-on, 1st-on

off

The LFO cycles freely with no key synchronization.

Pressing a key starts the LFO wave at whatever phase

the LFO happens to be at that point.

each-on

The LFO resets with each note you play and starts a

waveform at the phase speciﬁed by the Phase

parameter (below).

1st-on

The LFO resets with every note you play and starts the

waveform at the phase speciﬁed by the Phase

parameter (below). However, if you play a second note

while the ﬁrst is being held, the LFO continues cycling

according to the same phase as triggered by the ﬁrst

note. In other words, the LFO only resets if the ﬁrst

note is released before the second is played.

• Phase

Determines the starting phase point for the LFO Wave

when a note is played.

❏ Settings 0, 90, 120, 180, 240, 270

Speed = fast Speed = slow

Time

Key on

(second note)

Time

Key on

(first note)

Key on

(second note)

Time

Key on

(first note)

Time

0° 90°

120° 240°

180° 270°

Phase

136

MOTIF Reference

Voice Edit mode

Reference Voice mode

● [F5]-[SF2] Normal Common LFO Delay

From this display you can set various delay and

fade-in/-out parameters, and give the LFO a more

natural sound.

• DelayTime

Determines the delay time before the LFO comes into

effect. A higher value results in a longer delay time.

❏ Settings 0 ~ 127

•FadeInTime

Determines the amount of time for the LFO effect to fade

in (after the Delay time has elapsed). A higher value

results in a slower fade-in.

❏ Settings 0 ~ 127

• HoldTime

Determines the length of time during which the LFO is

held at its maximum level. A higher value results in a

longer Hold time.

❏ Settings 0 ~ 127

•FadeOutTime

Determines the amount of time for the LFO effect to fade

out (after the Delay time has elapsed). A higher value

results in a slower fade-out.

❏ Settings 0 ~ 127

● [F5]-[SF3], [SF4], [SF5] Normal Common LFO

Destination 1, 2, 3

From this display you can select the destination

parameter for the LFO (which aspect of the sound

the LFO controls), the elements to be affected by the

LFO, and the LFO Depth. Three Destinations can

be assigned, and you can choose from several

parameters per Destination.

• ElemSw (Element Switch)

Determines whether or not each element is to be affected

by the LFO. The element number (1- 4) is shown when the

LFO is enabled; a dash (-) indicates the LFO is disabled for

that element.

• Dest (Destination)

Determines the parameters which are to be controlled

(modulated) by the LFO Wave.

❏ Settings AMD, PMD, FMD, RESO (Resonance),

PAN, ELFOSpd (Element LFO Speed)

• Depth

Determines the LFO Wave Depth.

❏ Settings 0 ~ 127

Short delay Long delay

Key on

FadeIn

Max

Delay

Time

Key on

Low FadeIn value

Faster fade-in

High FadeIn value

Slower fade-in

FadeIn

Delay

Time

Key on

Max

Hold

Time

Max

FadeOutHold

Max

Time

Low FadeOut value

Faster fade-out

FadeOut

Time

Hold

Max

High FadeOut value

137

MOTIF Reference

Voice Edit mode

Reference Voice mode

● [F6]-[SF1] Normal Common Effect

Connection

This display gives you comprehensive control over

the effects.

• EL: OUT 1-4 (Element 1-4 Effect Output)

Determines which Insertion effect (1 or 2) is used to

process each individual element. The “thru” setting lets

you bypass the Insertion effects for the speciﬁc element.

(This parameter is the same as “InsEFOut” in Normal

Element below. Making a setting here automatically

changes the setting of that parameter as well.)

❏ Settings ins1, ins2, thru

• InsConnect (Insertion Effect Connect)

Determines the effect routing for Insertion effects 1 and 2.

The setting changes are shown on the diagram in the

display, giving you a clear picture of how the signal is

routed.

❏ Settings parallel, 1 to 2, 2 to 1

• Ins1Category, Ins1Type

Determines the effect type for Insertion 1.

❏ Settings Refer to the Effect Types list in the separate

Data List booklet.

• Ins2Category, Ins2Type

Determines the effect type for Insertion 2.

❏ Settings Refer to the Effect Types list in the separate

Data List booklet.

•RevType (Reverb Effect Type)

Determines the effect type for Reverb.

❏ Settings Refer to the Effect Types list in the separate

Data List booklet.

• ChoType (Chorus Effect Type)

Determines the effect type for Chorus.

❏ Settings Refer to the Effect Types list in the separate

Data List booklet.

•RevSend (Reverb Send)

Determines the level of the sound (from Insertion 1 or 2,

or the bypassed signal) that is sent to Reverb effect. A

setting of “0” results in no Reverb processing of the sound.

❏ Settings 0 ~ 127

• ChoSend (Chorus Send)

Determines the level of the sound (from Insertion 1 or 2,

or the bypassed signal) that is sent to Chorus effect. A

setting of “0” results in no Chorus processing of the sound.

❏ Settings 0 ~ 127

•RevRtn (Reverb Return Level)

Determines the Return level of the Reverb Effect.

❏ Settings 0 ~ 127

• ChoRtn (Chorus Return Level)

Determines the Return level of the Chorus Effect.

❏ Settings 0 ~ 127

• ChoToRev (Chorus to Reverb)

Determines the Send level of the signal sent from the

Chorus Effect to the Reverb Effect.

❏ Settings 0 ~ 127

•RevPan (Reverb Pan)

Determines the pan position setting for the Reverb effect.

❏ Settings L63 (far left)~cnt (center)~R63 (far right)

• ChoPan (Chorus Pan)

Determines the pan position setting for the Chorus effect.

❏ Settings L63 (far left)~cnt (center)~R63 (far right)

● [F6]-[SF2], [SF3], [SF4], [SF5] Normal

Common Effect Parameter

Insertion 1, 2, Reverb, Chorus

The number of parameters and values available

differs depending on the currently selected effect

type. For more information, see the Effect Type List

in the separate Data List booklet.

■ Element Edit

For instructions on selecting and editing individual

elements, refer to step #4 in the Basic Procedure on

page 124.

● [F1]-[SF1] Normal Element Oscillator Wave

Basic Structure (page 44)

From this display you can select the desired wave or

sound used for the element.

• ElementSw (Element Switch)

Determines whether the currently selected element is on

or off.

❏ Settings off (inactive), on (active)

• Bank

This determines the speciﬁc bank of waves, from which

you can select the desired sound. The Preset bank features

the factory programmed waves; the User bank contains

any audio data you have created with the Sampling

function (page 58).

❏ Settings preset, usr wav

•Wave No. (Wave Number), WaveCtgry (Wave

Category)

❏ Settings See the Wave list of the separate Data List.

138

MOTIF Reference

Voice Edit mode

Reference Voice mode

● [F1]-[SF2] Normal Element Oscillator

Output

From this display you can set certain output

parameters for the selected element.

•KeyOnDelay

Determines the time (delay) between the moment you

press a note on the keyboard and the point at which the

sound is played. You can set different delay times for each

Element.

❏ Settings 0 ~ 127

• InsEFOut (Insertion Effect Output)

Determines which Insertion effect (1 or 2) is used to

process each individual element. The “thru” setting lets

you bypass the Insertion effects for the speciﬁc element.

(This parameter is the same as “EL: OUT” in Normal

Common above. Making a setting here automatically

changes the setting of that parameter as well.)

❏ Settings thru, ins1 (Insertion Effect 1), ins2

(Insertion Effect 2)

● [F1]-[SF3] Normal Element Oscillator Limit

From this display you can create different key and

velocity “zones” for each of the elements, and even

set up a velocity crossfade between elements.

• NoteLimit

Determines the lowest and highest notes of the keyboard

range for each element. The selected element will sound

only when you play notes within this range.

❏ Settings C -2 ~ G8

n You can also create a lower and an upper range for

the element, with a “hole” in the middle, by

specifying the highest note ﬁrst. For example,

setting a Note Limit of “C5 - C4” lets you play the

element from two separate ranges: C -2 to C4 and

C5 to G8. Notes played between C4 and C5 do not

play the selected element.

n You can also set the range directly from the

keyboard, by holding down the [INFORMATION]

button and pressing the desired low and high keys.

See “Basic Operation” on page 75.

•VelocityLimit

Determines the minimum and maximum values of the

velocity range within which each element will respond.

Each element will only sound for notes played within its

speciﬁed velocity range.

For example, this lets you have one element sound when

you play softly and have a different one sound when you

play strongly.

❏ Settings 1 ~127

n You can also create separate low and high ranges

for the element, with a velocity “hole” in the

middle, by specifying the maximum value ﬁrst. For

example, setting a Velocity Limit of 93 - 34 lets you

play the element from two separate velocity

ranges: soft (1 - 34) and hard (93 - 127). Notes

played at middle velocities between 35 and 92 do

not play the selected element.

•VelCrossFade (Velocity Cross Fade)

This determines how smoothly or abruptly elements

switch between each other in response to velocity. (This

only applies to elements that have been set for velocity

splits with Velocity Limit above.) Minimum values create

an abrupt change between elements, while maximum

values let you smoothly change elements depending on

your playing strength.

❏ Settings 0 ~ 127

● [F2]-[SF1] Normal Element Pitch Tune

From this display you can set various pitch-related

parameters for the selected element.

• Coarse

Determines the pitch of each element in semitones.

❏ Settings -48 ~ 0 ~+48

• Fine

Determines the ﬁne tuning for the pitch of each element.

❏ Settings -64 ~ 0 ~+63

•Random

This lets you randomly vary the pitch of the element for

each note you play. This is effective in reproducing the

natural pitch variations in acoustic instruments. It is also

useful for creating unusual random pitch changes. The

higher the value the greater the pitch variation. A value of

“0” results in no pitch change.

❏ Settings 0 ~127

Short Delay Long Delay

Key on

139

MOTIF Reference

Voice Edit mode

Reference Voice mode

● [F2]-[SF2] Normal Element Pitch

Velocity Sensitivity

From this display you can determine how the Pitch

EG responds to velocity. (For Pitch EG settings, see

“PEG Time, Level” below.)

• EG Time, Segment

Determines the velocity sensitivity of the PEG’s Time

parameters. Select the Segment, then set its Time

parameter. Positive Time settings will play back the

speciﬁed Segment faster and negative values will play it

back slower.

❏ Settings Time -64 ~0 ~+63

Segment ATK, ATK+DCY, DCY,

ATK+RLS, all

EG Time Value affects Attack time.

TK+DCY

EG Time Value affects Attack/Decay1 time.

DCY

EG Time Value affects Decay time.

TK+RLS

EG Time Value affects Attack/Release time.

all

EG Time Value affects all PEG Time parameters.

• EG Level, Curve

Determines the velocity sensitivity of the PEG Level.

Positive settings will cause the level to rise the harder you

play the keyboard, and negative values will cause it to fall.

The Curve parameter lets you select from ﬁve different

preset velocity curves (graphically indicated in the

display), that determine how velocity affects the Pitch EG.

❏ Settings EG Level -64 ~0 ~+63

Curve 0~4

• Pitch

Determines the degree to which velocity affects the pitch

change of the Pitch EG. Extreme values produce greater

variation in pitch change. For positive values, the harder

you play the keys, the greater the change in pitch. For

negative values, the softer you play the keys, the greater

the change in pitch.

❏ Settings -64 ~ 0 ~+63

● [F2]-[SF3] Normal Element Pitch

PEG Time, Level

Basic Structure (page 46)

From this display you can make all the time and

level settings for the Pitch EG, which determine

how the pitch of the sound changes over time.

These can be used to control the change in pitch

from the moment a note is pressed on the keyboard

to the moment the sound stops.

The full names of the available parameters are

shown in the chart below, as they appear in the

display.

• TIME

❏ Settings 0 ~127

•LEVEL

❏ Settings -128 ~ 0 ~+127 (-4800cent ~ 0

~+4800cent)

• DEPTH*

❏ Settings -64 ~ 0 ~+63

● [F2]-[SF4] Normal Element Pitch Key Follow

From this display you can set the Key Follow effect

— in other words, how the pitch of the element and

its Pitch EG respond to the particular notes (or

octave range) you play.

• PitchSens (Pitch Sensitivity)

Determines the degree to which the notes (speciﬁcally,

their position or octave range) affect the pitch of the

selected element. The Center Key (next parameter) is used

as the basic pitch for this parameter.

A positive setting will cause the pitch of lower notes to

change lower and that of higher notes to change higher.

Negative values will have the opposite effect.

❏ Settings -200% ~ 0 ~ +200%

n For a setting of 100%, neighboring notes are

pitched one semitone (100 cents) apart.

HOLD ATK DCY1 DCY2 REL DEPTH*

TIME Hold time Attack time

Decay 1

time

Decay 2

time

Release

time

LEVEL Hold level Attack level

Decay 1

level

Decay 2

level

Release

level

Depth

Release

Level

Attack

Level

Hold level

Attack

Time

Hold

Time

Decay1

Time

Decay2

Time

Release

Time

Decay1

Level

Decay2

Level

Key off

Time

Pitch

140

MOTIF Reference

Voice Edit mode

Reference Voice mode

• Center Key

Determines the central note or pitch for the Key Follow

effect on pitch. Depending on the Pitch Sensitivity

parameter above, the further away from the Center Key the

keys are played, the greater the degree of pitch change.

❏ Settings C -2 ~ G8

n You can also set the Center Key directly from the

keyboard, by holding down the [INFORMATION]

button and pressing the desired key. See “Basic

Operation” on page 75.

• EG Time Sens (EG Time Sensitivity)

Determines the degree to which the notes (speciﬁcally,

their position or octave range) affect the Pitch EG times of

the selected element. The Center Key (next parameter) is

used as the basic pitch for this parameter.

A positive setting will cause the pitch of lower notes to

change slower and that of higher notes to change faster.

Negative values will have the opposite effect.

❏ Settings -64 ~ 0 ~+63

• Center Key

Determines the central note or pitch for the Key Follow

effect on Pitch EG. Depending on the EG Time Sensitivity

parameter above, the further away from the Center Key the

keys are played, the more the time of the Pitch EG deviates

from the norm.

When the Center Key note is played, the PEG behaves

according to its actual settings. The pitch change

characteristics for other notes will vary in proportion to

the EG Time settings.

❏ Settings C -2 ~ G8

n You can also set the Center Key directly from the

keyboard, by holding down the [INFORMATION]

button and pressing the desired key.

● [F3]-[SF1] Normal Element Filter Type

Basic Structure (page 46)

From this display you can make comprehensive

settings for the Filter section. The available

parameters differ depending on which Filter type is

selected here.

• Type

Basically, there are four different Filter types: an LPF

(Low Pass Filter), an HPF (High Pass Filter), a BPF (Band

Pass Filter) and a BEF (Band Elimination Filter). Each

type has a different frequency response and produces a

different effect on the sound. The MOTIF also features

special combination Filter types, for additional sonic

control.

❏ Settings See below.

LPF24D (Lo

w Pass Filter 24dB/oct Digital)

A 4-pole (-24db/oct) dynamic LPF with a strong

resonance.

LPF24A (Lo

w Pass Filter 24dB/oct Analog)

A 4-pole (-24db/oct) dynamic LPF with a character

similar to those found on analog synthesizers

LPF18 (Lo

w Pass Filter18dB/oct)

A 3-pole (-18db/oct) dynamic LPF.

LPF18s (Lo

w Pass Filter [18dB/oct Staggered)

Also a 3-pole (-18db/oct) dynamic LPF, but with a

shallower frequency curve.

Center(basic pitch)

Higher range

Lower range

Large

Small

—

Amount of

pitch change

Basic pitch

Higher range

Lower range

Basic pitch

Higher range

Lower range

–

Speed of PEG

pitch change

Speed of PEG

pitch range

Positive value

Negative value

–

Resonance

LPF18

LPF18S

Resonance

141

MOTIF Reference

Voice Edit mode

Reference Voice mode

LPF12 (Low Pass Filter12dB/oct) A 2-pole (-12db/oct)

dynamic LPF, designed to be used in combination with

an HPF (High Pass Filter).

LPF6 (Lo

w Pass Filter 6dB/oct)

A 1-pole (-6db/oct) dynamic LPF with no resonance,

designed to be used in combination with an HPF (High

Pass Filter).

HPF24D (High Pass Filter 24dB/oct Digital)

A 4-pole (-24db/oct) dynamic HPF with a strong

resonance.

HPF12 (High P

ass Filter 12dB/oct)

A 2-pole (-12db/oct) dynamic HPF.

BPF12D (Band P

ass Filter 12dB/oct Digital)

BPF12s (Band Pass Filter 12dB/oct Staggered)

Basically same as BPF12D, but with a shallower

frequency curve.

BPF6 (Band P

ass Filter 6dB/oct)

BPFw (Band Pass Filter Wide)

Also the combination of –12dB/oct HPF and LPF, but

allows a wider frequency band.

BEF12 (Band Elimination Filter 12dB/oct)

BEF6 (Band Elimination Filter 6dB/oct)

Dual LPF

A combination of two sets of –12dB/oct LPF in

parallel.

Dual HPF

A combination of two sets of –12dB/oct HPF in

parallel.

Dual BPF

A combination of two sets of –6dB/oct BPF in parallel.

Resonance

Range passed

Frequency

Level

Cutoff range Cutoff range

–12db/oct

Range passed

Frequency

Level

Cutoff range Cutoff range

–6db/oct

Level

width can be

increased

Range passed

Frequency

Cutoff range Cutoff range

Center frequency

Cutoff range

Frequency

Level

Range passed Range passed

Level

Frequency

Distance

The cutoff frequency can be set

directly on the display.

Level

Frequency

Distance

The cutoff frequency can be set

directly on the display.

Level

Frequency

Distance

The cutoff frequency can be set

directly on the display.

142

MOTIF Reference

Voice Edit mode

Reference Voice mode

Dual BEF

A combination of two sets of –6dB/oct BEF in parallel.

PF12 (Low Pass Filter 12dB/oct)+ HPF12 (High

Pass Filter)

A combination of a LPF and HPF.

LPF12 (Lo

w Pass Filter 12dB/oct)+ BPF6 (Band Pass

Filter)

A combination of a LPF and BPF.

HPF12 (High P

ass Filter 12dB/oct)+ BPF6 (Band Pass

Filter)

A combination of a HPF and BPF.

thru

The ﬁlters are bypassed and the entire signal is

unaffected.

• Cutoff

Determines the cutoff frequency for the Filter, or the

central frequency around which the Filter is applied.

❏ Settings 0 ~ 255

• Gain

Determines the Gain (the amount of boost applied to the

signal sent to the Filter).

❏ Settings 0 ~ 255

•Reso/Width

This parameter’s function varies according to the selected

Filter Type. If the selected ﬁlter is an LPF, HPF, BPF

(excluding the BPFw), or BEF, this parameter is used to set

the Resonance. For the BPFw, it is used to adjust the

Width of the band.

esonance

This parameter is used to set the amount of Resonance

(harmonic emphasis) applied to the signal at the cutoff

frequency. This can be used in combination with the

cutoff frequency parameter to add further character to the

sound.

Width

With the BPFw, this parameter is used to adjust the width

of the band of signal frequencies passed by the ﬁlter.

❏ Settings 0 ~ 31

• Distance

Determines the distance between the Cutoff frequencies,

for the Dual Filter types. (The two ﬁlters in a combination

are connected in parallel fashion.)

❏ Settings 0 ~ 255

• HPF Cutoff

Determines the central frequency for the Key Follow

parameter (below) of the HPF.

When a ﬁlter type “LPF12” or “LPF6” is selected, this

parameter is available.

❏ Settings 0 ~ 255

• HPF KeyFlw (Key Follow)

Determines the Key Follow setting for the HPF Cutoff

frequency. This parameter varies the center frequency

according to the position of the notes played on the

keyboard. A positive setting will raise the center frequency

for higher notes and lower it for lower notes. A negative

setting will have the opposite effect.

When a ﬁlter type “LPF12” or “LPF6” is selected, this

parameter is available.

❏ Settings -200% ~ 0 ~ +200%

● [F3]-[SF2] Normal Element Filter

Velocity Sensitivity

Basic Structure (page 47)

From this display you can determine how the Filter

and the FEG respond to velocity. (For Filter EG

settings, see “FEG” below.)

Level

Frequency

Distance

The cutoff frequency can be set

directly on the display.

Level

Frequency

Distance

The cutoff frequency can be set

directly on the display.

Level

Frequency

Level

Frequency

143

MOTIF Reference

Voice Edit mode

Reference Voice mode

• EG Time, Segment

Determines the velocity sensitivity of the FEG’s Time

parameters. Select the Segment, then set its Time

parameter.

Positive Time settings will play back the speciﬁed Segment

faster and negative values will play it back slower.

❏ Settings Time -64 ~ 0 ~ +63

Segment ATK, ATK+DCY, DCY,

ATK+RLS, all

Affects the Attack Time.

TK+ DCY

Affects the Attack Time and Decay1 Time.

DCY

Affects the Decay Time.

TK+ RLS

Affects the Attack Time and Release Time.

all

Affects all FEG Time parameters.

• EG Level, Curve

Determines the velocity sensitivity of the Filter EG Level.

Positive settings cause greater Filter changes the harder

you play the keyboard. Negative settings do the opposite;

the softer you play, the more the sound changes. The

Curve parameter lets you select from ﬁve different preset

velocity curves (graphically indicated in the display), that

determine how velocity affects the Filter EG.

❏ Settings EG Level -64 ~ 0 ~ +63

Curve 0 ~ 4

• Cutoff

Determines the degree to which velocity affects the Cutoff

frequency of the Filter EG. Extreme values produce greater

variation in the Cutoff frequency. For positive values, the

harder you play the keys, the greater the change in the

Cutoff frequency. Negative values do the opposite; the

frequency changes more the softer you play.

❏ Settings -64 ~ 0 ~ +63

•Resonance

Determines the degree to which velocity affects the

Resonance of the Filter EG. Extreme values produce

greater variation in the Resonance. For positive values, the

harder you play the keys, the greater the Resonance

change. Negative values do the opposite; the Resonance

changes more the softer you play.

❏ Settings -64 ~ 0 ~ +63

● [F3]-[SF3] Normal Element Filter

FEG (Filter Envelope Generator)

Basic Structure (page 47)

From this display you can make all the time and

level setting for the Filter EG, which determine how

the tonal quality of the sound changes over time.

The full names of the available parameters are

shown in the chart below, as they appear in the

display.

• TIME

❏ Settings 0 ~ 127

•LEVEL

❏ Settings -128 ~ 0 ~ +127 (-9600cent ~ 0 ~

+9600cent)

• DEPTH*

❏ Settings -64~ 0 ~ 63

● [F3]-[SF4] Normal Element Filter

Key Follow

From this display you can set the Key Follow effect

for the Filter — in other words, how the tonal

qualities of the element and its Filter EG respond to

the particular notes (or octave range) you play.

n The availability of the Filter Key Follow parameter

depends on the Break Point and Offset settings

described on page 144.

HOLD ATK DCY1 DCY2 REL DEPTH*

TIME Hold time Attack time

Decay 1

time

Decay 2

time

Release

time

LEVEL Hold level Attack level

Decay 1

level

Decay 2

level

Release

level

Depth

Release

Level

Attack

Level

Hold level

Attack

Time

Hold

Time

Decay1

Time

Decay2

Time

Release

Time

Decay1

Level

Decay2

Level

Key off

Time

Pitch

144

MOTIF Reference

Voice Edit mode

Reference Voice mode

• CutoffSens (Cutoff Sensitivity)

Determines the degree to which the notes (speciﬁcally,

their position or octave range) affect the Filter of the

selected element. A Center Key setting of C3 is used as the

basic setting by the Cutoff parameter.

A positive setting will lower the Cutoff frequency for

lower notes and raise it for higher notes. A negative setting

will have the opposite effect.

❏ Settings -200% ~ 0 ~ +200%

• CenterKey

This indicates that the central note for Cutoff Sensitivity

above is C3. At C3, the tone remains unchanged. For other

notes played, the Cutoff Frequency varies according to the

particular note and the Cutoff Sensitivity setting. Keep in

mind that this is for display purposes only; the value

cannot be changed.

•EGTimeSens (EG Time Sensitivity)

Determines the degree to which the notes (speciﬁcally,

their position or octave range) affect the Filter EG times of

the selected element.

The basic speed of change for the FEG is at the note

speciﬁed in the Center Key (next parameter).

A positive setting will cause slower changes for lower

notes and faster changes for higher notes. A negative

setting will have the opposite effect.

❏ Settings -64 ~ 0 ~ +63

• CenterKey

Determines the central note or pitch for the Key Follow

effect on Filter EG. Depending on the EG Time Sensitivity

parameter above, the further away from the Center Key the

keys are played, the more the time of the Filter EG deviates

from the norm. When the Center Key note is played, the

FEG behaves according to its actual settings. The Filter

change characteristics for other notes will vary in

proportion to the EG Time settings.

❏ Settings C -2 ~ G8

n You can also set the Center Key directly from the

keyboard, by holding down the [INFORMATION]

button and pressing the desired key. See “Basic

Operation” on page 75.

● [F3]-[SF5] Normal Element Filter Scaling

Filter Scaling controls the ﬁlter cutoff frequency

according to the positions of the notes on the

keyboard. You can divide the entire keyboard by

four break points, and assign different offset values

of Cutoff Frequency to them respectively.

• BREAK POINT 1 ~ 4

❏ Settings C -2 ~ G8

n You can also set the Break Point directly from the

Keyboard, by holding down the [INFORMATION]

button and pressing the desired key. See “Basic

Operation” on page 75.

• OFFSET 1 ~ 4

❏ Settings -128 ~ 0 ~ +127

The best way to understand Filter Scaling is by

example. For the settings shown in the example

display above, the basic Cutoff frequency value is

64, and the various Offset values at the selected

Break point settings change that basic value

accordingly. The speciﬁc changes to the Cutoff

frequency are shown in the diagram below. The

Cutoff frequency changes in a linear fashion

between successive Break Points as shown.

n BP1 to BP4 will be automatically be arranged in

ascending order across the keyboard.

n Regardless of the size of these Offsets, the

minimum and maximum Cutoff limits (values of 0

and 127, respectively) cannot be exceeded.

n Any note played below the BP1 note results in the

BP1 Level setting. Likewise, any note played above

the BP4 note results in the BP4 Level setting.

Center(basic frequency)

Higher range

Lower range

Large

Small

—

Amount of cutoff

frequency change

Basic frequency

Higher range

Lower range

Basic frequency

Higher range

Lower range

Speed of FEG

level change

Speed of FEG

level range

Positive value

Negative value

C#1

Break Point 1 Break Point 2 Break Point 3 Break Point 4

A4C3D#2

Note

Cutoff

Frequency

145

MOTIF Reference

Voice Edit mode

Reference Voice mode

● [F4]-[SF1] Normal Element Amplitude

Level/Pan

This display not only lets you make basic Level and

Pan settings for each individual element, it also

gives you some detailed and unusual parameters for

affecting Pan position.

•Level

Determines the output level for the selected element.

❏ Settings 0 ~ 127

•Pan

Determines the stereo Pan position for the selected

element. This will also be used as the basic Pan position

for the Alternate, Random and Scale settings.

❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right)

• AlternatePan

Determines the amount by which the sound of the selected

element is panned alternately left and right for each note

you press. The Pan setting (above) is used as the basic Pan

position.

❏ Settings L64 ~ 0 ~ R63

•RandomPan

Determines the amount by which the sound of the selected

element is panned randomly left and right for each note

you press. The Pan setting is used as the Center Pan

position.

❏ Settings 0 ~ 127

• ScalingPan

Determines the degree to which the notes (speciﬁcally,

their position or octave range) affect the Pan position, left

and right, of the selected element. At note C3, the main

Pan setting (above) is used for the basic Pan position.

❏ Settings -64 ~ 0 ~ +63

● [F4]-[SF2] Normal Element Amplitude

Velocity Sensitivity

From this display you can determine how the

Amplitude (volume) EG responds to velocity. (For

Amplitude EG settings, see “AEG” below.)

• EG Time, Segment

Determines the velocity sensitivity of the AEG’s Time

parameters. Select the Segment, then set its Time

parameter.

Positive Time settings will play back the speciﬁed Segment

faster and negative values will play it back slower.

❏ Settings Time -64 ~ 0 ~ +63

Segment ATK, ATK+DCY, DCY,

ATK+RLS, all

Affects the Attack Time.

TK+DCY

Affects the Attack Time and Decay1 Time.

DCY

Affects the Decay Time.

TK+RLS

Affects the Attack Time and Release Time.

all

Affects all AEG Time parameters.

• EG Level, Curve

Determines the velocity sensitivity of the Amplitude EG

Level. Positive settings cause greater volume changes the

harder you play the keyboard. Negative settings do the

opposite; the softer you play, the more the volume changes.

The Curve parameter lets you select from ﬁve different

preset velocity curves (graphically indicated in the

display), that determine how velocity affects the

Amplitude EG.

❏ Settings EG Level -64 ~ 0 ~ +63

Curve 0 ~ 4

● [F4]-[SF3] Normal Element Amplitude AEG

Basic Structure (page 47)

From this display you can make all the time and

level settings for the Amplitude EG, which

determine how the volume of the sound changes

over time.

The full names of the available parameters are

shown in the chart below, as they appear in the

display.

INIT ATK DCY1 DCY2 REL DEPTH

TIME --- Attack time

Decay 1

time

Decay 2

time

Release

time

LEVEL Initial level ---

Decay 1

level

Decay 2

level

--- ---

146

MOTIF Reference

Voice Edit mode

Reference Voice mode

• TIME

❏ Settings 0 ~ 127 (excluding --- above)

•LEVEL

❏ Settings 0 ~127

● [F4]-[SF4] Normal Element Amplitude

Key Follow

From this display you can set the Key Follow effect

for Amplitude — in other words, how the volume of

the element and its Amplitude EG respond to the

particular notes (or octave range) you play.

n The availability of the Amplitude Key Follow

parameter depends on the Break Point and Offset

settings described on see below.

•LevelSens (Level Sensitivity)

Determines the degree to which the notes (speciﬁcally,

their position or octave range) affect the volume of the

selected element. A Center Key setting of C3 is used as the

basic setting.

A positive setting will lower the output level for lower

notes and raise it for higher notes. A negative setting will

have the opposite effect.

❏ Settings -200% ~ 0 ~+200%

• CenterKey

This indicates that the central note for Level Sensitivity

above is C3. At C3, the volume (level) remains unchanged.

For other notes played, the volume varies according to the

particular note and the Level Sensitivity setting. Keep in

mind that this is for display purposes only; the value

cannot be changed.

•EGTimeSens (EG Time Sensitivity)

Determines the degree to which the notes (speciﬁcally, their

position or octave range) affect the Amplitude EG times of

the selected element. The Center Key (next parameter) is

used as the basic amplitude for this parameter.

A positive setting will cause the amplitude of lower notes to

change slower and that of higher notes to change faster.

Negative values will have the opposite effect.

❏ Settings -64 ~ 0 ~ +63

• CenterKey

Determines the central note or pitch for the Key Follow

effect on Amplitude EG. Depending on the EG Time

Sensitivity parameter above, the further away from the

Center Key the keys are played, the more the time of the

Amplitude EG deviates from the norm.

When the Center Key is played, the AEG behaves

according to its actual settings. The amplitude change

characteristics for other notes will vary in proportion to

the EGTime settings.

❏ Settings C -2 ~ G8

n You can also set the Center Key directly from the

keyboard, by holding down the [INFORMATION]

button and pressing the desired key.

●

[F4]-[SF5] Normal Element Amplitude Scaling

Amplitude Scaling controls the output level (set in

the [F4]-[SF1] display) according to the positions of

the notes on the keyboard. You can divide the entire

keyboard by four break points, and assign different

offset values of amplitude to them respectively.

• BREAK POINT 1 ~ 4

❏ Settings C -2 ~ G8

n You can also set the Break Point directly from the

Keyboard, by holding down the [INFORMATION]

button and pressing the desired key. See “Basic

Operation” on page 75.

• OFFSET 1 ~ 4

❏ Settings -128 ~ 0 ~ +127

Release

Level

Attack

Level

Attack

Time

Decay1

Time

Decay2

Time

Release

Time

Decay2

Level

Key off

Time

Decay1

Level

Init

Level

Center(basic pitch)

Higher range

Lower range

Large

Small

–

Speed of AEG

level change

Center (basic volume)

Higher range

Lower range

Center (basic volume)

Higher range

Lower range

—

Speed of AEG

level change

Speed of AEG

level range

Positive value

Negative value

—

147

MOTIF Reference

Voice Edit mode

Reference Voice mode

The best way to understand Amplitude Scaling is by

example. For the settings shown in the example

display above, the basic Amplitude (volume) value

for the selected element is 80, and the various Offset

values at the selected Break point settings change

that basic value accordingly. The speciﬁc changes to

the Amplitude are shown in the diagram below. The

Amplitude changes in a linear fashion between

successive Break Points as shown.

n BP1 to BP4 will be automatically be arranged in

ascending order across the keyboard.

n Regardless of the size of these Offsets, the

minimum and maximum Cutoff limits (values of 0

and 127, respectively) cannot be exceeded.

n Any note played below the BP1 note results in the

BP1 Level setting. Likewise, any note played above

the BP4 note results in the BP4 Level setting.

● [F5] Normal Element LFO

Basic Structure (page 47)

This display gives you a comprehensive set of

controls over the LFO for each individual element.

The LFO can be used to create vibrato, wah,

tremolo and other special effects, by applying it to

the pitch, ﬁlter and amplitude parameters.

•Wave

Determines the LFO waveform used to vary the sound.

❏ Settings saw, tri, squ

• Speed

Determines the speed of the LFO waveform. The higher

the value, the faster the speed.

❏ Settings 0 ~ 63

•KeyOnSync

When this is set to on, the LFO waveform is reset every

time a note is played.

❏ Settings off, on

•KeyOnDelay

Determines the delay time before the LFO comes into

effect. A higher value results in a longer delay time.

❏ Settings 0 ~ 127

• PMOD (Pitch Modulation Depth)

Determines the amount (depth) by which the LFO

waveform varies (modulates) the pitch of the sound. The

higher the value, the greater the amount of pitch

modulation.

❏ Settings 0 ~ 127

Break Point 1 Break Point 2 Break Point 3 Break Point 4

C4C3C2

Note

Amplitude

saw (sawtooth wave)

squ (square wave)

tri (triangle wave)

Speed = Fast Speed = Slow

Time

Key on

Time

Key on

Sync onSync off

Short delay Long delay

Key on

148

MOTIF Reference

Voice Edit mode

Reference Voice mode

• FMOD (Filter Modulation Depth)

Determines the amount (depth) by which the LFO

waveform varies (modulates) the Filter Cutoff frequency.

The higher the value, the greater the amount of ﬁlter

modulation.

❏ Settings 0 ~ 127

• AMOD (Amplitude Modulation Depth)

Determines the amount (depth) by which the LFO

waveform varies (modulates) the amplitude or volume of

the sound. The higher the value, the greater the amount of

amplitude modulation.

❏ Settings 0 ~ 127

● [F6] Normal Element EQ (Equalizer)

• Type

Determines the Equalizer Type. The MOTIF features a

wide selection of various equalizer types, which can be

used not only to enhance the original sound, but even

completely change the character of the sound. The

particular parameters and settings available depend on the

speciﬁc Equalizer Type that is selected.

❏ Settings

EQ L/H, P.EQ, Boost6, Boost12, Boost18, thru

EQ L/H (Low/High)

This is a “shelving” equalizer, which combines

separate high and low frequency bands.

.EQ (Parametric EQ)

The Parametric EQ is used to attenuate or boost signal

levels (gain) around the Frequency. This type features

32 different “Q” settings, which determine the

frequency band width of the equalizer.

Boost6 (Boost 6dB)/Boost12 (Boost 12dB)/Boost18

(Boost 18dB)

These can be used to boost the level of the entire signal

by 6dB, 12dB and 18dB, respectively.

thru

If you select this, the equalizers are bypassed and the

entire signal is unaffected.

Drum Voice Edit

Basic Structure (page 45)

◆ Common edit and Drum Key edit

Each Drum voice consists of various Waves and/or

Normal voices, each assigned to notes across the

keyboard, from C0 to C6 (page 45). Use Drum

Common Edit to edit the settings that apply to all

Drum keys in the voice. There are two types of Drum

Voice Edit displays: those for Common Edit, and those

for editing individual keys (elements).

◆ Basic Procedure

Basic Structure (page 70)

1 Press the [VOICE] button to enter the Voice Play

mode. (The indicator lights.)

2 Select a Drum voice to be edited.

3 Press the [EDIT] button to enter the Voice Edit

mode. (The indicator lights.)

Low Freq

Low Gain

High Freq

High Gain

Frequency

Gain

❏ Settings

50.1Hz ~ 2.00kHz

❏ Settings

503.8Hz ~ 10.1kHz

❏ Settings

-32 ~ 0 ~ +32

❏ Settings

-32 ~ 0 ~ +32

Gain

❏ Settings

-32 ~ 0 ~ +32

Freq

❏ Settings 139.7Hz ~ 12.9kHz

Q (Frequency Characteristic)

❏ Settings 0 ~ 31

Frequency

–

Gain

Indicates a Common Edit display.

COMMON

Drum Key

Indicates a display for editing a single key

(in this case, C 0)

149

MOTIF Reference

Voice Edit mode

Reference Voice mode

4 Select a key to be edited.

•To edit parameters common to the entire Drum

voice (all keys), press the [DRUM KITS] button.

•To edit parameters of an individual Drum key

(element), ﬁrst press the NUMBER [1] button,

then press the appropriate key on the keyboard.

5 Select the menu you wish to edit by pressing the

[F1]-[F6] and [SF1]-[SF5] buttons.

6 Edit the parameters for the selected voice.

7 Store the settings edited in step #6 to the User

Memory as required.

8 Press the [EXIT] button to exit from the Voice Edit

mode.

•For detailed instructions on steps #5 - #6, see the

explanations below.

•For details on step #7, refer to “Voice Store

mode” on page 159.

■ Common (to all keys) edit

● [F1]-[SF1] Drum Common General Name

Same as in Normal Voice Common Edit. See

page 130.

● [F1]-[SF3] Drum Common General

Master EQ Offset

Same as in Normal Voice Common Edit. See

page 131.

● [F1]-[SF5] Drum Common General Other

Same as in Normal Voice Common Edit. See

page 132.

● [F2] Drum Common Output

Same as in Normal Voice Common Edit. See

page 132. In addition, the following two parameters

are also available.

• InsRevSend (Insertion Reverb Send)

Determines the Send level for the entire Drum voice (all

keys), sent from Insertion Effect 1/2 to the Reverb effect.

• InsChoSend (Insertion Chorus Send)

Determines the Send level for the entire Drum voice (all

keys), sent from Insertion Effect 1/2 to the Chorus effect.

❏ Settings 0 ~ 127

n Send level (to Reverb and Chorus) cannot be set

independently for each Drum key; the value is

ﬁxed at 127 (maximum).

● [F3]-[SF1] Drum Common Arpeggio

Arpeggio type

Same as in Normal Voice Common Edit. See

page 132.

● [F3]-[SF2] Drum Common Arpeggio

Arpeggio limit

Same as in Normal Voice Common Edit. See

page 133.

● [F3]-[SF3] Drum Common Arpeggio

Play FX (Effect)

Same as in Normal Voice Common Edit. See

page 133.

● [F4]-[SF1], [SF2], [SF3] Drum Common

Control Set Set1/2, Set3/4, Set5/6

Same as in Normal Voice Common Edit. See

page 134.

Please note that the Element Switch parameter is

not available in Drum Voice Common edit.

● [F6]-[SF1] Drum Common Effect Connection

Same as in Normal Voice Common Edit. See

page 137.

The only difference here is that “KEY: OUT”

appears in the Drum Common Effect display

instead of “EL: OUT” (in Normal Common Effect).

DRUM KITS

FAVORITES

COMMON

150

MOTIF Reference

Voice Edit mode

Reference Voice mode

● [F6]-[SF2], [SF3], [SF4], [SF5] Drum Common

Effect Parameter Insertion 1, 2, Reverb,

Chorus

The number of parameters and values available

differs depending on the currently selected effect

type. For more information, see the Effect Type List

in the separate Data List booklet.

■ Drum Key Edit

● [F1]-[SF1] Drum Key Oscillator Wave

From this display you can select the desired wave or

Normal voice used for the individual Drum key.

• Type

Determines whether a Wave or a Normal voice is to be

used for the selected key. Also, use the Bank, Number and

Category parameters below to specify the desired Wave or

Normal voice.

❏ Settings pre wave (Preset wave), voice, usr wave

(User wave)

n When the Type is set to

“voice” here, some

parameters in the Drum Voice Edit mode cannot be

edited.

• ElementSw (Element Switch)

This parameter is available when Type (above) is set to

“pre wave” or “user wave.” This determines whether the

currently selected key is on or off, or in other words,

whether the wave for the key is active or inactive.

❏ Settings on, off

• Bank

This parameter is available when Type (above) is set to

“voice.” Any of the Normal voice banks can be selected.

n Plug-in voices cannot be selected for Drum keys.

• Number

Determines the Wave/Voice number. The number differs

depending on the selected Type.

❏ Settings

When Type is set to “pre wave”: 001 ~ 1309

When Type is set to “voice”: 001 ~ 128

When Type is set to “usr wave”: 001 ~ 256

For more information about available Waves and

Voices, refer to the separate Data List booklet.

• Category

Determines the Category of the Wave/Normal Voice. If you

switch to another Category, the ﬁrst Wave/Normal Voice

in that Category will be selected.

❏ Settings For more information about the Categories,

refer to the separate Data List booklet.

● [F1]-[SF2] Drum Key Oscillator Output

From this display you can set certain output

parameters for the selected Drum key.

• InsEFOut (Insertion Effect Output)

Determines which Insertion effect (1 or 2) is used to

process each individual Drum key. The “thru” setting lets

you bypass the Insertion effects for the speciﬁc key.

❏ Settings thru, ins1 (Insertion Effect 1), ins2

(Insertion Effect 2)

•RevSend (Reverb Send)

Determines the level of the Drum key sound (the bypassed

signal) that is sent to Reverb effect. A setting of “0” results

in no Reverb processing of the Drum key sound. This is

available only when Insertion Effect Output (above) is set

to “thru.”

❏ Settings 0 ~ 127

• ChoSend (Chorus Send)

Determines the level of the Drum key sound (the bypassed

signal) that is sent to Chorus effect. A setting of “0” results

in no Chorus processing of the Drum key sound. This is

available only when Insertion Effect Output (above) is set

to “thru.”

❏ Settings 0 ~ 127

• OutputSel (Output Select)

Determines the speciﬁc output(s) for the individual Drum

key signal. You can assign each individual Drum key

sound to be output from a speciﬁc hardware output jack

on the rear panel. By installing the optional AIEB2 board,

you can expand the number of assignable outputs.

❏ Settings See below.

* Available only when the optional AIEB2 board has been installed.

LCD Output jacks

Stereo/

Mono

L&R OUTPUT L and R Stereo

asL&R ASSIGNABLE OUTPUT L and R Stereo

as1&2 ASSIGNABLE OUTPUT 1 and 2 on the AIEB2 Stereo

1 : L

2 : R

as3&4 ASSIGNABLE OUTPUT 3 and 4 on the AIEB2 Stereo

3 : L

4 : R

as5&6 ASSIGNABLE OUTPUT 5 and 6 on the AIEB2 Stereo

5 : L

6 : R

asL ASSIGNABLE OUTPUT L Mono

asR ASSIGNABLE OUTPUT R Mono

as1 ASSIGNABLE OUTPUT 1 on the AIEB2 Mono *

as2 ASSIGNABLE OUTPUT 2 on the AIEB2 Mono *

as3 ASSIGNABLE OUTPUT 3 on the AIEB2 Mono *

as4 ASSIGNABLE OUTPUT 4 on the AIEB2 Mono *

as5 ASSIGNABLE OUTPUT 5 on the AIEB2 Mono *

as6 ASSIGNABLE OUTPUT 6 on the AIEB2 Mono *

151

MOTIF Reference

Voice Edit mode

Reference Voice mode

● [F1]-[SF5] Drum Key Oscillator Other

From this display you can set various parameters

related to how the individual notes of the Drum

voice respond to the keyboard and MIDI data.

• AssignMode

When this is set to “single,” double playback of the same

note is prevented. This is useful when two or more

instances of the same note are received nearly

simultaneously, or without a corresponding note off

message. To allow playback of each instance of the same

note, set this to “multi.”

❏ Settings single, multi

n When the Alternate Group (AltGrp) parameter is

set to a setting other than “off,” this parameter is

unavailable, and “---” is shown in the display.

• RcvNoteOff (Receive Note Off)

Determines whether or not the selected Drum key

responds to MIDI Note Off messages. Setting this to “off”

can be useful for cymbal sounds and other sustaining

sounds. This lets you have the selected sounds sustain to

the length of their natural decay — even if you release the

note, or a Note Off message is received.

❏ Settings off, on

n This parameter is effective for Waves selected in

the [F1] - [SF1] Drum Key Oscillator Wave display

(page 150).

• AltGrp (Alternate Group)

Set the Alternate Group to which the Wave is assigned. In

a real drum kit, some drum sounds cannot physically be

played simultaneously, such as open and closed hi-hats.

You can prevent Waves from playing back simultaneously

by assigning them to the same Alternate Group. Up to 127

Alternate Groups can be deﬁned. You can also select “off”

here if you wish to allow the simultaneous playback of

sounds.

❏ Settings off, 1 ~ 127

● [F2]-[SF1]Drum Key Pitch Tune

• Coarse

Determines the pitch of each Drum Key Wave (or Normal

Voice) in semitones.

❏ Settings -48 ~+48

n If a Normal voice has been assigned to the key, this

parameter adjusts the position of its note (not its

pitch) relative to note C3. For example, let’s assume

the original Voice consists of a two-Element piano-

like sound up to note C3 and a two-Element string-

like sound from note C#3 upwards. Adjusting this

Coarse setting by +1 would not change the pitch of

the piano-like sound to C#3. Instead, note C#3 of

the original Voice (i.e., the string-like sound) would

be used.

• Fine

Determines the ﬁne tuning for the pitch of each Drum Key

Wave (or Normal Voice).

❏ Settings -64 ~+63

● [F2]-[SF2] Drum Key Pitch

Velocity Sensitivity

From this display you can determine how the pitch

of the Drum key responds to velocity.

• Pitch

Determines how the pitch of the selected Drum key

responds to velocity. For positive values, the harder you

play the key, the higher the pitch becomes. For negative

values, the harder you play the key, the lower the pitch.

❏ Settings -64 ~+63

● [F3]-[SF1] Drum Key Filter Cutoff

Basic Structure (page 46)

The MOTIF lets you apply a low pass ﬁlter and high

pass ﬁlter to each individual Drum key — giving

you exceptionally detailed and comprehensive sonic

control over the Drum voice.

n This parameter is effective for Waves selected in

the [F1] - [SF1] Drum Key Oscillator Wave display

(page 150).

• LPF Cutoff

Determines the Cutoff frequency of the Low Pass Filter.

❏ Settings 0 ~ 255

• LPF Reso

Determines the amount of Resonance (harmonic

emphasis) applied to the signal at the Cutoff frequency.

❏ Settings 0 ~ 31

• HPF Cutoff

Determines the Cutoff frequency of the High Pass Filter.

❏ Settings 0 ~ 255

152

MOTIF Reference

Voice Edit mode

Reference Voice mode

● [F3]-[SF2] Drum Key Filter

Velocity Sensitivity

• LPFCutoff

Determines the velocity sensitivity of the Low Pass Filter

Cutoff frequency. Positive settings will cause the cutoff

frequency to rise the harder you play the keyboard and

negative settings will cause it to fall.

❏ Settings -64 ~ 0 ~ +63

● [F4]-[SF1] Drum Key Amplitude Level/Pan

This display not only lets you make basic Level and

Pan settings for the sound of each individual Drum

key, it also gives you some detailed and unusual

parameters for affecting Pan position.

•Level

Determines the output for the selected Drum key (Wave).

This lets you make detailed balance adjustments among

the various sounds of the Drum voice.

❏ Settings 0 ~ 127

•Pan

Determines the stereo Pan position for the selected Drum

key (Wave). This will also be used as the basic Pan position

for the Alternate and Random settings.

❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right)

• AlternatePan

Determines the amount by which the sound of the selected

Drum key is panned alternately left and right for each note

you press. The Pan setting (above) is used as the basic Pan

position.

❏ Settings L64 ~ 0 ~ R63

n This parameter is effective for Drum keys whose

Type parameter (in the Oscillator Wave display,

page 150) has been set to “Preset wave” or “User

wave.”

•RandomPan

Determines the amount by which the sound of the selected

Drum key is panned randomly left and right for each note

you press. The Pan setting (above) is used as the Center

Pan position.

❏ Settings 0 ~ 127

n This parameter is effective for Drum keys whose

Type parameter (in the Oscillator Wave display,

page 150) has been set to “Preset wave” or “User

wave.”

● [F4]-[SF2] Drum Key Amplitude

AEG Velocity Sensitivity

•Level

Determines the velocity sensitivity of the Amplitude

Envelope Generator’s output level. Positive settings will cause

the output level to rise the harder you play the keyboard and,

conversely, negative values will cause it to fall.

❏ Settings -64 ~ 0 ~ +63

● [F4]-[SF3] Drum Key Amplitude AEG

Basic Structure (page 47)

•AttackTime

❏ Settings 0 ~ 127

• Decay1Time

❏ Settings 0 ~ 127

• Decay1Lvl (Level)

❏ Settings 0 ~ 127

• Decay2Time

❏ Settings 0 ~ 126, hold

Decay2 Time = 0~126

Decay2 Time = hold

Attack

Level

Key on

Attack

Time

Decay1

Time

Decay2

Time

Decay1

Level

Attack

Level

Key on

Attack

Time

Decay1

Time

Decay2

Time

Decay1

Level

Time

Level

Time

Level

153

MOTIF Reference

Voice Edit mode

Reference Voice mode

● [F6] Drum Key EQ (Equalizer)

Same as in Normal Voice Element Edit. See

page 148.

n This parameter is effective for Drum keys whose

Type parameter (in the Oscillator Wave display,

page 150) has been set to “Preset wave” or “User

wave.”

Plug-in Voice Edit

Basic Structure (page 43)

◆ Common edit and Element edit

Same as Normal Voice Edit. See page 129.

Unlike with Normal voices, the Plug-in voices only

have one element for editing.

◆ About Plug-in voices and Board voices

The voices of a Plug-in Board installed to the MOTIF

can be divided into two types: Board voices and Plug-in

voices. Board voices are unprocessed, unaltered voices

of the Plug-in board — the “raw material” used for the

Plug-in voices. Plug-in voices, on the other hand, are

edited Board voices — voices that have been specially

programmed and processed for optimum use with the

MOTIF.

Included among the Board voices is a special set of

voices — called Board Custom voices — which can be

edited by a computer connected to the MOTIF, using

special editing software included with the Plug-in

board. (See page 87.)

n Depending on the particular Plug-in board you are using,

some of the parameters described here may not be

available. For details, refer to the relevant owner’s

manual of the Plug-in board.

n For details on the current lineup of available Plug-in

boards, see page 35.

◆ Basic Procedure

Basic Structure (page 70)

1 Press the [VOICE] button to enter the Voice Play

mode. (The indicator lights.)

2 Select a Plug-in voice to be edited.

3 Press the [EDIT] button to enter the Voice Edit

mode. (The indicator lights.)

4 Select an element to be edited.

•To edit the Common parameters, press the

[DRUM KITS] button (which serves as a

“COMMON” button here).

•To edit the Element parameters, press any one of

the NUMBER buttons ([1] - [4]). (Editing is the

same, no matter which NUMBER button you

press.)

5 Select the menu you wish to edit by pressing the

[F1] - [F6] and [SF1] -[SF5] buttons.

6 Edit the parameters for the selected voice.

7 Store the settings edited in step #6 to the User

Memory as required.

8 Press the [EXIT] button to exit from the Voice Edit

mode.

•For detailed instructions on steps #5 - #6, see the

explanations below.

•For details on step #7, refer to “Voice Store

mode” on page 159.

Cannot be eited

Computer

(Voice Editor in CD-ROM

supplied with the Plug-in board)

Copy

Store

Plug-in

Voice Edit

Save

Bulk send/

edit

MOTIF voice parameter

Plug-in voice

Plug-in preset voice

Plug-in user voice

Board voice

Board preset voice

Board custom voice

DRUM KITS

FAVORITES

COMMON

ELEMENT/ PERF.PART/ZONE

154

MOTIF Reference

Voice Edit mode

Reference Voice mode

■ Common edit

● [F1]-[SF1] Plug-in Common General Name

Same as in Normal Voice Common Edit. See

page 130.

● [F1]-[SF2] Plug-in Common General

Play mode

Same as in Normal Voice Common Edit. See

page 130.

Please note that Micro Tuning is not available in

Plug-in Voice Common Edit.

● [F1]-[SF3] Plug-in Common General

Master EQ Offset

Same as in Normal Voice Common Edit. See

page 131.

● [F1]-[SF4] Plug-in Common General

Portamento

Same as in Normal Voice Common Edit. See

page 131.

Please note that Portamento Mode and Portamento

Time are not available in Plug-in Voice Common

Edit.

● [F1]-[SF5] Plug-in Common General Other

Same as in Normal Voice Common Edit. See

page 132.

Unlike with Normal Voice Edit, the Upper and

Lower ranges cannot be independently set here.

● [F2] Plug-in Common Output

Same as in Normal Voice Common Edit. See

page 132.

● [F3]-[SF1] Plug-in Common Arpeggio

Arpeggio type

Same as in Normal Voice Common Edit. See

page 132.

● [F3]-[SF2] Plug-in Common Arpeggio

Arpeggio limit

Same as in Normal Voice Common Edit. See

page 133.

● [F3]-[SF3] Plug-in Common Arpeggio

Play FX (Effect)

Same as in Normal Voice Common Edit. See

page 133.

● [F4]-[SF1] Plug-in Common Control Set

Set1/2

Same as in Normal Voice Common Edit. See

page 134.

Please note that Element Switch is not available in

Plug-in Voice Common Edit.

● [F4]-[SF2] Plug-in Common Control Set

Modulation Wheel

From this display you can set how the Plug-in voice

responds to the Modulation wheel, by changing the

control depth for the ﬁlter, pitch and amplitude

(volume).

• Filter

Determines the depth of control of the Modulation Wheel

over the ﬁlter cutoff frequency. Negative settings result in

reversed Modulation wheel operation (i.e., moving the

wheel up results in less modulation).

❏ Settings -64 ~ 0 ~ +63

• PMod (Pitch Modulation Depth)

Determines the depth of control the Modulation Wheel

has over pitch modulation. The higher the setting, the

greater the depth of control.

❏ Settings 0 ~ 127

• FMod (Filter Modulation Depth)

Determines the depth of control the Modulation Wheel

has over ﬁlter cutoff modulation. The higher the setting,

the greater the depth of control.

❏ Settings 0 ~ 127

• AMod (Amplitude Modulation Depth)

Determines the depth of control the Modulation Wheel

has over amplitude modulation. The higher the setting, the

greater the depth of control.

❏ Settings 0 ~ 127

155

MOTIF Reference

Voice Edit mode

Reference Voice mode

● [F4]-[SF3] Plug-in Common Control Set

After Touch

The MOTIF gives you a comprehensive set of after

touch controls for the Plug-in voice, allowing you to

change the pitch and ﬁlter settings, and produce

modulation effects (pitch, ﬁlter and amplitude)-

simply by pressing down hard on the keys.

• Pitch

Determines the depth of control of keyboard aftertouch

over pitch. You can set a value (in semitones) of up to two

octaves.

❏ Settings -24 ~ 0 ~ +24

• Filter

Determines the depth of control of keyboard aftertouch

over the ﬁlter cutoff frequency.

❏ Settings -64 ~ 0 ~ +63

• PMod (Pitch Modulation Depth)

Determines the depth of control that keyboard aftertouch

has over pitch modulation. The higher the setting, the

greater the depth of control.

❏ Settings 0 ~ 127

• FMod (Filter Modulation Depth)

Determines the depth of control that keyboard aftertouch

has over ﬁlter cutoff modulation. The higher the setting,

the greater the depth of control.

❏ Settings 0 ~ 127

• AMod (Amplitude Modulation Depth)

Determines the depth of control that keyboard aftertouch

has over amplitude modulation. The higher the setting, the

greater the depth of control.

❏ Settings 0 ~ 127

● [F4]-[SF4] Plug-in Common Control Set

AC (Assignable Controls)

From this display you can assign MIDI Control

Change numbers and determine the degree to which

the assigned controllers affect the ﬁlter and the

modulation effects (pitch, ﬁlter and amplitude). For

details on using Control Change numbers and the

Assignable Controls, see page 191.

• Source

Determines the MIDI Control Change number used to

control the ﬁlter, PMod, FMod, and Amod.

❏ Settings 0 ~ 95

• Filter

Determines the depth of control the Control Change

numbers (set in the Source parameter above) have over the

ﬁlter cutoff frequency.

❏ Settings -64 ~ 0 ~ +63

• PMod (Pitch Modulation Depth)

Determines the depth of control the Control Change

messages (set in the Source parameter above) have over

pitch modulation. The larger the setting, the greater the

depth of control.

❏ Settings 0 ~ 127

• FMod (Filter Modulation Depth)

Determines the depth of control the Control Change

messages (set in the Source parameter above) have over

ﬁlter cutoff modulation. The larger the setting, the greater

the depth of control.

❏ Settings 0 ~ 127

• AMod (Amplitude Modulation Depth)

Determines the depth of control the Control Change

messages (set in the Source parameter above) have over

amplitude modulation. The larger the setting, the greater

the depth of control.

❏ Settings 0 ~ 127

● [F6]-[SF1] Plug-in Common Effect

Connection

Basic Structure (page 40)

This is the same as in Normal Voice Common

Edit (page 137), with the exception of the following

points.

• EL: OUT settings are not available in Plug-in

Voice Common Edit.

• The parallel setting (Insertion Connection) is

not available in Plug-in Voice Common Edit.

● [F6]-[SF2], [SF3], [SF4], [SF5] Plug-in Common

Effect Parameter Insertion 1, 2, Reverb,

Chorus

The number of parameters and values available

differs depending on the currently selected effect

type. For more information, see the Effect Type List

in the separate Data List booklet.

156

MOTIF Reference

Voice Edit mode

Reference Voice mode

■ Element Edit

● [F1]-[SF1] Plug-in Element Oscillator Wave

From this display you can select the desired Board

Voice used for the element of the Plug-in voice. Keep

in mind that a Plug-in voice only has one element.

• Bank

Determines the Board Voice Bank of the Plug-in voice.

❏ Settings (These depend on the particular Plug-in

board; refer to the relevant owner’s manual

for details.)

• Number

Determines the Board Voice Number.

❏ Settings (These depend on the particular Plug-in

board; refer to the relevant owner’s manual

for details.)

● [F1]-[SF5] Plug-in Element Oscillator Other

From this display you can set how the Plug-in voice

responds to velocity, and transpose the key (pitch)

for the voice.

•Velocity Depth

Determines the velocity sensitivity of the Board voice. For

higher values, the harder you play the keyboard, the louder

the voice becomes.

❏ Settings 0 ~ 127

•Velocity Offset

This lets you specify an offset value for the velocity

sensitivity of the Board voice. In other words, you can

increase the relative velocity (or level) of the voice by a set

amount — so that all the notes you play have the added

velocity.

❏ Settings 0 ~ 127

• Note Shift

Determines the transpose setting for the Board voice, or

the amount (in semitones) by which the pitch is raised or

lowered. The pitch range is two octaves, up or down.

❏ Settings -24 ~ 0 ~ +24

● [F2] Plug-in Element Pitch PEG Time, Level

Basic Structure (page 46)

From this display you can make various time and

level settings for the Pitch EG, which determine

how the pitch of the Board voice changes over time.

The full names of the available parameters are

shown in the chart below, as they appear in the

display.

❏ Settings -64 ~ 0 ~ +63

● [F3] Plug-in Element Filter Cutoff

Basic Structure (page 46)

• HPFCutoff (High Pass Filter Cutoff

frequency)

Determines the Cutoff frequency for the High Pass Filter.

❏ Settings -64 ~ 0 ~ +63

● [F4] Plug-in Element Native

With a Plug-in board installed to the MOTIF, you can

create a Board voice by editing both native parameters

(those parameters exclusive to the particular board) and

unique parameters (related speciﬁcally to the MOTIF).

Pressing [F4] gives you access to the native parameters of

the Plug-in board.The parameters will vary depending on

the Plug-in Board. For details about each parameter and its

functions, refer to the Owner’s Manual or the on-line help

that came with your Plug-in Board.

n For details on the current lineup of available Plug-

in boards, see page 35.

INIT ATK DCY1 DCY2 REL DEPTH

TIME --- Attack time --- ---

Release

time

LEVEL

Initial

level

--- --- ---

Release

time

---

Initial

Level

Release

Level

Original

Pitch

Attack

Time

Release

Time

Key off

Time

Pitch

157

MOTIF Reference

Voice Edit mode

Reference Voice mode

● [F5] Plug-in Element LFO

Basic Structure (page 47)

From this display you can set the basic LFO

parameters for modulating the pitch to create

vibrato and other special effects.

• Speed

Determines the speed of the LFO waveform. Positive

settings increase the speed and negative settings decrease

it. This is applied as an offset to the same parameter in the

original voice of the Plug-in board.

❏ Settings -64 ~ 0 ~ +63

• Delay

Determines the delay time between the moment you press

note on the keyboard and the moment the LFO comes into

effect. Positive settings lengthen the delay and negative

settings shorten it. This is applied as an offset to the same

parameter in the original voice of the Plug-in board.

❏ Settings -64 ~ 0 ~ +63

• PMod (Pitch Modulation Depth)

Determines the amount by which the LFO waveform

controls the pitch. Positive settings increase the amount

and negative settings decrease it. This is applied as an

offset to the same parameter in the original voice of the

Plug-in board.

❏ Settings -64 ~ 0 ~ +63

● [F6] Plug-in Element EQ (Equalizer)

From this display you can apply equalizer settings

to the Board voice. This is a shelving equalizer with

two bands; one for high frequencies and the other

for low frequencies.

1LowFreq (Low Frequency)

Determines the shelving point for the low frequencies.

The levels of signals below this frequency will be boosted/

attenuated by the amount set in the LoGain parameter.

❏ Settings 32Hz ~ 2.0kHz

2LowGain (Low Gain)

Determines the amount by which signals below the

LoFreq frequency will be boosted/attenuated.

❏ Settings -64 ~ 0 ~ +63

3HighFreq (High Frequency)

Determines the shelving point for the high frequencies.

The levels of signals above this frequency will be boosted/

attenuated by the amount set in the HiGain parameter.

❏ Settings 500Hz ~ 16.0kHz

4HighGain (High Gain)

Determines the amount by which signals above the HiFreq

frequency will be boosted/attenuated.

❏ Settings -64 ~ 0 ~ +63

◆ About Board Custom Voice Editing

You can edit Board Custom voices of the Plug-in Board

by using the Voice Editor software included with the

board.

n Select the Part Number of the Editor software to “1”

when using the software with the Voice mode. Also make

sure to match the basic MIDI receive channel of the

MOTIF (page 258) to the MIDI channel of the Editor

software.

The original Board Custom voices you’ve edited can be

saved and controlled from the computer.

Make sure to save the edited data to a memory card or

connected SCSI device from the MOTIF, since any edited data

in the DRAM of the Plug-in board will be lost when you turn

off the power on the MOTIF.

n For details about how to use the Voice Editor software

included with the Plug-in board, refer to the Online help

of the Voice Editor.

n Editing the above parameters may or may not have much

effect on the sound, depending on the particular Plug-in

board you've installed.

Speed=slow Speed=fast

Time

Short Delay Long Delay

Key on

LowFreq

LowGain

HighGain

HighFreq

Frequency

3 4

158

MOTIF Reference

Voice Job mode

Reference Voice mode

Voice Job mode

The Voice Job mode contains various convenient

operations (called “Jobs”), which are useful in editing

and archiving your original voices.

◆ Basic Procedure

1 In the Voice Play mode, select a voice you wish to

execute the Job on.

2 Press the [JOB] button to enter the Voice Job

Mode.

3 Select the desired Job menu by pressing the

appropriate button, [F1] - [F6].

4 Set the relevant Job parameters.

5 Press the [ENTER] button. (The display prompts

you for conﬁrmation.)

6 Press the [INC/YES] button to execute the Job.

After the Job has been completed, a “Completed”

message appears and operation returns to the

original display.

n To cancel the Job, press the [DEC/NO] button.

For Jobs that take longer to process, you will see the

message “Executing…” during processing. If you switch

off the power of the MOTIF while this message is

displayed, you risk corrupting your data.

7 Press the [VOICE] button to exit from Voice Job

mode and return to Voice Play mode.

•For detailed instructions on steps #3 - #4, see the

explanations below.

● [F1] Initialize

This function lets you reset (initialize) all voice

parameters to their default settings. It also allows

you to selectively initialize certain parameters, such

as Common settings, settings for each Element/

Drum key, and so on — very useful when creating a

completely new voice from scratch.

❏ Type of parameter to be initialized

When a Normal v

oice is selected:

ALL, Common, EL1 ~ 4

When a Drum v

oice is selected:

ALL, Common, EL

n If you turn the check mark on, you can select a

Drum key. For details on selecting a key, see “Basic

Operation” on page 75.

When a Plug-in v

oice is selected:

ALL, Common, EL

● [F2] Edit Recall

If you are editing a voice and select a different voice

without storing your edited one, all the edits you’ve

made will be erased. If this happens, you can use

Edit Recall to restore the voice with your latest edits

intact.

● [F3] Copy

From this display you can copy Common and

Element/Drum Key parameter settings from any

Voice to the Voice you are editing. This is useful if

you are creating a Voice and wish to use some

parameter settings from another Voice.

• Source voice

Select a Voice and data type to be copied.

❏ Data type

When a Normal v

oice is selected:

Common, Element 1 ~ 4

When a Drum v

oice is selected:

Common, Drum key C0 ~ C6

When a Plug-in v

oice is selected:

Common, Element

n If the source Voice type (Normal/Drum/Plug-in)

differs from one of the Voice you are currently

editing (destination), you will only be able to copy

Common parameters.

159

MOTIF Reference

Voice Store mode

Reference Voice mode

• Data type of Destination voice (current

selected voice)

If the source is a Normal or Drum Voice and data type is

set to Element or Drum Key, you can set the data type of

the destination Voice.

❏ Data type

When a Normal v

oice is selected:

Element 1 ~ 4

When a Drum v

oice is selected:

Drum key C0 ~ C6

n If you choose to copy Common parameters from

the source, this display will change to “Common.”

● [F4] Bulk Dump

This function lets you send all your edited

parameter settings for the currently selected voice

to a computer or another MIDI device for data

archiving.

n You must set the correct MIDI Device Number in

order to execute a Bulk Dump. For details, see

page 258.

Voice Store mode

Basic Structure (page 63)

This function lets you store your edited voice to User

memory.

When you execute this, the settings for the destination

memory will be overwritten. Important data should always

be backed up to computer, a separate Memory Card or

some other storage device.

◆ Basic Procedure

1 After editing the voice, press the [STORE] button

to enter the Voice Store mode.

2 Select the destination Voice Memory.

3 Press the [ENTER] button. (The display prompts

you for conﬁrmation.)

4 To execute the Store operation, press the [INC/

YES] button. After the voice has been stored, a

“Completed” message appears and operation

returns to the original display.

n To cancel the Store operation, press the [DEC/NO]

button.

For Store operations that take longer to process, you will

see the message “Executing…” during processing. If you

switch off the power of the MOTIF while this message is

displayed, you risk corrupting your data.

160

MOTIF Reference

Function Tree

Reference Performance mode

Performance Mode

Basic Structure (page 42)

Function Tree

This section is devoted to the Performance mode. To see how the Performance mode relates to the entire structure of

the MOTIF and its other modes and functions, see the simpliﬁed chart in “Basic Structure” on page 30.

The following detailed chart shows all of the display menus and parameter groups of the Performance modes —

giving you a quick, easy-to-understand overview of the performance-related functions of the MOTIF.

Brackets around a word or phrase (e.g., [F1]) indicate speciﬁc button names or panel operations.

[INFO] PERFORMANCE INFO

[PERFORM] PERFORMANCE PLAY

[F1] PERFORMANCE PLAY

[F2] PERFORMANCE AD

[F3] PERFORMANCE VOICE

[SF1] ADD INTERNAL VOICE

[SF2] ADD PLUG-IN VOICE

[SF3] DELETE

[SF4] SET NOTE LIMIT LOW

[SF5] SET NOTE LIMIT HIGH

[F4] PERFORMANCE PORTAMENTO

[F5] PERFORMANCE EG

[F6] PERFORMANCE ARPEGGIO

[CATEGORY] PERFORMANCE CATEGORY SEARCH

[FAV] CATEGORY SEARCH

[F1] SUB CATEGORY1 SELECT

[F2] SUB CATEGORY2 SELECT

[F3] SUB CATEGORY3 SELECT

[F4] SET TO FAVORITE

[F5] CLEAR 1 FAVORITE

[F6] CLEAR ALL FAVORITE

[FAV] FAVORITE SELECT

[F5] CLEAR 1 FAVORITE

[F6] CLEAR ALL FAVORITE

[EDIT] PERFORMANCE EDIT

[COMMON] COMMON

[F1] COMMON

[SF1] NAME

[SF3] MEQ OFFSET

[SF4] PORTA

[SF5] OTHER

[F2] COMMON OUTPUT/MASTER EQ

[SF1] OUTPUT

[SF2] MEQ

[F3] COMMON ARPEGGIO

[SF1] TYPE

[SF2] LIMIT

[SF3] PLAY

[SF4] OUTPUT CHANNEL

[SF5] CLEAR USER ARPEGGIO

[F4] COMMON CONTROLLER ASSIGN

CONTROLLER ASSIGN

[F6] COMMON EFFECT

[SF1] EFFECT CONNECT

[SF2] PLG-EF

[SF3] VARIATION

[SF4] REVERB

[SF5] CHORUS

[PERFORMANCE]

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 275

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 162

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 162

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 163

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 165

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 124

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126

. . . . . . . . . . . . . . . . . . . . . . . . P. 126

. . . . . . . . . . . . . . . . . . . . . . . . . P. 126

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126

. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 127

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 127

. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 127

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 165

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 165

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 166

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 166

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 166

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 167

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 167

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 167

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168

. . . . . . . . . . . . . . . . . . . . . . . . P. 132

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 169

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 169

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 169

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 169

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170

161

MOTIF Reference

Function Tree

Reference Performance mode

[PART SELECTION] PART 1-4

[F6]

[F1] PART VOICE

[SF1] VOICE

[SF2] PLYMODE

[SF3] LIMIT

[SF4] PORTAMENTO

[SF5] OTHER

[F2] PART OUTPUT

[SF1] VOLUME/PAN

[SF2] EFFECT SEND

[F3] PART OUTPUT SELECT

OUTPUT SELECT

[F4] PART TONE

[SF1] TUNE

[SF2] FILTER

[SF3] FEG

[SF4] AEG

[F5] PART RECEIVE SWITCH

[PART SELECTION] PART PLG1-PLG3

[F6]

[F1] PART VOICE

[SF1] VOICE

[SF2] PLYMODE

[SF3] LIMIT

[SF4] PORTAMENTO

[SF5] OTHER

[F2] PART OUTPUT

[SF1] VOLUME/PAN

[SF2] EFFECT SEND

[F3] PART OUTPUT SELECT

OUTPUT SELECT

[F4] PART TONE

[SF1] TUNE

[SF2] FILTER

[SF4] AEG

[F5] PART RECEIVE SWITCH

[EDIT] PERFORMANCE COMPARE

[JOB] PERFORMANCE JOB

[F1] INITIALIZE

[F2] EDIT RECALL

[F3] COPY

[F4] BULK DUMP

[STORE] PERFORMANCE STORE

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170

. . . . . . . . . . . . . . . . . . . . P. 170

. . . . . . . . . . . . . . . . . P. 170

. . . . . . . . . . . . . . . . . . . . . P. 170

. . . . . . . . . . . . . P. 171

. . . . . . . . . . . . . . . . . . . . P. 171

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 172

. . . . . . . . . . . . . . P. 172

. . . . . . . . . . . . . P. 172

. . . . . . . . . . . . . . . . . . . . . . . . P. 173

. . . . . . . . . . . . . . . . P. 173

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 173

. . . . . . . . . . . . . . . . . . . . . P. 173

. . . . . . . . . . . . . . . . . . . P. 173

. . . . . . . . . . . . . . . . . . . . . . P. 173

. . . . . . . . . . . . . . . . . . . . . . P. 174

. . . . . . . . . . . . . . . . . . . . . . . P. 174

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170

. . . . . . . . . . . . . . . . . . . . P. 170

. . . . . . . . . . . . . . . . . P. 170

. . . . . . . . . . . . . . . . . . . . . P. 170

. . . . . . . . . . . . . P. 171

. . . . . . . . . . . . . . . . . . . P. 171

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 172

. . . . . . . . . . . . . . P. 172

. . . . . . . . . . . . . P. 172

. . . . . . . . . . . . . . . . . . . . . . . . P. 173

. . . . . . . . . . . . . . . . P. 173

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 173

. . . . . . . . . . . . . . . . . . . . . P. 173

. . . . . . . . . . . . . . . . . . . . P. 173

. . . . . . . . . . . . . . . . . . . . . . P. 174

. . . . . . . . . . . . . . . . . . . . . . . P. 174

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 165

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 175

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 175

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 175

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 175

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 176

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 176

162

MOTIF Reference

Performance Play mode

Reference Performance mode

Performance Play mode

Basic Structure (page 31) · Quick Start Guide (page 88)

In this mode, you can select and play individual User

performances.

n For details about the performances and their memory

(bank) structure, see page 40.

◆ Basic Procedure

Basic Operation (page 67)

1 Press the [PERFORMANCE] button to enter the

Performance Play mode. (The indicator lights.)

2 Select a performance.

3 Set the Keyboard Octave or MIDI transmit

channel.

4 Turn individual parts of the performance on or off

(mute) as desired.

5 Select the menu you wish to edit by pressing the

[F2] - [F6] buttons and edit the parameters in each

display.

6 Store the settings edited in step #5 to the User

Memory as required.

7 Press any other mode button to exit from the

Performance Play mode.

• For detailed instructions on steps #2 - #5, see the

following explanations.

• For details on step #6, refer to “Performance

Store mode” on page 176.

Performance Selection

The explanations here apply to step #2 of the Basic

Procedure above.

Selecting performances is done in basically the same

way as selecting voices (page 124), except for the

following point.

• Since the MOTIF has no Preset performances

and provides only one User bank, selecting a

bank is not necessary.

Keyboard Octave and Keyboard

MIDI transmit channel settings

The explanations here apply to step #3 of the Basic

Procedure on page 162.

The two parameters set here affect all selected

performances. Setting these parameters is the same as

in the Voice Play mode (page 127). Keep in mind that

these parameters cannot be stored to the performance

by using the Performance Store mode (page 176).

Indicates the Keyboard

MIDI transmit channel.

See page 162 for details.

Indicates the current selected Performance.

PERFORM

Indicates the functions

assigned to the respective

Control knobs. See page

256 for details.

Indicates Keyboard Octave setting

set is the [OCTAVE] buttons.

See page 82 for details.

Number

(selected via the

NUMBER [1]-[16]

buttons)

Group

(selected via the GROUP

[A]-[H] buttons)

Performance Program number

(corresponding to Groups A

to H and Numbers 01 to 16)

Bank

Performance nameCategory

Keyboard MIDI transmit channel

Keyboard octave setting

163

MOTIF Reference

Performance Play mode

Reference Performance mode

Performance Part on/off

The explanations here apply to step #4 of the Basic

Procedure on page 162.

n This operation is available also in the Performance Edit

mode.

Performance editing in the

Performance Play mode

The explanations here apply to step #5 of the Basic

Procedure on page 162.

The Performance Play mode lets you perform a variety

of general editing operations on the selected

performance. For more detailed and comprehensive

editing operations, use the Performance Edit mode.

n The parameters that have the same name in the

Performance Play mode and in the Performance Edit

mode have the same functions and settings.

◆ The [ ] Indicator

If you alter any parameters in the Performance Play

mode, the [ ] indicator will appear in the top left of

the display. This indicates that the current

performance has been modiﬁed but not yet stored.

n If you select another performance during editing, the [ ]

indicator will disappear and all your edits will be lost.It is

a good idea to store the edited performance data from the

Performance Store mode (page 176). Even if you lose the

performance edited data, you can restore it by using the

Edit Recall function (page 175).

● [F2] Performance Play A/D

From this display you can make settings for the A/

D input parts. The A/D input feature lets you input

external audio (such as from a microphone or

guitar), then process and mix it with the other

sounds of the MOTIF. The audio signal can be

input via the A/D INPUT jack or the mLAN

terminal (if an optional mLAN8E has been

installed).

n In the Utility mode, you can set whether you use the A/

D INPUT jack or the mLAN8E jack as an input jack for

the A/D part. See page 252.

• Volume

Determines the output level of the A/D part.

❏ Settings 0 ~ 127

• Pan

Determines the stereo pan position of the A/D part.

❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right)

• RevSend

Determines the Send level of the A/D part signal sent to

the Reverb effect. For details about effect connection, see

page 40.

❏ Settings 0 ~ 127

• ChoSend

Determines the Send level of the A/D part signal sent to

the Chorus effect. For details about effect connection, see

page 40.

❏ Settings 0 ~ 127

• VarSend(Variation Send)

Determines the Send level of the A/D part signal sent to

the Variation effect. For details about effect connection,

see page 40.

❏ Settings 0 ~ 127

• DryLevel

Determines the level of the A/D part which has not been

processed with the System Effects (Reverb, Chorus,

Variation). See page 252.

❏ Settings 0 ~ 127

• Mono/Stereo

Determines the signal conﬁguration for the the A/D input

audio, or how the signal or signals are routed (stereo or

mono). When the mLAN terminal (with the optional

mLAN8E installed) is set as the input source for the A/D

part, this parameter cannot be set.

❏ Settings stereo, L mono, R mono, L+R mono

ster

Audio received via both A/D INPUT jacks is processed in

stereo.

L (left) mono

Audio received via the L (left) A/D INPUT jack is

processed in mono.

R (left) mono

Audio received via the R (right) A/D INPUT jack is

processed in mono.

L+R mono

Audio received via both A/D INPUT jacks is mixed and

processed in mono.

Press the [MUTE] button so that

its indicator lights.

Press any of the [1] - [4] buttons

you wish to mute.

MUTE

SOLO

Edit indicator

164

MOTIF Reference

Performance Play mode

Reference Performance mode

• OutputSel (Output Select)

Determines the output jack assignment for the A/D part.

❏ Settings See below.

* Available only when the optional AIEB2 board has been installed.

● [F3] Performance Play Voices

From this display you can select a voice for each part

and determine the note range it can be played from.

• [SF1] ADD INT (Add Internal Voice)

If no voice has been assigned and the selected part is

blank, press this to enable an Internal voice for the part.

• [SF2] ADD PLG (Add Plug-in Voice)

If no voice has been assigned and the selected part is

blank, press this to enable a Plug-in voice for the part.

• [SF3] DELETE

Pressing this button deletes the voice assignment for the

selected part, leaving the part blank.

• [SF4] LIMIT L (Note Limit Low)

This sets the lowest note of the range over which the voice

of the selected part sounds. Simultaneously hold down

this button and press the desired key on the keyboard to

set the note.

• [SF5] LIMIT H (Note Limit High)

This sets the highest note of the range over which the

voice of the selected part sounds. Simultaneously hold

down this button and press the desired key on the

keyboard to set the note.

● [F4] Performance Play Portamento

From this display you can set the Portamento

parameters for each part. Portamento is used to

create a smooth transition in pitch from the ﬁrst

note played on the keyboard to the next.

• PortaSw (Portamento Switch)

Determines whether Portamento is on or off for all parts.

(This is a global switch and overrides the individual part

settings in Part Switch below.)

❏ Settings off , on

• Time

Determines the pitch transition time.

This parameter offsets the same parameter in the part edit

(page 171). Higher values result in longer transition times.

❏ Settings -64 ~ +63

• PartSwitch

Determines whether Portamento is on or off for each

individual part.

● [F5] Performance Play

EG(Envelope Generator)

Basic Structure (page 47)

This display contains the basic EG settings, both

volume and ﬁlter, for the performance, as well as

the ﬁlter’s cutoff frequency and resonance settings.

The settings made here are applied as offsets to the

AEG and FEG settings in the Performance Edit

mode (page 173, page 174).

Same as in Voice Play mode. See page 127 .

LCD Output jack

Stereo/

Mono

L&R OUTPUT L&R Stereo

as1&2 AIEB2 ASSIGNABLE OUTPUT 1&2

Stereo

1 : L

2 : R

as3&4 AIEB2 ASSIGNABLE OUTPUT 3&4

Stereo

3 : L

4 : R

as5&6 AIEB2 ASSIGNABLE OUTPUT 5&6

Stereo

5 : L

6 : R

as1 AIEB2 ASSIGNABLE OUTPUT 1 Mono *

as2 AIEB2 ASSIGNABLE OUTPUT 2 Mono *

as3 AIEB2 ASSIGNABLE OUTPUT 3 Mono *

as4 AIEB2 ASSIGNABLE OUTPUT 4 Mono *

as5 AIEB2 ASSIGNABLE OUTPUT 5 Mono *

as6 AIEB2 ASSIGNABLE OUTPUT 6 Mono *

Move the cursor to the desired part,

then move it to the voice bank or

number you wish to set for the part.

If the part is blank (i.e., no voice has been assigned),

use these to enable a voice (Internal or Plug-in) for the

part. Once a voice is assigned, select the specific bank

and voice with the [INC/YES] and [DEC/NO] buttons, or

the data dial. You can also use the BANK, GROUP and

NUMBER buttons to select a voice (page 124).

Use this to delete the

assigned voice, if desired.

Use these to set the note

range, low and high, for

the part’s voice.

165

MOTIF Reference

Performance Edit mode

Reference Performance mode

● [F6] Performance Play Arpeggio

Basic Structure (page 55)

This display contains the basic settings for Arpeggio

playback, including Type and Tempo.

The parameters are same as in the Voice Play

mode (page 127) except for the following one.

• PartSwitch

Determines whether Arpeggio is on or off for the selected

part.

Performance Edit mode

In this mode, Performances can be created and edited.

◆ The [ ] Indicator

If you alter any parameters in Performance Edit Mode,

the [ ] indicator will appear in the top left of the

display. This indicates that the current performance

has been modiﬁed but not yet stored.

n Even if you exit to the Performance Play mode, your

edited settings for the current performance will be

maintained — as long as you don’t select another

performance.

n The [ ] indicator is also displayed in the Performance

Play mode.

◆ The Compare Function

This convenient function lets you switch between the

edited performance and its original, unedited condition

— allowing you to listen to the difference between the

two and better hear how your edits affect the sound.

1 In the Performance Edit mode, press the

[COMPARE] button so that its indicator ﬂashes.

The [ ] indicator is shown at the top of the

display (in place of the [ ] indicator), and the

original, unedited performance is restored for

monitoring.

2 Press the [EDIT] button again to disable the

“Compare” function and restore the settings for

your edited Performance. While Compare is active,

you cannot make edits to the performance.

◆ Common (to all parts) edit

and Part edit

Each performance can contain a maximum of four

parts, selected from a total seven parts — four parts

from the Internal tone generator, and three from the

installed Plug-in boards. Use Common Edit to edit the

settings for all of the parts. There are two types of

Voice Edit displays: those for Common Edit, and those

for editing individual parts.

EDIT

COMPARE

166

MOTIF Reference

Performance Edit mode

Reference Performance mode

◆ Basic Procedure

1 Press the [PERFORMANCE] button to enter the

Performance Play mode. (The indicator lights.)

2 Select a Performance to be edited.

3 Press the [EDIT] button to enter the Performance

Edit mode. (The indicator lights.)

4 Select a Part to be edited.

• To edit parameters common to all of the parts,

press the [DRUM KITS] button (which serves as

a “COMMON” button here).

• To edit parameters of the individual parts, select

the desired part with the corresponding

NUMBER button ([1] - [4], or in the case of the

Plug-in parts, [1] - [3]).

To switch between the Part 1 - 4 display and the

Plug-in Part 1 - 3 display, press the [F6] button.

5 Select the menu you wish to edit by pressing the

[F1] - [F6] and [SF1] -[SF5] buttons.

6 Edit the parameters for the selected performance.

7 Store the settings edited in step #6 to the User

Memory as required.

8 Press the [EXIT] button to exit from the

Performance Edit mode.

• For details on step #2, refer to “Performance Play

mode” on page 162.

• For detailed instructions on steps #5 - #6, see the

explanations below.

• For details on step #7, refer to “Performance

Store mode” on page 176.

■ Common edit

● [F1]-[SF1] Common General Name

From this display you can create a name for the

performance. The performance name can contain

up to 10 characters. For detailed instructions on

naming, see “Basic Operation” on page 75.

● [F1]-[SF3] Common General

Master EQ Offset

From this display you can adjust the master (global)

EQ settings for all parts of the selected performance.

The level of each of the four bands (with the

exception of “MID”) can be adjusted. Moreover,

you can also tweak these settings directly from the

four Knobs on the front panel.

Parts to which

Plug-in voices

are assigned

Parts to which

Internal voices are

assigned

Indicates a Common Edit display.

Indicates a display for editing Part 1.

Common

Part1

Part2

Part3

Part4

Plug-in part 1

Plug-in part 2

Plug-in part 3

DRUM KITS

FAVORITES

COMMON

ELEMENT/ PERF.PART/ZONE

< Display for editing parts 1 - 4>

[F6] button

< Display for editing Plug-in parts 1 - 3 >

167

MOTIF Reference

Performance Edit mode

Reference Performance mode

❏ Settings -64 ~ +63

● [F1]-[SF4] Common General Portamento

From this display you can set the Portamento

parameters for all parts of the selected performance.

Portamento is used to create a smooth transition in

pitch from the ﬁrst note played on the keyboard to

the next.

• Switch

Determines whether Portamento is on or off for the entire

performance. Keep in mind that this is a global control;

you can also switch Portamento on and off for individual

parts in Part Switch below.

❏ Settings off, on

• Time

Determines the pitch transition time.

This parameter offsets the same parameter in the part edit

settings (page 170). Higher values result in longer

transition times.

❏ Settings -64 ~ +63

• PartSwitch

Determines whether Portamento is on or off for each

individual part.

● [F1]-[SF5] Common General Other

From this display you can set the control functions

for the Knobs and related parameters.

With the exception of Pitch Bend, which cannot be

set here, these parameters are the same as in the

Voice Edit mode (page 132).

● [F2]-[SF1] Common Output

• Volume

Determines the output level of the selected performance.

You can adjust the overall volume, keeping the balance

between all parts .

❏ Settings 0 ~ 127

• Pan

Determines the stereo pan position of the selected

performance.

This parameter offsets the same parameter in the part edit

setting (page 163).

You can also adjust this parameter using the PAN knob on

the front panel.

❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right)

n A setting of “C” (center) maintains the individual

Pan settings of each Part.

• RevSend

Determines the Send level of the signal sent from Insertion

Effect 1/2 (or the bypassed signal) to the Reverb effect.

You can also adjust this parameter using the REVERB

knob on the front panel.

❏ Settings 0 ~ 127

• ChoSend

Determines the Send level of the signal sent from Insertion

Effect 1/2 (or the bypassed signal) to the Chorus effect.

You can also adjust this parameter using the [CHORUS]

knob on the front panel.

❏ Settings 0 ~127

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

KN 1 KN 2 KN 3 KN 4

168

MOTIF Reference

Performance Edit mode

Reference Performance mode

● [F2]-[SF2] Common MEQ(Master Equalizer)

From this display you can apply ﬁve-band

equalization to all parts of the selected performance.

• Shape

Determines whether the equalizer type used is Shelving or

Peaking. The Peaking type attenuates/boosts the signal at

the speciﬁed Frequency setting, whereas the Shelving type

attenuates/boosts the signal at frequencies above or below

the speciﬁed Frequency setting.

This parameter is available for LOW, MID, and HIGH.

❏ Settings shelv (Shelving type), peak (Peaking type)

• Freq (Frequency)

Determines the center frequency. Frequencies around this

point are attenuated/boosted by the Gain setting.

❏ Settings

LOW: Shelving 32Hz ~ 2.0kHz

Peaking 63Hz ~ 2.0kHz

LOW MID, MID, HIGH MID: 100Hz ~ 10.0kHz

High: 500Hz ~ 16.0kHz

• Gain

Determines the level gain for the Frequency (set above), or

the amount the selected frequency band is attenuated or

boosted.

❏ Settings -12dB ~ 0dB ~ +12dB

• Q (Frequency Characteristic)

This varies the signal level at the Frequency setting to

create various frequency curve characteristics.

❏ Settings 0.1 ~ 12.0

● [F3]-[SF1] Common Arpeggio

Arpeggio type

Basic Structure (page 55)

Same as in Normal Voice Common Edit. See

page 132.

● [F3]-[SF2] Common Arpeggio

Arpeggio

limit

Same as in Normal Voice Common Edit. See

page 133.

● [F3]-[SF3] Common Arpeggio

Play FX (Effect)

Same as in Normal Voice Common Edit. See

page 133.

● [F3]-[SF4] Common Arpeggio

Output channel

From this display you can set a separate MIDI

output channel for the Arpeggio playback data,

letting you have the Arpeggio sound from an

external tone generator or synthesizer.

LOW

5 bands

HIGHHIGHMIDMIDLOWMID

Q(Frequency Characteristic)

Gain

Freq

(

Frequency

)

Gain

Freq

Frequency

–

Frequency

–

EQ Low

Freq1

EQ Low

Freq2

shelv (Shelving)

peak (Peaking)

Frequency

0.1

12.0

Freq

169

MOTIF Reference

Performance Edit mode

Reference Performance mode

• OutputSwitch

When this is set to on, Arpeggio playback data is output

from the MIDI terminal.

❏ Settings on, off

• TransmitCh

Determines the MIDI transmit channel for Arpeggio

playback data.

❏ Settings 1 ~ 16

● [F4] Common Controller Assign

The controllers and knobs on the front panel can be

used to change and adjust a variety of parameters —

in real time, and simultaneously.

For example, you could use the ASSIGN 1 and 2

knobs to control effect depth for two different

effects, while using the Foot Controller to control

modulation. These control assignments are called

“Controller Assign.” You can have independent

Controller Assign settings for each performance.

❏ Settings (See chart below)

Control Change Numbers

● [F6]-[SF1] Common Effect Connection

Basic Structure (page 40)

This display gives you comprehensive control over

the effects.

• EF PART (Effect part) ➡ VCE INS (Voice

Insertion)

Determines the part to which the Insertion effect is

applied. The Insertion connection type (page 40) depends

on the voice of the selected part.

❏ Settings Part 1 ~ 4, Plug-in Part 1 ~ 3, off

• EF PART (Effect part) ➡ PLG-EF (Plug-in

Efect)

Determines the part to which the Insertion effect is

applied. This parameter is available only when a special

Effect Plug-in board (VH) has been installed.

❏ Settings Part 1~4, Plug-in Part 1~3, A/D, off

• Variation Type

Determines the Variation effect type.

❏ Settings Refer to the Effect Types list in the separate

Data List booklet.

• Variation Return

Determines the Return level of the Variation Effect.

❏ Settings 0 ~ 127

• Variation Pan

Determines the pan position of the Variation effect sound.

❏ Settings L64 (far left) ~cnt (center) ~ R63 (far

right)

• Variation To Reverb

Determines the Send level of the signal sent from the

Variation Effect to the Reverb Effect.

❏ Settings 0 ~ 127

• Variation To Chorus

Determines the Send level of the signal sent from the

Variation Effect to the Chorus Effect.

❏ Settings 0 ~ 127

• Chorus Type

Determines the Chorus effect type.

❏ Settings Refer to the Effect Types list in the separate

Data List booklet.

• Chorus Return Level)

Determines the Return level of the Chorus Effect.

❏ Settings 0 ~ 127

• Chorus Pan

Determines the pan position of the Chorus effect sound.

❏ Settings L64 (far left) ~ cnt (center) ~ R63 (far right)

LCD LCD

00 off 32 off

01 ModWheel 64 Sustain

02 Breath 65 PortaSw

04 FootCtrl 66 Sostenut

05 PortTime 67 Soft

06 Data Ent 72 Release

07 MainVol 74 Bright

10 Panpot 75 Decay

11 Express 84 PortaCtl

16 General 1 91 Effect 1

17 General 2 92 Effect 2

18 General 3 93 Effect 3

19 General 4

Determines the Control Change numbers

for Foot Controllers 1 and 2. To control

these functions, connect Foot Controllers

to the FOOT CONTROLLER jacks on the

rear panel (page 28).

Determines the Control

Change numbers for the

ASSIGN 1 and 2 knobs

on the front panel.

Set the Control Change number for the Breath Controller.

The function set here can be controlled by the Breath Controller

connected to the BREATH CONTROLLER (page 28) jacks on the

rear panel.

170

MOTIF Reference

Performance Edit mode

Reference Performance mode

• Chorus to Reverb

Determines the Send level of the signal sent from the

Chorus Effect to the Reverb Effect.

❏ Settings 0 ~ 127

• Reverb Type

Determines the Reverb effect type.

❏ Settings Refer to the Effect Types list in the separate

Data List booklet.

• Reverb Return

Determines the Return level of the Reverb Effect.

❏ Settings 0 ~ 127

• Reverb Pan

Determines the pan position of the Reverb effect sound.

❏ Settings L64 (far left) ~ cnt (center) ~ R63 (far right)

● [F6]-[SF2], [SF3], [SF4], [SF5]

Common Effect Parameter

Plug-in Inser

tion, Reverb, Chorus,

Variation

Basic Structure (page 39)

The number of parameters and values available

differs depending on the currently selected effect

type. For more information, see the Effect Type List

in the separate Data List booklet.

■ Part edit

● [F1]-[SF1] Part Voice V

oice

You can select a voice for each part. When the

cursor is located at the Bank, you can select a voice

by using the BANK, GROUP, NUMBER button

with the [TRACK SELECT] indicator off (page 124

~ page 125).

• Part Switch

Set each part to on or off.

❏ Settings on, off

• Bank

Select a Voice Bank (page 124) for each part. For details

about the Plug-in Voice Bank, refer to the Owner’s Manual

for your Plug-in Board.)

• Number

Select a Voice Program number (page 124) for each part.

For details about the Plug-in Voice Program number, refer

to the Owner’s Manual for your Plug-in Board.)

● [F1]-[SF2] Part Voice Play Mode

• Mono/Poly

Select monophonic or polyphonic playback for each part.

Select whether the Voice is played back monophonically

(single notes only) or polyphonically (multiple

simultaneous notes).

❏ Settings Mono, Poly

n This parameter is not available for the part to

which the Drum Voice is assigned.

• ArpeggioSw (Arpeggio Switch)

Switch the Arpeggio for the currently selected Part on or off.

❏ Settings on, off

● [F1]-[SF3] Part Voice Limit

• Note Limit H, L (High, Low)

Set the lowest and highest notes of the keyboard range for

each Part. Each Part will only sound for notes played

within its speciﬁed range.

❏ Settings C -2~G8

n If you specify the highest note ﬁrst and the lowest

note second, for example “C5 to C4,” then the note

range covered will be “C-2 to C4” and “C5 to G8.”

n You can set the note by pressing the keyboard

while holding the [INFORMATION] button.

n When a Plug-in voice is assigned to a part of the

selected Performance, some parameters may not

be available depending on the installed Plug-in

board.

• Velocity Limit H, L (High, Low)

Set the minimum and maximum values of the velocity

range within which each Part will respond. Each Part will

only sound for notes played within its speciﬁed velocity

range.

❏ Settings 1~127

n If you specify the maximum value ﬁrst and the

minimum value second, for example “93 to 34,”

then the velocity range covered will be “1 to 34”

and “93 to 127.”

171

MOTIF Reference

Performance Edit mode

Reference Performance mode

● [F1]-[SF4] Part Voice Portamento

Set the Portamento parameters for each part.

Portamento is used to create a smooth transition in

pitch from the ﬁrst note played on the keyboard to

the next.

• Switch

Switch Portamento on or off.

❏ Settings off,on

• Time

Set the pitch transition time. Higher values mean longer

transition times.

❏ Settings 0 ~127

• Mode

Set the Portamento mode.

❏ Settings ﬁngered, fulltime

ﬁ

ngered

Portamento is only applied when you play legato (playing

the next note before releasing the previous one).

fulltime

Portamento is always applied.

n The Mode setting is not available for the Plug-in

part.

n These Portamento parameters above are not

available for the part to which the Drum voice is

assigned.

● [F1]-[SF5] Part Voice Other

• PB (Pitch Bend) Upper, Lower

... When editing part s 1 - 4:

These two parameters determine the pitch change range

(in semitones) of the Pitch Bend wheel for the part’s voice.

For example, a Lower setting of -12 would result in the

pitch being lowered up to a maximum of one octave (12

semitones) when the Pitch Bend wheel is moved

downwards. Similarly, setting the Upper parameter to

+12 would result in a maximum pitch rise of one octave

when the wheel is moved upwards.

❏ Settings -48 ~0 ~+24

• PB (Pitch Bend) Range

... When editing Plug-in parts 1 - 3, or when a

Drum voice is selected:

Determines the pitch change range (in semitones) of the

Pitch Bend wheel for the Plug-in part’s voice (or Drum

voice). Unlike the Pitch Bend setting for parts 1 - 4 above,

the Upper and Lower ranges for the Plug-in parts cannot

be set independently.

❏ Settings -24 ~ 0 ~ +24

• VelSensDpt (Velocity Sensitivity Depth)

Determines the velocity sensitivity of the part’s voice, or

how much the level of the voice changes in response to

your playing strength (velocity). The higher the value, the

more the voice changes in response to changes in your

playing strength.

❏ Settings 0~127

Changes to actual velocity for different

Velocity Sensitivity Depth settings

n The settings here apply when Velocity Sensitivity Offset

(below) is set to a median or neutral value of “64.”

• VelSensOfst (Velocity Sensitivity Offset)

Determines the amount by which received velocities are

adjusted for the actual velocity effect. This lets you raise

or lower all velocities by the same amount — allowing you

to automatically compensate for playing too strongly or too

softly.

❏ Settings 0 ~ 127

Changes to actual velocity for different Velocity

Sensitivity Offset settings.

n The settings here apply when Velocity Sensitivity Depth

(above) is set to a median or neutral value of “64.”

offset=64

Received velocity

Actual resulting

velocity (affecting

he tone generator)

depth=64

offset=64

depth=32

offset=64

depth=0

offset=64

depth=127

offset=64

172

MOTIF Reference

Performance Edit mode

Reference Performance mode

In the ﬁrst example, Offset is set to “0,” lowering all

received velocities by 64. This creates a lower velocity

“plateau” — all of your softer playing (up to a velocity

of 64) results in the same actual velocity. Also no

matter how strongly you play, the actual velocity value

never exceeds 64.

In the second example, Offset is set to a neutral value of

“64,” creating a linear relationship between received

and actual velocity. In other words, the velocity at

which you play is relayed to the tone generator as is —

with no offset.

In the third example, Offset is at the maximum of

“127,” which raises all received velocities by 64. This

creates a “clipping” effect in the higher velocities — no

matter how strongly you play (past a velocity of 64),

the actual velocity value will always be 127

(maximum).

● [F2]-[SF1] Part Output Volume/Pan

• Volume

Determines the volume for each part, giving you detailed

control over the level balance among the parts.

❏ Settings 0~127

• Pan

Determines the stereo pan position for each part.

❏ Settings L64 (far left) ~ cnt (center) ~ R63 (far

right)

• Voice Pan

Determines whether the individual pan settings for each

voice (made in the Voice Edit mode) are applied or not.

Keep in mind that the settings made in Pan above are

applied as offsets to the Voice Edit settings. When this is

set to “off,” the basic pan position for the selected part is

set to center.

❏ Settings on, off

n This parameter is not available for the Plug-in

parts.

● [F2]-[SF2] Part Output Effect Send

• RevSend (Reverb Send)

Determines the send level for the Reverb effect of the

selected part, giving you detailed control over the Reverb

balance among the parts.

❏ Settings 0~127

• ChoSend (Chorus Send)

Determines the send level for the Chorus effect of the

selected part, giving you detailed control over the Chorus

balance among the parts.

❏ Settings 0~127

• VarSend (Variation Send)

Determines the send level for the Variation effect of the

selected part, giving you detailed control over the Variation

balance among the parts.

❏ Settings 0~127

• Dry Level

Determines the level of the unprocessed (dry) sound of the

selected part, letting you control the overall effect balance

among the parts.

❏ Settings 0~127

When Offset=0

When Offset=64

When Offset=127

127

0 12764

127

0 12764

127

0 12764

Received velocity

Actual resulting

velocity (affecting

the tone generator)

Actual resulting

velocity (affecting

the tone generator)

Actual resulting

velocity (affecting

the tone generator)

Received velocity

173

MOTIF Reference

Performance Edit mode

Reference Performance mode

● [F3] Part Output Select

From this display you can set certain output

parameters for the selected part.

• InsEF (Insertion Effect)

This shows whether the Insertion effect is applied or not

for each part. This is for display purposes only and cannot

be set here. To set this, see “EF PART” (Effect Part) on

page 40.

• OutputSel (Output Select)

Determines the speciﬁc output(s) for the individual part.

You can assign each individual part’s voice to be output

from a speciﬁc hardware output jack on the rear panel. By

installing the optional AIEB2 board, you can expand the

number of assignable outputs.

❏ Settings See below.

*Available only when the optional AIEB2 board has been installed.

● [F4]-[SF1] Part Tone Tune

• NoteShift

Determines the pitch (key transpose) setting for each part

in semitones.

❏ Settings -24~+24

• Detune

Determines the ﬁne tuning for each part.

❏ Settings -12.8Hz ~+12.7Hz

● [F4]-[SF2] Part Tone Filter

Basic Structure (page 46)

From this display you can set various Filter related

settings, to change the tonal qualities of the selected

part’s voice.

• Cutoff

Determines the cutoff frequency for each part.

This parameter is available for the LPF when the ﬁlter

used by the part is a combination type of LPF and HPF.

❏ Settings -64 ~ 0 ~ +63

• Resonance

Determines the amount of ﬁlter resonance or emphasis of

the Cutoff Frequency for each part.

❏ Settings -64 ~ 0 ~ +63

• FEG Depth

Determines the Filter Envelope Generator depth (amount

of Cuttoff frequency) for each part.

❏ Settings 0 ~ 127

n The FEG Depth setting is not available for the

Plug-in parts.

● [F4]-[SF3] Part Tone FEG

Basic Structure (page 47)

From this display you can set the FEG (Filter Envelope

Generator) parameters for each part. The following

parameters offset the same parameters in the Voice

(Element) Edit mode (page 142).

• Attack

Determines the FEG Attack Time for each part.

❏ Settings -64 ~ 0 ~ +63

• Decay

Determines the FEG Decay Time for each part.

❏ Settings -64 ~ 0 ~ +63

• Sustain

Determines the FEG Sustain Level for each part.

❏ Settings -64 ~ 0 ~ +63

LCD Output jacks

Stereo/

Mono

L&R OUTPUT L and R Stereo

asL&R ASSIGNABLE OUTPUT L and R Stereo

as1&2 ASSIGNABLE OUTPUT 1 and 2 on the AIEB2

Stereo

1 : L

2 : R

as3&4 ASSIGNABLE OUTPUT 3 and 4 on the AIEB2

Stereo

3 : L

4 : R

as5&6 ASSIGNABLE OUTPUT 5 and 6 on the AIEB2

Stereo

5 : L

6: R

asL ASSIGNABLE OUTPUT L Mono

asR ASSIGNABLE OUTPUT R Mono

as1 ASSIGNABLE OUTPUT 1 on the AIEB2 Mono *

as2 ASSIGNABLE OUTPUT 2 on the AIEB2 Mono *

as3 ASSIGNABLE OUTPUT 3 on the AIEB2 Mono *

as4 ASSIGNABLE OUTPUT 4 on the AIEB2 Mono *

as5 ASSIGNABLE OUTPUT 5 on the AIEB2 Mono *

as6 ASSIGNABLE OUTPUT 6 on the AIEB2 Mono *

drum

This setting is for Drum voice parts. When this is

selected, the output destination settings for each

Drum key (made in Drum Key Oscillator Output,

page 149) are enabled.

Mono

174

MOTIF Reference

Performance Edit mode

Reference Performance mode

• Release

Determines the FEG Release Time for each part.

❏ Settings -64 ~ 0 ~ +63

n The FEG settings are not available for Plug-in

parts or parts to which Drum voices have been

assigned.

● [F4]-[SF4] Part Tone AEG

Basic Structure (page 47)

From this display you can set the basic AEG

(Amplitude Envelope Generator) parameters for

each part. The following parameters offset the

same parameters in the Voice (Element) Edit

mode (page 145).

• Attack

Determines the AEG Attack Time for each part.

❏ Settings -64~0~+63

• Decay

Determines the AEG Decay Time for each part.

❏ Settings -64~0~+63

• Sustain

Determines the AEG Sustain Level for each part.

❏ Settings -64~0~+63

n The Sustain level setting is not available for Plug-in

parts or parts to which Drum voices have been

assigned.

• Release

Determines the AEG Release Time for each part.

❏ Settings -64~0~+63

n The Release Time setting is not available for the

part to which the Drum Voice is assigned.

● [F5] Part Receive Switch

From this display you can set how each individual

part responds to various MIDI data, such as Control

Change and Program Change messages. When the

relevant parameter is set to “on,” the corresponding

part responds to the appropriate MIDI data.

Note that two different display types are provided

(see below). Each display type features the same

settings in a different format; use the type you feel

most comfortable with.

[SF5]button

175

MOTIF Reference

Performance Job mode

Reference Performance mode

Performance Job mode

The Performance Job mode contains various

convenient operations (called “Jobs”), including

initializing (resetting) performance data or recalling

previous edits.

◆ Basic Procedure

1 In the Performance Play mode, select a

performance you wish to execute the Job on.

2 Press the [JOB] button to enter the Performance

Job Mode.

3 Select the desired Job menu by pressing the

appropriate button, [F1] - [F4].

4 Set the relevant Job parameters.

5 Press the [ENTER] button. (The display prompts

you for conﬁrmation.)

6 Press the [INC/YES] button to execute the Job.

After the Job has been completed, a “Completed”

message appears and operation returns to the

original display.

n To cancel the Job, press the [DEC/NO] button.

For Jobs that take longer to process, you will see the

message “Executing…” during processing. If you switch

off the power of the MOTIF while this message is

displayed, you risk corrupting your data.

7 Press the [PERFORMANCE] button to exit from

Performance Job mode and return to Performance

Play mode.

• For detailed instructions on steps #3 - #4

, see the

explanations below.

● [F1] Initialize

This function lets you reset (initialize) all

performance parameters to their default settings. It

also allows you to selectively initialize certain

parameters, such as Common settings, settings for

each part, and so on — very useful when creating a

completely new performance from scratch.

❏ Type of parameter to be initialized

ALL

All settings for the selected performance are initialized.

Common

Common parameter settings for the selected performance

are initialized.

Part 1 ~ 4, PLG 1 ~ 3

Part parameter settings for the selected performance are

initialized.

● [F2] Edit Recall

If you are editing a performance and select a

different performance without storing your edited

one, all the edits you’ve made will be erased. If this

happens, you can use Edit Recall to restore the

performance with your latest edits intact.

● [F3] Copy

From this display you can copy Common and Part

parameter settings from any performance to the

performance you are editing. This is useful if you

are creating a performance and wish to use some

parameter settings from another performance.

Source performance

Destination performance

(currently selected performance)

176

MOTIF Reference

Performance Store mode

Reference Performance mode

• Source performance

Select a performance and data type to be copied.

❏ Data type Part 1 ~ 4, Plug 1 ~ 3

• Data type of Destination performance

(current selected performance)

Set the Part of the destination Performance.

❏ Data type Part 1 ~ 4, Plug 1 ~3, Arp, Effect (Reverb,

Chorus)

n If you choose Arp (Arpeggio) or Effect, the

Arpeggio data or Effect settings for the Voice

assigned to the source Part will be copied.

● [F4] Bulk Dump

This function lets you send all your edited

parameter settings for the currently selected

performance to a computer or another MIDI device

for data archiving.

n You must set the correct MIDI Device Number in

order to execute a Bulk Dump. For details, see

page 258.

Performance Store mode

Basic Structure (page 63)

This function lets you store your edited performance to

User memory.

When you execute this, the settings for the destination

memory will be overwritten. Important data should always

be backed up to computer, a separate memory card or some

other storage device.

◆ Basic Procedure

1 After editing the performance, press the [STORE]

button to enter the Performance Store mode.

2 Select the destination Performance memory

(number).

3 Press the [ENTER] button. (The display prompts

you for conﬁrmation.)

4 To execute the Store operation, press the [INC/

YES] button. After the performance has been

stored, a “Completed” message appears and

operation returns to the original display.

n To cancel the Store operation, press the

[DEC/NO] button.

For Store operations that take longer to process, you will

see the message “Executing…” during processing. If you

switch off the power of the MOTIF while this message is

displayed, you risk corrupting your data.

177

MOTIF Reference

Function Tree

Reference Song mode

Song Mode

Basic Structure (page 30)

Function Tree

This section is devoted to the Song mode. To see how the Song mode relates to the entire structure of the MOTIF

and its other modes and functions, see the simpliﬁed chart in “Basic Structure” on page 30.

The following detailed chart shows all of the display menus and parameter groups of the Song modes — giving you a

quick, easy-to-understand overview of the song-related functions of the MOTIF.

Brackets around a word or phrase (e.g., [F1]) indicate speciﬁc button names or panel operations.

[INFORMATION] SONG INFORMATION

[SONG] SONG PLAY

[F1] SONG PLAY

[F2] SONG GRID GROOVE

[F3] SONG TRACK OUTPUT CHANNEL

[F4] SONG TRACK LOOP ON/OFF

[F5] COPY PHRASE

[F6] SONG CHAIN PLAY/EDIT

[REC] SONG RECORD

SONG REC SETUP

[F1] SETUP

[F2] VOICE

[F3] ARP

[PLAY] SONG RECORDING

[F1] SETUP

[F2] VOICE

[STOP] SONG PLAY

[EDIT] SONG EDIT

[F1] CHANGE

[F5] INSERT

[F6] DELETE

[F2] VIEW FILTER

[F5] CLEAR ALL

[F6] SET ALL

[JOB] SONG JOB

[F1] UNDO/REDO

[F2] NOTE JOB LIST

QUANTIZE

MODIFY VELOCITY

MODIFY GATE TIME

CRESCENDO

TRANSPOSE

GLIDE

CREATE ROLL

SORT CHORD

SEPARATE CHORD

[F3] EVENT JOB LIST

SHIFT CLOCK

COPY EVENT

ERASE EVENT

EXTRACT EVENT

CREATE CONTINUOUS DATA

THIN OUT

MODIFY CONTROL DATA

BEAT STRETCH

[F4] MEASURE JOB LIST

CREATE MEASURE

DELETE MEASURE

[SONG]

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 275

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 179

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 179

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 181

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 182

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 182

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 183

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 183

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 183

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 184

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 184

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 188

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 189

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 183

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 184

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 188

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 184

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 189

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 189

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 190

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 192

. . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 192

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 192

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 193

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 193

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 193

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 194

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 195

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 196

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 196

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 196

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 197

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 198

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 198

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 198

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 199

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 199

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 199

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 200

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 200

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 200

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 201

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 201

178

MOTIF Reference

Function Tree

Reference Song mode

[MIX] SONG MIX

[INFORMATION] MIX INFORMATION

[MIX] MIX PART

[F1] MIX VOLUME/PAN

[F2] MIX AD

[F3] MIX VOICE

[F4] MIX EFFECT SEND

[F5] MIX TEMPLATE

[EDIT] MIXING EDIT

[COMMON]

[F1] COMMON GENERAL

[SF1] MEQ OFFSET

[SF5] OTHER

[F2] COMMON MASTER EQ

[F3] COMMON ARPEGGIO

[SF1] TYPE

[SF2] LIMIT

[SF3] PLAY FX

[SF4] OUTPUT CHANNEL

[SF5] CLEAR USER ARPEGGIO

[F4] COMMON CONTROLLER ASSIGN

[F6] COMMON EFFECT

[SF1] EFFECT CONNECT

[SF2] PLG-EF

[SF3] VARIATION

[SF4] REVERB

[SF5] CHORUS

[PART SELECTION]

[F1] PART VOICE

[SF1] VOICE

[SF2] PLAYMODE

[SF3] LIMIT

[SF4] PORTAMENTO

[SF5] OTHER

[F2] PART OUTPUT

[SF1] VOLUME/PAN

[SF2] EFFECT SEND

[F3] PART OUTPUT SELECT

OUTPUT SELECT

[F4] PART TONE

[SF1] TUNE

[SF2] FILTER

[SF3] FEG

[SF4] AEG

[F5] PART RECEIVE SWITCH

[EDIT] MIX COMPARE

[JOB] MIX JOB

[F1] INITIALIZE

[F2] EDIT RECALL

[F3] COPY

[F4] BULK DUMP

[F5] COPY FROM PERFORMANCE

[STORE] MIX STORE

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 205

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 205

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 205

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 207

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 207

. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 208

. . . . . . . . . . . . . . P. 208

. . . . . . . . . . . . . . . . . . . . P. 208

. . . . . . . . . . . . . . . . . . . . . . . . P. 209

. . . . . . . . . . . . . . . . . . . . . . . . . . P. 209

. . . . . . . . . . . . . . . . . . . . . P. 209

. . . . . . . . . . . . . . . . . . . P. 209

. . . . . . . . . . P. 209

. . . . P. 209

. . . . . . . . . . . . . . . P. 209

. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 210

. . . . . . . . . . P. 210

. . . . . . . . . . . . . . . . . . . . P. 210

. . . . . . . . . . . . . . . . P. 210

. . . . . . . . . . . . . . . . . . . P. 210

. . . . . . . . . . . . . . . . . . P. 210

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 210

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 210

. . . . . . . . . . . . . . . . . . . . P. 210

. . . . . . . . . . . . . . . . P. 210

. . . . . . . . . . . . . . . . . . . . . P. 210

. . . . . . . . . . . . . P. 210

. . . . . . . . . . . . . . . . . . . . P. 210

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 211

. . . . . . . . . . . . . . P. 211

. . . . . . . . . . . . . . . . . . . . . . . . P. 211

. . . . . . . . . . . . . . . . . P. 211

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 211

. . . . . . . . . . . . . . . . . . . . . P. 211

. . . . . . . . . . . . . . . . . . . . P. 211

. . . . . . . . . . . . . . . . . . . . . . P. 211

. . . . . . . . . . . . . . . . . . . . . . . P. 212

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 212

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 212

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 212

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 213

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 213

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 213

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 213

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 214

[F5] TRACK JOB LIST

COPY TRACK

EXCHANGE TRACK

MIX TRACK

CLEAR TRACK

NORMALIZE PLAY EFFECT

DIVIDE DRUM TRACK

PUT PHRASE TO ARP

[F6] SONG JOB LIST

COPY SONG

SPLIT SONG TO PATTERN

CLEAR SONG

SONG NAME

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 201

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202

. . .. . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 204

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 204

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 204

179

MOTIF Reference

Song Play mode

Reference Song mode

Song Play mode

Basic Structure (page 67) · Quick Start Guide (page 77)

In this mode, you can select and play individual User

songs.

n For details about songs and their track and memory

structure, see page 51.

◆ Basic Procedure

Basic Operation (page 67)

1 Press the [SONG] button to enter the Song Play

mode. (The indicator lights.)

2 Select a song.

3 Start/Stop song playback.

4 Make necessary or desired settings (e.g., transpose,

tempo, location, individual track on/off status, and

so on) in the above display.

5 Select the menu you wish to edit by pressing the

[F2] - [F6] buttons and edit the parameters in each

display.

6 Set a Song Scene.

7 Repeat steps #3 through #6 as desired.

8 Press any other mode button to exit from the Song

Play mode.

• For detailed instructions on steps #2, 4, 5

, and 6,

see the following explanations.

• For details on step #3, refer to “Quick Start

Guide” on page 78.

Song Selection

The explanations here apply to step #2 of the Basic

Procedure above.

Song track number

and data status

Currently selected song

Song track on/off status

SONG

Indicates muted track.

Indicates soloed track (page 180).

In addition to MIDI sequence data,

the sample data has been recorded.

(Indicates ansample track.)

MIDI sequence data

has been recorded.

(Indicates a MIDI track.)

No data has been recorded.

Location setting for

the selected song

Tempo for the selected song

❒ Setting 001.0~300.0

Measure : Beat

(for current playback location)

❒ Setting Depends on the song data

Time signature for the selected song

❒ Setting 1/16 ~ 16/16, 1/8 ~ 16/8, 1/4 ~ 8/4

Transpose setting (for entire song)

Can be adjusted in semitones.

For example, when a value of +12 is set,

the pitch of all of the data becomes one octave higher.

❒ Setting -36 ~ +36

Song nameSong number

Start playbackStop playback

n The explanations here apply when

these four button indicators are off.

PLG 2

CATEGORY

DRUM KITS

FAVORITES

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM /

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/ PERF.PART/ZONE

180

MOTIF Reference

Song Play mode

Reference Song mode

1 Press any of the GROUP [A] - [D] buttons to select

a Group.

n Each letter group contains sixteen song numbers,

and pressing the appropriate letter selects the ﬁrst

song in that letter’s group. For example, press

button [A] to select song 01, press button [B] to

select song 17 and so on. (See chart below.)

2 Press any of the NUMBER [1] - [16] buttons to

select a Song and return to the Song Play display.

● Song numbers and the corresponding Group/

Numbers

You can also select a song by moving the cursor to the

song number location and using the [INC/YES] and

[DEC/NO] buttons or the data dial.

Location

The explanations here apply to step #4 of the Basic

Procedure on page 179.

The Song Play mode has a convenient Location

function that lets you jump to user-speciﬁed parts of a

song. This lets you assign a speciﬁc measure number

in the selected song, and instantly jump to the assigned

measure — either during playback or when the song is

stopped. Two Locations can be assigned.

■ Assigning Locations

Select the desired measure in the recorded song for the

Location. (Highlight “MEAS” and use the [INC/YES]

and [DEC/NO] buttons or data dial.) Then, to assign

the measure to Location 1, simultaneously hold down

the [SET LOCATE] button and press the [G] button.

To assign Location 2, use the [H] button.

■ Jumping to an assigned Location

You can instantly jump to the assigned Location 1 or 2

by simultaneously holding down the [LOCATE] button

and pressing the [G] button (for Location 1) or the

[H] button (for Location 2).

Song track on/off — Solo and Mute

The explanations here apply to step #4 of the Basic

Procedure on page 179.

● To mute a track

Song Number Group Number Song Number Group Number

001 A 1 033 C 1

002 A 2 034 C 2

003 A 3 035 C 3

004 A 4 036 C 4

005 A 5 037 C 5

006 A 6 038 C 6

007 A 7 039 C 7

008 A 8 040 C 8

009 A 9 041 C 9

010 A 10 042 C 10

011 A 11 043 C 11

012 A 12 044 C 12

013 A 13 045 C 13

014 A 14 046 C 14

015 A 15 047 C 15

016 A 16 048 C 16

017 B 1 049 D 1

018 B 2 050 D 2

019 B 3 051 D 3

020 B 4 052 D 4

021 B 5 053 D 5

022 B 6 054 D 6

023 B 7 055 D 7

024 B 8 056 D 8

025 B 9 057 D 9

026 B 10 058 D 10

027 B 11 059 D 11

028 B 12 060 D 12

029 B 13 061 D 13

030 B 14 062 D 14

031 B 15 063 D 15

032 B 16 064 D 16

Specify a measure number

to be registered.

In this example, the selected

measure is assigned to Location

1. The current settings for

Locations 1 and 2 are shown at

the top right of the display.

SEQ

TRANSPORT

LOCATE

REC

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

LOCATE

TRACK

SELECT

MUTE

SOLO

NUMBER

ELEMENT/PERF.PART/ ZONE

181

MOTIF Reference

Song Play mode

Reference Song mode

1 Press the [MUTE] button so that its lamp lights.

2 Press any of the NUMBER [1] - [16] buttons to

select the track number to be muted.

● To solo a track

Simultaneously hold down the [MUTE] button and

press one of the NUMBER buttons [1] to [16] to solo

the corresponding track.

Once you’ve selected a track for soloing, the [MUTE]

button’s lamp ﬂashes, indicating the Solo function is

active. While Solo is active, you can change the soloed

track simply by pressing the corresponding NUMBER

button [1] to [16].

To exit from the Solo function, press the [MUTE]

button again.

Song track selection

The explanations here apply to step #5 of the Basic

Procedure on page 179.

In order to edit the Song data, you’ll need to select a

track for editing.

Press the [TRACK SELECT] button so that its

indicator lights and press any of the NUMBER [1] -

[16] buttons to select a track to be edited.

n Selecting another song resets the selected track to 1.

Song Scene

The explanations here apply to step #6 of the Basic

Procedure on page 179.

Song Scene is a powerful function that allows you to

save ﬁve different “snapshots” of important song-

related parameters — including transpose, tempo,

track mute status, and the basic sound/mixing controls

(all parameter settings controllable from the Knobs and

CS sliders).

n The Song Scene settings can be set independently for

each song.

● Storing the Song Scene

● Recalling the Song Scene

Simply press any of the [SF1] - [SF5] buttons to recall

the setting.

One of the convenient advantages of Song Scene is that

it lets you instantly and automatically execute

parameter settings that normally require many button

presses or controller operations. Use it during song

recording or playback to make instantaneous setting

changes.

Song editing in the Song Play mode

The explanations here apply to step #5 of the Basic

Procedure on page 179.

The Song Play mode lets you perform a variety of

general editing operations on the selected song. For

more detailed and comprehensive editing operations,

use the Song Edit and Song Mixing modes.

● [F2] Song Play Groove

The Grid Groove function makes it possible to

adjust the pitch, timing, length, and velocity of

notes in a speciﬁed track via a 1-measure 16th-note

grid to create “grooves” that would not be possible

with precise sequencer-like programming. The Grid

Groove function affects song playback without

actually changing the sequence data.

TRACK

SELECT

MUTE

SOLO

NUMBER

ELEMENT/PERF.PART/ ZONE

TRACK

SELECT

MUTE

SOLO

NUMBER

ELEMENT/PERF.PART/ ZONE

After making the desired settings

for the Song Scene, simultaneously

hold down the [STORE] button and

press one of the SONG SCENE

buttons [SF1] to [SF5].

STORE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

182

MOTIF Reference

Song Play mode

Reference Song mode

• NOTE OFFSET

Raises or lowers the pitch of the note(s) on the selected

grid in semitones.

❏ Settings 99 ~ +99

• CLOCK SHIFT

Shifts the timing of the note(s) on the selected grid

forward or back ward in clock increments.

❏ Settings 120 ~ +120

• GATE OFFSET (Gate time Offset)

Lengthens or shortens the note(s) on the selected grid in

clock increments.

❏ Settings 120 ~ +120

• VELO OFFSET (Velocity Offset)

Increases or decreases the velocity of the note(s) on the

selected grid.

❏ Settings 127 ~ +127

● [F3] Song Play Output Channel

From this display you can set the MIDI output

channel for each of the sixteen tracks, and

determine which MIDI port the track data is sent to.

• OUT CH (Output Channel)

Sets up channel transmission to the MIDI OUT terminal.

Tracks set to “Off” will not sound.

❏ Settings off, 01 ~ 16

n In the Song/Pattern mode, the MIDI data created by

playing the keyboard/knobs/wheels is sent to the tone

generator block or the external MIDI devices via the

MIDI output channel of the currently selected track.

• Port

Determines the MIDI transmission port for the

corresponding track. This is useful for sending data to

external tone generators over multiple MIDI ports in an

extended MIDI setup. Keep in mind that this parameter can

only be set for tracks having assignments to Plug-in parts 1 - 3

(for installed single-part boards) or Plug-in parts 17 -32 (for

installed multi-part boards). Tracks using the internal tone

generator parts of the MOTIF are automatically ﬁxed at port 1.

❏ Settings off, 01 ~ 03

n Port data can be output only through the USB

terminal. No port data is transmitted through the

MIDI OUT terminal, even if the corresponding

track is set to a speciﬁc port number.

● [F4] Song Play Track Loop

From this display you can determine whether the

data in the selected track loops or not in playback.

Using Loop can be an effective way to repeat short

patterns and phrases throughout the song.

❏ Settings on, off

In the example below, a 40-measure song has been

recorded and Track 1 is set to play back normally

over the 40 measures. Track 2 has been set to loop,

and will repeat until the [■] button is pressed.

When set to on, you can specify the range to be

looped. (Only the end point can be set, the start

point of looped playback is ﬁxed to the beginning of

the song.) Please note that the part that is not

looped is deleted after setting to on.

1 Press [F1] to call up the Song Play display. Change

the current measure that is to be a last measure of

looped playback.

2 Press [F4] to call up the Track Loop display and

move the cursor to the desired track.

plus

VELO OFST

GATE OFST

CLOCK SFT

NOTE OFST

0minus

Track 1

(40 measures

of data)

Track 2

(4 measures

of data)

Playback

The four-measure data is repeated

ten times.

In this example, set to "004."

183

MOTIF Reference

Song Record mode

Reference Song mode

3 Set to on by using the [INC/YES] and [DEC/NO]

buttons or the data dial. (The display prompts you

for conﬁrmation.)

4 Press the [INC/YES] button. The Loop is set to on

and the part that is not looped is deleted

● [F5] Song Play Copy Phrase

You can copy s Pattern track data (Phrase) to a Song

track. You can also copy the preset phrase that does

not assigned to the Pattern track by the Patch

function (page 219).

● [F6] Song Play Chain Play/Edit

This function allows songs to be “chained” together

for automatic sequential playback.

This is particularly convenient in live performance

situations, letting you have your song backing play

automatically in “jukebox” fashion while you

perform over it. Highlight the desired point in the

chain, then use the [INC/YES] and [DEC/NO]

buttons or data dial to set the desired song number

or parameter below.The MOTIF allows you to

create one Song Chain setting.

Parameters other than the song number are explained here.

• skip

Skips past (ignores) the selected chain number and

continues playback from the next chain number.

• stop

Stops the song chain playback at that chain number. You

can restart the song chain playback from the next chain

number by pressing the [F] button.

• end

Indicates the end mark of the song chain data.

Song Record mode

Quick Start Guide (page 110)

In this mode, you can use the sequencer to record your

keyboard performance in real time to each track of a

User Song.

n For details about recording methods, see page 53.

◆ Basic Procedure

Basic Structure (page 53)

1 In the Song Play mode, select a User Song to be

recorded.

2 If necessary, set a Song Scene (page 115).

3 Press the [REC] button to enter the Song Record

mode. (The indicator lights.) The Song Record

Setup display shown below appears.

4 Set basic parameters for recording (e.g., recording

type, track, tempo, and so on).

n Please note that the time signature can be set in the

Song Play display. See page 179.

5 Change the display by pressing the [F2] - [F3]

buttons and set various parameters for recording.

n Your performance on the keyboard and the

controllers (Knobs, Pitch Bend wheel, Modulation

wheel, and so on) is recorded to tracks 1 - 16. The

Tempo (“TMP”) track is for recording tempo

changes, while the Scene track is for changes to the

Song Scene numbers and Track Mute settings.

6 Press the [F] button to start recording.

•When any of the Realtime recording methods

(any setting other than “step”) is selected in step

#4, your keyboard playing and controller moves

are automatically recorded.

• When “step” is selected in step #4, compose

your performance by entering a note one by one.

Source Phrase

If sample data is included in the original

Phrase and you want to copy all of the

data, make sure to checkmark this box.

Specify the source track and

measure of the current selected

song.

After completing the settings,

press the [ENTER]

button to execute the Copy

Phrase.

REC

184

MOTIF Reference

Song Record mode

Reference Song mode

n MIDI events the external MIDI devices connected

to the MOTIF can be recorded to tracks 1~16.

7 After completing your performance (in Realtime

recording) or completing Step recording, press the

[■] button to stop recording.

8 Record additional tracks as required. Repeat

steps #3 through #7 as desired.

9 Press the [F] button to hear your newly

recorded performance.

10 Save the recorded data to the Memory Card or

the SCSI device connected to the MOTIF.

The recorded (edited) song data resides temporarily in

DRAM (page 64). Because data contained in DRAM is

lost when the power is turned off, you should always store

any data residing in DRAM to a memory card or an

external SCSI device before turning off the power.

• For detailed instructions on steps #4 - #7, see the

following explanations.

• For details on step #1

0 refer to “File mode” on

page 266.

n The following explanations apply to MIDI data

recording (creating MIDI tracks). For instructions

on recording audio data (creating sample tracks),

see “Sampling mode” on page 233.

Setting up before recording

The explanations here apply to steps #4 - #5 of the

Basic Procedure on page 183.

● [F1] Song Record Setup

Basic Structure (page 51)

When recording type is set to something other

than “step” :

n “Punch-in measure : beat” and “Punch-out measure :

beat” are available when the Recording Type is set to

“Punch.”

When recording type is set to “step” :

• Type (Recording type)

Determines the recording method.

❏ Settings:

ecTrack is set to 1 ~ 16:

replace, overdub, punch, step

ecTrack is set to “tempo” :

replace, punch, step

ecTrack is set to “scene” :

replace, punch

ecTrack is set to “multi” :

replace , overdub, punch

n When “punch” is selected, “Punch-in measure :

beat” and “Punch-out measure : beat” appear in

the display and should be set.

n When “step” is selected, you should specify the

event type to be enetered.

• Quantize

This parameter is available when the Recording Type is set

to something other than “step.” Record quantize aligns

the timing of notes which are not exactly on the beat on-

the-ﬂy as you record.

REC

Tempo

Punch-out

measure : beat

Punch-in

measure : beat

Time signature

(set in the Song Play display)

This lets you switch between Single Track

recording and All Track recording. (Press

the [F6] button.)

This lets you turn the click sound

(metronome) on/off for recording.

(Press the [F5] button.)

Time signature

(set in the Song Play display)

Tempo

185

MOTIF Reference

Song Record mode

Reference Song mode

❏ Settings: off, 60 (32nd note), 80 (16th note triplet), 120

(16th note), 160 (8th note triplet), 240 (8th

note), 320 (1/4 note triplet), 480 (1/4 note)

• Event

This parameter is available when the Recording Type is set

to “step.” This lets you specify the event type to be

entered.

❏ Settings: note, p.bend (pitch bend), CC#000~#119

(Control Change)

• RecTrack

Determines the track to be recorded.

Pressing the [F6] button lets you switch between Single

Track recording and All Track recording.

❏ Settings: tempo, scene, 1~16, multi

• Tempo

Determines the Song tempo.

❏ Settings: 001.0 ~300.0

Song Recording

The explanations here apply to steps #6 - #7 of the

Basic Procedure on page 183, page 184.

■ Realtime Recording

See “Quick Start Guide” (page 110)

■ Step Recording

If you press the [F] button in step #6 of the Basic

Procedure on page 183, the following display appears

and you can input the speciﬁed events one by one.

● Entering the Note Event

When the event to be entered is set to “note” , you

can input the note events one by one.

• Beat Graph

This is the display in which notes are “placed” during step

recording.When the meter is 4/4, the display is divided

into four beats (one measure). Each diamond-shaped

marker in the display represents one 32nd beat (each 1/4

note division is divided into eight 32nd beats).

For example, if the following rhythmic pattern

“” is entered in 4/4 time, a display like the one

shown below will appear.

• Pointer

Determines the data-entry position.

The triangular pointer above the beat graph indicates the

data-entry position.

To move the pointer right or left, use the [INC/YES] and

[DEC/NO] buttons or the data dial.

• Value

When the event to be entered is set to “note” , this value

speciﬁes the velocity with which the note will be entered.

❏ Settings:

001~127

The set value (1 ~ 127) corresponds to the MIDI

velocity value entered.

RND1 ~RND4

When one of the random settings is selected, a random

velocity value will be entered.

• StepTime

The “size” of the current recording step time for the next

note to be entered. This determines to what position the

pointer will advance after a note has been entered.

❏ Settings:

• GateTime

Sets the gate time to produce slurs, staccato notes, etc.

“Gate time” refers to the actual length of time the note

sounds. For the same 1/4 note, for example, a long gate

time will produce a slur while a short gate time will

produce a staccato effect.

Gate time is indicated as a percent value of the step time.

A setting of 50% produces a staccato sound, values

between about 80% and 90% produce normal note length,

and a value of 99% will produce a slur.

❏ Settings: 001%~200%

● [F3] REST

Press [F3] to enter a rest as long as the speciﬁed step time.

The point will move ahead to the next data-entry position.

Rests do not appear on the display.

n There is no actual data representing rests in the

MIDI sequencer. When a “rest” is entered the

pointer simply moves ahead to the next data-entry

position, effectively leaving a rest.

● [F4] TIE

When the [F4] button is pressed to enter a tie, the

preceding note is lengthened to the full step time. For

example, in the following phrase, note is entered with

1/4 note step time. If the step time is then changed to an

8th note and [F4] is pressed, note is entered.

Pointer indicating the current note position.

Beat Graph

32nd note

16th note triplet

16th note

8th note triplet

8th note

1/4 note triplet

1/4 note

half note

whole note

0001~0059

186

MOTIF Reference

Song Record mode

Reference Song mode

Dotted notes can also be entered using the TIE function.

To produce a dotted 1/4 note, for example, set the step

time to an 8th note, enter a note and then press [F4] twice.

● [F5] DELETE

Press this to actually delete the note events at the current

cursor position.

● [F6] BCK DEL

Moves the pointer backward by one step and deletes all

notes at that location.

n Mistakenly entered notes can be erased by pressing

[F6] immediately after they are entered (before

changing the step time value).

● Entering other events

When entering non-note events (such as control

change data), the display is basically the same as

that for note data.

The following descriptions apply to non-note

events.

• Value

When the event to be entered is something other than

“note,” this determines the value of the speciﬁed non-note

event.

❏ Settings:

When e

vent is set to to “p.bend” :

- 8192 ~+8191

When e

vent is set to “CC (Control Change) #001~119” :

000 ~127

When e

vent is set to “tempo” (RecTrack is set to “tempo” ):

001 ~300

◆ Examples of Step Recording

The explanations here apply to steps #6 - #7 of the

Basic Procedure on page 183, page 184.

This section explains how to step-record notes, using

three speciﬁc examples.

1 Set the parameters as illustrated below.

Here, we’ll set the Step Time to (480) so that

quarter notes will be entered, and set the GateTime

to 100% to have the notes play in legato.

2 Play the keys C, D, E, F, G, A, B and C in order.

Each time you press a key and release it, the

pointer moves forward by one step and the played

note is recorded.

3 Move the pointer to the top (beginning) of the

song and press the [F] button to hear the note

data you just recorded in steps #1 and 2.

The TIE function is not available for non-note events.

187

MOTIF Reference

Song Record mode

Reference Song mode

●Example 2 (Using the TIE function)

1Set the parameters as illustrated below.

Since the ﬁrst note is a half note, set the StepTime

to (960), and set the GateTime to 80%, since you

don’t want the notes to play in legato.

2 Enter the ﬁrst note F.

3 Enter the next 8th notes.

Keep the display settings unchanged for the

remaining notes in the measure, and press/release

each key one by one as shown below.

4 Follow the instructions below to enter the next

dotted half note.

5 Enter the last quarter note by pressing and

releasing F.

SEQ TRANSPORT

LOCATE

REC

(1) Press and release F.

(2) Change this value to 240,

since the next note is an 8th note.

(3) Press the [F4] button to tie the

two F notes (half note and 8th note).

(2) Press and release A

(3) Press [F4] twice to expand the quarter note to a dotted half note.

(1) Change this to 480.

188

MOTIF Reference

Song Record mode

Reference Song mode

6 Move the pointer to the top (beginning) of the

song and press the [F] button to hear the note

data you just recorded in steps #1 - 5.

●Example 3 (Using the REST function)

1 Set the parameters as illustrated below.

Set the StepTime to (480) and the Gate Time to

80%.

2 Enter the ﬁrst note F.

3 Enter the next 8th rest by following the

instructions below.

4 Enter the next 8th note A.

5 Enter the next 4th note C by following the

instructions below.

6 Enter the next 8th rest via the same procedure as

in step #3

7 Enter the last 8th note F.

8 Move the pointer to the top (beginning) of the

song and press the [F] button to hear the note

data you just recorded in steps #1 - 7.

● [F2] Song Record Voice

From this display you can set voice-related

parameters for the selected track. The settings

made here affect the tone generator parts whose

MIDI receive channels match the MIDI transmit

channel of the song track.

Press and release F.

Change this value to 240, since

the rest value is the same as an

8th note.

Enter an 8th note rest by

pressing the [F3] button.

(1)(2)

Press and release A.

Press and release C.

Change this value to 480, since the next note is

a quarter note.

(1)

(2)

Press and release F.

189

MOTIF Reference

Song Edit mode

Reference Song mode

• Voice

Determines the voice for the selected track.

You can use the BANK, GROUP, NUMBER button or the

Category Search function to select a voice (page 124). You

can also select a Sample voice (page 58).

• Voume

Determines sound volume for the selected track.

❏ Settings 0~127

• Pan

Determines the stereo pan position the selected track.

❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right)

• InsEF (Insertion Effect Part Switch)

Determines whether the Insertion effect (page 39) for the

selected track is on or off.

❏ Settings on, off

● [F3] Song Record Arpeggio

From this display you can set various Arpeggio-

related parameters for the selected track.

• Bank

Determines the speciﬁc Arpeggio Bank. For details, see

page 55.

❏ Settings pre1, pre2, user

• Type

Determines the Arpeggio type. The two-letter preﬁx before the

name indicates the general Arpeggio category. (page 55 )

• Velocity Limit

Determines the lowest and highest velocity in the

Arpeggio’s velocity range. While recording, this lets you

control when the Arpeggio sounds by your playing

strength.

❏ Settings 1~127

• Switch

Determines whether Arpeggio playback is on or off. You

can also turn this on or off from the front panel with the

[ARPEGGIO ON/OFF] button.

❏ Settings off, on

• Hold

Determines whether the Arpeggio playback is “held” or

not. When this is set to “on,” the Arpeggio cycles

automatically, even if notes are released, and it continues

to cycle until the next note data is received.

❏ Settings sync-off, off, on

• PartSwitch

Determines whether Arpeggio playback is on or off for the

tone generator part (page 55) that corresponds to the

recorded track.

❏ Settings off, on

Song Edit mode

This mode gives you comprehensive, detailed controls

for editing the MIDI events of individual song tracks.

MIDI events are messages (such as note on/off, note

number, program change number, etc.) that make up

the data of a recorded song.

◆ Basic Procedure

Basic Operation (page 70)

1 In the Song Play mode, select a User Song to be

edited.

2 Press the [EDIT] button to enter the Song Edit

mode. (The indicator lights.) The Song event List

display shown below appears.

3 Revise, insert or delete the MIDI events as needed.

If you ﬁnd the display too cluttered, you can ﬁlter

out certain event types with the View Filter.

Simply press the [F2] button and select the event

types you want to be displayed.

4 After completing editing, press the [SONG] button

to return back to the Song Play mode.

5 Press the [F] button to hear your edited data.

6 Edit other tracks as required. Repeat steps #2

through #5 as desired.

7 After editing, save your song data to the Memory

Card or the SCSI device connected to the MOTIF

in the File mode.

• For detailed instructions on step #3, see the

following explanations.

• For details on step #7, refer to “File mode” on

page 266.

Determines whether Arpeggio playback data is

recorded to the track or not. (Press the [F4] button.)

EDIT

Events

Measure

number

Clock

(480 clocks per quarter-note)

Beat

190

MOTIF Reference

Song Edit mode

Reference Song mode

Event Editing/Inserting/Deleting

The explanations here apply to step #3 of the Basic

Procedure on page 189.

■ Editing/Deleting Existing Events

To edit data in the Event List, use the up/down cursor

buttons to highlight the speciﬁc event you want to edit,

and use the left/right cursor buttons to highlight the

data type or parameter to be edited. Then, change the

value as needed by using the [INC/YES] and [DEC/

NO] buttons or the data dial.

The edited event will ﬂash on the display. Press the

[ENTER] button to actually enter the edited data (the

event will stop ﬂashing). To abort an edit simply

highlight to a new event location without pressing the

[ENTER] button. Press the [F6] button to delete the

event at the current location.

■ Inserting New Events

To insert an event, use the up/down cursor buttons to

highlight an event at the desired point in the track

(measure, beat, clock) — this is the location to which

the new event will be inserted. Then, follow the steps

below.

MIDI events that can be inserted

(edited)

The following explanations apply to the MIDI events

that can be inserted (edited) in step #3 of the Basic

Procedure on page 189.

The following displays are called up by pressing the

[F5] button in step #3 of the Basic Procedure on

page 189.

■ Note

This is the most common and prevalent type of data —

the individual notes of a song.

• Note name

Determines the note name or the speciﬁc keyboard pitch of

the note.

❏ Settings C -2 ~ G8

• Gate time (beat : clock)

Determines the length of time that a note actually sounds

in beats and clocks.

❏ Settings 00:001 ~ 999:479

n On the MOTIF, one clock is 1/480th of a quarter

note.

• Velocity

Determines how strongly the selected note sounds.

❏ Settings 1 ~ 127

■ Pitch Bend

These are the events that deﬁne continuous changes in

pitch and these events are generated by pitch bend

wheel operation.

• Data

❏ Settings -8192 ~ +8191

You can also move the selected event to

another location by specifying different

values for measure, beat, and clock.

Press the [F6] button to

delete the

event at the current

location.

Press the [F1] button to abort and

return to the main Event List

display.

Press the [F5]

button.

Press the [ENTER] button to

actually insert the event.

ENTER

EXECUTE

Note name Gate time Velocity

Data

191

MOTIF Reference

Song Edit mode

Reference Song mode

■ Program Change

These events determine the selected voice for the note

data. Keep in mind that Program Change events can be

inserted at any point in a song track, letting you change

voices in the middle of a song.

• Bank Select MSB, LSB

Determines the voice bank.

❏ Settings ***~127

n Bank select MSB and LSB are actually part of the

Control Change set of messages (below).

However, since they apply speciﬁcally to voice

selection, they grouped and described here.

• Program number

Determines the speciﬁc voice (from the bank selected by

MSB and LSB above).

❏ Settings 001~128

n For a complete list of the available voice banks and

numbers, refer to the Voice List in the separate

Data List booklet.

■ Control Change

These events control the sound and certain response

characteristics of the voice, and are usually generated/

recorded by moving a controller (such as a modulation

wheel, knob, slider or foot controller).

• Control number

Determines the Control Change number. (See chart

below.)

❏ Settings 000~127

n For details on using Control Change numbers

(including those above), refer to the separate Data

List booklet.

■ Channel Aftertouch (CAT)

This event is generated when pressure is applied to a

key after the note is played.

• Data

This represents the amount of pressure applied to the key.

❏ Settings 000~127

■ Polyphonic Aftertouch (PAT)

This event is generated when pressure is applied to a

key after the note is played. Unlike Channel Aftertouch

above, this is recorded and applied independently for

each key pressed.

• Note name

Determines the key to which aftertouch is applied.

❏ Settings C -2~G8

• Data

This represents the amount of pressure applied to the key.

❏ Settings 000~127

■ Registered Parameter Number (RPN)

This event changes parameter values for each tone

generator part.

This event is used to set part settings such as Pitch

Bend Sensitivity or Tuning.

For a complete list of the available RPN numbers and

their corresponding controls, refer to the MIDI Data

Format in the separate Data List booklet.

Control

Number

Function

001 Modulation Wheel

005 Portamento Time

007 Volume

010 Pan (Stereo position)

011 Expression

064 Sustain (Hold 1)

065 Portamento on/off

066 Sostenuto pedal on/off

067 Soft Pedal on/off

071 Harmonic Content (controls Filter Resonance)

074 Brightness (controls Filter Cutoff Frequency)

084 Portamento Source Note Number

120 All Sound Off

Bank Select MSB

Bank Select LSB

Program number

Voice name

Control number Data

Data

Note name Data

RPN MSB-LSB Data Entry

MSB-LSB

192

MOTIF Reference

Song Edit mode

Reference Song mode

• RPN MSB-LSB

❏ Settings 000~127

• Data Entry MSB-LSB

❏ Settings 000~127

n Normally three types of control change data are

sent: RPN MSB (101), RPN LSB (100), and Data

Entry MSB (6). In the MOTIF, Data Entry LSB

(38) is added to this and the resulting group of

control change events is handled as one in this

display. For a complete list of the available RPN

and NRPN numbers and their corresponding

controls, refer to the MIDI Data Format in the

separate Data List booklet.

■ Non Registered Parameter Number (NRPN)

This event changes parameter values for each tone

generator part.

This event is used to edit sounds via MIDI, allowing

you to edit ﬁlter or EG settings, or adjust the pitch or

level for each instrument of a drum voice.

For a complete list of the available NRPN numbers and

their corresponding controls, refer to the MIDI Data

Format in the separate Data List booklet.

• NRPN MSB-LSB

❏ Settings 000~127

• Data Entry MSB-LSB

❏ Settings 000~127

n Normally three types of control change data are

sent: NRPN MSB (99), NRPN LSB (98), and Data

Entry MSB (6). In the MOTIF, this group of

control change events is handled as one in this

display. For a complete list of the available RPN

and NRPN numbers and their corresponding

controls, refer to the MIDI Data Format in the

separate Data List booklet.

■ System Exclusive (Exc)

A type of MIDI message used to exchange data unique

to a speciﬁc model or type of device.

Unlike with other MIDI events, these events differ

depending on the manufacturer/device, and are

incompatible among different devices.

• Data

❏ Settings 00 ~7F, F7 (Data must be entered in

hexadecimal format.

Event View Filter

The explanations here apply to step #3 of the Basic

Procedure on page 189.

The MOTIF’s “Event View Filter” lets you select the

event types that appear on the Event List display. For

example, if you wish to edit only note events, place a

checkmark in the box next to “Note” as shown below

so that only the note events appear in the Event List

display.

RPN MSB-LSB Data Entry

MSB-LSB

Data

Press the [F6] button

to set checkmarks

into all boxes.

When the Control Change box is

checkmarked, you can specify the

desired Control Change number.

Press the [F5] button

to remove all

checkmarks at once.

193

MOTIF Reference

Song Job mode

Reference Song mode

Song Job mode

The Song Job mode contains a comprehensive set of

editing tools and functions you can use to change the

sound of the song. It also includes a variety of

convenient operations, such as copying or erasing data.

Most of these operations can be performed on either an

entire track or a selected range of measures in the

track.

◆ Basic Procedure

1 In the Song Play mode, select a song you wish to

execute the Job on.

2 Press the [JOB] button to enter Song Job Mode.

3 Select the desired Job menu by pressing the

appropriate button, [F2] - [F6].

4 Use the CURSOR buttons to scroll to the desired

Job.

5 Press the [ENTER] button to go to the selected Job

display.

6 Set the relevant Job parameters.

7 Press the [ENTER] button. (The display prompts

you for conﬁrmation.)

8 Press the [INC/YES] button to execute the Job.

After the Job has been completed, a “Completed”

message appears and operation returns to the

original display.

n To cancel the Job, press the [DEC/NO] button.

9 If you wish to undo the changes made in the steps

above, press the [F1] button and (to select Undo/

Redo) and use the Undo function.

10 Press the [SONG] button to exit from Song Job

mode and return to Song Play mode.

• For detailed instructions on steps #3 - #9

, see the

explanations below.

[F1] Undo/Redo

The explanations here apply to step #9 of the Basic

Procedure (see above).

The Undo Job cancels the changes you made in your

most recent patch session, recording session, editing

session, or Job, restoring the data to its previous state.

This allows you to recover from accidental data loss.

Redo is available only after using Undo, and lets you

restore the changes you made before undoing them.

Undo/Redo does not work with sample voice operations.

[F2] Note data Job

Press the [F2] button in steps #3 of the Basic Procedure

(see above). so that the Note data Job list appears on

the display. Scroll the cursor to the desired Job and

press the [ENTER] button to go to the display of the

selected Job.

The following explanations apply to step #6

of the

Basic Procedure (see above).

n Before executing the Note data Job, make sure that you

specify the track (01~16, all) and range (measure : beat :

clock) to which the Job is applied.

Indicates the current Job: Undo or Redo.

Indicates the operation to be

affected by Undo or Redo.

Press the [ENTER] button to

execute the Undo/Redo

operation.

194

MOTIF Reference

Song Job mode

Reference Song mode

● [F2]-01 Quantize

Quantization is the process of adjusting the timing

of note events by moving them closer to the nearest

exact beat. You can use this feature, for example, to

improve the timing of a performance recorded in

real time.

• Quantize Value (Resolution)

Determines to what beats the note data in the speciﬁed

track will be aligned.

❏ Settings

• Strength

The Strength value sets the “strength” by which note

events are pulled toward the nearest quantize beats.

A setting of 100% produces exact timing. A setting of 0%

results in no quantization.

❏ Settings 000 %~100 %

• SwingRate

Delays notes on even-numbered beats (backbeats) to

produce a swing feel.

For example, if the meter is 4/4 and the quantize value is

quarter notes, the 2nd and 4th beats of the measure will be

delayed.

When a triplet quantize value is used, the last note of each

triplet is delayed.

When the quantize value is or , even-numbered

or beats will be delayed.

❏ Settings See below.

If the quantize v

alue is :50%~75%

A setting of 100% is equivalent to twice the length of the

speciﬁed quantize value. A setting of 50% produces exact

timing and therefore no swing feel. Settings above 51%

increase the amount of swing, with 75% being equivalent

to a dotted-note delay.

If the quantize v

alue is :66%~83%

A setting of 100% is equivalent to three times the length of

the speciﬁed quantize value. A setting of 66% produces

exact timing and therefore no swing feel. Settings above

67% increase the amount of swing, with 83% being

equivalent to a sextuplet delay.

If the quantize v

alue is :50%~66%

A setting of 100% is equivalent to twice the length of a d

or d note. A setting of 50% produces exact timing and

therefore no swing feel. Settings above 51% increase the

amount of swing, with 66% being equivalent to a triplet

delay.

n If a swing value other than 100% results in notes

being positioned after other non-swing notes, the

latter notes are delayed accordingly.

• GateTime

Determines the gate time (the length of time a note

sounds) of the even-numbered backbeat notes to enhance

the swing feel.

When a triplet quantize value is used, the gate time of the

last note of each triplet is adjusted.

When the quantize value is or , the gate time of the

even-numbered or beats will be adjusted.

A setting of 100% leaves the original gate time unchanged.

If an adjusted gate time value is less than 1, the MOTIF

sets the value to 1.

❏ Settings 000%~200%

Track

Range

32nd note

16th note triplet

16th note

8th note triplet

8th note

1/4 note triplet

1/4 note

16th note + 16th note triplet

8th note + 8th note triplet

Quarter-note length

Original data

(assuming 4/4 meter)

Quantizing

strength =100

Quantizing

strength =50

,,,

50% 75% 100%0%

Specified range

Front beat Back beat

66% 83% 100%0% 33%

Front beat Back beat

Specified range

Front beat Back beat

Specified range

50% 66% 100%0% 33%

195

MOTIF Reference

Song Job mode

Reference Song mode

● [F2]-02 Modify Velocity

This job alters the velocity values of the speciﬁed

range of notes, letting you selectively boost or cut

the volume of those notes.

Velocity changes are calculated as follows:

Adjusted velocity

= (original velocity x Rate) + Offset.

If the result is 0 or less, the value is set to 1. If the

result is higher than 127, the value is set to 127.

• Set All

Sets the velocities of all target notes to the same ﬁxed value

(1 to 127). When set to “OFF” the Set All parameter has

no effect. When set to a value other than “OFF” the Rate

and Offset parameters are unavailable and appear as “***”

on the display.

❏ Settings OFF(0), 001~127

• Rate

Determines the percentage by which the target notes will

be shifted from their original velocities.

Settings below 100% reduce the velocities, and settings

above 100% increase the velocities proportionately. When

the Set All parameter is not “OFF” this parameter appears

as “***” and cannot be changed.

❏ Settings 000% ~ 200%, ***

• Offset

Adds a ﬁxed value to the Rate-adjusted velocity values.

A setting of 0 produces no change. Settings below 0 reduce

the velocities, and settings above 0 increase the velocities.

When the Set All parameter is not “OFF” this parameter

appears as “***” and cannot be changed.

❏ Settings -127 ~ +127, ***

● [F2]-03 Modify Gate Time

This job alters the gate times of the speciﬁed range

of notes. Gate time changes are calculated as

follows:

Adjusted gate time

= (original gate time x Rate) + Offset.

If the result is 0 or less, the value is set to 1.

• SetAll

Sets the gate times of all target notes to the same ﬁxed

value. When set to “OFF” the Set All parameter has no

effect. When set to a value other than “OFF” the Rate and

Offset parameters are unavailable and appear as “***” on

the display.

❏ Settings Off (0), 0001 ~ 9999

• Rate

Determines the percentage by which the gate time of the

target notes will be changed.

Settings below 100% shorten the notes, and settings above

100% lengthen the notes proportionately. When the Set

All parameter is not “OFF” this parameter appears as

“***” and cannot be changed.

❏ Settings 000% ~ 200%, ***

• Offset

Adds a ﬁxed value to the Rate-adjusted gate time values.

A setting of 0 produces no change. Settings below 0

shorten the gate time, and settings above 0 lengthen the

gate time. When the Set All parameter is not “OFF” this

parameter appears as “***” and cannot be changed.

❏ Settings -9999 ~ +9999, ***

Track

Range

Original velocity

Rate = 50%

Rate = 150%

(Vel)

96 64 48 32

48 32 24 16

127 96 72 48

Original velocity

Offset = -20

Offset = +20

(Vel)

96 64 48 32

76 44 28 12

116 84 68 52

Track

Range

Original gate time

Gate time rate = 50%

Gate time rate = 150%

(Gate)

32 32 32 48

16 16 16 24

48 48 48 72

Original gate time

Offset = -20

Offset = +20

(Gate)

32 32 32 48

12 12 12 28

52 52 52 68

196

MOTIF Reference

Song Job mode

Reference Song mode

● [F2]-04 Crescendo

This Job lets you create a crescendo or decrescendo

over the speciﬁed range of notes. (Crescendo is a

gradual increase in volume, and decrescendo is a

gradual decrease.)

• Velocity Range

Determines the intensity of the crescendo or decrescendo.

The velocity values of the notes in the speciﬁed range are

gradually increased or decreased starting at the ﬁrst note

in the range. The velocity of the last note in the range

becomes the original velocity of the note plus the Velocity

Range value. If the resultant velocity is outside the 1 ~

127 range it is set to 1 or 127 accordingly. Settings greater

than 0 produce a crescendo, and settings less than 0

produce a decrescendo. A setting of 0 produces no effect.

❏ Settings -127 ~ +127

● [F2]-05 Transpose

Transpose lets you change the key or pitch of the

notes in the speciﬁed range.

• Note

Determines the range of note pitches over which the job is

applied.You can set this parameter by pressing the desired

key while holding the [INFORMATION] button.

❏ Settings C-2 ~ G8

• Transpose

Transposes notes in the speciﬁed range (in semitones). A

setting of +12 transposes up one octave, while a setting of

-12 transposes down an octave. A setting of 0 produces no

change.

❏ Settings -127 ~ +127

● [F2]-06 Glide

The Glide Job replaces all notes following the ﬁrst

note in the speciﬁed range with pitch bend data,

producing smooth glides from note to note. This is

ideal for producing guitar-like slide or note-bending

effects.

• GlideTime

Determines the length of the glide. Higher values produce

a longer glide between notes.

❏ Settings 000~100

• PB Range (Pitch Bend Range)

Determines the maximum pitch bend range to be applied

by the glide job (in semitones).

❏ Settings 01~24

● [F2]-07 Create Roll

This Job creates a series of repeated notes (like a

drum roll) in the speciﬁed range with the speciﬁed

continuous changes in clock step and velocity. This

is ideal for creating fast staccato rolls and special

stuttering effects.

• Roll Step

Determines the size of the step (i.e. the number of clocks)

between each note in the roll. Both the starting and ending

clock values can be speciﬁed, making it easy to create rolls

in which the step size varies from note to note.

❏ Settings Start Step 001~999

End Step 001~999

Track

Range

Track

Range

Track

Range

Track

Range

Roll VelocityRoll Step

197

MOTIF Reference

Song Job mode

Reference Song mode

• Roll Velocity

Determines the velocity of the notes in the roll. Both the

starting and ending velocity values can be speciﬁed,

making it easy to create rolls in which the velocity

increases or decreases.

This lets you create rolls that gradually increase or

decrease in volume (crescendo/decrescendo) — a

technique often used in dance music.

❏ Settings Start Velo 001~127

End Velo 001~127

• Note

Determines the speciﬁc note (or instrument in Drum

voices) for the roll effect.

❏ Settings C-2~G8

n You can also set the Note directly from the Keyboard, by

holding down the [INFORMATION] button and

pressing the desired key. See “Basic Operation” on

page 75.

● [F2]-08 Sort Chord

This job sorts chord events (simultaneous note

events) by order of pitch. The sort affects the order

of the notes in the Event List display (page 190), but

does not change the timing of the notes.

When used to pre-process chords before using the

Chord Separate job (described later), Chord Sort can

be used to simulate the “stroke” or strumming

sound of guitars and similar instruments.

• Type

Determines how the chord note data is sorted.

❏ Settings up, down, up&down, down&up

The notes are sorted in ascending order.

The notes are sorted in descending order.

up&do

Sorts chord notes on downbeats in ascending order and

chord notes on up beats in descending order, based on the

Grid setting, below.

down&up

Sorts chord notes on downbeats in descending order and

chord notes on up beats in ascending order.

• Grid

Determines the type of note that will serve as the basis for

the Chord Sort job.

❏ Settings

Start

Step

004:1:240 006:3:120

In this example, the space

between individual notes

gradually becomes shorter

over the time of the roll.

measure

EndStep

Roll Step (Clock)

Start

Step

004:1:240 006:3:120

In this example, the space between

individual notes gradually becomes

longer over the time of the roll.

measure

EndStep

Roll Step (Clock)

Start

Velo

004:1:240 006:3:120

Roll Crescendo

measure

EndVelo

Roll Velocity

Start

Velo

004:1:240 006:3:120

EndVelo

Roll Velocity

Track

Range

32nd note

16th note triplet

16th note

8th note triplet

8th note

1/4 note triplet

1/4 note

16th note + 16th note triplet

8th note + 8th note triplet

198

MOTIF Reference

Song Job mode

Reference Song mode

● [F2]-09 Separate Chord

This job slightly separates notes in chords within

the speciﬁed range, inserting a speciﬁed number of

clocks between each note. Use this job after the

Chord Sort Job above, to create guitar-like upstroke

or downstroke effects.

• Clock

Determines the number of clock cycles inserted between

adjacent chord notes.

❏ Settings 000 ~999

n Note that there are 480 clock cycles per quarter

note.

n It is not possible to separate chords so that they

cross the next measure boundary or chord.

[F3] Event Job

Press the [F3] button in step #3 of the Basic Procedure

on page 193 so that the Event Job list appears on the

display. Scroll the cursor to the desired Job and press

the [ENTER] button to go to the display of the selected Job.

The following explanations apply to step #6 of the

Basic Procedure on page 193.

n Before executing the Event Job, make sure that you

specify the track and range (measure : beat : clock) to

which the job is applied. Please note that the track to be

speciﬁed varies depending on the Job.

● [F3]-01 Shift Clock

This Job shifts all data events in the speciﬁed range

forward or backward by the speciﬁed number of

clocks.

One useful application for this would be to change

the rhythmic feel of a drum track or bass track,

subtly shifting it in time relative to the other tracks

— to create a rushed feel or a laid-back feel.

• Clock

Determines the amount by which the data will be delayed

or advanced in measures, beats, and clocks.

❏ Settings 000:0:000 ~ 999:16:479

• Direction

Determines the direction in which the data will be shifted.

ADVANCE moves the data toward the beginning of the

sequence, while DELAY shifts the data toward the end of

the sequence.

❏ Settings Advance, Delay

● [F3]-02 Copy Event

This Job copies all data from a speciﬁed source

range to a speciﬁed destination location.

• Source track and range, Destination track

and range

❏ Settings

Track 01~16, tmp (tempo), scn (scene), all

Range 001:1:000 ~ 999:16:479

• NumberOfTimes

Determines the number of times the data is copied.

❏ Settings 01 ~ 99

When Copy Event is executed, any data already existing at

the Destination location will be overwritten.

Track

Range

Original data

Clock=000:1:000

Direction=Delay

Clock=000:1:000

Direction=Advance

Quarter-note length

Track

Range

Source track and range in measures, beats, and clocks

Destination track and range in measures, beats, and clocks

199

MOTIF Reference

Song Job mode

Reference Song mode

● [F3]-03 Erase Event

This Job clears all speciﬁed events from the

speciﬁed range, effectively producing a segment of

silence.

• Event Type

Determines the event type to be erased.

All events are cleared when ALL is selected.

Individual control change numbers can be speciﬁed when

erasing control change events.

❏ Settings

When TR is set to 0

1~16:

Note (Note events), PC (Program Change), PB (Pitch

Bend), CC: 000-127, all (Control Change, Control

Change number), CAT (Channel Aftertouch), PAT

(Polyphonic Aftertouch), EXC (System Exclusive), All

(all events)

When TR is set to “tmp” (T

empo):

tmp (tempo)

When TR is set to “scn” (Scene):

Scene Memory (Scene change information), Track

Mute (Track mute setting change information)

n Keep in mind that applying this Job to a track with

sample voices erases the events that trigger the

samples, but it does not erase the actual samples

themselves.

● [F3]-04 Extract Event

This Job moves all instances of speciﬁed event data

from a speciﬁed range of a track to the same range

in a different track.

One useful application for this would be to extract

all instances of a certain note out of a track, and

send them to a new track for separate editing.

• Track and range in which data is extracted

❏ Settings Track 01~16

Range 001:1:000~999:16:479

• Event Type

Selects the event type to be extracted.

Speciﬁc note and control change numbers can also be

speciﬁed as required.

❏ Settings Note (Note : Note number), PC (Program

Change), PB (Pitch Bend), CC: 000-127, all

(Control Change, Control Change number),

CAT (Channel Aftertouch), PAT

(Polyphonic Aftertouch), EXC (System

Exclusive)

• Destination track

❏ Settings 01~16

● [F3]-05 Create Continuous Data

This Job creates continuous pitch bend or control

change data over the speciﬁed range.

• Event Type

Determines the event type to be created.

❏ Settings PB (Pitch Bend), CC: 000-127, all (Control

Change, Control Change number), CAT

(Channel Aftertouch), EXC (System

Exclusive), tmp (Tempo)

• Data Range

Determines the lower and upper limits for the data range

to be created. The left value is the lower limit, and the

right value is the upper limit.

❏ Settings When Event Type is set to PB

-8192~+8191

When Event Type is set to tmp:1.0~300.0

When Event Type is set to other :0~127

• Clock

Determines the number of clocks to be inserted between

each created event.

❏ Settings 001~999

• Curve

Determines the “curve” of the continuous data.

Refer to the graph below for approximate curve shapes.

❏ Settings -16 ~+16

Track

Range

Track and range in which data is extracted

Destination track

Track

Range

Start

point

End point

This distance specified

by Clock

Curve=+16 Curve=0((linear) Curve=-16

200

MOTIF Reference

Song Job mode

Reference Song mode

• Number Of Times

Determines the number of times the data creation is to be

repeated.

For example, if data is created in the range M001:1:000 ~

M003:1:000 and this parameter is set to 03, the same data

will be created at M003:1:000 ~ M005:1:000 and

M005:1:000 ~ M007:1:000.

This Job lets you to insert continuous volume or ﬁlter

cutoff variations to create tremolo or wow effects.

❏ Settings 01~99

● [F3]-06 Thin Out

This Job thins out the speciﬁed type of continuous

data in the speciﬁed range — allowing you to free

up memory space for other data or further

recording.

• Event Type

Determines the event type to be thinned.

❏ Settings PB (Pitch Bend), CC: 000-127, all (Control

Change, Control Change number), CAT

(Channel Aftertouch), PAT (Polyphonic

Aftertouch)

n The Thin Out Job will not work on continuous

data that has a clock interval of greater than 60

clocks per event.

● [F3]-07 Modify Control Data

This Job lets you change the values of a speciﬁed

type of control change data — pitch bend, control

change, aftertouch, etc. — in the speciﬁed range.

Data changes are calculated as follows:

Modiﬁed value

= (original value x Rate) + Offset.

The modiﬁed value cannot exceed the minimum/

maximum limits of the parameter. Any result lower

than the minimum is set to the minimum; any result

higher than the maximum is set to the maximum.

• Event Type

Determines the event type to be modiﬁed.

❏ Settings PB (Pitch Bend), CC: 000-127, all (Control

Change, Control Change number), CAT

(Channel Aftertouch), PAT (Polyphonic

Aftertouch), tmp (Tempo)

• Set All

Sets all target events to the same ﬁxed value. When set to

“OFF” the Set All parameter has no effect. When set to a

value other than “OFF” the Rate and Offset parameters

are unavailable and appear as “***” on the display.

❏ Settings OFF, 000 ~127 (-8192 ~ +8191 for pitch

bend, 0.1 ~ 300.0 for tempo)

• Rate

Determines the percentage by which the target events will

be shifted from their original values.

When the Set All parameter is not “OFF” this parameter

appears as “***” and cannot be changed.

❏ Settings 000% ~ 200%, ***

• Offset

Adds a ﬁxed value to the Rate-adjusted event values.

When the Set All parameter is not “OFF” this parameter

appears as “***” and cannot be changed.

❏ Settings -127~127, *** (-8192 ~ +8191 for pitch

bend, ***)

● [F3]-08 Beat Stretch

This Job performs time-expansion or compression

over the selected range.

Keep in mind that this operation affects all event

timing, note step times, and note gate times.

• Rate

Determines the amount of time expansion or compression

as a percentage.

Settings higher than 100% produce expansion, and

settings below 100% produce compression.

❏ Settings 025%~400%

n Only MIDI data is affected by this job. Sample

voices are not expanded or compressed. However,

for samples recorded using the Slice+Seq feature,

the Beat Stretch job expands or compresses the

timing of the note data, step times, and gate times

that control playback of the sliced samples. The

sample voice itself is not affected.

Track

Range

Track

Range

Track

Range

201

MOTIF Reference

Song Job mode

Reference Song mode

[F4] Measure Job

Press the [F4] button in step #3 of the Basic Procedure

on page 193 so that the Measure Job list appears on the

display. Scroll the cursor to the desired Job and press

the [ENTER] button to go to the display of the selected

Job.

The following explanations apply to step #6 of the

Basic Procedure on page 193.

● [F4]-01 Create Measure

This Job creates empty measures at the speciﬁed

location in all tracks.

• Meter of measures to be inserted

Determines the meter or time signature of the measures to

be created. You may ﬁnd it convenient to use this

parameter when you need to create a song that

incorporates meter changes.

❏ Settings 1/16~16/16, 1/8~16/8, 1/4~8/4

• Insertion point (Measure number)

Determines the insert point (measure number) at which

the newly created blank measures will be inserted.

❏ Settings 001~999

• Number of measures to be inserted

Determines the number of empty measures to be created

and inserted.

❏ Settings 01~99

n When empty measures are inserted, measure and

meter data following the insert point are moved

forward accordingly.

n If the insert point is set after the last measure

containing data, only the meter data at that point

is set without actually inserting the measures.

● [F4]-02 Delete Measure

This Job deletes the speciﬁed measures.

Measure and meter data following the deleted

measures are moved backward accordingly.

• Delete Range

❏ Settings 001~999

n Keep in mind that applying this Job to a range of

measures with sample voices erases the events that

trigger the samples, but it does not erase the actual

samples themselves.

[F5] Track Job

Press the [F5] button in step #3 of the Basic Procedure

on page 193 so that the Track Job list appears on the

display. Scroll the cursor to the desired Job and press

the [ENTER] button to go to the display of the selected

Job.

The following explanations apply to step #6 of the

Basic Procedure on page 193.

8 measures inserted at measure 5

The inserted 8 measures

001~ 004 005 ~ 012 013 ~ 024

001~ 004 005 ~ 016

Original data

Meter (time signature) of

measures to be inserted

Insertion point (measure number)

Number of measures

to be inserted

Measures M005 ~ M012 deleted

001 ~ 004 005 ~ 012 013 ~ 024

001 ~ 004 005 ~ 016

Original data

Delete Range

202

MOTIF Reference

Song Job mode

Reference Song mode

● [F5]-01 Copy Track

This Job copies all data from a speciﬁed source track

to the speciﬁed destination track.

• Source Song and Track

❏ Settings Song 01~64

Track 01~16

• Destination Song and Track

❏ Settings Song 01~64

Track 01~16

• Data Type to be copied

Determines the type(s) of data to be copied. Select the

desired type by checkmarking the appropriate box.

❏ Settings Seq Event (all events in the track), Grid

Groove (for the selected track), Mix Part

Param (all Mixing Part parameters), Sample

(all samples used by the track)

The copy operation overwrites any data previously

existing on the destination track.

Undo/Redo cannot be used to undo/redo a sample voice

copy operation.

n When there is no memory available in the

destination song for sample voice data, the alert

message will appear on the display and the sample

voice data will not be copied. If this occurs, use

Sample Job 02 “Delete” to delete any unused

samples, then try again.

● [F5]-02 Exchange Track

This Job exchanges or “swaps” the speciﬁed type of

data between two speciﬁed tracks in the current

song.

• Target tracks for the Exchange operation

❏ Settings 01~16

• Data Type to be exchanged

Determines the type(s) of data to be exchanged. Select the

desired type by checkmarking the appropriate box.

❏ Settings Seq Event (all events in the track), Grid

Groove (for the selected track), Mix Part

Param (all Mixing Part parameters)

● [F5]-03 Mix Track

This job mixes all data from two selected tracks

(“A” and “B”), and places the result in track B. One

useful application for this would be to free up the

data in track A, letting you record new data to it.

• Target tracks for the Mix operation

❏ Settings 01~16

n Keep in mind that applying this Job to tracks with

sample voices does not mix the sample voices.

● [F5]-04 Clear Track

This Job deletes all data of the selected type from

the selected track, or from all tracks.

• Track for which data will be cleared

❏ Settings 01~16, tmp(tempo), scn(scene), all

• Data type to be cleared

Determines the type(s) of data to be cleared. Select the

desired type by checkmarking the appropriate box.

❏ Settings Seq Event (all events in the track), Grid

Groove (for the selected track), Mix Part

Param (all Mixing Part parameters), Sample

(all samples used by the track)

Source Song and Track

Destination Song and Track

Data Type to be copied

Target tracks for the Exchange operation

Data Type to be exchanged

Track B

Mix Track

Track B

Track A

Track a Track b

Track for which data will be cleared

Data type to be cleared

203

MOTIF Reference

Song Job mode

Reference Song mode

Undo/Redo cannot be used to undo/redo a Clear operation

for tracks that contain sample data.

● [F5]-05 Normalize Play Effect

This job rewrites the data in the selected track so

that it incorporates the current Grid Groove

settings.

• TR (Track)

Determines the song track to which the Job is applied.

❏ Settings 01~16, all

● [F5]-06 Divide Drum Track

Separates the note events in a drum performance

assigned to a speciﬁed track, and places the notes

corresponding to different drum instruments in

separate tracks (tracks 1 through 8).

One useful application for this would be to use

Quantize (page 194) and Shift Clock (page 198) to

independently adjust the timing of different drum

parts in the rhythm, to tighten up the timing and yet

create a more natural sounding feel.

• TR (Track)

Determines the song track to which the job is applied.

❏ Settings 01~16

n In order to use this Job, tracks 1 - 8 must be empty.

If there aren’t enough empty tracks, an error

message appears. If this happens, use the Clear

Track Job (page 202) to delete tracks 1 - 8, then try

the Job again.

● [F5]-07 Put Phrase To ARP

Basic Structure (page 56)

This Job copies data in the speciﬁed measures of a

track for creating Arpeggio data. Note that

Arpeggio data can be made up of data from four

separate tracks; however, the Job must be performed

separately on each track, one by one.

• Source Song track and range

❏ Settings Track 01~16

Range 000~999

• Destination Arpeggio number and its track

This parameter allows you also to name a Destination

Arpeggio. For details about the naming function, see

“Basic Operation” on page 75.

❏ Settings Track 1~4

• Fixed Note Mode

When this box is checkmarked, the resulting Arpeggio

(ﬁrst 16 notes) is played back no matter which key is

played. Checkmark this when creating rhythm Arpeggios

containing only drum/percussion sounds.

[F6] Song Job

Press the [F6] button in step #3 of the Basic Procedure

on page 193 so that the Song Job list appears on the

display. Scroll the cursor to the desired Job and press

the [ENTER] button to go to the display of the selected

Job.

The following explanations apply to step #6 of the

Basic Procedure on page 193.

● [F6]-01 Copy Song

This Job copies all data from a selected source song

to a selected destination song.

❏ Settings 01~64

Source Song track and range

Destination Arpeggio number and its track

Source Song

Destination Song

204

MOTIF Reference

Song Job mode

Reference Song mode

• Source song

❏ Settings 01~64

• Destination Song

❏ Settings 01~64

● [F6]-02 Split Song To Pattern

This Job allows you to copy a part of the current

song — all 16 tracks over a speciﬁc range of

measures — to a speciﬁc section and style, letting

you use song data to create a pattern.

• Source song range (in measures)

❏ Settings 001~999

• Destination pattern (style and section)

❏ Settings Style 01~64

Section A~H

• Copy Sample

When this box is checkmarked, sample voices assigned to

each track in the source song are copied to the split

destination style as sample voices and are assigned to the

corresponding tracks in that pattern. This checkbox has

no effect if no sample voices are assigned to the tracks in

the source song.

This Job overwrites any data already existing in the

destination pattern.

● [F6]-03 Clear Song

This job deletes all data from the selected song or all

songs.

• Song(s) from which data is to be cleared

❏ Settings 01~64, all

● [F6]-04 Song Name

Basic Operation (page 75)

This Job lets you assign a name to the selected song.

See “Basic Operation” on page 75.

Source song range (in measures)

Destination pattern (style and section)

Song(s) from which data is to be cleared

205

MOTIF Reference

Song Mixing mode

Reference Song mode

Song Mixing mode

In this mode, you can set up and save mixing data for

your songs, and set various parameters for the tone

generator parts — including the desired voice, as well

as its level, pan, EQ, effect and other settings.

How the Song Mixing mode affects the tone generator

parts, and how it is affected by other elements is made

clear by the following diagram.

Song Mixing parameters are not actually part of the song

data, but rather are settings for the tone generator, as it is

played back by the song data. As such, the Song Mixing

parameter settings are not recorded to the song tracks.

n Even if the selected song has no sequence data, this

Mixing data can be stored to User memory as song data.

Playing back such song data transmits the mixing setup

to the external MIDI instrument.

◆ The [ ] Indicator

If you alter any parameters in the Song Mixing mode,

the [ ] indicator will appear in the top left of the

display. This indicates that the current Song Mixing

settings have has been modiﬁed but not yet stored.

The [ ] indicator will disappear when you select another

song and all edited data will be lost. It is a good idea to

store the edited song data in the Song Mixing Store mode

(page 214). Even if you lose the Song Mixing edited data, you

can restore it by using the Edit Recall function (page 158).

n As shown above, the Song Mixing settings can be

affected or overridden by song playback and

external MIDI data. Keep in mind that because of

this, the [ ] indicator may appear in the display

— even though you’ve made no changes or edits to

the Song Mixing settings yourself.

Song Mixing mode

(Simple Mixer functions)

n The parameters that have the same name in the Song

Mixing mode and in the Song Mixing Edit mode have the

same functions and settings.

◆ Basic Procedure

1 In the Song Play mode, select a User Song to be

mixed.

2 Press the [MIXING] button to enter the Song

Mixing mode. (The indicator lights.)

3 Select a display for the parts you wish to mix by

using the [F6] button.

n Please note that the Muti-Part Plug-in Part

(17~32) settings apply not to one individual song

but to all 64 songs.

4 Select the menu you wish to edit by pressing the

[F1] - [F5] buttons, then edit parameters in each

display.

n If you wish to edit more detailed Mixing

parameters, you can enter the Song Mixing Edit

mode by pressing the [EDIT] button. For details,

refer to “Song Mixing Edit mode” on page 207.

5 Store the settings edited in step #4 to the User

Memory as required.

Sequencer block

Playback of song data affects the

Song Mixing settings.

Tone Generator

block

MIDI data from external

devices affects the Song

Mixing settings.

Editing in the Song

Mixing mode

determines the Song

Mixing settings.

Song Data

Tone Generator

Song Mixing

Edit indicator

Internal Tone Generator Parts 1~16

Multi Part Plug-in Parts 17~32

(When the Multi Part Plug-in board has been installed)

[F6]

Single Part Plug-in Parts 1~3

When the Single Part Plug-in board has been installed)

206

MOTIF Reference

Song Mixing mode

Reference Song mode

6 Press the [SONG] button to exit from the Song

Mixing mode and return to the Song Play mode.

• For detailed instructions on steps #4, see the

following explanations.

• For details on step #5, refer to “Song Mixing

Store mode” on page 214.

● [F1] VOL/PAN

From this display you can set the Pan and Volume

for each part (track).

n You can select a part by moving the cursor or by

using the NUMBER buttons while the [TRACK

SELECT] indicator is on (page 181).

• PAN

Determines the stereo pan position for each part.

❏ Settings L64 (far left)~C (center)~R63 (far right)

• VOLUME

Determines the volume for each part.

❏ Settings 0~127

n You can also adjust the Volume by using the

Control Sliders. See page 48 for details.

● [F2] AD

From this display you can set various mixing

parameters for the A/D part, input via the A/D

INPUT jack or the mLAN terminal (when the

optional mLAN8E has been installed).

Same as in the Performance Play mode. See

page 160.

● [F3] VOICE

Basic Structure (page 43) · Reference (page 124)

From this display you can select a voice for each

part.

Sample voices can also be selected (page 52).

n You can select a part by moving the cursor or by

using the NUMBER buttons while the [TRACK

SELECT] indicator is on (page 181).

n The Category Search function can also be used to

select voices here (with the exception of the Multi-

part Plug-in parts 17 - 32).

● [F4] SEND (Effect Send)

Basic Structure (page 39)

From this display you can make basic effect settings

for each track — the Reverb, Chorus and Variation

Send levels, as well as the Dry Level.

❏ Settings 0~127

● [F5] TEMPLATE

This convenient function lets you store your mixing

settings as a template — allowing you to easily set

up similar mixes by calling up the proper template,

then tweaking it as needed. Templates are part of

the System data (page 63) in the Utility mode and

not as data for each song.

n Since the Song Mixing templates are stored as

System data (page 64) in the SRAM, the data is

maintained even when the power is turned off.

Press the [SF5] button lets your save the

current setting to the template selected at left.

Pressing the [SF4] button lets

you call up the template

selected at left.

Template Number

Template Name

207

MOTIF Reference

Song Mixing mode

Reference Song mode

• Template number

Determines the template number. Up to 16 templates can

be created.

❏ Settings 1~16

• Template name

Determines the name of the template. For details about

naming, see “Basic Operation” on page 75.

Song Mixing Edit mode

(Detailed Mixer functions)

◆ The Compare Function

This convenient function lets you switch between the

edited mixing setting and its original, unedited

condition — allowing you to listen to the difference

between the two and better hear how your edits affect

the song.

1 In the Song Mixing Edit mode, press the

[COMPARE] button so that its indicator ﬂashes.

The [ ] indicator is shown at the top of the

display (in place of the [ ] indicator), and the

original, unedited Song Mixing settings are

restored for monitoring.

2 Press the [EDIT] button again to disable the

“Compare” function and restore the settings for

your edited Song.

n While Compare is active, you cannot make Song

Mixing edits.

◆ Common edit and Part edit

Use Common Edit to edit the settings common to all

parts. There are two types of Song Mixing displays:

those for Common Edit, and those for editing

individual parts.

n Common Edit operations cannot be performed on

the Multi-part Plug-in parts 17 - 32.

◆ Basic Procedure

1 In the Song Play mode, select a User Song to be

mixed.

2 Press the [MIXING] button to enter the Song

Mixing mode. (The indicator lights.)

3 Press the [EDIT] button to enter the Song Mixing

Edit mode. (The indicator lights.)

4 Select a part to be edited.

• To edit parameters common to all parts, press the

[DRUM KITS] button (which serves as a

“COMMON” button here).

EDIT

COMPARE

Indicates a Common Edit display.

Indicates a display for editing Part(s).

COMMON

Part 1

Part 2

Part 3

Part 16

Plug-in Part 1

Plug-in Part 2

Plug-in Part 3

DRUM KITS

FAVORITES

COMMON

208

MOTIF Reference

Song Mixing mode

Reference Song mode

• To edit parameters of the individual parts, select

the desired part with the corresponding

NUMBER button ([1] - [16]). You can select

parts for the Plug-in board by using the [F6]

button (as shown below).

n Please note that the Muti-Part Plug-in Part

(17~32) settings apply not to one individual song

but to all 64 songs.

5 Select the menu you wish to edit by pressing the

[F1] - [F5] buttons and edit parameters in each

display.

6 Store the settings edited in step #5 to the User

Memory as required.

7 Press the [SONG] button to exit from the Song

Mixing mode and return to the Song Play mode.

• For detailed instructions on steps #5, see the

following explanations.

• For details on step #6, refer to “Song Mixing

Store mode” on page 214.

■ Common edit

● [F1]-[SF1] Song Mixing Common General

Master EQ Offset

The Song Mixing parameters feature global EQ

settings for all parts of the selected song (see

“MEQ” , page 209). The settings made here in this

display are applied as offsets to those MEQ settings

(with the exception of “MID”). You can set the

parameters below by using the four Knobs on the

panel.

❏ Settings -64~+63

● [F1]-[SF5] Song Mixing Common General

Other

From this display you can set the control functions

for the Knobs.

• Knob Assign

Determines the function for the assignable Knobs (1 - 4).

Pressing the [KNOB CONTROL FUNCTION] button on

the panel sets the desired function row, which is

automatically stored to memory with the currently

selected song.

❏ Settings pan, tone, assign, MEQofs

TRACK

SELECT

MUTE

SOLO

NUMBER

ELEMENT/PERF.PART/ ZONE

Internal Tone Generator Parts 1~16

Multi Part Plug-in Parts 17~32

(When the Multi Part Plug-in board has been installed)

[F6]

Single Part Plug-in Parts 1~3

(When the Single Part Plug-in board has been installed)

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

209

MOTIF Reference

Song Mixing mode

Reference Song mode

• ChoCtrl (Chorus Control)

Determines the depth of the Chorus effect, as controlled by

the Knob assigned to Chorus Send.

❏ Settings -64~+63

• Assign A, Assign B, Assign 1, Assign 2

This lets you directly set and memorize the value for each

Assign Knob (A, B, 1, and 2), from the Knob itself. Simply

tweak the knob to the desired setting.

❏ Settings -64~+63

● [F2] Song Mixing Common

MEQ (Master Equalizer)

From this display you can apply ﬁve-band

equalization to all parts of the selected song.

Same as in Performance Common Edit. See page 165.

● [F3]-[SF1] Song Mixing Common Arpeggio

Arpeggio type

Basic Structure (page 55)

The basic parameters (e.g., type) of the Arpeggio are

provided in this display.

When a User Arpeggio is selected, you can clear the

selected Arpeggio data by using the [SF5] button.

This is the same as in Voice Normal Common Edit

(page 132), except that the Tempo setting is not

available here, since the Arpeggio plays according to

the song tempo.

● [F3]-[SF2] Song Mixing Common Arpeggio

Arpeggio Limit

Same as in Voice Normal Common Edit. See

page 133.

● [F3]-[SF3] Song Mixing Common Arpeggio

Play FX (Effect)

Same as in Voice Normal Common Edit. See

page 133.

● [F3]-[SF4] Song Mixing Common Arpeggio

Output channel

Same as in Performance Common Edit. See

page 168.

● [F4] Song Mixing Common

Controller Assign

The controllers and knobs on the front panel can be

used to change and adjust a variety of parameters

for each song — in real time, and simultaneously.

Same as in Performance Common Edit. See

page 169.

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

pan

tone

assign

meqofs

This appears only when

User Arpeggio is selected.

210

MOTIF Reference

Song Mixing mode

Reference Song mode

● [F6]-[SF1] Song Mixing Common Effect

Connection

Basic Structure (page 41)

This display gives you comprehensive control over

the effect connections.

Same as in Performance Common Edit. See

page 169.

● [F6]-[SF2], [SF3],[SF4],[SF5]

Common Effect Parameter

Plug-in Insertion, Reverb, Chorus, Variation

Basic Structure (page 39)

The number of parameters and values available

differs depending on the currently selected effect

type. For more information, see the Effect Type List

in the separate Data List booklet.

■ Part Edit

n Please note that the Muti-Part Plug-in Part (17~32)

settings apply not to one individual song but to all 64

songs.

● [F1]-[SF1] Song Mixing Part Voice

From this display you can select the voice for each

part. When the cursor is located at the Bank

parameter, you can directly select a voice by using

the appropriate BANK, GROUP and NUMBER

buttons on the panel (as long as the [TRACK

SELECT] indicator is off). (pages 124~125)

● [F1]-[SF2] Song Mixing Part Voice

Play Mode

• Mono/Poly

Determines whether the voice for the selected part is

played back monophonically (single notes only) or

polyphonically (multiple simultaneous notes).

❏ Settings Mono, Poly

n This parameter is not available for the part to

which the Drum Voice is assigned.

• ArpeggioSw (Arpeggio Switch)

Determines whether Arpeggio is on or off for the selected part.

❏ Settings on, off

n ArpeggioSw is not available for the Multi Part

Plug-in Parts 17~32.

• ReceiveCh (Receive Channel)

Determines the MIDI receive channel for the selected part.

Since MIDI data may be coming from many channels at

once, you should set this to match the particular channel

over which the desired controlling data is being sent.

❏ Settings 01~16, off

● [F1]-[SF3] Song Mixing Part Voice Limit

Same as in Performance Part Edit. See page 170.

● [F1]-[SF4] Song Mixing Part Voice

Portamento

Same as in Performance Part Edit. See page 171.

n The Mode setting is not available for Plug-in voice

parts.

● [F1]-[SF5] Song Mixing Part Voice Other

Same as in Performance Part Edit. See page 171.

n For all Plug-in voice parts, Pitch Bend Upper and

Lower become a single parameter: PB Range.

Upper and Lower values cannot be set

independently for Plug-in parts. (See page 171.)

211

MOTIF Reference

Song Mixing mode

Reference Song mode

● [F2]-[SF1] Song Mixing Part Output

Volume/Pan

Same as in Performance Part Edit. See page 172.

n The Voice Pan setting is not available for Plug-in

voice parts.

● [F2]-[SF2] Song Mixing Part Output

Effect Send

Same as in Performance Part Edit. See page 172.

● [F3] Song Mixing Part Output Select

From this display you can determine the speciﬁc

jack or terminal to which the selected part is to be

output.

Same as in Performance Part Edit. See page 173.

● [F4]-[SF1] Song Mixing Part Tone Tune

Same as in Performance Part Edit. See page 173.

● [F4]-[SF2] Song Mixing Part Tone Filter

Basic Structure (page 46)

From this display you can set various Filter related

settings, to change the tonal qualities of the selected

part’s voice.

Same as in Performance Part Edit. See page 173.

n The FEG Depth setting is not available for Plug-in

voice parts.

● [F4]-[SF3] Song Mixing Part Tone FEG

Basic Structure (page 47)

From this display you can set the FEG (Filter

Envelope Generator) parameters for each part. The

following parameters offset the same parameters in

the Voice (Element) Edit mode (page 143).

Same as in Performance Part Edit. See page 173.

n The FEG setting is not available for Plug-in voice

parts or parts to which Drum voices have been

assigned.

● [F4]-[SF4] Song Mixing Part Tone AEG

Basic Structure (page 47)

From this display you can set AEG (Amplitude

Envelope Generator) parameters for each part. The

following parameters offset the same parameters in

the Voice (Element) Edit mode (page 145).

Same as in Performance Part Edit. See page 174.

n The Sustain setting is not available for Plug-in

voice parts or parts to which Drum voices have

been assigned.

n The Release setting is not available for parts to

which Drum voices have been assigned.

212

MOTIF Reference

Song Mixing Job mode

Reference Song mode

● [F5] Song Mixing Part Receive Switch

From this display you can set how each individual

part responds to various MIDI data, such as Control

Change and Program Change messages. When the

relevant parameter is set to “on,” the corresponding

part responds to the appropriate MIDI data. Note

that two different display types (below) are

provided.

• Display showing four parts

This display type shows the Receive Switch status for four

parts at a time. Set the desired part on or off, for the

corresponding MIDI data type. To view and edit another

set of four parts, press the appropriate [NUMBER] button,

[1] to [16].

Keep in mind that since all the available parameters cannot

be simultaneously displayed, you will need to use the

cursor controls to scroll the display in order to see and set

the other parameters.

• Display showing all parameters for one part

This display type shows all of the Receive Switch settings

for a single selected part. Set the desired MIDI data type

on or off for the selected part. To select other parts, use

the NUMBER [1] - [16] buttons (making sure that the

[TRACK SELECT] button is on).

The two display types are linked and feature the same

settings, only in different formats. Use the type you feel

most comfortable with.

Song Mixing Job mode

◆ Basic Procedure

1 In the Song Play mode, select a Song you wish to

execute the Job on.

2 Press the [MIXING] button to enter the Song

Mixing mode.

3 Press the [JOB] button to enter the Song Mixing

Job mode.

4 Select the desired Job menu by pressing the

appropriate button, [F1] - [F5].

5 Set the relevant Job parameters.

6 Press the [ENTER] button. (The display prompts

you for conﬁrmation.)

7 Press the [INC/YES] button to execute the Job.

After the Job has been completed, a “Completed”

message appears and operation returns to the

original display.

n To cancel the Job, press the [DEC/NO] button.

For Jobs that take longer to process, you will see the

message “Executing…” during processing. If you switch

off the power of the MOTIF while this message is

displayed, you risk corrupting your data.

8 Press the [MIXING] button to exit from Song

Mixing Job mode and return to Song Mixing mode.

• For detailed instructions on steps #3 - #5

, see the

explanations below.

● [F1] Initialize

This function lets you reset (initialize) all Song

Mixing parameters to their default settings. It also

allows you to selectively initialize certain

parameters, such as Common settings, settings for

each part, and so on — very useful when creating a

completely new Song Mixing program from scratch.

[SF5] button

213

MOTIF Reference

Song Mixing Job mode

Reference Song mode

❏ Type of parameter to be initialized

ALL

All settings for the selected Song Mixing are initialized.

Common

Common parameter settings for the selected Song Mixing

program are initialized.

art 1~16, PLG 1~3

Part parameter settings for the selected Song Mixing

program are initialized.

● [F2] Edit Recall

If you are editing a Song Mixing program and select

a different program without storing your edited one,

all the edits you’ve made will be erased. If this

happens, you can use Edit Recall to restore the Song

Mixing program with your latest edits intact.

● [F3] Copy

From this display you can copy part parameter or

effect settings from any Song Mixing program to the

one you are editing. This would come in handy

when you want to use some settings from another

program.

• Source song

Select a song and Mixing data type to be copied.

❏ Data type Part 1~32, PLG 1~3

• Data type of Destination song (current

selected song)

Set the Part of the destination song.

❏ Data type Part 1~32, Plug 1~3, Arp, Effect (Reverb,

Chorus)

n If you choose Arp (Arpeggio) or Effect, the

Arpeggio data or Effect settings for the Voice

assigned to the source Part will be copied.

● [F4] Bulk Dump

This function lets you send all your edited

parameter settings for the currently selected Song

Mixing program to a computer or another MIDI

device for data archiving.

n You must set the correct MIDI Device Number in

order to execute a Bulk Dump. For details, see

page 258.

● [F5] Performance Copy

This convenient operation lets you copy certain

settings of the four parts in a performance to the

Song Mixing program currently being edited. This

would come in handy when a certain performance

has settings that you want to use in your Song

Mixing program. Use this Job to simply copy the

settings you need.

The MIDI receive channel settings are set to match

the basic channel settings (page 260). When the

basic channel is set to “omni,” the receive channel

here is set to 1. To select a group of parameters for

copying, checkmark the appropriate box in the

display.

Source song

Destination song (current selected song)

214

MOTIF Reference

Song Mixing Store mode

Reference Song mode

Song Mixing Store mode

Basic Structure (page 63)

This function lets you store your edited Song Mixing

program to User memory.

When you execute this, the settings for the destination

memory will be overwritten. Important data should always

be backed up to a memory card or SCSI device.

◆ Basic Procedure

1 After editing the Song Mixing, press the [STORE]

button to enter the Song Mixing Store mode.

2 Press the [ENTER] button. (The display prompts

you for conﬁrmation.)

3 To execute the Store operation, press the [INC/

YES] button. After the Song Mixing program has

been stored, a “Completed” message appears and

operation returns to the original display.

n To cancel the Store operation, press the [DEC/NO]

button.

For Store operations that take longer to process, you will

see the message “Executing…” during processing. If you

switch off the power of the MOTIF while this message is

displayed, you risk corrupting your data.

n The stored settings are recalled automatically when

the corresponding song is selected.

215

MOTIF Reference

Function Tree

Reference Pattern mode

Pattern Mode

Basic Structure (page 51)

Function Tree

This section is devoted to the Pattern mode. To see how the Pattern mode relates to the entire structure of the MOTIF and its

other modes and functions, see the simpliﬁed chart in “Basic Structure” on page 30. The following detailed chart shows all of the

display menus and parameter groups of the Pattern modes — giving you a quick, easy-to-understand overview of the pattern-

related functions of the MOTIF. Brackets around a word or phrase (e.g., [F1]) indicate speciﬁc button names or panel operations.

[INFORMATION] PATTERN INFORMATION

[PATTERN] PATTERN PLAY

[F1] PATTERN PLAY

[F2] PATTERN GRID GROOVE

[F3] PATTERN TRACK OUTPUT CHANNEL

[F4] PATTERN PATCH

[SF4] CLEAR PHRASE

[SF5] COPY PHRASE

[F5] TRACK VOICE

[F6] PATTERN CHAIN PLAY

[EDIT] PATTERN CHAIN EDIT

[SF1] INSERT MEASURE

[SF2] DELETE MEASURE

[SF3] COPY EVENT

[SF4] CONVERT TO SONG

[SF5] TRACK SELECT

[REC] PATTERN CHAIN RECORD

[REC] PATTERN RECORD

PATTERN REC SETUP

[F1] SETUP

[F2] VOICE

[CATEGORY] VOICE CATEGORY SEARCH

[F3] ARP

[PLAY] PATTERN RECORDING

[EDIT] PATTERN EDIT

[F1] CHANGE

[F5] INSERT

[F6] DELETE

[F2] VIEW FILTER

[F5] CLEAR ALL

[F6] SET ALL

[JOB] PATTERN JOB

[F1] UNDO/REDO

[F2] NOTE JOB LIST

QUANTIZE

MODIFY VELOCITY

MODIFY GATE TIME

CRESCENDO

TRANSPOSE

GLIDE

CREATE ROLL

SORT CHORD

SEPARATE CHORD

[F3] EVENT JOB LIST

SHIFT CLOCK

COPY EVENT

ERASE EVENT

EXTRACT EVENT

CREATE CONTINUOUS DATA

THIN OUT

MODIFY CONTROL DATA

BEAT STRETCH

[F4] PHRASE JOB LIST

COPY PHRASE

EXCHANGE PHRASE

MIX PHRASE

APPEND PHRASE

SPLIT PHRASE

GET PHRASE FROM SONG

PUT PHRASE TO SONG

CLEAR PHRASE

PHRASE NAME

[PATTERN]

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276

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216

MOTIF Reference

Function Tree

Reference Pattern mode

[MIXING] PATTERN MIXING

[INFORMATION] MIX INFORMATION

[MIX] MIXING PART

[F1] MIX VOLUME/PAN

[F2] MIX AD

[F3] MIX VOICE

[F4] EFFECT SEND

[F5] MIX TEMPLATE

[EDIT] MIXING EDIT

[COMMON]

[F1] COMMON GENERAL

[SF1] MEQ OFFSET

[SF5] OTHER

[F2] COMMON MASTER EQ

[F3] COMMON ARPEGGIO

[SF1] TYPE

[SF2] LIMIT

[SF3] PLAY FX

[SF4] OUTPUT CHANNEL

[SF5] CLEAR USER ARPEGGIO

[F4] COMMON CONTROLLER ASSIGN

CONTROLLER ASSIGN

[F6] COMMON EFFECT

[SF1] EFFECT CONNECT

[SF2] PLG-EF

[SF3] VARIATION

[SF4] REVERB

[SF5] CHORUS

[PART SELECTION]

[F1] PART VOICE

[SF1] VOICE

[SF2] PLYMODE

[SF3] LIMIT

[SF4] PORTAMENTO

[SF5] OTHER

[F2] PART OUTPUT

[SF1] VOLUME/PAN

[SF2] EFFECT SEND

[F3] PART OUTPUT SELECT

OUTPUT SELECT

[F4] PART TONE

[SF1] TUNE

[SF2] FILTER

[SF3] FEG

[SF4] AEG

[F5] PART RECEIVE SWITCH

[JOB] MIXING JOB

[F1] INITIALIZE

[F2] EDIT RECALL

[F3] COPY

[F4] BULK DUMP

[F5] COPY FROM PERFORMANCE

[STORE] MIX STORE

[SONG]

[F5] TRACK JOB LIST

COPY TRACK

EXCHANGE TRACK

CLEAR TRACK

NORMALIZE PLAY EFFECT

DIVIDE DRUM TRACK

[F6] PATTERN JOB LIST

COPY PATTERN

APPEND PATTERN

SPLIT PATTERN

CLEAR PATTERN

STYLE NAME

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230

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217

MOTIF Reference

Pattern Play mode

Reference Pattern mode

Pattern Play mode

Basic Structure (page 67)

In this mode, you can select and play individual User

patterns.

n For details about patterns and their track and memory

structure, see page 51.

◆ Basic Procedure

Basic Structure (page 67)

1 Press the [PATTERN] button to enter the Pattern

Play mode. (The indicator lights.)

2 Select a style and its section.

3 Start/Stop pattern playback.

4 Make necessary or desired settings (e.g., transpose,

tempo, individual track on/off status, and so on) in

the above display.

5 Select the menu you wish to edit by pressing the

[F2] - [F6] buttons and edit the parameters in each

display.

n Creating patterns is done with the Patch function,

selected with the [F4] button. (See page 219.)

n The Pattern Chain function, selected with the [F6]

button, lets create a song by chaining together

several different patterns. (See page 219.)

6 Repeat steps #3 through #5 as desired.

7 Press any other mode button to exit from the

Pattern Play mode.

• For detailed instructions on steps #2, 3, 4, and 5,

see the following explanations.

Style Selection

The explanations here apply to step #2 of the Basic

Procedure see above.

The method for selecting a style is the same as that for

selecting songs (page 179), as shown below.

You can also select a style by moving the cursor to the

style number location and using the [INC/YES] and

[DEC/NO] buttons or the data dial.

PATTERN

Pattern track number

and data status

In addition to MIDI sequence data,

the sample data has been recorded.

(Indicates an sample track.)

MIDI sequence data has been

recorded. (Indicates a MIDI track.)

No data has been recorded.

(A Phrase has not been assigned.)

Tempo for the selected style

❒ Setting 010.0 ~ 300.0

Measure : Beat

(for current playback location)/

Total length of the selected pattern

Time signature for the selected style

❒ Setting 1/16 ~16/16, 1/8 ~16/8, 1/4 ~8/4

Transpose setting (for all style data)

Can be adjusted in semitones.

For example, when a value of +12 is set,

the pitch of all of the data becomes one octave higher.

❒ Settings -36 ~ +36

Currently selected pattern (style and section)

Style name SectionStyle number

Indicates muted track.

Pattern track on/off status

Indicates soloed track (page 218).

Start playbackStop playback

n The explanations here apply when

these four button indicators are off.

PLG 2

CATEGORY

DRUM KITS

FAVORITES

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM /

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/ PERF.PART/ZONE

218

MOTIF Reference

Pattern Play mode

Reference Pattern mode

● Style numbers and the corresponding Group/

Numbers

Same as in the Song Play mode. See page 179.

Section Selection

The explanations here apply to step #2 of the Basic

Procedure on page 217.

1 Press the [SECTION] button. (The indicator

lights.)

2 Press any of the [PRE1]~[PLG3], [A]~[H]

buttons to select a section from the 16 available

sections

Pattern track on/off — Solo and

Mute

The explanations here apply to step #4 of the Basic

Procedure on page 217.

Details are same as “Song track on/off — Solo and

Mute” on page 180, as illustrated below.

● To mute a track

● To solo a track

Pattern track selection

The explanations here apply to step #4 of the Basic

Procedure on page 217.

In order to edit the Song data, you’ll need to select a

track for editing.

Details are same as “Song track selection” on page 181

as illustrated below.

Pattern editing in the Pattern Play

mode

The explanations here apply to step #5 of the Basic

Procedure on page 217.

● [F2] Pattern Play Groove

Same as in the Song Play mode. See page 181.

● [F3] Pattern Play Output Channel

Same as in the Song Play mode. See page 182.

● [F4] Pattern Play Patch

Explained later. See page 219.

● [F5] Pattern Play Track Voice

Determines whether the program change data

contained in the phrase data is effective or not. For

most purposes, this should be set to “off.” For

example, if a phrase has embedded voice changes

(program change messages) but you don’t want the

voice to change in the middle of the phrase, set this

to “off.” Tracks that are set to “off” here

automatically play back with the voice number

assigned to the part.

PLG 2

CATEGORY

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR /

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM /

PERCUSSION

MUSICAL FX COMBI

SECTION

BANK

GROUP

TRACK

SELECT

MUTE

SOLO

NUMBER

ELEMENT/PERF.PART/ ZONE

TRACK

SELECT

MUTE

SOLO

NUMBER

ELEMENT/PERF.PART/ ZONE

TRACK

SELECT

MUTE

SOLO

NUMBER

ELEMENT/PERF.PART/ ZONE

219

MOTIF Reference

Pattern Play mode

Reference Pattern mode

n The Phrase Voice embedded in the Pattern phrase can be

speciﬁed from the Voice display in the Pattern Record

mode (page 223).

● [F6] Pattern Play Chain Play/Edit

Explained later. See below.

[F4] Patch Function

Basic Structure (page 52) · Quick Start Guide (page 105)

The explanations here apply to step #5 of the Basic

Procedure on page 217.

In the following display, you can assign a Preset phrase

or a User phrase (recorded in the Pattern Record mode)

to each track and create a pattern that contains up to

16 tracks.

● Track number, Data status, Phrase bank/

number

For details about the Track number and Data status,

see the illustration in step #1 of the Basic Procedure

on page 217.

The phrase bank and number can be selected via

the data dial, [INC/YES] button, or [DEC/NO]

button and assigned to the selected track. The

assigned phrase name, its time signature and length

are indicated at the top right of the display.

n The Patch function allows you to use only User

phrases recorded to a track of the currently selected

style. If you wish to use User phrases recorded to

tracks of other styles, use the Phrase Data Copy

function, selected with [SF5] button.

● Section

Shows the current edited section. For details about

how to change sections, refer to “Section selection”

on page 218.

● Measure : Beat (for current playback location)

The buttons can be used to change the location (in

measures/beats), even during playback.

● [SF4] Patch Clear

You can clear the Phrase assignment to the

currently selected track by pressing the [SF4]

button. As a result, the track becomes empty.

● [SF5] Phrase Data Copy

The User phrases that can be assigned with the

Patch function are limited to the ones contained in

the currently selected pattern style. This function

lets you copy phrases on other pattern styles to the

selected one.

Press the [SF5] button to call up the following

display. After setting the parameters as needed,

press the [ENTER] button to copy the phrase data.

The copy operation overwrites any data previously

existing in the destination phrase.

[F6] Pattern Chain

Basic Structure (page 52) · Quick Start Guide (page 108)

The explanations here apply to step #5 of the Basic

Procedure on page 217.

Pattern Chain allows you to string several different

Patterns (Style and Section) together to make a single

Song. The created Pattern Chain data can then be

converted into a Song.

n For details about Pattern Chain and its track and memory

structure, see page 54.

Track number, Data status (page 217),

Phrase bank : number

Section

[SF5] Phrase Data Copy

[SF4] Patch Clear

Measure : Beat (for current

playback location)/Total

length of the selected pattern

Phrase name, Time Signature,

and length of the Phrase assigned

to the selected track

Source style number, phrase number

After setting, press the [ENTER]

button to copy the phrase.

When this box is checkmarked,

sample voices assigned to the

source phrase are copied to the

destination phrase as sample

voices, and are assigne to the

corresponding tracks in the

selected pattern.

Destination phrase and track of

the current edited style.

220

MOTIF Reference

Pattern Play mode

Reference Pattern mode

■ Creating Pattern Chains with Realtime

Playback (Pattern Chain Recording)

This function makes it possible to specify a

sequence of patterns for pattern chain playback.

Switching of styles/sections, track muting, scene/

mute changes, and tempo changes can all be

recorded in real time.

1 In the Pattern Play mode, press the [F6] button to

enter the Pattern Chain Play mode as shown

below. Details about parameters in this display are

same as in step #1 of the Basic Procedure on

page 217.

2 Press the [REC] button to enter the Pattern Chain

Record mode. The indicator lights and the Record

Setup Display appears.

3 Set basic parameters for recording (e.g., Style

number/Section, Recording Type, Track, Tempo

and so on).

• The Recording Type, Time Signature and Tempo

settings are same as in the Song Record mode.

• To record a track, select the desired track from

“TMP” (Tempo), “SCN” (Scene), and “PTN”

(Pattern). For details about the Pattern Chain

track structure, see page 54.

4 Press the [F] button to start recording and play

the pattern as you like.

• When a Pattern track (1 - 16) is selected, you can

record style and section changes.

• When the Tempo track is selected, you can

record tempo changes.

• When the Scene track is selected, you can record

track muting settings.

5 Press the [■] button to stop recording.

■ Pattern Chain Editing

The Pattern Chain Edit mode makes it possible to edit the

order of the patterns in a chain as well as inserting tempo,

and scene/mute event data.

Call up the desired display by following the instructions

below and edit the events (Style/Section changes, Scene/

Mute changes, and Tempo changes) in each display.

REC

Pattern Chain Edit mode

[EDIT] button[PATTERN]

button

Pattern Track Edit

[F4] button

Scene Track Edit

Tempo Track Edit

Pattern Chain Edit mode

221

MOTIF Reference

Pattern Record mode

Reference Pattern mode

The methods for editing each event in the display

above and for inserting/deleting events (by using the

[F5]/[F6] buttons) are the same as in the Song Edit

mode. See page 190.

● [F6]-[EDIT]-[F2] Copy

Pressing the [SF3] button in the Pattern Chain Edit

mode calls up the Copy display below, letting you

copy all pattern chain events from a speciﬁed range

of measures (source) to a destination location. Keep

in mind that this overwrites any existing events at

the destination.

• Source range, Destination range (Measure)

❏ Settings 001~999

• NumberOfTimes

Speciﬁes the number of times the data is copied.

❏ Settings 01~99

This operation overwrites any events already existing at

the destination.

● [F6]-[EDIT]-[F3] Convert

This function converts the pattern chain data to

song data (standard MIDI format) and places the

results in the normal song tracks.

Pressing the [SF4] button in the Pattern Chain Edit

mode calls up the Convert display below. Specify

the desired destination song and measure number

to which the converted data is to be copied, then

press the [SF5] button to execute.

This operation overwrites any data already existing at the

destination range.

Pattern Record mode

Quick Start Guide (page 102)

The MOTIF features a wealth of preset phrases in a

variety of music genres. It also features comprehensive

phrase recording functions, that let you create your

own phrases and use them to build your own original

patterns.

n For details about recording methods, see page 53 .

◆ About the recording track

When recording patterns, you’ll need to specify the

track to be recorded — just as is done in Song

recording. The operations differ depending on the

speciﬁc phrase assignments, as described below.

• If the preset phrase is assigned to the track...

You cannot record. Even if you specify the track to which

the preset phrase is assigned and try to record, an error

message will appear.

• If the user phrase is assigned to the track...

The data of the user phrase assigned to the speciﬁed track

is overwitten by recording.

• If the phrase is not assigned to the track...

Recording is donw to an empty user phrase. The newly

created phrase is automatically assigned to the recording

track.

◆ Basic Procedure

1 In the Pattern Play mode, select a pattern (style

and section) to be recorded.

2 Press the [REC] button to enter the Pattern Record

mode. (The indicator lights.) The Pattern Record

Setup display shown below appears.

3 Set basic parameters for recording (e.g., recording

track, type, tempo, and so on).

Source range

Destination range

REC

222

MOTIF Reference

Pattern Record mode

Reference Pattern mode

n Please note that the time signature can be set in the

Pattern Play display. See page 217.

n The method for selecting the recording track is the

same as in Pattern track selection (page 218).

4 Change the display by pressing the [F2] - [F3]

buttons and set various parameters for recording.

5 Press the [F] button to start recording.

• When any of the Realtime recording methods

(any setting other than “step”) is selected in step

#3, your keyboard playing and controller moves

are automatically recorded.

• When “step” is selected in step #3, compose your

recording by entering each note individually.

6 After completing your performance (in Realtime

recording) or completing step recording, press the

[■] button to stop recording.

7 Press the [F] button to hear your newly

recorded phrase.

8 Save the recorded phrase data to a memory card or

a SCSI device connected to the MOTIF.

The recorded (edited) phrase data resides temporarily in

DRAM (page 64). Because data contained in DRAM is

lost when the power is turned off, you should always store

any data residing in DRAM to a memory card or an

external SCSI device before turning off the power.

• For detailed instructions on steps #3 - #4, see the

following explanations.

• For details on steps #5 - #6

, refer to “Quick Start

Guide” on page 102.

• For details on step #8

, refer to “File mode” on

page 266.

n The following explanations apply to MIDI data

recording (creating MIDI tracks). For instructions

on recording audio data (creating sample tracks),

see “Sampling mode” on page 233.

Setting up before recording

The explanations here apply to steps #3 - #4 of the

Basic Procedure on page 221, page 222.

● [F1] Pattern Record Setup

Basic Structure (page 51)

When recording type is set to something other

than “step”:

When recording type is set to “step”:

• Type (Recording type)

Determines the recording method.

❏ Settings: replace, overdub, step

n Unlike in the Song Record mode, Punch recording

is not available for pattern recording.

• Loop

Turns loop recording ON or OFF.

When ON, the phrase will play repeatedly during real-time

recording. This can be handy when recording drum parts,

allowing you to add different instruments on each pass.

When OFF recording stops after one pass through the

phrase.

❏ Settings: on, off

REC

To erase specific notes from the recording, simultaneously

hold down the [F6] button and press the note you wish to

delete. This is especially convenient when erasing specific

instruments in a selected Drum voice.

Tempo

Time signature (set in the Pattern Play display)

This lets you determine whether the Arpeggio

playback data is recorded to the Pattern track or

not. (Press the [F4] button.) When is indicated,

the Arpeggio playback data is recorded to the

Song track.

This lets you turn the click sound

(metronome) on/off for recording.

(Press the [F5] button.) When

is indicated, the click sounds.

TempoTime signature

(set in the Pattern Play display).

223

MOTIF Reference

Pattern Record mode

Reference Pattern mode

• Quantize

This convenient feature lets you automatically quantize

the notes in real time, as you record. Quantize aligns the

timing of note events to the nearest beat. This parameter

determines whether real-time Quantize is on or not, and

the resolution to which the notes will be aligned.

❏ Settings: off, 60 (32nd note), 80 (16th note triplet), 120

(16th note), 160 (8th note triplet), 240 (8th

note), 320 (1/4 note triplet), 480 (1/4 note)

• Event

This parameter is available when the Recording Type is set

to “step.” This lets you specify the event type to be

entered.

❏ Settings: note, p.bend (pitch bend), CC#000~#119

(Control Change)

• Tempo

Determines the Pattern tempo.

❏ Settings: 001.0 ~300.0

● [F2] Pattern Record Voice

From this display you can set voice-related

parameters for the selected track. The settings

made here affect the tone generator parts whose

MIDI receive channels match the MIDI transmit

channel of the song track. The voice set here

becomes the phrase voice (page 52).

Parameters are the same as in the Song Record

mode. See page 188.

● [F3] Pattern Record Arpeggio

From this display you can set various Arpeggio-

related parameters for the selected track.

Parameters are the same as in the Song Record mode.

See page 189.

Pattern Recording

The explanations here apply to steps #5 - #6 of the

Basic Procedure on page 222.

■ Realtime Recording

See “Quick Start Guide” on page 103.

■ Step Recording

If you press the [F] button in step #5 of the Basic

Procedure on page 222 , the Event display appears and

you can input individual events one by one. The

method for inputting events is the same as in Step

recording in the Song mode. See pages 183 ~ 186.

Determines whether Arpeggio playback

data is recorded to the track or not.

(Press the [F4] button.)

224

MOTIF Reference

Pattern Edit mode

Reference Pattern mode

Pattern Edit mode

This mode gives you comprehensive, detailed controls

for editing the MIDI events of each phrase of the

recorded pattern. MIDI events are messages (such as

note on/off, note number, program change number,

etc.) that make up the data of a recorded pattern.

◆ Basic Procedure

Basic Operation (page 70)

1 In the Pattern Play mode, select a style and phrase

to be edited.

2 Press the [EDIT] button to enter the Pattern Edit

mode. (The indicator lights.) The Pattern Event

List display shown below appears.

3 Revise, insert or delete the MIDI events as needed.

If you ﬁnd the display too cluttered, you can ﬁlter

out certain event types with the View Filter.

Simply press the [F2] button and select the event

types you want to be displayed.

4 After completing editing, press the [PATTERN]

button to return back to the Pattern Play mode.

5 Press the [F] button to hear your edited data.

6 Edit other Phrases as required. Repeat steps #2

through #5 as desired.

7 After editing, save your pattern data to a memory

card or a SCSI device connected to the MOTIF in

the File mode.

• For detailed instructions on step #3

, see the

following explanations.

• For details on step #7

, refer to “File mode” on

page 266.

MIDI events that can be edited

All MIDI events and parameters (edited in step #3 of

the Basic Procedure above) are the same as those in the

Song Edit mode. For details, see page 190.

Event Editing/Inserting/Deleting

All event editing operations and parameters (done in

step #3 of the Basic Procedure above) are the same as

those in the Song Edit mode. For details, see page 190.

Event View Filter

All Event View Filter operations and settings (done in

step #3 of the Basic Procedure above) are the same as

those in the Song Edit mode. For details, see page 192.

EventsMeasure

number

Clock

(480 clocks

per quarter-note)

Beat

EDIT

225

MOTIF Reference

Pattern Job mode

Reference Pattern mode

Pattern Job mode

The Pattern Job mode contains a comprehensive set of

editing tools and functions you can use to change the

sound of your original pattern, as created by the

Pattern Patch function or from the Pattern Record

mode. It also includes a variety of convenient

operations, such as copying or erasing data. Most of

these operations can be performed on either an entire

track or a selected range of measures in the track.

◆ Basic Procedure

1 In the Pattern Play mode, select a style and section

you wish to execute the Job on.

2 Press the [JOB] button to enter Pattern Job Mode.

3 Select the desired Job menu by pressing the

appropriate button, [F2] - [F6].

4 Use the CURSOR buttons to scroll to the desired

Job.

5 Press the [ENTER] button to go to the selected Job

display.

6 Set the relevant Job parameters.

7 Press the [ENTER] button. (The display prompts

you for conﬁrmation.)

8 Press the [INC/YES] button to execute the Job.

After the Job has been completed, a “Completed”

message appears and operation returns to the

original display.

n To cancel the Job, press the [DEC/NO] button.

For Jobs that take longer to process, you will see the

message “Executing…” during processing. If you switch

off the power of the MOTIF while this message is

displayed, you risk corrupting your data.

9 If you wish to undo the changes made in the steps

above, press the [F1] button and (to select Undo/

Redo) and use the Undo function.

10Press the [PATTERN] button to exit from the

Pattern Job mode and return to the Pattern Play

mode.

• For detailed instructions on steps #3 - #9

, see the

explanations below.

[F1] Undo/Redo

The explanations here apply to step #9 of the Basic

Procedure on see below.

The operations are the same as in the Song Job mode.

See page 193.

Undo/Redo does not work with sample voice operations.

[F2] Note data Job

Press the [F2] button in step #3 of the Basic Procedure

(see below), so that the Note data Job list appears on

the display. Scroll the cursor to the desired Job and

press the [ENTER] button to go to the display of the

selected Job.

The following explanations apply to step #6 of the

Basic Procedure see above.

n The Note data Jobs in the Pattern mode are basically

same as in the Song Job mode. However, unlike in the

Song Job mode, Pattern Note data Jobs are applied to the

phrases (001 - 256) and a selected range in the phrase

(measure : beat : clock).

● [F2]-01 Quantize

Same as in the Song Job mode. See page 194.

Specify the phrase and the range (in measures/

beats/clocks) over which the Job is applied.

226

MOTIF Reference

Pattern Job mode

Reference Pattern mode

● [F2]-02 Modify Velocity

Same as in the Song Job mode. See page 195.

● [F2]-03 Modify Gate Time

Same as in the Song Job mode. See page 195.

● [F2]-04 Crescendo

Same as in the Song Job mode. See page 196.

● [F2]-05 Transpose

Same as in the Song Job mode. See page 196.

● [F2]-06 Glide

Same as in the Song Job mode. See page 196.

● [F2]-07 Create Roll

Same as in the Song Job mode. See page 196.

● [F2]-08 Sort Chord

Same as in the Song Job mode. See page 197.

● [F2]-09 Separate Chord

Same as in the Song Job mode. See page 198.

Specify the phrase and the range (in measures/

beats/clocks) over which the Job is applied.

Specify the phrase and the range (in measures/

beats/clocks) over which the Job is applied.

Specify the phrase and the range (in measures/

beats/clocks) over which the Job is applied.

Specify the phrase and the range (in measures/

beats/clocks) over which the Job is applied.

Specify the phrase and the range (in measures/

beats/clocks) over which the Job is applied.

Specify the phrase and the range (in measures/

beats/clocks) over which the Job is applied.

Specify the phrase and the range (in measures/

beats/clocks) over which the Job is applied.

Specify the phrase and the range (in measures/

beats/clocks) over which the Job is applied.

227

MOTIF Reference

Pattern Job mode

Reference Pattern mode

[F3] Event Job

Press the [F3] button in step #3 of the Basic Procedure

on page 225 so that the Event Job list appears on the

display. Scroll the cursor to the desired Job and press the

[ENTER] button to go to the display of the selected Job.

The following explanations apply to step #6 of the

Basic Procedure on page 225.

n The Event Jobs in the Pattern mode are basically same as

in the Song Job mode. However, unlike in the Song Job

mode, Pattern Event Jobs are applied to the phrases (001 -

256) and a selected range in the phrase (measure : beat :

clock).

● [F3]-01 Shift Clock

Same as in the Song Job mode. See page 198.

● [F3]-02 Copy Event

This job copies all data from a speciﬁed source

range to a speciﬁed destination location.

• Number Of Times

Speciﬁes the number of times the data is copied.

❏ Settings 01~99

When Copy Event is executed any data already existing at

the Destination location will be overwritten.

● [F3]-03 Erase Event

Same as in the Song Job mode. See page 199.

n Unlike in the Song Job mode, you cannot select

“Tempo,” “Scene Memory,” or “Track Mute” as

Event Types.

● [F3]-04 Extract Event

Same as in the Song Job mode. See page 199.

● [F3]-05 Create Continuous Data

Same as in the Song Job mode. See page 199.

n Unlike in the Song Job mode, you cannot select

“Tempo” as an Event Type.

● [F3]-06 Thin Out

Same as in the Song Job mode. See page 200.

n Unlike in the Song Job mode, you cannot select

“All” as an Event Type.

Specify the phrase and the range (in measures/

beats/clocks) over which the Job is applied.

Specify the phrase to which

the job is applied.

Set the range (in measures/beats/

clocks) from which the data will be copied.

Specify the location to which

the data will be copied.

Specify the phrase and the range (in measures/

beats/clocks) over which the Job is applied.

Specify the phrase and the range (in measures/

eats/clocks) over which the Job is applied.

Select the destination phrase.

Specify the phrase and the range (in measures/

beats/clocks) over which the Job is applied.

Specify the phrase and the range (in measures/

beats/clocks) over which the Job is applied.

228

MOTIF Reference

Pattern Job mode

Reference Pattern mode

● [F3]-07 Modify Control Data

Same as in the Song Job mode. See page 200.

n Unlike in the Song Job mode, you cannot select

“Tempo” as an Event Type.

● [F3]-08 Beat Stretch

Same as in the Song Job mode. See page 200.

[F4] Phrase Job

Press the [F4] button in step #3 of the Basic Procedure

on page 225 so that the Phrase Job list appears on the

display. Scroll the cursor to the desired Job and press the

[ENTER] button to go to the display of the selected Job.

The following explanations apply to step #6 of the

Basic Procedure on page 225.

● [F4]-01 Copy Phrase

This Job copies a selected phrase to the designated

destination phrase.

Any previous data in the copy destination will be

overwritten.

Undo/Redo (page 225) cannot be used to undo/redo a

sample voice copy operation.

n When there is no memory available in the

destination style for sample voice data, an error

message will appear on the display and the sample

voice data will not be copied. If this occurs, use

Sample Job 02 “Delete” to delete any unused

sample voices, then try again.

● [F4]-02 Exchange Phrase

This Job exchanges or “swaps” the contents of two

speciﬁed phrases.

n If this Job is applied to phrases which use sample

voices, the sample voices will not be exchanged.

● [F4]-03 Mix Phrase

This Job mixes all data from two selected user

phrases (“A” and “B”), and places the result in

phrase B. One useful application for this would be

to free up the data in phrase A, letting you record

new data to it.

n Keep in mind that applying this Job to phrases with

sample voices does not mix the sample voices.

Specify the phrase and the range (in measures/

beats/clocks) over which the Job is applied.

Specify the phrase and the range (in measures/

beats/clocks) over which the Job is applied.

Selects the style and phrase to be copied.

(Preset phrase also can be selected.)

Specify the destination

style and phrase.

When this box is checkmarked, sample voices used by the

source phrase are copied to the destination style as

sample voices, and are assigned to the destination phrase.

Target phrases for the Exchange operation

Phrase B

Mix Phrase

Phrase B

Phrase A

229

MOTIF Reference

Pattern Job mode

Reference Pattern mode

● [F4]-04 Append Phrase

This Job appends one phrase to the end of another

to create one longer phrase.

n If this job is applied to phrases which use sample

voices, the sample voices will not be appended.

● [F4]-05 Split Phrase

This Job splits a selected phrase into two separate

phrases.

n When either Style or Phrase is set to “off”, the split

Phrase B data is erased.

• Meter

Sets the meter of phrase B after the split operation.

❏ Settings 1/16~16/16, 1/8~16/8, 1/4~16/4

The job overwrites any data already existing in destination

phrase B.

n If this job is applied to phrases which use sample

voices, the sample voices will not be split.

● [F4]-06 Get Phrase From Song

This Job copies a segment of sequence-track data

from a song into the designated destination phrase.

The job overwrites any data already existing in the

destination phrase.

Undo/Redo (page 225) cannot be used to undo/redo a

sample voice copy operation.

n When there is no memory available in the

destination style for sample voice data, an error

message will appear on the display and the sample

voice data will not be copied. If this occurs, use

Sample Job 02 “Delete” to delete any unused

samples, then try again.

● [F4]-07 Put Phrase To Song

This Job copies a selected user phrase into a

speciﬁed area of a selected song.

The job overwrites any data already existing in the

destination track.

Undo/Redo (page 225) cannot be used to undo/redo a

sample voice copy operation.

n When there is no memory available in the

destination song for sample voice data, an error

message will appear on the display and the sample

voice data will not be copied. If this occurs, use

Sample Job “Delete” to delete any unused samples,

then try again.

Phrase B

Append Phrase

Phrase A

Phrase A is divided at the Split Point (the

measure number set in the above display).

Phrase A

Phrase B

Phrase A

When this box is checkmarked, sample voices used by the source track

are copied to the destination style as sample voices, and are assigned

to destination phrase. This parameter has no effect when no sample

voice is used by the source track.

Source song, track, and range of

measures to be copied

Destination phrase

When this box is checkmarked, sample voices used by the source track

are copied to the destination style as sample voices, and are assigned

to destination phrase. This parameter has no effect when no sample

voice is used by the source track.

Source song, track, and range of

measures to be copied

230

MOTIF Reference

Pattern Job mode

Reference Pattern mode

● [F4]-08 Clear Phrase

This Job deletes all data from the selected phrase.

Undo/Redo (page 225) cannot be used to undo/redo a

Delete Sample operation.

● [F4]-09 Phrase Name

Basic Operation (page 75)

This Job lets you assign a name (of up to eight

characters) to the selected phrase.

See “Basic Operation” on page 75.

[F5] Track Job

Press the [F5] button in step #3 of the Basic Procedure

on page 225 so that the Track Job list appears on the

display. Scroll the cursor to the desired Job and press

the [ENTER] button to go to the display of the selected

Job.

The following explanations apply to step #6 of the

Basic Procedure on page 225.

● [F5]-01 Copy Track

This Job copies all data of the selected type from

speciﬁed source track to speciﬁed destination track.

Same as in the Song Job mode. See page 202.

● [F5]-02 Exchange Track

This Job exchanges or “swaps” the speciﬁed type of

data between two speciﬁed tracks in the current

style and section.

Same as in the Song Job mode. See page 202.

● [F5]-03 Clear Track

This Job deletes all data of the selected type from

the selected pattern track.

Same as in the Song Job mode. See page 202.

● [F5]-04 Normalize Play Effect

This job rewrites the data in the selected track so

that it incorporates the current Grid Groove

settings.

Same as in the Song Job mode. See page 203.

Phrase to be cleared

When this box is checkmarked, sample data

assigned to the selected phrase will be deleted.

This parameter has no effect when no sample

voice is used by the selected phrase.

Types of data to be copied

Source style, ection, and track

Destination style, section, and track

Target tracks for the Exchange operation

Types of data to be exchanged

Types of data to be cleared

Section and track from which data is to be cleared

231

MOTIF Reference

Pattern Job mode

Reference Pattern mode

● [F5]-05 Divide Drum Track

Separates the note events in a drum performance

assigned to a speciﬁed track, and places the notes

corresponding to different drum instruments in

separate tracks (tracks 1 through 8).

One useful application for this would be to use

Quantize (page 225) and Shift Clock (page 227) to

independently adjust the timing of different drum

parts in the rhythm, to tighten up the timing and yet

create a more natural sounding feel.

Same as in the Song Job mode. See page 203.

[F6] Pattern Job

Press the [F6] button in step #3 of the Basic Procedure

on page 225 so that the Pattern Job list appears on the

display. Scroll the cursor to the desired Job and press

the [ENTER] button to go to the display of the selected

Job.

The following explanations apply to step #6

of the

Basic Procedure on page 225.

● [F6]-01 Copy Pattern

This job copies all data from a selected source

pattern to a selected destination pattern.

Undo/Redo (page 225) cannot be used to undo/redo a

sample voice copy operation.

● [F6]-02 Append Pattern

Appends one pattern to the end of another to create

one longer pattern with all 16 tracks.

n When the KEEP ORIGINAL PHRASE checkbox is

checked, this job requires twice the number of

empty user phrases as the number of tracks

containing data in which to store the appended

phrase data. If the required phrases are unavailable

the alert message will appear and the job will be

aborted. If this occurs use the Clear Phrase Job

(page 230) to delete unused phrases and try again.

n If this job is applied to patterns which use sample

voices, the sample voices will not be appended.

n If the pattern length becomes greater than 256

measures as a result of the Append Pattern Job, an

error message will be displayed and the Job will be

aborted.

● [F6]-03 Split Pattern

This Job splits a selected pattern (all 16 tracks data)

into two patterns.

Source style and section

Destination style and section

When this box is checkmarked, sample voices

(if included in the source style) are copied to

the destination style.

When this box is checkmarked, Preset Phrases (if included

in the source style) are copied to the User Phrase.

Source pattern

(style and Section)

Destination pattern

(style and section)

When this box is checkmarked, the original Destination

pattern data is retained in memory, along with the new

appended pattern data. If the box is not checkmarked,

the original Destination pattern is erased and replaced

with the newly created data.

When this box is checkmarked, Sample Voices

(if included in the source style) are copied to the

Destination Style.

After the Split Pattern operation, the part of the pattern before

the specified Split Point will remain, and the part following

the Split Point will be moved to the destination pattern.

Destination pattern

(style and section)

Source pattern

(style and section)

When this box is checkmarked, the original Source pattern

data is retained in memory, along with the new appended

pattern data. If the box is not checkmarked, the split

portion of the original Source pattern is erased and moved

to the Destination pattern.

232

MOTIF Reference

Pattern Mixing mode

Reference Pattern mode

The job overwrites any data already existing in the

destination pattern.

n When the KEEP ORIGINAL PHRASE checkbox is

checked, this job requires twice the number of

empty user phrases as the number of tracks

containing data in which to store the appended

phrase data. If the required phrases are unavailable

the alert message will appear and the job will be

aborted. If this occurs use the Clear Phrase Job

(page 230) to delete unused phrases and try again.

● [F6]-04 Clear Pattern

This job deletes all data from the selected pattern,

or from all patterns.

● [F6]-05 Style Name

Basic Operation (page 75)

This Job lets you assign a name to the selected style.

See “Basic Operation” on page 75.

Pattern Mixing mode

In this mode, you can set up and save mixing data for

your patterns, and set various parameters for the tone

generator parts — including the desired voice, as well

as its level, pan, EQ, effect and other settings.

How the Pattern Mixing mode affects the tone

generator parts, and how it is affected by other

elements, is made clear by the following diagram.

Pattern Mixing parameters are not actually part of the

pattern data, but rather are settings for the tone

generator, as it is played back by the pattern data. As

such, the Pattern Mixing parameter settings are not

recorded to the pattern tracks.

Even though the modes are different, the actual Pattern

Mixing operations and parameters are the same as

those of the Song Mixing mode. See page 205.

Pattern (style and section) to be cleared

Sequencer block

Tone Generator

block

Tone Generator

Pattern Data

Pattern Mixing

MIDI data from

external devices

affects the Pattern

Mixing settings.

Editing in the

Pattern Mixing

mode determines

the Pattern Mixing

settings.

Playback of pattern data affects

the Pattern Mixing settings.

233

MOTIF Reference

Function Tree

Reference Sampling mode

Sampling Mode

Basic Structure (page 58)

Function Tree

This section is devoted to the Sampling mode. To see how the Sampling mode relates to the entire structure of the

MOTIF and its other modes and functions, see the simpliﬁed chart in “Basic Structure” on page 30.

The following detailed chart shows all of the display menus and parameter groups of the Sampling modes — giving

you a quick, easy-to-understand overview of the sampling-related functions of the MOTIF.

Brackets around a word or phrase (e.g., [F1]) indicate speciﬁc button names or panel operations.

[INFORMATION] SAMPLE

[SAMPLE] SAMPLE REC SETUP

[F1] DESTINATION

[F2] SOURCE

[F6] SAMPLE RECORD

[F6] SAMPLE RECORDING

RECORDING (Slice+Seq)

[AFTER COMPLETING RECORDING]

[F1] TRIM

[INFO] TRIM INFORMATION

[SF1] AUDITION

[SF2] START-LOOP

[SF3] GET TEMPO

[SF4] EXTRACT

[F5] ZOOM OUT

[F6] ZOOM IN

[F2] SLICE

RECORDING (Sample, Sample+Note)

[F6] SAMPLE REC SETUP

[EDIT] SAMPLE EDIT

[F1] KEYBANK SELECT

[F2] TRIM

[INFO] TRIM INFO

[SF1] AUDITION

[SF2] START-LOOP

[SF3] GET TEMPO

[SF4] EXTRACT

[F5] ZOOM OUT

[F6] ZOOM IN

[F3] PARAMETER

[F4] RANGE

[JOB] SAMPLE JOB

[F1] KEYBANK JOB LIST

COPY

DELETE

EXTRACT

MOVE

NORMALIZE

TIME-STRETCH

CONVERT PITCH

FADE IN/OUT

CONVERT FREQUENCY

STEREO TO MONO

LOOP-REMIX

SLICE

[F2] WAVEFORM JOB LIST

COPY

DELETE

TRANSPOSE

NAME

[F3] OTHER JOB LIST

CLEAN UP MEMORY

OPTIMIZE MEMORY

DELETE ALL

CONVERT TO DRUM VOICE (User Drum Voice Number, Name)

[SAMPLE]

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276

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. . . . . . . . . . . . . . P. 248

234

MOTIF Reference

Sampling Record mode

Reference Sampling mode

Sampling Record mode

Basic Operation (page 58)

In this mode, you can record sounds to the MOTIF (for

example, your voice, a guitar, or sounds from a CD),

edit them, and use them to create special Sample voices

you can play from the keyboard. Or, if you enter this

mode from the Song or Pattern mode, the sounds you

record can be assigned to the tracks and played back

automatically with the song or pattern. What’s more,

by using the Resampling function, you can create new

samples from your edits, or make samples from the

sounds of the MOTIF itself.

◆ Data created by Sampling

Regardless of the mode, the raw Sampled data is the

same, of course. However, various parameters are

different, depending on the particular mode or settings.

See page 59 for details on the kinds of data that are

created in the Sampling function.

◆ Basic Procedure

1 To use a microphone or external audio source,

make all the appropriate connections. For details,

see “Analog input” and “Digital input” on page 23.

n If you want to use the sound of the MOTIF as a

recording source (with the Resampling function),

step #1 above is unnecessary.

2 Depending on how you want to use your created

sample, there are two ways you should proceed:

• To create a normal (User) voice —

Enter the Voice or Performance mode. To use the sound of

the MOTIF as a recording source (with the Resampling

function), select the desired voice or performance.

• To create a Sample track in a song

or pattern —

Enter the Song or Pattern mode and select the desired song

or pattern.

3 Press the [INTEGRATED SAMPLING] button to

call up the Setup display in the Sampling Record

mode. (The indicator lights.)

n Even when you enter the Sampling Record mode,

the indicator of the previous mode’s button

remains lit, allowing you to conﬁrm which mode

you entered from.

4 Press the [F1] button and set the destination-

related parameters for the sample. (These

determine the memory location to which the

sample will be recorded and assigned.)

n When entering the Sampling Record mode from the

Voice/Performance mode, the recorded sample is

automatically stored to the Waveform and User

voice set in this display.

n When entering the Sampling Record mode from the

Song/Pattern mode, the recorded sample is

automatically stored to the track set in this display

as a Sample voice.

5 Press the [F2] button and set the source-related

parameters for the audio input.

6 Press the [F6] button to go to the Sampling standby

display and set the Trigger mode in this display.

7 Press the [F6] button again to start sampling, and

play the input source at the proper time. How and

when you should play the source depends on the

settings made in step #5 above (and described

on page 236), and the process you use (described

brieﬂy below).

• When the Source is set to “A/D” or “digital”:

Any of the following audio input jacks/terminals on the

MOTIF can be used for sample recording:

- A/D INPUT jacks

- mLAN terminals (when the optional mLAN8E has been

installed)

- DIGITAL IN jack (when the optional AIEB2 has been

installed)

- OPTICAL IN jack (when the optional AIEB2 has been

installed)

• When the Source is set to “resample”:

The sound generated by the MOTIF itself (Song/Pattern

playback, keyboard performance) can be recorded as a

sample.

How sampling actually starts depends on the

Trigger mode setting made in step #6 above (and

described on page 237), and the process you use

(described brieﬂy below).

When Trigger mode is

set to “Manual”:

When Trigger mode is

set to “Level”:

Sampling Standby Sampling Standby

Sampling Start

Tr igger Waiting

Press the [F6] button. Press the [F6] button.

When the level of the input

signal exceeds the Trigger

level, sampling starts.

235

MOTIF Reference

Sampling Record mode

Reference Sampling mode

8 Stop the Sampling following the instructions above

and stop the recording source playback.

9 Set the Slice parameters as needed— if you’ve

entered the Sampling Record mode from the Song/

Pattern mode, and you’ve set the Sampling type to

“slice+seq” in step #5 above.

10 Save the recorded sample to the memory card/

SCSI storage device as a Waveform, User voice, or

Sample voice, as required.

The recorded (edited) phrase data resides temporarily in

DRAM (page 64). Because data contained in DRAM is

lost when the power is turned off, you should always save

any data residing in DRAM to a memory card or an

external SCSI device before turning off the power.

• The operations corresponding to steps #4 - 9 are

covered in the following explanations.

• For details on step #10, refer to “File mode” on

page 264.

Sampling Setup

The explanations here apply to steps #4 and #5 of the

Basic Procedure on page 234.

■ [F1] Sampling Destination settings

The explanations here apply to step #4 of the Basic

Procedure on page 234.

● When entering the Sampling mode from the

Voice/Performance mode

n The MOTIF can transfer wave data to and from the

computer (with TWE software) only when this display is

called up.

• Waveform

Determines the Waveform number to which the recorded

sample is assigned.

❏ Settings 001~256

• Keybank

Determines the note number located at the center of the

Key Bank.

❏ Settings C-2 ~G8

n For details about the Waveform and Key Bank, see

page 60.

• Part

Determines the performance part to which the recorded

sample is assigned. This is available only when entering

the Sampling mode from the Performance mode.

❏ Settings off, 1~ 4

• Voice

The recorded sample can be stored as a User Normal voice.

This parameter determines a User Normal voice number

to which the recorded sample is assigned.

❏ Settings off, 1~128

n When this is set to “off,” only a Waveform is

created; the sample is not stored as a User voice.

The sample is stored to the smallest numbered

Waveform available. If you wish to hear the new

sample and later assign it to a User voice, go to the

Element Oscillator display ([F1]-[SF1]) in the

Voice Edit mode and search the User Waveforms

to ﬁnd the sample. For details, see page 135.

● When entering the Sampling mode from the

Song/Pattern mode

• Track

Determines the track number to which the recorded

sample is assigned.

❏ Settings 1~16

• Keybank

Determines the note number located at the center of the

Key Bank. This parameter is available only when the

Sampling type is set to “sample” or “sample+note” (in the

Type parameter below).

❏ Settings C-2~G8

When Trigger mode is set to Meas :

Sampling Standby

Sampling Stop

Sampling Start

Punch-in Waiting

Press the [F6] button.

Start playback of the song or pattern.

When the appropriate Punch-in

measure is reached, sampling starts.

When the appropriate Punch-out

measure is reached, sampling

stops. Otherwise, to stop

sampling, press the [F6] button.

236

MOTIF Reference

Sampling Record mode

Reference Sampling mode

■ [F2] Sampling Source settings

The explanations here apply to step #5 of the Basic

Procedure on page 234.

• Type

Determines the Sampling type. When entering the

Sampling mode from the Song/Pattern mode, the data

created by the Sampling varies depending on this setting.

Keep in mind that this parameter is ﬁxed to “sample”

when entering the Sampling mode from the Voice/

Performance mode.

❏ Settings sample, sample + note, slice + seq

sample

Only the sample (wave) data is created.

sample + note

In addition to the sample data, the appropriate note data

for playing the sample is created and recorded to the

speciﬁed track.

slice + seq

The recorded sample is automatically divided into “slices,”

and these are assigned to successive notes on the keyboard.

These notes are then automatically arranged in sequence

data (to the speciﬁed track) for playback.

This is especially useful for rhythm samples. For example,

if you’ve recorded a drum part, each beat of the rhythm is

converted to a separate slice and a separate note, and the

notes are made into a sequence. In this way, playing back

the sequence data plays the entire rhythm sample. The

advantage to this is that you can then adjust the tempo of

the sequencer over a wide range, and still keep the rhythm

perfectly in sync with the other tracks.

n Detailed settings (meter, measure number etc,) are

speciﬁed in the Slice display after sampling.

• Source

Determines the recording source.

❏ Settings

A/D

Analog audio from the A/D INPUT jacks or mLAN

terminal (with optional mLAN8E) is recognized as the

recording source.

resample

The signal (already recorded sample or preset wave)

output from the MOTIF's OUTPUT jacks is recognized as

a recording source and “resampled”.

Digital

Digital audio from the DIGITAL IN terminal or OPTICAL

IN terminal (with optional AIEB2) is recognized as the

recording source.

• Mono/Stereo

Determines whether new samples will be recorded as

stereo or mono samples.

❏ Settings

monoL

The L-channel signal will be recorded as a mono sample.

monoR

The R-channel signal will be recorded as a mono sample.

monoL+R

The L-channel and R-channel signals will be mixed and

recorded as a mono sample.

ster

A stereo sample will be recorded.

• Frequency (Sampling Frequency)

Speciﬁes the sampling frequency. The rate at which digital

readings are taken is referred to as the sampling frequency.

Higher sampling frequencies result in higher quality sound.

❏ Settings

44.1k (44.1 kHz), 22kLo (22.05 kHz Lo-Fi), 11kLo

(11.025 kHz Lo-Fi), 5kLo (5.5125 kHz Lo-Fi)

n When the Source is set to A/D and the mLAN

terminal is used as an analog input, the Frequency

is ﬁxed to 44.1 kHz and cannot be changed.

n At settings other than 44.1 kHz, the sound

monitored during recording may be different from

the recorded sound, depending on the source

signal.

Sample Voice

Assigned to a

specified key

Sequence data





Sample Voice

Assigned to a

specified key

Sequence data





237

MOTIF Reference

Sampling Record mode

Reference Sampling mode

Sampling Standby

The explanations here apply to step #6 of the Basic

Procedure on page 234.

• TriggerMode

Speciﬁes the method by which sampling will be triggered.

❏ Settings

vel

Sampling will begin as soon as an input signal exceeding

the speciﬁed trigger level is received after the [F6]

(START) button is pressed.

When this is selected, you need also set the Trigger Level

(1~127).

meas

This is available only when entering the Sampling mode

from the Song/Pattern mode and should be set together

with the Punch-in/out measure.

After the [F6] (START) button is pressed, sampling will

begin at the speciﬁed punch-in measure, and end at the

speciﬁed punch-out measure. Sampling will also stop when

the Song/Pattern is stopped by pressing the [■] button.

manual

Sampling will begin as soon as the [F6] (START) button is

pressed, regardless of the Song/Pattern playback status.

• RecMonitor (Recording Monitor)

Determines the output level of the monitor for the input

signal.

This monitor signal is output from the PHONES jack or

the OUTPUT R and L/MONO jacks. This has no effect on

the recording level.

❏ Settings 0~127

• RecGain (Recording Gain)

Determines the recording gain when resampling.

This parameter is available only when the Source is set to

“resample.”

❏ Settings -12dB~+12dB

Trigger Waiting

The following display applies to step #7 of the Basic

Procedure on page 234. The following display is

available when the Trigger mode is set to “level.” In

this case, sample recording is on standby, waiting for

an input signal that exceeds the Trigger level.

Punch-in Waiting

The following display applies to step #7 of the Basic

Procedure on page 234.

The following display is available when entering the

Sampling mode from the Song/Pattern mode and when

the Trigger mode is set to “meas.” In this case, sample

recording is on standby, waiting for song/pattern

playback to reach the speciﬁed Punch-in measure.

Slice setting after sampling

The explanations here apply to step #9 of the Basic

Procedure on page 235.

If you’ve entered the Sampling Record mode for the

Song or Pattern mode and you’ve set the sampling type

to “slice+seq,” you should set the following Slice-

related parameters.

■ [F1] Trim

The trim function makes it possible to specify the

beginning and end points to be played back within an

entire sample. You can delete all unnecessary sample

data (located ahead of the Start point and located after

the End point) by pressing the [SF5] button (Extract

function). This function is especially useful in creating

drum loops, since it helps you isolate only the beats

you need for your loop.You can also specify the tempo

for the range of the looped playback to determine its

beat.

Indicates the MOTIF is in the Sampling Standby mode.

Indicates that sample recording is waiting

for a signal of an appropriate level.

Indicates that sample recording is waiting

for a signal of an appropriate level.

238

MOTIF Reference

Sampling Record mode

Reference Sampling mode

• Start (Start Point)

Determines the Start point for the sample playback.

• Loop (Loop Start Point)

Determines the Top point of the loop playback (the point

where the loop begins) within the range of the entire

sample.

• End (End Point)

Determines the End point of the loop playback within the

range of the entire sample.

• Beat

The Beat of the range from the Loop Start Point to the End

Point is automatically displayed according to the Tempo

(below). This is displayed only and cannot be changed.

If you use the GET TMP (Get Tempo) function by

pressing the [SF4] button, this Beat value is automatically

changed to match the extracted tempo.

• (Tempo)

Execute the GET TMP (Get Tempo) operation by pressing

the [SF4] button to calculate the tempo when the Sample

data playback of the range from the Loop Start Point to the

End Point is treated as one measure. The result of the

calculation appears here.

You can also change the tempo by using the [INC/YES]

and [DEC/NO] buttons, or the data dial.

■ [F2] Slice

This powerful feature lets you automatically divide the

recorded sample into separate “slices.” These slices are

then assigned to successive notes and arranged as

sequence data. This effectively lets you recreate the

original sample by playing back its slices in order, in

any tempo — perfect for matching samples of different

original tempos. This is also useful for melodic

samples, such as bass parts, since it lets you play back

the sample at any tempo without changing the overall

pitch.

n It is necessary to accurately adjust the length of the

sample before executing the slice operation. Use

the [SF1] (AUDITION) button in the Trim display

to loop the sample and precisely set the Start and

End points as required.

• Type (Slice Type)

Speciﬁes how the sample is sliced, and to some extent

determines the resulting sound quality. Select the type that

best suits the original phrase.

❏ Settings

beat1~3

This slice type is suited for percussive phrases such as

drums or bass with a fast attack and short decay. Three

variations are provided.

phrase1~4

Ideal for phrases containing cymbals or other instruments

with a long decay. Four variations are provided.

quick

Regardless of the phrase content, the sample is divided at

the speciﬁed note sub-divisions. The number of slices per

measure is calculated by multiplying the top number of the

Meter (time signature) parameter by the bottom number

of the SubDivide parameter.

n For helpful hints on getting the Slice Type

parameter to work for different samples, see “Tips

for using the Slice Types” on page 239.

• Measure

Determines the number of measures in the sample to be

sliced.

When the slice operation is executed, sequence data

corresponding to the speciﬁed number of measures is

created. The sequence data is created from the beginning

of the current measure at the point at which sampling is

started.

❏ Settings 1~8

• Meter

Speciﬁes the meter (time signature) of the sample. The

setting here is the basic slice unit.

❏ Settings 1/16 ~ 16/16, 1/8 ~ 16/8, 1/4 ~ 8/4

Press the [F5] and [F6]

buttons to zoom in and

out of the wave display.

Tempo

Press the [SF1] button to

sound the recorded

sample according to the

settings in this display.

Delete all unnecessary sample dat

(located ahead of the Start point

and located after the End point) by

pressing the [SF4] button.

Press the [SF2] button so that

the address of the Start Point

is changed to the one of the

Loop Start Point.

Press the [SF3] button to calculate the

tempo/beat when the Sample data playback of

the range from the Loop Start Point to the End

Point is treated as one measure. The result of

the calculation appears at the left in this display.

Press the [F5] button to go back to

the Sampling Setup display without

storing the result.

Press the [F6] button to store the result of the Slice

operation and go back to the Sampling Setup display.

You can hear and confirm

the sliced

amples by pressing the

[SF1] button.

Press the [ENTER] button. (The display

prompts you for confirmation.) Press the

[INC/YES] button to execute the Slice.

239

MOTIF Reference

Sampling Record mode

Reference Sampling mode

• SubDivide

The Meter parameter sets the basic slice unit, and

SubDivide speciﬁes even ﬁner resolution for phrases

containing regions with shorter notes.

For the following phrase, for example, the Meter should be

set to 4/4 and SubDivide to 1/2.

❏ Settings

When Meter is set to 1 ~ 8/4:

quarter note (1/1), 8th note (1/2), 4th note triplet (1/3),

16th note (1/4), 8th note triplet (1/6), 16th note 1/8),

32nd note triplet (1/12)

When Meter is set to 1 ~ 16/8:

8th note (1/1), 16th note (1/2), 8th note triplet (1/3),

32nd note 1/4), 16th note triplet (1/6)

When Meter is set to 1 ~ 16/16:

16th note (1/1), 32nd note 1/2), 16th note triplet (1/3)

n This parameter has no effect when the Slice Type

parameter is set to beat 1~2.

n The maximum slice resolution for stereo samples

is 64 slices, and for mono samples 128 slices.

• Sens (Envelope Sensitivity)

Further adjusts the sub-divisions speciﬁed by the

SubDivide parameter. Higher values result in higher

resolution, allowing even ﬁner notes and smaller sounds to

be detected and sliced.

Use the Audition function (press [SF1]) to hear the

results, and if you’re not satisﬁed with them, change the

setting and try again.

❏ Settings 1~5

n This parameter has no effect when the “quick”

slice type is selected.

◆ Tips for using the Slice Types

● Slicing percussive phrases having short decays

• First, try slicing using “beat1.”

• If the result has a weak attack or the release portions

of the phrase seem to overlap, try again using “beat2.”

Try adjusting the envelope sensitivity for ﬁner

control.

• If after using “beat1” the attack portions overlap or

the overall rhythmic feel is degraded, try again using

“beat3.” Use the SubDivide parameter to adust the

slice resolution, and make ﬁnal adjustments with the

Envelope Sensitivity parameter.

● Slicing phrases having long decays

• First, try slicing using “phrase1.”

• If the result has a weak attack or the release portions

of the phrase seem to overlap, try again using

“phrase2.” Use the SubDivide parameter to adust the

slice resolution, and make ﬁnal adjustments with the

Envelope Sensitivity parameter.

• If after using “phrase1” the points between the slices

sounds rough and the overall feel is choppy, try again

using “phrase3” and set SubDivide to a ﬁner

resolution. Make ﬁnal adjustments with the

Envelope Sensitivity parameter. The “phrase3”

setting is generally best for sustained strings or brass

type sounds with no vibrato — in other words, the

pitch remains constant. It can also produce echo-like

effects when applied to percussive phrases with short

decay.

• If after using “phrase1” the points between the slices

sounds rough and the overall feel is choppy, try again

using “phrase4” and set SubDivide to a ﬁner

resolution. Make ﬁnal adjustments with the

Envelope Sensitivity parameter. The “phrase4”

setting is generally best for sustained strings or brass

type sounds with vibrato, as well as vocal phrases.

◆ Wave Memory Required for Slice

Operations

Individual wave data slices created through slice

operations require approximately 1.5 times the original

memory because a tail section is automatically added

and fade-in and fade-out sections are automatically

created at the beginning and end of the wave data. This

helps to maintain maximum sound quality when the

BPM is increased, and results in smoother connections

between slices (no tail section is created when the

QUICK slice type is selected).

A memory work area is required for the synthesis

calculations carried out for each slice operation, as well

as sufﬁcient memory to hold the completed waveforms.

When the sampling frequency is 44.1 kHz, the

approximate amount of memory (expressed in

kilobytes) required for each slice type is listed below.

Original

waveform

Sliced

waveform

Tail section

Fade section

240

MOTIF Reference

Sampling Edit mode

Reference Sampling mode

BEAT1 : Original wave size X N + (0.3 X number of slices)

BEAT2 : Original wave size X N + (0.2 X number of slices)

BEAT3 : Original wave size X N + (0.3 X number of slices)

PHRASE1 : Original wave size X N + (5.8 X number of slices)

PHRASE2 : Original wave size X N + (1.4 X number of slices)

PHRASE3 : Original wave size X N + (0.4 X number of slices)

PHRASE4 : Original wave size X N + (1.4 X number of slices)

QUICK : Original wave size X 3 + (0.7 X number of slices)

For monaural samples N = 5.5, and for stereo samples

N = 8. Also, the number of slices is doubled for stereo

samples.

With the memory expanded to the maximum 64

megabytes, for example, if the entire memory is empty

and a 44.1 kHz sample is sliced to 32 slices, the longest

possible sampling time will be

approximately:

BEAT1~3, PHRASE1~4: approx. 138 seconds

(mono), 47 seconds (stereo.) QUICK: approx. 253

seconds (mono), 126 seconds (stereo).

Sampling Edit mode

Basic Structure (page 59)

This mode gives you a variety of sample eding tools,

with which you can change the samples you’ve

recorded in the Sampling Record mode, and customize

them for your applications as needed.

◆ Editing Stereo Samples

For samples that have been recorded in stereo (with

Stereo Sampling), both the left and right waves of the

sample are edited together by the MOTIF. in the actual

process, any edits made to the left channel wave are

duplicated exactly in the right channel. The exception

to this, of course, is Pan — since the sample already is

in stereo.

◆ Basic Procedure

1 Press the [INTEGRATED SAMPLING] button to

enter the Sampling mode. (The indicator lights.)

n Unlike in the Sampling Record mode, all

parameters and functions of the Sampling Edit

mode are the same, no matter which mode was

previously selected.

n All Sampling Edit operations apply to the

Waveform (actual sample), not the voice.

2 Press the [EDIT] button to enter the Sampling Edit

mode. (The indicator lights.)

3 Select the desired sample for editing from the Key

Bank display. (Press the [F1] button.)

4 Select the menu you wish to edit by pressing the

[F2] - [F6] buttons.

5 Edit parameters for the selected sample.

6 Press the [EXIT] button to exit from the Sampling

Edit mode.

• The operations corresponding to steps #3 - 4 are

covered in the following explanations.

Sample selection and Audition

function

The explanations here apply to step #3 of the Basic

Procedure see above.

For details about the relationship between the

parameters below, see page 241.

1 Select a Waveform that contains a Sample you wish

to edit. Move the cursor to the Waveform number

and select the desired number by using the [INC/

YES] button, [DEC/NO] button, or the data dial.

2 To select the desired Key Bank, simultaneously

hold down the [INFORMATION] button and

press the appropriate key on the keyboard. The

information about the selected Key Bank appears

on the display and the sample assigned to the Key

Bank is called up.

You can hear the selected sample by pressing

the [SF1] button. (Audition function)

Indicates information about the

selected Key Bank.

241

MOTIF Reference

Sampling Job mode

Reference Sampling mode

3 Press the [SF2] button to call up the Samples

assigned to the selected Key Bank in order.

n Step #3 above as well as the Audition function can

be used with any of the displays called up via the

[F2] - [F4] buttons.

Sample Edit

The explanations here apply to step #5 of the Basic

Procedure on page 59.

● [F2] Sample Edit Trim

This operation is the same as in the Sampling

Record mode (when Sampling Type is set to

“slice+seq”). See page 237.

● [F3] Sample Edit Parameter

• Level

Determines the output level of the selected sample.

❏ Settings -94.5dB~0dB

• Pan

Determines the stereo position of the selected sample.

❏ Settings L63 (far left) ~ C (center) ~ R63 (far right)

• PlayMode

Determines how the selected sample is to be played back.

❏ Settings

forw

ard

The Sample playback begins from the Start point to the

End point.

everse

The Sample playback begins from the End point to the

Start point in reverse.

loop

The Sample playback begins from the Start point, moves to

the Loop point and then repeats continuously from the

Loop point to the End point.

n For details about these settings above, see page 61.

• Original Key

Determines the base key for the sample. Since the sample

will be pitched shifted for keys played around this base

key, this should be set as close as possible to the original

pitch or note value of the actual sample.

❏ Settings C - 2 ~ G8

• Fine Tune

Determines the ﬁne tuning for the pitch of the sample.

❏ Settings -100 ~99 cents

● [F4] Sample Edit Range

From this display you can set the Key Range and the

Velocity Range for the sample assigned to the

selected Key Bank. Note that both the Key range

and Velocity range values are graphically indicated

in the display.

n When the cursor is at one of the Key Range values,

you can directly set the Key Range parameter from

the keyboard. (Simultaneously hold down the

[INFORMATION] button and press the

appropriate key on the keyboard.)

Sampling Job mode

The Sampling Job mode contains a comprehensive set

of editing tools and functions you can use to change the

sound of the sample you’ve created and edited in the

Sampling Edit mode. It also includes a variety of

convenient operations, such as copying or erasing data.

◆ Basic Procedure

1 Press the [INTEGRATED SAMPLING] button to

enter the Sampling mode. (The indicator lights.)

n Unlike in the Sampling Record mode, all

parameters and functions of the Sampling Job

mode are the same, no matter which mode was

previously selected. The only exception to this is

the Slice Job ([F1]-12 below), which varies

depending on whether the previously selected

mode was Voice/Performance or Song/Pattern.

n All Sampling Job operations apply to the Waveform

(actual sample), not the voice.

2 Press the [JOB] button to enter the Sampling Job

mode.

242

MOTIF Reference

Sampling Job mode

Reference Sampling mode

3 Select the desired Job menu by pressing the

appropriate button, [F1] - [F3].

4 Use the CURSOR buttons to scroll to the desired Job.

5 Press the [ENTER] button to go to the selected Job

display.

6 Set the relevant Job parameters.

7 Press the [ENTER] button. (The display prompts

you for conﬁrmation.)

8 Press the [INC/YES] button to execute the Job.

After the Job has been completed, a “Completed”

message appears and operation returns to the

original display.

n To cancel the Job, press the [DEC/NO] button.

n The actual procedures in steps #7 and #8 above

may differ depending on the speciﬁc Job. Refer to

the explanantions in each Job for details.

For Jobs that take longer to process, you will see the

message “Executing…” during processing. If you switch

off the power of the MOTIF while this message is

displayed, you risk corrupting your data.

9 Press any other mode button to exit from the

Sampling Job mode.

• For detailed instructions on steps #3 - #6

, see the

explanations below.

[F1] Key Bank Job

Press the [F1] button in step #3 of the Basic Procedure

see above, so that the Key Bank Job list appears on the

display. Scroll the cursor to the desired Job and press the

[ENTER] button to go to the display of the selected Job.

◆ Audition function and Key Bank

(sample) selection

For the Key Bank Jobs that follow, the Audition

function and Key Bank selection are the same as in the

Sampling Edit mode (page 241). Here, you can call up

and perform Jobs on the sample data assigned to the

selected Key Bank. To audition the currently selected

sample, press the [SF1] button (AUDITION).

Also, note that for Jobs 01 - 04, the Keyboard control

(“KBD”) is available — letting you directly change the

Key Bank from the keyboard. (Simultaneously hold

down the [INFORMATION] button and press the

appropriate key on the keyboard.)

● [F1]-01 Copy

This Job copies the data of a sample contained in a

speciﬁed Key Bank to another Key Bank.

● [F1]-02 Delete

This Job deletes the speciﬁed Key Bank and its

sample.

If the Key Bank is set to “all” and the Job is

executed, all the samples of the selected Waveform

are deleted.

ENTER

EXECUTE

Source Waveform, Key Bank

Destination Waveform, Key Bank

243

MOTIF Reference

Sampling Job mode

Reference Sampling mode

n If all the samples of the speciﬁed Waveform are

deleted, the Waveform itself is deleted.

● [F1]-03 Extract

This Job deletes all unnecessary sample data

(located ahead of the Start point and located after

the End point). In effect, it extracts only the sample

data you want to use, trimming all unneeded sound

from the start and end of the sample.

If the Key Bank is set to “all” and the Job is

executed, this Job is applied to all the samples of the

selected Waveform.

● [F1]-04 Move

This Job lets you move a sample contained in a

speciﬁed Key Bank to another Key Bank. This

would be useful for creating a new Waveform from

the samples of various other existing Waveforms.

n If the last remaining sample is moved from the

source Waveform, the source Waveform itself is

deleted.

● [F1]-05 Normalize

This Job maximizes (normalizes) the overall level of

the speciﬁed sample. The “100” (100%) setting is a

quick and convenient way to boost the level of an

entire sample, to make it as loud as possible without

distorting.

• Ratio

Speciﬁes the post-normalization sample level.

A setting of 100% maximizes the level so that the highest

peak level in the sample is just below clipping (maximum

digital signal level).

Settings below 100% reduce the level of the sample

accordingly.

Settings higher than 100% will raise the sample level

above the maximum, producing deliberate clipping.

❏ Settings 001-800%

Waveform and Key Bank containing

the sample to be deleted

Waveform and Key Bank containing

the sample to be extracted

Start Point End Point

Extract

Source Waveform and Key Bank

Destination Waveform and Key Bank

Set the Waveform and Key Bank containing the

sample to be normalized.

Press the [ENTER] button to

execute the Job.

Press the [F6] (OK) button to assign the

normalized sample to the specified Key Bank.

Press the [ENTER] button to execute the

operation. If you re not satisfied with the

results, change the Ratio value and press the

[ENTER] button again.

This automatically reverts back to the original

settings and executes the operation again

with the new settings.

Press the [F5] (CANCEL) button to

cancel the operation.

Original Wave

Lower than 100%

100%

Higher than 100%

244

MOTIF Reference

Sampling Job mode

Reference Sampling mode

● [F1]-06 Time-Stretch

This Job lets you change the length of the sample

without changing the pitch.

• Ratio

Determines the length of post-process sample as a ratio of

the length of the original sample (100%). Lower values

compress the sample, while higher values expand the

sample.

❏ Settings 25~400%

• Accuracy

Determines the quality of the resulting sample by

specifying which aspect of the original is to be emphasized:

sound quality or rhythmic feel.

❏ Settings 25~400%

Sound4-Sound1

These settings place emphasis on sound quality, with the

“SOUND 4” setting producing the highest sound quality.

Normal

Produces an optimum balance of sound quality and

rhythmic feel.

ythm1-Rhythm 2

These settings place emphasis on rhythmic feel, with the

“Rhythm 2” setting producing the most accurate rhythmic

feel.

● [F1]-07 Convert Pitch

This Job lets you change the pitch of the sample

without changing the length.

• Pitch

Determines the amount and direction of pitch shift in

semitone increments.

❏ Settings -12 ~ 0 ~+12

• Fine

Determines the amount and direction of ﬁne pitch shift in

cent increments (1 cent = 1/100th of a semitone).

❏ Settings -50~0~+50

Set the Waveform and Key Bank containing the

sample to be time-stretched.

Press the [ENTER] button to

execute the Job.

Press the [F6] (OK) button to assign the

time-stretched sample to the specified

Key Bank.

Press the [ENTER] button to execute the

operation. If you're not satisfied with the

results, change the Ratio and Accuracy

values and press the [ENTER]

button again. This automatically reverts back

to the original settings and executes the

operation again with the new settings.

Press the [F5] (CANCEL) button to

cancel the operation.

Set the Waveform and Key Bank containing the

sample to be pitch-converted.

Press the [ENTER]

button to execute the Job.

Press the [F6] (OK) button to assign the pitch-

converted sample to the specified Key Bank.

Press the [ENTER] button to execute the operation.

If you’re not satisfied with the results, change the

Pitch and Fine values and press the [ENTER]

button again. This automatically reverts back to the

original settings and executes the operation again

with the new settings.

Press the [F5] (CANCEL) button

to cancel the operation.

245

MOTIF Reference

Sampling Job mode

Reference Sampling mode

● [F1]-08 Fade In/Out

This Job lets you create fade-ins and fade-outs for

the sample.

• Type

Determines the type of level fade: fade-in or fade-out.

❏ Settings in (fade-in), out (fade-out)

• Length

Determines the length of the fade-in or fade-out.

When a fade-in is selected, this parameter speciﬁes the

length of the fade starting at the speciﬁed Start point.

When a fade-out is selected, this parameter speciﬁes the

length of the fade starting at the beginning of the fade and

ending at the speciﬁed End point.

❏ Settings 0000000~End point

● [F1]-09 Convert Freq

This Job lets you halve the sampling frequency of

the speciﬁed sample. This can be used to convert hi-

ﬁ samples to a lo-ﬁ sound, and reduce the sample

size by half to conserve memory.

● [F1]-10 Stereo to Mono

This Job lets you convert a stereo sample to a mono

sample.

Set the Waveform and Key Bank containing the

esired sample.

Press the [ENTER]

button to

execute the Job.

Press the [F6] (OK) button to assign the

edited sample to the specified Key Bank.

Press the [ENTER] button to execute the

operation. If you re not satisfied with the

results, change the Type and Length values

and press the [ENTER] button again. This

automatically reverts back to the original

settings and executes the operation again

with the new settings.

Press the [F5] (CANCEL) button

to cancel the operation.

Start point

Fade In

Fade Out

Length

End point

Length

Set the Waveform and Key Bank containing

the sample to be converted.

Press the [ENTER]

button to

execute the Job.

Press the [F6] (OK) button to assign the

converted sample to the specified Key Bank.

Press the [F5] (CANCEL) button

to cancel the operation.

Press the [ENTER] button to execute the operation.

If you re not satisfied with the results, change the Type

and Length values and press the [ENTER] button again.

This automatically reverts back to the original settings

and executes the operation again with the new settings.

Set the Waveform and Key Bank containing the

sample to be converted.

Press the [ENTER]

button to

execute the Job.

Press the [F6] (OK) button to assign the

converted sample to the specified Key Bank.

Press the [ENTER] button to execute the operation.

If you’re not satisfied with the results, change the Type

value and press the [ENTER] button again. This

automatically reverts back to the original settings and

executes the operation again with the new settings.

Press the [F5] (CANCEL) button

to cancel the operation.

246

MOTIF Reference

Sampling Job mode

Reference Sampling mode

• Type

Determines which channel, or both channels, of the stereo

sample will be converted to a mono sample.

❏ Settings

L+R>mono

The left and right channels of the stereo sample are mixed

and converted to a mono sample.

L>mono

The left channel of the stereo sample is converted to a

mono sample.

R>mono

The right channel of the stereo sample is converted to a

mono sample.

● [F1]-11 Loop-Remix

This Job lets you automatically cut the sample into

separate “slices” and randomly rearrange the slices

for special effects and unusual rhythmic variations.

A variety of audio transform operations are also

included for even greater changes in the sound.

• Type

Determines the degree to which the looped portion of the

sample will be sliced.

❏ Settings 1~4

• Variation

Determines how the original sample is varied by the this

Job.

❏ Settings

normal1, 2

These settings slice and rearrange the sample data,

without performing any other audio changes.

everse1, 2

In addition to slicing and rearranging, these settings

reverse the playback of some of the slices.

● [F1]-12 Slice

This Job lets you divide the sample into separate

“slices,” the number of which is determined by the

note length (with Measure, Meter, and SubDivide).

When entering this Job from the Song/Pattern

mode, note data for playing the slices in sequence is

also created. (Keep in mind that the results of this

Job vary depending on the previously selected

mode: Voice/Performance or Song/Pattern.)

With the exception of the parameter below, all

parameters and settings are the same as in the Slice

display of the Sampling Record mode (page 238).

• Lowest Key

Speciﬁes the lowest key number from which the sliced

samples are ordered.

❏ Settings C - 2 ~G8

n In the Slice display of the Sampling Record mode

(page 238), this parameter is ﬁxed to “C-1” for the

MOTIF6, “E0” for the MOTIF7, “A-1” for the

MOTIF8, and cannot be set.

Set the Waveform and Key Bank containing the

sample to be Loop-remixed.

Press the [ENTER]

button to

execute the Job.

Press the [F6] (OK) button to assign the

Loop-remixed sample to the specified Key Bank.

Press the [ENTER] button to execute the operation.

If you re not satisfied with the results, change the Type

and Variation values and press the [ENTER] button again.

This automatically reverts back to the original settings and

executes the operation again with the new settings.

Press the [F5] (CANCEL) button to

cancel the operation.

Set the Waveform and Key Bank containing the

sample to be sliced.

Press the [ENTER]

button to execute

the Job.

Press the [F6] (OK) button to assign the sliced

sample to the specified Key Bank.

Press the [ENTER] button to execute the operation. If

you re not satisfied with the results, edit the various

parameters and press the [ENTER] button again. This

automatically reverts back to the original settings and

executes the operation again with the new settings.

Press the [F5] (CANCEL) button to

cancel the operation.

247

MOTIF Reference

Sampling Job mode

Reference Sampling mode

[F2] Waveform Job

Press the [F2] button in step #3 of the Basic Procedure

on page 240 so that the Waveform Job list appears on

the display. Scroll the cursor to the desired Job and

press the [ENTER] button to go to the display of the

selected Job.

● [F2]-01 Copy

This Job lets you copy the data of one waveform to

another.

● [F2]-02 Delete

This Job lets you delete a speciﬁc waveform from

memory.

● [F2]-03 Transpose

This Job lets you transpose the Key bank setting of a

speciﬁed waveform.

• Octave

Determines the amount in octaves by which the Key Bank

is transposed. When you want to transpose by less than

one octave, set this to “0” and use the Note parameter

below.

❏ Settings -3~ 0 ~+3

• Note

Determines the amount in semitones by which the Key

Bank is transposed. When you want to transpose by exact

octaves, set this to “0” and use the Octave parameter

above.

❏ Settings -11~ 0 ~+11

● [F2]-04 Name

This Job lets you assign a name to the selected

waveform.

For speciﬁc instructions on naming, see “Basic

Operation” on page 75.

[F3] Other Jobs

Press the [F3] button in step #3 of the Basic Procedure

on page 240 so that the following Job list appears on

the display. Scroll the cursor to the desired Job and press

the [ENTER] button to go to the display of the selected

Job.

● [F3]-01 Clean Up Memory

This Job deletes all the waveforms to which User

voices or Sample voices are not assigned.

Select the source waveform.

Select the destination waveform.

Select the waveform to be deleted.

Select the desired waveform for which the

Key Bank setting is to be transposed.

Select a waveform to be named.

248

MOTIF Reference

Sampling Job mode

Reference Sampling mode

● [F3]-02 Optimize Memory

This Job optimizes the memory (DRAM) for

sampling.

● [F3]-03 Delete All

This Job deletes all the waveforms.

● [F3]-04 Convert to Drum Voice

This Job lets you convert the selected waveform to a

speciﬁc Drum voice. Since the Sampling function

allows creation of only Normal voices, this Job

makes it possible to create a Drum voice with your

recorded samples.

249

MOTIF Reference

Function Tree

Reference Utility mode

Utility Mode

Function Tree

This section is devoted to the Utility mode. To see how the Utility mode relates to the entire structure of the MOTIF

and its other modes and functions, see the simpliﬁed chart in “Basic Structure” on page 30.

The following detailed chart shows all of the display menus and parameter groups of the Utility mode — giving you a

quick, easy-to-understand overview of the global, system-wide functions of the MOTIF.

Brackets around a word or phrase (e.g., [F1]) indicate speciﬁc button names or panel operations.

[INFORMATION] UTILITY INFORMATION

[F1] SYSTEM GENERAL

[SF1] TG

[SF2] KEYBOARD

[SF3] EFFECT BYPASS

[SF4] OTHER

[F2] SYSTEM I/O

[SF1] Input

[SF2] Output

[SF3] mLAN CONNECTION

[F3] SYSTEM VOICE (available only when entering Utility mode from Voice mode)

[SF1] MASTER EQ

[SF2] ARPEGGIO CHANNEL

[SF3] CONTROLLER ASSIGN

[F3] SYSTEM SEQ (available only when entering Utility mode from Song/Pattern modes)

[SF1] CLICK

[SF2] MIDI FILTER IN/OUT

[SF4] OTHER

[F4] SYSTEM CONTROLLER ASSIGN

[SF1] ARPEGGIO

[SF2] ASSIGNABLE

[SF3] FOOT SWITCH

[SF4] EXTERNAL SEQ REMORT CONTROL TEMPLATE

[F5] SYSTEM MIDI

[SF1] CHANNEL

[SF2] SWITCH

[SF3] SYNC

[SF4] OTHER

[F6] SYSTEM PLUG-IN BOARD

[SF1] STATUS

[SF2] MIDI

[SF3] NATIVE SYSTEM PARAMETER for Slot1

[SF4] NATIVE SYSTEM PARAMETER for Slot2

[SF5] NATIVE SYSTEM PARAMETER for Slot3

[JOB] FACTORY SET

[UTILITY]

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276

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250

MOTIF Reference

Utility mode

Reference Utility mode

Utility mode

In this mode, you can set parameters that apply to the

entire system of the MOTIF. These include MIDI

settings and global setup parameters.

This mode is actually a sub-mode of the Voice/

Performance/ Song/Pattern mode. Press the [UTILITY]

button in each mode to enter the Utility mode and

press the [EXIT] button after making settings to go

back to the previous mode.

◆ Basic Procedure

1 Press the [UTILITY] button to enter the Utility

mode. (The indicator lights.)

n For example, if you press the [UTILITY] button

while in the Performance mode, you enter the

Utility mode as a sub-mode of the Performance

mode — allowing you to select and play

performances while in the Utility mode.

n Even after you enter the Utility mode, the indicator

of the previous mode’s button remains lit, letting

you see at-a-glance which mode you’ve entered

from.

2 Select the desired menu by pressing the [F1] - [F6]

buttons and set the parameters in each display.

n The display called up via the [F3] button varies

according the previous mode (before entering the

Utility mode).

3 Press the [EXIT] button to exit from the Utility

mode back to the previous mode.

• For detailed instructions on steps #2, see the

explanations below.

[F1] System settings

● [F1]-[SF1] General TG (Tone Generator)

From this display you can make overall settings for

the MOTIF’s tone generator, including volume and

pitch, as well as Breath Control response.

• Volume

Determines the MOTIF’s overall volume.

❏ Settings 0~127

• NoteShift

Determines the amount (in semitones) by which the note

pitch is shifted. This parameter only affects the MOTIF’s

internal tone generator block. It does not affect

information transmitted via the MIDI terminal.

❏ Settings 24~0~+24

• Tune

Determines the ﬁne tuning (in 0.1 cent steps) of the

MOTIF’s overall sound.

❏ Settings 102.4~+102.3

• BCCurve (Breath Controller Curve)

These four curves determine how the sound of the MOTIF

responds to use of a Breath Controller.

The speciﬁc aspect of the sound that is affected by Breath

Control and the selected curve is set in the Controller Set

display (page 134) in the Normal Voice Element Edit mode.

❏ Settings thru, soft, hard , wide

thru

This linear “curve” produces one-to-one correspondence

between the power of your breath and the actual sound

change.

soft

This curve provides increased response, especially for

lower breath power. In other words, soft blowing results

in higher response than the “thru” curve. Use this curve if

you want greater control in the soft breath range.

har

This curve effectively lessens the overall response

compared to the “thru” curve. Use this curve if you tend

to blow strongly and want the controller effect to be less

sensitive.

wide

This setting provides opposite response curves for lower

and higher breath powers. It widens the apparent

dynamic range of the controller, producing softer response

in the lower breath range and harder response in the

higher range.

Actual response

Received Breath Control

Actual response

Received Breath Control

251

MOTIF Reference

Utility mode

Reference Utility mode

● [F1]-[SF2] General Keyboard

From this display you can set the keyboard-related

parameters for the MOTIF.

• Octave

Determines the amount in octaves by which the range of

the keyboard is shifted up or down.

❏ Settings -3~0~+3

• Transpose

Determines the amount in semitones by by which the

range of the keyboard is shifted up or down. Keep in mind

that this also affects outgoing MIDI data.

❏ Settings -11~ 0 ~+11

n If you transpose beyond the note range limits (C-2

and G8), notes in the adjacent octaves will be used.

For example, a transposed note of F9 will be

changed to F8.

• VelCurve (Velocity Curve)

norm (normal)

This linear “curve” produces one-to-one correspondence

between the strength of your keyboard playing (velocity)

and the actual sound change. The harder you play, the

greater the sound change.

soft

This curve provides increased response, especially for

lower velocities. In other words, playing softly results in

higher response than the “norm” curve. Use this curve if

you want greater control in the low velocity range.

har

This curve effectively lessens the overall response

compared to the “norm” curve. Use this curve if you tend

to play strongly and want the sound change to be less

sensitive.

wide

This setting provides opposite response curves for lower

and higher velocities. It widens the apparent dynamic

range of the controller, producing less sound change in the

softer range and more change in the higher range.

ﬁ

xed

This setting produces the same amount of sound change

(set in Fixed Velocity below), no matter what your playing

strength. For example, you can use this to emulate the key

response of conventional organs, or ensure that the sound

change is absolutely uniform, no matter how hard or softly

you play.

n Actual velocity is output to the external MIDI

device via the MIDI or USB connector, as well as to

the internal tone generator block.

• Fixed Velocity

This parameter is only available if you select the “ﬁxed”

Velocity Curve above.

The velocity of the note you play is ﬁxed at the value set

here.

❏ Settings 1~127

Actual response

Received Breath Control

Keyboard velocity

Actual

Velocity

Keyboard velocity

Actual

Velocity

Keyboard velocity

Actual

Velocity

Keyboard velocity

Actual

Velocity

Keyboard velocity

Actual

velocity

252

MOTIF Reference

Utility mode

Reference Utility mode

● [F1]-[SF3] General Effect Bypass

From this display you can select the speciﬁc

effect(s) to be bypassed when the [EFFECT

BYPASS] button (page 13) is turned on.

❏ Settings on (bypassed), off

● [F1]-[SF4] General Other

n For details, see page 264.

• Auto Load

Determines whether the Auto Load function is on or off.

When this is on, the MOTIF will automatically load the

speciﬁed ﬁles (from memory card or SCSI storage device)

to User memory — whenever the power is turned on. (See

above illustration for additional explanations.)

❏ Settings on, off

• Auto DemoLoad

The MOTIF features special Demo song data, which is

stored to ROM and should be loaded to DRAM for proper

operation (page 64). When this parameter is set to “on,”

the Demo song data is automatically loaded when the

power os turned on. This parameter determines whether

the Demo song data is automatically loaded (on) or not

(off) when turning the power on.

❏ Settings on, off

n When Auto Load is set to on, the Auto Demo Load

parameter cannot be set.

If this parameter is set to on, all User Voice, Performance,

Master, and System settings will be initialized to the

Factory settings when switching the power on the next

time. Important data should always be backed up to a

separate Memory Card or some other storage device.

• PowerOnMode

This determines the default power-on mode (and memory

bank) for the MOTIF — letting you select which condition

is automatically called up when you turn the power on.

❏ Settings See below.

erformance

When you switch the MOTIF on, the Performance Play

mode is entered and the ﬁrst program number (USER:

001) is selected automatically.

Voice (User)

When you switch the MOTIF on, the Voice Play mode is

entered and the ﬁrst program number of the User Voices

(USER: 001) is selected automatically.

Voice (PRE1)

When you switch the MOTIF on, the Voice Play mode is

entered and the ﬁrst program number of the Preset Voices

(PRE 1: 001) is selected automatically.

When you switch the MOTIF on, the Voice Play mode is

entered and the ﬁrst program number of the GM Voices

(GM: 001) is selected automatically.

last

When you switch the MOTIF on, the Voice/Performance

Program Number selected before you switched the power

off is recalled.

Master

When you switch the MOTIF on, the Master Play mode is

entered and the ﬁrst program number (001) is selected

automatically.

• CtrlReset (Controller Reset)

Determines the status of the controllers (Modulation

Wheel, Aftertouch, Knobs, etc.) when switching between

voices. When this is set to “off,” the controllers are kept at

the current setting. When this is set to “on,” the

controllers are reset to the default states (below).

❏ Settings on, off

If you select “on,” the controllers will be reset to the

following states/positions:

Pitch Bend Center

Modulation Wheel Minimum

Aftertouch Minimum

Foot Controller Maximum

Breath Controller Maximum

Foot Switch Off

Expression Maximum

Foot Volume Maximum

Sustain Off

[F2] Interface settings

● [F2]-[SF1] I/O Input

From this display you can set parameters related to

audio input.

• A/DSource

The MOTIF features two different input connections for

transferring analog audio from an external device: the A/

D INPUT jacks or the mLAN terminal (when an optional

mLAN8E is installed). One or the other must be set; the

two cannot be used at the same time.

❏ Settings analog (A/D INPUT jack), mLAN

EFFECT BYPASS

INSERTION

SYSTEM

253

MOTIF Reference

Utility mode

Reference Utility mode

• Mic/Line

When using the A/D INPUT jacks, this determines the

input source, microphone (mic) or line.

❏ Settings mic, line

• Digital

When the optional AIEB2 board is installed, the MOTIF

features two different input connections for transferring

digital audio from an external device: coaxial or optical.

One or the other must be set; the two cannot be used at the

same time.

❏ Settings coaxial, optical

● [F2]-[SF2] I/O Output

From this display you can set parameters related to

audio output.

n The digital output resolution of the MOTIF itself is

set to 16 bit (ﬁxed).

● [F2]-[SF3] I/O mLAN connection

From this display you can set parameters related to

connection of an optional mLAN8E (page 18). The

following display is available only when the

optional mLAN8E has been installed.

n All mLAN8E-related settings in the Utility mode

are stored only to the memory on the mLAN8E

itself, and not to the User memory of the MOTIF.

To initialize all the mLAN settings above, use the

following procedure.

[F3] Voice settings

These special voice-related settings are available only

when entering the Utility mode from the Voice mode.

● [F3]-[SF1] Voice Master Equalizer

From this display you can apply ﬁve-band

equalization to all parts of the selected voice.

• Shape

Determines whether the equalizer type used is Shelving or

Peaking. The Peaking type attenuates/boosts the signal at

the speciﬁed Frequency setting, whereas the Shelving type

attenuates/boosts the signal at frequencies above or below

the speciﬁed Frequency setting.

❏ Settings shelv (Shelving), peak (Peaking)

n For details about the shapes of the Shelving and

Peaking types, see page 168.

Specify the digital output resolution of the

optionally installed AIEB2 board (page 19).

❒ Settings 20bit, 24bit

Set the output gain of each jack.

❒ Settings 0dB, +6dB, +12dB, +18dB

Vendor Name

For details on this parameter,

refer to the owner’s manual of

the mLAN8E.

Nickname

[SF4] button[EXIT] button

Assign a nickname for the connection. For specific

instructions on naming, see Basic Operation on page 75.

For details about the Nickname parameter, refer to

the owner’s manual of the mLAN8E.

Press the [ENTER] button to

actually set the value.

Set the Word Clock. For

details, refer to the owner’s

manual of the mLAN8E.

[SF5] button[EXIT] button

Press the [ENTER] button to

actually initialize the mLAN settings.

Q (Frequency Characteristic)

Gain

Freq

(Frequency)

254

MOTIF Reference

Utility mode

Reference Utility mode

• Freq (Frequency)

Set the center frequency. Frequencies around this point

are attenuated/boosted by the Gain setting.

❏ Settings

LOW (Low range) Peaking 63Hz ~ 2.0kHz

Shelving 32Hz ~ 2.0kHz

LOW MID (Low middle range)

100Hz~10kHz

MID (Middle range)100Hz~10kHz

HIGH MID (High middle range)

100Hz ~10kHz

HIGH (High range)500Hz~16kHz

• Gain

Determines the level gain for the Frequency (set above), or

the amount the selected frequency band is attenuated or

boosted.

❏ Settings -12dB~0dB~+12dB

• Q (Frequency Characteristic)

This varies the signal level at the Frequency setting to

create various frequency curve characteristics.

❏ Settings 0.1~12.0

● [F3]-[SF2] Voice Arpeggio Channel

From this display you can set parameters related to

output of the Arpeggio MIDI data.

• OutputSwitch

This enables or disables MIDI data output for the

Arpeggio function. When this is set to “on,” Arpeggio

data is sent via MIDI — allowing you to send the Arpeggio

data to an external sequencer or play back the Arpeggios

on connected MIDI tone generators.

❏ Settings on (enable), off (disable)

• TransmitCh (Transmit channel)

Determines the MIDI channel through which Arpeggio

playback data will be sent (when Output Switch above is

on).

❏ Settings 1~16

● [F3]-[SF3] Voice Controller Assign

Sets the parameters related to the controllers in the

Voice mode.

Details about each parameter are same as in

Performance Common Edit. See page 169 .

❏ Settings off, 0~95

[F3] Sequencer settings

These special song- and pattern-related settings are

available only when entering the Utility mode from the

Song or Pattern mode.

● [F3]-[SF1] Sequencer Click (MIDI Click)

From this display you can set the parameters related

to the click sound (metronome) that is used during

recording or playback in the Song/Pattern mode.

• Mode

Determines whether and when the metronome click will

sound.

❏ Settings off, rec, rec/play, all

off

The click will not sound.

The click will sound during recording only.

ec/play

The click will sound during recording and playback.

all

The click will always sound.

• Beat

Determines on which beats the metronome click will

sound.

❏ Settings 16 (16th notes), 08 (8th notes), 04 (quarter

notes), 02 (half notes), 01 (whole notes)

• Volume

Determines the click sound volume.

❏ Settings 0~127

• Rec Count

Sets the number of count-in measures provided before

actually recording starts after pressing the [F] button in

the Record standby mode .

❏ Settings off (Recording starts as soon as the [F]

button is pressed ), 1meas~8meas

n Since the click sound is created with the internal

tone generator, using click playback affects the

overall polyphony of the MOTIF.

Knob Assign 1, 2

Foot Controller 1, 2

Breath Controller

255

MOTIF Reference

Utility mode

Reference Utility mode

● [F3]-[SF2] Sequencer MIDI Filter

From this display you can set which MIDI events

will be recognized/transmitted via the MIDI IN/

OUT terminal or the USB terminal.

The settings made here apply only to song/pattern

playback data; they do not affect the MIDI events

generated by your keyboard polaying or panel

operations in the Voice and Performance modes.

● [F3]-[SF3] Sequencer Other

• PtnQuantize (Pattern Quantize)

Determines the quantize value for pattern switching

during playback. When set to “1,” patterns (sections) will

always switch on the ﬁrst beat of the measure during

playback. When “1/16” is selected, patterns (sections) can

be switched on any 16th beat during playback.

❏ Settings 1 (1 measure), 1/2 (Half note), 1/4(Quarter

note), 1/8(8th note), 1/16 (16th note)

• PtnTempoHold (Pattern Tempo Hold)

Determines whether or not the tempo setting will switch

to the tempo value stored with each style when a new style

is selected during playback.

When set to “on,” the tempo will be retained when styles

are switched.

When set to “off,” the tempo will switch to that stored

with the new style when styles are switched.

❏ Settings on, off

n The tempo setting data in the Pattern Chain is not

affected by this parameter.

• SongEventChase

Event Chase allows you to specify which non-note data

types are properly recognized during fast-forward and

rewind operations. Normally, if a song or pattern is played

back from mid-point and/or fast-forward or rewind are

used, certain data types (such as Program Change, Pitch

Bend, and Control Change) may not play back as expected.

Setting this to a speciﬁc event ensures the playback

“integrity” of the event, even when fast-forwarding or

rewinding.

❏ Settings Off, PC (Program Change), PC+PB+Ctrl

(Program Change+Pitch Bend+Control

Change), All (All events)

n Keep in mind that settings other than “off” may

result in slower operation — for example, a pause

before starting playback, or slower rewind/fast-

forward speed.

n When this is set to “All,” an excessive amount of

MIDI data may be generated, possibly resulting in a

MIDI error on the connected device.

• DumpExIntrval (Bulk Dump Exclusive

Interval Time)

When playing back system exclusive data (bulk data) that

is recorded on the sequence tracks, this sets the interval

that is inserted for each 1KB.

When sending bulk data from the MOTIF to a connected

MIDI device, a MIDI error may result if the device cannot

handle large amounts of data in a short time. This

parameter compensates for that by setting an interval that

provides enough time for the receiving device to process

the bulk data.

❏ Settings 0~900 (msec)

n The playback may be a little slower depending on

the currently set interval. Also when a MIDI error

occurs, try to set the interval a little higher and

send the data again.

• LoadMix

Determines whether the Mixing settings are loaded (on)

or not (off) when the Song/Style number is changed.

❏ Settings off, on

n This setting affects the Song/Pattern change during

the Song/Pattern chain playback.

• SendXGon

Determines whether the XG reset message is sent to the

Multi-part Plug-in board tone generator block (on) or not

(off) when starting the XG song or changing the Song/

Style number.

❏ Settings on, off

[F4] Controller settings

● [F4]-[SF1] Controller Assign Arpeggio

• Switch

Determines the Control Change Number that controls the

Arpeggio playback on/off.

❏ Settings off, 01~95

• Hold

Determines the Control Change Number that controls the

Arpeggio Hold (page 129) on/off.

❏ Settings off, 01~95

256

MOTIF Reference

Utility mode

Reference Utility mode

● [F4]-[SF2] Controller Assign

Knob ASSIGN A, B

From this display you can assign speciﬁc functions

to the ASSIGN A and B knobs.

• ASA, ASB (Assignable A, B)

Determines the Control Change number to be controlled

by the ASSIGN knobs A and B.

❏ Settings 000~095 (Refer to the separate Data List

booklet. )

• Dest (Control Destination)

Determines the function to be controlled by the Control

Change number set above.

❏ Settings Refer to the separate Data List booklet.

● [F4]-[SF3] Controller Assign Footswitch

From this display you can assign a speciﬁc function

to the Footswitch.

❏ Settings 000~100 (000, 032 : off, 096 : Arpeggio

Switch, 097 : Arpeggio Hold, 098 : Song/

Pattern playback start/stop, 099/100 :

Program Change INC/DEC 101 : Octave

Rest)

● [F4]-[SF4] Controller Assign Remote

The MOTIF gives you convenient remote control

over major functions in several popular sequencer

programs. This lets you automatically conﬁgure the

MOTIF for use with your particular sequencer

program, by specifying the template to be used.

❏ Settings Cubase, Logic, Cakewalk, ProTools

◆ Remote Control of Computer Sequence

Software

Using the Remote Control function lets you control

computer sequence software by using the buttons or

controllers on the MOTIF. Turn the Remote Control

function on by pressing the [REMOTE CONTROL

ON/OFF] button so that its lamp ﬂashes.

• Setup

Before you can use the Remote Control function,

you’ll need to follow the setup instructions below.

1 Connect the MOTIF to your computer via a USB

cable. For details, see page 25.

2 Install the USB MIDI driver and the setup ﬁle

for the sequence software (contained in the

included CD-ROM) to your computer. For details

on how to install, see the Installation Guide

manual.

3 Select the template for your particular sequence

software in the Utility mode on the MOTIF

(above).

4 Set the MIDI IN/OUT setting to “USB” in the

Utility mode on the MOTIF (page 259).

• Compatible Software

The following computer sequence software

programs can be controlled via the MOTIF’s

Remote Control function.

Windows

Cubase VST/32

Logic Audio Plutinum Ver4.6

Cakewalk ProAudio Ver9.0

Pro Tools V5.0

Macintosh

Cubase VST 5.0

Logic Audio Plutinum Ver4.6

Pro Tools V5.0

[Press the [ENTER] button to call up the

template provided for the selected software.

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

257

MOTIF Reference

Utility mode

Reference Utility mode

◆ Remote Control Assignments

Functions to be controlled by the MOTIF differ

depending on the software you use. When the

appropriate template is selected, the following

functions on the corresponding software can be

controlled.

• Logic Audio Plutinum Ver4.6

When the template is set to “Logic,” the following

functions can be controlled by the MOTIF.

• Cubase VST/32, Cubase VST 5.0

When the template is set to “Cubase, ” the following

functions can be controlled by the MOTIF.

• Cakewalk ProAudio Ver9.0

When the template is set to “Cakewalk,” the

following functions can be controlled by the

MOTIF.

• Pro Tools V5.0

When the template is set to “ProTools,” the

following functions can be controlled by the

MOTIF.

These control the track selected via the NUMBER [1] - [16] buttons.

Knobs

Set via

[KNOB

CONTROL

FUNCTION]

KN1 KN2 KN2 KN4

1st row PA N SEND1 SEND2 SEND3

2nd row PA N EQ1 Freq EQ1 Gain EQ1 Q

3rd row PA N EQ2 Freq EQ2 Gain EQ2 Q

4th row PA N EQ3 Freq EQ3 Gain EQ3 Q

Sliders

These control the four tracks selected via the NUMBER [1] - [16] buttons.

Selected

tracks

CS1 CS2 CS3 CS4

1 ~ 4 VOLUME1 VOLUME2 VOLUME3 VOLUME4

5 ~ 8 VOLUME5 VOLUME6 VOLUME7 VOLUME8

9 ~ 12 VOLUME9 VOLUME10 VOLUME11 VOLUME12

13 ~ 16 VOLUME13 VOLUME14 VOLUME15 VOLUME16

SEQ

TRANS-

PORT

These control PLAY, REC, STOP, G, H of the computer sequence

software. The [ ] (TOP) button controls STOP of the computer

sequence software.

TRACK

MUTE

When the [MUTE] buttonon the MOTIF is turned on, the NUMBER [1] -

[16] buttons control the track mute settings of the computer sequence

software.

TRACK

SELECT

When the [TRACK SELECT] butt on on the MOTIF is turned on, the

NUMBER [1] - [16] buttons select the track of the computer sequence

software.

These control the track selected via the NUMBER [1] - [16] buttons.

Knobs

Set via

[KNOB

CONTROL

FUNCTION]

KN1 KN2 KN2 KN4

1st row PA N SEND1 SEND2 SEND3

2nd row PA N EQLo Freq EQLo Gain EQLo Q

3rd row PA N EQMidLo Fre EQMidLo Gai EQMidLo Q

4th row PA N EQHi Freq EQ3Hi Gain EQ3Hi Q

Sliders

These control the four tracks selected via the NUMBER [1] - [16] buttons.

Selected

tracks

CS1 CS2 CS3 CS4

1 ~ 4 VOLUME1 VOLUME2 VOLUME3 VOLUME4

5 ~ 8 VOLUME5 VOLUME6 VOLUME7 VOLUME8

9 ~ 12 VOLUME9 VOLUME10 VOLUME11 VOLUME12

13 ~ 16 VOLUME13 VOLUME14 VOLUME15 VOLUME16

SEQ

TRANS-

PORT

These control PLAY, REC, STOP,TOP, G, H of the computer

sequence software.

TRACK

MUTE

When the [MUTE] button on the MOTIF is turned on, the NUMBER [1] -

[16] buttons control the track mute settings of the computer sequence

software.

TRACK

SELECT

When the [TRACK SELECT] button on the MOTIF is turned on, the

NUMBER [1] - [16] buttons select the track of the computer sequence

software.

These control the track selected via the NUMBER [1] - [16] buttons.

Knobs

Set via

[KNOB

CONTROL

FUNCTION]

KN1 KN2 KN2 KN4

1st row PA N SEND1 SEND2 SEND3

2nd row --- --- --- ---

3rd row --- --- --- ---

4th row --- --- --- ---

Sliders

These control the four tracks selected via the NUMBER [1] - [16] buttons.

Selected

tracks

CS1 CS2 CS3 CS4

1 ~ 4 VOLUME1 VOLUME2 VOLUME3 VOLUME4

5 ~ 8 VOLUME5 VOLUME6 VOLUME7 VOLUME8

9 ~ 12 VOLUME9 VOLUME10 VOLUME11 VOLUME12

13 ~ 16 VOLUME13 VOLUME14 VOLUME15 VOLUME16

SEQ

TRANS-

PORT

These control PLAY, REC, STOP,TOP, G, H of the computer

sequence software.

TRACK

MUTE

When the [MUTE] button on the MOTIF is turned on, the NUMBER [1] -

[16] buttons control the track mute settings of the computer sequence

software.

TRACK

SELECT

When the [TRACK SELECT] button son the MOTIF is turned on, the

NUMBER [1] - [16] buttons select the track of the computer sequence

software.

Knobs Not available.

Sliders

These control the four tracks selected via the NUMBER [1] - [16] buttons.

Selected

tracks

CS1 CS2 CS3 CS4

1 ~ 4 VOLUME1 VOLUME2 VOLUME3 VOLUME4

5 ~ 8 VOLUME5 VOLUME6 VOLUME7 VOLUME8

9 ~ 12 VOLUME9 VOLUME10 VOLUME11 VOLUME12

13 ~ 16 VOLUME13 VOLUME14 VOLUME15 VOLUME16

SEQ

TRANS-

PORT

These control PLAY, REC, STOP,TOP, G, H of the computer

sequence software.

TRACK

MUTE

When the [MUTE] button on the MOTIF is turned on, the NUMBER [1] -

[16] buttons control the track mute settings of the computer sequence

software.

TRACK

SELECT

When the [TRACK SELECT] button on the MOTIF is turned on, the

NUMBER [1] - [16] buttons select the track of the computer sequence

software.

258

MOTIF Reference

Utility mode

Reference Utility mode

[F5] MIDI settings

● [F5]-[SF1] MIDI Channel

From this display you can make basic MIDI settings.

• BasicRcvCh (Basic Receive Channel)

Determines the MIDI channel over which the MOTIF

receives MIDI data (from an external sequencer, MIDI

controller, or other device). This parameter is available for

the Voice / Performance mode.

❏ Settings 1~16, omni (all channels), off

• KBDTransCh (Keyboard Transmit Channel)

Determines the MIDI channel over which the MOTIF

sends MIDI data (to an external sequencer, tone generator,

or other device). This parameter is available for the Voice /

Performance mode.

❏ Settings 1~16, off

n In the Song/Pattern mode, the MIDI data created by playing

the keyboard/knobs/wheels is sent to the tone generator

block or the external MIDI devices via the MIDI output

channel of the currently selected track (page 38).

• DeviceNo. (Device Number)

Determines the device number used by the MOTIF in

receiving or transmitting data. This number must match

the Device Number of the external MIDI device when

transmitting/receiving bulk data, parameter changes or

other system exclusive messages to/from it.

❏ Settings 1~16, all, off

• FileUtilID (File Utility ID)

This determines the ID number used in conjunction with

ﬁle transfers using the special File Utility software in the

included CD-ROM. This File Utility ID number and the

Device Number (above) must match the ones of the the

File Utility software in order to properly transfer ﬁles

between the MOTIF and a connected computer.

❏ Settings: 1~128

● [F5]-[SF2] MIDI Switch

From this display you can determine which types of

MIDI data the MOTIF transmits and responds to.

• BankSel

This switch enables or disables Bank Select messages, both

in transmission and reception. When this is set to “on,”

the MOTIF responds to incoming Bank Select messages,

and it also transmits appropriate Bank Select messages

(when using the panel).

❏ Settings off, on

• PgmChange (Program Change)

This switch enables or disables Program Change messages,

both in transmission and reception. When this is set to

“on,” the MOTIF responds to incoming Program Change

messages, and it also transmits appropriate Program

Change messages (when using the panel).

❏ Settings off, on

• CtrlChange (Control Change mode)

This parameter lets you set the MOTIF to properly

respond to either type of GM System data, Level 1 or Level

2 — particularly regarding AEG Sustain. When using GM

Level 2, set this to Mode 1, and the MOTIF responds to the

messages as parameter change data. When using GM

Level 1, set this to Mode 2, and the MOTIF responds to the

messages as control change data.

❏ Settings mode1, mode2

• LocalCtrl (Local Control On/Off)

This determines whether or not the tone generator of the

MOTIF responds to your keyboard playing. Normally, this

should be set to “on” — since you’ll want to hear the

sound of the MOTIF as you play it. However, for external

sequencer applications, you may need to set this to “off” to

avoid getting “double” notes, in which the tone generator

of the MOTIF is played twice — once by the keyboard and

once again by the keyboard data routed through the

sequencer.

Even if this is set to “off,” the data will be transmitted

through the MIDI OUT or USB terminal. Also, the

MOTIF’s tone generator block will respond to messages

received via the MIDI IN or USB terminal.

❏ Settings off, on

• RcvBulk (Receive Bulk)

Determines whether or not Bulk Dump data can be

received.

❏ Settings protect (not received), on (received)

● [F5]-[SF3] MIDI Sync

From this display you can set various parameters

related to MIDI clock and synchronization.

• MIDI Sync

Determines whether Song/Pattern/Arpeggio playback will

be synchronized to the MOTIF’s internal clock or an

external MIDI clock.

❏ Settings internal, MIDI, MTC

internal

Synchronization to internal clock. Use this setting when

the MOTIF is to be used alone or as the master clock

source for other equipment.

MIDI

The MOTIF is synchronized to a MIDI clock received

from an external MIDI device via the MIDI IN or USB

terminal.

259

MOTIF Reference

Utility mode

Reference Utility mode

MTC (MIDI Time Code)

The MOTIF is synchronized to an MTC signal received

via the MIDI IN or USB terminal. MMC signals are

transmitted via the MIDI OUT or USB terminal. Use this

setting when the MOTIF is to be used as a MIDI slave,

such as when synchronized to an MTC-capable MTR.

n The MTC Sync function is available only in the

Song mode. The Pattern playback (in the Pattern

mode) and the Arpeggio playback (in the Voice/

Performance mode) cannot be synced to MTC.

n MTC (MIDI Time Code) allows simultaneous

synchronization of multiple audio devices via

standard MIDI cables. It includes data

corresponding to hours, minutes, seconds, and

frames. The MOTIF does not transmit MTC. A

device such as the Yamaha AW4416 is necessary in

order to the MOTIF as an MTC master.

n MMC (MIDI Machine Control) allows remote

control of multitrack recorders, MIDI sequencers,

etc. A MMC-compatible multitrack recorder, for

example, will automatically respond to start, stop,

fast forward, and fast reverse operations performed

on the controlling sequencer, thus keeping

playback of the sequencer and multitrack recorder

aligned.

• ClockOut

Determines whether MIDI clock (F8) messages will be

transmitted via the MIDI OUT/USB terminal.

❏ Settings on (transmitted), off

• SeqCtrl (Sequencer Control)

Determines whether Sequencer Control signals — start,

continue, stop, and song position pointer — will be

received and/or transmitted via the MIDI OUT/USB

terminal.

❏ settings off, in, out, in/out

off

Not transmitted/recognized.

Recognized but not treansmitted.

out

Transmitted but not recognized.

in/out

Transmitted/recognized.

• MTC StartOffset

Determines the speciﬁc time code point from which

sequence playback starts, when MTC is received. This

feature can be used to accurately align playback of the

RS7000 with an external MTC-compatible device.

❏ Settings Hour : Minute : Second : Frame

Hour

00 ~23

Minute

00 ~59

Second

00 ~59

ame 00 ~29

● [F5]-[SF4] MIDI Other

From this display you can set parameters related to

the MIDI terminals and port number.

• MIDI IN/OUT

Determines which physical output terminal(s)

will be used for transmitting/receiving MIDI data:

MIDI IN/OUT/THRU, USB, or mLAN (when the

optional mLAN8E has been installed).

❏ Settings MIDI, USB, mLAN

n Three types of terminals above cannot be used at

the same time. Only one of them can be used to

transmit/receive the MIDI data.

• ThruPort (Through Port)

Many computer sequencers are capable of transmitting

data over several MIDI ports, effectively breaking the 16-

channel barrier. When using the USB terminal for MIDI

transmission/reception, you can have the MOTIF respond

to MIDI data over one port, while relaying the data for

another port number to a separate tone generator

(connected to the MIDI OUT terminal). In this way, 16

channels of data can be played on the MOTIF and another

16 can be played on the connected device. Plug-in boards

installed to the MOTIF can also be independently

addressed via separate MIDI ports (page 38), further

expanding the amount of channels.

Make sure to set Thru Port to the intended port number of

the connected device.

❏ Settings 1~8

[F6] Plug-in board settings

When a Plug-in board is installed, the following

displays and parameters are available. The particular

parameters available depends on the type of Plug-in

board that is installed.

n An Effect Plug-in board can only be installed to slot 1,

while a Multi-part Plug-in board can only be installed to

slot 3. Single Part Plug-in boards can be installed to any

of the three slots.

● [F6]-[SF1] Plug-in board Status

• PolyExpand

This parameter is accessible only when you have two or

three identical Plug-in boards installed on the MOTIF.

The “off” setting enables two or three boards to work

separately (you can select them in two or three different

Parts). When this is set to “on,” the two boards effectively

function together as one board (used in a single part) —

giving you double the amount of polyphonic notes you can

play at one time.

❏ Settings on, off

The name of the Plug-in Board is displayed.

260

MOTIF Reference

Utility Job mode

Reference Utility mode

● [F6]-[SF2] Plug-in board MIDI

From this display you can set various MIDI-related

parameters for the Plug-in board.

• DevNo (Device Number)

Determines the MIDI Device Number of the Plug-in

Board. This number must match the Device Number of the

external MIDI device when transmitting/receiving bulk

data, parameter changes or other system exclusive

messages to/from it.

❏ Settings 1~16, all, off

• PORT NO. (Port number)

Determines the MIDI Port number over which the Plug-in

board receives MIDI data.One port can be set for the

Multi-part Plug-in board and two ports can be set for the

Single part Plug-in board.

❏ Settings off, 1~3

n The Port number for the Effect Plug-in board (VH)

is ﬁxed to 1.

• GM/XG

Determines whether “GM on” and “XG on” messages are

recognized (on) or not (off) . This parameter is available only

when the Multi-part Plug-in board has been installed to slot 3.

❏ Settings on, off

● [F6]-[SF3] Plug-in board

Native System Parameters (Slot 1)

From this display you can set the Native System

parameters of the Plug-in board installed to slot 1.

For details on these parameters, refer to the owner’s

manual of your particular Plug-in board.

● [F6]-[SF4] Plug-in board

Native System Parameters (Slot 2)

From this display you can set the Native System

parameters of the Plug-in board installed to slot 2.

For details on these parameters, refer to the owner’s

manual of your particular Plug-in board.

● [F6]-[SF5] Plug-in board

Native System Parameters (Slot 3)

From this display you can set the Native System

parameters of the Plug-in board installed to slot 3.

For details on these parameters, refer to the owner’s

manual of your particular Plug-in board.

Utility Job mode

In this Mode, you can restore your MOTIF’s User

memory (SRAM, see page 64 ) to the factory default

settings (Factory Set).

When you restore the factory default settings, all the

current settings for all the User voices and

performances on the User Memory will be overwritten

with the factory defaults.

Make sure you are not overwriting any important data.

You should back up any important data to memory

card/SCSI device beforehand.

◆ Factory Set (Restore Factory

Defaults)

1 In the Utility mode, press the [JOB] button to enter

the Utility Job mode.

2 Press the [ENTER] button. (The display prompts

you for conﬁrmation.)

3 Press the [INC/YES] button to execute the Job.

After the Job has been completed, a “Completed”

message appears and operation returns to the

original display.

n To cancel the Job, press the [DEC/NO] button.

4 Press the [UTILITY] button to exit from the

Utility Job mode back to the Utility mode.

n All settings in the Utility mode that are related to

the Plug-in boards and the mLAN8E are stored

only to the memory on those respective devices,

and not to the User memory of the MOTIF.

Because of this, the Factory Set operation cannot be

used to restore settings for those devices.

261

MOTIF Reference

Function Tree

Reference File mode

File Mode

Basic Structure (page 63)

Function Tree

This section is devoted to the File mode. To see how the File mode relates to the entire structure of the MOTIF and

its other modes and functions, see the simpliﬁed chart in “Basic Structure” on page 30.

The following detailed chart shows all of the display menus and parameter groups of the File mode — giving you a

quick, easy-to-understand overview of the data storage and ﬁle-related functions of the MOTIF.

Brackets around a word or phrase (e.g., [F1]) indicate speciﬁc button names or panel operations.

[INFORMATION] FILE INFORMATION

[F1] CONFIGURATION

[SF1] CURRENT DRIVE

[SF2] SCSI ID

[SF3] MOUNT

[SF4] FORMAT

[F2] SAVE

[F6] MAKEDIR

[ENTER] WAV/AIFF

[ENTER] MID

[F3] LOAD

[ENTER] VOICE

[ENTER] SONG

[ENTER] PATTERN

[ENTER] WAVEFORM

[F4] RENAME

[F6] MAKEDIR

[F5] DELETE

[FILE]

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 264

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 264

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 265

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 265

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 267

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 267

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 267

262

MOTIF Reference

File mode

Reference File mode

File mode

Basic Structure (page 63)

In this mode, you can save data to and load data from

memory cards and SCSI storage devices, such as hard

disks and removable cartridges. The File mode also

provides various functions for managing your data and

SCSI devices.

With the File Utility software (on the included CD-

ROM), you can use a computer to manage data stored

to memory cards or SCSI devices — even use it to

transfer data between the computer and the memory

card/SCSI device.

◆ Basic Procedure

1 Press the [FILE] button to enter the File mode.

(The indicator lights.)

2 Select the desired menu by pressing the [F1] - [F6]

buttons and execute each operation (Save, Load,

and so on).

3 Press any other mode button to exit from the File

mode.

• For detailed instructions on step #2, see the

explanations below.

File/Folder selection

The illustrations and instructions below show you how

to select ﬁles and folders on the memory card or SCSI

devices within the File mode.

New Folder Creation

From the Save display (called up via the [F2] button)

and the Rename display (called up via the [F4] button),

you can create new folders. This function lets you

conveniently and easily organize the numerous

important data ﬁles you create on the MOTIF.

File types that can be handled by

the MOTIF

■ File types that can be saved from the

MOTIF to the memory card/SCSI storage

device

When you save your original data to User memory

(page 63), the MOTIF organizes your data according

to its type (as listed below), and automatically assigns

a special three-letter extension to the ﬁle name

corresponding to the type.

SCSI device (hard

disk, removable

cartridge, etc.)

Memory card

SCSI connector

REC

SONG SCENE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

Synthesis

Plug-in

System

MOTIF

Move the cursor to the desired file or folder by using the

[INC/YES] and [DEC/NO] buttons or the data dial.

To return to the next

highest level, press the

[EXIT] button.

To go to the next lowest level,

highlight the desired folder

and press the [ENTER]

button.

Move the cursor to the desired file or folder by using the

[INC/YES] and [DEC/NO] buttons or the data dial.

You can create the new folder by pressing

the [F6] button and naming.

263

MOTIF Reference

File mode

Reference File mode

• All Extension: .W2A

All data in the MOTIF’s internal User Memory are treated

as a single ﬁle, and can be saved to the memory card/SCSI

storage device.

• All Voice Extension: .W2V

All the User Voice data in the MOTIF's internal User

Memory are treated as a single ﬁle, and can be saved to the

memory card/SCSI storage device.

• All Song Extension: .W2V

All the User Song data in the MOTIF's internal User

Memory are treated as a single ﬁle, and can be saved to the

memory card/SCSI storage device.

• All Pattern Extension: .W2P

All the User Pattern data in the MOTIF's internal User

Memory are treated as a single ﬁle, and can be saved to the

memory card/SCSI storage device.

• All Waveform Extension: .W2W

All the User Wave and Sample data in the MOTIF's

internal User Memory are treated as a single ﬁle, and can

be saved to the memory card/SCSI storage device.

• Usr ARP (User Arpeggio) Extension: .W2G

All the User Arpeggio data in the MOTIF's internal User

Memory are treated as a single ﬁle, and can be saved to the

memory card/SCSI storage device.

• Plugin All Bulk 1, 2, 3 Extension: .W2B

All the data in a Plug-in board are treated as a single ﬁle,

and can be saved to the memory card/SCSI storage device.

• SMF Extension: .MID

Sequence track (1 - 16) and Tempo track data of songs or

patterns created in the Song/Pattern mode can be saved to

the memory card/SCSI storage device as Standard MIDI

File (format 0) data.

• Wav Extension: .WAV

Sample data created in the Sampling mode can be saved to

the memory card/SCSI storage device as a WAV ﬁle

(Windows audio format).

• Aif (AIFF file) Extension: .AIF

Sample data created in the Sampling mode can be saved to

the memory card/SCSI storage device as an AIFF ﬁle

(Macintosh audio format).

• all voice without waveform (Voice data for

Voice Editor) Extension: .W2E

All the User Voice data (with the exception of waveform

data) can be treated as a single ﬁle and saved to the

memory card/SCSI storage device. The saved ﬁle can be

loaded to the Voice Editor software (included in the CD-

ROM) on your computer.

■ File types that can be loaded from the Memory

Card/SCSI storage device to the MOTIF

Any data saved to a memory card/SCSI device from the

User memory of the MOTIF can be loaded back to the

MOTIF. Naturally, all the ﬁle types that can be saved

(listed above) can be loaded; however, there are some

additional types available for loading. (Refer to the list

below.)

• All Extension: .W2A

A ﬁle that is saved to the Memory Card/SCSI storage

device as “All” type can be loaded and restored to the

MOTIF.

• All Voice Extension: .W2V

A ﬁle that is saved to the Memory Card/SCSI storage

device as “All Voice” type can be loaded and restored to the

MOTIF.

• Voice Extension: .W2V

A speciﬁed voice in a ﬁle that is saved to the Memory

Card/SCSI storage device as “All” or “All Voice” type can

be individually selected and loaded to the MOTIF.

• Plugin All Bulk 1, 2, 3 Extension: .W2B

A ﬁle that is saved to the Memory Card/SCSI storage

device as “Plugin All Bulk 1, 2, 3” type can be loaded and

restored to the Plug-in board installed to the MOTIF.

• Usr ARP (User Arpeggio) Extension: .W2G

A ﬁle that is saved to the Memory Card/SCSI storage

device as “Usr ARP” type can be loaded and restored to

the MOTIF.

• All Song Extension: .W2S

A ﬁle that is saved to the Memory Card/SCSI storage

device as “All Song” type can be loaded and restored to the

MOTIF.

• Song Extension: .W2S

A speciﬁed song in a ﬁle that is saved to the Memory Card/

SCSI storage device as “All” or “All Song” type can be

individually selected and loaded to the MOTIF.

• All Pattern Extension: .W2P

A ﬁle that is saved to the Memory Card/SCSI storage

device as “All Pattern” type can be loaded and restored to

the MOTIF.

• Pattern Extension: .W2P

A speciﬁed pattern in a ﬁle that is saved to the Memory

Card/SCSI storage device as “All” or “All Pattern” type

can be individually selected and loaded to the MOTIF.

• All Waveform Extension: .W2W

A ﬁle that is saved to the Memory Card/SCSI storage

device as “All” or “All Waveform” type can be loaded and

restored to the MOTIF.

• Waveform Extension: .W2W

A speciﬁed waveform in a ﬁle that is saved to the Memory

Card/SCSI storage device as “All” or “All Waveform” type

can be individually selected and loaded to the MOTIF.

• All Voice for Editor Extension: .W2E

The Voice data edited via the included Voice Editor

software on your computer can be loaded to the MOTIF.

• SMF (Standard MIDI ﬁle) Extension: .MID

The Standard MIDI ﬁle (format 0, 1) can be loaded to the

MOTIF and can be played back in the Song/Pattern mode.

264

MOTIF Reference

File mode

Reference File mode

• Wav Extension: .WAV

A WAV ﬁle (Windows audio format) can be loaded to the

MOTIF and can be used as a User Wave.

• Aif (AIFF ﬁle) Extension: .AIF

An AIFF ﬁle (Macintosh audio format) can be loaded to

the MOTIF and can be used as a User Wave.

n In addition to the ﬁle types above, Yamaha A5000/

A4000/A3000/SU700 ﬁles and AKAI S1000/

S3000 ﬁles can be loaded to the MOTIF.

■ File types that can be loaded from the

Memory Card/SCSI storage device to the

MOTIF when turning the power on (Auto

Load ﬁle)

Among the ﬁle types described on page 262, “All”,

“Plugin All Bulk 1”, “Plugin All Bulk 2” and

“Plugin All Bulk 3” can be loaded from the Memory

card/SCSI storage device to the MOTIF's User

Memory automatically when turning the power on.

1 Name the ﬁles you wish to have load automatically

when the power is turned on as described below,

and save them together in a single folder.

n After you’ve ﬁnished naming the appropriate ﬁles,

keep the corresponding folder selected in the

display and go to step #2.

2 Press the [UTILITY] button to enter the Utility

mode.

3 Press the [F1] button, then press the [SF4] button

to show the Auto Load ﬁle display.

4 Set “Auto Load” to on, and press the [SF5] button.

5 Turn the power off.

6 Before turning the power on next time, make sure

that the appropriate data is available to the

MOTIF. In other words, make sure memory card

speciﬁed in step #1 is properly inserted, or that the

SCSI device speciﬁed in step #1 is properly

connected.

7 Turn the power on. The MOTIF searches the

device and speciﬁed folder for the auto-load ﬁles

(the ﬁles you named and saved in step #1), and

automatically loads them to User memory.

n Any ﬁles in the device and folder registered in step

#4 that do not have appropriate auto-load names

are ignored.

■ File names

Files are named according to the MS-DOS naming

convention. If the ﬁle name contains spaces and other

characters unrecognized in MS-DOS, these characters

will automatically be replaced by “_” (underscore)

characters when saving.

For speciﬁc instructions on naming ﬁles, see page 267.

[F1] Conﬁguration

The explanations here apply to step #2 of the Basic

Procedure on page 262.

● [F1]-[SF1] CONFIG Currently recognized

device

• Current

In this display you can select the device to be recognized by

the MOTIF — a memory card inserted to the Card slot or a

properly connected SCSI device.

❏ Settings Card, SCSI

File type File name

All AUTOLOAD.W2A

Plugin All Bulk 1

(for slot 1)

AUTOLD1.W2B

Plugin All Bulk 2

(for slot 2)

AUTOLD2.W2B

Plugin All Bulk 3

(for slot 3)

AUTOLD3.W2B

Set this to on.

Press the [SF5] button to register the device and

folder selected in step #1 (the folder containing the

desired files for auto loading).

Volume label of the device

Amount of total memory on the device

Amount of unused (free) memory on the device

265

MOTIF Reference

File mode

Reference File mode

● [F1]-[SF2] CONFIG SCSI ID

From this display you can specify the ID number for

all the devices in the SCSI chain, including the host

(the MOTIF itself).

• SELF

Determines the ID number (0 - 7) for the MOTIF, as the

SCSI host. If you change this setting, you’ll need to turn

the power off and on again for the new setting to take

effect.

• SCAN

This control lets you mount each device in the SCSI chain,

making sure that the MOTIF properly recognizes it. Move

the cursor to the appropriate SCAN circle in the display,

and press the [INC/YES] button to mark the circle and

mount the corresponding device.

● [F1]-[SF3] CONFIG Mount

From this display you can select speciﬁc partitions

for saving/loading data, within the device mounted

in the SCSI ID display (above).

● [F1]-[SF4] CONFIG Format

Before you can use a new Memory Card/SCSI

device with the MOTIF, you will need to format it.

Use this operation to format the memory card or

SCSI device and assign a Volume Label to it.

• Type

Determines the type of the device to be formatted.

❏ Settings See below.

car

When this is set, the Memory card inserted to the Card slot

is formatted.

all (SCSI)

When this is set, all the SCSI devices connected to the

MOTIF are formatted.

partition 1 ~ 4 (SCSI)

When this is set, one partition (speciﬁed at the bottom of

the display) of the SCSI device connected to the MOTIF is

formatted.

• Format

This parameter is available when the Type is set to “all

(SCSI).” A hard disk (or any similar storage media) must

be physically formatted before it can be logically

formatted. Physical formatting (also called “low-level”

formatting) arranges the disk into physical elements such

as tracks and sectors.

Physical formatting is usually done by the manufacturer;

you may not need to do it yourself. Logical formatting

places a ﬁle system on the disk, allowing the MOTIF to

access the disk.

You’ll need to logically format any media you use before

you can use it with the MOTIF.

❏ Settings physical, logical

• Volume Label

Names the Volume Label. Refer to “Basic Operation” for

instructions on naming on page 73.

n Make sure to enter the Volume Label. An error

message appears if you press the [ENTER] button

without entering the Volume Label.

1 After setting the relevant parameters above, press

the [ENTER] button. (The display prompts you

for conﬁrmation.)

2 After formatting has been completed, a

“Completed” message appears and operation

returns to the original display.

n To cancel the Format operation, press the

[DEC/NO] button.

While formatting is in progress, never eject the Memory

card or turn off the power to the MOTIF.

If data is already saved on the memory card/SCSI device,

be careful not to format it. If you format the memory card/

SCSI device, all the previously recorded data will be

deleted.

The SCSI devices connected to and in use by

the MOTIF are shown at the corresponding ID

numbers, set on the devices themselves.

Volume label of the selected partition

266

MOTIF Reference

File mode

Reference File mode

[F2] Save

This operation lets you save ﬁles to a memory card or

SCSI device.The explanations here apply to step #2 of

the Basic Procedure on page 262.

1 Select the ﬁle type to be saved in the Save display.

• When the ﬁle type “SMF” (Standard MIDI ﬁle)

is selected, press the [ENTER] button to show

the following display and select a Song or a

Style/Section to be saved.

• When the ﬁle type “Wav” (WAV ﬁle) or “Aif”

(AIFF format) is selected, press the [ENTER]

button to show the following display and select a

Wave to be saved.

2 If you wish to overwrite the existing ﬁle, move the

cursor to the desired ﬁle to which the data is saved

by using the Cursor buttons or the data dial.

3 Press the [ENTER] button to execute the Save

operation.

• If you are about to overwrite an existing ﬁle, the

display prompts you for conﬁrmation. Press the

[INC/YES] button to execute the Save operation,

or press the [DEC/NO] button to cancel it.

• After the data has been saved, a “Completed”

message appears and operation returns to the

original display.

While the data is being saved, never eject the Memory card

or turn off the power to the SCSI device or MOTIF itself.

n Waveform data is not saved when the ﬁle type “All

Voice for Editor” is selected.

[F3] Load

This operation lets you load ﬁles from a memory

card or SCSI device to the MOTIF.

The explanations here apply to step #2 of the Basic

Procedure on page 262.

1 Select a ﬁle type (page 264) and a ﬁle to be loaded.

• When the ﬁle type is set to All, All Voice,

Plugin All Bank 1~3, Usr ARP, All Song, All

Pattern, All Waveform or All Voice for Editor,

go to step #3. For any other ﬁle types, go to

step #2.

2 Specify the data to be loaded and the destination

location in the User memory of the MOTIF.

When the ﬁle (data) type is set to Voice, for

example, follow the instructions as shown below.

If you wish to create a new file, move the

cursor to this position and enter the desired

name. For instructions on naming, see "Basic

Operation" on page 75.

If you wish to create a new folder on the desitination

device (to which the data is saved), press the [SF6]

button to name a new folder. For instructions on

naming, see "Basic Operation" on page 75.

When Key Bank is highlighted, you can

select successive Key Banks by pressing the [SF2] button.

To hear the selected wave, press the [SF1] button.

This is an imaginary folder, shown in the

display to contain the file(s) you ll be loading.

[ENTER] button

Specify the destination

location in the User memory

of the MOTIF.

Select a voice number

to be loaded.

267

MOTIF Reference

File mode

Reference File mode

When the ﬁle (data) type is set to Song,

Pattern, Waveform or All Voice for Editor, an

“imaginary” ﬁle appears — just as with Voice

above. Select the imaginary ﬁle and press the

[ENTER] button to call up the list of songs,

styles, or waveforms. Then select the desired

song, style, or waveform and specify the

destination User memory location.

n If several Key Banks (comprised of waveform/

WAV/AIFF ﬁles or recorded samples) are assigned

to the same key/velocity range, only the ﬁrst two

assigned Key Banks will be used.

n When ﬁles of the Yamaha A series samplers

(A5000/4000/3000) are loaded, an “S” mark by

the ﬁle name indicates the ﬁle contains only sample

data and a “P” mark indicates program data (voice-

related parameters and so on). When entering the

File mode from the Voice/Performance mode, the

“P” marked ﬁle can be loaded and the following

two types can be selected instead of Waveform or

Key Bank.

• Type 1 :

Only one sample is imported to a certain

waveform. This type utilizes the various settings

of the MOTIF, and the parameters corresponding

to the four elements are also loaded. Extra

samples are not loaded.

• Type 2 :

Several samples are imported to a certain

waveform. Parameters corresponding to the four

elements are not loaded to the MOTIF. Extra

samples are not loaded.

n When “All” is selected as a ﬁle type to be loaded,

“ without System” appears in the display. If this

box is checked and the Load is executed, all data

with the exception of the system settings in the

Utility mode are loaded.

3 Press the [ENTER] button to execute the Load

operation. After the data has been loaded, a

“Completed” message appears and operation

returns to the original display.

While the data is being loaded, never eject the Memory card

or turn off the power to the SCSI device or MOTIF itself.

Loading data to the MOTIF automatically erases and

replaces any existing data in the User memory. Make sure

to save any important data to a memory card/SCSI device

BEFORE performing any Load operations.

n The MOTIF features a convenient Auto-load function

that automatically loads user-speciﬁed ﬁles when you

turn the power on. For details, see page 264.

[F4] Rename

From this display you can rename ﬁles in the

selected memory card/SCSI device, using up to eight

alphabetic and numeric characters.

n Files are named according to the MS-DOS naming

convention. If the ﬁle name contains spaces and other

characters unrecognized in MS-DOS, these characters

will automatically be replaced by “_” (underscore)

characters when saving.

[F5] Delete

From this display you can delete ﬁles from the

selected memory card/SCSI device. Select the

desired ﬁle as shown below, then press the [ENTER]

button.

Select the desired file type.

Rename the selected file here. See

"Basic Operation" on page 75.

Select the file

to be renamed.

If you wish to create a new folder on the desitination

device (to which the data is saved), press the [F6]

button to name a new folder. For instructions on

naming, see "Basic Operation" on page 75.

Select the desired file type.

Select the file to be deleted.

268

MOTIF Reference

Function Tree

Master Mode

Basic Structure (page 56)

Function Tree

This section is devoted to the Master mode. To see how the Master mode relates to the entire structure of the MOTIF

and its other modes and functions, see the simpliﬁed chart in “Basic Structure” on page 30.

The following detailed chart shows all of the display menus and parameter groups of the Master mode — giving you

a quick, easy-to-understand overview of the Master-related functions of the MOTIF.

Brackets around a word or phrase (e.g., [F1]) indicate speciﬁc button names or panel operations.

[INFORMATION] MASTER INFORMATION

[MASTER] MASTER PLAY

[F1] MASTER PLAY

[F2] MASTER MEMORY

[EDIT] MASTER EDIT

[COMMON] COMMON

[F1] NAME

[F2] OTHER

[1]-[4] ZONE 1-4 (Performance Mode only)

[F1] ZONE TRANSMIT

[F2] ZONE NOTE

[F3] ZONE TRANSMIT SWITCH

[F4] ZONE PRESET

[F5] ZONE KNOB/SLIDER ASSIGN

[JOB] MASTER JOB

[F1] INITIALIZE

[F4] BULK DUMP

[STORE] MASTER STORE

[MASTER]

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 269

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 269

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 270

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 270

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 272

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 272

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 272

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 273

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 273

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 274

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 274

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 274

269

MOTIF Reference

Master Play mode

Reference Master mode

Master Play mode

Basic Structure (page 56) · Quick Start Guide (page 93)

In this mode, you can select and play individual

Masters.

n For more information on Masters, their structure, and

how they are used, see page 56.

◆ Basic Procedure

1 Press the [MASTER] button to enter the Master

Play mode. (The indicator lights.)

2 Select a Master.

3 Set the Keyboard Octave or MIDI transmit

channel.

4 Press the [F2] button to show the Memory display

and set the basic parameters for Master play.

n Zone edit is available only when the Zone Switch is

set to on in the [F2] MEMORY display in the

Master Play mode.

5 Store the settings edited in step #4 to the User

memory as required.

n If the Zone Switch is not set to on in the [F2]

MEMORY display in the Master Play mode, the

Number buttons [1]~[4] are not available.

6 Press any other mode button to exit from the

Master Play mode.

• For detailed instructions on steps #2 - #4, see the

following explanations.

• For details on step #5, refer to “Master Store

mode” on page 274.

Master Selection

The explanations here apply to step #2 of the Basic

Procedure, see above.

Selecting Masters is done in basically the same way as

selecting voices (page 124), except for the following

point.

• Since the MOTIF has no Preset Masters and

provides only one User bank, selecting a bank is

not necessary.

Keyboard Octave and Keyboard

MIDI transmit channel setting

The explanations here apply to step #3 of the Basic

Procedure on page 269.

These two parameters can be set for the selected

Master. Setting these parameters is the same as in the

Voice Play mode (page 124). Keep in mind that these

parameters cannot be stored to the Master by using the

Master Store mode (page 274).

Master editing in the Master Play

mode

The explanations here apply to step #4 of the Basic

Procedure, see above.

The Master Play mode lets you perform a variety of

general editing operations on the selected Master. For

more detailed and comprehensive editing operations,

use the Master Edit mode.

Indicates Keyboard Octave setting set via the

[OCTAVE] buttons. See page 127 for details.

Indicates the functions assigned to the

espective Control knobs (page 48).

Indicates the currently selected Master.

MASTER

270

MOTIF Reference

Master Edit mode

Reference Master mode

● [F2] Master Play Memory

From this display you can set basic parameters for

the Master, including the mode that is called up

with the Master and the program number.

• Mode

Determines the mode that is called up when the Master

number is selected. Setting to Off here means that the

mode is not changed even if the Master is selected.

❏ Settings Off, Voice, Performance, Pattern, Song

• Memory

Determines the Program number that is called up when

the Master is selected.

❏ Settings: See below.

• Zone Switch

This is available only when the Mode is set to

Performance.

This parameter determines whether the Zone function is

used (on) or not (off). See page 272 for details about the

Zone function.

❏ Settings on, off

Master Edit mode

Basic Structure (page 56) · Quick Start Guide (page 95)

In this mode, you can create and edit Masters.

◆ Common edit and Zone edit

(Voice Performance mode)

When memorizing Voice or Performance mode settings

to a Master, you can add the zone-related settings to the

existing voice or performance settings. For details on

the zone features, see page 57.

The Master Edit functions can be divided into two

types: Common Edit (settings for all four of the zones),

and Zone Edit (settings for each individual zone).

n For details about recording methods, see page 57.

When the Mode is set to Voice

Select a voice bank and number. Refer to

the instructions page 124

When the Mode is set to

Performance

Select a performance bank and number.

Refer to the instructions on page 162

When the Mode is set to Pattern

Select a style and section. Refer to the

instructions on page 217

When the Mode is set to Song

Select a song number. Refer to the

instructions on page 179

This parameter is available only when the Mode is set to Performance.

Zone 1

Parameters common

to all modes

Voice Performance mode

Common

Zone 4

Zone 3

Zone 2

Indicates a Common Edit display.

Indicates a Zone Edit display.

(Performance mode only)

271

MOTIF Reference

Master Edit mode

Reference Master mode

◆ Basic Procedure

1 Press the [MASTER] button to enter the Master

Play mode. (The indicator lights.)

2 Select a Master to be edited.

3 Press the [EDIT] button to enter the Master Edit

mode. (The indicator lights.)

• When the Mode parameter in the Master Play

Memory display is set to Song or Pattern, go to

step #5.

• When the Mode parameter in the Master Play

Memory display is set to Voice or Performance,

go to step #4.

4 Select a zone to be edited.

• To edit parameters common to all of the zones,

press the [DRUM KITS] button (which serves as

a “COMMON” button here).

• To edit parameters of the individual zones, select

the desired zone with the corresponding

NUMBER button, [1] - [4].

5 Select the menu you wish to edit by pressing the

[F1] - [F6] buttons.

6 Edit the parameters for the selected Master.

7 Store the settings edited in step #6 to the User

Memory as required.

8 Press the [EXIT] button to exit from the Master

Edit mode.

• For details on step #2, refer to “Master Play

mode” on page 269.

• For detailed instructions on steps #5 - #6, see the

explanations below.

• For details on step #7, refer to “Master Store

mode” on page 274.

■ Common edit

● [F1] Common Name

From this display you can create a name for the

Master. For detailed instructions on naming, see

“Basic Operation” on page 75.

● [F2] Common Other

From this display you can set which row of Knob/

Slider functions will be lit and selected.

❏ Settings pan, tone, assign, MEQofs, zone

n The setting “zone” above is available only when

the Zone Switch is set to on in the [F2] MEMORY

display in the Master Play mode.

■ Zone Edit (Voice/Performance mode only)

n Use the following Zone Edit functions to create your own

sophisticated four-way splits and layers.

● [F1] Zone Transmit

Basic Structure (page 57)

From this display you can set how each zone

transmits MIDI data when you play the keyboard.

DRUM KITS

FAVORITES

COMMON

ELEMENT/ PERF.PART/ ZONE

When set to pan, calling

up the Master lights and

selects this row.

When set to MEQofs,

calling up the Master lights

and selects this row.

When set to tone, calling

up the Master lights and

selects this row.

When set to assign, calling

up the Master lights and

selects this row.

When set to zone,

calling up the Master

automatically calls up

the Knob/Slider

functions specifically set

for each respective zone

(page 57).

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

MEQ LOW

MEQ HI MIDMEQ LOWMID MEQ HIGH

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

KN 1 KN 2 KN 3 KN 4

272

MOTIF Reference

Master Edit mode

Reference Master mode

• TransmitCh (Transmit Channel)

Determines the MIDI Transmit Channel for each zone.

❏ Settings 1~16

• TGSwitch (Tone Generator Switch)

Determines whether or not to transmit MIDI messages for

each zone to each Part’s tone generator block.

❏ Settings on, off

• MIDISwitch

Determines whether or not to transmit MIDI messages for

each zone to an external MIDI device via the MIDI or USB

terminal.

❏ Settings on, off

● [F2] Zone Note

From this display you can set the pitch- and

keyboard-related parameters for each zone —

allowing you to set up zone splits and determine the

pitch range for each zone.

• Octave

Determines the amount in octaves by which the range of

the zone is shifted up or down.

❏ Settings -3~0 (Default)~+3

• Transpose

Determines the amount in semitones by by which the

range of the zone is shifted up or down.

❏ Settings -11 ~ 0 (Default) ~ +11

• NoteLimit H, L (High, Low)

Determines the lowest and highest notes of the range for

each zone. The selected zone will sound only when you

play notes within this range.

❏ Settings C -2 ~G8

n You can also set the range directly from the

keyboard, by holding down the [INFORMATION]

button and pressing the desired low and high keys.

● [F3] Zone Transmit Switch

From this display you can set how the playing of

each individual zone affects transmission of various

MIDI data, such as Control Change and Program

Change messages. When the relevant parameter is

set to “on,” playing the selected zone will transmit

the corresponding MIDI data.

Note that two different display types are provided

(see below). Each display type features the same

settings in a different format; use the type you feel

most comfortable with.

• This display type shows the Transmit Switch

status for all of the zones.

Set the desired zone on or off, for the corresponding MIDI

data type. Keep in mind that since all the available

parameters cannot be simultaneously displayed, you will

need to use the cursor controls to scroll the display in

order to see and set the other parameters.

• This display type shows all of the Transmit

Switch settings for a single selected zone.

Set the desired MIDI data type on or off for the selected

zone. To select other zone, use the NUMBER [1] - [4] buttons

(making sure that the [TRACK SELECT] button is on).

● [F4] Zone Preset

From this display you can make the voice-related

settings for each zone, in the selected Master program

number. In this way, selecting a different Master

automatically calls up a completely different set of

voices and voice-related setttings for the four zones.

• BankMSB, BankLSB, PgmChange (Program

Change)

Determines the voice assignment for each zone in the

selected Master.

❏ Settings Refer to the Voice List in the separate Data

List booklet.

• Volume

Determines the output level of each zone.

❏ Settings 0~127

• Pan

Determines the stereo pan position of each zone.

❏ Settings L64 (Left) ~ C (Center) ~ R63 (Right)

[SF5] button [SF5] button

273

MOTIF Reference

Master Job mode

Reference Master mode

● [F5] Zone Knob/Slider

From this display you can determine which Control

Change numbers are used for the Knobs and Sliders

for each zone. These settings are available only

when the Knob/Slider parameter (in Common Edit

Other; page 271) is set to “zone.”

❏ Settings off, 1~95

Master Job mode

The Master Job mode contains two convenient

operations (called “Jobs”) — one letting you initialize

(reset) the Master data, and the other letting you

transmit your edited Master data to an external MIDI

device or computer.

◆ Basic Procedure

1 In the Master Play mode, select a Master you wish

to execute the Job on.

2 Press the [JOB] button to enter Master Job Mode.

3 Select the Job menu you wish to execute by

pressing the [F1] or [F4] button.

4 Set the parameters for executing the Job.

5 Press the [ENTER] button. (The display prompts

you for conﬁrmation.)

6 Press the [INC/YES] button to execute the Job.

After the Job has been completed, a “Completed”

message appears and operation returns to the

original display.

n To cancel the Job, press the [DEC/NO] button.

For Jobs that take longer to process, you will see the

message “Executing…” during processing. If you switch

off the power of the MOTIF while this message is

displayed, you risk corrupting your data.

7 Press the [MASTER] button to exit from Master

Job mode and return to Master Play mode.

• For detailed instructions on steps #3 - #4, see the

explanations below.

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQ LOWMID MEQ HIGH

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

Above settings are

vailable only if these

indicators are all unlit (in

the Master mode).

KN 1 KN 2 KN 3 KN 4

274

MOTIF Reference

Master Store mode

Reference Master mode

● [F1] Initialize

This function lets you reset (initialize) all Master

parameters to their default settings. It also allows

you to selectively initialize certain parameters, such

as Common settings, settings for each zone, and so

on — very useful when creating a completely new

Master from scratch.

❏ Parameter Type (for Initializing)

ALL

All settings for the selected Master are initialized.

Common

Common parameter settings for the selected Master are

initialized.

Zone

You can initialize the zone setting to one of the following

three types.

• Split . . . . . . . . . page 57

• 4 Zones . . . . . . page 57

• Layer . . . . . . . . page 57

❏ Parameters available when the Type parameter to

be Initialized is set to Split or Layer.

UpperCh, Lo

werCh

When the Parameter Type above is set to “Zone - Split,”

you can set separate MIDI transmit channels for the upper

and lower keyboard sections (right of Split Point and left of

Split Point, respectively).When the Parameter Type above

is set to “Zone - Layer,” you can set separate MIDI

transmit channels for two layers.

SplitP

oint

This is available when the Type of parameter to be

Initialized is set to Split. The range is C - 2~G8.

● [F4] Bulk Dump

This function lets you send all your edited

parameter settings for the currently selected Master

to a computer or another MIDI device for data

archiving.

n You must set the correct MIDI Device Number in

order to execute a Bulk Dump. For details, see

page 258.

Master Store mode

Basic Structure (page 56)

This function lets you store your edited performance to

User memory.

When you execute this, the settings for the destination

memory will be overwritten. Important data should always

be backed up to computer, a separate memory card or SCSI

storage device.

◆ Basic Procedure

1 After editing the Master, press the [STORE]

button to enter the Master Store mode.

2 Select the destination Master memory (number).

3 Press the [ENTER] button. (The display prompts

you for conﬁrmation.)

4 To execute the Store operation, press the [INC/

YES] button. After the Master has been stored,

a “Completed” message appears and operation

returns to the original display.

n To cancel the Store operation, press the [DEC/NO]

button.

For Store operations that take longer to process, you will

see the message “Executing…” during processing. If you

switch off the power of the MOTIF while this message is

displayed, you risk corrupting your data.

275

MOTIF Appendix

Information Displays

Appendix

Information Displays

The convenient Information displays let you see at-a-

glance some of the more important settings relevant to

each mode. Select the desired mode, then press the

[INFORMATION] button to call up the Information

display for that mode. To exit from the display, press

the button again (or any other panel button).

■ Voice mode

• Bank

Indicates the Bank/Number (page 124) of the currently

selected Voice.

• EL 1234

Indicates the currently selected voice, on/off status of four

elements and mono/poly (page 128) status.

• Porta (Portamento)

Indicates the Portamento switch on/off status of the

currently selected voice.

• PB (Pitch Bend)

Indicates the Upper/Lower setting of the Pitch Bend range.

• Ins1 (Insertion 1), Ins2 (Insertion 2), Rev

(Reverb), Cho (Chorus)

Indicates the currently selected effect type for each effect

block (page 137).

■ Performance mode

• Bank

Indicates the Bank/Number (page 162) of the currently

selected Performance.

• 1 (Plug-in board 1), 2 (Plug-in board 2), 3

(Plug-in board 3)

Indicates the installation status of the respective Plug-in

board. The Plug-in board name is displayed at the right of

the corresponding slot number. When PolyExpand

(

page 259) is set to on in the Utility mode, “P” is

indicated at the left of the slot number.

• InsPart (Insertion part), PLG (Plug-in Insertion

part)

Indicates the part number to which the Insertion effect is

applied and the part number to which the Plug-in Insertion

effect is applied (when the PLG100-VH is installed).

• Rev (Reverb), Cho (Chorus), Var (Variation)

Indicates the currently selected effect type for each effect

block (page 169).

■ Song mode

● Song Play mode

Indicates the amount of currently unused (available)

memory (DRAM) for song recording.

● Song Mixing mode

• PlugInfo/Port (Plug-in board installation

status)

Indicates the Plug-in board name and its MIDI port

number (

page 260) at the right of the slot number. When

PolyExpand (

page 259) is set to on in the Utility mode,

“P” is indicated at the left of the slot number.

• InsPart (Insertion part), PLG (Plug-in

Insertion part)

Indicates the part number to which the Insertion effect is

applied and the part number to which the Plug-in

Insertion effect is applied (when the PLG100-VH is

installed).

• Rev (Reverb), Cho (Chorus), Var

(+Variation)

Indicates the currently selected effect type for each effect

block (page 210).

276

MOTIF Appendix

Information Displays

Appendix

■ Pattern mode

● Pattern Play mode

Indicates the amount of currently unused (available)

memory (DRAM) for Pattern Phrase recording.

● Pattern Mixing mode

Same as in the Song Mixing mode.

■ Sampling mode

● Sampling mode

• SampleMemory

Indicates the amount of memory used by Sampling.

• Recordable Size

Indicates the amount of the available sampling memory

(unused memory) and the available sampling time.

● Sampling mode (Trim display only)

• SampleMemory

Same as above.

• Recordable Size

Same as above.

• Current Tempo

Indicates the calculated tempo when the Sample data

playback of the range from the Loop Start Point to the End

Point is treated as one measure.

■ Utility mode

• PlugInfo/Port (Plug-in board installation

status)

Indicates the Plug-in board name and its MIDI port

number (page 260) at the right of the slot number. When

PolyExpand (page 259) is set to on in the Utility mode, “P”

is indicated at the left of the slot number.

• MIDI IN/OUT

Indicates which physical output terminal(s) will be used

for transmitting/receiving MIDI data: MIDI IN/OUT/

THRU, USB, or mLAN (when the optional mLAN8E has

been installed).

• (USB ﬁrm Ver)

Indicates the USB interface ﬁrmware version.

■ File mode

• Card Free

Indicates the amount of currently available (unused)

memory of the Memory card inserted to the Card slot.

• SCSI Partition, Free

Indicates the mounted partition of the SCSI device

connected to the MOTIF and its unused memory.

• Current Dir (Current Directory)

Indicates the currently selected directory.

■ Master mode

• Mode

Indicates the mode and program number memorized to the

currently selected Master.

• ZoneSwitch

Indicates the on/off status of the Zone switch.

• ZoneTCH (Zone Transmit Channel)

Indicates the MIDI transmit channel of each zone (when

the Zone Switch is set to on).

277

MOTIF Appendix

Display Messages

Appendix

Display Messages

Messages Information

MIDI buffer full. Failed to process the MIDI data because too much data was received at one time.

MIDI data error. An error occurred when receiving MIDI data.

MIDI checksum error. An error occurred when receiving bulk data.

Bulk protected. Bulk data or a SCSI message was received when RcvBulk was set to “protect.” (See page 258.)

Device number is off. Bulk data cannot be transmitted/received since the device number is off.

Device number mismatch. Bulk data cannot be transmitted/received since the device numbers don't match.

Change internal battery. The internal backup battery has no remaining power. Replace the battery.

Disk or card full.

The card or disk is full and no more data can be saved. Use a new card or disk, or make space by erasing unwanted data

from the card or disk.

File not found.

The speciﬁed ﬁle was not found on the card or disk during a load operation. Try again after re-inserting/re-connecting the

card or disk.

Bad disk or card. The card or disk is unusable. Format the card or disk and try again.

Disk or card not ready. A card or disk is not properly inserted in or connected to the MOTIF.

Disk or card unformatted. The card or disk is not formatted, or the format is unusable by the MOTIF. Check the card/disk contents.

Disk or card write protected. The card or disk is write protected, or you have attempted to write to a read-only medium such as CD-ROM.

Illegal disk or card. The format type of the SCSI disk or Memory card is wrong.

Illegal ﬁle. The ﬁle speciﬁed for loading is unusable by the MOTIF.

Illegal ﬁle name. The speciﬁed ﬁle name is unacceptable. Try entering a different name.

Read only ﬁle. You have attempted to delete, rename, or overwrite a read-only ﬁle.

Can't make folder. No more directories can be created below the current level.

Folder is too deep. Directories below this level cannot be accessed.

Unknown ﬁle format. The ﬁle format type is not supported by the MOTIF.

SCSI error. A SCSI error has occurred. Check the SCSI connections and termination.

Disk or card read/write error. An error occurred while reading or writing to/from SCSI disk or Memory card.

Can't ﬁnd associated ﬁles. The ﬁle associated with the ﬁle to be loaded cannot be found.

Folder not empty You attempt to delete a folder that contains data.

Unsupported disk The disk (memory card or SCSI device connected to the MOTIF) is not supported by the MOTIF.

Seq memory full.

The internal memory for Sequence data is full. The internal memory for Sequence data is full, preventing any further

operation (such as recording, editing, Job execution, MIDI reception/transmission, or loading from Memory card or SCSI

drive). Try again after erasing unwanted song, pattern, or user phrase data.

Choose user phrase.

You have attempted to record a pattern track to which a preset phrase is assigned. If you wish to use a preset phrase as

a starting data for pattern recording, copy it to a user phrase before recording.

No data. When a Song/Pattern Job is executed, the selected track or range contains no data. Select an appropriate track or range.

Illegal check box.

No check boxes have been checked in a Sequencer track Job which requires a check box selection. Check the

appropriate check box.

No F7 (End of Exc.)

Exclusive data has been entered or changed without the necessary “End of Exclusive” byte (F7). Make sure F7 is

included.

Pattern length mismatch. A Pattern Job will result in the length of a Pattern being greater than 256 measures.

Phrase length mismatch A Pattern Job will result in the length of a phrase being greater than 256 measures.

Phrase number overﬂow The maximum number of phrases (256) has been exceeded when recording, executing a Pattern Job, or editing.

Illegal input. An unacceptable input or value has been speciﬁed. Check the input method or value.

Illegal track number. An unacceptable track number has been speciﬁed in the Song/Pattern mode. Select the track again.

Illegal phrase number. An unacceptable phrase number has been speciﬁed in the Pattern mode. Select the phrase again.

Illegal measure. An unacceptable measure number has been speciﬁed in the Song/Pattern mode. Select the measure again.

Meter mismatch In the Pattern Job mode, the meter (time signature) of the destination pattern is different from the meter of the source pattern.

Sample memory full. The sample memory is full and further sampling operations, Jobs, or load operations cannot be executed.

Too many samples. The maximum overall number of samples (8192) has been exceeded.

Sample is too short. The sample length is too short and the Frequency Convert Job cannot be executed.

Sample freq is too low. The sampling frequency is too low and the Frequency Convert Job cannot be executed.

Illegal sample data. The sample ﬁle speciﬁed for loading is unusable by the MOTIF.

No sample data. The linked sample ﬁles cannot be found during a load operation.

Sample is too long. The sample size is too large and the Time Stretch Job cannot be executed.

SIMM conﬁguration error. An appropriate pair of expansion SIMMs is not properly installed, or the pair is not properly matched (page 287).

Multi plug-in is not in slot 3.

The Multi-Part Plug-in board does not work because it has not been installed to slot 3. The Multi-Part Plug-in board

should be installed to slot 3.

Effect plug-in is not in slot 1.

The Effect Plug-in board does not work because it has not been installed to slot 1. The Effect Plug-in board should be

installed to slot 1.

Plug-in 1 communication error. The Plug-in board that has been installed to slot 1 does not work.

Plug-in 2 communication error. The Plug-in board that has been installed to slot 2 does not work.

Plug-in 3 communication error. The Plug-in board that has been installed to slot 3 does not work.

278

MOTIF Appendix

Display Messages

Appendix

Plug-in 1 type mismatch.

The User Voice created by using the Plug-in board previously installed to slot 1 (but now removed from slot 1) has been

selected.

Plug-in 2 type mismatch.

The User Voice created by using the Plug-in board previously installed to slot 2 (but now removed from slot 2) has been

selected.

Plug-in 3 type mismatch.

The User Voice created by using the Plug-in board previously installed to slot 3 (but now removed from slot 3) has been

selected.

PLG100 not supported. The Plug-in All Bulk Save function does not apply to the PLG100 series boards.

mLAN network error.

Indicates a problem in the mLAN8E network. Check the on/off status of the LED lamps on the mLAN8E and refer to the

Owner's Manual of the mLAN8E.

mLAN connection error.

Indicates a problem in the mLAN8E connection. Check the on/off status of the LED lamps on the mLAN8E and refer to

the Owner's Manual of the mLAN8E.

mLAN now in Mixer mode. The mLAN8E board is set to the Mixer mode by your computer, and the MOTIF cannot control the mLAN8E.

mLAN error (xxx). Indicates an unspeciﬁed problem related to the mLAN8E.

Copy protected. You have attempted to export or save a copy-protected digital audio source.

Digital in unlocked. Digital input signal of the AIEB2 is unlocked.

Too many favorites You've attempted to assign more than 256 voices to the Favorite category.

Executing... A format operation or job is being executed. Please wait.

Now working... Indicates that the MOTIF is currently engaged in some operation, such as writing to/reading from the disk, etc.

Now loading... (xxxx) Indicates that a ﬁle is being loaded.

Now saving... (xxxx) Indicates that a ﬁle is being saved.

Now checking plug-in board. The MOTIF is checking the Plug-in board installation status when powering the MOTIF on.

Recording stopped. The Song/Pattern (phrase) recording is automatically stopped because the memory becomes full.

Receiving sample... The MOTIF is receiving sample data from Wave Editor.

Transmitting sample... The MOTIF is transmitting sample data to Wave Editor.

MIDI bulk receiving... The MOTIF is receiving MIDI bulk data.

MIDI bulk transmitting... The MOTIF is transmitting MIDI bulk data.

Completed. The speciﬁed load, save, format, or other job has been completed.

Becomes valid after power on. The newly entered SCSI ID number will take effect only by turning the power of the MOTIF off and on again.

Scene stored A Song scene has been stored.

Mixing stored In the Song/Pattern mode, the Mixing settings have been automatically stored.

Are you sure ? [YES]/[NO] Conﬁrms whether you want to execute a speciﬁed operation or not. Press [INC/YES] or [DEC/NO] as required.

Overwrite? [YES]/[NO]

A save operation will overwrite data on the Memory card or SCSI disk, and this message conﬁrms whether it is OK to

continue or not. Press [INC/YES] or [DEC/NO] as required.

Can't undo. OK? [YES]/[NO]

When some jobs of the Song/Pattern are executed, the internal memory becomes full and undo cannot be used. Press

[INC/YES] if this is OK, or [DEC/NO] to abort the operation. Try again after erasing unwanted songs, patterns, or user

phrases.

Messages Information

279

MOTIF Appendix

Troubleshooting

Appendix

Troubleshooting

No sound? Wrong sound? When a problem like this occurs, please check the following points before assuming that

the product is faulty. In many cases you’ll ﬁnd the solution to your problem here. If the problem persists, then contact

your Yamaha dealer or service center (page 299).

No sound.

• Is the power of the MOTIF and any external equipment connected to the MOTIF turned on? page 29

• Have you made all the appropriate level settings — including the Master Volume on the MOTIF

and the volume settings on any connected external equipment? page 29

• Is the Foot Controller pressed down (when it is connected to the FOOT CONTROLLER jack)? page 28

• Is the MOTIF properly connected to related external equipment (e.g., ampliﬁer or speaker) via audio cables? page 21

• When the voice produces no sound, is the volume in the Voice common edit set appropriately? page 132

• When the voice produces little or no sound, have you changed any of the CS slider settings?

(The CS 1 - 4 sliders control the element levels in the voice. If all these are set to “0,” the voice will not sound.) page 48

• When the voice produces no sound, are the parameters in the Voice element edit

(e.g., element switch, note limit, velocity limit) set appropriately in the Voice common edit? pages 137, 138

• When the voice produces no sound, are the effect and ﬁlter settings appropriate?

(Inappropriate ﬁlter cutoff frequency settings can result in no sound.) pages 137, 140

• When the performance produces no sound, has a voice been assigned to each part? page 166

• When the performance produces no sound, is the note limit of each part set appropriately? page 170

• When the performance produces no sound, is the volume of each part set appropriately? page 172

• When the performance produces little or no sound, have you changed any of the CS slider settings?

(The CS 1 - 4 sliders control the part levels in the performance. If all these are set to “0,” the performance will not sound.) page 48

• When the performance produces no sound, is the output select of each part set appropriately? page 173

• When the song/pattern playback produces no sound, are any or all of the tracks muted? pages 180, 218

• When the song/pattern playback produces no sound, are the output channel of each track in the play mode

and the receive channel of each part in the Mixing mode set appropriately? pages 210, 232

• When the song/pattern playback produces no sound,

is the volume of each part in the Mixing mode set appropriately? pages 211, 232

• When the song/pattern playback produces no sound,

is the output select of each part in the Mixing mode set appropriately? pages 211, 232

• When the song/pattern playback produces no sound,

is the MIDI ﬁlter set so that note-on messages are blocked in the Utility mode? page 255

• When the arpeggio produces no sound, is the switch set to on? page 132

• When the arpeggio produces no sound, are the note limit and velocity limit set appropriately? page 133

• When the arpeggio produces no sound and the assigned arpeggio is a user one, does it have data? page 132

• Isn't MIDI Local set to off in the Utility mode? page 258

Distorted sound.

• Are the effect settings appropriate? page 172

• Are the ﬁlter settings appropriate? (Excessively high ﬁlter resonance settings can cause distortion.) pages 140, 173

• Is the MASTER VOLUME set so high that clipping is occurring? page 29

• Is the volume of each element in the Voice mode or the volume of each part in the Performance mode

or the volume of each track/part in the Song/Pattern mode set too high? pages 145, 172, 211, 232

Sound level is too low.

• Are the MIDI volume or MIDI expression settings too low (by using the Foot Controller)? page 28

• Is the cutoff frequency of the ﬁlters set too high/low? pages 140, 173

• When the song/pattern playback produces the small sound,

is the velocity offset in the Groove display set too low? pages 181, 218

Sound is cut off.

• Are you exceeding the maximum polyphony of the MOTIF? page 36

280

MOTIF Appendix

Troubleshooting

Appendix

Pitch or intervals are wrong.

• Is the Master Tune parameter in the Utility mode set at a value other than “0”? page 250

• Is the Note Shift parameter in the Utility mode set at a value other than “0”? page 250

• When the voice produces a wrong pitch, is the appropriate tuning system selected from Micro Tuning parameter

in the Voice Edit mode? page 130

• When the voice produces a wrong pitch, is the LFO Pitch Modulation Depth in the Voice Edit mode set too high? page 147

• When the performance produces a wrong pitch, is the Note Shift parameter of each part set at a value other than “0”? page 173

• When the performance produces a wrong pitch, is the Detune parameter of each part set at a value other than “0”? page 173

• When the song/pattern playback produces a wrong pitch, is the Note Offset parameter in the Groove display set

at a value other than “0”? pages 181, 218

Only one note sounds at a time.

• Is the Mono/Poly parameter in the Voice mode set to “mono”? page 130

No effect is applied.

• Is the [EFFECT BYPASS] button turned off? page 13

• Have the [REVERB] and [CHORUS] buttons been turned fully counter-clockwise (to the minimum)? pages 48, 84

• Have any or all of the elements’ Effect Output parameter been set to “thru”? page 137

• Have any or all of the effect types been set to “thru” or “off” (in the Effect display of the Voice Edit mode)? page 137

Song/Pattern cannot be started.

• Does the selected song or pattern (phrase) contain data? pages 179, 217

• Is the Remote Control turned on? page 13

• Is the MIDI sync parameter set to MIDI (using external clock) in the Utility mode? page 258

Song/Pattern (Phrase) cannot be recorded.

• Is there enough free memory for recording? The total MOTIF memory capacity determines the number of

songs/patterns (phrases) that can be recorded. For example, if the memory contains songs/patterns (phrases)

that use up a large amount of memory, the memory may become full even though the available pattern or song

numbers are not all used. pages 275, 276

• In the Pattern Record mode, does the speciﬁed track to which the Phrase is assigned have preset data?

Recording cannot be done to a track that contains preset data. page 221

Can’t record samples.

• Have you exceeded the maximum allowable number of samples (key banks)? page 60

• Is there enough free sample memory? page 276

• Is the Sampling Source setting appropriate? page 236

• Is the Trigger mode set appropriately? page 237

Can’t save data to the Memory card or the SCSI disk.

• Is the Memory card or SCSI disk being used write protected? (Write-protect should be set to off for saving data.) pages 289, 290

• Is the Memory card or SCSI disk being used properly formatted? page 265

MIDI bulk data transmission/reception won’t work properly.

• Is the Receive Bulk parameter set to “protect” in the Utility mode? page 258

Plug-in board does not work.

• Is the lamp of the corresponding slot number to which the Plug-in board has been installed lit? page 87

• Has the Vocal Harmony Plug-in board been installed to slot 2 or 3 ? (The VH board should be installed to slot 1.) page 282

• Has the Multi-part Plug-in board been installed to slot 1 or 2 ? (The Multi-part Plug-in board should be installed to slot 3.) page 282

281

MOTIF Appendix

Installing Optional Hardware

Appendix

Installing Optional Hardware

◆ Optional units that can be installed to the MOTIF

The following optional units can be installed to the MOTIF.

◆ Locations to which the optional units are installed

Up to three boards can be installed to the rear panel.

◆ Installation Precautions

Before installing the optional hardware, make sure you have a Philips screwdriver.

• Before beginning installation, switch off the power to the MOTIF and connected peripherals, and unplug them from the power outlet.

Then remove all cables connecting the MOTIF to other devices. (Leaving the power cord connected while working can result in electric

shock. Leaving other cables connected can interfere with work.)

• Be careful not to drop any screws inside the instrument during installation (this can be prevented by keeping the optional units and

cover away from the instrument while attaching). If this does happen, be sure to remove the screw(s) from inside the unit before turning

the power on. Loose screws inside the instrument can cause improper operation or serious damage. If you are unable to retrieve a

dropped screw, consult your Yamaha dealer for advice.

• Install the optional units carefully as described in the procedure below. Improper installation can cause shorts which may result in

irreparable damage and pose a ﬁre hazard.

• Do not disassemble, modify, or apply excessive force to board areas and connectors on optional units. Bending or tampering with boards

and connectors may lead to electric shock, ﬁre, or equipment failures.

• Before handling the optional units, you should brieﬂy touch the metal surface to which the optional unit cover is attached (or other such

metallic area — be careful of any sharp edges) with your bare hand so as to drain off any static charge from your body. Note that even a

slight amount of electrostatic discharge may cause damage to these components.

• It is recommended that you wear gloves to protect your hands from metallic projections on optional units and other components.

Touching leads or connectors with bare hands may cause ﬁnger cuts, and may also result in poor electrical contact or electrostatic

damage.

• Handle the optional units with care. Dropping or subjecting them to any kind of shock may cause damage or result in a malfunction.

• Be careful of static electricity. Static electricity discharge can damage the IC chips on the Plug-in board. Before you handle the optional

Plug-in board, to reduce the possibility of static electricity, touch the metal parts other than the painted area or a ground wire on the

devices that are grounded.

• Do not touch the exposed metal parts in the circuit board. Touching these parts may result in a faulty contact.

• When moving a cable, be careful not to let it catch on the circuit Plug-in board. Forcing the cable in anyway may cut the cable, cause

damage, or result in a malfunction.

• Be careful not to misplace any of the screws since all of them are used.

• Do not use any screws other than what are installed on the instrument.

● Plug-in Boards ● AIEB 2 or mLAN8E ● SIMM

Plug-in Board cover

MOTIF6 MOTIF7 MOTIF8

● Plug-in Boards

Plug-in Board cover

MOTIF6 MOTIF7

MOTIF8

● AIEB2, mLAN8E, SIMM

Bottom cover for optional units Bottom cover for optional units Bottom cover for

AIEB2, mLAN8E, SIMM

Rear cover for the

AIEB2 or mLAN8E

Rear cover for the

AIEB2 or mLAN8E

Rear cover for the

AIEB2, mLAN8E, SIMM

282

MOTIF Appendix

Installing Optional Hardware

Appendix

Optional Plug-in Board

Installation

A variety of optional Plug-in boards sold separately let

you expand the voice library of your instrument.

The following types of Plug-in boards can be used with

your instrument.

• PLG150-AN • PLG150-PF • PLG150-VL

• PLG150-DX • PLG100-XG • PLG100-VH

The MOTIF provides three slots for the Plug-in board.

Therefore, up to three boards can be installed to

the rear panel.

n The Vocal Harmony Plug-in board (PLG100-VH) can

installed only to slot 1.

n The Multi part Plug-in board (PLG-100XG) can installed

only to slot 3.

n The Single part Plug-in board can installed to any of

three slots.

1 Turn the MOTIF power off, and disconnect the

AC power cord. Also, make sure to disconnect the

MOTIF from any connected external devices.

2 Remove the large screw from the expansion bay

cover on the rear panel using a Phillips

screwdriver.

Keep the removed screw in a safe place. It will be used

when attaching the cover to the MOTIF again.

3 Remove the ribbon cables that are to be connected

to the Plug-in board from the inside of the MOTIF.

The slots are assigned to the color-coded cables as

follows:

Slot 1 — Orange

Slot 2 — Yellow

Slot 3 — Green

GREEN

YELLOW

ORANGE

Plug-in SLOT

OUTPUT

ASSIGNABLE

OUTPUT

L MONO

PHONES

DINPUT

GAIN

GREEN

YELLOW

ORANGE

Plug-in SLOT

OUTPUT

ASSIGNABLE

OUTPUT

L MONO

PHONES

DINPUT

GAIN

MOTIF6 / MOTIF7

GREEN

YELLOW

ORANGE

Plug-in SLOT

MOTIF8

GREEN

YELLOW

ORANGE

Plug-in SLOT

OUTPUT

ASSIGNABLE

OUTPUT

L MONO

PHONES

INPUT

GAIN

GREEN

YELLOW

ORANGE

Plug-in SLOT

Slot 3

Slot 2

Slot 1

Cable for Slot 3

(Green)

Cable for Slot 2

(Yellow)

Cable for Slot 1

(Orange)

283

MOTIF Appendix

Installing Optional Hardware

Appendix

4 Insert the board along the guide rails about two-

thirds of the way inside the MOTIF, with the

connector side face up and toward you.

5 With the board still protruding slightly from the

expansion bay, bring the cable end around and

connect it to the board. Make sure to connect the

proper cable, matching the color of the cable to the

slot used. Also, take care not to pull on the cable

too forcefully as you connect it to the board.

n The Vocal Harmony Plug-in board (PLG100-VH) can

installed only to slot 1.

n The Multi part Plug-in board (PLG-100XG) can installed

only to slot 3.

6 Insert the Plug-in board the rest of the way into

the expansion bay. Carefully put the the ribbon

cable back into the MOTIF, making sure that no

part of the cable sticks out of the instrument.

7 Replace the cover with the screw you removed in

step 2 above. The Plug-in board is held in place by

replacing the cover.

8 Check that the installed Plug-in board is

functioning properly. Turn on the power.

• A message appears indicating that the installed Plug-in

Board is being checked. The main display then appears

and the corresponding slot indicator at the right top of the

front panel lights. This indicates that the board has been

successfully installed.

• If an error message appears, the MOTIF freezes after a

while, indicating that the installation was not successful. If

this happens, turn off the power and carefully go through

the installation procedure again.

Optional AIEB2 or mLAN8E Installation

OUTPUT

ASSIGNABLE

OUTPUT

L MONO

PHONES

D INPUT

GAIN

GREEN

YELLOW

ORANGE

Plug-in SLOT

Slot 3

Slot 2

Slot 1

Securely insert the board into the appropriate slot,

taking care that the board isn't jammed between slots.

OUTPUT

ASSIGNABLE

OUTPUT

L MONO

PHONES

INPUT

GAIN

GREEN

YELLOW

ORANGE

Plug-in SLOT

Notch

Connector from MOTIF

Plug-in Connector

Press the connectors together

until the two notches lock into

the sockets.

Plug-in board

OUTPUT

ASSIGNABLE

OUTPUT

L MONO

PHONES

INPUT

GAIN

GREEN

YELLOW

ORANGE

Plug-in SLOT

PLG 2

CATEGORY

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-time External Control

Surface

Modular

Synthesis

Plug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM /

PERCUSSION

MUSICAL FX COMBI

SECTION

BANK

GROUP

COMMON

Slot indicator lamps

In this example, a Plug-in board has been installed to slot 1.

284

MOTIF Appendix

Installing Optional Hardware

Appendix

Either the mLAN expansion board (mLAN8E) or the

I/O expansion board (AIEB 2) sold separately can

be installed to the MOTIF.

With the mLAN8E board, you can conveniently and

easily hook up your MOTIF to other mLAN-

compatible instruments or devices. The AIEB 2 board

gives you additional digital I/O options, featuring both

optical and coaxial connectors. Moreover, the board

also includes three stereo ASSIGNABLE

OUTPUT pairs (six analog jacks).

Installing the AIEB2

1 Turn the MOTIF power off, and disconnect the

AC power cord. Also, make sure to disconnect the

MOTIF from any connected external devices.

2 Turn over the MOTIF so you can have direct

access to the underside. To protect the Knobs and

Wheels, place the keyboard so the four corners are

supported by something that provides sufﬁcient

support like magazines or cushions.

Be careful not to drop or bump the keyboard and make

sure that it is well balanced before proceeding.

3 Remove the cover of the bottom. Unscrew the

screws on the bottom using the driver by placing

the back sides of the ripped over body facing to you

(MOTIF6/ MOTIF7 has 7 screws and MOTIF 8

has 7 yellow screws.). Remove the cover from the

body after unscrewing all the screws. For

MOTIF6/MOTIF7 place the back side facing to

you and slide the over toward front to remove the

cover.

Keep the removed screws in a safe place. They will be

used when attaching the cover to the MOTIF again after

installing the AIEB2.

4 Remove the three screws from the rear cover while

holding it from inside the MOTIF with your left

hand.

Keep the removed screws in a safe place. They will be

used when attaching the cover to the MOTIF again

when the AIEB2 is removed in the future.

View of the keyboard

from the bottom.

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ

TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3 SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternalControl

Surface

Modular

SynthesisPlug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ZONE

Please the supports at all four corners

without touching the Knobs and the Wheels.

Underside of the MOTIF

Slide the cover

away to remove.

Bottom

Underside of the MOTIF

Bottom

MOTIF6 / MOTIF7

Do not remove

this black screw.

MOTIF8

Underside of the MOTIF

Bottom

Underside of the MOTIF

Bottom

Underside of the MOTIF

285

MOTIF Appendix

Installing Optional Hardware

Appendix

5 Remove the AIEB2 power cables from the hook-

shaped cable clip in the MOTIF.

6 Remove the AIEB2 from its package. The AIEB2

has one ﬂat ribbon cable and two power cables.

Since these two power cables are used for the main

body and are not needed when installing to the

MOTIF, you can remove them from the AIEB2.

7 Connect the ﬂat ribbon cable coming from AIEB2

to the circuit board of the MOTIF. Be careful to

connect in the proper direction as shown.

Make sure that the direction is correct and do not try to

force the connection.

8 Connect the power cable coming from MOTIF to

the AIEB2. Connect the 3-pin cable to the CN3

connector of the AIEB2, and the 4-pin cable to the

CN1 connector.

9 Fasten the AIEB2 to the MOTIF. Flip the unit

over, so that the bottom of the plate can be seen,

and that each connector section of the AIEB2 can

be seen from the back side of MOTIF. Supporting

the unit with one hand, attach it to the rear of the

MOTIF with the three screws you removed in step

4. If you start replacing the screws from the center

screw, it will be easy to replace the remaining

screws.

Underside of the MOTIF

MOTIF6 / MOTIF7

MOTIF8

Unlatch the cable clip by

pulling out the tab as shown.

Replace the clip after pulling

out the power cable.

Rear panel of the MOTIF

Top (keyboard side) of the MOTIF

AIEB2

Remove the two

power cables.

CN5

m-LAN

Rear panel of the MOTIF

AIEB2

Align the

connectors

as shown.

Flat ribbon cable

of the AIEB2

Connector on

the circuit board

of the MOTIF

CN5

m-LAN

Connect the 4-pin cable

to the CN1 connector

Connect the 3-pin cable

to the CN3 connector

* Make sure to properly match the cables and connectors.

Avoid applying excessive force when connecting.

286

MOTIF Appendix

Installing Optional Hardware

Appendix

10 Let the ribbon cable fall into place between the

AIEB2 and the circuit board of the MOTIF.

11Re-install the cover you removed in earlier steps,

in reverse order.

Installing the mLAN8E

1 Using the same procedure as in steps 1 - 4 of

“Installing the AIEB2” above, remove the cover on

the underside of the MOTIF, then remove the

cover of the mLAN/I/O expansion bay.

2 Remove the mLAN8E from its package and

connect the included ﬂat ribbon cable. Securely

fasten the ﬂat ribbon cable to the rear panel of the

mLAN8E. Make sure that the ribbon is at the

bottom, as shown.

3 Hold the mLAN8E upside down, and insert the

connector on the other end of the ﬂat ribbon cable,

to the circuit board of the MOTIF.

Flip over the AIEB2 taking care not to bend

or damage the flat ribbon cable.

AIEB2

CN5

m-LAN

Underside of the MOTIF

CN5

m-LAN

AIEB2

Slide the flat ribbon cable

in the space between the MOTIF

and the AIEB2.

AIEB2

Rear panel of the MOTIF

Make sure that flat ribbon cable is

at bottom of connector.

Rear panel of mLAN8E

Make sure the flat ribbon cable sticks out from

the bottom and that the panel printing "mLAN8E"

can be seen.

Front panel of mLAN8E

Top of mLAN8E

CN5

m-LAN

Underside of the MOTIF

Rear panel of the MOTIF

Front panel of mLAN8E

Align the connectors as shown.

Underside of mLAN8E

(This example illustration shows the MOTIF6/MOTIF7.)

287

MOTIF Appendix

Installing Optional Hardware

Appendix

4 Fasten the mLAN8E to the MOTIF. Flip the unit

over, so that each connector section of the

mLAN8E can be seen from the back side of

MOTIF. Supporting the unit with one hand,

attach it to the rear of the MOTIF with the three

screws you removed earlier. If you start replacing

the screws from the center screw, it will be easy to

replace the remaining screws.

5 Let the ribbon cable fall into place between the

mLAN8E and the circuit board of the MOTIF.

6 Re-install the cover you removed in earlier steps,

in reverse order.

Optional SIMM Installation

You can increase the MOTIF’s sampling memory by

installing commercially available SIMMs (single

in-line memory modules). This section explains how to

carry out the installation.

Important Information about

Purchase of Expansion SIMMs for

the MOTIF

The MOTIF does not necessarily support all

commercially available SIMMs. Before purchasing

SIMMs, please consult your Yamaha dealer or an

authorized Yamaha distributor (see list at end of the

Owner’s Manual) for advice.

Note that Yamaha cannot assume responsibility for

SIMM malfunctions.

SIMM Type and SIMM Conﬁguration

• You need to use 72-pin SIMMs with access time of

70ns or less. The SIMM module size may be 4MB,

8MB, 16MB, or 32MB. The MOTIF is designed for use

with 32-bit (parity non-type) SIMMs, but can also

accept installation of 36-bit (parity-type) SIMMs.

• When purchasing SIMMs, make sure that the SIMM

design does not utilize more than 18 memory chips per

module. (SIMMs comprised of more than 18 chips do

not operate correctly on the MOTIF.)

• SIMMs must be installed in pairs: you can install two

SIMMs.

• The MOTIF ships with 4MB of sampling memory

installed, and is capable of accessing up to 64MB. See

the following illustrations for details. For example, if

you add a pair of 16MB SIMMs, for example, you

increase the available sampling memory to a total of

(4 + 16 x 2 =) 36MB. If you install a pair of 32MB

SIMMs, however, the sampling memory size becomes

64MB (and the original 4MB are effectively disabled).

Rear panel of the MOTIF

Underside of the MOTIF

CN5

m-LAN

mLAN8E

Slide the flat ribbon cable in the space

between the MOTIF and the mLAN8E.

Underside of the MOTIF

Rear panel of the MOTIF

(This example illustration shows the MOTIF6/MOTIF7.)

288

MOTIF Appendix

Installing Optional Hardware

Appendix

• Yamaha recommends that you purchase SIMMs that

conform to the JEDEC* standard. Please be aware,

however, that conformance to this standard does not

constitute a guarantee that the SIMMs will operate

correctly on the MOTIF.

• JEDEC (Joint Electron Device Engineering Council) sets

standards for terminal conﬁgurations within electronic

devices.

SIMM Installation

1 Use the same operation as in “Installing the AIEB2.”

2 On the SIMM, there is a cut in the board next to

the 1PIN. Insert the board into the socket so that

the 1PIN lines up with the 1PIN mark (▲) printed

on the board.

n Make sure that the SIMM is securely inserted in the

socket of the MOTIF. Inserting the SIMM improperly or

incompletely may result in faulty operation.

* To remove the SIMM, gently but ﬁrmly pull the fastening

clips open, then tilt the SIMM back and pull it out.

3 Set the SIMM into the socket at an angle as shown

in the illustration above (1). Then push the SIMM

upright until it clicks into the position shown in

ﬁgure

4 Insert the remaining SIMM into the remaining

socket.

5 Re-install the cover you removed in earlier steps,

in reverse order.

6 Check that the installed SIMMs are functioning

properly. Set the MOTIF right-side up, and connect

the power cord to the rear-panel AC INLET jack and

an AC outlet. Turn on the power, go to the

SAMPLING display, and press the

[INFORMATION] button (page 276). If the SIMMs

have been installed properly, the appropriate

available memory size is indicated in the display.

4MB X 2

Internal memory

4MB

12MB can be used for sampling.

8MB X 2

Internal memory

4MB

20MB can be used for sampling.

16MB X 2

Internal memory

4MB

36MB can be used for sampling.

32MB X 2

Internal memory

4MB

64MB can be used for sampling.

Cutout

72PIN SIMM

PNA

CN25CN24

114

CN234

SIMM sockets

1PIN mark

Rear panel of the MOTIF

Underside of the MOTIF

Location for SIMM Installation

Tilt the SIMM and insert it into the socket.

Push the SIMM up vertically.

Cutout

Installing the SIMM modules to the sockets

Pull open these clips.

Tilt the SIMM module and pull it out.

289

MOTIF Appendix

Handling the Memory Card (SmartMedia™*)

Appendix

Handling the

Memory Card

(SmartMedia™*)

Be sure to handle Memory Cards with care. Follow the

important precautions below.

* SmartMedia is a trademark of Toshiba Corporation.

■ Compatible Memory Card Type

3.3V(3V) Memory Cards can be used. 5V type Memory

Cards are not compatible with this instrument.

■ Memory Capacity

There are ﬁve types of Memory Cards: 2MB/4MB/

8MB/16MB/32MB. A Memory Card with the memory

capacity exceeding 32MB can also be used if it

conforms to the standards of SSFDC (Solid State

Floppy Disk Card: another name of SmartMedia)

Forum.

■ Inserting/Removing Memory Cards

• To insert a Memory Card:

Hold the Memory Card so that the connector

section (gold) of the Memory Card is facing

downward and forward, towards the Memory

Card slot. Carefully insert the Memory Card into

the slot, slowly pushing it all the way in until it is

ﬁtted in place.

n Don’t insert the Memory Card in wrong direction.

Don’t insert anything other than a Memory Card in

the slot.

• To remove a Memory Card:

Before removing the Memory Card, be sure to

conﬁrm that the Memory Card is not in use, or it

is not being accessed by the instrument. Then pull

the Memory Card out slowly by hand. If the

Memory Card is being accessed*, a message

indicating that it is in use appears on the

instrument's display.

* It includes saving, loading, formatting, deleting and

making directory. Also, be aware that the instrument will

automatically access the Memory Card to check the

media type when it is inserted while the instrument is

turned on.

Never attempt to remove the Memory Card or turn the

power off during accessing. Doing so can damage the

data on the instrument/Memory Card and possibly the

Memory Card itself.

■ Formatting Memory Cards

Before using a Memory Card with your instrument it

must ﬁrst be formatted. Once it is formatted all data on

it will be erased. Be sure to check if the data is

unnecessary for you or not, beforehand.

n The Memory Cards formatted with this instrument may

become unusable with other instruments.

■ About the Memory Cards

• To handle Memory Cards with care:

There are times when static electricity affects

Memory Cards. Before you handle Memory Cards,

to reduce the possibility of static electricity, touch

the metal parts such as a door knob and aluminum

sash. Be sure to remove the Memory Card from the

Memory Card slot when it is not in use for a long time.

Do not expose the Memory Card to direct

sunlight, extremely high or low temperatures, or

excessive humidity, dust or liquids.

Do not place heavy objects on a Memory Card or bend

or apply pressure to the Memory Card in any way.

Do not touch the metal part (gold) of the Memory

Card or put any metallic plate onto the metal part.

Do not expose the Memory Card to magnetic

ﬁelds, such as those produced by televisions,

speakers, motors, etc., since magnetic ﬁelds can

partially or completely erase data on the Memory

Card, rendering it unreadable.

Do not attach anything other than the provided

labels to a Memory Card. Also make sure that

labels are attached in the proper location.

• To protect your data (Write-protect):

To prevent inadvertent erasure of important data,

stick the write-protect seal (provided in the

Memory Card package) onto the designated area

(within a circle) of the Memory Card. Conversely

speaking, to save data on the Memory Card, make

sure to remove the write-protect seal from the Card.

Do not reuse the seal that is peeled off.

■ Data Backup

For maximum data security Yamaha recommends that

you keep two copies of important data on separate

Memory Cards. This gives you a backup if one Memory

Card is lost or damaged.

■ Burglarproof Lock

This instrument is equipped with a burglarproof lock

for the Memory Card. If necessity arises, mount the

burglarproof lock onto the instrument.

To mount the burglarproof lock:

1 Remove the metallic part using a Phillips

screwdriver.

2 Turn the metallic part upside down and then

mount it again.

290

MOTIF Appendix

Connecting external SCSI devices

Appendix

Connecting external SCSI devices

This section explains how to connect external devices such as external hard disk drives, MO drives, or CD-ROM drives.

About SCSI

SCSI (pronounced “scuzzy”) stands for Small Computer System Interface, and is a data transmission interface

standard used by personal computers and other devices.

Since the MOTIF has a SCSI interface, you can connect and use hard disk drives, MO disk drives, CD-ROM drives,

and other SCSI-compatible devices that have a 50-pin SCSI connector. Up to 7 SCSI devices can be connected.

Most external SCSI devices have two SCSI terminals, allowing a number of devices to be “chained” together. Devices

chained together in this way can normally be connected in any order.

The last device in the chain must be “terminated,” either with a terminator unit plugged into the open SCSI

connector, or by turning the device's internal terminator on (if available). The ﬁrst device in the chain must also be

terminated, but in the case of the MOTIF this is accomplished by the terminator inside the MOTIF.

• Before connecting SCSI devices, be sure to turn off the power of the MOTIF and all connected equipment. If the power is on

while connections are being made, the MOTIF or SCSI devices can be damaged.

• Including the MOTIF, each SCSI device is distinguished by a number from 0 - 7, called the SCSI ID. If two or more devices have

the same SCSI ID number, the SCSI devices will not function correctly. When shipped from the factory, the MOTIF is set to SCSI

ID 6. Be aware that the SCSI ID number of a device has no relation to its position in the daisy-chain.

• Don't forget to attach a terminator to the last SCSI device in the daisy-chain.

• If an external SCSI device is not connected, it is not necessary to attach a terminator to the external SCSI connector of the

MOTIF.

• Use as short a SCSI cable as possible. Using long cables can cause unreliable operation. In general, the total cable length should be

less than 6 meters (approximately 18 feet).

• Use high-quality SCSI cables. Poor-quality cables can cause unreliable operation.

• Some SCSI devices have only one SCSI connector. If you are using such a device, connect it at the end of the daisy-chain.

Procedure

1 Use SCSI cables to daisy-chain the external SCSI devices.

Since there are several different types of SCSI connectors, make sure to select the proper SCSI cables for your

particular devices.

2 Connect the power cable of the external SCSI device to an AC outlet.

3 Set the SCSI ID (0 - 7) of the external SCSI device.

Select a SCSI ID that will not conﬂict with the other SCSI devices (including the MOTIF). When the MOTIF is

shipped from the factory, the SCSI ID is set to 6.

External SCSI

device

MOTIF

External SCSI

device

External SCSI

device

PLG 2

CATEGORY

OCTAVE

DOWN

KNOB

CONTROL

FUNCTION

PAN

REVERB

CHORUS

TEMPO

ATTACK RELEASECUTOFF

RESONANCE

ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2

KN 1 KN 2 KN 3 KN 4

MEQ LOW

MEQ HI MIDMEQLOWMID MEQ HIGH

REMOTE

CONTROL

ON/OFF

EFFECT BYPASS

ARPEGGIO

INSERTION

SYSTEM

ON/OFF

MASTER

VOLUME

VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4

CS 1 CS 2 CS 3 CS 4

ZONE 1 ZONE 2 ZONE 3 ZONE 4

SEQ TRANSPORT

LOCATE

REC

MODE

VOICE PERFORM MASTER

SEQUENCER

SONG

PATTERN

FILE

INTEGRATED

SAMPLING

MIXING

UTILITY

EDIT

JOB

STORE

COMPARE

SCENE STORE

SET LOCATE

SONG SCENE

SF 1SF 2SF 3SF 4SF 5

F1 F2 F3 F4 F6F5

INFORMATION

DEC/NO INC/ YES

EXIT

ENTER

EXECUTE

MUSIC

PRODUCTION

SYNTHESIZER

Integrated

Sampling

Sequencer

Real-timeExternal Control

Surface

Modular

SynthesisPlug-in

System

DRUM KITS

FAVORITES

SLOT 1 SLOT 2 SLOT 3

PRE 1

PRE 2

PRE 3

USER PLG 1

PLG 3

A. PIANO

KEYBOARD

ORGAN

GUITAR/

PLUCKED

BASS

STRINGS

BRASS

REED/PIPE

SYN LEAD SYN PAD/

CHOIR

SYN COMP CHROMATIC

PERCUSSION

DRUM/

PERCUSSION

MUSICAL FX COMBI

SECTION

TRACK

SELECT

MUTE

SOLO

BANK

GROUP

NUMBER

COMMON

ELEMENT/PERF.PART/ ZONE

Indicates the terminator (or a terminator

switch turned ON). For devices not marked

by this symbol, do not attach a terminator

(or turn the terminator off).

291

MOTIF Appendix

Connecting external SCSI devices

Appendix

4 Attach the terminator to the SCSI connector (whichever one of the two is not connected) of the last

device in the daisy-chain. Alternatively, turn on the terminator switch of that device.

5 Make sure that the terminator switch is turned OFF for all other devices in the daisy-chain (i.e., all

devices other than the last device).

6 Turn on the power of the external SCSI device(s), and after waiting several seconds, turn on the

power of the MOTIF.

NOTE

Many articles and books concerning SCSI are available. However most of them discuss only the concepts or the

speciﬁcation, and do not tell you what to do if the system does not work when connected as described. The following

paragraphs will provide more information about SCSI that will help you correct problems which may occur when

SCSI devices are connected. Please read this material if you experience problems. Please be aware that when

connecting SCSI devices, problems with termination and cabling can cause valuable data to be damaged. We regret

that Yamaha can take no responsibility regarding any data which is lost.

■ Realities of terminator installation

Although we have said that a terminator is required at the beginning and end of the SCSI bus, this is a general

principle and not a requirement. For example if the bus is extremely short (45 cm or less), there are cases in which it

is best for there to be a terminator only on one or the other end. However if other drives are connected in addition to

these drives, the situation will again be different.

Also, if the SCSI devices are separated by more than 3 meters, it is said that using a terminator at the 3 meter point is

preferable. In this case, three or more terminators will exist within the SCSI bus.

In this way, the theory and practice of SCSI connections can differ widely. Simply changing a drive in a system that

had been working correctly can cause operation to become unreliable, or adding a drive to an unreliable system can

cause it to start working correctly. In practice, a certain amount of trial and error is necessary.

■ Reasons for SCSI errors

A SCSI bus operates stably only if all the connected SCSI devices are operating correctly. If any of the devices are

producing noise, the other devices will also produce errors, and in the worst case, the boot block of a drive can be

destroyed. (All data in that drive will be lost.)

Also, there are cases in which a system on which data appears to have saved may not have actually saved the data,

resulting in data loss.

The following paragraphs will discuss the reasons for such errors, and will provide a sequence for your

troubleshooting.

• Check the SCSI ID

Make sure that there is no conﬂict between the SCSI ID of each SCSI device including the MOTIF. When shipped from the factory,

the MOTIF's SCSI ID is set to 6. Be sure to turn off the power before changing the SCSI ID setting.

• Check the terminator

As discussed above, check the location where the terminator is attached.

• Check the SCSI cables

Low-quality SCSI cables will almost always create problems. Always use double-shielded cables. It is also important that the shield

be grounded inside the connector. Long SCSI cables frequently cause problems, so use as short a SCSI cable as possible. Bending or

twisting a SCSI cable in a conﬁned space can cause conductors to break or pins to be broken, so be careful to avoid this.

Yamaha cannot guarantee operation if the SCSI connector of the MOTIF is connected via a converter to any external device other

than a 50-pin SCSI device, such as a Wide SCSI, ATA (IDE), USB, or IEEE 1394 device.

292

MOTIF Appendix

Notes on musical copyright

Appendix

Notes on musical copyright

The MOTIF supports SCMS (Serial Copy Management System) to protect the copyrights of music software. Data

that was digitally sampled from a CD or other source cannot be saved on a memory card or SCSI disc in WAV/AIFF

format, and cannot be transmitted by using the TWE software. If you wish to save this data, you must save it in the

MOTIF’s own format.

It is prohibited to use copyrighted songs and sound data (that can be recorded via the MOTIF) for commercial

purposes. It is also prohibited to reproduce, transfer, or distribute the data, or play the data for a commercial audience

without permission from the owners of the copyright, except for personal use or application that does not infringe

the copyright. If you wish to use such data for occasions other than personal use, consult a copyright expert. Yamaha

is not responsible for any data created, reproduced, or edited using the MOTIF, nor for any reproduction or use of

such data.

293

MOTIF Appendix

Appendix

Speciﬁcations

Keyboards MOTIF8 88 keys, Balanced Hammer Effect Keyboard (Initial Touch/Aftertouch)

MOTIF7 76 keys, FS Keyboard (Initial Touch/Aftertouch)

MOTIF6 61 keys, FS Keyboard (Initial Touch/Aftertouch)

Tone Generator block Tone Generator AWM2 (complying with the Modular Synthesis Plug-in System)

Polyphony 62 notes + the polyphony of the Plug-in Board (if installed)

Multi Timbral Capacity 16 parts (internal) + 3 or more Plug-in Board parts (1 for each Single Plug-in Board;

16 for Multi Plug-in Board), A/D Input

Wave 84MB (when converted to 16- bit linear format), 1309 waveforms

Voice Preset: 384 normal voices + 48 drum kits

GM : 128 normal voices + 1 drum kit

User: 128 normal voices + 16 drum kits

Plug-in Voice Preset for the PLG150-AN/PF/DX: 64

Preset for the PLG-150VL: 192

User: 64 for each Plug-in slot

Performance User: 128 (up to 4 parts)

Filter 21 types

Effect System Reverb x 12 types, Chorus x 25 types, Insertion 1 x 25 types, Insertion 2 x 104 types, Variation x 25 types

(available for Performance/Song), Master Equalizer (5 bands), Plug-in Insertion (available when the PLG100-VH

has been installed to slot 1)

Expandability 3 Slots for Modular Synthesis Plug-in Boards

Sampling block Samples Up to 256 Waveforms (Multi Samples)

Up to 128 Key Banks per Waveform

Up to 8192 Key Banks

Sampling Source Analog input L/R, Stereo output (Resampling), Digital/Optical (available when the AIEB2 has been installed),

mLAN (available when the mLAN8E has been installed)

A/D Conversion 20-bit, 64 x oversampling

D/A Conversion 24-bit, 128 x oversampling

Sample Data Bits 16

Sampling Frequency 44.1kHz, 22.05kHz, 11.025kHz, 5.5125kHz (Stereo/Mono)

• Digital Sampling Frequency (when the AIEB2 has been installed)

48kHz, 44.1kHz, 32kHz

* Can be input, with converted to the Sampling Frequency of the MOTIF.

• Sampling Frequency via the mLAN (when the mLAN8E has been installed)

44.1kHz (ﬁxed)

Sampling Memory 4MB, expandable to 64MB (32MB SIMM x 2 slots)

* The original 4MB are disabled when a pair of 32MB SIMMs have been installed.

Sample Length Mono: 32 MB

Stereo: 64 MB

Sampling Time (when a pair of 32MB SIMMs have been installed)

44.1kHz: 6 min. 20 sec., 22.05kHz: 12 min. 40 sec., 11.025kHz: 25 min. 20 sec., 5.0125kHz: 55 min. 40 sec.

* Mono/Stereo

Sample Format Original format, WAV, AIFF, A3000/4000/5000/SU700 format (loadable only via SCSI),

AKAI S1000/S3000 format (loadable only via SCSI)

294

MOTIF Appendix

Speciﬁcations

Appendix

Sequencer block Note Capacity Approx. 111,000 notes

Note Resolution 480 ppq (parts per quarter note)

Maximum Polyphony 124 notes

Tempo 1 - 300

Recording type Real time replace, Real time overdub (with the exception of the Pattern Chain),

Real time punch (Song only), Step (with the exception of the Pattern Chain)

Tracks Pattern Mode : 16 phrase tracks

Pattern Chain Mode : Pattern track, Tempo track, Scene track

Song Mode : 16 sequence tracks (Loop on/off can be set for each track), Tempo track, Scene track

Patterns User Patterns : 1024 (64 styles x 16 sections)

Measures : 256 maximum

Phrases Preset Phrases : 128 Drum Phrases

User Phrases : 256 per style

Songs 64 songs

Arpeggio Preset 1 x 128 types

Preset 2 x 128 types

User x 128 types

* MIDI Sync, MIDI transmit/receive channel, Velocity Limit, and Note Limit can be set.

Scene Memory 5 per Song

Scequence Format Original format, SMF format 0, 1 (Format 1 load only)

Others Master User: 128

Sequence Software controlled via the Remote Control function

• For Windows ®

Cubase VST™ V5.0, Logic Audio ® Platinum Ver4.6, Cakewalk Pro Audio™ Ver9.0, Pro Tools ® V5.0

• For Macintosh ®

Cubase VST™ V5.0, Logic Audio ® Platinum Ver4.6, Pro Tools ® V5.0

Controllers Pitch Bend wheel, Modulation wheel, Assignable Control Slider x 4, Assignable Knob x 4, Rotary Encoder

Display 240 x 64 dot graphic backlit LCD

External Memory Smart Media™ (3.3V)

* Up to 128MB can be used.

Connectors OUTPUT L/MONO, R (standard phone jack)

ASSIGNABLE OUTPUT L, R (standard phone jack)

AD INPUT L, R (standard phone jack)

PHONES (standard stereo phone jack)

FOOT CONTROLLER 1, 2

FOOT SWITCH x 2 (SUSTAIN, ASSIGNABLE)

BREATH, MIDI IN/OUT/THRU, SCSI, USB, OPTICAL OUTPUT, AC INLET

Dimensions, Weight MOTIF8: 1,458(W) x 465(D) x 166(H)mm, 28.0kg

MOTIF7: 1,255(W) x 397(D) x 135(H)mm, 18.1kg

MOTIF6: 1,048(W) x 397(D) x 135(H)mm, 15.8kg

Supplied Accessories Power cord, Owner's Manual Set

TOOLS for MOTIF6/MOTIF7/MOTIF8 CD-ROM

Speciﬁcations and descriptions in this owner's manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or speciﬁcations at any

time without prior notice. Since speciﬁcations, equipment or options may not be the same in every locale, please check with your Yamaha dealer.

Appendix

295

MOTIF Appendix

Index

1st-on ................................................................................... 135

AC (Assignable Controls) ....................................................155

AC INLET ............................................................................. 18

Accuracy ..............................................................................244

AC ........................................................................................155

AC Power Cord Socket.......................................................... 18

AD........................................................................................ 206

A/D....................................................................................... 163

A/D input ............................................................................... 23

A/D INPUT jacks................................................................... 18

A/DSource ........................................................................... 252

ADD INT ............................................................................. 164

ADD PLG ............................................................................164

Advanced DX/TX Plug-in Board ..........................................35

AEG (Amplitude Envelope Generator)

.. 47, 83, 145, 152, 174, 211

Aftertouch ......................................................................49, 155

AIEB2 ...................................................................... 22, 23, 284

Aiff....................................................................................... 263

All ................................................................................262, 263

All Pattern ............................................................................263

All Song ............................................................................... 263

All Voice...................................................................... 262, 263

All Waveform ...................................................................... 263

AltGroup (Alternate Group) ................................................ 151

AlternatePan................................................................. 145, 152

AMod................................................................... 148, 154, 155

Amplitude .............................................................................. 47

Amplitude Envelope Generator ....................................... 47, 83

Analog input .......................................................................... 23

Analog output ........................................................................21

Analog Physical Modeling Plug-in Board ............................. 35

Append Pattern .................................................................... 231

Append Phrase ..................................................................... 229

Arpeggio .....................................................................................

13, 55, 91, 128, 132, 133, 149, 154, 165, 168, 189, 209, 223, 255

[ARPEGGIO ON/OFF] button .............................................. 13

Arpeggio on/off during Song/Pattern playback ..................... 55

Arpeggio playback................................................................. 91

Arpeggio structure ................................................................. 55

Arpeggio switch........................................................... 170, 210

Arpeggio type ................................ 92, 132, 149, 154, 168, 209

Arpeggio channel................................................................. 254

Arpeggio limit...................................... 133, 149, 154, 168, 209

ArpSwitch .................................................................... 170, 210

Assign .................................................................................... 85

Assigning Locations ............................................................180

AssignMode ......................................................................... 151

ASSIGNABLE OUT jacks .................................................... 19

ASSIGNABLE OUT L and R jacks ...................................... 18

ATTACK ............................................................................... 85

Attack time............................................................... 46, 47, 152

Audition function......................................................... 240, 242

Audio equipment ....................................................................21

AutoDemoLoad ............................................................. 77, 252

Auto Load .............................................................. 87, 252, 264

AWM2(Advanced Wave Memory2) ..................................... 34

Band Elimination Filter ......................................................... 47

Band Pass Filter ..................................................................... 47

Bank..................................................................................... 124

BANK buttons ....................................................................... 15

BasicRcvCh (Basic Receive Channel)................................. 258

BankSel................................................................................ 258

BankMSB............................................................................. 272

BankLSB.............................................................................. 272

Basic Procedure ........................................................... 148, 176

Basic Procedure (File) ......................................................... 262

Basic Procedure (Master Edit)............................................. 271

Basic Procedure (Master Job) ..............................................273

Basic Procedure (Master Store) ...........................................274

Basic Procedure (Master)..................................................... 269

Basic Procedure (Pattern Edit)............................................. 224

Basic Procedure (Pattern Job).............................................. 225

Basic Procedure (Pattern Play) ............................................ 217

Basic Procedure (Pattern Record)........................................ 221

Basic Procedure (Performance Edit) ....................................166

Basic Procedure (Performance Job) .....................................175

Basic Procedure (Performance Play) ................................... 162

Basic Procedure (Performance Store).................................. 176

Basic Procedure (Plug-in Voice Edit) ................................. 153

Basic Procedure (Sampling Edit) ........................................ 240

Basic Procedure (Sampling Job) ......................................... 241

Basic Procedure (Sampling Record) ................................... 234

Basic Procedure (Song Job) ................................................ 193

Basic Procedure (Song Mixing Edit) .................................. 207

Basic Procedure (Song Mixing Job) ................................... 212

Basic Procedure (Song Mixing Store) ................................ 214

Basic Procedure (Song Mixing) ........................................... 205

Basic Procedure (Song Play)............................................... 179

Basic Procedure (Song Record) .......................................... 183

Basic Procedure (Utility) .................................................... 250

Basic Procedure (Voice Edit).............................................. 130

Basic Procedure (Voice Job) ............................................... 158

Basic Procedure (Voice Play) ............................................. 124

Basic Procedure (Voice Store) ............................................ 159

BCK DEL............................................................................ 186

Beat ............................................................................. 238, 254

Beat Stretch ................................................................. 200, 228

BEF12 ................................................................................. 141

BEF6 ................................................................................... 141

Board Custom Voice ........................................................... 157

Board Voice .................................................................. 87, 153

BPF12D............................................................................... 141

BPF12s ................................................................................ 141

BPF6 .................................................................................... 141

BPFw ................................................................................... 141

BREATH Controller Jack ..................................................... 18

BREAK POINT .......................................................... 144, 146

Breath Controller ................................................................... 49

Bulk Dump .................................................. 159, 176, 213, 274

Burglarproof Lock ............................................................... 289

Cakewalk ProAudio Ver9.0 ................................................ 257

Calling up the Operation Displays ........................................ 67

Can’t record samples. .......................................................... 280

Can’t save data to the Memory card or the SCSI disk. ....... 280

Card slot ................................................................................ 19

Category Search ............................................................ 81, 126

[CATEGORY SEARCH] button .......................................... 15

CenterKey ........................................................... 140, 144, 146

Chain Play/Edit ........................................................... 183, 219

Changing (editing) values ..................................................... 72

Channel Aftertouch (CAT) ................................................. 191

Channel ............................................................................... 258

ChoCtrl ........................................................................ 132, 209

CHORUS .............................................................................. 85

Chorus ................................... 39, 137, 150, 155, 170, 210, 275

Chorus Pan .................................................................. 137, 170

Chorus Return ............................................................. 137, 169

ChoSend .............................................. 132, 150, 163, 167, 172

Chorus Send ........................................................................ 137

Chorus To Reverb ....................................................... 137, 170

Chorus Type ................................................................ 137, 169

Clean Up Memory............................................................... 247

Clear Pattern......................................................................... 232

Clear Phrase ........................................................................ 230

Clear Song ........................................................................... 204

Clear Track .................................................................. 202, 230

Click .................................................... 103, 111, 184, 222, 254

Clock ........................................................................... 198, 199

ClockOut ............................................................................. 259

CLOCK SFT ....................................................................... 182

Coarse .......................................................................... 138, 151

Common (to all keys) edit (Drum Voice) ........................... 149

Common (to all parts) edit and Part edit ............................. 165

Common edit (Master Edit) ................................................ 271

Common edit (Performance) ............................................... 166

Common edit (Plug-in Voice)............................................. 154

Common edit (Song Mixing) .............................................. 208

Common edit (Voice) ......................................................... 130

Common edit (Plug-in Voice)............................................. 153

Common edit (Voice) .......................................................... 129

Common edit (Song Mixing) .............................................. 207

Common edit (Master) ........................................................ 270

Compare ...................................................................... 129, 165

Computer Sequence Software ............................................... 66

CONFIG.................................................................. 97, 98, 264

Configuration ...................................................................... 264

Confirmation Message .......................................................... 72

Connecting External MIDI Equipment ................................. 24

Connecting external SCSI devices ...................................... 290

Connecting to a Personal Computer ...................................... 25

Connecting to an External SCSI Device ............................... 27

Connecting to External Audio Equipment ............................ 21

Connecting Various Controllers ............................................28

Connections ........................................................................... 21

Control ................................................................................... 55

Control Change ................................................................... 191

Control Change Numbers ....................................................169

Control Knobs ....................................................................... 73

Control number ............................................................. 96, 191

Control Sets ........................................................................... 49

Control Sets and External MIDI Control .............................. 50

Control Sliders ................................................................. 48, 65

Controller Assign ................................169, 209, 254, 255, 256

Controller block ..................................................................... 33

Controller settings ............................................................... 255

Controllers ....................................................................... 28, 48

Convert ................................................................................ 221

Convert Freq ........................................................................ 245

Convert Pitch ....................................................................... 244

Convert to Drum Voice ....................................................... 248

Copy ............................................ 158, 175, 213, 221, 242, 247

Copy Event.................................................................. 198, 227

Copy Pattern ........................................................................ 231

Copy Phrase................................................................. 183, 228

Copy Sample ....................................................................... 204

Copy Song ........................................................................... 203

Copy Track .................................................................. 202, 230

Copying the Pattern Chain data to a Song ........................... 109

Create Continuous Data .............................................. 199, 227

Create Measure .................................................................... 201

Create Roll ................................................................... 196, 226

Creating a Pattern Chain ..................................................... 108

Creating a Song ..................................................................... 99

Creating Pattern Chains with Realtime Playback

(Pattern Chain Recording)................................................... 220

Creating Rhythm track .......................................................... 99

Creating User Arpeggios ....................................................... 56

Crescendo .................................................................... 196, 226

[CS1] - [CS4] (Control Slider) .............................................. 13

CtrlChange .......................................................................... 258

CtrlReset .............................................................................. 252

Cubase VST/32, Cubase VST 5.0 ....................................... 257

Current ................................................................................. 264

Currently recognized device ................................................ 264

Cursor .................................................................................... 72

Cursor Buttons ....................................................................... 14

Curve ........................................................... 139, 143, 145, 199

Cutoff frequency ..................... 46, 85, 142, 143, 151, 156, 173

CutoffSens (Cutoff Sensitivity) ........................................... 144

Data ..................................................................................... 199

Data Backup ........................................................................ 289

Data created by Sampling ............................................. 59, 234

Data created by sampling in the Song/Pattern mode ............. 59

Data created by sampling in the Voice/Performance mode ..59

Data dial ........................................................................ 14, 126

Data Entry ..................................................................... 72, 192

[DEC/NO] button .......................................................... 14, 126

Decay1Level ........................................................................ 152

Decay1Time ........................................................................ 152

Decay2Time ........................................................................ 152

Decay ................................................................................... 174

Delay ........................................................................... 136, 157

DelayTime ........................................................................... 136

DELETE .............................................................................. 186

Delete .................................................. 190, 224, 242, 247, 267

Delete All ............................................................................ 248

Delete Measure .................................................................... 201

Demo ............................................................................... 77, 78

Depth ........................................................................... 136, 143

Destination .............................................. 49, 50, 134, 136, 235

Detune ................................................................................. 173

DevNo ................................................................................. 260

DeviceNo............................................................................. 258

Digital .................................................................. 234, 236, 253

DIGITAL IN, OUT connectors ............................................. 19

Digital input

(when the optional AIEB2 has been installed) ... 23

Digital output ......................................................................... 22

direct .................................................................................... 133

Direction .............................................................................. 198

Display Messages ................................................................ 277

Display-based Controls ......................................................... 72

Distorted sound .................................................................... 279

Distance ............................................................................... 142

Divide Drum Track ..................................................... 203, 231

DRAM ................................................................................... 64

Appendix

296

MOTIF Appendix

DRUM ...................................................................................42

Drum Key Edit .............................................................148, 150

Drum Pattern ..........................................................................55

Drum Voice Edit ..................................................................148

DryLevel ......................................................................163, 172

Dual BEF .............................................................................142

Dual BPF ..............................................................................141

Dual HPF .............................................................................141

Dual LPF ..............................................................................141

DumpExIntrval ....................................................................255

[E] indicator ....................83, 127, 129, 163, 165, 205, 269, 270

each-on .................................................................................135

Echo .......................................................................................27

Edit Buffer .............................................................................64

Edit mode ...............................................................................70

Edit Recall ............................................................158, 175, 213

Editing and saving Board voices ...........................................87

Editing Performances (Layer/Split) .......................................89

Editing Stereo Samples ........................................................240

Editing/Deleting Existing Events......................................... 190

Effect ......................................................39, 137, 149, 155, 169

Effect block ............................................................................39

[EFFECT BYPASS] buttons ................................................. 13

Effect Bypass .................................................................13, 252

Effect connection .......................... 40, 137, 149, 155, 169, 210

Effect Plug-in Board ..............................................................35

Effect Send .....................................................85, 172, 206, 211

Effect structure .......................................................................39

EF PART ..............................................................................169

EG (=Envelope Generator) .................................... 83, 128, 164

EG Level ......................................................................139, 143

EG Time ...............................................................................139

EG Time Sens ......................................................................140

Element ..................................................................................44

Element edit .................................................129, 137, 153, 156

ElementSw ................................................... 134, 136, 137, 150

EL:OUT ............................................................................... 137

end ........................................................................................183

End .......................................................................................238

End point ........................................................................62, 238

[ENTER] button..................................................................... 15

Entering other events ...........................................................186

Entering the Note Event .......................................................185

Envelope Generator (EG) ......................................................47

EQ (Equalizer) .....................................................148, 153, 157

Equalizer ................................39, 148, 153, 157, 168, 209, 253

Erase Event ..................................................................199, 227

Event ....................................................................185, 190, 224

Event Editing/Inserting/Deleting .................................190, 224

Event Job ......................................................................198, 227

Event Type ...................................................................199, 200

Event View Filter .........................................................192, 224

Exchange Phrase ..................................................................228

Exchange Track ........................................................... 202, 230

[EXIT] button ........................................................................14

Extract ..................................................................................243

Extract Event ................................................................199, 227

[F1] - [F6] (Function) buttons.......................................... 14, 71

Factory Set (Restore Factory Defaults) ...............................260

Fade In/Out ..........................................................................245

FadeInTime ..........................................................................136

FadeOutTime .......................................................................136

Favorite Category ..........................................................81, 127

FEG (Filter Envelope Generator) ....47, 83, 143, 152, 173, 211

FEGDepth ............................................................................173

File ...............................................................................262, 263

File/Folder selection ............................................................262

File mode ................................................. 32, 68, 261, 262, 276

File names ............................................................................264

File types that can be handled by the MOTIF .....................262

File Utility ............................................................................118

FileUtilID .............................................................................258

Filter ...............................46, 140, 154, 155, 156, 173, 211, 255

Filter Envelope Generator ................47, 83, 143, 152, 173, 211

Filter type .......................................................................46, 140

Fine ......................................................................138, 151, 244

Fine Tune .............................................................................241

fingered ........................................................................128, 131

FixedNoteMode ...................................................................203

Fixed Velocity ......................................................................251

FMod ....................................................................148, 154, 155

Folder................................................................................... 262

Foot Controller....................................................................... 49

FOOT CONTROLLER jacks ................................................18

FOOT SWITCH jacks ...........................................................18

Footswitch ................................................................18, 49, 256

Format ................................................................................. 265

Formatting Memory Cards .................................................. 289

Forward button ...................................................................... 14

Front Panel ............................................................................ 10

Freq ............................................................................. 168, 254

fulltime ........................................................................ 128, 131

Function ................................................................................ 71

Function Tree (File Mode) .................................................. 261

Function Tree (Master Mode) ............................................. 268

Function Tree (Pattern Mode) ............................................. 215

Function Tree (Performance Mode) .................................... 160

Function Tree (Sampling) ................................................... 233

Function Tree (Utility Mode) .............................................. 249

Gain ..................................................................... 142, 168, 254

GAIN knob ............................................................................ 18

GATE OFST ....................................................................... 182

GateTime ............................................................................. 194

Gate Time Rate ................................................................... 134

Get Phrase From Song ........................................................ 229

Glide ............................................................................ 196, 226

GlideTime ........................................................................... 196

GM voice ............................................................................... 45

Grid ..................................................................................... 197

Groove ................................................................. 106, 181, 218

GROUP ............................................................................... 124

GROUP [A] - [H] buttons ..................................................... 15

HighFreq ............................................................................. 157

HighGain ............................................................................. 157

High Pass Filter ..................................................................... 46

Hold ............................................................................. 189, 255

HoldTime ............................................................................ 136

How to leave the current display ........................................... 72

HPFCutoff ........................................................................... 156

HPF Cutoff .......................................................................... 142

HPF KeyFlw ....................................................................... 142

HPF12 ................................................................................. 141

HPF12BPF6 ........................................................................ 142

HPF24D .............................................................................. 141

IEEE1394 interface ............................................................... 26

[INC/YES] button ......................................................... 14, 126

[INFORMATION] button..................................................... 14

Information Display ...................................................... 73, 275

Initialize ...................................................... 158, 175, 212, 274

Input .................................................................................... 252

InsConnect .......................................................................... 137

Ins1Category ....................................................................... 137

Ins1Type .............................................................................. 137

Ins2Category ....................................................................... 137

Ins2Type .............................................................................. 137

InsChoSend ......................................................................... 149

InsEF ................................................................................... 173

InsEffectOut ........................................................................ 138

Inserting New Events .......................................................... 190

Inserting/Removing Memory Cards .................................... 289

Insertion ........................................................ 39, 137, 150, 155

Insertion Effects .................................................................... 39

InsRevSend ......................................................................... 149

Installation Precautions ....................................................... 281

Installing Optional Hardware .............................................. 281

Interface settings ................................................................. 252

Internal AWM2 Tone Generator ........................................... 34

Internal Memory ................................................................... 64

Internal Memory and File Management ................................ 63

Job mode ............................................................................... 70

Jumping to an assigned Location ........................................ 180

KBDTransCh ...................................................................... 258

KeyAsgnMode .................................................................... 131

Key Bank ............................................................... 59, 235, 242

Key Bank Job ...................................................................... 242

Keyboard ............................................................................. 251

Keyboard Octave ........................................... 82, 127, 162, 269

Keyboard MIDI Transmit Channel ..................... 127, 162, 269

Keyboard Transmit Channel ............................................... 258

Key follow ................................................... 139, 142, 143, 146

KeyMode ............................................................................. 133

KeyOnSync ......................................................................... 147

Key OnDelay................................................................ 138, 147

Key On Reset ...................................................................... 135

Knob ...................................................................................... 65

KnobAssign ......................................................................... 132

Knob/Slider ......................................................................... 273

[KNOB CONTROL FUNCTION] button ............................. 12

Layer ...................................................................................... 57

LCD Contrast Control ........................................................... 14

LCD Display ......................................................................... 14

Level ...................................... 61, 139, 143, 145, 146, 152, 241

Level/Pan ..................................................................... 145, 152

LevelSens ............................................................................ 146

LFO (Low Frequency Oscillator) .......... 47, 135, 136, 147, 157

Limit ...................................................................... 92, 170, 210

LIMIT H .............................................................................. 164

LIMIT L .............................................................................. 164

Load ............................................................................... 98, 266

LoadMix .............................................................................. 255

Local On/Off ......................................................................... 26

Local Ctrl (Local Control) ................................................... 258

Location ............................................................................... 180

Locations to which the optional units are installed ............. 281

Logic Audio Plutinum Ver4.6 ............................................. 257

Loop .............................................................. 62, 222, 238, 241

Loop Recording (Pattern) ...................................................... 53

Loop-Remix ........................................................................ 246

Low Frequency Oscillator ..................................................... 47

Low Pass Filter ...................................................................... 46

LowFreq .............................................................................. 157

Lowest Key ......................................................................... 246

LowGain .............................................................................. 157

LPFCutoff.................................................................... 151, 152

LPF Reso ............................................................................. 151

LPF12 .................................................................................. 141

LPF12BPF6 ......................................................................... 142

LPF12HPF12 ....................................................................... 142

LPF18 .................................................................................. 140

LPF18s ................................................................................ 140

LPF24A ............................................................................... 140

LPF24D ............................................................................... 140

LPF6 .................................................................................... 141

Main functions....................................................................... 42

manual ................................................................................... 61

Master.................................................................................... 56

Master Edit mode .................................................... 32, 70, 270

Master editing in the Master Play mode .............................. 269

Master EQ ............................................................................. 85

Master EQ Offset ................................ 131, 149, 154, 166, 208

Master Equalizer ........................................... 39, 168, 209, 253

Master Job mode ........................................................... 32, 273

Master mode .................................................................... 32, 56

Master Keyboard ............................................................. 93, 95

Master Play mode .................................................... 32, 68, 269

Master Selection .................................................................. 269

Master Store mode ........................................................ 32, 274

MASTER VOLUME............................................................. 12

Maximum Polyphony ............................................................ 36

meas....................................................................................... 61

Measure ............................................................................... 238

Measure Job......................................................................... 201

Memorize to a Master ........................................................... 93

Memory ............................................................................... 270

Memory Card ...................................................................... 289

Memory Card/External SCSI storage device ........................ 64

Memory Structure ................................................................. 63

Meter ................................................................................... 238

Mic/Line .............................................................................. 253

MIDI.................................................................................... 260

MIDI bulk data transmission/reception won’t work properly . .. 280

MIDI Channel ..................................................................... 258

MIDI events that can be edited ............................................ 224

MIDI events that can be inserted (edited) ........................... 190

MIDI IN/OUT/THRU connectors ......................................... 18

MIDI interface....................................................................... 26

MIDI recording to Song Tracks ..........................................110

MIDI settings....................................................................... 258

MIDISwitch......................................................................... 272

MIDI track recording method................................................ 53

MIDI tracks ........................................................................... 52

MicroTuning........................................................................ 131

Mix Phrase........................................................................... 228

Mix Track............................................................................ 202

Mixing mode (in the Song/Pattern mode) ............................. 68

mLAN connection ............................................................... 253

mLAN (IEEE1394) connector1, 2, 3..................................... 19

Appendix

297

MOTIF Appendix

mLAN expansion board (mLAN8E) or I/O expansion board

(AIEB2) cover........................................................................ 18

mLAN interface ..................................................................... 24

mLAN8E.......................................................... 24, 26, 284, 286

mLAN-compatible audio equipment ..................................... 23

Mode ................................................ 30, 67, 131, 171, 254, 270

MODE buttons....................................................................... 14

Modify Control Data.................................................... 200, 228

Modify Gate Time ....................................................... 195, 226

Modify Velocity........................................................... 195, 226

MODULAR SYNTHESIS PLUG-IN SYSTEM ................... 35

MODULATION wheel.......................................................... 12

Modulation Wheel ......................................................... 48, 154

Mono/Poly ................................................... 128, 131, 170, 210

Mono/Stereo................................................................. 163, 236

Mount................................................................................... 265

Move .................................................................................... 243

Moving the cursor.................................................................. 72

MTC..................................................................................... 259

MTC StartOffset .................................................................. 259

Multi-Part Plug-in Board ....................................................... 35

[MUTE] button ......................................................................15

Mute................................................................. 65, 88, 180, 218

Name............................................ 130, 149, 154, 166, 247, 271

Naming................................................................................... 75

Native................................................................................... 156

Native System Parameter..................................................... 260

New Folder Creation............................................................ 262

No effect is applied. ............................................................. 280

No sound. ............................................................................. 279

Normal Common ................................................................. 137

Normal Voice......................................................................... 45

Normal Voice Edit ............................................................... 129

Normalize............................................................................. 243

Normalize Play Effect.................................................. 203, 230

Non Registered Parameter Number (NRPN)....................... 192

Note...................................................... 190, 196, 197, 247, 272

Note Data

(when the Sample type is set to “Sample + Note” )

.....59

Note data Job ............................................................... 193, 225

Note limit ............................................................................. 133

Note name .................................................................... 190, 191

Note (Key) settings ................................................................ 75

Number ........................................................ 124, 150, 156, 170

NUMBER [1] - [16] buttons.................................................. 15

Note...................................................................... 196, 197, 247

Note Limit............................................................................ 133

NOTE OFST ........................................................................ 182

NoteShift.............................................................. 156, 173, 250

NumberOfTimes .......................................................... 198, 221

NumberOfTimes .................................................................. 200

NRPN MSB-LSB................................................................. 192

Octave .................................................................. 247, 251, 272

OCTAVE [UP] and [DOWN] buttons................................... 12

Offset ........................................................................... 195, 200

OFFSET 1 ~ 4.............................................................. 144, 146

One Shot ................................................................................61

Oneshot ................................................................................241

Only one note sounds at a time............................................ 280

OPTICAL IN, OUT connectors............................................. 19

OPTICAL OUT connectors ................................................... 18

OPTICAL OUTPUT connector ............................................. 22

Optimize Memory................................................................ 248

Optional units that can be installed to the MOTIF .............. 281

Original Key ........................................................................ 241

Oscillator........................................ 45, 137, 138, 150, 151, 156

Other ...........................................................................................

132, 149, 151, 154, 156, 167, 171, 208, 210, 252, 255, 259, 271

Other Jobs ............................................................................ 247

Output .................. 132, 138, 149, 150, 154, 167, 172, 211, 253

Output channel............................................. 168, 182, 209, 218

OUTPUT L/MONO and R jacks ........................................... 18

Output Select.................................................150, 164, 173, 211

OutputSwitch ............................................................... 169, 254

Overdub ................................................................................. 53

Pan ......... 85, 132, 145, 152, 163, 167, 172, 189, 211, 241, 272

Parameter ............................................................................. 241

Part........................................................................... 36, 37, 235

Part Edit ....................................................... 165, 170, 207, 210

Part structure of the Tone Generator block............................ 36

PartSwitch............................................................ 164, 165, 167

Patch....................................................................... 52, 105, 219

Patch Clear........................................................................... 219

Pattern ................................................................................... 51

Pattern Chain................................................................. 54, 219

Pattern Chain Editing .......................................................... 220

Pattern Chain mode............................................................. 108

Pattern Chain Record mode ................................................ 108

Pattern creation by the Patch function (Pattern) ................... 52

Pattern Edit mode.................................................... 31, 70, 224

Pattern editing in the Pattern Play mode ............................. 218

Pattern Job........................................................................... 231

Pattern Job mode........................................................... 31, 225

Pattern Mixing..................................................................... 107

Pattern Mixing Edit mode ..................................................... 70

Pattern Mixing mode....................................... 31, 68, 232, 276

Pattern mode ......................................................... 31, 215, 276

Pattern Play mode ........................................... 31, 67, 217, 276

Pattern Record mode............................................... 31, 69, 221

Pattern Recording................................................................ 223

Pattern track on/off — Solo and Mute ................................ 218

Pattern track selection ......................................................... 218

PB Range............................................................................. 171

PBRange.............................................................................. 196

PB Upper, Lower ................................................................ 171

PBUpper.............................................................................. 132

PBLower ............................................................................. 132

PEG (Pitch Envelope Generator) .......................... 46, 139, 156

Performances......................................................................... 42

Performance Copy............................................................... 213

Performance Edit mode........................................... 31, 70, 165

Performance editing in the Performance Play mode........... 163

Performance Job mode.................................................. 31, 175

Performance mode ................................................ 31, 160, 275

Performance Part on/off ................................................ 88, 163

Performance Play mode .......................................... 31, 67, 162

Performance Selection ........................................................ 162

Performance Store mode............................................... 31, 176

PgmChange ................................................................. 258, 272

Phase ................................................................................... 135

PHONES jack ....................................................................... 18

Phrase .............................................................................. 52, 55

Phrase Data Copy................................................................ 219

Phrase Job ........................................................................... 228

Phrase Name ....................................................................... 230

Piano Plug-in Board .............................................................. 35

Pitch ...................................................... 46, 139, 151, 155, 244

Pitch Bend ........................................................................... 190

PITCH bend wheel................................................................ 12

Pitch Bend Wheel.................................................................. 48

Pitch Envelope Generator ..................................................... 46

Pitch or intervals are wrong. ............................................... 280

PitchSens............................................................................. 139

Play button ............................................................................ 14

Play FX (Effect) .................................. 133, 149, 154, 168, 209

Playing Performances ........................................................... 88

PlayMode ............................................................................ 241

Play mode .............................................. 67, 130, 154, 170, 210

PLG100-VH .......................................................................... 35

PLG100-XG .......................................................................... 35

PLG150-AN .......................................................................... 35

PLG150-DX .......................................................................... 35

PLG150-PF ........................................................................... 35

PLG150-VL .......................................................................... 35

Plugin All Bulk ................................................................... 263

Plug-in Bank ....................................................................... 128

Plug-in board......................................................................... 34

Plug-in board cover............................................................... 19

Plug-in board does not work. .............................................. 280

Plug-in board line-up ............................................................ 35

Plug-in board settings.......................................................... 259

Plug-in Insertion.................................................... 39, 170, 210

Plug-in Voice ................................................................ 87, 153

Plug-in Voice Edit............................................................... 153

PMod........................................................... 147, 154, 155, 157

Pointer ................................................................................. 185

PolyExpand ......................................................................... 259

Polyphonic Aftertouch (PAT) ............................................. 191

Port .......................................................................... 36, 37, 182

Portamento ............ 83, 128, 131, 154, 164, 167, 171, 210, 275

Port Number........................................................................ 260

PortaSw ....................................................................... 128, 164

Porta Time................................................................... 128, 164

PortaMode........................................................................... 128

PowerOnMode .................................................................... 252

Power Supply ........................................................................ 20

POWER Switch..................................................................... 18

Powering Up ......................................................................... 29

Power-on Procedure.............................................................. 29

Preset................................................................................... 272

Preset Phrase ................................................................. 52, 105

pre wave (preset wave) ....................................................... 150

Pro Tools V5.0 .................................................................... 257

Procedure (Connecting ex. SCSI) ....................................... 290

Program Change.................................................................. 191

Punch In/Out (Song) ............................................................. 54

Punch-in Waiting ................................................................ 237

Put Phrase To ARP.............................................................. 203

Put Phrase To Song ............................................................. 229

Q .......................................................................... 148, 168, 254

Quantize ...................................................................... 194, 225

Quick Voice editing .............................................................. 83

RAM...................................................................................... 64

Range................................................................................... 241

Rate.............................................................................. 195, 200

Ratio ............................................................................ 243, 244

RcvBulk............................................................................... 258

Realtime Recording............................... 53, 103, 111, 185, 223

Realities of terminator installation ...................................... 291

Recall Buffer ......................................................................... 64

RecGain............................................................................... 237

RecMonitor.......................................................................... 237

Random ............................................................................... 138

RandomPan ................................................................. 145, 152

RcvNoteOff ......................................................................... 151

Rear Panel ............................................................................. 16

Receive Switch ............................................................ 174, 212

[REC] (Record) button .......................................................... 14

Record button ........................................................................ 14

Record mode ......................................................................... 69

Recording Arpeggios to a Song/Pattern ................................ 55

Recording MIDI data to a Pattern Track ............................. 102

Recording Track .......................................................... 185, 221

Recording type ............................................................ 184, 222

RecTrack ............................................................................. 185

Registered Parameter Number (RPN) ................................. 191

RELEASE ............................................................................. 85

Release ................................................................................ 174

Remote Control ..................................... 65, 119, 120, 256, 257

[REMOTE CONTROL ON/OFF] button ............................. 13

Rename................................................................................ 267

Replace .................................................................................. 53

resample ...................................................................... 234, 236

Resonance................................................ 46, 85, 142, 143, 173

REST ........................................................................... 185, 188

Reverb ............................. 39, 85, 137, 150, 155, 170, 210, 275

Reverb Pan .................................................................. 137, 170

Reverb Return ............................................................. 137, 170

Reverse .......................................................................... 62, 241

Reverse button....................................................................... 14

RevSend .............................................................. 163, 167, 172

Reverb Send ........................................................................ 137

Reverb Type ................................................................ 137, 170

ROM...................................................................................... 64

RPN MSB-LSB ................................................................... 192

Sample................................................................................. 236

Sample Edit ......................................................................... 241

Sample playback types .......................................................... 61

Sample selection.................................................................. 240

Sample track recording method (Sampling).......................... 54

Sample tracks — with Sample Voices .................................. 52

Sample Voice ........................................................................ 59

sample + note ...................................................................... 236

Sampling.......................................................... 58, 99, 100, 113

Sampling data common to all modes .................................... 59

Sampling Destination settings ............................................. 235

Sampling Edit mode ................................................ 31, 70, 240

Sampling Job mode ....................................................... 31, 241

Sampling mode................................................ 31, 67, 233, 276

Sampling Record mode ........................................... 31, 69, 234

Sampling Setup ................................................................... 235

Sampling Source settings .................................................... 236

Sampling Standby ............................................................... 237

Sampling to a Pattern Track ................................................ 100

Sampling to a Song Track ................................................... 113

Save ....................................................................... 97, 262, 266

Saving and Exporting the recorded song to external PC

(File Utility)......................................................................... 118

Scaling......................................................................... 144, 146

Scaling Pan.................................................................. 145, 146

SCAN .................................................................................. 265

Scaling Pan.......................................................................... 145

Scene ........................................................................... 115, 181

SCSI ............................................................................ 291, 292

SCSI connectors .................................................................... 18

SCSI device ..................................................................... 27, 64

SCSI error............................................................................ 291

SCSI ID ............................................................................... 265

[SECTION] button ................................................................ 15

Appendix

298

MOTIF Appendix

Section ................................................................................... 52

Section Selection.................................................................. 218

Segment ............................................................... 139, 143, 145

Selecting a Performance ........................................................ 88

Selecting Functions and Parameters ...................................... 71

Selecting Modes..................................................................... 67

Selecting the controllable functions....................................... 84

SELF .................................................................................... 265

SEND (Effect Send)............................................................. 206

SendXGon............................................................................ 255

Sens...................................................................................... 239

Separate Chord............................................................. 198, 226

SEQ TRANSPORT buttons................................................... 14

[SEQ TRANSPORT] buttons ................................................ 65

Sequence ................................................................................ 55

Sequencer block..................................................................... 33

Sequencer settings................................................................ 254

SERIAL I/O connector .......................................................... 19

Set ................................................................................ 149, 154

SetAll ........................................................................... 195, 200

Setting up before recording.......................................... 184, 222

Setup ............................................................................ 184, 222

SeqCtrl ................................................................................. 259

[SF1] - [SF5] (Sub Function) buttons ....................................14

Shape............................................................................ 168, 253

Shift Clock ................................................................... 198, 227

SIMM Installation................................................................ 288

SIMM Type and SIMM Configuration................................ 287

Single Part Plug-in Boards..................................................... 35

skip....................................................................................... 183

Slice ..................................................................... 237, 238, 246

slice + seq ............................................................................ 236

SLOT 1-3 lamps..................................................................... 15

SMF ..................................................................................... 263

Solo .............................................................................. 181, 218

Song ....................................................................................... 51

Song Chain............................................................................. 54

Song Edit mode........................................................ 31, 70, 189

Song editing in the Song Play mode.................................... 181

SongEventChase .................................................................. 255

Song Job............................................................................... 203

Song Job mode............................................................... 31, 193

Song Mixing and storing the settings as a template............. 117

Song Mixing Edit mode......................................................... 70

Song Mixing Job mode ........................................................ 212

Song Mixing mode................................................... 31, 68, 205

Song Mixing Store mode ..................................................... 214

Song mode ............................................................. 31, 177, 275

Song Name........................................................................... 204

Song Play mode ............................................... 31, 67, 179, 275

Song Record mode................................................... 31, 69, 183

Song Recording.................................................................... 185

Song Scene........................................................................... 181

Song Selection ..................................................................... 179

Song Track Mute ................................................................. 115

Song track on/off — Solo and Mute.................................... 180

Song track selection ............................................................. 181

Song/Pattern (Phrase) cannot be recorded. .......................... 280

Song/Pattern and Arpeggio.................................................... 55

Song/Pattern cannot be started............................................. 280

sort ....................................................................................... 133

Sort Chord.................................................................... 197, 226

Sound is cut off. ................................................................... 279

Sound level is too low.......................................................... 279

Source ......................................................49, 50, 134, 155, 236

Specifications....................................................................... 293

Speed.................................................................... 135, 147, 157

Split.................................................................................. 57, 95

Split Pattern.......................................................................... 231

Split Phrase .......................................................................... 229

Split Song To Pattern........................................................... 204

SRAM .............................................................................. 42, 64

Start...................................................................................... 238

StepTime.............................................................................. 185

Start point............................................................................. 238

Standard MIDI file............................................................... 263

Status.................................................................................... 259

Step Recording....................................... 53, 104, 112, 185, 223

Stereo to Mono..................................................................... 245

stop....................................................................................... 183

Stop button............................................................................. 14

Store mode ............................................................................. 71

Storing edited Voices............................................................. 86

Storing the edited Performance.............................................. 90

Storing the Song Scene ........................................................181

Strength................................................................................ 194

Style ....................................................................................... 52

Style Name........................................................................... 232

Style Selection ..................................................................... 217

SubDivide ............................................................................ 239

Sub Function ..........................................................................71

Sustain............................................................................ 49, 174

SwingRate............................................................................ 194

Switch .......................... 129, 131, 132, 167, 171, 189, 255, 258

Switching the MOTIF On ..................................................... 29

Sync..................................................................................... 258

System Effects....................................................................... 39

System Exclusive (Exc) ...................................................... 192

System Overview .................................................................. 33

System settings.................................................................... 250

TEMPLATE........................................................................ 206

Tempo ..................................... 85, 92, 129, 132, 185, 223, 238

Tempo Speed....................................................................... 135

Tempo Sync ................................................................ 135, 147

TG (Tone Generator) .......................................................... 250

TGSwitch ............................................................................ 272

Thin Out ...................................................................... 200, 227

ThruPort .............................................................................. 259

TIE .............................................................................. 185, 187

Time .................................................................... 131, 167, 171

TIME ................................................................... 139, 143, 146

TimeMode........................................................................... 131

Time-Stretch........................................................................ 244

Tips for using the Slice Types............................................. 239

Tone Generator block............................................................ 34

Top button ............................................................................. 14

TR........................................................................................ 203

Track ................................................................................... 235

Track Job..................................................................... 201, 230

Track Loop.......................................................................... 182

[TRACK SELECT] button .............................................. 15, 65

Track structure of Pattern...................................................... 52

Track structure of Song......................................................... 51

Track Voice......................................................................... 218

Transmit .............................................................................. 271

TransmitCh.......................................................... 169, 254, 272

Transmit switch................................................................... 272

Transpose ............................................ 196, 226, 247, 251, 272

Trigger mode................................................................. 61, 237

Trigger Waiting................................................................... 237

Trim............................................................................. 237, 241

Troubleshooting .................................................................. 279

Tune .................................................... 138, 151, 173, 211, 250

Type

.. 129, 132, 140, 148, 150, 184, 189, 236, 238, 245, 246, 265

Undo/Redo .................................................................. 193, 225

Unit...................................................................................... 133

USB................................................................................. 18, 25

User Arpeggio ....................................................................... 56

User Memory ........................................................................ 64

User Phrase ........................................................................... 52

User Voice............................................................................. 59

User Waves – Samples.......................................................... 44

Usr ARP .............................................................................. 263

usr wave (user wave)........................................................... 150

Utility Job mode............................................................ 32, 260

Utility mode ............................................ 32, 68, 249, 250, 276

Value ........................................................................... 185, 186

Variation................................................ 39, 170, 210, 246, 275

Variation Pan ....................................................................... 169

Variation Return .................................................................. 169

Variation To Chorus ............................................................ 169

Variation To Reverb............................................................ 169

Variation Type .................................................................... 169

VarSend (Variation Send)........................................... 163, 172

VelCurve (Velocity Curve) ................................................. 251

VelocityDepth ..................................................................... 156

VelCrossFade ...................................................................... 138

Velocity Limit ....................................... 92, 129, 133, 138, 189

Velocity Limit H, L............................................................. 170

VelocityOffset..................................................................... 156

Velocity Rate....................................................................... 133

Velocity Range.................................................................... 196

Velocity Sensitivity............................. 139, 142, 145, 151, 152

VelMode .............................................................................. 133

VelSensDpt ......................................................................... 171

VelSensOfs.......................................................................... 171

VELO OFST ....................................................................... 182

Virtual Acoustic Plug-in Board............................................. 35

Vocal Harmony Plug-in Board ............................................. 35

Voice ..

42, 150, 164, 170, 171, 188, 189, 206, 210, 223, 235, 263

Voice Edit ............................................................................. 83

Voice Edit mode...................................................... 30, 70, 129

Voice editing in the Voice Play mode ................................ 127

Voice editing with the Control knobs ................................... 84

Voice Editor ........................................................................ 263

VoiceELPan ........................................................................ 172

Voice Job mode ............................................................. 30, 158

Voice Master Equalizer ....................................................... 253

Voice mode ........................................................... 30, 121, 275

Voice Play mode ..................................................... 30, 67, 124

Voice program numbers

and the corresponding Group/Numbers .............................. 125

Voice Selection ................................................................... 124

Voice settings ...................................................................... 253

Voice Store mode .......................................................... 30, 159

Voice structure ...................................................................... 45

Volume ........ 132, 163, 167, 172, 189, 206, 211, 250, 254, 272

Volume Label...................................................................... 265

VOICE................................................................................. 206

VOL/PAN............................................................................ 206

Wav ..................................................................................... 263

Wave.............................................. 44, 135, 137, 147, 150, 156

WaveCtgry .......................................................................... 137

Waveform........................................................ 59, 60, 235, 263

Waveform Job ..................................................................... 247

Wave Memory Required for Slice Operations .................... 239

Wave No.............................................................................. 137

Width................................................................................... 142

XG Plug-in Board.................................................................. 35

Zone............................................................................... 57, 270

Zone Edit ..................................................................... 270, 271

Zone Switch......................................................................... 270

For details of products, please contact your nearest Yamaha or the

authorized distributor listed below.

Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou

au distributeur le plus proche de vous ﬁgurant dans la liste suivante.

Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten

Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen

Bestimmungsländern erhältlich.

Para detalles sobre productos, contacte su tienda Yamaha más cercana

o el distribuidor autorizado que se lista debajo.

CANADA

Yamaha Canada Music Ltd.

135 Milner Avenue, Scarborough, Ontario,

M1S 3R1, Canada

Tel: 416-298-1311

U.S.A.

Yamaha Corporation of America

6600 Orangethorpe Ave., Buena Park, Calif. 90620,

U.S.A.

Tel: 714-522-9011

MEXICO

Yamaha de Mexico S.A. De C.V.,

Departamento de ventas

Javier Rojo Gomez No.1149, Col. Gpe Del

Moral, Deleg. Iztapalapa, 09300 Mexico, D.F.

Tel: 686-00-33

BRAZIL

Yamaha Musical do Brasil LTDA.

Av. Rebouças 2636, São Paulo, Brasil

Tel: 011-853-1377

ARGENTINA

Yamaha de Panamá S.A. Sucursal de Argentina

Viamonte 1145 Piso2-B 1053,

Buenos Aires, Argentina

Tel: 1-4371-7021

PANAMA AND OTHER LATIN

AMERICAN COUNTRIES/

CARIBBEAN COUNTRIES

Yamaha de Panamá S.A.

Torre Banco General, Piso 7, Urbanización Marbella,

Calle 47 y Aquilino de la Guardia,

Ciudad de Panamá, Panamá

Tel: 507-269-5311

THE UNITED KINGDOM

Yamaha-Kemble Music (U.K.) Ltd.

Sherbourne Drive, Tilbrook, Milton Keynes,

MK7 8BL, England

Tel: 01908-366700

IRELAND

Danfay Ltd.

61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin

Tel: 01-2859177

GERMANY/SWITZERLAND

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

AUSTRIA

Yamaha Music Austria

Schleiergasse 20, A-1100 Wien Austria

Tel: 01-60203900

THE NETHERLANDS

Yamaha Music Nederland

Kanaalweg 18G, 3526KL, Utrecht, The Netherlands

Tel: 030-2828411

BELGIUM

Yamaha Music Belgium

Keiberg Imperiastraat 8, 1930 Zaventem, Belgium

Tel: 02-7258220

FRANCE

Yamaha Musique France,

Division Professionnelle

BP 70-77312 Marne-la-Vallée Cedex 2, France

Tel: 01-64-61-4000

ITALY

Yamaha Musica Italia S.P.A.,

Combo Division

Viale Italia 88, 20020 Lainate (Milano), Italy

Tel: 02-935-771

SPAIN/PORTUGAL

Yamaha-Hazen Electronica Musical, S.A.

Ctra. de la Coruna km. 17, 200, 28230

Las Rozas (Madrid) Spain

Tel: 91-201-0700

GREECE

Philippe Nakas S.A.

Navarinou Street 13, P.Code 10680, Athens, Greece

Tel: 01-364-7111

SWEDEN

Yamaha Scandinavia AB

J. A. Wettergrens Gata 1

Box 30053

S-400 43 Göteborg, Sweden

Tel: 031 89 34 00

DENMARK

YS Copenhagen Liaison Ofﬁce

Generatorvej 8B

DK-2730 Herlev, Denmark

Tel: 44 92 49 00

FINLAND

F-Musiikki Oy

Kluuvikatu 6, P.O. Box 260,

SF-00101 Helsinki, Finland

Tel: 09 618511

NORWAY

Norsk ﬁlial av Yamaha Scandinavia AB

Grini Næringspark 1

N-1345 Østerås, Norway

Tel: 67 16 77 70

ICELAND

Skifan HF

Skeifan 17 P.O. Box 8120

IS-128 Reykjavik, Iceland

Tel: 525 5000

OTHER EUROPEAN COUNTRIES

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

Yamaha Corporation,

Asia-Paciﬁc Music Marketing Group

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2312

TURKEY/CYPRUS

Yamaha Europa GmbH.

Siemensstraße 22-34, 25462 Rellingen,

F.R. of Germany

Tel: 04101-3030

OTHER COUNTRIES

Yamaha Music Gulf FZE

LB21-128 Jebel Ali Freezone

P.O.Box 17328, Dubai, U.A.E.

Tel: 971-4-881-5868

HONG KONG

Tom Lee Music Co., Ltd.

11/F., Silvercord Tower 1, 30 Canton Road,

Tsimshatsui, Kowloon, Hong Kong

Tel: 2737-7688

INDONESIA

PT. Yamaha Music Indonesia (Distributor)

PT. Nusantik

Gedung Yamaha Music Center, Jalan Jend. Gatot

Subroto Kav. 4, Jakarta 12930, Indonesia

Tel: 21-520-2577

KOREA

Yamaha Music Korea Ltd.

Tong-Yang Securities Bldg. 16F 23-8 Yoido-dong,

Youngdungpo-ku, Seoul, Korea

Tel: 02-3770-0661

MALAYSIA

Yamaha Music Malaysia, Sdn., Bhd.

Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,

Petaling Jaya, Selangor, Malaysia

Tel: 3-703-0900

PHILIPPINES

Yupangco Music Corporation

339 Gil J. Puyat Avenue, P.O. Box 885 MCPO,

Makati, Metro Manila, Philippines

Tel: 819-7551

SINGAPORE

Yamaha Music Asia Pte., Ltd.

11 Ubi Road #06-00, Meiban Industrial Building,

Singapore

Tel: 65-747-4374

TAIWAN

Yamaha KHS Music Co., Ltd.

10F, 150, Tun-Hwa Northroad,

Taipei, Taiwan, R.O.C.

Tel: 02-2713-8999

THAILAND

Siam Music Yamaha Co., Ltd.

121/60-61 RS Tower 17th Floor,

Ratchadaphisek RD., Dindaeng,

Bangkok 10320, Thailand

Tel: 02-641-2951

THE PEOPLE’S REPUBLIC OF CHINA

AND OTHER ASIAN COUNTRIES

Yamaha Corporation,

Asia-Paciﬁc Music Marketing Group

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2317

AUSTRALIA

Yamaha Music Australia Pty. Ltd.

Level 1, 99 Queensbridge Street, Southbank, Victoria

3006, Australia

Tel: 3-9693-5111

NEW ZEALAND

Music Houses of N.Z. Ltd.

146/148 Captain Springs Road, Te Papapa,

Auckland, New Zealand

Tel: 9-634-0099

COUNTRIES AND TRUST

TERRITORIES IN PACIFIC OCEAN

Yamaha Corporation,

Asia-Paciﬁc Music Marketing Group

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2312

NORTH AMERICA

CENTRAL & SOUTH AMERICA

EUROPE

AFRICA

MIDDLE EAST

ASIA

OCEANIA

HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division

Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650

Tel: 053-460-2445

SY23

202MWAP15.2-06E0

Documenttranscriptie

06E0 SPECIAL MESSAGE SECTION PRODUCT SAFETY MARKINGS: Yamaha electronic products may have either labels similar to the graphics shown below or molded/stamped facsimiles of these graphics on the enclosure. The explanation of these graphics appears on this page. Please observe all cautions indicated on this page and those indicated in the safety instruction section. CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. The exclamation point within the equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. The lightning flash with arrowhead symbol, within the equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electrical shock. IMPORTANT NOTICE: All Yamaha electronic products are tested and approved by an independent safety testing laboratory in order that you may be sure that when it is properly installed and used in its normal and customary manner, all foreseeable risks have been eliminated. DO NOT modify this unit or commission others to do so unless specifically authorized by Yamaha. Product performance and/or safety standards may be diminished. Claims filed under the expressed warranty may be denied if the unit is/has been modified. Implied warranties may also be affected. SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units. ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following: Battery Notice: This product MAY contain a small nonrechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement. Warning: Do not attempt to recharge, disassemble, or incinerate this type of battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by applicable laws. Note: In some areas, the servicer is required by law to return the defective parts. However, you do have the option of having the servicer dispose of these parts for you. Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. NOTICE: Service charges incurred due to lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service. NAME PLATE LOCATION: The graphic below indicates the location of the name plate. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase. MOTIF6 CAUTION POWER OFF ON AC INLET mLAN I O EXPANSION I O EXPANSION MOTIF7 CAUTION POWER OFF ON AC INLET MOTIF8 CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION:RISQUE DE CHOC ÉLECTRIQUE NE PAS OUVRIR. WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE. POWER OFF ON THIS DEVICE COMPLIES WITH PART 15 OF THE F THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTE (2) THIS DEVICE MUST ACCEPT ANY INTERFEREN THAT MAY CAUSE UNDESIRED OPERATION. THIS CLASS B DEIGITAL APPARATUS COMPL CET APPAREIL NUMÉRIQUE DE LA CLASSE B DU CANADA. AC INLET Model Serial No. Purchase Date 92-469- 1 (rear) IMPORTANT SAFETY INSTRUCTIONS INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK, AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST. WARNING- When using any electrical or electronic product, basic precautions should always be followed. These precautions include, but are not limited to, the following: 1. Read all Safety Instructions, Installation Instructions, Special Message Section items, and any Assembly Instructions found in this manual BEFORE making any connections, including connection to the main supply. 2. Do not attempt to service this product beyond that described in the user-maintenance instructions. All other servicing should be referred to qualified service personnel. 3. Main Power Supply Verification: Yamaha products are manufactured specifically for the supply voltage in the area where they are to be sold. If you should move, or if any doubt exists about the supply voltage in your area, please contact your dealer for supply voltage verification and (if applicable) instructions. The required supply voltage is printed on the name plate. For name plate location, please refer to the graphic found in the Special Message Section of this manual. 8. This product was NOT designed for use in wet/damp locations and should not be used near water or exposed to rain. Examples of wet /damp locations are; near a swimming pool, spa, tub, sink, or wet basement. 9. This product should be used only with the components supplied or; a cart ,rack, or stand that is recommended by the manufacturer. If a cart, rack, or stand is used, please observe all safety markings and instructions that accompany the accessory product. 10. The power supply cord (plug) should be disconnected from the outlet when electronic products are to be left unused for extended periods of time. Cords should also be disconnected when there is a high probability of lightning and/or electrical storm activity. 11. Care should be taken that objects do not fall and liquids are not spilled into the enclosure through any openings that may exist. 12. DANGER-Grounding Instructions: This product must be grounded and therefore has been equipped with a three pin attachment plug. If this product should malfunction, the ground pin provides a path of low resistance for electrical current, reducing the risk of electrical shock. If your wall socket will not accommodate this type plug, contact an electrician to have the outlet replaced in accordance with local electrical codes. Do NOT modify the plug or change the plug to a different type! Electrical/electronic products should be serviced by a qualified service person when: a. The power supply cord has been damaged; or b. Objects have fallen, been inserted, or liquids have been spilled into the enclosure through openings; or c. The product has been exposed to rain; or d. The product does not operate, exhibits a marked change in performance; or e. The product has been dropped, or the enclosure of the product has been damaged. 5. WARNING: Do not place this product or any other objects on the power cord or place it in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimum wire size for a 25’ cord (or less) is 18 AWG. NOTE: The smaller the AWG number, the larger the current handling capacity. For longer extension cords, consult a local electrician. 13. This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs. 6. 14. 4. Ventilation: Electronic products, unless specifically designed for enclosed installations, should be placed in locations that do not interfere with proper ventilation. If instructions for enclosed installations are not provided, it must be assumed that unobstructed ventilation is required. 7. Temperature considerations: Electronic products should be installed in locations that do not seriously contribute to their operating temperature. Placement of this product close to heat sources such as; radiators, heat registers etc., should be avoided. Some Yamaha products may have benches and/or accessory mounting fixtures that are either supplied as a part of the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended. PLEASE KEEP THIS MANUAL 92-469-3 PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep this manual in a safe place for future reference. WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following: Power supply/Power cord Water warning • Only use the voltage specified as correct for the instrument. The required voltage is printed on the name plate of the instrument. • Do not expose the instrument to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings. • Check the electric plug periodically and remove any dirt or dust which may have accumulated on it. • Never insert or remove an electric plug with wet hands. • Use only the supplied power cord/plug. • Do not place the power cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it. Fire warning • Do not put burning items, such as candles, on the unit. A burning item may fall over and cause a fire. If you notice any abnormality Do not open • If the power cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the instrument, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the electric plug from the outlet, and have the instrument inspected by qualified Yamaha service personnel. • This instrument contains no user-serviceable parts. Do not attempt to disassemble or modify the internal components in any way. CAUTION Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the instrument or other property. These precautions include, but are not limited to, the following: Power supply/Power cord Location • Always connect the three-pin attachment plug to a properly grounded power source. (For more information about the main power supply, see page 20.) • When removing the electric plug from the instrument or an outlet, always hold the plug itself and not the cord. Pulling by the cord can damage it. • Remove the electric plug from the outlet when the instrument is not to be used for extended periods of time, or during electrical storms. • Do not expose the instrument to excessive dust or vibrations, or extreme cold or heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent the possibility of panel disfiguration or damage to the internal components. • Do not use the instrument in the vicinity of a TV, radio, stereo equipment, mobile phone, or other electric devices. Otherwise, the instrument, TV, or radio may generate noise. • Do not place the instrument in an unstable position where it might accidentally fall over. • Do not connect the instrument to an electrical outlet using a multiple-connector. Doing so can result in lower sound quality, or possibly cause overheating in the outlet. • Before moving the instrument, remove all connected cables. • Do not place objects in front of the instrument's air vent, since this may prevent adequate ventilation of the internal components, and possibly result in the instrument overheating. (2)-8 1/2 Connections Backup battery • Before connecting the instrument to other electronic components, turn off the power for all components. Before turning the power on or off for all components, set all volume levels to minimum. Also, be sure to set the volumes of all components at their minimum levels and gradually raise the volume controls while playing the instrument to set the desired listening level. • This instrument has a built-in lithium backup battery. When you unplug the power cord from the AC outlet, the SRAM data (see page 63) is retained. However, if the backup battery fully discharges, this data will be lost. When the backup battery is running low, the LCD display indicates “Change internal battery.” In this case, immediately save the data to a Memory Card (SmartMedia)/a SCSI disk then have qualified Yamaha service personnel replace the backup battery. Maintenance Saving data • When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners, solvents, cleaning fluids, or chemical-impregnated wiping cloths. Saving and backing up your data For instruments with DRAM (RAM that does not retain data) Handling caution • DRAM data (see page 63) is lost when you turn off the power to the instrument. Save the data to a Memory Card (SmartMedia)/a SCSI disk. • Do not insert a finger or hand in any gaps on the instrument. • Never insert or drop paper, metallic, or other objects into the gaps on the panel or keyboard. If this happens, turn off the power immediately and unplug the power cord from the AC outlet. Then have the instrument inspected by qualified Yamaha service personnel. For instruments with SRAM (RAM that retains data by using a lithium battery) • Do not place vinyl, plastic or rubber objects on the instrument, since this might discolor the panel or keyboard. • SRAM data (see page 63) is retained when the power is turned off, as long as the backup battery retains a charge. However, the data could be lost due to malfunction or incorrect operation. Save important data to a Memory Card (SmartMedia)/a SCSI disk. • Do not rest your weight on, or place heavy objects on the instrument, and do not use excessive force on the buttons, switches or connectors. Backing up the Memory Card (SmartMedia)/SCSI disk • Do not operate the instrument for a long period of time at a high or uncomfortable volume level, since this can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician. • To protect against data loss through media damage, we recommend that you save your important data onto twoMemory Cards (SmartMedia)/SCSI disk. Yamaha cannot be held responsible for damage caused by improper use or modifications to the instrument, or data that is lost or destroyed. Always turn the power off when the instrument is not in use. Make sure to discard used batteries according to local regulations. (2)-8 2/2 FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class "B" digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit "OFF" and "ON", please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line filter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries. (class B) * This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord WARNING: THIS APPARATUS MUST BE EARTHED IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: GREEN-AND-YELLOW BLUE BROWN VAROITUS The wire which is coloured GREEN-and-YELLOW must be connected to the terminal in the plug which is marked by the letter E or by the safety earth symbol or colored GREEN or GREEN-and-YELLOW. The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. * This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. (3 wires) NEDERLAND / THE NETHERLANDS • Dit apparaat bevat een lithium batterij voor geheugen back-up. • This apparatus contains a lithium battery for memory back-up. • Raadpleeg uw leverancier over de verwijdering van de batterij op het moment dat u het apparaat ann het einde van de levensduur afdankt of de volgende Yamaha Service Afdeiing: Yamaha Music Nederland Service Afdeiing Kanaalweg 18-G, 3526 KL UTRECHT Tel. 030-2828425 • • For the removal of the battery at the moment of the disposal at the end of the service life please consult your retailer or Yamaha Service Center as follows: Yamaha Music Nederland Service Center Address :Kanaalweg 18-G, 3526 KL UTRECHT Tel :030-2828425 VARNING Explosionsfara vid felaktigt batteribyte. Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren. Kassera använt batteri enligt fabrikantens instruktion. :EARTH :NEUTRAL :LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug proceed as follows: • ADVARSEL! Lithiumbatteri—Eksplosionsfare ved fejlagtig håndtering. Udskiftning må kun ske med batteri af samme fabrikat og type. Levér det brugte batteri tilbage til leverandoren. Gooi de batterij niet weg, maar lever hem in als KCA. Do not throw away the battery. Instead, hand it in as small chemical waste. (lithium disposal) Paristo voi räjähtää, jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti. (lithium caution) Introduction Congratulations and thank you for your purchase of the Yamaha MOTIF Music Production Synthesizer! You now own what is perhaps the best-sounding, most versatile, and certainly most powerful synthesizer and total music production instrument on the planet. We strove to put virtually all our synthesizer technology and music making know-how into one instrument — and we succeeded. The new MOTIF not only gives you the latest and greatest sounds and rhythms (as well as the ability to create and sample your own), it gives you powerful, easy-to-use tools for playing, combining and controlling these dynamic sounds/rhythms — in real time, as you perform! Take time to look through this manual carefully. It’s packed with important information on how to get the most from this amazing instrument. Dive in now and enjoy! Package Contents The following items have been included with your MOTIF. Check to see that you have everything listed here. • Synthesizer • AC Power cord • CD-ROM x 3 • Owners Manual (this book) • Data List • Installation Guide About the included CD-ROM The accompanying CD-ROM features special software for use with the MOTIF. Included is a Voice Editor, which gives you comprehensive and intuitive editing tools for the MOTIF, and a File Manager, which lets you easily transfer data between the storage device connected to your MOTIF and a computer. For details, see the separate Installation Guide or the online manuals included with the software. Do NOT attempt to play back Track 1 (which contains the software data) on an audio CD player. Doing so may result in damage to your audio equipment and speakers, as well as your hearing. About This Manual This manual consists of the following sections. ■ The Controls & Connectors Use this section to find out about all of the buttons, controls and connectors of the MOTIF. ■ Setting Up Before going on to any other part of the manual, we strongly suggest you read this section first. It shows you how to get started playing and using your new MOTIF. ■ Basic Structure This section provides a detailed overview of all of the main functions and features of the MOTIF, and shows how they fit together. ■ Basic Operation This section introduces you to the basic operating conventions of the MOTIF, such as editing values and changing settings. ■ Quick Start Guide In this tutorial section, youll take a guided tour through the various functions of the MOTIF, and get some hands-on experience in playing and using it. ■ Reference The MOTIF encyclopedia. This section explains all parameters, settings, functions, features, modes and operations in full detail. ■ Appendix This section contains detailed information on the MOTIF such as Specifications and an Alert Message List as well as instructions for installing optional equipment (e.g., SIMM modules, AIEB2, mLAN8E interface, and Plug-in Boards). ■ Data List (separate booklet) This contains various important lists such as the Voice List, Preset Pattern Phrase List, Effect List, MIDI Data Format, and MIDI Implementation Chart. ■ Installation Guide (separate booklet) Refer to this for instructions on installing the included software programs (on the CDROM) to your computer. ● Copying of the commercially available music sequence data and/or digital audio files is strictly prohibited, except for your own personal use. ● The illustrations and LCD screens as shown in this Owner’s Manual are for instructional purposes only, and may appear somewhat different from those on your instrument. ● The company names and product names in this Owner’s Manual are the trademarks or registered trademarks of their respective companies. MOTIF Introduction 7 Important Features ■ Wide range of dynamic and authentic voices — over 512 in total, with 49 drum kits. Use the Category Search function to quickly call up the sounds you want, based on their instrument type. ■ Performance mode lets you use four different voices together — in layers or in a keyboard split. ■ Integrated Sampling Sequencer — seamlessly combines audio and MIDI recording. * Full Sample recording and editing features, with 4MB of memory (expandable to 64MB). * Wide data compatibility lets you load AIFF and WAV files, as well as samples and program/voice data from other samplers. * Convenient Resampling function lets you sample the sound of the MOTIF itself directly. Play your own melodies, riffs and rhythms — and use them as samples. * Unique Slice feature automatically chops up your rhythms and riffs into their individual beats and notes. This lets you manipulate the component parts of your sample loops as MIDI data — and gives you the power to easily change tempo and even the rhythmic feel, without disturbing the pitch or sound quality. * Using the Song mode, record your music to the sequencer in conventional linear fashion, from beginning to end. Or use the phrase-based functions to assemble rhythms and patterns — “playing” your arrangements in real time. ■ Extensive effect processing, with Reverb (12 types), Chorus (25 types), two separate Insertion sections (total 104 types), a Variation section (25 types), and a Master 5-band EQ. ■ Comprehensive real-time control with four knobs and four sliders — letting you adjust filter, levels, effects, EG, and more, while you play. ■ Pattern mode functions let you craft different rhythmic sections and riffs as individual elements — which you can easily and intuitively combine in real time to create full rhythm tracks. ■ The built-in Arpeggio feature not only puts a wealth of hip rhythmic sequences at your fingertips, it even has special “human” patterns — such as guitar strumming and woodwind trills. ■ Once you’ve collected all the audio samples, loops, MIDI data, and patterns you need for your song, use Pattern Chain to arrange the pieces in real time. This hands-on approach makes it easier than ever to come up with great ideas and amazing songs. 8 MOTIF Introduction ■ Song Scene is another powerful tool that lets you take “snapshots” of the sequencer track settings (such as pan, volume, and others). Then, during playback or recording, simply switch among the Scenes for instant, dynamic changes. ■ Master mode for using the MOTIF as a master keyboard controller (with independent Zones), and for easily reconfiguring the instrument between Voice/ Performance play and Song/Pattern play in live applications. ■ Exceptionally easy-to-understand interface with two-tiered operation buttons: [F1] - [F6] and [SF1] [SF5] ■ Remote Control — for operating your favorite sequencing software from the panel controls of the MOTIF. Mute tracks, control transport (Play, Stop, Record, etc.), mix both MIDI and audio tracks (up to 16) with the MOTIF’s knobs and sliders, pan the tracks, control EQ, and tweak effect sends — all without ever touching the mouse. ■ Three Modular Synthesis Plug-in System slots let you upgrade the MOTIF with a completely new synthesizer or sound-processing engine. These Plug-in boards give you more voices, more effects, more polyphony and more instrument parts. Plus, special Plug-in voices have already been programmed and stored to the MOTIF, ready to be played as soon as you install the proper board. ■ Comprehensive I/O terminals — including assignable outputs, audio inputs, optical digital output, MIDI, USB for multi-port connection to a computer, SmartMedia card slot and SCSI terminal for data storage. There’s even an expansion bay for installing the optional AIEB board for additional ins and outs — both analog and digital. ■ Expansion bay for optional mLAN — Yamaha’s new mLAN interface technology makes it possible to transfer all your digital audio and MIDI data via a single broad-band cable. ■ Included software — Packed with your MOTIF are two powerful software programs: Voice Editor and File Utility. The Voice Editor puts all the comprehensive editing features and parameters of the instrument right on your computer screen for easy editing. With File Utility, you can access and organize all your important MOTIF data (stored to Memory card or SCSI device) directly from the computer. Table of Contents The Controls & Connectors 10 Front Panel ........................................................ 10 Rear Panel..........................................................16 Setting Up 20 Power Supply .....................................................20 Connections ....................................................... 21 Powering Up ......................................................29 Basic Structure 30 Mode ..................................................................30 System Overview ...............................................33 Controller block ..........................................................33 Sequencer block ..........................................................33 Tone Generator block.................................................34 Effect block..................................................................39 Main functions...................................................42 Voices and Performances ............................................42 Controllers...................................................................48 Song and Pattern (Sequencer mode) .........................51 Arpeggio ......................................................................55 Master (Master mode) ................................................56 Sampling......................................................................58 Internal Memory and File Management ...................63 Remote Control to Computer Sequence Software.....65 Basic Operation Performance Mode .......................................... 160 Function Tree........................................................... 160 Performance Play mode ........................................... 162 Performance Edit mode ........................................... 165 Performance Job mode ............................................. 175 Performance Store mode.......................................... 176 Song Mode ....................................................... 177 Function Tree........................................................... 177 Song Play mode ........................................................ 179 Song Record mode.................................................... 183 Song Edit mode ........................................................ 189 Song Job mode .......................................................... 193 Song Mixing mode ................................................... 205 Song Mixing Job mode ............................................. 212 Song Mixing Store mode.......................................... 214 Function Tree........................................................... 215 Pattern Play mode .................................................... 217 Pattern Record mode................................................ 221 Pattern Edit mode .................................................... 224 Pattern Job mode ...................................................... 225 Pattern Mixing mode ............................................... 232 Function Tree........................................................... 233 Sampling Record mode ............................................ 234 Sampling Edit mode ................................................. 240 Sampling Job mode................................................... 241 Function Tree........................................................... 249 Utility mode.............................................................. 250 Utility Job mode ....................................................... 260 Reference 121 Voice Mode....................................................... 121 Function Tree ...........................................................121 Voice Play mode ....................................................... 124 Voice Edit mode ....................................................... 129 Voice Job mode ......................................................... 158 Voice Store mode...................................................... 159 Basic Operation Reference Voice mode Sampling Mode................................................ 233 Calling up the Operation Displays.....................67 Display-based Controls ......................................72 Playing the Demos .............................................77 Playing Voices ....................................................80 Editing Voices ....................................................83 Storing edited Voices..........................................86 Playing Performances ........................................88 Editing Performances (Layer/Split) ..................89 Storing the edited Performance .........................90 Using the Arpeggio function.............................. 91 Using as a Master Keyboard ..............................93 Saving/Loading data ..........................................97 Sampling with Song Playback (Integrated Sampling Sequencer) ......................99 Remote Control for external sequencer (Real-time external control surface) ............... 119 Basic Structure Quick Start Guide Utility Mode .................................................... 249 77 Setting Up Pattern Mode....................................................215 67 Quick Start Guide The Controls & Connectors Performance mode Song mode Pattern mode File Mode .........................................................261 Function Tree .......................................................... 261 File mode .................................................................. 262 Master Mode ................................................... 268 Function Tree........................................................... 268 Master Play mode..................................................... 269 Master Edit mode ..................................................... 270 Master Job mode....................................................... 273 Master Store mode ................................................... 274 Appendix 275 Information Displays ...................................... 275 Display Messages ............................................ 277 Troubleshooting .............................................. 279 Installing Optional Hardware ..........................281 Optional Plug-in Board Installation ........................ 282 Optional AIEB2 or mLAN8E Installation .............. 284 Optional SIMM Installation .................................... 287 Handling the Memory Card (SmartMedia™*). 289 Connecting external SCSI devices................... 290 Sample mode Utility mode File mode Master mode Appendix About SCSI ............................................................... 290 Notes on musical copyright............................. 292 Specifications .................................................. 293 INDEX............................................................. 295 MOTIF Table of Contents 9 Front Panel The Controls & Connectors Front Panel MOTIF6 The Control & Connectors KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 REMOTE CONTROL ON/OFF MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 ARPEGGIO SYSTEM VOICE PERFORM MASTER ON/OFF VOLUME 4 SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB SEQ TRANSPORT LOCATE 2 1 REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE SCENE STORE SET LOCATE UP MOTIF7 KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 REMOTE CONTROL ON/OFF MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SYSTEM ARPEGGIO VOICE PERFORM MASTER ON/OFF VOLUME 4 SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB SEQ TRANSPORT LOCATE REC 1 2 COMPARE OCTAVE DOWN 10 MOTIF The Controls & Connectors CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 UP STORE SCENE STORE SET LOCATE The Control & Connectors Front Panel MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System SLOT 1 SONG SCENE SF1 SF2 SF3 SF4 SLOT 3 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE D E COMMON DEC/NO SLOT 2 DRUM KITS INC/YES A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI CATEGORY SEARCH BANK SECTION GROUP 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 ELEMENT/ PERF.PART / ZONE NUMBER F1 F2 F3 F4 F5 EXIT F6 11 10 9 ENTER SOLO EXECUTE MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System SLOT 1 SONG SCENE SF1 SF2 SF3 SF4 INC/YES SLOT 3 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE D E COMMON DEC/NO SLOT 2 DRUM KITS A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI CATEGORY SEARCH BANK SECTION GROUP 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 ELEMENT/ PERF.PART / ZONE NUMBER F1 F2 F3 F4 F5 F6 EXIT ENTER EXECUTE 9 10 11 SOLO MOTIF The Controls & Connectors 11 Front Panel MOTIF8 The Control & Connectors KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 REMOTE CONTROL ON/OFF MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SYSTEM ARPEGGIO VOICE PERFORM MASTER ON/OFF VOLUME 4 SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB SEQ TRANSPORT LOCATE REC 1 2 COMPARE 1 OCTAVE [UP] and [DOWN] buttons (page 127) Use these buttons to change the note range of the keyboard. To restore the normal octave setting, press both buttons simultaneously. n Because of its extended keyboard, the MOTIF 8 does not have OCTAVE buttons. 2 PITCH bend wheel (page 48) Controls the pitch bend effect. You can also assign other functions to this controller. 3 MODULATION wheel (page 48) Controls the modulation effect. You can also assign other functions to this controller. 12 MOTIF The Controls & Connectors CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE SCENE STORE SET LOCATE 4 MASTER VOLUME Adjusts the volume of the overall sound, as output from the rear-panel OUTPUT L/MONO and R jacks as well as the PHONES jack. 5 [KNOB CONTROL FUNCTION] button and four Knobs (pages 48, 132) These four highly versatile knobs let you adjust various aspects or parameters of the current Voice. Use the [KNOB CONTROL FUNCTION] button to change the parameter set for the knobs. The corresponding LED lights to indicate which group of parameters are active. The Control & Connectors Front Panel MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System SLOT 1 SONG SCENE SF1 SF2 SF3 SF4 INC/YES SLOT 3 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE D E COMMON DEC/NO SLOT 2 DRUM KITS A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 DRUM / CHROMATIC PERCUSION PERCUSION F G H SE MUSICAL FX COMBI CATEGORY SEARCH BANK SECTION GROUP 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 ELEMENT/ PERF.PART / ZONE NUMBER F1 F2 F3 F4 F5 F6 EXIT ENTER 9 10 11 EXECUTE 6 [CS1] - [CS4] (Control Slider) (page 48) Controls the volume of each part/element. In the Master mode, the Zone setting (page 271) allows you to assign various functions (Control Change numbers) to these Sliders other than the volume. 7 [REMOTE CONTROL ON/OFF] button (page 256) When this is on, the following panel controls can be used to directly control mixing and transport functions on your sequencer software. • Knobs • Control Sliders • [SEQ TRANSPORT] buttons • [TRACK SELECT] button • [MUTE] button SOLO 8 [EFFECT BYPASS] buttons For enabling/disabling Effect Bypass. Press the button (the LED lights) to bypass effect processing of the current Voice or Performance. The bypassed effects (Reverb, Chorus, Variation, or Insertion) are specified in the Utility Mode (page 250). 9 [ARPEGGIO ON/OFF] button (page 55) Press this button to enable or disable playback of the Arpeggio for each Voice, Performance, Song, or Pattern. If the Arpeggio Switch of the selected part is set to off in the Performance/Song/Pattern mode, however, pressing this button has no effect. MOTIF The Controls & Connectors 13 Front Panel ) SEQ TRANSPORT buttons (page 78, 179, 183, 217, 221) These buttons control recording and playback of the Song/Pattern sequence data. The Control & Connectors [ ](Top) button Instantly returns to the first beginning of the current song or pattern (i.e., the first beat of the first measure). [ ](Reverse) button Press briefly to move back one measure at a time, or hold to continuously rewind. [ ](Forward) button Press briefly to move forward one measure at a time, or hold to continuously fast-forward. [REC] (Record) button Press this to enable recording (Song or pattern phrase). (The indicator lights.) [ ](Stop) button Press to stop recording or playback. [ ](Play) button Press to start playback from the current point in the song or pattern. During recording and playback, the indicator flashes at the current tempo. ! MODE buttons (page 67) These buttons select the MOTIF operating modes (e.g., Voice mode). @ LCD Display The MOTIF’s large backlit LCD displays the parameters and values related to the currently selected operation or mode. # LCD Contrast Control Use this control to set the LCD display for optimum legibility. $ [F1] - [F6] (Function) buttons (page 71) These buttons located directly below the LCD display call up the corresponding functions indicated in the display. In the display hierarchy, these functions [F] rank just below the modes. 14 MOTIF The Controls & Connectors % [SF1] - [SF5] (Sub Function) buttons (page 71) These buttons located directly below the LCD display call up the corresponding sub functions indicated in the display. In the display hierarchy, these sub functions [SF] rank just below the functions [F]. These buttons can be also used to store/recall the Song Scene (page 115) in the Song Play/Song Record/Pattern Chain Record modes. ^ [INFORMATION] button (page 73) For calling up a special “help” feature that shows information about the currently selected mode. You can go back to the previous display by pressing this button again or pressing any other button. & Data dial (page 72) For editing (changing the value of) the currently selected parameter. To increase the value, turn the dial right (clockwise); to decrease the value, turn the dial left (counter-clockwise). If a parameter with a wide value range is selected, you can change the value in broader strokes by quickly turning the dial. * [INC/YES] button (page 72) For increasing the value of the currently selected parameter. Also use it to actually execute a Job or a Store operation. ( [DEC/NO] button (page 72) For decreasing the value of the currently selected parameter. Also use it to cancel a Job or a Store operation. n When editing (changing) the value of the parameter, it is convenient to use the [INC/YES] button and the [DEC/NO] button simultaneously. Pressing the [DEC/NO] button while holding the [INC/YES] button increases the value by 10. Pressing the [INC/YES] button while holding the [DEC/NO] button decreases the value by 10. º Cursor Buttons (page 72) The cursor buttons move the “cursor” around the LCD display screen, highlighting and selecting the various parameters. ¡ [EXIT] button (page 72) The menus and displays of the MOTIF are organized according to a hierarchical structure. Press this button to exit from the current display and return to the previous level in the hierarchy. Front Panel £ SLOT 1-3 lamps (page 282) These three lamps show the installation status of the Plug-in Boards. If the Plug-in Board has been correctly installed, the corresponding SLOT lamp will light. n The Vocal Harmony Plug-in Board (PLG100-VH) can be installed only to slot 1. It cannot be installed to slot 2 or 3. n The Multi part Plug-in Board (PLG100-XG) can be installed only to slot 3. It cannot be installed to slot 1 or 2. ¢ BANK buttons (page 124) Each button selects a Voice or Performance Bank. When the [CATEGORY SEARCH] button is turned on, these buttons can be used to select the desired category (printed below each button). When the [SECTION] button is turned on in the Pattern mode, these buttons are used to select the desired section. ∞ GROUP [A] - [H] buttons (page 124) Each button selects a Voice or Performance Group. When the [CATEGORY SEARCH] button is turned on, these buttons can be used to select the desired category (printed below each button). When the [SECTION] button is turned on in the Pattern mode, these buttons are used to select the desired section. § NUMBER [1] - [16] buttons (page 124) Use of these buttons differs depending on the on/off status of the [TRACK SELECT] and [MUTE] buttons. Functions of the NUMBER [1] - [16] buttons When [TRACK SELECT] is on When [MUTE] is on Voice Play mode Keyboard transmit channel setting — Voice Edit mode Element selection(1 - 4) and Element Mute setting(9 - 12) When both [TRACK SELECT] [MUTE] are off Voice selection, according to Groups A-H — Performance Play Keyboard transmit mode channel setting Performance Edit mode Performance or Voice selection (if Performance part cursor is located at Mute setting Voice name), Performance part (1 - 4) according to Groups selection (1 - 4) A-H Master Play mode Zone selection (1 - 4) — Master selection, according to Groups A-H Master Edit mode Zone selection (1 - 4) Zone Mute setting (1 - 4) — Song/Pattern mode Song/Pattern track selection Song/Pattern Mixing mode Song/Pattern track Mute setting Song/Style selection, according to Groups Song/Pattern part Song/Pattern part A - H selection Mute setting ¶ [CATEGORY SEARCH] button (page 126) When this button is turned on in the Performance mode, the [BANK] and [GROUP] buttons can be used to select the Performance category. When this button is turned on in another mode, the [BANK] and [GROUP] buttons can be used to select the Voice category. • [SECTION] button (page 218) When this button is turned on in the Pattern mode, the [BANK] and [GROUP] buttons can be used to select the Pattern Section. ª [TRACK SELECT] button (page 181) Turning this button on in the Song/Pattern mode enables the NUMBER [1] - [16] buttons for selecting corresponding Song/Pattern tracks. The on/off status of this button affects the NUMBER [1] - [16] buttons in different ways, depending on the selected mode. (See § “NUMBER [1] - [16] buttons” above.) ‚ [MUTE] button (page 180) Turning this button on in the Song/Pattern mode enables the NUMBER [1] - [16] buttons for muting corresponding Song/Pattern tracks. Press one of the NUMBER [1] - [16] buttons while holding this button to solo the corresponding track of the current selected Song/Pattern. The on/off status of this button affects the NUMBER [1] - [16] buttons in different ways, depending on the selected mode. (See § “NUMBER [1] - [16] buttons” above.) MOTIF The Controls & Connectors 15 The Control & Connectors ™ [ENTER] button Use this button to execute a Job or a Store operation. Also use this button to actually enter a number when selecting a Memory or Bank for Voice or Performance. In the File mode, use this button to go to the next lowest level in the selected directory. Rear Panel Rear Panel MOTIF6 CAUTION The Control & Connectors POWER OFF ON AC INLET mLAN I O EXPANSION MOTIF7 CAUTION POWER OFF ON mLAN AC INLET I O EXPANSION MOTIF8 CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN ATTENTION:RISQUE DE CHOC ÉLECTRIQUE NE PAS OUVRIR. WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE. POWER OFF ON 16 AC INLET MOTIF The Controls & Connectors THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDINGINTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION. THIS CLASS B DEIGITAL APPARATUS COMPLIES WITH CANADIAN ICES-003. CET APPAREIL NUMÉRIQUE DE LA CLASSE B EST CONFORME À LA NORME NMB-003 DU CANADA. mLAN I O EXPANSION Rear Panel Rear Panel CARD Plug- in SLOT 3 2 1 GREEN YELLOW ORANGE The Control & Connectors 3.3V SCSI FOOT SWITCH OPTICAL OUTPUT USB THRU MIDI OUT IN BREATH ASSIGNABLE SUSTAIN 3.3V FOOT CONTROLLER 2 1 ASSIGNABLE OUTPUT R L R OUTPUT L MONO PHONES CARD Plug- in SLOT 3 2 1 A D INPUT R L GAIN GREEN YELLOW ORANGE SCSI FOOT SWITCH OPTICAL OUTPUT USB THRU MIDI OUT IN BREATH ASSIGNABLE SUSTAIN FOOT CONTROLLER 2 1 ASSIGNABLE OUTPUT R L R OUTPUT L MONO PHONES A D INPUT R L 3.3V GAIN CARD SCSI FOOT SWITCH OPTICAL OUTPUT USB Plug-in SLOT 3 2 1 GREEN YELLOW ORANGE THRU MIDI OUT IN BREATH ASSIGNABLE SUSTAIN FOOT CONTROLLER 2 1 ASSIGNABLE OUTPUT R L R OUTPUT L MONO PHONES A D INPUT R L GAIN MOTIF The Controls & Connectors 17 Rear Panel 1 POWER Switch (page 29) Press to turn power ON or OFF. The Control & Connectors 2 AC Power Cord Socket (page 20) Be sure the plug the AC power cord into this socket before plugging the power cord into an AC outlet. Use only the AC power cord supplied with the MOTIF. If the supplied cord is lost or damaged and needs to be replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a fire and shock hazard! 3 mLAN expansion board (mLAN8E) or I/O expansion board (AIEB2) cover (page 22) Either the mLAN expansion board (mLAN8E) or the I/O expansion board (AIEB2) sold separately can be installed to the MOTIF. With the mLAN8E board, you can conveniently and easily hook up your MOTIF to other mLANcompatible instruments or devices. The AIEB2 board gives you additional digital I/O options, featuring both optical and coaxial connectors. Moreover, the board also includes three stereo ASSIGNABLE OUTPUT pairs (six analog jacks). 4 OPTICAL OUT connectors (page 22) For output of digital audio, via optical fiber cables (at 44.1kHz). 5 USB connector (page 25) For connection to a computer having a USB interface. The USB interface provides multi-port MIDI operation not possible with a single MIDI connection. n The USB connection can only be used for transfer of MIDI data. No audio data can be transfered via USB. USB USB is an abbreviation for Universal Serial Bus. It is a serial interface for connecting a computer with peripheral devices, and enables much faster data transfer (12Mbps) compared to conventional serial port connections. Also, it allows “hot swapping” (connecting peripheral devices while the power to the computer is on). 6 MIDI IN/OUT/THRU connectors (page 24) MIDI IN is for receiving control or performance data from another MIDI device, such as an external sequencer. MIDI THRU is simply for redirecting any received MIDI data (via MIDI IN) to connected devices, allowing convenient chaining of additional MIDI instruments. MIDI OUT is for transmitting all control, performance and playback data from the MOTIF to another MIDI device, such as an external sequencer. 18 MOTIF The Controls & Connectors 7 BREATH Controller Jack (page 28) Connect an optional Yamaha BC2 Breath Controller here for expressive breath control capability. 8 FOOT SWITCH jacks (page 28) For connection of optional FC4 or FC5 Footswitches. When connected to the SUSTAIN jack, the Footswitch controls sustain. When connected to ASSIGNABLE, it can control one of various different assignable functions. 9 FOOT CONTROLLER jacks (page 28) For connection of optional foot controllers (FC7, etc.). Each jack lets you continuously control one of various different assignable functions — such as volume, tone, pitch, or other aspects of the sound. ) ASSIGNABLE OUT L and R jacks (page 21) Line level audio signals are output from the MOTIF via these phone jacks (1/4" mono phone plug). These outputs are independent of the main output (at the L/MONO and R jacks below), and can be freely assigned to any of the Parts. This lets you route specific Voices or sounds for processing with a favorite outboard effect unit. ! OUTPUT L/MONO and R jacks (page 21) Line level audio signals are output via these phone jacks. For monophonic output, use just the L/ MONO jack. @ PHONES jack (page 21) For connection to a pair of stereo headphones. # A/D INPUT jacks (page 23) External audio signals can be input via these phone jacks. These are used primarily for recording samples — either with a microphone, making the proper Utility settings (page 250), or from other audio equipment, such as a CD or MD player. With the optional Vocal Harmony Plug-in board (PLG100-VH, page 35), you can also apply special effects and harmonies to the microphone input. $ GAIN knob For adjusting the input gain of the audio at the A/D INPUT jacks (above). Depending on the connected device (microphone, CD player, etc.), you may need to adjust this for optimum level. % SCSI connectors (page 27) This SCSI-2 50-pin connector (D-sub, half-pitch) can be used to connect to an external SCSI data storage device — allowing you to conveniently save and store large quantities of data. Rear Panel ■ When the optional AIEB2 has been installed: 1 2 3 & Plug-in board cover (page 35) Installing an optional Plug-in Board to the MOTIF lets you greatly expand the sonic palette of the instrument. Up to three boards can be installed to the MOTIF’s rear panel. ■ When the optional mLAN8E has been installed: 2 1 1 SERIAL I/O connector For connecting the mLAN8E directly to a personal computer via a serial cable. Use this jack to connect the mLAN8E and the computer when using the mLAN Patchbay and mLAN Mixer in Windows. This is not used to input or output MIDI or audio signals. 2 mLAN (IEEE1394) connector1, 2, 3 For connecting mLAN devices or IEEE1394compatible devices via IEEE1394 standard (6-pin) cables. 1 OPTICAL IN, OUT connectors (pages 22, 23) Use these connectors to input or output digital signals over optical-fiber cable. You can use the OPTICAL IN to record a digital signal of frequency 48kHz, 44.1kHz, or 32kHz. The OPTICAL OUT connector outputs a digital signal of frequency 44.1kHz. 2 DIGITAL IN, OUT connectors (pages 22, 23) Use these connectors to input or output digital signals over coaxial (RCA-pin) cable. The digital signal format is CD/DAT (S/P DIF). You can use the DIGITAL IN connector to record a digital signal of frequency 48kHz, 44.1kHz, or 32kHz. The DIGITAL OUT connector outputs a digital signal of frequency 44.1kHz. 3 ASSIGNABLE OUT jacks (AS1 to AS6) (page 22) Additional analog output jacks. Each pair (1&2, 3&4, 5&6) operates independently of all other outputs on the MOTIF. About mLAN “mLAN” is a digital network designed for musical applications. It uses and extends the industry standard IEEE 1394 high performance serial bus. For details, refer to the Guide Book of the mLAN8E. The name “mLAN” and its logo (above) are trademarks. MOTIF The Controls & Connectors 19 The Control & Connectors ^ Card slot (pages 64, 262) Insert a Memory Card here to transfer various data to/from the MOTIF. Read carefully the precautions on using a Memory Card (page 289) before inserting a card. Power Supply Setting Up This section explains how to connect your MOTIF to an AC power source, external audio and MIDI devices, and a computer system. Only switch the MOTIF on after you have made all the necessary connections. It is recommended that you read this section before using the MOTIF. Power Supply Setting Up rear panel AC INLET terminal Power cord (included) 1 Make sure the POWER switch on the MOTIF is set to OFF. 2 Connect the supplied power cord to the AC INLET terminal on the instrument’s rear panel. 3 Connect the other end of the power cord to an AC outlet. Make sure your MOTIF meets the voltage requirement for the country or region in which it is being used. Make sure your MOTIF is rated for the AC voltage supplied in the area in which it is to be used (as listed on the rear panel). Connecting the unit to the wrong AC supply can cause serious damage to the internal circuitry and may even pose a shock hazard! Use only the AC power cord supplied with the MOTIF. If the supplied cord is lost or damaged and needs to be replaced, contact your Yamaha dealer. The use of an inappropriate replacement can pose a fire and shock hazard! The type of AC power cord provided with the MOTIF may be different depending on the country in which it is purchased (a third prong may be provided for grounding purposes). Improper connection of the grounding conductor can create the risk of electrical shock. Do NOT modify the plug provided with the MOTIF. If the plug will not fit the outlet, have a proper outlet installed by a qualified electrician. Do not use a plug adapter which defeats the grounding conductor. 20 MOTIF Setting Up Connections Connections Connecting to External Audio Equipment Since the MOTIF has no built-in speakers, you’ll need an external audio system or a set of stereo headphones to properly monitor it. The following illustrations show various connection examples; use the one most similar to your intended setup. Setting Up Analog output ■ Connecting stereo powered speakers A pair of powered speakers can accurately produce the instrument’s rich sounds with their own pan and effect settings. Connect your powered speakers to the OUTPUT L/MONO and R jacks on the rear panel. Powered speaker (Left) Powered speaker (Right) Headphones OUTPUT L /MONO PHONES KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 R REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 KN 2 MEQ LOW KN 3 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME SYSTEM VOICE ARPEGGIO PERFORM MASTER DRUM KITS FAVORITES PRE 1 PRE 2 KEYBOARD PRE 3 ORGAN COMMON SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY SEQ TRANSPORT DEC/NO SONG SCENE SF1 LOCATE A. PIANO GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 D E DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE 3 GROUP INFORMATION SF5 2 1 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT JOB COMPARE CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 OCTAVE DOWN STORE F1 F2 F3 F4 F5 9 ENTER EXIT F6 11 10 SOLO EXECUTE SCENE STORE SET LOCATE UP MOTIF n When using just one powered speaker, connect it to the OUTPUT L/MONO jack on the rear panel. ■ Connecting to a mixer There are extra audio outputs in addition to the OUTPUT (L/MONO and R) jacks. Connect these outputs to a mixer for separately controlling the outputs of up to four Parts in Performance mode (page 164). Speaker Amplifier L R Mixer OUTPUT L R Headphones 1 2 3 4 5 6 OUTPUT L/MONO PHONES KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS ATTACK ASSIGN 1 7 8 9 10 11 12 13 14 15 16 KN 2 KN 3 MEQLOWMID MEQ HI MID TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION VOLUME 1 R ASSIGNABLE OUTPUT L, R R MODE KN 1 MEQ LOW MASTER VOLUME L SYSTEM ARPEGGIO VOICE PERFORM MASTER DRUM KITS FAVORITES PATTERN FILE MIXING UTILITY PRE 2 A DEC/NO INC/YES SYN LEAD 1 SONG SCENE SF1 1 KEYBOARD PRE 3 ORGAN COMMON SEQUENCER SONG INTEGRATED SAMPLING SEQ TRANSPORT LOCATE PRE 1 A. PIANO GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK ON/OFF VOLUME 4 SF2 SF3 SF4 B C SYN PAD/ CHOIR SYN COMP 2 3 D E DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE GROUP INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT JOB COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 SCENE STORE SET LOCATE F5 F6 EXIT ENTER EXECUTE 9 10 11 SOLO UP MOTIF MOTIF Setting Up 21 Connections ■ Connecting to a mixer (with the optional AIEB2) You can expand the MOTIF’s output capabilties with six additional OUTPUT jacks for outputting extra individual parts, by installing the optional I/O board (AIEB2). Speaker Amplifier R L Mixer R OUTPUT L Headphone Setting Up 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 L R OUTPUT L/MONO ASSIGNABLE OUTPUT L R PHONES KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 R AIEB2 REMOTE CONTROL ON/OFF ASSIGN 2 MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 KN 2 MEQ LOW KN 3 VOLUME 1 VOLUME 2 SLOT 1 SLOT 2 SLOT 3 CATEGORY SEARCH KN 4 MEQLOWMID MEQ HI MID MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 3 ARPEGGIO SYSTEM VOICE PERFORM MASTER DRUM KITS FAVORITES PATTERN FILE MIXING UTILITY EDIT JOB STORE PRE 2 KEYBOARD A DEC/NO INC/YES EXIT ENTER SYN LEAD 1 SONG SCENE SF1 1 A. PIANO PRE 3 ORGAN COMMON SEQUENCER SONG INTEGRATED SAMPLING SEQ TRANSPORT LOCATE PRE 1 GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS PLG 2 PLG 3 BRASS REED/PIPE BANK ON/OFF VOLUME 4 SF2 SF3 SF4 B C SYN PAD/ CHOIR SYN COMP 2 3 D E DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE GROUP INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 OCTAVE F1 F2 F3 F4 F5 F6 9 10 11 SOLO EXECUTE SCENE STORE SET LOCATE UP DOWN MOTIF n Connecting a pair of headphones does not affect audio output from the OUTPUT (L/MONO and R) jacks. You can monitor the same sounds via headphones and at the OUTPUT jacks. Digital output ■ When using the OPTICAL OUTPUT connector: This connector enables direct digital output of MOTIF playback and digital through-put. OPTICAL OUTPUT KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS TEMPO ATTACK RELEASE ASSIGN 1 ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 KN 2 MEQ LOW KN 3 VOLUME 1 VOLUME 2 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQLOWMID MEQ HI MID MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME OPTICAL INPUT Record VOLUME 3 SYSTEM VOICE ARPEGGIO PERFORM MASTER DRUM KITS FAVORITES PATTERN FILE MIXING UTILITY DEC/NO SONG SCENE SF1 1 PRE 2 KEYBOARD PRE 3 ORGAN COMMON SEQUENCER SONG INTEGRATED SAMPLING SEQ TRANSPORT LOCATE PRE 1 A. PIANO GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH DAT BANK ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 D E DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI GROUP SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT JOB COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 EXIT F6 ENTER EXECUTE SCENE STORE SET LOCATE 9 10 11 SOLO UP DAT or CD recorder MOTIF ■ When the optional AIEB2 I/O board has been installed: The board enables direct digital output of MOTIF sound also via the coaxial cable. For purposes of compatibility, the AIEB2 board includes two different output types: OPTICAL OUT (optical fiber) and DIGITAL OUT (coaxial cable). Note that both of these outputs always produce identical signals. Record Optical cable Coaxial cable OPTICAL OUTPUT KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS ATTACK ASSIGN 1 Record DIGITAL OUTPUT KN 2 KN 3 MEQLOWMID MEQ HI MID TEMPO ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION VOLUME 1 OPTICAL INPUT RELEASE MODE KN 1 MEQ LOW MASTER VOLUME DIGITAL INPUT SYSTEM ARPEGGIO VOICE PERFORM MASTER DRUM KITS FAVORITES PATTERN FILE MIXING UTILITY PRE 2 A DEC/NO INC/YES SYN LEAD 1 SONG SCENE SF1 1 KEYBOARD PRE 3 ORGAN COMMON SEQUENCER SONG INTEGRATED SAMPLING SEQ TRANSPORT LOCATE PRE 1 A. PIANO GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK ON/OFF VOLUME 4 SF2 SF3 SF4 B C SYN PAD/ CHOIR SYN COMP 2 3 D E DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE DAT DAT GROUP INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 JOB STORE F1 F2 F3 F4 F5 SCENE STORE SET LOCATE F6 EXIT ENTER EXECUTE 9 10 11 SOLO UP DAT or CD recorder MOTIF 22 MOTIF Setting Up Connections A/D input ■ Connecting a microphone or other audio equipment (analog input) You can record or import external sounds or waveform data and use them as instrument sounds (see “Sampling” on page 58). When recording from an external audio source, connect a microphone or the audio source to the A/D INPUT jacks. Mic (MONO) Audio Device (Stereo) R R L KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 Apply effects to the microphone sound by using the Vocal Harmony Plug-in board (PLG100-VH). Sampling AD INPUT AD INPUT REMOTE CONTROL ON/OFF KNOB CONTROL FUNCTION MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 EFFECT BYPASS SYSTEM ARPEGGIO VOICE PERFORM MASTER DRUM KITS PRE 2 PRE 1 PRE 3 GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS D E TEMPO ATTACK RELEASE ASSIGN 1 ASSIGN 2 REMOTE CONTROL ON/OFF PLG 2 PLG 3 BRASS REED/PIPE A. PIANO KEYBOARD ORGAN COMMON PATTERN FILE MIXING UTILITY B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 A DEC/NO SONG SCENE SF1 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION 4 5 MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE CATEGORY SEARCH BANK SECTION GROUP KN 1 KN 2 MEQ LOW KN 3 MEQLOWMID MEQ HI MID F G H SE MUSICAL FX COMBI 6 7 8 MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 VOICE ARPEGGIO EFFECT BYPASS SYSTEM PERFORM MASTER DRUM KITS FAVORITES PRE 2 KEYBOARD PRE 3 ORGAN B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 A PATTERN FILE MIXING UTILITY DEC/NO SONG SCENE SF1 LOCATE A. PIANO COMMON SEQUENCER SONG INTEGRATED SAMPLING SEQ TRANSPORT 2 PRE 1 GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS SLOT 3 PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH SF2 SF3 SF4 INC/YES 3 D E DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE NUMBER EDIT JOB COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 9 ENTER EXIT F6 10 11 12 13 14 16 15 NUMBER REC MUTE EDIT SOLO EXECUTE SCENE STORE SET LOCATE GROUP INFORMATION SF5 2 1 ELEMENT/ PERF.PART / ZONE REC BANK ON/OFF VOLUME 4 TRACK SELECT INFORMATION SF5 SLOT 2 KN 4 MEQ HIGH INSERTION FAVORITES SEQUENCER SONG INTEGRATED SAMPLING SEQ TRANSPORT 1 CHORUS ASSIGN B ON/OFF VOLUME 4 LOCATE REVERB RESONANCE SLOT 3 KN 4 MEQ HIGH INSERTION MASTER VOLUME PAN CUTOFF ASSIGN A Setting Up L OCTAVE UP DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE JOB COMPARE F1 F2 F3 F4 F5 EXIT F6 ENTER EXECUTE SCENE STORE SET LOCATE 9 10 11 SOLO UP MOTIF MOTIF n After the above connections are complete, you are ready to set up for recording. When starting a recording, you may need to adjust the input gain of the audio source using the GAIN knob. (page 18). ■ Connecting to mLAN-compatible audio equipment mLAN audio device Sampling mLAN jacks KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A CHORUS ASSIGN B TEMPO ATTACK RELEASE ASSIGN 1 REMOTE CONTROL ON/OFF ASSIGN 2 MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 VOLUME 1 VOLUME 2 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQLOWMID MEQ HI MID MEQ HIGH VOLUME 3 VOICE ARPEGGIO EFFECT BYPASS SYSTEM INSERTION MASTER VOLUME PERFORM MASTER DRUM KITS FAVORITES PRE 2 A. PIANO KEYBOARD PRE 3 ORGAN COMMON SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 A SEQ TRANSPORT DEC/NO SONG SCENE SF1 LOCATE PRE 1 GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES 3 D E DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE GROUP INFORMATION SF5 2 1 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT STORE JOB COMPARE CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 OCTAVE DOWN F1 F2 F3 F4 F5 SCENE STORE SET LOCATE F6 EXIT ENTER EXECUTE 9 10 11 SOLO UP MOTIF n The sound via either of the mLAN jacks and the A/D INPUT jacks can be input. You can set which jacks are used in the Utility mode (page 252). Digital input (when the optional AIEB2 has been installed) By installing the optional AIEB2 I/O expansion board, you can directly record digital audio from digital sources — such as a CD player or DAT deck. For maximum compatibility and flexibility, the AIEB2 board includes two different input types: OPTICAL (optical fiber) and DIGITAL (coaxial cable). Sampling Optical cable OPTICAL INPUT KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS ATTACK ASSIGN 1 OPTICAL OUTPUT TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME SYSTEM ARPEGGIO VOICE PERFORM MASTER DRUM KITS FAVORITES PRE 2 A. PIANO KEYBOARD PRE 3 ORGAN COMMON SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 A SEQ TRANSPORT DEC/NO SONG SCENE SF1 LOCATE PRE 1 GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH DAT BANK ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES 3 D E DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE GROUP INFORMATION SF5 2 1 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT JOB COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 EXIT F6 10 9 ENTER 11 SOLO EXECUTE SCENE STORE SET LOCATE UP DAT or CD recorder MOTIF Sampling DIGITAL INPUT KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS ATTACK ASSIGN 1 DIGITAL OUTPUT TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME Coaxial cable SYSTEM ARPEGGIO VOICE PERFORM MASTER DRUM KITS FAVORITES PATTERN FILE MIXING UTILITY PRE 2 KEYBOARD A DEC/NO INC/YES SYN LEAD 1 SONG SCENE SF1 1 A. PIANO PRE 3 ORGAN COMMON SEQUENCER SONG INTEGRATED SAMPLING SEQ TRANSPORT LOCATE PRE 1 GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK DAT ON/OFF VOLUME 4 SF2 SF3 SF4 B C SYN PAD/ CHOIR SYN COMP 2 3 D F G H SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE E DRUM / CHROMATIC PERCUSSION PERCUSSION SECTION GROUP INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 JOB STORE SCENE STORE SET LOCATE F1 F2 F3 F4 F5 F6 EXIT ENTER EXECUTE 9 10 11 SOLO UP DAT or CD recorder MOTIF n Either one of the connectors (OPTICAL or DIGITAL) can be used; however, both cannot be used at the same time. Select which connector is used for digital input in the Utility mode. See page 249. MOTIF Setting Up 23 Connections Connecting External MIDI Equipment Using a standard MIDI cable (available separately), you can connect an external MIDI device, and control it from the MOTIF. Likewise, you can use an external MIDI device (such as a keyboard or sequencer) to control the sounds on the MOTIF. Below are several different MIDI connection examples; use the one most similar to your intended setup. ■ Controlling from an external MIDI keyboard KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS ATTACK ASSIGN 1 TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 CATEGORY SEARCH KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME VOICE ARPEGGIO SYSTEM PERFORM MASTER DRUM KITS PRE 3 GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS PLG 2 PLG 3 BRASS REED/PIPE BANK MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS FAVORITES A. PIANO KEYBOARD ORGAN COMMON SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY DEC/NO SONG SCENE SF1 SF2 SF3 SF4 INC/YES D B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 A SEQ TRANSPORT LOCATE PRE 2 PRE 1 ON/OFF VOLUME 4 E DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI GROUP SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE 3 MIDI IN INFORMATION SF5 2 1 MIDI OUT ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT OCTAVE CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE JOB COMPARE F1 F2 F3 F4 F5 11 10 9 ENTER EXIT F6 SOLO EXECUTE SCENE STORE SET LOCATE UP DOWN Setting Up Extrnal MIDI keyboard or synthesizer MOTIF ■ Controlling an external MIDI keyboard KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS ATTACK ASSIGN 1 TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 CATEGORY SEARCH KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME SYSTEM VOICE ARPEGGIO PERFORM MASTER DRUM KITS FAVORITES A. PIANO PRE 3 KEYBOARD ORGAN COMMON SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 A SEQ TRANSPORT DEC/NO SONG SCENE SF1 LOCATE PRE 2 PRE 1 GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS D E PLG 2 PLG 3 BRASS REED/PIPE BANK MUSIC SYNTHESIZER REALTIME CONTROL EXTENDED SYNTHESIS ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES F G H SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE DRUM / CHROMATIC PERCUSSION PERCUSSION SECTION GROUP MIDI IN MIDI OUT INFORMATION SF5 2 1 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE JOB COMPARE OCTAVE F1 F2 F3 F4 F5 11 10 9 ENTER EXIT F6 SOLO EXECUTE SCENE STORE SET LOCATE UP External MIDI keyboard or synthesizer MOTIF ■ Recording and playback using an external MIDI sequencer KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS ATTACK ASSIGN 1 TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 CATEGORY SEARCH KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME VOICE ARPEGGIO SYSTEM PERFORM MASTER DRUM KITS FAVORITES A. PIANO PRE 3 KEYBOARD ORGAN COMMON SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY A SEQ TRANSPORT DEC/NO INC/YES SYN LEAD 1 SONG SCENE SF1 LOCATE PRE 2 PRE 1 GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS PLG 2 PLG 3 BRASS REED/PIPE BANK ON/OFF VOLUME 4 SF2 SF3 SF4 B C SYN PAD/ CHOIR SYN COMP D F G H SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE E DRUM / CHROMATIC PERCUSSION PERCUSSION 3 2 SECTION MIDI IN MIDI OUT GROUP INFORMATION SF5 2 1 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 JOB STORE F1 F2 F3 F4 F5 ENTER EXIT F6 9 11 10 SOLO EXECUTE SCENE STORE SET LOCATE UP MIDI OUT External MIDI sequencer MIDI IN MOTIF ■ Controlling another MIDI device via MIDI THRU External MIDI sequencer MIDI OUT External MIDI synthesizer 1 MIDI IN MIDI IN KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A CHORUS ATTACK ASSIGN B ASSIGN 1 MIDI THRU TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 CATEGORY SEARCH KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME VOICE ARPEGGIO SYSTEM PERFORM MASTER DRUM KITS FAVORITES PRE 2 A. PIANO PRE 3 KEYBOARD ORGAN COMMON SEQUENCER A SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB STORE SEQ TRANSPORT DEC/NO INC/YES EXIT ENTER SYN LEAD 1 SONG SCENE SF1 LOCATE PRE 1 GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS PLG 2 PLG 3 BRASS REED/PIPE BANK ON/OFF VOLUME 4 SF2 SF3 SF4 D B C SYN PAD/ CHOIR SYN COMP E DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE 3 2 GROUP INFORMATION SF5 2 1 ELEMENT/ PERF.PART / ZONE MIDI OUT NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 F1 F2 F3 F4 F5 F6 9 11 10 SOLO EXECUTE SCENE STORE SET LOCATE UP MIDI IN C MOTIF External MIDI synthesizer 2 In the above setup, Synthesizer 2 can be played from the MOTIF (via MIDI OUT), while the external sequencer plays Synthesizer 1 (via MIDI THRU). n The MIDI cable should be no greater than 15 meters in length, and there should be no more than three devices in a MIDI chain (chained in series via each unit’s MIDI THRU). To connect more units, use a MIDI Thru Box for parallel connections. You may encounter errors if the MIDI cables are too long or if too many devices are chained together via their MIDI THRU connectors. ■ Using an mLAN interface (when an optional mLAN8E has been installed) KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS ATTACK ASSIGN 1 TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME SYSTEM ARPEGGIO VOICE PERFORM MASTER DRUM KITS FAVORITES PATTERN FILE MIXING UTILITY PRE 2 A DEC/NO INC/YES SYN LEAD 1 SONG SCENE SF1 1 KEYBOARD PRE 3 ORGAN COMMON SEQUENCER SONG INTEGRATED SAMPLING SEQ TRANSPORT LOCATE PRE 1 A. PIANO GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK ON/OFF VOLUME 4 SF2 SF3 SF4 B C SYN PAD/ CHOIR SYN COMP 2 3 D E DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE GROUP INFORMATION SF5 IEEE1394 cable C 2 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 JOB STORE F1 F2 F3 F4 SCENE STORE SET LOCATE F5 F6 EXIT ENTER EXECUTE 9 10 11 SOLO UP Transmit & Receive mLan keyboard MOTIF n Any one of the these interfaces can be used for MIDI data transmission/reception: the MIDI connectors, the mLAN terminal connector, or the USB connector. However, they cannot be used at the same time. Select which connector is used for MIDI data transfer in the Utility mode. See page 259. 24 MOTIF Setting Up Connections Connecting to a Personal Computer By connecting a computer, you can transfer data between the MOTIF and the computer via MIDI, and use the computer to control, edit and organize data on the MOTIF. For example, you can use the included Voice Editor program to edit the MOTIF’s voices. There’s also a special File Utility program that lets you use your computer to manage files in the Memory Card inserted in the MOTIF’s CARD slot or files in the SCSI device connected to the MOTIF. ■ Using an USB interface PAN REVERB CUTOFF RESONANCE ASSIGN A CHORUS ASSIGN B TEMPO ATTACK RELEASE ASSIGN 1 ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 KN 2 MEQ LOW KN 3 VOLUME 1 VOLUME 2 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQLOWMID MEQ HI MID MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 3 ARPEGGIO SYSTEM VOICE PERFORM MASTER DRUM KITS FAVORITES PRE 1 PRE 2 KEYBOARD PRE 3 ORGAN COMMON SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY SEQ TRANSPORT DEC/NO SONG SCENE SF1 LOCATE A. PIANO GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES D A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 E DRUM / CHROMATIC PERCUSSION PERCUSSION 3 F G H SE MUSICAL FX COMBI SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE GROUP Setting Up KNOB CONTROL FUNCTION INFORMATION SF5 2 1 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT JOB COMPARE CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 OCTAVE STORE F1 F2 F3 F4 F5 F6 EXIT 11 10 9 ENTER SOLO EXECUTE SCENE STORE SET LOCATE UP DOWN USB cable MOTIF Computer with a USB Interface n If you are using the Remote Control function to control operations on a computer sequencer, we recommend making connections with a USB cable. n The USB connection can only be used for transfer of MIDI data. No audio data can be transfered via USB. MOTIF KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS ATTACK ASSIGN 1 TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME ARPEGGIO SYSTEM VOICE PERFORM MASTER DRUM KITS FAVORITES PATTERN FILE MIXING UTILITY PRE 2 KEYBOARD PRE 3 ORGAN B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 A DEC/NO SONG SCENE SF1 1 A. PIANO COMMON SEQUENCER SONG INTEGRATED SAMPLING SEQ TRANSPORT LOCATE PRE 1 GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES 3 D E DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE GROUP INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 JOB STORE F1 F2 F3 F4 F5 F6 EXIT ENTER 9 10 11 EXECUTE SCENE STORE SET LOCATE SOLO UP USB cable MIDI IN MIDI OUT transmission & receive Computer with a USB interface MIDI cable MIDI OUT MIDI IN External MIDI synthesizer External MIDI sequencer n When you connect your computer to the MOTIF as illustrated above, you will need to select “USB” for MIDI data transmission in the Utility mode. (page 258) About the USB connector USB cables have different connectors on each end: the A type and the B type. When using the USB connection, connect the A type to your computer and the B type to the MOTIF. Disconnecting/connecting the USB cable or turning the power off/on may cause the computer operation to hang-up, or may stop the MOTIF from functioning properly. Be careful NOT to disrupt the USB connection or turn the power on/off in the following operating conditions. • While the MOTIF is recognizing the device or while loading the driver. • While starting or shutting down the operating system. • While computer operation is suspended (with power management controls such as sleep or hibernation). • While a MIDI application is starting. The computer may also hang up and/or the MOTIF’s functions may stop if you do the following: • Turn the power on/off, or connect/disconnect the cable too often. • Enter the sleep mode while trasmitting the MIDI data, and resume operation. • Disconnect/connect the cable while the MOTIF is on. • Turn the MOTIF on/off, start the computer, or install driver software while a huge amount of data is being transferred. MOTIF Setting Up 25 Connections ■ Using an IEEE1394 interface (when an optional mLAN8E has been installed) KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A CHORUS TEMPO ATTACK ASSIGN B RELEASE ASSIGN 1 REMOTE CONTROL ON/OFF ASSIGN 2 MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 KN 2 MEQ LOW KN 3 VOLUME 1 VOLUME 2 SLOT 1 SLOT 2 SLOT 3 CATEGORY SEARCH KN 4 MEQLOWMID MEQ HI MID MEQ HIGH VOLUME 3 VOICE ARPEGGIO EFFECT BYPASS SYSTEM INSERTION MASTER VOLUME PERFORM MASTER DRUM KITS FAVORITES A. PIANO PRE 3 KEYBOARD ORGAN COMMON SEQUENCER B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 A SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY SEQ TRANSPORT DEC/NO SONG SCENE SF1 LOCATE PRE 2 PRE 1 GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS D E PLG 2 PLG 3 BRASS REED/PIPE BANK ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES F G H SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE DRUM / CHROMATIC PERCUSSION PERCUSSION GROUP SECTION INFORMATION SF5 2 1 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT STORE JOB COMPARE CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 OCTAVE F1 F2 F3 F4 F5 11 10 9 ENTER EXIT F6 IEEE1394 cable SOLO EXECUTE SCENE STORE SET LOCATE UP DOWN MOTIF Computer with a IEEE1394 interface ■ Using a MIDI interface ●Using the computer’s MIDI interface Setting Up %$$ 3= %$$ $! ! " % #! ! "!$! " !! $! # $! $! $! #! %( #! #! & #! ' %( %$ %( $ %$ %( $ % "% "% %$$ " % ! ! "% & % $ $-. /0- 123 40 5 263 %.2 70 2-40 "% #$ % % ! "% ' $ %%! ("! ! ! $ $! %$! %$*$! "$$ ( ! ! & ' )! )!& )!' & ' $! 8 $! # ! ! $ $!%$! & % " ! "$ "# $! & & $ !# $! " ! % %$ "% " $! " $! %" $ * %$ ' , 9 : # & ' , %" & %! 8 )! $ + % )! ! ! & ' < ; ! *$ , %$$ " !"% *" ! " ! %" $ "$! ! $) % $ $! $! "% %$$ $! /2 >07 %$$ $63 %$ ●Using an external MIDI interface MIDI Interface MIDI OUT serial port (modem or printerport) or USB port MIDI IN MIDI OUT MIDI IN KNOB CONTROL FUNCTION PAN REVERB CHORUS CUTOFF RESONANCE ATTACK ASSIGN A ASSIGN B ASSIGN 1 TEMPO RELEASE ASSIGN 2 KN 1 KN 2 KN 3 KN 4 MEQ LOW MEQLOWMID MEQ HI MID MEQ HIGH MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE EFFECTBYPASS ARPEGGIO INSERTION SYSTEM VOICE DRUM KITS PERFORM MASTER ON/OFF SEQUENCER FAVORITES COMMON SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY REC OCTAVE DOWN UP CS 1 CS 2 CS 3 CS 4 ZONE1 ZONE2 ZONE3 ZONE4 1 EDIT JOB PRE 2 PRE 1 A.PIANO KEYBOARD B A SEQ TRANSPORT LOCATE DEC/NO SONG SCENE SF1 2 SF2 SF3 SF4 INC/YES SYN LEAD 1 INFORMATION SF5 2 SLOT 1 PRE 3 GM USER PLG 1 ORGAN GUITAR/ PLUCKED BASS STRINGS C D E SYN PAD/ SYN COMP CHROMATIC DRUM / PERCUSSION PERCUSSION CHOIR 3 SLOT 2 SLOT 3 PLG 2 PLG 3 BRASS REED/PIPE F G H SE MUSICAL FX COMBI CATEGORY SEARCH SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/PERF.PART/ZONE COMPARE STORE F1 F2 F3 F4 F5 F6 EXIT ENTER 9 10 11 BANK GROUP NUMBER SOLO EXECUTE SCENE STORE SET LOCATE MOTIF Computer n Please use the appropriate MIDI interface for your computer. n If you are using a computer that has a USB interface, make sure to connect the computer and the MOTIF by USB. (The data transfer rate is faster than MIDI and you’ll have access to multiple MIDI ports.) Local On/Off - When Connected to a Computer When connecting the MOTIF to a computer, the keyboard performance data is generally sent to the computer, and then returned from the computer to play the tone generator or sound source. If the Local Switch is set to “on,” a “double” sound may result, since the tone generator is receiving performance data from both the keyboard directly and the computer. Use the setting suggestions below as a guideline; specific instructions may differ depending on your computer and the software used. When MIDI “Echo” is enabled on the software/computer, set the MOTIF Local Switch to “off.” IN USB OUT Tone Generator Keyborad Local Off MOTIF Local Sw=off Computer with Application Software OUT IN Echo Back On n When transmitting or receiving System Exclusive data (such as with the Bulk Dump function), use the setting example below, making sure that MIDI “Echo” on the computer software is set to “off.” 26 MOTIF Setting Up Connections When MIDI “Echo” is disabled on the software/computer, set the MOTIF Local Switch to “on.” USB Computer with Application Software OUT Tone Generator Keyborad IN Local On n Although not indicated in the illustration above, the MOTIF actually receives and responds to MIDI data from the computer application (sequencer), regardless of the Local Sw setting on the MOTIF. * MIDI “Echo” is a function on sequencers that takes any data received via the MIDI IN and “echoes” it (or sends it as is) through the MIDI OUT. In some software, this function is also called “MIDI Thru.” n Refer to the owner's manual of your particular software for specific instructions. Connecting to an External SCSI Device Reference (page 262) This SCSI-2 50-pin connector (D-sub, half-pitch) can be used to connect to an external SCSI data storage device — allowing you to conveniently save and store large quantities of data. For details about SCSI and connecting SCSI devices, see page 64. Hard Disk, etc. SCSI KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS ATTACK ASSIGN 1 TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME SYSTEM ARPEGGIO VOICE PERFORM MASTER DRUM KITS FAVORITES PATTERN FILE MIXING UTILITY EDIT JOB STORE PRE 2 KEYBOARD A DEC/NO INC/YES EXIT ENTER SYN LEAD 1 SONG SCENE SF1 1 A. PIANO PRE 3 ORGAN COMMON SEQUENCER SONG INTEGRATED SAMPLING SEQ TRANSPORT LOCATE PRE 1 GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK ON/OFF VOLUME 4 SF2 SF3 SF4 B C SYN PAD/ CHOIR SYN COMP 2 3 D E DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE GROUP INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 F1 F2 F3 SCENE STORE SET LOCATE F4 F5 F6 EXECUTE 9 10 11 SOLO UP MOTIF n The SCSI ID for the MOTIF and for the connected SCSI device are set in the File mode (page 265). ◆ MOTIF-compatible SCSI devices/disks • Only DOS-format disks can be used by the MOTIF for saving data. Disks formatted by the MOTIF are formatted using DOS format. • Disks formatted to DOS format by a personal computer can be used with the MOTIF. However, for best results, we recommend using disks formatted by the MOTIF. • When formatted using the MOTIF, disks with a capacity of less than 2GB are formatted using FAT16 format, and larger disks are formatted using FAT32 format. • MO disks which can be used with the MOTIF include capacities of 128 MB, 230 MB, and 540 MB. MO disks with a capacity of 640 MB and above cannot be used. • The MOTIF can use removable media of capacities of up to 2 GB. Even if larger drives are connected, the MOTIF can only use a maximum of 2 GB. Furthermore, all removable media are formatted using the FAT16 format, and partitioning is not possible. • When a 31 GB disk is formatted, four 7.75 GB partitions will be created automatically. MOTIF Setting Up 27 Setting Up Echo Back Off MOTIF Local Sw=on Connections Connecting Various Controllers Quick Start Guide (page 48) The MOTIF features several controller jacks on the rear panel — letting you independently control various aspects of the sound and a variety of functions with optional controllers. FOOT SWITCH BREATH ASSIGNABLE SUSTAIN FOOT CONTROLLER 2 1 Setting Up BC3 28 MOTIF Setting Up FC4 or FC5 FC4 or FC5 FC7 FC7 Powering Up Powering Up Power-on Procedure n If the SCSI device is connected to the MOTIF, first turn the SCSI device on and follow the instructions below. When turning the power off in this case, turn the SCSI device off after all other devices. When using the MOTIF as MIDI receiver: 1 2 ! ! # ! $ '()*+,()- ,./01'* )23)'4)+ ),05(1.) 6()+',0 7'(+70 3+8,4) !7-30,+ 9'(:);1; 03*51' 9;(). ! !" ! ! !"! !" ! !" ! ! ! ! ! ! ! # ! !! " ! ! % < " # # # ! # ! # ! ! # ! % ! ! ! & ! $ $ $ $ !# < # $ 3 % % ! ! " Switching the MOTIF On n Before you switch your MOTIF on or off, first turn down the volume of any audio equipment connected to it. 1 Press the POWER switch. After a while, the default display appears (as set in the Utility parameter, Power On Mode Display). POWER ON OFF AC INLET MOTIF 2 Raise the sound system volume to a reasonable level. 3 Gradually raise the VOLUME control while playing the keyboard to set the desired listening level. MOTIF Setting Up 29 Setting Up Once you’ve made all the necessary connections between your MOTIF and any other devices, make sure that all volume settings are turned down all the way to zero. Then turn on the every device in your setup in the order of MIDI masters (senders), MIDI slaves (receivers), then audio equipment (mixers, amplifiers, speakers, etc.). This ensures smooth signal flow from the first device to the last (first MIDI, then audio). When powering down the setup, first turn down the volume for each audio devices, then switch off each device in the reverse order (first audio devices, then MIDI). Mode Basic Structure Mode The MOTIF is organized with various modes, each covering a different set of operations and functions. Keyboard Playback mode Voice mode VOICE Voice Play mode Voice Edit mode Voice Job mode Voice Store mode PERFORM Basic Structure Performance mode Performance Play mode Performance Edit mode Performance Job mode Performance Store mode Sampling mode INTEGRATED SAMPLING Sampling Record mode Sampling Edit mode Sampling Job mode Sequencer mode (Multi mode) Song mode Master mode MASTER Master Play mode Master Edit mode Master Job mode Master Store mode Utility mode SONG Song Play mode Song Record mode Song Edit mode Song Job mode UTILITY File mode FILE Job mode Song Mixing mode Pattern mode PATTERN Pattern Play mode Pattern Record mode Pattern Edit mode Pattern Job mode Pattern Mixing mode ■ Voice mode Basic Structure (page 42) · Basic Operation (page 67) Quick Start Guide (page 80) · Reference (page 121) ● Voice Play mode In this mode, Normal Voices and Drum Voices can be played. By installing an optional Plug-in Board, you can have an even greater selection of Voices. ● Voice Edit mode In this mode, Normal Voices and Drum Voices can be created and edited. 30 MOTIF Basic Structure ● Voice Job mode In this mode, you can copy and initialize Voices, and perform other similar operations (Jobs) on them. ● Voice Store mode In this mode, you can store edited voices as User Voices in internal memory. You can also save them to Memory Card or an external SCSI device in the File mode (below). Mode Basic Structure (page 42) · Basic Operation (page 67) Quick Start Guide (page 88) · Reference (page 160) ● Performance Play mode In this mode, Performances can be played — letting you use Voice splits, layers, etc,. ● Performance Edit mode In this mode, Performances can be created and edited. ● Performance Job mode In this mode, you can copy and initialize Performances, and perform other similar operations (Jobs) on them. ● Performance Store mode In this mode, you can save edited Performances as User Performances in internal memory. You can also save them to Memory Card or an external SCSI device in the File mode (below). ■ Song mode Basic Structure (page 51) · Basic Operation (page 67) Quick Start Guide (page 78) · Reference (page 177) ● Song Play mode In this mode, you can use the sequencer and its various functions (e.g., Track Mute/Solo) in playing back Songs. ● Song Record mode In this mode, you can use the sequencer to record your keyboard performance to a User Song. The MOTIF lets you record up to 16 separate sequence tracks. ● Song Edit mode In this mode, you can edit the MIDI events of each track of the recorded Song. ● Song Job mode In this mode, you can perform a variety of operations on the Song data, such as copying and erasing. These can be done on individual measures, or on entire tracks. ● Song Mixing mode In this mode, you can set the tone generation parameters of each part of the recorded Song. ■ Pattern mode Basic Structure (page 51) · Basic Operation (page 67) Quick Start Guide (page 100) · Reference (page 215) ● Pattern Play mode In this Mode, you can use the sequencer to play back Patterns. You can combine various Phrases (by using the Patch function) to create a Pattern. ● Pattern Record mode In this mode, you can use the sequencer to record your keyboard performance to a User Phrase — the basic building block for Patterns. The MOTIF lets you record up to 16 separate sequence tracks. ● Pattern Edit mode In this mode, you can edit the MIDI events of each track of the recorded Pattern Phrase. ● Pattern Job mode In this mode, you can perform a variety of operations on the Pattern data, such as copying and erasing. These can be done on individual measures, or on entire tracks. ● Pattern Mixing mode In this mode, you can set the tone generation parameters of each part of the recorded Pattern. ■ Sampling mode Basic Structure (page 58) · Basic Operation (page 67) Quick Start Guide (page 100) · Reference (page 233) This mode is s sub-mode of the Voice/Performance/ Song/Pattern mode. Press the [INTEGRATED SAMPLING] button in each mode to enter the Sampling mode, and press the same button after sampling to go back to the previous mode. ● Sampling Record mode In this mode, you can record sounds into the MOTIF from a microphone or other audio source. These sounds (Samples) can then be played back in real time via keyboard or can be saved to the Song/ Pattern track. Moreover, you can process a recorded Sample (for example, with Chorus or another effect), then rerecord it as a new Sample — using the Resampling function. ● Sampling Edit mode In this mode, you can edit recorded Samples — for example, their loop points and other parameters. ● Sampling Job mode In this mode, you can copy and delete Samples, and perform other similar operations (Jobs) on them. MOTIF Basic Structure 31 Basic Structure ■ Performance mode Mode ■ Utility mode Basic Operation (page 67) · Reference (page 249) This mode is a sub-mode of the Voice/Performance/ Song/Pattern mode. Press the [UTILITY] button in each mode to enter the Sampling mode and press the same button after sampling to go back to the previous mode. In this mode, you can set parameters that apply to the entire system of the MOTIF. These include MIDI settings and global setup parameters. ● Utility Job mode In this Mode, you can restore the MOTIF’s factory settings. Basic Structure ■ Master mode Basic Structure (page 56) · Basic Operation (page 68) Quick Start Guide (page 93) · Reference (page 268) This mode gives you a convenient way to register the settings that are often used in the Voice, Performance, Song and Pattern mode to User Master, and to instantly recall them with simple operations. For the Voice or Performance mode, you can make additional Master Keyboard function settings (e.g., separate Zone settings), and register them to a User Master. ● Master Play mode In this mode, you can select the desired User Master to play the MOTIF. ● Master Edit mode In this mode, you can edit the Master settings. ● Master Job mode In this mode, various jobs for Master settings are provided. ● Master Store mode In this mode, you can store settings for each mode to the internal memory as a User Master. ■ File mode Basic Structure (page 63) · Basic Operation (page 68) Quick Start Guide (page 97) · Reference (page 261) In this mode, you can save/load all your important original data to/from Memory Card (the MOTIF features a built-in Card slot) or an external SCSI storage device for future recall. 32 MOTIF Basic Structure System Overview System Overview This section provides an overview of the MOTIF’s wide range of sophisticated and versatile features. The MOTIF is made up of several blocks, as shown here. Controller block Keyboard Controllers MIDI out KN 2 KN 3 KN 4 Sequencer block Tone Generator block MIDI sequence data Internal AWM2 Plug-in board • Voice • Performance MIDI data • Song • Pattern • Arpeggio Effect block DSP • Reverb • Chorus • Variation • Master Equalizer Sampling block Microphone or audio equipment MIDI data MIDI data Basic Structure KN 1 A/D Input Output MIDI data External MIDI device Controller block Basic Structure (pages 37, 48) This block consists of the keyboard, Pitch Bend and Modulation Wheels, Ribbon Controller, Sound Control knobs, and so on. The keyboard itself doesn’t generate sounds, but instead sends note, velocity and other information (MIDI data) to the synthesizer’s tone generator section when you play notes. The controllers also send changes. Information from the keyboard and controllers can be transmitted to other external MIDI devices through the MIDI OUT connector or the USB connector. Sequencer block Basic Structure (page 51) · Quick Start Guide (pages 99 ~ 118) · Reference (pages 177, 215) This block lets you create songs and patterns by recording/editing musical performances (MIDI data) recorded from the controller block, and then plays back this data, transmitting it to the tone generator block. The sequencer block can be operated in the Song mode, in the Pattern mode, and in using the Arpeggio feature. When a song or a pattern is played back, the musical data of each sequence track is transmitted to the tone generator block according to the Transmit Channel settings. Sequencer Track 1 Piano Ch1 Track 2 Bass Ch2 Track 3 Strings Ch3 Track 16 Percussion Tone Generator block (example) part 1 (Receive channel 2) part 2 (Receive channel 3) part 3 (Receive channel 10) part 4 (Receive channel 1) part 15 (Receive channel 9) part 16 (Receive channel 16) Ch16 n Details about track structure of a Song/Pattern/Arpeggio are described on pages 51 and 52 respectively. MOTIF Basic Structure 33 System Overview Tone Generator block The tone generator block is what actually produces sound in response to the MIDI messages received from the sequencer block, the controller block, and from the MIDI IN connector or the USB connector. The following example illustrates the signal flow within a Voice. Voice Element 4 Element 3 Element 2 Element 1 LFO Low Frequency Oscillator Basic Structure Osillator Pitch Filter Amplitude See page 45 PEG FEG Pitch Envelope Generator Filter Envelope Generator See page 46 See page 47 AEG Amplitude Envelope Generator See page 47 n For details on the Voice structure, see page 40. Internal AWM2 Tone Generator and optional Plug-in board The tone generator block in the MOTIF consists of the built-in AWM2 and optional Plug-in units. Internal AWM2 Tone Generator Plug-in board (optional) ● AWM2(Advanced Wave Memory2) AWM2 (Advanced Wave Memory 2) is a synthesis system based on sampled waves (sound material), and is used in many Yamaha synthesizers. For extra realism, each AWM2 Voice uses multiple samples of a real instrument’s waveform. Furthermore, a wide variety of envelope generator, filter, modulation, and other parameters can be applied to the basic waveform. You can create your own waves via microphone or from external audio equipment by using the Sampling function. These are then stored in internal RAM and can be used just like the preseet waves. One voice can use up to four waves (elements) in AWM2 tone generator. n AWM2 is not just limited to general musical instruments (Normal Voices). It can also be used for setting up percussive instruments (Drum Voices). For details on Normal and Drum Voices, see page 45. ● Plug-in board Plug-in Boards give you an enormous amount of additional sonic flexibility and power. When installed, they work seamlessly and transparently within the system of the MOTIF — meaning that you can use their sounds and functions just as if they were built right into the MOTIF at the factory. The boards that are available for and can be installed to the MOTIF are described below. Up to three Plug-in boards can be installed to the MOTIF. These boards are not simply a source of more Voices; they are also tone generators in their own right and extend the system-level specifications such as maximum polyphony. In addition, they allow you to use synthesis systems besides AWM2. You can play Plug-in Voices just like ordinary internal Voices and use them as Parts in a Performance (page 42). The MOTIF is compatible with the Modular Synthesis Plug-in System (see next page). There are three types of Modular Synthesis Plug-in System-compatible Plug-in Boards: Single Part, Multi-Part and Effect Plug-in Board. Using these, you can build your own system based on the sounds you require. 34 MOTIF Basic Structure System Overview Plug-in board line-up ● Single Part Plug-in Boards Single Part Plug-in Boards let you add a completely different synthesizer or tone generator and play its voices by using a single part of the MOTIF. • Analog Physical Modeling Plug-in Board (PLG150-AN) Using Analog Physical Modeling (AN) synthesis, the very latest digital technology is used to accurately reproduce the sound of analog synthesizers. With this board installed, you have real-time control over the playback of vintage synthesizer sounds as well as the very latest sounds heard in today’s club-oriented music. • Piano Plug-in Board (PLG150-PF) • Advanced DX/TX Plug-in Board (PLG150-DX) The sounds of the DX7 are available on this Plug-in Board. Unlike PCM-based tone generators, this board uses the powerful FM Synthesis system — the same as found on DX-series synthesizers — for extraordinarily versatile and dynamic sound shaping potential. Sounds are compatible with those of the DX7, and the board can even receive DX7 data via MIDI bulk dump. • Virtual Acoustic Plug-in Board (PLG150-VL) With Virtual Acoustic (VA) synthesis, the sounds of real instruments are modeled (simulated) in real time, giving a degree of realism that cannot be achieved using conventional PCM-based synthesis techniques. When playing these sounds using an optional MIDI Wind Controller (WX5), you can even capture some of the physical feel of woodwind instruments. ● Effect Plug-in Board • Vocal Harmony Plug-in Board (PLG100-VH) With this board installed, you can add harmonies to selected parts using four types of effects. Chorus parts for vocals can be created automatically from chords that have been prepared and stored as MIDI data. You can also use the MOTIF like a vocoder by connecting and using a microphone while playing the keyboard. ● Multi-Part Plug-in Board Multi-Part Plug-in Boards let you expand the voice polyphony of the MOTIF by giving you a full 16 independent instrumental parts. By using this type of board to play back sequencer tracks, you can reserve the maximum polyphony of the MOTIF for your keyboard performance. • XG Plug-in Board (PLG100-XG) This Plug-in Board is a 16-part XG sound generator. You can play back XG/GM song files using the rich variety of sounds and effects on this board. n Additional Plug-in Boards will be available in the future. About MODULAR SYNTHESIS PLUG-IN SYSTEM The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular Synthesis-Plug-in-compatible synthesizers, tone generators and sound cards. This enables you to easily and effectively take advantage of the latest and most sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multi-faceted advances in modern music production. MOTIF Basic Structure 35 Basic Structure A massive waveform memory is dedicated to the reproduction of piano sounds. This board offers 136 stereo sounds, including a number of acoustic and electric pianos, and up to 64-note polyphony. You can even install two of these boards to double the polyphony to 128 notes. System Overview Maximum Polyphony The maximum sonic polyphony is 62 for AWM2, plus the polyphony of the Plug-in Board (if installed). The actual note polyphony will vary depending on the type of tone generator unit used, the number of Elements in the Voice, and the note polyphony of the Plug-in Board. In the case of AWM2 Voices, the polyphony figure of 63 is divided by the number of Elements in the Voice. Part structure of the Tone Generator block The MOTIF plays its sounds (with the Tone Generator block) in response to MIDI data, received from the Controller block or Sequencer block. MIDI data is assigned to one of sixteen channels, and the MOTIF is capable of simultaneously playing sixteen separate parts, via the sixteen MIDI channels. However, we can overcome the sixteen-channel limit by using separate MIDI “ports,” each supporting sixteen channels. The multiple sound sources of the MOTIF (internal tone generator and Plug-in Boards) take advantage of the three MIDI ports included on the instrument. Basic Structure Tone Generator block Part for Voice mode Port 1 Port 2 Port 3 part 1 part 17 part 33 part 2 part 18 part 34 part 14 part 15 part 30 part 16 part 32 part 46 part 47 part 48 part 31 These parts are used in modes other than the Voice mode. As shown in the above illustration, up to 48 parts can be used in the modes (excepting the Voice mode). However, the number of parts that are actually used is a maximum of 34 in the Song and Pattern modes, as we’ll see later in some examples. n See page 30 for details about the modes. n The USB cable supports up to eight separate MIDI ports. The MOTIF’s Tone Generator block supports three separate ports as illustrated above, and the MOTIF’s MIDI Thru function supports eight separate MIDI ports. n The MIDI cable and IEEE cable (when the mLAN8E has been installed) cannot handle MIDI port data. 36 MOTIF Basic Structure System Overview Relationship between the Part structure of the Tone Generator block and the Controller/Sequencer block for each mode ● Voice mode Controller block Controllers Keyboard Part for Voice mode KN 2 KN 3 KN 4 The sequencer block is not available in the Voice mode. Tone Generator block (Internal / Plug-in) Port 1 Port 2 Port 3 part 1 part 17 part 33 part 2 part 18 part 34 part 30 part 46 part 31 part 47 part 32 part 48 Part 1-48 are not used. Basic Structure KN 1 Output part 3 part 4 part 5 part 16 n In the Voice mode, the MIDI port number is 1. n The Multi-Part Plug-in Board cannot be used in the Voice mode. However, other Plug-in Boards can be used. ● Performance mode Controller block Keyboard Controllers KN 1 KN 2 KN 3 KN 4 A maximum of four parts can be used among parts 1-4 and 14-16. Parts that are set to on in the Performance Play mode are used. Tone Generator block (Internal / Plug-in) PLG3 part Port 1 Port 2 Port 3 Part 1 Part 17 Part 33 Part 2 Part 18 Part 34 Part 3 The sequencer block is not available in the Performance mode. Parts 5-13 and 17-48 are not used. Part 4 Part 5 Output PLG2 part PLG1 part Part 14 Part 30 Part 46 Part 15 Part 31 Part 47 Part 16 Part 32 Part 48 n In the Performance mode, the MIDI port number is 1. n The Multi-Part Plug-in Board cannot be used in the Performance mode. However, other Plug-in Boards can be used. MOTIF Basic Structure 37 System Overview ● Song/Pattern mode Controller block External sequencer Controllers Keyboard MIDI cables by themselves cannot handle data from multiple ports. If a MIDI cable is used to transmit data from an external sequencer, only the Port 1 parts are used. To take advantage of the multiple ports of the MOTIF, use a USB cable. Sequencer block Basic Structure MIDI sequence data (Song / Pattern) KN 2 KN 3 KN 4 In the Song / Pattern Mixing mode, the only parts that sound are the currectly selected (edited) part, and parts having the same receive channel as the selected one. Tone Generator block (example) When the Multi-Part Plug-in board and two Single Part Plug-in boards have been installed: Port 1 Port 2 Port 3 (Multi-Part Plug-in Board) (Single Part Plug-in Board) Track 1 Part 1 Part 17 Part 33 Track 2 Part 2 Part 18 Part 34 Track 3 Part 3 Track 4 Part 4 Part 30 Part 46 Track 15 Part 15 Part 31 Part 47 Track 16 Part 16 Part 32 Part 48 Each track of music (MIDI) data sounds a corresponding part on the MOTIF, according to the MIDI channel settings. (The receive channel for each part must match the transmit channel of each track.) 38 KN 1 MOTIF Basic Structure Parts 33-46 are not used. PLG1 part PLG2 part System Overview Effect block This block of the MOTIF applies effects to the output of the tone generator, processing and enhancing the sound using sophisticated DSP (digital signal processing) technology. Effect structure ■ System Effects (Reverb, Chorus, Variation) System Effects are applied to the overall sound, whether it be a voice, an entire performance setup, a song, etc. With System effects, the sound of each part is sent to the effect according to the effect Send Level for each part. The processed sound (referred to as “wet”) is sent back to the mixer, according to the Return Level, and output — after being mixed with the unprocessed “dry” sound. This arrangement lets you prepare an optimum balance of the effect sound and the original sound of the parts. • Reverb The Reverb effects add a warm ambience to the sound, simulating the complex reflections of actual performance spaces, such as a concert hall or a small club. A total of 12 different Reverb types are available. • Chorus The Chorus effects use modulation to create a rich ensemble sound — as if one part were being played by several instruments simultaneously. A total of 25 different Chorus types are available. • Variation The Variation effects provide a wide variety of sound transformations and enhancements. A total of 25 different Variation types are available. Variation is not available in the Voice mode. ■ Insertion Effects (1, 2) Insertion effects can be applied individually to each part. Insertion effects are mainly used to directly process a single part. The depth of the effect is adjusted by setting the dry/wet balance. Since an Insertion effect can only be applied to one particular part, it should be used for sounds you want to drastically change. You can also set the balance so that only the effect sound is heard, by setting Wet to 100%.The MOTIF features two Insertion effect systems — one with a total of 104 internal effect types and the other with 25. ■ Plug-in Insertion Effects This is a special effect system, only available when an effect-type Plug-in Board is installed. Plug-in Board effects are not available in the Voice mode. ■ Master Equalizer Usually an equalizer is used to correct the sound output from amps or speakers to match the special character of the room. The sound is divided into several frequency bands, then by raising or lowering the level for each band, the correction is made. Adjusting the sound you play according to the genre—classical music being more refined, pops music more crisp, and rock music more dynamic—can also serve to draw out the special characteristics of the music and make your performance more enjoyable. The MOTIF possesses a high grade five-band digital equalizer function. The four knobs can be used to adjust the gain of the four bands (among five). MOTIF Basic Structure 39 Basic Structure The MOTIF’s effect processing features the following effect units. System Overview Effect connection ● In the Voice mode: Reference (page 137) You can select the Insertion connection among three types. System Effect Reverb Tone Generator block Element 1 Chorus Insertion Effect Return Level Send Level Element 2 1 Master Equalizer Element 3 Output 2 Basic Structure Element 4 You can select the Insertion connection from the three types shown below. This determines which Insertion system, 1 or 2, is applied to each Element (or to each key when the Drum voice is selected). The Insertion effect can also be bypassed. 1 to 2 2 to 1 parallel 1 1 1 2 2 2 n The parallel connection is not available for Plug-in voices. ● In the Performance mode: Reference (page 169) The diagram below indicates the connection when the Vocal Harmony Plug-in Board (PLG100-VH) is installed to slot 1. System Effect Select the part to which the Insertion effect is applied from parts 1-4 and Plug-in parts 2-3. The connection type depends on the setting of the Voice assigned to the selected part. Reverb Chorus Variation Insertion Effect Send Level Tone Generator block 1 Part 1-4, Plug-in part 2-3 2 Return Level Master Equalizer Output Insertion Effect (Plug-in) Select the part to which the Plug-in Insertion effect is applied from parts 1-4, Plug-in parts 2-3 and A/D Input part. A/D Input • External audio source • Microphone sound nThe Vocal Harmony Plug-in Board (PLG100-VH) can be installed only to slot 1. It cannot be installed to slot 2 or 3. 40 MOTIF Basic Structure System Overview ● In the Song/Pattern mode: Reference (page 210) The diagram below indicates the connection when the Vocal Harmony Plug-in Board (PLG100-VH) is installed to slot 1 and the Multi part Plug-in Board (PLG-100XG) is installed to slot 3. Tone Generator block System Effect Select the part to which the Insertion effect is applied. The connection type depends on the setting of the Voice assigned to the selected part. Reverb Chorus Variation Part 1~16 Insertion Effect Send Level Plug-in Part 2 (When the Single part Plugin board has been installed) 1 2 Master Equalizer Basic Structure Part 17-32 * (When the Multi-part Plugin board has been installed) Return Level Output Insertion Effect (Plug-in) PLG100-VH Select the part to which the Plug-in Insertion effect is applied. A/D Input • External audio source • Microphone sound * Please note that the Insertion Effect, Insertion Effect (Plug-in), and the System Effect cannot cannot be applied to parts 17~32 (using the Multi-part Plug-in board). The signal from parts 17~32 is directly sent to the Master Equalizer. n The Vocal Harmony Plug-in Board (PLG100-VH) can be installed only to slot 1. It cannot be installed to slot 2 or 3. n The Multi part Plug-in Board (PLG100-XG) can be installed only to slot 3. It cannot be installed to slot 1 or 2. MOTIF Basic Structure 41 Main functions Main functions Voices and Performances Quick Start Guide (pages 80, 88) · Reference (pages 121, 160) A Voice is the main sound of the MOTIF, made up of a variety of parameter settings. Each Voice can consist of up to four separate Elements, each of which is a high-quality wave, or basic sound. A Performance, on the other hand, is a program in which multiple Voices (parts) are combined — in a layer, or in other configurations. Each Performance can contain up to four different Parts. One Voice Basic Structure Element 1 Element 2 One Performance Element 3 Element 4 Voice 1 Voice 2 Up to four elements Voice 3 Voice 4 Up to four voices + + Parameter settings (Voice Edit) Parameter settings (Performance Edit) Set the following parameters for each Element to create the Voice. Parameters related to the Tone Generator block Oscillator LFO Low Frequency Oscillator Pitch Filter Amplitude See page 45 PEG FEG AEG Pitch Envelope Generator Filter Envelope Generator Amplitude Envelope Generator See page 47 See page 47 See page 46 Parameters released to the Effect block Parameters related to the Controller block System Effect Reverb KN 1 Chorus Insertion Effect 1 2 42 MOTIF Basic Structure Send level Return level Master Equalizer KN 2 KN 3 KN 4 Main functions In the Voice Play mode, you can select and play any of these Voices. In the Performance Play mode, you can select and play any of these Performances. On the previous page, the illustration shows the structure of one Voice/Performance. The illustration below shows the overall memory structure of all Voices and Performances. Taken together, these illustrations can help you better understand the structure of the MOTIF’s Voices and Performances. These two illustrations help you to understand the structure of Voice/Performance. Voices Performance Preset Voice (384 Normal Voices + 48 Drum Voices) User (128) Group A~H Preset 1 Preset 2 Preset 3 Preset 1 (128 Normal Voices) (128 Normal Voices) (128 Normal Voices) (48 Drum Voices) Group A~H Group A~H Group A~H Number 1~16 Voice Number 1~16 Voice Performance Number 1~16 Voice Voice For instructions on selecting Voices / Performances, see pages 124 and 162. GM Preset Voice User Voice (128 Normal Voices+1Drum Voices) (128 Normal Voices+16 Drum Voices) GM Preset GM Preset User User (128 Normal Voices) (1 Drum Voices) (128 Normal Voices) (16 Drum Voices) Group A~H Group A~H Number 1~16 Number 1~16 Group A~C Number 1~16 Voice Voice Indicates the separate "Banks" of Voices / Performances. Voice Voice Plug-in Voice (The maximum amount of Preset and Users Banks is three -depending on the number of Plug-in Board that are installed.) Preset 1 Preset 2 Preset 3 (AN, PF, DX board: 64 voice VL board: 192 voice ) (AN, PF, DX board: 64 voice VL board: 192 voice ) (AN, PF, DX board: 64 voice VL board: 192 voice ) Number 1~16 Number 1~16 Number 1~16 Voice Voice Voice User 1 User 2 User 3 (64 Voice) (64 Voice) (64 Voice) Group A~H Group A~H Group A~H Number 1~16 Number 1~16 Number 1~16 Voice Voice Voice MOTIF Basic Structure 43 Basic Structure Number 1~16 Group A~C Number 1~16 Main functions Waves and Elements Waves are the waveforms that make up the Elements, which in turn make up a Voice. A total of 1309 high-quality preset Waves are available. As shown in the following illustration, when creating a Voice, you can select the Wave to be used as an Element and then set its level, pitch, tone and other parameters. Wave 1~1309 Element 3 Velocity Element 2 One Voice Basic Structure Element 1 Element 4 User Waves — Samples One very powerful feature of the MOTIF is its ability to import external audio samples (such as computer WAV/ AIFF files), and record audio as well — and then use those samples as instrument sounds for playback. You can record Waves through the microphone or line level jacks, and you can load Waves saved on Memory Card or an external SCSI device. The Waves can then be processed and assigned to notes on the keyboard. You can play them via the keyboard or you can assign them as Parts of a Song/Pattern. CD A/D INPUT jacks Sampling MD Memory Card DIGITAL IN connector When the optional AIEB2 has been installed to the MOTIF. mLAN (IEEE1394) connector When the optional mLAN8E has been installed to the MOTIF. SCSI device Load Wave Internal DRAM 4MB (Can be expanded up to 64 MB by installing optional SIMM memory modules.) SEQ TRANSPORT LOCATE REC 44 MOTIF Basic Structure 1 2 Main functions Normal Voice and Drum Voice Internally, there are two Voice Types: Normal Voices and Drum Voices. Normal Voices are mainly pitched musical instrument-type sounds that can be played over the range of the keyboard. Drum Voices are mainly percussion/drum sounds that are assigned to individual notes on the keyboard. A collection of assigned percussion/drum wave or Normal Voice is known as a Drum Kit. For example, you could set one Element to sound in an upper range of the keyboard, and another Element to sound in a lower range. Thus, even within the same Voice, you can have two different sounds for different areas of the keyboard or you can make the two Element ranges overlap so that their sounds are layered over a set range. Furthermore, you can set each Element to respond to different velocity ranges so that one Element sounds for lower note velocities, whereas another Element sounds for higher note velocities. Normal Voice Velocity Basic Structure Element 3 Element 2 Element 1 Voice Element 1~4 Element 4 Drum Voice Note Range Key 1 Key 2 Key 3 Key 4 Key 5 Key 76 GM voice GM is a worldwide standard for Voice organization and MIDI functions of synthesizers and tone generators. It was designed primarily to ensure that any song data created with a specific GM device would sound virtually the same on any other GM device — no matter the manufacturer or the model. The GM Voice bank on the MOTIF is designed to appropriately play back GM song data. However, keep in mind that the sound may not be exactly the same as played by the original tone generator. Voice structure One voice consists of Oscillator, Pitch, Filter, Amplitude, LFO and various parameters as shown on page 42. You can create the basic voice character by setting these four parameters. ■ Oscillator Reference (page 137) This unit outputs the wave of each Element. You can set the note range for each Element (the range of notes on the keyboard over which the Element will sound) as well as the velocity response (the range of note velocities within which the Element will sound). MOTIF Basic Structure 45 Main functions ■ Pitch Reference (page 138) Level Cutoff frequency This unit controls the pitch of each Element output from OSC. You can detune Elements, apply Pitch Scaling and so on. Also, by setting the PEG (Pitch Envelope Generator), you can control how the pitch changes over time. Basic Structure ● PEG (Pitch Envelope Generator) Using the PEG, you can control the transition in pitch from the moment a note is pressed on the keyboard to the point at which it is released. As illustrated at right, the Pitch Envelope consists of five Time (transition speed) parameters and five Level (pitch) parameters. This is useful for creating automatic changes in pitch. Furthermore, different PEG parameters can be set for each Element. Attack Decay1 Sustain Level Level Level Level Key off Frequency (pitch) These resonance are "passed" by the filter. Level Resonance Release Level Frequency (pitch) Hold Level Cutoff frequency 0 Time Hold Time Attack Time Decay1 Decay2 Time Time Release Time ■ Filter Quick Start Guide (page 84) · Reference (page 140) This unit modifies the tone of each Element output from Pitch by cutting the output of a specific frequency portion of the sound. You can also set the Filter Envelope Generator (FEG), to control how the filter works over time — letting you set up dynamic changes in tone. ● Cutoff Frequency and Resonance Filters work by allowing the portion of the signal lower than a given frequency to pass, and cutting the portion of the signal above that frequency. This frequency is referred to as the cutoff frequency. You can produce a relatively bright or darker sound by setting the cutoff. A parameter that boosts the level of the signal in the area of the cutoff frequency is called Resonance. By emphasizing the overtones in this area, this can produce a distinctive “peaky” tone, making the sound brighter and harder. 46 MOTIF Basic Structure ● About the main Filter types The Low Pass Filter is shown in the illustration above — however, the MOTIF features other Filter types as well. This section introduces you to the four types. • Low Pass Filter (above) This only passes signals below the Cutoff frequency. You can then use the Reso (Resonance) parameter to add further character to the sound. • High Pass Filter This only passes signals above the Cutoff frequency. You can then use the Reso (Resonance) parameter to add further character to the sound. Resonance These frequencies are "passed" by the filter. Cutoff Frequency Main functions • Band Pass Filter This only passes a band of signals around the Cutoff frequency. The width of this band can be varied. Level Cutoff range Range passed Cutoff range Center frequency Frequency • Band Elimination Filter This attenuates a band of signals around the Cutoff frequency, but passes everything else. ● AEG (Amplitude Envelope Generator) Using the AEG, you can control the transition in volume from the moment a note is pressed on the keyboard to the point at which it is released. As illustrated at right, the Amplitude Envelope consists of five Time (transition speed) parameters and five Level parameters (for the amount of filtering). When you press a note on the keyboard, the volume will change according to these envelope settings. Furthermore, different AEG parameters can be set for each Element. Level Attack Decay1 Sustain Level Level Level Key off Release Level Range passed Cutoff range Basic Structure Level Range passed Init Level 0 Center frequency Frequency ● FEG (Filter Envelope Generator) Using the FEG, you can control the transition in tone from the moment a note is pressed on the keyboard to the point at which it is released. As illustrated at right, the Filter Envelope consists of five Time (transition speed) parameters and five Level parameters (for the amount of filtering). When you press a note on the keyboard, the cutoff frequency will change according to these envelope settings. This is useful for creating automatic wah effects, for example. Furthermore, different FEG parameters can be set for each Element. Attack Decay1 Sustain Level Level Level Level Key off Time Attack Time Decay1 Decay2 Time Time Release Time ■ LFO (Low Frequency Oscillator) Reference (page 147) As its name suggests, the LFO creates waveforms of a low frequency. These waveforms can be used to vary the pitch, filter or amplitude of each Element to create effects such as vibrato, wah and tremolo. LFO can be set independently for each Element; it can also be set globally for all Elements. Release Level Hold Level 0 Time Hold Time Attack Time Decay1 Decay2 Time Time Release Time ■ Amplitude Reference (page 145) This unit controls the output level (amplitude) of each Element output from Filter. The signals are then sent at this level to the Effect block. Also, by setting the AEG (Amplitude Envelope Generator), you can control how the volume changes over time. MOTIF Basic Structure 47 Main functions Controllers The MOTIF gives you an amazing amount of control options. Not only is it equipped with the conventional Pitch Bend and Modulation Wheels, it also features special knobs and sliders — and has an additional set of rear-panel jacks for connecting foot controllers and footswitches. You can connect controllers to the rear panel jacks to control various parameters by foot as well as by hand. This section explains the basic functions of each controller. decrease it. You can change which particular group of functions or parameters the knobs are assigned to by pressing the [KNOB CONTROL FUNCTION] button. Selecting the ASSIGN group (A, B, 1, 2) lets you control a group of user-assignable functions. n Common system parameters are assigned to Knobs [A] and [B] (page 256). Voice-specific parameters are assigned to Knobs [1] and [2] (page 132). Knobs [1] and [2] can be assigned to Control Set Source. KNOB CONTROL FUNCTION Pitch Bend Wheel Basic Structure This wheel’s prime function is to control pitch. Move the wheel up or down to bend the pitch up or down. Pitch Up PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 KN 1 MEQ LOW KN 4 MEQLOWMID MEQ HI M ID MEQ HIGH n A preset of suitable parameter settings is assigned to each Voice. By using each knobs [1] and [2], you are in effect adjusting these settings by a certain amount. If these parameters are already preset at their minimum or maximum settings, the settings cannot be exceeded. Control Sliders (CS) Pitch Down Pitch Bend Wheel Modulation Wheel n Pitch Bend Range can be set for each Voice (page 132). The wheel can also be assigned other parameters (page 134). n Even if a different parameter is assigned to the wheel, Pitch Bend messages are still transmitted through MIDI OUT when it is being used. In the Voice mode, these are used to control the volume of each of the four Elements. In the Performance mode, these are used to control the volume of the four parts. In the Song/Pattern mode, these let you adjust the volume of specific tracks,(parts) depending on which group of tracks is currently selected. VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 Modulation Wheel The more you move this wheel up, the greater the modulation that is applied to the sound. Deeper Pitch Bend Wheel Modulation Wheel n Modulation depth can also be set beforehand. Also, the wheel can be assigned to different parameters, such as volume or pan (page 134). Knobs These knobs let you change various aspects of the Voice’s sound in real time — while you play. Turn a knob to the right to increase the value, and left to 48 MOTIF Basic Structure When the selected tracks (parts) are 1-4: 1 2 3 4 When the selected tracks (parts) are 5-8: 5 6 7 8 When the selected tracks (parts) are 9-12: 9 10 11 12 13 14 15 16 When the selected tracks (parts) are 13-16: When the Zone Switch is set to on in the Master Play mode, various functions (Control Number) can be assigned to these Control Sliders (page 273). Foot Controller Control Sets An optional Foot Controller (such as the FC7), connected to the FOOT CONTROLLER jacks (page 18) on the rear panel, can be assigned to a number of controller parameters. By using a foot controller for parameter control, both your hands are left free to play the keyboard (or to operate other controllers), — exceptionally convenient when you’re playing live. Aside from their default parameters, keyboard aftertouch, the controllers and some of the knobs on the front panel can be assigned to various parameters, as explained on page 48. For example, you could assign Resonance to the Modulation Wheel and set aftertouch to apply vibrato. You are free to assign parameters to suit the kind of sound being played. These controller assignments are known as Control Sets. As the following illustration shows, you can assign up to six different Control Sets per Voice. Within each Control Set, the controller is known as the Source (Src) and the parameter controlled by the Source is known as the Destination (Dest). There are various Dest parameters available; some will apply to the Voice as a whole, while some will be specific to each of its Elements. Details are given in the Controls List of the separate Data List. n Foot Controller parameters can be set for each Voice. Footswitch (assignable) An optional Yamaha FC4 or FC5 Foot Switch connected to the rear panel FOOT SWITCH ASSIGNABLE jack (page 18) can be assigned to a range of parameters. It is suited for switch-type (on/ off) controls, such as Portamento Switch, increment/ decrement of a Voice or Performance Number, start/ stop of the Sequencer, and holding the Arpeggiator on or off. n The parameter assigned to the Footswitch is set in the Utility mode (page 256). n Details about the available Dest parameter settings are given in the Destination Parameter List of the separate Data List. Voice Source Control Sets 1~6 Controller PB,MW,etc Destination Footswitch (sustain) Control Parameters An optional FC4 or FC5 Footswitch connected to the SUSTAIN jack on the rear panel (page 18) lets you control sustain — particularly useful when playing piano and strings voices. n You cannot assign a function other than Sustain to the SUSTAIN jack. Breath Controller You can connect an optional Breath Controller (BC3) to the BREATH jack (page 18) on the rear panel. Then use it to control a large number of the MOTIF’s parameters, particularly those controlled by a wind player’s breath: dynamics, timbre, pitch and so on. The Breath Controller is ideally suited for realistic expression with wind instrument type Voices. n Breath Controller parameters can be set for each Voice. Aftertouch Aftertouch lets you change the sound (adding vibrato, for example) by applying further pressure to a note on the keyboard while it is being held down. This allows real-time expression and control. Aftertouch can be used to control a wide variety of parameters (page 134). Depth Depth of control Elements ON/OFF ON/OFF ON/OFF ON/OFF 1 2 3 4 n The Element Switches (page 134) will be disabled if the Dest parameter setting is not specified for the Elements (i.e., to settings 00 to 33). ■ Using one source to control several destinations By creating Control Sets, you can change soundsin a variety of ways. For example, set the Src (Source) parameter of Control Set 1 to MW (Modulation Wheel) and the Dest (Destination) parameter to ELFO-PM (Element LFO Pitch Modulation Depth). Then set the Src parameter of Control Set 2 also to MW, but set the Dest parameter to ELM PAN (Element Pan). You will also need to specify the Element to be controlled and also the depth (amount) of control. In this example, when you move the Modulation Wheel upward, the amount of Pitch Modulation increases accordingly, and the Element is panned from left to right. In this way, you can have the sound change in several different ways, simply by adjusting a single controller. MOTIF Basic Structure 49 Basic Structure Main functions Main functions SET 1 SET 2 Src Src MW (Modulation Wheel) MW (Modulation Wheel) Dest Dest ELFO-PM ELM PAN MIDI Moving the Modulation Wheel changes both the amount of Pitch Modulation and the pan position. Basic Structure ■ Using several sources to control one destination Continuing from the example above, now create another Control Set where Src is set to FC (Foot Controller) and Dest is set to ELFO-PM (Element LFO Pitch Modulation Depth). Again, specify the Element to be controlled and also the depth of control. Now, Pitch Modulation is assigned to both the Modulation Wheel and Foot Controller. In other words, you can also assign several Src controllers to each Dest parameter. SET 1 SET 3 Src Src MW (Modulation Wheel) FC (Foot Controller) Dest Dest ELFO-PM ELFO-PM You can control the pitch modulation effect using either of Modulation Wheel (MW) and Foot Controller (FC). By assigning all six Control Sets, you will have a stunning degree of real-time control over the synthesizer’s sounds. ■ Control Sets and External MIDI Control In a Control Set, the controllers are assigned to the internal parameters of the synthesizer. However, some controllers were originally designed for a particular purpose, and send pre-defined MIDI Control Change messages when used, regardless of their Control Set allocations within the synthesizer. For example, the Pitch Bend Wheel, Modulation Wheel and keyboard aftertouch were originally designed to control pitch bend, modulation and aftertouch. Therefore, when you use these controllers, pitch bend, modulation and aftertouch information is always sent to the MIDI Out. Let’s say the Pan parameter is assigned to the Pitch Bend Wheel in a Control Set. Now, when you move the Pitch Bend Wheel, the internal tone generator of the synthesizer will pan the sound; however, at the same time, the original pre-defined Pitch Bend messages will still be sent to the MIDI Out. 50 MOTIF Basic Structure OUT IN MIDI Control Pitch Bend Wheel Tone Generator Controller Set Pitch LFO1 PAN The controllers can also send MIDI Control Change messages to control the parameters of external MIDI devices. These assignments can be set in the Utility Mode. n Since Pitch Bend Wheel, Modulation Wheel and keyboard aftertouch are pre-defined with specific MIDI controls, other MIDI Control Change numbers cannot be assigned to them. You can also set up a controller such that it sends one kind of Control message to the synthesizer’s internal tone generator yet another kind to the MIDI Out. For example, in a Control Set you could assign resonance to Assignable Knob [1]. Then, in the Utility Mode, you could assign Control Change Number 1 (Modulation) to the same knob. Now, when you turn the knob, resonance will be applied to the sound of the internal tone generator; however, at the same time, modulation information will be sent to the external MIDI device connected to the MIDI Out. Main functions Basic Operation (page 67) · Reference (pages 177, 215) Track structure of Song The following illustration shows the track structure of Song. Songs are created by recording MIDI data to individual tracks. Songs and Patterns are MIDI sequence data consisting of 16 tracks. ● A Song on the MOTIF is effectively the same as a Song on a sequencer, and playback automatically stops at the end of the recorded data. ● In the MOTIF, the term “pattern” refers to a relatively short pattern — say, 4 to 16 measures (up to 256 measures) — which is used for looped playback. Therefore, once Pattern playback starts, it continues until you press the [J] button. The MOTIF features a variety of preset Phrase data that is used as the basic material in making up Patterns. Song 64 Song 63 Song 62 Song 02 Song 01 Tempo track Tempo change Scene track Track mute status/Scene memory change (including tempo, transpose etc,) Track 1 MIDI sequence data Track 2 MIDI sequence data Track 3 MIDI sequence data Track 16 Scene 1 Basic Structure Song and Pattern (Sequencer mode) MIDI sequence data Scene 2 Scene 3 Scene 4 Scene 5 MIDI OUT External Tone Generator Song Mixing Tone Generator block (example) When a Multi-Part Plug-in board and two Single part Plug-in boards have been installed: Port 1 Port 2 Port 3 (Multi-Part Plug-in board) (Single part Plug-in board) part 1 part 17 part 33 part 2 part 18 part 34 part 3 Parts 33-46 are not used. part 4 part 30 part 46 part 15 part 31 part 47 part 16 part 32 part 48 PLG1 part PLG2 part Song playback uses up to 16 parts (from those shown above). MOTIF Basic Structure 51 Main functions Track structure of Pattern Patterns consist of Phrases (as shown below), and you can create them by recording MIDI data for each track, and by freely arranging the various Phrases (Preset/User). Style 64 the guitar part. The MOTIF features 128 Preset Patterns, and features memory space for 256 of your own original User Phrases. Pattern creation by the Patch function (Pattern) Style 63 Quick Start Guide (page 105) · Reference (page 219) Style 62 The Patch function allows you to create a “composite” style by combining various Phrases from the Preset and User Phrases as shown below. Style 03 Style 02 Style 01 1 2 3 Style 35 16 User Phrases 1-256 (Created via Pattern recording.) Basic Structure 16 Sections Style 01 User Phrases 1-256 (Created via Pattern recording.) Pattern 1 Track 1 Phrase (MIDI sequence data) Track 2 Phrase (MIDI sequence data) Track 3 Phrase (MIDI sequence data) Track 16 Phrase (MIDI sequence data) MIDI OUT 2 16 Sections 16 User Phrase Pattern External Tone Generator Pattern Mixing Track 1 Track 2 Preset Phrases 1-128 Track 3 Track 4 Track 5 Preset Phrase Tone Generator block (example) When a Multi-Part Plug-in board and two Single part Plug-in boards have been installed: Port 1 Port 2 Port 3 (Multi-Part Plug-in board) (Single Part Plug-in board) Part 1 Part 17 Part 33 Part 2 Part 18 Part 34 Part 3 You can copy the desired Phrase from other styles to the currently selected Style / Section. MIDI tracks and Sample tracks Part 33-46 are not used. Part 4 Part 30 Part 46 Part 15 Part 31 Part 47 Part 16 Part 32 Part 48 PLG1part PLG2 part Pattern playback uses up to 16 parts (from those shown above). ■ Style and Section A Pattern consists of a “Style” (musical style) and a “Section” (pattern variation). You can play the Pattern by selecting a Style and its Section. ■ Phrase This is the basic MIDI sequence data — and the smallest unit — used in creating a Pattern. “Phrase” is a musical Pattern Phrase for a single instrument, such as a rhythm pattern for the rhythm part, a bass line for the bass part, or a chord backing for 52 MOTIF Basic Structure Track 16 The Song/Pattern tracks (1 - 16) of the MOTIF are divided into two groups: MIDI tracks and Sample tracks. ■ MIDI tracks These are tracks in which the performance data (used to play the internal Voices or Plug-in Voices) is recorded as MIDI data. This is the same as sequence tracks on a MIDI sequencer. ■ Sample tracks — with Sample Voices Voices which are automatically created and stored using the Sampling feature (page 58) in the sequencer (Song/Pattern) mode, are referred to as “Sample Voices.” tracks using these Sample Voices are referred to as “Sample” tracks — to distinguish them from the MIDI tracks. Sample Voices are stored as original, dedicated Voices for each Song or Style. This means that you cannot take a Sample Voice belonging to one Song or Style and use it in another Song or Style. For details on Sample Voices and the Sampling function, see page 233. Main functions ■ Replace and Overdub (Song/Pattern) Track 1 MIDI data recording Track 2 Track 3 Recording a Sample (Sampling) After selecting the Song number and track Track 16 In this example, Track 1 is a MIDI track, and Track 3 is an Sample track. Style 50 Style 49 Style 48 Style 03 Style 02 Style 01 2 3 • Loop 1st round 16 Bass Drum 16 Sections Pattern ● Overdub You can use this method when you want to add more data to a track that already contains data. The first recording is not lost, and the new one is added. This method lets you build up a complex phrase together with Loop recording (below). ■ Loop Recording (Pattern) Pattern repeats the rhythm pattern of several measures (4 to 16 measures) in a “loop,” and its recording is also done using loops. This method is convenient when recording a Pattern Phrase using the Overdub method (above). As shown in the example below, notes that you record will play back from the next repetition (loop), letting you record while hearing previously recorded material. Store as a Sample Voice 1 ● Replace You can use this method when you want to overwrite an already recorded track with new data. The first recording is lost, and the new one takes its place. After selecting the Style number, Section and track MIDI data recording Track 1 • Loop 2nd round Track 2 Track 3 After selecting the Style number, Section and track Recording a Sample (Sampling) Snare Drum Bass Drum Track 16 In this example, Track 1 is a MIDI track, and Track 3 is an Sample track. • Loop 3rd round Store as a Sample Voice MIDI track recording method The following explanations are important points for you to keep in mind as you record your User Songs/ Patterns. Hi-Hat Snare Drum Bass Drum n Loop Recording can only be used with Realtime recording. ■ Realtime recording and Step recording With realtime recording, the MOTIF functions in the same way as a tape recorder, recording the performance data as it is played. This allows you to capture all the nuances of an actual performance. With step recording, you can compose your performance by “writing” it down one event at a time. This is a non-realtime, step recording method — similar to writing music notation onto paper. MOTIF Basic Structure 53 Basic Structure After selecting the Song number and track Song 01 Main functions ■ Punch In/Out (Song) You can use this method when you want to re-record only over a specific area of the track. In this case, you must set the start and end points before you begin the re-recording. In the eight-measure example below, the third measures through the fifth measure are re-recorded. Recording start 2 3 Song 01 4 5 6 7 Basic Structure 2 3 Song 22 Song 15 8 Pattern Chain ● After re-recording 1 Song Chain Punch out ● Before re-recording 1 See page 58. This function allows songs to be “chained” together for automatic sequential playback. The MOTIF allows you to create one Song Chain data. Recording stop Punch In Sample track recording method (Sampling) 4 5 6 7 8 Newly recorded data n Punch In/Out Recording can only be used with Realtime recording. n Note that Punch In/Out method always replaces (destroys) the original data over the specified area. Pattern Chain allows you to string several different Patterns together to make a single Song. You can have the MOTIF automatically change Styles and Sections by creating Pattern Chains in this way beforehand. You can also use them when creating Songs based on a certain Pattern, since the created Pattern Chains can be converted into a Song. The MOTIF allows you to create one Pattern Chain data. Pattern Chain Pattern track Style/Section change Scene track Track mute setting Tempo track Tempo change EXAMPLE Style 01 Section J 54 MOTIF Basic Structure Style 05 Section H Style 26 Section P Main functions Arpeggio Four playback types of Arpeggio This function automatically triggers preset arpeggio phrases, according to the keys you play. The Arpeggio function is particularly suited to dance/ techno music genres. You can assign the desired Arpeggio Types to each Voice/Performance, and adjust the tempo. You can also set the Arpeggio playback method, Velocity range and Play Effects to create your own original grooves. What’s more, Arpeggio playback can be transmitted through the MIDI Out. Arpeggio structure The following illustration shows the Arpeggio structure. •In the Voice mode Arpeggio data •In the Performance mode Preset 1 Voice (128) Performance Arpeggio Voice (128) ■ Phrase Creates phrases that are more musical than Sequence. Starting with “Techno,” there are phrases for a wide variety of musical genres, and for creating backing tracks for guitar, piano and other instruments. ■ Drum Pattern Creates drum pattern-type phrases. Any note produces the same drum pattern. This type is ideal for use with drum and percussion sounds. ■ Control Creates tonal changes by the control change data sequence. No note data is created. Song/Pattern and Arpeggio Performance Arpeggio Voice Performance User Voice ■ Sequence Creates a general arpeggio phrase. Mainly octave up/ down phrases. Performance Preset2 Voice Arpeggio types are divided into the four following categories. (128) ■ Recording Arpeggios to a Song/Pattern You can record Arpeggio data to a Song or Pattern. The actual note data of the Arpeggio is recorded as is to a specific track in the Song/Pattern during recording, when you set Arpeggio Record to ON. Performance Arpeggio Voice Performance Each Arpeggio can assigned to each Voice/Performance. ■ Arpeggio on/off during Song/Pattern playback Also, Arpeggio On/Off can be set individually for each part of a Song/Pattern. Just like playing Arpeggios manually from the keyboard, this inserts Arpeggios in the playback of Song/Pattern sequence data. MOTIF Basic Structure 55 Basic Structure Quick Start Guide (page 91) · Reference (page 128) Main functions Master (Master mode) Creating User Arpeggios Actually, there is no direct operation for recording Arpeggios. First, you have to record a Phrase to a Song track. Then, use the appropriate Song Job function to convert the data to Arpeggio data. User (128) Song Track 1 Recording Track 2 Converted via the Song Job. Track 3 Arpeggio Track 1 Quick Start Guide (page 93) · Reference (page 268) The MOTIF is loaded with such a wealth of different features, functions and operations, you may find it difficult to locate and call up the particular feature you need.This is where the Master function comes in handy. You can use it to memorize the operations you use most often in each mode, and call them up instantly anytime you need them with a single button press. The MOTIF has space for a total of 128 of your own User Master settings. Track 2 Track 3 Master number Track 4 Master 001 Track 16 Setting examples Basic Structure Voice mode Voice number 102 Master 002 Voice mode Voice number 88 Master 003 Performance mode Performance number 043 *Zone Switch Off Master 004 Performance mode Performance number 059 *Zone Switch Off Performance mode Performance number 077 *Zone Switch On n Arpeggio data consists of four tracks. However, data conversion in the Song Job is done one track at a time. MIDI ch1 MIDI ch2 MIDI ch3 MIDI ch4 Master 005 Tone Generator block Performance mode Performance number 093 *Zone Switch On MIDI ch8 Master 006 MIDI ch9 Tone Generator block Master 007 Song mode Song 018 Master 008 Song mode Song 008 Master 009 Pattern mode Pattern 014 Master 010 Pattern mode Pattern 029 Song mode Song 035 • • Master 128 •Zone(*) is available only when you specify “Voice” or “Performance” in the Memory display in the Master Play mode and store the settings to a User Master. Details are described later. •Parameters other than those shown above (e.g., Knob/Slider settings) can be stored. See page 273 for details. Keep in mind that the settings you can store to a User Master in the Voice/Performance mode differ from those you can store in the Song/Pattern mode. Here are the main differences: ● Storing settings in the Song/Pattern mode In general, you can store specific Song numbers in the Song mode, Pattern numbers in the Pattern mode. n Operations and settings in File mode, Utility mode and Sampling mode cannot be stored to a User Master. ● Storing settings in the Voice/Performance mode In addition to specific Voice or Performance numbers, you can also store master keyboard functions — such as the Zone settings, in which the MOTIF keyboard is divided into up to four different Zones. 56 MOTIF Basic Structure Main functions Four Zones (Voice Performance mode) In the Voice Performance mode, the keyboard can be divided into a maximum of four separate Zones (as shown below) — each with its own MIDI channel setting. In this way, you can use just a single keyboard to control several different instrument parts independently. Moreover, you can have these independent Zones control different channels on connected MIDI devices as well. You can set these four Zones and store them as a User Master in the Master mode. ■ Split You can use the Zone settings to create a “Split” — dividing the keyboard into two key ranges, at a specific note (split point). In the example below, the keyboard is split at C3, with the lower range used to trigger Arpeggios, and the upper range used conventionally to play a Voice. Lower Split point (C3) Upper MIDI OUT MIDI OUT MIDI OUT MIDI ch2 MIDI ch3 Ch2 Part 2 For playing Arpeggios For playing a Voice MIDI OUT Keyboard (Max 4 zone) MIDI ch1 Ch1 Part 1 Basic Structure External Tone Generator MIDI ch4 ■ Layer You can also use the Zone settings to create a “Layer” — in which the keyboard is used to play two separate parts simultaneously, in unison with each other. In the example below, the keyboard plays two Voices in unison — one an internal Voice, and the other a Plug-in Voice. Tone Generator block (Internal/Plug-in) The four Zones can also be configured as Voice “layers” — letting you have more than one Voice sound at the same time when you play within a single Zone. (See the example below.) Layer (Upper) Layer (Lower) External Tone Generator Part 1 Plug-in 1 Part Voice Plug-in Voice MIDI OUT ZONE4 MIDI OUT ZONE1 MIDI ch1 MIDI OUT ZONE2 MIDI ch2 MIDI ch4 ZONE3 MIDI ch3 MIDI OUT Tone Generator block (Internal/Plug-in) MOTIF Basic Structure 57 Main functions Sampling Quick Start Guide (page 99) · Reference (page 233) Sampling is a powerful function that lets you bring your own recorded sounds — voice, instrument, rhythm, special sound effects, etc. — into the system of the MOTIF, and play those sounds just like any other MOTIF sound. Individual waveform data contained in the MOTIF is referred to as a “Sample.” The following diagram shows the Sampling structure. CD MD A/D INPUT jacks Basic Structure DIGITAL IN connector mLAN (IEEE1394) connector A/D converter When the optional AIEB2 has been installed to the MOTIF When the optional mLAN8E has been installed to the MOTIF Wave Internal DRAM 4MB (Can be expanded up to 64 MB by installing optional SIMM memory modules.) Voice / Performance mode Song / Pattern mode Key Bank setting Key Bank setting (Automatically set when the Sampling type is set to "Slice + Seq".) By selecting the desired Song / Pattern track, it is assigned to the appropriate Mixing part as a Sample Voice. Store as a User Voice Is automatically stored as on original Sample Voice for the selected Song / When the Sampling type is set to "Sample + Note" or "Slice + Seq" Assigned to a Performance part SEQ TRANSPORT LOCATE REC D/A converter Output (sound) 58 MOTIF Basic Structure 1 2 Waveform Main functions Regardless of the mode, the raw Sampled data is the same, of course. However, various parameters are different, depending on the particular mode or settings. Briefly, here is an explanation of what kinds of data are created in the Sampling function. ● Sampling data common to all modes • Wave (Sample data) This is the raw audio data stored in the MOTIF’s memory when sampling. For details on Wave, see page 44. • Key Bank The note range and velocity range to which the Sample is assigned, is called the Key Bank. • Waveform The group of Key Banks to which sample data is assigned is called the Waveform. For a clearer idea of the explanations above, see the following illustration. In this example, the Waveform is made up of five Samples, assigned to a key range of D#2 - F4, in five Key Banks. • Note Data (when the Sample type is set to “Sample + Note” ) This not only stores the sampled wave as a Sample Voice in the Song/Pattern mode, but it also records it to the assigned sequencer track. Sample Voice Key bank Velocity Voices that are automatically stored when sampling in the Song/Pattern mode are referred to as “Sample Voices.” Sample Voices can be assigned to instrument parts corresponding to the track which was assigned in the Sampling Setup display, and they can be sounded while Song/Pattern data is being played back. Sample Voices are original, dedicated Voices for the particular Song/Pattern that was selected when sampling. Because of this, you cannot take a Sample Voice belonging to one Song or Pattern and use it in another Song or PatternIn essence, Sample Voice data is the same as that of Normal Voices or Drum Voices — with the exception that you cannot select Sample Voices in the Voice or Performance mode. (However, you CAN select the Wave of the Sample Voice in Voice Edit.) 127 Sample 1 Sample 2 Sample 4 Sample 3 Sample 5 Wave form 40 D#2 A#2 G#2 F4 Key Number (Note Number) Assigned to a specified key (note) Sequence data Fixed to C - 2 Waveform ● Data created by sampling in the Voice/ Performance mode • User Voice The sample data of Waves recorded or imported to the MOTIF cannot be played directly. First, they must be saved as User Voices, which when selected, can be played from the keyboard or sequencer. Also, these User Voices can be assigned as Performance parts — just as with the Preset Voices. ● Data created by sampling in the Song/ Pattern mode • Sample Voice • Key Bank and Sequence data according to Audio phrase (when the Sample type is set to “Slice + Seq”) Sample voice Sliced into several parts and assigned to keys (notes) Song or Pattern Track 1 Track 2 Specify the track. Sampling Sequence data Track 3 Fixed to C - 2 Track 16 Store as a Sample Voice MOTIF Basic Structure 59 Basic Structure Data created by Sampling Main functions User Voices/Sample Voices and Waveform When entering the Sampling mode from the Voice/Performance mode ● User's Voice (001~128) Waveform (User 001~256) When entering the Sampling mode from the Pattern mode 001 Style 64 002 001 003 Sampling 002 004 003 005 004 1 2 3 4 006 005 16 section 007 008 009 Pattern 010 Track1 Sampling Basic Structure Track2 Track3 ● Recorded to the specified track as a Sample voice. Track16 128 Velocity When entering the Sampling mode from the Song mode Keybank Song 64 127 Sample 2 Sample 4 Sample1 40 Sample 3 C#2 A#2 Song01 Sample 5 G#3 F4 Key number (Note number) Track1 251 252 Track2 Track3 Sampling 253 Wave form 254 255 256 Track16 ● Recorded to the specified track as a Sample voice. n When using the Sampling function, samples are stored to destination waveforms in numerical order, starting from the lowest number waverform. n Up to 128 keybanks can be assigned to a single waveform. The MOTIF allows for creation of a maximum 8192 keybanks. n You can select and check the 256 waveforms mentioned above from the Oscillator display in Voice Element Edit (page 137). 60 MOTIF Basic Structure Main functions You can start sample recording with one of three methods. This section covers the Sample Recording Start methods corresponding to the available Trigger modes. For information on setting the Trigger mode, see page 237. ■ When Trigger mode is set to “Manual”: Regardless of the selected mode, sampling starts soon after you press the[F6] (REC) button in the Sampling Setup display (page 236). Sampling also starts regardless of the playback/stop status of the Song/Pattern. ■ When Trigger mode is set to “Level”: After pressing the [F6] (REC) button in the Sampling Setup display (in any mode), sampling starts as soon as a strong enough audio signal is received. The threshold for this audio-triggered start is called the Trigger Level (explained in the illustration below). Level Song/Pattern start Sampling start Sampling stop Punch In Punch Out 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 Wave data Sample recording start here. Sample playback types Recording trigger level. A Level ■ When Trigger mode is set to “Meas”: After pressing the [F6] (REC) button in the Sampling Setup display (page 236), start and stop of sampling is linked to playback of the Song/Pattern. This setting is available only when the Song/Pattern mode and recording type (Rec Type) are set to “Slice + Seq” or “Sample + Note.” Basic Structure Three methods of Sample Recording Start B C D E ■ One Shot When you press a note on the keyboard, the Sample plays from beginning to end just once. This type of playback is commonly used for drum and percussion sounds. Sample recording start here. A B C D Samples can be played back in the following three different ways. E As you can see, the higher the Trigger Level setting, the louder the input audio needs to be in order to start sampling. On the other hand, if the Trigger Level is set too low, a soft noise may be enough to inadvertently start sampling. Sampling also starts regardless of the playback/stop status of the Song/ Pattern. Start Pont Key on End Point MOTIF Basic Structure 61 Main functions Basic Structure ■ Loop This is used primarily to create long continuous sounds, such as brass and strings, or instruments with naturally long decay, such as piano. An appropriate part of the sample near the end is looped to reproduce a long sustain or decay. When you play a note on the keyboard, the Sample plays from the start point to the end point. It then returns to the loop start point and plays to the end point again, and keeps doing this until you release the note. With musical instruments in general, the characteristic part of the sound (the “attack” section) is usually at the beginning, just after the start point. After this, the sound does not vary a great deal while the note is being held, and you can set the loop and end points at either end of this section. When playing back a Sample of an instrument that has been looped like this, the attack section of the sound is played back once and then the looped section is played back continuously until you release the note. Looping is also way of creating usable instrument sounds without using up too much memory. You can set each point in the Sampling mode. Since the MOTIF is capable of displaying the entire image of the sampled audio data in the LCD (zoom in and zoom out are available), you can edit the loop points visually — making sample editing accurate and easy. Sample Wave Start Pont Loop Playback Top Point End Point ■ Reverse When you press a note on the keyboard, the Sample plays from end to beginning just once. This is useful for creating reversed cymbal sounds and other special effects. Start Point 62 MOTIF Basic Structure End Point Main functions Internal Memory and File Management Quick Start Guide (page 97) · Reference (page 261) The MOTIF creates a variety of different kinds of data, including Voice, Performance, Song, and Pattern. In this section, how to store the various types of data and use the memory devices/media for storing them. Memory Structure This diagram details the relationship among the MOTIF’s functions and the internal memory, memory card, and various external storage devices/media. MOTIF Internal Memory * Please make note of the following points when using bulk transmission between SRAM memory and an external MIDI device. Preset Data (ROM) • Bulk transmission cannot be used to • Voice • Plug-in Voice • Preset Phrase (Pattern) • Preset Arpeggio • Demo Other than "Master Edit" transfer the data of User Arpeggios and part of the System settings. • Bulk transmission to an external MIDI device is executed only when MOTIF receives a bulk request message. MIDI bulk User Memory (RAM) Edit Buffer(DRAM) Basic Structure Recall Buffer Compare Buffer (DRAM) External MIDI device * Memory Card External SCSI device SRAM • User Voice (Normal 128, Drum 16) • Voice Edit File extensions ".W2V" Store • File extensions ".WAV" and ".AIF" • A5000/4000/3000 data • AKAI format data • Plug-in Voice Edit • User Plug-in Voice (64 Voices x 3 boards) • Performance Edit • User Performance (128) • Master Edit • User Master (128) File extensions ".W2G" • Pattern Mixing Edit Store • Song Mixing Edit • System setting (Utility setting) DRAM • Song Record • Song • Song Chain • Song Chain File extensions ".W2A" Load / Save Covert (Job) • User Arpeggio (128) File extensions ".MID" File extensions ".W2S" Store • Pattern Record • Pattern (Phrase) • Pattern Patch •˚Style • Pattern Chain • Pattern Chain • Sampling • Waveform (Sample Voice) File extensions ".W2P" File extensions ".W2W" • File extensions ".WAV" and ".AIF" • A5000/4000/3000 data • SU700 data • AKAI format data Computer • Plug-in Voice Edit using the computer Plug-in board(DRUM) PS/V IBM Personal System/V • Plug-in All Bulk File extensions ".W2B" Personal System/V MOTIF Basic Structure 63 Main functions Internal Memory ● ROM and RAM ROM (Read Only Memory) is memory designed specifically for reading out of data, and as such data cannot be written to it. This is the location where preset data for the instrument is permanently stored. On the other hand, RAM (Random Access Memory) allows both reading and writing of data. This is the location for the edit buffer data and data created by editing or recording. Basic Structure ● SRAM and DRAM The MOTIF uses two different kinds of RAM , depending on the condition for storing the data: SRAM (Static RAM) and DRAM (Dynamic RAM). The data contained in SRAM is maintained indefinitely, unless the backup battery (lithium battery; page 5) power is too low. On the other hand, data contained in DRAM is lost when the power is turned off. Because of this, you should always store any data residing in DRAM to a memory card or an external SCSI device before turning off the power. Edit Buffer (DRAM) and Recall Buffer (DRAM) ● Edit Buffer and User Memory The edit buffer is the memory location for edited data of these types: Voice, Performance, Master, Song, Song Mixing, and Pattern Mixing. Data edited in this location will be stored to the User Memory. If you select another Voice, Performance, Master, Song, or Pattern, the entire contents of the edit buffer will be rewrittenwith the newly selected Voice/Performance/Master/Song Mixing/Pattern Mixing data. Make sure to store any important data before selecting another Voice, etc. ● Edit Buffer and Recall Buffer If you’ve selected another Voice or Performance without storing the one you were editing, you can recall your original edits, since the edit buffer’s contents are stored in backup memory. Keep in mind that the recall buffer is available only in the Voice or Performance mode. 64 MOTIF Basic Structure Memory Card/External SCSI storage device To ensure that your data stored to User Memory are maintained, it is the best way to save important data to Memory Card or external SCSI device so that you can keep them indefinitely. See page 289 for details about Memory Card and see page 27 for details about SCSI device. • Memory Card • SCSI device SCSI Hard disk etc. There are two different ways to save data created on the MOTIF to memory card or an external SCSi device: • By saving all data in the User memory as a single file (with the extension “.W2A”). • By saving the files separately according to their specific functions (with the extensions corresponding to each type). See page 262 for details. Main functions Remote Control to Computer Sequence Software Quick Start Guide (page 119) · Reference (page 256) When the [REMOTE CONTROL ON/OFF] button is turned on, the following buttons/controllers can control the Audio track mixer and sequencer transport of the computer sequence software connected to the MOTIF. J∆ NUMBER button[1]~[16] Knob These buttons are used to select the corresponding tracks of the computer sequencer software, or to turn those tracks on/off, depending on the on/off status of the [TRACK SELECT] button and [MUTE] button. Adjusts the Pan, Effect send level, and Equalizer for each track of the computer sequencer. 1 4 3 2 6 5 7 KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 TRACK SELECT 8 KN 1 MEQ LOW MEQLOWMID MEQ HI M ID KN 4 MEQ HIGH Basic Structure ELEMENT/ PERF.PART / ZONE NUMBER 11 10 9 12 14 13 16 15 MUTE SOLO [MUTE] button When this is turned on, the NUMBER [1] - [16] buttons are used to turn the corresponding tracks of the computer sequence software on or off. 1 2 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE NUMBER 9 10 11 SOLO Control Sliders Adjusts the Volume for each track of the computer sequence software. MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 [SEQ TRANSPORT] buttons Controls the transport functions on the computer sequence SEQ TRANSPORT software. [TRACK SELECT] button When this is turned on, the NUMBER [1] - [16] buttons are used to select the corresponding tracks of the computer sequence software. 1 LOCATE 1 2 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE 2 NUMBER 9 10 11 REC SOLO MOTIF Basic Structure 65 Main functions Computer Sequence Software The following computer sequence software programs can be controlled via the MOTIF’s Remote Control function. Windows Cubase VST/32 Logic Audio Plutinum Ver4.6 Cakewalk ProAudio Ver9.0 Pro Tools V5.0 Macintosh Cubase VST 5.0 Logic Audio Plutinum Ver4.6 Pro Tools V5.0 Basic Structure n The parameters to be controlled via the Remote Control function differ depending on the computer sequence software. For details, see the Reference section on page 257. n For certain software programs, it may be necessary to install the setting file in the included CD-ROM. For details on how to install, see the Installation Guide manual. 66 MOTIF Basic Structure Calling up the Operation Displays Basic Operation In this section, we’ll take a look at the fundamental operating conventions of the MOTIF. Here, you’ll learn the basics — how to select modes, call up the various functions, change settings, and edit parameter values. Take time to familiarize yourself with these nuts-and-bolts operations, and you’ll be on your way to mastering the instrument. Calling up the Operation Displays To call up a desired display or parameter, first select a mode, then select one of the function menus of the mode. The section below shows you the button presses necessary to navigate through the various modes and sub-modes. Selecting Modes The MOTIF is organized into various modes, each covering a different set of operations and functions. Basic Operation n For more information on each mode, see page 30. Four Main modes (Play modes) — Voice, Performance, Song, Pattern ● Voice Play mode VOICE ● Song Play mode ● Performance Play mode MODE MODE PERFORM MASTER VOICE SEQUENCER PERFORM ● Pattern Play mode MODE MASTER VOICE SEQUENCER PERFORM MODE MASTER VOICE SEQUENCER PERFORM MASTER SEQUENCER SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY EDIT JOB STORE EDIT JOB STORE EDIT JOB STORE EDIT JOB SCENE STORE SET LOCATE COMPARE SCENE STORE SET LOCATE COMPARE SCENE STORE SET LOCATE COMPARE COMPARE Keyboard playback modes STORE SCENE STORE SET LOCATE Sequencer modes (multi-timbral operation) To select another mode, simply press the corresponding mode button. Two Sub-modes — Sampling, Utility The four main modes (Voice, Performance, Song, and Pattern) have sub-modes — Sampling mode and Utility mode. These two sub-modes can be selected in each main mode. Keep in mind that the particular displays and parameters in the Sampling and Utility modes differ depending on which main mode was active before calling up the sub-mode. For details on the specific differences, refer to the corresponding explanations in the Reference section. ● Sampling mode From the Voice mode From the Performance mode From the Song mode MODE MODE MODE VOICE PERFORM MASTER VOICE SEQUENCER PERFORM MASTER VOICE SEQUENCER PERFORM From the Pattern mode MODE MASTER VOICE SEQUENCER PERFORM MASTER SEQUENCER SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY EDIT JOB STORE EDIT JOB STORE EDIT JOB STORE EDIT JOB STORE SCENE STORE SET LOCATE COMPARE SCENE STORE SET LOCATE COMPARE SCENE STORE SET LOCATE COMPARE COMPARE SCENE STORE SET LOCATE To select another mode, simply press the corresponding mode button. MOTIF Basic Operation 67 Calling up the Operation Displays ● Utility mode From the Voice mode From the Performance mode From the Song mode MODE MODE MODE VOICE PERFORM MASTER VOICE SEQUENCER PERFORM MASTER VOICE SEQUENCER PERFORM From the Pattern mode MODE MASTER VOICE SEQUENCER PERFORM MASTER SEQUENCER SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY EDIT JOB STORE EDIT JOB STORE EDIT JOB STORE EDIT JOB SCENE STORE SET LOCATE COMPARE SCENE STORE SET LOCATE COMPARE SCENE STORE SET LOCATE COMPARE COMPARE STORE SCENE STORE SET LOCATE To select another mode, simply press the corresponding mode button. n Please note that the displays and parameters are different depending on the modes before entering the Sampling/Utility mode. Special Modes — Master mode and File mode Basic Operation In addition to the modes described above, special two modes are provided — Master mode and File mode. ● Master Play mode When the selected Master is set to the Voice mode : ● File mode When the selected Master is set to the Performance mode : MODE VOICE PERFORM When the selected Master is set to the Song mode : MODE MASTER VOICE SEQUENCER When the selected Master is set to the Pattern mode : MODE PERFORM MASTER VOICE SEQUENCER PERFORM MODE MODE MASTER VOICE SEQUENCER PERFORM MASTER VOICE MASTER SEQUENCER SEQUENCER SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY EDIT JOB STORE EDIT JOB STORE EDIT JOB STORE EDIT JOB STORE EDIT JOB STORE SCENE STORE SET LOCATE COMPARE SCENE STORE SET LOCATE COMPARE SCENE STORE SET LOCATE COMPARE SCENE STORE SET LOCATE COMPARE COMPARE To select another mode, simply press the corresponding mode button. Mixing mode (in the Song/Pattern mode) The two Sequencer modes, Song and Pattern, feature a special Mixing mode. ● Song Mixing mode ● Pattern Mixing mode MODE VOICE PERFORM MODE MASTER VOICE SEQUENCER PERFORM MASTER SEQUENCER SONG PATTERN FILE SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY EDIT JOB STORE EDIT JOB SCENE STORE SET LOCATE COMPARE COMPARE STORE SCENE STORE SET LOCATE To exit from the File mode and select another mode, simply press the corresponding mode button. (The [EXIT] button cannot be used here.) 68 PERFORM MOTIF Basic Operation SCENE STORE SET LOCATE Calling up the Operation Displays Record mode (in the Song/Pattern and Sampling mode) The MOTIF also features Record modes — one for sequencing in the Song and Pattern modes, and one for sample recording in the Sampling mode. ● Song Record mode ● Pattern Record mode MODE VOICE PERFORM MODE MASTER VOICE SEQUENCER PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB SEQ TRANSPORT SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY STORE EDIT JOB STORE SCENE STORE SET LOCATE COMPARE LOCATE COMPARE MASTER SEQUENCER SEQ TRANSPORT SONG PERFORM 2 1 LOCATE REC ■ Press the [STOP] button to exit from Song 2 1 REC SCENE STORE SET LOCATE ■ Press the [STOP] button to exit from the Pattern Record mode to the Song Play mode. Record mode to the Pattern Play mode. From the Voice mode From the Performance mode From the Song mode MODE MODE MODE VOICE PERFORM MASTER VOICE SEQUENCER PERFORM MASTER VOICE SEQUENCER PERFORM From the Pattern mode MODE MASTER VOICE SEQUENCER PERFORM MASTER SEQUENCER SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY EDIT JOB STORE EDIT JOB STORE EDIT JOB STORE EDIT JOB SCENE STORE SET LOCATE COMPARE SCENE STORE SET LOCATE COMPARE SCENE STORE SET LOCATE COMPARE COMPARE SONG SCENE SF1 F1 SF2 F2 SF3 F3 SF4 F4 STORE SCENE STORE SET LOCATE INFORMATION SF5 F5 Basic Operation ● Sampling Record mode F6 Press the [EXIT] button to exit from the Sampling Record mode. MOTIF Basic Operation 69 Calling up the Operation Displays Edit mode The four main modes (Voice/Performance/Song/Pattern), the Sampling mode and the Master mode described above all have their own specific Edit modes. ● Voice Edit mode ● Performance Edit mode MODE VOICE ● Song Edit mode MODE PERFORM MASTER VOICE SEQUENCER ● Pattern Edit mode MODE PERFORM MASTER VOICE SEQUENCER MODE PERFORM MASTER VOICE SEQUENCER PERFORM MASTER SEQUENCER SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY EDIT JOB STORE EDIT JOB STORE EDIT JOB STORE EDIT JOB SCENE STORE SET LOCATE COMPARE SCENE STORE SET LOCATE COMPARE SCENE STORE SET LOCATE COMPARE COMPARE STORE SCENE STORE SET LOCATE Press the [EXIT] button to exit from the Edit mode. ● Sampling Edit mode From the Performance mode From the Song mode MODE MODE MODE Basic Operation From the Voice mode VOICE PERFORM MASTER VOICE SEQUENCER PERFORM MASTER VOICE SEQUENCER PERFORM From the Pattern mode MODE MASTER VOICE SEQUENCER PERFORM MASTER SEQUENCER SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY EDIT JOB STORE EDIT JOB STORE EDIT JOB STORE EDIT JOB STORE SCENE STORE SET LOCATE COMPARE SCENE STORE COMPARE COMPARE COMPARE SCENE STORE SET LOCATE SET LOCATE SCENE STORE SET LOCATE Press the [EXIT] button to exit from the Edit mode. ● Master Edit mode ● Song MIxing Edit mode MODE VOICE ● Pattern Mixing Edit mode MODE PERFORM MASTER VOICE SEQUENCER PERFORM MODE MASTER VOICE SEQUENCER PERFORM MASTER SEQUENCER SONG PATTERN FILE SONG PATTERN FILE SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY INTEGRATED SAMPLING MIXING UTILITY EDIT JOB STORE EDIT JOB STORE EDIT JOB SCENE STORE SET LOCATE COMPARE SCENE STORE SET LOCATE COMPARE COMPARE STORE SCENE STORE SET LOCATE Press the [EXIT] button to exit from the Edit mode. Job mode MODE VOICE PERFORM MASTER SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB STORE COMPARE 70 Most of the mores described above — the main modes (Voice, Performance, Song, Pattern), the two sub-modes (Sampling and Utility), the Mixing mode (in Song and Pattern), and the Master mode — have their own specific Job modes. To call up the Job mode, press the [JOB] button while one of the modes listed above is active. Since the [JOB] button does not have an indicator lamp, check the display to see whether the Job mode is selected or not. SCENE STORE SET LOCATE MOTIF Basic Operation Calling up the Operation Displays Store mode MODE VOICE PERFORM MASTER SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB COMPARE The Voice Play mode, Performance Play mode, Song Mixing mode, Pattern Mixing mode, and Master Play mode have their own specific Store modes. To call up the Store mode, press the [STORE] button while one of the modes listed above is active. Since the [STORE] button does not have an indicator lamp, check the display to see whether the Store mode is selected or not. STORE SCENE STORE SET LOCATE Each mode described above contains various displays, with various functions and parameters. To navigate your way through these displays and select a desired function, use the [F1] - [F6] buttons and the [SF1] - [SF5] buttons. When you select a mode, the available displays or menus appear directly above the buttons at the bottom of the display (as shown below). Using the Function buttons [F1] - [F6] These functions can be selected via the corresponding button ([F1] - [F6]). SONG SCENE SF1 F1 SF2 F2 SF3 F3 SF4 F4 INFORMATION SF5 F5 F6 In this example, press the [F5] button to go to the LFO display. Depending on the currently selected mode, up to six functions are available and can be called up with the [F1] - [F6] buttons. Keep in mind that the available functions differ depending on the selected mode. Using the Sub-Function buttons [SF1] - [SF5] These functions can be selected via the corresponding button ([SF1]-[SF5]). SONG SCENE SF1 F1 SF2 F2 SF3 F3 SF4 F4 INFORMATION SF5 F5 F6 In this example, press the [SF5] button to go to the SCALE display. Depending on the currently selected mode, up to five functions (sub-functions) are available and can be called up with the [SF1] - [SF5] buttons. Keep in mind that the available functions differ depending on the selected mode. (Some displays may not have any sub-functions for these buttons.) MOTIF Basic Operation 71 Basic Operation Selecting Functions and Parameters Display-based Controls How to leave the current display For most operations (especially editing and Job- or Store-related), pressing the [EXIT] button will let you leave the current display and return you to the next highest level or to the normal play mode display. DEC/NO INC/YES EXIT ENTER EXECUTE Display-based Controls Basic Operation Data Entry 2Changing (editing) values Rotating the data dial to the right (clockwise) increases the value, while rotating it to the left (counter-clockwise) decreases it. 1Moving the cursor Use these four buttons to navigate the display, moving the cursor around the various selectable items and parameters in the screen. When selected, the relevant item is highlighted (the cursor appears as a dark block with inverse characters). DEC/NO INC/YES EXIT ENTER For parameters with large value ranges, you can increase the value by 10 by simultaneously holding down the [INC/YES] button and pressing the [DEC/NO] button. To decrease by 10, do the opposite; simultaneously hold down the [DEC/NO] button and press the [INC/YES] button. EXECUTE Confirmation Message When you execute certain operations, such as those in the Job, Store, and File modes, the MOTIF shows a confirmation message. This lets you actually execute the operation or cancel it if desired. If a confirmation message (like the one illustrated above) appears, press the [INC/YES] button to execute the operation or press the [DEC/NO] button to cancel it. 72 MOTIF Basic Operation Display-based Controls Information Display This convenient function lets you call up relevant details about the selected mode — simply by pressing the [INFORMATION] button. For example, when the Voice mode is active, you can quickly check information about which voice bank is selected, what Play mode (poly or mono) is being used, which effects are applied, and so on. INFORMATION In the Song Play mode, you can instantly find out how much memory is being used and how much is left over for additional recording. Control Knobs and Sliders This extremely versatile and powerful section on the panel gives you instant, real-time control over the sound and certain functions of the MOTIF. For example, you can use these to shift the Pan position, adjust the Reverb or Chorus effect, change the Tempo of a song or pattern, tweak the EQ, perform dynamic filter sweeps, alter the Volume balance of the elements in a voice or the tracks of a song, and do many other things as well — all in real time, as you perform. The Knobs are also assignable to various functions, letting you control virtually any aspect of the sound or operation you desire (pages 254 and 256). 1 Select the row of functions you wish to control by pressing the [KNOB CONTROL FUNCTION] button. The corresponding indicator lights, showing you which row is active. For example if you want to use the Knobs to control Pan, Reverb, Chorus and Tempo, press the [KNOB CONTROL FUNCTION] button (repeatedly if necessary) until the top indicator is lit. KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 KN 1 MEQ LOW 2 KN 4 MEQLOWMID MEQ HI MID MEQ HIGH Turn the appropriate Knob ([KN1] - [KN4]) to adjust the desired function. 1 Pan, Effect Send. and Tempo KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF ASSIGN A RESONANCE ATTACK RELEASE ASSIGN B ASSIGN 1 ASSIGN 2 2 Filter and EG 3 Assign Press this repeatedly to select each function row. KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI MID KN 4 MEQ HIGH 4 Master EQ In this example display, the Pan, Effect Send and Tempo controls have been called up. MOTIF Basic Operation 73 Basic Operation INFORMATION Display-based Controls The available functions are shown at the top of the display, and the value changes as you turn the corresponding Knob. For example, to change the amount of Reverb (in the top row), turn Knob 2. To change the Pan position, turn Knob 1. If the “Rev” knob in the display is dark, any tweaking you do to the Knob immediately affects the sound. However, if the knob in the display is light, turning the knob will not have any effect until you reach the current setting. Once you’ve adjusted the Knob to that setting point, the display knob turns dark, and you can tweak the sound. 3 Move the appropriate Sliders ([CS1] - [CS4]) as well. MASTER VOLUME Basic Operation VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 The Sliders are generally for controlling levels, but they have different functions depending on the selected mode. For example, in the Voice mode, they are used to adjust the levels of the four elements in a voice. In the Performance mode, they control the levels of the four parts. In the Song and Pattern modes, they are used to change the levels of the sixteen tracks — four at a time. (In the last case, you can select different groups of four by pressing the appropriate [NUMBER] button, [1] - [16].) Please note that moving the slider will not have any effect until you reach the current setting. For more information on the Knobs and Sliders, see page 48. 74 MOTIF Basic Operation Display-based Controls Note (Key) settings Several MOTIF parameters let you set a key range for a function — for example, in setting up a keyboard split — by specifying certain note values. You can use the [INC/YES] and [DEC/NO] buttons or data dial to set these parameters, or you can directly enter the values from the keyboard by pressing the appropriate keys (as shown below). In the example display here, element 1 of a voice is being edited. INFORMATION When Note Limit is selected, the [KBD] mark appears, indicating that you can use the keyboard to set the value. Simultaneously hold down the [INFORMATION] button and press the appropriate key. The MOTIF allows you to create your own original data such as voices, performances, songs, and styles. You can also freely name the data as desired. The following data types can be named. • User voices..............................................................................page 130 • User performance ..................................................................page 166 • User songs ..............................................................................page 204 • User styles ..............................................................................page 232 • User phrases ...........................................................................page 230 • User masters...........................................................................page 271 • User waveform ......................................................................page 247 • Files saved to memory card or SCSI storage device .............page 267 The example below applies when naming a User voice (page 130). 1 Move the cursor to the first position of the name by using the Cursor button. DEC/NO INC/YES EXIT ENTER EXECUTE 2 Select a character by using the [INC/YES] button, [DEC/NO] button or the data dial. DEC/NO INC/YES MOTIF Basic Operation 75 Basic Operation Naming Display-based Controls 3 Move the cursor to the next position of the name by using the Cursor button. DEC/NO INC/YES EXIT ENTER EXECUTE 4 Enter the other characters as desired by repeating steps #1 - #3 above. Using the Character List In steps #2 and #3 above, you can use the special Character List, which shows you all the available characters, and makes it easier to select the characters. Press and hold down the [INFORMATION] button to display the pop-up Character List. To select a character from the list, keep holding down the [INFORMATION] button and use the [INC/YES] and [DEC/NO] buttons or data dial. Basic Operation When the cursor is located at the Name, this [LIST] icon appears and you can call up the Character List display by holding the [INFORMATION] button. Release the [INFORMATION] button to return back to the original display. INFORMATION INSERTION While holding the [INFORMATION] button.... 2Select a character by using the [INC/YES] button, [DEC/NO] button or the data dial. 1 Move the cursor to the desired position. DEC/NO INC/YES EXIT ENTER EXECUTE 76 MOTIF Basic Operation Playing the Demos Quick Start Guide This helpful and informative section of the manual takes you on a guided tour of the MOTIF, explaining virtually all of the important functions by example and giving you important, hands-on experience as you actually start using the instrument. Read through these practical instructions carefully — this is the best way to get to know the sophisticated functions of the MOTIF and to discover just how much it has to offer. Each set of instructions gives you the basic tools you need to master the instrument. If you’re in need of more information or details, go straight to the Reference section — the relevant page number is indicated here at the beginning of each topic. Playing the Demos Here’s the best place to start your explorations of the MOTIF. The Song and Master Demos have been specially programmed so you can hear just how amazing the sounds are, and find out just how powerful the instrument really is. Auto Demo Load The MOTIF features special Demo data (Song and Master programs) which is stored to ROM and can be loaded to DRAM by using the Auto Demo Load function. When this parameter is set to “on,” the Demo song data is automatically loaded when the power is turned on. The Auto Demo Load parameter is set to off when the MOTIF is shipped from the factory. (Under normal playing circumstances, you’ll want to use the full memory of the instrument and won’t want to have the Demo programs automatically load.) Before you can play the Demos, you’ll need to turn this function on (as described below). 1 Enter the Utility mode and call up the GENERAL display. 2 Call up the OTHER display. SEQUENCER SONG PATTERN FILE SF4 F1 INTEGRATED SAMPLING MIXING UTILITY 3 Move the cursor to “AutoDemoLoad.” DEC/NO EXIT INC/YES ENTER EXECUTE 4 Set “AutoDemoLoad” to ON. DEC/NO INC/YES 5 Turn the power off by pressing the [POWER] switch. POWER OFF ON 6 Turn the power on again by pressing the [POWER] switch. POWER OFF ON The Demo programs are now loaded to the MOTIF, and you can try them out in the instructions that follow. MOTIF Quick Start Guide 77 Quick Start Guide Reference (page 252) Playing the Demos Playing the Song Demo A variety of Demo songs have been programmed to the MOTIF, showcasing its dynamic voices and giving you a taste of the sophisticated sequencing functions inside. POWER OFF ON 1 Turn the power ON. 4 Select a song. 3 If it isn’t currently highlighted, move the cursor to the Song number/name. DEC/NO INC/YES EXIT ENTER Decreases number 2 Press the [SONG] mode button to enter Increases number DEC/NO the Song mode. SEQUENCER INC/YES EXECUTE SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY Decreases number Quick Start Guide KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME Increases number SYSTEM ARPEGGIO VOICE PERFORM MASTER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB SEQ TRANSPORT DEC/NO SONG SCENE SF1 1 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON SEQUENCER LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 F6 EXIT ENTER 10 9 11 SOLO EXECUTE SCENE STORE SET LOCATE UP 6 Stop song playback manually, if you want. 5 Start the selected song. SEQ TRANSPORT SEQ TRANSPORT Top button LOCATE 1 2 LOCATE REC When playback of the selected song is finished, the song automatically stops. MOTIF Quick Start Guide 2 You can stop the song anytime during playback by pressing the [■] button. This pauses the song at the current position. To resume playback of the song from that point, press the [F] again. To instantly return to the beginning of the song, press the [ For details about song control, see page 14. 78 1 REC ] (Top) button. Playing the Demos Playing the Master Demo The MOTIF has so many powerful features, functions, and modes, it may seem difficult to understand them all and grasp how they work together. One good place to start learning about the various pieces in the MOTIF puzzle is the Master mode. Master programs are special setups that let you work across the mode boundaries of the MOTIF (Voice, Performance, Song, and Pattern), and let you instantly select a desired configuration for the entire instrument. We’ve programmed a variety of Master programs to show you how this powerful feature can be used. Try some of these out now. (You’ll be setting up your own Master programs later in this Guide.) 1 Enter the Master mode. MODE KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS PERFORM MASTER TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME Quick Start Guide VOICE SYSTEM ARPEGGIO VOICE PERFORM MASTER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB SEQ TRANSPORT DEC/NO SONG SCENE SF1 1 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON SEQUENCER LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 F6 EXIT SCENE STORE SET LOCATE ENTER 9 10 11 SOLO EXECUTE UP 2 Select a Master. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Mode 3 Play the selected Master program. • When the Mode is set to Voice or Performance, play the keyboard. • When the Mode is set to Song or Pattern, press the [F] (Play) button. SEQ TRANSPORT LOCATE Decreases number Increases number DEC/NO Decreases number 1 2 REC INC/YES Increases number MOTIF Quick Start Guide 79 Playing Voices Playing Voices Reference (page 124) The Voice Play mode is where you select and play the instrument sounds (voices) of the MOTIF. Thanks to an amazing 85MB of wave ROM and over 700 voices to choose from (even more when you install optional Plug-in boards!), the MOTIF has just about any sound you’ll ever need, no matter what kind of music you create — from luscious piano, strings, and other acoustic instruments to cutting-edge synth, dance, and electronica sounds. Plus, with the full 62-note polyphony, you can play fat chords and arpeggios — and sustain them without ever having to worry about the sound cutting out. The MOTIF provides several different voice banks: Preset 1 - 3, GM Preset, User, and Plug-in 1 - 3 (when optional Plug-in boards are installed). Select a bank and try out some of these different voices right now. Selecting a voice 2 Select a Voice Bank. 1 Enter the Voice Play mode. • Normal Voice MODE VOICE PERFORM PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 A. PIANO KEYBOARD ORGAN GUITAR/ PLUCKED BASS STRINGS BRASS REED/PIPE MASTER Bank name Select a Normal Voice Bank. Select a Plug-in Voice Bank. Quick Start Guide When the Voice Play mode is active, the currently selected voice is shown in huge letters — so you can easily check which voice you’re about to play. n When shipped from the factory, the MOTIF contains a full set of specially programmed User voices in the User bank. Naturally, you can edit these and overwrite them if you want. You can also restore them to the original factory set by using the Utility Job (page 260). For details about Voice Banks and Groups, see page Bank name 124. • Drum Voice DRUM KITS KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS PRE 1 PRE 2 PRE 3 GM USER A. PIANO KEYBOARD ORGAN GUITAR/ PLUCKED BASS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH SYSTEM ARPEGGIO VOICE PERFORM MASTER SONG PATTERN FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING EDIT JOB UTILITY SONG SCENE SF1 1 PRE 1 PRE 2 FAVORITES A. PIANO KEYBOARD PRE 3 ORGAN COMMON SEQUENCER LOCATE DRUM KITS GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS D E PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 EXIT F6 9 ENTER 11 10 SOLO EXECUTE SCENE STORE SET LOCATE UP 3 Select a Voice Group. Voices in each Bank are divided into Groups [A] ~ [H]. Select a Group to display the voices that belong to the selected Group. Group A B C SYN LEAD SYN PAD/ CHOIR SYN COMP D E DRUM/ CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI 4 Select a Voice number. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Decreases number DEC/NO Decreases number 80 MOTIF Quick Start Guide Increases number INC/YES Increases number Playing Voices Using the Category Search function Reference (page 126) The MOTIF features a powerful Category Search function that gives you quick access to the sounds you want, irrespective of their bank locations. Simply select a voice category, such as A. PIANO or SYN LEAD, and you can browse through all related voices one by one — and audition each of them, too. Plus, you can use the special Favorites category to store the voices you use most. 2 Select a Category. • Select a Sub Category All Categories are divided into two or three Sub Categories for further ease in selection. The Sub Category names are displayed at the bottom of the Category Search display. Press the [F1] - [F3] buttons to select the first voice in the corresponding Sub Category. • Select a Category. Press the Category buttons to display the Category name and the voice list. The first voice in this Category is selected. Category names PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE D E A B C SYN LEAD SYN PAD/ CHOIR SYN COMP DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI 1 Turn the Category Search function on by pressing the [CATEGORY SEARCH] button. PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE CATEGORY SEARCH SF1 SF2 F1 Category name KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS MEQLOWMID MEQ HI MID TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME F3 Voice list MODE n Press the [CATEGORY SEARCH] button again to turn this function off. KN 1 MEQ LOW F2 SF3 Quick Start Guide PRE 1 SYSTEM ARPEGGIO VOICE PERFORM MASTER SONG PATTERN PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING EDIT JOB UTILITY SONG SCENE SF1 1 PRE 1 FAVORITES COMMON SEQUENCER LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 F6 EXIT 9 ENTER 10 11 SOLO EXECUTE SCENE STORE SET LOCATE UP 3 Select a voice. Step through the available voices by using the data dial. You can also use the [INC/YES] and [DEC/NO] buttons, or use the cursor [ ]/[ ] buttons. DEC/NO INC/YES EXIT ENTER Favorite Category Use this convenient function to store all your favorite, often-used voices in a single, easy-to-access location — and call them up by pressing the [FAVORITIES] button. Select any voice you want, from any desired category, and enter each to the Favorites Category. In this way, you can go directly to all the voices you use the most, without having to hop around other Categories — a great aid when playing live. Select the desired Category, then move the cursor to your favorite voice in the Category list, and press the [F5] button to checkmark the the box next to the voice name. (You can un-checkmark it by pressing the [F5] button again.) Go on to other Categories and continue registering your favorites. After you’ve checkmarked all the voices you want, press the [DRUMKIT/FAVORITE] button to store them to the Favorites Category. All the voices you’ve checkmarked — and only those voices — will be shown in the list. To exit from the Favorites Category, simply press the [DRUMKIT/FAVORITE] button again. EXECUTE DRUM KITS FAVORITES SF1 F1 SF2 F2 SF3 F3 SF4 F4 SF5 F5 F6 Pressing this toggles between the two settings: Checkmark on Checkmark off MOTIF Quick Start Guide 81 Playing Voices Keyboard Octave (MOTIF6/MOTIF7) Sometimes when playing a voice, you may wish to play in a lower or higher pitch range. For example, you may want to shift the pitch down lower to get extra bass notes, or shift up to get higher notes for leads and solos. The Octave Up/Down controls let you do this quickly and easily. Each time you press the [OCTAVE UP] button on the panel, the overall pitch of the voice goes up by one octave. Likewise, each press of the [OCTAVE DOWN] button takes the pitch down by one octave. The range is from -3 to +3, with 0 being standard pitch. When this is set to Octave Up, the lamp of the [OCTAVE UP] button lights, and when it is set to Octave Down, the [OCTAVE DOWN] button’s lamp lights. The current octave setting is shown at the top right of the display. You can instantly restore standard pitch (0) by simultaneously pressing both the [OCTAVE UP] button and the [OCTAVE DOWN] button (both lamps turn off). OCTAVE DOWN UP n Octave Up/Down works in conjuction with with the TUNE setting (in Voice Edit, page 138) and the Note Shift setting (in Utility Mode, page 250). This means that if the the pitch has already been shifted up or down with those settings, you may not be able to use Octave Up/Down to shift the full three octaves. n If using Octave Up/Down results in pitches outside the note range of the voice (C-2 - G8), the invalid pitches are sounded at the previous octave (down or up). n This function can be used also in the Performance mode or Master mode. Quick Start Guide 82 MOTIF Quick Start Guide Editing Voices Editing Voices The Voice Play mode not only lets you play voices, it lets you perform a variety of basic, yet powerful editing operations on them as well. For example, you can change the EG settings to give the voice a softer or harder attack, or change the release to make it sustain. You can also adjust similar settings for the filter, and change the tone of the voice. Moreover, a special set of Control knobs on the panel let you tweak the sound — including pan, EG, effects, filter, and more — in real time as you play. Naturally, you can also store your newly created voice for future recall (page 86). Quick Voice editing Reference (page 127) 1 Select the desired menu. 2 Set the value of each parameter. Move the cursor to the desired parameter and change the value by using the [INC/YES] and [DEC/NO] buttons or the data dial. DEC/NO EXIT SF1 SF2 SF3 SF4 INC/YES ENTER SF5 EXECUTE F2 F3 F4 F5 F6 DEC/NO Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System SLOT 1 DEC/NO SONG SCENE SF1 SF2 SF3 SF4 INC/YES SLOT 2 SLOT 3 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP SE MUSICAL FX COMBI 1 2 3 6 7 8 DRUM / CHROMATIC PERCUSSION PERCUSSION 4 5 CATEGORY SEARCH BANK SECTION GROUP TRACK SELECT INFORMATION SF5 ELEMENT/ PERF.PART / ZONE NUMBER F1 F2 F3 F4 F5 F6 EXIT ENTER EXECUTE 9 10 11 12 13 INC/YES The [ ] Indicator MUSIC PRODUCTION SYNTHESIZER DRUM KITS COMMON Quick Start Guide F1 14 15 16 MUTE SOLO If you alter any parameters in the Voice Play mode, the [ ] indicator will appear in the top left of the display. This indicates that the current voice has been modified but not yet stored. Edit indicator F4 PORTA (Portamento) display From this display you can select monophonic or polyphonic playback and set the Portamento parameters. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next. F5 EG (Envelope Generator) display Basic Structure (page 46) • AEG (Amplitude Envelope Generator) The AEG controls how the volume of the voice changes in time, from the instant you press a key to after you release it. For example, setting a small Attack value results in an instantaneous, sharp sound when you press a key. Cutoff Frequency (page 46) Resonance (page 46) • FEG (Filter Envelope Generator) The FEG controls how the tonal quality of the voice changes in time, as affected by the filter. Here, you can also set the Cutoff frequency and Resonance for the filter. F6 ARP (Arpeggio) display The basic Arpeggio parameters (e.g., type, tempo) are provided in this display. MOTIF Quick Start Guide 83 Editing Voices Voice editing with the Control knobs Reference (page 132) These knobs let you change various aspects of the Voice’s sound in real time — while you play. Turn a knob to the right to increase the value, and left to decrease it. If you want to keep the edits you make, you can store them to a new voice (page 86). n Each voice of the MOTIF has been programmed with a default or standard parameter value. Using these knobs offsets the default or standard parameter value. Regardless of the size of the offset, the minimum and maximum limits cannot be exceeded. n Using these knobs in the Performance mode affects the currently selected performance, and not the voices themselves. KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME SYSTEM ARPEGGIO VOICE PERFORM MASTER PATTERN PRE 2 A. PIANO KEYBOARD A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING UTILITY SONG SCENE SF1 1 PRE 1 FAVORITES PRE 3 ORGAN COMMON SEQUENCER SONG LOCATE DRUM KITS GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS D E PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 JOB STORE F1 F2 F3 F4 F5 F6 EXIT ENTER EXECUTE SCENE STORE SET LOCATE 9 10 11 SOLO UP Selecting the controllable functions Quick Start Guide Functions assigned to each knob can be selected among four types as illustrated below. Use the [KNOB CONTROL FUNCTION] button to change the parameter set for the knobs. The corresponding LED lights to indicate which group of parameters are active and the Control of the available functions appear in the LCD display as shown below. Press the [EXIT] button to go back to the original display. KNOB CONTROL FUNCTION PAN REVERB CUTOFF ASSIGN A KN 1 MEQ LOW CHORUS TEMPO RESONANCE ATTACK RELEASE ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 MEQLOWMID MEQ HI M ID KN 4 MEQ HIGH 1 Pan, Effect Send, and Tempo 2 Filter and EG 3 Assign 4 Master EQ Press this repeatedly to select each function row. n If the “Rev” knob in the display is dark, any tweaking you do to the Knob immediately affects the sound. However, if the knob in the display is light, turning the knob will not have any effect until you reach the current setting. Once you’ve adjusted the Knob to that setting point, the display knob turns dark, and you can tweak the sound. 84 MOTIF Quick Start Guide Editing Voices About each assigned function 1 Pan, Effect Send, and Tempo L PAN REVERB CHORUS TEMPO KN 1 KN 2 KN 3 KN 4 TEMPO Determines the tempo of the Arpeggio assigned to the currently selected voice. In the Song/Pattern/Arpeggio mode, this determines the tempo of the selected song or pattern. R Signal REVERB Determines the amount of Reverb effect that is applied to the voice. CHORUS Determines the amount of Chorus effect that is applied to the voice. 2 Filter and EG CUTOFF Determines the Filter cutoff frequency. CUTOFF RESONANCE ATTACK RELEASE KN 1 KN 2 KN 3 KN 4 ATTACK Determines the attack time of the sound. For example, you can adjust a strings voice so that the sound gradually swells in volume by setting a slow attack time — simply turn the [ATTACK] knob to the right. For a more percussive attack, turn the knob to the left. RESONANCE Boosts the level of the signal in the area of the cutoff frequency. Try using the Cutoff and Resonance controls above in tandem. For example, set Resonance to a certain level, then sweep the Cutoff control. Quick Start Guide PAN Determines the stereo pan position of the voice. Release time Attack time Key off Key on RELEASE Determines the release time of the sound. Turning the knob to the right sets a long release time and (depending on the selected voice) lets the sound sustain after the key is released. To produce a sharp release, in which the sound abruptly cuts off, set a short release time. n When the Drum voice is selected, this is used as Decay time. 3 Assign These knobs can be assigned to a variety of functions, letting you create your own custom set of real-time controls. For details about Knobs A/B, see page 256. For details about Knobs 1/2, see page 254. ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 1 KN 2 KN 3 KN 4 4 Master EQ Adjusts the master (global) EQ settings for the entire voice. The settings made here are applied as offsets to the EQ settings (with the exception of “MID”) in the Utility mode, page 253. Gain MEQ LOW MEQLOWMID MID MEQ HI M ID MEQ HIGH 0 MOTIF Quick Start Guide 85 Storing edited Voices Storing edited Voices Reference (page 160) Once you’ve edited a voice, you can store it to the internal memory (SRAM). Up to 128 Normal Voices and up to 16 Drum Voices can be stored. n For details about memory structure, see page 63. When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to computer, a separate Memory Card or some other storage device. (See page 64.) 1 Press the [STORE] button in the Voice mode. 2 Select the destination Voice Memory by using the [INC/YES] and [DEC/NO] buttons or the data dial. Decreases number Destination EDIT JOB Increases number STORE DEC/NO COMPARE INC/YES Decreases number SCENE STORE SET LOCATE Quick Start Guide KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS ATTACK ASSIGN 1 Increases number TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME SYSTEM ARPEGGIO VOICE PERFORM MASTER PATTERN FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING EDIT JOB UTILITY PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G INC/YES H SYN LEAD SYN PAD/ CHOIR SYN COMP SE MUSICAL FX COMBI 1 SONG SCENE SF1 1 PRE 1 FAVORITES COMMON SEQUENCER SONG LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 2 3 DRUM / CHROMATIC PERCUSSION PERCUSSION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 SCENE STORE SET LOCATE F4 F5 F6 EXIT ENTER 9 10 11 EXECUTE SOLO UP 3 Press the [ENTER] button. (The display prompts you for confirmation.) DEC/NO INC/YES EXIT ENTER EXECUTE 4 To execute the Store operation, press the [INC/YES] button. After the voice has been stored, a “Completed” message appears and operation returns to the original display. DEC/NO INC/YES EXIT ENTER EXECUTE n To cancel the Store operation, press the [DEC/NO] button. For Store operations that take longer to process, you will see the message "Executing..." during processing. off the power of the MOTIF while this message is displayed, you risk corrupting your data. A wider variety of detailed editing controls is also available in the Voice Edit mode. 86 MOTIF Quick Start Guide Storing edited Voices About Plug-in Voices Basic Structure (page 34) Plug-in Boards give you an enormous amount of additional sonic flexibility and power. When installed, they work seamlessly and transparently within the system of the MOTIF — meaning that you can use their sounds and functions just as if they were built right into the MOTIF at the factory. Up to three Plug-in boards can be installed to the MOTIF. If the Plug-in Board has been correctly installed, the corresponding SLOT lamp will light, the voice data appropriate for the installed board is set up automatically as Plug-in voices and you can select the Plug-in bank as well as the built-in Voice bank. MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System SLOT 1 SLOT 2 SLOT 3 CATEGORY SEARCH PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE BANK The Plug-in voices can be edited via the MOTIF’s panel operation in much the same way as User voices. After editing, up to 64 Plug-in voices for each Plug-in board can be stored. Editing and saving Board voices 1 Edit the Board voice by using the Voice Editor. 2 Transmit the edited data to the memory (DRAM) on the Plug-in board. 2 Transmit Plug-in board KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS TEMPO ATTACK RELEASE ASSIGN 1 ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 1 Edit VOLUME 1 VOLUME 2 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQLOWMID MEQ HI MID MEQ HIGH VOLUME 3 VOICE ARPEGGIO EFFECT BYPASS SYSTEM INSERTION MASTER VOLUME PERFORM MASTER DRUM KITS FAVORITES PRE 2 KEYBOARD PRE 3 ORGAN COMMON SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY SEQ TRANSPORT DEC/NO SONG SCENE SF1 LOCATE PRE 1 A. PIANO GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 D E DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE GROUP INFORMATION SF5 2 1 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT COMPARE OCTAVE CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE JOB F1 SCENE STORE SET LOCATE F2 F3 F4 F5 F6 EXIT ENTER EXECUTE 9 10 11 SOLO UP DOWN Computer with application software MOTIF 3 Save the data in the memory (DRAM) to the memory card. Memory card 3 Save Plug-in board KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS ATTACK ASSIGN 1 TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME SYSTEM ARPEGGIO VOICE PERFORM MASTER DRUM KITS FAVORITES PATTERN FILE MIXING UTILITY PRE 2 KEYBOARD PRE 3 ORGAN B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 A DEC/NO SONG SCENE SF1 1 A. PIANO COMMON SEQUENCER SONG INTEGRATED SAMPLING SEQ TRANSPORT LOCATE PRE 1 GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS D E PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES F G H SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE DRUM / CHROMATIC PERCUSSION PERCUSSION SECTION GROUP INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 JOB STORE F1 F2 F3 F4 F5 SCENE STORE SET LOCATE F6 EXIT ENTER EXECUTE 9 10 11 SOLO UP MOTIF 4 Set Auto Load to on in the Utility mode (page 252). Set this to on. 5 When turning the power on next time, the Board Custom voice data saved to the memory card is automatically loaded to the memory on the Plug-in board. MOTIF Quick Start Guide 87 Quick Start Guide Reference (page 159) Included among the Board voices is a special set of voices — called Board Custom voices — which can be edited by a computer connected to the MOTIF, using special editing software included with the Plug-in board. Because the Plug-in boards do not have SRAM and the edited voice data will be lost when turning the power off, the edited Board Custom voice data should be saved to the memory card or the SCSI device connected to the MOTIF. The Board Custom voice data saved to the memory card or SCSI device can be loaded automatically when turning the power on by using the Auto Load function. Playing Performances Playing Performances Basic Structure (page 42) · Reference (page 162) In the Performance mode, you can select and play individual User performances. In a performance, you can mix several different voices together in a layer, or split them across the keyboard, or even set up a combination layer/split. Each Performance can contain up to four different Parts. n For details about the performances and their memory (bank) structure, see page 42. Selecting a Performance 1 Enter the Performance Play mode. 2 Select a Performance Group. Performances in each Bank are divided into Groups A~H. Select a Group to display the performances that belong to the selected Group. MODE VOICE PERFORM MASTER D A B C SYN LEAD SYN PAD/ CHOIR SYN COMP F G H SE MUSICAL FX COMBI E DRUM / CHROMATIC PERCUSSION PERCUSSION SECTION GROUP Group Performance Quick Start Guide n All performances are stored to a single bank, so you need not select a bank here. When the Performance Play mode is active, the currently selected performance is shown in huge letters — so you can easily check which performance you’re about to play. KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH SYSTEM ARPEGGIO VOICE PERFORM MASTER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB SEQ TRANSPORT DEC/NO SONG SCENE SF1 1 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON SEQUENCER LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 9 ENTER EXIT F6 10 11 SOLO EXECUTE SCENE STORE SET LOCATE UP 3 Select a Performance number. 4 Play the keyboard. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Decreases number n The Category Search function and Keyboard Octave function can be used also in the Performance Play mode in the same way as in the Voice Play mode. Increases number DEC/NO INC/YES Decreases number Increases number Performance Part on/off Each performance can contain a maximum of four parts, selected from a total of seven — internal Parts 1 - 4 and Plug-in Parts 1 - 3. 1 Press the [MUTE] button so that its indicator lights. 2 Press any of the [1] - [4] buttons you wish to mute. The part corresponding to the unlit indicator is muted. 1 2 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE 3 Press the [MUTE] button again so that its indicator goes out. NUMBER 9 10 11 SOLO 88 MOTIF Quick Start Guide Editing Performances (Layer/Split) Editing Performances (Layer/Split) Basic Structure (page 45) · Reference (page 170) Performances can be made up of a maximum of four parts (voices), selected from the internal tone generator Parts 1 - 4 and Plug-in board Parts 1 - 3. You can create a performance by layering several voices together, and by assigning different voices to separate ranges of the keyboard. You can then store up to 128 of your original, edited performances to internal User memory. Layer Split Built-in tone generator parts PRE2 PRE3 USER PL1 PL2 Built-in tone generator parts PL3 1 Call up the VOICE display by pressing the PRE1 PRE2 PRE3 Plug-in parts USER PL1 PL2 PL3 2 Assign the desired voice to each part. Move the cursor to the desired part and select a voice by pressing the [F1] or [F2] button. [F3] button in the Performance Play mode. DEC/NO INC/YES SONG SCENE SONG SCENE SF 1 F1 SF 2 F2 SF 3 F3 SF 4 F4 F5 SF 1 INFORMATION SF 5 SF 2 F1 F6 Assign the built-in voice to the selected part. KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 F2 F3 SF 4 F4 INFORMATION SF 5 F5 F6 Delete the voice assignment of the selected part. TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME SF 3 Assign the Plug-in voice to the selected part. MODE KN 1 MEQ LOW Quick Start Guide PRE1 Plug-in parts SYSTEM ARPEGGIO VOICE PERFORM MASTER SONG PATTERN FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING EDIT JOB UTILITY SONG SCENE SF1 1 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON SEQUENCER LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 F6 EXIT ENTER 9 10 11 SOLO EXECUTE SCENE STORE SET LOCATE UP 3 Specify the note range of each part, as required. You can set the lowest note of the range over which the voice of the selected part sounds by pressing the desired key while holding the [SF4] button. To set the highest note of the range, press the desired key while holding the [SF5] button. This lets you create a split keyboard, with up to four different parts (voices) sounding in four different ranges. You can also overlap parts to create layers. Note Limit Low Note Limit High SF 4 4 Change the volume of each part and adjust the relative balance among the four parts by using the Control sliders. KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 SF 5 KN 1 MEQ LOW MASTER VOLUME MEQLOWMID MEQ HI MID KN 4 MEQ HIGH VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 CS 1 CS 2 CS 3 CS 4 MOTIF Quick Start Guide 89 Storing the edited Performance Storing the edited Performance Reference (page 176) Once you’ve edited a performance, you can store it to the internal memory (SRAM). Up to 128 performances can be stored. n For details about memory structure, see page 63. When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to computer, a separate Memory Card or some other storage device. (See page 97.) 1 Press the [STORE] button in the Performance mode. 2 Select the destination Voice Memory by using the [INC/YES] and [DEC/NO] buttons or the data dial. Decreases number EDIT COMPARE JOB Increases number STORE SCENE STORE SET LOCATE DEC/NO Decreases number INC/YES Increases number Destination Quick Start Guide KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH SYSTEM ARPEGGIO VOICE PERFORM MASTER PATTERN FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING UTILITY SONG SCENE SF1 1 PRE 1 PRE 2 FAVORITES A. PIANO KEYBOARD A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 PRE 3 ORGAN COMMON SEQUENCER SONG LOCATE DRUM KITS GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS D E PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 JOB STORE F1 F2 F3 F4 SCENE STORE SET LOCATE F5 F6 EXIT ENTER 9 10 11 EXECUTE SOLO UP 3 Press the [ENTER] button. (The display prompts you for confirmation.) DEC/NO INC/YES EXIT ENTER EXECUTE 4 To execute the Store operation, press the [INC/YES] button. After the voice has been stored, a “Completed” message appears and operation returns to the original display. DEC/NO INC/YES EXIT ENTER EXECUTE n To cancel the Store operation, press the [DEC/NO] button. For Store operations that take longer to process, you will see the message "Executing..." during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data. The Portamento, EG (Envelope Generator), and Arpeggio parameters can be edited by calling up the corresponding display via the [F4] - [F6] buttons in the same way as in the Voice mode. A wider variety of detailed editing controls is also available in the Performance Edit mode. See page 165. 90 MOTIF Quick Start Guide Using the Arpeggio function Using the Arpeggio function Basic Structure (page 55) · Reference (pages 128, 165) The MOTIF features a powerful and highly versatile arpeggiator that lets you automatically trigger preset arpeggios, phrases, rhythmic sequences and special “human” patterns — depending on the keys you play, or even the velocity with which you play them. You can assign the desired Arpeggio type to each voice or performance, and adjust the tempo in real time as the Arpeggio plays. In the Song and Pattern modes, you can assign desired Arpeggio types to each Mixing setup, for use in songs and patterns. Arpeggio playback 1 Select a Voice/Performance. CATEGORY SEARCH DRUM KITS PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON DRUM / CHROMATIC PERCUSSION PERCUSSION SECTION SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE 11 10 Quick Start Guide ELEMENT/ PERF.PART / ZONE 9 SOLO KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS ATTACK ASSIGN 1 TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME SYSTEM ARPEGGIO VOICE PERFORM MASTER PATTERN FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING EDIT JOB UTILITY PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G INC/YES H SYN LEAD SYN PAD/ CHOIR SYN COMP SE MUSICAL FX COMBI 1 SONG SCENE SF1 1 PRE 1 FAVORITES COMMON SEQUENCER SONG LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 2 3 DRUM / CHROMATIC PERCUSSION PERCUSSION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 2 Turn the Arpeggio on by pressing the ARPEGGIO [ON/OFF] button. EFFECT BYPASS INSERTION SYSTEM STORE SCENE STORE SET LOCATE F1 F2 F3 F4 F5 F6 EXIT ENTER 9 10 11 EXECUTE SOLO UP ARPEGGIO 3 Play the keyboard. While holding the key(s), the Arpeggio is played back according to the played note, Arpeggio type, tempo, note limit settings, and so on. ON/OFF n In the Voice Play mode, the Arpeggio is played back via the selected voice. n When you select a voice or performance for which the Arpeggio Switch is set to on, the ARPEGGIO [ON/OFF] button is automatically turned on. n In the Performance/Song Mixing/Pattern Mixing mode, the Arpeggio is played back via the voice assigned to the selected part when the Arpeggio Switch of the selected part is set to on. n The on/off status of the ARPEGGIO [ON/OFF] button can be stored to each voice, performance, or Mixing setup. MOTIF Quick Start Guide 91 Using the Arpeggio function Arpeggio Type, Tempo, and Limit A variety of Arpeggio types are provided with the MOTIF. You can change the tempo of Arpeggio as desired. The Arpeggio function is available in all modes. The explanation below applies to the Performance Play mode. 2 Select an Arpeggio Bank. 1 Call up the ARP (Arpeggio) display by pressing the Move the cursor to the Bank parameter and select. [F6] button in the Performance Play mode. DEC/NO SF1 F1 SF2 SF3 F2 SF4 F3 F4 INC/YES INFORMATION SF5 F5 F6 3 Select an Arpeggio Type. Move the cursor to the Type parameter and select. Quick Start Guide KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS ATTACK ASSIGN 1 DEC/NO TEMPO KN 2 KN 3 MEQLOWMID MEQ HI MID ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION VOLUME 1 INC/YES RELEASE MODE KN 1 MEQ LOW MASTER VOLUME SYSTEM ARPEGGIO VOICE PERFORM MASTER SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB STORE PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A DEC/NO INC/YES EXIT ENTER SYN LEAD 1 SONG SCENE SF1 1 PRE 1 FAVORITES COMMON SEQ TRANSPORT LOCATE DRUM KITS CATEGORY SEARCH BANK ON/OFF VOLUME 4 SF2 SF3 SF4 B C SYN PAD/ CHOIR SYN COMP 2 3 D E DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE GROUP INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 F1 F2 F3 F4 F5 F6 SCENE STORE SET LOCATE EXECUTE 9 10 11 SOLO UP 4 Set the Tempo for Arpeggio playback. Move the cursor to the Tempo parameter and set. DEC/NO INC/YES 5 Set the Velocity Limit for Arpeggio playback. Move the cursor to the Velocity Limit parameter and set. Low Limit High Limit 6 Set the Arpeggio part switch. You can set the Arpeggio playback on or off for each part. Move the cursor to the checkbox of the desired part and checkmark the box to on. 127 High Limit The Arpeggio is played back only when the key is played at a velocity within this range. Low Limit 0 92 MOTIF Quick Start Guide 7 Store the Arpeggio settings to the desired User Performance. The Arpeggio settings can be stored to a User Voice, a User Performance, or a Song/Pattern Mixing setup. Using as a Master Keyboard Using as a Master Keyboard Basic Structure (page 56) · Reference (page 268 ) The MOTIF is loaded with such a wealth of different features, functions and operations, you may find it difficult to locate and call up the particular feature you need. This is where the Master function comes in handy. You can use it to memorize the operations you use most often in each mode, and call them up instantly anytime you need them with a single button press. The MOTIF has space for a total of 128 of your own User Master settings. Master No.1 Voice mode: PRE1 (A10) Master No.2 Performance mode: PRE1 (F7) Master No.3 Voice mode: USER (B08) Master No.4 Song mode: 05 Quick Start Guide Memorize to a Master The selected mode and program are memorized to a Master in the Master Play mode. 1 Enter the Master mode and select a Master 3 Select the mode to be memorized. number (page 269). Mode 2 Call up the MEMORY display by pressing the [F2] button. DEC/NO SF1 SF2 F1 SF3 F2 F3 SF4 INFORMATION SF5 F4 F5 INC/YES 4 Select the desired program (voice, performance, song, or style number) to be memorized. DRUM KITS PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 F6 COMMON or DEC/NO INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX COMBI 4 5 6 7 8 12 13 14 15 16 ELEMENT/ PERF.PART / ZONE 9 REMOTE CONTROL ON/OFF Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System SYSTEM ARPEGGIO VOICE PERFORM SLOT 1 MASTER PRE 1 PRE 2 FAVORITES A. PIANO KEYBOARD A B C SYN LEAD SYN PAD/ CHOIR SYN COMP PATTERN PRE 3 FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING EDIT JOB ORGAN COMMON SEQUENCER UTILITY INC/YES 1 SONG SCENE SF1 1 DRUM KITS GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS D E SLOT 2 Program SLOT 3 PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK SECTION GROUP ON/OFF SONG LOCATE 11 MUSIC PRODUCTION SYNTHESIZER MODE EFFECT BYPASS INSERTION 10 SF2 SF3 SF4 2 3 DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE STORE SCENE STORE SET LOCATE F1 F2 F3 F4 F5 F6 EXIT ENTER EXECUTE 9 10 11 SOLO 5 Name the Master. You can name the Master in the Master Edit mode (page 75). You can also set the functions assigned to the Control Knobs/Sliders (page 273). MOTIF Quick Start Guide 93 Using as a Master Keyboard KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH SYSTEM ARPEGGIO VOICE PERFORM MASTER SONG PATTERN FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING EDIT JOB UTILITY SONG SCENE SF1 1 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON SEQUENCER LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 SCENE STORE SET LOCATE F4 F5 F6 EXIT ENTER 9 10 11 SOLO EXECUTE UP 6 Store the settings to a Master. The edited Masters can be stored to the internal memory (SRAM). Up to 128 Masters can be stored. n For details about memory structure, see page 63. When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to computer, a separate Memory Card or some other storage device. (See page 97.) 1 Press the [STORE] button to enter the Master Store mode. Destination EDIT Quick Start Guide COMPARE JOB STORE SCENE STORE SET LOCATE 2 Select a destination Master. DEC/NO EXIT INC/YES ENTER EXECUTE 3 Press the [ENTER] button. DEC/NO INC/YES EXIT ENTER EXECUTE 4 Execute the Store operation. DEC/NO EXIT INC/YES ENTER EXECUTE n To cancel the Store operation, press the [DEC/NO] button. For Store operations that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data. 94 MOTIF Quick Start Guide Using as a Master Keyboard Master Keyboard settings ● Layer/Split settings using an external tone generator The MOTIF can function as a comprehensive, versatile master keyboard, for both live and studio applications. When a Master is set to the Voice or Performance mode, you can make settings for four independent Zones. This makes it possible to control voices of an external MIDI device over several different channels — in addition to the internal voices of the MOTIF itself. You can do this by setting the sound range of the keyboard for each Zone and assigning different MIDI channels to each range. For example, this lets you layer several voices together, including those of a connected MIDI tone generator. Plus, you can separate the voices into different keyboard ranges, and play completely different sounds with your left and right hands. In the example below, we’ll set up three Zones as shown below. We’ll program a split at the note C3. In the lower range (B2 and lower), a bass voice and cymbal voice will sound. In the upper range (C3 and above), we’ll layer piano and vibraphone voices — played from an external MIDI tone generator. Using this sophisticated setup, you can easily sound like an entire jazz group, with just your two hands. In the example instructions here, we’ll use the Voice mode for the Master. Zone 2 (Piano) Zone 1 (Bass + Cymbal) Zone 3 (Vibraphone) Quick Start Guide C3 1 Select a Voice in the Master Play mode. Set the Mode to Voice, then select the PRE1 bank and voice 123. MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE VOICE PERFORM SLOT 1 MASTER SONG PATTERN INTEGRATED SAMPLING MIXING EDIT JOB UTILITY SONG SCENE SF1 SF2 SF3 SF4 SLOT 3 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 FILE DEC/NO SLOT 2 DRUM KITS COMMON SEQUENCER INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION CATEGORY SEARCH BANK SECTION GROUP SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 ELEMENT/ PERF.PART / ZONE NUMBER COMPARE STORE F1 F2 F3 F4 F5 F6 EXIT ENTER EXECUTE SCENE STORE SET LOCATE 9 10 11 SOLO DEC/NO INC/YES 2 Set the Zone Switch to on. 3 Enter the Master Edit mode. EDIT JOB DEC/NO STORE EXIT COMPARE INC/YES SCENE STORE SET LOCATE ENTER EXECUTE MOTIF Quick Start Guide 95 Using as a Master Keyboard 5 Call up the TRANS display. 4 Call up the display for Zone editing. Press any of the buttons. 1 1 Set the TG Switch of Zone 1 to on and 4 3 2 set those for all other Zones to off. This is for transmitting the data played only in the Zone 1 to the built-in tone generator. 2 Set the MIDI Switch of the Zone 2 and 3 SF 1 to on and set the ones of the other Zones to off. This is for transmitting the data played in the Zone 2 and 3 to the external tone generator. F1 SF 2 F2 SF 3 SF 4 F3 SF 5 F5 F6 MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE VOICE PERFORM SLOT 1 MASTER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY DEC/NO SONG SCENE SF 1 SF 2 SF 3 SF 4 INC/YES SLOT 2 SLOT 3 DRUM KITS PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR/ PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON SEQUENCER DRUM/ CHROMATIC PERCUSSION PERCUSSION CATEGORY SEARCH BANK SECTION GROUP SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE 3 Set the MIDI transmit channel of Zone 1 to 1. Set the MIDI transmit channel of Zone 2 and 3 to match the Receive channel of the external tone generator (slave). INFORMATION SF 5 ELEMENT/PERF.PART/ZONE NUMBER EDIT JOB COMPARE STORE SCENE STORE SET LOCATE F1 F2 F3 F4 F5 F6 EXIT ENTER 9 10 11 SOLO EXECUTE 4 Make sure the external tone generator is 7 set to multi-timbral operation (different voices for each of the 16 MIDI channels), and select the appropriate voices on the tone generator, corresponding to the MIDI channels you set in 3 above. Store the settings to a Master (page 94). SF 1 F1 SF 2 F2 SF 3 F3 SF 4 SF 5 F5 F6 Quick Start Guide 6 Call up the NOTE display. 1 Set the Note Limit H (High) of Zone 1 to B2. Set the Note Limit L (Low) of Zone 1 to C-2. 2 Set the Note Limit H (High) of Zone 2 and 3 to G8. Set the Note Limit L (Low) of Zone 2 and 3 to C3. Each Zone will sound the assigned voice within the note range set above. ● Control Number settings Here in the KN/CS display of the Master Edit mode, you can set how the Control knobs and sliders will affect each Zone. This lets you specify a MIDI Control Change number for each knob and slider. In the example below, the Control knobs for all Zones have been set to 10 (Pan), and the sliders have been set to 11 (Expression). In this way, you can control the stereo position of each Zone with the appropriate knob, and use the sliders to adjust the relative volume balance among the Zones. This setting is available only when the Zone Switch is set to on from the Memory display in the Master Play mode. CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 KN 1 MEQ LOW SF1 F1 96 MOTIF Quick Start Guide SF2 F2 SF3 F3 SF4 F4 SF5 F5 F6 MEQLOWMID MEQ HI M ID KN 4 MEQ HIGH Saving/Loading data Saving/Loading data Basic Structure (page 63) · Reference (page 266) Many different types of data are created when using the MOTIF, and the following types are automatically maintained in memory, even if the power is turned off: Voice, Performance, Master, Arpeggio and System settings (parameters set in the Utility mode). Since the other data (e.g., wave data recorded via the Sampling function, Song, Pattern) is lost when turning the power off, you should save it to a memory card or SCSI device connected to the MOTIF. Data created on the MOTIF can be saved to Memory card or SCSI device in a variety of file types. By selecting “All” as the file type to be saved, all your original MOTIF data can be saved to Memory card/SCSI device. However, when loading this “All” data back to the MOTIF, you can choose a specific data type to be loaded (e.g., one voice or one song), as illustrated below. All Memory card Memory card Save Voice Performance Master System Load One song Song Pattern Wave SCSI device SCSI device One voice n For details about using Memory cards, see page 289. For details about using SCSI devices, see page 264 and page 290. Saving data 2 Call up the CONFIG display. 3 Select a device to which the data is to be saved. Move the cursor to the Current parameter and select “CARD” or “SCSI.” Device 1 Enter the File mode by pressing the [FILE] mode. SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY SF1 SF2 F1 F2 SF3 F3 SF4 F4 INFORMATION SF5 F5 Free space F6 SF1 F1 SF2 F2 SF3 F3 SF4 F4 INFORMATION SF5 F5 F6 4 Call up the SAVE display. KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS MEQLOWMID MEQ HI MID ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION VOLUME 1 7 Press the [ENTER] button. TEMPO RELEASE MODE KN 1 MEQ LOW MASTER VOLUME SYSTEM ARPEGGIO VOICE PERFORM MASTER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY SEQ TRANSPORT DEC/NO SONG SCENE SF1 1 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON SEQUENCER LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE DEC/NO INC/YES EXIT ENTER INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC SF1 F1 SF2 F2 SF3 F3 SF4 F4 SF5 F5 OCTAVE DOWN UP INFORMATION EDIT COMPARE CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 JOB STORE SCENE STORE SET LOCATE F1 F2 F3 F4 F5 F6 EXIT ENTER 9 10 11 EXECUTE SOLO F6 EXECUTE 8 Press the [INC/YES] button to 5 Select a file type to be saved. Here, select “All.” n For details about file type to be saved, see page 262. 6 Select a folder to which the data is to be saved. n You can name the folder by using the [F4] button and create a new folder by using the [F6] button. execute the Save operation. DEC/NO INC/YES EXIT ENTER EXECUTE MOTIF Quick Start Guide 97 Quick Start Guide n Before you can use a new Memory card or external SCSI device with the MOTIF, you’ll have to format it from the MOTIF. See page 265 for details. Saving/Loading data Loading data 2 Call up the CONFIG display. 3 Select the device from which the data is to be loaded. Move the cursor to the Current parameter and select “CARD” or “SCSI.” Free space Device 1 Enter the File mode by pressing the [FILE] button. SF1 SEQUENCER SONG PATTERN SF2 F1 INTEGRATED SAMPLING MIXING SF3 SF4 INFORMATION SF5 SF1 SF2 SF3 SF4 INFORMATION SF5 FILE F2 F3 F4 F5 F6 F1 F2 F3 F4 F5 F6 UTILITY 4 Call up the LOAD display. KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE Quick Start Guide KN 1 MEQ LOW MEQLOWMID MEQ HI MID EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH SYSTEM ARPEGGIO VOICE PERFORM MASTER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB SEQ TRANSPORT DEC/NO SONG SCENE SF1 1 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON SEQUENCER LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC SF1 F1 SF2 F2 SF3 F3 SF4 F4 SF5 F5 OCTAVE DOWN UP INFORMATION COMPARE CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE SCENE STORE SET LOCATE F1 F2 F3 F4 F5 F6 EXIT ENTER 9 10 11 EXECUTE SOLO F6 5 Select a file type to be loaded. Here, select “Voice.” 7 Select the destination User memory to which the data is to be loaded. n For details about the file types that can be loaded, see page 263. 8 Press the [ENTER] button to execute the Load operation. DEC/NO INC/YES EXIT ENTER EXECUTE 6 Select a file to be loaded. Here, select a file with the extension “.W2V,” press the [ENTER] button, and select the desired voice. [ENTER] button 98 MOTIF Quick Start Guide n Loading data to the MOTIF automatically erases and replaces any existing data in the User memory. Make sure to save any important data to a Memory card/SCSI device before performing any Load operations. Sampling with Song Playback (Integrated Sampling Sequencer) Sampling with Song Playback (Integrated Sampling Sequencer) In this section, we’ll delve into one of the most important and powerful features of the MOTIF — the Integrated Sampling Sequencer. Today’s digital music producers and artists use a mutlitude of advanced tools to get the job done — including MIDI, sampling, audio editing and much more. Cutting and pasting beats, loops and patterns together is an integral part of the music making process. The MOTIF lets you work in the same way, fully integrating sampling with MIDI sequencing — making it easier than ever before to produce great tracks. Below is a summary of the steps you’ll take as you create a new song. ■ Creating Rhythm track 1 Sampling to a Pattern Track 2 Recording MIDI data to a Pattern Track 3 Assigning a Preset Phrase to a Pattern Track (Patch function) 4 Using the Groove function 5 Pattern Mixing 6 Creating the Pattern Chain Quick Start Guide ■ Creating a Song 7 Copy the Pattern Chain data to the Song 8 MIDI recording to Song Tracks 9 Sampling to Song Track 10 Song Track Mute and Scene 11 Song Mixing and storing the settings as a template 12 Saving and Exporting the recorded song to external PC (File Utility) MOTIF Quick Start Guide 99 Sampling with Song Playback (Integrated Sampling Sequencer) 1. Sampling to a Pattern Track Basic Structure (page 52) · Reference (page 234) First, record your favorite rhythm phrase from an audio CD (or other source) to the MOTIF via the Sampling function. n For details about how to connect the external audio equipment to the MOTIF, see page 23 . 1 Enter the 3 Select the Style number and Section to be recorded. 2 Call up the PLAY display. Press the [SECTION] button, then the appropriate button [A] ~ [H]. Pattern mode. SEQUENCER SONG PATTERN FILE Section Style number INTEGRATED SAMPLING MIXING UTILITY SF1 F1 SF2 SF3 F2 F3 SF4 F4 INFORMATION SF5 F5 • Selecting a Style number Decreases number F6 Increases number DEC/NO INC/YES Decreases number Increases number • Selecting a Section Quick Start Guide KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 1 KN 2 KN 3 KN 4 REMOTE CONTROL ON/OFF MEQ LOW MEQLOWMID MEQ HI MID MEQ HIGH VOLUME 1 VOLUME 2 VOLUME 3 SYSTEM ARPEGGIO VOICE PERFORM SLOT 1 MASTER DRUM KITS FAVORITES PRE 2 KEYBOARD PRE 3 ORGAN COMMON SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY SEQ TRANSPORT DEC/NO SONG SCENE SF1 1 PRE 1 A. PIANO GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS D E SLOT 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH SF2 SF3 SF4 INC/YES A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 DRUM / CHROMATIC PERCUSSION PERCUSSION 4 5 F G H SE MUSICAL FX COMBI 6 7 8 BANK SECTION GROUP TRACK SELECT INFORMATION SF5 2 H SYN LEAD SYN PAD/ CHOIR SYN COMP SE MUSICAL FX COMBI ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT COMPARE CS 1 OCTAVE DOWN CS 2 CS 3 CS 4 JOB STORE F1 F2 F3 F4 F5 F6 EXIT 9 ENTER 10 11 12 13 14 15 16 MUTE SOLO EXECUTE SCENE STORE SET LOCATE UP ZONE 1 ZONE 2 4 Enter the ZONE 3 ZONE 4 DRUM / CHROMATIC PERCUSSION PERCUSSION 6 Select a track to be recorded. 5 Call up the DEST display. Here, select track 3. Sampling mode. SEQUENCER SONG PATTERN FILE DEC/NO SF1 INTEGRATED SAMPLING MIXING CATEGORY SEARCH SLOT 3 ON/OFF VOLUME 4 LOCATE PRE 2 Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System EFFECT BYPASS INSERTION MASTER VOLUME PRE 1 MUSIC PRODUCTION SYNTHESIZER MODE SF2 SF3 SF4 INFORMATION SF5 UTILITY F1 100 MOTIF Quick Start Guide F2 F3 F4 F5 F6 INC/YES SECTION Sampling with Song Playback (Integrated Sampling Sequencer) 8 Enter the Sampling Standby mode. 7 Call up the SOURCE display. From this display, set the Trigger mode. Here, select “manual.” Play back the external CD player to check the Input level. You can adjust the Input level for optimum level by using the GAIN knob on the rear panel. Select "stereo" or "mono." 1 Trigger mode Sampling frequency 2 SF1 SF2 F1 SF3 F2 SF4 F3 F4 INFORMATION SF5 F5 Monitor level Input level F6 SF1 F1 SF2 F2 SF3 F3 SF4 F4 INFORMATION SF5 F5 F6 1 Select a sampling type. For Type, select “slice+seq.” 9 Start sampling. 2 Select a sampling source. KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH SYSTEM ARPEGGIO VOICE PERFORM MASTER PATTERN FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING UTILITY EDIT JOB STORE PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G INC/YES H SYN LEAD SYN PAD/ CHOIR SYN COMP SE MUSICAL FX COMBI 1 SONG SCENE SF1 1 PRE 1 FAVORITES COMMON SEQUENCER SONG LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 2 3 DRUM / CHROMATIC PERCUSSION PERCUSSION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE SF1 SF2 SF3 SF4 INFORMATION SF5 INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 F1 F2 F3 F4 F5 ENTER EXIT F6 9 10 11 SOLO EXECUTE SCENE STORE SET LOCATE F1 F2 F3 F4 F5 F6 10 Stop sampling by pressing the [F6] button again. the Slice related parameters. 11 Set The following display appears after stopping sampling since the sampling type has been set to “slice+seq” in step #7. You’ll need to trim your sample of extraneous beats, so that it will loop properly. Do this by using the Start, Loop, and End parameters in the display below. (For details, see page 237.) As you edit these parameters, press the [SF1] button (Audition) to hear the changes you’ve made. 13 Go back to the Pattern play mode and play the Pattern to hear the recorded sample. SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY 12 Execute the Slice operation. Once you’ve edited the sample so that it loops properly, call up the SLICE display and set the parameters as needed. (For details, see page 238.) SF1 F1 SF2 F2 SF3 F3 SF4 F4 INFORMATION SF5 F5 F6 MOTIF Quick Start Guide 101 Quick Start Guide Press the [F6] button to start sampling. Also start the external CD player to play back the rhythm phrase to be recorded. For Source, select “A/D.” Sampling with Song Playback (Integrated Sampling Sequencer) 2. Recording MIDI data to a Pattern Track Basic Structure (page 53) · Reference (page 221) Now that you’ve recorded a rhythm sample to a Pattern and sliced it, the next step is to record some MIDI parts and add them to the Pattern. You can record MIDI in two ways: Realtime and Step. 1 After setting the measure length and meter (time signature), enter the Pattern Record mode. SEQ TRANSPORT LOCATE 2 1 REC KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH SYSTEM ARPEGGIO VOICE PERFORM MASTER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB SEQ TRANSPORT DEC/NO SONG SCENE SF1 1 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON SEQUENCER LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 F6 SCENE STORE SET LOCATE EXIT ENTER 9 10 11 SOLO EXECUTE UP Quick Start Guide 2 Select a Recording type. DEC/NO INC/YES Replace You can use this method when you want to overwrite an already recorded track with new data. To step 102 MOTIF Quick Start Guide Overdub You can use this method when you want to add more data to a track that already contains data. 3 on page 103 Step You can compose your performance by “writing” it down one event at a time. To step 3 on page 104 Sampling with Song Playback (Integrated Sampling Sequencer) ● Realtime recording (when selecting replace or overdub in step #2) 3 Select a track 2 to be recorded and set the tempo. 1 3 2 4 Call up the VOICE display. 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE 11 10 9 SOLO SF1 SF2 F1 SF3 F2 SF4 F3 INFORMATION SF5 F4 F5 F6 Track to be recorded 5 Select the desired voice to be recorded to a track (phrase). DEC/NO INC/YES Quick Start Guide DEC/NO INC/YES Meter Tempo Measure length KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH SYSTEM ARPEGGIO VOICE PERFORM MASTER PATTERN PRE 2 A. PIANO KEYBOARD A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING UTILITY SONG SCENE SF1 1 PRE 1 FAVORITES PRE 3 ORGAN COMMON SEQUENCER SONG LOCATE DRUM KITS GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS D E PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 JOB STORE F1 F2 F3 F4 F5 F6 9 ENTER EXIT 10 11 SOLO EXECUTE SCENE STORE SET LOCATE UP 6 Set the Arpeggio related parameters from the ARP display (page 223). 8 Start 7 Turn the Click on. 9 Play the recording. 10 Stop recording. 11 Press the [ ] keyboard. button to hear the newly SEQ TRANSPORT LOCATE REC SF1 F1 SF2 F2 SF3 F3 SF4 F4 2 LOCATE 1 SEQ TRANSPORT 2 REC LOCATE 1 2 REC INFORMATION SF5 F5 1 SEQ TRANSPORT F6 12 Record to other tracks as desired by repeating steps #3 - 11. MOTIF Quick Start Guide 103 Sampling with Song Playback (Integrated Sampling Sequencer) ● Step recording (when selecting step in step #2) 3 Select a track 2 to be recorded and set the MIDI event type to 4 Call up the VOICE display. be recorded and tempo. 1 3 2 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE 9 11 10 SF1 SF2 SF3 SF4 INFORMATION SF5 SOLO F1 F2 F3 F4 F5 F6 Track to be recorded 5 Select the desired voice to be recorded to a track (phrase). DEC/NO Quick Start Guide DEC/NO INC/YES INC/YES Meter Tempo MIDI event type Measure length KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH SYSTEM ARPEGGIO VOICE PERFORM MASTER PATTERN FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING UTILITY SONG SCENE SF1 1 PRE 1 PRE 2 FAVORITES A. PIANO KEYBOARD A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 PRE 3 ORGAN COMMON SEQUENCER SONG LOCATE DRUM KITS GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS D E PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT COMPARE CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 OCTAVE 6 Start recording. DOWN JOB STORE F1 F2 F3 F4 F5 ENTER EXIT F6 9 10 11 SOLO EXECUTE SCENE STORE SET LOCATE UP Here, enter the Note Event. SEQ TRANSPORT 1 Move the cursor to the Pointer and set the LOCATE 1 2 location to be entered. REC 2 Set the velocity (Value), Step Time, and Gate Time. 7 Stop recording. 8 Press the [ ] button to hear the newly recorded pattern. 3 Press the key to be recorded. SEQ TRANSPORT SEQ TRANSPORT 4 Repeat steps #1 - 3 to enter the notes one after another. LOCATE REC 1 2 LOCATE 1 2 REC Moves the pointer backward by one step and deletes all notes at that location. Press this to actually delete the note events at the current cursor position. When the [F4] button is pressed to enter a tie, the preceding note is lengthened to the full step time. Press [F3] to enter a rest as long as the specified step time. 104 MOTIF Quick Start Guide 9 Record to other tracks as desired by repeating steps #3 - 8. Sampling with Song Playback (Integrated Sampling Sequencer) 3. Assigning a Preset Phrase to a Pattern Track (Patch function) Basic Structure (page 52) · Reference (page 219) The Patch function lets you assign a Preset phrase or a User phrase (recorded in the Pattern Record mode) to each track and create a pattern that contains up to 16 tracks. 1 Call up the PATCH display. 2 Select a track to which the phrase is assigned. 1 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE 3 2 ELEMENT/ PERF.PART / ZONE F1 SF2 F2 SF3 F3 SF4 F4 INFORMATION SF5 F5 or DEC/NO SOLO INC/YES F6 KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH SYSTEM ARPEGGIO VOICE PERFORM MASTER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB SEQ TRANSPORT DEC/NO SONG SCENE SF1 1 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON SEQUENCER LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE Quick Start Guide SF1 11 10 9 INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 F6 EXIT 9 ENTER 10 11 SOLO EXECUTE SCENE STORE SET LOCATE UP 3 Select a Phrase Bank and number. Move the cursor to Bank and select “pre” or “user. ” 4 Press the [ ] button to hear the pattern. 5 Assign phrases to the other tracks as desired. SEQ TRANSPORT LOCATE Then, move the cursor to the number parameter and set it. Keep in mind that only User phrases that have been recorded to the currently selected style can be selected here. If you want to assign a phrase that has been recorded to another style, use the Phrase Copy Job (page 228). 1 2 REC MOTIF Quick Start Guide 105 Sampling with Song Playback (Integrated Sampling Sequencer) 4. Using the Groove function Reference (page 218 ) The Grid Groove function makes it possible to adjust the pitch, timing, length, and velocity of notes in a specified track on a measure-long 16th-note grid. This lets you easily come up with a wide variety of rhythmic feels and grooves that would be difficult or impossible to create using precise, yet rigid sequencer operations. Moreover, Grid Groove is a playback-only operation, meaning that it leaves the original recorded data intact. Grid Groove can also be applied to sample tracks that contain samples processed with the Slice function, as well as normal MIDI tracks. 2 Select a track. 1 2 3 4 5 6 7 8 TRACK SELECT 9 10 11 12 13 14 15 16 MUTE 1 Call up the GROOVE display. SOLO SF 1 F1 SF 2 SF 3 F2 F3 SF 4 F4 SF 5 F5 Quick Start Guide KNOB CONTROL FUNCTION F6 PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID EFFECT BYPASS ARPEGGIO INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH SYSTEM VOICE PERFORM MASTER SONG PATTERN FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING EDIT JOB UTILITY SONG SCENE SF 1 1 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR/ PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON SEQUENCER LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF 2 SF 3 SF 4 INC/YES DRUM/ CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF 5 2 ELEMENT/PERF.PART/ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 EXIT F6 ENTER EXECUTE SCENE STORE SET LOCATE 9 10 11 SOLO UP 3 Set the parameters. Move the cursor to the desired parameter and grid point and set the offset value. This affects song playback without actually changing the sequence data. 4 Press the [ ] button to hear the edited pattern. SEQ TRANSPORT LOCATE 1 2 REC DEC/NO minus INC/YES 0 plus NOTE OFFSET CLOCK SHIFT GATE OFFSET VELO OFFSET Each aspect of the track to be offset (pitch, time, length, velocity) is indicated by a different graphic. 106 MOTIF Quick Start Guide n Keep in mind that if you make an edit at a specific 16th note position and there is no MIDI data at that point, the track will not change. 5 Make Grid Groove settings for other tracks as desired. Sampling with Song Playback (Integrated Sampling Sequencer) 5. Pattern Mixing Reference (page 232) Now that you have a finished section and pattern, you can apply the Pattern Mixing controls to fine-tune it and enhance it — by adusting the levels of each track or part, selecting different voices, and tweaking the effect-related settings. 1 Enter the Pattern 2 Call up the desired display. Mixing mode. 3 Select a part to be edited. 1 SEQUENCER PATTERN SF1 MIXING 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE FILE 9 INTEGRATED SAMPLING 3 SF2 SF3 SF4 10 11 INFORMATION SF5 SOLO UTILITY F1 F2 F3 F4 F5 F6 4 Highlight the desired KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 1 KN 2 KN 3 KN 4 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE MEQ LOW MEQLOWMID MEQ HI MID MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SYSTEM ARPEGGIO VOICE PERFORM SLOT 1 MASTER DRUM KITS FAVORITES PRE 3 ORGAN COMMON SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY SEQ TRANSPORT DEC/NO SONG SCENE SF1 1 PRE 2 KEYBOARD GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS D E SLOT 3 PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK SECTION GROUP parameter and change the value. ON/OFF VOLUME 4 LOCATE PRE 1 A. PIANO SLOT 2 SF2 SF3 SF4 INC/YES A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 F G H SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE DRUM / CHROMATIC PERCUSSION PERCUSSION INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 JOB STORE F1 F2 F3 F4 F5 F6 EXIT SCENE STORE SET LOCATE ENTER EXECUTE 9 10 11 SOLO UP DEC/NO 6 Store the Song Mixing setup to User Memory. EDIT JOB INC/YES 5 Set the other parameters by repeating steps #2 - 4. STORE 1 COMPARE SCENE STORE SET LOCATE 7 Go back to the Pattern Play EXIT ENTER 2 EXECUTE DEC/NO 3 mode. SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY INC/YES n Not each section but each style has one Pattern Mixing setting. MOTIF Quick Start Guide 107 Quick Start Guide SONG 2 Sampling with Song Playback (Integrated Sampling Sequencer) 6. Creating a Pattern Chain Basic Structure (page 54) · Reference (page 219) Now that you’ve got your audio samples, loops, MIDI data, and patterns in the MOTIF, here’s where the fun really begins. The Pattern Chain feature lets you arrange all of the pieces of your song in real time. As you record a Pattern Chain, play back your original patterns and sections, and switch among them on the fly. This intuitive, hands-on approach to arranging lets you come up with great ideas and amazing songs — quickly and easily. n For details about Pattern Chain and its track and memory structure, see page 54. 1 Enter the Pattern Chain mode by 5 Stop recording. 2 Enter the Pattern Chain Record mode pressing the [F6] button in the Pattern Play mode. by pressing the [REC] button. SEQ TRANSPORT SEQ TRANSPORT LOCATE LOCATE 2 1 REC 2 1 REC SF1 SF2 SF3 SF4 SF5 6 Press the [ ] button to F1 F2 F3 F4 F5 hear your new pattern chain. F6 SEQ TRANSPORT Quick Start Guide LOCATE 1 2 REC KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH SYSTEM ARPEGGIO VOICE PERFORM MASTER DRUM KITS PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON SEQUENCER SONG PATTERN FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING EDIT JOB UTILITY SONG SCENE SF1 LOCATE 1 CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 EXIT F6 9 ENTER 10 11 SOLO EXECUTE SCENE STORE SET LOCATE UP 3 Select a track and tempo. 4 Start recording. Pattern Chain Track While recording, you can change the Section at the desired timing. SEQ TRANSPORT LOCATE REC Tempo 108 MOTIF Quick Start Guide 1 2 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP SE MUSICAL FX COMBI DRUM / CHROMATIC PERCUSSION PERCUSSION CATEGORY SEARCH SECTION Sampling with Song Playback (Integrated Sampling Sequencer) 7. Copying the Pattern Chain data to a Song Reference (page 221) Now that you’ve created a hip Pattern Chain, you can copy it to a song track and use it as the basic rhythm track for a song. This is done from the Pattern Chain Edit mode. 1 Enter the Pattern Chain Edit mode by 2 Call up the SONG display. pressing the [EDIT] mode in the Pattern Chain Play mode. EDIT STORE JOB COMPARE 3 Select a Song number to which SCENE STORE SET LOCATE SF1 F1 SF2 SF3 F2 F3 SF4 F4 the Pattern Chain is to be copied. SF5 F5 F6 Decreases number DEC/NO Increases number INC/YES Decreases number PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQLOWMID MEQ HI MID VOLUME 3 SYSTEM ARPEGGIO VOICE PERFORM MASTER PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON SEQUENCER SONG PATTERN FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING EDIT JOB UTILITY SONG SCENE SF1 1 PRE 1 FAVORITES CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 LOCATE DRUM KITS Quick Start Guide KNOB CONTROL FUNCTION Increases number SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 SCENE STORE SET LOCATE F2 F3 F4 F5 F6 EXIT ENTER 9 10 11 SOLO EXECUTE UP Destination Song number 4 Specify the measure number to which the 5 Press the [ENTER] button. converted data is to be copied. execute the Copy operation. DEC/NO DEC/NO INC/YES DEC/NO INC/YES EXIT ENTER INC/YES EXIT ENTER EXECUTE EXIT 6 Press the [INC/YES] button to ENTER EXECUTE EXECUTE MOTIF Quick Start Guide 109 Sampling with Song Playback (Integrated Sampling Sequencer) 8. MIDI recording to Song Tracks Basic Structure (page 51) · Reference (page 183) Now, take your basic building blocks and move over to the Song mode to do some more work on your song. Let’s say for the sake of example that you’ve recorded MIDI data for nearly all the tracks — except for maybe some rhythm guitar parts and some solos on piano and organ. The MOTIF gives you two methods of recording these. Realtime recording lets you record much as you would with a tape recorder, playing the parts in real time while you listen to the backing rhythm tracks you created earlier. The other method, Step recording, lets you enter each note individually, much like writing down the notes on paper. 1 Enter the Song 2 Call up the PLAY display. 3 Select the song to which the Pattern Chain data mode. has been copied. SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY Song number SF1 F1 Quick Start Guide KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 SF2 SF3 F2 F3 SF4 SF5 F4 F5 REMOTE CONTROL ON/OFF KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI MID VOLUME 2 VOLUME 3 EFFECT BYPASS ARPEGGIO SYSTEM SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 D E SLOT 1 VOICE PERFORM MASTER DRUM KITS FAVORITES PATTERN FILE DEC/NO INTEGRATED SAMPLING MIXING EDIT JOB UTILITY INC/YES PRE 2 KEYBOARD PRE 3 ORGAN A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 SONG SCENE SF1 1 PRE 1 A. PIANO COMMON SEQUENCER SONG SEQ TRANSPORT DRUM / CHROMATIC PERCUSSION PERCUSSION SLOT 2 CS 1 CS 2 CS 3 CS 4 ZONE 2 ZONE 3 ZONE 4 COMBI 7 8 GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS D E SF2 SF3 SF4 2 3 DRUM / CHROMATIC PERCUSSION PERCUSSION PLG 2 PLG 3 BRASS REED/PIPE F G H SE MUSICAL FX COMBI CATEGORY SEARCH BANK SECTION GROUP 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 ELEMENT/ PERF.PART / ZONE 12 13 14 15 16 MUTE 9 STORE F1 F2 F3 F4 11 10 INFORMATION SF5 F5 F6 EXIT ENTER 10 9 11 SOLO EXECUTE SCENE STORE SET LOCATE 5 Select a Recording type. mode. SEQ TRANSPORT 1 MUSICAL FX 6 UP 4 Enter the Song Record LOCATE SE 5 NUMBER ZONE 1 H 4 2 COMPARE OCTAVE G SLOT 3 ELEMENT/ PERF.PART / ZONE REC DOWN F ON/OFF VOLUME 4 LOCATE C Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System KN 4 MEQ HIGH INSERTION VOLUME 1 B MUSIC PRODUCTION SYNTHESIZER MODE MASTER VOLUME A F6 2 DEC/NO INC/YES REC Replace You can use this method when you want to overwrite an already recorded track with new data. Overdub You can use this method when you want to add more data to a track that already contains data. To step 110 MOTIF Quick Start Guide 6 Punch You can use this method when you want to rerecord only over a specific area of the track. In this case, you must set the start and end points before you begin the re-recording. on page 111 Step You can compose your performance by entering it one event at a time. To step 6 on page 112 Sampling with Song Playback (Integrated Sampling Sequencer) ● Realtime recording (when selecting “replace,” “overdub,” or “punch” in step #5) 6 Select a track to be recorded and set the tempo. 1 3 2 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/PERF.PART/ZONE 11 10 9 SOLO or 1~16 7 Call up the VOICE display. Tempo DEC/NO INC/YES Scene track Tempo track SF 2 F1 F2 SF 3 SF 4 F3 F4 SF 5 F5 F6 KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME SYSTEM ARPEGGIO VOICE PERFORM MASTER PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP SE MUSICAL FX COMBI COMMON SEQUENCER SONG PATTERN FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING EDIT JOB UTILITY INC/YES 1 SONG SCENE SF1 LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 2 3 DRUM / CHROMATIC PERCUSSION PERCUSSION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 1 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 EXIT F6 8 Select the desired voice to be recorded to a track. 1 2 3 10 9 ENTER 11 SOLO EXECUTE SCENE STORE SET LOCATE UP 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE Bank 9 Set the Arpeggio Number related parameters as desired from the ARP display (page 189). ELEMENT/PERF.PART/ZONE 9 10 11 or DEC/NO INC/YES SOLO 10 Turn the Click on. 11 Start recording. Press the [ ] button. You will be given a one-measure count-in prior to the first measure actually recorded. 13 Stop recording. 14 Press the [ ] button to hear the newly recorded song. SEQ TRANSPORT LOCATE 1 SEQ TRANSPORT 2 SF1 SF2 SF3 SF4 SF5 SEQ TRANSPORT F1 F2 F3 F4 F5 F6 REC LOCATE REC 12 Play the keyboard. 1 2 LOCATE 1 2 REC 15 Record to other tracks as desired by repeating steps #6 - 14. MOTIF Quick Start Guide 111 Quick Start Guide SF 1 Sampling with Song Playback (Integrated Sampling Sequencer) ● Step recording (when selecting “step” in step #5) 7 Call up the VOICE display. SF1 SF2 SF3 SF4 INFORMATION SF5 6 Select a track to be recorded and set the MIDI event type to be recorded. F1 1 3 2 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE F2 F3 F4 F5 F6 ELEMENT/ PERF.PART / ZONE DEC/NO or INC/YES 11 10 9 8 Select the desired voice to be recorded to the track. SOLO DRUM KITS PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE D E COMMON or 1-16 DEC/NO A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 F G H SE MUSICAL FX COMBI 5 6 7 8 TRACK SELECT 13 14 15 16 MUTE DRUM / CHROMATIC PERCUSSION PERCUSSION INC/YES Tempo track 4 CATEGORY SEARCH SECTION ELEMENT/ PERF.PART / ZONE 9 Recording track Quick Start Guide MIDI event 10 11 12 SOLO Bank Number Tempo KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME SYSTEM ARPEGGIO VOICE PERFORM MASTER PATTERN FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING EDIT JOB UTILITY PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G INC/YES H SYN LEAD SYN PAD/ CHOIR SYN COMP SE MUSICAL FX COMBI 1 SONG SCENE SF1 1 PRE 1 FAVORITES COMMON SEQUENCER SONG LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 2 3 DRUM / CHROMATIC PERCUSSION PERCUSSION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN 9 Start recording. CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 F6 9 ENTER EXIT 10 11 SOLO EXECUTE SCENE STORE SET LOCATE UP Here, enter the Note Event. SEQ TRANSPORT LOCATE REC 1 1 Move the cursor to the Pointer and set the location to be entered (page 185). 2 Set the velocity (Value), Step Time, and Gate Time (page 185). 3 Press the key to be recorded. 4 Repeat steps #1 - 3 to enter notes one after another. 2 10 Stop recording. 11 Press the [ ] button to hear the newly recorded song. SEQ TRANSPORT LOCATE REC Moves the pointer backward by one step and deletes all notes at that location. Press this to actually delete the note events at the current cursor position. When the [F4] button is pressed to enter a tie, the preceding note is lengthened to the full step time. Press [F3] to enter a rest as long as the specified step time. 112 MOTIF Quick Start Guide 1 SEQ TRANSPORT 2 LOCATE 1 2 REC 12 Record to other tracks as desired by repeating steps #6 - 12. Sampling with Song Playback (Integrated Sampling Sequencer) 9. Sampling to a Song Track Basic Structure (page 54) · Reference (page 234) We’ll pay another visit to the sampling feature, and sweeten our song with some “ear candy” sound effects and background vocals. The sampling we did earlier was of a different variety; you sampled a rhythm in the Pattern mode and “sliced” it into separate pieces so that it would loop properly and automatically adjust to any tempo changes. Here, we’ll try a different type of sampling, where the Slice operation is unnecessary — since a short sound effect doesn’t need to stay in tempo, and you can sing the background parts in time with the song as you sample them. n For details about how to connect external audio equipment or a microphone to the MOTIF, see page 23 . 1 In the Song Play mode, specify the point 2 Enter the (measure) in the song at which the recorded sample will start. 3 Call up the DEST display. Sampling Record mode. SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY INC/YES SF 1 SF 2 F1 KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS F2 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 F4 INFORMATION SF 5 F5 F6 TEMPO ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME F3 SF 4 RELEASE MODE KN 1 MEQ LOW SF 3 Quick Start Guide DEC/NO SYSTEM ARPEGGIO VOICE PERFORM MASTER SONG PATTERN FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING EDIT JOB UTILITY SONG SCENE SF1 1 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON SEQUENCER LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 EXIT F6 ENTER 9 10 11 SOLO EXECUTE SCENE STORE SET LOCATE UP 4 Select a track to be recoeded. 5 Call up the SOURCE display. Select "stereo" or "mono." 1 2 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE 2 ELEMENT/PERF.PART/ZONE DEC/NO INC/YES or 9 10 11 1 Sampling frequency SOLO SF 1 F1 SF 2 F2 SF 3 F3 SF 4 F4 INFORMATION SF 5 F5 F6 1 Select a sampling type. For Type, select “sample+note.” 2 Select a sampling source. For Source, select “A/D.” MOTIF Quick Start Guide 113 Sampling with Song Playback (Integrated Sampling Sequencer) 6 Enter the Sampling Standby mode. 7 Start sampling. From this display, set the Trigger mode. Here, select “manual.” Play back the external CD player to check the Input level. You can adjust the Input level for optimum level by using the GAIN knob on the rear panel. Trigger mode Press the [F6] button to start sampling. Also start the external CD player to play back the phrase to be recorded or sing into the microphone. Monitor level Input level SF 1 F1 SF 2 F2 SF 3 F3 SF 4 F4 INFORMATION SF 5 F5 SF 1 F6 Quick Start Guide KNOB CONTROL FUNCTION F1 PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS SF 2 SF 3 F2 F3 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 F5 F6 TEMPO ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS ARPEGGIO INSERTION MASTER VOLUME F4 INFORMATION SF 5 RELEASE MODE KN 1 MEQ LOW SF 4 SYSTEM VOICE PERFORM MASTER SONG PATTERN FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING UTILITY SONG SCENE SF 1 1 PRE 1 PRE 2 FAVORITES A. PIANO KEYBOARD A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 PRE 3 ORGAN COMMON SEQUENCER LOCATE DRUM KITS GM USER PLG 1 GUITAR/ PLUCKED BASS STRINGS D E PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF 2 SF 3 SF 4 INC/YES DRUM/ CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF 5 2 ELEMENT/PERF.PART/ZONE NUMBER REC EDIT JOB COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 F6 ENTER EXIT 9 10 8 Stop sampling by pressing the [F6] button again. 9 Go back to the Song Play mode and play the song to hear the recorded sample. SEQUENCER SF 1 F1 SF 2 F2 SF 3 F3 SF 4 F4 114 MOTIF Quick Start Guide SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY INFORMATION SF 5 F5 11 EXECUTE SCENE STORE SET LOCATE SOLO UP F6 10 Record samples to other tracks as desired by repeating steps #1 - 9. Sampling with Song Playback (Integrated Sampling Sequencer) 10. Song Track Mute and Scene Reference (pages 180, 181) These two powerful features give you even greater real-time arranging control. You can turn tracks on and off and switch among Song Scenes, as the song plays — and all your moves can be recorded to the special Scene track. This not only lets you hear the various song arranging possiblities, it lets you record them on the spot. For example, sample an audio rhythm phrase to one of the tracks of your song, and turn on the Track Loop function (page 182). As the song is playing, you can fly the rhythm part in and out of the song by alternately un-muting and muting the track. To do this, enable recording and select the Scene track (as described in step #3 of MIDI recording on page 103), and record your track mutes in time with the music by pressing the Track number button, then the appropriate track number buttons. This hands-on approach really lets you feel the changes you make — since you perform them in time with the rhythm — and gives you the power to improvise great musical arrangements on the fly. 1 2 3 Scene track 4 Mute on 5 6 7 Mute on 8 Mute on Mute on Track 1 Track 1 In addition to Track Mute, the MOTIF also features a versatile Song Scene function. Song Scene lets you make various changes to the tracks (such as pan, volume, and others), and take a “snapshot” of those settings — which you can recall at any time with a single button press. A maximum of five Scenes can be stored, to the five Scene buttons ([SF1] - [SF5]). To instantly call up a Scene and change the tracks, simply press the appropriate button [SF1] - [SF5]. Just as with Track Mute, you can record these Scene changes as well, by “playing” your button presses along with the music. Setting 3 Setting 2 1 2 3 4 5 6 7 8 TRACK SELECT 9 10 11 12 13 14 15 16 MUTE Setting 4 SOLO 1 2 3 4 5 6 7 8 TRACK SELECT Store Store Store SONG SCENE 9 10 11 12 13 14 15 16 MUTE SOLO Setting 1 SF1 SF2 SF3 SF4 SF5 Store Store 1 2 3 4 5 6 7 8 TRACK SELECT 9 10 11 12 13 14 15 16 MUTE Setting 5 SOLO You can use the Song Scene function from either the PLAY display in the Song Play mode or the SETUP display in the Song Record mode. In the example instructions below, the PLAY display in the Song Play mode has been called up. MOTIF Quick Start Guide 115 Quick Start Guide Song Playback Sampling with Song Playback (Integrated Sampling Sequencer) 2 Make the desired settings for the Song Scene. 1 Select a song in the Song Play mode. • Select a track and set it up as you want with the desired voice, then change the pan and volume settings by using the Control knobs and sliders. Each track can have its own independent settings. 1 DEC/NO 3 2 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE KNOB CONTROL FUNCTION C D SYN LEAD SYN PAD/ CHOIR SYN COMP CHROMATIC PERCUSSION 1 2 3 4 CHORUS TEMPO ATTACK RELEASE ASSIGN B ASSIGN 1 ASSIGN 2 KN 1 ELEMENT/PERF.PART/ZONE B REVERB RESONANCE INC/YES 11 10 9 A PAN CUTOFF ASSIGN A MEQ LOW VOLUME 1 KN 2 KN 3 MEQLOWMID MEQ HI MID VOLUME 2 VOLUME 3 KN 4 MEQ HIGH VOLUME 4 SOLO or 5 MASTER VOLUME 6 7 8 CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 TRACK SELECT ELEMENT/PERF.PART/ZONE 9 11 10 12 13 14 16 15 • You can even mute/un-mute several track together at the same time — for dramatic arrangement tricks in which several instruments drop out or come in instantaneously. MUTE SOLO SOLO 1 3 2 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/PERF.PART/ZONE 11 10 9 SOLO Quick Start Guide KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH SYSTEM ARPEGGIO VOICE PERFORM MASTER SONG PATTERN FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING EDIT JOB UTILITY SONG SCENE SF1 1 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON SEQUENCER LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN 3 Store the settings to a Song Scene. EDIT JOB COMPARE STORE SF 2 SCENE STORE SET LOCATE SF 3 SF 4 SF 5 ...and press the appropriate button ([SF1] ~ [SF5]). 116 MOTIF Quick Start Guide CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 F2 F3 F4 F5 F6 ENTER EXIT 9 10 11 SOLO EXECUTE SCENE STORE SET LOCATE 4 Create other Song Scenes as desired. Change the settings again, as you did in step #2, and store the Song Scene to a different button, as you did in step #3. Simultaneously hold down the [STORE] button... SF 1 CS 1 UP You can recall the desired Song Scene settings by simply pressing any of the Song Scene ([SF1]~[SF5]) buttons. SF 1 SF 2 SF 3 5 Save the Song data to a memory card or SCSI device (page 97). SF 4 SF 5 When you call up a certain Song Scene, the values for the Control knobs/sliders instantly jump to the settings made for the Scene (regardless of the pysical position of the knobs/sliders). Sampling with Song Playback (Integrated Sampling Sequencer) 11. Song Mixing and storing the settings as a template Reference (page 205) In this final step (other than saving your precious work, which we’ll cover next), you can mix down your tracks with the Song Mixing function — adjusting the volume balance and pan setting of all the parts and tweaking the effect levels. Moreover, you can save your mixing settings as a template (up to sixteen templates can be saved), then call up the appropriate template when mixing down a song that has a similar track structure. 3 Select a part. 1 Enter the Song Mixing DEC/NO mode. 1 INC/YES 3 2 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE 4 Select the desired parameter and adjust it. ELEMENT/ PERF.PART / ZONE or SEQUENCER SONG FILE PATTERN 11 10 9 ENTER EXIT SOLO EXECUTE INTEGRATED SAMPLING MIXING n When a Multi part Plug-in board (PLG-100XG) has been installed to slot 3, the display for Parts 17 - 32 can be called up. When a Single part Plug-in board has been installed to any of the three slots, the PLG 1~3 part display can be called up. UTILITY DEC/NO EXIT INC/YES ENTER EXECUTE 2 Call up the desired display. PAN REVERB CUTOFF RESONANCE ATTACK ASSIGN B ASSIGN 1 KN 2 KN 3 ASSIGN A CHORUS TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW MEQLOWMID MEQ HI MID EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH SYSTEM ARPEGGIO VOICE PERFORM MASTER SONG PATTERN FILE SEQ TRANSPORT DEC/NO INTEGRATED SAMPLING MIXING EDIT JOB UTILITY SONG SCENE SF1 1 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON SEQUENCER LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES DRUM / CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE OCTAVE DOWN SF1 F1 SF2 F2 SF3 F3 SF4 F4 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 STORE F1 SCENE STORE SET LOCATE F2 F3 F4 F5 F6 EXIT ENTER 10 9 11 SOLO EXECUTE INFORMATION SF5 F5 CS 1 UP 5 Set the desired parameters F6 for the other parts, repeating steps #2 - 4 above. n A wider variety of detailed editing controls is also available in the Song Mixing Edit mode. 6 Call up the TEMPLATE display. 7 Select the destination template number. Move the cursor to the template number and select the number to which the settings are to be stored. SF1 SF2 SF3 SF4 INFORMATION SF5 DEC/NO F1 F2 F3 F4 F5 INC/YES F6 EXIT ENTER Template number EXECUTE 8 Name the template. 9 Execute the Store operation. Template name DEC/NO SF1 SF2 SF3 SF4 INFORMATION SF5 EXIT F1 F2 F3 F4 F5 INC/YES F6 ENTER EXECUTE n For details about naming, see page 75. n The template stored above can be recalled by pressing the [SF4] (GET) button from this display. MOTIF Quick Start Guide 117 Quick Start Guide KNOB CONTROL FUNCTION Sampling with Song Playback (Integrated Sampling Sequencer) 12. Saving and Exporting the recorded song to external PC (File Utility) Reference (page 262) Now that you’ve created your masterpiece, you’ll want to save it. You can save song data to a Memory card or SCSI device in the File mode (page 261). However, for safekeeping and organizational/archival purposes, you may want to store your MOTIF data to a computer. You may also want to use your computer to do further editing and recording to your MOTIF-created songs. The File Utility software (contained on the included CD-ROM) lets you do that and more — allowing you to transfer files back and forth between a computer and the MOTIF via a standard USB cable connection. Here’s a practical example. Let’s say you want to add a long section of audio data to your song, such as a lead vocal or an extended guitar solo. Since recording that to the MOTIF may not be entirely practical or possible, you may want to transfer your song to a computer, then record and edit the new audio tracks on the computer. First, you should save the song data in Standard MIDI File (SMF) format to Memory card or a connected SCSI device, then transfer the MIDI file to the computer with the File Utility software. Once you’ve imported the MIDI file to sequencer software on your computer, match the MIDI send and receive channels (computer-to-MOTIF) so that each track of the sequencer song data plays the appropriate part on the MOTIF. Finally, play back the song and record the desired audio parts (vocals, solos, etc.) using your audio/MIDI sequencer. Memory card SCSI device Save KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS ATTACK ASSIGN 1 TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME SYSTEM ARPEGGIO VOICE PERFORM MASTER PATTERN FILE DEC/NO INTEGRATED SAMPLING MIXING EDIT JOB UTILITY INC/YES PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN PAD/ CHOIR SYN COMP SE MUSICAL FX COMBI SYN LEAD 1 SONG SCENE SF1 1 PRE 1 FAVORITES COMMON SEQUENCER SONG SEQ TRANSPORT LOCATE DRUM KITS CATEGORY SEARCH BANK SECTION GROUP ON/OFF VOLUME 4 SF2 SF3 SF4 2 3 DRUM / CHROMATIC PERCUSSION PERCUSSION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC COMPARE Quick Start Guide OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 UP STORE SCENE STORE SET LOCATE F1 F2 F3 F4 F5 F6 EXIT ENTER EXECUTE 9 10 11 SOLO Load PC File Utility n For details about the File Utility software, refer to the electronic documentation contained in the included CD-ROM. 118 MOTIF Quick Start Guide Remote Control for external sequencer (Real-time external control surface) Remote Control for external sequencer (Real-time external control surface) Basic Structure (page 65) · Reference (page 256) In the last section, you saw how a computer could be used conveniently to augment the features of the MOTIF. Here, we’ll look at a feature that turns the tables and lets you conveniently use the MOTIF to control your computer. The Remote Control function lets you use the hardware controls on the panel of the MOTIF to control a variety of fundamental operations on the sequencing software of your computer. You can mute your tracks, control the sequencer transport (Play, Stop, Record, etc.), mix both MIDI and audio tracks (up to 16) with the MOTIF’s knobs and sliders, pan the tracks, control EQ, and tweak effect sends — all without ever touching the mouse. Not only is this a more convenient and efficient way to work — since it gives you dedicated controls for the functions you use the most — it also (with the knobs and sliders) gives you finer control over crucial level parameters. If you’ve ever used a mixing console or a hardware sequencer, you’ll love being able to finally control your sequencing software with buttons, knobs, and sliders. Setting Up Before you can use the Remote Control function, you’ll need to set up the system as described below. 2 Install the USB MIDI driver and the setup file for the sequence software (contained in the included CD-ROM) to your computer. For details on how to install, see the Installation Guide manual. 3 1 KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 1 KN 2 KN 3 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE MEQ LOW MEQLOWMID MEQ HI M ID EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SYSTEM ARPEGGIO VOICE PERFORM MASTER 2 SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY DEC/NO 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H INC/YES SYN PAD/ CHOIR SYN COMP COMBI SYN LEAD 1 SONG SCENE SF1 LOCATE PRE 1 COMMON SEQUENCER CATEGORY SEARCH BANK SECTION GROUP SF2 SF3 SF4 2 3 DRUM / CHROMATIC PERCUSSION PERCUSSION SE MUSICAL FX 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT COMPARE OCTAVE DOWN 3 SLOT 3 DRUM KITS ON/OFF VOLUME 4 SEQ TRANSPORT 3 SLOT 2 KN 4 MEQ HIGH CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 JOB STORE F1 F2 F3 F4 F5 SCENE STORE SET LOCATE F6 EXIT ENTER 9 10 11 SOLO EXECUTE UP 3 3 Select the template for your particular sequence software in the Utility mode on the MOTIF (above). 1 Enter the Utility mode. 2 Call up the OTHER display in the MIDI menu. SEQUENCER SONG PATTERN FILE INTEGRATED SAMPLING MIXING UTILITY 3 Move the cursor to the 4 Call up the REMOTE display in the CTLASN menu. 5 Select the Template type. MIDI IN/OUT parameter and set to USB. MOTIF Quick Start Guide 119 Quick Start Guide 1 Connect your computer to the MOTIF via USB cable. See page 25. Remote Control for external sequencer (Real-time external control surface) Using the Remote Control function REMOTE CONTROL ON/OFF 1 Turn the Remote Control function on by pressing the [REMOTE CONTROL ON/OFF] button so that its lamp flashes. 2 KNOB CONTROL FUNCTION 3 PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 1 KN 2 KN 3 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE MEQ LOW MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME VOLUME 1 VOLUME 2 SLOT 1 VOLUME 3 SYSTEM ARPEGGIO VOICE PERFORM MASTER VOLUME 4 4 PATTERN 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP SE MUSICAL FX COMBI FILE INTEGRATED SAMPLING MIXING UTILITY EDIT JOB STORE DEC/NO INC/YES EXIT ENTER 1 SONG SCENE SF1 LOCATE PRE 1 COMMON SEQUENCER SEQ TRANSPORT CATEGORY SEARCH BANK SECTION GROUP SF2 SF3 SF4 2 DRUM / CHROMATIC PERCUSSION PERCUSSION 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 CS 1 CS 2 CS 3 CS 4 MUTE ZONE 1 ZONE 2 ZONE 3 ZONE 4 1 2 2 INFORMATION SF5 NUMBER COMPARE OCTAVE DOWN 2 2 ELEMENT/ PERF.PART / ZONE REC 2 SLOT 3 DRUM KITS ON/OFF SONG 2 SLOT 2 KN 4 MEQLOWMID MEQ HI M ID F1 F2 F3 F4 F5 F6 9 10 11 SOLO EXECUTE SCENE STORE SET LOCATE UP 5 2 Operate the Control knobs or sliders on the MOTIF's panel as required. n Functions to be controlled by the MOTIF differ depending on the software you use. For details, see page 256. 1 Select a track on your computer’s sequencer from 4 Control the level of selected track of the sequencer Quick Start Guide by using the Control sliders. the MOTIF. The [1]~[16] buttons correspond to the respective numbered tracks on your computer’s sequence software. 1 2 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 ELEMENT/ PERF.PART / ZONE NUMBER 9 10 11 SOLO 2 Turn the track of the sequencer on or off (mute). The [1]~[16] buttons correspond to the respective numbered tracks on your computer’s sequence software. 1 2 4 3 5 6 7 8 TRACK SELECT ELEMENT/ PERF.PART / ZONE NUMBER 9 10 11 12 13 14 16 15 MUTE CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 When the selected tracks are 1-4: 1 2 3 When the selected tracks are 5-8: 5 6 7 4 8 When the selected tracks are 9-12: 9 10 11 12 When the selected tracks are 13-16: 13 14 15 16 SOLO 3 Control the selected track of the sequencer by using the Control knobs. For details about the parameters that can be controlled, see page 257. 5 Control the transport functions on the sequencer. The [SEQ TRANSPORT] buttons can be used to control Start, Stop, Forward, Rewind, and Record on the computer sequence software. SEQ TRANSPORT KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 LOCATE REC KN 1 MEQ LOW 120 MOTIF Quick Start Guide KN 2 KN 3 MEQLOWMID MEQ HI MID KN 4 MEQ HIGH 1 2 Function Tree Reference This section is devoted to explaining the function of every setting of every parameter in every display of the MOTIF. If you have questions like “I wonder what this button does...” or “How does this parameter work?” — this is the section you should refer to.The Reference section is divided according to the various modes of the MOTIF. As you use this section, please keep in mind the following points: ● The section for each main mode (Voice, Performance, Song, Pattern, Sampling, Utility, File, and Master) begins with a Function Tree chart. Each chart shows the various menus and parameter groups for the mode — exactly as they are organized and appear in the display. Using these and the simplified chart of the modes on page 30, you can easily understand the relationship of the various functions and parameters as they apply to the entire operation of the MOTIF. ● At the beginning of the section of each mode, you’ll find “Basic Procedure” instructions. These briefly show you the necessary operation steps for the relevant mode, and are applicable to all of the functions and parameters in that mode. In other words, once you’ve mastered the Basic Procedure of the mode, you’ll be able to quickly and easily work your way through any and all of the operations in the mode. Voice Mode Basic Structure (page 42) This section is devoted to the Voice mode. To see how the Voice mode relates to the entire structure of the MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Voice modes — giving you a quick, easy-to-understand overview of the voice-related functions of the MOTIF.Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations. [VOICE] [INFORMATION] VOICE INFORMATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 275 [VOICE] VOICE PLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 124 [F1] VOICE PLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 124 [F2] PLUG-IN BANK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128 [F4] VOICE PORTA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128 [F5] VOICE EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128 [F6] VOICE ARPEGGIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 128 [CATEGORY] VOICE CATEGORY SEARCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126 [FAVORITE] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 127 [EDIT] VOICE EDIT (NORMAL) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 129 [COMMON] NORMAL COMMON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130 [F1] NORMAL COMMON GENERAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130 [SF1] NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130 [SF2] PLAYMODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 130 [SF3] MEQ OFFSET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 131 [SF4] PORTA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 131 [SF5] OTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132 [F2] NORMAL COMMON OUTPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132 OUTPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132 [F3] NORMAL COMMON ARPEGGIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132 [SF1] TYPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 132 [SF2] LIMIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 133 [SF3] PLAY FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 133 [SF5] CLEAR USER ARPEGGIO . . . . . . . . . . . . . . . . . . . . . P. 132 [F4] NORMAL COMMON CONTROLLER SET . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134 [SF1] SET1/2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134 [SF2] SET3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134 [SF3] SET5/6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 134 [F5] NORMAL COMMON LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 135 [SF1] WAVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 135 [SF2] DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136 [SF3] DESTINATION1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136 [SF4] DESTINATION2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136 [SF5] DESTINATION3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 136 MOTIF Reference 121 Reference Voice mode Function Tree Function Tree [VOICE] Reference Voice mode [F6] NORMAL COMMON EFFECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137 [SF1] EFFECT CONNECT. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137 [SF2] INSERTION1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137 [SF3] INSERTION2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137 [SF4] REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137 [SF5] CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137 [Element selection] NORMAL ELEMENT 1-4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137 [F1] NORMAL ELEMENT OSCILLATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137 [SF1] WAVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 137 [SF2] OUTPUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 138 [SF3] LIMIT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 138 [F2] NORMAL ELEMENT PITCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 138 [SF1] TUNE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 138 [SF2] VELOCITY SENS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 139 [SF3] PEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 139 [SF4] KEY FOLLOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 139 [F3] NORMAL ELEMENT FILETER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 140 [SF1] TYPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 140 [SF2] VELOCITY SENS . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 142 [SF3] FEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 143 [SF4] KEY FOLLOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 143 [SF5] SCALING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 144 [F4] NORMAL ELEMENT AMPLITUDE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 145 [SF1] LEVEL/PAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 145 [SF2] VELOCITY SENS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 145 [SF3] AEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 145 [SF4] KEY FOLLOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 146 [SF5] SCALING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 146 [F5] NORMAL ELEMENT LFO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 147 [F6] NORMAL ELEMENT EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 148 [EDIT] VOICE EDIT (DRUM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 148 [COMMON] DRUM COMMON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149 [F1] DRUM COMMON GENERAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149 [SF1] NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149 [SF3] MEQ OFFSET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149 [SF5] OTHER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149 [F2] DRUM COMMON OUTPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149 OUTPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149 [F3] DRUM COMMON ARPEGGIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149 [SF1] TYPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149 [SF2] LIMIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149 [SF3] PLAY FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149 [SF5] CLEAR USER ARPEGGIO . . . . . . . . . . . . . . . . . . . . . P. 149 [F4] DRUM COMMON CONTROLLER SET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149 [SF1] SET1/2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149 [SF2] SET3/4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149 [SF3] SET5/6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149 [F6] DRUM COMMON EFFECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149 [SF1] EFFECT CONNECT. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 149 [SF2] INSERTION1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150 [SF3] INSERTION2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150 [SF4] REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150 [SF5] CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150 [Key selection] DRUM KEY C0-C6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150 [F1] DRUM KEY OSCILLATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150 [SF1] WAVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150 [SF2] OUTPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 150 [SF5] OTHER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151 [F2] DRUM KEY PITCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151 [SF1] TUNE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151 [SF2] VELOCITY SENS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151 [F3] DRUM KEY FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151 [SF1] CUTOFF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 151 [SF2] VELOCITY SENS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152 [F4] DRUM KEY AMPLITUDE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152 [SF1] LEVEL/PAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152 [SF2] VELOCITY SENS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152 [SF3] AEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 152 [F6] DRUM KEY EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 153 122 MOTIF Reference Function Tree [EDIT] VOICE EDIT (PLUG-IN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 153 [COMMON] PLUG-IN COMMON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 [F1] PLUG-IN COMMON GENERAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 [SF1] NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 [SF2] PLYMODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 [SF3] MEQ OFFSET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 [SF4] PORTAMENTO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 [SF5] OTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 [F2] PLUG-IN COMMON OUTPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 OUTPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 [F3] PLUG-IN COMMON ARPEGGIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 [SF1] TYPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 [SF2] LIMIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 [SF3] PLAY FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 [SF5] CLEAR USER ARPEGGIO . . . . . . . . . . . . . . . . . . . . . P. 154 [F4] PLUG-IN COMMON CONTROLLER SET . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 [SF1] SET1/2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 [SF2] MW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 154 [SF3] AT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155 [SF4] AC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155 [F6] PLUG-IN COMMON EFFECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155 [SF1] EFFECT CONNECT. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155 [SF2] INSERTION1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155 [SF3] INSERTION2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155 [SF4] REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155 [SF5] CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 155 [Element selection] PLUG-IN ELEMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156 [F1] PLUG-IN ELEMENT OSCILLATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156 [SF1] WAVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156 [SF5] OTHER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156 [F2] PLUG-IN ELEMENT PITCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156 [F3] PLUG-IN ELEMENT FILETER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156 [F4] PLUG-IN ELEMENT NATIVE PARAMETER . . . . . . . . . . . . . . . . . . . . . . . . . . P. 156 [F5] PLUG-IN ELEMENT LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 157 [F6] PLUG-IN ELEMENT EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 157 [EDIT] VOICE COMPARE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 129 [JOB] VOICE JOB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 158 [F1] INITIALIZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 158 [F2] EDIT RECALL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 158 [F3] COPY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 158 [F4] BULK DUMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 159 [STORE] VOICE STORE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 159 MOTIF Reference 123 Reference Voice mode [VOICE] Voice Play mode Voice Play mode Basic Structure (page 30) · Quick Start Guide (page 80) 4 Select the menu you wish to edit by pressing the [F1] - [F6] buttons and edit the parameters in each display. In this mode, you can select and play individual Preset and User voices, as well as Plug-in voices (when installed). n For details about voice types and memory (bank) structure, see page 43. ◆ Basic Procedure n When the Plug-in voice is selected (when the Single part Plug-in board is installed), you can press the [F2] button to call up the BANK display. 5 Store the settings edited in step #4 to the User Memory as required. 6 Press any other mode button to exit from the Voice Play mode. 1 Press the [VOICE] button to enter the Voice Play mode. (The indicator lights.) • For detailed instructions on steps #2 - #4, see the following explanations. • For details on step #5, refer to “Voice Store mode” on page 159. VOICE Indicates the Keyboard MIDI transmit channel. See page 127 for details. Voice Selection The explanations here apply to step #2 of the Basic Procedure described above. There are four ways in which you can select a Voice. Reference Voice mode Indicates the functions assigned to the respective Control knobs. See pages 254 and 256 for details. • • • • Indicates Keyboard Octave setting set via the [OCTAVE] buttons. See page 127 for details. Indicates the current selected voice. Using the BANK, GROUP, NUMBER buttons Using the [INC/YES] and [DEC/NO] buttons Using the data dial Using the Category Search function ■ Using the BANK, GROUP, NUMBER buttons 1 2 3 ● Bank and Voice Program number Number (selected via the NUMBER [1]-[16] buttons) DRUM KITS PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE D E COMMON A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 Category H COMBI SECTION GROUP 4 5 6 7 8 TRACK SELECT 11 12 13 14 15 16 MUTE SOLO nThe explanations here apply when these four button indicators are off. 1 Press any of the BANK buttons to select a Bank. • To select a Normal voice, press any of the [PRE1] - [USER] buttons. PRE 1 PRE 2 PRE 3 GM USER A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS Voice name 2 Select a voice. 3 Set the Keyboard Octave or MIDI transmit channel. 124 MOTIF Reference G MUSICAL FX NUMBER 10 Voice Program number (corresponding to Groups A to H and Numbers 01 to 16) ● Category and Voice name F SE BANK ELEMENT/ PERF.PART / ZONE 9 Group (selected via the GROUP [A]-[H] buttons) Bank (selected via the BANK buttons) DRUM / CHROMATIC PERCUSSION PERCUSSION CATEGORY SEARCH Voice Play mode PLG 1 PLG 2 STRINGS BRASS PLG 3 REED/PIPE • To select a Drum voice, simultaneously hold the [DRUM KITS] button and press the [PRE1], [GM] or [USER] button. DRUM KITS PRE 1 PRE 2 PRE 3 GM USER FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS COMMON The following display (or one similar) appears. 2 3 Press any of the GROUP [A] - [H] buttons to select a Group. Press any of the NUMBER [1] - [16] buttons to select a Voice. The MOTIF returns back to the Voice Play display. Voice Program Number Group Number Voice Program Number Group Number 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 A A A A A A A A A A A A A A A A B B B B B B B B B B B B B B B B C C C C C C C C C C C C C C C C D D D D D D D D D D D D D D D D 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 065 066 067 068 069 070 071 072 073 074 075 076 077 078 079 080 081 082 083 084 085 086 087 088 089 090 091 092 093 094 095 096 097 098 099 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 E E E E E E E E E E E E E E E E F F F F F F F F F F F F F F F F G G G G G G G G G G G G G G G G H H H H H H H H H H H H H H H H 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 MOTIF Reference 125 Reference Voice mode ● Voice program numbers and the corresponding Group/Numbers • To select a Plug-in voice, press any of the [PLG1] - [PLG3] buttons. Voice Play mode ■ Using the [INC/YES] and [DEC/NO] buttons Pressing the [INC/YES] button increases the number by 1. Pressing the [DEC/NO] button decreases the number by 1. 1 DRUM KITS PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE D E COMMON DEC/NO INC/YES 2 A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI CATEGORY SEARCH BANK SECTION GROUP 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE NUMBER 9 10 11 SOLO Decreases number nThe explanations here apply when these four button indicators are off. Increases number Use the [INC/YES] and [DEC/NO] buttons to step up or down through the available voices. Naturally, this also lets you switch to the next available Group, up or down. For example, if the currently selected voice is A16, pressing the [INC/YES] button selects Voice B01. Hold either button down to continuously scroll through the voices. Reference Voice mode ■ Using the data dial Rotating the data dial to the right (clockwise) increases voice number, while rotating it to the left (counterclock wise) decreases it. This control works in the same way as the [INC/YES] and [DEC/NO] buttons, but lets you scroll through the voices more quickly. 1 Press the [CATEGORY SEARCH] button so that its indicator lights. The following Voice category display appears. Category Voice Sub category 2 Press any of the [PLG1] - [PLG3] and the [A] - [H] buttons to select a Category. The first voice in the selected category is called up by this operation. n The voice categories are printed below the [PLG1] [PLG3] and [A] - [H] buttons. n Sub categories are listed at the bottom of the Voice category display. Pressing the [F1] - [F6] buttons call up the first voice in the selected sub category. This convenient feature lets you select voices according to their instrument type or application. The voices are divided into sixteen different categories, and these category keywords often give you a clear idea of the characteristics of a voice that might not be apparent from its name. ■ Using the Category Search function Category Search lets you quickly locate the type of voice you need, regardless of its bank location. For example, by specifying the A. PIANO category, you can instantly call up a list of all the available piano-type voices contained in the MOTIF, and select the desired piano voice from the list. The MOTIF also features a “Favorites” category, to which you can assign your favorite voices. This is convenient especially in live performance situations, giving you quick access to often-used voices — no matter what their particular category or bank. 126 MOTIF Reference 3 Press the Cursor [F] button to move the cursor to the voice. Category Voice Sub category 4 Select a voice by using the data dial. Voice Play mode ● Favorite Category 1~4 Use the same operation as in “Using the [UP] and the [DOWN] buttons together at the same time will return the setting to the initial value (0). OCTAVE Category Search function” above. 5 Select your favorite voice and press the [F5] button to assign it to the Favorite Category. Category Voice UP DOWN n The MOTIF 8 has no [OCTAVE] buttons. ■ Keyboard MIDI transmit channel setting Press the [TRACK SELECT] button so that its indicator lights, and press any of the NUMBER [1] - [16] buttons to change the Keyboard MIDI transmit channel. 1 2 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE Sub category NUMBER 9 10 11 n To remove the selected voice from the Favorite Category, simply press the [F5] button again. 7 Set other voices to the Favorite Category as required. n You can set this parameter also in the Utility mode (page 258). This parameter cannot be stored in the Voice Store mode. Press the [FAVORITE] button to see the voices set to the Favorite Category in steps #5 - 6. Voice editing in the Voice Play mode DRUM KITS The explanations here apply to step #4 of the Basic Procedure on page 124. The Voice Play mode lets you perform a variety of general editing operations on the selected voice. For more detailed and comprehensive editing operations, use the Voice Edit mode. FAVORITES COMMON n When a Plug-in voice is selected, some parameters cannot be edited. n The parameters that have the same name in the Voice Play mode and in the Voice Edit mode have the same functions and settings. Keyboard Octave and Keyboard MIDI transmit channel settings The explanations here apply to step #3 of the Basic Procedure on page 124. The two parameters set here affect all selected voices. However, these parameters cannot be stored to the voice by using the Voice Store mode (page 159). ◆ The [ ] Indicator If you alter any parameters in the Voice Play mode, the [ ] indicator will appear in the top left of the display. This indicates that the current voice has been modified but not yet stored. Edit indicator Keyboard MIDI transmit channel Keyboard octave setting ■ Keyboard octave setting The [OCTAVE] buttons allow the keyboard to be transposed up or down by one octave. Pressing the If you select another voice during editing, the [ ] indicator will disappear and all your edits will be lost. It is a good idea to store the edited voice data from the Voice Store mode (page 159). Even if you lose the voice edited data, you can restore it by using the Edit Recall function (page 158). MOTIF Reference 127 Reference Voice mode 6 SOLO Voice Play mode ● [F2] Voice Play Plug-in Bank From this display you can select the particular bank on the Plug-in board, and determine whether you will be using a Plug-in voice or a “Board” voice. Simply put, the difference between the two types of voices is this: • PortaMode Determines the Portamento mode. The behavior of the Portamento varies depending on whether Mono/Poly is set to “mono” or “poly.” ❏ Settings fingered, fulltime When Mono/Poly is set to “mono”: With the “fingered” setting, Portamento is only applied when you play legato (playing the next note before releasing the previous one). With the “fulltime” setting, Portamento is always applied. • Board voices are unprocessed, unaltered voices of the Plug-in board — the “raw material” for Plug-in voices. • Plug-in voices are edited Board voices — voices that have been specially programmed and processed for optimum use with the MOTIF. For more details, see page 153. When Mono/Poly is set to “poly”: This is the same as for “mono,” except that Portamento is applied to multiple notes. ● [F5] Voice Play EG (Envelope Generator) Basic Structure (page 46) ❏ Settings Reference Voice mode When a Plug-in voice using the Plug-in board installed to slot 1 is selected: PLG1USR (User Plug-in voice), PLGPRE1 (Preset Plug-in voice), 032/000 ... (Indicates the Bank Select MSB/LSB of the Board voice. These values differ depending on the installed Plug-in board) n This display is available only when the Plug-in board is installed to the MOTIF and the Plug-in voice is selected. ● [F4] Voice Play Portamento This display contains the basic EG settings, both volume and filter, for the voice, as well as the filter’s cutoff frequency and resonance settings. The settings made here are applied as offsets to the AEG and FEG settings in the Voice Edit mode. The full names of the available parameters are shown in the chart below, as they appear in the display. ATK From this display you can select monophonic or polyphonic playback and set the Portamento parameters. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next. AEG FEG Attack time ❏ Settings DCY Decay time SUS REL Sustain level Releas e Time --- DEPTH CUTOFF RESO --- --- --- Depth Cutoff Resonance frequency -64 ~ 0 ~ +63 (except --- above) ● [F6] Voice Play Arpeggio Basic Structure (page 55) This display contains the basic settings for Arpeggio playback, including Type and Tempo. • Mono/Poly Determines whether the Voice is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes). ❏ Settings Mono, Poly • PortaSw Determines whether Portamento is on or off. ❏ Settings off, on • PortaTime Determines the pitch transition time. Higher values result in longer transition times. ❏ Settings 0 ~127 128 MOTIF Reference • Bank Determines the Bank. ❏ Settings pre1, pre2, user • Type Determines the Arpeggio type. The two-letter prefix before the name indicates the general Arpeggio category. Voice Edit mode Determines the Arpeggio Tempo. When MIDI sync (page 258) is turned on, “MIDI” is displayed here and cannot be set. ❏ Settings 1 ~ 300 • Velocity Limit Determines the lowest and highest velocity in the Arpeggio’s velocity range. The Arpeggio plays when you play the note with the velocity in this range. ❏ Settings 1 ~ 127 n Keys played outside the set limit sound normally without any Arpeggio. • Switch Determines whether Arpeggio is on or off. You can also turn Arpeggio on/off from the front panel with the [ARPEGGIO ON/OFF] button. ❏ Settings off, on • Hold Determines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles automatically, even if you release your fingers from the keys, and it continues to cycle until the next key is pressed. ❏ Settings off, on Voice Edit mode In this mode, Normal Voices and Drum Voices can be created and edited. There are three kinds of Voices: Normal Voices, Drum Voices and Plug-in Voices (if a Plug-in board has been installed). The following section shows how to edit the different kinds of voices and explains the parameters available. ◆ The [ ] Indicator If you alter any parameters in Voice Edit Mode, the [ ] indicator will appear in the top left of the display. This indicates that the current voice has been modified but not yet stored. n Even if you exit to the Voice Play mode, your edited settings for the current voice will be maintained — as long as you don’t select another voice. n The [ ] indicator is also displayed in the Voice Play mode. ◆ The Compare Function This convenient function lets you switch between the edited voice and its original, unedited condition — allowing you to listen to the difference between the two and better hear how your edits affect the sound. 1 In the Voice Edit mode, press the [COMPARE] button so that its indicator flashes. The [ ] indicator is shown at the top of the display (in place of the [ ] indicator), and the original, unedited voice is restored for monitoring. EDIT COMPARE 2 Press the [EDIT] button again to disable the “Compare” function and restore the settings for your edited Voice. n While Compare is active, you cannot make edits to the voice. Normal Voice Edit ◆ Common edit and Element edit A Voice can consist of up to four elements (page 42). Use Common Edit to edit the settings common to all four elements. There are two types of Voice Edit displays: those for Common Edit, and those for editing individual elements. MOTIF Reference 129 Reference Voice mode • Tempo Voice Edit mode You can mute other elements (those you aren’t editing and don’t wish to hear) by using the NUMBER [9] - [12] buttons. Sounded elements are indicated by lit buttons; the indicator of the button corresponding to the sounded element lights. Element1 Element2 COMMON Element3 Element4 Indicates a Common Edit display. Indicates a display for editing Element 1. 5 Select the menu you wish to edit by pressing the [F1] - [F6] and [SF1] - [SF5] buttons. 6 Edit the parameters for the selected voice. 7 Store the settings edited in step #6 to the User Memory as required. 8 Press the [EXIT] button to exit from the Voice Edit mode. ◆ Basic Procedure 1 Press the [VOICE] button to enter the Voice Play mode. (The indicator lights.) Reference Voice mode 2 Select a Normal voice to be edited. 3 Press the [EDIT] button to enter the Voice Edit mode. (The indicator lights.) • For details on step #2, refer to “Voice Play mode” on page 124. • For detailed instructions on steps #5 - #6, see the explanations below. • For details on step #7, refer to “Voice Store mode” on page 159. ■ Common edit ● [F1]-[SF1] Normal Common General Name Basic operation (page 75) 4 Select an element to be edited. • To edit parameters common to all four elements, press the [DRUM KITS] button (which serves as a “COMMON” button here). From this display you can assign the category (sub and main) of the selected voice, and create a name for the voice. The voice name can contain up to 10 characters. For detailed instructions on naming a voice, see “Basic Operation” on page 75. DRUM KITS FAVORITES COMMON • To edit parameters of the individual elements, select the desired element with the corresponding NUMBER button ([1] - [4]). 1 2 3 4 Element selection ELEMENT/ PERF.PART / ZONE 9 10 11 12 Element mute setting 130 MOTIF Reference ● [F1]-[SF2] Normal Common Play mode General From this display you can make various settings for the tone generator of the MOTIF, and assign different Micro Tuning settings. Voice Edit mode • Mono/Poly Determines whether the Voice is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes). ❏ Settings Mono, Poly • KeyAsgnMode • MicroTuning Determines the tuning system for the voice. Normally, this should be set to 00 (Equal temperament); however thirtyone additional tuning systems are available for a variety of tuning applications and effects. ❏ Settings See below. No. Type Key Comments 00 Equal temperament 01~12 Pure major C~B This tuning is designed so that most of the intervals (especially the major third and perfect fifth) in the major scale are pure. This means that other intervals will be correspondingly out of tune. You need to specify the key (C~B) you will be playing in. 13~24 Pure minor A~G# The same as Pure Major, but designed for the minor scale. 25 Werckmeister The “compromise” tuning used for most of the last 200 years of Western music, and found on most electronic keyboards. Each half step is exactly 1/12 of an octave, and music can be played in any key with equal ease. However, none of the intervals are perfectly in tune. Andreas Werckmeiser, a contemporary of Bach, designed this tuning so that keyboard instruments could be played in any key. Each key has a unique character. 26 Kirnberger Johann Philipp Kirnberger was also concerned with tempering the scale to allow performances in any key. 27 Vallotti & Young Francescatonio Vallotti and Thomas Young (both mid-1700s) devised this adjustment the Pythagorean tuning which the first six fifths are lower by the same amount. 28 1/4 shifted This is the normal equal tempered scale shifted up 50 cents. 29 1/4 tone Twenty-four equally spaced notes per octave. (Play twenty-four notes to move one octave.) 30 1/8 tone Forty-eight equally spaced notes per octave. (Play forty-eight notes to move one octave.) 31 Indian C~B Usually observed in the Indian music (white keys [C~B] only). ● [F1]-[SF3] Normal Common Master EQ Offset General From this display you can adjust the master (global) EQ settings for the entire voice. The settings made here are applied as offsets to the EQ settings (with the exception of “MID”) in the Utility mode, page 253. KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 KN 1 MEQ LOW ❏ Settings MEQLOWMID MEQ HI M ID KN 4 MEQ HIGH -64 ~ 0 ~+63 ● [F1]-[SF4] Normal Common Portamento General This display allows you to set the Portamento related parameters. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next. • Switch Determines whether Portamento is on or off. ❏ Settings off, on • Time Determines the pitch transition time. Higher values result in a longer pitch change time, when Time Mode below is set to “Time.” (When Time Mode is set to “Rate,” higher values result in a faster pitch change time.) ❏ Settings 0 ~127 • Mode Determines the Portamento mode. With the “fingered” setting, Portamento is only applied when you play legato (playing the next note before releasing the previous one). With the “fulltime” setting, Portamento is always applied. ❏ Settings fulltime, fingered • TimeMode This determines how the Time parameter above affects the Portamento effect. Setting this to “Time” makes the above parameter a true time scale — the higher the value, the longer the time. The “Rate” setting simply reverses this, for a rate scale — the higher the value, the faster the rate (in other words, the shorter the time). Naturally, you should set this to your own personal preference, depending on whether you think of Portamento in terms of time or rate. ❏ Settings rate, time rate Sets the Time parameter range to reflect “rate”: 0 (slow) - 127 (fast) MOTIF Reference 131 Reference Voice mode When this is set to “single,” double playback of the same note is prevented. This is useful when two or more instances of the same note are received nearly simultaneously, or without a corresponding note off message. To allow playback of each instance of the same note, set this to “multi.” ❏ Settings single, multi Voice Edit mode time Sets the Time parameter range to reflect “time”: 0 (fast) - 127 (slow) ● [F1]-[SF5] Normal Common General Other From this display you can set the control functions for the Knobs, and determine the up/down range for the Pitch Bend wheel. • Volume Determines the output level of the Voice. ❏ Settings 0 ~ 127 • Pan Determines the stereo pan position of the Voice. You can also adjust this parameter using the PAN knob on the front panel. ❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right) • RevSend Determines the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Reverb effect. You can also adjust this parameter using the REVERB knob on the front panel. ❏ Settings 0 ~ 127 • Knob Assign Determines the function for the assignable Knobs (1-4). Pressing the [KNOB CONTROL FUNCTION] button on the panel sets the desired function row, which is automatically stored to memory with the currently selected voice. ❏ Settings Pan & Send KNOB CONTROL FUNCTION • ChoSend Determines the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Chorus effect. You can also adjust this parameter using the [CHORUS] knob on the front panel of the MOTIF. ❏ Settings 0 ~ 127 Tone PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 Reference Voice mode KN 1 KN 2 MEQ LOW MeqGain KN 3 MEQLOWMID MEQ HI M ID KN 4 MEQ HIGH ● [F3]-[SF1] Normal Common Arpeggio type Arpeggio Basic Structure (page 55) The basic parameters (e.g., type, tempo) of the Arpeggio are provided in this display. When user arpeggio is selected, you can clear the selected arpeggio data by using the [SF5] button. Assign • ChoCtrl Determines the depth of the Chorus effect, as controlled by the Knob assigned to Chorus Send. ❏ Settings -64 ~ 63 This apppears only when user arpeggio is selected and cursor is located at Type. • PBUpper, PBLower These two parameters determine the pitch change range of the Pitch Bend wheel. ❏ Settings -48 ~ 24 • Bank Determines the Bank. ❏ Settings pre1, pre2, user • Assign A, Assign B, Assign 1, Assign 2 This lets you directly set and memorize the value for each Assign Knob (A, B, 1, and 2), from the Knob itself. Simply tweak the knob to the desired setting. ● [F2] Normal Common Output • Type Determines the Arpeggio type. The two-letter prefix before the name indicates the general Arpeggio category. • Tempo Determines the Arpeggio Tempo. When MIDI sync (page 258) is turned on, “MIDI” is displayed here and cannot be set. ❏ Settings 1 ~ 300 • Switch Determines whether Arpeggio is on or off. You can also turn Arpeggio on/off from the front panel with the [ARPEGGIO ON/OFF] button. ❏ Settings off, on 132 MOTIF Reference Voice Edit mode Determines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles automatically, even if you release your fingers from the keys, and it continues to cycle until the next key is pressed. ❏ Settings sync-off (see below), off, on sync-off The first time you press a key, the first note of the arpeggiator pattern is played. From the second and subsequent key presses, the arpeggiator note that is played back depends on the arpeggiator tempo and the timing of the arpeggio pattern. For example, in the case of a 1-bar arpeggio pattern, if the second key press falls on the third beat of the bar, the arpeggio pattern plays back from the third beat onward. In other words, the first key press is used to start the arpeggio pattern and thereafter you can use the key to “mute” or “un-mute” the pattern by, respectively, holding it down or releasing it. This is particularly useful when the arpeggiator is being used to generate drum patterns. • KeyMode Determines how the Arpeggio plays back when playing the keyboard. Three modes are available. ❏ Settings sort, thru, direct sort Plays back notes in ascending order from the lowest key pressed to the highest. thru Plays back notes in the order in which the keys are pressed. direct Plays back the notes exactly as you play them. If changes to Voice parameters (such as Pan or Cutoff frequency) are included in the Arpeggio sequence data, they will be applied and reproduced whenever the Arpeggio plays back. n If the Arpeggio Category is set to Ct, you will not hear any sounds unless you select “direct” here. n With the “sort” and “thru” settings, the order in which notes are played back will depend on the Arpeggio sequence data. • VelMode This determines the playback velocity of the Arpeggio, or how it responds to your own playing strength. Two modes are available: original and thru. ❏ Settings original, thru ● [F3]-[SF2] Normal Common Arpeggio limit Arpeggio • Note Limit Determines the lowest and highest notes in the Arpeggio’s note range. Notes played in this range trigger the Arpeggio. ❏ Settings C -2 ~ G8 n You can also create a lower and an upper trigger range for the Arpeggio, with a “hole” in the middle, by specifying the highest note first. For example, setting a Note Limit of “C5 -C4” lets you trigger the Arpeggio by playing notes in the two ranges of C -2 to C4 and C5 to G8; notes played between C4 and C5 have no effect on the Arpeggio. n You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired low and high keys. • Velocity Limit Determines the lowest and highest velocity in the Arpeggio’s velocity range. This lets you control when the Arpeggio sounds by your playing strength. ❏ Settings 1 ~ 127 n You can also create separate low and high trigger ranges for the Arpeggio playback, with a velocity “hole” in the middle, by specifying the maximum value first. For example, setting a Velocity Limit of 93 - 34 lets you play the Arpeggio from two separate velocity ranges: soft (1 - 34) and hard (93 127). Notes played at middle velocities between 35 and 92 do not play the Arpeggio. ● [F3]-[SF3] Normal Common Play FX (Effect) Arpeggio These Play Effect parameters let you control the playback of the Arpeggio in useful and interesting ways. By changing the timing and velocity of the notes, you can change the rhythmic “feel” of the Arpeggio. original The Arpeggio plays back at the preset velocities. thru The Arpeggio plays back according to the velocity of your playing. For example, if you play the notes strongly, the playback volume of the Arpeggio increases. • Unit Adjust the Arpeggio playback time. For example, if you set a value of 200%, the playback time will be doubled and the tempo halved. On the other hand, if you set a value of 50%, the playback time will be halved and the tempo doubled. Normal playback time is 100%. ❏ Settings 50%, 66%, 75%, 100%, 133%, 150%, 200% MOTIF Reference 133 Reference Voice mode • Hold Voice Edit mode • Velocity Rate • Source Determines how much the Velocity of the Arpeggio playback is offset from the original value. For example, a setting of 100% means the original values are used. Settings below 100% will reduce the velocity of the Arpeggio notes, whereas settings above 100% will increase the velocities. ❏ Settings 0% ~ 200% n The Velocity cannot be decreased or increased beyond its normal range of 1 to 127; any values outside that range will automatically be limited to the minimum or maximum. • Gate Time Rate Determines how much the Gate Time (length) of the Arpeggio notes is offset from the original value. A setting of 100% means the original values are used. Settings below 100% will shorten the gate times of the Arpeggio notes, whereas settings above 100% will lengthen them. ❏ Settings 0% ~ 200% n The Gate Time cannot be decreased beyond its normal minimum of 1; any values outside that range will automatically be limited to the minimum. Reference Voice mode ● [F4]-[SF1], [SF2], [SF3] Normal Common Control Set Set1/2, Set3/4, Set5/6 Basic Structure (page 48) The controllers and knobs on the front panel can be used to change and adjust a variety of parameters — in real time, and simultaneously. For example, keyboard aftertouch can be used to control vibrato and the Modulation Wheel could be used to control Resonance. They can even be used to control parameters within individual Elements. These control assignments are called “Control Sets.” You can assign up to six different Control Sets per Voice. The six individual Control Sets are divided into pairs in the display: Sets 1/2, Sets 3/4 and Sets 5/6. Controller Control Set 1~6 Keyboard Modulation wheel Knob Set 1 Element 1 Element 2 Element 3 Element 4 • ElementSw Determines whether or not the selected controller affects each individual element. ❏ Settings Elements 1 to 4 enabled (“1” to “4”) or disabled (“-”) n This parameter is disabled if the Destination parameter below is set to a value from 00 to 33. 134 MOTIF Reference Determines which panel controller is to be assigned and used for the selected Set. This controller then is used to control the parameter set in Destination below. ❏ Settings PB (Pitch Bend Wheel), MW (Modulation Wheel), AT (After Touch), FC1 (Foot Controller 1), FC2 (Foot Controller2), FS (Footswitch), BC (Breath Controller), KN1 (Knob ASSIGN 1), KN2 (Knob ASSIGN 2) n Keep in mind that unlike the other controllers, the ASSIGN A and B knobs can each be assigned to one common function for the entire Voice mode, and not to different functions for each individual voice. Also see the Utility mode (page 256). • Dest (Destination) Determines the parameter that is controlled by the Source controller (above). ❏ Settings For a complete list of the available parameters/controls, refer to the separate Data List booklet. • Depth Determines the degree to which the Source controller affects the Destination parameter. For negative values, the controller operation is reversed; maximum controller settings produce minimum parameter changes. ❏ Settings -64 ~ 0 ~+63 Voice Edit mode ● [F5]-[SF1] Normal Common LFO Wave off The LFO cycles freely with no key synchronization. Pressing a key starts the LFO wave at whatever phase the LFO happens to be at that point. Basic Structure (page 47) From this display you can make a variety of LFOrelated settings, including Wave, Speed, Tempo, and sync/phase settings. Time Key on each-on The LFO resets with each note you play and starts a waveform at the phase specified by the Phase parameter (below). • Wave Determines the LFO Wave. ❏ Settings tri, tri+, sawup, sawdwn, squ1/4, squ1/3, squ, squ2/3, squ3/4, trpzp, S/H 1, S/H 2, user Time Key on (first note) • Speed Determines the speed of the LFO Wave modulation. Higher values result in faster modulation speeds. ❏ Settings 0 ~ 63 1st-on The LFO resets with every note you play and starts the waveform at the phase specified by the Phase parameter (below). However, if you play a second note while the first is being held, the LFO continues cycling according to the same phase as triggered by the first note. In other words, the LFO only resets if the first note is released before the second is played. Speed = slow Time Time . • Tempo Sync Determines whether or not the LFO is synchronized to the tempo of the Arpeggio or sequencer (song or pattern). Setting this to “on” allows you to keep the LFO effects in perfect sync with the Arpeggio or sequencer playback. ❏ Settings off (not synchronized), on (synchronized) • Tempo Speed This parameter is available only when Tempo Sync above has been set to “on.” It allows you to make detailed note value settings that determine how the LFO pulses in sync with the Arpeggio or sequencer. ❏ Settings 16th, 8th/3 (eighth-note triplets), 16th. (dotted sixteenth notes), 8th 4th/3 (quarternote triplets), 8th. (dotted eighth notes), 4th (quarter notes), 2nd/3 (half-note triplets), 4th. (dotted quarter notes), 2nd (half notes), whole/3 (whole-note triplets), 2nd. (dotted half notes), 4th x 4 (quarter-note quadruplets; four quarter notes to the beat), 4th x 5 (quarter-note quintuplets; five quarter notes to the beat), 4th x 6 (quarter-note sextuplets; six quarter notes to the beat), 4th x 7 (quarter-note septuplets; seven quarter notes to the beat), 4th x 8 (quarter-note octuplets; eight quarter notes to the beat) Time Key on (first note) Key on (second note) • Phase Determines the starting phase point for the LFO Wave when a note is played. ❏ Settings 0, 90, 120, 180, 240, 270 Time Phase 0° 90° 180° 270° 120° 240° n The actual length of the note depends on the internal or external MIDI tempo setting. • Key On Reset Determines whether or not the LFO is reset each time a note is pressed. The following three settings are available. ❏ Settings off, each-on, 1st-on MOTIF Reference 135 Reference Voice mode Speed = fast Key on (second note) Voice Edit mode ● [F5]-[SF2] Normal Common LFO Delay From this display you can set various delay and fade-in/-out parameters, and give the LFO a more natural sound. • FadeOutTime Determines the amount of time for the LFO effect to fade out (after the Delay time has elapsed). A higher value results in a slower fade-out. ❏ Settings 0 ~ 127 Hold FadeOut Max Low FadeOut value Faster fade-out Time • DelayTime Determines the delay time before the LFO comes into effect. A higher value results in a longer delay time. ❏ Settings 0 ~ 127 Short delay Hold FadeOut Max High FadeOut value Long delay Time Key on Key on • FadeInTime Reference Voice mode Determines the amount of time for the LFO effect to fade in (after the Delay time has elapsed). A higher value results in a slower fade-in. ❏ Settings 0 ~ 127 FadeIn Max Low FadeIn value Faster fade-in Time ● [F5]-[SF3], [SF4], [SF5] Normal Common Destination 1, 2, 3 LFO From this display you can select the destination parameter for the LFO (which aspect of the sound the LFO controls), the elements to be affected by the LFO, and the LFO Depth. Three Destinations can be assigned, and you can choose from several parameters per Destination. Delay Key on FadeIn Max High FadeIn value Slower fade-in Time Delay • ElemSw (Element Switch) Determines whether or not each element is to be affected by the LFO. The element number (1- 4) is shown when the LFO is enabled; a dash (-) indicates the LFO is disabled for that element. Key on • HoldTime Determines the length of time during which the LFO is held at its maximum level. A higher value results in a longer Hold time. ❏ Settings 0 ~ 127 • Dest (Destination) Determines the parameters which are to be controlled (modulated) by the LFO Wave. ❏ Settings AMD, PMD, FMD, RESO (Resonance), PAN, ELFOSpd (Element LFO Speed) Hold Max • Depth Time 136 MOTIF Reference Determines the LFO Wave Depth. ❏ Settings 0 ~ 127 Voice Edit mode ● [F6]-[SF1] Normal Common Connection Effect This display gives you comprehensive control over the effects. • ChoRtn (Chorus Return Level) Determines the Return level of the Chorus Effect. ❏ Settings 0 ~ 127 • ChoToRev (Chorus to Reverb) Determines the Send level of the signal sent from the Chorus Effect to the Reverb Effect. ❏ Settings 0 ~ 127 • RevPan (Reverb Pan) Determines the pan position setting for the Reverb effect. ❏ Settings L63 (far left)~cnt (center)~R63 (far right) Determines which Insertion effect (1 or 2) is used to process each individual element. The “thru” setting lets you bypass the Insertion effects for the specific element. (This parameter is the same as “InsEFOut” in Normal Element below. Making a setting here automatically changes the setting of that parameter as well.) ❏ Settings ins1, ins2, thru • InsConnect (Insertion Effect Connect) Determines the effect routing for Insertion effects 1 and 2. The setting changes are shown on the diagram in the display, giving you a clear picture of how the signal is routed. ❏ Settings parallel, 1 to 2, 2 to 1 • Ins1Category, Ins1Type Determines the effect type for Insertion 1. ❏ Settings Refer to the Effect Types list in the separate Data List booklet. • Ins2Category, Ins2Type Determines the effect type for Insertion 2. ❏ Settings Refer to the Effect Types list in the separate Data List booklet. • RevType (Reverb Effect Type) • ChoPan (Chorus Pan) Determines the pan position setting for the Chorus effect. ❏ Settings L63 (far left)~cnt (center)~R63 (far right) ● [F6]-[SF2], [SF3], [SF4], [SF5] Normal Common Effect Parameter Insertion 1, 2, Reverb, Chorus The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet. ■ Element Edit For instructions on selecting and editing individual elements, refer to step #4 in the Basic Procedure on page 124. ● [F1]-[SF1] Normal Element Oscillator Wave Basic Structure (page 44) From this display you can select the desired wave or sound used for the element. Determines the effect type for Reverb. ❏ Settings Refer to the Effect Types list in the separate Data List booklet. • ChoType (Chorus Effect Type) Determines the effect type for Chorus. ❏ Settings Refer to the Effect Types list in the separate Data List booklet. • ElementSw (Element Switch) • RevSend (Reverb Send) Determines the level of the sound (from Insertion 1 or 2, or the bypassed signal) that is sent to Reverb effect. A setting of “0” results in no Reverb processing of the sound. ❏ Settings 0 ~ 127 • ChoSend (Chorus Send) Determines the level of the sound (from Insertion 1 or 2, or the bypassed signal) that is sent to Chorus effect. A setting of “0” results in no Chorus processing of the sound. ❏ Settings 0 ~ 127 • RevRtn (Reverb Return Level) Determines the Return level of the Reverb Effect. ❏ Settings 0 ~ 127 Determines whether the currently selected element is on or off. ❏ Settings off (inactive), on (active) • Bank This determines the specific bank of waves, from which you can select the desired sound. The Preset bank features the factory programmed waves; the User bank contains any audio data you have created with the Sampling function (page 58). ❏ Settings preset, usr wav • Wave No. (Wave Number), WaveCtgry (Wave Category) ❏ Settings See the Wave list of the separate Data List. MOTIF Reference 137 Reference Voice mode • EL: OUT 1-4 (Element 1-4 Effect Output) Voice Edit mode ● [F1]-[SF2] Normal Element Output Oscillator From this display you can set certain output parameters for the selected element. • KeyOnDelay Determines the time (delay) between the moment you press a note on the keyboard and the point at which the sound is played. You can set different delay times for each Element. ❏ Settings 0 ~ 127 Short Delay Key on Long Delay Key on • InsEFOut (Insertion Effect Output) Reference Voice mode Determines which Insertion effect (1 or 2) is used to process each individual element. The “thru” setting lets you bypass the Insertion effects for the specific element. (This parameter is the same as “EL: OUT” in Normal Common above. Making a setting here automatically changes the setting of that parameter as well.) ❏ Settings thru, ins1 (Insertion Effect 1), ins2 (Insertion Effect 2) • VelocityLimit Determines the minimum and maximum values of the velocity range within which each element will respond. Each element will only sound for notes played within its specified velocity range. For example, this lets you have one element sound when you play softly and have a different one sound when you play strongly. ❏ Settings 1 ~127 n You can also create separate low and high ranges for the element, with a velocity “hole” in the middle, by specifying the maximum value first. For example, setting a Velocity Limit of 93 - 34 lets you play the element from two separate velocity ranges: soft (1 - 34) and hard (93 - 127). Notes played at middle velocities between 35 and 92 do not play the selected element. • VelCrossFade (Velocity Cross Fade) This determines how smoothly or abruptly elements switch between each other in response to velocity. (This only applies to elements that have been set for velocity splits with Velocity Limit above.) Minimum values create an abrupt change between elements, while maximum values let you smoothly change elements depending on your playing strength. ❏ Settings 0 ~ 127 ● [F2]-[SF1] Normal Element Pitch Tune From this display you can set various pitch-related parameters for the selected element. ● [F1]-[SF3] Normal Element Oscillator Limit From this display you can create different key and velocity “zones” for each of the elements, and even set up a velocity crossfade between elements. • Coarse Determines the pitch of each element in semitones. ❏ Settings -48 ~ 0 ~+48 • Fine Determines the fine tuning for the pitch of each element. ❏ Settings -64 ~ 0 ~+63 • NoteLimit Determines the lowest and highest notes of the keyboard range for each element. The selected element will sound only when you play notes within this range. ❏ Settings C -2 ~ G8 n You can also create a lower and an upper range for the element, with a “hole” in the middle, by specifying the highest note first. For example, setting a Note Limit of “C5 - C4” lets you play the element from two separate ranges: C -2 to C4 and C5 to G8. Notes played between C4 and C5 do not play the selected element. n You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired low and high keys. See “Basic Operation” on page 75. 138 MOTIF Reference • Random This lets you randomly vary the pitch of the element for each note you play. This is effective in reproducing the natural pitch variations in acoustic instruments. It is also useful for creating unusual random pitch changes. The higher the value the greater the pitch variation. A value of “0” results in no pitch change. ❏ Settings 0 ~127 Voice Edit mode ● [F2]-[SF2] Normal Element Velocity Sensitivity Pitch From this display you can determine how the Pitch EG responds to velocity. (For Pitch EG settings, see “PEG Time, Level” below.) The full names of the available parameters are shown in the chart below, as they appear in the display. HOLD DCY1 DCY2 REL Hold time Attack time Decay 1 time Decay 2 time Release time LEVEL Hold level Attack level Decay 1 level Decay 2 level Release level TIME Determines the velocity sensitivity of the PEG’s Time parameters. Select the Segment, then set its Time parameter. Positive Time settings will play back the specified Segment faster and negative values will play it back slower. ❏ Settings Time -64 ~0 ~+63 Segment ATK, ATK+DCY, DCY, ATK+RLS, all ATK EG Time Value affects Attack time. ATK+DCY EG Time Value affects Attack/Decay1 time. DCY EG Time Value affects Decay time. ATK+RLS EG Time Value affects Attack/Release time. all EG Time Value affects all PEG Time parameters. Attack Decay1 Decay2 Level Level Level Pitch Key off DEPTH* Depth Release Level Hold level 0 Time Hold Time Attack Time Release Time Decay1 Decay2 Time Time • TIME ❏ Settings 0 ~127 • LEVEL ❏ Settings -128 ~ 0 ~+127 (-4800cent ~ 0 ~+4800cent) • EG Level, Curve Determines the velocity sensitivity of the PEG Level. Positive settings will cause the level to rise the harder you play the keyboard, and negative values will cause it to fall. The Curve parameter lets you select from five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the Pitch EG. ❏ Settings EG Level -64 ~0 ~+63 Curve 0~4 • Pitch • DEPTH* ❏ Settings -64 ~ 0 ~+63 ● [F2]-[SF4] Normal Element Pitch Key Follow From this display you can set the Key Follow effect — in other words, how the pitch of the element and its Pitch EG respond to the particular notes (or octave range) you play. Determines the degree to which velocity affects the pitch change of the Pitch EG. Extreme values produce greater variation in pitch change. For positive values, the harder you play the keys, the greater the change in pitch. For negative values, the softer you play the keys, the greater the change in pitch. ❏ Settings -64 ~ 0 ~+63 • PitchSens (Pitch Sensitivity) ● [F2]-[SF3] Normal Element PEG Time, Level Pitch Basic Structure (page 46) From this display you can make all the time and level settings for the Pitch EG, which determine how the pitch of the sound changes over time. These can be used to control the change in pitch from the moment a note is pressed on the keyboard to the moment the sound stops. Determines the degree to which the notes (specifically, their position or octave range) affect the pitch of the selected element. The Center Key (next parameter) is used as the basic pitch for this parameter. A positive setting will cause the pitch of lower notes to change lower and that of higher notes to change higher. Negative values will have the opposite effect. ❏ Settings -200% ~ 0 ~ +200% n For a setting of 100%, neighboring notes are pitched one semitone (100 cents) apart. MOTIF Reference 139 Reference Voice mode • EG Time, Segment ATK Voice Edit mode ● [F3]-[SF1] Normal Element • Center Key Determines the central note or pitch for the Key Follow effect on pitch. Depending on the Pitch Sensitivity parameter above, the further away from the Center Key the keys are played, the greater the degree of pitch change. ❏ Settings C -2 ~ G8 Filter Type Basic Structure (page 46) From this display you can make comprehensive settings for the Filter section. The available parameters differ depending on which Filter type is selected here. n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired key. See “Basic Operation” on page 75. Large Amount of pitch change + Small • Type — Lower range Center(basic pitch) Higher range • EG Time Sens (EG Time Sensitivity) Determines the degree to which the notes (specifically, their position or octave range) affect the Pitch EG times of the selected element. The Center Key (next parameter) is used as the basic pitch for this parameter. A positive setting will cause the pitch of lower notes to change slower and that of higher notes to change faster. Negative values will have the opposite effect. ❏ Settings -64 ~ 0 ~+63 Basically, there are four different Filter types: an LPF (Low Pass Filter), an HPF (High Pass Filter), a BPF (Band Pass Filter) and a BEF (Band Elimination Filter). Each type has a different frequency response and produces a different effect on the sound. The MOTIF also features special combination Filter types, for additional sonic control. ❏ Settings See below. LPF24D (Low Pass Filter 24dB/oct Digital) A 4-pole (-24db/oct) dynamic LPF with a strong resonance. Resonance Reference Voice mode • Center Key Determines the central note or pitch for the Key Follow effect on Pitch EG. Depending on the EG Time Sensitivity parameter above, the further away from the Center Key the keys are played, the more the time of the Pitch EG deviates from the norm. When the Center Key note is played, the PEG behaves according to its actual settings. The pitch change characteristics for other notes will vary in proportion to the EG Time settings. ❏ Settings C -2 ~ G8 LPF24A (Low Pass Filter 24dB/oct Analog) A 4-pole (-24db/oct) dynamic LPF with a character similar to those found on analog synthesizers Resonance n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired key. Positive value Speed of PEG pitch change + LPF18 (Low Pass Filter18dB/oct) A 3-pole (-18db/oct) dynamic LPF. Higher range Lower range – Basic pitch LPF18s (Low Pass Filter [18dB/oct Staggered) Also a 3-pole (-18db/oct) dynamic LPF, but with a shallower frequency curve. Negative value + Resonance Speed of PEG pitch range LPF18 Higher range Lower range – Basic pitch 140 MOTIF Reference LPF18S Voice Edit mode LPF12 (Low Pass Filter12dB/oct) A 2-pole (-12db/oct) dynamic LPF, designed to be used in combination with an HPF (High Pass Filter). BPFw (Band Pass Filter Wide) Also the combination of –12dB/oct HPF and LPF, but allows a wider frequency band. Level Resonance Cutoff range Range passed Cutoff range width can be increased Frequency LPF6 (Low Pass Filter 6dB/oct) A 1-pole (-6db/oct) dynamic LPF with no resonance, designed to be used in combination with an HPF (High Pass Filter). BEF12 (Band Elimination Filter 12dB/oct) BEF6 (Band Elimination Filter 6dB/oct) Level Range passed Cutoff range Range passed Center frequency HPF24D (High Pass Filter 24dB/oct Digital) A 4-pole (-24db/oct) dynamic HPF with a strong resonance. Frequency Dual LPF A combination of two sets of –12dB/oct LPF in parallel. Level Frequency Distance The cutoff frequency can be set directly on the display. HPF12 (High Pass Filter 12dB/oct) A 2-pole (-12db/oct) dynamic HPF. Dual HPF A combination of two sets of –12dB/oct HPF in parallel. Resonance Level BPF12D (Band Pass Filter 12dB/oct Digital) Level Frequency Cutoff range Range passed Distance Cutoff range The cutoff frequency can be set directly on the display. –12db/oct Frequency BPF12s (Band Pass Filter 12dB/oct Staggered) Basically same as BPF12D, but with a shallower frequency curve. Dual BPF A combination of two sets of –6dB/oct BPF in parallel. Level BPF6 (Band Pass Filter 6dB/oct) Level Cutoff range Range passed Frequency Cutoff range Distance The cutoff frequency can be set directly on the display. –6db/oct Frequency MOTIF Reference 141 Reference Voice mode Resonance Voice Edit mode Dual BEF A combination of two sets of –6dB/oct BEF in parallel. Level Frequency Distance The cutoff frequency can be set directly on the display. LPF12 (Low Pass Filter 12dB/oct)+ HPF12 (High Pass Filter) A combination of a LPF and HPF. Level • Reso/Width This parameter’s function varies according to the selected Filter Type. If the selected filter is an LPF, HPF, BPF (excluding the BPFw), or BEF, this parameter is used to set the Resonance. For the BPFw, it is used to adjust the Width of the band. Resonance This parameter is used to set the amount of Resonance (harmonic emphasis) applied to the signal at the cutoff frequency. This can be used in combination with the cutoff frequency parameter to add further character to the sound. Width With the BPFw, this parameter is used to adjust the width of the band of signal frequencies passed by the filter. ❏ Settings 0 ~ 31 • Distance Determines the distance between the Cutoff frequencies, for the Dual Filter types. (The two filters in a combination are connected in parallel fashion.) ❏ Settings 0 ~ 255 Frequency Distance The cutoff frequency can be set directly on the display. Reference Voice mode LPF12 (Low Pass Filter 12dB/oct)+ BPF6 (Band Pass Filter) A combination of a LPF and BPF. Level Frequency HPF12 (High Pass Filter 12dB/oct)+ BPF6 (Band Pass Filter) A combination of a HPF and BPF. Level • HPF Cutoff Determines the central frequency for the Key Follow parameter (below) of the HPF. When a filter type “LPF12” or “LPF6” is selected, this parameter is available. ❏ Settings 0 ~ 255 • HPF KeyFlw (Key Follow) Determines the Key Follow setting for the HPF Cutoff frequency. This parameter varies the center frequency according to the position of the notes played on the keyboard. A positive setting will raise the center frequency for higher notes and lower it for lower notes. A negative setting will have the opposite effect. When a filter type “LPF12” or “LPF6” is selected, this parameter is available. ❏ Settings -200% ~ 0 ~ +200% ● [F3]-[SF2] Normal Element Velocity Sensitivity Filter Basic Structure (page 47) Frequency thru The filters are bypassed and the entire signal is unaffected. • Cutoff Determines the cutoff frequency for the Filter, or the central frequency around which the Filter is applied. ❏ Settings 0 ~ 255 • Gain Determines the Gain (the amount of boost applied to the signal sent to the Filter). ❏ Settings 0 ~ 255 142 MOTIF Reference From this display you can determine how the Filter and the FEG respond to velocity. (For Filter EG settings, see “FEG” below.) Voice Edit mode • EG Time, Segment Determines the velocity sensitivity of the FEG’s Time parameters. Select the Segment, then set its Time parameter. Positive Time settings will play back the specified Segment faster and negative values will play it back slower. ❏ Settings Time -64 ~ 0 ~ +63 Segment ATK, ATK+DCY, DCY, ATK+RLS, all ATK Affects the Attack Time. ● [F3]-[SF3] Normal Element Filter FEG (Filter Envelope Generator) Basic Structure (page 47) From this display you can make all the time and level setting for the Filter EG, which determine how the tonal quality of the sound changes over time. ATK+ DCY Affects the Attack Time and Decay1 Time. ATK+ RLS Affects the Attack Time and Release Time. all Affects all FEG Time parameters. • EG Level, Curve Determines the velocity sensitivity of the Filter EG Level. Positive settings cause greater Filter changes the harder you play the keyboard. Negative settings do the opposite; the softer you play, the more the sound changes. The Curve parameter lets you select from five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the Filter EG. ❏ Settings EG Level -64 ~ 0 ~ +63 Curve 0~4 The full names of the available parameters are shown in the chart below, as they appear in the display. HOLD DCY1 DCY2 REL Hold time Attack time Decay 1 time Decay 2 time Release time LEVEL Hold level Attack level Decay 1 level Decay 2 level Release level TIME ATK Attack Decay1 Decay2 Level Level Level Pitch Key off DEPTH* Depth Release Level Hold level 0 • Cutoff Determines the degree to which velocity affects the Cutoff frequency of the Filter EG. Extreme values produce greater variation in the Cutoff frequency. For positive values, the harder you play the keys, the greater the change in the Cutoff frequency. Negative values do the opposite; the frequency changes more the softer you play. ❏ Settings -64 ~ 0 ~ +63 • Resonance Determines the degree to which velocity affects the Resonance of the Filter EG. Extreme values produce greater variation in the Resonance. For positive values, the harder you play the keys, the greater the Resonance change. Negative values do the opposite; the Resonance changes more the softer you play. ❏ Settings -64 ~ 0 ~ +63 Time Hold Time Attack Time Release Time Decay1 Decay2 Time Time • TIME ❏ Settings 0 ~ 127 • LEVEL ❏ Settings -128 ~ 0 ~ +127 (-9600cent ~ 0 ~ +9600cent) • DEPTH* ❏ Settings -64~ 0 ~ 63 ● [F3]-[SF4] Normal Element Key Follow Filter From this display you can set the Key Follow effect for the Filter — in other words, how the tonal qualities of the element and its Filter EG respond to the particular notes (or octave range) you play. n The availability of the Filter Key Follow parameter depends on the Break Point and Offset settings described on page 144. MOTIF Reference 143 Reference Voice mode DCY Affects the Decay Time. Voice Edit mode ● [F3]-[SF5] Normal Element • CutoffSens (Cutoff Sensitivity) Determines the degree to which the notes (specifically, their position or octave range) affect the Filter of the selected element. A Center Key setting of C3 is used as the basic setting by the Cutoff parameter. A positive setting will lower the Cutoff frequency for lower notes and raise it for higher notes. A negative setting will have the opposite effect. ❏ Settings -200% ~ 0 ~ +200% Filter Scaling Filter Scaling controls the filter cutoff frequency according to the positions of the notes on the keyboard. You can divide the entire keyboard by four break points, and assign different offset values of Cutoff Frequency to them respectively. • CenterKey This indicates that the central note for Cutoff Sensitivity above is C3. At C3, the tone remains unchanged. For other notes played, the Cutoff Frequency varies according to the particular note and the Cutoff Sensitivity setting. Keep in mind that this is for display purposes only; the value cannot be changed. • BREAK POINT 1 ~ 4 Large Amount of cutoff frequency change ❏ Settings + Small C -2 ~ G8 n You can also set the Break Point directly from the Keyboard, by holding down the [INFORMATION] button and pressing the desired key. See “Basic Operation” on page 75. — Lower range Center(basic frequency) Higher range • EGTimeSens (EG Time Sensitivity) Reference Voice mode Determines the degree to which the notes (specifically, their position or octave range) affect the Filter EG times of the selected element. The basic speed of change for the FEG is at the note specified in the Center Key (next parameter). A positive setting will cause slower changes for lower notes and faster changes for higher notes. A negative setting will have the opposite effect. ❏ Settings -64 ~ 0 ~ +63 • CenterKey Determines the central note or pitch for the Key Follow effect on Filter EG. Depending on the EG Time Sensitivity parameter above, the further away from the Center Key the keys are played, the more the time of the Filter EG deviates from the norm. When the Center Key note is played, the FEG behaves according to its actual settings. The Filter change characteristics for other notes will vary in proportion to the EG Time settings. ❏ Settings C -2 ~ G8 • OFFSET 1 ~ 4 ❏ Settings -128 ~ 0 ~ +127 The best way to understand Filter Scaling is by example. For the settings shown in the example display above, the basic Cutoff frequency value is 64, and the various Offset values at the selected Break point settings change that basic value accordingly. The specific changes to the Cutoff frequency are shown in the diagram below. The Cutoff frequency changes in a linear fashion between successive Break Points as shown. 81 Cutoff Frequency 74 68 60 Note Positive value Speed of FEG level change + C#1 Break Point 1 Higher range Lower range Basic frequency Negative value + Speed of FEG level range Higher range Lower range Basic frequency n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired key. See “Basic Operation” on page 75. 144 MOTIF Reference D#2 Break Point 2 C3 Break Point 3 A4 Break Point 4 n BP1 to BP4 will be automatically be arranged in ascending order across the keyboard. n Regardless of the size of these Offsets, the minimum and maximum Cutoff limits (values of 0 and 127, respectively) cannot be exceeded. n Any note played below the BP1 note results in the BP1 Level setting. Likewise, any note played above the BP4 note results in the BP4 Level setting. Voice Edit mode ● [F4]-[SF1] Normal Element Level/Pan Amplitude This display not only lets you make basic Level and Pan settings for each individual element, it also gives you some detailed and unusual parameters for affecting Pan position. • EG Time, Segment Determines the velocity sensitivity of the AEG’s Time parameters. Select the Segment, then set its Time parameter. Positive Time settings will play back the specified Segment faster and negative values will play it back slower. ❏ Settings Time -64 ~ 0 ~ +63 Segment ATK, ATK+DCY, DCY, ATK+RLS, all ATK Affects the Attack Time. ATK+DCY Affects the Attack Time and Decay1 Time. DCY Affects the Decay Time. Determines the output level for the selected element. ❏ Settings 0 ~ 127 • Pan Determines the stereo Pan position for the selected element. This will also be used as the basic Pan position for the Alternate, Random and Scale settings. ❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right) • AlternatePan Determines the amount by which the sound of the selected element is panned alternately left and right for each note you press. The Pan setting (above) is used as the basic Pan position. ❏ Settings L64 ~ 0 ~ R63 • RandomPan Determines the amount by which the sound of the selected element is panned randomly left and right for each note you press. The Pan setting is used as the Center Pan position. ❏ Settings 0 ~ 127 • ScalingPan ATK+RLS Affects the Attack Time and Release Time. all Affects all AEG Time parameters. • EG Level, Curve Determines the velocity sensitivity of the Amplitude EG Level. Positive settings cause greater volume changes the harder you play the keyboard. Negative settings do the opposite; the softer you play, the more the volume changes. The Curve parameter lets you select from five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the Amplitude EG. ❏ Settings EG Level -64 ~ 0 ~ +63 Curve 0~4 ● [F4]-[SF3] Normal Element Amplitude AEG Basic Structure (page 47) From this display you can make all the time and level settings for the Amplitude EG, which determine how the volume of the sound changes over time. Determines the degree to which the notes (specifically, their position or octave range) affect the Pan position, left and right, of the selected element. At note C3, the main Pan setting (above) is used for the basic Pan position. ❏ Settings -64 ~ 0 ~ +63 ● [F4]-[SF2] Normal Element Velocity Sensitivity Amplitude From this display you can determine how the Amplitude (volume) EG responds to velocity. (For Amplitude EG settings, see “AEG” below.) The full names of the available parameters are shown in the chart below, as they appear in the display. INIT TIME --- LEVEL Initial level ATK DCY2 REL Decay 1 Attack time time Decay 2 time Release time Decay 1 level Decay 2 level --- --- DCY1 DEPTH --- MOTIF Reference 145 Reference Voice mode • Level Voice Edit mode • EGTimeSens (EG Time Sensitivity) Attack Decay1 Level Level Level Decay2 Level Release Level Key off Init Level 0 Attack Time Release Time Decay1 Decay2 Time Time Time • TIME ❏ Settings 0 ~ 127 (excluding --- above) • LEVEL ❏ Settings 0 ~127 ● [F4]-[SF4] Normal Element Key Follow Amplitude Determines the degree to which the notes (specifically, their position or octave range) affect the Amplitude EG times of the selected element. The Center Key (next parameter) is used as the basic amplitude for this parameter. A positive setting will cause the amplitude of lower notes to change slower and that of higher notes to change faster. Negative values will have the opposite effect. ❏ Settings -64 ~ 0 ~ +63 • CenterKey Determines the central note or pitch for the Key Follow effect on Amplitude EG. Depending on the EG Time Sensitivity parameter above, the further away from the Center Key the keys are played, the more the time of the Amplitude EG deviates from the norm. When the Center Key is played, the AEG behaves according to its actual settings. The amplitude change characteristics for other notes will vary in proportion to the EGTime settings. ❏ Settings C -2 ~ G8 Positive value Speed of AEG level change From this display you can set the Key Follow effect for Amplitude — in other words, how the volume of the element and its Amplitude EG respond to the particular notes (or octave range) you play. Reference Voice mode n The availability of the Amplitude Key Follow parameter depends on the Break Point and Offset settings described on see below. + Higher range Lower range — Center (basic volume) Negative value + Speed of AEG level range Higher range Lower range — Center (basic volume) n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired key. • LevelSens (Level Sensitivity) Determines the degree to which the notes (specifically, their position or octave range) affect the volume of the selected element. A Center Key setting of C3 is used as the basic setting. A positive setting will lower the output level for lower notes and raise it for higher notes. A negative setting will have the opposite effect. ❏ Settings -200% ~ 0 ~+200% ● [F4]-[SF5] Normal Element Amplitude Scaling Amplitude Scaling controls the output level (set in the [F4]-[SF1] display) according to the positions of the notes on the keyboard. You can divide the entire keyboard by four break points, and assign different offset values of amplitude to them respectively. • CenterKey This indicates that the central note for Level Sensitivity above is C3. At C3, the volume (level) remains unchanged. For other notes played, the volume varies according to the particular note and the Level Sensitivity setting. Keep in mind that this is for display purposes only; the value cannot be changed. Large Speed of AEG level change + ❏ Settings Small – Lower range Center(basic pitch) • BREAK POINT 1 ~ 4 Higher range n You can also set the Break Point directly from the Keyboard, by holding down the [INFORMATION] button and pressing the desired key. See “Basic Operation” on page 75. • OFFSET 1 ~ 4 ❏ Settings 146 MOTIF Reference C -2 ~ G8 -128 ~ 0 ~ +127 Voice Edit mode The best way to understand Amplitude Scaling is by example. For the settings shown in the example display above, the basic Amplitude (volume) value for the selected element is 80, and the various Offset values at the selected Break point settings change that basic value accordingly. The specific changes to the Amplitude are shown in the diagram below. The Amplitude changes in a linear fashion between successive Break Points as shown. • Wave Determines the LFO waveform used to vary the sound. ❏ Settings saw, tri, squ saw (sawtooth wave) tri (triangle wave) squ (square wave) 97 Amplitude 90 84 76 • Speed Note C1 C2 Break Point 1 Break Point 2 C3 C4 Break Point 3 Break Point 4 Determines the speed of the LFO waveform. The higher the value, the faster the speed. ❏ Settings 0 ~ 63 Speed = Fast Speed = Slow n BP1 to BP4 will be automatically be arranged in ascending order across the keyboard. ● [F5] Normal Element LFO • KeyOnSync When this is set to on, the LFO waveform is reset every time a note is played. ❏ Settings off, on Sync off Sync on Basic Structure (page 47) This display gives you a comprehensive set of controls over the LFO for each individual element. The LFO can be used to create vibrato, wah, tremolo and other special effects, by applying it to the pitch, filter and amplitude parameters. Time Time Key on Key on • KeyOnDelay Determines the delay time before the LFO comes into effect. A higher value results in a longer delay time. ❏ Settings 0 ~ 127 Short delay Key on Long delay Key on • PMOD (Pitch Modulation Depth) Determines the amount (depth) by which the LFO waveform varies (modulates) the pitch of the sound. The higher the value, the greater the amount of pitch modulation. ❏ Settings 0 ~ 127 MOTIF Reference 147 Reference Voice mode n Any note played below the BP1 note results in the BP1 Level setting. Likewise, any note played above the BP4 note results in the BP4 Level setting. Time Time n Regardless of the size of these Offsets, the minimum and maximum Cutoff limits (values of 0 and 127, respectively) cannot be exceeded. Voice Edit mode • FMOD (Filter Modulation Depth) Boost6 (Boost 6dB)/Boost12 (Boost 12dB)/Boost18 (Boost 18dB) These can be used to boost the level of the entire signal by 6dB, 12dB and 18dB, respectively. Determines the amount (depth) by which the LFO waveform varies (modulates) the Filter Cutoff frequency. The higher the value, the greater the amount of filter modulation. ❏ Settings 0 ~ 127 thru If you select this, the equalizers are bypassed and the entire signal is unaffected. • AMOD (Amplitude Modulation Depth) Determines the amount (depth) by which the LFO waveform varies (modulates) the amplitude or volume of the sound. The higher the value, the greater the amount of amplitude modulation. ❏ Settings 0 ~ 127 ● [F6] Normal Element Drum Voice Edit Basic Structure (page 45) ◆ Common edit and Drum Key edit EQ (Equalizer) Each Drum voice consists of various Waves and/or Normal voices, each assigned to notes across the keyboard, from C0 to C6 (page 45). Use Drum Common Edit to edit the settings that apply to all Drum keys in the voice. There are two types of Drum Voice Edit displays: those for Common Edit, and those for editing individual keys (elements). COMMON • Type Drum Key Indicates a Common Edit display. EQ L/H (Low/High) This is a “shelving” equalizer, which combines separate high and low frequency bands. Gain + Indicates a display for editing a single key (in this case, C 0) 0 Frequency Low Gain High Gain ❏ Settings -32 ~ 0 ~ +32 Low Freq High Freq ❏ Settings 50.1Hz ~ 2.00kHz ❏ Settings 503.8Hz ~ 10.1kHz ❏ Settings -32 ~ 0 ~ +32 P.EQ (Parametric EQ) The Parametric EQ is used to attenuate or boost signal levels (gain) around the Frequency. This type features 32 different “Q” settings, which determine the frequency band width of the equalizer. 0 ◆ Basic Procedure Basic Structure (page 70) 1 + Gain Reference Voice mode Determines the Equalizer Type. The MOTIF features a wide selection of various equalizer types, which can be used not only to enhance the original sound, but even completely change the character of the sound. The particular parameters and settings available depend on the specific Equalizer Type that is selected. ❏ Settings EQ L/H, P.EQ, Boost6, Boost12, Boost18, thru Frequency Gain – Freq ❏ Settings -32 ~ 0 ~ +32 ❏ Settings 139.7Hz ~ 12.9kHz Q (Frequency Characteristic) ❏ Settings 0 ~ 31 148 MOTIF Reference 2 3 Press the [VOICE] button to enter the Voice Play mode. (The indicator lights.) Select a Drum voice to be edited. Press the [EDIT] button to enter the Voice Edit mode. (The indicator lights.) Voice Edit mode 4 ● [F2] Drum Common Output Select a key to be edited. • To edit parameters common to the entire Drum voice (all keys), press the [DRUM KITS] button. DRUM KITS FAVORITES COMMON • To edit parameters of an individual Drum key (element), first press the NUMBER [1] button, then press the appropriate key on the keyboard. Same as in Normal Voice Common Edit. See page 132. In addition, the following two parameters are also available. • InsRevSend (Insertion Reverb Send) Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect 1/2 to the Reverb effect. • InsChoSend (Insertion Chorus Send) 6 7 8 Select the menu you wish to edit by pressing the [F1]-[F6] and [SF1]-[SF5] buttons. n Send level (to Reverb and Chorus) cannot be set independently for each Drum key; the value is fixed at 127 (maximum). Edit the parameters for the selected voice. Store the settings edited in step #6 to the User Memory as required. Press the [EXIT] button to exit from the Voice Edit mode. • For detailed instructions on steps #5 - #6, see the explanations below. • For details on step #7, refer to “Voice Store mode” on page 159. General Name Same as in Normal Voice Common Edit. See page 130. ● [F1]-[SF3] Drum Common Master EQ Offset General Same as in Normal Voice Common Edit. See page 131. ● [F1]-[SF5] Drum Common General Other Same as in Normal Voice Common Edit. See page 132. Arpeggio Same as in Normal Voice Common Edit. See page 132. ● [F3]-[SF2] Drum Common Arpeggio limit Arpeggio Same as in Normal Voice Common Edit. See page 133. ● [F3]-[SF3] Drum Common Play FX (Effect) ■ Common (to all keys) edit ● [F1]-[SF1] Drum Common ● [F3]-[SF1] Drum Common Arpeggio type Arpeggio Same as in Normal Voice Common Edit. See page 133. ● [F4]-[SF1], [SF2], [SF3] Drum Common Control Set Set1/2, Set3/4, Set5/6 Same as in Normal Voice Common Edit. See page 134. Please note that the Element Switch parameter is not available in Drum Voice Common edit. ● [F6]-[SF1] Drum Common Effect Connection Same as in Normal Voice Common Edit. See page 137. The only difference here is that “KEY: OUT” appears in the Drum Common Effect display instead of “EL: OUT” (in Normal Common Effect). MOTIF Reference 149 Reference Voice mode 5 Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect 1/2 to the Chorus effect. ❏ Settings 0 ~ 127 Voice Edit mode ● [F6]-[SF2], [SF3], [SF4], [SF5] Drum Common Effect Parameter Insertion 1, 2, Reverb, Chorus ● [F1]-[SF2] Drum Key Oscillator Output From this display you can set certain output parameters for the selected Drum key. The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet. ■ Drum Key Edit ● [F1]-[SF1] Drum Key • InsEFOut (Insertion Effect Output) Oscillator Wave From this display you can select the desired wave or Normal voice used for the individual Drum key. Determines which Insertion effect (1 or 2) is used to process each individual Drum key. The “thru” setting lets you bypass the Insertion effects for the specific key. ❏ Settings thru, ins1 (Insertion Effect 1), ins2 (Insertion Effect 2) • RevSend (Reverb Send) Determines the level of the Drum key sound (the bypassed signal) that is sent to Reverb effect. A setting of “0” results in no Reverb processing of the Drum key sound. This is available only when Insertion Effect Output (above) is set to “thru.” ❏ Settings 0 ~ 127 • Type Reference Voice mode Determines whether a Wave or a Normal voice is to be used for the selected key. Also, use the Bank, Number and Category parameters below to specify the desired Wave or Normal voice. ❏ Settings pre wave (Preset wave), voice, usr wave (User wave) n When the Type is set to “voice” here, some parameters in the Drum Voice Edit mode cannot be edited. • ElementSw (Element Switch) This parameter is available when Type (above) is set to “pre wave” or “user wave.” This determines whether the currently selected key is on or off, or in other words, whether the wave for the key is active or inactive. ❏ Settings on, off • ChoSend (Chorus Send) Determines the level of the Drum key sound (the bypassed signal) that is sent to Chorus effect. A setting of “0” results in no Chorus processing of the Drum key sound. This is available only when Insertion Effect Output (above) is set to “thru.” ❏ Settings 0 ~ 127 • OutputSel (Output Select) Determines the specific output(s) for the individual Drum key signal. You can assign each individual Drum key sound to be output from a specific hardware output jack on the rear panel. By installing the optional AIEB2 board, you can expand the number of assignable outputs. ❏ Settings See below. LCD L&R • Bank Output jacks OUTPUT L and R Stereo/ Mono Stereo asL&R ASSIGNABLE OUTPUT L and R Stereo This parameter is available when Type (above) is set to “voice.” Any of the Normal voice banks can be selected. as1&2 ASSIGNABLE OUTPUT 1 and 2 on the AIEB2 Stereo 1:L 2:R * n Plug-in voices cannot be selected for Drum keys. as3&4 ASSIGNABLE OUTPUT 3 and 4 on the AIEB2 Stereo 3:L 4:R * as5&6 ASSIGNABLE OUTPUT 5 and 6 on the AIEB2 Stereo 5:L 6:R * Mono • Number Determines the Wave/Voice number. The number differs depending on the selected Type. ❏ Settings When Type is set to “pre wave”: 001 ~ 1309 When Type is set to “voice”: 001 ~ 128 When Type is set to “usr wave”: 001 ~ 256 For more information about available Waves and Voices, refer to the separate Data List booklet. • Category Determines the Category of the Wave/Normal Voice. If you switch to another Category, the first Wave/Normal Voice in that Category will be selected. ❏ Settings For more information about the Categories, refer to the separate Data List booklet. 150 MOTIF Reference asL ASSIGNABLE OUTPUT L asR ASSIGNABLE OUTPUT R Mono as1 ASSIGNABLE OUTPUT 1 on the AIEB2 Mono * as2 ASSIGNABLE OUTPUT 2 on the AIEB2 Mono * as3 ASSIGNABLE OUTPUT 3 on the AIEB2 Mono * as4 ASSIGNABLE OUTPUT 4 on the AIEB2 Mono * as5 ASSIGNABLE OUTPUT 5 on the AIEB2 Mono * as6 ASSIGNABLE OUTPUT 6 on the AIEB2 Mono * * Available only when the optional AIEB2 board has been installed. Voice Edit mode ● [F1]-[SF5] Drum Key Oscillator Other From this display you can set various parameters related to how the individual notes of the Drum voice respond to the keyboard and MIDI data. n If a Normal voice has been assigned to the key, this parameter adjusts the position of its note (not its pitch) relative to note C3. For example, let’s assume the original Voice consists of a two-Element pianolike sound up to note C3 and a two-Element stringlike sound from note C#3 upwards. Adjusting this Coarse setting by +1 would not change the pitch of the piano-like sound to C#3. Instead, note C#3 of the original Voice (i.e., the string-like sound) would be used. • Fine Determines the fine tuning for the pitch of each Drum Key Wave (or Normal Voice). ❏ Settings -64 ~+63 • AssignMode When this is set to “single,” double playback of the same note is prevented. This is useful when two or more instances of the same note are received nearly simultaneously, or without a corresponding note off message. To allow playback of each instance of the same note, set this to “multi.” ❏ Settings single, multi ● [F2]-[SF2] Drum Key Velocity Sensitivity Pitch From this display you can determine how the pitch of the Drum key responds to velocity. n When the Alternate Group (AltGrp) parameter is set to a setting other than “off,” this parameter is unavailable, and “---” is shown in the display. Determines whether or not the selected Drum key responds to MIDI Note Off messages. Setting this to “off” can be useful for cymbal sounds and other sustaining sounds. This lets you have the selected sounds sustain to the length of their natural decay — even if you release the note, or a Note Off message is received. ❏ Settings off, on n This parameter is effective for Waves selected in the [F1] - [SF1] Drum Key Oscillator Wave display (page 150). • Pitch Determines how the pitch of the selected Drum key responds to velocity. For positive values, the harder you play the key, the higher the pitch becomes. For negative values, the harder you play the key, the lower the pitch. ❏ Settings -64 ~+63 ● [F3]-[SF1] Drum Key Set the Alternate Group to which the Wave is assigned. In a real drum kit, some drum sounds cannot physically be played simultaneously, such as open and closed hi-hats. You can prevent Waves from playing back simultaneously by assigning them to the same Alternate Group. Up to 127 Alternate Groups can be defined. You can also select “off” here if you wish to allow the simultaneous playback of sounds. ❏ Settings off, 1 ~ 127 Pitch Cutoff Basic Structure (page 46) • AltGrp (Alternate Group) ● [F2]-[SF1]Drum Key Filter The MOTIF lets you apply a low pass filter and high pass filter to each individual Drum key — giving you exceptionally detailed and comprehensive sonic control over the Drum voice. n This parameter is effective for Waves selected in the [F1] - [SF1] Drum Key Oscillator Wave display (page 150). Tune • LPF Cutoff Determines the Cutoff frequency of the Low Pass Filter. ❏ Settings 0 ~ 255 • LPF Reso • Coarse Determines the pitch of each Drum Key Wave (or Normal Voice) in semitones. ❏ Settings -48 ~+48 Determines the amount of Resonance (harmonic emphasis) applied to the signal at the Cutoff frequency. ❏ Settings 0 ~ 31 • HPF Cutoff Determines the Cutoff frequency of the High Pass Filter. ❏ Settings 0 ~ 255 MOTIF Reference 151 Reference Voice mode • RcvNoteOff (Receive Note Off) Voice Edit mode ● [F3]-[SF2] Drum Key Velocity Sensitivity ● [F4]-[SF2] Drum Key Amplitude AEG Velocity Sensitivity Filter • LPFCutoff • Level Determines the velocity sensitivity of the Low Pass Filter Cutoff frequency. Positive settings will cause the cutoff frequency to rise the harder you play the keyboard and negative settings will cause it to fall. ❏ Settings -64 ~ 0 ~ +63 ● [F4]-[SF1] Drum Key Amplitude Level/Pan Determines the velocity sensitivity of the Amplitude Envelope Generator’s output level. Positive settings will cause the output level to rise the harder you play the keyboard and, conversely, negative values will cause it to fall. ❏ Settings -64 ~ 0 ~ +63 ● [F4]-[SF3] Drum Key Amplitude AEG Basic Structure (page 47) This display not only lets you make basic Level and Pan settings for the sound of each individual Drum key, it also gives you some detailed and unusual parameters for affecting Pan position. Reference Voice mode • AttackTime ❏ Settings • Level Determines the output for the selected Drum key (Wave). This lets you make detailed balance adjustments among the various sounds of the Drum voice. ❏ Settings 0 ~ 127 0 ~ 127 • Decay1Time ❏ Settings 0 ~ 127 • Decay1Lvl (Level) ❏ Settings 0 ~ 127 • Pan Determines the stereo Pan position for the selected Drum key (Wave). This will also be used as the basic Pan position for the Alternate and Random settings. ❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right) • AlternatePan • Decay2Time ❏ Settings 0 ~ 126, hold Decay2 Time = 0~126 Attack Level Level Decay1 Level Determines the amount by which the sound of the selected Drum key is panned alternately left and right for each note you press. The Pan setting (above) is used as the basic Pan position. ❏ Settings L64 ~ 0 ~ R63 n This parameter is effective for Drum keys whose Type parameter (in the Oscillator Wave display, page 150) has been set to “Preset wave” or “User wave.” Attack Time Decay1 Time Decay2 Time Time Key on Decay2 Time = hold Attack Level Level Decay1 Level • RandomPan Determines the amount by which the sound of the selected Drum key is panned randomly left and right for each note you press. The Pan setting (above) is used as the Center Pan position. ❏ Settings 0 ~ 127 n This parameter is effective for Drum keys whose Type parameter (in the Oscillator Wave display, page 150) has been set to “Preset wave” or “User wave.” 152 MOTIF Reference Attack Time Key on Decay1 Time Decay2 Time Time Voice Edit mode ● [F6] Drum Key EQ (Equalizer) Same as in Normal Voice Element Edit. See page 148. n Depending on the particular Plug-in board you are using, some of the parameters described here may not be available. For details, refer to the relevant owner’s manual of the Plug-in board. n For details on the current lineup of available Plug-in boards, see page 35. ◆ Basic Procedure Basic Structure (page 70) 1 2 Plug-in Voice Edit Basic Structure (page 43) 3 ◆ Common edit and Element edit Same as Normal Voice Edit. See page 129. Unlike with Normal voices, the Plug-in voices only have one element for editing. 4 The voices of a Plug-in Board installed to the MOTIF can be divided into two types: Board voices and Plug-in voices. Board voices are unprocessed, unaltered voices of the Plug-in board — the “raw material” used for the Plug-in voices. Plug-in voices, on the other hand, are edited Board voices — voices that have been specially programmed and processed for optimum use with the MOTIF. Included among the Board voices is a special set of voices — called Board Custom voices — which can be edited by a computer connected to the MOTIF, using special editing software included with the Plug-in board. (See page 87.) Plug-in preset voice Plug-in user voice Press the [EDIT] button to enter the Voice Edit mode. (The indicator lights.) Select an element to be edited. DRUM KITS FAVORITES COMMON • To edit the Element parameters, press any one of the NUMBER buttons ([1] - [4]). (Editing is the same, no matter which NUMBER button you press.) 1 2 4 3 ELEMENT/ PERF.PART / ZONE 5 Copy Select a Plug-in voice to be edited. • To edit the Common parameters, press the [DRUM KITS] button (which serves as a “COMMON” button here). ◆ About Plug-in voices and Board voices Plug-in voice Press the [VOICE] button to enter the Voice Play mode. (The indicator lights.) Select the menu you wish to edit by pressing the [F1] - [F6] and [SF1] -[SF5] buttons. Plug-in Voice Edit 6 Store MOTIF voice parameter Board voice Cannot be eited 7 Edit the parameters for the selected voice. Store the settings edited in step #6 to the User Memory as required. Board preset voice Save 8 Board custom voice Bulk send/ edit Computer (Voice Editor in CD-ROM supplied with the Plug-in board) Press the [EXIT] button to exit from the Voice Edit mode. • For detailed instructions on steps #5 - #6, see the explanations below. • For details on step #7, refer to “Voice Store mode” on page 159. MOTIF Reference 153 Reference Voice mode n This parameter is effective for Drum keys whose Type parameter (in the Oscillator Wave display, page 150) has been set to “Preset wave” or “User wave.” Voice Edit mode ■ Common edit ● [F4]-[SF1] Plug-in Common Set1/2 ● [F1]-[SF1] Plug-in Common General Name Same as in Normal Voice Common Edit. See page 130. ● [F1]-[SF2] Plug-in Common Play mode Same as in Normal Voice Common Edit. See page 134. Please note that Element Switch is not available in Plug-in Voice Common Edit. General Same as in Normal Voice Common Edit. See page 130. Please note that Micro Tuning is not available in Plug-in Voice Common Edit. ● [F1]-[SF3] Plug-in Common Master EQ Offset Control Set General ● [F4]-[SF2] Plug-in Common Modulation Wheel Control Set From this display you can set how the Plug-in voice responds to the Modulation wheel, by changing the control depth for the filter, pitch and amplitude (volume). Same as in Normal Voice Common Edit. See page 131. ● [F1]-[SF4] Plug-in Common Portamento General • Filter Reference Voice mode Same as in Normal Voice Common Edit. See page 131. Please note that Portamento Mode and Portamento Time are not available in Plug-in Voice Common Edit. Determines the depth of control of the Modulation Wheel over the filter cutoff frequency. Negative settings result in reversed Modulation wheel operation (i.e., moving the wheel up results in less modulation). ❏ Settings -64 ~ 0 ~ +63 • PMod (Pitch Modulation Depth) ● [F1]-[SF5] Plug-in Common General Other Same as in Normal Voice Common Edit. See page 132. Unlike with Normal Voice Edit, the Upper and Lower ranges cannot be independently set here. ● [F2] Plug-in Common Output Same as in Normal Voice Common Edit. See page 132. ● [F3]-[SF1] Plug-in Common Arpeggio type Arpeggio Same as in Normal Voice Common Edit. See page 132. ● [F3]-[SF2] Plug-in Common Arpeggio limit Arpeggio Same as in Normal Voice Common Edit. See page 133. ● [F3]-[SF3] Plug-in Common Play FX (Effect) Arpeggio Same as in Normal Voice Common Edit. See page 133. 154 MOTIF Reference Determines the depth of control the Modulation Wheel has over pitch modulation. The higher the setting, the greater the depth of control. ❏ Settings 0 ~ 127 • FMod (Filter Modulation Depth) Determines the depth of control the Modulation Wheel has over filter cutoff modulation. The higher the setting, the greater the depth of control. ❏ Settings 0 ~ 127 • AMod (Amplitude Modulation Depth) Determines the depth of control the Modulation Wheel has over amplitude modulation. The higher the setting, the greater the depth of control. ❏ Settings 0 ~ 127 Voice Edit mode ● [F4]-[SF3] Plug-in Common After Touch Control Set The MOTIF gives you a comprehensive set of after touch controls for the Plug-in voice, allowing you to change the pitch and filter settings, and produce modulation effects (pitch, filter and amplitude)simply by pressing down hard on the keys. • Source Determines the MIDI Control Change number used to control the filter, PMod, FMod, and Amod. ❏ Settings 0 ~ 95 • Filter Determines the depth of control the Control Change numbers (set in the Source parameter above) have over the filter cutoff frequency. ❏ Settings -64 ~ 0 ~ +63 • PMod (Pitch Modulation Depth) Determines the depth of control of keyboard aftertouch over pitch. You can set a value (in semitones) of up to two octaves. ❏ Settings -24 ~ 0 ~ +24 • Filter Determines the depth of control of keyboard aftertouch over the filter cutoff frequency. ❏ Settings -64 ~ 0 ~ +63 • PMod (Pitch Modulation Depth) Determines the depth of control that keyboard aftertouch has over pitch modulation. The higher the setting, the greater the depth of control. ❏ Settings 0 ~ 127 • FMod (Filter Modulation Depth) Determines the depth of control that keyboard aftertouch has over filter cutoff modulation. The higher the setting, the greater the depth of control. ❏ Settings 0 ~ 127 • FMod (Filter Modulation Depth) Determines the depth of control the Control Change messages (set in the Source parameter above) have over filter cutoff modulation. The larger the setting, the greater the depth of control. ❏ Settings 0 ~ 127 • AMod (Amplitude Modulation Depth) Determines the depth of control the Control Change messages (set in the Source parameter above) have over amplitude modulation. The larger the setting, the greater the depth of control. ❏ Settings 0 ~ 127 ● [F6]-[SF1] Plug-in Common Connection Effect Basic Structure (page 40) • AMod (Amplitude Modulation Depth) Determines the depth of control that keyboard aftertouch has over amplitude modulation. The higher the setting, the greater the depth of control. ❏ Settings 0 ~ 127 ● [F4]-[SF4] Plug-in Common AC (Assignable Controls) Control Set From this display you can assign MIDI Control Change numbers and determine the degree to which the assigned controllers affect the filter and the modulation effects (pitch, filter and amplitude). For details on using Control Change numbers and the Assignable Controls, see page 191. This is the same as in Normal Voice Common Edit (page 137), with the exception of the following points. • EL: OUT settings are not available in Plug-in Voice Common Edit. • The parallel setting (Insertion Connection) is not available in Plug-in Voice Common Edit. ● [F6]-[SF2], [SF3], [SF4], [SF5] Plug-in Common Effect Parameter Insertion 1, 2, Reverb, Chorus The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet. MOTIF Reference 155 Reference Voice mode • Pitch Determines the depth of control the Control Change messages (set in the Source parameter above) have over pitch modulation. The larger the setting, the greater the depth of control. ❏ Settings 0 ~ 127 Voice Edit mode ● [F2] Plug-in Element ■ Element Edit ● [F1]-[SF1] Plug-in Element Oscillator Wave From this display you can select the desired Board Voice used for the element of the Plug-in voice. Keep in mind that a Plug-in voice only has one element. • Bank Determines the Board Voice Bank of the Plug-in voice. ❏ Settings (These depend on the particular Plug-in board; refer to the relevant owner’s manual for details.) • Number Determines the Board Voice Number. ❏ Settings (These depend on the particular Plug-in board; refer to the relevant owner’s manual for details.) ● [F1]-[SF5] Plug-in Element Oscillator Pitch PEG Time, Level Basic Structure (page 46) From this display you can make various time and level settings for the Pitch EG, which determine how the pitch of the Board voice changes over time. The full names of the available parameters are shown in the chart below, as they appear in the display. INIT ATK DCY1 DCY2 REL TIME --- Attack time --- --- Release time LEVEL Initial level --- --- --- Release time Original Pitch Pitch DEPTH --- Release Level Initial Level Other Reference Voice mode From this display you can set how the Plug-in voice responds to velocity, and transpose the key (pitch) for the voice. 0 Attack Time Release Time Time Key off ❏ Settings -64 ~ 0 ~ +63 ● [F3] Plug-in Element Filter Cutoff Basic Structure (page 46) • Velocity Depth Determines the velocity sensitivity of the Board voice. For higher values, the harder you play the keyboard, the louder the voice becomes. ❏ Settings 0 ~ 127 • Velocity Offset This lets you specify an offset value for the velocity sensitivity of the Board voice. In other words, you can increase the relative velocity (or level) of the voice by a set amount — so that all the notes you play have the added velocity. ❏ Settings 0 ~ 127 • Note Shift Determines the transpose setting for the Board voice, or the amount (in semitones) by which the pitch is raised or lowered. The pitch range is two octaves, up or down. ❏ Settings -24 ~ 0 ~ +24 • HPFCutoff (High Pass Filter Cutoff frequency) Determines the Cutoff frequency for the High Pass Filter. ❏ Settings -64 ~ 0 ~ +63 ● [F4] Plug-in Element Native With a Plug-in board installed to the MOTIF, you can create a Board voice by editing both native parameters (those parameters exclusive to the particular board) and unique parameters (related specifically to the MOTIF). Pressing [F4] gives you access to the native parameters of the Plug-in board.The parameters will vary depending on the Plug-in Board. For details about each parameter and its functions, refer to the Owner’s Manual or the on-line help that came with your Plug-in Board. n For details on the current lineup of available Plugin boards, see page 35. 156 MOTIF Reference Voice Edit mode ● [F5] Plug-in Element LFO Basic Structure (page 47) From this display you can set the basic LFO parameters for modulating the pitch to create vibrato and other special effects. + 0 Frequency 2 LowGain 1 LowFreq 3 HighFreq 4 HighGain 1LowFreq (Low Frequency) • Speed Determines the speed of the LFO waveform. Positive settings increase the speed and negative settings decrease it. This is applied as an offset to the same parameter in the original voice of the Plug-in board. ❏ Settings -64 ~ 0 ~ +63 Speed=slow 2LowGain (Low Gain) Determines the amount by which signals below the LoFreq frequency will be boosted/attenuated. ❏ Settings -64 ~ 0 ~ +63 3HighFreq (High Frequency) Speed=fast Time Time Determines the shelving point for the low frequencies. The levels of signals below this frequency will be boosted/ attenuated by the amount set in the LoGain parameter. ❏ Settings 32Hz ~ 2.0kHz Determines the shelving point for the high frequencies. The levels of signals above this frequency will be boosted/ attenuated by the amount set in the HiGain parameter. ❏ Settings 500Hz ~ 16.0kHz • Delay Determines the delay time between the moment you press note on the keyboard and the moment the LFO comes into effect. Positive settings lengthen the delay and negative settings shorten it. This is applied as an offset to the same parameter in the original voice of the Plug-in board. ❏ Settings -64 ~ 0 ~ +63 Short Delay Key on Long Delay Key on • PMod (Pitch Modulation Depth) Determines the amount by which the LFO waveform controls the pitch. Positive settings increase the amount and negative settings decrease it. This is applied as an offset to the same parameter in the original voice of the Plug-in board. ❏ Settings -64 ~ 0 ~ +63 ● [F6] Plug-in Element EQ (Equalizer) From this display you can apply equalizer settings to the Board voice. This is a shelving equalizer with two bands; one for high frequencies and the other for low frequencies. Determines the amount by which signals above the HiFreq frequency will be boosted/attenuated. ❏ Settings -64 ~ 0 ~ +63 ◆ About Board Custom Voice Editing You can edit Board Custom voices of the Plug-in Board by using the Voice Editor software included with the board. n Select the Part Number of the Editor software to “1” when using the software with the Voice mode. Also make sure to match the basic MIDI receive channel of the MOTIF (page 258) to the MIDI channel of the Editor software. The original Board Custom voices you’ve edited can be saved and controlled from the computer. Make sure to save the edited data to a memory card or connected SCSI device from the MOTIF, since any edited data in the DRAM of the Plug-in board will be lost when you turn off the power on the MOTIF. n For details about how to use the Voice Editor software included with the Plug-in board, refer to the Online help of the Voice Editor. n Editing the above parameters may or may not have much effect on the sound, depending on the particular Plug-in board you've installed. MOTIF Reference 157 Reference Voice mode 4HighGain (High Gain) Voice Job mode Voice Job mode The Voice Job mode contains various convenient operations (called “Jobs”), which are useful in editing and archiving your original voices. ◆ Basic Procedure 1 2 3 4 Reference Voice mode 5 In the Voice Play mode, select a voice you wish to execute the Job on. Press the [JOB] button to enter the Voice Job Mode. Select the desired Job menu by pressing the appropriate button, [F1] - [F6]. Set the relevant Job parameters. ❏ Type of parameter to be initialized When a Normal voice is selected: ALL, Common, EL1 ~ 4 When a Drum voice is selected: ALL, Common, EL n If you turn the check mark on, you can select a Drum key. For details on selecting a key, see “Basic Operation” on page 75. When a Plug-in voice is selected: ALL, Common, EL ● [F2] Edit Recall If you are editing a voice and select a different voice without storing your edited one, all the edits you’ve made will be erased. If this happens, you can use Edit Recall to restore the voice with your latest edits intact. Press the [ENTER] button. (The display prompts you for confirmation.) ● [F3] Copy 6 Press the [INC/YES] button to execute the Job. After the Job has been completed, a “Completed” message appears and operation returns to the original display. n To cancel the Job, press the [DEC/NO] button. For Jobs that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data. 7 Press the [VOICE] button to exit from Voice Job mode and return to Voice Play mode. • For detailed instructions on steps #3 - #4, see the explanations below. ● [F1] Initialize This function lets you reset (initialize) all voice parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each Element/ Drum key, and so on — very useful when creating a completely new voice from scratch. 158 MOTIF Reference From this display you can copy Common and Element/Drum Key parameter settings from any Voice to the Voice you are editing. This is useful if you are creating a Voice and wish to use some parameter settings from another Voice. • Source voice Select a Voice and data type to be copied. ❏ Data type When a Normal voice is selected: Common, Element 1 ~ 4 When a Drum voice is selected: Common, Drum key C0 ~ C6 When a Plug-in voice is selected: Common, Element n If the source Voice type (Normal/Drum/Plug-in) differs from one of the Voice you are currently editing (destination), you will only be able to copy Common parameters. Voice Store mode • Data type of Destination voice (current selected voice) If the source is a Normal or Drum Voice and data type is set to Element or Drum Key, you can set the data type of the destination Voice. ❏ Data type Voice Store mode Basic Structure (page 63) This function lets you store your edited voice to User memory. When a Normal voice is selected: Element 1 ~ 4 When a Drum voice is selected: Drum key C0 ~ C6 When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to computer, a separate Memory Card or some other storage device. n If you choose to copy Common parameters from the source, this display will change to “Common.” This function lets you send all your edited parameter settings for the currently selected voice to a computer or another MIDI device for data archiving. n You must set the correct MIDI Device Number in order to execute a Bulk Dump. For details, see page 258. ◆ Basic Procedure 1 2 3 4 After editing the voice, press the [STORE] button to enter the Voice Store mode. Select the destination Voice Memory. Press the [ENTER] button. (The display prompts you for confirmation.) To execute the Store operation, press the [INC/ YES] button. After the voice has been stored, a “Completed” message appears and operation returns to the original display. n To cancel the Store operation, press the [DEC/NO] button. For Store operations that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data. MOTIF Reference 159 Reference Voice mode ● [F4] Bulk Dump Function Tree Performance Mode Basic Structure (page 42) Function Tree This section is devoted to the Performance mode. To see how the Performance mode relates to the entire structure of the MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Performance modes — giving you a quick, easy-to-understand overview of the performance-related functions of the MOTIF. Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations. [PERFORMANCE] Reference Performance mode [INFO] PERFORMANCE INFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 275 [PERFORM] PERFORMANCE PLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 162 [F1] PERFORMANCE PLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 162 [F2] PERFORMANCE AD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 163 [F3] PERFORMANCE VOICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164 [SF1] ADD INTERNAL VOICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164 [SF2] ADD PLUG-IN VOICE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164 [SF3] DELETE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164 [SF4] SET NOTE LIMIT LOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164 [SF5] SET NOTE LIMIT HIGH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164 [F4] PERFORMANCE PORTAMENTO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 164 [F5] PERFORMANCE EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 165 [F6] PERFORMANCE ARPEGGIO [CATEGORY] PERFORMANCE CATEGORY SEARCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 124 [FAV] CATEGORY SEARCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126 . . . . . . . . . . . . . . . . . . . . . . . . P. 126 [F1] SUB CATEGORY1 SELECT . . . . . . . . . . . . . . . . . . . . . . . . P. 126 [F2] SUB CATEGORY2 SELECT [F3] SUB CATEGORY3 SELECT . . . . . . . . . . . . . . . . . . . . . . . . . P. 126 [F4] SET TO FAVORITE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126 [F5] CLEAR 1 FAVORITE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126 . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 126 [F6] CLEAR ALL FAVORITE [FAV] FAVORITE SELECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 127 [F5] CLEAR 1 FAVORITE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 127 . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 127 [F6] CLEAR ALL FAVORITE [EDIT] PERFORMANCE EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 165 [COMMON] COMMON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 165 [F1] COMMON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 166 [SF1] NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 166 [SF3] MEQ OFFSET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 166 [SF4] PORTA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 167 [SF5] OTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 167 [F2] COMMON OUTPUT/MASTER EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 167 [SF1] OUTPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 167 [SF2] MEQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168 [F3] COMMON ARPEGGIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168 [SF1] TYPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168 [SF2] LIMIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168 [SF3] PLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168 [SF4] OUTPUT CHANNEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 168 . . . . . . . . . . . . . . . . . . . . . . . . P. 132 [SF5] CLEAR USER ARPEGGIO [F4] COMMON CONTROLLER ASSIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 169 CONTROLLER ASSIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 169 [F6] COMMON EFFECT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 169 [SF1] EFFECT CONNECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 169 [SF2] PLG-EF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170 [SF3] VARIATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170 [SF4] REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170 [SF5] CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170 160 MOTIF Reference Function Tree [F1] PART VOICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170 [SF1] VOICE . . . . . . . . . . . . . . . . . . . . P. 170 [SF2] PLYMODE . . . . . . . . . . . . . . . . . P. 170 [SF3] LIMIT . . . . . . . . . . . . . . . . . . . . . P. 170 [SF4] PORTAMENTO . . . . . . . . . . . . . P. 171 [SF5] OTHER. . . . . . . . . . . . . . . . . . . . P. 171 [F2] PART OUTPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 172 [SF1] VOLUME/PAN . . . . . . . . . . . . . . P. 172 [SF2] EFFECT SEND . . . . . . . . . . . . . P. 172 [F3] PART OUTPUT SELECT . . . . . . . . . . . . . . . . . . . . . . . . P. 173 OUTPUT SELECT . . . . . . . . . . . . . . . . P. 173 [F4] PART TONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 173 [SF1] TUNE . . . . . . . . . . . . . . . . . . . . . P. 173 [SF2] FILTER . . . . . . . . . . . . . . . . . . . P. 173 [SF3] FEG . . . . . . . . . . . . . . . . . . . . . . P. 173 [SF4] AEG . . . . . . . . . . . . . . . . . . . . . . P. 174 [F5] PART RECEIVE SWITCH . . . . . . . . . . . . . . . . . . . . . . . P. 174 [PART SELECTION] PART PLG1-PLG3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170 [F6] [F1] PART VOICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 170 [SF1] VOICE . . . . . . . . . . . . . . . . . . . . P. 170 [SF2] PLYMODE . . . . . . . . . . . . . . . . . P. 170 [SF3] LIMIT . . . . . . . . . . . . . . . . . . . . . P. 170 [SF4] PORTAMENTO . . . . . . . . . . . . . P. 171 [SF5] OTHER . . . . . . . . . . . . . . . . . . . P. 171 [F2] PART OUTPUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 172 [SF1] VOLUME/PAN . . . . . . . . . . . . . . P. 172 [SF2] EFFECT SEND . . . . . . . . . . . . . P. 172 [F3] PART OUTPUT SELECT . . . . . . . . . . . . . . . . . . . . . . . . P. 173 OUTPUT SELECT . . . . . . . . . . . . . . . . P. 173 [F4] PART TONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 173 [SF1] TUNE . . . . . . . . . . . . . . . . . . . . . P. 173 [SF2] FILTER . . . . . . . . . . . . . . . . . . . . P. 173 [SF4] AEG . . . . . . . . . . . . . . . . . . . . . . P. 174 [F5] PART RECEIVE SWITCH . . . . . . . . . . . . . . . . . . . . . . . P. 174 [EDIT] PERFORMANCE COMPARE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 165 [JOB] PERFORMANCE JOB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 175 [F1] INITIALIZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 175 [F2] EDIT RECALL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 175 [F3] COPY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 175 [F4] BULK DUMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 176 [STORE] PERFORMANCE STORE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 176 MOTIF Reference 161 Reference Performance mode [PART SELECTION] PART 1-4 [F6] Performance Play mode Performance Play mode Basic Structure (page 31) · Quick Start Guide (page 88) In this mode, you can select and play individual User performances. n For details about the performances and their memory (bank) structure, see page 40. ◆ Basic Procedure Basic Operation (page 67) 1 Press the [PERFORMANCE] button to enter the Performance Play mode. (The indicator lights.) 5 Select the menu you wish to edit by pressing the [F2] - [F6] buttons and edit the parameters in each display. 6 Store the settings edited in step #5 to the User Memory as required. 7 Press any other mode button to exit from the Performance Play mode. • For detailed instructions on steps #2 - #5, see the following explanations. • For details on step #6, refer to “Performance Store mode” on page 176. PERFORM Indicates the Keyboard MIDI transmit channel. See page 162 for details. Performance Selection The explanations here apply to step #2 of the Basic Procedure above. Selecting performances is done in basically the same way as selecting voices (page 124), except for the following point. Reference Performance mode Indicates the functions assigned to the respective Control knobs. See page 256 for details. Indicates Keyboard Octave setting set is the [OCTAVE] buttons. See page 82 for details. • Since the MOTIF has no Preset performances and provides only one User bank, selecting a bank is not necessary. Indicates the current selected Performance. Keyboard Octave and Keyboard MIDI transmit channel settings Bank Performance Program number (corresponding to Groups A to H and Numbers 01 to 16) Number (selected via the NUMBER [1]-[16] buttons) Group (selected via the GROUP [A]-[H] buttons) The explanations here apply to step #3 of the Basic Procedure on page 162. The two parameters set here affect all selected performances. Setting these parameters is the same as in the Voice Play mode (page 127). Keep in mind that these parameters cannot be stored to the performance by using the Performance Store mode (page 176). Keyboard MIDI transmit channel Category Performance name 2 Select a performance. 3 channel. Set the Keyboard Octave or MIDI transmit 4 (mute) Turn individual parts of the performance on or off as desired. 162 MOTIF Reference Keyboard octave setting Performance Play mode Performance Part on/off The explanations here apply to step #4 of the Basic Procedure on page 162. MUTE Press the [MUTE] button so that its indicator lights. SOLO 1 2 4 3 n In the Utility mode, you can set whether you use the A/ D INPUT jack or the mLAN8E jack as an input jack for the A/D part. See page 252. • Volume n This operation is available also in the Performance Edit mode. Performance editing in the Performance Play mode The explanations here apply to step #5 of the Basic Procedure on page 162. The Performance Play mode lets you perform a variety of general editing operations on the selected performance. For more detailed and comprehensive editing operations, use the Performance Edit mode. n The parameters that have the same name in the Performance Play mode and in the Performance Edit mode have the same functions and settings. ◆ The [ ] Indicator If you alter any parameters in the Performance Play mode, the [ ] indicator will appear in the top left of the display. This indicates that the current performance has been modified but not yet stored. Edit indicator Determines the output level of the A/D part. ❏ Settings 0 ~ 127 • Pan Determines the stereo pan position of the A/D part. ❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right) • RevSend Determines the Send level of the A/D part signal sent to the Reverb effect. For details about effect connection, see page 40. ❏ Settings 0 ~ 127 • ChoSend Determines the Send level of the A/D part signal sent to the Chorus effect. For details about effect connection, see page 40. ❏ Settings 0 ~ 127 • VarSend(Variation Send) Determines the Send level of the A/D part signal sent to the Variation effect. For details about effect connection, see page 40. ❏ Settings 0 ~ 127 • DryLevel Determines the level of the A/D part which has not been processed with the System Effects (Reverb, Chorus, Variation). See page 252. ❏ Settings 0 ~ 127 • Mono/Stereo n If you select another performance during editing, the [ ] indicator will disappear and all your edits will be lost.It is a good idea to store the edited performance data from the Performance Store mode (page 176). Even if you lose the performance edited data, you can restore it by using the Edit Recall function (page 175). ● [F2] Performance Play A/D From this display you can make settings for the A/ D input parts. The A/D input feature lets you input external audio (such as from a microphone or guitar), then process and mix it with the other sounds of the MOTIF. The audio signal can be input via the A/D INPUT jack or the mLAN terminal (if an optional mLAN8E has been installed). Determines the signal configuration for the the A/D input audio, or how the signal or signals are routed (stereo or mono). When the mLAN terminal (with the optional mLAN8E installed) is set as the input source for the A/D part, this parameter cannot be set. ❏ Settings stereo, L mono, R mono, L+R mono stereo Audio received via both A/D INPUT jacks is processed in stereo. L (left) mono Audio received via the L (left) A/D INPUT jack is processed in mono. R (left) mono Audio received via the R (right) A/D INPUT jack is processed in mono. L+R mono Audio received via both A/D INPUT jacks is mixed and processed in mono. MOTIF Reference 163 Reference Performance mode Press any of the [1] - [4] buttons you wish to mute. Performance Play mode • OutputSel (Output Select) • [SF4] LIMIT L (Note Limit Low) Determines the output jack assignment for the A/D part. ❏ Settings See below. Stereo/ Mono LCD Output jack L&R OUTPUT L&R Stereo as1&2 AIEB2 ASSIGNABLE OUTPUT 1&2 Stereo 1:L 2:R * as3&4 AIEB2 ASSIGNABLE OUTPUT 3&4 Stereo 3:L 4:R * as5&6 AIEB2 ASSIGNABLE OUTPUT 5&6 Stereo 5:L 6:R * as1 AIEB2 ASSIGNABLE OUTPUT 1 Mono * as2 AIEB2 ASSIGNABLE OUTPUT 2 Mono * as3 AIEB2 ASSIGNABLE OUTPUT 3 Mono * as4 AIEB2 ASSIGNABLE OUTPUT 4 Mono * as5 AIEB2 ASSIGNABLE OUTPUT 5 Mono * as6 AIEB2 ASSIGNABLE OUTPUT 6 Mono * This sets the lowest note of the range over which the voice of the selected part sounds. Simultaneously hold down this button and press the desired key on the keyboard to set the note. • [SF5] LIMIT H (Note Limit High) This sets the highest note of the range over which the voice of the selected part sounds. Simultaneously hold down this button and press the desired key on the keyboard to set the note. ● [F4] Performance Play Portamento From this display you can set the Portamento parameters for each part. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next. * Available only when the optional AIEB2 board has been installed. ● [F3] Performance Play Voices From this display you can select a voice for each part and determine the note range it can be played from. • PortaSw (Portamento Switch) Determines whether Portamento is on or off for all parts. (This is a global switch and overrides the individual part settings in Part Switch below.) ❏ Settings off , on 1 Move the cursor to the desired part, then move it to the voice bank or number you wish to set for the part. Reference Performance mode 2 If the part is blank (i.e., no voice has been assigned), use these to enable a voice (Internal or Plug-in) for the part. Once a voice is assigned, select the specific bank and voice with the [INC/YES] and [DEC/NO] buttons, or the data dial. You can also use the BANK, GROUP and NUMBER buttons to select a voice (page 124). • Time Determines the pitch transition time. This parameter offsets the same parameter in the part edit (page 171). Higher values result in longer transition times. ❏ Settings -64 ~ +63 • PartSwitch Determines whether Portamento is on or off for each individual part. ● [F5] Performance Play 4 Use this to delete the assigned voice, if desired. 3 Use these to set the note range, low and high, for the part’s voice. • [SF1] ADD INT (Add Internal Voice) If no voice has been assigned and the selected part is blank, press this to enable an Internal voice for the part. • [SF2] ADD PLG (Add Plug-in Voice) EG(Envelope Generator) Basic Structure (page 47) This display contains the basic EG settings, both volume and filter, for the performance, as well as the filter’s cutoff frequency and resonance settings. The settings made here are applied as offsets to the AEG and FEG settings in the Performance Edit mode (page 173, page 174). If no voice has been assigned and the selected part is blank, press this to enable a Plug-in voice for the part. • [SF3] DELETE Pressing this button deletes the voice assignment for the selected part, leaving the part blank. Same as in Voice Play mode. See page 127 . 164 MOTIF Reference Performance Edit mode ● [F6] Performance Play Arpeggio Performance Edit mode Basic Structure (page 55) This display contains the basic settings for Arpeggio playback, including Type and Tempo. In this mode, Performances can be created and edited. ◆ The [ ] Indicator If you alter any parameters in Performance Edit Mode, the [ ] indicator will appear in the top left of the display. This indicates that the current performance has been modified but not yet stored. • PartSwitch Determines whether Arpeggio is on or off for the selected part. n Even if you exit to the Performance Play mode, your edited settings for the current performance will be maintained — as long as you don’t select another performance. n The [ ] indicator is also displayed in the Performance Play mode. ◆ The Compare Function This convenient function lets you switch between the edited performance and its original, unedited condition — allowing you to listen to the difference between the two and better hear how your edits affect the sound. 1 In the Performance Edit mode, press the [COMPARE] button so that its indicator flashes. The [ ] indicator is shown at the top of the display (in place of the [ ] indicator), and the original, unedited performance is restored for monitoring. EDIT COMPARE 2 Press the [EDIT] button again to disable the “Compare” function and restore the settings for your edited Performance. While Compare is active, you cannot make edits to the performance. ◆ Common (to all parts) edit and Part edit Each performance can contain a maximum of four parts, selected from a total seven parts — four parts from the Internal tone generator, and three from the installed Plug-in boards. Use Common Edit to edit the settings for all of the parts. There are two types of Voice Edit displays: those for Common Edit, and those for editing individual parts. MOTIF Reference 165 Reference Performance mode The parameters are same as in the Voice Play mode (page 127) except for the following one. Performance Edit mode < Display for editing parts 1 - 4> Part1 Part2 Parts to which Internal voices are assigned Part3 Part4 Common Plug-in part 1 Plug-in part 2 Parts to which Plug-in voices are assigned [F6] button < Display for editing Plug-in parts 1 - 3 > Plug-in part 3 Indicates a Common Edit display. Indicates a display for editing Part 1. 5 6 7 ◆ Basic Procedure 1 Reference Performance mode 2 3 4 Press the [PERFORMANCE] button to enter the Performance Play mode. (The indicator lights.) Select a Performance to be edited. Press the [EDIT] button to enter the Performance Edit mode. (The indicator lights.) 8 Select the menu you wish to edit by pressing the [F1] - [F6] and [SF1] -[SF5] buttons. Edit the parameters for the selected performance. Store the settings edited in step #6 to the User Memory as required. Press the [EXIT] button to exit from the Performance Edit mode. • For details on step #2, refer to “Performance Play mode” on page 162. • For detailed instructions on steps #5 - #6, see the explanations below. • For details on step #7, refer to “Performance Store mode” on page 176. Select a Part to be edited. • To edit parameters common to all of the parts, press the [DRUM KITS] button (which serves as a “COMMON” button here). DRUM KITS COMMON • To edit parameters of the individual parts, select the desired part with the corresponding NUMBER button ([1] - [4], or in the case of the Plug-in parts, [1] - [3]). 2 3 ● [F1]-[SF3] Common General Master EQ Offset 4 ELEMENT/ PERF.PART / ZONE To switch between the Part 1 - 4 display and the Plug-in Part 1 - 3 display, press the [F6] button. 166 MOTIF Reference ● [F1]-[SF1] Common General Name From this display you can create a name for the performance. The performance name can contain up to 10 characters. For detailed instructions on naming, see “Basic Operation” on page 75. FAVORITES 1 ■ Common edit From this display you can adjust the master (global) EQ settings for all parts of the selected performance. The level of each of the four bands (with the exception of “MID”) can be adjusted. Moreover, you can also tweak these settings directly from the four Knobs on the front panel. Performance Edit mode With the exception of Pitch Bend, which cannot be set here, these parameters are the same as in the Voice Edit mode (page 132). ● [F2]-[SF1] Common Output KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 KN 1 MEQ LOW ❏ Settings MEQLOWMID MEQ HI M ID KN 4 MEQ HIGH -64 ~ +63 ● [F1]-[SF4] Common General Portamento From this display you can set the Portamento parameters for all parts of the selected performance. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next. • Volume Determines the output level of the selected performance. You can adjust the overall volume, keeping the balance between all parts . ❏ Settings 0 ~ 127 • Pan Determines the stereo pan position of the selected performance. This parameter offsets the same parameter in the part edit setting (page 163). You can also adjust this parameter using the PAN knob on the front panel. ❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right) n A setting of “C” (center) maintains the individual Pan settings of each Part. • Switch Determines whether Portamento is on or off for the entire performance. Keep in mind that this is a global control; you can also switch Portamento on and off for individual parts in Part Switch below. ❏ Settings off, on • Time Determines the pitch transition time. This parameter offsets the same parameter in the part edit settings (page 170). Higher values result in longer transition times. ❏ Settings -64 ~ +63 Determines the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Reverb effect. You can also adjust this parameter using the REVERB knob on the front panel. ❏ Settings 0 ~ 127 • ChoSend Determines the Send level of the signal sent from Insertion Effect 1/2 (or the bypassed signal) to the Chorus effect. You can also adjust this parameter using the [CHORUS] knob on the front panel. ❏ Settings 0 ~127 • PartSwitch Determines whether Portamento is on or off for each individual part. ● [F1]-[SF5] Common General Other From this display you can set the control functions for the Knobs and related parameters. MOTIF Reference 167 Reference Performance mode • RevSend Performance Edit mode ● [F2]-[SF2] Common MEQ(Master Equalizer) From this display you can apply five-band equalization to all parts of the selected performance. • Gain Determines the level gain for the Frequency (set above), or the amount the selected frequency band is attenuated or boosted. ❏ Settings -12dB ~ 0dB ~ +12dB ˙ • Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics. ❏ Settings 0.1 ~ 12.0 0.1 12.0 Q(Frequency Characteristic) Gain Frequency 0 Freq (Frequency ) Freq 5 bands LOW LOWMID MID HIGHMID HIGH • Shape Determines whether the equalizer type used is Shelving or Peaking. The Peaking type attenuates/boosts the signal at the specified Frequency setting, whereas the Shelving type attenuates/boosts the signal at frequencies above or below the specified Frequency setting. This parameter is available for LOW, MID, and HIGH. ❏ Settings shelv (Shelving type), peak (Peaking type) Reference Performance mode shelv (Shelving) + ● [F3]-[SF1] Common Arpeggio Arpeggio type Basic Structure (page 55) Same as in Normal Voice Common Edit. See page 132. ● [F3]-[SF2] Common Arpeggio Arpeggio limit Same as in Normal Voice Common Edit. See page 133. 0 – EQ Low EQ Low Freq1 Freq2 Frequency ● [F3]-[SF3] Common Arpeggio Play FX (Effect) Same as in Normal Voice Common Edit. See page 133. peak (Peaking) + 0 Gain Frequency – Freq • Freq (Frequency) Determines the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. ❏ Settings LOW: Shelving 32Hz ~ 2.0kHz Peaking 63Hz ~ 2.0kHz LOW MID, MID, HIGH MID: 100Hz ~ 10.0kHz High: 500Hz ~ 16.0kHz 168 MOTIF Reference ● [F3]-[SF4] Common Arpeggio Output channel From this display you can set a separate MIDI output channel for the Arpeggio playback data, letting you have the Arpeggio sound from an external tone generator or synthesizer. Performance Edit mode ● [F6]-[SF1] Common Effect Connection • OutputSwitch When this is set to on, Arpeggio playback data is output from the MIDI terminal. ❏ Settings on, off Basic Structure (page 40) This display gives you comprehensive control over the effects. • TransmitCh Determines the MIDI transmit channel for Arpeggio playback data. ❏ Settings 1 ~ 16 ● [F4] Common Controller Assign The controllers and knobs on the front panel can be used to change and adjust a variety of parameters — in real time, and simultaneously. For example, you could use the ASSIGN 1 and 2 knobs to control effect depth for two different effects, while using the Foot Controller to control modulation. These control assignments are called “Controller Assign.” You can have independent Controller Assign settings for each performance. Set the Control Change number for the Breath Controller. The function set here can be controlled by the Breath Controller connected to the BREATH CONTROLLER (page 28) jacks on the rear panel. • EF PART (Effect part) ➡ VCE INS (Voice Insertion) Determines the part to which the Insertion effect is applied. The Insertion connection type (page 40) depends on the voice of the selected part. ❏ Settings Part 1 ~ 4, Plug-in Part 1 ~ 3, off • EF PART (Effect part) ➡ PLG-EF (Plug-in Efect) Determines the part to which the Insertion effect is applied. This parameter is available only when a special Effect Plug-in board (VH) has been installed. ❏ Settings Part 1~4, Plug-in Part 1~3, A/D, off • Variation Type • Variation Return Determines the Control Change numbers for the ASSIGN 1 and 2 knobs on the front panel. ❏ Settings Determines the Control Change numbers for Foot Controllers 1 and 2. To control these functions, connect Foot Controllers to the FOOT CONTROLLER jacks on the rear panel (page 28). (See chart below) Control Change Numbers 00 01 02 04 05 06 07 10 11 16 17 18 19 LCD off ModWheel Breath FootCtrl PortTime Data Ent MainVol Panpot Express General 1 General 2 General 3 General 4 Determines the Return level of the Variation Effect. ❏ Settings 0 ~ 127 • Variation Pan Determines the pan position of the Variation effect sound. ❏ Settings L64 (far left) ~cnt (center) ~ R63 (far right) • Variation To Reverb 32 64 65 66 67 72 74 75 84 91 92 93 LCD off Sustain PortaSw Sostenut Soft Release Bright Decay PortaCtl Effect 1 Effect 2 Effect 3 Determines the Send level of the signal sent from the Variation Effect to the Reverb Effect. ❏ Settings 0 ~ 127 • Variation To Chorus Determines the Send level of the signal sent from the Variation Effect to the Chorus Effect. ❏ Settings 0 ~ 127 • Chorus Type Determines the Chorus effect type. ❏ Settings Refer to the Effect Types list in the separate Data List booklet. • Chorus Return Level) Determines the Return level of the Chorus Effect. ❏ Settings 0 ~ 127 • Chorus Pan Determines the pan position of the Chorus effect sound. ❏ Settings L64 (far left) ~ cnt (center) ~ R63 (far right) MOTIF Reference 169 Reference Performance mode Determines the Variation effect type. ❏ Settings Refer to the Effect Types list in the separate Data List booklet. Performance Edit mode ● [F1]-[SF2] Part Voice Play Mode • Chorus to Reverb Determines the Send level of the signal sent from the Chorus Effect to the Reverb Effect. ❏ Settings 0 ~ 127 • Reverb Type Determines the Reverb effect type. ❏ Settings Refer to the Effect Types list in the separate Data List booklet. • Mono/Poly • Reverb Return Determines the Return level of the Reverb Effect. ❏ Settings 0 ~ 127 • Reverb Pan Determines the pan position of the Reverb effect sound. ❏ Settings L64 (far left) ~ cnt (center) ~ R63 (far right) ● [F6]-[SF2], [SF3], [SF4], [SF5] Common Effect Parameter Plug-in Insertion, Reverb, Chorus, Variation Basic Structure (page 39) Select monophonic or polyphonic playback for each part. Select whether the Voice is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes). ❏ Settings Mono, Poly n This parameter is not available for the part to which the Drum Voice is assigned. • ArpeggioSw (Arpeggio Switch) Switch the Arpeggio for the currently selected Part on or off. ❏ Settings on, off ● [F1]-[SF3] Part Voice Limit The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet. Reference Performance mode ■ Part edit ● [F1]-[SF1] Part Voice Voice You can select a voice for each part. When the cursor is located at the Bank, you can select a voice by using the BANK, GROUP, NUMBER button with the [TRACK SELECT] indicator off (page 124 ~ page 125). • Note Limit H, L (High, Low) Set the lowest and highest notes of the keyboard range for each Part. Each Part will only sound for notes played within its specified range. ❏ Settings C -2~G8 n If you specify the highest note first and the lowest note second, for example “C5 to C4,” then the note range covered will be “C-2 to C4” and “C5 to G8.” n You can set the note by pressing the keyboard while holding the [INFORMATION] button. n When a Plug-in voice is assigned to a part of the selected Performance, some parameters may not be available depending on the installed Plug-in board. • Part Switch Set each part to on or off. ❏ Settings on, off • Bank Select a Voice Bank (page 124) for each part. For details about the Plug-in Voice Bank, refer to the Owner’s Manual for your Plug-in Board.) • Number Select a Voice Program number (page 124) for each part. For details about the Plug-in Voice Program number, refer to the Owner’s Manual for your Plug-in Board.) 170 MOTIF Reference • Velocity Limit H, L (High, Low) Set the minimum and maximum values of the velocity range within which each Part will respond. Each Part will only sound for notes played within its specified velocity range. ❏ Settings 1~127 n If you specify the maximum value first and the minimum value second, for example “93 to 34,” then the velocity range covered will be “1 to 34” and “93 to 127.” Performance Edit mode ● [F1]-[SF4] Part Voice Portamento Set the Portamento parameters for each part. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next. • PB (Pitch Bend) Range ... When editing Plug-in parts 1 - 3, or when a Drum voice is selected: Determines the pitch change range (in semitones) of the Pitch Bend wheel for the Plug-in part’s voice (or Drum voice). Unlike the Pitch Bend setting for parts 1 - 4 above, the Upper and Lower ranges for the Plug-in parts cannot be set independently. ❏ Settings -24 ~ 0 ~ +24 • VelSensDpt (Velocity Sensitivity Depth) • Switch Switch Portamento on or off. ❏ Settings off,on • Time Set the pitch transition time. Higher values mean longer transition times. ❏ Settings 0 ~127 • Mode Determines the velocity sensitivity of the part’s voice, or how much the level of the voice changes in response to your playing strength (velocity). The higher the value, the more the voice changes in response to changes in your playing strength. ❏ Settings 0~127 Changes to actual velocity for different Velocity Sensitivity Depth settings Actual resulting velocity (affecting he tone generator) depth=127 offset=64 depth=64 offset=64 Set the Portamento mode. ❏ Settings fingered, fulltime depth=32 offset=64 fingered Portamento is only applied when you play legato (playing the next note before releasing the previous one). fulltime Portamento is always applied. n These Portamento parameters above are not available for the part to which the Drum voice is assigned. ● [F1]-[SF5] Part Voice Other offset=64 Received velocity n The settings here apply when Velocity Sensitivity Offset (below) is set to a median or neutral value of “64.” • VelSensOfst (Velocity Sensitivity Offset) Determines the amount by which received velocities are adjusted for the actual velocity effect. This lets you raise or lower all velocities by the same amount — allowing you to automatically compensate for playing too strongly or too softly. ❏ Settings 0 ~ 127 Changes to actual velocity for different Velocity Sensitivity Offset settings. n The settings here apply when Velocity Sensitivity Depth (above) is set to a median or neutral value of “64.” • PB (Pitch Bend) Upper, Lower ... When editing part s 1 - 4: These two parameters determine the pitch change range (in semitones) of the Pitch Bend wheel for the part’s voice. For example, a Lower setting of -12 would result in the pitch being lowered up to a maximum of one octave (12 semitones) when the Pitch Bend wheel is moved downwards. Similarly, setting the Upper parameter to +12 would result in a maximum pitch rise of one octave when the wheel is moved upwards. ❏ Settings -48 ~0 ~+24 MOTIF Reference 171 Reference Performance mode n The Mode setting is not available for the Plug-in part. depth=0 offset=64 Performance Edit mode ● [F2]-[SF1] Part Output Volume/Pan When Offset=0 127 Actual resulting velocity (affecting the tone generator) 0 64 127 Received velocity When Offset=64 127 Determines the stereo pan position for each part. ❏ Settings L64 (far left) ~ cnt (center) ~ R63 (far right) 64 127 Received velocity When Offset=127 127 Actual resulting velocity (affecting the tone generator) 0 Determines the volume for each part, giving you detailed control over the level balance among the parts. ❏ Settings 0~127 • Pan Actual resulting velocity (affecting the tone generator) 0 • Volume • Voice Pan Determines whether the individual pan settings for each voice (made in the Voice Edit mode) are applied or not. Keep in mind that the settings made in Pan above are applied as offsets to the Voice Edit settings. When this is set to “off,” the basic pan position for the selected part is set to center. ❏ Settings on, off n This parameter is not available for the Plug-in parts. 64 127 Received velocity Reference Performance mode In the first example, Offset is set to “0,” lowering all received velocities by 64. This creates a lower velocity “plateau” — all of your softer playing (up to a velocity of 64) results in the same actual velocity. Also no matter how strongly you play, the actual velocity value never exceeds 64. In the second example, Offset is set to a neutral value of “64,” creating a linear relationship between received and actual velocity. In other words, the velocity at which you play is relayed to the tone generator as is — with no offset. In the third example, Offset is at the maximum of “127,” which raises all received velocities by 64. This creates a “clipping” effect in the higher velocities — no matter how strongly you play (past a velocity of 64), the actual velocity value will always be 127 (maximum). ● [F2]-[SF2] Part Output Effect Send • RevSend (Reverb Send) Determines the send level for the Reverb effect of the selected part, giving you detailed control over the Reverb balance among the parts. ❏ Settings 0~127 • ChoSend (Chorus Send) Determines the send level for the Chorus effect of the selected part, giving you detailed control over the Chorus balance among the parts. ❏ Settings 0~127 • VarSend (Variation Send) Determines the send level for the Variation effect of the selected part, giving you detailed control over the Variation balance among the parts. ❏ Settings 0~127 • Dry Level Determines the level of the unprocessed (dry) sound of the selected part, letting you control the overall effect balance among the parts. ❏ Settings 0~127 172 MOTIF Reference Performance Edit mode ● [F3] Part Output Select • Detune From this display you can set certain output parameters for the selected part. Determines the fine tuning for each part. ❏ Settings -12.8Hz ~+12.7Hz ● [F4]-[SF2] Part Tone Filter Basic Structure (page 46) From this display you can set various Filter related settings, to change the tonal qualities of the selected part’s voice. • InsEF (Insertion Effect) This shows whether the Insertion effect is applied or not for each part. This is for display purposes only and cannot be set here. To set this, see “EF PART” (Effect Part) on page 40. • OutputSel (Output Select) Determines the specific output(s) for the individual part. You can assign each individual part’s voice to be output from a specific hardware output jack on the rear panel. By installing the optional AIEB2 board, you can expand the number of assignable outputs. ❏ Settings See below. Output jacks Stereo/ Mono L&R OUTPUT L and R Stereo Determines the cutoff frequency for each part. This parameter is available for the LPF when the filter used by the part is a combination type of LPF and HPF. ❏ Settings -64 ~ 0 ~ +63 • Resonance asL&R ASSIGNABLE OUTPUT L and R Stereo as1&2 ASSIGNABLE OUTPUT 1 and 2 on the AIEB2 Stereo 1:L 2:R * as3&4 ASSIGNABLE OUTPUT 3 and 4 on the AIEB2 Stereo 3:L 4:R * as5&6 ASSIGNABLE OUTPUT 5 and 6 on the AIEB2 Stereo 5:L 6: R * Determines the amount of filter resonance or emphasis of the Cutoff Frequency for each part. ❏ Settings -64 ~ 0 ~ +63 • FEG Depth Determines the Filter Envelope Generator depth (amount of Cuttoff frequency) for each part. ❏ Settings 0 ~ 127 n The FEG Depth setting is not available for the Plug-in parts. asL ASSIGNABLE OUTPUT L Mono asR ASSIGNABLE OUTPUT R Mono as1 ASSIGNABLE OUTPUT 1 on the AIEB2 Mono * as2 ASSIGNABLE OUTPUT 2 on the AIEB2 Mono * as3 ASSIGNABLE OUTPUT 3 on the AIEB2 Mono * as4 ASSIGNABLE OUTPUT 4 on the AIEB2 Mono * as5 ASSIGNABLE OUTPUT 5 on the AIEB2 Mono * as6 ASSIGNABLE OUTPUT 6 on the AIEB2 Mono * This setting is for Drum voice parts. When this is selected, the output destination settings for each Mono Drum key (made in Drum Key Oscillator Output, page 149) are enabled. *Available only when the optional AIEB2 board has been installed. drum ● [F4]-[SF3] Part Tone FEG Basic Structure (page 47) From this display you can set the FEG (Filter Envelope Generator) parameters for each part. The following parameters offset the same parameters in the Voice (Element) Edit mode (page 142). ● [F4]-[SF1] Part Tone Tune • Attack Determines the FEG Attack Time for each part. ❏ Settings -64 ~ 0 ~ +63 • NoteShift Determines the pitch (key transpose) setting for each part in semitones. ❏ Settings -24~+24 • Decay Determines the FEG Decay Time for each part. ❏ Settings -64 ~ 0 ~ +63 • Sustain Determines the FEG Sustain Level for each part. ❏ Settings -64 ~ 0 ~ +63 MOTIF Reference 173 Reference Performance mode LCD • Cutoff Performance Edit mode ● [F5] Part Receive Switch • Release Determines the FEG Release Time for each part. ❏ Settings -64 ~ 0 ~ +63 n The FEG settings are not available for Plug-in parts or parts to which Drum voices have been assigned. ● [F4]-[SF4] Part Tone AEG Basic Structure (page 47) From this display you can set the basic AEG (Amplitude Envelope Generator) parameters for each part. The following parameters offset the same parameters in the Voice (Element) Edit mode (page 145). From this display you can set how each individual part responds to various MIDI data, such as Control Change and Program Change messages. When the relevant parameter is set to “on,” the corresponding part responds to the appropriate MIDI data. Note that two different display types are provided (see below). Each display type features the same settings in a different format; use the type you feel most comfortable with. [SF5]button • Attack Determines the AEG Attack Time for each part. ❏ Settings -64~0~+63 • Decay Determines the AEG Decay Time for each part. ❏ Settings -64~0~+63 Reference Performance mode • Sustain Determines the AEG Sustain Level for each part. ❏ Settings -64~0~+63 n The Sustain level setting is not available for Plug-in parts or parts to which Drum voices have been assigned. • Release Determines the AEG Release Time for each part. ❏ Settings -64~0~+63 n The Release Time setting is not available for the part to which the Drum Voice is assigned. 174 MOTIF Reference Performance Job mode Performance Job mode The Performance Job mode contains various convenient operations (called “Jobs”), including initializing (resetting) performance data or recalling previous edits. ● [F1] Initialize This function lets you reset (initialize) all performance parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each part, and so on — very useful when creating a completely new performance from scratch. ◆ Basic Procedure 1 Inperformance the Performance Play mode, select a you wish to execute the Job on. 3 Select the desired Job menu by pressing the appropriate button, [F1] - [F4]. 4 Set the relevant Job parameters. 5 Press the [ENTER] button. (The display prompts you for confirmation.) 6 Press the [INC/YES] button to execute the Job. After the Job has been completed, a “Completed” message appears and operation returns to the original display. n To cancel the Job, press the [DEC/NO] button. For Jobs that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data. ❏ Type of parameter to be initialized ALL All settings for the selected performance are initialized. Common Common parameter settings for the selected performance are initialized. Part 1 ~ 4, PLG 1 ~ 3 Part parameter settings for the selected performance are initialized. ● [F2] Edit Recall If you are editing a performance and select a different performance without storing your edited one, all the edits you’ve made will be erased. If this happens, you can use Edit Recall to restore the performance with your latest edits intact. ● [F3] Copy From this display you can copy Common and Part parameter settings from any performance to the performance you are editing. This is useful if you are creating a performance and wish to use some parameter settings from another performance. Source performance 7 Press the [PERFORMANCE] button to exit from Performance Job mode and return to Performance Play mode. • For detailed instructions on steps #3 - #4, see the explanations below. Destination performance (currently selected performance) MOTIF Reference 175 Reference Performance mode 2 Press the [JOB] button to enter the Performance Job Mode. Performance Store mode • Source performance Select a performance and data type to be copied. ❏ Data type Part 1 ~ 4, Plug 1 ~ 3 • Data type of Destination performance (current selected performance) Set the Part of the destination Performance. ❏ Data type Part 1 ~ 4, Plug 1 ~3, Arp, Effect (Reverb, Chorus) n If you choose Arp (Arpeggio) or Effect, the Arpeggio data or Effect settings for the Voice assigned to the source Part will be copied. ● [F4] Bulk Dump This function lets you send all your edited parameter settings for the currently selected performance to a computer or another MIDI device for data archiving. n You must set the correct MIDI Device Number in order to execute a Bulk Dump. For details, see page 258. Performance Store mode Basic Structure (page 63) This function lets you store your edited performance to User memory. When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to computer, a separate memory card or some other storage device. ◆ Basic Procedure 1 After editing the performance, press the [STORE] button to enter the Performance Store mode. 2 Select the destination Performance memory (number). 3 Press the [ENTER] button. (The display prompts you for confirmation.) Reference Performance mode 4 To execute the Store operation, press the [INC/ YES] button. After the performance has been stored, a “Completed” message appears and operation returns to the original display. n To cancel the Store operation, press the [DEC/NO] button. For Store operations that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data. 176 MOTIF Reference Function Tree Song Mode Basic Structure (page 30) Function Tree This section is devoted to the Song mode. To see how the Song mode relates to the entire structure of the MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Song modes — giving you a quick, easy-to-understand overview of the song-related functions of the MOTIF. Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations. [INFORMATION] SONG INFORMATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 275 [SONG] SONG PLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 179 [F1] SONG PLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 179 [F2] SONG GRID GROOVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 181 [F3] SONG TRACK OUTPUT CHANNEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 182 [F4] SONG TRACK LOOP ON/OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 182 [F5] COPY PHRASE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 183 [F6] SONG CHAIN PLAY/EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 183 [REC] SONG RECORD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 183 SONG REC SETUP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 184 [F1] SETUP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 184 [F2] VOICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 188 [F3] ARP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 189 [PLAY] SONG RECORDING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 183 [F1] SETUP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 184 [F2] VOICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 188 [STOP] SONG PLAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 184 [EDIT] SONG EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 189 [F1] CHANGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 189 [F5] INSERT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 190 [F6] DELETE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 190 [F2] VIEW FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 192 [F5] CLEAR ALL. . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 192 [F6] SET ALL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 192 [JOB] SONG JOB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 193 [F1] UNDO/REDO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 193 [F2] NOTE JOB LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 193 QUANTIZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 194 MODIFY VELOCITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 195 MODIFY GATE TIME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 195 CRESCENDO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 196 TRANSPOSE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 196 GLIDE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 196 CREATE ROLL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 196 SORT CHORD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 197 SEPARATE CHORD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 198 [F3] EVENT JOB LIST. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 198 SHIFT CLOCK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 198 COPY EVENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 198 ERASE EVENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 199 EXTRACT EVENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 199 CREATE CONTINUOUS DATA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 199 THIN OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 200 MODIFY CONTROL DATA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 200 BEAT STRETCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 200 [F4] MEASURE JOB LIST. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 201 CREATE MEASURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 201 DELETE MEASURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 201 MOTIF Reference 177 Reference Song mode [SONG] Function Tree [F5] TRACK JOB LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 201 COPY TRACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202 EXCHANGE TRACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202 MIX TRACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202 CLEAR TRACK . . .. . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 202 NORMALIZE PLAY EFFECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203 DIVIDE DRUM TRACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203 PUT PHRASE TO ARP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203 [F6] SONG JOB LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203 COPY SONG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 203 SPLIT SONG TO PATTERN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 204 CLEAR SONG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 204 SONG NAME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 204 Reference Song mode [MIX] SONG MIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 205 [INFORMATION] MIX INFORMATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 205 [MIX] MIX PART . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 205 [F1] MIX VOLUME/PAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206 [F2] MIX AD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206 [F3] MIX VOICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206 [F4] MIX EFFECT SEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206 [F5] MIX TEMPLATE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 206 [EDIT] MIXING EDIT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 207 [COMMON] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 207 [F1] COMMON GENERAL. . . . . . . . . . . . . . . . . . . . . . . . . . . P. 208 [SF1] MEQ OFFSET . . . . . . . . . . . . . . P. 208 [SF5] OTHER. . . . . . . . . . . . . . . . . . . . P. 208 [F2] COMMON MASTER EQ . . . . . . . . . . . . . . . . . . . . . . . . P. 209 [F3] COMMON ARPEGGIO . . . . . . . . . . . . . . . . . . . . . . . . . . P. 209 [SF1] TYPE . . . . . . . . . . . . . . . . . . . . . P. 209 [SF2] LIMIT . . . . . . . . . . . . . . . . . . . . . P. 209 [SF3] PLAY FX . . . . . . . . . . . . . . . . . . . P. 209 [SF4] OUTPUT CHANNEL. . . . . . . . . . P. 209 [SF5] CLEAR USER ARPEGGIO . . . . P. 209 [F4] COMMON CONTROLLER ASSIGN . . . . . . . . . . . . . . . P. 209 [F6] COMMON EFFECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 210 [SF1] EFFECT CONNECT. . . . . . . . . . P. 210 [SF2] PLG-EF. . . . . . . . . . . . . . . . . . . . P. 210 [SF3] VARIATION . . . . . . . . . . . . . . . . P. 210 [SF4] REVERB. . . . . . . . . . . . . . . . . . . P. 210 [SF5] CHORUS . . . . . . . . . . . . . . . . . . P. 210 [PART SELECTION] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 210 [F1] PART VOICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 210 [SF1] VOICE . . . . . . . . . . . . . . . . . . . . P. 210 [SF2] PLAYMODE . . . . . . . . . . . . . . . . P. 210 [SF3] LIMIT . . . . . . . . . . . . . . . . . . . . . P. 210 [SF4] PORTAMENTO . . . . . . . . . . . . . P. 210 [SF5] OTHER. . . . . . . . . . . . . . . . . . . . P. 210 [F2] PART OUTPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 211 [SF1] VOLUME/PAN . . . . . . . . . . . . . . P. 211 [SF2] EFFECT SEND. . . . . . . . . . . . . . P. 211 [F3] PART OUTPUT SELECT . . . . . . . . . . . . . . . . . . . . . . . . P. 211 OUTPUT SELECT. . . . . . . . . . . . . . . . . P. 211 [F4] PART TONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 211 [SF1] TUNE . . . . . . . . . . . . . . . . . . . . . P. 211 [SF2] FILTER . . . . . . . . . . . . . . . . . . . . P. 211 [SF3] FEG . . . . . . . . . . . . . . . . . . . . . . P. 211 [SF4] AEG . . . . . . . . . . . . . . . . . . . . . . P. 211 [F5] PART RECEIVE SWITCH . . . . . . . . . . . . . . . . . . . . . . . P. 212 [EDIT] MIX COMPARE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 212 [JOB] MIX JOB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 212 [F1] INITIALIZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 212 [F2] EDIT RECALL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 213 [F3] COPY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 213 [F4] BULK DUMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 213 [F5] COPY FROM PERFORMANCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 213 [STORE] MIX STORE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 214 178 MOTIF Reference Song Play mode Song Play mode Basic Structure (page 67) · Quick Start Guide (page 77) In this mode, you can select and play individual User songs. 2 Select a song. 3 Start/Stop song playback. n For details about songs and their track and memory structure, see page 51. ◆ Basic Procedure Basic Operation (page 67) 1 Press the [SONG] button to enter the Song Play mode. (The indicator lights.) Start playback 4 Make necessary or desired settings (e.g., transpose, tempo, location, individual track on/off status, and so on) in the above display. SONG 5 Select the menu you wish to edit by pressing the [F2] - [F6] buttons and edit the parameters in each Song track number and data status No data has been recorded. display. In addition to MIDI sequence data, the sample data has been recorded. (Indicates ansample track.) Location setting for the selected song Tempo for the selected song ❒ Setting 001.0~300.0 Time signature for the selected song ❒ Setting 1/16 ~ 16/16, 1/8 ~ 16/8, 1/4 ~ 8/4 Measure : Beat (for current playback location) ❒ Setting Depends on the song data Transpose setting (for entire song) Can be adjusted in semitones. For example, when a value of +12 is set, the pitch of all of the data becomes one octave higher. ❒ Setting -36 ~ +36 Currently selected song Song name Song track on/off status 6 Set a Song Scene. 7 Repeat steps #3 through #6 as desired. 8 Press any other mode button to exit from the Song Play mode. • For detailed instructions on steps #2, 4, 5, and 6, see the following explanations. • For details on step #3, refer to “Quick Start Guide” on page 78. Song Selection The explanations here apply to step #2 of the Basic Procedure above. DRUM KITS PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON 1 Indicates muted track. DRUM / CHROMATIC PERCUSSION PERCUSSION CATEGORY SEARCH BANK SECTION GROUP SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE Indicates soloed track (page 180). 2 ELEMENT/ PERF.PART / ZONE NUMBER 9 10 11 SOLO n The explanations here apply when these four button indicators are off. MOTIF Reference 179 Reference Song mode MIDI sequence data has been recorded. (Indicates a MIDI track.) Song number Stop playback Song Play mode 1 Press any of the GROUP [A] - [D] buttons to select a Group. n Each letter group contains sixteen song numbers, and pressing the appropriate letter selects the first song in that letter’s group. For example, press button [A] to select song 01, press button [B] to select song 17 and so on. (See chart below.) ■ Assigning Locations Select the desired measure in the recorded song for the Location. (Highlight “MEAS” and use the [INC/YES] and [DEC/NO] buttons or data dial.) Then, to assign the measure to Location 1, simultaneously hold down the [SET LOCATE] button and press the [G] button. To assign Location 2, use the [H] button. 2 Press any of the NUMBER [1] - [16] buttons to select a Song and return to the Song Play display. ● Song numbers and the corresponding Group/ Numbers Specify a measure number to be registered. SEQ TRANSPORT Reference Song mode Song Number 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 Group A A A A A A A A A A A A A A A A B B B B B B B B B B B B B B B B Number 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Song Number 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 Group C C C C C C C C C C C C C C C C D D D D D D D D D D D D D D D D Number 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 You can also select a song by moving the cursor to the song number location and using the [INC/YES] and [DEC/NO] buttons or the data dial. Location The explanations here apply to step #4 of the Basic Procedure on page 179. The Song Play mode has a convenient Location function that lets you jump to user-specified parts of a song. This lets you assign a specific measure number in the selected song, and instantly jump to the assigned measure — either during playback or when the song is stopped. Two Locations can be assigned. 180 MOTIF Reference INTEGRATED SAMPLING MIXING UTILITY EDIT JOB STORE LOCATE 2 1 REC COMPARE SCENE STORE SET LOCATE In this example, the selected measure is assigned to Location 1. The current settings for Locations 1 and 2 are shown at the top right of the display. ■ Jumping to an assigned Location You can instantly jump to the assigned Location 1 or 2 by simultaneously holding down the [LOCATE] button and pressing the [G] button (for Location 1) or the [H] button (for Location 2). LOCATE 2 1 Song track on/off — Solo and Mute The explanations here apply to step #4 of the Basic Procedure on page 179. ● To mute a track 1 2 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE NUMBER 9 10 11 SOLO Song Play mode ● Storing the Song Scene 1 Press the [MUTE] button so that its lamp lights. 2 STORE SCENE STORE SET LOCATE Press any of the NUMBER [1] - [16] buttons to select the track number to be muted. SONG SCENE ● To solo a track 1 2 3 After making the desired settings for the Song Scene, simultaneously hold down the [STORE] button and press one of the SONG SCENE buttons [SF1] to [SF5]. SF1 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE SF2 SF3 SF4 SF5 ELEMENT/ PERF.PART / ZONE NUMBER 9 10 11 SOLO Simultaneously hold down the [MUTE] button and press one of the NUMBER buttons [1] to [16] to solo the corresponding track. Once you’ve selected a track for soloing, the [MUTE] button’s lamp flashes, indicating the Solo function is active. While Solo is active, you can change the soloed track simply by pressing the corresponding NUMBER button [1] to [16]. To exit from the Solo function, press the [MUTE] button again. ● Recalling the Song Scene Simply press any of the [SF1] - [SF5] buttons to recall the setting. SONG SCENE SF1 SF2 SF3 SF4 SF5 One of the convenient advantages of Song Scene is that it lets you instantly and automatically execute parameter settings that normally require many button presses or controller operations. Use it during song recording or playback to make instantaneous setting changes. Song track selection 1 2 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE NUMBER 9 10 11 SOLO n Selecting another song resets the selected track to 1. Song Scene Song editing in the Song Play mode The explanations here apply to step #5 of the Basic Procedure on page 179. The Song Play mode lets you perform a variety of general editing operations on the selected song. For more detailed and comprehensive editing operations, use the Song Edit and Song Mixing modes. ● [F2] Song Play Groove The Grid Groove function makes it possible to adjust the pitch, timing, length, and velocity of notes in a specified track via a 1-measure 16th-note grid to create “grooves” that would not be possible with precise sequencer-like programming. The Grid Groove function affects song playback without actually changing the sequence data. The explanations here apply to step #6 of the Basic Procedure on page 179. Song Scene is a powerful function that allows you to save five different “snapshots” of important songrelated parameters — including transpose, tempo, track mute status, and the basic sound/mixing controls (all parameter settings controllable from the Knobs and CS sliders). n The Song Scene settings can be set independently for each song. MOTIF Reference 181 Reference Song mode The explanations here apply to step #5 of the Basic Procedure on page 179. In order to edit the Song data, you’ll need to select a track for editing. Press the [TRACK SELECT] button so that its indicator lights and press any of the NUMBER [1] [16] buttons to select a track to be edited. Song Play mode n Port data can be output only through the USB terminal. No port data is transmitted through the MIDI OUT terminal, even if the corresponding track is set to a specific port number. ● [F4] Song Play Track Loop minus 0 From this display you can determine whether the data in the selected track loops or not in playback. Using Loop can be an effective way to repeat short patterns and phrases throughout the song. plus NOTE OFST CLOCK SFT GATE OFST VELO OFST • NOTE OFFSET Raises or lowers the pitch of the note(s) on the selected grid in semitones. ❏ Settings 99 ~ +99 • CLOCK SHIFT Shifts the timing of the note(s) on the selected grid forward or back ward in clock increments. ❏ Settings 120 ~ +120 ❏ Settings on, off In the example below, a 40-measure song has been recorded and Track 1 is set to play back normally over the 40 measures. Track 2 has been set to loop, and will repeat until the [■] button is pressed. • GATE OFFSET (Gate time Offset) Lengthens or shortens the note(s) on the selected grid in clock increments. ❏ Settings 120 ~ +120 Playback Track 1 (40 measures of data) • VELO OFFSET (Velocity Offset) Increases or decreases the velocity of the note(s) on the selected grid. ❏ Settings 127 ~ +127 Track 2 (4 measures of data) ● [F3] Song Play Output Channel The four-measure data is repeated ten times. Reference Song mode From this display you can set the MIDI output channel for each of the sixteen tracks, and determine which MIDI port the track data is sent to. When set to on, you can specify the range to be looped. (Only the end point can be set, the start point of looped playback is fixed to the beginning of the song.) Please note that the part that is not looped is deleted after setting to on. 1 Press [F1] to call up the Song Play display. Change the current measure that is to be a last measure of looped playback. • OUT CH (Output Channel) Sets up channel transmission to the MIDI OUT terminal. Tracks set to “Off” will not sound. ❏ Settings off, 01 ~ 16 n In the Song/Pattern mode, the MIDI data created by playing the keyboard/knobs/wheels is sent to the tone generator block or the external MIDI devices via the MIDI output channel of the currently selected track. • Port Determines the MIDI transmission port for the corresponding track. This is useful for sending data to external tone generators over multiple MIDI ports in an extended MIDI setup. Keep in mind that this parameter can only be set for tracks having assignments to Plug-in parts 1 - 3 (for installed single-part boards) or Plug-in parts 17 -32 (for installed multi-part boards). Tracks using the internal tone generator parts of the MOTIF are automatically fixed at port 1. ❏ Settings off, 01 ~ 03 182 MOTIF Reference In this example, set to "004." 2 Press [F4] to call up the Track Loop display and move the cursor to the desired track. Song Record mode 3 4 Set to on by using the [INC/YES] and [DEC/NO] buttons or the data dial. (The display prompts you for confirmation.) Press the [INC/YES] button. The Loop is set to on and the part that is not looped is deleted ● [F5] Song Play Copy Phrase You can copy s Pattern track data (Phrase) to a Song track. You can also copy the preset phrase that does not assigned to the Pattern track by the Patch function (page 219). If sample data is included in the original Phrase and you want to copy all of the data, make sure to checkmark this box. Source Phrase Song Record mode Quick Start Guide (page 110) In this mode, you can use the sequencer to record your keyboard performance in real time to each track of a User Song. n For details about recording methods, see page 53. ◆ Basic Procedure Basic Structure (page 53) 1 Inrecorded. the Song Play mode, select a User Song to be 2 If necessary, set a Song Scene (page 115). 3 Press the [REC] button to enter the Song Record mode. (The indicator lights.) The Song Record Setup display shown below appears. Specify the source track and measure of the current selected song. After completing the settings, press the [ENTER] button to execute the Copy Phrase. REC This function allows songs to be “chained” together for automatic sequential playback. This is particularly convenient in live performance situations, letting you have your song backing play automatically in “jukebox” fashion while you perform over it. Highlight the desired point in the chain, then use the [INC/YES] and [DEC/NO] buttons or data dial to set the desired song number or parameter below.The MOTIF allows you to create one Song Chain setting. 4 Set basic parameters for recording (e.g., recording type, track, tempo, and so on). n Please note that the time signature can be set in the Song Play display. See page 179. 5 Change the display by pressing the [F2] - [F3] buttons and set various parameters for recording. Parameters other than the song number are explained here. • skip Skips past (ignores) the selected chain number and continues playback from the next chain number. • stop Stops the song chain playback at that chain number. You can restart the song chain playback from the next chain number by pressing the [F] button. • end Indicates the end mark of the song chain data. n Your performance on the keyboard and the controllers (Knobs, Pitch Bend wheel, Modulation wheel, and so on) is recorded to tracks 1 - 16. The Tempo (“TMP”) track is for recording tempo changes, while the Scene track is for changes to the Song Scene numbers and Track Mute settings. 6 Press the [ ] button to start recording. •When any of the Realtime recording methods F (any setting other than “step”) is selected in step #4, your keyboard playing and controller moves are automatically recorded. • When “step” is selected in step #4, compose your performance by entering a note one by one. MOTIF Reference 183 Reference Song mode ● [F6] Song Play Chain Play/Edit Song Record mode Setting up before recording REC The explanations here apply to steps #4 - #5 of the Basic Procedure on page 183. ● [F1] Song Record Setup Basic Structure (page 51) When recording type is set to something other than “step” : Tempo n MIDI events the external MIDI devices connected to the MOTIF can be recorded to tracks 1~16. 7 After completing your performance (in Realtime recording) or completing Step recording, press the Punch-in measure : beat Time signature (set in the Song Play display) [■] button to stop recording. 8 Record additional tracks as required. Repeat steps #3 through #7 as desired. 9 Press the [F] button to hear your newly recorded performance. 10 the Save the recorded data to the Memory Card or SCSI device connected to the MOTIF. Reference Song mode The recorded (edited) song data resides temporarily in DRAM (page 64). Because data contained in DRAM is lost when the power is turned off, you should always store any data residing in DRAM to a memory card or an external SCSI device before turning off the power. • For detailed instructions on steps #4 - #7, see the following explanations. • For details on step #10 refer to “File mode” on page 266. n The following explanations apply to MIDI data recording (creating MIDI tracks). For instructions on recording audio data (creating sample tracks), see “Sampling mode” on page 233. Punch-out measure : beat This lets you turn the click sound (metronome) on/off for recording. (Press the [F5] button.) This lets you switch between Single Track recording and All Track recording. (Press the [F6] button.) n “Punch-in measure : beat” and “Punch-out measure : beat” are available when the Recording Type is set to “Punch.” When recording type is set to “step” : Time signature (set in the Song Play display) Tempo • Type (Recording type) Determines the recording method. ❏ Settings: RecTrack is set to 1 ~ 16: replace, overdub, punch, step RecTrack is set to “tempo” : replace, punch, step RecTrack is set to “scene” : replace, punch RecTrack is set to “multi” : replace , overdub, punch n When “punch” is selected, “Punch-in measure : beat” and “Punch-out measure : beat” appear in the display and should be set. n When “step” is selected, you should specify the event type to be enetered. • Quantize This parameter is available when the Recording Type is set to something other than “step.” Record quantize aligns the timing of notes which are not exactly on the beat onthe-fly as you record. 184 MOTIF Reference Song Record mode ❏ Settings: off, 60 (32nd note), 80 (16th note triplet), 120 (16th note), 160 (8th note triplet), 240 (8th note), 320 (1/4 note triplet), 480 (1/4 note) • Event This parameter is available when the Recording Type is set to “step.” This lets you specify the event type to be entered. ❏ Settings: note, p.bend (pitch bend), CC#000~#119 (Control Change) • RecTrack Determines the track to be recorded. Pressing the [F6] button lets you switch between Single Track recording and All Track recording. ❏ Settings: tempo, scene, 1~16, multi • Tempo Determines the Song tempo. ❏ Settings: 001.0 ~300.0 • Pointer Determines the data-entry position. The triangular pointer above the beat graph indicates the data-entry position. To move the pointer right or left, use the [INC/YES] and [DEC/NO] buttons or the data dial. • Value When the event to be entered is set to “note” , this value specifies the velocity with which the note will be entered. ❏ Settings: 001~127 The set value (1 ~ 127) corresponds to the MIDI velocity value entered. RND1 ~RND4 When one of the random settings is selected, a random velocity value will be entered. • StepTime The explanations here apply to steps #6 - #7 of the Basic Procedure on page 183, page 184. The “size” of the current recording step time for the next note to be entered. This determines to what position the pointer will advance after a note has been entered. ❏ Settings: 0001~0059 ■ Realtime Recording See “Quick Start Guide” (page 110) ■ Step Recording If you press the [F] button in step #6 of the Basic Procedure on page 183, the following display appears and you can input the specified events one by one. ● Entering the Note Event When the event to be entered is set to “note” , you can input the note events one by one. Pointer indicating the current note position. Beat Graph • Beat Graph This is the display in which notes are “placed” during step recording.When the meter is 4/4, the display is divided into four beats (one measure). Each diamond-shaped marker in the display represents one 32nd beat (each 1/4 note division is divided into eight 32nd beats). For example, if the following rhythmic pattern “ ” is entered in 4/4 time, a display like the one shown below will appear. 32nd note 16th note triplet 16th note 8th note triplet 8th note 1/4 note triplet 1/4 note half note whole note • GateTime Sets the gate time to produce slurs, staccato notes, etc. “Gate time” refers to the actual length of time the note sounds. For the same 1/4 note, for example, a long gate time will produce a slur while a short gate time will produce a staccato effect. Gate time is indicated as a percent value of the step time. A setting of 50% produces a staccato sound, values between about 80% and 90% produce normal note length, and a value of 99% will produce a slur. ❏ Settings: 001%~200% ● [F3] REST Press [F3] to enter a rest as long as the specified step time. The point will move ahead to the next data-entry position. Rests do not appear on the display. n There is no actual data representing rests in the MIDI sequencer. When a “rest” is entered the pointer simply moves ahead to the next data-entry position, effectively leaving a rest. ● [F4] TIE When the [F4] button is pressed to enter a tie, the preceding note is lengthened to the full step time. For example, in the following phrase, note 1 is entered with 1/4 note step time. If the step time is then changed to an 8th note and [F4] is pressed, note 2 is entered. MOTIF Reference 185 Reference Song mode Song Recording Song Record mode 1 2 ◆ Examples of Step Recording The explanations here apply to steps #6 - #7 of the Basic Procedure on page 183, page 184. This section explains how to step-record notes, using three specific examples. Dotted notes can also be entered using the TIE function. To produce a dotted 1/4 note, for example, set the step time to an 8th note, enter a note and then press [F4] twice. ● [F5] DELETE 1 Set the parameters as illustrated below. Here, we’ll set the Step Time to (480) so that quarter notes will be entered, and set the GateTime to 100% to have the notes play in legato. Press this to actually delete the note events at the current cursor position. ● [F6] BCK DEL Moves the pointer backward by one step and deletes all notes at that location. n Mistakenly entered notes can be erased by pressing [F6] immediately after they are entered (before changing the step time value). ● Entering other events When entering non-note events (such as control change data), the display is basically the same as that for note data. 2 Play the keys C, D, E, F, G, A, B and C in order. Reference Song mode The TIE function is not available for non-note events. The following descriptions apply to non-note events. • Value When the event to be entered is something other than “note,” this determines the value of the specified non-note event. ❏ Settings: When event is set to to “p.bend” : - 8192 ~+8191 When event is set to “CC (Control Change) #001~119” : 000 ~127 When event is set to “tempo” (RecTrack is set to “tempo” ): 001 ~300 Each time you press a key and release it, the pointer moves forward by one step and the played note is recorded. 3 186 MOTIF Reference Move the pointer to the top (beginning) of the song and press the [F] button to hear the note data you just recorded in steps #1 and 2. Song Record mode SEQ TRANSPORT LOCATE 1 2 REC ●Example 2 (Using the TIE function) 1Set the parameters as illustrated below. Since the first note is a half note, set the StepTime to (960), and set the GateTime to 80%, since you don’t want the notes to play in legato. 4 Follow the instructions below to enter the next dotted half note. (2) Press and release A Enter the first note F. (3) Press [F4] twice to expand the quarter note to a dotted half note. (1) Press and release F. 5 Enter the last quarter note by pressing and releasing F. (2) Change this value to 240, since the next note is an 8th note. (3) Press the [F4] button to tie the two F notes (half note and 8th note). 3 Enter the next 8th notes. Keep the display settings unchanged for the remaining notes in the measure, and press/release each key one by one as shown below. MOTIF Reference 187 Reference Song mode 2 (1) Change this to 480. Song Record mode 6 Move the pointer to the top (beginning) of the song and press the [F] button to hear the note data you just recorded in steps #1 - 5. 5 Enter the next 4th note C by following the instructions below. ●Example 3 (Using the REST function) 1 (1) Change this value to 480, since the next note is a quarter note. Set the parameters as illustrated below. Set the StepTime to 80%. 2 (2) Press and release C. (480) and the Gate Time to Enter the first note F. 6 Enter the next 8th rest via the same procedure as in step #3 Press and release F. 3 7 Enter the next 8th rest by following the instructions below. Reference Song mode (2) Enter an 8th note rest by pressing the [F3] button. (1) Change this value to 240, since the rest value is the same as an 8th note. Enter the last 8th note F. Press and release F. 8 Move the pointer to the top (beginning) of the song and press the [F] button to hear the note data you just recorded in steps #1 - 7. ● [F2] Song Record Voice 4 Enter the next 8th note A. Press and release A. 188 MOTIF Reference From this display you can set voice-related parameters for the selected track. The settings made here affect the tone generator parts whose MIDI receive channels match the MIDI transmit channel of the song track. Song Edit mode • Voice Determines the voice for the selected track. You can use the BANK, GROUP, NUMBER button or the Category Search function to select a voice (page 124). You can also select a Sample voice (page 58). • Voume Determines sound volume for the selected track. ❏ Settings 0~127 • Pan Determines the stereo pan position the selected track. ❏ Settings L63 (Left) ~ C (Center) ~ R63 (Right) • InsEF (Insertion Effect Part Switch) Determines whether the Insertion effect (page 39) for the selected track is on or off. ❏ Settings on, off ● [F3] Song Record Arpeggio Song Edit mode This mode gives you comprehensive, detailed controls for editing the MIDI events of individual song tracks. MIDI events are messages (such as note on/off, note number, program change number, etc.) that make up the data of a recorded song. ◆ Basic Procedure 1 Inedited. the Song Play mode, select a User Song to be Basic Operation (page 70) 2 Press the [EDIT] button to enter the Song Edit mode. (The indicator lights.) The Song event List display shown below appears. From this display you can set various Arpeggiorelated parameters for the selected track. EDIT Determines whether Arpeggio playback data is recorded to the track or not. (Press the [F4] button.) Events • Bank • Type Determines the Arpeggio type. The two-letter prefix before the name indicates the general Arpeggio category. (page 55 ) • Velocity Limit Determines the lowest and highest velocity in the Arpeggio’s velocity range. While recording, this lets you control when the Arpeggio sounds by your playing strength. ❏ Settings 1~127 • Switch Determines whether Arpeggio playback is on or off. You can also turn this on or off from the front panel with the [ARPEGGIO ON/OFF] button. ❏ Settings off, on • Hold Determines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles automatically, even if notes are released, and it continues to cycle until the next note data is received. ❏ Settings sync-off, off, on • PartSwitch Determines whether Arpeggio playback is on or off for the tone generator part (page 55) that corresponds to the recorded track. ❏ Settings off, on Measure number Beat Clock (480 clocks per quarter-note) 3 Revise, insert or delete the MIDI events as needed. If you find the display too cluttered, you can filter out certain event types with the View Filter. Simply press the [F2] button and select the event types you want to be displayed. 4 After completing editing, press the [SONG] button to return back to the Song Play mode. 5 Press the [F] button to hear your edited data. 6 Edit other tracks as required. Repeat steps #2 through #5 as desired. 7 After editing, save your song data to the Memory Card or the SCSI device connected to the MOTIF in the File mode. • For detailed instructions on step #3, see the following explanations. • For details on step #7, refer to “File mode” on page 266. MOTIF Reference 189 Reference Song mode Determines the specific Arpeggio Bank. For details, see page 55. ❏ Settings pre1, pre2, user Song Edit mode Event Editing/Inserting/Deleting The explanations here apply to step #3 of the Basic Procedure on page 189. ■ Editing/Deleting Existing Events To edit data in the Event List, use the up/down cursor buttons to highlight the specific event you want to edit, and use the left/right cursor buttons to highlight the data type or parameter to be edited. Then, change the value as needed by using the [INC/YES] and [DEC/ NO] buttons or the data dial. The edited event will flash on the display. Press the [ENTER] button to actually enter the edited data (the event will stop flashing). To abort an edit simply highlight to a new event location without pressing the [ENTER] button. Press the [F6] button to delete the event at the current location. MIDI events that can be inserted (edited) The following explanations apply to the MIDI events that can be inserted (edited) in step #3 of the Basic Procedure on page 189. The following displays are called up by pressing the [F5] button in step #3 of the Basic Procedure on page 189. ■ Note This is the most common and prevalent type of data — the individual notes of a song. Note name Gate time Velocity • Note name You can also move the selected event to another location by specifying different values for measure, beat, and clock. Press the [F6] button to delete the event at the current location. Reference Song mode ■ Inserting New Events To insert an event, use the up/down cursor buttons to highlight an event at the desired point in the track (measure, beat, clock) — this is the location to which the new event will be inserted. Then, follow the steps below. Press the [F1] button to abort and return to the main Event List display. Press the [ENTER] button to actually insert the event. Press the [F5] button. Determines the note name or the specific keyboard pitch of the note. ❏ Settings C -2 ~ G8 • Gate time (beat : clock) Determines the length of time that a note actually sounds in beats and clocks. ❏ Settings 00:001 ~ 999:479 n On the MOTIF, one clock is 1/480th of a quarter note. • Velocity Determines how strongly the selected note sounds. ❏ Settings 1 ~ 127 ■ Pitch Bend These are the events that define continuous changes in pitch and these events are generated by pitch bend wheel operation. Data ENTER EXECUTE • Data ❏ Settings 190 MOTIF Reference -8192 ~ +8191 Song Edit mode ■ Program Change These events determine the selected voice for the note data. Keep in mind that Program Change events can be inserted at any point in a song track, letting you change voices in the middle of a song. n For details on using Control Change numbers (including those above), refer to the separate Data List booklet. ■ Channel Aftertouch (CAT) This event is generated when pressure is applied to a key after the note is played. Bank Select MSB Program number Voice name Bank Select LSB • Bank Select MSB, LSB Data Determines the voice bank. ❏ Settings ***~127 • Data • Program number Determines the specific voice (from the bank selected by MSB and LSB above). ❏ Settings 001~128 n For a complete list of the available voice banks and numbers, refer to the Voice List in the separate Data List booklet. ■ Control Change These events control the sound and certain response characteristics of the voice, and are usually generated/ recorded by moving a controller (such as a modulation wheel, knob, slider or foot controller). This represents the amount of pressure applied to the key. ❏ Settings 000~127 ■ Polyphonic Aftertouch (PAT) This event is generated when pressure is applied to a key after the note is played. Unlike Channel Aftertouch above, this is recorded and applied independently for each key pressed. Note name Data • Note name Determines the key to which aftertouch is applied. ❏ Settings C -2~G8 • Data This represents the amount of pressure applied to the key. ❏ Settings 000~127 Control number Data • Control number Determines the Control Change number. (See chart below.) ❏ Settings 000~127 Control Number Function 001 Modulation Wheel 005 Portamento Time 007 Volume 010 Pan (Stereo position) 011 Expression 064 Sustain (Hold 1) 065 Portamento on/off 066 Sostenuto pedal on/off 067 Soft Pedal on/off 071 Harmonic Content (controls Filter Resonance) 074 Brightness (controls Filter Cutoff Frequency) 084 Portamento Source Note Number 120 All Sound Off ■ Registered Parameter Number (RPN) This event changes parameter values for each tone generator part. This event is used to set part settings such as Pitch Bend Sensitivity or Tuning. For a complete list of the available RPN numbers and their corresponding controls, refer to the MIDI Data Format in the separate Data List booklet. RPN MSB-LSB Data Entry MSB-LSB MOTIF Reference 191 Reference Song mode n Bank select MSB and LSB are actually part of the Control Change set of messages (below). However, since they apply specifically to voice selection, they grouped and described here. Song Edit mode • RPN MSB-LSB ❏ Settings 000~127 • Data Entry MSB-LSB ❏ Settings 000~127 n Normally three types of control change data are sent: RPN MSB (101), RPN LSB (100), and Data Entry MSB (6). In the MOTIF, Data Entry LSB (38) is added to this and the resulting group of control change events is handled as one in this display. For a complete list of the available RPN and NRPN numbers and their corresponding controls, refer to the MIDI Data Format in the separate Data List booklet. ■ System Exclusive (Exc) A type of MIDI message used to exchange data unique to a specific model or type of device. Unlike with other MIDI events, these events differ depending on the manufacturer/device, and are incompatible among different devices. Data • Data ■ Non Registered Parameter Number (NRPN) This event changes parameter values for each tone generator part. This event is used to edit sounds via MIDI, allowing you to edit filter or EG settings, or adjust the pitch or level for each instrument of a drum voice. For a complete list of the available NRPN numbers and their corresponding controls, refer to the MIDI Data Format in the separate Data List booklet. RPN MSB-LSB ❏ Settings 00 ~7F, F7 (Data must be entered in hexadecimal format. Event View Filter The explanations here apply to step #3 of the Basic Procedure on page 189. The MOTIF’s “Event View Filter” lets you select the event types that appear on the Event List display. For example, if you wish to edit only note events, place a checkmark in the box next to “Note” as shown below so that only the note events appear in the Event List display. Data Entry MSB-LSB Reference Song mode • NRPN MSB-LSB ❏ Settings 000~127 • Data Entry MSB-LSB ❏ Settings 000~127 n Normally three types of control change data are sent: NRPN MSB (99), NRPN LSB (98), and Data Entry MSB (6). In the MOTIF, this group of control change events is handled as one in this display. For a complete list of the available RPN and NRPN numbers and their corresponding controls, refer to the MIDI Data Format in the separate Data List booklet. 192 MOTIF Reference When the Control Change box is checkmarked, you can specify the desired Control Change number. Press the [F5] button to remove all checkmarks at once. Press the [F6] button to set checkmarks into all boxes. Song Job mode The Song Job mode contains a comprehensive set of editing tools and functions you can use to change the sound of the song. It also includes a variety of convenient operations, such as copying or erasing data. Most of these operations can be performed on either an entire track or a selected range of measures in the track. ◆ Basic Procedure 1 Inexecute the Song Play mode, select a song you wish to the Job on. 2 Press the [JOB] button to enter Song Job Mode. 3 Select the desired Job menu by pressing the appropriate button, [F2] - [F6]. 4 Use the CURSOR buttons to scroll to the desired Job. 5 Press the [ENTER] button to go to the selected Job display. 6 Set the relevant Job parameters. 7 Press the [ENTER] button. (The display prompts you for confirmation.) 8 Press the [INC/YES] button to execute the Job. After the Job has been completed, a “Completed” 10 Press the [SONG] button to exit from Song Job mode and return to Song Play mode. • For detailed instructions on steps #3 - #9, see the explanations below. [F1] Undo/Redo The explanations here apply to step #9 of the Basic Procedure (see above). The Undo Job cancels the changes you made in your most recent patch session, recording session, editing session, or Job, restoring the data to its previous state. This allows you to recover from accidental data loss. Redo is available only after using Undo, and lets you restore the changes you made before undoing them. Indicates the current Job: Undo or Redo. Indicates the operation to be affected by Undo or Redo. Press the [ENTER] button to execute the Undo/Redo operation. Undo/Redo does not work with sample voice operations. [F2] Note data Job Press the [F2] button in steps #3 of the Basic Procedure (see above). so that the Note data Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job. message appears and operation returns to the original display. n To cancel the Job, press the [DEC/NO] button. 9 Ifabove, you wish to undo the changes made in the steps press the [F1] button and (to select Undo/ Redo) and use the Undo function. The following explanations apply to step #6 of the Basic Procedure (see above). n Before executing the Note data Job, make sure that you specify the track (01~16, all) and range (measure : beat : clock) to which the Job is applied. MOTIF Reference 193 Reference Song mode Song Job mode Song Job mode ● [F2]-01 Quantize Quantization is the process of adjusting the timing of note events by moving them closer to the nearest exact beat. You can use this feature, for example, to improve the timing of a performance recorded in real time. Track If the quantize value is , , , :50%~75% A setting of 100% is equivalent to twice the length of the specified quantize value. A setting of 50% produces exact timing and therefore no swing feel. Settings above 51% increase the amount of swing, with 75% being equivalent to a dotted-note delay. Front beat Back beat 0% 50% Range 75% 100% Specified range • Quantize Value (Resolution) Determines to what beats the note data in the specified track will be aligned. ❏ Settings 32nd note 16th note triplet 16th note 8th note triplet 8th note 1/4 note triplet 1/4 note 16th note + 16th note triplet 8th note + 8th note triplet • Strength Reference Song mode The Strength value sets the “strength” by which note events are pulled toward the nearest quantize beats. A setting of 100% produces exact timing. A setting of 0% results in no quantization. ❏ Settings 000 %~100 % , , If the quantize value is :66%~83% A setting of 100% is equivalent to three times the length of the specified quantize value. A setting of 66% produces exact timing and therefore no swing feel. Settings above 67% increase the amount of swing, with 83% being equivalent to a sextuplet delay. Front beat Back beat 0% 33% 66% 83% 100% 3 Specified range , If the quantize value is :50%~66% A setting of 100% is equivalent to twice the length of a d or d note. A setting of 50% produces exact timing and therefore no swing feel. Settings above 51% increase the amount of swing, with 66% being equivalent to a triplet delay. Front beat Back beat Quarter-note length Original data (assuming 4/4 meter) Quantizing strength =100 0% Delays notes on even-numbered beats (backbeats) to produce a swing feel. For example, if the meter is 4/4 and the quantize value is quarter notes, the 2nd and 4th beats of the measure will be delayed. When a triplet quantize value is used, the last note of each triplet is delayed. When the quantize value is or , even-numbered or beats will be delayed. ❏ Settings See below. 194 MOTIF Reference 50% 66% 100% 3 Quantizing strength =50 • SwingRate 33% Specified range n If a swing value other than 100% results in notes being positioned after other non-swing notes, the latter notes are delayed accordingly. • GateTime Determines the gate time (the length of time a note sounds) of the even-numbered backbeat notes to enhance the swing feel. When a triplet quantize value is used, the gate time of the last note of each triplet is adjusted. When the quantize value is or , the gate time of the even-numbered or beats will be adjusted. A setting of 100% leaves the original gate time unchanged. If an adjusted gate time value is less than 1, the MOTIF sets the value to 1. ❏ Settings 000%~200% Song Job mode ● [F2]-02 Modify Velocity ● [F2]-03 Modify Gate Time This job alters the velocity values of the specified range of notes, letting you selectively boost or cut the volume of those notes. Velocity changes are calculated as follows: Adjusted velocity = (original velocity x Rate) + Offset. This job alters the gate times of the specified range of notes. Gate time changes are calculated as follows: Adjusted gate time = (original gate time x Rate) + Offset. If the result is 0 or less, the value is set to 1. If the result is 0 or less, the value is set to 1. If the result is higher than 127, the value is set to 127. Track Track Range Range • SetAll Sets the velocities of all target notes to the same fixed value (1 to 127). When set to “OFF” the Set All parameter has no effect. When set to a value other than “OFF” the Rate and Offset parameters are unavailable and appear as “***” on the display. ❏ Settings OFF(0), 001~127 • Rate Determines the percentage by which the target notes will be shifted from their original velocities. Settings below 100% reduce the velocities, and settings above 100% increase the velocities proportionately. When the Set All parameter is not “OFF” this parameter appears as “***” and cannot be changed. ❏ Settings 000% ~ 200%, *** Original velocity Rate = 50% Rate = 150% (Vel) (Vel) (Vel) 96 64 48 32 48 32 24 16 127 96 72 48 Adds a fixed value to the Rate-adjusted velocity values. A setting of 0 produces no change. Settings below 0 reduce the velocities, and settings above 0 increase the velocities. When the Set All parameter is not “OFF” this parameter appears as “***” and cannot be changed. ❏ Settings -127 ~ +127, *** Offset = -20 Offset = +20 Determines the percentage by which the gate time of the target notes will be changed. Settings below 100% shorten the notes, and settings above 100% lengthen the notes proportionately. When the Set All parameter is not “OFF” this parameter appears as “***” and cannot be changed. ❏ Settings 000% ~ 200%, *** Original gate time (Gate) Gate time rate = 50% (Gate) Gate time rate = 150% (Gate) 32 32 32 48 16 16 16 24 48 48 48 72 • Offset • Offset Original velocity • Rate (Vel) (Vel) (Vel) 96 64 48 32 76 44 28 12 116 84 68 52 Adds a fixed value to the Rate-adjusted gate time values. A setting of 0 produces no change. Settings below 0 shorten the gate time, and settings above 0 lengthen the gate time. When the Set All parameter is not “OFF” this parameter appears as “***” and cannot be changed. ❏ Settings -9999 ~ +9999, *** Original gate time (Gate) Offset = -20 (Gate) Offset = +20 (Gate) 32 32 32 48 12 12 12 28 52 52 52 68 MOTIF Reference 195 Reference Song mode • Set All Sets the gate times of all target notes to the same fixed value. When set to “OFF” the Set All parameter has no effect. When set to a value other than “OFF” the Rate and Offset parameters are unavailable and appear as “***” on the display. ❏ Settings Off (0), 0001 ~ 9999 Song Job mode ● [F2]-04 Crescendo ● [F2]-06 Glide This Job lets you create a crescendo or decrescendo over the specified range of notes. (Crescendo is a gradual increase in volume, and decrescendo is a gradual decrease.) Track The Glide Job replaces all notes following the first note in the specified range with pitch bend data, producing smooth glides from note to note. This is ideal for producing guitar-like slide or note-bending effects. Range Track Range • Velocity Range Determines the intensity of the crescendo or decrescendo. The velocity values of the notes in the specified range are gradually increased or decreased starting at the first note in the range. The velocity of the last note in the range becomes the original velocity of the note plus the Velocity Range value. If the resultant velocity is outside the 1 ~ 127 range it is set to 1 or 127 accordingly. Settings greater than 0 produce a crescendo, and settings less than 0 produce a decrescendo. A setting of 0 produces no effect. ❏ Settings -127 ~ +127 ● [F2]-05 Transpose Determines the length of the glide. Higher values produce a longer glide between notes. ❏ Settings 000~100 • PB Range (Pitch Bend Range) Determines the maximum pitch bend range to be applied by the glide job (in semitones). ❏ Settings 01~24 ● [F2]-07 Create Roll Transpose lets you change the key or pitch of the notes in the specified range. Track • GlideTime Range This Job creates a series of repeated notes (like a drum roll) in the specified range with the specified continuous changes in clock step and velocity. This is ideal for creating fast staccato rolls and special stuttering effects. Track Range Reference Song mode • Note Determines the range of note pitches over which the job is applied.You can set this parameter by pressing the desired key while holding the [INFORMATION] button. ❏ Settings C-2 ~ G8 • Transpose Transposes notes in the specified range (in semitones). A setting of +12 transposes up one octave, while a setting of -12 transposes down an octave. A setting of 0 produces no change. ❏ Settings -127 ~ +127 196 MOTIF Reference Roll Step Roll Velocity • Roll Step Determines the size of the step (i.e. the number of clocks) between each note in the roll. Both the starting and ending clock values can be specified, making it easy to create rolls in which the step size varies from note to note. ❏ Settings Start Step 001~999 End Step 001~999 Song Job mode ● [F2]-08 Sort Chord Roll Step (Clock) In this example, the space between individual notes gradually becomes shorter over the time of the roll. Start Step EndStep This job sorts chord events (simultaneous note events) by order of pitch. The sort affects the order of the notes in the Event List display (page 190), but does not change the timing of the notes. When used to pre-process chords before using the Chord Separate job (described later), Chord Sort can be used to simulate the “stroke” or strumming sound of guitars and similar instruments. measure 004:1:240 006:3:120 Track Range Roll Step (Clock) In this example, the space between individual notes gradually becomes longer over the time of the roll. Start Step EndStep • Type 006:3:120 • Roll Velocity Determines the velocity of the notes in the roll. Both the starting and ending velocity values can be specified, making it easy to create rolls in which the velocity increases or decreases. This lets you create rolls that gradually increase or decrease in volume (crescendo/decrescendo) — a technique often used in dance music. ❏ Settings Start Velo 001~127 End Velo 001~127 Roll Velocity Start Velo up The notes are sorted in ascending order. down The notes are sorted in descending order. up&down Sorts chord notes on downbeats in ascending order and chord notes on up beats in descending order, based on the Grid setting, below. down&up Sorts chord notes on downbeats in descending order and chord notes on up beats in ascending order. • Grid Roll Crescendo Determines the type of note that will serve as the basis for the Chord Sort job. ❏ Settings EndVelo measure 004:1:240 Determines how the chord note data is sorted. ❏ Settings up, down, up&down, down&up 006:3:120 Roll Velocity Roll Crescendo Start Velo 32nd note 16th note triplet 16th note 8th note triplet 8th note 1/4 note triplet 1/4 note 16th note + 16th note triplet 8th note + 8th note triplet EndVelo 004:1:240 006:3:120 measure • Note Determines the specific note (or instrument in Drum voices) for the roll effect. ❏ Settings C-2~G8 n You can also set the Note directly from the Keyboard, by holding down the [INFORMATION] button and pressing the desired key. See “Basic Operation” on page 75. MOTIF Reference 197 Reference Song mode 004:1:240 measure Song Job mode ● [F2]-09 Separate Chord Track Range This job slightly separates notes in chords within the specified range, inserting a specified number of clocks between each note. Use this job after the Chord Sort Job above, to create guitar-like upstroke or downstroke effects. Track Range Original data Quarter-note length Clock=000:1:000 Direction=Delay Clock=000:1:000 Direction=Advance • Clock Determines the number of clock cycles inserted between adjacent chord notes. ❏ Settings 000 ~999 n Note that there are 480 clock cycles per quarter note. n It is not possible to separate chords so that they cross the next measure boundary or chord. • Clock Determines the amount by which the data will be delayed or advanced in measures, beats, and clocks. ❏ Settings 000:0:000 ~ 999:16:479 • Direction Determines the direction in which the data will be shifted. ADVANCE moves the data toward the beginning of the sequence, while DELAY shifts the data toward the end of the sequence. ❏ Settings Advance, Delay [F3] Event Job Press the [F3] button in step #3 of the Basic Procedure on page 193 so that the Event Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job. ● [F3]-02 Copy Event This Job copies all data from a specified source range to a specified destination location. Source track and range in measures, beats, and clocks Reference Song mode Destination track and range in measures, beats, and clocks The following explanations apply to step #6 of the Basic Procedure on page 193. n Before executing the Event Job, make sure that you specify the track and range (measure : beat : clock) to which the job is applied. Please note that the track to be specified varies depending on the Job. ● [F3]-01 Shift Clock This Job shifts all data events in the specified range forward or backward by the specified number of clocks. One useful application for this would be to change the rhythmic feel of a drum track or bass track, subtly shifting it in time relative to the other tracks — to create a rushed feel or a laid-back feel. 198 MOTIF Reference • Source track and range, Destination track and range ❏ Settings Track Range 01~16, tmp (tempo), scn (scene), all 001:1:000 ~ 999:16:479 • NumberOfTimes Determines the number of times the data is copied. ❏ Settings 01 ~ 99 When Copy Event is executed, any data already existing at the Destination location will be overwritten. Song Job mode ● [F3]-03 Erase Event ❏ Settings This Job clears all specified events from the specified range, effectively producing a segment of silence. Track Range Note (Note : Note number), PC (Program Change), PB (Pitch Bend), CC: 000-127, all (Control Change, Control Change number), CAT (Channel Aftertouch), PAT (Polyphonic Aftertouch), EXC (System Exclusive) • Destination track ❏ Settings 01~16 ● [F3]-05 Create Continuous Data Determines the event type to be erased. All events are cleared when ALL is selected. Individual control change numbers can be specified when erasing control change events. ❏ Settings When TR is set to 01~16: Note (Note events), PC (Program Change), PB (Pitch Bend), CC: 000-127, all (Control Change, Control Change number), CAT (Channel Aftertouch), PAT (Polyphonic Aftertouch), EXC (System Exclusive), All (all events) When TR is set to “tmp” (Tempo): tmp (tempo) When TR is set to “scn” (Scene): Scene Memory (Scene change information), Track Mute (Track mute setting change information) n Keep in mind that applying this Job to a track with sample voices erases the events that trigger the samples, but it does not erase the actual samples themselves. ● [F3]-04 Extract Event This Job moves all instances of specified event data from a specified range of a track to the same range in a different track. One useful application for this would be to extract all instances of a certain note out of a track, and send them to a new track for separate editing. This Job creates continuous pitch bend or control change data over the specified range. Track Range • Event Type Determines the event type to be created. ❏ Settings PB (Pitch Bend), CC: 000-127, all (Control Change, Control Change number), CAT (Channel Aftertouch), EXC (System Exclusive), tmp (Tempo) • Data Range Determines the lower and upper limits for the data range to be created. The left value is the lower limit, and the right value is the upper limit. ❏ Settings When Event Type is set to PB -8192~+8191 When Event Type is set to tmp:1.0~300.0 When Event Type is set to other :0~127 • Clock Determines the number of clocks to be inserted between each created event. ❏ Settings 001~999 • Curve Track and range in which data is extracted Determines the “curve” of the continuous data. Refer to the graph below for approximate curve shapes. ❏ Settings -16 ~+16 Curve=+16 Destination track • Track and range in which data is extracted ❏ Settings Track 01~16 Range 001:1:000~999:16:479 Curve=0((linear) Curve=-16 End point Start point This distance specified by Clock • Event Type Selects the event type to be extracted. Specific note and control change numbers can also be specified as required. MOTIF Reference 199 Reference Song mode • Event Type Song Job mode • Event Type • Number Of Times Determines the number of times the data creation is to be repeated. For example, if data is created in the range M001:1:000 ~ M003:1:000 and this parameter is set to 03, the same data will be created at M003:1:000 ~ M005:1:000 and M005:1:000 ~ M007:1:000. This Job lets you to insert continuous volume or filter cutoff variations to create tremolo or wow effects. ❏ Settings 01~99 ● [F3]-06 Thin Out This Job thins out the specified type of continuous data in the specified range — allowing you to free up memory space for other data or further recording. Track Range Determines the event type to be modified. ❏ Settings PB (Pitch Bend), CC: 000-127, all (Control Change, Control Change number), CAT (Channel Aftertouch), PAT (Polyphonic Aftertouch), tmp (Tempo) • Set All Sets all target events to the same fixed value. When set to “OFF” the Set All parameter has no effect. When set to a value other than “OFF” the Rate and Offset parameters are unavailable and appear as “***” on the display. ❏ Settings OFF, 000 ~127 (-8192 ~ +8191 for pitch bend, 0.1 ~ 300.0 for tempo) • Rate Determines the percentage by which the target events will be shifted from their original values. When the Set All parameter is not “OFF” this parameter appears as “***” and cannot be changed. ❏ Settings 000% ~ 200%, *** • Offset Adds a fixed value to the Rate-adjusted event values. When the Set All parameter is not “OFF” this parameter appears as “***” and cannot be changed. ❏ Settings -127~127, *** (-8192 ~ +8191 for pitch bend, ***) • Event Type Determines the event type to be thinned. ❏ Settings PB (Pitch Bend), CC: 000-127, all (Control Change, Control Change number), CAT (Channel Aftertouch), PAT (Polyphonic Aftertouch) n The Thin Out Job will not work on continuous data that has a clock interval of greater than 60 clocks per event. ● [F3]-08 Beat Stretch This Job performs time-expansion or compression over the selected range. Keep in mind that this operation affects all event timing, note step times, and note gate times. Reference Song mode Track Range ● [F3]-07 Modify Control Data This Job lets you change the values of a specified type of control change data — pitch bend, control change, aftertouch, etc. — in the specified range. Data changes are calculated as follows: Modified value = (original value x Rate) + Offset. The modified value cannot exceed the minimum/ maximum limits of the parameter. Any result lower than the minimum is set to the minimum; any result higher than the maximum is set to the maximum. Track 200 MOTIF Reference Range • Rate Determines the amount of time expansion or compression as a percentage. Settings higher than 100% produce expansion, and settings below 100% produce compression. ❏ Settings 025%~400% n Only MIDI data is affected by this job. Sample voices are not expanded or compressed. However, for samples recorded using the Slice+Seq feature, the Beat Stretch job expands or compresses the timing of the note data, step times, and gate times that control playback of the sliced samples. The sample voice itself is not affected. Song Job mode [F4] Measure Job Press the [F4] button in step #3 of the Basic Procedure on page 193 so that the Measure Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job. n If the insert point is set after the last measure containing data, only the meter data at that point is set without actually inserting the measures. ● [F4]-02 Delete Measure This Job deletes the specified measures. Measure and meter data following the deleted measures are moved backward accordingly. The following explanations apply to step #6 of the Basic Procedure on page 193. Delete Range Original data ● [F4]-01 Create Measure 001 ~ 004 005 This Job creates empty measures at the specified location in all tracks. ~ 012 013 ~ 024 Measures M005 ~ M012 deleted 001 ~ 004 005 ~ 016 • Delete Range ❏ Settings n Keep in mind that applying this Job to a range of measures with sample voices erases the events that trigger the samples, but it does not erase the actual samples themselves. Number of measures to be inserted Meter (time signature) of measures to be inserted 001~999 Insertion point (measure number) Original data 005 ~ 016 [F5] Track Job 8 measures inserted at measure 5 001~ 004 005 ~ 012 013 ~ 024 The inserted 8 measures Press the [F5] button in step #3 of the Basic Procedure on page 193 so that the Track Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job. • Meter of measures to be inserted Determines the meter or time signature of the measures to be created. You may find it convenient to use this parameter when you need to create a song that incorporates meter changes. ❏ Settings 1/16~16/16, 1/8~16/8, 1/4~8/4 • Insertion point (Measure number) Determines the insert point (measure number) at which the newly created blank measures will be inserted. ❏ Settings 001~999 The following explanations apply to step #6 of the Basic Procedure on page 193. • Number of measures to be inserted Determines the number of empty measures to be created and inserted. ❏ Settings 01~99 n When empty measures are inserted, measure and meter data following the insert point are moved forward accordingly. MOTIF Reference 201 Reference Song mode 001~ 004 Song Job mode ● [F5]-01 Copy Track • Target tracks for the Exchange operation This Job copies all data from a specified source track to the specified destination track. Source Song and Track Destination Song and Track Data Type to be copied • Source Song and Track ❏ Settings Song 01~64 Track 01~16 • Destination Song and Track ❏ Settings ❏ Settings 01~16 • Data Type to be exchanged Determines the type(s) of data to be exchanged. Select the desired type by checkmarking the appropriate box. ❏ Settings Seq Event (all events in the track), Grid Groove (for the selected track), Mix Part Param (all Mixing Part parameters) ● [F5]-03 Mix Track This job mixes all data from two selected tracks (“A” and “B”), and places the result in track B. One useful application for this would be to free up the data in track A, letting you record new data to it. Track a Track b Song 01~64 Track 01~16 • Data Type to be copied Determines the type(s) of data to be copied. Select the desired type by checkmarking the appropriate box. ❏ Settings Seq Event (all events in the track), Grid Groove (for the selected track), Mix Part Param (all Mixing Part parameters), Sample (all samples used by the track) The copy operation overwrites any data previously existing on the destination track. Track A Track B Mix Track Track B • Target tracks for the Mix operation ❏ Settings 01~16 Reference Song mode n Keep in mind that applying this Job to tracks with sample voices does not mix the sample voices. Undo/Redo cannot be used to undo/redo a sample voice copy operation. n When there is no memory available in the destination song for sample voice data, the alert message will appear on the display and the sample voice data will not be copied. If this occurs, use Sample Job 02 “Delete” to delete any unused samples, then try again. ● [F5]-04 Clear Track This Job deletes all data of the selected type from the selected track, or from all tracks. Track for which data will be cleared ● [F5]-02 Exchange Track This Job exchanges or “swaps” the specified type of data between two specified tracks in the current song. Target tracks for the Exchange operation Data type to be cleared • Track for which data will be cleared ❏ Settings 01~16, tmp(tempo), scn(scene), all • Data type to be cleared Data Type to be exchanged 202 MOTIF Reference Determines the type(s) of data to be cleared. Select the desired type by checkmarking the appropriate box. ❏ Settings Seq Event (all events in the track), Grid Groove (for the selected track), Mix Part Param (all Mixing Part parameters), Sample (all samples used by the track) Song Job mode Source Song track and range Undo/Redo cannot be used to undo/redo a Clear operation for tracks that contain sample data. ● [F5]-05 Normalize Play Effect This job rewrites the data in the selected track so that it incorporates the current Grid Groove settings. Destination Arpeggio number and its track • Source Song track and range ❏ Settings Track 01~16 Range 000~999 • Destination Arpeggio number and its track This parameter allows you also to name a Destination Arpeggio. For details about the naming function, see “Basic Operation” on page 75. ❏ Settings Track 1~4 Determines the song track to which the Job is applied. ❏ Settings 01~16, all ● [F5]-06 Divide Drum Track Separates the note events in a drum performance assigned to a specified track, and places the notes corresponding to different drum instruments in separate tracks (tracks 1 through 8). One useful application for this would be to use Quantize (page 194) and Shift Clock (page 198) to independently adjust the timing of different drum parts in the rhythm, to tighten up the timing and yet create a more natural sounding feel. • Fixed Note Mode When this box is checkmarked, the resulting Arpeggio (first 16 notes) is played back no matter which key is played. Checkmark this when creating rhythm Arpeggios containing only drum/percussion sounds. [F6] Song Job Press the [F6] button in step #3 of the Basic Procedure on page 193 so that the Song Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job. The following explanations apply to step #6 of the Basic Procedure on page 193. • TR (Track) Determines the song track to which the job is applied. ❏ Settings 01~16 n In order to use this Job, tracks 1 - 8 must be empty. If there aren’t enough empty tracks, an error message appears. If this happens, use the Clear Track Job (page 202) to delete tracks 1 - 8, then try the Job again. ● [F6]-01 Copy Song This Job copies all data from a selected source song to a selected destination song. Source Song ● [F5]-07 Put Phrase To ARP Basic Structure (page 56) This Job copies data in the specified measures of a track for creating Arpeggio data. Note that Arpeggio data can be made up of data from four separate tracks; however, the Job must be performed separately on each track, one by one. Destination Song ❏ Settings 01~64 MOTIF Reference 203 Reference Song mode • TR (Track) Song Job mode • Source song ❏ Settings ● [F6]-04 Song Name 01~64 Basic Operation (page 75) • Destination Song This Job lets you assign a name to the selected song. ❏ Settings 01~64 ● [F6]-02 Split Song To Pattern This Job allows you to copy a part of the current song — all 16 tracks over a specific range of measures — to a specific section and style, letting you use song data to create a pattern. Source song range (in measures) Destination pattern (style and section) • Source song range (in measures) ❏ Settings 001~999 • Destination pattern (style and section) ❏ Settings Style 01~64 Section A~H • Copy Sample Reference Song mode When this box is checkmarked, sample voices assigned to each track in the source song are copied to the split destination style as sample voices and are assigned to the corresponding tracks in that pattern. This checkbox has no effect if no sample voices are assigned to the tracks in the source song. This Job overwrites any data already existing in the destination pattern. ● [F6]-03 Clear Song This job deletes all data from the selected song or all songs. Song(s) from which data is to be cleared • Song(s) from which data is to be cleared ❏ Settings 01~64, all 204 MOTIF Reference See “Basic Operation” on page 75. Song Mixing mode Song Mixing mode Song Mixing mode (Simple Mixer functions) In this mode, you can set up and save mixing data for your songs, and set various parameters for the tone generator parts — including the desired voice, as well as its level, pan, EQ, effect and other settings. How the Song Mixing mode affects the tone generator parts, and how it is affected by other elements is made clear by the following diagram. n The parameters that have the same name in the Song Mixing mode and in the Song Mixing Edit mode have the same functions and settings. Sequencer block Song Data Tone Generator block Playback of song data affects the Song Mixing settings. MIDI data from external devices affects the Song Mixing settings. Song Mixing Tone Generator Editing in the Song Mixing mode determines the Song Mixing settings. Song Mixing parameters are not actually part of the song data, but rather are settings for the tone generator, as it is played back by the song data. As such, the Song Mixing parameter settings are not recorded to the song tracks. ◆ Basic Procedure 1 Inmixed. the Song Play mode, select a User Song to be 2 Press the [MIXING] button to enter the Song Mixing mode. (The indicator lights.) 3 Select a display for the parts you wish to mix by using the [F6] button. Internal Tone Generator Parts 1~16 [F6] Multi Part Plug-in Parts 17~32 (When the Multi Part Plug-in board has been installed) ◆ The [ ] Indicator If you alter any parameters in the Song Mixing mode, the [ ] indicator will appear in the top left of the display. This indicates that the current Song Mixing settings have has been modified but not yet stored. [F6] Single Part Plug-in Parts 1~3 When the Single Part Plug-in board has been installed) Edit indicator [F6] n Please note that the Muti-Part Plug-in Part (17~32) settings apply not to one individual song but to all 64 songs. 4 Select the menu you wish to edit by pressing the [F1] - [F5] buttons, then edit parameters in each The [ ] indicator will disappear when you select another song and all edited data will be lost. It is a good idea to store the edited song data in the Song Mixing Store mode (page 214). Even if you lose the Song Mixing edited data, you can restore it by using the Edit Recall function (page 158). n As shown above, the Song Mixing settings can be affected or overridden by song playback and external MIDI data. Keep in mind that because of this, the [ ] indicator may appear in the display — even though you’ve made no changes or edits to the Song Mixing settings yourself. display. n If you wish to edit more detailed Mixing parameters, you can enter the Song Mixing Edit mode by pressing the [EDIT] button. For details, refer to “Song Mixing Edit mode” on page 207. 5 Store the settings edited in step #4 to the User Memory as required. MOTIF Reference 205 Reference Song mode n Even if the selected song has no sequence data, this Mixing data can be stored to User memory as song data. Playing back such song data transmits the mixing setup to the external MIDI instrument. Song Mixing mode 6 Press the [SONG] button to exit from the Song Mixing mode and return to the Song Play mode. • For detailed instructions on steps #4, see the following explanations. • For details on step #5, refer to “Song Mixing Store mode” on page 214. ● [F3] VOICE Basic Structure (page 43) · Reference (page 124) From this display you can select a voice for each part. ● [F1] VOL/PAN From this display you can set the Pan and Volume for each part (track). Sample voices can also be selected (page 52). n You can select a part by moving the cursor or by using the NUMBER buttons while the [TRACK SELECT] indicator is on (page 181). n The Category Search function can also be used to select voices here (with the exception of the Multipart Plug-in parts 17 - 32). n You can select a part by moving the cursor or by using the NUMBER buttons while the [TRACK SELECT] indicator is on (page 181). • PAN Determines the stereo pan position for each part. ❏ Settings L64 (far left)~C (center)~R63 (far right) ● [F4] SEND (Effect Send) Basic Structure (page 39) From this display you can make basic effect settings for each track — the Reverb, Chorus and Variation Send levels, as well as the Dry Level. • VOLUME Determines the volume for each part. ❏ Settings 0~127 n You can also adjust the Volume by using the Control Sliders. See page 48 for details. Reference Song mode ❏ Settings 0~127 ● [F2] AD From this display you can set various mixing parameters for the A/D part, input via the A/D INPUT jack or the mLAN terminal (when the optional mLAN8E has been installed). ● [F5] TEMPLATE This convenient function lets you store your mixing settings as a template — allowing you to easily set up similar mixes by calling up the proper template, then tweaking it as needed. Templates are part of the System data (page 63) in the Utility mode and not as data for each song. Same as in the Performance Play mode. See page 160. Template Number Template Name Pressing the [SF4] button lets you call up the template selected at left. Press the [SF5] button lets your save the current setting to the template selected at left. n Since the Song Mixing templates are stored as System data (page 64) in the SRAM, the data is maintained even when the power is turned off. 206 MOTIF Reference Song Mixing mode • Template number Determines the template number. Up to 16 templates can be created. ❏ Settings 1~16 • Template name ◆ Common edit and Part edit Use Common Edit to edit the settings common to all parts. There are two types of Song Mixing displays: those for Common Edit, and those for editing individual parts. Determines the name of the template. For details about naming, see “Basic Operation” on page 75. Part 1 Part 2 Song Mixing Edit mode (Detailed Mixer functions) Part 3 Part 16 COMMON Plug-in Part 1 ◆ The Compare Function This convenient function lets you switch between the edited mixing setting and its original, unedited condition — allowing you to listen to the difference between the two and better hear how your edits affect the song. 1 In[COMPARE] the Song Mixing Edit mode, press the button so that its indicator flashes. Plug-in Part 2 Plug-in Part 3 Indicates a Common Edit display. Indicates a display for editing Part(s). The [ ] indicator is shown at the top of the display (in place of the [ ] indicator), and the original, unedited Song Mixing settings are restored for monitoring. EDIT 2 Press the [EDIT] button again to disable the “Compare” function and restore the settings for your edited Song. n While Compare is active, you cannot make Song Mixing edits. n Common Edit operations cannot be performed on the Multi-part Plug-in parts 17 - 32. ◆ Basic Procedure 1 Inmixed. the Song Play mode, select a User Song to be 2 Press the [MIXING] button to enter the Song Mixing mode. (The indicator lights.) 3 Press the [EDIT] button to enter the Song Mixing Edit mode. (The indicator lights.) 4 Select a part to be edited. • To edit parameters common to all parts, press the [DRUM KITS] button (which serves as a “COMMON” button here). DRUM KITS FAVORITES COMMON MOTIF Reference 207 Reference Song mode COMPARE Song Mixing mode • To edit parameters of the individual parts, select the desired part with the corresponding NUMBER button ([1] - [16]). You can select parts for the Plug-in board by using the [F6] button (as shown below). 1 2 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE NUMBER 9 10 11 SOLO Internal Tone Generator Parts 1~16 ■ Common edit ● [F1]-[SF1] Song Mixing Common General Master EQ Offset The Song Mixing parameters feature global EQ settings for all parts of the selected song (see “MEQ” , page 209). The settings made here in this display are applied as offsets to those MEQ settings (with the exception of “MID”). You can set the parameters below by using the four Knobs on the panel. [F6] Multi Part Plug-in Parts 17~32 (When the Multi Part Plug-in board has been installed) KNOB CONTROL FUNCTION [F6] Single Part Plug-in Parts 1~3 (When the Single Part Plug-in board has been installed) PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 KN 1 MEQ LOW ❏ Settings MEQLOWMID MEQ HI M ID KN 4 MEQ HIGH -64~+63 ● [F1]-[SF5] Song Mixing Common General Other [F6] Reference Song mode n Please note that the Muti-Part Plug-in Part (17~32) settings apply not to one individual song but to all 64 songs. From this display you can set the control functions for the Knobs. 5 Select the menu you wish to edit by pressing the [F1] - [F5] buttons and edit parameters in each display. 6 Store the settings edited in step #5 to the User Memory as required. 7 Press the [SONG] button to exit from the Song Mixing mode and return to the Song Play mode. • For detailed instructions on steps #5, see the following explanations. • For details on step #6, refer to “Song Mixing Store mode” on page 214. 208 MOTIF Reference • Knob Assign Determines the function for the assignable Knobs (1 - 4). Pressing the [KNOB CONTROL FUNCTION] button on the panel sets the desired function row, which is automatically stored to memory with the currently selected song. ❏ Settings pan, tone, assign, MEQofs Song Mixing mode ● [F3]-[SF2] Song Mixing Common Arpeggio Arpeggio Limit pan tone KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 KN 1 MEQ LOW MEQLOWMID MEQ HI M ID KN 4 MEQ HIGH assign meqofs • ChoCtrl (Chorus Control) Determines the depth of the Chorus effect, as controlled by the Knob assigned to Chorus Send. ❏ Settings -64~+63 Same as in Voice Normal Common Edit. See page 133. ● [F3]-[SF3] Song Mixing Common Arpeggio Play FX (Effect) • Assign A, Assign B, Assign 1, Assign 2 This lets you directly set and memorize the value for each Assign Knob (A, B, 1, and 2), from the Knob itself. Simply tweak the knob to the desired setting. ❏ Settings -64~+63 Same as in Voice Normal Common Edit. See page 133. From this display you can apply five-band equalization to all parts of the selected song. Same as in Performance Common Edit. See page 165. ● [F3]-[SF1] Song Mixing Common Arpeggio Arpeggio type Basic Structure (page 55) The basic parameters (e.g., type) of the Arpeggio are provided in this display. When a User Arpeggio is selected, you can clear the selected Arpeggio data by using the [SF5] button. This appears only when User Arpeggio is selected. This is the same as in Voice Normal Common Edit (page 132), except that the Tempo setting is not available here, since the Arpeggio plays according to the song tempo. ● [F3]-[SF4] Song Mixing Common Arpeggio Output channel Same as in Performance Common Edit. See page 168. ● [F4] Song Mixing Common Controller Assign The controllers and knobs on the front panel can be used to change and adjust a variety of parameters for each song — in real time, and simultaneously. Same as in Performance Common Edit. See page 169. MOTIF Reference 209 Reference Song mode ● [F2] Song Mixing Common MEQ (Master Equalizer) Song Mixing mode ● [F6]-[SF1] Song Mixing Common Effect Connection Basic Structure (page 41) This display gives you comprehensive control over the effect connections. • Mono/Poly Determines whether the voice for the selected part is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes). ❏ Settings Mono, Poly n This parameter is not available for the part to which the Drum Voice is assigned. • ArpeggioSw (Arpeggio Switch) Determines whether Arpeggio is on or off for the selected part. ❏ Settings on, off Same as in Performance Common Edit. See page 169. ● [F6]-[SF2], [SF3],[SF4],[SF5] Common Effect Parameter Plug-in Insertion, Reverb, Chorus, Variation n ArpeggioSw is not available for the Multi Part Plug-in Parts 17~32. • ReceiveCh (Receive Channel) Determines the MIDI receive channel for the selected part. Since MIDI data may be coming from many channels at once, you should set this to match the particular channel over which the desired controlling data is being sent. ❏ Settings 01~16, off Basic Structure (page 39) The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet. ● [F1]-[SF3] Song Mixing Part Voice Limit ■ Part Edit n Please note that the Muti-Part Plug-in Part (17~32) settings apply not to one individual song but to all 64 songs. ● [F1]-[SF1] Song Mixing Part Voice Same as in Performance Part Edit. See page 170. ● [F1]-[SF4] Song Mixing Part Voice Portamento Reference Song mode From this display you can select the voice for each part. When the cursor is located at the Bank parameter, you can directly select a voice by using the appropriate BANK, GROUP and NUMBER buttons on the panel (as long as the [TRACK SELECT] indicator is off). (pages 124~125) Same as in Performance Part Edit. See page 171. n The Mode setting is not available for Plug-in voice parts. ● [F1]-[SF5] Song Mixing Part Voice Other ● [F1]-[SF2] Song Mixing Part Voice Play Mode Same as in Performance Part Edit. See page 171. n For all Plug-in voice parts, Pitch Bend Upper and Lower become a single parameter: PB Range. Upper and Lower values cannot be set independently for Plug-in parts. (See page 171.) 210 MOTIF Reference Song Mixing mode ● [F2]-[SF1] Song Mixing Part Output Volume/Pan ● [F4]-[SF2] Song Mixing Part Tone Filter Basic Structure (page 46) From this display you can set various Filter related settings, to change the tonal qualities of the selected part’s voice. Same as in Performance Part Edit. See page 172. n The Voice Pan setting is not available for Plug-in voice parts. Same as in Performance Part Edit. See page 173. ● [F2]-[SF2] Song Mixing Part Output Effect Send n The FEG Depth setting is not available for Plug-in voice parts. ● [F4]-[SF3] Song Mixing Part Tone FEG Basic Structure (page 47) Same as in Performance Part Edit. See page 172. From this display you can set the FEG (Filter Envelope Generator) parameters for each part. The following parameters offset the same parameters in the Voice (Element) Edit mode (page 143). ● [F3] Song Mixing Part Output Select From this display you can determine the specific jack or terminal to which the selected part is to be output. n The FEG setting is not available for Plug-in voice parts or parts to which Drum voices have been assigned. ● [F4]-[SF4] Song Mixing Part Tone AEG Same as in Performance Part Edit. See page 173. ● [F4]-[SF1] Song Mixing Part Tone Tune Basic Structure (page 47) From this display you can set AEG (Amplitude Envelope Generator) parameters for each part. The following parameters offset the same parameters in the Voice (Element) Edit mode (page 145). Same as in Performance Part Edit. See page 173. Same as in Performance Part Edit. See page 174. n The Sustain setting is not available for Plug-in voice parts or parts to which Drum voices have been assigned. n The Release setting is not available for parts to which Drum voices have been assigned. MOTIF Reference 211 Reference Song mode Same as in Performance Part Edit. See page 173. Song Mixing Job mode ● [F5] Song Mixing Part Receive Switch From this display you can set how each individual part responds to various MIDI data, such as Control Change and Program Change messages. When the relevant parameter is set to “on,” the corresponding part responds to the appropriate MIDI data. Note that two different display types (below) are provided. • Display showing four parts This display type shows the Receive Switch status for four parts at a time. Set the desired part on or off, for the corresponding MIDI data type. To view and edit another set of four parts, press the appropriate [NUMBER] button, [1] to [16]. Keep in mind that since all the available parameters cannot be simultaneously displayed, you will need to use the cursor controls to scroll the display in order to see and set the other parameters. • Display showing all parameters for one part This display type shows all of the Receive Switch settings for a single selected part. Set the desired MIDI data type on or off for the selected part. To select other parts, use the NUMBER [1] - [16] buttons (making sure that the [TRACK SELECT] button is on). The two display types are linked and feature the same settings, only in different formats. Use the type you feel most comfortable with. Song Mixing Job mode ◆ Basic Procedure 1 Inexecute the Song Play mode, select a Song you wish to the Job on. 2 Press the [MIXING] button to enter the Song Mixing mode. 3 Press the [JOB] button to enter the Song Mixing Job mode. 4 Select the desired Job menu by pressing the appropriate button, [F1] - [F5]. 5 Set the relevant Job parameters. 6 Press the [ENTER] button. (The display prompts you for confirmation.) 7 Press the [INC/YES] button to execute the Job. After the Job has been completed, a “Completed” Reference Song mode message appears and operation returns to the original display. [SF5] button n To cancel the Job, press the [DEC/NO] button. For Jobs that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data. 8 Press the [MIXING] button to exit from Song Mixing Job mode and return to Song Mixing mode. • For detailed instructions on steps #3 - #5, see the explanations below. ● [F1] Initialize This function lets you reset (initialize) all Song Mixing parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each part, and so on — very useful when creating a completely new Song Mixing program from scratch. 212 MOTIF Reference Song Mixing Job mode • Data type of Destination song (current selected song) Set the Part of the destination song. ❏ Data type Part 1~32, Plug 1~3, Arp, Effect (Reverb, Chorus) ❏ Type of parameter to be initialized ALL All settings for the selected Song Mixing are initialized. Common Common parameter settings for the selected Song Mixing program are initialized. Part 1~16, PLG 1~3 Part parameter settings for the selected Song Mixing program are initialized. n If you choose Arp (Arpeggio) or Effect, the Arpeggio data or Effect settings for the Voice assigned to the source Part will be copied. ● [F4] Bulk Dump This function lets you send all your edited parameter settings for the currently selected Song Mixing program to a computer or another MIDI device for data archiving. n You must set the correct MIDI Device Number in order to execute a Bulk Dump. For details, see page 258. ● [F2] Edit Recall ● [F3] Copy From this display you can copy part parameter or effect settings from any Song Mixing program to the one you are editing. This would come in handy when you want to use some settings from another program. Source song ● [F5] Performance Copy This convenient operation lets you copy certain settings of the four parts in a performance to the Song Mixing program currently being edited. This would come in handy when a certain performance has settings that you want to use in your Song Mixing program. Use this Job to simply copy the settings you need. The MIDI receive channel settings are set to match the basic channel settings (page 260). When the basic channel is set to “omni,” the receive channel here is set to 1. To select a group of parameters for copying, checkmark the appropriate box in the display. Destination song (current selected song) • Source song Select a song and Mixing data type to be copied. ❏ Data type Part 1~32, PLG 1~3 MOTIF Reference 213 Reference Song mode If you are editing a Song Mixing program and select a different program without storing your edited one, all the edits you’ve made will be erased. If this happens, you can use Edit Recall to restore the Song Mixing program with your latest edits intact. Song Mixing Store mode Song Mixing Store mode Basic Structure (page 63) This function lets you store your edited Song Mixing program to User memory. When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to a memory card or SCSI device. ◆ Basic Procedure 1 After editing the Song Mixing, press the [STORE] button to enter the Song Mixing Store mode. 2 Press the [ENTER] button. (The display prompts you for confirmation.) 3 To execute the Store operation, press the [INC/ YES] button. After the Song Mixing program has been stored, a “Completed” message appears and operation returns to the original display. n To cancel the Store operation, press the [DEC/NO] button. Reference Song mode For Store operations that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data. n The stored settings are recalled automatically when the corresponding song is selected. 214 MOTIF Reference Function Tree Pattern Mode Basic Structure (page 51) Function Tree This section is devoted to the Pattern mode. To see how the Pattern mode relates to the entire structure of the MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Pattern modes — giving you a quick, easy-to-understand overview of the patternrelated functions of the MOTIF. Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations. [INFORMATION] PATTERN INFORMATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276 [PATTERN] PATTERN PLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 217 [F1] PATTERN PLAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 217 [F2] PATTERN GRID GROOVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 218 [F3] PATTERN TRACK OUTPUT CHANNEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 218 [F4] PATTERN PATCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 219 [SF4] CLEAR PHRASE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 219 [SF5] COPY PHRASE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 219 [F5] TRACK VOICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 218 [F6] PATTERN CHAIN PLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 219 [EDIT] PATTERN CHAIN EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220 [SF1] INSERT MEASURE. . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220 [SF2] DELETE MEASURE . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220 [SF3] COPY EVENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220 [SF4] CONVERT TO SONG . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220 [SF5] TRACK SELECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220 [REC] PATTERN CHAIN RECORD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 220 [REC] PATTERN RECORD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 221 PATTERN REC SETUP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 222 [F1] SETUP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 222 [F2] VOICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 223 [CATEGORY] VOICE CATEGORY SEARCH . . . . . . . . . . . . . P. 223 [F3] ARP. . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 223 [PLAY] PATTERN RECORDING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 223 [EDIT] PATTERN EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224 [F1] CHANGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224 [F5] INSERT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224 [F6] DELETE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224 [F2] VIEW FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224 [F5] CLEAR ALL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224 [F6] SET ALL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 224 [JOB] PATTERN JOB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 225 [F1] UNDO/REDO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 225 [F2] NOTE JOB LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 225 QUANTIZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 225 MODIFY VELOCITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226 MODIFY GATE TIME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226 CRESCENDO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226 TRANSPOSE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226 GLIDE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226 CREATE ROLL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226 SORT CHORD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226 SEPARATE CHORD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 226 [F3] EVENT JOB LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227 SHIFT CLOCK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227 COPY EVENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227 ERASE EVENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227 EXTRACT EVENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227 CREATE CONTINUOUS DATA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227 THIN OUT .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 227 MODIFY CONTROL DATA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228 BEAT STRETCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228 [F4] PHRASE JOB LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228 COPY PHRASE . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228 EXCHANGE PHRASE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228 MIX PHRASE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 228 APPEND PHRASE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 229 SPLIT PHRASE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 229 GET PHRASE FROM SONG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 229 PUT PHRASE TO SONG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 229 CLEAR PHRASE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230 PHRASE NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230 MOTIF Reference 215 Reference Pattern mode [PATTERN] Function Tree [SONG] [F5] TRACK JOB LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230 COPY TRACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230 EXCHANGE TRACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230 CLEAR TRACK. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230 NORMALIZE PLAY EFFECT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 230 DIVIDE DRUM TRACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231 [F6] PATTERN JOB LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231 COPY PATTERN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231 APPEND PATTERN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231 SPLIT PATTERN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 231 CLEAR PATTERN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 STYLE NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 Reference Pattern mode [MIXING] PATTERN MIXING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [INFORMATION] MIX INFORMATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [MIX] MIXING PART . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [F1] MIX VOLUME/PAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [F2] MIX AD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [F3] MIX VOICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [F4] EFFECT SEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [F5] MIX TEMPLATE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [EDIT] MIXING EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [COMMON] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [F1] COMMON GENERAL . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [SF1] MEQ OFFSET . . . . . . . . . . . . . . P. 232 [SF5] OTHER . . . . . . . . . . . . . . . . . . . P. 232 [F2] COMMON MASTER EQ . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [F3] COMMON ARPEGGIO . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [SF1] TYPE . . . . . . . . . . . . . . . . . . . . . P. 232 [SF2] LIMIT . . . . . . . . . . . . . . . . . . . . . P. 232 [SF3] PLAY FX . . . . . . . . . . . . . . . . . . P. 232 [SF4] OUTPUT CHANNEL . . . . . . . . . P. 232 [SF5] CLEAR USER ARPEGGIO . . . . P. 232 [F4] COMMON CONTROLLER ASSIGN . . . . . . . . . . . . . . . P. 232 CONTROLLER ASSIGN . . . . . . . . . . . P. 232 [F6] COMMON EFFECT . . . . . . . . . . . . . . . . . .. . . . . . . . . . . P. 232 [SF1] EFFECT CONNECT. . . . . . . . . . P. 232 [SF2] PLG-EF . . . . . . . . . . . . . . . . . . . P. 232 [SF3] VARIATION . . . . . . . . . . . . . . . . P. 232 [SF4] REVERB . . . . . . . . . . . . . . . . . . P. 232 [SF5] CHORUS . . . . . . . . . . . . . . . . . . P. 232 [PART SELECTION] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [F1] PART VOICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [SF1] VOICE . . . . . . . . . . . . . . . . . . . . P. 232 [SF2] PLYMODE . . . . . . . . . . . . . . . . . P. 232 [SF3] LIMIT . . . . . . . . . . . . . . . . . . . . . P. 232 [SF4] PORTAMENTO . . . . . . . . . . . . . P. 232 [SF5] OTHER . . . . . . . . . . . . . . . . . . . P. 232 [F2] PART OUTPUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [SF1] VOLUME/PAN . . . . . . . . . . . . . . P. 232 [SF2] EFFECT SEND . . . . . . . . . . . . . P. 232 [F3] PART OUTPUT SELECT . . . . . . . . . . . . . . . . . . . . . . . . P. 232 OUTPUT SELECT . . . . . . . . . . . . . . . . P. 232 [F4] PART TONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [SF1] TUNE . . . . . . . . . . . . . . . . . . . . P. 232 [SF2] FILTER . . . . . . . . . . . . . . . . . . . . P. 232 [SF3] FEG . . . . . . . . . . . . . . . . . . . . . . P. 232 [SF4] AEG . . . . . . . . . . . . . . . . . . . . . . P. 232 [F5] PART RECEIVE SWITCH . . . . . . . . . . . . . . . . . . . . . . . P. 232 [JOB] MIXING JOB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [F1] INITIALIZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [F2] EDIT RECALL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [F3] COPY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [F4] BULK DUMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [F5] COPY FROM PERFORMANCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 [STORE] MIX STORE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 232 216 MOTIF Reference Pattern Play mode Pattern Play mode Basic Structure (page 67) In this mode, you can select and play individual User patterns. 2 Select a style and its section. 3 Start/Stop pattern playback. n For details about patterns and their track and memory structure, see page 51. ◆ Basic Procedure Basic Structure (page 67) 1 Press the [PATTERN] button to enter the Pattern Play mode. (The indicator lights.) PATTERN Stop playback Start playback 4 Make necessary or desired settings (e.g., transpose, tempo, individual track on/off status, and so on) in the above display. 5 Select the menu you wish to edit by pressing the [F2] - [F6] buttons and edit the parameters in each Pattern track number and data status display. n Creating patterns is done with the Patch function, selected with the [F4] button. (See page 219.) No data has been recorded. (A Phrase has not been assigned.) MIDI sequence data has been recorded. (Indicates a MIDI track.) n The Pattern Chain function, selected with the [F6] button, lets create a song by chaining together several different patterns. (See page 219.) In addition to MIDI sequence data, the sample data has been recorded. (Indicates an sample track.) 6 Repeat steps #3 through #5 as desired. 7 Press any other mode button to exit from the Pattern Play mode. Tempo for the selected style ❒ Setting 010.0 ~ 300.0 Measure : Beat (for current playback location)/ Total length of the selected pattern Transpose setting (for all style data) Can be adjusted in semitones. For example, when a value of +12 is set, the pitch of all of the data becomes one octave higher. ❒ Settings -36 ~ +36 Currently selected pattern (style and section) Style number Style name Pattern track on/off status Section Style Selection The explanations here apply to step #2 of the Basic Procedure see above. The method for selecting a style is the same as that for selecting songs (page 179), as shown below. DRUM KITS PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 COMMON 1 Indicates muted track. Indicates soloed track (page 218). 2 DRUM / CHROMATIC PERCUSSION PERCUSSION CATEGORY SEARCH BANK SECTION GROUP SE MUSICAL FX COMBI 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE NUMBER 9 10 11 SOLO n The explanations here apply when these four button indicators are off. You can also select a style by moving the cursor to the style number location and using the [INC/YES] and [DEC/NO] buttons or the data dial. MOTIF Reference 217 Reference Pattern mode • For detailed instructions on steps #2, 3, 4, and 5, see the following explanations. Time signature for the selected style ❒ Setting 1/16 ~16/16, 1/8 ~16/8, 1/4 ~8/4 Pattern Play mode ● Style numbers and the corresponding Group/ Numbers Same as in the Song Play mode. See page 179. 1 2 3 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE NUMBER 9 10 11 Section Selection SOLO The explanations here apply to step #2 of the Basic Procedure on page 217. PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE A B C D E F G H SYN LEAD SYN PAD/ CHOIR SYN COMP SE MUSICAL FX COMBI DRUM / CHROMATIC PERCUSSION PERCUSSION CATEGORY SEARCH BANK SECTION GROUP 1 Press the [SECTION] button. (The indicator lights.) Pattern editing in the Pattern Play mode The explanations here apply to step #5 of the Basic Procedure on page 217. ● [F2] Pattern Play Groove Same as in the Song Play mode. See page 181. 2 Press any of the [PRE1]~[PLG3], [A]~[H] buttons to select a section from the 16 available sections Pattern track on/off — Solo and Mute The explanations here apply to step #4 of the Basic Procedure on page 217. Details are same as “Song track on/off — Solo and Mute” on page 180, as illustrated below. ● [F3] Pattern Play Output Channel Same as in the Song Play mode. See page 182. ● To mute a track 1 2 3 Reference Pattern mode 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE NUMBER 9 10 11 ● [F4] Pattern Play Patch SOLO Explained later. See page 219. ● To solo a track 1 2 3 ● [F5] Pattern Play Track Voice 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE ELEMENT/ PERF.PART / ZONE NUMBER 9 10 11 SOLO Pattern track selection The explanations here apply to step #4 of the Basic Procedure on page 217. In order to edit the Song data, you’ll need to select a track for editing. Details are same as “Song track selection” on page 181 as illustrated below. 218 MOTIF Reference Determines whether the program change data contained in the phrase data is effective or not. For most purposes, this should be set to “off.” For example, if a phrase has embedded voice changes (program change messages) but you don’t want the voice to change in the middle of the phrase, set this to “off.” Tracks that are set to “off” here automatically play back with the voice number assigned to the part. Pattern Play mode ● Measure : Beat (for current playback location) The buttons can be used to change the location (in measures/beats), even during playback. ● [SF4] Patch Clear n The Phrase Voice embedded in the Pattern phrase can be specified from the Voice display in the Pattern Record mode (page 223). ● [F6] Pattern Play Chain Play/Edit Explained later. See below. [F4] Patch Function Basic Structure (page 52) · Quick Start Guide (page 105) The explanations here apply to step #5 of the Basic Procedure on page 217. In the following display, you can assign a Preset phrase or a User phrase (recorded in the Pattern Record mode) to each track and create a pattern that contains up to 16 tracks. You can clear the Phrase assignment to the currently selected track by pressing the [SF4] button. As a result, the track becomes empty. ● [SF5] Phrase Data Copy The User phrases that can be assigned with the Patch function are limited to the ones contained in the currently selected pattern style. This function lets you copy phrases on other pattern styles to the selected one. Press the [SF5] button to call up the following display. After setting the parameters as needed, press the [ENTER] button to copy the phrase data. Source style number, phrase number Phrase name, Time Signature, Track number, Data status (page 217), and length of the Phrase assigned to the selected track Phrase bank : number Destination phrase and track of the current edited style. After setting, press the [ENTER] button to copy the phrase. [SF5] Phrase Data Copy [SF4] Patch Clear ● Track number, Data status, Phrase bank/ number For details about the Track number and Data status, see the illustration in step #1 of the Basic Procedure on page 217. The phrase bank and number can be selected via the data dial, [INC/YES] button, or [DEC/NO] button and assigned to the selected track. The assigned phrase name, its time signature and length are indicated at the top right of the display. n The Patch function allows you to use only User phrases recorded to a track of the currently selected style. If you wish to use User phrases recorded to tracks of other styles, use the Phrase Data Copy function, selected with [SF5] button. The copy operation overwrites any data previously existing in the destination phrase. [F6] Pattern Chain Basic Structure (page 52) · Quick Start Guide (page 108) The explanations here apply to step #5 of the Basic Procedure on page 217. Pattern Chain allows you to string several different Patterns (Style and Section) together to make a single Song. The created Pattern Chain data can then be converted into a Song. n For details about Pattern Chain and its track and memory structure, see page 54. ● Section Shows the current edited section. For details about how to change sections, refer to “Section selection” on page 218. MOTIF Reference 219 Reference Pattern mode Section Measure : Beat (for current playback location)/Total length of the selected pattern When this box is checkmarked, sample voices assigned to the source phrase are copied to the destination phrase as sample voices, and are assigne to the corresponding tracks in the selected pattern. Pattern Play mode ■ Creating Pattern Chains with Realtime Playback (Pattern Chain Recording) This function makes it possible to specify a sequence of patterns for pattern chain playback. Switching of styles/sections, track muting, scene/ mute changes, and tempo changes can all be recorded in real time. 1 In the Pattern Play mode, press the [F6] button to enter the Pattern Chain Play mode as shown below. Details about parameters in this display are same as in step #1 of the Basic Procedure on page 217. REC 5 Press the [■] button to stop recording. ■ Pattern Chain Editing 2 Press the [REC] button to enter the Pattern Chain Record mode. The indicator lights and the Record Setup Display appears. The Pattern Chain Edit mode makes it possible to edit the order of the patterns in a chain as well as inserting tempo, and scene/mute event data. Call up the desired display by following the instructions below and edit the events (Style/Section changes, Scene/ Mute changes, and Tempo changes) in each display. Pattern Chain Edit mode REC [PATTERN] button [EDIT] button Pattern Chain Edit mode Pattern Track Edit Reference Pattern mode 3 Set basic parameters for recording (e.g., Style number/Section, Recording Type, Track, Tempo and so on). [F4] button Scene Track Edit • The Recording Type, Time Signature and Tempo settings are same as in the Song Record mode. • To record a track, select the desired track from “TMP” (Tempo), “SCN” (Scene), and “PTN” (Pattern). For details about the Pattern Chain track structure, see page 54. 4 [F4] button Tempo Track Edit Press the [F] button to start recording and play the pattern as you like. • When a Pattern track (1 - 16) is selected, you can record style and section changes. • When the Tempo track is selected, you can record tempo changes. • When the Scene track is selected, you can record track muting settings. 220 MOTIF Reference [F4] button Pattern Record mode The methods for editing each event in the display above and for inserting/deleting events (by using the [F5]/[F6] buttons) are the same as in the Song Edit mode. See page 190. ● [F6]-[EDIT]-[F2] Copy Pressing the [SF3] button in the Pattern Chain Edit mode calls up the Copy display below, letting you copy all pattern chain events from a specified range of measures (source) to a destination location. Keep in mind that this overwrites any existing events at the destination. Source range Pattern Record mode Quick Start Guide (page 102) The MOTIF features a wealth of preset phrases in a variety of music genres. It also features comprehensive phrase recording functions, that let you create your own phrases and use them to build your own original patterns. n For details about recording methods, see page 53 . ◆ About the recording track When recording patterns, you’ll need to specify the track to be recorded — just as is done in Song recording. The operations differ depending on the specific phrase assignments, as described below. • If the preset phrase is assigned to the track... You cannot record. Even if you specify the track to which the preset phrase is assigned and try to record, an error message will appear. Destination range • If the user phrase is assigned to the track... • Source range, Destination range (Measure) The data of the user phrase assigned to the specified track is overwitten by recording. 001~999 • NumberOfTimes • If the phrase is not assigned to the track... Specifies the number of times the data is copied. ❏ Settings 01~99 This operation overwrites any events already existing at the destination. ● [F6]-[EDIT]-[F3] Convert This function converts the pattern chain data to song data (standard MIDI format) and places the results in the normal song tracks. Pressing the [SF4] button in the Pattern Chain Edit mode calls up the Convert display below. Specify the desired destination song and measure number to which the converted data is to be copied, then press the [SF5] button to execute. Recording is donw to an empty user phrase. The newly created phrase is automatically assigned to the recording track. ◆ Basic Procedure 1 In the Pattern Play mode, select a pattern (style and section) to be recorded. 2 Press the [REC] button to enter the Pattern Record mode. (The indicator lights.) The Pattern Record Setup display shown below appears. REC This operation overwrites any data already existing at the destination range. 3 Set basic parameters for recording (e.g., recording track, type, tempo, and so on). MOTIF Reference 221 Reference Pattern mode ❏ Settings Pattern Record mode n Please note that the time signature can be set in the Pattern Play display. See page 217. n The method for selecting the recording track is the same as in Pattern track selection (page 218). 4 Change the display by pressing the [F2] - [F3] buttons and set various parameters for recording. 5 Press the [F] button to start recording. • When any of the Realtime recording methods (any setting other than “step”) is selected in step #3, your keyboard playing and controller moves are automatically recorded. • When “step” is selected in step #3, compose your recording by entering each note individually. • For detailed instructions on steps #3 - #4, see the following explanations. • For details on steps #5 - #6, refer to “Quick Start Guide” on page 102. • For details on step #8, refer to “File mode” on page 266. n The following explanations apply to MIDI data recording (creating MIDI tracks). For instructions on recording audio data (creating sample tracks), see “Sampling mode” on page 233. Setting up before recording The explanations here apply to steps #3 - #4 of the Basic Procedure on page 221, page 222. ● [F1] Pattern Record Setup Basic Structure (page 51) REC When recording type is set to something other than “step”: Time signature (set in the Pattern Play display) To erase specific notes from the recording, simultaneously hold down the [F6] button and press the note you wish to delete. This is especially convenient when erasing specific instruments in a selected Drum voice. 6 After completing your performance (in Realtime recording) or completing step recording, press the Reference Pattern mode [■] button to stop recording. Tempo This lets you determine whether the Arpeggio playback data is recorded to the Pattern track or not. (Press the [F4] button.) When is indicated, the Arpeggio playback data is recorded to the Song track. This lets you turn the click sound (metronome) on/off for recording. (Press the [F5] button.) When is indicated, the click sounds. When recording type is set to “step”: 7 Press the [F] button to hear your newly recorded phrase. 8 Save the recorded phrase data to a memory card or a SCSI device connected to the MOTIF. Time signature Tempo (set in the Pattern Play display). • Type (Recording type) The recorded (edited) phrase data resides temporarily in DRAM (page 64). Because data contained in DRAM is lost when the power is turned off, you should always store any data residing in DRAM to a memory card or an external SCSI device before turning off the power. Determines the recording method. ❏ Settings: replace, overdub, step n Unlike in the Song Record mode, Punch recording is not available for pattern recording. • Loop Turns loop recording ON or OFF. When ON, the phrase will play repeatedly during real-time recording. This can be handy when recording drum parts, allowing you to add different instruments on each pass. When OFF recording stops after one pass through the phrase. ❏ Settings: on, off 222 MOTIF Reference Pattern Record mode • Quantize This convenient feature lets you automatically quantize the notes in real time, as you record. Quantize aligns the timing of note events to the nearest beat. This parameter determines whether real-time Quantize is on or not, and the resolution to which the notes will be aligned. ❏ Settings: off, 60 (32nd note), 80 (16th note triplet), 120 (16th note), 160 (8th note triplet), 240 (8th note), 320 (1/4 note triplet), 480 (1/4 note) Pattern Recording The explanations here apply to steps #5 - #6 of the Basic Procedure on page 222. ■ Realtime Recording See “Quick Start Guide” on page 103. • Event This parameter is available when the Recording Type is set to “step.” This lets you specify the event type to be entered. ❏ Settings: note, p.bend (pitch bend), CC#000~#119 (Control Change) • Tempo Determines the Pattern tempo. ❏ Settings: 001.0 ~300.0 ■ Step Recording If you press the [F] button in step #5 of the Basic Procedure on page 222 , the Event display appears and you can input individual events one by one. The method for inputting events is the same as in Step recording in the Song mode. See pages 183 ~ 186. ● [F2] Pattern Record Voice From this display you can set voice-related parameters for the selected track. The settings made here affect the tone generator parts whose MIDI receive channels match the MIDI transmit channel of the song track. The voice set here becomes the phrase voice (page 52). Reference Pattern mode Parameters are the same as in the Song Record mode. See page 188. ● [F3] Pattern Record Arpeggio From this display you can set various Arpeggiorelated parameters for the selected track. Determines whether Arpeggio playback data is recorded to the track or not. (Press the [F4] button.) Parameters are the same as in the Song Record mode. See page 189. MOTIF Reference 223 Pattern Edit mode Pattern Edit mode This mode gives you comprehensive, detailed controls for editing the MIDI events of each phrase of the recorded pattern. MIDI events are messages (such as note on/off, note number, program change number, etc.) that make up the data of a recorded pattern. ◆ Basic Procedure Basic Operation (page 70) 1 Into betheedited. Pattern Play mode, select a style and phrase 2 Press the [EDIT] button to enter the Pattern Edit mode. (The indicator lights.) The Pattern Event List display shown below appears. EDIT Measure number Events Beat Clock (480 clocks per quarter-note) 3 Revise, insert or delete the MIDI events as needed. If you find the display too cluttered, you can filter Reference Pattern mode out certain event types with the View Filter. Simply press the [F2] button and select the event types you want to be displayed. 4 After completing editing, press the [PATTERN] button to return back to the Pattern Play mode. 5 Press the [F] button to hear your edited data. 6 Edit other Phrases as required. Repeat steps #2 through #5 as desired. 7 After editing, save your pattern data to a memory card or a SCSI device connected to the MOTIF in the File mode. • For detailed instructions on step #3, see the following explanations. • For details on step #7, refer to “File mode” on page 266. 224 MOTIF Reference MIDI events that can be edited All MIDI events and parameters (edited in step #3 of the Basic Procedure above) are the same as those in the Song Edit mode. For details, see page 190. Event Editing/Inserting/Deleting All event editing operations and parameters (done in step #3 of the Basic Procedure above) are the same as those in the Song Edit mode. For details, see page 190. Event View Filter All Event View Filter operations and settings (done in step #3 of the Basic Procedure above) are the same as those in the Song Edit mode. For details, see page 192. Pattern Job mode Pattern Job mode The Pattern Job mode contains a comprehensive set of editing tools and functions you can use to change the sound of your original pattern, as created by the Pattern Patch function or from the Pattern Record mode. It also includes a variety of convenient operations, such as copying or erasing data. Most of these operations can be performed on either an entire track or a selected range of measures in the track. ◆ Basic Procedure 2 3 4 5 6 7 8 In the Pattern Play mode, select a style and section you wish to execute the Job on. Press the [JOB] button to enter Pattern Job Mode. Select the desired Job menu by pressing the appropriate button, [F2] - [F6]. Use the CURSOR buttons to scroll to the desired Job. Pattern Job mode and return to the Pattern Play mode. • For detailed instructions on steps #3 - #9, see the explanations below. [F1] Undo/Redo The explanations here apply to step #9 of the Basic Procedure on see below. The operations are the same as in the Song Job mode. See page 193. Undo/Redo does not work with sample voice operations. [F2] Note data Job Press the [F2] button in step #3 of the Basic Procedure (see below), so that the Note data Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job. Press the [ENTER] button to go to the selected Job display. Set the relevant Job parameters. Press the [ENTER] button. (The display prompts you for confirmation.) Press the [INC/YES] button to execute the Job. After the Job has been completed, a “Completed” message appears and operation returns to the original display. The following explanations apply to step #6 of the Basic Procedure see above. n The Note data Jobs in the Pattern mode are basically same as in the Song Job mode. However, unlike in the Song Job mode, Pattern Note data Jobs are applied to the phrases (001 - 256) and a selected range in the phrase (measure : beat : clock). ● [F2]-01 Quantize n To cancel the Job, press the [DEC/NO] button. For Jobs that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data. 9 Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. Same as in the Song Job mode. See page 194. If you wish to undo the changes made in the steps above, press the [F1] button and (to select Undo/ Redo) and use the Undo function. MOTIF Reference 225 Reference Pattern mode 1 10Press the [PATTERN] button to exit from the Pattern Job mode ● [F2]-02 Modify Velocity Same as in the Song Job mode. See page 195. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. ● [F2]-03 Modify Gate Time Same as in the Song Job mode. See page 195. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. ● [F2]-04 Crescendo Same as in the Song Job mode. See page 196. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. Reference Pattern mode ● [F2]-05 Transpose Same as in the Song Job mode. See page 196. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. 226 MOTIF Reference ● [F2]-06 Glide Same as in the Song Job mode. See page 196. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. ● [F2]-07 Create Roll Same as in the Song Job mode. See page 196. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. ● [F2]-08 Sort Chord Same as in the Song Job mode. See page 197. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. ● [F2]-09 Separate Chord Same as in the Song Job mode. See page 198. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. Pattern Job mode ● [F3]-03 Erase Event [F3] Event Job Press the [F3] button in step #3 of the Basic Procedure on page 225 so that the Event Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job. Same as in the Song Job mode. See page 199. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. The following explanations apply to step #6 of the Basic Procedure on page 225. n The Event Jobs in the Pattern mode are basically same as in the Song Job mode. However, unlike in the Song Job mode, Pattern Event Jobs are applied to the phrases (001 256) and a selected range in the phrase (measure : beat : clock). n Unlike in the Song Job mode, you cannot select “Tempo,” “Scene Memory,” or “Track Mute” as Event Types. ● [F3]-04 Extract Event Same as in the Song Job mode. See page 199. Specify the phrase and the range (in measures/ eats/clocks) over which the Job is applied. ● [F3]-01 Shift Clock Same as in the Song Job mode. See page 198. Select the destination phrase. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. ● [F3]-05 Create Continuous Data Same as in the Song Job mode. See page 199. This job copies all data from a specified source range to a specified destination location. Set the range (in measures/beats/ clocks) from which the data will be copied. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. n Unlike in the Song Job mode, you cannot select “Tempo” as an Event Type. ● [F3]-06 Thin Out Specify the phrase to which the job is applied. Specify the location to which the data will be copied. Same as in the Song Job mode. See page 200. • Number Of Times Specifies the number of times the data is copied. ❏ Settings 01~99 When Copy Event is executed any data already existing at the Destination location will be overwritten. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. n Unlike in the Song Job mode, you cannot select “All” as an Event Type. MOTIF Reference 227 Reference Pattern mode ● [F3]-02 Copy Event Pattern Job mode ● [F3]-07 Modify Control Data Same as in the Song Job mode. See page 200. Any previous data in the copy destination will be overwritten. Undo/Redo (page 225) cannot be used to undo/redo a sample voice copy operation. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. n Unlike in the Song Job mode, you cannot select “Tempo” as an Event Type. ● [F3]-08 Beat Stretch Same as in the Song Job mode. See page 200. n When there is no memory available in the destination style for sample voice data, an error message will appear on the display and the sample voice data will not be copied. If this occurs, use Sample Job 02 “Delete” to delete any unused sample voices, then try again. ● [F4]-02 Exchange Phrase This Job exchanges or “swaps” the contents of two specified phrases. Specify the phrase and the range (in measures/ beats/clocks) over which the Job is applied. Target phrases for the Exchange operation [F4] Phrase Job Press the [F4] button in step #3 of the Basic Procedure on page 225 so that the Phrase Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job. n If this Job is applied to phrases which use sample voices, the sample voices will not be exchanged. ● [F4]-03 Mix Phrase This Job mixes all data from two selected user phrases (“A” and “B”), and places the result in phrase B. One useful application for this would be to free up the data in phrase A, letting you record new data to it. Reference Pattern mode The following explanations apply to step #6 of the Basic Procedure on page 225. ● [F4]-01 Copy Phrase Phrase A Phrase B This Job copies a selected phrase to the designated destination phrase. Specify the destination style and phrase. Selects the style and phrase to be copied. (Preset phrase also can be selected.) Mix Phrase Phrase B n Keep in mind that applying this Job to phrases with sample voices does not mix the sample voices. When this box is checkmarked, sample voices used by the source phrase are copied to the destination style as sample voices, and are assigned to the destination phrase. 228 MOTIF Reference Pattern Job mode ● [F4]-04 Append Phrase ● [F4]-06 Get Phrase From Song This Job appends one phrase to the end of another to create one longer phrase. This Job copies a segment of sequence-track data from a song into the designated destination phrase. Destination phrase Source song, track, and range of measures to be copied Phrase A Phrase B n If this job is applied to phrases which use sample voices, the sample voices will not be appended. ● [F4]-05 Split Phrase This Job splits a selected phrase into two separate phrases. Phrase A is divided at the Split Point (the measure number set in the above display). Phrase A When this box is checkmarked, sample voices used by the source track are copied to the destination style as sample voices, and are assigned to destination phrase. This parameter has no effect when no sample voice is used by the source track. The job overwrites any data already existing in the destination phrase. Undo/Redo (page 225) cannot be used to undo/redo a sample voice copy operation. n When there is no memory available in the destination style for sample voice data, an error message will appear on the display and the sample voice data will not be copied. If this occurs, use Sample Job 02 “Delete” to delete any unused samples, then try again. ● [F4]-07 Put Phrase To Song This Job copies a selected user phrase into a specified area of a selected song. Destination phrase Phrase A Source song, track, and range of measures to be copied Phrase B n When either Style or Phrase is set to “off”, the split Phrase B data is erased. • Meter Sets the meter of phrase B after the split operation. ❏ Settings 1/16~16/16, 1/8~16/8, 1/4~16/4 When this box is checkmarked, sample voices used by the source track are copied to the destination style as sample voices, and are assigned to destination phrase. This parameter has no effect when no sample voice is used by the source track. The job overwrites any data already existing in the destination track. The job overwrites any data already existing in destination phrase B. n If this job is applied to phrases which use sample voices, the sample voices will not be split. Undo/Redo (page 225) cannot be used to undo/redo a sample voice copy operation. n When there is no memory available in the destination song for sample voice data, an error message will appear on the display and the sample voice data will not be copied. If this occurs, use Sample Job “Delete” to delete any unused samples, then try again. MOTIF Reference 229 Reference Pattern mode Append Phrase Pattern Job mode ● [F4]-08 Clear Phrase ● [F5]-01 Copy Track This Job deletes all data from the selected phrase. Phrase to be cleared This Job copies all data of the selected type from specified source track to specified destination track. Source style, ection, and track When this box is checkmarked, sample data assigned to the selected phrase will be deleted. This parameter has no effect when no sample voice is used by the selected phrase. Types of data to be copied Destination style, section, and track Same as in the Song Job mode. See page 202. ● [F5]-02 Exchange Track Undo/Redo (page 225) cannot be used to undo/redo a Delete Sample operation. This Job exchanges or “swaps” the specified type of data between two specified tracks in the current style and section. Target tracks for the Exchange operation ● [F4]-09 Phrase Name Basic Operation (page 75) This Job lets you assign a name (of up to eight characters) to the selected phrase. Types of data to be exchanged Same as in the Song Job mode. See page 202. ● [F5]-03 Clear Track See “Basic Operation” on page 75. This Job deletes all data of the selected type from the selected pattern track. Section and track from which data is to be cleared [F5] Track Job Reference Pattern mode Press the [F5] button in step #3 of the Basic Procedure on page 225 so that the Track Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job. Types of data to be cleared Same as in the Song Job mode. See page 202. ● [F5]-04 Normalize Play Effect This job rewrites the data in the selected track so that it incorporates the current Grid Groove settings. The following explanations apply to step #6 of the Basic Procedure on page 225. Same as in the Song Job mode. See page 203. 230 MOTIF Reference Pattern Job mode ● [F5]-05 Divide Drum Track Separates the note events in a drum performance assigned to a specified track, and places the notes corresponding to different drum instruments in separate tracks (tracks 1 through 8). One useful application for this would be to use Quantize (page 225) and Shift Clock (page 227) to independently adjust the timing of different drum parts in the rhythm, to tighten up the timing and yet create a more natural sounding feel. Same as in the Song Job mode. See page 203. [F6] Pattern Job Press the [F6] button in step #3 of the Basic Procedure on page 225 so that the Pattern Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job. ● [F6]-02 Append Pattern Appends one pattern to the end of another to create one longer pattern with all 16 tracks. Source pattern (style and Section) Destination pattern (style and section) When this box is checkmarked, the original Destination pattern data is retained in memory, along with the new appended pattern data. If the box is not checkmarked, the original Destination pattern is erased and replaced with the newly created data. When this box is checkmarked, Sample Voices (if included in the source style) are copied to the Destination Style. n When the KEEP ORIGINAL PHRASE checkbox is checked, this job requires twice the number of empty user phrases as the number of tracks containing data in which to store the appended phrase data. If the required phrases are unavailable the alert message will appear and the job will be aborted. If this occurs use the Clear Phrase Job (page 230) to delete unused phrases and try again. n If this job is applied to patterns which use sample voices, the sample voices will not be appended. n If the pattern length becomes greater than 256 measures as a result of the Append Pattern Job, an error message will be displayed and the Job will be aborted. This Job splits a selected pattern (all 16 tracks data) into two patterns. ● [F6]-01 Copy Pattern This job copies all data from a selected source pattern to a selected destination pattern. Source style and section ● [F6]-03 Split Pattern After the Split Pattern operation, the part of the pattern before the specified Split Point will remain, and the part following the Split Point will be moved to the destination pattern. Destination style and section Source pattern (style and section) Destination pattern (style and section) When this box is checkmarked, sample voices (if included in the source style) are copied to the destination style. When this box is checkmarked, Preset Phrases (if included in the source style) are copied to the User Phrase. Undo/Redo (page 225) cannot be used to undo/redo a sample voice copy operation. When this box is checkmarked, the original Source pattern data is retained in memory, along with the new appended pattern data. If the box is not checkmarked, the split portion of the original Source pattern is erased and moved to the Destination pattern. MOTIF Reference 231 Reference Pattern mode The following explanations apply to step #6 of the Basic Procedure on page 225. Pattern Mixing mode Pattern Mixing mode The job overwrites any data already existing in the destination pattern. n When the KEEP ORIGINAL PHRASE checkbox is checked, this job requires twice the number of empty user phrases as the number of tracks containing data in which to store the appended phrase data. If the required phrases are unavailable the alert message will appear and the job will be aborted. If this occurs use the Clear Phrase Job (page 230) to delete unused phrases and try again. In this mode, you can set up and save mixing data for your patterns, and set various parameters for the tone generator parts — including the desired voice, as well as its level, pan, EQ, effect and other settings. How the Pattern Mixing mode affects the tone generator parts, and how it is affected by other elements, is made clear by the following diagram. Sequencer block Pattern Data ● [F6]-04 Clear Pattern This job deletes all data from the selected pattern, or from all patterns. Playback of pattern data affects the Pattern Mixing settings. Tone Generator block Pattern (style and section) to be cleared Pattern Mixing Tone Generator ● [F6]-05 Style Name Basic Operation (page 75) This Job lets you assign a name to the selected style. Reference Pattern mode See “Basic Operation” on page 75. 232 MOTIF Reference MIDI data from external devices affects the Pattern Mixing settings. Editing in the Pattern Mixing mode determines the Pattern Mixing settings. Pattern Mixing parameters are not actually part of the pattern data, but rather are settings for the tone generator, as it is played back by the pattern data. As such, the Pattern Mixing parameter settings are not recorded to the pattern tracks. Even though the modes are different, the actual Pattern Mixing operations and parameters are the same as those of the Song Mixing mode. See page 205. Function Tree Sampling Mode Basic Structure (page 58) Function Tree This section is devoted to the Sampling mode. To see how the Sampling mode relates to the entire structure of the MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Sampling modes — giving you a quick, easy-to-understand overview of the sampling-related functions of the MOTIF. Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations. [INFORMATION] SAMPLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276 [SAMPLE] SAMPLE REC SETUP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 235 [F1] DESTINATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 235 [F2] SOURCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 236 [F6] SAMPLE RECORD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 234 [F6] SAMPLE RECORDING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 234 RECORDING (Slice+Seq) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 236 [AFTER COMPLETING RECORDING] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 237 [F1] TRIM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 237 [INFO] TRIM INFORMATION . . . . . . . . P. 276 [SF1] AUDITION . . . . . . . . . . . . . . . . . . P. 238 [SF2] START-LOOP . . . . . . . . . . . . . . . P. 238 [SF3] GET TEMPO . . . . . . . . . . . . . . . . P. 238 [SF4] EXTRACT . . . . . . . . . . . . . . . . . . P. 238 [F5] ZOOM OUT . . . . . . . . . . . . . . . . . . P. 238 [F6] ZOOM IN . . . . . . . . . . . . . . . . . . . . P. 238 [F2] SLICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 238 RECORDING (Sample, Sample+Note) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 236 [F6] SAMPLE REC SETUP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 237 [EDIT] SAMPLE EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 240 [F1] KEYBANK SELECT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 240 [F2] TRIM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241 [INFO] TRIM INFO . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241 [SF1] AUDITION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241 [SF2] START-LOOP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241 [SF3] GET TEMPO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241 [SF4] EXTRACT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241 [F5] ZOOM OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241 [F6] ZOOM IN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241 [F3] PARAMETER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241 [F4] RANGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241 [JOB] SAMPLE JOB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 241 [F1] KEYBANK JOB LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 242 COPY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 242 DELETE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 242 EXTRACT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 243 MOVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 243 NORMALIZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 243 TIME-STRETCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 244 CONVERT PITCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 244 FADE IN/OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 245 CONVERT FREQUENCY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 245 STEREO TO MONO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 245 LOOP-REMIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 246 SLICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 246 [F2] WAVEFORM JOB LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247 COPY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247 DELETE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247 TRANSPOSE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247 NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247 [F3] OTHER JOB LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247 CLEAN UP MEMORY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 247 OPTIMIZE MEMORY . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 248 DELETE ALL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 248 CONVERT TO DRUM VOICE (User Drum Voice Number, Name) . . . . . . . . . . . . . . P. 248 MOTIF Reference 233 Reference Sampling mode [SAMPLE] Sampling Record mode Sampling Record mode Basic Operation (page 58) In this mode, you can record sounds to the MOTIF (for example, your voice, a guitar, or sounds from a CD), edit them, and use them to create special Sample voices you can play from the keyboard. Or, if you enter this mode from the Song or Pattern mode, the sounds you record can be assigned to the tracks and played back automatically with the song or pattern. What’s more, by using the Resampling function, you can create new samples from your edits, or make samples from the sounds of the MOTIF itself. ◆ Data created by Sampling Regardless of the mode, the raw Sampled data is the same, of course. However, various parameters are different, depending on the particular mode or settings. See page 59 for details on the kinds of data that are created in the Sampling function. ◆ Basic Procedure 1 To use a microphone or external audio source, make all the appropriate connections. For details, 4 Press the [F1] button and set the destinationrelated parameters for the sample. (These determine the memory location to which the sample will be recorded and assigned.) n When entering the Sampling Record mode from the Voice/Performance mode, the recorded sample is automatically stored to the Waveform and User voice set in this display. n When entering the Sampling Record mode from the Song/Pattern mode, the recorded sample is automatically stored to the track set in this display as a Sample voice. 5 Press the [F2] button and set the source-related parameters for the audio input. 6 Press the [F6] button to go to the Sampling standby display and set the Trigger mode in this display. 7 Press the [F6] button again to start sampling, and play the input source at the proper time. How and when you should play the source depends on the settings made in step #5 above (and described on page 236), and the process you use (described briefly below). see “Analog input” and “Digital input” on page 23. • When the Source is set to “A/D” or “digital”: n If you want to use the sound of the MOTIF as a recording source (with the Resampling function), step #1 above is unnecessary. Any of the following audio input jacks/terminals on the MOTIF can be used for sample recording: 2 Depending on how you want to use your created sample, there are two ways you should proceed: • To create a normal (User) voice — Reference Sampling mode Enter the Voice or Performance mode. To use the sound of the MOTIF as a recording source (with the Resampling function), select the desired voice or performance. • To create a Sample track in a song or pattern — Enter the Song or Pattern mode and select the desired song or pattern. 3 Press the [INTEGRATED SAMPLING] button to call up the Setup display in the Sampling Record mode. (The indicator lights.) n Even when you enter the Sampling Record mode, the indicator of the previous mode’s button remains lit, allowing you to confirm which mode you entered from. - A/D INPUT jacks - mLAN terminals (when the optional mLAN8E has been installed) - DIGITAL IN jack (when the optional AIEB2 has been installed) - OPTICAL IN jack (when the optional AIEB2 has been installed) • When the Source is set to “resample”: The sound generated by the MOTIF itself (Song/Pattern playback, keyboard performance) can be recorded as a sample. How sampling actually starts depends on the Trigger mode setting made in step #6 above (and described on page 237), and the process you use (described briefly below). When Trigger mode is set to “Manual”: When Trigger mode is set to “Level”: Sampling Standby Sampling Standby Press the [F6] button. Sampling Start Press the [F6] button. Trigger Waiting When the level of the input signal exceeds the Trigger level, sampling starts. Sampling Start 234 MOTIF Reference Sampling Record mode When Trigger mode is set to Meas : Sampling Standby Press the [F6] button. • Waveform Determines the Waveform number to which the recorded sample is assigned. ❏ Settings 001~256 Punch-in Waiting Start playback of the song or pattern. When the appropriate Punch-in measure is reached, sampling starts. Sampling Start When the appropriate Punch-out measure is reached, sampling stops. Otherwise, to stop sampling, press the [F6] button. Sampling Stop 8 Stop the Sampling following the instructions above and stop the recording source playback. 9 Set the Slice parameters as needed— if you’ve entered the Sampling Record mode from the Song/ Pattern mode, and you’ve set the Sampling type to “slice+seq” in step #5 above. 10SCSISavestorage the recorded sample to the memory card/ device as a Waveform, User voice, or Sample voice, as required. The recorded (edited) phrase data resides temporarily in DRAM (page 64). Because data contained in DRAM is lost when the power is turned off, you should always save any data residing in DRAM to a memory card or an external SCSI device before turning off the power. • Keybank Determines the note number located at the center of the Key Bank. ❏ Settings C-2 ~G8 n For details about the Waveform and Key Bank, see page 60. • Part Determines the performance part to which the recorded sample is assigned. This is available only when entering the Sampling mode from the Performance mode. ❏ Settings off, 1~ 4 • Voice The recorded sample can be stored as a User Normal voice. This parameter determines a User Normal voice number to which the recorded sample is assigned. ❏ Settings off, 1~128 n When this is set to “off,” only a Waveform is created; the sample is not stored as a User voice. The sample is stored to the smallest numbered Waveform available. If you wish to hear the new sample and later assign it to a User voice, go to the Element Oscillator display ([F1]-[SF1]) in the Voice Edit mode and search the User Waveforms to find the sample. For details, see page 135. ● When entering the Sampling mode from the Song/Pattern mode • The operations corresponding to steps #4 - 9 are covered in the following explanations. • For details on step #10, refer to “File mode” on page 264. The explanations here apply to steps #4 and #5 of the Basic Procedure on page 234. • Track ■ [F1] Sampling Destination settings The explanations here apply to step #4 of the Basic Procedure on page 234. • Keybank ● When entering the Sampling mode from the Voice/Performance mode Determines the track number to which the recorded sample is assigned. ❏ Settings 1~16 Determines the note number located at the center of the Key Bank. This parameter is available only when the Sampling type is set to “sample” or “sample+note” (in the Type parameter below). ❏ Settings C-2~G8 n The MOTIF can transfer wave data to and from the computer (with TWE software) only when this display is called up. MOTIF Reference 235 Reference Sampling mode Sampling Setup Sampling Record mode ■ [F2] Sampling Source settings The explanations here apply to step #5 of the Basic Procedure on page 234. Sample Voice Assigned to a specified key Sequence data • Type Determines the Sampling type. When entering the Sampling mode from the Song/Pattern mode, the data created by the Sampling varies depending on this setting. Keep in mind that this parameter is fixed to “sample” when entering the Sampling mode from the Voice/ Performance mode. ❏ Settings sample, sample + note, slice + seq sample Only the sample (wave) data is created. sample + note In addition to the sample data, the appropriate note data for playing the sample is created and recorded to the specified track. Sample Voice n Detailed settings (meter, measure number etc,) are specified in the Slice display after sampling. • Source Determines the recording source. ❏ Settings A/D Analog audio from the A/D INPUT jacks or mLAN terminal (with optional mLAN8E) is recognized as the recording source. resample The signal (already recorded sample or preset wave) output from the MOTIF's OUTPUT jacks is recognized as a recording source and “resampled”. Digital Digital audio from the DIGITAL IN terminal or OPTICAL IN terminal (with optional AIEB2) is recognized as the recording source. Assigned to a specified key Sequence data • Mono/Stereo Determines whether new samples will be recorded as stereo or mono samples. ❏ Settings monoL The L-channel signal will be recorded as a mono sample. monoR The R-channel signal will be recorded as a mono sample. Reference Sampling mode slice + seq The recorded sample is automatically divided into “slices,” and these are assigned to successive notes on the keyboard. These notes are then automatically arranged in sequence data (to the specified track) for playback. This is especially useful for rhythm samples. For example, if you’ve recorded a drum part, each beat of the rhythm is converted to a separate slice and a separate note, and the notes are made into a sequence. In this way, playing back the sequence data plays the entire rhythm sample. The advantage to this is that you can then adjust the tempo of the sequencer over a wide range, and still keep the rhythm perfectly in sync with the other tracks. monoL+R The L-channel and R-channel signals will be mixed and recorded as a mono sample. stereo A stereo sample will be recorded. • Frequency (Sampling Frequency) Specifies the sampling frequency. The rate at which digital readings are taken is referred to as the sampling frequency. Higher sampling frequencies result in higher quality sound. ❏ Settings 44.1k (44.1 kHz), 22kLo (22.05 kHz Lo-Fi), 11kLo (11.025 kHz Lo-Fi), 5kLo (5.5125 kHz Lo-Fi) n When the Source is set to A/D and the mLAN terminal is used as an analog input, the Frequency is fixed to 44.1 kHz and cannot be changed. n At settings other than 44.1 kHz, the sound monitored during recording may be different from the recorded sound, depending on the source signal. 236 MOTIF Reference Sampling Record mode Sampling Standby Trigger Waiting The explanations here apply to step #6 of the Basic Procedure on page 234. The following display applies to step #7 of the Basic Procedure on page 234. The following display is available when the Trigger mode is set to “level.” In this case, sample recording is on standby, waiting for an input signal that exceeds the Trigger level. Indicates the MOTIF is in the Sampling Standby mode. • TriggerMode Specifies the method by which sampling will be triggered. ❏ Settings level Sampling will begin as soon as an input signal exceeding the specified trigger level is received after the [F6] (START) button is pressed. When this is selected, you need also set the Trigger Level (1~127). meas This is available only when entering the Sampling mode from the Song/Pattern mode and should be set together with the Punch-in/out measure. After the [F6] (START) button is pressed, sampling will begin at the specified punch-in measure, and end at the specified punch-out measure. Sampling will also stop when the Song/Pattern is stopped by pressing the [■] button. Indicates that sample recording is waiting for a signal of an appropriate level. Punch-in Waiting The following display applies to step #7 of the Basic Procedure on page 234. The following display is available when entering the Sampling mode from the Song/Pattern mode and when the Trigger mode is set to “meas.” In this case, sample recording is on standby, waiting for song/pattern playback to reach the specified Punch-in measure. manual Sampling will begin as soon as the [F6] (START) button is pressed, regardless of the Song/Pattern playback status. • RecMonitor (Recording Monitor) • RecGain (Recording Gain) Determines the recording gain when resampling. This parameter is available only when the Source is set to “resample.” ❏ Settings -12dB~+12dB Indicates that sample recording is waiting for a signal of an appropriate level. Slice setting after sampling The explanations here apply to step #9 of the Basic Procedure on page 235. If you’ve entered the Sampling Record mode for the Song or Pattern mode and you’ve set the sampling type to “slice+seq,” you should set the following Slicerelated parameters. ■ [F1] Trim The trim function makes it possible to specify the beginning and end points to be played back within an entire sample. You can delete all unnecessary sample data (located ahead of the Start point and located after the End point) by pressing the [SF5] button (Extract function). This function is especially useful in creating drum loops, since it helps you isolate only the beats you need for your loop.You can also specify the tempo for the range of the looped playback to determine its beat. MOTIF Reference 237 Reference Sampling mode Determines the output level of the monitor for the input signal. This monitor signal is output from the PHONES jack or the OUTPUT R and L/MONO jacks. This has no effect on the recording level. ❏ Settings 0~127 Sampling Record mode Press the [F5] and [F6] buttons to zoom in and out of the wave display. Tempo Press the [SF2] button so that the address of the Start Point is changed to the one of the Loop Start Point. Press the [SF1] button to sound the recorded sample according to the settings in this display. the [SF1] (AUDITION) button in the Trim display to loop the sample and precisely set the Start and End points as required. Press the [ENTER] button. (The display prompts you for confirmation.) Press the [INC/YES] button to execute the Slice. Delete all unnecessary sample data (located ahead of the Start point and located after the End point) by pressing the [SF4] button. Press the [SF3] button to calculate the tempo/beat when the Sample data playback of the range from the Loop Start Point to the End Point is treated as one measure. The result of the calculation appears at the left in this display. • Start (Start Point) Determines the Start point for the sample playback. • Loop (Loop Start Point) Determines the Top point of the loop playback (the point where the loop begins) within the range of the entire sample. • End (End Point) Determines the End point of the loop playback within the range of the entire sample. • Beat The Beat of the range from the Loop Start Point to the End Point is automatically displayed according to the Tempo (below). This is displayed only and cannot be changed. If you use the GET TMP (Get Tempo) function by pressing the [SF4] button, this Beat value is automatically changed to match the extracted tempo. • (Tempo) Reference Sampling mode Execute the GET TMP (Get Tempo) operation by pressing the [SF4] button to calculate the tempo when the Sample data playback of the range from the Loop Start Point to the End Point is treated as one measure. The result of the calculation appears here. You can also change the tempo by using the [INC/YES] and [DEC/NO] buttons, or the data dial. ■ [F2] Slice This powerful feature lets you automatically divide the recorded sample into separate “slices.” These slices are then assigned to successive notes and arranged as sequence data. This effectively lets you recreate the original sample by playing back its slices in order, in any tempo — perfect for matching samples of different original tempos. This is also useful for melodic samples, such as bass parts, since it lets you play back the sample at any tempo without changing the overall pitch. n It is necessary to accurately adjust the length of the sample before executing the slice operation. Use 238 MOTIF Reference You can hear and confirm Press the [F5] button to go back to the sliced the Sampling Setup display without amples by pressing the storing the result. [SF1] button. Press the [F6] button to store the result of the Slice operation and go back to the Sampling Setup display. • Type (Slice Type) Specifies how the sample is sliced, and to some extent determines the resulting sound quality. Select the type that best suits the original phrase. ❏ Settings beat1~3 This slice type is suited for percussive phrases such as drums or bass with a fast attack and short decay. Three variations are provided. phrase1~4 Ideal for phrases containing cymbals or other instruments with a long decay. Four variations are provided. quick Regardless of the phrase content, the sample is divided at the specified note sub-divisions. The number of slices per measure is calculated by multiplying the top number of the Meter (time signature) parameter by the bottom number of the SubDivide parameter. n For helpful hints on getting the Slice Type parameter to work for different samples, see “Tips for using the Slice Types” on page 239. • Measure Determines the number of measures in the sample to be sliced. When the slice operation is executed, sequence data corresponding to the specified number of measures is created. The sequence data is created from the beginning of the current measure at the point at which sampling is started. ❏ Settings 1~8 • Meter Specifies the meter (time signature) of the sample. The setting here is the basic slice unit. ❏ Settings 1/16 ~ 16/16, 1/8 ~ 16/8, 1/4 ~ 8/4 Sampling Record mode The Meter parameter sets the basic slice unit, and SubDivide specifies even finer resolution for phrases containing regions with shorter notes. For the following phrase, for example, the Meter should be set to 4/4 and SubDivide to 1/2. ❏ Settings When Meter is set to 1 ~ 8/4: quarter note (1/1), 8th note (1/2), 4th note triplet (1/3), 16th note (1/4), 8th note triplet (1/6), 16th note 1/8), 32nd note triplet (1/12) When Meter is set to 1 ~ 16/8: 8th note (1/1), 16th note (1/2), 8th note triplet (1/3), 32nd note 1/4), 16th note triplet (1/6) When Meter is set to 1 ~ 16/16: 16th note (1/1), 32nd note 1/2), 16th note triplet (1/3) n This parameter has no effect when the Slice Type parameter is set to beat 1~2. n The maximum slice resolution for stereo samples is 64 slices, and for mono samples 128 slices. • Sens (Envelope Sensitivity) Further adjusts the sub-divisions specified by the SubDivide parameter. Higher values result in higher resolution, allowing even finer notes and smaller sounds to be detected and sliced. Use the Audition function (press [SF1]) to hear the results, and if you’re not satisfied with them, change the setting and try again. ❏ Settings 1~5 n This parameter has no effect when the “quick” slice type is selected. ◆ Tips for using the Slice Types ● Slicing percussive phrases having short decays ● Slicing phrases having long decays • First, try slicing using “phrase1.” • If the result has a weak attack or the release portions of the phrase seem to overlap, try again using “phrase2.” Use the SubDivide parameter to adust the slice resolution, and make final adjustments with the Envelope Sensitivity parameter. • If after using “phrase1” the points between the slices sounds rough and the overall feel is choppy, try again using “phrase3” and set SubDivide to a finer resolution. Make final adjustments with the Envelope Sensitivity parameter. The “phrase3” setting is generally best for sustained strings or brass type sounds with no vibrato — in other words, the pitch remains constant. It can also produce echo-like effects when applied to percussive phrases with short decay. • If after using “phrase1” the points between the slices sounds rough and the overall feel is choppy, try again using “phrase4” and set SubDivide to a finer resolution. Make final adjustments with the Envelope Sensitivity parameter. The “phrase4” setting is generally best for sustained strings or brass type sounds with vibrato, as well as vocal phrases. ◆ Wave Memory Required for Slice Operations Individual wave data slices created through slice operations require approximately 1.5 times the original memory because a tail section is automatically added and fade-in and fade-out sections are automatically created at the beginning and end of the wave data. This helps to maintain maximum sound quality when the BPM is increased, and results in smoother connections between slices (no tail section is created when the QUICK slice type is selected). Original waveform Fade section Reference Sampling mode • SubDivide Sliced waveform Tail section • First, try slicing using “beat1.” • If the result has a weak attack or the release portions of the phrase seem to overlap, try again using “beat2.” Try adjusting the envelope sensitivity for finer control. • If after using “beat1” the attack portions overlap or the overall rhythmic feel is degraded, try again using “beat3.” Use the SubDivide parameter to adust the slice resolution, and make final adjustments with the Envelope Sensitivity parameter. A memory work area is required for the synthesis calculations carried out for each slice operation, as well as sufficient memory to hold the completed waveforms. When the sampling frequency is 44.1 kHz, the approximate amount of memory (expressed in kilobytes) required for each slice type is listed below. MOTIF Reference 239 Sampling Edit mode BEAT1 BEAT2 BEAT3 PHRASE1 PHRASE2 PHRASE3 PHRASE4 QUICK : Original wave size X N + (0.3 : Original wave size X N + (0.2 : Original wave size X N + (0.3 : Original wave size X N + (5.8 : Original wave size X N + (1.4 : Original wave size X N + (0.4 : Original wave size X N + (1.4 : Original wave size X 3 + (0.7 X number of slices) X number of slices) X number of slices) X number of slices) X number of slices) X number of slices) X number of slices) X number of slices) For monaural samples N = 5.5, and for stereo samples N = 8. Also, the number of slices is doubled for stereo samples. With the memory expanded to the maximum 64 megabytes, for example, if the entire memory is empty and a 44.1 kHz sample is sliced to 32 slices, the longest possible sampling time will be approximately: BEAT1~3, PHRASE1~4: approx. 138 seconds (mono), 47 seconds (stereo.) QUICK: approx. 253 seconds (mono), 126 seconds (stereo). Sampling Edit mode Basic Structure (page 59) This mode gives you a variety of sample eding tools, with which you can change the samples you’ve recorded in the Sampling Record mode, and customize them for your applications as needed. 3 Select the desired sample for editing from the Key Bank display. (Press the [F1] button.) 4 Select the menu you wish to edit by pressing the [F2] - [F6] buttons. 5 Edit parameters for the selected sample. 6 Press the [EXIT] button to exit from the Sampling Edit mode. • The operations corresponding to steps #3 - 4 are covered in the following explanations. Sample selection and Audition function The explanations here apply to step #3 of the Basic Procedure see above. For details about the relationship between the parameters below, see page 241. 1 ◆ Editing Stereo Samples For samples that have been recorded in stereo (with Stereo Sampling), both the left and right waves of the sample are edited together by the MOTIF. in the actual process, any edits made to the left channel wave are duplicated exactly in the right channel. The exception to this, of course, is Pan — since the sample already is in stereo. Reference Sampling mode ◆ Basic Procedure 1 Press the [INTEGRATED SAMPLING] button to enter the Sampling mode. (The indicator lights.) n Unlike in the Sampling Record mode, all parameters and functions of the Sampling Edit mode are the same, no matter which mode was previously selected. n All Sampling Edit operations apply to the Waveform (actual sample), not the voice. 2 Press the [EDIT] button to enter the Sampling Edit mode. (The indicator lights.) 240 MOTIF Reference 3 Indicates information about the selected Key Bank. 2 You can hear the selected sample by pressing the [SF1] button. (Audition function) 1 Select a Waveform that contains a Sample you wish to edit. Move the cursor to the Waveform number and select the desired number by using the [INC/ YES] button, [DEC/NO] button, or the data dial. 2 To select the desired Key Bank, simultaneously hold down the [INFORMATION] button and press the appropriate key on the keyboard. The information about the selected Key Bank appears on the display and the sample assigned to the Key Bank is called up. Sampling Job mode 3 Press the [SF2] button to call up the Samples assigned to the selected Key Bank in order. n Step #3 above as well as the Audition function can be used with any of the displays called up via the [F2] - [F4] buttons. Sample Edit The explanations here apply to step #5 of the Basic Procedure on page 59. • Fine Tune Determines the fine tuning for the pitch of the sample. ❏ Settings -100 ~99 cents ● [F4] Sample Edit Range From this display you can set the Key Range and the Velocity Range for the sample assigned to the selected Key Bank. Note that both the Key range and Velocity range values are graphically indicated in the display. ● [F2] Sample Edit Trim This operation is the same as in the Sampling Record mode (when Sampling Type is set to “slice+seq”). See page 237. n When the cursor is at one of the Key Range values, you can directly set the Key Range parameter from the keyboard. (Simultaneously hold down the [INFORMATION] button and press the appropriate key on the keyboard.) ● [F3] Sample Edit Parameter Sampling Job mode The Sampling Job mode contains a comprehensive set of editing tools and functions you can use to change the sound of the sample you’ve created and edited in the Sampling Edit mode. It also includes a variety of convenient operations, such as copying or erasing data. • Level • Pan Determines the stereo position of the selected sample. ❏ Settings L63 (far left) ~ C (center) ~ R63 (far right) • PlayMode Determines how the selected sample is to be played back. ❏ Settings forward The Sample playback begins from the Start point to the End point. reverse The Sample playback begins from the End point to the Start point in reverse. loop The Sample playback begins from the Start point, moves to the Loop point and then repeats continuously from the Loop point to the End point. ◆ Basic Procedure 1 Press the [INTEGRATED SAMPLING] button to enter the Sampling mode. (The indicator lights.) n Unlike in the Sampling Record mode, all parameters and functions of the Sampling Job mode are the same, no matter which mode was previously selected. The only exception to this is the Slice Job ([F1]-12 below), which varies depending on whether the previously selected mode was Voice/Performance or Song/Pattern. n All Sampling Job operations apply to the Waveform (actual sample), not the voice. 2 Press the [JOB] button to enter the Sampling Job mode. n For details about these settings above, see page 61. • Original Key Determines the base key for the sample. Since the sample will be pitched shifted for keys played around this base key, this should be set as close as possible to the original pitch or note value of the actual sample. ❏ Settings C - 2 ~ G8 MOTIF Reference 241 Reference Sampling mode Determines the output level of the selected sample. ❏ Settings -94.5dB~0dB Sampling Job mode 3 Select the desired Job menu by pressing the appropriate button, [F1] - [F3]. 4 Use the CURSOR buttons to scroll to the desired Job. 5 Press the [ENTER] button to go to the selected Job display. ENTER EXECUTE 6 Set the relevant Job parameters. 7 Press the [ENTER] button. (The display prompts you for confirmation.) 8 Press the [INC/YES] button to execute the Job. After the Job has been completed, a “Completed” message appears and operation returns to the original display. n To cancel the Job, press the [DEC/NO] button. n The actual procedures in steps #7 and #8 above may differ depending on the specific Job. Refer to the explanantions in each Job for details. For Jobs that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data. 9 Press any other mode button to exit from the Sampling Job mode. • For detailed instructions on steps #3 - #6, see the explanations below. ◆ Audition function and Key Bank (sample) selection For the Key Bank Jobs that follow, the Audition function and Key Bank selection are the same as in the Sampling Edit mode (page 241). Here, you can call up and perform Jobs on the sample data assigned to the selected Key Bank. To audition the currently selected sample, press the [SF1] button (AUDITION). Also, note that for Jobs 01 - 04, the Keyboard control (“KBD”) is available — letting you directly change the Key Bank from the keyboard. (Simultaneously hold down the [INFORMATION] button and press the appropriate key on the keyboard.) ● [F1]-01 Copy This Job copies the data of a sample contained in a specified Key Bank to another Key Bank. Source Waveform, Key Bank Reference Sampling mode [F1] Key Bank Job Press the [F1] button in step #3 of the Basic Procedure see above, so that the Key Bank Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job. Destination Waveform, Key Bank ● [F1]-02 Delete This Job deletes the specified Key Bank and its sample. If the Key Bank is set to “all” and the Job is executed, all the samples of the selected Waveform are deleted. 242 MOTIF Reference Sampling Job mode ● [F1]-05 Normalize This Job maximizes (normalizes) the overall level of the specified sample. The “100” (100%) setting is a quick and convenient way to boost the level of an entire sample, to make it as loud as possible without distorting. Waveform and Key Bank containing the sample to be deleted Set the Waveform and Key Bank containing the sample to be normalized. n If all the samples of the specified Waveform are deleted, the Waveform itself is deleted. ● [F1]-03 Extract This Job deletes all unnecessary sample data (located ahead of the Start point and located after the End point). In effect, it extracts only the sample data you want to use, trimming all unneeded sound from the start and end of the sample. If the Key Bank is set to “all” and the Job is executed, this Job is applied to all the samples of the selected Waveform. Press the [ENTER] button to execute the Job. Press the [F5] (CANCEL) button to cancel the operation. Press the [F6] (OK) button to assign the normalized sample to the specified Key Bank. Press the [ENTER] button to execute the operation. If you re not satisfied with the results, change the Ratio value and press the [ENTER] button again. This automatically reverts back to the original settings and executes the operation again with the new settings. Waveform and Key Bank containing the sample to be extracted End Point Start Point End Point Extract ● [F1]-04 Move This Job lets you move a sample contained in a specified Key Bank to another Key Bank. This would be useful for creating a new Waveform from the samples of various other existing Waveforms. • Ratio Specifies the post-normalization sample level. A setting of 100% maximizes the level so that the highest peak level in the sample is just below clipping (maximum digital signal level). Settings below 100% reduce the level of the sample accordingly. Settings higher than 100% will raise the sample level above the maximum, producing deliberate clipping. ❏ Settings 001-800% Lower than 100% Source Waveform and Key Bank Original Wave 100% Higher than 100% Destination Waveform and Key Bank n If the last remaining sample is moved from the source Waveform, the source Waveform itself is deleted. MOTIF Reference 243 Reference Sampling mode Start Point Sampling Job mode ● [F1]-06 Time-Stretch ● [F1]-07 Convert Pitch This Job lets you change the length of the sample without changing the pitch. This Job lets you change the pitch of the sample without changing the length. Set the Waveform and Key Bank containing the sample to be time-stretched. Set the Waveform and Key Bank containing the sample to be pitch-converted. Press the [ENTER] button to execute the Job. Press the [ENTER] button to execute the Job. Press the [F5] (CANCEL) button to cancel the operation. Press the [F5] (CANCEL) button to cancel the operation. Press the [F6] (OK) button to assign the time-stretched sample to the specified Key Bank. Press the [F6] (OK) button to assign the pitchconverted sample to the specified Key Bank. Press the [ENTER] button to execute the operation. If you're not satisfied with the results, change the Ratio and Accuracy values and press the [ENTER] button again. This automatically reverts back to the original settings and executes the operation again with the new settings. • Ratio Determines the length of post-process sample as a ratio of the length of the original sample (100%). Lower values compress the sample, while higher values expand the sample. ❏ Settings 25~400% • Accuracy Reference Sampling mode Determines the quality of the resulting sample by specifying which aspect of the original is to be emphasized: sound quality or rhythmic feel. ❏ Settings 25~400% Sound4-Sound1 These settings place emphasis on sound quality, with the “SOUND 4” setting producing the highest sound quality. Normal Produces an optimum balance of sound quality and rhythmic feel. Rhythm1-Rhythm 2 These settings place emphasis on rhythmic feel, with the “Rhythm 2” setting producing the most accurate rhythmic feel. 244 MOTIF Reference Press the [ENTER] button to execute the operation. If you’re not satisfied with the results, change the Pitch and Fine values and press the [ENTER] button again. This automatically reverts back to the original settings and executes the operation again with the new settings. • Pitch Determines the amount and direction of pitch shift in semitone increments. ❏ Settings -12 ~ 0 ~+12 • Fine Determines the amount and direction of fine pitch shift in cent increments (1 cent = 1/100th of a semitone). ❏ Settings -50~0~+50 Sampling Job mode ● [F1]-08 Fade In/Out ● [F1]-09 Convert Freq This Job lets you create fade-ins and fade-outs for the sample. Set the Waveform and Key Bank containing the esired sample. This Job lets you halve the sampling frequency of the specified sample. This can be used to convert hifi samples to a lo-fi sound, and reduce the sample size by half to conserve memory. Set the Waveform and Key Bank containing the sample to be converted. Press the [ENTER] button to execute the Job. Press the [ENTER] button to execute the Job. Press the [F5] (CANCEL) button to cancel the operation. Press the [F6] (OK) button to assign the edited sample to the specified Key Bank. Press the [ENTER] button to execute the operation. If you re not satisfied with the results, change the Type and Length values and press the [ENTER] button again. This automatically reverts back to the original settings and executes the operation again with the new settings. • Type Determines the type of level fade: fade-in or fade-out. ❏ Settings in (fade-in), out (fade-out) Press the [F5] (CANCEL) button to cancel the operation. Press the [F6] (OK) button to assign the converted sample to the specified Key Bank. Press the [ENTER] button to execute the operation. If you re not satisfied with the results, change the Type and Length values and press the [ENTER] button again. This automatically reverts back to the original settings and executes the operation again with the new settings. ● [F1]-10 Stereo to Mono This Job lets you convert a stereo sample to a mono sample. • Length Set the Waveform and Key Bank containing the sample to be converted. Press the [ENTER] button to execute the Job. Fade In Length Start point Fade Out Press the [F5] (CANCEL) button to cancel the operation. Length Press the [F6] (OK) button to assign the converted sample to the specified Key Bank. End point Press the [ENTER] button to execute the operation. If you’re not satisfied with the results, change the Type value and press the [ENTER] button again. This automatically reverts back to the original settings and executes the operation again with the new settings. MOTIF Reference 245 Reference Sampling mode Determines the length of the fade-in or fade-out. When a fade-in is selected, this parameter specifies the length of the fade starting at the specified Start point. When a fade-out is selected, this parameter specifies the length of the fade starting at the beginning of the fade and ending at the specified End point. ❏ Settings 0000000~End point Sampling Job mode ● [F1]-12 Slice • Type Determines which channel, or both channels, of the stereo sample will be converted to a mono sample. ❏ Settings L+R>mono The left and right channels of the stereo sample are mixed and converted to a mono sample. L>mono The left channel of the stereo sample is converted to a mono sample. R>mono The right channel of the stereo sample is converted to a mono sample. This Job lets you divide the sample into separate “slices,” the number of which is determined by the note length (with Measure, Meter, and SubDivide). When entering this Job from the Song/Pattern mode, note data for playing the slices in sequence is also created. (Keep in mind that the results of this Job vary depending on the previously selected mode: Voice/Performance or Song/Pattern.) Set the Waveform and Key Bank containing the sample to be sliced. ● [F1]-11 Loop-Remix This Job lets you automatically cut the sample into separate “slices” and randomly rearrange the slices for special effects and unusual rhythmic variations. A variety of audio transform operations are also included for even greater changes in the sound. Press the [ENTER] button to execute the Job. Set the Waveform and Key Bank containing the sample to be Loop-remixed. Press the [F5] (CANCEL) button to cancel the operation. Press the [ENTER] button to execute the Job. Press the [F6] (OK) button to assign the sliced sample to the specified Key Bank. Press the [ENTER] button to execute the operation. If you re not satisfied with the results, edit the various parameters and press the [ENTER] button again. This automatically reverts back to the original settings and executes the operation again with the new settings. Press the [F5] (CANCEL) button to cancel the operation. Press the [F6] (OK) button to assign the Loop-remixed sample to the specified Key Bank. Reference Sampling mode Press the [ENTER] button to execute the operation. If you re not satisfied with the results, change the Type and Variation values and press the [ENTER] button again. This automatically reverts back to the original settings and executes the operation again with the new settings. • Type Determines the degree to which the looped portion of the sample will be sliced. ❏ Settings 1~4 • Variation Determines how the original sample is varied by the this Job. ❏ Settings normal1, 2 These settings slice and rearrange the sample data, without performing any other audio changes. reverse1, 2 In addition to slicing and rearranging, these settings reverse the playback of some of the slices. 246 MOTIF Reference With the exception of the parameter below, all parameters and settings are the same as in the Slice display of the Sampling Record mode (page 238). • Lowest Key Specifies the lowest key number from which the sliced samples are ordered. ❏ Settings C - 2 ~G8 n In the Slice display of the Sampling Record mode (page 238), this parameter is fixed to “C-1” for the MOTIF6, “E0” for the MOTIF7, “A-1” for the MOTIF8, and cannot be set. Sampling Job mode [F2] Waveform Job Press the [F2] button in step #3 of the Basic Procedure on page 240 so that the Waveform Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job. • Octave Determines the amount in octaves by which the Key Bank is transposed. When you want to transpose by less than one octave, set this to “0” and use the Note parameter below. ❏ Settings -3~ 0 ~+3 • Note Determines the amount in semitones by which the Key Bank is transposed. When you want to transpose by exact octaves, set this to “0” and use the Octave parameter above. ❏ Settings -11~ 0 ~+11 ● [F2]-04 Name ● [F2]-01 Copy This Job lets you copy the data of one waveform to another. This Job lets you assign a name to the selected waveform. Select a waveform to be named. Select the source waveform. ● [F2]-02 Delete This Job lets you delete a specific waveform from memory. Select the waveform to be deleted. For specific instructions on naming, see “Basic Operation” on page 75. [F3] Other Jobs Press the [F3] button in step #3 of the Basic Procedure on page 240 so that the following Job list appears on the display. Scroll the cursor to the desired Job and press the [ENTER] button to go to the display of the selected Job. ● [F2]-03 Transpose This Job lets you transpose the Key bank setting of a specified waveform. Select the desired waveform for which the Key Bank setting is to be transposed. ● [F3]-01 Clean Up Memory This Job deletes all the waveforms to which User voices or Sample voices are not assigned. MOTIF Reference 247 Reference Sampling mode Select the destination waveform. Sampling Job mode ● [F3]-02 Optimize Memory This Job optimizes the memory (DRAM) for sampling. ● [F3]-03 Delete All This Job deletes all the waveforms. ● [F3]-04 Convert to Drum Voice This Job lets you convert the selected waveform to a specific Drum voice. Since the Sampling function allows creation of only Normal voices, this Job makes it possible to create a Drum voice with your recorded samples. Reference Sampling mode 248 MOTIF Reference Function Tree Utility Mode Function Tree This section is devoted to the Utility mode. To see how the Utility mode relates to the entire structure of the MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Utility mode — giving you a quick, easy-to-understand overview of the global, system-wide functions of the MOTIF. Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations. [UTILITY] Reference Utility mode [INFORMATION] UTILITY INFORMATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276 [F1] SYSTEM GENERAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 250 [SF1] TG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 250 [SF2] KEYBOARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 251 [SF3] EFFECT BYPASS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 252 [SF4] OTHER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 252 [F2] SYSTEM I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 252 [SF1] Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 252 [SF2] Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 253 [SF3] mLAN CONNECTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 253 [F3] SYSTEM VOICE (available only when entering Utility mode from Voice mode) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 253 [SF1] MASTER EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 253 [SF2] ARPEGGIO CHANNEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 254 [SF3] CONTROLLER ASSIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 254 [F3] SYSTEM SEQ (available only when entering Utility mode from Song/Pattern modes) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 254 [SF1] CLICK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 254 [SF2] MIDI FILTER IN/OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 255 [SF4] OTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 255 [F4] SYSTEM CONTROLLER ASSIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 255 [SF1] ARPEGGIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 255 [SF2] ASSIGNABLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 256 [SF3] FOOT SWITCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 256 [SF4] EXTERNAL SEQ REMORT CONTROL TEMPLATE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 256 [F5] SYSTEM MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 258 [SF1] CHANNEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 258 [SF2] SWITCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 258 [SF3] SYNC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 258 [SF4] OTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 259 [F6] SYSTEM PLUG-IN BOARD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 259 [SF1] STATUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 259 [SF2] MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 260 [SF3] NATIVE SYSTEM PARAMETER for Slot1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 260 [SF4] NATIVE SYSTEM PARAMETER for Slot2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 260 [SF5] NATIVE SYSTEM PARAMETER for Slot3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 260 [JOB] FACTORY SET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 260 MOTIF Reference 249 Utility mode Utility mode In this mode, you can set parameters that apply to the entire system of the MOTIF. These include MIDI settings and global setup parameters. This mode is actually a sub-mode of the Voice/ Performance/ Song/Pattern mode. Press the [UTILITY] button in each mode to enter the Utility mode and press the [EXIT] button after making settings to go back to the previous mode. ◆ Basic Procedure 1 Press the [UTILITY] button to enter the Utility mode. (The indicator lights.) n For example, if you press the [UTILITY] button while in the Performance mode, you enter the Utility mode as a sub-mode of the Performance mode — allowing you to select and play performances while in the Utility mode. n Even after you enter the Utility mode, the indicator of the previous mode’s button remains lit, letting you see at-a-glance which mode you’ve entered from. • Volume Determines the MOTIF’s overall volume. ❏ Settings 0~127 • NoteShift Determines the amount (in semitones) by which the note pitch is shifted. This parameter only affects the MOTIF’s internal tone generator block. It does not affect information transmitted via the MIDI terminal. ❏ Settings 24~0~+24 • Tune Determines the fine tuning (in 0.1 cent steps) of the MOTIF’s overall sound. ❏ Settings 102.4~+102.3 • BCCurve (Breath Controller Curve) These four curves determine how the sound of the MOTIF responds to use of a Breath Controller. The specific aspect of the sound that is affected by Breath Control and the selected curve is set in the Controller Set display (page 134) in the Normal Voice Element Edit mode. ❏ Settings thru, soft, hard , wide thru This linear “curve” produces one-to-one correspondence between the power of your breath and the actual sound change. Actual response 2 Select the desired menu by pressing the [F1] - [F6] buttons and set the parameters in each display. n The display called up via the [F3] button varies according the previous mode (before entering the Utility mode). 3 Press the [EXIT] button to exit from the Utility mode back to the previous mode. Received Breath Control soft This curve provides increased response, especially for lower breath power. In other words, soft blowing results in higher response than the “thru” curve. Use this curve if you want greater control in the soft breath range. Actual response • For detailed instructions on steps #2, see the explanations below. Received Breath Control [F1] System settings Reference Utility mode ● [F1]-[SF1] General TG (Tone Generator) hard This curve effectively lessens the overall response compared to the “thru” curve. Use this curve if you tend to blow strongly and want the controller effect to be less sensitive. Actual response From this display you can make overall settings for the MOTIF’s tone generator, including volume and pitch, as well as Breath Control response. Received Breath Control wide This setting provides opposite response curves for lower and higher breath powers. It widens the apparent dynamic range of the controller, producing softer response in the lower breath range and harder response in the higher range. 250 MOTIF Reference Utility mode hard This curve effectively lessens the overall response compared to the “norm” curve. Use this curve if you tend to play strongly and want the sound change to be less sensitive. Actual response Actual Velocity Received Breath Control ● [F1]-[SF2] General Keyboard From this display you can set the keyboard-related parameters for the MOTIF. Keyboard velocity wide This setting provides opposite response curves for lower and higher velocities. It widens the apparent dynamic range of the controller, producing less sound change in the softer range and more change in the higher range. Actual Velocity • Octave Determines the amount in octaves by which the range of the keyboard is shifted up or down. ❏ Settings -3~0~+3 • Transpose Determines the amount in semitones by by which the range of the keyboard is shifted up or down. Keep in mind that this also affects outgoing MIDI data. ❏ Settings -11~ 0 ~+11 n If you transpose beyond the note range limits (C-2 and G8), notes in the adjacent octaves will be used. For example, a transposed note of F9 will be changed to F8. Keyboard velocity fixed This setting produces the same amount of sound change (set in Fixed Velocity below), no matter what your playing strength. For example, you can use this to emulate the key response of conventional organs, or ensure that the sound change is absolutely uniform, no matter how hard or softly you play. Actual velocity • VelCurve (Velocity Curve) norm (normal) This linear “curve” produces one-to-one correspondence between the strength of your keyboard playing (velocity) and the actual sound change. The harder you play, the greater the sound change. Keyboard velocity n Actual velocity is output to the external MIDI device via the MIDI or USB connector, as well as to the internal tone generator block. This parameter is only available if you select the “fixed” Velocity Curve above. The velocity of the note you play is fixed at the value set here. ❏ Settings 1~127 Keyboard velocity soft This curve provides increased response, especially for lower velocities. In other words, playing softly results in higher response than the “norm” curve. Use this curve if you want greater control in the low velocity range. Actual Velocity Keyboard velocity MOTIF Reference 251 Reference Utility mode • Fixed Velocity Actual Velocity Utility mode ● [F1]-[SF3] General Effect Bypass From this display you can select the specific effect(s) to be bypassed when the [EFFECT BYPASS] button (page 13) is turned on. EFFECT BYPASS INSERTION SYSTEM Performance When you switch the MOTIF on, the Performance Play mode is entered and the first program number (USER: 001) is selected automatically. Voice (User) When you switch the MOTIF on, the Voice Play mode is entered and the first program number of the User Voices (USER: 001) is selected automatically. Voice (PRE1) When you switch the MOTIF on, the Voice Play mode is entered and the first program number of the Preset Voices (PRE 1: 001) is selected automatically. GM When you switch the MOTIF on, the Voice Play mode is entered and the first program number of the GM Voices (GM: 001) is selected automatically. ❏ Settings on (bypassed), off ● [F1]-[SF4] General Other last When you switch the MOTIF on, the Voice/Performance Program Number selected before you switched the power off is recalled. Master When you switch the MOTIF on, the Master Play mode is entered and the first program number (001) is selected automatically. • CtrlReset (Controller Reset) ! " n For details, see page 264. • Auto Load Determines whether the Auto Load function is on or off. When this is on, the MOTIF will automatically load the specified files (from memory card or SCSI storage device) to User memory — whenever the power is turned on. (See above illustration for additional explanations.) ❏ Settings on, off • Auto DemoLoad Reference Utility mode The MOTIF features special Demo song data, which is stored to ROM and should be loaded to DRAM for proper operation (page 64). When this parameter is set to “on,” the Demo song data is automatically loaded when the power os turned on. This parameter determines whether the Demo song data is automatically loaded (on) or not (off) when turning the power on. ❏ Settings on, off n When Auto Load is set to on, the Auto Demo Load parameter cannot be set. If this parameter is set to on, all User Voice, Performance, Master, and System settings will be initialized to the Factory settings when switching the power on the next time. Important data should always be backed up to a separate Memory Card or some other storage device. • PowerOnMode This determines the default power-on mode (and memory bank) for the MOTIF — letting you select which condition is automatically called up when you turn the power on. ❏ Settings See below. 252 MOTIF Reference Determines the status of the controllers (Modulation Wheel, Aftertouch, Knobs, etc.) when switching between voices. When this is set to “off,” the controllers are kept at the current setting. When this is set to “on,” the controllers are reset to the default states (below). ❏ Settings on, off If you select “on,” the controllers will be reset to the following states/positions: Pitch Bend Modulation Wheel Aftertouch Foot Controller Breath Controller Foot Switch Expression Foot Volume Sustain Center Minimum Minimum Maximum Maximum Off Maximum Maximum Off [F2] Interface settings ● [F2]-[SF1] I/O Input From this display you can set parameters related to audio input. • A/DSource The MOTIF features two different input connections for transferring analog audio from an external device: the A/ D INPUT jacks or the mLAN terminal (when an optional mLAN8E is installed). One or the other must be set; the two cannot be used at the same time. ❏ Settings analog (A/D INPUT jack), mLAN Utility mode • Mic/Line When using the A/D INPUT jacks, this determines the input source, microphone (mic) or line. ❏ Settings mic, line To initialize all the mLAN settings above, use the following procedure. • Digital When the optional AIEB2 board is installed, the MOTIF features two different input connections for transferring digital audio from an external device: coaxial or optical. One or the other must be set; the two cannot be used at the same time. ❏ Settings coaxial, optical [EXIT] button [SF5] button ● [F2]-[SF2] I/O Output From this display you can set parameters related to audio output. Press the [ENTER] button to actually initialize the mLAN settings. Specify the digital output resolution of the optionally installed AIEB2 board (page 19). ❒ Settings 20bit, 24bit [F3] Voice settings These special voice-related settings are available only when entering the Utility mode from the Voice mode. ● [F3]-[SF1] Voice Master Equalizer Set the output gain of each jack. ❒ Settings 0dB, +6dB, +12dB, +18dB n The digital output resolution of the MOTIF itself is set to 16 bit (fixed). From this display you can apply five-band equalization to all parts of the selected voice. ● [F2]-[SF3] I/O mLAN connection From this display you can set parameters related to connection of an optional mLAN8E (page 18). The following display is available only when the optional mLAN8E has been installed. For details on this parameter, refer to the owner’s manual of the mLAN8E. Q (Frequency Characteristic) Gain Vendor Name Nickname 0 Freq (Frequency) [SF4] button Assign a nickname for the connection. For specific instructions on naming, see Basic Operation on page 75. For details about the Nickname parameter, refer to the owner’s manual of the mLAN8E. • Shape Determines whether the equalizer type used is Shelving or Peaking. The Peaking type attenuates/boosts the signal at the specified Frequency setting, whereas the Shelving type attenuates/boosts the signal at frequencies above or below the specified Frequency setting. ❏ Settings shelv (Shelving), peak (Peaking) n For details about the shapes of the Shelving and Peaking types, see page 168. Set the Word Clock. For details, refer to the owner’s manual of the mLAN8E. Press the [ENTER] button to actually set the value. n All mLAN8E-related settings in the Utility mode are stored only to the memory on the mLAN8E itself, and not to the User memory of the MOTIF. MOTIF Reference 253 Reference Utility mode [EXIT] button Utility mode [F3] Sequencer settings • Freq (Frequency) Set the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting. ❏ Settings LOW (Low range) Peaking 63Hz ~ 2.0kHz Shelving 32Hz ~ 2.0kHz LOW MID (Low middle range) 100Hz~10kHz MID (Middle range)100Hz~10kHz HIGH MID (High middle range) 100Hz ~10kHz HIGH (High range)500Hz~16kHz • Gain Determines the level gain for the Frequency (set above), or the amount the selected frequency band is attenuated or boosted. ❏ Settings -12dB~0dB~+12dB These special song- and pattern-related settings are available only when entering the Utility mode from the Song or Pattern mode. ● [F3]-[SF1] Sequencer Click (MIDI Click) From this display you can set the parameters related to the click sound (metronome) that is used during recording or playback in the Song/Pattern mode. • Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics. ❏ Settings 0.1~12.0 ● [F3]-[SF2] Voice Arpeggio Channel From this display you can set parameters related to output of the Arpeggio MIDI data. • Mode Determines whether and when the metronome click will sound. ❏ Settings off, rec, rec/play, all off The click will not sound. rec The click will sound during recording only. rec/play The click will sound during recording and playback. • OutputSwitch This enables or disables MIDI data output for the Arpeggio function. When this is set to “on,” Arpeggio data is sent via MIDI — allowing you to send the Arpeggio data to an external sequencer or play back the Arpeggios on connected MIDI tone generators. ❏ Settings on (enable), off (disable) • TransmitCh (Transmit channel) Determines the MIDI channel through which Arpeggio playback data will be sent (when Output Switch above is on). ❏ Settings 1~16 ● [F3]-[SF3] Voice Controller Assign Reference Utility mode Sets the parameters related to the controllers in the Voice mode. Details about each parameter are same as in Performance Common Edit. See page 169 . Foot Controller 1, 2 Knob Assign 1, 2 Breath Controller ❏ Settings off, 0~95 254 MOTIF Reference all The click will always sound. • Beat Determines on which beats the metronome click will sound. ❏ Settings 16 (16th notes), 08 (8th notes), 04 (quarter notes), 02 (half notes), 01 (whole notes) • Volume Determines the click sound volume. ❏ Settings 0~127 • Rec Count Sets the number of count-in measures provided before actually recording starts after pressing the [F] button in the Record standby mode . ❏ Settings off (Recording starts as soon as the [F] button is pressed ), 1meas~8meas n Since the click sound is created with the internal tone generator, using click playback affects the overall polyphony of the MOTIF. Utility mode ● [F3]-[SF2] Sequencer MIDI Filter From this display you can set which MIDI events will be recognized/transmitted via the MIDI IN/ OUT terminal or the USB terminal. The settings made here apply only to song/pattern playback data; they do not affect the MIDI events generated by your keyboard polaying or panel operations in the Voice and Performance modes. n Keep in mind that settings other than “off” may result in slower operation — for example, a pause before starting playback, or slower rewind/fastforward speed. n When this is set to “All,” an excessive amount of MIDI data may be generated, possibly resulting in a MIDI error on the connected device. • DumpExIntrval (Bulk Dump Exclusive Interval Time) When playing back system exclusive data (bulk data) that is recorded on the sequence tracks, this sets the interval that is inserted for each 1KB. When sending bulk data from the MOTIF to a connected MIDI device, a MIDI error may result if the device cannot handle large amounts of data in a short time. This parameter compensates for that by setting an interval that provides enough time for the receiving device to process the bulk data. ❏ Settings 0~900 (msec) ● [F3]-[SF3] Sequencer Other n The playback may be a little slower depending on the currently set interval. Also when a MIDI error occurs, try to set the interval a little higher and send the data again. • LoadMix Determines whether the Mixing settings are loaded (on) or not (off) when the Song/Style number is changed. ❏ Settings off, on • PtnQuantize (Pattern Quantize) Determines the quantize value for pattern switching during playback. When set to “1,” patterns (sections) will always switch on the first beat of the measure during playback. When “1/16” is selected, patterns (sections) can be switched on any 16th beat during playback. ❏ Settings 1 (1 measure), 1/2 (Half note), 1/4(Quarter note), 1/8(8th note), 1/16 (16th note) n This setting affects the Song/Pattern change during the Song/Pattern chain playback. • SendXGon Determines whether the XG reset message is sent to the Multi-part Plug-in board tone generator block (on) or not (off) when starting the XG song or changing the Song/ Style number. ❏ Settings on, off • PtnTempoHold (Pattern Tempo Hold) [F4] Controller settings ● [F4]-[SF1] Controller Assign Arpeggio n The tempo setting data in the Pattern Chain is not affected by this parameter. • SongEventChase Event Chase allows you to specify which non-note data types are properly recognized during fast-forward and rewind operations. Normally, if a song or pattern is played back from mid-point and/or fast-forward or rewind are used, certain data types (such as Program Change, Pitch Bend, and Control Change) may not play back as expected. Setting this to a specific event ensures the playback “integrity” of the event, even when fast-forwarding or rewinding. ❏ Settings Off, PC (Program Change), PC+PB+Ctrl (Program Change+Pitch Bend+Control Change), All (All events) • Switch Determines the Control Change Number that controls the Arpeggio playback on/off. ❏ Settings off, 01~95 • Hold Determines the Control Change Number that controls the Arpeggio Hold (page 129) on/off. ❏ Settings off, 01~95 MOTIF Reference 255 Reference Utility mode Determines whether or not the tempo setting will switch to the tempo value stored with each style when a new style is selected during playback. When set to “on,” the tempo will be retained when styles are switched. When set to “off,” the tempo will switch to that stored with the new style when styles are switched. ❏ Settings on, off Utility mode ● [F4]-[SF2] Controller Assign Knob ASSIGN A, B From this display you can assign specific functions to the ASSIGN A and B knobs. ◆ Remote Control of Computer Sequence Software Using the Remote Control function lets you control computer sequence software by using the buttons or controllers on the MOTIF. Turn the Remote Control function on by pressing the [REMOTE CONTROL ON/OFF] button so that its lamp flashes. REMOTE CONTROL ON/OFF • ASA, ASB (Assignable A, B) EFFECT BYPASS Determines the Control Change number to be controlled by the ASSIGN knobs A and B. ❏ Settings 000~095 (Refer to the separate Data List booklet. ) • Dest (Control Destination) Determines the function to be controlled by the Control Change number set above. ❏ Settings Refer to the separate Data List booklet. ● [F4]-[SF3] Controller Assign Footswitch From this display you can assign a specific function to the Footswitch. INSERTION SYSTEM ARPEGGIO ON/OFF • Setup Before you can use the Remote Control function, you’ll need to follow the setup instructions below. 1 Connect the MOTIF to your computer via a USB cable. For details, see page 25. 2 Install the USB MIDI driver and the setup file for the sequence software (contained in the included CD-ROM) to your computer. For details on how to install, see the Installation Guide manual. 3 Select the template for your particular sequence ❏ Settings 000~100 (000, 032 : off, 096 : Arpeggio Switch, 097 : Arpeggio Hold, 098 : Song/ Pattern playback start/stop, 099/100 : Program Change INC/DEC 101 : Octave Rest) ● [F4]-[SF4] Controller Assign Remote The MOTIF gives you convenient remote control over major functions in several popular sequencer programs. This lets you automatically configure the MOTIF for use with your particular sequencer program, by specifying the template to be used. software in the Utility mode on the MOTIF (above). 4 Set the MIDI IN/OUT setting to “USB” in the Utility mode on the MOTIF (page 259). • Compatible Software The following computer sequence software programs can be controlled via the MOTIF’s Remote Control function. Reference Utility mode Windows Cubase VST/32 Logic Audio Plutinum Ver4.6 Cakewalk ProAudio Ver9.0 Pro Tools V5.0 Macintosh [Press the [ENTER] button to call up the template provided for the selected software. ❏ Settings Cubase, Logic, Cakewalk, ProTools 256 MOTIF Reference Cubase VST 5.0 Logic Audio Plutinum Ver4.6 Pro Tools V5.0 Utility mode ◆ Remote Control Assignments Functions to be controlled by the MOTIF differ depending on the software you use. When the appropriate template is selected, the following functions on the corresponding software can be controlled. • Logic Audio Plutinum Ver4.6 When the template is set to “Logic,” the following functions can be controlled by the MOTIF. • Cakewalk ProAudio Ver9.0 When the template is set to “Cakewalk,” the following functions can be controlled by the MOTIF. These control the track selected via the NUMBER [1] - [16] buttons. Knobs These control the track selected via the NUMBER [1] - [16] buttons. Knobs KN1 KN2 KN2 KN4 1st row PAN SEND1 SEND2 SEND3 2nd row --- --- --- --- 3rd row --- --- --- --- 4th row --- --- --- --- Set via [KNOB CONTROL FUNCTION] KN1 1st row PAN SEND1 SEND2 SEND3 2nd row PAN EQ1 Freq EQ1 Gain EQ1 Q 3rd row PAN EQ2 Freq EQ2 Gain EQ2 Q 9 ~ 12 VOLUME9 VOLUME10 VOLUME11 VOLUME12 4th row PAN EQ3 Freq EQ3 Gain EQ3 Q 13 ~ 16 VOLUME13 VOLUME14 VOLUME15 VOLUME16 KN2 KN2 These control the four tracks selected via the NUMBER [1] - [16] buttons. KN4 Selected tracks These control the four tracks selected via the NUMBER [1] - [16] buttons. Sliders Set via [KNOB CONTROL FUNCTION] Selected tracks CS1 CS2 CS3 CS4 1~4 VOLUME1 VOLUME2 VOLUME3 VOLUME4 5~8 VOLUME5 VOLUME6 VOLUME7 VOLUME8 9 ~ 12 VOLUME9 VOLUME10 VOLUME11 VOLUME12 13 ~ 16 VOLUME13 VOLUME14 VOLUME15 VOLUME16 SEQ TRANSPORT These control PLAY, REC, STOP, G, H of the computer sequence software. The [ ] (TOP) button controls STOP of the computer sequence software. TRACK MUTE When the [MUTE] buttonon the MOTIF is turned on, the NUMBER [1] [16] buttons control the track mute settings of the computer sequence software. TRACK SELECT When the [TRACK SELECT] butt on on the MOTIF is turned on, the NUMBER [1] - [16] buttons select the track of the computer sequence software. Sliders CS1 CS2 CS3 CS4 1~4 VOLUME1 VOLUME2 VOLUME3 VOLUME4 5~8 VOLUME5 VOLUME6 VOLUME7 VOLUME8 SEQ TRANSPORT These control PLAY, REC, STOP,TOP, G, H of the computer sequence software. TRACK MUTE When the [MUTE] button on the MOTIF is turned on, the NUMBER [1] [16] buttons control the track mute settings of the computer sequence software. TRACK SELECT When the [TRACK SELECT] button son the MOTIF is turned on, the NUMBER [1] - [16] buttons select the track of the computer sequence software. • Pro Tools V5.0 When the template is set to “ProTools,” the following functions can be controlled by the MOTIF. Knobs Not available. These control the four tracks selected via the NUMBER [1] - [16] buttons. Knobs Sliders CS1 CS2 CS3 CS4 1~4 VOLUME1 VOLUME2 VOLUME3 VOLUME4 5~8 VOLUME5 VOLUME6 VOLUME7 VOLUME8 These control the track selected via the NUMBER [1] - [16] buttons. 9 ~ 12 VOLUME9 VOLUME10 VOLUME11 VOLUME12 Set via [KNOB CONTROL FUNCTION] 13 ~ 16 VOLUME13 VOLUME14 VOLUME15 VOLUME16 KN1 KN2 KN2 KN4 1st row PAN SEND1 SEND2 SEND3 2nd row PAN EQLo Freq EQLo Gain EQLo Q 3rd row PAN 4th row PAN EQMidLo Fre EQMidLo Gai EQMidLo Q EQHi Freq EQ3Hi Gain EQ3Hi Q These control the four tracks selected via the NUMBER [1] - [16] buttons. Sliders Selected tracks Selected tracks CS1 CS2 CS3 CS4 1~4 VOLUME1 VOLUME2 VOLUME3 VOLUME4 5~8 VOLUME5 VOLUME6 VOLUME7 VOLUME8 9 ~ 12 VOLUME9 VOLUME10 VOLUME11 VOLUME12 13 ~ 16 VOLUME13 VOLUME14 VOLUME15 VOLUME16 SEQ TRANSPORT These control PLAY, REC, STOP,TOP, G, H of the computer sequence software. TRACK MUTE When the [MUTE] button on the MOTIF is turned on, the NUMBER [1] [16] buttons control the track mute settings of the computer sequence software. TRACK SELECT When the [TRACK SELECT] button on the MOTIF is turned on, the NUMBER [1] - [16] buttons select the track of the computer sequence software. SEQ TRANSPORT These control PLAY, REC, STOP,TOP, G, H of the computer sequence software. TRACK MUTE When the [MUTE] button on the MOTIF is turned on, the NUMBER [1] [16] buttons control the track mute settings of the computer sequence software. TRACK SELECT When the [TRACK SELECT] button on the MOTIF is turned on, the NUMBER [1] - [16] buttons select the track of the computer sequence software. MOTIF Reference 257 Reference Utility mode • Cubase VST/32, Cubase VST 5.0 When the template is set to “Cubase, ” the following functions can be controlled by the MOTIF. Utility mode [F5] MIDI settings ● [F5]-[SF1] MIDI Channel From this display you can make basic MIDI settings. • PgmChange (Program Change) This switch enables or disables Program Change messages, both in transmission and reception. When this is set to “on,” the MOTIF responds to incoming Program Change messages, and it also transmits appropriate Program Change messages (when using the panel). ❏ Settings off, on • CtrlChange (Control Change mode) • BasicRcvCh (Basic Receive Channel) Determines the MIDI channel over which the MOTIF receives MIDI data (from an external sequencer, MIDI controller, or other device). This parameter is available for the Voice / Performance mode. ❏ Settings 1~16, omni (all channels), off • KBDTransCh (Keyboard Transmit Channel) Determines the MIDI channel over which the MOTIF sends MIDI data (to an external sequencer, tone generator, or other device). This parameter is available for the Voice / Performance mode. ❏ Settings 1~16, off n In the Song/Pattern mode, the MIDI data created by playing the keyboard/knobs/wheels is sent to the tone generator block or the external MIDI devices via the MIDI output channel of the currently selected track (page 38). • DeviceNo. (Device Number) Determines the device number used by the MOTIF in receiving or transmitting data. This number must match the Device Number of the external MIDI device when transmitting/receiving bulk data, parameter changes or other system exclusive messages to/from it. ❏ Settings 1~16, all, off This parameter lets you set the MOTIF to properly respond to either type of GM System data, Level 1 or Level 2 — particularly regarding AEG Sustain. When using GM Level 2, set this to Mode 1, and the MOTIF responds to the messages as parameter change data. When using GM Level 1, set this to Mode 2, and the MOTIF responds to the messages as control change data. ❏ Settings mode1, mode2 • LocalCtrl (Local Control On/Off) This determines whether or not the tone generator of the MOTIF responds to your keyboard playing. Normally, this should be set to “on” — since you’ll want to hear the sound of the MOTIF as you play it. However, for external sequencer applications, you may need to set this to “off” to avoid getting “double” notes, in which the tone generator of the MOTIF is played twice — once by the keyboard and once again by the keyboard data routed through the sequencer. Even if this is set to “off,” the data will be transmitted through the MIDI OUT or USB terminal. Also, the MOTIF’s tone generator block will respond to messages received via the MIDI IN or USB terminal. ❏ Settings off, on • RcvBulk (Receive Bulk) Determines whether or not Bulk Dump data can be received. ❏ Settings protect (not received), on (received) • FileUtilID (File Utility ID) This determines the ID number used in conjunction with file transfers using the special File Utility software in the included CD-ROM. This File Utility ID number and the Device Number (above) must match the ones of the the File Utility software in order to properly transfer files between the MOTIF and a connected computer. ❏ Settings: 1~128 ● [F5]-[SF3] MIDI Sync From this display you can set various parameters related to MIDI clock and synchronization. ● [F5]-[SF2] MIDI Switch Reference Utility mode From this display you can determine which types of MIDI data the MOTIF transmits and responds to. • MIDI Sync • BankSel This switch enables or disables Bank Select messages, both in transmission and reception. When this is set to “on,” the MOTIF responds to incoming Bank Select messages, and it also transmits appropriate Bank Select messages (when using the panel). ❏ Settings off, on 258 MOTIF Reference Determines whether Song/Pattern/Arpeggio playback will be synchronized to the MOTIF’s internal clock or an external MIDI clock. ❏ Settings internal, MIDI, MTC internal Synchronization to internal clock. Use this setting when the MOTIF is to be used alone or as the master clock source for other equipment. MIDI The MOTIF is synchronized to a MIDI clock received from an external MIDI device via the MIDI IN or USB terminal. Utility mode n The MTC Sync function is available only in the Song mode. The Pattern playback (in the Pattern mode) and the Arpeggio playback (in the Voice/ Performance mode) cannot be synced to MTC. n MTC (MIDI Time Code) allows simultaneous synchronization of multiple audio devices via standard MIDI cables. It includes data corresponding to hours, minutes, seconds, and frames. The MOTIF does not transmit MTC. A device such as the Yamaha AW4416 is necessary in order to the MOTIF as an MTC master. n MMC (MIDI Machine Control) allows remote control of multitrack recorders, MIDI sequencers, etc. A MMC-compatible multitrack recorder, for example, will automatically respond to start, stop, fast forward, and fast reverse operations performed on the controlling sequencer, thus keeping playback of the sequencer and multitrack recorder aligned. • ClockOut Determines whether MIDI clock (F8) messages will be transmitted via the MIDI OUT/USB terminal. ❏ Settings on (transmitted), off • SeqCtrl (Sequencer Control) Determines whether Sequencer Control signals — start, continue, stop, and song position pointer — will be received and/or transmitted via the MIDI OUT/USB terminal. ❏ settings off, in, out, in/out off in out in/out Not transmitted/recognized. Recognized but not treansmitted. Transmitted but not recognized. Transmitted/recognized. • MTC StartOffset Determines the specific time code point from which sequence playback starts, when MTC is received. This feature can be used to accurately align playback of the RS7000 with an external MTC-compatible device. ❏ Settings Hour : Minute : Second : Frame Hour Minute Second Frame • MIDI IN/OUT Determines which physical output terminal(s) will be used for transmitting/receiving MIDI data: MIDI IN/OUT/THRU, USB, or mLAN (when the optional mLAN8E has been installed). ❏ Settings MIDI, USB, mLAN n Three types of terminals above cannot be used at the same time. Only one of them can be used to transmit/receive the MIDI data. • ThruPort (Through Port) Many computer sequencers are capable of transmitting data over several MIDI ports, effectively breaking the 16channel barrier. When using the USB terminal for MIDI transmission/reception, you can have the MOTIF respond to MIDI data over one port, while relaying the data for another port number to a separate tone generator (connected to the MIDI OUT terminal). In this way, 16 channels of data can be played on the MOTIF and another 16 can be played on the connected device. Plug-in boards installed to the MOTIF can also be independently addressed via separate MIDI ports (page 38), further expanding the amount of channels. Make sure to set Thru Port to the intended port number of the connected device. ❏ Settings 1~8 [F6] Plug-in board settings When a Plug-in board is installed, the following displays and parameters are available. The particular parameters available depends on the type of Plug-in board that is installed. n An Effect Plug-in board can only be installed to slot 1, while a Multi-part Plug-in board can only be installed to slot 3. Single Part Plug-in boards can be installed to any of the three slots. ● [F6]-[SF1] Plug-in board Status The name of the Plug-in Board is displayed. 00 ~23 00 ~59 00 ~59 00 ~29 • PolyExpand ● [F5]-[SF4] MIDI Other From this display you can set parameters related to the MIDI terminals and port number. This parameter is accessible only when you have two or three identical Plug-in boards installed on the MOTIF. The “off” setting enables two or three boards to work separately (you can select them in two or three different Parts). When this is set to “on,” the two boards effectively function together as one board (used in a single part) — giving you double the amount of polyphonic notes you can play at one time. ❏ Settings on, off MOTIF Reference 259 Reference Utility mode MTC (MIDI Time Code) The MOTIF is synchronized to an MTC signal received via the MIDI IN or USB terminal. MMC signals are transmitted via the MIDI OUT or USB terminal. Use this setting when the MOTIF is to be used as a MIDI slave, such as when synchronized to an MTC-capable MTR. Utility Job mode ● [F6]-[SF2] Plug-in board MIDI From this display you can set various MIDI-related parameters for the Plug-in board. • DevNo (Device Number) Determines the MIDI Device Number of the Plug-in Board. This number must match the Device Number of the external MIDI device when transmitting/receiving bulk data, parameter changes or other system exclusive messages to/from it. ❏ Settings 1~16, all, off • PORT NO. (Port number) Determines the MIDI Port number over which the Plug-in board receives MIDI data.One port can be set for the Multi-part Plug-in board and two ports can be set for the Single part Plug-in board. ❏ Settings off, 1~3 n The Port number for the Effect Plug-in board (VH) is fixed to 1. • GM/XG Determines whether “GM on” and “XG on” messages are recognized (on) or not (off) . This parameter is available only when the Multi-part Plug-in board has been installed to slot 3. ❏ Settings on, off ● [F6]-[SF3] Plug-in board Native System Parameters (Slot 1) From this display you can set the Native System parameters of the Plug-in board installed to slot 1. For details on these parameters, refer to the owner’s manual of your particular Plug-in board. Reference Utility mode ● [F6]-[SF4] Plug-in board Native System Parameters (Slot 2) From this display you can set the Native System parameters of the Plug-in board installed to slot 2. For details on these parameters, refer to the owner’s manual of your particular Plug-in board. ● [F6]-[SF5] Plug-in board Native System Parameters (Slot 3) From this display you can set the Native System parameters of the Plug-in board installed to slot 3. For details on these parameters, refer to the owner’s manual of your particular Plug-in board. 260 MOTIF Reference Utility Job mode In this Mode, you can restore your MOTIF’s User memory (SRAM, see page 64 ) to the factory default settings (Factory Set). When you restore the factory default settings, all the current settings for all the User voices and performances on the User Memory will be overwritten with the factory defaults. Make sure you are not overwriting any important data. You should back up any important data to memory card/SCSI device beforehand. ◆ Factory Set (Restore Factory Defaults) 1 InthetheUtility Utility mode, press the [JOB] button to enter Job mode. 2 Press the [ENTER] button. (The display prompts you for confirmation.) 3 Press the [INC/YES] button to execute the Job. After the Job has been completed, a “Completed” message appears and operation returns to the original display. n To cancel the Job, press the [DEC/NO] button. 4 Press the [UTILITY] button to exit from the Utility Job mode back to the Utility mode. n All settings in the Utility mode that are related to the Plug-in boards and the mLAN8E are stored only to the memory on those respective devices, and not to the User memory of the MOTIF. Because of this, the Factory Set operation cannot be used to restore settings for those devices. Function Tree File Mode Basic Structure (page 63) Function Tree This section is devoted to the File mode. To see how the File mode relates to the entire structure of the MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the File mode — giving you a quick, easy-to-understand overview of the data storage and file-related functions of the MOTIF. Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations. [FILE] Reference File mode [INFORMATION] FILE INFORMATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276 [F1] CONFIGURATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 264 [SF1] CURRENT DRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 264 [SF2] SCSI ID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 265 [SF3] MOUNT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 265 [SF4] FORMAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 265 [F2] SAVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266 [F6] MAKEDIR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266 [ENTER] WAV/AIFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266 [ENTER] MID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266 [F3] LOAD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266 [ENTER] VOICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266 [ENTER] SONG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266 [ENTER] PATTERN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266 [ENTER] WAVEFORM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 266 [F4] RENAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 267 [F6] MAKEDIR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 267 [F5] DELETE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 267 MOTIF Reference 261 File mode File mode File/Folder selection Basic Structure (page 63) In this mode, you can save data to and load data from memory cards and SCSI storage devices, such as hard disks and removable cartridges. The File mode also provides various functions for managing your data and SCSI devices. With the File Utility software (on the included CDROM), you can use a computer to manage data stored to memory cards or SCSI devices — even use it to transfer data between the computer and the memory card/SCSI device. Memory card The illustrations and instructions below show you how to select files and folders on the memory card or SCSI devices within the File mode. Move the cursor to the desired file or folder by using the [INC/YES] and [DEC/NO] buttons or the data dial. To go to the next lowest level, highlight the desired folder and press the [ENTER] button. To return to the next highest level, press the [EXIT] button. SCSI device (hard disk, removable cartridge, etc.) SCSI connector MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System SONG SCENE REC Move the cursor to the desired file or folder by using the [INC/YES] and [DEC/NO] buttons or the data dial. MOTIF ◆ Basic Procedure New Folder Creation 1 Press the [FILE] button to enter the File mode. (The indicator lights.) From the Save display (called up via the [F2] button) and the Rename display (called up via the [F4] button), you can create new folders. This function lets you conveniently and easily organize the numerous important data files you create on the MOTIF. 2 Select the desired menu by pressing the [F1] - [F6] buttons and execute each operation (Save, Load, and so on). 3 Press any other mode button to exit from the File mode. • For detailed instructions on step #2, see the explanations below. You can create the new folder by pressing the [F6] button and naming. File types that can be handled by the MOTIF Reference File mode ■ File types that can be saved from the MOTIF to the memory card/SCSI storage device When you save your original data to User memory (page 63), the MOTIF organizes your data according to its type (as listed below), and automatically assigns a special three-letter extension to the file name corresponding to the type. 262 MOTIF Reference File mode Extension: .W2A All data in the MOTIF’s internal User Memory are treated as a single file, and can be saved to the memory card/SCSI storage device. • All Voice Extension: .W2V All the User Voice data in the MOTIF's internal User Memory are treated as a single file, and can be saved to the memory card/SCSI storage device. • All Song Extension: .W2V All the User Song data in the MOTIF's internal User Memory are treated as a single file, and can be saved to the memory card/SCSI storage device. • All Pattern Extension: .W2P All the User Pattern data in the MOTIF's internal User Memory are treated as a single file, and can be saved to the memory card/SCSI storage device. • All Waveform Extension: .W2W All the User Wave and Sample data in the MOTIF's internal User Memory are treated as a single file, and can be saved to the memory card/SCSI storage device. • Usr ARP (User Arpeggio) Extension: .MID Sequence track (1 - 16) and Tempo track data of songs or patterns created in the Song/Pattern mode can be saved to the memory card/SCSI storage device as Standard MIDI File (format 0) data. • Wav Extension: .WAV Sample data created in the Sampling mode can be saved to the memory card/SCSI storage device as a WAV file (Windows audio format). • Aif (AIFF file) • All Voice Extension: .W2V A file that is saved to the Memory Card/SCSI storage device as “All Voice” type can be loaded and restored to the MOTIF. • Voice Extension: .W2V A specified voice in a file that is saved to the Memory Card/SCSI storage device as “All” or “All Voice” type can be individually selected and loaded to the MOTIF. • Plugin All Bulk 1, 2, 3 Extension: .W2B A file that is saved to the Memory Card/SCSI storage device as “Plugin All Bulk 1, 2, 3” type can be loaded and restored to the Plug-in board installed to the MOTIF. • Usr ARP (User Arpeggio) Extension: .W2G A file that is saved to the Memory Card/SCSI storage device as “Usr ARP” type can be loaded and restored to the MOTIF. • All Song Extension: .W2S A file that is saved to the Memory Card/SCSI storage device as “All Song” type can be loaded and restored to the MOTIF. Extension: .W2B All the data in a Plug-in board are treated as a single file, and can be saved to the memory card/SCSI storage device. • SMF Extension: .W2A A file that is saved to the Memory Card/SCSI storage device as “All” type can be loaded and restored to the MOTIF. Extension: .W2G All the User Arpeggio data in the MOTIF's internal User Memory are treated as a single file, and can be saved to the memory card/SCSI storage device. • Plugin All Bulk 1, 2, 3 • All Extension: .AIF Sample data created in the Sampling mode can be saved to the memory card/SCSI storage device as an AIFF file (Macintosh audio format). • all voice without waveform (Voice data for Voice Editor) Extension: .W2E All the User Voice data (with the exception of waveform data) can be treated as a single file and saved to the memory card/SCSI storage device. The saved file can be loaded to the Voice Editor software (included in the CDROM) on your computer. ■ File types that can be loaded from the Memory Card/SCSI storage device to the MOTIF Any data saved to a memory card/SCSI device from the User memory of the MOTIF can be loaded back to the MOTIF. Naturally, all the file types that can be saved (listed above) can be loaded; however, there are some additional types available for loading. (Refer to the list below.) • Song Extension: .W2S A specified song in a file that is saved to the Memory Card/ SCSI storage device as “All” or “All Song” type can be individually selected and loaded to the MOTIF. • All Pattern Extension: .W2P A file that is saved to the Memory Card/SCSI storage device as “All Pattern” type can be loaded and restored to the MOTIF. • Pattern Extension: .W2P A specified pattern in a file that is saved to the Memory Card/SCSI storage device as “All” or “All Pattern” type can be individually selected and loaded to the MOTIF. • All Waveform Extension: .W2W A file that is saved to the Memory Card/SCSI storage device as “All” or “All Waveform” type can be loaded and restored to the MOTIF. • Waveform Extension: .W2W A specified waveform in a file that is saved to the Memory Card/SCSI storage device as “All” or “All Waveform” type can be individually selected and loaded to the MOTIF. • All Voice for Editor Extension: .W2E The Voice data edited via the included Voice Editor software on your computer can be loaded to the MOTIF. • SMF (Standard MIDI file) Extension: .MID The Standard MIDI file (format 0, 1) can be loaded to the MOTIF and can be played back in the Song/Pattern mode. MOTIF Reference 263 Reference File mode • All File mode • Wav Extension: .WAV A WAV file (Windows audio format) can be loaded to the MOTIF and can be used as a User Wave. • Aif (AIFF file) Extension: .AIF 5 6 An AIFF file (Macintosh audio format) can be loaded to the MOTIF and can be used as a User Wave. n In addition to the file types above, Yamaha A5000/ A4000/A3000/SU700 files and AKAI S1000/ S3000 files can be loaded to the MOTIF. ■ File types that can be loaded from the Memory Card/SCSI storage device to the MOTIF when turning the power on (Auto Load file) Among the file types described on page 262, “All”, “Plugin All Bulk 1”, “Plugin All Bulk 2” and “Plugin All Bulk 3” can be loaded from the Memory card/SCSI storage device to the MOTIF's User Memory automatically when turning the power on. 1 Name the files you wish to have load automatically when the power is turned on as described below, and save them together in a single folder. File type File name All AUTOLOAD.W2A Plugin All Bulk 1 (for slot 1) AUTOLD1.W2B Plugin All Bulk 2 (for slot 2) AUTOLD2.W2B Plugin All Bulk 3 (for slot 3) AUTOLD3.W2B n After you’ve finished naming the appropriate files, keep the corresponding folder selected in the display and go to step #2. 2 3 4 7 Turn the power off. Before turning the power on next time, make sure that the appropriate data is available to the MOTIF. In other words, make sure memory card specified in step #1 is properly inserted, or that the SCSI device specified in step #1 is properly connected. Turn the power on. The MOTIF searches the device and specified folder for the auto-load files (the files you named and saved in step #1), and automatically loads them to User memory. n Any files in the device and folder registered in step #4 that do not have appropriate auto-load names are ignored. ■ File names Files are named according to the MS-DOS naming convention. If the file name contains spaces and other characters unrecognized in MS-DOS, these characters will automatically be replaced by “_” (underscore) characters when saving. For specific instructions on naming files, see page 267. [F1] Configuration The explanations here apply to step #2 of the Basic Procedure on page 262. ● [F1]-[SF1] CONFIG device Currently recognized Volume label of the device Press the [UTILITY] button to enter the Utility mode. Press the [F1] button, then press the [SF4] button to show the Auto Load file display. Amount of unused (free) memory on the device Amount of total memory on the device • Current Set “Auto Load” to on, and press the [SF5] button. Reference File mode Set this to on. Press the [SF5] button to register the device and folder selected in step #1 (the folder containing the desired files for auto loading). 264 MOTIF Reference In this display you can select the device to be recognized by the MOTIF — a memory card inserted to the Card slot or a properly connected SCSI device. ❏ Settings Card, SCSI File mode ● [F1]-[SF2] CONFIG SCSI ID • Type Determines the type of the device to be formatted. ❏ Settings See below. From this display you can specify the ID number for all the devices in the SCSI chain, including the host (the MOTIF itself). card When this is set, the Memory card inserted to the Card slot is formatted. all (SCSI) When this is set, all the SCSI devices connected to the MOTIF are formatted. partition 1 ~ 4 (SCSI) When this is set, one partition (specified at the bottom of the display) of the SCSI device connected to the MOTIF is formatted. The SCSI devices connected to and in use by the MOTIF are shown at the corresponding ID numbers, set on the devices themselves. • Format • SELF This parameter is available when the Type is set to “all (SCSI).” A hard disk (or any similar storage media) must be physically formatted before it can be logically formatted. Physical formatting (also called “low-level” formatting) arranges the disk into physical elements such as tracks and sectors. Physical formatting is usually done by the manufacturer; you may not need to do it yourself. Logical formatting places a file system on the disk, allowing the MOTIF to access the disk. You’ll need to logically format any media you use before you can use it with the MOTIF. ❏ Settings physical, logical Determines the ID number (0 - 7) for the MOTIF, as the SCSI host. If you change this setting, you’ll need to turn the power off and on again for the new setting to take effect. • SCAN This control lets you mount each device in the SCSI chain, making sure that the MOTIF properly recognizes it. Move the cursor to the appropriate SCAN circle in the display, and press the [INC/YES] button to mark the circle and mount the corresponding device. ● [F1]-[SF3] CONFIG Mount • Volume Label Names the Volume Label. Refer to “Basic Operation” for instructions on naming on page 73. From this display you can select specific partitions for saving/loading data, within the device mounted in the SCSI ID display (above). n Make sure to enter the Volume Label. An error message appears if you press the [ENTER] button without entering the Volume Label. 1 ● [F1]-[SF4] CONFIG Format Before you can use a new Memory Card/SCSI device with the MOTIF, you will need to format it. Use this operation to format the memory card or SCSI device and assign a Volume Label to it. 2 After setting the relevant parameters above, press the [ENTER] button. (The display prompts you for confirmation.) After formatting has been completed, a “Completed” message appears and operation returns to the original display. n To cancel the Format operation, press the [DEC/NO] button. While formatting is in progress, never eject the Memory card or turn off the power to the MOTIF. If data is already saved on the memory card/SCSI device, be careful not to format it. If you format the memory card/ SCSI device, all the previously recorded data will be deleted. MOTIF Reference 265 Reference File mode Volume label of the selected partition File mode [F2] Save • After the data has been saved, a “Completed” message appears and operation returns to the original display. This operation lets you save files to a memory card or SCSI device.The explanations here apply to step #2 of the Basic Procedure on page 262. 1 While the data is being saved, never eject the Memory card or turn off the power to the SCSI device or MOTIF itself. Select the file type to be saved in the Save display. n Waveform data is not saved when the file type “All Voice for Editor” is selected. [F3] Load If you wish to create a new file, move the cursor to this position and enter the desired name. For instructions on naming, see "Basic Operation" on page 75. If you wish to create a new folder on the desitination device (to which the data is saved), press the [SF6] button to name a new folder. For instructions on naming, see "Basic Operation" on page 75. This operation lets you load files from a memory card or SCSI device to the MOTIF. The explanations here apply to step #2 of the Basic Procedure on page 262. 1 • When the file type is set to All, All Voice, Plugin All Bank 1~3, Usr ARP, All Song, All Pattern, All Waveform or All Voice for Editor, go to step #3. For any other file types, go to step #2. • When the file type “SMF” (Standard MIDI file) is selected, press the [ENTER] button to show the following display and select a Song or a Style/Section to be saved. • When the file type “Wav” (WAV file) or “Aif” (AIFF format) is selected, press the [ENTER] button to show the following display and select a Wave to be saved. When Key Bank is highlighted, you can select successive Key Banks by pressing the [SF2] button. Select a file type (page 264) and a file to be loaded. 2 Specify the data to be loaded and the destination location in the User memory of the MOTIF. When the file (data) type is set to Voice, for example, follow the instructions as shown below. This is an imaginary folder, shown in the display to contain the file(s) you ll be loading. To hear the selected wave, press the [SF1] button. Reference File mode 2 3 [ENTER] button If you wish to overwrite the existing file, move the cursor to the desired file to which the data is saved by using the Cursor buttons or the data dial. Press the [ENTER] button to execute the Save operation. • If you are about to overwrite an existing file, the display prompts you for confirmation. Press the [INC/YES] button to execute the Save operation, or press the [DEC/NO] button to cancel it. 266 MOTIF Reference Specify the destination location in the User memory of the MOTIF. Select a voice number to be loaded. File mode When the file (data) type is set to Song, Pattern, Waveform or All Voice for Editor, an “imaginary” file appears — just as with Voice above. Select the imaginary file and press the [ENTER] button to call up the list of songs, styles, or waveforms. Then select the desired song, style, or waveform and specify the destination User memory location. [F4] Rename From this display you can rename files in the selected memory card/SCSI device, using up to eight alphabetic and numeric characters. Select the desired file type. n If several Key Banks (comprised of waveform/ WAV/AIFF files or recorded samples) are assigned to the same key/velocity range, only the first two assigned Key Banks will be used. n When files of the Yamaha A series samplers (A5000/4000/3000) are loaded, an “S” mark by the file name indicates the file contains only sample data and a “P” mark indicates program data (voicerelated parameters and so on). When entering the File mode from the Voice/Performance mode, the “P” marked file can be loaded and the following two types can be selected instead of Waveform or Key Bank. • Type 1 : Only one sample is imported to a certain waveform. This type utilizes the various settings of the MOTIF, and the parameters corresponding to the four elements are also loaded. Extra samples are not loaded. • Type 2 : Several samples are imported to a certain waveform. Parameters corresponding to the four elements are not loaded to the MOTIF. Extra samples are not loaded. n When “All” is selected as a file type to be loaded, “ without System” appears in the display. If this box is checked and the Load is executed, all data with the exception of the system settings in the Utility mode are loaded. Press the [ENTER] button to execute the Load operation. After the data has been loaded, a “Completed” message appears and operation returns to the original display. Select the file to be renamed. If you wish to create a new folder on the desitination device (to which the data is saved), press the [F6] button to name a new folder. For instructions on naming, see "Basic Operation" on page 75. n Files are named according to the MS-DOS naming convention. If the file name contains spaces and other characters unrecognized in MS-DOS, these characters will automatically be replaced by “_” (underscore) characters when saving. [F5] Delete From this display you can delete files from the selected memory card/SCSI device. Select the desired file as shown below, then press the [ENTER] button. Select the desired file type. Select the file to be deleted. While the data is being loaded, never eject the Memory card or turn off the power to the SCSI device or MOTIF itself. Reference File mode 3 Rename the selected file here. See "Basic Operation" on page 75. Loading data to the MOTIF automatically erases and replaces any existing data in the User memory. Make sure to save any important data to a memory card/SCSI device BEFORE performing any Load operations. n The MOTIF features a convenient Auto-load function that automatically loads user-specified files when you turn the power on. For details, see page 264. MOTIF Reference 267 Function Tree Master Mode Basic Structure (page 56) Function Tree This section is devoted to the Master mode. To see how the Master mode relates to the entire structure of the MOTIF and its other modes and functions, see the simplified chart in “Basic Structure” on page 30. The following detailed chart shows all of the display menus and parameter groups of the Master mode — giving you a quick, easy-to-understand overview of the Master-related functions of the MOTIF. Brackets around a word or phrase (e.g., [F1]) indicate specific button names or panel operations. [MASTER] [INFORMATION] MASTER INFORMATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 276 [MASTER] MASTER PLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 269 [F1] MASTER PLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 269 [F2] MASTER MEMORY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 270 [EDIT] MASTER EDIT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 270 [COMMON] COMMON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271 [F1] NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271 [F2] OTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271 [1]-[4] ZONE 1-4 (Performance Mode only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271 [F1] ZONE TRANSMIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 271 [F2] ZONE NOTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 272 [F3] ZONE TRANSMIT SWITCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 272 [F4] ZONE PRESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 272 [F5] ZONE KNOB/SLIDER ASSIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 273 [JOB] MASTER JOB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 273 [F1] INITIALIZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 274 [F4] BULK DUMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 274 [STORE] MASTER STORE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P. 274 268 MOTIF Reference Master Play mode Master Play mode Basic Structure (page 56) · Quick Start Guide (page 93) In this mode, you can select and play individual Masters. n For more information on Masters, their structure, and how they are used, see page 56. ◆ Basic Procedure 1 Press the [MASTER] button to enter the Master Play mode. (The indicator lights.) MASTER Indicates Keyboard Octave setting set via the [OCTAVE] buttons. See page 127 for details. Indicates the functions assigned to the espective Control knobs (page 48). Indicates the currently selected Master. 2 Select a Master. 3 Set the Keyboard Octave or MIDI transmit channel. Master Selection The explanations here apply to step #2 of the Basic Procedure, see above. Selecting Masters is done in basically the same way as selecting voices (page 124), except for the following point. • Since the MOTIF has no Preset Masters and provides only one User bank, selecting a bank is not necessary. Keyboard Octave and Keyboard MIDI transmit channel setting The explanations here apply to step #3 of the Basic Procedure on page 269. These two parameters can be set for the selected Master. Setting these parameters is the same as in the Voice Play mode (page 124). Keep in mind that these parameters cannot be stored to the Master by using the Master Store mode (page 274). Master editing in the Master Play mode The explanations here apply to step #4 of the Basic Procedure, see above. The Master Play mode lets you perform a variety of general editing operations on the selected Master. For more detailed and comprehensive editing operations, use the Master Edit mode. 4 Press the [F2] button to show the Memory display and set the basic parameters for Master play. n Zone edit is available only when the Zone Switch is set to on in the [F2] MEMORY display in the Master Play mode. 5 Store the settings edited in step #4 to the User memory as required. Reference Master mode n If the Zone Switch is not set to on in the [F2] MEMORY display in the Master Play mode, the Number buttons [1]~[4] are not available. 6 Press any other mode button to exit from the Master Play mode. • For detailed instructions on steps #2 - #4, see the following explanations. • For details on step #5, refer to “Master Store mode” on page 274. MOTIF Reference 269 Master Edit mode ● [F2] Master Play Memory From this display you can set basic parameters for the Master, including the mode that is called up with the Master and the program number. Master Edit mode Basic Structure (page 56) · Quick Start Guide (page 95) In this mode, you can create and edit Masters. ◆ Common edit and Zone edit (Voice Performance mode) This parameter is available only when the Mode is set to Performance. • Mode Determines the mode that is called up when the Master number is selected. Setting to Off here means that the mode is not changed even if the Master is selected. ❏ Settings Off, Voice, Performance, Pattern, Song When memorizing Voice or Performance mode settings to a Master, you can add the zone-related settings to the existing voice or performance settings. For details on the zone features, see page 57. The Master Edit functions can be divided into two types: Common Edit (settings for all four of the zones), and Zone Edit (settings for each individual zone). Voice Performance mode • Memory Determines the Program number that is called up when the Master is selected. ❏ Settings: See below. When the Mode is set to Voice Select a voice bank and number. Refer to the instructions page 124 When the Mode is set to Performance Select a performance bank and number. Refer to the instructions on page 162 When the Mode is set to Pattern Select a style and section. Refer to the instructions on page 217 When the Mode is set to Song Select a song number. Refer to the instructions on page 179 Parameters common to all modes Common Zone 1 Zone 2 Zone 3 Zone 4 Indicates a Common Edit display. • Zone Switch This is available only when the Mode is set to Performance. This parameter determines whether the Zone function is used (on) or not (off). See page 272 for details about the Zone function. ❏ Settings on, off Indicates a Zone Edit display. (Performance mode only) n For details about recording methods, see page 57. Reference Master mode 270 MOTIF Reference Master Edit mode ◆ Basic Procedure ■ Common edit 1 Press the [MASTER] button to enter the Master Play mode. (The indicator lights.) ● [F1] Common Name 2 Select a Master to be edited. 3 Press the [EDIT] button to enter the Master Edit mode. (The indicator lights.) From this display you can create a name for the Master. For detailed instructions on naming, see “Basic Operation” on page 75. ● [F2] Common Other From this display you can set which row of Knob/ Slider functions will be lit and selected. • When the Mode parameter in the Master Play Memory display is set to Song or Pattern, go to step #5. • When the Mode parameter in the Master Play Memory display is set to Voice or Performance, go to step #4. ❏ Settings pan, tone, assign, MEQofs, zone When set to pan, calling up the Master lights and selects this row. 4 Select a zone to be edited. • To edit parameters common to all of the zones, press the [DRUM KITS] button (which serves as a “COMMON” button here). When set to tone, calling up the Master lights and selects this row. When set to assign, calling up the Master lights and selects this row. DRUM KITS KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 KN 1 MEQ LOW MASTER VOLUME MEQLOWMID MEQ HI MID KN 4 MEQ HIGH VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 When set to MEQofs, calling up the Master lights and selects this row. FAVORITES COMMON 1 2 3 4 ELEMENT/ PERF.PART / ZONE 5 Select the menu you wish to edit by pressing the [F1] - [F6] buttons. 6 Edit the parameters for the selected Master. 7 Store the settings edited in step #6 to the User Memory as required. 8 Press the [EXIT] button to exit from the Master Edit mode. • For details on step #2, refer to “Master Play mode” on page 269. When set to zone, calling up the Master automatically calls up the Knob/Slider functions specifically set for each respective zone (page 57). n The setting “zone” above is available only when the Zone Switch is set to on in the [F2] MEMORY display in the Master Play mode. ■ Zone Edit (Voice/Performance mode only) n Use the following Zone Edit functions to create your own sophisticated four-way splits and layers. ● [F1] Zone Transmit Basic Structure (page 57) From this display you can set how each zone transmits MIDI data when you play the keyboard. • For detailed instructions on steps #5 - #6, see the explanations below. • For details on step #7, refer to “Master Store mode” on page 274. MOTIF Reference 271 Reference Master mode • To edit parameters of the individual zones, select the desired zone with the corresponding NUMBER button, [1] - [4]. Master Edit mode • TransmitCh (Transmit Channel) Determines the MIDI Transmit Channel for each zone. ❏ Settings 1~16 • TGSwitch (Tone Generator Switch) Determines whether or not to transmit MIDI messages for each zone to each Part’s tone generator block. ❏ Settings on, off • MIDISwitch Determines whether or not to transmit MIDI messages for each zone to an external MIDI device via the MIDI or USB terminal. ❏ Settings on, off • This display type shows the Transmit Switch status for all of the zones. Set the desired zone on or off, for the corresponding MIDI data type. Keep in mind that since all the available parameters cannot be simultaneously displayed, you will need to use the cursor controls to scroll the display in order to see and set the other parameters. • This display type shows all of the Transmit Switch settings for a single selected zone. Set the desired MIDI data type on or off for the selected zone. To select other zone, use the NUMBER [1] - [4] buttons (making sure that the [TRACK SELECT] button is on). ● [F2] Zone Note From this display you can set the pitch- and keyboard-related parameters for each zone — allowing you to set up zone splits and determine the pitch range for each zone. • Octave Determines the amount in octaves by which the range of the zone is shifted up or down. ❏ Settings -3~0 (Default)~+3 • Transpose Determines the amount in semitones by by which the range of the zone is shifted up or down. ❏ Settings -11 ~ 0 (Default) ~ +11 [SF5] button [SF5] button ● [F4] Zone Preset From this display you can make the voice-related settings for each zone, in the selected Master program number. In this way, selecting a different Master automatically calls up a completely different set of voices and voice-related setttings for the four zones. • NoteLimit H, L (High, Low) Determines the lowest and highest notes of the range for each zone. The selected zone will sound only when you play notes within this range. ❏ Settings C -2 ~G8 n You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired low and high keys. ● [F3] Zone Transmit Switch Reference Master mode From this display you can set how the playing of each individual zone affects transmission of various MIDI data, such as Control Change and Program Change messages. When the relevant parameter is set to “on,” playing the selected zone will transmit the corresponding MIDI data. Note that two different display types are provided (see below). Each display type features the same settings in a different format; use the type you feel most comfortable with. 272 MOTIF Reference • BankMSB, BankLSB, PgmChange (Program Change) Determines the voice assignment for each zone in the selected Master. ❏ Settings Refer to the Voice List in the separate Data List booklet. • Volume Determines the output level of each zone. ❏ Settings 0~127 • Pan Determines the stereo pan position of each zone. ❏ Settings L64 (Left) ~ C (Center) ~ R63 (Right) Master Job mode ● [F5] Zone Knob/Slider Master Job mode From this display you can determine which Control Change numbers are used for the Knobs and Sliders for each zone. These settings are available only when the Knob/Slider parameter (in Common Edit Other; page 271) is set to “zone.” KNOB CONTROL FUNCTION Above settings are vailable only if these indicators are all unlit (in the Master mode). PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 KN 2 KN 3 KN 1 MEQ LOW MASTER VOLUME VOLUME 1 MEQLOWMID MEQ HI MID VOLUME 2 VOLUME 3 KN 4 MEQ HIGH The Master Job mode contains two convenient operations (called “Jobs”) — one letting you initialize (reset) the Master data, and the other letting you transmit your edited Master data to an external MIDI device or computer. ◆ Basic Procedure 1 Into execute the Master Play mode, select a Master you wish the Job on. VOLUME 4 2 Press the [JOB] button to enter Master Job Mode. 3 Select the Job menu you wish to execute by pressing the [F1] or [F4] button. off, 1~95 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 4 Set the parameters for executing the Job. 5 Press the [ENTER] button. (The display prompts you for confirmation.) 6 Press the [INC/YES] button to execute the Job. After the Job has been completed, a “Completed” message appears and operation returns to the original display. n To cancel the Job, press the [DEC/NO] button. For Jobs that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data. 7 Press the [MASTER] button to exit from Master Job mode and return to Master Play mode. • For detailed instructions on steps #3 - #4, see the explanations below. Reference Master mode ❏ Settings CS 1 MOTIF Reference 273 Master Store mode ● [F1] Initialize This function lets you reset (initialize) all Master parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each zone, and so on — very useful when creating a completely new Master from scratch. Master Store mode Basic Structure (page 56) This function lets you store your edited performance to User memory. When you execute this, the settings for the destination memory will be overwritten. Important data should always be backed up to computer, a separate memory card or SCSI storage device. ❏ Parameter Type (for Initializing) ALL All settings for the selected Master are initialized. Common Common parameter settings for the selected Master are initialized. Zone You can initialize the zone setting to one of the following three types. • Split . . . . . . . . . page 57 • 4 Zones . . . . . . page 57 • Layer . . . . . . . . page 57 ❏ Parameters available when the Type parameter to be Initialized is set to Split or Layer. UpperCh, LowerCh When the Parameter Type above is set to “Zone - Split,” you can set separate MIDI transmit channels for the upper and lower keyboard sections (right of Split Point and left of Split Point, respectively).When the Parameter Type above is set to “Zone - Layer,” you can set separate MIDI transmit channels for two layers. SplitPoint This is available when the Type of parameter to be Initialized is set to Split. The range is C - 2~G8. ● [F4] Bulk Dump This function lets you send all your edited parameter settings for the currently selected Master to a computer or another MIDI device for data archiving. n You must set the correct MIDI Device Number in order to execute a Bulk Dump. For details, see page 258. Reference Master mode 274 MOTIF Reference ◆ Basic Procedure 1 After editing the Master, press the [STORE] button to enter the Master Store mode. 2 Select the destination Master memory (number). 3 Press the [ENTER] button. (The display prompts you for confirmation.) 4 To execute the Store operation, press the [INC/ YES] button. After the Master has been stored, a “Completed” message appears and operation returns to the original display. n To cancel the Store operation, press the [DEC/NO] button. For Store operations that take longer to process, you will see the message “Executing…” during processing. If you switch off the power of the MOTIF while this message is displayed, you risk corrupting your data. Information Displays Appendix Information Displays The convenient Information displays let you see at-aglance some of the more important settings relevant to each mode. Select the desired mode, then press the [INFORMATION] button to call up the Information display for that mode. To exit from the display, press the button again (or any other panel button). ■ Voice mode • InsPart (Insertion part), PLG (Plug-in Insertion part) Indicates the part number to which the Insertion effect is applied and the part number to which the Plug-in Insertion effect is applied (when the PLG100-VH is installed). • Rev (Reverb), Cho (Chorus), Var (Variation) Indicates the currently selected effect type for each effect block (page 169). ■ Song mode ● Song Play mode • Bank Indicates the Bank/Number (page 124) of the currently selected Voice. • EL 1234 Indicates the currently selected voice, on/off status of four elements and mono/poly (page 128) status. Indicates the amount of currently unused (available) memory (DRAM) for song recording. ● Song Mixing mode • Porta (Portamento) Indicates the Portamento switch on/off status of the currently selected voice. • PB (Pitch Bend) Indicates the Upper/Lower setting of the Pitch Bend range. • Ins1 (Insertion 1), Ins2 (Insertion 2), Rev (Reverb), Cho (Chorus) Indicates the currently selected effect type for each effect block (page 137). ■ Performance mode • PlugInfo/Port (Plug-in board installation status) Indicates the Plug-in board name and its MIDI port number (page 260) at the right of the slot number. When PolyExpand (page 259) is set to on in the Utility mode, “P” is indicated at the left of the slot number. • InsPart (Insertion part), PLG (Plug-in Insertion part) Indicates the part number to which the Insertion effect is applied and the part number to which the Plug-in Insertion effect is applied (when the PLG100-VH is installed). • Bank Indicates the Bank/Number (page 162) of the currently selected Performance. • Rev (Reverb), Cho (Chorus), Var (+Variation) Indicates the currently selected effect type for each effect block (page 210). • 1 (Plug-in board 1), 2 (Plug-in board 2), 3 (Plug-in board 3) Appendix Indicates the installation status of the respective Plug-in board. The Plug-in board name is displayed at the right of the corresponding slot number. When PolyExpand (page 259) is set to on in the Utility mode, “P” is indicated at the left of the slot number. MOTIF Appendix 275 Information Displays ■ Pattern mode ■ Utility mode ● Pattern Play mode Indicates the amount of currently unused (available) memory (DRAM) for Pattern Phrase recording. ● Pattern Mixing mode • PlugInfo/Port (Plug-in board installation status) Indicates the Plug-in board name and its MIDI port number (page 260) at the right of the slot number. When PolyExpand (page 259) is set to on in the Utility mode, “P” is indicated at the left of the slot number. • MIDI IN/OUT Indicates which physical output terminal(s) will be used for transmitting/receiving MIDI data: MIDI IN/OUT/ THRU, USB, or mLAN (when the optional mLAN8E has been installed). • (USB firm Ver) Same as in the Song Mixing mode. ■ Sampling mode Indicates the USB interface firmware version. ■ File mode ● Sampling mode • Card Free • SampleMemory Indicates the amount of memory used by Sampling. • Recordable Size Indicates the amount of the available sampling memory (unused memory) and the available sampling time. Indicates the amount of currently available (unused) memory of the Memory card inserted to the Card slot. • SCSI Partition, Free Indicates the mounted partition of the SCSI device connected to the MOTIF and its unused memory. • Current Dir (Current Directory) ● Sampling mode (Trim display only) Indicates the currently selected directory. ■ Master mode • SampleMemory Same as above. • Recordable Size Same as above. • Current Tempo Indicates the calculated tempo when the Sample data playback of the range from the Loop Start Point to the End Point is treated as one measure. • Mode Indicates the mode and program number memorized to the currently selected Master. • ZoneSwitch Appendix Indicates the on/off status of the Zone switch. • ZoneTCH (Zone Transmit Channel) Indicates the MIDI transmit channel of each zone (when the Zone Switch is set to on). 276 MOTIF Appendix Display Messages Display Messages Information Failed to process the MIDI data because too much data was received at one time. MIDI data error. An error occurred when receiving MIDI data. MIDI checksum error. An error occurred when receiving bulk data. Bulk protected. Bulk data or a SCSI message was received when RcvBulk was set to “protect.” (See page 258.) Device number is off. Bulk data cannot be transmitted/received since the device number is off. Device number mismatch. Bulk data cannot be transmitted/received since the device numbers don't match. Change internal battery. The internal backup battery has no remaining power. Replace the battery. Disk or card full. The card or disk is full and no more data can be saved. Use a new card or disk, or make space by erasing unwanted data from the card or disk. File not found. The specified file was not found on the card or disk during a load operation. Try again after re-inserting/re-connecting the card or disk. Bad disk or card. The card or disk is unusable. Format the card or disk and try again. Disk or card not ready. A card or disk is not properly inserted in or connected to the MOTIF. Disk or card unformatted. The card or disk is not formatted, or the format is unusable by the MOTIF. Check the card/disk contents. Disk or card write protected. The card or disk is write protected, or you have attempted to write to a read-only medium such as CD-ROM. Illegal disk or card. The format type of the SCSI disk or Memory card is wrong. Illegal file. The file specified for loading is unusable by the MOTIF. Illegal file name. The specified file name is unacceptable. Try entering a different name. Read only file. You have attempted to delete, rename, or overwrite a read-only file. Can't make folder. No more directories can be created below the current level. Folder is too deep. Directories below this level cannot be accessed. Unknown file format. The file format type is not supported by the MOTIF. SCSI error. A SCSI error has occurred. Check the SCSI connections and termination. Disk or card read/write error. An error occurred while reading or writing to/from SCSI disk or Memory card. Can't find associated files. The file associated with the file to be loaded cannot be found. Folder not empty You attempt to delete a folder that contains data. Unsupported disk The disk (memory card or SCSI device connected to the MOTIF) is not supported by the MOTIF. Seq memory full. The internal memory for Sequence data is full. The internal memory for Sequence data is full, preventing any further operation (such as recording, editing, Job execution, MIDI reception/transmission, or loading from Memory card or SCSI drive). Try again after erasing unwanted song, pattern, or user phrase data. Choose user phrase. You have attempted to record a pattern track to which a preset phrase is assigned. If you wish to use a preset phrase as a starting data for pattern recording, copy it to a user phrase before recording. No data. When a Song/Pattern Job is executed, the selected track or range contains no data. Select an appropriate track or range. Illegal check box. No check boxes have been checked in a Sequencer track Job which requires a check box selection. Check the appropriate check box. No F7 (End of Exc.) Exclusive data has been entered or changed without the necessary “End of Exclusive” byte (F7). Make sure F7 is included. Pattern length mismatch. A Pattern Job will result in the length of a Pattern being greater than 256 measures. Phrase length mismatch A Pattern Job will result in the length of a phrase being greater than 256 measures. Phrase number overflow The maximum number of phrases (256) has been exceeded when recording, executing a Pattern Job, or editing. Illegal input. An unacceptable input or value has been specified. Check the input method or value. Illegal track number. An unacceptable track number has been specified in the Song/Pattern mode. Select the track again. Illegal phrase number. An unacceptable phrase number has been specified in the Pattern mode. Select the phrase again. Illegal measure. An unacceptable measure number has been specified in the Song/Pattern mode. Select the measure again. Meter mismatch In the Pattern Job mode, the meter (time signature) of the destination pattern is different from the meter of the source pattern. Sample memory full. The sample memory is full and further sampling operations, Jobs, or load operations cannot be executed. Too many samples. The maximum overall number of samples (8192) has been exceeded. Sample is too short. The sample length is too short and the Frequency Convert Job cannot be executed. Sample freq is too low. The sampling frequency is too low and the Frequency Convert Job cannot be executed. Illegal sample data. The sample file specified for loading is unusable by the MOTIF. No sample data. The linked sample files cannot be found during a load operation. Sample is too long. The sample size is too large and the Time Stretch Job cannot be executed. SIMM configuration error. An appropriate pair of expansion SIMMs is not properly installed, or the pair is not properly matched (page 287). Multi plug-in is not in slot 3. The Multi-Part Plug-in board does not work because it has not been installed to slot 3. The Multi-Part Plug-in board should be installed to slot 3. Effect plug-in is not in slot 1. The Effect Plug-in board does not work because it has not been installed to slot 1. The Effect Plug-in board should be installed to slot 1. Plug-in 1 communication error. The Plug-in board that has been installed to slot 1 does not work. Plug-in 2 communication error. The Plug-in board that has been installed to slot 2 does not work. Plug-in 3 communication error. The Plug-in board that has been installed to slot 3 does not work. MOTIF Appendix 277 Appendix Messages MIDI buffer full. Display Messages Messages Information Plug-in 1 type mismatch. The User Voice created by using the Plug-in board previously installed to slot 1 (but now removed from slot 1) has been selected. Plug-in 2 type mismatch. The User Voice created by using the Plug-in board previously installed to slot 2 (but now removed from slot 2) has been selected. Plug-in 3 type mismatch. The User Voice created by using the Plug-in board previously installed to slot 3 (but now removed from slot 3) has been selected. PLG100 not supported. The Plug-in All Bulk Save function does not apply to the PLG100 series boards. mLAN network error. Indicates a problem in the mLAN8E network. Check the on/off status of the LED lamps on the mLAN8E and refer to the Owner's Manual of the mLAN8E. mLAN connection error. Indicates a problem in the mLAN8E connection. Check the on/off status of the LED lamps on the mLAN8E and refer to the Owner's Manual of the mLAN8E. mLAN now in Mixer mode. The mLAN8E board is set to the Mixer mode by your computer, and the MOTIF cannot control the mLAN8E. mLAN error (xxx). Indicates an unspecified problem related to the mLAN8E. Copy protected. You have attempted to export or save a copy-protected digital audio source. Digital in unlocked. Digital input signal of the AIEB2 is unlocked. Too many favorites You've attempted to assign more than 256 voices to the Favorite category. Executing... A format operation or job is being executed. Please wait. Now working... Indicates that the MOTIF is currently engaged in some operation, such as writing to/reading from the disk, etc. Now loading... (xxxx) Indicates that a file is being loaded. Now saving... (xxxx) Indicates that a file is being saved. Now checking plug-in board. The MOTIF is checking the Plug-in board installation status when powering the MOTIF on. Recording stopped. The Song/Pattern (phrase) recording is automatically stopped because the memory becomes full. Receiving sample... The MOTIF is receiving sample data from Wave Editor. Transmitting sample... The MOTIF is transmitting sample data to Wave Editor. MIDI bulk receiving... The MOTIF is receiving MIDI bulk data. MIDI bulk transmitting... The MOTIF is transmitting MIDI bulk data. Completed. The specified load, save, format, or other job has been completed. Becomes valid after power on. The newly entered SCSI ID number will take effect only by turning the power of the MOTIF off and on again. Scene stored A Song scene has been stored. Mixing stored In the Song/Pattern mode, the Mixing settings have been automatically stored. Are you sure ? [YES]/[NO] Confirms whether you want to execute a specified operation or not. Press [INC/YES] or [DEC/NO] as required. Overwrite? [YES]/[NO] A save operation will overwrite data on the Memory card or SCSI disk, and this message confirms whether it is OK to continue or not. Press [INC/YES] or [DEC/NO] as required. Can't undo. OK? [YES]/[NO] When some jobs of the Song/Pattern are executed, the internal memory becomes full and undo cannot be used. Press [INC/YES] if this is OK, or [DEC/NO] to abort the operation. Try again after erasing unwanted songs, patterns, or user phrases. Appendix 278 MOTIF Appendix Troubleshooting Troubleshooting No sound? Wrong sound? When a problem like this occurs, please check the following points before assuming that the product is faulty. In many cases you’ll find the solution to your problem here. If the problem persists, then contact your Yamaha dealer or service center (page 299). No sound. • Is the power of the MOTIF and any external equipment connected to the MOTIF turned on? page 29 • Have you made all the appropriate level settings — including the Master Volume on the MOTIF and the volume settings on any connected external equipment? page 29 • Is the Foot Controller pressed down (when it is connected to the FOOT CONTROLLER jack)? page 28 • Is the MOTIF properly connected to related external equipment (e.g., amplifier or speaker) via audio cables? page 21 • When the voice produces no sound, is the volume in the Voice common edit set appropriately? page 132 • When the voice produces little or no sound, have you changed any of the CS slider settings? (The CS 1 - 4 sliders control the element levels in the voice. If all these are set to “0,” the voice will not sound.) page 48 • When the voice produces no sound, are the parameters in the Voice element edit (e.g., element switch, note limit, velocity limit) set appropriately in the Voice common edit? pages 137, 138 • When the voice produces no sound, are the effect and filter settings appropriate? (Inappropriate filter cutoff frequency settings can result in no sound.) pages 137, 140 • When the performance produces no sound, has a voice been assigned to each part? page 166 • When the performance produces no sound, is the note limit of each part set appropriately? page 170 • When the performance produces no sound, is the volume of each part set appropriately? page 172 • When the performance produces little or no sound, have you changed any of the CS slider settings? (The CS 1 - 4 sliders control the part levels in the performance. If all these are set to “0,” the performance will not sound.) page 48 • When the performance produces no sound, is the output select of each part set appropriately? page 173 • When the song/pattern playback produces no sound, are any or all of the tracks muted? pages 180, 218 • When the song/pattern playback produces no sound, are the output channel of each track in the play mode and the receive channel of each part in the Mixing mode set appropriately? pages 210, 232 • When the song/pattern playback produces no sound, is the volume of each part in the Mixing mode set appropriately? pages 211, 232 • When the song/pattern playback produces no sound, is the output select of each part in the Mixing mode set appropriately? pages 211, 232 • When the song/pattern playback produces no sound, is the MIDI filter set so that note-on messages are blocked in the Utility mode? page 255 • When the arpeggio produces no sound, is the switch set to on? page 132 • When the arpeggio produces no sound, are the note limit and velocity limit set appropriately? page 133 • When the arpeggio produces no sound and the assigned arpeggio is a user one, does it have data? page 132 • Isn't MIDI Local set to off in the Utility mode? page 258 Distorted sound. • Are the effect settings appropriate? page 172 • Are the filter settings appropriate? (Excessively high filter resonance settings can cause distortion.) pages 140, 173 • Is the MASTER VOLUME set so high that clipping is occurring? page 29 • Is the volume of each element in the Voice mode or the volume of each part in the Performance mode or the volume of each track/part in the Song/Pattern mode set too high? pages 145, 172, 211, 232 Sound level is too low. • Are the MIDI volume or MIDI expression settings too low (by using the Foot Controller)? • Is the cutoff frequency of the filters set too high/low? • When the song/pattern playback produces the small sound, is the velocity offset in the Groove display set too low? page 28 pages 140, 173 pages 181, 218 Sound is cut off. page 36 Appendix • Are you exceeding the maximum polyphony of the MOTIF? MOTIF Appendix 279 Troubleshooting Pitch or intervals are wrong. • Is the Master Tune parameter in the Utility mode set at a value other than “0”? page 250 • Is the Note Shift parameter in the Utility mode set at a value other than “0”? page 250 • When the voice produces a wrong pitch, is the appropriate tuning system selected from Micro Tuning parameter in the Voice Edit mode? page 130 • When the voice produces a wrong pitch, is the LFO Pitch Modulation Depth in the Voice Edit mode set too high? page 147 • When the performance produces a wrong pitch, is the Note Shift parameter of each part set at a value other than “0”? page 173 • When the performance produces a wrong pitch, is the Detune parameter of each part set at a value other than “0”? page 173 • When the song/pattern playback produces a wrong pitch, is the Note Offset parameter in the Groove display set at a value other than “0”? pages 181, 218 Only one note sounds at a time. • Is the Mono/Poly parameter in the Voice mode set to “mono”? page 130 No effect is applied. • Is the [EFFECT BYPASS] button turned off? • Have the [REVERB] and [CHORUS] buttons been turned fully counter-clockwise (to the minimum)? • Have any or all of the elements’ Effect Output parameter been set to “thru”? • Have any or all of the effect types been set to “thru” or “off” (in the Effect display of the Voice Edit mode)? page 13 pages 48, 84 page 137 page 137 Song/Pattern cannot be started. • Does the selected song or pattern (phrase) contain data? • Is the Remote Control turned on? • Is the MIDI sync parameter set to MIDI (using external clock) in the Utility mode? pages 179, 217 page 13 page 258 Song/Pattern (Phrase) cannot be recorded. • Is there enough free memory for recording? The total MOTIF memory capacity determines the number of songs/patterns (phrases) that can be recorded. For example, if the memory contains songs/patterns (phrases) that use up a large amount of memory, the memory may become full even though the available pattern or song numbers are not all used. pages 275, 276 • In the Pattern Record mode, does the specified track to which the Phrase is assigned have preset data? Recording cannot be done to a track that contains preset data. page 221 Can’t record samples. • Have you exceeded the maximum allowable number of samples (key banks)? • Is there enough free sample memory? • Is the Sampling Source setting appropriate? • Is the Trigger mode set appropriately? page 60 page 276 page 236 page 237 Can’t save data to the Memory card or the SCSI disk. • Is the Memory card or SCSI disk being used write protected? (Write-protect should be set to off for saving data.) • Is the Memory card or SCSI disk being used properly formatted? pages 289, 290 page 265 MIDI bulk data transmission/reception won’t work properly. • Is the Receive Bulk parameter set to “protect” in the Utility mode? page 258 Plug-in board does not work. • Is the lamp of the corresponding slot number to which the Plug-in board has been installed lit? page 87 • Has the Vocal Harmony Plug-in board been installed to slot 2 or 3 ? (The VH board should be installed to slot 1.) page 282 • Has the Multi-part Plug-in board been installed to slot 1 or 2 ? (The Multi-part Plug-in board should be installed to slot 3.) page 282 Appendix 280 MOTIF Appendix Installing Optional Hardware Installing Optional Hardware ◆ Optional units that can be installed to the MOTIF The following optional units can be installed to the MOTIF. ● Plug-in Boards ● AIEB 2 or mLAN8E ● SIMM ◆ Locations to which the optional units are installed ● Plug-in Boards MOTIF6 MOTIF7 MOTIF8 SLOT Plug-in Plug-in Board cover Plug-in Board cover Plug-in Board cover Up to three boards can be installed to the rear panel. ●AIEB2, mLAN8E, SIMM MOTIF6 MOTIF7 Bottom cover for optional units Bottom cover for optional units MOTIF8 Bottom cover for AIEB2, mLAN8E, SIMM SCSI Rear cover for the AIEB2 or mLAN8E Rear cover for the AIEB2 or mLAN8E Rear cover for the AIEB2, mLAN8E, SIMM ◆ Installation Precautions Before installing the optional hardware, make sure you have a Philips screwdriver. • It is recommended that you wear gloves to protect your hands from metallic projections on optional units and other components. Touching leads or connectors with bare hands may cause finger cuts, and may also result in poor electrical contact or electrostatic damage. • Handle the optional units with care. Dropping or subjecting them to any kind of shock may cause damage or result in a malfunction. • Be careful of static electricity. Static electricity discharge can damage the IC chips on the Plug-in board. Before you handle the optional Plug-in board, to reduce the possibility of static electricity, touch the metal parts other than the painted area or a ground wire on the devices that are grounded. • Do not touch the exposed metal parts in the circuit board. Touching these parts may result in a faulty contact. • When moving a cable, be careful not to let it catch on the circuit Plug-in board. Forcing the cable in anyway may cut the cable, cause damage, or result in a malfunction. • Be careful not to misplace any of the screws since all of them are used. • Do not use any screws other than what are installed on the instrument. MOTIF Appendix 281 Appendix • Before beginning installation, switch off the power to the MOTIF and connected peripherals, and unplug them from the power outlet. Then remove all cables connecting the MOTIF to other devices. (Leaving the power cord connected while working can result in electric shock. Leaving other cables connected can interfere with work.) • Be careful not to drop any screws inside the instrument during installation (this can be prevented by keeping the optional units and cover away from the instrument while attaching). If this does happen, be sure to remove the screw(s) from inside the unit before turning the power on. Loose screws inside the instrument can cause improper operation or serious damage. If you are unable to retrieve a dropped screw, consult your Yamaha dealer for advice. • Install the optional units carefully as described in the procedure below. Improper installation can cause shorts which may result in irreparable damage and pose a fire hazard. • Do not disassemble, modify, or apply excessive force to board areas and connectors on optional units. Bending or tampering with boards and connectors may lead to electric shock, fire, or equipment failures. • Before handling the optional units, you should briefly touch the metal surface to which the optional unit cover is attached (or other such metallic area — be careful of any sharp edges) with your bare hand so as to drain off any static charge from your body. Note that even a slight amount of electrostatic discharge may cause damage to these components. Installing Optional Hardware Optional Plug-in Board Installation MOTIF8 A variety of optional Plug-in boards sold separately let you expand the voice library of your instrument. The following types of Plug-in boards can be used with your instrument. • PLG150-AN • PLG150-DX • PLG150-PF • PLG100-XG Plug-in SLOT 3 2 1 GREEN YELLOW ORANGE Plug-in SLOT 3 2 1 GREEN YELLOW ORANGE • PLG150-VL • PLG100-VH The MOTIF provides three slots for the Plug-in board. Therefore, up to three boards can be installed to the rear panel. n The Vocal Harmony Plug-in board (PLG100-VH) can installed only to slot 1. n The Multi part Plug-in board (PLG-100XG) can installed only to slot 3. n The Single part Plug-in board can installed to any of three slots. 1 2 Turn the MOTIF power off, and disconnect the AC power cord. Also, make sure to disconnect the MOTIF from any connected external devices. Remove the large screw from the expansion bay cover on the rear panel using a Phillips screwdriver. Keep the removed screw in a safe place. It will be used when attaching the cover to the MOTIF again. ASSIGNABLE OUTPUT L R R R 3 2 1 Appendix 282 MOTIF Appendix A D INPUT R L GAIN A D INPUT R L GAIN GREEN YELLOW ORANGE OUTPUT L MONO PHONES Slot 1 — Orange Slot 2 — Yellow Slot 3 — Green Cable for Slot 3 (Green) Plug- in SLOT 3 2 1 GREEN YELLOW ORANGE Slot 3 Cable for Slot 2 (Yellow) Cable for Slot 1 (Orange) GREEN YELLOW ORANGE OUTPUT L MONO PHONES Plug-in SLOT ASSIGNABLE OUTPUT L R 3 2 1 Remove the ribbon cables that are to be connected to the Plug-in board from the inside of the MOTIF. The slots are assigned to the color-coded cables as follows: Slot 2 Slot 1 MOTIF6 / MOTIF7 Plug-in SLOT 3 ASSIGNABLE OUTPUT R L OUTPUT L MONO PHONES R A D INPUT R L GAIN Installing Optional Hardware 4 Insert the board along the guide rails about twothirds of the way inside the MOTIF, with the connector side face up and toward you. Plug- in SLOT 3 2 1 6 Insert the Plug-in board the rest of the way into the expansion bay. Carefully put the the ribbon cable back into the MOTIF, making sure that no part of the cable sticks out of the instrument. GREEN YELLOW ORANGE Plug- in SLOT ASSIGNABLE OUTPUT R L R OUTPUT L MONO PHONES A D INPUT R L GREEN YELLOW ORANGE GAIN ASSIGNABLE OUTPUT R L 7 Slot 3 Slot 2 8 Slot 1 R OUTPUT L MONO PHONES A D INPUT R L GAIN Replace the cover with the screw you removed in step 2 above. The Plug-in board is held in place by replacing the cover. Check that the installed Plug-in board is functioning properly. Turn on the power. • A message appears indicating that the installed Plug-in Board is being checked. The main display then appears and the corresponding slot indicator at the right top of the front panel lights. This indicates that the board has been successfully installed. Securely insert the board into the appropriate slot, taking care that the board isn't jammed between slots. 5 3 2 1 With the board still protruding slightly from the expansion bay, bring the cable end around and connect it to the board. Make sure to connect the proper cable, matching the color of the cable to the slot used. Also, take care not to pull on the cable too forcefully as you connect it to the board. • If an error message appears, the MOTIF freezes after a while, indicating that the installation was not successful. If this happens, turn off the power and carefully go through the installation procedure again. In this example, a Plug-in board has been installed to slot 1. Slot indicator lamps MUSIC PRODUCTION SYNTHESIZER Press the connectors together until the two notches lock into the sockets. Plug-in Connector Notch SLOT 1 SLOT 3 PRE 1 PRE 2 PRE 3 GM USER PLG 1 PLG 2 PLG 3 FAVORITES A. PIANO KEYBOARD ORGAN GUITAR / PLUCKED BASS STRINGS BRASS REED/PIPE D E A B C SYN LEAD SYN PAD/ CHOIR SYN COMP DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI CATEGORY SEARCH BANK SECTION GROUP Plug-in board Plug- in SLOT R SLOT 2 DRUM KITS COMMON Connector from MOTIF ASSIGNABLE OUTPUT R L Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System 3 2 1 GREEN YELLOW ORANGE OUTPUT L MONO PHONES A D INPUT R L GAIN n The Vocal Harmony Plug-in board (PLG100-VH) can installed only to slot 1. Optional AIEB2 or mLAN8E Appendix n The Multi part Plug-in board (PLG-100XG) can installed only to slot 3. Installation MOTIF Appendix 283 Installing Optional Hardware Either the mLAN expansion board (mLAN8E) or the I/O expansion board (AIEB 2) sold separately can be installed to the MOTIF. With the mLAN8E board, you can conveniently and easily hook up your MOTIF to other mLANcompatible instruments or devices. The AIEB 2 board gives you additional digital I/O options, featuring both optical and coaxial connectors. Moreover, the board also includes three stereo ASSIGNABLE OUTPUT pairs (six analog jacks). MOTIF6 / MOTIF7 Bottom Underside of the MOTIF Installing the AIEB2 1 2 Slide the cover away to remove. Turn the MOTIF power off, and disconnect the AC power cord. Also, make sure to disconnect the MOTIF from any connected external devices. Bottom Underside of the MOTIF Turn over the MOTIF so you can have direct access to the underside. To protect the Knobs and Wheels, place the keyboard so the four corners are supported by something that provides sufficient support like magazines or cushions. MOTIF8 Do not remove this black screw. Bottom Underside of the MOTIF View of the keyboard from the bottom. KNOB CONTROL FUNCTION PAN REVERB CUTOFF RESONANCE ASSIGN A ASSIGN B CHORUS ATTACK ASSIGN 1 TEMPO RELEASE ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Sur face Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI MID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME SYSTEM ARPEGGIO VOICE PERFORM MASTER DRUM KITS FAVORITES PATTERN FILE MIXING UTILITY PRE 2 A DEC/NO INC/YES SYN LEAD 1 SONG SCENE SF1 1 KEYBOARD PRE 3 ORGAN COMMON SEQUENCER SONG INTEGRATED SAMPLING SEQ TRANSPORT LOCATE PRE 1 A. PIANO GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK ON/OFF VOLUME 4 SF2 SF3 SF4 B C SYN PAD/ CHOIR SYN COMP 2 3 D E DRUM / CHROMATIC PERCUSSION PERCUSSION F G H SE MUSICAL FX COMBI SECTION 4 5 6 7 8 TRACK SELECT 12 13 14 15 16 MUTE Bottom GROUP INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 JOB STORE SCENE STORE SET LOCATE F1 F2 F3 F4 F5 F6 EXIT ENTER EXECUTE 9 10 11 SOLO UP Please the supports at all four corners without touching the Knobs and the Wheels. Be careful not to drop or bump the keyboard and make sure that it is well balanced before proceeding. 3 Remove the cover of the bottom. Unscrew the screws on the bottom using the driver by placing the back sides of the ripped over body facing to you (MOTIF6/ MOTIF7 has 7 screws and MOTIF 8 has 7 yellow screws.). Remove the cover from the body after unscrewing all the screws. For MOTIF6/MOTIF7 place the back side facing to you and slide the over toward front to remove the cover. Underside of the MOTIF 4 Remove the three screws from the rear cover while holding it from inside the MOTIF with your left hand. Underside of the MOTIF Keep the removed screws in a safe place. They will be used when attaching the cover to the MOTIF again after installing the AIEB2. Appendix Keep the removed screws in a safe place. They will be used when attaching the cover to the MOTIF again when the AIEB2 is removed in the future. 284 MOTIF Appendix Installing Optional Hardware 5 Remove the AIEB2 power cables from the hookshaped cable clip in the MOTIF. 7 MOTIF6 / MOTIF7 Connect the flat ribbon cable coming from AIEB2 to the circuit board of the MOTIF. Be careful to connect in the proper direction as shown. Make sure that the direction is correct and do not try to force the connection. Top (keyboard side) of the MOTIF Underside of the MOTIF Flat ribbon cable of the AIEB2 Align the connectors as shown. Connector on the circuit board of the MOTIF m-LAN MOTIF8 CN5 Rear panel of the MOTIF Top (keyboard side) of the MOTIF Rear panel of the MOTIF Unlatch the cable clip by pulling out the tab as shown. Replace the clip after pulling out the power cable. AIEB2 8 Underside of the MOTIF Connect the power cable coming from MOTIF to the AIEB2. Connect the 3-pin cable to the CN3 connector of the AIEB2, and the 4-pin cable to the CN1 connector. m-LAN CN5 Rear panel of the MOTIF Remove the AIEB2 from its package. The AIEB2 has one flat ribbon cable and two power cables. Since these two power cables are used for the main body and are not needed when installing to the MOTIF, you can remove them from the AIEB2. Connect the 4-pin cable to the CN1 connector Connect the 3-pin cable to the CN3 connector * Make sure to properly match the cables and connectors. Avoid applying excessive force when connecting. AIEB2 Remove the two power cables. 9 Fasten the AIEB2 to the MOTIF. Flip the unit over, so that the bottom of the plate can be seen, and that each connector section of the AIEB2 can be seen from the back side of MOTIF. Supporting the unit with one hand, attach it to the rear of the MOTIF with the three screws you removed in step 4. If you start replacing the screws from the center screw, it will be easy to replace the remaining screws. MOTIF Appendix 285 Appendix 6 Installing Optional Hardware Flip over the AIEB2 taking care not to bend or damage the flat ribbon cable. Installing the mLAN8E 1 Using the same procedure as in steps 1 - 4 of “Installing the AIEB2” above, remove the cover on the underside of the MOTIF, then remove the cover of the mLAN/I/O expansion bay. AIEB2 2 Remove the mLAN8E from its package and connect the included flat ribbon cable. Securely fasten the flat ribbon cable to the rear panel of the mLAN8E. Make sure that the ribbon is at the bottom, as shown. Top of mLAN8E 10 Let the ribbon cable fall into place between the Make sure that flat ribbon cable is at bottom of connector. AIEB2 and the circuit board of the MOTIF. Rear panel of mLAN8E Slide the flat ribbon cable in the space between the MOTIF and the AIEB2. Underside of the MOTIF m-LAN CN5 AIEB2 Front panel of mLAN8E Make sure the flat ribbon cable sticks out from the bottom and that the panel printing "mLAN8E" can be seen. Rear panel of the MOTIF Underside of the MOTIF m-LAN 3 Hold the mLAN8E upside down, and insert the connector on the other end of the flat ribbon cable, to the circuit board of the MOTIF. CN5 AIEB2 Align the connectors as shown. Rear panel of the MOTIF 11Re-install the cover you removed in earlier steps, in reverse order. Underside of the MOTIF m-LAN CN5 Underside of mLAN8E Rear panel of the MOTIF Appendix Front panel of mLAN8E (This example illustration shows the MOTIF6/MOTIF7.) 286 MOTIF Appendix Installing Optional Hardware 4 Fasten the mLAN8E to the MOTIF. Flip the unit over, so that each connector section of the mLAN8E can be seen from the back side of MOTIF. Supporting the unit with one hand, attach it to the rear of the MOTIF with the three screws you removed earlier. If you start replacing the screws from the center screw, it will be easy to replace the remaining screws. Optional SIMM Installation You can increase the MOTIF’s sampling memory by installing commercially available SIMMs (single in-line memory modules). This section explains how to carry out the installation. Important Information about Purchase of Expansion SIMMs for the MOTIF The MOTIF does not necessarily support all commercially available SIMMs. Before purchasing SIMMs, please consult your Yamaha dealer or an authorized Yamaha distributor (see list at end of the Owner’s Manual) for advice. Note that Yamaha cannot assume responsibility for SIMM malfunctions. Underside of the MOTIF Rear panel of the MOTIF 5 Let the ribbon cable fall into place between the mLAN8E and the circuit board of the MOTIF. Slide the flat ribbon cable in the space between the MOTIF and the mLAN8E. Underside of the MOTIF m-LAN CN5 SIMM Type and SIMM Configuration • You need to use 72-pin SIMMs with access time of 70ns or less. The SIMM module size may be 4MB, 8MB, 16MB, or 32MB. The MOTIF is designed for use with 32-bit (parity non-type) SIMMs, but can also accept installation of 36-bit (parity-type) SIMMs. • When purchasing SIMMs, make sure that the SIMM design does not utilize more than 18 memory chips per module. (SIMMs comprised of more than 18 chips do not operate correctly on the MOTIF.) • SIMMs must be installed in pairs: you can install two SIMMs. mLAN8E 6 Re-install the cover you removed in earlier steps, in reverse order. Appendix Rear panel of the MOTIF (This example illustration shows the MOTIF6/MOTIF7.) • The MOTIF ships with 4MB of sampling memory installed, and is capable of accessing up to 64MB. See the following illustrations for details. For example, if you add a pair of 16MB SIMMs, for example, you increase the available sampling memory to a total of (4 + 16 x 2 =) 36MB. If you install a pair of 32MB SIMMs, however, the sampling memory size becomes 64MB (and the original 4MB are effectively disabled). MOTIF Appendix 287 Installing Optional Hardware 4MB X 2 Installing the SIMM modules to the sockets 8MB X 2 Tilt the SIMM and insert it into the socket. Internal memory 4MB Internal memory 4MB 12MB can be used for sampling. Push the SIMM up vertically. 20MB can be used for sampling. 16MB X 2 Cutout 32MB X 2 Internal memory 4MB Internal memory 4MB 36MB can be used for sampling. n Make sure that the SIMM is securely inserted in the socket of the MOTIF. Inserting the SIMM improperly or incompletely may result in faulty operation. 64MB can be used for sampling. • Yamaha recommends that you purchase SIMMs that conform to the JEDEC* standard. Please be aware, however, that conformance to this standard does not constitute a guarantee that the SIMMs will operate correctly on the MOTIF. * To remove the SIMM, gently but firmly pull the fastening clips open, then tilt the SIMM back and pull it out. Pull open these clips. Pull open these clips. • JEDEC (Joint Electron Device Engineering Council) sets standards for terminal configurations within electronic devices. SIMM Installation Tilt the SIMM module and pull it out. 1 Use the same operation as in “Installing the AIEB2.” 2 On the SIMM, there is a cut in the board next to the 1PIN. Insert the board into the socket so that the 1PIN lines up with the 1PIN mark (▲) printed on the board. 72PIN SIMM upright until it clicks into the position shown in figure 4 Insert the remaining SIMM into the remaining socket. Cutout Location for SIMM Installation to PNA 4 CN24 11 to JK to PS CN25 4 CN23 5 Re-install the cover you removed in earlier steps, in reverse order. 1PIN mark SIMM sockets Appendix Underside of the MOTIF Rear panel of the MOTIF 288 MOTIF Appendix 3 Set the SIMM into the socket at an angle as shown in the illustration above (1). Then push the SIMM 6 Check that the installed SIMMs are functioning properly. Set the MOTIF right-side up, and connect the power cord to the rear-panel AC INLET jack and an AC outlet. Turn on the power, go to the SAMPLING display, and press the [INFORMATION] button (page 276). If the SIMMs have been installed properly, the appropriate available memory size is indicated in the display. Handling the Memory Card (SmartMedia™*) (SmartMedia™*) Be sure to handle Memory Cards with care. Follow the important precautions below. * SmartMedia is a trademark of Toshiba Corporation. ■ Compatible Memory Card Type 3.3V(3V) Memory Cards can be used. 5V type Memory Cards are not compatible with this instrument. ■ Memory Capacity There are five types of Memory Cards: 2MB/4MB/ 8MB/16MB/32MB. A Memory Card with the memory capacity exceeding 32MB can also be used if it conforms to the standards of SSFDC (Solid State Floppy Disk Card: another name of SmartMedia) Forum. ■ Inserting/Removing Memory Cards • To insert a Memory Card: Hold the Memory Card so that the connector section (gold) of the Memory Card is facing downward and forward, towards the Memory Card slot. Carefully insert the Memory Card into the slot, slowly pushing it all the way in until it is fitted in place. n Don’t insert the Memory Card in wrong direction. Don’t insert anything other than a Memory Card in the slot. • To remove a Memory Card: Before removing the Memory Card, be sure to confirm that the Memory Card is not in use, or it is not being accessed by the instrument. Then pull the Memory Card out slowly by hand. If the Memory Card is being accessed*, a message indicating that it is in use appears on the instrument's display. * It includes saving, loading, formatting, deleting and making directory. Also, be aware that the instrument will automatically access the Memory Card to check the media type when it is inserted while the instrument is turned on. Never attempt to remove the Memory Card or turn the power off during accessing. Doing so can damage the data on the instrument/Memory Card and possibly the Memory Card itself. ■ Formatting Memory Cards Before using a Memory Card with your instrument it must first be formatted. Once it is formatted all data on it will be erased. Be sure to check if the data is unnecessary for you or not, beforehand. n The Memory Cards formatted with this instrument may become unusable with other instruments. ■ About the Memory Cards • To handle Memory Cards with care: There are times when static electricity affects Memory Cards. Before you handle Memory Cards, to reduce the possibility of static electricity, touch the metal parts such as a door knob and aluminum sash. Be sure to remove the Memory Card from the Memory Card slot when it is not in use for a long time. Do not expose the Memory Card to direct sunlight, extremely high or low temperatures, or excessive humidity, dust or liquids. Do not place heavy objects on a Memory Card or bend or apply pressure to the Memory Card in any way. Do not touch the metal part (gold) of the Memory Card or put any metallic plate onto the metal part. Do not expose the Memory Card to magnetic fields, such as those produced by televisions, speakers, motors, etc., since magnetic fields can partially or completely erase data on the Memory Card, rendering it unreadable. Do not attach anything other than the provided labels to a Memory Card. Also make sure that labels are attached in the proper location. • To protect your data (Write-protect): To prevent inadvertent erasure of important data, stick the write-protect seal (provided in the Memory Card package) onto the designated area (within a circle) of the Memory Card. Conversely speaking, to save data on the Memory Card, make sure to remove the write-protect seal from the Card. Do not reuse the seal that is peeled off. ■ Data Backup For maximum data security Yamaha recommends that you keep two copies of important data on separate Memory Cards. This gives you a backup if one Memory Card is lost or damaged. ■ Burglarproof Lock This instrument is equipped with a burglarproof lock for the Memory Card. If necessity arises, mount the burglarproof lock onto the instrument. To mount the burglarproof lock: 1 Remove the metallic part using a Phillips screwdriver. 2 Turn the metallic part upside down and then mount it again. MOTIF Appendix 289 Appendix Handling the Memory Card Connecting external SCSI devices Connecting external SCSI devices This section explains how to connect external devices such as external hard disk drives, MO drives, or CD-ROM drives. About SCSI SCSI (pronounced “scuzzy”) stands for Small Computer System Interface, and is a data transmission interface standard used by personal computers and other devices. Since the MOTIF has a SCSI interface, you can connect and use hard disk drives, MO disk drives, CD-ROM drives, and other SCSI-compatible devices that have a 50-pin SCSI connector. Up to 7 SCSI devices can be connected. Most external SCSI devices have two SCSI terminals, allowing a number of devices to be “chained” together. Devices chained together in this way can normally be connected in any order. The last device in the chain must be “terminated,” either with a terminator unit plugged into the open SCSI connector, or by turning the device's internal terminator on (if available). The first device in the chain must also be terminated, but in the case of the MOTIF this is accomplished by the terminator inside the MOTIF. External SCSI device External SCSI device External SCSI device T T KNOB CONTROL FUNCTION PAN REVERB CHORUS TEMPO CUTOFF RESONANCE ATTACK RELEASE ASSIGN A ASSIGN B ASSIGN 1 ASSIGN 2 REMOTE CONTROL ON/OFF MUSIC PRODUCTION SYNTHESIZER Integrated Sampling Sequencer Real-time External Control Surface Modular Synthesis Plug-in System MODE KN 1 MEQ LOW KN 2 KN 3 MEQLOWMID MEQ HI M ID VOLUME 1 VOLUME 2 VOLUME 3 SLOT 1 SLOT 2 SLOT 3 KN 4 MEQ HIGH EFFECT BYPASS INSERTION MASTER VOLUME SYSTEM ARPEGGIO VOICE PERFORM MASTER DRUM KITS FAVORITES PATTERN FILE MIXING UTILITY DEC/NO SONG SCENE SF1 1 PRE 2 KEYBOARD PRE 3 ORGAN COMMON SEQUENCER SONG INTEGRATED SAMPLING SEQ TRANSPORT LOCATE PRE 1 A. PIANO GM USER PLG 1 GUITAR / PLUCKED BASS STRINGS D E PLG 2 PLG 3 BRASS REED/PIPE CATEGORY SEARCH BANK ON/OFF VOLUME 4 SF2 SF3 SF4 INC/YES A B C SYN LEAD SYN PAD/ CHOIR SYN COMP 1 2 3 DRUM / CHROMATIC PERCUSSION PERCUSSION 4 5 F G H SE MUSICAL FX COMBI 6 7 8 SECTION GROUP TRACK SELECT INFORMATION SF5 2 ELEMENT/ PERF.PART / ZONE NUMBER REC EDIT COMPARE OCTAVE DOWN CS 1 CS 2 CS 3 CS 4 ZONE 1 ZONE 2 ZONE 3 ZONE 4 JOB STORE F1 F2 SCENE STORE SET LOCATE UP F3 F4 F5 F6 EXIT ENTER EXECUTE 9 10 11 12 13 14 15 16 MUTE SOLO T Indicates the terminator (or a terminator switch turned ON). For devices not marked by this symbol, do not attach a terminator (or turn the terminator off). MOTIF • Before connecting SCSI devices, be sure to turn off the power of the MOTIF and all connected equipment. If the power is on while connections are being made, the MOTIF or SCSI devices can be damaged. • Including the MOTIF, each SCSI device is distinguished by a number from 0 - 7, called the SCSI ID. If two or more devices have the same SCSI ID number, the SCSI devices will not function correctly. When shipped from the factory, the MOTIF is set to SCSI ID 6. Be aware that the SCSI ID number of a device has no relation to its position in the daisy-chain. • Don't forget to attach a terminator to the last SCSI device in the daisy-chain. • If an external SCSI device is not connected, it is not necessary to attach a terminator to the external SCSI connector of the MOTIF. • Use as short a SCSI cable as possible. Using long cables can cause unreliable operation. In general, the total cable length should be less than 6 meters (approximately 18 feet). • Use high-quality SCSI cables. Poor-quality cables can cause unreliable operation. • Some SCSI devices have only one SCSI connector. If you are using such a device, connect it at the end of the daisy-chain. Procedure 1 2 3 Use SCSI cables to daisy-chain the external SCSI devices. Since there are several different types of SCSI connectors, make sure to select the proper SCSI cables for your particular devices. Connect the power cable of the external SCSI device to an AC outlet. Appendix Set the SCSI ID (0 - 7) of the external SCSI device. Select a SCSI ID that will not conflict with the other SCSI devices (including the MOTIF). When the MOTIF is shipped from the factory, the SCSI ID is set to 6. 290 MOTIF Appendix Connecting external SCSI devices 4 5 6 Attach the terminator to the SCSI connector (whichever one of the two is not connected) of the last device in the daisy-chain. Alternatively, turn on the terminator switch of that device. Make sure that the terminator switch is turned OFF for all other devices in the daisy-chain (i.e., all devices other than the last device). Turn on the power of the external SCSI device(s), and after waiting several seconds, turn on the power of the MOTIF. NOTE Many articles and books concerning SCSI are available. However most of them discuss only the concepts or the specification, and do not tell you what to do if the system does not work when connected as described. The following paragraphs will provide more information about SCSI that will help you correct problems which may occur when SCSI devices are connected. Please read this material if you experience problems. Please be aware that when connecting SCSI devices, problems with termination and cabling can cause valuable data to be damaged. We regret that Yamaha can take no responsibility regarding any data which is lost. ■ Realities of terminator installation Although we have said that a terminator is required at the beginning and end of the SCSI bus, this is a general principle and not a requirement. For example if the bus is extremely short (45 cm or less), there are cases in which it is best for there to be a terminator only on one or the other end. However if other drives are connected in addition to these drives, the situation will again be different. Also, if the SCSI devices are separated by more than 3 meters, it is said that using a terminator at the 3 meter point is preferable. In this case, three or more terminators will exist within the SCSI bus. In this way, the theory and practice of SCSI connections can differ widely. Simply changing a drive in a system that had been working correctly can cause operation to become unreliable, or adding a drive to an unreliable system can cause it to start working correctly. In practice, a certain amount of trial and error is necessary. ■ Reasons for SCSI errors A SCSI bus operates stably only if all the connected SCSI devices are operating correctly. If any of the devices are producing noise, the other devices will also produce errors, and in the worst case, the boot block of a drive can be destroyed. (All data in that drive will be lost.) Also, there are cases in which a system on which data appears to have saved may not have actually saved the data, resulting in data loss. The following paragraphs will discuss the reasons for such errors, and will provide a sequence for your troubleshooting. • Check the SCSI ID Make sure that there is no conflict between the SCSI ID of each SCSI device including the MOTIF. When shipped from the factory, the MOTIF's SCSI ID is set to 6. Be sure to turn off the power before changing the SCSI ID setting. • Check the terminator As discussed above, check the location where the terminator is attached. • Check the SCSI cables Yamaha cannot guarantee operation if the SCSI connector of the MOTIF is connected via a converter to any external device other than a 50-pin SCSI device, such as a Wide SCSI, ATA (IDE), USB, or IEEE 1394 device. MOTIF Appendix 291 Appendix Low-quality SCSI cables will almost always create problems. Always use double-shielded cables. It is also important that the shield be grounded inside the connector. Long SCSI cables frequently cause problems, so use as short a SCSI cable as possible. Bending or twisting a SCSI cable in a confined space can cause conductors to break or pins to be broken, so be careful to avoid this. Notes on musical copyright Notes on musical copyright The MOTIF supports SCMS (Serial Copy Management System) to protect the copyrights of music software. Data that was digitally sampled from a CD or other source cannot be saved on a memory card or SCSI disc in WAV/AIFF format, and cannot be transmitted by using the TWE software. If you wish to save this data, you must save it in the MOTIF’s own format. It is prohibited to use copyrighted songs and sound data (that can be recorded via the MOTIF) for commercial purposes. It is also prohibited to reproduce, transfer, or distribute the data, or play the data for a commercial audience without permission from the owners of the copyright, except for personal use or application that does not infringe the copyright. If you wish to use such data for occasions other than personal use, consult a copyright expert. Yamaha is not responsible for any data created, reproduced, or edited using the MOTIF, nor for any reproduction or use of such data. Appendix 292 MOTIF Appendix Specifications MOTIF8 MOTIF7 MOTIF6 Tone Generator block Tone Generator Sampling block 88 keys, Balanced Hammer Effect Keyboard (Initial Touch/Aftertouch) 76 keys, FS Keyboard (Initial Touch/Aftertouch) 61 keys, FS Keyboard (Initial Touch/Aftertouch) AWM2 (complying with the Modular Synthesis Plug-in System) Polyphony 62 notes + the polyphony of the Plug-in Board (if installed) Multi Timbral Capacity 16 parts (internal) + 3 or more Plug-in Board parts (1 for each Single Plug-in Board; 16 for Multi Plug-in Board), A/D Input Wave 84MB (when converted to 16- bit linear format), 1309 waveforms Voice Preset: 384 normal voices + 48 drum kits GM : 128 normal voices + 1 drum kit User: 128 normal voices + 16 drum kits Plug-in Voice Preset for the PLG150-AN/PF/DX: 64 Preset for the PLG-150VL: 192 User: 64 for each Plug-in slot Performance User: 128 (up to 4 parts) Filter 21 types Effect System Reverb x 12 types, Chorus x 25 types, Insertion 1 x 25 types, Insertion 2 x 104 types, Variation x 25 types (available for Performance/Song), Master Equalizer (5 bands), Plug-in Insertion (available when the PLG100-VH has been installed to slot 1) Expandability 3 Slots for Modular Synthesis Plug-in Boards Samples Up to 256 Waveforms (Multi Samples) Up to 128 Key Banks per Waveform Up to 8192 Key Banks Sampling Source Analog input L/R, Stereo output (Resampling), Digital/Optical (available when the AIEB2 has been installed), mLAN (available when the mLAN8E has been installed) A/D Conversion 20-bit, 64 x oversampling D/A Conversion 24-bit, 128 x oversampling Sample Data Bits 16 Sampling Frequency 44.1kHz, 22.05kHz, 11.025kHz, 5.5125kHz (Stereo/Mono) • Digital Sampling Frequency (when the AIEB2 has been installed) 48kHz, 44.1kHz, 32kHz * Can be input, with converted to the Sampling Frequency of the MOTIF. • Sampling Frequency via the mLAN (when the mLAN8E has been installed) 44.1kHz (fixed) Sampling Memory 4MB, expandable to 64MB (32MB SIMM x 2 slots) * The original 4MB are disabled when a pair of 32MB SIMMs have been installed. Sample Length Mono: 32 MB Stereo: 64 MB Sampling Time (when a pair of 32MB SIMMs have been installed) 44.1kHz: 6 min. 20 sec., 22.05kHz: 12 min. 40 sec., 11.025kHz: 25 min. 20 sec., 5.0125kHz: 55 min. 40 sec. * Mono/Stereo Sample Format Original format, WAV, AIFF, A3000/4000/5000/SU700 format (loadable only via SCSI), AKAI S1000/S3000 format (loadable only via SCSI) Appendix Keyboards MOTIF Appendix 293 Specifications Sequencer block Others Note Capacity Approx. 111,000 notes Note Resolution 480 ppq (parts per quarter note) Maximum Polyphony 124 notes Tempo 1 - 300 Recording type Real time replace, Real time overdub (with the exception of the Pattern Chain), Real time punch (Song only), Step (with the exception of the Pattern Chain) Tracks Pattern Mode : 16 phrase tracks Pattern Chain Mode : Pattern track, Tempo track, Scene track Song Mode : 16 sequence tracks (Loop on/off can be set for each track), Tempo track, Scene track Patterns User Patterns : 1024 (64 styles x 16 sections) Measures : 256 maximum Phrases Preset Phrases : 128 Drum Phrases User Phrases : 256 per style Songs 64 songs Arpeggio Preset 1 x 128 types Preset 2 x 128 types User x 128 types * MIDI Sync, MIDI transmit/receive channel, Velocity Limit, and Note Limit can be set. Scene Memory 5 per Song Scequence Format Original format, SMF format 0, 1 (Format 1 load only) Master User: 128 Sequence Software controlled via the Remote Control function • For Windows ® Cubase VST™ V5.0, Logic Audio ® Platinum Ver4.6, Cakewalk Pro Audio™ Ver9.0, Pro Tools ® V5.0 • For Macintosh ® Cubase VST™ V5.0, Logic Audio ® Platinum Ver4.6, Pro Tools ® V5.0 Controllers Pitch Bend wheel, Modulation wheel, Assignable Control Slider x 4, Assignable Knob x 4, Rotary Encoder Display 240 x 64 dot graphic backlit LCD External Memory Smart Media™ (3.3V) * Up to 128MB can be used. Connectors OUTPUT L/MONO, R (standard phone jack) ASSIGNABLE OUTPUT L, R (standard phone jack) AD INPUT L, R (standard phone jack) PHONES (standard stereo phone jack) FOOT CONTROLLER 1, 2 FOOT SWITCH x 2 (SUSTAIN, ASSIGNABLE) BREATH, MIDI IN/OUT/THRU, SCSI, USB, OPTICAL OUTPUT, AC INLET Dimensions, Weight MOTIF8: 1,458(W) x 465(D) x 166(H)mm, 28.0kg MOTIF7: 1,255(W) x 397(D) x 135(H)mm, 18.1kg MOTIF6: 1,048(W) x 397(D) x 135(H)mm, 15.8kg Supplied Accessories Power cord, Owner's Manual Set TOOLS for MOTIF6/MOTIF7/MOTIF8 CD-ROM Specifications and descriptions in this owner's manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer. Appendix 294 MOTIF Appendix Index 1st-on ................................................................................... 135 A AC (Assignable Controls) ....................................................155 AC INLET ............................................................................. 18 Accuracy ..............................................................................244 AC ........................................................................................155 AC Power Cord Socket.......................................................... 18 AD........................................................................................ 206 A/D....................................................................................... 163 A/D input ............................................................................... 23 A/D INPUT jacks................................................................... 18 A/DSource ........................................................................... 252 ADD INT ............................................................................. 164 ADD PLG ............................................................................164 Advanced DX/TX Plug-in Board ..........................................35 AEG (Amplitude Envelope Generator) .. 47, 83, 145, 152, 174, 211 Aftertouch ......................................................................49, 155 AIEB2 ...................................................................... 22, 23, 284 Aiff....................................................................................... 263 All ................................................................................262, 263 All Pattern ............................................................................263 All Song ............................................................................... 263 All Voice...................................................................... 262, 263 All Waveform ...................................................................... 263 AltGroup (Alternate Group) ................................................ 151 AlternatePan................................................................. 145, 152 AMod ................................................................... 148, 154, 155 Amplitude .............................................................................. 47 Amplitude Envelope Generator ....................................... 47, 83 Analog input .......................................................................... 23 Analog output ........................................................................21 Analog Physical Modeling Plug-in Board ............................. 35 Append Pattern .................................................................... 231 Append Phrase ..................................................................... 229 Arpeggio ..................................................................................... 13, 55, 91, 128, 132, 133, 149, 154, 165, 168, 189, 209, 223, 255 [ARPEGGIO ON/OFF] button .............................................. 13 Arpeggio on/off during Song/Pattern playback ..................... 55 Arpeggio playback ................................................................. 91 Arpeggio structure ................................................................. 55 Arpeggio switch........................................................... 170, 210 Arpeggio type ................................ 92, 132, 149, 154, 168, 209 Arpeggio channel ................................................................. 254 Arpeggio limit...................................... 133, 149, 154, 168, 209 ArpSwitch .................................................................... 170, 210 Assign .................................................................................... 85 Assigning Locations ............................................................180 AssignMode ......................................................................... 151 ASSIGNABLE OUT jacks .................................................... 19 ASSIGNABLE OUT L and R jacks ...................................... 18 ATTACK ............................................................................... 85 Attack time............................................................... 46, 47, 152 Audition function......................................................... 240, 242 Audio equipment ....................................................................21 AutoDemoLoad ............................................................. 77, 252 Auto Load .............................................................. 87, 252, 264 AWM2(Advanced Wave Memory2) ..................................... 34 B Band Elimination Filter ......................................................... 47 Band Pass Filter ..................................................................... 47 Bank ..................................................................................... 124 BANK buttons ....................................................................... 15 BasicRcvCh (Basic Receive Channel)................................. 258 BankSel................................................................................ 258 BankMSB............................................................................. 272 BankLSB.............................................................................. 272 Basic Procedure ........................................................... 148, 176 Basic Procedure (File) ......................................................... 262 Basic Procedure (Master Edit) ............................................. 271 Basic Procedure (Master Job) ..............................................273 Basic Procedure (Master Store) ...........................................274 Basic Procedure (Master)..................................................... 269 Basic Procedure (Pattern Edit)............................................. 224 Basic Procedure (Pattern Job).............................................. 225 Basic Procedure (Pattern Play) ............................................ 217 Basic Procedure (Pattern Record)........................................ 221 Basic Procedure (Performance Edit) ....................................166 Basic Procedure (Performance Job) .....................................175 Basic Procedure (Performance Play) ................................... 162 Basic Procedure (Performance Store).................................. 176 Basic Procedure (Plug-in Voice Edit) ................................. 153 Basic Procedure (Sampling Edit) ........................................ 240 Basic Procedure (Sampling Job) ......................................... 241 Basic Procedure (Sampling Record) ................................... 234 Basic Procedure (Song Job) ................................................ 193 Basic Procedure (Song Mixing Edit) .................................. 207 Basic Procedure (Song Mixing Job) ................................... 212 Basic Procedure (Song Mixing Store) ................................ 214 Basic Procedure (Song Mixing) ........................................... 205 Basic Procedure (Song Play)............................................... 179 Basic Procedure (Song Record) .......................................... 183 Basic Procedure (Utility) .................................................... 250 Basic Procedure (Voice Edit).............................................. 130 Basic Procedure (Voice Job) ............................................... 158 Basic Procedure (Voice Play) ............................................. 124 Basic Procedure (Voice Store) ............................................ 159 BCK DEL............................................................................ 186 Beat ............................................................................. 238, 254 Beat Stretch ................................................................. 200, 228 BEF12 ................................................................................. 141 BEF6 ................................................................................... 141 Board Custom Voice ........................................................... 157 Board Voice .................................................................. 87, 153 BPF12D............................................................................... 141 BPF12s ................................................................................ 141 BPF6 .................................................................................... 141 BPFw ................................................................................... 141 BREATH Controller Jack ..................................................... 18 BREAK POINT .......................................................... 144, 146 Breath Controller ................................................................... 49 Bulk Dump .................................................. 159, 176, 213, 274 Burglarproof Lock ............................................................... 289 C Cakewalk ProAudio Ver9.0 ................................................ 257 Calling up the Operation Displays ........................................ 67 Can’t record samples. .......................................................... 280 Can’t save data to the Memory card or the SCSI disk. ....... 280 Card slot ................................................................................ 19 Category Search ............................................................ 81, 126 [CATEGORY SEARCH] button .......................................... 15 CenterKey ........................................................... 140, 144, 146 Chain Play/Edit ........................................................... 183, 219 Changing (editing) values ..................................................... 72 Channel Aftertouch (CAT) ................................................. 191 Channel ............................................................................... 258 ChoCtrl ........................................................................ 132, 209 CHORUS .............................................................................. 85 Chorus ................................... 39, 137, 150, 155, 170, 210, 275 Chorus Pan .................................................................. 137, 170 Chorus Return ............................................................. 137, 169 ChoSend .............................................. 132, 150, 163, 167, 172 Chorus Send ........................................................................ 137 Chorus To Reverb ....................................................... 137, 170 Chorus Type ................................................................ 137, 169 Clean Up Memory............................................................... 247 Clear Pattern......................................................................... 232 Clear Phrase ........................................................................ 230 Clear Song ........................................................................... 204 Clear Track .................................................................. 202, 230 Click .................................................... 103, 111, 184, 222, 254 Clock ........................................................................... 198, 199 ClockOut ............................................................................. 259 CLOCK SFT ....................................................................... 182 Coarse .......................................................................... 138, 151 Common (to all keys) edit (Drum Voice) ........................... 149 Common (to all parts) edit and Part edit ............................. 165 Common edit (Master Edit) ................................................ 271 Common edit (Performance) ............................................... 166 Common edit (Plug-in Voice)............................................. 154 Common edit (Song Mixing) .............................................. 208 Common edit (Voice) ......................................................... 130 Common edit (Plug-in Voice)............................................. 153 Common edit (Voice) .......................................................... 129 Common edit (Song Mixing) .............................................. 207 Common edit (Master) ........................................................ 270 Compare ...................................................................... 129, 165 Computer Sequence Software ............................................... 66 CONFIG.................................................................. 97, 98, 264 Configuration ...................................................................... 264 Confirmation Message .......................................................... 72 Connecting External MIDI Equipment ................................. 24 Connecting external SCSI devices ...................................... 290 Connecting to a Personal Computer ...................................... 25 Connecting to an External SCSI Device ............................... 27 Connecting to External Audio Equipment ............................ 21 Connecting Various Controllers ............................................ 28 Connections ........................................................................... 21 Control ................................................................................... 55 Control Change ................................................................... 191 Control Change Numbers .................................................... 169 Control Knobs ....................................................................... 73 Control number ............................................................. 96, 191 Control Sets ........................................................................... 49 Control Sets and External MIDI Control .............................. 50 Control Sliders ................................................................. 48, 65 Controller Assign ................................ 169, 209, 254, 255, 256 Controller block ..................................................................... 33 Controller settings ............................................................... 255 Controllers ....................................................................... 28, 48 Convert ................................................................................ 221 Convert Freq ........................................................................ 245 Convert Pitch ....................................................................... 244 Convert to Drum Voice ....................................................... 248 Copy ............................................ 158, 175, 213, 221, 242, 247 Copy Event .................................................................. 198, 227 Copy Pattern ........................................................................ 231 Copy Phrase................................................................. 183, 228 Copy Sample ....................................................................... 204 Copy Song ........................................................................... 203 Copy Track .................................................................. 202, 230 Copying the Pattern Chain data to a Song ........................... 109 Copyright ............................................................................. 292 Create Continuous Data .............................................. 199, 227 Create Measure .................................................................... 201 Create Roll ................................................................... 196, 226 Creating a Pattern Chain ..................................................... 108 Creating a Song ..................................................................... 99 Creating Pattern Chains with Realtime Playback (Pattern Chain Recording)................................................... 220 Creating Rhythm track .......................................................... 99 Creating User Arpeggios ....................................................... 56 Crescendo .................................................................... 196, 226 [CS1] - [CS4] (Control Slider) .............................................. 13 CtrlChange .......................................................................... 258 CtrlReset .............................................................................. 252 Cubase VST/32, Cubase VST 5.0 ....................................... 257 Current ................................................................................. 264 Currently recognized device ................................................ 264 Cursor .................................................................................... 72 Cursor Buttons ....................................................................... 14 Curve ........................................................... 139, 143, 145, 199 Cutoff frequency ..................... 46, 85, 142, 143, 151, 156, 173 CutoffSens (Cutoff Sensitivity) ........................................... 144 D Data ..................................................................................... 199 Data Backup ........................................................................ 289 Data created by Sampling ............................................. 59, 234 Data created by sampling in the Song/Pattern mode ............. 59 Data created by sampling in the Voice/Performance mode .. 59 Data dial ........................................................................ 14, 126 Data Entry ..................................................................... 72, 192 [DEC/NO] button .......................................................... 14, 126 Decay1Level ........................................................................ 152 Decay1Time ........................................................................ 152 Decay2Time ........................................................................ 152 Decay ................................................................................... 174 Delay ........................................................................... 136, 157 DelayTime ........................................................................... 136 DELETE .............................................................................. 186 Delete .................................................. 190, 224, 242, 247, 267 Delete All ............................................................................ 248 Delete Measure .................................................................... 201 Demo ............................................................................... 77, 78 Depth ........................................................................... 136, 143 Destination .............................................. 49, 50, 134, 136, 235 Detune ................................................................................. 173 DevNo ................................................................................. 260 DeviceNo............................................................................. 258 Digital .................................................................. 234, 236, 253 DIGITAL IN, OUT connectors ............................................. 19 Digital input (when the optional AIEB2 has been installed) ... 23 Digital output ......................................................................... 22 direct .................................................................................... 133 Direction .............................................................................. 198 Display Messages ................................................................ 277 Display-based Controls ......................................................... 72 Distorted sound .................................................................... 279 Distance ............................................................................... 142 Divide Drum Track ..................................................... 203, 231 DRAM ................................................................................... 64 MOTIF Appendix 295 Appendix 1 DRUM ...................................................................................42 Drum Key Edit .............................................................148, 150 Drum Pattern ..........................................................................55 Drum Voice Edit ..................................................................148 DryLevel ......................................................................163, 172 Dual BEF .............................................................................142 Dual BPF ..............................................................................141 Dual HPF .............................................................................141 Dual LPF ..............................................................................141 DumpExIntrval ....................................................................255 E [E] indicator ....................83, 127, 129, 163, 165, 205, 269, 270 each-on .................................................................................135 Echo .......................................................................................27 Edit Buffer .............................................................................64 Edit mode ...............................................................................70 Edit Recall ............................................................158, 175, 213 Editing and saving Board voices ...........................................87 Editing Performances (Layer/Split) .......................................89 Editing Stereo Samples ........................................................240 Editing/Deleting Existing Events......................................... 190 Effect ......................................................39, 137, 149, 155, 169 Effect block ............................................................................39 [EFFECT BYPASS] buttons ................................................. 13 Effect Bypass .................................................................13, 252 Effect connection .......................... 40, 137, 149, 155, 169, 210 Effect Plug-in Board ..............................................................35 Effect Send .....................................................85, 172, 206, 211 Effect structure .......................................................................39 EF PART ..............................................................................169 EG (=Envelope Generator) .................................... 83, 128, 164 EG Level ......................................................................139, 143 EG Time ...............................................................................139 EG Time Sens ......................................................................140 Element ..................................................................................44 Element edit .................................................129, 137, 153, 156 ElementSw ................................................... 134, 136, 137, 150 EL:OUT ............................................................................... 137 end ........................................................................................183 End .......................................................................................238 End point ........................................................................62, 238 [ENTER] button..................................................................... 15 Entering other events ...........................................................186 Entering the Note Event .......................................................185 Envelope Generator (EG) ......................................................47 EQ (Equalizer) .....................................................148, 153, 157 Equalizer ................................39, 148, 153, 157, 168, 209, 253 Erase Event ..................................................................199, 227 Event ....................................................................185, 190, 224 Event Editing/Inserting/Deleting .................................190, 224 Event Job ......................................................................198, 227 Event Type ...................................................................199, 200 Event View Filter .........................................................192, 224 Exchange Phrase ..................................................................228 Exchange Track ........................................................... 202, 230 [EXIT] button ........................................................................14 Extract ..................................................................................243 Extract Event ................................................................199, 227 F Appendix [F1] - [F6] (Function) buttons.......................................... 14, 71 Factory Set (Restore Factory Defaults) ...............................260 Fade In/Out ..........................................................................245 FadeInTime ..........................................................................136 FadeOutTime .......................................................................136 Favorite Category ..........................................................81, 127 FEG (Filter Envelope Generator) ....47, 83, 143, 152, 173, 211 FEGDepth ............................................................................173 File ...............................................................................262, 263 File/Folder selection ............................................................262 File mode ................................................. 32, 68, 261, 262, 276 File names ............................................................................264 File types that can be handled by the MOTIF .....................262 File Utility ............................................................................118 FileUtilID .............................................................................258 Filter ...............................46, 140, 154, 155, 156, 173, 211, 255 Filter Envelope Generator ................47, 83, 143, 152, 173, 211 Filter type .......................................................................46, 140 Fine ......................................................................138, 151, 244 Fine Tune .............................................................................241 fingered ........................................................................128, 131 FixedNoteMode ...................................................................203 Fixed Velocity ......................................................................251 FMod ....................................................................148, 154, 155 Folder ................................................................................... 262 Foot Controller....................................................................... 49 FOOT CONTROLLER jacks ................................................18 FOOT SWITCH jacks ...........................................................18 Footswitch ................................................................18, 49, 256 296 MOTIF Appendix Format ................................................................................. 265 Formatting Memory Cards .................................................. 289 Forward button ...................................................................... 14 Front Panel ............................................................................ 10 Freq ............................................................................. 168, 254 fulltime ........................................................................ 128, 131 Function ................................................................................ 71 Function Tree (File Mode) .................................................. 261 Function Tree (Master Mode) ............................................. 268 Function Tree (Pattern Mode) ............................................. 215 Function Tree (Performance Mode) .................................... 160 Function Tree (Sampling) ................................................... 233 Function Tree (Utility Mode) .............................................. 249 G Gain ..................................................................... 142, 168, 254 GAIN knob ............................................................................ 18 GATE OFST ....................................................................... 182 GateTime ............................................................................. 194 Gate Time Rate ................................................................... 134 Get Phrase From Song ........................................................ 229 Glide ............................................................................ 196, 226 GlideTime ........................................................................... 196 GM voice ............................................................................... 45 Grid ..................................................................................... 197 Groove ................................................................. 106, 181, 218 GROUP ............................................................................... 124 GROUP [A] - [H] buttons ..................................................... 15 H HighFreq ............................................................................. 157 HighGain ............................................................................. 157 High Pass Filter ..................................................................... 46 Hold ............................................................................. 189, 255 HoldTime ............................................................................ 136 How to leave the current display ........................................... 72 HPFCutoff ........................................................................... 156 HPF Cutoff .......................................................................... 142 HPF KeyFlw ....................................................................... 142 HPF12 ................................................................................. 141 HPF12BPF6 ........................................................................ 142 HPF24D .............................................................................. 141 I IEEE1394 interface ............................................................... 26 [INC/YES] button ......................................................... 14, 126 [INFORMATION] button..................................................... 14 Information Display ...................................................... 73, 275 Initialize ...................................................... 158, 175, 212, 274 Input .................................................................................... 252 InsConnect .......................................................................... 137 Ins1Category ....................................................................... 137 Ins1Type .............................................................................. 137 Ins2Category ....................................................................... 137 Ins2Type .............................................................................. 137 InsChoSend ......................................................................... 149 InsEF ................................................................................... 173 InsEffectOut ........................................................................ 138 Inserting New Events .......................................................... 190 Inserting/Removing Memory Cards .................................... 289 Insertion ........................................................ 39, 137, 150, 155 Insertion Effects .................................................................... 39 InsRevSend ......................................................................... 149 Installation Precautions ....................................................... 281 Installing Optional Hardware .............................................. 281 Interface settings ................................................................. 252 Internal AWM2 Tone Generator ........................................... 34 Internal Memory ................................................................... 64 Internal Memory and File Management ................................ 63 J Job mode ............................................................................... 70 Jumping to an assigned Location ........................................ 180 K KBDTransCh ...................................................................... 258 KeyAsgnMode .................................................................... 131 Key Bank ............................................................... 59, 235, 242 Key Bank Job ...................................................................... 242 Keyboard ............................................................................. 251 Keyboard Octave ........................................... 82, 127, 162, 269 Keyboard MIDI Transmit Channel ..................... 127, 162, 269 Keyboard Transmit Channel ............................................... 258 Key follow ................................................... 139, 142, 143, 146 KeyMode ............................................................................. 133 KeyOnSync ......................................................................... 147 Key OnDelay................................................................ 138, 147 Key On Reset ...................................................................... 135 Knob ...................................................................................... 65 KnobAssign ......................................................................... 132 Knob/Slider ......................................................................... 273 [KNOB CONTROL FUNCTION] button ............................. 12 L Layer ...................................................................................... 57 LCD Contrast Control ........................................................... 14 LCD Display ......................................................................... 14 Level ...................................... 61, 139, 143, 145, 146, 152, 241 Level/Pan ..................................................................... 145, 152 LevelSens ............................................................................ 146 LFO (Low Frequency Oscillator) .......... 47, 135, 136, 147, 157 Limit ...................................................................... 92, 170, 210 LIMIT H .............................................................................. 164 LIMIT L .............................................................................. 164 Load ............................................................................... 98, 266 LoadMix .............................................................................. 255 Local On/Off ......................................................................... 26 Local Ctrl (Local Control) ................................................... 258 Location ............................................................................... 180 Locations to which the optional units are installed ............. 281 Logic Audio Plutinum Ver4.6 ............................................. 257 Loop .............................................................. 62, 222, 238, 241 Loop Recording (Pattern) ...................................................... 53 Loop-Remix ........................................................................ 246 Low Frequency Oscillator ..................................................... 47 Low Pass Filter ...................................................................... 46 LowFreq .............................................................................. 157 Lowest Key ......................................................................... 246 LowGain .............................................................................. 157 LPFCutoff.................................................................... 151, 152 LPF Reso ............................................................................. 151 LPF12 .................................................................................. 141 LPF12BPF6 ......................................................................... 142 LPF12HPF12 ....................................................................... 142 LPF18 .................................................................................. 140 LPF18s ................................................................................ 140 LPF24A ............................................................................... 140 LPF24D ............................................................................... 140 LPF6 .................................................................................... 141 M Main functions....................................................................... 42 manual ................................................................................... 61 Master.................................................................................... 56 Master Edit mode .................................................... 32, 70, 270 Master editing in the Master Play mode .............................. 269 Master EQ ............................................................................. 85 Master EQ Offset ................................ 131, 149, 154, 166, 208 Master Equalizer ........................................... 39, 168, 209, 253 Master Job mode ........................................................... 32, 273 Master mode .................................................................... 32, 56 Master Keyboard ............................................................. 93, 95 Master Play mode .................................................... 32, 68, 269 Master Selection .................................................................. 269 Master Store mode ........................................................ 32, 274 MASTER VOLUME............................................................. 12 Maximum Polyphony ............................................................ 36 meas....................................................................................... 61 Measure ............................................................................... 238 Measure Job......................................................................... 201 Memorize to a Master ........................................................... 93 Memory ............................................................................... 270 Memory Card ...................................................................... 289 Memory Card/External SCSI storage device ........................ 64 Memory Structure ................................................................. 63 Meter ................................................................................... 238 Mic/Line .............................................................................. 253 MIDI.................................................................................... 260 MIDI bulk data transmission/reception won’t work properly . .. 280 MIDI Channel ..................................................................... 258 MIDI events that can be edited ............................................ 224 MIDI events that can be inserted (edited) ........................... 190 MIDI IN/OUT/THRU connectors ......................................... 18 MIDI interface....................................................................... 26 MIDI recording to Song Tracks .......................................... 110 MIDI settings....................................................................... 258 MIDISwitch......................................................................... 272 MIDI track recording method................................................ 53 MIDI tracks ........................................................................... 52 MicroTuning........................................................................ 131 Mix Phrase........................................................................... 228 Mix Track ............................................................................ 202 Mixing mode (in the Song/Pattern mode) ............................. 68 mLAN connection ............................................................... 253 mLAN (IEEE1394) connector1, 2, 3..................................... 19 N Name............................................ 130, 149, 154, 166, 247, 271 Naming................................................................................... 75 Native................................................................................... 156 Native System Parameter..................................................... 260 New Folder Creation............................................................ 262 No effect is applied. ............................................................. 280 No sound. ............................................................................. 279 Normal Common ................................................................. 137 Normal Voice......................................................................... 45 Normal Voice Edit ............................................................... 129 Normalize............................................................................. 243 Normalize Play Effect.................................................. 203, 230 Non Registered Parameter Number (NRPN)....................... 192 Note...................................................... 190, 196, 197, 247, 272 Note Data(when the Sample type is set to “Sample + Note” ) .....59 Note data Job ............................................................... 193, 225 Note limit ............................................................................. 133 Note name .................................................................... 190, 191 Note (Key) settings ................................................................ 75 Number ........................................................ 124, 150, 156, 170 NUMBER [1] - [16] buttons .................................................. 15 Note...................................................................... 196, 197, 247 Note Limit............................................................................ 133 NOTE OFST ........................................................................ 182 NoteShift.............................................................. 156, 173, 250 NumberOfTimes .......................................................... 198, 221 NumberOfTimes .................................................................. 200 NRPN MSB-LSB................................................................. 192 O Octave .................................................................. 247, 251, 272 OCTAVE [UP] and [DOWN] buttons................................... 12 Offset ........................................................................... 195, 200 OFFSET 1 ~ 4.............................................................. 144, 146 One Shot ................................................................................61 Oneshot ................................................................................241 Only one note sounds at a time. ........................................... 280 OPTICAL IN, OUT connectors............................................. 19 OPTICAL OUT connectors ................................................... 18 OPTICAL OUTPUT connector ............................................. 22 Optimize Memory................................................................ 248 Optional units that can be installed to the MOTIF .............. 281 Original Key ........................................................................ 241 Oscillator........................................ 45, 137, 138, 150, 151, 156 Other ........................................................................................... 132, 149, 151, 154, 156, 167, 171, 208, 210, 252, 255, 259, 271 Other Jobs ............................................................................ 247 Output .................. 132, 138, 149, 150, 154, 167, 172, 211, 253 Output channel............................................. 168, 182, 209, 218 OUTPUT L/MONO and R jacks ........................................... 18 Output Select.................................................150, 164, 173, 211 OutputSwitch ............................................................... 169, 254 Overdub ................................................................................. 53 P Pan ......... 85, 132, 145, 152, 163, 167, 172, 189, 211, 241, 272 Parameter ............................................................................. 241 Part ........................................................................... 36, 37, 235 Part Edit ....................................................... 165, 170, 207, 210 Part structure of the Tone Generator block............................ 36 PartSwitch............................................................ 164, 165, 167 Patch....................................................................... 52, 105, 219 Patch Clear........................................................................... 219 Pattern ................................................................................... 51 Pattern Chain................................................................. 54, 219 Pattern Chain Editing .......................................................... 220 Pattern Chain mode ............................................................. 108 Pattern Chain Record mode ................................................ 108 Pattern creation by the Patch function (Pattern) ................... 52 Pattern Edit mode.................................................... 31, 70, 224 Pattern editing in the Pattern Play mode ............................. 218 Pattern Job........................................................................... 231 Pattern Job mode ........................................................... 31, 225 Pattern Mixing..................................................................... 107 Pattern Mixing Edit mode ..................................................... 70 Pattern Mixing mode....................................... 31, 68, 232, 276 Pattern mode ......................................................... 31, 215, 276 Pattern Play mode ........................................... 31, 67, 217, 276 Pattern Record mode ............................................... 31, 69, 221 Pattern Recording................................................................ 223 Pattern track on/off — Solo and Mute ................................ 218 Pattern track selection ......................................................... 218 PB Range............................................................................. 171 PBRange.............................................................................. 196 PB Upper, Lower ................................................................ 171 PBUpper.............................................................................. 132 PBLower ............................................................................. 132 PEG (Pitch Envelope Generator) .......................... 46, 139, 156 Performances......................................................................... 42 Performance Copy............................................................... 213 Performance Edit mode........................................... 31, 70, 165 Performance editing in the Performance Play mode........... 163 Performance Job mode.................................................. 31, 175 Performance mode ................................................ 31, 160, 275 Performance Part on/off ................................................ 88, 163 Performance Play mode .......................................... 31, 67, 162 Performance Selection ........................................................ 162 Performance Store mode ............................................... 31, 176 PgmChange ................................................................. 258, 272 Phase ................................................................................... 135 PHONES jack ....................................................................... 18 Phrase .............................................................................. 52, 55 Phrase Data Copy................................................................ 219 Phrase Job ........................................................................... 228 Phrase Name ....................................................................... 230 Piano Plug-in Board .............................................................. 35 Pitch ...................................................... 46, 139, 151, 155, 244 Pitch Bend ........................................................................... 190 PITCH bend wheel................................................................ 12 Pitch Bend Wheel.................................................................. 48 Pitch Envelope Generator ..................................................... 46 Pitch or intervals are wrong. ............................................... 280 PitchSens ............................................................................. 139 Play button ............................................................................ 14 Play FX (Effect) .................................. 133, 149, 154, 168, 209 Playing Performances ........................................................... 88 PlayMode ............................................................................ 241 Play mode .............................................. 67, 130, 154, 170, 210 PLG100-VH .......................................................................... 35 PLG100-XG .......................................................................... 35 PLG150-AN .......................................................................... 35 PLG150-DX .......................................................................... 35 PLG150-PF ........................................................................... 35 PLG150-VL .......................................................................... 35 Plugin All Bulk ................................................................... 263 Plug-in Bank ....................................................................... 128 Plug-in board......................................................................... 34 Plug-in board cover ............................................................... 19 Plug-in board does not work. .............................................. 280 Plug-in board line-up ............................................................ 35 Plug-in board settings.......................................................... 259 Plug-in Insertion.................................................... 39, 170, 210 Plug-in Voice ................................................................ 87, 153 Plug-in Voice Edit............................................................... 153 PMod ........................................................... 147, 154, 155, 157 Pointer ................................................................................. 185 PolyExpand ......................................................................... 259 Polyphonic Aftertouch (PAT) ............................................. 191 Port .......................................................................... 36, 37, 182 Portamento ............ 83, 128, 131, 154, 164, 167, 171, 210, 275 Port Number ........................................................................ 260 PortaSw ....................................................................... 128, 164 Porta Time................................................................... 128, 164 PortaMode ........................................................................... 128 PowerOnMode .................................................................... 252 Power Supply ........................................................................ 20 POWER Switch..................................................................... 18 Powering Up ......................................................................... 29 Power-on Procedure .............................................................. 29 Preset ................................................................................... 272 Preset Phrase ................................................................. 52, 105 pre wave (preset wave) ....................................................... 150 Pro Tools V5.0 .................................................................... 257 Procedure (Connecting ex. SCSI) ....................................... 290 Program Change.................................................................. 191 Punch In/Out (Song) ............................................................. 54 Punch-in Waiting ................................................................ 237 Put Phrase To ARP.............................................................. 203 Put Phrase To Song ............................................................. 229 Q Q .......................................................................... 148, 168, 254 Quantize ...................................................................... 194, 225 Quick Voice editing .............................................................. 83 R RAM...................................................................................... 64 Range................................................................................... 241 Rate.............................................................................. 195, 200 Ratio ............................................................................ 243, 244 RcvBulk............................................................................... 258 Realtime Recording............................... 53, 103, 111, 185, 223 Realities of terminator installation ...................................... 291 Recall Buffer ......................................................................... 64 RecGain ............................................................................... 237 RecMonitor.......................................................................... 237 Random ............................................................................... 138 RandomPan ................................................................. 145, 152 RcvNoteOff ......................................................................... 151 Rear Panel ............................................................................. 16 Receive Switch ............................................................ 174, 212 [REC] (Record) button .......................................................... 14 Record button ........................................................................ 14 Record mode ......................................................................... 69 Recording Arpeggios to a Song/Pattern ................................ 55 Recording MIDI data to a Pattern Track ............................. 102 Recording Track .......................................................... 185, 221 Recording type ............................................................ 184, 222 RecTrack ............................................................................. 185 Registered Parameter Number (RPN) ................................. 191 RELEASE ............................................................................. 85 Release ................................................................................ 174 Remote Control ..................................... 65, 119, 120, 256, 257 [REMOTE CONTROL ON/OFF] button ............................. 13 Rename................................................................................ 267 Replace .................................................................................. 53 resample ...................................................................... 234, 236 Resonance................................................ 46, 85, 142, 143, 173 REST ........................................................................... 185, 188 Reverb ............................. 39, 85, 137, 150, 155, 170, 210, 275 Reverb Pan .................................................................. 137, 170 Reverb Return ............................................................. 137, 170 Reverse .......................................................................... 62, 241 Reverse button....................................................................... 14 RevSend .............................................................. 163, 167, 172 Reverb Send ........................................................................ 137 Reverb Type ................................................................ 137, 170 ROM...................................................................................... 64 RPN MSB-LSB ................................................................... 192 S Sample ................................................................................. 236 Sample Edit ......................................................................... 241 Sample playback types .......................................................... 61 Sample selection.................................................................. 240 Sample track recording method (Sampling).......................... 54 Sample tracks — with Sample Voices .................................. 52 Sample Voice ........................................................................ 59 sample + note ...................................................................... 236 Sampling.......................................................... 58, 99, 100, 113 Sampling data common to all modes .................................... 59 Sampling Destination settings ............................................. 235 Sampling Edit mode ................................................ 31, 70, 240 Sampling Job mode ....................................................... 31, 241 Sampling mode................................................ 31, 67, 233, 276 Sampling Record mode ........................................... 31, 69, 234 Sampling Setup ................................................................... 235 Sampling Source settings .................................................... 236 Sampling Standby ............................................................... 237 Sampling to a Pattern Track ................................................ 100 Sampling to a Song Track ................................................... 113 Save ....................................................................... 97, 262, 266 Saving and Exporting the recorded song to external PC (File Utility)......................................................................... 118 Scaling ......................................................................... 144, 146 Scaling Pan .................................................................. 145, 146 SCAN .................................................................................. 265 Scaling Pan .......................................................................... 145 Scene ........................................................................... 115, 181 SCSI ............................................................................ 291, 292 SCSI connectors .................................................................... 18 SCSI device ..................................................................... 27, 64 SCSI error............................................................................ 291 SCSI ID ............................................................................... 265 [SECTION] button ................................................................ 15 MOTIF Appendix 297 Appendix mLAN expansion board (mLAN8E) or I/O expansion board (AIEB2) cover........................................................................ 18 mLAN interface ..................................................................... 24 mLAN8E.......................................................... 24, 26, 284, 286 mLAN-compatible audio equipment ..................................... 23 Mode ................................................ 30, 67, 131, 171, 254, 270 MODE buttons....................................................................... 14 Modify Control Data.................................................... 200, 228 Modify Gate Time ....................................................... 195, 226 Modify Velocity........................................................... 195, 226 MODULAR SYNTHESIS PLUG-IN SYSTEM ................... 35 MODULATION wheel.......................................................... 12 Modulation Wheel ......................................................... 48, 154 Mono/Poly ................................................... 128, 131, 170, 210 Mono/Stereo................................................................. 163, 236 Mount................................................................................... 265 Move .................................................................................... 243 Moving the cursor .................................................................. 72 MTC..................................................................................... 259 MTC StartOffset .................................................................. 259 Multi-Part Plug-in Board ....................................................... 35 [MUTE] button ......................................................................15 Mute ................................................................. 65, 88, 180, 218 Appendix Section ................................................................................... 52 Section Selection.................................................................. 218 Segment ............................................................... 139, 143, 145 Selecting a Performance ........................................................ 88 Selecting Functions and Parameters ...................................... 71 Selecting Modes..................................................................... 67 Selecting the controllable functions....................................... 84 SELF .................................................................................... 265 SEND (Effect Send)............................................................. 206 SendXGon............................................................................ 255 Sens...................................................................................... 239 Separate Chord............................................................. 198, 226 SEQ TRANSPORT buttons................................................... 14 [SEQ TRANSPORT] buttons ................................................ 65 Sequence ................................................................................ 55 Sequencer block ..................................................................... 33 Sequencer settings................................................................ 254 SERIAL I/O connector .......................................................... 19 Set ................................................................................ 149, 154 SetAll ........................................................................... 195, 200 Setting up before recording.......................................... 184, 222 Setup ............................................................................ 184, 222 SeqCtrl ................................................................................. 259 [SF1] - [SF5] (Sub Function) buttons ....................................14 Shape............................................................................ 168, 253 Shift Clock ................................................................... 198, 227 SIMM Installation................................................................ 288 SIMM Type and SIMM Configuration................................ 287 Single Part Plug-in Boards..................................................... 35 skip....................................................................................... 183 Slice ..................................................................... 237, 238, 246 slice + seq ............................................................................ 236 SLOT 1-3 lamps..................................................................... 15 SMF ..................................................................................... 263 Solo .............................................................................. 181, 218 Song ....................................................................................... 51 Song Chain............................................................................. 54 Song Edit mode........................................................ 31, 70, 189 Song editing in the Song Play mode .................................... 181 SongEventChase .................................................................. 255 Song Job............................................................................... 203 Song Job mode............................................................... 31, 193 Song Mixing and storing the settings as a template............. 117 Song Mixing Edit mode ......................................................... 70 Song Mixing Job mode ........................................................ 212 Song Mixing mode................................................... 31, 68, 205 Song Mixing Store mode ..................................................... 214 Song mode ............................................................. 31, 177, 275 Song Name........................................................................... 204 Song Play mode ............................................... 31, 67, 179, 275 Song Record mode................................................... 31, 69, 183 Song Recording.................................................................... 185 Song Scene........................................................................... 181 Song Selection ..................................................................... 179 Song Track Mute ................................................................. 115 Song track on/off — Solo and Mute .................................... 180 Song track selection ............................................................. 181 Song/Pattern (Phrase) cannot be recorded. .......................... 280 Song/Pattern and Arpeggio .................................................... 55 Song/Pattern cannot be started............................................. 280 sort ....................................................................................... 133 Sort Chord.................................................................... 197, 226 Sound is cut off. ................................................................... 279 Sound level is too low.......................................................... 279 Source ......................................................49, 50, 134, 155, 236 Specifications....................................................................... 293 Speed.................................................................... 135, 147, 157 Split.................................................................................. 57, 95 Split Pattern.......................................................................... 231 Split Phrase .......................................................................... 229 Split Song To Pattern ........................................................... 204 SRAM .............................................................................. 42, 64 Start...................................................................................... 238 StepTime.............................................................................. 185 Start point............................................................................. 238 Standard MIDI file............................................................... 263 Status.................................................................................... 259 Step Recording....................................... 53, 104, 112, 185, 223 Stereo to Mono..................................................................... 245 stop....................................................................................... 183 Stop button............................................................................. 14 Store mode ............................................................................. 71 Storing edited Voices............................................................. 86 Storing the edited Performance.............................................. 90 Storing the Song Scene ........................................................181 Strength................................................................................ 194 Style ....................................................................................... 52 Style Name........................................................................... 232 Style Selection ..................................................................... 217 SubDivide ............................................................................ 239 Sub Function ..........................................................................71 Sustain............................................................................ 49, 174 SwingRate............................................................................ 194 Switch .......................... 129, 131, 132, 167, 171, 189, 255, 258 298 MOTIF Appendix Switching the MOTIF On ..................................................... 29 Sync..................................................................................... 258 System Effects....................................................................... 39 System Exclusive (Exc) ...................................................... 192 System Overview .................................................................. 33 System settings.................................................................... 250 T TEMPLATE........................................................................ 206 Tempo ..................................... 85, 92, 129, 132, 185, 223, 238 Tempo Speed....................................................................... 135 Tempo Sync ................................................................ 135, 147 TG (Tone Generator) .......................................................... 250 TGSwitch ............................................................................ 272 Thin Out ...................................................................... 200, 227 ThruPort .............................................................................. 259 TIE .............................................................................. 185, 187 Time .................................................................... 131, 167, 171 TIME ................................................................... 139, 143, 146 TimeMode ........................................................................... 131 Time-Stretch........................................................................ 244 Tips for using the Slice Types............................................. 239 Tone Generator block............................................................ 34 Top button ............................................................................. 14 TR........................................................................................ 203 Track ................................................................................... 235 Track Job..................................................................... 201, 230 Track Loop .......................................................................... 182 [TRACK SELECT] button .............................................. 15, 65 Track structure of Pattern...................................................... 52 Track structure of Song......................................................... 51 Track Voice......................................................................... 218 Transmit .............................................................................. 271 TransmitCh.......................................................... 169, 254, 272 Transmit switch................................................................... 272 Transpose ............................................ 196, 226, 247, 251, 272 Trigger mode................................................................. 61, 237 Trigger Waiting................................................................... 237 Trim............................................................................. 237, 241 Troubleshooting .................................................................. 279 Tune .................................................... 138, 151, 173, 211, 250 Type .. 129, 132, 140, 148, 150, 184, 189, 236, 238, 245, 246, 265 U Undo/Redo .................................................................. 193, 225 Unit...................................................................................... 133 USB................................................................................. 18, 25 User Arpeggio ....................................................................... 56 User Memory ........................................................................ 64 User Phrase ........................................................................... 52 User Voice............................................................................. 59 User Waves – Samples.......................................................... 44 Usr ARP .............................................................................. 263 usr wave (user wave)........................................................... 150 Utility Job mode............................................................ 32, 260 Utility mode ............................................ 32, 68, 249, 250, 276 V Value ........................................................................... 185, 186 Variation................................................ 39, 170, 210, 246, 275 Variation Pan ....................................................................... 169 Variation Return .................................................................. 169 Variation To Chorus ............................................................ 169 Variation To Reverb............................................................ 169 Variation Type .................................................................... 169 VarSend (Variation Send) ........................................... 163, 172 VelCurve (Velocity Curve) ................................................. 251 VelocityDepth ..................................................................... 156 VelCrossFade ...................................................................... 138 Velocity Limit ....................................... 92, 129, 133, 138, 189 Velocity Limit H, L............................................................. 170 VelocityOffset ..................................................................... 156 Velocity Rate....................................................................... 133 Velocity Range.................................................................... 196 Velocity Sensitivity............................. 139, 142, 145, 151, 152 VelMode .............................................................................. 133 VelSensDpt ......................................................................... 171 VelSensOfs.......................................................................... 171 VELO OFST ....................................................................... 182 Virtual Acoustic Plug-in Board............................................. 35 Vocal Harmony Plug-in Board ............................................. 35 Voice .. 42, 150, 164, 170, 171, 188, 189, 206, 210, 223, 235, 263 Voice Edit ............................................................................. 83 Voice Edit mode...................................................... 30, 70, 129 Voice editing in the Voice Play mode ................................ 127 Voice editing with the Control knobs ................................... 84 Voice Editor ........................................................................ 263 VoiceELPan ........................................................................ 172 Voice Job mode ............................................................. 30, 158 Voice Master Equalizer ....................................................... 253 Voice mode ........................................................... 30, 121, 275 Voice Play mode ..................................................... 30, 67, 124 Voice program numbers and the corresponding Group/Numbers .............................. 125 Voice Selection ................................................................... 124 Voice settings ...................................................................... 253 Voice Store mode .......................................................... 30, 159 Voice structure ...................................................................... 45 Volume ........ 132, 163, 167, 172, 189, 206, 211, 250, 254, 272 Volume Label ...................................................................... 265 VOICE................................................................................. 206 VOL/PAN............................................................................ 206 W Wav ..................................................................................... 263 Wave.............................................. 44, 135, 137, 147, 150, 156 WaveCtgry .......................................................................... 137 Waveform........................................................ 59, 60, 235, 263 Waveform Job ..................................................................... 247 Wave Memory Required for Slice Operations .................... 239 Wave No.............................................................................. 137 Width ................................................................................... 142 X XG Plug-in Board.................................................................. 35 Z Zone............................................................................... 57, 270 Zone Edit ..................................................................... 270, 271 Zone Switch......................................................................... 270 For details of products, please contact your nearest Yamaha or the authorized distributor listed below. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante. NORTH AMERICA CANADA Yamaha Canada Music Ltd. 135 Milner Avenue, Scarborough, Ontario, M1S 3R1, Canada Tel: 416-298-1311 U.S.A. Yamaha Corporation of America 6600 Orangethorpe Ave., Buena Park, Calif. 90620, U.S.A. Tel: 714-522-9011 CENTRAL & SOUTH AMERICA MEXICO Yamaha de Mexico S.A. De C.V., Departamento de ventas Javier Rojo Gomez No.1149, Col. Gpe Del Moral, Deleg. Iztapalapa, 09300 Mexico, D.F. Tel: 686-00-33 BRAZIL Yamaha Musical do Brasil LTDA. Av. Rebouças 2636, São Paulo, Brasil Tel: 011-853-1377 ARGENTINA Yamaha de Panamá S.A. Sucursal de Argentina Viamonte 1145 Piso2-B 1053, Buenos Aires, Argentina Tel: 1-4371-7021 PANAMA AND OTHER LATIN AMERICAN COUNTRIES/ CARIBBEAN COUNTRIES Yamaha de Panamá S.A. Torre Banco General, Piso 7, Urbanización Marbella, Calle 47 y Aquilino de la Guardia, Ciudad de Panamá, Panamá Tel: 507-269-5311 EUROPE THE UNITED KINGDOM Yamaha-Kemble Music (U.K.) Ltd. Sherbourne Drive, Tilbrook, Milton Keynes, MK7 8BL, England Tel: 01908-366700 IRELAND Danfay Ltd. 61D, Sallynoggin Road, Dun Laoghaire, Co. Dublin Tel: 01-2859177 GERMANY/SWITZERLAND Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 AUSTRIA Yamaha Music Austria Schleiergasse 20, A-1100 Wien Austria Tel: 01-60203900 THE NETHERLANDS Yamaha Music Nederland Kanaalweg 18G, 3526KL, Utrecht, The Netherlands Tel: 030-2828411 BELGIUM Yamaha Music Belgium Keiberg Imperiastraat 8, 1930 Zaventem, Belgium Tel: 02-7258220 FRANCE Yamaha Musique France, Division Professionnelle BP 70-77312 Marne-la-Vallée Cedex 2, France Tel: 01-64-61-4000 Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo. ASIA ITALY Yamaha Musica Italia S.P.A., Combo Division Viale Italia 88, 20020 Lainate (Milano), Italy Tel: 02-935-771 SPAIN/PORTUGAL Yamaha-Hazen Electronica Musical, S.A. Ctra. de la Coruna km. 17, 200, 28230 Las Rozas (Madrid) Spain Tel: 91-201-0700 GREECE Philippe Nakas S.A. Navarinou Street 13, P.Code 10680, Athens, Greece Tel: 01-364-7111 SWEDEN Yamaha Scandinavia AB J. A. Wettergrens Gata 1 Box 30053 S-400 43 Göteborg, Sweden Tel: 031 89 34 00 HONG KONG Tom Lee Music Co., Ltd. 11/F., Silvercord Tower 1, 30 Canton Road, Tsimshatsui, Kowloon, Hong Kong Tel: 2737-7688 INDONESIA PT. Yamaha Music Indonesia (Distributor) PT. Nusantik Gedung Yamaha Music Center, Jalan Jend. Gatot Subroto Kav. 4, Jakarta 12930, Indonesia Tel: 21-520-2577 KOREA Yamaha Music Korea Ltd. Tong-Yang Securities Bldg. 16F 23-8 Yoido-dong, Youngdungpo-ku, Seoul, Korea Tel: 02-3770-0661 MALAYSIA DENMARK YS Copenhagen Liaison Office Generatorvej 8B DK-2730 Herlev, Denmark Tel: 44 92 49 00 FINLAND F-Musiikki Oy Kluuvikatu 6, P.O. Box 260, SF-00101 Helsinki, Finland Tel: 09 618511 Yamaha Music Malaysia, Sdn., Bhd. Lot 8, Jalan Perbandaran, 47301 Kelana Jaya, Petaling Jaya, Selangor, Malaysia Tel: 3-703-0900 PHILIPPINES Yupangco Music Corporation 339 Gil J. Puyat Avenue, P.O. Box 885 MCPO, Makati, Metro Manila, Philippines Tel: 819-7551 SINGAPORE NORWAY Norsk filial av Yamaha Scandinavia AB Grini Næringspark 1 N-1345 Østerås, Norway Tel: 67 16 77 70 ICELAND Skifan HF Skeifan 17 P.O. Box 8120 IS-128 Reykjavik, Iceland Tel: 525 5000 Yamaha Music Asia Pte., Ltd. 11 Ubi Road #06-00, Meiban Industrial Building, Singapore Tel: 65-747-4374 TAIWAN Yamaha KHS Music Co., Ltd. 10F, 150, Tun-Hwa Northroad, Taipei, Taiwan, R.O.C. Tel: 02-2713-8999 THAILAND OTHER EUROPEAN COUNTRIES Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 AFRICA Yamaha Corporation, Asia-Pacific Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2312 Siam Music Yamaha Co., Ltd. 121/60-61 RS Tower 17th Floor, Ratchadaphisek RD., Dindaeng, Bangkok 10320, Thailand Tel: 02-641-2951 THE PEOPLE’S REPUBLIC OF CHINA AND OTHER ASIAN COUNTRIES Yamaha Corporation, Asia-Pacific Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2317 OCEANIA AUSTRALIA MIDDLE EAST TURKEY/CYPRUS Yamaha Europa GmbH. Siemensstraße 22-34, 25462 Rellingen, F.R. of Germany Tel: 04101-3030 OTHER COUNTRIES Yamaha Music Gulf FZE LB21-128 Jebel Ali Freezone P.O.Box 17328, Dubai, U.A.E. Tel: 971-4-881-5868 Yamaha Music Australia Pty. Ltd. Level 1, 99 Queensbridge Street, Southbank, Victoria 3006, Australia Tel: 3-9693-5111 NEW ZEALAND Music Houses of N.Z. Ltd. 146/148 Captain Springs Road, Te Papapa, Auckland, New Zealand Tel: 9-634-0099 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation, Asia-Pacific Music Marketing Group Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2312 HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: 053-460-2445 SY23 202MWAP15.2-06E0