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MUSIC PRODUCTION SYNTHESIZER Supplementary Manual EN New Functions in MOTIF XF Version 1.50 Yamaha has upgraded the MOTIF XF firmware to Version 1.50, adding a new function. This supplement to the Owner’s Manual describes this change. Additional New Effect Types The MOTIF XF offers following new effect types.  Reverb The following new Reverb types are now available. Effect Type Description Parameter name Description Dist EQ Determines the Equalizer type for the distortion characteristics. Dist Drive Determines the degree of the distortion effect. Dist Presence Determines the characteristics of the distortion effect. Dist SW Determines the distortion type. Determines the characteristics of the distortion sound. HD HALL Reverb emulating the acoustics of a concert hall with high-density sound. Dist Tone HD ROOM Reverb emulating the acoustics of a room with high-density sound. Dist Type Determines the distortion type. Gain Determines the gain of the pre-amp. Reverb emulating the acoustics of a metal plate reverb unit with high-density sound. Gain Boost Switches the gain of the power amp. High Cut Cuts the sound of the high frequency. High Damp Frequency Determines the decay of the high frequency. High Treble Adjusts the characteristics of frequencies higher than the Treble setting. LFO Speed Determines the modulation speed. Low Cut Cuts the sound of the low frequency. HD PLATE  Insertion The following new Insertion guitar effect types (in the Guitar Efx category) are now available. The basic parameters are common with the existing Distortion effect types, but these new effect types reproduce more realistic and characteristic amplifier sounds. Effect Type Determines the gain of the power amp. Mic Position Determines the virtual distance of the microphone from the speaker. Mid Cut Cuts the sound of the middle frequency. Mid Sweep Determines the cutoff frequency around which the middle frequency sound is cut. Mid Width Determines the width of middle frequencies which are to be cut. Middle Determines the characteristics of the middle frequency. Mode Determines the pre-amp type. Normal Determines the volume for flat EQ settings. Description US COMBO A simulation of an American combo amp. JAZZ COMBO A simulation of a famous combo amp. US HIGH GAIN A simulation of a famous American high gain amp. BRITISH LEAD A simulation of a famous British stack amp. MULTI FX A simulation of multiple effect devices for guitar sounds. SMALL STEREO Stereo distortion effect for guitar sounds. BRITISH COMBO A simulation of a famous British combo amp. BRITISH LEGEND A simulation of another famous British legend amp. New Effect Parameters Parameter name Master Volume Description Output Determines the output volume. Panning Determines the spread of the chorus/vibrato sound. Phaser SW Determines the type of the phaser. Plate Type Determines the type of the plate. Preamp Determines the gain of the pre-amp. Presence Boosts the high frequency sound. Sensitivity Switches the gain of the pre-amp. Speaker Air Boosts the special characteristics of the speaker cabinet. Balance Determines the sound balance of the low and high frequencies. Bass Determines the characteristics of the low frequency. Speaker Type Determines the type of speaker. Brilliant Determines the brilliance of the sound. Treble Determines the characteristics of the high frequencies. Tone Shift Determines the characteristics of the tone control. Chorus Determines the Chorus type. Comp. Level Determines the level of the compressor. Comp. Sustain Determines the ratio of the compressor. Type Determines the type of amplifier. Comp. SW Turns the compressor on or off. Vib Speed Cut Determines the cutoff of the high frequency. Delay Ctrl Determines the delay depth/level selected in Delay SW. Determines the speed of the vibrato. This parameter is available only when the Chorus parameter is set to “On.” Volume Determines the volume of the pre amp. Delay SW Determines the Delay or Modulation type. Wah Pedal Determines the position of the wah pedal. Determines the delay time. Wah SW Determines the type of wah effect. Delay Time Depth Determines the depth of the Chorus/Vibrato. Distortion Determines the degree and character of the distortion effect. 2 New Functions in MOTIF XF Version 1.50 Effect Type List Category (Display) Effect Type Name No. Type (HEX) MSB LSB REV CHO InsA InsB InsL Mas Parameter Range -12dB – 0dB – +12dB Value 14 EQ Low Gain 15 EQ High Frequency 500Hz – 18.0kHz (28 – 59) 16 EQ High Gain -12dB – 0dB – +12dB (52 – 76) Table No (52 – 76) 3 REVERB REV HD HALL 01 03  REV HD ROOM 01 13  REV HD PLATE 01 21   Cho, Var, Insertion Block Category – Guitar Efx [1] US COMBO GUITAR EFX GTE GTE US COMBO 07 40  (0 – 1) 2 Volume 0.0 – 10.0 (0 – 100) 3 Low Cut 0.0 – 10.0 (0 – 100) 4 Mid Cut 0.0 – 10.0 (0 – 100) 5 Mid Width 0.0 – 10.0 (0 – 100) 6 Mid Sweep 0.0 – 10.0 (0 – 100) 7 High Cut 0.0 – 10.0 (0 – 100)  8 Balance 0.0 – 10.0 (0 – 100)  9 Output 0 – 127 (0 – 127) US HIGH GAIN 07 42   GTE BRITISH LEAD 07 43   MULTI FX 07 SMALL STEREO 07 45  10 GTE BRITISH COMBO 07 46   GTE BRITISH LEGEND 07 47   Effect Parameter List — Off, BS 4x12, AC 2x12, AC (0 – 10) 1x12, AC 4x10, BC 2x12, AM 4x12, YC 4x12, JC 2x12, OC 2x12, OC 1x8 11 Speaker Type 12 Speaker Air 0–2 (0 – 2) 13 Mic Position Center, Edge (0 – 1) 14 Presence 0.0 – 10.0 (0 – 100) 15 — 16 — No. Parameter Range Value Parameter Range 0.0 – 10.0 Value 1 Panning 2 Volume 0.0 – 10.0 (0 – 100) 3 Distortion Off, 0.1 – 10.0 (0 – 100) Table No 4 Bass 0.0 – 10.0 (0 – 100) 4 5 Middle 0.0 – 10.0 (0 – 100) [10] HD HALL [11] HD ROOM Reverb Time 0.3s – 30.0s (0 – 69) 2 Room Size 0–4 (0 – 4) 6 Treble 0.0 – 10.0 (0 – 100) 3 Initial Delay 0.1ms – 200.0ms (0 – 127) 5 7 High Treble 0.0 – 10.0 (0 – 100) 4 High Damp Frequency 1.0kHz – 20.0kHz (34 – 60) 3 8 0 – 127 (0 – 127) 6 — High Ratio 7 — 8 — 9 0.0 – 1.0 (0 – 10) — Output 10 — 11 Speaker Type Off, BS 4x12, AC 2x12, AC (0 – 10) 1x12, AC 4x10, BC 2x12, AM 4x12, YC 4x12, JC 2x12, OC 2x12, OC 1x8 9 — 10 — 12 Speaker Air 0–2 (0 – 2) 11 — 13 Mic Position Center, Edge (0 – 1) 14 Chorus Off, Chorus, Vib (0 – 2) 15 Vib Speed 0.0 – 10.0 (0 – 100) 16 Depth 0.0 – 10.0 (0 – 100) 12 — 13 EQ Low Frequency 22Hz – 1.0kHz (1 – 34) 14 EQ Low Gain -12dB – 0dB – +12dB (52 – 76) 15 EQ High Frequency 500Hz – 18.0kHz (28 – 59) 16 EQ High Gain -12dB – 0dB – +12dB (52 – 76) 3 Table No (0 – 100) 1 5 Table No [2] JAZZ COMBO  Reverb Block No. Value Low, High GTE GTE Range Gain Boost   Parameter 1 07 44 No.  JAZZ COMBO GTE 41  3 [3] US HIGH GAIN No. [12] HD PLATE No. Parameter Range Value Parameter 1 Type 2 Gain Table No Value 0.0 – 10.0 Reverb Time 0.3s – 30.0s (0 – 69) 2 Plate Type 0–2 (0 – 2) 3 Initial Delay 0.1ms – 200.0ms (0 – 127) 5 4 Bass 0.0 – 10.0 (0 – 100) 4 High Damp Frequency 1.0kHz – 20.0kHz (34 – 60) 3 5 Middle 0.0 – 10.0 (0 – 100) 6 Treble 0.0 – 10.0 (0 – 100) 7 Presence 0.0 – 10.0 (0 – 100) 8 Master Volume 0.0 – 10.0 (0 – 100) Output 0 – 127 (0 – 127) 6 3 — High Ratio 0.0 – 1.0 (0 – 10) — 7 — 8 — 9 9 — 10 10 — 11 Speaker Type 11 — Off, BS 4x12, AC 2x12, AC (0 – 10) 1x12, AC 4x10, BC 2x12, AM 4x12, YC 4x12, JC 2x12, OC 2x12, OC 1x8 12 Speaker Air 0–2 12 13 — — EQ Low Frequency 22Hz – 1.0kHz (1 – 34) 3 Table No (0 – 100) 1 5 4 Range Raw1, Vintage1, Modern1, (0 – 5) Raw2, Vintage2, Modern2 (0 – 2) New Functions in MOTIF XF Version 1.50 3 No. Parameter Range Center, Edge Value Table No [6] SMALL STEREO No. (0 – 1) Parameter Range Value 13 Mic Position 14 — 1 Comp. SW Off, On (0 – 1) 15 — 2 Comp. Sustain 0.0 – 10.0 (0 – 100) 16 — 3 Comp. Level 0.0 – 10.0 (0 – 100) 4 Dist Type Overdrive, Distortion1, (1 – 7) Distortion2, Clean, Crunch, Hi-Gain, Modern 5 Dist Drive 0.0 – 10.0 (0 – 100) 6 Dist EQ High Boost, Mid Boost, Mid Cut 1, Mid Cut 2, Mid Cut 3, Low Cut 1, Low Cut 2, High Cut, High/Low (0 – 8) [4] BRITISH LEAD No. Parameter Range Value Table No 1 Type Crunch, Hi-Gain, Lead (0 – 2) 2 Preamp 0.0 – 10.0 (0 – 100) 3 Tone Shift Normal, Loose, Tight (0 – 2) 4 Bass 0.0 – 10.0 (0 – 100) 7 Dist Tone 0.0 – 10.0 (0 – 100) 5 Middle 0.0 – 10.0 (0 – 100) 8 Dist Presence 0.0 – 10.0 (0 – 100) 6 Treble 0.0 – 10.0 (0 – 100) 9 Output 0 – 127 (0 – 127) 7 Presence 0.0 – 10.0 (0 – 100) 10 8 Master Volume 0.0 – 10.0 (0 – 100) 11 Output 0 – 127 (0 – 127) Off, Stack, Twin, Tweed, Oldies, Modern, Mean, Soft, Small, Dip1, Dip2, Metal, Light (0 – 12) 9 10 11 — Speaker Type — Speaker Type Off, BS 4x12, AC 2x12, AC (0 – 10) 1x12, AC 4x10, BC 2x12, AM 4x12, YC 4x12, JC 2x12, OC 2x12, OC 1x8 12 — 13 — 14 — 12 Speaker Air 0–2 (0 – 2) 15 — 13 Mic Position Center, Edge (0 – 1) 16 — 14 — 15 — 16 — [7] BRITISH COMBO No. [5] MULTI FX No. Parameter Range Value Table No (0 – 100) Normal 0.0 – 10.0 (0 – 100) 3 Brilliant 0.0 – 10.0 (0 – 100) 4 Bass 0.0 – 10.0 (0 – 100) Off, 0.1 – 10.0 Wah SW Off, Wah Pedal, Auto+ Full, (0 – 7) Auto+ Mid, Auto+ Light, Auto- Full, Auto- Mid, AutoLight 5 8 0 – 127 (0 – 127) 4 Dist SW Off, Overdrive, Distortion1, (0 – 7) Distortion2, Clean, Crunch, Hi-Gain, Modern 5 Dist Drive 0.0 – 10.0 6 Dist EQ High Boost, Mid Boost, (0 – 8) Mid Cut 1, Mid Cut 2, Mid Cut 3, Low Cut 1, Low Cut 2, High Cut, High/Low Dist Tone 0.0 – 10.0 (0 – 100) 8 Dist Presence 0.0 – 10.0 (0 – 100) 9 Output 0 – 127 (0 – 127) Off, Stack, Twin, Tweed, Oldies, Modern, Mean, Soft, Small, Dip1, Dip2, Metal, Light (0 – 12) Treble 0.0 – 10.0 (0 – 100) 7 Cut 0.0 – 10.0 (0 – 100) 0 – 127 (0 – 127) — Output 10 — 11 Speaker Type Off, BS 4x12, AC 2x12, AC (0 – 10) 1x12, AC 4x10, BC 2x12, AM 4x12, YC 4x12, JC 2x12, OC 2x12, OC 1x8 12 Speaker Air 0–2 (0 – 2) 13 Mic Position Center, Edge (0 – 1) 14 — 15 — 16 — — Speaker Type [8] BRITISH LEGEND No. 12 LFO Speed 0.1Hz – 9.925Hz (0 – 127) 13 Phaser SW Off, Standard, Wide, Vibe, Tremolo (0 – 4) 14 6 9 Table No (0 – 1) — (0 – 100) 7 11 Bright, Top Boost Value 2 Comp. Sustain Wah Pedal Range Mode 2 3 Parameter 1 1 10 Table No Delay SW Parameter 1 Sensitivity 2 Preamp 3 (0 – 16) Off, Delay M, Echo1 M, Echo2 M, Chorus M, Dl Chorus M, Flanger1 M, Flanger2 M, Flanger3 M, Delay St, Echo1 St, Echo2 St, Chorus St, Dl Chorus St, Flanger1 St, Flanger2 St, Flanger3 St 15 Delay Ctrl 0 – 127 (0 – 127) 16 Delay Time 0 – 127 (0 – 127) 4 New Functions in MOTIF XF Version 1.50 39 Range Value High, Low (0 – 1) 0.0 – 10.0 (0 – 100) — 4 Bass 0.0 – 10.0 (0 – 100) 5 Middle 0.0 – 10.0 (0 – 100) 6 Treble 0.0 – 10.0 (0 – 100) 7 Presence 0.0 – 10.0 (0 – 100) 8 Master Volume 0.0 – 10.0 (0 – 100) 9 Output 0 – 127 (0 – 127) 10 — 11 Speaker Type Off, BS 4x12, AC 2x12, AC (0 – 10) 1x12, AC 4x10, BC 2x12, AM 4x12, YC 4x12, JC 2x12, OC 2x12, OC 1x8 12 Speaker Air 0–2 (0 – 2) 13 Mic Position Center, Edge (0 – 1) 14 — 15 — 16 — Table No Effect Preset List Category Reverb Effect Data Assign Table Effect Type Name HD Hall Preset Name Large Hall Data Value Data Value 0 0.100 64 1.009 1 0.103 65 1.051 2 0.105 66 1.093 Room 3 0.110 67 1.125 Power Room 4 0.113 68 1.167 Large Plate 5 0.118 69 1.22 6 0.124 70 1.262 Medium Hall Bright Hall HD Room HD Plate Medium Plate Guitar Efx US Combo 7 0.129 71 1.304 Rattle Plate 8 0.131 72 1.346 Twin 9 0.137 73 1.409 10 0.142 74 1.451 11 0.147 75 1.514 Thin Clean 12 0.152 76 1.556 Crunch 13 0.158 77 1.619 Basic 14 0.166 78 1.682 15 0.171 79 1.745 16 0.176 80 1.808 Dirty 17 0.184 81 1.872 Riff 18 0.192 82 1.956 19 0.197 83 2.019 20 0.205 84 2.103 Solo 21 0.213 85 2.166 Dirty 22 0.221 86 2.25 Drive 23 0.229 87 2.334 24 0.237 88 2.418 25 0.247 89 2.502 Hard 26 0.255 90 2.608 Distortion Solo 27 0.265 91 2.692 28 0.276 92 2.776 29 0.284 93 2.902 Overdrive Chorus 30 0.294 94 2.986 Crunch Wah 31 0.308 95 3.112 Oldies Delay 32 0.318 96 3.238 33 0.329 97 3.365 34 0.342 98 3.491 Distortion 35 0.352 99 3.617 Overdrive 36 0.368 100 3.743 37 0.379 101 3.869 38 0.394 102 4.037 Heavy Dist 39 0.410 103 4.164 Classic 40 0.426 104 4.332 Top Boost 41 0.442 105 4.500 42 0.457 106 4.668 43 0.473 107 4.837 Heavy 44 0.489 108 5.005 Blues 45 0.51 109 5.173 46 0.526 110 5.383 47 0.547 111 5.552 Heavy2 48 0.568 112 5.804 Clean 49 0.589 113 5.972 Dirty Clean 50 0.61 114 6.224 51 0.631 115 6.393 52 0.657 116 6.645 53 0.673 117 6.897 54 0.704 118 7.15 55 0.725 119 7.402 56 0.757 120 7.738 57 0.789 121 7.991 58 0.81 122 8.327 59 0.841 123 8.58 60 0.873 124 8.916 61 0.904 125 9.253 62 0.946 126 9.589 63 0.978 127 9.925 Rich Clean Jazz Combo Warm Chorus US High Gain Burn British Lead Gainer Multi FX Distortion Basic Vintage Echo Small Stereo Vintage Amp British Combo Custom British Legend Table #39 LFO Speed Heavy1 New Functions in MOTIF XF Version 1.50 5 New Functions in MOTIF XF Version 1.40 Yamaha has upgraded the MOTIF XF firmware to Version 1.40, adding a number of new functions. This supplement to the Owner’s Manual describes these changes. • The company names and product names in this Manual are the trademarks or registered trademarks of their respective companies. Support for CMC series controllers At the CMC-Fader column, specify the target parameter of the CMC-Fader from these parameters: Volume, Pan, Reverb Send, Chorus Send, Dry Level, Assignable Knob 1 Value, Assignable Knob 2 Value, Cutoff Frequency, Resonance, AEG Attack Time, AEG Decay Time, AEG Sustain Level, AEG Release Time, FEG Attack Time, FEG Decay Time, FEG Sustain Level, FEG Release Time, FEG Depth, Portamento Time The MOTIF XF can now be connected to the Steinberg CMC-PD or CMC-FD, letting you record rhythm patterns to the MOTIF XF by playing the CMC-PD or edit the Mixing parameters from the CMC-FD.  Connection of CMC-PD or CMC-FD to MOTIF XF Plug the USB cable supplied with the CMC-PD or CMC-FD into the USB TO DEVICE terminal of the MOTIF XF and the USB TO HOST terminal of the CMC-PD or CMC-FD. NOTE The target parameter can be changed from the CMC-FD by pressing [SHIFT]+[BANK E] or [SHIFT]+[BANK F]. 3 Enter the Song/Pattern mode. Now you can control the MOTIF XF Mixing parameters via the CMC-FD. NOTE The CMC-PD or CMC-FD is bus-powered by the MOTIF XF through the USB cable.  Playing the MOTIF XF from the CMC-PD  Operations which can be controlled from the CMC-FD [CHANNEL E] or [CHANNEL F] Moves the current Part on the Mixing Play display leftward or rightward. [BANK E] or [BANK F] Changes the target Parts of the CMC-FD’s four faders by four Parts. Fader 1 Edits the specified parameter for Part 1, 5, 9, or 13. [SHIFT]+Fader 1 top Switches mute on/off for Part 1, 5, 9, or 13. [SHIFT]+Fader 1 bottom Switches solo on/off for Part 1, 5, 9, or 13. Fader 2 Edits the specified parameter for Part 2, 6, 10, or 14. [SHIFT]+Fader 2 top Switches mute on/off for Part 2, 6, 10, or 14. [SHIFT]+Fader 2 bottom Switches solo on/off for Part 2, 6, 10, or 14. Fader 3 Edits the specified parameter for Part 3, 7, 11, or 15. [SHIFT]+Fader 3 top Switches mute on/off for Part 3, 7, 11, or 15. [SHIFT]+Fader 3 bottom Switches solo on/off for Part 3, 7, 11, or 15. Fader 4 Edits the specified parameter for Part 4, 8, 12, or 16. You can control the Mixing parameters of the Song/Pattern mode from the CMC-FD. [SHIFT]+Fader 4 top Switches mute on/off for Part 4, 8, 12, or 16. [SHIFT]+Fader 4 bottom Switches solo on/off for Part 4, 8, 12, or 16. 1 Connect the CMC-FD to the MOTIF XF. [SHIFT]+[CHANNEL F] 2 Select the desired parameter for control. Switches between the fader function and the level meter function. When the level meter function is active, input velocity to each part is indicated at the corresponded CMC-FD faders. [SHIFT]+[BANK E] or [SHIFT]+[BANK F] Select one before or the next CMC-FD Fader parameter in the UTILITY Controller Assign display. After connecting the CMC-PD to the MOTIF XF, you can play the MOTIF XF from the CMC-PD simply by hitting the Pads. Hitting the Pads transmits MIDI note numbers with velocity data to the MOTIF XF, then sounds the Voice currently selected on the MOTIF XF. NOTE • Pressing the MOTIF XF keyboard lights the LED of the CMCPD Pad to which the corresponding MIDI note number is assigned. (Note that the LED lamp does not light when Local Switch is set to off or Internal Switch of the selected track is set to off.) • You can use a computer to assign MIDI note numbers and velocity data to the Pads by using the editor bundled with the CMC-PD. • You can also change the Pad Bank, Velocity curve and Velocity mode. For details about the operation of the CMCPD, refer to the CMC-PD Owner’s Manual.  Controlling Mixing parameters from CMC-FD Open the UTILITY Controller Assign display by pressing [UTILITY], [F5] Control, then [SF3] Control. 6 New Functions in MOTIF XF Version 1.40 Automatic Mounting of the Network Drive In the new version, turning the power on will automatically mount the network drive which was mounted the previous time.  Turning Auto Remount on/off Open the Network Drive Setup display by pressing [UTILITY], [F1] General, then [SF4] AutoLoad. In this display, set Auto Remount to on or off, then store the Utility setting. After setting Auto Remount to on, mount the network drive, turn the power off, then turn the power on again. MOTIF XF automatically remounts the network drive. NOTE • If the last mounted network drive cannot be found, MOTIF XF will not mount the network drive automatically, even though Auto Remount is set to on. • If the instrument was turned off without mounting any network drive, the MOTIF XF will not mount the network drive automatically, even though Auto Remount is set to on. New function of the [PERFORMANCE CONTROL] button in the Master mode When the Mode is set to “Song” or “Pattern” and Zone Switch is set to “on” in the Master Play mode, the [PERFORMANCE CONTROL] button works as follows: • [1] – [8] buttons Each of these will turn the Internal Switches of Zone 1 – 8 on/off. • [9] – [16] buttons Each of these will turn the External Switches of Zone 1 – 8 on/off. NOTE The on/off status of the Internal Switch/External Switch can be confirmed via the corresponding lamp. New Functions in MOTIF XF Version 1.40 7 New Functions in MOTIF XF Version 1.30 Yamaha has upgraded the MOTIF XF firmware to Version 1.30, adding a number of new functions. This supplement to the Owner’s Manual describes these changes. • The company names and product names in this Manual are the trademarks or registered trademarks of their respective companies.  News-related parameters “News” function With the MOTIF XF connected to Internet, this function automatically downloads the latest information about the instrument from a special Yamaha server and shows it on the display. 1 Press [UTILITY]  [F1] General  [SF4] AudioLoad to call up the Auto Load Setup display. Connect this instrument to the Internet. When connecting via an ETHERNET cable, refer to the “Network connection” in the Reference Manual. When connecting via a Wireless USB-LAN Adaptor, refer to the “Wireless Network MIDI function” of “New Functions in MOTIF XF Version 1.20" in this manual. Note that the “Configuration Mode” parameter should be set to “infrastructure.” 2 1 2 Turn the power on. This operation will download the latest information from the Yamaha server. 3 1 News Turns the News function on or off. This is set to “on” by default; however, it can be turned off as desired. Confirm the downloaded information on the display. Press the [F5] button if “i” is shown at the [F5] location of the Play display in the Voice, Performance, or Master mode. The downloaded information is shown on the display. If the information consists of several pages, the page will be changed automatically in order every few seconds. 2 Interval Determines the amount of time for which each page is shown until the next page is called up. This parameter is useful if the information consists of several pages.  Downloading the latest information manually Even when the News (1) is set to “off,” the latest information can be downloaded via panel operations. “i” indicator button Press any button other than [INC/YES] and [DEC/NO] buttons to exit from the information display. Once the latest information is shown, the “i” indication disappears. 8 New Functions in MOTIF XF Version 1.30 1 On the Auto Load Setup display of the UTILITY, move the cursor to News (1) or Interval (2). 2 If “DISP” appears on the [SF6] location, press [SF6]. Speed and Start Point settings for Audio Playback Adding a Compatible DAW with Remote Control Now you can change the playback speed of the Audio Playback in File mode without changing the pitch. Also, you can start Audio Playback from any desired point in the audio data. Now you can select Pro Tools in the Remote DAW type. For details about selecting the DAW type, refer to “Remote Control and MIDI settings” in the Reference Manual. 1 Call up the Audio Playback display in File mode. Functions common to all DAW Software Press [FILE], then press [F4] Audio. Refer to the “Remote Control Assignments” in the Data List. NOTE • Selecting the channel for editing by [<]/[>] is unavailable. • Pressing [<]/[>], [u]/[d] corresponds to moving the cursor in the DAW. • Switching the display format for the location on the DAW software is unavailable. 1 Functions for each DAW software  Common Functions in all pages Shift: Transmits [SHIFT] command. Page List: Shows the Page List. 2  Fader page Select the favorite audio file in the area (1), then press [SF2] Play (2). 2 Flip Pan Edit Mixer E Channel Channel F Page List Default E Bank Bank F Shift Set the parameters in the Audio Playback display. Buttons 1 2 3 4 To change the playback speed: Set the Time-Stretch (1) value to change the audio playback speed. 50%: Half speed 100%: Original speed 200%: Double speed Functions [F1] Edit Starts the Edit window, or brings it to the front of the computer screen. [F2] Mixer Starts the Mixer window, or brings it to the front of the computer screen. [F3] Default Pressing [9] – [16] while holding this button resets the positions of the corresponding channel faders. [F4] E Bank [F5] Bank F Scrolls through the track indication on the LCD of the instrument in eight-channel jumps. [SF1] Flip Assigns the functions of Sends A – E to faders and knobs. [SF2] Pan Assigns the Pan parameter of each channel to each of the knobs on the instrument. [SF3] E Channel [SF4] Channel F Scrolls through the channel indication on the LCD of the instrument channel-by-channel.  Send page Send D Send E Pan Assign Page List Send A Send B Send C E Bank Bank F Shift NOTE The settings here are available only in the Audio Playback display, and cannot be stored. Setting the Playback Start Point: While checking 2 “Current playback time / Total playback time” and 3 Current playback position, follow the instructions below. • Setting while playing (4) (3) As soon as playback reaches the desired point, press [SF3] Set Locate (4). The specified Start Point is shown as the  indication (3). Buttons [F1] Send A Assigns the Send A parameter to the knob on the instrument. [F2] Send B Assigns the Send B parameter to the knob on the instrument. [F3] Send C Assigns the Send C parameter to the knob on the instrument. [F4] E Bank [F5] Bank F Scrolls through the track indication on the LCD of the instrument in eight-channel jumps. [SF1] Send D Assigns the Send D parameter to the knob on the instrument. [SF2] Send E Assigns the Send E parameter to the knob on the instrument. [SF3] Pan Assigns the Pan parameter of each channel to each of the knobs on the instrument. [SF4] Assign Switches Assign mode on/off. When the mode is set to “on,” the outputs of the knobs modify the destinations of each channel of Sends A – E. The destination is actually changed only after exiting the mode. • Setting while stopping (2) (3) Move the cursor to 2, then use [INC/YES]/[DEC/NO] or the data dial. NOTE The settings here are available only in the Audio Playback display, and cannot be stored. Functions New Functions in MOTIF XF Version 1.30 9  Automation page  Window page Mem-Loc Status Alt View - Page List Edit Mixer Transport E Bank Bank F Buttons Shift Functions Starts the Edit window, or brings it to the front of the computer screen. [F2] Mixer Starts the Mixer window, or brings it to the front of the computer screen. [F3] Transport Opens or closes the Transport window. [F4] E Bank [F5] Bank F Scrolls through the track indication on the LCD of the instrument in eight-channel jumps. [SF1] Mem-Loc Opens or closes the Memory Location window. [SF2] Status Opens or closes the Status window. [SF3] Alt View Opens or closes the selected Plug-in window.  Locate page END Loop Punch Page List Edit Mem-Loc On line IN OUT Buttons [F1] Edit Shift Status Suspend Page List Touch Write E Bank Bank F Shift Functions [F1] Off Pressing [PRE 1] – [PRE 8] while holding this button turns the Automation of the corresponding channel to “Off.” [F2] Touch Pressing [PRE 1] – [PRE 8] while holding this button sets the Automation of the corresponding channel to “Touch.” [F3] Write Pressing [PRE 1] – [PRE 8] while holding this button sets the Automation of the corresponding channel to “Write.” [F4] E Bank [F5] Bank F Scrolls through the track indication on the LCD of the instrument in eight-channel jumps. [SF1] Read Pressing [PRE 1] – [PRE 8] while holding this button sets the Automation of the corresponding channel to “Read.” [SF2] Latch Pressing [PRE 1] – [PRE 8] while holding this button sets the Automation of the corresponding channel to “Latch.” [SF3] Status Shows the Automation settings. [SF4] Suspend Enables/disables Automaton for all channels. Functions Starts the Mixer window, or brings it to the front of the computer screen. [F2] Mem-Loc Opens or closes the Memory Location window. [F3] On line Switches between internal sync and external sync. [F4] IN Pressing this during playback sets the location at that time to the starting point of the edit. [F5] OUT Pressing this during playback sets the location at that time to the end point of the edit. [SF1] RTZ Moves the playback cursor to the top of the project. [SF2] END Moves the playback cursor to the end of the project. [SF3] Loop Switches loop playback on/off. [SF4] Punch Switches punch-in recording on/off.  Plugin page Select 1 Select 2 Select 3 Select 4 Page List Page  Page  Alt View Param Assign Buttons Shift Functions [F1] Page  [F2] Page  Changes the page in the Insert Parameter mode or Insert Assign mode. [F3] Alt View Opens or closes the edit window of the selected Insert. [F4] Param Switches the Parameter mode on/off. When the mode is set to “on,” the output from the knobs change the parameters of the Insert. Knobs 1/2 correspond to parameter1, knobs 3/4 correspond to parameter 2, knobs 5/6 correspond to parameter 3, and knobs 7/8 correspond to parameter 4. [F5] Assign Switches the Assign mode on/off. When the mode is set to “on,” the outputs from the knob change Inserts A – E. Knobs 1/2 correspond to Insert A or E, knobs 3/ 4 correspond to Insert B, knobs 5/6 correspond to Insert C, and knobs 7/8 correspond to Insert D. Changes to the Insert are applied only after exiting the mode. [SF1] Select 1 Selects Insert A or E. [SF2] Select 2 Selects Insert B. [SF3] Select 3 Selects Insert C. [SF4] Select 4 Selects Insert D. 10 Latch Off Buttons [F1] Edit RTZ Read New Functions in MOTIF XF Version 1.30  Edit page Undo Cancel Mode Tool Page List Edit Mixer Save E Bank Bank F Buttons Shift Functions [F1] Edit Starts the Edit window, or brings it to the front of the computer screen. [F2] Mixer Starts the Mixer window, or brings it to the front of the computer screen. [F3] Save Overwrites the project. [F4] E Bank [F5] Bank F Scrolls through the track indication on the LCD of the instrument in eight-channel jumps. [SF1] Undo Executes the Undo operation. [F6] Shift + [SF1] Undo Executes the Redo operation. [SF2] Cancel Same as selecting “No” in the dialog. [SF3] Mode Changes the Edit mode. [SF4] Tool Changes the Edit tool. New Functions in MOTIF XF Version 1.20 Yamaha has upgraded the MOTIF XF firmware to Version 1.20, adding Wireless Network functions. This supplement to the Owner’s Manual describes these changes. • The company names and product names in this Manual are the trademarks or registered trademarks of their respective companies. • MIDI communication performance may be affected by your network environment, including the network device. • Operation of other wireless network devices in the area and the use of electrical devices such as a microwave oven in close proximity may also affect the MIDI communication performance. Wireless Network MIDI function When setting to Infrastructure: Now the MOTIF XF offers wireless MIDI connectivity with Yamaha’s new iPad applications*. After connecting a compatible Wireless USB LAN Adapter, you can send and receive MIDI messages between the XF and the iPad. 3-1 At Configuration Mode (3), select “infrastructure” to call up the available Access Points in Wireless Networks (4). Select the desired Access Point then press [ENTER]. *There are 4 new Yamaha iPad applications which expand the features of MOTIF XF including Keyboard Arp & Drum Pad, Faders & XY Pad, Multi Editor Essential and Voice Editor Essential (as of April, 2011). 1 Connect a Wireless USB LAN Adapter to the USB TO DEVICE terminal of the instrument. 2 Set the Wireless Network in the Utility mode. 3 4 Press [UTILITY], [F1] General, then [SF3] Network. 1 2 5 NOTE Pressing [SF6] INFO calls up the Utility Information display, allowing you to confirm the network information of the instrument. NOTE Confidential Access Points (like Stealth Mode) will not be shown in the Wireless Networks. In such a case, press [SF5] Add (5), then enter SSID, Security, Key or Passphrase in the following display. Set Device (1) to “wireless,” press [ENTER] then wait until the “Complete” message appears. Move the cursor to Wireless Setting (2), then press [ENTER]. 3 Make the connection setup. Select the desired one from the following methods, then set the related parameters. • Infrastructure mode: Data will be communicated via the Access Point. Select this mode when you have an available Access Point and you need to communicate with two or more network devices. • Ad-hoc mode: Data will be communicated directly without use of the Access Point. Select this mode when you are communicating with iPad or other devices directly without any Access Point. 3-2 If you select a security-free Access Point, go to 3-3. If not, either of the following displays appears, depending on the security protocol of the Access Point. Press [SF6] CHAR, enter the Key or Passphrase, and press [ENTER]. An “Executing...” message appears and the instrument starts connection to an Access Point. When the instrument successfully establishes communication, a “Completed” message appears. NOTE The Key or Passphrase can be entered with a USB ASCII keyboard. New Functions in MOTIF XF Version 1.20 11 When you need to prevent your instrument from unauthorized access via Wireless Network, set Security (7) to “WEP” and specify the Key. You should assign a unique combination for the Key that only you know and recognize. When the Security protocol is WEP: NOTE SSID requires less than 32 character input. NOTE Key requires character or hexadecimal number input. Character input requires between five and thirteen characters. Hexadecimal number input requires between ten and twenty-six figures. The method of input (character or hexadecimal) is automatically determined depending on the number of figures entered and the actual entries themselves. 4 Set the MIDI parameter. Press [UTILITY], [F5] Control, then [SF2] MIDI Network to call up the Control display. In this display, set the MIDI In/Out parameter to “network.” When the Security protocol is WPA, WPA2, or WPA/WPA2: Setting up the iPad and Yamaha iPad applications for Wireless Networking  Setup of the iPad 3-3 When the connection to an Access Point is successful, “connected” appears as shown below. 1 Tap Settings > Wi-Fi in your iPad. 2 Set the Wi-Fi to “On.” 3 The available Access Points will be listed in the display. In case of Infrastructure mode, tap the same Access Point as selected in the instrument. In case of Ad-hoc mode, tap the same name as the SSID of the instrument. NOTE You can confirm the SSID of the instrument by pressing [SF6] INFO in the Utility mode. NOTE When the Security of the instrument has been set to “WEP,” the Key must input. In this case, enter the Key, as explained in step 3-2 of “When setting to Ad-hoc” in this manual.  Setup of the Yamaha iPad applications When setting to Ad-hoc: 3-1 1 Open the application in the iPad. 2 Open the Utility window by tapping the upper right of the display. At Configuration Mode (3), select “ad hoc.” NOTE For details about opening the Utility window, refer to the Owner's Manuals of the respective applications. 3 3 Set MIDI Type to “wireless” in the Utility window. 6 7 4 Call up the Wireless MIDI Port window by tapping Wireless MIDI Port in the Utility window. All available MIDI Ports of the devices will be listed in the window. 8 5 3-2 Enter the necessary characters to SSID (6) and Key (8). Set a unique SSID that will not conflict with any other computers. In general, the default SSID suffices, so there should be no need to change this. As an initial value for the Key, “yamahamotifxf” is set. 12 New Functions in MOTIF XF Version 1.20 Tap the desired MIDI Port in the Wireless MIDI Port window. *Apple, iPad are trademarks of Apple Inc., registered in the U.S. and other countries. Wireless Network File Sharing function The MOTIF XF can now be connected to a network without an Ethernet cable. You can save/load the files and record/playback audio between the instrument and a computer drive connected to the same network. 1 Set up Wireless Networking by executing step 1 to 3 on “Wireless Network MIDI function.” 2 Set up File Sharing between a computer by executing the steps on the “Network Settings” in the MOTIF XF Reference Manual. For details about recording and playing back audio, refer to the relevant Audio Record/Playback section in the Owner’s Manual of the instrument. NOTE When you set DHCP of MOTIF XF to “On” in Ad-hoc mode, the instrument will be the DHCP administrator and assign IP address to a computer. New Functions in MOTIF XF Version 1.20 13 New Functions in MOTIF XF Version 1.10 Yamaha has upgraded the MOTIF XF firmware to Version 1.10, adding a number of new functions. This supplement to the Owner’s Manual describes these changes. Editing and storing a Sample Voice as a Mixing Voice Editing a Waveform on the optional Flash Memory Expansion Module You can now convert a Sample Voice to a Mixing Voice in the Mixing Play display of the Song/Pattern mode, allowing you to then edit the sampled audio as a Voice. You can edit a Waveform on the optional Flash Memory Expansion Module by using the newly added Sampling Job. 1 1 From the [F3] Other display of the Sampling Job, select “04:Copy from Flash Memory” then press [ENTER]. 2 Copy a Waveform from the Module to the Sampling memory. From the Mixing Play display, select a Part to which a Sample Voice is assigned. “VceConv” appears at the tab corresponding to [F6]. 2 Press [F6] VceConv to convert a Sample Voice of the selected Part to a Mixing Voice. At 1, select the source memory (FL1 or FL2). At 2, select a Waveform. At 3, select whether or not the original wave is to be deleted. After these operations, press [ENTER]. Completion of conversion calls up the Mixing Voice Store window. 3 1 Use the data dial or [INC/YES]/[DEC/NO] to select a Store destination number in the Mixing Voice Store window. NOTE Only the MIXV (Mixing Voice Bank) is available. 4 2 3 Press [ENTER] to call up the Confirmation dialog. To cancel the Store operation, press [DEC/NO] to return to the original display. 5 Press [INC/YES] to execute the Store operation. After the Store has been completed, a “Completed” message appears and operation returns to the Mixing Voice Play display. You can confirm that the stored Mixing Voice is assigned to the Part selected in step 1. NOTE This operation will cancel the link between all the Voices and the original Waveform, then make a new link between the same Voices and the Waveform copied to the Sampling memory. NOTICE After the above operations, make sure to execute the Song/ Pattern Store. Otherwise, the Mixing Voice assignment will be lost when turning the power off or selecting the different Song/ Pattern. 3 Edit the Waveform in the sampling memory by using the Sampling Edit and Sampling Job operations. 4 From the [F3] Other display of the Sampling Job, select “03:Copy to Flash Memory” then press [ENTER]. 5 Copy the edited Waveform from the sampling memory to the Flash Memory Expansion Module. At 1, confirm that the edited Waveform number is shown. At 2, select whether or not the original wave on the Sampling Memory is to be deleted. At 3, select the destination memory (FL1 or FL2). After these operations, press [ENTER]. 14 New Functions in MOTIF XF Version 1.10 1 2 3 NOTE This operation will cancel the link between all the Voices and the 2 edited Waveform on the Sampling Memory, then make a new link between the same Voices and the Waveform copied to the Flash Memory Expansion Module. Select the target memory (“USR”, “FL1” or “FL2”) at 1, then select the Waveform number at 2. All the Waveforms having the same name are listed on the “Same Name Waveforms” section of the display. 1 Additional menus in Sampling Edit/Sampling Main display 2 With this new version, “[F3] Normalize,” “[F4] Slice,” and “[F5] Remix” have been added to the Sampling Edit display and Sampling Main display respectively, allowing you to more easily call up these displays. 3 NOTICE This Job will delete all Waveforms with the same name except for the selected Waveform, even if they contain different data. 3 Press [ENTER] to execute the Job. This operation will delete all the Waveforms with the same name except for the selected Waveform. NOTE This operation will cancel the link status between the Voices and deleted Waveforms, then make a new link between the same Voices and the undeleted Waveforms respectively. Revision of Key Bank number assignment after Sampling The method of the Key Bank number assignment has been changed from the previous version. In the previous version, “1” was assigned to the Key Bank of the latest Sampling and the rest of the Key Bank numbers were increased by 1. In this new version, the next number is assigned to the Key Bank of the latest Sampling. Increasing the available memory of the Flash Memory Expansion Module A new Sampling Job now lets you increase the available memory of the Flash Memory Expansion Module. 1 From the [F3] Other display of the Sampling Job, select “05: Delete Same Name Waveforms” then press [ENTER]. New Functions in MOTIF XF Version 1.10 15 Loading WAV/AIFF files and assigning each of them to the keys With this new version, you can load WAV or AIFF files in a single folder at the same time. The loaded files will be assigned to the keys in alphabetical order from the specified key. This allows you to easily create your own custom Waveforms. 1 Connect the USB storage device containing the desired WAV/AIFF files in a single folder to the USB TO DEVICE terminal. 2 Enter the mode according to the destination to which the Waveform is to be assigned. assignment will be lost when turning the power off or selecting a different Song/Pattern. Additional option in file loading operation With this new version, you can load the file without the Waveforms, even if the corresponding file contains Waveforms. If you select “None” at “FL1” and “FL2,” the Load operation will load the file, but not the Waveforms, to the Flash Memory Expansion Module. When you want to assign the files to a User Voice: Enter the Voice mode then select a Drum or Normal Voice. Or alternately, enter the Performance mode then select the Performance having an empty User Voice. When you want to assign the files to a Sample Voice: Enter the Song mode or Pattern mode. 3 Press [FILE] then [F1] File. 4 Make the settings for the Load operation. Category Search for Arpeggio Types At 1, select “WAV” or “AIFF.” At 2, select the desired folder (directory) then any of the files. At 3, select the head Key to which the first WAV/AIFF file is assigned. At 4, select the destination memory of the Load operation. When entering the Voice mode in step 2, select an Element to which the Waveform is to be assigned. When entering other modes in step 2, select a Part to which the empty User Voice is assigned. With this new version, you can use the Category Search function to conveniently find desired Arpeggio Types. 1 Call up the Category Search window for the Arpeggio Type. Press [CATEGORY SEARCH] to call up the Category Search window for the Arpeggio Type from any of the following displays: • [F4] Arpeggio display of the Voice Play mode or Performance Play mode • [F2] ARP Main or [F3] ARP Other display of the Voice Common Edit, Performance Part Edit, or Mixing Part Edit mode 2 2 1 3 4 Find the desired Arpeggio Type on the Arpeggio Category Search window. Select the Main Category at 1, then select the Sub Category at 2 to call up the listed Arpeggio types at 3 Arpeggio List. Move the cursor to the desired Arpeggio Type then press [ENTER] to finalize your selection. 1 5 Press [F6] Load multi to execute the Load operation. 6 Confirm the result of the Load operation. 2 3 When entering the Voice mode or Performance mode in step 2: Exit from the File mode then play the corresponding Voice or Performance to check the sound. NOTICE After the above operations, make sure to execute the Voice Store operation. Otherwise, the Voice will be lost when turning the power off or selecting a different Voice. Favorite window When entering the Song mode or Pattern mode in step 2: Exit from the File mode, select the corresponding Part of the Song or Pattern then play the keyboard to check the sound. NOTICE After the above operations, make sure to execute the Song/ Pattern Store operation. Otherwise, the Sampling Voice 16 New Functions in MOTIF XF Version 1.10 [F1] Main Pressing this will move the cursor to 1 Main column. [F2] Sub Pressing this will move the cursor to 2 Sub column. [F3] List 1 2 3 Pressing this will move the cursor to 3 Arpeggio List. [F4] Favorite Pressing this will call up the Favorite window. [F5] Set/Clear Pressing this will register the current Arpeggio Type to the Favorite Category, or remove the current Arpeggio Type from the Favorite Category. With the checkboxes listed at left, you can confirm whether or not each Arpeggio Type is registered. [F6] All Clear By pressing this then [INC/YES], you can remove all the registered Arpeggio Types from the Favorite Category. [SF1] ARP1 – [SF5] ARP5 Pressing each of these will change the Arpeggio Type from the current one. [SF6] All / Filtered Pressing this will toggle the indication between “All” and “Filtered.” Pressing [SF6] All will show all the Arpeggio types of the current Category on the 3 Arpeggio List. Pressing [SF6] Filtered will show only representative Types picked up from all Types on the 3 Arpeggio List. Favorite window Indicates the Arpeggio Types registered to the Favorite Category. Pressing [F4] Category will return to the Arpeggio Category Search display. Favorite window [F1] Main Pressing this will move the cursor to 1 Main column. [F2] Sub Pressing this will move the cursor to 2 Sub column. [F3] List Pressing this will move the cursor to 3 Waveform List. [F4] Favorite Pressing this will call up the Favorite window. [F5] Set/Clear Pressing this will register the current Waveform to the Favorite Category, or remove the current Waveform from the Favorite Category. With the checkboxes listed at left, you can confirm whether or not each Waveform is registered. [F6] All Clear By pressing this then [INC/YES], you can remove all the registered Waveforms from the Favorite Category. [SF6] All / Filtered Pressing this will toggle the indication between “All” and “Filtered.” Pressing [SF6] All will show all the Waveforms of the current Category on the 3 Waveform List. Pressing [SF6] Filtered will show only representative Waveforms picked up from all Waveforms on the 3 Waveform List. Favorite window Category Search for the Waveforms Indicates the Waveforms registered to the Favorite Category. Pressing [F4] Category will return to the Waveform Search display. With this new version, you can use the Category Search to find desired Waveforms in the Normal Voice Element Edit mode and Drum Key Edit mode. 1 Call up the Category Search window for the Waveforms. From the [F1] Oscillator display of the Normal Voice Element Edit mode or Drum Voice Key Edit mode, press [CATEGORY SEARCH] to call up the Category Search window for the Waveforms. 2 Find the desired Waveform on the Category Search window. Select the Main Category at 1, then select the Sub Category at 2 to call up the listed Waveform types at 3 Waveform List. Move the cursor to your desired Waveform then press [ENTER] to finalize your selection. New Functions in MOTIF XF Version 1.10 17 mdnsresponder (a) You must retain and reproduce in all copies of Original Code the copyright and other proprietary notices and disclaimers of Apple as they appear in the Original Code, and keep intact all notices in the Original Code that refer to this License; and APPLE PUBLIC SOURCE LICENSE Version 2.0 – August 6, 2003 (b) You must include a copy of this License with every copy of Source Code of Covered Code and documentation You distribute or Externally Deploy, and You may not offer or impose any terms on such Source Code that alter or restrict this License or the recipients’ rights hereunder, except as permitted under Section 6. Please read this License carefully before downloading this software. By downloading or using this software, you are agreeing to be bound by the terms of this License. If you do not or cannot agree to the terms of this License, please do not download or use the software. 2.2 Apple Note: In January 2007, Apple changed its corporate name from “Apple Computer, Inc.” to “Apple Inc.” This change has been reflected below and copyright years updated, but no other changes have been made to the APSL 2.0. 1. 1.1 (b) You must duplicate, to the extent it does not already exist, the notice in Exhibit A in each file of the Source Code of all Your Modifications, and cause the modified files to carry prominent notices stating that You changed the files and the date of any change; and “Applicable Patent Rights” mean: (a) in the case where Apple is the grantor of rights, (i) claims of patents that are now or hereafter acquired, owned by or assigned to Apple and (ii) that cover subject matter contained in the Original Code, but only to the extent necessary to use, reproduce and/or distribute the Original Code without infringement; and (b) in the case where You are the grantor of rights, (i) claims of patents that are now or hereafter acquired, owned by or assigned to You and (ii) that cover subject matter in Your Modifications, taken alone or in combination with Original Code. “Contributor” means any person or entity that creates or contributes to the creation of Modifications. 1.3 “Covered Code” means the Original Code, Modifications, the combination of Original Code and any Modifications, and/or any respective portions thereof. 1.4 “Externally Deploy” means: (a) to sublicense, distribute or otherwise make Covered Code available, directly or indirectly, to anyone other than You; and/or (b) to use Covered Code, alone or as part of a Larger Work, in any way to provide a service, including but not limited to delivery of content, through electronic communication with a client other than You. 1.5 “Larger Work” means a work which combines Covered Code or portions thereof with code not governed by the terms of this License. 1.6 “Modifications” mean any addition to, deletion from, and/or change to, the substance and/or structure of the Original Code, any previous Modifications, the combination of Original Code and any previous Modifications, and/or any respective portions thereof. When code is released as a series of files, a Modification is: (a) any addition to or deletion from the contents of a file containing Covered Code; and/or (b) any new file or other representation of computer program statements that contains any part of Covered Code. 1.7 “Original Code” means (a) the Source Code of a program or other work as originally made available by Apple under this License, including the Source Code of any updates or upgrades to such programs or works made available by Apple under this License, and that has been expressly identified by Apple as such in the header file(s) of such work; and (b) the object code compiled from such Source Code and originally made available by Apple under this License 1.8 “Source Code” means the human readable form of a program or other work that is suitable for making modifications to it, including all modules it contains, plus any associated interface definition files, scripts used to control compilation and installation of an executable (object code). 1.9 (a) You must satisfy all the conditions of Section 2.1 with respect to the Source Code of the Covered Code; General; Definitions. This License applies to any program or other work which Apple Inc. (“Apple”) makes publicly available and which contains a notice placed by Apple identifying such program or work as “Original Code” and stating that it is subject to the terms of this Apple Public Source License version 2.0 (“License”). As used in this License: 1.2 “You” or “Your” means an individual or a legal entity exercising rights under this License. For legal entities, “You” or “Your” includes any entity which controls, is controlled by, or is under common control with, You, where “control” means (a) the power, direct or indirect, to cause the direction or management of such entity, whether by contract or otherwise, or (b) ownership of fifty percent (50%) or more of the outstanding shares or beneficial ownership of such entity. 2. Permitted Uses; Conditions & Restrictions. Subject to the terms and conditions of this License, Apple hereby grants You, effective on the date You accept this License and download the Original Code, a world-wide, royalty-free, non-exclusive license, to the extent of Apple’s Applicable Patent Rights and copyrights covering the Original Code, to do the following: 2.1 Unmodified Code. You may use, reproduce, display, perform, internally distribute within Your organization, and Externally Deploy verbatim, unmodified copies of the Original Code, for commercial or noncommercial purposes, provided that in each instance: 18  Modified Code. You may modify Covered Code and use, reproduce, display, perform, internally distribute within Your organization, and Externally Deploy Your Modifications and Covered Code, for commercial or non-commercial purposes, provided that in each instance You also meet all of these conditions: (c) If You Externally Deploy Your Modifications, You must make Source Code of all Your Externally Deployed Modifications either available to those to whom You have Externally Deployed Your Modifications, or publicly available. Source Code of Your Externally Deployed Modifications must be released under the terms set forth in this License, including the license grants set forth in Section 3 below, for as long as you Externally Deploy the Covered Code or twelve (12) months from the date of initial External Deployment, whichever is longer. You should preferably distribute the Source Code of Your Externally Deployed Modifications electronically (e.g. download from a web site). 2.3 Distribution of Executable Versions. In addition, if You Externally Deploy Covered Code (Original Code and/or Modifications) in object code, executable form only, You must include a prominent notice, in the code itself as well as in related documentation, stating that Source Code of the Covered Code is available under the terms of this License with information on how and where to obtain such Source Code. 2.4 Third Party Rights. You expressly acknowledge and agree that although Apple and each Contributor grants the licenses to their respective portions of the Covered Code set forth herein, no assurances are provided by Apple or any Contributor that the Covered Code does not infringe the patent or other intellectual property rights of any other entity. Apple and each Contributor disclaim any liability to You for claims brought by any other entity based on infringement of intellectual property rights or otherwise. As a condition to exercising the rights and licenses granted hereunder, You hereby assume sole responsibility to secure any other intellectual property rights needed, if any. For example, if a third party patent license is required to allow You to distribute the Covered Code, it is Your responsibility to acquire that license before distributing the Covered Code. 3. Your Grants. In consideration of, and as a condition to, the licenses granted to You under this License, You hereby grant to any person or entity receiving or distributing Covered Code under this License a nonexclusive, royalty-free, perpetual, irrevocable license, under Your Applicable Patent Rights and other intellectual property rights (other than patent) owned or controlled by You, to use, reproduce, display, perform, modify, sublicense, distribute and Externally Deploy Your Modifications of the same scope and extent as Apple's licenses under Sections 2.1 and 2.2 above. 4. Larger Works. You may create a Larger Work by combining Covered Code with other code not governed by the terms of this License and distribute the Larger Work as a single product. In each such instance, You must make sure the requirements of this License are fulfilled for the Covered Code or any portion thereof. 5. Limitations on Patent License. Except as expressly stated in Section 2, no other patent rights, express or implied, are granted by Apple herein. Modifications and/or Larger Works may require additional patent licenses from Apple which Apple may grant in its sole discretion. 6. Additional Terms. You may choose to offer, and to charge a fee for, warranty, support, indemnity or liability obligations and/or other rights consistent with the scope of the license granted herein (“Additional Terms”) to one or more recipients of Covered Code. However, You may do so only on Your own behalf and as Your sole responsibility, and not on behalf of Apple or any Contributor. You must obtain the recipient's agreement that any such Additional Terms are offered by You alone, and You hereby agree to indemnify, defend and hold Apple and every Contributor harmless for any liability incurred by or claims asserted against Apple or such Contributor by reason of any such Additional Terms. 7. 8. 9. 10. 11. 12. Versions of the License. Apple may publish revised and/or new versions of this License from time to time. Each version will be given a distinguishing version number. Once Original Code has been published under a particular version of this License, You may continue to use it under the terms of that version. You may also choose to use such Original Code under the terms of any subsequent version of this License published by Apple. No one other than Apple has the right to modify the terms applicable to Covered Code created under this License. NO WARRANTY OR SUPPORT. The Covered Code may contain in whole or in part pre-release, untested, or not fully tested works. The Covered Code may contain errors that could cause failures or loss of data, and may be incomplete or contain inaccuracies. You expressly acknowledge and agree that use of the Covered Code, or any portion thereof, is at Your sole and entire risk. THE COVERED CODE IS PROVIDED “AS IS” AND WITHOUT WARRANTY, UPGRADES OR SUPPORT OF ANY KIND AND APPLE AND APPLE'S LICENSOR(S) (COLLECTIVELY REFERRED TO AS “APPLE” FOR THE PURPOSES OF SECTIONS 8 AND 9) AND ALL CONTRIBUTORS EXPRESSLY DISCLAIM ALL WARRANTIES AND/OR CONDITIONS, EXPRESS OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES AND/OR CONDITIONS OF MERCHANTABILITY, OF SATISFACTORY QUALITY, OF FITNESS FOR A PARTICULAR PURPOSE, OF ACCURACY, OF QUIET ENJOYMENT, AND NON INFRINGEMENT OF THIRD PARTY RIGHTS. APPLE AND EACH CONTRIBUTOR DOES NOT WARRANT AGAINST INTERFERENCE WITH YOUR ENJOYMENT OF THE COVERED CODE, THAT THE FUNCTIONS CONTAINED IN THE COVERED CODE WILL MEET YOUR REQUIREMENTS, THAT THE OPERATION OF THE COVERED CODE WILL BE UNINTERRUPTED OR ERROR-FREE, OR THAT DEFECTS IN THE COVERED CODE WILL BE CORRECTED. NO ORAL OR WRITTEN INFORMATION OR ADVICE GIVEN BY APPLE, AN APPLE AUTHORIZED REPRESENTATIVE OR ANY CONTRIBUTOR SHALL CREATE A WARRANTY. You acknowledge that the Covered Code is not intended for use in the operation of nuclear facilities, aircraft navigation, communication systems, or air traffic control machines in which case the failure of the Covered Code could lead to death, personal injury, or severe physical or environmental damage. LIMITATION OF LIABILITY. TO THE EXTENT NOT PROHIBITED BY LAW, IN NO EVENT SHALL APPLE OR ANY CONTRIBUTOR BE LIABLE FOR ANY INCIDENTAL, SPECIAL, INDIRECT OR CONSEQUENTIAL DAMAGES ARISING OUT OF OR RELATING TO THIS LICENSE OR YOUR USE OR INABILITY TO USE THE COVERED CODE, OR ANY PORTION THEREOF, WHETHER UNDER A THEORY OF CONTRACT, WARRANTY, TORT (INCLUDING NEGLIGENCE), PRODUCTS LIABILITY OR OTHERWISE, EVEN IF APPLE OR SUCH CONTRIBUTOR HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES AND NOTWITHSTANDING THE FAILURE OF ESSENTIAL PURPOSE OF ANY REMEDY. SOME JURISDICTIONS DO NOT ALLOW THE LIMITATION OF LIABILITY OF INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THIS LIMITATION MAY NOT APPLY TO YOU. In no event shall Apple's total liability to You for all damages (other than as may be required by applicable law) under this License exceed the amount of fifty dollars ($50.00). Trademarks. This License does not grant any rights to use the trademarks or trade names “Apple”, “Mac”, “Mac OS”, “QuickTime”, “QuickTime Streaming Server” or any other trademarks, service marks, logos or trade names belonging to Apple (collectively “Apple Marks”) or to any trademark, service mark, logo or trade name belonging to any Contributor. You agree not to use any Apple Marks in or as part of the name of products derived from the Original Code or to endorse or promote products derived from the Original Code other than as expressly permitted by and in strict compliance at all times with Apple’s third party trademark usage guidelines which are posted at http://www.apple.com/ legal/guidelinesfor3rdparties.html. Ownership. Subject to the licenses granted under this License, each Contributor retains all rights, title and interest in and to any Modifications made by such Contributor. Apple retains all rights, title and interest in and to the Original Code and any Modifications made by or on behalf of Apple (“Apple Modifications”), and such Apple Modifications will not be automatically subject to this License. Apple may, at its sole discretion, choose to license such Apple Modifications under this License, or on different terms from those contained in this License or may choose not to license them at all. Termination. 12.1 Termination. This License and the rights granted hereunder will terminate: (a) automatically without notice from Apple if You fail to comply with any term(s) of this License and fail to cure such breach within 30 days of becoming aware of such breach; (b) immediately in the event of the circumstances described in Section 13.5 (b); or (c) automatically without notice from Apple if You, at any time during the term of this License, commence an action for patent infringement against Apple; provided that Apple did not first commence an action for patent infringement against You in that instance. 12.2 Effect of Termination. Upon termination, You agree to immediately stop any further use, reproduction, modification, sublicensing and distribution of the Covered Code. All sublicenses to the Covered Code which have been properly granted prior to termination shall survive any termination of this License. Provisions which, by their nature, should remain in effect beyond the termination of this License shall survive, including but not limited to Sections 3, 5, 8, 9, 10, 11, 12.2 and 13. No party will be liable to any other for compensation, indemnity or damages of any sort solely as a result of terminating this License in accordance with its terms, and termination of this License will be without prejudice to any other right or remedy of any party. 13. Miscellaneous. 13.1 Government End Users. The Covered Code is a “commercial item” as defined in FAR 2.101. Government software and technical data rights in the Covered Code include only those rights customarily provided to the public as defined in this License. This customary commercial license in technical data and software is provided in accordance with FAR 12.211 (Technical Data) and 12.212 (Computer Software) and, for Department of Defense purchases, DFAR 252.227-7015 (Technical Data – Commercial Items) and 227.7202-3 (Rights in Commercial Computer Software or Computer Software Documentation). Accordingly, all U.S. Government End Users acquire Covered Code with only those rights set forth herein. 13.2 Relationship of Parties. This License will not be construed as creating an agency, partnership, joint venture or any other form of legal association between or among You, Apple or any Contributor, and You will not represent to the contrary, whether expressly, by implication, appearance or otherwise. 13.3 Independent Development. Nothing in this License will impair Apple’s right to acquire, license, develop, have others develop for it, market and/ or distribute technology or products that perform the same or similar functions as, or otherwise compete with, Modifications, Larger Works, technology or products that You may develop, produce, market or distribute. 13.4 Waiver; Construction. Failure by Apple or any Contributor to enforce any provision of this License will not be deemed a waiver of future enforcement of that or any other provision. Any law or regulation which provides that the language of a contract shall be construed against the drafter will not apply to this License. 13.5 Severability. (a) If for any reason a court of competent jurisdiction finds any provision of this License, or portion thereof, to be unenforceable, that provision of the License will be enforced to the maximum extent permissible so as to effect the economic benefits and intent of the parties, and the remainder of this License will continue in full force and effect. (b) Notwithstanding the foregoing, if applicable law prohibits or restricts You from fully and/or specifically complying with Sections 2 and/ or 3 or prevents the enforceability of either of those Sections, this License will immediately terminate and You must immediately discontinue any use of the Covered Code and destroy all copies of it that are in your possession or control. 13.6 Dispute Resolution. Any litigation or other dispute resolution between You and Apple relating to this License shall take place in the Northern District of California, and You and Apple hereby consent to the personal jurisdiction of, and venue in, the state and federal courts within that District with respect to this License. The application of the United Nations Convention on Contracts for the International Sale of Goods is expressly excluded. 13.7 Entire Agreement; Governing Law. This License constitutes the entire agreement between the parties with respect to the subject matter hereof. This License shall be governed by the laws of the United States and the State of California, except that body of California law concerning conflicts of law. Where You are located in the province of Quebec, Canada, the following clause applies: The parties hereby confirm that they have requested that this License and all related documents be drafted in English. Les parties ont exigé que le présent contrat et tous les documents connexes soient rédigés en anglais. EXHIBIT A. “Portions Copyright © 1999-2007 Apple Inc. All Rights Reserved. This file contains Original Code and/or Modifications of Original Code as defined in and that are subject to the Apple Public Source License Version 2.0 (the 'License'). You may not use this file except in compliance with the  19 License. Please obtain a copy of the License at http:// www.opensource.apple.com/apsl/ and read it before using this file. The Original Code and all software distributed under the License are distributed on an ‘AS IS’ basis, WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, AND APPLE HEREBY DISCLAIMS ALL SUCH WARRANTIES, INCLUDING WITHOUT LIMITATION, ANY WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, QUIET ENJOYMENT OR NON-INFRINGEMENT. Please see the License for the specific language governing rights and limitations under the License.” dhcp Copyright © 1996, 1998, 1999 The Internet Software Consortium. All rights reserved. Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met: 1. Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer. 2. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/ or other materials provided with the distribution. 3. Neither the name of The Internet Software Consortium nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission. THIS SOFTWARE IS PROVIDED BY THE INTERNET SOFTWARE CONSORTIUM AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE INTERNET SOFTWARE CONSORTIUM OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. This software has been written for the Internet Software Consortium by Ted Lemon <[email protected]> in cooperation with Vixie Enterprises. To learn more about the Internet Software Consortium, see “http://www.vix.com/isc”. To learn more about Vixie Enterprises, see “http://www.vix.com”. 20  Memo  21 Memo 22  Memo  23 C.S.G., DMI Development Division © 2010-2014 Yamaha Corporation 401MWTO*.*-01C0 WW47430 Printed in Japan