Yamaha MOTIF-RACK ES Specifications

Yamaha MOTIF-RACK ES Specifications
Part 1)
Synthesizers and Workstations
Part 2)
10 years of MOTIF - from „Classic“ to „XF“
Part 3)
MOTIF Basics
Part 4)
MOTIF sound architecture and controls
Part 5)
MOTIF control section
Part 6)
The Voice-Mode
Part 7)
Expanded Articulation and Mega Voices
Part 8)
The Performance Mode
Part 9)
The Song Mode
The Authors
The Synth Guide is a workshop series that introduces the basic concepts of synthesizers
and workstations with special reference to the Yamaha MOTIF series. A special feature of
the MOTIF series is the continuity in the sound architecture and operation. So if you
have once understood the device‘s concept you can apply this knowledge on the following
The following devices are primarily considered:
• S90 XS
However, owners of older models such as the MOTIF „Classic“ or the MOTIF ES can also benefit from this
workshop series, since, as stated above, the basic sound architecture is unchanged throughout the
complete MOTIF series (including S-and MO-series).
This Synth Guide contains all parts which were released between the years 2011 and 2013 in the MUSIC
The MUSIC PRODUCTION GUIDE is the official News Guide from Yamaha & EASY SOUNDS for Yamaha
Music Production Instruments.
© Dezember 2013 YAMAHA Music Europe GmbH, Siemensstraße 22-34, 25462 Rellingen
Part 1: sYntHesIzers anD
For the past 20 years, Yamaha
releases free Quick Guides to their
respective new synthesizers, tone
generators, and workstations.
For several years, the Quick Guides are
integral parts of the Music Production
Guides (until August 2010 „MOTIF News
Since those guides and workshops were
mostly based on a specific model, we will
The following devices are primarily consi-
how does it differ from a synthesizer? There
are many questions like these - we want to
bring some clarity to the confusion.
• S90 XS
Th e Sy nt hes izer
For centuries the sound generation of mu-
However, owners of older models such as
sical instruments based on natural mate-
the MOTIF „Classic“ or the MOTIF ES can
rials, such as wood, metal, natural furs,
also benefit from this workshop series,
since, as stated above, the basic sound
try and start a new concept in this series.
architecture is unchanged throughout the
Ten years ago, the first synthesizer of the
complete MOTIF series (including S-and
skins, or gut. The extended possibilities of
an alternative sound generation arose with
the electricity. Robert Moog is regarded as
a pioneer and inventor of the first synthe-
very popular MOTIF series was introdu-
ced. With the MOTIF 6 / 7 / 8 (or MOTIF
The workshop also wants to enable new-
„Classic“) began a success story that was
comers to the world of the MOTIF series
most recently continued with the MOTIF XF
to step beyond the basic operation. One
last century.
models and the MOX.
goal is to use the enormous potential of the
A trip into the detailed distinction between
A special feature of the MOTIF series is the
instruments and to optimize the workflow.
sizer, having constructed the first electronic
analog synthesizer in the mid-sixties of the
analog and digital technology would at this
continuity in its sound architecture and ope-
Let‘s start with some basic definitions. The
point deviate too far from the real issue.
ration. So if you have once understood the
variety of instruments that are played with
So - at the time of the first synthesizer the
device‘s concept you can apply this knowledge on the following models.
a keyboard is very broad. The question is:
What is a „keyboard“, what is a „workstation“? Where does a „stage piano“ begin, at
analog technology was the only available.
Analog technology results in almost infinitely variable signals. In contrast, the signal of
Considering this we had the idea of a uni-
which point is the term „master keyboard“
versal „Yamaha Synth Guide“, which covers
no longer applicable? What is referred as
the digital technology is always divided into
all eligible topics in a series and one by
„analog“ or „digital“? What instrument is
steps, each representing a fixed value of the
called „ROMpler“ (Wave-ROM player) and
total possible value range.
The Minimoog was one of the most popular and successful
models of synth history
The first synthesizers were monophonic
at fixed levels. However, today, every hybrid
„The sound engine of the CS80 based on
only, meaning they could always produce
is possible. There are units with a combi-
the analog subtractive synthesis, its 16 os-
nation of sound generation to operation in
cillators could generate two independent
only one tone at a time. They were also
built modularily. The sound generation was
done by at least one oscillator, additional
modules for the modulation of the sound
were such as filters and envelope gene-
all variants: Analog/analog, digital/digital,
analog/digital, and digital/analog.
sounds with eight voices each, which then
could be mixed. The other sound shaping
was done by a resonant envelope-con-
Going back to history. A major advan-
trolled high- and low-pass filter (12dB/
ce was the polyphony. The „Polymoog“
octave), a LFO (sine, sawtooth) and a ring
had six voices and no longer consisted of
modulator ... „
rators. All these terms are currently in our
modules. But it was not affordable for the
(translated from: http://de.wikipedia.org/
technical language, too. We will return to
„average musician“ from a house with ave-
these in detail later.
rage income. In a price list from the early
Thanks to the almost unlimited availability
80s the instrument was listed with about
of media and information any interested
The distinction between analog and digital
16.000 DM (sorry, I can‘t figure the equi-
reader can find much more comprehensi-
not only occurs in the signal generation, but
valent in your whatever currency in the
ve information about the development of
also in the operation of electronic musical
early 80s. In 1982 one US-Dollar was worth
electronic instruments and different forms
instruments. Traditional synthesizers from
about 2,40 Deutschmark. However, a new
the early days were operated analogous.
car like the middle class Mercedes Benz
For we want to make a time jump to the
190 or W201 costed about 26.000 DM in
here and now. What is it that justifies the
term „synthesizer“? To get to the point:
They had rotary or sliding controls (poten­
tiometers) to alter values, the modules were
connected using cables. Modern digital
equipment operation can be done with the
help of push buttons to change values, and
A milestone in the development of the polyphonic synthesizer was the Yamaha CS-80,
which came on the market in 1977. Unlike
of synthesis.
A very clear line can barely be drawn.
Let us first consider the core of the question: the basis of sound generation. Before the era of sampling the sound of every
the Polymoog or other polyphonic synthe-
knobs and faders work digitally, allowing
synthesizer was produced by at least one
sizers from this time, the CS80 no longer
oscillator. Today the vast majority of sound
changes within the given value range only
based on organ technology.
generation is based on samples.
Now, a sample - in contrast to an
used to create extremely complex sounds
pre-produced audio or MIDI data.
oscillator - can already include all possible
with - to express it traditionally - up to 128
modulations and effects etc. So a machi-
A workstation‘s sequencer can record mul-
oscillators. I‘m not sure if Mr. Moog has da-
tiple tracks, extensively edit the recorded
red to have this vision at his time.
data, delete or add individual data, resolve
ne that plays back ready-made samples is
sufficient to generate sound. Such equipment is called a sample player, ROM sam-
So the preliminary summary is: Every
ple player, or in short „Rompler“. Only the
instrument from the MOTIF / S / MO / MOX
possibility of actual sound processing, for
series includes a full-fledged synthesizer.
example using filters, envelopes, LFOs, etc.
allows the comparison to the original synthesizer.
Whether the - as an example - sine wave
and sampli ng
is the result of playing back a sample can
workstation to perhaps as a „machine
be neglected at least for the terminology. It
doing the main workload“. If you enter the
any processing. But it is this sample that
dio data is possible.
The latter leads us to another option of the
Samplers were also separate devices in the
past. They were used for recording, editing
Taken literally, one might translate the term
in principle sound like a saxophone without
and much more. Even the integration of au-
workstation: sampling.
Th e w o rkstat io n
is generated directly from an oscillator or
is obvious that a saxophone sample should
the recordings in pattern or song structures
term in Wikipedia, you get the explanation
of a powerful computer system.
and playing back audio data, but not in
the style of a tape recorder. The audio data
was cut into small individual samples, then
edited and prepared to be played with a
keyboard or the pads of a drum machine.
For the proper processing of the recorded
may result in sounds, that can‘t be achie-
Strictly speaking the workstation for us
audio data (graphical representation of the
ved with a traditional oscillator (or only with
waveforms) the first samplers had their own
much effort), if it is processed by the modu-
monitors or at least a monitor connector.
lation capabilities of a synthesizer.
that are restricted to musical applications.
Many modern workstations, including the
Keeping that in mind we can make abso-
They become a „machine“ by the enhan-
lutely clear that the sound generation in
cing combination of applications that go
each of the instruments discussed in this
beyond just playing sounds. In principle,
workshop series can definitely be called a
A closer look at the Yamaha editor soft-
one can see it again as a modular system,
only within a single unit.
MOTIF series from „classic“ to XF, feature a
full-fledged sampler, which can perform all
necessary edits directly on the instrument.
Additional options of a workstation - but
not limited to - can be master keyboard
functions, that make it possible to control
An important component which elevates a
multiple instruments and expanders from a
synthesizer to a workstation is a recording
single keyboard.
to oscillators) within a Voice offers to pro-
and playback ability. So a built-in sequen-
The remote control of a computer software
cess and modulate a signal. Both the pre-
cer has probably the widest distribution for
such as Cubase can be part of a work­
sets as well as the „sample-free“ versions of
that purpose.
station, too. (A brief glance here: Softwares
ware shows the vast variety of parameters
that each of the up to eight Parts (similar
optional soundsets include plenty of great
The MOTIF XF is the current top model of the MOTIF-series
In earlier times generally available as a
such as Cubase, Logic, Ableton Live, Pro-
The ability to play 16 Voices in parallel has
standalone device, the sequencer is used
Tools and many more are often referred to
not necessarily to be used as a multi-mode
in a workstation for recording and editing
as a DAW = „Digital Audio Workstation“
for working with MIDI files. It can also be
your own performance and playing back
- so here‘s this term, too.)
Th e s o un d m od ule
As already indicated, the diversity of the
electronic musical instruments currently on
This term is mostly used for the keyboardless versions of a synthesizer, sampler, or
even a workstation. Only the development
of the MIDI protocol, including its interface,
made it possible to „outsource“ the tone
the market rarely allows an unambiguous
classification. In some contexts, for example
the term „keyboard“ alone means the arranger or entertainer keyboard. There are
of course some „hybrids“, like arranger
workstations, stage pianos, performance
synthesizer, home keyboards. There is no
generation of an electronic instrument into
end in sight.
a separate unit. A good example is the
For the instruments with which we want to
milestone-synthesizer Yamaha DX7.
deal in this workshop, in any case the term
synthesizer shall fit.
Apart from the MOTIF-RACK XS the term
workstation is applicable, too.
C om i n g
nex t
In the next part of
this workshop series
we will discuss the
history of the MOTIF
Published in 1983, the Yamaha DX7 turned the synthesizer series. In addition to
world upside down and even pushed legends like describing the deMoog synthesizers or Oberheim to the background velopment from the
MOTIF „Classic“ to
Some time after the introduction of the
the XF, we will also
DX7 in 1983 the TX-816 was introduced,
discuss the compatibility of the devices with
being a 19“ expander, which could accommodate up to eight TF-1 modules. Each of
these modules corresponded to the full
tone generation of a DX7. However, this
system was not available for those with a
small budget. The first expander sound modules were in their majority determined on
a particular instrument. For example there
were expanders used exclusively for piano,
organ, or drum sounds. Only in the course
of time many keyboard versions were offered in a 19“ rack version, too.
A typical application of sound modules has
been playing back standard MIDI files of
different formats, like GM, GS, and XG. For
Yamaha‘s advanced XG standard, there
were some models of the MU series. The
most current sound module covered with
this guide is the MOTIF-RACK XS.
each other and give advice on upgrading.
PArt 2: 10 YeArs oF motiF From the „ClAssiC“ to the „xF“
In this episode we will discuss the
• 61 / 76 / 88 keys
history of the MOTIF series, which
• 62 notes of polyphony
celebrates its 10th anniversary.
• 84MB Wave-ROM (when converted
In addition to the description of the deve-
to 16-bit linear format)
• 256 Preset Arpeggio Patterns,
128 User Arpeggios
• 4MB built-in sample memory, expandable to 64MB with SIMMs
lopment from the MOTIF „Classic“ to the
• 1,309 Waveforms
The MOTIF Classic was introduced in 2001
„XF“, associated with a list of the relevant
• 384 Preset Voices, 48 Preset Drum-
to the market and uses - like all models of
features, we also will discuss the compatibi-
Kits, 1 GM Drum-Kit
lity of the instruments with each other and
• 128 User Voices, 8 User Drum-Kits
give tips on upgrading.
• 128 Performances, 128 Masters
MOTI F 6 / 7 / 8
(„MOTIF Cl assi c“)
the MOTIF series - the AWM2 technology,
in which sampled Waveforms are processed using the principle of subtractive
synthesis with envelopes, filters and LFOs.
• 64 Songs / 64 Patterns
This soundprocessing is applied to the ROM
• MIDI Sequencer capacity:
Waveforms as well as the User Waveforms
110,000 notes
For storing user data (Voices, Performan-
the MOTIF. The Pattern mode offers the
ces, Songs, Patterns, Samples, Arpeggios)
same options as the Song mode. There are
the MOTIF Classic uses SmartMedia cards,
16 Tracks available, which are assigned
which were available in capacities from
with Voices or Sample Voices.
8 to 64 MB. Compared to the floppy dri-
In addition up to 16 Sections (A - P) can
ves of earlier devices these were impressive
be formed, which together make up a Style.
memory sizes.
These Sections can be used to freely arran-
An outstanding feature is the Song / Pattern recording concept of the MOTIF. MIDI
and audio recordings are be combined by
the Integrated Sampling in innovative ways.
Samples can be directly recorded in the
Song or Pattern mode and used as Sample Voices. These have the same processing
options as „normal“ Voices in the Mixing
• 175MB of Wave-ROM (when converted to 16-bit linear format)
• 1,859 Waveforms
• 768 Preset Voices, 64 Preset DrumKits, 1 GM Drum-Kit
• 384 User Voices, 32 User Drum-Kits
ge a song or for those traditional sections
• 128 Performances, 128 Masters
of a song like intro, verse, chorus, bridge,
• 64 Songs / 64 Patterns
fills, end etc.
The multi-settings for Songs and Patterns
can be found in the Mixing mode, which
is only available from the Song or Pattern
mode. Each Song and each Pattern has its
own Mixing settings that are invoked along
with the Song or Pattern. The most impor-
• MIDI Sequencer capacity:
226,000 notes
• 1,787 Preset Arpeggio Patterns,
256 User Arpeggios
• Optional sample memory up to
512MB using DIMMs
tant Mixing settings like volume, panning
The MOTIF ES was launched in 2003 and
The sampling type Slice + Sequence allows
and effect sends can be set from the Play
offered significant improvements over the
loops or phrases to be played back with variable speed or to process sections of the
Other parameters are available in the
recording („slices“) with filters, envelopes
Mixing Edit mode.
and effects, which can result in significant
changes in the audio material.
Another top feature of the MOTIF Classic
- as well as of all of the derived models -
MOTIF Classic in many areas, such as:
• Expanded Wave-ROM
• Additional Voice Banks
• Extended Polyphony
• MegaVoice technology
Integrated Sampling means that samples
is the continuously enhanced Arpeggiator.
can be directly integrated in all modes.
The Arpeggiator is available in all modes of
• Advanced Arpeggiator
Immediately after the sampling process,
the MOTIF. Arpeggios can thus be integra-
• New effects
the sample is playable in the desired mode
ted into Songs and Patterns.
without having to program Waveforms,
The sound generation of the MOTIF Clas-
Voices or Performances. The Integra-
sic can be expanded with optional plug-in
ted Sampling mode is a sub-mode of the
boards, which are based on different syn-
Voice / Performance / Song / Pattern mode.
thesis like Analog Physical Modeling (AN)
The Pattern mode offers the very popular
recording method using Patterns, which
was already implemented in the Yamaha
or Frequency Modulation (DX).
• New filter chip
• Mixing Voices
• Song Scenes
• Optional sample memory, expandable up to 512MB
• Faster loading of samples with Smart-
MOTI F ES 6 / 7 / 8
Media card or USB device
QS300 or the sequencers of the QY series
• 61 / 76 / 88 keys
• Real Time Loop Remix
and was further developed for the use in
• 128 notes of polyphony
• Advanced Remote Control
L oad i ng MOTI F
Therefore the only way is to save the
The MOTIF XS was published in 2007 and
Cla ssic files into
MOTIF Classic Song as a Standard MIDI file
again offered many new features and nu-
(File type „SMF“) and then load it into the
merous detail improvements over the MO-
MOTIF Classic Voices can be loaded into
MOTIF ES from the file type „AllVoice“ or
„Voice“, using a SmartMedia card, a USB
device or the Voice Editor. An automatic
conversion takes place here, considering
MOTIF ES as a Song. The Mixing must then
be recreated.
It is also not possible to import Performances or Masters of the MOTIF Classic into the
the modified Waveform and Arpeggio as-
Here, the only possibility is a „manual con-
version“. The settings have to recreated in
Although the conversion results are very
good overall, in some cases a Voice in the
the MOTIF ES by hand, using similar Voices
in the MOTIF ES.
Imported MOTIF Classic Voices are some-
MOTI F XS 6 / 7 / 8
• 61 / 76 / 88 keys
times considerably enhanced due to the
• 128 notes of polyphony
assignment to the new reverb effects, other
• 355MB Wave-ROM (when converted
Waveforms, new Arpeggio Patterns, im­
to 16-bit linear format)
proved filter characteristics, etc.
• 2,670 Waveforms
Also Waveforms in the format of the MOTIF
• 1,024 Preset Voices, 64 Preset Drum-
Classic can be loaded into the MOTIF ES
• Expanded Wave-ROM
• Additional Voice and
Performance Banks
• 8 Elements per Voice
• 4-part Arpeggiator with
• Optional sample memory up
to 1 GB (doubled!)
• Loading samples is much faster
via USB 2.0 connection
MOTIF ES can sound somewhat different
than in the MOTIF Classic.
TIF ES, the most important are:
Kits, 1 GM Drum-Kit
• Expanded Articulation
• VCM effects
• Vocoder
• Direct Performance Recording
• Assignable Switches
• Color LC-display
• Ethernet data transfer
• Optional FireWire (mLAN) connection
• Master mode with 8 Zones
(File Type „AllWaveform“ or „Waveform“).
• 384 User Voices, 32 User Drum-Kits
MOTIF Classic „All“ files that contain Wave-
• 384 Performances, 128 Masters
L oad i ng MOTI F ES
forms must first be saved as „AllVoice“ files
• 64 Songs / 64 Patterns
and MOTIF Classi c
and can then be loaded into the MOTIF ES.
It is not possible to directly import Songs
and Patterns in the MOTIF Classic format.
This would be difficult to achieve, because
the Voice Banks on the MOTIF ES were set
up from the scratch.
• MIDI Sequencer capacity:
130,000 notes
• 6,000 Preset Arpeggio Patterns,
256 User Arpeggios
• Optional sample memory up to
1GB using DIMMs
files into the
Voices, Performances, User Waveforms,
Sample Voices, User Arpeggios, Songs,
and Patterns in the MOTIF ES format can
be loaded separately or completely into the
So there is a high degree of compatibility
MOTIF ES can then be easily loaded into
In addition to the doubling of the Wave-
between the ES and the XS.
ROM the optional expansion with Flash-
However, the following restrictions have to
Since the Wave-ROM of the MOTIF XS dif-
ROM boards for samples is the outstanding
be considered:
fers considerably from that of the MOTIF
innovation of the MOTIF XF.
Voices or Performances can sound a little
Classic, significant differences in sound can
different due to the updated Wave-ROM or
modified effect types in the MOTIF XS.
A direct conversion from the Classic to the
Performances can only be played back cor-
XS can only refer to User Voices and Wave-
rectly if used User Voices are present in the
forms (samples). All other data such as
MOTIF XS on the same storage locations.
Songs, Patterns, Performances and Masters
Thus, if single Performances are imported,
are not convertible.
possibly related User Voices have to be loa-
For this purpose the storage structures of
ded, too.
the instruments are far too different.
ly if all Users Voices are also present in
the same place in the MOTIF XS. An elegant solution is to store any User Voices in
the MOTIF ES as Mixing Voices using the
VCE ED function. As Mixing Voices they are
MOTI F X F 6 / 7 / 8
• 741MB of Wave-ROM (when converted to 16-bit linear format)
Kits, a GM Drum-Kit
Using the detour MOTIF ES even MOTIF
• 512 User Voices, 32 User Drum-Kits
Classic Voices (including Samples) can be
• 512 Performances, 128 Masters
„All“) in the MOTIF Classic. Understandably this should be done before any sale of
the instrument!
Then the Voices can also be loaded into the
MOTIF ES using the file type „AllVoice“ and
the new Waveforms
• 128 new Performances (User 1),
based on new Voices and Arpeggios
• 32 new Masters, based on the new
• 1,024 Preset Voices, 64 Preset Drum-
Voices with the file type „AllVoice“ (not
• 128 new Voices (User 1), based on
• 128 notes of polyphony
or Pattern, without the prior User Voices
To do so, it is necessary to first store the
• 1,307 new Waveforms
• 1,248 new Preset Arpeggios
• 3,977 Waveforms
loaded into the MOTIF XS.
• Expanded 741MB Wave-ROM
• 61 / 76 / 88 keys
automatically loaded along with the Song
being present.
tures in comparison to the MOTIF XS:
• 8 new Drum-Kits, based on the new
The same applies to Songs and Patterns,
which can also be reproduced correct-
Here is an overview of the major new fea-
• 64 Songs / 64 Patterns
• MIDI Sequencer Capacity: 130,000
• 7,881 Preset arpeggio Patterns, 256
User arpeggio
• 128MB built-in SDRAM sample
Voices and Performances
• „On board“ 128MB SDRAM for
• Optional Flash-ROM boards for
samples (max. 2 x 1GB)
• Excellent, flexible sample management with newly designed file-mode
• New keyboards for MOTIF XF6,
XF7, XF8
• User-definable LCD (type and
color selection)
• Drum-Kit Edit in the Mixing mode for
User Drum Voices
• Optimized Category Search function
stored again - this time in the MOTIF ES for-
As preliminary climax the MOTIF XF was int-
mat. Here you can use either the file type
roduced to the market in 2010 - the current
• Optimized Arpeggio functions
„AllVoice“ or „All“. The files stored with the
top model of the Yamaha synthesizers.
• TAP tempo input
L oad i ng MOTI F ES
• „pattern“ (single Patterns from „all“
and MOTIF XS files
or „all pattern“ file from the
i nto the MOTIF XF
The MOTIF XF is fully compatible with the
• „all waveform“ (all User Waveforms
and samples from the MOTIF ES,
All file types can be loaded.
The only limitation is for files that contain
• „waveform“ (single User Waveforms
samples totaling more than 128MB. These
including samples, W7A, W7W)
can only be loaded into the optional Flash
memory, because the internal SDRAM is
• „sample voice“ (single Sample
limited to 128MB.
Of the data created with the MOTIF ES
Voices, Waveforms, and Sample Voices can
be loaded into the MOTIF XF.
The MOTIF XF can directly load data from
the MOTIF ES using these file types:
• „all“ (all data from the MOTIF ES,
Voices, W7A, W7S, W7P)
• „editor“ (Voice Editor files, W7E)
For all data loaded from the MOTIF ES a full
sound compatibility can not be assumed.
the MOTIF ES, W7V)
• „1 bank voice „ (single User Voice
Banks from „all“ or „all voice“ files)
• „voice „ (single Voices from „All“ or
The Wave-ROMs of the MOTIF ES and the
MOTIF XF are different. Many Waveforms
from „all“ or „all voice“ files)
• „all arpeggio“ (User Arpeggios from
• „all songs“ („all song“ file from the
• „song“ (single Songs from „all“ or
match the respective keyboard models in
terms of basic features:
MOTIF 6 / 7 / 8 „Classic“ = MOTIF-RACK
However, there are some deviations from
the features of the keyboard models. The
following features are not available:
• Sampling
• Sequencer
• Pattern mode
• Remote Control
• SmartMedia card slot and USB TO
DEVICE terminal
• User Arpeggios
of the MOTIF ES were replaced, resulting in
For the MOTIF-RACK ES and the MOTIF-
a different sound, however the result can be
RACK XS the number of Voices and effects is
regarded as superior.
largely identical to the respective keyboard
„All Voice“ files)
• „performance“ (single Performances
The tone generators of the MOTIF-series
• Master mode
In particular there are the following limita-
• „all voice“ (all User Voice Banks of
MOTI F- RAC K Series
The Preset Voice Banks of the MOTIF ES
and the MOTIF XF are composed differently. Therefore, the sound assignments in Per-
versions, however, the MOTIF-RACK was already a kind of intermediate step between
MOTIF Classic and MOTIF ES.
The MOTIF-RACK has two additional Pre-
formances, Songs, and Patterns will not be
set Voice Banks and a second User Voice
consistent, unless User Voices or Mix Voices
Bank. In the area of effects it is even supe-
were used exclusively.
rior to the MOTIF Classic, because the new
high-quality reverb effects (R3 Hall, Large
„all song“ file from the MOTIF ES)
The effect types of the MOTIF ES and the
• „all pattern“ („all pattern“ file from
MOTIF XF are clearly different in some
implemented in the MOTIF ES, are already
available in the MOTIF-RACK.
the MOTIF ES, W7P)
Hall, Warm Room ...), which were later
There are also Insert Effects 1 and 2 avail­
Sometimes Voices can also be exchanged
able for up to four Parts in the Multi mode,
„across generations“. Voices of the MOTIF
while on the MOTIF Classic they were only
Classic for example can be loaded into
available for one Part. And a new 3-band
the MOTIF-RACK ES Voice Editor and then
Part EQ was added in the RACK version.
transferred to the MOTIF-RACK ES. The
It is generally possible to transmit Voices
MOTIF-RACK XS Editor can load files in
and Multis (Song Mixings) from the key-
MOTIF XS / ES / MO format.
board version to the rack module of the
It is beyond the scope of this article to show
same generation. This is done with a bulk
all converting possibilities between the ins-
Compared to the MOTIF ES the MO6 /
dump job via MIDI or with the help of the
truments of the MOTIF series. The possibi-
MO8 has the following restrictions:
Yamaha editors.
lities can best be determined with the res-
• No sampling
Of course, this only works with Voices that
pective editors.
• No plug-in boards
First, check which options are available at
• Only one connector for foot control-
do not contain samples or User Arpeggios.
The reverse way, meaning the transmission
from the rack module to the keyboard version only works for the ES and XS generation,
not for the MOTIF Classic.
For the MOTIF ES it has to be considered
that the MOTIF-RACK ES features an additional User Voice Bank (User 3). Voices of
that Bank have to be previously copied to
the bottom (Enable) of „File - Load“.
In addition to the top models of each MOTIF generation, there are also reasonably
priced „lite“ versions, which are especially
suited for beginners.
The MO6 / MO8, introduced in the year
2006, is the „lite“ version of the MOTIF ES.
ler and foot switch
If you can‘t find the format you want, you
• No breath control connector
can still try File - Import, because some­
• No audio input
times additional Voice import formats are
• No assignable outputs
available here.
You can download all the editors of the
MOTIF series from::
User 1 or 2 before transmissing them to the
MO and MOX
• Only three Insert Effect Blocks
(instead of eight in the MOTIF ES)
• Only four Preset Voice Banks (instead
of six in the MOTIF ES)
• No SmartMedia card slot
MOTIF ES and MO6 / MO8 are largely
compatible. Voices can be shared with the
• Level Meter - Switchable between
A/D input and Mix
keyboards and are thus mainly focused on
the piano playing.
file type „AllVoice“ or with the editors.
• Performance Creator
It is possible to exchange Voices and Per-
Restrictions on sound compatibility arise
• Less weight (MOX6 = 7 kg,
formances with the relevant MOTIF models,
primarily from two factors:
• Insertion Effect Blocks
The MOTIF ES has eight Insert Effects
Blocks, the MO only three. In a
MOTIF ES Song or Pattern Mixing
thus up to eight Parts can have their
own Insert Effects A + B. On the MO
a maximum of three Parts can have
exclusive Insert Effects
• Voice Banks
MOX8 = 14.8 kg)
• Up-to-date software bundle
Banks on the MO6 / MO8.
The MOTIF ES has six Preset Voice
Banks, two User Voice Banks and
one GM bank.
The MO has four Preset Voice Banks,
two User Voice Banks and one GM
It‘s only a few months ago that the MOX6 /
MOX8 was launched, so it is the latest instrument of the MOTIF-series. The MOX
can be regarded as a „lite“ version of the
MOTIF XS with various advanced features.
Compared to five years older MO6 / MO8
a VSTi plug-in
Our look at the history of the MOTIF series
between MOX and the MOTIF XS is possible
is over for now.
using the software „Total Librarian“ by John
S S er ies
In the strict sense the S series does not belong to the MOTIF series. But because the
similarities are greater than the differences,
certainly going to discuss some of the
details mentioned here.
basic concepts of the MOTIF series such
as samples, Wave-ROM, Voices, Elements,
Multis, and Mixings, etc.
however, the models of the S series are included here.
As with the rack-models each of the S series
models relates to a particular generation of
the MOTIF series:
MOTIF 6 / 7 / 8 „Classic“ = S90
The S models feature the entire tone generation of the corresponding MOTIF model
• Professional sound quality of the
In the course of this article series we are
In the next episode we will explain some
• Redesigned user interface
Co nc l u sio n
An exchange of Voices and Performances
the MOX has a significant increase in fea• New, high quality keyboard
Piano Voices or samples are used.
• Integration of the MOX as
The compilation of the Voice Banks
on the MOTIF ES is different from the
unless the additional Piano Waveforms and
and additional high-quality Piano Waveforms and Piano Voices.
They are equipped with Balanced Hammer
• Wave-ROM extended from 175MB
to 355MB (16-bit linear)
• 811 new Preset Waveforms
• Four additional Preset Voice Banks
• An additional User Voice Bank
• Expanded Articulation
• 62 new types of effects
• 5,000 new Preset Arpeggios
• 4-Part Arpeggiator
• Six Arpeggio variations (ARP1 - ARP6)
on SF-keys available
• Assignable Functions
• Built-in MIDI / USB audio interface
with DAW level control
• Audio Input (A / D input)
ParT 3: MOTIF basIcs
In this episode we will discuss some basic
A sample-based tone generation is extre-
terms which play an important role in the
mely versatile compared to other sound
MOTIF series. Anyone who would like to se-
synthesis and has therefore prevailed itself
riously work with his instrument should be
in the range of current synthesizers and
aware of them.
S a mp les and W ave-
It is basically possible with sampling to imitate any instrument. This is perfectionized
by the so-called „multi-sampling“. In this
The MOTIF series synthesizers (including
method an instrument or another playable
Rack, MO, MOX, S series) are - apart
tonal sound source is recorded in different
from the plug-in boards for MOTIF and
pitches, in order to avoid the transposing
MOTIF ES - completely based on samples.
of samples, which would result in an un-
In the field of music sampling is understood
natural sound. The more different pitches
as a digital audio or music recording that is
are recorded, the more realistic the origi-
used in a new context. Every kind of acou-
nal sound can be reproduced. An extreme
stic and electronic sounds come into questi-
case would be a „chromatic sampling“, ie
on for being sampled, for example, noises,
the sampling of every pitch the instrument
atmospheres, sections of recorded music
can produce. For a sound that is played
(„loops“), real existing musical instruments,
over five octaves, this would result in 61
synthesizers, human voices, etc.
samples, which are then arranged on the
In the first part of this series it has already
keyboard („mapping“). But because the
been stated that conventional synthesizers
sample memory in synthesizers and work-
were not sample-based, but working with
stations is limited, a sample usually covers
analog oscillators. The result is a kind of
a number of keyboard keys. This is called a
sound that even today is still very popular -
Keybank, and a group of Keybanks make
analog synthesizer sounds.
up a Waveform (= multi-sample).
A simple mapping of Waveform consisting
A mapping for this scheme would mean
The sampled Waveforms are stored as a
of several Keybanks (= individual samples)
that each sample has to be transpo-
Preset Waves in the MOTIF‘s Wave-ROM.
could look like this:
sed by only one semitone up and one
ROM is an acronym for „Read Only Me-
Keybank 1 = C1
Keyboard zone C1 – D#1
Keybank 2 = F#1
Keyboard zone E1 – A1
Keybank 3 = C2
Keyboard zone A#1 – D#2
Keybank 4 = F#2
Keyboard zone E2 – A2
Keybank 5 = C3
Keyboard zone A#2 – D#3
Keybank 6 = F#3
Keyboard zone E3 – A3
down. The transpose effect is barely audible, or at least very inconspicuous.
Keybank 1 = C1
Keyboard zone C1 – C#1
Keybank 2 = D#1
Keyboard zone D1 – E1
Keybank 3 = F#1
Keyboard zone F1 – G1
Keybank 4 = A1
Keyboard zone G#1 – A#1
Keybank 5 = C2
Keyboard zone B1 – C#2
Keybank 7 = C4
mory“. The Preset Waves in the Wave-ROM
can not be overwritten or deleted.
That Wave-ROM is the heart of every
MOTIF synthesizer.
And the Wave-ROM is always the first
step in the development process of a new
In general, a large part of the Wave-ROM
from the previous model is taken and added with an equally large new part. In the
last episode of this workshop we already
A Waveform mapping can also include
have shown that the size of the Wave-ROM
velocity ranges in addition to the keyboard
has dramatically been expanded with each
zones. Here samples of a certain pitch are
a sample that‘s transposed two semitones
available in different velocities and are
Perhaps you‘re wondering where to find this
assigned to corresponding velocity-zones.
heart of the MOTIF? The Preset Waves of
In the past this had often to be taken into
In Yamaha synthesizers this sample-based
the Wave-ROM appear as „Oscillators“ in
tone-generation is referred to as AWM syn-
the Voice mode.
thesis. AWM stands for „Advanced Wave
You can learn more about that in the next
Keyboard zone A#3 – D#4
Keybank 8 = F#4
Keyboard zone E4 – A4
Keybank 7 = C5
Keyboard zone A#4 – D#5
Keybank 8 = F#5
Keyboard zone E5 – A5
Keybank 9 = C6
Keyboard zone A#5 – C6
This mapping uses two samples per octave.
A Keybank thus comprises six semitones.
Each sample is transposed up to two semitones down and three semitones upwards.
Depending on the sound material this may
already lead to clearly audible changes in
sound. Because at the transitions of the
Keybank‘s keyboard zones a sample that‘s
been transposed three semitones up meets
account for the simple reason of memory
In more recent samplings, however, the
Memory“. Sampled waveforms are used as
trend is towards using much more Key-
the basis for programming realistic imita-
banks for a Waveform.
tions of instrument and synthesizer sounds.
If samples for one octave are taken in
Parameters as envelopes, filters, modula-
four different pitches (eg C, D#, F#, A), a
tors and effects are available for further
Keybank only comprises three semitones.
shaping of the sound.
Voi ces and
A sound stored in MOTIF is called a Voice.
There are two types of Voices:
Now that COMMON EDIT is active, press
Now to get an overview you should select
Normal Voices are mainly musically play­
the number button 1 to select Element 1 for
a sound category of your interest and then
able sounds. They can be played across the
step through the Wave numbers within the
entire keyboard in the usual tone scales.
Normal Voices consist of one or more „Elements“. With Elements several sounds can
be layered in a Voice.
An Element is the smallest unit that makes
In an „Initialized Voice“ only the first Element is active, thus set to „ON“. The other
Elements are switched „OFF“. Leave it at
up a normal Voice. An Element is created
Now press the F1 button to call up the
by different Voice parameters, that are ap-
Oscillator display, in case it is not displayed
plied to the raw sample material.
Drum Voices are mainly drum sounds. A
In classic analog synthesizers, oscillators
Drum Voice consists of percussive and
drum sounds, each assigned to specific individual keys on the keyboard, or of groups
of such assigned sounds. A Drum Voice is
also referred to as a drum kit.
The Voice mode, Elements and the Voice
editing process will be discussed in later
episodes of this workshop.
Here we want to show you how to access
the MOTIF, the term Oscillator refers to the
output signal of its associated Waveform,
its sound is then processed with filters and
ter episode of this workshop.
These terms are generally used in a very
versatile way. But limited to the matters
covered in this workshop series - Yamaha
tone generators - a Performance is a program that contains up to four Parts. Each
ble in a Voice. Performances are used for
different purposes, that require more than
one Voice, but not more than four. Use split
points to play different Voices side by side
on the keyboard, or layer Voices on top of
each other, or use them to be triggered by
Voice first.
samples or optional soundlibraries in a la-
additional parameters that are not availa-
parameters -, it is advisable to initialize a
Now, press EDIT to enter the Voice Edit
We will come back to the usage of your own
Part can include one Voice and features
- without having them influenced by sound
are available.
that are based on a „Wave-ROM“, such as
In order to check the pure Preset Waves
• Then press EXIT to leave the JOB
boards are installed, the banks FL1 and FL2
Per fo r mances and
created or edited.
the initialization
stores User Waveforms. And if Flash-ROM
sawtooth, square, and pulse. In synthesizers
Voice Edit mode, in which Voices can be
• Confirm with ENTER and YES to run
addition to the Preset Waves. The bank USR
rated basic waveforms like sine, triangle,
within the Voice mode. This is done in the
Voice mode and press the button JOB
But there are some more banks available in
were electronic components, which gene-
the Preset Waves in the Wave-ROM from
• To do this on the MOTIF select the
selected category.
an arpeggio - or combine all of these posIn an Initialized Voice of the MOTIF XF the
Waveform number 0001 (CF3 Stretch Sw
St) ist set as default. This acoustic piano is
the first Preset Wave of the Wave-ROM. In
A Performance is primarily intended for
the use in the respective instrument. For
example it is not possible to assign sepa-
other synthesizers of the MOTIF series there
rate MIDI channels to the individual Voices
is also a piano Waveform set, but with a
and control them from another device or
different name.
a DAW. For this reason, the Rack versions
The Waveform numbers 0001-3977 of
the selected Wave Bank „Pre“ represent
the Wave-ROM of the MOTIF XF. For instrument or synth Waves these are multisamples, ie individual samples, which are
of the MOTIF do not feature Performances.
Every other MOTIF features a variety of Performances. These cover a very wide range
- both in terms of musical style, as well as
practical application on stage. (Sound combinations, special live applications, etc.)
mapped across the keyboard to make a
Performance storage locations are always
balanced sound. With sound effects and
in the rewritable user area, so you are able
drum sounds usually only one sample is
to overwrite all preset Performances with
used for a Wave.
your own versions.
Whether you like to start from the scratch
to have a horn section layered behind the
A good knowledge of the memory contents
with an initialized Performance, take a pre-
of your instrument is always very helpful, so
set Performance as a template, or simply
But the horn section should not respond
you are able to create new variants from
adjust a preset Performance to meet your
to the sustain pedal. And it should be pro-
appropriate templates, if necessary.
requirements, depends on your working
cessed by a delay as an effect, which in turn
style. However, the procedure for programming Performances are somewhat different
depending on the MOTIF model. Since
the S90XS/S70XS - now also in the MOX
- a Performance-Creator function allows a
much easier programming of a new Perfor-
should not be applied to the piano. You
The Performance mode will be discussed in
can easily create such a combination in a
detail in a later episode of this series, so
Performance and are able to adjust the ef-
let‘s proceed with the presentation of other
fect intensity, the volume or the filter for the
brass section while playing.
Many preset Performances included arpeggio patterns.
So ngs and
mance in comparison to the MOTIF series. Patterns
In a Voice there already are individual
A very large part of the terms we use today
Elements, as described above. The Perfor-
as a matter of course in the context of mu-
mance area is a level above the Parts that
are assigned with one Voice each. Simplified this area could be compared with a
4-channel mixer. However, the Performance
mode offers much more possibilities than
solely adjusting the volume of the Parts and
EQing them. The control surface of the instrument with all its sliders, buttons and knobs offer a variety of parameters to directly
control finest details of the sound. Examples
include filters, envelopes, tempo or grooverelevant parameters such as quantization
and so on. So the term „Performance“ in
general does mean some sort of stage performance. A Performance in the instrument
offers extensive intervention in the combination of Voices during the actual performance.
The MOTIF series synthesizers contain
sic has its origin in the English language.
thousands of arpeggios, which are cate-
In many cases, non-native English speakers
gorized according to different instrument
probably have almost lost consciousness
types. There are (abbreviated) ARPs for
for that.
synth sounds, basses, guitars, drums - to
name just a few examples. These phrases
can be integrated into a Performance and
controlled by the keyboard as required. A
chord recognition, for example, perfectly
transforms a played keyboard chord into
A Song for instance is first and foremost a
tune. However, in music production with
synthesizers, workstations, DAW‘s etc. the
term Song is rather used as delimintaion to
other notions - for instance to the Pattern.
a typical guitar phrase. By using so-called
In a musical environment a Pattern could
Mega Voices this results in a very realistic
be described as a section that is repeated
sound that could not be achieved with „nor-
regularly - thus the music follows a pattern.
mal“ keyboard playing. All four Parts of a
In earlier years of music production, when
Performance can have arpeggios assigned
the first drum machines were used, a pat-
to. Each Performance can have up to five
tern-oriented work was most common. For
variations of the ARPs, which can be set to
fit each other. By this it‘s possible to create
Here are two practical examples. As lear-
some structure for a Performance from intro
ned in the section on Voices you are able
to outro. A Hold function for the arpeggios
to set up split and layer sounds with the
ensures that the phrase doesn‘t stop after
Elements of a Voice. But to control this com-
being started by playing on the keyboard.
bination of Elements, the Voice Edit mode
This provides the opportunity to have at
would be necessary in most cases.
least one hand free for parameter changes
certain parts of a production, such as Intro,
Verse, Bridge, Break, Ending, etc. one-bar
phrases (Patterns) were created and then
strung together in a meaningful way (this
example is limited to the drums), ideally resulting in a song, which closes the circle.
Let‘s take a look at a practical example.
and such.
The instruments of the MOTIF series inclu-
Now take a few minutes to work through
de a so-called Sequencer section, which
the Performances of your instrument. Try to
can be used Song- and Pattern-oriented.
Suppose you have a Performance to
determine, how the factory Performances
Today Patterns can take considerably more
prepare, with a piano as main instrument.
are programmed and what type of musical
musical content than in the aforementioned
And at certain points of the song you want
performance they are suited for.
drum machines.
Below the Pattern there‘s a smaller unit -
made the experience that this Pattern - as
After pressing the EDIT key and SF3 (la-
the Phrase. A Pattern can consist of up to
described above - is repeated in a loop un-
belled with „Song>“ in the display), select
til you press the STOP button.
a free song storage location and press
16 Tracks, each containing a Phrase. The
length can be between 1 and 256 bars.
If you now want to
ENTER & YES to start the conversion of the
follow the transition
Pattern Chain into a Song. The result can
to a Song, please
now be played from the Song mode, which
go back to your ori-
at this stage is no different to the Pattern
How is a Phrase used in a Pattern? A very
ginal Performance.
Chain. But by activating the next available
elegant and fast method, that is also a lot of
All you need to do, is to press the RECORD
track (track 5) you are ready to record for
fun, is to record a Pattern from playing an
button again and change the Section to „B“.
ARP-based Performance. You only have to
instance a melody on top of your backing
tracks with your chord progression.
set some very few parameters, such as tem-
After this last step the term Song is fully
po, time signature and the length in bars
and you are ready to produced a Pattern in
minutes. Depending on your selection, even
Please look back a few lines in your
a Pattern with several Phrases. So select an
thoughts. Provided a little routine with the
ARP-based, four Parts Performance on your
MOTIF that suits your taste. If necessary, adjust the tempo and play a few minutes to
Start to play another chord progression after hitting the START button and listening to
the count-in. Choose chords that are suit­
able as an alternative to Section „A“. In the
procedure described above: Can you think
of a faster way to create a professionalsounding Song? We don‘t think so and
learn as you go. Now suppose you want to
Pattern Play mode you will then see the Sec-
would proudly proof that on any suitable
produce a four-bar Pattern, which contains
tions „A“ and „B“, each having four Phrases
occasion. We will later come back to recor-
a different chord per bar. Press the RECORD
button to call up the following screen where
assigned to. Use the Bank Select keys to
switch between Section „A“ and „B“ during
dings that allow extensive post processing.
you can make any necessary adjustments.
16 Tracks. Whether
these Tracks are recorded like shown
To make a Song from that exemplary Pattern, you simply create a sequence of the
Sections. To do this, enter the Pattern Play
mode and press „F5“ to call up the „Chain“
Since you have previously set the tempo and the default value for the length of
the recording is set to four bars, you only
have to press the START button and start
playing your first chord after the count-in.
The recording automatically stops after the
fourth bar. Enter the Pattern mode, press the
START button and enjoy the acoustic fruits
in the above exemplary manner, or if you
record track by track, or import a finished
song as standard MIDI file, is completely
up to you. The maximum capacity of the
MOTIF‘s Sequencer (Patterns and Songs in
Press RECORD and then PLAY and start to
total) is about 130,000 events. However,
switch between the Sections „A“ and „B“
these events include such as aftertouch,
after the count-in. You don‘t have to wait
pitch bend, and modulation wheel, thus re-
for the four bars of each Section, you can
ducing the capacity when intensively used.
change bar-wise, too. The Pattern Chain
you just have created can be played back
from the Pattern Play mode.
Mul ti s, M i x ings
With the Production of a Song in one way or
Although the sequence of the Sections
the other, the focus was on the musical con-
already has a certain Song character, a
tent. Now, with the terms Mixing and Multi
You just have created a four-bar Pattern
further step towards a „real“ Song is neces-
we would like to complete this part of the
with four Phrases in the shortest time and
Yamaha Synth Guide.
of your work.
Multi is initially an acronym that in terms of
There is a further application scenario for
modern music equipment describes the po-
the Mixings apart from working with Patterns
tential of a tone generator to be able to play
and Songs: The live performance on stage.
multiple sounds simultaneously. In Yamaha
synthesizers a Multi is a program in the instrument which organizes up to 16 Voices
that can be simultaneously controlled from
The polyphony and multitimbral capacities
of modern workstations now no longer require the use of entire fleets of instruments,
like just a few years ago. You have already learned that Performances offer you the
different MIDI channels - in contrast to the
possibility to customize up to four Voices to
previously described Performance. With the
meet your needs on stage. We have also
S90XS/S70XS this label lived again in the
demonstrated the limits of Performance
context of current Yamaha workstations. In
and that they are significantly shifted with
the MOTIF series this program was labeled
as a Mixing. It‘s in fact exactly the same
thing - at least in Yamaha terminology -, so
we basically just talk about a term and be-
the Mixings. You can use them to have up
to 16 Voices for your live performances at
hand. Mixings also allow to create split and
layer combinations. Especially in combination with external keyboards, expanders or
cause of the greater spread we will continue
MIDI equipment in general it is very advan-
to talk about Mixings.
tageous to be able to assign each Voice to
The term Mixing has its origin in „mxing“
sounds, obviously. Due to the fact that multitimbrality can be considered as a matter of
course, Mixing is a better description of this
MOTIF‘s program, because the 16 Voices
are actually conducted through a virtual
its own MIDI channel.
For serious users of the instruments covered
by this guide, the knowledge of the structure of the Sample, the smallest unit, right
up to the finished production within a Mixing is very helpful. Few musicians will really exploit any part of these very versatile
mixing console within the instrument. As
workstations. Perhaps that‘s why this little
with a hardware mixing console volume ra-
guidance through the maze of terms and
tios, equalizers, panorama positions, effect
parameters enables you to select which of
units and a lot more can be set and stored,
the coming episodes are of interest for you.
making your Song a finished production directly out of the instrument. The MOTIF series features 64 Song and Pattern Mixings.
The current S series features 128 Multis, for
there is no true integrated Sequencer and
Pattern-oriented work is not possible.
Regardless of the built-in Sequencer Mixings and Multis are also used to work with
an external DAW (eg Cubase, Logic). In this
case the instrument is used as a pure tone
generator. Since a version of Cubase AI is
included with all current Yamaha synthesizers and corresponding editor softwares are
available as free downloads from Yamaha,
it is possible to seamlessly integrate the synthesizers into the DAW environment and
work with the tone generation without having to actually make any settings on the
instrument. Most current devices also offer
to use their hardware controls to control someof the DAW‘s functions like the transport
control (Start, Stop, Record, etc.).
We hope this part could help you and see
you here again next time.
cepts of the MOTIF series described in the
Please take a look at the diagram in which
last episode.
the different sound layers of the MOTIF are
T he s tr u ct u re of
The basic sound of the MOTIF is called a
You will find it much easier to operate the
A Voice consists of up to eight Elements.
MOTIF when you have an understanding of
Each Element has a Waveform (a Preset or
its basic structure.
User Wave) assigned, which is then modulated like an „oscillator“ by the sound
modules Filter, Amp, Pitch, LFO, EQ, etc.
to a partial sound. The overall structure
of a Voice consists of the Elements, the
Effects and the Arpeggiator.
The next level is either a Performance,
a Song or a Pattern, which each have
assigned Voices to a different number of
Performances consist of maximum four
Parts that can be layered on top of each
other or split over distinct keyboard
ranges. These Parts are controlled via a
This episode is about the sound architec-
common MIDI channel („Basic RcvCh“).
ture of the MOTIF and basic operating
Performances are important for live use
steps. We are refering to the basic con-
or for very complex sound-combinations.
Songs and Patterns can use up to 16 nor-
The Bank buttons are used to select the
The following sections show how to use the
mal Parts, which can be set in the Mixing
Voice Banks (PRE1 to USER DR) and the
Number buttons in each mode and what to
Mode. Each Part can be assigned to an
individual MIDI channel, but several parts
can also be assigned to the same MIDI
Performance Banks (USER1 to USER3 or
USER4). In addition, they select the Main
Categories when the CATEGORY SEARCH
But before we start, here‘s a short notice
function is activated (see sub-label of the
for those users who have previously worked
The top level is the Master Mode, which is
The Group buttons are used to select the
used to sum up the programs of the other
Voice or Performance Groups A - H. These
Modes. So the Master programs can be
assigned to either Voices, Performances,
Songs, or Patterns. In addition the masterkeyboard functions can be used to control
external MIDI devices from different zones.
have to bear in mind.
consist of 16 programs each. They can also
choose the Sub Categories when the CATE-
with an older MOTIF synthesizer (eg MOTIF ES): On the MOTIF XS / XF the buttons
PROGRAM and PERFORMANCE CONTROL were added. And instead of the com-
GORY SEARCH function is activated..
bined MUTE/SOLO button separate MUTE
The function of the Number buttons
and SOLO buttons were added. These new
1 - 16 depends on the status of the [TRACK
buttons result in an advanced operational
MANCE CONTROL] buttons, as shown in
B an k - / Gro up - /
the table below.
Number buttons
In addition to the modes listed in the table
The selection of Voices and Performan-
Vo ice P lay Mo de
the [PROGRAM] button is of importance,
The Voice Play mode is used to select
for it is used to return to the selection of
and play the Voices. In this mode, the
ces are done with the Bank, Group, and
Voices or Performances in the respective
PROGRAM button is activated by default.
Number buttons.
PLAY Mode.
The selection of the Voice can then be done
using the Bank / Group / Number buttons.
If necessary, activate the TRACK button to
set the MIDI Transmit Channel using the
Number keys 1 - 16. Hit the PROGRAM
button to return to the Voice selection.
SOLO have no function here.
Vo ice E dit Mo de
The Voice Edit mode is used for the editing
and programming of Voices.
If the TRACK button is activated, the
Common part and the Number buttons
1 to 8 the corresponding Elements 1 - 8 to
be edited.
If the MUTE button is activated, the Number
buttons mute the Elements 1 - 8.
And if the SOLO button is switched on, the
Elements can be soloed.
CONTROL have no function here.
P e r f or man c e Pl ay Mo de
Mas te r P lay Mo de
S o ng Mixi ng / Patte r n M i x ing
In this mode, the PROGRAM button is
In the Master Play mode the PROGRAM
In the Song and Pattern Mixing mode,
activated by default, so the Bank / Group /
button is active by default.
the TRACK button is turned on by default,
Number buttons are used to select the
Since there is only one Master Bank, the
Bank selection is fixed to USER1. The Group
and Number buttons are used select from
prehensive and very effective control. With
the 128 Master-Programs.
this button activated, the Number buttons
If a Voice or Performance is assigned to the
[1] - [16] are assigned to the following
Master, switching on the TRACK button lets
functions, which are also indicated by the
you set the MIDI transmit channel using the
label below each Number key:
Number buttons 1 - 16. But if a Song or
Pattern is assigned to the Master, activating
allowing the selection of the 16 Mixing Parts
using the Number buttons.
The MUTE button allows you to mute the
Mixing Parts.
The SOLO button allows you to soloe a
Mixing Part.
Activate the PROGRAM button to select the
Voice assigned to the Parts using the Bank /
Group / Number buttons.
the TRACK button lets you select the Song‘s
or Pattern‘s Track.
Hit the PROGRAM button to go back to the
Mixing Vo ice E dit
If the TRACK button is active, the Number
selection of Master programs.
keys 1 - 16 are used to set the MIDI Trans-
mode by pressing F6 („Vce Edit“) and works
mit Channel.
SOLO have no function here.
just like the Voice Edit mode (see above).
Mas te r E dit Mo de
S o h e r e ‘s a s umma ry:
buttons 1 - 4. However, the mute function
The Master Edit mode is used for the editing
In the Play modes the Number keys are
is also contained in the PERFORMANCE
of the Master programs (especially of the
primarily used for the selection of the
CONTROL function described above, whe-
Master Zones). In this mode the TRACK but-
re the Number buttons 9 - 12 can be used
ton is activated by default. The COMMON
to mute the Parts.
EDIT button selects the Common part, the
This mode is available from the Mixing
If the MUTE button is activated, the Parts
1 - 4 can be muted using the Number
If the SOLO button is switched on, you can
use the Number buttons to solo a Part.
are used to set the MIDI Transmit Channel.
Zones 1 - 8 to be edited.
between TRACK (selection of Common and
MUTE, and SOLO have no function.
Elements), MUTE (to mute Elements), and
In the Performance Edit mode it is
Performance selection..
Song an d Patte r n Mo de
P e r f or manc e Edit Mo de
Number buttons 1 - 8 select the Master
Hit the PROGRAM button to return to the
exception: If the TRACK button is active, they
CONTROL function.
In the Song and Pattern mode, the TRACK
In the Song and Pattern mode you switch
The Performance Edit mode works similarly
button is activated by default, allowing the
as the Performance Play mode. There are
between TRACK (selection of Tracks or
selection of the 16 Song/Pattern Tracks
Parts), MUTE (muting of Tracks or Parts),
only two exceptions:
using the Number buttons.
and SOLO.
If the PROGRAM button is active, the Bank /
The MUTE button allows you to mute the
Use PROGRAM to return to the program se-
Group / Number buttons are used to select
Song/Pattern Tracks.
lection in all modes.
the Voice (Bank + Number) for the currently
The SOLO button allows you to solo a
selected Part of the Performance.
Song/Pattern Track.
If the TRACK buttons is switched on, the
If the PROGRAM button is switched on, the
Parts 1 - 4 can be selected.
Group / Number buttons are used to select
SOLO have the same function as in the
Performance Play mode.
Im p ortant
To the left of the Bank/Group/Number
keys the instruments MOTIF XS/XF, MOX,
and S70/90XS feature buttons with the
following names: FILE, UTILITY, EDIT, JOB,
and STORE.
With this button, the entire file management
is in reach. In connection with USB memory
N av igatio n an d data e nt ry
Depending on the selected Play mode
One „block“ on the control panel to the left
(Voice, Performance, Multi/Mixing/Song,
the cursor buttons to navigate within the
Master) this button calls up the correspon-
display can be found: [◄▼▲►]
devices, volatile or non-volatile RAM, and
ding Edit mode. As soon as a parameter
the Flash Memory of the MOTIF XF series
was changed, this button can be used to
this menu is used to load or save data
trigger the „Compare“ function, allowing
you to quickly compare the resulting
from the instrument. Furthermore, storage
changes in comparison to the parameter‘s
media are prepared and organized from
original values.
this menu. In addition, you are able to
record and play back audio signals.
The MOTIF-RACK XS has no FILE button
and no USB TO DEVICE port to operated
storage media. Here, all data backup is
done via the USB TO HOST interface using
a bulk dump to a connected computer
which affect the system of the instrument
smallest possible step - for fast and large
value jumps it is recommended to use the
DATA wheel.
those familiar questions like „Are you really
shure?“ The ENTER button confirms data
is very different for each of the different
entry or storage operations when a dialog
modes of the instruments. It would take
prompts you to.
several pages to completely describe all
of the functions. Many experienced users
might have missed the formerly available
„INIT“ button, that allowed users to initialize
a program of the different play modes. This
function is now incorporated as a „Job“.
ing or deleting things, eg a Pattern, Events,
Since there are no jobs on the MOTIFRACK XS, there is no such button.
as a whole. Here parameters such as,
There are no [INC/YES] and [DEC/NO]
buttons on the MOTIF-RACK XS, MOX
and S70/90XS on the other hand have an
additional [SHIFT] button which has a
special function assigned, depending on
the current mode.
F u nctio n b utto ns
Below the display of the MOTIF XS/XF
and MOX the Function buttons F1-F6 and
SF1-SF6 are located. These are used in
combination with the display, hence their
for example, the total volume of the tone
generator or the tuning are available.
The main function of this button is to save
You can adapt the display design to your
they can be used to change a value in the
This button calls up the Job menu - which
Tracks, etc.
The UTILITY menu offers several functions
have alternate functions. With INC/DEC
With YES/NO they are used to answer
Other functions are - only in part - copyUTILITY
The buttons [INC / YES] and [DEC / NO]
function varies accordingly to the current
your work to the
memory of the in-
personal preferences, set network settings
or determine an auto-load-file.
based on the dif-
ferent modes and
MOTIF XF the settings for the optional
memory locations.
FireWire card can be found.
Another very important area is submenu
„Control“. Apart from the controller as-
On the MOTIF XS/
XF this button has
If NUM appears in the display, the Func-
the alternate function „SET LOCATE“, which
tion buttons - now assigned to the numbers
is used in connection with the song-control,
printed below - can be used for the direct
just like „SCENE STORE“ (MOTIF XS/XF, and
input of values.
signments another submenu features the
MIDI-related settings, like the interface
Since the MOTIF-RACK XS does not feature
(MIDI, USB, mLAN), and synchronization
a sequencer, these alternate function are
This button - called „REMOTE ON/OFF“
not required.
or „DAW REMOTE“ - is reserved to the
allows to remotely control music production
and MULTI call up the respective modes,
softwares like Cubase, Logic Pro, SONAR,
that have already been discussed in the
etc. This is especially useful for controlling
previous section of this guide.
the software‘s sequencer functions, for
settings in conjunction with other devices or
software. On the MOTIF XF you can also
access the Waveform list of the optional
Flash Memory.
REMOTE b utton
keyboard versions of the MOTIF-series and
example to control the transport functions
directly from the keyboard. However it is
Found again only on the models MOTIF
necessary to correctly set up the DAW, in
XS/XF and MOX with built-in sequencers -
some cases to install additional software.
these buttons are largely self-explanatory,
On the MOTIF XS/XF there is a central
[ARPEGGIO ON/OFF] button to control
the Arpeggiator. The MOX features an
A R P EGG IO b ut ton( s)
They are used in combination with the
control panel (Control Section) with its
faders and knobs, and will be discussed in the next part of this series. The
enter the screen-supported ARP EDIT mode.
their the various possibilities are described
The Function buttons below the display of
later, too.
the MOTIF XS/XF and MOX can be used
to select the current Arpeggio Phrase. On
the S70/90 XS there is a separate keypad
above the zone faders.
EFFECT but tons
To the left of the display of the MOTIF XS/XF
and MOX there are three buttons to
enable/disable the effects. Insert, System
and Master effect can be switched here
separately, without having to enter an edit
mode. This feature is very useful to quickly
compare two Voices without effects or for
recording situations where external effect
units are to be used.
On the S70/90 XS the five buttons
[ARP SELECT - EFFECT ON/OFF] to the left
of the display can be used for this purpose.
TR ANS P OSE but tons
The MOTIF XS/XF features [OCTAVE] buttons, which can be used to shift the octave
of the keyboard. The MOX and S70/90 XS
have additional [TRANSPOSE] buttons on
the control panel to transpose the pitch of
the keyboard in semitone steps.
As announced this episode is all about the
Normally, this data will be sent to the
controller block.
second major unit of a synthesizer - the
This includes the keyboard, pitch bend and
tone generator. However, a single para-
modulation wheel, the ribbon controller,
meter setting in the UTILITY section called
and the knobs and sliders.
„Local Control“ determines whether the
data of the keyboard is sent directly to the
Ke y boar d
tone generator (Local = on) or only via
The keyboards of modern synthesizers
MIDI (Local = off).
have achieved a certain independence due
to the introduction of the MIDI interface.
Strictly speaking, in conjunction with the
MIDI controller board the keyboard can be
Since in electronic instruments no more
considered as a separate unit.
Each key of the keyboard gives the following
information: Note on/off events (which
results in the pitch and the length of the
mechanics are used beyond the key, all this
information is present in the form of data.
This data can be manipulated accordingly.
For example, you can change the octave
note), velocity, and aftertouch.
The velocity is measured in terms of the
speed a key is played with. Aftertouch
offers a pressure point after the keystroke.
While holding down the key variable
of the keyboard, or add or substract a
value to the notes you play in order to
obtain a transposition. Thus, it is possible to
play in a key which differs from the key you
actually play. Velocity and aftertouch can
also be modulated - the how and why they
board adds the pitch (note) to the said
are used will be the topic of one of the
information for each played key.
following parts of this workshop.
The described separation of keyboard and
The Preset Voices give many examples of
Again a small example: Just by his ang-
tone generator offers innumerable options
meaningful assignments, the creativity of
le offset to the wheels by 90° the pan
to integrate other sound modules or a
the user, however, is set few limits.
computer with appropriate software.
position of a Voice or of individual Elements
In contrast to the pitch bend wheel the
modulation wheel has no return spring.
Pitch Ben d wheel
Therefore, it makes sense to pull the wheel
The pitch bend wheel is usually used for
back to the minimum position to avoid
changing the pitch of a note - following its
the accidental activation of an effect after
designation. Moving it upwards or to the
switching to a different Voice.
is an obvious idea. The parameter „Ribbon
Mode“, which is stored with each Voice
(Voice Mode → Edit Common → General),
determines whether the value jumps back
to the zero position (reset) after releasing
front - as seen from the player - increases
the ribbon or remains in the last position
the pitch, the opposite movement results in
a reduction of the pitch.
So you are able to directly change the
As the detuning is specifically produced
pan position while you‘re playing, either
in a high resolution, you can use it to
temporarily or for specific parts of a song.
imitate special playing styles of several
stringed instruments, for example, the
pitch-variation of a note before or after the
A small example of an alternative usage:
correct counting is a regularly used style.
Suppose you want to detune the last sound
This way of playing wouldn‘t be possible to
of a synthesizer solo way down below the
recreate on a keyboard without pitch bends.
range that is set for the pitch bend wheel.
The range of the pitch bends can be
specified with the according parameter of
the Voice. It is also possible to assign a
different function to the pitch bend wheel
by changing the type of the generated
controller data.
The pitch bend wheel is spring loaded, so
This is possible by assigning the modulation wheel to the controller „coarse tune“
and setting the value range to the desired
detuning (up to -64 semitones). Now you
have the normal pitch-bending for your
performance within the normal range
and you are also able to use the desired
detuning on that last note.
error in these mechanics usually results in a
detuning of the instrument. So, if there are
any problems with the instruments overall
pitch it is advisable to take a closer look at
the pitch bend wheel.
R ibbon C ontroller
The ribbon controller is a pressuresensitive sliding band, which is also
The Modulation wheel - or mod wheel in
played note can be modulated.
features that are normally accessible via
other physical controllers. A typical application is Expression, which enables you to
wheels - you can directly reach a value,
a pressure sensor after playing a key, the
can be assigned to the aftertouch, even the
differently from that of the wheels, you can
controller type „Modulation“. In many
this default setting to another controller
traditional function of a keyboard. By using
Almost all assignable controller numbers
With the ribbon controller - contrary to the
pitch bend wheel you can of course change
components of the controller section,
Due to the fact that its mechanism behaves
short - has a standard connection to the
cases this produces a vibrato. As with the
element, such as the aforementioned
assignable to all sorts of controller data.
also use the above-mentioned types of
M od ulation wheel
Aftertouch does not have a separate control
but adds an additional controller to the
it automatically returns to the zero position
(center position) after releasing it. An
A ftertouch
create a crescendo that is suitable not only
for wind sounds. But vibrato, tremolo, pitch
without having to scroll through the inter-
bend, filter sweep effects, or the volume of
mediate values. And since you can program
certain Elements of a Voice can meaning-
fully complement your performance, too.
automatically falls back into a central
position or not, there are many possible
And so again, only a few examples were
Typical assignments are filter sweeps, effect
variants. Here, too, diverse suggestions can
mentioned. It is worthwhile to invest some
depths, rotary speed for leslie effects, etc.
be taken from the Preset Voices.
creativity here.
M an y controllers,
Cutoff (Filter) is assigned to the ribbon
many options
controller (set ribbon mode to „hold“) and
Perhaps the described variety may seem
confusing at first. For example you might
ask yourself: „Why do I need to be able to
assign pitch bend to two wheels, one ribbon
controller and aftertouch?“
you must first have to know the context
the reverb cloud to the modulation wheel.
By doing so you are able to play your solo
with one hand. For changing the filter
value, it is sufficient to briefly use your left
hand during a chord change. Alternatively,
you can use the sustain pedal exclusively
for the pad sound - that way your left hand
you want to play the Voice in. Another
is available to operate controllers during
longer sustained chords.
intermediate value of the controller is to be
achievable (which is hardly possible using
aftertouch for instance) or not. Here are a
few tips and a practical example.
It is obvious that for operating all said
Knobs an d S li d ers
On the MOTIF XF and MOTIF XS eight
knobs and eight sliders are available for the
real-time controlling of parameters.
While the sliders are responsible to control
the volume of each Part or Element, the
knobs are used for a variety of different
can select the current group of functions.
TONE 1, TONE 2, ARP FX for the Selected
As a cherry on the cake here‘s another
tip from the bag of tricks: Each controller
can be assigned more than once in order
to influence different parameters simul­
Part Control and REVERB, CHORUS, PAN
for the Multi Part Control.
only be used in Performance, Song, or
Pattern mode. The presence of two buttons
controllers - except aftertouch - a free hand
taneously. That is very suitable for sending
considerably facilitates switching, because
is required. For more complex organ-
that last note of the solo into the planned
if only one button was provided, you would
works, it is not unusual that in addition to
reverb cloud. With the parallel control of
have to press it five times to get from the
the player another person is present for
AEG release value you can release the last
choosing the registers and/or turning the
music sheets. Although there are plenty of
possible interventions for many hands on
modern synthesizers, current performances
So let‘s assume you want to play a
synthesizer solo and add a pad sound with
your left hand over the entire part of the
played key after having pulled the modu-
The two buttons work together, so that of
lation wheel up - then the note is slowly
all the function groups only one LED is lit,
decaying in an enlarged reverb cloud.
With a third assignment to the modulati-
between the functions TONE 1, TONE 2,
a desired level.
and ARP FX. If the button is held a little
must be realized using aftertouch.
Pitch bend can not be assigned directly to
the aftertouch, but the same result can be
achieved by using the tuning parameters
(„coarse tune“ and „fine tune“).
longer automatically the first function
con­troller assignments only to certain
is no time to operate a wheel, so pitch bend
for function TONE 1 is lit, pressing the
either be eliminated or at least reduced to
bend (+ 2 semitones) and vibrato, you
giant „reverb cloud“. During the solo there
For example, if in a Performance the LED
the solo the last note should disappear in a
namely the active function.
on wheel even the self-settling vibrato can
solo. For the solo sound you need pitch
want to influence the filter and at the end of
first to the last position.
TONE 1 is activated.
As soon as the button MULTI PART
Elements. The following screenshots show
CONTROL is pressed, the currently active
the controller settings for the example, so
LED in the upper group (SELECTED PART
you might try them for yourself on a solo
CONTROL) is switched off. Instead, the
sound. As a starting point we have used the
first function of the lower group (REVERB)
Preset Voice „Soft RnB“ from the „Ld“ (Lead)
is activated. Now you use SELECTED PART
CONTROL to toggle between the functions
REVERB, CHORUS, and PAN. A longer push
activates REVERB.
In the PLAY mode the functions assigned
The vibrato can be synchronised to the
to the knobs and the current knob settings
tempo of the song and the speed of the
automatically appear in the display. In EDIT
solo, it can also be faded in for longer
mode it is sufficient to select a function with
notes within a defined period of time. This
is achieved using a LFO - totally without any
CONTROL to display the knob‘s settings
and values.
values, ie the le-
CONTROL is set to ON. The knob
vels of the Voice‘s
movements are effective for the Part that is
Elements, are dis-
selected via one of the number buttons
played with the red
1 - 4. This can be monitored very nicely in
the display, where different values appear
In the second pic-
with the selection of one of the four Parts.
ture the sliders are
A global control of all four Parts is still
possible if COMMON EDIT is pressed.
values - the values
were „picked up“.
marks are no longer visible.
indicates the current parameter‘s value of
differences between the parameter‘s value
controlled with knobs and sliders. This is the
(Element Level) and the physical position
case when the respective Parts are set to the
of the slider (maximum) is indicated by red
same Receive Channel.
Deviations in
the models
indicated current value is reached. As
and S70/90 X S
soon as the position of the red triangle is
The MOTIF-RACK XS as a pure tone
reached, it disappears and the movement
generator is an exception in the family
of the knob affects the sound.
of MOTIFs. All of the knobs and sliders
Tip: If you find that the movements of the
red mark, which has to reached first.
much sense here.
multiple Tracks can be simultaneously
Turning the knobs has no effect until this
display. Presumably, you will discover the
control of all the Tracks wouldn‘t make
the selected sound.
knobs remain ineffective, take a look at the
the currently selected Track. An overall
The display shows the physical positions
of the knobs. If these do not match the
In Song and Pattern mode the knobs control
of the MOTIFs keyboard versions are
Step 2: The physical positions of the sliders
match the actual parameter values. There
are no red triangles.
This procedure is known as „picking
designed for real-time control of para­
meters in conjunction with a fast access.
So fast and direct control is ensured during
live performances, among others. Besides
the most essential buttons for operation,
up the value“ in synthesizer jargon. It is
editing and parameter changing the rack
usually not necessary if the knobs are at
version offers five knobs for direct, real-
their center position when you call up a
time access. Sliders were not possible, how-
sound program.
ever, for lack of space.
At least with the factory sounds, the knobs
The operation principle of the knobs from
were not used to influence the sound, which
the MOTIF XF / XS, as described above, was
is quite reasonable. Because this ensures
that parameter values always match the
locked center position of the knobs.
taken over in the MOX, and the S70/90 XS,
Unlike the Voice or Performance mode the
red triangles do not appear in the Mixing
only in a partially reduced form.
display of the Song or Pattern mode. Here,
For the sliders a divergence of the physical
however, the displayed value of each Part
arranged in two rows. The S70/90 XS has
position of the slider and the actual
can be used as a guide.
four knobs located on the control panel.
parameter value is indicated by the red
In Performance mode, the knobs can con-
triangle marks, too. The following two
trol the tone for each Part separately. For
illustrations show the principle of operation.
the functions of the MULTI PART CONTROL
group this is possible at any time. For the
four sliders, whose assignment can be
First, the physical positions of the sliders
selected with a selection button - similar to
are all set to maximum. The set parameter
is only possible, when PERFORMANCE
the knobs.
These are also assignable to five different sets of parameters. The MOX has no
additional sliders. The S70/90 XS features
C ontrol
S li ders in the
In addition, the stored knob settings of a
parameters: A mp
Mixing mo de
Voice are not copied when the Voice is used
E nvelope and EQ
Since the MOTIF XS has eight sliders, the
A word about some of the parameters in
selection of the Parts is much easier than
Normally, the knobs are more suitable for
the control section.
on the MOTIF ES. Instead of four groups
real-time control or temporary changes as
you now just have to switch between two
The envelope parameters Attack, Decay,
for the programming of Voices.
Sustain, and Release refer only to the
Amplitude Envelope. The Filter Envelope is
not controlled with the knobs.
If the current Part belongs to the group
1-8, the sliders adjust the volume of the
Parts 1-8. If the current Part belongs to the
in Performances, Songs, or Patterns.
FUNCTION buttons
The EQ parameters within the function
group 9-16, the sliders adjust the volume
Left to the Master Volume slider the two
TONE 2 do not refer to the MASTER
of the Parts 9-16. To toggle between these
EQ. Rather, it is an additional EQ that is
groups you just have to activate the TRACK
accessible by pressing F3 (EG/EQ) in the
button and use the number buttons to select
Voice Play mode.
either one of the Parts 1-8 or 9-16.
The assignment to these buttons is done in
several ways from within the Voice mode.
This EQ allows a quick and intuitive correction of the entire Voice and thus represents
S torin g the
For a start they can be assigned with para-
an interesting alternative to the commonly
settings of the
meters, just like the knobs assigns in VOICE
used 3-band EQ as an insert effect or to the
k nobs and sliders
EDIT - COMMON EDIT (F4 - CtrlSet).
Both the selection of the function group with
However, in contrast to the knobs a
continuous control of a parameter is
MULTI PART CONTROL and the positions
not possible here. When a ASSIGNABLE
of the knobs and sliders are stored in the
FUNCTION button is switched on, the
Voices, Performances, Songs, and Patterns.
Depth set in the Controller Set Assignment
So it is quite possible to use the knobs
is immediately retrieved. The same applies
and sliders for a so-called Easy Editing.
to programmed „XA-Mode“ (Expanded
Articulation mode) configuration of the
Element EQs.
Because if MIDI controller events from an
Voice‘s Elements.
The EQ in the Voice Play mode
external sequencer later change these
correlates the Part EQ in Performance
parameters, the stored knob settings would
We‘ll talk about that in a later episode on
be overruled.
Expanded Articulation.
and Mixing mode
With the exception of LOW and HIGH
frequency, all parameters of the EQ can be
controlled with knobs.
But you have to know that the settings of
this new EQ are indeed stored with the
Voice. But these are not effective in the
Performance, Song, and Pattern mode.
Here this EQ appears as Part-EQ, but it
does not inherit the EQ settings of the Voice
Play mode.
This behaviour should not be viewed
critically, because it does make sense to readjust the equalization of the Voices in a
new situation (Performance, Song, Pattern).
The idea of a Voice that sounds exactly the
same in any other mode as in the Voice
mode, should have its limits here.
ParT 6: The Voice-moDe
Normal Voices are pitched musical instrument sounds, synth sounds
and sound effects. They can be played across the entire keyboard
and in the usual tone scales and keys. Normal Voices consist of one
or more „Elements“ (see „Element“).
Drum Voices contain drum and percussion sounds, each assigned
to individual keys on the keyboard. A Drum Voice is also known as
drum kit.
An Element is the most basic unit of a Normal Voice. An Element is
produced by applying different voice parameters to the raw sample
material. A single Normal Voice is combined from one or more
Elements. With the newer models of the MOTIF series (from the
MOTIF XS) up to eight Elements are available for Voices.
A Drum Key is the most basic unit of a Drum Voice. A Drum Key is
assigned to a single key of the keyboard. Each Drum Key plays a
drum or percussion sound (Waveform).
Voice Edit is a function to create your own Voices from the scratch or
to edit existing Voices.
Common Edit contains the settings that apply to all Elements and
Drum Keys.
Element Edit contains the settings for each individual Element of a
F un damen t als
A Voice is the sound of a musical instrument that had been stored
Normal Voice.
Key Edit contains the settings for the individual Drum Keys of a Drum
in an electronic musical instrument. There are two types of Voices:
- Normal Voices
- Drum-Voices
the Preset Banks. These Banks are therefore
Voice Pla y an d
best suited for your own creations or
Voice Ed it dis plays
optional Voice Banks.
After entering the Voice mode, the Voice
In addition to the Normal Voices the MOTIF
Play display is active.
XF features 64 Preset Drum Voices and 8
Here the following functions are available:
User Drum Voices. The Preset Drum Voices
• F1 – Play
are identical to those of its predecessor, the
• F2 – Porta
MOTIF XS, while the User Drum Voices (USR
• F3 – EG/EQ
001 - 008) contain new Drum Kits based on
• F4 – Arpeggio
The Voice Banks a t
a glance
Prior to an intensive examination of the
editing possibilities for Voices you should
first get an overview of the available
The current top model MOTIF XF features
twelve Normal Voice Banks with 128 Voices
In the Voice Play display the PROGRAM button
is activated by default. In this case the selection
of Voices can be done using the Bank/Group/
the additional Waveforms of the MOTIF XF.
C a t e g or y S earch
and Favorites
Instead of Banks you can also use the
CATEGORY SEARCH function to select
the Categories are selected with the
each, which can be selected using the
corresponding BANK buttons. When a
BANK buttons within the VOICE mode:
Bank button is pressed, a sorted list of all
• Preset 1 to 8
Voices in that selected Category is shown in
• User 1 to User 4
the display. To choose from that list, use the
Dial or the Cursor buttons. There are some
Number buttons. However, if the TRACK button
The Preset Voice Banks of the MOTIF XF
Sub-Categories in each Category to further
is activated the Number buttons 1 - 16 are
are continuously sorted by Categories as
refine the categorisation.
used to set the MIDI Transmit Channel. Activate
the PROGRAM button to go back to the Voice
• PRE1 = Piano, Key, Organ
selection mode.
• PRE2 = Organ, Cperc, Guitar,
• PRE3 = Guitar, Bass
can not be used as long as the TRACK button
• PRE4 = Strng, Brass
for marking the Voice that‘s highlighted in
is activated.
• PRE5 = Brass, SaxWW, SynLd, Pads
the list shown in the display as a „Favorite“
• PRE6 = Pads, SyComp, S.EFX,
Voice. All available Favorites are shown by
• PRE7 = SyComp, S.EFX, M.EFX,
pressing the function button F4 - when the
• PRE8 = M.EFX, Ethnic, Dr/Pc, Mega
Guitar, Mega Bass, Vocoder
Category Search function is active. From
After switching to the Voice Edit display (by
pressing the EDIT key) the Common Part is
selected by pressing the COMMON EDIT
button while the Elements 1 - 8 are selected by
The FAVORITES function plays a special
role within the Category Search system.
The Favorites can be set from within the
Category Search. Simply press F5 Set / Clear
this list you can remove Voices from the
Favorites by pressing F5 Set / Clear again.
pressing the corresponding Number buttons
1 - 8. The TRACK button is initially activated
predecessor MOTIF XS, the Preset Voice
automatically, even if the PROGRAM button was
Banks 1 - 8 were adopted unchanged.
active in the Voice Play display.
The User Voice Bank 1 contains 128
All file is loaded. You can prevent this by
When the MUTE button is activated, the Number
new Voices that are based on the new
selecting the file type „all without system“.
buttons can be used to mute the corresponding
Waveforms and Arpeggios of the MOTIF XF.
For security reasons you should save your
Element 1 - 8.
The User Voice Bank 1 is thus the new
When the SOLO button is activated, an Element
can be selected for separate monitoring.
instrument, but will be deleted if another
own FAVORITE liste in a separate All file.
not be overwritten if possible, especially
since the new factory Performances (USER
1) are mainly based on the new Voices of
CONTROL can not be used.
this Bank. Of course, the Bank is also sorted
are available for COMMON EDIT and
is retained even after switching off the
Factory Bank of the MOTIF XF and should
In Voice Edit display various functions
The FAVORITE list is a system setting and
by sound Categories. Both instrument and
synth Voices can be found there.
ELEMENT EDIT, which will be discussed
The User Voice Banks 2 - 4 only contain a
„SHOWCASE“ selection from the Voices of
By the way: The Favorite list can also be
F1- ENTER - YES - EXIT). This Job results in
used in the Song and Pattern mode for
an „Initialized Voice“.
– A n Overview
In an „Initialized Voice“ only the first
As described above, from within the Voice
selecting Voices - if CATEGORY SEARCH
was activated previously.
Element (EL1) is active, ie set to „ON“. The
Voice Ed it – F irs t
step s
Ed i t
mode the EDIT button calls up the Common
other Elements are all set to „OFF“. Start
Edit mode. Common parameters, that have
with this setting.
influence on the sound, will process all eight
To hear the sound unprocessed by the
Elements. Further navigation is done using
the Function buttons below the display. The
In Voice Edit screen, the Elements 1 - 8 can
Effects system, you should consider to set
be selected with the Number buttons 1 - 8.
the Effects on bypass (EFFECT ON / OFF).
main Function buttons F1 through F6 each
In an initialized Voice Element 1 plays the
are accessible using the Sub-Function buttons
The current Element selection is indicated
by the lit LED in the corresponding Number
button (1 - 8). The Elements used in a Voice
are indicated by the LEDs of the Number
buttons 9 - 16. These buttons can also
be used to mute the Elements while the
MUTE function is activated. Alternatively,
with activated SOLO function, the Number
buttons 9 - 16 select the Part (1 - 8) which
is to be soloed.
Using Elements you can layer multiple
sounds within a Voice.
As long as the COMMON EDIT button is
not turned on while being in the Voice Edit
display, the Element Edit mode is active.
Waveform No. 1 (CF3 Stretch St Sw), a
piano sample.
Use the parameter Wave Number in the
and Category assignment of the Voice. To
Oscillator display (F1) to consecutively
select and try all Preset Waveforms.
enter text in the selected field, press the button
SF6 - „CHAR“. The navigation within the text
input is then assigned to the Function buttons
These are the multisamples or samples
or the Dial and all buttons below the Dial.
available in the MOTIF. Multisamples are
SF2 - „Play Mode“ brings you to important
mainly used for instruments and synth
parameters such as Volume, Pan, Octave
waves, ie a Waveform consists of several
setting, and more.
samples that are mapped to certain keys of
the keyboard in order to make the sound
more balanced. Sound effects or drum
parameters such as Category, Voice Name,
for a Waveform.
edited. If COMMON EDIT is activated, the
Use F1 „General“ to reach the first major submenu „Name“, where you can edit the name
sounds usually use only one single sample
and Common LFO are available to be
SF1 - 6.
Press EDIT.
In the COMMON EDIT mode global
Volume, Arpeggiator, Effects, Control Sets,
have their own sets of Sub Functions, which
The menus behind F2 and F3 combine
all parameters which are relevant for the
Arpeggiator of the Voice. The Sub-Function
buttons are consistently assigned to the ARPvariants 1 - 5. A section in the lower third of the
Use the parameter Wave Main Category to
display, which is accessed via F2, separates
select specific Waveform Categories.
between the parameters that are related
to the Voice and the Arpeggioassociated
functions for editing single Elements are
settings. The parameter „Switch“ in the upper
area activates the Arpeggiator for the Voice.
Other parameters determine the response
of the ARPs on the played notes and define
keyboard ranges. The Tempo and three other
parameters are equally applied to all five
ARP-variants. In the lower area the „ARP Type“
is defined for each of the five variants. The
parameters called up with F3 can be set and
stored for each of the ARPvariants, too.
If you want to program Voices by yourself
or want to explore the impressive sonic
elaborately produced Wave-ROM of the
While listening to the Waveforms you will
The button F4 calls up an important area for
very soon recognize that most multisamples
the discerning Voice programming. Here the
only become a „real“ sound, when they
are combined with other Waveforms, or at
least after they were processed by Filters,
Envelopes, and Effects.
numerous controllers of the MOTIF series - like
WHEEL, etc. - are assigned to a parameter.
Up to six sources are available for a myriad
MOTIF XF, you should first initialize a Voice
However, the synthesizer Waveforms (from
of target parameters, enabling you to render
and successively try all Preset Waveforms.
no. 1,315) are often big enough to create
a extremely vivid performance with the Voice.
fat and impressive sounds with only one
The Presets also provide numerous examples
of meaningful controller assignments.
Before your start with programming your
own Voices, you should initialize the Voice
in order to start „from the scratch“. To do so,
F5 opens the display for the „Com LFO“,
select the JOB - Init - All Parameters (JOB -
which takes influence on the entire Voice
(Common). The parameter set of Common
velocity range here. The assignment to the Insert
LFO is very extensive. You can also program
Effect - as described above for the Effect Block -
your own LFO Waves. In addition, however,
can also be set here.
there is also a less complex LFO available for
each Element of the Voice. And you can assign
LFO parameters to controllers to create very
effective and useful Voice modulations.
The high-quality Effects play a central role in
the MOTIF. The Effect unit can be programmed
in the Common Edit mode via the F6 button.
A block diagram (SF 1 - „Connect“) informs
you about the signal flow through the Insert
and System Effects.
F2 „pitch“ has everything to do with the tuning
of the Element. The pitch can be coarsely set in
48 semitones and fine-tuned - divided into 63
„cents“ -, both up and down. SF2 features the
Pitch EG (envelope for the pitch).
The Filter - F3 - is one of the key tools for sound
processing. If you want to get a feel for it, you
F5 is assigned to the aforementioned Element
should select one of the synth Waveforms (from
LFO, F6 gives access to the Element EQ.
no. 1,315) to make some experiments. In a first
Different EQ types with appropriate parameter
step you should disable the Effects and try the
parameters „Cutoff“ and „Resonance/Width“
by making gradual changes, and experience
the bandwidth that can be achieved with only
one Element. A graphical representation of the
Filter Curve visually supports the result that‘s to
be expected.
sets allow a sound adjustment on Elementlevel, the smallest unit of sound generation.
Separately programmable equalizers are often
very helpful, especially when you are using
several similar-sounding Elements within a
Voice (as a Layer).
Use the Sub-Function button SF5 (4 Elm /
1 Elm) to toggle between the full-page view
of parameters for a single Element and a list
view of parameters for four Elements. This list
view can provide a better overview to compare
In fact, here is an exception for the Common
the Elements to each other. You can also
area, because you are able to set the
comfortably change specific parameters for
assignment to the Insert paths for each
several Elements. With the rapid selection of
Element of the Voice directly from this menu
Elements by using the Part Select buttons 1 - 8
(see marking). The other Sub-Function
and using the buttons and dial for data entry
buttons 2 - 4 are offering the parameter
you can significantly reduce the time for setting
sets of the System and Insert Effects. We will
discuss the Effects in detail in a later episode.
For now only so much: Since the System
Effects are only available once for the Voice,
Many different Filter Types (Type) with some
very special character expand the potential
of sound processing. The Filter also features
its own envelope generator (SF3 - FEG) with
Performance, and Mixing mode you should
which the filter‘s effect can be influenced over
use Insert effects for those effects that have a
time. For example, string instruments lose
critical sonic impact on the Voice. Otherwise
harmonic content in their decay phase. This can
significant differences in sound will occur, if
be simulated using the Filter Envelope. The last
the Voice is used in another than the Voice
Sub-Function buttons opens the „Scale“ menu,
in which the effect of the Filter can be adjusted
in relation to the keyboard range.
Voice Ed it –
The next Function button F4 in the Voice Edit
E lement
mode contains the Amplitude parameters. Here
With a push on one of the buttons 1 - 8 (Part
Select) you can directly switch from the Common
Edit mode to the Element Edit mode. Again, the
five Function buttons are used to enter several
menus including their sub-functions - for each
you are able to set the Volume of the Element,
The Info button SF6 gives a quick overview of
the most important informations on a Voice.
its adaption in relation to the keyboard range
These include, for example, storage location,
(Scale), the velocity settings, and the amplite
name, number of Elements, and what Effects
envelope (AEG). The envelopes for Amplitude,
are used.
Filter, and Pitch have the same basic structure
- apart from some slight differences. Once you
are familiar with this principle, you can master
The page F1 „Oscillator“ includes the main
them in all areas. In addition, the graphical
switch of the Element (on / off) and the access
rendition of the envelope also supports the
The Mega Voice technology developed by
the basic parts of the sound generation. You
WYSIWYG principle (what you see is what you
Yamaha enables you to play ultra-realistic
can select the Waveform and a keyboard and
sounds thanks to an extremely complex multi-
sampling. Each Mega Voice consists of multiple
multi-samples or Elements which heavily use
velocity switches and key splits. The Mega
Voices accommodate different playing styles
and noises of the sampled instruments such as
dead notes, hammer-on effects, ghost notes
and strummings.
On the MOTIF XS the Mega Voices focus to
acoustic guitars, electric guitars and basses. The
Mega Voice technology was first implemented
in the Yamaha Tyros.
Due to the complex structure of key and velocity
limits Mega Voices are very difficult to play
manually. Therefore special Arpeggio Patterns
have been programmed to control the Mega
The Mega Voices are stored in the Preset Voice
Bank 8 (081 to 124).
Examine the velocity zones and key splits to get
an idea of the structure of the Mega Voices.
Use the Sub-Function buttons SF1 - SF5 to
trigger the five Arpeggios that are assigned to
the Voice.
C o min g
a ttrac tions
So much for the basic functions in the Voice
mode. In the next episode we will take a
very close look at a particular aspect of
the MOTIF Voices, namely the Expanded
and realism. It simulates playing techniques that are often used on
acoustic instruments, but were difficult to implement in electronic
keyboards - up till now.
So far, the „Expanded Articulation“ feature is available in the following
Yamaha synths:
• S90 XS
• MOX6 / MOX8
With the Expanded Articulation Mode („XA Mode“), the specific
playing styles of instruments are imitated. In particular a realistic
legato playing by switching the Waveforms, an authentic release with
Key-Off samples and switching between different sounds with the
assignable switches. Wave Cycle and Wave-Random functions exist,
too. The operation of the XA Mode is similar to the „Super Articulation Mode“ of the Tyros II. The XA mode could be realised when
Yamaha decided to double the number of Voice Elements used in the
This episode is about a special aspect of the MOTIF‘s Voices. We will
synthesizers from four to eight. Another condition is the implementati-
discuss the function of Expanded Articulation and the Mega Voice
on of Waveforms that are specialised for the XA Mode technique (e.g.
Key-Off Samples).
What is „E x p anded
Articu lation“?
In the following all functions of the „XA Control“ will be successively
„Expanded Articulation“ is a sound generation system especially
are not set to „normal“ and thus take advantage of the „XA Control“
designed for the MOTIF synthesizers which allows greater flexibility
are described.
discussed and explained by Voice examples. Only the Elements which
The following steps will repeat for all examples discussed in this
from that of an actual acoustic instrument. The Legato function more
workshop - they are used to analyse the XA Control applications of
accurately reproduces a legato effect by allowing specific Elements
the Voices:
to be sounded when playing legato and other Elements to be played
• Select VOICE mode
• Select the Voice given in the example
If XA control is set to „legato“ for an Element, this will only be played
in legato playing.
• EDIT - F1 Oscillator
However the Play mode has to be set to „mono“ (EDIT - COMMON
•Use the TRACK button to browse through the Elements 1
- General F1 - SF2 Play Mode). So first the Elements which are set
to 8 used in the Voice and control the setting of the „XA
Control“ parameter. This parameter is crucial for the Ex-
to „normal“ are sounding. If subsequent notes are played legato,
the Elements which are set to „legato“ are sounding instead of the
„normal“ Elements.
panded Articulation. The settings are normal, legato, key off
sound, wave cycle, wave random, all AF off, AF1 on, and AF2
on. „XA Control“ can be found in top of the display directly
below the „Element Switch“
• Use the SOLO or MUTE function to individually analyze the
Elements. The muting is done with the number keys 9-16 for
the Elements 1-8
Example: Pre5-017 (B01) Flute Legato
Element 2 = legato
Element 4 = legato
Element 6 = legato
Element 8 = legato
The Elements 1, 3, 5 and 7 are set to „normal“.
XA-C ontrol „ normal “
To clearly hear the difference between normal and legato, you
should mute the Elements 3 to 8. Now play with a low velocity, since
This is the normal playing mode as we know it from synthesizers
the Elements 1 and 2 are set to sound in a velocity range of 1 - 80.
without Expanded Articulation. The Element is played normally with
Alternate between staccato and legato. You will hear that at staccato
each keystroke. The XA Control is not applied for the Element.
(= Element 1) the flute sounds with a blowing noise, while at legato
All Voices converted from older models (such as the MOTIF ES) use
„Control XA = normal“ for their Elements.
The subsequent editing and use of the XA functions is certainly a
significant enhancement of existing Voices. One more reason to
thoroughly read the information below. Only those who are able to
(Element 2) the blowing noise is missing - just like on a real flute.
If you want to analyse some other „legato“ Voices, you can
recognize them by the addition of „legato“ to their Voice name
Pre5- 026).
use the Expanded Articulation in a sensible way can fully exploit the
sonic possibilities of the MOTIF XS/XF.
XA-C ontrol „ legato “
Conventional synthesizers recreate a legato effect by continuing
the volume envelope of a previous note on to the next one, in the
mono mode. However, this results in an unnatural sound different
XA-C ontrol „k ey off so u nd “
Conventional synthesizers are not good at realizing the sound
produced when the note of the acoustic instrument is released. The
MOTIF realizes the sound produced when the note of the acoustic
instrument is released, by setting the XA Control parameter of a
certain Element to “key off sound.” The Element is then sounding
whenever a key is released.
For the „key off sound“ special Samples have been integrated into
the Wave-ROM, containing only the release sound of an instrument.
Use the SOLOor MUTE function to isolate the „key-off sound“. Turn
off any Elements except for one the KeyOff is assigned to.
Example: Pre1-023 (B07) R&B Soft
Element 5 = key off sound
For the Key Off sound the Waveform „EP Key Off“ is used.
In addition Element 1 is used. This is set to „normal“ and therefore
played with each note.
If you select „wave random“ for several elements, with every
keystroke the Elements are heard in a random order.
Beispiel: Pre5-086 (F06) Space Power Lead
Elements 1 - 4 = wave random, Element Group 1
Element 5 - 6 = wave random, Element Group 2
With „wave random“ the tone generator simulates analog
synthesizers where the attack phase of an oscillator is different
XA-C ontrol „w a ve cycle “ and
„wa ve random“
Conventional synthesizers attempt to reproduce subtle tonal
with every keystroke („free-running oscillators“ - see illustrations).
The Elements are divided into two „Element Groups“, which each
represent an oscillator. Both oscillators are detuned.
variations by randomly changing the pitch and/or ?lter. However,
The two Groups (Elements 1-4 and Elements 5-6) are assigned to
this produces an electronic effect and is different from the real sound
these four waveforms:
changes on an acoustic instrument. The MOTIF more accurately
reproduces these subtle sound variations by using the XA Control
parameter settings, “wave cycle” and “wave random.” These are not
only useful for subtle tonal variations on acoustic instruments, but
also for synthesizer sounds, as the following examples demonstrate.
If several Elements are set to „wave cycle“, each key stroke alternates
P5 SawUp 0dg
P5 SawUp 90dg
P5 SawUp 180dg
P5 SawUp 270dg
between the wave cycle Elements in order of their numbering (when
In principle these saw waves are identical (see below) - but their
playing the first note, Element 1 is sounding, for the second note
starting point differs. The effect results in two detuned saw waves
Element 2, etc.).
with random starting phases, just like on an odd analog synthesizer.
Example: Pre7-024 (B08) Find Newgt!
With the XA function „wave random“ free-running oscillators are
Elements 2, 3, 4, 6, 7 = wave cycle
simulated, where the attack phase has a different form for each
The Elements 2, 3, 4, 6, 7 have different FX-Waves assigned to and
are played alternately. In addition, the Elements 1, 5, and 8 are
used. These are set to „normal“ and therefore played with each
Example: Pre7-092 (F12) Bed Time Story
Elements 2, 3, und 4 = wave cycle
The Arpeggiator is controlling the Elements 2, 3, and 4, which
have different Bell-Waves assigned to and are played alternately.
XA-C ontrol „ all A F off“, „A F
1 on“, „AF 2 on“ („A ssignable
The „Assignable Functions“(AF) allow you to switch between different
sounds to reproduce the playing on an acoustic instrument.
Acoustic instruments have their own unique characteristics — even
specific, unique sounds that are produced only at certain times
in a performance. These include the flutter tonguing on a flute or
playing high harmonics on an acoustic guitar. The MOTIF XS
recreates these by allowing you to switch between the sounds while
you play — using the ASSIGNABLE FUNCTION buttons and the XA
Control parameter settings, “AF 1 on,” “AF 2 on”, and “all AF off.”
But as with the previously described function the „Assignable Functions“
are not only for acoustic instruments. Synthesizer sounds also benefit
to produce interesting variation
The „Assignable Functions“ work like this:
all AF off
The Element is disabled if one or both ASSIGNABLE-FUNCTION
buttons are turned on.
AF 1 on
The Element is enabled if the ASSIGNABLE-FUNCTION button 1 is
turned on.
AF 2 on
The Element is enabled if the ASSIGNABLE-FUNCTION button 2 is
Here‘s a hint to the „Element Groups“:
turned on.
Elements can be assigned to one of the Element Groups 1-8.
Basically Elements with the same XA Control mode should be in the
same Group. In some cases - as in this example - it may be useful to
set up several element groups.
Example: Pre1-086 (F06) Slow Jam
Example: Pre6-107 (G11) Sixpack
Elements 1 - 4 = wave random
Element 4 = AF 2 on
ASSIGNABLE FUNCTION 2 = Element 4 („1st Four Draw“) is
Example: Pre2-007 (A07) St. Paul AF1 & 2
Elements 5 = AF1 on
Element 3 = AF 1 on
Elements 6 = AF2 on
Element 4 = AF 2 on
The Elements 1-4 are assigned with different analog synthwaves
and are controlled by the arpeggiator. Due to the random selection
of similar waves a very lively sound is achieved.
ASSIGNABLE FUNCTION 1 = Element 3 („Pipe Organ1 St“) is
By using AF1 + AF2 two pad Elements can be added that are not controlled by the arpeggiator. This is made possible by the Arpeggiator
setting „sort + direct“ (Key Mode) in conjunction with a „Z.Pad“
arpeggio. The Arpeggio only plays notes in the velocity range of
112 - 127. The Elements 1 - 4 are set to this range, too. However,
the pads added with AF1/2 use the velocity range of 1 - 111
Example: Pre6-119 (H07) Freaky Loop and Pre8-012
Element 3 = AF 1 on
Elements 1 - 8 = wave random
Element 4 („Pipe Organ2“) is
Example: Pre2-015 (A15) Accordions AF1 & 2
Element 1 = All AF off
Element 2 = AF 2 on
Element 4 = AF 1 on
Element 5 = AF 1 on
The Elements 1 - 8 have different analog synthwaves assigned to
and are controlled by the Arpeggiator. By the random selection of
Element 6 = AF 1 on
the different Elements the character of a Wavesequence is created.
ASSIGNABLE FUNCTION 1 = The Element 1 („Accordion“) is
switched off. The Elements 3, 4, 5, and 6 are activated
Example: Pre2-081 (F01) Dynamic Clean AF1&2
ASSIGNABLE FUNCTION 2 = The Element 1 („Accordion“) is
Element 1 = All AF off
switched off. The Element 2 („Tango Accordion“) is activated
Element 2 = All AF off
Element 4 = AF 1 on
Element 5 = AF 2 on
ASSIGNABLE FUNCTION 1 = The Elements 1 and 2 are switched
off. The Element 4 („Clean Mute“) is added
ASSIGNABLE FUNCTION 2 = The Elements 1 and 2 are switched
off. The Element 5 („Clean Slap“) is added
For the settings „all AF off“, „AF 1 on“, and „AF 2 on“ you have to
keep in mind, that the function of the ASSIGNABLE FUNCTION 1
+ 2 buttons may vary. Their function can be set in VOICE - EDIT
- COMMON - F1 General - SF3 Other using the parameters „A.
Function 1 Mode“ and „A. Function 2 Mode“. Here you can decide,
whether the AF buttons should function as latching or as a momentary
Example: Pre2-030 (B14) Pop Bells & Pad MW
Element 1 = All AF off
ASSIGNABLE FUNCTION 1 = Element 1 („MedDetunedPadSt“) is
ASSIGNABLE FUNCTION 2 = Element 1 („MedDetunedPadSt“)
is deactivated. In addition Elements 2 + 3 are played one octave
higher and are applied with a vibrato. This is programmed in Ctrl
Set (EDIT – COMMON – F4), not in the XA Control.
switches. When set to „latch“, pressing the button toggles between
on and off, which is indicated by the LED of the button. When set to
„momentary“ holding down the button switches on, while releasing
it switches off.
It is also important to know that AF1 + AF2 not only depend on
the XA Control settings of the Elements. Additionally or alternatively they can have a parameter assigned to from the Control Set
Example: Pre2-050 (D02) Classical AF1 & 2
If you want to analyze further XA Voices which use the ASSIGNABLE
Element 1 = All AF off
FUNCTION 1 + 2, you can recognize them by the „AF1&2“ in the
Element 2 = All AF off
Element 2 = All AF off
Element 4 = normal (Strumming-Effekt auf Taste C6)
Element 5 = key off sound
Voice name..
M ega - Voice -T echnologie
The Mega Voice technology developed by Yamaha enables the
creation of ultra-realistic sounds thanks to an extremely elaborate
Element 6 = AF 1 on
multi-sampling. Each Mega Voice consists of several multi-samples
Element 7 = AF 2 on
or Elements combining velocity switches and key ranges. The Mega
Element 8 = off (nicht verwendet)
Voices accommodate different playing techniques and noises of the
ASSIGNABLE FUNCTION 1 = Elements 1, 2, and 3 are switched off.
Element 6 („Nylon Slide St“) is activated.
ASSIGNABLE FUNCTION 2 = Elements 1, 2, and 3 are switched off.
Element 7 („Nylon Harmonics St“) is activated.
While playing this Voice alternately press the ASSIGNABLE buttons 1
+ 2 to get the slide effect and the harmonics. These are realized by
switching on and switching off the Elements.
If AF1 is pressed, the Elements 1-3 are switched off, as they are set
to „all AF off“. At the same time Element 6 is turned on, because
this is set to „AF 1 on“.
If AF2 is pressed, the Elements 1 - 3 are also switched off. At the
same time Element 7 is switched on, because this is set to „AF 2
sampled instruments such as dead notes, hammer-on effects, ghost
notes and strumming.
On the MOTIF Mega Voices focus on acoustic guitars, electric guitars
and basses. The Mega Voice technology was first realized in the
Yamaha Tyros.
Due to their complex structure of keyboard and velocity limits Mega
Voices are very difficult to play. Therefore, special arpeggio patterns
have been programmed to control the Mega Voices.
You can find the Mega Voices in the Preset Voice Bank 8 (081 to
Try the velocity zones and key splits to get an idea of the structure of
the Mega Voices..
Use the sub function buttons SF1 - SF5 to select from five Arpeggios
assigned to the Voice.
You can also set other Arpeggios from the Voice Edit mode
(Common / F3 ARP). The Mega Voice Arpeggios can be found in the
Categories „GtMG“ (guitar) and „BaMG“ (bass).
So much for the special functions in the Voice mode. In the next
episode we will take a closer look at the Performance mode of the
Ho w did the Per fo r ma nce
mode got its name?
In the MOTIF Music Production Guide 02-2012 the basic concepts
have already been explained. The Performance mode was also
discussed in that part. According to a great internet portal, the term
„Performance“ has many explanations. Our particular application
is probably pretty close to the artistic performance, without that we
necessarily have to involve artistic standards. But with the help of a
Performance of the instruments described here you can simply
„perform“ your music. The following will describe the preconditions which are to be established to do so. The key advantage of a
Performance is to have direct access to as many controls and
parameters during live playing, without having to go into deeper
menu structures. This results in a limitation right at the beginning:
There is no Performance mode in the MOTIF-RACK XS.
Per fo r ma nce Pl ay mo de
Performances are organised into User Banks of 128 storage locations.
None of the instruments mentioned here feature Performances as
P a r t 8:
Pe rfor man ce
M od E
Presets. So if you adjust a Performance according to your wishes,
you are forced to overwrite an existing Performance. If you do not
want to lose the original, it makes sense to watch out for potential
„free“ memory locations when exploring the factory Performances.
Of course, if necessary every instrument can be restored to its factory
settings by doing a factory reset.
No rule without exception: On the S70/90 XS the fourth Performance
User Bank is empty at default to immediately provide free memory slots for your own creations. The Performance storage capacity
varies from instrument to instrument:
• MOTIF XS – 3 User-Banks
• MOTIF XF – 4 User-Banks
• S70 XS / S90 XS – 4 User-Banks
• MOX6 / MOX8 – 2 User-Banks
As already mentioned, the Performance Play mode is ideal for a
typical live situation. Whether as a solo artist or in a band context.
In a normal Performance four Voices can be combined. It is possible
to set up Layers (one sound above the other), Splits, or Velocity Switches and Velocity Crossfades. Many Performances use arpeggios for
rythmical accompaniment.
So you d o n ot l o se tr ack
The display - here of the MOTIF XF as an example - gives
comprehensive information about the structure and thus the
possibilities of the currently selected Performance. The overview
The title above the respective parameter string is of crucial
importance. It indicates whether the knobs affect all (COMMON)
or just individual Parts (1-4) of the Performance. So far this reference is only set by the parameters that are associated to the buttons
mentioned above.
display can roughly be divided into five areas. Area 1 provides
information on the name and the memory location of the Performance
and its musical style. The areas 2 and 3 show at a glance how many
active Voices are included and what type they are. In addition, the
areas 3 and 4 reflect values of the shown parameters in real time
and react to the movements of the faders and knobs. In area 5, the
five ARP types can be selected (buttons SF1-SF5). The buttons [F1] to
[F6] are used to select other screen contents.
E ver yt hin g under c o n t ro l
But there is another important button in this context. It‘s called
[PERFORMANCE CONTROL] and is found to the right of the
numeric keys of the program selection. By activating this button, the
number buttons 1-16 are assigned to the functions specified under
them. Each based on the Performance`s Parts 1-4.
Performance Control could almost be counted as a sub-mode of the
Performance Play mode. Use the buttons 5-8 to switch the arpeggios
for each Part on or off, independently from the stored status. The
buttons 9-12 can mute the individual Parts. The buttons 13-16
determine whether the Arpeggio assigned to the Part continue to
play after releasing the notes of the keyboard (Hold) or not.
We have deliberately placed the buttons 1-4 at the end of this
description. Regarding the parameter mapping in terms of affecting
(COMMON) or (Part 1-4) as described above, the operating concept
Using the [SF6] button it is possible to set the tempo using the tap
is continued here consistently. To the left of the numeric buttons you
can find the [COMMON] button (which you should already know
Area 4 shows which parameters are accessible by the respective
knobs. However, the detail shown represents only one of the
possibilities. With the help of the [SELECTED PART CONTROL] and
[MULTI PART CONTROL] buttons next to the knobs, more parameter
from the Voice mode), which is activated after the first selection of
a Performance. If [PERFORMANCE CONTROL] is active (!) you can
switch from [COMMON] to the single Parts by using number buttons
1-4, to have access to the same parameters shown in area 4 of the
Performance Play screen (Cutoff, Reso ...) - but now they don´t affect
sets can be called. The screenshot below shows a summary of these
all Parts of the Performance (Common), but explicitly the currently
selected Part.
SHo rt rés um é?
In short, we are still in the Performance Play mode. Nevertheless,
access to switch Parts, to control the Arpeggios and a large number of parameters is guaranteed. The latter both for the overall
Performance, as well as each individual Part. Plenty of options to add
rich variety to your personal presentation way beyond the musical
content and your playing technique.
And of course it is OK to use these parameter ontrolling possibilities
as shortcuts to adapt a Performance to your needs. For the largest
part of the editing process you would naturally use the Performance
Edit mode, which is described in the following. However, you are
also able to store the changes made directly from within the Play
mode by hitting the [STORE] button.
A s moot h t r ansi t io n...
Per fo r ma nce E di t mo de
... to the Performance Edit mode takes place through the function
The Performance Common Edit mode is exhausted with the effect
buttons F1-6. While still in the Play mode you can use the button
settings. All other parameters are related to a Part. By pressing the
[F2] to get an overview of how the Parts are distributed over the
[EDIT] button you can switch from Common Edit to Part Edit and
keyboard. Moreover, you can select other Voices here and influence
a specific Part. Doing so assigns other functions to the Function
the keyboard zones, too.
buttons below the display.
[F3] (EG) shows the same as area 4 in the first image, while [F4] (Ar-
The [F1] button opens the display that is showing the parameters
peggio) is the counterpart of [F2], but for the Arpeggios. You select
which are relevant for the Voice of a Part. Here you can select
and activate Arpeggios for the five variants that are available. The
a Voice and set its Volume, Pan, transposition (Note Shift) and
selection of Arpeggios, as usual, is possible using the Data Entry
detuning. Using the Velocity and Note Limit parameters you can
button and the dial. With several thousand Arpeggios it is also very
determine the corresponding zones the Part responds to. So, here
useful to use the [CATEGORY SEARCH] function to select them from
the limits are to be set if you want to distribute the Voices in splits
a list view.
over the keyboard. The option „Param. with Voice“ (on/off) decides
whether various parameters of the original Voice are valid or not.
This relates to the EG, Filter, Note Shift and more. The Subfunction
button [SF2] calls up all relevant output parameters, including the
Effect Level for the System Effects and the activation/deactivation
of the Insert Effect. „Other“ [SF3] lets you set the Pitch Bend Range
and a Velocity Curve to adapt your playing on the keyboard to the
individual Part.
Use [F2] and [F3] to reach all parameters relating to the Arpeggios,
from the choice to the definition of the Key Range, Tempo, etc. to
specific settings concerning the Quantization. [SF1] to [SF5] are, like
in the Performance Play mode, used to select the five ARP variations.
Settings for the Envelope (EG) and the Equalizer (EQ) are available
using the buttons [F4] and [F5]. The last page of the Part Edit section
is [F6] and contains all controller assignments for the Part. You can
selectively switch controllers so that the Part - as you wish - either
responds to them or not.
The function key [F6] (Effect) switches into the Performance Common
In Split Performances two (or more) Parts are set to work
Edit mode. Like in the Voice mode you can select System Effects and
independently in different keyboard Zones. Originally, the controllers
adjust their levels as well as toggle the Insert Effects for the Voices
(modulation and pitch bend wheel, sustain pedal, ribbon controller,
on or off [SF2]. In addition, each System Effect (Reverb/Chorus) has
etc.) are assigned to control all four Parts. However, this can lead to
its own Edit Page [SF3/4] for the fine-tuning of the effect settings.
unwanted side effects.
Here are four examples with standard combinations:
Per fo r ma nce C re ato r
(1) „Rhodes-Strings“: The electric piano is to be played the left
The S70/S90 XS introduced the Performance Creator, which
hand and held sustained with the pedal, but not the strings.
was also adopted in the MOX. It‘s purpose is the easy and fast
Disable „Sustain“ for the strings Part on the corresponding
configuration of typical Performance requirements, such as layering
display page
and splitting sounds across the keyboard. Inbetween the buttons for
(2) „Bass-Piano“: The bass sound should not be blurred by the
pedal - turn „Sustain“ off for the bass Part
the different modes and the bank selection the three buttons for the
Performance Creator are located. Some practical examples should
help to fully understand the function. Following the order of the
(3) „Pad-Lead“: The pitch bending for the lead Voice should not
buttons from left to right we begin with [LAYER]. In a Performance,
affect the pad sound. So „Pitch Bend“ should be switched off for
it is possible to layer up to four Voices on top of each other.
the synthpad Part
The starting point of the following examples - on the MOX - is the
(4) „Piano-Pad“: The foot controller (FC7) should only control the
Voice mode. First, we want to remind you of the [CATEGORY
volume of the pad Part. Disable „Expression“ for the piano Part
SEARCH] function again. Using the [INC]/[DEC] buttons or [DIAL]
However, it is not the objective of this synth guide to explain each
parameter in detail here.
wheel you can navigate through the Categories, but the quickest
way is the direct selection via the keypad. Below the buttons [A] to
[H] the different Instrument Categories are listed in two lines. The
second line is activated by pressing the appropriate button twice.
C re at ive Co rner
A special highlight is the ability to record complete Arpeggio
Thus, there are 16 Categories of instruments from „Piano“ to „Ethnic“
arrangements with a push of a button directly from the Performance
Of course, you are totally free to choose which Voices you want use
mode. This procedure is called „Direct Performance Recording“. The
for your layers. However, for the rest of this first example it would
actual recording is done in the Song or Pattern mode. All Voice and
be advantageous to choose at least Voices from the Categories that
Arpeggio settings are automatically copied from the Performance. It
are used in this example. So if you want to reconstruct the following
is therefore not required to make various settings in advance in the
example, follow these steps:
Song or Pattern mode to keep hold of spontaneous musical ideas on
the basis of the many inspiring Performances.
„Performance Recording“ in single steps:
For Part 1 (P1):
• Enter [VOICE] mode
• Press [CATEGORY SEARCH] and then [B] (KEYBOARD)
] to call up the list view
• Enter Performance mode
• Use the cursor [
• Select the Performance USR1 - 012 (A12) „Double Dip
• Select PRE1 B07 – „R&B Soft“ ([INC] or [DIAL])
the Funk“
• Press the [RECORD] button to open the „Performance
Rec Setup“ display“
• Press [ENTER]
Pressing the [LAYER] button, the following actions are triggered
at the same time: The mode automatically changes from Voice to
• Select „Song“ as Sequencer Mode
Performance, the [LAYER] and [CATEGORY SEARCH] buttons will
• Activate „Key On Start Switch“. An arrow appears next to the
flash and the display will change to the Voice selection for the layer.
keyboard symbol. The recording is started as soon as the first
The instrument „recommends“ a Category, in this example „Strings“.
note is played
The first Preset Voice from that Category is automatically layered
• Play your chord progression and/or melody, without
together with the electric piano sound across the entire keyboard.
pressing the [PLAY] button beforehand (you can add
However, we want to use a pad sound for this example:
a metronome click using [F5])
For Part 2 (P2):
• Stop the recording
• Press [LAYER]
• Enter the Song mode
• Main: Press [B] two times to select (PADS)
• Press [PLAY] to start the playback of your Song
• Use the cursor [
] to select „Sub“
All Performance settings are automatically copied to the destination
• Press INC twice to select <WARM>
Song during recording. After the recording a complete Song with
• Use the cursor [
four Tracks/Parts including the Mixing settings is available as a result.
The same procedure is applied with a „Pattern“ as destination.
In particular, when a musical idea is still unfinished both technically
] to call up the list view
• Select PRE5 H13 „Nu WarmPad“ ([INC] or [DIAL])
• Press [ENTER]
and in terms of arrangement, the Pattern destination is the more
The display changes to the „New Performance“ that you just have
correct choice. This way you can record small takes of only several
created, without trying an Edit mode for that. Now you have the
bars and arrange these Patterns in any order later. Finally, the result
option to save this new Performance using a different name.
of that arranging process can then be copied into a Song using a Job.
Any adjustments, for example the Volume of Parts can be achieved
without invoking the Edit mode. Simply enable [PERFORMANCE
CONTROL], select Part 2 using [PART SELECT] and press the button
left of the top row of the „ASSIGNABLE KNOBS“ until the LED for
„TONE 3“ is lit. As soon as you move the first Knob for „VOLUME“,
the display automatically switches to the appropriate display.
Per fo r m No w!
At this point it is time to close once again and spend time making
music with the instrument. We hope to have brought you closer
to the Performance mode. It is very versatile to use, for live
situations, using Arpeggios as a creative pool and as the basis for
music production. It‘s always a good idea to analyse the existing
factory Performances for learning purposes. They are suitable as
starting points for your own Performances, so you can avoid a start
„from scratch“ from an initialized Performance.
Have fun exploring!
explained how to create a Song from a Pattern Chain. It might help
you to re-read this part.
In the course we will be building on that concept. To get started,
here‘s a short summary of that said paragraph: A Song can contain
up to 16 Tracks. These are available in parallel, just like in current
sequencer programs (DAW) or earlier multi-track tape machines.
Whether these Tracks are created from a Pattern Chain, if they are
recorded live Track by Track live or imported from a finished Song in
Standard MIDI file format does not alter this structure. The maximum
capacity of the sequencer area (Patterns and Songs in total) is
limited. The maximum number of notes depends on the model.
MOX / MOXF: 226,000 notes
MOTIF XS / XF: 130,000 notes
It must be considered, however, that events such as aftertouch, pitch
bend, and modulation wheel can significantly reduce the capacity
when they are used intensively. In their delivery status - which can
be reproduced any time by a factory reset - the instruments contain
Demo Songs that not only are suitable as a demonstration of the
instrument, but also illustrate the possibilities of the Song mode.
Pla y a song for m e ...
The S70/90 XS does not feature a sequencer or Song mode in
In part 3 of this Yamaha Synth Guide we already introduced you to
the conventional sense. We will come back to its possibilities in a
the concepts of Songs and Patterns. Based on a small example it was
separate section.
Q uiet pl ea se : We ‘re recording !
Suppose you want to capture a musical idea which requires a couple
of Tracks, but does not fit into a Pattern scheme. And you want it
as quickly as possible, without long preparations. For this purpose,
the Song mode is ideal. After its activation and, if necessary, the
selection of a free Song, hit the Record button. Here you will find all
the important settings at a glance.
already be quantised in the recording process. Each recorded note
will be adjusted to the selected grid.
Here‘s a tip! The option to include Arpeggios in the Song mode is
very interesting. After pressing the Record button you can alter the
Arpeggio settings using [F2]. Suppose you want to quickly create a
professional-sounding drum track. From the Song Record mode you
should first activate „Voice with ARP“ in the Arpeggio menu page. This
ensures that a Drum Kit is loaded which is matching the Arpeggio.
Then select the drum groove you want to use in your Song from
the ARP category „DrPc“. Change the settings „Switch“ and „Hold“
to „on“, activate the Arpeggio button on the instrument‘s control
panel and start recording. You only have to play a note and the
groove starts to play until you stop recording. Let the main groove
go through to the end of your Song.
The drum Arpeggios are known to contain some nice fill-ins. The
record mode „Punch In / Out“ for example is well suited for the
integration of fills. With the selection of the Arpeggios you should
determine whether the fill is played over one or two bars. Then set
the markers for the Punch accordingly and start recording. You can
start to play before the punch-in marker starts the actual recording.
There are important specifications that affect the entire Song, such
as Time Signature, Tempo, Record Type, etc. You also have the
opportunity to directly select a Voice for the Track in question. This is
transferred to the Mixing when the Song is saved. By this you don‘t
have to toggle between Mixing and Song Recording and ruin your
inspiration flow. After you made your settings you can immediately
start recording your ideas. Activate the [TRACK] button and use the
number buttons to select the Tracks/Parts you want to prepare or
record on.
By doing so you can check if you have started the fill synchronously
with the already recorded groove. If not, you have the option to
cancel the recording and try again. Otherwise, keep your Arpeggio
drum fill playing until the punch-out marker is reached and then
stop the recording. Even longer parts of a Song can be provided with
alternative drum ARPs. This way you can gradually work out a drum
track that sounds very varied and realistic.
Of course this procedure is not limited to drums. Also, consider the
ability to post-process the generated Tracks later in your DAW based
on their MIDI data.
P ost recording
Deviating from the known Pattern mode, there is no Section Length
in the Song. The recording of each Track is analogous to a multitrack tape machine. Here the available „Record Types“ are of great
importance. There is the choice to Replace any existing recording on
a Track when re-recording, or supplement it by a further recording
There are also extensive post-processing options available besides
all those common settings. For instance, the quantisation mentioned
above. If you made a recording without quantisation, but are not
satisfied with the timing of some notes: it‘s easy to correct them.
You can place each note exactly where it belongs. Of course, this is
not limited to the starting point - the note length can be influenced,
(Overdub). If you have made a mistake you can be selectively
too. The detailed possibilities to influence the events are of course
choose an area (eg a bar) inside the Track, where the recording
also available for other recorded events, such as controller data. For
is automatically started and stopped again with „Punch“. You can
example, you can correct a misplaced pitch bending without having
start playing before the punch-in marker, since the recording takes
to repeat the entire recording of a Track. However, it is somewhat
place only within the specified limits. Recordings that fit well into a
more time-consuming to post-edit data-intensive controllers, so you
exact time grid and perhaps should follow a very precise timing can
should decide case by case whether you edit or re-record.
to the Tracks 1-8 or 9-16, depending on which Track is enabled via
the [TRACK] button. The full extent of the Mixing can be entered with
the [MIXING] button.
Here, you can conveniently select sounds and adjust effects, edit and
set the panorama position of a Track. It is even possible to enter the
Voice Edit mode, where you have access to all parameters of a Voice.
If at this point you like to adjust a Voice for the needs of that special
Song only, you can store it as a so-called Mixing Voice. Each Mixing
contains 16 slots for Mixing Voices. These Voices do not burden the
„normal“ user memory, and they are quickly accessible from within
the Mixing. Even if you, for example, want to compare them during
your session with a different Voice from the User or Preset memory.
All parameters and values set in the Mixing are saved with the Song.
To facilitate the overview, you can use the so-called ViewFilter to
specifically hide notes or certain types of events. So you can focus
I n D et a i l: Th e Mixing Mode
on the event type you are trying to edit.
Each Song has its own Mixing settings that are invoked along with
the Song. The most important Mixing settings such as volume, pan,
and effect sends, as described above, are available in the form of a
mixing desk from the Play mode. Even the Knob settings are effective
in the Mixing mode. The other Mixing parameters are accessible
from within the Edit mode.
The COMMON EDIT button selects the COMMON Part, in which the
Once you have invested time and creativity it‘s - like always - advisable
to store the current state. Simply press the [STORE] button. The Song
thus stored is retained even after switching off the instrument. Those
who want to be more careful with their time-consumingly acquired
results also save the current state in an ALL file on a USB stick and
secure its contents on a computer or alternative storage media.
following settings are summarized:
Various global settings [GENERAL]
Master Equalizer [MEQ]
Master Effect [MEF]
Controller Assignment [CTLASN]
Audio-In Part [AUDIO IN]
F ix it , t h en m ix it
Effects [EFFECT]
During recording, you have a very convenient access to the volume
Use the number buttons 1-16 to select the Parts 1-16 in the Mixing
of the Parts by using the eight Faders. The Faders are either assigned
Edit mode. For each Part an extensive rich set of parameters is
available, identical to the Parts of a Performance. The Mixing settings
become integral parts of Songs and Patterns by performing a Mixing
With the Mixing Job [F5] (TEMPLATE) all current Mixing settings
of a Song or Pattern are stored [SF5] (PUT) in a Template, which
can be retrieved for any other Song or Pattern using [SF4] (GET).
In this way, Mixing setups can be copied quickly and comfortably
between Songs and Patterns. The Templates are even retained after
switching off the instrument. The Mixing Job [F3] (Copy) - [SF3] (Perf)
copies the complete settings of a Performance to the corresponding
Mixing Parts (Common + Parts 1 to 4). The Arpeggio settings of
Performance Parts are just as much copied as the assignments of the
Arpeggios to the sub-function buttons [SF1] - [SF5] (ARP1 - ARP5).
The five assigned Arpeggios ARP1 - ARP5 can be used within the
Song mode in several ways:
S ongs in t h e S70/90 XS
The procedures described above can be basically performed in
• In the Mixing Edit mode (ARP1 – ARP5)
the MOTIF XS/XF and in the MOX/MOXF. There are only small
• In the Song Record mode – [F2] (Arpeggio) (ARP1 – ARP5)
deviations between the MOTIF and MOX series, which are merely
• In the Song Play mode (Scene 1 – Scene 5)
due to the different user interface. As already mentioned, there is
no sequencer in the S-series that allows a Pattern or Song oriented
The latter possibility (the Song Play mode) requires an additional
recording. But, for years now you get free a version of Cubase AI
procedure after „Performance Copy“, that stores ARP1 - ARP5 as
to each instrument from Yamaha‘s series of synthesizers. Due to the
Scenes 1-5. Here are the steps to accomplish this:
excellent integration of Yamaha instruments with Cubase by using
• SONG – RECORD (= Standby mode)
• [F2] (Arpeggio): Select [SF1] (ARP1)
• [F1] (Setup): Hold the [STORE] button+ [SF1] (Scene 1)
• „Scene stored“ is shown in the display
• [F2] (Arpeggio): Select [SF12] (ARP2)
the free Yamaha editors, you can use the S70/90 XS to produce
Songs, too. After installing the drivers and software on a Mac or PC,
you can connect the instrument via USB to your computer to establish
MIDI connections in both directions. The S70/90 XS replaces the
Song and Pattern Mixings of the MOTIF series (64 memories each)
with 128 Multis. Use the editor to select the Voices you want to use
in your Multi. Each Voice is given a separate MIDI channel and
• [F1] (Setup): Hold the [STORE] button + [SF12] (Scene 2)
• „Scene stored“ is shown in the display
• Repeat these steps for ARP 3 – 5
a corresponding Track in Cubase. This sets you in a position to
work out your recording in principle as described above. With the
difference that the sound generation takes place in the instrument
and the sequencer is available as software on the computer.
I n D et ai l: Mixing V oices
In Songs and Patterns up to 16 Mixing Voices can be stored. Up
to 256 Mixing Voices can be managed in total. Mixing Voices are
Normal Voices that are not stored in the User Voice Banks, but are
an integral part of the Song or Pattern and are stored together with
them. This feature enables the simultaneous processing of up to 16
Voices of a Song or Pattern with all Voice parameters, ie with „Full
Edit“! Mixing Voices can be generated from Normal Voices only,
Drum Voices or Sample Voices can not be stored as Mixing Voices.
The 8-Zone Drum Voices are the exception to that rule, since these
are Normal Voices, in which the eight Elements are used to render
It is also possible to start a Song production with a Performance
as the starting point on the S70/90 XS. In the Music Production
Guides 12-2010 to 02-2011 a three-part workshop describes the
Song production using Arpeggios in conjunction with Cubase. For
the playback of Songs created in this kind of way, the S70/90 XS
offers the so-called Sequence Play mode. Beyond the simple
playback function a comprehensive „Chain“ features 100 steps
to bring commands in a useful order, which corresponds to the
timing of the planned performance. These steps load Multis, their
corresponding Songs, or execute control commands. Even audio
files can be integrated and played in the chain.
drum sounds. They are some sort of miniature Drum Kits. So if you
need special drum sounds for a Song or Pattern, you should focus
on these Voices. If you don‘t find the appropriate drum sound in
one of these Voices, simply select another „Wave Number“ from
[F1] Oscillator to select any drum sound for the active Element.
As already mentioned, you can edit multiple Mixing Voices
simultaneously. So you do not necessarily have to [STORE] your
settings when you want to leave the Mixing Voice Edit mode to switch
to a different Part. However, you should store all edited Mixing Voices
before choosing another Song or changing to a different mode.
This ninth part of the Yamaha Synth Guide completes this series.
We hope that we have succeeded to cover the most important
With an instrument of the MOTIF family you have a versatile
features with the Yamaha Synth Guide. We were trying to keep a
workstation with almost limitless potential for creativity at your
balance between a manageable scope and detail. Soon all nine
hands. Whether you prefer to work exclusively on the instrument or
parts are summarized in a complete Yamaha Synth Guide that will
in conjunction with a computer - anything is possible. Those who
be available as a single PDF. We will let you know in the next
prefer sonic experiments have the possibility - again with or without
Music Production Guide and provide the download link. For
software support - to use the synthesizer and its high-resolution
questions and comments about the Yamaha Synth Guide we have
parametrics as a powerful tool for creative sound design.
set up an e-mail address:
[email protected]
We look forward to your feedback and remain yours
Peter Krischker & Hans-Peter Henkel
Peter Krischker
Hans-Peter Henkel (alias hape13)
Works for Yamaha since 1991 as a sound designer and
Keyboardist in several bands since 32 years. Is also involved
synthesizer specialist, he also runs his own sound distribution
as a mentor at the Yamaha Synthforum and author for the
Music Production Guide.
[email protected]
[email protected]
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