Yamaha XS6 Specification

SPECIAL MESSAGE SECTION
PRODUCT SAFETY MARKINGS: Yamaha electronic products
may have either labels similar to the graphics shown below
or molded/stamped facsimiles of these graphics on the
enclosure. The explanation of these graphics appears on
this page. Please observe all cautions indicated on this
page and those indicated in the safety instruction section.
Battery Notice: This product MAY contain a small nonrechargable battery which (if applicable) is soldered in place. The
average life span of this type of battery is approximately five years.
When replacement becomes necessary, contact a qualified service
representative to perform the replacement.
Warning: Do not attempt to recharge, disassemble, or incinerate
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
this type of battery. Keep all batteries away from children. Dispose
of used batteries promptly and as regulated by applicable laws.
Note: In some areas, the servicer is required by law to return the
defective parts. However, you do have the option of having the
servicer dispose of these parts for you.
Disposal Notice: Should this product become damaged beyond
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK.
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
repair, or for some reason its useful life is considered to be at an
end, please observe all local, state, and federal regulations that
relate to the disposal of products that contain lead, batteries,
plastics, etc.
NOTICE: Service charges incurred due to lack of knowledge
relating to how a function or effect works (when the unit is operating
as designed) are not covered by the manufacturer’s warranty, and
are therefore the owners responsibility. Please study this manual
carefully and consult your dealer before requesting service.
The exclamation point within the equilateral
triangle is intended to alert the user to the
presence of important operating and
maintenance (servicing) instructions in the
literature accompanying the product.
NAME PLATE LOCATION: The graphic below indicates the
location of the name plate. The model number, serial number,
power requirements, etc., are located on this plate. You should
record the model number, serial number, and the date of purchase
in the spaces provided below and retain this manual as a
permanent record of your purchase.
MOTIF XS6
The lightning flash with arrowhead symbol,
within the equilateral triangle, is intended to
alert the user to the presence of uninsulated
“dangerous voltage” within the product’s
enclosure that may be of sufficient magnitude
to constitute a risk of electrical shock.
USB
ETHERNET
POWER
ON/
OFF
TO HOST
TO DEVICE
LCD CONTRAST
AC IN
MOTIF XS7
USB
ETHERNET
IMPORTANT NOTICE: All Yamaha electronic products are tested
and approved by an independent safety testing laboratory in order
that you may be sure that when it is properly installed and used in
its normal and customary manner, all foreseeable risks have been
eliminated. DO NOT modify this unit or commission others to do so
unless specifically authorized by Yamaha. Product performance
and/or safety standards may be diminished. Claims filed under the
expressed warranty may be denied if the unit is/has been modified.
Implied warranties may also be affected.
POWER
ON/
OFF
AC IN
MOTIF XS8
POWER
ON/
OFF
SPECIFICATIONS SUBJECT TO CHANGE:
The information
contained in this manual is believed to be correct at the time of
printing. However, Yamaha reserves the right to change or modify
any of the specifications without notice or obligation to update
existing units.
Model
ENVIRONMENTAL ISSUES: Yamaha strives to produce products
that are both user safe and environmentally friendly. We sincerely
believe that our products and the production methods used to
produce them, meet these goals. In keeping with both the letter and
the spirit of the law, we want you to be aware of the following:
92-469- ➀ (rear)
2
MOTIF XS Owner’s Manual
Serial No.
Purchase Date
AC IN
TO HOST
TO DEVICE
LCD CONTRAST
Explanation of Graphical Symbols
The lightning flash with arrowhead symbol
within an equilateral triangle is intended to alert
the user to the presence of uninsulated
“dangerous voltage” within the product’s
enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
The exclamation point within an equilateral
triangle is intended to alert the user to the
presence of important operating and
maintenance (servicing) instructions in the
literature accompanying the product.
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
The above warning is located on the rear of the unit.
IMPORTANT SAFETY INSTRUCTIONS
1
2
3
4
5
6
7
8
9
10
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with dry cloth.
Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. If
the provided plug does not fit into your outlet, consult
an electrician for replacement of the obsolete outlet.
Protect the power cord from being walked on or pinched
particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.
11
12
13
14
Only use attachments/accessories specified by the
manufacturer.
Use only with the cart, stand,
tripod, bracket, or table specified
by the manufacturer, or sold with
the apparatus. When a cart is
used, use caution when moving
the cart/apparatus combination
to avoid injury from tip-over.
Unplug this apparatus during
lightning storms or when unused for long periods of
time.
Refer all servicing to qualified service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power-supply cord or plug
is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been
exposed to rain or moisture, does not operate normally,
or has been dropped.
WARNING
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.
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MOTIF XS Owner’s Manual
3
PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep this manual in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical
shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:
Power supply/Power cord
Water warning
• Only use the voltage specified as correct for the instrument. The required
voltage is printed on the name plate of the instrument.
• Check the electric plug periodically and remove any dirt or dust which may have
accumulated on it.
• Do not expose the instrument to rain, use it near water or in damp or wet
conditions, or place containers on it containing liquids which might spill into
any openings.
• Never insert or remove an electric plug with wet hands.
• Use only the supplied power cord/plug.
• Do not place the power cord near heat sources such as heaters or radiators, and
do not excessively bend or otherwise damage the cord, place heavy objects on
it, or place it in a position where anyone could walk on, trip over, or roll anything
over it.
• Be sure to connect to an appropriate outlet with a protective grounding
connection. Improper grounding can result in electrical shock.
Fire warning
• Do not put burning items, such as candles, on the unit.
A burning item may fall over and cause a fire.
If you notice any abnormality
• If the power cord or plug becomes frayed or damaged, or if there is a sudden
loss of sound during use of the instrument, or if any unusual smells or smoke
should appear to be caused by it, immediately turn off the power switch,
disconnect the electric plug from the outlet, and have the instrument inspected
by qualified Yamaha service personnel.
Do not open
• This instrument contains no user-serviceable parts. Do not attempt to
disassemble or modify the internal components in any way.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage
to the instrument or other property. These precautions include, but are not limited to, the following:
Power supply/Power cord
Location
• Always connect the three-pin attachment plug to a properly grounded power
source. (For more information about the main power supply, see page 19.)
• When removing the electric plug from the instrument or an outlet, always hold
the plug itself and not the cord. Pulling by the cord can damage it.
• Remove the electric plug from the outlet when the instrument is not to be used
for extended periods of time, or during electrical storms.
• Do not connect the instrument to an electrical outlet using a multiple-connector.
Doing so can result in lower sound quality, or possibly cause overheating in the
outlet.
• Do not expose the instrument to excessive dust or vibrations, or extreme cold or
heat (such as in direct sunlight, near a heater, or in a car during the day) to
prevent the possibility of panel disfiguration or damage to the internal
components.
• Do not use the instrument in the vicinity of a TV, radio, stereo equipment,
mobile phone, or other electric devices. Otherwise, the instrument, TV, or radio
may generate noise.
• Do not place the instrument in an unstable position where it might accidentally
fall over.
• Before moving the instrument, remove all connected cables.
• When setting up the product, make sure that the AC outlet you are using is
easily accessible. If some trouble or malfunction occurs, immediately turn off
the power switch and disconnect the plug from the outlet. Even when the power
switch is turned off, electricity is still flowing to the product at the minimum
level. When you are not using the product for a long time, make sure to unplug
the power cord from the wall AC outlet.
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MOTIF XS Owner’s Manual
1/2
Connections
Saving data
• Before connecting the instrument to other electronic components, turn off the
power for all components. Before turning the power on or off for all
components, set all volume levels to minimum. Also, be sure to set the volumes
of all components at their minimum levels and gradually raise the volume
controls while playing the instrument to set the desired listening level.
Saving and backing up your data
• DRAM data (see page 79) is lost when you turn off the power to the instrument.
Save the data to the flash ROM/a USB storage device/external device such as a
computer.
Data stored to the flash ROM may be lost due to malfunction or incorrect
operation. Save important data to a USB storage device/external device such as
a computer.
Maintenance
• When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners,
solvents, cleaning fluids, or chemical-impregnated wiping cloths.
Handling caution
• Do not insert a finger or hand in any gaps on the instrument.
• Never insert or drop paper, metallic, or other objects into the gaps on the panel
or keyboard. If this happens, turn off the power immediately and unplug the
power cord from the AC outlet. Then have the instrument inspected by qualified
Yamaha service personnel.
• Do not place vinyl, plastic or rubber objects on the instrument, since this might
discolor the panel or keyboard.
• Never attempt to turn off the power while data is being written to Flash ROM
(while an “Executing...” or “Please keep power on” message is shown). Turning
the power off in this state results in loss of all user data and may cause the
system to freeze (due to corruption of data in the Flash ROM). This means that
this synthesizer may not be able to start up properly, even when turning the
power on next time.
Backing up the USB storage device/external media
• To protect against data loss through media damage, we recommend that you
save your important data onto two USB storage devices/external media.
• Do not rest your weight on, or place heavy objects on the instrument, and do not
use excessive force on the buttons, switches or connectors.
• Do not use the instrument/device or headphones for a long period of time at a
high or uncomfortable volume level, since this can cause permanent hearing
loss. If you experience any hearing loss or ringing in the ears, consult a
physician.
Yamaha cannot be held responsible for damage caused by improper use or modifications to the instrument, or data that is lost or destroyed.
Always turn the power off when the instrument is not in use.
About the latest Firmware Version
Yamaha may from time to time update firmware of the product and the accessory application software without notice for
improvement. We recommend that you check our web site for later releases and upgrade your firmware of the MOTIF XS or the
accessory application software.
http://www.yamahasynth.com/
Note that the explanations in this Owner’s Manual apply to the version of firmware when this Owner’s Manual was produced.
For details about the additional functions due to later releases, refer to the above website.
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MOTIF XS Owner’s Manual
5
Introduction
Congratulations and thank you for your purchase of the Yamaha MOTIF XS6/MOTIF XS7/MOTIF XS8 Music Production Synthesizer!
You now own what is perhaps the best-sounding, most versatile, and certainly most powerful synthesizer and total music
production instrument on the planet. We strove to put virtually all our synthesizer technology and music making know-how into one
instrument—and we succeeded. The new MOTIF XS not only gives you the latest and greatest sounds and rhythms (as well as the
ability to create and sample your own), it gives you powerful, easy-to-use tools for playing, combining and controlling these
dynamic sounds/rhythms—in real time, as you perform!
Take time to look through this manual carefully. It’s packed with important information on how to get the most from this amazing
instrument. Dive in now and enjoy!
How to use the manual
The documentation for MOTIF XS consists of the following booklets.
■ Owner’s Manual (this book)
Appendix (page 286)
Start Guide (page 19)
This section contains detailed information about this instrument,
including Specifications and Alert Messages, as well as instructions
for installing optional equipment (e.g., DIMM modules and the
mLAN16E2 interface).
This tutorial section gives you a guided tour through the various
functions of this instrument, and provides important hands-on
experience in playing and using it.
• Troubleshooting (page 288)
Using a Computer (page 43)
If this instrument does not function as expected or you have
some problem with the sound or operation, refer to this section
before calling your Yamaha dealer or service center. Most
common problems and their solutions are covered here in a very
simple and easy-to-understand way.
In this section, we’ll show you how set up the instrument with a
computer (via USB and mLAN) and how to use it with software
programs such as the MOTIF XS Editor and Cubase.
Basic Section
• Basic Structure (page 54)
This section provides a detailed overview of all of the main
functions and features of this instrument, and shows how they fit
together.
• Basic Operation (page 81)
This section introduces you to the basic operating conventions of
this instrument, such as editing values and changing settings.
• Connections (page 83)
This section covers how to connect the MOTIF XS to various
external devices such as MIDI instruments, computers and USB
storage devices.
■ Data List (separate booklet)
This contains various important lists such as the Voice List,
Waveform List, Effect List, MIDI Data Format, and MIDI
Implementation Chart.
■ Data List 2 (separate online documentation)
This contains various lists such as the Performance List, Master
Program List, Mixing Template List, Arpeggio Type List and Remote
Control Function List. This special online documentation can be
downloaded from the Manual Library site.
http://www.yamaha.co.jp/manual/
Reference (page 88)
This is the MOTIF XS encyclopedia. Here, all parameters, settings,
functions, features, modes and operations are explained in full
detail.
Accessories
AC Power cord
Owner's manual (this book)
Data List
Disc x 1 (containing DAW software)*
* For details, see page 305.
SPECIAL NOTICE
• The contents of this Owner’s Manual and the copyrights thereof are under
exclusive ownership by Yamaha Corporation.
• The illustrations and LCD screens as shown in this owner’s manual are for
instructional purposes only, and may appear somewhat different from
those on your instrument.
• This product incorporates and bundles computer programs and contents
in which Yamaha owns copyrights or with respect to which it has license to
use others' copyrights. Such copyrighted materials include, without
limitation, all computer software, style files, MIDI files, WAVE data, musical
scores and sound recordings. Any unauthorized use of such programs
and contents outside of personal use is not permitted under relevant laws.
Any violation of copyright has legal consequences. DON'T MAKE,
DISTRIBUTE OR USE ILLEGAL COPIES.
• This device is capable of using various types/formats of music data by
optimizing them to the proper format music data for use with the device in
6
MOTIF XS Owner’s Manual
•
•
•
•
•
•
advance. As a result, this device may not play them back precisely as their
producers or composers originally intended.
Copying of the commercially available musical data including but not
limited to MIDI data and/or audio data is strictly prohibited except for your
personal use.
Windows is the registered trademark of Microsoft® Corporation.
Apple and Macintosh are trademarks of Apple Computer, Inc., registered
in the U.S. and other countries.
Steinberg and Cubase are the registered trademarks of Steinberg Media
Technologies GmbH.
ETHERNET is the registered trademark of Xerox Corporation.
The company names and product names in this Owner’s Manual are the
trademarks or registered trademarks of their respective companies.
Main Features
■ Responsive, expressive keyboard (page 12)
■ Extensive Effect Processing (page 68)
The MOTIF XS6 features a 61-key keyboard, while the MOTIF XS7
has 76 keys with the high-quality FSX keyboard and the MOTIF
XS8 has 88 keys with the high-quality BH (Balanced Hammer)
keyboard. All are equipped with a touch response feature (both
initial touch and aftertouch). These allow you to expressively
change the sound in various ways—initial touch by the strength
with which you play the keys, and aftertouch by how strongly you
press the keys when holding them down.
The MOTIF XS gives you a wide array of signal processing
options, including separate Reverb and Chorus, an overall Master
Effect, including multi-band compression, five-band master EQ,
and a total of eight independent Insertion Effects. The latter
include a huge variety of effects, plus a special Vocoder feature.
■ Wide Variety of Voices and Category Search Function
(page 24)
The MOTIF XS features a huge number and wide range of
dynamic, authentic Voices. Use the Category Search function to
quickly call up the Voices you want, based on their instrument
type.
■ Eight Elements for each Voice (page 56)
Each Normal Voice can contain up to eight separate sound
Elements, enabling Voices of great complexity and rich texture.
These Elements can also be controlled in real time—by using the
panel sliders, the [ASSIGNABLE FUNCTION] buttons, or by the
way you play the keyboard. Special “Mega Voices” are also
available, letting you recreate the unique performance sounds of
acoustic instruments.
■ Powerful Arpeggio feature with four different types (pages
24 and 62)
Arpeggio automatically plays a variety of sequenced phrases in
response to the keys you play. This function is especially powerful
with Drum Voices—letting you easily call up various rhythm
patterns at the touch of a key, and providing instant inspiration for
song creation and performance. With Normal Voices, Arpeggio
changes harmonically according to the chords you play, helping
you as you compose or perform. Up to four Arpeggios can be
running simultaneously, and of course, in perfect sync. Velocity
control, Accent Phrase and Random SFX features—as well as the
eight panel Knobs—give you even greater expressive, realtime
control over Arpeggio playback.
■ Performance consisting of up to four Voices (page 28)
Performance mode lets you use four different Voices together—in
layers or in a keyboard split. Moreover, the MOTIF XS gives you
comprehensive control over the Performance in real time, as you
play—letting quickly select Parts, turn Parts on/off, turn Arpeggio
playback on/off, and more. You can also record your Performance
in this mode directly to the Song or Pattern tracks by pressing the
[REC] button.
■ Integrated Sampling Sequencer—seamlessly combines
audio and MIDI recording (pages 39, 161 and 242)
The MOTIF XS provides full Sample recording and editing
features, plus sample memory (with optional DIMM modules).
Wide data compatibility lets you load AIFF and WAV files, as well
as samples and program/voice data from other popular samplers,
such as the Yamaha A-series.
Adding to the flexibility is a powerful Slice feature that
automatically chops up your rhythms and riffs into their individual
beats and notes. This lets you manipulate the component parts of
your sample loops as MIDI data, and gives you the power to easily
change tempo and even the rhythmic feel, without disturbing the
pitch or sound quality.
■ Eight Knobs and Sliders (pages 26, 34, 90 and 136)
Comprehensive real-time control with eight knobs and eight sliders
let you change the Voice in real time, adjust Mixing of the Song/
Pattern, and control DAW software (such as Cubase) on your
computer.
■ Pattern mode—for creating a Song (page 208)
Pattern mode functions let you craft different rhythmic sections
and riffs as individual elements—which you can easily and
intuitively combine in real time to create full rhythm tracks. The
Sections you create can be combined together in Pattern Chains,
and these Chains can be conveniently converted to Song data.
■ Song Scene and Mixing Voice—for creating a Song (pages
179 and 230)
Song Scene is another powerful tool that lets you take “snapshots”
of the sequencer track settings (such as pan, volume, track mute
and so on). Then, during playback or recording, simply switch
among the Scenes for instant, dynamic changes.
In addition to being able to create User Voices in the Voice mode,
you can create special Mixing Voices for Songs and Patterns,
letting you customize Voices specifically for your Song/Pattern
recordings.
■ Master mode—for live performance (page 251)
The Master mode lets you use the MOTIF XS as a master keyboard
controller (with independent Zones), and easily reconfigure the
instrument between Voice/Performance play and Song/Pattern
play in live applications.
■ Equipped with a variety of connectors (pages 16, 17 and 18)
A full rear panel of input/output connections provides maximum
interfacing flexibility. These include Assignable Outputs, A/D
Inputs, Digital Output, MIDI, Ethernet, mLAN (standard on the
MOTIF XS8 and optionally available for the MOTIF XS6/7) and two
USB connectors.
■ Computer connectivity (page 43)
The comprehensive set of connectors—Ethernet, mLAN and USB
TO HOST—make interfacing with computers and your favorite
software exceptionally easy. In particular, the new Ethernet
connection gives you fast transfer of your MOTIF XS files to and
from a computer on the same network.
■ Quick Setup for using a computer (page 270)
This function lets you instantly reconfigure the MOTIF XS for
different computer/sequencer related applications by calling up
specially programmed presets.
■ Editor software for the MOTIF XS (page 50)
The instrument is also compatible with the MOTIF XS Editor—a
comprehensive, easy-to-use editing software program that lets
you edit (via USB connection) the Mixing setups and Mixing
Voices to be used for Song/Pattern playback. The MOTIF XS Editor
is free and can be downloaded from the Yamaha website.
■ Loop Remix (page 175)
■ Integration with Cubase (page 49)
This feature divides the data (Audio sample as well as MIDI
sequence data) in a specified track to a variety of note lengths,
and randomly rearranges a portion of the data to create totally new
variations.
The MOTIF XS is specially designed to work seamlessly with
Cubase, Steinberg’s full-featured DAW software—giving you a
comprehensive, all-in-one music production system, in which
hardware and software are fully integrated.
MOTIF XS Owner’s Manual
7
Contents
Introduction ......................................................................................................................................................6
How to use the manual.....................................................................................................................................6
Accessories......................................................................................................................................................6
Main Features...................................................................................................................................................7
The Controls & Connectors ............................................................................................................................ 10
Front Panel .....................................................................................................................................................10
Rear Panel......................................................................................................................................................16
Start Guide
19
Step 1: Setting Up............................................................................................................................................ 19
Power Supply .................................................................................................................................................19
Connecting speakers or headphones............................................................................................................19
Turning the power on .....................................................................................................................................19
Adjusting the sound and the display contrast ...............................................................................................20
Playing the sounds.........................................................................................................................................20
Selecting and playing the sounds..................................................................................................................20
Modes ............................................................................................................................................................20
Listening to the Demo Song...........................................................................................................................21
Resetting the User Memory to the Initial Factory Settings.......................................................................... 22
Step 2: Selecting and Playing a Voice ........................................................................................................... 23
Selecting a Voice ...........................................................................................................................................23
Voice Play mode indications ..........................................................................................................................23
Selecting a Drum Voice..................................................................................................................................23
Using the Category Search function ..............................................................................................................24
Playing the Arpeggio......................................................................................................................................24
Changing the Arpeggio type..........................................................................................................................25
Using the Controllers......................................................................................................................................25
Using the Knobs.............................................................................................................................................26
Adjusting the tuning to other instruments ......................................................................................................27
Transpose ......................................................................................................................................................27
Step 3: Selecting and Playing a Performance............................................................................................... 28
Selecting a Performance................................................................................................................................28
Performance Play mode indications ..............................................................................................................28
How Voices are assigned to Parts of a Performance.....................................................................................28
Creating a Performance by combining Voices ..............................................................................................29
Changing the Arpeggio settings for each Part ..............................................................................................30
Using the Controllers and Knobs ...................................................................................................................31
Recording your Performance .........................................................................................................................31
Step 4: Creating Your Original Song ............................................................................................................. 33
Terminology....................................................................................................................................................33
Song Playback ...............................................................................................................................................33
Preparing for Realtime Recording..................................................................................................................34
Start Recording! .............................................................................................................................................35
Correcting wrong notes..................................................................................................................................35
Creating a swing feel—Play Effect.................................................................................................................36
Storing the created Song ...............................................................................................................................36
Saving Song data to a USB storage device...................................................................................................36
Step 5: Creating a Pattern............................................................................................................................... 37
Pattern Structure ............................................................................................................................................37
Listening to the Demo Patterns ......................................................................................................................37
Viewing the Demo Pattern’s Patch display ....................................................................................................38
Viewing the Demo Pattern’s Mixing display ...................................................................................................38
Creating a Pattern by using Arpeggio ...........................................................................................................39
Creating a Pattern with audio—Sampling ......................................................................................................39
Storing the Pattern and Saving the Sample ...................................................................................................42
8
MOTIF XS Owner’s Manual
Using a Computer
43
Connecting to a Computer ..............................................................................................................................43
Creating a Song by Using a Computer ..........................................................................................................47
Integration Between Yamaha Editors and Cubase .......................................................................................49
Controlling a DAW on Your Computer from the MOTIF XS .........................................................................51
Basic Section
54
Basic Structure.................................................................................................................................................54
Mode Structure .............................................................................................................................................. 54
The Seven Functional Blocks......................................................................................................................... 55
Tone Generator Block.................................................................................................................................... 56
Sampling Block .............................................................................................................................................. 59
Audio Input block........................................................................................................................................... 59
Sequencer Block ........................................................................................................................................... 59
Arpeggio Block .............................................................................................................................................. 62
Controller Block ............................................................................................................................................. 67
Effect Block.................................................................................................................................................... 68
About MIDI..................................................................................................................................................... 76
Internal Memory ............................................................................................................................................. 79
Basic Operation................................................................................................................................................81
Connections .....................................................................................................................................................83
Connecting External MIDI Instruments .......................................................................................................... 83
Connecting to an MTR (Multi-track Recorder) ............................................................................................... 84
Using USB storage devices........................................................................................................................... 85
Network connection ....................................................................................................................................... 86
Reference
88
Playing the Keyboard in the Voice Play Mode ..............................................................................................88
Editing a Normal Voice ....................................................................................................................................96
Editing a Drum Voice .....................................................................................................................................127
Voice Job—Convenient Functions...............................................................................................................133
Playing in the Performance Mode ................................................................................................................135
Editing a Performance ...................................................................................................................................141
Performance Job—Convenient Functions ..................................................................................................159
Creating a Voice/Performance by Using the Sampling Function ..............................................................161
Song Playback................................................................................................................................................178
Song Recording .............................................................................................................................................186
Editing MIDI Events (Song Edit) ...................................................................................................................192
Song Job.........................................................................................................................................................195
Pattern Playback ............................................................................................................................................208
Pattern Recording ..........................................................................................................................................218
Editing MIDI Events (Pattern Edit) ................................................................................................................220
Pattern Jobs ...................................................................................................................................................222
Multi-timbral Tone Generator Settings
for Song/Pattern Playback (Mixing mode) ...................................................................................................229
Audio Recording to Song/Pattern (Sampling mode) ..................................................................................242
Using as a Master Keyboard (Master mode) ...............................................................................................251
System Settings (Utility mode, etc.) .............................................................................................................259
File Management (File mode)........................................................................................................................272
Appendix
286
Display Messages ..........................................................................................................................................286
Troubleshooting.............................................................................................................................................288
Installing Optional Hardware ........................................................................................................................293
Specifications.................................................................................................................................................297
Index................................................................................................................................................................299
About the accessory disk..............................................................................................................................305
MOTIF XS Owner’s Manual
9
The Controls & Connectors
Front Panel
MOTIF XS6
TONE 1
8
SELECTED PART
CONTROL
TONE 2
ARP FX
7
CUTOFF
RESONANCE
DECAY
SUSTAIN
RELEASE
ASSIGN 1
ASSIGN 2
EQ MID Q
EQ HIGH
PAN
REVERB
CHORUS
GATE TIME
VELOCITY
OCT RANGE
UNITMULTIPLY
TEMPO
AT TACK
EQ LOW
EQ MID F
EQ
SWING
QUANTIZE
VALUE
QUANTIZE
STRENGTH
MID
9
REMOTE
ARPEGGIO
ON/OFF
ON/OFF
#
REVERB
MULTI PART
CONTROL
@ $
!
&
MASTER
EFFECT
EFFECT BYPASS
INSERTION
SYSTEM
CHORUS
PAN
%
ASSIGNABLE
FUNCTION
OCTAVE
DOWN
UP
1
5
SEQ TRANSPORT
2
LOCATE
6
‡
MASTER
VOLUME
2
1
)
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
SF1
SF2
SF3
SF4
SF5
1
2
3
4
5
F1
F2
F3
F4
F5
F6
6
7
8
9
0
-
^
VOLUME 5
VOLUME 6
VOLUME 7
SF6
2
*
(
VOLUME 8
3
4
C1 D1
E1
F1
G1
A1 B1 C2
C3
1
MOTIF XS7
@ $
!
SELECTED PART
CONTROL
8
TONE 1
TONE 2
ARP FX
7
MULTI PART
CONTROL
CUTOFF
RESONANCE
ATTACK
EQ LOW
EQ MID F
EQ
SWING
QUANTIZE
VALUE
QUANTIZE
STRENGTH
MID
DECAY
SUSTAIN
RELEASE
ASSIGN 1
ASSIGN 2
EQ MID Q
EQ HIGH
PAN
REVERB
CHORUS
GATE TIME
VELOCITY
OCT RANGE
UNITMULTIPLY
TEMPO
REMOTE
ARPEGGIO
ON/OFF
ON/OFF
#
REVERB
MASTER
EFFECT
EFFECT BYPASS
INSERTION
SYSTEM
CHORUS
9
PAN
%
ASSIGNABLE
FUNCTION
OCTAVE
DOWN
UP
1
5
SEQ TRANSPORT
2
SF1
LOCATE
1
2
1
‡
6
MASTER
VOLUME
2
E0
1
MOTIF XS Owner’s Manual
VOLUME 1
VOLUME
2
VOLUME
3
VOLUME
4
^
VOLUME
5
VOLUME
6
VOLUME
7
VOLUME
8
3
4
10
)
F0
G0
A0 B0
C1 D1
E1
F1
G1
A1 B1 C2
F1
F2
6
7
The Controls & Connectors
™
º
¡
§
•
¶
MODE
VOICE
PERFORM
MASTER
SEQUENCER
SONG
SEQ
SETUP
PATTERN
SECTION
I-P
PRE 2
PRE 3
PRE 4
PRE 5
PRE 6
PRE 7
PRE 8
PIANO
KEYBOARD
ORGAN
GUITAR
BASS
STRINGS
BRASS
SAX/
WOODWIND
USER 1
USER 2
USER 3
GM
GM DR
PRE DR
USER DR
SYN LEAD
PADS/
CHOIRS
INTEGRATED
SAMPLING
MIXING
SECTION
A-H
A
B
FILE
UTILITY
COMMON EDIT
1
2
ENTER
EDIT
JOB
EXECUTE
COMPARE
MULTI PART
PROGRAM
PRE 1
SOUND
EFX
MUSICAL
EFX
ETHNIC
D
E
F
G
H
4
5
6
7
8
12
13
14
SYN COMP CHROMATIC
DRUM/
PERCUSSION PERCUSSION
C
⁄
¤
CATEGORY SEARCH
‹
›
INC/YES
DEC/NO
SUB CATEGORY
3
PART SELECT
EXIT
9
STORE
SCENE STORE
£
∞
PERFORMANCE
CONTROL
ARP ON/OFF
11
PART MUTE
SET LOCATE
¢
10
TRACK
15
MUTE
16
‚
ª
C4
SOLO
fi
C5
™
º
¡
&
fl
ARP HOLD
C6
§
•
¶
MODE
VOICE
PERFORM
SEQUENCER
SONG
PATTERN
MASTER
SEQ
SETUP
SECTION
I-P
MIXING
FILE
UTILITY
ENTER
EDIT
JOB
EXECUTE
COMPARE
PRE 2
PRE 3
PRE 4
PRE 5
PRE 6
PRE 7
PRE 8
PIANO
KEYBOARD
ORGAN
GUITAR
BASS
STRINGS
BRASS
SAX/
WOODWIND
USER 1
USER 2
USER 3
GM
GM DR
PRE DR
USER DR
SYN LEAD
PADS/
CHOIRS
SECTION
A-H
A
B
COMMON EDIT
1
2
MULTI PART
INTEGRATED
SAMPLING
PRE 1
SOUND
EFX
MUSICAL
EFX
ETHNIC
D
E
F
G
H
4
5
6
7
8
12
13
14
SYN COMP CHROMATIC
DRUM/
PERCUSSION PERCUSSION
C
PROGRAM
⁄
¤
CATEGORY SEARCH
INC/YES
DEC/NO
SUB CATEGORY
F1
SF2
SF3
2
SF4
3
SF5
4
PART SELECT
5
F2
F3
F4
F5
F6
7
8
9
0
-
EXIT
STORE
9
SCENE STORE
C3
(
¢
£
C4
∞
10
11
TRACK
‚
15
16
MUTE
SOLO
ARP HOLD
ª
C5
PERFORMANCE
CONTROL
ARP ON/OFF
PART MUTE
SET LOCATE
*
3
SF6
‹
›
fl
fi
C6
MOTIF XS Owner’s Manual
11
The Controls & Connectors
MOTIF XS8
@ $
!
SELECTED PART
CONTROL
8
TONE 1
TONE 2
ARP FX
7
9
MULTI PART
CONTROL
CUTOFF
RESONANCE
ATTACK
EQ LOW
EQ MID F
EQ
SWING
QUANTIZE
VALUE
QUANTIZE
STRENGTH
MID
DECAY
SUSTAIN
RELEASE
ASSIGN 1
ASSIGN 2
EQ MID Q
EQ HIGH
PAN
REVERB
CHORUS
GATE TIME
VELOCITY
OCT RANGE
UNITMULTIPLY
TEMPO
REMOTE
ARPEGGIO
ON/OFF
ON/OFF
#
REVERB
MASTER
EFFECT
EFFECT BYPASS
INSERTION
SYSTEM
CHORUS
PAN
%
ASSIGNABLE
FUNCTION
OCTAVE
DOWN
UP
1
5
SEQ TRANSPORT
2
SF1
LOCATE
1
2
1
6
‡
MASTER
VOLUME
2
)
VOLUME 1
VOLUME
2
VOLUME
3
VOLUME
4
VOLUME
F1
F2
6
7
^
5
VOLUME
6
VOLUME
7
VOLUME
8
3
4
A-1 B-1 C0 D0 E0 F0 G0 A0 B0 C1
C2
1
1 Keyboard
The MOTIF XS6 features a 61-key keyboard, while the
MOTIF XS7 has 76 keys and the MOTIF XS8 has 88 keys.
All are equipped with a touch response feature (both initial
touch and aftertouch). With initial touch, the instrument
senses how strongly or softly you play the keys, and uses
that playing strength to affect the sound in various ways,
depending on the selected Voice. With aftertouch, the
instrument senses how much pressure you apply to the
keys while playing, and uses that pressure to affect the
sound in various ways, depending on the selected Voice.
Moreover, any of a variety of functions can be assigned to
aftertouch for each Voice (page 104).
2 Pitch Bend wheel (page 67)
Controls the pitch bend effect. You can also assign other
functions to this controller.
3 Modulation wheel (page 67)
Controls the modulation effect. You can also assign other
functions to this controller.
4 Ribbon Controller (page 67)
This controller is touch sensitive, and is controlled by
running your finger lightly across its surface laterally. You
can also assign other functions to this controller.
5 ASSIGNABLE FUNCTION buttons (page 67)
According to the XA Mode (Expanded Articulation Mode)
settings in the Voice Element Edit mode, you can call up
12
MOTIF XS Owner’s Manual
the specific Element of the selected Voice by pressing
each of these buttons during your keyboard performance.
In addition, you can assign other functions to these
buttons.
6 MASTER VOLUME (page 20)
Move the slider upwards to raise the output level from the
OUTPUT L/R jacks and the PHONES jack.
7 Knobs (pages 26, 31, 89, 136, 181 and 252)
These eight highly versatile knobs let you adjust various
aspects or parameters of the current Voice. Use the
[SELECTED PART CONTROL] button or [MULTI PART
CONTROL] button to change the functions assigned to the
knobs.
8 [SELECTED PART CONTROL] button (pages
26, 64, 89, 136, 181 and 252)
Pressing this button changes the functions assigned to the
eight knobs. The lamp next to the currently active
parameters will light. A function of each knob is applied to
the current Voice in the Voice mode while a function of
each knob is applied only to the currently selected Part (or
to all Parts depending on the setting) in the Performance/
Song/Pattern mode.
n Note that the functions assigned to the Knobs printed
“ASSIGN1” and “ASSIGN2” with the TONE 1 lamp turned on
are always applied to all Parts in the Performance mode and
the specified Part in the Song/Pattern mode.
C
The Controls & Connectors
™
º
¡
§
•
¶
MODE
&
VOICE
PERFORM
SEQUENCER
SONG
PATTERN
MASTER
SEQ
SETUP
SECTION
I-P
MIXING
FILE
UTILITY
ENTER
EDIT
JOB
EXECUTE
COMPARE
PRE 2
PRE 3
PRE 4
PRE 5
PRE 6
PRE 7
PRE 8
PIANO
KEYBOARD
ORGAN
GUITAR
BASS
STRINGS
BRASS
SAX/
WOODWIND
USER 2
USER 3
GM
GM DR
PRE DR
USER DR
SYN LEAD
PADS/
CHOIRS
SYN COMP
SECTION
A-H
A
B
C
COMMON EDIT
1
2
MULTI PART
INTEGRATED
SAMPLING
PRE 1
USER 1
CHROMATIC
DRUM/
PERCUSSION PERCUSSION
SOUND
EFX
MUSICAL
EFX
ETHNIC
D
E
F
G
H
4
5
6
7
8
12
13
14
⁄
PROGRAM
¤
CATEGORY SEARCH
‹
›
INC/YES
DEC/NO
SUB CATEGORY
SF1
SF2
1
SF3
2
SF4
3
SF5
4
PART SELECT
5
F2
F3
F4
F5
F6
7
8
9
0
-
EXIT
9
STORE
SCENE STORE
(
C3
¢ £
∞
10
11
TRACK
‚
C4
9 [MULTI PART CONTROL] button (pages 136
and 180)
Pressing this button changes the functions assigned to the
eight knobs in the Performance /Song/Pattern mode. The
lamp next to the currently active parameters will light. In the
Performance mode, the four knobs at the left end
correspond to Parts 1 – 4. In the Song/Pattern mode, all
knobs correspond to Parts 1 – 8 or 9 –16 (depending on
the currently selected Part).
) Control Sliders
These sliders control the volume of the sound in different
ways depending on the mode selected:
Voice mode—volume of the eight Elements (page 91)
Performance mode—volume of the four Parts (page 137)
Song/Pattern modes—volume of the eight Parts, including
the current Part (page 180)
Master mode—volume (page 252) or specified Control
Change number (page 257) of the eight Zones
n If all of the Control Sliders are set to the minimum, you may not
hear any sound from the instrument, even when playing the
keyboard or a Song/Pattern. If this is the case, raise all the
sliders to a suitable level.
n The MASTER VOLUME slider adjusts the audio output level
from this instrument. On the other hand, the Control Slider
adjusts the volume for the Element of the Voice or the Part of
the Performance/Song/Pattern as a parameter. Accordingly,
the values set via the Control Sliders can be stored as the
Voice, Performance, Song, or Pattern data.
15
16
MUTE
SOLO
fl
ARP HOLD
ª
C5
PERFORMANCE
CONTROL
ARP ON/OFF
PART MUTE
SET LOCATE
*
3
SF6
fi
C6
C7
! [REMOTE ON/OFF] button (page 52)
The Remote mode lets you control sequencer software on
your computer from the panel controls of the instrument.
Turn the [ON/OFF] button on to enter the Remote mode.
@ [ARPEGGIO ON/OFF] button (pages 65, 101
and 135)
Press this button to enable or disable playback of the
Arpeggio for each Voice, Performance, Song, or Pattern. If
the Arpeggio Switch of the selected Part is set to off in the
Performance/Song/Pattern mode, however, pressing this
button has no effect.
# EFFECT BYPASS buttons (page 260)
The extensive effect block of the instrument provides
Insertion effects (eight sets, with two effect units per set),
System Effects (Reverb and Chorus), and Master Effects.
The effects can be applied to the keyboard-played Voices
and to Song/Pattern playback. When the lamp of the
[INSERTION] or [SYSTEM] button is turned on, the
corresponding Effect is off (or bypassed).
n When the checkbox of the Reverb/Chorus is set to off in the
[UTILITY] → [F1] General → [SF2] FXBypass display, the
Reverb/Chorus is maintained (not bypassed) even if you turn
the [SYSTEM] button on.
$ [MASTER EFFECT] button (pages 146 and 264)
When this button is pressed (the lamp lights), the Master
Effect is applied to the overall sound of this instrument.
Also, to access the Master Effect setting display, press and
hold the [MASTER EFFECT] button for a second or two.
MOTIF XS Owner’s Manual
13
The Controls & Connectors
% OCTAVE [UP] and [DOWN] buttons (pages 91,
92, 138, 251 and 260)
Use these buttons to change the note range of the
keyboard. To restore the normal octave setting, press both
buttons simultaneously.
^ SEQ TRANSPORT buttons (pages 21, 178 and
208)
These buttons control recording and playback of the Song/
Pattern sequence data.
[P] (Top) button
Instantly returns to the beginning of the current Song or
Pattern (i.e., the first beat of the first measure).
[G] (Reverse) button
Press briefly to move back one measure at a time, or hold to
continuously rewind.
[H] (Forward) button
Press briefly to move forward one measure at a time, or hold to
continuously fast-forward.
[I] (Record) button
Press this to enable recording (Song or Pattern phrase). (The
indicator lights.)
[J] (Stop) button
Press to stop recording or playback.
¡ [INC/YES] button (page 81)
For increasing the value of the currently selected
parameter. Also use it to actually execute a Job or a Store
operation.
™ [DEC/NO] button (page 81)
For decreasing the value of the currently selected
parameter. Also use it to cancel a Job or a Store operation.
n You can also use the [INC/YES] and [DEC/NO] buttons to
quickly move through parameter values in 10-unit jumps,
especially those with large ranges. Simply hold down one of
the buttons (of the direction you want to jump), and
simultaneously press the other. For example, to jump in the
positive direction, hold down the [INC/YES] button and press
[DEC/NO].
£ Cursor buttons (page 81)
The cursor buttons move the “cursor” around the LCD
display screen, highlighting and selecting the various
parameters.
¢ [EXIT] button (page 55)
The menus and displays of the MOTIF XS are organized
according to a hierarchical structure. Press this button to
exit from the current display and return to the previous level
in the hierarchy.
[F] (Play) button
Press to start playback from the current point in the Song or
Pattern. During recording and playback, the indicator flashes
at the current tempo.
& LCD Display
Use this button to actually enter a number when selecting a
Memory or Bank for Voice or Performance. Also use this
button to execute a Job or a Store operation.
The large backlit LCD displays the parameters and values
related to the currently selected operation or mode.
§ MODE buttons (page 55)
* [F1] – [F6] (Function) buttons (page 81)
These buttons select the MOTIF XS operating modes (e.g.,
Voice mode).
These buttons located directly below the LCD display call
up the corresponding functions indicated in the display.
¶ Bank buttons (pages 23 and 88)
( [SF1] – [SF5] (Sub Function) buttons (page 81)
These buttons located directly below the LCD display call
up the corresponding sub functions indicated in the
display. These buttons can be also used to call the
Arpeggio type in some displays of the Play mode, Edit
mode and Record mode. These buttons can be also used
as Scene buttons (pages 179, 182, 209 and 211) in the
Song Play/Song Record/Pattern Play/Pattern Record
modes.
º Data dial (page 81)
For editing the currently selected parameter. To increase
the value, turn the dial right (clockwise); to decrease the
value, turn the dial left (counter-clockwise). If a parameter
with a wide value range is selected, you can change the
value in broader strokes by quickly turning the dial.
14
∞ [ENTER] button
MOTIF XS Owner’s Manual
Each button selects a Voice or Performance Bank. When
the [CATEGORY SEARCH] button is turned on, these
buttons can be used to select the Main category (printed
below each button). When the [TRACK] button is turned on
in the Pattern mode, these lower buttons are used to select
the desired Section from I – P.
• Group [A] – [H] buttons (pages 23 and 88)
Each button selects a Voice or Performance Group. When
the [CATEGORY SEARCH] button is turned on, these
buttons can be used to select the Sub category. When the
[TRACK] button is turned on in the Pattern mode, these
buttons are used to select the desired Section from A – H.
ª Number [1] – [16] buttons (pages 23 and 88)
Use of these buttons differs depending on the on/off status
of the [TRACK], [MUTE], [SOLO] and [PERFORMANCE
CONTROL] buttons.
The Controls & Connectors
Functions of the Number [1] – [16] buttons
[PERFORMANCE
CONTROL] button
Mode
[TRACK] button
[MUTE] button
[SOLO] button
Voice Play
—
Keyboard transmit channel setting
—
—
Normal Voice Edit
—
Changes the Edit mode from Common
Edit to Element Edit and Element
selection (1 – 8)
Element Mute setting (1 – 8)
Solo Element selection (1 – 8)
Drum Voice Edit
—
Changes the Edit mode from Common
Edit to Drum Key Edit
—
—
Performance Play
Performance Control (‹)
Keyboard transmit channel setting
Part Mute setting (1 – 4)
Solo Part selection (1 – 4)
Performance Edit
Performance Control (‹)
Part selection (1 – 4)
Part Mute setting (1 – 4)
Solo Part selection (1 – 4)
Master Play
—
Keyboard transmit channel setting
(when memorizing the Voice mode or
Performance mode to the current
Master) or Song/Pattern track
selection (when memorizing the Song
mode or Pattern mode to the current
Master)
—
—
Master Edit
—
Changes the Edit mode from Common
Edit to Zone Edit and Zone selection
(1 – 8)
—
—
Song Play/
Pattern Play
—
Song/Pattern track selection
Song/Pattern track Mute
setting
Solo track selection
Song Mixing/
Pattern Mixing
—
Song/Pattern Part selection
Song/Pattern Part Mute
setting
Solo Part selection
Element selection (1 – 8)
Element Mute setting (1 – 8)
Solo Element selection (1 – 8)
Mixing Voice Edit
Element selection (1 – 8)
‚ [COMMON EDIT] button
Turning this button on enters the Common Edit mode,
which lets you edit the parameters commonly applied to all
Elements, Parts or Zones in the Voice Edit mode,
Performance Edit mode, Song Mixing Edit mode, Pattern
Mixing Edit mode, and Mixing Voice Edit mode.
⁄ [PROGRAM] button
When this button is turned on, using the Bank/Group/
Number buttons selects a Voice, Performance, Song,
Pattern, and Master in the corresponding mode.
¤ [CATEGORY SEARCH] button (page 24)
When this button is turned on in the Voice Play mode/Song
Mixing mode/Pattern Mixing mode, the Bank buttons can
be used to select a main category and the Group buttons
[A] – [E] can be used to select a sub category of the Voice.
When this button is turned on in the Performance mode,
the Bank buttons can be used to select the Performance
category and the Group buttons [A] – [E] can be used to
select the Performance sub category.
‹ [PERFORMANCE CONTROL] button (page 135)
This button is available only in the Performance Mode.
When this button is turned on, the following functions are
assigned to the Number buttons [1] – [16].
Number
buttons
Function
[1] – [4]
Selecting Parts 1 – 4.
[5] – [8]
Setting the Arpeggio Switch to on/off for Parts 1 – 4.
[9] – [12]
Setting the mute status for Parts 1 – 4.
[13] – [16]
Setting the Arpeggio Hold for Parts 1 – 4.
› [TRACK] button (page 34)
Turning this button on in the Song/Pattern mode enables
the Number [1] – [16] buttons for selecting corresponding
Song/Pattern tracks. When this button is turned on in the
Pattern mode, the Group buttons [A] – [H] can be used to
select the desired Section from A – H and the lower buttons
of the Bank buttons can be used to select the desired
Section from I – P.
The on/off status of this button affects the Number [1] – [16]
buttons in different ways, depending on the currently
selected mode. (Refer to “Number [1] – [16] buttons”
above.)
fi [MUTE] button (pages 33 and 179)
Turning this button on in the Normal Voice Edit mode and
Mixing Voice Edit mode enables the Number buttons [1] –
[8] for muting Voice Elements (1 – 8). Turning this button on
in the other modes enables the Number buttons [1] – [16]
for muting Performance Parts (1 – 4), Song Tracks/Parts (1
– 16), and Pattern Tracks/Parts (1 – 16). Refer to “Number
[1] – [16] buttons” above.
fl [SOLO] button (pages 33 and 179)
Turning this button on in the Normal Voice Edit mode and
Mixing Voice Edit mode enables the Number buttons [1] –
[8] for soloing a Voice Element (1 – 8). Turning this button
on in the other modes enables the Number buttons [1] –
[16] for soloing a Performance Part (1 – 4), a Song Track/
Part (1 – 16), and a Pattern Track/Part (1 – 16). Refer to
“Number [1] – [16] buttons” above.
‡ Studio Connections logo
Studio Connections is a joint
project begun by Steinberg and
Yamaha. Music production
systems now increasingly rely on both software and
hardware, and there is a pressing need for closer
integration between the two. Studio Connections provides
a comprehensive and seamless music production
environment—making the use of hardware and software
both easier and much more efficient.
MOTIF XS Owner’s Manual
15
The Controls & Connectors
Rear Panel
MOTIF XS6
3
4
5
USB
ETHERNET
TO HOST
TO DEVICE
LCD CONTRAST
AC IN
POWER
ON/
OFF
1
2
7
3
MOTIF XS7
4
5
USB
ETHERNET
TO HOST
TO DEVICE
LCD CONTRAST
AC IN
POWER
ON/
OFF
1
2
7
MOTIF XS8
3
4
5
USB
ETHERNET
POWER
ON/
OFF
1
1 POWER switch (page 19)
Press to turn power ON or OFF.
2 AC IN (AC Power Cord Socket) (page 19)
Be sure to plug the AC power cord into this socket before
plugging the power cord into an AC outlet. Use only the AC
power cord supplied with this instrument. If the supplied
cord is lost or damaged and needs to be replaced, contact
your Yamaha dealer. The use of an inappropriate
replacement can pose a fire and shock hazard!
3 ETHERNET connector (page 86)
You can connect the MOTIF XS to a LAN network by using
this connector and a LAN cable. When connected to a
network, the MOTIF XS is capable of mounting and
accessing drives of computers on the same network.
4 USB connectors (pages 43 and 85)
There are two different types of USB connectors, and the
rear panel of the instrument features both.
The USB TO HOST connector is used to connect this
instrument to the computer via the USB cable and allows
you to transfer MIDI data between the devices. Unlike
MIDI, USB can handle multiple ports via a single cable.
16
MOTIF XS Owner’s Manual
TO HOST
TO DEVICE
LCD CONTRAST
AC IN
2
6
The USB connection between the instrument and the
computer can only be used for transfer of MIDI data. No
audio data can be transferred via USB.
The USB TO DEVICE connector is used to connect this
instrument to a USB storage device (hard disk drive, CDROM drive, flash disk, etc.) via the USB cable. This lets you
save data created on this instrument to an external USB
storage device and load data from a USB device to the
instrument. Save/Load operations can be performed in the
File mode.
n For details about USB, see pages 43 and 85.
USB
USB is an abbreviation for Universal Serial
Bus. It is a serial interface for connecting a computer with
peripheral devices, and enables much faster data
transfer compared to conventional serial port
connections.
5 LCD Contrast Control (page 20)
Use this control to set the LCD display for optimum
legibility.
The Controls & Connectors
FOOT SWITCH
MIDI
DIGITAL OUT
THRU
8
OUT
ASSIGNABLE
IN
9
MIDI
DIGITAL OUT
THRU
8
OUT
9
FOOT CONTROLLER
8
SUSTAIN
OUT
9
2
R
R
!
SUSTAIN
)
OUTPUT
R
L
PH ONES
FOOT CONTROLLER
1
!
6 mLAN (IEEE1394) connector 1, 2 (only MOTIF
XS8) (page 44)
The MOTIF XS is equipped with two mLAN connectors to
which a IEEE1394 (6-pin) cable can be plugged in. These
connectors enable you to connect the MOTIF XS to
IEEE1394-compatible (FireWire/i.LINK) computers. If the
connecting device features a 6-pin IEEE1394 jack, use a
standard 6-pin to 6-pin IEEE1394 cable. If it features a 4pin IEEE1394 jack, use a standard 6-pin to 4-pin IEEE1394
cable.
7 mLAN expansion board (mLAN16E2) cover
(MOTIF XS6, MOTIF XS7) (page 294)
The optional mLAN16E2 can be installed by removing this
cover of the MOTIF XS6/MOTIF XS7. By installing an
mLAN16E2 board, you can upgrade your MOTIF XS6 or
MOTIF XS7 for convenient and easy connection to an
IEEE1394-compatible computer.
$
PH ONES
#
L
@
L
R
$
ASSIGNABLE OUTPUT
GAIN
% ^
A/D INPUT
L/MONO
R
L
R
OUTPUT
R
@
2
A/D INPUT
L/MONO
#
ASSIGNABLE OUTPUT
1
ASSIGNABLE
L
@
FOOT SWITCH
IN
ASSIGNABLE OUTPUT
1
FOOT SWITCH
)
THRU
2
!
MIDI
DIGITAL OUT
FOOT CONTROLLER
)
ASSIGNABLE
IN
SUSTAIN
GAIN
% ^
A/D INPUT
OUTPUT
R
L/MONO
#
PHONES
$
L
R
%
GAIN
^
About mLAN
“mLAN” is a digital network
designed for musical applications.
It uses and extends the industry standard IEEE1394 high
performance serial bus. By connecting an mLANequipped MOTIF XS (a MOTIF XS6/7 to which the
optional mLAN16E2 is installed or a MOTIF XS8) to a
computer in a peer-to-peer connection via an IEEE1394
cable, you can transfer audio data for all channels and
MIDI data for all ports simultaneously between the MOTIF
XS and the computer. This kind of connection, its
capabilities and uses are referred to as “mLAN” in this
Owner’s Manual and the MOTIF XS instrument.
For details and the latest information on mLAN, refer to
the following URL:
http://www.yamahasynth.com/
*The name “mLAN” and its logo (above) are trademarks.
n Yamaha recommends that you use an IEEE1394 cable with a
length of 4.5 meters or less.
n The digital audio output via the mLAN connector is fixed to a
resolution of 24 bit/44.1 kHz.
MOTIF XS Owner’s Manual
17
The Controls & Connectors
8 DIGITAL OUT connector
% A/D INPUT jacks (pages 40, 147, 232 and 265)
Use this connector to output digital signals over coaxial
(RCA-pin) cable. The digital signal format is CD/DAT (S/P
DIF). This connector outputs a digital signal of 44.1 kHz/24
bit. By using this jack, you can record the keyboard
performance or Song/Pattern playback of this synthesizer
to external media (e.g., a CD recorder) with exceptionally
high-quality sound—thanks to the direct digital connection.
External audio signals can be input via these phone jacks
(1/4" mono phone plug). Various devices such as
microphone, guitar, bass, CD player, synthesizer can be
connected to these jacks and their audio input signal can
be sounded as the Audio Part of the Voice, Performance,
Song, or Pattern. In the Sampling mode (page 242), these
jacks are used for capturing audio data as samples. In
addition, you can use the special Vocoder feature by
connecting a microphone to this L jack and inputting your
Voice to the microphone.
Use 1/4" mono phone plugs. For stereo signals (such as
from audio equipment), use both jacks. For mono signals
(such as from a microphone or guitar), use only the L jack.
9 MIDI IN/OUT/THRU connectors (page 83)
MIDI IN is for receiving control or performance data from
another MIDI device, such as an external sequencer. MIDI
THRU is simply for redirecting any received MIDI data (via
MIDI IN) to connected devices, allowing convenient
chaining of additional MIDI instruments. MIDI OUT is for
transmitting all control, performance and playback data
from the MOTIF XS to another MIDI device, such as an
external sequencer.
) FOOT SWITCH jacks (pages 104, 123, 147 and
260)
For connection of an optional FC3/FC4/FC5 Footswitch to
the SUSTAIN jack and a FC4/FC5 Footswitch to the
ASSIGNABLE jack. When connected to the SUSTAIN jack,
the Footswitch controls sustain. When connected to
ASSIGNABLE, it can control one of various different
assignable functions.
! FOOT CONTROLLER jacks (pages 104 and 147)
For connection of optional foot controllers (FC7 and FC9).
Each jack lets you continuously control one of various
different assignable functions—such as volume, tone,
pitch, or other aspects of the sound.
@ ASSIGNABLE OUT L and R jacks
Line level audio signals are output from this instrument via
these phone jacks (1/4" mono phone plug). These outputs
are independent of the main output (at the L/MONO and R
jacks below), and can be freely assigned to any of the
Drum Voice keys or the Parts. This lets you route specific
Voices or sounds for processing with a favorite outboard
effect unit. The Parts which can be assigned to these jacks
are as follows:
• Audio Part in the Voice mode (page 265)
• Drum Voice key to which the drum/percussion instrument
is assigned (page 130)
• Any Part of a Performance* (pages 148 and 153)
• Any Part of a Song* (pages 234 and 235)
• Any Part of a Pattern* (pages 234 and 235)
* Including the Audio Input Part
# OUTPUT L/MONO and R jacks (page 19)
Line level audio signals are output via these phone jacks.
For monophonic output, use just the L/MONO jack.
$ PHONES (Headphone) jack (page 19)
This standard stereo phones jack is for connection to a set
of stereo headphones.
18
MOTIF XS Owner’s Manual
^ GAIN knob (page 40)
For adjusting the input gain of the audio at the A/D INPUT
jacks (above). Depending on the connected device
(microphone, CD player, etc.), you may need to adjust this
for optimum level.
Start Guide
Setting Up
Power Supply
Rear panel
Start Guide
Step 1:
Connecting speakers or
headphones
Since the MOTIF XS has no built-in speakers, you will need
to monitor the sound of the instrument by using external
equipment. Connect a set of headphones, powered
speakers, or other playback equipment as required.
AC IN
Powered speaker (Left)
Powered speaker (Right)
Headphones
Power cord (included)
OUTPUT L/MONO
OUTPUT R
PHONES
1
Make sure the POWER switch on the MOTIF XS
is set to OFF.
2
Connect the supplied power cord to the AC IN
on the instrument’s rear panel.
3
Connect the other end of the power cord to an
AC outlet.
Make sure your MOTIF XS meets the voltage
requirement for the country or region in which it is being
used.
WARNING
Make sure your MOTIF XS is rated for the AC voltage supplied in
the area in which it is to be used (as listed on the rear panel).
Connecting the unit to the wrong AC supply can cause serious
damage to the internal circuitry and may even pose a shock
hazard!
WARNING
Use only the AC power cord supplied with the MOTIF XS. If the
supplied cord is lost or damaged and needs to be replaced,
contact your Yamaha dealer. The use of an inappropriate
replacement can pose a fire and shock hazard!
MOTIF XS
Turning the power on
Make sure the volume settings of the MOTIF XS and
external devices such as powered speakers are turned
down to the minimum before turning the power on.
When connecting the MOTIF XS to the powered speakers,
turn on the power switch of each device in the following
order.
• When turning the power on: First, the MOTIF XS, then the
connected powered speakers.
• When turning the power off: First, the connected
powered speakers, then the MOTIF XS.
Please keep in mind that the POWER switch is located at
the right side (from the view of the keyboard) of the AC IN
socket on the rear panel of the MOTIF XS.
WARNING
AC IN
The type of AC power cord provided with the MOTIF XS may be
different depending on the country in which it is purchased (a third
prong may be provided for grounding purposes). Improper
connection of the grounding conductor can create the risk of
electrical shock. Do NOT modify the plug provided with the MOTIF
XS. If the plug will not fit the outlet, have a proper outlet installed
by a qualified electrician. Do not use a plug adapter which defeats
the grounding conductor.
POWER switch
MOTIF XS
CAUTION
Even when the POWER switch is turned off, electricity is still
flowing to the instrument at the minimum level. When you are not
using the instrument for a long time, make sure you unplug the
power cord from the wall AC outlet.
MOTIF XS Owner’s Manual
19
Step 1: Setting Up
Adjusting the sound and the
display contrast
Start Guide
Adjust the volume levels of the MOTIF XS and the
connected amplifier/speaker system. If the display is not
easily visible, use the Contrast control to adjust for
optimum visibility.
Adjust the volume with the
MASTER VOLUME slider.
Adjust the display contrast
with the Contrast control.
Max.
Min.
Light
Dark
name) registered to the current Master program. Let’s try
playing the keyboard.
n For details about Banks, see pages 88 and 135.
Selecting and playing the
sounds
In the default setting, the Master mode provides a total of
128 programs each of which includes the mode (Voice,
Performance, Song and Pattern) and its program number.
Try out the different Master programs to play various Voices
and Performances. You can change the Master program
number by using the [INC/YES] button, [DEC/NO] button,
or the data dial.
Decreases
number
Increases
number
MOTIF XS
CAUTION
Do not listen with the headphones at high volume for long periods
of time. Doing so may cause hearing loss.
n Keep in mind that the LCD display is not a touch screen type.
Do not touch and press the display directly or forcefully.
INC/YES
DEC/NO
Increases
number
Decreases
number
Playing the sounds
Modes
Try playing some of the realistic and dynamic MOTIF XS
sounds from the keyboard now. When you turn the power
on, the display below appears.
In order to make operation of the MOTIF XS as
comprehensive and as smooth as possible, all functions
and operations have been grouped in “modes,” many of
which also have a number of “sub modes.” The MOTIF XS
provides the nine main modes which are divided into
several sub modes. You can master the MOTIF XS by
understanding the mode structure. To enter the desired
mode, press the corresponding Mode button. For more
details about modes and sub modes, see page 54.
Indicates that the
Master mode is
selected.
Indicates the
type of selected
program.
Indicates the name
and number of
selected program.
MODE
VOICE
PERFORM
SEQUENCER
SONG
PATTERN
MASTER
SEQ
SETUP
MULTI PART
INTEGRATED
SAMPLING
MIXING
FILE
UTILITY
EDIT
JOB
n In the default settings, the Master mode is selected. For
details about the modes, refer to the section “Modes.”
n Keep in mind that the example displays shown in this manual
are for instruction purposes only, and the contents (for
example, the Demo Song/Pattern names) may differ slightly
from those on your instrument.
In this condition you can play the keyboard and hear the
sounds of the selected program. The top of the Master Play
display (page 251) indicates the Master program number
and the status (Mode, Bank, Program Number and its
20
MOTIF XS Owner’s Manual
COMPARE
STORE
SCENE STORE
SET LOCATE
Step 1: Setting Up
Listening to the Demo Song
DEC/NO
INC/YES
EXIT
ENTER
Start Guide
Try listening to the preset Demo Songs, enjoy the highquality sound, and get a taste for how you can use the
MOTIF XS to create your own music.
EXECUTE
Playing the Demo Song
n Keep in mind that the example displays shown in this
manual are for instruction purposes only, and may appear
somewhat different from those on your instrument.
••••••••••••••••••••••••••••••••••••
1
Press the [SONG] button to enter the Song
Play mode.
The Track View display of the Song Play mode appears.
2
Press the SEQ TRANSPORT [F] (Play) button
to start the Demo Song.
The Song currently shown on the display starts.
2
Press the [INC/YES] and [DEC/NO] buttons or
rotate the data dial to change the Demo Song
number.
Decreases
number
Increases
number
SEQ TRANSPORT
LOCATE
1
2
DEC/NO
INC/YES
Increases
number
Decreases
number
Stop button
Play button
n To adjust the volume level of the Demo Songs, use the
MASTER VOLUME slider.
3
n You can change the value of various parameters as well
as the Song number by using the [DEC/NO]/[INC/YES]
button or data dial after moving the cursor to the desired
location. This basic operation is used for all of the
selection and adjustment operations on the instrument.
Press the SEQ TRANSPORT [J] (Stop) button
to stop the Demo Song.
Loading the Demo data
••••••••••••••••••••••••••••••••••••
Selecting another Song
••••••••••••••••••••••••••••••••••••
1
Make sure that the cursor is located on the
Song Number in the Track View display.
The highlighted frame within the display is called the
“cursor.” You can move the cursor up, down, left and
right by using the Cursor buttons. If the cursor is
located on another parameter, move the cursor to the
Song Number.
Song number
Song name
In the default settings (when shipped from the factory),
several Demo Songs and Patterns are stored to the
instrument, starting at Song 01 and Pattern 01. However,
you may delete them by recording your original data or
loading a different Song/Pattern from an external USB
storage device. To restore the original Demo data, follow
the instructions below.
CAUTION
Loading the Demo data overwrites all the Songs or Patterns.
Before loading the Demo data, please check whether or not there
is important data in the Songs or Patterns. If there is important
data in the Songs or Patterns, save it to the external USB storage
device or a computer on the network before loading the Demo
data. For information about how to save, see page 278.
MOTIF XS Owner’s Manual
21
Resetting the User Memory to the Initial Factory Settings
1
Press the [FILE] button and [UTILITY] button
simultaneously.
The Demo Load display appears.
FILE
Resetting the User Memory to
the Initial Factory Settings
The original factory settings of this synthesizer’s User
Memory can be restored as follows.
UTILITY
Start Guide
n When connecting a computer to the MOTIF-RACK XS
via a IEEE1394 cable, disable the driver used for this
connection beforehand, and follow the procedure below
to execute Factory Set.
CAUTION
When the factory settings are restored, all the Voice,
Performance, Song, Pattern, and system settings in the
Utility mode you created will be erased. Make sure you are
not overwriting any important data. Be sure to save all
important data to your USB storage device or a computer on
the network before executing this procedure (page 278).
2
Make sure that the Load Type is set to “all,”
then press the [ENTER] button to load the
Demo data.
A display prompt appears to confirm whether or not the
destination data (Song/Pattern) should be deleted.
DEC/NO
1
2
INC/YES
ENTER
EXECUTE
Press the [ENTER] button.
The display prompts you for confirmation. Press
the [DEC/NO] button to cancel the Load operation.
3
EXIT
Press the [UTILITY] button then the [JOB]
button to call up the Factory Set display
(page 269).
Press the [INC/YES] button to execute the
Factory Set.
After the Factory Set has been completed, a
“Completed” message appears and operation
returns to the original display.
CAUTION
n If you want to load only the Demo Song data, set the Load
Type to “song.” If you want to load only the Demo Pattern
data, set the Load Type to “pattern.”
3
Press the [INC/YES] button to execute the
Demo Load operation.
The Demo data is loaded to the Song and Pattern
memory location, then the Song Play Track View display
appears.
n If you set the Load Type to “pattern” in step 2 above, the
Pattern Play display (page 210) appears after loading.
n For more information about the Track View display of the Song,
see page 181. For more information about the Pattern Play
display, see page 210.
22
MOTIF XS Owner’s Manual
For Factory Set operations that take longer to process, you
will see the message “Now executing Factory Set…” during
processing. While such a message is shown on the display,
never attempt to turn off the power while data is being
written to Flash ROM. Turning the power off in this state
results in loss of all user data and may cause the system to
freeze (due to corruption of data in the Flash ROM). This
means that this synthesizer may not be able to start up
properly, even when turning the power on next time.
CAUTION
When entering the checkmark to the box of the Power On
Auto Factory Set and executing the Factory Set, the Factory
Set will automatically be executed each time turning the
power on. Keep in mind that this also means that your
original data in Flash ROM will be erased each time you turn
on the power. Therefore, the checkmark of this box should
normally be removed. If you remove the checkmark of this
box and execute the Factory Set, the Factory Set will not be
executed when turning the power on next time.
Step 2:
Selecting and Playing a Voice
Selecting a Voice
Voice Play mode indications
Here, try selecting the Grand Piano for example.
Press the [PROGRAM] button (1) so that its lamp lights,
press the Bank button [PRE 1] (2) to select the Preset
Bank 1, press the Group button [A] (3) then Number
button [1] (4) to select a Voice “PRE: 001 (A01).”
The top of the display in the Voice Play mode indicates the
Voice related information, such as Bank, Voice number
(Group and Number), Category 1, Category 2, and Voice
name. See below.
Bank
PRE 1
PIANO
USER 1
PRE 2
KEYBOARD
2
USER 2
PRE 3
PRE 4
PRE 5
PRE 6
ORGAN
USER 3
PRE 7
PRE 8
GUITAR
BASS
GM
GM DR
STRINGS
BRASS
SAX/
WOODWIND
PRE DR
USER DR
SOUND
EFX
MUSICAL
EFX
ETHNIC
F
G
H
Category 1
Voice number
Bank
Group
Start Guide
Try playing some of the realistic and dynamic Voices from the keyboard now. Press the [VOICE] button to enter the Voice
Play mode, then enjoy the powerful, authentic sounds of the MOTIF XS Voices, as well as the enormous range and wealth of
sounds available.
Number
Category 2
PROGRAM
1
Voice name
SYN LEAD
PADS/
CHOIRS
A
B
SYN COMP CHROMATIC
DRUM/
PERCUSSION PERCUSSION
C
D
E
CATEGORY SEARCH
Group
SUB CATEGORY
3
1
9
2
4
Below is a list of the Categories and their panel
abbreviations.
3
4
5
PART SELECT
10
11
6
7
PERFORMANCE
CONTROL
ARP ON/OFF
12
13
PART MUTE
14
15
Abbreviation
8
16
Category
Piano
Piano
Keys
Keyboard instruments (Harpsichord, Clav, etc.)
MUTE
ARP HOLD
Number
Organ
Organ
Guitr
Guitar
Bass
Bass
Strng
Strings
Brass
Brass
SaxWW
Next, press the Number button [2] to select the Voice “PRE:
002 (A02),” the 2nd Voice within the same Bank and
Group. Select other Voices (003, 004, etc.) in the same way
by pressing the appropriate Number button ([3], [4], etc.).
To select a specific Voice from the 128 Voices available in
Preset Bank 1, first press the appropriate Bank button [A] –
[H], then press the desired Number button [1] – [16].
You can also use the [DEC/NO] button, [INC/YES] button,
and data dial to select a Voice within a certain Bank. You
can scroll through the Voices within the same Bank across
the different Groups by rotating the data dial or pressing
the [DEC/NO]/[INC/YES] button.
Now, enjoy various Voices by following the above
operations. 128 Voices are available for each Bank. Press
the [PRE 2] to [PRE 8] and [GM] buttons to select Voices in
other Banks.
Saxophone and other woodwind instruments
SynLd
Synth Lead
Pads
Synth Pad
SyCmp
Synth Comp
CPerc
Chromatic Percussion (Marimba, Glockenspiel, etc.)
Dr/Pc
Drum/Percussion
S.EFX
Sound Effect
M.EFX
Musical Effect
Ethnc
Ethnic
Selecting a Drum Voice
Next, try out the Drum Voice. For example, select the Drum
Voice of the Preset Drum Bank. Press the [PROGRAM]
button so that its lamp lights, press the Bank button [PRE
DR] to select the Preset Drum Bank, press the Group
button [A], and finally press Number button [1] to select the
Voice “PDR: 001 (A01).” Now the Drum Voice has been
selected.
Now play the Drum Voice. You’ll notice that with the Drum
Voice, unlike the Normal Voice you tried in the previous
page, each key of the keyboard has a different drum
instrument assigned to it. This allows you to easily create
and play rhythm patterns made up of various drum/
percussion instruments.
MOTIF XS Owner’s Manual
23
Step 2: Selecting and Playing a Voice
Using the Category Search
function
Playing the Arpeggio
Start Guide
Since the MOTIF XS has such a huge variety of Voices and
so many to choose from, it may be difficult or time
consuming to find the Voice you want. This is where the
convenient Category Search function comes in handy. It
lets you select desired Voices easily, based on general
instrument categories. Here for example, we’ll try selecting
a Guitar Voice.
In the Voice Play mode, press the [CATEGORY SEARCH]
button so that its indicator lights. The Category Search
window appears on the display, indicating that you can use
the Cursor buttons and data dial to select the desired
Category, Sub Category and Voice. In this state, you can
also use the Bank/Group/Number buttons on the panel to
select a Voice. Browse the Category names printed below
the Bank buttons as illustrated below then press the
desired button. In this example, press the [GUITAR] button.
Category
PRE 1
PRE 2
PRE 3
PRE 4
PIANO
KEYBOARD
ORGAN
GUITAR
USER 1
USER 2
USER 3
GM
SYN LEAD
PADS/
CHOIRS
A
B
PRE 5
PRE 6
BASS
2GM
DR
SYN COMP CHROMATIC
DRUM/
PERCUSSION PERCUSSION
C
D
E
PRE 7
PRE 8
STRINGS
BRASS
SAX/
WOODWIND
PRE DR
USER DR
SOUND
EFX
MUSICAL
EFX
ETHNIC
F
G
H
PROGRAM
CATEGORY SEARCH
1
The Voice list of the selected Category appears in the
display. You can select the desired Voice by moving the
cursor upward or downward.
Sub Category
Voice list
Sub Category
At the bottom of the display, the Sub Categories are shown
at the tabs corresponding to the [SF1] – [SF5] buttons
respectively. When the Guitar Category is selected, guitar
types such as Acoustic Guitar, Electric Guitar, and Electric
Distortion Guitar are shown as Sub Categories. From this
display for example, you can instantly call up the Clean
Guitar Sub Category by pressing [SF2], which corresponds
to “E.Cln” in the display. This feature lets you quickly and
easily get at the specific kinds of Voices you want to use.
Press any of the [CATEGORY SEARCH], [EXIT] and
[ENTER] buttons to return to the original display.
n From this display, you can register your favorite Voices to the
Favorite Category. For details, see page 88.
24
MOTIF XS Owner’s Manual
REMOTE
ARPEGGIO
ON/OFF
ON/OFF
For example, select the Voice numbered “A01” of the
Preset Drum Bank, turn the [ARPEGGIO ON/OFF] button
on, then hold down a key (any key) on the keyboard, and
listen as a rhythm is played automatically. The rhythm stops
when you release the key. Other preset Voices also have
their own appropriate Arpeggio types for automatic playing
of arpeggio/rhythm patterns.
Up to five Arpeggio types can be assigned to the [SF1] –
[SF5] buttons for each Voice.
SUB CATEGORY
Main Category
This function lets you trigger rhythm patterns, riffs and
phrases using the current Voice by simply playing notes on
the keyboard. Since the preset Voices already have their
own Arpeggio types pre-assigned, all you need to do is
select the desired Voice and turn on the Arpeggio function.
For certain Voices, simply selecting the Voice will turn
Arpeggio on.
Try selecting different Voices and check out the various
Arpeggio types.
When a certain Voice is selected, the same sequence is
played back both regardless of the pressed note or notes.
When a certain Voice is selected, on the other hand, the
different sequence is played back depending on which
notes are played or how they are played. Check out how
Arpeggios are played back for different Voices by selecting
various Voices and playing notes in various ways.
Changing the Arpeggio type
Using the Controllers
The Arpeggio type assigned to each of the [SF1] – [SF5]
buttons can be changed as desired.
The MOTIF XS gives you an amazing amount of control
options. Not only is it equipped with conventional Pitch
Bend and Modulation Wheels, it also features special
Knobs, Sliders, Ribbon Controller, and Assignable Function
buttons.
1
From the Voice Play display, press the [F4]
button to call up the Arpeggio display.
Start Guide
Step 2: Selecting and Playing a Voice
ASSIGNABLE FUNCTION [1]/[2] buttons
These global parameters apply to all the [SF1] – [SF5]
buttons as a group.
Knobs
Sliders
TONE 1
SELECTED PART
CONTROL
TONE 2
ARP FX
CUTOFF
RESONANCE
AT TACK
EQ LOW
EQ MID F
EQ
SWING
QUANTIZE
VALUE
QUANTIZE
STRENGTH
MID
DECAY
SUSTAIN
RELEASE
ASSIGN 1
ASSIGN 2
EQ MID Q
EQ HIGH
PAN
REVERB
CHORUS
GATE TIME
VELOCITY
OCT RANGE
UNITMULTIPLY
TEMPO
REMOTE
ON/OFF
ARPEGGIO
ON/OFF
MASTER
EFFECT
EFFECT BYPASS
REVERB
MULTI PART
CONTROL
INSERTION
SYSTEM
CHORUS
PAN
OCTAVE
DOWN
UP
ASSIGNABLE
FUNCTION
1
SEQ TRANSPORT
2
LOCATE
MASTER
VOLUME
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
VOLUME 5
VOLUME 6
VOLUME 7
1
2
VOLUME 8
These parameters can be set for each of the [SF1] – [SF5]
buttons.
2
Press one of the [SF1] – [SF5] buttons.
The lower half of the display will be changed for the
pressed button. The upper half of the display is
common to all the [SF1] – [SF5] buttons.
3
In the lower half of the display, select the
Category, Sub Category and Type of the
Arpeggio.
The Category determines the instrument type, the Sub
Category determines the rhythm type, and the Type
determines the Arpeggio type itself. Press any note to
trigger the Arpeggio playback to find your favorite one.
Ribbon Controller
Modulation wheel
Pitch Bend wheel
The Voice Play display indicates the functions assigned to
the controllers. Keep in mind that the name of the Voice
may include an abbreviation of the controller most suitable
for use when playing the Voice. Using the controllers such
as Knobs, Sliders, and the ASSIGNABLE FUNCTION
buttons change various aspects of the Voice’s sound in real
time—while you play.
Go on and assign Arpeggio types in the same way to the
other [SF] buttons as desired.
n For details about the Arpeggio, see page 62.
Indicates the controller assignment
Display
Functions
AS1, AS2
Indicates the functions assigned to the respective
Knobs (printed “ASSIGN 1” and “ASSIGN 2”) with the
TONE1 lamp turned on.
AF1, AF2
Indicates the functions assigned to the two
ASSIGNABLE FUNCTION buttons.
MW
Indicates the functions assigned to the Modulation Wheel.
RB
Indicates the functions assigned to the Ribbon Controller.
n For more information about controllers, see page 67.
MOTIF XS Owner’s Manual
25
Step 2: Selecting and Playing a Voice
Using the Knobs
Try using the Knobs with your left hand while playing the keyboard with your right with the Voice A01 “Full Concert Grand.”
[SELECTED PART
CONTROL] button
1
Start Guide
TONE 1
SELECTED PART
CONTROL
TONE 2
ARP FX
4
2
CUTOFF
RESONANCE
AT TACK
EQ LOW
EQ MID F
EQ
SWING
QUANTIZE
VALUE
QUANTIZE
STRENGTH
MID
DECAY
SUSTAIN
RELEASE
ASSIGN 1
ASSIGN 2
EQ MID Q
EQ HIGH
PAN
REVERB
CHORUS
GATE TIME
VELOCITY
OCT RANGE
UNITMULTIPLY
TEMPO
Knob 5
Knob 6
3
6
7
3 5
REVERB
MULTI PART
CONTROL
CHORUS
PAN
Knob 1
1
Knob 2
Knob 3
Press the [SELECTED PART CONTROL] button
a few times so that the TONE 1 lamp lights.
Knob 4
4
The Control Function window appears when a display
other than the Voice Play display is shown.
Holding the [SELECTED PART CONTROL] button for a
while will light the lamp of the TONE1 lamp.
2
5
Turn Knob 1, Knob 3, and Knob 5 with the
TONE 2 lamp turned on.
Press the [SELECTED PART CONTROL] button
a few times so that the ARP FX lamp lights,
turn [ARPEGGIO ON/OFF] on, then turn the
Knobs with your left hand while playing the
notes with your right hand.
In this status, all the Knobs can be used to change how
the Arpeggio is played back.
6
Rotate Knob 8 (at the far left) while playing
keyboard to change the tempo of the Arpeggio.
7
Rotate Knob 4 to change the gate time of the
Arpeggio notes, for example, from staccato to
legato playback.
n The functions assigned to each of Knobs and current
values are shown in the display.
Functions assigned to Knobs
Knob 8
You can change the sound by boosting or attenuating
the LOW, MID and HIGH band (as printed above the
Knobs respectively) of the EQ (equalizer).
Rotate the Knob 1 (at the far left) while playing
keyboard.
Turning the knob clockwise results in a brighter sound,
while turning it counterclockwise results in a softer,
muffled sound. The sound changes in this way because
Knob 1 is assigned to the Cutoff Frequency parameter
(labeled CUTOFF in the matrix above Knob 1 and next
to TONE 1).
Knob 7
Try out other Knobs as well.
n For more information about the functions assigned to the
Knobs in the Voice mode, see page 90.
3
Press the [SELECTED PART CONTROL] button
a few times so that the TONE 2 lamp lights,
then rotate the Knob (at the far right).
The CHORUS (as printed above the Knob) is applied to
the current Voice.
n A red point on the Knob or Slider graphic indicates the
current value to which the Knob or Slider is set. Moving
the Knob or Slider has no effect on the sound until this
point is reached. Once you move the Knob or Slider past
this point, the red point disappears and moving the Knob
or Control Slider affects the sound.
26
MOTIF XS Owner’s Manual
By using the Knobs in this way, you can change the sound
of the Preset Voice to create your original Voice.
n Controlling the knobs does not affect some voices.
Storing the Voice
The MOTIF XS has space for three Banks of your own
User Voices. Store the Voice by pressing the [STORE]
button. For details, see page 97.
Step 2: Selecting and Playing a Voice
Transpose
When you play the MOTIF XS with other instruments, you
may need to tune the overall sound of the MOTIF XS to
match that of the other instruments in the group.
This function allows the overall pitch of the MOTIF XS to be
transposed up or down in semitone increments/
decrements. You can play the same notes on the keyboard
even when the pitch of the song is shifted up or down in
semitones.
1
Press the [UTILITY] button to enter the Utility
mode, press the [F1] button, then press the
[SF1] button to call up the Play display as
below.
1
Press the [UTILITY] button to enter the Utility
mode, press the [F1] button, then press the
[SF1] button to call up the Play display as
shown.
2
Move the cursor to Tune, then set the value.
2
Move the cursor to Transpose, then set the
value.
In this example, we’ll change the value from “440 Hz” to
“442 Hz.” Since the Tune parameter is actually adjusted
in cents (1 cent = 1/100th of a semitone), the
corresponding value in Hertz is shown at right. Since 1
Hz is roughly equivalent to 4 cents, set this value to
“+8.0.”
3
Start Guide
Adjusting the tuning to other
instruments
Set the value to “+1” to transpose the pitch up by a
semitone, or set it to “-1” to transpose it down by a
semitone. To transpose it up or down by a whole tone,
set this to “+/-2”; to transpose by an octave, set it to “+/
-12.”
Press the [STORE] button to store the Utility
setting.
CAUTION
To transpose by octaves, use the Octave parameter (above
Transpose).
3
Press the [STORE] button to store the Utility
setting.
n Make sure to press the [STORE] button to store the Utility
settings. Please keep in mind that the Utility settings will
be lost if you turn off the power without executing the Store
operation.
MOTIF XS Owner’s Manual
27
Step 3:
Selecting and Playing a Performance
Start Guide
As in the Voice Play mode, the Performance Play mode is where you select and play the instrument sounds of this
synthesizer. However, in the Performance mode, you can mix several different Voices together in a layer, or split them across
the keyboard, or even set up a combination layer/split. Each Performance can contain up to four different Parts.
Press the [PERFORM] button to enter the Performance Play mode.
Selecting a Performance
Performance Structure
Selecting a Performance is done in basically the same way
as selecting a Voice. The Category Search function is
available also in the Performance Play mode. Note that the
MOTIF XS has no Preset Performances and provides only
three User Banks. Consequently, press any of the [USR1] –
[USR3] buttons to select a Performance after pressing the
[PROGRAM] button.
Performance Play mode
indications
Bank
Performance
number
Category
This method lets you play multiple (two or more) Voices
simultaneously by pressing any notes. In the Performance
mode, you can create a thicker sound by combining two
similar Voices—for example, two different Strings Voices,
each with a different attack speed.
C1
The Performance Play display indicates the Voice names
for each of four parts making up the Performance at the
bottom right corner. Except for this, the display is almost
same as in the Voice Play mode.
Performance
name
Strings having a fast attack speed
Part 2
Strings having a slow attack speed
Part 1
C2
C3
C4
Performance Structure
C1
Changing the Arpeggio type
How Voices are assigned to
Parts of a Performance
By default (when shipped from the factory), various types
of Performances are provided in the User Banks. For some
of these Performances, it may not be immediately obvious
how to play them or use them, since they are more
complicated than normal Voices. In this section, you’ll learn
the typical ways in which Performances are created, and
thus better understand how to play and use them.
Each Performance can contain up to four different Parts.
Here covers the typical four types of the Voice assignment
to these four parts.
28
MOTIF XS Owner’s Manual
C6
Split by Note range
Part 1
Part 2
Strings
Flute
C2
C3
C4
Performance Structure
Four Voices making
up the Performance
C5
This method lets you play different Voices with your left
hand and right hand. By assigning the Strings to the lower
range and assigning the Flute to the higher range
separately as illustrated below, you can play the Strings as
accompaniment with your left hand and play the Flute as
melody with your right hand,
Functions
assigned
to knobs
Status of four Sliders adjusting
the volume for each part
Layer
C5
C6
Split by Velocity range
This method lets you trigger different Voices depending on
your playing strength (velocity). In this example below,
playing the note with low velocities triggers the Strings
having the slow attack speed. Playing the note with middle
velocities triggers the Strings having the fast attack speed.
Playing the note with high velocities triggers the Orchestra
Hit.
Orchestra Hit
Part 3
Strings having the fast attack speed
Part 2
Strings having the slow attack speed
Part 1
Velocity
C1
C2
C3
C4
C5
C6
Step 3: Selecting and Playing a Performance
Using the Arpeggio
With this method, you can play all the parts of a band by
yourself. This type of Performance also uses different
Arpeggio types assigned to the individual Parts, making it
even easier to sound like a full band. In the example below,
the Drum pattern (by Arpeggio) will be played back
indefinitely even when you release the notes, the Bass line
(by Arpeggio) will be played back by your left hand
performance, and the Guitar backing (by Arpeggio) or
Piano Arpeggio will be played back by your right hand
performance.
In addition, you can change the Arpeggio Type assignment
for each Part by pressing any of the [SF1] – [SF5] buttons.
Bass with the Arpeggio
Part 2
Guitar with the Arpeggio
Part 4
Piano with the Arpeggio
Part 3
C2
C3
C4
C5
Creating a Performance by
combining Voices
After checking out the pre-programmed Performances in
the User Banks, try creating your own original
Performance. In this section, we’ll create a Performance by
combining two Voices.
Preparing to create a Performance
(Initializing the Performance)
••••••••••••••••••••••••••••••••••••
1
n When you initialize a Performance, the Voice at Preset
Bank 1, Voice number 1 is assigned to each of all Parts
and all the Parts are turned on by default.
Playing several Voices together
(Layer)
••••••••••••••••••••••••••••••••••••
Try combining two Voices by assigning your favorite Voice
to Part2.
1
In the Performance Play mode, press the [JOB]
button, and then the [F1] button.
In the Performance Play display, press the [F2]
button to call up the Voice display.
From this display, you can confirm what Voices are
assigned to the Parts. You can also confirm that all the
Parts are turned on after executing the Initialize function
above.
C6
Using or combining the four methods described above
gives you the ability to create a rich variety of
Performances.
By default, many Performances stored in the User Banks
may be created via the above methods. Try out various
Performances and see which method is used for each.
Press the [PERFORM] button.
The current Performance name will change to
“Initialized Perform” in the display.
Part 1
Drum with the Arpeggio Hold = ON
C1
4
Start Guide
Performance Structure
2
Move the cursor to the Part 2, then select the
desired Voice by setting a Bank and Voice
number.
n From this display, you can use the Category Search
function to select a Voice. Like in the Voice mode
(page 24), use the [CATEGORY SEARCH] button. Please
note that the category names printed below the Bank
buttons correspond not to the Performance Category but
to the Voice Category.
3
Move the cursor to the PART SW check box for
Parts 3 and 4, then remove the checkmark by
pressing the [DEC/NO] button.
When the check mark is removed from the check box,
the corresponding part is turned off. Here, turn the Part
1 and 2 on.
Voice settings
for Part 1
Voice settings
for Part 2
The Initialize display is shown. Make sure that the
check box of “All Parameters” is checked. For details
about the Initialize function, refer to page 159.
2
Press the [ENTER] button. (The display
prompts you for confirmation.)
3
Press the [INC/YES] button to initialize the
Performance.
CAUTION
Keep in mind that when you execute the Store operation by
pressing the [STORE] button here, the Performance at the
destination will be replaced with the Initialized Performance
above.
4
Play the keyboard.
The Part 1 (Piano Voice) and Part 2 (the Voice you have
selected above) are sounded simultaneously in a layer.
Next, let’s play different Voices with the left and right hands.
n For details about the Store operation, refer to page 142.
MOTIF XS Owner’s Manual
29
Step 3: Selecting and Playing a Performance
Split
CAUTION
••••••••••••••••••••••••••••••••••••
The preset data of the Performances is stored in the User Bank
memory. Storing the Performance data you created erases the
preset Performance data. If you wish to restore the preset data
of the Performance, execute the Factory Set Job in the Utility
mode, resulting that your original data will be erased.
Consequently, make sure to save any important data to an
external USB storage device to avoid losing your important
data.
You can play different Voices with the left and right hands
by assigning one Voice to Part 1, with a note range in the
lower section of the keyboard, and a different Voice to Part
2, with a note range in the higher section of the keyboard.
Start Guide
1
Move the cursor to the NOTE LIMIT HI of the
Part 1.
2
Set the highest note of the Part 1 by pressing
the corresponding key while holding the [SF6]
KBD button.
Changing the Arpeggio
settings for each Part
The illustration of the keyboard indicates the specified
note range in color.
Try changing the Arpeggio settings for each Part. You can
assign the rhythm or backing pattern that best matches the
desired style of music to the Performance.
3
4
Move the cursor to the NOTE LIMIT LO of the
Part 2.
1
From the Voice Play display, press the [F4]
button to call up the Arpeggio display.
Set the lowest note of the Part 2 by pressing
the corresponding key while holding the [SF6]
KBD button.
2
Press the desired one from the [SF1] – [SF5]
buttons.
The lower half of the display will be changed
depending on the pressed button. The top of the
display (Common Switch, Sync Quantize Value and
Tempo) is common to all the Sub Function buttons.
The illustration of the keyboard indicates the specified
note range in color.
5
Play the keyboard.
The notes you play with your left hand sound the Piano
Voice (Part 1), while the notes you play with your right
hand sound the different Voice (Part 2) you have
selected.
Settings common to the [SF1] – [SF5] buttons
Settings for
Part 1
Settings for
Part 2
Part 1: Piano Voice
Settings for
Part 3
Part 2: Other Voice
Settings for
Part 4
Step 2
Adjusting the Part levels and
storing the Performance
••••••••••••••••••••••••••••••••••••
1
Adjust the Volume settings of Parts 1 and 2 by
using the Control sliders.
3
Select the Category, Sub Category and Type of
the Arpeggio for each of the Parts 1 – 4.
The Category determines the instrument type, the Sub
Category determines the rhythm type, and the Type
determines the Arpeggio type itself. Set the BANK to
“PRE” when using a Preset Arpeggio type.
Arpeggio Hold parameter
2
Store the settings as a User Performance by
pressing the [STORE] button.
For details, see page 142.
CAUTION
If you are editing a Performance and you select a different
Performance without storing your edited one, all the edits
you’ve made will be erased.
30
MOTIF XS Owner’s Manual
Note that the Arpeggio Hold parameter is useful as well
as the Arpeggio type selection. When this parameter is
set to “on,” the Arpeggio playback continues even if the
note is released. This parameter should be set to “on”
when the Drum Voice is assigned to the Part and you
Step 3: Selecting and Playing a Performance
n Categories and Sub Categories can easily be selected by
calling up their respective lists on the display. When
moving the cursor, for example, to the Category and
pressing the [SF6] button, the Category List appears at
the cursor location. You can select the desired one by
using the data dial, [INC/YES] and [DEC/NO] buttons.
After selecting, pressing the [ENTER] button actually calls
up the selected Arpeggio type. This operation is very
useful and convenient in selecting from the huge variety of
available Arpeggios.
Go on and assign Arpeggio types in the same way to the
other [SF] buttons as desired. After setting the Arpeggio
related parameters, store the settings to internal memory
as a User Performance. For details, see page 142.
Using the Controllers and
Knobs
Recording the Melody and
Arpeggio playback to the Song
••••••••••••••••••••••••••••••••••••
When the Song is selected as destination of the
Performance recording, you can record your keyboard
playing with the Arpeggio without having to worry about
measure limits or running out of recording space. It is a
good idea, for example, to record your keyboard playing,
freely calling up various Arpeggio types, then editing the
Song later as necessary. You may even want to ‘keep the
recorder running’ as you improvise, then listen back later
and pick out the best parts to create your final Song.
Try recording as shown in the instructions below.
1
In the Performance Play mode, select a
Performance for recording.
2
Press the [I] (Record) button to call up the
Performance Record display.
Start Guide
wish to have playback of the Arpeggio (rhythm pattern)
continue regardless of whether you hold the note or not.
SEQ TRANSPORT
Like in the Voice mode, you can use the controllers and
knobs in the Performance mode. Try selecting different
Performances and using the controllers and knobs.
LOCATE
1
2
Recording your Performance
While experimenting and playing around with Arpeggios in
the Performance mode, you may find some rhythm
patterns and phrases that you like, and you may want to
store them for future recall. The best and easiest way to
capture these is to record your keyboard playing to a Song
or Pattern.
Performance Record Structure
••••••••••••••••••••••••••••••••••••
By using the Performance Record function, your keyboard
performance for Parts 1 – 4 will be recorded to tracks 1 – 4
of the Song/Pattern respectively. Controller/Knob
operations and Arpeggio playback as well as your
keyboard playing in the Performance mode can be
recorded to the specified track as MIDI events.
Playing in the
Performance mode
Song/Pattern
Record
Part 1
Track 1
Part 2
Track 2
Part 3
Track 3
Part 4
Track 4
n For details about the track structure of the Song/Pattern, see
“Basic Structure” on page 61.
3
Set the following parameters as required in the
Performance Record display.
1
2
3
4
5
6
7
1 Sequencer Mode = “song”
By setting this parameter to “song,” you can record your
keyboard performance to the Song.
2 Song number
Select a destination song. Executing Performance recording
overwrites and erases all the previously recorded data of the
specified Song. Make sure to select a Song which contains no
data.
3 Time Signature = “4/4”
Set the same value here as that of the Arpeggio type.
Normally, set this to “4/4.”
4 Tempo
Set the desired tempo of the metronome and Arpeggio for
recording.
MOTIF XS Owner’s Manual
31
Step 3: Selecting and Playing a Performance
5 Key On Start Switch =
(on)
When set to “on,” recording starts immediately when you press
any note on the keyboard. Set this parameter to “on” when
using the Arpeggio.
n
Indicates the off status, whereas
on status.
1
2
3
4
5
6
7
indicates the
Start Guide
6 Copy Performance Parameters = on
Enter the checkmark when you wish to copy the parameter
settings for Parts 1 – 4 of the Performance to Parts 1 – 4 of the
Song Mixing.
8
7 Click O (on)
Press the [F5] button to turn the metronome on if you wish to
use the metronome.
4
9
1 Sequencer Mode = “pattern”
Press any note to start recording.
By setting this parameter to “pattern,” you can record your
keyboard performance to the Pattern.
Play the keyboard in time with the metronome.
You can change the Arpeggio type and settings by
pressing any of the [SF1] – [SF5] buttons while
recording.
5
2 Pattern number
Select a destination Pattern number. Executing the
Performance Recording overwrites and erases all the
previously recorded data of the specified Pattern. Make sure
to select a Pattern which contains no data.
Press the [J] (Stop) button to stop recording
and return to the Performance Play display.
3 Section
Select a Section to be recorded, from A – P. If you create
several Sections, you can use them as rhythm variations within
a single Song.
After recording, press the [SONG] button to enter the
Song Play mode then play the recorded Song. As
desired, record the keyboard performance to another
track in the Song Record mode and edit the recorded
data in the Song Edit mode or Song Job mode to
finalize the Song data.
4 Section Length
Set the length of the Section to be recorded. Set the value to 1
– 4 according to the length of the current Arpeggio types.
5 Time Signature = “4/4”
Set the same value here as that of the Arpeggio type.
Normally, set this to “4/4.”
Recording Arpeggio playback to a
Pattern
6 Tempo
Set the desired tempo of the metronome and Arpeggio for
recording.
••••••••••••••••••••••••••••••••••••
If you record your keyboard playing along with Arpeggio
playback in the Performance mode to a Pattern, you can
quickly create full and complete rhythm patterns lasting
just a few measures. These short “Patterns” of MIDI
sequence data can be played back repeatedly in a loop
and then conveniently used as ‘building blocks’ for your
original Songs.
Follow the instructions below, playing with your favorite
Arpeggios in the Performance mode, and record your
improvisations to a Pattern. Once you’ve recorded three or
four good Patterns, you’ll have enough building blocks to
create a complete Song!
1
In the Performance Play mode, select a
Performance for recording.
Find the Performance which triggers your favorite
rhythm pattern or phrases via the Arpeggio.
2
3
32
Press the [I] (Record) button to call up the
Performance Record display.
Set the following parameters as required in the
Performance Record display.
MOTIF XS Owner’s Manual
7 Key On Start Switch =
(on)
When set to “on,” recording starts immediately when you press
any note on the keyboard. Set this parameter to “on” when
using the Arpeggio.
8 Copy Performance Parameters = on
Enter the checkmark when you wish to copy the parameter
settings for Parts 1 – 4 of the Performance to Parts 1 – 4 of the
Pattern Mixing.
9 Click O (on)
Press the [F5] button to turn the metronome on if you wish to
use the metronome.
4
Press any note to start recording. The
recording stops when the end of the Pattern
length is reached.
Recording stops returns to the Performance Play
display. Please note that loop recording is not available
in the Performance Record mode, although it is
available in the Pattern Record mode.
Create several Sections in the Performance Record mode,
then create a Pattern Chain by connecting the Sections
together to create an entire Song. For details, see
page 213.
Step 4:
Creating Your Original Song
Start Guide
Now that you’ve learned some of the basic features of the MOTIF XS—including how to select Voices and Performances,
play with the Arpeggios, and record your playing and Arpeggio playback to a Song or Pattern—you’re ready to create your
own original Song.
The MOTIF XS features a built-in multitrack sequencer for recording your keyboard performance as MIDI data. This function
by itself is enough to create full, complex multi-instrument arrangements and complete Songs. However, the MOTIF XS (with
optional DIMMs installed) allows you to also record and edit audio tracks—such as vocal and guitar parts.
Terminology
Track mute
Song
You can mute a specific track or tracks of the Song.
Songs and Patterns are MIDI sequence data consisting of
up to 16 tracks. A Song on this synthesizer is effectively the
same as a Song on a MIDI sequencer, and playback
automatically stops at the end of the recorded data.
1
••••••••••••••••••••••••••••••••••••
Press the [MUTE] button so that its lamp
lights.
The lamps of the Number buttons light.
1
2
3
4
5
6
12
13
14
7
TRACK
8
Track
PART SELECT
This is a memory location on the sequencer where your
musical performances (made up of MIDI events) are
stored. The MOTIF XS provides 16 tracks, which
correspond to the 16 Parts of the Mixing.
Mixing
This is a program in which multiple Voices are assigned to
Parts for multi-timbral play in the Song and Pattern modes.
Each Mixing can contain up to 16 parts and a separate
Mixing can be created for each Song.
n For more information about the Song structure including the
Track and Mixing, see page 59.
9
10
11
PERFORMANCE
CONTROL
ARP ON/OFF
PART MUTE
15
16
SOLO
ARP HOLD
Number buttons [1] – [16]
2
MUTE
[MUTE] button
Press any of the Number buttons [1] – [16] so
that its lamp will be turned off and the
corresponding track will be muted.
Multiple tracks can be muted simultaneously.
3
Press the button which is turned off so that its
lamp lights and the corresponding track will be
sounded.
Realtime Recording
With realtime recording, the instrument functions in the
same way as a MD recorder, recording the performance
data as it is played. This allows you to capture all the
nuances of an actual performance. Realtime Record
features three available methods: Replace, Overdub and
Punch In/Out. Replace lets you overwrite an already
recorded track with new data. Overdub lets you add more
data to a track that already contains data. Punch In/Out lets
you re-record only over a specific area of the track.
Track solo
••••••••••••••••••••••••••••••••••••
You can solo a specific track of the Song.
1
Press the [SOLO] button so that its lamp lights.
1
2
3
4
5
6
12
13
14
PART SELECT
9
10
11
PART MUTE
Song Playback
Before you learn how to create a Song, you should know
something about the mute/solo functions and how to use
the sliders during Song playback. Call up a Demo Song
(page 21) then try out the following operations while
playing back the Demo Song.
15
TRACK
8
PERFORMANCE
CONTROL
ARP ON/OFF
16
MUTE
SOLO
ARP HOLD
Number buttons [1] – [16]
2
7
[SOLO] button
Press any of the number buttons [1] – [16] so
that its lamp flashes to solo the corresponding
track.
Press another number button to change the soloed
track.
3
Press the [TRACK] or [MUTE] button to return
to the original status.
MOTIF XS Owner’s Manual
33
Step 4: Creating Your Original Song
Adjusting the volume of each Part
••••••••••••••••••••••••••••••••••••
Track
number
Recording
track
Time Signature
(Meter)
Tempo
You can adjust the volume for each of eight Parts, using the
panel sliders.
Record Type
Start Guide
Quantize
Voice
[F5] Click
VOLUME 1
VOLUME 2
VOLUME 3
VOLUME 4
VOLUME 5
VOLUME 6
VOLUME 7
VOLUME 8
When one of Tracks 1 – 8 is currently selected, the eight
sliders are used to adjust the volume for Parts 1 – 8. When
one of Tracks 9 – 16 is selected, the sliders are used to
adjust the volume for Parts 9 – 16. The track can be
selected by turning the [TRACK] button on and pressing
the desired Number button.
[TRACK] button
1
2
3
4
5
6
7
3
Set the following parameters on the Record
Setup display.
3-1
1
TRACK
8
PART SELECT
10
11
13
PART MUTE
14
15
16
MUTE
SOLO
ARP HOLD
Number buttons [9] – [16]
In addition to sliders, Knobs 1 – 8 can be used to affect the
sound of the Song playback in real time. For details, see
page 180.
Soon you’ll record your keyboard performance, recording a
melody to Track 1. First though, you’ll need to set up the
MOTIF XS for realtime recording.
34
1
Press the [SONG] button to enter the Song
Play mode then select a Song containing no
data.
2
Press the [I] (Record) button to enter the
Song Record mode.
MOTIF XS Owner’s Manual
10
11
PART MUTE
4
5
6
12
13
14
7
PERFORMANCE
CONTROL
ARP ON/OFF
15
TRACK
8
16
MUTE
SOLO
ARP HOLD
3-2
Move the cursor to Time Signature (Meter) then set
the value. Here, set this to “4/4.”
3-3
Move the cursor to Tempo then set the desired value.
Here, set this to “144.”
3-4
Move the cursor to Record Type then select
“replace.” This method overwrites the previous
recorded data.
3-5
Set Quantize to “240.” This convenient feature lets
you automatically quantize the notes in real time, as
you record. Quantize aligns the timing of note events
to the nearest beat. Normally, the smallest note value
in the notation sheet (you will play) should be set.
3-6
Select the Voice for recording by specifying the
Bank and Number. The value set here is applied to
Part 1 of the Mixing.
3-7
Press the [F5] button to turn the Metronome on O.
Pressing the [F5] button toggles the Metronome on
and off.
Preparing for Realtime
Recording
The Record Setup display appears.
3
PERFORMANCE
CONTROL
ARP ON/OFF
12
2
PART SELECT
9
9
With the [TRACK] lamp turned on, press the Number
button [1] to set the recording track to 1. The red
circle symbol is shown at the REC TR column of
Track 1. The Record Part is automatically set to 1.
Step 4: Creating Your Original Song
Start Recording!
Start Guide
After completing recording setup above, press the [F] (Play) button to start recording. Press the [F] (Play) button so that its
indicator flashes, then actually start recording after the count-in.
When you reach the end of the above notation, press the [J] (Stop) button to stop recording. If you’ve played any wrong
notes, press the [J] (Stop) button, then try recording again.
After recording the above melody to Track 1, set the REC TR to 2 in the Recording Setup display, then record the bass line
below to Track 2.
3
Correcting wrong notes
If you’ve played any wrong notes while recording and wish
to correct them, press the [EDIT] button from the Song Play
mode to go to the Song Edit mode. Song Edit lets you
clean up and edit data of already recorded Songs or insert
new data to the Songs.
Check for any mistakenly recorded or wrong events on the
Event List display of the Song Edit mode, then correct them
as needed.
1
After confirming the location at which the wrong data is
recorded, use the Up/Down Cursor button to move the
cursor to the location, then use the Left/Right Cursor
button to move the cursor to the data type to be
corrected. If you recorded a wrong note data at the 2nd
note of the 3rd beat (“F” on the notation), move the
cursor to the location indicated MEAS (measure) = 002,
BEAT = 03 and CLOCK = 240. Then, move the cursor to
NOTE if you wish to correct the note data and move the
cursor to GATE if you wish to correct the gate time (note
length).
Select the recorded Song then press the [EDIT]
button to enter the Song Edit mode.
The Event List display appears.
2
n Each key has a note name; for example, the lowest
(farthest left) key on the keyboard corresponds to C1 and
the highest (farthest right) key to C6. See page 10.
Select the track to be edited.
Press the Number button [1] or [2]. The list of the MIDI
events recorded in the previous section appears on the
display.
n The Song location at which you edit or input the event is
indicated by MEAS (measure), BEAT and CLOCK. A
quarter-note (one beat when the time signature is set to
“4/4”) consists of 480 divisions. The length of each note
(gate time) is indicated by Beat and Clock. For example,
001:000 is equivalent to the 4th note and 000:240 is
equivalent to 8th note.
n Various MIDI events as well as note on/off data are shown
on the display if you operate controllers such as Pitch
Bend wheel, knobs and sliders while recording.
Location
Notes
Gate
time
Selected
track
Use the Cursor buttons to move the cursor to
the location to be edited.
Velocity
Measure
4
Beat
Clock
Turn the data dial to edit the value.
The entire line of the edited event will start flashing. You
can also set the note directly from the keyboard, by
holding down the [SF6] KBD button and pressing the
desired note.
5
Press the [ENTER] button to actually enter the
edited data (the entire line of the edited event
will stop flashing).
MOTIF XS Owner’s Manual
35
Step 4: Creating Your Original Song
Repeat steps 3 and 5 to correct other wrong events.
6
After completing editing, press the [EXIT]
button to return back to the Song Play mode.
Start Guide
n If you wish to delete an unnecessary note, move the
cursor to the corresponding location, then press the [F6]
button.
n For details about the Event List, see page 192.
Applying the Play Effect setting to the actual
MIDI data
The Play Effect setting temporarily changes how the
Song data is played back, but does not actually change
the Song MIDI itself. If you want to save the Play Effect
changes as part of the Song data (for example, as a
Standard MIDI file), you can use the Job operation to
permanently apply the Play Effect settings. To execute
this Job, press the [JOB] button, the [F5] button, then
select “05: Normalize Play Effect.” For details, see
page 205.
Creating a swing feel—Play
Effect
The Play Effect feature lets you alter the rhythm in a variety
of musically useful ways—for example, to take something
that was recorded ‘straight’ and give it a swing feel. Let’s
change the melody you recorded above, and apply a
swing feel to it here.
1
From the Song Play display, press the [F2]
button to call up the Play FX display.
Quantize Value of
Track 1
Swing Rate of
Track 2
Storing the created Song
After recording, make sure to store the created Song to
internal memory by pressing the [STORE] button to call up
the Song Store window.
CAUTION
When you execute the Store operation, the settings for the
destination memory will be overwritten. Important data should
always be backed up to a separate storage device.
Saving Song data to a USB
storage device
2
Move the cursor to the Quantize Value of Track
1, then select the 8th note icon.
3
Move the cursor to the Swing Rate of Track 1,
then select “66%.”
This parameter determines the strength or amount of
swing applied. Selecting “66%” delays each of the up
beat notes to triplet values.
n If you’ve recorded a bass part to track 2, make sure to
apply the same settings to this track as well.
After completing the settings, press the [P] (Top) button,
then press the [F] (Play) button to start the Song. You can
hear the swing feel playback.
36
MOTIF XS Owner’s Manual
Storing different Song data to the same destination
memory, loading the Demo data, and executing the
Initialize Job overwrites and erases the previously stored
Song data. Be sure to save important data to a separate
USB storage device connected to the USB TO DEVICE
connector on the rear panel in the File mode. For details,
see page 278. When you want to load a Song to DAW
software on your computer, save the Song to a separate
USB storage device as a Standard MIDI file. For details,
see page 279.
n The words “save” and “store” here refer to two different
operations. The “Save” operation saves the created data as a
file to an external device (in the File mode), whereas the
“Store” operation stores the data to internal memory in each
mode.
Step 5:
Creating a Pattern
Pattern Structure
Section
The MOTIF XS provides two modes for creating a Song:
Song mode and Pattern mode.
In the Song mode, you can record the Song from the
beginning to the end by playing the keyboard. In the
Pattern mode, on the other hand, you can create the
accompaniment of the Song by creating several sections,
such as intro, melody A, main theme and ending by
recording your rhythm pattern to the different Sections,
then combining them as a Pattern Chain.
The Pattern mode also lets you record your rhythm patterns
or riffs to the different Sections as you wish—and as the
inspiration hits—then combine the Sections into a Pattern
Chain to create a complete Song. Along with the Arpeggio
feature and Performance recording, you have a wide range
of easy-to-use tools to quickly create fully arranged,
professional sounding Songs.
1st measure ...................................................................... 120th measure
Intro
Melody A
Main theme
Melody B
Ending
Section A
Section B
Section C
Section D
Section E
n You can create a Pattern Chain (page 213) by programming
the order of Sections. The created Pattern Chain can be
converted to Song data by using the Pattern Chain Edit
(page 215).
Listening to the Demo Patterns
Before creating your own original pattern, you should give
a listen to some of the preset Demo Patterns. These
specially recorded Patterns cover a wide range of musical
genres and are full of great hints and ideas on how you can
create and use Patterns in your own music.
1
2
Load the Demo Patterns following the
procedure on page 21.
Press the [PATTERN] button to enter the
Pattern mode.
Pattern number, Pattern name
Start Guide
The Patterns of the MOTIF XS feature short but fully realized instrumental parts that you can repeat (loop), combine, and
arrange in any order you want—giving you the basic material for creating a Song. This section covers what you can do in the
Pattern mode.
Section A – P
Track
1 – 16
n As indicated in the Pattern Play display, a Pattern consists
of 16 separate tracks. Accordingly, a Pattern is played
back via the various instrument Voices such as bass,
guitar and keyboard.
3
Select a Pattern by turning the data dial.
4
Press the [F] (Play) button to start playback of
the Pattern.
The Pattern will be played back repeatedly until you
press the [J] (Stop) button.
5
Change the Section from A – P.
Pressing the [A] – [H] buttons calls up Sections A – H
and pressing the [USER 1] – [USER DR] and [ETHNIC]
buttons calls up the Sections I – P.
SECTION
I-P
SECTION
A-H
PRE 1
PRE 2
PRE 3
PRE 4
PRE 5
PRE 6
PRE 7
PRE 8
SAX/
WOODWIND
PIANO
KEYBOARD
ORGAN
GUITAR
BASS
STRINGS
BRASS
USER 1
USER 2
USER 3
GM
GM DR
PRE DR
USER DR
SYN LEAD
PADS/
CHOIRS
SOUND
EFX
MUSICAL
EFX
ETHNIC
A
B
F
G
H
SYN COMP CHROMATIC
DRUM/
PERCUSSION PERCUSSION
C
D
E
SUB CATEGORY
n By changing the Sections, you can create rhythmic
variations, and easily improvise arrangements (such as
intro, verse, chorus, verse, chorus, ending) in real time.
The Pattern Play display will appear.
Now, try other Patterns.
MOTIF XS Owner’s Manual
37
Step 5: Creating a Pattern
Start Guide
Viewing the Demo Pattern’s
Patch display
Viewing the Demo Pattern’s
Mixing display
From the Patch display called up via the [F4] button, you
can confirm what “Phrase” is assigned to each track of the
Pattern Section.
A “Phrase” is a short musical/rhythmic passage consisting
of a single track for a single instrument, such as drum,
bass, and guitar. This MIDI sequence data can be used as
small building blocks for a Song, and can be assigned to
any track and any Section. A single Pattern provides
memory space for 256 of your own original User Phrases.
A Mixing refers to the multi-timbral tone generator settings
for the Pattern playback. A Mixing consists of 16 Parts,
which correspond to the tracks, and in this display you can
adjust the various mixing related parameters for each Part.
From the Pattern Play display, press the [MIXING] button to
call up the Mixing display, letting you confirm the Mixing
settings for each Part: Voice, volume, pan, etc.
Now, let’s adjust the Mixing parameters in the Mixing
display.
Phrase number
Phrase name
Part
number
Voice
Pan
Volume
1
As indicated in this display, the performance data is
recorded to the Phrase then the Phrase is assigned to the
recording track. Note that the created Phrase can be
assigned to a different track of the same/different Section.
The Mixing display will appear.
2
Section A
Track 1
Phrase 001
Track 2
Phrase 002
:
:
Phrase 001
MIDI data
Track 16
Phrase 003
Phrase 002
MIDI data
Phrase 003
MIDI data
Phrase 004
MIDI data
:
:
Section B
Track 1
Phrase 002
Track 2
Phrase 003
:
:
Track 16
Phrase 004
To select the desired Part, press the [TRACK]
button (the lamp lights), then press the
appropriate Number button [1] – [16].
Here, select the Part corresponding to the track to
which the Phrase is assigned.
n If you want to confirm to which track the Phrase is
assigned, press the [EXIT] button to return to the Pattern
Play display.
3
Move the cursor to the Bank and Number, then
change the Voice by specifying the Bank and
Number.
If you press the [PROGRAM] button (the lamp lights),
you can select the desired Voice by using the
appropriate Bank buttons, Group buttons and the
Number buttons.
Try changing the Phrase for each track and assign each
Phrase to an empty track.
n Please keep in mind that Phrases are provided only for the
Demo Patterns and the number of provided Phrases differs
depending on the Demo Pattern. When you want to use a
Phrase assigned to a different Pattern, execute the Copy
Phrase function by using the [SF5] Copy button. For details,
see page 212.
From the Pattern Play display, press the
[MIXING] button to enter the Mixing mode.
4
Move the cursor to the desired parameter,
such as pan or volume, then rotate the data
dial to change the value.
n If you wish to edit more detailed Mixing parameters, enter
the Mixing Edit mode by pressing the [EDIT] button. For
more information about the Mixing Edit, see page 233.
The Mixing settings are included in each Pattern and can
be stored as an entire Pattern. For instructions on storing a
Pattern, see page 218.
38
MOTIF XS Owner’s Manual
Step 5: Creating a Pattern
6
In addition to creating a Pattern by recording your
keyboard performance conventionally, you can also use
the powerful Arpeggio playback features of the MOTIF XS
(described below) and even record audio data from
commercially available sample CDs.
This section explains how to create a Pattern by using
Arpeggio.
1
Press the [PATTERN] button to enter the
Pattern Play mode.
2
Press the [I] (Record) button to call up the
Record Setup display.
3
Press the [F2] button to call up the Record
Arpeggio display.
Arpeggio
Switch
Arpeggio type
selection
5
6-1
To select the desired track, press the [TRACK]
button (the lamp lights), then press the appropriate
Number button [1] – [16].
6-2
6-3
Set the Time Signature to “4/4.”
6-4
6-5
6-6
Turn the Keyboard Start icon “on.”
Set the Pattern length to a value equivalent to the
Arpeggio length.
Set the Loop parameter to “off.”
Set the Quantize parameter to “off.”
After completing setup, press a note on the
keyboard to start recording.
Recording will stop automatically when the last
measure (specified by the Length) is reached.
Creating a Pattern with audio—
Sampling
Voice with
Arpeggio
4
7
Set the following parameters in the Record
Setup display.
Start Guide
Creating a Pattern by using
Arpeggio
Set the following parameters as required in the
Arpeggio Record display.
In this section, you’ll learn how to record audio data (from
commercially available sample CDs, for example) to the
Pattern track, using the versatile Sampling feature. After
recording the audio, you can slice it into individual
Samples, which can then be played back at any desired
tempo—without compromising the sound or introducing
pitch changes. These step-by-step instructions assume
that the recorded audio data is a one-measure drum
pattern in 4/4 time.
4-1
4-2
Set the Switch parameter to on.
Important
Set the Voice with Arpeggio (ARP) parameter to on.
When this is set to “on,” the Voice matching the
selected Arpeggio type is automatically called up
each time the Arpeggio type is changed.
4-3
Select the Arpeggio type by specifying the Category,
Sub Category and Type.
In order to use the Sampling function, DIMM modules must be
installed to the instrument. For details on installing DIMMs, see
page 295. The recorded (edited) sample data residing temporarily
in DIMM is lost when the power is turned off. Make sure to prepare
a USB storage device or a computer connected to the same
network as the MOTIF XS before using the Sampling function.
Press the [F1] button to call up the Record
Setup display.
Recording Track
Sampling Setup
••••••••••••••••••••••••••••••••••••
1
Time Signature
Length
Keyboard
start
Turn the power off and set the GAIN knob on
the rear panel to the minimum.
Loop
Quantize
Min.
Max.
MOTIF XS Owner’s Manual
39
Step 5: Creating a Pattern
2
1 Set the Recording Type to “slice+seq.”
Connect an audio device (CD player, etc.) to
the A/D INPUT connector on the rear panel.
2 Set the Input Source to “A/D Input.”
3 Set the Stereo/Mono parameter to “stereo.”
Stereo audio equipment
(CD player, etc.)
Start Guide
A/D INPUT L
4 Set the Record Next to “off.”
L
5 Set the Frequency to “44.1 kHz.”
R
6 Select the destination track.
A/D INPUT R
5
Press the [F6] button to call up the Standby
display.
MOTIF XS
3
Turn the power of the MOTIF XS on.
4
Press the [UTILITY] button to enter the Utility
mode, then press the [F2] button to call up the
I/O display.
5
Trigger Level
Trigger Mode
Level Meter
Set the Mic/Line parameter to “line.”
6
Sampling Setup is completed.
n The Trigger Mode parameter lets you determine how the
Sampling actually starts. When Trigger Mode is set to
“level,” sampling will begin automatically as soon as the
input signal exceeds the specified Trigger Level. Since
Trigger Level is set to “1” here, sampling will begin
automatically as soon as the audio signal is input from the
CD player.
When the Trigger mode is set to “manual,” actual
Sampling starts by pressing the [F5] Start button.
Sampling
••••••••••••••••••••••••••••••••••••
1
Press the [PATTERN] button to enter the
Pattern Play mode, then select a Pattern and
Section to be recorded.
2
Press the [INTEGRATED SAMPLING] button to
enter the Sampling mode.
3
Press the [F6] button to call up the Setup
display.
4
Set the following parameters as required in the
Setup display.
Set the Trigger Mode to “level,” then set the
Trigger Level to “1.”
7
Play back the audio source (CD player) and
adjust the audio input level with the GAIN knob
on the rear panel to get the appropriate level.
Adjust the GAIN so that the level is high enough for a
clean recording but not so high as to cause clipping or
distortion.
A / D INPUT
R
L
GAIN
Max.
1
2
3
4
5
Min.
6
L
R
n Please note that the input sound may be clipped or
distorted if the meter reaches maximum level.
40
MOTIF XS Owner’s Manual
8
Stop playback of the audio source (CD player).
9
Press the [F5] button to call up the WAITING
indicator (Trigger Standby status).
Step 5: Creating a Pattern
loops. If this information is available, enter the appropriate
values to the parameters above.
Start the CD player.
Since the Trigger Level is set to “1” here, sampling
will begin automatically as soon as the audio signal is
input from the CD player. In this example, record a
one-measure drum pattern from the CD.
11
Press the [F6] button to stop sampling, then
stop the CD player.
The wave of the recorded audio signal will be shown
on the display.
12
Press the [SF1] button to hear your newly
recorded sound.
Sample Edit
Sample Edit
Next, let’s use the Slice function to match the recorded
sample with the tempo. This Slice feature lets you
automatically divide the recorded sample into separate
“slices.” These slices are then assigned to successive
notes and arranged as MIDI data. This lets you manipulate
the component parts of your sample loops as MIDI data,
and gives you the power to easily change tempo and even
the rhythmic feel, without disturbing the pitch or sound
quality.
Sample
Setting the End Point of the
Recorded Sample
The start point of the recorded Sample will probably be at
the correct place—the first beat of the measure—since
Sampling start was set to begin automatically with the
Trigger Level setting. However, the end point may not be at
the end of the measure as desired, since Sampling was
stopped manually. Accordingly, you may need to edit the
End Point of the recorded sample so that playback of the
recorded sample properly matches the beat timing.
Slice
Start Guide
10
Slice the Sample and assign the
sliced Samples to specified keys
(notes) to create a Sample Voice.
MIDI data
n Before executing the Slice operation, you’ll need to accurately
adjust the length of the sample by adjusting the End Point.
1
Press the [F6] button to call up the Slice display.
2
Set the following parameters on the Slice
display.
Tempo
End
Point
Measure
1
Press the [SF2] button once or twice so that
the LP=ST is shown.
2
Move the cursor to the End Point then adjust
the value by using the data dial.
Since the recorded sample is a one-measure drum
pattern in 4/4 time, set the parameters below as shown.
Press the [SF1] button to hear the sample. Adjust the
End Point so that the Sample plays back smoothly and
continuously without stutters, glitches or problems in
timing.
3
After setting the Ending Point, press the
[ENTER] button to delete unnecessary data
(located after the End point).
After the display prompts you for confirmation, then
press the [INC/YES] button to execute the Extract
operation.
2-1
2-2
2-3
3
Set the Slice Type to “beat1.”
Set the Measure to “1.”
Set the Sensitivity to “4.”
Press the [SF4] button to execute the Slice
operation.
n Many commercially available sample/loop CDs include
information on the tempo, measure and meter of specific
MOTIF XS Owner’s Manual
41
Step 5: Creating a Pattern
4
Press the keys to which the sliced sample are
assigned in order (from C1 for the MOTIF XS6,
E0 for the MOTIF XS7, and A-1 for the MOTIF
XS8) to confirm whether or not the Sample has
been sliced properly.
Start Guide
Listen carefully to the results. If you’re not satisfied,
press the [SF4] Apply button again to abort the Slice
operation and return the sample to the original status,
then try the operation again. Repeat steps 2 – 4 by
trying another Slice Type and adjusting the value of the
Sensitivity until you are satisfied with the sound.
5
Press the [ENTER] button to fix the Slice result
as Sample data.
6
Press the [PATTERN] button to call up the
Pattern Play display then press the [F] (Play)
button to hear the sliced Sample.
You can change the tempo of the sliced rhythm
pattern. Try changing the tempo in the Pattern Play
mode.
Tempo
Storing the Pattern and Saving
the Sample
After the Sampling operation, store the created Pattern to
internal memory then save the Sample to a separate USB
storage device. For instructions on storing a Pattern, see
page 218. For instructions on saving a Sample, see
page 279.
CAUTION
Sample data will be lost when the power is turned off. Make sure to
save the Sample data to a USB storage device or to a computer
connected to the same network as the MOTIF XS in the File mode
after the Sampling operation.
n After creating several Patterns (Sections), use the Pattern
Chain feature (page 213) to string them together.
42
MOTIF XS Owner’s Manual
Using a Computer
Connecting to a Computer
Although the MOTIF XS is exceptionally powerful and versatile all by itself, connecting it to a computer—via USB or
IEEE1394 cable—provides even greater power and versatility. This feature lets you transfer audio data (via an IEEE1394
cable only) and MIDI data (via both USB and IEEE1394 cable) between the MOTIF XS and your computer. In this section
you’ll learn how to make the connections.
to call up the MIDI display (page 267). Set the MIDI In/
Out parameter to “USB.”
Using a USB TO HOST connector
This section shows you how to connect the MOTIF XS to a
computer via a USB cable. Note that the MIDI data can be
transmitted through a USB cable.
n Since the MOTIF XS has no built-in speakers, you’ll need an
external audio system or a set of stereo headphones to
properly monitor it. For details, refer to “Start Guide” on
page 19.
1
Download the USB-MIDI driver from our
website:
http://www.global.yamaha.com/download/usb_midi/
n Information on system requirements is also available at
the above web site.
n The USB-MIDI driver may be revised and updated without
prior notice. Make sure to check and download the latest
version from the above site.
2
Install the downloaded USB-MIDI driver to the
computer.
For instructions on installing, refer to the online
Installation Guide included in the downloaded file
package. When connecting the MOTIF XS to a
computer in the Installation procedure, connect the
USB cable to the USB TO HOST of the MOTIF XS and
the USB connector of the computer as shown below.
USB TO HOST connector
USB connector
USB
TO HOST
TO DEVICE
Connecting to
a Computer
n This section shows how to connect the MOTIF XS to a computer directly. Other MIDI devices can be connected between MOTIF XS and the
computer. For details about connection between the MOTIF XS and another MIDI device, see page 83. For details about connection
between the MIDI device and the computer, refer to the owner’s manual of the particular MIDI device.
4
Press the [STORE] button to store this setting.
Precautions when using the USB TO HOST
connector
When connecting the computer to the USB TO HOST
connector, make sure to observe the following points.
Failing to do so risks freezing the computer and
corrupting or even losing the data. If the computer or the
instrument freezes, turn the power to the instrument off or
restart the computer.
CAUTION
• Before connecting the computer to the USB TO HOST
connector, exit from any power-saving mode (such as
suspended, sleep, standby) of the computer.
• Before turning on the power to the instrument, connect
the computer to the USB TO HOST connector.
• Execute the following before turning the power to the
instrument on/off or plugging/unplugging the USB
cable to/from the USB TO HOST connector.
- Quit any open applications (such as MOTIF XS Editor
and sequencer software).
- Make sure that data is not being transmitted from the
instrument. (Data is transmitted only by playing notes
on the keyboard or playing back a Song.)
• While a USB device is connected to the instrument,
you should wait for six seconds or more between these
operations: (1) when turning the power of the
instrument off then on again, or (2) when alternately
connecting/disconnecting the USB cable.
MIDI channels and MIDI ports
USB cable
3
Rear panel of
the MOTIF XS
Make sure that the USB TO HOST connector of
the MOTIF XS is enabled.
Press the [UTILITY] button to enter the Utility mode,
then press the [F5] button followed by the [SF2] button
MIDI song data can be sent independently over sixteen
separate channels, and this instrument is capable of
simultaneously playing sixteen separate parts via these
channels. While a single MIDI cable is equipped to
handle data over up to sixteen channels simultaneously,
a USB connection or a IEEE1394 connection is capable
of handling far more—thanks to the use of MIDI ports.
Each MIDI port can handle sixteen channels, and the
USB connection or IEEE1394 connection allows up to
eight ports, letting you use up to 128 channels (8 ports x
16 channels) on your computer.
MOTIF XS Owner’s Manual
43
Connecting to a Computer
When connecting the MOTIF XS to a computer using a
USB cable or an IEEE1394 cable, the MIDI ports are
defined as follows:
1
http://www.yamahasynth.com/download/
n Information on system requirements is also available at
the above web site.
Port 1
The tone generator block in the MOTIF XS can recognize
and use only this port.
When playing the MOTIF XS as a tone generator from the
external MIDI instrument or computer, you should set the
MIDI Port to 1 on the connected MIDI device or
computer.
Download the proper AI Driver from our
website:
n The AI Driver may be revised and updated without prior
notice. Make sure to check and download the latest
version from the above site.
2
Connecting to
a Computer
Port 2
Install the downloaded AI Driver to the
computer.
For instructions on installing, refer to the online
Installation Guide included in the downloaded file
package. When connecting the MOTIF XS to a
computer in the Installation procedure, connect the
IEEE1394 cable to the mLAN connector of the MOTIF
XS and the IEEE1394 connector of the computer as
shown below.
This port is used to control the DAW software on the
computer from the MOTIF XS by using the Remote
Control feature.
Port 3
This port is used as the MIDI Thru Port. The MIDI data
received over Port 3 via the USB TO HOST or mLAN
connector will be re-transmitted to an external MIDI
device via the MIDI OUT connector. The MIDI data
received over Port 3 via the MIDI IN connector will be retransmitted to an external device (computer, etc.) via the
USB TO HOST or mLAN connector.
IEEE1394 connector
mLAN
connector
When using a USB connection or IEEE1394 connection
between the MOTIF XS and the computer, make sure to
match the MIDI transmit port and the MIDI receive port
as well as the MIDI transmit channel and the MIDI receive
channel following the above description.
Rear panel of
the MOTIF XS
IEEE1394 cable
CAUTION
Be sure to connect the IEEE1394 (mLAN) cable plug to the
mLAN jack with the correct orientation.
Using a MIDI interface
Use standard MIDI cables to connect the MOTIF XS to a
computer, connecting the MIDI IN and MIDI OUT terminals
on the MOTIF XS to the appropriate terminals on a MIDI
interface.
Plug in the jack with the correct orientation.
n For optimum results, use an IEEE1394 cable shorter than
4.5 meters.
Using a mLAN connector
3
This section shows you how to connect the MOTIF XS to a
computer via an IEEE1394 (FireWire) cable. Note that the
audio data as well as MIDI data can be transmitted through
an IEEE1394 cable.
n The MOTIF XS6/7 can be connected to the mLAN compatible
device or a computer equipped with the IEEE1394 connector
only when an optional mLAN16E2 has been installed to the
MOTIF XS6/7. For instructions on installing the mLAN16E2,
see page 294.
Press the [UTILITY] button to enter the Utility mode,
then press the [F6] button followed by the [SF2] button
to call up the MIDI display (page 267). Set the MIDI In/
Out parameter to “mLAN.”
4
5
MOTIF XS Owner’s Manual
Make sure that the mLAN connector of the
MOTIF XS is enabled for audio communication.
When transmitting audio signals via the mLAN
connector, set the Output Select parameter of the
MOTIF XS. When receiving audio signals via the mLAN
connector, set the mLAN audio input part parameters of
the MOTIF XS. For details, see page 45.
n The mLAN-equipped MOTIF XS can provide up to 6 Mono In
(3 Stereo In), 16 Mono Out (8 Stereo Out) audio channels and
3 MIDI In/3 MIDI Out channels.
44
Make sure that the mLAN connector of the
MOTIF XS is enabled for MIDI communication.
Press the [STORE] button to store this setting.
Connecting to a Computer
You can integrate the MOTIF XS with DAW software on a
computer by connecting the mLAN equipped MOTIF XS
(MOTIF XS6/7 to which the optional mLAN16E2 is installed
or MOTIF XS8) to a computer in a peer-to-peer
arrangement. For details, see below.
Signal flow of audio and MIDI data via
an IEEE1394 cable
The illustration below shows the flow of audio signals and
MIDI messages when connecting the MOTIF XS and a
computer via an IEEE1394 cable.
IEEE1394-compatible computer
IEEE1394 cable
• Transfer data of multiple audio channels between the
MOTIF XS and the computer (up to 16 channels from the
MOTIF XS to the computer and up to 6 channels from the
computer to the MOTIF XS)
mLAN IN L/R, etc.
AUDIO
AUDIO
mLAN OUT L/R
AUDIO
mLAN OUT 1-14ch
MIDI
mLAN OUT 1-3 Ports
• Monitor via the MOTIF XS the audio output from the
computer and the audio output from the MOTIF XS
mLAN IN 1-3 Ports
MIDI
• Simultaneously record to the sequence software (a) your
performance on the MOTIF XS and (b) the performance
of the computer sequence software that uses the MOTIF
XS as a MIDI tone generator
Powered speakers
(such as the
HS80M)
Connecting to
a Computer
What you can do with the IEEE1394
connection
• Use Cubase 4 together with the MOTIF XS with a variety
of convenient functions (page 49)
n The capabilities and uses of connecting the MOTIF XS to a
computer via an IEEE1394 cable in a peer-to-peer
arrangement is referred to as “mLAN” in this Owner’s Manual
and the MOTIF XS instrument. For details and the latest
information on mLAN, refer to the following URL:
http://www.yamahasynth.com/
MIDI
(*1)
mLAN OUT
1-14
(*2)
mLAN OUT
L/R
(*3)
mLAN IN
(*4)
MOTIF XS
mLAN connectors of the
MOTIF XS8 or the mLAN16E2
installed to the MOTIF XS6/7
MIDI transmission/reception (*1)
Setting the port on the MOTIF XS is not necessary since the
MIDI Port of the MOTIF XS is automatically fixed according
to the application. For information on which port should be
selected on your computer, refer to page 43.
Audio signal transmission
■ mLAN OUT 1 – 14 (*2)
Audio signals are output via mLAN OUT 1 – 14 when the
MOTIF XS Output Select parameter is set to any of the settings
“m1&2” – “m13&14” and “m1” – “m14” in one of the following
displays.
[VOICE] (When a Drum Voice is selected) → [EDIT] → Key
selection → [F1] Oscillator (page 130)
[VOICE] → [UTILITY] → [F4] VoiceAudio → [SF1] Output
(page 266)
[PERFORM] → [EDIT] → [COMMON EDIT] → [F4] Audio In →
[SF1] Output (page 148)
[PERFORM] → [EDIT] → Part selection → [F1] Voice → [SF2]
Output (page 153)
[SONG]/[PATTERN] → [MIXING] → [EDIT] → [COMMON
EDIT] → [F4] Audio In → [SF1] Output (page 234)
[SONG]/[PATTERN] → [MIXING] → [EDIT] → Part selection →
[F1] Voice → [SF2] Output (page 235)
■ OUTPUT L/R (*3)
The audio signal is output via both the OUTPUT L/R and mLAN
OUT L/R channels when the Output Select parameter
described above is set to “L&R.”
MOTIF XS Owner’s Manual
45
Connecting to a Computer
Audio signal reception (*4)
Connecting to
a Computer
The mLAN IN Main Out Monitor L/R and mLAN IN
Assignable Out Monitor L/R are available as well as the
mLAN IN L/R as the mLAN audio input channel of the
MOTIF XS. These channels can be used for monitoring the
sound when using the DAW software on the computer. The
audio signal received via the mLAN IN Main Out Monitor L/
R will be output via the OUTPUT L/R jacks while the audio
signal received via the mLAN IN Assignable Out Monitor L/
R will be output via the ASSIGNABLE OUTPUT L/R jacks.
Setting the audio output channel on the computer
determines which channel is used. As for audio signals
received via the mLAN connector, parameters such as
volume and output channel can be applied as the mLAN
audio input part of the MOTIF XS. The display of these
parameter settings differs depending on the mode, as
listed below.
[VOICE] → [UTILITY] → [F4] VoiceAudio → [SF1] Output →
mLAN setting (page 266)
[PERFORM] → [EDIT] → [COMMON EDIT] → [F4] Audio In →
[SF1] Output → mLAN setting (page 148)
[SONG]/[PATTERN] → [MIXING] → [EDIT] → [COMMON
EDIT] → [F4] Audio In → [SF1] Output → mLAN setting
(page 234)
mLAN Audio Channels of the MOTIF XS and
the computer
When connecting the MOTIF XS to a computer via an
IEEE1394 cable, set the audio channel of the computer
referring to the table below.
Input Channel of the MOTIF XS
mLAN IN Main Out Monitor L, R
1, 2
mLAN IN L, R
3, 4
mLAN IN Assignable Out Monitor L, R
Output Channel of the MOTIF XS
mLAN OUT L, R (L&R)*
mLAN OUT 1 – 14 (m1 – m14)*
46
Output Channel of
the computer
MOTIF XS Owner’s Manual
5, 6
Input Channel of
the computer
1, 2
3 – 16
Creating a Song by Using a Computer
By connecting the MOTIF XS to your computer via USB or mLAN, you can use a DAW or sequence software on the
computer to create your own original songs. This section contains an overview on how to use a DAW or sequence software
on the computer with the MOTIF XS after connecting.
Song playback from a computer using
the MOTIF XS as a tone generator
Recording your performance on the
MOTIF XS to computer
The instructions below show how to use the Song or
Pattern mode of the MOTIF XS as a MIDI tone generator. In
this case, actual MIDI sequence data is to be transmitted
from a DAW or sequencer on the computer.
The instructions below show how to use the MOTIF XS as a
Master Keyboard. The note events you play on the MOTIF
XS are transmitted and recorded to a track of a DAW/
sequencer software on your computer, then returned back
to the tone generator block of the MOTIF XS.
Connecting to
a Computer
n The acronym DAW (digital audio workstation) refers to music software for recording, editing and mixing audio and MIDI data. The main DAW
applications are Cubase, Logic, SONAR and Digital Performer. Though all of these can be effectively used with the MOTIF XS, we
recommend using Cubase when creating songs together with the instrument.
Setting up the MOTIF XS
Setting up the MOTIF XS
1
Press the [SONG] or [PATTERN] button to
enter the Song mode or Pattern mode.
2
Select a Song or Pattern which contains no data.
3
Press the [MIXING] button to enter the Mixing
mode.
4
Set up the Mixing for parts 1 – 16 as necessary.
1
Press the [UTILITY] button to enter the Utility mode, then
press the [F5] followed by the [SF2] button to call up the
MIDI display (page 267). Move the cursor to the Local
Control the set this parameter to “off.” When MIDI Thru is
set to “on” in a DAW/sequencer software on your
computer, the note events you play on the MOTIF XS are
transmitted to the computer then returned back to the
MOTIF XS, producing a “double” sound, since the tone
generator block is receiving performance data (MIDI data)
from both the keyboard directly and the computer. To
prevent such a situation, you need to separate the
keyboard block from the tone generator block of the
MOTIF XS. This is why Local Control should be set to “off.”
For details about Mixing, see page 229.
Setting up the DAW on the computer
1
Set the MIDI output port of the tracks to Port 1
of USB or mLAN.
When connecting via a USB cable, set this to “Yamaha
MOTIF XS6(7, 8)-1” or “YAMAHA MOTIF XS6(7, 8)
Port1.” When connecting via an IEEE1394 cable, set
this to “mLAN MIDI Out” or “MOTIF XS.”
2
Enter the MIDI data to each track of the DAW/
sequencer on the computer.
The tone generator settings of the part corresponding
to the MIDI track will be set in the Mixing mode on the
MOTIF XS.
n By using the MOTIF XS Editor, you can create your original
Mixing setup of the MOTIF XS from your computer. The
created Mixing setup can be saved as a file for future recall.
n By using the Studio Manager V2, you can use the MOTIF
XS Editor as a plug-in software within Cubase and save
the edited Mixing setup of the MOTIF XS as a project file
of Cubase.
Set Local Control to “off.”
2
3
Press the [STORE] button to store this setting.
Press the [SONG] or [PATTERN] button to
enter the Song mode or Pattern mode when
you want to using the MOTIF XS as a multitimbral tone generator.
Setting up the DAW on the computer
1
Set MIDI Thru to “on” on the DAW.
By setting MIDI Thru to “on,” the MIDI data generated by
playing the keyboard and transmitted to the computer will
be returned back to the MOTIF XS. As shown in the
example below, the MIDI data transmitted from the MOTIF
XS then recorded to the computer via MIDI channel 1 will
be returned back from the computer to the MOTIF XS via
MIDI channel 3 according to the setting of the recording
track. As a result, the tone generator of the MOTIF XS will
sound the MIDI data generated by playing the keyboard
as the MIDI data of channel 3.
MOTIF XS Owner’s Manual
47
Creating a Song by Using a Computer
2
USB TO HOST connector
Tone generator
block
(recognizing
MIDI Channel 3
data)
Local Control
= off
Connecting to
a Computer
Computer
(Cubase, etc.)
When connecting via a USB cable, set this to “Yamaha
MOTIF XS6(7, 8)-3” or “YAMAHA MOTIF XS6(7, 8) Port3.”
When connecting via an IEEE1394 cable, set this to
“mLAN MIDI Out (3)” or “MOTIF XS MIDI OUT.”
Keyboard
(output via
MIDI
Channel 1)
MOTIF XS
IN
CH1
n Please keep in mind that the MIDI Thru Por t of the MOTIF XS
(in other words, the port with which the received MIDI data is
to be transmitted to another external device via the MIDI
OUT connector) is fixed to 3.
OUT
CH3
MIDI Through = on
n The above explanation can be applied to the case when
connecting the MOTIF XS to the computer via an IEEE1394 cable
as well as via a USB cable.
Using another tone generator
together with the MOTIF XS
By using another tone generator (such as the MOTIF-RACK
ES) together with the MOTIF XS as illustrated below, you can
play up to 32 Parts simultaneously.
Using the MOTIF XS as an audio
interface
By using the A/D INPUT connector and mLAN connector, the
MOTIF XS can conveniently be used as an audio interface for
your computer. Note that you need install the optional
mLAN16E2 when using the MOTIF XS6/7 for this application.
Setting up the MOTIF XS
1
1
Connect the MIDI OUT connector to the MIDI IN
connector of the external tone generator module
such as MOTIF-RACK ES, as illustrated below.
2
Make sure to set the MOTIF XS to the multitimbral tone generator by entering the Song
mode or Pattern mode.
Set the parameters as below so that the audio
signal input via the A/D INPUT connector is
output via the mLAN connector to the computer.
In the Voice mode, press the [UTILITY] button to enter the
Utility mode, press the [F4] button followed by the [SF1]
button to call up the Output display (page 265). From this
display, move the cursor to the Output Select of the A/D
Input, then select one of the following settings: “m1&2” –
“m9&10,” “m11&12” and “m13&14.”
Setting up the MOTIF XS
2
MOTIF-RACK ES, etc.
Set the parameters as below so that the audio
signal output from the computer and input to the
MOTIF XS via the mLAN connector is output from
the OUTPUT L/R or ASSIGNABLE OUTPUT L/R
connectors.
From the Output display called in step 1, move the cursor
to the Output Select of the mLAN, then select “L&R” or
“asL&R.”
MIDI IN
connector
MIDI OUT
connector
Set the MIDI output port of the tracks (for playing
the MOTIF-RACK ES) to Port 3 of USB or mLAN.
n The setting here applies to the audio signals output from
mLAN ports 3 and 4 of a computer.
USB TO HOST connector
3
Press the [STORE] button to store this setting.
Setting up the DAW on the computer
MOTIF XS
Computer
Setting up the DAW on the computer
1
Set the MIDI output port of the tracks (for playing
the MOTIF XS) to Port 1 of USB or mLAN.
When connecting via a USB cable, set this to “Yamaha
MOTIF XS6(7, 8)-1” or “YAMAHA MOTIF XS6(7, 8) Port1.”
When connecting via an IEEE1394 cable, set this to
“mLAN MIDI Out” or “MOTIF XS.”
48
MOTIF XS Owner’s Manual
Install the AI Driver and make the proper settings. Select
ASIO mLAN (when using an ASIO driver) or mLAN Audio
Out (when using a WDM driver) as Audio driver.
n Confirming the Audio Ports is much easier when using Cubase
and installing the Extensions for Steinberg DAW. For details, see
below.
Integration Between Yamaha Editors and Cubase
Yamaha and Steinberg have formed a partnership to develop a useful and convenient environment for effectively using
Yamaha hardware (including the MOTIF XS) together with Steinberg software. This section explains how you can use
Cubase 4 and the special joint Yamaha/Steinberg Studio Connections software.
For more details, including the latest information and software downloads, refer to the following URL.
http://www.yamahasynth.com/download/
IMPORTANT
To use the following features and operations, you’ll first need to
install the AI driver and Extensions for Steinberg DAW.
Automatic setting of the IEEE1394
connection
Using the Project Template for multichannel audio recording via an
IEEE1394 cable
Connecting to
a Computer
What you can do by using Cubase 4
together with the MOTIF XS
When creating a new project file within Cubase, you can
select the template for multi-channel audio recording using
the MOTIF XS. By selecting a template, you can easily
perform the recording in Cubase without having to make
complicated or detailed settings.
When using a hardware synthesizer such as the MOTIF XS
with computer software, a variety of settings—such as
audio connection, driver setup and port setup—must be
made. Those complicated settings will be made
automatically for you as soon as you connect the MOTIF XS
to a computer via an IEEE1394 cable.
Indicating the Audio/MIDI port
including the model name when
connecting via an IEEE1394 cable
The Device Setup window of the Cubase indicates the
Audio Port or MIDI Port including the model name such as
“MOTIF XS Main L” and “MOTIF XS MIDI IN,” making it
easy to confirm the current connection or change the
connection. For details, see the illustration below.
For details refer to the following page:
http://www.yamahasynth.com/
MOTIF XS Owner’s Manual
49
Integration Between Yamaha Editors and Cubase
MOTIF XS Editor
Studio Connections
What is MOTIF XS Editor?
What is Studio Connections?
Connecting to
a Computer
Studio Connections is a sophisticated
software/hardware solution that lets
you seamlessly integrate hardware
synthesizers such as MOTIF XS and
MO into your computer music system. If you are using
sequencer software that is compatible with Studio
Connections (such as Cubase 4) and the MOTIF XS Editor,
you can use the MOTIF XS within your sequencer, just as if
it were a plug-in software synthesizer—without the need for
any complicated connections or complex setup
procedures.
Furthermore, you can save all MOTIF XS settings along
with the project (song) file of the sequencer. Then, when
you open the project again, all your MOTIF XS settings for
the song are instantly recalled. This eliminates the
repetitive work of recreating all your hardware settings
when you reopen a song file.
The MOTIF XS Editor lets you edit the Mixing setup and
Mixing Voice in the Song/Pattern mode of the MOTIF XS from
your computer, giving you even greater editing convenience.
The data created on the MOTIF XS Editor is transferred
between the computer and the MOTIF XS via a USB or
IEEE1394 cable as bulk data. You can load files created on
the MOTIF XS Editor to the MOTIF XS in the File mode via the
LAN connection or by using a USB storage device.
Furthermore, the data edited on the MOTIF XS is always
synchronized with the data on the computer (MOTIF XS
Editor) and vice versa. This provides a smooth, seamless
interface, and makes it very easy to create and edit your
data.
Bulk transmission/reception
Parameter transmission/reception
For details about Studio Connections, visit our web site at:
http://www.studioconnections.org/
Tools compatible with Studio Connections
MOTIF XS
Studio Manager
Using the MOTIF XS Editor
Studio Manager V2 is a cross-platform application that
enables you to start multiple Editors that control Yamaha
hardware products remotely, and to save multiple Editor
settings. You can run Studio Manager as a stand-alone
application, or as a plug-in within DAW applications such
as Cubase SX 3.0 or later. In either case, the basic
functionality is the same.
Start Studio Manager
as a plug-in within
Cubase
Start Studio
Manager as a standalone application
1. Using as a stand alone editor.
The MOTIF XS Editor is a client application using Studio
Manager as host. To use the MOTIF XS Editor, start Studio
Manager then start the MOTIF XS Editor as a plug-in
software within the Studio Manager.
2. Using within Cubase
To use the MOTIF XS Editor within Cubase, you’ll need
register Studio Manager to Cubase. Installing Studio
Manager automatically registers it to Cubase. After
registering, start the MOTIF XS Editor as a plug-in of the
Studio Manager.
n For Macintosh computers, the MOTIF XS Editor can be used
with Cubase 4 or later.
The Studio Manager and MOTIF XS Editor can be
downloaded from the following URL:
http://www.yamahasynth.com/download/
For instructions on using the Studio Manager and MOTIF
XS Editor, refer to the respective PDF manuals included
with the software.
MOTIF XS Editor
50
MOTIF XS Owner’s Manual
MOTIF-RACK ES Editor
Controlling a DAW on Your Computer from the MOTIF XS
The MOTIF XS features a highly convenient Remote Control mode which lets you control the DAW software on your computer
the MOTIF XS panel (when the instrument is connected to the computer via USB). For example, you can start/stop playback
of the DAW software on the computer by using the SEQ TRANSPORT buttons and control the song position on the DAW
software by using the data dial, [INC/YES] and [DEC/NO] buttons instead of using the mouse or keyboard of the computer.
The DAW applications Cubase, Logic, SONAR and Digital Performer can be controlled by the Remote Control mode of the
MOTIF XS.
The Remote Control lets you control the following
operations.
Computer Software that can be
controlled from the MOTIF XS
Windows
• You can use the sliders, knobs and buttons of the MOTIF
XS to control the sequencer tracks and mixer channels of
the DAW on the computer.
Cubase 4, Cubase Studio 4,
Cubase AI 4
Sonar 5 Version 5.2
Connecting to
a Computer
Remote Function
Macintosh
Cubase 4, Cubase Studio 4,
Cubase AI 4
Logic Pro 7 Version 7.2.1
Digital Performer 5.1
Setting up for Remote Control
Display information
Remote Control
Setting up on the MOTIF XS
MOTIF XS
• You can view the parameter values on the LCD display of
the MOTIF XS as well as on the computer display, since
the values of the controlled parameters are returned
back to the MOTIF XS from the computer.
Computer
DAW
Parameter value
Volume
1
Connect the MOTIF XS to the computer via a
USB or IEEE1394 cable (pages 43 and 44).
2
Press the [UTILITY] button to enter the Utility
mode then press the [F6] button and the [SF1]
button to call up the Remote Setting display
(page 267).
3
Set the DAW type to the desired DAW.
4
Press the [STORE] button to store this setting.
5
Start the DAW software on the computer
connected to the MOTIF XS.
Remote Control
Setting up the DAW of the computer
This section explains how to set up after starting each
application.
MOTIF XS
n When the cable between the MOTIF XS and the Windows
computer is disconnected or the MOTIF XS is turned off
accidentally, the DAW will not recognize the MOTIF XS again
even if you connect the cable again or turn the MOTIF XS on. If
this occurs, exit the DAW software, then restart it after setting
up the MOTIF XS and making sure the connection is secure.
MOTIF XS Owner’s Manual
51
Controlling a DAW on Your Computer from the MOTIF XS
Cubase
Logic
1
Pull down the [Devices] menu and select [Device
Setup] to call up the “Device Setup” window.
1
2
Click the [+] button and add the “Mackie Control” or
“Yamaha MOTIF XS.”
Set the software to be controlled to “Logic” in the Utility
mode, then press the [REMOTE ON/OFF] button so that
its lamp lights to enter the Remote Control mode.
2
Start Logic on the computer.
Logic automatically recognizes the MOTIF XS as Logic
Control and performs the required settings.
3
Set both the Input Port and the Output Port to “Yamaha
MOTIF XS6 (7, 8) Port 2.”
Connecting to
a Computer
3
Select the device of “Mackie Control” or “Yamaha
MOTIF XS” added to the list.
4
Set the MIDI Input Port to “Yamaha MOTIF XS6(7, 8)-2”
or “YAMAHA MOTIF XS6(7, 8) Port2” or “mLAN MIDI In
(2)” or “MOTIF XS Remote,” then set the MIDI Output
Port to “Yamaha MOTIF XS6 (7, 8)-2” or “YAMAHA
MOTIF XS6(7, 8) Port2” or “mLAN MIDI Out (2)” or
“MOTIF XS Remote.”
n Unlike with the Mackie Control, the MOTIF XS does not
support UserA and UserB (FootSw).
n When connecting the MOTIF XS to a computer via an
IEEE1394 cable, starting Cubase (with the Extension Module
installed) executes the above settings automatically. The
Extension Module can be downloaded from the following URL:
http://www.yamahasynth.com/download/
Remote Control mode
To enter the Remote Control mode, press the REMOTE
[ON/OFF] button (the lamp flashes). The REMOTE display
appears (like those shown below), and the panel controls
(such as buttons, knobs, sliders, and data dial) are
enabled for Remote operation of the computer software
(their normal functions are disabled). Press this button
again to exit from the Remote Control mode.
* Mackie Control is the trademark of Mackie Designs, Inc.
SONAR
1
Pull down the [Options] menu and select [MIDI
Devices] to call up the “MIDI Devices” window.
2
Add “Yamaha MOTIF XS6(7, 8)-2” or “mLAN MIDI In
(2)” to the Input Device, then add “Yamaha MOTIF
XS6(7, 8)-2” or “mLAN MIDI Out (2)” to the Output
Device.
3
Pull down the [Options] menu and select [Control
Surfaces] to call up the Control Surface window.
4
Click the [+] button, select “Mackie Control,” then set
the Input Port to “Yamaha MOTIF XS6(7, 8)-2” or “mLAN
MIDI In (2)” and set the Output Port to “Yamaha MOTIF
XS6(7, 8)-2” or “mLAN MIDI Out (2).”
Digital Performer
1
In the Audio/MIDI setup of a Macintosh computer,
connect Port 2 of the interface to Port 2 of the tone
generator. When there is only one Port for the tone
generator, add the new Port, then connect it to the
interface.
2
Pull down the [Setup] menu and select [Control
Surfaces] to call up the Control Surface window.
3
4
5
Click the [+] button.
5
1
2
3
4
1 Knob Functions/Values
Indicates the function assigned to the knob and the current
value. When the same function is assigned to all eight
knobs, the function is indicated only at the column of knob
1. The knob function can be specified by pressing one of
the [F1] – [F5] and [SF1] – [SF4] buttons after selecting a
page in the Page Select (5) menu. For details about the
functions of the knobs for each DAW software, refer to the
Remote Control Function List in the Data List 2 (PDF
documentation) which can be downloaded from the online
Yamaha Manual Library. Visit the following URL, enter
“MOTIF XS” in the Model Name box, then click “Search.” In
the results. you can find “Data List 2” for the MOTIF XS.
Yamaha Manual Library URL:
http://www.yamaha.co.jp/manual/
Select “Mackie Control” in the Driver section.
2 Channel number
In the box for setting “Unit” and “MIDI,” select “Mackie
Control” in the “Unit” section and select “MOTIF XS
New Port 2” in the “MIDI” section.
Indicates the channel number. The background of the
selected channel number turns black. The channel number
can be changed by using the [F4] E Bank and [F5] Bank
F buttons.
3 LEVEL METER
Indicates the volume level of playback for each channel in
real time.
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MOTIF XS Owner’s Manual
Controlling a DAW on Your Computer from the MOTIF XS
4 Dial Function
[SF6] INFO (Information)
Indicates the function assigned to the data dial. The circle
is shown at left of the active function. You can change the
dial function by pressing the [SF4] button only when “Dial”
is shown on the tab corresponding to the [SF4] button.
When no channel is selected on the display, the song
location function is assigned to the data dial, regardless of
the [SF4] tab indication, even if the edit parameter is set
here. Controlling any knob changes the function of the data
dial automatically to the edit parameter, allowing you to edit
the channel parameter of the knob.
Pressing this button calls up the Information window about
the Remote Control function. From the Information window,
any panel operation (pressing a button, turning a knob,
controlling a slider) indicates the following three types of
information about the operated controller (button, knob or
slider). To close this window, press the [SF6] INFO button
again.
Song Location
Function
Indicates the function of the operated controller.
Moves the current location of song playback.
LED
Edit Parameter
Indicates the function of the lamp for the operated controller.
Changes the value of the current parameter.
n No description here indicates that the lamp for the
operated controller has no function or the operated
controller has no lamp.
5 Page Select
Determines the functions assigned to the [F1] – [F5] and
[SF1] – [SF5] buttons by selecting a page. The circle is
shown at left of the selected page. Use the [SELECTED
PART CONTROL] and [MULTI PART CONTROL] button to
select the desired page, with the result that the functions
assigned to the [F1] – [F5] and [SF1] – [SF5] buttons are
changed. The page structure differs depending on the
DAW software on your computer. For details, refer to the
Remote Control Function List in the Data List 2 (PDF)
documentation which can be downloaded from the online
Yamaha Manual Library. Visit the following URL, enter
“MOTIF XS” in the Model Name box, then click “Search.” In
the results, you can find “Data List 2” for the MOTIF XS.
Yamaha Manual Library URL:
http://www.yamaha.co.jp/manual/
Connecting to
a Computer
Settings: Song Location, Edit Parameter
Panel Button
Indicates the controller name on the panel.
n If communication between the DAW on the computer and
the MOTIF XS has not been achieved, pressing the
[REMOTE ON/OFF] button calls up the display indicating
“Computer DAW Software Control Mode” as shown below.
If this happens, restart the DAW application software. If
doing this does not achieve communication, press the
[REMOTE ON/OFF] button again to exit from the Remote
Control mode, then try setting up for Remote Control
(page 51) again.
[SF5] Page List
Pressing this button calls up the Page List display. The
Page List display indicates five sets of functions assigned
to the [F1] – [F5] and [SF1] – [SF5] buttons together. The
active function set of five sets is highlighted. Also from this
display, use the [SELECTED PART CONTROL] and [MULTI
PART CONTROL] button to change the function set.
For details about the Remote Control functions, refer to
the PDF documentation by visiting the following URL.
Yamaha Manual Library URL:
http://www.yamaha.co.jp/manual/
Visit the above URL, enter “MOTIF XS” in the Model
Name box, then click “Search.” In the results, you can
find “Data List 2” for the MOTIF XS.
MOTIF XS Owner’s Manual
53
Basic Section
Basic Structure
Mode Structure
In order to make operation of the MOTIF XS as smooth as possible, all functions and operations have been grouped in
“modes,” many of which also have a number of “sub modes.”
The MOTIF XS provides nine main modes which are divided into several sub modes. For details, see the mode table below.
Mode table
Mode
Voice mode
Basic Structure
Performance
mode
Song mode
Basic Operation
Basic Section
Pattern mode
Connections
Mixing mode
Sampling
mode
Utility mode
Master mode
File mode
Sub Mode
Function
How to enter the mode
Page
Voice Play mode
Playing a Voice
[VOICE]
88
Voice Edit mode
Editing/Creating a Voice
[VOICE] → [EDIT]
96
Voice Job
Initializing a Voice, etc.
[VOICE] → [JOB]
133
Voice Store mode
Storing a Voice to internal memory
[VOICE] → [STORE]
97
Performance Play mode
Playing a Performance
[PERFORM]
135
141
Performance Edit mode
Editing/Creating a Performance
[PERFORM] → [EDIT]
Performance Job mode
Initializing a Performance, etc.
[PERFORM] → [JOB]
159
Performance Store mode
Storing a Performance to internal memory
[PERFORM] → [STORE]
142
Song Play mode
Playing a Song
[SONG]
178
Song Record mode
Recording a Song
[SONG] → [I] (Record)
186
Song Edit mode
Editing the MIDI events of a Song
[SONG] → [EDIT]
192
Song Job mode
Converting and transforming Song data
[SONG] → [JOB]
195
Song Store mode
Storing a Song to internal memory
[SONG] → [STORE]
186
Pattern Play mode
Playing a Pattern
[PATTERN]
208
Pattern Record mode
Recording a Pattern
[PATTERN] → [I] (Record)
218
Pattern Edit mode
Editing the MIDI events of a Pattern
[PATTERN] → [EDIT]
220
Pattern Job mode
Converting and transforming Pattern data
[PATTERN] → [JOB]
222
Pattern Store mode
Storing a Pattern to internal memory
[PATTERN] → [STORE]
218
Mixing Play mode
Setting multi-timbral tone generator
settings for Song/Pattern playback
[SONG]/[PATTERN] → [MIXING]
231
Mixing Edit mode
Editing a Mixing program
[SONG]/[PATTERN] → [MIXING] → [EDIT]
233
Mixing Job mode
Initializing a Mixing, etc.
[SONG]/[PATTERN] → [MIXING] → [JOB]
236
233
Mixing Store mode
Storing a Mixing to internal memory
[SONG]/[PATTERN] → [MIXING] → [STORE]
Mixing Voice Edit mode
Editing a Mixing Voice
[SONG]/[PATTERN] → [MIXING] → [F6] Vce Edit
239
Mixing Voice Job mode
Initializing a Mixing Voice, etc.
[SONG]/[PATTERN] → [MIXING] → [F6] Vce Edit
→ [JOB]
240
Mixing Voice Store mode
Storing a Mixing Voice to internal memory
[SONG]/[PATTERN] → [MIXING] → [F6] Vce Edit
→ [STORE]
240
Sampling Record mode
Recording audio signals to create a Voice/
Performance
[VOICE]/[PERFORM] → [INTEGRATED
SAMPLING]
161
Sampling Record mode
Recording audio signals to a Song/Pattern
[SONG]/[PATTERN] → [INTEGRATED
SAMPLING]
242
Sampling Edit mode
Editing a sample
[INTEGRATED SAMPLING] → [EDIT]
167
Sampling Job mode
Converting and transforming Sample data
[INTEGRATED SAMPLING] → [JOB]
171
Utility mode
Setting System related parameters
[UTILITY]
259
Utility Job mode
Resetting the User Memory to the Initial
Factory Settings
[UTILITY] → [JOB]
269
Sequencer Setup
Setting sequencer (Song/Pattern) related
parameters
[SONG]/[PATTERN] → [SEQ SETUP]
269
Master Play mode
Playing a Master
[MASTER]
251
Master Edit mode
Editing/Creating a Master
[MASTER] → [EDIT]
253
Master Job mode
Initializing a Master, etc.
[MASTER] → [JOB]
257
Master Store mode
Storing a Master to internal memory
[MASTER] → [STORE]
254
File mode
Managing Files and Folders (Directories)
[FILE]
272
n In addition to the modes above, the MOTIF XS features the Remote Control mode. In this mode, you can control the DAW software on your
computer from the panel operations of the MOTIF XS connected to the computer via USB. For details, see page 51.
54
MOTIF XS Owner’s Manual
Basic Structure
Selecting Modes
Mode and sub mode selection is accomplished by using the corresponding mode buttons. For details, see the Mode table
above. To return back from the sub mode to the “parent” mode, press the [EXIT] button.
MODE
VOICE
PERFORM
SEQUENCER
SONG
PATTERN
MASTER
SEQ
SETUP
MULTI PART
INTEGRATED
SAMPLING
DEC/NO
EXIT
MIXING
MODE buttons
INC/YES
FILE
UTILITY
ENTER
EDIT
JOB
EXECUTE
COMPARE
STORE
[EXIT] button
SCENE STORE
Arpeggio block (page 62)
Keyboard
Controllers
Arpeggio Playback x 4
Preset Arpeggio
User Arpeggio
MIDI messages flow
Audio signal flow
Effect block (page 68)
Sequencer block (page 59)
16 track MIDI Sequencer
Songs and Patterns
Song Mixing
Pattern Mixing
Tone Generator
block (page 56)
AWM2 Tone Generator
16 Parts
Voices and Performances
System Effects
Insertion Effect x 8
Element EQ
Part EQ x 16
Master Effect
Master EQ
Sampling block (page 67)
Audio Input block (page 59)
Samples, Waveforms
A/D Input, mLAN
MIDI OUT
MIDI IN
External MIDI device
USB TO HOST
Computer
A/D INPUT
Microphone, guitar,
audio equipment, etc.
mLAN
(mLAN16E2)
Computer with
IEEE1394
connector(s)
OUTPUT/
ASSIGNABLE OUTPUT
Powered speakers, etc.
MOTIF XS Owner’s Manual
55
Basic Section
Controller block (page 67)
Basic Operation
The MOTIF XS system consists of 7 main functional blocks: Tone Generator, Sampling, Audio Input, Sequencer, Arpeggio,
Controller, and Effect.
Connections
The Seven Functional Blocks
Basic Structure
SET LOCATE
Basic Structure
Tone Generator Block
The tone generator block is what actually produces sound in response to the MIDI messages received from the Sequencer
block, the Controller block, the Arpeggio block and from the external MIDI instrument via the MIDI IN connector or the USB
connector. The structure of the tone generator block differs depending on the mode.
Tone Generator block in the Voice
Mode
Part structure in the Voice mode
Basic Structure
In this mode, the tone generator block receives MIDI data
over a single channel. This status is referred to as a “single
timbre” tone generator. A Voice is played from the
keyboard, using a single part.
Keep in mind that song data on an external sequencer
consisting of multiple MIDI channels will not play back
properly in this mode. If you are using an external MIDI
sequencer or computer to play the instrument, make sure
to use the Song mode or Pattern mode.
Basic Operation
Basic Section
Voice
Connections
A program that contains the sonic elements for generating
a specific musical instrument sound is referred to as a
“Voice.” Internally, there are two Voice Types: Normal
Voices and Drum Voices. Normal Voices are mainly pitched
musical instrument type sounds that can be played over
the range of the keyboard. Drum Voices are mainly
percussion/drum sounds that are assigned to individual
notes on the keyboard.
n For instructions on editing a Normal Voice, see page 96. For
instructions on editing a Drum Voice, see page 127.
Normal Voices & Drum Voices
Normal Voice
This is a Voice which is played conventionally from the
keyboard, with standard pitches sounding for each key. A
Normal Voice consists of up to eight Elements. Depending
on the settings in the Voice Edit mode, these Elements are
sounded simultaneously, or the different Elements are
sounded according to the note range, velocity range and
the XA (Expanded Articulation) settings.
The illustration below is an example of a Normal Voice.
Since the six Elements here are distributed across both the
note range of the keyboard and the velocity range, a
different Element sounds depending on which note you
play and how strongly you play it. In the note distribution,
Elements 1 and 2 sound in the lower range of the
keyboard, Elements 3 and 4 sound in the middle range,
and Elements 5 and 6 sound in the higher range. In the
velocity distribution, Elements 1, 3 and 5 sound when
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MOTIF XS Owner’s Manual
playing the keyboard softly, while Elements 2, 4 and 6
sound when playing it strongly. In a practical example of
this in use, a piano Voice could be composed of six
different samples. Elements 1, 3 and 5 would be the
sounds of the piano played softly, over the respective note
ranges, while Elements 2, 4 and 6 would be strongly
played sounds, for each respective note range. Actually,
the MOTIF XS is even more flexible than this, since it allows
up to eight independent Elements.
Element 2
Element 4
Element 6
Element 1
Element 3
Element 5
Velocity
Drum Voice
Drum Voices are mainly percussion/drum sounds that are
assigned to individual notes on the keyboard. A collection
of assigned percussion/drum waves or Normal Voices is
known as a Drum Kit.
C0
C1
Key 1
Key 5 Key 10 Key 18 Key 21
C6
Individual
drum sounds
(different for
each key)
Key 73
Expanded Articulation (XA)
Expanded Articulation (XA) is a specially designed tone
generation system of the MOTIF XS that provides greater
performance flexibility and acoustic realism. It allows you
to more effectively recreate realistic sound and natural
performance techniques—such as legato and staccato—
and provides other unique modes for random and alternate
sound changes as you play.
Realistic legato performance
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 from that of an actual acoustic
instrument. The MOTIF XS more accurately reproduces a
legato effect by allowing specific Elements to be sounded
when playing legato and other Elements to be played
Waveform
(AWM2)
PITCH
FILTER
AMP
Controls the
pitch of the
sound.
Changes the
tonal quality of
the sound
output from the
PITCH unit.
Controls the output level (amplitude) of the sound
output from the
FILTER unit. The
signals are then
sent at this level to
the Effect block.
Pitch EG
(Pitch
Envelope
Generator)
Filter EG
(Filter
Envelope
Generator)
Amplitude EG
(Amplitude
Envelope
Generator)
Subtle sound variations for each note played
Conventional synthesizers attempt to reproduce this by
randomly changing the pitch and/or filter. However, this
produces an electronic effect and is different from the real
sound changes on an acoustic instrument. The MOTIF XS
more accurately reproduces these subtle sound variations
by using the XA Control parameter settings, “wave cycle”
and “wave random.”
Switching among different sounds to
recreate the natural performance 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.”
New sounds and new styles of playing
The highly versatile functions above can be applied
effectively not only to acoustic sounds but also to
synthesizer and electronic Voices as well. The XA feature
opens up enormous potential for realizing authentic
sounds, performing expressively and coming up with
creative new styles of playing.
To create sounds such as those described above using
Expanded Articulation, refer to page 113.
Elements and Drum Keys
Elements and Drum Keys are the smallest “building
blocks” in the MOTIF XS that comprise a Voice; in fact, only
one Element or one Drum Key could be used to create a
Voice. These small sound units can be built, enhanced and
processed by a variety of traditional synthesizer
parameters, such as Oscillator, Pitch Filter, Amplitude, and
LFO (shown below).
Oscillator
This unit outputs the wave which determines the basic
pitch. You can assign the waveform (or basic sound
material) to each Element of a Normal Voice or each Key of
a Drum Voice. In the case of a Normal Voice, you can set
the note range for the Element (the range of notes on the
keyboard over which the Element will sound) as well as the
velocity response (the range of note velocities within which
the Element will sound). In addition, the XA related
parameters can be set in this unit.
Oscillator related parameters can be set in the Oscillator
display (pages 112 and 129).
Pitch
This unit controls the pitch of the sound (wave) output from
the Oscillator. In the case of a Normal Voice, you can
detune separate Elements, apply Pitch Scaling and so on.
Also, by setting the PEG (Pitch Envelope Generator), you
can control how the pitch changes over time.
Pitch related parameters can be set in the Pitch display
(page 114) and Pitch EG display (page 115) of the Voice
Edit mode. Note that Pitch related parameters of a Drum
Voice can be set in the Oscillator display.
Filter
This unit modifies the tone of the sound output from Pitch
by cutting the output of a specific frequency portion of the
sound. Also, by setting the FEG (Filter Envelope
Generator), you can control how the Cutoff Frequency of
the Filter changes over time.
Filter related parameters can be set in the Filter display
(pages 117 and 131), Filter EG display (page 119) and
Filter Scale display (page 121) of the Voice Edit mode.
Amplitude
This unit controls the output level (amplitude) of the sound
output from the Filter block. The signals are then sent at
this level to the Effect block. Also, by setting the AEG
(Amplitude Envelope Generator), you can control how the
volume changes over time.
MOTIF XS Owner’s Manual
57
Basic Section
Conventional synthesizers are not good at realizing the
sound produced when the note of the acoustic instrument
is released. The MOTIF XS 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.”
LFO
Low Frequency
Oscillator
Basic Operation
Authentic note release sound
OSC
(Oscillator)
Connections
normally (with the XA Control parameter settings “normal”
and “legato”).
Basic Structure
Basic Structure
Basic Structure
Amplitude related parameters can be set in the Amplitude
display (pages 122 and 131), Amplitude EG display
(page 123) and Amplitude Scale display (page 124) of the
Voice Edit mode.
LFO (Low Frequency Oscillator)
As its name suggests, the LFO produces a wave of a low
frequency. These waves can be used to vary the pitch,
filter or amplitude of each Element to create effects such as
vibrato, wah and tremolo. LFO can be set independently
for each Element; it can also be set globally for all
Elements.
LFO related parameters can be set in the Common LFO
display (page 105) and the Element LFO display
(page 125) of the Voice Edit mode.
Memory structure of Voice
“Performance.” Each Performance can contain up to four
different Parts (Voices). Each Performance can be created
by editing parameters unique to each part and parameters
common to all the Parts.
Memory structure of Performance
Three User Banks are provided. Each Bank contains 128
Performances. Accordingly, a total of 384 User
Performances are provided. These 384 Performances are
preprogrammed by default and can be changed in the
Performance mode.
Tone Generator block in the Song
mode/Pattern mode
Basic Structure
Normal Voice
Basic Operation
Basic Section
Preset Banks 1 – 8
1024 Normal Voices
(128 Voices for each Bank)
GM Bank
128 Voices
User Banks 1 – 3
384 Normal Voices
(128 Voices for each Bank)
(Picked up from Preset Voices by default)
Drum Voice
Preset Drum Bank
32 Voices
1 Voice
User Drum Bank
64 Voices
(Picked up from Preset Voices by default)
Connections
GM Drum Bank
Part structure of the tone generator
block in the Song mode/Pattern mode
In these modes, multiple Parts are provided and different
Voices and different melodies or phrases can be played
back for each Part. Because these modes let you set the
MIDI channel for each part of the tone generator block, you
can use an external MIDI sequencer as well as the
sequencer block of the instrument to play the sounds. The
sequence data of each track plays the corresponding
Parts (those having the same MIDI channel assignment) in
the tone generator block.
About Mixing
Tone Generator block in the
Performance Mode
Part structure in the Performance mode
In this mode, the tone generator block receives MIDI data
over a single channel. This status is referred to as a “single
timbre” tone generator. This mode lets you play a
Performance (which multiple Voices (Parts) are
combined—in a layer, or in other configurations) using the
keyboard.
Keep in mind that song data on an external sequencer
consisting of multiple MIDI channels will not play back
properly in this mode. If you are using an external MIDI
sequencer or computer to play the instrument, make sure
to use the Song mode or Pattern mode.
A program in which multiple Voices are assigned to Parts
for multi-timbral play in the Song and Pattern modes is
referred to as a “Mixing.” Each Mixing can contain up to 16
parts. Each Mixing can be created by editing parameters
unique to each Part and parameters common to all the
Parts in the Mixing mode (page 233).
Memory structure of Mixing
A Mixing program is provided for each Song or Pattern.
Selecting a different Song/Pattern calls up the different
Mixing program.
Song mode
64 Mixing settings (one Mixing for each Song)
Pattern mode
64 Mixing settings (one Mixing for each Pattern)
Performance
A program in which multiple Voices (Parts) are combined in
a layer, or in other configurations is referred to as a
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MOTIF XS Owner’s Manual
Basic Structure
Maximum Polyphony
Maximum polyphony refers to the highest number of notes that can be sounded simultaneously from the internal tone
generator of the instrument. The maximum polyphony of this synthesizer is 128. When the inter nal tone generator block
receives a number of notes exceeding the maximum polyphony, previously played notes are cut off. Keep in mind this may be
especially noticeable with Voices not having decay. Furthermore, the maximum polyphony applies to the number of Voice
Elements used, not the number of Voices. When Normal Voices that include up to eight Elements are used, the maximum
number of simultaneous notes may be less than 128.
Sampling Block
This block handles the audio signal input from the A/D Input and the mLAN connector (MOTIF XS8, and MOTIF XS 6/7 with
the optional mLAN16E2 installed). Various parameters such as volume, pan, and effect can be set for the audio signal and
the sound is output together with other Voices. The Insertion Effect as well as the System Effects can be applied to the audio
signal input via the A/D INPUT connector.
The Audio Input related parameters can be set in the following display.
Display
Page
Voice mode
[F4] Voice Audio display in the Utility mode
265
Performance mode
[F4] Audio In display in the Performance Edit mode
147
Song/Pattern mode
[F4] Audio In display in the Mixing Edit mode
234
Connections
Mode
The gain of the audio signal from the A/D INPUT connector can be adjusted via the Gain knob (page 18) on the rear panel.
Sequencer Block
This block lets you create Songs and Patterns by recording and editing your performances as MIDI data (from the controller
block), then playing it back with the tone generator block.
Sequencer block in the Song mode
What is a Song?
A Song (page 33) is made by the MIDI sequence data
created by recording your keyboard performance to each
track. A Song on this synthesizer is effectively the same as
a Song on a MIDI sequencer, and playback automatically
stops at the end of the recorded data.
Song Track Structure
A Song consists of 16 separate tracks, a Scene track, and
a Tempo track.
Sequence tracks 1 – 16
Record your keyboard performance to these tracks using
Realtime recording (page 186) and edit the recorded data
in the Song Edit mode (page 192).
MOTIF XS Owner’s Manual
59
Basic Section
Audio Input block
Basic Operation
Basic Structure
The Sampling Block lets you bring your own recorded sounds—your voice, an instrument, rhythms, special sound effects,
etc.—into the system of this synthesizer, and play those sounds just like any other voices. These sounds, the audio data can
be captured from the A/D Input and mLAN connector (MOTIF XS8, or MOTIF XS 6/7 with the mLAN16E2 installed) with up to
16 bit and 44.1 kHz quality.
Keep in mind that the data created by the Sampling operation differs depending on the mode from which you entered the
Sampling mode: Voice/Performance or Song/Pattern. See pages 161 and 242 respectively.
Basic Structure
Scene track
This track lets you record Scene change settings, such as
the status of track mute and solo. These can be set in the
Song Play display (page 178) and recalled during Song
playback. During Song playback, the track mute and solo
settings change automatically according to the settings
you’ve recorded to the Scene track. You can record this
track with using Realtime recording (page 186) and edit
the recorded data in the Song Edit mode (page 192).
Tempo track
This track lets you record Tempo change settings. During
Song playback, the Tempo changes automatically
according to the settings you’ve recorded to this track. You
can record this track with using Realtime recording
(page 186) and edit the recorded data in the Song Edit
mode (page 192).
Pattern Chain allows you to string several different Sections
(within a single Pattern) together to make a single,
complete Song. You can have the MOTIF XS automatically
change Sections by creating a Pattern Chain beforehand,
recording Pattern playback with Section changes from the
Pattern Chain display. You can also use this feature when
creating Songs based on a certain Pattern, since the
created Pattern Chain can be converted into a Song in the
Pattern Chain Edit (page 215). One Pattern Chain can be
created for each Pattern.
Section A
Section B
Section C
Basic Structure
Phrase
Song Chain
This function allows Songs to be “chained” together for
automatic sequential playback. For instructions on using
this, see page 185.
Basic Operation
Basic Section
Song 01
Pattern Chain
Song 22
Song 15
This is the basic MIDI sequence data in a track—and the
smallest unit—used in creating a Pattern. “Phrase” is a
short musical/rhythmic passage for a single instrument,
such as a rhythm pattern for the rhythm part, a bass line for
the bass part, or a chord backing for the guitar part. This
synthesizer features memory space for 256 of your own
original User Phrases.
n The MOTIF XS provides no Preset Phrases.
Connections
Pattern Track Structure
Sequencer Block in the Pattern mode
A Pattern consists of 16 separate tracks, a Scene track,
and a Tempo track (just as in a Song). See page 59.
What is a Pattern?
In the MOTIF XS, the term “Pattern” refers to a relatively
short musical or rhythmic phrase—1 to 256 measures—
which is used for looped playback. Therefore, once Pattern
playback starts, it continues until you press the [J] (Stop)
button.
Section
Patterns are more than just a single phrase—they include
16 variations called “Sections.” These Sections can be
changed during playback and used as rhythmic/backing
variations for the various parts of a Song. For example, you
could use one Section for the verse, another for the chorus,
and a third for the bridge. The Pattern related settings such
as tempo and Mixing do not change even when the Section
is switched, keeping the overall playback consistent in feel
and rhythm through the changes.
For instructions on selecting a Pattern and Section, see
page 208.
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MOTIF XS Owner’s Manual
Pattern Tracks and Phrases
A Pattern consists of 16 tracks to which the Phrase can be
assigned. MIDI data cannot be directly recorded to each
track in the Pattern mode. Recording is done to an empty
user phrase. The newly created phrase is automatically
assigned to the recording track.
Track 1
Track 2
:
Track 16
Phrase 001
Phrase 002
:
Phrase 003
Phrase 001
Phrase 002
Phrase 003
:
MIDI data
MIDI data
MIDI data
:
Basic Structure
Tone Generator block
Sequence data
(Song, Pattern)
Mixing
Track 1
Part 1: Voice 1
Track 2
Part 2: Voice 2
Track 3
Part 3: Sample Voice
Track 16
Part 16: Voice 16
Recording
Audio
recording
Track 1
Changing the timing and
velocity of the notes
Track 2
Changing the timing and
velocity of the notes
:
:
Track 16
Changing the timing and
velocity of the notes
Tone
Generator
Block
Sequencer Block applied to the
Performance mode
Performance Recording
Output
Audio data
Sample Voice
Play Effect (Play FX)
Assigning
Sample Voice
Audio data is recorded to a Sample Voice which is to be assigned to a
Song/Pattern, and note on/off events for triggering the recorded audio
signal are recorded to Track 3.
You can record your keyboard performance in the
Performance mode to the Song or Pattern. You can record
knob operations, controller operations and Arpeggio
playback as well as your keyboard playing to the specified
track as MIDI events. (Knob operations that cannot be
recorded include sustain level, EQ settings, Arpeggio
related settings, and Pan/Reverb Send/Chorus Send of the
multi part control.) Arpeggio playback data for Parts 1 – 4
of the Performance will be recorded to the tracks 1 – 4 of
the Song/Pattern respectively. Your keyboard performance
and controller/knob operations (common to Parts 1 – 4) will
be recorded to tracks 1 – 4 separately.
n For instructions on recording a Performance, see page 140.
MIDI data
Audio data
MIDI data for triggering the Sample Voice
MOTIF XS Owner’s Manual
61
Basic Section
Sequencer block
Song/
Pattern
Basic Structure
Depending on the recording method, the Song/Pattern
tracks (1 – 16) of this synthesizer are divided into two
groups: MIDI tracks and Audio tracks.
MIDI tracks are created by recording your keyboard
performance in the Song Record mode/Pattern Record
mode. MIDI sequence data is recorded to the MIDI track
and the Normal Voice or Drum Voice is assigned to the
Mixing part corresponding to the track.
Audio tracks are created by recording audio signal from
the external equipment or microphone via the A/D Input
jack in the Sampling Record mode. Actually, audio data is
not recorded directly to a track but rather is sampled via
the Sampling operation. The recorded audio signal is
stored as a Sample Voice to a Song/Pattern. The stored
Sample Voice will automatically be assigned to the Mixing
Part corresponding to the specified track, and the MIDI
data for triggering the Sample Voice is recorded to the
specified track. During playback, the MIDI data of the track
triggers the Sample Voice. As a result, the track effectively
functions as an Audio recorded track.
The Play Effect lets you change the rhythmic “feel” of the
Pattern playback by changing the timing and velocity of
the notes temporarily and on playback only, leaving the
original data intact. This feature can be set in the Play FX
display of the Song Play mode and Pattern Play mode. See
pages 183 and 211 respectively. If you find a setting you
like, you can convert it to actual MIDI data by using the
Song Job (page 195) or Pattern Job (page 222).
Basic Operation
MIDI tracks and Audio tracks
Play Effect (Play FX)
Connections
Sequencer Block applied to both
the Song and Pattern
Basic Structure
Arpeggio Block
This block lets you automatically trigger musical and rhythmic phrases using the current Voice by simply pressing a note or
notes on the keyboard. The Arpeggio sequence also changes in response to the actual notes or chords you play, giving you
a wide variety of inspiring musical phrases and ideas—both in composing and performing.
Four Arpeggio types can be played back at the same time even in the Song mode and Pattern mode.
Arpeggio Category
Arpeggio Sub Category
The Arpeggio types are divided into 17 categories
(excepting “NoAsg”) as listed below.
The Arpeggio categories are divided into sub categories
as listed below. Because the sub categories are listed
based on the music genre, it is easy to find the sub
category appropriate for your desired music style.
Category List
ApKb
Acoustic Piano & Keyboard
Organ
Organ
Sub Category List
Basic Structure
GtPl
Guitar / Plucked
Rock
Rock
Z.Pad
Zone Velocity for Pad*
GtMG
Guitar for “Mega Voice”
R&B
R&B
Filtr
Filter
Bass
Bass
Elect
Electronic
Exprs
Expression
BaMG
Bass for “Mega Voice”
Jazz
Jazz
Pan
Pan
Strng
Strings
World
World
Mod
Modulation
Brass
Brass
Genrl
General
Pbend
Pitch Bend
RdPp
Reed / Pipe
Comb
Combination
Asign
Assign 1/2
Lead
Synth Lead
Zone
Zone Velocity*
NoAsg
No Assignment
Basic Operation
Basic Section
Connections
PdMe
Synth Pad / Musical Effect
CPrc
Chromatic Percussion
DrPc
Drum / Percussion
Seq
Synth Seq
Chord
Chord Seq
Hybrd
Hybrid Seq
Cntr
Control
NoAsg
No Assignment
n Categories named “GtMG” and “BaMG” include Arpeggio
types appropriate for using with a Mega Voice.
n Arpeggio types belonging to the Sub Categories marked with
an asterisk (*) contain some velocity ranges, to each of which
a different phrase is assigned. When a type of these
categories is selected in the Voice mode, it is a good idea to
set the Velocity Limit of each Element to the same range as
below.
Velocity ranges of each Arpeggio type
2Z_*****: 1 – 90, 91 – 127
4Z_*****: 1 – 70, 71 – 90, 91 – 110, 111 – 127
8Z_*****: 1 – 16, 17 – 32, 33 – 48, 49 – 64, 65 – 80, 81 – 96, 97
– 108, 109 – 127
PadL_*****: 1 – 1, 2 – 2, 3 – 127
PadH_*****: 1 – 112, 113 – 120, 121 – 127
Mega Voices and Mega Voice Arpeggios
Normal Voices use velocity switching to make the sound
quality and/or level of a Voice change according to how
strongly or softly you play the keyboard. This makes
these Voices respond naturally. However Mega Voices
have a very complex structure with many different layers
that is not suitable for playing manually. Mega Voices
were developed specifically to be played by Mega Voice
arpeggios to produce incredibly realistic results. You
should always use Mega Voices with Mega Voice
Arpeggios (included in “GtMG” and “BaMG” category).
See the Voice with ARP parameter on page 189 for more
details.
Arpeggio Type Name
The Arpeggio Types are named according to certain rules
and abbreviations. Once you understand these rules and
abbreviations, you’ll find it easy to browse through and
select the desired Arpeggio Types.
Arpeggio type with “_ES” at the end of the
type name (example: HipHop1_ES)
These Arpeggio types use the same multi track Arpeggio
architecture as the MOTIF ES. This ES type of arpeggio has
the following benefits:
• These arpeggios can create complex notes and chords
even when triggered by one note.
• The arpeggio closely follows the notes played on the
keyboard (but the area where the arpeggio is assigned)
allowing a good deal of harmonic freedom and the
possibility to “solo” using these arpeggios.
For details, see page 64.
62
MOTIF XS Owner’s Manual
Basic Structure
See page 64 for more details.
n Combining these two kinds of Arpeggios types (named
“***_ES” and “***_XS”) in performances when creating Songs
and Patterns allows tremendous interactivity and creative
freedom.
Arpeggio type with a normal name (example:
UpOct1)
In addition to the above types, there are three playback
types: the Arpeggios created for use of Normal Voices and
played back using only the played notes and their octave
notes (page 64), the Arpeggios created for use of Drum
Voices (page 65), and Arpeggios containing mainly nonnote events (page 65).
7 Original Tempo
Indicates the appropriate tempo value of the Arpeggio
type. Note that this tempo is not set automatically when
selecting an Arpeggio type.
8 Accent
The circle indicates that the Arpeggio uses the Accent
Phrase feature (page 64).
9 Random SFX
The circle indicates that the Arpeggio uses the SFX feature
(page 64).
) Voice Type
Indicates the voice type appropriate for the Arpeggio Type.
When the Voice With Arpeggio parameter*2 is set to “on” in
the Song/Pattern Record mode, the voice of this type is
automatically selected.
*1 The Loop parameter can be set in the Arpeggio Other display
of Voice Common Edit (page 102), Performance Part Edit
(page 156) and Mixing Part Edit (page 235).
*2 The Voice with Arpeggio parameter can be set in the Arpeggio
display (page 189) of the Song/Pattern Record display.
How to use the Arpeggio Type List
The Arpeggio Type list in the Data List 2 (PDF)
documentation contains the following columns.
1
2 3
Main
Sub
ARP
Category Category No.
4
ARP Name
5
6
7 8
9
Time
Original
Random
Signature Length Tempo Accent
SFX
)
There are several methods for triggering and stopping the
Arpeggio playback. In addition, you can set whether or not
SFX sounds and special Accent Phrases are triggered
along with the normal sequence data. This section covers
the Arpeggio related parameters which can be set in the
Voice, Performance and Mixing modes.
Connections
Arpeggio related settings
Voice Type
ApKb
Rock
1
70sRockB
4/4
2
130
Accoustic Piano
ApKb
Rock
2
70sRockC
4/4
1
130
:
ApKb
Rock
3
70sRockD
4/4
2
130
ApKb
Rock
4
70sRockE
4/4
4
130
ApKb
Rock
5
70sRockF
4/4
2
130
ApKb
Rock
6
70sRockG
4/4
1
130
ApKb
Rock
7
70sRockH
4/4
1
130
n Note that this list is for illustration purposes only. For a
complete listing of the Arpeggio Types, refer to the Data List 2.
1 Category
Indicates an Arpeggio Category.
2 Sub Category
Indicates an Arpeggio Sub Category.
3 ARP No. (Arpeggio Number)
Turning Arpeggio playback on/off
The following three settings are available for turning the
Arpeggio playback on/off.
To play the Arpeggio only when
the note is pressed:
Set the Hold parameter to “off”
and the Trigger mode to “gate.”
To continue the Arpeggio even if
the note is released:
Set the Hold parameter to “on.”
To toggle the Arpeggio playback
on/off whenever the note is
pressed:
Set the Trigger mode to “toggle.”
The Hold parameter can be set to
either “on” or “off.”
n For the displays including the Hold and Trigger mode
parameter, refer to “Arpeggio setting display” below.
4 ARP Name
Indicates the Arpeggio Name.
5 Time Signature
Indicates the time signature or meter of the Arpeggio type.
MOTIF XS Owner’s Manual
63
Basic Section
• The arpeggio will always play harmonically correct parts.
These are especially useful for bass and chordal
backing parts.
Indicates the data length (amount of measures) of the
Arpeggio type. When the Loop parameter*1 is set to “off,”
the Arpeggio plays back for this length and stops.
Basic Structure
These Arpeggios use a newly developed chord recognition
technology to determine what notes should be played
back by the Arpeggio. This XS type of arpeggio has the
following benefits:
• The arpeggios respond only to any area on the keyboard
where an XS type of arpeggio is assigned. Other areas of
the keyboard do not effect the chord recognition. This
allows very natural keyboard playing across the entire
keyboard with arpeggio generated bass and backing
parts.
6 Length
Basic Operation
Arpeggio type with “_XS” at the end of the
type name (example: Rock1_XS)
Basic Structure
Using the knobs to control Arpeggios
When the ARP FX lamp is turned on by pressing the
[SELECTED PART CONTROL] button a few times, you can
use the knobs to control Arpeggio playback. Try this out
and listen for the changes in the sound. For details, see
page 90.
Press this button a few times
so that the lamp lights.
TONE 1
SELECTED PART
CONTROL
TONE 2
ARP FX
CUTOFF
Mode
Voice mode
RESONANCE
AT TACK
EQ LOW
EQ MID F
EQ
SWING
QUANTIZE
VALUE
QUANTIZE
STRENGTH
MID
DECAY
SUSTAIN
RELEASE
ASSIGN 1
ASSIGN 2
EQ MID Q
EQ HIGH
PAN
REVERB
CHORUS
GATE TIME
VELOCITY
OCT RANGE
UNITMULTIPLY
TEMPO
Display
Page
Arpeggio Main display of Voice
Common Edit
101
Arpeggio Other display of Voice
Common Edit
102
Arpeggio Main display of
Performance Part Edit
154
Arpeggio Other display of
Performance Part Edit
156
Arpeggio Main display of Mixing
Part Edit
235
Arpeggio Other display of Mixing
Part Edit
235
Song Record mode
Arpeggio display of Song
Record
189
Pattern Record mode
Arpeggio display of Pattern
Record
Performance mode
Arpeggio functions
controlled via the knobs
REVERB
MULTI PART
CONTROL
Arpeggio setting displays
Song mode/Pattern
mode (for playback)
CHORUS
PAN
Accent Phrase
Basic Structure
Basic Operation
Basic Section
Accent Phrases are composed of sequence data included
in some Arpeggio types, sounding only when you play
notes at a velocity higher (stronger) than that specified in
the Accent Velocity Threshold parameter. If it is hard to play
at velocities necessary to trigger the Accent Phrase, set
the Accent Velocity Threshold parameter to a lower value.
n For the displays including the Accent Velocity Threshold
parameter, refer to “Arpeggio setting display” below.
n For information on Arpeggio types that use this function, refer
to the Arpeggio Type List in the Data List 2 (PDF)
documentation, available from the online Yamaha Manual
Library.
Arpeggio playback types
The Arpeggio playback features four main playback types
as described below.
Arpeggio Types for Normal Voices
Arpeggio types (belonging to the categories except for the
DrPC and Cntr) created for use of Normal Voices have the
following three playback types.
Connections
Playback only of the played notes
Random SFX
The Arpeggio is played back using only the played note
and its octave notes.
Some Arpeggio types feature a Random SFX function
which will trigger special sounds (such as guitar fret
noises) when the note is released. The following
parameters affecting Random SFX are provided.
For turning the Random SFX on/
off:
Random SFX parameter
For setting the volume of the SFX
sound:
Random SFX Velocity Offset
parameter
For determining whether or not
the volume of the SFX sound is
controlled by velocity:
Random SFX Key On Control
parameter
n For the displays that include Random SFX, Random SFX
Velocity Offset and Random SFX Key On Control, refer to
“Arpeggio setting display” below.
n For information on Arpeggio types that use this function, refer
to the Arpeggio Type List in the Data List 2 (PDF)
documentation, available from the online Yamaha Manual
Library.
Playback of a programmed sequence
according to the played notes
These Arpeggio types have the several sequences each of
which is suited for a certain chord type. Even if you press
only one note, the Arpeggio is played back using the
programmed sequence—meaning that notes other than
the ones you play may be sounded. Pressing another note
triggers the transposed sequence regarding the pressed
note as a root note. Adding notes to those already held
changes the sequence accordingly. An Arpeggio with such
a playback type has “_ES” at the end of the type name.
Playback of a programmed sequence
according to the played chord type
These Arpeggio types created for use with Normal Voices
are played back to match the chord type determined by
detecting the notes you play on the keyboard. An Arpeggio
with such a playback type has “_XS” at the end of the type
name.
n When the Key Mode parameter is set to “sort” or “sort+direct,”
the same sequence is played back no matter what order you
play the notes. When the Key Mode parameter is set to “thru”
64
MOTIF XS Owner’s Manual
Basic Structure
or “thru+direct,” a different sequence is played back
depending on the order you play the notes.
n Since these types are programmed for Normal Voices, using
them with Drum Voices may not give musically appropriate
results.
Tips for Arpeggio playback
Arpeggio playback in the Voice Play mode
Try out the Arpeggio playback assigned to the preset Voice.
In the Voice Play mode, make sure that the
[ARPEGGIO ON/OFF] button is lit, then play
any note to trigger Arpeggio playback.
2
Try playing different notes and chords on the
keyboard and listen to the Arpeggio play.
Playback of a drum pattern, plus additional
played notes (assigned drum instruments)
3
Pressing any note will trigger the same rhythm pattern.
Adding notes to the one already held produces additional
sounds (assigned drum instruments) for the drum pattern.
n If the 8th note icon is not shown at the right of ARP1 –
ARP5 (meaning that Arpeggio Type is set to off in the
corresponding display), the Arpeggio Type does not
change even if you press the corresponding [SF1] ARP1 –
[SF5] ARP5 button.
Playback only of the played notes (assigned
drum instruments)
Playing a note or notes will trigger a rhythm pattern using
only the notes played (assigned drum instruments). Keep
in mind that even if you play the same notes, the triggered
rhythm pattern differs depending on the order of the notes
played. This gives you access to different rhythm patterns
using the same instruments simply by changing the order
in which you play the notes when the Key Mode parameter
is set to “thru” or “thru+direct.”
n The three playback types above are not distinguished by
category name or type name. You’ll have to actually play the
types and hear the difference.
4
Use the knobs to control Arpeggio playback
after pressing the [SELECTED PART
CONTROL] button a few times (the ARP FX
lamp lights).
Now that you’ve listened to the Arpeggio Types assigned to
the preset Voice, go on and try out some of the other
Arpeggio Types available.
5
n Since these types are programmed for Drum Voices, using
them with Normal Voices may not give musically appropriate
results.
During Arpeggio playback, press the [F4]
button to call up the Arpeggio display, then
select an Arpeggio type.
For best results, you should select a Category and Sub
Category containing Arpeggio Types that most closely
match the currently selected Voice. Once you find an
Arpeggio Type that fits, keep it in the display settings
and store the Voice (below).
Arpeggio Types containing mainly nonnote events (Category: Cntr)
These arpeggio types are programmed primarily with
Control Change and Pitch Bend data. They are used to
change the tone or pitch of the sound, rather than play
specific notes. In fact, some types contain no note data at
all. When using a type of this category, set the Key Mode
parameter to “direct,” “thru+direct,” or “sort+direct.”
Try out various Arpeggio types by pressing the
[SF1] – [SF5] buttons.
6
Store the Arpeggio settings as a User Voice.
For detailed instructions on storing a Voice, see
page 97.
n The Key Mode parameter can be set in the Arpeggio Main
display of Voice Common Edit (page 101), Performance Part
Edit (page 154) and Mixing Part Edit (page 235).
MOTIF XS Owner’s Manual
65
Basic Section
Pressing any note(s) will trigger the same rhythm pattern.
Basic Structure
Arpeggio playback responds in different ways,
depending on the order of the notes you play and, of
course, the selected Arpeggio Type. Also, try hitting the
notes strongly and listen for the Accent Phrase feature.
Playback of a drum pattern
Basic Operation
These arpeggio types are programmed specifically for use
with Drum Voices, giving you instant access to various
rhythm patterns. Three different playback types are
available.
1
Connections
Arpeggio Types for Drum Voices
(Category: DrPc)
Basic Structure
When the Arpeggio With Voice Switch parameter is set
to “on,” the Voice appropriate for this Arpeggio type is
automatically selected.
Arpeggio playback/recording in the
Performance mode
Call up some of the Performances in User Banks 1 – 3, and
play some of the Arpeggios assigned by default to the
Performances. In the Performance mode, each of four
Arpeggio types is assigned to each of four Parts. This
means up to four Arpeggio types can be played back
simultaneously. Let’s play the Performance making full use
of this function.
2
1
3
Make sure that the [ARPEGGIO ON/OFF]
button is lit, then play any note to trigger
Arpeggio playback.
Record different Arpeggios to other tracks by repeating
steps 1 – 2. It is a good idea to assign a name to the
created Phrase in the Pattern Patch display (page 212) for
future recall.
Basic Structure
During Arpeggio playback, press the [F4]
button to call up the Arpeggio display then
select an Arpeggio type for each Part.
Basic Operation
Basic Section
For best results, you should select a Category and Sub
Category containing Arpeggio Types that most closely
match the Voice for the Part. Once you find an
Arpeggio Type that fits, keep it in the display settings
and store the Performance (below).
6
4
Connections
You can record your keyboard performance to a Song/
Pattern in the Performance Record mode. Keep in mind
that any Arpeggio playback you trigger in the Performance
mode can be recorded to the Song or Pattern as well. For
details about the Performance recording, see page 140.
Pattern Chain allows you to string several different
Patterns together to make a single Song. For details,
see page 213.
5
Convert the Pattern Chain data to Song data.
For details, see page 215.
Creating an original Arpeggio type
In addition using the preset Arpeggios, you can also create
your own original Arpeggio data. The procedure is as
follows.
1
n The Arpeggio playback data is recorded to the Song or
Pattern track as MIDI sequence data. Note that pressing the
note only triggers the Arpeggio playback. The Song or Pattern
data will not trigger the Arpeggio playback.
Arpeggios are also useful for creating Phrases, which can
be used as the basic building blocks in making a Pattern.
Create User Phrases as desired then assign them to the
desired track in the Patch display (page 212).
This section shows how to record a Arpeggio playback to a
Pattern track.
Select an Arpeggio type in the Arpeggio
display (page 219) of the Pattern Record mode.
MOTIF XS Owner’s Manual
Record the MIDI sequence data to a Song or
Pattern.
Up to four tracks can be used in creating an Arpeggio.
Up to 16 unique note numbers can be recorded to the
Arpeggio track. If more than 16 different note numbers
have been recorded to the MIDI sequence data, the
Convert operation automatically reduces the notes in
excess of the limit. Because of this, be careful to record
only up to 16 different notes when you create an
Arpeggio.
Arpeggio playback/recording in the
Pattern mode
66
Create the Pattern Chain data by programming
the playback order of the Sections.
Store the Arpeggio settings as a User
Performance.
For detailed instructions on storing a Performance, see
page 142.
1
Create Pattern data by assigning the created
Phrases to the Section in the Pattern Patch
display (page 212).
For example, create a Section A for the intro, a Section
B for the verse, a Section C for the chorus, and a
Section D for the ending—and you have the basic
blocks to build an original Song.
Steps 2 – 4 are same as in “Arpeggio playback in the Voice
mode” above. Once you’ve tried out the Arpeggio Types
assigned to the Performance, go on and try some of the
other Arpeggio Types available.
5
Record playback of the selected Arpeggio to
the Pattern track.
2
Convert the recorded MIDI sequence data to
Arpeggio data.
Use the “Put Track to Arpeggio” Job in the Song Job
mode (page 206) or the Pattern Job mode (page 227).
After setting the related parameters, press the [ENTER]
button to execute the Job.
The created Arpeggio types can be selected from the
User bank in the Arpeggio display.
Basic Structure
Controller Block
This block consists of the keyboard, Pitch Bend and Modulation Wheels, Ribbon Controller, Knobs, Sliders and so on. The
keyboard itself doesn’t generate sounds, but instead generates/transmits note on/off, velocity and other information (MIDI
messages) to the synthesizer’s tone generator block when you play notes. The controllers also generate/transmit MIDI
messages. The synthesizer’s tone generator block produces the sound according to the MIDI messages transmitted from
the keyboard and controllers.
Pitch Bend wheel
Ribbon Controller
Use the Pitch Bend wheel to bend notes up (roll the wheel
away from you) or down (roll the wheel toward you) while
playing the keyboard. This wheel is self-centering and will
automatically return to normal pitch when released. Try out
the Pitch Bend wheel while pressing a note on the
keyboard.
Each preset Voice has its own default Pitch Bend Range
setting. The Pitch Bend Range setting for each Voice can
be changed in the Play Mode display (page 98) of the
Voice Edit mode. From this display you can also reverse
the Pitch Bend function—so that moving the wheel up
lowers the pitch, and moving it down raises the pitch.
Functions other than Pitch Bend can be assigned to the
Pitch Bend wheel in the Controller Set display (page 104)
of the Voice Edit mode.
The Ribbon Controller is touch sensitive, and is controlled
by running your finger laterally across the surface. Various
functions are assigned to each preset Voice. Try out the
Ribbon Controller with various preset Voices while playing
the keyboard. Various functions can be assigned to the
Ribbon Controller in the Controller Set display (page 104)
of the Voice Edit mode. You can also determine whether
the Ribbon Controller value returns to the center, or stays at
the point where you released your finger in the General
Other display (page 100) of the Voice Common Edit mode.
Pitch Up
Assignable Function Buttons
Pitch Down
Modulation wheel
Even though the Modulation wheel is conventionally used
to apply vibrato to the sound, many of the preset Voices
have other functions and effects assigned to the wheel.
The more you move this wheel up, the greater the effect
that is applied to the sound. Try out the Modulation wheel
with various preset Voices while playing the keyboard. To
avoid accidentally applying effects to the current Voice,
According to the XA (Expanded Articulation) Control
settings in the Oscillator display (page 112) of the Voice
Element Edit mode, you can call up the specific Element of
the current Voice by pressing each of these buttons during
your keyboard performance. You can select how the on/off
status of these buttons is switched by using the Assignable
Function 1 Mode and Assignable Function 2 Mode
parameters in the General Other display (page 100) of the
Voice Common Edit mode. Furthermore, you can assign
various functions (other than calling up specific Elements)
to these buttons.
MOTIF XS Owner’s Manual
67
Basic Section
Minimum
Basic Structure
Maximum
Basic Operation
The keyboard transmits the note on/off messages to the
Tone Generator Block (for sounding) and Sequencer Block
(for recording). The keyboard is also used for triggering
Arpeggio playback. You can change the note range of the
keyboard in octaves by using the OCTAVE [UP] and
[DOWN] buttons, transpose the notes in the Play display
(page 259) of the Utility mode, and set how the actual
velocity is generated according to the strength with which
you play notes in the same display.
make sure the Modulation wheel is set to minimum before
you start playing. Various functions can be assigned to the
Modulation wheel in the Controller Set display (page 104)
of the Voice Edit mode.
Connections
Keyboard
Basic Structure
Knobs and Sliders
These eight knobs let you change various aspects of the
Voice’s sound in real time—while you play. The eight sliders
let you adjust the volume of the Voice Elements,
Performance Parts and Mixing Parts.
For more information about how to use the knobs and
sliders in the respective modes, see page 90 (Voice
mode), page 136 (Performance mode), and page 180
(Song/Pattern mode).
Effect Block
This block applies effects to the output of the tone generator block, and audio input block, processing and enhancing the
sound. Effects are applied in the final stages of editing, letting you change the sound of the created Voice as desired.
Effect structure
Basic Structure
System Effects—Reverb and Chorus
Basic Operation
Basic Section
System Effects are applied to the overall sound—a Voice,
an entire Performance, a Song, etc. With System Effects,
the sound of each Part is sent to the effect according to the
effect Send Level for each Part. The processed sound
(referred to as “wet”) is sent back to the mixer, according to
the Return Level, and output—after being mixed with the
unprocessed “dry” sound. This arrangement lets you
prepare an optimum balance of the effect sound and the
original sound of the Parts.
This block applies effects to the final stereo output signal of
the entire sound.
Element EQ
The Element EQ is applied to each element of the Normal
Voice and each key of the Drum Voice. You can specify
which shape is used among six types, such as shelving
and peaking.
Connections
Part EQ
Insertion Effect
Insertion Effects can be applied individually to each Part.
Insertion Effects are mainly used to directly process a
single Part. The depth of the effect is adjusted by setting
the dry/wet balance. Since an Insertion Effect can only be
applied to one particular Part, it should be used for sounds
you want to drastically change or for sounds that use an
effect unintended for other sounds. You can also set the
balance so that only the effect sound is heard, by setting
Wet to 100%. This synthesizer features eight sets of
Insertion Effects (one set has A and B units). They can be
applied to all Parts of the Performance, and applied to
eight Parts (maximum) of the Song/Pattern. Another
important Insertion Effect is the Vocoder, which can be
applied only to one Part.
n In the Voice mode, the Vocoder Effect can be applied to each
of the Voices. In the Mixing (Song/Pattern) and Performance
mode, the Vocoder Effect can be applied only to Part 1. The
Vocoder Effect does not work even if you assign the Voice (to
which the Vocoder is applied in the Voice mode) to the other
parts (Part 2 or higher).
68
Master Effect
MOTIF XS Owner’s Manual
This 3-band parametric EQ is applied to each part of the
Performance/Song Mixing/Pattern Mixing. The high band
and low band are the shelving type. The middle band is the
peaking type.
Master EQ
Master EQ is applied to the final (post-effect), overall sound
of the instrument. In this EQ, all five bands can be set to
peaking, or the lowest and highest bands can also be set
to shelving.
Basic Structure
Effect connection in each mode
In the Voice mode
1 Voice
2
Element or Drum Key
Element EQ
3
4
Insertion A
5
6
Master Effect
Master EQ
Insertion B
Return Level
Element 1 – 8
Drum Key C0 – C6
AD Part (set in the Utility mode)
Reverb
Chorus To
Reverb
Send Level
4 Determines the Send Level/Return Level to/
from the Reverb/Chorus and the signal level
sent from the Chorus to the Reverb.
2 Determines which Insertion Effect, A or B, is
applied to each Element (or to each key when a
Drum Voice is selected).
This block also selects the Effect Types of Reverb and
Chorus respectively and sets the related parameters.
These can be set in the Connect display (page 107)
and the Reverb display/Chorus display (page 109) of
Voice Common Edit.
The Insertion Effect can also be bypassed. This can be
set in the Connect display (page 107) of the Voice
Common Edit or the Oscillator display (page 112) of the
Voice Element Edit (or Key Edit).
5 Selects the Master Effect type and sets the
Effect parameters in the Master Effect display
(page 264) of the Utility mode.
n These two display types are linked and feature the same
settings, only in different formats.
3 Determines the Insertion A/B connection from
the following four types: parallel, A F B, B F A,
and Vocoder.
6 Sets the Master EQ parameters in the Master
EQ display (page 264) of the Utility mode.
This block also selects the Effect Types of Insertion A
and B respectively and sets the related parameters.
In the Performance mode
1
3
Performance
Part
Part EQ
2
Voice
Insertion A/B
Part 1 – 4
AD Part
Send
Level
Master Effect
4
Master EQ
Return
Level
Reverb
Chorus To
Reverb
Chorus
MOTIF XS Owner’s Manual
69
Basic Section
The Element EQ parameters can be set in the EQ
display (pages 126 and 132) of the Voice Edit mode.
Basic Operation
These can be set in the Connect display (page 107)
and the Insertion A/B display (page 109) of Voice
Common Edit.
Connections
1 Sets the Element EQ parameters applied to
each Element (for a Normal Voice) and each
key (for a Drum Voice).
Basic Structure
Chorus
Basic Structure
1 Sets the Part EQ parameters applied to each
part in the EQ display (page 144) of
Performance Part Edit.
3 Selects the Master Effect type and sets the
Effect parameters in the Master Effect display
(page 146) of Performance Common Edit.
2 Determines the Send Level/Return Level to/
from the Reverb/Chorus and the signal level
sent from the Chorus to the Reverb.
4 Sets the Master EQ parameters in the Master
EQ display (page 146) of Performance
Common Edit.
This block also selects the Effect Types of Reverb and
Chorus respectively and sets the related parameters.
These can be set in the Connect display (page 149)
and the Reverb display/Chorus display (page 150) of
Performance Common Edit.
n The Effect settings of 1 – 3 in the Voice mode illustrated on
page 69 are available also in the Performance mode.
Mixing mode
1
Basic Structure
Part
Part EQ
Mixing
3
Voice
Insertion A/B
Part 1 – 16
AD Part
Send
Level
5
Master Effect
Master EQ
Return
Level
Reverb
2
Basic Operation
Basic Section
Chorus To
Reverb
Chorus
Connections
1 Sets the Part EQ parameters applied to each
part in the EQ display (page 236) of Mixing Part
Edit.
2 Selects the eight Parts to which the Insertion
Effect is applied from Parts 1 – 16 and the AD
Part.
This can be set in the Insertion Effect Switch display
(page 234) of the Mixing Edit.
3 Determines the Send Level/Return Level to/
from the Reverb/Chorus and the signal level
sent from the Chorus to the Reverb.
This block also selects the Effect Types of Reverb and
Chorus respectively and sets the related parameters.
These can be set in the Connect display (page 234)
and the Reverb display/Chorus display (page 235) of
Mixing Common Edit.
4 Selects the Master Effect type and sets the
Effect parameters in the Master Effect display
(page 234) of Mixing Common Edit.
5 Sets the Master EQ parameters in the Master
EQ display (page 234) of Mixing Common Edit.
n The Effect settings of 1 – 3 in the Voice mode illustrated on
page 69 are available for up to eight parts for which the
Insertion Effect is turned on.
70
4
MOTIF XS Owner’s Manual
Effect Category and Type
This section explains the Effect categories and their types.
The Effect Type list described below for each category
contains the columns: Rev (Reverb), Cho (Chorus), Ins
(Insertion) and Mas (Master Effect). The checkmarks
indicated in these columns means the Effect Type is
available for each block. These Effect types (with the
checkmarks indicated in each list) can be selected from
the panel controls.
Reverb
Also called “reverberation,” this refers to the sound energy
remaining in a room or closed space after the original
sound stops. Similar to yet different from echo, reverb is the
indirect, diffuse sound of reflections from the walls and
ceiling that accompany the direct sound. The
characteristics of this indirect sound depends on the size
of the room or space and the materials and furnishings in
the room. Reverb Effect types use digital signal processing
to simulate these characteristics.
Effect Type
Rev
Cho
Ins
Description
REV-X HALL
✔
–
–
Reverb emulating the
acoustics of a concert hall
using the REV-X technology.
R3 HALL
✔
–
–
Reverb emulating the
acoustics of a concert hall
using the algorithm derived
from the Yamaha ProR3.
Basic Structure
✔
Reverb emulating the
acoustics of a concert hall
derived from the Yamaha
SPX1000.
REV-X ROOM
✔
–
–
Reverb emulating the
acoustics of a room using
the REV-X technology.
R3 ROOM
✔
–
–
Description
Reverb emulating the
acoustics of a room using
the algorithm derived from
the Yamaha ProR3.
SPX ROOM
✔
✔
✔
Reverb emulating the
acoustics of a room derived
from the Yamaha SPX1000.
R3 PLATE
✔
–
–
Reverb emulating a metal
plate using the algorithm
derived from the Yamaha
ProR3.
SPX STAGE
✔
✔
✔
Reverb appropriate for a
solo instrument derived from
the Yamaha SPX1000.
SPACE
SIMULATOR
✔
–
–
Reverb which lets you set
the space size by specifying
the width, height, and depth.
Effect Type
ENSEMBLE
DETUNE
Cho
Ins
✔
✔
Description
Chorus effect without modulation,
created by adding a slightly pitchshifted sound.
Flanger
This effect creates a swirling, metallic sound.
Effect Type
Cho
Ins
VCM FLANGER
✔
✔
Flanger with VCM technology
producing a vintage sound.
Description
CLASSIC
FLANGER
✔
✔
Conventional type of flanger.
TEMPO
FLANGER
✔
✔
Tempo-synchronized flanger.
DYNAMIC
FLANGER
–
✔
Dynamically controlled flanger.
Phaser
Cyclically modulates the phase to add modulation to the
sound.
Cho
Ins
Description
Delay
VCM PHASER
MONO
Effect Type
✔
✔
Mono phaser with VCM technology
producing a vintage sound.
An effect (or device) that delays an audio signal.
VCM PHASER
STEREO
✔
✔
Stereo phaser with VCM technology
producing a vintage sound.
TEMPO
PHASER
✔
✔
Tempo-synchronized phaser.
DYNAMIC
PHASER
–
✔
Dynamically controlled phase
shifter
Effect Type
Rev
Ins
Mas
Description
CROSS DELAY
✔
✔
–
The feedback of the two
delayed sounds is crossed.
TEMPO CROSS
DELAY
✔
✔
–
Cross delay synchronized
with the tempo of Song/
Pattern/Arpeggio.
TEMPO DELAY
MONO
✔
✔
–
Mono delay synchronized
with the tempo of Song/
Pattern/Arpeggio.
TEMPO DELAY
STEREO
✔
✔
–
Stereo delay synchronized
with the tempo of Song/
Pattern/Arpeggio.
CONTROL
DELAY
–
✔
–
Delay with delay time
controllable in real time.
Ins
Description
AUTO PAN
✔
DELAY LR
✔
✔
–
Produces two delayed
sounds: L and R.
An effect which cyclically moves the sound
left/right and front/back.
TREMOLO
✔
✔
✔
–
An effect which cyclically modulates the
volume.
✔
Simulation of a rotary speaker
✔
✔
✔
ROTARY
SPEAKER
DELAY LCR
DELAY LR
(Stereo)
Produces three delayed
sounds: L, R and C (center).
Produces two delayed
sounds in stereo: L and R.
Tremolo & Rotary
The tremolo effect cyclically modulates the volume.
The Rotary Speaker effect simulates the characteristic
vibrato effect of a rotary speaker.
Effect Type
Distortion
Chorus
Depending on the particular chorus type and parameters,
this can make a voice sound “larger,” as if several identical
instruments were playing in unison, or it can give a voice
greater warmth and depth.
Effect Type
Cho
Ins
✔
✔
A Chorus Effect that produces a
richer and more complex
modulation than normal chorus.
2 MODULATOR
✔
✔
A Chorus Effect consisting of the
pitch modulation and the amplitude
modulation.
SPX CHORUS
✔
✔
An effect which uses a 3-phase
LFO to add modulation and
spaciousness to the sound.
SYMPHONIC
✔
✔
A multi-stage version of SPX
CHORUS modulation.
G CHORUS
Description
This type can be used mainly for guitar, adding distortion
with an edge to the sound.
Effect Type
Ins
Mas
Description
AMP
SIMULATOR 1
✔
–
A simulation of a guitar amp.
AMP
SIMULATOR 2
✔
–
A simulation of a guitar amp.
COMP
DISTORTION
✔
–
Since a Compressor is included in
the first stage, steady distortion can
be produced regardless of
changes in input level.
COMP
DISTORTION
DELAY
✔
✔
Compressor, Distortion and Delay
are connected in series.
MOTIF XS Owner’s Manual
71
Basic Section
Ins
✔
Basic Structure
Cho
✔
Basic Operation
Effect Type
Connections
Rev
SPX HALL
Basic Structure
Compressor
Effect Type
Compressor is an effect commonly used to limit and
compress the dynamics (softness/loudness) of an audio
signal. For signals that vary widely in dynamics, such as
vocals and guitar parts, it “squeezes” the dynamic range,
effectively making soft sounds louder and loud sounds
softer. When used with gain to boost the overall level, this
creates a more powerful, more consistently high-level
sound. Compression can be used to increase sustain for
electric guitar, smooth out the volume of a vocal, or bring a
drum kit or rhythm pattern further up-front in the mix.
Effect Type
Ins
Mas
Description
VCM
COMPRESSOR
376
✔
✔
Compressor with VCM technology.
CLASSIC
COMPRESSOR
✔
–
Conventional type of compressor.
MULTI BAND
COMP
✔
✔
3-band type compressor.
Mas
✔
✔
Dynamically controlled filter
AUTO SYNTH
✔
–
Processes the input signal into a
synthesizer-type sound.
ISOLATOR
✔
✔
Controls the level of a specified
frequency band of the input signal.
SLICE
✔
✔
Slices the AEG of the Voice sound.
TECH
MODULATION
✔
–
Adds a unique feeling of
modulation similar to ring
modulation.
The Vocoder effect does not belong to any category.
When you want to use this effect, set the INSERTION
CONNECT parameter in the Effect Connect display
(page 109) to “ins L.”
Effect Type
Basic Structure
Ins
Description
✔
This effect extracts characteristics from the
microphone sound and applies it to the
Voice played from the keyboard. This
creates a distinctive, “robot voice” effect
which is generated when you play the
keyboard and sing or speak into the
microphone at the same time.
Wah
Basic Operation
Basic Section
This Effect cyclically modulates the tone brightness (cutoff
frequency of a filter). Auto Wah modulates the tone via
LFO, Touch Wah modulates the tone via volume (note on
velocity) and Pedal Wah modulates the tone the pedal
control.
Ins
✔
Modulates the tone via the LFO.
VCM TOUCH WAH
✔
Modulates the tone via the volume
(note on velocity).
VCM PEDAL WAH
✔
Modulates the tone via the pedal
control. For best results, assign the
Pedal Control parameter of this
Effect type to the Foot Controller in
the Controller Set display, then use
the Foot Controller to control this
effect in real time.
Connections
Effect Type
VCM AUTO WAH
Description
This Effect intentionally degrades the audio quality of the
input signal via several methods such as lowering the
sampling frequency.
Ins
Mas
LO-FI
Effect Type
✔
✔
Degrades the audio quality of the
input signal to get a lo-fi sound.
NOISY
✔
–
Adds the noise to the current
sound.
DIGITAL
TURNTABLE
✔
–
Simulates the noise of an analog
record.
Misc
This category includes the other effect types.
Effect Type
Cho
Ins
Description
VCM EQ 501
–
✔
Vintage 5-band parametric EQ with
VCM technology.
PITCH
CHANGE
–
✔
Changes the pitch of the input
signal.
EARLY
REFLECTION
✔
✔
This effect isolates only the early
reflection components of the
reverb.
HARMONIC
ENHANCER
–
✔
Adds new harmonics to the input
signal to make the sound stand out.
TALKING
MODULATOR
–
✔
Adds a vowel sound to the input
signal.
DAMPER
RESONANCE
–
✔
Simulates the resonance produced
when the damper pedal of the
piano is pressed.
Description
Tech
This Effect changes the tonal characteristics radically by
using a filter and modulation.
Effect Type
Ins
Mas
Description
RING
MODULATOR
✔
✔
An effect that modifies the pitch by
applying amplitude modulation to
the frequency of the input.
DYNAMIC RING
MODULATOR
✔
–
Dynamically controlled Ring
Modulator
MOTIF XS Owner’s Manual
Description
Vocoder
VOCODER
Lo-Fi
72
Ins
DYNAMIC
FILTER
VCM (Virtual Circuitry Modeling)
VCM is a technology that authentically models the
elements in analog circuitry (such as resistors and
capacitors). Effect types using the VCM technology
produce the uniquely warm characteristics of vintage
processing gear.
VCM Compressor 376
This effect emulates the characteristics of analog
compressors, used as standard effects in recording
studios. It frames and thickens the sound, and is suitable
for drum and bass sounds.
Basic Structure
VCM Equalizer 501
Preset settings can be selected here.
This effect emulates the characteristics of analog
equalizers used in the 1970s, recreating a warm, highquality flanger effect.
VCM Flanger
These effects emulate the characteristics of analog flanger
used in the 1970s, recreating a warm, high-quality flanger
effect.
VCM Phaser Mono, VCM Phaser Stereo
This effect emulates the characteristics of analog phasers
used in the 1970s, recreating a warm, high-quality phaser
effect.
REV-X
REV-X is a reverb algorithm developed by Yamaha. It
provides a high-density, richly reverberant sound quality,
with smooth attenuation, spread and depth that work
together to enhance the original sound.
The MOTIF XS features two types of REV-X effects: REV-X
Hall and REV-X Room.
Effect Parameters
Each of the Effect Types has parameters determining how
the Effect is applied to the sound. A variety of sounds can
be obtained from a single effect type by setting these
parameters. For information about the Effect parameters,
see below.
Preset settings for Effect parameters
Preset settings for parameters of each effect type are
provided as templates and can be selected in the Effect
Type selection display. To get a desired effect sound, try
first selecting one of the Presets close to your imagined
sound, then change the parameters as necessary.
Descriptions
Offsets the phase of the AEG.
AM Depth
Determines the depth of the amplitude modulation.
AM Inverse R
Determines the phase of the amplitude modulation for the R
channel.
AM Speed
Determines the amplitude modulation speed.
AM Wave
Selects the wave for modulating the amplitude.
AMP Type
Selects the amplifier type to be simulated.
Analog Feel
Adds the characteristics of an analog flanger to the sound.
Attack
Determines the amount of time that elapses between the playing
of a key and the start of the compressor effect.
Attack Offset
Determines the amount of time that elapses between the playing
of a key and the start of the wah effect.
Attack Time
Determines the attack time of the envelope follower.
Bit Assign
Determines how the Word Length is applied to the sound.
Bottom*1
Determines the minimum value of the wah filter.
BPF1–10 Gain
Determines each output gain of BPFs 1 – 10 of the Vocoder
effect.
Click Density
Determines the frequency at which the click sounds.
Click Level
Determines the click level.
Color*2
Determines the fixed phase modulation.
Common Release
This is a parameter of “Multi Band Comp.” This parameter
determines the amount of time that elapses between the
releasing of a note and the end of the effect.
Compress
Determines the minimum input level at which the compressor
effect is applied.
Control Type
This is a parameter of “Control Delay.” When set to “Normal,” the
delay effect is always applied to the sound. When set to
“Scratch,” the delay effect is not applied if both the Delay Time
and Delay Time Offset are set to “0.”
Damper Control
When the half-damper compatible FC3 footswitch is connected
to the SUSTAIN jack, the Damper Control parameter is controlled
by the FC3 over a range of 0 – 127, allowing for partial damper
effects, such as is available on an actual grand piano.
Decay
Controls how the reverb sound decays.
Delay Level C
Determines the level of the delayed sound for the center channel.
Delay Mix
Determines the level of the delayed mixed sound when multiple
effects are applied.
Delay Offset
Determines the offset value of the delay modulation.
Delay Time
Determines the delay of the sound in note value or absolute time.
Delay Time C, L, R
Determines the delay time for each channel: center, left and right.
Delay Time L>R
Determines the amount of time between the moment the sound is
input from the L channel and the moment the sound is output to
the R channel.
Delay Time Ofst R
Determines the delay time for the R channel as offset.
Delay Time R>L
Determines the amount of time between the moment the sound is
input from the R channel and the moment the sound is output to
the L channel.
Delay Transition
Rate
Determines the speed (rate) at which the delay time is changed
from the current value to the specified new value.
Density
Determines the density of the reverberations or reflections.
Depth
When “Space Simulator” is selected, this parameter determines
the depth of the simulated room.
When “VCM Flanger” is selected, this parameter determines the
amplitude of the LFO wave which controls the cyclic change of
the delay modulation.
MOTIF XS Owner’s Manual
73
Basic Section
Parameter name
AEG Phase
Basic Structure
n Some parameters below may appear in different effect types
with the same name, but actually have different functions
depending on the particular effect type. For these parameters,
two or three types of explanations are given.
Basic Operation
These effects emulate the characteristics of analog Wah
used in the 1970s, recreating a warm, high-quality wahwah effect.
Effect Parameters
Connections
VCM Auto Wah, VCM Touch Wah, VCM Pedal
Wah
Basic Structure
Parameter name
Descriptions
Depth
When phaser type is selected, this parameter determines the
amplitude of the LFO wave which controls the cyclic change of
the phase modulation.
Detune
Determines the amount of pitch to be detuned.
Device
Selects the device for changing how to distort the sound.
Diffusion
Determines the spread of the selected effect.
Direction
Determines the direction of the modulation controlled by the
envelope follower.
Divide Freq High
Determines the high frequency for dividing the entire sound into
three bands.
Divide Freq Low
Determines the low frequency for dividing the entire sound into
three bands.
Divide Min Level
Determines the minimum level of the portions extracted via the
slice effect.
Divide Type
Determines how the sound (wave) is sliced by the note length.
Drive
When one of the distortion, noisy and slice effects is selected,
this parameter determines the extent to which the sound is
distorted.
Parameter name
This parameter of the Vocoder adds the offset value to the cutoff
frequency of BPF for the Inst input.
Formant Shift
This parameter of the Vocoder shifts the cutoff frequency of the
BPF for Inst input.
Gate Switch
When set to “off,” the output from the HPF and the Noise
Generator is passed through the gate. When set to “on,” the
output from the HPF and the Noise Generator passes through the
gate only if the audio signal is input to the Inst.
Gate Time
Determines the gate time of the sliced portion.
Height
Determines the height of the simulated room.
Hi Resonance
Adjusts the resonance of the high frequencies.
High Attack
Determines the amount of time from the moment a note is
pressed to the moment the compressor is applied to the high
frequencies.
High Gain
Determines the output gain for the high frequencies.
High Level
Determines the level of the high frequencies.
High Mute
Switches the mute status of the high frequencies.
High Ratio
When “REV-X Hall” or “REV-X Room” is selected, this parameter
determines the ratio of the high frequencies.
When one of the misc effects is selected, this parameter
determines the extent to which the enhancer or talking modulator
is applied.
When “Multi Band Comp” is selected, this parameter determines
the ratio of the compressor for the high frequencies.
Basic Structure
Basic Operation
Basic Section
Drive Horn
Determines the depth of the modulation generated via the
rotation of the horn.
High Threshold
Determines the minimum input level at which the effect is applied
to the high frequencies.
Drive Rotor
Determines the depth of the modulation generated via the
rotation of the rotor.
Horn Speed Fast
Determines the speed of the horn when the slow/fast switch is set
to “fast.”
Dry Level
Determines the level of the dry sound (to which the effect is not
applied).
Horn Speed SLow
Determines the speed of the horn when the slow/fast switch is set
to “slow.”
Dry LPF Cutoff
Frequency
Determines the cutoff frequency of the low pass filter applied to
the dry sound.
HPF Freq
Determines the Cutoff frequency for the High Pass Filter applied
to the microphone sound.
Dry Mix Level
Determines the level of the dry sound (to which the effect is not
applied).
HPF Output Level
Determines how much the output from high pass filter is mixed
with the output from the Vocoder.
Dry Send to Noise
Determines the level of the dry signal sent to the noise effect.
Initial Delay
Dry/Wet Balance
Determines the balance of the dry sound and effect sound.
Determines the amount of time that elapses between the direct,
original sound and the initial reflections.
Dyna Level Offset
Determines the offset value added to the output from the
envelope follower.
Initial Delay 1, 2
Determines the delay time until the initial reflection for each of the
1st series and 2nd series.
Dyna Threshold
Level
Determines the minimum level at which the envelope follower
starts.
Initial Delay Lch,
Rch
Edge
Sets the curve that determines how the sound is distorted.
Determines the amount of time that elapses between the direct,
original sound and the initial reflections (echoes) that follow it for
each of R and L channels.
Emphasis
Determines the change of the characteristics in high frequencies.
Input Level
Determines the input level of the signal to which the compressor
is applied.
Connections
EQ Frequency
Determines the center frequency for each band of the EQ.
Input Mode
Selects mono or stereo configuration for the input sound.
EQ Gain
Determines the level gain of the EQ center frequency for each
band.
Input Select
Selects an input channel.
EQ High
Frequency
Determines the center frequency of the high EQ band that is
attenuated/boosted.
Inst Input Level
Determines the level of the instrument sound to which the
Vocoder is applied.
EQ High Gain
Determines the amount of boost or attenuation applied to the
high EQ band.
L/R Depth
Determines the depth of the L/R pan effect.
L/R Diffusion
Determines the spread of the sound.
EQ Low
Frequency
Determines the center frequency of the low EQ band that is
attenuated/boosted.
Lag
Determines the lagging time additionally applied to the delayed
sound specified via a note length.
EQ Low Gain
Determines the amount of boost or attenuation applied to the low
EQ band.
LFO Depth
EQ Mid Frequency
Determines the center frequency of the middle EQ band that is
attenuated/boosted.
When one of “SPX Chorus,” “Symphonic,” “Classic Flanger,” and
“Ring Modulator” is selected, this parameter determines the
depth of the modulation.
EQ Mid Gain
Determines the amount of boost or attenuation applied to the
middle EQ band.
EQ Mid Width
Determines the width of the middle EQ band.
EQ Width
Determines the width of the EQ band.
ER/Rev Balance
Determines the level balance of the early reflection and reverb
sound.
F/R Depth
This parameter of “Auto Pan” (available when PAN Direction is
set to “L turn” and “R turn”) determines the depth of the F/R
(front/rear) pan.
FB Hi Damp Ofst R
Determines the amount of decay in high frequencies for the R
channel as offset.
When “Tempo Phase” is selected, this parameter determines the
frequency of the phase modulation.
LFO Phase
difference
Determines the L/R phase difference of the modulated wave.
LFO Phase Reset
Determines how to reset the initial phase of the LFO.
LFO Speed
When one ny of the chorus effects, flanger effects, tremolo and
ring modulator is selected, this parameter determines the
frequency of the modulation.
When “Tempo Phaser” is selected, this parameter determines the
modulation speed via a note type.
When “Auto Pan” is selected, this parameter determines the
frequency of the Auto Pan.
LFO Wave
When any of the flanger effects and “Ring Modulator,” this
parameter selects the wave for modulation.
FB Level Ofst R
Determines the feedback level for the R channel as offset.
Feedback
Determines the level of the sound signal output from the effect
block and returned to its own input.
When “Auto Pan” is selected, this parameter determines the
panning curve.
Feedback High
Damp
Determines how the high frequencies of the feedback sound
decay.
When “VCM Auto Wah” is selected, this parameter selects the
wave, sine or square.
Feedback Level
When one of the reverb and early reflection effects is selected,
this parameter determines the feedback level of the initial delay.
When one of the delay, chorus, flanger, comp distortion delay,
and TEC effects is selected, this parameter determines the
feedback level output from the delay and returned to the input.
When “Tempo Phaser” or “Dynamic Phaser” is selected, this
parameter determines the feedback level output from the phaser
and returned to the input.
Feedback Level 1,
2
Determines the feedback level of the delayed sound in each of
the 1st and 2nd series.
Feedback Time
Determines the delay time of the feedback.
Feedback Time 1,
2, L, R
Determines the time of the feedback delay 1, 2, L and R.
Filter Type
When “Lo-Fi” is selected, this parameter selects the tonal
characteristic type.
When “Dynamic Filter” is selected, this parameter determines the
filter type.
Fine 1, 2
74
Descriptions
Formant Offset
Determines the pitch finely for each of the 1st series and 2nd
series.
MOTIF XS Owner’s Manual
Liveness
Determines the decay characteristic of Early Reflection.
Low Attack
Determines the amount of time from the moment a note is
pressed to the moment the compressor is applied to the low
frequencies.
Low Gain
Determines the output gain for the low frequencies.
Low Level
Determines the output level for the low frequencies.
Low Mute
Determines whether the low frequency band is off or on.
Low Ratio
When “REV-X Hall” or “REV-X Room” is selected, this parameter
determines the ratio of the low frequencies.
When “Multi Band Comp” is selected, this parameter determines
the ratio of the compressor for the low frequencies.
Low Threshold
Determines the minimum input level at which the effect is applied
to the low frequencies.
LPF Resonance
Determines the resonance of the low pass filter for the input
sound.
Manual
When “VCM Flanger” is selected, this parameter determines the
offset value of the delay modulation.
Basic Structure
Parameter name
Descriptions
Presence
This parameter of the guitar amp effect controls high frequencies.
Ratio
Determines the ratio of the compressor.
Meter
Changes the meter.
Release
Determines the amount of time that elapses between the
releasing of a key and the end of the compressor effect.
Mic Gate
Threshold
Determines the threshold level of the noise gate for the
microphone sound.
Release Curve
Determines the release curve of the envelope follower.
Mic Level
Determines the input level of the microphone sound.
Release Time
Determines the release time of the envelope follower.
Mic L-R Angle
Determines the L/R angle of the microphone.
Resonance
Determines the resonance of the filter.
Mid Attack
Determines the amount of time from the moment a note is
pressed to the moment the compressor is applied to the mid
frequencies.
Resonance Offset
Determines the resonance as offset.
Reverb Delay
Determines the delay time from the early reflections until the
reverberations.
Mid Gain
Determines the output gain for the mid frequencies.
Reverb Time
Determines the reverb time.
Mid Level
Determines the output level for the mid frequencies.
Room Size
Determines the size of the room in which the instrument sounds.
Mid Mute
Switches the mute status of the mid frequencies.
Rotor Speed Fast
Mid Ratio
Determines the ratio of the compressor for the mid frequencies.
Determines the speed of the rotor when the slow/fast switch is set
to “fast.”
Mid Threshold
Determines the minimum input level at which the effect is applied
for the mid frequencies.
Rotor Speed Slow
Determines the speed of the rotor when the slow/fast switch is set
to “slow.”
Mix
Determines the volume of the effect sound.
Rotor/Horn
Balance
Determines the volume balance of the horn and rotor.
Mix Level
Determines the level of the effect sound mixed to the dry sound.
Determines the depth of the modulation.
Sampling Freq.
Control
Controls the sampling frequency.
Mod Depth
Mod Depth Ofst R
Determines the depth of the modulation for R channel as offset.
Sensitivity
Mod Feedback
Determines the feedback level to the modulation.
When one of “Dynamic Flanger,” “Dynamic Phaser,” and the TEC
effects is selected, this parameter determines the sensitivity of
the modulation applied to the input change.
Determines the cutoff frequency of the low pass filter applied to
the modulated sound.
Mod LPF
Resonance
Determines the resonance of the low pass filter for the modulated
sound.
Mod Mix Balance
When “Noisy” is selected, this parameter determines the mix
balance of the modulated element.
When “Tech Modulation” is selected, this parameter determines
the volume of the modulated sound.
Mod Speed
Determines the modulation speed.
Mod Wave Type
Selects the wave type for modulation.
Mode
Determines the phaser type, or more specifically, the factor for
forming the phaser effect.
Modulation Phase
Determines the L/R phase difference of the modulated wave.
Move Speed
Determines how long it takes to move the sound from the current
status to the sound specified via the Vowel parameter.
Noise Input Level
Determines the noise level which is to be input.
When one of the VCM Touch Wah effects is selected, this
parameter determines the sensitivity of the wah filter’s change
applied to the input change.
Slow-Fast Time of
H
Determines how long it takes for the rotation speed of the horn to
change from the current speed (slow or fast) to the other one
(fast or slow) when the rotation speed is switched.
Slow-Fast Time of
R
Determines how long it takes for the rotation speed of the rotor to
change from the current speed (slow or fast) to the other one
(fast or slow) when the rotation speed is switched.
Space Type
Selects the type of space simulation.
Speaker Type
Selects the type of speaker simulation.
Speed
When “VCM Flanger” is selected, this parameter determines the
frequency of the LFO wave which controls the cyclic change of
the delay modulation.
When any of the phaser types is selected, this parameter
determines the frequency of the LFO wave which controls the
cyclic change of the phase modulation.
When “VCM Auto Wah” is selected, this parameter determines
the speed of the LFO.
Noise Level
Determines the noise level.
Speed Control
Switches the rotary speed.
Noise LPF Cutoff
Frequency
Determines the cutoff frequency of the low pass filter applied to
the noise.
Spread
Determines the spread of the sound.
Noise LPF Q
Determines the resonance of the low pass filter applied to the
noise.
Stage
Determines the step number of the phase shifter.
Threshold
Determines the minimum input level at which the effect is
applied.
Noise Mod Depth
Determines the depth of the noise modulation.
Noise Mod Speed
Determines the speed of the noise modulation.
Noise Tone
Determines the characteristics of the noise.
*3
Top
Determines the maximum value of the wah filter.
Type
When “VCM Flanger” is selected, this parameter determines the
flanger type.
On/Off Switch
Turns the isolator on or off.
OSC Frequency
Coarse
Determines the frequency for modulating the input wave.
When any of the wah effects is selected, this parameter
determines the type of Wah.
OSC Frequency
Fine
Finely determines the frequency for modulating the input wave.
When “Early Reflection” is selected, this parameter determines
the type of the reflection sound.
Output
Determines the level of the signal output from the effect block.
Vocoder Release
Determines the release time of the Vocoder sound.
Output Gain
Determines the gain of the signal output from the effect block.
Vowel
Selects a vowel type.
Output Level
Determines the level of the signal output from the effect block.
Wall Vary
Output Level 1, 2
Determines the level of the signal output from the 1st block and
2nd block respectively.
Determines the wall status of the simulated room. Higher settings
produces more diffuse reflections.
Width
Determines the width of the simulated room.
Over Drive
Determines the degree and character of the distortion effect.
Word Length
Determines the degree of sound roughness.
Pan 1, 2
Determines the pan for each of the 1st series and 2nd series.
Pan AEG Min
Level
This parameter of the Slice effect determines the minimum level
of the AEG applied to the panned sound.
*1 The Bottom parameter is available only when the value is less than that of the Top
parameter.
Pan AEG Type
This parameter of the Slice effect determines the type of the AEG
applied to the panned sound.
*2 The Color parameter may not be effective depending on the values of the Mode and
Stage parameters.
Vocoder Attack
Pan Depth
Determines the depth of the pan effect.
Pan Direction
Determines the direction toward which the stereo pan position of
the sound moves.
Pan Type
Determines the pan type.
Pedal Control
When “VCM PEDAL WAH” is selected, this parameter determines
the cutoff frequency of the wah filter. For best results, assign the
this parameter to the Foot Controller in the Controller Set display,
then use the Foot Controller to control this parameter.
Pedal Response
Determines how the sound responds to the change of the
damper control.
Phase Shift Offset
Determines the offset value of the phase modulation.
Pitch 1, 2
Determines the pitch in semitones for each of the 1st series and
2nd series.
PM Depth
Determines the depth of the pitch modulation.
Pre Mod HPF
Cutoff Frequency
Determines the Cutoff frequency of the High Pass Filter before
the modulation.
Pre-LPF Cutoff
Frequency
Determines the Cutoff frequency of the Low Pass Filter before the
modulation.
Pre-LPF
Resonance
Determines the Resonance of the Low Pass Filter for the input
sound.
Determines the attack time of the Vocoder sound.
*3 The Top parameter is available only when the value is more than that of the Bottom
parameter.
MOTIF XS Owner’s Manual
75
Basic Section
Determines the gain of the modulation.
Mod LPF Cutoff
Frequency
Basic Structure
Mod Gain
Basic Operation
Descriptions
When “VCM Phaser mono” or “VCM Phaser stereo” is selected,
this parameter determines the offset value of the phase
modulation.
Connections
Parameter name
Manual
Basic Structure
About MIDI
MIDI (Musical Instrument Digital Interface) is a standard which allows electronic musical instruments to communicate with
each other, by sending and receiving compatible Note, Control Change, Program Change and various other types of MIDI
data, or messages.
This synthesizer can control other MIDI devices by transmitting note related data and various types of controller data. It can
also be controlled by incoming MIDI messages which automatically determine the tone generator mode, select MIDI
channels, voices and effects, change parameter values, and of course play the voices specified for the various Parts.
MIDI events handled by the MOTIF XS
MIDI channels
Basic Structure
MIDI performance data is assigned to one of sixteen MIDI
channels. Using these channels, 1 – 16, the performance data
for sixteen different instrument parts can be simultaneously
sent over one MIDI cable.
Think of the MIDI channels as TV channels. Each TV station
transmits its broadcasts over a specific channel.
Your home TV set receives many different programs
simultaneously from several TV stations and you select the
appropriate channel to watch the desired program.
Note
Weather Report
News
Basic Operation
Basic Section
1
2
Note name
News
Velocity
Gate time
Bar graph
of velocity
2
Connections
MIDI operates on the same basic principle.
The transmitting instrument sends MIDI data on a specific
MIDI channel (MIDI Transmit Channel) via a single MIDI cable
to the receiving instrument. If the receiving instrument’s MIDI
channel (MIDI Receive Channel) matches the Transmit
Channel, the receiving instrument will sound according to the
data sent by the transmitting instrument.
For information on how to set the MIDI transmit channel and
the MIDI receive channel, see page 267.
MIDI Transmit channel 2
MIDI
cable
The messages transmitted/received by the MOTIF XS are
shown in the MIDI Data Format and MIDI Implementation
Chart in the separate Data List booklet. The MOTIF XS tone
generator block (indicated “synth. part” in the Data List) and
sequencer block (indicated “seq. part” in the Data List) handle
different MIDI messages. The MIDI messages which the
sequencer block can receive can be recorded to tracks of a
Song/Pattern. On the other hand, the MIDI messages which
the tone generator can receive can affect the MOTIF XS
sound.
MOTIF XS Owner’s Manual
These are the events that define notes, making up the largest
portion of all performance data. The note name (C -2 – G8)
defines the pitch. The gate time specifies the length of the
note in beats and clocks. Velocity (1 – 127) is “how hard” the
note is played. The bar graph to the right is a graphic
representation of the value.
Pitch Bend
Data value
MIDI Receive channel 2
MIDI messages transmitted/
recognized by this synthesizer
76
This section covers MIDI events, the data format by which the
MIDI messages generated by your keyboard performance are
recorded to a track of a Song/Pattern. Theses events
described below can be edited or inserted in the displays of
the Song Edit/Pattern Edit modes.
Bar graph of
the data value
Pitch bend events are generated by pitch bend wheel
operation and define continuous changes in pitch. The value
(-8192 – +0000 – +8191) is a numerical representation of pitch
bend wheel position. The bar graph to the right is a graphic
representation of the value.
Program Change (PC)
Bank Select MSB
Program number
Voice name
Bank Select LSB
Program change events select Voices. The Bank Select MSB
and LSB parameters are actually included in the Control
Change category, below, but since in the MOTIF XS these
Basic Structure
three events are used to select Voices, they are grouped and
described here. Bank Select MSB and LSB select the Voice
Bank. The program number selects a Voice from the Voice
category and bank specified by the MSB and LSB. For a list of
the Voices, see the separate Data List booklet. When you
specify a program change as a number in the range of 0 –
127, specify a number that is one less than the program
number listed in the Voice List. For example, to specify
program number 128, you would actually enter program
change 127.
Control Change (CC)
Sustain (Hold 1) (Control Number 064)
This MIDI message represents sustain pedal ON/OFF
operations. Notes playing when the pedal is pressed will be
sustained. When the value is “0” – “63” sustain is OFF, and
when the data is “64” – “127” sustain is ON.
Portamento (Control Number 065)
This MIDI message turns portamento ON or OFF. When the
value is “0” – “63” portamento is OFF, and when the data is
“64” – “127” portamento is ON. The length (degree) of the
portamento effect is controlled by Portamento Time (Control
Number 005).
Sostenuto Pedal (Control Number 066)
This MIDI message represents sostenuto pedal ON/OFF
operations. When the value is “0” – “63” sostenuto is OFF, and
when the data is “64” – “127” sostenuto is ON.
Some of the more important control numbers and controllers
are listed below.
n When “---” is shown at the column of the Controller (Function),
the Control number can be handled by the sequencer block
and cannot be handled by the tone generator block.
Release Time (Control Change 072)
Adjusts the release time of the Voice AEG. The release time is
adjusted by using the data range of 0 – 127 as an offset value
with a display range of -64 – +63 which is added to the Voice
data.
Attack Time (Control Change 073)
Adjusts the attack time of the Voice AEG. The attack time is
adjusted by using the data range of 0 – 127 as an offset value
with a display range of -64 – +63 which is added to the Voice
data.
The MIDI data produced when a modulation wheel is
operated. No modulation is applied when the value is “0,” and
“127” produces maximum modulation.
Adjusts the cutoff frequency of the filter assigned to a Voice.
The cutoff is adjusted by using the data range of 0 – 127 as an
offset value with a display range of -64 – +63 which is added
to the Voice data.
Portamento Time (Control Number 005)
Decay Time (Control Change 075)
This MIDI message controls the portamento effect. No
portamento is produced when the value is “0,” and “127”
produces maximum portamento time. Portamento is only
produced when Portamento (Control Number 065) is ON.
Adjusts the decay time of the Voice AEG. The decay time is
adjusted by using the data range of 0 – 127 as an offset value
with a display range of -64 – +63 which is added to the Voice
data.
Data Entry MSB (Control Number 006)
Data Entry LSB (Control Number 038)
Effect Send Level 1 (Reverb Effect) (Control Number 091)
These parameters specify the value of RPN MSB, RPN LSB
(page 78), NRPN MSB, and NRPN LSB events. The value is
represented by two control change data numbers—the MSB
and the LSB.
Connections
Brightness (Control Change 074)
Modulation Wheel (Control Number 001)
Specifies the reverb effect send level.
Effect Send Level 3 (Chorus Effect) (Control Number 093)
Specifies the delay/chorus effect send level.
Effect Send Level 4 (Variation Effect) (Control Number 094)
Volume (Control Number 007)
Specifies the variation effect send level.
Sets the volume for each individual Part. No sound is
produced when the value is “0,” and “127” produces
maximum volume.
n This MIDI event cannot be handled by the tone generator
block, although it can be recorded to a Song/Pattern track.
Pan (Control Number 010)
Data Increment (Control Number 096)
Data Decrement (Control Number 097)
Sets the pan position for each individual Part. The sound is
panned fully left when the value is “0” and fully right when the
value is “127.” The displayed values are -64 – +63.
Expression (Control Number 011)
Sets the expression for each individual Part. No sound is
produced when the value is “0,” and “127” produces
maximum volume. This parameter produces volume variations
during playback.
These MIDI messages increment or decrement by one the
value of pitch bend sensitivity, fine tune, or coarse tune
settings made using RPN (page 78).
NRPN MSB (Non-Registered Parameter Number MSB)
(Control Number 099)
NRPN LSB (Non-Registered Parameter Number LSB)
(Control Number 098)
MOTIF XS Owner’s Manual
77
Basic Section
Control Change events control Voice and effect parameters.
Control Change events are generated when a controller such
as a modulation wheel or foot controller is operated.
The Control number (000 – 127) specifies the controller
(function), such as volume or pan. The value (000 – 127)
specifies the “position” of the controller assigned to the
selected control number. The bar graph to the right is a
graphic representation of the data value.
Adjusts the resonance of the filter assigned to a Voice. The
resonance is adjusted by using the data range of 0 – 127 as
an offset value with a display range of -64 – +63 which is
added to the Voice data.
Basic Operation
Bar graph of
the data value
Basic Structure
Harmonic Content (Control Change 071)
Data value
Control number
Controller (function)
Basic Structure
Channel Aftertouch (CAT)
Used primarily as offset values for vibrato, filter, EG and other
settings. Data Entry is used to set the parameter value after
specifying the parameter using the NRPN MSB and LSB.
Once an NRPN is specified, the following data entry message
received on the same channel is processed as the value of
that NRPN. Prevent operational errors by transmitting an RPN
Null message (7FH, 7FH) after using these messages to
perform a control operation. Refer to “NRPN” for information
about the parameter (page 79).
Data value
n This MIDI event cannot be handled by the tone generator
block, although it can be recorded to a Song/Pattern track.
Bar graph of
the data value
This event is generated when pressure is applied to a key after
the note is played.
The data (000 – 127) represents the amount of pressure
applied to the key. The bar graph to the right is a graphic
representation of the value.
RPN MSB (Registered Parameter Number MSB)
(Control Number 101)
RPN LSB (Registered Parameter Number LSB)
(Control Number 100)
Basic Structure
Basic Operation
Basic Section
Used primarily as offset values for pitch bend sensitivity,
tuning, and other part settings. Data Entry (page 77) is used to
set the parameter value after specifying the parameter using
the RPN MSB and RPN LSB. Once an RPN is specified, the
following data entry message received on the same channel is
processed as the value of that RPN. Prevent operational errors
by transmitting an Null message (7FH, 7FH) after using these
messages to perform a control operation. Refer to “RPN” for
information about the parameter.
Polyphonic Aftertouch (PAT)
All Sound Off (Control Number 120)
This event is generated when pressure is applied to a key after
the note is played. Unlike the Channel Aftertouch event,
however, individual data is provided for each key. Note Name
(C -2 – G8) specifies the key. The data (000 – 127) represents
the amount of pressure applied to the key. The bar graph to
the right is a graphic representation of the value.
Turns all currently sounding notes off for all Parts.
Reset All Controllers (Control Number 121)
Connections
Resets all controllers to their initial values. The following
parameters are affected: Pitch Bend, Channel Pressure,
Polyphonic Key Pressure, Modulation, Expression, Hold 1,
Portamento, Sostenuto, Soft Pedal, Portamento Control, RPN*,
NRPN* (*The RPN and NRPN are specified as having no
number, and no internal data is changed). The following data
is not affected: Program Change, Bank Select MSB and LSB,
Volume, Pan, Dry Send Level, Effect Send Level 1, 3, and 4,
Pitch Sensitivity, Fine Tuning, Coarse Tuning.
Note name
Data value
Bar graph of
the data value
n The Polyphonic Aftertouch cannot be handled by the tone
generator block although this event can be recorded to a
Song/Pattern track.
Registered Parameter Number (RPN)
Omni Mode Off (Control Number 124)
Performs the same operation as when an All Notes Off
message is received. The receive channel is set to 1.
Omni Mode On (Control Number 125)
Performs the same operation as when an All Notes Off message
is received. Only the receive channel is set to Omni On.
RPN number
MSB-LSB
Data entry
MSB-LSB
Changes parameter values for each tone generator part.
Normally three types of control change data are sent: RPN
MSB (101), RPN LSB (100), and Data Entry MSB (6). In the
MOTIF XS, Data Entry LSB (38) is added to this and the
resulting group of control change events is handled as one.
Once an RPN is specified, the following data entry message
received on the same channel is processed as the value of
that RPN. Prevent operational errors by transmitting a Null
message (7FH, 7FH) after using these messages to perform a
control operation. The MOTIF XS tone generator block allows
control of the 4 following parameters:
Mono (Control Number 126)
Performs the same operation as when an All Sound Off
message is received. If the 3rd byte parameter (the parameter
that determines the mono number) is 0 – 16, the Parts
corresponding to those channels are set to mono.
Poly (Control Number 127)
Performs the same operation as when an All Sound Off
message is received, and the Parts corresponding to those
channels are set to poly.
RPN Parameter List
RPN Number
78
Data Entry (Range)
MSB
LSB
Initial
Value
Pitch Bend Sensitivity
000 – 024
—
024
Specifies the amount of pitch bend produced in response to pitch
bend data in semitone increments.
001
Fine Tune
-64 – +63
—
+00
Adjusts the tuning in cent increments.
002
Coarse Tune
-24 – +24
—
+00
127
Null
—
—
—
MSB
LSB
000
000
000
000
127
Parameter Name
MOTIF XS Owner’s Manual
Function
Adjusts the tuning in semitone increments.
Voids the RPN and NRPN settings so no tone generator settings are
changed when subsequent Data Entry messages are received.
Basic Structure
Non-Registered Parameter Number (NRPN)
the independent control change parameters rather than the
NRPN.
n This MIDI event cannot be handled by the tone generator
block, although it can be recorded to a Song/Pattern track.
System Exclusive
Data entry
MSB-LSB
Data
Internal Memory
As you use the MOTIF XS, you will create many different kinds of data, including Voices, Performances, Songs, and Patterns.
This section describes how to maintain the various types of data and use the memory devices/media for storing them.
Internal Memory
Below are explanations of the basic terms related to
memory.
Flash ROM
ROM (Read Only Memory) is memory designed
specifically for reading out of data, and as such data
cannot be written to it. Unlike conventional ROM, Flash
ROM can be overwritten—allowing you to store your own
original data. The contents of Flash ROM are maintained
even when the power is turned off.
DRAM
RAM (Random Access Memory) is memory designed
specifically for data writing and data reading operations.
There are two different kinds of RAM, depending on the
condition for storing the data: SRAM (Static RAM) and
DRAM (Dynamic RAM). The MOTIF XS is equipped with
only DRAM. The created data stored on DRAM is lost when
the power is turned off. Because of this, you should always
store any data residing in DRAM to the USB storage device
or the computer connected to the network before turning
off the power.
n Among data residing in DRAM, only Waveform data can be
saved to the external USB storage device or a computer
mounted by the MOTIF XS.
DIMM
DIMM modules must be installed in order to use the
Sampling function or to load audio data (Waveform/WAV
file/AIFF file) to the instrument. As with DRAM described
above, the created data stored on DIMM is lost when the
power is turned off. Because of this, you should always
store any data residing in DIMM to the USB storage device
or the computer connected to the network before turning
off the power.
Edit Buffer and User Memory
The edit buffer is the memory location for edited data of
these types: Voice, Performance, Master, Song Mixing, and
Pattern Mixing. Data edited in this location will be stored to
the User Memory.
If you select another Voice, Performance, Master, Song, or
Pattern, the entire contents of the edit buffer will be
rewritten with the newly selected Voice/Performance/
Master/Song Mixing/Pattern Mixing data. Make sure to
store any important data before selecting another Voice,
etc.
Edit Buffer and Recall Buffer
If you’ve selected another Voice/Performance/Song/Pattern
without storing the one you were editing, you can recall
your original edits, since the edit buffer’s contents are
stored in backup memory.
n Keep in mind that the recall buffer is not available in the
Master Edit mode.
MOTIF XS Owner’s Manual
79
Basic Section
Basic Structure
Changes internal tone generator settings such as Voice and
effect settings, remote switch control, tone generator mode
switching, and others via MIDI. The 2nd byte is a manufacturer
ID number, and there is no data compatibility between
manufacturers. This type of event is used to control MOTIF XSspecific functions. The cursor can be used to scroll through
the data if the data size is greater than 17 bytes.
Basic Operation
Changes parameter values for each tone generator Part.
There is no compatibility between different manufacturers.
Numerous parameters specific to each tone generator can be
controlled to produce tonal changes. Normally three types of
control change data are sent: NRPN MSB (99), NRPN LSB
(98), and Data Entry MSB (6). In the MOTIF XS, this group of
control change events is handled as one. Once an NRPN is
specified, the following data entry message received on the
same channel is processed as the value of that NRPN. Prevent
operational errors by transmitting an RPN Null message (7FH,
7FH) after using these messages to perform a control
operation. For filter cutoff frequency, resonance, and other
independent control change parameters, it is normal to use
Connections
NRPN number
MSB-LSB
Basic Structure
Memory Structure
This diagram details the relationship among the functions of the MOTIF XS and the internal memory and external devices
such as USB storage device and computer.
Internal data communication
Internal Memory
Recall Buffer
Compare Buffer
(DRAM)
Data communication between this
synthesizer and an external device
Preset Data (ROM)
• Voice
• Preset Arpeggio
• Demo
Excluding Master and Utility
settings
MIDI instrument or computer
Sequence software
MOTIF XS Editor
Bulk Dump
User Memory
Bu
Edit Buffer
(DRAM)
lk
D
um
p
*1
Flash ROM
File extensions “.XOV”
• Mixing Voice Edit
File extensions “.XOE”
File extensions “.WAV” & “AIF”
• Performance Edit
• User Performance
*3
• Performance Record
• User Arpeggio
• Song Record
• Song
• Song Mixing Edit
• Song Mixing
*2
• Song Chain
Connections
Store
• Song Chain
• Pattern Record
• Pattern Patch
• Pattern Mixing Edit
• Pattern Chain
• Pattern
• Pattern Mixing
• Phrase
*2
• Pattern Chain
• Master Edit
Store
• System settings
• Utility and Sequencer
Setup settings
(Utility settings + Sequencer Setup
settings + Mixing Template)
Load/Save (executed in the File mode)
Basic Operation
Basic Section
Store
Basic Structure
• User Voice (Normal, Drum)
• Voice Edit
USB storage device/
Computer drive connected to
the network
File extensions “.XOG”
File extensions “.MID”
File extensions “.XOS”
File extensions “XOA”
(including all data in User Memory)
File extensions “.MID”
File extensions “.XOP”
• User Master
DRAM
Sampling
Waveform
*4
File extensions “.XOW”
File extensions “.WAV” & “AIF”
*1 Only the currently edited data can be transmitted as Bulk data. Note that the Mixing Voice cannot be transmitted as Bulk data.
*2 The Mixing settings can be stored/recalled as a template in the Song Mixing Job mode/Pattern Mixing Job mode.
*3 You can convert the MIDI sequence data recorded in the Song Record mode/Pattern Record mode to Arpeggio data. This can be executed with
the following operations: [SONG] → [JOB] → [F5] Track → 07: Put Track to Arpeggio or [PATTERN] → [JOB] → [F5] Track → 07: Put Track to
Arpeggio
*4 In order to create a Waveform by sampling or importing an audio file, optional DIMM modules must be installed.
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MOTIF XS Owner’s Manual
Basic Operation
SF2
1
EXIT
ENTER
Changing (editing) parameter values
Rotating the data dial to the right (clockwise) increases the
value, while rotating it to the left (counter-clockwise)
decreases it. For parameters with large value ranges, you
can increase the value by 10 by simultaneously holding
down the [INC/YES] button and pressing the [DEC/NO]
button.
To decrease by 10, do the opposite; simultaneously hold
down the [DEC/NO] button and press the [INC/YES]
button.
DEC/NO
2
SF4
3
Increasing
SF5
4
SF6
5
F1
F2
F3
F4
F5
F6
6
7
8
9
0
-
These functions can be selected
via the corresponding button
([F1] – [F6]).
EXECUTE
Decreasing
SF3
These functions can be selected
via the corresponding button
([SF1] – [SF6]).
Inputting a number directly
For parameters having large value ranges (such as the
start and end points of a sample), you can also enter the
value directly, using the buttons below the LCD display as
a numeric keypad. When the cursor is located on such a
parameter, the [NUM] icon appears at the lower right
corner of the LCD display. When the [SF6] NUM button is
pressed in this status, each digit (1 – 9, 0) is assigned to
the [SF1] – [SF5] and [F1] – [F5] buttons as shown below,
allowing you to input a number directly by using these
buttons. Depending on the selected parameter, a negative
value can be input. When such a parameter is selected
and you wish to input a negative value, press the [F6]
button (to which “-” is assigned) then use the [SF1] – [SF5]
and [F1] – [F5] buttons.
After completing the number input, press the [ENTER]
button to actually enter the number.
INC/YES
Decreasing by 1
Increasing by 1
SF1
SF2
SF3
SF4
SF5
SF6
Functions and Sub-Functions
1
Each mode described above contains various displays,
with various functions and parameters. To navigate your
way through these displays and select a desired function,
use the [F1] – [F6] buttons and the [SF1] – [SF5] buttons.
When you select a mode, the available displays or menus
appear directly above the buttons at the bottom of the
display (as shown below).
Depending on the currently selected mode, up to six
functions are available and can be called up with the [F1] –
[F6] buttons. Keep in mind that the available functions
differ depending on the selected mode.
Depending on the currently selected mode, up to five
functions (sub-functions) are available and can be called
up with the [SF1] – [SF5] buttons (the [SF6] button is used
2
3
4
5
F1
F2
F3
F4
F5
F6
6
7
8
9
0
-
SF1
SF2
1
SF3
2
SF4
3
SF5
4
SF6
5
F1
F2
F3
F4
F5
F6
6
7
8
9
0
-
You can use these buttons as the numeric keypad.
MOTIF XS Owner’s Manual
81
Basic Section
SF1
INC/YES
Basic Structure
DEC/NO
The example display below is called up by pressing the
[F5] button then pressing the [SF1] button.
Basic Operation
Use these four buttons to navigate the display, moving the
cursor around the various selectable items and parameters
in the screen. When selected, the relevant item is
highlighted (the cursor appears as a dark block with
inverse characters). You can change the value of the item
(parameter) at which the cursor is located by using the
data dial, [INC/YES] and [DEC/NO] buttons.
mainly to call up the INFO and LIST displays). Keep in
mind that the available functions differ depending on the
selected mode. (Some displays may not have any subfunctions for these buttons.)
Connections
Moving the Cursor
Basic Operation
This indicates that you can call up the List by pressing
the [SF6] LIST button.
Naming (Inputting Characters)
Basic Structure
You can freely name the data you’ve created, such as
Voices, Performances, Songs, Patterns and files saved to a
USB storage device.
When the cursor is located on such a naming parameter,
the CHAR icon appears at the lower right corner of the
display. When pressing the [SF6] button in this status, the
Input Character window appears as shown below. In the
Edit area, you can move the cursor to determine the
location at which the character is to be input by using the
[F1] and [F2] buttons. In the Character List, you can move
the cursor to determine the character to be input by using
the Cursor buttons, [INC/YES] button, [DEC/NO] button
and the data dial. After selecting the character, press the
[F4] button to actually enter the selected character to the
location specified in the Edit area. To delete the character
at the cursor location, press the [F5] Delete button. To
delete all the characters, press the [F6] All Clear button.
After completing the character input, press the [ENTER]
button to actually enter the currently edited name.
SF1
SF2
Basic Operation
Basic Section
1
SF3
2
SF4
3
SF5
4
SF1
SF2
1
SF3
2
SF4
3
SF5
4
SF6
5
F1
F2
F3
F4
F5
F6
6
7
8
9
0
-
SF6
5
F1
F2
F3
F4
F5
F6
6
7
8
9
0
-
The List appears. You can select one from this List.
Note (Key) and Velocity settings
Connections
Character
List
Editing
area
SF1
SF2
1
SF3
2
SF4
3
SF5
4
SF6
5
F1
F2
F3
F4
F5
F6
6
7
8
9
0
-
Several parameters let you set a key range or velocity
range for a function—for example, in setting up a keyboard
split—by specifying certain note values. You can use the
[INC/YES] and [DEC/NO] buttons or data dial to set these
parameters, or you can directly enter the values from the
keyboard by pressing the appropriate keys.
When the cursor is located on such a parameter, the KBD
icon appears at the lower right corner of the display. You
can set the note or velocity directly from the Keyboard, by
holding down the [SF6] button and pressing the desired
key.
SF1
SF2
SF3
SF4
SF5
SF6
Calling up the List
1
Depending on the parameter, you can call up a convenient
pop-up List by pressing the [SF6] LIST button, from which
you can select the desired parameter setting or item. When
the cursor is located on such a parameter (indicated with
an upside down triangular arrow), the LIST icon appears at
the lower right corner of the display. In this condition, press
the [SF6] button to call up the List. To select the desired
item or setting, use the [INC/YES], [DEC/NO] buttons and
the data dial. After selecting, press the [ENTER] button to
fix the selection and close the List.
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MOTIF XS Owner’s Manual
2
3
4
5
F1
F2
F3
F4
F5
F6
6
7
8
9
0
-
Connections
n For the external connections depicted below, you will also need speakers or headphones to listen to the sound. See “Start Guide” on
page 19.
Connecting External MIDI Instruments
With a standard MIDI cable (available separately), you can connect an external MIDI instrument, and control it from the
MOTIF XS. Likewise, you can use an external MIDI instrument (such as a keyboard or sequencer) to control the sounds of
the MOTIF XS. Below are several different MIDI connection examples; use the one most similar to your intended setup.
n Any one of the these interfaces can be used for MIDI data transmission/reception: the MIDI connectors, the mLAN connector (available only
for the MOTIF XS8, and MOTIF XS6/7 with an optional mLAN16E2 installed), or the USB connector. However, they cannot be used at the
same time. Select which connector is used for MIDI data transfer in the MIDI display (page 267) of the Utility mode.
This connection lets you sound an external MIDI tone generator (synthesizer, tone generator module, etc.) by playing the
MOTIF XS or playing back the Song/Pattern of the MOTIF XS. Use this connection when you wish to sound the other
instrument along with the MOTIF XS.
Basic Structure
Controlling an external tone generator or synthesizer from the MOTIF XS
MOTIF XS
External MIDI tone generator such as
MOTIF-RACK ES
Make sure match the MIDI Transmit Channel of the MOTIF XS with the MIDI Receive Channel of the external MIDI tone
generator. The MIDI Transmit Channel in the Voice mode and Performance mode can be set in the MIDI display (page 267)
of the Utility mode. The Transmit Channels of each track can be set in the Song Track display (page 184) of the Song Play
mode. The Transmit Channels of each track can be set in the Pattern Track display (page 211) of the Pattern Play mode.
Controlling from an external MIDI keyboard
Use an external keyboard or synthesizer (such as the S90 ES) to remotely select and play the Voices of the MOTIF XS.
MIDI OUT
MOTIF XS
MIDI IN
External MIDI tone generator such as S90 ES
Make sure match the MIDI Transmit Channel of the external MIDI instrument with the MIDI Receive Channel of the MOTIF XS.
For details on setting the MIDI Transmit Channel of the external MIDI instrument, refer to the Owner’s Manual of the MIDI
instrument. The MIDI Receive Channel in the Voice mode and Performance mode can be set in the MIDI display (page 267)
of the Utility mode. The MIDI Receive Channels in the Song mode and Pattern mode can be set in the Voice display
(page 235) of the Mixing Part Edit mode.
MOTIF XS Owner’s Manual
83
Basic Section
MIDI IN
Connections
Basic Operation
MIDI OUT
Connections
Controlling another MIDI device via MIDI THRU
The playback data of an external MIDI sequencer is used to play the sounds of another MIDI instrument (connected to the
MIDI THRU connector) along with the MOTIF XS. The MIDI THRU connector simply redirects any received MIDI data (via
MIDI IN) to connected instrument.
MIDI OUT
MIDI IN
MIDI THRU
MIDI IN
MIDI IN
MIDI OUT
C
MIDI tone generator
MIDI synthesizer
MIDI sequencer
MOTIF XS
Basic Structure
In this case, make sure that the MOTIF XS is set to the Song mode or Pattern mode. If the instrument is set to the Voice mode
or to the Performance mode in which multi-channel MIDI messages are not recognized, the external sequence data
(containing multi-channel data) will not play back properly on the MOTIF XS. In addition, you may have to make certain MIDI
synchronization settings (see below). Likewise, make sure to set the MIDI tone generator (connected to the MIDI THRU
connector) to the multi-timbral mode. In addition, you’ll need to enable the MOTIF XS to respond to external clock, set from
the MIDI display (page 267) in the Utility mode.
Basic Operation
Basic Section
Connecting to an MTR (Multi-track Recorder)
Since this synthesizer can receive the MTC (MIDI Time Code) and can transmit the MMC (MIDI Machine Control), you can
produce music by synchronizing to an MTC- or MMC-compatible multi-track recording device. You can use two types of
MTR control (illustrated below) by setting the MIDI Sync to MTC in the MIDI display (page 267) of the Utility mode.
Connections
n MTC and MMC are available only in the Song mode.
Synchronizing the MOTIF XS to the MTC signal from an external MTR
After receiving the MTC signal transmitted from the MTR by starting the MTR playback, the Song of the MOTIF XS will start at
the moment the MTC Start Offset time set in the MIDI display (page 267) of the Utility mode is received.
n MTC (MIDI Time Code) allows simultaneous synchronization of multiple audio devices via standard MIDI cables. It includes data
corresponding to hours, minutes, seconds, and frames. The MOTIF XS does not transmit MTC. An instrument such as the Yamaha AW2400
which can transmit MTC is necessary as an MTC master.
MIDI OUT
MIDI IN
MOTIF XS
84
MOTIF XS Owner’s Manual
AW2400, etc.
Connections
Controlling an MTR by using MMC transmitted from the MOTIF XS
You can control the start/stop and fast forward/rewind of an MMC-compatible MTR from the SEQ TRANSPORT buttons on
the front panel of this synthesizer, outputting MMC messages via MIDI.
MIDI IN
MIDI IN
SEQ TRANSPORT
LOCATE
1
MIDI OUT
MIDI OUT
2
MOTIF XS
AW2400, etc.
or
USB TO DEVICE connector
MOTIF XS
USB storage device such as
hard disk drive
Compatible USB devices
Connections
USB flash memory
Basic Operation
You can connect a USB storage device such as flash memory or a hard disk unit to the USB TO DEVICE connector on the
rear panel and save/load the files (including data created on the MOTIF XS) to and from it. When using USB storage
devices, follow the important precautions below.
Connect only a USB storage device (such as hard disk, CD-ROM, flash disk and other drives) to the USB TO DEVICE
connector. Other devices such as a computer keyboard or mouse cannot be used. Both bus-powered (powered by the host
device) or self-powered (battery or external power supply) types can be used. The MOTIF XS does not necessarily support
all commercially available USB storage devices. Yamaha cannot guarantee operation of USB storage devices that you
purchase. Before purchasing USB storage devices, please consult your Yamaha dealer, or an authorized Yamaha distributor
(see list at end of the Owner’s Manual) for advice, or visit the following website: http://www.yamahasynth.com/
n Although CD-R/W drives can be used to load data to the instrument, they cannot be used for saving data. However, you can transfer the data
to a computer and save it to a CD using the CD-R/W drive on the computer.
Formatting USB storage media
When an unformatted USB storage device is connected to the USB TO DEVICE connector or when unformatted media is
inserted to the USB device connected to the USB TO DEVICE connector, the indication “unknown device (usb***)” is shown
in the device list on the [F3] Format window of the File mode. If this happens, execute the Format operation in the Format
display (page 278).
n The three asterisks (***) in the example indication above denote the sequential serial numbers of the connected devices which need to be
formatted. When several partitions are included in a single device, the partition number is indicated at the right of the serial number.
Precautions when using the USB TO DEVICE connector
CAUTION
• Never turn the USB device’s power on/off and never plug/unplug the USB cable when the connected USB storage device is the
self-powered type. Doing so may result in the operation of the synthesizer “freezing” or hanging up.
• While the instrument is accessing data (such as in the Save, Load and Delete operations in the File mode), do NOT unplug the USB
cable, do NOT remove the media from the device, and do NOT turn the power off to either device. Doing so may corrupt the data on
either or both devices.
MOTIF XS Owner’s Manual
85
Basic Section
Using USB storage devices
Basic Structure
n MMC (MIDI Machine Control) allows remote control of multitrack recorders, MIDI sequencers, etc. An MMC-compatible multitrack recorder,
for example, will automatically respond to start, stop, fast forward, and fast reverse operations performed on the controlling sequencer, thus
keeping playback of the sequencer and multitrack recorder aligned.
Connections
Protecting your data (write-protect)
To prevent important data from being inadvertently erased, apply the write-protect provided with each storage device or
media.
Network connection
LAN connection
The MOTIF XS can be connected to a LAN network via the ETHERNET cable. When the MOTIF XS is connected to the LAN
network, the File mode lets you save the file created on the MOTIF XS to the computer drive connected to the same network.
Connect the MOTIF XS to the router or hub with a LAN cable. Connect a computer to the router or hub with a LAN cable or
the wireless connection.
Hub or router
LAN cable
LAN cable
ETEHRNET connector
Basic Structure
MOTIF XS
Basic Operation
Basic Section
Computer equipped with an
ETHERNET connector
n Make sure to use a straight LAN cable.
n Due to EU regulations, users within Europe should use an STP (shielded twisted pair) cable to prevent electromagnetic interference.
n If your computer is not equipped with an ETHERNET connector, install a commercially available LAN adaptor to the PCI slot or PC Card slot
of your computer.
Connections
n If you have a broadband router to connect your computer to the Internet, use an unused ETHERNET connector on the router to connect the
MOTIF XS. Keep in mind however, that this does not allow you the MOTIF XS to be connected to the Internet, but only to other computers and
drives on the network.
Network Settings
After the LAN connection is completed, you should set the network related parameters to make the connection active. Once
the MOTIF XS has been connected to the network, files can be saved or loaded between the MOTIF XS and the computer
connected to the same network. Call up the Network display (page 260) in the Utility mode.
File Sharing for accessing a computer from
the MOTIF XS
Follow the instructions below so that you can access a
computer from the MOTIF XS via the LAN network.
1
Call up the Network display (page 260) of the
Utility mode.
Press the [UTILITY] button to enter the Utility mode then
press the [F1] button and the [SF3] button to call up the
Network display.
2
Set the parameters related to the network.
1
2
3
4
5
6
7
8
9
)
!
@
#
Here, the minimum required settings (parameters 3
and )) are explained. For details on the other
parameters, see page 260.
3 DHCP Client
Set this parameter to “on,” if you have the network
using the device with the DHCP server function such as
a broadband router. When this is set to on, setting
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MOTIF XS Owner’s Manual
Connections
parameters 5 – 9 are not necessary. Set this
parameter to “off,” if your network does not use a
device with the DHCP server function.
below. Here, enter the User Account of your computer to
the User Name box, enter the password of your computer
to the Password box, then press the [ENTER] button so
that the access between the MOTIF XS and the computer
is established. The shared directories of the selected
computer are listed in the Sharing Point box (2).
) Security
Set this parameter to “workgroup,” if your network
administrator does not specify otherwise.
Parameters 1 and 2 are not necessary here.
Parameters 5 – 9 are necessary to be set if your
network does not use a device with the DHCP server
function. For details, see page 260. For instructions on
setting these parameters, consult your network
administrator or provider.
For information on the other parameters, refer to the
explanation of the Network display (page 260) in the
Utility mode.
n For details about how to confirm the User Account and
Password of your computer, refer to the owner’s manual of
your computer.
On your computer, set the folder which you want to access
from the MOTIF XS via network to the shared folder. For
details, refer to the owner’s manual of your computer.
5
Confirm whether or not the MOTIF XS and the
computer are properly connected to the
network.
Press the [FILE] button to enter the File mode, then press
the [F2] button to call up the Mount display (page 277). If
the MOTIF XS and the computer are connected properly,
the computer name is shown in the HOST column. If the
computer name is not shown, press the [SF5] Char button
then enter the computer name directly in the Host ($)
column. If the MOTIF XS and the computer are connected
properly, the name you input will be recognized.
$
%
Mount
Indicator
n Confirm the computer name on the operating system of
your computer. For details, refer to the owner’s manual of
your computer.
6
In the File mode of the MOTIF XS, access the
computer via network so that the shared
directory appears on the display.
Call up the Mount display of the File mode. When setting
the HOST (1) to a computer name containing the desired
shared directory, “Press [ENTER] to access” appears on
the display. Next, press the [ENTER] button so that the
display prompts you to enter the password as illustrated
n If a password has not been set on your computer, you
need not enter the password. Access can be established
even if you enter no password.
7
Mount the desired directories.
In the Sharing Point box (2), you can mount the shared
directory by moving the cursor to the desired directory,
then pressing the [ENTER] button. The mount indicator
appears at the left side of the mounted directory’s name.
By following the instructions above, you can access a
computer from the MOTIF XS via the LAN network. For
details, see page 86.
File Sharing for accessing the MOTIF XS from
a computer
Follow the instructions below so that you can access the
MOTIF XS (actually a USB storage device connected to the
MOTIF XS) from a computer via the LAN network. Call up
the Network display (page 260) in the Utility mode.
n Keep in mind that the internal Flash memory of the MOTIF XS
cannot be accessed from a computer via the LAN network.
Only the data saved to a USB storage device connected to the
MOTIF XS can be accessed from a computer via the LAN
network. If you want to share files between the MOTIF XS and
a computer, save the data stored in internal Flash memory to
an external USB storage device.
1
Call up the Network display (page 260) then set
the File Server Account (#).
If the account has not been set, the MOTIF XS can be
accessed using the account named “nobody.”
2
Set the password.
Press the [SF5] Password button to call up the password
window. For instructions on setting, see page 262.
3
Set the File Server parameter (4) to “on.”
MOTIF XS Owner’s Manual
87
Basic Section
Set the shared directory on your computer.
Basic Structure
4
Basic Operation
Press the [ENTER] button to actually apply the
settings to the MOTIF XS.
Connections
3
n Once access between the MOTIF XS and the computer
has been established, the shared directories are
automatically listed on the display simply by selecting a
computer in the Host column. If you turn the power off,
however, the operations for establishing access (entering
the User Account and Password) are necessary after
turning the power on next time.
Reference
Playing the Keyboard in the Voice Play Mode
Voice mode
The Voice mode is used for selecting, playing, and editing a desired Voice. The Voice Play mode is the main ‘portal’ by
which you enter the Voice mode, and it is here where you select and play a Voice. Some of the Voice settings can also be
edited in this mode. To call up the Voice Play display and enter the Voice mode, simply press the [VOICE] button.
Performance
mode
appear on the display. Note that the GM Drum Bank
contains only one Drum Voice, indicating that you
cannot select a Group.
Selecting a Voice
Sampling
mode 1
Song mode
This synthesizer has 128 Voices in each of 15 Banks:
Preset 1 – 8, User 1 – 3, GM, Preset Drum, User Drum, and
GM Drum. The Bank consists of eight Groups (A to H),
each of which contains 16 Voices. To select the desired
Voice, select the Bank, Group, then Number.
[PROGRAM] lamp is turned on
Mixing mode
Reference
Pattern mode
2
PRE 1
PRE 2
PRE 3
PRE 4
PRE 5
PRE 6
PRE 7
PRE 8
SAX/
WOODWIND
PIANO
KEYBOARD
ORGAN
GUITAR
BASS
STRINGS
BRASS
USER 1
USER 2
USER 3
GM
GM DR
PRE DR
USER DR
SYN LEAD
PADS/
CHOIRS
A
B
1
2
Sampling
mode 2
SOUND
EFX
MUSICAL
EFX
ETHNIC
D
E
F
G
H
4
5
6
7
8
12
13
14
SYN COMP CHROMATIC
DRUM/
PERCUSSION PERCUSSION
C
PROGRAM
Select a Voice.
Press one of the [1] to [16] buttons to select a Voice.
In this way (Steps 2 – 4), you can call up your desired
Voice.
n When selecting the Voice within the same Bank or Group,
it is not necessary to select the Bank or Group again. You
can use the [INC/YES] and [DEC/NO] buttons or data dial
to select the Voice number. This operation lets you call up
Voices in subsequent or previous Groups and Banks.
CATEGORY SEA
Decreases
number
3
Increases
number
SUB CATEGORY
4
3
PART SELECT
9
10
11
PERFORMANC
CONTROL
ARP ON/OFF
15
16
MUTE
DEC/NO
PART MUTE
Master mode
1
Utility mode
2
Decreases
number
ARP HOLD
Increases
number
The [PROGRAM] lamp lights, indicating that you can
select the desired Voice by specifying the Bank/Group/
Number.
Select a Voice using the Category
Search function
Select a Voice Bank.
The MOTIF XS features a Category Search function that
gives you quick access to the sound you want, irrespective
of their Bank locations. For instructions on using the
Category Function, refer to “Start Guide” on page 24.
File mode
Press one of the Bank buttons listed below to select a
Bank. Selecting a Bank calls up the Voice Select
window.
3
INC/YES
Press the [VOICE] button to enter the Voice
Play mode.
Buttons
Banks
[PRE 1] – [PRE 8] buttons
Preset Banks 1 – 8
[USER 1] – [USER 3] buttons
User Banks 1 – 3
[GM] button
GM Bank
[GM DR] button
GM Drum Bank
[PRE DR] button
Preset Drum Bank
[USER DR] button
User Drum Bank
Select a Group.
Press one of the [A] to [H] buttons to select a Group. If
you’ve selected a Drum Bank in the previous step,
press one of the [A] to [D] buttons to select a Group.
The name list of the 16 Voices in the selected Group will
88
4
MOTIF XS Owner’s Manual
Grouping your most-used Voices
together—Favorite Category
Category Search also has a convenient Favorite Category
that lets you bring together your most often used and
favorite Voices for easy selection. This is one more useful
way the MOTIF XS lets you quickly select the Voices you
need from the huge number available.
Playing the Keyboard in the Voice Play Mode
4
Register the Voice to the Favorite Category.
Press the [F5] button to register the Voice and turn on
the Favorite Switch. A checkmark appears in the box to
the left of the Voice name, indicating that the Voice has
been included in the Favorite Category. (Pressing the
[F5] button again turns the checkmark off, clearing the
selected Voice from the Favorite Category.) To clear all
previously registered Voices from the Favorite
Category—useful for when you want to create the
Favorite Category from scratch—press the [F6] button.
Favorite Switch
One of the more powerful performance features of the
MOTIF XS is its extensive set of real-time controls—
especially the Knobs and Control Sliders. These let you
adjust a variety of parameters for the current Voice, such
as effect depth, attack/release characteristics, tonal color,
and others. These real-time controls can be used to
change the sound as you play or to quickly edit and
customize the Voice. Three functions can be assigned to
each knob, alternatively selected via the [SELECTED PART
CONTROL] button. Each time the button is pressed, the
lamp lights alternatively in descending order, TONE1 →
TONE2 → ARP FX. For details, see page 26 in the Start
Guide.
n If the [E] (Edit) Indicator appears in the top right of the display,
the current Voice can be stored (page 97) as a new User
Voice.
n Holding down the [SELECTED PART CONTROL] button for a
few seconds will alternate the lit lamp from the current one to
TONE 1.
n A red point on the Knob or Slider graphic indicates the current
value to which the Knob or Slider is set. Moving the Knob or
Slider has no effect on the sound until this point is reached.
Once you move the Knob or Slider past this point, the red
point disappears and moving the Knob or Control Slider
affects the sound.
1
Call up the Favorite Select window.
Red point (current value)
Voice mode
File mode
Selecting a Voice from the Favorite
Category
n You can confirm the functions assigned to the eight knobs in
the Voice Play display, called up via the [F1] button. When a
display other than the Voice display is shown, you can confirm
the knob functions by pressing the [SELECTED PART
CONTROL] button, which calls up the Control Function
window.
Performance
mode
Using Knobs and Control Sliders
From the Category Search window, press the [F4]
button to call up the Favorite Select window.
The Favorite Select window shows all Voices registered
to the Favorite Category.
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89
Reference
Find the desired Voice by following the instructions on
page 24.
Sampling
mode 1
Select your favorite Voice.
Song mode
3
Pattern mode
Press the [CATEGORY SEARCH] button so that its
indicator lights and the Category Search window
appears.
n The order of the Voices in the Favorite Category cannot be
changed. If you want to create a custom order of Voices
for quick selection during your performance, store the
Voices to one of the User banks.
Mixing mode
Call up the Category Search window.
Select the desired Voice by using the [INC/YES] and
[DEC/NO] buttons or data dial to move the cursor
upward or downward in the Voice List.
Sampling
mode 2
2
Press the [VOICE] button to enter the Voice
Play mode.
Select a Voice.
Master mode
1
2
Utility mode
Registering your favorite Voices to the
Favorite Category
Playing the Keyboard in the Voice Play Mode
Knob Functions
[SELECTED PART CONTROL] button
Voice mode
SELECTED PART
CONTROL
1TONE 1
CUTOFF
2TONE 2
EQ LOW
EQ MID F
EQ
SWING
QUANTIZE
VALUE
QUANTIZE
STRENGTH
3ARP FX
RESONANCE
AT TACK
MID
DECAY
SUSTAIN
RELEASE
ASSIGN 1
ASSIGN 2
EQ MID Q
EQ HIGH
PAN
REVERB
CHORUS
GATE TIME
VELOCITY
OCT RANGE
UNITMULTIPLY
TEMPO
REVERB
CHORUS
PAN
Knob 1
CUTOFF
Raises or lowers the Filter Cutoff Frequency (page 94) to adjust the tone brilliance.
Knob 2
RESONANCE
Raises or lowers the Resonance (page 94) to boost the level of the signal in the area of the cutoff
frequency. By emphasizing the overtones in this area, this can produce a distinctive “peaky” tone,
making the sound brighter and harder.
Knob 3
ATTACK
Increases or decreases the EG Attack Time (page 94) of the current Voice. The smaller the value, the
faster the attack.
Knob 4
DECAY
Increases or decreases the EG Decay Time (page 94) of the current Voice to determine how fast the
volume falls from maximum attack level to the sustain level. The smaller the value, the faster the decay.
Knob 5
SUSTAIN
Increases or decreases the EG Sustain Level (page 94) at which the volume will continue while a key
is held, after the initial attack and decay. Turn the knob counter-clockwise to make the sound cut off
more sharply after the decay.
Knob 6
RELEASE
Increases or decreases the EG Release Time (page 94) of the sound to determine how fast the volume
falls from the sustain level to zero when a key is released. The lower the value, the faster the release.
Knob 7
ASSIGN 1
Knob 8
ASSIGN 2
A variety of functions can be assigned to these Knobs. You can confirm the functions currently
assigned to these Knobs in the Voice Play display (page 91). The Controller Set display (page 104) in
the Voice Common Edit mode lets you assign the functions to these Knobs.
Pattern mode
Moving Knobs 1 and 2 changes the Filter parameters on the EG/EQ display. Moving Knobs 3 – 6
changes the Amplitude EG parameters.
Song mode
Mixing mode
Reference
1 When the TONE 1 lamp is turned on:
Sampling
mode 1
Performance
mode
MULTI PART
CONTROL
Sampling
mode 2
Master mode
Utility mode
2 When the TONE 2 lamp is turned on:
Moving Knobs 1 – 5 changes the EQ parameters in the EG/EQ display (page 94). Moving Knobs 6 – 8
changes the parameters in the Play Mode display (page 98) and the Effect Connect display
(page 107) of the Voice Common Edit mode.
Knob 1
EQ LOW
Increases or decreases the EQ Low Gain (page 95) to change the sound.
Knob 2
EQ MID F
(EQ Middle Frequency)
Increases or decreases the EQ Middle Frequency (page 95) around which the band is adjusted via
Knob 3 (EQ MID).
Knob 3
EQ MID (EQ Middle Gain)
Increases or decreases the EQ Middle Gain (page 95) to change the current Voice.
Knob 4
EQ MID Q (EQ Middle Q)
Increases or decreases the EQ Middle Q (page 95) to change the width of the band over which you
can adjust the gain via Knob 3 (EQ Middle Gain). Turning Knob 4 clockwise increases the Q value to
reduce the band width. Turning Knob 4 counter-clockwise decreases the Q value to widen the band
width.
Knob 5
EQ HIGH (EQ High Gain)
Increases or decreases the EQ High Gain (page 95) to change the current Voice.
Knob 6
PAN
Adjusts the stereo pan position of the current Voice (page 99).
Knob 7
REVERB
Adjusts the Reverb Send Level (page 108).
Knob 8
CHORUS
Adjusts the Chorus Send Level (page 108).
File mode
3 When the ARP FX lamp is turned on:
Moving Knobs changes the Arpeggio related parameters in the Voice Common Edit mode.
This operation is available when the Arpeggio function is turned on.
Knob 1
SWING
Adjusts the swing feel of the Arpeggio playback (page 103). Turning it clockwise increases the swing
feel whereas turning it counter-clockwise decreases it.
Knob 2
QUANTIZE VALUE
Adjusts the Quantize Value (page 102), or note resolution, to which the note data of the Arpeggio will
be aligned. Turning it clockwise increases the gate time of the note type set as the Quantize Value
whereas turning it counter-clockwise decreases it.
Knob 3
QUANTIZE STRENGTH
Adjusts the Quantize Strength (page 103) by which note events of the Arpeggio are pulled toward the
nearest quantize beats. Turning the Knob clockwise pulls note events to the quantize beat.
Knob 4
GATE TIME
Adjusts the Gate Time Rate (page 103) of the Arpeggio notes. Turning it clockwise lengthens the gate
times to produce legato playback whereas turning it counter-clockwise shortens them.
Knob 5
VELOCITY
Adjusts the Velocity Rate (page 103) of the Arpeggio notes.
Knob 6
OCT RANGE (Octave Range)
Adjusts the Octave Range (page 103) for the Arpeggio playback.
Knob 7
UNITMULTIPLY
Adjusts the Unit Multiply (page 102) of the Arpeggio playback to expand/reduce the Arpeggio
playback time based on tempo.
Knob 8
TEMPO
Adjusts the tempo for the Arpeggio playback.
n Controlling the Knob adds the parameter value to the current one for the current Voice. Accordingly, if the parameter has been already set to
the maximum or minimum value, its value will not be changed even if you operate the Knob.
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MOTIF XS Owner’s Manual
Playing the Keyboard in the Voice Play Mode
Control Slider functions
Using the Arpeggio function
You can set the MIDI transmit channel over which the
keyboard/controller performance sends MIDI data (to an
external sequencer, tone generator, or other device).
The Arpeggio function lets you trigger rhythm patterns, riffs
and phrases using the current Voice by simply playing
notes on the keyboard. For instructions on using the
Arpeggio, refer to the Start Guide on page 24.
1
Press the [TRACK] button so that its lamp
lights.
2
Pressing any of the Number buttons [1] – [16]
to determine the MIDI transmit channel.
3
After setting, press the [PROGRAM] button to
return to the original status.
n This parameter is same as the Keyboard Transmit
Channel (page 268) in the MIDI display of the Utility
mode. Making a setting here automatically changes the
setting of that parameter as well.
The Voice Play display
The Voice Play display is the first display called up when
pressing the [VOICE] button and entering the Voice mode.
1
2
3
Performance
mode
Sampling
mode 1
Song mode
Utility mode
Keyboard MIDI transmit channel
setting
5
6
4
7
8
9
)
!
@
#
$
%
MOTIF XS Owner’s Manual
91
Reference
n If you wish to shift notes on the keyboard up or down in
semitones, edit the Transpose parameter (page 260) in the
Play display of the Utility mode.
Pattern mode
n This parameter is same as the Octave (page 260) in the Play
display of the Utility mode. Making a setting here automatically
changes the setting of that parameter as well.
Mixing mode
Edit Indicator
Sampling
mode 2
When changing the value of the parameter in the Voice
Play or Edit mode, the [E] (Edit) Indicator will appear on the
top right corner of the LCD display. This gives a quick
confirmation that the current Voice has been modified but
not yet stored. To store the current edited status, follow the
instructions on page 97.
Master mode
The [E] Indicator
Sometimes when playing a Voice, you may wish to play in a
lower or higher pitch range. For example, you may want to
shift the pitch down lower to get extra bass notes, or shift up
to get higher notes for leads and solos. The Octave Up/Down
controls let you do this quickly and easily. Each time you press
the OCTAVE [UP] button on the panel, the overall pitch of the
Voice goes up by one octave. Likewise, each press of the
OCTAVE [DOWN] button takes the pitch down by one octave.
The range is from -3 to +3, with 0 being standard pitch. The
current octave setting is shown at the top right of the display.
You can instantly restore standard pitch (0) by simultaneously
pressing both the OCTAVE [UP] button and the OCTAVE
[DOWN] button (both lamps turn off).
The lamp status of the OCTAVE [DOWN]/[UP] button lets you
recognize at a glance the current octave setting. When set to
one octave down or up, the corresponding lamp lights. When
set to two octaves down or up, the corresponding lamp
flashes slowly. When set to three octaves down or up, the
corresponding lamp flashes quickly.
File mode
The eight Control Sliders let you adjust the volume of eight
Elements (page 56) making up the current Normal Voice.
Each of the Control Sliders 1 – 8 corresponds to each of
Elements 1 – 8. It is a good idea to check which Elements
are used for the current Normal Voice by using the
Information display (page 93) before using the Control
Sliders. Keep in mind that when a Drum Voice is selected,
a single Slider may affect the volume of all sounds/keys
simultaneously.
Voice mode
Keyboard Octave setting
Playing the Keyboard in the Voice Play Mode
Voice mode
Performance
mode
Sampling
mode 1
Song mode
Pattern mode
Mixing mode
Reference
Sampling
mode 2
Master mode
Utility mode
File mode
92
1 Voice Bank
3 Category (Main Category 1/Main Category 2)
Indicates the Bank of the current Voice.
The Voice Bank is the memory that includes data of Normal
Voices and Drum Voices. There are 15 Voice Banks as
follows.
Indicates the Main Category of the selected Voice.
“Category” is a keyword that indicates the instrument
characteristics or the type of sound. A Preset Voice is
registered to two Main Categories. The Category settings
can be edited in the General display (page 98) of the Voice
Common Edit. For details, refer to the explanation of the
General display.
PRE1 – 8 (Preset Bank 1 – 8)
Each of these Banks includes 128 different preset Voices.
USR1 – 3 (User Bank 1 – 3)
These Banks can be used for storing the Voices you create
and edit. 128 different Voices are pre-programmed in each of
these Banks.
GM
This Bank contains 128 different Voices which correspond to
the order specified by the General MIDI (GM) format.
GMDR (GM Drum Bank)
This Bank contains a single Drum Voice, in which the drum
instrument assignment corresponds to the General MIDI (GM)
format.
4 Voice Name
Indicates the name of the current Voice.
5 Transmit CH (MIDI Transmit Channel)
Indicates the MIDI channel over which the keyboard/
controller performance sends MIDI data (to an external
sequencer, tone generator, or other device). For
information about how to set the value, see page 91.
6 Octave
PDR (Preset Drum Bank)
This Bank includes 64 different preset Drum Voices.
UDR (User Drum Bank)
This Bank can be used for storing the Drum Voices you create
and edit.
Indicates Keyboard Octave setting set via the OCTAVE
buttons. This parameter determines how much higher or
lower the pitch of each key is compared to normal pitch.
7 Control Function
GM Voices
GM (General MIDI) is a worldwide standard for Voice
organization and MIDI functions of synthesizers and tone
generators. It was designed primarily to ensure that any
song data created with a specific GM device would
sound virtually the same on any other GM device—no
matter the manufacturer or the model. The GM Voice
bank on this synthesizer is designed to appropriately
play back GM song data. However, keep in mind that the
sound may not be exactly the same as played by the
original tone generator.
2 Voice Number (Group/Number)
Each Voice within a Bank is assigned to a Voice Number of
001 to 128.
Group
Voice Bank
Number
Indicates the status of the Knobs and Control Sliders on the
panel. This is same as the Control Function window
(page 89).
8 Assign Settings
Indicates the functions assigned to the respective Knobs,
ASSIGNABLE FUNCTION buttons, and other controllers.
The function assignment can be set in the Control Assign
display (page 147) of the Performance Common Edit mode
and Controller Set display (page 104) of the Voice
Common Edit mode.
MW (Modulation Wheel)
Indicates the function assigned to the Modulation Wheel.
RB (Ribbon Controller)
Indicates the function assigned to the Ribbon Controller.
AF1, AF2 (Assignable Function 1, 2)
Indicates the functions assigned to the two ASSIGNABLE
FUNCTION buttons.
Voice Number
Voice Numbers 001 to 128 are converted to the format
(shown in the parentheses) related to Banks A to H and
Numbers 1 to 16 (for each Bank). This format is related to
the Group buttons [A] – [H] and the Number buttons [1] –
[16]. The Voice Numbers and the corresponding Group/
Numbers are listed below.
Group/Number
Voice Number
A01 – 16
B01 – 16
C01 – 16
D01 – 16
E01 – 16
F01 – 16
G01 – 16
H01 – 16
001 – 016
017 – 032
033 – 048
049 – 064
065 – 080
081 – 096
097 – 112
113 – 128
MOTIF XS Owner’s Manual
AS1, AS2 (Assign 1, 2)
Indicates the functions assigned to the respective Knobs
(printed “ASSIGN 1” and “ASSIGN 2”) when the TONE1 lamp
is lit.
9 [SF1] ARP1 – [SF5] ARP5 (Arpeggio 1 – 5)
The Arpeggio types are assigned to the buttons with the
8th note icon on the display tab. You can call them up by
pressing these buttons any time during your keyboard
performance. Assigning Arpeggio types to the buttons can
be done from the Arpeggio display (page 95).
) [SF6] INFO (Information)
Pressing this button calls up the information page of the
current Voice. For details, refer to “Voice Information”
below.
% [F6] Effect
Indicates the status (active/inactive) of the eight Elements
making up the current Voice. Elements that are active are
indicated by their corresponding numbers. An asterisk “*”
indicates the corresponding Element is muted although the
Element Switch parameter is turned on.
A hyphen “-” indicates the corresponding Element Switch
parameter is turned off.
Pressing this button calls up the Effect Connect display
(page 107) of the Voice Common Edit mode.
8 Portamento
$ [F4] Arpeggio
Pressing this button calls up the Arpeggio display
page 95).
Indicates the Portamento Switch on/off status (page 93) of
the current Voice.
9 Pitch Bend Range
Voice information—[SF6] INFO
(Information)
Indicates the Upper/Lower setting of the Pitch Bend Range
(page 99) for the current Voice.
This display indicates the information of the current Voice.
Settings cannot be changed here.
Indicates the Effect settings (for Insertion A, Insertion B,
Reverb and Chorus) of the current Voice.
n Parameters 6, 7 and 8 are not available when the Drum
Voice is selected.
1
2
3
4
5
7
9
) Effects
6
8
)
1 Bank
Indicates the Bank of the selected Voice program. The
values in parentheses indicates the Bank Select MSB and
LSB which can be used to select the current Voice via
MIDI.
Portamento settings—[F2] Porta
From this display you can select monophonic or
polyphonic playback and set the Portamento parameters.
Portamento is used to create a smooth transition in pitch
from the first note played on the keyboard to the next. The
value set here is applied to the parameters having the
same names in the Play Mode display (page 91) of the
Voice Common Edit mode.
n This display is not available when a Drum Voice is selected.
1
2
3
2 Program (Voice Number)
To each Voice within a Bank, a Number of 001 to 128 is
assigned. The values in parentheses indicates Group and
Number.
3 Main Category 1
Main Category 2
Indicates the Main Category 1/Main Category 2 of the
current Voice.
4 Name
Indicates the name of the current Voice.
4
1
2
3
4
Portamento Switch
Portamento Time
Portamento Mode
Mono/Poly Mode
These are the same as in the Play Mode display (page 98)
of the Voice Common Edit.
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93
Reference
7 Element Switch
Performance
mode
Pressing this button to call up the display that contains the
basic EG, Filter, and EQ settings (page 94).
Sampling
mode 1
# [F3] EG/EQ (Envelope Generator/Equalizer)
Song mode
Indicates whether the current Voice is set to Mono (only
one note can be played at a time) or Poly (multiple notes
can be played at a time).
Pattern mode
6 Mono/Poly
Pressing this button calls up the Portamento display
(page 93).
Mixing mode
@ [F2] Porta (Portamento)
Sampling
mode 2
Indicates whether the current Voice type is the Normal
Voice or Drum Voice.
Master mode
Pressing this button returns from the previous display to the
Voice Play display.
Utility mode
5 Voice Type
File mode
! [F1] Play (Voice Play)
Voice mode
Playing the Keyboard in the Voice Play Mode
Playing the Keyboard in the Voice Play Mode
Applying the Portamento to the Voice
Follow the instructions below to apply the Portamento to
the current Voice you play on the keyboard.
1 AEG (Amplitude EG)
Using the AEG, you can control the transition in volume
from the moment the sound starts is to the moment the
sound stops.
Attack (Attack Time)
Voice mode
1
Press the [VOICE] button to enter the Voice
Play mode.
Performance
mode
Select a Voice to which the Portamento is applied. The
Portamento is effective especially for a Voice that
sustains or continues to sound while the key is being
held down.
2
Sampling
mode 1
3
Press the [F2] button to call up the Portamento
display.
Set the Portamento Switch to on.
Determines the speed of attack from the time a key is played
until the maximum initial level of the EG is reached.
Decay (Decay Time)
Determines how fast the volume falls from maximum attack
level to the sustain level.
Sustain (Sustain Level)
Determines the sustain level at which the volume will continue
while a note is held, after the initial attack and decay. The
smaller the value, the sharper the sound.
Release (Release Time)
Determines how fast the volume falls from the sustain level to
zero when a note is released.
Settings: -64 – +0 – +63
Song mode
4
Set the Portamento Time.
For best results, set this to a relatively high value.
Mixing mode
Reference
Pattern mode
5
Play two different keys alternatively to confirm
the Portamento.
It is a good idea to press a certain note then press the
one octave higher or lower note for confirming how the
Portamento is applied.
n When a Drum Voice is selected, the Sustain Level and
Release Time are not available. “---” appears at each of
the corresponding columns and these parameters cannot
be edited.
2 FEG (Filter EG)
Using the FEG, you can control the transition in tonal color
(Cutoff Frequency) from the moment the sound starts to the
moment the sound stops. Actual transition of tonal color
differs depending on the Filter type (page 117) of the Voice
Element.
Attack (Attack Time)
Sampling
mode 2
Changing tonal color—[F3] EG/EQ
Master mode
Utility mode
File mode
You can change the tonal color or timbre of the sound by
editing the EG/EQ settings for all Elements making up the
Voice. The EG settings made here will be applied to the
same parameters in the Amplitude EG display (page 123)
and Filter EG display (page 119) for all Elements as an
offset. In other words, editing the value here will add to or
subtract from the current value. Accordingly, if the
parameter has been already set to the maximum or
minimum value, its value will not be changed even if you
set the parameter to higher or lower value in this display.
Note that the EQ settings here are applied to the Voice
directly.
Determines the speed of filter variation from the time a note is
played until the maximum initial level of the Cutoff Frequency
is reached.
Decay (Decay Time)
Determines how fast the Cutoff Frequency falls from maximum
attack level to the sustain level.
Release (Release Time)
Determines how fast the Cutoff Frequency falls from the
sustain level to zero when a note is released.
Depth
Determines the range over which the cutoff frequency of the
Filter EG changes. A setting of 0 will result in no change in the
cutoff frequency. The farther from 0 the value is, the larger the
range of the cutoff frequency. For negative values, the change
of the cutoff frequency is reversed.
Settings: -64 – +0 – +63
1
2
3
4
5
3 Filter
This unit modifies the tonal color of the sound by cutting
the output of a specific frequency portion of the sound.
Actual tonal color differs depending on the Filter type
(page 117) of the Voice Element. The Low Pass Filter cuts
the signals above the Cutoff Frequency while the High
Pass Filter cuts the signals below the Cutoff Frequency.
Cutoff
Determines the Cutoff Frequency for the Filter, when the Low
Pass Filter is selected, for example, the larger the value the
brighter the decay.
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MOTIF XS Owner’s Manual
Playing the Keyboard in the Voice Play Mode
1
2
3
4
Settings:
Gain
Determines the level gain for the Frequency (set above), or the
amount the selected frequency band is attenuated or boosted.
The higher the value, the greater the Gain. The lower the
value, the lesser the Gain.
Song mode
6
7
8
9
5
Arpeggio Type Name
Settings: -12.00 dB – +0.00 dB – +12.00 dB
Q (Bandwidth)
Determines the Q (bandwidth) for the Mid band. The higher
the value, the smaller the bandwidth. The lower the value, the
wider the bandwidth.
Settings: 0.7 – 10.3
n The Q setting is available only for the Mid band, which is a
Peaking type EQ. Peaking (referring to the “peak” shape)
lets you attenuate/boost a specific frequency and allows
you to control how wide or narrow the bandwidth is. On
the other hand, the EQ shape of the High and Low band is
the Shelving type which lets you attenuate/boost the
signal at frequencies above or below the specified
Frequency setting.
5 EQ graph
1
2
3
4
5
6
7
8
9
Switch
Hold
Tempo
Velocity Limit
[SF1] ARP1 – [SF5] ARP5 (Arpeggio 1 – 5)
buttons
Bank
Category
Sub Category
Type
These are the same as in the Arpeggio Main display
(page 101) of the Voice Common Edit.
Low
Mid
Utility mode
Indicates the EQ settings as a graph. The vertical axis
indicates the gain, and the horizontal axis indicates the
frequency.
High
Frequency
File mode
Gain
Q
MOTIF XS Owner’s Manual
95
Reference
Low: 50.1Hz – 2.00kHz
Mid: 139.7Hz – 10.1kHz
High: 503.8Hz – 14.0kHz
Voice mode
Performance
mode
Frequency
Determines the frequency for each frequency band. Set the
value to the frequency around which you wish to attenuate or
boost.
Sampling
mode 1
This is a parametric EQ featuring three bands (High, Mid
and Low). You can attenuate or boost the level of each
frequency band (High, Mid, Low) to change the Voice
sound. For the Mid band, you can also set the Q (Band
Width).
Pattern mode
4 EQ
This display determines the basic settings of the Arpeggio.
Keep in mind that the parameters of Bank (6) – Type (9)
have five settings which can be edited in each of the [SF1]
ARP1 through [SF5] ARP5 displays. The value set here is
applied to the parameters having the same names in the
Arpeggio Main display (page 101) of the Voice Common
Edit mode.
Mixing mode
Settings: -64 – +0 – +63
Arpeggio settings—[F4] Arpeggio
Sampling
mode 2
Determines the emphasis given to the Cutoff Frequency.
Higher values result in a more pronounced effect.
Master mode
Reso (Resonance)
Editing a Normal Voice
Voice mode
“Editing” refers to the process of creating a Voice by changing the parameters that make up the Voice. This can be done in
Voice Edit, a sub mode within the Voice mode. To enter the Voice Edit mode, press the [VOICE] button to first call up the
Voice mode, then press the [EDIT] button.
4
Performance
mode
Common Edit and Element Edit
Sampling
mode 1
A Normal Voice, which contains pitched musical
instrument-type sounds that can be played over the range
of the keyboard, can consist of up to eight Elements. There
are two types of Normal Voice Edit displays: those for
Common Edit to edit the settings common to all Elements,
and those for Element Edit to edit individual Elements.
Tab menus corresponding
to the [F1] – [F6] buttons
Song mode
Lets you edit the
parameters of the
individual Elements that
make up a Voice.
Mixing mode
Reference
Pattern mode
Element Edit 1– 8
Lets you edit the
parameters common to
all Elements of the
selected Voice.
Sampling
mode 2
Master mode
Utility mode
2
Press the [VOICE] button to enter the Voice
Play mode.
Select a Normal Voice to be edited.
3
Press the [EDIT] button to enter the Voice Edit
mode.
File mode
Call up the desired Edit display, Common Edit
or Element Edit.
To call up the Common Edit display, press the
[COMMON EDIT] button. To call up the Element Edit
display, press one of the Number buttons [1] – [8] to
select the Element to be edited.
Indicates this display is in the Common Edit mode.
COMMON EDIT
1
2
3
PART SELECT
4
5
6
7
ARP ON/OFF
Selecting an Element
Indicates this display is in the Element Edit mode.
MOTIF XS Owner’s Manual
Tab menus corresponding
to the [SF1] – [SF6] buttons
n By pressing the [SF6] button, you can use various
functions such as the Information display, Character input
(page 82), Number button function (page 81), and List
display/selection (page 82). The function called up via the
[SF6] button differs depending on the selected parameter
where the cursor is located.
Editing Normal Voices
1
96
To find the desired display, note the tab menu items
corresponding to the [F1] – [F6] buttons and [SF1] –
[SF5] buttons at the bottom of the display.
Normal Voice Edit
Common Edit
Call up the desired display.
8
5
Move the cursor to the desired parameter.
6
Edit the value by using the [INC/YES], [DEC/
NO] buttons and the data dial.
7
Repeat steps 3 – 6 as desired.
8
Enter the desired name for the edited Voice.
Use the Name display (page 98) of the Voice Common
Edit mode.
9
Store the edited Voice.
Press the [STORE] button to call up the Store window
(page 97) then store the edited Voice.
CAUTION
The edited Voice will be lost when selecting the different Voice
or turning the power off. Make sure to store the Voice data to
the internal memory by pressing the [STORE] button before
selecting a different Voice or turning the power off.
n If desired, save the edited and stored Voices to a USB
storage device connected to the USB TO DEVICE
connector or a computer connected to the network to
which the MOTIF XS is also connected. Keep in mind that
edited Voice data is stored to internal User memory (Flash
ROM) and is maintained even when turning the power off.
As such it is not necessary to save the data to an external
device; however, we still recommend that you save or
archive all important data to an external device. Refer to
page 278 for details.
Editing a Normal Voice
When the [E] indicator is shown in the Voice Play mode,
press the [EDIT] button to enter the Voice Edit mode
then press the [EDIT] button again to call up the
Compare mode.
Convenient functions for editing
Voices
Compare indicator (sound prior to editing)
12
13
14
PART SELECT
9
10
11
7
PERFORMANCE
CONTROL
ARP ON/OFF
PART MUTE
15
TRACK
8
MUTE
16
SOLO
Compare the edited sound with the unedited sound as
desired by repeating steps 1 and 2.
n While Compare is active, you cannot make edits to the Voice.
ARP HOLD
Use number buttons [9] – [16] to turn each Element on/off
Storing the created Voice
Soloing the Element to be edited
1
Press the [STORE] button to call up the Voice
Store window.
2
Set the destination for storing the Voice.
Use number buttons [1] – [8] / [9] – [16] to turn on only the Element
you want to edit
1
2
3
4
5
PART SELECT
9
10
11
6
7
13
PART MUTE
14
15
TRACK
8
Select the destination User Bank (USER 1 – 3 for the
Normal Voice, USER DR for the Drum Voice) and the
Voice number to be stored by using the data dial, [INC/
YES] and [DEC/NO] buttons. You can also use the
[USER 1] – [USER 3], [USER DR], Group [A] – [H], and
Number [1] – [16] buttons to specify the destination.
PERFORMANCE
CONTROL
ARP ON/OFF
12
16
MUTE
SOLO
ARP HOLD
The [E] Indicator
3
4
The Compare function lets you switch between the justedited Voice and its original, unedited condition, allowing
you to hear how your edits affect the sound.
1
Press the [EDIT] button to call up the Compare
mode.
In the Voice Edit mode (with the [EDIT] lamp lit), press
the [EDIT] button so that its lamp flashes. The [E]
indicator at the top right of the screen will change to the
[C] indicator and the Voice settings prior to editing will
temporarily be reinstated for comparison purposes.
Press the [ENTER] button. (The display
prompts you for confirmation.)
To cancel the Store operation, press the [DEC/NO]
button.
The [E] (Edit) indicator will appear in the Voice Edit mode
as well as in the Voice Play mode. For details, see page 97.
Compare function
Performance
mode
Mixing mode
If you want to turn on only the Element you're editing, press
the [SOLO] button to turn it on, and then press a number
button [1] – [8] or [9] – [16]. For example, if you want to turn
on only Element 1 and edit it, press the [1] or [9] button to
make the [1] indicator light and the [9] indicator flash.
Press the [INC/YES] button to execute the
Store operation.
After the Voice has been stored, a “Completed”
message appears and operation returns to the Voice
Play display. In this condition, the just stored Voice is
selected as shown in the display, letting you instantly
play the just edited Voice.
CAUTION
When you execute the Store operation, the settings for the
destination memory will be overwritten. Important data should
always be backed up to a separate USB storage device. For
detailed instructions on saving, see page 278.
n Keep in mind that the destination of “Store” is internal
memory (Flash ROM) whereas the destination of “Save” is
external memory such as a USB storage device.
MOTIF XS Owner’s Manual
97
Reference
6
Sampling
mode 1
5
Sampling
mode 2
4
Master mode
3
Utility mode
2
Song mode
When the [C] indicator is shown at the right top of the
display, press the [EDIT] button (the lamp lights
continuously, and the [C] indicator changes back to the
[E] indicator).
Use number buttons [1] – [8] to select the Element you want to edit
1
Press the [EDIT] button again to return to the
original status.
Pattern mode
2
File mode
In the Voice Edit mode, you can always use the number
buttons [1] – [8] to select an Element. The [1] – [8] buttons
indicate the Element being edited. To switch each Element
on/off, turn the [MUTE] button on, and then use number
buttons [9] – [16].
Voice mode
Switching an Element on/off
Editing a Normal Voice
Common Edit parameters
[VOICE] ➞ Normal Voice selection ➞ [EDIT] ➞ [COMMON EDIT]
Common Edit lets you edit the parameters common to all Elements of the selected Normal Voice.
Voice mode
About the asterisk (*) marks
For users who are new to Voice editing and may be confused by the large amount of parameters, the most basic and easy-to-understand
parameters are conveniently marked with asterisks. If you are just starting out with Voice editing, try these parameters first.
Performance
mode
Settings: See the following list.
General settings for the selected
Voice—[F1] General
Sampling
mode 1
Naming the edited Voice—[SF1] Name
Song mode
1
2
4
3
5
Pattern mode
Mixing mode
Reference
1 Name*
Sampling
mode 2
Master mode
Enters the desired name for the Voice. The Voice name can
contain up to 20 characters.
You can call up the character list by pressing the [SF6]
CHAR button, then select the desired one from the list. For
detailed instructions on naming, refer to “Basic Operation”
on page 82.
Utility mode
2
3
4
5
Main Category 1*
Sub Category 1*
Main Category 2*
Sub Category 2*
File mode
Determines the two Main Categories and their Sub
Categories to which the Voice belongs respectively.
“Category” can be used as a keyword representing the
characteristic of the Voice. The appropriate setting makes it
easy to find the desired Voice from a variety of Voices. There
are 16 Main Categories which indicate types of instruments.
There are up to five Sub Categories for each Main Category,
indicating more detailed types of instruments.
Main Category
Sub Category
Acoustic Piano
Pn
Acoustic
Layer
Modern
Vintage
Arpeggio
Keyboard
Kb
Electric
Piano
FM Piano
Clavi
Synth
Arpeggio
Organ
Or
Tone Wheel Combo
Pipe
Synth
Arpeggio
Guitar
Gt
Acoustic
Electric
Clean
Electric
Distortion
Synth
Arpeggio
Bass
Bs
Acoustic
Electric
Synth
Arpeggio
Strings
St
Solo
Ensemble
Pizzicato
Synth
Arpeggio
Brass
Br
Solo
Brass
Ensemble
Orchestra
Synth
Arpeggio
—
Sax / Woodwind SW
Saxophone
Flute
Woodwind Reed / Pipe Arpeggio
Synth Lead
Ld
Analog
Digital
Hip Hop
Dance
Synth Pad/Choir Pd
Analog
Warm
Bright
Choir
Arpeggio
Synth Comp
Sc
Analog
Digital
Fade
Hook
Arpeggio
Chromatic
Percussion
Cp
Mallet
Percussion
Bell
Synth Bell Pitched
Drum
Drum /
Percussion
Dr
Drums
Percussion Synth
Arpeggio
Sound Effect
Se
Moving
Ambient
Nature
Sci-Fi
Musical Effect
Me
Moving
Ambient
Sweep
Hit
Arpeggio
Ethnic
Et
Bowed
Plucked
Struck
Blown
Arpeggio
Arpeggio
Arpeggio
—
Arpeggio
n You can call up the list by pressing the [SF6] LIST button then
select the desired one from the list. For details, see page 82.
Play Mode Settings such as Micro Tuning
and Mono/Poly—[SF2] Play Mode
From this display, you can make various settings such as
Mono or Poly, Pitch, Portamento, and Micro Tuning.
1
2
9
)
3
4
5
!
@
#
$
%
6
7
8
1 Volume*
Determines the output level of the Voice. Set this parameter
to adjust the balance between the current Voice and other
Voices.
Settings: 0 – 127
98
MOTIF XS Owner’s Manual
Editing a Normal Voice
Determines the maximum Pitch Bend range in semitones.
Setting the Upper parameter to +12 would result in a
maximum pitch rise of one octave when the Pitch Bend
wheel is moved upwards. On the other hand, the Lower
setting of -12 would result in the pitch being lowered up to
a maximum of one octave (12 semitones) when the Pitch
Bend wheel is moved downwards.
3
C–B
Andreas Werckmeister, a
contemporary of Bach, designed this
tuning so that keyboard instruments
could be played in any key. Each key
has a unique character.
4
C–B
Johann Philipp Kirnberger, an 18th
century composer, created this
tempered scale to allow
performances in any key.
C–B
Francescatonio Vallotti and Thomas
Young (both mid-1700s) devised this
adjustment to the Pythagorean
tuning, in which the first six fifths are
lowered by the same amount.
Kirnberger
5
Vallot&Yng
6
Determines the Micro Tuning Bank.
Settings: PRE, USR
7
PRE (Preset)
Contains the 13 preset Micro Tuning types.
USR (User)
Contains your original Micro Tuning types created in the Micro Tuning
display (page 265) of the Utility mode.
7 Tuning Number
Determines the Micro Tuning number. The Preset Bank
provides 13 types including the most common “equal
temperament.”
Settings:
Preset Bank: 1 – 13 (See the Micro Tuning list below.)
User Bank: 1 – 8
8 Tuning Root
Sets the base note for each scale. For some scales this
setting may not be necessary.
Settings: C – B
What is Micro Tuning?
This function lets you change the keyboard scale from
normal tuning (equal temperament) to one of a variety of
special scales. You can determine the scale type for
each voice by simply selecting a Tuning number. You can
also use original Micro Tuning types that you’ve created
in the Micro Tuning display (page 265) of the Utility
mode.
1/4 Shift
—
This is the normal equal tempered
scale shifted up 50 cents.
—
Twenty-four equally spaced notes per
octave. (Play twenty-four notes to
move one octave.)
—
Forty-eight equally spaced notes per
octave. (Play forty-eight notes to
move one octave.)
—
Usually observed in Indian music
(white keys only).
1/4 tone
8
1/8 tone
9
10
Indian
11
Arabic 1
12
Arabic 2
13
Arabic 3
Usually observed in Arabic music.
C–B
9 Mono/Poly*
Selects monophonic or polyphonic.
Settings: mono, poly
mono
When set to “mono,” the selected Voice is played back monophonically
(only a single note is played back simultaneously). For many
instrument sounds (such as bass and synth lead), this allows a more
natural and smooth sounding legato performance than when this
parameter is set to “poly.”
Voice mode
The same as Pure Major, but
designed for the minor scale.
Performance
mode
C–B
Werckmeist
Settings: -48 semi – +0 semi – +24 semi
6 Bank (Micro Tuning Bank)
PureMinor
poly
When set to “poly,” the selected Voice is played back polyphonically
(multiple notes can be played back simultaneously or a chord is
played back).
MOTIF XS Owner’s Manual
99
Reference
4 PB Range Upper (Pitch Bend Range Upper)*
5 PB Range Lower (Pitch Bend Range Lower)*
Sampling
mode 1
2
Settings: -24 – +0 – 24
Song mode
C–B
This tuning is designed so that most
of the intervals (especially the major
third and perfect fifth) in the major
scale are pure. This means that other
intervals will be correspondingly out
of tune. You need to specify the key
(C – B) you will be playing in.
PureMajor
Pattern mode
—
The “compromise” tuning used for
most of the last 200 years of Western
music, and found on most electronic
keyboards. Each half step is exactly
1/12 of an octave, and music can be
played in any key with equal ease.
However, none of the intervals are
perfectly in tune.
Mixing mode
Comments
Sampling
mode 2
1
3 Note Shift*
Determines the transpose setting for the amount (in
semitones) by which the pitch is raised or lowered.
Micro
Tuning
Root
Equal
Settings: L63 (far left) – C (center) – R63 (far right)
n Note that this Voice Pan parameter may have little or no
audible effect if the Pan for a specific element is set to the left
position and the Pan for another element is set to the right
position.
Type
Master mode
Micro
Tuning
No.
Utility mode
Determines the stereo pan position of the Voice. You can
also adjust this parameter using the PAN knob on the front
panel.
Micro Tuning List
File mode
2 Pan*
Editing a Normal Voice
) Key Assign Mode
Voice mode
When this is set to “single,” double playback of the same
note is prevented. This is useful when two or more
instances of the same note are received nearly
simultaneously, or without a corresponding note off
message. To allow playback of each instance of the same
note, set this to “multi.”
Settings: single, multi
single
Performance
mode
When this is set to “single” and double playback of the same note are
transmitted to the internal tone generator, the first note will be stopped
then the next note will be sounded.
multi
From this display, you can set the control functions for the
Knobs, and the up/down range for the Pitch Bend wheel.
1
2
3
4
5
6
Sampling
mode 1
When this is set to “multi” and double playback of the same note are
transmitted to the internal tone generator, all the notes are sounded
simultaneously.
! Portamento Switch*
Song mode
Determines whether Portamento is applied to the current
Voice or not.
Settings: on, off
@ Portamento Time*
Pattern mode
Mixing mode
Reference
Determines the pitch transition time when Portamento is
applied. The effect of the parameter differs depending on
the settings of the Portamento Time Mode ($). Higher
values result in a longer pitch change time.
Settings: 0 – 127
# Portamento Mode
Sampling
mode 2
Determines how Portamento is applied to your keyboard
performance.
Settings: fingered, fulltime
fingered
Portamento is only applied when you play legato (playing the next note
before releasing the previous one).
Master mode
fulltime
Portamento is applied to all notes.
$ Portamento Time Mode
1 Knob Control Assign
Determines which lamp among the TONE 1, TONE 2, and
ARP FX is turned on when selecting a Voice. This setting
can be stored for each Voice.
Settings: tone1, tone2, ARP FX
2 Assign 1 Value
3 Assign 2 Value
Indicates the level of the Knobs printed “ASSIGN 1” and
“ASSIGN 2” at the time at which the Voice is selected with
the TONE 1 lamp turned on. The functions assigned to the
Knobs are indicated at right of the values respectively.
Settings: -64 – +0 – +63
n The functions assigned to the ASSIGN 1/2 Knobs can be set in
the Controller Set display (page 104).
4 A. Function 1 Mode
(Assignable Function 1 Mode)
5 A. Function 2 Mode
(Assignable Function 2 Mode)
Utility mode
Pitch changes in the specified time.
Determines whether the ASSIGNABLE FUNCTION [1] and
[2] buttons functions as a latch type or momentary type.
When set to “latch,” pressing the button alternates the
lamp status between on and off. When set to “momentary,”
pressing/holding the button turns the lamp on and
releasing the button turns the lamp off.
rate2
Settings: momentary, latch
Determines how the pitch changes in time.
Settings: rate1, time1, rate2, time2
rate1
Pitch changes at the specified rate.
time1
File mode
Pitch changes at the specified rate within an octave.
time2
Pitch changes in the specified time within an octave.
% Portamento Legato Slope
When the Mono/Poly is set to “mono,” legato playing may
produce an unnatural attack depending on the waveform
assigned to the selected Voice. To solve such a problem,
you can use this parameter to adjust the attack of the
Voice. Normally, this should be set to a low value for
waveforms with short attack times, and should be set to a
high value for waveforms with long attack times.
Settings: 0 – 7
100
Other settings—[SF3] Other
MOTIF XS Owner’s Manual
6 Ribbon Mode (Ribbon Controller mode)
Determines how the Ribbon Controller responds when
released. When set to reset, releasing your finger from the
Ribbon Controller automatically returns the value to the
center. When set to hold, releasing your finger from the
Ribbon Controller maintains the value at the last point of
contact.
Settings: hold, reset
Editing a Normal Voice
n Please keep in mind that no sound is produced when the Key
Mode is set to “sort” or “thru” and notes are played outside the
Note Limit setting here.
Determines whether Arpeggio is on or off. When calling up
a Voice for which the Common Switch is set to on, the
[ARPEGGIO ON/OFF] button on the panel will be turned on
automatically.
7 Key Mode
Determines how the Arpeggio plays back when playing the
keyboard.
Settings: sort, thru, direct, sort+direct, thru+direct
Settings: on, off
sort
2 Hold*
thru
When you play specific notes (for example, the notes of a chord), the
same sequence plays, no matter what order you play the notes.
When this is set to “on,” the Arpeggio cycles automatically,
even if you release your fingers from the keys.
When you play specific notes (for example, the notes of a chord), the
resulting sequence differs depending on the order of the notes.
Settings: sync-off (see below), off, on
direct
sync-off
When set to “sync-off,” the Arpeggio playback continues to run silently,
even when you release the keys. Pressing any key turns the Arpeggio
playback on again, and the Arpeggio is heard from the point in the
cycle where playback is resumed.
Note events of the Arpeggio sequence do not play; only the notes you
play on the keyboard are heard. When the Arpeggio plays back, the
events such as Pan and Brightness are applied to the sound of your
keyboard performance. Use this setting when the Arpeggio types
includes non-note data or when the Category type “Ctrl” is selected.
3 Change Timing*
The Arpeggio is played back according to the “sort” setting here, and
the note pressed is also sounded.
Determines the actual timing at which the Arpeggio type is
switched when you select another type during Arpeggio
playback. When set to “realtime,” the Arpeggio type is
switched immediately. When set to “measure,” the
Arpeggio type is switched at the top of the next measure.
thru+direct
Settings: realtime, measure
Voice mode
Performance
mode
sort+direct
The Arpeggio is played back according to the “thru” setting here, and
the note pressed is also sounded.
n Some Arpeggio types belonging to the “Cntr” Category may
not have note events (page 65). When such an Arpeggio type
is selected and the Key Mode is set to “sort” or “thru,” no
sound is produced even if you press a note on the keyboard.
4 Velocity Limit
Determines the lowest and highest velocity which can
trigger the Arpeggio playback. This lets you set the velocity
range with which you press the note to trigger the Arpeggio
playback. You can also create separate low and high
trigger ranges for the Arpeggio playback, with a velocity
“hole” in the middle, by specifying the maximum value first.
For example, setting a Velocity Limit of 93 – 34 lets you play
MOTIF XS Owner’s Manual
101
Reference
1 Switch
n If you are using this instrument with an external sequencer,
MIDI computer, or other MIDI device, and you want to
synchronize it to that device, set the MIDI sync (5) parameter
in the MIDI display (page 268) of the Utility mode to “MIDI” or
“auto.” In this case, the Tempo parameter here indicates
“MIDI” or “auto” and cannot be changed.
Pattern mode
Determines the Arpeggio Tempo. This parameter can be
changed via the Knob directly.
Song mode
6 Tempo*
Settings: 5 – 300
n Depending on the selected parameter, the KBD icon appears
on the tab corresponding to the [SF6] button. In this condition,
you can enter the note number or velocity by pressing the
appropriate note on the keyboard while holding the [SF6] KBD
button. For details, see page 82.
Sampling
mode 1
Settings: C -2 – G8
Mixing mode
%
^
Determines the lowest and highest notes in the Arpeggio’s
note range. Notes played in this range trigger the
Arpeggio. For example, setting a Note Limit of “C5 – C4”
lets you trigger the Arpeggio by playing notes in the two
ranges of C -2 to C4 and C5 to G8; notes played between
C4 and C5 have no effect on the Arpeggio.
Sampling
mode 2
!
@
#
$
)
6
7
8
9
5 Note Limit
Master mode
1
2
3
4
5
Settings: 001 – 127
Utility mode
This display determines the basic settings of the Arpeggio.
Keep in mind that parameters Bank (!) through Gate Time
Rate Offset (^) have five settings which can be edited in
each of the [SF1] ARP1 through [SF5] ARP5 displays.
For details about Arpeggio, see page 62.
the Arpeggio from two separate velocity ranges: soft (1 –
34) and hard (93 – 127). Notes played at middle velocities
between 35 and 92 do not play the Arpeggio.
File mode
Arpeggio settings—[F2] ARP Main
(Arpeggio Main)
Editing a Normal Voice
8 Velocity Mode
% Velocity Rate
Adjusts the velocity of the Arpeggio notes.
The Arpeggio plays back at the preset velocities included in the
Arpeggio sequence data.
Determines the offset value by which the Arpeggio notes
will be shifted from their original velocities. If the resultant
velocity value is less than zero it will be set to 1, and if the
resultant velocity is greater than 128 it will be set to 127.
This parameter can be changed via the Knob directly.
thru
Settings: -100% – +0% – +100%
Settings: original, thru
original
Voice mode
The Arpeggio plays back according to the velocity of your playing. For
example, if you play the notes strongly, the playback volume of the
Arpeggio increases.
Performance
mode
9 Output Octave Shift
Specifies the maximum Arpeggio range in octaves.
Settings: -10 – +10
Sampling
mode 1
) [SF1] ARP1 – [SF5] ARP5 (Arpeggio 1 – 5)
buttons
Song mode
Pattern mode
Settings: [SF1] – [SF5] (Sub Function) buttons
Mixing mode
Reference
The six parameters Bank (!) through Gate Time Rate
Offset (^) at the lower half part of the display, can be
edited in each of the [SF1] ARP1 through [SF5] ARP5
displays. You can set the parameters in the lower half of the
display for each of the five Arpeggio settings by pressing
one of the [SF1] – [SF5] buttons. The 8th note icon shown
in the tab menu indicates that any Arpeggio Type (other
than “off”) is selected in the display corresponding to the
Sub Function button.
! Bank*
Sampling
mode 2
Determines the Arpeggio Bank containing the desired
Arpeggio type. Select “PRE” if you wish to select a preset
Arpeggio Type. Select “USER” if you wish to select an
Arpeggio Type you originally created and stored.
Determines the Gate Time (length) of the Arpeggio notes.
The Gate Time cannot be decreased beyond its normal
minimum of 1; any values outside that range will
automatically be limited to the minimum. This parameter
can be changed via the Knob directly.
Settings: -100% – +0% – +100%
Arpeggio settings—[F3] ARP Other
(Arpeggio Other)
By changing the timing and velocity of the notes, you can
change the rhythmic “feel” of the Arpeggio playback.
1
2
3
4
5
6
7
8
9
)
!
@
#
$
Settings: PRE, USR
Master mode
n For detailed instructions on creating your original Arpeggio
type, see page 66.
@ Category*
# Sub Category*
Utility mode
You can select the Category and its Sub Category
including your desired Arpeggio Type. This parameter is
available when “PRE” is selected as the Bank.
Settings: Refer to the Arpeggio Category List on page 62.
File mode
n You can call up the list by pressing the [SF6] LIST button then
select the desired one from the list. For details, see page 82.
$ Type*
Determines the desired Arpeggio Type number from the
specified Category. The name of the selected Arpeggio
Type is shown at right of the specified number on the
display. Refer to the Arpeggio Type List in Data List 2
(separate online documentation).
For details about Data List 2, refer to “How to use the
manual” (page 6).
n For details about how to use the Arpeggio Type List, see
page 63.
102
^ Gate Time Rate
MOTIF XS Owner’s Manual
1 Unit Multiply
Adjusts the Arpeggio playback time based on tempo. By
using this parameter, you can create a different Arpeggio
type from the original one. For example, if you set a value
of 200%, the playback time will be doubled (tempo is
halved). On the other hand, if you set a value of 50%, the
playback time will be halved and the tempo doubled.
Normal playback time is 100%. This parameter can be
changed via the Knob directly.
Settings: 50%, 66%, 75%, 100%, 133%, 150%, 200%
2 Quantize Value*
Determines to what beats the note data in the Song will be
aligned, or determines to what beats in the Song the swing
is applied.
This parameter can be changed via the Knob directly.
Settings: 2 60 (32nd note), 63 80 (16th note triplet), 6 120 (16th
note), 83 160 (8th note triplet), 8 240 (8th note), 43 320
(1/4 note triplet), 4 480 (1/4 note)
5 Velocity Rate
Settings: off, 1 – 127
Determines how much the velocity of the Arpeggio
playback is offset from the original value. For example, a
setting of 100% means the original velocities are used.
Settings below 100% will reduce the velocities of the
Arpeggio notes, whereas settings above 100% will
increase the velocities. If the resultant velocity value is less
than zero it will be set to 1, and if the resultant velocity is
greater than 128 it will be set to 127.
! Accent Start Quantize
Settings: 0 – 200%
6 Gate Time Rate
Determines how much the Gate Time (length) of the
Arpeggio notes is offset from the original value. A setting of
100% means the original gate times are used. Settings
below 100% will shorten the gate times of the Arpeggio
notes, whereas settings above 100% will lengthen them.
The Gate Time cannot be decreased beyond its normal
minimum of 1; any values outside that range will
automatically be limited to the minimum.
Settings: 0 – 200%
7 Octave Range
Specifies the maximum Arpeggio range in octaves.
Positive value settings increase the octave range of the
Arpeggio playback upward, whereas negative value
settings increase it downward. This parameter can be
changed via the Knob directly.
Settings: -3 – +0 – +3
8 Loop
When this is set to “on,” the Arpeggio cycles while notes
are held. When this is set to “off,” the Arpeggio plays only
once even if notes are held.
Determines the start timing of the Accent Phrase when the
Velocity specified in Accent Vel Threshold above is
received. When set to off, the Accent Phrase starts as soon
as the Velocity is received. When set to on, the Accent
Phrase starts on the beat specified for each Arpeggio type
after the Velocity is received.
Performance
mode
Settings: off, on
@ Random SFX
Some Arpeggio types feature the Random SFX function
which will trigger the special sound such as fret noise of
the guitar when the note is released. This parameter
determines whether the Random SFX is active or not.
Settings: off, on
# Random SFX Velocity Offset
Determines the offset value by which the Random SFX
notes will be shifted from their original velocities. If the
resultant velocity value is less than zero it will be set to 1,
and if the resultant velocity is greater than 128 it will be set
to 127.
Settings: -64 – +0 – +63
$ Random SFX Key On Control
When this is set to “on,” the Random SFX special sound is
played with the preprogrammed velocity. When this is set
to “off,” the Random SFX special sound is played with the
velocity generated when the note is pressed.
Settings: off, on
Settings: off, on
MOTIF XS Owner’s Manual
103
Reference
Some Arpeggio types include special sequence data
called “Accent Phrase,” which will be played back only
when the velocities higher than a specified value are
received. This parameter determines the minimum velocity
that will trigger the Accent Phrase.
Sampling
mode 2
Settings: -120 – +120
) Accent Vel Threshold
(Accent Velocity Threshold)
Master mode
Delays notes on even-numbered beats (backbeats) to
produce a swing feel. Settings above 1 delay the Arpeggio
notes, whereas settings below 1 advance them. A setting
of 0 produces exact timing set via the Quantize Value,
resulting in no swing. Judicious use of this setting lets you
create swing rhythms and triplet feels, such as shuffle and
bounce.
This parameter can be changed via the Knob directly.
n The Trigger Mode “toggle” setting overcomes the Hold “on”
setting in the Arpeggio Main display (page 101). In other
words, even when the Hold parameter is set to “on,” pressing
the note start/stops Arpeggio playback when the Trigger Mode
is set to “toggle.”
Utility mode
4 Swing*
Settings: gate, toggle
File mode
Settings: 0% – 100%
Sampling
mode 1
When this is set to “gate,” pressing the note starts
Arpeggio playback and releasing the note stops it. When
this is set to “toggle,” pressing the note starts/stops
Arpeggio playback and releasing the note does not affect
Arpeggio playback. Normally, this parameter should be set
to “gate.”
Song mode
Sets the “strength” by which note events are pulled toward
the nearest quantize beats. A setting of 100% produces
exact timing set via the Quantize Value parameter above. A
setting of 0% results in no quantization. A setting of 50%
results in the note events being pulled halfway between 0%
and 100%.
This parameter can be changed via the Knob directly.
Pattern mode
9 Trigger Mode
Mixing mode
3 Quantize Strength
Voice mode
Editing a Normal Voice
Editing a Normal Voice
Controller settings—[F4] Ctrl Set
(Controller Set)
Voice mode
Performance
mode
Sampling
mode 1
The controllers such as knobs on the front panel can be
used to change and adjust a variety of parameters for each
Voice—in real time, and simultaneously. For example,
keyboard aftertouch can be used to control vibrato and the
Modulation Wheel could be used to control tonal
brightness.
The function settings for all the controllers are referred to as
a “Controller Set,” and up to six Controller Sets can be
created for each Voice. The controller is referred to as
Source, and the controlled function is referred to as
Destination. From this display, you can determine the
Controller Sets.
1
2
3
Indicates the Knobs printed “ASSIGN 1” and “ASSIGN 2” with the
TONE 1 lamp turned on.
A. Func 1
A. Func 2
Indicates the built-in ASSIGNABLE FUNCTION [1] and [2] buttons.
n You can determine the degree to which the Pitch Bend wheel
affects the Destination parameter (below) by setting the Pitch
Bend Range Upper (4) and Pitch Bend Range Lower (5) in
the Play Mode display (page 98).
2 Destination*
Determines the parameter that is controlled by the Source
controller (above). You can select a parameter for each
controller from the 67 parameters, such as volume, pitch
and LFO depth.
Settings: Settings: Refer to the Control List in the separate Data List
booklet.
4
Song mode
n Regarding “Insertion Effect A Parameter 1 – 16,” “Insertion
Effect B Parameter 1 – 16” and “Insertion Effect L Parameter 1
– 32” described in the Control List, the actual parameter
names of the selected Effect type are shown on the display. If
one of these names is shown, no function is assigned to that
parameter.
Pattern mode
Mixing mode
Reference
Setting examples of the Destination
5
To control the volume:
Volume
To apply vibrato to the
Voice:
Common LFO Depth 1 – 3
(C-LFO dpth1 – 3) *1
Sampling
mode 2
Master mode
To change the pitch:
n Depending on the selected parameter, the LIST icon is shown
at the tab menu corresponding to the [SF6] button. In this
condition, you can call up the list by pressing the [SF6] LIST
button, then select the desired item from the list. For details,
see page 82.
Element Pitch
(coarse tune) *2
To control the brightness of
the Voice:
Element Filter Frequency
(cutoff) *2
To change the speed of the
Rotary Speaker:
Insertion A/B Parameter 1
(insA-prm1/insB-prm1) *3
1 Source*
To apply a wah pedal to the
Voice:
Insertion A/B Parameter 1
(insA-prm1/insB-prm1) *4
Utility mode
Determines which panel controller is to be assigned and
used for the selected Set. You can also assign multiple
functions to a controller. You can set this parameter by
operating the desired controller while holding the [SF5]
Controller button.
Settings:
PitchBend
Indicates the built-in Pitch Bend wheel.
File mode
ModWheel
Indicates the built-in Modulation wheel.
Concerning *1 – *4, the following settings are necessary in
addition to the above setting.
*1 [F4] Com LFO → [SF1] Wave → Play Mode = loop
[F4] Com LFO → [SF2] Set → Control Dest = P mod
*2 [F3] Ctrl Set → Element Switch = on
*3 [F6] Effect → Insertion A/B Type = Rotary Speaker
[F6] Effect → Element Out = insA/insB
*4 [F6] Effect → Insertion A/B Type = Wah effect
[F6] Effect → Element Out = insA/insB
AfterTch (Aftertouch)
Indicates the event generated when pressure is applied to a key after
the note is played.
3 Depth*
Indicates the Foot Controller connected to each of the FOOT
CONTROLLER 1 and 2 jacks on the rear panel.
Determines the degree to which the Source controller
affects the Destination parameter. For negative values, the
controller operation is reversed; maximum controller
settings produce minimum parameter changes.
FootSw (Footswitch)
Settings: -64 – +0 – +63
FootCtrl1 (Foot Controller2)
FootCtrl2 (Foot Controller2)
Indicates the Footswitch connected to the FOOT SWITCH
ASSIGNABLE jack on the rear panel.
Ribbon
Indicates the built-in Ribbon Controller.
Breath
Indicates the external controller which sends the control change
number assigned to the Breath Controller in the Utility mode
(page 264) to the MOTIF XS via MIDI.
104
Assign1
Assign2
MOTIF XS Owner’s Manual
4 Element Switch*
Determines whether or not the selected controller affects
each individual element. This parameter is disabled when
the Destination (2) described above is set to a parameter
unrelated to the Voice Elements.
Editing a Normal Voice
5 Graph (Indication only)
4 Phase
The horizontal axis indicates the value generated via the
Source of the selected Set, whereas the vertical axis
indicates the degree to which the Destination parameter is
affected.
Determines the starting phase point for the LFO Wave
when it is reset.
Determines whether or not the LFO speed is synchronized
to the tempo of the Arpeggio or sequencer (Song or
Pattern).
9
)
!
@
7
8
n Depending on the selected parameter, the LIST icon is shown
at the tab menu corresponding to the [SF6] button. In this
condition, you can call up the list by pressing the [SF6] LIST
button, then select the desired item from the list. For details,
see page 82.
1 Wave*
Selects the Wave and determines how the LFO waveform
vibrates. The illustration of the selected wave is shown on
the display.
Settings: 16th, 8th/3 (eighth-note triplets), 16th. (dotted sixteenth
note), 8th (eighth note), 4th/3 (quarter-note triplets), 8th.
(dotted 8th note), 4th (quarter notes), 2nd/3 (half-note
triplets), 4th. (dotted quarter notes), 2nd (half notes), whole/
3 (whole-note triplets), 2nd. (dotted half note), 4thx4
(quarter-note quadruplets; four quarter notes to the beat),
4thx5 (quarter-note quintuplets; five quarter notes to the
beat), 4thx6 (quarter-note sextuplets; six quarter notes to the
beat), 4thx7 (quarter-note septuplets; seven quarter notes to
the beat), 4thx8 (quarter-note octuplets; eight quarter notes
to the beat), 4thx16 (sixteen quarter notes to the beat),
4thx32 (32 quarter notes to the beat), 4thx64 (64 quarter
notes to the beat)
n The note type setting above is synchronized with the tempo of
the Arpeggio/Song/Pattern playback.
7 Key On Reset
Determines whether or not the LFO is reset each time a
note is pressed. The following three settings are available.
Settings: triangle, triangle+, saw up, saw down, squ1/4, squ1/3,
square, squ2/3, squ3/4, trapezoid, S/H1, S/H2, user
Settings: off, each-on, 1st-on
user
The LFO cycles freely with no key synchronization. Pressing a key
starts the LFO wave at whatever phase the LFO happens to be at that
point.
You can create your original LFO wave by selecting this. The LFO wave
can be created in the Common LFO User display (page 105).
off
Song mode
Pattern mode
2 Play Mode
Time
Determines whether the LFO cycles repeatedly (loop) or
only once (one shot).
Settings: loop, one shot
Key On
3 Speed*
Determines the speed of the LFO Wave. The higher the
value, the faster the speed.
Settings: 0 – 63
MOTIF XS Owner’s Manual
105
Reference
2
Mixing mode
1
Sampling
mode 2
This parameter is available only when Tempo Sync above
has been set to “on.” It allows you to make detailed note
value settings that determine how the LFO pulses in sync
with the Arpeggio or sequencer.
Master mode
6 Tempo Speed
Utility mode
n When this parameter is set to “on” and the MIDI sync
parameter in the MIDI display of the Utility mode (page 268) is
set to “MIDI,” the LFO speed is synchronized with the external
clock.
File mode
This display contains a variety of LFO parameters,
including LFO wave type, speed and effects such as LFO
delay or fade in/out.
5
6
5 Tempo Sync
Settings: off (not synchronized), on (synchronized)
LFO Wave settings—[SF1] Wave
(Common LFO Wave)
3
4
90° 180° 270°
120° 240°
Performance
mode
Phase 0°
Determines how the vibrato, tremolo and wah effect are
produced by using the LFO (Low Frequency Oscillator).
From the following displays, you can set the basic LFO
parameters common to all elements of the Voice.
Sampling
mode 1
Time
Modulating the Voice—[F5] Com
LFO (Common LFO)
Voice mode
Settings: 0°, 90°, 120°, 180°, 240°, 270°
Editing a Normal Voice
each-on
The LFO resets with each note you play and starts a waveform at the
phase specified by the Phase parameter (above).
Time
Voice mode
Key On
(first note)
Key On
(second note)
From this display you can select the destination parameter
for the LFO (which aspect of the sound the LFO controls),
the Elements to be affected by the LFO, and the LFO
Depth. Three Destinations can be assigned, and you can
choose from several parameters per Destination.
Performance
mode
1st-on
1
The LFO resets with each note you play and starts a waveform at the
phase specified by the Phase parameter (above). If you play a second
note while the first is being held, the LFO continues cycling according
to the same phase as triggered by the first note. In other words, the
LFO only resets if the first note is released before the second is played.
Sampling
mode 1
Time
Song mode
Key On
(first note)
2
5
3
4
3
4
3
4
Key On
(second note)
n The starting phase is determined by the Phase parameter (4)
although the starting phase is shown as 0 in the illustration.
Pattern mode
Mixing mode
Reference
Sampling
mode 2
8 Random Speed
1 Control Dest (Control Destination)*
Determines the degree to which the LFO speed changes at
random. A setting of “0” results in the original speed.
Higher values result in a larger degree of speed change.
This parameter cannot be set when the Tempo Sync (5) is
set to on.
Determines the parameters which are to be controlled
(modulated) by the LFO Wave.
Settings: 0 – 127
Each parameter of the selected Effect type is modulated cyclically.
When one of those parameters is selected, the corresponding
parameter name of the selected Effect type is shown at the lower
section of the display.
9 Delay*
Settings: insA1 – insA16, insB1 – insB16, insL1 – insL32, A mod, P
mod, F mod, reso, pan, LFOspd
insA1 – insA16, insB1 – insB16, insL1 – insL32 (Effect parameters)
Master mode
Determines the delay time between the moment you press
note on the keyboard and the moment the LFO comes into
effect. A higher value results in a longer delay time.
A mod (Amplitude Modulation Depth)
Settings: 0 – 127
A vibrato effect produced by cyclically modulating the pitch.
A tremolo effect produced by cyclically modulating the volume.
P mod (Pitch Modulation Depth)
F mod (Filter Modulation Depth)
) Fade In Time
Utility mode
Determines the amount of time for the LFO effect to fade in
after the Delay time has elapsed. A higher value results in a
slower fade-in. When set to “0,” the LFO effect will not fade
in and reach the maximum level immediately after the
Delay time has elapsed.
File mode
Settings: 0 – 127
! Hold (Hold Time)
Determines the length of time for which the LFO is held at
its maximum level. A higher value results in a longer Hold
time. A setting of 127 produces no fade out.
Settings: 0 – 126, hold
@ Fade Out Time
Determines the amount of time for the LFO effect to fade
out (after the Hold time has elapsed). A higher value results
in a slower fade-out.
Settings: 0 – 127
106
LFO Effect Settings—[SF2] Set
(Common LFO Set)
MOTIF XS Owner’s Manual
A wah effect produced by cyclically modulating the tonal brightness.
reso (Resonance)
A special wah effect produced by cyclically modulating the resonance.
pan
An effect produced by cyclically modulating the stereo pan position.
LFOspd (Element LFO Speed)
When this is selected, the Common LFO speed cyclically modulates
the Element LFO speed.
2 Control Depth*
Determines the LFO Wave Depth.
Settings: 0 – 127
3 Element Switch 1 – 8*
Determines whether or not each Element is to be affected
by the LFO.
Settings: B (active), A (inactive)
4 Depth Offset 1 – 8
Determines the offset values of the Control Depth
parameter (above) for the respective Elements. If the
resultant Control Depth value is less than zero it will be set
Editing a Normal Voice
to 0, and if the resultant Control Depth value is greater than
127 it will be set to 127.
n You can use the [SF5] Random button to call up the base
wave at random. Each time you press the [SF5] Random
button, a different LFO wave appears on the display randomly.
Settings: 0 – 127
Determines the offset values of the Phase parameter in the
[SF1] Wave display for the respective Elements.
Settings: 0°, 90°, 120°, 180°, 240°, 270°
Determines the slope or ramp characteristics of the LFO
wave.
Settings: off, up, down, up&down
off
Voice mode
2 Slope
5 LFO Phase Offset
Performance
mode
Creates no slope.
up
Creates an upward slope.
Time
down
Creates a downward slope.
up&down
90° 180° 270°
120° 240°
Creates an upward then downward slope.
Sampling
mode 1
Phase 0°
3 Cycle
1 Template
Determines the Effect connection and values of other
parameters for the selected Voice. For details about the
structure in the Voice mode, see page 69.
Effect Connection Settings—[SF1]
Connect
This display gives you at-a-glance, overall view of the
effect routing and comprehensive control over the effects.
You can select a pre-programmed template for the LFO
wave.
Settings: all -64, all 0, all +63, saw up, saw down, even step, odd step
3
1
2
all -64
4
Values of all the steps are set to -64.
all 0
Values of all the steps are set to 0.
9
all +63
Values of all the steps are set to +63.
saw up
5
7
8
6
!
#
)
@
Creates a saw shaped upward wave.
saw down
Creates a saw shaped downward wave.
even step
Values of all odd steps are set to +63, and values of all even steps are
set to -64.
odd step
n Depending on the selected parameter, the LIST icon is shown
at the tab menu corresponding to the [SF6] button. In this
condition, you can call up the list by pressing the [SF6] LIST
button, then select the desired item from the list. For details,
see page 82.
Values of all even steps are set to +63, and values of all odd steps are
set to -64.
n You can call up the list by pressing the [SF6] LIST button then
select the desired one from the list. For details, see page 82.
MOTIF XS Owner’s Manual
107
Reference
Effect settings—[F6] Effect
Sampling
mode 2
Settings: -64 – +63
Mixing mode
Pattern mode
Determines the level for each step.
Master mode
4
4 Level 1 – 16
Utility mode
1
2
3
Settings: 2, 3, 4, 6, 8, 12, 16
File mode
From this display you can create your own original LFO
wave. You can create a custom LFO wave consisting of up
to sixteen steps. The created LFO wave becomes available
when the Wave parameter in the Common LFO Wave
display is set to “user.”
Song mode
Determines the amount of steps for creating the wave.
Making your own LFO—[SF3] User
(Common LFO User)
Editing a Normal Voice
Voice mode
1 Element Out 1 – 8*
5 Chorus (Chorus Category/Type)*
Determines which Insertion Effect (A or B) is used to
process each individual Element. The “thru” setting lets
you bypass the Insertion Effects for the specified element.
When INSERTION CONNECT (2) is set to “ins L,” the
signal from each Element is output to the Insertion L
regardless of the setting here.
Selects a Chorus Effect type after selecting a category.
From the Category column, you can select one of the Effect
Categories, each of which contains similar Effect types.
From the Type column, you can select one of the Effect
types listed in the selected Category.
Performance
mode
Settings: thru (through), ins A (Insertion A), ins B (Insertion B)
Settings: Details about the Effect categories and types are described
on page 70.
2 INSERTION CONNECT (Insertion Connection)
6 Reverb (Reverb Type)*
From this display you can set the effect routing for Insertion
Effects A and B. The setting changes are shown on the
diagram in the display, giving you a clear picture of how
the signal is routed. For details, see page 69.
Determines the Reverb Effect type. It is not necessary to
select a Category because there is only one category in
Reverb.
Sampling
mode 1
Settings: parallel, ins A F B, ins B F A, ins L
Settings: Details about the Effect types are described on page 70.
parallel
7 Chorus Send*
Signals processed with the Insertion Effect A and B block will be sent
to Master Effect, Master EQ, Reverb and Chorus block.
Adjusts the chorus send level. The higher the value the
deeper the Chorus.
Song mode
ins A F B
Signals processed with the Insertion Effect A will be sent to the
Insertion Effect B and signals processed with the Insertion Effect B is
sent to Master Effect, Master EQ, Reverb and Chorus block.
Mixing mode
Reference
Pattern mode
ins B F A
Signals processed with the Insertion Effect B will be sent to the
Insertion Effect A and signals processed with the Insertion Effect A is
sent to Master Effect, Master EQ, Reverb and Chorus block.
ins L
The Insertion Effects A and B are unified, then used as the Vocoder.
Signals processed with the Vocoder block will be sent to Master Effect,
Master EQ, Reverb and Chorus block.
Sampling
mode 2
A to B
B to A
A
A
B
B
Settings: 0 – 127
8 Reverb Send*
Adjusts the reverb send level. The higher the value the
deeper the reverb.
Settings: 0 – 127
9 CHORUS TO REVERB
Determines the Send level of the signal sent from the
Chorus Effect to the Reverb Effect. The higher the value,
the deeper the Reverb that is applied to the Chorusprocessed signal.
Settings: 0 – 127
) Reverb Return
Master mode
parallel
A
Determines the Return level of the Reverb Effect.
ins L
Vocoder
B
Settings: 0 – 127
! Chorus Return
Determines the Return level of the Chorus Effect.
Utility mode
n When “ins L” is selected, “ins L” is shown in the tab menu of
the [SF2] button and the tab menu of the [SF3] button
disappears.
File mode
n When “ins L” is selected, the audio signal will be output from
this instrument in mono.
n For detailed instructions on using the Vocoder, see page 109.
3 Insertion A (Insertion A Category/Type)*
4 Insertion B (Insertion B Category/Type)*
Determines the Effect type for Insertion A and B. From the
Category column, you can select one of the Effect
Categories, each of which contains similar Effect types.
From the Type column, you can select one of the Effect
Types listed in the selected Category.
Settings: Details about the Effect categories and types are described
on page 70.
108
MOTIF XS Owner’s Manual
Settings: 0 – 127
@ Reverb Pan
Determines the pan position of the Reverb effect sound.
Settings: L63 (far left) – C (center) – R63 (far right)
# Chorus Pan
Determines the pan position of the Chorus effect sound.
Settings: L63 (far left) – C (center) – R63 (far right)
Editing a Normal Voice
From the Category column, you can select one of the Effect
Categories each of which contains similar Effect types.
From the Type column, you can select one of the Effect
Types listed in the selected Category.
From these displays, you can set the Effect related
parameters when the INSERTION CONNECT parameter
(2) is set to “parallel” or “ins A F B” or “ins B F A.”
Settings: Details about the Effect categories and types are described
on page 70.
2
3
n Depending on the selected parameter, the LIST icon is shown
at the tab menu corresponding to the [SF6] button. In this
condition, you can call up the list by pressing the [SF6] LIST
button, then select the desired item from the list. For details,
see page 82.
Effect Parameter Settings—[SF2] Ins L (Insertion Large)
HPF
Utility mode
Band 10
Band 9
Band 2
Band 1
Noise
Gate
Extracting the tonal
characteristic
Noise Input (*1)
BPF1’
(*2)
File mode
Microphone Input
Sampling
mode 1
Master mode
From this display, you can set the Vocoder related parameters. This display called up via the [SF2] button is available only
when the INSERTION CONNECT parameter (2) is set to “ins L” in the Connect display (page 107). Vocoder is a distinctive,
“robot voice” effect which extracts the characteristic of the microphone sound and adds it to the sound via your keyboard
performance. To create this Vocoder effect, you play the keyboard and sing or speak into the microphone at the same time.
To use the Vocoder effect, connect a microphone to the A/D INPUT connector on the rear panel, then follow the instructions
on page 111.
Level
detection
Inst Input
(Keyboard Performance)
Wet
Output
BPF1
Volume
control
Dry
BPF1
Gain
*1 The noise generated in the Vocoder unit is used.
*2 The cutoff frequency of the BPF1’ may not be same as the one of the BPF1. This depends on the settings of the Formant Shift and Formant Offset.
MOTIF XS Owner’s Manual
109
Reference
The number of parameters and values available differs
depending on the currently selected effect type. Refer to
page 73 for details about the Effect parameters. Refer to
the separate Data List booklet for information on the
parameters for each Effect type.
Song mode
4 Effect Parameters
Pattern mode
You can set various parameters in order to change how the
sound is affected by the selected Effect type. This
parameter lets you call up the preprogrammed settings of
these effect parameters.
4
Mixing mode
3 Preset
Performance
mode
n The Category (1) is not shown in the Reverb display.
Sampling
mode 2
1
Voice mode
1 Category
2 Type
Effect Parameter settings—[SF2] Ins A,
[SF3] Ins B, [SF4] Reverb, [SF5] Chorus
Editing a Normal Voice
8 Formant Shift
1
Voice mode
Performance
mode
2
3
4
5
6
7
8
9
)
!
@
#
$
Settings: -2, -1, +0, +1, +2
%
9 Formant Offset
Adjusts the cutoff frequencies of all BPFs (for the Inst Input)
finely. This parameter can be used to adjust the pitch of the
Vocoder sound finely.
Settings: -63 – +0 – +63
1 Type
Sampling
mode 1
Determines whether or not the Vocoder is applied to the
current Voice. When set to “Thru,” the Vocoder is not
applied to the Voice.
) Mic Level
Determines the microphone sound level, which is to be
input to the Vocoder.
Song mode
Pattern mode
Mixing mode
Reference
Settings: Thru, Vocoder
Settings: 0 – 127
2 Vocoder Attack
! Inst Input Level
Determines the attack time of the Vocoder sound. The
higher the value, the slower the attack.
Determines the level of the keyboard performance sound,
which is to be input to the Vocoder.
Settings: 1ms – 200ms
Settings: 0 – 127
3 Vocoder Release
@ Noise Input Level
Determines the release time of the Vocoder sound. The
higher the value, the slower the decay.
Determines the noise level which is input to the Vocoder.
This can be used to emphasize sibilant and plosive
sounds, and make the speech-like characteristics more
pronounced.
Settings: 10ms – 3000ms
4 Mic Gate Threshold
Sampling
mode 2
Master mode
Determines the threshold level of the noise gate for the
microphone sound. If noise interferes with the Vocoder
effect, set this parameter to a relatively high value to
prevent noise from producing inadvertent, unexpected
sounds.
Settings: -72dB – -30dB
5 Gate Switch
Utility mode
Determines whether or not the microphone sound will be
output from the HPF while you release the notes. Normally,
set this to “on.”
Settings: off, on
File mode
off: The microphone sound always will be output. (You can always hear
the microphone sound.)
on: The microphone sound will be output only while pressing the note.
6 HPF Freq (High Pass Filter Frequency)
Determines the HPF cutoff frequency for the microphone
input sound. Setting this to a low value results in a
minimally processed input sound—in other words, close to
the original. Setting this to higher values emphasizes the
higher frequency consonant and sibilant sounds (which
make words easier to understand).
Settings: thru, 500Hz – 16.0kHz
7 HPF Output Level
Determines the level of the microphone sound output from
the HPF (High Pass Filter).
Settings: 0 – 127
110
Determines the amount (in BPF) by which the cutoff
frequency value of the BPFs (for the Inst Input) is shifted.
This parameter can be used to adjust the pitch of the
Vocoder sound.
MOTIF XS Owner’s Manual
Settings: 0 – 127
# Output Level
Determines the output level of the Vocoder.
Settings: 0 – 127
$ Dry/Wet Balance
Determines the balance between the dry sound to which
the effect is not applied and the wet sound to which the
effect is applied. The higher the W setting, the deeper the
effect.
Settings: D63>W – D=W – D<W63
% BPF1 – 10 Gain (Band Pass Filter 1 – 10 Gain)
Determines each output gain of the BPF 1 – 10 for the Inst
Input (keyboard performance sound). The BPF1
corresponds to the lowest Formant while the BPF 10
corresponds to the highest Formant.
Settings: -18dB – +18dB
Editing a Normal Voice
5
Input your voice to the microphone while pressing the
note(s) to generate the machine-like Vocoder sound.
Press the [SF2] button to call up the Insertion L display,
then set the related parameters while listening to the
Vocoder sound.
Mic Input
Creating the
Formant
Set the Vocoder related parameters if
necessary.
Robot Voice
6
Vocoder
Press the [STORE] button to call up the Store
window (page 97) then store the edited Voice.
Using the Vocoder effect
1
Set the Vocoder related parameters.
Master mode
Sampling
mode 2
In the Voice Play mode, press the [UTILITY] button to
enter the Utility mode, press the [F4] button, then press
the [SF1] button to call up the Output display
(page 265). Set the Output Select (4) to “ins L.”
Utility mode
n When using the Vocoder in the Performance mode, set the
Output Select parameter to “ins L” in the Output display
(page 266) of the Performance Edit mode. When using the
Vocoder in the Song/Pattern mode, set the Output Select
parameter to “ins L” in the Audio In display (page 234) of
the Mixing Edit mode.
2
Set the Input Gain of the A/D INPUT connector
to microphone.
File mode
In the Utility mode, press the [F2] button to call up the
Input/Output display (page 263), then set the Mic/Line
parameter to “mic.”
3
Voice mode
Mixing mode
After connecting a microphone to the A/D INPUT connector
on the rear panel, follow the instructions below to use the
Vocoder effect.
In the Voice Play mode, select the desired
Voice to which the Vocoder is applied.
MOTIF XS Owner’s Manual
111
Reference
n When the INSERTION CONNECT (2) is set to “ins L,” the
audio signal will be output from this instrument in mono.
Performance
mode
In the Voice Play mode, press the [EDIT] button then
[COMMON EDIT] button to enter the Voice Common
Edit. Press the [SF1] button to call up the Connect
display (page 107), set the INSERTION CONNECT
parameter to “ins L,” then set the Insertion L parameter
to “Vocoder.”
Extracting the
characteristic of the
input voice
Keyboard
performance
Select the Vocoder as the Insertion Effect
connection.
Sampling
mode 1
4
Song mode
The human voice consists of sounds generated from the
vocal cords, and filtered by the throat, nose and mouth.
These resonant sections have specific frequency
characteristics and they function effectively as a filter,
creating many formants (harmonic content). The Vocoder
effect extracts the filter characteristics of the voice from the
microphone input and recreates the vocal formants by the
use of multiple band pass filters. The machine-like ‘robot’
voice is created by passing the pitched sounds of musical
instruments (such as a synthesizer sound) through the
filters.
Pattern mode
Vocoder structure
Editing a Normal Voice
Element Edit parameters
[VOICE] ➞ Normal Voice selection ➞ [EDIT] ➞ [1] – [8]
If you wish to edit the sounds that make up a Voice and the basic parameters that determine the sound, such as Oscillator,
Pitch, Filter, Amplitude, and EG (Envelope Generator), call up the Element Edit display.
Voice mode
About the asterisk (*) marks
For users who are new to Voice editing and may be confused by the large amount of parameters, the most basic and easy-to-understand
parameters are conveniently marked with asterisks in this section. If you are just starting out with Voice editing, try these parameters first.
Performance
mode
Sampling
mode 1
Selected Element display/
Four-Element display
Song mode
The display indicating the settings of
the current Element
Mixing mode
Reference
Pattern mode
In the Element Edit mode, you can use two types of display.
One type of display lets you edit parameters for the
currently selected Element and the other type of display
lets you view parameters for four Elements. You can switch
between these two types by pressing the [SF5] button.
When the display for four Elements is shown, you can
switch between the displays for Elements 1 – 4 and 5 – 8
by using the left and right cursor buttons.
Setting the Waveform and Note range
of the Element—[F1] Oscillator
1
2
3
4
5
6
)
!
@
7
8
9
#
Sampling
mode 2
n Depending on the selected parameter, the LIST icon is shown
at the tab menu corresponding to the [SF6] button. In this
condition, you can call up the list by pressing the [SF6] LIST
button, then select the desired item from the list. For details,
see page 82.
1 Element Switch*
SF5
Master mode
5
The display indicating the settings of
four Elements
Determines whether the currently selected Element is on or
off. When this is set to off, the currently edited Element will
not sound.
Settings: off (inactive), on (active)
Utility mode
2 XA Control (Expanded Articulation Control)
File mode
This icon indicates that you can call up
the display for another four Elements.
Expanded Articulation (XA) is a special feature of the
MOTIF XS that provides greater performance flexibility and
realism (see box on next page). This parameter determines
how the XA feature of the Element works. Try setting this
parameter referring to the four types of the XA Mode
described below. You can realize the desired sound
depending on your performance articulation by assigning
the same Element Group to the Elements having the same
type of the XA mode.
Settings: normal, legato, key off sound, wave cycle, wave random, all
AF off, AF 1 on, AF 2 on
normal
When this is selected, the Element will sound normally each time you
press the note.
legato
When this is selected and the Mono mode is selected, an alternate
Element (different from the one used when XA mode is set to “normal”)
will be played when you play the keyboard in legato fashion (playing
the next note of a single-note line or melody before releasing the
previous note).
112
MOTIF XS Owner’s Manual
Editing a Normal Voice
When this is selected, the Element will sound when both of the
ASSIGNABLE FUNCTION buttons are turned off.
AF 1 on
When this is selected, the Element will sound when the ASSIGNABLE
FUNCTION [1] button is turned on.
AF 2 on
When this is selected, the Element will sound when the ASSIGNABLE
FUNCTION [2] button is turned on.
Expanded Articulation (XA) features
4 Wave Bank (Waveform Bank)*
Determines the Waveform Bank assigned to the Element,
Preset or User. User Waveforms can be created based on
the samples recorded in the Sampling mode.
Settings: PRE (preset waveform), USR (user waveform)
n For details about Waveform, refer to the explanation of the
Sampling mode on page 161.
5 Wave Category*
6 Wave Number*
Expanded Articulation (XA) is a newly designed,
sophisticated tone generation system that allows you to more
effectively recreate realistic sound and natural performance
techniques—such as legato and staccato—often used on
acoustic instruments but up to now unavailable or difficult to
realize on electronic keyboards. It also provides other unique
modes for random and alternate sound changes as you play.
Determines the Waveform assigned to the Element by
selecting the Waveform Category and Number. For a
complete list of Waveforms in the Preset Bank, refer to the
Waveform List in the separate Data List booklet.
Realistic legato performance
Determines the time (delay) between the moment you
press a note on the keyboard and the point at which the
sound is actually played. The higher the value, the longer
the delay time.
Specify an Element or Elements to be sounded when playing
legato.
→ Set the XA control parameter for the desired Elements to
"legato."
7 Key On Delay
Settings: off (not synchronized), on (synchronized)
Different sounds for each note played
Specify different Elements to be sounded in order or
randomly.
→ Set the XA control parameter for the desired Elements to
"wave cycle" or "wave random."
9 Delay Tempo
Switching among different sounds to recreate the
natural performance on an acoustic instrument
Settings: 16th, 8th/3 (eighth-note triplets), 16th. (dotted sixteenth
note), 8th (eighth note), 4th/3 (quarter-note triplets), 8th.
(dotted 8th note), 4th (quarter notes), 2nd/3 (half-note
triplets), 4th. (dotted quarter notes), 2nd (half notes), whole/
3 (whole-note triplets), 2nd. (dotted half note), 4thx4
(quarter-note quadruplets; four quarter notes to the beat),
4thx5 (quarter-note quintuplets; five quarter notes to the
beat), 4thx6 (quarter-note sextuplets; six quarter notes to the
beat), 4thx7 (quarter-note septuplets; seven quarter notes to
the beat), 4thx8 (quarter-note octuplets; eight quarter notes
to the beat)
Specify which Elements will be sounded according to the on/
off status of the ASSIGNABLE FUNCTION buttons. For
example, this could be used on an acoustic guitar Voice to
switch between playing normally and playing high
harmonics.
→ Set the XA control parameter for the desired Elements to
"all AF off," "AF 1 on," or "AF 2 on."
New sounds and new styles of playing
Determines the timing of the Key On Delay when the Delay
Tempo Sync is set to on.
Master mode
Determines whether or not the Key On Delay above is
synchronized to the tempo of the Arpeggio or sequencer
(Song or Pattern).
Utility mode
8 Delay Tempo Sync
File mode
Specify an Element or Elements to be sounded upon
releasing a note. For example, this could be used to recreate
the characteristic pluck sound on a harpsichord when a note
is released.
→ Set the XA control parameter for the desired Elements to
"key off sound."
Sampling
mode 2
Settings: 0 – 127
Authentic note release sound
The highly versatile functions above can be applied
effectively not only to acoustic sounds but also to synthesizer
and electronic Voices as well. The XA feature opens up
enormous potential for realizing authentic sounds,
performing expressively and coming up with creative new
styles of playing.
MOTIF XS Owner’s Manual
113
Reference
all AF off
Settings: 1 – 8
Voice mode
When this is selected for multiple Elements, each Element will sound
randomly each time you press the note.
Performance
mode
wave random
Sampling
mode 1
When this is selected for multiple Elements, each Element sounds
alternately according to its numerical order each time you play a note.
(In other words, playing the first note will sound Element 1, the second
note Element 2, and so on.)
Determines the group of the XA mode so that the Elements
of the same group are called up in order or randomly.
Assign the same group number to the Elements having the
same type of XA mode.
The setting here is not available when the XA mode
parameters of all Elements are set to “normal.”
Song mode
wave cycle
3 Element Group
Pattern mode
When this is selected, the Element will sound each time you release the
note.
Mixing mode
key off sound
Editing a Normal Voice
) Vel Cross Fade (Velocity Cross Fade)
Voice mode
Performance
mode
This determines how gradually the sound of an Element
decreases in volume in proportion to the distance of
velocity changes outside the Velocity Limit setting ()). A
setting of 0 produces no sound outside the Velocity Limit.
The higher the value, the more gradual the level
decreases. The practical application of this parameter is to
create natural-sounding velocity cross fades, in which
different Elements (Waveforms) change gradually
depending on how strongly or softly you play.
Pitch Settings—[F2] Pitch
Tuning and Pitch Scaling—[SF1] Tune
Settings: 0 – 127
! Velocity Limit
Sampling
mode 1
Song mode
Determines the minimum and maximum values of the
velocity range within which each Element will respond.
Each Element will only sound for notes played within its
specified velocity range. For example, this lets you have
one Element sound when you play softly and have a
different one sound when you play strongly. If you specify
the maximum value first and the minimum value second,
for example “93 to 34,” then the velocity range covered will
be “1 to 34” and “93 to 127.”
Mixing mode
Reference
Pattern mode
Settings: 1 – 127
1
2
3
4
5
1 Coarse (Coarse Tuning)
Determines the pitch of each Element in semitones.
Settings: -48 semi – +0 semi – +48 semi
2 Fine (Fine Tuning)
Sampling
mode 2
@ Note Limit
Determines the pitch of each Element in cents.
Determines the lowest and highest notes of the keyboard
range for each Element. The selected Element will sound
only when you play notes within this range. If you specify
the highest note first and the lowest note second, for
example “C5 to C4,” then the note range covered will be “C
-2 to C4” and “C5 to G8.”
Settings: -64 cents – +0 cents – +63 cents
Settings: C -2 – G8
Master mode
n You can also set the Key directly from the keyboard, by
holding down the [SF6] INFO button and pressing the desired
key. For details, see page 82.
# Ins Effect Output (Insertion Effect Output)
Utility mode
File mode
Determines which Insertion Effect (A or B) is used to
process each individual element. The “thru” setting lets you
bypass the Insertion Effects for the specific key. This
parameter is the same as Element Out 1 – 8 on the
Connect display (page 107) in Voice Common Edit. Making
a setting here automatically changes the setting of that
parameter as well. When INSERTION CONNECT (2) is set
to “Ins L,” the signal from each Element is output to the
Insertion L regardless of the setting here.
Settings: thru (through), ins A (Insertion A), ins B (Insertion B)
3 Pitch Velocity Sens (Pitch Velocity Sensitivity)
Determines how the pitch of the Element responds to
velocity. Positive settings will cause the pitch to rise the
harder you play the keyboard and negative settings will
cause it to fall. A setting of 0 results in no change in pitch.
Settings: -64 – +0 – +63
4 Fine Scaling Sens (Fine Scaling Sensitivity)
Determines the degree to which the notes (specifically,
their position or octave range) affect the pitch in fine tuning
(set above) of the selected Element, assuming C3 as the
basic pitch. A positive setting will cause the pitch of lower
notes to change lower and that of higher notes to change
higher. Negative values will have the opposite effect.
Settings: -64 – +0 – +63
5 Random
This lets you randomly vary the pitch of the Element for
each note you play. The higher the value, the greater the
pitch variation. A value of “0” results in no pitch change.
Settings: 0 – 127
114
MOTIF XS Owner’s Manual
6
7
Editing a Normal Voice
6 Pitch Key Follow
Pitch
Determines the sensitivity of the Key Follow effect (the
pitch interval of adjacent notes), assuming the pitch of the
Center Key (7) as standard. At +100% (the normal
setting), adjacent notes are pitched one semitone (100
cents) apart. At 0%, all notes are the same pitch specified
as the Center Key. For negative values, the settings are
reversed.
)
Release
Level
0
Pressing the key (Key on)
7 Center Key
Determines the central note or pitch for the Pitch Key
Follow. The note number set here is the same pitch as
normal regardless of the Pitch Key Follow setting.
4
Decay2
Time
5
Release
Time
Time
Releasing the key (Key off)
Time
The Time parameters let you set the time between the
adjoining points of the level parameters below. A higher
value results in a longer time until reaching the next level.
Settings: C -2 – G8
n You can also set the note directly from the Keyboard, by
holding down the [SF6] button and pressing the desired key.
See “Basic Operation” on page 82.
Settings: 0 – 127
Pitch Key Follow and Center Key
Determines the time between the moment you press a note
on the keyboard and the moment the envelope starts to
rise.
When Pitch Key Follow is set to 100
Large
Amount of
pitch change
+
1 Hold Time
2 Attack Time
Small
Determines the speed of attack from the initial pitch (Hold
Level) to the normal pitch of the Voice after the hold time
has elapsed.
4 Decay 2 Time
Pitch EG Settings—[SF2] PEG (Pitch EG)
From this display you can set the Pitch EG parameters.
Using the PEG, you can control the transition in pitch from
the moment the sound starts to the moment it stops.
Determines how fast the envelope falls from the pitch
specified as the Decay1 Level to the pitch specified as the
Decay2 Level.
5 Release Time
Determines how fast the envelope falls from the pitch
specified as the Decay2 Level to the pitch specified as the
Release Level when the note is released.
!
@
#
1~5
6~)
$
%
^
&
Master mode
Determines how fast the envelope falls from the normal
pitch (Attack Level) of the Voice to the pitch specified as
the Decay 1 Level.
Utility mode
3 Decay 1 Time
Higher range
File mode
Center Key
Sampling
mode 2
–
Lower range
Level
The Level parameters let you set the amount of the pitch
deviation based on the standard pitch specified at the
Coarse Tuning and Fine Tuning in the Tune display
(page 114) at each envelope point.
Settings: -128 – +0 – +127
6 Hold Level
Determines the initial pitch at the moment the note is
pressed.
MOTIF XS Owner’s Manual
115
Reference
3
Decay1
Time
Performance
mode
2
Attack
Time
Sampling
mode 1
n This parameter is useful for creating alternate tunings, or for
use with sounds that do not need to be spaced in semitones,
such as pitched drum sounds in a Normal Voice.
1
Hold
Time
Song mode
Settings: -200% – +0% – +200%
Pattern mode
9
Decay2
Level
Mixing mode
8
Decay1
Level
6
Hold Level
Voice mode
7
Attack Level
Editing a Normal Voice
7 Attack Level
Determines the normal pitch of the pressed note.
8 Decay 1 Level
Voice mode
Determines the level which the pitch of sound reaches from
the Attack Level after the Decay1 time elapses.
9 Decay 2 Level
Performance
mode
Determines the sustain-level pitch which will be maintained
while a note is held.
) Release Level
Determines how the PEG transition time (speed) responds
to velocity, or the strength with which the note is pressed.
When this is set to a positive value, high velocities result in
a fast PEG transition speed while low velocities result in a
slow speed, as shown below. When this is set to a negative
value, high velocities result in a slow PEG transition speed
while low velocities result in a fast speed. When this is set
to 0, the PEG transition speed does not change no matter
what the velocity.
Settings: -64 – +0 – +63
Sampling
mode 1
Determines the final pitch reached after the note is
released.
High Velocity
Low Velocity
Fast pitch transition
Slow pitch transition
! EG Depth
Song mode
Determines the range over which the pitch envelope
changes. A setting of 0 will cause the pitch not to change.
The farther from 0 the value is, the larger the pitch range.
For negative values, the pitch change is reversed.
Settings: -64 – +0 – +63
% EG Time Segment
Determines the part of the Pitch EG which the EG Time
Velocity Sensitivity ($) affects.
Mixing mode
Reference
Pattern mode
Settings: attack, atk+dcy, decay, atk+rls, all
@ EG Depth Vel Sens
(EG Depth Velocity Sensitivity)
attack
The EG Time Velocity Sensitivity affects the Attack Time and Hold Time.
Sampling
mode 2
Determines how the pitch range of the Element responds
to velocity. When this is set to a positive value, high
velocities cause the pitch range to expand and low
velocities cause it to contract, as shown below. When this
is set to a negative value, high velocities cause the pitch
range to contract and low velocities cause it to expand.
When this is set to 0, the pitch envelope does not change
no matter what the velocity.
Settings: -64 – +0 – +63
Master mode
High Velocity
Low Velocity
Large range
Small range
Utility mode
# EG Depth Vel Curve (EG Depth Velocity Curve)
File mode
The five curves determine how the pitch range will be
generated according to the velocity (strength) with which
you play notes on the keyboard. The horizontal axis of the
graph is the velocity, and the vertical axis is the pitch
range.
High
Pitch Change
Low
Low
High
Velocity
Settings: Curve 0 – 4
116
$ EG Time Velocity Sens
(EG Time Velocity Sensitivity)
MOTIF XS Owner’s Manual
atk+dcy (attack+decay)
The EG Time Velocity Sensitivity affects the Attack Time, Decay1 Time,
and Hold Time.
decay
The EG Time Velocity Sensitivity affects the Decay 1/2 Time.
atk+rls (attack+release)
The EG Time Velocity Sensitivity affects the Attack Time, Release Time,
and Hold Time.
all
This EG Time Velocity Sensitivity affects all the Pitch EG Time
parameters.
^ EG Time Key Follow
Determines the degree to which the notes (specifically,
their position or octave range) affect the pitch EG times of
the selected Element. When this is set to a positive value,
high notes result in a high pitch EG transition speed while
low notes result in a slow speed. When this is set to a
negative value, high notes result in a slow pitch EG
transition speed while low notes result in a high speed.
When this is set to 0, the pitch EG transition speed does
not change no matter what the pressed note.
Settings: -64 – +0 – +63
Editing a Normal Voice
& Center Key
About Filter Types
Positive value
Negative value
Faster
speed
LPF24D
+63
+30
Lower range
A dynamic 24 dB/oct low-pass filter with a characteristic digital sound.
Compared to the LPF24A type (below), this filter can produce a more
pronounced resonance effect.
Higher range
-40
These frequencies are
“passed” by the filter.
Level
Slower speed
Cutoff range
Resonance (4)
Voice mode
EG Time Key Follow and Center Key
This is a Filter type that only passes signals below the Cutoff
Frequency. The sound can be brightened by raising the cutoff
frequency of the filter. On the other hand, the sound can be
darkened by lowering the cutoff frequency of the filter. You can
produce a distinctive “peaky” sound by raising the Resonance
to boost the signal level in the area of the Cutoff Frequency.
This filter type is most popular and useful for producing classic
synthesizer sounds.
Performance
mode
Settings: C -2 – G8
LPF (Low Pass Filter)
Sampling
mode 1
Determines the central note or pitch for the EG Time Key
Follow (^). When the Center Key note is played, the PEG
behaves according to its actual settings.
n You can also set the note directly from the Keyboard, by
holding down the [SF6] button and pressing the desired key.
See “Basic Operation” on page 82.
Cutoff Frequency (2)
Frequency
Song mode
Center key
LPF18
Adjust the brightness using the
Filter—[F3] Filter
3-pole 18 dB/oct low-pass filter.
HPF (High Pass Filter)
HPF24D
A dynamic 24 dB/oct high-pass filter with a characteristic digital sound.
This filter can produce a pronounced resonance effect.
These frequencies are
“passed” by the filter.
Level
Cutoff range
Resonance (4)
7
8
9
)
!
@
Cutoff Frequency (2)
Frequency
HPF12
File mode
1
2
3
4
5
6
12 dB/oct dynamic high-pass filter.
BPF (Band Pass Filter)
1 Type*
Determines the Filter Type for the current Element.
Settings: LPF24D, LPF24A, LPF18, LPF18s, LPF12, LPF6, HPF24D,
HPF12, BPF12D, BPFw, BPF6, BEF12, BEF6, Dual LPF, Dual
HPF, Dual BPF, Dual BEF, LPF12+BPF6, thru
Master mode
From this display you can select a Filter Type for the
current Element. The tonal characteristics of the Voice and
Filter functions differ depending on which Filter type is
selected here.
This is a Filter type that only passes signals above the Cutoff
Frequency. You can then use the Resonance to add further
character to the sound.
Utility mode
Selecting a Filter Type—[SF1] Type
Sampling
mode 2
3-pole 18 dB/oct low-pass filter. This filter has a smoother cutoff slope
than the LPF18 type.
Mixing mode
LPF18s
This Filter type is a combination of a LPF and HPF. When this
Filter Type is selected, you can set the Cutoff Frequency
around which the audio signal is passed.
BPF12D
The combination of a -12 dB/oct HPF and LPF with a characteristic
digital sound.
Level
Cutoff range
Resonance (4)
Range passed
Cutoff range
Frequency
MOTIF XS Owner’s Manual
117
Reference
A digital dynamic low-pass filter with characteristics similar to a 4-pole
analog synthesizer filter.
Pattern mode
LPF24A
Editing a Normal Voice
BPF6
Dual BEF
The combination of a -6 dB/oct HPF and LPF.
Two -6 dB/oct band-elimination filters connected in parallel.
Level
Level
Cutoff range
Cutoff range
Range passed
Distance (9)
Cutoff range
Resonance (4)
Voice mode
Frequency
Range passed
Cutoff Frequency (2)
Performance
mode
BPFw
Cutoff Frequency
Frequency
Only the lower cutoff frequency is set
directly on the display.
A 12 dB/oct BPF that combines HPF and LPF filters to allow wider
bandwidth settings.
Combination Type Filter
Level
Width (4)
Cutoff range
Cutoff range
Sampling
mode 1
This type is a combination of two different filter types. You can
edit the distance between the two Cutoff Frequencies.
LPF12+HPF12
Song mode
Cutoff
Frequency
Range passed
Cutoff
Frequency
Frequency
Cutoff
Frequency
A combination of a -12 dB/oct low-pass filter and high-pass filter. When
this Filter Type is selected, HPF Cutoff ()) and HPF Key Follow
Sensitivity (!) can be set. Only the LPF graph is shown on the display.
LPF6+HPF6
Pattern mode
BEF12
Mixing mode
Reference
BEF (Band Elimination Filter)
When this Filter Type is selected, you can set the Cutoff
Frequency around which the audio signal is muted or
eliminated. The Band Elimination Filter has an opposite
effect on the sound compared to the Band Pass Filter.
A combination of a -6 dB/oct low-pass filter and high-pass filter. When
this Filter Type is selected, HPF Cutoff ()) and HPF Key Follow
Sensitivity (!) can be set. Only the LPF graph is shown on the display.
LPF12+BPF6
A combination of a low-pass filter and band-pass filter. You can edit the
distance between the two Cutoff Frequencies.
Level
Range passed
BEF6
Cutoff range
Level
Range passed
Cutoff range
Range passed
Distance (9)
Sampling
mode 2
Cutoff Frequency (2)
Frequency
Cutoff Frequency
Master mode
Dual Type Filter
This type is a combination of two same filter types. You can
edit the distance between the two Cutoff Frequencies.
Utility mode
Dual LPF
Two 12 dB/oct low-pass filters connected in parallel.
Level
Range passed
Cutoff range
Frequency
Only the lower cutoff frequency is set
directly on the display.
2 Cutoff*
Determines the Cutoff Frequency for the Filter, or the
central frequency around which the Filter is applied. The
tonal characteristics of the Voice and function of the Cutoff
Frequency differ depending on which Filter type is
selected. Set this parameter while confirming the Filter
graph shown on the display.
File mode
Settings: 0 – 255
Distance (9)
Cutoff Frequency (2)
Cutoff Frequency
Only the lower cutoff frequency is set
directly on the display.
Dual HPF
Two -12 dB/oct high-pass filters connected in parallel.
Dual BPF
Two -6 dB/oct band-pass filters connected in parallel.
Frequency
3 Cutoff Velocity Sens
(Cutoff Velocity Sensitivity)
Determines how the Cutoff Frequency (2) responds to
velocity, or the strength with which you play notes. For
positive settings, the more strongly you play the keyboard,
the higher the cutoff frequency becomes. A setting of 0 will
cause the Cutoff Frequency not to change no matter what
velocity. Negative settings will cause the Cutoff Frequency
to rise the more softly you play the keyboard.
Settings: -200% – 0% – +200%
118
Cutoff Frequency
MOTIF XS Owner’s Manual
Determines the degree to which the notes (specifically,
their position or octave range) affect the Cutoff Frequency
(set above) of the HPF. A positive setting will lower the
Cutoff frequency for lower notes and raise it for higher
notes. A negative setting will have the opposite effect.
When a filter type “LPF12” or “LPF6” is selected, this
parameter is available.
Settings: -200% – 0% – +200%
@ Center Key
6 Gain
Determines the Gain of the signal sent to the filter. The
lower the value, the lower the Gain. The tonal
characteristics generated by the filter differ depending on
the value set here.
Settings: 0 – 255
7 Cutoff Key Follow
Determines the degree to which the notes (specifically,
their position or octave range) affect the Cutoff Frequency
(set above) of the selected Element, assuming C3 as the
basic pitch. A positive setting will lower the Cutoff
frequency for lower notes and raise it for higher notes. A
negative setting will have the opposite effect.
This indicates that the central note for High Pass Filter Key
Follow (!) above is C3. Keep in mind that this is for display
purposes only; the value cannot be changed.
Filter EG Settings—[SF2] FEG (Filter EG)
From this display you can set the Filter EG parameters.
Using the FEG, you can control the change in tone from the
moment the sound starts to the moment it stops.
!
@
#
Settings: -200% – 0% – +200%
8 Center Key (Indication only)
This indicates that the central note for Cutoff Key Follow
(7) above is C3. Keep in mind that this is for display
purposes only; the value cannot be changed.
$
%
^
&
Performance
mode
File mode
Settings: -64 – +0 – +63
1~5
6~)
Cutoff Key Follow and Center Key
When Cutoff Key Follow is set to 100
Large
Amount of cutoff
frequency change
+
Small
–
Lower range
Center Key = C3
Higher range
MOTIF XS Owner’s Manual
119
Reference
Determines the degree to which resonance responds to
velocity, or the strength with which you play notes. For
positive values, the higher the velocity, the greater the
resonance. A setting of 0 results in no change of the
Resonance value. For negative values, the lower the
velocity, the greater the resonance.
Settings: 0 – 255
Sampling
mode 1
5 Resonance Velocity Sens
(Resonance Velocity Sensitivity)
Determines the central frequency for the Key Follow
parameter (below) of the HPF. When a filter type “LPF12” or
“LPF6” is selected, this parameter is available.
Song mode
! HPF Key Follow (High Pass Filter Key Follow)
) HPF Cutoff (High Pass Filter Cutoff Frequency)
Pattern mode
Settings: 0 – 127
Settings: -128 – +0 – +127
Mixing mode
Determines the distance between the two Cutoff
frequencies, for the Dual Filter types (which feature two
identical filters combined in parallel), and the LPF12 +
BPF6 type. When any of other filter types is selected, this
parameter is not available.
Sampling
mode 2
This parameter’s function varies according to the selected
Filter Type. If the selected filter is an LPF, HPF, BPF
(excluding the BPFw), or BEF, this parameter is used to set
the Resonance. For the BPFw, it is used to adjust the
frequency bandwidth
Resonance is used to set the amount of Resonance
(harmonic emphasis) applied to the signal at the cutoff
frequency. This can be used in combination with the cutoff
frequency parameter to add further character to the sound.
The Width parameter is used to adjust the width of the band
of signal frequencies passed by the filter with the BPFw.
When the Filter Type is set to “LPF6” or “thru,” this
parameter is not available.
Master mode
9 Distance
Utility mode
4 Resonance*/ Width
Voice mode
Editing a Normal Voice
Editing a Normal Voice
8 Decay 1 Level
Pitch
Determines the level which the cutoff frequency reaches
from the Attack Level after the Decay1 time elapses.
7
Attack Level
8
Decay1
Level
6
Hold Level
Voice mode
9
Decay2
Level
9 Decay 2 Level
)
Release
Level
0
Performance
mode
1
Hold
Time
2
Attack
Time
3
Decay1
Time
Pressing the key (Key on)
4
Decay2
Time
5
Release
Time
Time
Releasing the key (Key off)
Determines the cutoff frequency which will be maintained
while a note is held.
) Release Level
Determines the final cutoff frequency reached after the
note is released.
! EG Depth
Sampling
mode 1
Song mode
Mixing mode
Reference
Pattern mode
The Time parameters let you set the time between the
adjoining points of the level parameters below. A higher
value results in a longer time until reaching the next level.
Determines the range over which the cutoff frequency
envelope changes. A setting of 0 will cause the cutoff
frequency not to change. The farther from 0 the value is,
the larger the range of the cutoff frequency. For negative
values, the change of the cutoff frequency is reversed.
Settings: 0 – 127
Settings: -64 – +0 – +63
1 Hold Time
@ EG Depth Vel Sens
(EG Depth Velocity Sensitivity)
Time
Determines the time between the moment you press a note
on the keyboard and the moment the envelope starts to rise.
2 Attack Time
Determines the speed of attack from the initial cutoff
frequency (Hold Level) to the maximum level of the Voice
after the hold time has elapsed.
3 Decay 1 Time
Sampling
mode 2
Determines how fast the envelope falls from the maximum
cutoff frequency (Attack Level) to the cutoff frequency
specified as the Decay 1 Level.
Determines how the range of the cutoff frequency
responds to velocity. When this is set to a positive value,
high velocities cause the Filter EG range to expand and
low velocities cause it to contract, as shown below. When
this is set to a negative value, high velocities cause the
Filter EG range to contract and low velocities cause it to
expand. When this is set to 0, the Filter EG range does not
change no matter what the velocity.
Settings: -64 – +0 – +63
Master mode
High Velocity
Low Velocity
Large range
Small range
4 Decay 2 Time
Determines how fast the envelope falls from the cutoff
frequency specified as the Decay1 Level to the cutoff
frequency specified as the Decay2 Level.
Utility mode
5 Release Time
File mode
Determines how fast the envelope falls from the cutoff
frequency specified as the Decay2 Level to the cutoff
frequency specified as the Release Level when the note is
released.
Level
The Level parameters let you set the amount of the filter
change at each point based on the cutoff frequency
specified in the Filter Type display (page 117).
# EG Depth Vel Sens Curve
(EG Depth Velocity Sensitivity Curve)
The five curves determine how the FEG transition range
changes according to the velocity (strength) with which
you play notes on the keyboard. The selected curve is
indicated by the graphic on the display. The horizontal axis
of the graph is the velocity, and the vertical axis is the
Cutoff Frequency range. For example, the illustration below
indicates that the middle range of velocities (around 64)
causes the FEG transition range not to change and the
higher/lower range of velocities causes it to change more
greatly.
Settings: -128 – +0 – +127
6 Hold Level
High
FEG transition
range
Determines the initial cutoff frequency at the moment the
note is pressed.
7 Attack Level
Determines the maximum cutoff frequency which the
envelope reaches after a note is pressed.
120
MOTIF XS Owner’s Manual
Low
Low
High
Velocity
Settings: Curve 0 – 4
Editing a Normal Voice
Playing softly
(Low velocity)
Fast speed
Slow speed
% EG Time Velocity Sens Segment
(EG Time Velocity Sensitivity Segment)
Determines the part of the Filter EG which the EG Time
Velocity Sensitivity ($) affects.
Higher range
-40
Slower speed
Center key
n You can also set the note directly from the Keyboard, by
holding down the [SF6] button and pressing the desired key.
See “Basic Operation” on page 82.
Filter Scaling settings—[SF3] Scale
Filter Scaling controls the filter cutoff frequency according
to the positions of the notes on the keyboard. You can
divide the entire keyboard by four break points, and assign
different offset values of Cutoff Frequency to them
respectively.
Settings: attack, atk+dcy, decay, atk+rls, all
attack
The EG Time Velocity Sensitivity affects the Attack Time and Hold Time.
Mixing mode
atk+dcy (attack+decay)
The EG Time Velocity Sensitivity affects the Attack Time, Decay1 Time,
and Hold Time.
The EG Time Velocity Sensitivity affects the Decay 1/2 Time.
atk+rls (attack+release)
1~4
5~8
Sampling
mode 2
decay
Voice mode
Lower range
Performance
mode
+63
+30
The EG Time Velocity Sensitivity affects the Attack Time, Release Time,
and Hold Time.
Determines the degree to which the notes (specifically,
their position or octave range) affect the Filter EG times of
the selected Element. When this is set to a positive value,
high notes result in a fast Filter EG transition speed while
low notes result in a slow speed. When this is set to a
negative value, high velocities result in a slow Filter EG
transition speed while low notes result in a fast speed.
When this is set to 0, the Filter EG transition speed does not
change no matter what note is pressed.
Settings: -200% – 0% – +200%
& Center Key
Determines the central note or pitch for the EG Time Key
Follow (^). When the Center Key note is played, the FEG
behaves according to its actual settings.
Settings: C -2 – G8
1 – 4 Break Point 1 – 4
Determines the four Break Points by specifying the note
numbers respectively.
Settings: C -2 – G8
n You can also set the Break Point directly from the keyboard, by
holding down the [SF6] INFO button and pressing the desired
key. See “Basic Operation” on page 82.
n Break Point 1 to Break Point 4 will be automatically be
arranged in ascending order across the keyboard.
Utility mode
^ EG Time Key Follow
File mode
The EG Time Velocity Sensitivity affects all the Filter EG Time
parameters.
Master mode
all
5 – 8 Offset 1 – 4
Determines the offset value to the Cutoff Frequency at each
Break Point.
Settings: -128 – +0 – +127
n Regardless of the size of these Offsets, the minimum and
maximum Cutoff limits (values of 0 and 127, respectively)
cannot be exceeded.
n Any note played below the Break Point 1 note results in the
Break Point 1 Level setting. Likewise, any note played above
the Break Point 4 note results in the Break Point 4 Level
setting.
MOTIF XS Owner’s Manual
121
Reference
Playing hard
(High velocity)
Faster
speed
Negative value
Sampling
mode 1
Settings: -64 – +0 – +63
Positive value
Song mode
Determines how the FEG transition time (speed) responds
to velocity, or the strength with which the note is pressed.
When this is set to a positive value, high velocities result in
a fast FEG transition speed while low velocities result in a
slow speed, as shown below. When this is set to a negative
value, high velocities result in a slow FEG transition speed
while low velocities result in a fast speed. When this is set
to 0, the pitch transition speed does not change no matter
what the velocity.
EG Time Key Follow and Center Key
Pattern mode
$ EG Time Velocity Sens
(EG Time Velocity Sensitivity)
Editing a Normal Voice
Setting example of Filter Scaling
Voice mode
The best way to understand Filter Scaling is by example. For
the settings shown in the example display below, the basic
Cutoff frequency value is 64, and the various Offset values at
the selected Break point settings change that basic value
accordingly. The specific changes to the Cutoff frequency are
shown in the diagram below. The Cutoff frequency changes in
a linear fashion between successive Break Points as shown.
1
Break Point
Performance
mode
Offset
2
3
Raises or lowers the level specified at the Level Velocity
Sensitivity (2). A setting of 64 results in the original values
of the Level Velocity Sensitivity (2) being used. Settings
above 64 will raise the level specified at the Level Velocity
Sensitivity (2). Settings below 64 will reduce the level.
Settings: 0 – 127
4
C#1
D#2
C3
A4
-4
+10
+17
+4
Cutoff
frequency
3 Level Velocity Sens Offset
(Level Velocity Sensitivity Offset)
4 Level Velocity Sens Curve
(Level Velocity Sensitivity Curve)*
The five curves determine how the actual velocity will be
generated according to the velocity (strength) with which
you play notes on the keyboard. The selected curve is
indicated by the graphic on the display.
81
74
Sampling
mode 1
68
60
High
Note
Song mode
Break Break
Point 1 Point 2
C#1
D#2
Break Break
Point 3 Point 4
C3
A4
Volume
Low
Soft
Strong
Playing strength (velocity)
Mixing mode
Reference
Pattern mode
Settings: Curve 0 – 4
Output Level settings—[F4] Amplitude
Level and Pan settings—[SF1] Level/Pan
5 Level Key Follow
Sampling
mode 2
Determines the degree to which the notes (specifically,
their position or octave range) affect the amplitude level
(set above) of the selected Element, assuming C3 as the
basic pitch. A positive setting will lower the output level for
lower notes and raise it for higher notes. A negative setting
will have the opposite effect.
Settings: -200% – +0% – +200%
Master mode
1
2
3
4
5
6
7
8
9
)
6 Center Key (Indication only)
This indicates that the central note for Level Key Follow (5)
above is C3. Keep in mind that this is for display purposes
only; the value cannot be changed.
Level Key Follow and Center Key
Utility mode
When Level Key Follow is set to 100
Large
1 Level*
Amount of
AEG level change
Determines the output level of the Element.
+
Small
File mode
Settings: 0 – 127
2 Level Velocity Sens (Level Velocity Sensitivity)*
–
Determines how the output level of the Element responds
to velocity. Positive settings will cause the output level to
rise the harder you play the keyboard. A setting of 0 will
cause the output level not to change. Negative settings will
cause the output level to rise the more softly you play the
keyboard.
7 Pan*
Settings: -64 – +0 – +63
Adjusts the stereo pan position of the sound.
Lower range
Center Key = C3
Higher range
Settings: L63 (far left) – C (center) – R63 (far right)
122
MOTIF XS Owner’s Manual
Editing a Normal Voice
8 Alternate Pan
Time*
Determines the amount by which the sound is panned
alternately left and right for each note you press, assuming
the pan position set above as center. Higher values
increase the width of the Pan range.
The Time parameters let you set the time between the
adjoining points of the level parameters below. A higher
value results in a longer time until reaching the next level.
Level
Determines how quickly the sound decays to silence after
the key is released.
The Level parameters let you set the amount of the
transition at each point based on the level specified in the
Level/Pan display (page 122).
Amplitude EG Settings—[SF2] AEG
(Amplitude EG)
Settings: 0 – 127
From this display you can set the Amplitude EG
parameters. Using the AEG, you can control the transition
in volume from the moment the sound starts to the moment
the sound stops.
5 Initial Level
Determines the initial level at the moment the note is
pressed.
6 Attack Level
Determines the maximum level which the envelope
reaches after a note is pressed.
!
@
#
$
9
)
1~4
5~8
7 Decay 1 Level
Determines the level which the envelope reaches from the
Attack Level after the Decay1 time elapses.
8 Decay 2 Level
Determines the level which will be maintained while a note
is held.
Level (Volume)
9 Half Damper Switch
6
Attack Level
7
Decay1
Level
5
Initial
Level
When the Half Damper Switch is set to on, you can
produce a “half-pedal” effect just as on a real acoustic
piano by using the optional FC3 Foot Controller connected
to the FOOT SWITCH SUSTAIN jack on the rear panel.
8
Decay2
Level
Settings: on, off
0
1
Attack
Time
2
Decay1
Time
Pressing the key (Key on)
3
Decay2
Time
4
Release
Time
Time
n When you wish to recreate a half-damper effect using the
optional FC3, set the Sustain Pedal parameter to “FC3 (half
on)” in the Play Display (page 259) of the Utility mode. Note
that this setting is not necessary when controlling the halfdamper by sending the Control Change messages from an
external MIDI device to the instrument.
Releasing the key (Key off)
MOTIF XS Owner’s Manual
123
Reference
Settings: -64 – +0 – +63
4 Release Time
Performance
mode
Determines how fast the envelope falls from the Decay1
Level to the Decay2 Level (sustain level).
Sampling
mode 1
3 Decay 2 Time
Determines the degree to which the notes (specifically,
their position or octave range) affect the Pan position (set
above), left and right, of the selected Element. At note C3,
the main Pan setting (above) is used for the basic Pan
position. A positive setting will move the pan position
leftward for lower notes and move it rightward for higher
notes. A negative setting will have the opposite effect.
Song mode
) Scaling Pan
Pattern mode
Determines how fast the envelope falls from the Attack
Level to the Decay 1 Level.
Mixing mode
Settings: 0 – 127
Sampling
mode 2
2 Decay 1 Time
Master mode
Determines how quickly the sound reaches its maximum
level after the key is pressed.
Utility mode
Determines the amount by which the sound of the selected
Element is panned randomly left and right for each note
you press. The Pan setting (above) is used as the Center
Pan position.
File mode
1 Attack Time
9 Random Pan
Voice mode
Settings: 0 – 127
Settings: L64 – C – R63
Editing a Normal Voice
) Half Damper Time
Voice mode
Performance
mode
Sampling
mode 1
Determines how quickly the sound decays to silence after
the key is released while holding down the Foot Controller
FC3 with the Half Damper Switch parameter (9) turned on.
After releasing the key, you can control the decay time of
the sound via the Foot Controller position, with the Half
Damper Time of the AEG being the maximum decay value
and the Release Time of the AEG being the minimum
decay value.
When you release the pedal, the decay time after the key is
released is equivalent to the AEG Release Time.
You can create a piano-like effect by setting the Release
Time to a small value and setting the Half Damper Time to
a large value.
The setting here is available only when the Half Damper
Switch parameter (9) is set to on and you use the optional
FC3 connected to the rear panel.
$ Center Key
Determines the central note for the EG Time Key Follow
(#). When the Center Key note is played, the AEG
behaves according to its actual settings.
Settings: C -2 – G8
n You can also set the Key directly from the keyboard, by
holding down the [SF6] KBD button and pressing the desired
key. For details, see page 82.
Song mode
Positive value
! EG Time Velocity Sens
(EG Time Velocity Sensitivity)
Negative value
Pattern mode
Mixing mode
Reference
Determines how the AEG transition time (speed) responds
to velocity, or the strength with which the note is pressed.
When this is set to a positive value, high velocities result in
a fast AEG transition speed while low velocities result in a
slow speed, as shown below. When this is set to a negative
value, high velocities result in a slow AEG transition speed
while low velocities result in a fast speed. When this is set
to 0, the amplitude transition speed does not change no
matter what the velocity.
Sampling
mode 2
Settings: -64 – +0 – +63
Master mode
Faster speed
Settings: -200% – 0% – +200%
EG Time Key Follow and Center Key
Settings: 0 – 127
High Velocity
speed while low notes result in a slow speed. When this is
set to a negative value, high velocities result in a slow
Amplitude EG transition speed while low notes result in a
fast speed. When this is set to 0, the Amplitude EG
transition speed does not change no matter what the
pressed note.
Low Velocity
Slower speed
Utility mode
@ EG Time Velocity Sens Segment
(EG Time Velocity Sensitivity Segment)
Faster
speed
+63
+30
Lower range
Higher range
-40
Slower speed
Center key
Amplitude Scaling settings—[SF3] Scale
Amplitude Scaling controls the amplitude output level
according to the positions of the notes on the keyboard.
You can divide the entire keyboard by four break points,
and assign different offset values of amplitude to them
respectively.
Determines the part of the Amplitude EG which the EG
Time Velocity Sensitivity (!) affects.
Settings: attack, atk+dcy, decay, atk+rls, all
attack
File mode
The EG Time Velocity Sensitivity affects the Attack Time.
atk+dcy (attack+decay)
1~4
5~8
The EG Time Velocity Sensitivity affects the Attack Time and Decay1
Time.
decay
The EG Time Velocity Sensitivity affects the Decay Time.
atk+rls (attack+release)
The EG Time Velocity Sensitivity affects the Attack Time and Release
Time.
all
The EG Time Velocity Sensitivity affects all the Amplitude EG Time
parameters.
# EG Time Key Follow
Determines the degree to which the notes (specifically,
their position or octave range) affect the Amplitude EG
times of the selected Element. When this is set to a positive
value, high notes result in a fast Amplitude EG transition
124
MOTIF XS Owner’s Manual
1 – 4 Break Point 1 – 4
Determines the four Break Points by specifying the note
numbers respectively.
Settings: C -2 – G8
n You can also set the Break Point directly from the Keyboard,
by holding down the [SF6] KBD button and pressing the
desired key. See “Basic Operation” on page 82.
n Break Point 1 to Break Point 4 will be automatically be
arranged in ascending order across the keyboard.
Editing a Normal Voice
5 – 8 Offset 1 – 4
off
Determines the offset value to the level at each Break Point.
Settings: -128 – +0 – +127
The LFO cycles freely with no key synchronization. Pressing a key
starts the LFO wave at whatever phase the LFO happens to be at that
point.
+17
+4
Determines the amount of time for the LFO effect to fade in
after the Delay time has elapsed. A higher value results in a
slower fade-in. When set to “0,” the LFO effect will not fade
in and reach the maximum level immediately after the
Delay time has elapsed.
97
Amplitude
90
Settings: 0 – 127
84
76
5 Speed
Determines the speed of the LFO Wave. The higher the
value, the faster the LFO speed.
Note
Break Break
Point 1 Point 2
C1
C2
Break Break
Point 3 Point 4
C3
C4
Settings: 0 – 63
6 P Mod (Pitch Modulation Depth)
Determines the amount (depth) by which the LFO wave
varies (modulates) the pitch of the sound. The higher the
setting, the greater the depth of control.
Modulating the Voice—[F5] Elm
LFO (Element LFO)
Settings: 0 – 127
This display gives you a comprehensive set of controls
over the LFO for each individual Element. The LFO can be
used to create vibrato, wah, tremolo and other special
effects, by applying it to the pitch, filter and amplitude
parameters.
7 F Mod (Filter Modulation Depth)
Determines the amount (depth) by which the LFO wave
varies (modulates) the Filter Cutoff frequency. The higher
the setting, the greater the depth of control.
Settings: 0 – 127
2
5
6
7
8
3
4
8 A Mod (Amplitude Modulation Depth)
Determines the amount (depth) by which the LFO wave
varies (modulates) the amplitude or volume of the sound.
The higher the setting, the greater the depth of control.
Settings: 0 – 127
File mode
1
1 Wave
Selects the Wave and determines how the LFO waveform
modulates the sound.
Settings: saw, triangle, square
2 Key On Reset
Determines whether or not the LFO is reset each time a
note is played.
Settings: off, on
MOTIF XS Owner’s Manual
125
Reference
+10
Sampling
mode 1
-4
Song mode
Offset
4 Fade In Time
Pattern mode
C4
Mixing mode
4
C3
Settings: 0 – 127
Sampling
mode 2
3
C2
Determines the delay time between the moment you press
note on the keyboard and the moment the LFO comes into
effect. A higher value results in a longer delay time.
Master mode
2
C1
3 Delay
Utility mode
1
Break Point
The LFO resets with each note you play and starts a wave at the phase
specified by the Phase parameter (above).
Performance
mode
The best way to understand Amplitude Scaling is by example.
For the settings shown in the example display below, the basic
Amplitude (volume) value for the selected Element is 80, and
the various Offset values at the selected Break point settings
change that basic value accordingly. The specific changes to
the Amplitude are shown in the diagram below. The Amplitude
changes in a linear fashion between successive Break Points
as shown.
Voice mode
on
Setting example of Amplitude Scaling
Editing a Normal Voice
Equalizer (EQ) Settings—[F6] EQ
From this display, you can set the EQ parameters for each
Element.
Voice mode
1 Type
When the EQ Type is set to “PEQ”
The Parametric EQ for the single band is used to attenuate
or boost signal levels (gain) around the Frequency. This
type features 32 different “Q” settings, which determine the
frequency band width of the equalizer.
Performance
mode
Determines the EQ Type. The number of parameters and
values available differs depending on the selected EQ
type.
Settings:
2 Band, PEQ
See below.
1 EQ Type
2
4
6
Boost 6, Boost 12, Boost 18
Sampling
mode 1
Boosts the entire band of the selected Element by +6dB, +12dB, and
+18dB respectively.
thru
If you select this, the equalizers are bypassed and the entire signal is
unaffected.
Song mode
When the EQ Type is set to “2 Band”
Mixing mode
Reference
Pattern mode
This is a “shelving” equalizer, which combines separate
high and low frequency bands.
Determines the center frequency.
Settings: 139.7 Hz – 12.9 kHz
4 Low Gain
Determines the amount by which signals below the Low
Frequency (2) will be boosted/attenuated.
Settings: -12.00 dB – +0.00 dB – +12.00 dB
1 EQ Type
Sampling
mode 2
23
45
6 Q
Determines the Q (bandwidth) for the band. The lower the
setting, the greater the bandwidth. The higher the setting,
the smaller the bandwidth.
Settings: 0.7 – 10.3
Master mode
2 Low Frequency
Determines the standard frequency of the lower EQ band.
Utility mode
Settings: 50.1 Hz – 2.00 kHz
3 High Frequency
Determines the standard frequency of the higher EQ band.
File mode
Settings: 503.8 Hz – 10.1 kHz
4 Low Gain
Determines the amount by which signals below the Low
Frequency (2) will be boosted/attenuated.
Settings: -12.00 dB – +0.00 dB – +12.00 dB
5 High Gain
Determines the amount by which signals above the High
Frequency (3) will be boosted/attenuated.
Settings: -12.00 dB – +0.00 dB – +12.00 dB
126
2 Low Frequency
MOTIF XS Owner’s Manual
“Editing” refers to the process of creating a Voice by changing the parameters that make up the Voice. This can be done in
Voice Edit, a sub mode within the Voice mode. In this section, we’ll show you how to edit a Drum Voice. To enter the Drum
Voice Edit mode, press the [VOICE] button to enter the Voice mode, select a Drum Voice, then press the [EDIT] button.
Common Edit display
Each Drum Voice can consist of up to 73 Drum Keys,
assigned to notes spread across the keyboard (C0 to C6).
There are two types of Drum Voice Edit displays: those for
Common Edit to edit the settings common to all keys, and
those for Key Edit to edit individual keys.
Lets you edit the
parameters of the
individual 73 keys that
make up a Drum Voice.
3
4
5
PART SELECT
6
7
8
ARP ON/OFF
Selecting a Drum Key
Pattern mode
Key Edit C0 – C6
Lets you edit the
parameters common to
all Keys of the selected
Drum Voice.
2
n By pressing the [SF6] button, you can use various
functions such as the Information display, Character input
(page 82), Number button function (page 81), and List
display/selection (page 82). The function called up via the
[SF6] button differs depending on the selected parameter
where the cursor is located.
Select a Drum Voice to be edited.
2
Press the [EDIT] button to enter the Voice Edit
mode.
3
Call up the desired Edit display, Common Edit
or Key Edit.
To call up the Common Edit display, press the
[COMMON EDIT] button. To call up the Key Edit
display, press the Number button [1]. In the Drum Key
Edit mode, press the Key to which your desired drum
instrument sound is assigned.
5
Move the cursor to the desired parameter.
6
Edit the value by using the [INC/YES], [DEC/
NO] buttons and the data dial.
7
Repeat steps 3 – 6 as desired.
8
Enter the desired name for the edited Voice.
Master mode
Press the [VOICE] button to enter the Voice
Play mode.
Utility mode
To find the desired display, note the tab menu items
corresponding to the [F1] – [F6] buttons and [SF1] –
[SF5] buttons. Each tab menu of the [F1] – [F6] buttons
contains sub menus which correspond to the [SF1] –
[SF5] buttons at the bottom of the display.
Editing Drum Voices
1
Call up the desired display.
File mode
4
Sampling
mode 2
Mixing mode
Key Edit display
Use the Name display (page 98) of the Voice Common
Edit mode.
9
Store the edited Voice.
Press the [STORE] button to call up the Store window
(page 97) then store the edited Voice.
MOTIF XS Owner’s Manual
127
Reference
Drum Voice Edit
1
Song mode
COMMON EDIT
Sampling
mode 1
Performance
mode
Common Edit and Key Edit
Common Edit
Voice mode
Editing a Drum Voice
Editing a Drum Voice
CAUTION
The edited Voice will be lost when selecting the different Voice
or turning the power off. Make sure to store the Voice data to
the internal memory by pressing the [STORE] button before
selecting a different Voice or turning the power off.
Voice mode
n If desired, save the edited and stored Voices to a USB
storage device connected to the USB TO DEVICE
connector or a computer connected to the network to
which the MOTIF XS is also connected. Keep in mind that
edited Voice data is stored to internal User memory (Flash
ROM) and is maintained even when turning the power off.
As such it is not necessary to save the data to an external
device; however, we still recommend that you save or
archive all important data to an external device. Refer to
page 278 for details.
n Other convenient functions are also available in the Drum
Voice Edit mode. For details, see page 97.
Performance
mode
Common Edit parameters
Sampling
mode 1
[VOICE] ➞ Drum Voice selection ➞ [EDIT] ➞ [COMMON EDIT]
The Common Edit lets you edit the parameters common to all Drum Keys of the selected Drum Voice.
Song mode
Pattern mode
Mixing mode
Reference
General Settings for the selected
Voice—[F1] General
Arpeggio settings—[F2] ARP Main
(Arpeggio Main)
n The Common Edit parameters of the Drum Voice are basically
the same as those of the Normal Voice. However, some
parameters having the same name as those of the Normal
Voice are not available for the Drum Voice.
This is the same as in Normal Voice Common Edit. See
page 101.
Naming the edited Voice—[SF1] Name
Sampling
mode 2
This is the same as in Normal Voice Common Edit. See
page 98.
Master mode
Play Mode Settings such as Micro Tuning
and Mono/Poly—[SF2] Play Mode
Utility mode
This is the same as in Normal Voice Common Edit. See
page 98.
Other settings—[SF3] Other
Arpeggio settings—[F3] ARP Other
(Arpeggio Other)
By changing the timing and velocity of the notes, you can
change the rhythmic “feel” of the Arpeggio playback.
This is the same as in Normal Voice Common Edit. See
page 102.
Controller settings—[F4] Ctrl Set
(Controller Set)
File mode
This is the same as in Normal Voice Common Edit. See
page 104. Please note that the Element Switch parameter
is not available in Drum Voice Common edit.
This is the same as in Normal Voice Common Edit. See
page 100.
Effect settings—[F6] Effect
Effect Connection Settings—[SF1]
Connect
This display gives you comprehensive control over the
effects. The functions on this display are basically same as
in Normal Voice Common Edit (page 107). The different
point is that the Insertion Effect Out parameter is set not for
each Element but for each Drum Key. In addition to that,
three more parameters ($ – ^) are available.
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MOTIF XS Owner’s Manual
Editing a Drum Voice
% REV SEND (Key Reverb Send)
6
)
@
Settings: 0 – 127
n When the Insertion Effect Out parameter (1) is set to “Ins A”
or “Ins B,” you can determine the level of the Drum Key sound
(output from Insertion Effect A or B) that is sent to the Reverb
effect by setting the value of the Insertion Reverb Send
parameter indicated only in this case.
^ CHO SEND (Key Chorus Send)
1 Out (Insertion Effect Out)
Determines which Insertion Effect (A or B) is used to
process each individual Drum Key. Parameters can be set
for each Drum Key. When INSERTION CONNECT (2) is
set to “ins L,” the signal from each Drum Key is output to
the Insertion L regardless of the setting here.
Settings: thru (through), Ins A (Insertion A), Ins B (Insertion B)
Parameters 2 – # are same as the ones on the Connect
display (page 107) in the Normal Voice Edit mode.
$ Key
Determines the Drum Key to be edited. The Insertion Effect
Out (1), Key Reverb Send (%) and Key Chorus Send (^)
can be set for each Drum Key.
Settings: 0 – 127
n When the Insertion Effect Out parameter (1) is set to “Ins A”
or “Ins B,” you can determine the level of the Drum Key sound
(output from Insertion Effect A or B) that is sent to the Chorus
effect by setting the value of the Insertion Chorus Send
parameter indicated only in this case.
Effect Parameter settings—[SF2] Ins A
– [SF5] Chorus
This is the same as in Normal Voice Common Edit. See
page 109.
Sampling
mode 2
Settings: C0 – C6
Determines the level of the Drum key sound (the bypassed
signal) that is sent to Chorus effect. The setting here is
available only when the Insertion Effect Out parameter (1)
is set to “thru.”
Key Edit parameters
Setting the wave and note range of
the Key—[F1] Oscillator
This display lets you set the Waveform and Note range of
the selected Key.
1
2
3
4
5
6
7
8
n Depending on the selected parameter, the LIST icon is shown
at the tab menu corresponding to the [SF6] button. In this
condition, you can call up the list by pressing the [SF6] LIST
button, then select the desired item from the list. For details,
see page 82.
Utility mode
For users who are new to Voice editing and may be confused by the large amount of parameters, the most basic and easy-to-understand
parameters are conveniently marked with asterisks in this section. If you are just starting out with Voice editing, try these parameters first.
File mode
About the asterisk (*) marks
Master mode
[VOICE] ➞ Drum Voice selection ➞ [EDIT] ➞ Key selection
If you wish to edit the sounds that make up a Voice and the basic parameters that determine the sound, such as Oscillator,
Pitch, Filter, Amplitude, and EG (Envelope Generator), call up the Key Edit display.
1 Key*
Determines the Drum Key to be edited. You can select the
desired percussion instrument by pressing the note.
9
)
!
@
#
$
%
Settings: C0 – C6
2 Element Switch*
Determines whether the currently selected Key is used or
not. When this is set to off, the currently edited Key will not
sound.
Settings: off (inactive), on (active)
^
MOTIF XS Owner’s Manual
129
Reference
8
#
Voice mode
9
!
Performance
mode
5
7
Sampling
mode 1
4
Song mode
2
^
Determines the level of the Drum key sound (the bypassed
signal) that is sent to Reverb effect. The setting here is
available only when the Insertion Effect Out parameter (1)
is set to “thru.”
Pattern mode
3
Mixing mode
$
1
%
Editing a Drum Voice
3 Wave Bank (Waveform Bank)*
9 Ins Effect Output (Insertion Effect Output)
Determines the Waveform Bank assigned to the Drum Key,
Preset or User. User Waveforms can be created based on
the samples recorded in the Sampling mode.
Determines which Insertion Effect (A or B) is used to
process each individual Drum Key. This parameter is same
as the Ins Effect Output in the Connect display (page 107)
in Voice Common Edit. Making a setting here automatically
changes the setting of that parameter as well.
When INSERTION CONNECT (2) is set to “ins L” in the
Connect display, Insertion L is used to process each
individual Drum Key, even if “ins A” or “ins B” is selected.
Settings: PRE (preset waveform), USR (user waveform)
Voice mode
n For details about Waveform, refer to the explanation of the
Sampling Mode on page 161.
Performance
mode
4 Wave Category (Waveform Category)*
5 Wave Number (Waveform Number)*
Sampling
mode 1
Determines the Waveform assigned to the Drum Key by
selecting the Waveform Category and Number. For a
complete list of Waveforms in the Preset Bank, refer to the
Waveform List in the separate Data List booklet.
6 Assign Mode*
Song mode
Pattern mode
Mixing mode
Reference
When this is set to “single,” double playback of the same
note is prevented. This is useful when two or more
instances of the same note are received nearly
simultaneously, or without a corresponding note off
message. To allow playback of each instance of the same
note, set this to “multi.” In general, you should probably set
this to “multi”—especially for tambourine and cymbal
sounds that you would want to ring out to their full decay,
when playing them multiple times in succession. Please
keep in mind that the “multi” setting consumes the overall
polyphony and it may cause sounds to be cut off.
Settings: single, multi
single
Sampling
mode 2
When this is set to “single” and double playback of the same note are
transmitted to the internal tone generator, the first note will be stopped
then the next note will be sounded.
multi
Master mode
When this is set to “multi” and double playback of the same note are
transmitted to the internal tone generator, all the notes are sounded
simultaneously.
7 Receive Note Off
Utility mode
Determines whether or not the selected Drum Key
responds to MIDI Note Off messages. This should be set to
on when the selected Drum Key has a sustained, nondecaying sound (such as a snare roll), so that you can stop
the sound by releasing the note.
Settings: off, on
File mode
8 Alternate Group*
Determines the Alternate Group to which the key is
assigned. In a real drum kit, some drum sounds cannot
physically be played simultaneously, such as open and
closed hi-hats. You can prevent keys from playing back
simultaneously by assigning them to the same Alternate
Group. Up to 127 Alternate Groups can be defined. You
can also select “off” here if you wish to allow the
simultaneous playback of sounds.
Settings: thru (through), ins A (Insertion Effect A), ins B (Insertion
Effect B)
) Reverb Send*
Determines the level of the Drum Key sound (the bypassed
signal) that is sent to Reverb effect. This is available only
when Insertion Effect Output (above) is set to “thru.” The
setting made here will be applied to the same parameters
in the Connect display (page 107) of the Voice Common
Edit.
Settings: 0 – 127
! Chorus Send*
Determines the level of the Drum Key sound (the bypassed
signal) that is sent to Chorus effect. This is available only
when Insertion Effect Output (above) is set to “thru.” The
setting made here will be applied to the same parameters
in the Connect display (page 107) of the Voice Common
Edit.
Settings: 0 – 127
@ Output Select
Determines the specific output(s) for the individual Drum
key signal. You can assign each individual Drum Key
sound to be output from a specific hardware output jack on
the rear panel. This parameter is useful when you wish to
apply a connected external effect to a specific drum
instrument. The setting here is available only when the
Insertion Effect Output parameter (9) is set to “thru.”
Settings: See the table below.
LCD
Output jacks
Stereo/Mono
L&R
OUTPUT L and R
asL&R
ASSIGNABLE OUTPUT L and R
Stereo
m1&2
mLAN OUTPUT 1 and 2
Stereo (1: L, 2: R)
m3&4
mLAN OUTPUT 3 and 4
Stereo (3: L, 4: R)
m5&6
mLAN OUTPUT 5 and 6
Stereo (5: L, 6: R)
m7&8
mLAN OUTPUT 7 and 8
Stereo (7: L, 8: R)
m9&10
mLAN OUTPUT 9 and 10
Stereo (9: L, 10: R)
m11&12
mLAN OUTPUT 11 and 12
Stereo (11: L, 12: R)
m13&14
mLAN OUTPUT 13 and 14
Stereo (13: L, 14: R)
asL
ASSIGNABLE OUTPUT L
Mono
asR
ASSIGNABLE OUTPUT R
Mono
mLAN OUTPUT 1
Mono
m1
:
Settings: off, 1 – 127
m14
Stereo
:
mLAN OUTPUT 14
:
Mono
n The mLAN settings (m1 – m14) are available only for the
MOTIF XS8. The mLAN settings are available for MOTIF XS6/7
only when an optional mLAN16E2 has been installed.
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MOTIF XS Owner’s Manual
Editing a Drum Voice
Settings: -64 – +0 – +63
Settings: -200% – +0% – +200%
3 Resonance*
Determines the emphasis given to the Cutoff Frequency to
add further character to the sound. Higher values result in
a more pronounced effect.
Settings: 0 – 127
Normally in the Drum Voice Edit mode, pressing a note on
the keyboard alternates the key (instrument) being edited
automatically. When the [SF5] PageHold button is turned
on, the key (instrument) being edited is maintained even if
you press any other note on the keyboard. This allows you
to edit a certain key while adjusting the level balance
between the key being edited and the other keys.
Adjust the brightness using the
Filter—[F3] Filter
Each Drum Key has its own independent low pass filter
and high pass filter. You can adjust the tonal characteristics
of each drum sound by setting the Cutoff Frequency and
Resonance.
4 HPF Cutoff (High Pass Filter Cutoff Frequency)*
Determines the Cutoff Frequency of the High Pass Filter.
Settings: 0 – 255
Amplitude settings—[F4] Amplitude
From the following displays, you can set various
parameters for the selected Drum Key, such as Volume,
Pan, and Amplitude EG.
1
2
3
4
5
6
7
9
8
Utility mode
Key
1
2
3
4
Voice mode
Sampling
mode 2
^ [SF5] PageHold
1 Level*
Determines the output level of the Drum Key.
Settings: 0 – 127
2 Velocity Sens (Velocity Sensitivity)*
Raises or lowers the cutoff frequency of the low pass filter
to adjust the tone brilliance. The sound can be brightened
by raising the cutoff frequency, and darkened or muffled by
lowering it.
Determines how the output level of the Drum Key responds
to velocity. Positive settings will cause the output level to
rise the harder you play the keyboard. A setting of 0 will
cause the output level not to change. Negative settings will
cause the output level to rise the more softly you play the
keyboard.
Settings: 0 – 255
Settings: -64 – +0 – +63
1 Cutoff*
3 Pan*
Adjusts the stereo pan position of the sound.
Settings: L63 (far left) – C (center) – R63 (far right)
MOTIF XS Owner’s Manual
131
Reference
Determines how the pitch of the Drum Key responds to
velocity. Positive settings will cause the pitch to rise the
harder you play the keyboard. A setting of 0 will cause the
pitch not to change. Negative settings will cause the pitch
to rise the more softly you play the keyboard.
Performance
mode
% Pitch Velocity Sens (Pitch Velocity Sensitivity)
Sampling
mode 1
Settings: -64 cent – +0 cent – +63 cent
Song mode
Determines the pitch of each Drum Key in cent.
Pattern mode
$ Fine (Pitch Fine Tuning)*
Determines how the Cutoff Frequency responds to velocity,
or the strength with which you play notes. Positive settings
will cause the Cutoff Frequency to rise the harder you play
the keyboard. A setting of 0 will cause the Cutoff
Frequency not to change depending on velocity. Negative
settings will cause the Cutoff Frequency to rise the more
softly you play the keyboard.
Mixing mode
Settings: -48 semi – +0 semi – +48 semi
Master mode
Determines the pitch of each Drum Key in semitones.
2 Cutoff Velocity Sens
(Cutoff Velocity Sensitivity)*
File mode
# Coarse (Pitch Coarse Tuning)*
Editing a Drum Voice
4 Alternate Pan
Determines the amount by which the sound is panned
alternately left and right for each note you press, assuming
the pan position set above as center. Higher values
increase the width of the Pan range.
Voice mode
Settings: L64 – C – R63
5 Random Pan
Performance
mode
Determines the amount by which the sound of the selected
Drum Key is panned randomly left and right for each note
you press. The Pan setting (above) is used as the Center
Pan position.
Settings: 0 – 127
Sampling
mode 1
Amplitude EG
Using the AEG, you can control the transition in volume
from the moment the sound starts to the moment it stops.
Song mode
Level
(Volume)
Attack
Level
9
Decay1
Level
Mixing mode
Reference
Pattern mode
0
Attack
Time
6
Decay1
Time
7
Pressing the key (Key on)
Time
Decay2
Time
8
Releasing the key (Key off)
Time*
Sampling
mode 2
The Time parameters let you set the time between the
adjoining points of the level parameters below. A higher
value results in a longer time until reaching the next level.
Settings: 0 – 127 (0 – 126, hold for Decay 2 Time)
Master mode
6 Attack Time
Determines how long it takes for the sound to reach full
volume (Attack Level) when a note is pressed.
Utility mode
7 Decay 1 Time
Determines how long it takes for the sound to fall from the
Attack Level to the Decay1 Level after the note is pressed.
File mode
8 Decay 2 Time
Determines how quickly the sound decays from the
Decay1 Level to silence after the note is released.
Level*
The Level parameter lets you set the AEG level.
Settings: 0 – 127
9 Decay 1 Level
Determines the level which the AEG level reaches from the
Attack Level after the Decay1 time elapses.
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MOTIF XS Owner’s Manual
Equalizer (EQ) Settings—[F6] EQ
From this display, you can set the EQ parameters for each
Drum Key.
This is the same as in Normal Voice Common Edit. See
page 126.
Voice Job—Convenient Functions
To cancel the Job, press the [DEC/NO] button.
5
Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed”
message appears and operation returns to the original
display.
6
When a Normal Voice is selected:
1
Mixing mode
Press the [ENTER] button. (The display
prompts you for confirmation.)
2
3
4
Sampling
mode 2
4
Press the [VOICE] button to return to the Voice
Play mode.
CAUTION
Even if you execute the Job, selecting a different Voice or
turning the power off without storing will erase the Voice data.
Make sure to store the Voice data to internal memory by
pressing the [STORE] button before selecting a different Voice
or turning the power off.
1 All Parameters
If you place a checkmark here, all the parameters of the
selected Voice will be initialized.)
2 Common Parameters
If you place a checkmark here, all the Common Edit
parameters of the selected Voice will be initialized.
3 Element Parameters 1 – 8
If you place a checkmark here, all the Element Edit
parameters of the selected Element will be initialized.
4 Initialize the settings of the waveforms
assigned to the selected Elements.
If you place a checkmark here, all the Waveform settings of
the selected Element will be initialized.
MOTIF XS Owner’s Manual
133
Reference
Set the parameters for executing the Job.
Performance
mode
Move the cursor to the desired parameter, then
set the value.
Sampling
mode 1
3
Song mode
Press one of the [F1] to [F4] buttons to call up
the desired Job display.
Pattern mode
2
This function lets you reset (initialize) all Voice parameters
to their default settings. You can also selectively initialize
certain parameters, such as Common settings, settings for
each Element/Drum Key, and so on.
This function is very useful when creating a completely new
Voice from scratch.
The parameters available for initializing will vary depending
on the type of Voice currently selected (Normal/Drum).
Master mode
In the Voice mode, press the [JOB] button to
enter the Voice Job mode.
Utility mode
1
Initializing the Voice—[F1] Init
(Initialize)
File mode
Voice Job—Basic Operation
Voice mode
The Voice Job mode features some convenient data organization and initialization tools, for use when creating Voices and
archiving them.
Voice Job—Convenient Functions
When a Drum Voice is selected:
1
Voice mode
2
5
6
7
Determines the Bank and the Voice number to be copied.
The available parameters will vary depending on the type
of Voice currently selected (Normal/Drum). This parameter
cannot be set when the Current Voice (2) is turned on.
2 Current Voice
Performance
mode
When this is set to on, the currently selected Voice (the one
you are editing now) is selected as source. Accordingly,
you can copy the parameter settings from an Element to
the different Element of the same Voice.
3 Data type of the source Voice
Sampling
mode 1
5 Key Parameters
If you place a checkmark here, all the Key Edit parameters
of the selected Key will be initialized.
Song mode
6 Drum Key
Determines the Drum Key to be initialized.
Determines the source data type including the Element
number or Drum Key. The available parameters will vary
depending on the type of Voice currently selected (Normal/
Drum).
Settings: common, element 1 – 8 (Normal Voice), key C9 – C6 (Drum
Voice)
Pattern mode
Mixing mode
Reference
Settings: C0 – C6
4 Data type of the destination Voice
7 Initialize the settings of the waveform assigned
to the selected Key.
Determines the destination data type including the Element
number or Drum Key. The available parameters will vary
depending on the type of Voice currently selected (Normal/
Drum).
When the data type of the source Voice (above) is set to
“common,” this parameter will be fixed to “common.”
If you place a checkmark here, all the Waveform settings of
the selected Drum Key will be initialized.
Settings: common, element 1 – 8 (Normal Voice), key C9 – C6 (Drum
Voice)
Edit Recall—[F2] Recall
Sampling
mode 2
Master mode
If you are editing a Voice but you have not stored it before
switching to another Voice, the edits you have made will be
cleared. If this happens, you can use the Recall function to
restore the Voice with your latest edits intact.
Utility mode
Copying another Voice Element to
the current one—[F3] Copy
File mode
From this window you can copy Common and Element/
Drum Key parameter settings from any Voice to the Voice
you are editing. This is useful if you are creating a Voice
and wish to use some parameter settings from another
Voice. When Current Voice (2) is set to on, you can copy
the parameter settings from an Element to a different
Element of the same Voice.
1
2
3
4
134
1 Voice as source
MOTIF XS Owner’s Manual
Transmitting the Voice data via MIDI
(Bulk Dump)—[F4] Bulk (Bulk Dump)
This function lets you send your edited parameter settings
for the currently selected Voice to a computer or another
MIDI device for data archiving. To execute the Bulk Dump
operation, press the [ENTER] button.
n In order to execute Bulk Dump, you will need to set the correct
MIDI Device Number. For details, see page 268.
n The Bulk Dump data includes only the MIDI messages and
does not include the Waveforms.
The Solo function is the opposite of Mute, and lets you
instantly solo a specific Part and mute all others.
2
4
5
6
12
13
14
PART SELECT
9
10
11
PART MUTE
1
Turning specific Parts on/off (Mute
function)
16
MUTE
ARP HOLD
SOLO
1
Press the [SOLO] button.
The SOLO lamp lights, indicating that Solo is enabled.
2
Press any of the Number buttons [1] – [4].
The lamp of the pressed button will flash and only the
corresponding Part will be sounded.
Press any other Number button to change the solo Part.
Master mode
The Performance Play mode lets you turn the four Parts of
the current Performance on or off as desired. You can
enable this by pressing the [PERFORM] button to enter the
Performance Play mode.
PERFORMANCE
CONTROL
ARP ON/OFF
15
TRACK
8
You can turn individual Parts on/off by using the Mute
function.
Using the Arpeggio Function
1
1
2
3
4
5
PART SELECT
9
10
11
PART MUTE
6
7
PERFORMANCE
CONTROL
ARP ON/OFF
12
13
14
15
TRACK
8
16
MUTE
SOLO
ARP HOLD
2
1
Press the [PERFORMANCE CONTROL] button.
The Arpeggio function lets you trigger rhythm patterns, riffs
and phrases using the current Voice by simply playing
notes on the keyboard. In the Performance mode, each of
four Arpeggio types is assigned to each of four Parts. This
means four Arpeggio types can be played back
simultaneously. Try selecting different Performances and
check out the various Arpeggio types.
Utility mode
Switching a Part on/off
7
n For details about Arpeggio, see page 62.
The PERFORMANCE CONTROL lamp lights, indicating
that each Part can be turned on/off.
2
Press any of the Number buttons [9] – [12].
The lamp of the pressed button will be turned off and
the corresponding Part will be muted.
Press the same button again to turn the lamp on and
disengage the mute function for that Part.
You can turn multiple Parts on/off by pressing their
buttons.
Using the Arpeggio Function in the
Performance mode
Since the preset Performances already have their own
Arpeggio types pre-assigned, you can play the Arpeggio
by selecting the desired Performance, turning on the
[ARPEGGIO ON/OFF] button, then pressing any note.
Instructions on using Arpeggio are basically the same as in
the Voice mode.
MOTIF XS Owner’s Manual
135
Reference
3
Pattern mode
2
Mixing mode
1
Song mode
Soloing a specific Part
File mode
Selecting a Performance is done in basically the same way
as selecting a Voice (see page 88). As in the Voice Play
mode, you can use the Category Search (page 24) and
Favorite Category (page 88) functions in the Performance
Play mode. Note that the Category function in the
Performance mode does not allow you to use the Bank/
Group/Number buttons.
Sampling
mode 2
The MOTIF XS contains 128 Performances in each of the
User Banks 1 – 3.
Sampling
mode 1
n Parts can also be muted by using the [MUTE] and [PART
SELECT] buttons. Press the [MUTE] button (the lamp
lights), then use the appropriate Number buttons [1] – [4]
to mute and unmute the desired Part.
Selecting a Performance
Performance
mode
The Performance mode is used for selecting, playing, and editing the desired Performance. Performances can be made up
of a maximum of four Parts (Voices), selected from the internal tone generator Parts 1 – 4. The Performance Play mode is the
main ‘portal’ by which you enter the Performance mode, and it is here where you select and play a Performance. Some of
the Performance settings can also be edited in this mode. To call up the Performance Play display and enter the
Performance mode, simply press the [PERFORM] button.
Voice mode
Playing in the Performance Mode
Playing in the Performance Mode
Turning Arpeggio playback on/off for
each Part
Voice mode
You can turn Arpeggio playback on or off for each Part of
the Performance as described below.
1
2
1
2
3
4
5
6
12
13
14
PART SELECT
Performance
mode
9
10
11
15
TRACK
8
PERFORMANCE
CONTROL
ARP ON/OFF
PART MUTE
1
7
16
MUTE
SOLO
ARP HOLD
Press the [PERFORMANCE CONTROL] button.
Sampling
mode 1
The [PERFORMANCE CONTROL] lamp lights,
indicating that Arpeggio playback for each Part can be
turned on/off.
Song mode
2
One of the more powerful performance features of the
MOTIF XS is its extensive set of real-time controls—
especially the Knobs and Control Sliders. These let you
adjust a variety of parameters for the current Performance,
such as effect depth, attack/release characteristics, tonal
color, and others. These real-time controls can be used to
change the sound as you play or to quickly edit and
customize the Performance. One of six functions can be
assigned to each knob, alternatively selected via the
[SELECTED PART CONTROL] button and the [MULTI PART
CONTROL] button.
TONE 1
SELECTED PART
CONTROL
TONE 2
ARP FX
Pressing each of the [5] – [8] buttons toggles
the Arpeggio playback on and off for each Part.
CUTOFF
RESONANCE
AT TACK
EQ LOW
EQ MID F
EQ
MID
SWING
QUANTIZE
VALUE
QUANTIZE
STRENGTH
DECAY
SU
EQ MID Q
EQ
GATE TIME
VEL
1
REVERB
MULTI PART
CONTROL
If any of the [5] – [8] lamps is turned off, the Arpeggio
playback of the corresponding Part is muted.
CHORUS
PAN
Mixing mode
Reference
Pattern mode
2
Turning the Arpeggio Hold parameter
on/off for each Part
You can turn the Arpeggio Hold parameter (page 154) on
or off for each Part of the Performance as described below.
When the Arpeggio Hold parameter is set to “on,” the
Arpeggio playback continues even if the note is released.
Sampling
mode 2
1
1
2
3
4
5
6
12
13
14
PART SELECT
Master mode
9
10
11
7
15
TRACK
8
PERFORMANCE
CONTROL
ARP ON/OFF
PART MUTE
16
MUTE
SOLO
ARP HOLD
2
Utility mode
1
File mode
2
Press the [PERFORMANCE CONTROL] button.
The [PERFORMANCE CONTROL] lamp lights,
indicating that Arpeggio Hold for each Part can be
turned on/off.
Pressing each of the [13] – [16] buttons toggles
the Arpeggio Hold parameter on and off for
each Part.
If any of the [13] – [16] lamps is turned on, the
Arpeggio Hold parameter of the corresponding Part is
turned on.
n When the Arpeggio Hold parameter is set to “sync-off” in
the Arpeggio Main display (page 154), pressing each of
the [13] – [16] buttons switches the Arpeggio Hold setting
between on and sync-off.
136
Using Knobs
MOTIF XS Owner’s Manual
1
Select the function setting to be assigned to
the Knobs.
Press the [SELECTED PART CONTROL] button or
[MULTI PART CONTROL] button several times to select
the function setting to be assigned to the Knobs. Each
time either button is pressed, the lamp lights
alternatively in descending order, TONE 1 → TONE 2 →
ARP FX (when pressing [SELECTED PART CONTROL])
or REVERB → CHORUS → PAN (when pressing [MULTI
PART CONTROL]). The functions assigned to the
Knobs are changed according to the lamp status.
n To check which functions are currently assigned to the
Knobs, call up the Control Function window by pressing
the [SELECTED PART CONTROL] button or [MULTI PART
CONTROL] button.
n Holding down the [SELECTED PART CONTROL] button
for a few seconds will alternate the lit lamp from the
current one to TONE 1. Likewise, holding down the [MULTI
PART CONTROL] button for a few seconds will alternate
the lit lamp from the current one to REVERB.
n A red point on the Knob or Slider graphic indicates the
current value to which the Knob or Slider is set. Moving
the Knob or Slider has no effect on the sound until this
point is reached. Once you move the Knob or Slider past
this point, the red point disappears and moving the Knob
or Control Slider affects the sound.
Red point (indicating the current value)
Playing in the Performance Mode
Adjusts the pan position for Parts 1 – 4
n If the [E] (Edit) indicator appears at the top right of the
display when you adjust the Knobs, the current
Performance can be stored (page 142) as a new User
Performance.
Changing a Part to be controlled
You can change a Part to be controlled by Knob
operations via any of the following instruction.
1
Turn the [PERFORMANCE CONTROL] lamp on
by pressing the [SELECTED PART CONTROL]
button to call up the Control Function window.
2
Select the desired Part by pressing the [1] – [4]
buttons and [COMMON EDIT] button.
By pressing the [COMMON EDIT] button, Knob
operations will be applied to all four Parts. By
pressing the one of the [1] – [4] buttons, Knob
operations will be applied only to the selected Part.
Note that controlling the knobs printed “ASSIGN 1”
and “ASSIGN 2” of “TONE 1” will always affect the
sound of all Parts.
n Note that the Control Function window cannot be
called up even if you press the [SELECTED PART
CONTROL] button in the Performance Play display.
If you wish to change a Part in the Performance Play
display, press the [PERFORMANCE CONTROL]
button (the lamp lights), then press one of the [1] –
[4] and [COMMON EDIT] buttons.
Voice mode
4
7
8
)
9
!
@
#
$
%
1 Performance Bank
2 Performance Number (Group/Number)
Indicates the Bank and Number of the selected
Performance. A Bank is a memory location that includes
data of 128 different Performances. Three Banks (User 1 –
3) are provided. Each Performance within a Bank is
assigned to a Performance Number of 001 to 128.
Performance Numbers 001 to 128 are converted to the
format (shown in parentheses) of Banks A to H and
Numbers 1 to 16 (for the Bank). This format corresponds to
the Group buttons [A] – [H] and the Number buttons [1] –
[16]. The Performance Numbers and the corresponding
Group/Numbers are listed below.
Group/Number
Performance Number
A01 – 16
B01 – 16
C01 – 16
D01 – 16
E01 – 16
F01 – 16
G01 – 16
H01 – 16
001 – 016
017 – 032
033 – 048
049 – 064
065 – 080
081 – 096
097 – 112
113 – 128
3 Category (Main Category <Sub Category>)
Using Sliders
The far left four sliders adjust the volume for each of four
Parts. Each of the Control Sliders 1 – 4 corresponds to the
same numbered Part. The status of the sliders is shown on
the display.
Indicates the Category of the selected Performance.
“Category,” consisting of Main Category and Sub
Category, is a keyword that indicates the instrument
characteristics or the type of sound. Each Performance
can be registered to a Main Category and its Sub
Category. The Category settings can be edited in the
General display (page 143) of the Performance Common
Edit mode.
4 Performance name
Indicates the name of the current Performance.
5 Transmit Ch (MIDI Transmit Channel)
Indicates the Keyboard MIDI transmit channel. For
information about how to set the value, see page 91.
MOTIF XS Owner’s Manual
137
Reference
PAN
6
Performance
mode
Adjusts the chorus depth for Parts 1 – 4
5
Sampling
mode 1
CHORUS
3
Song mode
Adjusts the reverb depth for Parts 1 – 4
2
Pattern mode
REVERB
1
Mixing mode
Functions of the left four knobs
You can call up the Performance Play display by pressing
the [PERFORM] button.
Sampling
mode 2
Active lamp
The Performance Play display
Master mode
Moving the Knobs changes various aspects of the
Voice’s sound in real time—while you play.
When one of the TONE 1, TONE 2 or ARP FX lamps are
lit, the eight Knobs are used to control the
corresponding functions as printed on the panel (the
same as in the Voice mode). For details, see page 90.
When one of the REVERB, CHORUS or PAN lamps are
lit, the following functions are assigned to the four
leftmost Knobs.
Utility mode
Change tonal color.
File mode
2
Playing in the Performance Mode
6 Octave
Indicates Keyboard Octave setting set via the OCTAVE
buttons. This parameter determines how much higher or
lower the pitch of each key is compared to normal pitch.
Voice mode
This display indicates the information of the current
Performance. Settings cannot be changed here.
7 Control Function
Indicates the status of the Knobs and Control Sliders on the
panel. This is same as the Control Function window
(page 136).
Performance
mode
8 Voice name
1
2
3
4
Indicates the names of the Voices assigned to Parts 1 – 4.
Sampling
mode 1
9 [SF1] ARP1 – [SF5] ARP5 (Arpeggio 1 – 5)
Song mode
The Arpeggio types are assigned to the buttons with the
8th note icon on the display tab. You can call them up by
pressing these buttons any time during your keyboard
performance. Assigning Arpeggio types to the buttons can
be done from the Arpeggio display (page 139).
) [SF6] INFO (Information)
Mixing mode
Reference
Pattern mode
Pressing this button calls up the Information window of the
current Performance.
! [F1] Play
Pressing this button returns from the previous display to the
Performance Play display.
@ [F2] Voice
Sampling
mode 2
Pressing this button calls up the display (page 138) that
lets you select a Voice for each Part and specify the note
range it can be played from.
Master mode
Pressing this button calls up the display (page 139) that
contains the basic EG settings.
$ [F4] Arpeggio
Utility mode
Pressing this button calls up the display (page 139) that
lets you set the Arpeggio related parameters.
% [F6] Effect
File mode
Pressing this button calls up the Effect setup display
(page 149) of the Performance Common Edit.
When changing the value of the parameter in the
Performance Play or Edit mode, the [E] (Edit Indicator) will
appear on the top right corner of the LCD display. This
gives a quick confirmation that the current Performance
has been modified but not yet stored. To store the current
edited status, follow the instructions on page 142.
Edit Indicator
MOTIF XS Owner’s Manual
5
6
1 Bank
Indicates the Bank of the selected Performance program.
The values in parentheses indicates the Bank Select MSB
and LSB which can be used to select the current Voice via
MIDI.
2 Program (Performance number)
To each Performance within a Bank, a Number of 001 to
128 is assigned. The values in parentheses indicates
Group and Number.
3 Category
Indicates the Category of the selected Performance.
4 Name
# [F3] EG (Envelope Generator)
The [E] Indicator
138
Performance information—[SF6]
INFO (Information)
Indicates the name of the current Performance.
5 Part 1 – 4
Indicates the Bank, Number, Main Category 1/2, and name
of the Voice which is assigned to each Part.
6 Effects
Indicates Reverb and Chorus settings of the selected
Performance.
Parameters for the Voice assigned
to each Part—[F2] Voice
This display lets you specify the Voice and its note range of
each Part. The setting made here will be applied to the
same parameters in the Voice display (page 151) of Part
Edit.
Playing in the Performance Mode
2 FEG (Filter EG)
Determines the transition in tonal brilliance from the
moment a key is pressed to the moment at which it is
released. The FEG consists of four parameters: Attack
time, Decay time, Release time, and Depth. For details, see
page 94.
Settings: -64 – +0 – +63
Determines whether the Part is used (on) or not used (off).
3 Filter
2 Voice Bank
3 Voice Number
4 Voice Name
You can produce a relatively bright or darker sound by
reducing or enhancing the harmonics. There are two
parameters: Cutoff (Cutoff Frequency) and Reso
(Resonance). For details, see page 94.
Settings: C -2 – G8
n You can also set the Key directly from the keyboard, by
holding down the [SF6] KBD button and pressing the desired
key. For details, see page 82.
Changing the tonal characteristics—
[F3] EG (Envelope Generator)
This display lets you set the EG (Envelope Generator) and
Filter. The settings made here will be applied to the same
parameters in the EG display (page 157) of Part Edit as
offset.
Arpeggio settings—[F4] Arpeggio
This display determines the basic settings of the Arpeggio.
There are two types of parameters: Common parameters
(Common Switch, Tempo and Sync Quantize Value
indicated at the top of the display) and Part parameters
(others). As for the Part parameters, five different Arpeggio
types can be assigned to each of the four Parts, and are
selectable with the [SF1] – [SF5] buttons. Press the
appropriate [SF1] – [SF5] button to call up the desired
Arpeggio/Part combination. Arpeggio related settings on
the display are automatically assigned to the
corresponding [SF1] – [SF5] buttons. The settings made
here will be applied to the same parameters in the General
Other display (page 145) of Common Edit, the Arpeggio
Main display (page 154) and the Arpeggio Other display
(page 156) of Part Edit.
1
2
7
Song mode
3
4
5
8
6
9
)
1
2
3
1 Common Switch
Determines whether Arpeggio is on or off. When calling up
the Performance for which this parameter is set to on, the
[ARPEGGIO ON/OFF] button on the panel will be turned on
automatically.
Settings: on, off
MOTIF XS Owner’s Manual
139
Reference
Determines the lowest and highest notes in the Part’s note
range. You can also create a lower and an upper range for
the Voice, with a note range “hole” in the middle, by
specifying the highest note first. For example, setting a
Note Limit of “C5 – C4” lets you play the Voice from two
separate ranges: C -2 to C4 and C5 to G8. Notes played
between C4 and C5 do not play the selected Voice.
Pattern mode
5 NOTE LIMIT LO-HI
Settings: -64 – +0 – +63
Mixing mode
Determines the Voice Bank and Number for each Part. The
two category names of the selected Voice are shown at the
Voice name column.
Sampling
mode 1
1 PART (Part Switch)
Performance
mode
Settings: -64 – +0 – +63
Voice mode
Determines the transition in volume from the moment a key
is pressed to the moment at which it is released. The AEG
consists of four parameters: Attack time, Decay time,
Sustain level, and Release time. For details, see page 94.
Sampling
mode 2
5
1 AEG (Amplitude EG)
Master mode
4
Utility mode
3
File mode
1 2
Playing in the Performance Mode
2 Tempo
Determines the Arpeggio Tempo. For details, refer to the
Arpeggio Main display (page 154) of Part Edit.
3 Sync Quantize Value
Voice mode
Performance
mode
Determines the actual timing at which the next Arpeggio
playback starts when you trigger it while the Arpeggio of a
certain Part is played back. When set to “off,” the next
Arpeggio starts as soon as you trigger it. Note that the
number shown at right of each value indicates the
resolution in clocks.
Settings: off, 2 60 (32nd note), 63 80 (16th note triplet), 6 120
(16th note), 83 160 (8th note triplet), 8 240 (8th note),
43 320 (1/4 note triplet), 4 480 (1/4 note)
Sampling
mode 1
4 SW (Switch)
display. Select a Song or Pattern Section containing no data as the
destination or save all the Song/Pattern data to the external USB
memory storage device before recording.
Performance Recording procedure
Refer to page 31 in the Start Guide.
1
2
9
)
3
4
5
6
7
8
Determines whether Arpeggio is on or off for each Part.
Song mode
n When the [PERFORMANCE CONTROL] button is pressed so
that its lamp is turned on, the Number buttons [5] – [8] can be
used to turn the Arpeggio playback of Parts 1 – 4 on or off.
1 Sequencer Mode
5 HOLD
Mixing mode
Reference
Pattern mode
This is the same as in the Arpeggio Main display
(page 154) of Part Edit.
6 Voice Bank/Voice Number/Voice Name
(Indication only)
Sampling
mode 2
Indicates the Bank, Number, and name of the Voice which
is assigned to each Part. You can set them on the [F2]
Voice display. Setting the Voice with ARP (7) to “on” in the
Arpeggio Main display of the Performance Part Edit mode
automatically selects the Voice matching the currently
selected Arpeggio Type.
Master mode
7
8
9
)
!
BANK
CATEGORY
SUB CATEGORY
TYPE
Determines to which destination (Song or Pattern) your
Performance playing will be recorded.
Settings: pattern, song
2 Pattern number (Song number)
Determines the Pattern or Song number as the destination
for recording. The name of the selected Pattern or Song is
indicated at the right of the number.
3 Section
Determines the Section as the destination for recording
when the Sequencer Mode is set to “pattern.” Keep in mind
that the data recorded to the selected destination Section
will be overwritten and erased as soon as recording starts.
4 Section Length
Utility mode
These are the same as in the Arpeggio Main display
(page 154) of Part Edit.
Specifies the length of the Section when the Sequencer
Mode is set to “pattern.”
Settings: 001 – 256
5 Time Signature (Meter)
Determines the time signature.
File mode
Recording your keyboard performance
in the Performance mode
[PERFORM] ➞ [I] (Record)
You can record your keyboard performance in the
Performance mode to a Song or Pattern. Knob operations
(with the exception of some parameters described on
page 61), controller operations and Arpeggio playback as
well as your keyboard playing in the Performance mode
can be recorded to the specified track as MIDI events.
CAUTION
Performance recording overwrites all tracks of the destination Song
or Pattern Section. Please check whether or not the destination Song
or Pattern Section contains data before recording. You can check
whether or not each track contains data at the track status line on the
140
MOTIF XS Owner’s Manual
Settings: 1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4
6 Tempo
Determines the tempo for recording. While recording, the
Arpeggio is played back at the tempo set here.
Settings: 5.0 – 300.0
n When MIDI Sync (page 268) is set to “MIDI” or “auto,” “MIDI”
or “auto” is displayed here and Tempo cannot be set.
n When the Sequencer Mode (1) is set to “pattern,” the Tempo
setting here will be recorded to the Pattern. Even if the
destination Pattern contains already recorded data, the Tempo
value will be replaced by the newly recorded one. When the
Sequencer Mode (1) is set to “song,” the Tempo setting here
will be recorded to the Tempo track of the destination Song, if
the Tempo track contains no data.
7 Key On Start Switch
) Track Status (Indication only)
When set to on, recording starts immediately when you
press any note on the keyboard.
Indicates whether each track of the selected Song or
Pattern section contains sequence data or not.
Settings:
on,
off
Indicates this display is in the Common Edit mode.
Performance Edit
Common Edit
Part Edit 1 – 4
Lets you edit the
parameters common to
all Parts of the selected
Performance.
Lets you edit the
parameters of the
individual Parts that
make up a Performance.
COMMON EDIT
1
2
3
4
5
PART SELECT
6
7
8
ARP ON/OFF
Select a Part.
Indicates this display is in the Part Edit mode.
4
Press the [PERFORM] button to enter the
Performance Play mode, then select a
Performance to be edited.
2
Press the [EDIT] button to enter the
Performance Edit mode.
3
Call up the desired display.
To find the desired display, note the tab menu items
corresponding to the [F1] – [F6] buttons and [SF1] –
[SF5] buttons. Each tab menu of the [F1] – [F6] buttons
contains sub menus which correspond to the [SF1] –
[SF5] buttons at the bottom of the display.
Performance Edit Procedure
1
Master mode
Each performance can contain a maximum of four Parts,
There are two types of Performance Edit displays: those for
Common Edit to edit the settings common to all four Parts,
and those for editing individual Parts.
Sampling
mode 2
Tab menus corresponding to
the [F1] – [F6] buttons
5
Tab menus corresponding to
the [SF1] – [SF6] buttons
Move the cursor to the desired parameter.
Call up the desired Edit display, Common Edit
or Part Edit.
MOTIF XS Owner’s Manual
141
Reference
To call up the Common Edit display, press the
[COMMON EDIT] button. To call up the Part Edit
display, press any of the Number buttons [1] – [4]. In
the Part Edit mode, you can select the desired Part by
using the Number buttons [1] – [4].
Common Edit and Part Edit
Pattern mode
The Performance Edit mode lets you create your own original Performances—containing up to four different Parts (Voices)—
by editing the various parameters. To enter the Performance Edit mode, press the [PERFORM] button to enter the
Performance mode, then press the [EDIT] button.
Mixing mode
Editing a Performance
Song mode
Sampling
mode 1
Indicates the current location of the recording via Measure
and Beat.
Performance
mode
9 Measure (Indication only)
Utility mode
Settings: on, off
File mode
Determines whether or not the Performance parameter
settings are copied to the Mixing of the destination Song or
Pattern.
The Arpeggio types are assigned to the Sub Function
buttons with the 8th note icon on the display tab. You can
call them up by pressing these buttons any time while
recording. The Arpeggio Type can be set in the Arpeggio
display (page 139).
Voice mode
! [SF1] ARP1 – [SF5] ARP5 (Arpeggio 1 – 5)
8 Copy Performance Parameters
Editing a Performance
6
Edit the value by using the [INC/YES], [DEC/
NO] buttons and the data dial.
Compare function
Voice mode
7
Repeat steps 3 – 6 as desired.
The Compare function lets you switch between the justedited Performance and its original, unedited condition,
allowing you to hear how your edits affect the sound.
8
Enter the desired name for the edited
Performance.
1
Performance
mode
Use the Name display (page 143) of the Performance
Common Edit mode.
9
Sampling
mode 1
In the Performance Edit mode (with the [EDIT] lamp lit),
press the [EDIT] button so that its lamp flashes. The [E]
indicator at the top right of the screen will change to the
[C] indicator and the Performance settings prior to
editing will temporarily be reinstated for comparison
purposes. When the [E] indicator is shown in the
Performance Play mode, press the [EDIT] button to
enter the Performance Edit mode then press the [EDIT]
button again to call up the Compare mode.
Store the edited Performance.
Press the [STORE] button to call up the Store window
(page 142) then store the edited Performance.
CAUTION
Song mode
The edited Performance will be lost when selecting the
different Performance or turning the power off. Make sure to
store the Performance data to the internal memory by pressing
the [STORE] button before selecting a different Performance or
turning the power off.
Pattern mode
Mixing mode
Reference
n If desired, save the edited and stored Performances to a
USB storage device connected to the USB TO DEVICE
connector or a computer connected to the network to
which the MOTIF XS is also connected. Keep in mind that
edited Performance data is stored to internal User
memory (Flash ROM) and is stored even when turning the
power off. As such it is not necessary to save the data to
an external device; however, we still recommend that you
save or archive all important data to an external device.
Refer to page 278 for details.
Compare indicator (sound prior to editing)
2
Master mode
Utility mode
Turning specific Parts on/off (Mute
function)
This is the same as in the Performance Play mode
(page 135).
Press the [EDIT] button again to return to the
original status.
When the [C] indicator is shown at the right top of the
display, press the [EDIT] button (the lamp lights
continuously, and the [C] indicator changes back to the
[E] indicator).
Sampling
mode 2
Convenient functions for editing
Performances
In the Performance Edit mode, press the [EDIT]
button to call up the Compare mode.
Compare the edited sound with the unedited sound as
desired by repeating steps 1 and 2.
Storing the created Performance
File mode
1
Press the [STORE] button to call up the
Performance Store window.
2
Set the destination for storing the
Performance.
Soloing a specific Part
This is the same in the Performance Play mode (page 135).
The [E] Indicator
This is the same as in the Performance Play mode. See
page 138.
142
MOTIF XS Owner’s Manual
Select a Performance Bank and Number as destination
by using the data dial, [INC/YES] and [DEC/NO]
buttons.
You can also use the [USER 1] – [USER 3], Group [A] –
[H], and Number [1] – [16] buttons to specify the
destination.
Editing a Performance
Press the [ENTER] button. (The display
prompts you for confirmation.)
For users who are new to editing and may be confused by the large amount of parameters, the most basic and easy-to-understand
parameters are conveniently marked with asterisks in this section. If you are just starting out with editing a Performance, try these
parameters first.
General Settings for the selected
Performance—[F1] General
Performance Category
Main
Rock
Rock / Pop
Naming the edited Performance—[SF1]
Name
1
2
R&B
R&B / Hip Hop
3
1 Name*
Enter the desired name for the currently edited
Performance. The Performance name can contain up to 10
characters. You can call up the Character List by pressing
the [SF6] CHAR button and enter the name. For detailed
instructions on naming, refer to “Basic Operation” on
page 82.
Elect
Jazz
Electronic
Jazz
2 Main Category*
3 Sub Category*
Determines the Main Category and Sub Category of the
Performance. “Category” can be used as a keyword
representing the characteristic of the Performance. The
appropriate setting makes it easy to find the desired
Performance from a variety of Performances. The Main
Category indicates the types of instruments and is divided
into Sub Categories.
Settings: See the following list.
World
SpLyr
World
Splits & Layers
Sub
Top40
Top40
Clsic
Classic Rock
Hard
Hard Rock
Cntry
Country
Blues
Blues
Folk
Folk
Balad
Ballad
Film
Film
NoAsg
No Assignment
HipHp
Hip Hop
Modrn
Modern R&B
Clsic
Classic R&B
Funk
Funk
NoAsg
No Assignment
Tekno
Techno
Trnce
Trance
House
Dance Pop / House
D&B
Breakbeats / D&B
Chill
Chillout / Ambient
NoAsg
No Assignment
Swing
Swing
Modrn
Modern Jazz
Smoth
Smooth Jazz
JzFnk
Jazz Funk
Club
Club Jazz
NoAsg
No Assignment
Latin
Latin
Regae
Reggae / Dancehall
Ethno
Ethnic / World
NoAsg
No Assignment
Piano
Piano
Organ
Organ
Synth
Synth
Symph
Symphonic
Strng
Strings
MOTIF XS Owner’s Manual
143
Reference
About the asterisk (*) marks
Song mode
Common Edit lets you edit the parameters common to all Parts of the selected Performance. This covers all parameters of
the Common Edit.
Pattern mode
[PERFORM] ➞ Performance selection ➞ [EDIT] ➞ [COMMON EDIT]
Mixing mode
Common Edit parameters
Sampling
mode 1
Performance
mode
After the Performance has been stored, a “Completed”
message appears and operation returns to the
Performance Play display.
Sampling
mode 2
To execute the Store operation, press the [INC/
YES] button.
Master mode
4
When you execute the Store operation, the settings for the
destination memory will be overwritten. Important data should
always be saved to a USB storage device connected to the
USB TO DEVICE terminal or to a computer connected to the
same network as the MOTIF XS. For detailed instructions on
saving, see page 278.
Utility mode
To cancel the Store operation, press the [DEC/NO]
button.
Voice mode
CAUTION
File mode
3
Editing a Performance
Main
SpLyr
Voice mode
FX
Sub
Splits & Layers
FX
Performance
mode
NoAsg
No Assignment
WWind
Woodwind
Brass
Brass
Guitr
Guitar
Bass
Bass
Cperc
Chromatic Percussion
Pad
Pad
NoAsg
No Assignment
Seq
Sequence
Hard
Hard
Soft
Soft
Gain
7
+
0
Sound Effect
NoAsg
No Assignment
NoAsg
No Assignment
Sampling
mode 1
n You can call up the list and select the desired item by pressing
the [SF6] LIST button. For details, see page 82.
Song mode
Portamento settings—[SF2] Porta
5
1
–
3 bands
S.EFX
Low
Frequency
2
Middle
3
High
Frequency
Determines the center frequency. Frequencies around
each of three points are attenuated/boosted by the Gain
setting below. Higher values produce a higher frequency.
Settings: -64 – +63
1 Low Frequency
Determines the center frequency of the lower EQ band.
2 Mid Frequency
Mixing mode
Reference
Pattern mode
1
2
Determines the center frequency of the middle EQ band.
3
3 High Frequency
Determines the center frequency of the higher EQ band.
1 Portamento Common*
Determines whether or not Portamento is applied to the
current Performance. When this is set to on, Portamento is
applied to the Part for which the Part Switch parameter is
set to on.
Gain
Determines the level gain for each frequency (set above),
or the amount the selected frequency band is attenuated or
boosted.
Sampling
mode 2
Settings: -64 – +63
2 Portamento Part 1 – 4*
Determines whether Portamento is applied to each Part or
not.
Master mode
3 Portamento Time Offset*
4 Low Gain
Determines the amount by which signals below the Low
Frequency (1) will be boosted/attenuated.
Utility mode
Determines the pitch transition time when Portamento is
applied. You can adjust Portamento time for the Voice
assigned to each Part as offset. Higher values result in a
longer pitch change time.
5 Mid Gain
Settings: -64 – +63
6 High Gain
Determines the amount at which signals at the Mid
Frequency (2) will be boosted/attenuated.
Determines the amount by which signals above the High
Frequency (3) will be boosted/attenuated.
File mode
EQ settings for each Part—[SF3] Part EQ
From this display, you can edit the value on the [F5] EQ
display (page 158) as offset to change the tonal
characteristic.
7 Q (Bandwidth)
Determines the frequency bandwidth for each frequency
band. The larger the setting, the greater the bandwidth.
The lower the setting, the smaller the bandwidth.
Settings: -64 – +63
1
4
2
5
7
3
6
This is a three-band (Low, Mid, High) parametric EQ. The
High band and Low band are the shelving type. The
Middle band is the peaking type.
144
6
4
MOTIF XS Owner’s Manual
Editing a Performance
8 ARP Sync Quantize Value
Settings: tone1, tone2, ARP FX, reverb, chorus, pan
2 Assign 1 Value
3 Assign 2 Value
Indicates the level of the Knobs printed “ASSIGN1” and
“ASSIGN2” at the time at which the Performance is
selected with the TONE1 lamp turned on. The functions
assigned to the Knobs are indicated at right of the values
respectively.
1
2
3
4
1 Volume*
Determines the output level of the entire Performance. You
can adjust the overall volume, keeping the balance
between all Parts.
Settings: 0 – 127
Settings: -64 – +0 – +63
2 Pan*
n The functions assigned to the ASSIGN 1/2 Knobs can be set in
the Controller Set display (page 104).
Determines the stereo pan position of the Performance.
You can also adjust this parameter using the PAN knob on
the front panel.
4 A. Function 1 Mode
(Assignable Function 1 Mode)
5 A. Function 2 Mode
(Assignable Function 2 Mode)
Determines whether the ASSIGNABLE FUNCTION [1] and
[2] buttons functions as a latch type or momentary type.
When set to “latch,” pressing the button alternates the
lamp status between on and off. When set to “momentary,”
pressing/holding the button turns the lamp on and
releasing the button turns the lamp off.
Settings: L63 (far left) – C (center) – R63 (far right)
n Note that this Performance Pan parameter may have little or no
audible effect if the Pan for a specific Part is set to the left
position and the Pan for another Part is set to the right position.
3 Reverb Send*
Adjusts the reverb send level. The higher the value the
deeper the reverb. You can also adjust this parameter
using the knob on the front panel.
Settings: 0 – 127
6 Ribbon Mode (Ribbon Controller mode)
Determines the behavior of the Ribbon Controller. When set
to reset, releasing your finger from the Ribbon Controller
automatically returns the value to the center. When set to
hold, releasing your finger from the Ribbon Controller
maintains the value at the last point of contact.
4 Chorus Send*
Adjusts the chorus send level. The higher the value the
deeper the chorus. You can also adjust this parameter
using the knob on the front panel.
Voice mode
Performance
mode
File mode
Settings: momentary, latch
Settings: 0 – 127
n When Reverb Send/Chorus Send is set to “0” in the
Performance Part Edit mode, the setting here is not available.
Settings: hold, reset
7 ARP Common Switch
Determines whether Arpeggio is on or off. This parameter
is the same as the Common Switch parameter in the
Arpeggio display (page 139) of the Performance Play
mode.
MOTIF XS Owner’s Manual
145
Reference
Determines which lamp among the TONE 1, TONE 2, ARP
FX, REVERB, CHORUS and PAN is turned on when
selecting a Performance. This setting can be stored for
each Performance.
Output Level settings—[SF1] Level
Sampling
mode 1
1 Knob Control Assign
Output Level and Master Effect
settings—[F2] Level/MEF
Song mode
8
Pattern mode
2
3
4
5
6
Mixing mode
7
Sampling
mode 2
1
Master mode
From this display, you can set the control functions for the
Knobs, and the up/down range for the Pitch Bend wheel.
This parameter is the same as the Sync Quantize Value
parameter in the Arpeggio display (page 139) of the
Performance Play mode.
Utility mode
Other settings—[SF4] Other
Editing a Performance
Gain
Master Effect settings—[SF2] MasterFX
Q (frequency bandwidth)
+
1
2
3
0
Voice mode
Frequency
–
4
5 bands
Low
Lo-Mid
Mid
Hi-Mid
High
Performance
mode
1 Shape
Sampling
mode 1
Enables you to select one of two equalizer shapes:
shelving or peaking. This parameter is available for Low
and High.
Song mode
n Depending on the selected parameter, the LIST icon is shown
at the tab menu corresponding to the [SF6] button. In this
condition, you can call up the list by pressing the [SF6] LIST
button, then select the desired item from the list. For details
see page 82.
Settings: shelv, peak
shelv (Shelving type)
This type of EQ shape lets you attenuate/boost the signal at
frequencies above or below the specified Frequency setting.
EQ Low
Mixing mode
Reference
Pattern mode
1 Switch
+
Determines whether Master Effect is applied or not to the
selected Performance. You can turn it on or off by pressing
the [MASTER EFFECT] button on the front panel.
0
Settings: on, off
2 Type
Selects an Effect Type. Details about the Effect types are
described on page 70.
Gain
Frequency
EQ High
Gain
+ Frequency
0
–
Frequency
–
Frequency
peak (Peaking type)
This type of EQ shape lets you attenuate/boost the signal at the
specified Frequency setting.
Settings: See the Effect Type list in the separate Data List booklet.
+
Sampling
mode 2
3 Preset
Master mode
You can set various parameters in order to change how the
sound is affected by the selected Effect type. This
parameter lets you call up the pre-programmed settings of
these effect parameters.
Gain
Frequency
0
Frequency
–
Utility mode
4 Effect Parameters
2 Frequency
The number of parameters and values available differs
depending on the currently selected effect type. Refer to
page 73 for details about the Effect parameters. Refer to
the separate Data List booklet for information on the
parameters for each Effect type.
Determines the center frequency. Frequencies around this
point are attenuated/boosted by the Gain setting below.
Settings:
Low
File mode
When the Shape is set to “shelv”: 32Hz – 2.0kHz
When the Shape is set to “peak”: 63Hz – 2.0kHz
Lo-Mid, Mid, Hi-Mid
Master EQ settings—[SF3] MasterEQ
100 Hz – 10.0 kHz
High
500 Hz – 16.0 kHz
From this display you can apply five-band equalization to
all Parts of the selected Performance.
3 Gain
Determines the level gain for the Frequency (set above), or
the amount the selected frequency band is attenuated or
boosted.
Settings: -12dB – +0dB – +12dB
1
2
3
4
146
MOTIF XS Owner’s Manual
Editing a Performance
–
Frequency
n When the Shape parameters (1) of the Low and High are set
to “shelv,” the Q parameters (4) of the Low and High are not
available.
5 A. Function 1 Control No.
A. Function 2 Control No.
Determines the Control Change numbers generated when
you press the ASSIGNABLE FUNCTION buttons.
Settings: 00 – 95
6 Breath Controller Control No.
1
2
3
4
5
6
1 Ribbon Controller Control No.
Determines the Controller Change number generated
when you run your finger across the surface of the Ribbon
Controller.
Settings: 00 – 95
2 Foot Controller 1 Control No.
Foot Controller 2 Control No.
Pattern mode
Audio In settings—[F4] Audio In
You can set parameters related to audio input from the A/D
INPUT connector and the mLAN connector.
n The mLAN Input (m1 – 14) is available only for the MOTIF XS8.
This is available for MOTIF XS6/7 only when an optional
mLAN16E2 has been installed.
Output Settings—[SF1] Output
Utility mode
You can assign MIDI Control Change Numbers to the
controllers and knobs on the front panel for the selected
Performance. For example, you could use the ASSIGN 1
and 2 knobs to control effect depth, while using the Foot
Controller to control modulation. These control
assignments are called “Controller Assign.” You can have
independent Controller Assign settings for each
Performance.
Settings: 00 – 95
1
2
3
4
5
6
7
File mode
Controller settings—[F3] Ctrl Asgn
(Controller Assign)
Determines the Control Change number generated when
you use a Breath Controller connected to the MIDI IN
connector of this instrument.
1 Volume
Determines the output level of the Audio Input Part.
Settings: 0 – 127
2 Pan
Determines the Control Change number generated when
you use the Foot Controller connected to the FOOT
CONTROLLER jack.
Determines the stereo pan position of the Audio Input Part.
Settings: 00 – 95
3 Mono/Stereo
3 Foot Switch Control No.
Determines the signal configuration for the Audio Input Part,
or how the signal or signals are routed (stereo or mono).
Determines the Control Change number generated when
you use the Footswitch connected to the FOOT SWITCH
ASSIGNABLE jack.
Settings: L63 (far left) – C (center) – R63 (far right)
Settings: L mono, R mono, L+R mono, stereo
L mono
Only the L channel of the audio input is used.
Settings: 000 – 100
MOTIF XS Owner’s Manual
147
Reference
Frequency
Voice mode
Performance
mode
Settings: 00 – 95
0
Sampling
mode 1
12.0
Determines the Control Change number generated when
you control the ASSIGN1 knob and ASSIGN2 knob with the
TONE1 lamp turned on.
Song mode
0.1
+
4 Assign 1 Control No.
Assign 2 Control No.
Mixing mode
Settings: 0.1 – 12.0
Sampling
mode 2
This varies the signal level at the Frequency setting to
create various frequency curve characteristics. The higher
the setting the smaller the Q (Bandwidth). The lower the
setting, the greater the Q (Bandwidth).
n When a Control Change number of 96 or higher is selected,
the function indicated to the right of the number is enabled for
control, but no MIDI Control Change number is actually
assigned to the Footswitch.
Master mode
4 Q (Bandwidth)
Editing a Performance
R mono
Only the R channel of the audio input is used.
L+R mono
The L and R channels of the audio input are mixed and processed in
mono.
stereo
Voice mode
Both the L and R channels of the audio input are used.
4 Output Select
Performance
mode
Determines the output jack assignment for the Audio Input
Part.
From this display, you can set the Insertion Effect Types
applied to the Audio Input signal in the Performance mode.
The System Effect can be set in the Effect display
(page 149). Keep in mind that the Insertion Effect cannot
be applied to the audio input signal via the mLAN
connector.
Settings: See the table below.
LCD
Output jacks
Stereo/Mono
Sampling
mode 1
Song mode
L&R
OUTPUT L and R
asL&R
ASSIGNABLE OUTPUT L and R Stereo
m1&2
mLAN OUTPUT 1 and 2
Stereo (1: L, 2: R)
m3&4
mLAN OUTPUT 3 and 4
Stereo (3: L, 4: R)
m5&6
mLAN OUTPUT 5 and 6
Stereo (5: L, 6: R)
m7&8
mLAN OUTPUT 7 and 8
Stereo (7: L, 8: R)
m9&10
mLAN OUTPUT 9 and 10
Stereo (9: L, 10: R)
m11&12
mLAN OUTPUT 11 and 12
Stereo (11: L, 12: R)
Stereo
Pattern mode
Mixing mode
Reference
m13&14
mLAN OUTPUT 13 and 14
Stereo (13: L, 14: R)
asL
ASSIGNABLE OUTPUT L
Mono
asR
ASSIGNABLE OUTPUT R
Mono
mLAN OUTPUT 1
Mono
m1
:
:
mLAN OUTPUT 14
Mono
ins L
Internal Vocoder Module
Mono
(A/D input only)
Sampling
mode 2
n You can call up the list and select the desired item by pressing
the [SF6] LIST button. For details, see page 82.
5 Reverb Send
Master mode
Determines the Send level of the Audio Input Part signal
sent to the Reverb effect. The higher the value, the deeper
the reverb.
Settings: 0 – 127
Utility mode
File mode
Settings: 0 – 127
Determines the Send level of the Audio Input Part signal
sent to the Chorus effect. The higher the value, the deeper
the Chorus.
7 Dry Level
Determines the level of the Audio Input Part which has not
been processed with the System Effects (Reverb, Chorus).
The higher the value, the shallower the Reverb and Chorus.
Settings: 0 – 127
MOTIF XS Owner’s Manual
1
2
3
1 INSERTION CONNECT (Insertion Connection)
:
m14
6 Chorus Send
148
Insertion Effect Connection of A/D Input
—[SF2] Connect
From this display you can set the effect routing for Insertion
effects A and B. The setting changes are shown on the
diagram in the display, giving you a clear picture of how
the signal is routed.
Settings: Ins A F B, Ins B F A
Ins A F B (A to B)
Signals processed with the Insertion Effect A will be sent to the
Insertion Effect B and signals processed with the Insertion Effect B is
sent to Reverb and Chorus.
Ins B F A (B to A)
Signals processed with the Insertion Effect B will be sent to the
Insertion Effect A and signals processed with the Insertion Effect B is
sent to Reverb and Chorus.
2 Insertion A (Insertion A Category/Type)*
3 Insertion B (Insertion B Category/Type)*
Determines the Effect type for Insertion A and B. From the
Category column, you can select one of the Effect
Categories, each of which contains similar Effect types.
From the Type column, you can select one of the Effect
Types listed in the selected Category.
Settings: Details about the Effect categories and types are described
on page 70.
n You can call up the list by pressing the [SF6] LIST button then
select the desired one from the list. For details, see page 82.
Editing a Performance
4
From the Category column, you can select one of the Effect
Categories each of which contains similar Effect types.
From the Type column, you can select one of the Effect
Types listed in the selected Category.
Settings: Details about the Effect categories and types are described
on page 70.
5
6
7
n Depending on the selected parameter, the LIST icon is shown
at the tab menu corresponding to the [SF6] button. In this
condition, you can call up the list by pressing the [SF6] LIST
button, then select the desired item from the list. For details
see page 82.
1 Chorus (Chorus Category/Type)
3 Preset
You can set various parameters in order to change how the
sound is affected by the selected Effect type. This
parameter lets you call up the pre-programmed settings of
these effect parameters.
4 Effect Parameters
The number of parameters and values available differs
depending on the currently selected effect type. Refer to
page 73 for details about the Effect parameters. Refer to
the separate Data List booklet for information on the
parameters for each Effect type.
Selects a Chorus Effect type after selecting a category.
From the Category column, you can select one of the Effect
categories, each of which contains similar Effect types.
From the Type column, you can select one of the Effect
types listed in the selected category.
Settings: Details about the Effect categories and types are described
on page 70.
2 Reverb (Reverb Type)
Determines the Reverb Effect type. It is not necessary to
select a Category because there is only one category in
Reverb.
Settings: Details about the Effect types are described on page 70.
3 CHORUS TO REVERB
Determines the Send level of the signal sent from the
Chorus Effect to the Reverb Effect. The higher the value,
the deeper the Reverb that is applied to the Chorusprocessed signal.
Voice mode
Settings: 0 – 127
4 Chorus Return
Determines the Return level of the Chorus Effect.
Settings: 0 – 127
5 Chorus Pan
Determines the pan position of the Chorus effect sound.
Settings: L63 (far left) – C (center) – R63 (far right)
MOTIF XS Owner’s Manual
149
Reference
2
1 Category
2 Type
4
Pattern mode
3
Mixing mode
1
Sampling
mode 2
n Depending on the selected parameter, the LIST icon is shown
at the tab menu corresponding to the [SF6] button. In this
condition, you can call up the list by pressing the [SF6] LIST
button, then select the desired item from the list. For details
see page 82.
Song mode
Sampling
mode 1
This display gives you at-a-glance, overall view of the
effect routing and comprehensive control over the effects.
Performance
mode
Effect Connection settings—[SF1] Connect
Master mode
2
3
From the following displays, you can set the Effect
connection and values of other parameters. For details
about the structure in the Performance mode, see page 69.
Utility mode
1
Effect settings—[F5] Effect
File mode
Effect Parameter settings—[SF3] Ins A,
[SF4] Ins B
Editing a Performance
6 Reverb Return
1 Type
Determines the Return level of the Reverb Effect.
From the Type column, you can select one of the Effect
Types listed in the selected Category.
Settings: 0 – 127
Settings: Details about the Effect types are described on page 70.
7 Reverb Pan
Voice mode
Determines the pan position of the Reverb effect sound.
Performance
mode
You can set various parameters in order to change how the
sound is affected by the selected Effect type. This
parameter lets you call up the pre-programmed settings of
these effect parameters.
Settings: L63 (far left) – C (center) – R63 (far right)
Setting the parts available for the
Insertion Effect—[SF2] InsSwitch
3 Effect Parameters
Sampling
mode 1
In this display, you can select which Parts (from
Performance Parts 1 – 4 and the A/D Input Part) will be
assigned to the eight Insertion Effects.
Song mode
1
Mixing mode
Reference
Pattern mode
1 Part 1 – 4, A/D
Sampling
mode 2
Determines the Parts available for the Insertion Effect.
When this switch is set to on, the Insertion Effect of the
Voice assigned to the Part is enabled. Make sure that this
parameter is set to on for any Parts/Voices to which you
need to apply Insertion Effects. The MOTIF XS features
eight Insertion effect systems, letting you set this
parameter to on for all five Parts.
Master mode
n For the A/D Input Part, the Insertion Effect type/parameter can
be set from the Insertion A/B display in the Audio In parameter
of the Performance Common Edit mode. For Parts 1 – 4, the
Insertion Effect type/parameter settings cannot be set in the
Performance Edit mode because their settings are included in
the Voice assigned to each Part. If you wish to edit the
Insertion Effect settings for each Part, enter the Voice Edit
mode, then edit the Effect settings for the appropriate Voice.
Utility mode
Reverb and Chorus Settings—[SF3]
Reverb, [SF4] Chorus
File mode
1
2
3
n Depending on the selected parameter, the LIST icon is shown
at the tab menu corresponding to the [SF6] button. In this
condition, you can call up the list by pressing the [SF6] LIST
button, then select the desired item from the list. For details
see page 82.
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MOTIF XS Owner’s Manual
2 Preset
The number of parameters and values available differs
depending on the currently selected effect type. Refer to
page 73 for details about the Effect parameters. Refer to
the separate Data List booklet for information on the
parameters for each Effect type.
Editing a Performance
Part Edit parameters
The display for the currently selected Part
5
6
7
4
8
9
)
!
@
#
SF5
$
%
1 Part Switch*
Settings: off (inactive), on (active)
2 Bank*
3 Number*
Determines the Voice assigned to the current Part by
specifying the Voice Bank and Number.
n You can call up the list and select the desired item by pressing
the [SF6] LIST button. For details, see page 82.
The display for all four Parts of the current Performance
4 Param. with Voice (Parameter with Voice)
Selecting a Part to be edited
After pressing the [PERFORMANCE CONTROL] or
[TRACK] button so that its lamp lights, press one of the [1]
– [4] buttons to select a Part to be edited.
COMMON EDIT
1
2
3
PART SELECT
4
5
6
7
8
ARP ON/OFF
Selecting a Part
n For details about useful functions such as Mute/Solo and Jobs,
see pages 142 and 159.
Determines whether or not the following parameter settings
of the selected Voice are copied from the Voice to the
current Part when you change a Voice for the current Part
individually.
•
•
•
•
•
•
•
Performance
mode
Sampling
mode 1
Master mode
Determines whether the currently edited Part is on or off.
When this is set to off, the currently edited Element will not
sound.
5
Arpeggio settings
Filter Cutoff Frequency
Filter Resonance
Amplitude EG
Filter EG
Pitch Bend Range (Upper/Lower)
Note Shift
n Regardless of the Parameter with Voice setting (4), the
settings of Mono/Poly ()), Portamento Part Switch (!),
Portamento Time (@) and Portamento Mode (#) are not
MOTIF XS Owner’s Manual
151
Reference
1
2
3
Song mode
Voice Settings for each Part—[SF1] Voice
Utility mode
In the Performance Part Edit mode, you can use two types
of display. One type of display lets you edit parameters for
the currently selected Part and the other type of display
lets you view parameters for four Parts. You can switch
between these two types by pressing the [SF5] button.
Note that the display for four Parts is not available for the
[F2] ARP Main and the [F3] ARP Other displays.
Setting the Wave and Note range of
the Part—[F1] Voice
File mode
Selected Part display/Four-Part display
Pattern mode
For users who are new to editing and may be confused by the large amount of parameters, the most basic and easy-to-understand
parameters are conveniently marked with asterisks in this section. If you are just starting out with editing Performance Parts, try these
parameters first.
Mixing mode
About the asterisk (*) marks
Sampling
mode 2
In the Performance Part Edit mode, you can edit the parameters of the individual Parts such as Voice, Arpeggio, EG and EQ
settings.
Voice mode
[PERFORM] ➞ Performance selection ➞ [EDIT] ➞ Part selection
Editing a Performance
copied when a Drum Voice is selected. However, these
parameters are copied when a Normal Voice is selected.
Settings: off (not copied), on (copied)
# Portamento Mode
Determines how Portamento is applied to your keyboard
performance.
Settings: fingered, fulltime
5 Volume*
Voice mode
Determines the volume for each Part. Use this parameter to
adjust the balance between the current Part and other
Parts.
fingered
Portamento is only applied when you play legato (playing the next note
before releasing the previous one).
fulltime
Portamento is applied to all notes.
Settings: 0 – 127
Performance
mode
6 Pan*
Determines the stereo pan position for the Part.
Settings: L63 (far left) – C (center) – R63 (far right)
Sampling
mode 1
n Note that this Part Pan parameter may have little or no audible
effect if the Pan for a specific Element is set to the left position
and the Pan for another Element is set to the right position.
Song mode
7 Voice Element Pan
Mixing mode
Reference
Pattern mode
Determines whether the individual pan settings for each
Voice (made in the Voice Element Edit mode) are applied
or not. When this is set to “off,” the basic pan position for
the selected Part is set to center.
Settings: on, off
8 Note Shift*
Adjusts the pitch of the Part in semitones.
Settings: -24 – +0 – +24
9 Detune
Adjusts the tuning of the Part in cent increments.
Sampling
mode 2
Settings: -12.8 Hz – +0 Hz – +12.7 Hz
) Mono/Poly*
Master mode
Determines the playback method of the Voice for each
Part—monophonic (single note only) or polyphonic
(multiple notes).
$ Velocity Limit
Determines the minimum and maximum values of the
velocity range within which each Part will respond. Each
Part will only sound for notes played within its specified
velocity range. If you specify the maximum value first and
the minimum value second, for example “93 to 34,” there
will be a velocity “hole” and the velocity range covered will
be “1 to 34” and “93 to 127.”
Settings: 1 – 127
n You can also set the velocity from the keyboard by holding
down the [SF6] KBD button and pressing any key with the
desired velocity (strength). For details, see page 82.
% Note Limit
Set the lowest and highest notes of the keyboard range for
each Part. Each Part will only sound for notes played within
its specified range. You can also create a lower and an
upper range for the Element, with a note range “hole” in the
middle, by specifying the highest note first. For example,
setting a Note Limit of “C5 – C4” lets you play the Element
from two separate ranges: C -2 to C4 and C5 to G8. Notes
played between C4 and C5 do not play the selected
Element.
Settings: C -2 – G8
n You can also set the Key directly from the keyboard, by
holding down the [SF6] KBD button and pressing the desired
key. For details, see page 82.
Settings: mono, poly
Utility mode
mono
When set to “mono,” the selected Performance is played back
monophonically (only a single note is played back simultaneously). For
many instrument sounds (such as bass and synth lead), this allows a
more natural and smooth sounding legato performance than when this
parameter is set to “poly.”
Output settings—[SF2] Output
From this display, you can set the Reverb/Chorus depth
and the Output jack assignment for each Part.
File mode
poly
When set to “poly,” the selected Performance is played back
polyphonically (multiple notes can be played back simultaneously or a
chord is played back).
! Portamento Part Sw*
Determines whether Portamento is applied to the current
Performance or not.
Settings: off, on
@ Portamento Time*
Determines the pitch transition time. Higher values mean
longer transition times.
Settings: 0 – 127
1
2
3
4
5
1 Reverb Send
Determines the Send level of each Part signal sent to the
Reverb effect. The higher the value, the deeper the Reverb.
Settings: 0 – 127
2 Chorus Send
Determines the Send level of each Part signal sent to the
Chorus effect. The higher the value, the deeper the Chorus.
Settings: 0 – 127
152
MOTIF XS Owner’s Manual
Editing a Performance
3 Dry Level
Determines the level of each Part which has not been
processed with the System Effects (Reverb, Chorus). The
higher the value, the shallower the Reverb and Chorus.
Other Settings—[SF3] Other
Determines the specific output(s) for the individual Part.
You can assign each individual Part’s Voice to be output
from a specific hardware output jack on the rear panel.
3
4
Performance
mode
4 Output Select
Voice mode
1
2
Settings: 0 – 127
Settings: See the table below.
Stereo/Mono
m3&4
mLAN OUTPUT 3 and 4
Stereo (3: L, 4: R)
m5&6
mLAN OUTPUT 5 and 6
Stereo (5: L, 6: R)
m7&8
mLAN OUTPUT 7 and 8
Stereo (7: L, 8: R)
m9&10
mLAN OUTPUT 9 and 10
Stereo (9: L, 10: R)
m11&12
mLAN OUTPUT 11 and 12
Stereo (11: L, 12: R)
m13&14
mLAN OUTPUT 13 and 14
Stereo (13: L, 14: R)
asL
ASSIGNABLE OUTPUT L
Mono
asR
ASSIGNABLE OUTPUT R
Mono
m1
mLAN OUTPUT 1
Mono
Determines the maximum Pitch Bend range in semitones.
Setting the Upper parameter to +12 would result in a
maximum pitch rise of one octave when the Pitch Bend
wheel is moved upwards. A Lower setting of -12 would
result in the pitch being lowered up to a maximum of one
octave (12 semitones) when the Pitch Bend wheel is
moved downwards.
Settings: -48 – +0 – +24
mLAN OUTPUT 14
Mono
3 Vel Sens Depth (Velocity Sensitivity Depth)
drum
See below*
See below*
Determines the degree to which the resulting volume of the
tone generator responds to your playing strength. The
higher the value, the more the volume changes in response
to your playing strength (as shown below). When this is set
to 0, the volume remains the same no matter how strongly
or softly you play. This would be useful, for example, for
authentic playing of an Organ Voice.
* About “drum” setting, see below.
When “drum” is selected and the Normal Voice is assigned to the
edited Part, the sound will be output via the OUTPUT L and R jacks in
stereo.
When “drum” is selected and the Drum Voice is assigned to the edited
Part, the sound will be output via the jacks set in the Drum Key Edit
display as the Output Select parameter.
n The mLAN settings (m1 – m14) are available only for the
MOTIF XS8. The mLAN settings are available for MOTIF XS6/7
only when an optional mLAN16E2 has been installed.
Settings: 0 – 127
When Offset (below) is set to 64:
n You can call up the list and select one by pressing the [SF6]
LIST button. For details, see page 82.
5 Ins Effect Sw (Insertion Effect Switch)
Determines whether or not the current Part is available for
the Insertion Effect. When this parameter is set to on, the
Insertion Effect of the Voice assigned to the Part is
enabled. You can set the Insertion Effect Switch parameter
for all Parts (including the A/D Input part) from the Insertion
Effect Switch display (page 150) in the Performance
Common Edit mode.
Depth = 127
127
Actual resulting velocity
(affecting the tone
generator)
Sampling
mode 2
m14
Mixing mode
:
Master mode
:
1 PB Range Upper (Pitch Bend Range Upper)
2 PB Range Lower (Pitch Bend Range Lower)
Depth = 64
Depth = 32
Depth = 0
0
127
Velocity with which you play a note
4 Velocity Sens Depth Offset
(Velocity Sensitivity Depth Offset)
Determines the amount by which played velocities are
adjusted for the actual resulting velocity effect.
This lets you raise or lower all velocities by the same
amount—allowing you to automatically compensate for
playing too strongly or too softly. If the result is 0 or less, the
value is set to 0. If the result is higher than 127, the value is
set to 127.
Settings: 0 – 127
MOTIF XS Owner’s Manual
153
Reference
Stereo (1: L, 2: R)
Sampling
mode 1
Stereo
mLAN OUTPUT 1 and 2
Song mode
ASSIGNABLE OUTPUT L and R
m1&2
Pattern mode
asL&R
:
Stereo
Utility mode
Output jacks
OUTPUT L and R
File mode
LCD
L&R
Editing a Performance
When Depth (above)
= 64 and Offset =32
When Depth (above)
= 64 and Offset =96
127
127
Voice mode
0
64
127
Velocity with which you play a note
0
3 Change Timing*
64
127
Velocity with which you play a note
Performance
mode
When Depth (above)
= 64 and Offset =64
127
Sampling
mode 1
4 Velocity Limit
64
127
Song mode
Velocity with which you play a note
Pattern mode
Mixing mode
Reference
Arpeggio Settings—[F2] ARP Main
(Arpeggio Main)
This display determines the basic settings of the Arpeggio.
The settings of parameters (! or more) shown at the
bottom of the display can be registered to the [SF1] – [SF5]
buttons.
Determines the lowest and highest velocity which can
trigger the Arpeggio playback. This lets you set the velocity
range with which you press the note to trigger the Arpeggio
playback. You can also create separate low and high
trigger ranges for the Arpeggio playback, with a velocity
“hole” in the middle, by specifying the maximum value first.
For example, setting a Velocity Limit of 93 – 34 lets you play
the Arpeggio from two separate velocity ranges: soft (1 –
34) and hard (93 – 127). Notes played at middle velocities
between 35 and 92 do not play the Arpeggio.
Settings: 1 – 127
n Please keep in mind that no sound is produced when the Key
Mode is set to “sort” or “thru” and notes are played outside the
Note Limit setting here.
Sampling
mode 2
5 Note Limit
Master mode
1
2
3
4
5
7
8
9
)
6
Utility mode
@
#
$
%
!
^
&
Determines the lowest and highest notes in the Arpeggio’s
note range. Notes played in this range trigger the
Arpeggio. For example, setting a Note Limit of “C5 – C4”
lets you trigger the Arpeggio by playing notes in the two
ranges of C -2 to C4 and C5 to G8; notes played between
C4 and C5 have no effect on the Arpeggio.
Settings: C -2 – G8
n Please keep in mind that no sound is produced when the Key
Mode is set to “sort” or “thru” and notes are played outside the
Note Limit setting here.
File mode
n The Four-Part display cannot be called up from this display.
6 Voice with ARP
n The KBD icon is shown on the tab corresponding to the [SF6]
button depending on the selected parameter. In this condition,
you can enter the note number or velocity by pressing the
appropriate note on the keyboard while holding the [SF6] KBD
button. For details, see page 82.
To each type of the Arpeggio, the appropriate Voice is
registered. This parameter determines whether or not the
appropriate Voice registered to each Arpeggio type is
assigned to the edited Part. When set to “on,” the appropriate
Voice is assigned to the edited Part in place of the currently
assigned Voice. When set to “off,” the appropriate Voice is not
assigned to the edited Part. The currently assigned Voice is
maintained. The name of the Voice registered to the Arpeggio
Type is shown at the right side.
1 Switch*
Determines whether Arpeggio for each Part is on or off.
Settings: off, on
2 Hold*
Settings: off (not copied), on (copied)
When this is set to “on,” the Arpeggio cycles automatically,
even if you release your fingers from the keys, and it
continues to cycle until the next key is pressed.
7 Tempo*
Settings: sync-off (see below), off, on
154
Determines the actual timing at which the Arpeggio type is
switched when you select another type during Arpeggio
playback. When set to “realtime,” the Arpeggio type is
switched immediately. When set to “measure,” the
Arpeggio type is switched at the top of the next measure.
Settings: realtime, measure
Actual
resulting
velocity
(affecting
the tone
generator)
0
When set to “sync-off,” the Arpeggio playback continues to run silently,
even when you release the keys. Pressing any key turns the Arpeggio
playback on again.
n For details about how to use the Arpeggio Type List in Data
List 2 (separate online documentation), see page 63.
Actual
resulting
velocity
(affecting
the tone
generator)
Actual
resulting
velocity
(affecting
the tone
generator)
sync-off
MOTIF XS Owner’s Manual
Determines the Arpeggio Tempo.
Settings: 5.0 – 300.0
Editing a Performance
n If you are using this instrument with an external sequencer,
MIDI computer, or other MIDI device, and you want to
synchronize it with that device, set the MIDI sync (5)
parameter in the MIDI display (page 267) of the Utility mode to
“MIDI” or “auto.” In this case, the Tempo parameter here
indicates “MIDI” or “auto” and cannot be changed.
@ Bank*
8 Key Mode
Settings: PRE, USR
Note events of the Arpeggio sequence do not play; only the notes you
play on the keyboard are heard. When the Arpeggio plays back, the
events such as Pan and Brightness are applied to the sound of your
keyboard performance. Use this setting when the Arpeggio types
includes non-note data or when the Category type “Ctrl” is selected.
n You can call up the list by pressing the [SF6] LIST button then
select the desired item from the list.
sort+direct
% Type*
The Arpeggio is played back according to the “sort” setting here, and
the note pressed is also sounded.
thru+direct
The Arpeggio is played back according to the “thru” setting here, and
the note pressed is also sounded.
n Some Arpeggio types belonging to the “Cntr” Category may
not have note events (page 65). When such an Arpeggio type
is selected and the Key Mode is set to “sort” or “thru,” no
sound is produced even if you press a note on the keyboard.
9 Velocity Mode
Adjusts the velocity of the Arpeggio notes.
Settings: original, thru
original
n For details about how to use the Arpeggio Type List in Data
List 2 (separate online documentation), see page 63.
Determines the desired Arpeggio Type number from the
specified Category. The name of the selected Arpeggio
Type is shown at right of the specified number on the
display. Refer to the Arpeggio Type List in Data List 2
(separate online documentation), described on page 6.
^ Velocity Rate
Determines the offset value by which the Arpeggio notes
will be shifted from their original velocities. If the resultant
velocity value is less than zero it will be set to 1, and if the
resultant velocity is greater than 128 it will be set to 127.
This parameter can be changed via the Knob directly.
The Arpeggio plays back at the preset velocities included in the
Arpeggio sequence data.
Settings: -100% – +0% – +100%
thru
& Gate Time Rate
The Arpeggio plays back according to the velocity of your playing. For
example, if you play the notes strongly, the playback volume of the
Arpeggio increases.
Settings: -10 – +10
Settings: -100% – +0% – +100%
) Output Octave Shift
Voice mode
Performance
mode
File mode
Specifies the maximum Arpeggio range in octaves.
Determines the Gate Time (length) of the Arpeggio notes.
The Gate Time cannot be decreased beyond its normal
minimum of 1; any values outside that range will
automatically be limited to the minimum.
This parameter can be changed via the Knob directly.
! [SF1] ARP1 – [SF5] ARP5 (Arpeggio 1 – 5)
buttons
The six parameters Bank (@) through Gate Time Rate (&)
at the lower half Part of the display, can be edited in each
of the [SF1] ARP1 through [SF5] ARP5 displays. You can
set the parameters in the lower half of the display for each
of the five Arpeggio settings by pressing one of the [SF1] –
[SF5] buttons. The 8th note icon shown in the tab menu
indicates any Arpeggio Type (other than “off”) is selected
in the display corresponding to the Sub Function button.
Settings: [SF1] – [SF5] (Sub Function) buttons
MOTIF XS Owner’s Manual
155
Reference
Settings: Refer to the Arpeggio Category List on page 62.
Sampling
mode 1
direct
Song mode
When you play specific notes (for example, the notes of a chord), the
resulting sequence differs depending on the order of the notes.
Determines the Arpeggio Category and Sub Category
including the desired Arpeggio type. These parameters are
available when “PRE” is selected as the Bank.
Pattern mode
thru
Mixing mode
When you play specific notes (for example, the notes of a chord), the
same sequence plays, no matter what order you play the notes.
# Category*
$ Sub Category*
Sampling
mode 2
sort
Master mode
Settings: sort, thru, direct, sort+direct, thru+direct
n For detailed instructions on creating your original Arpeggio
type, see page 66.
Utility mode
Determines how the Arpeggio plays back when playing the
keyboard.
Determines the Arpeggio Bank containing the desired
Arpeggio type. Select “PRE” if you wish to select a preset
Arpeggio Type. Select “USR” if you wish to select an
Arpeggio Type you originally created and stored.
Editing a Performance
Arpeggio settings—[F3] ARP Other
(Arpeggio Other)
Voice mode
By changing the timing and velocity of the notes, you can
change the rhythmic “feel” of the Arpeggio playback.
Performance
mode
1
2
3
4
5
6
7
8
9
)
!
@
#
$
%
^
Settings: -120 – +120
5 Velocity Rate
Determines how much the velocity of the Arpeggio
playback is offset from the original value. For example, a
setting of 100% means the original values are used.
Settings below 100% will reduce the velocities of the
Arpeggio notes, whereas settings above 100% will
increase the velocities. If the resultant velocity value is less
than zero it will be set to 1, and if the resultant velocity is
greater than 128 it will be set to 127. This parameter can be
changed via the Knob directly.
Sampling
mode 1
Settings: 0% – 200%
6 Gate Time Rate
Song mode
n The Four-Part display cannot be called up from this display.
1 Unit Multiply
Pattern mode
Mixing mode
Reference
Adjusts the Arpeggio playback time based on tempo. By
using this parameter, you can create a different Arpeggio
type from the original one. For example, if you set a value
of 200%, the playback time will be doubled (tempo is
halved). On the other hand, if you set a value of 50%, the
playback time will be halved and the tempo doubled.
Normal playback time is 100%. This parameter can be
changed via the Knob directly.
Settings: 50%, 66%, 75%, 100%, 133%, 150%, 200%
Sampling
mode 2
2 Quantize Value*
Master mode
Determines to what beats the note data in the Arpeggio
sequence data will be aligned, or determines to what beats
in the Arpeggio sequence data the swing is applied. This
parameter can be changed via the Knob directly. The
number shown at right of each value indicates the length
assumes that the quarter-note resolution is 480.
Utility mode
Settings: 2 60 (32nd note), 63 80 (16th note triplet), 6 120 (16th
note), 83 160 (8th note triplet), 8 240 (8th note), 43 320
(1/4 note triplet), 4 480 (1/4 note)
3 Quantize Strength
File mode
Sets the “strength” by which note events are pulled toward
the nearest quantize beats. A setting of 100% produces
exact timing set via the Quantize Value parameter above. A
setting of 0% results in no quantization. A setting of 50%
results in the note events being pulled halfway between 0%
and 100%. This parameter can be changed via the Knob
directly.
Settings: 0% – 100%
4 Swing*
Delays notes on even-numbered beats (backbeats) to
produce a swing feel. Settings above 1 delay the Arpeggio
notes, whereas settings below 1 advance them. A setting
of 0 produces exact timing set via the Quantize Value,
resulting in no swing. Judicious use of this setting lets you
create swing rhythms and triplet feels, such as shuffle and
156
bounce. This parameter can be changed via the Knob
directly.
MOTIF XS Owner’s Manual
Determines how much the Gate Time (length) of the
Arpeggio notes is offset from the original value. For
example, a setting of 100% means the original values are
used. Settings below 100% will reduce the velocities of the
Arpeggio notes, whereas settings above 100% will
increase the velocities. The Gate Time cannot be
decreased beyond its normal minimum of 1; any values
outside that range will automatically be limited to the
minimum. This parameter can be changed via the Knob
directly.
Settings: 0% – 200%
7 Octave Range
Specifies the maximum Arpeggio range in octaves.
Positive value settings increase the octave range of the
Arpeggio playback upward, whereas negative value
settings increase it downward.
This parameter can be changed via the Knob directly.
Settings: -3 – +0 – +3
8 Loop
When this is set to “on,” the Arpeggio cycles while notes
are held. When this is set to “off,” the Arpeggio plays only
once even if notes are held.
Settings: off, on
9 Trigger Mode
When this is set to “gate,” pressing the note starts
Arpeggio playback and releasing the note stops it. When
this is set to “toggle,” pressing the note starts/stops
Arpeggio playback and releasing the note does not affect
Arpeggio playback. Normally, this parameter should be set
to “gate.”
Settings: gate, toggle
n The Trigger Mode “toggle” setting overcomes the Hold “on”
setting in the Arpeggio Main display (page 154). In other
words, even when the Hold parameter is set to “on,” pressing
the note start/stops Arpeggio playback when the Trigger Mode
is set to “toggle.”
Editing a Performance
Some preset Arpeggio types include the special sequence
data called “Accent Phrase,” which will be played back
only when the velocities higher than a specified value are
received. This parameter determined the minimum velocity
that will trigger the Accent Phrase.
EG Settings—[F4] EG
You can control the sound transition from the moment a key
is pressed to the moment at which it is released. You can
also adjust the tone brilliance by setting the Cutoff
Frequency and Resonance.
Settings: off, 1 – 127
Performance
mode
Determines the start timing of the Accent Phrase when the
Velocity specified in Accent Vel Threshold above is
received. When set to off, the Accent Phrase starts as soon
as the Velocity is received. When set to on, the Accent
Phrase starts on the beat specified for each Arpeggio type
after the Velocity is received.
1
2
3
Sampling
mode 1
! Accent Start Quantize
Voice mode
) Accent Vel Threshold
(Accent Velocity Threshold)
Settings: -64 – +0 – +63
$ Random SFX Key On Control
When this is set to “on,” the Random SFX special sound is
played with the pre-programmed velocity. When this is set
to “off,” the Random SFX special sound is played with the
velocity generated when the note is pressed.
Determines how fast the volume falls from maximum attack
level to the sustain level.
Sustain (Sustain Level)
Determines the sustain level at which the volume will continue
while a note is held, after the initial attack and decay.
Release (Release Time)
Determines how quickly the sound decays to silence after the
key is released.
Settings: off, on
Settings: -64 – +0 – +63
% MIDI Out Switch (MIDI Output Switch)
n When a Drum Voice is selected, Sustain Level and
Release Time are not available.
When this is set to on, Arpeggio playback data is output
from the MIDI terminal.
Settings: off (not output), on (output)
^ MIDI Out Channel (MIDI Output Channel)
Determines the MIDI transmit channel for Arpeggio
playback data. When this is set to “kbd,” Arpeggio
playback data is output via the MIDI transmit channel
(page 137) set in the Performance Play mode.
Settings: 1 – 16, kbd (Keyboard Channel)
Pattern mode
Decay (Decay Time)
2 FEG (Filter EG)
Determines the FEG (Filter Envelope Generator)
parameters for each Part. Using the FEG, you can control
the transition in tonal color (Cutoff Frequency) from the
moment the sound starts to the moment it stops. The
setting made here will be applied to the FEG parameters
(page 119) of each Voice as offset.
Attack (Attack Time)
Determines the speed of filter variation from the time a note is
played until the maximum initial level of the Cutoff Frequency
is reached.
Decay (Decay Time)
Determines how fast the Cutoff Frequency falls from maximum
attack level to the sustain level.
MOTIF XS Owner’s Manual
157
Reference
Attack (Attack Time)
Determines the speed of attack from the time a key is played
until the maximum initial level of the EG is reached.
Sampling
mode 2
Determines the offset value by which the Random SFX
notes will be shifted from their original velocities. If the
resultant velocity value is less than zero it will be set to 1,
and if the resultant velocity is greater than 128 it will be set
to 127.
Master mode
# Random SFX Velocity Offset
Determines the AEG (Amplitude Envelope Generator)
parameters for each Part. The following parameters can be
used to control the change in volume from the moment a
note is pressed on the keyboard to the moment the sound
stops. The setting made here will be applied to the AEG
parameters (page 123) of each Voice as offset.
Utility mode
Settings: off, on
1 AEG (Amplitude EG)
File mode
Some Arpeggio types feature the Random SFX function
which will trigger the special sound such as fret noise of
the guitar when the note is released. This parameter
determines whether the Random SFX is active or not.
Mixing mode
@ Random SFX
Song mode
Settings: off, on
Editing a Performance
Release (Release Time)
1 Frequency
Determines how fast the Cutoff Frequency falls from the
sustain level to zero when a note is released.
Determines the center frequency. Frequencies around this
point are attenuated/boosted by the Gain setting below.
Higher values produce higher frequencies.
Depth
Voice mode
Determines the range over which the cutoff frequency of the
Filter EG changes. A setting of 0 will cause the cutoff
frequency not to change. The farther from 0 the value is, the
larger the range of the cutoff frequency. For negative values,
the change of the cutoff frequency is reversed.
Settings: -64 – +0 – +63
Performance
mode
n When a Drum Voice is selected, not all of the parameters
are available. Unavailable parameters are blank and
cannot be edited.
Sampling
mode 1
3 Filter
Song mode
Determines the Cutoff Frequency and Resonance for the
Filter to change the Performance sound. The setting made
here will be added to the same parameters (page 117) of
each Voice as offset.
Cutoff
Mixing mode
Reference
Pattern mode
Determines the cutoff frequency for the Filter. The frequency
set here is the center frequency at which the signals are
affected when they pass through each filter.
Settings: -64 – +0 – +63
Resonance/Width
Sampling
mode 2
This parameter’s function varies according to the selected
Filter Type. If the selected filter is an LPF, HPF, BPF (excluding
the BPFw), or BEF, this parameter is used to set the
Resonance. If the selected filter is a BPFw, this parameter is
used to adjust the frequency bandwidth.
Resonance is used to set the amount of Resonance (harmonic
emphasis) applied to the signal at the cutoff frequency. This
can be used in combination with the cutoff frequency
parameter to add further character to the sound.
The Width parameter is used to adjust the width of the band of
signal frequencies passed by the filter with the BPFw.
Settings:
Low
50.1 Hz – 2.0 kHz
Middle
139.7 Hz – 10.1 kHz
High
503.8 Hz – 14.0 kHz
2 Gain
Determines the level gain for the Frequency (set above), or
the amount the selected frequency band is attenuated or
boosted.
Settings: -12 dB – +0 dB – +12 dB
3 Q (Bandwidth)
This varies the signal level at the Frequency setting to
create various frequency curve characteristics. The higher
the setting the smaller the Q (Bandwidth). The lower the
setting, the greater the Q (Bandwidth).
Settings: 0.7 – 10.3
+
0.7
10.3
0
Frequency
–
Frequency
Settings: -64 – +0 – +63
Master mode
Utility mode
Equalizer (EQ) Settings—[F5] EQ
From this display you can apply 3-band parametric EQ to
each individual Part, for fine adjustment of the sound. The
EQ shapes for Low and High are fixed as shelving types.
MIDI Receive settings—[F6]
RcvSwitch (Receive Switch)
File mode
From this display you can set how each individual Part
responds to various MIDI data, such as Control Change
and Program Change messages. When the relevant
parameter is set to “on,” the corresponding Part responds
to the appropriate MIDI data. Each of the Controller names
in this display indicates the MIDI data generated by using
the corresponding Controller.
n For Parts to which the Drum Voice is assigned, Sustain is not
available.
1
2
3
158
MOTIF XS Owner’s Manual
Performance Job—Convenient Functions
Press the [ENTER] button. (The display
prompts you for confirmation.)
Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed”
message appears and operation returns to the original
display.
6
Press the [PERFORM] button to return to the
Performance Play mode.
CAUTION
Even if you execute the Job, selecting a different Performance
or turning the power off without storing will erase the
Performance data. Make sure to store the Performance data to
internal memory by pressing the [STORE] button before
selecting a different Performance or turning the power off.
1 All Parameters
All settings for the selected Performance are initialized.
When this is set to on, the cursor cannot be moved.
2 Common Parameters
Common parameter settings for the selected Performance
are initialized.
n The Insertion Effect Switch is a Part parameter. Therefore,
checkmark the box of Part 1 – 4 described below if you wish to
initialize the Insertion Effect Switch parameter settings.
3 Part Parameters
Part 1 – 4
Parameter settings for Parts which are turned on are initialized.
A/D (A/D Input)
This is the Part input from the external audio equipment
connected to the A/D INPUT jack. When this is checkmarked,
parameter settings for the A/D Input Part (page 147) of
Common Edit are initialized.
mLAN
This is the Part input from the external equipment connected
to the mLAN jack via the IEEE1394 cable. When this is
checkmarked, parameter settings for the mLAN Part
(page 147) of the Common Edit are initialized.
Edit Recall—[F2] Recall
If you are editing a Performance but you have not stored it
before switching to another Performance, the edits you
have made will be cleared. If this happens, you can use the
Recall function to restore the Performance with your latest
edits intact.
MOTIF XS Owner’s Manual
159
Reference
2
3
To cancel the Job, press the [DEC/NO] button.
5
Performance
mode
1
Pattern mode
4
Sampling
mode 1
Move the cursor to the desired parameter, then
set the value.
Song mode
3
Mixing mode
Select the desired Job menu by pressing the
appropriate button, [F1] – [F4].
Sampling
mode 2
2
This function lets you reset (initialize) all Performance
parameters to their default settings. It also allows you to
selectively initialize certain parameters, such as Common
settings, settings for each Part, and so on.
Master mode
In the Performance mode, press the [JOB]
button to enter Performance Job Mode.
Utility mode
1
Initializing the Performance—[F1]
Init (Initialize)
File mode
Performance Job—Basic Operation
Voice mode
The Performance Job mode features some convenient data organization and initialization tools, for use when creating
Performances and archiving them. Press the [JOB] button in the Performance mode to enter the Performance Job mode.
Performance Job—Convenient Functions
Performance Copy function—[F3]
Copy
Voice mode
Copying parameter settings from
another Performance—[SF1] Part
Performance
mode
This convenient operation lets you copy Common Edit and
Part Edit settings of a certain Performance to the currently
edited Performance. This is useful if you are creating a
Performance and wish to use some parameter settings of
another Performance.
Copying the Voice Effect settings—
[SF2] Voice
This convenient operation lets you copy Effect and Master
EQ settings of a certain Voice assigned to a certain
Performance to the currently edited Performance. This
would come in handy when a certain Performance has
settings that you want to use in your Performance program.
1
Sampling
mode 1
2
3
4
1
Song mode
2
3
4
1 Performance
Mixing mode
Reference
Pattern mode
Determines the Bank and the Performance number to be
copied. This parameter cannot be set when the Current
Performance (below) is turned on.
1 Performance
Determines the Bank and the Performance number to be
copied. This parameter cannot be set when the Current
Performance (below) is turned on.
2 Current Performance
Sampling
mode 2
When this is set to on, the currently selected Performance
(the one you are editing now) is selected as source.
Accordingly, you can copy the parameter settings from a
Part to a different Part of the same Performance.
Master mode
3 Data type of the source
Utility mode
Determines the source data type including the Part
number. According to the setting here, the Data type of the
destination below will be automatically set to the
appropriate item.
Settings: Common, Part 1 – 4, A/D, mLAN
File mode
n The Insertion Effect Switch is a Part parameter. Therefore, the
Insertion Effect Switch parameter settings of the selected part
are copied only when selecting one of the Parts 1 – 4.
2 Current Performance
When this is set to on, the currently selected Performance
(the one you are editing now) is selected as source.
3 Source Part
Determines the Part of the source Performance. The name
of the Voice assigned to the selected Part is shown.
4 Effect Unit Settings
Determines which Effect units are copied. You can select
Effect units to be copied from Reverb, Chorus, Master EQ
and Master Effect.
n Even when each of the Reverb and Chorus is set to “on,”
executing the Job does not copy the Send Level from the
Voice to the Performance. If you want to apply the same depth
of the Reverb and Chorus as in the Voice mode to the copied
Voice, set the Reverb Send (1) and Chorus Send (2) in the
Voice Output display of the Performance Part Edit mode to the
same value manually as in the Voice Edit mode.
4 Data type of the destination
Determines the destination data type including the Part
number. When the data type of the source Voice (above) is
set to “common,” this parameter will be fixed to “common.”
Transmitting the Performance data
via MIDI—[F4] Bulk (Bulk Dump)
Settings: Common, Part 1 – 4, A/D, mLAN
This function lets you send your edited parameter settings
for the currently selected Performance to a computer or
another MIDI device for data archiving. To execute the Bulk
Dump operation, press the [ENTER] button.
n In order to execute Bulk Dump, you’ll need to set the correct
MIDI Device Number. For details, see page 268.
n The Bulk Dump data includes only the MIDI messages and
does not include the Waveforms.
160
MOTIF XS Owner’s Manual
The Sampling mode structure
Sample, Key Bank and Waveform
Samples are assigned and stored to Waveforms on the
MOTIF XS. Before you can actually record a Sample or
load a Sample from a USB storage device, you’ll need to
specify a Waveform number as a destination. This
Waveform then serves as the “container” for the Sample.
A#2
Sample 4
(Key Bank)
Sample 3
(Key Bank)
Sample 5
(Key Bank)
G#2
Waveform
F4 Key Number
(Note Number)
Voices and Waveform
You can play the Waveform by assigning it to a Voice then
playing the keyboard with that Voice. You can assign the
Waveform to an Element of the Voice in the Voice Element
Edit mode (page 112). The Voice Edit mode lets you assign
the Waveform you’ve created with the Sampling function to
the edited Element, just as you would any of the 2670
preset Waveforms included on the instrument.
n Keep in mind that you can assign the User Voices created in
the Sampling mode entered from the Voice/Performance mode
to Mixing parts of the Song/Pattern. You can also assign the
Waveforms created in the Sampling mode entered from the
Song/Pattern mode to Elements of the Voice in the Voice Edit
mode.
Master mode
Sampling
mode 2
D#2
Sample 2
(Key Bank)
Each of the Waveforms can contain multiple Samples. To
assign these Samples to a different space or container, you
can set the key range and velocity range for each Sample.
With this setting, the different Sample is played back
depending on the pressed note and its velocity. The note
range and velocity range to which each of the Samples is
assigned is called the Key Bank.
MOTIF XS Owner’s Manual
161
Reference
Sample 1
(Key Bank)
Utility mode
Samples can be obtained into the instrument via the
following methods: Recording audio signal in the Sampling
mode, loading a WAV file or AIFF file from the USB storage
device connected to the MOTIF XS in the File mode, and
loading a WAV file or AIFF file from the hard disk connected
to the network to which the MOTIF XS is connected.
Because the obtained Sample data will be lost by turning
the power off, Samples residing in the MOTIF XS internal
memory should be saved as digital data (in WAV or AIFF
format) to a USB storage device or to a computer
connected via network to the MOTIF XS.
40
Pattern mode
127
A Sample is digital audio data, made by directly recording
a signal, such as that of vocals or electric guitar, to the
MOTIF XS. Throughout this manual, the words “Sample”
and “Wave” are sometimes used interchangeably;
however, you should be careful to distinguish between
“Wave” (raw audio data) and “Waveform” (collected audio
data used to make up a Voice).
Mixing mode
Waveform
Velocity
File mode
Sample
Song mode
In this section, you’ll learn about the structure and organization of Samples, Key Banks and Waveforms, as well as their
relationship to Voices and Performances.
Performance
mode
n You can also enter the Sampling mode by pressing the [INTEGRATED SAMPLING] button in the Song mode or the Pattern mode. Keep in
mind that the Sampling functions differ depending on from which mode the Sampling mode is called up, the Voice/Performance mode or the
Song/Pattern mode. See page 242 for instructions on using the Sampling function in the Song mode/Pattern mode.
Sampling
mode 1
The MOTIF XS has a powerful Sampling function that lets you record audio signals—such as vocals from a microphone or
electric guitar—and integrate the resulting Samples with the Voices and Performances of the instrument. When you enter the
Sampling mode from the Voice mode or Performance mode, you can create your own original Samples, edit them, assign
them to a Waveform, and then assign the original Waveform to a User Voice or Performance.
This section covers the Sampling functions when entering the Sampling mode by pressing the [INTEGRATED SAMPLING]
button in the Voice mode or the Performance mode.
Voice mode
Creating a Voice/Performance by Using the Sampling Function
Creating a Voice/Performance by Using the Sampling Function
Sampling Main display
Voice mode
The Sampling Main display, the entrance of the Sampling mode, is called up when pressing the [INTEGRATED SAMPLING]
button from the current mode.
Pressing the [INTEGRATED SAMPLING] button in the Voice mode or Performance mode calls up the Sampling mode
dedicated to creation of Samples (Waveforms) assigned to the Voice/Performance. Press the [EXIT] button to return to the
original mode, Voice or Performance.
Performance
mode
Selecting a Waveform and Key Bank—
[INTEGRATED SAMPLING]
Sampling
mode 1
The Sampling Main display lets you select the Waveform
and its Key Bank then hear the sound of the Sample
assigned to the selected Key Bank.
Song mode
1
2
3
Mixing mode
Reference
Pattern mode
4
5
6
Indicates the available sampling time using the available
memory. The time indicated here is calculated assuming a
mono signal with a sampling frequency of 44.1 kHz. The
graph illustration indicates the already used memory
amount as a blue line.
8 [SF1] Audition
You can hear the Sample assigned to the selected Key
Bank by holding this button. This lets you check how the
Sample will actually sound when played back.
9 [SF6] KBD (Keyboard)
You can also select the Key Bank belonging to the selected
Waveform directly from the keyboard, by holding down the
[SF6] KBD button and pressing the desired key.
7
9
8
!
)
Sampling
mode 2
1 Waveform
Determines the Waveform number. The name of the
selected Waveform is displayed.
Settings: 0001 – 1024
Master mode
2 Key (Key Range) (Indication only)
) [F6] Rec (Record)
Pressing this button to call up the Sampling Record Setup
display. This display is used for setting up the instrument
for Sampling. For details, see page 164.
! [SF5] Keybank
Pressing this button calls up the list of the Key Banks
making up the Waveform. You can select the desired Key
Bank from this list by using the data dial, cursor up/down
button, [INC/YES] and [DEC/NO] button.
@ #
Indicates the Range of the Key Bank.
2
3
Utility mode
3 Velocity (Velocity Range) (Indication only)
Indicates the velocity range of the currently selected Key
Bank.
File mode
4 Sample Size (Indication only)
Indicates the size of the Sample assigned to the selected
Key Bank.
5 Frequency (Indication only)
Indicates the sampling frequency of the Sample assigned
to the selected Key Bank.
n The rate at which digital readings are taken is referred to as
the sampling frequency. Higher sampling frequencies result in
higher quality sound. 44.1kHz is the standard value as the
Sampling Frequency.
6 Stereo/Mono (Indication only)
Indicates whether the Sample assigned to the selected
Key Bank is stereo or mono.
162
7 Recordable Time (Indication only)
MOTIF XS Owner’s Manual
4
5
6
Regarding the parameters 2 – 6, refer to the parameter
having the same name in the Sampling Main display.
@ Duplication symbol
This symbol appears when the key range and velocity
range overlaps the ones of the other Key Bank. For
information on how the samples assigned to the
overlapped Key Banks are played back, see page 170.
# Key Bank number (Indication only)
Indicates the Key Bank number of the selected Waveform.
Creating a Voice/Performance by Using the Sampling Function
Sampling Record
• When the Input Source is set to A/D Input, adjust the
input signal level by using the GAIN knob on the rear
panel. If you cannot adjust the input level appropriately,
change the Mic/Line setting (page 263) in the Utility
mode.
• When the Input Source is set to Resample, adjust the
input signal level by setting the Record Gain.
• When the Input Source is set to mLAN, the input level
cannot be adjusted.
Enter the Voice mode or Performance mode.
When entering the Performance mode, select a
Performance to which the Sample will be assigned.
3
Press the [INTEGRATED SAMPLING] button to
enter the Sampling mode. (The indicator
lights.)
7
The Sampling Main display appears.
4
• The Input Source (2) determines the connector from
which the audio source (microphone, audio equipment,
etc.) is input.
• The Waveform (6) determines the Waveform number.
• The Voice ()) determines the Voice Bank and Number.
• The Part (9) determines the Performance part to which
the Voice is assigned when entering the Sampling mode
from the Performance mode.
• Set other parameters as necessary.
5
The Confirm tab turns green when set to on, and turns
gray when set to off. When Confirm is turned on, you
can easily listen back to your just-recorded Sample and
conveniently re-record it if you are not satisfied with the
results.
Press the [F6] Rec button to call up the Record
Setup display (page 164).
Set the following parameters in the Setup display. The
numbers in parentheses below refer to the parameters
in the Sample Record display on the next page.
Press the [F6] Standby button to call up the
Record Standby display (page 166).
Set the following parameters on the Standby display.
Numbers in the parentheses are equivalent to the
numbers pointing parameters on the Standby display.
• Set the Trigger Mode (8) to determine the method by
which Sampling will be triggered. Normally, set this to
“level.”
Turn the Confirm function on or off by pressing
the [SF1] button.
8
Press the [F5] Start button to start the
Sampling operation.
When the Trigger Mode (8) is set to “manual,” pressing
the button immediately starts Sampling (a RECORDING
indication appears in the display).
When the Trigger Mode (8) is set to “level,” pressing
the button enables Sampling but does not start it (a
WAITING indication appears in the display).
9
Performance
mode
Sampling
mode 1
Play the sound to be sampled.
When the Trigger Mode (8) is set to “level” and an
audio signal exceeding the specified Trigger Level (7)
is input to the instrument, the RECORDING indication
replaces the WAITING indication and Sampling starts.
During Sampling, a graphic representation of the
recorded audio appears in the display.
MOTIF XS Owner’s Manual
163
Reference
Try to set the input level as high as possible without
clipping for the best sound quality. Follow the
instructions below to adjust the input level.
For information about how to do this, see page 39.
If you want to use the sound of the MOTIF XS as a
recording source (with the Resampling function), this
step is unnecessary.
2
Adjust the input sound level for optimum level.
Song mode
6
Pattern mode
Connect a microphone or other audio
equipment to the MOTIF XS.
Mixing mode
1
Sampling
mode 2
In this section, you’ll learn how to create a Voice or
Performance by using the Sampling function.
Master mode
• If you set the Trigger Mode (8) to “level,” you will also
need to set the Trigger Level (7). Set this parameter so
that the red triangle of the level meter (indicating the
Trigger Level) is slightly below the level at which the
sound is input.
Sampling Procedure
Utility mode
In order to use the Sampling function, DIMM modules must be installed to the instrument. For details on installing DIMMs, see page 295.
The recorded (edited) Sample data residing temporarily in DIMM is lost when the power is turned off. Make sure to prepare the USB storage
device or a computer connected to the same network as the MOTIF XS before using the Sampling function.
File mode
Important
Voice mode
[INTEGRATED SAMPLING] ➞ [F6] Rec
The Sampling Record function lets you record sounds—such as vocals from a connected microphone, the signal from an
electric guitar, or audio from an external CD or MP3 player—directly to the MOTIF XS, and store them to the instrument as
Samples. The Samples obtained via the Sampling function can be played back from the keyboard by assigning them first to
a Waveform, then a Voice.
Creating a Voice/Performance by Using the Sampling Function
10
Press the [F6] Stop button to stop Sampling.
Voice mode
If you set Confirm to on in step 7 above, the Sampling
Finished display (page 167) appears. Press the [SF1]
Audition button to hear the sampled sound. If you are
satisfied with the results, press the [ENTER] button to
store the sampled sound as a “Sample” and return to
the Setup display. If you are not satisfied with the
results and you wish to try again, press the [EXIT]
button to return to the Standby display and try
Sampling from step 5 again.
Performance
mode
Sampling
mode 1
Song mode
11
Determines the input connector via which the signal to be
sampled will be received.
Settings: A/D Input, resample, mLAN
A/D Input
Analog audio from the A/D INPUT jacks is recognized as the recording
source.
resample
Audio signal from the OUTPUT jacks of the MOTIF XS is received and
recognized as the recording source.
mLAN
If you set Confirm to off in step 7 above, the sampled
sound will be stored as a “Sample” automatically.
Audio signal from the mLAN connector (available for MOTIF XS8 and
available for MOTIF XS6/7 only when the optional mLAN16E2 has been
installed) is recognized as the recording source. The audio signal here
is transmitted from the computer via mLAN Ports 3 and 4.
n When you set Record Next (4) to “on” in step 4 above,
the instrument returns to the STANDBY display after the
Sample data is fixed. In this case, you can leave the
Sampling Record mode by pressing the [EXIT] button.
3 Stereo/Mono
Save the created Waveform to a USB storage
device.
For detailed instructions on saving, see page 278.
Determines whether the audio signal is recorded as mono
Sample or stereo Sample.
Settings: monoL, monoR, monoL+R, stereo
monoL
The L-channel signal will be recorded as a mono Sample.
monoR
Mixing mode
Reference
Pattern mode
The R-channel signal will be recorded as a mono Sample.
CAUTION
monoL+R
The recorded (edited) Sample data resides temporarily in
DIMM (page 79). Any data in DIMM will be lost when turning
the power off. You should always save any data residing in
DIMM to a USB storage device or a computer connected to
the same network as the MOTIF XS before turning off the
power.
Sampling
mode 2
Sampling Setup—[F6] Rec
Master mode
From this display you can set up various parameters for
Sampling. Press the [F6] button from the Sampling Main
display to call up this display. Press the [EXIT] button to go
back to the Sampling Main display.
Utility mode
File mode
1
2
3
4
5
@
6
7
8
9
)
!
#
$
1 Recording Type
Determines the Sampling type. Keep in mind that this
parameter is fixed to “sample” when entering the Sampling
mode from the Voice/Performance mode.
164
2 Input Source
MOTIF XS Owner’s Manual
The L-channel and R-channel signals will be mixed and recorded as a
mono Sample.
stereo
A stereo Sample will be recorded.
4 Record Next
When set to on, the next key is set as destination of
Sampling automatically after the Sampling operation is
finished (including assignment of the Sample to a Key
Bank), and the Standby display appears. This parameter is
useful when you wish to record multiple Samples in
succession.
When you wish to obtain Samples successively from a
special CD containing various materials in each track, for
example, you can set this parameter to on and set the
Trigger Mode to “level”—and conveniently have the
instrument record consecutive Samples automatically. To
leave the Sampling Record mode, press the [EXIT] button.
Settings: on, off
n When both of the [SF1] Confirm and the Record Next are
turned on before the Sampling starts, the FINISHED display
appears as soon as the Sampling is finished. From the
FINISHED display, fix the Sample data by pressing the
[ENTER] button so that the instrument returns to the STANDBY
display.
n This parameter is useful when you wish to assign individual
Samples to the keys one by one to create a Drum Voice by
using the special CD containing sound of each drum
instrument as source.
n Keep in mind that the Record Next parameter may be fixed to
“off” and cannot be changed. This occurs when you enter the
Sampling mode from the Voice mode/Performance mode, set
the Voice to something other than “off,” and set the Source
(above) to “resample.”
Creating a Voice/Performance by Using the Sampling Function
Determines the note number of the Key Bank as
destination. The value set here can be changed in the
Sampling Edit mode (page 167).
Settings: C -2 – G8
1
2
3
n You can also set the Key directly from the keyboard, by
holding down the [SF6] KBD button and pressing the desired
key. For details, see page 82.
1 Used/Total (Indication only)
8 Track
Indicates the amount of memory being used and the total
amount available.
This parameter is not available when entering the Sampling
mode from the Voice/Performance mode.
2 Recordable Size (Indication only)
9 Part
Voice mode
Indicates the amount of free memory.
Determines the Performance Part to which the Voice ())
created by Sampling is assigned. When set to off, the
obtained Sample is not assigned to the Performance part.
This parameter is available when entering the Sampling
mode from the Performance mode. When the Voice ()) is
set to off, this parameter cannot be set even if entering the
Sampling mode from the Performance mode.
3 Recordable Time (Indication only)
Settings: off, 1 – 4
Pressing this button calls up the Sampling Record Standby
display. This display is used for executing Sampling. For
details, see page 166.
) Voice
Performance
mode
Indicates the amount of Sampling memory used.
Indicates the available Sampling time using the available
memory. The time indicated here is calculated assuming
that the sampling frequency is 44.1 kHz with mono.
$ [F6] Standby
Determines the voice to which the Waveform (6) created
via the Sampling is assigned by specifying the Voice Bank
and Number. Setting the Voice Bank to any of USER1 – 3
assigns the Waveform (6) to the Element 1 of the new
Normal Voice created via Sampling. Setting the Voice Bank
to UDR assigns the Waveform (6) to the Drum Key (!) of
the specified Drum Voice. When this is set to “off,” only a
Waveform (6) is created; the Sample is not stored as a
User Voice.
Settings:
Voice Bank: Off, USER1 – 3 (User 1 – 3), UDR (User Drum)
Voice Number: 001 – 128
MOTIF XS Owner’s Manual
165
Reference
7 Keybank
# [SF6] INFO (Information)
Sampling
mode 1
The Sampling operation overwrites any data previously existing at
the destination Waveform number. Important data should always
be saved to a USB storage device connected to the USB TO
DEVICE terminal or to a computer connected to the same network
as the MOTIF XS (page 278).
Indicates the available Sampling time using the available
memory. The time indicated here is calculated assuming a
mono signal with a sampling frequency of 44.1 kHz. The
amount of memory space currently being used is shown in
the display as a blue line.
Song mode
CAUTION
@ Recordable Time (Indication only)
Pattern mode
Settings: 0001 – 1024
Settings: C0 – C6
Mixing mode
Determines the Waveform number as destination.
Determines the Key to which the Waveform (6) is
assigned when the Voice Bank ()) is set to “UDR.”
Sampling
mode 2
6 Waveform
! Drum Key
Master mode
Settings: 44.1k (44.1 kHz), 22.0kLo (22.05 kHz Lo-Fi), 11.0kLo
(11.025 kHz Lo-Fi), 5.5kLo (5.5125 kHz Lo-Fi)
CAUTION
When the Voice Bank is set to any of USER1 – 3, the Sampling
operation overwrites any data already existing in the destination
Voice number. Important data should always be saved to a USB
storage device connected to the USB TO DEVICE terminal or to a
computer connected to the same network as the MOTIF XS
(page 278).
Utility mode
Specifies the sampling frequency. When the Input Source
(2) is set to “mLAN,” this parameter is fixed to “44.1kHz.”
Normally, this parameter should be set to “44.1kHz,” the
highest setting. If you wish to obtain a lo-fi sound, select a
value other than 44.1 kHz. At settings other than 44.1 kHz,
the sound monitored during recording may be different
from the recorded sound, depending on the source signal.
File mode
5 Frequency
Creating a Voice/Performance by Using the Sampling Function
Sampling Record—[F6] Standby
Voice mode
This display is used for executing Sampling. Press the [F6]
button from the Setup display to call up this display. Press
the [EXIT] button to go back to the Setup display.
1
2
3
When the Trigger Mode (8) is set to “level,” you’ll also
need to set the Trigger Level. Sampling will begin as soon
as an input signal exceeding the specified trigger level is
received. The level set here will be indicated as a red
triangle in the level meter. For best results, set this as low
as possible to capture the entire signal, but not so low as to
record unwanted noise.
Settings: 000 – 127
Performance
mode
8 Trigger Mode
Determines the method by which Sampling will be triggered.
Sampling
mode 1
6
7
8
4
5
Settings: level, manual
)
9
level
Sampling starts as soon as an input signal exceeding the specified
Trigger Level (7) is received.
manual
Song mode
!
@
1 Waveform (Indication only)
Indicates the number and name of the selected Waveform.
Pattern mode
Mixing mode
Reference
2 Key (Key Range) (Indication only)
Indicates the velocity range of the currently selected Key
Bank.
Indicates the key range of the currently selected Key Bank.
3 Velocity (Velocity Range) (Indication only)
4 Record Monitor
Sampling
mode 2
Master mode
Determines the output level of the monitor for the input
signal while Sampling. The time indicated here is
calculated assuming a mono signal with a sampling
frequency of 44.1 kHz. This monitor signal is output from
the PHONES jack or the OUTPUT R and L/MONO jacks.
Settings: 0 – 127
5 Record Gain
Utility mode
File mode
This parameter is available only when the Input Source
(page 164) is set to “resample” (recording the sound of the
MOTIF XS itself). This determines the recording gain when
resampling. The higher the value, the greater the volume of
the resampled sound. Before executing the Sampling
operation, you can set the appropriate gain by checking
the volume via the Level Meter ()) while playing the
keyboard.
Settings: -12dB, -6dB, +0dB, +6dB, +12dB
6 Key
Indicates the Keybank (page 165) set in the Sampling
Record Setup display. The Key Bank can be changed both
here and in Sampling Edit (page 167) after the Sampling
operation.
Settings: C -2 – G8
n You can also set the Key directly from the keyboard, by
holding down the [SF6] KBD button and pressing the desired
key. For details, see page 82.
166
7 Trigger Level
MOTIF XS Owner’s Manual
Sampling starts soon after you press the [F6] REC button. This setting
lets you start Sampling at your desired timing regardless of the input
level from audio source.
9 Recordable Time (Indication only)
Indicates the available Sampling time using the available
memory. The time indicated here is calculated assuming a
mono signal with a sampling frequency of 44.1 kHz. The
amount of memory space currently being used is shown in
the display as a blue line.
) Level Meter
This graph indicates the input level of the input source. Try
to get the input level as high as possible without clipping
for the best sound quality.
n Follow the instructions below to adjust the input level.
• When the Input Source is set to A/D Input, adjust the input
signal level by using the GAIN knob on the rear panel. If you
cannot adjust the input level appropriately, change the Mic/
Line setting (page 263) in the Utility mode.
• When the Input Source is set to Resample, adjust the input
signal level by setting the Record Gain (5).
• When the Input Source is set to mLAN, the input level
cannot be adjusted.
! [SF1] Confirm
This determines whether you can confirm the recorded
Sample (on) or not (off) after Sampling is finished. This is
useful for conveniently recording again if you are not
satisfied with the Sampling results. When this is turned off,
the recorded sample is fixed as data as soon as the
Sampling is finished then the instrument returns to the
Setup display (page 164). Please note that the instrument
returns to the STANDBY display after the Sampling is
finished when Record Next is turned on in the Setup
display.
@ [F5] Start
Press this button to start Sampling.
When the Trigger mode is set to “level,” pressing the [F5]
Start button calls up the WAITING indication on the display.
Actual Sampling does not start. When audio signal
exceeding the specified Trigger Level (7) is input to the
instrument, the RECORDING indication replaces the
WAITING indication and Sampling starts.
When the Trigger Mode (8) is set to “manual,” pressing
this button starts Sampling immediately.
Sampling RECORDING display
Sampling
mode 2
Sampling Edit
[INTEGRATED SAMPLING] ➞ [EDIT]
The Sampling Edit mode gives you comprehensive, detailed controls for editing the recorded Sample and changing the
Sample settings. Press the [EDIT] button from the Sampling Main display to call up the Sampling Edit display. Press the
[EXIT] button to go back to the Sampling Main display.
Sampling Edit procedure
4
Press the [F1] Trim or [F2] Param (Parameter)
button.
Set the desired parameter in each display.
1
Press the [INTEGRATED SAMPLING] button to
enter the Sampling mode. (The indicator
lights.)
5
Press the [SF1] Audition button to hear the
sound.
The Sampling Main display (page 162) appears.
Repeat steps 4 and 5 as desired.
2
Select a Waveform and Key Bank.
Select a Waveform and Key Bank to which the Sample
to be edited is assigned.
3
6
Press the [EXIT] button to go back to the
Sampling Main display.
Press the [EDIT] button to enter the Sampling
Edit mode.
MOTIF XS Owner’s Manual
167
Reference
n When [SF1] Confirm (page 166) is turned off before the
Sampling starts, the Sampling operation will automatically fix
the Sample data and return to the Setup display (page 164).
Please note that the instrument returns to the STANDBY
display after Sampling is finished when Record Next is turned
on in the Setup display.
Master mode
When the [SF1] Confirm is turned on before Sampling
starts, the FINISHED display below appears as soon as
You can hear the recorded Sample by holding this button.
This lets you check whether the Sampling has been
executed appropriately or not.
Utility mode
Sampling FINISHED display (when
Confirm is set to on)
[SF1] Audition
File mode
Press this button to stop Sampling. When Sampling is
complete, the FINISHED display appears.
Mixing mode
[F6] Stop
Pattern mode
Song mode
Sampling
mode 1
Performance
mode
During Sampling, a graphic representation of the recorded
audio appears in the display.
Sampling is finished. From this display, you can hear and
confirm the Sample by pressing the [SF1] Audition button.
If you are satisfied with the sound, press the [ENTER]
button to fix the Sampling result as Sample data. If you are
not satisfied with the Sampling result, press the [EXIT]
button then try again.
When [SF1] Confirm is turned off before Sampling starts,
the Sampling operation will automatically fix the Sample
data and return to the Setup display (page 164).
Voice mode
Creating a Voice/Performance by Using the Sampling Function
Creating a Voice/Performance by Using the Sampling Function
Hint
Voice mode
A convenient Extract function lets you delete unneeded
portions of the Sample prior to the start point and after
the end point, allowing you to save memory for additional
Sampling.
1
Performance
mode
2
Press the [F1] Trim button to call up the Trim
display.
Press the [ENTER] button. (The display
prompts you for confirmation.)
If you wish to cancel the operation, press the [DEC/
NO] button.
3
Press the [INC/YES] button to execute Extract.
Sampling
mode 1
n The data deleted via the Extract operation cannot be
recovered. Before executing the Extract, you may want
to back up this Sample by using the Copy Job
(page 172).
2
Press the [F1] Trim button to call up the Trim display
(page 168) then set the Start Point (6).
3
4
While holding the [SF1] Audition button, adjust
the End Point so that looped playback of the
Sample is smooth and matches the beat timing.
5
Execute the Extract operation (page 177).
How to set the tempo of the Sample
If you do not know the tempo of the Sample containing
the rhythm pattern, follow the instructions below.
Song mode
Tips for editing the Samples
Pattern mode
Mixing mode
Reference
There are two methods for playing back the Sample: One
shot and Loop. Loop lets you play the specified range of
the Sample repeatedly in a loop. One Shot, on the other
hand, lets you play the entire Sample only once.
You’ll need to determine which type (Loop or One Shot) is
used by setting the Play Mode parameter in the
Parameter display (page 170).
Sampling
mode 2
Fine-tuning playback of One Shot Samples
Master mode
Utility mode
File mode
You can determine the playback range of the Sample by
setting the Start Point (6) and End Point (8) in the Trim
display (page 168). These parameters effectively let you
mute unnecessary or unwanted audio from the beginning
and end of your Sample. To cut sound at the end of
playback, decrease the End Point value, moving it
leftward on the wave display. Similarly, to cut sound at the
beginning of playback, increase the Start Point value,
moving it rightward on the wave display. In general, you’ll
want to set the Start Point so that the beginning of the
Sample plays back immediately when triggered. Use the
[SF1] Audition button to check playback of the Sample,
that it sounds smooth and natural. After setting and
confirming the Start/End Points, trim them permanently
from the Sample by using the Extract operation
(page 177).
Fine-tuning playback of Loop Samples
Setting the Start and End Points in a Loop Sample is
generally more crucial and painstaking than with One
Shot Samples. The Start and End Points must be set
accurately to ensure that the Loop plays back smoothly
and continuously without stutters or glitches. You’ll also
need to make sure (with rhythmic loops) that the Loop is
in perfect rhythm and no beats are lost.
1
Set the Loop Point to the value same as the
Start Point.
Press the [SF2] button so that the LP=ST is shown.
1
How to play the Sample (Play Mode settings)
Set the Start Point to the 1st beat of the 1st
measure.
While holding the [SF1] Audition button, adjust
the Start Point and End Point so that looped
playback of the Sample is smooth and matches
the beat timing.
Make sure to also use the Extract operation to delete
unnecessary parts from the Sample.
2
Set the time signature and measure.
Press the [F1] Trim button to call up the Trim display
(below) then set the time signature ()) and measure
(!).
3
Increase or decrease the Tempo (9) as
necessary so that the End Point (8) becomes
equivalent to the end point applied to the
original Sample.
Set the Tempo (9) to a large value then decrease it
gradually so that the End Point (8) increases
gradually. Once you reach a certain value, the End
Point no longer increases, even when you decrease
the Tempo. The resulting value is the End Point
applied to the original Sample. The final Tempo value
is the most appropriate tempo for Sample playback.
Sample Playback settings—[F1] Trim
This display lets you set the playback range and loop
range of the Sample.
3
1
2
4
5
6
7
8
9
)
!
Set the Play Mode to “loop.”
Press the [F2] Param button to call up the Parameter
display (page 170) then set the Play Mode (6) to
“loop.”
@
º
* # ( $
168
MOTIF XS Owner’s Manual
%
^
&
Indicates the track of the current Song/Pattern. This is
available only when entering the Sampling mode from the
Song/Pattern mode.
Indicates the available Sampling time using the available
memory. The time indicated here is calculated assuming a
mono signal with a sampling frequency of 44.1 kHz. The
amount of memory space currently being used is shown in
the display as a blue line.
5 Measure (Indication only)
Indicates the measure number of the selected Song/
Pattern. This is available only when entering the Sampling
mode from the Song/Pattern mode.
6 Start Point
Determines the Start point for Sample playback. The part
at the left side of this point will not be played back. When
pressing the [SF2] button, the value of the Loop Point (7)
is copied to the Start Point.
Settings: 0000000 – End point
7 Loop Point
Determines the Loop point at which the loop playback starts.
When the Play mode is set to “loop,” the Sample is played
back between this Loop point and the End point (6).
Settings: 0000000 – End point
8 End Point
Determines the End point for Sample playback. The par t at
the right side of this point will not be played back. The End
Point (8) will be automatically determined so that the length
between the Start Point and the End Point matches the
settings of the Tempo (9), Meter ()), and Measure (!).
Settings: 0000000 – (depending on the Sample’s length)
9 Tempo
Determines the Tempo of Sample playback. Setting the
Tempo changes the End Point (8) so that the length
between the Start Point and the End Point matches the
settings of the Meter and Measure.
# [SF1] Audition
You can hear the selected Sample by holding this button.
This lets you check whether the Sample has been edited
appropriately or not.
$ [SF2] LP=ST
When the menu indication here is “LP=ST,” the Start (Start
Point) and the Loop (Loop Start Point) will share the same
address, meaning that both of them will be changed
simultaneously, even if just one of them is changed.
Pressing the [SF2] button in this condition changes the
menu from “LP=ST” to “LP≠ST.” When the menu indication
here is “LP≠ST,” the Start (Start Point) and the Loop (Loop
Start Point) can be changed independently. When pressing
the [SF2] button in this condition, the address value of the
Start will be copied to the one of the Loop, with the result
that both of them share the same address value. The menu
indication also changes from “LP≠ST” to “LP=ST.”
% [SF3] Display
Pressing the [SF3] button adjusts the zoom level so that the
entire wave, including the Start Point and End Point, is
shown on the display.
^ [SF4] Zoom Out
& [SF5] Zoom In
Press the [SF4] and [SF5] buttons to zoom in and out of the
wave display.
Settings: 5.0 – 300.0
* [F1] Trim
) Meter
Pressing this button returns from the previous display to the
Trim display.
Determines the meter (time signature) of Sample playback.
Setting the Meter changes the End Point (8) so that the
length between the Start Point and the End Point matches
the settings of the Tempo and Measure.
( [F2] Param (Parameter)
Pressing this button calls up the display that lets you set
the Sample-related parameters and Key Bank range.
Settings: 1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4
º [SF6] NUM
! Measure
Determines the Sample length for playback based on
measure and beat values, an intuitive and musically useful
way to set Sample playback. Setting the Measure changes
When “NUM” is shown in the tab, you can use the [F1] –
[F6] buttons and the [SF1] – [SF5] buttons as the numeric
key pads by pressing the [SF6] button.
MOTIF XS Owner’s Manual
169
Reference
@ Recordable Time (Indication only)
Performance
mode
4 Track (Indication only)
Sampling
mode 1
Indicates the velocity range of the currently selected Key
Bank.
n The Measure setting here indicates the length between the
Start Point and End Point of the sample. When you wish to play
two measures beginning from the Start Point of the sample, set
the Measure parameter to “002:00.”
Song mode
3 Velocity (Velocity Range) (Indication only)
Pattern mode
Measure: 000 – 032
Beat: 00 – 15 (Varies depending on the Meter setting.)
Mixing mode
Indicates the key range of the currently selected Key Bank.
Sampling
mode 2
Settings:
Master mode
2 Key (Key Range) (Indication only)
Utility mode
Indicates the number and name of the selected Waveform.
the End Point (8) so that the length between the Start Point
and the End Point matches the settings of the Tempo and
Meter.
File mode
1 Waveform (Indication only)
Voice mode
Creating a Voice/Performance by Using the Sampling Function
Creating a Voice/Performance by Using the Sampling Function
Sample Parameter settings—[F2]
Param
1
2
3
4
5
6
7
8
9
Sampling
mode 1
!
)
) Velocity (Velocity Range)
Indicates the velocity range of the Key Bank to which the
selected Sample is assigned. By assigning different
Samples from a single Waveform to separate velocity
ranges, you can create a Voice that produces different
sounds depending on how strongly you play the keyboard.
Settings: 1 – 127
@
Song mode
Parameters 1 – 3 are same as the ones on the Trim
display (page 168).
Pattern mode
Mixing mode
Reference
n The KBD icon is shown on the tab corresponding to the [SF6]
button depending on the selected parameter. In this condition,
you can enter the note number or velocity by pressing the
appropriate note on the keyboard while holding the [SF6] KBD
button. For details, see page 82.
4 Level
! Recordable Time (Indication only)
Indicates the available Sampling time using the available
memory. The time indicated here is calculated assuming a
mono signal with a sampling frequency of 44.1 kHz. The
amount of memory space currently being used is shown in
the display as a blue line.
@ [SF1] Audition
You can hear the selected Sample by holding this button.
This lets you check how the Sample will actually sound
when played back.
Determines the output level of the selected Sample.
Settings: -95.25 dB – +0.00 dB
Sampling
mode 2
5 Pan
Determines the stereo pan position of the sound.
Settings: L64 (far left) – C (center) – R63 (far right)
Master mode
6 Play Mode
Determines how the Sample is played back.
Settings: loop, one shot, reverse
loop
Utility mode
Sample playback begins from the Start point, continues to the Loop
point, then repeats indefinitely between the Loop point and End point.
This setting is useful for short rhythmic passages, riffs and beats that
you want to play back repeatedly and continuously.
one shot
File mode
The Sample plays back one time from Start point to End point. This
setting can be used for solos, sound effects and vocal passages that
are used once without looping.
reverse
The Sample plays back one time in reverse from End point to Start
point. This is useful for creating reversed cymbal sounds and other
special effects.
7 Coarse Tune
Determines the coarse tuning for the pitch of the Sample in
semitones.
Settings: -64 – +0 – +63
8 Fine Tune
Determines the fine tuning for the pitch of the Sample in
cents.
Settings: -64 – +0 – +63
170
Indicates the key range of the Key Bank to which the
selected Sample is assigned. By assigning different
Samples from a single Waveform to separate key ranges,
you can create a Voice that produces different sounds
depending on what key you play.
Settings: C -2 – G8
Performance
mode
Voice mode
This display lets you set Sample-related parameters such
as Key Range and Velocity Range.
9 Key Range
MOTIF XS Owner’s Manual
When different Key Banks overlap:
When playing back a certain key with a certain velocity
belonging to different Key Banks (in other words,
different samples are assigned to this key and velocity),
not all relevant samples may be played back and priority
will be given to the two audio channels starting from the
sample(s) assigned to the Key Bank having a smaller
number. When a stereo sample is assigned to the Key
Bank of the smallest number, for example, only that
sample will be played back. When a mono sample is
assigned to the Key Bank of the smallest number and a
different sample is assigned to the Key Bank of the
second smallest number, for 2nd example, only those
two samples will be played back. When a mono sample
is assigned to the Key Bank of the smallest number and a
stereo sample is assigned to the Key Bank of the second
smallest number, for 3rd example, only the mono sample
will be played back. This rule applies to all modes of the
instrument.
Creating a Voice/Performance by Using the Sampling Function
Sampling Job
[INTEGRATED SAMPLING] ➞ [JOB]
05: Time-Stretch
This Job lets you change the tempo of the Sample without changing the pitch.
06: Convert Pitch
This Job lets you change the pitch of the Sample without changing the tempo.
07: Fade In/Out
This Job lets you create a fade-in and fade-out for the Sample.
08: Half Sampling Frequency
This Job lets you halve the sampling frequency of the specified Sample.
09: Stereo to Mono
This Job lets you convert a stereo Sample to a mono Sample.
10: Loop-Remix
This Job lets you automatically cut the Sample into separate “slices” and randomly rearrange the
slices for special effects and unusual rhythmic variations.
11: Slice
This Job lets you divide the Sample into separate slices following the specified settings.
When entering this Job from the Song/Pattern mode, note data for playing the slices in sequence
is also created. Note data playback sounds just like the original Sample being played back.
[F2] Waveform
Waveform Jobs
01: Copy
This Job lets you copy the data of one Waveform to another. The Key Banks and Samples
included in the Waveform are also copied by this Job.
02: Delete
This Job lets you delete a specific Waveform from memory. The Key Banks and Samples included
in the Waveform are also deleted.
03: Extract
This Job lets you delete all unnecessary Sample data (located ahead of the Start Point and
located after the End Point).
04: Transpose
This Job lets you transpose the Key Bank setting of a specified Waveform in semitones.
05: Rename
This Job lets you edit the name of the specified Waveform.
Other Jobs
01: Optimize Memory
This Job optimizes the memory (DRAM) for Sampling.
02: Delete All
This Job deletes all the Waveforms.
Sample Job procedure
1
Press the [JOB] button in the Sampling mode
to enter the Sampling Job mode.
2
Call up the desired Job group.
Select the Job group by pressing one of the [F1]
Keybank, [F2] Waveform, and [F3] Other buttons.
3
4
Set the value of the desired parameters.
Move the cursor to the desired parameter, then set the
value by using the data dial, [INC/YES] and [DEC/NO]
button.
When “Apply” appears on the menu corresponding to
the [SF4] button, go to step 5. When “Apply” does not
appear, go to step 7.
5
Press the [SF4] Apply button to execute the Job.
At this time, the Sample has been modified temporarily
and not fixed as data.
Call up the desired Job display.
Move the cursor to the desired Job by using the data
dial, [INC/DEC] and [DEC/NO] buttons or Cursor up/
down button, then press the [ENTER] button. The
desired Job display appears. Press the [EXIT] button to
go back to the Job menu display.
Master mode
[F5] Other
6
Confirm the result of the Job operation.
Press the [SF1] Audition button to hear the modified
Sample. If you are satisfied with the result, go on to the
step 7. If you are not satisfied with the results and want
to try again, press the [SF4] Apply button again to abort
the Job operation and return the Sample to the original
status. In this case, attempt the operation again from
step 4.
MOTIF XS Owner’s Manual
171
Reference
This Job maximizes (normalizes) the overall level of the specified Sample.
Performance
mode
04: Normalize
Sampling
mode 1
This Job moves a specified Key Bank to another Waveform. Also the Sample assigned to the Key
Bank is moved.
Song mode
This Job deletes the specified Key Bank and its Sample.
03: Move
Pattern mode
02: Delete
Mixing mode
This Job copies a specified Key Bank to another Waveform. Also the Sample assigned to the Key
Bank is copied.
Sampling
mode 2
Jobs related to Samples assigned to the specified Key Bank
01: Copy
Utility mode
[F1] Keybank
Description
File mode
Function
Voice mode
The Sampling Job mode lets you process and modify Samples you have recorded. 18 Sampling Jobs are available.
Creating a Voice/Performance by Using the Sampling Function
7
Press the [ENTER] button to fix the Job result
as Sample data.
CAUTION
Voice mode
You cannot return the modified Sample to the original after
fixing the Job result. Important data should always be saved to
a USB storage device connected to the USB TO DEVICE
terminal or to a computer connected to the same network as
the MOTIF XS (page 278).
Performance
mode
8
Press the [EXIT] button twice to go back to the
Sampling Main display.
Sampling
mode 1
n If there is no data in the specified Waveform and Key
Bank, “No Data” will appear on the display and the job
cannot be executed.
Song mode
n Some Jobs cannot be executed if there is not enough
memory space. The amount of the available memory
space can be confirmed at the bottom of the Sampling
Job display or in the Information display (page 165).
[SF6] KBD (Keyboard)
This menu appears only when the cursor is located at the
Waveform. You can also select the Key Bank belonging to
the selected Waveform directly from the keyboard, by
holding down the [SF6] KBD button and pressing the
desired key.
[SF6] INFO (Information)
When “INFO” is shown at the tab menu corresponding to
the [SF6] button, press [SF6] to call up the Information
window indicating the memory status for Sampling. For
details, see page 165.
01: Copy
This Job copies the data of a Sample contained in a
specified Key Bank to another Key Bank. Also the Sample
assigned to the Key Bank is copied. This is useful if you are
creating a Waveform and wish to use the Sample data from
another Waveform.
Mixing mode
Reference
Pattern mode
Available memory space
CAUTION
Even if the Job operation has been completed, the data will be
lost when turning the power off. Make sure to save the
Waveform data to a USB storage device or to a computer
connected to the same network as the MOTIF XS in the File
mode (page 278) after the Job operation.
1
2
Sampling
mode 2
Master mode
Utility mode
File mode
[F1] Keybank
1 Source Key Bank
2 Destination Key Bank
This display contains Jobs for editing Samples. The
Sample to be edited can be specified via the Waveform
number and Key Bank.
The source Key Bank is set by using the [SF5] Keybank
button or [SF6] KBD button to select the key in the
waveform after selecting the Waveform number (0001 –
1024). The source Key Bank is set by moving the cursor to
the Key value and using the Data dial or [SF6] KBD button
to select the desired key after selecting the Waveform
number (0001 – 1024). The Velocity range values of the
destination Key Bank are automatically set to the same as
those of the source Key Bank.
Basic Operations in the Key Bank Jobs
The Key Bank Jobs provide the basic operations using the
[SF1] button and the [SF5] button.
n You can hear the sample assigned to the source Key Bank by
pressing the [SF1] Audition button.
[SF1] Audition
You can hear the Sample assigned to the selected
Keybank by holding this button. This lets you check how
the Sample will actually sound when played back.
[SF5] Keybank
Pressing this button calls up the Key Bank list, from which
you can select the desired Key Bank. For details, see
page 162.
172
MOTIF XS Owner’s Manual
Creating a Voice/Performance by Using the Sampling Function
1
This Job maximizes (normalizes) the overall level of the
specified Sample. This is useful for bringing up the volume
of a Sample that was inadvertently recorded at a low level.
Voice mode
This Job deletes the specified Key Bank and its Sample.
By deleting unnecessary Samples, you can increase the
available memory space.
04: Normalize
1
Performance
mode
02: Delete
Settings: 1% – 800%
2
CAUTION
The Job execution is divided into two stages: temporary data
conversion via the [SF4] Apply button and actual data entry via the
[ENTER] button. The Job result will be lost if you call up a different
display without finalizing the data via the [ENTER] button.
Utility mode
1
05: Time-Stretch
1 Source Key Bank
2 Destination Key Bank
Determines the Key Banks of source and destination
respectively by setting the Waveform number (0001 –
1024). Setting the source Waveform number calls up one of
the Key Banks (the Key range and Velocity range) which
can be changed by pressing the [SF5] Keybank button
and [SF6] KBD button. The Key range and Velocity range
of the destination Key Bank are automatically set to the
same values as those of the source Key Bank.
n You can hear the sample assigned to the source Key Bank by
pressing the [SF1] Audition button.
Master mode
This Job moves a specified Key Bank to another
Waveform. Also the Sample assigned to the Key Bank is
moved.
Determines the post-normalization Sample level. A setting
of 100% maximizes the level so that the highest peak level
in the Sample is just below clipping (maximum digital
signal level). Settings higher than 100% will raise the
Sample level above the maximum, producing deliberate
clipping. Normally, set this to 100% or less.
This Job lets you change the length of the Sample without
changing the pitch. By using this Job, you can synchronize
Sample playback with Song/Pattern playback, since
changing the Sample length also changes the tempo of
Sample playback
File mode
03: Move
1
2
3
MOTIF XS Owner’s Manual
173
Reference
2 Ratio
Pattern mode
Determines the Key Bank to which the desired Sample is
assigned by specifying the Waveform number (0001 –
1024). The Key range and Velocity range of the Key Bank
to which the selected Waveform is assigned are
automatically shown below the Waveform number.
Mixing mode
1 Key Bank
Determines the Key Bank to be deleted by setting the
Waveform number (0001 – 1024). The Key range and
Velocity range of the Key Bank to which the selected
Waveform is assigned are automatically shown below the
Waveform number.
Sampling
mode 2
1 Key Bank to be deleted
Song mode
Sampling
mode 1
2
Creating a Voice/Performance by Using the Sampling Function
Voice mode
1 Key Bank
2 Pitch
Determines the Key Bank to which the desired Sample is
assigned by specifying the Waveform number (0001 –
1024). The Key range and Velocity range of the Key Bank
to which the selected Waveform is assigned are
automatically shown below the Waveform number.
Determines the amount and direction of pitch shift in
semitone increments.
2 Ratio
Performance
mode
Determines the length of the post-process Sample as a
ratio of the length of the original Sample (100%). The
tempo change can be calculated as follows.
Ratio value = (original tempo/modified tempo) x 100.
Settings: 25% – 400%
Sampling
mode 1
3 Accuracy
Song mode
Determines the quality of the resulting Sample by
specifying which aspect of the original is to be
emphasized: sound quality or rhythmic feel.
Settings: sound4 – sound1, normal, rhythm1 – rhythm 2
sound4 – sound1
These settings place emphasis on sound quality, with the “sound4”
setting producing the highest sound quality.
Settings: -12 – +0 – +12
3 Fine
Determines the amount and direction of pitch shift in cent
increments (1 cent = 1/100th of a semitone). 1 cent is
equivalent to 1/100th of a semitone.
Settings: -50 – +0 – +50
CAUTION
The Job execution is divided into two stages: temporary data
conversion via the [SF4] Apply button and actual data entry via the
[ENTER] button. The Job result will be lost if you call up a different
display without finalizing the data via the [ENTER] button.
07: Fade In/Out
This Job lets you create a fade-in and fade-out for the
Sample.
Mixing mode
Reference
Pattern mode
normal
Produces an optimum balance of sound quality and rhythmic feel.
rhythm1 – rhythm2
These settings place emphasis on rhythmic feel, with the “rhythm2”
setting producing the most accurate rhythmic feel.
CAUTION
Sampling
mode 2
The Job execution is divided into two stages: temporary data
conversion via the [SF4] Apply button and actual data entry via the
[ENTER] button. The Job result will be lost if you call up a different
display without finalizing the data via the [ENTER] button.
Master mode
06: Convert Pitch
This Job lets you change the pitch of the Sample without
changing the tempo.
Utility mode
1
1
2
3
1 Key Bank
Determines the Key Bank to which the desired Sample is
assigned by specifying the Waveform number (0001 –
1024). The Key range and Velocity range of the Key Bank
to which the selected Waveform is assigned are
automatically shown below the Waveform number.
2 Fade Type
Determines the type of level fade: fade-in or fade-out.
File mode
2
3
3 Length
1 Key Bank
Determines the Key Bank to which the desired Sample is
assigned by specifying the Waveform number (0001 –
1024). The Key range and Velocity range of the Key Bank
to which the selected Waveform is assigned are
automatically shown below the Waveform number.
174
Settings: fade in, fade out
MOTIF XS Owner’s Manual
Determines the length of the fade-in or fade-out. When a
fade-in is selected, this parameter specifies the length of
the fade starting at the specified Start point. When a fadeout is selected, this parameter specifies the length of the
fade starting at the beginning of the fade and ending at the
specified End point.
A Length setting of 4410 is roughly equivalent to 0.1
seconds when the Frequency is set to 44.1 kHz in the
Setup display (page 164) of the Sampling mode.
Settings: 0000000 – End point
Creating a Voice/Performance by Using the Sampling Function
Fade-in
09: Stereo to Mono
This Job lets you convert a stereo Sample to a mono
Sample.
Performance
mode
2
End point
This Job lets you halve the sampling frequency of the
specified Sample. This can be used to convert hi-fi
Samples to a lo-fi sound, and reduce the Sample size by
half to conserve memory.
Determines the Key Bank to which the desired Sample is
assigned by specifying the Waveform number (0001 –
1024). The Key range and Velocity range of the Key Bank
to which the selected Waveform is assigned are
automatically shown below the Waveform number.
2 Type
Determines which channel, or both channels, of the stereo
Sample will be converted to a mono Sample.
Settings: L+R>mono, L>mono, R>mono
1
L+R>mono
The left and right channels of a stereo Sample are mixed and
converted to a mono Sample.
L>mono
The left channel of a stereo Sample is converted to a mono Sample.
R>mono
Determines the Key Bank to which the desired Sample is
assigned by specifying the Waveform number (0001 –
1024). The Key range and Velocity range of the Key Bank
to which the selected Waveform is assigned are
automatically shown below the Waveform number.
CAUTION
The Job execution is divided into two stages: temporary data
conversion via the [SF4] Apply button and actual data entry via the
[ENTER] button. The Job result will be lost if you call up a different
display without finalizing the data via the [ENTER] button.
10: Loop-Remix
This Job lets you automatically cut the Sample into
separate “slices” and randomly rearrange the slices for
special effects and unusual rhythmic variations.
Utility mode
1 Key Bank
File mode
CAUTION
The Job execution is divided into two stages: temporary data
conversion via the [SF4] Apply button and actual data entry via the
[ENTER] button. The Job result will be lost if you call up a different
display without finalizing the data via the [ENTER] button.
Master mode
The right channel of a stereo Sample is converted to a mono Sample.
1
2
3
MOTIF XS Owner’s Manual
175
Reference
08: Half Sampling Frequency
1 Key Bank
Song mode
The Job execution is divided into two stages: temporary data
conversion via the [SF4] Apply button and actual data entry via the
[ENTER] button. The Job result will be lost if you call up a different
display without finalizing the data via the [ENTER] button.
Sampling
mode 1
CAUTION
Pattern mode
Length
1
Mixing mode
Fade-out
Voice mode
Start point
Sampling
mode 2
Length
Creating a Voice/Performance by Using the Sampling Function
Voice mode
1 Key Bank
7 Lowest Key
Determines the Key Bank to which the desired Sample is
assigned by specifying the Waveform number (0001 –
1024). The Key range and Velocity range of the Key Bank
to which the selected Waveform is assigned are
automatically shown below the Waveform number.
Specifies the lowest key number from which the sliced
Samples are assigned in order.
2 Type
Performance
mode
Determines the degree to which the looped portion of the
Sample will be sliced.
Settings: 1 – 4
3 Variation
Sampling
mode 1
Determines how the original Sample is varied by this Job.
Settings: normal1 – 2, reverse1 – 2
normal1 – 2
These settings slice and rearrange the Sample data, without
performing any other audio changes.
Song mode
reverse1 – 2
In addition to slicing and rearranging, these settings reverse the
playback of some of the slices.
Settings: C -2 – G8
n In the Record Slice display of the Sampling Record mode
(page 248), this parameter is fixed to “C1” for the MOTIF XS6,
“E0” for the MOTIF XS7, and “A -1” for the MOTIF XS8, and
cannot be set.
2
3
4
5
6
8
Type (Slice Type)
Measure
Meter
Sub Divide
Sens
Tempo
With the exception of the Lowest Key parameter, all
parameters and settings are the same as in the Record
Slice display of the Sampling Record mode (page 248)
which appears after Sampling is completed with the Type
set to “slice+seq.”
CAUTION
Mixing mode
Reference
Pattern mode
CAUTION
The Job execution is divided into two stages: temporary data
conversion via the [SF4] Apply button and actual data entry via the
[ENTER] button. The Job result will be lost if you call up a different
display without finalizing the data via the [ENTER] button.
The Job execution is divided into two stages: temporary data
conversion via the [SF4] Apply button and actual data entry via the
[ENTER] button. The Job result will be lost if you call up a different
display without finalizing the data via the [ENTER] button.
11: Slice
Sampling
mode 2
Master mode
Utility mode
This Job lets you divide the Sample into separate “slices,”
the number of which is determined by the note length (with
Measure, Meter, and Sub Divide). Sliced Samples are
assigned to each of keys in ascending order from the Key
Bank specified at the Lowest Key (7) parameter. When
entering this Job from the Song/Pattern mode, note data for
playing the slices in sequence is also created. Playing
back the note data and the slices in order results in the
same sound as the original “un-sliced” Sample.
[F2] Waveform Jobs
This display contains Jobs for editing Waveforms.
01: Copy
This Job lets you copy the data of one Waveform to
another. The Key Banks and Samples included in the
Waveform are also copied by this Job.
1
File mode
1
2
3
4
5
6
7
8
1 Key Bank
Determines the Key Bank to which the desired Sample is
assigned by specifying the Waveform number (0001 –
1024). The Key range and Velocity range of the Key Bank
to which the selected Waveform is assigned are
automatically shown below the Waveform number.
2
1 Waveform as source
2 Waveform as destination
Determines the copy source and destination Waveform
numbers.
CAUTION
This operation overwrites any data previously existing at the
destination Waveform number.
176
MOTIF XS Owner’s Manual
Creating a Voice/Performance by Using the Sampling Function
05: Rename
Voice mode
Performance
mode
1
2
03: Extract
End point
Extract
1 Waveform
Determines the Waveform number to which this Job is
applied.
2 Name
Determines the Waveform number to be extracted.
Determines the Waveform name which can contain up to
10 characters. For detailed instructions on naming, refer to
“Basic Operation” on page 82.
Mixing mode
Waveform
04: Transpose
1
2
3
1 Waveform
Determines the Waveform number to which this Job is
applied.
[F5] Other Jobs
Sampling
mode 2
This Job lets you transpose the Key Bank setting of a
specified Waveform in semitones or in octaves.
01: Optimize Memory
This Job optimizes the memory (DIMM) for Sampling.
Optimization consolidates areas of used and unused
(available) memory to create the largest possible area of
contiguous available memory. In some cases, the amount
of remaining memory will be increased when you execute
the Optimize Memory Job.
02: Delete All
This Job deletes all the user Waveforms. The Key Banks
and Samples included in the Waveform are also deleted.
2 Octave
Determines the amount in octaves by which the Key Bank is
transposed. When you want to transpose by less than one
octave, set this to “0” and use the Note parameter below.
Settings: -3 – +0 – +3
3 Note
Determines the amount in semitones by which the Key Bank is
transposed. When you want to transpose by exact octaves,
set this to “0” and use the Octave parameter above.
Settings: -11 – +0 – +11
MOTIF XS Owner’s Manual
177
Reference
Start point
End point
Song mode
Start point
Sampling
mode 1
This Job lets you delete all unnecessary parts of the
Sample (located ahead of the Start Point and located after
the End Point).
Pattern mode
Determines the Waveform number to be deleted.
Master mode
Waveform
This Job lets you assign a name to the selected Waveform.
Utility mode
This Job lets you delete a specific Waveform from memory.
The Key Banks and Samples included in the Waveform are
also deleted.
File mode
02: Delete
Song Playback
Voice mode
The Song mode lets you record, edit and play your own original Songs. The Song Play mode is the main ‘portal’ by which
you enter the Song mode, and it is here where you select and play a Song. Some of the Song settings—such as the rhythmic
feel—can also be edited in this mode. To call up the Song Play display and enter the Song mode, simply press the [SONG]
button.
n From the Track View display in the Song Play mode, you can select the Voice of the Mixing Part corresponding to the current Track by
pressing the [CATEGORY SEARCH] button.
Performance
mode
Song Playback Procedure
Sampling
mode 1
1
Press the [SONG] button to enter the Song
Play mode.
This operation calls up the Track View display in the
Song Play mode.
Song mode
Song number
Song name
Pattern mode
Mixing mode
Reference
Sampling
mode 2
2
Select a Song.
Master mode
Move the cursor to the Song number, then select the
desired Song by using the data dial, [INC/YES] and
[DEC/NO] buttons. The name of the selected Song is
displayed.
Utility mode
n If you press the [PROGRAM] button so that its lamp lights,
you can select the desired Song by using the Group [A] –
[D] buttons and the Number [1] – [6] buttons. Song
numbers and the corresponding buttons are as follows.
File mode
3
Button Combinations
Song number
[A]+[1] – [16]
01 – 16
[B]+[1] – [16]
17 – 32
[C]+[1] – [16]
33 – 48
[D]+[1] – [16]
49 – 64
Press the [F] (Play) button to start the selected
Song.
When playback of the selected Song is finished, the
Song automatically stops.
SEQ TRANSPORT
LOCATE
1
2
Playback types
Playback from the middle of the Song
To start playback of the Song from midway through the
Song, set the desired location by using the controls below,
then press the [F] (Play) button. These operations can be
also executed during playback.
Forward
Press the [H] (Forward) button.
Fast forward
Hold the [H] (Forward) button.
Rewind
Press the [G] (Rewind) button.
Fast Rewind
Hold the [G] (Rewind) button.
Move to the top of the Song
Press the [P] button.
Move to location 1
While holding the [P] button, press
the [G] (Rewind) button.
Move to location 2
While holding the [P] button, press
the [H] (Forward) button.
When the Song is not played back properly:
Keep in mind that starting a Song from somewhere in the
middle may cause playback problems, such as the wrong
sound, incorrect pitch or unexpected volume changes.
This may occur because the MIDI events recorded at the
start the Song have not been recognized by the tone
generator section, since playback has started at a different
point in the Song, with different MIDI events. To prevent this
from happening, set the Song Event Chase parameter (4)
to “PC+PB+Ctrl” or “all” in the Other display (page 271) of
Sequencer Setup (called up via the [SEQ SETUP] button).
With this setting, the Song will be played back properly
even when starting playback from the middle of the Song.
Assigning specific measure numbers to
Locations 1 and 2
To assign specific measure numbers to locations 1 and 2,
select the desired measure number then press the [G]/
[H] (Rewind/Forward) button while holding the [STORE]
button. The setting here will be shown at the top of the
display.
Location 1
Press the [J] (Stop) button to stop playback of the
Song. Press the [F] (Play) again to resume playback
from that point.
178
MOTIF XS Owner’s Manual
Location 2
From this display, you can change the Song playback
position by following the operations below.
Song Playback
SF2
1
SF3
2
SF4
3
SF5
4
F3
F4
F5
F6
6
7
8
9
0
-
The [SF1] – [SF5] and [F1] – [F6] buttons function as number buttons.
3
Enter the destination measure by using the
[SF1] – [SF5] and [F1] – [F5] buttons.
The measure number you input will appear at the top of
the display.
14
PERFORMANCE
CONTROL
ARP ON/OFF
15
MUTE
16
ARP HOLD
SOLO
1
1
Press the [SOLO] button so that its indicator
lights.
2
Press any of the Number buttons [1] to [16]
corresponding to the track you want to solo.
When pressing any of the Number buttons [1] – [16],
the lamp of the pressed button will flash and only the
corresponding track will be sounded. Pressing the
different Number button changes the soloed track.
Change the tempo
1
2
Move the cursor to Tempo.
Edit the Tempo value by using the [INC/YES],
[DEC/NO] buttons and the data dial.
Shows the measure number to be entered.
Tempo
4
Press the [ENTER] button to actually move the
Song playback position to the destination set
above.
Track mute/solo
To mute a track
1
2
3
4
5
6
12
13
14
PART SELECT
9
10
11
7
PERFORMANCE
CONTROL
ARP ON/OFF
PART MUTE
15
ARP HOLD
2
TRACK
8
MUTE
16
SOLO
1
Assigning various settings related to
Song playback (Song Scene)
You can assign five different “snapshots” of important
Song-related parameters such as transpose, tempo, track
mute status, and the basic Song Mixing setup to the [SF1]
– [SF5] buttons as Song Scenes. One of the convenient
advantages of Song Scene is that it lets you instantly and
automatically execute parameter settings that normally
require many button presses or controller operations. Use it
during Song recording or playback to make instantaneous
setting changes.
Song Scene parameters
Tempo
1
2
Press the [MUTE] button so that its indicator
lights.
Transpose
Press any of the Number buttons [1] to [16]
corresponding to the track you want to mute.
Volume settings for 16 Mixing Parts
When pressing any of the Number buttons [1] – [16],
the lamp of the pressed button will be turned off and
the corresponding track will be muted. Pressing the
same Number button again enables output of the
playback sound.
Song
mode
Play Effect settings for 16 tracks
Pan settings for 16 Mixing Parts
Voice mode
13
2
5
F2
11
PART MUTE
SF6
F1
10
TRACK
8
Track View display
(page 181)
Play FX display
(page 183)
Mixing
mode
Part 1-16 display
(page 231)
Reverb Send settings for 16 Mixing Parts
Chorus Send settings for 16 Mixing Parts
Cutoff Frequency settings for 16 Mixing
Parts
EG display
(page 235)
Resonance settings for 16 Mixing Parts
AEG Attack settings for 16 Mixing Parts
AEG Release settings for 16 Mixing Parts
MOTIF XS Owner’s Manual
179
Reference
SF1
12
PART SELECT
9
7
Performance
mode
Press the [SF6] NUM button so that the [SF1] –
[SF5] and [F1] – [F6] buttons function as
number buttons.
6
Sampling
mode 1
Move the cursor to Measure.
5
Song mode
1
2
4
Pattern mode
Moving to a desired location in the Song
3
Mixing mode
Move forward or backward through the
measures by using the [INC/YES], [DEC/NO]
buttons and the data dial.
2
Sampling
mode 2
1
Master mode
Move the cursor to Measure.
Utility mode
1
2
To solo a track
File mode
Fast Forward/Rewind
Song Playback
Registering the Song Scene
Voice mode
After making the desired settings for the Scene,
simultaneously hold down the [STORE] button and press
one of the [SF1] to [SF5] buttons. The 8th note icon is
shown in the tab corresponding to the Sub Function button
to which the Song Scene is registered. Press the [STORE]
button to store the Song data including the Song Scene
setting.
Performance
mode
CAUTION
3
If you wish to stop playback in the middle of a
Song Chain, press the [J] (Stop) button.
n The Song Chain can only be played back in the Song Chain
display, and not from any other display.
The Song Scene settings registered to the [SF1] – [SF5] buttons
will be lost if you change the Song or turn the power off without
executing the Store operation.
Knobs and Sliders
Sampling
mode 1
Recalling the Song Scene
You can recall the Song Scene by press one of the [SF1] to
[SF5] buttons.
Song mode
Song Chain Playback
Pattern mode
Mixing mode
Reference
Song Chain Playback allows you to put together a play list
of preset Songs, in any desired order, and have them
automatically play back in sequence. You can set the order
of Song playback then start the Chain Playback from the
Song Chain display.
n For instructions on programming the Song Chain, refer to the
description about the Song Chain display (page 185).
1
By using the knobs on the front panel, you can adjust
various parameters such as pan, effect, cutoff frequency
and resonance for each part (track) of the Song. By using
the sliders, you can change the volume of each Part (track)
and adjust the relative balance among the Parts (tracks).
Adjusting the Pan and Effect
parameters for each Part
Press the [MULTI PART CONTROL] button to call up the
Control Function window.
Sampling
mode 2
From the Track Vies display, press the [F4]
button to call up the Song Chain display
(page 185).
Chain number
Song number
Song name
Master mode
Switching the Parts to be edited: 1 – 8 and 9 – 16
Utility mode
File mode
2
Press the [F] (Play) button to start the Song
Chain playback.
The Songs are played back according to the order of
the Chain.
When an empty Song is assigned to the Chain number,
one measure of silence is counted, followed by
playback of the next Song.
When a “skip” is assigned to the Chain number, the
assigned Song will be ignored or skipped then next
Song will start.
When a “stop” is assigned to the Chain number,
playback will be stopped at that Song. Press the [F]
180
(Play) button to restart playback from the next Chain
number.
If an “end” is assigned to the Chain number, playback
will stop at the end of the Song.
MOTIF XS Owner’s Manual
When the Control Function window is shown after pressing
the [MULTI PART CONTROL] button, each knob/slider
controls each Part and you can change the target parts to
be controlled between Parts 1 – 8 and 9 – 16. When the
target Parts are 9 – 16 (the display is for Parts 9 – 16),
pressing any of the [1] – [8] buttons changes the target
Parts from 9 – 16 to 1 – 8. When the target Parts are 1 – 8
(the display is for Parts 1 – 8), pressing any of the [9] – [16]
buttons changes the target Parts from 1 – 8 to 9 – 16.
Knob Functions
Pressing the [MULTI PART CONTROL] button turns on the
lamps in the descending order: REVERB → CHORUS →
PAN. When the REVERB lamp is turned on, the knobs let
you adjust the Reverb Send for each part. When the
CHORUS lamp is turned on, the knobs let you adjust the
Chorus Send for each part. When the PAN lamp is turned
on, the knobs let you adjust the Pan for each part.
n Holding down the [MULTI PART CONTROL] button for a few
seconds will alternate the lit lamp from the current one to
REVERB.
Song Playback
Knob 2
Knob 3
Knob 4
TONE 1
Cutoff
Reso
Attack
TONE 2
LowGain
MidFreq
MidGain
MidQ
ARP FX
Swing
Qt Val
Qt Str
GateT
Knob 5
Knob 6
Part 1
Part 2
Part 3
:
Part 16
Decay
Knob 7
Knob 8
TONE 1
Sustain
Release
Assign1
Assign2
TONE 2
HighGain
Pan
Reverb
Chorus
ARP FX
Velocity
Octave
UnitMlt
Tempo
Track View display—[F1] TrackView
n For details about each function, see page 90.
Adjusting the volume of each Part
The Sliders lets you adjust the volume for each Part.
Switching the Parts to be edited: 1 – 8 and 9 – 16
When the current part is any of 1 – 8, the eight sliders
adjust the volume for Parts 1 – 8. When the current Part is
any of 9 – 16, the eight sliders adjust the volume for Parts 9
– 16. The Part can be selected by turning the [TRACK] on
and pressing the desired Number button.
Voice mode
Performance
mode
Sampling
mode 1
[SONG]
This display always appears first when the Song mode is
engaged.
! @4
1
9
5
2
3
6
#
)
7
$
8
^
%
&
*
(
º
¡
™
1 Song number, Song name
Determines the Song to be played back.
Settings:
Song number: 01 – 64
Song name: See the Note below.
n You can edit the Song name by moving the cursor to the
corresponding location and pressing the [SF6] CHAR button.
For details, see page 82.
MOTIF XS Owner’s Manual
181
Reference
Track 1
Track 2
Track 3
:
Track 16
As listed below, various functions are assigned to Knobs 1
– 8 depending on which lamp is turned on—the TONE 1,
TONE 2, and ARP FX lamps which can be switched via the
[SELECTED PART CONTROL] button.
RcvCH
2
3
3
:
16
Pattern mode
Knob Functions
Mixing
TxCH
2
2
3
:
16
Mixing mode
Song
Knob 1
Song mode
Song
Sampling
mode 2
The functions assigned to the knobs are applied only to the
currently selected Part. To change the Part, call up the
Control Function window, then press one of the [1] – [16]
buttons.
Master mode
Selecting a target Part
To edit the Mixing parameters such as Voice, volume and
pan for each track, press the [MIXING] button to enter the
Mixing mode (page 229) then edit them for the Mixing Part
corresponding to the desired track. Note that track 1 does
not always correspond to the Mixing Part 1. As illustrated
below, each track of the Song sequence data and each
Mixing Part of the tone generator block are connected
when the transmit channel (TxCH) equals the receive
channel (RcvCH). In other words, the sequence data of
each track plays the corresponding Parts (those having the
same MIDI channel assignment) in the tone generator
block. The Transmit Channels of each track can be set in
the Song Track display (page 184) of the Song Play mode
while the Receive Channels of each Part can be set in the
Voice display (page 235) of the Mixing mode.
Utility mode
Press the [SELECTED PART CONTROL] button to call up
the Control Function window.
Mixing Setup for each track
File mode
Adjusting the Cutoff Frequency and
Resonance for each Part
Song Playback
2 Location (Indication only)
9 Mute/Solo (Indication only)
Indicates the measure number assigned to Location 1 and
2. For detailed instructions on setting the Location, see
page 178.
Indicates the Mute/Solo status for each track. For detailed
instructions on setting Mute/Solo, see page 179.
m: Indicates muted track.
Voice mode
3 Meas (Measure)
Determines the location at which playback starts. This also
indicates the current location of playback. For detailed
instructions on setting the measure, see page 178.
Performance
mode
Measure
Beat
Clock
s: Indicates soloed track.
) Voice Name
Indicates the Voice name of the Mixing Part corresponding
to each track.
! Loop (Indication only)
Settings:
Sampling
mode 1
Measure: 001 – 999
Beat, Clock: Indication only
4 Trans (Transpose)
Adjusts the tuning in semitone increments.
Determines whether or not Loop playback is set for each
track. The track for which Loop is turned on plays
repeatedly following the setup of the Track Loop display
(page 185).
Settings: Blank (Loop off), L (Loop on)
Song mode
Settings: -36 – +36
@ Song Position Line
5 Time signature (Meter)
Indicates the current location of the Song playback set at
Measure above.
Pattern mode
Mixing mode
Reference
Determines the meter (time signature) of the Song. The
setting here is applied to the specified Measure (3) and
subsequent measures. This allows you to enter different
time signatures in the middle of a song. When setting the
Measure (3) at which playback starts to a time signature
other than that at the song beginning, for example, the time
signature before the Measure (3) is maintained even if you
change the time signature here.
Settings: 1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4
Sampling
mode 2
6 Tempo
Determines the Song playback tempo.
Settings: 5.0 – 300.0
Master mode
Utility mode
n If you are using this instrument with an external sequencer, a
computer, or other MIDI device, and you want to make the
Song tempo controlled by the external device(s), set the MIDI
sync (5) parameter in the MIDI display (page 267) of the
Utility mode to “MIDI.” In that case, the Tempo parameter here
indicates “MIDI” and cannot be changed.
7 Track number (Indication only)
Indicates the track number.
File mode
8 Data status (Indication only)
Indicates whether the data is recorded or not to each of
tracks.
Blank: Indicates the track is empty.
M: Indicates the MIDI sequence data has been recorded. This
is handled as a MIDI track.
W: Indicates the sample data has been recorded in addition
to MIDI sequence data. This is handled as an Audio track.
n For Mixing Parts that correspond to Audio tracks, a
Sample Voice is assigned. For Mixing Parts that
correspond to MIDI tracks, a Voice other than a Sample
Voice is assigned. For more information about Audio
tracks and MIDI tracks, see page 61.
182
Blank: Neither Mute nor Solo are assigned to this track.
MOTIF XS Owner’s Manual
# Measure number (Indication only)
Indicates the measure number. By pressing the [F5] Zoom
Out or [F6] Zoom In button, you can zoom in or zoom out
over the interval between the adjacent measures.
$ Sequence data bar
Indicates whether data has been recorded or not to each
of tracks. You can check the range over which the data is
recorded for each track. For MIDI tracks, you can view all
the timings at which MIDI events have been recorded.
You can check the data status.
% [SF1] Scene1 – [SF5] Scene5
You can assign the settings of the Song-related parameters
(Song Scene) and the Arpeggio-related parameters to
these buttons. You can also recall the settings by pressing
these buttons. For detailed instructions on registering
Scenes, see page 179. For detailed instructions on setting
the Arpeggio-related parameters, see page 189.
n The Arpeggio is not available during Song playback. Pressing
the [SF1] Scene 1 – [SF5] Scene 5 buttons during playback
changes only the Song Scene.
n After registering the Song Scene, the 8th note icon will appear
on the tab corresponding to the pressed button. You can
confirm whether the Arpeggio Type is assigned to that button
in the Arpeggio display (page 189) of Song Record.
^ [SF6] INFO (Information)
You can view the amount of free and used sequencer
memory. The sequencer memory covers the all Songs and
Patterns recorded in the respective modes. When the used
memory amount reaches the maximum capacity, no further
Songs or Patterns can be stored. If this occurs, use the
Clear Song Job (page 207) or Clear Pattern Job
(page 228) to delete any unnecessary Songs or Patterns.
Song Playback
You can go back to the previous display by pressing the
[SF6] button or the [EXIT] button.
1 Track number (Indication only)
Indicates the track number.
Quantize Value
1st beat
2nd beat
3rd beat
Original timing
Calls up the Song Track Output Channel display
(page 184).
Quantize strength
= 100%
™ [F4] Chain
Quantize strength
= 50%
The notes will be moved fully to the
specified Quantize value.
Calls up the Song Chain display (page 185). This display
lets you play back multiple Songs sequentially.
The notes will be moved to the halfway
between the original value and the
specified Quantize value.
3 Swing
Changing the rhythmic “feel” of the
Song—[F2] Play FX (Play Effect)
By changing the timing and velocity of the notes, you can
change the rhythmic “feel” of Song playback. The Play
Effect settings made here are only temporary and don't
change the actual data in the Song. The Play Effect
settings can be applied actually to the Song data by using
the Normalize Play Effect Job.
2
3
4 5 6
7
Adjusts the timing, velocity, and gate time (the length of
time a note sounds) of the even-numbered back-beat
notes to enhance the swing feel. This parameter delays
notes on even-numbered beats (backbeats) to produce a
swing feel. For example, if the meter is 4/4 and the
quantize value is quarter notes, the 2nd and 4th beats of
the measure will be delayed. When a triplet value is
specified, the last note of each triplet is affected by the
Swing parameter.
When the quarter-note swing is applied to the original data:
1st beat
2nd beat
Sampling
mode 1
Mixing mode
¡ [F3] Track
3rd beat
Original timing
Swing Rate = 66%
The notes at the 2nd beat will be moved
to triplet timing.
1
Swing Rate = 75%
The notes at the 2nd beat will be moved
to 8th note timing.
Here, edit the Swing settings for each track by specifying
the Swing Vel (Swing Velocity), Swing Gate, and Swing
Rate. When the Quantize value is set to “off,” all the Swing
parameters are not available.
MOTIF XS Owner’s Manual
183
Reference
When quarter-note quantization is applied to the original data:
Song mode
Settings: 0% – 100%
Calls up the Play Effect display (below). By changing the
timing and velocity of the notes, you can change the
rhythmic “feel” of the Song playback.
Pattern mode
º [F2] Play FX (Play Effect)
Sets the “strength” by which note events are pulled toward the
nearest quantize beats. A setting of 100% produces exact
timing set via the Quantize Value parameter above. A setting
of 0% results in no quantization. A setting of 50% result that
the note events are pulled to the half point between the 0%
and 100%.
Sampling
mode 2
Calls up the Track View display.
Quantize Str (Quantize Strength)
Master mode
( [F1] TrackView
Settings: off, 32nd note, 16th note triplet, 16th note, 8th note
triplet, 8th note, 1/4 note triplet, 1/4 note
Utility mode
Changes the zoom level of Measure number (#) of the
Track View display. Press the [F5] Zoom Out button to
reduce the Zoom level so that a wider range can be
displayed. Press the [F6] Zoom In button to raise the Zoom
level so that a magnified view can be displayed.
Determines to what beats the note data in the Arpeggio
sequence data will be aligned, or determines to what beats in
the Arpeggio sequence data the swing is applied.
File mode
& [F5] Zoom Out
* [F6] Zoom In
Performance
mode
This lets you align the timing of the note events according
to the specified note type. Here, set the two parameters for
each track: Value and Str (Strength).
Voice mode
2 Quantize
Song Playback
Swing Vel (Swing Velocity)
Voice mode
Adjusts the velocity of the corresponding notes to accentuate
the swing rhythmic feel. Settings below 100% reduce the
velocities of notes on even-numbered beats (backbeats), and
settings above 100% increase the velocities proportionately. If
the result is 0 or less, the value is set to 1. If the result is higher
than 127, the value is set to 127.
Output Channels and Loop settings
for each track—[F3] Track
This display lets you set the Output Channel and set the
Loop Playback related parameters for each track.
Settings: 0% – 100% – 200%
Swing Gate (Swing Gate Time)
Performance
mode
Adjusts the gate time of the corresponding notes to
accentuate the swing rhythmic feel. Settings below 100% will
shorten the gate times of notes on even-numbered beats
(backbeats), whereas settings above 100% will lengthen
them. If an adjusted gate time value is less than 1, the value is
rounded off to 1.
Track Channel Settings—[SF1] Out
(Output Channel)
This display lets you set the MIDI Transmit Channel for
each track.
1
Settings: 0% – 100% – 200%
Sampling
mode 1
2 3 4
Swing Rate
Delays notes on even-numbered beats (backbeats) to
produce a swing feel. Settings above 50% will delay notes to
produce a more pronounced swing feel.
Song mode
Settings:
Quantize Value
Settings
When the Quantize Value is set to off
0–0
When the Quantize Value is set to 32nd note
0 – 30
Mixing mode
Reference
Pattern mode
When the Quantize Value is set to 16th note triplet
0 – 40
When the Quantize Value is set to 16th note
0 – 60
When the Quantize Value is set to 8th note triplet
0 – 80
When the Quantize Value is set to 8th note
0 – 120
When the Quantize Value is set to 1/4 note triplet
0 – 160
When the Quantize Value is set to 1/4 note
0 – 240
4 Note Shift*
Sampling
mode 2
Raises or lowers the pitch of all notes in the selected track
in semitones.
1 Voice (Indication only)
Indicates the Voice name of the Mixing Part corresponding
to each track.
n In the Part 1 – 16 display (page 231) of the Mixing mode, you
can change the Voice of the Mixing Part corresponding to the
track.
Settings: -99 – +0 – +99
Master mode
5 Clock Shift
Shifts the timing of all notes in the selected track forward or
backward in clock increments.
Settings: -120 – +0 – +120
2 TxCh (Transmit Channel)
Utility mode
6 Gate Time Rate
Raises or lowers the gate time of all notes in the selected
track. If an adjusted gate time value is less than 1, the
value is rounded off to 1.
Settings: 1 – 16, off
File mode
Determines the MIDI transmit channel of the sequence
data for each track. Tracks set to “off” will not sound. In the
Song mode, the MIDI data created by playing the
keyboard/knobs/wheels is sent to the tone generator block
or the external MIDI devices via the MIDI output channel of
the currently selected track.
Settings: 0% – 100% – 200%
Determines whether musical performance data of each
track is sent to the internal tone generator block or not.
When set to “off,” the performance data will not be sent to
the internal tone generator block.
7 Velocity
Raises or lowers the velocity of all notes in the selected
track. If the result is 0 or less, the value is set to 1. If the
result is higher than 127, the value is set to 127.
Velocity Rate
Alters the velocity of notes by the specified percentage.
Settings: 0% – 100% – 200%
Velocity Offset
Increases or decreases the velocity of notes by the specified
offset value.
Settings: -99 – +0 – +99
184
MOTIF XS Owner’s Manual
3 Int (Internal Switch)
4 Ext (External Switch)
Determines whether performance data of each track is
sent to the external MIDI device or not. When set to “off,”
the performance data will not be sent to the external MIDI
device.
Song Playback
end
Indicates the Voice name of the Mixing Part corresponding
to each track.
n In the Part 1 – 16 display (page 231) of the Mixing mode, you
can change the Voice of the Mixing Part corresponding to the
track.
Indicates the end mark of the Song Chain data.
stop
Stops Song Chain playback at that chain number. You can restart the
song chain playback from the next chain number by pressing the [F]
(Play) button.
2 Loop
Determines whether or not the Loop Playback is active for
each track. The track of which the Loop is turned on plays
from Start (3) to End (4) repeatedly.
Settings: Blank (Loop off), L (Loop on)
3 Start (Start Point)
4 End (End Point)
Determines the range of the looped playback. The track of
which the Loop is turned on plays from the Start Point to
the End Point repeatedly.
Programming the Song Chain
Follow the instructions below to program the Song Chain.
Keep in mind that the Song Chain program will be stored
automatically; it is not necessary to execute the Store
operation.
1
From the Track View display, press the [F4] button
to call up the Song Chain display.
2
Program the desired order of the Songs.
Settings: Measure : Beat
Move the cursor to “001” by using the cursor buttons and
select the desired Song by using the Data Dial, or the
[INC/YES] and [DEC/NO] buttons. In the same manner,
assign other Songs to locations 002, 003, 004, and so on.
Song Chain Playback—[F4] Chain
(Song Chain)
Song Chain Playback allows you to put together a play list
of preset Songs, in any desired order, and have them
automatically play back in sequence. From this display,
you can program the order of the Song playback.
1
2
3
3
Use “skip” if you want to delete the Song already
assigned to the Chain number.
Move the cursor to the Song number to be deleted, then
assign the “skip” command to that location by using the
data dial, or the [INC/YES] and [DEC/NO] buttons. The
assigned Chain number will be ignored during playback.
4
Performance
mode
Sampling
mode 1
Assign “end” to the Chain number at which you
wish to stop the Song Chain playback.
When playback reaches a Chain number to which the
“end” command has been assigned, playback will stop.
If you want to stop playback at a certain Chain number
and restart from the next Chain number, assign the “stop”
command to that Chain number.
n The Song Chain will be stored as part of system data.
n For details about Song Chain playback, see page 180.
MOTIF XS Owner’s Manual
185
Reference
1 Voice (Indication only)
Song mode
Skips (ignores) the selected chain number and continues playback
from the next chain number.
Pattern mode
skip
Mixing mode
Settings: skip, end, stop, 01 – 64
Sampling
mode 2
Determines the Song number to be played back in the
chain. The Song name is shown when you specify the Song
number. If an empty Song is assigned to a certain Chain
number, that number will be skipped after a one-measure
count. In addition to Song numbers, “skip,” “end,” and
“stop” commands can be assigned to the Song Chain
numbers.
Master mode
2 Song number
3 Song name (Indication only)
Voice mode
Indicates the order of the Song playback. Numbers 1 – 100
are provided and you can view these numbers by scrolling
the display. The Song Chain will be played back in order
from the Song assigned to 001.
Utility mode
These allow you to set specific tracks for Loop Playback
and determine what range of measures will be used for the
Loop.
1
2 3
4
1 Chain Number (Indication only)
File mode
Loop Playback Settings—[SF2] Loop
Song Recording
In the Song Record mode, you can use the sequencer to record your keyboard performance, track by track, to a selected
Song. Press the [I] (Record) button from the Song Play mode to enter the Song Record mode.
Voice mode
n Recording the audio data for a Song can be executed in the Sampling Record mode (page 244).
Performance
mode
Sampling
mode 1
Song mode
Realtime Recording
Song Store—[STORE]
This method lets you record the performance data as it is
played, allowing you to capture all the nuances of an actual
keyboard performance. Recording can be carried out
while monitoring playback of other already-recorded
tracks. You can also transmit sequence data from an
external MIDI instrument to the MOTIF XS and
simultaneously record up to 16 tracks (page 190).
The Realtime recording consists of three methods:
Replace, Overdub, and Punch.
This section covers how to store the Songs you have
recorded and edited. By executing the Store operation, the
Song data you have created will be maintained even if the
power has been turned off. Pressing the [STORE] button
calls up the Song Store window.
The following data will be stored by the Song Store
operation.
Sequence data
MIDI data generated and recorded by your keyboard
performance including the controller operations.
Tone Generator data
Pattern mode
Mixing mode
Reference
Song Recording procedure
Mixing settings (Common Edit parameters and Part Edit
parameters)
Here in outline form is the process of recording a Song.
n The Mixing Voices can be edited in the Mixing Voice Store
window (page 240).
1
Press the [SONG] button to enter the Song
Play mode, then select a Song to be recorded
(page 178).
1
Sampling
mode 2
Master mode
2
Press the [I] (Record) button to call up the
Record Setup display (page 187).
Utility mode
Prepare for recording by setting the time signature,
tempo, track to be recorded, Voice, and recording
method. If you wish to record using an Arpeggio, set
the necessary parameters from the Arpeggio display
(page 189).
3
File mode
Press the [STORE] button to store the
recorded Song to internal User Memory.
The recorded Song will be lost when selecting a different
Song, calling up a different mode, or turning the power off.
Make sure to store the Song data to internal memory by
pressing the [STORE] button before selecting a different Song,
calling up a different mode, or turning the power off.
Save the created Song data to a USB storage
device or to a connected computer as desired
(page 278).
MOTIF XS Owner’s Manual
Select a destination Song number.
The name of the selected Song number is shown.
CAUTION
This operation overwrites any data already existing in the
destination Song.
3
Edit the recorded Song using the Song Job
(page 195) and Song Edit (page 192).
CAUTION
6
2
Record your keyboard performance.
For details, see page 189.
4
Call up the Song Store window.
Pressing the [STORE] button calls up the Song Store
window.
Select an empty Song if you wish to create a new Song
from scratch. If an empty Song is not found, delete any
unnecessary Song(s) by using the Clear Song Job
(page 207).
5
186
To use Song Store:
Press the [ENTER] button. (The display
prompts you for confirmation.)
Press the [DEC/NO] button to cancel the Store
operation. Song Store is canceled, and operation
returns to the previous display.
4
Press the [INC/YES] button to execute the
Store operation.
After the Song has been stored, a “Completed”
message appears and operation returns to the Song
Play display.
n If there is not enough memory space for the Song/Pattern,
an alert message appears, and you will not able to store
any additional Songs/Patterns. If this happens, delete
unnecessary Patterns/Songs by using the Song/Pattern
Job, then try the Store operation again.
Song Recording
5
6
º
(
¡
™
£
Indicates the name of the currently selected Song. The
Song can be selected in the Song Play display (page 178).
2 Meas (Measure)
Determines the location at which playback starts. This also
indicates the current location of the recording.
Beat
Indicates the Mute/Solo status for each track. For detailed
instructions on setting Mute/Solo, see page 179.
Blank: Neither Mute nor Solo are assigned to this track.
m: Indicates muted track.
s: Indicates soloed track.
8 Voice name (Indication only)
Indicates the Voice name of the Mixing part corresponding
to each track.
9 REC TR (Record Track)
1 Song name (Indication only)
Measure
7 Mute/Solo (Indication only)
Clock
Determines the track to be recorded. Move the cursor to
the desired track or press any of the Number buttons [1] –
[16] with the TRACK lamp turned on so that the red circle is
shown in the corresponding column of the REC TR. To set
all tracks to the Record Track, press the [F6] button (red
circles are shown in all columns of REC TR).
Settings: Scene Track, Tempo Track, 1 – 16, All Track
Scene Track
Records track mute on/off events and Song Scene changing timing
events.
Measure: 001 – 999
Beat, Clock: Indication only
3 Time signature (Meter)
Determines the meter (time signature) of the Song.
Settings: 1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4
4 Tempo
Sets the tempo for recording in real time.
Settings: 5.0 – 300.0
Tempo Track
Records tempo change information during playback.
1 – 16
Records your actual musical performance. Your keyboard
performance will be recorded to the track selected here.
All Track
Simultaneous recording to all 16 sequence tracks. Multi-channel data
from an external MIDI device can be recorded at once.
Utility mode
Settings:
) Record Type
Determines a Recording method.
Settings: replace, overdub, punch
n If you are using this instrument with an external sequencer, a
computer, or other MIDI device, and you want to have the
Song recording tempo controlled by the external device(s), set
the MIDI sync (5) parameter in the MIDI display (page 267) of
the Utility mode to “MIDI.” In that case, the Tempo parameter
here indicates “MIDI” and cannot be changed.
5 Track number (Indication only)
Indicates the track number.
You can use this method when you want to overwrite an already
recorded track with new data in real time. The original data will be
erased.
File mode
replace
n The tempo value set here will be the tempo of the Song after
recording.
overdub
You can use this method when you want to add more data to a track
that already contains data. Previously recorded data will be
maintained.
punch
You can use this method when you want to overwrite data to a
specified range of a track that already contains data. You can overwrite
the already recorded data from the starting point to the ending point
(measure/beat) that was specified before recording.
n When the Record Track (5) is set to “Tempo Track” or “Scene
Track,” “overdub” cannot be selected here.
MOTIF XS Owner’s Manual
187
Reference
)
!
@
#
$
%
^
&
*
Voice mode
2
4
Settings: M (MIDI Track), W (Audio track), blank (no Voice is
assigned)
Performance
mode
1
Sampling
mode 1
3
Song mode
9
Pattern mode
8
Mixing mode
7
Indicates the track type: MIDI track or Audio track. For
Mixing Parts that correspond to Audio tracks, a Sample
Voice is assigned. For Mixing Parts that correspond to MIDI
tracks, a Voice other than a Sample Voice is assigned. For
Mixing Parts that correspond to empty tracks, no Voice is
assigned.
Sampling
mode 2
From this display you can set up various parameters for
recording a Song.
6 Track type (Indication only)
Master mode
Preparing the Song Recording—
[F1] Setup
Song Recording
! Punch In
@ Punch Out
Voice mode
When punch (Punch In/Out) is selected as the Record Type
explained above, the recording start position (Punch In
position) and finish position (Punch Out position) are
specified here.
Settings: 001 : 01 – 999 : 16
# Record Part (Indication only)
Performance
mode
Indicates the Mixing Part corresponding to the Record
Track.
Determines whether the Insertion Effect assigned to the
Voice is used or not. The setting here is applied to the
Insertion Effect Switch setting for the Record Part (#).
Settings: off, on
n The MOTIF XS features eight Insertion Effects, letting you set
this parameter to on for up to eight Parts. If eight Parts are
already turned on, the parameter cannot be turned on for
additional Parts. In this case, another Part must be turned off.
To do this, set the Insertion Effect Switch parameter for another
Part to “off” in the Part 1 – 16 display (page 231) of the Mixing
mode.
Sampling
mode 1
Settings: 01 – 16
( [SF1] Scene1 – [SF5] Scene5
$ Quantize (Record Quantize)
Pressing these buttons while recording changes the Song
Scene and Arpeggio settings simultaneously. For details,
see page 181.
Song mode
This convenient feature lets you automatically quantize the
notes in real time, as you record. Quantize aligns the timing
of note events to the nearest beat. This parameter
determines whether real-time Quantize is on or not, and the
resolution to which the notes will be aligned. The number
shown at right of each value indicates the length assumes
that the quarter-note resolution is 480.
Pattern mode
Mixing mode
Reference
Settings: off, 2 60 (32nd note), 63 80 (16th note triplet), 6 120
(16th note), 83 160 (8th note triplet), 8 240 (8th note),
43 320 (1/4 note triplet), 4 480 (1/4 note)
Determines the Voice for the recording track by specifying
the Voice Bank and Voice number. The setting here is
applied to the Voice setting for the Record Part (#). The
name of the selected Voice is indicated in the next line.
% Voice
Sampling
mode 2
Settings:
Voice Bank
PRE1 – 8, USR1 – 3, GM, PDR (Preset Drum Voice), UDR (User Drum
Voice), GMDR (GM Drum Voice), SMPL (Sample Voice)*, MIXV (Mixing
Voice)**
Master mode
* The SMPL (Sample Voice) can be created by recording audio signal
to a track in the Sampling mode. Here, you can select only a Sample
Voice which is currently stored to the currently selected Song. For
details, see page 242.
Utility mode
** The MIXV (Mixing Voice) is edited and stored in the Mixing mode.
Here, you can select only a Mixing Voice which is currently stored to
the currently selected Song. For details, see page 230.
Voice number: 001 – 128
File mode
n You can call up the list and select the desired one by pressing
the [SF6] LIST button. For details, see page 82.
^ Volume
Determines the volume for the recording track. The setting
here is applied to the Volume setting for the Record Part (#).
Settings: 0 – 127
& Pan
Determines the stereo pan position of the sound. The setting
here is applied to the Pan setting for the Record Part (#).
Settings: L63 – C – R63
188
* Ins Effect Sw (Insertion Effect Switch)
MOTIF XS Owner’s Manual
º [F1] Setup
Pressing this button returns from the previous display to the
Record Setup display.
¡ [F2] Arpeggio
Calls up the Record Arpeggio display. From this display
you can set various Arpeggio-related parameters for the
Song recording.
™ [F5] Click
Switches the metronome on/off. Pressing the [F5] button
toggles the Click function on and off.
n From the Click display (page 270) of the SEQ SETUP, you can
make various settings for the metronome click, such as the
note resolution, volume, and lead-in count for recording.
£ [F6] All Track
Pressing this button sets all 16 tracks to the Record Track.
For details, see page 187.
Parameters 1 – & are same as the ones in the Arpeggio
Main display (page 101) in the Voice Common Edit mode.
* Voice with ARP (Voice with Arpeggio)
Each Arpeggio type is assigned a specific Voice best
suited to the type. When an Arpeggio type has been
assigned to a recorded track, this parameter determines
whether or not the Voice assigned to the Arpeggio type will
also be used for the recorded track. When set to “on,” the
appropriate Voice is assigned to the recorded track in
place of the currently assigned Voice. When set to “off,” the
appropriate Voice is not assigned to the recorded track.
The currently assigned Voice is maintained. The name of
the Voice registered to the Arpeggio Type is shown at the
right side.
By using this method, any previous data in the recorded
track will be erased (overwritten) and replaced by the new
data. The first recording is lost, and the new one takes its
place. This is handy when you need to re-record the same
Part several times.
n If you accidentally overwrite important data when using
Replace Recording, cancel the recording by using the Undo/
Redo Job (page 196).
Recording Procedure for individual tracks
1 – 16
This section covers how to record your keyboard
performance data to tracks 1 – 16 with Replace Recording.
1
Settings: off (not copied), on (copied)
Press the [SONG] button to call up the Song
Play display (page 178), then select a Song to
be recorded.
Select an empty Song if you wish to create a new Song
from scratch.
Calling up the Arpeggio Type by using the
[SF1] Scene 1 – [SF5] Scene 5 buttons
The Arpeggio type set in the Arpeggio display of the Song
Record can be called up together with the Song Scene via
the [SF1] Scene 1 – [SF5] Scene 5 buttons in the Setup
display (page 187) and the Track View display (page 181).
The 8th note icon at right of Scene1 – 5 in the tab indicates
that the Song Scene is registered to the corresponding
button. If the Arpeggio Type is set to “off” in the Arpeggio
display of the Song Record, pressing the corresponding
Sub Function button in the Setup display/Track View
display will not change the Arpeggio type even if the 8th
note icon is shown.
2
Press the [I] (Record) button to call up the
Record Setup display (page 187). From this
display, set the Record track to one of 1 – 16
then set the Recording type to “replace.”
If necessary, set various parameters such as tempo,
time signature, measure, quantize, and voice.
3
Press the [F5] Click button to turn the Click on
when you wish to use the metronome.
In the Click display (page 270) called up via the [SEQ
SETUP] button, you can make various settings for the
metronome click, such as the note resolution, volume,
and lead-in count for recording.
4
Press the [F] (Play) button so that its indicator
flashes, then start recording after the count-in.
Play the keyboard and/or controller to record.
5
Press the [J] (Stop) button to stop recording
and return to the Song Play display.
MOTIF XS Owner’s Manual
189
Reference
%
^
Performance
mode
!
@
#
$
)
[SONG] ➞ [I] (Record) ➞ Record track selection
➞ Type=replace ➞ [F] (Play)
Sampling
mode 1
*
Replace Recording
Song mode
7
8
9
Pattern mode
6
Mixing mode
1
2
3
4
5
Sampling
mode 2
This section explains how to record your performance
using the Realtime Recording features. Please keep in
mind that the procedure differs depending on the Record
Type and Record Track set from the Record Setup display.
Master mode
From this display you can set various Arpeggio-related
parameters for the Song recording.
Utility mode
Realtime Recording Procedure
File mode
Arpeggio Settings—[F2] Arpeggio
Voice mode
Song Recording
Song Recording
Recording Procedure for multiple tracks
(“All Track” setting)
2
Voice mode
The sequence data transmitted from an external MIDI
instrument can be recorded simultaneously up to 16
tracks.
1
Performance
mode
2
Connect an external MIDI sequencer or a
computer to the MOTIF XS then switch on the
power to the MOTIF XS.
Sampling
mode 1
Song mode
3
Pattern mode
Mixing mode
Reference
4
Press the [SEQ SETUP] button to call up the
[F1] Click display (page 270), then set the
Recording Count parameter to “off.”
Sampling
mode 2
Master mode
6
3
4
5
Press the [J] (Stop) button to stop recording
and return to the Song Play display.
n You can edit the tempo from the Song Edit display for the
Tempo track (page 192).
Recording Procedure for the Scene Track
Utility mode
Press the [I] (Record) button to call up the
Record Setup display (page 187). From this
display, set the Record track to “All Track” then
set the Recording type to “replace.” Set the
Time Signature to the same one as the original
Song to be recorded, then set Quantize to “off.”
Here’s how to record the Track Mute on/off events and
Scene changing timing events to the Scene track in real
time.
1
Press the [SONG] button to call up the Song
Play display (page 178), then select a Song to
be recorded.
Start playback of the external MIDI sequencer
or computer application software.
2
Press the [I] (Record) button to call up the
Record Setup display (page 187). From this
display, set the Record track to “Scene Track”
then set the Recording type to “replace.”
File mode
If necessary, set various parameters such as tempo,
time signature, measure, quantize.
Stop playback of the external MIDI sequencer
or computer application software.
Recording stops automatically and operation returns to
the Song Play display.
3
Here’s how to record the Tempo data to the Tempo track in
real time.
Press the [SONG] button to call up the Song
Play display (page 178), then select a Song to
be recorded.
Press the [F5] Click button to turn the Click on
when you wish to use the metronome.
In the Click display (page 270) called up via the [SEQ
SETUP] button, you can make various settings for the
metronome click, such as the note resolution, volume,
and lead-in count for recording.
Recording Procedure for the Tempo Track
1
Press the [F] (Play) button so that its indicator
flashes, then start recording after the count-in.
Enter the tempo at the desired timing during playback
by using the [DEC/NO]/[INC/YES] buttons and the Data
Dial.
Recording begins automatically as soon as playback
starts.
7
Press the [F5] Click button to turn the Click on
when you wish to use the metronome.
In the Click display (page 270) called up via the [SEQ
SETUP] button, you can make various settings for the
metronome click, such as the note resolution, volume,
and lead-in count for recording.
Press the [SONG] button to call up the Song
Play display (page 178), then select a Song to
be recorded.
Select an empty Song if you wish to create a new Song
from scratch.
5
If necessary, set various parameters such as tempo,
time signature, measure, quantize.
Set the MIDI related parameters in the Utility
mode.
Press the [UTILITY] button, [F5] Control button, then
[SF2] MIDI button to call up the MIDI Control display
(page 267). From this display, set MIDI sync to “MIDI,”
then set the Sequencer Control to “in” or “in/out.”
Press the [I] (Record) button to call up the
Record Setup display (page 187). From this
display, set the Record track to “Tempo Track”
then set the Recording type to “replace.”
4
Press the [MUTE] button (the lamp lights).
5
Press the [F] (Play) button so that its indicator
flashes, then start recording after the count-in.
Press one of he [1] – [16] buttons or the [F1] Scene 1 –
[F5] Scene 5 buttons at the desired timing.
190
MOTIF XS Owner’s Manual
Song Recording
2
Set the Recording type to “punch.”
3
Move the cursor to the punch in and punch
out, then set their points respectively by
entering measure and beat.
Except for setting the punch in and punch out, perform the
same procedure as the Replace Recording procedure.
Pattern mode
Overdub Recording
Mixing mode
[SONG] ➞ [I] (Record) ➞ Record track selection
➞ Type=overdub ➞ [F] (Play)
Sampling
mode 2
This method allows material to be added to existing
material on a track. The first recording is kept, and the new
one is added. This makes it easy to create Parts by
recording them a little at a time.
The Overdub Recording procedure is almost same as the
Replace except that the Record type is set to “overdub.”
Master mode
n When the Record Track (5) is set to “Tempo Track” or “Scene
Track,” “overdub” cannot be selected here.
Utility mode
Re-recording a specific section of an
already-recorded Song (Punch In/Out)
[SONG] ➞ [I] (Record) ➞ Record track selection
➞ Type=punch ➞ [F] (Play)
Recording start
Punch In
Playback only
Punch Out
Replace Recording
(Overwriting)
File mode
Realtime recording can also be done between specified
start (punch-in) and end (punch-out) points. This allows
you to record a specified section of a previously-recorded
track without having to re-record the entire track. Start
recording with this method and playback begins. Actual
recording will begin automatically when the punch-in point
is reached and recording will be disengaged when the
punch-in point is reached.
Recording stop
Playback only
MOTIF XS Owner’s Manual
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Reference
To temporarily disengage the record mode and enter the
Rehearsal mode, simply press the [I] (Record) button
during realtime recording. The [I] (Record) indicator
flashes and playback will continue uninterrupted but no
data will be recorded. This convenient Rehearsal mode
feature lets you easily and temporarily disable recording in
order to practice a Part or try out various ideas (while
listening to the other tracks) without actually recording. To
return to the record mode press the [I] (Record) button
again so that the [I] (Record) indicator lights continuously.
Press the [I] (Record) button to call up the
Record Setup display (page 187).
Voice mode
Rehearsal before recording
1
Performance
mode
n You can edit the Track on/off and the Scene change
events from the Song Edit display for the Tempo track
(page 192).
Punch In/Out setup
Sampling
mode 1
Press the [J] (Stop) button to stop recording
and return to the Song Play display.
Song mode
6
Editing MIDI Events (Song Edit)
Voice mode
The Song Edit mode lets you edit the already recorded Songs or insert the new data to the Songs. It can be used to correct
mistakes as well as add dynamics or effects such as vibrato to refine and finish the Song. Press the [EDIT] button from the
Song Play mode to go to the Song Edit mode.
n The Song Edit mode gives you comprehensive, detailed controls for editing the MIDI events of individual Song tracks. MIDI events are
messages (such as note on/off, note number, program change number, etc.) that make up the data of a recorded track.
Performance
mode
Event List display and Insert Event
window
Sampling
mode 1
Song mode
The Song Edit mode consists of the Event List display and
the Insert Event window. The Event List display lets you
correct or delete already inserted MIDI events and the
Insert Event window lets you insert new events to the Song.
Press the [EDIT] button from the Song Play mode to go to
the Event List display. Press the [F5] button to call up the
Insert Event window.
Editing the recorded data
This section shows how to correct or delete previously
recorded events.
1
Press the [EDIT] button from the Song Play
display to call up the Event List display
(page 193).
2
Select the track to be edited.
Pressing the [F4] Track Sel button switches the
Recording track among Tracks 1 – 16, the Scene track
and the Tempo track. When “1 – 16 tracks” is selected,
you can select the track to be edited by pressing any of
the Number buttons [1] – [16].
Event List display
Pattern mode
Mixing mode
Reference
3
Move the cursor to the event or parameter to
be edited.
Sampling
mode 2
Use the [L]/[M] (Cursor Up/Down) button to move the
cursor to the desired timing. Press the [G] (Rewind)/
[H] (Fast Forward) button to move the cursor by
single measures. Use the [<]/[>] (Cursor Left/Right)
button to move the cursor to the parameter to be
edited.
F5
EXIT
Master mode
n For details about each event and parameter, see page 76.
Insert Event window
Utility mode
n The Event List window may have an overwhelming
number of events, and it may be difficult to find a specific
desired event. To help narrow down your search, use the
View Filter function. This conveniently lets you specify
which classes of events will be displayed and which will
not, making it much easier and faster to find desired
events. For information about the View Filter display, see
page 194.
File mode
4
Event List display
The Event List display lets you correct or delete existing
events.
Insert Event window
The Insert Event window lets you insert new events to the
Song.
Pressing the [F5] button on the Event List display calls up
the Insert Event window. To return back to the Event List
display, press the [EXIT] button.
Change the parameter settings or location of
the event.
Edit the value by using the [INC/YES], [DEC/NO]
buttons and the data dial. The edited event will flash on
the display.
Change the event location by editing the MEAS
(measure), BEAT, and CLOCK. Press the [F6] button to
delete the event at the cursor location.
n When “NUM” is indicated in the tab corresponding to the
[SF6] button, you can use the [F1] – [F6] buttons and the
[SF1] – [SF5] buttons as numeric key pads by pressing
the [SF6] NUM button.
n The note and velocity can be edited also by pressing the
desired note on the keyboard, even though the [KBD] icon
is not shown.
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MOTIF XS Owner’s Manual
Editing MIDI Events (Song Edit)
2
Press [EXIT] to go back to the Song Play mode.
4
2
From the Event List display, press the [F5]
Insert button to call up the Insert Event
window.
Specify the event type to be inserted, the
insertion point (measure, beat, and clock), and
parameter value of the event.
For details about each event and parameter, see
page 76.
Event type
5
6
7
8
n Depending on the selected parameter, the NUM icon is shown
at the tab menu corresponding to the [SF6] button. In this
condition, you can use the [SF1] – [SF5] and [F1] – [F5]
buttons as number buttons by pressing the [SF6] NUM button.
For details, see page 81.
1 TR (Track) (Indication only)
Indicates the selected track. You can change the track to
be edited by using the [F4] Track Sel button and the
Number [1] – [16] buttons.
Settings: Track 01 – 16, Scene, Tempo
2 Measure (Indication only)
Indicates the selected measure. You can change the
measure by using the [G] (Rewind) and the [H]
(Forward) buttons.
Insertion point
Parameter
Settings:
Measure: 001 – 999
Press the [F6] Set button to insert the specified
event at the specified location.
The Insert Event window remains open, allowing you to
continue inserting new events. Press the [ENTER]
button to actually insert the event and close the Insert
Event window.
4
Press the [EXIT] button to go back to the Event
List display.
3 MEAS (Measure), BEAT, CLOCK
Indicates the location of the corresponding event.
Changing any of these values changes the location of the
event accordingly.
Settings:
File mode
3
Measure: 001 – 999
Beat: 1 – 16 (depends on meter)
Clock: 000 – 479 (depends on meter)
4 Event and Parameters
Indicates the type of each event. For details about each
event and parameter, see page 76.
Settings:
When TR is set to 01 – 16:
Note
PB (Pitch Bend)
PC (Program Change)
CC (Control Change)
CAT (Channel Aftertouch)
PAT (Polyphonic Aftertouch)
RPN
NRPN
EXC (System Exclusive)
CMM (Channel Mode Messages)
MOTIF XS Owner’s Manual
193
Reference
1
Pattern mode
This section shows how to insert new events to the current
Song.
Song mode
Sampling
mode 1
Inserting the New Event
Voice mode
1
Performance
mode
3
Mixing mode
6
In the Event List display, MIDI events (including mainly
values such as note number, velocity, and control change
value) are listed and can be edited.
Sampling
mode 2
If the cursor is moved to a new event while the current
event is still flashing, editing of the current event is
cancelled.
Event List display
Master mode
After you’ve finished editing a parameter,
press the [ENTER] button to confirm and enter
the edit (the event will stop flashing).
Utility mode
5
Editing MIDI Events (Song Edit)
2 [F5] Clear All
When TR is set to “scn” (Scene):
Scene Memory
Track Mute
Pressing this button removes the checkmarks of all events.
If you wish to indicate specific events, it is a good idea to
press the [F5] button to first remove the checkmarks of all
events, then enter the checkmarks of your desired events.
When TR is set to “tmp” (Tempo):
Tempo Change
Voice mode
5 [F3] ViewFilter
Calls up the View Filter setting display (below).
3 [F6] Set All
6 [F4] Track Sel (Track Select)
Pressing this button enters the checkmarks for all events,
letting you view all recorded events.
Performance
mode
Sampling
mode 1
You can switch between the display for tracks 1 – 16, the
Scene track, and the Tempo track by pressing this button.
When any one of tracks 1 – 16 is selected, you can select a
different track number by pressing the appropriate Number
button [1] – [16].
7 [F5] Insert
Calls up the Insert Event window (page 193).
Song mode
8 [F6] Delete
Mixing mode
Reference
Pattern mode
Deletes the currently selected event. This button is not
available when the cursor is located at the top or bottom of
the Song data.
Changing the MIDI event view—[F3]
View Filter
Sampling
mode 2
Master mode
MIDI song data generally has a large amount of recorded
events, and the Event List window may be overcrowded
with them. Since it may be difficult to find a specific event,
you can use the View Filter function to help narrow down
your search. This conveniently lets you specify which
classes of events will be displayed and which will not,
making it much easier and faster to find desired events.
From the Event List display, call up the View Filter display
by pressing the [F3] View Filter button.
Utility mode
File mode
1
2
3
1 Event types
Only the event which the checkbox is marked will be
shown on the Event List display.
Settings: Note, Pitch Bend, Program Change, Control Change*,
Channel After Touch, Poly After Touch, RPN, NRPN, System
Exclusive, Channel Mode Message
* You can specify the Control Number (0 – 119, all).
194
MOTIF XS Owner’s Manual
Quantization is the process of adjusting the timing of note events by moving them closer to the nearest
exact beat. You can use this feature, for example, to improve the timing of a performance recorded in real
time.
02: Modify Velocity
This Job alters the velocity values of the specified range of notes, letting you selectively boost or cut the
volume of those notes.
03: Modify Gate Time
This Job alters the gate times of the specified range of notes.
04: Crescendo
This Job lets you create a crescendo or decrescendo over the specified range of notes. (Crescendo is a
gradual increase in volume, and decrescendo is a gradual decrease.)
05: Transpose
This Job changes the pitch of the notes in semitones.
06: Glide
This Job replaces all notes following the first note in the specified range with pitch bend data, producing
smooth glides from note to note.
07: Create Roll
This Job creates a series of repeated notes (like a drum roll) in the specified range with the specified
continuous changes in clock step and velocity. This is ideal for creating fast staccato rolls and special
stuttering effects.
08: Sort Chord
This job sorts chord events (simultaneous note events) by order of pitch.
09: Separate Chord
This Job slightly separates notes in chords within the specified range, inserting a specified number of
clocks between each note. Use this Job after the Chord Sort Job above, to create guitar-like upstroke or
downstroke effects.
Event Jobs
This Job shifts all data events in the specified range forward or backward by the specified number of
clocks.
02: Copy Event
This Job copies all data from a specified source range to a specified destination location.
03: Erase Event
This Job clears all specified events from the specified range, effectively producing a segment of silence.
04: Extract Event
This Job moves all instances of specified event data from a specified range of a track to the same range in
a different track.
05: Create Continuous Data
This Job creates continuous pitch bend or control change data over the specified range.
06: Thin Out
This Job thins out the specified type of continuous data in the specified range—allowing you to free up
memory space for other data or further recording.
07: Modify Control Data
This Job lets you change the values of specified data such as Pitch Bend and Control Change in the
specified range.
08: Beat Stretch
This Job performs time-expansion or compression over the selected range.
[F4] Measure
Measure Jobs
01: Create Measure
This Job creates empty measures at the specified location in all tracks.
02: Delete Measure
This Job deletes the specified measures.
[F5] Track
Utility mode
01: Shift Clock
Track Jobs
01: Copy Track
This Job copies all data of the selected type from a specified source track to a specified destination track.
02: Exchange Track
This Job exchanges or “swaps” the specified type of data between two specified tracks in the current
Song.
03: Mix Track
This job mixes all data from two selected tracks.
04: Clear Track
This Job deletes all data of the selected type from the selected track.
05: Normalize Play Effect
This job rewrites the data in the selected track so that it incorporates the current Play FX/Groove/MIDI Delay
settings.
06: Divide Drum Track
This Job separates the note events in a drum performance assigned to a specified track, and places the
notes corresponding to different drum instruments in separate tracks (tracks 1 through 8).
07: Put Track to Arpeggio
This Job copies data in the specified measures of a track for creating Arpeggio data.
08: Copy Phrase
This Job copies the Phrase (created in the Pattern mode) to a specified track of the current Song.
[F6] Song
File mode
[F3] Event
Song Jobs
01: Copy Song
This Job copies all data from a selected source Song to a selected destination Song.
02: Split Song to Pattern
This Job allows you to copy a Part of the current Song to a specific Pattern.
03: Clear Song
This job deletes all data from the selected Song or all Songs. It can also be used to delete all 64 Songs at
the same time.
MOTIF XS Owner’s Manual
195
Reference
01: Quantize
Performance
mode
Note data Jobs
Sampling
mode 1
[F2] Note
Song mode
Undo job cancels the changes made by the most recent operation, restoring the data to its previous state.
Redo job cancel Undo and restores the changes.
Pattern mode
[F1] Undo/Redo
Mixing mode
Description
Sampling
mode 2
Function
Master mode
The Song Job mode contains a comprehensive set of editing tools and data transform functions you can use to change the
sound of the Song. It also includes a variety of convenient operations, such as copying or erasing data. 30 Jobs are
available.
Voice mode
Song Job
Song Job
Song Job Procedure
Press the [JOB] button to enter the Song Job
mode.
2
Select the desired Job menu by pressing one
of the [F1] – [F6] buttons.
3
Sampling
mode 1
Move the cursor to the desired Job by using
the data dial, cursor buttons, [INC/DEC] and
[DEC/NO] buttons, then press the [ENTER]
button to call up the Job display.
4
Song mode
Move the cursor to the desired parameter, then
set the value by using the data dial, [INC/YES]
and [DEC/NO] buttons.
5
After setting, press the [ENTER] button to
execute the Job.
Voice mode
1
Performance
mode
In some Jobs, the operation overwrites any data previously
existing in the destination memory. Important data should
always be saved to a USB storage device connected to the
USB TO DEVICE terminal or to a computer connected to the
same network as the MOTIF XS (page 278).
Sampling
mode 2
6
Press the [EXIT] button twice to go back to the
Song Play display.
Master mode
n If there is no data in the specified range, “No Data” will appear
on the display and the Job cannot be executed. If you make a
mistake or want to compare the sound of the data before and
after executing a Job, press the [F1] button to use the Undo/
Redo function.
Utility mode
CAUTION
1
2
1 Indicates the operation to be affected by Undo or Redo.
2 Indicates the Undo/Redo target. When the changes you
made in your most recent operation cannot be a target
of the Undo/Redo, “Impossible” is shown here.
Undo/Redo does not work with Mixing operations.
CAUTION
Even if you have stored Song data, you can recall the data which
was lost via the most recent operation by executing Undo. Make
sure to execute the Undo/Redo operation before changing the
song number or leaving the Song mode. This is because the Undo/
Redo cannot be executed after changing the song number or
leaving the Song mode.
[F2] Note Jobs
01: Quantize
File mode
Even if a Job operation has been completed, selecting a different
Song or turning the power off without storing will erase the Song
data. Make sure to store the Song data to internal memory by
pressing the [STORE] button before selecting a different Song or
turning the power off.
n In some Jobs, you need specify the range (start point and end
point as illustrated below) to which the Job is applied. Keep in
mind that the end point itself is not included in the range. The
actual range to which the Job is applied is from the start point
to the point that is one clock less than the end point. This rule
applies to cases in which you specify only the Measure;
however, the example illustration below shows specifying the
Measure, Beat and Clock.
Start point
MOTIF XS Owner’s Manual
Quantization is the process of adjusting the timing of note
events by moving them closer to the nearest exact beat.
You can use this feature, for example, to improve the timing
of a performance recorded in real time.
1
2
3
4
5
End point
n Some of the Jobs which enable you to copy the Sample Voice
from the source to the destination execute the actual copy
operation only when the Bank Select and Program Change
events which specify the Sample Voice are recorded in the
source Track.
196
The Undo Job cancels the changes you made in your most
recent recording session, editing session, or Job, restoring
the data to its previous state. This allows you to recover
from accidental data loss. Redo is available only after
using Undo, and lets you restore the changes you made
before undoing them.
CAUTION
CAUTION
Mixing mode
Reference
Pattern mode
“Completed” will appear when the Job is done.
[F1] Undo/Redo
1 Track and range
Determines the track (01 – 16, all) and range (Measure :
Beat : Clock) to which the Quantize is applied.
Song Job
1/4 note
1/16 note and 1/16 note triplets
1/8 note and 1/8 note triplets
n You can call up the list and select the desired one by pressing
the [SF6] LIST button. For details, see page 82.
3 Strength
Sets the “strength” by which note events are pulled toward the
nearest quantize beats. A setting of 0% results in no change,
whereas a setting of 100% moves note events exactly to the
quantize beats. A setting of 50% results in the note events
being pulled halfway between 0% and 100%.
Settings: 000% – 100%
4 Swing Rate
Delays notes on even-numbered beats (backbeats) to
produce a swing feel. Judicious use of this setting lets you
create swing rhythms and triplet feels, such as shuffle and
bounce.
The functions and settings of this parameter differ
depending on the Quantize resolution setting.
Settings: Depends on the Quantize (2) setting. Refer to the settings
of the Swing parameter in the Play FX display (page 183).
If the Quantize value is 1/4 note, 8th note, 16th note,
32nd note:
For example, if the meter is 4/4 and the quantize value is
quarter notes, the 2nd and 4th beats of the measure will be
delayed. A setting of 100% is equivalent to twice the length of
the specified Quantize value. A setting of 50% produces exact
timing and therefore no swing feel. Settings above 51% delays
the note timing to increase the amount of swing. A setting of
66% moves the notes to a triplet delay, with 75% being
equivalent to a dotted-note delay.
If the Quantize value is 1/4 note triplet, 8th note triplet,
16th note triplet:
When a triplet quantize value is used, the last note of each
triplet is delayed. A setting of 100% is equivalent to twice the
length of the specified Quantize value. A setting of 66%
produces exact timing and therefore no swing feel. Settings
above 67% delays the note timing to increase the amount of
swing. A setting of 75% moves the notes to a dotted-note
delay, with 83% being equivalent to a sextuplet delay.
If the Quantize value is 8th note + 8th note triplet, 16th
note + 16th note triplet:
Even-numbered beats will be delayed. A setting of 100% is
equivalent to twice the length of a 8th note or 16th note. A
setting of 50% produces exact timing and therefore no swing
feel. Settings above 51% delays the note timing to increase
the amount of swing. with 66% being equivalent to a triplet
delay.
Settings: 000% – 200%
02: Modify Velocity
This Job alters the velocity values of the specified range of
notes, letting you selectively boost or cut the volume of
those notes. Velocity changes are calculated as follows:
Adjusted velocity = (original velocity x Rate) + Offset
If the result is 0 or less, the value is set to 1. If the result is
higher than 127, the value is set to 127.
1
2
3
4
1 Track and range
Determines the Song track (01 – 16, all) and range
(Measure : Beat : Clock) over which the Job is applied.
2 Set All
Voice mode
Sets the velocities of all target notes to the same fixed
value (1 to 127). When set to “off” the Set All parameter has
no effect. When set to a value other than “off,” the Rate and
Offset parameters below are unavailable and cannot be
set.
Settings: off, 001 – 127
3 Rate
Determines the percentage by which the target notes will
be shifted from their original velocities. Settings below
100% reduce the velocities, and settings above 100%
increase the velocities proportionately. A setting of 100
MOTIF XS Owner’s Manual
197
Reference
1/4 note triplets
Performance
mode
1/8 note
1/8 note triplets
Determines the gate time (the length of time a note sounds)
of the even-numbered backbeat notes to enhance the
swing feel. When a triplet quantize value is used, the gate
time of the last note of each triplet is adjusted. When the
quantize value is 8th note + 8th note triplet or 16th note +
16th note triplet, the gate time of the even-numbered 8th
note or 16th note beats will be adjusted.
Settings below 100% will shorten the gate times of notes on
even-numbered beats (backbeats), whereas settings
above 100% will lengthen them. If an adjusted gate time
value is less than 1, the value is rounded off to 1.
Sampling
mode 1
240
320
480
200
400
1/16 note
5 Gate Time
Song mode
8
43
4
6+63
8+83
1/16 note triplets
Pattern mode
1/32 note
Mixing mode
60
80
120
160
Sampling
mode 2
2
63
6
83
Master mode
Settings:
Utility mode
Determines the note timing to which the note data will be
aligned. The number shown at right of each value indicates
the length assumes that the quarter-note resolution is 480.
n The Swing Rate is applied to notes which are located on
even-numbered beats (backbeats) by setting the Strength
to 100%. If the Strength is set to less than 100%, the
Swing Rate may delay notes not on even-numbered beats
and produce an unexpected rhythm. To prevent this, you
should set Strength to 100% when using the Swing Rate.
File mode
2 Quantize (Resolution)
Song Job
produces no change. When the Set All parameter (above)
is set to other than “off,” this parameter cannot be set.
04: Crescendo
Settings: 000% – 200%
4 Offset
Voice mode
Performance
mode
Determines the offset value by which the target notes will
be shifted from their original velocities. Settings below 0
reduce the velocities, and settings above 0 increase the
velocities. A setting of 0 produces no change. When the
Set All parameter (above) is set to other than “off,” this
parameter cannot be set.
Settings: -127 – +127
This Job lets you create a crescendo or decrescendo over
the specified range of notes. Crescendo is a gradual
increase in volume, and decrescendo is a gradual
decrease.
1
2
Sampling
mode 1
03: Modify Gate Time
Song mode
This Job alters the gate times of the specified range of
notes. Gate time changes are calculated as follows:
1 Track and range
Adjusted gate time = (original gate time x Rate) + Offset.
Determines the Song track (01 – 16, all) and range
(Measure : Beat : Clock) over which the Job is applied.
If the result is 0 or less, the value is rounded off to 1.
Pattern mode
Mixing mode
Reference
1
2
3
4
Sampling
mode 2
1 Track and range
Master mode
Determines the Song track (01 – 16, all) and range
(Measure : Beat : Clock) over which the Job is applied.
2 Set All
Utility mode
Sets the gate times of all target notes to the same fixed
value. When set to “off” the Set All parameter has no effect.
When set to a value other than “off,” the Rate and Offset
parameters below are unavailable and cannot be set.
2 Velocity Range
Determines the intensity of the crescendo or decrescendo.
The velocity values of the notes in the specified range are
gradually increased or decreased starting at the first note
in the range. The velocity of the last note in the range
becomes the original velocity of the note plus the Velocity
Range value. If the resultant velocity is outside the 1 – 127
range, it is set to 1 or 127 accordingly. Settings greater
than 0 produce a crescendo, and settings less than 0
produce a decrescendo. A setting of 0 produces no effect.
Settings: -127 – +127
n Executing this Job changes velocities of the note on events in
the specified range to produce the crescendo/decrescendo.
Note that this Job cannot apply the crescendo/decrescendo to
long sustained note having a long gate time. If you wish to do
this, use the “Create Continuous Data” Job with the Event Type
set to “Control Change 11."
05: Transpose
Settings: off, 0001 – 9999
Changes the pitch of the notes in semitones.
File mode
3 Rate
Determines the percentage by which the gate time of the
target notes will be changed. Settings below 100% shorten
the notes, and settings above 100% lengthen the notes
proportionately. A setting of 100 produces no change.
When the Set All parameter (above) is set to other than
“off,” this parameter cannot be set.
1
2
3
Settings: 000% – 200%
4 Offset
Adds a fixed value to the Rate-adjusted gate time values.
Settings below 0 shorten the gate time, and settings above
0 lengthen the gate time. A setting of 0 produces no
change. When the Set All parameter (above) is set to other
than “off,” this parameter cannot be set.
Settings: -9999 – +9999
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MOTIF XS Owner’s Manual
1 Track and range
Determines the Song track (01 – 16, all) and range
(Measure : Beat : Clock) over which the Job is applied.
Song Job
1
2
3
1 Track and range
Determines the Song track (01 – 16, all) and range
(Measure : Beat : Clock) over which the Job is applied.
2 Glide Time
Determines the time of the glide. Higher values produce a
longer and smooth glide between notes.
Settings: 000 – 100
3 PB (Pitch Bend) Range
The Pitch Bend Range value indicates the maximum range
of pitch controlled via the Pitch Bend event in semitones.
This parameter determines the Pitch Bend range for the
Voice assigned to the Mixing Part corresponding to the
selected track. Executing the Job replaces the note events
with the Pitch Bend events by following the Pitch Bend
range specified here.
Settings: 01 – 24
n If the interval between adjoining notes is greater than the Pitch
Bend range set here in the specified range, the corresponding
notes will not be converted by executing this Job. If such a
situation occurs, set the PB Range (3) to the value more than
the interval. If there is a one octave interval, for example, in the
specified range, set the PB Range to a value of 12 or higher.
Voice mode
Performance
mode
Sampling
mode 1
1 Track and range
Determines the Song track (01 – 16, all) and range
(Measure : Beat : Clock) over which the Job is applied.
2 Start Step
3 End Step
Determines the size of the step (i.e., the number of clocks)
between each note in the roll. The smaller the value, the
finer the roll. Both the starting and ending clock values can
be specified, making it easy to create rolls in which the
step size varies during the roll.
Settings: 015 – 999
n If you want to create a roll that goes from 64th – 32nd notes,
set the Start and End step values to around 30 – 60,
respectively.
4 Note
Determines the specific note (or instrument in Drum
Voices) for the roll effect. You can also set the note directly
from the Keyboard, by holding down the [SF6] button and
pressing the desired key.
Settings: C -2 – G8
5 Start Velocity
6 End Velocity
Determines the velocity of the notes in the roll. Both the
starting and ending velocity values can be specified,
making it easy to create rolls in which the velocity
increases or decreases. This lets you create rolls that
gradually increase or decrease in volume (crescendo/
decrescendo).
Settings: 001 – 127
n Please note that the Song may not play back properly if you
set the PB Range (3) to the value different from the one set via
the Voice Edit mode. In order that the Song plays back
properly, insert the MIDI event below to the corresponding
track in the Song Edit display (page 193).
RPN [000-000] xxx
(Enter the Pitch Bend value to xxx.)
MOTIF XS Owner’s Manual
199
Reference
This Job replaces all notes following the first note in the
specified range with pitch bend data, producing smooth
glides from note to note.
2
3
4
5
6
Song mode
06: Glide
1
Pattern mode
Settings: -127 – +127
Mixing mode
Sets the transpose value. A setting of +12 transposes up
one octave, while a setting of -12 transposes down an
octave. A setting of 0 produces no change.
Sampling
mode 2
3 Transpose
This Job creates a series of repeated notes (like a drum
roll) in the specified range with the specified continuous
changes in clock step and velocity. This is ideal for
creating fast staccato rolls and special stuttering effects.
This Job also allows you to program crescendo or
decrescendo volume changes in the Roll data.
Master mode
Settings: C -2 – G8
07: Create Roll
Utility mode
Determines the range of notes for which Transpose is
applied. You can also set the Note directly from the
Keyboard, by holding down the [SF6] button and pressing
the desired key.
File mode
2 Note
Song Job
08: Sort Chord
Voice mode
This job sorts chord events (simultaneous note events) by
order of pitch. The sort affects the order of the notes in the
Event List display (page 193), but does not change the
timing of the notes. When used to pre-process chords
before using the Separate Chord Job (below), Chord Sort
can be used to simulate the “stroke” or strumming sound of
guitars and similar instruments.
1
2
Performance
mode
1 Track and range
1
Sampling
mode 1
2
3
Song mode
1 Track and range
2 Clock
Determines the number of clock cycles inserted between
adjacent chord notes. Depending on the setting here, the
note event may overstep the next note or the range (set
above). If such a situation occurs, the overstepping note
events are moved to the point (clock) before the next note
or within the range when executing the Job.
Settings: 000 – 999
2 Type
Determines how the chord note data is sorted.
Mixing mode
Reference
Pattern mode
Determines the Song track (01 – 16, all) and range
(Measure : Beat : Clock) over which the Job is applied.
Determines the Song track (01 – 16, all) and range
(Measure : Beat : Clock) over which the Job is applied.
Settings: up, down, up&down, down&up
[F3] Event Jobs
up
The notes are sorted in ascending order. After executing this Job with
this setting, execute the Separate Chord Job to create a guitar-like
upstroke strum.
01: Shift Clock
Sampling
mode 2
down
The notes are sorted in descending order. After executing this Job with
this setting, execute the Separate Chord Job to create a guitar-like
downstroke strum.
Master mode
up&down
Utility mode
down&up
File mode
3 Grid
Sorts chord notes on downbeats in ascending order and chord notes
on up beats in descending order, based on the Grid setting, below.
After executing this Job with this setting, execute the Separate Chord
Job to create a guitar-like upstroke and downstroke strum.
This Job shifts all data events in the specified range
forward or backward by the specified number of clocks.
1
2
3
Sorts chord notes on downbeats in descending order and chord notes
on up beats in ascending order. After executing this Job with this
setting, execute the Separate Chord Job to create a guitar-like
upstroke and downstroke strum.
Determines the type of note that serves as the basis for the
Chord Sort Job.
1 Track and range
Settings: 32nd note, 16th note triplet, 16th note, 8th note triplet, 8th
note, 1/4 note triplet, 1/4 note
Determines the Song track (01 – 16, tempo, scene, all) and
range (Measure : Beat : Clock) over which the Job is
applied.
n You can call up the list and select the desired item by pressing
the [SF6] LIST button. For details, see page 82.
2 Clock
Determines the amount by which the data will be delayed
or advanced in measures, beats, and clocks.
09: Separate Chord
This Job slightly separates notes in chords within the
specified range, inserting a specified number of clocks
between each note. Use this Job after the Chord Sort Job
above, to create guitar-like upstroke or downstroke effects.
200
MOTIF XS Owner’s Manual
Settings: 001:1:000 – 999:4:479 (when the Meter is 4/4)
n The available values of the beat and clock differ depending on
the meter.
Song Job
3 Direction
2 Event Type
Determines the direction in which the data will be shifted.
Advance moves the data toward the beginning of the
sequence, while Delay shifts the data toward the end of the
sequence.
Determines the event type to be erased. All events are
cleared when “all” is selected. Individual Control numbers
can be specified when erasing CC & Ch.Mode events.
Settings: Advance, Delay
When Track is set to one of 01 – 16:
Scene Memory, Track Mute
n You can call up the list and select the desired item by pressing
the [SF6] LIST button. For details, see page 82.
1
2
04: Extract Event
Pattern mode
This Job moves all instances of specified event data from a
specified range of a track to the same range in a different
track.
1 Track and range
Mixing mode
2 Number of Times
1
2
3
Determines the number of times the data is copied.
3 Track and location
Determines the destination track (01 – 16, tempo, scene,
all) and range (Measure : Beat : Clock) of the destination.
CAUTION
When Copy Event is executed, any data already existing at the
Destination location will be overwritten.
03: Erase Event
This Job clears all specified events from the specified
range, effectively producing a segment of silence.
Sampling
mode 2
Settings: x 01 – x 99
1 Track and range
Determines the Song track (01 – 16) and range (Measure :
Beat : Clock) over which the Job is applied.
2 Event Type
Determines the event type to be extracted. Specific Note
Numbers and Control Numbers (of the Control Change and
Channel Mode message) can also be specified as
required.
Settings: Note*, Program Change, Pitch Bend, CC & Ch.Mode
(Control Change and Channel Mode Message)*, Ch After
Touch (Channel Aftertouch), Poly After Touch (Polyphonic
Aftertouch), System Exclusive
* You can specify the Note Number (C -2 – G8, all) and
Control Number (000 – 127, all) respectively.
1
2
Master mode
Determines the Song track (01 – 16, tempo, scene, all) and
range (Measure : Beat : Clock) over which the Job is
applied.
Utility mode
3
n When the Event Type is set to “Note,” you can also set the Key
directly from the keyboard by holding down the [SF6] KBD
button and pressing the desired key.
3 Track
Determines the destination track (01 – 16).
CAUTION
1 Track and range
The original data in the source range specified above will be
erased.
Determines the Song track (01 – 16, tempo, scene, all) and
range (Measure : Beat : Clock) over which the Job is applied.
MOTIF XS Owner’s Manual
201
Reference
When Track is set to “scene”:
Sampling
mode 1
Tempo Change
Song mode
When Track is set to “tempo”:
This Job copies all data from a specified source range to a
specified destination location.
File mode
02: Copy Event
Performance
mode
Note, Program Change, Pitch Bend, CC & Ch.Mode (Control Change
and Channel Mode Message)*, Ch After Touch (Channel Aftertouch),
Poly After Touch (Polyphonic Aftertouch), System Exclusive, all
* You can specify the Control Number (000-127, all).
Voice mode
Settings:
Song Job
6 Number of Times
05: Create Continuous Data
This Job creates continuous pitch bend or control change
data over the specified range.
Voice mode
1
Settings: x 01 – x 99
Performance
mode
2
3
4
5
6
06: Thin Out
Sampling
mode 1
This Job thins out or selectively removes the specified type
of continuous data in the specified range—allowing you to
free up memory space for other data or further recording.
1 Track and range
Song mode
Determines the Song track (01 – 16, tempo, all) and range
(Measure : Beat : Clock) over which the Job is applied.
1
2 Event Type
2
Determines the event type to be created.
Pattern mode
Mixing mode
Reference
Settings:
When the Track is set to “tempo”:
When the Track is set to one of 01 – 16 and all:
Pitch Bend, Control Change*, Ch. After Touch (Channel Aftertouch),
System Exclusive
*You can also specify the Control Number (0 – 119)
1 Track and range
Tempo Change
Sampling
mode 2
n You can produce accelerando/ritardando by applying this Job
to the Tempo track. This is useful, for example, in slowing
down the tempo in the Ending section of a Song.
Determines the Song track (01 – 16, tempo, all) and range
(Measure : Beat : Clock) over which the Job is applied.
n When “System Exclusive” is selected, the continuous data of
the Master Volume is created.
2 Event Type
Master mode
n You can call up the list and select the desired one by pressing
the [SF6] LIST button. For details, see page 82.
Determines the event type to be thinned. The Thin Out Job
will not work on continuous data that has a clock interval of
greater than 60 clocks per event.
Utility mode
3 Data Range
Settings:
Determines the lower and upper limits for the data range to
be created.
Pitch Bend, CC & Ch. Mode (Control Change and Channel Mode
Message)*, Ch. After Touch (Channel Aftertouch), Poly After Touch
(Polyphonic Aftertouch)
*You can also specify the Control Number (0 – 127, all)
Settings: 0 – 127 (-8192 – +8191 when the Event Type is set to “Pitch
Bend” and 5.0 – 300.0 when the Event Type is set to “Tempo
Change.”)
When the Track is set to one of 01 – 16 and all:
When the Track is set to “tempo”:
Tempo Change
File mode
4 Clock
Determines the number of clocks to be inserted between
each created event.
Settings: 001 – 999
5 Curve
Determines the curve of the continuous data. Refer to the
graph below for approximate curve shapes.
Settings: -16 – +16
Curve = +16
Curve = 0 (linear)
Curve = -16
End point
Start point
The distance specified by Clock
202
Determines the number of times the data creation is to be
repeated. For example, if data is created in the range
M001:1:000 – M003:1:000 and this parameter is set to 03,
the same data will be created at M003:1:000 – M005:1:000
and M005:1:000 – M007:1:000. This Job lets you insert
continuous volume (expression) or filter cutoff variations to
create tremolo or wah effects.
MOTIF XS Owner’s Manual
Song Job
Voice mode
This Job performs time-expansion or compression over the
selected range.
Modified value = (original value x Rate) + Offset.
1
Performance
mode
2
Determines the Song track (01 – 16, tempo, all) and range
(Measure : Beat : Clock) over which the Job is applied.
2 Event Type
Determines the event type to be modified.
Settings:
When the Track is set to one of 01 – 16 and all:
Pitch Bend, CC & Ch. Mode (Control Change and Channel Mode
Message)*, Ch. After Touch (Channel Aftertouch), Poly After Touch
(Polyphonic Aftertouch)
*You can also specify the Control Number (0 – 127, all)
2 Rate
Determines the amount of time expansion or compression
as a percentage. Settings higher than 100% produce
expansion, and settings below 100% produce
compression. A setting of 100 produces no change.
Settings: 025% – 400%
n Only the end point of the range will be shifted forward or
backward by executing the Beat Stretch Job. The data outside
the specified range will be maintained. When expanding the
data, the converted data may overlap the data outside the
range. When compressing the data, an interval of silence will
be created between the end of the compressed data and the
start of the next data outside the range.
When the Track is set to “tempo”:
3 Set All
Sets all target events to the same fixed value. When set to
“off” the Set All parameter has no effect. When set to a
value other than “off,” the Rate and Offset parameters are
unavailable and cannot be set.
Settings: off, 000 – 127 (off, -8192 - +8191 when the Event Type is set
to “Pitch Bend” and off, 5.0 – 300.0 when the Event Type is
set to “Tempo Change.”)
4 Rate
Determines the percentage by which the target events will
be shifted from their original values. When the Set All
parameter (above) is set to other than “off,” this parameter
cannot be set.
Settings: 000% – 200%
5 Offset
Master mode
Tempo Change
[F4] Measure Jobs
01: Create Measure
This Job creates empty measures at the specified location
in all tracks. When empty measures are inserted, measure
and meter data following the insert point are moved
forward accordingly. If the insert point is set after the last
measure containing data, only the meter data at that point
is set without actually inserting any measures.
1
2
3
Adds a fixed value to the Rate-adjusted event values.
When the Set All parameter (above) is set to other than
“off,” this parameter cannot be set.
Settings: -127 – +127 (-8192 – +8191 for pitch bend)
MOTIF XS Owner’s Manual
203
Reference
1 Track and range
Song mode
Determines the Song track (01 – 16, tempo, all) and range
(Measure : Beat : Clock) over which the Job is applied.
Pattern mode
1 Track and range
Mixing mode
2
3
4
5
Sampling
mode 1
1
Sampling
mode 2
Any result lower than the minimum is set to the minimum;
any result higher than the maximum is set to the maximum.
Utility mode
This Job lets you change the values of specified data such
as Pitch Bend and Control Change in the specified range.
Data changes are calculated as follows:
08: Beat Stretch
File mode
07: Modify Control Data
Song Job
1 Insertion point
Determines the insert point (measure number) at which the
newly created blank measures will be inserted.
[F5] Track Jobs
Settings: 001 – 999
01: Copy Track
Voice mode
2 Number of measures to be inserted
Determines the number of empty measures to be created
and inserted.
This Job copies all data of the selected type from a
specified source track to a specified destination track.
Settings: 01 – 99
Performance
mode
Source data
001~004 005
~
1
016
2
8 measures inserted at measure 5
001~004 005
~
012 013
~
024
Sampling
mode 1
The inserted 8 measures
Song mode
3 Meter of measures to be inserted
Determines the meter or time signature of the measures to
be created. You may find it convenient to use this
parameter when you need to create a Song that
incorporates meter changes.
Mixing mode
Reference
Pattern mode
Settings: 1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4
1 Source Song and Track
Determines the copy source Song and track (01 – 16).
When the Current box is checked, the current Song is
selected as Source.
2 Data Type to be copied
Determines the type(s) of data to be copied.
02: Delete Measure
Settings: Sequencer Event (all events in the track), Play Effect, Mix
Part Parameter (all Mixing Part parameters), Sample Voice
This Job deletes the specified measures. Measure and
meter data following the deleted measures are moved
backward accordingly.
Sampling
mode 2
1
n When there is no memory available in the destination Song for
Sample Voice data, an alert message will appear on the
display and the Sample Voice data will not be copied even
though the check box of the Sample is marked. If this occurs,
use the Delete Job (page 241) in the Mixing Voice Job to
delete any unused Sample Voices, then try again.
Master mode
3 Destination Song and Track
Determines the destination Song and track (01 – 16). When
the Current box is checked, the current Song is selected as
Destination.
Utility mode
CAUTION
The copy operation overwrites any data previously existing on the
destination track.
1 Delete range
Specifies the range of measures to be deleted.
File mode
Settings: 001 – 999
Source data
001~004 005
CAUTION
Undo/Redo cannot be used to undo/redo a Sample Voice copy
operation.
~
012 013
~
Measures M005 – M013 deleted
001~004 005
204
3
MOTIF XS Owner’s Manual
~
016
024
Song Job
1 Track
Determines the tracks (01 – 16) to which the Job is applied.
2 Data Type
Determines the type(s) of data to be exchanged. Select the
desired type by checkmarking the appropriate box.
Settings: Sequencer Event (all events in the track), Play Effect, Mix
Part Parameters
05: Normalize Play Effect
This job rewrites the data in the selected track so that it
incorporates the current Play Effect settings.
Mixing mode
1
03: Mix Track
2
1
Sampling
mode 2
This job mixes all data from two selected tracks (1 and
2), and places the result in track 2. Keep in mind that
applying this Job to tracks with Sample Voices does not
mix the Sample Voices. The Sample Voice itself will not be
mixed.
1 Track
Determines the Song track (01 – 16, all) to which the Job is
applied.
2
06: Divide Drum Track
04: Clear Track
This Job deletes all data of the selected type from the
selected track.
This Job separates the note events in a drum performance
assigned to a specified track, and places the notes
corresponding to different drum instruments in separate
tracks (tracks 1 through 8). The division table below is
designed assuming the GM Drum Voice is used. If you
want to apply this Job to the sequence data using a Drum
Voice other than a GM Voice, you should confirm the
arrangement of the drum/percussion instruments for each
Drum Voice by using the separate Data List booklet.
1
2
1
MOTIF XS Owner’s Manual
205
Reference
1 Track
n The Waveform on DIMM cannot be deleted via this Job even if
the Sample Voice box is checked. If you want to actually
delete the Waveform, use the Delete Job (page 177) in the
Sampling Job mode.
Performance
mode
Undo/Redo cannot be used to undo/redo a Clear operation for
tracks that contain sample data.
Sampling
mode 1
CAUTION
1
Song mode
Settings: Sequencer Event (all events in the track), Play Effect, Mix
Part Parameter (all Mixing Part parameters), Sample Voice
Master mode
1
2
Pattern mode
Determines the type(s) of data to be cleared. Select the
desired type by checkmarking the appropriate box.
Voice mode
2 Data type to be cleared
Utility mode
This Job exchanges or “swaps” the specified type of data
between two specified tracks in the current Song.
Determines the Song track (01 – 16, tempo, scene, all) to
which the Job is applied.
File mode
02: Exchange Track
Song Job
Voice mode
1 Track
3 ARP No. (Arpeggio number/name)
Determines the Song track (01 – 16) to which the Job is
applied.
Determines the User Arpeggio number (001 – 256) and
name as destination. The Arpeggio name can contain up to
20 characters. You can call up the Character List display
by pressing the [SF6] CHAR button and enter the name.
For detailed instructions in naming, refer to “Basic
Operation” on page 82.
Track 1
Bass Drum
Track 2
Click, Bass Drum, Snare Drum, etc.
Track 3
Snare Drum
Track 4
Brush SD, Side Stick, Hand Clap, etc.
Track 5
Hi Hat
Performance
mode
Track 6
Ride Cymbal
Track 7
Tom, Crash/Splash/Chinese Cymbal
Track 8
Percussion, etc.
CAUTION
Any previous Arpeggio data in this number will be overwritten.
4 Original Notes Root
Sampling
mode 1
* The drum instruments of the different note numbers will be
assigned to each of tracks, meaning that the Bass Drum of Track 1
is different from the Bass Drum of Track 2, for example.
CAUTION
Song mode
Executing the Divide Drum Track overwrites any data previously
existing on the destination tracks 1 – 8. Important data should
always be saved to a USB storage device connected to the USB TO
DEVICE terminal or to a computer connected to the same network
as the MOTIF XS (page 278).
Determines the root note when the Convert Type of any
track is set to “org notes.”
Settings: C -2 – G8
n You can also set the Key directly from the keyboard, by
holding down the [SF6] KBD button and pressing the desired
key. For details, see page 82.
5 Track
Determines the track of the source Song for each Arpeggio
track.
Mixing mode
Reference
Pattern mode
6 Convert Type
07: Put Track to Arpeggio
Sampling
mode 2
This Job copies data in the specified measures of a track
for creating Arpeggio data. Up to 16 unique note numbers
can be recorded to the Arpeggio track. If more than 16
different note numbers have been recorded to the MIDI
sequence data, the Convert operation reduces the notes in
excess of the limit. Because of this, be careful to record
only up to 16 different notes when you create an Arpeggio,
especially when using all four tracks.
Determines how the MIDI sequence data (of Song tracks)
will be converted to Arpeggio data from the three ways
below. This parameter can be set for each track.
Settings: normal, fixed, org notes
normal
The Arpeggio is played back using only the played note and its octave
notes.
fixed
Playing any note(s) will trigger the same MIDI sequence data.
org notes (original notes)
Master mode
Basically same as “fixed” with the exception that the Arpeggio
playback notes differ according to the played chord.
1
Utility mode
2
3
4
5
6
08: Copy Phrase
This Job copies the Phrase (created in the Pattern mode)
to a specified track of the current Song.
File mode
1 Range
1
2
Determines the range of measures to be copied to the
Arpeggio data.
3
Settings: 001 – 999
2 ARP Category (Arpeggio Category)
Determines the Category setting (Main Category and Sub
Category) for the created Arpeggio data. The Main
Categories are listed on page 62.
n You can call up the list and select the desired one by pressing
the [SF6] LIST button. For details, see page 82.
1 Source Pattern, Phrase
Determines the source Pattern and Phrase number.
2 Copy Sample Voice
When this box is checkmarked, Sample Voices assigned to
the source phrase (actually the corresponding Mixing Part)
are copied to the destination track, and are assigned to the
206
MOTIF XS Owner’s Manual
Song Job
Determines the destination Pattern and Section (A – P).
CAUTION
Sampling
mode 1
This Job overwrites any data including the Mixing setup already
existing in the destination Pattern and section.
03: Clear Song
Pattern mode
1
1
Mixing mode
This Job copies all data from a selected source Song to a
selected destination Song.
This job deletes all data (including the Sample Voices and
Mixing Voices) from the selected Song or all Songs. It can
also be used to delete all 64 Songs at the same time.
2
CAUTION
This Job overwrites any data already existing in the destination
Song.
1 Song
Determines the Song number to be erased.
n The Waveform on DIMM cannot be deleted via this Job even if
the Sample Voice is used in the specified Song. If you want to
actually delete the Waveform assigned to the Sample Voice
used in the specified Song, use the Delete Job (page 177) in
the Sampling Job mode.
Utility mode
1 Source Song
2 Destination Song
02: Split Song to Pattern
File mode
This Job allows you to copy a Part of the current Song to a
specific Pattern,
1
2
3
1 Range
Determines the range of measures to be copied to a
Pattern.
Settings: 001 – 999
MOTIF XS Owner’s Manual
207
Reference
[F6] Song Jobs
01: Copy Song
Voice mode
3 Pattern, Section
Performance
mode
CAUTION
This Job overwrites any data already existing in the destination
track with the exception of the Mixing setup.
Song mode
Determines the destination Track (01 – 16) and Measure
number (001 – 999) at which the copied Phrase starts.
When this box is checkmarked, Sample Voices used by the
source Song are copied to the destination Pattern as
Sample Voices, and are assigned to the Mixing Part
corresponding to the destination track. This checkbox has
no effect if no Sample Voices are assigned to the tracks in
the source Song.
Sampling
mode 2
3 Track, Measure
2 Copy Sample Voice
Master mode
corresponding Mixing Part of the current Song. This
parameter has no effect when no Sample Voice is used by
the selected phrase.
Pattern Playback
Voice mode
The Pattern mode lets you play, record, edit and play your own original rhythm patterns. The Pattern Play mode is the main
‘portal’ by which you enter the Pattern mode, and it is here where you select and play a Pattern. You can also create your
own Patterns by assembling Phrases—short rhythmic passages and ‘building blocks’—and create Pattern Chains in which
Patterns can be combined together in custom order. To enter the Pattern Play mode, simply press the [PATTERN] button.
Performance
mode
n The word “Pattern” refers to a short rhythmic passage of several measures which is looped and played back indefinitely. A Pattern includes
16 variations called “Sections.” You can use Sections by changing them during playback. A Pattern consists of 16 tracks and can be created
by assigning a Phrase to each track from the Patch display (page 212). For details about the Patterns, Sections and Phrases, see page 60.
n From the Play display in the Pattern Play mode, you can select the Voice of the Mixing Part corresponding to the current Track by pressing
the [CATEGORY SEARCH] button.
Sampling
mode 1
Pattern Playback Procedure
SECTION
I-P
Song mode
1
Press the [PATTERN] button to call up the
Pattern Play display (page 210).
Section
SECTION
A-H
PRE 1
PRE 2
PRE 3
PRE 4
PRE 5
PRE 6
PRE 7
PRE 8
PIANO
KEYBOARD
ORGAN
GUITAR
BASS
STRINGS
BRASS
SAX/
WOODWIND
USER 1
USER 2
USER 3
GM
GM DR
PRE DR
USER DR
SYN LEAD
PADS/
CHOIRS
SOUND
EFX
MUSICAL
EFX
ETHNIC
A
B
F
G
H
SYN COMP CHROMATIC
DRUM/
PERCUSSION PERCUSSION
C
D
E
Pattern number, Pattern name
SUB CATEGORY
Pattern mode
Sampling
mode 2
SEQ TRANSPORT
LOCATE
2
1
2
Select a Pattern.
Master mode
Utility mode
Move the cursor to the Pattern number, then select the
desired Pattern by using the data dial, [INC/YES] and
[DEC/NO] button. The name of the selected Pattern is
displayed. If you press the [PROGRAM] button so that
its lamp lights, you can select the desired Pattern by
using the Group [A] – [D] buttons and the Number [1] –
[16] buttons. Pattern numbers and the corresponding
buttons are as follows.
File mode
3
Button Combinations
Pattern Number
[A]+[1] – [16]
01 – 16
[B]+[1] – [16]
17 – 32
[C]+[1] – [16]
33 – 48
[D]+[1] – [16]
49 – 64
Select a Section (A – P) of the selected Pattern.
Move the cursor to the Section, then select the desired
Section by using the data dial, [INC/YES] and [DEC/
NO] button. If you press the [TRACK] button so that its
lamp lights, you can select the desired Section by
using the SECTION [A] – [H] buttons for Sections A – H,
[USER 1] – [USER DR] buttons and [ETHNIC] button for
Sections I – P.
208
Press the [F] (Play) button to start playback of
the Pattern.
Pattern playback continues repeatedly until you press
the [J] (Stop) button. Press the [J] (Stop) button to
stop playback of the Pattern. Press the [F] (Play)
button again to resume playback from that point.
Mixing mode
Reference
4
MOTIF XS Owner’s Manual
Playback types
Starting playback by pressing a note
When the Keyboard Start function is set to on, Pattern
playback begins as soon as you press a key on the
keyboard. Move the cursor to the Keyboard Start icon then
press the [INC/YES] button to enable Keyboard Start.
In this status, press any key to start Pattern playback.
Keyboard Start
Pattern Playback
Press the [P] button.
Jumping to a specific location in the Pattern
This operation is the same as in the Song Play mode. See
page 179.
Changing the Section during playback
To change Sections during playback, press the [TRACK]
button (the lamp lights), then use the SECTION [A] – [H]
buttons, [USER1] – [USER DR] buttons and [ETHNIC]
button. When selecting a different Section during Pattern
playback, “NEXT” and the next Section name appear in the
Section column at the top of the display. After the current
Section reaches the specified timing, the next Section
starts. If you record rhythm patterns such as intro, melody
A, fill-in, main theme, and ending to each of Sections, you
can play an entire Song by selecting the appropriate
Sections during playback.
Current Section or Next Section is indicated here.
Track mute/solo
This operation is the same as in the Song Play mode. See
page 179.
Change the tempo
After making the desired settings for the Scene,
simultaneously hold down the [STORE] button and press
one of the [SF1] to [SF5] buttons. The 8th note icon is shown
in the tab corresponding to the Sub Function button to
which the Pattern Scene is registered. Press the [STORE]
button to store the Pattern data including the Pattern Scene
setting.
CAUTION
The Pattern Scene settings registered to the [SF1] – [SF5] buttons
will be lost if you change the Pattern or turn the power off without
executing the Store operation.
Recalling the Pattern Scene
You can recall the Pattern Scene by press one of the [SF1]
to [SF5] buttons.
Pattern Chain Playback
The Pattern Chain function lets you program Sections in
your own custom order, and have them change
automatically during playback to create a seamless
sequence of backing parts and accompaniment for your
live performance or recorded Song. The Chain Play display
(page 213) is the ‘portal’ for entering the Pattern Chain
function and lets you play back the programmed Pattern
Chain. Press the [F5] Chain button from the Pattern Play
mode to go to the Pattern Chain Play display.
Voice mode
Pattern Chains can be created from the Chain Record
display (page 214) and the Insert function (page 216) on
the Chain Edit display. Pattern Chains can be edited in the
Chain Edit display (page 214).
This operation is the same as in the Song Play mode. See
page 179.
MOTIF XS Owner’s Manual
209
Reference
Move to the top of the Pattern
Performance
mode
Hold the [G] (Rewind) button.
Sampling
mode 1
Press the [G] (Rewind) button.
Song mode
Rewind
Fast Rewind
Pattern mode
Hold the [H] (Forward) button.
Mixing mode
Registering the Pattern Scene
Press the [H] (Forward) button.
Sampling
mode 2
This operation is the same as in the Song Play mode. See
page 179.
Forward
Fast forward
Master mode
Fast Forward/Rewind
From the Pattern Play display, you can assign five different
“snapshots” of important Pattern-related parameters such
as transpose, tempo, track mute/solo status, and the basic
Mixing setup to the [SF1] – [SF5] buttons as Pattern
Scenes. One of the convenient advantages of Pattern
Scene is that it lets you instantly and automatically execute
parameter settings that normally require many button
presses or controller operations. Use it during Pattern
recording or playback to make instantaneous setting
changes. Pattern Scene parameters are same as the ones
of Song Scene. See page 179.
Utility mode
To start playback of the Pattern from midway through the
Pattern, set the desired location by using the controls
below, then press the [F] (Play) button. These operations
can also be executed during playback.
Assigning various settings related to
Pattern playback (Pattern Scene)
File mode
Playback from the middle of the Pattern
Pattern Playback
3 Measure
Mixing Setup for each track
Voice mode
In the Pattern mode as well as in the Song mode, you can
set the Mixing parameters such as Voice, volume and pan
for each part (track). The structure and parameters are the
same as in the Song mode. See page 181.
Determines the location at which playback starts. This also
indicates the current location of playback. The Measure
can be set via the SEQ TRANSPORT buttons. For details,
see page 178.
Settings:
Measure: 001 – 256 (Available range of measure differs depending on
the length below.)
Beat: Indication only
Measure
Length
Performance
mode
Knobs and Control Sliders
Sampling
mode 1
By using the knobs and sliders on the front panel, you can
adjust various parameters such as pan, effect, cutoff
frequency and resonance for each Part (track) of the
Pattern. For more information, see page 180.
Song mode
Pattern Playback—[F1] Play
Mixing mode
Reference
Pattern mode
This display always appears first when the Pattern mode is
engaged. You can play the Pattern by specifying a Section
after selecting a Pattern.
5
1
2
!
6 37
4 Length
Determines the Pattern Length.
Settings: 001 – 256
5 Trans (Transpose)
6 Time signature (Meter)
7 Tempo
8
#
@
These are the same as in the Song Play mode. See
page 210.
8 Keyboard Start
4
When Keyboard Start is set to on, Pattern playback begins
as soon as you press a key on of the keyboard.
Settings:
(on),
(off)
9 Track number (Indication only)
9
$
Sampling
mode 2
)
Indicates the track number.
) Track type (Indication only)
Master mode
^
%
&
*
(
º
¡
™
Utility mode
n Depending on the selected parameter, the NUM icon is shown
at the tab menu corresponding to the [SF6] button. In this
condition, you can use the [SF1] – [SF5] and [F1] – [F5]
buttons as number buttons by pressing the [SF6] NUM button.
For details, see page 81.
1 Pattern number, Pattern name
File mode
Determines the Pattern by specifying the number (01 – 64).
The name of the selected Pattern is shown. You can
change the Pattern name by moving the cursor here and
pressing the [SF6] CHAR button.
Indicates the track type: MIDI track or Audio track. For
Mixing Parts that correspond to Audio tracks, a Sample
Voice is assigned. For Mixing Parts that correspond to MIDI
tracks, a Voice other than a Sample Voice is assigned. For
Mixing Parts that correspond to empty tracks, no Voice is
assigned. For more about MIDI Tracks and Audio Tracks,
see page 61.
Settings: M (MIDI Track), W (Audio Track)
! Mute/Solo (Indication only)
Indicates the Mute/Solo status for each track. For detailed
instructions on setting Mute/Solo, see page 179.
Blank: Neither Mute nor Solo are not assigned to this track.
m: Indicates muted track.
s: Indicates soloed track.
n For detailed instructions on naming, refer to “Basic Operation”
on page 82.
@ Voice (Voice Name)
2 Section
Indicates the Voice name of the Mixing Part corresponding
to each track.
Selects a Section of the selected Pattern. A Pattern can
include up to 16 variations called Sections, which can be
changed in real time during playback. The Section can be
selected via the [A] – [H] buttons (printed “SECTION A –
H”) and the [USER1] – [ETHNIC] buttons (printed
“SECTION I – P”). For details, see page 209.
Settings: A – P
210
Beat
MOTIF XS Owner’s Manual
# Section
$ Data indicator
Indicates whether the data is recorded or not to each track
of Sections A – P. The data indicator is shown at the column
of which the Section/Track contains recorded data.
Pattern Playback
Track Settings—[F3] Track
This display lets you set the MIDI Transmit Channel for
each track.
1
Regarding parameters with no number, refer to the Play
display (page 210).
( [F3] Track
1 Pattern name (Indication only)
Calls up the Track display.
Indicates the name of the current Pattern.
º [F4] Patch
2
3
4
5
Calls up the Patch display (page 212).
¡ [F5] Chain (Pattern Chain)
Calls up the Pattern Chain display (page 213).
™ [F6] Remix
Voice (Voice name) (Indication only)
TxCh (Transmit Channel)
Int (Internal Switch)
Ext (External Switch)
These are the same as in the Song Play mode. See
page 184.
Voice mode
Master mode
Calls up the Play Effect display.
Utility mode
* [F2] Play FX (Play Effect)
3 4 5
2
Calls up the Play display.
File mode
& [F1] Play
Sampling
mode 2
Mixing mode
You can view the amount of free and used sequencer
memory. The sequencer memory covers the all Songs and
Patterns recorded in the respective modes. When the used
memory amount reaches the maximum capacity, no further
Songs or Patterns can be stored. If this occurs, use the
Song Job or Pattern Job to delete any unnecessary Songs
or Patterns. You can go back to the previous display by
pressing the [SF6] button or the [EXIT] button.
Calls up the Remix display (page 217). This menu is shown
only when the cursor is located on the track containing
data.
MOTIF XS Owner’s Manual
211
Reference
^ [SF6] INFO (Information)
The operation is same as in the Song Play mode. See
page 183.
Performance
mode
n After registering the Pattern Scene, the 8th note icon will
appear on the tab corresponding to the pressed button. You
can confirm whether or not the Arpeggio Type is assigned to
that button in the Arpeggio display (page 189) of the Pattern
Record.
By changing the timing and velocity of the notes, you can
change the rhythmic “feel” of Pattern playback. The Play
Effect settings made here are only temporary and don’t
change the actual data in the Pattern. The Play Effect
settings can be applied actually to the Pattern data by
using the Normalize Play Effect Job.
Sampling
mode 1
n The Arpeggio is not available during Pattern playback.
Pressing the [SF1] Scene 1 – [SF5] Scene 5 buttons during
playback changes only the Pattern Scene.
Changing the rhythmic “feel” of the
Pattern—[F2] Play FX (Play Effect)
Song mode
You can assign the settings of the Pattern-related
parameters (Pattern Scene) and Arpeggio-related
parameters to these buttons. You can also recall these
settings by pressing these buttons. For detailed
instructions on registering Scenes, see page 179. For
detailed instructions on setting the Arpeggio-related
parameters, see page 189.
Pattern mode
% [SF1] Scene1 – [SF5] Scene5
Pattern Playback
Pattern Creating—[F4] Patch
Voice mode
This display lets you assign a Phrase to each track to
create a Pattern. 16 Sections named A – P can be created
for each Pattern. You can assign a User Phrase created
with the current Pattern selected. If you wish to use User
phrases recorded to tracks of other Patterns, use the
Phrase Data Copy function, selected with the [SF5] button.
Performance
mode
1
2
5
3
1 Source phrase
Determines the Pattern number and the Phrase number
(001 – 256) to be copied.
2 Copy Sample Voice
Sampling
mode 1
When this box is checkmarked, Sample Voices assigned to
the source phrase are copied to the destination phrase as
Sample Voices, and are assigned to the corresponding
tracks in the selected Pattern.
Song mode
3 Current Pattern Phrase and Track
Determines the number (001 – 256) of the destination
Phrase and track (1 – 16) to which the Phrase is assigned.
Mixing mode
Reference
Pattern mode
3
4
Regarding parameters with no number, refer to the Play
display (page 210).
1 No. (Phrase Number)
Sampling
mode 2
Determines the Phrase number to be assigned to a track.
You can select one of the 256 User Phrases stored to the
selected Pattern. Please note that the User Phrases have
no data by default. When set to “---,” the track becomes
empty.
Settings: --- (off), 001 – 256
n The MOTIF XS features no Preset Phrase data.
CAUTION
Any previous data in the copy destination will be overwritten.
Important data should always be saved to a USB storage device
connected to the USB TO DEVICE terminal or to a computer
connected to the same network as the MOTIF XS (page 278).
CAUTION
Undo/Redo cannot be used to undo/redo a Sample Voice copy
operation.
5 Length (Indication only)
Indicates the length of each Phrase assigned to each
track.
Master mode
2 Phrase Name
Utility mode
Indicates the name of the selected Phrase. You can
change the Phrase name by moving the cursor here and
pressing the [SF6] CHAR button.
n For detailed instructions on naming, refer to “Basic Operation”
on page 82.
Creating a Pattern
File mode
1
Select a Pattern from the Play display (page 210).
2
Press the [F4] button to call up the Patch
display.
3
Select a Section (A – P).
3 [SF4] Clear
Pressing this button clears the Phrase assignment to the
currently selected track and leaves the track empty. Move
the cursor to the Phrase (track) to be cleared then press
the [SF4] button.
4 [SF5] Copy
Pressing this button copies a Phrase in another Pattern to
the selected one then assign it to the specified track. This
is useful if you are creating a Pattern and wish to use the
Phrase data from another Pattern.
212
1
2
MOTIF XS Owner’s Manual
Move the cursor to the Section, then select the desired
Section by using the data dial, [INC/YES] and [DEC/
NO] button.
4
Set the meter (time signature), tempo, and
length of the Pattern.
Move the cursor to the desired parameter (such as
length, time signature or tempo), then set the value by
using the data dial, [INC/YES] and [DEC/NO] button.
• Recording the new phrase using the Pattern Record
function (page 218)
1
• Copying the Phrase from another Pattern by using
the [SF5] button.
2
3 45
6
n It is a good idea to use the Copy Pattern Job (page 227) if
you wish to create a Section that is based on or sounds
similar to an already existing Section.
7
Press the [STORE] button to store the Pattern.
For detailed instructions on storing a Pattern, see
page 218.
Pattern Chain—[F5] Chain (Pattern
Chain)
Pattern Chain allows you to string several different Sections
together to make a one complete Song. For example,
create a Section A for the intro, a Section B for the verse, a
Section C for the chorus, and a Section D for the ending—
and you have the basic blocks to build an original Song.
The created Pattern Chain data can be converted to MIDI
sequence data and stored to a Song. To call up the Pattern
Chain display, press the [F5] Chain button from the Pattern
Play mode.
A Pattern Chain can be created for each Pattern, letting
you call up a different, dedicated Pattern Chain each time
you select a Pattern.
The following events can be recorded to the Pattern Chain.
• Playback order of Sections
• Pattern track on/off—Solo and Mute
• Tempo change
• Time signature change
The operation in the Pattern Chain display is basically
same as in the Pattern Play display with the exception that
the Pattern number cannot be selected. For details on
parameters which are not explained here, refer to the
Pattern Play display (page 210).
n Depending on the selected parameter, the NUM icon is shown
at the tab menu corresponding to the [SF6] button. In this
condition, you can use the [SF1] – [SF5] and [F1] – [F5]
buttons as number buttons by pressing the [SF6] NUM button.
For details, see page 81.
1 Section
Indicates the currently played Section. “NEXT” will be
shown here when playback is waiting for the timing of the
Section change.
2 Trans (Transpose)
Adjusts the pitch of the Pattern Chain playback in semitone
increments.
Settings: -36 – +0 – +36
3 Time signature
Indicates the time signature currently assigned to the
Pattern. During playback, the current time signature is
shown here.
4 Measure
Indicates the measure number of the currently playing
Pattern Chain. You can start playback from the middle of
the Pattern Chain by specifying the measure here then
pressing the [F] (Play) button.
Settings: 001 – 999
MOTIF XS Owner’s Manual
213
Reference
Create Sections used for the intro, melody A, melody B,
main theme and ending of the entire Song.
Mixing mode
Pattern mode
Repeat steps 3 through 5 above to finalize an
entire Pattern.
Sampling
mode 2
6
Song mode
• Converting a Part of the Song data to a Phrase by
using the Get Phrase from Song Job (page 225).
Performance
mode
The Pattern Chain display lets you play the Pattern Chain
data you’ve created. Press the [F5] Chain button from the
Pattern Play mode to go to the Pattern Chain Play display.
Sampling
mode 1
Pattern Chain Playback—[F5] Chain
Master mode
Move the cursor to a track then set a Phrase number by
using the data dial, [INC/YES] and [DEC/NO] buttons.
Phrase assignment can be executed also during
Pattern playback.
To confirm whether the Phrase is assigned properly or
not, solo the track to which the Phrase is assigned by
following the procedure below. Press the [SOLO] button
so that its indicator lights and press any of the Number
[1] – [16] buttons to select a track to which you
assigned the Phrase.
There are three methods that can be used to create a
Phrase:
There are two methods to create a Pattern Chain:
Recording playback of a Pattern in the Pattern Record
display in real time, and programming the playback order
of Sections one by one in the Pattern Chain Edit display.
The Pattern Chain data recorded in real time can be edited
in the Pattern Chain Edit display.
Utility mode
Assign the desired Phrase to each track.
File mode
5
Voice mode
Pattern Playback
Pattern Playback
5 Tempo
Indicates the tempo currently assigned to the Pattern.
During playback, the current tempo is shown here.
Settings: 5.0 – 300.0
For details on parameters indicated with numbers above,
refer to the Chain display (page 213). For details on all
other parameters, refer to the Pattern Play display
(page 210).
Voice mode
6 Keyboard Start
When Keyboard Start is set to on, Pattern Chain playback
begins as soon as you press a key on of the keyboard.
Settings:
on,
Pattern Chain Recording Procedure
Performance
mode
1
off
Select a Pattern in the Chain Play display.
This step is necessary because each Pattern has its
own dedicated Pattern Chain data.
Pattern Chain Playback Procedure
Sampling
mode 1
Song mode
Mixing mode
Reference
Pattern mode
To start Pattern Chain playback, call up the Pattern Chain
display, then press the [F] (Play) button. When the end of
the Pattern Chain data is reached, playback automatically
stops. You can also press the [J] (Stop) button during
playback to stop playback of the Pattern Chain. Press the
[F] (Play) again to resume playback from that point.
Depending on the particular Chain data, the Pattern plays
back with automatic changes of the Section, track mute
and tempo—all of which are indicated on the display in real
time.
2
The [I] (Record) indicator lights and the Chain Record
display appears.
3
4
Press the [F] (Play) button to start recording.
Sampling
mode 2
Master mode
To change Sections in realtime and record them, press
the [TRACK] button (the lamp lights), then use the [A] –
[H] buttons, [USER 1] – [USER DR] buttons and
[ETHNIC] button. To make Track Mute on/off settings,
press the [MUTE] button (the lamp lights), then press
the appropriate Number [1] – [16] buttons. The tempo
can be changed by pressing the [DEC/NO]/[INC/YES]
button, turning the data dial, or using the [SF1] – [SF5]
and [F1] – [F5] buttons as numeric keys after pressing
the [SF6] NUM button.
Pattern Chain Recording in Realtime—
[I] Chain Record
From the Pattern Chain Record display, you can record
playback of the Pattern—along with any realtime changes
you make. Press the [I] (Record) button from the Pattern
Chain Play display to call up the Pattern Chain Record
display. Press the [EXIT] button to go back to the Chain
Play display.
Utility mode
File mode
3 45
Set the measure at which recording starts.
Normally, press the [P] (Top) button to set the top as
recording start measure.
5
1
Set up the parameters for the start of recording.
Set the basic parameters for recording (e.g., Section,
Recording Track mute setting, Time Signature, Tempo
and so on). After setting, move the cursor to the Tempo.
n You can confirm the Pattern Chain data by calling up the
Pattern Chain Edit display.
Events such as Section change, Track mute on/off and
Tempo change can be recorded as Pattern Chain data.
The Record Type is fixed to “replace” and cannot be
changed. Accordingly, recording the events overwrites
data in the already recorded range. You can also use the
Insert function (page 216) on the Chain Edit display to
create the Pattern Chain data.
Press the [I] (Record) button.
6
Press the [J] (Stop) button to stop recording.
7
Press the [STORE] button to store the recorded
Chain data on the internal User Memory.
n For more information on storing a Pattern, see page 218.
6
Editing a Pattern Chain—[EDIT] Chain Edit
This mode gives you comprehensive, detailed controls for
editing the events of the recorded Pattern Chain. Events
such as Section change, Track mute on/off, Tempo change
and Meter can be recorded as Pattern Chain data. Press
the [EDIT] button from the Chain Play display to call up the
Chain Edit display. Press the [EXIT] button to go back to
the Chain Play display.
214
MOTIF XS Owner’s Manual
Pattern Playback
1 2 3
4
5
[SF2] Copy
Voice mode
The function of this display lets you copy events from a
specified range to another range.
1
3
Determines the number of times the data is copied.
CLOCK: 000 – 479 (The available range may change depending on
the Meter.)
Settings: 01 – 99
4 Event Type
5 Setting Values
[SF3] Song (Convert to Song)
Section
Change timing of Sections A – P and
End event of the data.
TrackMute
The “m” indicates the corresponding
track is muted.
Tempo
005.0 – 300.0
TimeSig (Time Signature)
1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4
[SF1] View Filter
Converts the current Pattern chain to MIDI sequence data
and copies the data to a specified Song. This function is
useful for quickly creating backing and accompaniment
parts for Song data.
1
2
3
Master mode
The following events are available in the Pattern Chain mode.
Utility mode
This display lets you select the event types that appear on
the Chain Edit display. This is particularly useful when
many types of events are mixed together, but you only want
to display the events you intend to edit.
1 Destination Song
1
2
3
4
Determines the destination Song by specifying the number
(01 – 64). The name of the selected Song is displayed.
2 Destination Location (Top Measure)
Determines the beginning measure number of the
destination.
Settings: 001 – 999
1
2
3
4
Time Signature
Section
Track Mute
Tempo Change
Only events with checked boxes will appear in the Chain
Edit display. If the box is set to off, the corresponding event
will disappear in the Chain Edit display.
3 Without Program Change
When this box is checkmarked, the settings of the Mixing
and Tempo are copied to the destination Song (1). The
Tempo value is copied to the top measure (2) of the
destination Song. When the checkmark is removed, the
Voice settings in each Phrase are also copied to the top
measure (2) of the destination Song as Program Change
events.
MOTIF XS Owner’s Manual
215
Reference
3 Number of Times
Meter.)
Song mode
MEAS (Measure): 001 – 256
BEAT: 01 – 16 (The available range may change depending on the
Pattern mode
Settings: 001 – 256
Settings:
Mixing mode
Determines the source range and the top measure of the
destination.
Sampling
mode 2
Indicates the location of the corresponding event.
Changing any of these values changes the location of the
event accordingly.
1 Source Range
2 Destination Location (Top Measure)
File mode
1 MEAS (Measure)
2 BEAT
3 CLOCK
Sampling
mode 1
Performance
mode
2
Pattern Playback
3
CAUTION
Voice mode
Move the cursor to each of parameters, then set the
value by using the data dial, [INC/YES] and [DEC/NO]
buttons. To make it easier to find desired parameters,
use the View Filter display called up via the [SF1]
button. You can use the Copy function called up via the
[SF2] button to copy the events from a specified range
to another range.
This Job operation overwrites any data previously existing in the
destination Song and the Undo/Redo (page 223) Job cannot be
used after executing this Job. Important data should always be
saved to a USB storage device connected to the USB TO DEVICE
terminal or to a computer connected to the same network as the
MOTIF XS (page 278).
Performance
mode
[SF4] Insert
If you wish to delete the event, move the cursor to the
event to be deleted then press the [SF5] button.
Sampling
mode 1
From this display, you can insert a new event to the Pattern
Chain. After setting the following parameters, press the
[F6] Set button or [ENTER] button to actually insert the
event.
Song mode
2
If you wish to insert a new event, press the [SF4] button
to call up the Insert display. From this display, you can
input the events one by one.
4
1
Edit the already-recorded events.
3
Convert the created Pattern Chain data to a
Song.
1 Event Type
Determines the event type to be inserted.
Settings: Time Signature, Section, end, Tempo Change, Track Mute
end
Indicates the end position of the Pattern Chain.
Mixing mode
Reference
Pattern mode
By using the Convert To Song display called up via the
[SF3] button, you can convert the created Pattern
Chain data to MIDI sequence data and copy the
converted data to a specified Song. This function is
useful for quickly creating backing and accompaniment
parts for Song data.
5
Sampling
mode 2
From the Store window called up via the [STORE]
button, you can store the current Pattern including the
created Pattern Chain data to internal memory. After
storing the Pattern data, the Pattern Chain included in
the Pattern is maintained even if the power is turned off.
2 Inserting location
Specifies the location at which the new event will be
inserted.
Settings:
MEAS (Measure): 001 – 999
BEAT: 01 – 16 (depends on the meter)
CLOCK: 000 – 479 (depends on the meter)
Master mode
3 Value of the selected event type
Enters the value of the event to be inserted. The values
available differ depending on the selected Event Type (1).
Entering New Events
1
From the Chain Edit display, press the [SF4]
Insert button to call up the Insert window.
2
Specify the event type to be inserted, the
insertion point (measure, beat, and clock), and
parameter value of the event.
3
Press the [F6] Set button to insert the specified
event at the specified location.
Settings:
Utility mode
Time Signature: 1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4
Section: A – P, end (end of the data)
Tempo Change: 005.0 – 300.0
Track Mute: m (mute on), blank (mute off)
File mode
[SF5] Delete
Deletes the currently selected event. This button is not
available when the cursor is located at the Time Signature
event, Tempo Change or top/bottom of the data.
Store the created Pattern Chain data to internal
User Memory.
You can continue inserting new events since the Insert
Event window remains open. Press the [ENTER] button
to actually insert the event and close the Insert window.
Pattern Chain Edit Procedure
4
1
Select a Pattern on the Chain Play display.
This step is necessary because each Pattern has its
own dedicated Pattern Chain data.
2
216
Press the [EDIT] button to call up the Chain
Edit display.
MOTIF XS Owner’s Manual
Press the [EXIT] button to go back to the Chain
Play display.
2nd beat
3rd beat
4th beat
Type=1
4
5
Type=2
5 Interval diagram
6
7
1 Type
Determines how a single measure is divided. The dividing
point and the amount differ depending on the Type setting
here. The diagram of the selected Type will be shown. See
below (4).
Settings: 1 – 16
2 Variation
Determines how the segments divided by Type (1) will be
rearranged. The division and rearrangement rules differ
depending on the Variation setting.
Settings: normal 01 – 16, reverse 01 – 16, break 01 – 16, pitch 01 –
16, roll 01 – 16, fill 01 – 48
normal 01 – 16
The divided data is only rearranged. 16 variations are provided.
reverse 01 – 16
Indicates the measures to which the Remix is applied.
These measures are located at the same interval
determined by the Interval (3) parameter. The example
below results when setting the Interval (3) to “2.”
6 [SF4] Cancel
Pressing this button cancels the most recent Remix which
has not been fixed yet. This button is not available after the
result of Remix is fixed or before Remix is executed.
7 [SF5] Apply
Pressing this button executes Remix. If you are not
satisfied with the result after Remix is executed, press the
[SF4] button and try Remix again. If you are satisfied with
the result, press the [ENTER] button to fix the remixed data.
break 01 – 16
In addition to rearrangement of the divided data, some portions of the
data may be deleted to create breaks. 16 variations are provided.
pitch 01 – 16
In addition to rearrangement of the divided data, some portions of the
data may be pitch-shifted. 16 variations are provided.
roll 01 – 16
In addition to rearrangement of the divided data, some portions of the
data may be played with a roll effect. 16 variations are provided.
Remix Procedure
1
2
3
Performance
mode
Sampling
mode 1
Press the [SF5] button to execute Remix.
Confirm the result of the Remix operation.
4
Press the [ENTER] button to fix the Remix
result.
5
Press the [STORE] button to store the Pattern
to internal User Memory.
3 Interval
Determines the measure interval with which the Remix
operation is executed. In other words, this parameter
determines the measures to which Remix is applied. When
Set the Type (1), Variation (2) and Interval (3).
If you are not satisfied with the result of the Remix,
press the [SF4] button then try again.
fill 01 – 48
In addition to rearrangement of the divided data, some portions of the
data may be played with fill-in. 48 variations are provided.
File mode
In addition to rearrangement of the divided data, some portions of the
data may be played in reverse. 16 variations are provided.
MOTIF XS Owner’s Manual
217
Reference
1st beat
Song mode
1
2
2
Pattern mode
Indicates the division point and the amount of division
determined by Type (1). The diagram below indicates the
division points in 16th note resolution. When Type is set to
“1,” for example, the data is divided at the upbeat before
beat 4. When Type is set to “2,” the data is divided at three
points: the upbeat before beat 2, the downbeat of beat 3,
and the upbeat before beat 4.
Mixing mode
n The Remix display is available only when the cursor is located
on the track containing data.
4 Type diagram
Sampling
mode 2
n When Remix is used on a track containing a sliced sample
voice, the various segments of the sample are rearranged with
varied timing. The sample voices can be created by executing
the Sampling with the Sampling Type set to “slice+seq” or
executing the Sample Slice Job.
Settings: 1 – 8
Master mode
The Remix function divides the MIDI data in a selected
track into several pieces of a specified note length, and
randomly rearranges a portion of the data, letting you
easily create completely new and unique rhythm
variations—all from a single Pattern.
this parameter is set to “1,” Remix is applied to all
measures. When set to “2,” Remix is applied to the data of
the 2nd measure, 4th measure, 6th measure, and so on.
When set to “3,” Remix is applied to the data of the 3rd
measure, 6th measure, 9th measure, and so on.
The measures to which Remix is applied are shown on the
display. See below (5).
Utility mode
Dividing the Pattern data to create a
new Pattern—[F6] Remix
Voice mode
Pattern Playback
Pattern Recording
Voice mode
In the Pattern Record mode, you can record your keyboard performance to create a Phrase as a basic material of the
Pattern data. The created Phrase is assigned to the specified track automatically. Press the [I] (Record) button from the
Pattern Play mode to enter the Pattern Record mode.
n Recording of audio data can be done in the Sampling Record mode (page 242).
Performance
mode
Realtime Recording
6
Sampling
mode 1
Press the [STORE] button to call up the Pattern Store
window then store the created Pattern.
This ensures that the created Pattern will be retained
even if the power is turned off.
This method lets you record the performance data as it is
played, allowing you to capture all the nuances of an actual
keyboard performance. Recording can be done while
monitoring playback of other already-recorded tracks.
You can select one of two methods for Realtime recording:
Replace and Overdub.
CAUTION
The recorded Pattern will be lost when selecting a different
Pattern, calling up a different mode, or turning the power off.
Make sure to store the Pattern data to internal memory by
pressing the [STORE] button before selecting a different
Pattern, calling up a different mode, or turning the power off.
Song mode
Mixing mode
Reference
Pattern mode
Pattern Recording procedure
Here in outline form is the process of recording a Pattern.
1
Sampling
mode 2
Master mode
Press the [I] (Record) button to call up the
Record Setup display (page 219).
3
Set recording-related parameters in the Record
Setup display.
Utility mode
2
File mode
Select the track to be recorded and the Recording
method to prepare for Pattern Recording.
When selecting a track to which no Phrase has been
assigned, your keyboard performance will be recorded
to an empty Phrase which will be assigned to the
recording track. When selecting a track that already
has an assigned Phrase, that Phrase will be replaced
by your recorded performance. If you wish to record
using an Arpeggio, set the necessary parameters from
the Arpeggio display (page 219).
Record your keyboard performance in real time
to create a Phrase.
Press the [F] (Play) button to start recording. Press the
[J] (Stop) button to stop recording.
5
218
7
Save the created Pattern data to a USB storage
device or to a connected computer as desired
(page 278).
Select a Pattern, then select a Section to be
recorded.
Press the [PATTERN] button to go to the Pattern Play
display (page 210), and select a Pattern, then a Section
to be recorded. Select an empty Pattern if you wish to
create a new Pattern from scratch. If an empty Pattern
is not available, delete an unnecessary Pattern by
using the Clear Pattern Job (page 228).
4
Store the Pattern (including the recorded
Phrase) to internal User Memory.
Edit the recorded Phrase using the Pattern Job
(page 222) and Pattern Edit (page 220).
MOTIF XS Owner’s Manual
Storing a Pattern—[STORE]
(Pattern Store)
This section covers how to store the Pattern you have
recorded and edited. By executing the Store operation, the
Pattern data you have created will be retained even if the
power has been turned off. Pressing the [STORE] button
calls up the Pattern Store window.
The following data will be stored by Pattern Store.
Sequence data
Currently selected Pattern (Section A – P), Pattern Chain,
Phrase 001 – 256
Tone Generator data
Mixing settings (Common Edit parameters and Part Edit
parameters)
n The Mixing Voices can be edited in the Mixing Voice Store
window (page 240).
The Pattern Store operation is the same as that of Voice
Store (page 97) and Song Store (page 186).
CAUTION
This operation overwrites any data already existing in the
destination Pattern. Select a Pattern number containing no data or
unnecessary data.
n If there is not enough memory space for the Song/Pattern, an
alert message appears, and you will not able to store any
additional Songs/Patterns. If this happens, delete
unnecessary Patterns/Songs by using the Song/Pattern Job,
then try the Store operation again.
Pattern Recording
#
$
%
^
&
*
(
º
8
9
@ REC TR (Record Track)
Determines the track to be recorded. Move the cursor to
the desired track or press any of the Number buttons [1] –
[16] with the TRACK lamp turned on so that the red circle is
shown in the corresponding column of the REC TR.
Settings: 1 – 16
# Record Type
Determines the Recording method.
¡
Settings: replace, overdub
∞
replace
Indicates the name of the current Pattern. The Pattern can
be selected in the Pattern Play display (page 210).
overdub
2 Measure
Determines the measure from which recording starts. This
also indicates the current location of recording.
Settings:
Measure: 001 – 256
Beat: Indication only
Measure
Beat
Length
3 Length
Determines the Pattern Length. This also represents the
length of the Phrase created via Recording procedure.
Settings: 001 – 256
4 Section (Indication only)
Indicates the Section to be recorded. The Section can be
set from the Pattern Play display (page 210).
5 Time signature (Meter)
Specifies the meter (time signature) for the Pattern.
Settings: 1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4
6 Tempo
This is the same as in the Song Record mode. See
page 187.
When Keyboard Start is set to on, Pattern recording begins
as soon as you press a key on of the keyboard.
(on),
$ Loop (Loop Recording)
Determines whether the Recording is looped or not when
executing Realtime recording. When set to on, the phrase
will play repeatedly during real-time recording. This can be
handy when recording drum Parts with the Recording type
set to “overdub,” allowing you to add different instruments
on each pass. When set to off, recording stops after one
pass through the phrase.
%
^
&
*
(
º
Record Part
Quantize (Record Quantize)
Voice
Volume
Pan
Ins Effect Sw (Insertion Effect Switch)
These are the same as in the Song Record mode. See
page 188.
¡ [SF1] Scene1 – [SF5] Scene5
You can change the settings of the Pattern-related
parameters (Pattern Scene) and Arpeggio-related
parameters by pressing these buttons. For details, refer to
the description of the same buttons in the Pattern Play
mode on page 211.
™ [F1] Setup
7 Keyboard Start
Settings:
You can use this method when you want to add more data to a track that
already contains data. Previously recorded data will be maintained.
(off)
Pressing this button returns from the previous display to the
Record Setup display.
£ [F2] Arpeggio (Record Arpeggio)
The operation is same as the one in the Record Arpeggio
display (page 189) in the Song mode.
MOTIF XS Owner’s Manual
219
Reference
1 Pattern name (Indication only)
You can use this method when you want to overwrite an already
recorded track with new data in real time. The original data will be
erased.
Song mode
¢
Pattern mode
£
Mixing mode
™
Voice mode
6
Performance
mode
3
7
Sampling
mode 2
)
These are the same as in the Song Record mode. See
page 187.
1
Master mode
2
Utility mode
@5
Track number (Indication only)
Track type (Indication only)
Mute/Solo (Indication only)
Voice Name (Indication only)
File mode
4 !
8
9
)
!
Sampling
mode 1
Preparing the Pattern Recording—
[F1] Setup
Editing MIDI Events (Pattern Edit)
¢ [F4] Erase
Voice mode
This menu appears as soon as Recording starts. During
Pattern recording, pressing the key while holding the [F4]
button erases all the note events of the pressed key. This is
useful in loop recording since it allows you to quickly delete
wrong notes played for a specific key.
∞ [F5] Click
Performance
mode
This is the same as in the Song Record mode. See
page 188.
Realtime Recording Procedure
This section explains how to record your performance
using the Realtime Recording features. Please keep in
mind that the procedure differs depending on the Record
Type and Record Track set from the Record Setup display.
The operation is same as the one in the Song Record
display (page 189).
Sampling
mode 1
Editing MIDI Events (Pattern Edit)
Song mode
The Pattern Edit mode lets you edit the already recorded Phrases or insert the new data to the Phrases. It can be used to
correct mistakes as well as add dynamics or effects such as vibrato to refine and finish the Phrase.
Press the [EDIT] button from the Pattern Play mode to go to the Pattern Edit mode.
n The Pattern Edit mode gives you comprehensive, detailed controls for editing the MIDI events of individual Pattern tracks. MIDI events are
messages (such as note on/off, note number, program change number, etc.) that make up the data of a recorded phrase.
Pattern mode
Mixing mode
Reference
n Like the Song Edit mode, Pattern Edit consists of the Event List display and the Insert Event window. The Event List display lets you correct
or delete already inserted MIDI events and the Insert Event window lets you insert new events to the Pattern. By using the Insert Event
window, you can input the events one by one. The Event List display will always appear when the Pattern Edit mode is first called up.
Editing the recorded data
Sampling
mode 2
1
Select a track to be edited in the Pattern Play
display.
Master mode
If you wish to edit a certain phrase, press the [F4]
button to call up the Patch display (page 212), then
select the desired Phrase.
Utility mode
2
Change the parameter settings or location of
the event.
Edit the value by using the [INC/YES], [DEC/NO]
buttons and the data dial. The edited event will flash on
the display.
Change the event location by editing the MEAS
(measure), BEAT, and CLOCK.
Press the [F6] button to delete the event at the cursor
location.
Here in outline form is the process of correcting or deleting
already recorded events.
5
Press the [EDIT] button to enter the Pattern
Edit mode.
After you’ve finished editing a parameter,
press the [ENTER] button to confirm and enter
the edit (the event will stop flashing).
If the cursor is moved to a new event while the current
event is still flashing, editing of the current event is
cancelled.
The Event List display (page 221) of the Pattern
appears.
File mode
3
n You can select the desired track with the Number buttons
[1] – [16] by pressing the [TRACK] button (the lamp lights)
after entering the Pattern Edit mode.
6
Press the [EXIT] button to go back to the
Pattern Play display.
Move the cursor to the event or parameter to
be edited.
7
Press the [STORE] button to call up the Pattern
Store window (page 218), then store the
created Pattern.
Use the [L]/[M] (Cursor Up/Down) button to move the
cursor to the desired timing. Press the [G] (Rewind)/
[H] (Fast Forward) button to move the cursor by
single measures. Use the [<]/[>] (Cursor Left/Right)
button to move the cursor to the parameter to be
edited.
n For details about each event and parameter, see page 76.
n Use the View Filter function (page 221) to help you quickly
find desired events.
220
4
MOTIF XS Owner’s Manual
Editing MIDI Events (Pattern Edit)
Inserting the New Event
From the Event List display, press the [F5]
Insert button to call up the Insert Event
window.
Performance
mode
Insertion point
Parameter
Specify the event type to be inserted, the
insertion point (measure, beat, and clock), and
parameter value of the event.
Song mode
2
Sampling
mode 1
Event type
Press the [F6] Set button to insert the specified
event at the specified location.
Mixing mode
3
Pattern mode
When the cursor is located on the Event Type, you can
call up the list of event types to be input by pressing the
[SF6] LIST button and select one from the list. For
details about each event and parameter, see page 76.
Master mode
Press the [EXIT] button to go back to the Event
List display.
Utility mode
4
Sampling
mode 2
The Insert Event window remains open, allowing you to
continue inserting new events. Press the [ENTER]
button to actually insert the event and close the Insert
Event window.
Event List display
File mode
In the Event List display, MIDI events (including mainly
values such as note number, velocity, and control change
value) are listed and can be edited. Here you can edit or
delete previously recorded events.
This is the same as the Event List display in the Song Edit
mode. For details, see page 193.
Changing the MIDI event view—[F2]
ViewFilter
This is the same as the View Filter in the Song Edit mode.
For details, see page 194.
MOTIF XS Owner’s Manual
221
Reference
1
Voice mode
This section shows how to insert new events to the current
Song.
Pattern Jobs
Voice mode
The Pattern Job mode contains a comprehensive set of editing tools and data transform functions you can use to change
the sound of the Pattern or Phrase. It also includes a variety of convenient operations, such as copying or erasing data. 36
Pattern Jobs are available.
Function
Description
Performance
mode
[F1] Undo/Redo
Undo Job cancels the changes made by the most recent operation, restoring the data to its previous state.
Redo Job cancel Undo and restores the changes.
[F2] Note
Note data Jobs
01: Quantize
These are the same as in the Song Job mode. See page 195.
02: Modify Velocity
03: Modify Gate Time
Sampling
mode 1
04: Crescendo
05: Transpose
06: Glide
Song mode
07: Create Roll
08: Sort Chord
09: Separate Chord
[F3] Event
Mixing mode
Reference
Pattern mode
01: Shift Clock
These are the same as in the Song Job mode. See page 195.
02: Copy Event
03: Erase Event
04: Extract Event
05: Create Continuous Data
06: Thin Out
07: Modify Control Data
Sampling
mode 2
08: Beat Stretch
[F4] Phrase
Phrase Jobs
Master mode
Utility mode
01: Copy Phrase
This Job copies a selected Phrase to the designated destination Phrase.
02: Exchange Phrase
This Job exchanges the contents of two specified Phrases.
03: Mix Phrase
This Job mixes all data from two selected user Phrases.
04: Append Phrase
This Job appends one Phrase to the end of another to create one longer Phrase.
05: Split Phrase
This Job splits a selected Phrase into two separate Phrases.
06: Get Phrase from Song
This Job copies a segment of sequence-track data from a Song into the designated destination Phrase.
07: Put Phrase to Song
This Job copies a selected user Phrase into a specified area of a selected Song.
08: Clear Phrase
This Job deletes all data from the selected Phrase.
[F5] Track
Track Jobs
File mode
01: Copy Track
This Job copies all data of the selected type from a specified source track to a specified destination track.
02: Exchange Track
This Job exchanges or “swaps” the specified type of data between two specified tracks in the current
Song.
03: Mix Track
This Job mixes all data from two selected tracks.
04: Clear Track
This Job deletes all data of the selected type from the selected track.
05: Normalize Play Effect
This Job rewrites the data in the selected track so that it incorporates the current Play FX/Groove/MIDI
Delay settings.
06: Divide Drum Track
This Job separates the note events in a drum performance assigned to a specified track, and places the
notes corresponding to different drum instruments in separate tracks (tracks 1 through 8).
07: Put Track to Arpeggio
This Job copies data in the specified measures of a track for creating Arpeggio data.
[F6] Pattern
01: Copy Pattern
222
Event Jobs
Pattern Jobs
This Job copies all data from a selected source Pattern to a selected destination Pattern.
02: Append Pattern
This Job appends one Pattern to the end of another to create one longer Pattern.
03: Split Pattern
This Job splits a selected Pattern into two separate Patterns.
04: Clear Pattern
This Job deletes all data from the selected Pattern, or from all Patterns.
MOTIF XS Owner’s Manual
Pattern Jobs
Move the cursor to the desired parameter, then
set the value by using the data dial, [INC/YES]
and [DEC/NO] buttons.
5
After setting, press the [ENTER] button to
execute the Job.
“Completed” will appear when the Job is done.
n In “05: Create Continuous Data Job” and “07: Modify Control
Data Job,” “Tempo Change” cannot be selected as Event
Types, unlike in the Song Job mode.
[F4] Phrase Jobs
Pattern mode
4
n In “03: Erase Event Job,” “Tempo Change,” “Scene Memory,”
or “Track Mute” cannot be selected as Event Types, unlike in
the Song Erase Event Job.
CAUTION
6
Press the [EXIT] button twice to go back to the
Pattern Play display.
n If there is no data in the specified range, “No Data” will
appear on the display and the Job cannot be executed.
n If you make a mistake or want to compare the sound of the
data before and after executing a Job, press the [F1]
button to use the Undo/Redo function.
01: Copy Phrase
This Job copies a selected Phrase to the designated
destination Phrase. Also the Sample Voices used in the
selected Phrase can be copied. This is useful if you are
creating a Pattern and wish to use the Phrase data from
another Pattern.
1
3
Master mode
In some Jobs, the operation overwrites any data previously
existing in the destination memory. Important data should
always be saved to a USB storage device connected to the
USB TO DEVICE terminal or to a computer connected to the
same network as the MOTIF XS (page 278).
2
[F1] Undo/Redo
This is the same as in the Song Job mode. See page 196.
[F2] Note Jobs
The Note Jobs in the Pattern mode are basically same as in
the Song Job mode. However, unlike in the Song Job
1 Source Phrase
2 Destination Phrase
Determines the Pattern number (01 – 64) and Phrase
number (001 – 256) of the source and destination
respectively.
File mode
n Some of the Jobs which enable you to copy the Sample
Voice from the source to the destination execute the actual
copy operation only when the Bank Select and Program
Change events which specify the Sample Voice are
recorded in the source Track.
Utility mode
CAUTION
Even if a Job operation has been completed, selecting a
different Pattern or turning the power off without storing will
erase the Pattern data. Make sure to store the Pattern data to
internal memory by pressing the [STORE] button before
selecting a different Pattern or turning the power off.
3 Copy Sample Voice
When this box is checkmarked, Sample Voices assigned to
the source Phrase are copied to the destination Phrase as
Sample Voices, and are assigned to the corresponding
tracks in the selected Pattern. Make sure to set this
parameter to on when coping the Phrase using the Sample
Voice. When there is no memory available in the
destination Pattern for Sample Voice data, an alert
message will appear on the display and the Sample Voice
data will not be copied. If this occurs, use Sample Job 02:
Delete to delete any unused samples, then try again.
MOTIF XS Owner’s Manual
223
Reference
Move the cursor to the desired Job by using
the data dial, [INC/DEC] and [DEC/NO] buttons,
then press the [ENTER] button to call up the
Job display.
The Event Jobs in the Pattern mode are basically same as
in the Song Job mode. However, unlike in the Song Job
mode, Pattern Event Jobs are applied to the Phrases (001
– 256) and a selected range in the Phrase (measure : beat
: clock).
Voice mode
3
[F3] Event Jobs
Performance
mode
Select the desired Job menu by pressing one
of the [F1] – [F6] buttons.
Sampling
mode 1
2
Song mode
From the Pattern Play display, press the [JOB]
button to enter the Pattern Job mode.
Mixing mode
1
mode, Pattern Note Jobs are applied to the Phrases (001 –
256) and a selected range in the Phrase (measure : beat :
clock).
Sampling
mode 2
Pattern Job Procedure
Pattern Jobs
CAUTION
04: Append Phrase
Any previous data in the copy destination will be overwritten.
CAUTION
Voice mode
Undo/Redo cannot be used to undo/redo a Sample Voice copy
operation.
This Job appends one Phrase (1) to the end of another
(2) to create one longer Phrase.
1
02: Exchange Phrase
Performance
mode
This Job exchanges or “swaps” the contents of two
specified Phrases. This is useful if you wish to exchange
two Phrases each of which is assigned to a different
Pattern.
2
Sampling
mode 1
1 Original Phrase
2 Original Phrase and Destination Phrase
1
Song mode
Determines the Pattern numbers (01 – 64) and Phrase
numbers (001 – 256) to be appended respectively.
Executing the Job appends one Phrase (1) to the end of
the Phrase (2).
2
Mixing mode
Reference
Pattern mode
n If this Job is applied to Phrases which use Sample Voices, the
Sample Voices of the source Phrase (1) will not be appended.
n If the Pattern length becomes greater than 256 measures as a
result of the this Job, an error message will be displayed and
the Job will be aborted.
1 Phrase to be exchanged
2 Phrase to be exchanged
Determines the Pattern number (01 – 64) and Phrase
number (001 – 256) to be exchanged respectively.
Sampling
mode 2
n If this Job is applied to Phrases which use Sample Voices, the
Sample Voices will not be exchanged.
05: Split Phrase
This Job splits a selected Phrase (1) into two separate
Phrases (1 and 2). Phrase 1 is divided at the Split Point
(3).
03: Mix Phrase
Master mode
Utility mode
This Job mixes all data from two selected user Phrases—1
and 2—and places the result in Phrase 2. This is useful if
you wish to create a new Phrase by mixing two Phrases
played, for example, by different drum instruments.
3
2
1
File mode
2
1 Original Phrase
Determines the original Phrase to be split by selecting the
Pattern number (01 – 64) and Phrase number (001 – 256).
Executing the Job leaves the part before the Split Point (3)
of the original Phrase.
1 Original Phrase
2 Original Phrase and Destination Phrase
Determines the Pattern numbers (01 – 64) and Phrase
numbers (001 – 256) to be mixed respectively. Executing
the Job mixes all data from two selected user Phrases—1
and 2—and places the result in Phrase 2.
n Keep in mind that applying this Job to Phrases with Sample
Voices does not mix the Sample Voices.
224
1
MOTIF XS Owner’s Manual
2 Destination Phrase
Determines the split destination Phrase by selecting the
Pattern number (off, 01 – 64) and Phrase number (off, 001 –
256). Executing the Job copies the part after the Split Point
to this split destination Phrase. When either the Pattern or
the Phrase is set to “off,” the part after the Split Point of the
original Phrase will be deleted.
Pattern Jobs
2
Voice mode
Determines the destination Song number (01 – 64), Track
number (01 – 16) and measure range (001 – 999).
CAUTION
The copy operation overwrites any data previously existing on the
destination track and measure range.
1 Source Song, Track and Measures
3 Copy Sample Voice
Determines the source Song number (01 – 64), Track
number (01 – 16) and measure range (001 – 999) of the
Song. If the specified measure range is more than 257, an
alert message will appear on the display and the Job will
be aborted. If this occurs, set the Measure again so that
this range is within 256 measures.
When the Copy Sample box is checkmarked, Sample
Voices used by the source Phrase are copied to the
destination Song as Sample Voices, and are assigned to
the destination Song track. Make sure to set this parameter
to on when coping a Phrase using a Sample Voice. When
there is no memory available in the destination Song for
Sample Voice data, an alert message will appear on the
display and the Sample Voice data will not be copied. If
this occurs, use Sample Job 02: Delete to delete any
unused samples, then try again.
2 Destination Phrase
Determines the destination Phrase by selecting the Phrase
number (001 – 256). The destination Phrase can be
specified among the Phrases of the current Pattern.
CAUTION
Any previous data in the copy destination will be overwritten.
3 Copy Sample Voice
When the Copy Sample box is checkmarked, Sample
Voices used in the source data are copied to the
destination Phrase as Sample Voices, and are assigned to
the destination Pattern track. Make sure to set this
parameter to on when copying a track using a Sample
Voice. When there is no memory available in the
destination Pattern (current Pattern) for Sample Voice data,
an alert message will appear on the display and the
Sample Voice data will not be copied. If this occurs, use
Sample Job 02: Delete to delete any unused samples, then
try again.
CAUTION
Undo/Redo cannot be used to undo/redo a Sample Voice copy
operation.
08: Clear Phrase
This Job deletes all data from the selected Phrase.
Sampling
mode 1
Performance
mode
2 Destination Song, Track and Measure
1
2
CAUTION
Undo/Redo cannot be used to undo/redo a Sample Voice copy
operation.
1 Phrase
Determines the Phrase number (001 – 256) to be cleared.
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225
Reference
1
3
Song mode
Determines the Phrase number (001 – 256) to be copied.
Pattern mode
1 Source Phrase
Mixing mode
This Job copies a segment of sequence-track data from a
Song into the designated destination Phrase. This Job is
useful when you’ve found a drum or bass pattern in a Song
and want to use it in the Pattern.
2
Sampling
mode 2
06: Get Phrase from Song
1
3
Master mode
Determines the measure (002 – 256) at which the Phrase
will be split.
This Job copies a selected user Phrase into a specified
area of a selected Song.
Utility mode
3 Split Point Measure
07: Put Phrase to Song
File mode
CAUTION
This Job overwrites any data already existing in the split
destination Phrase (2).
Pattern Jobs
2 Clear Sample Voice
When the checkbox is checked, the Sample Voice used in
the Phrase specified above will also be cleared.
02: Exchange Track
This is the same as in the Song Job mode. See page 205.
CAUTION
Voice mode
Undo/Redo (page 196) cannot be used to undo/redo a Delete
sample operation.
This is the same as in the Song Job mode. See page 205.
Performance
mode
[F5] Track Jobs
04: Clear Track
Sampling
mode 1
This Job deletes all data of the selected type from the
selected track.
01: Copy Track
Song mode
This Job copies all data of the selected type from a
specified source track to a specified destination track. This
is useful if you are creating a Pattern and wish to use the
track data from another Pattern.
Mixing mode
Reference
Pattern mode
1
1
2
3
2
1 Tracks
Determines the track to be cleared by specifying the
Section (A – P, all) and Track (01 – 16, all).
Sampling
mode 2
1 Source Track
2 Destination Track
Master mode
Determines the Pattern number (01 – 64), Section (A – P)
and Track (01 – 16) of source and destination respectively.
CAUTION
Any previous data in the copy destination will be overwritten.
2 Data type to be cleared
Determines the type(s) of data to be cleared. Select the
desired type by checkmarking the appropriate box.
Settings: Sequencer Event (all events in the track), Play Effect, Mix
Part Parameter (all Mixing Part parameters), Sample Voice
CAUTION
Undo/Redo cannot be used to undo/redo a Clear operation for
tracks that contain sample data.
Utility mode
3 Data Type to be copied
Determines the type(s) of data to be copied.
Settings: Sequencer Event (all events in the track), Play Effect, Mix
Part Parameter (all Mixing Part parameters), Sample Voice
File mode
n When there is no memory available in the destination Pattern
for Sample Voice data, an alert message will appear on the
display and the Sample Voice data will not be copied even
though the check box of the Sample Voice is marked. If this
occurs, use Sample Job 02: Delete to delete any unused
samples, then try again.
CAUTION
Undo/Redo (page 196) cannot be used to undo/redo a Delete
sample operation.
226
03: Mix Track
MOTIF XS Owner’s Manual
05: Normalize Play Effect
This is the same as in the Song Job mode. See page 205.
06: Divide Drum Track
This is the same as in the Song Job mode. See page 205.
Pattern Jobs
Determines the range which will be converted to the
arpeggio data by specifying the Section (A – P) and
Measure (001 – 256).
Other parameters are the same as in the Song Job mode.
See page 206.
[F6] Pattern Jobs
01: Copy Pattern
This Job copies all data from a selected source Pattern to a
selected destination Pattern.
1
3
2
1 Original Pattern
2 Original Pattern and Destination Pattern
Determines the two Patterns to be connected by selecting
the Pattern numbers (01 – 64) and Sections (A – P)
respectively. Executing the Job appends one Pattern (1)
to the end of the other Pattern (2). The result of this Job
will be overwritten to the destination Pattern (2).
3 Keep Original Phrase
When this box is checkmarked, the original destination
Pattern data is retained in memory, along with the new
appended Pattern data. When the Keep Original Phrase
checkbox is checked, this Job requires twice the number
of empty user Phrases as the number of tracks containing
data in which to store the appended Phrase data. If the
required space is not available, an alert message will
appear and the Job will be aborted. If this occurs use the
Clear Phrase Job to delete unused Phrases then try again.
If the box is not checkmarked, the original destination
Pattern is erased and replaced with the newly created
Phrases.
n If this Job is applied to Patterns which use Sample Voices, the
Sample Voices of the source Phrase (1) will not be appended.
1 Source Pattern
2 Destination Pattern
Voice mode
Performance
mode
Sampling
mode 1
n If the Pattern length becomes greater than 256 measures as a
result of this Job, an error message will be displayed and the
Job will be aborted.
Determines the source and destination Pattern by selecting
the Pattern number (01 – 64) and Section (A – P, all). If you
set the source Section to “all,” the destination Section is
also set to “all” automatically, with the result that all source
Pattern data is copied to the destination.
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227
Reference
1 Range
Song mode
3
2
Pattern mode
1
Mixing mode
This Job appends one Pattern (1) to the end of another
(2) to create one longer Pattern. Actually, the Phrases
making up the source Pattern (1) will be appended to the
end of the Phrases making up the destination Pattern (2).
This Job is useful if you wish to connect different Patterns
together.
Sampling
mode 2
02: Append Pattern
Master mode
1
When this box is checkmarked, Pattern Chain data as well
as Pattern data will be copied.
Utility mode
This Job copies data in the specified measures of a track
for creating Arpeggio data. Up to 16 unique note numbers
can be recorded to the Arpeggio track. If more than 16
different note numbers have been recorded to the MIDI
sequence data, the Convert operation reduces the notes in
excess of the limit. Because of this, be careful to record
only up to 16 different notes when you create an Arpeggio,
especially when using all four tracks.
3 Copy Pattern Chain
File mode
07: Put Track to Arpeggio
Pattern Jobs
5 Copy Sample Voice
03: Split Pattern
Voice mode
This Job splits a selected Pattern (1) into two separate
Patterns (1 and 2). The Pattern 1 is divided at the Split
Point (3). Actually, the Phrases making up the source
Pattern (1) will be divided and the divided Phrases after
the Split Point will be assigned to the tracks of the
destination Pattern.
04: Clear Pattern
Performance
mode
This Job clears specified Pattern. You can also clear only
the specified Section of the selected Pattern.
1 3
4
5
Sampling
mode 1
2
1
2
Song mode
1 Original Pattern
Pattern mode
Mixing mode
Reference
Determines the original Pattern to be split by selecting the
Pattern number (01 – 64) and Section (A – P). Executing
the Job leaves the part before the Split Point in the original
Phrase.
2 Destination Pattern
Sampling
mode 2
Determines the split destination Pattern by selecting the
Pattern number (01 – 64) and Section (off, A – P).
Executing the Job moves the part after the Split Point to
this split destination Pattern. When either of the Pattern
number or Section is set to “off,” the part after the Split
Point (3) of the original pattern (1) will be deleted.
CAUTION
Master mode
This Job overwrites any data already existing in the split
destination Pattern (2).
Utility mode
Specifies the measure at which the Pattern will be split.
File mode
228
When this box is checkmarked, Sample Voices (if included
in the original Pattern) are copied to the destination
Pattern.
3 Splitpoint Measure
Settings: 002 – 256
4 Keep Original Phrase
When this box is checkmarked, the Phrase of the original
Pattern is retained in memory and the results of the Split
Job are written to empty Phrases. When the Keep Original
Phrase checkbox is checked, this Job requires twice the
number of empty user Phrases as the number of tracks
containing data in which to store the appended Phrase
data. If the required space is not available, an alert
message will appear and the Job will be aborted. If this
occurs, use the Clear Phrase Job to delete unused
Phrases and try again.
When this box is not checkmarked, the Phrases making up
the original Pattern are erased and replaced with the newly
created Phrases.
MOTIF XS Owner’s Manual
1 Pattern (Pattern and Section) to be cleared
Determines the Pattern to be cleared. When the Pattern is
set to “all,” all the Pattern data will be cleared. When the
Section is set to “all,” all data from the selected Pattern will
be cleared.
2 Clear Pattern Chain
When the checkbox is checked, the Pattern Chain data will
also be cleared. When the checkbox is not checked, the
Pattern Chain data will not be cleared.
n The Waveform on DIMM cannot be deleted via this Job even if
the Sample Voice is used in the specified Section. If you want
to actually delete the Waveform assigned to the Sample Voice
used in the specified Section, use the Delete Job (page 177)
in the Sampling Job mode.
The setting of the tone generator block for Song/Pattern playback is referred to as Mixing. The Mixing mode lets you change
the Voice and effect settings for each Part.
To enter the Mixing mode, press the [MIXING] button in the Song mode or Pattern mode.
Performance
mode
n The Mixing mode cannot be called up from the Voice mode, Performance mode, or Master mode.
The Mixing mode structure
Mixing Edit
Common Edit
Mixing Edit
Part Edit
Part 1
Part Edit
Common Edit
Part EQ Offset
Part 1
Part EQ
Insertion Effect
Switch
Reverb Effect
Part 1 – Part 16
Chorus Effect
Part 1 – 16
A/D Input Part
Insertion Effect Switch
Insertion Effect Settings
Master Effect
Master EQ
MOTIF XS Owner’s Manual
229
Reference
Song mode
Pattern mode
Mixing mode
Sampling
mode 2
Master mode
The Mixing Edit mode consists of two sub modes: Common
Edit and Part Edit. Common Edit lets you edit the global
settings common to all Parts, such as the Master Effect, the
Master EQ, and the Controller settings. Part Edit lets you
adjust various parameters for each of 16 Parts according
to the corresponding Song/Pattern track.
In the Mixing mode, two EQ blocks and three Effect blocks
are available.
The two EQ blocks in the Mixing mode are Part EQ and
Master EQ. Part EQ is applied to each of the Mixing Parts
and can be set in the EQ display (page 236) of Part Edit. In
addition, the Part EQ parameters can be adjusted at the
same time for all parts in the Part EQ display (page 233) of
Common Edit. On the other hand, Master EQ is applied to
the overall sound (all the Mixing Parts) and can be set in
the Master EQ display (page 234) of Common Edit.
The Effect blocks in the Mixing mode are Reverb, Chorus,
and Master Effect. Reverb and Chorus are applied to the
overall sound and the related parameters can be set in the
Reverb/Chorus display (page 235) of Common Edit. The
depth (send level) of the Reverb/Chorus can be set for
each Part in the Connect display (page 234) of Part Edit.
On the other hand, Master Effect is applied to the overall
sound (all the Mixing Parts) and can be set in the Master
Effect display (page 234) of Common Edit.
Utility mode
Common Edit and Part Edit
Effect and EQ structure in the
Mixing mode
File mode
In the Song/Pattern mode, the internal tone generator block
functions as the multi-timbral tone generator in order to
receive and handle MIDI sequence data consisting of
multiple channels. The settings for the multi-timbral tone
generator are collectively referred to as a “Mixing.” A
Mixing program is provided for each Song or Pattern.
Selecting a different Song/Pattern calls up the different
Mixing program.
Sampling
mode 1
This section explains in detail about the Mixing mode and what you can do in the Mixing mode.
About Mixing
Voice mode
Multi-timbral Tone Generator Settings
for Song/Pattern Playback (Mixing mode)
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode)
Insertion Effect in the Mixing mode
Voice mode
Performance
mode
Sampling
mode 1
In addition to the three Effect blocks above, special
Insertion Effects are available in the Mixing mode. Keep in
mind that Insertion Effects cannot be applied to all 16 parts
simultaneously. The MOTIF XS features eight Insertion
Effects, allowing you to independently process up to eight
Parts from among the 1 – 16 parts and the A/D Input part.
You can specify the parts to which the Insertion Effect is
applied by setting the Insertion Effect Switch parameter in
the 1 – 16 display (page 231) and the Audio Part display
(page 232) of the Mixing Play mode.
The most common use for Insertion Effects is in applying
compression or dynamics processing to an individual Part,
or applying a special effect that is only to be used on one
Part, such as distortion or rotary speaker.
Song mode
The Insertion Effect parameters can be set in the following
displays.
Part 1 – 16
Voice
Select
Store
Select
Voice memory
Preset Bank PRE1 – 8
User Bank USR1 – 3
etc.
Mixing Voice
1 – 16
Note that up to 256 Mixing Voices can be stored for all
Songs and Patterns. Accordingly, the Mixing Voice memory
will become full and additional Voices cannot be stored if
you’ve stored 16 different Voices for 16 different Songs.
If such a situation occurs, use the Delete Job (page 241) to
delete any unnecessary Mixing Voices in the Mixing Voice
Job mode.
n You can confirm the amount of currently unused (available)
memory via the Mixing Voice Information window (page 240).
Part 1-16:
Pattern mode
Mixing mode
Reference
The Insertion Effect parameters for each of the Parts 1 – 16
can be set by editing the Voice assigned to each Part in the
Connect display and Insertion A/B display of Mixing Voice
Edit (page 239). The edited voice can be stored (page 240)
as a Mixing Voice or User Voice.
A/D Input Part:
The Insertion Effect parameters for the A/D Input Part can be
set in the Insertion A/B display (page 234) of Common Edit.
Mixing Setup Procedure
Sampling
mode 2
1
In the Song or Pattern mode, select a Song or
Pattern to be edited.
2
Press the [MIXING] button to enter the Mixing
mode.
The Part 1 – 16 display (page 231) of the Mixing Play
appears.
Mixing Voices
Master mode
Up to 16 Normal Voices can be stored for each Song/
Pattern Mixing. This type of Voice is called a Mixing Voice.
Utility mode
File mode
Normally, the Voice stored in the Voice mode is assigned to
each Mixing Part. In this method, the sound of the Song/
Pattern you created may be changed unexpectedly if you
edit or delete the Voice used for the Song/Pattern Mixing.
Mixing Voices are provided to prevent these accidental
sound changes. To use this feature, call up a Voice from
User Banks 1 – 3, store the selected Voice to the Mixing
Voice Bank, assign it to the desired Part, then edit the
Mixing as needed. In addition, make sure to store the Voice
as a Mixing Voice after editing the Voice in the Mixing
mode.
Up to 16 Mixing Voices are provided for each Mixing
program, or in other words, for each Song/Pattern.
Selecting a different Song/Pattern calls up a different
Mixing belonging to the new selected Song/Pattern.
If you wish to use a Mixing Voice of a certain Song/Pattern
for another Song/Pattern, execute the copy operation
(page 241) in the Mixing Voice Job mode.
230
Mixing
MOTIF XS Owner’s Manual
3
Select a Voice and set other parameters such
as volume and pan for each Part from the Part
1 – 16 display or the Audio Part display.
4
Set the parameters common to all Parts or
those exclusive for each Part.
If you wish to edit parameters common to all parts such
as Master Effect, Master EQ and Controller settings,
press the [EDIT] button from the Mixing Play display,
then press the [COMMON EDIT] button to enter the
Common Edit display (page 233).
If you wish to edit more detailed Mixing Part
parameters, enter the Part Edit mode (page 235) by
pressing the [EDIT] button, then press the desired one
of the Number buttons [1] – [16]. If you wish to edit
parameters for the Audio Part, press the [EDIT] button
from the Mixing Play mode and press the [COMMON
EDIT] button then [F4] button to call up the Audio In
display (page 234).
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode)
Mixing Voice Common Edit (page 241)
In the Song Play mode, press the [STORE] button to
call up the Song Store window or Pattern Store window.
For detailed instructions on storing, see page 186.
[JOB]
Mixing Voice Job (page 240)
[STORE]
Mixing Voice Store (page 240)
Voice mode
Performance
mode
Mixing mode
Press the [SONG] or [PATTERN] button to exit
from the Mixing mode to the previous mode.
Mixing Voice Element Edit (page 241)
Mixing Play mode
The Mixing Play display will appear when pressing the [MIXING] button in the Song mode or Pattern mode. Here you can
edit the Mixing parameters which are important for creating a Song/Pattern.
Part Settings on the Mixer display—
[F1] Part1 – 16
Here you can edit the main parameters for each Mixing
Part. The basic parameters for creating a Song are
gathered on this display from the Voice display (page 235)
and the Output display (page 235) in the Mixing Part Edit
mode. The settings made here are automatically applied to
the corresponding parameters in the displays in the Mixing
Part Edit mode, and vice versa.
1 Part (Indication only)
Indicates the Part numbers. When the [TRACK] lamp is
turned on, the Part can be selected via the Number buttons
[1] – [16].
2 Mute/Solo/Edit (Indication only)
Indicates the status of each Part. When the [MUTE] lamp is
turned on, the Mute on/off status for each Part can be
switched via the Number buttons [1] – [16]. When the
[SOLO] lamp is turned on, the Solo Part can be selected
via the Number buttons [1] – [16].
Sampling
mode 2
8
Store the edited Mixing program to the Song/
Pattern.
Master mode
7
[1] – [16]
Settings: m (Mute), s (Solo), E (Edit Indicator)
1
3
4
5
6
2
Edit Indicator
Indicates that the Mixing Voice for the Part is modified but not stored
yet.
3 Category (Indication only)
7
8
9
Indicates the two main categories of the current Voice.
When the [CATEGORY SEARCH] lamp is turned on, you
can select the desired Voice by using the Category Search
function (page 24). The name of the selected Voice is
shown at the top right of the display.
)
!
@
#
$
MOTIF XS Owner’s Manual
231
Reference
In the Mixing Voice Edit mode, press the [STORE]
button to call up the Mixing Voice Store window
(page 240).
[MIXING] Mixing Play (page 231)
[EDIT] Mixing Edit (page 233)
[COMMON EDIT] Common Edit (page 233)
[1] – [16] Part Edit (page 235)
[JOB] Mixing Job (page 236)
[STORE] Song Store (page 186)/
Pattern Store (page 218)
[F6] Mixing Voice Edit (page 239)
[COMMON EDIT]
Sampling
mode 1
Store the edited voice as a Mixing Voice as
desired.
The Mixing mode structure is as follows:
Utility mode
6
Mixing mode structure
Song mode
If you wish to edit a Voice assigned to each Part, press
the [F6] button in the Mixing Play display to call up the
Mixing Voice Edit display (page 239).
The Mixing Voice Common Edit mode (page 241) can
be called up by pressing the [COMMON EDIT] button.
The Mixing Voice Element Edit mode (page 241) can be
called up by pressing one of the Number buttons [1] –
[8].
Pattern mode
Edit the Voice assigned to the Part as desired.
File mode
5
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode)
4 Bank
5 Number
Voice mode
These determine the selected Voice. Press the
[PROGRAM] button (the lamp lights), then the desired
Voice by using the [PRE 1] – [USER DR] buttons, [A] – [H]
buttons and the [1] – [16] buttons. The name of the
selected Voice is shown at the right top of the display.
$ [F6] Vce Edit (Mixing Voice Edit)
Enters the Mixing Voice Edit mode, letting you edit the
Voice assigned to the current Part. If the Drum Voice or
Sample Voice is assigned to the current Part, this button
does not appear and the Mixing Voice is not available.
Settings:
Performance
mode
Number: 1 – 128
Bank: PR1 – 8 (Preset 1 – 8), US1 – 3 (User 1 – 3), GM, GD (GM Drum),
PD (Preset Drum), UD (User Drum), SP (Sample Voice), MV (Mixing
Voice)
6 Rev Send (Reverb Send)
Sampling
mode 1
Adjusts the Reverb send level for each Part. The higher the
value, more pronounced the Reverb effect.
Settings: 0 – 127
Song mode
7 Cho Send (Chorus Send)
Adjusts the Chorus send level for each Part. The higher the
value, more pronounced the Chorus effect.
Audio Input settings—[F2] Audio
From this display you can set parameters related to audio
input from the [A/D INPUT] connector and the mLAN
connector (available for the MOTIF XS8 and available for
the MOTIF XS6/7 with the mLAN16E2 installed). The basic
parameters for creating a Song are gathered on this
display from the Audio In display (page 234) in the Mixing
Common Edit mode. The settings made here will be
applied to the same parameters on the displays in the
Mixing Common Edit mode, and vice versa.
1
Settings: 0 – 127
Mixing mode
Reference
Pattern mode
8 Pan
Determines the position in the stereo field for each Part.
2
Settings: L63 (far left) – C (center) – R63 (far right)
3
4
5
9 Ins FX Sw (Insertion Effect Switch)
Sampling
mode 2
Master mode
Utility mode
Determines the Parts available for the Insertion Effect.
When this switch is set to on, the Insertion Effect of the
Voice assigned to the Part enabled. Make sure that this
parameter is set to on for any Parts/Voices to which you
need to apply Insertion Effects.
The MOTIF XS features eight Insertion effect systems,
letting you set this parameter to on for up to eight Parts. If
eight Parts are already turned on, the parameter cannot be
turned on for additional Parts. In this case, the switch for
another Part must be turned off before you can turn the
switch for the desired Part on. Please note that the
Insertion Effects are available simultaneously for up to
eight Parts including the A/D Input Part.
6
1 Part (Indication only)
Indicates the Part numbers.
AD (A/D Input Part)
Lets you set parameters related to audio input from the A/D
INPUT connector.
mL (mLAN)
Lets you set parameters related to audio input from the mLAN
connector (available for the MOTIF XS8 and available for the
MOTIF XS6/7 with the mLAN16E2 installed). The audio signal
here is transmitted from the computer via mLAN Ports 3 and 4.
Settings: B (on), A (off)
File mode
) Volume
Determines the output level of the Part.
Settings: 0 – 127
! [F1] Part 1 – 16
Calls up this display from the Audio Mixer display.
@ [F2] Audio (Audio Part)
Calls up the Audio Part display for setting the Audio Input.
The settings made here are automatically applied to the
corresponding parameters in the Part 1 – 16 display
(page 231).
2
3
4
5
6
Rev Send (Reverb Send)
Cho Send (Chorus Send)
Pan
Ins FX Sw (Insertion Effect Switch)*
Volume
* Available for the A/D Input Part only
# [F5] Effect
Calls up the Effect display (page 234) in the Common Edit
mode.
232
MOTIF XS Owner’s Manual
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode)
Mixing Edit
You can turn individual Parts on/off by using the Mute
function.
11
13
14
PERFORMANCE
CONTROL
ARP ON/OFF
PART MUTE
15
ARP HOLD
SOLO
1
2
1
MUTE
16
Compare function
Press the [MUTE] button.
The [MUTE] lamp lights, indicating that each Part can
be turned on/off.
2
The Compare function lets you switch between the justedited Mixing and its original, unedited condition, allowing
you to hear how your edits affect the sound. For
instructions on using Compare, refer to the same function
in the Voice mode on page 97.
Press any of the Number buttons [1] – [16].
The lamp of the pressed button will be turned off and
the corresponding Part will be muted.
Press the same button again to turn the lamp on and
disengage the mute function for that Part. You can turn
multiple Parts on/off by pressing their buttons.
Storing the created Mixing
The created mixing setup can be stored as part of the data
of a Song or Pattern. For instructions on storing a Song/
Pattern, see pages 186 and 218.
Soloing a specific Part
The Solo function is the opposite of Mute, and lets you
instantly solo a specific Part and mute all others.
1
2
3
4
5
6
12
13
14
PART SELECT
9
10
11
15
PERFORMANCE
CONTROL
ARP HOLD
2
16
MUTE
SOLO
1
Press the [SOLO] button.
The [SOLO] lamp lights, indicating that the specific Part
can be soloed.
2
Common Edit parameters
TRACK
8
ARP ON/OFF
PART MUTE
1
7
Press any of the Number buttons [1] – [16].
The lamp of the pressed button will be turned on and
only the corresponding Part will be sounded.
Press any other number button to change the solo Part.
[SONG]/[PATTERN] ➞ [MIXING] ➞ [EDIT] ➞
[COMMON EDIT]
The Common Edit mode lets you edit the parameters
common to all Mixing Parts.
Controller settings—[F1] General
Determines the function for the Knobs and ASSIGNABLE
FUNCTION buttons for each Song/Pattern.
The function is the same as the one in the Other display
(page 145) in the Performance Common Edit mode.
MOTIF XS Owner’s Manual
233
Reference
10
TRACK
8
Song mode
12
PART SELECT
9
7
Pattern mode
6
Mixing mode
5
Sampling
mode 2
4
Master mode
3
Utility mode
2
Edit Indicator
File mode
1
When changing the value of the parameter in the Mixing
Play or Edit mode, the [E] (Edit Indicator) will appear on the
top right corner of the LCD display. This gives a quick
confirmation that the current Mixing has been modified but
not yet stored. To store the current edited status, follow the
instructions on page 97.
Performance
mode
Turning specific Parts on/off (Mute
function)
The [E] Indicator
Sampling
mode 1
Useful functions for editing Mixing
Voice mode
The Mixing Edit mode lets you control typical mixer settings such as volume balance, pan position and effects, allowing you
to fine tune the Song/Pattern data. Mixing Edit consists of Part Edit and Common Edit.
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode)
Master Effect and Master EQ settings—
[F2] MasterFX (Master Effect)
[SF2] MasterFX (Master Effect)
Voice mode
Performance
mode
This display lets you set the type and parameters of the
Master Effect.
The function is the same as the one in the Master Effect
display (page 146) in the Performance Common Edit mode.
[SF3] MasterEQ
Sampling
mode 1
From this display you can apply five-band equalization to
all Parts of the selected Mixing.
The function is the same as the one in the Master EQ
display (page 146) in the Performance Common Edit mode.
Song mode
Controller Settings—[F3] Ctrl Asgn
(Controller Assign)
Pattern mode
Mixing mode
Reference
Sampling
mode 2
The controllers and knobs on the front panel can be used
to change and adjust a variety of parameters—in real time,
and simultaneously. For example, you could use the
ASSIGN 1 and 2 knobs to control effect depth, while using
the Foot Controller to control modulation. These control
assignments are called “Controller Assign.” You can set
different Control Set assignments for each Mixing.
The function is same as the one on the Controller Assign
display (page 147) in the Performance Common Edit
mode.
[SF3] Ins A (Insertion Effect A)
[SF4] Ins B (Insertion Effect B)
From this display, you can also set the type and its
parameters of the Insertion Effect.
The function of this display is the same as the one in the
Insertion Effect A/Insertion Effect B display (page 149) in
the Performance Common Edit mode.
Effect Settings—[F5] Effect
From the following displays, you can set the Effect
connection and values of other parameters. For details
about the Effect structure in the Mixing mode, see page 70.
[SF1] Connect
From this display, you can set the Return level of the
Reverb/Chorus effect, Effect Pan, and Chorus to Send
Level.
The function of this display is the same as the one in the
Connection display (page 149) in the Performance
Common Edit mode.
[SF2] Ins Switch (Insertion Effect Switch)
In this display, you can select which Parts (from Mixing
Parts 1 – 16 and the Audio Input Part) will be assigned to
the eight Insertion Effects.
1
Master mode
Audio Input Part Settings—[F4] Audio In
Utility mode
You can set parameters related to audio input from the A/D
INPUT connector and the mLAN connector.
The mLAN Input is available only for the MOTIF XS8. This is
available for MOTIF XS6/7 only when an optional
mLAN16E2 has been installed.
[SF1] Output
File mode
From this display you can set the Send level of the Audio
Input Part signal sent to the Reverb/Chorus effect and the
output jack assignment for the Audio Input Part.
The function of this display is the same as the one in the
Output display (page 147) in the Performance Common
Edit mode.
[SF2] Connect
Determines the effect routing for Insertion Effects A and B.
The setting changes are shown on the diagram in the display,
giving you a clear picture of how the signal is routed.
The function of this display is the same as the one in the
Insertion Effect Connection display (page 148) in the
Performance Common Edit mode.
234
MOTIF XS Owner’s Manual
1 Part 1 – 16, A/D
Determines the Parts available for the Insertion Effect.
When this switch is set to on, the Insertion Effect of the
Voice assigned to the Part is enabled. Make sure that this
parameter is set to on for any Parts/Voices to which you
need to apply Insertion Effects.
The MOTIF XS features eight Insertion effect systems,
letting you set this parameter to on for up to eight Parts. If
eight Parts are already turned on, the parameter cannot be
turned on for additional Parts. In this case, the switch for
another Part must be turned off before you can turn the
switch for the desired Part on.
n For the Audio Input Part, the Insertion Effect type/parameter
can be set on the Insertion A/B display (page 234) in the
Mixing Common Edit mode. For Parts 1 – 16, the Insertion
Effect type/parameter settings cannot be set in the Mixing Edit
mode because their settings are included in the Voice
assigned to each Part. If you wish to edit the Insertion Effect
settings for each Part, enter the Mixing Voice Edit mode, then
edit the Effect settings for the Voice.
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode)
Determines the MIDI receive channel for the selected Part.
Since MIDI data may be coming from many channels at
once, you should set this to match the particular channel
over which the desired controlling data is being sent
Selected Part display/Four-Part display
Just as with the Performance Part Edit mode, you can use two
types of display in the Mixing Part Edit mode. One type of
display lets you edit parameters for the currently selected Part
and the other type of display lets you view parameters for four
Parts. You can switch between these two types by pressing the
[SF5] button. Note that the display for four Parts is not available
for the [F2] ARP Main and the [F3] ARP Other displays.
Selecting a Part to be edited
Press one of the [1] – [16] buttons to select a Part to be edited.
n For details about useful functions such as Mute and Solo, see
page 233.
Part Basic Settings—[F1] Voice
Arpeggio Basic Settings—[F2] ARP
Main (Arpeggio Main)
This display determines the basic settings of the Arpeggio.
The settings of parameters shown at the bottom of the
display can be registered to the [SF1] – [SF5] buttons.
The function is the same as the one in the Arpeggio Main
display (page 154) in the Performance Part Edit mode.
Changing rhythmic feel of the Arpeggio—
[F3] ARP Other (Arpeggio Other)
By changing the timing and velocity of the notes, you can
change the rhythmic “feel” of the Arpeggio playback.
The function of this display is the same as the one in the
Arpeggio Other display (page 156) in the Performance
Part Edit mode.
[SF1] Voice
This display lets you specify the MIDI receive channel for the
current Part as well as the Voice. The other parameters except
for Receive Channel (1) are the same as those in the Voice
display (page 151) in the Performance Part Edit mode.
1
EG Settings—[F4] EG (Envelope
Generator)
Sampling
mode 1
These settings let you control the sound transition from the
moment a key is pressed to the moment at which it is
released. You can also adjust the tone brilliance by setting
the Cutoff Frequency and Resonance.
The function of this display is the same as the one in the
EG display page 157) in the Performance Part Edit mode.
MOTIF XS Owner’s Manual
235
Reference
In the Part Edit mode, you can edit the parameters of the
individual Parts such as Voice, Arpeggio, EG and EQ settings.
Song mode
[SONG]/[PATTERN] ➞ [MIXING] ➞ [EDIT] ➞
[1] – [16] Part selection
From this display, you can set parameters related to pitch
bend and velocity. The function of this display is the same
as the one in the Other display (page 153) in the
Performance Part Edit mode.
Pattern mode
Part Edit parameters
Mixing mode
[SF3] Other
Sampling
mode 2
From this display, you can set the Reverb/Chorus depth
and the Output jack assignment for each Part. The function
of this display is the same as the one in the Output display
(page 152) in the Performance Part Edit mode.
Master mode
[SF2] Output
Performance
mode
Voice mode
Settings: 01 – 16, off
Utility mode
From the Type column on these displays, you can select the
Reverb/Chorus type. From the Preset column, you can select
one of the templates that call up the pre-programmed settings
of various parameters of the selected Reverb/Chorus type.
From these displays, you can also set each parameter of the
selected Effect type individually and manually.
The function of these displays is the same as those of the
Reverb display and Chorus display (page 150) in the
Performance Common Edit mode.
1 Receive Channel
File mode
[SF3] Reverb
[SF4] Chorus
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode)
Equalizer (EQ) Settings—[F5] EQ
(Equalizer)
Voice mode
You can apply 3-band parametric EQ to each Part to adjust
the sound.
The function is the same as the one in the EQ display
(page 158) in the Performance Part Edit mode.
Performance
mode
From this display you can set how each individual Part
responds to various MIDI data, such as Control Change
and Program Change messages. When the relevant
parameter is set to “on,” the corresponding Part responds
to the appropriate MIDI data.
The function is the same as the one in the Receive Switch
display (page 158) in the Performance Part Edit mode. In
addition to the parameters which can be set in the
Performance Part Edit mode, the Program Change and
Bank Select can be set in this display of the Mixing mode.
Sampling
mode 1
Mixing Job—Convenient functions
Song mode
The Mixing Job mode features some convenient data organization and initialization tools, for use when creating
Performances and archiving them. To enter the Mixing Job mode, press the [JOB] button in the Mixing mode. Press the
[EXIT] button to return to the Mixing Play mode.
Mixing mode
Reference
Pattern mode
Mixing Job Procedure
Sampling
mode 2
Master mode
1
In the Mixing mode or Mixing Edit mode, press
the [JOB] button to enter the Mixing Job mode.
2
Call up the desired Mixing Job menu by
pressing the appropriate button ([F1] – [F6]).
3
Set the parameters for executing the Job.
4
Press the [ENTER] button. (The display
prompts you for confirmation.)
5
2
3
To cancel the Job, press the [DEC/NO] button.
All settings for the selected Mixing are initialized. When this
is set to on, the Common parameters (2) and Part
parameters (3) cannot be set.
Press the [INC/YES] button to execute the Job.
2 Common Parameters
Utility mode
After the Job has been completed, a “Completed”
message appears and operation returns to the original
display.
File mode
6
1
4
1 All Parameters
Press the [MIXING] button to return to the
Mixing Play mode.
CAUTION
Even if you execute the Job, selecting a different Song/Pattern or
turning the power off without storing will erase the Mixing data.
Make sure to store the Song/Pattern data (including the Mixing) to
internal memory by pressing the [STORE] button before selecting
a different Song/Pattern or turning the power off.
Initializing the Mixing—[F1] Init
This function lets you reset (initialize) all Mixing parameters
to their default settings. It also allows you to selectively
initialize certain parameters, such as Common settings,
settings for each Part, and so on.
236
MIDI Receive Settings—[F6] RcvSwitch
(Receive Switch)
MOTIF XS Owner’s Manual
Common parameter settings for the selected Mixing are
initialized.
n The Insertion Effect Switch is a Part parameter. Therefore,
checkmark the desired boxes of Parts 1 – 16 (described
below) if you wish to initialize the Insertion Effect Switch
parameter settings.
3 Part Parameters
Part 1 – 16
Mixing Part Edit settings (page 235) for Parts which are turned
on are initialized.
A/D (A/D Input)
This Part is input from the external audio equipment
connected to the A/D INPUT jack. Parameter settings for the A/
D input Part (page 234) of Common Edit are initialized.
mLAN
This Part is input from the external audio equipment
connected to the mLAN jack. When this is checkmarked,
parameter settings for the mLAN Part (page 234) of Common
Edit are initialized.
n The “mL” setting is available only for the MOTIF XS8. This
is available for MOTIF XS6/7 only when an optional
mLAN16E2 has been installed.
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode)
4 Initialize selected Parts to GM
Destination setup
When this box is checked, executing the Job resets the
selected Parts to standard GM tone generator settings.
When the checkbox of All Parameters (1) is marked, all
parameters will be reset to the GM settings. When the
checkbox of All Parameters (1) is not marked, checked
parameters (from Common, 1 – 16, AD and mLAN) will be
reset to the GM settings.
3 Currently edited Part
1
2 Part number
1
2
3
Source setup
1 In the Song mode: Song number
In the Pattern mode: Pattern number
Determines the source Mixing by selecting the Song
number (Pattern number while in the Pattern mode). The
name of the selected Song or Pattern is indicated at right.
To select the current Mixing as source, enter the
checkmark in the Current Mix checkbox.
Selects the Part (01 – 16) to which the source Voice is
assigned. The name of the selected Song or Pattern is
indicated at right.
3 Data type
Determines the source data type. By checking the
appropriate box, the corresponding data settings are
copied from the source Voice to the destination Mixing. The
other parameter settings are not copied from the Voice to
the current Mixing.
Copying the Performance Edit settings to the
Mixing Edit (Copy Performance)—[SF3] Perf
This Job lets you copy the settings of the Performance Edit
to the current Mixing. This would come in handy when a
certain Performance has settings that you want to use in
your Mixing program.
2 Data type
Determines the source data type.
Settings: Common, Part1 – 16, A/D, mLAN
n The Insertion Effect Switch is a Part parameter. Therefore, the
Insertion Effect Switch parameter settings are copied only
when selecting one of the Parts 1 – 16.
1
2
3
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237
Reference
Mixing mode
Determines the Bank and the Mixing program number to
be copied. The name of the selected Song or Pattern is
indicated at right. If you wish to select the current Mixing as
source, enter the checkmark in the Current Mix check box.
Sampling
mode 2
This convenient operation lets you copy Common Edit and
Part Edit settings of a certain Mixing to the currently edited
Mixing. This is useful if you are creating a Mixing and wish
to use some parameter settings from another Mixing.
1 In the Song mode: Song number
In the Pattern mode: Pattern number, Section
Master mode
Copying parameter settings from another
Mixing, Voice and Performance—[F3] Copy
Pattern mode
Song mode
2
3
Copying parameter settings from another
Mixing (Copy Part)—[SF1] Part
Voice mode
Sampling
mode 1
This Job lets you copy the Common Edit effect settings of
the Voice assigned to the specified Part to the current
Mixing. This would come in handy when a certain Voice
has effect settings that you want to use in your Mixing
program.
Performance
mode
Copying the Voice Common Edit settings to
the Mixing (Copy Voice)—[SF2] Voice
Utility mode
If you are editing a Song/Pattern Mixing program and
select a different Song/Pattern without storing the one
you’re editing, all the edits you’ve made will be erased. If
this happens, you can use Recall function to restore the
Mixing with your latest edits intact.
Settings: Common, Part1 – 16, A/D, mLAN
File mode
[F2] Recall
Determines the destination Part of the currently edited Mixing.
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode)
1 Bank, Performance number
1 Template
Determines the Bank and the Performance number to be
copied. The name of the selected Performance is shown at
right.
Determines the Mixing Template to be stored or recalled.
Pressing the [SF5] button to store the current Mixing while
pressing the [SF4] button to recall the Mixing Template
stored to User Memory.
Voice mode
2 Data type
Settings: 01 – 32
Performance
mode
Sampling
mode 1
Determines whether or not the settings of the listed
parameters are copied. By checking the box of the
Insertion Effect Switch, the Insertion Effect Switch settings
are copied from Performance Parts 1 – 4 to the Mixing
Parts set as Destination Parts (3). If the boxes of the other
parameters are checkmarked, the settings of the checked
parameters are copied from the Performance Common
mode to the Mixing Common mode. All other parameter
settings in the Common Edit and Part Edit modes will be
copied from the Performance to the current Mixing.
3 Destination Parts
Song mode
Determines the four parts of the current Mixing as
destination.
Enters the name of the Mixing Template. For detailed
instructions on naming, see page 82.
Copying the Performance Edit settings to a
Mixing (Template Performance)—[SF2] Perf
This Job lets you copy the settings of the Performance Edit
settings to the current Mixing. This would come in handy
when a certain Performance has settings that you want to
use in your Mixing program.
Settings: 1 – 4, 5 – 8, 9 – 12, 13 – 16
Mixing mode
Reference
Pattern mode
1
Transmitting the Mixing Settings to an
external MIDI device (Bulk Dump)—[F4] Bulk
This function lets you send specified parameter settings for
the currently edited Mixing to a computer or another MIDI
device for data archiving. To execute the Bulk Dump, press
the [ENTER] button.
Sampling
mode 2
n The Bulk Dump data includes only the MIDI messages and
does not include the Waveforms.
Master mode
n In order to execute Bulk Dump, you’ll need to set the correct
MIDI Device Number. For details, see page 268.
Mixing Template—[F5] Template
Utility mode
Storing/Recalling the Mixing to/from the
Template—[SF1] Mix
File mode
This Job lets you store your edited Mixing program to User
memory as a Mixing Template and recall it. 32 Mixing
Templates can be stored. 32 Mixing Templates can be
used both in the Song mode and the Pattern mode.
1
238
2 Mixing Template name
MOTIF XS Owner’s Manual
2
1 Bank, Performance number
Determines the Bank (USR 1 – 3) and the Performance
number (001 – 128) to be copied. The name of the
selected Performance is indicated at right.
n The difference between the Copy Performance and the
Template Performance is the MIDI receive channel set via the
Job execution. All the Mixing parts set via the Copy
Performance have the same MIDI channel whereas all the
Mixing parts set via the Template Performance have different
MIDI channels. This means that a Mixing setup created via the
Template Performance can be used as a multi-timbral tone
generator.
2 Destination Parts
2
Determines the four parts of the current MIxing as
destination.
Settings: 1 – 4, 5 – 8, 9 – 12, 13 – 16
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode)
Voice and the basic parameters that determine the
sound, such as Oscillator, Pitch, Filter, Amplitude, and
EG (Envelope Generator), call up the Element Edit
display.
Editing Mixing Voices
Press the [MIXING] button in the Song mode or
Pattern mode to call up the Mixing Play display
(page 231) in the Mixing mode.
Song mode
Voice name
5
6
7
8
ARP ON/OFF
Element Edit display
5
Voice Number
Voice Bank
2
[F6] button
Both Common Edit and Element Edit consist of several
displays. To find a desired display, note the tab menu
corresponding to the [F1] – [F5] buttons and [SF1] –
[SF5] buttons.
Move the cursor to the Part to which the
desired Voice is assigned.
The name of the selected Voice is shown at right top of
the display. You can also select the Voice here. To do
this, press the [PROGRAM] button (the lamp lights),
then select the desired Voice by using the Bank buttons
[PRE 1] – [GM], Group buttons [A] – [H] and the
Number buttons [1] – [16].
Call up the Edit display including the
parameters you wish to edit by pressing the
[F1] – [F6] buttons and [SF1] – [SF5] buttons.
6
Move the cursor to the desired parameter.
7
Edit the value by using the [INC/YES], [DEC/
NO] buttons and the data dial.
n Keep in mind that Drum Voices cannot be edited in the
Mixing Voice Edit mode.
8
Edit the Mixing Voice by repeating steps 4 – 7
as desired.
3
Press the [F6] Vce Edit button to enter the
Mixing Voice Edit mode.
9
Enter a name for the Mixing Voice from the
Name display (page 98) of the Common Edit.
4
Call up the Common Edit display or Element
Edit display.
To call up the Common Edit display, press the
[COMMON EDIT] button. To edit more global
parameters related to the overall Voice and how it’s
processed, such as Arpeggio, Controller, and Effects,
call up the Common Edit display.
To call up the Element Edit display, press one of the
Number buttons [1] – [8] to select the Element to be
edited. If you wish to edit the sounds that make up a
For detailed instructions on naming, see page 82.
10
If you wish to store the edited Voice, press the
[STORE] button to call up the Store window
(page 233).
For detailed instructions on storing, see page 186.
11
Press the [EXIT] or [MIXING] button to return
to the Mixing Play mode.
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Reference
PART SELECT
4
Pattern mode
3
Mixing mode
2
Sampling
mode 2
1
Master mode
COMMON EDIT
Utility mode
Voice Category
Common Edit display
File mode
1
Performance
mode
n For more information about Mixing Voices, see page 230.
Sampling
mode 1
Mixing Voices are Normal Voices that have been specially edited for and saved to specific Song/Pattern Mixings. Up to 16
Mixing Voices can be stored to each Song/Pattern Mixing. In this mode, you can edit the Voices assigned to Mixing Parts 1 –
16 respectively and store them as Mixing Voices. Mixing Voice Jobs are also available, providing convenient tools for
organizing your created Mixing Voices.
Keep in mind that Drum Voices cannot be edited in the Mixing Voice Edit mode.
Press the [F6] Vce Edit button to enter the Mixing Voice Edit mode.
Voice mode
Mixing Voice Edit
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode)
You can store the Voice edited in the Mixing Voice Edit
mode also as a User Normal Voice by setting the Voice
Bank to “USR1,” “USR2,” and “USR3.”
Useful functions in the Mixing Voice
Edit mode
3
Voice mode
The display prompts you for confirmation. To cancel the
Store operation, press the [DEC/NO] button.
Switching an Element on/off
This is the same as in the Voice Element Edit mode
(page 97).
4
Performance
mode
Press the [INC/YES] button to execute the
Store operation.
After the Mixing Voice has been stored, a “Completed”
message appears and operation returns to the original
display.
Soloing an Element to be edited
Sampling
mode 1
This is the same as in the Voice Element Edit mode
(page 97).
CAUTION
When you execute the Store operation, the settings for the
destination memory will be overwritten. Important data should
always be backed up to a separate USB storage device or to a
computer connected via network to the MOTIF XS. For detailed
instructions on saving, see page 278.
The [E] Indicator
Song mode
This is the same as in the Voice Element Edit mode
(page 97).
Mixing mode
Reference
Pattern mode
Compare function
Press the [ENTER] button.
Mixing Voice Job
This is the same as in the Voice Element Edit mode
(page 97).
[MIXING] ➞ [F6] Vce Edit ➞ [JOB]
The Mixing Voice Job mode provides convenient tools for
organizing your created Mixing Voices.
Mixing Voice Information—[SF6] INFO
Sampling
mode 2
Master mode
This window indicates the information of the current Mixing
Voice. You can call up this display by pressing the [SF6]
INFO button in the Mixing Voice Edit mode. Keep in mind
that the Information window can be called up only when
the [SF6] tab menu indicates “INFO.”
Press any of the panel buttons to return to the original
status.
Utility mode
Storing the created Mixing Voice
Mixing Voice Job Procedure
1
Press the [JOB] button in the Mixing Voice Edit
mode to enter the Mixing Voice Job mode.
2
Call up the desired Mixing Voice Job by
pressing the appropriate button ([F2] – [F4]).
3
Set the parameters for executing the Job.
Move the cursor to the desired parameter, then set the
value.
4
File mode
[MIXING] ➞ [F6] Vce Edit ➞ [STORE]
1
When the [E] indicator is shown on the display
in the Mixing Voice Edit mode, press the
[STORE] button.
Press the [ENTER] button. (The display
prompts you for confirmation.)
To cancel the Job, press the [DEC/NO] button.
5
Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed”
message appears and operation returns to the original
display.
The Mixing Voice Store window appears.
CAUTION
2
Specify the destination for storing the Mixing
Voice.
Select a Mixing Voice (MIXV) number as destination by
using the data dial, [INC/YES] and [DEC/NO] buttons.
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MOTIF XS Owner’s Manual
Even if a Job operation has been completed, selecting a
different Voice or turning the power off without storing will
erase the Voice data. Make sure to store the Voice data to
internal memory by pressing the [STORE] button before
selecting a different Voice or turning the power off.
6
Press the [EXIT] button to return to the Mixing
Voice Edit mode.
Multi-timbral Tone Generator Settings for Song/Pattern Playback (Mixing mode)
Determines the Mixing Voice to be erased.
Settings:
This is the same as in the Normal Voice Common Edit
mode. See page 98. However, some parameters having
the same name as those in the Voice Common Edit mode
are not available in the Mixing Voice Edit mode.
1
Element Edit parameters
2
1 Source Mixing Voice
[MIXING] ➞ [F6] Vce Edit ➞ Element selection
from [1] – [8]
This is the same as in the Normal Voice Element Edit mode.
See page 112.
Sampling
mode 2
Determines the source Mixing Voice by selecting Song or
Pattern (01 – 64) then specifying the number (01 – 16, all).
The main category 1/main category 2 and name of the
selected Mixing Voice is indicated in the lower line.
2 Destination Mixing Voice
Master mode
Determines the destination Mixing Voice. Same as above.
Utility mode
Deleting a Mixing Voice—[F3] Delete
File mode
This Job deletes an unnecessary Mixing Voice. Note that
up to 256 Mixing Voices can be stored for all Songs and
Patterns. Accordingly, the Mixing Voice memory will
become full and additional Voices cannot be stored if
you’ve stored 16 different Voices for 16 different Songs. If
this occurs, use this Job to delete any unused Mixing
Voices.
1
MOTIF XS Owner’s Manual
241
Reference
This Job lets you copy the Mixing Voice stored to a
specified Song/Pattern to another Song/Pattern.
[MIXING] ➞ [F6] Vce Edit ➞ [COMMON EDIT]
Sampling
mode 1
Copying another Mixing Voice Element
to the current one—[F3] Copy
Song mode
Common Edit parameters
Performance
mode
Voice mode
Song/Pattern: song, pattern
Song/Pattern number: 01 – 64
Mixing Voice number: 01 – 16, all
Pattern mode
If you are editing a Mixing Voice but have not stored it
before switching to another Mixing Voice, the edits you
have made will be cleared. If this happens, you can use the
Recall function to restore the Mixing Voice with your latest
edits intact.
1 Mixing Voice to be deleted
Mixing mode
Recalling the unedited sound—[F2]
Recall
Audio Recording to Song/Pattern (Sampling mode)
Voice mode
In addition to its use in the Voice and Performance modes, the Sampling mode can also be entered from the Song and
Pattern modes. This lets you record audio (such as vocals, electric guitar, or audio from an external device), and use it
directly on a Song/Pattern track as a Sample Voice. This section covers the Sampling functions when entering the Sampling
mode by pressing the [INTEGRATED SAMPLING] button in the Song mode or the Pattern mode.
Performance
mode
n You can also enter the Sampling mode by pressing the [INTEGRATED SAMPLING] button in the Voice mode or the Performance mode. Keep
in mind that the Sampling functions differ depending on from which mode the Sampling mode is called up, the Voice/Performance mode or
the Song/Pattern mode. See page 161 for instructions on using the Sampling function in the Voice mode/Performance mode.
The Sampling mode structure
Sampling
mode 1
In this section, you’ll learn about the structure and organization of Samples when recording audio to a Song/Pattern, as well
as the relationship between Samples, Sample Voices, and Mixings.
n For details about Samples, Waveforms, and Key Banks, see page 161.
Song mode
Pattern mode
Mixing mode
Reference
Audio Recording to Song/Pattern
About Slice
Because Songs and Patterns on the MOTIF XS handle only
MIDI data, audio signal cannot be recorded directly to a
track even by executing the Sampling operation.
The Slice function is an important operation of Sampling in
the Song/Pattern modes, since it allows you to easily divide
the audio into smaller parts which can then be triggered
and controlled in many musically useful ways.
Sampling
mode 2
Audio data you’ve recorded to a track via the Sampling
operation will be stored as a Sample Voice to a Song/
Pattern. The stored Sample Voice will automatically be
assigned to the Mixing Part corresponding to the recorded
track. In addition, the MIDI data for triggering the Sample
Voice will be recorded to the track. During playback, the
MIDI data of the track will trigger the Sample Voice.
Consequently, the resulting track effectively functions as an
Audio track.
Master mode
Utility mode
File mode
Sequencer block
Tone Generator block
Sequence data
(Song, Pattern)
Mixing
Track 1
Part 1: Voice 1
Track 2
Part 2: Voice 2
Track 3
Part 3: Sample Voice
Track 16
Part 16: Voice 16
Recording
Audio
recording
Audio data
Sample Voice
Assigning
Sample Voice
Audio data is recorded to a Sample Voice which is to be assigned to a
Song/Pattern, and note on/off events for triggering the recorded audio
signal are recorded to Track 3.
MIDI data
Audio data
MIDI data for triggering the Sample Voice
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MOTIF XS Owner’s Manual
Slice actually performs two operations on a Sample
simultaneously.
First, Slice creates a Sample Voice by dividing the original
Sample into smaller Samples of a specific note value (such
as 8th notes or 16th notes) depending on the rhythm, then
assigns the Samples to Key Banks. The created Sample
Voice is automatically assigned to the Mixing part
corresponding to the recorded Track.
Second, the Slice function creates sequence data
consisting of note events to which the sliced Samples are
assigned in order. The note events in the created sequence
data are arranged according to the Key Bank assignment
chromatically, with each gate time of the note events
matching the original Sample’s rhythm (e.g., 8th notes or
16th notes).
The end result is that you can hear the same sound from
both of the original Sample and the sliced Sample. If this
were the only result, Slice wouldn’t be of much use.
However, once a Sample is ‘sliced’ in this way, it can be
changed and played back in many convenient and
creative ways.
Firstly, you can change the tempo of the Sample in real
time. While the MOTIF XS features a Time Stretch Job for
changing the tempo of the Sample, this Job cannot be
used in real time during your keyboard performance
because it takes some time to convert the Sample data. On
the other hand, by using sliced Samples, you can change
the speed of Sample playback by changing the tempo
value of the Song/Pattern in real time.
Audio Recording to Song/Pattern (Sampling mode)
The second benefit is that you can quickly and easily
create variations of the original Sample by changing the
playback of the sliced Samples.
2
3
4
5
6
7
8
Voice mode
1
Performance
mode
For example, you could change the velocities and timing
points of the note events to which the sliced Samples are
assigned. This lets you create accents in the playback or
change the rhythm of the Sample to a swing feel, for
example. Furthermore, you can change the actual order of
the Sample slices (as note events), making it exceptionally
easy to come up with new and unusual sound variations.
Sliced, assigned Samples
The Sampling Main display, the entrance of the Sampling mode, is called up when entering the Sampling mode from the
current mode. Pressing the [INTEGRATED SAMPLING] button in the Song mode or Pattern mode calls up the Sampling
mode dedicated to creation of Sample Voices assigned to a Song/Pattern track. Press the [EXIT] button to return to the
original mode, Song or Pattern.
n This section covers the Sampling mode called up from the Song/Pattern mode. See page 162 for instructions on using the Sampling function
in the Voice mode/Performance mode.
Selecting a Waveform and Key Bank—
[INTEGRATED SAMPLING]
The Sampling Main display lets you select the Waveform
and its Key Bank and hear the sound of the Sample
assigned to the selected Key Bank.
1
2
4
5
6
7
8
9
3
The parameters 1 – 7 and the [SF1], [SF5], [SF6], and
[F6] buttons are same as in the Sampling mode called up
from the Voice mode/Performance mode. See page 162.
8 Track (Indication only)
Indicates the track number of the currently selected Song/
Pattern.
9 Measure (Indication only)
Indicates the measure number of the currently selected
Song/Pattern.
Song mode
Pattern mode
n Keep in mind that you can assign the User Voices created in
the Sampling mode entered from the Voice/Performance mode
to Mixing parts of the Song/Pattern. You can also assign the
Waveforms created in the Sampling mode entered from the
Song/Pattern mode to Elements of the Voice in the Voice Edit
mode.
MOTIF XS Owner’s Manual
243
Reference
Sampling Main display
Mixing mode
You can produce melodic or rhythmic variations simply by
changing the sequence of the note events.
Sampling
mode 2
1, 3, 1, 4, 5, 8, 3, 6
Master mode
Example 2
Utility mode
1, 2, 3, 4, 5, 6, 7, 8
File mode
Phrase order to be played
Sampling
mode 1
C D E F G A B
Example 1
Audio Recording to Song/Pattern (Sampling mode)
Sampling Record
[INTEGRATED SAMPLING] ➞ [F6] Rec
Voice mode
The Sampling Record function lets you record sounds—such as vocals from a connected microphone, the signal from an
electric guitar, or audio from an external CD or MP3 player—and store the audio as a Sample Voice, which is used in the
tracks of a Song/Pattern. See page 39 for instructions on using the Sampling function in the Song mode/Pattern mode.
n This section covers the Sampling mode called up from the Song/Pattern mode. See page 163 for instructions on using the Sampling function
in the Voice mode/Performance mode.
Performance
mode
Important
In order to use the Sampling function, DIMM modules must be installed to the instrument. For details on installing DIMMs, see page 295.
The recorded (edited) Sample data residing temporarily in DIMM is lost when the power is turned off. Make sure to prepare the USB storage
device or a computer connected to the same network as the MOTIF XS before using the Sampling function.
Sampling
mode 1
3 Stereo/Mono
Sampling Setup—[F6] Rec
Song mode
Mixing mode
Reference
Pattern mode
From this display you can set up various parameters for
Sampling. Press the [F6] button from the Sampling main
display to call up this display. Press the [EXIT] button to go
back to the Sampling Main display.
After setting up, press the [F6] Standby button to call up
the Record Standby display (page 245).
1
2
3
4
5
6
7
Sampling
mode 2
8
9
)
!
4 Record Next
This is available when the Recording Type in the Setup
display is set to “sample.” Refer to the description of the
same-named parameter on page 164.
5 Frequency
Specifies the sampling frequency. Refer to the description
of the same-named parameter on page 165.
6 Waveform
Determines the Waveform number as destination.
Settings: 0001 – 1024
CAUTION
@
Master mode
#
1 Recording Type
Utility mode
Determines the recording method. The Sampling
procedure and created Sample data differ depending on
the setting here.
Settings: slice+seq, sample, sample+note
slice+seq
File mode
The recorded Sample is automatically divided into “slices” to be stored
as a Sample Voice then these slices are assigned to successive notes
on the keyboard. These notes are then automatically arranged in MIDI
sequence data (to the specified track) for playback. For example, if a
1-measure drum pattern is sampled and a 8th note size is specified,
the recorded measure will be sliced into (approximately) eight Samples
which will be assigned to the eight consecutive notes on the keyboard.
sample
The recorded audio signal is just stored as a Sample Voice. This
setting produces no MIDI sequence data resulting that the recorded
Sample is not played back even when playing back the Song/Pattern.
sample+note
In addition to sample data, the appropriate note data for playing the
sample is created and recorded to the specified Track (8).
2 Input Source
Determines the input connector via which the signal to be
sampled will be received. Refer to the description of the
same-named parameter on page 164.
244
Determines whether new Samples will be recorded as
stereo or mono Samples. Refer to the description of the
same-named parameter on page 164.
MOTIF XS Owner’s Manual
This operation overwrites any data previously existing at the
destination Waveform number. Important data should always be
saved to a USB storage device connected to the USB TO DEVICE
terminal or to a computer connected to the same network as the
MOTIF XS (page 278).
7 Keybank
Determines the note number of the Key Bank as
destination. The value set here can be changed in the
Sampling Edit mode (page 250). Keep in mind that this
parameter cannot be set when the Recording Type is set to
“slice+seq.”
Settings: C -2 – G8
n When the Recording Type is set to “slice+seq,” sliced
Samples will be assigned to the notes in order chromatically,
starting with C1 (MOTIF XS6), E0 (MOTIF XS7) and A -1
(MOTIF XS8) respectively.
n You can also set the Key directly from the keyboard, by
holding down the [SF6] KBD button and pressing the desired
key. For details, see page 82.
8 Track
Determines the track number to which the recorded
Sample is assigned. After recording is finished, the created
Sample Voice is to be assigned to the Mixing part
corresponding to the Track specified here. When the
Recording Type is set to “slice+seq” or “sample+note,”
Audio Recording to Song/Pattern (Sampling mode)
6
7
@ Recordable Time (Indication only)
#
Indicates the available Sampling time using the available
memory. The time indicated here is calculated assuming a
mono signal with a sampling frequency of 44.1 kHz. The
amount of memory space currently being used is shown in
the display as a blue line.
8
9
)
!
@
$
%
1 Waveform (Indication only)
Indicates the number and name of the selected Waveform.
# [F6] Standby
Pressing this button to call up the Sampling Standby
display.
This display is used for executing the Sampling. For
details, see page 245.
2 Key Range (Indication only)
3 Velocity (Velocity Range) (Indication only)
Indicates the velocity range of the currently selected Key
Bank.
Sampling Standby and Start—[F6]
Standby
This display is used for starting Sampling. Press the [F6]
button from the Setup display to call up this display. Press
the [EXIT] button to go back to the Setup display.
After setting the parameters as necessary, press the [F5]
Start button to start the Sampling procedure. Note that the
actual Sampling start timing differs depending on the
Trigger Mode setting.
When the Trigger Mode ()) is set to “level”:
Even if you press the [F5] Start button, the WAITING
indication just appears on the display and actual Sampling
does not start. When audio signal exceeding the specified
Trigger Level (9) is input, the RECORDING indication
replaces the WAITING indication and Sampling starts.
When the Trigger Mode ()) is set to “meas”:
Even if you press the [F5] Start button, the WAITING
indication just appears on the display and actual Sampling
does not start. Set the Measure (5) at which the Song/
Pattern playback starts, input a measure number larger
than the Measure value (5) to the Punch In/Out parameter
(!), then press the [F] (Play) button to start playback.
After starting playback, actual sampling will begin at the
Voice mode
Indicates the key range of the currently selected Key Bank.
4 Track (Indication only)
Indicates the track number to which the recorded Sample
is assigned.
5 Measure
Indicates the measure number of the currently selected
Song/Pattern. You can change the measure number by
using the [G]/[H] (Reverse/Fast Forward) buttons.
Settings:
When entering the Sampling mode from the Song mode: 001 – 999
When entering the Sampling mode from the Pattern mode: 001 – 256
6 Record Monitor
Determines the output level of the monitor for the input
signal. This monitor signal is output from the PHONES jack
or the OUTPUT R and L/MONO jacks.
Settings: 0 – 127
7 Record Gain
This parameter is available only when the Input Source
(page 244) is set to “resample.” Determines the recording
gain when resampling. The higher the value, the greater
the volume of the resampled sound. Before executing the
Sampling (Recording) operation, you can set the
appropriate gain by checking the volume via the Level
Meter (@) while playing the keyboard.
Settings: -12dB, -6dB, +0dB, +6dB, +12dB
MOTIF XS Owner’s Manual
245
Reference
This parameter is not available when entering the Sampling
mode from the Song mode/Pattern mode.
Performance
mode
! Drum Key
Sampling
mode 1
4
5
Song mode
1
2
Pattern mode
This parameter is not available when entering the Sampling
mode from the Song mode/Pattern mode.
Mixing mode
) Voice
3
Sampling
mode 2
This parameter is not available when entering the Sampling
mode from the Song mode/Pattern mode.
Actual Sampling (Recording) starts when you press the
[F5] Start button.
Master mode
9 Part
When the Trigger Mode ()) is set to “manual”:
Utility mode
Settings: 01 – 16
specified Punch In measure, and end at the specified
Punch Out measure.
File mode
the note data for playing back the Sample Voice will be
created in the Track specified here.
Audio Recording to Song/Pattern (Sampling mode)
8 Key
Indicates the Key Bank (page 244) set in the Sampling
Record Setup display. The Key Bank can be changed both
here and in Sampling Edit (page 250) after the Recording
is finished.
Sampling RECORDING display
During Sampling, a graphic representation of the recorded
audio appears in the display.
Voice mode
Settings: C -2 – G8
n You can also set the Key directly from the keyboard, by
holding down the [SF6] KBD button and pressing the desired
key. For details, see page 82.
Performance
mode
9 Trigger Level
Sampling
mode 1
When the Trigger Mode ()) is set to “level,” you’ll also
need to set the Trigger Level. Sampling (Recording) will
begin as soon as an input signal exceeding the specified
trigger level is received. The level set here will be indicated
as a red triangle in the level meter. For best results, set this
as low as possible to capture the entire signal, but not so
low as to record unwanted noise.
Song mode
Settings: 000 – 127
) Trigger Mode
Mixing mode
Reference
Pattern mode
Determines the method by which Sampling will be
triggered.
Settings: level, meas, manual
level
Sampling starts as soon as an input signal exceeding the specified
trigger level (9) is received.
meas (measure)
Sampling
mode 2
This should be set together with the Punch In/Out measure (!). After
the [F6] Start button is pressed, actual sampling will begin at the
specified Punch In measure, and end at the specified Punch Out
measure. Sampling will also stop when the Song/Pattern is stopped by
pressing the [J] (Stop) button. This method lets you recording the
audio signal while monitoring the sound of other Tracks.
manual
Master mode
Sampling starts soon after you press the [F6] REC button. This setting
lets you start Sampling at the desired timing regardless of the input
level from audio source.
! Punch In/Out
Utility mode
This parameter is available only when the Trigger Mode
()) is set to “meas.” The Punch In value determines the
measure number at which sampling starts automatically
while the Punch Out value determines the measure number
at which sampling stops automatically.
[F6] Stop
Press this button to stop Sampling (Recording).
In each of the following cases, the “FINISHED” display
appears after Sampling is finished.
• When Recording Type (page 244) is set to “sample” or
“sample+note” and [SF1] Confirm is turned on
• When Recording Type (page 244) to “slice+seq”
From the FINISHED display, you can listen to the justrecorded Sample by pressing the [SF1] button. See below
for details.
Sampling FINISHED display
When [F2] Confirm is turned on before the Sampling starts,
the FINISHED display below appears as soon as the
Sampling is finished. From this display, you can hear and
confirm the Sample by pressing the [SF1] Audition button.
If you are satisfied with the sound, press the [ENTER]
button to fix the Sampling result as Sample data. If you are
not satisfied with the Sampling result, press the [EXIT]
button then try again.
When [F2] Confirm is turned off before Sampling starts, the
Sampling operation will automatically fix the Sample data
and return to the Setup display (page 244).
Settings: 001 – 999 (Song mode), 001 – 256 (Pattern mode)
File mode
@ Level Meter
# Recordable Time (Indication only)
Refer to the description of the same-named parameter on
page 165.
$ [SF1] Confirm
This is available when Recording Type in the Setup display
(page 244) is set to “sample” or “sample+note.”
% [F5] Start
Press this button to start Sampling.
[SF1] Audition
You can hear the recorded Sample by holding this button.
This lets you hear precisely how the Sample is played back.
246
MOTIF XS Owner’s Manual
Audio Recording to Song/Pattern (Sampling mode)
1
Set the Start Point to the point at which the
actual sound of the recorded Sample starts.
3
1
2
4
5
6
7
8
9
)
!
@
(
You can use the [SF1] Audition button to listen to the
Sample and [SF4] Zoom Out/[SF5] Zoom In button to
view the wave of the Sample.
2
%
^
& *
Parameters 1 – 5 are the same as the ones in the
Standby display (page 245).
Set the Tempo (9), Meter ()), and Measure (!)
for Sample playback.
Determines the Start point for Sample playback. The part
at the left side of this point will not be played back.
Set the Loop Point (7) as necessary.
When the menu indication of the [SF2] button is
“LP=ST,” the Start (Start Point) and the Loop (Loop Start
Point) will share the same address, meaning that both
of them will be changed simultaneously, even if just one
of them is changed. Pressing the [SF2] button in this
condition changes the menu from “LP=ST” to “LP≠ST.”
When the menu indication here is “LP≠ST,” the Start
(Start Point) and the Loop (Loop Start Point) can be
changed independently. When pressing the [SF2]
button in this condition, the address value of the Start
will be copied to the one of the Loop, with the result that
both of them share the same address value. The menu
indication of the [SF2] button also changes from
“LP≠ST” to “LP=ST.”
4
$
n By pressing the [SF6] NUM button, you can use the [SF1]
– [SF5] and [F1] – [F6] buttons as number buttons.
Pressing the [EXIT] button return their buttons to the
original status. For details, see page 81.
The End Point (8) will be automatically changed so
that the length between the Start Point and the End
Point matches the settings here.
3
#
Press the [ENTER] button. (The display
prompts you for confirmation.)
6 Start Point
Settings: 0000000 – End point
7 Loop Point
Determines the Loop point at which the loop playback starts.
When the Play mode is set to “loop,” the Sample is played
back between this Loop point and the End point (6).
Voice mode
Performance
mode
Settings: 0000000 – End point
8 End Point
Determines the End point for Sample playback. The par t at
the right side of this point will not be played back. The End
Point will be automatically determined so that the length
between the Start Point and the End Point matches the
settings of the Tempo (9), Meter ((), and Measure (!).
Settings: 0000000 – (depending on the Sample’s length)
9 Tempo
Determines the Tempo of Sample playback. Setting the
Tempo changes the End Point (8) so that the length
between the Start Point and the End Point matches the
settings of the Meter and Measure.
Settings: 5.0 – 300.0
MOTIF XS Owner’s Manual
247
Reference
When Recording Type (page 244) is set to “slice+seq,”
stopping Recording (and subsequently fixing the sampled
data when Confirm is turned on) calls up this display. From
this display, you can delete unwanted portions of the
Sample, located ahead of the Start point and located after
the End point). Press the [EXIT] button to go back to the
Setup display.
The procedure in the Record Trim display is as follows.
Sampling
mode 1
Trimming the Sample—Record Trim
display
Song mode
CAUTION
The data deleted via the Extract operation cannot be
recovered. If you have accidentally deleted a necessary
portion of the Sample, press the [EXIT] button to return to the
Setup display, then execute the Sampling operation again.
Pattern mode
Press the [F6] Slice button to call up the Slice
display.
Mixing mode
6
Sampling
mode 2
Press the [INC/YES] button to execute the
Extract operation to delete unwanted portions
of the Sample.
Master mode
5
Utility mode
n When Recording Type (page 244) is set to “slice+seq,”
stopping Recording calls up the Record Trim display
(page 247).
If you wish to cancel the operation, press the [DEC/NO]
button.
File mode
n When Recording Type (page 244) is set to “sample” or
“sample+note” and [SF1] Confirm is turned off, stopping
Recording will automatically fix the just-recorded Sample data
and the instrument will return to the Setup display (page 244).
Please note that the instrument returns to the STANDBY
display as soon as Sampling is finished if Record Next is
turned on in the Setup display before the Sampling operation.
Audio Recording to Song/Pattern (Sampling mode)
) Meter
Determines the meter (time signature) of Sample playback.
Setting the Meter changes the End Point (8) so that the
length between the Start Point and the End Point matches
the settings of the Tempo and Measure.
Voice mode
Settings: 1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4
! Measure
Performance
mode
Determines the amount of measures for Sample playback.
Setting the Measure changes the End Point (8) so that the
length between the Start Point and the End Point matches
the settings of the Tempo and Meter.
Settings:
Sampling
mode 1
Measure: 000 – 032
Beat: 00 – 15 (Varies depending on the Meter setting.)
When the Recording Type (page 244) is set to “slice+seq,”
you can call up this display by pressing the [F6] Slice
button in the Record Slice display. From this display, you
can divide the recorded Sample into several slices
according to the rhythm of the original Sample. By
executing the Slice operation, the recorded Sample is first
divided into “slices” to be stored as a Sample Voice, then
these slices are assigned to successive notes on the
keyboard. These notes are then automatically arranged in
MIDI sequence data (to the specified track) for playback.
The procedure on the Record Slice display is as follows.
@ Recordable Time (Indication only)
Song mode
Indicates the available Sampling time using the available
memory. The time indicated here is calculated assuming a
mono signal with a sampling frequency of 44.1 kHz. The
amount of memory space currently being used is shown in
the display as a blue line.
Mixing mode
Reference
Pattern mode
# [SF1] Audition
You can hear the selected Sample by holding this button.
This lets you hear precisely how the Sample is played
back.
1
Select a Slice Type (6).
2
Set the amount of Measures (7) for Sample
playback.
3
Set the Meter (8), Sub Divide (9), and
Sensitivity ()).
4
Press the [SF4] Apply button to execute Slice.
The Apply indication color will change from green to
gray. At this time, the Sample has been modified
temporarily and is not fixed as data.
$ [SF2] LP=ST
Sampling
mode 2
Master mode
Utility mode
When the menu indication here is “LP=ST,” the Start (Start
Point) and the Loop (Loop Start Point) will share the same
address, meaning that both of them will be changed
simultaneously, even if just one of them is changed.
Pressing the [SF2] button in this condition changes the
menu from “LP=ST” to “LP≠ST.” When the menu indication
here is “LP≠ST,” the Start (Start Point) and the Loop (Loop
Start Point) can be changed independently. When pressing
the [SF2] button in this condition, the address value of the
Start will be copied to the one of the Loop, with the result
that both of them share the same address value. The menu
indication also changes from “LP≠ST” to “LP=ST.”
5
File mode
Pressing the [SF3] button adjusts the zoom level so that the
entire wave, including the Start Point and End Point, is
shown on the display.
Press these buttons to zoom in and out of the wave
indication of the Sample in the display.
* [F6] Slice
Pressing this button calls up the Record Slice display.
( [SF6] NUM
When “NUM” is shown in the tab, you can use the [F1] –
[F6] buttons and the [SF1] – [SF5] buttons as numeric keys
by pressing the [SF6] button.
MOTIF XS Owner’s Manual
Confirm the result of the Slice operation.
Press the [SF1] Audition button to hear the modified
Sample. If you are satisfied with the result, go on to the
step 6. If you are not satisfied with the results and want
to try again, press the [SF4] Apply button again to abort
the Slice operation and return the Sample to the original
status. The Apply indication color returns to green. In
this case, attempt the operation again from step 1.
6
% [SF3] Display
^ [SF4] Zoom Out
& [SF5] Zoom In
248
Slicing the Sample—Record Slice
display
Press the [ENTER] button to fix the Slice result
as Sample data.
The instrument returns to the Setup display.
7
Press the [EXIT] button a number of times to
go back to the Song mode or Pattern mode.
Listen to the recorded track having the sliced Sample.
8
Before turning the power off, store the Song or
Pattern data to internal memory then save the
created Waveform to a USB storage device or
to a computer connected via network to the
MOTIF XS.
For information about how to store and save, see pages
186 and 278.
Audio Recording to Song/Pattern (Sampling mode)
1/2. This parameter has no effect when the Slice Type
parameter is set to beat 1 – 2.
Settings:
$
Parameters 1 – 5 are the same as the ones in the
Standby display (page 245).
6 Type
Select the type that best suits the original phrase. Specifies
how the Sample is sliced, and to some extent determines
the resulting sound quality.
Further adjusts the sub-divisions specified by the Sub
Divide parameter. Higher values result in higher resolution,
allowing even finer notes and smaller sounds to be
detected and sliced. Use the Audition function (press
[SF1]) to hear the results, and if you’re not satisfied with
them, change the setting and try again.
This parameter has no effect when the “quick” slice type is
selected.
Settings: 1 – 5
Settings: beat1 – 3, phrase1 – 4, quick
beat1 – 3
This slice type is suited for percussive phrases such as drums or bass
with a fast attack and short decay. Three variations are provided.
Phrase1 – 4
Ideal for phrases containing cymbals or other instruments with a long
decay. Four variations are provided.
! Tempo
Determines the Tempo with which the sliced Samples are
to be played back via the [SF1] Audition button. The value
set here is applied to the tempo of Song/Pattern playback.
Settings: 005 – 300
quick
Regardless of the phrase content, the Sample is divided at the
specified note sub-divisions. The number of slices per measure is
calculated by multiplying the top number of the Meter (time signature)
parameter by the bottom number of the Sub Divide parameter.
@ Recordable Time (Indication only)
n For helpful hints on getting the Slice Type parameter to work
for different Samples, see “Tips for using the Slice Types”
below.
Indicates the available Sampling time using the available
memory. The time indicated here is calculated assuming a
mono signal with a sampling frequency of 44.1 kHz. The
amount of memory space currently being used is shown in
the display as a blue line.
n You can call up the list and select the desired item by pressing
the [SF6] LIST button. For details, see page 82.
# [SF4] Apply
Settings: 1 – 8
When this tab menu is displayed in green, Sampling
(Recording) has already finished and the Slice operation
has not been executed yet. In such a situation, pressing
this button executes the Slice and changes the tab menu
color to gray.
When this tab menu is displayed in gray, both the Sampling
(Recording) and the Slice operations have been executed.
In this status, pressing this button returns to the beforeslice status with the “Apply” color in green.
8 Meter
$ [F6] Trim
Specifies the meter (time signature) of the Sample. The
setting here is the basic slice unit.
Pressing this button calls up the Record Trim display
(page 247), allowing you to delete unwanted portions of
the Sample.
7 Measure
Determines the amount of measures for Sample playback.
When the Slice operation is executed, sequence data
corresponding to the specified number of measures is
created.
The sequence data is created from the beginning of the
current measure at which Sampling is started.
Settings: 1/16 – 16/16, 1/8 – 16/8, 1/4 – 8/4
Performance
mode
) Sens (Sensitivity)
9 Sub Divide
The Meter parameter sets the basic slice unit, and Sub
Divide specifies even finer resolution for phrases
containing regions with shorter notes. For a one-measure
phrase including quarter notes and eighth notes, for
example, the Meter should be set to 4/4 and Sub Divide to
MOTIF XS Owner’s Manual
249
Reference
#
n The maximum slice resolution for stereo Samples is 64 slices,
and for mono Samples 128 slices.
Pattern mode
@
note triplet (1/3)
Mixing mode
9
)
!
Sampling
mode 2
6
7
8
Sampling
mode 1
triplet (1/3), 32nd note (1/4), 16th note triplet (1/6)
When Meter is set to 1 – 16/16: 16th note (1/1), 32nd note (1/2), 16th
Song mode
When Meter is set to 1 – 16/8: 8th note (1/1), 16th note (1/2), 8th note
Voice mode
When Meter is set to 1 – 8/4: quarter note (1/1), 8th note (1/2), 4th
note triplet (1/3), 16th note (1/4), 8th note triplet (1/6), 32nd note 1/8),
16th note triplet (1/12)
Master mode
4
5
Utility mode
1
2
File mode
3
Audio Recording to Song/Pattern (Sampling mode)
Tips for using the Slice Types
Slicing percussive phrases having short decays
Voice mode
Performance
mode
First, try slicing using “beat1.” If the result has a weak
attack or the release portions of the phrase seem to
overlap, try again using “beat2.” Try adjusting the envelope
sensitivity for finer control.
If after using “beat1” the attack portions overlap or the
overall rhythmic feel is degraded, try again using “beat3.”
Make final adjustments with the Envelope Sensitivity
parameter.
Slicing phrases having long decays
Sampling
mode 1
Song mode
Pattern mode
Mixing mode
Reference
Sampling
mode 2
First, try slicing using “phrase1.” If the result has a weak
attack or the release portions of the phrase seem to
overlap, try again using “phrase2.” Make final adjustments
with the Envelope Sensitivity parameter.
If after using “phrase1” the points between the slices
sounds rough and the overall feel is choppy, try again
using “phrase3” or “phrase4” and set Sub Divide to a finer
resolution. Make final adjustments with the Envelope
Sensitivity parameter. The “phrase3” setting is generally
best for sustained strings or brass type sounds with no
vibrato—in other words, the pitch remains constant. It can
also produce echo-like effects when applied to percussive
phrases with short decay.
If after using “phrase1” the points between the slices
sounds rough and the overall feel is choppy, try again
using “phrase4” and set Sub Divide to a finer resolution.
Make final adjustments with the Envelope Sensitivity
parameter. The “phrase4” setting is generally best for
sustained strings or brass type sounds with vibrato, as well
as vocal phrases.
Wave Memory Required for Slice
Operations
Individual wave data slices created through Slice
operations require approximately 1.5 times the original
memory because a tail section is automatically added and
fade-in and fade-out sections are automatically created at
the beginning and end of the wave data. This helps to
maintain maximum sound quality when the tempo is
increased, and results in smoother connections between
slices (no tail section is created when the “quick” slice type
is selected).
A memory work area is required for the processing
calculations carried out for each Slice operation, as well as
sufficient memory to hold the completed waveforms. When
the sampling frequency is 44.1 kHz, the approximate
amount of memory (expressed in kilobytes) required for
each Slice type is listed below.
beat 1
Original wave size X N + (0.3 X number of slices)
beat 2
Original wave size X N + (0.2 X number of slices)
beat 3
Original wave size X N + (0.3 X number of slices)
phrase 1
Original wave size X N + (5.8 X number of slices)
phrase 2
Original wave size X N + (1.4 X number of slices)
phrase 3
Original wave size X N + (0.4 X number of slices)
phrase 4
Original wave size X N + (1.4 X number of slices)
quick
Original wave size X N + (0.7 X number of slices)
For mono Samples N = 5.5, and for stereo Samples N = 8.
Also, the number of slices is doubled for stereo Samples.
Master mode
Sampling Edit
Utility mode
[INTEGRATED SAMPLING] ➞ [EDIT]
File mode
The Sampling Edit mode gives you comprehensive, detailed controls for editing the recorded Sample and changing the
Sample settings. Press the [EDIT] button from the Sampling Main display to call up the Sampling Edit display. Press the
[EXIT] button to go back to the Sampling Main display.
Same as in the Sampling mode called up from the Voice mode/Performance mode. For information about Sampling Edit, see
page 167.
Sampling Job
[INTEGRATED SAMPLING] ➞ [JOB]
The Sampling Job mode lets you process and modify Samples you have recorded. 18 Sampling Jobs are available.
Same as in the Sampling mode called up from the Voice mode/Performance mode. For information about the Sampling
Jobs, see page 171.
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MOTIF XS Owner’s Manual
Performance
mode
This synthesizer is loaded with such a wealth of different features, functions and operations, you may find it difficult to locate
and call up the particular feature you need. This is where the Master function comes in handy. You can use it to memorize the
operations you use most often in each mode, and call them up instantly anytime you need them with a single button press.
The MOTIF XS has space for a total of 128 of your own User Master settings.
Press the [MASTER] button to enter the Master Play mode.
Voice mode
Using as a Master Keyboard (Master mode)
Master Play mode
001 – 016
B01 – 16
017 – 032
C01 – 16
033 – 048
D01 – 16
049 – 064
E01 – 16
065 – 080
F01 – 16
081 – 096
G01 – 16
097 – 112
H01 – 16
113 – 128
2 Master name (Indication only)
3
4
5
1
2
6
7
4 Program number (Indication only)
Determines the Program number (Voice number,
Performance number, Song number, or Pattern number)
that is called up when the Master is selected. The program
type differs depending on the memorized mode.
When the Voice mode is memorized:
Voice Bank/Number
When the Performance mode is
memorized:
Performance Bank/
Number
When the Song mode is memorized:
Song Number
When the Pattern mode is memorized:
Pattern Number
Master mode
Indicates the mode memorized to the current Master. One
the modes (Voice, Performance, Pattern or Song) is
indicated here.
Sampling
mode 2
3 Mode (Indication only)
Utility mode
In the Master Play mode, you can select a Master program
and play the keyboard according to the settings of the
selected Master program. Changing the Master number
lets you call up one of the modes and various settings such
as tone generator settings (multi-timbral or single) and
MIDI settings.
Indicates the name of the current Master.
File mode
Playing the Keyboard in the Master
Play mode—[MASTER]
5 Octave
Indicates the Keyboard Octave setting set via the OCTAVE
buttons. This parameter determines how much higher or
lower the pitch of each key is compared to normal pitch.
1 Master Number (Group/Number)
Indicates the selected Master number.
n Master numbers 001 to 128 are converted to the format
(shown in the parentheses) related to Banks A to H and
Program Numbers 1 to 16 (for the Bank). This format is related
to the Group buttons [A] – [H] and the Number buttons [1] –
[16]. The Master numbers and the corresponding Group/
Numbers are listed below.
MOTIF XS Owner’s Manual
251
Reference
Program Number
A01 – 16
Pattern mode
The MOTIF XS features 128 specially programmed
Masters, stored to internal User Memory (Flash ROM). The
Bank consists of eight Groups (A to H), each of which
contains 16 Master programs. To call up the desired
Master program, select the appropriate Group and
Number.
Group/Number
Mixing mode
Selecting a Master Program
Song mode
Sampling
mode 1
To enter the Master Play mode and call up the Master Play display, press the [MASTER] button from the current mode.
Using as a Master Keyboard (Master mode)
6 Knobs 1 – 8
Voice mode
Indicates the parameters to which respective Knobs 1 – 8
are assigned and their current values. Pressing the
[SELECTED PART CONTROL] button repeatedly switches
among the parameter sets (indicated by the lamps). For
information about the parameters, see below.
Master Information—[SF6] INFO
(Information)
This window indicates the information of the current Master.
Settings cannot be changed here.
Performance
mode
When the Voice mode is memorized:
See page 89.
When the Performance mode is
memorized:
See page 136.
When the Song mode is memorized:
See page 180.
1
2
When the Pattern mode is memorized:
See page 210.
3
Sampling
mode 1
7 Control Sliders 1 – 8
4
Indicates the levels of respective Control Sliders 1 – 8. The
target to be adjusted by the Control Sliders differs
depending on the mode memorized to the current Master.
5
Song mode
Volume for Elements 1 – 8
When the Performance mode is
memorized:
Volume for Parts 1 – 4
When the Song mode is memorized:
Volume for Parts 1 – 16
Pattern mode
When the Pattern mode is memorized:
Mixing mode
Reference
When the Voice mode is memorized:
[SF1] ARP1 – [SF5] ARP5 (Arpeggio 1 – 5)
Sampling
mode 2
When the memorized mode is Voice or Performance, a
different Arpeggio type is assigned to each of the [SF1]
ARP1 – [SF5] ARP5 buttons according to the Voice or
Performance number. The Arpeggio types are assigned to
the buttons with the 8th note icon on the display tab. You
can call them up by pressing these buttons any time during
your keyboard performance.
[SF1] Scene1 – [SF5] Scene5
Master mode
When the memorized mode is Song or Pattern, a different
Scene setting is assigned to each of the [SF1] – [SF5]
buttons according to the Song or Pattern number.
Utility mode
[SF6] INFO (Information)
Press this button to call up the information window of the
current Master.
1 Master Name
Indicates the name of the current Master.
2 Mode
Indicates the mode memorized to the current Master. One
of the modes (Voice, Performance, Pattern or Song) is
indicated here.
3 Program
Indicates the number and name of the program (Voice,
Performance, Song, or Pattern) that is called up when the
Master is selected. The program differs depending on the
memorized mode.
When the Voice mode is
memorized:
Voice Bank, Number, Category,
Name
When the Performance mode is
memorized:
Performance Bank, Number,
Category, Name
When the Song mode is
memorized:
Song number, Song name
When the Pattern mode is
memorized:
Pattern number, Pattern name
4 Zone Switch
File mode
Determines whether or not the keyboard will be divided
into (up to) eight independent areas (called “Zones”). For
details about Zones, see page 253.
5 Transmit Channel
Indicates the MIDI transmit channel of each Zone (when
the Zone Switch is set to on).
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MOTIF XS Owner’s Manual
Using as a Master Keyboard (Master mode)
Master Edit
Common Edit display
5
7
8
ARP ON/OFF
Zone Edit display
5
Call up the Edit display including the
parameters you wish to edit by pressing the
[F1] – [F5] buttons and [SF1] – [SF2] buttons.
For information about the parameters, see pages 254
and 255.
Master Edit Procedure
6
Move the cursor to the desired parameter.
Press the [MASTER] button to enter the Master
Play mode, then select a Master.
7
Edit the value by using the [INC/YES], [DEC/
NO] buttons and the data dial.
2
Press the [EDIT] button to enter the Master
Edit mode.
8
Repeat steps 4 – 7 as desired.
3
Set the Zone Switch parameter to “on” in the
Other display as necessary.
9
Enter a name for the Master in the Name
display (page 254) of Common Edit.
4
Call up the Common Edit display or Zone Edit
display.
1
To call up the Common Edit display, press the
[COMMON EDIT] button. You can specify the mode
and program number called up when the Master is
selected, and the Master name in the Common Edit
mode.
To call up the Zone Edit display, press one of the
Number buttons [1] – [8] to select the Zone to be
edited. Here you can set various parameters such as
the keyboard range and MIDI Transmit Channel for
each Zone in the Zone Edit mode.
10
If you wish to store the edited Master, press
the [STORE] button to call up the Store
window (page 254).
For detailed instructions on storing, see page 254.
CAUTION
The edited Master will be lost when selecting a different
Master, calling up a different mode, or turning the power off.
Make sure to store the Master data to internal memory by
pressing the [STORE] button before selecting a different
Master, calling up a different mode, or turning the power off.
n Save the edited and stored Master data to a USB storage
device or to a computer connected via network to the
MOTIF XS as necessary. Keep in mind that edited Master
data is stored to internal User memory (Flash ROM) and is
maintained even when power is turned off. Therefore it is
not necessary to save the data to an external device;
however, we still recommend that you save or archive all
important data to an external device. Refer to page 278
for details.
MOTIF XS Owner’s Manual
253
Reference
Song mode
PART SELECT
6
Pattern mode
4
Mixing mode
3
Sampling
mode 2
2
Master mode
1
Utility mode
COMMON EDIT
File mode
In the Master mode, you can divide the keyboard into (up
to) eight independent areas (called “Zones”). Different
MIDI channels and different functions of the Knobs and
Control Sliders can be assigned to each Zone. This makes
it possible to control several Parts of the multi-timbral tone
generator simultaneously by a single keyboard or to control
Voices of an external MIDI instrument over several different
channels in addition to the internal Voices of this
synthesizer itself—letting you use the MOTIF XS to
effectively do the work of several keyboards. You can set
the parameters related to the eight Zones in the Master Edit
mode and store the settings as a User Master.
Sampling
mode 1
Performance
mode
Common Edit and Zone Edit
There are two types of Master Edit displays: those for
editing parameters common to all eight Zones and those
for editing individual Zones.
Voice mode
The Master Edit mode lets you create your own original Master programs—containing up to eight different Zones (keyboard
areas)—by editing the various parameters. To enter the Master Edit mode, press the [EDIT] button in the Master Play mode.
Press the [EXIT] button to return to the original display.
Using as a Master Keyboard (Master mode)
The [E] Indicator
Common Edit parameters
Voice mode
When changing the value of the parameter in the Master
Edit mode, the [E] (Edit Indicator) will appear on the top
right corner of the display. This gives a quick confirmation
that the current Master has been modified but not yet
stored. To store the current edited status, follow the
instructions below.
Performance
mode
Storing the created Master
Sampling
mode 1
[MASTER] ➞ [STORE]
1
Press the [STORE] button in the Master mode.
The Master Store window appears.
[MASTER] ➞ [EDIT] ➞ [COMMON EDIT]
Common Edit lets you edit the parameters common to all
Zones of the selected Master.
Naming the edited Master—[F1] Name
From this display, you can name the edited Master. Press
the [F1] button from the Common Edit display to call up this
display. Press the [EXIT] button to return to the original
display. For detailed instructions on naming, refer to “Basic
Operation” on page 82.
Other Parameter Settings—[F2] Other
Song mode
From this display you can set basic parameters for the
Master, including the mode that is called up with the Master
and the program number.
Pattern mode
Specify the destination for storing the Master.
Select a Master number as destination by using the
data dial, [INC/YES] and [DEC/NO] button.
You can use the [USER 1] button, [A] – [H] buttons and
[1] – [16] buttons to select a Master number.
Mixing mode
Reference
2
1
2
Sampling
mode 2
3
Press the [ENTER] button. (The display
prompts you for confirmation.)
To cancel the Store operation, press the [DEC/NO]
button.
Master mode
4
3
4
Press the [INC/YES] button to execute the
Store operation.
Utility mode
After the Master has been stored, a “Completed”
message appears and operation returns to the Master
Play display.
CAUTION
File mode
When you execute the Store operation, the settings for the
destination memory will be overwritten. Important data should
always be backed up to a separate USB storage device or to a
computer connected via network to the MOTIF XS. For detailed
instructions on saving, see page 278.
5
1 Mode
Determines the mode that is called up when the Master
number is selected.
Settings: voice, performance, pattern, song
2 Memory
Determines the Program number that is called up when the
Master is selected. The name of the selected Voice/
Performance/Song/Pattern is shown.
Settings: Differs depending on the Mode setting above.
When the Mode is set to Voice:
Voice Bank: PRE1 – 8, USR1 – 3, GM, GMDR, PDR, UDR
Voice Number: 001 (A01) – 128 (H16)
When the Mode is set to Performance:
Performance Bank: USR1 – 3
Performance Number: 001 (A01) – 128 (H16)
When the Mode is set to Pattern:
Pattern Number: 01 – 64
When the Mode is set to Song:
Song number: 01 – 64
3 Zone Switch
Determines whether or not the keyboard will be divided
into (up to) eight independent areas (called “Zones”). For
details about Zones, see page 253.
Settings: on, off
254
MOTIF XS Owner’s Manual
Using as a Master Keyboard (Master mode)
Sampling
mode 1
5 [F6] Get Name
1 Octave
Determines the amount in octaves by which the range of
the Zone is shifted up or down. You can adjust the offset up
or down over a maximum range of three octaves.
Settings: -3 – +0 (Default) – +3
[MASTER] ➞ [EDIT] ➞ [1] – [8]
These parameters are for editing the individual Zones that
make up a Master. To call up the Zone Edit display, press
the [EDIT] button in the Master Play mode, then press any
of the Number buttons [1] – [8]. Press the [EXIT] button to
return to the Master Play display.
2 Transpose
Determines the amount in semitones by which the range of
the Zone is shifted up or down.
Settings: -11 – +0 (Default) – +11
Mixing mode
Zone Edit parameters
3 Note Limit Low
4 Note Limit High
Determines the lowest and highest notes of the range for
each Zone.
MIDI Transmit Channel/Switch Settings
—[F1] Transmit
Settings: C -2 – G8
n You can also set the note directly from the Keyboard, by
holding down the [SF6] button and pressing the desired key.
From this display you can set how each Zone transmits
MIDI messages when you play the keyboard.
1
2
3
MIDI Transmit Switch Settings—[F3] Tx
Switch (Transmit Switch)
MIDI Transmit Switch for the Voice related
messages—[SF1] Program
1 Transmit Channel
Determines the MIDI Transmit Channel for each Zone.
From this display, you can determine whether or not MIDI
messages controlling Voice selection for each Zone are
transmitted to the internal/external tone generator.
Settings: 1 – 16
2 Int Switch (Internal Switch)
Determines whether or not MIDI data for each Zone is
transmitted to the internal tone generator.
1
2
3
4
n When the Local Control parameter is set to “off” on the MIDI
display (page 267) in the Utility mode, MIDI data for each
Zone will not be transmitted to the internal tone generator,
even if the Int Switch parameter is set to “on.”
1 Int Bank Select (Internal Bank Select)
3 Ext Switch (External Switch)
Determines whether or not to transmit Bank Select MSB/
LSB messages to the internal tone generator.
Determines whether or not MIDI data for each Zone is
transmitted to an external MIDI device.
MOTIF XS Owner’s Manual
255
Reference
Pressing the [F6] button assigns the name of the currently
selected Voice/Performance/Song/Pattern to the Master
name.
Voice mode
Performance
mode
tone 1, tone 2, ARP FX, reverb, chorus, pan, zone
Song mode
When the Mode is set to Performance, Pattern or Song:
1
2
3
4
Pattern mode
tone 1, tone 2, ARP FX, zone
Sampling
mode 2
When the Mode is set to Voice:
From this display you can set the pitch- and keyboardrelated parameters for each Zone—allowing you to set up
Zone splits and determine the pitch range for each Zone.
Master mode
Settings: Differs depending on the Mode setting above. Note that
“zone” can be selected only when the Zone Switch (3) is
set to “on.”
Note Range Setting for each Zone—
[F2] Note
Utility mode
From this display you can set which row of Knob functions
will be lit and selected. When set to “zone,” selecting the
Master lights no lamp and automatically calls up the Knob/
Slider functions specifically set for each respective Zone
(page 257).
File mode
4 Knob Ctrl Assign (Knob Control Assign)
Using as a Master Keyboard (Master mode)
2 Int Prog Change (Internal Program Change)
8 Foot Switch
Determines whether or not to transmit Program Change
messages to the internal tone generator.
MIDI messages generated by using the optional
Footswitch connected to the ASSIGNABLE jack on the rear
panel.
Voice mode
Determines whether or not to transmit Bank Select MSB/
LSB messages to the external tone generator via MIDI.
9 Knob
4 Ext Prog Change (External Program Change)
) Slider
Performance
mode
3 Ext Bank Select (External Bank Select)
Determines whether or not to transmit Program Change
messages to the external tone generator via MIDI.
MIDI messages generated by using the Sliders.
MIDI messages generated by using the Knobs.
! A. Function 1 (Assignable Function 1)
@ A. Function 2 (Assignable Function 2)
Sampling
mode 1
Song mode
MIDI Transmit Switch for the Other messages
—[SF2] Control
MIDI messages generated by using the ASSIGNABLE
FUNCTION buttons.
From this display, you can determine whether or not MIDI
messages controlling non-Voice-related settings such as
Control Change, Pitch Bend and Channel Aftertouch are
transmitted to the internal/external tone generator.
# Volume/Express (Expression)
MIDI Volume messages generated by using the Knobs and
Sliders.
$ Pan
Pattern mode
Mixing mode
Reference
1
2
3
4
5
6
7
8
9
)
!
@
#
$
Sampling
mode 2
When you wish to transmit a certain MIDI message from a
certain Zone to the internal/external tone generator,
checkmark the corresponding box.
Master mode
1 Pitch Bend
MIDI messages generated by using the Pitch Bend Wheel.
MIDI Pan messages generated by using the Knobs and
Sliders.
Default Settings for each Zone—[F4]
Preset
From this display you can make the Voice-related settings
for each Zone which will be transmitted as MIDI messages
automatically when the Master is selected.
1
2
3
4
5
2 Ch After Touch (Channel After Touch)
Utility mode
MIDI messages generated by pressing and holding a note
on the keyboard.
3 Modulation Wheel
MIDI messages generated by using the Modulation Wheel.
File mode
4 Ribbon Controller
MIDI messages generated by using the Ribbon Controller.
5 Foot Controller 1
6 Foot Controller 2
MIDI messages generated by using the optional Foot
Controller connected to the rear panel.
7 Sustain
MIDI messages generated by using the optional
Footswitch connected to the SUSTAIN jack on the rear
panel.
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MOTIF XS Owner’s Manual
6
1 Bank MSB (Bank Select MSB)
2 Bank LSB (Bank Select LSB)
3 Program Change
Determines the Voice-related settings for each Zone in the
selected Master. These MIDI messages are transmitted to
an external/internal tone generator when the Master is
selected.
Settings:
Bank MSB (Bank Select MSB): 000 – 127
Bank LSB (Bank Select LSB): 000 – 127
Program Change: 001 – 128
Using as a Master Keyboard (Master mode)
5 Pan
Determines which Control Change numbers are
transmitted when you use the Knobs for each Zone. The
function name is automatically shown below the number
you select.
Settings: 0 – 95
2 Control Slider No.
Determines which Control Change numbers are
transmitted when you use the Control Sliders for each
Zone. The function name is automatically shown below the
number you select.
Sampling
mode 2
Settings: 0 – 95
Master Job
The Master Job mode features convenient data initialization and archiving tools. To enter the Master Job mode, press the
[JOB] button in the Master mode. Press the [EXIT] button to return to the original display.
Master Job Procedure
1
In the Master mode, press the [JOB] button to
enter the Master Job mode.
2
Select the Job you wish to execute by pressing
the [F1] or [F4] button.
3
Set the parameters for executing the Job.
4
Press the [ENTER] button. (The display
prompts you for confirmation.)
5
Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed”
message appears and operation returns to the original
display.
6
Press the [MASTER] button to return to the
Master Play display.
To cancel the Job, press the [DEC/NO] button.
MOTIF XS Owner’s Manual
257
Reference
1 Control Knob No.
Song mode
When set to “on,” changing the value in this display
transmits the corresponding MIDI messages to an external/
internal tone generator.
Pattern mode
6 [F6] MIDI Send
n This parameter is available only when the Knob Control Assign
parameter is set to “zone” in the Other display (page 254) of
the Common Edit. In other words, this parameter is available
only when all the lamps of the [SELECTED PART CONTROL]
and [MULTI PART CONTROL] are turned off.
Mixing mode
Settings: L64 – C – R63
Sampling
mode 1
Performance
mode
1
2
Determines the Pan settings for each Zone in the selected
Master. The MIDI messages of the Pan are transmitted to
an external/internal tone generator when the Master is
selected.
Voice mode
From this display, you can determine which Control
Change numbers are transmitted to an external/internal
tone generator when you use the Knobs and Sliders for
each Zone.
Master mode
Settings: 000 – 127
Knob and Slider Settings—[F5] KnobSlider
Utility mode
Determines the Volume settings for each Zone in the
selected Master. The MIDI messages of the Volume are
transmitted to an external/internal tone generator when the
Master is selected.
File mode
4 Volume
Using as a Master Keyboard (Master mode)
Initializing the Master—[F1] Init
Voice mode
This function lets you reset (initialize) all Master parameters
to their default settings. It also allows you to selectively
initialize certain parameters, such as Common settings and
Zone settings.
Determines the MIDI transmit channels of Zone 1 and Zone
2 respectively when the Initialize Type is set to “layer” or
“split.”
Settings: 1 – 16
7 Split Point
1
Performance
mode
Sampling
mode 1
2
3
4
5
6
7
Determines the Split Point that divides the keyboard into
the Zone 1 and Zone 2 when the Initialize Type is set to
“split.” By setting this parameter, the Note Limit High of
Zone 1 is automatically set to the note one semitone lower
than the Split Point set here and the Note Limit Low of Zone
2 is automatically set to the note same as the Split Point set
here.
Settings: C -2 – G8
Song mode
1 All Parameters
Determines whether or not all settings for the selected
Master are initialized. When set to “on,” other parameters in
this display cannot be set.
Mixing mode
Reference
Pattern mode
Settings: B (on), A (off)
2 Common
Determines whether or not all Common parameter settings
for the selected Master are initialized. When set to “on,”
ZONE cannot be set.
Settings: B (on), A (off)
3 Zone
Sampling
mode 2
Determines whether or not all Zone parameter settings for
the selected Master are initialized. When set to “on,”
executing the Job initializes all the parameter settings of
Common Edit.
Master mode
Settings: B (on), A (off)
4 Initialize Type
Utility mode
Determines how the Zone parameter settings for the
selected Master are initialized. Three methods of Initializing
are available.
Settings: split, zone, layer
split
File mode
Sets the Zone 1 and Zone 2 to on, then splits the keyboard range using
Zone 1 and Zone 2. “Upper Ch” determines the MIDI transmit channel
of the upper range of the keyboard, “Lower Ch” determines the MIDI
transmit channel of the lower range of the keyboard, and “Split Point”
determines the note (C -2 – G8) number which separates the upper
range and lower range of the keyboard.
zone
Sets Zones 1 – 4 to on, Zones 5 – 8 to off, and the MIDI Transmit
Channels to 1 – 8 respectively.
layer
Sets the Zone 1 and Zone 2 to on, then lets you layer two Parts. “Upper
Ch” and “Lower Ch” determine the MIDI transmit channels of the two
Zones respectively.
258
5 Upper Ch (Upper Channel)
6 Lower Ch (Lower Channel)
MOTIF XS Owner’s Manual
n The Note Limit High and Note Limit Low parameters can be
set in the Note display (page 255) of the Zone Edit.
Transmitting the Master Settings to an
external MIDI device (Bulk Dump)
This function lets you send all your edited parameter
settings for the currently selected Master to a computer or
another MIDI device for data archiving. Press the [ENTER]
button to execute the Bulk Dump.
n The Bulk Dump data includes only the MIDI messages and
does not include the Waveforms.
n In order to execute Bulk Dump, you will need to set the correct
MIDI Device Number. For details, see page 268.
2 Network Information
Indicates the network settings. The related parameters can
be set in the Network display (page 260).
CAUTION
When “Press [ENTER] to set” is shown on the display, make
sure to press the [ENTER] button before going to the next
step. If you do not, the settings will not be stored, even if you
press the [STORE] button in the next step.
4
Press the [STORE] button to store the Utility
setting and Sequencer Setup to internal
memory.
CAUTION
General Settings—[F1] General
Tone Generator and Keyboard settings
—[SF1] Play
1
2
3
4
5
6
7
8
All Utility settings will be lost when the power is turned off
without storing.
n The parameter settings in the Utility displays and
Sequencer Setup displays are treated and stored as a
single unit. This means that when you execute the Store
operation in the Utility mode, the settings in the Sequencer
Setup displays are also stored, and vice versa.
5
Press the [EXIT] button to exit from the Utility
mode to the original mode.
Tone Generator
From this section, you can make overall settings for the
internal tone generator. The settings here only affect the
internal tone generator block. The MIDI output will not be
affected.
1 Volume
Determines the overall volume of the instrument.
Settings: 0 – 127
System Information—[SF6] INFO
This display indicates the MIDI IN/OUT settings and
Network settings. This display cannot be edited.
2 Note Shift
Determines the amount (in semitones) by which the pitch of
all notes is shifted.
Settings: -24 semi – +0 semi – +24 semi
3 Tune
1
2
Determines the fine tuning of the overall sound. You can
adjust the tuning in cent increments.
Settings: -102.4 cents – +0 cents – +102.3 cents
MOTIF XS Owner’s Manual
259
Reference
Move the cursor to each parameter, then set the value
by using the data dial, [INC/YES] and [DEC/NO] button.
Pattern mode
Set the desired parameter.
Mixing mode
3
Song mode
Note the tab menus of the [F1] – [F6] and [SF1] – [SF5]
buttons to find the desired function, then press the
relevant button to call up the desired display.
Sampling
mode 2
Calls up the desired display.
Performance
mode
Press the [UTILITY] button to enter the Utility mode.
(The indicator lights.)
Master mode
2
Enter the Utility mode.
Indicates the hardware terminal via which the MIDI data is
input or output. The related parameters can be set in the
MIDI display (page 268).
Utility mode
1
1 MIDI IN/OUT (Indication only)
File mode
Basic Procedure in the Utility mode
Sampling
mode 1
In the Utility mode, you can set parameters that apply to the entire system of the MOTIF XS. To enter the Utility mode, press
the [UTILITY] button. Pressing the [EXIT] button returns to the original display. For system settings related to the sequencer
in Song/Pattern/Arpeggio playback, call up the Sequencer Setup display by pressing the [SEQ SETUP] button in the Song/
Pattern/Performance mode.
Voice mode
System Settings (Utility mode, etc.)
System Settings (Utility mode, etc.)
Voice mode
Performance
mode
4 Sustain Pedal
8 Fixed Velocity
Determines which model of an optional Foot Controller
connected to the FOOT SWITCH SUSTAIN jack is recognized.
When you connect an optional FC3 (equipped with the halfdamper feature) for producing a “half-damper” effect (as on a
real acoustic piano), set this parameter to “FC3 (half on)” and
set the Half Damper Switch parameter to “on” in the
Amplitude EG display (page 123) of Voice Element Edit. If you
don’t need or want to disable the half-damper feature and still
use an FC3, set this parameter to “FC3 (half off).” When you
connect an optional FC4 or FC5 (which is not equipped with
the half-damper feature), set this parameter to “FC4” or “FC5.”
This parameter is available only when you select the “fixed”
Velocity Curve above. The velocity of the note you play is
fixed at the value set here.
Settings: FC3 (half on), FC3 (half off), FC4/5
Sampling
mode 1
n Note that this setting is not necessary when controlling the
half-damper feature via Control Change messages from an
external MIDI device to the instrument.
Keyboard
Song mode
Pattern mode
5 Octave
Mixing mode
Reference
From this section, you can set the keyboard-related
parameters. The settings here affect the MIDI messages
generated by playing the keyboard.
Settings: -3 – +0 – +3
Determines the amount in octaves by which the range of
the keyboard is shifted up or down. This setting can be
changed also by pressing any of the OCTAVE buttons.
6 Transpose
Sampling
mode 2
Determines the amount in semitones by which the range of
the keyboard is shifted up or down.
Settings: -11 semi – +0 semi – +11 semi
n If you transpose beyond the note range limits (C -2 and G8),
notes in the adjacent octaves will be used.
Master mode
7 Velocity Curve
Utility mode
File mode
The five curves determine how the actual velocity will be
generated and transmitted according to the velocity
(strength) with which you play notes on the keyboard. The
graph shown in the display indicates the velocity response
curve. (The horizontal line represents the received velocity
values (strength of your playing), while the vertical line
represents the actual velocity values transmitted to the
internal/external tone generators.)
Settings: normal, soft, hard, wide, fixed
Settings: 1 – 127
System Effect Bypass Settings—[SF2]
FXBypass
From this display you can select the specific effect(s) to be
bypassed when the EFFECT BYPASS [SYSTEM] button is
turned on. The bypassed effect is then temporarily
disabled.
1
2
1 Reverb
When this is set to on and the [SYSTEM] button is turned
on, the Reverb effect is bypassed.
2 Chorus
When this is set to on and the [SYSTEM] button is turned
on, the Chorus effect is bypassed.
Network Settings—[SF3] Network
From this display, you can set parameters for connecting
the MOTIF XS to the network system via the ETHERNET
connector. Make sure to press the [ENTER] button after
setting in this display. If you do not, the settings will not be
stored, even if you press the [STORE] button.
1
2
3
4
5
6
7
8
9
)
!
@
#
This linear “curve” produces one-to-one correspondence between the
strength of your keyboard playing (velocity) and the actual sound change.
soft
%
This curve provides increased response, especially for lower velocities.
1 Host Name
hard
Determines the Host Name (NetBIOS name) of the MOTIF
XS. This is used when accessing the MOTIF XS from a
computer connected to the network. Set a unique Host
Name that will not conflict with any other computer. In
general, the default Host Name will suffice, so there should
be no need to change this. For detailed instructions on
naming, see page 82.
This curve effectively lessens the overall response compared to the
“norm” curve.
wide
This setting provides opposite response curves for lower and higher
velocities. It widens the apparent dynamic range of the controller,
producing less sound change in the softer range and mor e change in the
higher range.
fixed
This setting produces the same amount of sound change (set in Fixed
Velocity below), no matter what your playing strength.
260
$
normal
MOTIF XS Owner’s Manual
Determines the address for the Domain Name server. Up to
two servers (primary DNS1 and secondary DNS2) can be
set. When you do not use the Domain Name server, set
both of the DNS1 and DNS2 to “0.0.0.0.” When you use
only the DNS1, set the DNS2 to “0.0.0.0.” When the MOTIF
XS is connected to the network which the DHCP server
covers and the DHCP Client parameter above is set to
“on,” this parameter is automatically set, and you will not
need to input it manually.
Settings: on, off
Settings: 0 – 255
4 File Server
) Security
5 IP Address
Determines the IP Address, a string of numbers assigned
to each computer or your MOTIF XS connected to a
network, indicating the device’s location on the network.
When the MOTIF XS is connected to the network which the
DHCP server covers and the DHCP Client parameter
above is set to “on,” this parameter is automatically set,
and you will not need to input it manually. When the DHCP
Client (3) is set to “off” and you do not know how to set this
parameter, consult your network administrator or Internet
provider.
Settings: domain, workgroup
! Domain
Enters the Domain name or Workgroup name. Input the
Domain name or Workgroup name to the same name as
that of the online device you wish to use for accessing the
MOTIF XS. For detailed instructions on inputting
characters, see page 82.
@ WINS
Determines the address for the WINS (Windows Internet
Name Service) server. When the PDC Name (#) is set to
the Host name (NetBIOS name), you will set the address of
the WINS server. If you are not using the WINS server, set
this parameter to “0.0.0.0.”
Settings: 0 – 255
Settings: 0 – 255
6 Subnet Mask
Indicates the Subnet Mask, a setting used to divide a
large-scale network into several smaller networks. When
the MOTIF XS is connected to the network which the DHCP
server covers and the DHCP Client parameter above is set
to “on,” this parameter is automatically set resulting that
you need not input here. When the DHCP Client (3) is set
to “off” and you do not know how to set this parameter,
consult your network administrator or Internet provider.
Settings: 0 – 255
# PDC Name (Primary Domain Controller Name)
Sampling
mode 2
n Make sure to set the Password (%) of this instrument before
setting this parameter to “on.” If this is set to “on” before the
Password is set, “Password is unspecified” appears.
Master mode
Settings: on, off
Determines the certification type when another computer
on the network accesses the MOTIF XS. If you wish to
certificate the computer by using the Account ($) and
password, set this parameter to “workgroup.” If you wish to
certificate the computer by using the domain controller on
the network, set this parameter to “domain.”
Utility mode
Determines whether the File Server function of the MOTIF
XS is active or not. When this parameter is set to “on,” the
another computer on the same network can access files on
the USB storage device connected to the USB TO DEVICE
connector of the MOTIF XS.
Determines the Host name (NetBIOS name) of the Domain
Controller or IP address on the network. When the Security
()) is set to “domain,” the certification will be executed by
using the Domain Controller set here.
$ File Server Account
Determines the account name (user name) used when
another computer on the network accesses the MOTIF XS.
For detailed instructions on inputting characters, see
page 82.
n The account is not set by default. When no account is set, the
MOTIF XS can be accessed by the account named “nobody.”
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261
Reference
8 DNS1 (Domain Name Server1)
9 DNS2 (Domain Name Server2)
File mode
Determines whether or not the MOTIF XS is handled as the
client device of the DHCP server. When this is set to “on,”
the MOTIF XS is handled as a client device of the DHCP
server. The DHCP (Dynamic Host Configuration Protocol) is
a standard or protocol by which IP addresses and other
low-level network configuration information can be
dynamically and automatically assigned each time your
MOTIF XS is connected to the network. If the DHCP server
covers the network, set this parameter to “on.” If you wish
to set a specific IP address or there is no DHCP server, set
this parameter to “off.”
Performance
mode
Settings: 0 – 255
3 DHCP Client
Sampling
mode 1
Determines the Gateway, a system which links different
networks or systems, and makes possible data transfer
and conversion despite differing communications
standards. When the MOTIF XS is connected to the
network which the DHCP server covers and the DHCP
Client parameter above is set to “on,” this parameter is
automatically set, and you will not need to input it manually.
Song mode
Here, you can input a short summary or memo about your
MOTIF XS. The description input here can be browsed
from the other computer connected to the network. This is
useful when several MOTIF XSs are connected to the same
network. In general, the default Description will suffice, so
there should be no need to change this. For detailed
instructions on inputting a character, see page 82.
Pattern mode
7 Gateway
Mixing mode
2 Description
Voice mode
System Settings (Utility mode, etc.)
System Settings (Utility mode, etc.)
% [SF5] Password
Voice mode
Pressing this button calls up the Password display that lets
you set or change the password necessary for accessing
the MOTIF XS from an online device connected to the
network. When shipped from the factory, the password is
not set. Make sure to set the password if you wish to
access the MOTIF XS from an external computer via the
LAN network.
n If you forget the current password, execute the Factory Set
Job (page 269) to reset the password setting, then input the
new password again.
Setting the default display when
turning the power on—[SF4] Auto Load
Performance
mode
From this display, you can specify certain automatic tasks
that the MOTIF XS will perform when power is turned on.
Password Settings
[SF3] ➞ [SF5] Password
Sampling
mode 1
From this display, you can set the password of the MOTIF
XS. By using the password set here, external online
devices can access the File mode of the MOTIF XS.
1
2
Song mode
1
2
3
Mixing mode
Reference
Pattern mode
3
1 Current Password
This column is provided for inputting the current password.
The password can be up to eight characters and no less
than five characters. For detailed instructions on inputting
characters, see page 82. “None” is shown when the
password is not set.
1 Auto Load
Determines whether the Auto Load function is on or off.
When this is on, the instrument will automatically load the
specified files (from the USB storage device) to User
memory—whenever the power is turned on. The file to be
loaded is shown on this display. The file to be loaded can
be specified via the [SF5] Get button.
Sampling
mode 2
Master mode
2 New Password
Settings: on, off
This column is provided for inputting the new password.
The password can be up to eight characters and no less
than five characters. For detailed instructions on inputting
characters, see page 82.
2 Power On Mode
3 Confirm Password
Settings:
Utility mode
This column is provided for inputting the new password
once again to confirm it. The password can be up to eight
characters and no less than five characters. For detailed
instructions on inputting characters, see page 82.
File mode
Password Setting
After inputting the Current Password, New Password and
Confirm Password (New Password), press the [ENTER]
button to set the New Password. If an error occurs, one of
the following error messages will be shown on the display.
This determines the default power-on mode (and memory
bank)—letting you select which condition is automatically
called up when you turn the power on.
performance
When turning the power on next time, the Performance Play mode is
entered and the first program number (USER: 001) is selected
automatically.
voice (USER1)
When turning the power on next time, the Voice Play mode is entered
and the first program number of User Voices (USR: 001) is selected
automatically.
voice (PRE1)
When turning the power on next time, the Voice Play mode is entered
and the first program number of Preset Voices (PRE: 001) is selected
automatically.
voice (GM)
Password is invalid.
The password you input to “Current Password” is wrong. Input
the correct password again.
Confirmed password is invalid.
The password you input to “Confirm Password” is not same as
the password you input to “New Password.”
Password is too short.
The password you input to “New Password” is too short. Input
the password again, using five or more characters.
262
MOTIF XS Owner’s Manual
When turning the power on next time, the Voice Play mode is entered
and the first program number of Preset GM Voices (GM: 001) is
selected automatically.
master
When turning the power on next time, the Master Play mode is entered
and the first program number (001) is selected automatically.
n Make sure to store the Utility settings to the internal memory by
pressing the [STORE] button before turning the power off.
Please keep in mind that the Utility settings will be lost if you
turn off the power without executing the Store operation.
System Settings (Utility mode, etc.)
3 [SF5] Select
2 L&R Gain
Pressing this button calls up the Select Auto Load File
display. From this display you can specify the file (in the
external storage device) to be loaded automatically when
turning the power on (when Auto Load is set to on).
Determines the output gain of the OUTPUT L/MONO and R
jacks.
3 Assign L&R Gain
Determines the output gain of the ASSIGNABLE OUTPUT L
and R jacks.
Specifying the Auto Load File
[SF4] ➞ [SF5] Select
4 – ) mLAN Gain
Determines the output gain of the mLAN connector.
Parameters 1 – 4 are the same as the ones in the File
window (page 275) of the File mode.
with PC
This should be selected when you are using the MOTIF XS as an audio
device with the DAW software. When this is selected, the audio signal
of the MOTIF XS will be output to the DAW software on a computer via
an IEEE1394 cable, merged and mixed with the DAW sound, returned
back to the MOTIF XS, then output via the OUTPUT L/MONO and R
jacks. Selecting this allows you to apply VST Effects within the DAW
software to the MOTIF XS sound.
Audio In/Out Settings—[F2] I/O
(Input/Output)
with PC (DirectMonitor)
From this display you can set Audio In/Out parameters.
2
3
4
5
6
7
8
9
)
This should be selected when recording your keyboard performance to
the DAW software on the computer. The audio signal of the MOTIF XS
will be output directly via the OUTPUT L/MONO and R jacks with the
audio signal sent from the DAW software via an IEEE1394 cable. Keep
in mind that the Rec Monitor of the DAW software should be set to “off”
in order to prevent “double” sound from occurring.
n When “with PC” is selected, there may be a short delay
between when you play the keyboard and when you hear the
resulting sound.
n Set this parameter to “stand alone” when the MOTIF XS is not
connected to an external device via an IEEE1394 cable.
Song mode
!
1 Mic/Line
When using the A/D INPUT jacks, this determines the input
source, microphone (mic) or line.
Settings: mic, line
mic
Intended for low output equipment, such as a microphone, electric
guitar or bass.
line
System Settings for the Voice
mode—[F3] Voice
From the following displays, you can set parameters
related to the Master Effect, Master EQ, Audio Input part,
Controller, and Micro Tuning in the Voice mode. These
settings will be applied to all Voices. The following displays
are available only when entering the Utility mode from the
Voice mode.
Intended for high output equipment, such as a keyboard, synthesizer,
or CD player.
MOTIF XS Owner’s Manual
263
Reference
This should be selected when you are using the MOTIF XS alone or are
not using the DAW software even with a computer connected to the
MOTIF XS via an IEEE1394 cable. When this is selected, the audio
signal of the MOTIF XS will be output directly via the OUTPUT L/MONO
and R jacks normally.
Pattern mode
stand alone
Mixing mode
4
Sampling
mode 2
Settings: stand alone, with PC, with PC (DirectMonitor)
Master mode
n You will need to properly set up the DAW software in addition
to making the settings here. For details, see page 47.
3
Utility mode
Upper Level
Directory
File mode
! mLAN Monitor Setup
Sampling
mode 1
Settings: 0dB, +6dB
Determines the audio signal flow for monitoring the sound
when using the MOTIF XS with DAW software installed on a
computer connected to the MOTIF XS via an IEEE1394
cable.
1
2
Performance
mode
Settings: 0dB, +6dB
From this display you can specify the file (in the external
storage device) to be loaded automatically when tur ning the
power on (when Auto Load is set to on). Move the cursor to
the desired file then press the [ENTER] button to determine
the Auto Load File.
1
Voice mode
Settings: 0dB, +6dB
System Settings (Utility mode, etc.)
Master Effect Settings—[SF1] MasterFX
(Master Effect)
Voice mode
This display lets you set Master Effect parameters in the
Voice mode. This display can be called up by pressing and
holding the [MASTER EFFECT] button on the front panel in
the Voice mode.
Performance
mode
1
Controller Settings—[SF3] Control
From this display you can set parameters related to output
of the Arpeggio MIDI data and the controller assignment in
the Voice mode. The settings here affect all Voices. This
display is available only when entering the Utility mode
from the Voice mode.
1
2
Sampling
mode 1
3
1 Switch
Song mode
Determines whether the Master Effect is applied or not to
the Voice. When this is set to on, entering the Voice mode
turns the [MASTER EFFECT] lamp on.
Settings: on, off
Pattern mode
Mixing mode
Reference
Other parameters are same as the ones on the Master
Effect display (page 146) in the Performance Common Edit
mode.
When this is set to on, Arpeggio playback data is output
from the MIDI terminal.
Settings: on, off
2 ARP Transmit Ch (Arpeggio Transmit Channel)
Master EQ settings—[SF2] MasterEQ
Sampling
mode 2
This display lets you set Master EQ parameters in the Voice
mode, allowing you to control EQ over five independent
frequency bands. This EQ affects all Voices. This display is
available only when entering the Utility mode from the
Voice mode.
Master mode
Utility mode
File mode
The function is same as the one on the Master EQ display
(page 146) in the Performance Common Edit mode.
264
1 ARP MIDI Out Switch
MOTIF XS Owner’s Manual
Determines the MIDI transmit channel through which
Arpeggio playback data will be sent (when the Switch
parameter above is set to on).
Settings: 1 – 16
3 Controller Assign
You can assign MIDI Control Change Numbers to the
controllers and knobs on the front panel. For example, you
could use the ASSIGN 1 and 2 knobs to control effect
depth, while using the Foot Controller to control
modulation. These control assignments are called
“Controller Assign.”
The function is same as the one in the Controller Assign
display (page 147) in the Performance Common Edit
mode.
System Settings (Utility mode, etc.)
2 Micro Tuning Name
1 Volume
Enters the desired name for the Micro Tuning. For detailed
instructions on naming, see page 82.
Determines the output level of the Audio Input Part.
3 Tuning Offset
2 Pan
Lets you tune the individual notes of the keyboard in cents
to create your original Micro Tuning.
Settings: 0 – 127
Determines the stereo pan position of the Audio Input Part.
[SF5] Copy
From this display called up via this button, you can copy a
Micro Tuning to another number then create a new Micro
Tuning based on it.
3 Mono/Stereo
Determines the signal configuration for the Audio Input Part,
or how the signal or signals are routed (stereo or mono).
Settings: stereo, L mono, R mono, L+R mono
stereo
Both the L and R channels of the audio input are used.
L mono
Micro Tuning Copy Procedure
1
Select a Micro Tuning number as source.
2
Press the [SF5] button to call up the Copy display.
3
Select a Micro Tuning number as destination.
4
Press the [ENTER] button to execute the Copy
operation.
Voice mode
Performance
mode
Settings: L63 (far left) – C (center) – R63 (far right)
Settings: -99 – +0 – +99 cents
Only the L channel of the audio input is used.
R mono
Only the R channel of the audio input is used.
L+R mono
The L and R channels of the audio input are mixed and processed in
mono.
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265
Reference
Settings: 1 – 8
1
2
3
4
5
6
7
Pattern mode
Determines the destination to which the created Micro
Tuning setting is stored.
Mixing mode
1 Micro Tuning No.
Sampling
mode 1
From this display you can set various parameters of the
Audio Input signal in the Voice mode, such as Output
jacks, Volume, Pan, and Effect depth. This display is
available only when entering the Utility mode from the
Voice mode.
Song mode
Output Settings—[SF1] Output
Sampling
mode 2
3
n The mLAN Input (m1 – m14) is available only for the MOTIF
XS8. This is available for MOTIF XS6/7 only when an optional
mLAN16E2 has been installed.
Master mode
1
2
You can set parameters related to audio input signal from
the [A/D INPUT] connector and the mLAN connector in the
Voice mode. This display is available only when entering
the Utility mode from the Voice mode.
Utility mode
From this display, you can create your original Micro Tuning
in the User Bank. You can copy a Micro Tuning to another
number, then create new one based on it. This display is
available only when entering the Utility mode from the
Voice mode.
Audio Input Settings in the Voice
mode—[F4] VoiceAudio
File mode
Creating your original Micro Tuning—
[SF4] Tuning
System Settings (Utility mode, etc.)
4 Output Select
Determines the output jack assignment for the Audio Input
Part.
Insertion Effect Connection Settings—
[SF2] Connect
Settings: See the table below.
Voice mode
Performance
mode
Sampling
mode 1
Song mode
Pattern mode
Mixing mode
Reference
Sampling
mode 2
Master mode
Utility mode
File mode
266
LCD
Output jacks
Stereo/Mono
L&R
OUTPUT L and R
asL&R
ASSIGNABLE OUTPUT L and R
Stereo
m1&2
mLAN OUTPUT 1 and 2
Stereo (1: L, 2: R)
m3&4
mLAN OUTPUT 3 and 4
Stereo (3: L, 4: R)
m5&6
mLAN OUTPUT 5 and 6
Stereo (5: L, 6: R)
m7&8
mLAN OUTPUT 7 and 8
Stereo (7: L, 8: R)
m9&10
mLAN OUTPUT 9 and 10
Stereo (9: L, 10: R)
m11&12
mLAN OUTPUT 11 and 12
Stereo (11: L, 12: R)
m13&14
mLAN OUTPUT 13 and 14
Stereo (13: L, 14: R)
asL
ASSIGNABLE OUTPUT L
Mono
asR
ASSIGNABLE OUTPUT R
Mono
mLAN OUTPUT 1
Mono
m1
:
Stereo
:
From this display you can set the Insertion Effect
connection of the Audio Input signal in the Voice mode.
This display is available only when entering the Utility
mode from the Voice mode.
2
1
3
:
m14
mLAN OUTPUT 14
Mono
1 INSERTION CONNECT (Insertion Connection)
ins L
Internal Vocoder module
Mono
Determines the effect routing for Insertion effects A and B.
The setting changes are shown on the diagram in the
display, giving you a clear picture of how the signal is
routed.
(A/D Input
only)
n You can call up the list and select the desired item by pressing
the [SF6] LIST button. For details, see page 82.
5 Reverb Send
Settings: Ins A F B, Ins B F A
Ins A F B
Determines the Send level of the Audio Input Part signal
sent to the Reverb effect. The higher the value, the more
pronounced the Reverb.
Signals processed with Insertion Effect A will be sent to Insertion Effect
B and signals processed with Insertion Effect B are sent to Reverb and
Chorus.
Settings: 0 – 127
Signals processed with Insertion Effect B will be sent to Insertion Effect
A and signals processed with Insertion Effect A are sent to Reverb and
Chorus.
6 Chorus Send
Determines the Send level of the Audio Input Part signal
sent to the Chorus effect. The higher the value, the more
pronounced the Chorus.
Settings: 0 – 127
7 Dry Level
Determines the level of the Audio Input Part which has not
been processed with the System Effects (Reverb, Chorus).
The higher the value, the less pronounced the Reverb and
Chorus.
Settings: 0 – 127
n The Reverb Send (5), Chorus Send (6), and Dry Level (7)
parameters are not available when Output Select (4) is set to
“insL.”
MOTIF XS Owner’s Manual
Ins B F A
2 Insertion A (Insertion A Category/Type)*
3 Insertion B (Insertion B Category/Type)*
Determines the Effect type for Insertion A and B. From the
Category column, you can select one of the Effect
Categories, each of which contains similar Effect types.
From the Type column, you can select one of the Effect
Types listed in the selected Category.
Settings: Details about the Effect categories and types are described
on page 70.
n You can call up the list and select the desired item by pressing
the [SF6] LIST button. For details, see page 82.
System Settings (Utility mode, etc.)
From the Category column, you can select one of the Effect
Categories, each of which contains similar Effect types.
From the Type column, you can select one of the Effect
Types listed in the selected Category. Details about the
Effect categories are described on page 70.
3 Preset
This lets you call up pre-programmed settings for each
Effect Type, designed to be used for specific applications
and situations.
4 Effect Parameters
The number of parameters and values available differs
depending on the currently selected effect type. Refer to
page 73 for details about the Effect parameters. Refer to
the separate Data List booklet for information on the
parameters for each Effect type.
Settings: Cubase, Logic, Sonar, Digital Performer
n When the [REMOTE ON/OFF] lamp is turned on, simply
selecting a DAW type calls up the Remote settings
automatically.
MIDI Settings—[SF2] MIDI
From this display, you can set the MIDI related parameters.
9
)
!
@
1
2
3
4
5
6
7
8
Voice mode
Performance
mode
Mixing mode
1 Category
2 Type
Determines the DAW application software to be controlled
by the MOTIF XS.
#
$
1 Basic Receive Ch
Determines the MIDI receive channel when this synthesizer
is set to single-timbre tone generator mode (Voice/
Performance modes).
Settings: 1 – 16, omni, off
omni
When this is selected, all channel messages are received.
n In the multi-timbral tone generator mode (Song/Pattern
modes), each Mixing Part receives MIDI data according to its
assigned MIDI receive channel. This can be set in the Voice
display (page 235) of the Mixing Part Edit mode.
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Reference
1 DAW Type
n Depending on the selected parameter, the LIST icon is shown
at the tab menu corresponding to the [SF6] button. In this
condition, you can call up the list by pressing the [SF6] LIST
button, then select the desired item from the list. For details,
see page 82.
Sampling
mode 1
1
Song mode
Lets you specify the DAW application software to be
controlled by the MOTIF XS. The MOTIF XS can control
Cubase 4, Logic Pro 7.2, SONAR 5.2 and Digital Performer
5.
Pattern mode
4
DAW Settings—[SF1] Remote
Sampling
mode 2
2
3
Master mode
1
From the following displays, you can set parameters
related to the Remote Control function and MIDI settings.
Utility mode
From these displays, you can set the Insertion Effect Types
applied to the Audio Input signal in the Voice mode. These
displays are available only when entering the Utility mode
from the Voice mode.
Remote Control and MIDI settings
—[F5] Control
File mode
Insertion Effect Type Settings—[SF3]
Ins A, [SF4] Ins B
System Settings (Utility mode, etc.)
2 Keyboard Transmit Ch
Determines the MIDI channel over which the instrument
sends MIDI data (to an external sequencer, tone generator,
or other device). This parameter is available in the singletimbre tone generator mode (Voice/Performance modes).
Voice mode
Settings: 1 – 16, off
Performance
mode
n In the Song/Pattern mode, the MIDI data created by playing
the keyboard/knobs/wheels is sent to the tone generator block
or the external MIDI devices via the MIDI output channel of the
currently selected track. The Output Channels of each track
can be set in the Output Channel display (page 184) of the
Song Play mode.
3 Device Number
Sampling
mode 1
Determines the device number used by this synthesizer in
receiving or transmitting data. This number must match the
Device Number of the external MIDI device when
transmitting/receiving bulk data, parameter changes or
other system exclusive messages.
Song mode
Settings: 1 – 16, all, off
n When MIDI Sync is set to “MTC,” Songs and Arpeggios cannot
play back in the Song mode but Patterns and Arpeggios can
play back in the Pattern mode.
n MTC (MIDI Time Code) allows simultaneous synchronization of
multiple audio devices via standard MIDI cables. It includes
data corresponding to hours, minutes, seconds, and frames.
The MOTIF XS does not transmit MTC.
n MMC (MIDI Machine Control) allows remote control of
multitrack recorders, MIDI sequencers, etc. An MMCcompatible multitrack recorder, for example, will automatically
respond to start, stop, fast forward, and fast reverse operations
performed on the controlling sequencer, thus keeping
playback of the sequencer and multitrack recorder aligned.
6 Clock Out
Determines whether MIDI clock (F8H) messages will be
transmitted via MIDI.
Settings: on, off
all
Mixing mode
Reference
Pattern mode
When this is selected, system exclusive messages for all MIDI device
numbers are received. When system exclusive messages such as bulk
dump are transmitted from the MOTIF XS with this setting, the MOTIF
XS is recognized as Device Number 1.
off
When this is selected, system exclusive messages such as bulk dump
and parameter change cannot be transmitted or received. When you
try execute transmission or reception of system exclusive messages,
an error message appears.
7 Sequencer Control
Determines whether Sequencer Control signals—start
(FAH), continue (FBH), stop (FCH), and song position
pointer (F2H)—will be received and/or transmitted via the
MIDI OUT/USB terminal.
Settings: off, in, out, in/out
off
Not transmitted/recognized.
4 MIDI In/Out
Sampling
mode 2
Determines which physical output/input terminal(s) will be
used for transmitting/receiving MIDI data.
in
Recognized but not transmitted.
out
Transmitted but not recognized.
Master mode
Settings: MIDI, USB, mLAN (when the optional mLAN16E2 has been
installed to the MOTIF XS6/7)
in/out
n The three terminal types above cannot be used at the same
time. Only one of them can be used to transmit/receive MIDI
data.
8 MTC Start Offset (MIDI Time Code Start Offset)
5 MIDI Sync
Utility mode
Determines whether Song/Pattern/Arpeggio playback will
be synchronized to the instrument’s internal clock or an
external MIDI clock.
Settings: Internal, MIDI, auto, MTC
internal
File mode
Synchronization to internal clock. Use this setting when this synthesizer
is to be used alone or as the master clock source for other equipment.
MIDI
MIDI Synchronization to a MIDI clock received from an external MIDI
instrument via MIDI.
auto
When MIDI clock is transmitted continuously from an external MIDI
device or computer, the internal clock of the MOTIF XS is not effective
and the MOTIF XS is synchronized with the external clock. When MIDI
clock is not transmitted from the external MIDI device or computer, the
internal clock of the MOTIF XS continues to run in sync with the latest
received tempo of the external MIDI device or computer (DAW
software). Note that the tempo cannot be changed on the MOTIF XS
when this value is selected. This setting is useful when you wish to
alternate between external clock and internal clock.
MTC (MIDI Time Code)
Synchronization to an MTC signal received via MIDI. MMC signals are
transmitted via MIDI. Use this setting when this synthesizer is to be
used as a MIDI slave, such as when synchronized to an MTC-capable
MTR. The MTC Sync function is available only in the Song mode.
268
n When this parameter is set to “MIDI,” make sure that the
external MIDI instrument connected to the MOTIF XS will
transmit the MIDI clock to the MOTIF XS.
MOTIF XS Owner’s Manual
Transmitted/recognized.
Determines the specific time code point from which
sequence playback starts, when MTC is received. This
feature can be used to accurately align playback of this
synthesizer with an external MTC-compatible device.
Settings: Hour: Minute: Second: Frame
Hour: 00 – 23
Minute: 00 – 59
Second: 00 – 59
Frame: 00 – 29
9 Bank Select
This switch enables or disables Bank Select messages,
both in transmission and reception. When this is set to “on,”
this synthesizer responds to incoming Bank Select
messages, and it also transmits appropriate Bank Select
messages (when using the panel). When this is set to “off,”
Bank Select messages cannot be transmitted/received.
Settings: off, on
) Program Change
This switch enables or disables Program Change
messages, both in transmission and reception. When this
is set to “on,” this synthesizer responds to incoming
Program Change messages, and it also transmits
appropriate Program Change messages (when using the
System Settings (Utility mode, etc.)
Determines the status of the controllers (Modulation Wheel,
Aftertouch, Foot Controller, Breath Controller, Knobs, etc.)
when switching between voices. When this is set to “hold,”
the controllers are kept at the current setting. When this is
set to “reset,” the controllers are reset to the default states
(below).
Settings: hold, reset
If you select “reset,” the controllers will be reset to the following states/
positions:
Pitch Bend
Center
Modulation WHeel
Minimum
Aftertouch
Minimum
Foot Controller
Maximum
Footswitch
Off
Ribbon Controller
Center
Breath Controller
Maximum
Assignable Function
Off
Expression
Maximum
Sustain
Off
$ Bulk Dump Interval
Determines the interval time of the Bulk Dump transmission
when the Bulk Dump function is used, the Bulk Request is
received, or system exclusive messages recorded to a
sequence track are played back. The Bulk Dump function
lets you save the data in the Edit buffer (DRAM) or Flash
ROM and transmit as Bulk data (system exclusive
message) to an external MIDI instrument or sequence
software on a computer. This data can then be sent back to
the instrument, restoring all the settings you archived.
Settings: 0 – 900 ms
n When the Bulk Dump function is used or the Bulk Request is
received, the maximum value of the interval time is fixed to
30ms, meaning that the Bulk transmission is executed at an
interval time of 30ms, even if this parameter is set to a value
above 31ms. When system exclusive messages recorded to a
track of a Song or Pattern are played back, value settings
above 31ms will be available, meaning that the Bulk
transmission is executed with the interval time as set here,
regardless of the tempo setting of the Song or Pattern.
1 Power On Auto Factory Set
When this parameter is set to “on,” turning the power on
will restore the User memory to the factory default settings
and load the demo songs and demo patterns. Normally,
this should be set to “off.”
Settings: on, off
CAUTION
When the Power On Auto Factory Set parameter is set to “on,”
turning the power off erases all the User memory data such as
Voice, Performance, Song, Pattern and Utility settings.
For instructions on executing the Factory Set Job, see
page 22.
Sequencer Settings—[SEQ SETUP]
In the Song mode, Pattern mode or Performance mode,
pressing the [SEQ SETUP] button calls up the display for
setting the overall sequencer parameters. After setting
these, press the [STORE] button to store the settings of
both the Sequencer Setup parameters and the Utility
parameters.
Voice mode
CAUTION
All Sequencer Setup settings will be lost if the power is turned off
without storing.
n In the Voice mode and Master mode with the Mode parameter
(page 254) set to “Voice,” the [SEQ SETUP] button cannot be
used.
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Reference
1
# Controller Reset
Performance
mode
Song mode
Settings: protect (not received), on (received)
Sampling
mode 1
Determines whether or not Bulk Dump data can be
received.
When the factory settings are restored, all the Voice, Performance,
Song, Pattern, and system settings in the Utility mode you created
will be erased. Make sure you are not overwriting any important
data. Be sure to save all important data to a USB storage device or
to a computer connected to the same network as the MOTIF XS
(page 278) before executing this procedure.
Pattern mode
@ Receive Bulk
CAUTION
Mixing mode
Settings: off, on
In the Utility Job mode, you can restore this synthesizer’s
User memory (page 79) to the factory default settings
(Factory Set). Please note that the setting of the Power On
Auto Factory Set on this display will be stored automatically
by executing the Factory Set.
Sampling
mode 2
This determines whether or not the tone generator of the
instrument responds to your keyboard playing. Normally,
this should be set to “on”—since you’ll want to hear the
sound of the MOTIF XS as you play it. Even if this is set to
“off,” the data will be transmitted via MIDI. Also, the internal
tone generator block will respond to messages received
via MIDI.
Master mode
! Local Control
Resetting the User Memory to the Initial
Factory Settings—[JOB] (Factory Set)
Utility mode
Settings: off, on
File mode
panel). When this is set to “off,” Program Change
messages cannot be transmitted/received.
System Settings (Utility mode, etc.)
Metronome Settings—[F1] Click
From this display you can set the parameters related to the
click sound (metronome) that is used during recording or
playback in the Song/Pattern/Performance mode.
Voice mode
n Since the click sound is created with the internal tone
generator, using click playback affects the overall polyphony
of this synthesizer.
Performance
mode
Sampling
mode 1
1
2
3
4
5
MIDI Filter Settings—[F2] MIDI Filter
From this display you can set which MIDI events will be
recognized/transmitted via MIDI. The settings made here
apply only to Song/Pattern playback data; they do not
affect the MIDI events generated by your keyboard playing
or panel operations and Arpeggio playback in the Voice
and Performance modes. The Song/Pattern playback data
will pass through the MIDI Filter before being sent to the
internal tone generator block as well as the MIDI OUT
connector.
MIDI messages transmitted from the external MIDI
instrument will pass through the MIDI Filter before being
recorded to the Song/Pattern track. They will be sent to the
internal tone generator without passing through the MIDI
Filter.
1 Mode
Song mode
Determines whether and when the metronome click will
sound.
Sequencer Block
Settings: off, rec, rec/play, always
MIDI Filter
Tone Generator Block
off
rec
Keyboard/Controllers
The click will sound during Song/Pattern/Performance recording only.
rec/play
The click will sound during recording and playback.
Mixing mode
Reference
Pattern mode
The click will not sound.
MIDI OUT
always
MIDI IN
The click will always sound in the Song/Pattern mode.
Sampling
mode 2
2 Beat
MIDI events to which the Filter is applied:
Determines on which beats the metronome click will sound.
Settings: a (16th notes), e (8th notes), q (quarter notes), (half
notes), w (whole notes)
Note, Program Change, Control Change, Pitch Bend,
Channel After Touch, Polyphonic After Touch, System
Exclusive, Channel Mode Message
Master mode
3 Volume
Settings: B (not transmitted/recognized), A (transmitted/recognized)
Determines the click sound volume.
Settings: 0 – 127
Utility mode
4 Type
Determines the click sound type. Ten types are available,
including conventional metronome and stick sounds.
Settings: 1 – 10
File mode
5 Recording Count
Determines the number of count-in measures provided
before recording actually starts after pressing the [F]
(Play) button in the Record standby mode.
Using the Quick Setup function—[F3]
Quick (Quick Setup)
From this display, you can instantly call up appropriate
sequencer-related panel settings by selecting convenient
preset setups, allowing you to simultaneously set a variety
of important sequencer-related parameters.
1
Settings: off (Recording starts as soon as the [F] button is pressed),
1 meas – 8 meas
2
3
n The Track INT Switch and Track EXT Switch parameters are
not available when calling up the Quick Setup window from the
Performance mode.
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MOTIF XS Owner’s Manual
2
Recording internal
sequencer to
computer
This setup is useful when you transmit
the Song or Pattern playback data to an
external computer and record it to an
application software on the computer.
3
Recording to
computer
This setup is useful when you record
your keyboard performance to an
application software on the computer.
4
Recording Arpeggio
to computer
This setup is useful when you transmit
the Arpeggio playback data to an
external computer and record it to an
application software on the computer.
2 Current settings
Indicates the current settings of the related parameters.
After selecting a Setup (1), indicated as new settings on
the right (3), press the [ENTER] button to actually call up
the selected Setup (1), which are then indicated as the
current settings (2).
3 New settings
Indicates the parameter settings of the selected Setup
above (1).
Other Settings for the Song/Pattern—
[F4] Other
From this display you can set parameters related to the
Song/Pattern mode, such as Pattern change timing.
Settings: on, off
n The tempo setting data in the Pattern Chain is not affected by
this parameter.
3 Load Mixing
Determines whether the Mixing settings are loaded (on) or
not (off) when the Song/Pattern number is changed.
Normally, set this to “on.”
Settings: on, off
n When the Load Mixing parameter is set to “off,” song changes
via Song Chain playback do not change the Mixing setup.
4 Song Event Chase
Normally, if a Song or Pattern is played back from midpoint and/or fast-forward or rewind are used, certain data
types (such as Program Change, Pitch Bend, and Control
Change) may not play back as expected. Setting this to a
specific event ensures the playback integrity of the event,
even when fast forwarding or rewinding.
Settings: off, PC (Program Change), PC+PB+Ctrl (Program Change +
Pitch Bend + Control Change)
n Keep in mind that settings other than “off” may result in slower
operation—for example, a pause before starting playback, or
slower rewind/fast-forward speed.
n When this is set to “all,” an excessive amount of MIDI data
may be generated, possibly resulting in a MIDI error on the
connected device.
Utility mode
n The settings here do not affect the Performance mode.
1
2
3
File mode
4
1 Quantize
Determines the quantize value for Section (Pattern)
switching during playback when you change the Section.
When set to “1,” Patterns (Sections) will always switch on
the first beat of the next measure during playback after you
change the Section. When set to “1/16,” Sections can be
switched on any 16th beat during playback.
Settings: 1 (1 measure), 1/2 (Half note), 1/4 (Quarter note), 1/8 (8th
note), 1/16 (16th note)
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Reference
This setup is useful when you use the
internal sequencer function (Song or
Pattern) by itself.
Performance
mode
Using internal
Sequencer
Sampling
mode 1
1
Master mode
Settings: 1 – 4
Song mode
Determines whether or not the tempo setting will switch to the
tempo value stored with each Pattern when a new Pattern is
selected during playback. When set to “on,” the tempo will be
retained when Patterns are switched. When set to “off,” the
tempo will switch to that stored with the new Pattern when
Patterns are switched. Normally, set this to “off.”
Pattern mode
Determines the Setup number. The parameter settings of
the selected Setup are indicated as new settings on the
right (3).
Mixing mode
2 Tempo Hold
Sampling
mode 2
1 Setup Number
Voice mode
System Settings (Utility mode, etc.)
File Management (File mode)
Voice mode
The File mode provides tools for transferring data (such as Voice, Performance, Song, Pattern and Waveform) between the
MOTIF XS and external storage devices such as USB storage device and hard disk unit connected to the USB TO DEVICE
connector. By mounting the hard disk drive of the computer connected to the MOTIF XS via the network, you can also
transfer data between the MOTIF XS and an online computer.
To enter the File mode, press the [FILE] button. The file types available differ depending on the mode selected before calling
up the File mode.
Performance
mode
n When the MOTIF XS is connected to a network, the File mode can be used to access the drives of computers on the network. To do this,
make sure the MOTIF XS is properly connected to the network (page 86) and set the necessary parameters in the Network display
(page 260) of the Utility mode.
Sampling
mode 1
Terminology in the File mode
Song mode
File
Pattern mode
Mixing mode
Reference
Just as with a computer, various data types such as Voice,
Performance, Song and Pattern created on the MOTIF XS
can be treated as a file and saved to an external USB
storage device or the hard disk drive of a computer
connected to the network.
File Name
Sampling
mode 2
Just as with a computer, you can assign the name to the
file in the File mode. The file name can contain up to 20
alphabetical characters on the display of the MOTIF XS.
Files having the same name cannot be saved in the same
directory.
Master mode
Extension
Utility mode
File mode
The three letters following the file name (after the period)
such as “.mid” and “.wav” are referred to as a file
“extension.” The extension indicates the type of file and
cannot be changed by the panel operation of the MOTIF
XS. The File mode of the MOTIF XS supports ten different
extension types, according to the particular data. For
details, see page 273.
File size
Refers to the memory amount of the file. The file size is
determined by the amount of data saved to the file.
Generally, the size of an audio file including the Waveforms
is much larger than the size of a MIDI file. File sizes are
indicated in conventional computer terms by B (Byte), KB
(Kilo Byte), MB (Mega Byte) and GB (Giga Byte). 1KB is
equivalent to 1024 Byte, 1MB is equivalent to 1024KB, and
1GB is equivalent to 1024MB.
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MOTIF XS Owner’s Manual
Device
Refers to a memory storage unit (such as a hard disk) to
which the file is saved. The MOTIF XS can handle and
mount various types of USB storage devices connected to
the USB TO DEVICE connector computer drives
connected via network to the MOTIF XS.
Directory (Dir)
This is an organizational feature on a data storage device
(such as hard disk), allowing you to group data files
together according to type or application. Directories can
be nested in hierarchical order for organizing data. The
“directory” is equivalent to the “folder” used as a computer
term. The File mode of the MOTIF XS allows you to assign a
name to a directory like a file. Please note that the directory
name does not contain the extension.
Changing the current directory (folder)
Using the illustration below as an example, this shows you
how to change the current directory. First, open the root
directory to find directories A and B. Next, open the
directory A to find directories C and D. Finally, open the
directory C to find only the files saved in the directory C.
This allows you to call up folders nested down in the lower
levels of the folder hierarchy.
To select a different directory higher up (for example,
moving from directory C to directory B), first go to the next
highest level (directory A). Next, go up one more level (to
the root directory). Now that both A and B are available,
open directory B. In this way you can move up or down
through the folder hierarchy.
Root Directory
Directory A
Directory C
Directory B
Directory D
File Management (File mode)
.X0V
All the User Voice data in this synthesizer’s
internal User Memory (Flash ROM) is
treated as a single file, and can be saved
to the USB storage device. Also the
Waveforms obtained via the Sampling
function and assigned to any of the Voices
are saved together.
All
Arpeggio
.X0G
All the User Arpeggio data in this
synthesizer’s internal User Memory (Flash
ROM) is treated as a single file, and can be
saved to the USB storage device.
All Song
.X0S
All the User Song data in this synthesizer’s
internal User Memory (Flash ROM) is
treated as a single file, and can be saved
to the USB storage device. The Song data
includes Mixing settings, Mixing Voices
and Sample Voices.
Format
All Pattern
.X0P
All the User Pattern data in this
synthesizer’s internal User Memory (Flash
ROM) is treated as a single file, and can be
saved to the USB storage device. The
Pattern data includes Mixing settings,
Mixing Voices and Sample Voices.
The operation of initializing a storage device (such as a
hard disk) is referred to as “format.” The File mode of the
MOTIF XS allows you to format the USB memory storage
device connected to the USB TO DEVICE connector. The
format operation erases all data from the target memory
device and is irreversible.
SMF
.MID
Sequence track (1 – 16) and Tempo track
data of Songs or Patterns created in the
Song/Pattern mode can be saved to the
USB storage device as Standard MIDI File
(format 0) data.
All
Waveform
.X0W
Sample data created in the Sampling mode
can be saved to the USB storage device as
a WAV file (Windows audio format). The
Waveform data includes all the Samples
(waves).
WAV
.WAV
A Sample created in the Sampling mode
can be saved to the USB storage device as
a WAV file (Windows audio format).
AIFF
.AIF
A Sample created in the Sampling mode
can be saved to the USB storage device as
an AIFF file (Macintosh audio format).
Save/Load
“Save” means that the data created on the MOTIF XS is
saved to the external memory device as a file, while “Store”
means that the data created on the MOTIF XS is stored to
internal memory. “Load” means that the file on the external
memory device is loaded to internal memory.
* Automatically assigned to the saved file.
File types that can be loaded
Type
File
extension*
Description
All
.X0A
Files of the “All” type saved to the USB
storage device can be loaded and restored
to the instrument. When the box at the left
of “without System” is checkmarked, only
the Utility mode settings will not be loaded.
all without
system
.X0A
Files of the “all” type saved to the USB
storage device can be loaded and restored
to the instrument, with the exception of the
Utility and Sequencer Setup settings.
All Voice
.X0V
Files of the “All Voice” type saved to the
USB storage device can be loaded and
restored to the instrument.
MOTIF XS Owner’s Manual
273
Reference
All Voice
Performance
mode
All data in this synthesizer’s internal User
Memory (Flash ROM) is treated as a single
file, and can be saved to the USB storage
device.
Sampling
mode 1
.X0A
Song mode
All
Mount
Refers to the operation so that an external memory device
becomes active for the instrument. The USB storage
device is automatically mounted as soon as connected to
the USB TO DEVICE connector on the rear panel of the
MOTIF XS. The hard disk drive of the computer connected
to the MOTIF XS via the network can be mounted in the
Mount display (page 277).
Description
Pattern mode
File
extension*
Mixing mode
Type
Sampling
mode 2
File types that can be saved
The location of the directories (folders) and files currently
indicated at the “Dir” line on the display is referred to as a
“path.” This indicates the current directory, what device it
belongs to, and in which folder(s) it is contained. “Directory
C” illustrated above is described as path “USB_HDD/A/C.”
Master mode
Path
Utility mode
The MOTIF XS supports various file types that can be
saved and loaded. Refer to the following two lists.
Voice mode
File types that can be handled by
the MOTIF XS
File mode
n To go down from the current directory in the File window
(page 275), move the cursor to the desired directory in the
Directory/File list then press the [ENTER] button. To go up from
the current directory, move the cursor to the top line in the
Directory/File list then press the [ENTER] button.
File Management (File mode)
Type
Voice
File
extension*
.X0A
.X0V
Description
Voice mode
A specified Voice in a file that is saved to
the USB storage device as “All” or “All
Voice” type can be individually selected
and loaded to the instrument. Please note
that the file icons F of “X0A” and “X0V” are
changed to G (as virtual folders) when this
file type is selected (page 280).
A specified Performance in a file that is
saved to the USB storage device as “All”
type can be individually selected and
loaded to the instrument. Please note that
the file icon F of “X0A” is changed to G
(as a virtual folder) when this file type is
selected (page 282).
All
Arpeggio
Files of the “All Arpeggio” type saved to the
USB storage device can be loaded and
restored to the instrument.
Performance
mode
Performance .X0A
.X0G
Sampling
mode 1
Song mode
Pattern mode
.X0S
Files of the “All Song” type saved to the
USB storage device can be loaded and
restored to the instrument.
Song
.X0A
.X0S
.MID
A specified Song in a file that is saved to
the USB storage device as “All” or “All
Song” type can be individually selected
and loaded to the instrument. Please note
that the file icons F of “X0A” and “X0S” are
changed to G (as virtual folders) when this
file type is selected (page 283).
All Pattern
.X0P
Files of the “All Pattern” type saved to the
USB storage device can be loaded and
restored to the instrument.
Pattern
.X0A
.X0P
.MID
A specified Song in a file that is saved to
the USB storage device as “All” or “All
Pattern” type can be individually selected
and loaded to the instrument. Please note
that the file icons F of “X0A” and “X0P” are
changed to G (as virtual folders) when this
file type is selected (page 283).
Mixing mode
Reference
All Song
Sampling
mode 2
.X0W
Files of the “All” or “All Waveform” types
saved to the USB storage device can be
loaded and restored to the instrument.
Waveform
.X0A
.X0W
A specified Waveform in a file that is saved
to the USB storage device as “All” or “All
Waveform” type can be individually
selected and loaded to the instrument.
Please note that the file icons F of “X0A”
and “X0W” are changed to G (as virtual
folders) when this file type is selected
(page 281).
WAV
.WAV
WAV format files can be loaded to the
instrument. For details, see page 284.
AIFF
.AIF
AIFF format files can be loaded to the
instrument. For details, see page 284.
Sample
Voice
.X0A
.X0S
.X0P
A specified Sample Voice in a file that is
saved to the USB storage device as “All” or
“All Song” or “All Pattern” type can be
individually selected and loaded to the
instrument. Please note that the file icons
F of “X0A,” “X0S” and “X0P” are changed
to G (as virtual folders) when this file type
is selected (page 283). This file type is
available only when entering the File mode
from the Song mode/Pattern mode.
MOTIF XS
Editor
.X0E
The file (.X0E) created via the MOTIF XS
Editor software (available from the Yamaha
site) on your computer can be loaded to the
instrument. The file of this editor type
includes all User Voices and Mixing data
handled by the MOTIF XS. Note that only
User Voice data can be loaded to the
MOTIF XS.
Master mode
All
Waveform
Utility mode
File mode
* Assigned to the file which can be loaded.
274
MOTIF XS Owner’s Manual
Data Compatibility with the MOTIF ES6/MOTIF
ES7/MOTIF ES8
Among the data created on the MOTIF ES6/MOTIF ES7/
MOTIF ES8, Voices, Performances, Waveforms, Sample
Voices can be loaded to the MOTIF XS6/MOTIF XS7/MOTIF
XS8.
• “All” data of the MOTIF ES
Files of the “All” type (extension: W7A) saved to the USB
storage device connected to the MOTIF ES can be loaded
to the MOTIF XS. To do this, set the Type to “All” in the [F1]
File window of the MOTIF XS.
• Voices
A specified Voice in a file (extension: W7A, W7V) that is
saved to the storage device as “All” or “All Voice” type on
the MOTIF ES can be individually selected and loaded to
the MOTIF XS. Set the Type in the [F1] File display to
“Voice” and execute the Load procedure. All Voice data in
a file (extension: W7A) that has been saved to the storage
device as “All” type on the MOTIF ES can be selected and
loaded to the MOTIF XS.
Likewise, a file (extension: W7V) that is saved to the USB
storage device as “All Voice” type on the MOTIF ES can be
loaded to the MOTIF XS. Set the Type in the [F1] File
display to “All Voice” and execute the Load procedure.
In addition, Voice Editor files (extension: W7E) can be
loaded to the MOTIF XS. Set the Type in the [F1] File
display to “Voice Editor” and execute the Load procedure.
n The Voices loaded to the MOTIF XS 6/7/8 may not produce the
exact same sound as those on the original MOTIF ES 6/7/8,
since the contents of the preset Waveforms and the Effect
structure are different between the two instrument series.
• Performance
A specified Performance in a file (extension: W7A) that is
saved to the storage device as “All” type on the MOTIF ES
can be individually selected and loaded to the MOTIF XS.
Set the Type in the [F1] File display to “Performance” and
execute the Load procedure.
• Waveforms
A specified Waveform in a file (extension: W7A, W7W) that
is saved to the storage device as “All” or “All Waveform”
type on the MOTIF ES can be individually selected and
loaded to the MOTIF XS. Set the Type in the [F1] File
display to “Waveform” and execute the Load procedure.
Likewise, a file (extension: W7W) that is saved to the
storage device as “All Waveform” type on the MOTIF ES
can be loaded to the MOTIF XS. Set the Type in the [F1]
File display to “All Waveform” and execute the Load
procedure.
• Sample Voices
A specified Sample Voice (extension: W7A, W7S, W7P) in a
file that is saved to the storage device as “All” or “All Song”
or “All Pattern” type on the MOTIF ES can be individually
selected and loaded to the MOTIF XS. Set the Type in the
[F1] File display to “Sample Voice” and execute the Load
procedure.
File Management (File mode)
When you wish to transfer a Song to
an external MIDI sequencer or
computer:
SMF
Pattern
When User Voices are used in the
Patterns:
All
When User Voices are not used in
all the Patterns:
All Pattern
When you wish to transfer a Pattern
to an external MIDI sequencer or
computer:
SMF
Sampling
data
All waveforms
All Waveform
When you wish to transfer a Sample
to a computer:
WAV, AIFF
File Management—[F1] File
The directory name is shown on the Directory line while the
file name with the extension and file size are shown on the
File line.
Moving between the directory levels
To go down from the current directory, move the cursor to
the desired directory in the Directory/File list then press
the [ENTER] button. To go up from the current directory,
move the cursor to the top line in the Directory/File list
then press the [ENTER] button.
4 Type
The File window lets you use all file-related functions such
as device selection, selecting a path, save, load, rename
and delete.
The amount of used memory/total memory
1
2
Determines the data type to be saved or loaded. The
available type differs depending on the mode selected
before calling up the File mode. For details about the data
types, see pages 273 and 274. You can call up the File
Type List by pressing the [SF6] LIST button then select the
desired one from the list. For details, see page 82.
5 Memory location of the data type above
To upper level
Determines the memory location of the data type above
such as Voice Bank/number, Performance Bank/Number,
Song number and Pattern number. The available values
differ depending on the Type setting above. For details
about the source memory to be saved, see page 278. For
details about the target memory to be loaded, see
page 280.
File
3
4
5
! 6 @ 7 # 8
9
)
1 Device
Here, you can select the desired device from the ones
mounted (recognized) by the File mode. The device
selected here is called “Current Device.” When selecting a
device, the root directory of the selected device appears in
the Dir column. The amount of used memory and total
memory on the selected device appears at the top right of
the display.
6 [SF1] Save
Pressing this button executes the Save operation. For
detailed instructions on saving, see page 278.
7 [SF2] Load
Pressing this button executes the Load operation. For
detailed instructions on loading, see page 280.
n You can call up the list by pressing the [SF6] LIST button then
select the desired item from the list. For details, see page 82.
MOTIF XS Owner’s Manual
275
Reference
All Song
Voice mode
When no User Voices are used in
any of the Songs:
Indicates the directories and files in the current Directory.
In this box, the directories and files are listed in
alphabetical order, with the exception of the top line which
is provided for moving to the next highest directory. You
can distinguish the directory and file by the indicator at left
end of each line.
D ..... Directory (Folder)
F ...... File
Performance
mode
3 Directory/File list
All
Sampling
mode 1
Songs
Song mode
All
When User Voices are used in the
Songs:
Performance
Pattern mode
All Voice
Mixing mode
All
User Voice
Sampling
mode 2
All data
Master mode
File type
Indicates the current directory with the path. The contents
(files and folders) included in the current directory are
listed in the Directory/File list box below. The current
directory can be changed in the Directory/File list box
below.
Utility mode
Data to be saved
2 Dir (Directory)
File mode
File Type Setting example when saving:
File Management (File mode)
8 [SF3] Rename
Pressing this button calls up the window for entering the
new name of the selected file. The File name can contain
up to 20 characters. For detailed instructions on naming,
refer to “Basic Operation” on page 82.
Voice mode
Follow the instructions below to change the name of the
file.
Performance
mode
Sampling
mode 1
1
Select a file to be renamed by moving the cursor in
the Directory/File list.
2
Press the [SF3] button to call up the Input Character
window.
3
4
Enter the new name of the selected file.
Press the [ENTER] button to actually change the
name of the selected file.
Basic Procedure in the File mode
1
The File window (page 275) appears.
2
3
Select the desired device.
Select the desired device from the ones mounted in
step 2.
Song mode
4
Move the path to the desired directory.
Pattern mode
Mixing mode
Reference
Sampling
mode 2
) [SF5] New Dir (New Directory)
Select the desired directory in the selected device. To
go down from the current directory, move the cursor to
the desired directory in the Directory/File list then press
the [ENTER] button. To go up from the current directory,
move the cursor to the top line in the Directory/File list
then press the [ENTER] button. The Dir line indicates
the current directory name with the path and the lower
box lists the directories and files belonging to the
current directory.
Pressing this button creates a new directory in the current
directory. The directory name can contain up to 10
characters. For detailed instructions on naming, refer to
“Basic Operation” on page 82.
n If you wish to create a new directory and save the file
there, press the [SF5] New Dir button. For detailed
instructions on creating a new directory, see the left
column.
Follow the instructions below to delete a file.
1
Select a file to be deleted by moving the cursor in the
Directory/File list.
2
3
Press the [SF4] button to call up the Delete window.
Press the [ENTER] button to delete the selected file.
Master mode
Follow the instructions below to create a new directory.
1
Utility mode
2
3
5
Press the [SF5] button to call up the Input Character
window.
Enter the name of the new Directory.
n Depending on the mode selected before calling up the
File mode, the available data types differ. If you cannot
find the data type which you wish to handle, for example
“voice,” press the [EXIT] button to exit from the File
window, press the [VOICE] button to enter the Voice
mode, then press the [FILE] button to call up the File
window again.
Press the [ENTER] button to actually enter the name
of the newly created directory.
File mode
Pressing this button calls up the File window from another
window in the File mode.
@ [F2] Mount
Pressing this button calls up the Mount window. For details,
see page 277.
# [F3] Format
Pressing this button calls up the Format window. For
details, see page 278.
MOTIF XS Owner’s Manual
Select the desired data type from the Type
column (4).
In the Directory/File list box, only files related to the
selected file type are listed.
! [F1] File
276
Mount the memory devices to which the file is
saved or from which the file is loaded.
The USB storage device is automatically mounted as
soon as it is connected to the USB TO DEVICE
connector on the rear panel. The hard disk drive of the
computer connected to the MOTIF XS via the network
can be mounted in the Mount display (page 277).
9 [SF4] Delete
Pressing this button to call up the Delete window.
Press the [FILE] button to enter the File mode.
6
Select the desired file by moving the cursor in
the Directory/File list (3).
This operation is not necessary when you execute Save
or New Directory. When you wish to execute the
Rename or Delete operation, press the [SF3] Rename
button or the [SF4] Delete button. For detailed
instructions on renaming and deleting, see page 276
and left column.
File Management (File mode)
If the desired computer name is not shown in the Host
(1) parameter, you can call up the Character List by
pressing the [SF5] CHAR button and enter the
computer name manually. For detailed instructions on
naming, refer to “Basic Operation” on page 82.
If you select a computer which has not been accessed
by the MOTIF XS, “Press [ENTER] to access” appears
on the display. When pressing the [ENTER] button, the
display prompts you to enter the password as
illustrated below. Here, enter the User Account of your
computer to the User Name box, enter the password of
your computer to the Password box, then press the
[ENTER] button so that the access between the MOTIF
XS and the computer is established. The shared
directories of the selected computer are listed in the
Sharing Point box (2).
1
2
Mount
Indicator
1 Host
Sampling
mode 2
From the computers connected to the network, this
parameter determines the host computer containing the
device is to be mounted. Here, the computer name set in
your computer is shown.
You can call up the Device List by pressing the [SF6] LIST
button then select the desired item from the list. For details,
see page 82. Here, the computer name set in your
computer is shown.
n Once access between the MOTIF XS and the computer
has been established, the shared directories are
automatically listed in the display simply by selecting a
computer from the Host column. If the power is turned off,
the operations for establishing the access (entering the
User Account and Password) are necessary after turning
the power on next time.
n If the desired computer name is not shown in the Host (1)
parameter, you can call up the Character List by pressing the
[SF5] CHAR button and enter the computer name manually.
For detailed instructions on naming, refer to “Basic Operation”
on page 82.
n Confirm the computer name on your computer. For details,
refer to the owner’s manual of your computer.
n For details about how to confirm the User Account and
Password of your computer, refer to the owner’s manual of
your computer.
2 Sharing Point
n When a Password is not assigned to your computer,
simply pressing the [ENTER] button without inputting any
characters establishes the access between the MOTIF XS
and your computer.
Here, the shared directories of the host computer set
above are listed. You can also mount or unmount each of
the shared directories.
n Keep in mind that the names of the shared folders authorized
on the computer are shown here.
Mounting/Unmounting a directory
You can mount the shared directory by moving the cursor
to the desired directory then pressing the [ENTER]
button. The mount indicator appears at the left side of the
name of the mounted directory. You can unmount the
shared directory by pressing the [ENTER] button again.
The mount indicator disappears.
4
Mount the desired directories.
In the Sharing Point box (2), you can mount the shared
directory by moving the cursor to the desired directory,
then pressing the [ENTER] button. The mount indicator
appears at the left side of the name of the mounted
directory. You can unmount the shared directory by
pressing the [ENTER] button again. The mount
indicator disappears. The mounted directories can be
selected in the File window (page 275).
MOTIF XS Owner’s Manual
277
Reference
Select a host computer at the Host column (1).
Performance
mode
3
Sampling
mode 1
Press the [FILE] button to enter the File mode,
then press the [F2] button to call up the Mount
window.
Song mode
2
Pattern mode
Network related parameters can be set in the Network
display (page 260) in the Utility mode.
Online Device Mounting—[F2] Mount
From this display, you can mount the shared directories on
the hard disk drive of a computer connected via network to
the MOTIF XS.
Connect the MOTIF XS to the network.
Mixing mode
1
Voice mode
Follow the instructions below to mount the memory drive of
the computer connected to the network.
Master mode
When you wish to execute the Save or Load operation,
press the [SF1] Save button or the [SF2] Load button.
For detailed instructions on saving and loading, see
pages 278 and 280.
Mount Procedure
Utility mode
Select a memory location of the data type
specified in step 5 as source or destination.
File mode
7
File Management (File mode)
Voice mode
Formatting a Device—[SF3] Format
Saving a file
From this display, you can format memory storage devices
such as a hard disk connected to the USB TO DEVICE
connector.
The saving procedure differs depending on the file type to
be saved and the mode selected before calling up the File
window. This section explains the procedure relevant to
following three cases.
• Saving all user data or all data of a specific type
• Saving the sample of a specific Voice
Performance
mode
1
• Saving a Song or a Pattern Section as a Standard MIDI
File
Sampling
mode 1
2
Saving all user data or all data of a
specific type
Song mode
1 Device
Pattern mode
Mixing mode
Reference
The connected and mounted devices are listed here,
letting you select the device to be formatted. A device that
requires formatting is indicated by “unknown device
(usb***).” The three asterisks (***) in the indication denote
the sequential serial numbers of the connected devices
which need to be formatted. When several partitions are
included in a single device, the partition number is
indicated at the right of the serial number.
2 Volume Label
Sampling
mode 2
Determines the Volume Label of the selected device. The
Volume Label is the name assigned to the device. The
Volume Label can contain up to 11 characters. For detailed
instructions on naming, refer to “Basic Operation” on
page 82.
1
Master mode
n When you wish to save all 64 songs, press the [SONG]
button to enter the Song mode then press the [FILE]
button to call up the File window. When you wish to save
all 64 patterns, press the [PATTERN] button to enter the
Pattern mode then press the [FILE] button to call up the
File window.
Format Procedure
Utility mode
File mode
1
Connect the device to be formatted to the USB
TO DEVICE terminal.
2
Select a device to be formatted from the Device
list (1).
3
4
Enter the Volume Label (2) as desired.
Press the [ENTER] button. (The display
prompts you for confirmation.)
n Follow the instructions below after selecting a Voice,
Performance, Song or Pattern to which the Sample to be
saved is assigned in each of the modes.
2
Set the Type to the desired one of “all,” “all
voice,” “all arpeggio,” “all waveform,” “editor,”
“all song,” and “all pattern.”
3
Press the [SF1] Save button to call up the
window for entering the file name.
4
Enter the file name, press the [ENTER] button
then the [INC/YES] button to save the data of
the specified type to the external memory
device.
Press the [DEC/NO] button to cancel the Format.
5
Press the [INC/YES] button to execute the
Format operation.
CAUTION
If you format the device, all the previously recorded data will be
deleted. Make sure to check beforehand whether or not the
device contains important data. When checking the contents of
the device in the [F1] File window, keep in mind that some files
(which are not listed on pages 273 and 274) are not shown on
the display of the MOTIF XS, even if the File Type is set to “all.”
278
MOTIF XS Owner’s Manual
Select a device and directory as destination by
following “Basic Procedure in the File mode”
on page 276.
The file name can contain up to 20 characters. For detailed
instructions on naming, refer to “Basic Operation” on
page 82.
File Management (File mode)
Press the [SF1] Save button to call up the
window for selecting a Key Bank.
Key Bank
n Keep in mind that some parameter settings, such as Start
Point, are not saved when saving the Sample of a specific
Voice as WAV or AIFF format. This means that the WAV file
or AIFF file saved in the File mode will be played back
from the top (including the section before the Start Point)
on an external device, such as a computer.
3
Select the source data.
When entering the File mode from the Voice mode,
select an Element (for a Normal Voice) and Key to
which the Sample to be saved is assigned. When
entering the File mode from the Performance/Song/
Pattern mode, select a Part and Key to which the Voice
including the Sample to be saved is assigned.
Enter the file name, press the [ENTER] button
then the [INC/YES] button to save the data to
the external memory device.
The file name can contain up to 20 characters. For
detailed instructions on naming, refer to “Basic
Operation” on page 82.
Saving a Song or a Pattern Section as a
Standard MIDI File
You can save a Song or a Pattern Section as a Standard
MIDI File in the File mode. The Standard MIDI File format is
common and can be used on other MIDI sequencers and
computer music software. This method is available when
entering the File mode from the Song mode/Pattern mode.
n Preset Waveforms cannot be saved to an external storage
device. If you select a Performance/Song/Pattern Part to
which the preset Voice is assigned or you select a Normal
Voice Element or Drum Voice Key to which the preset
Waveform is assigned, an error message appears.
n The available source data differs depending on the mode
selected before entering the File mode. When entering the
File mode from the Voice mode, the available source data
differs depending on the type of the already selected
Voice: Normal Voice or Drum Voice. Make sure to select a
Voice/Performance/ Song/Pattern to which the desired
Sample is assigned before entering the File mode.
1
Select a device and directory as destination by
following “Basic Procedure in the File mode”
on page 276.
2
Set the Type to “SMF.”
MOTIF XS Owner’s Manual
Song mode
279
Reference
Set the Type to “WAV” or “AIFF.”
7
Pattern mode
2
Press the [ENTER] button to call up the
window for entering the file name.
Mixing mode
Select a device and directory as destination by
following “Basic Procedure in the File mode”
on page 276.
6
Sampling
mode 2
1
Press the [SF1] Audition button to hear the sampled
sound.
File mode
n When entering the File mode from the Performance mode/
Song mode/Pattern mode and saving/loading the sample
assigned to the Normal Voice, only the sample assigned to the
Element 1 is available.
Select a Key Bank to which the sample is
assigned by moving the cursor.
Master mode
5
Utility mode
n For information about this window, refer to the explanation
about the Keybank parameter in the Sampling Main
display described on page 162.
Sampling
mode 1
Performance
mode
You can save the sample of a specific Voice to an external
memory device as a WAV file or an AIFF file for storage or
editing on a computer. This method is available when
entering the File mode from any mode. For details about
file types that can be saved, see page 273.
4
Voice mode
Saving the sample of a specific Voice
File Management (File mode)
3
Select the source data.
1
Voice mode
n The available source memory differs depending on the
mode selected before entering the File mode. When you
want to save a Song, enter the File mode from the Song
mode. When you want to save a Pattern, enter the File
mode from the Pattern mode.
Performance
mode
4
Press the [ENTER] button to call up the
window for entering the file name.
5
Enter the file name, press the [ENTER] button
then the [INC/YES] button to save the data to
the external memory device.
n When you wish to load all 64 Songs, press the [SONG]
button to enter the Song mode then press the [FILE]
button to call up the File window. When you wish to load
all 64 Patterns, press the [PATTERN] button to enter the
Pattern mode then press the [FILE] button to call up the
File window.
2
Sampling
mode 1
The file name may contain up to 20 characters. For
detailed instructions on naming, refer to “Basic
Operation” on page 82.
Song mode
Mixing mode
Reference
Pattern mode
4
Press the [SF2] button (a prompt for
confirmation appears).
Press the [DEC/NO] button to cancel the Load
operation.
5
Press the [INC/YES] button to execute the
Load operation.
• Loading a specific Voice from an “all” or “all voice” file
Sampling
mode 2
CAUTION
• Loading a specific Waveform from an “all” or “all
waveform” file
Master mode
The Load operation overwrites any data previously existing in
the destination internal memory. Important data should always
be saved to a USB storage device connected to the USB TO
DEVICE terminal or to a computer connected to the same
network as the MOTIF XS (page 278).
• Loading a specific Performance from an “all” file
• Loading a specific Song or Pattern from an “all” or “all
song” or “all pattern” file
• Loading a specific Sample Voice from an “all” or “all
song” or “all pattern” file
• Loading a WAV file or an AIFF file
Utility mode
• Loading a SMF file (Standard MIDI file)
Loading a specific Voice from an “all”
or “all voice” file
File mode
Loading all user data or all data of a
specific type
1
280
Select the file to be loaded.
You can select any of the files listed in the Directory/File
list box on the display.
Loading a file
• Loading all user data or all data of a specific type (all
voices, all songs, all patterns, etc.)
Set the Type to the desired one of “all,” “all
without system,” “all voice,” “all arpeggio,” “all
waveform,” “editor,” “all song,” and “all
pattern.”
Only available files according to the Type are listed in
the Directory/File list box on the display.
3
The loading procedure differs depending on the file type to
be loaded and the mode selected before calling up the File
window. This section explains the procedure relevant to
following eight cases.
Select a device and directory including the
source file by following “Basic Procedure in
the File mode” on page 276.
MOTIF XS Owner’s Manual
Select a device and directory as source by
following “Basic Procedure in the File mode”
on page 276.
File Management (File mode)
The Load operation overwrites any data previously existing in
the destination internal memory. Important data should always
be saved to a USB storage device connected to the USB TO
DEVICE terminal or to a computer connected to the same
network as the MOTIF XS (page 278).
n In this step, the Load menu corresponding to the [SF2]
button is not shown in the display. The Load menu
appears when selecting a Voice to be loaded in step 6.
Sampling
mode 1
n When entering the File mode from the Performance/Song/
Pattern mode, set a Part to which the loaded Voice is to be
assigned as well as a Voice Bank and number.
5
Press the [ENTER] button so that the Voices of
the specified Bank are listed in the Directory/
File list box.
1
Select a device and directory as source by
following “Basic Procedure in the File mode”
on page 276.
2
Set the Type to “waveform.”
When the Normal Voice Bank is selected in step 3, you
can change the Voice Bank as source by pressing one
of the Bank buttons (USR1 – 3) on the front panel.
Only available files according to the Type are listed in
the Directory/File list box on the display.
n In this step, the Load menu corresponding to the [SF2]
button is not shown in the display. The Load menu appears
when selecting a Waveform to be loaded in step 6.
3
Voice List
Specify the destination memory location in the
User memory.
Select an Element (for a Normal Voice) to which the
Waveform (loaded to an empty number) is to be
assigned.
n When entering the File mode from the Performance/Song/
Pattern mode, set a Part to which the Voice including the
loaded Waveform is to be assigned.
6
The Load menu corresponding to the [SF2] button
appears.
7
n Please note that Waveforms cannot be loaded to a Drum
Voice.
Move the cursor to the desired Voice.
Press the [SF2] button (a prompt for
confirmation appears).
4
Select the file to be loaded.
You can select any of the files listed in the Directory/File
list box on the display.
Press the [DEC/NO] button to cancel the Load
operation.
8
Press the [INC/YES] button to execute the
Load operation.
MOTIF XS Owner’s Manual
281
Reference
You can select any of the files listed in the Directory/File
list box on the display.
Pattern mode
Move the cursor to the file to be loaded.
Mixing mode
4
Song mode
n When loading a Drum Voice, select the User Drum Voice
Bank (UDR) as the destination memory location (5).
When loading a Normal Voice, select one of the User
Normal Voice Banks (USR1 – 3) as the destination
memory location (5). If the appropriate Voice Bank is not
set, pressing the [SF2] Load button calls up an error
message.
Sampling
mode 2
Select a Voice Bank and number as destination.
Loading a specific Waveform from an
“all” or “all waveform” file
Master mode
Specify the destination memory location in the
User memory.
Utility mode
3
Performance
mode
Only available files according to the Type are listed in
the Directory/File list box on the display.
Voice mode
CAUTION
Set the Type to “voice.”
File mode
2
File Management (File mode)
5
Press the [ENTER] button so that the
Waveforms in the selected file are listed on the
display.
2
Set the Type to “performance.”
Only available files according to the Type are listed in
the Directory/File list box on the display.
n In this step, the Load menu corresponding to the [SF2]
button is not shown in the display. The Load menu
appears when selecting a Performance to be loaded in
step 6.
Waveforms
Voice mode
Performance
mode
3
Specify the destination memory location in the
User memory.
Select a Performance Bank and number.
n When the Performance number is set to “all,” all the
Performances in the selected Bank will be loaded.
Sampling
mode 1
4
Song mode
6
Mixing mode
Reference
Pattern mode
7
You can select any of the files listed in the Directory/File
list box on the display.
Move the cursor to the desired Waveform.
The Load menu corresponding to the [SF2] button
appears.
5
Press the [SF2] button (a prompt for
confirmation appears).
Press the [ENTER] button so that the
Performances in the selected Bank are listed
on the display.
You can change the Performance Bank as source by
pressing the Bank buttons on the front panel.
Press the [DEC/NO] button to cancel the Load
operation.
8
Select the file to be loaded.
Performances
Press the [INC/YES] button to execute the
Load operation.
CAUTION
Sampling
mode 2
The Load operation overwrites any data previously existing in
the destination internal memory. Important data should always
be saved to a USB storage device connected to the USB TO
DEVICE terminal or to a computer connected to the same
network as the MOTIF XS (page 278).
Master mode
Utility mode
Loading a specific Performance from an
“all” file
This method is available only when entering the File mode
from the Performance mode.
6
Move the cursor to the desired Performance.
The Load menu corresponding to the [SF2] button
appears.
7
File mode
Press the [SF2] button (a prompt for
confirmation appears).
Press the [DEC/NO] button to cancel the Load
operation.
8
Press the [INC/YES] button to execute the
Load operation.
CAUTION
1
282
Select a device and directory as source by
following “Basic Procedure in the File mode”
on page 276.
MOTIF XS Owner’s Manual
The Load operation overwrites any data previously existing in
the destination internal memory. Important data should always
be saved to a USB storage device connected to the USB TO
DEVICE terminal or to a computer connected to the same
network as the MOTIF XS (page 278).
File Management (File mode)
Move the cursor to the desired Song or
Pattern.
2
Select a device and directory as source by
following “Basic Procedure in the File mode”
on page 276.
Set the Type to “song” or “pattern.”
Only available files according to the Type are listed in
the Directory/File list box on the display.
n In this step, the Load menu corresponding to the [SF2]
button is not shown in the display. The Load menu
appears when selecting a Song or Pattern to be loaded in
step 6.
3
Loading a specific Sample Voice from
an “all” or “all song” or “all pattern” file
This method is available only when entering the File mode
from the Song mode or Pattern mode.
Sampling
mode 2
1
Specify the destination memory location in the
User memory.
4
Master mode
Select a Song number or Pattern number.
Select the file to be loaded.
You can select any of the files listed in the Directory/File
list box on the display.
5
Press the [ENTER] button so that the Songs or
Patterns in the selected file are listed on the
display.
1
Select a device and directory as source by
following “Basic Procedure in the File mode”
on page 276.
2
Set the Type to “sample voice.”
Only available files according to the Type are listed in
the Directory/File list box on the display.
n In this step, the Load menu corresponding to the [SF2]
button is not shown in the display. The Load menu appears
when selecting a Sample Voice to be loaded in step 7.
Songs
3
Specify the destination memory location in the
User memory.
Select a Part to which the loaded Sample Voice is to be
assigned.
n The Sample Voice is loaded to an empty number assigned
to the Song or Pattern selected before entering the File
mode.
MOTIF XS Owner’s Manual
283
Reference
CAUTION
The Load operation overwrites any data previously existing in
the destination internal memory. Important data should always
be saved to a USB storage device connected to the USB TO
DEVICE terminal or to a computer connected to the same
network as the MOTIF XS (page 278).
Performance
mode
Press the [INC/YES] button to execute the
Load operation.
Sampling
mode 1
8
Song mode
Press the [DEC/NO] button to cancel the Load
operation.
Pattern mode
Press the [SF2] button (a prompt for
confirmation appears).
Mixing mode
7
Voice mode
The Load menu corresponding to the [SF2] button
appears.
Utility mode
This method is available only when entering the File mode
from the Song mode or Pattern mode.
6
File mode
Loading a specific Song or Pattern from an
“all” or “all song” or “all pattern” file
File Management (File mode)
4
Select the file to be loaded.
Loading a WAV file or an AIFF file
You can select any of the files listed in the Directory/File
list box on the display.
Voice mode
5
Press the [ENTER] button so that the Songs or
Patterns in the selected file are listed on the
display.
Performance
mode
Songs
Sampling
mode 1
1
Select a device and directory as source by
following “Basic Procedure in the File mode”
on page 276.
Song mode
2
Set the Type to “WAV” or “AIFF.”
6
Pattern mode
Mixing mode
Reference
7
8
Press the [ENTER] button so that the Sample
Voices in the selected Song or Pattern are
listed on the display.
Sampling
mode 2
Master mode
Utility mode
Specify the destination memory location in the
User memory.
The Load menu corresponding to the [SF2] button
appears.
Select an Element (for a Normal Voice) or Key (for a
Drum Voice) to which the WAV or AIFF file (loaded to an
empty Waveform number) is to be assigned.
Press the [SF2] button (a prompt for
confirmation appears).
n When entering the File mode from the Performance/Song/
Pattern mode, set a Part to which the Voice including the
loaded WAV or AIFF file is to be assigned.
Press the [INC/YES] button to execute the
Load operation.
CAUTION
The Load operation overwrites any data previously existing in
the destination internal memory. Important data should always
be saved to a USB storage device connected to the USB TO
DEVICE terminal or to a computer connected to the same
network as the MOTIF XS (page 278).
File mode
284
3
Move the cursor to the desired Sample Voice.
Press the [DEC/NO] button to cancel the Load
operation.
9
Only available files according to the Type are listed in
the Directory/File list box on the display.
4
Select the file to be loaded.
You can select any of the files listed in the Directory/File
list box on the display.
5
Press the [SF2] button (a prompt for
confirmation appears).
Press the [DEC/NO] button to cancel the Load
operation.
6
Press the [INC/YES] button to execute the
Load operation.
CAUTION
The Load operation overwrites any data previously existing in
the destination internal memory. Important data should always
be saved to a USB storage device connected to the USB TO
DEVICE terminal or to a computer connected to the same
network as the MOTIF XS (page 278).
MOTIF XS Owner’s Manual
File Management (File mode)
Loading a SMF file (Standard MIDI file)
2
Set the Type to “SMF.”
Only available files according to the Type are listed in
the Directory/File list box on the display.
Specify the destination memory location in the
User memory.
Mixing mode
3
Select a Song number or Pattern Number/Section to
which the Standard MIDI File is to be loaded.
Master mode
4
Sampling
mode 2
n When you want to load the SMF file to a Song, enter the
File mode from the Song mode. When you want to load the
SMF file to a Pattern, enter the File mode from the Pattern
mode.
Select the file to be loaded.
5
Utility mode
You can select any of the files listed in the Directory/File
list box on the display.
Press the [SF2] button (a prompt for
confirmation appears).
6
File mode
Press the [DEC/NO] button to cancel the Load
operation.
Press the [INC/YES] button to execute the
Load operation.
CAUTION
The Load operation overwrites any data previously existing in
the destination internal memory. Important data should always
be saved to a USB storage device connected to the USB TO
DEVICE terminal or to a computer connected to the same
network as the MOTIF XS (page 278).
MOTIF XS Owner’s Manual
285
Reference
Select a device and directory as source by
following “Basic Procedure in the File mode”
on page 276.
Pattern mode
1
Song mode
Sampling
mode 1
Performance
mode
Voice mode
This method is available only when entering the File mode
from the Song mode or Pattern mode.
Appendix
Display Messages
LCD Indication
Appendix
286
Description
Are you sure?
Confirms whether you want to execute a specified operation or not.
Arpeggio memory full.
The internal memory for Arpeggio data is full, preventing storing the recorded sequence data as an
Arpeggio.
Bad disk or memory.
The external storage device connected to this synthesizer is unusable. Format the external storage
device and try again.
Bulk data protected.
Bulk data cannot be received because of the setting in the Utility mode. For details, see page 268.
Can’t access to the host
The MOTIF XS cannot access a host computer.
Can’t execute to the Preset Wave.
This message appears when you try to save the preset Waveform to an external storage device.
Can’t undo.
Are you sure?
When certain Song/Pattern Jobs are executed, internal memory becomes too full for use of the Undo
operation.
Completed.
The specified load, save, format, or other Job has been completed.
Confirmed password is invalid.
The new password cannot be registered because the confirmed password does not match the new
password.
Connecting to USB device...
Recognizing the USB storage device connected to the USB TO DEVICE terminal.
Copy protected.
You have attempted to export or save a copy-protected digital audio source.
Device number is off.
Bulk data cannot be transmitted/received since the device number is off.
Device number mismatch.
Bulk data cannot be transmitted/received since the device numbers don’t match.
Directory is not empty.
You have attempted to delete a folder that contains data.
Disk or memory is full.
The external storage device is full and no more data can be saved. Use a new external storage device,
or make space by erasing unwanted data from the storage device.
Disk or memory is write-protected.
The external storage device is write protected, or you have attempted to write to a read-only medium
such as CD-ROM.
Disk or memory read/write error.
An error occurred while reading or writing to/from an external storage device.
File already exists.
A file having the same name as the one you are about to save already exists.
File is not found.
The specified file was not found on the external storage device during a load operation.
File or directory path is too long.
The file or directory you tried to access cannot be accessed because the amount of characters
indicating the path is too long.
Illegal bulk data.
An error occurred while receiving the Bulk data or Bulk Request message.
Illegal file name.
The specified file name is invalid. Try entering a different name.
Illegal file.
The file specified for loading is unusable by this synthesizer or cannot be loaded in the current mode.
Illegal parameters.
This message appears when trying to execute the Song Job or Pattern Job with invalid settings.
Illegal sample data.
The Sample file specified for loading is unusable by this synthesizer.
Keybank full
The maximum overall number of Key Banks has been exceeded when executing Sampling related
operations including Jobs and Load.
MIDI buffer full.
Failed to process the MIDI data because too much data was received at one time.
MIDI checksum error.
An error occurred when receiving bulk data.
Mixing Voice full.
The Mixing Voice cannot be stored because the number of Voices already stored has exceeded the
maximum capacity.
mLAN identity ID check OK.
The MOTIF XS has been connected to the computer properly via an IEEE1394 cable.
No data.
When a Song/Pattern Job is executed, the selected track or range contains no data. Select an
appropriate track or range. In addition, this message appears when a Job related to a Mixing Voice
cannot be executed because the specified Mixing Voice is not available.
No DIMM Memory installed.
An appropriate pair of expansion DIMMs is not properly installed, or the pair is not properly matched.
No sample data.
This message appears when a Sample-related Job cannot be executed because the specified Sample
is not available.
Now collecting the information of the
network...
This message appears while obtaining the network information.
Now executing Factory set...
Indicates this synthesizer is restoring the factory-programmed settings.
Now loading...
Indicates that a file is being loaded.
Now receiving MIDI bulk data...
Indicates this synthesizer is receiving MIDI bulk data.
MOTIF XS Owner’s Manual
Display Messages
LCD Indication
Description
Now saving...
Indicates that a file is being saved.
Now scanning autoload file.
Scanning for the files specified for Auto Load.
Now transmitting MIDI bulk data...
Indicates this synthesizer is transmitting MIDI bulk data.
Overwrite.
Are you sure?
A save operation will overwrite data on the external storage device as destination, and this message
confirms whether it is OK to continue or not. Press [INC/YES] or [DEC/NO] as required.
Password is invalid.
The password you input does not match the already registered password,
Password is too short.
The password you input to “New Password” is too short. Input at least five characters as a password.
Password is unspecified.
This message appears when setting the File Server Switch parameter to “ON” though a password has
not been registered.
Phrase limit exceeded.
The maximum number of Phrases (256) has been exceeded when recording, executing a Pattern Job,
or editing.
Please keep power on.
The data is being written to Flash ROM. Never attempt to turn off the power while data is being written to
Flash ROM. Turning the power off while this message is shown results in loss of all user data and may
cause the system to freeze (due to corruption of data in the Flash ROM). This may also result in the
MOTIF XS being unable to properly start up the next time the power is turned on.
Please select User Voice.
This message appears when entering the File mode from the Performance mode and selecting a Part to
which a preset Voice is assigned in the Waveform Load operation. Assign a User Voice to the
destination Part then execute the Load operation.
Please stop sequencer.
The operation you have attempted to execute cannot be done during Song/Pattern playback.
Sample frequency is too low.
The sampling frequency is too low and the Frequency Convert Job cannot be executed.
Sample is too long.
The Sample size is too large and the Time Stretch Job cannot be executed.
Sample is too short.
The Sample length is too short and the Frequency Convert Job cannot be executed.
Sample memory full.
The Sample memory is full and further Sampling operations, Jobs, or load operations cannot be
executed.
Sample Voice full
The maximum overall number of Sample Voices has been exceeded when executing the Sampling
related operations including the Job and Load.
Scene stored.
The Song Scene has been stored to one of the [SF1] – [SF5] buttons.
Sequence memory full.
The internal memory for Sequence data is full, preventing any further operation (such as recording,
editing, Job execution, MIDI reception/transmission, or loading from the external storage device). Try
again after erasing unwanted Song, Pattern, or User Phrase data.
The edited sequence data will be
discarded.
Are you sure?
Indicates that the operation will delete the currently edited Song or Pattern.
The received MIDI bulk data’s type is
not compatible with the current mode/
voice type.
This message appears when MIDI bulk data is received in a different mode other than the currently
selected mode. The bulk data is received in the same mode as the transmitting mode. This message
also appears when the Voice type (Normal Voice/Drum Voice) of the destination Mixing Parts is different
from the bulk-dump-transferred Voice type. The destination Parts assigned to the same Voice type as
the bulk-dump-transferred Voice type are selected.
This Performance uses User Voices.
The Performance you have loaded includes User Voice data. Check whether the Voice you saved exists
at the appropriate User voice bank.
Too many Samples.
The maximum overall number of samples (8192) has been exceeded.
USB connection terminated.
Press any button.
A break in the connection with the USB storage device has occurred because of an abnormal electric
current. Disconnect the USB storage device from the USB TO DEVICE connector, then press any of the
panel buttons.
The settings in the Utility mode have been stored.
Waveform full
The maximum overall number of Waveforms has been exceeded when executing the Sampling related
operations including Jobs and Load.
When the checkbox is “on,” all user
data is initialized the next time the
power is turned on.
(Self-explanatory)
Appendix
Utility/Sequencer Setup settings stored.
MOTIF XS Owner’s Manual
287
Troubleshooting
No sound? Wrong sound? When a problem like this occurs, please check the following points before assuming that the
product is faulty. You may solve your problem by executing the Factory Set (page 22) after backing up your data to an
external storage device. If the problem persists, consult your Yamaha dealer.
No Sound.
■ Are all eight sliders set to appropriate levels (other than zero or minimum)?
■ Is the MOTIF XS properly connected to related external equipment (e.g., amplifier, speaker, headphone) via audio cables?
Since the MOTIF XS has no built-in speakers, you will need an external audio system or a set of stereo headphones to properly
monitor it.
■ Check the Local Control parameter and the mLAN Monitor Setup parameter in the Utility mode.
When the MOTIF XS is used as stand alone and the Local Control parameter is set to off or the mLAN Monitor Setup parameter is
set to “with PC,” no sound is produced even if you play the keyboard.
[UTILITY] → [F5] Control → [SF2] MIDI → Switch → Local Control (page 269)
[UTILITY] → [F2] I/O → mLAN Monitor Setup (page 263)
■ Is the power of this synthesizer and any external equipment connected to this synthesizer turned on?
■ Have you made all the appropriate level settings—including the Master Volume on this synthesizer and the volume settings on
any connected external equipment?
■ Is the Foot Controller pressed down (when it is connected to the FOOT CONTROLLER jack)?
■ Are the MIDI volume or MIDI expression settings too low when using the external controller?
■ Is this synthesizer properly connected to related external equipment (e.g., amplifier or speaker) via audio cables?
■ Are the effect and filter settings appropriate?
If you are using the filter, try changing the cutoff frequency. Some cutoff settings may filter out all of the sound.
[VOICE] → [EDIT] → [COMMON EDIT] → [F6] Effect (page 107)
[PERFORM] → [EDIT] → [COMMON EDIT] → [F5] Effect (page 149)
[SONG]/[PATTERN] → [MIXING] → [F5] Effect (page 234)
[VOICE] → [EDIT] → Element/Key selection → [F3] Filter (page 117)
[PERFORM] → [EDIT] → Part selection → [F4] EG → Filter (page 158)
[SONG]/[PATTERN] → [MIXING] → [EDIT] → Part selection → [F4] EG → Filter (page 235)
[PERFORM]/[SONG]/[PATTERN] → [SEQ SETUP] → [F2] MIDI Filter (page 270)
■ Are the volume or expression settings too low?
[UTILITY] → [F1] General → [SF1] Play → Volume (page 259)
[VOICE] → [EDIT] → [COMMON EDIT] → [F1] General → [SF2] Play Mode → Volume (page 98)
[VOICE] → [EDIT] → Element/Key selection → [F4] Amplitude → [SF1] Level/Pan → Level (page 122)
[PERFORM] → [EDIT] → [COMMON EDIT] → [F2] Level/MEF → [SF1] Level → Volume (page 145)
[PERFORM] → [EDIT] → Part selection → [F1] Voice → [SF1] Voice → Volume (page 152)
[SONG]/[PATTERN] → [MIXING] → [F1] Part 1-16 → Volume (page 232)
■ Are the parameter settings such as Element Switch, Part Switch, Note Limit and Velocity Limit appropriate?
[VOICE] → [EDIT] → Element/Key selection → [F1] Oscillator (page 112)
[PERFORM] → [F2] Voice (page 138)
[PERFORM] → [EDIT] → Part selection → [F1] Voice → [SF1] Voice → Part Switch (page 151)
■ When the Element to which “Legato” of the XA Control parameter is assigned does not sound, is the Mono/Poly parameter of the
Appendix
Element set to “Mono”? Or, is a value other than “Legato” of the XA Control parameter assigned to another Element within an
Element Group?
[VOICE] → [F2] Porta → Mono/Poly Mode = mono (page 93)
[VOICE] → [EDIT] → Element selection → [F1] Oscillator → XA Control (page 112)
[VOICE] → [EDIT] → Element selection → [F1] Oscillator → Element Group (page 113)
■ When the Element to which “Key Off Sound” of the XA Control parameter is assigned does not sound, are you releasing the note
after the AEG decays?
The “Key Off Sound” Element will take over the AEG level of the previous Element if both the Elements belong to the same
Element Group. To solve such a problem, release the note before the AEG level decays to minimum or set the “Key Off Sound”
Element to the different Element Group from the previous Elements.
[VOICE] → [EDIT] → Element selection → [F1] Oscillator → Element Group (page 113)
288
MOTIF XS Owner’s Manual
Troubleshooting
■ When the Element to which “AF1 on,” “AF2 on,” or “all AF off” of the XA Control parameter is assigned does not sound, is the
corresponding ASSIGNABLE FUNCTION button pressed?
■ Is “Vocoder” selected as the Insertion Effect Type of the Voice?
If so, set the parameters related to the AD Part and A/D INPUT connector to the appropriate values then play the keyboard while
inputting your voice into the microphone connected to the MOTIF XS. Check whether or not the Gain Knob on the rear panel is set
to the minimum position. For details, see page 39.
[VOICE] → [EDIT] → [COMMON EDIT] → [F6] Effect → [SF1] Connect → INSERTION CONNECT (page 108)
[VOICE] → [UTILITY] → [F4] Voice Audio → [SF1] Output → Output Select = InsL (page 266)
[VOICE] → [UTILITY] → [F2] I/O → Input → Mic/Line = mic (page 263)
■ When playing the keyboard in the Performance/Song/Pattern mode produces no sound, has a Voice been assigned to each Part?
[PERFORM] → [F2] Voice (page 138)
[SONG]/[PATTERN] → [MIXING] → [F1] Part 1-16 (page 231)
■ When the Song/Pattern playback produces no sound, are the output channel of each track in the play mode and the receive
channel of each Part in the Mixing mode set appropriately?
[SONG] → [F3] Track → [SF1] Out (page 184)
[PATTERN] → [F3] Track (page 211)
[SONG]/[PATTERN] → [MIXING] → [EDIT] → Part selection → [F1] Voice → [SF1] Voice → Receive Channel (page 235)
■ When the Song/Pattern playback produces no sound, are the Velocity Rate and Velocity Offset settings of the Play FX
appropriate?
[SONG]/[PATTERN] → [F2] Play FX → Velocity Offset (pages 184 and 211)
Playback continues without stopping.
■ When the [ARPEGGIO ON/OFF] button is turned on, press it so that its lamp is turned off.
■ When in the Song mode or Pattern mode, press the [J] (Stop) button.
■ When the click sound continues, check the following parameter setting. Set this parameter to something other than “always”
because this setting always plays back the click sound regardless of the sequencer status.
[PERFORM]/[SONG]/[PATTERN] → [SEQ SETUP] → [F1] Click → Mode (page 270)
Distorted sound.
■ Are the effect settings appropriate?
Use of an effect at certain settings may produce distortion.
[VOICE] → [EDIT] → [COMMON EDIT] → [F6] Effect (pages 107 and 128)
[PERFORM] → [EDIT] → [COMMON EDIT] → [F5] Effect (page 149)
[SONG]/[PATTERN] → [MIXING] → [F5] Effect (page 234)
Use of the Master Effect at certain settings may produce distortion.
[VOICE] → [UTILITY] → [F3] Voice → [SF1] Master FX (page 264)
[PERFORM] → [EDIT] → [COMMON EDIT] → [F2] Level/MEF → [SF2] Master FX (page 146)
[SONG]/[PATTERN] → [MIXING] → [EDIT] → [COMMON EDIT] → [F2] Master FX → [SF2] Master FX (page 234)
■ Are the filter settings appropriate?
Excessively high filter resonance settings can cause distortion.
[VOICE] → [EDIT] → Element/Key selection → [F3] Filter (page 117)
[PERFORM] → [EDIT] → Part selection → [F4] EG → Filter (page 158)
[SONG]/[PATTERN] → [MIXING] → [EDIT] → Part selection → [F4] EG → Filter (page 235)
Appendix
■ Is any of the following volume parameters set so high that clipping is occurring?
[UTILITY] → [F1] General → [SF1] Play → Volume (page 259)
[VOICE] → [EDIT] → [COMMON EDIT] → [F1] General → [SF2] Play Mode → Volume (page 98)
[PERFORM] → [EDIT] → [COMMON EDIT] → [F2] Level/MEF → [SF1] Level → Volume (page 145)
[SONG]/[PATTERN] → [MIXING] → [F1] Part 1-16 → Volume (page 232)
Sound is cut off.
■ Is the entire sound (via your keyboard playback and Song/Pattern/Arpeggio playback) exceeding the maximum polyphony of the
MOTIF XS? (page 59)
MOTIF XS Owner’s Manual
289
Troubleshooting
Only one note sounds at a time.
■ When this situation occurs, the Mono/Poly parameter in the current mode is set to “mono.” If you wish to play chords, set this
parameter to “poly.”
[VOICE] → [F2] Porta → Mono/Poly Mode (page 93)
[PERFORM] → [EDIT] → Part selection → [F1] Voice → [SF1] Voice → Mono/Poly (page 152)
[SONG]/[PATTERN] → [MIXING] → [EDIT] → Part selection → [F1] Voice → [SF1] Voice → Mono/Poly (page 235)
Pitch or intervals are wrong.
■ Is the Master Tune parameter in the Utility mode set to a value other than “0”?
[UTILITY] → [F1] General → [SF1] Play → Tune (page 259)
■ Is the Note Shift parameter in the Utility mode set to a value other than “0”?
[UTILITY] → [F1] General → [SF1] Play → Note Shift (page 259)
■ When the voice produces a wrong pitch, is the appropriate tuning system selected from Micro Tuning parameter in the Voice Edit
mode?
[VOICE] → [EDIT] → [COMMON EDIT]→ [F1]