Yamaha MOTIF ES6 Owner Manual
Yamaha MOTIF ES6 is a synthesizer workstation that offers a wide range of features for music production and performance. It has a 61-key semi-weighted keyboard, a large LCD display, and a variety of knobs and sliders for real-time control. The MOTIF ES6 also features a built-in sequencer, a sampler, and a variety of effects processors. It is a versatile instrument that can be used for a wide range of musical genres.
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SPECIAL MESSAGE SECTION
PRODUCT SAFETY MARKINGS: Yamaha electronic products may have either labels similar to the graphics shown below or molded/stamped facsimiles of these graphics on the enclosure.
The explanation of these graphics appears on this page. Please observe all cautions indicated on this page and those indicated in the safety instruction section.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK.
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The exclamation point within the equilateral triangle is intended to alert the user to the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the product.
Battery Notice: This product MAY contain a small non-rechargable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately five years. When replacement becomes necessary, contact a qualified service representative to perform the replacement.
Warning: Do not attempt to recharge, disassemble, or incinerate this type of battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by applicable laws. Note: In some areas, the servicer is required by law to return the defective parts.
However, you do have the option of having the servicer dispose of these parts for you.
Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc.
NOTICE: Service charges incurred due to lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service.
NAME PLATE LOCATION: The graphic below indicates the location of the name plate. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.
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.
MOTIF ES6
POWER
ON OFF AC INLET
MOTIF ES7
IMPORTANT NOTICE: All Yamaha electronic products are tested and approved by an independent safety testing laboratory in order that you may be sure that when it is properly installed and used in its normal and customary manner, all foreseeable risks have been eliminated. DO NOT modify this unit or commission others to do so unless specifically authorized by Yamaha. Product performance and/or safety standards may be diminished. Claims filed under the expressed warranty may be denied if the unit is/has been modified. Implied warranties may also be affected.
SPECIFICATIONS SUBJECT TO CHANGE: The information contained in this manual is believed to be correct at the time of printing.
However, Yamaha reserves the right to change or modify any of the specifications without notice or obligation to update existing units.
ENVIRONMENTAL ISSUES: Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following:
MOTIF ES8
Model
POWER
ON OFF AC INLET
Serial No.
Purchase Date
POWER
ON OFF AC INLET mLAN I/O EXPANSION
92-469- ➀ (rear)
USB
TO DEVICE TO HOST THRU
M
O
IDI
UT IN BREATH AS mLAN I/O EXPANSION mLAN I/O EXPANSION
IMPORTANT SAFETY INSTRUCTIONS
INFORMATION RELATING TO PERSONAL INJURY, ELECTRICAL SHOCK,
AND FIRE HAZARD POSSIBILITIES HAS BEEN INCLUDED IN THIS LIST.
WARNING-
When using any electrical or electronic product, basic precautions should always be followed. These precautions include, but are not limited to, the following:
8.
This product was NOT designed for use in wet/damp locations and should not be used near water or exposed to rain. Examples of wet / damp locations are; near a swimming pool, spa, tub, sink, or wet basement.
1.
Read all Safety Instructions, Installation Instructions, Special
Message Section items, and any Assembly Instructions found in this manual BEFORE making any connections, including connection to the main supply.
9.
This product should be used only with the components supplied or; a cart,rack, or stand that is recommended by the manufacturer. If a cart, rack, or stand is used, please observe all safety markings and instructions that accompany the accessory product.
2.
Do not attempt to service this product beyond that described in the user-maintenance instructions. All other servicing should be referred to qualified service personnel.
10.
The power supply cord (plug) should be disconnected from the outlet when electronic products are to be left unused for extended periods of time. Cords should also be disconnected when there is a high probability of lightning and/or electrical storm activity.
3.
Main Power Supply Verification: Yamaha products are manufactured specifically for the supply voltage in the area where they are to be sold. If you should move, or if any doubt exists about the supply voltage in your area, please contact your dealer for supply voltage verification and (if applicable) instructions. The required supply voltage is printed on the name plate. For name plate location, please refer to the graphic found in the Special Message Section of this manual.
11.
Care should be taken that objects do not fall and liquids are not spilled into the enclosure through any openings that may exist.
4.
DANGER -Grounding Instructions: This product must be grounded and therefore has been equipped with a three pin attachment plug. If this product should malfunction, the ground pin provides a path of low resistance for electrical current, reducing the risk of electrical shock. If your wall socket will not accommodate this type plug, contact an electrician to have the outlet replaced in accordance with local electrical codes. Do NOT modify the plug or change the plug to a different type!
12.
Electrical/electronic products should be serviced by a qualified service person when: a. The power supply cord has been damaged; or b. Objects have fallen, been inserted, or liquids have been spilled into the enclosure through openings; or c. The product has been exposed to rain; or d. The product does not operate, exhibits a marked change in performance; or e. The product has been dropped, or the enclosure of the product has been damaged.
5.
WARNING: Do not place this product or any other objects on the power cord or place it in a position where anyone could walk on, trip over, or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimum wire size for a 25’ cord (or less) is 18 AWG.
NOTE: The smaller the AWG number, the larger the current handling capacity. For longer extension cords, consult a local electrician.
13.
This product, either alone or in combination with an amplifier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist.
IMPORTANT: The louder the sound, the shorter the time period before damage occurs.
6.
Ventilation: Electronic products, unless specifically designed for enclosed installations, should be placed in locations that do not interfere with proper ventilation. If instructions for enclosed installations are not provided, it must be assumed that unobstructed ventilation is required.
14.
Some Yamaha products may have benches and/or accessory mounting fixtures that are either supplied as a part of the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional fixtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended.
7.
Temperature considerations: Electronic products should be installed in locations that do not seriously contribute to their operating temperature. Placement of this product close to heat sources such as; radiators, heat registers etc., should be avoided.
PLEASE KEEP THIS MANUAL
92-469-3
PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep this manual in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited to, the following:
Power supply/AC power adaptor
• Only use the voltage specified as correct for the instrument. The required voltage is printed on the name plate of the instrument.
• Check the electric plug periodically and remove any dirt or dust which may have accumulated on it.
• Use only the supplied power cord/plug.
• Do not place the power cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it.
Water warning
• 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.
Fire warning
• Do not put burning items, such as candles, on the unit.
A burning item may fall over and cause a fire.
Do not open
• This instrument contains no user-serviceable parts. Do not attempt to disassemble or modify the internal components in any way.
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.
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
• Always connect the three-pin attachment plug to a properly grounded power source. (For more information about the main
• 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.
Location
• Do not expose the instrument to excessive dust or vibrations, or extreme cold or heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent the possibility of panel disfiguration or damage to the internal components.
• Do not use the instrument in the vicinity of a TV, radio, stereo equipment, mobile phone, or other electric devices. Otherwise, the instrument, TV, or radio may generate noise.
• Do not place the instrument in an unstable position where it might accidentally fall over.
• Before moving the instrument, remove all connected cables.
• Do not place objects in front of the instrument’s air vent, since this may prevent adequate ventilation of the internal components, and possibly result in the instrument overheating.
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Connections
• 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.
Maintenance
• When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners, solvents, cleaning fluids, or chemical-impregnated wiping cloths.
Saving data
Saving and backing up your data
• DRAM data (see page 186) is lost when you turn off the power to
the instrument. Save the data to a SmartMedia/USB storage device.
• 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.
Handling caution
• Do not insert a finger or hand in any gaps on the key cover or instrument.
• Never insert or drop paper, metallic, or other objects into the gaps on the panel or keyboard. If this happens, turn off the power immediately and unplug the power cord from the AC outlet. Then have the instrument inspected by qualified Yamaha service personnel.
• Do not place vinyl, plastic or rubber objects on the instrument, since this might discolor the panel or keyboard.
• Do not rest your weight on, or place heavy objects on the instrument, and do not use excessive force on the buttons, switches or connectors.
• Do not operate the instrument for a long period of time at a high or uncomfortable volume level, since this can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician.
Backing up the SmartMedia/external media
• To protect against data loss through media damage, we recommend that you save your important data onto two
SmartMedia/external media.
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.
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Introduction
Introduction
Congratulations and thank you for your purchase of the Yamaha MOTIF ES6/MOTIF ES7/MOTIF ES8 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 ES 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!
Accessories
The following items have been included with your MOTIF ES 6/MOTIF ES 7/MOTIF ES 8. Check to see that you have everything listed here.
• AC Power cord
• CD-ROM x 3
• Owner’s Manual (this book)
• Data List
• Installation Guide
About the included CD-ROMs
The following three CD-ROMs are included in the MOTIF ES package.
• TOOLS for MOTIF ES6/MOTIF ES7/MOTIF ES8
This CD-ROM contains special software for use with this instrument.
It includes the latest version of SQ01 (V2), a full-featured audio/MIDI sequencer/mixer for comprehensive music production, Voice Editor, which gives you comprehensive and intuitive sound editing tools, and
Multi Part Editor, for editing the Mixing parameters of Songs and Patterns.
For details, see the separate Installation Guide or the online manuals included with the software.
• Sound Library for MOTIF ES6/MOTIF ES7/MOTIF ES8
This CD-ROM contains various types of data for use with the MOTIF ES. For information on the contents, refer to the List file in the CD-ROM. You can use the data by loading it in the File mode. Insert the CD-ROM into a CD-ROM drive* connected to the USB TO DEVICE connector via USB and execute the Load operation. Alternately, you can access the data from a USB storage device (such as a hard disk) or a
SmartMedia card (inserted to the CARD slot) to which the data has been copied.
For details about how to load each type of data, refer to the following pages.
• Voice
• Pattern
• WAV file extension: W7V extension: W7P extension: WAV
* For information on what USB devices (model name, etc.) can be used with the MOTIF ES, see page 29.
n If you are loading audio WAV files, make sure that DIMM modules are installed to the imt. (For DIMM compatibility information,
contains User Waveforms. If DIMM modules are not installed, an error message appears when you try to load a WAV file or
Voice data from this CD-ROM.
• TOOLS for Modular Synthesis Plug-in System
This CD-ROM contains a variety of computer applications, including the Voice Editor for editing Voices of the optional Plug-in Boards. For more information, refer to the “Readme” file in the CD-ROM.
• Copying of commercially available music sequence data and/or digital audio files for any purpose other than your own personal use is strictly prohibited.
• 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, styles files, MIDI files, WAVE data 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.
6
Owner’s Manual
Main Features
Main Features
Wide range of dynamic and authentic voices . Use the Category Search function to quickly call up the sounds you want, based on their instrument type.
Performance mode lets you use four different voices together — in layers or in a keyboard split.
Integrated Sampling Sequencer — seamlessly combines audio and MIDI recording.
• Full Sample recording and editing features, and up to 512MB of 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 Aseries.
• Convenient Resampling function lets you sample the sound of the MOTIF itself directly. Play your own melodies, riffs and rhythms — and use them as samples.
• Unique Slice feature automatically chops up your rhythms and riffs into their individual beats and notes.
This lets you manipulate the component parts of your sample loops as MIDI data, and gives you the power to easily change tempo and even the rhythmic feel, without disturbing the pitch or sound quality.
Extensive effect processing , with Reverb (20 types),
Chorus (49 types), eight separate Insertion blocks each of which has two blocks (total 116 types),
Master Effect (8 types), and a digital equalizer (3-band
Part EQ and 5-band Master EQ).
Comprehensive real-time control with four knobs and four sliders — letting you adjust filter, levels, effects, EG, and more, while you play.
Pattern mode functions let you craft different rhythmic sections and riffs as individual elements — which you can easily and intuitively combine in real time to create full rhythm tracks.
In addition to being able to create User voices in the
Voice mode, you can create special Mixing voices for
Songs and Patterns. These voices can be edited and stored in the Song/Pattern mode, making it exceptionally easy and convenient to create voices for use with Songs and Patterns.
The versatile Arpeggio feature 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. When used with normal voices, the Arpeggio phrase changes harmonically and melodically with the chords you play, giving you intuitive control over the patterns as you compose or perform.
Arpeggios can be triggered not only according to the keys you play, but also by how strongly you play them — for even greater performance power.
Once you’ve collected all the audio samples, loops,
MIDI data, and patterns you need for your song, use
Pattern Chain to arrange the pieces in real time. This hands-on approach makes it easier than ever to come up with great ideas and amazing songs.
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.
Master mode — for using the MOTIF ES as a master keyboard controller (with independent Zones), and for easily reconfiguring the instrument between Voice/
Performance play and Song/Pattern play in live applications.
Exceptionally easy-to-understand interface with twotiered operation buttons: [F1] - [F6] and [SF1] - [SF5]
Remote Control — for operating your favorite sequencing software from the panel controls. Mute tracks, control transport (Play, Stop, Record, etc.), mix both MIDI and audio tracks (up to 16) with this instrument’s knobs and sliders, pan the tracks, control
EQ, and tweak effect sends — all without ever touching the mouse.
Three Modular Synthesis Plug-in System slots let you upgrade the MOTIF ES with a completely new synthesizer or sound-processing engine. These Plug-in boards give you more voices, more effects, more polyphony and more instrument parts. Plus, special
Plug-in voices have already been programmed and stored to the MOTIF ES, ready to be played as soon as you install the proper board.
A full rear panel of input/output connections provides maximum interfacing flexibility. These include
Assignable Outputs, A/D Inputs, MIDI, two USB connectors and a memory card slot. Moreover, an optional AIEB2 or mLAN16E board can be installed.
The mLAN interface is particularly powerful — making it possible to transfer both digital audio and MIDI data via a single broadband cable.
The instrument features two USB connectors — USB
TO HOST for connecting to computer, and USB TO
DEVICE for connecting to storage devices, such as a hard disk drive or flash disk.
Included software — the CD-ROM accompanying your instrument (Tools for MOTIF ES) features a variety of convenient and powerful programs for using the
MOTIF ES with a computer. These include the Voice
Editor which provides comprehensive, easy-to-use editing features and parameters, and a Multi Part
Editor for intuitive editing of Song/Pattern Mixing parameters from your computer screen.
Owner’s Manual
7
8
How to use this manual
How to use this manual
Use this section to find out about all of the buttons, controls and connectors of this instrument.
Before going on to any other part of the manual, we strongly suggest you read this section first. It shows you how to get started playing and using your new instrument.
This special index is organized not by single words, but by functions and applications — allowing you to quickly and easily find how to perform a particular operation or explore a topic of interest.
This section provides a detailed overview of all of the main functions and features of this instrument, and shows how they fit together.
This section introduces you to the basic operating conventions of this instrument, such as editing values and changing settings.
In this tutorial section, you will take a guided tour through the various functions of this instrument, and get some hands-on experience in playing and using it.
The MOTIF ES encyclopedia. This section explains all parameters, settings, functions, features, modes and operations in full detail.
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.
This section contains detailed information on this instrument such as Specifications and an Alert Message List as well as instructions for installing optional equipment (e.g., DIMM modules, AIEB2, mLAN16E interface, and Plug-in Boards).
Data List (separate booklet)
This contains various important lists such as the Voice List, Preset Pattern Phrase List, Effect List, MIDI Data Format, and
MIDI Implementation Chart.
Installation Guide (separate booklet)
Refer to this for instructions on installing the included software programs (on the “TOOLS for MOTIF ES6/MOTIF ES7/
MOTIF ES8” CD-ROM) to your computer.
Various pages and menus appear on the LCD display of this instrument depending the selected mode or function.
Throughout this manual, arrows are used in the instructions, indicating in shorthand the process of calling up certain displays and functions. The example instructions below indicate to 1) press the [VOICE] button, 2) select a Normal Voice,
3) press the [EDIT] button, 4) select an Element, 5) press the [F1] OSC button, and 6) press the [SF2] OUTPUT button.
[VOICE]
→
Normal Voice selection
→
[EDIT]
→
Element selection
→
[F1] OSC n
[SF2] OUTPUT
condition, then execute the instructions as in the above example. Likewise, press the REMOTE [ON/OFF] button to exit from the Remote Control mode, then execute the instructions as in the above example when the MOTIF ES is in the Remote Control mode.
* Apple and Macintosh are trademarks of Apple Computer, Inc.
* Windows is the registered trademark of Microsoft
®
Corporation.
* All other trademarks are the property of their respective holders.
* 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.
Owner’s Manual
Application Index
Application Index
Listening to the MOTIF ES
• Listening to the Demo song/pattern
• Listening to Song Chain playback
• Listening to Pattern Chain playback
• Listening to Arpeggio playback
Playing the keyboard
• Selecting a Voice and playing the keyboard
• Selecting a Voice of the Plug-in Board and playing the keyboard
.................................................. Pages 75 (Voice mode), 121 (Song/Pattern mode)
• Selecting a Performance and playing the keyboard
• Using the instrument as a Master Keyboard
• Sounding the metronome ..................................... [SONG] or [PATTERN]
→
[UTILITY]
→
[F3] SEQ
→
[SF1] CLICK
→
Mode = all ................Page 262
• Splitting the keyboard – Setting upper and lower ranges for the Voices
..................................... Pages 70 (Performance mode), 141 (Master mode)
• Layering two Voices (or Parts) together
Selecting programs and making settings on the MOTIF ES
• Selecting a Voice
Using the Category Search function
• Selecting a Performance
• Selecting a Song
• Selecting a Pattern
Selecting a Section
Selecting a Phrase and assigning it to a Pattern track
• Selecting a Mixing template for a Song/Pattern
• Selecting a Master
• Selecting an Arpeggio type
• Selecting a Waveform
• Selecting a Filter type
• Selecting an Effect type
Selecting a Reverb type/Chorus type/Insertion type
[VOICE]
→
Voice selection
→
[PERFORM]
→
Performance selection
→
[F3] EFFECT
→
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[F3] EFFECT
→
[SF1] CONNECT ...................................................................Page 235
Selecting a Master Effect type
[VOICE]
→
[UTILITY]
→
[F3] VOICE
→
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F2] OUT/MEF
→
[SF3] MEF ......................................................................Page 214
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F2] MEQ/MEF
→
[SF2] MEF .................................Page 234
Selecting a Master EQ type
[VOICE]
→
[UTILITY]
→
[F3] VOICE
→
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F2] OUT/MEF
→
[SF2] MEQ ......................................................................Page 214
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F2] OUT/MEF
→
[SF1] MEQ .................................Page 234
Using controllers
• Understanding the organization and structure of the controllers
• Assigning functions to the controllers for each Voice (Controller Set)
• Assigning Control Change numbers to each controller
• Setting the Pitch Bend Range
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F1] GENERAL
→
[SF5] OTHER
→
PB Upper/PB Lower .............................................Page 190
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F1] VOICE
→
[SF5] OTHER
→
PB Upper/PB Lower
• Checking the currently assigned parameters for knob control
................Page 81 (Voice mode), 90 (Performance mode), 129 (Song/Pattern mode)
• Checking the currently assigned parameters for Control Slider (CS) control
• Using a Foot Pedal as a sustain pedal
• Starting/stopping a song or pattern by pressing a Footswitch ................................ [UTILITY]
→
[F4] CTL ASN
→
[SF3] FT SW ................Page 263
• Changing a Voice or a Performance by pressing a Footswitch ................................ [UTILITY]
→
[F4] CTL ASN
→
[SF3] FT SW ................Page 263
• Turning Arpeggio playback on or off by pressing a Footswitch ............................... [UTILITY]
→
[F4] CTL ASN
→
[SF3] FT SW ................Page 263
Owner’s Manual
9
10
Application Index
• Determining how the sound responds to a Breath Controller
[UTILITY]
→
[F1] GENERAL
→
[SF1] TG
→
• Keeping the effect of a controller (Modulation Wheel, etc.) the same, even when changing Voices
[UTILITY]
→
[F1] GENERAL
→
[SF4] OTHER
→
Sounding only the specified Part or Voice
• Turning each element on or off in the Voice Edit mode
• Determining whether each Element is used or not in the Voice Edit mode
[VOICE]
→
[EDIT]
→
Element selection
→
[F1] OSC
→
[SF1] WAVE
→
• Determining whether each Part is used or not in the Performance mode
[PERFORM]
→
Performance selection
→
[EDIT]
→
Part selection
→
[F1] VOICE
→
[SF1] VOICE
→
PartSw = on/off ....................................... Page 216
• Turning each track (Part) of a song/pattern on or off
• Turning off or muting playback of a Song/Pattern Part, by setting the receive channel to off
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
part selection
→
[F1] VOICE
→
[SF2] MODE
→
ReceiveCh
Adjusting the volume or output level
• Overall
Adjusting the Master Volume output
Adjusting the entire volume of the instrument’s internal tone generator block ..... [UTILITY]
→
[F1] GENERAL
→
[SF1] TG
→
Volume ................ Page 260
Adjusting the output gain of each Output connector ....................................................... [UTILITY]
→
[F2] I/O
→
[SF2] OUTPUT ................ Page 261
• In the Voice mode
Adjusting the volume balance of the Elements of a Normal Voice with the Control Sliders
[VOICE]
→
Normal Voice selection
→
[EDIT]
→
Element selection
→
[F4] AMP
→
[SF1] LVL/PAN
→
Level ........................................................ Page 81
Adjusting the entire volume for the selected Voice (common to all Elements/keys)
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F2] OUTPUT
→
• In the Performance mode
Adjusting the volume balance of the Parts of an edited Performance with the Control Sliders
[PERFORM]
→
Performance selection
→
[EDIT]
→
Part selection
→
[F2] OUTPUT
→
[SF1] VOL/PAN
→
Volume ....................................... Page 81
Adjusting the entire volume for the selected Performance (common to all Parts)
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F2] OUT/MEQ
→
[SF1] OUT
→
Volume .................................................. Page 213
Adjusting the volume of the audio input (of a microphone or external audio equipment)
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F5] AUDIO IN
→
[SF1] OUTPUT
→
Volume ............................................ Page 215
• In the Song mode/Pattern mode
Adjusting the volume balance of the Parts of an edited Song with the Control Sliders
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
Part Selection
→
[F1] VOL/PAN
→
VOLUME ................................................ Page 130
Adjusting the volume of the audio input (of a microphone or external audio equipment)
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING
→
[EDIT]
→
[COMMON]
→
[F5] AUDIOIN
→
[SF1] OUTPUT
→
Inputting audio from a microphone, instrument or other audio device
• About the organization of audio input parts
• Connecting a microphone to the A/D INPUT connector .......................... [UTILITY]
→
[F2] I/O
→
[SF1] INPUT
→
Mic/line = mic .................. Page 72
• Connecting audio equipment to the A/D INPUT connector .................... [UTILITY]
→
[F2] I/O
→
[SF1] INPUT
→
Mic/line = line .................. Page 73
• Setting audio input related parameters
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F5] AUDIO IN ....................................................... Page 235
• Sampling (recording) audio from a microphone
• Sampling (recording) audio from another audio device
• Applying a vocal harmony effect to the microphone sound by using the Plug-in Board PLG100-VH
........................................................... Page 78
Using Plug-in Boards
• Installing a Plug-in Board
• Checking that a Plug-in Board is properly installed ..................................................... [UTILITY]
→
[F6] PLUG
→
[SF1] STATUS .................. Page 75
• Checking the receive port of the installed Plug-in Board ......................................................... [UTILITY]
→
PLUG
→
[SF2] MIDI .................. Page 75
• Selecting and playing a voice of a Single Part Plug-in Board (PLG150-AN, PLG-150-PF, PLG150-DX, PLG150-VL, etc.)
• Playing an XG song by using the Multi-part Plug-in Board PLG100-XG
• Applying a vocal harmony effect to the microphone sound by using the Plug-in Board PLG150-VH
........................................................... Page 78
Owner’s Manual
Application Index
Creating Data
• Creating a Voice
Creating a Normal Voice in the Voice Edit mode
Creating a Drum Voice in the Voice Edit mode
Creating a Plug-in Voice in the Voice Edit mode
Creating a Normal Voice/Drum Voice by using the Sampling function
Creating a Sample Voice by using the Sampling function
Creating a Normal/Drum Voice by importing a WAV or AIFF file
Creating a Sample Voice by importing a WAV or AIFF file
Creating a Mixing Voice especially for a Song or Pattern
• Creating a Performance
• Creating a Song
Recording your keyboard performance to a Song track (Realtime Recording)
Recording over (replacing) existing material in a Song track — Punch-in Recording
[SONG]
→
[ ● ] (Record)
→
[F1] SETUP
→
Recording additional material to an existing Song track (without erasing previous material) — Overdub Recording
[SONG]
→
[ ● ] (Record)
→
[F1] SETUP
→
Sounding a metronome during recording ............................... [SONG]
→
[UTILITY]
→
[F3] SEQ
→
[SF1] CLICK
→
Mode = rec ................Page 262
Recording a Song by using a Performance
Recording a Song with the sounds of a Plug-in Board
Using the Step Recording function .......................................................... [SONG]
→
[ ● ] (Record)
→
[F1] SETUP
→
Type = step ................Page 238
Editing MIDI events for each track of an already-recorded Song ...................................... [SONG]
→
[EDIT]
→
Track selection ................Page 124
Inserting Tempo change information in the middle of the Song ............................................. [SONG]
→
[EDIT]
→
[F4] TR SEL ................Page 125
Inserting Voice change information
[SONG]
→
[EDIT]
→
Track selection
→
Editing Song Mixing settings, such as the volume of each Part ................................................................. [SONG]
→
[MIXING] ................Page 127
Using convenient “Jobs,” such as Copy, Clear, Quantize ........................................................ [SONG]
→
[JOB]
→
Job selection ................Page 126
• Creating a Pattern
Assigning a Preset Phrase to each track of a Pattern (Patch function)
Recording (Sampling) your favorite rhythm (audio) to a Pattern track to create a Phrase
...........................................................................Page 107
Importing a WAV file or an AIFF file to a Pattern track to create a Phrase
Recording your keyboard performance to a Pattern track to create a Phrase
Recording a newly found Arpeggio rhythm pattern to a Pattern track
Sounding the metronome during recording ....................... [PATTERN]
→
[UTILITY]
→
[F3] SEQ
→
[SF1] CLICK
→
Mode = rec ................Page 262
Using the Step Recording function ..................................................... [PATTERN]
→
[ ● ] (Record)
→
[F1] SETUP
→
Type = step ................Page 238
Editing MIDI events for each track of an already-recorded Pattern ................................ [PATTERN]
→
[EDIT]
→
Track selection ................Page 124
Editing Pattern Mixing settings, such as the volume of each Part ......................................................... [PATTERN]
→
[MIXING] ................Page 127
Using convenient “Jobs,” such as Copy, Clear, Quantize ................................................... [PATTERN]
→
[JOB]
→
Job selection ................Page 126
Programming a sequence of a Section to create a Pattern Chain ....................................................... [PATTERN]
→
[F6] CHAIN ................Page 115
Converting a Pattern Chain to Song data ...................... [PATTERN]
→
Pattern selection
→
[F6] CHAIN
→
[EDIT]
→
[F3] SONG ................Page 117
• Creating a Master
• Creating an Arpeggio
• Creating a Waveform
Storing/Saving the created data
• Storing an edited Voice to internal memory (Flash ROM) and saving all the Voices in internal memory to a SmartMedia/USB storage device
• Storing an edited Performance to internal memory (Flash ROM) and saving all the Performances in internal memory to a
SmartMedia/USB storage device
• Saving the Song/Pattern data
Storing Song Mixing/Pattern Mixing settings to internal memory (DRAM)
Storing the entire Song/Pattern data to SmartMedia/USB storage device
• Storing Mixing settings to internal memory (Flash ROM) as a template
• Storing an edited Master to internal memory (Flash ROM) and saving all the Masters on internal memory to a SmartMedia/USB storage device
• Saving all Arpeggios in internal memory (Flash ROM) to a SmartMedia/USB storage device
.....................................................................Page 269
• Saving all Samples (obtained via the Sampling function) in internal memory (DRAM) to a SmartMedia/USB storage device
Owner’s Manual
11
12
Application Index
Naming your created data
Recovering lost data
• Voice
Comparing the Voice before editing with the just-edited one (Compare function)
.......................................................................................... Page 80
Recalling an edited, but not-stored Voice (when another Voice has been selected) — Recall function
........................................................ Page 82
• Performance
Comparing the Performance before editing with the just-edited one (Compare function)
............................................................................. Page 89
Recalling an edited, but not-stored Performance (when another Performance has been selected) — Recall function
.............................. Page 91
• Song/Pattern
Canceling the changes made in the recent session such as Recording and Job to restore the data to its previous status
[SONG] or [PATTERN]
→
[JOB]
→
Comparing the Mixing settings before editing with the just-edited ones (Compare function)
................................................................... Page 129
Recalling edited, but not-stored Mixing settings (when another Mixing set has been selected) — Recall function
................................. Page 129
Initializing
• Resetting the User Memory to the Initial Factory Settings
• Formatting a SmartMedia card
• Initializing the edited Voice ............................................................................................................... [VOICE]
→
[JOB]
→
[F1] INIT ................ Page 208
• Initializing the edited Performance ............................................................................................. [PERFORM]
→
[JOB]
→
[F1] INIT ................ Page 219
• Initializing the edited Master .......................................................................................................... [MASTER]
→
[JOB]
→
[F1] INIT ................ Page 273
• Initializing the edited Song Mixing settings ................................................................ [SONG]
→
[MIXING]
→
[JOB]
→
[F1] INIT ................ Page 236
• Initializing the edited Pattern Mixing settings ........................................................ [PATTERN]
→
[MIXING]
→
[JOB]
→
[F1] INIT ................ Page 248
Pitch related settings (Tune, Note Shift, etc.)
• Overall
Changing the octave setting of the keyboard ............................................ [UTILITY]
→
[F1] GENERAL
→
[SF2] KBD
→
Octave .................. Page 63
Shifting the note up or down on the keyboard ..................................... [UTILITY]
→
[F1] GENERAL
→
[SF2] KBD
→
Transpose .................. Page 63
Shifting the note up or down in the tone generator block ........................ [UTILITY]
→
[F1] GENERAL
→
[SF1] TG
→
NoteShift ................ Page 260
Adjusting the tuning to other instruments ........................................................ [UTILITY]
→
[F1] GENERAL
→
[SF1] TG
→
Tune ................ Page 260
• In the Voice mode
Setting the tuning system for the voice
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F1] GENERAL
→
[SF2] PLY MODE
→
M.TuningNo. ............................................ Page 190
Adjusting the pitch for each Element of the edited Voice in semitones
[VOICE]
→
Voice selection
→
[EDIT]
→
Element selection
→
[F2] PITCH
→
[SF1] TUNE
→
Coarse .................................................................. Page 196
Finely adjusting the pitch for each Element of the edited Voice
[VOICE]
→
Voice selection
→
[EDIT]
→
Element selection
→
[F2] PITCH
→
[SF1] TUNE
→
Tune ...................................................................... Page 196
Setting the all notes (keys) to the same pitch
[VOICE]
→
Voice selection
→
[EDIT]
→
Element selection
→
[F2] PITCH
→
[SF4] KEY FLW
→
PitchSens = 0 .................................................. Page 197
• In the Performance mode
Shifting the note up or down for each Part of the edited Performance
[PERFORM]
→
Performance selection
→
[EDIT]
→
Part selection
→
[F4] TONE
→
[SF1] TUNE
→
NoteShift ................................................... Page 218
Finely adjusting the pitch for each Part of the edited Performance
[PERFORM]
→
Performance selection
→
[EDIT]
→
Part selection
→
[F4] TONE
→
[SF1] TUNE
→
Detune ...................................................... Page 218
• In the Song mode/Pattern mode
Shifting the note up or down for each Part of the current Song/Pattern
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F4] TONE
→
[SF1] TUNE
→
NoteShift ............... Page 236
Finely adjusting the pitch for each Part of the current Song/Pattern
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F4] TONE
→
[SF1] TUNE
→
• In the Master mode
Shifting the keyboard octave up or down for each zone of the edited Master
[MASTER]
→
Master selection
→
[F2] MEMORY
→
ZoneSwitch = on
→
[EDIT]
→
Zone selection
→
[F2] NOTE
→
Octave ............................ Page 272
Finely adjusting the keyboard pitch for each zone of the edited Master
[MASTER]
→
Master selection
→
[F2] MEMORY
→
ZoneSwitch = on
→
[EDIT]
→
Zone selection
→
[F2] NOTE
→
Transpose ........................ Page 272
Owner’s Manual
Application Index
Connecting to a computer/external MIDI instrument
• Determining which connector (among the MIDI, USB TO HOST, mLAN) is used as a MIDI input/output connector
[UTILITY]
→
[F5] MIDI
→
[SF4] OTHER
→
• Using the sounds of the MOTIF ES for song playback from a MIDI sequencer
• Setting whether or not Bulk Dump data can be received
[UTILITY]
→
[F5] MIDI
→
[SF2] SWITCH
→
• Sounding only the external MIDI tone generator and turning the internal tone generator off
[UTILITY]
→
[F5] MIDI
→
[SF2] SWITCH
→
• Synchronizing with an external MIDI instrument/computer
Using the MOTIF ES as a MIDI master
[UTILITY]
→
[F5] MIDI
→
[SF3] SYNC
→
Using the MOTIF ES as a MIDI slave
[UTILITY]
→
[F5] MIDI
→
[SF3] SYNC
→
Using the MOTIF ES as a MTC slave
[UTILITY]
→
[F5] MIDI
→
[SF3] SYNC
→
• Disabling synchronization with the external MIDI instrument/computer
Maintaining normal playback on an external MIDI sequencer, even when starting/stopping Song/Pattern playback on the MOTIF ES
[UTILITY]
→
[F5] MIDI
→
[SF3] SYNC
→
Maintaining normal Song/Pattern playback on the MOTIF ES, even when starting/stopping playback on an external MIDI sequencer
[UTILITY]
→
[F5] MIDI
→
[SF3] SYNC
→
• Synchronizing the LFO wave speed of the Voice with an external MIDI instrument/computer
[UTILITY]
→
[F5] MIDI
→
[SF3] SYNC
→
[VOICE]
→
Normal Voice selection
→
[EDIT]
→
[COMMON]
→
[F5] LFO
→
[SF1] WAVE
→
TempoSync = on ................................................Page 193
• Setting which MIDI events will be transmitted or recognized via the MIDI, USB TO HOST, and mLAN connectors
[SONG] or [PATTERN]
→
[UTILITY]
→
[F3] SEQ
→
• Setting the MIDI transmit channel
Setting the MIDI transmit channel of the keyboard in the Voice mode/Performance mode
[UTILITY]
→
[F5] MIDI
→
[SF1] CH
→
Setting the MIDI transmit channel and port for each track of a Song/Pattern
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[F3] TRACK
→
Setting the MIDI transmit channel of Arpeggio playback
[UTILITY]
→
[F3] VOICE
→
[SF3] ARP CH
→
• Setting the MIDI receive channel
Setting the MIDI receive channel of the keyboard in the Voice mode/Performance mode
[UTILITY]
→
[F5] MIDI
→
[SF1] CH
→
Setting the MIDI receive channel for each part of a Song/Pattern
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F1] VOICE
→
[SF2] MODE
→
ReceiveCh
• Setting parameters for Program Change transmission/recognition
Enabling or disabling the sending of Bank Select and Program Change messages, when selecting a Voice or Performance
[UTILITY]
→
[F5] MIDI
→
[SF2] SWITCH
→
Enabling or disabling selection of MOTIF ES Voices/Performances from an external MIDI device
[UTILITY]
→
[F5] MIDI
→
[SF2] SWITCH
→
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F5] RCV SW
→
BankSel, PgmChange ...............Page 235
Setting related parameters so that the MIDI messages produced by the Song/Pattern playback will not be transmitted via MIDI
[SONG] or [PATTERN]
→
[UTILITY]
→
[F3] SEQ
→
• Setting whether each track playback sounds the internal tone generator or an external tone generator
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[F3] TRACK
→
Other tips
• Loading the specified file on the SmartMedia/USB storage device automatically when the power is turned on
......................................Page 135
• Setting the Mode set automatically when the power is turned on
[UTILITY]
→
[F1] GENERAL
→
[SF4] OTHER
→
• Setting an individual Output connector for each key of the Drum Voice or for each part of the Performance/Song/Pattern
Owner’s Manual
13
14
Table of Contents
Table of Contents
Introduction.................................................................... 6
Accessories ................................................................... 6
Main Features ................................................................ 7
How to use this manual ................................................ 8
Application Index................................... 9
The Controls & Connectors .................. 16
Front panel ................................................................... 16
Rear Panel .................................................................... 22
Setting Up ............................................. 26
Power Supply............................................................... 26
About data storage to SmartMedia cards and
USB storage devices................................................... 27
Data lost and data retained when power is turned off........27
Using the SmartMedia™* cards .........................................28
Using USB storage devices................................................29
Connections................................................................. 31
Connecting to External Audio Equipment...........................31
Connecting External MIDI Instruments ...............................34
Connecting to a Computer .................................................38
Connecting Various Controllers ..........................................42
Turning the power on/off ............................................ 43
Power-on Procedure ...........................................................43
Turning the MOTIF ES on/off...............................................43
Resetting the User Memory to the Initial Factory
Settings ........................................................................ 44
Basic Operation .................................... 45
Modes ........................................................................... 45
Mode Structure ...................................................................45
Mode table..........................................................................46
Functions and Sub-Functions.................................... 47
Selecting a Program.................................................... 47
Moving the Cursor and Setting Parameters.............. 49
Knob (KN) and Control Slider (CS) ............................ 50
Knob (KN) ...........................................................................50
Control Slider (CS) ..............................................................51
About the editing functions........................................ 51
Edit Indicator.......................................................................51
Compare Function ..............................................................52
Edit Recall Function ............................................................52
Confirmation Message ................................................ 52
Information Display ..................................................... 53
Note (Key) settings...................................................... 53
Naming ......................................................................... 53
Quick Guide — Playing the MOTIF ES .. 55
Playing the Demo Songs/Patterns ............................. 55
Playing the Keyboard (in the Voice Play mode)........ 60
Selecting a Voice ................................................................60
Using Controllers ................................................................64
Using the Arpeggio feature ................................................66
Playing the Keyboard (in the Performance Play mode) ......... 67
Selecting a Performance ....................................................67
Using Controllers ................................................................69
Using the Arpeggio feature ................................................70
Assigning desired Voices to each part...............................70
Using the A/D input sound..................................................72
Using the Plug-in Board .............................................. 74
Available Plug-in Boards ....................................................74
Using a Single Part Plug-in Board ......................................75
Using a Multi Part Plug-in Board.........................................77
Using an Effect Plug-in Board ............................................78
Quick Guide — Advanced Course ........ 79
Editing a Voice ............................................................. 79
Normal Voice Edit ...............................................................79
Drum Voice Edit ..................................................................82
Plug-in Voice Edit................................................................85
Storing/Saving the created Voice .......................................85
Editing a Performance................................................. 87
Storing/Saving the created Performance............................91
Creating a Voice by using the Sampling function .... 94
Sampling your voice with a microphone and creating a Normal
Voice ...................................................................................94
Sampling the sound of an audio device to create a Drum Voice ......98
Creating a Song on the MOTIF ES............................ 102
Recording your keyboard performance ...........................102
Creating a Pattern .............................................................106
Creating a Song ................................................................117
Storing/Saving the created Song/Pattern .........................131
Using as a Master Keyboard..................................... 136
Selecting a Master ............................................................136
Memorize to a Master .......................................................137
Using Zones (keyboard area) ...........................................137
Quick Guide — Computer applications.... 142
Setting up ................................................................... 142
Controlling the instrument from a computer .......... 143
Using a sequencer to play multiple Voices on the MOTIF ES....143
Using the Multi Part Editor to create/edit Mixing settings .144
Using the Voice Editor to create/edit a Voice ...................145
Using the TWE Wave Editor to edit Samples ....................146
Controlling a computer from the instrument .......... 147
Setting up for Remote Control ..........................................148
Owner’s Manual
Basic Structure ....................................154
Internal Structure (System Overview) ......................154
Controller Block.................................................................154
Tone Generator block .......................................................157
Sequencer Block...............................................................165
Sampling Block .................................................................172
Effect Block .......................................................................177
About MIDI ..................................................................181
MIDI channels ...................................................................181
MIDI Messages Transmitted/Recognized by this synthesizer ........181
Internal Memory and File Management....................185
Maintaining data ...............................................................185
Reference ............................................188
Voice mode .................................................................188
Voice Play mode ...............................................................188
Voice Edit mode................................................................189
Voice Store mode..............................................................208
Voice Job mode ................................................................208
Performance mode ....................................................212
Performance Play mode....................................................212
Performance Edit mode ....................................................213
Performance Job mode ....................................................219
Performance Store mode ..................................................220
Song mode..................................................................221
Song Play mode................................................................221
Song Record mode...........................................................222
Song Edit mode ................................................................225
Song Job mode.................................................................226
Song Mixing mode ............................................................233
Song Mixing Edit mode.....................................................234
Song Mixing Job mode .....................................................236
Song Mixing Store mode...................................................237
Pattern mode ..............................................................241
Pattern Play mode.............................................................241
Pattern Record mode........................................................243
Pattern Edit mode .............................................................244
Pattern Job mode..............................................................244
Pattern Mixing mode .........................................................248
Pattern Mixing Edit mode..................................................248
Pattern Mixing Job mode ..................................................248
Pattern Mixing Store mode................................................248
Mixing Voice mode.....................................................249
Mixing Voice Edit mode ....................................................249
Mixing Voice Store mode ..................................................250
Mixing Voice Job mode ....................................................250
Sampling mode ..........................................................251
Sampling Record mode ....................................................251
Sampling Edit mode..........................................................255
Sampling Job mode..........................................................256
Utility mode.................................................................260
Utility mode .......................................................................260
Utility Job mode ................................................................265
File mode ....................................................................266
File mode ..........................................................................266
Master mode ...............................................................271
Master Play mode .............................................................271
Master Edit mode..............................................................271
Master Job mode ..............................................................273
Master Store mode............................................................274
Table of Contents
Appendix ............................................ 275
The Controls &
Connectors
Information Displays ................................................. 275
Display Messages...................................................... 277
Troubleshooting ........................................................ 279
Installing Optional Hardware.................................... 282
Available devices..............................................................282
Installation locations..........................................................282
Installation Precautions .....................................................282
Optional Plug-in Board Installation ...................................283
Optional AIEB2 or mLAN16E Installation ..........................285
Optional DIMM Installation................................................289
Glossary ..................................................................... 290
Specifications ............................................................ 292
Setting Up
Basic Operation
Quick Guide —
Playing the MOTIF ES
Quick Guide —
Advanced Course
Index ................................................... 294
Quick Guide —
Computer applications
Basic Structure
Reference
Voice mode
Performance mode
Song mode
Pattern mode
Mixing Voice mode
Sampling mode
Utility mode
File mode
Master mode
Appendix
Owner’s Manual
15
16
Front Panel
The Controls & Connectors
Front Panel
7 9 ! ) #
MOTIF ES6
2 OCTAVE
DOWN UP
$ %
KNOB
CONTROL
FUNCTION
PAN/SEND
ASSIGN
TONE
ARP FX
EQ
ASSIGN A
PAN
CUTOFF
SWING
ASSIGN B
REVERB
RESONANCE
GATE TIME
ASSIGN 1
CHORUS
ATTACK
VELOCITY
ASSIGN 2
TEMPO
RELEASE
UNITMULTIPLY
REMOTE
ON / OFF
R-AUDIO
G-MIDI
ARPEGGIO
ON / OFF
KN 1
LOW
VOLUME 1
KN 2
LOW MID
VOLUME 2
KN 3
HIGH MID
VOLUME 3
KN 4
HIGH
VOLUME 4
EFFECT
BYPASS
INSERTION SYSTEM
MASTER
EFFECT
SEQ TRANSPORT
LOCATE 1 2
VOICE
MODE
PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
DEMO
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
CS 1
ZONE 1
CS 2
ZONE 2
8
CS 3
ZONE 3
CS 4
ZONE 4
@
SCENE
SF1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F 1 F 2 F 3 F 4 F 5 F 6
& ^ *
MOTIF ES7
2
3 5
OCTAVE
DOWN UP
C1 D1 E1 F1 G1 A1 B1 C2
4 1
7
C3
9 ! ) #
PAN/SEND
KNOB
CONTROL
FUNCTION
ASSIGN
TONE
ARP FX
EQ
ASSIGN A
PAN
CUTOFF
SWING
ASSIGN B
REVERB
RESONANCE
GATE TIME
ASSIGN 1
CHORUS
ATTACK
VELOCITY
ASSIGN 2
TEMPO
RELEASE
UNITMULTIPLY
REMOTE
ON / OFF
R-AUDIO
G-MIDI
ARPEGGIO
ON / OFF
EFFECT
BYPASS
INSERTION SYSTEM
MASTER
EFFECT
KN
1
LOW
VOLUME 1
KN
2
LOW MID
VOLUME 2
KN
3
HIGH MID
VOLUME 3
KN
4
HIGH
VOLUME 4
SEQ TRANSPORT
LOCATE 1 2
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG
PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
DEMO
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
CS 1
ZONE 1
CS 2
ZONE 2
8
CS 3
ZONE 3
CS 4
ZONE 4
@
SCENE
SF1 SF 2
F 1 F 2
&
C
3 5
Owner’s Manual
E0 F0 G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2
4 1
C3
Front Panel
¡ ( º § ∞
£
DEC/NO
EXIT
™
INC / YES
ENTER
EXECUTE
¢
PRE 1 PRE 2 PRE 3 PRE 4
Integrated Sampling Sequencer / Modular Synthesis Plug-in System / Real-time External Control Surface
MUSIC PRODUCTION SYNTHESIZER
DRUM KITS
FAVORITES
PRE 5 PRE 6 USER 1 USER 2 GM
SLOT 1
PLG 1
SLOT 2
PLG 2
SLOT 3
PLG 3
CATEGORY
SEARCH
A. PIANO KEYBOARD ORGAN
A B C
GUITAR/
PLUCKED
D
BASS
E
STRINGS BRASS REED/PIPE
F G H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
1 2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
SECTION
TRACK
SELECT
BANK
GROUP
COMMON
9
ELEMENT/PERF. PART/ZONE
10 11 12 13 14 15 16
MUTE
SOLO
NUMBER
¶ •
ª
‚
⁄
¤
C4 C5 C6 n When both of the [OCTAVE] buttons are turned off, each key corresponds to the note name shown in the illustrations. Refer to this illustration when setting parameters having note name values, such as Note Limit.
$ % ¡ ( º § ∞
F 2 SF 3 SF 4 SF 5
INFORMATION
F 3 F 4 F 5 F 6
^ * £
DEC/NO
EXIT
™
INC / YES
ENTER
EXECUTE
¢
PRE 1 PRE 2 PRE 3 PRE 4
Integrated Sampling Sequencer / Modular Synthesis Plug-in System / Real-time External Control Surface
MUSIC PRODUCTION SYNTHESIZER
DRUM KITS
FAVORITES
PRE 5 PRE 6 USER 1 USER 2 GM
SLOT 1
PLG 1
SLOT 2
PLG 2
SLOT 3
PLG 3
A. PIANO KEYBOARD ORGAN
A B C
GUITAR/
PLUCKED
D
BASS STRINGS BRASS REED/PIPE
E F G H
CATEGORY
SEARCH
SECTION
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
1 2 3 4 5
SE
6
MUSICAL FX COMBI
7 8
TRACK
SELECT
BANK
GROUP
COMMON
9
ELEMENT/PERF. PART/ZONE
10 11 12 13 14 15 16 MUTE
SOLO
NUMBER
¶ •
ª
‚
⁄
¤
C4 C5 C6
Owner’s Manual
17
Front Panel
MOTIF ES8
7 9 ! ) #
PAN/SEND
KNOB
CONTROL
FUNCTION
ASSIGN
TONE
ARP FX
EQ
ASSIGN A
PAN
CUTOFF
SWING
ASSIGN B
REVERB
RESONANCE
GATE TIME
ASSIGN 1
CHORUS
ATTACK
VELOCITY
ASSIGN 2
TEMPO
RELEASE
UNITMULTIPLY
REMOTE
ON / OFF
R-AUDIO
G-MIDI
ARPEGGIO
ON / OFF
EFFECT
BYPASS
INSERTION SYSTEM
MASTER
EFFECT
KN 1
LOW
VOLUME 1
KN 2
LOW MID
VOLUME 2
KN 3
HIGH MID
VOLUME 3
KN 4
HIGH
VOLUME 4
SEQ TRANSPORT
LOCATE 1 2
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
DEMO
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
CS 1 CS 2
8
CS 3 CS 4
ZONE 1 ZONE 2 ZONE 3 ZONE 4
@
4
3
18
A-1 B-1 C0 D0 E0 F0 G0 H0 B0 C1
5
1
C2
1
Keyboard
The MOTIF ES6 features a 61-key keyboard, while the
MOTIF ES7 has 76 keys and the MOTIF ES8 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.
4
Modulation wheel
Page 64
Controls the modulation effect. You can also assign other functions to this controller.
5
Ribbon controller
Page 65
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.
6
MASTER VOLUME
Adjusts the volume of the overall sound, as output from the rear-panel OUTPUT L/MONO and R jacks as well as the PHONES jack.
2
OCTAVE [UP] and [DOWN] buttons
Page 63
Use these buttons to change the note range of the keyboard. To restore the normal octave setting, press both buttons simultaneously.
n Because of its extended keyboard, the MOTIF ES8 does not have
OCTAVE buttons.
3
Pitch bend wheel
functions to this controller.
Page 64
Controls the pitch bend effect. You can also assign other
7
Four KNOB CONTROL FUNCTION buttons and four Knobs
Page 50
These four highly versatile knobs let you adjust various aspects or parameters of the current Voice. Use the
[KNOB CONTROL FUNCTION] buttons to change the parameter set for the knobs. The corresponding LED lights to indicate which group of parameters are active.
Owner’s Manual
Front Panel
$ % ¡ ( º § ∞
RE
E
DEMO
SCENE
SF1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F 1 F 2 F 3 F 4 F 6
& ^ * £
DEC/NO
EXIT
™
INC / YES
ENTER
EXECUTE
¢
PRE 1 PRE 2 PRE 3 PRE 4
Integrated Sampling Sequencer / Modular Synthesis Plug-in System / Real-time External Control Surface
MUSIC PRODUCTION SYNTHESIZER
DRUM KITS
FAVORITES
PRE 5 PRE 6 USER 1 USER 2 GM
SLOT 1
PLG 1
SLOT 2
PLG 2
SLOT 3
PLG 3
A. PIANO KEYBOARD ORGAN
A B C
GUITAR/
PLUCKED
D
BASS STRINGS BRASS REED/PIPE
E F G H
CATEGORY
SEARCH
SECTION
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
1 2 3 4 5
SE MUSICAL FX COMBI
6 7 8
TRACK
SELECT
COMMON
9
ELEMENT/PERF. PART/ZONE
10 11 12 13 14 15 16 MUTE
SOLO
BANK
GROUP
NUMBER
¶ •
ª
‚
⁄
¤
C3 C4 C5 C6 C7 n When [UTILITY]
→
[F1] GENERAL
→
[SF2] KBD
→
Octave is set to “0,” each key corresponds to the note name shown in the illustrations.
Refer to this illustration when setting a note name of a parameter like Note Limit.
8
[CS1] - [CS4] (Control Slider)
Page 51
These sliders control the volume of four elements which make up a Normal Voice in the Voice mode, the volume of four parts in the Performance mode, the volume of four parts including the current part in the Song mode/Pattern mode, and the volume of four zones in the Master mode. 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 output level from this instrument. On the other hand, the Control Slider adjusts the MIDI volume value for the corresponding element or part.
9
REMOTE buttons
Page 147
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.
You can use the [R-AUDIO/G-MIDI] button to switch control between your audio tracks (red lamp) and MIDI tracks (green lamp), when Mode A or B is set to “General”
([UTILITY]
→
[F4] CTL ASN
→
[SF4] REMOTE).
n When setting the MIDI IN/OUT parameter to “MIDI” ([UTILITY]
→
[F5] MIDI
→
[SF4] OTHER) or setting both of Mode A and Mode B to “off” ([UTILITY]
→
[F4] CTL ASN
→
[SF4] REMOTE), you cannot enter the Remote mode even by pressing the REMOTE
[ON/OFF] button. Set these parameters to appropriate values
(page 148) then enter the Remote mode.
)
EFFECT buttons
Page 177
The extensive effect section 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. These three buttons enable you to turn the corresponding Effect blocks (as printed on the panel) on or off with a single touch.
Keep in mind that the [INSERTION] and [SYSTEM] buttons are bypass switches, while the [MASTER EFFECT] button is an on/off switch. The distinction is important — when the lamp of the [INSERTION] or [SYSTEM] button is on, the effect is off (or bypassed). The [MASTER EFFECT] button is the opposite: when the lamp is on, the Master effect is on. Also, to access the Master Effect setting display, press and hold the [MASTER EFFECT] button for a second or two.
!
[ARPEGGIO ON/OFF] button
Page 66
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.
Owner’s Manual
19
20
Front Panel
@
SEQ TRANSPORT buttons
Page 56
These buttons control recording and playback of the
Song/Pattern sequence data.
[ ](Top) button
Instantly returns to the beginning of the current song or pattern (i.e., the first beat of the first measure).
[ ](Reverse) button
Press briefly to move back one measure at a time, or hold to continuously rewind.
[ ](Forward) button
Press briefly to move forward one measure at a time, or hold to continuously fast-forward.
[ ● ] (Record) button
Press this to enable recording (Song or pattern phrase).
(The indicator lights.)
[ ](Stop) button
Press to stop recording or playback.
[ ](Play) button
Press to start playback from the current point in the song or pattern. During recording and playback, the indicator flashes at the current tempo.
*
[INFORMATION] button
Page 53
For calling up a special “help” feature that shows information about the currently selected mode. You can go back to the previous display by pressing this button again or pressing any other button.
Depending on the selected display, this button may be
used to call up a window for inputting characters (page
54), for inputting numbers (page 49), for selecting note
lengths (page 49), or for selecting keys or note names
(
Data dial
Page 49
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.
º
[INC/YES] button
Page 49
For increasing the value of the currently selected parameter. Also use it to actually execute a Job or a Store operation.
#
MODE buttons
Page 45
These buttons select the operating modes (e.g., Voice mode).
¡
[DEC/NO] button
Page 49
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].
$
LCD Display
The large backlit LCD displays the parameters and values related to the currently selected operation or mode.
%
LCD Contrast Control
Page 43
Use this control to set the LCD display for optimum legibility.
&
[SF1] - [SF5] (Sub Function) buttons
Page 47
These buttons located directly below the LCD display call up the corresponding sub functions indicated in the display. In the display hierarchy, these sub functions [SF] rank just below the functions [F].
These buttons can be also used to store/recall the
Arpeggio type in each Play mode and Song/Pattern
Record mode. They can be also used to store/recall the
Song Scene (page 123) in the Song Play/Song Record/
Pattern Chain Record modes.
™
Cursor Buttons
Page 49
The cursor buttons move the “cursor” around the LCD display screen, highlighting and selecting the various parameters.
^
[F1] - [F6] (Function) buttons
Page 47
These buttons located directly below the LCD display call up the corresponding functions indicated in the display. In the display hierarchy, these functions [F] rank just below the modes.
£
[EXIT] button
Page 46
The menus and displays of this synthesizer 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.
¢
[ENTER] button
Use this button to execute a Job or a Store operation. Also use this button to actually enter a number when selecting a Memory or Bank for Voice or Performance. In the File mode, use this button to go to the next lowest level in the selected directory.
Owner’s Manual
∞
SLOT 1-3 lamps
Page 284
These three lamps show the installation status of the Plugin Boards.
If the Plug-in Board has been correctly installed, the corresponding SLOT lamp will light.
n The Vocal Harmony Plug-in Board (PLG100-VH) can be installed only to slot 1. It cannot be installed to slot 2 or 3.
n The Multi part Plug-in Board (PLG100-XG) can be installed only to slot 3. It cannot be installed to slot 1 or 2.
§
BANK buttons
Page 60
Each button selects a Voice or Performance Bank.
When the [CATEGORY SEARCH] button is turned on, these buttons can be used to select the desired category
(printed below each button). When the [SECTION] button is turned on in the Pattern mode, these buttons are used to select the desired section.
¶
GROUP [A] - [H] buttons
Page 48
Each button selects a Voice or Performance Group.
When the [CATEGORY SEARCH] button is turned on, these buttons can be used to select the desired category
(printed below each button). When the [SECTION] button is turned on in the Pattern mode, these buttons are used to select the desired section.
•
NUMBER [1] - [16] buttons
Page 48
Use of these buttons differs depending on the on/off status of the [TRACK SELECT] and [MUTE] buttons.
Functions of the NUMBER [1] - [16] buttons
When [TRACK
SELECT] is on
When [MUTE] is on
When both
[TRACK SELECT]
[MUTE] are off
Voice Play mode
Voice Edit mode
Keyboard transmit channel setting
—
Element selection (1 - 4) and Element
Mute setting (9 - 12)
Performance
Play mode
Performance
Edit mode
Voice selection, according to Groups
A - H
—
Keyboard transmit channel setting
Performance part selection (1 - 4)
Performance part
Mute setting
(1 - 4)
Performance or
Voice selection
(if cursor is located at Voice name), according to Groups
A - H
Master Play mode
Master Edit mode
Song/Pattern
Play mode
Song/Pattern
Mixing mode
Mixing Voice
Edit mode
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)
Zone selection
(1 - 4)
—
—
Master selection, according to Groups
A - H
—
Song/Pattern track selection
Song/Pattern track Mute setting
Song/Pattern part selection
Song/Pattern part
Mute setting
Song/Pattern selection, according to Groups A - H
Element selection (1- 4) and Element
Mute setting (9- 12)
—
Front Panel
ª
[CATEGORY SEARCH] button
Page 62
When this button is turned on in the Performance mode, the lower row of [BANK] buttons (labeled A.PIANO -
REED/PIPE below the buttons) and the [GROUP] buttons can be used to select the Performance category.
When this button is turned on in another mode, the lower row of [BANK] buttons (labeled A.PIANO - REED/PIPE below the buttons) and the [GROUP] buttons can be used to select the Voice category.
‚
[SECTION] button
Page 57
When this button is turned on in the Pattern mode, the
GROUP [A] - [H] buttons can be used to select Pattern
Sections A - H and the [PRE5] - [PLG3] buttons of the
BANK buttons can be used to select Pattern Sections I - P.
⁄
[TRACK SELECT] button
Page 58
Turning this button on in the Song/Pattern mode enables the NUMBER [1] - [16] buttons for selecting corresponding Song/Pattern tracks. The on/off status of this button affects the NUMBER [1] - [16] buttons in different ways, depending on the selected mode. (See •
“NUMBER [1] - [16] buttons” above.)
¤
[MUTE] button
Page 58
Turning this button on in the Song/Pattern mode enables the NUMBER [1] - [16] buttons for muting corresponding
Song/Pattern tracks.
Press one of the NUMBER [1] - [16] buttons while holding this button to solo the corresponding track of the current selected Song/Pattern.
The on/off status of this button affects the NUMBER [1] -
[16] buttons in different ways, depending on the selected mode. (See • “NUMBER [1] - [16] buttons” above.)
Owner’s Manual
21
Rear Panel
Rear Panel
MOTIF ES6
MOTIF ES7
POWER
ON OFF AC INLET
1 2
POWER
ON OFF AC INLET
1 2 mLAN I/O EXPANSION
3
USB
TO DEVICE TO HOST THRU
M IDI
O UT IN BREATH ASSIG
4 5 6 mLAN I/O EXPANSION
3
MOTIF ES8
POWER
ON OFF AC INLET
1 2 mLAN I/O EXPANSION
3
22
Owner’s Manual
Rear Panel
$
3.3V
CARD
%
Plug-in SLOT
GREEN
YELLOW
ORANGE
FOOT
SWITCH
ASSIGNABLE SUSTAIN
C
FOOT
ONTROLLER
2 1
ASSIGNABLE OUTPUT
R L R
OUTPUT
L /MONO PHONES R
A / D INPUT
L
GAIN
7 8 9 ) !
@ #
USB
TO DE VICE TO HOST
$
3.3V
CARD
%
Plug-in SLOT
GREEN
YELLOW
ORANGE
THRU
MIDI
OUT IN
FOOT
SWITCH
BREATH ASSIGNABLE SUSTAIN
FOOT
CONTROLLER
2 1
ASSIGNABLE OUTPUT
R L R
OUTPUT
L /MONO PHONES R
A / D INPUT
L
GAIN
4 5 6 7 8 9 ) !
@ #
USB
TO DEVICE TO HOST
Plug-in SLOT
GREEN
YELLOW
ORANGE
$
3.3V
CARD
THRU
MIDI
OUT IN
FOOT
SWITCH
BREATH ASSIGNABLE SUSTAIN
FOOT
CONTROLLER
2 1
ASSIGNABLE OUTPUT
R L R
OUTPUT
L /MONO PHONES R
A / D INPUT
L
GAIN
4 % 5 6 7 8 9 ) !
@ #
Owner’s Manual
23
24
Rear Panel
1
POWER Switch
Press to turn power ON or OFF.
Page 43
6
BREATH Controller Jack
Page 42
Connect an optional Yamaha BC3 Breath Controller here for expressive breath control capability.
2
AC INLET (AC Power Cord Socket)
Page 26
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!
7
FOOT SWITCH jacks
Page 42
For connection of optional FC4 or FC5 Footswitches.
When connected to the SUSTAIN jack, the Footswitch controls sustain. When connected to ASSIGNABLE, it can control one of various different assignable functions.
8
FOOT CONTROLLER jacks
Page 42
For connection of optional foot controllers (FC7, etc.).
Each jack lets you continuously control one of various different assignable functions – such as volume, tone, pitch, or other aspects of the sound.
3
mLAN expansion board (mLAN16E) or I/O expansion board (AIEB2) cover
Page 25
Either the mLAN expansion board (mLAN16E) or the I/O expansion board (AIEB2) sold separately can be installed to this instrument. With the mLAN16E board, you can conveniently and easily hook up your MOTIF ES to other mLAN compatible instruments or devices.
The AIEB2 board gives you additional digital I/O options, featuring both optical and coaxial connectors. Moreover, the board also includes three stereo ASSIGNABLE
OUTPUT pairs (six analog jacks).
4
USB connectors
Page 29
This instrument is equipped with two types of USB connectors on the rear panel – USB TO HOST and USB
TO DEVICE. The USB TO HOST connector is used to connect this instrument to the computer via the USB cable. 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, CD-ROM drive, MO drive, flash disk, etc.) via the USB cable. This lets you save the data created on this instrument to the external
USB storage device and load the data from the external
USB storage device to the instrument. Save/Load operations can be performed in the File mode. n
For details about USB, see Page 29.
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.
9
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:
• Drum Voice key to which the drum/percussion instrument is assigned
• Any part of a Performance*
• Any part of a Song*
• Any part of a Pattern*
* Including the Audio Input part
)
OUTPUT L/MONO and R jacks
!
Page 31
Line level audio signals are output via these phone jacks.
For monophonic output, use just the L/MONO jack.
PHONES jack
For connection to a pair of stereo headphones.
Page 31
Page 31
5
MIDI IN/OUT/THRU connectors
Page 34
MIDI IN is for receiving control or performance data from another MIDI device, such as an external sequencer.
MIDI THRU is simply for redirecting any received MIDI data (via MIDI IN) to connected devices, allowing convenient chaining of additional MIDI instruments.
MIDI OUT is for transmitting all control, performance and playback data from the MOTIF to another MIDI device, such as an external sequencer.
@
A/D INPUT jacks
Page 33
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 IN part of the Performance, Song, or Pattern.
In the Sampling mode, these jacks are used for capturing audio data as samples. 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.
Owner’s Manual
#
GAIN knob
Page 73
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.
■ When the optional AIEB2 has been installed:
1 2 3
Rear Panel
$
CARD (Card slot)
Page 27
Insert a SmartMedia (memory) card here to transfer various data to/from this instrument. Read carefully the
precautions on using a SmartMedia (page 28) before
inserting a SmartMedia card.
%
Plug-in board cover
Page 283
Installing an optional Plug-in Board to this instrument lets you greatly expand the sonic palette of the instrument. Up to three boards can be installed to the rear panel.
1
OPTICAL IN, OUT connectors
Pages 33, 34
Use these connectors to input or output digital signals over optical-fiber cable. You can use the OPTICAL IN to record a digital signal at frequencies of 48kHz, 44.1kHz, or 32kHz. The OPTICAL OUT connector outputs a digital signal of 44.1kHz.
■ When the optional mLAN16E has been installed:
1
2 mLAN EXPANSION BOARD mLAN16E
1
ACTIVE
IEEE1394
MADE IN JAPAN
2
DIGITAL IN, OUT connectors
Pages 33, 34
Use these connectors to input or output digital signals over coaxial (RCA-pin) cable. The digital signal format is
CD/DAT (S/P DIF). You can use the DIGITAL IN connector to record a digital signal at frequencies of 48kHz,
44.1kHz, or 32kHz. The DIGITAL OUT connector outputs a digital signal of 44.1kHz.
1
mLAN (IEEE1394) connector 1, 2
For connecting mLAN devices or IEEE1394-compatible
(FireWire) devices via standard IEEE1394 (6-pin) cables.
About mLAN
“mLAN” is a digital network designed for musical applications.
It uses and extends the industry standard IEEE 1394 high performance serial bus.
For details, refer to the Guide Book of the mLAN16E.
* The name “mLAN” and its logo (above) are trademarks.
n The digital audio output via the mLAN connector is fixed to a resolution of 24 bit/44.1 kHz.
3
ASSIGNABLE OUT jacks (AS1 to AS6)
Page 31
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 above), and can be freely assigned to any of the Drum Voice key or the Parts. This lets you route specific Voices or sounds for processing with your favorite outboard effect unit.
The parts which can be assigned to these jacks are as follows:
• Drum Voice key to which the drum/percussion instrument is assigned
• Any part of a Performance*
• Any part of a Song*
• Any part of a Pattern*
* Including the Audio Input part n Digital audio output via the OPTICAL OUT connector or DIGITAL
OUT connector can be changed between 20-bit and 24-bit resolution in the [UTILITY]
→
[F2] I/O
→
[SF2] OUTPUT display.
The frequency, however, is fixed at 44.1 kHz.
Owner’s Manual
25
Power Supply
Setting Up
Please read this section carefully before using your new MOTIF ES.
This section explains how to connect your MOTIF ES to an AC power source, external audio and MIDI devices, and a computer
system. Only switch the MOTIF ES on after you have made all the necessary connections (page 43).
Power Supply
Rear panel
AC INLET
Power cord (included)
1
Make sure the POWER switch on the MOTIF ES is set to OFF.
2
Connect the supplied power cord to the AC INLET on the instrument’s rear panel.
3
Connect the other end of the power cord to an AC outlet. Make sure your MOTIF ES meets the voltage requirement for the country or region in which it is being used.
WARNING
Make sure your MOTIF ES 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 ES. 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!
WARNING
The type of AC power cord provided with the MOTIF ES 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 ES. 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.
26
Owner’s Manual
About data storage to SmartMedia cards and USB storage devices
About data storage to SmartMedia cards and
USB storage devices
As you make music with this instrument, you’ll create a wide variety of data — such as custom Voice data (including Voices,
Performances, etc.), MIDI sequence data (Songs, Patterns, Arpeggios), and waveform data (with the Sampling function).
Naturally, you’ll want to store this data for safekeeping and future use, and the instrument is equipped with a variety of storage options. You can save your data to SmartMedia card (inserted to the Card slot) or to a USB storage device (connected to the
USB TO DEVICE connector). To recall the data, use the Load function. (Save and Load operations are done in the File mode;
Keep in mind that certain types of data are lost when you turn off the power and should be properly saved. Also keep in mind that since there are several storage options (including SmartMedia card, hard disk, flash disk, etc.), you should always have the proper media formatted and on hand BEFORE you start creating or editing data.
USB TO DEVICE connector
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES n The Save/Load operation in the File mode can be executed between the SmartMedia card inserted to the CARD slot on the rear panel and the instrument, or between the USB storage device connected to the USB TO DEVICE connector and the instrument. Please keep in mind that the Save /Load operation in the
File mode cannot be executed between the SmartMedia card inserted to the CARD slot on the rear panel and the USB storage device connected to the USB
TO DEVICE connector. In short, data can be saved/loaded between the storage media and the instrument, but not between the two storage media devices.
Data lost and data retained when power is turned off
The chart below lists the data types you can create on the instrument and the internal memory locations to which they are stored, permanently or temporarily.
CAUTION
Make sure to save any data remaining in DRAM to SmartMedia or a USB storage device before turning off the power, other wise the data will be lost.
Data types
Voice
Mixing Voice
Performance
Song*
Song Chain
Pattern*
Pattern Chain
Phrase (Pattern)
Arpeggio
Master
Waveform**
Mixing Template***
System settings
Page
Mode in which data is created
Voice mode
Mixing Voice mode
Performance mode
Song mode
Song Chain mode
Pattern mode
Pattern Chain mode
Pattern mode
Song mode, Pattern mode
Master mode
Sampling mode
Song Mixing mode, Pattern Mixing mode
Utility mode
Internal memory types to which data is stored
Flash ROM
DRAM ➜ Will be lost when turning the power off!
Flash ROM
DRAM ➜ Will be lost when turning the power off!
DRAM ➜ Will be lost when turning the power off!
DRAM ➜ Will be lost when turning the power off!
DRAM ➜ Will be lost when turning the power off!
DRAM ➜ Will be lost when turning the power off!
Flash ROM
Flash ROM
DIMM (DRAM) ➜ Will be lost when turning the power off!
Flash ROM
Flash ROM
*
Includes the Mixing settings (pages 103, 127)
** If you create the User Voices or Sample Voices by using the Sampling function, the corresponding Waveforms can be saved automatically by saving the User Voice data or Song/Pattern data to the SmartMedia/USB storage device.
*** Song Mixing/Pattern Mixing can be stored as Song/Pattern data and as a Mixing Template (which are not associated with a specific Song/Pattern).
n
For details about the data types you can create on this instrument, the internal memory locations to which they are stored, and file types when saving the
created data to the SmartMedia/USB storage device, refer to “Memory Structure” on page 186.
CAUTION
Data of up to 128 MB can be saved to a SmartMedia card inserted to the CARD slot on the rear panel. Yamaha recommends the use of a large-capacity USB
Owner’s Manual
27
28
About data storage to SmartMedia cards and USB storage devices
Using the SmartMedia™* cards
Be sure to handle SmartMedia cards with care. Follow the important precautions below.
* SmartMedia is a trademark of Toshiba Corporation.
■
Compatible SmartMedia card Type
3.3V (3V) SmartMedia cards can be used. 5V type
SmartMedia cards are not compatible with this instrument.
■
There are seven types of SmartMedia cards: 2MB/4MB/8MB/
16MB/32MB/64MB/128MB. Keep in mind that only
SmartMedia cards conforming to SSFDC standards (bearing the SmartMedia logo) can be used.
■
Memory Capacity
Inserting/Removing SmartMedia cards
Inserting a SmartMedia card
With the gold-plated contact side facing down, insert the
SmartMedia card firmly but carefully into the card slot, as far as it will go. Be careful not to insert the card upside down or back side in. Also, do not insert anything else into the slot, other than a proper SmartMedia card.
Removing a SmartMedia card
Before removing the SmartMedia card, be sure to confirm that the SmartMedia card is not in use, or it is not being accessed by the instrument. Then pull the SmartMedia card out slowly by hand. If the SmartMedia card is being accessed*, a message indicating that it is in use appears on the instrument’s display.
* This includes all save, load, format, delete and create directory operations for the SmartMedia card. Also, be aware that the instrument will automatically access the SmartMedia card to check the media type when it is inserted while the instrument is turned on.
■
About the SmartMedia cards
Handle SmartMedia cards with care!
• SmartMedia cards are very sensitive and can be damaged by static electricity. Before handling a SmartMedia card, make sure to discharge any static electricity in your body by touching something made of metal, such as a door knob or aluminum blinds.
• Be sure to remove the SmartMedia card from the CARD slot when it is not in use for a long time.
• Do not expose the SmartMedia card to direct sunlight, extremely high or low temperatures, or excessive humidity, dust or liquids.
• Do not place heavy objects on a SmartMedia card or bend or apply pressure to the SmartMedia card in any way.
• Never touch the gold-plated contact with your fingers or let it come in contact with any other metallic or hard surface.
• Do not expose the SmartMedia card to magnetic fields, such as those produced by televisions, speakers, motors, etc., since magnetic fields can partially or completely erase data on the SmartMedia card, rendering it unreadable.
• Do not attach anything other than the provided labels to a
SmartMedia card. Also make sure that labels are attached in the proper location.
Protecting your data (write-protect)
To prevent important data from being inadvertently erased, apply the write-protect seal (provided with the SmartMedia card) to the circle spot indicated on the card. If you are saving data to the card, make sure to remove the write-protect seal. Do not reuse a seal that has been removed; it may not stick properly to the card and could come off in the slot.
CAUTION
Never attempt to remove the SmartMedia card or turn the power off during accessing. Doing so can damage the data on the instrument/SmartMedia card and possibly the SmartMedia card itself.
■
Data Backup
For maximum data security Yamaha recommends that you keep two copies of important data on separate SmartMedia cards. This gives you a backup if one SmartMedia card is lost or damaged.
■
Formatting SmartMedia cards
Before using a SmartMedia card with your instrument it must
first be formatted (page 268). Once it is formatted all data on
it will be erased. Make sure that no important data is contained on the card beforehand.
n The SmartMedia cards formatted with this instrument may be unusable with other instruments or devices.
■
Burglarproof Lock
This instrument is equipped with a burglarproof lock for the
SmartMedia card. If necessity arises, install the burglarproof lock onto the instrument.
To install the burglarproof lock:
1
Remove the metallic part using a Phillips screwdriver.
2
Turn the metallic part upside down and replace it in the new position.
Owner’s Manual
About data storage to SmartMedia cards and USB storage devices
Using USB storage devices
When using USB storage devices, make sure to connect them to the USB TO DEVICE connector, and follow the important precautions below.
■
Compatible USB devices
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 selfpowered (battery or external power supply) types can be used.
The MOTIF ES 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 see the following page:
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 data to a computer and save data to a CD using the CD-R/W drive on the computer.
■
Formatting USB storage media
When a USB storage device is connected or media is inserted, a “Disk or card unformatted” message may appear in the LCD display, indicating that the device or media must be formatted for use. Execute the Format operation in the File
USB connector types
There are two different types of USB connectors, and the rear panel of the instrument features both. Take care not to confuse the two.
■ USB TO HOST connector
This type is used to connect the instrument to a computer, and allows you to transfer MIDI data between the devices. Unlike MIDI, USB can handle multiple ports via a single cable.
USB cables have different connectors on each end: the
A type and the B type. Connect the A type to your computer and the B type to the USB TO HOST connector.
■ USB TO DEVICE connector
This type is used to connect the instrument to a USB storage device, and allows you to save data you’ve created to the connected device, as well as load data from the connected device. Save and Load operations are executed in the File mode.
USB cables have different connectors on each end: the
A type and the B type. Connect the A type to the USB TO
HOST connector and the B type to the USB storage device.
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 selfpowered 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.
B type
USB TO HOST connector
MIDI data transfer
Saving/Loading data in
Connecting to a computer
A type
USB TO DEVICE connector
MUSIC PRODUCTION SYNTHESIZER
Connecting to a
USB storage device
(hard disk, CD-ROM, flash disk and other drives)
■
Protecting your data (write-protect)
To prevent important data from being inadvertently erased, apply the write-protect provided with each storage device or media.
If you are saving data to the USB storage device, make sure to remove the write-protect.
MOTIF ES n The computer cannot access the USB storage device connected to the MOTIF ES’s USB TO DEVICE connector, even if connecting as shown above. Only from the File mode on the instrument itself can you access the data on the USB storage device connected to the USB TO DEVICE connector. n Though the MOTIF ES supports the USB 1.1 standard, you can connect and use a USB 2.0 storage device with the MOTIF ES.
However, note that the transfer speed complies to USB 1.1.
Owner’s Manual
29
About data storage to SmartMedia cards and USB storage devices
Basic settings for using SmartMedia or a USB storage device
1
Press the [FILE] button to enter the File mode.
2
Press the [SF1] CURRENT button to check which device is selected.
When Current is set to “CARD”
The instrument recognizes the SmartMedia inserted to the
Card slot.
When Current is set to “USB”
The instrument recognizes the USB storage device.
Volume Label of the selected device
3
Set Current to “CARD” if you wish to access the
SmartMedia, or set Current to “USB” if you wish to access the USB storage device.
If the USB storage device supports multiple types of media, you’ll need to set the Slot number after setting Current to
“USB.” To check which media corresponds to which USB number (1 or 2) and which slot number, see the Volume Label or Partition setting in this window.
Once you’ve made the settings above, you can perform any of the other File operations (in the bottom tabs, called up with the [F2] - [F5] buttons).
n When a USB storage device is connected or media is inserted, a
“Disk or card unformatted” message may appear in the LCD display, indicating that the device or media must be formatted for use.
Execute the Format operation in the File mode (page 268).
TIP
Backing up your data to a computer
• Backing up MOTIF ES data to a computer
Once you’ve saved data to a SmartMedia card or USB storage device, you can copy the data to the hard disk of your computer, then archive and organize the files as desired. Simply reconnect the device as shown below.
Saving created data to the USB storage device in the File mode (page 266)
• Loading data from a computer to the MOTIF ES
Data and files contained on the hard disk of a computer can be loaded to the MOTIF ES by copying them first to the storage media, then transferring them to the instrument.
In this way, you can use data created on the computer or another instrument with the MOTIF ES. For example, you can load Standard MIDI files to the instrument as Song/
Pattern data, or import audio WAV or AIFF files for use as waveform data.
Copying the files of the hard disk of the computer to the USB storage device
Computer
USB storage device
USB TO DEVICE connector
MUSIC PRODUCTION SYNTHESIZER
Computer
USB storage device
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES
Disconnect the USB storage device from the synthesizer and connect it to the computer
Backing up data to a computer and organizing files/folders
MOTIF ES
Disconnect the USB storage device from the computer and connect it to the synthesizer
Loading files on the USB storage device to the synthesizer in the
Computer
USB storage device
MUSIC PRODUCTION SYNTHESIZER
Computer
USB storage device
USB TO DEVICE connector
MUSIC PRODUCTION SYNTHESIZER
30
MOTIF ES n Though the example here shows the use of a connected USB storage device, you can also back up your created data that you’ve saved to a SmartMedia inserted to the CARD slot on the rear panel.
Owner’s Manual
MOTIF ES
Connections
Connections
Connecting to External Audio Equipment
Since the MOTIF ES has no built-in speakers, you’ll need an external audio system or a set of stereo headphones to properly monitor it. The following illustrations show various connection examples; use the one most similar to your intended setup.
Audio Output
■
Connecting stereo powered speakers (analog output)
For optimum, accurate reproduction of the instrument’s rich sounds, effects and full stereo image, use a pair of powered speakers. Connect the powered speakers to the OUTPUT L/MONO and R jacks on the rear panel.
Powered speaker (Right) Powered speaker (Left)
Headphones
OUTPUT L/MONO OUTPUT R
PHONES
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES n
When using just one powered speaker, connect it to the OUTPUT L/MONO jack on the rear panel.
■
Connecting a mixer
There are extra audio outputs in addition to the OUTPUT (L/MONO and R) jacks. Connect these outputs to a mixer for separately controlling the analog outputs of Drum keys or parts (Performance, Song, and Pattern). You can expand the output capabilities by installing the optional I/O board (AIEB2) or the optional mLAN16E. Installing the AIEB2 adds six extra OUTPUT jacks, while installing the mLAN16E expands the output capabilities with fourteen addition digital outputs, over a single FireWire (IEEE 1394) connector/cable. For details on how to set the Part/output jack assignments, refer to the chart below.
Outputting separate notes
(keys) of a Drum Voice
Outputting separate Parts of a Performance
Outputting separate Parts of a Song
Outputting separate Parts of a Pattern
Determined from the OutputSel parameter (as selected below) as Drum Voice data.
[VOICE] ➞ Drum Voice selection ➞ [EDIT] ➞ Drum Key selection ➞ [F1] OSC ➞ [SF2] OUTPUT ➞ OutputSel
This setting is available for the Part for which the OutputSel parameter is set to “drum” in another mode
(e.g., Performance or Song).
Determined from the OutputSel parameter (as selected below).
[PERFORM] ➞ Performance selection ➞ [EDIT] ➞ Part selection ➞ [F2] OUTPUT ➞ [SF3] SELECT ➞ OutputSel
Assigning an audio input Part of a Performance to an output is done from the OutputSel parameter (as selected below).
[PERFORM] ➞ Performance selection ➞ [EDIT] ➞ [COMMON] ➞ [F5] AUDIO IN ➞ [SF1] OUTPUT ➞ OutputSel
Determined from the OutputSel parameter (as selected below).
[SONG] ➞ Song selection ➞ [MIXING] ➞ [EDIT] ➞ Part selection ➞ [F2] OUTPUT ➞ [SF3] SELECT ➞ OutputSel
Assigning an audio input Part of a Song to an output is done from the OutputSel parameter (as selected below).
[SONG] ➞ Song selection ➞ [MIXING] ➞ [EDIT] ➞ [COMMON] ➞ [F5] AUDIO IN ➞ [SF1] OUTPUT ➞ OutputSel
Determined from the OutputSel parameter (as selected below).
[PATTERN] ➞ Pattern selection ➞ [MIXING] ➞ [EDIT] ➞ Part selection ➞ [F2] OUTPUT ➞ [SF3] SELECT ➞
OutputSel
Assigning an audio input Part of a Pattern to an output is done from the OutputSel parameter (as selected below).
[PATTERN] ➞ Pattern selection ➞ [MIXING] ➞ [EDIT] ➞ [COMMON] ➞ [F5] AUDIO IN ➞ [SF1] OUTPUT ➞ OutputSel
Owner’s Manual
31
Connections
The following settings can be made from the parameter pages listed above.
LCD
L&R asL&R as1&2 as3&4 as5&6 as7&8 as9&10 as11&12 as13&14
Output jacks
OUTPUT L and R
ASSIGNABLE OUTPUT L and R
ASSIGNABLE OUTPUT 1 and 2
ASSIGNABLE OUTPUT 3 and 4
ASSIGNABLE OUTPUT 5 and 6
ASSIGNABLE OUTPUT 7 and 8
ASSIGNABLE OUTPUT 9 and 10
ASSIGNABLE OUTPUT 11and 12
ASSIGNABLE OUTPUT 13 and 14
Stereo/Mono
Stereo
Stereo
Stereo (1: L, 2: R) *
Stereo (3: L, 4: R) *
Stereo (5: L, 6: R) *
Stereo (7: L, 8: R) **
Stereo (9: L, 10: R) **
Stereo (11: L, 12: R) **
Stereo (13: L, 14: R) **
* Available only when the optional AIEB2 board or mLAN16E board has been installed.
** Available only when the optional mLAN16E board has been installed.
LCD asL asR as1
: as6 as7
: as14
Output jacks
ASSIGNABLE OUTPUT L
ASSIGNABLE OUTPUT R
ASSIGNABLE OUTPUT 1
:
ASSIGNABLE OUTPUT 6
ASSIGNABLE OUTPUT 7
:
ASSIGNABLE OUTPUT 14
Connection example when the optional AIEB2 board has been installed (analog output)
Headphones
OUTPUT L/MONO
OUTPUT R
ASSIGNABLE OUTPUT L
ASSIGNABLE OUTPUT R
OUTPUT L
OUTPUT R
Pro R3
PHONE jack
Mixer
AIEB2
MUSIC PRODUCTION SYNTHESIZER
Stereo/Mono
Mono
Mono
Mono *
:
Mono *
Mono **
:
Mono **
Amplifier
MOTIF ES
Connection example when the optional mLAN16E board has been installed (analog and digital output)
Headphones
OUTPUT L/MONO
OUTPUT R
ASSIGNABLE OUTPUT L
ASSIGNABLE OUTPUT R
IEEE1394 cable
OUTPUT L
OUTPUT R
PHONE jack
Speaker
(Left)
Speaker
(Right)
Mixer Amplifier mLAN16E
MUSIC PRODUCTION SYNTHESIZER
32
Speaker
(Left)
Speaker
(Right)
MOTIF ES n About the main output jacks and the Assignable Output jacks
• Connecting a set of headphones to the PHONES jack does not affect the sound output from the OUTPUT L/MONO and R jacks. The sound monitored through the headphones is identical to the sound of the OUTPUT L/MONO and R jacks.
• Any parts assigned to the ASSIGNABLE OUTPUT jacks (including those of the optional AIEB2 interface or mLAN16E interface) will not be output through the OUTPUT L/MONO and R jacks or PHONES jack.
• The System Effects (Reverb, Chorus), the Master EQ, and the Master Effect are not applied to the sound output through the ASSIGNABLE OUTPUT jacks
(including those of the optional AIEB2 interface or mLAN16E interface). (Only the Part EQ and the Insertion Effect are applied.)
Owner’s Manual
Connections
■
Digital Output using the optional AIEB2
When the optional AIEB2 board has been installed to the rear panel, the sound output through the OUTPUT jacks by analog can also be output by digital through the OPTICAL OUTPUT jack and the DIGITAL OUTPUT jack. Using these digital output jacks, you can record the keyboard performance or Song/Pattern playback of this synthesizer to external media (e.g., an MD recorder) with exceptionally high-quality sound.
Recording
Recording
OPTICAL OUTPUT AIEB2 DIGITAL OUTPUT
MUSIC PRODUCTION SYNTHESIZER
DAT
Coaxial cable
DIGITAL
INPUT
Optical cable
OPTICAL
INPUT
DAT
DAT or CD recorder
MOTIF ES n
The digital output resolution of the optionally installed AIEB2 board can be set in the UTILITY mode with the following operation.
[UTILITY] ➞ [F2] I/O ➞ [SF2] OUTPUT
Audio Input
■
Connecting a microphone or other audio equipment to the A/D INPUT jacks (analog input)
External instruments and audio equipment, such as a microphone, guitar, bass, CD player or even another synthesizer/keyboard can be connected to the A/D INPUT jacks. This audio can be used as input for the AUDIO IN Part in the Performance/Song/
VH Plug-in Board, you can even apply an automatic vocal harmony effect to the microphone sound.
Stereo audio equipment
(CD player, etc.)
L
R
Microphone (MONO)
Apply effects to the microphone sound by using the Vocal
Harmony Plug-in board
(PLG100-VH)
Bass Guitar
L A/D INPUT R A/D INPUT L A/D INPUT L A/D INPUT L
MUSIC PRODUCTION SYNTHESIZER MUSIC PRODUCTION SYNTHESIZER MUSIC PRODUCTION SYNTHESIZER MUSIC PRODUCTION SYNTHESIZER
MOTIF ES MOTIF ES MOTIF ES MOTIF ES n Depending on the connected equipment, change the parameter settings in the Utility mode as needed, with the following operations.
• When the output level of the connected equipment (such as a microphone, guitar, bass) is low:
[UTILITY] ➞ [F2] I/O ➞ [SF1] INPUT ➞ Mic/Line = mic
• When the output level of the connected equipment (such as a synthesizer, keyboard, CD player) is high:
[UTILITY] ➞ [F2] I/O ➞ [SF1] INPUT ➞ Mic/Line = line n
n The audio input sound is not available in the Voice mode because the Voice mode does not have an AUDIO IN Part.
Owner’s Manual
33
Connections
■
Digital Input using the optional AIEB2
By installing the optional AIEB2 I/O expansion board, you can directly record digital audio from digital sources — such as a CD player or DAT deck. For maximum compatibility and flexibility, the AIEB2 board includes two different input types: OPTICAL
(optical fiber) and DIGITAL (coaxial cable).
Optical cable Coaxial cable
Sampling Sampling
AIEB2 OPTICAL INPUT
OPTICAL
OUTPUT AIEB2 DIGITAL INPUT
DIGITAL
OUTPUT
MUSIC PRODUCTION SYNTHESIZER MUSIC PRODUCTION SYNTHESIZER
DAT DAT
DAT or CD recorder DAT or CD recorder
MOTIF ES MOTIF ES n Either one of the connectors (OPTICAL or DIGITAL) can be used; however, both cannot be used at the same time. Select which connector is used for digital input in the Utility mode with the following operation.
[UTILITY] ➞ [F2] I/O ➞ [SF1] INPUT ➞ Digital
■
Digital Input using the optional mLAN16E
The optional mLAN16E allows you to connect this instrument to an mLAN device or computer, giving you high-speed audio and
MIDI data transfer between devices with just one IEEE 1394 cable connection.
IEEE1394 cable mLAN device
(Data Rate S400)
Computer with an IEEE1394 interface mLAN16E
IEEE1394
MUSIC PRODUCTION SYNTHESIZER
34
MOTIF ES
Connecting External MIDI Instruments
With a standard MIDI cable (available separately), you can connect an external MIDI device, and control it from the MOTIF ES.
Likewise, you can use an external MIDI device (such as a keyboard or sequencer) to control the MOTIF ES sounds. 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 (when an optional mLAN16E has been 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
Utility mode with the following operation.
[UTILITY] ➞ [F5] MIDI ➞ [SF4] OTHER ➞
■
Controlling from an external MIDI keyboard
Use an external keyboard to remotely select and play Voices of the MOTIF ES.
MIDI IN MIDI OUT
MUSIC PRODUCTION SYNTHESIZER
External MIDI keyboard or synthesizer, such as the S/SY/EX series
MOTIF ES
Owner’s Manual
Connections
MIDI Transmit Channel and Receive Channel
Make sure match the MIDI Transmit Channel of the external MIDI instrument with the MIDI Receive Channel of the MOTIF ES. For details on setting the MIDI Transmit Channel of the external MIDI instrument, refer to the Owner’s Manual of the MIDI instrument.
For details on setting the MIDI Receive Channel of the MOTIF ES, check the following points.
• In the Voice mode/Performance mode (using the MOTIF ES as a single timbre tone generator)
Check the MIDI Basic Receive Channel with the following operation.
[UTILITY] ➞ [F5] MIDI ➞ [SF1] CH ➞ BasicRcvCh
If necessary, change this parameter to the same number as the MIDI Transmit Channel of the external MIDI instrument.
• In the Song mode/Pattern mode (using the MOTIF ES as a multi-timbral tone generator)
Check the MIDI Receive Channel for each part of the Song/Pattern with the following operation.
[SONG] or [PATTERN] ➞ [MIXING] ➞ [EDIT] ➞ Part selection ➞ [F1] VOICE ➞ [SF2] MODE ➞ ReceiveCh
Change the settings of the desired parts to match the MIDI Transmit Channel settings on the external MIDI instrument. Please note that all the parts whose MIDI Receive Channel are same as MIDI Transmit Channel of the external MIDI instrument are sounded by your keyboard performance. n
The functions of the internal tone generator differ depending on whether the Voice/Performance mode (single timbre, keyboard playback) or the
Song/Pattern mode (multi-timbral, sequencer playback) is selected. For details, see page 163.
■
Controlling an external MIDI keyboard from this synthesizer
This connection lets you sound an external MIDI tone generator (synthesizer, tone generator module, etc.) by playing the MOTIF
ES or playing back the Song/Pattern of the MOTIF ES. Use this connection when you wish to sound the other instrument as well as the MOTIF ES.
MIDI OUT MIDI IN
MUSIC PRODUCTION SYNTHESIZER
External MIDI keyboard or synthesizer, such as the S/SY/EX series
MOTIF ES
TIP
Splitting the sound between the MOTIF ES and an external tone generator by MIDI channel (Part 1)
Using the connection example shown above, you can play both instruments and have them separately sound different parts — for example, having your keyboard performance sound the external instrument while the Song/Pattern plays the sounds of the MOTIF ES. Check the following points.
• In the Voice mode/Performance mode
You can check the MIDI Transmit Channel at the right corner of the [F1] PLAY display in the Voice Play mode/Performance Play mode.
If necessary, you can change the MIDI Transmit Channel by turning the [TRACK SELECT] button on and entering the desired value with the
[NUMBER] buttons.
When you wish to sound only the external tone generator, set Master Volume to “0” or set Local Control to “off” with the following operation.
[UTILITY] ➞ [F5] MIDI ➞ [SF2] SWITCH ➞ LocalCtrl
About how to set the MIDI Receive Channel of the external MIDI instrument, refer to the Owner’s Manual of the external MIDI instrument.
• In the Song mode/Pattern mode
You can check the MIDI Transmit Channel for each track of the current Song/Pattern with the following operation. Change this setting as necessary.
[SONG] or [PATTERN] ➞ [F3] TRACK ➞ [SF1] CHANNEL
Alternately, you can set the output destination (Internal or external MIDI tone generator) for each track from the following display.
[SONG] or [PATTERN] ➞ [F3] TRACK ➞ [SF2] OUTSW
In this case, you’ll need to set the external MIDI tone generator to multi-timbral operation and set the MIDI Receive Channel for each part.
For details, refer to the owner’s manual of the external MIDI tone generator.
Alternately, you can have your keyboard performance split and assigned to different MIDI channels by using the Zone settings in the
n The functions of the internal tone generator differ depending on whether the Voice/Performance mode (single timbre, keyboard playback) or the
Song/Pattern mode (multi-timbral, sequencer playback) is selected. For details, see page 163.
Owner’s Manual
35
Connections
■
Recording and playback using an external MIDI sequencer
In this connection example, song data on the external MIDI sequencer plays the sounds of the tone generator on the MOTIF ES.
The external song data can also be recorded to Song/Pattern tracks on the MOTIF ES.
MIDI IN MIDI OUT MIDI IN MIDI OUT
MUSIC PRODUCTION SYNTHESIZER
Sounding the MOTIF ES tone generator from a
MIDI sequencer, such as the QX/QY series,
RM1x, RS7000
MOTIF ES
In this case, make sure that the MOTIF ES 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 ES. In addition, you may have to make certain MIDI synchronization settings (see below).
Synchronizing with an external MIDI instrument (Master and Slave)
The Songs and Patterns of this instrument can be synchronized to the playback of an external MIDI sequencer, To do this, one device must be set to internal clock operation and the other (as well as all other devices to be controlled) to external clock. The device set to internal clock serves as a reference for all connected devices, and is referred to as the “master” instrument. The connected devices set to external clock are referred to as “slaves.”
When recording playback data of the external MIDI sequencer to a Song/Pattern of the MOTIF ES in the above connection example, make sure to set the MIDI synchronization parameter to the use of external clock in the Utility mode with the following operation.
[UTILITY] ➞ [F5] MIDI ➞ [SF3] SYNC ➞ MIDI Sync = MIDI n
■
Controlling another MIDI instrument via MIDI THRU
If you have more synthesizers and tone generators than MIDI ports, you can use the MIDI THRU jack to connect and control additional devices. Here, the playback data of a MIDI sequencer is used to play the sounds of another MIDI instrument
(connected to the MIDI THRU connector) as well as the MOTIF ES. The MIDI THRU connector simply redirects any received
MIDI data (via MIDI IN) to connected instrument.
36
MIDI IN
MIDI OUT
MIDI THRU MIDI IN MIDI IN MIDI OUT
MUSIC PRODUCTION SYNTHESIZER
MIDI tone generator
MIDI synthesizer
MIDI sequencer such as the QY/
QX series, RM1x, RS7000
MOTIF ES
In this case, make sure that the MOTIF ES 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 ES. 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.
Beside, you need to set the MIDI synchronization related parameters of the MOTIF ES to use of the external clock from the following display.
[UTILITY] ➞ [F5] MIDI ➞ [SF3] SYNC ➞ MIDI Sync = MIDI
Owner’s Manual
Connections
TIP
Splitting the sound between the MOTIF ES and an external tone generator by MIDI channel (Part 2)
In this connection example shown above, you can split the sequence playback between the MOTIF ES and another instrument connected to MIDI THRU and have them sound different parts.
For example, on the MOTIF ES assign the Song/Pattern parts to MIDI Receive Channels 1 through 9 with the following operation, and set the rest of the parts (not to be sounded) to off.
[SONG] or [PATTERN] ➞ [MIXING] ➞ [EDIT] ➞ Part selection ➞ [F1] VOICE ➞ [SF2] MODE ➞ ReceiveCh
On the connected MIDI tone generator, assign the parts to be sounded to MIDI Receive Channels 10 through 16, and set the rest of the parts (not to be sounded) to off.
■
Using an mLAN interface (when an optional mLAN16E has been installed)
■
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 a MTC- or MMC-compatible multi-track.
You can use two types of MTR control (illustrated below) by setting the MIDI Sync to MTC in the Utility mode, with the following operation.
[UTILITY] ➞ [F5] MIDI ➞ [SF3] SYNC ➞ MIDI Sync = MTC n MTC and MMC are available only in the Song mode.
• Synchronizing the MOTIF ES 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 ES will start at the moment the MTC Start Offset time elapses (set from the display [UTILITY] ➞ [F5] MIDI ➞ [SF3] SYNC ➞ MTC StartOffset in the
Utility mode).
MIDI cable
MIDI IN MTC OUT
MUSIC PRODUCTION SYNTHESIZER
AW4416, etc.
MOTIF ES 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 ES does not transmit MTC. An instrument such as the Yamaha AW4416 is necessary as an MTC master.
• Controlling an MTR by using MMC transmitted from the MOTIF ES
You can control the start/stop and fast forward/rewind of the MMC-compatible MTR from the SEQ TRANSPORT buttons on the front panel of this synthesizer, outputting MMC messages via MIDI.
MIDI cable
MIDI IN MIDI OUT
SEQ TRANSPORT
MIDI IN MIDI OUT
MUSIC PRODUCTION SYNTHESIZER
LOCATE 1 2
AW4416, etc.
MOTIF ES n MMC (MIDI Machine Control) allows remote control of multitrack recorders, MIDI sequencers, etc. A MMC-compatible multitrack recorder, for example, will automatically respond to start, stop, fast forward, and rewind operations performed on the controlling sequencer, thus keeping playback of the sequencer and multitrack recorder aligned.
Owner’s Manual
37
Connections
Connecting to a Computer
Connecting this instrument to a computer via MIDI opens up a whole world of musical possibilities — such as using sequencer software to record and play back compositions with the MOTIF ES sounds or using the included Voice Editor software to create and edit your own custom Voices.
n When connecting to a Macintosh computer (with the exception of Mac OS X), make sure to install OMS to the computer as well as the desired software
(sequence software, Voice Editor, etc.). For details, refer to the separate Install Guide.
Using a USB TO HOST connector
When connecting via this method, make sure to set the following parameter to “USB.”
[UTILITY] ➞ [F5] MIDI ➞ [SF4] OTHER ➞ MIDI IN/OUT = USB
USB cable
USB TO HOST
MUSIC PRODUCTION SYNTHESIZER
Computer with a USB interface
MOTIF ES n
USB cables have different connectors on each end: the A type and the B type. When connecting this synthesizer to the computer, connect the A type to your computer and the B type to the USB TO HOST connector.
n When connecting to a computer (Windows/Macintosh) via USB, make sure to install the USB-MIDI driver to the computer as well as the desired software
(sequence software, Voice Editor, etc.). For details, refer to the separate Installation Guide. n
If you are using the Remote Control function to control operations on a computer sequencer, you should make connections with a USB cable.
MIDI channel and MIDI port
While a MIDI cable can transfer MIDI messages of 16 channels simultaneously, a USB cable can transfer MIDI messages of more than 16 channels simultaneously.
MIDI data is assigned to one of sixteen channels, and this synthesizer is capable of simultaneously playing sixteen separate parts, via the sixteen MIDI channels. However, the sixteen-channel limit can be overcome by using separate MIDI
“ports,” each supporting sixteen channels.
A USB cable can handle MIDI data on up to eight ports, letting you use up to 128 channels (8 ports x 16 channels) on your computer.
n
This synthesizer can recognize and use up to three ports at the same time. n When using a USB connection, 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.
38
Owner’s Manual
Connections
TIP
About the Thru Port Setting
MIDI ports can be used to divide playback among multiple synthesizers, as well as expand the MIDI channel capacity beyond sixteen.
In the example below, a separate synthesizer connected to the MOTIF ES is played by MIDI data via port 5, as set in the
ThruPort parameter with the following operation.
[UTILITY] ➞ [F5] MIDI ➞ [SF4] OTHER ➞ ThruPort = 5
MIDI IN
Only MIDI data over port 5 will be transmitted through the MOTIF ES to this tone generator.
MIDI cable USB cable
MIDI OUT USB TO HOST
Outputting the MIDI data via multiple ports
MUSIC PRODUCTION SYNTHESIZER
Only MIDI data over ports 1, 2, and 3 are recognized. For details on the
relationship between the MIDI port and the tone generator block, see page 163.
Precautions when using the USB TO HOST connector
CAUTION
When connecting the computer to the USB TO HOST connector, make sure to observe the following points.
If you do not observe these points, you risk freezing the computer, corrupting the data, and losing the data. If the computer or the instrument freezes, turn the power to the instrument off or restart the computer.
• 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 Voice Editor, Multi Part Editor, and SQ01).
- 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 three seconds or more between these operations: When turning the power of the instrument off then on again, or when alternately connecting/disconnecting the USB cable.
Using an IEEE1394 interface (when an optional mLAN16E has been installed)
By installing an optional mLAN16E interface, you can connect a computer (with an IEEE 1394 interface) to this instrument via a single cable.
When connecting via this method, make sure to set the following parameter to “mLAN.”
[UTILITY] ➞ [F5] MIDI ➞ [SF4] OTHER ➞ MIDI IN/OUT = mLAN
IEEE1394 cable mLAN16E mLAN connector
MUSIC PRODUCTION SYNTHESIZER
Computer with an IEEE1394 interface
MOTIF ES
The mLAN connection using an IEEE1394 cable lets you transfer both MIDI data and audio data. For example, you can record
Owner’s Manual
39
Connections
Using a MIDI interface
• Using the computer’s MIDI interface
MIDI IN MIDI OUT
MIDI cable
MUSIC PRODUCTION SYNTHESIZER
MIDI IN MIDI OUT
Computer with MIDI interface
MOTIF ES
• Using an external MIDI interface
MIDI cable
MIDI IN MIDI OUT
MUSIC PRODUCTION SYNTHESIZER
MIDI interface
Serial port (modem or printer port) or USB port
MOTIF ES
Computer n Please use the appropriate MIDI interface for your computer.
n If you are using a computer that has a USB interface, make sure to connect the computer and this synthesizer by USB. (The data transfer rate is faster than
MIDI and you’ll have access to multiple MIDI ports.)
Selecting Voices from a computer
You can select Voices on this instrument from your computer software by specifying the following MIDI messages.
• Bank Select MSB
• Bank Select LSB
• Program Change
For details on what values are assigned to the Voice Bank/Number of this synthesizer, refer to the separate Data List.
40
Owner’s Manual
Connections
Local On/Off – when Connected to a Computer
When connecting this synthesizer to a computer, the keyboard performance data is generally sent to the computer, and then returned from the computer to play the tone generator block. If the Local Control in the Utility mode is set to “on,” a
“double” sound may result, since the tone generator is receiving performance data from both the keyboard directly and the computer. Use the setting suggestions below as a guideline; specific instructions may differ depending on your computer and the software used.
• When MIDI “Echo” (MIDI through) is set to on the software/computer:
Computer (SQ01, etc.)
MOTIF ES
USB TO HOST
IN OUT
Keyboard
OUT
Tone generator block
[UTILITY] ➞ [F5] MIDI ➞ [SF2] SWITCH ➞ LocalCtrl = off
IN
MIDI Echo (MIDI thru) = on n When transmitting or receiving System Exclusive data (such as with the Bulk Dump function), use the setting example below, making sure that MIDI
“Echo” (MIDI through) on the computer software is set to “off.”
• When MIDI “Echo” (MIDI through) is set to off the software/computer:
Computer (SQ01, etc.)
USB TO HOST
MOTIF ES
OUT
Keyboard
IN
Tone generator block
[UTILITY] ➞ [F5] MIDI ➞ [SF2] SWITCH ➞ LocalCtrl = on MIDI Echo (MIDI thru) = off n Although not indicated in the illustration above, the MOTIF ES actually receives and responds to MIDI data from the computer application
(sequencer), regardless of the Local Control setting on the MOTIF ES.
* MIDI “Echo” is a function on sequencers that takes any data received via the MIDI IN and “echoes” it (or sends it as is) through the MIDI
OUT. In some software, this function is also called “MIDI Thru.” n
For details about the MIDI Echo, refer to the owner’s manual of your particular software.
Owner’s Manual
41
42
Connections
Connecting Various Controllers
The MOTIF ES features several controller jacks on the rear panel — letting you independently control various aspects of the sound and a variety of functions with optional controllers.
FOOT
SWITCH
BREATH ASSIGNABLE SUSTAIN
FOOT
C ONTROLLER
2 1
ON OFF AC INLET
USB
TO DEVICE TO HOST
3.3V
CARD
Plug-in SLOT
GREEN
YELLOW
ORANGE
THRU
M IDI
O UT IN
FOOT
SWITCH
BREATH ASSIGNABLE SUSTAIN
C
FOOT
ONTROLLER
2 1
ASSIGNABLE OUTPUT
R L R
OUTPUT
L /MONO PHONES R
A / D INPUT
L
GAIN mLAN
I/O EXPANSION
MOTIF ES rear panel
BC3
FC4 or FC5
FC4 or FC5
FC7
FC7
■
Breath Controller
You can connect an optional Breath Controller (BC3) to the BREATH jack on the rear panel. Then use it to control a large number of this synthesizer’s parameters, particularly those controlled by a wind player’s breath: dynamics, timbre, pitch and so on. The
Breath Controller is ideally suited for realistic expression with wind instrument type Voices.
n
Breath Controller parameters can be set for each Voice (page 192).
■
Footswitch (assignable)
An optional Yamaha FC4 or FC5 Foot Switch connected to the rear panel FOOT SWITCH ASSIGNABLE jack can be assigned to a range of parameters. It is suited for switch-type (on/off) controls, such as Portamento Switch, increment/decrement of a Voice or Performance Number, start/stop of the Sequencer, and holding the Arpeggiator on or off.
n
The parameter assigned to the Footswitch is set in the Utility mode (page 263).
■
Footswitch (sustain)
An optional FC4 or FC5 Footswitch connected to the SUSTAIN jack on the rear panel lets you control sustain — particularly useful when playing piano and strings voices.
Keep in mind that some sounds may not be suitable for use in all situations with the Sustain footswitch. For example, for organ sounds that have no natural decay, the sound continues at the same level when holding down the Sustain footswitch.
On the other hand, many sounds benefit from the use of Sustain, such as piano, which has a natural decay when a note is held.
Using Sustain with these kinds of Voices provides a smooth after-sound and gives you expressive control in your performance. n
n
You cannot assign a function other than Sustain to the SUSTAIN jack.
■
Foot Controller
Optional Foot Controllers (such as the FC7), connected to the FOOT CONTROLLER jacks on the rear panel, can be assigned to a number of controller parameters. By using a foot controller for parameter control, both your hands are left free to play the keyboard (or to operate other controllers) — exceptionally convenient when you’re playing live.
n
Foot Controller parameters can be set for each Voice (page 192).
Owner’s Manual
Turning the power on/off
Turning the power on/off
Power-on Procedure
Once you’ve made all the necessary connections between your MOTIF ES and any other devices, make sure that all volume settings are turned down all the way to zero. Then turn on the every device in your setup in the order of MIDI masters (senders),
MIDI slaves (receivers), then audio equipment (mixers, amplifiers, speakers, etc.). This ensures smooth signal flow from the first device to the last (first MIDI, then audio). When powering down the setup, first turn down the volume for each audio devices, then switch off each device in the reverse order (first audio devices, then MIDI).
When using the MOTIF ES as MIDI receiver:
1 2 3
POWER
ON!!
MUSIC PRODUCTION SYNTHESIZER
MIDI sender MOTIF ES
Audio equipment (first mixer, then amplifier)
Turning the MOTIF ES on/off
The explanations here apply when audio equipment (amplifier and speaker) is connected to the MOTIF ES.
1
Make sure that the external audio equipment is connected to the MOTIF ES properly. Also be sure to set the volume of the
MOTIF ES and the external audio equipment to 0.
2
Press the POWER switch on the rear panel to turn the MOTIF ES on.
The Opening display (together with the message that confirms the status of the Plug-in Board installation) appears and after a while, the Master mode display appears.
POWER
ON OFF AC INLET
Rear panel of the MOTIF ES Master mode display n At the time this synthesizer is shipped from the factory, the Master mode display will appear when turning the power on. You can change the default display when turning the power on with the following operation. [UTILITY]
→
[F1] GENERAL
→
[SF4] OTHER
→
n
instrument assumes normal playing status (in which you can play the keyboard).
You can switch the on/off status of the Auto Load function from the [UTILITY]
→
[F1] GENERAL
→
[SF5] OTHER display (page 135).
3
Turn the power of the connected audio equipment on.
4
Raise the sound system volume of the audio equipment and the MOTIF ES gradually to a reasonable level.
5
If necessary, adjust the legibility of the LCD display by using the LCD Contrast Control.
6
After turning the power of the audio equipment off or turning down the volume of the audio equipment, turn the MOTIF ES’s power off.
Owner’s Manual
43
Resetting the User Memory to the Initial Factory Settings
Resetting the User Memory to the Initial Factory Settings
CAUTION
When the factory settings are restored, all the Voice, Performance, Song, Pattern, and system setting in the Utility mode you created will be erased.
1
Press the [UTILITY] button to enter the Utility mode (the lamp lights).
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
DEMO
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
2
Press the [JOB] button to enter the Utility Job mode.
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
DEMO
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
3
Press the [ENTER] button. (The display prompts you for confirmation.) n To cancel the Job, press the [DEC/NO] button.
4
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.
CAUTION
An “Executing...” or “Please keep power on” message is shown when it takes a short amount of time to execute the Job. 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. n All settings in the Utility mode that are related to the Plug-in boards are stored only to the memory on those respective boards, and not to the User memory of this synthesizer. Because of this, the Factory Set operation cannot be used to restore settings for those boards.
44
Owner’s Manual
Modes
Basic Operation
In this section, we’ll take a look at the fundamental operating conventions of the MOTIF ES. Here, you’ll learn the basics – how to select modes, call up the various functions, change settings, and edit parameter values. Take time to familiarize yourself with these nuts-and-bolts operations, and you’ll be on your way to mastering the instrument.
Before reading further, familiarize yourself with the basic terms used with the MOTIF ES in the chart below.
Term
Voice
Performance
Song
Pattern
Sampling
Master
File
Description
Musical instrument voices
A program in which multiple Voices are combined in a layer
Music data consisting of MIDI events
Rhythm pattern data which consist of MIDI events used for looped playback
The function that lets you record the audio data (such as your own voice and CD playback sound) and play those sounds just like any other synthesizer’s Voice.
A program which lets you register the settings in each mode – Voice, Performance, Song, and Pattern
A collection of settings for storing and managing your created data
Page
Modes
Mode Structure
This synthesizer is organized into various modes, each covering a different set of operations and functions.
Keep in mind that there are two basic types of modes, depending on the status of the tone generator block. The first type includes the Voice and Performance modes, and the internal tone generator is used in single timbre operation — meaning that only one Voice, or one channel of MIDI data is used. The second type includes the Song and Pattern modes, and the internal tone generator is used in multi-timbral operation — meaning that several Voices, or multiple MIDI channels are used. Along with each of these types are sub modes — the Sampling mode and the Utility mode. Remember that the particular displays and parameters in these two modes differ depending on which type of mode (Voice/Performance or Song/Pattern) was active before calling up the sub-mode. In addition to the above mentioned, there are two special modes. The Master mode lets you memorize your desired settings in each mode (Voice/Performance/Song/Pattern) and recall them instantly anytime you need them with a single button. The File mode lets you manage your created data.
Keyboard Playback mode (single timbre tone generator)
Voice mode
Voice Play mode
Voice Edit mode
Voice Job mode
Voice Store mode
VOICE
Performance mode
Performance Play mode
Performance Edit mode
Performance Job mode
Performance Store mode
PERFORM
Sampling mode
Sampling Record mode
Sampling Edit mode
Sampling Job mode
Keyboard Playback mode
(multi-timbral tone generator)
Song mode
Song Play mode
Song Record mode
Song Edit mode
SONG
Song Job mode
Song Mixing mode
Song Mixing Edit mode
Song Mixing Job mode
Song Mixing Store mode
Pattern mode
Pattern Play mode
Pattern Record mode
Pattern Edit mode
PATTERN
Pattern Job mode
Pattern Mixing mode
Pattern Mixing Edit mode
Pattern Mixing Job mode
Pattern Mixing Store mode
Utility mode
Utility Job mode
(Mixing Voice mode)
Mixing Voice Edit mode
Mixing Voice Job mode
Mixing Voice Store mode
INTEGRATED
SAMPLING
UTILITY
MIXING
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
DEMO
Master mode
Master Play mode
Master Edit mode
Master Job mode
Master Store mode
File mode
MASTER
FILE
Owner’s Manual
45
46
Modes
Mode table
The functions of each mode and how to enter each mode are as follows:
Voice mode
Performance mode
Song mode
Pattern mode
(Mixing Voice mode)
Mode
Voice Play mode
Voice Edit mode
Voice Job mode
Voice Store mode
Performance Play mode
Performance Edit mode
Performance Job mode
Performance Store mode
Song Play mode
Song Record mode
Song Edit mode
Song Job mode
Song Mixing mode
Song Mixing Edit mode
Song Mixing Job mode
Song Mixing Store mode
Pattern Play mode
Pattern Record mode
Pattern Edit mode
Pattern Job mode
Pattern Mixing mode
Pattern Mixing Edit mode
Pattern Mixing Job mode
Pattern Mixing Store mode
Mixing Voice Edit mode
Function
Playing a Voice
Editing/Creating a Voice
Initializing a Voice, etc.
Storing a Voice to internal memory
Playing a Performance
Editing/Creating a Performance
Initializing a Performance, etc.
Storing a Performance to internal memory
Playing a Song
Recording a Song
Editing a Song MIDI events
Converting and transforming Song data
Setting tone generator parameters
Setting tone generator parameters in detail
Initializing a Song Mixing, etc.
Storing a Song Mixing internal memory
Playing a Pattern
Recording a Pattern
Editing a Pattern MIDI events
Converting and transforming Pattern data
Setting tone generator parameters
Setting tone generator parameters in detail
Initializing a Pattern Mixing, etc.
Storing a Pattern Mixing internal memory
Editing/Creating a Voice dedicated for Song/Pattern
Sampling mode
Utility mode
Master mode
File mode
Mixing Voice Job mode
Mixing Voice Store mode
Sampling Record mode
Sampling Edit mode
Sampling job mode
Utility mode
Utility Job mode
Master Play mode
Master Edit mode
Master Job mode
Master Store mode
File mode
Initializing a Mixing Voice, etc.
Storing a Mixing Voice to internal memory
Recording a Sample
Editing a sample
Converting and transforming Sample data
Setting System related parameters
Resetting the User Memory to the Initial Factory Settings
Playing a Master
Editing/Creating a Master
Initializing a Master, etc.
Storing a Master to internal memory
Managing Files and Folders (Directories)
How to enter the mode
[VOICE]
[VOICE]
→
[EDIT]
[VOICE]
→
[JOB]
[VOICE]
→
[STORE]
[PERFORM]
[PERFORM]
→
[EDIT]
[PERFORM]
→
[JOB]
[PERFORM]
→
[STORE]
[SONG]
[SONG]
→
[ ● ] (REC)
[SONG]
→
[EDIT]
[SONG]
→
[JOB]
[SONG]
→
[MIXING]
[SONG]
→
[MIXING]
→
[EDIT]
[SONG]
→
[MIXING]
→
[JOB]
[SONG]
→
[MIXING]
→
[STORE]
[PATTERN]
[PATTERN]
→
[ ● ] (REC)
[PATTERN]
→
[EDIT]
[PATTERN]
→
[JOB]
[PATTERN]
→
[MIXING]
[PATTERN]
→
[MIXING]
→
[EDIT]
[PATTERN]
→
[MIXING]
→
[JOB]
[PATTERN]
→
[MIXING]
→
[STORE]
[SONG] or [PATTERN]
→
[MIXING]
→
[F5] VCE ED
[SONG] or [PATTERN]
→
[MIXING]
→
[F5] VCE ED
→
[JOB]
[SONG] or [PATTERN]
→
[MIXING]
→
[F5] VCE ED
→
[STORE]
[INTEGRATED SAMPLING]
[INTEGRATED SAMPLING]
→
[EDIT]
[INTEGRATED SAMPLING]
→
[JOB]
[UTILITY]
[UTILITY]
→
[JOB]
[MASTER]
[MASTER]
→
[EDIT]
[MASTER]
→
[JOB]
[MASTER]
→
[STORE]
[FILE]
■
How to leave the current display
For most operations or displays (except for the File mode, Song/Pattern Record mode, and Remote Control mode), pressing the
[EXIT] button will let you leave the current display and return you to the previous one. You can return back to any of the modes —
Voice Play, Performance Play, Song Play, Pattern Play, and Master Play — by pressing the [EXIT] button several times in the respective mode.
DEC/NO INC / YES
EXIT ENTER
EXECUTE
Owner’s Manual
Functions and Sub-Functions
Functions and Sub-Functions
Each mode described above contains various displays, with various functions and parameters. To navigate your way through these displays and select a desired function, use the [F1] - [F6] buttons and the [SF1] - [SF5] buttons. When you select a mode, the available displays or menus appear directly above the buttons at the bottom of the display (as shown below).
Using the Function buttons [F1] - [F6]
These functions can be selected via the corresponding button ([F1] - [F6]).
SCENE
SF1 SF 2 SF 3 SF 4 SF 5 INFORMATION
F 1 F 2 F 3 F 4 F 5 F 6
In this example, press the [F5] button to go to the LFO display.
Depending on the currently selected mode, up to six functions are available and can be called up with the [F1] - [F6] buttons.
Keep in mind that the available functions differ depending on the selected mode.
Using the Sub-Function buttons [SF1] - [SF5]
These functions can be selected via the corresponding button ([SF1] - [SF5]).
SCENE
SF1 SF 2 SF 3 SF 4 SF 5 INFORMATION
F 1 F 2 F 3 F 4 F 5 F 6
In this example, press the [SF5] button to go to the OTHER display.
Depending on the currently selected mode, up to five functions (sub-functions) are available and can be called up with the [SF1]
- [SF5] buttons. Keep in mind that the available functions differ depending on the selected mode. (Some displays may not have any sub-functions for these buttons.)
Selecting a Program
In order to play the MOTIF ES you’ll need to call up one of its programs, i.e., a Voice, Performance, Song, Pattern, or Master.
These programs can be selected in each Play mode via the same procedure.
■
Using the [INC/YES], [DEC/NO] buttons and the data dial
The [INC/YES] and [DEC/NO] buttons let you step up or down through the program numbers in any of the Play modes (Voice,
Performance, Song, Pattern, and Master).
Rotating the data dial to the right (clockwise) increases the program number, while rotating it to the left (counter-clockwise) decreases it. This control works in the same way as the [INC/YES] and [DEC/NO] buttons, but lets you scroll through the programs more quickly.
Decreases number
Decreases number
DEC/NO
Increases number
INC / YES
Increases number
Owner’s Manual
47
Selecting a Program
■
Using the [GROUP], [NUMBER] buttons
As shown below, you can select a program number by pressing any of the GROUP [A] - [H] buttons and pressing any of the
NUMBER [1] - [16] buttons.
The explanations here apply when these four button indicators are off.
PRE 5 PRE 6 USER 1 USER 2 GM
SLOT 1
PLG 1
SLOT 2
PLG 2
SLOT 3
PLG 3
CATEGORY
SEARCH
A. PIANO KEYBOARD ORGAN
A B C
GUITAR/
PLUCKED
D
BASS
E
STRINGS BRASS REED/PIPE
F G H SECTION
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
2 3 4 5
SE MUSICAL FX COMBI
6 7 8
TRACK
SELECT
BANK
GROUP
9
ELEMENT/PERF. PART/ZONE
10 11 12 13 14 15 16
NUMBER
MUTE
SOLO n
The Voice program numbers and the corresponding Group/Numbers are listed below.
Program
Number
029
030
031
032
025
026
027
028
021
022
023
024
017
018
019
020
013
014
015
016
009
010
011
012
005
006
007
008
001
002
003
004
Group
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
B
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
Number
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
Program
Number
061
062
063
064
057
058
059
060
053
054
055
056
049
050
051
052
045
046
047
048
041
042
043
044
037
038
039
040
033
034
035
036
Group
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
D
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
C
Number
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
Program
Number
093
094
095
096
089
090
091
092
085
086
087
088
081
082
083
084
077
078
079
080
073
074
075
076
069
070
071
072
065
066
067
068
Group
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
E
Number
Program
Number
125
126
127
128
121
122
123
124
117
118
119
120
113
114
115
116
109
110
111
112
105
106
107
108
101
102
103
104
097
098
099
100
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
Group
H
H
H
H
H
H
H
H
H
H
H
H
H
H
H
H
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
G
Number
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2
13
14
15
16
9
10
11
12
7
8
5
6
3
4
1
2 n
When selecting a Voice, it is necessary to press one of the [BANK] buttons before pressing the [GROUP] and [NUMBER] buttons. n The amount of numbers differ depending on the program. For example, while the selected number range of the Normal Voice, Performance, and Master is
001 - 128, the selected number range of the Song and Pattern is 001- 064.
48
Owner’s Manual
Moving the Cursor and Setting Parameters
Moving the Cursor and Setting Parameters
Moving the cursor
Use these four buttons to navigate the display, moving the cursor around the various selectable items and parameters in the screen. When selected, the relevant item is highlighted
(the cursor appears as a dark block with inverse characters).
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.
DEC/NO
EXIT
INC / YES
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.
ENTER
EXECUTE
■
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 indicating that you can call up the number input window by pressing the
[INFORMATION] button. From this window, you can input a number directly by pressing the [F1] - [F6] buttons and the [SF1] -
[SF5] buttons. First, press the [F6] button so that the cursor appears at the Input Number within the bracket. Move the cursor to the desired digit by using the Cursor buttons [>] and [<], then input the number of the selected digit. After completing the number input, press the [ENTER] button to actually enter the number. Press the [EXIT] button to go back to the original display.
Number Input window Input Number
SCENE
SF1 SF 2 SF 3 SF 4 SF 5 INFORMATION
F 1 F 2 F 3 F 4 F 5 F 6
SCENE
SF1 SF 2 SF 3 SF 4 SF 5 INFORMATION
F 1 F 2 F 3 F 4 F 5 F 6
■
Selecting a note type
When the cursor is located on the parameter to which the note type is set, the note icon appears at the lower right corner indicating that you can call up the Note Type selection window by pressing the [INFORMATION] button. You can specify the note type by pressing the [F1] - [F6] buttons and the [SF1] - [SF5] buttons. After selecting one of the note types, press the [ENTER] button to actually enter the selection. Press the [EXIT] button to go back to the original display.
Note Type selection window
SCENE
SF1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F 1 F 2 F 3 F 4 F 5 F 6
SCENE
SF1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F 1 F 2 F 3 F 4 F 5 F 6
Owner’s Manual
49
50
Knob (KN) and Control Slider (CS)
Knob (KN) and Control Slider (CS)
Knob (KN)
You can change the brightness and tone characteristics of the current Voice or Performance in realtime by turning the knobs while you play. Rotating it to the right (clockwise) increases the program number, while rotating it to the left (counter-clockwise) decreases it. You can select the function set assigned to the knobs among the following seven sets by pressing the appropriate
[KNOB CONTROL FUNCTION] button.
Function sets assigned to the Knobs (KN)
Operation
When pressing the [PAN/
SEND] button
When pressing the [TONE] button
[TONE] button
When pressing the [ARP
FX] button
When pressing the [EQ] button
Button of which the lamp is turned on
[PAN/SEND] button
[ARP FX] button
[EQ] button
KN1 (Knob 1)
Pan (stereo position) of the Voice/
Performance
Filter Cutoff
Frequency (degree of brightness)
Swing degree of the
Arpeggio playback
Functions controlled by each Knob
KN2 (Knob 2)
Reverb Send Level
Resonance (the level of the signal in the area of the cutoff frequency)
Gate time (length) of the Arpeggio playback
Low band of the
Master EQ in the
Voice/Performance mode, part EQ in the
Song/Pattern mode
Low-mid band of the
Master EQ in the
Voice/Performance mode, Mid band of the Part EQ in the
Song/Pattern mode
Function assigned from the [UTILITY]
→
[F4]
CTLASN
→
[SF2] ASSIGN display (page 263) in
the Utility mode
KN3 (Knob 3)
Chorus Send Level
Attack Time of the sound
Velocity of the
Arpeggio playback
High-mid band of the
Master EQ in the
Voice/Performance mode. (Not available in the Song/Pattern mode.)
KN4 (Knob 4)
Tempo of the Song/
Pattern/Arpeggio playback
Release Time of the sound (decay time after the key is released)*
Arpeggio playback time
High band of the
Master EQ in the
Voice/Performance mode, part EQ in the
Song/Pattern mode
Function assigned for each Voice from the
[VOICE]
→
[EDIT]
→
[COMMON]
→
[F4]
When pressing the [PAN/
SEND] button and the
[TONE] button simultaneously
When pressing the [TONE] button and the [ARP FX] button simultaneously**
When pressing the [ARP
FX] button and the [EQ] button simultaneously
[PAN/SEND] button
[TONE] button
All the buttons are off
[ARP FX] button
[EQ] button
Function assigned for each Master from the [MASTER]
→
[EDIT]
→
Zone selection
→
[F5] KN/CS
Function assigned to the Master Effect parameters from the [UTILITY]
→
[F4] CTLASN
→
[SF5] MEF display.
* For Drum Voices, this affects the release time for all played notes, whether held or released.
** Available only when setting the Zone Switch to on in the Master Mode (page 137)
When pressing any of the [KNOB CONTROL FUNCTION] buttons, the lamp(s) of the buttons will light according to the above table and the status of the Knobs and Control Sliders (currently assigned functions and set values) is shown on the LCD display.
The appearance of the knob in the display indicates the actual control status of the knob. When a knob indication is black, the control knob on the panel affects the sound. When an indication is white, moving the panel knob does not affect the sound, until the current value is reached (after which the indication turns black, indicating normal control).
Turning these Knobs will affect the sound.
PAN/SEND
KNOB
CONTROL
FUNCTION
ASSIGN
TONE
ARP FX
ASSIGN A
PAN
CUTOFF
SWING
ASSIGN B
REVERB
RESONANCE
GATE TIME
ASSIGN 1
CHORUS
ATTACK
VELOCITY
ASSIGN 2
TEMPO
RELEASE
UNITMULTIPLY
KN 1
LOW
KN 2
LOW MID
KN 3
HIGH MID
KN 4
HIGH
EQ
Turning these Knobs will not affect the sound.
Owner’s Manual
About the editing functions
Control Slider (CS)
You can adjust the volume of the Voice/Performance you play on the keyboard, or the volume of the specified part (track) of the
Song/Pattern by using the Control Sliders (CS). In the Master mode, various functions as well as the volume can be assigned to
the Control Sliders (CS) when the Zone Switch is set to on (page 137).
Function sets assigned to the Control Slider (CS)
Mode
CS1
Functions controlled by each Slider
CS2 CS3 CS4
Voice mode When a Normal Voice is
When a Drum Voice is
Element1 Volume Element2 Volume Element3 Volume
Volume of the entire Voice sound (moving any Slider produces same volume)
Element4 Volume
Performance mode
Song mode/Pattern mode
Master mode
When tracks (Parts) 1 - 4 are selected
When tracks (Parts) 5 - 8 are selected
When tracks (Parts)
9 - 12 are selected
When tracks (Parts)
13 - 16 are selected
When the Zone Switch is
Part1 Volume
Track1 (Part1) Volume
Track5 (Part5) Volume
Part2 Volume
Track2 (Part2) Volume
Track6 (Part6) Volume
Part3 Volume
Track3 (Part3) Volume
Track7 (Part7) Volume
Part4 Volume
Track4 (Part4) Volume
Track8 (Part8) Volume
Track9 (Part9) Volume
Track10 (Part10)
Volume
Track11 (Part11)
Volume
Track12 (Part12)
Volume
Track13 (Part13)
Volume
Track14 (Part14)
Volume
Track15 (Part15)
Volume
Track16 (Part16)
Volume
Function assigned for each Master from the [MASTER]
→
[EDIT]
→
Zone selection
→
[F4] KN/CS
n The [MASTER VOLUME] slider adjusts the overall output level of the instrument, while the Control Sliders adjust the MIDI Volume setting of the corresponding Element or Part.
About the editing functions
There are three types of method for creating data – Editing parameters (Voice, Performance, etc.), Recording MIDI data (Song,
Pattern, etc.), and Recording audio data (Sampling).
In this section, we’ll explain the basic operations for editing the Voice, Performance, Song Mixing, Pattern Mixing, Mixing Voice settings. n
n The Song Edit function (for editing the Song MIDI sequence data) and the Pattern Edit function (for editing the Pattern MIDI sequence data) are not
Edit Indicator
You can adjust or set various parameters by using the data dial, [INC/YES] button, [DEC/NO] button, Knobs, and Control Sliders in the Voice mode (Play/Edit mode), Performance mode (Play/Edit mode), Song Mixing mode, Pattern Mixing mode, and Mixing
Voice mode. When changing the value of the parameter in these modes, the [E] (Edit Indicator) will appear on the top left corner of the LCD display. This indicates that the current program has been modified but not yet stored. If you wish to store your sound obtained by edit operation, be sure to store the current program to internal User memory in the Store mode before selecting another program.
Edit Indicator
Voice Edit
Performance Edit
Song Mixing Edit
Pattern Mixing Edit
Mixing Voice Edit
If the Edit Indicator appears...
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
Voice Store
Performance Store
Song Mixing Store
Pattern Mixing Store
Mixing Voice Store
Owner’s Manual
51
Confirmation Message
Compare Function
This convenient function lets you switch between the edited sound and its original, unedited condition – allowing you to listen to the difference between the two and better hear how your edits affect the sound.
For example, when editing a Voice in the Voice Edit mode, the “E” Edit indicator is shown. Pressing the [COMPARE] button in this condition reverts to the original unedited sound (the button lamp flashes and the “C” Compare indicator is shown). Press the
[COMPARE] button again to return to the edited sound.
Edit Indicator (newly edited sound) Changes to the Compare Indicator (original sound)
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
EDIT JOB STORE
COMPARE
Lamp flashes
SCENE STORE
SET LOCATE
Edit Recall Function
If you are editing a program and select a different program without storing your edited one, all the edits you’ve made will be
the lost data with your latest edits intact, use the Edit Recall function in the Job mode.
Job mode
Voice
Performance
Song Mixing
Pattern Mixing
Mixing Voice
How to call up the Edit Recall display
[VOICE]
→
[JOB]
→
[F2] RECALL
[PERFORM]
→
[JOB]
→
[F2] RECALL
[SONG]
→
[MIXING]
→
[JOB]
→
[F2] RECALL
[PATTERN]
→
[MIXING]
→
[JOB]
→
[F2] RECALL
[SONG] or [PATTERN]
→
[MIXING]
→
[F5] VCE ED
→
[JOB]
→
[F2] RECALL
Confirmation Message
When you execute certain operations, such as those in the Job, Store, and File modes, this synthesizer shows a confirmation message. This lets you actually execute the operation or cancel it if desired.
If a confirmation message (like the one illustrated above) appears, press the [INC/YES] button to execute the operation or press the [DEC/NO] button to cancel it.
52
Owner’s Manual
Information Display
Information Display
This convenient function lets you call up relevant details about the selected mode – simply by pressing the [INFORMATION] button. For example, when the Voice mode is active, you can quickly check information about which voice bank is selected, what
Play mode (poly or mono) is being used, which effects are applied, and so on.
INFORMATION
Note (Key) settings
Several parameters let you set a key range for a function – for example, in setting up a keyboard split – by specifying certain note values. You can use the [INC/YES] and [DEC/NO] buttons or data dial to set these parameters, or you can directly enter the values from the keyboard by pressing the appropriate keys (as shown below).
INFORMATION
When Note Limit is selected, the [KBD] mark appears, indicating that you can use the keyboard to set the value.
Simultaneously hold down the [INFORMATION] button and press the appropriate key.
n
About the note name assigned to each key, see page 16.
Naming
You can freely name the created data like Voice and the file saved to the SmartMedia/USB storage device. The chart below lists the types of data that can be named along with the operations for calling up the respective naming displays.
Data types that can be named
Voice
Performance
Song
Pattern
Mixing Template
Mixing Voice
Phrase
Master
Waveform
Arpeggio
How to call up the naming display
[VOICE]
→
[EDIT]
→
[F1] GENERAL
→
[SF1] NAME
[PERFORM]
→
[EDIT]
→
[F1] GENERAL
→
[SF1] NAME
[SONG]
→
[JOB]
→
[F6] SONG
→
04: Song Name
[PATTERN]
→
[JOB]
→
[F6] PATTERN
→
05: Pattern Name
[SONG] or [PATTERN]
→
[MIXING]
→
[JOB]
→
[F6] TEMPLATE
[SONG] or [PATTERN]
→
[MIXING]
→
[F5] VCEED
→
[F1] GENERAL
→
[SF1] NAME
[PATTERN]
→
[JOB]
→
[F4] PHRASE
→
09: Phrase Name
[MASTER]
→
[EDIT]
→
[F1] NAME
[INTEGRATED SAMPLING]
→
[JOB]
→
[F2] WAVE
→
04: NAME
[SONG]
→
[JOB]
→
[F5] TRACK
→
07: Put Track To Arp
[PATTERN]
→
[JOB]
→
[F5] TRACK
→
06: Put Track To Arp
[FILE]
→
[F1] CONFIG
→
[SF3] FORMAT
Volume Label of the SmartMedia/
USB storage device
File/Folder saved to the SmartMedia/
USB storage device
[FILE]
→
[F2] SAVE or [F4] RENAME
First, call up the name input display according to the above table, then, move the cursor by using the Cursor button to the desired location and input a character. See below for details. n
Since the name of the program is part of the data, make sure that you properly save the program after naming it.
Page
Owner’s Manual
53
Naming
■
Basic naming operation
As shown below, you can set the name by repeating the two operations – moving the cursor to the desired location by using the
Cursor button and selecting a character by using the data dial, [INC/YES] button, and [DEC/NO] button.
Moving the cursor to the desired location on the name Selecting a character at the cursor location
DEC/NO INC / YES
EXIT ENTER
EXECUTE
DEC/NO INC / YES
■
Using the character list
If you find it difficult to select the desired characters with the above method, you may want to use the following method — selecting the characters from a list.
INFORMATION
When the cursor is located at the Name, this [LIST] icon appears and you can call up the Character List display by holding the [INFORMATION] button.
Release the [INFORMATION] button to return back to the original display.
Perform the operations below while holding the [INFORMATION] button.
Move the cursor to the desired location. Select a character for the cursor location on the name.
INFORMATION
DEC/NO INC / YES
EXIT ENTER
EXECUTE
INFORMATION
DEC/NO INC / YES
54
Owner’s Manual
Playing the Demo Songs/Patterns
Quick Guide — Playing the MOTIF ES
Playing the Demo Songs/Patterns
Here’s the best place to start your explorations of the MOTIF ES. The Song and Pattern Demos have been specially programmed so you can hear just how amazing the sounds are, and find out just how powerful the instrument really is — for music creation, performance and production. Before you can play the Demos, you’ll need to load the Demo data (contained in ROM) to the
DRAM memory location as shown below.
Demo Song data
(ROM)
Song 02
Song 01
Load
Memory area for Song playback
(DRAM)
Song 64
Song 02
Song 01
Demo Pattern data
(ROM)
Pattern 02
Pattern 01
A P
Sections A - P
Load
Memory area for Pattern playback
(DRAM)
Pattern 64
Pattern 02
Pattern 01
A P
Sections A - P n
For details about ROM and DRAM, see page 187.
CAUTION
When the Demo Song/Pattern data is loaded, the memory area for playback will be overwritten and the following Utility settings will be changed in order to play back the Demo Song/Pattern properly.
[UTILITY]
→
[F1] GENERAL
→
[SF1] TG
→
[UTILITY]
→
[F1] GENERAL
→
[UTILITY]
→
[F1] GENERAL
→
→
Volume, NoteShift, Tune
[SF4] OTHER
→
[SF3] EF BYPAS
CtrlRest
Important data should always be backed up to a SmartMedia/USB storage device.
1
Press the [FILE] button and [UTILITY] button simultaneously.
In some cases such as those listed below, the Demo
Song/Pattern data will be loaded automatically when turning the power on.
• When turning the power on with no SmartMedia card in the CARD slot when the instrument is in its factory-
shipped state or after the Factory Set (page 44) is
executed.
• When turning the power on with a SmartMedia card containing no Auto Load files in the CARD slot when the instrument is in its factory-shipped state or after
the Factory Set (page 44) is executed.
In cases such as those listed above, steps #1-#3 are unnecessary. Press the [SONG] button to enter the
Song mode, then perform the instructions below from step #4.
n
This synthesizer features an Auto Load function by which the
Demo Song/Pattern data or the specified files in the
SmartMedia card inserted in the CARD slot will be loaded automatically when turning the power on. For details about
the Auto Load function, see page 135.
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
DEMO
Owner’s Manual
55
Playing the Demo Songs/Patterns
2
Set the LoadType to “All.”
You can select from the three Load Types listed below. Here, we’ll select “All.”
All
Song
Pattern
Loads both the Demo Song and Pattern data.
Loads only the Demo Song data.
Loads only the Demo Pattern data.
5
Select and play another Demo Song.
Move the cursor to “Song Number: Name” (with the cursor buttons) then select another song by using the Data Dial, or the [INC/YES] and [DEC/NO] buttons.
Decreases number Increases number
Decreases number
DEC/NO INC / YES
Increases number
56
Song Number: Name
SEQ TRANSPORT
LOCATE 1 2
Start
3
Press the [ENTER] button to load the Demo data.
After the data is loaded, the Song Play display is automatically called up.
Next, let’s play a Demo Pattern.
6
Press the [PATTERN] button to enter the Pattern mode.
MODE
VOICE PERFORM MASTER
If “Pattern” is selected in step #2 above, the Pattern Play display is automatically called up once the data is loaded.
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.
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
DEMO
4
Press the [
F
] (Play) button to start Song playback.
When playback of the selected Song is finished, the Song automatically stops. You can stop the Song anytime during playback by pressing the [ ■ ] (Stop) button. This pauses the song at the current position. To resume playback of the Song from that point, press the [ F ] (Play) again. To instantly return to the beginning of the Song, press the [ ] (Top) button.
SEQ TRANSPORT SEQ TRANSPORT
Top button
LOCATE 1 2 LOCATE 1 2
Start Stop
Owner’s Manual
Playing the Demo Songs/Patterns
7
Press the [
F
] (Play) button to start Pattern playback.
There is another way to start Pattern playback – by pressing the note son the keyboard. Move the cursor to the keyboard icon and press the [INC/YES] button so that the F mark appears.
In this status, press any key to start the pattern playback.
Press the [DEC/NO] button with the cursor located at the keyboard icon to turn the F mark off. n Some Sections of the Demo Pattern may have no data. Because of this, selecting some Sections may result in no sound.
9
Press the [
■
] (Stop) button to stop Pattern playback.
Unlike Song playback, Pattern playback continues in a loop until the [ ■ ] (Stop) button is pressed.
You can stop the Pattern anytime during playback by pressing the [ ■ ] (Stop) button. This pauses the Pattern at the current position. To resume playback of the Pattern from that point, press the [ F ] (Play) again.
To instantly return to the beginning of the Pattern, press the
[ ] (Top) button.
LOCATE
SEQ TRANSPORT
1 2
Top button
SEQ TRANSPORT
LOCATE 1 2
8
Select different Sections of the Pattern.
Make sure that the [SECTION] lamp is on (press the button if necessary), then press any of the buttons shown below to select and play the various Sections contained in a Pattern.
Pressing the [A] - [H] buttons calls up Sections A - H and pressing the [PRE5] - [PLG3] buttons calls up the Sections I -
P. Try out various rhythm variations by changing the Section.
PRE 5 PRE 6 USER 1 USER 2 GM PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH BANK
A. PIANO KEYBOARD ORGAN
A B C
GUITAR/
PLUCKED
D
BASS STRINGS BRASS REED/PIPE
E F G H SECTION GROUP
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE MUSICAL FX COMBI
10
Start Stop
Select and play another Demo Song.
Selecting a Pattern is done in the same way as selecting a
Song. Refer to step #5 above.
Parameters in the Song Play mode
Song track number and track mute/solo status
Track data status
Transpose setting
(for entire Song)
Currently selected Song
03 : New Song 1
Song number Song name
Location settings for the selected Song
Measure : Beat
(for current playback location)
Tempo for the selected Song
ARP1-ARP5
Use the [SF1] - [SF5] buttons to call up the
Arpeggio type and Song Scene assigned
Time signature for the selected Song
(You can change the value by moving the cursor here and using the
[INC/YES]/[DEC/NO] buttons and data dial.)
Indicates muted track.
Indicates soloed track (page 58).
Indicates that the track has no recorded data.
Indicates a sample track (page 168)
containing a Sample Voice (page 173).
Indicates a MIDI track (page 168) containing
MIDI sequence data.
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58
Playing the Demo Songs/Patterns
Using Mute/Solo with the Song and
Pattern tracks
Try this with the Demo Songs to hear how the tracks sound both in isolation and in various combinations.
■
To mute a track
1
Press the [MUTE] button (the lamp lights).
1 2 3 4
9
ELEMENT/PERF. PART/ZONE
10 11 12
5 6 7
13 14 15
8
16
TRACK
SELECT
MUTE
SOLO
NUMBER
2
Press any of the NUMBER [1] - [16] buttons to select the track number to be muted.
The corresponding track is set to mute (its lamp goes off) and produces no sound. When pressing the same number button again, the track mute is canceled (its lamp lights).
TRACK
SELECT 1 2 3 4
9
ELEMENT/PERF. PART/ZONE
10 11 12
5
13
6 7 8
14 15 16 MUTE
SOLO
NUMBER
To turn Mute off, press the [MUTE] button again (the lamp goes off).
■
To solo a track
Simultaneously hold down the [MUTE] button and press one of the NUMBER buttons [1] to [16] to solo the corresponding track. Once you’ve selected a track for soloing, the [MUTE] button’s lamp flashes, indicating the Solo function is active.
While Solo is active, you can change the soloed track simply by pressing the corresponding NUMBER button [1] to [16].
To cancel the Solo function, press the [MUTE] button again.
If you want you can also mute a track and play the part of the track yourself. To do this, select the desired track as described, then mute the track (as explained in “To mute a track” above).
Song Location
The Song Play mode has a convenient Location function that lets you jump to user-specified parts of a song. This lets you assign a specific measure number in the selected song, and instantly jump to the assigned measure – either during playback or when the song is stopped. Two Locations can be assigned.
■
Assigning Locations
Select the desired measure in the recorded song for the
Location. (Highlight “MEAS” and use the [INC/YES] and
[DEC/NO] buttons or data dial.) Then, to assign the measure to Location 1, simultaneously hold down the [SET LOCATE] button and press the [ G ] (Reverse) button.
To assign Location 2, use the [ H ] (Forward) button.
1 2 3 4
9
ELEMENT/PERF. PART/ZONE
10 11 12
5
13
6 7 8
14 15 16
TRACK
SELECT
MUTE
SOLO
NUMBER
Selecting a Song/Pattern track and playing the keyboard
You can play along with the Song or Pattern using the sound of a track — for example, playing additional drum/percussion sounds on a drum track while the Song plays. Press the
[TRACK SELECT] button so that its lamp lights, and select a track by pressing the one of the NUMBER buttons [1] to [16].
EDIT JOB STORE
Specify a measure number to be registered.
SEQ TRANSPORT
COMPARE SCENE STORE
SET LOCATE
In this example, the selected measure is assigned to Location 1. The current settings for Locations 1 and 2 are shown at the top right of the display.
LOCATE 1 2
■
Jumping to an assigned Location
To instantly jump to the assigned Location 1 or 2, simultaneously hold down the [LOCATE] button and pressing the [ G ] (Reverse) button (for Location 1) or the [ H ]
(Forward) button (for Location 2).
SEQ TRANSPORT
LOCATE 1 2
Owner’s Manual
Playing the Demo Songs/Patterns
Song Chain
This function allows Songs to be “chained” together for automatic sequential playback. In this section, try using the
Song Chain features with the Demo Songs.
1
Press the [F6] CHAIN button to call up the Song
Chain display.
From this display you can program and play your own custom
Song sequences.
In addition, the following parameters can be set in the Song
Chain.
skip stop end
Skips past (ignores) the selected chain number and continues playback from the next chain number.
Stops Song Chain playback at that chain number. You can restart Song Chain playback from the next chain number by pressing the [ F ] (Play) button.
Indicates the end mark of the Song Chain data.
3
Play the Song Chain.
Move the cursor to the top of the Song Chain display, and press the [ F ] (Play) button to start Song playback.
SEQ TRANSPORT
LOCATE 1 2
2
Program the desired order of the Songs.
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. Likewise, assign the other
Songs to locations 002, 003, 004, and so on.
When the Song Chain programmed in step #2 reaches to the end, playback stops automatically. Press the [ ■ ] (Stop) button during playback to stop Song Chain playback. n The Song Chain can only be played back in the Song Chain display, and not from any other display.
Parameters in the Pattern Play mode
Currently selected Pattern and Section
Transpose setting
(for entire Pattern)
Time signature for the selected pattern
(You can change the value by moving the cursor here and using the [INC/
YES]/[DEC/NO] buttons and data dial.)
01 : New Pattern A
Pattern number Pattern number Section
Tempo for the selected
Pattern
When the F mark appears, pressing any note on the keyboard starts
Measure : Beat
(for current playback location)
ARP1-ARP5
Use the [SF1] - [SF5] buttons to call up the Arpeggio type
Pattern track number and track mute/solo status
Track data status
Indicates muted track.
Indicates soloed track (page 58).
Indicates that the track has no recorded data. (No Phrase is assigned.)
Indicates a sample track (page 168)
containing a Sample Voice (page 173).
Indicates a MIDI track (page 168) containing MIDI
sequence data.
Pattern Chain
Pattern Chain allows you to string several different Sections together to make a single Song.
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Playing the Keyboard (in the Voice Play mode)
Playing the Keyboard (in the Voice Play mode)
The Voice Play mode is where you select and play the instrument sounds (voices) of this synthesizer.
Selecting a Voice
Selecting a Normal 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. In this section, we’ll show you how to select a Normal Voice.
You can select the desired Voice from various Voice Banks (Preset 1~6, User 1~2, GM preset, Plug-in 1~3) as shown below.
Voice Bank
Preset Bank
Contains the Voices built into this instrument.
PRE 1 PRE 2 PRE 3 PRE 4
PRE 5 PRE 6 USER 1
A. PIANO KEYBOARD ORGAN GUITAR/
PLUCKED
User Bank
USER 2 GM
BASS
Contains the voices you create in the Voice Edit mode.
SLOT 1
PLG 1
SLOT 2
PLG 2
SLOT 3
PLG 3
STRINGS BRASS REED/PIPE
Plug-in Bank
Available when Plug-in Boards have
GM Bank
Contains the voices allocated according to the
GM standard. For details, see page 160.
1
Press the [VOICE] button to enter the Voice Play mode.
In this condition, playing the keyboard sounds the Voice indicated in the display.
The parameters shown in the Voice Play mode are briefly explained below.
MODE
VOICE PERFORM MASTER
Indicates the functions assigned to the respective Control
Indicates the currently selected voice.
Bank and Voice Program number
USR1 : 001 (A01)
Category and Voice name
Gt : MegaAcGtr
Indicates the Keyboard MIDI
Indicates the Keyboard Octave setting set via the [OCTAVE]
buttons. See page 63 for details.
ARP1-ARP5
Use the [SF1] - [SF5] buttons to call up the Arpeggio type assigned to
Bank
(selected via the
BANK buttons)
Number
(selected via the NUMBER
[1]-[16] buttons)
Group
(selected via the GROUP [A]-[H] buttons)
Voice Program number
(corresponding to Groups A to H and Numbers 01 to 16)
Category Voice name n Keep in mind that the example displays shown in this manual are for instruction purposes only, and the contents (for example, the Voice name here) may differ slightly from those on your instrument.
Owner’s Manual
Playing the Keyboard (in the Voice Play mode)
2
Select a Normal Voice Bank.
Select one of the Banks from Preset 1~6, User 1~2, and GM.
PRE 1 PRE 2 PRE 3 PRE 4
PRE 5 PRE 6 USER 1 USER 2 GM
SLOT 1
PLG 1
SLOT 2
PLG 2
SLOT 3
PLG 3
A. PIANO KEYBOARD ORGAN GUITAR/
PLUCKED
BASS STRINGS BRASS REED/PIPE
Selecting a Drum Voice
Internally, there are two Voice Types: Normal Voices and Drum
Voices. Normal Voices are mainly pitched musical instrumenttype 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. In this section, we’ll show you how to select a Drum Voice.
1
Press the [VOICE] button to enter the Voice Play mode.
Group Voice
2
Select a Drum Voice Bank.
While holding the [DRUM KITS] button, press one of the arrow-indicated buttons: [PRE5] (Preset Drum), [USER1]
(User Drum), or [GM] (GM Drum).
DRUM KITS
FAVORITES
PRE 5 PRE 6 USER 1 USER 2 GM
A. PIANO KEYBOARD ORGAN GUITAR/
PLUCKED
BASS
3
Select a Normal Voice Group.
Voices in each Bank are divided into Groups [A] ~ [H]. Select a Group to display the Voices that belong to the selected
Group.
A B C D E F G H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE MUSICAL FX COMBI
SECTION GROUP
3
Select a Drum Voice Group.
This operation is basically the same as in selecting a Normal
Voice. You can select a Group from A to D when selecting the
Preset Drum Bank in step #2. You can select a Group from A or B when selecting the User Drum Bank in step #2. You can select only A when selecting the GM Drum Bank in step #2.
4
Select a Drum Voice Number.
This is the same as in selecting a Normal Voice. 4
Select a Normal Voice Number.
Press one of the NUMBER [1] - [16] buttons.
TRACK
SELECT 1 2 3 4 5
9
ELEMENT/PERF. PART/ZONE
10 11 12 13
6 7 8
14 15 16 MUTE
SOLO
NUMBER
5
Play the keyboard and check what instrument is assigned to each key.
n
For details about the instrument assignments for each key, refer to the separate Data List.
Using the [INC/YES], [DEC/NO] buttons and data dial
You can select a Voice Number by using the [INC/YES],
[DEC/NO] buttons and data dial in steps #3 and #4.
5
Play the keyboard.
Decreases number Increases number
Decreases number
DEC/NO INC / YES
Increases number n The procedure for selecting Voices in other modes differs from above. For details on selecting Voices in the
Performance mode, see page 71. For details on selecting
Voices in the Song/Pattern mode, see page 102.
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Playing the Keyboard (in the Voice Play mode)
Using the Category Search function
This synthesizer features a powerful Category Search function that gives you quick access to the sounds you want, irrespective of their bank locations. Simply select a Voice category, such as A. PIANO or SYN LEAD, and you can browse through all related Voices one by one – and audition each of them, too. If you’ve installed a Plug-in Board to the instrument, those Voices are automatically included in the search as well. Plus, you can use the special Favorites category to store the Voices you use most.
1
Turn the Category Search function on by pressing the [CATEGORY SEARCH] button.
In this condition with the button lit, you can use the BANK and
GROUP buttons to specify the Category.
Press the [CATEGORY SEARCH] button again to turn this function off.
PRE 5 PRE 6 USER 1 USER 2 GM PLG 1 PLG 2 PLG 3
A. PIANO KEYBOARD ORGAN
A B C
GUITAR/
PLUCKED
D
BASS
E
STRINGS BRASS REED/PIPE
F G H
SYN LEAD SYN PAD/
CHOIR
SYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE MUSICAL FX COMBI
CATEGORY
SEARCH
SECTION
BANK
GROUP
Category Voice
All Categories are divided into two or three Sub Categories for further ease in selection. The Sub Category names are displayed at the bottom of the Category Search display. Press the [F1] - [F3] buttons to select the first Voice in the corresponding Sub Category.
n An alternate way of selecting categories is to use the Cursor buttons to select and highlight the Category name in the display, then use the
[INC/YES] and [DEC/NO] buttons or the data dial to select the
Category. Then, move the cursor to the Voice list at the right of the display to select the Voice (see step #3 below).
n
Some Voices such as User Voices may not be registered to any
Category. You can search for these Voices by setting the Category to
“--------------.”
3
Select a Voice from the Voice List in the display.
Step through the available Voices by using the data dial. You can also use the [INC/YES] and [DEC/NO] buttons, or use the
Cursor [ ]/[ ] buttons.
DEC/NO INC / YES Sub Category
2
Select a Category.
Press one of the BANK and GROUP buttons to call up the selected Category name and the Voice list. The first Voice in the Category is selected.
PRE 5 PRE 6 USER 1 USER 2 GM PLG 1 PLG 2 PLG 3
CATEGORY
SEARCH
A. PIANO KEYBOARD ORGAN
A B C
GUITAR/
PLUCKED
D
BASS
E
STRINGS BRASS REED/PIPE
F G H SECTION
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE MUSICAL FX COMBI
Category
Category names
Voice List
BANK
GROUP
EXIT ENTER
EXECUTE
4
Press the [CATEGORY SEARCH] button to turn this function off and go back to the original display.
n You can also use the [ENTER] button or [EXIT] button to exit from the
Category function.
Sub Category
Owner’s Manual
Playing the Keyboard (in the Voice Play mode)
■
Favorite Category
Use this convenient function to store all your favorite, oftenused Voices in a single, easy-to-access location – and call them up by pressing the [FAVORITES] button. Select any
Voice you want, from any desired category, and enter each to the Favorites Category. In this way, you can go directly to all the Voices you use the most, without having to hop around other Categories – a great aid when playing live.
1
Turn the Category Search function on by pressing the [CATEGORY SEARCH] button.
2
Specify the Category and Sub Category, then
select a Voice (page 62).
7
Pressing the [CATEGORY SEARCH] button to exit from the Category Search display will store the Favorite
Category settings to internal Flash ROM automatically.
CAUTION
Make sure to execute step #7. The settings made in steps #3 - 4 will be lost if you turning the power off without executing step #7.
CAUTION
Never attempt to turn off the power while data (e.g., Voice) is being written to Flash ROM (while a “Please keep power on” message is shown). Turning the power off in this state may not only cause the system to freeze (due to data corruption in the Flash ROM) and prevent normal startup the next time the power is turned on, it may also result in loss of all user data.
3
Register the Voice selected in step #2 to the
Favorite Category by Pressing the [F5] SET/CLR button to checkmark the box next to the Voice name.
You can un-checkmark it by pressing the [F5] button again.
SF 1 SF 2 SF 3 SF 4 SF 5
F1 F2 F3 F4 F5 F6
Pressing [F5] toggles between the two settings:
Checkmark on
Checkmark off
To remove all the marked Voices from the Favorite
Category, simply press the [F6] CLR ALL button.
Keyboard octave setting
(MOTIF ES6/MOTIF ES7)
Sometimes when playing a voice, you may wish to play in a lower or higher pitch range. For example, you may want to shift the pitch down lower to get extra bass notes, or shift up to get higher notes for leads and solos. The Octave Up/Down controls let you do this quickly and easily. Each time you press the [OCTAVE UP] button on the panel, the overall pitch of the voice goes up by one octave.
Likewise, each press of the [OCTAVE DOWN] button takes the pitch down by one octave. The range is from -3 to +3, with 0 being standard pitch. When this is set to Octave Up, the lamp of the
[OCTAVE UP] button lights, and when it is set to Octave Down, the
[OCTAVE DOWN] button’s lamp lights. The current octave setting is shown at the top right of the display. You can instantly restore standard pitch (0) by simultaneously pressing both the [OCTAVE UP] button and the [OCTAVE DOWN] button (both lamps turn off).
OCTAVE
DOWN UP
4
Set other Voices to the Favorite Category as required by repeating step #2 - 3.
5
Press the [FAVORITES] button to see the Voices set to the Favorite Category in steps #2 - 4.
You can use the [F5] SET/CLR and [F6] CLR ALL buttons also in this display to register/remove the voices to/from the
Favorite Category.
DRUM KITS
FAVORITES n
The Octave setting made here is automatically reflected in the identical Octave parameter in the Utility mode ([UTILITY]
→
[F1]
GENERAL
→
[SF2] KBD
→
Octave). This setting is available in all modes.
TIP
Transpose setting of the keyboard
You can set the amount in semitones by which the range of the keyboard is shifted up or down as well as the octave setting.
1
Press the [UTILITY] button to enter the Utility mode.
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
DEMO
6
Press the [FAVORITES] button again to return to the Category Search display.
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
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63
Playing the Keyboard (in the Voice Play mode)
2
Press the [F1] GENERAL button, then the [SF2]
KBD button.
Using Controllers
Pitch Bend Wheel
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.
Pitch Up
SCENE
SF1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F 1 F 2 F 3 F 4 F 5 F 6
64
3
Move the cursor to “Transpose” by using the
Cursor button.
4
Change the Transpose value by using the [INC/
YES], [DEC/NO] buttons and data dial.
5
Press the [STORE] button to store the Transpose setting to internal Flash ROM.
CAUTION
Make sure to execute step #5. The settings made in step #4 will be lost if you turning the power off without executing step #7.
CAUTION
Never attempt to turn off the power while data (e.g., Voice) is being written to Flash ROM (while a “Please keep power on” message is shown). Turning the power off in this state may not only cause the system to freeze (due to data corruption in the Flash ROM) and prevent normal startup the next time the power is turned on, it may also result in loss of all user data.
n The transpose setting is available in all modes.
Pitch Down
Pitch Bend Wheel n
Each preset Voice has its own default Pitch Bend Range setting. The
Pitch Bend Range setting for each Voice can be changed in the
[VOICE]
→
[EDIT]
→
[COMMON]
→
[F1] GENERAL
→
[SF5] OTHER display and stored as a User Voice in the Voice Store 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.
n
Functions other than Pitch Bend can be assigned to the Pitch Bend
Wheel in the [VOICE]
→
[EDIT]
→
[COMMON]
→
[F4] CTL SET display. These assignment settings can be stored as a User Voice in the Voice Store mode. Even if a different function is assigned to this wheel, the Pitch Bend function is available and Pitch Bend messages are still generated when the wheel is used. n
Using the Pitch Bend wheel generates the same MIDI message to extend devices, regardless of the assignments made in the Voice Edit mode.
Keyboard MIDI transmit channel setting
This function is especially convenient when recording to an external sequencer or controlling another instrument via MIDI.
It lets you easily change the transmit channel with just a couple of button presses. Press the [TRACK SELECT] button
(the lamp lights), then press the appropriate NUMBER button
([1] - [16]). The transmit channel setting is shown at the top right of the display.
TRACK
SELECT 1 2 3 4 5 6 7 8
9
ELEMENT/PERF. PART/ZONE
10 11 12 13 14 15 16
NUMBER
MUTE
SOLO n You can also set the MIDI keyboard transmit channel from the Utility mode ([UTILITY]
→
[F5] MIDI
→
[SF1] CH
→
KBDTransCh). This parameter is available for the Voice mode/Performance mode but not for the Song mode/Pattern mode.
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.
Maximum
Minimum
Modulation Wheel n
To avoid accidentally applying effects to the current Voice, make sure the Modulation Wheel is set to minimum before you start playing. n
Various functions can be assigned to the Modulation Wheel in the [VOICE]
→
[EDIT]
→
[COMMON]
→
[F4] CTL SET display. These assignment settings can be stored as a User Voice in the Voice Store mode. n Using the Modulation wheel generates the same MIDI message to external devices, regardless of the assignments made in the Voice
Edit mode.
Owner’s Manual
Ribbon Controller
The Ribbon Controller is touch sensitive, and is controlled by running your finger laterally across the surface. Various function are assigned to each preset Voice.
Try out the Ribbon Controller with various preset Voices while playing the keyboard.
Playing the Keyboard (in the Voice Play mode)
Edit Indicator
Tweaking the knobs in the Voice mode directly changes the parameters of the Voice. When any of the Voice parameters are changed, the [E] (Edit) Indicator appears in the top left of the display. This indicates that the current voice has been modified but not yet stored.
Edit Indicator n You can set the Ribbon Controller to control different functions on connected external MIDI devices from the functions assigned for the instrument itself. You can also determine whether the Ribbon
Controller value returns to the center, or stays at the point where you released your finger. Both of these setting can be made in the Utility mode ([UTILITY]
→
[F3] VOICE
→
[SF4] CTL ASN).
Knobs (KN)
These knobs let you change various aspects of the Voice’s sound in real time – while you play. Turn a knob to the right to increase the value, and left to decrease it. For each preset
Voice, various functions are assigned to four knobs. Try out these knobs with various preset Voices while playing keyboard.
ASSIGN A
PAN
CUTOFF
SWING
ASSIGN B
REVERB
RESONANCE
GATE TIME
ASSIGN 1
CHORUS
ATTACK
VELOCITY
ASSIGN 2
TEMPO
RELEASE
UNITMULTIPLY
If you’re satisfied with the tweaks you made and the resulting sound, you can store the changes as a User
Voice in the Voice Store mode (page 85).
CAUTION
If you select another Voice during editing, the [E] (Edit) indicator will disappear and all your edits will be lost.
It is a good idea to store the edited Voice data from the Voice Store
mode (page 85). Even if you lose the edited Voice data, you can
restore it by using the Edit Recall function (page 82).
Control Sliders
In the Voice mode, the four Control Sliders let you independently adjust the levels of the Elements of a
Normal Voice or the Drum Voice keys. When Normal
Voice is selected, you can adjust the volume balance among the four Elements.
VOLUME 1 VOLUME 1 VOLUME 1 VOLUME 1
KN 1
LOW
KN 2
LOW MID
KN 3
HIGH MID
KN 4
HIGH
You can change which particular group of functions or parameters the knobs are assigned to by pressing any of the
[KNOB CONTROL FUNCTION] buttons. For details, see page
n In certain situations, using the knobs may not result in any change in
the sound. For more information, refer to page 50 in the Basic
Operation section.
CS 2 CS 3 CS 4 n Inadvertent use of the sliders may result in no sound. If this occurs, move the sliders upward.
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Playing the Keyboard (in the Voice Play mode)
Using the Arpeggio feature
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. Try selecting different Voices and check out the various Arpeggio types.
n
For details about Arpeggio, see page 169.
1
2
Press the [ARPEGGIO ON/OFF] button to turn
Arpeggio on.
For certain Voices, simply selecting the Voice will turn Arpeggio on.
REMOTE
ON / OFF
R-AUDIO
G-MIDI
ARPEGGIO
ON / OFF
Play a note or notes on the keyboard to trigger the Arpeggio playback.
The particular rhythm pattern or phrase that plays depends on the actual notes or chords you play, as well as on the selected Arpeggio
type. For details, refer to page 169 in the Basic Operation section.
■
Changing the Arpeggio type during keyboard performance
A different Arpeggio type is assigned to each of the [SF1] ARP1 -
[SF5] ARP5 buttons for each preset Voice. When a musical note icon appears to the right of each Arpeggio number in the display (see below), the corresponding button is assigned an Arpeggio type. Try out various Arpeggio types by pressing the [SF1] - [SF5] buttons.
Register your favorite Arpeggio types to the [SF1] - [SF5] buttons
You can change the default settings and assign any Arpeggio types you like to the [SF1] - [SF5] buttons. The selected
Arpeggio indication is highlighted in white. If two buttons share the same type, both will appear in white. The settings can be stored as a User Voice in the Voice Store mode.
1
Press the [ARPEGGIO ON/OFF] button to turn
Arpeggio on.
2
Select the desired Arpeggio type in the [VOICE]
→
[F6] ARP display.
3
While holding the [STORE] button, press one of the [SF1] - [SF5] button.
The currently selected Arpeggio type is assigned to the pressed button. If you execute this operation with the [ARPEGGIO ON/OFF] lamp off, no Arpeggio type will be assigned to the pressed button.
4
Repeat steps #2 - 3 as necessary.
5
Press and release the [STORE] button to enter the
Voice Store mode and store the setting as a User
n
Keep in mind that holding and releasing the [STORE] button
WITHOUT pressing one of the [SF1] - [SF5] buttons will automatically enter the Voice Store mode, instead of storing the
Arpeggio type.
■
Controlling Arpeggio playback by using the knobs
You can adjust the Arpeggio related parameters such as volume and tempo by rotating the knobs. If you are satisfied with the results, you can store the changes as a User Voice in the Voice Store mode.
SF 1 SF 2 SF 3 SF 4 SF 5
1
Press the KNOB CONTROL FUNCTION [ARP FX] button (the lamp lights).
Selecting some voices automatically turns this lamp on.
You can confirm the currently selected Arpeggio type in the [F6] ARP display.
PAN/SEND
KNOB
CONTROL
FUNCTION
ASSIGN
TONE
ARP FX
EQ
ASSIGN A
PAN
CUTOFF
SWING
ASSIGN B
REVERB
RESONANCE
GATE TIME
ASSIGN 1
CHORUS
ATTACK
VELOCITY
ASSIGN 2
TEMPO
RELEASE
UNITMULTIPLY
KN
1
LOW
KN
2
LOW MID
KN
3
HIGH MID
KN
4
HIGH
Bank
Ctgr
Type
Arpeggio type currently selected
Indicates “pre (preset)” or “usr (user).”
Refer to the separate Data List booklet.
2
Tweak the knobs while the Arpeggio is playing.
For details on what functions each knob controls while the
[ARP FX] lamp is on, see page 81.
3
If you’re satisfied with the results, you can store the changes as a User Voice in the Voice Store
mode (page 85).
Owner’s Manual
Playing the Keyboard (in the Performance Play mode)
Playing the Keyboard (in the Performance Play mode)
As in the Voice Play mode, the Performance Play mode is where you select and play the instrument sounds of this synthesizer.
In a Performance, you can mix several different Voices together in a layer, or split them across the keyboard, or even set up a combination layer/split. Each Performance can contain up to four different Parts.
Selecting a Performance
128 Performances (1 bank) are provided in internal User memory (Flash ROM). In the Performance Play mode, you can select and play individual User performances. Since there is only one bank for Performances, you need not select a Performance Bank.
1
Press the [PERFORM] button to enter the Performance Play mode.
In this condition, playing the keyboard sounds the Performance indicated in the display.
The parameters shown in the Performance Play mode are briefly explained below.
MODE
VOICE PERFORM MASTER
Indicates the Keyboard MIDI
transmit channel. See page 68 for
details.
Indicates settings related to the Control knobs.
Indicates the currently selected Performance.
Bank and Performance Program number Category and Performance name
USER : 001 (A01)
Bank
Number
(selected via the NUMBER
[1]-[16] buttons)
Ap : New Peform
Category Performance name
Group
(selected via the GROUP [A]-[H] buttons)
Performance Program number
(corresponding to Groups A to H and Numbers 01 to 16)
Indicates the Keyboard Octave setting set via the [OCTAVE]
buttons. See page 68 for details.
ARP1-ARP5
Use the [SF1] - [SF5] buttons to call up the Arpeggio type assigned to
n Keep in mind that the example displays shown in this manual are for instruction purposes only, and the contents (for example, the Performance name here) may differ slightly from those on your instrument.
2
Select a Performance Group.
Performances are divided into Groups [A] ~ [H]. Select a
Group to show a list of the Performances.
A B C D E F G H
SYN LEAD SYN PAD/
CHOIR
SYN COMP
CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE MUSICAL FX COMBI
SECTION GROUP
3
Select a Performance Number.
Press one of the NUMBER [1] - [16] buttons.
TRACK
SELECT
1 2 3 4
9
ELEMENT/PERF. PART/ZONE
10 11 12
5 6
13 14
7 8
15 16 MUTE
SOLO
NUMBER
Group Performance
Owner’s Manual
67
Playing the Keyboard (in the Performance Play mode)
4
Play the keyboard.
Using the [INC/YES], [DEC/NO] buttons and data dial
Rather than using the BANK/NUMBER buttons described in steps #2 and 3 above, you can select a
Performance by using the [INC/YES], [DEC/NO] buttons and data dial.
Using the Category Search function
As in the Voice Play mode, you can use the Category Search and Favorite Category functions in the Performance Play
mode. For details on how to use the function, see page 62.
Keyboard octave setting
(MOTIF ES6/MOTIF ES7)
As in the Voice Play mode, you can use the [OCTAVE UP/
DOWN] button to shift the note of the keyboard up or down in octaves.
n The Octave setting made here is automatically reflected in the identical Octave parameter in the Utility mode ([UTILITY]
→
[F1]
GENERAL
→
[SF2] KBD
→
Octave). This setting is available in all modes.
Decreases number
Decreases number
DEC/NO
Increases number
INC / YES
Increases number
TIP
Transpose setting of the keyboard
As in the Voice Play mode, you can set the amount in semitones by which the range of the keyboard is shifted up or down in the Utility mode. n The transpose setting is available in all modes.
Performance Part mute/solo
Each performance can contain a maximum of four Parts, each of which can be turned on or off independently.
Muting and soloing of Parts is done in the same way as that of
tracks in a Song/Pattern. See page 58.
1 2 3 4 5 6 7 8
TRACK
SELECT
9
ELEMENT/PERF. PART/ZONE
10 11 12 13 14 15 16 MUTE
SOLO
Keyboard MIDI transmit channel setting
As in the Voice Play mode, you can change the MIDI transmit channel for the keyboard. Press the [TRACK SELECT] button
(the lamp lights), then press the appropriate NUMBER button
([1] - [16]). The transmit channel setting is shown at the top right of the display.
n You can also set the MIDI keyboard transmit channel from the Utility mode ([UTILITY]
→
[F5] MIDI
→
[SF1] CH
→
KBDTransCh). This parameter is available for the Voice mode/Performance mode but not for the Song mode/Pattern mode.
68
Owner’s Manual
Playing the Keyboard (in the Performance Play mode)
Using Controllers
Pitch Bend Wheel
This is basically the same as in the Voice Play mode (page
n The Pitch Bend Range setting depends on the setting (made in the
Voice mode) of the Voice assigned to each Part. n The functions assigned to the Pitch Bend Wheel depend on the setting
(made in the Voice mode) of the Voice assigned to each Part. n Even if a different function is assigned to the wheel, Pitch bend is still available and Pitch Bend messages are still generated when the wheel is used.
Modulation Wheel
This is basically the same as in the Voice Play mode (page
n To avoid accidentally applying effects to the current Voice, make sure the Modulation Wheel is set to minimum before you start playing. n The functions assigned to the Modulation Wheel depend on the settings (made in the Voice mode) of the Voice assigned to each Part. n Using the Modulation wheel generates the same MIDI message to external devices, regardless of the assignments made in the Voice
Edit mode.
Ribbon Controller
This is basically the same as in the Voice Play mode (page
n The functions assigned to the Ribbon Controller depend on the settings (made in the Voice mode) of the Voice assigned to each Part. n You can set the Ribbon Controller to control a different functions on connected external MIDI devices from the functions assigned for the
Performance on the instrument itself. You can also determine whether the Ribbon Controller value returns to the center for each
Performance, or stays at the point where you released your finger.
Both of these setting can be made in the Performance Edit mode
([PERFORM]
→
Performance selection
→
[EDIT]
→
COMMON
→
[F4]
CTL ASN).
Knobs (KN)
These knobs let you change various aspects of the
Performance sound in real time – while you play. Turn a knob to the right to increase the value, and left to decrease it. For each Performance, various functions are assigned to four knobs. Try out these knobs with various Performances while playing the keyboard.
You can change which particular group of functions or parameters the knobs are assigned to by pressing any of the
[KNOB CONTROL FUNCTION] buttons. For details, see page
n In certain situations, using the knobs may not result in any change in
the sound. For more information, refer to page 50 in the Basic
Operation section.
Edit Indicator
Tweaking the knobs in the Performance mode directly changes the parameters of the Performance. When any of the Performance parameters are changed, the [E]
(Edit) Indicator appears in the top left of the display. This indicates that the current Performance has been modified but not yet stored.
Edit Indicator
If you’re satisfied with the tweaks you made and the resulting sound, you can store the changes as a User
Performance in the Performance Store mode (page 91).
CAUTION
If you select another Performance during editing, the [E] (Edit) indicator will disappear and all your edits will be lost. It is a good idea to store the edited Performance data from the Performance
CAUTION
When shipped from the factory, this synthesizer contains a full set of specially programmed 128 User Performances in the User bank.
You can edit and store these Performances and overwrite them in the Performance Store mode. You can also restore them to the original factory presets by pressing the [ENTER] button in the
[UTILITY]
→
Control Sliders
In the Performance mode, the four Control Sliders let you independently adjust the levels of the Parts of a
Performance. You can adjust the volume balance among four parts.
VOLUME 1 VOLUME 1 VOLUME 1 VOLUME 1
CS 2 CS 3 CS 4 n
Inadvertent use of the sliders may result in no sound. If this occurs, move the sliders upward. n
In certain situations, using the Control Sliders may not result in
any change in the sound. For more information, refer to page
50 in the Basic Operation section.
Owner’s Manual
69
Playing the Keyboard (in the Performance Play mode)
Using the Arpeggio feature
As in the Voice mode, you can use the Arpeggio feature in the Performance mode.
In the Performance mode, you can make independent Arpeggio playback settings for each Part of the Performance — including the on/off setting, as well as the Arpeggio type and related parameters. This means you can set the Performance such that any or all Parts can be used to trigger Arpeggio playback. A useful application of this would be to assign a Drum Voice to one Part and use Arpeggio playback on only that Part — so that you can have a rhythm pattern accompaniment playing while you play another Voice.
Since the preset Performances already have their own Arpeggio types pre-assigned, all you need to do is select the desired
Performance and turn on the Arpeggio function. Try selecting different Performances and check out the various Arpeggio types.
n Different Arpeggio types cannot be played back for each Part. n
For details about Arpeggio, see page 169.
■
Changing the Arpeggio type during your performance
types and recall them.
The Arpeggio type for the current Performance can be selected in the [PERFORM]
→
[F6] ARP display or the [PERFORM]
→
[EDIT]
→
[COMMON]
→
[F3] ARP display.
If you assign the desired Arpeggio type to the [SF1] - [SF5] buttons, store the settings as a User Performance in the Performance
■
Controlling Arpeggio playback by using the knobs
You can tweak Arpeggio related parameters such as volume and tempo by using the knobs. If you’re satisfied with the tweaks you made and the resulting sound, you can store the changes as a User Performance in the Performance Store mode.
For information on using the knobs, refer to the Voice Play mode (page 66).
Assigning desired Voices to each part
Performances can be made up of a maximum of four Parts (Voices), selected from the internal tone generator Parts 1 - 4 and
Plug-in board Parts 1 - 3.
You can create a Performance by layering several Voices together, and by assigning different Voices to separate ranges of the keyboard. You can then store up to 128 of your original, edited Performances to internal User memory.
Layer (example)
Built-in tone generator Parts
Plug-in Parts*
Split (example)
Built-in tone generator Parts
Plug-in Parts*
1 2 3 4 PLG1 PLG2 PLG3 1 2 3 4 PLG1 PLG2 PLG3
*Available when the Plug-in
Board has been installed.
70
Owner’s Manual
Playing the Keyboard (in the Performance Play mode)
1
Press the [F2] VOICE button in the Performance
Play mode.
This calls up a list indicating which Voice is assigned to each
Part of the current Performance.
SCENE
SF1
F 1 F 2
SF 2
F 3
SF 3
F 4
SF 4
F 5
SF 5 INFORMATION
F 6
When an internal Voice is assigned to a Part, the following
Voice Banks are available.
PRE1 (Preset1) ~
PRE6 (Preset 6)
USER1 ~ USER2
Preset Banks 1 - 6 of the Normal Voice. These correspond to the [PRE1] - [PRE6] buttons in the Voice mode.
User Banks 1 - 2 of the Normal Voice. These correspond to the [USER1] - [USER2] buttons in the Voice mode.
GM GM Normal Voice Bank. This corresponds to the [GM] button in the Voice mode.
PDR (Preset Drum) Preset Bank of the Drum Voice. This corresponds to pressing the [DRUM KITS] button and the [PRE5] button simultaneously.
GMDR (GM Drum) GM Drum Voice Bank. This corresponds to pressing the
[DRUM KITS] button and the [GM] button simultaneously.
UDR (User Drum) User Bank of the Drum Voice. This corresponds to pressing the [DRUM KITS] button and the [USER1] button simultaneously.
When a Plug-in Board Voice is assigned to a Part, the available Voice Banks differ depending on the installed Plugin Board. For details, refer to the Owner’s Manual that came with the Plug-in Board.
2
Assign the desired Voice to each Part.
Move the cursor to the desired Part. When a Voice has already been assigned to the selected Part, change the Voice
Bank or Number by using the data dial, the [INC/YES] and the
[DEC/NO] button. When no Voice is assigned to the selected
Part, press the [SF1] ADD INT button or [SF2] ADD PLG button to execute the assignment, then change the Voice
Bank or Number.
You can also select a Voice Bank/Number by using the BANK,
GROUP, and NUMBER buttons (page 60).
3
Specify the note range of each part, as required.
You can set the lowest note of the range over which the Voice of the selected Part sounds by simultaneously holding the
[SF4] button and pressing the desired key. To set the highest note of the range, simultaneously hold the [SF5] button and press the desired key.
INC / YES
Select a Voice
Bank/Number at the cursor location.
DEC/NO
Note Limit Low
SF 4
Note Limit High
SF 5
Voice Bank Voice Number
SCENE
SF1 SF 2 SF 3 SF 4
F 1 F 2 F 3 F 4 F 5
SF 5
INFORMATION
F 6
4
Change the volume of each Part and adjust the relative balance among the four Parts by using the Control sliders.
Assign an internal Voice to the selected Part.
Delete the Voice assignment of the selected Part.
Assign a Plug-in Voice to the selected Part.
(Available when the Plug-in Board has been installed.) n Voices of the Multi part Plug-in Board PLG100-XG cannot be assigned to Performance parts.
5
Store the settings as a User Performance in the
Performance Store mode.
Press the [STORE] button to enter the Performance Store mode, select the destination Performance number, then press the [ENTER] button to execute the store operation. For details
about Performance Store, see page 91.
Owner’s Manual
71
Playing the Keyboard (in the Performance Play mode)
Using the A/D input sound
One of the enormous benefits of the Performance mode is that you can have the A/D input sound — such as your voice through a microphone, a guitar, bass, or CD player — assigned as one of the four Parts of a Performance. Various Part parameters such as volume, pan, and effects can be set for this Part, and the sound of the Part is mixed and output together with the other Parts.
These parameters are set and stored in the Performance Store mode for each Performance. n The Audio Input part is available also in the Song mode/Pattern mode, but is not available in the Voice mode. The procedure and explanations here apply to the Song and Pattern modes as well. The microphone related parameters (corresponding to step #8 below) of each Song/Pattern are edited in the Song
Mixing mode/Pattern Mixing mode.
Connecting a microphone to the A/D
INPUT jack
The explanation below applies in particular to low-level equipment, such as microphones, guitars and basses.
1
Make sure to turn the power of the MOTIF ES off and set the GAIN knob on the rear panel to the minimum.
5
Press the [UTILITY] button to enter the Utility mode, press the [F2] I/O button, then press the
[SF1] INPUT button.
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
DEMO
2
Plug the microphone to the A/D INPUT jack on the rear panel.
R
A / D INPUT
L
GAIN
SCENE
SF1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F 1 F 2 F 3 F 4 F 5 F 6
72 n
A standard dynamic microphone is recommended. (The MOTIF ES does not support phantom-powered condenser microphones.)
3
Turn the power on.
6
Set Mic/Line to “mic.”
Move the cursor to the “Mic/Line” parameter by using the
Cursor button and set it to “mic” by using the [INC/YES] button, [DEC/NO] button, or data dial.
4
Press the [PERFORM] button to enter the
Performance Play mode and select the desired
Performance.
n When the output level of the connected equipment (such as a microphone, guitar, bass) is low, set this parameter to “mic.” When the output level of the connected equipment (such as a synthesizer keyboard, CD player) is high, set this parameter to “line.” n
This setting is available for all modes. If you wish to store this setting, press the [STORE] button.
Owner’s Manual
Playing the Keyboard (in the Performance Play mode)
7
Adjust the microphone input level by using the
GAIN knob on the rear panel.
R
A / D INPUT
L
GAIN
4
Press the [PERFORM] button to enter the
Performance Play mode and select the desired
Performance.
5
Press the [UTILITY] button to enter the Utility mode, press the [F2] I/O button, then press the
[SF1] INPUT button.
8
Set the audio input related parameters as necessary from the AUDIO IN display ([PERFORM]
→
[EDIT]
→
[COMMON]
→
[F5] AUDIO IN).
For details about each parameter, refer to page 214 in the
Reference section.
6
Set Mic/Line to “line.”
Move the cursor to the “Mic/Line” parameter by using the
Cursor button and set it to “line” by using the [INC/YES] button, [DEC/NO] button, or data dial.
When the optional AIEB2 or mLAN16E has been installed, the [F5] AUDIO IN menu has two indications: “A/D” and
“AIEB2” or “mLAN16E.” Here, call up the A/D display by pressing the [SF5] button.
9
Store the settings as a User Performance in the
Performance Store mode (page 91).
Connecting audio equipment to the A/D
INPUT jack
The explanation below applies in particular to high-level audio equipment, such as CD players, synthesizers, and other keyboards.
1
Make sure to turn off the power of both the
MOTIF ES and the relevant audio equipment.
n When the output level of the connected equipment (such as a microphone, guitar, bass) is low, set this parameter to “mic.” When the output level of the connected equipment (such as a synthesizer keyboard, CD player) is high, set this parameter to “line.” n This setting is available for all modes. If you wish to store this setting, press the [STORE] button.
7
Adjust the audio input level by using the GAIN knob on the rear panel.
R
A / D INPUT
L
GAIN
L R
2
Plug the audio equipment cable to the A/D INPUT jack on the rear panel.
R
A / D INPUT
L
GAIN
8
Set the audio input related parameters as necessary from the AUDIO IN display
([PERFORM]
→
AUDIO IN).
→
[EDIT]
→
[COMMON]
→
[F5]
For details about each parameter, refer to page 214 in the
Reference section. When an optional AIEB2 or mLAN16E has been installed, press the [SF5] button to call up the A/D display.
L R
9
Store the settings as a User Performance in the
Performance Store mode (page 91).
n Audio input signals from the OPTICAL INPUT and DIGITAL INPUT connector (when the optional AIEB2 has been installed) or the mLAN connector (when the optional mLAN16E has been installed) can also
be handled as Audio Input Parts. For details, see page 165.
3
Switch the power of the connected audio equipment on, then switch the power of the
MOTIF ES on.
Owner’s Manual
73
Using the Plug-in Board
Using the Plug-in Board
Plug-in Boards give you an enormous amount of additional sonic flexibility and power. When installed, they work seamlessly and transparently within the system of this synthesizer – meaning that you can use their sounds and functions just as if they were built right into this synthesizer at the factory.
The boards that are available for and can be installed to this synthesizer are described below.
Up to three Plug-in boards can be installed to the MOTIF ES. These boards are not simply a source of more Voices; they are also full-featured, editable tone generators in their own right and extend the system-level specifications such as maximum polyphony.
In addition, they allow you to use synthesis systems besides AWM2. You can play Plug-in Voices just like ordinary internal Voices and use them as Parts in a Song/Pattern/Performance.
This synthesizer is compatible with the Modular Synthesis Plug-in System (see below).
74
About MODULAR SYNTHESIS PLUG-IN SYSTEM
The Yamaha Modular Synthesis Plug-in System offers powerful expansion and upgrade capabilities for Modular Synthesis-
Plug-in-compatible synthesizers, tone generators and sound cards. This enables you to easily and effectively take advantage of sophisticated synthesizer and effects technology, allowing you to keep pace with the rapid and multi-faceted advances in modern music production.
Available Plug-in Boards
There are three types of Modular Synthesis Plug-in System-compatible Plug-in Boards: Single Part, Multi-Part and Effect Plug-in
Board. Using these, you can build your own system based on the sounds you require.
Single Part Plug-in Boards
Single Part Plug-in Boards let you add a completely different
synthesizer or single timbre tone generator (page 162) and
play its voices by using a single part of this synthesizer. Some boards allow you to use synthesis systems besides AWM2.
● Analog Physical Modeling Plug-in Board (PLG150-AN)
Using Analog Physical Modeling (AN) synthesis, the very latest digital technology is used to accurately reproduce the sound of analog synthesizers. With this board installed, you have real-time control over the playback of vintage synthesizer sounds as well as the very latest sounds heard in today’s club-oriented music.
● Piano Plug-in Board (PLG150-PF)
A massive waveform memory is dedicated to the reproduction of piano sounds. This board offers 136 stereo sounds, including a number of acoustic and electric pianos, and up to 64-note polyphony.
You can even install two of these boards to double the polyphony to
128 notes.
● Advanced DX/TX Plug-in Board (PLG150-DX)
The sounds of the DX7 are available on this Plug-in Board. Unlike
PCM-based tone generators, this board uses the powerful FM
Synthesis system – the same as found on DX-series synthesizers – for extraordinarily versatile and dynamic sound shaping potential.
Sounds are compatible with those of the DX7, and the board can even receive DX7 data via MIDI bulk dump.
● Virtual Acoustic Plug-in Board (PLG150-VL)
With Virtual Acoustic (VA) synthesis, the sounds of real instruments are modeled (simulated) in real time, giving a degree of realism that cannot be achieved using conventional PCM-based synthesis techniques. When playing these sounds using an optional MIDI Wind
Controller (WX5), you can even capture some of the physical feel of woodwind instruments.
● Drum Plug-in Board (PLG150-DR)/Percussion Plug-in
Board (PLG150-PC)
Once connected and installed, the PLG150-DR/PLG150-PC becomes a seamless additional sound source of AWM2 for the host tone generator or synthesizer – providing a total of 88 drum/ percussion voices. Thanks to the built-in effect processing power, the
PLG150-DR/PLG150-PC has two separate effect blocks – Insertion and Reverb – that can be applied to each kit.
Multi-Part Plug-in Board
Multi-Part Plug-in Boards let you add a completely independent multi-timbral tone generator to the MOTIF ES
(page 162) — expanding the Voice capacity and polyphony
of the instrument with a full sixteen additional instrument parts.
● XG Plug-in Board (PLG100-XG)
This Plug-in Board is a 16-part XG sound generator. You can play back XG/GM song files using the rich variety of sounds and effects on this board.
Effect Plug-in Board
Effect Plug-in Boards let you add a completely different effect block to the host synthesizer.
● Vocal Harmony Plug-in Board (PLG100-VH)
With this board installed, you can add harmonies to selected parts using four types of effects. Chorus parts for vocals can be created automatically from chords that have been prepared and stored as
MIDI data. You can also use this synthesizer like a vocoder by connecting and using a microphone while playing the keyboard.
Owner’s Manual
Using the Plug-in Board
Using a Single Part Plug-in Board
Install any of the Single Part Plug-in Boards such as PLG150-AN, PLG150-PF, PLG150-DX, PLG150-VL, PLG150-DR, and
PLG150-PC to the MOTIF ES and play the Plug-in Voice in the Voice Play mode.
1
After turning the power off, install a Single Part
Plug-in Board to the instrument.
4
Set the MIDI port of the installed Plug-in Board to
“2” or “3” in the [UTILITY]
→
[F6] PLUG
→
[SF2]
MIDI display.
2
Switch the MOTIF ES on.
The corresponding slot indicator at the right top of the front panel lights. This indicates that the board has been successfully installed.
SLOT 1
PLG 1
SLOT 2
PLG 2
SLOT 3
PLG 3
STRINGS BRASS REED/PIPE n If the MIDI Port number here is set to “1” or “off,” the Plug-in Voice may sound simultaneously with the internal Voice, when playing back
Song/Pattern data. To keep this from happening, make sure the MIDI
Port number of the Plug-in Board is set to “2” or “3” — especially when using the Song/Pattern mode. To prevent a similar problem when using both a Single Part Plug-in Board and a Multi Part Plug-in Board together, set each board to a different MIDI Port number.
3
Check the status of the installed Plug-in Boards in the [UTILITY]
→
[F6] PLUG
→
[SF1] STATUS display.
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
DEMO
5
Press the [VOICE] button to enter the Voice Play mode and select a Plug-in Voice.
Selecting a Plug-in Voice is done in the same way as selecting a
Normal Voice (page 60) with the exception that you select one of the
PLG (Plug-in) Banks. Press the PLG button which corresponds to the slot to which the Plug-in Board has been installed.
SLOT 1
PLG 1
SLOT 2
PLG 2
SLOT 3
PLG 3
STRINGS BRASS REED/PIPE
You’ll also need to select a Bank within the Plug-in Board. Press the
[F2] BANK button to call up the Plug-in Board Bank selection display, then select the desired Bank.
SCENE
SF1 SF 2 SF 3 SF 4 SF 5
INFORMATION
F 1 F 2 F 3 F 4 F 5 F 6
The name of the installed Plug-in Board is displayed.
n For details about the Bank structure of each Plug-in Board, refer to the
Owner’s Manual of each Plug-in Board. Regarding the PLGPRE (Plugin Preset) bank, refer to the Plug-in Voice List. Regarding the Board
Voice bank displayed as “035/000,” refer to the Voice Map/List. The
PLGUSR (Plug-in User) banks contain the Voices you edited and stored as User Voices.
6
Play the keyboard.
n Playing Voices of the Plug-in User banks (PLG1USR, PLG2USR,
PLG3USR) will result in no sound, if the Plug-in Board has just been installed. These banks become available only after you edit a Plug-in
Voice and store it as a User Plug-in Voice.
Owner’s Manual
75
Using the Plug-in Board
Plug-in Voices and Board Voices
The Voices of a Single Part Plug-in Board installed to this synthesizer can be divided into two types: Board Voices and
Plug-in Voices. Board Voices are unprocessed, unaltered Voices of the Plug-in board – the “raw material” used for the Plugin Voices. Plug-in Voices, on the other hand, are edited Board Voices – Voices that have been specially programmed and processed for optimum use with the host synthesizer.
Since the MOTIF ES includes preset Plug-in Voices for all the Plug-in Boards, you can call up and play appropriate Voices for each board immediately after installing it. n
The Plug-in Voices can be edited in the Voice Edit mode. n The Board Voices can be edited using the computer software supplied for each Plug-in Board.
TIP
Playing the PLG150-VL sound with the Breath Controller
With Virtual Acoustic (VA) synthesis, the PLG150-VL has the sounds of real instruments modeled (simulated) in real time, giving a degree of realism that cannot be achieved using conventional PCM-based synthesis techniques. When playing these sounds using an optional Breath Controller, you can even capture some of the physical feel of woodwind instruments.
1
Install the PLG150-VL to the MOTIF ES.
6
Press the [VOICE] button to enter the Voice Play mode, then select a Plug-in Voice of the PLG150-VL.
2
Connect the Breath Controller BC3 to the BREATH
connector on the rear panel (page 42).
7
Play the Voice and blow into the Breath Controller to expressively change the sound.
FOOT
SWITCH
BREATH ASSIGNABLE SUSTAIN
You can also use the MIDI Wind Controller WX5 to play the Plug-in Voice of the PLG150-VL. Connect the WX5 to the MOTIF ES with a MIDI cable.
WX5
MIDI cable
MIDI OUT connector
MIDI IN connector
MUSIC PRODUCTION SYNTHESIZER
3
Switch the MOTIF ES power on.
4
Set the Plug-in Board related parameters in the
Utility mode, corresponding to steps #3 and 4 in the instructions on the previous page.
5
Set the Breath Controller Curve via the [UTILITY]
→
[F1] GENERAL
→
[SF1] TG
→
BCCurve
MOTIF ES
76
Owner’s Manual
Using the Plug-in Board
Using a Multi Part Plug-in Board
In this section, we’ll explain how to play back an XG for mat song, using the PLG100-XG Plug-in Board. Naturally, to get the most out of these instructions, you should have XG song data (Standar d MIDI File) stored on a SmartMedia card or USB storage device.
1
After turning the power off, install the Multi Part
Plug-in Board PLG100-XG to slot 3 of this synthesizer.
2
Switch the MOTIF ES power on.
2
Press the [FILE] button to enter the File mode, then set the basic parameters.
Refer to “Basic settings for using SmartMedia or a USB
3
Set the [FILE]
→
[F3] LOAD
→
TYPE parameter to
“Song.”
File/folder list
3
Check the status of the installed Plug-in Boards in the [UTILITY]
→
[F6] PLUG
→
[SF1] STATUS display.
The name of the installed Plug-in Board is displayed.
4
Move the cursor to the list of files to be loaded, select the desired file, then press the [ENTER] button.
4
Set the MIDI port of the PLG100-XG to “2” or “3” in the [UTILITY]
→
[F6] PLUG
→
[SF2] MIDI display.
5
Specify the destination Song number, then press the
[ENTER] button to execute the Load operation.
CAUTION
Loading data to this synthesizer automatically erases and replaces any existing data in the User memory. Make sure to save any important data to a SmartMedia/USB storage device before performing any Load operations. n If the MIDI Port number here is set to “1” or “off,” the Plug-in Voice may sound simultaneously with the internal Voice, when playing back
Song/Pattern data. To keep this from happening, make sure the MIDI
Port number of the Plug-in Board is set to “2” or “3” — especially when using the Song/Pattern mode. To prevent a similar problem when using both a Single Part Plug-in Board and the PLG100-XG together, set each board to a different MIDI Port number.
5
Press the [SONG] button to enter the Song mode, then press the [FILE] button to enter the
File mode.
7
8
Press the [SONG] button to enter the Song Play mode, then select the Song number to which the
XG song file was loaded.
Set the MIDI transmit port of all the tracks to the number set in step #4 from the [SONG]
→
[F3]
TRACK
→
[SF1] CHANNEL display.
6
Load the XG song file (Standard MIDI file) from the SmartMedia/USB storage device to the
MOTIF ES in the [FILE]
→
[F3] LOAD display, as described in the sub-instructions below.
1
Insert a SmartMedia card which contains the XG song files into the CARD slot, or use a USB storage device (connected to the USB TO DEVICE connector) containing appropriate XG song files.
Set MIDI transmit ports.
9
Press the [ song.
F
] (Play) button to play the XG
Owner’s Manual
77
Using the Plug-in Board
Using an Effect Plug-in Board
In the example explanation below, the PLG100-VH Vocal Harmony Plug-in Board is used to apply harmony effects to the microphone sound in the Performance mode.
n For Songs/Patterns, the Effect Plug-in Board related parameters (which correspond to step #6 - 7 below) can be edited in the Song Mixing mode/Pattern
Mixing mode. n Please note that the Effect Plug-in Board cannot be used in the Voice mode.
1
After turning the power off, install the Effect
Plug-in Board PLG100-VH to slot 1.
2
Plug the microphone to the A/D INPUT jack on
the rear panel (page 72).
R
A / D INPUT
L
GAIN
7
Set related parameters (such as the Effect Type, and others) from the Plug-in Effect display
([PERFORM]
→
[EDIT]
→
[COMMON]
→
[F6]
EFFECT
→
[SF3] PLG-EF).
For details, refer to the Owner’s Manual of the PLG100-VH.
8
Sing or talk into the microphone to check the effect sound, and adjust the settings as necessary.
R
A / D INPUT
L
GAIN n A standard dynamic microphone is recommended. (The MOTIF ES does not support phantom-powered condenser microphones.)
3
Turn the MOTIF ES power on.
4
Press the [PERFORM] button to enter the
Performance Play mode, select the desired
Performance, then set the microphone related parameters.
For details, refer to steps #4 - 9 on page 72.
5
Check the status of the installed Plug-in Boards in the [UTILITY]
→
[F6] PLUG
→
[SF1] STATUS display.
6
Select “PartAD” as the Part to which the Plug-in
Insertion Effect is applied in the CONNECT display ([PERFORM]
→
[F3] EFFECT
→
[SF1]
CONNECT).
9
If desired, store the settings for the microphone sound and PLG100-VH as a Performance in the
Performance Store mode (page 91).
78
Move the cursor here, then select the Part.
Owner’s Manual
Editing a Voice
Quick Guide — Advanced Course
Editing a Voice
The Voice Edit mode ([VOICE]
→
[EDIT]) gives you comprehensive tools for creating your own original Voices, either from scratch by changing the basic sounds, or by tweaking the various Voice parameters. Create your custom sounds by calling up a preset Voice and editing as desired. The actual parameters available and the methods for editing differ depending on the
Voice type.
●
Normal Voice Edit
A Normal Voice can consist of up to four Elements. There are two types of Voice Edit displays: those for Common Edit to edit the settings common to all four Elements, and those for editing individual Elements.
●
Drum Voice Edit
Each Drum voice consists of various Waves and/or Normal voices, each assigned to notes across the keyboard, from C0 to C6.
There are two types of Drum Voice Edit displays: those for Common Edit to edit the settings that apply to all Drum keys in the voice, and those for editing individual keys (Elements).
●
Plug-in Voice Edit
This is basically the same as Normal Voice Edit. Unlike with Normal voices, the Plug-in voices only have one Element for editing.
Normal Voice Edit
1
Press the [VOICE] button to enter the Voice mode, then select a Normal Voice to be edited.
2
Press the [EDIT] button to enter the Voice Edit mode.
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
3
Call up the Common Edit display or Element Edit display.
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. If you wish 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.
While in the Voice Edit mode, you can switch between the Common Edit display and the
Element Edit display as shown below.
Calling up the Common Edit display
Press the [COMMON] button to call up the
Common Edit display.
In the Edit mode, the [DRUM KITS] button functions as the [COMMON] button.
DRUM KITS
FAVORITES
PRE 5 PRE 6 USER 1 USER 2
A. PIANO KEYBOARD ORGAN
A B C
GUITAR/
PLUCKED
D
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
2 3 4
Calling up the Element Edit display
Press the desired element number from the ELEMENT [1]
- [4] buttons to call up the Element Edit display.
Indicates the display for editing Element 1.
Indicates a Common Edit display.
COMMON
9
ELEMENT/PERF. PART/ZONE
10 11 12
Common Edit
To turn each Element on or off (to hear how each affects the overall sound), use buttons [9] - [12]. You can also isolate or solo an Element by holding down the
[MUTE] button and pressing the desired number button ([9] - [12]). To cancel the solo, press the [MUTE] button again.
Element Edit 1
Element Edit 2
Element Edit 3
Element Edit 4
Owner’s Manual
79
80
Editing a Voice
4
Select the menu you wish to edit by pressing the
[F1] - [F6] and [SF1] - [SF5] buttons, then edit the parameters.
The following briefly describes the main Voice parameters.
●
Basic parameters for creating a sound
Element selection
→
[F1] - [F6]
If you wish to edit the basic sound-generating and soundshaping parameters for the Voice, such as Oscillator, Pitch,
Filter, Amplitude, and EG (Envelope Generator), use the
Common Edit display.
[F1] OSC (Oscillator)
[F2] PITCH
[F3] FILTER
[F4] AMP (Amplitude)
[F5] LFO
[F6] EQ (Equalizer)
●
Effect related parameters
.................... Pages 177 and 194
[COMMON]
→
[F6] EFFECT
The Effects use DSP (Digital Signal Processing) to alter and enhance the sound of a Voice. Effects are applied in the final stages of editing, letting you change the sound of the created
Voice as desired. The Common Edit display lets you edit the
Effect related parameters.
●
Controller related parameters
For each Voice, you can assign various functions to built-in controllers such as Pitch Bend Wheel, Modulation Wheel,
Ribbon Controller, Knobs (ASSIGN1 and 2), Keyboard
Aftertouch and optionally connected controllers such as
Footswitch, Foot Controller, Breath Controller. These settings can be edited in the Common Edit display.
●
Arpeggio related parameters
............. Pages 169 and 191
[COMMON]
→
[F3] ARP (Arpeggio)
For each Voice, you can set the Arpeggio related parameters such as Arpeggio type and playback tempo. These can be edited in the Common Edit display.
5
Repeat #3 - 4 as desired.
7
Store the edited Voice to internal User memory
(page 187).
The edited Voice can be stored in the Voice Store mode. See
8
If desired, save the edited and stored voices to a
SmartMedia/USB storage device.
Keep in mind that edited Voice 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
SmartMedia card or another device; however, you may want to save it to another media for backup or organizational
purposes. For more information, see page 85.
Compare Function
This convenient function lets you switch between the edited Voice and its original, unedited condition – allowing you to listen to the difference between the two and better hear how your edits affect the sound.
1
In the Voice Edit mode (the [EDIT] indicator lighting), press the [EDIT] button so that its indicator flashes.
The [C] indicator is shown at the top of the display (in place of the [E] indicator), and the original, unedited voice is restored for monitoring.
2
Press the [EDIT] button again to disable the
“Compare” function and restore the settings for your edited Voice.
Compare the edited sound with the unedited sound by repeating steps #1 and 2. n
While Compare is active, you cannot make edits to the Voice.
6
Name the edited Normal Voice.
Enter a name for the Voice from the NAME display ([COMMON]
→
[F1] GENERAL
→
[SF1] NAME). For detailed instructions on
naming, refer to page 53 in the Basic Operation section.
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
Enter the desired
Voice name.
Owner’s Manual
Editing a Voice
TIP
Editing a Voice by using the Knobs
The four knobs at the top left of the instrument are not only for tweaking the sound while you perform — you can also use them to edit a Voice, either in the Voice Play mode or the Voice Edit mode.
● When the [PAN/SEND] indicator is turned on:
PAN
REVERB
CHORUS
TEMPO
Determines the stereo pan position of the Voice.
Determines the amount of Reverb effect that is applied to the Voice.
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F2] OUTPUT
→
Pan
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F2] OUTPUT
→
RevSend
Determines the amount of Chorus effect that is applied to the Voice.
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F2] OUTPUT
→
ChoSend
Determines the tempo of the Arpeggio assigned to the currently selected Voice.
[VOICE]
→
Voice selection
→
[F6] ARP
→
Tempo
● When the [TONE] indicator is turned on:
CUTOFF Raises or lowers the Filter cutoff frequency to adjust the tone brilliance.
RESONANCE
ATTACK
Boosts or attenuates the level at the area around the Filter cutoff frequency.
Determines the attack time of the sound. For example, you can adjust a strings Voice so that the sound gradually swells in volume by setting a slow attack time – simply turn this knob to the right.
RELEASE Determines the release time of the sound. Turning the knob to the right sets a long release time and (depending on the selected Voice) lets the sound sustain after the key is released. To produce a sharp release, in which the sound abruptly cuts off, set a short release time.
[VOICE]
→
Voice selection
→
[F5] EG
→
CUTOF
[VOICE]
→
Voice selection
→
[F5] EG
→
RESO
[VOICE]
→
Voice selection
→
[F5] EG
→
ATK (AEG)
[VOICE]
→
Voice selection
→
[F5] EG
→
REL (AEG) n The settings above are applied as offsets to the AEG and FEG settings in the Voice Edit mode.
● When the [ARP FX] indicator is turned on:
SWING Adjusts the swing feel of the Arpeggio playback.
GATE TIME
VELOCITY
UNITMULTIPLY
Adjusts the Gate Time (length) of the Arpeggio notes.
Adjusts the velocity of the Arpeggio notes.
Adjusts the Arpeggio playback time based on tempo.
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F3] ARP
→
[SF3] PLAY FX
→
Swing
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F3] ARP
→
[SF3] PLAY FX
→
GateTimeRate
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F3] ARP
→
[SF3] PLAY FX
→
VelocityRate
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F3] ARP
→
[SF3] PLAY FX
→
UnitMultiply
● When the [EQ] indicator is turned on:
LO
LO MID
HI MID
HI
Determines the amount of boost or attenuation applied to the low frequency band of the Master EQ.
Determines the amount of boost or attenuation applied to the lowmidrange frequency band of the Master EQ.
Determines the amount of boost or attenuation applied to the highmidrange frequency band of the Master EQ.
Determines the amount of boost or attenuation applied to the high frequency band of the Master EQ.
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F1] GENERAL
→
[SF3] MEQ OFS
→
LOW
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F1] GENERAL
→
[SF3] MEQ OFS
→
LOW MID
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F1] GENERAL
→
[SF3] MEQ OFS
→
HIGH MID
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F1] GENERAL
→
[SF3] MEQ OFS
→
HIGH n The settings above are applied as offsets to the EQ settings in the [VOICE]
→
[UTILITY]
→
[F3] VOICE
→
[SF1] MEQ display.
● When both the [PAN/SEND] and [TONE] indicators are turned on (by pressing them simultaneously):
ASSIGN A Adjusts parameters assigned to these knobs in the [UTILITY]
→
[F4] CTL ASN
→
[SF2] ASSIGN display.
ASSIGN B
ASSIGN 1 Adjusts parameters assigned to these knobs in the [VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F4] CTL SET display.
ASSIGN 2 n In addition to above functions, Master Effect related parameters (set in the [UTILITY]
→
[F3] VOICE
→
[SF2] MEF display) can be assigned to these four knobs by pressing the [ARP FX] and [EQ] buttons simultaneously. The particular parameters assigned to the four knobs can be set in the
[UTILITY]
→
[F4] CTL ASN
→
[SF5] MEF display.
TIP
Editing a Voice by using the Control Sliders (CS)
[VOICE]
→
Voice selection
→
[EDIT]
→
Element selection
→
[F4] AMP
→
[SF1] LVL/PAN
→
Level
In the Voice mode, the four Control Sliders let you independently adjust the levels of the Elements of a Normal Voice or the
Drum Voice keys. When a Normal Voice is selected, you can adjust the level balance among the four Elements. n
Inadvertent use of the sliders may result in no sound. If this occurs, move the sliders upward.
Owner’s Manual
81
82
Editing a Voice
To solo an Element for editing
This feature is useful for isolating the sound of single
Element, for ease in editing.
1
In the Normal Voice Edit mode, simultaneously hold down the [MUTE] button and press one of the
NUMBER buttons [9] to [12] to solo the corresponding Element.
Once you’ve selected an Element for soloing, the [MUTE] button’s lamp flashes, indicating the Solo function is active and only the selected Element can be edited.
In this example, only Element 3 is turned on and can be edited.
1 2 3 4 5 6 7 8
TRACK
SELECT
9
ELEMENT/PERF. PART/ZONE
10 11 12 13
NUMBER
14 15 16 MUTE
SOLO
2
To solo another Element, simply press the appropriate number button ([9] - [12]).
3
To exit from the Solo function, press the [MUTE] button again.
Edit Recall
If you are editing a Voice and select a different Voice without storing the one you were editing, all the edits you’ve made will be erased. If this happens, you can use Edit Recall to restore the Voice with your latest edits intact.
1
Press the [JOB] button in the Voice mode to enter the Voice Job mode.
2
Press the [F2] RECALL button to call up the
Recall display.
3
Press the [ENTER] button. (The display prompts you for confirmation.)
If you wish to cancel the operation, press the [DEC/
NO] button.
4
Press the [INC/YES] button to execute Edit Recall to restore the voice.
Drum Voice Edit
1
Press the [VOICE] button to enter the Voice mode, then select a Drum Voice to be edited.
EDIT JOB STORE
2
Press the [EDIT] button to enter the Voice Edit mode.
COMPARE SCENE STORE
SET LOCATE
3
Call up the Common Edit display or Key Edit display.
If you want to edit the sounds that make up a Drum 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. To edit more global parameters related to the overall Drum Voice and how it’s processed, such as Arpeggio, Controller, and Effects, call up the Common Edit display.
While in the Voice Edit mode, you can switch between the Common Edit display and the Element Edit display as shown below.
Calling up the Common Edit display
Press the [COMMON] button to call up the
Common Edit display.
In the Edit mode, the [DRUM KITS] button functions as the [COMMON] button.
Indicates a Common Edit display.
DRUM KITS
FAVORITES
PRE 5 PRE 6 USER 1 USER 2
A. PIANO KEYBOARD ORGAN
A B C
GUITAR/
PLUCKED
D
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
2 3 4
Calling up the Key Edit display
Press any of the ELEMENT [1] - [4] buttons to call up the Key Edit display, then select the key to which the desired instrument is assigned.
Indicates the display for editing the key C0.
COMMON
9
ELEMENT/PERF. PART/ZONE
10 11 12
Common Edit
C0
C1
Key Edit (1-73)
Key 1 Key 5 Key 10 Key 18 Key 21 Key 73
C6
Owner’s Manual
Editing a Voice
4
Select the desired menu for editing by pressing the [F1] - [F6] and [SF1] - [SF5] buttons, then edit the parameters.
The main parameters available are basically the same as in the
Normal Voice Edit (page 80). What is called Key Edit in the Drum
Voice corresponds to Element Edit in the Normal Voice. Please keep in mind that the LFO parameters are not available in the Drum Voice.
5
6
Repeat #3 - 4 as desired.
Name the edited Drum Voice.
Enter a name for the Voice from the NAME display
([COMMON]
→
[F1] GENERAL
→
[SF1] NAME). For detailed
instructions on naming a voice, refer to page 53 in the Basic
Operation section.
7
Store the edited Voice to internal User memory
(page 186).
The edited Voice can be stored in the Voice Store mode. See
8
If desired, save the edited and stored voices to a
SmartMedia/USB storage device.
Keep in mind that edited Voice 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
SmartMedia card or another device; however, you may want to save it to another media for backup or organizational
purposes. For more information, see page 85.
Enter the desired Voice name.
TIP
Assigning drum/percussion instruments to individual keys
[VOICE]
→
Drum Voice selection
→
[EDIT]
→
Key selection
→
[F1] OSC
→
[SF1] WAVE
In the Drum Voice Edit mode, you can create your own original drum kits by assigning specific instrument sounds to individual keys — in any desired order — and edit detailed parameters for each key’s sound.
1
Call up the Key Edit display in the Voice Edit mode.
2
Call up the [F1] OSC
→
[SF1] WAVE display.
4
Select the desired Waveform to be assigned.
Move the cursor to “Number” and change the value by using the data dial, [INC/YES] button, and [DEC/NO] button. Then, press the same key set in step #3 again to confirm the selected instrument sound.
3
Press the key to which you want to assign a sound.
The drum instrument currently assigned to the pressed key will sound.
You can also select a different sound category (such as
Percussion, or even a Normal Voice sound), by moving the cursor to “Category”and changing the setting.
5
Create your original drum kit by repeating steps #3 - 4.
6
Store the created drum kit as a Drum Voice in User memory.
The edited Voice can be stored in the Voice Store mode.
7
If desired, save the edited and stored voices to a
SmartMedia/USB storage device.
Owner’s Manual
83
Editing a Voice
TIP
Setting the drum key for independent open and closed hi-hat sounds
[VOICE]
→
Drum Voice selection
→
[EDIT]
→
Key selection
→
[F1] OSC
→
[SF5] OTHER
→
AltnateGroup
In a real drum kit, some drum sounds cannot physically be played simultaneously, such as open and closed hi-hats.
You can prevent drum instruments from playing back simultaneously by assigning them to the same Alternate Group.
The preset Drum Voices have many such Alternate Group assignments to ensure the most authentic, natural sound. When creating a Voice from scratch, you can use this feature — either to ensure authentic sound, or to create special effects, where playing one sound cancels out a previous one.
1
Call up the Key Edit display in the Voice Edit mode.
4
Press the key which corresponds to “Hi-Hat Close” and set it to the same Alternate Group (1) as in step #3.
2
Call up the [F1] OSC
→
[SF5] OTHER display.
3
Press the key which corresponds to “Hi-Hat
Open” and set the Alternate Group to “1.”
5
Confirm whether the Alternate Group has been set properly.
Immediately after pressing the “Hi-Hat Open” key, press the “Hi-Hat Close” key. Pressing the second key should cut off the sound of the first.
Since the settings above are included in the Drum Voice data, store them as a Drum Voice in the Voice Store mode.
TIP
Determining how the Drum Voice responds when the key is released
[VOICE]
→
Drum Voice selection
→
[EDIT]
→
Key selection
→
[F1] OSC
→
[SF5] OTHER
→
RcvNoteOff
You can determine whether or not the selected Drum key responds to MIDI Note Off messages. Setting the Receive Note Off parameter to “off” can be useful for cymbal sounds and other sustaining sounds. This lets you have the selected sounds sustain to the length of their natural decay – even if you release the note, or when a Note Off message is received. If this parameter is set to “on,” the sound will stop immediately when the note is released or a Note Off message is received.
84
TIP
Setting the Output jack for each key (drum/percussion instrument)
[VOICE]
→
Drum Voice selection
→
[EDIT]
→
Key selection
→
[F1] OSC
→
[SF2] OUTPUT
→
OutputSel
You can change the output jack on the rear panel for the individual Drum key signal. This function is useful when you wish to apply a connected external effect to a specific drum instrument.
Owner’s Manual
Editing a Voice
Plug-in Voice Edit
The Plug-in Voices (available when installing optional Plug-in Boards to the instrument) can be edited in basically the same way
some of the other parameters may not be available. Refer to page 205 in the Reference section.
Storing/Saving the created Voice
Two steps are necessary in order to store (save) your voice – storing the edited voice to internal memory and saving the stored voices to a SmartMedia/USB storage device.
STORE
User Normal Voice 001
User Normal Voice 002
User Normal Voice 003
User Normal Voice Bank 1
Internal memory (Flash ROM)
User Drum Voice 001
User Drum Voice 002
User Drum Voice 003
User Drum Voice Bank
User Plug-in Voice 001
User Plug-in Voice 002
User Plug-in Voice 002
User Plug-in Voice 002
User Plug-in Voice 003
User Plug-in Voice Bank 1
User Drum Voice 32
User Plug-in Voice 064
User Plug-in Voice 064
User Plug-in Voice 064
SmartMedia
SAVE
USB storage device
All the User
Voice data in internal memory can be saved as a single file.
File extension: W7A
File extension: W7V
File extension: W7E
Storing edited Voices individually
User Normal Voice 128
User Normal Voice 128
The W7E file can be loaded to the
Voice Editor, computer software.
Keep in mind that edited Voice 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 SmartMedia card or another device; however, you may want to save it to
Storing the edited Voice as a User Voice to internal memory
[VOICE]
→
[STORE] 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 SmartMedia/USB storage device. 1
After editing the Voice, press the [STORE] button to enter the Voice Store mode.
Make sure to execute the Store operation before selecting another Voice.
2
Select the destination Voice memory.
Select a User Bank (“USR1” or “USR2” when storing a Normal
Voice, “UDR” when storing a Drum Voice, “P1-U” ~ “P3-U” when storing a Plug-in Voice) and the desired Voice number by using the data dial, [INC/YES] and [DEC/NO] button.
3
Press the [ENTER] button.
The display prompts you for confirmation.
To cancel the Store operation, press the [DEC/NO] button.
DEC/NO INC / YES
EXIT ENTER
EXECUTE
Select a User Bank.
Select a Voice number.
Owner’s Manual
85
86
Editing a Voice
4
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.
DEC/NO INC / YES
3
Set the Type parameter to “All Voice.”
EXIT ENTER
EXECUTE
Move the cursor to TYPE, then select a file type by using the data dial, [INC/YES] and [DEC/NO] buttons. The following three file types are available for saving Voice data. Here, select “All Voice.”
All
All Voice
Voice Editor
When this is selected, execute the Save operation to save all the created data including the User Voices as a single file (extension: W7A).
When this is selected, execute the Save operation to save all User Voices as a single file (extension: W7V).
When this is selected, execute the Save operation to save all User Voices as a single file (extension: W7E) which can be exported to the Voice Editor software contained in the included CD-ROM.
CAUTION
Keep in mind that the Store operation may take a short time to complete, during which an “Executing..” or “Please keep power on” message may be shown. Never attempt to turn off the power while data is being written to
Flash ROM while such a message is displayed. 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 may also result in the MOTIF ES being unable to properly start up the next time the power is turned on.
CAUTION
If you select another Voice without storing, the currently edited Voice will be lost. Make sure to store the edited Voice before selecting another Voice.
4
Input a file name.
Move the cursor to the file name input location, then input a
file name. For detailed instructions on naming, refer to page
53 in the Basic Operation section.
Saving the edited Voices to a
SmartMedia/USB storage device
[FILE]
→
[F2] SAVE
Whether you are saving data to SmartMedia or a USB storage device, the procedure is the same. Insert a SmartMedia card
(to the CARD slot) or connect the USB device and follow the instructions below.
1
Press the [FILE] button to enter the File mode, then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
2
Press the [F2] SAVE button to call up the Save display.
5
File name
Press the [ENTER] button to execute the Save operation.
DEC/NO
EXIT
INC / YES
ENTER
EXECUTE
If you are about to overwrite an existing file, the display prompts you for confirmation. Press the [INC/YES] button to execute the Save operation to overwrite the existing file, or press the [DEC/NO] button to cancel it.
CAUTION
While the data is being saved, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or USB storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
Owner’s Manual
Editing a Performance
■
Loading Voice data from the SmartMedia/USB storage device
[FILE]
→
[F3] LOAD
In the previous section, we saved Voice data as an “All Voice” file to a SmartMedia card or USB storage device. Here, we’ll recall that Voice data and load it to the instrument with the
Load operation.
When Type is set to “Voice”:
When Type is set to “Voice,” you can specify and load a specific Voice from a file (with the extension W7V or W7A).
1
Press the [FILE] button to enter the File mode, then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
ENTER
EXECUTE
Move the cursor to the file (extension: W7V) saved in the operation explained on the previous page.
2
Press the [F3] LOAD button to call up the Load display.
Select a source Voice Bank from the selected file with the following operation.
To select a User Normal Voice Bank, press one of the [USER1] and [USER2] buttons. To select a User Drum Voice Bank, simultaneously hold the [DRUM
KITS] button and press the [USER1] button. To select a User Plug-in Voice
Bank, press one of the [PLG1], [PLG2] and [PLG3] buttons. After selecting a source Voice Bank, all the Voices contained in the selected Bank are listed in the display. Move the cursor to the desired Voice to be loaded.
ENTER
EXECUTE
3
Select the file type to be loaded.
The file saved in operation explained on the previous page has all the User Voices. If you wish to load all the User Voices, set Type to “All Voice.” If you wish to load only a specific voice, set Type to “Voice.”
4
Select a file ( ) to be loaded.
Move the cursor to the file (extension: W7V) saved in the operation explained on the previous page. If you’ve set the
Type to “AllVoice” in step #3, go to step #5. If you’ve set the
Type to “Voice” in step #3, execute the operations in the following box, then go to step #5.
Select a destination Voice Number.
You can also change the destination Voice Bank when loading a Normal
Voice or a Plug-in Voice by moving the cursor to the location of “USR1” in the above display and using the data dial. When loading Plug-in Voice data, note that the Plug-in Board for the source Voice Bank should match the one for the destination Voice Bank. When a source Voice Bank is created for the
PLG150-AN, for example, you should select the Voice Bank for the PLG150-
AN as the destination.
n If you want to change the source Voice Bank/Number, press the [EXIT] button to return the display to the first one (shown at the top of this box) then perform the above instructions again.
CAUTION
Loading data to this synthesizer automatically erases and replaces any existing data in the User memory. Make sure to save any important data to a SmartMedia/USB storage device before performing any Load operations.
5
Press the [ENTER] button to execute the Load operation.
After the data has been loaded, a “Completed” message appears and operation returns to the original display.
CAUTION
While the data is being saved, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or USB storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
Editing a Performance
The Performance Edit mode ([PERFORM] → [EDIT]) lets you create your own original Performances — containing up to four different
Parts (Voices) — by editing the various parameters. The Voices can be selected from the internal tone generator or the installed Plug-in
Boards. After assigning different Voices to separate ranges of the keyboard, edit the detailed parameters in the Performance Edit mode.
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87
Editing a Performance
88
1
Press the [PERFORM] button to enter the Performance mode, then select a Performance to be edited.
2
Press the [EDIT] button to enter the Performance Edit mode.
3
Call up the Common Edit display or Part Edit display.
Use the Part Edit to edit the parameters for each Part. Use Common Edit to edit the parameters for all of the Parts.
While in the Voice Edit mode, you can switch between the Common Edit display amd the Part Edit display as shown below.
Calling up the Common Edit display
Press the [COMMON] button to call up the
Common Edit display.
In the Edit mode, the [DRUM KITS] button functions as the [COMMON] button.
Indicates a Common Edit display.
DRUM KITS
FAVORITES
PRE 5 PRE 6 USER 1 USER 2
A. PIANO KEYBOARD ORGAN
A B C
GUITAR/
PLUCKED
D
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
2 3 4
COMMON ELEMENT/PERF. PART/ZONE
Calling up the Part Edit display
Press the desired Part number from the
PERF. PART [1] - [4] buttons to call up the
Part Edit display.
Indicates the display for editing Part 1.
To switch between the Part 1 - 4 display and the Plug-in Part 1 - 3 display, press the [F6] button.
F 6 n
You can mute or solo a Part in the Performance
Edit mode, just as in the Performance Play mode
or the Song/Pattern mode (page 68).
Common Edit
You can select the four Performance Parts from this group of seven.
Part1 Edit
Part2 Edit
Part3 Edit
Part4 Edit
Parts to which Internal voices are assigned
Plug-in part 1 (PLG1) Edit
Plug-in part 2 (PLG2) Edit
Plug-in part 3 (PLG3) Edit
Parts to which Plug-in
Board voices are assigned
4
Select the menu you wish to edit by pressing the
[F1] - [F6] and [SF1] - [SF5] buttons, then edit the parameters.
The following briefly describes the main Performance parameters.
●
Parameters for the Voice assigned to each Part
Part selection
→
[F1] VOICE
The Voice assigned to each part and its note range can be set also in
the Performance Play mode (page 71). In addition to the parameters
available in the Performance Play mode, the Performance Edit mode also lets you set Portamento (pitch glide) and Arpeggio Switch (which determines whether the Arpeggio plays a specific Part or not).
●
Basic parameters for making sound
Part selection
→
[F4] TONE
If you wish to edit the basic parameters for the synthesizer such as Tune, Filter, and Amplitude, use the Part Edit display.
●
Parameters related to the Audio Input part
[COMMON]
→
[F5] AUDIO IN
The audio signal input from the A/D INPUT jack (or the optional audio inputs) can be handled as an Audio Input part.
You can apply various parameters such as Volume, Pan, and
Effect settings to this Part — just as you can with the other
Parts. The parameters related to the Audio Input Part can be edited in Common Edit for each Performance.
●
Parameters related to the OUTPUT jacks for each part
................................................................................ Page 218
Part selection
→
[F2] OUTPUT
→
[SF3] SELECT
→
OutputSel
You can assign each individual Part’s Voice to be output from a specific hardware output jack on the rear panel. This function is useful when you want to output a specific Part to a separate speaker or process it with a favorite external effect.
Owner’s Manual
Editing a Performance
●
Effect related parameters ................
[COMMON]
→
[F6] EFFECT
[COMMON]
→
[F2] OUT/MEF
→
[SF3] MEF (Master Effect)
The Effects use DSP (Digital Signal Processing) to alter and enhance the sound of a Performance. The Common Edit display lets you edit the Effect related parameters.
●
Master EQ related parameters ........
These parameters let you use the five-band Master EQ to process the overall sound of the Performance. Master EQ also features separate EQ shape parameters for the Low and
High bands, as well as the Frequency, Gain and Q controls for each band.
●
Controller related parameters
[COMMON]
→
[F4] CTL ASN (Controller Assign)
For each Performance, you can assign the Control Change
Number to built-in controllers such as Ribbon Controller,
Knobs (ASSIGN1 and 2), and optionally connected controllers, such as Foot Controller and Breath Controller. n Functions assigned to Controllers depend on the settings of each
Part’s Voice edited in the Voice Edit mode.
●
Arpeggio related parameters
............. Pages 169 and 214
For each Performance, you can set the Arpeggio related parameters, such as Arpeggio type and playback tempo.
These can be edited in the Common Edit display.
5
Repeat steps #3 - 4 as desired.
6
Name the edited Performance.
Enter a name for the Performance from the NAME display
([COMMON]
→
[F1] GENERAL
→
[SF1] NAME).
For detailed instructions on naming, refer to page 53 in the
Basic Operation section.
Enter the desired Performance name.
7
Store the edited Performance to internal User
memory (page 186).
The edited Performance can be stored in the Performance
Store mode. See page 91 for details.
8
If desired, save the edited and stored
Performances to a SmartMedia/USB storage device.
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 SmartMedia card or another device; however, you may want to save it to another media for backup or
organizational purposes. For more information, see page 91.
Compare Function
Just as in the Voice Edit mode, you can use the Compare function also in the Performance Edit mode. This convenient function lets you switch between the edited voice and its original, unedited condition – allowing you to listen to the difference between the two and better hear how your edits affect the sound.
1
In the Performance Edit mode (with the [EDIT] indicator lit), press the [EDIT] button so that its indicator flashes.
The [C] indicator is shown at the top of the display (in place of the [E] indicator), and the original, unedited Performance is restored for monitoring.
2
Press the [EDIT] button again to disable the “Compare” function and restore the settings for your edited
Performance.
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 Performance.
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89
Editing a Performance
TIP
Editing a Performance by using the Knobs
The four knobs at the top left of the instrument are not only for tweaking the sound while you perform — you can also use them to edit a Performance, either in the Performance Play mode or the Performance Edit mode.
● When the [PAN/SEND] indicator is turned on:
PAN
REVERB
CHORUS
TEMPO
Determines the stereo pan position of the Performance.
Determines the amount of Reverb effect that is applied to the
Performance.
Determines the amount of Chorus effect that is applied to the
Performance.
Determines the tempo of the Arpeggio assigned to the currently selected
Performance.
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F2] OUT/MEF
→
[SF1] OUT
→
Pan
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F2] OUT/MEF
→
[SF1] OUT
→
RevSend
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F2] OUT/MEF
→
[SF1] OUT
→
ChoSend
[PERFORM]
→
Performance selection
→
[F6] ARP
→
Tempo
● When the [TONE] indicator is turned on:
CUTOFF Raises or lowers the Filter cutoff frequency to adjust the tone brilliance.
RESONANCE
ATTACK
RELEASE
Boosts or attenuates the level at the area around the Filter cutoff frequency.
Determines the attack time of the sound. For example, you can adjust a strings Voice so that the sound gradually swells in volume by setting a slow attack time – simply turn this knob to the right.
Determines the release time of the sound. Turning the knob to the right sets a long release time and (depending on the Voice assigned to the selected
Performance) lets the sound sustain after the key is released. To produce a sharp release, in which the sound abruptly cuts off, set a short release time.
[PERFORM]
→
Performance selection
→
[F5] EG
→
CUTOF
[PERFORM]
→
Performance selection
→
[F5] EG
→
RESO
[PERFORM]
→
Performance selection
→
[F5] EG
→
ATK (AEG)
[PERFORM]
→
Performance selection
→
[F5] EG
→
REL (AEG)
n The settings above are applied as offsets to the AEG and FEG settings in the Performance Edit mode.
● When the [ARP FX] indicator is turned on:
SWING Adjusts the swing feel of the Arpeggio playback.
GATE TIME
VELOCITY
UNITMULTIPLY
Adjusts the Gate Time (length) of the Arpeggio notes.
Adjusts the velocity of the Arpeggio notes.
Adjusts the Arpeggio playback time based on tempo.
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F3] ARP
→
[SF3] PLAY FX
→
Swing
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F3] ARP
→
[SF3] PLAY FX
→
GateTimeRate
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F3] ARP
→
[SF3] PLAY FX
→
VelocityRate
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F3] ARP
→
[SF3] PLAY FX
→
UnitMultiply
● When the [EQ] indicator is turned on:
LO
LO MID
HI MID
HI
Determines the amount of boost or attenuation applied to the low frequency band of the Master EQ.
Determines the amount of boost or attenuation applied to the lowmidrange frequency band of the Master EQ.
Determines the amount of boost or attenuation applied to the highmidrange frequency band of the Master EQ.
Determines the amount of boost or attenuation applied to the high frequency band of the Master EQ.
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F1] GENERAL
→
[SF3] MEQ OFS
→
LOW
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F1] GENERAL
→
[SF3] MEQ OFS
→
LOW MID
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F1] GENERAL
→
[SF3] MEQ OFS
→
HIGH MID
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F1] GENERAL
→
[SF3] MEQ OFS
→
HIGH
n The settings above are applied as offsets to the EQ settings in the [PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F2] OUT/MEF
→
[SF2] MEQ (Master EQ) display.
● When both the [PAN/SEND] and [TONE] indicators are turned on (by pressing them simultaneously):
ASSIGN A Adjusts parameters assigned to these knobs in the [UTILITY]
→
[F4] CTL ASN
→
[SF2] ASSIGN display.
ASSIGN B
ASSIGN 1
ASSIGN 2
Depends on the settings of the Voice assigned to the selected Performance.
n In addition to above functions, Master Effect related parameters (set in the [PERFORM]
→
Performance selection
→
[COMMON]
→
[F2] OUT/MEF
→
[SF3] MEF display) can be assigned to these four knobs by pressing the [ARP FX] and [EQ] buttons simultaneously. The particular parameters are assigned to the four knobs can be set in the [UTILITY]
→
[F4] CTL ASN
→
[SF5] MEF display.
90
Owner’s Manual
Editing a Performance
TIP
Editing a Performance by using the Control Sliders (CS)
[PERFORM]
→
Performance selection
Part selection
→
Volume
→
[F2] OUTPUT
→
→
[EDIT]
→
→
[SF1] VOL/PAN
In the Performance mode, the four Control Sliders let you independently adjust the levels of the Parts (Voices), letting you control the overall balance of the Parts.
n
Inadvertent use of the sliders may result in no sound. If this occurs, move the sliders upward.
Edit Recall
If you are editing a Performance and select a different
Performance without storing the one you were editing, all the edits you’ve made will be erased. If this happens, you can use Edit
Recall to restore the Performance with your latest edits intact.
1
Press the [JOB] button in the Performance mode to enter the Performance Job mode.
2
Press the [F2] RECALL button to call up the Recall display.
3
Press the [ENTER] button. (The display prompts you for confirmation.)
If you wish to cancel the operation, press the [DEC/NO] button.
4
Press the [INC/YES] button to execute the Edit Recall to restore the Performance.
Storing/Saving the created Performance
Two steps are necessary in order to store (save) your Performance – storing the edited Performance to internal memory and saving the stored
Performances to a SmartMedia/USB storage device.
Performance Edit
STORE
Internal memory
(Flash ROM)
Performance 001
Performance 002
Performance 003
SAVE
SmartMedia
USB storage device
Storing edited
Performances individually
Performance 128
All the User
Performance data in internal memory can be saved as a single file.
File extension: W7A
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 SmartMedia card or another device; however, you may want to save it to another media for backup or organizational purposes, using the Save operation.
Storing the edited Performance as a User Performance to internal memory
[PERFORM]
→
[STORE] 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 SmartMedia/USB storage device. 1
After editing the Performance, press the [STORE] button to enter the Performance Store mode.
Make sure to execute the Store operation before selecting another
Performance.
2
Select the destination Performance memory.
Select a Performance number by using the data dial, [INC/YES] and
[DEC/NO] button.
3
Press the [ENTER] button.
The display prompts you for confirmation.
To cancel the Store operation, press the [DEC/NO] button.
EXIT ENTER
EXECUTE
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91
Editing a Performance
4
Press the [INC/YES] button to execute the Store operation.
After the Performance has been stored, a “Completed” message appears and operation returns to the Performance Play display.
DEC/NO INC / YES
EXIT ENTER
EXECUTE
Move the cursor to TYPE, then select a file type by using the data dial, [INC/YES] and [DEC/NO] buttons. When Type is set to “All,” execute the Save operation to save all the created data, including the Performances as well as the Voices assigned to them, as a single file (extension: W7A).
4
Input a file name.
Move the cursor to the file name input location, then input a
file name. For detailed instructions on naming, refer to page
53 in the Basic Operation section.
File name
92
CAUTION
Keep in mind that the Store operation may take a short time to complete, during which an “Executing..” or “Please keep power on” message may be shown. Never attempt to turn off the power while data is being written to
Flash ROM while such a message is displayed. 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 may also result in the MOTIF ES being unable to properly start up the next time the power is turned on.
CAUTION
If you select another Performance without storing, the currently edited
Performance will be lost. Make sure to store the edited Performance before selecting another Performance.
5
Press the [ENTER] button to execute the Save operation.
DEC/NO INC / YES
EXIT ENTER
EXECUTE
If you are about to overwrite an existing file, the display prompts you for confirmation. Press the [INC/YES] button to execute the Save operation to overwrite the existing file, or press the [DEC/NO] button to cancel it.
Saving the edited Performances to a
SmartMedia/USB storage device
[FILE]
→
[F2] SAVE
Whether you are saving data to SmartMedia or a USB storage device, the procedure is the same. Insert a SmartMedia card
(to the CARD slot) or connect the USB device and follow the instructions below.
1
Press the [FILE] button to enter the File mode, then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
2
Press the [F2] SAVE button to call up the Save display.
CAUTION
While the data is being saved, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or USB storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
■
Loading the Performance data from the
SmartMedia/USB storage device
[FILE]
→
[F3] LOAD
In the previous section, we saved Performance data as an
“All” file (extension: W7A) to a SmartMedia card or USB storage device. Here, we’ll recall that Performance data and load it to the instrument with the Load operation.
3
Set the Type parameter to “All.”
1
Press the [FILE] button to enter the File mode, then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
2
Press the [F3] LOAD button to call up the Load display.
Owner’s Manual
Editing a Performance
3
Select the file type to be loaded.
The file saved in operation explained on the previous page contains all the Performances.
If you wish to load all the Performances, set Type to “All.” In this case, all data that can be created on the MOTIF ES will be loaded in step #5 below. If you wish to load only a specific Performance, set Type to “Performance.”
SmartMedia/USB storage device
Performance 001
Performance 002
Performance 003
Loading a specific
Performance when Type is set to “Performance.”
Internal Memory
(Flash ROM)
Performance 001
Performance 002
Performance 003
Performance 128
File extension: W7A
All Performances are loaded when Type is set to “All.”
Performance 128
CAUTION
When Type (file type) is set to “All” and the Load operation is executed, all data that can be created on the instrument will be loaded. This means that any existing data in User memory will automatically be overwritten and lost. Make sure to save any important data to a SmartMedia/USB storage device before performing the Load operations, especially when Type is set to “All.” n
When Type (file type) is set to “Performance” and the Load operation is executed, the sound of the Performances may not be reproduced properly if the
User Voices assigned to the Performances saved in the file have been changed by editing.
4
Select a file ( ) to be loaded.
Move the cursor to the file (extension: W7A) saved in the operation explained on the previous page. If you set the Type parameter to “All” in step #3, go to step #5. If you set the Type parameter to “Performance” in step #3, execute the operations in the following box, then go to step #5.
When Type is set to “Performance”:
When Type is set to “Performance,” you can specify and load a specific Performance from a file (with the extension W7A).
Move the cursor to the file (extension:
W7A) saved in the operation explained on the previous page.
ENTER
EXECUTE
All the Performances contained in the selected file are listed on the display. Move the cursor to the desired Performance.
ENTER
EXECUTE
Select the desired
Performance to be loaded.
Select the destination Performance number.
CAUTION
Loading data to this synthesizer automatically erases and replaces any existing data in the User memory. Make sure to save any important data to a
SmartMedia/USB storage device before performing any Load operations.
5
Press the [ENTER] button to execute the Load operation.
After the data has been loaded, a “Completed” message appears and operation returns to the original display.
CAUTION
While the data is being saved, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or USB storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
Owner’s Manual
93
Creating a Voice by using the Sampling function
Creating a Voice by using the Sampling function
Sampling is a powerful function that 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 you capture with the Sampling function, are referred to as “Samples.”
The data you create by Sampling differs depending on which mode you enter the Sampling mode from — the Voice/
Performance mode or the Song/Pattern mode. In this section, we’ll describe how to use the Sampling function from the Voice/
Performance mode in creating a User Voice.
n
See page 173 for instructions on using the Sampling function in the Song mode/Pattern mode.
Depending on the size of the audio (sample) data obtained via the Sampling function, you may not be able to save all of the desired data to a SmartMedia card (maximum capacity: 128MB). For this reason, we recommend using a large-capacity USB storage device for your Sampling data.
Sampling your voice with a microphone and creating a Normal Voice
1
Connect a microphone to the instrument.
Follow steps #1 - 8 on page 72.
4
Press the [F1] DEST button to call up the display for setting the Sampling Destination, then set the parameters as described below.
2
Press the [INTEGRATED SAMPLING] button in the Voice mode or Performance mode to enter the Sampling mode.
MODE
VOICE PERFORM MASTER
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING MIXING UTILITY
DEMO
3
Press the [F2] SOURCE button to call up the display for setting the Sampling Source, then set the parameters as shown below.
Type: sample
Source:
Next:
A/D off
Mono/Stereo: L mono
Frequency: 44.1k
Waveform
Keybank
Part
Voice
Determines the Waveform number. Select a number which has no data ([--- : -----------] is indicated). For
details about the Waveform, see page 173.
Here, set this parameter to “C3.” After the Sampling is completed, you can hear the sampled sound by pressing the note set here. For details about the
This is available when entering the Sampling mode from the Performance mode. This parameter determines the Performance Part to which the Voice
(below) created by sampling is assigned.
Set the Bank to “USR1” or “USR2” (one of the User
Normal Voice Banks), then select a User Normal Voice
Number. After the Sampling is completed, you can hear the created Voice by selecting the Voice number set here.
n
If the Voice parameter above is set to “off,” you won’t be able to play the sampled sound as a Voice after completing this operation.
However, you can call up the sampled sound by selecting a
Waveform. For details on how to select a Waveform, see .
94
For details about each parameter, see page 251.
Owner’s Manual
5
Press the [F6] REC button to call up the
Sampling Record display (Sampling Standby status), then set the parameters as required.
F 6
You can change the
Keybank (set in step
#4) also in this display.
Creating a Voice by using the Sampling function
6
Press the [F6] REC button again to enable
Sampling Trigger Waiting.
Doing this puts sample recording on standby, waiting for an input signal that exceeds the Trigger level.
F 6
Trigger Level Indicates Sampling
Standby status.
Turn the Confirm function on or off
●
Setting the Confirm function
When the [F2] CONFM (Confirm function) is turned on ( is indicated), you can easily listen back to your just-recorded sample and conveniently re-record it if you’re not satisfied with the results. Here, set the [F2] CONFM button on.
●
Setting the Trigger mode
The Trigger mode lets you determine how the Sampling actually starts. For example, you can start the Sampling simply by pressing the button or when the Song/Pattern playback reaches a specified point. Here, set the TrggrMode
(Trigger mode) to “level” which lets you start sampling as soon as the microphone level exceeds the specified Trigger
Level.
●
Setting the Trigger Level
When the Trigger mode is set to “level,” you’ll also need to set the Trigger Level. This determines when sampling actually starts, depending on the level of the input signal (in this case, your voice). As you sing into the microphone, notice the movement of the level meter (bar), and when the bar crosses the Trigger Level arrow. If necessary, select the Trigger Level value and use the data dial to change it, moving the arrow as low or as high as needed.
7
Sing into the microphone to start sampling.
Sing into the microphone. (You may want to match the pitch of your voice to the note C3, set in step #4 above.) The sampling actually starts as soon as the an input signal exceeding the specified trigger level is received.
8
Indicates that sample recording is waiting for a signal of an appropriate level.
Press the [F6] STOP button to stop sampling, then check the results.
Trigger Level
Trigger Level
Indicates Sampling
Standby status.
The section of the bar exceeding the Trigger Level becomes black.
Press the [F3] AUDITION button to hear the sampled sound.
If you’re not satisfied with the results and you wish to try again, press the [F4] CANCEL button to return to the
Sampling Standby display and try sampling from step #5 again. If you are satisfied with the results, press the [F5] OK button to store the sampled sound as a “sample” and return to the [F1] DEST or [F2] SOURCE display.
Keep in mind that if the Confirm function is turned off in step
#5 above, the display shown above will not appear when stopping sampling. Instead, stopping sampling returns directly to the [F1] DEST or [F2] SOURCE display.
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Creating a Voice by using the Sampling function
9
Press the [EDIT] button to enter the Sampling
Edit mode, then press the [F4] RANGE button to call up the Range setting display.
EDIT
COMPARE
When you play the sample from the keyboard, the more distant the played samples are from the original key, the less natural the samples sound. For this reason, you should try to make multiple samples and multiple key ranges, so that each key range is shorter and the samples sound more natural.
F4
12
Save your newly created User Voice to a
SmartMedia/USB storage device.
Refer to “Saving a Sample” on page 97.
CAUTION
The recorded (edited) sample data resides temporarily in DIMM (page 187).
Because data contained in DIMM is lost when the power is turned off, you should always save any data residing in DIMM to a SmartMedia /USB storage device before turning off the power.
10
Set the key range within which the sample is sounded.
Immediately after sampling, the sample is assigned only to one key — the one set in step #4 as “KeyBank.” This display lets you expand the key range within which the sample is sounded. Here, set the key range to C2 - B3.
Set the key range.
Use the data dial, [INC/YES] and [DEC/NO] button, or press the key while holding the
[INFORMATION] button.
Indicates the original key of the currently selected sample.
If you wish to select a different sample, call up the [F1]
KEYBANK display, then press a different key while holding the [INFORMATION] button.
Play the keyboard within the key range set above.
Your sampled voice is sounded, following the pitches of the notes you play.
11
Repeat step #4 - 10 to add another sample to the same Voice (Waveform).
For example, in step #4 set Keybank to “G4,” sing into the microphone as described in step #7 (matching the pitch G4, if necessary), and set the Key Range to C4 - E5 in step #10. As a result, the sample is assigned to the keys as illustrated below.
The sample is sounded within this key range.
The sample is sounded within this key range.
C3
The original sample is assigned to this key.
G4
The original sample is assigned to this key.
About Samples, Key Banks, Waveforms, and Voices
Understanding the Sampling-related terms below will help you better understand the Sampling function itself and how to use it. Keep in mind the hierarchy here as it relates to sampling — the audio source (e.g., your voice) starts as a Sample, becomes part of a Key Bank, which makes up a Waveform, which is used to create a Voice.
● Sample
The sound obtained via the Sampling function is referred to as “Sample.”
● Key Bank
In order to play the sample from the keyboard, the sample must be assigned to notes on the keyboard.
First, assign the sample to a specified key when
sampling (step #4 on page 94), then expand the key
range within which the sample is sounded (step #10 on
page 96). The Key Range and the Velocity Range within
which the sample is sounded is referred to as a “Key
Bank.” In step #10 above, you saw how to set the Key
Range. From the same display, you can also set a
Velocity Range. Using these two parameters, you can create a Key Bank.
● Waveform
The group of Key Banks to which sample data is assigned is referred to as a “Waveform.” The Waveform is assigned to each Element of a Normal Voice. In step
#11 above, you saw how to add Key Banks one by one to create a Waveform.
● Voice
After completing a Waveform, you can create an
Element by applying various sound-making parameters such as Pitch, Filter, Amplitude and other parameters such as Effect and EQ to it. Finally, combine four
Elements (each containing its own Waveform) to create a Normal Voice.
n
You can select and hear the Waveforms created via the
Sampling function as well as all the preset Waveforms in the
WAVE display ([VOICE]
→
[EDIT]
→
Element selection
→
[F1] OSC
→
[SF1] WAVE).
Owner’s Manual
Creating a Voice by using the Sampling function
Saving a Sample
[FILE]
→
[F2] SAVE
Assign the Samples obtained via the Sampling function to specific Key Ranges to create a Waveform. Because the Waveform data
Waveform data or Samples to a SmartMedia/USB storage device before turning off the power. The following four methods can be used to save a Sample that is assigned to a Waveform. Execute the Save operation in the File mode.
CAUTION
While the data is being saved, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or USB storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
● Saving as a User Voice
When you save a User Voice that contains Samples, all the related data — the Waveform assigned to the Voice, the
Samples assigned to the Waveform, as well as the User Voice itself — is automatically saved together. Insert a SmartMedia into the CARD slot or connecting the USB storage device to this synthesizer, and follow the instructions below.
1
Press the [FILE] button to enter the File mode, then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
2
Press the [F2] SAVE button to call up the Save display.
3
Set the TYPE parameter to “All” or “AllVoice.”
When “All” is selected, execute the Save operation to save all the created data including the User Voices as a single file. When “AllVoice” is selected, execute the Save operation to save all User Voices, including Waveforms assigned to Normal Voice Elements or Drum Voice Keys, as a single file.
4
Input a file name.
Move the cursor to the file name input location, then input a
file name. For detailed instructions on naming, refer to page
53 in the Basic Operation section.
5
Press the [ENTER] button to execute the Save operation.
If you are about to overwrite an existing file, the display prompts you for confirmation. Press the [INC/YES] button to execute the Save operation to overwrite the existing file, or press the [DEC/NO] button to cancel it.
2
Set the TYPE parameter to “Wav” in the [F2] SAVE display.
3
Input a file name.
Move the cursor to the file name input location, then input a file
name. For detailed instructions on naming, refer to page 53 in
the Basic Operation section.
4
Press the [ENTER] button, then select a Sample to be saved.
When a Normal Voice is selected in step #1:
Specify the Element and Key Bank to call up the Sample assigned to the selected Voice. You can hear the Sample by pressing the [SF1] AUDITION button. Go through the Samples in this way to find the desired Sample.
This is available only when the cursor is located at the KeyBank. Each press of the [SF2] button calls up a different Key Bank assigned to a specific velocity range (for the same key).
You can hear the selected sample by pressing the [SF1] button. (Audition function)
When a Drum Voice is selected in step #1:
Specify the Note and Key Bank to call up the Sample assigned to the selected Drum Voice. You can hear the Sample by pressing the [SF1] AUDITION button. Go through the Samples in this way to find the desired Sample.
● Saving as a Waveform
When you save a Waveform that makes up a Voice, all the
Samples that are assigned to the Waveform are automatically saved together. The procedure for saving is the same as described in “Saving a User Voice” above, with the exception that Type is set to “AllWaveform” in step #3.
● Saving as a WAV file
You can select a specific Sample from a Waveform and save it as a WAV file (Windows audio format). Insert a SmartMedia into the CARD slot or connecting the USB storage device to this synthesizer, and follow the instructions below.
1
Select a Voice containing the Sample to be saved in the
Voice Play mode, then press the [FILE] button to enter the File mode, and execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
You can hear the selected sample by pressing the [SF1] button. (Audition function)
5
Press the [ENTER] button to execute the Save operation.
If you are about to overwrite an existing file, the display prompts you for confirmation. Press the [INC/YES] button to execute the
Save operation and overwrite the existing file, or press the
[DEC/NO] button to cancel it.
● Saving as a AIFF file
You can select a specific Sample from a Waveform and save it as a
AIFF file (Macintosh audio format). The procedure for saving is the same as described in “Saving as a WAV file” above with the exception that Type is set to “AIFF” in step #2.
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Creating a Voice by using the Sampling function
Sampling the sound of an audio device to create a Drum Voice
Samples from an audio device, such as a CD player or MD player, and use the Samples to create a Drum Voice.
Depending on the size of the audio (sample) data obtained via the Sampling function, you may not be able to save all of the desired data to a SmartMedia card (maximum capacity: 128MB). For this reason, we recommend using a large-capacity USB storage device for your Sampling data.
1
Connect an audio device (CD player, etc.) to the instrument.
Follow steps #1 - 8 on page 73.
2
Press the [INTEGRATED SAMPLING] button in the Voice mode or Performance mode to enter the Sampling mode.
5
Press the [F6] REC button to call up the
Sampling Record display (Sampling Standby status), then set the parameters as required.
F 6
You can also change the
Keybank (set in step #4) in this display.
3
Press the [F2] SOURCE button to call up the display for setting the Sampling Source, then set the parameters as shown below.
Type: sample
Source: A/D
Next: on
Mono/Stereo: stereo
Frequency: 44.1k
When creating a Drum Voice consisting of many separate
Samples, you’ll want to quickly be able to record a Sample, assign it to a key, then move on to the next one. To do this smoothly and easily, set the Next parameter to “on.”
For details about each parameter, see page 251.
4
Press the [F1] DEST button to call up the display for setting the Sampling Destination, then set the parameters as described below.
Indicates
Sampling
Standby status.
Turn the Confirm function on or off
Trigger Level
●
Setting the Confirm function
When the [F2] CONFM (Confirm function) is turned on ( is indicated), you can easily listen back to your just-recorded sample and conveniently re-record it if you’re not satisfied with the results. Here, set the [F2] CONFM button on.
●
Setting the Trigger mode
The Trigger mode lets you determine how the Sampling actually starts. For example, you can start the Sampling simply by pressing the button or when the Song/Pattern playback reaches a specified point. Here, set the TrggrMode
(Trigger mode) to “level” which lets you start sampling as soon as the input signal from the audio device exceeds the specified Trigger Level.
●
Setting the Trigger Level
When the Trigger mode is set to “level,” you’ll also need to set the Trigger Level. This determines when sampling actually starts, depending on the level of the input signal of the audio device. As the sound plays, notice the movement of the level meter (bar), and when the bar crosses the Trigger Level arrow.
If necessary, select the Trigger Level value and use the data dial to change it, moving the arrow as low or as high as needed.
Part
Voice
Key
This is available when entering the Sampling mode from the
Performance mode. This parameter determines the Performance
Part to which the Voice (below) created by sampling is assigned.
Set the Bank to “UDR” (User Drum Voice Bank), then select a User
Drum Voice Number. After the Sampling is completed, you can hear the created Voice by selecting the Voice number set here.
Here, set this parameter to “C3.” After the Sampling is completed, you can hear the sampled sound by pressing the note set here. n If the Voice parameter above is set to “off,” you won’t be able to play the sampled sound as a Voice after completing this operation.
However, you can call up the sampled sound by selecting a
Waveform. For details on how to select a Waveform, see page 174.
Trigger Level
Indicates
Sampling
Standby status.
Trigger Level The section of the bar exceeding the
Trigger Level becomes black.
Owner’s Manual
Creating a Voice by using the Sampling function
6
Press the [F6] REC button again to enable
Sampling Trigger Waiting.
Doing this puts sample recording on standby, waiting for an input signal that exceeds the Trigger level.
F 6
By repeating steps #5 - 8 above, you can create a Drum Voice in which each key has a different sound (as shown below).
Sound Effect A Sound Effect C
Sound Effect B
Sound Effect Y
Indicates that sample recording is waiting for a signal of an appropriate level.
7
Start the external audio device.
The sampling actually starts as soon as the an input signal exceeding the specified trigger level is received.
8
Press the [F6] STOP button to stop sampling, then stop the external audio device.
Press the [F3] AUDITION button to hear the sampled sound.
If you’re not satisfied with the results and you wish to try again, press the [F4] CANCEL button to return to the
Sampling Standby display and try sampling from step #5 again. If you are satisfied with the results, press the [F5] OK button to store the sampled sound as a “sample” and return to the Sampling Standby display.
Keep in mind that if the Confirm function is turned off in step
#5 above, the display shown above will not appear when stopping sampling. Instead, stopping sampling returns directly to the Sampling Standby display.
9
Repeat steps #5 - 8 above to assign additional
Samples to the notes as desired to create your
Drum Voice.
In step #7, select a different sound (on a CD, for example) for each Sample. Though the Key is automatically set to the note name the next one higher than that just assigned, you can change it in step #5.
10
Save your newly created User Voice to a
SmartMedia/USB storage device.
Refer to “Saving a Sample” on page 97.
CAUTION
The recorded (edited) sample data resides temporarily in DIMM (page 187).
Because data contained in DIMM is lost when the power is turned off, you should always save any data residing in DIMM to a SmartMedia /USB storage device before turning off the power.
Example Sampling sources
The examples below show you some of the different audio sources you can use as raw material for your Samples and
Sample Voices.
● Vocals with effects
With a PLG100-VH Plug-in Board installed, you can apply a vocal harmony effect to your voice, and sample the entire processed sound. After setting the PLG100-VH related parameters as required referring to “Using an Effect Plug-in
Board” on page 78, execute the Sampling operation.
● The sound of an mLAN compatible instrument
After setting up referring to page 34, execute the Sampling
operation. You should set the [INTEGRATED SAMPLING]
→
[F2] SOURCE
→
Source parameter to “mLAN1 - 4.”
● Electric guitar or bass
Instruments such as guitar and bass can also be sampled,
using the A/D INPUT jack. After setting up referring to page
33, execute the Sampling operation. You should set the
[INTEGRATED SAMPLING]
→
[F2] SOURCE
→
Source parameter to “A/D.”
● Digital audio
With an optional AIEB2 interface installed to the instrument, you can connect to the digital out jack on your DAT deck or
CD/MD player and directly record digital audio, for the highest possible sound quality. For details on installing the
AIEB2, refer to page 285; for details on connecting digital
audio devices to the instrument, refer to page 34. When
executing AIEB2, you should set the [INTEGRATED
SAMPLING]
→
[F2] SOURCE
→
Source parameter to
“AIEB2.”
● Resampling the MOTIF ES
You can also resample anything you play on the MOTIF ES itself — riffs, rhythms, melodies, thick multi-layered chord pads, etc. You should set the [INTEGRATED SAMPLING]
→
[F2] SOURCE
→
Source parameter to “resample.”
● WAV or AIFF audio files
Audio data created and edited on a computer can also be used for Samples. (For details, see the next page.)
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Creating a Voice by using the Sampling function
TIP
Loading WAV or AIFF audio files to create a Waveform/Voice
Any audio data created and edited on a computer and saved in the WAV or AIFF format can also be used as material for
Samples on the MOTIF ES. Set up the media containing the desired WAV/AIFF audio files (e.g., insert a SmartMedia card to the CARD slot or connect a USB storage device), then follow the instructions below.
Depending on the size of the audio (sample) data obtained via the Sampling function, you may not be able to save all of the desired data to a
SmartMedia card (maximum capacity: 128MB). For this reason, we recommend using a large-capacity USB storage device for your Sampling data.
n The instructions here apply when you enter the File mode from the Voice mode. When entering the File mode from the Performance mode, the instructions are the same with the exception that you should set the destination Performance number and Part in step #4.
1
In the Voice mode, press the [FILE] button to enter the File mode, then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a
USB storage device” on page 30.
2
Press the [F3] LOAD button to call up the Load display.
3
Select the file type to be loaded.
Set Type to “Waveform.” This setting lets you select and load a specific Waveform from a file (extension:
W7W) saved as “AllWaveform” or load a WAV file/
AIFF file as a Waveform.
When assigning a WAV file/AIFF file to a Drum Voice:
4
Select the file ( ) to be loaded and specify the destination.
When moving the cursor to a WAV file (extension:
WAV) or AIFF file (extension: AIF), the destination parameter automatically appears in the display.
When assigning a WAV file/AIFF file to a Normal
Voice:
Voice
UDR:001
(A01)
When this is set to “on,” you can load and assign a
WAV file/AIFF file to the destination Voice set below
This is available when the Voice (above) is set to
“on.” Select “UDR” as the destination Drum Voice
Bank and select a destination Voice number.
Note Determines the destination key of the Drum Voice set above.
n When assigning a WAV file/AIFF file to a Drum Voice, a
Sample from the WAV file/AIFF file is assigned to the empty
Waveform automatically.
CAUTION
Loading data to this synthesizer automatically erases and replaces any existing data in the User memory. Make sure to save any important data to a SmartMedia/USB storage device before performing any Load operations.
5
Press the [ENTER] button to execute the Load operation.
After the data has been loaded, a “Completed” message appears and operation returns to the original display.
CAUTION
While the data is being saved, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or USB storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
Voice
USR1:001
(A01)
Waveform
KeyBank
When this is set to “on,” you can load and assign a
WAV file/AIFF file to the destination Voice set below.
This is available when the Voice (above) is set to
“on.” Select “USR1” or “USR2” as the destination
Normal Voice Bank and select a destination Voice number.
Determines the destination Waveform number.
Determines the destination Key Bank of the
Waveform set above.
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Creating a Voice by using the Sampling function
6
Depending on whether you’re creating a Normal
Voice or a Drum Voice, follow the appropriate instructions below.
When creating a Normal Voice in steps #4 - 5
After entering the Sampling Edit mode
([INTEGRATED SAMPLING]
→
[EDIT]), press the
[F1] KEYBANK button to call up the Key Bank display. From this display, select a Waveform and
Key Bank. To specify the Key Bank, simultaneously hold down the [INFORMATION] button and press the desired note on the keyboard. To select Waveforms assigned to different velocities, hold down the
[INFORMATION] button and press the [SF2] SELECT button.
When creating a Drum Voice in steps #4 - 5
By repeating steps #5 - 8 above, you can create a Drum
Voice in which each key has a different sound (as shown below).
After creating the Normal or Drum Voice, go on to step
#7 below.
Sound Effect A Sound Effect C
Sound Effect B
Sound Effect Y
7
Play the Voice created by the Load operation.
Press the [VOICE] button to enter the Voice Play mode, then select the Voice number set in step #4.
After selecting a Waveform and Key Bank above, press the [F4] RANGE button.
Once you’ve loaded the sample in step #5, it can only be sounded by playing the note specified in step #4. From this display however, you can expand the note range over which the loaded sample will sound.
Determine the Key Range.
Use the data dial, [INC/YES] and [DEC/NO] buttons or press the note on the keyboard while holding the [INFORMATION] button.
Play the keyboard within the Key Range set above.
You can hear the loaded sample following the pitches of the notes you play.
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Creating a Song on the MOTIF ES
Creating a Song on the MOTIF ES
The MOTIF ES is a full-featured and enormously powerful music production machine, and all of the instrument’s advanced features and functions come together seamlessly in the creation of a Song. Here, you’ll learn how to get the most out of the sequencer-related functions of the MOTIF ES, using primarily the Song and Pattern modes.
This section is quite detailed and comprehensive. However, rather than following it step-by-step all the way through and trying to use every feature in a single song, use it instead as a guide or a springboard for further exploration.
Recording your keyboard performance
Generally, you’ll start recording a Song or Pattern by playing a Voice from the keyboard. Since the instrument is set to multi-
made in the Mixing settings described below.
Selecting a Voice
Selecting a Voice for recording is different than selecting a
Voice for playing. Voice settings for the Song/Pattern mode are handled in Song Mixing/Pattern Mixing.
1
Press the [SONG] button/[PATTERN] button to enter the Song mode/Pattern mode, then select a
Song number/Pattern number to be created.
See page 56 for instructions on how to select a Song or
Pattern.
2
Enter the Mixing Edit mode ([MIXING]
→
[EDIT]), then select a Part (track) and call up the Voice setting display ([F1] VOICE
→
[SF1] VOICE).
For information on how to select a Song track or Pattern track,
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
DEMO
EDIT
COMPARE
JOB STORE
SCENE STORE
SET LOCATE
1 2 3 4
9
ELEMENT/PERF. PART/ZONE
10 11 12
5
13
6 7 8
14 15 16
Turn the [TRACK SELECT] indicator on and select one of the [1] - [16] buttons.
SCENE
SF1
F 1 F 2
SF 2
F 3
SF 3
F 4
SF 4
F 5
TRACK
SELECT
MUTE
SOLO
NUMBER
SF 5
INFORMATION
F 6
Indicates the current Part number. Parts 01-16 are internal tone generator Parts. Parts 17-32 are tone generator Parts of the
PLG100-XG Multi Part Plug-in Board. Parts PLG01-03 are tone generator parts of the Single Part Plug-in Board. Keep in mind that the example instructions here use the internal tone generator.
Press the [F6] button to switch between the display for Parts
01-16, 17-32, and
PLG1-3.
3
Select a voice referring to the instructions below.
● Move the cursor to “Bank” and select the desired Voice
Bank by using the data dial, [INC/YES] and [DEC/NO] buttons.
PRE1 (Preset1) ~ PRE6
(Preset 6)
USER1 ~ USER2
GM
PDR (Preset Drum)
GMDR (GM Drum)
UDR (User Drum)
SMPL (Sample Voice)
MIXV (Mixing Voice)
Preset Banks 1 - 6 of the Normal Voice. These correspond to the [PRE1] - [PRE6] buttons in the
Voice mode.
User Banks 1 - 2 of the User Voice. These correspond to the [USER1] - [USER2] buttons in the Voice mode.
GM Normal Voice Bank. This corresponds to the
[GM] button in the Voice mode.
Preset Bank of the Drum Voice. This corresponds to pressing the [DRUM KITS] button and the
[PRE5] button simultaneously.
GM Drum Voice Bank. This corresponds to pressing the [DRUM KITS] button and the [GM] button simultaneously.
User Bank of the Drum Voice. This corresponds to pressing the [DRUM KITS] button and the
[USER1] button simultaneously.
Indicates the Bank for the Sample Voices created
via the Sampling function (page 173).
This bank is for the Mixing Voices (page 105)
dedicated for the Song mode/Pattern mode.
● Move the cursor to “Number” and select the desired Voice
Number by using the data dial, [INC/YES] and [DEC/NO] button. Refer to the separate Data List. n With the [TRACK SELECT] lamp turned off, Normal Voices can be
selected in the way described on page 60.
n With the exception of Sample Voices and Mixing Voices, you can also
use the Category Search (page 62) in this display.
n The Voice for each Part of the current Song or Pattern can be selected also in the [SONG]
→
Song selection
→
[MIXING]
→
[F2] VOICE display or the [PATTERN]
→
Pattern selection
→
[MIXING]
→
[F2] VOICE
display. You can also use the Category Search (page 62) in this display.
n For information on how to select a voice of a Plug-in Board in the Song
mode/Pattern mode, see page 121.
4
Play the keyboard to confirm the selected Voice.
5
Repeat steps #2 - 4 to set the Voice settings
(Mixing Settings) for each Part (track).
Owner’s Manual
Creating a Song on the MOTIF ES
6
If desired, make a backup of the Voice (Mixing) settings made above.
● First, store the Voice settings as Song Mixing/Pattern
Mixing. Press the [STORE] button to enter the Song Mixing
Store mode/Pattern Mixing Store mode, then press the
[ENTER] button to execute the Store operation (page 131).
● Next, save the stored Song Mixing as a file for all Songs created on the instrument before turning the power off.
Press the [FILE] button to enter the File mode, then execute the Save operation by following the instructions described
3
Move the cursor to the Template number location, then select a Mixing Template.
Select a Template number by using the data dial, or the [INC/
YES]/[DEC/NO] buttons. For details, refer to the Mixing
Template list in the separate Data List booklet.
Template number Template name
Selecting a Mixing Template
Here is an exceptionally convenient Song/Pattern creation tool. The MOTIF ES has 32 different Mixing Templates for use with a Song or Pattern, each pre-programmed for a variety of music styles and applications. Simply dial up the template that comes closest to the type of Song or Pattern you wish to create, tweak the settings as desired, then start recording. It’s a quick, smooth and inspiring way to get your ideas down.
4
Press the [SF4] button to actually call up the selected Mixing Template for the current Song.
SF4
1
Press the [SONG]/[PATTERN] button to enter the
Song mode/Pattern mode, then select a Song/
Pattern number to be created.
EXIT
The Edit indicator appears.
2
Call up the Mixing Template selection display in the Song Mixing Job mode ([MIXING]
→
[JOB]
→
[F6] TEMPLATE).
SEQUENCER
SONG PATTERN FILE
INTEGRATED
SAMPLING
MIXING UTILITY
DEMO
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
F6
5
Play the keyboard to check the Mixing settings
— especially the Voices.
You can confirm the Voice settings for the Parts by selecting tracks one by one and playing the keyboard with each. If you wish to check the detailed settings, call up and view each display in the Song Mixing mode and Song Mixing Edit mode.
6
Change the Mixing settings as desired.
Tweak and change the Mixing parameters — especially the
Voices — to fit the song you intend to create. For details about
the Mixing Edit mode, see page 127.
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Creating a Song on the MOTIF ES
104
7
If desired, make a backup of the Mixing settings made above.
● First, store the Voice settings as Song Mixing/Pattern Mixing. Press the [STORE] button to enter the Song Mixing Store mode/
Pattern Mixing Store mode, then press the [ENTER] button to execute the Store operation (page 131).
● Next, save the stored Song Mixing as a file for all Songs created on the instrument before turning the power off. Press the
The Mixing settings you make can be stored as a Template — letting you create your own custom Mixing/Voice configurations for future use in recording Songs. Press the [SF5] PUT button in step #4 above to store the settings to the destination (current)
Template number. The following illustration shows the memory structure for Mixing.
Song 01 - 64
Song 64
Mixing Template 01 - 32
Mixing Template 32
GET
PUT
Song 01
Mixing*
Mixing Template 01
GET
Flash ROM
GET ....Loads the Mixing template to the current Song/Pattern.
PUT
PUT ....Stores the Mixing settings for each Song/Pattern to the Template.
* Mixing parameters can be edited and stored as Song/Pattern data in the Song
Mixing mode and Pattern Mixing mode.
DRAM
Pattern 01 - 64
Pattern 64
Pattern 01
Mixing*
DRAM
SAVE
SAVE
SmartMedia or
USB storage device
Save as Song data/Pattern data
CAUTION
Whereas Mixing Template data resides in internal Flash ROM, Song data and Pattern data — including the Mixing settings — resides in DRAM. Because data contained in DRAM is lost when the power is turned off, you should always save any data residing in DRAM to a SmartMedia/USB storage device in the
File mode before turning off the power.
CAUTION
The currently edited Mixing program will be lost when selecting a different Song/Pattern or going to a different mode without saving (putting) it to a template or storing it to the current Song/Pattern. In addition, simply playing back the Song/Pattern or receiving any MIDI messages from an external MIDI instrument may change the current Mixing program. Make sure to put or store the Mixing program before executing these operations.
Using Controllers
Just as in the Voice/Performance mode, the controllers of the instrument — Pitch Bend wheel, Modulation wheel, Ribbon
Controller, Knobs, and Control Sliders — can also be used in the Song/Pattern mode.
n The Pitch Bend Range in the Song mode/Pattern mode can be set in the Mixing Edit made for each Song/Pattern. This can be changed with the PB Upper/Lower parameters ([SONG] or [PATTERN]
→
Song or
Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F1]
VOICE
→
[SF5] OTHER
→
PB Upper/PB Lower).
n The functions assigned to the Pitch Bend Wheel, Modulation Wheel,
Ribbon Controller, and Knobs (ASSIGN 1 and 2) in the Song mode/
Pattern mode depends on the setting (made in the Voice mode) of the
Voice assigned to each Mixing Part . n The functions assigned to the Knobs (ASSIGN A and B) can be set in the [UTILITY]
→
[F4] CTL ASN
→
[SF2] ASSIGN display. n You can set the Ribbon Controller to control different functions on connected external MIDI devices from the functions assigned in Song
Mixing/Pattern Mixing for the instrument itself. You can also determine whether the Ribbon Controller value returns to the center, or stays at the point where you released your finger. Both of these setting can be made in the Song/Pattern Mixing Edit mode ([SONG] or [PATTERN]
→
Song or
Pattern selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F4] CTL ASN).
n
For information on using the Control Sliders in the Song mode/Pattern
Edit Indicator
Tweaking the knobs in the Song or Pattern mode directly changes the Song/Pattern Mixing parameters. When any of the Song Mixing/Pattern Mixing parameters are changed, the [E] (Edit) Indicator appears in the top left of the display. This indicates that the current Song
Mixing/Pattern Mixing has been modified but not yet stored. If you’re satisfied with the tweaks you made and the resulting sound, you can store the changes as a
Song Mixing/Pattern Mixing in the Song Mixing/Pattern
n
The [E] (Edit) indicator also appears in the following situations
— even if the Mixing parameters are not edited.
• Playing back song data (either on this instrument or from a connected MIDI sequencer) that changes the settings, such as the Voices.
• Calling up the Mixing template.
CAUTION
If you select another Song/Pattern during editing, the [E] (Edit) indicator will disappear and all your edits will be lost. It is a good idea to store the edited Song Mixing/Pattern Mixing data in the Song
Mixing/Pattern Mixing Store mode (page 131). Even if you lose the
Song Mixing/Pattern Mixing edited data, you can restore it by using
the Edit Recall function (page 129).
Owner’s Manual
Creating a Song on the MOTIF ES
Using the Arpeggio Function
Just as in the Voice/Performance mode, you can use
Arpeggio playback in the Song/Pattern mode.
1
Set the ArpSwitch parameter for the current part to “on” ([SONG] or [PATTERN]
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F1] VOICE
→
→
[SF2]
MODE).
This parameter can be set to “on” simultaneously for more than one Part, but only if the Parts have the same MIDI
Receive Channel settings.
2
Select an Arpeggio type ([SONG] or [PATTERN]
→
[MIXING]
→
[EDIT]
→
[SF1] TYPE).
→
[COMMON]
→
[F3] ARP
3
With the [ARPEGGIO ON/OFF] lamp turned on, press any note on the keyboard to trigger
Arpeggio playback.
n Just as in the Voice mode and Performance mode, the Song mode and Pattern mode let you register the desired Arpeggio type to the
[SF1] - [SF5] buttons. n Arpeggio related parameters (such as Type, etc.) are included in
Song/Pattern Mixing data.
Using the Audio Input sound
Just as in the Performance mode, the audio input can be used as an audio Part in the Mixing settings in the Song mode/Pattern mode. The related parameters can be set with the following operation: [SONG] or [PATTERN]
→
Song/
Pattern selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F5] AUDIO IN.
2
Press the [MIXING] button (the lamp lights) to enter the Song Mixing mode/Pattern Mixing mode, then select the Part containing the desired
Voice.
MIXING
1 2 3 4 5 6 7 8
9
ELEMENT/PERF. PART/ZONE
10 11 12 13 14 15 16
TRACK
SELECT
MUTE
SOLO
3
Press the [F5] VCE ED (Voice Edit) button to enter the Mixing Voice Edit mode.
F5
Creating Mixing Voices exclusively for
Songs/Patterns
If you assign User Voices to your Song or Pattern and then edit them (in the Voice Edit mode), the Voices may sound different than expected. This convenient feature lets you create dedicated Mixing Voices for your songs and Patterns
— ensuring that the Voices will play exactly as they were edited for the Song/Pattern.
n Only Normal Voices can be created/edited as Mixing Voices.
1
Press the [SONG] button/[PATTERN] button to enter the Song mode/Pattern mode, then select the desired Song/Pattern for which the Mixing settings will be edited.
See page 56 for instructions on how to select a Song or
Pattern. n You can enter the Mixing Voice Edit mode only when a Normal Voice is assigned to the current Part.
4
Call up the Common Edit or Element Edit display as required.
These displays are the same as in the Voice mode. See page
5
Select the desired menu for editing by pressing the [F1] - [F6] and [SF1] - [SF5] buttons, then edit the parameters.
The actual parameters and procedures for editing them are
the same as in the Voice Edit mode. See page 80.
6
Repeat steps #4 and 5 as desired.
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105
106
Creating a Song on the MOTIF ES
7
Name the edited Mixing Voice.
Input a name in the [COMMON]
→
[F1] GENERAL
→
[SF1]
NAME display.
For detailed instructions on naming, refer to page 53 in the
Basic Operation section.
9
Store the edited Song Mixing/Pattern Mixing to internal User memory.
Press the [EXIT] button several times to return to the Song
Mixing mode/Pattern Mixing mode, press the [STORE] button to enter the Song Mixing Store mode/Pattern Mixing Store mode, then press the [ENTER] button to execute the Store
8
Store the edited Mixing Voice to internal User memory.
1
Press the [STORE] button to enter the Mixing Voice Store mode.
2
Set the destination Voice Bank to “MIXV” and select the destination Voice number.
Destination Voice Number
10
Save the Song data/Pattern data to a
SmartMedia/USB storage device in the File mode
(page 132) before turning off the power.
CAUTION
Mixing Voices are assigned to Parts of the Song/Pattern and stored to internal DRAM. Because data contained in DRAM is lost when the power is turned off, you should always save any data residing in DRAM to a
SmartMedia/USB storage device in the File mode before turning off the power.
Destination Voice Bank
3
Press the [ENTER] button to execute the Store operation. n
You can store the Voice edited in the Mixing Voice Edit mode as a User
Normal Voice by setting the Voice Bank to “USER1” or “USER2.”
Creating a Pattern
When you create a Song, one of the most essential aspects is the rhythm. It is almost always the first thing you start with, and provides a foundation for the rest of the music. The Pattern mode gives you the tools to create rhythm patterns for the accompaniment of the Song. Here, in brief, are the basic steps in using Patterns to create a Song:
1) In the Pattern mode, create and chain together the phrases that will be used for the accompaniment and the Song.
2) Convert the Pattern data to a Song.
3) In the Song mode, record a melody on a separate track of the Song.
Here, we’ll explain in detail the first of these steps.
CAUTION
should always store any data residing in DRAM to a SmartMedia/USB storage device before turning off the power.
Creating a Phrase by recording a rhythm pattern to a track
In the following sections you’ll learn various different methods of creating Pattern data (also called “Phrases” — the raw material for a Pattern) to a single track. The following five methods are explained.
●
●
●
●
●
The first two methods involve using both audio data (created via Sampling, or imported from another device) and MIDI data.
Owner’s Manual
Creating a Song on the MOTIF ES
■
Sampling a rhythm loop (audio data) to a Pattern track
With this method, you can record drum loops and rhythm patterns from CDs to the MOTIF ES by using the Sampling function, then slice the sample into separate components and assign the slices to different keys. This powerful feature lets you match the sampled rhythm to virtually any tempo without stretching or compressing the audio, since each “hit” becomes a separate MIDI note.
Sample Voice
Sample
Sampling Slice
MIDI sequence data
CANCEL
1
Connect an audio device (CD player, etc.) to the instrument.
Follow steps #1 - 8 on page 73, substituting the instructions
below for steps #4 and 8. In step #4, press the [PATTERN] button to enter the Pattern mode, then select a pattern number and section to be created. In step #8, set the related parameters in the [PATTERN]
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F5] AUDIO display.
5
Press the [F6] REC button to call up the
Sampling Record display (Sampling Standby status), then set the TrggrMode to “level” and set an appropriate Trigger Level value.
2
Press the [INTEGRATED SAMPLING] button in the
Pattern Play mode to enter the Sampling mode.
3
Press the [F2] SOURCE button to call up the display for setting the Sampling Source, then set the parameters as shown below.
Type: slice+seq
Source: A/D
Next: off
Mono/Stereo: stereo
Frequency: 44.1k
6
Press the [F6] REC button again to enable
Sampling Trigger Waiting.
Doing this puts sample recording on standby, waiting for an input signal that exceeds the Trigger level.
F 6
Indicates that sample recording is waiting for a signal of an appropriate level.
7
Start the audio device (CD player, etc.).
The sampling actually starts as soon as an input signal exceeding the specified trigger level is received.
For details about each parameter, see page 253.
4
Press the [F1] DEST button to call up the display for setting the Sampling Destination, then set the parameters as described below.
Track This parameter determines the Pattern track to which the
Sample Voice is assigned.
8
Press the [F6] STOP button to stop sampling.
Press the [F6] STOP button at the point you want sample recording to stop, and the Slice display is automatically called up. After stopping recording, stop playback of the connected audio device.
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Creating a Song on the MOTIF ES
9
Edit the sample data in the [F1] TRIM display.
4
Press the [F2] SLICE button to call up the Slice display.
A
B C D E F
A
B
C
D
E
These parameters determine the portion of the sample that will be used.
Press the [SF1] AUDITION button to sound the recorded sample according to the settings in this display.
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.”
See below.
Press the [SF4] EXTRACT button to delete all unnecessar y sample data
(located ahead of the Start point and located after the End point).
Press the [F5] and [F6] buttons to zoom in and out of the wave display.
F
1
Press the [SF1] AUDITION button to hear the recorded sample.
2
Set the start and end points to determine the actual portion of the sample to be used.
The “Start” parameter determines the actual start of the sample
(letting you cut unwanted sound at the beginning), while the “End” parameter determines the end of the sample (letting you cut unwanted sound at the end).
Pressing [SF3] SET END calls up the following convenient display for making rhythmically accurate End point edits.
10
Execute the Slice operation in the [F2] SLICE display.
1
Set the parameters shown below.
Measure
Meter
Determines the number of measures the sample is recognized as having.
Determines the rhythmic meter the sample is recognized as having.
Set other parameters as necessary, referring to page 254.
2
Press the [ENTER] button (the display prompts you for confirmation), then press the [INC/YES] button to execute the
Slice.
3
Confirm the result of the operation.
Play the assigned keys in order (C3, C#3, D3, etc.) to hear the individual slices of the sample.
To hear how the resulting pattern would sound when played by
MIDI sequence data, press the [SF1] AUDITION button.
4
If you’re satisfied with the results of the Slice operation, press the [F6] OK button.
If you’re not satisfied with the results and want to continue editing, press the [F5] CANCEL button and attempt the operation again from step #10-1 above.
Slice display (before executing Slice)
108
[ENTER] button
Slice display (after executing the Slice)
Many commercially available sample/loop CDs include information on the tempo and meter of specific loops. Use that information to make the settings here and ensure proper playback.
After setting the parameters (above right), press the [ENTER] button to automatically determine the proper End point. Listen back to the edited sample by pressing the [SF1] AUDITION button.
If you’re satisfied with the results, press the [F6] OK button. If you’re not and you want to continue editing, press [F5] CANCEL.
3
Once you’ve trimmed the sample above, you may want to delete the unneeded portions of the sound (before and after the Start/End points), to free up memory space. Press the
[SF4] EXTRACT button to delete this excess data.
Start
(Start Point)
Loop
(Loop Point)
End
(End Point)
[F5] CANCEL button
11
Return to the Pattern Play mode by pressing the
[PATTERN] button or [EXIT] button.
12
Press the [
F
] (Play) button to play the created
Pattern.
[SF4] EXTRACT
13
Save the created Pattern data to a SmartMedia/
USB storage device (page 132) before turning the
power off.
Start
(Start Point)
Loop
(Loop Point)
End
(End Point)
Owner’s Manual
Creating a Song on the MOTIF ES
■
Loading a WAV file/AIFF file to a Pattern track
Audio data you’ve created and stored in the common WAV or AIFF computer audio formats can be loaded to the instrument and used with the Slice function to divide the sample and assign the slices to different MIDI notes — letting you match the sampled rhythm to virtually any tempo. Set up the media containing the desired WAV/AIFF audio files (e.g., insert a SmartMedia card to the CARD slot or connect a USB storage device), then follow the instructions below.
Sample Voice
Sample
Load Slice
MIDI sequence data
CANCEL
Depending on the size of the audio (sample) data obtained via the Sampling function, you may not be able to save all of the desired data to a SmartMedia card (maximum capacity: 128MB). For this reason, we recommend using a large-capacity USB storage device for your Sampling data.
1
In the Pattern mode, select a Pattern and Section to be created, press the [FILE] button to enter the
File mode, then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
2
Press the [F3] LOAD button to call up the Load display.
4
Select the file ( ) to be loaded and specify the destination.
When moving the cursor to a WAV file (extension: WAV) or
AIFF file (extension: AIF), the destination parameter automatically appears in the display.
Track
KeyBank
Determines the destination Track number of the current pattern.
Determines the key to which the loaded file is to be assigned. Immediately after loading, you can hear the loaded file sound by pressing the key set here.
3
Select a file type to be loaded.
Set Type to “Waveform.” This setting lets you select and load a specific Waveform from a file (extension: W7W) saved as
“AllWaveform” or load a WAV file/AIFF file as a Waveform.
CAUTION
Loading data to this synthesizer automatically erases and replaces any existing data in the User memory. Make sure to save any important data to a SmartMedia/USB storage device before performing any Load operations.
5
Press the [ENTER] button to execute the Load operation.
After the data has been loaded, a “Completed” message appears and operation returns to the original display.
CAUTION
While the data is being saved, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or USB storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
6
Press the key set in step #4 for Key Bank to confirm the loaded file sound.
7
Press the [INTEGRATED SAMPLING] button, then the [JOB] button to enter the Sampling Job mode.
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Creating a Song on the MOTIF ES
8
Call up the Slice Job display.
Press the [F1] KEYBANK button, move the cursor to “12:
Slice,” then press the [ENTER] button.
10
Return to the Pattern Play mode by pressing the
[PATTERN] button or [EXIT] button.
11
Press the [
F
] (Play) button to play the created
Pattern.
9
Execute the Slice Job.
1
Set the parameters shown below.
Measure
Meter
LowestKey
Determines the number of measures the sample is recognized as having.
Determines the rhythmic meter the sample is recognized as having.
Determines the lowest key (first MIDI note) from which the sample slices will be assigned in order.
Set other parameters as necessary, referring to page 258.
2
Press the [ENTER] button (the display prompts you for confirmation), then press the [INC/YES] button to execute
Slice.
3
Confirm the result of the operation.
Play the assigned keys in order (from the one set in step #9-1 above) to hear the individual slices of the sample.
To hear how the resulting pattern would sound when played by
MIDI sequence data, press the [SF1] AUDITION button.
4
If you’re satisfied with the results of the Slice operation, press the [F6] OK button.
If you’re not satisfied with the results and want to continue editing, press the [F5] CANCEL button and attempt the operation again from step #9-1 above.
Slice display (before executing Slice)
12
■
Recording your keyboard performance to a
Pattern track
1
In the Pattern Play mode, select a Pattern and
Section to be created.
2
Set the Mixing parameters (including the Voice
settings) by following the instructions on pages
127 - 128.
You can make changes to the Voice settings after entering the
Record mode (in step #4 below). However, if you intend to make detailed settings to the Mixing parameters, you should do so before enabling recording.
3
Save the created Pattern data to a SmartMedia/
USB storage device (page 132).
Set the meter (time signature), tempo, and length of the pattern.
Indicates the Waveform and Key Bank containing the sample for which the Job is applied. In this case, you won’t need to change these settings since they were set when loading the data.
[ENTER] button
Slice display (after executing Slice)
Meter (time signature) Tempo Length of pattern
4
Press the [
●
] (Record) button to enter the Pattern
Record mode.
SEQ TRANSPORT
LOCATE 1 2
[F5] CANCEL button
110
Owner’s Manual
5
Press the [TRACK SELECT] button (the lamp lights), then select the desired track from the number buttons [1] - [16].
TRACK
SELECT 1 2 3 4 5 6 7 8
9
ELEMENT/PERF. PART/ZONE
10 11 12 13 14 15 16 MUTE
SOLO
Recording track
Creating a Song on the MOTIF ES
8
Press the [
F
] (Play) button to start recording.
When a Drum Voice is selected, for example, try recording the rhythm pattern shown below.
As shown in the example below, notes that you record will play back from the next repetition (loop), letting you record while hearing previously recorded material.
SEQ TRANSPORT
LOCATE 1 2
Start recording
Actual recording starts after one measure.
6
Set the parameters related to recording in the
[F1] SETUP display.
Set the Type to “overdub” then set the Loop to “on.” These settings let you repeat the pattern recording in a “loop” and record additional note events without deleting alreadyrecorded data.
Set other parameters as necessary. See page 243 for details.
7
Set the parameters related to the Voice you wish to use during recording in the [F2] VOICE display.
Call up the display for setting a Voice by pressing the [F2]
VOICE button. You won’t need to make settings in this display if you’ve already completed Voice/Mixing settings in step #2 above.
Bank Number
Loop 1st round
Bass Drum
Loop 2nd round
Snare Drum
Bass Drum
Loop 3rd round
Hi-Hat
Snare Drum
Bass Drum
This lets you turn the click sound (metronome) on/off for recording. (Press the [F5] button.)
9
Press the [
■
] (Stop) button to stop recording.
This operation exits from the Pattern Record mode to the
Pattern Play mode.
10
Press the [
F
] (Play) button to hear your newly recorded phrase.
11
Record different phrases to other tracks by repeating steps #4 - 10.
12
Save the created Pattern data to a SmartMedia/
USB storage device (page 132) before turning the
power off.
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Creating a Song on the MOTIF ES
■
Recording a rhythm pattern created by Arpeggio playback to a Pattern track
The Arpeggio function is a virtually endless source of creative inspiration, putting a huge variety of rhythm patterns, riffs and phrases at your fingertips — patterns that change depending on the notes you play. Once you come with some patterns you like and want to use in a Song, you can record them to a
Pattern track.
4
5
Go back to the Pattern Play mode, then set the meter, tempo, and length of the current pattern.
Press the [
●
] (Record) button to enter the Pattern
Record mode.
1
In the Pattern mode, select a Pattern and Section to be created.
6
Select the desired track for recording ([1] - [16]).
For details about how to select a track, see page 58.
2
Set the Mixing parameters (including the Voice
settings) by following the instructions on pages
127 - 128.
You can make changes to the Voice settings after entering the
Record mode (in step #5 below). However, if you intend to make detailed settings to the Mixing parameters, you should do so before enabling recording.
7
Set the parameters related to recording in the
[F1] SETUP display.
Set Type to “replace” and set Loop to “off.”
Set other parameters as necessary. See page 243 for details.
3
Play with the Arpeggio features and find a rhythmic pattern/phrase you like.
1
Enter the Mixing Edit mode ([MIXING]
→
[EDIT]), select the desired Part (track to be recorded), then press the [F1] VOICE button, followed by the [SF2] MODE button.
2
Set the ArpSwitch (Arpeggio Switch) parameter to “on.”
3
Call up the Arpeggio Type selection display ([COMMON]
→
[F3]
ARP
→
[SF1] TYPE).
4
Select the desired Arpeggio type in the [SF1] TYPE display, then press the [ARPEGGIO ON/OFF] button (the lamp lights).
REMOTE
ON / OFF
R-AUDIO
G-MIDI
ARPEGGIO
ON / OFF
8
Set the parameters related to the Voice you wish to use during recording in the [F2] VOICE display.
Call up the display for setting a Voice by pressing the [F2]
VOICE button. You won’t need to make settings in this display if you’ve already completed Voice/Mixing settings in step #2 above.
9
Set the parameters related to an Arpeggio you wish to use during recording in the [F3] ARP display.
Call up the display for setting a Voice by pressing the [F3]
ARP button. You won’t need to make settings in this display if you’ve already completed Arpeggio settings in the Mixing Edit mode, in step #3 above.
10
Set the RecArp parameter to “on” in the [F4]
RECARP display.
When this is set to “on,” the Arpeggio playback data is recorded to a track as MIDI sequence data.
Select an Arpeggio Type and Bank.
112
Try out various Arpeggio types, and also try tweaking various parameters in the [SF1] - [SF4] displays. When you find a rhythm or phrase that you like and want to use, go to step #4.
Owner’s Manual
Creating a Song on the MOTIF ES
11
Press the [
F
] (Play) button to start recording.
During recording, play the note or notes needed to trigger the Arpeggio you found in step #3.
Start recording
SEQ TRANSPORT
Arpeggio playback
LOCATE 1 2
Recording stops automatically when Pattern playback reaches the end, since Loop is set to “off.”
Actual recording starts after one measure.
12
Turn the [ARPEGGIO ON/OFF] indicator off, and press the [
F
] (Play) button to hear your newly recorded phrase.
13
Save the created Pattern data to a SmartMedia/USB storage device (page 132) before turning the power off.
■
Assigning a pre-programmed Phrase to a Pattern track
The Pattern mode also has a versatile Patch function that lets you assign pre-programmed one-track rhythm “Phrases” to each track. Use the special preset Phrases already in internal memory, or create your own User Phrases — by recording, or loading
Pattern data from the included CD-ROM (Sound Library for MOTIF ES6/MOTIF ES7/MOTIF ES8). Use the Assigning Phrases function to assemble your original Patterns, with up to 16 tracks.
1
In the Pattern Play mode, select a Pattern and Section to be created.
2
Press the [F4] PATCH button to call up the Patch display.
3
Select the desired track and assign a Phrase to the selected track.
Indicates the category of the preset Phrases.
Indicates the Phrase number.
1 2 3 4
9
ELEMENT/PERF. PART/ZONE
10 11 12
5
13
6 7
14 15
8
16
Select a track.
TRACK
SELECT
MUTE
SOLO
DEC/NO INC / YES
Select a Preset Phrase.
SEQ TRANSPORT
LOCATE 1 2
Play the Pattern to confirm the assigned Phrase.
4
Select another track and assign a User Phrase to it.
The instrument provides a total capacity of 256 User Phrases. Keep in mind that these are originally empty and have no data, unless you record or load data to them.
1 2 3 4
9
ELEMENT/PERF. PART/ZONE
10 11 12
5
13
6 7
14 15
8
16
TRACK
SELECT
MUTE
SOLO
Select a track.
DEC/NO INC / YES
Select a User Phrase.
SEQ TRANSPORT
LOCATE 1 2
Play the Pattern to confirm the assigned Phrase.
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Creating a Song on the MOTIF ES
5
Select a different track and copy the User Phrase from the another pattern to the selected Pattern’s track.
The User Phrases that can be assigned with the Patch function are limited to the ones contained in the currently selected
Pattern. To copy Phrases from other Patterns for use in the current one, follow the instructions below.
1
In the [F4] PATCH display, press the [SF5] COPY button to call up the Copy Phrase display.
2
First, specify the source Pattern number and Phrase number as well as the destination (current Pattern) Phrase number and track number. Then, press the [ENTER] button to execute the Copy operation.
Source Pattern number, Phrase number
Destination Phrase and track of the current edited Pattern.
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.
3
Press the [EXIT] button to return to the [F4] PATCH display, then check the assigned Phrase by pressing the [ play the Pattern.
F
] (Play) button to
114
6
Save the created Pattern data to a SmartMedia/USB storage device (page 132) before turning the power off.
Using the Groove function
The Groove function makes it possible to adjust the pitch, timing, length, and velocity of notes in a specified track via a 1-measure
16th-note grid to create interesting, unique “grooves” that would not be possible with precise sequencer-like programming. n The Groove settings are applied to all measures of the current Pattern. Keep in mind that you cannot apply different Groove settings to each measure. n
The Grid Groove function affects Pattern playback without actually changing the MIDI sequence data (created via the Recording, Sampling, File Loading,
1
In the Pattern Play mode, select a Pattern and Section for which the Groove is to be applied.
2
Press the [F2] GROOVE button to call up the Groove display.
3
Select the desired track and adjust the Groove parameters.
Select a track.
Set each parameter.
Play the Pattern to check the result of the
Groove settings.
1 2 3 4
9
ELEMENT/PERF. PART/ZONE
10 11 12
5 6 7 8
13 14 15 16
Move the cursor...
DEC/NO
LOCATE 1
INC / YES
EXIT
SEQ TRANSPORT
ENTER
EXECUTE
2
Set the value.
DEC/NO INC / YES
TRACK
SELECT
MUTE
SOLO n
You can edit the Groove parameters in real time during playback.
Move the cursor to the desired parameter and grid point and set the offset value.
minus
NOTE OFST
CLOCK SFT
GATE OFST
VELO OFST
0 plus
Grid
NOTE OFST (Note Offset)
CLOCK SFT (Clock Shift)
GATE OFST (Gate time Offset)
VELO OFST (Velocity Offset)
Raises or lowers the pitch of the note(s) on the selected grid in semitones.
Shifts the timing of the note(s) on the selected grid forwar d or backward in clock increments.
Lengthens or shortens the note(s) on the selected grid in clock increments.
Increases or decreases the velocity of the note(s) on the selected grid.
Owner’s Manual
Creating a Song on the MOTIF ES
4
Save the created Pattern data to a SmartMedia/USB storage device (page 132) before turning the power off.
TIP
Using the Groove settings to change the Pattern data
Grid Groove is a playback-only feature that processes the recorded data of a Pattern without actually changing it. In other words, the original data (created via the Recording, Sampling, File Loading and Patch functions) remains intact. If you want to make the Grid Groove settings permanent and change the data, use Normalize Play Effect in the Pattern Jobs
([PATTERN]
→
[JOB]
→
[F5] TRACK
→
04: Normalize Play Effect). From this display, specify the track to be changed according to the Groove settings, and press the [ENTER] button to execute.
Creating a Section and Pattern Chain
■
Creating a Section
Each Pattern consists of 16 Sections (A~H) which can be used as Pattern variations. Create the desired rhythm pattern variations, or Sections, that you wish to use as accompaniment and backing for your new Song. After you’ve created the
Sections, you can string these Sections together in any order desired to assemble the backing part of the Song, over which you can record a melody line and any other parts, in the Song Record mode.
Section A
Pattern Chain
.....Enter the desired Sections for the Song
Section B Section F Section H
........
Convert
Song n
CAUTION
The same User Phrases can be assigned to different Sections within a pattern. Keep in mind, however, that the Section data will automatically be changed if another Section sharing the same User Phrase is changed. For example, if you’ve assigned a certain User Phrase to both Section A and Section D, and you change that User Phrase for Section A, the same Phrase will be changed for Section D as well.
■
Creating a Pattern Chain by changing a Section while playing a Pattern
Switching of sections, track muting, scene/mute changes, and tempo changes can all be recorded in real time as the
Pattern Chain.
1
In the Pattern Play mode, select a Pattern for which data has already been created.
The Pattern (“patt”) track lets you record Section changes at the desired measure points in the Song.
Pattern Chain Play display
SEQ TRANSPORT
2
Press the [F6] CHAIN button to call up the
Pattern Chain Play display.
LOCATE 1 2
3
Press the [
●
] (REC) button to enter the Pattern
Chain Record mode, then set the basic parameters.
In the Pattern Chain Record Setup display, you can set the
Recording track and tempo. Three Pattern Chain track types are available. The Tempo track lets you record tempo changes for the Chain, and the Scene track lets you record track on/off changes.
Pattern Chain Record Setup display
Tempo
Set the recording track to “patt” and enter the Sections to the desired measures.
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116
Creating a Song on the MOTIF ES
4
Press the [
F
] (Play) button to start recording and play the Pattern.
Change the Section at the desired points, as the Pattern plays.
SEQ TRANSPORT
■
Editing a Pattern Chain
The Pattern Chain Edit mode makes it possible to edit the order of the Sections in a chain as well as inserting tempo, and scene/mute event data.
1
In the Pattern Play mode, select a Pattern for which data has already been created.
LOCATE 1 2
2
Press the [F6] CHAIN button to call up the
Pattern Chain Play display.
Section I-P
PRE 5 PRE 6 USER 1 USER 2 GM PLG 1 PLG 2 PLG 3
A. PIANO KEYBOARD ORGAN
A B C
GUITAR/
PLUCKED
D
BASS
E
STRINGS BRASS REED/PIPE
F G H
SYN LEAD SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
DRUM/
PERCUSSION
SE MUSICAL FX COMBI
CATEGORY
SEARCH
SECTION
Section A-H
3
Press the [EDIT] button to enter the Pattern
Chain Edit mode, then edit each track of the
Pattern Chain.
EDIT
Pattern Track Edit
5
Press the [
■
] (Stop) button to stop recording.
Operation returns to the Pattern Chain display.
6
Press the [
F
] (Play) button to hear the recorded
Pattern Chain.
7
Save the created Pattern data to a SmartMedia/
USB storage device (page 132) before turning the
power off.
You can also record the Tempo track and Scene track as desired. When the recording track is set to “tempo,” move the cursor to tempo value (during recording in step #4 above) and use the data dial and the [INC/YES]/[DEC/NO] buttons to change the tempo while the Chain is playing. When the recording track is set to “scene,” press the [MUTE] button
(the lamp lights) and use the number buttons [1] - [16] to turn each track on/off as desired during recording.
Enter the desired section
(A - P) or the End mark by using the [INC/YES] and
[DEC/NO] buttons.
[F4] button
Scene Track Edit
Press the [F6] button to clear the event at the cursor location.
Tempo Track Edit
[F4] button
[F4] button
Press the [F5] button to insert the event to the cursor location.
Press the [F6] button to delete the event at the cursor location.
4
Press the [EXIT] button to return to the Pattern
Chain Play display, then press the [
F
] (Play) button to hear the edited Pattern Chain.
5
Save the created Pattern Chain as Pattern data to
a SmartMedia/USB storage device (page 132)
before turning the power off.
Owner’s Manual
■
Converting a Pattern Chain to Song data
1
In the Pattern Play mode, select a Pattern for which Pattern Chain data has already been created.
2
Press the [F6] CHAIN button to call up the
Pattern Chain Play display.
3
Press the [EDIT] button to enter the Pattern
Chain Edit mode.
4
Press the [F3] SONG button to call up the
“Convert to Song” display, then specify the destination Song.
Creating a Song on the MOTIF ES
5
Press the [ENTER] button to execute the Convert operation.
The Pattern Chain data is converted to Song data and copied to the top measure of the destination Song.
CAUTION
This operation overwrites any data already existing at the destination
Song.
6
Save the Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
CAUTION
The created Song data resides temporarily in DRAM (page 187). Because
data contained in DRAM is lost when the power is turned off, you should always store any data residing in DRAM to a SmartMedia/USB storage device before turning off the power.
Destination Song number and the top measure number
When this box is checkmarked, program change messages in the MIDI sequence data are not copied.
Creating a Song
The following chart illustrates the basic procedure for creating a Song, using the various methods and functions described in this tutorial. Now, that you’ve assembled the backing tracks for your Song (by converting the Phrases or Pattern Chain to Song data, you can now record melody parts on top of them.
Keyboard
Performance
Audio data
Phrase
Pattern Chain
Record your keyboard performance to each track one by one in the Song Record mode, called up via [SONG]
→
[ ● ] (REC).
Record audio data in the Sampling mode.
Copy the Phrase to the Song in the [SONG]
→
[F5]
PHRASE display.
Convert the Pattern Chain to Song data ([PATTERN]
→
[F6] CHAIN
→
[EDIT]
→
[F3] SONG).
Song track
Song track 1
Song track 2
Song track 3
Song track 4
Song track 5
Song track 6
Song track 7
Song track 8
Song track 9
Song track 10
Song track 11
Song track 12
Song track 13
Song track 14
Song track 15
Song track 16
CAUTION
store any data residing in DRAM to a SmartMedia/USB storage device before turning off the power.
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Creating a Song on the MOTIF ES
Recording with the keyboard to a Song track (in the Song Record mode)
■
Recording your keyboard performance to an empty track (Replace)
Use the Replace recording method to record your keyboard performance to an empty track or overwriting an already recorded track with new data.
1
In the Song Play mode, select a Song to be created.
2
Set the Mixing parameters (including the Voice settings)
by following the instructions on pages 103 - 104.
You can make changes to the Voice settings after entering the
Record mode (in step #3 below). However, if you intend to make detailed settings to the Mixing parameters, you should do so before enabling recording.
5
Set the parameters related to recording in the
[F1] SETUP display.
Set the Type parameter to “replace.”
Set other parameters as necessary. See page 222 for details.
6
Set the parameters related to the Voice you wish to use during recording in the [F2] VOICE display.
Call up the display for setting a Voice by pressing the [F2]
VOICE button. You won’t need to make settings in this display if you’ve already completed Voice/Mixing settings in step #2 above.
Bank Number
3
Press the [
●
] (Record) button to enter the Song
Record mode.
SEQ TRANSPORT
LOCATE 1 2
This lets you turn the click sound (metronome) on/off for recording. (Press the [F5] button.) n Non-note settings (such as Voice, volume and pan) that are made at the beginning of a Song are not recorded as MIDI sequence data but rather as Mixing setup data. However, when these non-note settings are recorded in the middle of a Song, they are recorded as part of the
MIDI sequence data.
7
Press the [
F
] (Play) button to start recording.
Listen to the playback of the already recorded tracks and play
(record) the keyboard along with them.
SEQ TRANSPORT
4
Press the [TRACK SELECT] button (the lamp lights), then select the desired track from the number buttons [1] - [16].
Song data is made up of three different types — Scene, Tempo and
Pattern — each of which have their own separate tracks. The Scene
track contains Song Scene (page 123) changes and the Tempo track
contains playback tempo changes. The Song tracks (1 - 16) contain the actual note data. Since you’ll be recording a melody with the keyboard, select one of the number tracks, using the [1] - [16] buttons.
TRACK
SELECT 1 2 3 4 5
9
ELEMENT/PERF. PART/ZONE
10 11 12 13
6
14
7 8
15 16 MUTE
SOLO tempo scene 1-16
Start recording
LOCATE 1 2
Actual recording starts after one measure.
8
Press the [
■
] (Stop) button to stop recording.
This operation exits from the Song Record mode to the Song
Play mode.
9
Press the [
F
] (Play) button to hear your newly recorded song.
n
When the RecTrack is set to “multi,” you can simultaneously record multiple channels of MIDI data (up to 16 channels) to all 16 tracks.
10
Record additional melody parts to the other tracks as needed by repeating steps #3 - 9 above.
11
Save the created Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
Owner’s Manual
Creating a Song on the MOTIF ES
■
Re-recording a specific part of a Song (Punch In/Out)
Use the Punch In/Out recording method to record over only a specific portion of the track. In the example instructions below, you’ll see how to re-record measures three through five of an already recorded Song.
1
In the Song Play mode, select a Song to be created.
8
Save the created Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
n Punch In/Out recording is available only in the Song Record mode.
This is not available in the Pattern Record mode.
2
3
Press the [
●
] (Record) button to enter the Song
Record mode.
Press the [TRACK SELECT] button (the lamp lights), then select the desired track from the number buttons [1] - [16].
■
Recording additional notes to an alreadyrecorded track (Overdub)
Use the Overdub recording method when you want to add more data to a track that already contains data. This is useful not only for recording more notes to a track; it’s also convenient for adding non-note, sound-shaping data, such as that of the Knobs and Ribbon Controller.
1
In the Song Play mode, select a song to be created.
4
Set the parameters related to recording in the
[F1] SETUP display.
Set the Type parameter to “punch” and specify the area to be re-recorded.
Set other parameters as necessary. See page 222 for details.
Punch In (Recording start measure : beat)
Playback of the recording track is turned off from this point, and your keyboard performance will be recorded to the track.
Location setting
2
3
Press the [
●
] (Record) button to enter the Song
Record mode.
Press the [TRACK SELECT] button (the lamp lights), then select the desired track from the number buttons [1] - [16].
4
Set the parameters related to recording in the
[F1] SETUP display.
Set the Type parameter to “overdub.”
Set other parameters as necessary. See page 222 for details.
Punch Out (Recording end measure : beat)
Recording ends at this point and normal playback of the recording track starts.
Press the [SF1] COPY LOC to assign the measure numbers registered to the Locations (Loc1 and Loc2) to the Punch In and Punch Out points.
5
Press the [
F
] (Play) button to start recording.
SEQ TRANSPORT
LOCATE 1 2
5
Press the [
F
] (Play) button to start recording.
Playback starts, and the notes (or controller data) you play are added to the existing data.
Playback start
When Song playback reaches the Punch In point, play the keyboard.
6
Press the [
■
] (Stop) button to stop recording after the Song playback reaches the Punch Out point.
7
Press the [
F
] (Play) button to hear the part you’ve just re-recorded.
6
Press the [
■
] (Stop) button to stop recording after the Song playback reaches the Punch Out point.
7
Press the [
F
] (Play) button to hear the part you’ve just re-recorded.
8
Save the created Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
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Creating a Song on the MOTIF ES
TIP
Rehearsing parts before recording
The MOTIF ES has a convenient Rehearsal mode in recording, that 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 temporarily disengage the record mode and enter the “Rehearsal” mode, simply press the [ ● ] (Record) button during realtime recording – the [ ● ] (Record) indicator will flash and playback will continue uninterrupted but no data will be recorded. To return to the record mode press the [ ● ] (Record) button again – the [ ● ] (Record) indicator will light continuously. You can repeat this process as often as you wish, pressing the [ ■ ] (Stop) button to cancel the Rehearsal mode.
The Record button lamp indicates the Recording/
Rehearsal status: continuously lit indicates Recording, and flashing indicates Rehearsal.
Recording
SEQ TRANSPORT
Rehearsal mode
(playback continues)
SEQ TRANSPORT
LOCATE 1 2 LOCATE 1 2
TIP
Song Recording using a Performance
If you have a favorite Performance or one that would fit the Song to be recorded, you can copy certain settings of up to four Parts of the Performance to the Song
Mixing settings currently being edited.
1
Enter the Song Mixing Job mode ([SONG]
→
[MIXING]
→
[JOB]).
2
Press the [F5] PF COPY button to call up the
Performance Copy display.
3
Set the parameters as necessary in the [F5] PF
COPY display, then press the [ENTER] button to execute the Copy operation.
Select a source Performance.
Checkmark the boxes of the desired parameters.
TIP
Insert a Tempo change event to the middle of the Song
You can use the following three methods to change the tempo in the middle of the already-recorded song.
● Using the Tempo track
Start recording after setting the Type parameter to
“replace,” setting RecTrack to “tempo,” and moving the
cursor to the tempo value in step #4 on page 118.
During recording, change the tempo value while listening to Song playback.
● Song Edit
In the Song Play mode, press the [EDIT] button to enter the Song Edit mode. Select the Tempo track (TMP) by pressing the [F4] TR SEL button once or twice, then change the existing tempo value or insert a new tempo value by using the [F5] INSERT button.
For details about Song Edit, see page 124.
● Step Recording
In step #4 on page 118, set the Type parameter to
“step” and RecTrack to “tempo” then press the [ F ]
(Play) button to start Step recording. After moving the cursor to “Value,” move the song pointer by using the
[
H
] (Forward) button and change the tempo value at the desired point.
For details about Step Recording, see page 238.
The destination Mixing Parts appear automatically. The displayed
Part numbers differ depending on the source Performance. If the source Performance contains four Parts, “1, 2, 3, 4” appears here.
4
Press the [SONG] button to return to the Song
Play mode, then select Track 1 and play the keyboard.
Check whether the sound you hear is the same as that of the source Performance or not.
5
Record your keyboard performance to Track 1.
6
Store the Song Mixing in the [SONG]
→
[MIXING]
→
[STORE] display.
The settings copied from the Performance should be stored as Song Mixing data.
7
Save the created Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
n The explanations above also apply to the Pattern mode.
Step Recording
The explanations in this Quick Guide have concentrated on Realtime Recording. However, the Step Recording method is also available, letting you record a Song by entering notes and events individually — much like writing them down on paper. This is especially useful for recording passages that would be difficult or impossible to play. The Step Recording can be executed by setting the Type to “step” in the [F1] SETUP display in the Song
Record mode. For details on using Step Recording, see
n Step Recording can be used both in the Song Record mode and the Pattern Record mode.
Owner’s Manual
Creating a Song on the MOTIF ES
TIP
Song Recording using Plug-in Voices
This section shows you how to use the Voices of an optional Single Part Plug-in Board (such as PLG150-AN, PLG150-PF and PLG150-DX) in recording a Song.
1 ~ 4
Install a Single Part Plug-in Board to the
instrument, then follow steps #1 - 4 on page 75 to
set the necessary parameters.
In step #4, set PORT.NO (port number) to “2” or “3.”
Keep in mind that if you’ve also installed a PLG100-
XG Multi-Part Plug-in Board, the boards should be set to different numbers.
When a Single Part Plug-in Board has been installed to slot 1, move the cursor here then set the port number.
When you play the keyboard, you should be able to hear the selected Voice of the Plug-in Board. If the Voice of the
Plug-in Board does not sound as expected, check the following points.
● Make sure that the OUT CH of the track matches the
Receive Channel of the corresponding Part of the tone generator.
Check the ReceiveCh (MIDI Receive Channel) in the display called up by pressing the [SF2] MODE in the above display, then check the OUT CH (MIDI Output
Channel) of track 1 in the display shown in step #6.
These two channels should be same.
● Make sure that the destination tone generator is set to internal, not external.
Check the settings in the display called up via the [F1]
PLAY
→
[SF2] OUT CH button. The INT SW of the corresponding track (1 in this case) should be set to
“on.”
5
Enter the Song Play mode and call up the MIDI output setting display ([SONG]
→
[F3] TRACK
→
[SF1] CHANNEL).
6
Select the track for recording, making sure that the track number is the same as that of the slot to which the Plug-in Board is installed, and set the port number.
The track number must match the slot number, and the port number must be the same as set in step #4 above.
When a Single Part Plug-in Board has been installed to slot 1, move the cursor here then set the port number.
7
Select a Voice of the installed Plug-in Board.
Enter the Mixing Edit mode ([MIXING]
→
[EDIT]
→
Part selection). Press the [F6] button once or twice to call up the display for the Plug-in Board parts (PLG
parts) as shown below (page 164). Next, press the
[TRACK SELECT] button (the lamp lights), and select the PLG Part of Slot 1 by pressing the [1] button.
Finally, press the [F1] VOICE button, followed by the
[SF1] VOICE button, then select the desired Voice on the Plug-in Board.
Voice Bank
8
Record your keyboard performance using the Plugin Voice to track 1.
9
Store the Song Mixing settings in the [SONG]
→
[MIXING]
→
The settings related to the Plug-in Board voice should be stored as Song Mixing data.
10
Save the created Song data to a SmartMedia/USB
storage device (page 131) before turning the
power off. n The explanations above apply also to the Pattern modes.
Voice Number
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122
Creating a Song on the MOTIF ES
Using the Groove function
Just as in the Pattern Play mode, the Groove function is available also in the Song Play mode.
For details, refer to the explanation of Groove in the Pattern
1
In the Song Play mode, select a Song for which the Groove settings are to be applied.
3
Press the [F2] SOURCE button to call up the display for setting the Sampling Source, then set the parameters as shown below.
Type: sample+note
Source:
Next:
A/D off
Mono/Stereo: stereo
Frequency: 44.1k
2
Press the [F2] GROOVE button to call up the
Groove setting display.
3
Select a track, then adjust the Groove settings.
4
Save the created Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
CAUTION
The created Song data resides temporarily in DRAM (page 187). Because
data contained in DRAM is lost when the power is turned off, you should always store any data residing in DRAM to a SmartMedia/USB storage device before turning off the power.
For details about each parameter, see page 253.
4
Press the [F1] DEST button to call up the display for setting the Sampling Destination, set the parameters as described below.
Sampling a one-shot sound to a Song track
The MOTIF ES conveniently lets you sample audio material, even while a Song is playing. This allows you to quickly and easily “fly in” samples to your Song as you need them — for example, capturing short sound effects from a CD, or recording background vocal phrases with a microphone.
Sounds like these can be added to the Song as desired, and can even be aligned in time as needed after recording in the
Song Edit mode.
In order to use the Sampling function, DIMM modules must be
installed to the instrument. For details on installing DIMMs, see page
1
Connect an audio device (CD player, etc.) to the instrument.
Follow steps #1 - 8 on page 73, substituting the instructions
below for steps #4 and 8.
In step #4, press the [SONG] button to enter the Song Play mode then select a song to be created.
In step #8, set the related parameters from the AUDIO IN display ([SONG]
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F5]
AUDIO IN).
Track
Keybank
This parameter determines the Song track to which the
Sample Voice is assigned.
This parameter determines the note to which the sample is assigned.
5
Press the [F6] REC button to call up the
Sampling Record display (Sampling Standby status), then set the parameters as required.
Set the TrggrMode (Trigger Mode) to “meas” then specify the
Punch In measure (at which the Sampling starts automatically) and the Punch Out measure (at which
Sampling stops automatically).
Punch In measure
Measure number at which
Sampling starts automatically
Punch Out measure
Measure number at which
Sampling stops automatically
Indicates Sampling
Standby status.
2
Press the [INTEGRATED SAMPLING] button in the Song mode to enter the Sampling mode.
Owner’s Manual
Creating a Song on the MOTIF ES
6
Press the [F6] REC button again enable Punch In
Waiting.
Doing this puts sample recording on standby, waiting for song/pattern playback to reach the specified Punch-in measure.
F 6
9
Stop the audio equipment when the Song reaches the Punch Out point (when sampling stops).
Press the [F3] AUDITION button to hear the sampled sound.
If you’re not satisfied with the results and you wish to try again, press the [F4] CANCEL button to return to the
Sampling Standby display and try sampling from step #5 again. If you are satisfied with the results, press the [F5] OK button to store the sampled sound as a “sample” and return to the [F1] DEST or [F2] SOURCE display.
Keep in mind that if the Confirm function is turned off in step
#5 above, the display shown above will not appear when stopping sampling. Instead, stopping sampling returns directly to the [F1] DEST or [F2] SOURCE display.
Indicates that sample recording is waiting for song/pattern playback to reach the specified Punch-in measure.
10
Press the [SONG] button or [EXIT] button to return to the Song Play mode.
7
Press the [
F
] (Play) button to start Song playback.
8
Start the audio equipment when the Song reaches the Punch In point (when sampling actually starts).
Audio is recorded to the instrument.
11
Press the [
F
] (Play) button to play the Song.
Listen back to the Song (the sample automatically sounds along with playback) and check that the timing is correct. If you’re not satisfied with the timing, you can adjust it as needed in the Song Edit mode. For details about Song Edit,
12
Save the Song data to a SmartMedia/USB
storage device in the File mode (page 132) before
turning the power off.
Registering a Song Scene and Arpeggio type simultaneously to the [SF1] - [SF5] buttons
Song Scenes and Arpeggio types can both be registered to the [SF1] - [SF5] buttons (when the ARP1 - ARP5 menu items are shown at the bottom of the display). These settings are stored as Song data. Song Scene is a powerful function that allows you to store five different “snapshots” of important Song related parameters – including transpose, tempo, track mute status, and the basic sound/ mixing controls (all parameter settings controllable from the Knobs with the [PAN/SEND] or [TONE] lamp turned on, and the Control
Song Scene and Arpeggio type simultaneously by simply pressing one of the [SF1] - [SF5] buttons (when ARP1 - ARP5 are shown at the bottom of the display in the Song mode).
● Registering a Song Scene and Arpeggio type simultaneously to the [SF1] - [SF5] buttons
● Recalling a Song Scene and Arpeggio type simultaneously from the [SF1] - [SF5] buttons
STORE
SCENE STORE
SET LOCATE
Simultaneously hold the [STORE] button and press one of the [SF1] - [SF5] buttons.
ARPEGGIO
ON / OFF
SCENE
SF1 SF 2 SF 3 SF 4 SF 5
SCENE
SF1 SF 2 SF 3 SF 4 SF 5
In the Song mode, you can register the Song Scene and Arpeggio type simultaneously to the [SF1] - [SF5] buttons only when the
ARP1 - ARP5 menus appear at the bottom in the display.
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Creating a Song on the MOTIF ES
■
Recalling a Song Scene and Arpeggio type during recording
ARP1 - ARP5 menus appear also in the [F3] ARP display in the Song Record mode as well as the [F1] PLAY display in the Song
Play mode. These indicate that you can change the Song Scene and Arpeggio type simultaneously during Song recording from the [F3] ARP display.
■
Recording Song Scene changes to a song
Each Song contains a Scene track to which you can record Scene changes. When the RecTrack is set to “scene” in step #4
by pressing the [SF1] - [SF5] buttons during recording. n The explanations on Arpeggio here also apply to the Pattern mode.
n As in the Voice mode and Performance mode, Arpeggio types can only be registered to the [SF1] - [SF5] buttons when the [ARPEGGIO ON/OFF] button is turned off.
n
For details on how to select an Arpeggio type in the Song mode/Pattern mode, see page 105.
Editing the recorded song
The Song Edit mode and Song Job mode can be used to edit or change the data of the already recorded song.
The Song Edit mode lets you change the recorded data and insert new data if needed. This includes note data as well as nonnote data, such as program (Voice) changes and MIDI control change messages. The Song Job mode on the other hand provides a comprehensive variety of tools you can use to transform the recorded data — such as cleaning up the timing
(Quantize), transposing, changing the velocity of notes, modifying the length of notes, and other useful operations for altering the sound. It also includes a variety of convenient operations, such as copying or erasing data. Most of these operations can be performed on either an entire track or a selected range of measures in the track.
n The explanations here also apply to the Pattern mode.
■
Editing the recorded Song data by MIDI event (in the Song Edit mode)
1
Press the [SONG] button to enter the Song Play mode, then select a Song to be edited.
2
Enter the Song Edit mode by pressing the [EDIT] button (the lamp lights), then press the [F1] CHANGE button to call up the MIDI event list display.
EDIT
Song position
007:1-007
Measure number Beat
Clock (480 clocks per quarter-note)
MIDI events
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Creating a Song on the MOTIF ES
3
Select a track to be edited.
Select one of the three available track types by pressing the
[F4] TR SEL (Track Select) button. Each press of the button alternates among the track types.
To select one of the Pattern tracks (1 - 16), make sure the 1-16 track edit display is selected (see below), then turn the
[TRACK SELECT] button on and press any of the [1] - [16] buttons.
TRACK
SELECT
1 2 3 4
9
ELEMENT/PERF. PART/ZONE
10 11 12
5
13
6 7
14 15
8
16
MUTE
SOLO
Select a track to be edited from 1 - 16.
1 - 16 track edit display
When changing the value, the entire line will flash on the display indicating this is being edited and not fixed yet.
[ENTER] button
This value has been fixed as data.
Press the [F6] button to delete the event at the current location.
●
Inserting New Events
To insert an event, use the up/down cursor buttons to highlight an event at the desired point in the track measure, beat, clock) – this is the location to which the new event will be inserted. Then, follow the steps below.
[F4] button
Scene track edit display
Press the [F1] button or [EXIT] button to abort and return to the main Event
List display.
[F5] button
[F4] button
Tempo track edit display
[F4] button
[F1] button or
[EXIT] button
ENTER
Press the [F6] SET button to actually insert the event shown in the display and remain in display. If you wish to insert the event type currently shown in the display several times, use [F6] SET and press the [F1] or
[EXIT] button to return to the main Event
List display.
EXECUTE
Press the [ENTER] button to actually insert the event and return to the main Event List display.
4
Edit the MIDI events of the Song.
●
Editing/Deleting Existing Events
To edit data in the Event List, use the up/down cursor buttons to highlight the specific event you want to edit, and use the left/right cursor buttons to highlight the data type or parameter to be edited. Then, change the value as needed by using the [INC/YES] and [DEC/NO] buttons or the data dial.
The entire line of the edited event will flash on the display.
Press the [ENTER] button to actually enter the edited data
(the entire line of the edited event will stop flashing). To abort an edit simply highlight to a new event location without pressing the [ENTER] button.
Press the [F6] button to delete the event at the current location.
In the Event List display, you can edit various types of events such as Voice, volume, and pan as well as note events. This means that you could, for example, enter Voice changes to the middle of a track, even if the track was recorded using only one Voice.
n For details about the MIDI events handled in the Event List display,
n If you find the display too cluttered, you can filter out certain event types with the View Filter. Simply press the [F2] VIEW FLT button and
select the event types you want to be displayed. For details, see page
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5
Since the Song can be played back from within the Song Edit mode, you can instantly hear and check the changes you’ve made while editing. If you want to hear just the track being
edited, use the Solo function (page 58).
6
Press the [
F
] (Play) button to hear your edited data.
Edit other tracks as required by repeating steps
#3 through #5 as desired.
[F1] UNDO
[F2] NOTE
[F3] EVENT
[F4] MEAS
[F5] TRACK
[F6] SONG
Undo (Canceling the executed Job)/Redo
(Restoring the executed Job) functions
Note Data Job
Event Job
Measure Job
Track Job
Song Job
3
Press the [F2] NOTE button, move the cursor to
“01: Quantize” then press the [ENTER] button to call up the Quantize Job display.
7
After editing, press the [SONG] button to return to the Song Play mode.
8
Save the edited Song data to a SmartMedia/USB
storage device (page 132) before turning the
power off.
4
Set the relevant Job parameters.
After specifying the track and range over which the Job is to be applied, set Quantize to “ ” (8th note) according to the notation example above. Set the Strength to “100%,”
SwingRate to “050%,” and GateTime to “100%.” Regarding
these parameters, see page 227.
Track over which the Job is applied Range over which the Job is applied
■
Transforming the recorded data and other operations — Song Job mode
The Song Job mode has a wide variety of operations for changing and working with Song data. Virtually all of the Jobs share the same procedure, so we’ll explain only one of them here — Quantize, which lets you clean up the timing of a previously recorded track.
In the following example, this musical passage has been written with exact quarter-note and eighth-note values. n Set the Quantize value to correspond to the smallest value notes in the track you are working with. For example, if the data was recorded with both quarter notes and eighth notes, use eighth note for the quantize value.
Even though you think you may have recorded the passage accurately, your actual performance may be slightly ahead of or behind the beat (or both!). Quantize allows you to align all the notes in a track so that the timing is absolutely accurate to the specified note value.
1
Press the [SONG] button to enter the Song Play mode, then select a Song for which the Job is to be applied.
2
Press the [JOB] button to enter the Song Job mode.
As shown below, the Jobs are divided into six main groups, each of which is selected using the [F1] - [F6] buttons.
Indicates the Job List. Because all the Jobs cannot be displayed simultaneously, you will need to use the cursor buttons to scroll the display in order to find the desired Job.
5
Press the [ENTER] button to execute the Job.
After the Job has been completed, a “Completed” message appears and operation returns to the original display.
CAUTION
An “Executing...” message is shown when it takes a short amount of time to execute the Job. Never attempt to turn off the power while the Job is being executed. Turning the power off in this state results in loss of all user data.
6
Press the [SONG] button to return to the Song
Play mode, then press the [
F
] button to hear the song over which the Job is applied.
If you are satisfied with the result of the Job, go to step #7.
If not, execute the UNDO Job in the [F1] UNDO display in the
Song Job mode to restore the data to its previous state, then try out the Job (from step #4) again. For details about Undo, see next page.
[F1] [F2] [F3] [F4] [F5] [F6]
7
Save the Song data to a SmartMedia/USB
storage device in the File mode (page 132) before
turning the power off.
In addition to Quantize, you’ll find a variety of other useful and
powerful Jobs in the Song Job mode (page 226) and Pattern
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Creating a Song on the MOTIF ES
TIP
Using the Undo/Redo functions
If you’re not satisfied with the results of a just-executed Job, or you want to hear the difference of the sound before and after using a Job, you can use the convenient Undo and Redo functions. After changing the data with a particular Job, repeat steps #1 -4 as desired.
1
Press the [SONG] button to return to the Song Play mode, then press the [ F ] button to hear the Song as it was changed by the Job.
This lets you check the results of the Job.
2
After stopping the song, press the [JOB] button followed by the [F1] UNDO button to call up the Undo display.
Press the [ENTER] button to execute Undo.
The Song data is restored to its previous state.
[ENTER] button
Indicates the operation to be affected by Undo.
Changes to “Redo.”
3
Press the [SONG] button to return to the Song Play mode, then press the [ F ] (Play) button to play the song.
This lets you check the sound before actually making changes to it with the Job.
4
After stopping the song, press the [JOB] button followed by the [F1] UNDO button to call up the Undo display.
Press the [ENTER] button to execute the Redo.
This lets you “redo” the Job, restoring the Song to the changes you made before using Undo in step #2 above.
[ENTER] button
Indicates the operation to be affected by Redo.
n
Undo/Redo is applied to the most recent operation (Job, Edit, Record, etc.).
n The Undo/Redo Job is available also in the Pattern Job mode.
Changes to “Undo.”
Editing Mixing parameters to complete a Song (in the Mixing mode/Mixing Edit mode)
In this final step (other than saving your precious work, which we’ll cover next), you can mix down your tracks with the Song
Mixing function – adjusting the volume balance and pan setting of all the parts and tweaking the effect levels. n The explanations here also apply to the Pattern mode.
1
Press the [SONG] button to enter the Song Play mode, then select a Song for which Mixing edits have been made.
2
Enter the Song Mixing mode by pressing the [MIXING] button (the lamp lights).
Select the menu you wish to edit by pressing the [F1] - [F4] buttons, then edit the parameters in each display.
If you alter any parameters, the [E] indicator will appear in the top left of the display.
Press the [F6] button to switch between the display for
Parts 01-16 (for the internal tone generator), 17-32 (for the Multi-Part Plug-in Board PLG100-XG), and PLG1-3
(for the Single Part Plug-in Board).
Press the [F5] VCE ED button to enter the Mixing
If you wish to edit more detailed Mixing parameters, enter the Song Mixing Edit mode.
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Creating a Song on the MOTIF ES
3
Press the [EDIT] button to enter the Song Mixing Edit mode.
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
4
Call up the Common Edit display or Part Edit display.
Use Part Edit to edit the parameters for each Part. Use Common Edit to edit the parameters for all of the Parts.
While in the Song Mixing Edit mode, you can switch between the Common Edit display and the Element
Edit display as shown below.
Calling up the Common Edit display
Press the [COMMON] button to call up the
Common Edit display.
In the Edit mode, the [DRUM KITS] button functions as the [COMMON] button.
Indicates a Common Edit display.
DRUM KITS
FAVORITES
COMMON
PRE 5 PRE 6 USER 1 USER 2
A. PIANO KEYBOARD GUITAR/
PLUCKED
A B C
GUITAR
D
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
2 3 8
......
9
ELEMENT/PERF. PART/ZONE
10 11
......
16
Calling up the Part Edit display
Press the desired Part number from the PART [1] -
[16] buttons to call up the Part Edit display.
Indicates the display for editing Part 1.
To switch between the Part 1 - 16 display, Part 17 - 32, and Part PLG1
- 3 display, press the [F6] button.
F 6 n
You can mute or solo a Part just as is done with tracks in the Song Play mode or Pattern Play mode.
Common Edit n
Common Edit operations cannot be performed on the Multi-part Plug-in parts
17 - 32. The Mixing settings for the Multi-
Part Plug-in Part (17~32) apply not to one individual song but to all 64 songs.
Part1 Edit
Part2 Edit
Part3 Edit
Part4 Edit
Internal Tone
Generator
Part 16 Edit
Part 17 Edit
Multi-Part Plug-in
Board PLG100-XG
Part 32 Edit
Plug-in part 1 (PLG1) Edit
Plug-in part 2 (PLG2) Edit
Plug-in part 3 (PLG3) Edit
Single Part
Plug-in
Board
5
Select the menu you wish to edit by pressing the [F1] - [F5] buttons and [SF1] - [SF5] buttons, then edit the parameters in each display.
For details on the available parameters, see page 234.
6
Repeat steps #4 - 5 as desired.
7
Store the edited Song Mixing settings to internal User memory (DRAM).
After pressing the [EXIT] button to return to the Song Mixing mode, press the [STORE] button to enter the Song Mixing Store
mode, then press the [ENTER] button to execute the Store operation (page 131).
8
Before turning the power off, save the stored Song Mixing settings to a SmartMedia/USB storage device as
Song data in the File mode (page 132).
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Creating a Song on the MOTIF ES
TIP
Editing a Mixing by using the Knobs (in the Song mode/Pattern mode)
The four knobs at the top left of the instrument can be used to tweak the Song/Pattern Mixing settings as they play (in the
Song Play/Pattern Play mode). What’s mode, you can use them to edit the Mixing settings, in the Song Mixing Edit/Pattern
Mixing Edit modes.
● When the [PAN/SEND] indicator is turned on:
PAN
REVERB
CHORUS
TEMPO
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F2] OUTPUT
→
[SF1] VOL/PAN
→
Pan
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F2] OUTPUT
→
[SF2] EF SEND
→
RevSend
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F2] OUTPUT
→
[SF2] EF SEND
→
ChoSend
Tempo of the current Song/Pattern
● When the [TONE] indicator is turned on:
CUTOFF [SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F4] TONE
→
[SF2] FILTER
→
Cutoff
RESONANCE [SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F4] TONE
→
[SF2] FILTER
→
Resonance
ATTACK
RELEASE
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F4] TONE
→
[SF4] AEG
→
Attack
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F4] TONE
→
[SF4] AEG
→
Release
● When the [ARP FX] indicator is turned on:
SWING
GATE TIME
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F3] ARP
→
[SF3] PLAY FX
→
Swing
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F3] ARP
→
[SF3] PLAY FX
→
GateTimeRate
VELOCITY [SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F3] ARP
→
[SF3] PLAY FX
→
VelocityRate
UNITMULTIPLY [SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F3] ARP
→
[SF3] PLAY FX
→
UnitMultiply
● When the [EQ] indicator is turned on:
LO
LO MID
HI MID
HI
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F3] EQ
→
Low Gain
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F3] EQ
→
Mid Gain
—
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F3] EQ
→
High Gain
-
● When both the [PAN/SEND] and [TONE] indicators are turned on (by pressing them simultaneously):
ASSIGN A
ASSIGN B
ASSIGN 1
ASSIGN 2
Adjusts parameters assigned to these knobs in the [UTILITY]
→
[F4] CTL ASN
Depend on the settings of the voice assigned to the currently selected part.
→
[SF2] ASSIGN display.
n In addition to the above functions, Master Effect related parameters ([SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F2] MEQ/MEF
→
[SF2] MEF) can be assigned to these four knobs, and the knobs can be used for these assignments by pressing the [ARP FX] and [EQ] buttons simultaneously to turn them on. The particular parameters assigned to the four knobs can be set in the [UTILITY]
→
[F4] CTL ASN
→
[SF5] MEF display.
Compare function and Edit Recall (in the Song mode/Pattern mode)
These are the same as in the Voice mode and Performance mode. See pages 80 and 82.
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TIP
Editing a Mixing by using Control Sliders (in the Song mode/Pattern mode)
[SONG]
→
Song selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F2] OUTPUT
→
[SF1] VOL/PAN
→
Volume
In the Song/Pattern mode, the four Control Sliders let you independently adjust the levels of the Parts (Voices), letting you control the overall balance of the Parts.
n
Inadvertent use of the sliders may result in no sound. If this occurs, move the sliders upward.
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TIP
Creating an Arpeggio
In addition using the preset Arpeggios, you can also create your own original Arpeggio data.
Actually, there is no direct operation for recording Arpeggios. First, you have to record a Phrase to a Song or Pattern track.
Then, use the appropriate Song or Pattern Job function to convert the data to Arpeggio data.
1 Record the MIDI sequence data to be used as the basis for base of the Arpeggio to a Song or Pattern.
2 Convert the MIDI sequence data (recorded to the Song or Pattern) as Arpeggio data.
Record
Record
Record
Record
Song or Pattern
Track 9
Track 10
Track 11
Track 12
Track 13
Track 14
Track 15
Track 16
Track 1
Track 2
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
Arpeggio
User Arpeggio 256
User Arpeggio 001
Track 1
Track 2
Track 3
Track 4
Convert
[SONG]
→
[JOB]
→
[F5] TRACK
→
07: Put Track To Arp
After setting the parameters as shown below, press the [ENTER] button to execute Convert.
Specify the destination Arpeggio number.
Specify the source Song/
Pattern number and measure range.
You can record MIDI sequence data for the Arpeggio to any of the tracks. After recording, select four tracks from all sixteen and convert them to Arpeggio data.
Select a convert type by track (see below).
Specify the tracks of the source Song or
Pattern. Set unused tracks to “off.”
Set the root note when the convert type of any track is set to “OrgNote.”
■
Determining how Song/Pattern data is converted to an Arpeggio — Convert Type
MIDI sequence data (of Song/Pattern tracks) can be converted to Arpeggio data in one of three ways, according to the
Convert types below. These types can also be selected independently for each destination track — providing enormous flexibility and performance control.
Normal
Fixed
OrgNotes (Original Notes)
The Arpeggio is played back using only the played note and its octave notes.
Playing any note(s) will trigger the same MIDI sequence data.
Basically same as “Fixed” with the exception that the Arpeggio playback notes differ according to the played chord.
Owner’s Manual
Creating a Song on the MOTIF ES
Record the MIDI sequence data to a Song or Pattern track, referring to the previous instructions in this chapter as needed.
The examples listed below are used as reference.
● Creating a rhythm pattern (using a Drum Voice)
Track 1
Track 2 - 4
Record a basic rhythm pattern using various drum instruments.
Record a different rhythm pattern using a specific drum instrument to each track.
➔ Convert via “Fixed.”
➔ Convert via “Normal.”
● Creating a bass line (using a Normal Voice)
Track 1 Record a bass line using a specific desired key (root). ➔ Convert via “OrgNote” after the
OrgNotesRoot is set.
➔ off Track 2 - 4
● Creating a guitar backing (using a Keyboard Mega Voice)
Track 1
Track 2
Record a guitar backing part using a specific desired key (root).
Record a different rhythm using one of the “special” sounds, such as a finger mute or scratching noise.
➔
➔
Convert via “Normal.”
Convert via “Fixed.”
Track 3 - 4 ➔ off n Up to 16 unique note numbers can be recorded to the Arpeggio track. (This does not apply to multiple instances of the same note number.) 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.
■
Convert type which determines how the Song/Pattern data is converted to the Arpeggio data
The Arpeggio data created via the above instructions is stored on internal Flash ROM, meaning that it will not be lost, even if you turn the power off. When saving the Arpeggio data to a SmartMedia/USB storage device, set the file type (TYPE) to
“All” or “UsrArp” in step #3 described on page 132.
Storing/Saving the created Song/Pattern
off, you should always save any data residing in DRAM to a SmartMedia/USB storage device in the File mode before turning off the power. Please note that the edited Mixing settings should be stored before saving to a SmartMedia/USB storage device.
Mixing Edit
Mixing Voice Edit
Record
Sampling
Store
Internal memory (DRAM)
Song/Pattern
Mixing
Mixing Voice
Store
MIDI sequence data
Sample
Save
Save all Songs or Patterns in internal DRAM as a single file.
Settings in the Play mode Groove, etc.
SmartMedia
USB storage device
File extension: W7A
File extension: W7S
File extension: W7P
Storing the edited Song Mixing/Pattern Mixing settings to internal memory (DRAM)
[MIXING]
→
[STORE]
Press the [STORE] button to enter the Song Mixing Store mode/Pattern Mixing Store mode, then press the [ENTER] button to execute the Store operation. The Mixing settings are actually stored to a Song/Pattern by executing the Store operation.
CAUTION
The currently edited Mixing program will be lost when selecting a different Song/Pattern or going to a different mode without storing it to the current Song/
Pattern. In addition, simply playing back the Song/Pattern or receiving any MIDI messages from an external MIDI instrument may change the current Mixing program.
Make sure to store the Mixing program before executing these operations.
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Creating a Song on the MOTIF ES
Saving the Song/Pattern data to the
SmartMedia/USB storage device
[FILE]
→
[F2] SAVE
CAUTION
The recorded Song, Pattern and Sample (Waveform) data resides
temporarily in DIMM (page 187). Because data contained in DIMM is lost
when the power is turned off, you should always save any data residing in
DIMM to a SmartMedia /USB storage device before turning off the power.
After inserting a SmartMedia into the CARD slot or connecting the USB storage device to this synthesizer, follow the instructions below.
1
Press the [FILE] button to enter the File mode, then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
2
Press the [F2] SAVE button to call up the Save display.
5
Press the [ENTER] button to execute the Save operation.
If you are about to overwrite an existing file, the display prompts you for confirmation. Press the [INC/YES] button to execute the Save operation to overwrite an existing file, or press the [DEC/NO] button to cancel it.
After the data has been saved, a “Completed” message appears and operation returns to the original display.
CAUTION
While the data is being saved, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or USB storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
3
Set the TYPE parameter to “All.”
Saving a Song or a Pattern Section as a
Standard MIDI File
After inserting a SmartMedia into the CARD slot or connecting the USB storage device to the instrument, follow the instructions below.
1
Press the [FILE] button to enter the File mode, then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a
USB storage device” on page 30.
2
Press the [F2] SAVE button to call up the Save display.
3
Set the TYPE parameter to “SMF” then select a
Song/Pattern to be saved.
When saving a Song as SMF:
Move the cursor to the TYPE, then set the File type by using the data dial, [INC/YES] and [DEC/NO] button. You can select one of the following four file types to save the Song or Pattern data. Here, select “All” because various kinds of data have been created in order to complete a song.
All All data in this synthesizer’s internal User Memory is treated as a single file (extension: W7A), and can be saved to a SmartMedia/
USB storage device.
All Song All the User Song data in this synthesizer’s internal User Memory
(DRAM) is treated as a single file (extension: W7S), and can be saved to a SmartMedia/USB storage device. Please keep in mind that Sample Voices and assigned Waveforms created via the
Sampling function in the Song mode are also saved together.
All
Pattern
All the User Pattern data in this synthesizer’s internal User Memory
(DRAM) is treated as a single file (extension: W7P), and can be saved to a SmartMedia/USB storage device. Please keep in mind that Sample Voices and assigned Waveforms created via the
Sampling function in the Pattern mode are also saved together.
SMF Sequence track (1 - 16) and Tempo track data of a Song/Pattern created in the Song/Pattern mode can be saved to a SmartMedia/
USB storage device as Standard MIDI File (format 0) data.
Select a Song number.
When saving a Pattern as SMF:
4
Input a file name.
Move the cursor to the file name input location, then input a
file name. For detailed instructions on naming, refer to page
53 in the Basic Operation section.
Select a Pattern number and Section.
4
Input a file name.
Move the cursor to the file name input location, then input a file name. For detailed instructions on
naming, refer to page 53 in the Basic Operation
section.
File name input location
Owner’s Manual
5
Press the [ENTER] button to execute the Save operation.
If you are about to overwrite an existing file, the display prompts you for confirmation. Press the [INC/
YES] button to execute the Save operation to overwrite an existing file, or press the [DEC/NO] button to cancel it. After the data has been saved, a
“Completed” message appears and operation returns to the original display. n When loading a SMF (Standard MIDI File), set the file type to
“Song” or “Pattern.” n Only the sequence track (1 - 16) and tempo track data of a
Song/Pattern created in the Song/Pattern mode can be saved to a SmartMedia/USB storage device as Standard MIDI File
(format 0) data. The Mixing settings will not be saved to a
Standard MIDI File. If you wish to save the entire Song/Pattern including the Mixing settings, set the file type to “All” or
“AllSong.” or “AllPattern.”
Saving a Sample Voice as a WAV file/AIFF file
After inserting a SmartMedia into the CARD slot or connecting the USB storage device to the instrument, follow the instructions below.
1
In the Song mode/Pattern mode, select a Song/
Pattern including the desired Sample, press the
[FILE] button to enter the File mode, then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a
USB storage device” on page 30.
2
Press the [F2] SAVE button to call up the Save display.
3
Set the TYPE parameter to “Wav” or “Aiff,” press the
[ENTER] button, then select a sample to be saved.
Select the track containing the sample to be saved.
You can hear the selected sample by pressing the
[SF1] button.
(Audition function)
This is available only when the cursor is located at KeyBank. Each press of the [SF2]
SELECT button selects, one by one, the Key
Banks assigned to specific velocity ranges for the selected key.
4
Press the [ENTER] button to execute the Save operation.
If you are about to overwrite an existing file, the display prompts you for confirmation. Press the [INC/
YES] button to execute the Save operation to overwrite an existing file, or press the [DEC/NO] button to cancel it.
After the data has been saved, a “Completed” message appears and operation returns to the original display.
Creating a Song on the MOTIF ES
Loading a file saved to a SmartMedia/
USB storage device
[FILE]
→
[F3] LOAD
These instructions describe how to recall the data saved as a file type
“All (extension: W7A)” described on page 132 from the SmartMedia/
USB storage device to the instrument by using the Load operation.
CAUTION
Loading a file (extension: W7A) to this synthesizer automatically erases and replaces all existing data in the User memory. Make sure to save any important data to a SmartMedia/USB storage device before performing any
Load operations.
n If you wish to select and load a specified Waveform in the file
(extension: W7A), enter the File mode (in step #1 below) after executing the following operations:
• Enter the Voice mode if you wish to assign the Waveform to a Voice.
• Select a Performance in the Performance mode if you wish to assign the Waveform to a Part of the Performance.
• Select a Song in the Song mode if you wish to assign the Waveform to a Part of the Song.
• Select a Pattern in the Pattern mode if you wish to assign the
Waveform to a Part of the Pattern. n If you wish to select and load a specified Sample Voice in the file
(extension: W7A), enter the File mode (in step #1 below) after executing the following operations:
• Select a Song in the Song mode if you wish to assign the Sample
Voice to a Song.
• Select a Pattern in the Pattern mode if you wish to assign the Sample
Voice to a Pattern.
1
Press the [FILE] button to enter the File mode, then execute the basic settings.
Refer to “Basic settings for using SmartMedia or a USB
2
Press the [F3] LOAD button to call up the Load display.
3
Select a file type to be loaded.
You can load the file (extension: W7A) saved as “All” by selecting one of the following file types.
All
Voice
Performance
Song
Pattern
Waveform
Sample Voice
All data in a file that is saved to the SmartMedia/USB storage device as an “All” type can be loaded and restored to this instrument.
A specified Voice in a file can be individually selected and loaded to this instrument.
A specified Performance in a file can be individually selected and loaded to this synthesizer.
A specified Song in a file can be individually selected and loaded to this instrument.
A specified Pattern in a file can be individually selected and loaded to this instrument.
A specified Waveform in a file can be individually selected and loaded to this instrument.
A specified Sample Voice in a file can be individually selected and loaded to this instrument.
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133
Creating a Song on the MOTIF ES
4
Select a file ( ) to be loaded.
Move the cursor to the file (extension: W7A) which was saved as “All” on previous page.
When Type is set to “All,” go to step #5.
When Type is set to something other than “All,” follow the instructions below then go to step #5.
● When Type is set to “Voice” or “Performance”:
You can select and load a specified Voice or Performance in the file (extension: W7A) to this instrument.
Move the cursor to the file (extension:
W7A) which was saved as “All” on previous page.
ENTER
EXECUTE
All Voices or Performances in the selected file are listed. Move the cursor to the desired Voice or
Performance to be loaded.
ENTER
EXECUTE
Select the desired Voice or
Performance.
Select the destination Voice number or Performance number.
● When Type is set to “Song” or “Pattern”:
You can select and load a specified Song or Pattern in the file (extension: W7A) to this instrument.
Move the cursor to the file (extension:
W7A) which was saved as “All” on previous page.
ENTER
EXECUTE
All Songs or Patterns in the selected file are listed. Move the cursor to the desired Song or
Pattern to be loaded.
ENTER
EXECUTE
Select the desired Song or Pattern.
Select the destination Song number or Pattern number.
● When Type is set to “Waveform”:
You can select and load a specified Waveform in the file (extension: W7A) to this instrument.
Move the cursor to the file (extension:
W7A) which was saved as “All” on previous page.
ENTER
EXECUTE
All Waveforms in the selected file are listed. Move the cursor to the desired Waveform to be loaded.
ENTER
EXECUTE
Select the desired Waveform.
Select the destination. (See below.)
In this case, the destination differs depending on the mode selected before entering the File mode.
When entering the File mode from the Voice mode:
When entering the File mode from the Performance mode:
When entering the File mode from the Song mode/Pattern mode:
Set the Voice bank and number as the destination.
Set the Part of the current Performance then set the Voice bank/number of the Part as the destination.
Set the track of the current Song/Pattern as the destination.
134
Owner’s Manual
Creating a Song on the MOTIF ES
● When Type is set to “Sample Voice”:
Only when entering the File mode from the Song mode/Pattern mode, you can select and load a specified Sample Voice in the file (extension: W7A) to this instrument.
Move the cursor to the file
(extension: W7A) which was saved as “All” on previous page.
ENTER
EXECUTE
Select “Pattern” or “Song.”
ENTER
EXECUTE
All Songs or Patterns which contain the Sample
Voices are listed.
Move the cursor to the desired Song or Pattern.
ENTER
EXECUTE
ENTER
All Sample Voices assigned to the selected Song or Pattern in the selected file are listed. Move the cursor to the desired Sample Voice to be loaded.
EXECUTE
Select the track of the current
Song or Pattern as destination.
CAUTION
Loading data to this synthesizer automatically erases and replaces any existing data in the User memory. Make sure to save any important data to a
SmartMedia/USB storage device before performing any Load operations.
5
Press the [ENTER] button to execute the Load operation.
After the data has been loaded, a “Completed” message appears and operation returns to the original display.
CAUTION
While the data is being saved, make sure to follow these precautions:
• Never remove or eject the media from the device (SmartMedia or USB storage).
• Never unplug or disconnect any of the devices.
• Never turn off the power of the MOTIF ES or the relevant devices.
TIP
Setting a specific file to load automatically when the power is turned on
The MOTIF ES is very easy to use and you can create Voices, Performances, Patterns and Songs very quickly on it. However, there may be times that creating and editing of data may be spread out over several sessions. In such a case, you may find it convenient to have the instrument automatically load the appropriate files for you when you turn it on, so you can easily resume your editing session.
Save the data after editing.
Save
Turn the power off
The saved files are loaded automatically when you turn the power on next time.
Auto Load
MUSIC PRODUCTION SYNTHESIZER MUSIC PRODUCTION SYNTHESIZER n The Auto Load parameter is set to on when this synthesizer is shipped from the factory.
n The file types which can be loaded automatically are “All,”
“Plugin All Bulk 1,” “Plugin All Bulk 2,” and “Plugin All Bulk 3.”
1
Change the names of the files you wish to have load automatically when the power is turned on as described below, and save them together in a single folder or in the root directory.
File type
All
Plugin All Bulk 1 (for slot 1)
Plugin All Bulk 2 (for slot 2)
Plugin All Bulk 3 (for slot 3)
File name
AUTOLOAD. W7A
AUTOLD1. W7B
AUTOLD2. W7B
AUTOLD3. W7B
After you’ve finished naming the appropriate files, keep the corresponding folder selected in the display and go to step #2.
2
Enter the Utility mode and call up the Auto Load display
([UTILITY]
→
[F1] GENERAL
→
[SF4] OTHER).
3
Set “Auto Load” to on, and press the [SF5] GET button.
The device and folder selected in step #1 (the folder containing the desired files for auto loading) are registered as the Auto Load path.
Set this to on.
4
Press the [STORE] button to store the Auto Load setting. n If the Auto Load files cannot be found (for example, a SmartMedia/USB storage device is not installed properly or a SmartMedia/USB storage device containing no Auto Load files is installed, etc.) when turning the power on even with the Auto Load parameter set to on, the Demo Song/
Pattern data (page 55) in the internal ROM will be loaded automatically.
Owner’s Manual
135
136
Using as a Master Keyboard
Using as a Master Keyboard
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. This synthesizer has space for a total of 128 of your own User Master settings.
Master
Number
005
:
127
128
001
002
003
004
Memorized mode
Voice mode
Voice mode
Voice mode
Voice mode
Performance mode
:
Pattern mode
Song mode
Setting examples
Memorized program number
Voice number 102 (Preset 1)
Voice number 088 (Preset 3)
Voice number 049 (Preset 2)
Voice number 092 (Preset 2)
:
Performance number 044
Pattern number 061
Song number 025
Zone Switch *
Off
Off
Off
Off
Off
:
On
On
* See page 137 about “Zone Switch.”
Selecting a Master
The MOTIF ES features 128 specially programmed Masters, stored to internal User memory (Flash ROM). Try some of these out now.
1
Press the [MASTER] to enter the Master Play mode.
MASTER
Mode memorized to the current Master.
Program number (Voice number in this example) memorized to the current Master.
Indicates the Keyboard Octave setting set via the [OCTAVE] buttons. Same as in the
Voice mode/Performance mode (page 63).
Indicates the currently selected Master.
Indicates information related to the Control
Knobs. The settings depend on the program number memorized to the current Master.
Use the [SF1] - [SF5] buttons to call up the
Arpeggio type assigned to each button
(page 66). Assigned types depend on the
program number memorized to the current
Master.
2
Select a Master.
Selecting a Master is done in basically the same way as selecting a Voice. Since the there is only one bank for Masters, you need not select a Master Bank.
3
Play the selected Master program.
When the Mode is set to Voice or Performance, play the keyboard.
When the Mode is set to Song or Pattern, press the [ F ] (Play) button.
SEQ TRANSPORT
LOCATE 1 2
Owner’s Manual
Using as a Master Keyboard
Memorize to a Master
1
2
Select a Master to be created.
Press the [F2] MEMORY button to call up the
Mode setting display.
3
Set the Mode, Program number and Zone Switch
on/off (page 138) which you wish to memorize to
the Master.
Determine the mode that is called up when the Master number is selected.
Set the Zone Switch (below) to on or off.
Determine the Program number that is called up when the Master is selected.
When the Mode is set to Voice
When the Mode is set to Performance
When the Mode is set to Song
When the Mode is set to Pattern
Select a Voice bank and number.
Select a Performance bank and number.
Select a Song number.
Select a Pattern number.
4
Name the edited Master.
Input a name in the [EDIT] → [COMMON] → [F1] NAME display.
For detailed instructions on naming, refer to page 53 in the
Basic Operation section.
5
Store the edited Master to internal User memory.
1
Press the [STORE] button to enter the Master Store mode.
2
Select the destination Master by using the data dial,
[INC/YES] and [DEC/NO] button.
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 SmartMedia/USB storage device.
3
Press the [ENTER] button. (The display prompts you for confirmation.)
To cancel the Store operation, press the [DEC/NO] button.
4
Press the [INC/YES] button to execute the Store operation.
CAUTION
Keep in mind that the Store operation may take a short time to complete, during which an “Executing..” or “Please keep power on” message may be shown. Never attempt to turn off the power while data is being written to Flash ROM while such a message is displayed.
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 may also result in the MOTIF ES being unable to properly start up the next time the power is turned on.
CAUTION
If you select another Master without storing, the currently edited Master will be lost. Make sure to store the edited Master before selecting another Master.
6
As necessary, save the edited and stored
Masters to a SmartMedia/USB storage device.
For details, see page 132. Set the file type to “All.”
Input a Master name.
Using Zones (keyboard area)
In the Master mode, you can divide the keyboard into (up to) four independent areas (called “Zones”). To each Zone can be assigned different MIDI channels and different functions of the Knobs and Control Sliders. 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
ES to effectively do the work of several keyboards. You can set the parameters related to the four Zones in the Master Edit mode and store the settings as a User Master.
1
Select a Master to be created.
Owner’s Manual
137
Using as a Master Keyboard
2
Press the [F2] MEMORY button to call up the Mode setting display.
3
After setting the Mode and Program number which you wish to memorize to the Master, set the Zone Switch to “on”.
Set the Zone Switch to “on.”
Determine the mode that is called up when the Master number is selected.
138
Determine the Program number that is called up when the Master is selected.
4
Press the [EDIT] button to enter the Master Edit mode.
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
5
Call up the Common Edit display or Zone Edit display.
Use Zone Edit to edit the parameters for each Zone. Use Common Edit to edit the parameters for all of the Zones.
While in the Master Edit mode, you can switch between the Common Edit display and the Zone
Edit display as shown below.
Calling up the Common Edit display
Press the [COMMON] button to call up the
Common Edit display.
In the Edit mode, the [DRUM KITS] button functions as the [COMMON] button.
Indicates a Common Edit display.
DRUM KITS
FAVORITES
PRE 5 PRE 6 USER 1 USER 2
A. PIANO KEYBOARD GUITAR/
PLUCKED
A B C
GUITAR
D
SYN LEAD
1
SYN PAD/
CHOIR
SYN COMP CHROMATIC
PERCUSSION
2 3 4
Calling up the Zone Edit display
Press the desired Zone number from the ZONE
[1] - [4] buttons to call up the Zone Edit display.
Indicates the display for editing Zone 1.
COMMON
9
ELEMENT/PERF. PART/ZONE
10 11 12
Common Edit
Zone 1 Edit
Zone 2 Edit
Zone 3 Edit
Zone 4 Edit
6
Select the menu you wish to edit by pressing the [F1] - [F6] and [SF1] - [SF5] buttons, then edit the parameters.
See the next page for details and some setting examples.
7
Name the edited Master.
Input a name in the [EDIT]
→
[COMMON]
→
[F1] NAME display.
For detailed instructions on naming, refer to page 53 in the Basic Operation section.
8
Store the edited Master to internal User memory.
For details, refer to steps #5 - 6 on page 137.
Owner’s Manual
Using as a Master Keyboard
Using Zones effectively with external
The two examples below show how to use the Zones with both the internal tone generator and a connected external tone generator. These instructions correspond to step #6 on the previous page.
n Though all four Zones are used in the example below, you can use any number of Zones (two, three, or four). The settings are made with the MIDISwitch parameter ([MASTER]
→
[EDIT]
→
Zone selection
→
[F1] TRANS
→
MIDISwitch) and the TGSwitch parameter ([MASTER]
→
[EDIT]
→
Zone selection
→
[F1] TRANS
→
TGSwitch).
n In these examples, the Zones are assigned to different areas of the keyboard. However, two or more Zones can also be assigned to the same area in a layer, from the NOTE display ([MASTER]
→
[EDIT]
→
Zone selection
→
[F2] NOTE).
■
Master settings with the Voice mode/Performance mode (Single-timbre tone generator mode)
External tone generator (Multi-timbral)
Set the MIDI receive channel for each part.
Corresponds to step #6 on the previous page
MIDI Transmit
Channel 1
MIDI Transmit
Channel 2
MIDI Transmit
Channel 3
MIDI Transmit
Channel 4
For each Zone, set whether or not MIDI data is transmitted to the external instrument.
[MASTER]
→
[EDIT]
→
Zone selection
→
[F1] TRANS
→
MIDISwitch
Determine the MIDI Transmit Channel for each zone.
[MASTER]
→
[EDIT]
→
Zone selection
→
[F1] TRANS
→
TransCh
Determine the note range of each zone.
[MASTER] → [EDIT] → Zone selection → [F2] NOTE → NoteLimitH
[MASTER] → [EDIT] → Zone selection → [F2] NOTE → NoteLimitL
For each Zone, set whether or not MIDI data is transmitted to each Part of the internal tone generator.
[MASTER] → [EDIT] → Zone selection → [F1] TRANS → TGSwitch
Internal tone generator (Single Timbre)
[UTILITY]
→
[F5] MIDI
→
[SF1] CH
→
BasicRcvCh = 01
■
Master settings with the Song mode/Pattern mode (Multi-timbral tone generator mode)
External tone generator (Multi-timbral)
Set the MIDI receive channel for each part.
Corresponds to step #6 on the previous page
MIDI Transmit
Channel 1
MIDI Transmit
Channel 2
MIDI Transmit
Channel 3
MIDI Transmit
Channel 4
For each Zone, set whether or not MIDI data is transmitted to the external instrument.
[MASTER] → [EDIT] → Zone selection → [F1] TRANS → MIDISwitch
Determine the MIDI Transmit Channel for each zone.
[MASTER]
→
[EDIT]
→
Zone selection
→
[F1] TRANS
→
TransCh
Determine the note range of each zone.
[MASTER]
→
[EDIT]
→
Zone selection
→
[F2] NOTE
→
NoteLimitH
[MASTER]
→
[EDIT]
→
Zone selection
→
[F2] NOTE
→
NoteLimitL
For each Zone, set whether or not MIDI data is transmitted to each Part of the internal tone generator.
[MASTER] → [EDIT] → Zone selection → [F1] TRANS → TGSwitch
Part 05
Receive
Channel 1
Part 13
Receive
Channel 2
Internal tone generator (Multi-timbral)
[SONG]
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F1]VOICE
→
[SF2]MODE
→
ReceiveCh
Owner’s Manual
139
Using as a Master Keyboard
Assigning Control Change numbers to the Knobs/Sliders for each Zone
Here in the KN/CS display of the Master Edit mode, you can set how the Control Knobs and Sliders will affect each Zone. This lets you specify a separate MIDI Control Change number for each Knob and Slider.
Set the parameters as shown below, corresponding to step #6 on page 138.
ASSIGN A
PAN
CUTOFF
SWING
ASSIGN B
REVERB
RESONANCE
GATE TIME
ASSIGN 1
CHORUS
ATTACK
VELOCITY
ASSIGN 2
TEMPO
RELEASE
UNITMULTIPLY
All indicators are turned off by setting the
[MASTER]
→
[EDIT]
→
[COMMON]
→
[F2] OTHER
→
Knob/Slider parameter to “zone.”
PAN/SEND
KNOB
CONTROL
FUNCTION
ASSIGN
TONE
ARP FX
EQ
KN 1
LOW
VOLUME 1
KN 2
LOW MID
VOLUME 1
KN 3
HIGH MID
VOLUME 1
KN 4
HIGH
VOLUME 1
MASTER
VOLUME
CS 2 CS 3 CS 4
You can determine which Control Change numbers are used for the Knobs and Sliders for each zone in the [MASTER]
→
[EDIT]
→
Zone selection
→
[F5] KN/CS display.
In the example above, the Control Knobs for all Zones have been set to 10 (Pan), and the Sliders have been set to 11
(Expression). In this way, you can control the stereo position of each Zone with the appropriate Knob, and use the Sliders to adjust the relative volume balance among the Zones.
140
Owner’s Manual
Using as a Master Keyboard
TIP
Setting up the Master Zones to Split or Layer
This operation lets you easily determine whether the Zones of the selected Master are to be used in a Split or a Layer. The note range settings for each Zone can be determined by setting the NoteLimitH and NoteLimitL parameters from the NOTE display ([MASTER]
→
[EDIT]
→
Zone selection
→
[F2] NOTE). n Zones 1 and 2 are used in the explanations here.
1
In the Master Play mode, press the [JOB] button to enter the Master Job mode.
2
Press the [F1] INIT button to call up the Initialize display.
3
Uncheckmark the box of “All” by using the [DEC/NO] button and checkmark the box of “Zone.”
4
Set the Type to “Split” or “Layer.”
When Type is set to “Split”
Set the UpperCh (MIDI transmit channel of the upper range), LowerCh (MIDI transmit channel of the lower range), and Split
Point (which separates the keyboard into the upper range and lower range).
Lower
Split Point
(C3)
Upper
When Type is set to “Layer”
Set the UpperCh (MIDI transmit channel of Zone 1) and LowerCh (MIDI transmit channel of Zone 2).
Layer (Upper)
Layer (Lower)
5
Press the [ENTER] button. (The display prompts you for confirmation.)
To cancel the Job, press the [DEC/NO] button.
6
Press the [INC/YES] button to execute the Job.
After the Job has been completed, a “Completed” message appears and operation returns to the original display.
CAUTION
Keep in mind that the Job may take a short time to complete, during which an “Executing..” or “Please keep power on” message may be shown.
Never attempt to turn off the power while data is being written to Flash ROM while such a message is displayed. 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 may also result in the MOTIF
ES being unable to properly start up the next time the power is turned on.
Owner’s Manual
141
Setting up
142
Quick Guide — Computer applications
Although the MOTIF ES is a powerful instrument in its own right and can effectively be used by itself for music creation and production, it is also designed for easy and comprehensive interfacing with a computer system. In this section, we’ll show you how set up the instrument with a computer (via USB) and how to use it with the software provided on the included CD-ROM,
“Tools for MOTIF ES.” n For information on how to install each software and the minimum system requirements, refer to the separate Installation Guide. n
About how to use each software, refer to the relevant documentation (PDF manual or on-line Help). n By installing an optional mLAN16E board and using the mLAN connection with your computer, you can transfer both audio and MIDI data between the
devices over the same mLAN cable. See page 39.
Setting up
1
Confirm the minimum system requirements of the software you wish to use.
• For software on the included “Tools for MOTIF ES” CD-ROM
(Voice Editor, USB MIDI driver, etc.), refer to the separate
Installation Guide.
• For other software, refer to the relevant manual or documentation.
6
Install the desired software to the computer.
• To install software from the included “Tools for MOTIF ES”
CD-ROM (Voice Editor, SQ01, etc.), refer to the separate
Installation Guide.
• To install other software, refer to the relevant manual or documentation.
2
Connect the computer to the instrument with a
USB cable.
USB
TO DEVICE TO HOST
USB connector
USB TO HOST connector
Rear panel
A type
USB cable
B type n
You can also connect the instrument to a computer by using MIDI
cables (page 40) or IEEE1394 cable (page 39).
3
Start the computer and insert the “Tools for
MOTIF ES” CD-ROM into the CD drive of the computer.
7
Set the MIDI IN/OUT parameter to “USB”
([UTILITY]
→
[F5] MIDI
→
[SF4] OTHER), then press the [ENTER] button to store the Utility settings.
EDIT JOB STORE
COMPARE SCENE STORE
SET LOCATE
4
Turn the power of the MOTIF ES on.
5
Install the USB MIDI driver to the computer.
• For a computer running Windows, the Add New Hardware
Wizard may appear on the computer display. In this case, install the driver following the on-screen instructions. For details, refer to the separate Installation Guide.
• For a Macintosh computer, install OMS then install the USB
MIDI driver. Refer to the separate Installation Guide.
n
If you have installed the optional mLAN16E and are connecting the instrument to a computer with an IEEE 1394 cable, you’ll need to install the mLAN driver.
CAUTION
The settings in the Utility mode are stored as system settings to internal
Flash ROM. Never attempt to turn off the power while data is being written to Flash ROM (while a “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 may also result in the MOTIF ES being unable to properly start up the next time the power is turned on.
Owner’s Manual
Controlling the instrument from a computer
Controlling the instrument from a computer
Using a sequencer to play multiple Voices on the MOTIF ES
The sequence software program SQ01 contained in the included CD-ROM lets you create and edit multi-part song data — which can be played using the sounds of the MOTIF ES.
1
Follow the instructions described in “Setting up
for using a computer” (page 142) then install the
SQ01 to the computer.
Refer to the separate Installation Guide.
4
Set the MIDI Sync parameter to “MIDI” and
SeqCtrl to “in” in the SYNC display ([UTILITY]
→
[F5] MIDI
→
[SF3] SYNC).
These settings make it possible for the Songs and Patterns on the MOTIF ES to start, play and stop in exact synchronization with the external controlling device (in this case, the computer sequencer).
2
Start the SQ01 on the computer then set all MIDIrelated parameters, including synchronization.
For details on the MIDI settings, refer to the separate
Installation Guide.
For details on synchronization settings, refer to the on-line help of the SQ01.
3
Open the desired song file on the SQ01.
From the “File” menus on the SQ01, select “Open” to call up the dialog box. Then select the desired song file.
5
6
Press the [SONG] button to enter the Song mode.
Start the song playback on the SQ01.
Click the [
F
] (Play) button on the SQ01 to start the selected song.
TIP
Recording sequencer song data to Song tracks on the MOTIF ES
If you have MIDI sequence data on your computer and want to use it as a Song on the MOTIF ES, you can play back the data on a MIDI sequencer (such as the SQ01) and record it to the MOTIF ES.
1
Follow the instructions described in “Setting up for
2
Start the SQ01 on the computer then set all MIDIrelated parameters, including synchronization.
For details on the MIDI settings, refer to the separate
Installation Guide.
For details on synchronization settings, refer to the online help of the SQ01.
3
Open the desired song file on the SQ01.
From the “File” menus on the SQ01, select “Open” to call up the dialog box. Then select the desired song.
4
Set the MIDI Sync parameter to “MIDI” and the
SeqCtrl to “in” in the SYNC display ([UTILITY]
→
[F5]
MIDI
→
[SF3] SYNC).
These settings make it possible for the Songs and
Patterns on the MOTIF ES to start, play and stop in exact synchronization with the SQ01.
5
Press the [SONG] button to enter the Song Play mode, then select a Song to be recorded.
6
Press the [ ● ] (Record) button to enter the Song
Record mode.
7
Set RecTrack to “multi.”
This setting makes it possible to record MIDI sequence data to 16 tracks simultaneously.
8
Start song playback on the SQ01.
Song recording on the MOTIF ES automatically starts at the same time.
9
Stop the song playback on the SQ01.
Song recording on the MOTIF ES automatically stops at the same time.
10
Save the recorded song on the MOTIF ES.
Before selecting a different Song, store the Mixing
settings as Song data (page 131).
Before turning the power off, save the recorded Song to a
SmartMedia/USB storage device (page 132).
Owner’s Manual
143
Controlling the instrument from a computer
Using the Multi Part Editor to create/edit Mixing settings
The Multi Part Editor software (included on the CD-ROM) provides an intuitive way to create and edit the Mixing settings of the currently selected Song or Pattern. Thanks to the easy-to-understand graphical interface, you can edit virtually all of the Mixing parameters right from your computer – using the mouse to adjust the virtual knobs, sliders, and buttons and entering values from the computer keyboard.
Edit the Mixing
To edit Mixing settings based on data saved to computer, make sure to transfer the Mixing data to the current Song/Pattern on the MOTIF ES
(with the Bulk Transmission function) before editing.
MUSIC PRODUCTION SYNTHESIZER
Save a set of Mixing settings as a single file.
To edit Mixing settings based on data contained on the MOTIF ES, make sure to transfer the Mixing data of the current Song/
Pattern to the computer (with the Bulk Dump function) before editing.
After storing the Mixing settings as a Song Mixing/Pattern Mixing, save all the Songs/Patterns.
SmartMedia/USB storage device
144 n If you want to assign a User Voice to a Part, make sure to transfer the User Voice data on the MOTIF ES to the computer (with the Bulk Dump function) before editing parameters on the Multi Part Editor.
n Parts to which Mixing Voices have been assigned cannot be edited with the Multi Part Editor.
1
Follow the instructions described in “Setting up
for using a computer” (page 142) then install the
Multi Part Editor to the computer.
For details about how to install the Multi Part Editor, refer to the separate Installation Guide.
7
Store the edited Mixing settings to the current
Song Mixing/Pattern Mixing.
Press the [MIXING] button then [STORE] button to enter the
Song Mixing mode/Pattern Mixing mode, then press the
[ENTER] button to execute the Store operation.
2
Enter the Song mode or Pattern mode on the
MOTIF ES, then select the desired Song or
Pattern.
3
Start the Multi Part Editor on the computer.
Refer to the PDF manual of the Multi Part Editor.
4
Set the MIDI related parameters on the Multi Part
Editor.
Refer to the PDF manual of the Multi Part Editor.
8
Save all the songs or patterns to a SmartMedia/
USB storage device.
n
You can store the settings as a Mixing Template. See page 132.
9
Also save the edited data as a Multi Part Editor file to your computer’s hard disk.
5
Edit the parameters on the Multi Part Editor to create your original Mixing.
Refer to the PDF manual of the Multi Part Editor.
6
Check the results of your edits by playing the
Song/Pattern or playing the keyboard on the
MOTIF ES.
Owner’s Manual
Controlling the instrument from a computer
Using the Voice Editor to create/edit a Voice
The Voice Editor software (included on the CD-ROM) provides an intuitive way to create and edit Voices for the MOTIF ES.
Thanks to the easy-to-understand graphical interface, you can edit virtually all of the Voice parameters right from your computer
– using the mouse to adjust the virtual knobs, sliders, and buttons and entering values from the computer keyboard.
Edit the Voice Use the Bulk Transmission function to transfer the edited Voice data (in a Voice bank) to the MOTIF ES.
MUSIC PRODUCTION SYNTHESIZER
Use the Bulk Receive function to transfer the specified User Voice bank from the MOTIF ES to the computer.
Save the result of editing as a Library file
(extension: W7E).
Load a Voice
Editor file
(extension: W7E).
SmartMedia/USB storage device
Load a Library file
(extension: W7E).
Save the result of editing as a Voice Editor file (extension: W7E).
Library file = Voice Editor file (extension: W7E)
All voices stored on internal User memory are saved to a single file which can be loaded to the Voice Editor on the computer.
1
Follow the instructions described in “Setting up
for using a computer” (page 142) then install the
Voice Editor to the computer.
For details about how to install the Voice Editor, refer to the separate Installation Guide.
5
Edit the parameters on the Voice Editor to create your original Voice.
Refer to the PDF manual of the Voice Editor.
2
Refer to the PDF manual of the Multi Part Editor.
3
Enter the Voice mode on the MOTIF ES, then start the Voice Editor on the computer.
Set the MIDI related parameters on the Voice
Editor.
Refer to the PDF manual of the Voice Editor.
6
After editing the Voice, store the data, then transfer it to the MOTIF ES with the Bulk
Transmission function on the Voice Editor.
Refer to the PDF manual of the Voice Editor.
CAUTION
The Bulk Transmission from the computer to the MOTIF ES will erase
(overwrite) the destination Voice Bank data on the MOTIF ES. If you wish to maintain the voices of the destination Bank, save the Voice data to a
SmartMedia/USB storage device before executing Bulk Transmission.
7
Save the edited data as a Library file to your computer’s hard disk.
4
Call up the Voice data to be edited on the Voice
Editor.
Create a new Library file or open an existing Library file. To edit data contained on the MOTIF ES, use the Bulk Receive function to transfer User Voice data to the computer.
For details, refer to the PDF manual of the Voice Editor.
8
Check the results of your edits by selecting the
User Voice and playing the keyboard in the Voice
Play mode.
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Controlling the instrument from a computer
Editing Plug-in Voices and Board Voices
voices and Plug-in voices. Plug-in Voices can be edited in the Voice Edit mode on the MOTIF ES or can be edited by using the Voice Editor on the computer. Board Voices, however, are edited using the dedicated editor software contained on the included CD-ROM, “TOOLS for Modular Synthesis Plug-in System.”
■ Plug-in Voice
Plug-in
Preset Voice
Plug-in
User Voice
Select and call up
Store
Select
Edit in the Voice Play mode/Voice Edit.
Voice Play display or
Use the Voice Editor contained in the included CD-ROM,
“TOOLS for MOTIF ES6/7/8.”
Voice Edit display
MUSIC PRODUCTION SYNTHESIZER
Plug-in Board
■ Board Voice
Board Custom
Voice
Board Preset
Voice
Save*
SmartMedia/USB storage device
Save
Bulk transmission/Edit
MOTIF ES
* Set the file type to Plugin All Bulk 1, 2 or 3 (file extension: W2B)
Computer
Use the dedicated Editor contained in the included
CD-ROM, “TOOLS for
Modular Synthesis
Plug-in System.”
Using the TWE Wave Editor to edit Samples
The TWE wave editing software (included on the CD-ROM) lets you edit audio on your computer and save them as samples for use with the MOTIF ES. Thanks to the easy-to-understand graphical interface, you can edit virtually all of the wave parameters right from your computer.
Edit the Wave using TWE
MUSIC PRODUCTION SYNTHESIZER
146
Save the result of editing as a WAV file or AIFF file.
SmartMedia/USB storage device
Load a WAV file or
Load a WAV file or AIFF file.
Save the sample as a WAV file or
n For details on how to install TWE and the minimum system requirements, refer to the separate Installation Guide. n
For information on how to use TWE, refer to the TWE manual (PDF format) on the CD-ROM.
Owner’s Manual
Controlling a computer from the instrument
Controlling a computer from the instrument
As you’ve seen in previous sections, the MOTIF ES can be controlled from a computer. In this section, we’ll see how it can do the opposite — control the operation of music/audio software on the computer. This powerful feature lets you control two different software programs by using knobs, sliders and buttons on the panel of the MOTIF ES, rather than your computer’s mouse and keyboard. The MOTIF ES can be used to control DAW (digital audio workstation) software, such as Cubase SX and SONAR, as well as the Multi Part Editor program (contained on the included CD-ROM). The Remote Control function emulates popular hardware controllers such as the Yamaha 01X, letting you use the panel buttons/controllers on the MOTIF ES for controlling your music/audio software.
As shown in the example below, the MOTIF ES uses two of the four available USB ports to control two different software programs, while the two remaining ports handle MIDI sequence data.
REMOTE
ON / OFF
R-AUDIO
G-MIDI
Press the REMOTE [ON/
OFF] button (the lamp flashes) to enter the Remote
Control mode. Press this button again to exit from the
Remote Control mode.
Mode A- Cubase, Port 4....
Panel operations on the MOTIF ES control sequencer (Cubase SX) functions on the computer via MIDI port 4.
Mode B- General, Port 3....
Panel operations on the MOTIF ES control mixing software (Multi Part Editor) functions on the computer via MIDI port 3. The
Change the software (port) to be controlled.
“General” mode setting lets you control
Yamaha software.
USB cable
USB TO HOST connector
The MIDI data played back by the
Cubase SX is transferred to the MOTIF
ES via the MIDI ports 1 and 2.
MUSIC PRODUCTION SYNTHESIZER
Multi Part Editor
(Mixing software)
Cubase SX
(DAW software)
Computer with a USB interface n
As with the USB connection explained here, Remote Control can also be used with an IEEE1394 cable connection when the optional mLAN16E has been installed.
SEQ TRANSPORT
LOCATE 1 2
DEC/NO INC / YES
Among other things, the Remote Control mode lets you start/stop the 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.
For more information about the functions assigned to the panel buttons in the Remote
Various functions are assigned to the [F1] - [F6] and [SF1]
- [SF5] buttons depending on the DAW software to be controlled. The assigned functions are shown at the
bottom of the display. For details, see page 151 and the
separate Data List.
The functions of eight knobs/faders on the emulated hardware controllers (such as the Yamaha 01X) are assigned to the four Knobs/Sliders on the MOTIF ES. Pressing the [SF5] button changes which group's functions
(1 - 4 or 5 - 8) are assigned to the four Knobs/Sliders.
The eight knobs on the emulated hardware controllers (such as the Yamaha 01X) can also be used as switches.
However, since the four Knobs on the MOTIF ES do not have switch capability, the [PRE1] - [PRE4] buttons are used instead. While the eight knobs on the emulated devices have “endless” rotary control, the four Knobs on the MOTIF ES stop at certain points. For some parameters this may mean that the value may not reach to the minimum and maximum points. If this occurs, you can use the data dial to adjust the value as desired. The data dial is active for the parameter corresponding to the Knob last turned.
Owner’s Manual
147
148
Controlling a computer from the instrument
■
Computer Software that can be controlled from the instrument
• For Windows • For Macintosh
SQ01 V2
Cubase SX
SONAR 2.0
Multi Part Editor for MOTIF-RACK
Multi Part Editor for MOTIF ES6/7/8
Logic 5.5
Digital Performer 3.1
Setting up for Remote Control
Setting up on the MOTIF ES Setting up on the computer
1
Set the MIDI IN/OUT parameter to “USB”
([UTILITY]
→
[F5] MIDI
→
[SF4] OTHER), When connecting the computer to the MOTIF ES via mLAN (with the optional mLAN16E installed), set this parameter to “mLAN.”
1
After following the instructions in “Setting up for
using a computer” on page 147, install the
desired software to your computer.
For details on the Yamaha software contained in the included
CD-ROM, refer to the separate Installation Guide.
2
Call up the Remote Control Setup display by pressing the [F4] CTL ASN button, followed by the [SF4] REMOTE button.
2
Enter the Song mode or Pattern mode on the
MOTIF ES, then start the software on the computer.
For instructions on how to start the software, refer to the relevant documentation.
3
Set the software to be controlled and Port number, referring to the illustration on the previous page.
3
Set the parameters related to MIDI and Remote
Control on the computer software.
Set the MIDI port, referring to the illustration on the previous page.
For details, refer to the documentation of the particular software. Instructions on how to set up the various software follow on the next page.
4
Press the [ENTER] button to actually call up the settings made in step #3 above.
5
Press the [STORE] button to store the settings made in steps #1 and 4 above.
CAUTION
The settings in the Utility mode are actually stored on internal User memory (Flash ROM) by pressing the [STORE] button. Please keep in mind that the settings will be lost if you turn off the power without executing the
Store operation.
CAUTION
The settings in the Utility mode are stored as system settings to internal
Flash ROM. Never attempt to turn off the power while data is being written to Flash ROM (while a “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 may also result in the MOTIF ES being unable to properly start up the next time the power is turned on.
Owner’s Manual
Controlling a computer from the instrument
■
Cubase SX
1
Pull down the [Devices] menu and select [Device Setup] to call up the “Device Setup” window.
2
Click the [Add/Remove] tab and add the “Mackie Control.”
3
Select the added Mackie Control device and click the
[Setup] tab.
4
When setting the Port to “4,” for example, in step #3 of
“Setting up on the MOTIF ES,” set the MIDI Input to
“YAMAHA USB IN 0-4” and the MIDI Output to
“YAMAHA USB OUT 0-4.” n The functions of buttons on the Mackie Control are assigned to the buttons of the MOTIF ES, with the exception of UserA and UserB
(FootSw) which are not supported by the MOTIF ES.
■
SONAR
1
Pull down the [Options] menu and select [MIDI Devices] to call up the “MIDI Devices” window.
2
When setting the Port to “4” for example in step #3 of
“Setting up on the MOTIF ES,” add “YAMAHA USB IN
0-4” to the “Inputs” and add “YAMAHA USB OUT 0-4” to the “Outputs.”
3
Pull down the [Options] menu and select [Control
Surfaces] to call up the Control Surface window.
4
Click the “New” icon, select “Mackie Control,” then set the Input Port to “YAMAHA USB IN 0-4” and the Output
Port to “YAMAHA USB OUT 0-4” (for example, when setting the Port to “4” in step #3 of “Setting up on the
MOTIF ES”).
■
Digital Performer
1
Pull down the [Basics] menu and select [Control
Surface Setup] to call up the “Control Surface” window.
2
Select “Mackie Control” in the Driver section.
If Mackie Control is not available here, see the supplementary instructions below.
3
In the box for setting “Unit” and “MIDI,” select “Mackie
Control” in the “Unit” section and select the MIDI port in the “MIDI” section.
When you cannot select “Mackie Control” in step #2:
1) Download the Mackie Control Plug-in software from
“www.motu.com” and save it to your hard disk.
2) Move the Mackie Control file to the “Plug-ins” folder contained in the folder to which Digital Performer has been installed.
3) Start Digital Performer.
* Mackie Control is the trademark of Mackie Designs, Inc.
■
Logic
When turning on the power of the MOTIF ES before starting Logic:
1
Set the software to be controlled to “Logic” in the Utility mode, then enter the Remote Control mode.
2
Start Logic on the computer.
Logic automatically recognizes the MOTIF ES and performs the required settings.
When starting Logic before turning on the power of the
MOTIF ES:
1
Start Logic on the computer, then turn the power to the
MOTIF ES on.
If you have already set the software to be controlled to
“Logic” in the Utility mode, you need not perform step #2 because Logic automatically recognizes the MOTIF ES when this step is performed.
2
Set the software to be controlled to “Logic” in the Utility mode, then enter the Remote Control mode.
Logic automatically recognizes the MOTIF ES and performs the required settings.
If for some reason Logic fails to recognize the MOTIF ES, follow the instructions below.
1) Select [Option]
→
[Preference]
→
[Control Surface]
→
[Install] from the menu.
2) Scan Logic Control on the window called up in step #1).
When the scanning is successful, the Logic recognizes the
MOTIF ES and performs the required settings automatically.
If Logic still fails to recognize the MOTIF ES even after performing the above instructions, follow the instructions below.
1) Select [Option]
→
[Preference]
→
[Control Surface]
→
[Install] from the menu.
2) Add Logic Control on the window called up in step #1).
3) Specify the Input Port and Output Port on the
CONTROL SURFACE SETUP window called up in step
#2).
* Logic Control is the registered trademark of Emagic, Inc.
■
SQ01
For information about how to set the MIDI port, refer to the separate Installation Guide. For information on using Remote
Control, follow the instructions below.
1
Select [Setup]
→
[Remote Control] to call up the
Remote Control Setup window.
2
Select “01X” as mode, then set the Input Device/Output
Device to the appropriate port number.
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Controlling a computer from the instrument
Functions assigned to the panel buttons in the 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 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.
REMOTE
ON / OFF
R-AUDIO
G-MIDI
This button is available when the Mode is set to
“General” and is used to switch between editing audio tracks (lamp is red) and MIDI tracks of the sequence software (lamp is green).
Mode A
Changing the Mode
(Changing the software to be controlled)
F 6
REMOTE
ON / OFF
R-AUDIO
G-MIDI
Change the Mode by pressing the REMOTE [ON/OFF] button while holding the [F6] SHIFT button.
Mode B
Press the [KNOB
CONTROL FUNCTION] button to change the functions assigned to the
[F1] - [F6] and [SF1] -
[SF5] buttons (shown at the bottom of the display).
Refer to the separate
Data List.
This is the cursor which indicates the currently edited track/part by the knob/slider.
Controlling the knob/slider moves the cursor to the corresponding track/part automatically. You can also move the cursor by using the Cursor [<] and [>] buttons.
Parameters and their values controlled by knobs/ sliders are shown in two rows, in the boxes.
n Parameter names are shown according to the information transferred from the DAW software on the computer.
The characters may be garbled depending on the
DAW software or OS language of your computer.
PAN/SEND
ASSIGN
TONE
KNOB
CONTROL
FUNCTION
ARP FX
EQ
When [<<BANK] and [BANK>>] are shown here, you can use the [F4] and [F5] buttons to change the bank of eight tracks/parts (shown in the display) to be controlled.
Controlling the knob may change the [SF4] menu to indicate [DIAL].
When [DIAL] is shown here, the function of the last operated knob is assigned to the data dial, [INC/YES] and [DEC/NO] buttons. If you wish to restore these to the original function (song position control), press the
[SF4] button to delete the [DIAL] menu.
SF 5
To switch the cursor between the upper and lower row, press the [SF5] button.
150
Owner’s Manual
Controlling a computer from the instrument
The following explains which sequencer functions are assigned to which panel controls in the Remote Control mode.
■
SEQ TRANSPORT buttons
The Remote Control mode lets you 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. n When the cursor is shown at any track/part in the boxes of two rows of the LCD display, the data dial, [INC/YES] and [DEC/NO] buttons function as the last operated knob and cannot be used to control the song position. To restore these to the original song position control, press the Cursor [<]/[>] buttons several times or press the [SF4] button (if the [DIAL] menu is shown) to delete the cursor.
■
Control Sliders
The functions of eight faders on the Mackie Control, Logic
Control and 01X are assigned to the four Sliders on the MOTIF
ES. Pressing the [SF5] button changes which group’s functions (1 - 4 or 5 - 8) are assigned to the four Sliders. When
[<<BANK] and [BANK>>] are shown in the display, you can use the [F4] and [F5] buttons to change the bank of eight tracks/parts (shown in the display) to be controlled.
■
Knob, Data dial, and [PRE1] - [PRE4] buttons
The functions of eight knobs on the emulated hardware controllers (such as the Yamaha 01X) are assigned to the four
Knobs on the MOTIF ES. Pressing the [SF5] button changes which group’s functions (1 - 4 or 5 - 8) are assigned to the four
Knobs. When [<<BANK] and [BANK>>] are shown in the display, you can use the [F4] and [F5] buttons to change the bank of eight tracks/parts (shown in the display) to be controlled.
The eight knobs on the emulated hardware controllers (such as the Yamaha 01X) can also be used as switches. However, since the four Knobs on the MOTIF ES do not have switch capability, the [PRE1] - [PRE4] buttons are used instead. For convenience, the switch function corresponding to the last
Knob operated is also assigned automatically to the [ENTER] button.
While the eight knobs on the emulated devices have
“endless” rotary control, the four Knobs on the MOTIF ES stop at certain points. With some parameters this may mean that the value may not reach to the minimum and maximum points.
If this occurs, you can use the data dial to adjust the value as desired. For convenience, the data dial is active for the parameter corresponding to the Knob last turned.
n To restore the function of the data dial, [INC/YES] and [DEC/NO] buttons to the original song position control, press the [SF4] button (if the [DIAL] menu is shown) to delete the cursor.
■
[F1] - [F6] buttons and [SF1] - [SF5] buttons
The functions assigned to these buttons depends on the selected Mode (A or B) and the particular software being used (as set in step #3 in “Setting up on the MOTIF ES” on
When the Mode is set to “General,” these buttons are assigned to perform the same functions as panel buttons on the Yamaha
01X, for controlling various Yamaha music/audio software. The corresponding names of the 01X panel buttons are also indicated at the bottom of the display of the MOTIF ES.
When the Mode is set to “Logic,” these buttons are assigned to perform the same functions as panel buttons on the Logic
Control, for controlling Logic on the computer. The corresponding names of the Logic Control panel buttons are also indicated at the bottom of the display of the MOTIF ES.
When the Mode is set to “Cubase” or “SONAR” or “D.Perf,” these buttons are assigned to perform the same functions as panel buttons on the Mackie Control, for controlling the corresponding software on the computer. The corresponding names of the Mackie Control panel buttons are also indicated at the bottom of the display of the MOTIF ES.
The function assignment can be changed by pressing the
[KNOB CONTROL FUNCTION] buttons.
The function assignment tables of the [F1] - [F6] buttons and
[SF1] - [SF5] buttons for each DAW software are contained in the separate Data List. n Among the functions assigned to the [F1] - [F6] buttons and [SF1] -
[SF5] buttons, the functions indicated with brackets (such as [DIAL]) are not related to the Mackie Control, Logic Control and 01X but are unique to the MOTIF ES.
■
Data dial, [INC/YES] and [DEC/NO] buttons
Although the data dial and [INC/YES]/[DEC/NO] buttons are generally to change the song position on the DAW software, when you turn one of the Knobs on the MOTIF ES, the control function assigned to that Knob is automatically assigned to these panel controls as well, and the [DIAL] menu appears (at the [SF4] button). In this condition, these controllers cannot be used to control the song position. To restore the function of the data dial, [INC/YES] and [DEC/NO] buttons to the original song position control, press the [SF4] button (if the [DIAL] menu is shown) to delete the [DIAL] menu.
Owner’s Manual
151
152
Controlling a computer from the instrument
■
Cursor [<] and [>] buttons
By moving the cursor left/right, you can change the track or part to controlled by the data dial and [INC/YES]/[DEC/NO] buttons. For example, when the cursor is at the upper box in the display, pressing the Cursor [>] button moves through the columns in succession (1, 2, 3, 4...). After 4, the cursor is hidden and wraps around to 1. When the cursor is shown in the display, the parameter at which the cursor is located can be edited by the data dial, [INC/YES] and [DEC/NO] buttons.
When the cursor is hidden, the data dial and [INC/YES]/[DEC/
NO] buttons can be used for their normal function — controlling the song position.
■
Cursor [ ] and [ ] buttons
When the Mode is set to “General,” the Cursor [ ]/[ ] buttons perform the same function as that of the DISPLAY
[ ]/[ ] buttons on the 01X.
When the Mode is set to something other than “General,” the
Cursor [ ]/[ ] buttons perform the same function as that of the Cursor [ ]/[ ] buttons on the Mackie Control and Logic
Control.
■
[EXIT] button
When the Mode is set to “General,” this button performs the same function as that of the [PAGE SHIFT] button on the 01X.
When the Mode is set to something other than “General,” the button has no control function.
■
BANK, GROUP and NUMBER button
These buttons are assigned to perform the same functions as the buttons directly over the faders on the 01X, Mackie
Control and Logic Control.
[PRE1] - [PRE4] buttons
[PRE5] - [PLG3] buttons
[A] - [H] buttons
[1] - [8] and [TRACK
SELECT] buttons
[9] - [16] and [MUTE] buttons
The eight knobs on the 01X, Mackie Control and Logic Control can also be used as switches. However, since the four Knobs on the MOTIF ES do not have switch capability, the [PRE1] - [PRE4] buttons are used instead.
The functions of the eight [REC/RDY] buttons on the Mackie Control and Logic Control are assigned to these buttons. Please note that these buttons are not available when the
Mode is set to “General.”
The functions of the eight [SOLO] buttons on the Mackie Control and Logic Control are assigned to these buttons. Please note that these buttons are not available when the
Mode is set to “General.”
When the Mode is set to “General,” the functions of the nine [SEL] buttons on the 01X are assigned to these buttons. When the
Mode is set to something other than
“General,” the functions of the eight [MUTE] buttons on the Mackie Control and Logic
Control are assigned to the [1] - [8] buttons.
When the Mode is set to “General,” the functions of the nine [ON] buttons on the 01X are assigned to these buttons. When the
Mode is set to something other than
“General,” the functions of the eight [SELECT] buttons on the Mackie Control and Logic
Control are assigned to the [9] - [16] buttons.
Checking the Remote Control assignments
If you’re unsure as to which software function has been assigned to a particular panel control on the MOTIF ES, this convenient feature lets you quickly check it from the display.
1
In the Remote Control mode, press the
[INFORMATION] button to call up the information display, indicating the function of the last pressed button.
2
Press the button for which you want to check the assignment.
This display shown above appears when you press the [ F ] (Play) button of SEQ TRANSPORT. In this way, you can check each button’s control assignment simply by pressing it.
3
Press the [INFORMATION] button again to return to the Remote Control mode. n
While the Information display is shown, the panel buttons cannot be used to control the computer software.
Owner’s Manual
Controlling a computer from the instrument
Recording the sounds of the MOTIF ES to computer via mLAN
By using the optional mLAN16E interface and an IEEE 1394 cable connection, you can record multitrack audio from the
MOTIF ES to an mLAN-compatible DAW (digital audio workstation) program on your computer. This lets you transfer the audio data of multi-part Songs on the MOTIF ES to the DAW application for further editing and storage on your computer’s hard disk drive.
In the example instructions below, Song playback and/or your keyboard performance in the Song mode can be recorded to the computer, on separate tracks of the DAW application.
Audio signal of the MOTIF ES sound mLAN16E mLAN input
MUSIC PRODUCTION SYNTHESIZER
MOTIF ES Computer with an IEEE1394 interface
Setup for connecting the computer to the MOTIF ES via mLAN
installed, these indicate the different audio channels within the single mLAN connection.
Setup on the MOTIF ES
1
Install the optional mLAN16E to the MOTIF ES (page 288).
2
After turning the power on, set the MIDI IN/OUT parameter to “mLAN” ([UTILITY]
→
[F5] MIDI
→
[SF4] OTHER).
3
Press the [SONG] button to enter the Song mode and select the desired Song for playback, or the particular Mixing settings you want to use.
4
Set the mLAN MonitorSw parameter to “on”
([UTILITY]
→
[F2] I/O
→
[SF2] OUTPUT).
When this parameter is set to on, the audio signal output via mLAN to the computer is also output to the external audio equipment via the main OUTPUT L/MONO and R jacks. This allows you to monitor the sound going to the computer with a set of headphones.
1
2
Setup on the computer
Connect the computer to the MOTIF ES using an
IEEE1394 cable.
Install all necessary software to the computer, including the mLAN driver.
Refer to the relevant documentation for the mLAN16E.
3
Install an mLAN-compatible audio sequencer or
DAW application to the computer.
Refer to the separate Installation Guide for information on how to install mLAN-compatible Yamaha applications.
4
Set the audio related parameters on the DAW software.
Refer to the relevant documentation for the particular software.
5
Determine the Output connector or channel of audio signal for each part.
Make the desired OutputSel parameter settings
([SONG] → [MIXING] →
OUTPUT
→
[EDIT] → Part selection →
[SF3] SELECT). For example, set the
[F2]
OutputSel parameter for Part 1 to “as1&2,” Part 2 to
“as3&4,” and Part 3 to “as5&6.”
These settings (as1&2, as3&4, etc.) indicate the hardware output jacks on the optional AIEB2, when the device has been installed. When the mLAN16E is
Executing the Hard Disk Recording
After completing the setup described above, try out to record your keyboard performance to the hard disk of the computer by using the DAW software. For details about how to execute this, refer to the relevant document of the software.
Owner’s Manual
153
Internal Structure (System Overview)
Basic Structure
This section gives you an easy-to-understand overview of the MOTIF ES — its wide range of sophisticated features, its MIDI control and performance functions, and its convenient file management system for original data you’ve created with the instrument.
Internal Structure (System Overview)
This synthesizer is made up of several blocks, as shown here.
Keyboard
Controller block
VOLUME 1 VOLUME 3 VOLUME 4
Controllers
SWING GATE TIME VELOCITY UNITMULTIPLY
CS 1
ZONE 1
CS 2
ZONE 2
CS 3
ZONE 3
CS 4
ZONE 4
LOW
KN 2
LOW MID
KN 3
HIGH MID
KN 4
HIGH
Recording by the keyboard performance
Sequencer block
MIDI sequence data
• Song
• Pattern
• Arpeggio
Sampling block
Keyboard performance
Playback
Tone Generator block
Internal AWM2 Plug-in board
• Voice
• Performance
Operating the panel
Effect block
DSP
• Reverb
• Chorus
• Master Effect
• Part Equalizer
• Master Equalizer
MIDI output
Audio (sound) output
Recording
Microphone, Guitar, Bass,
Audio equipment, etc.
Playback
Microphone, Guitar, Bass,
Audio equipment, etc.
External MIDI instrument
Playback
Audio signal flow
MIDI messages flow
154
Controller Block
This block consists of the keyboard, Pitch Bend and
Modulation Wheels, Ribbon Controller, Knobs, Control 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 generates/transmits
MIDI messages.
The synthesizer’s tone generator block produces the sound according to the MIDI messages transmitted from the keyboard and controllers.
Controller supported by the MOTIF ES
The controllers you can use on this synthesizer and the reference pages are as follows:
●
Controllers with which the MOTIF ES is equipped
Keyboard (Initial Touch, Aftertouch) ................ page 18
Pitch Bend Wheel ............................................ page 64
Modulation Wheel ............................................ page 64
Ribbon Controller............................................. page 65
Knob (KN)........................................................ page 50
Control Slider (CS)........................................... page 51
●
Controllers (sold separately) that can be connected to the rear panel of the MOTIF ES
Foot Controller ................................................. page 42
Footswitch ....................................................... page 42
Breath Controller.............................................. page 42
Owner’s Manual
Internal Structure (System Overview)
Controller related parameters in each mode
The chart below shows the operations for calling up the Controller related parameters in each mode. Parameters for the
Footswitch and the Assign Knobs A/B apply to the entire instrument, regardless of the selected program (Voice/Performance/
Song/Pattern).
Voice mode
Performance mode
Song mode
Pattern mode
All modes
Controller Set (for each Voice)
Assigning the Control Change number to each
Controller (for all Voices)
Assigning the Control Change number to each
Controller (for each Performance)
Assigning the Control Change number to each
Controller (for each Song Mixing)
Assigning the Control Change number to each
Controller (for each Pattern Mixing)
Assigning the function and Control Change number to the Assign Knob A/B
Assigning the function and Control Change number to the Footswitch (connected to the
ASSIGNABLE connector)
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F4] CTL SET
[VOICE]
→
[UTILITY]
→
[F3] VOICE
→
[SF4] CTL ASN
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F4] CTL ASN
[SONG]
→
Song selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F4] CTL ASN
[PATTERN]
→
Pattern selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F4] CTL ASN
[UTILITY]
→
[F4] CTL ASN
→
[SF2] ASSIGN
See below.
[UTILITY]
→
[F4] CTL ASN
→
[SF3] FT SW
Controller Set
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F4] CTL SET
Aside from their default control parameters, the controllers of the instrument, such as the Pitch Bend wheel and the Modulation wheel, can be freely assigned to a variety of different parameters. For example, you could assign Resonance to the Modulation
Wheel and set aftertouch to apply vibrato. These settings for all the controllers are referred to as a “Controller Set,” and up to six
Controller Sets can be created for each Voice.
Voice Controller Set
Controller Set 1 - 6
Source = Controller
SWING GATE TIME
KN 1
LOW
KN 2
LOW MID
Depth = Degree to which the controller affects the sound
Element Switches
ON/OFF ON/OFF ON/OFF ON/OFF
1 2 3 4 n You can set whether the controller affects each
Element by setting the Element Switch on or off as desired. Note that this applies only to Normal Voices.
n The Element Switch parameters are not available when a function unrelated to Elements (1 - 40) is set as the destination.
Destination (Dest) = function
Volume, Reverb Send Level, Chorus Send Level, Filter
Cutoff Frequency, Filter Resonance, etc.
●
Source and Destination
“source” refers to the hardware controller and “destination” refers to the parameter or function being controlled. An extensive variety of destination parameters are available, far more than those listed above. For a complete list of destination parameters, see the separate Data List.
Owner’s Manual
155
Internal Structure (System Overview)
●
Using one source to control several destinations
For example, set the Source parameter of Control Set 1 to MW (Modulation Wheel) and the Destination parameter to ELFO-PM
(Element LFO Pitch Modulation Depth). Then set the Source parameter of Control Set 2 also to MW, but set the Destination parameter to ELM PAN (Element Pan). You will also need to specify the Element to be controlled and also the depth (amount) of control.
In this example, when you move the Modulation Wheel upward, the amount of Pitch Modulation increases accordingly, and the
Element is panned from left to right. In this way, you can have the sound change in several different ways, simply by adjusting a single controller.
●
Using several sources to control one destination
For example, set the Source parameter of Control Set 1 to MW (Modulation Wheel) and the Destination parameter to ELFO-PM
(Element LFO Pitch Modulation Depth). Then set the Source parameter of Control Set 2 to FC (Foot Controller) and set the
Destination parameter also to ELFO-PM (Element LFO Pitch Modulation Depth).
Now, Pitch Modulation is assigned to both the Modulation Wheel and Foot Controller. In this way, you can have several different controllers affect the same aspect of the sound. This can be useful in live performance situations, letting you use any one of several controllers depending on which is convenient at the time.
n The Controller Set edited in the Voice Edit mode is available when the corresponding Voice is selected in the Performance mode, Song mode, and Pattern mode. n The function assigned to the Controller by the Controller Set function can be applied only to the internal tone generator block. Operating the Controller will transmit the MIDI message (Control Change Number assigned below) to the external MIDI instrument.
156
Assigning Control Change numbers to the controllers
The functions assigned to the controllers by the Controller Set function can be applied only to the internal tone generator block.
For connected external MIDI instruments, use of the controllers generates MIDI Control Change messages, as shown in the chart below.
Controller
Aftertouch
Pitch Bend Wheel
Modulation Wheel
Footswitch (connected to the
SUSTAIN connector)*
ASSIGN Knob A, B*
Footswitch (connected to the
ASSIGNABLE connector)*
Ribbon Controller
ASSIGN Knob 1, 2
Foot Controller 1, 2
Breath Controller
Generated MIDI message
Channel Aftertouch (DnH)
Pitch Bend (EnH)
Control Change (BnH, 01H)
Control Change (BnH, 40H)
Control Change (BnH)
Control Change (BnH)
Control Change (BnH)
* These Controllers are not used in the Controller Set function
Display
–
–
–
–
[UTILITY]
→
[F4] CTL ASN
→
[SF2] ASSIGN
[UTILITY]
→
[F4] CTL ASN
→
[SF3] FT SW
[VOICE]
→
[UTILITY]
→
[F3] VOICE
→
[SF3] CTL ASN
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F4] CTL ASN
[SONG]
→
Song selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F4] CTL ASN
[PATTERN]
→
Pattern selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F4] CTL ASN
As shown above, the keyboard Aftertouch, Pitch Bend Wheel, Modulation Wheel, Footswitch connected to the SUSTAIN connector, were originally designed for a particular purpose, and send pre-defined MIDI Control Change messages when used, regardless of their Control Set allocations within the synthesizer. For example, when the pan function is assigned to the Pitch
Bend Wheel with the Controller Set, using the Pitch Bend Wheel will apply the pan function to the internal tone generator and will transmit the Pitch Bend messages to the external MIDI instrument.
Using the other controllers will transmit the Control Change messages set from the display shown above to the external MIDI instrument while it will apply the functions set via the Controller Set to the internal tone generator block.
You can also set up a controller such that it sends one kind of Control message to the synthesizer’s internal tone generator yet another kind to the external MIDI instrument. For example, in a Controller Set you could assign Resonance to the ASSIGN Knob
1. Then, in the Utility mode, you could assign Control Change Number 1 (modulation) to the same knob. Now, when you turn the knob, resonance will be applied to the sound of the internal tone generator block; however, at the same time, modulation messages will be transmitted to the external MIDI instrument.
Owner’s Manual
Internal Structure (System Overview)
Tone Generator block
The Tone Generator block is what actually produces sound in response to the MIDI messages generated by playing the keyboard, using the controllers, and the playback of the sequencer (Song/Pattern/Arpeggio).
Outputs the wave that makes up the sound.
Changes the tonal quality of the sound output from the PITCH unit.
Tone
Generator
OSC PITCH FILTER AMP To the Effect block
Controls the pitch of the sound.
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.
Internal AWM2 Tone Generator and optional Plug-in boards
The tone generator block in this synthesizer consists of the built-in AWM2 sound source and optional Plug-in Board(s).
Internal AWM2
Tone Generator
Plug-in boards (optional)
Up to three boards can be installed.
●
AWM2 (Advanced Wave Memory 2)
AWM2 (Advanced Wave Memory 2) is a synthesis system based on sampled waves (sound material), and is used in many
Yamaha synthesizers. For extra realism, each AWM2 Voice uses multiple samples of a real instrument’s waveform. Furthermore, a wide variety of parameters — envelope generator, filter, modulation, and others — can be applied.
You can also create your own waves (Samples) via microphone or from external audio equipment by using the Sampling function. These are then stored in internal memory (DRAM) and can be used just like the preset waves.
●
Plug-in Board
For details on using the optional Plug-in Boards for even more sounds, see page 74.
Owner’s Manual
157
158
Internal Structure (System Overview)
Voice, Performance, and Mixing
This instrument features three different types of programs, that form the basis for creating and playing sounds.
●
Voice
A program that contains the sonic elements for generating a specific musical instrument sound is referred to as a “Voice.”
Each Voice consists of up to four elements (Normal Voice) or up to 73 keys (Drum Voice). Each Voice is created by editing parameters unique to each element/key and parameters
common to all the elements/keys in the Voice mode (page
188) or in the Mixing Voice mode (page 249).
●
Performance
A program in which multiple Voices (parts) are combined in a layer, or in other configurations is referred to as a
“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 in the Performance mode (page 212).
●
Mixing
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 34 parts (page
163). Each Mixing can be created by editing parameters
unique to each part and parameters common to all the parts
in the Song Mixing mode (page 233) or in the Pattern Mixing
n The Mixing belongs to the Song or Pattern.
The illustration below shows the structure and interrelationship of the Voices, Performances, and Mixings.
VOICE
One Voice
Up to four elements (Normal Voice)
Up to 73 keys (Drum Voice)
This synthesizer has two types of Voices – Voices created in the
Voice mode and Mixing Voices (dedicated for the Song/Pattern) created in the Mixing Voice mode.
Element 1 - 4 or Key C0-C6
Common Edit parameters
Arpeggio, Effects, Controller Set, etc.
One Part
Voice
PERFORM
One Performance
Up to four parts
Part Edit parameters
One Part
Voice
SONG
PATTERN
MIXING
MIXING
One Mixing
• 1 - 16 parts (of the internal tone generator)
• 17 - 32 parts (of the optionally installed PLG100-XG)
• PLG1 - 3 parts (of the optionally installed single part Plug-in boards)
CH1
CH16
Part Edit parameters
Common Edit parameters
Different Voice for each part
Element Edit parameters or Key Edit parameters
OSC
(Oscillator)
Waveform
(AWM2)
PITCH
EG
PEG
Pitch Envelope
Generator
LFO
Low Frequency
Oscillator
FILTER
AMP
(Amplitude)
FEG
Filter Envelope
Generator
AEG
Amplitude Envelope
Generator
Common Edit parameters
Different Voice for each part
Set in the Voice Edit mode (page 79)
n
The Drum Voice Key Edit parameters do not contain LFO settings.
Owner’s Manual
Internal Structure (System Overview)
The following illustrations may help in understanding the memory structure of the Voices, Performances, and Mixings.
Voices
VOICE
Preset Voice
Normal Voices: 768
Drum Voices: 64
PRE 1
PRE 2
PRE 3
Normal Voice
1
Preset 1
(128 Voices)
2 ...... 128
PRE 4
1
Preset 4
(128 Voices)
2 ...... 128
1
Preset 2
(128 Voices)
2 ...... 128
PRE 5
A. PIANO
1
Preset 3
(128 Voices)
2 ...... 128
PRE 6
KEYBOARD
1
Preset 5
(128 Voices)
2 ...... 128
1
Preset 6
(128 Voices)
2 ...... 128
Drum Voice
DRUM KITS PRE 5
FAVORITES A. PIANO
Preset Drum
(64 Voices)
1 2 ...... 64
GM Voice
Normal Voices: 128
Drum Voice: 1
User Voice
Normal Voices: 256
Drum Voices: 32
GM
BASS
1
GM Preset
(128 Voices)
2 ...... 128
USER 1
ORGAN
1
User 1
(128 Voices)
2 ...... 128
USER 2
GUITAR/
PLUCKED
1
User 2
(128 Voices)
2 ...... 128
DRUM KITS GM
FAVORITES BASS
GM Drum
(1 Voice)
1
DRUM KITS USER 1
FAVORITES ORGAN
1
User Drum
(32 Voices)
2 ...... 32
Mixing Voice
Normal Voices: up to 256
(Up to 16 Voices for each Song/Pattern)
The Mixing Voices can be selected only in the Song mode/Pattern mode. These cannot be selected in the Voice mode or assigned to each Part in the
Performance mode.
1
Song 01
(16 Voices)
2 ...... 16
..................
1
Song 64
(16 Voices)
2 ...... 16
1
Pattern 01
(16 Voices)
2 ...... 16
..................
1
Pattern 64
(16 Voices)
2 ...... 16
Sample Voice
(Up to 128 Voices for each Song/Pattern,
1024 Voices for all Songs/Patterns)
The Sample Voices can be selected only in the Song mode/Pattern mode. These cannot be selected in the Voice mode or assigned to each Part in the Performance mode.
The Sample Voices can be created by recording the audio signal to a Song/Pattern
track via the Sampling function (page 172).
1
Song 01
(128 Voices)
2 ...... 128
..................
1
Song 64
(128 Voices)
2 ...... 128
1
Pattern 01
(128 Voices)
2 ...... 128
..................
1
Pattern 64
(128 Voices)
2 ...... 128
Plug-in Voice
* When the PLG150-VL is installed, there are three Preset
Banks and 192 Preset Voices.
SLOT 1
PLG 1
PLG1 Preset
(64 Voices)
1 2 ...... 64
STRINGS
1
PLG1 User
(64 Voices)
2 ...... 64
SLOT 2
PLG 2
BRASS
1
PLG2 Preset
(64 Voices)
2 ...... 64
SLOT 3
PLG 3
1
PLG2 User
(64 Voices)
2 ...... 64
REED/PIPE
PLG3 Preset
(64 Voices)
1 2 ...... 64
1
PLG3 User
(64 Voices)
2 ...... 64
Performance
PERFORM
➜
USER 1
ORGAN
User 1
(128 Performances)
1 2 ...... 128
Mixing
SONG
➜
MIXING
Song 01
(16 Parts + PLG Parts)
..................
Song 64
(16 Parts + PLG Parts)
PATTERN
➜
MIXING
Pattern 01
(16 Parts + PLG Parts)
..................
Pattern 64
(16 Parts + PLG Parts)
Template
1
2
32
Owner’s Manual
159
160
Internal Structure (System Overview)
■
Normal Voices & Drum Voices
Internally, there are two Voice Types: Normal Voices and Drum
Voices. Normal Voices are mainly pitched musical instrumenttype sounds that can be played over the range of the keyboard. Drum Voices are mainly percussion/drum sounds that are assigned to individual notes on the keyboard. A collection of assigned percussion/drum waves or Normal
Voices is known as a Drum Kit.
Normal Voice
Waveform (Preset 1-1859, User 1-1024)
Velocity
Drum Voice
Element 1
Element 3
Element 2
Element 4
One Voice
C0 C1 C6
Individual drum sounds (different for each key)
Key 1 Key 5 Key 10 Key 18 Key 21 Key 73
■
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.
■
Tone generator parameters that produce the Voice sound
Among various parameters that makes up one Voice,
Oscillator, Pitch, Filter, Amplitude, LFO and three Envelope
Generators (PEG, FEG, AEG) shown in the illustration on pages 160-162 are the basic parameters for creating the Voice sound. Parameters about Oscillator, Pitch, Filter and Amplitude determine the three basic elements of the sound – Pitch (how low or high it is), Tone (or its overall sound quality), and Volume
(how loud its volume level is) of the Voice. Parameters such as
LFO and EG (Envelope Generator) determine the transition in these three basic elements of the sound from the moment the sound starts to the moment the sound stops.
In the sections that follow, we’ll explain in detail about the sound-related parameters and provide an introduction to the basics of electronic synthesis.
●
Oscillator
VOICE]
→
Voice selection
→
[EDIT]
→
Element selection/
Drum Key selection
→
[F1] OSC
This unit outputs the wave which determines the basic pitch.
You can assign the wave (or basic sound material) to each
Element of the Normal Voice or each Key of the Drum Voice.
In the case of the Normal Voice, you can set the note range for Element (the range of notes on the keyboard over which the Element will sound) as well as the velocity response (the range of note velocities within which the Element will sound).
For example, you could set one Element to sound in an upper range of the keyboard, and another Element to sound in a lower range. Thus, even within the same Voice, you can have two different sounds for different areas of the keyboard or you can make the two Element ranges overlap so that their sounds are layered over a set range. Furthermore, you can set each Element to respond to different velocity ranges so that one Element sounds for lower note velocities, whereas another Element sounds for higher note velocities. See the illustration at left of this page. n
You can assign the wave with the following operation.
[VOICE]
→
Voice selection
→
[EDIT]
→
Element selection/Drum Key selection
→
[F1] OSC
→
[SF1] WAVE
Strictly speaking, what is assigned here to an Element or Key is not a
“wave” but a “waveform.” The difference between the two terms is
●
Pitch
[VOICE]
→
Voice selection
→
[EDIT]
→
Element selection/
Drum Key selection
→
[F2] PITCH
This unit controls the pitch of the sound (wave) output from the Oscillator. In the case of the 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.
PEG (Pitch Envelope Generator)
Using the PEG, you can control the transition in pitch from the moment the sound starts the moment the sound stops. You can create the PEG by setting parameters as illustrated below. When you press a note on the keyboard, the pitch of the Voice will change according to these envelope settings.
This is useful for creating automatic changes in pitch, which is effective for the Synth Brass. Furthermore, different PEG parameters can be set for each Element or each Key.
Pitch
Attack
Level
Hold
Level
Decay1
Level
Sustain Level
(Decay2 Level)
Release
Level
0
Time
Hold
Time
Attack
Time
Decay1
Time
Decay2
Time
Release
Time
Pressing the key (Key on) Releasing the key (Key off)
Owner’s Manual
Internal Structure (System Overview)
●
Filter
[VOICE]
→
Voice selection
→
[EDIT]
→
Element selection/
Drum Key selection
→
[F3] FILTER
This unit modifies the tone of the sound output from Pitch by cutting the output of a specific frequency portion of the sound.
Cutoff Frequency and Resonance
Here’s how filters work. In the example below (a low pass filter), a portion of the signal lower than a given frequency is allowed to pass, and signals above that frequency are cut.
This frequency is referred to as the cutoff frequency. You can produce a relatively bright or darker sound by setting the cutoff. Resonance is a parameter that boosts 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.
Cutoff frequency
Level
• Band Pass Filter
This passes only those a band of signals around the Cutoff frequency. The width of this band can be varied.
Range passed
Level
Cutoff range
Center frequency
Frequency
• Band Elimination Filter
This attenuates a band of signals around the Cutoff frequency, but passes everything else.
Cutoff range
Level
Level
These frequencies are “passed” by the filter.
Resonance
Frequency (pitch)
Frequency (pitch)
Cutoff frequency
About the main Filter types
The Low Pass Filter is shown in the illustration above – however, this synthesizer features other Filter types (four total) as shown below.
• Low Pass Filter (above)
This passes only those signals below the Cutoff frequency.
You can then use the Reso (Resonance) parameter to add further character to the sound.
• High Pass Filter
This passes only those signals above the Cutoff frequency.
You can then use the Reso (Resonance) parameter to add further character to the sound.
Level
These frequencies are
“passed” by the filter.
Resonance
Range passed
Center frequency Frequency
FEG (Filter Envelope Generator)
Using the FEG, you can control the transition in tone from the moment the sound starts to the moment the sound stops. You can create the FEG by setting parameters as illustrated below. When you press a note on the keyboard, the cutoff frequency will change according to these envelope settings.
This is useful for creating automatic wah or filter sweep effects, for example. Furthermore, different FEG parameters can be set for each Element Key.
Cutoff
Frequency
Hold
Level
Attack
Level
0
Hold
Time
Attack
Time
Decay1
Time
Decay2
Time
Pressing the key (Key on)
Decay1
Level
Sustain Level
(Decay2 Level) Release
Level
Release
Time
Time
Releasing the key (Key off)
Cutoff frequency
Owner’s Manual
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162
Internal Structure (System Overview)
●
Amplitude
[VOICE]
→
Voice selection
Drum Key selection
→
→
[EDIT]
[F4] AMP
→
Element selection/
This unit controls the output level (amplitude) of the sound output from Filter. The signals are then sent at this level to the
Effect block. Also, by setting the AEG (Amplitude Envelope
Generator), you can control how the volume changes over time.
AEG (Amplitude Envelope Generator)
Using the AEG, you can control the transition in volume from the moment the sound starts is to the moment the sound stops. You can create the AEG by setting parameters as illustrated below. When you press a note on the keyboard, the volume will change according to these envelope settings.
Furthermore, different AEG parameters can be set for each
Element Key.
Single Timbre Tone Generator (Voice/
Performance mode) and Multi-timbral
Tone Generator (Song/Pattern mode)
The internal tone generator block operates in two different ways (Single timbre and Multi-timbral) depending on the selected mode. The difference between the two is whether they can handle the multi-MIDI channels or not at the same time.
●
Single Timbre Tone Generator (Voice/Performance mode)
A MIDI tone generator that receives over a single MIDI channel and plays a single instrument part is referred to as a
“single timbre” tone generator. This is the operating status of the internal tone generator in the Voice and Performance modes.
n
To set the MIDI receive channel for single timbre operation (Voice and
Performance modes), use the following operation in the Utility mode.
[UTILITY]
→
[F5] MIDI
→
[SF1] CH
→
BasicRcvCh
Level
(Volume)
Attack
Level
Initial
Level
Decay1
Level
Sustain Level
(Decay2 Level)
0
Attack
Time
Decay1
Time
Decay2
Time
Release
Time
Release
Level
Time
Pressing the key (Key on) Releasing the key (Key off) n
When you release the key while holding the Footswitch connected to the SUSTAIN connector, the sound will maintain at the Sustain Level shown above. For Voices having a Sustain Level value greater than 0, the sound continues. For Voices having a Sustain Level of 0, the sound decays naturally to silence.
●
Multi-timbral Tone Generator (Song/Pattern mode)
A MIDI tone generator that simultaneously receives over multiple MIDI channels and plays multiple instrument parts is referred to as a “multi-timbral” tone generator. This allows playback of multi-channel MIDI song data — such as on a
MIDI sequencer or computer — with each internal part being assigned to and played by a different track or channel. This is the operating status of the internal tone generator in the
Song and Pattern modes.
n To set the MIDI receive channel for multi-timbral operation (Song and
Pattern modes), use the following operation in the Utility mode.
[SONG] or [PATTERN]
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F1]
VOICE
→
[SF2] MODE
→
ReceiveCh n When using an external MIDI sequencer or computer to play this instrument, make sure to use the Song mode or Pattern mode.
●
LFO (Low Frequency Oscillator)
[VOICE]
→
Voice selection
→
[EDIT]
→
Element selection/
Drum Key selection
→
[F5] LFO
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F5]
LFO
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.
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 internal 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 the normal voices that include up to four elements are used, the maximum number of simultaneous notes may be less than 128. n
When the Plug-in board is installed, the maximum polyphony increases accordingly. For details on maximum polyphony for the Plug-in Boards, refer to the Owner’s Manual of the particular board.
Owner’s Manual
Internal Structure (System Overview)
Part structure of the tone generator block
This synthesizer plays the sounds in the tone generator block in response to MIDI messages received from the controller or sequencer block. The MIDI messages are assigned to sixteen independent channels, and this synthesizer is capable of simultaneously playing sixteen separate parts, via the sixteen
MIDI channels. However, the sixteen-channel limit can be overcome by using separate MIDI “ports,” each supporting sixteen channels. The multiple sound sources of this synthesizer (internal tone generator and Plug-in Boards) take advantage of the three MIDI ports included on the instrument.
Tone Generator block
Part for Voice mode
Parts used in modes other than the Voice mode
Port 1 Port 2 Port 3
Part 1
Part 2
Part 17
Part 18
Part 33
Part 34
Part 14
Part 15
Part 16
Part 30
Part 31
Part 32
Part 46
Part 47
Part 48 n The MIDI receive channel in the Voice mode can be set from the following display in the Utility mode.
[UTILITY]
→
[F5] MIDI
→
[SF1] CH
→
BasicRcvCh
The MIDI port number which this synthesizer can recognize in the
Voice mode is 1. n The Multi-Part Plug-in Board (PLG100-XG) cannot be used in the Voice mode.
■
Part structure of the tone generator block in the
Performance mode
This mode lets you play a Performance (which multiple Voices
(parts) are combined – in a layer, or in other configurations) using the keyboard. While a total of seven parts are available in this mode (as shown below), a maximum of four parts can be used simultaneously. Although this mode lets you play several parts at the same time, all are set to receive over the same single MIDI channel, as in the Voice mode. For this reason, 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.
As shown in the above illustration, up to 48 parts are provided for the modes (excepting the Voice mode). However, the number of parts that are actually used is a maximum of 34 in the Song and Pattern modes, as we will see later in some examples.
n The USB cable supports up to eight separate MIDI ports. The Tone
Generator block of this synthesizer supports three separate ports as illustrated above. n
A single MIDI cable/connection cannot handle data over multiple MIDI ports.
■
Part structure of the tone generator block in the
Voice mode
In this mode, a Voice is played from the keyboard, using a single part. This part is used also when the Plug-in Voice is selected. The tone generator block in the Voice mode receives MIDI data over a single channel. 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.
PLG3
PLG2
PLG1
PLG3 part
PLG2 part
PLG1 part
Tone generator block
When three single part Plug-in boards are installed to the synthesizer.
Port 1
Part 1
Part 2
Part 3
Part 4
Part 5
Port 2
Part 17
Part 18
Port 3
Part 33
Part 34
Part 13
Part 14
Part 15
Part 16
Part 30
Part 31
Part 32
Part 46
Part 47
Part 48
Parts 5-13 and 17-48 are not used.
These seven parts (1, 2, 3, 4, 14, 15, 16) are reserved for use in the
Performance mode; however, only up to four of them can be used at the same time.
n The MIDI receive channel in the Performance mode can be set with the following operation in the Utility mode.
[UTILITY]
→
[F5] MIDI
→
[SF1] CH
→
BasicRcvCh
In the Voice mode, the instrument recognizes only data over MIDI Port 1.
n The Multi-part Plug-in Board (PLG100-XG) cannot be used in the
Performance mode.
Tone generator block
Part for Voice mode
Parts used in modes other than the Voice mode
Port 1
Part 1
Part 2
Part 3
Part 4
Part 5
Port 2
Part 17
Part 18
Port 3
Part 33
Part 34
Part 16
Part 30
Part 31
Part 32
Part 46
Part 47
Part 48
Parts 1-48 are not used.
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Internal Structure (System Overview)
■
Part structure of the tone generator block in the Song mode/Pattern mode
In these modes, multiple parts are provided and different voice 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.
As illustrated below, the sequence data of each track plays the corresponding parts (those having the same MIDI channel assignment) in the tone generator block.
Sequencer block (example)
When setting the Transmit Channel/Port to the following example in the Song/Pattern mode or on the external MIDI sequencer or on the computer:
Track 1 Transmit Channel = 1 (Port 1)
Track 2 Transmit Channel = 2 (Port 1)
Track 3 Transmit Channel = 3 (Port 1)
Track 4 Transmit Channel = 4 (Port 1)
Track 5 Transmit Channel = 5 (Port 1)
Track 6 Transmit Channel = 6 (Port 1)
Track 7 Transmit Channel = 7 (Port 2)
Track 8 Transmit Channel = 8 (Port 2)
Track 9 Transmit Channel = off (Port off)
Track 10 Transmit Channel = 10 (Port 2)
Track 11 Transmit Channel = 11 (Port 3)
Track 12 Transmit Channel = off (Port off)
Track 13 Transmit Channel = 13 (Port 2)
Track 14 Transmit Channel = 14 (Port 2)
Track 15 Transmit Channel = 15 (Port 2)
Track 16 Transmit Channel = 16 (Port 3)
Tone Generator block (example)
When a Multi-part Plug-in Board (PLG100-XG) and a two
Single part Plug-in Board are installed to this synthesizer and setting the Receive Channel/Port to the following example:
Port 1
Part 1 Receive Channel = 2
Part 2 Receive Channel = 3
Part 3 Receive Channel = 4
Part 4 Receive Channel = 1
Part 15 Receive Channel = 5
Part 16 Receive Channel = 6
Port 2
Part 17 Receive Channel = 8
Part 18 Receive Channel = 7
Part 19 Receive Channel = 10
Part 20 Receive Channel = 13
Part 31 Receive Channel = 14
Part 32 Receive Channel = 15
Port 3
Part 33
Part 34
Part 35
Multi-part
Plug-in Board
Single part
Plug-in Board
Part 46
Part 47 Receive Channel = 11
Part 48 Receive Channel = 16
Single part
Plug-in Board
Parts 33-46 are not used.
The MIDI Transmit Channel/Port of the Song/Pattern can be set with the following operation.
In the Song mode: [SONG]
→
Song selection
→
[F3] TRACK
→
[SF1] CHANNEL
In the Pattern mode: [PATTERN]
→
Pattern selection
→
[F3] TRACK
→
[SF1] CHANNEL
When sounding the internal tone generator block, assign the tracks to Transmit Port 1 and use Parts 1 - 16. Keep in mind that data over Transmit Ports 2 or 3 cannot sound the internal tone generator block. The tone generator of the installed Plug-in Board can be sounded via any of the MIDI ports 1 - 3.
The MIDI Receive Channel of the tone generator’s part can be set with the following operation.
I n the Song mode: [SONG]
→
Song selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F1] VOICE
→
[SF2] MODE
→
ReceiveCh
In the Pattern mode: [PATTERN]
→
Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection
→
[F1] VOICE
→
[SF2] MODE
→
ReceiveCh
You can set the port number assignment for the Plug-in Board with the following operation.
[UTILITY]
→
[F6] PLUG
→
[SF2] MIDI n
For details about MIDI, see page 181.
n The Plug-in Board lets you use only a single Voice at the same time. Please note that you cannot assign multiple Voices of the Plug-in Board to multiple parts at the same time. n The Voice and related settings (volume, pan, etc.) are sounded by the keyboard according to the Part parameters in the Mixing settings of the current Song/
Pattern and Part. Other settings such as Controllers and Effect types correspond to the Common parameters in the Mixing settings of the current Song/
Pattern.
Owner’s Manual
Internal Structure (System Overview)
Audio Input Part (AUDIO IN)
The Performance mode, Song mode, and Pattern mode are capable of handling the audio input signal as a Part. Various parameters such as volume, pan, and effect can be set to this Part and the sound is output together with other Parts. Other available settings include how stereo input signals are handled, as well the output assignment of the audio Part.
These parameters are set and stored for each Performance, Song Mixing, and Pattern Mixing. Please note that the Audio
Input Part is not available in the Voice mode.
Among the following three types of Audio Input parts which this synthesizer can handle, two types (five stereo parts if the mLAN16E has been installed) can be handled at the same time, since the optional mLAN16E and AIEB2 cannot be installed together.
A/D Input part mLAN Input parts (when the optional mLAN16E has been installed)
AIEB2 parts (when the optional
AIEB2 has been installed)
This part (one stereo part) is input from the external audio equipment connected to the A/D INPUT jack.
These four stereo parts are input from external mLAN-compatible audio equipment connected to the mLAN jack via a single IEEE1394 cable.
This part (one stereo part) is input from external audio equipment connected to the OPTICAL INPUT or the
DIGITAL INPUT (Coaxial) connector.
Either one of the connectors (OPTICAL or DIGITAL) can be used; however, both cannot be used at the same time. Select which connector is used for digital input with the following operation in the Utility mode.
[UTILITY]
→
[F2] I/O
→
[SF1] INPUT
→
Digital
Parameters for the above Parts can be set with the following operations.
In the Performance mode
In the Song mode
In the Pattern mode
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F5] AUDIO IN
[SONG]
→
Song selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F5] AUDIO IN
[PATTERN]
→
Pattern selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F5] AUDIO IN n
Although the Insertion Effects of this synthesizer can be applied to the A/D Input Part, they cannot be applied to the mLAN Input part and the AIEB2
Input part.
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. The sequencer block can be operated in the Song mode, in the
Pattern mode, and with the Arpeggio feature. When a Song or a Pattern is played back, the musical data of each sequence track is transmitted to the tone generator block according to the Transmit Channel settings. n
Songs can be played back only in the Song mode. They cannot be played back in other modes.
Patterns can be played back only in the Pattern mode. They cannot be played back in other modes.
Arpeggios can be played back in any modes.
Song and Pattern
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.
In the MOTIF ES, 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 [ ■ ] (Stop) button. This synthesizer features a variety of preset Phrase data that is used as the basic material in making up Patterns.
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Internal Structure (System Overview)
■
Song data structure
The following illustration shows the track structure of a Song. Songs are created by recording MIDI sequence data to individual tracks and by setting tone generator related parameters (in Song Mixing).
Song 64
Song 63
Song 02
Song 01
Tempo track
Scene track
Track 1
Track 2
Track 3
Tempo change
Track mute status/Scene memory change/Arpeggio type change
(including tempo, transpose, etc.)
Scene 1
Musical performance data
Scene 2 Scene 3 Scene 4
MIDI sequence data
MIDI sequence data
MIDI sequence data
Groove, Transmit Channel/Port, Track loop settings
Groove, Transmit Channel/Port, Track loop settings
Groove, Transmit Channel/Port, Track loop settings
Scene 5
Sample Voice
Sample Voice
Sample Voice
Track 16 MIDI sequence data Groove, Transmit Channel/Port, Track loop settings Sample Voice
Part 1
Part 2
Part 3
Mixing settings
Mixing settings
Mixing settings
Part 16 Mixing settings
Part 17
Part 18
Part 19
Part 32
Song Mixing (Tone Generator related settings)
Mixing settings
Mixing settings
Mixing settings
Part PLG1
Part PLG2
Part PLG3
Audio Input part
Mixing settings
Mixing settings
Mixing settings
Mixing settings
Mixing settings
Mixing Common Edit Parameters applied to all the parts
Mixing Voice 16
Mixing Voice 01
Please note that the Multi-part Plug-in Part (17-32) settings apply not to one individual Song but to all 64 Songs.
Set in the Song Play mode
Created in the Song Record mode, Song Edit mode, and Song Job mode
Set in the Song Mixing mode and Song Mixing Edit mode
Created in the Mixing Voice Edit mode
Created in the Sampling mode entered from the Song mode
●
Song Mixing
Even if you record your keyboard performance to a Song track, the setup data (non-note events such as voice, pan, volume) which for proper playback should be recorded at the top of the Song will not be recorded to it. For this reason, the setup data handled as Song Mixing settings should be stored in the Song Mixing Store mode.
Because the Song Mixing is a collection of settings related to the tone generator, it can be applied to the sequence data transmitted from the external MIDI sequencer as well as this synthesizer’s Song playback.
●
Scene
A Song Scene is a “snapshot” of important settings, and contains parameter settings such as transpose, tempo, and track mute and the tone generator related parameters controllable from the Knobs with the [PAN/SEND] or [TONE] lamp turned on, and the Control Sliders. Five settings can be registered to the [SF1] - [SF5] buttons for each Song.
●
Song Chain
This function allows songs to be “chained” together for automatic sequential playback. The Song Chain can be created and played back from the [SONG]
→
[F6] CHAIN display. This instrument allows you to create one Song Chain data. n When the Multi-Part Plug-in Board PLG100-XG has been installed,
Mixing of sixteen parts (17 - 32) can be set. Please note that the Multipart Plug-in Part (17 - 32) settings apply not to one individual Song but to all 64 Songs.
Song 01 Song 22 Song 15
Owner’s Manual
Internal Structure (System Overview)
■
Pattern data structure
The following illustration shows the track structure of a Pattern. Patterns are created by recording MIDI sequence data to individual tracks, by assigning Phrases (Preset and User) which is material for a Pattern to individual tracks, and by setting tone generator related parameters (in a Pattern Mixing).
Pattern 64
Pattern 01
Groove, Transmit Channel/Port, Track loop, Track Voice settings
Pattern Mixing (Tone Generator related settings)
Part 1
Part 2
Part 3
Part 16
Mixing settings
Mixing settings
Mixing settings
Mixing settings
Part 17 Mixing settings
Part 18 Mixing settings
Part 19 Mixing settings
Part 32 Mixing settings
Mixing settings
Mixing settings
Mixing settings
Mixing settings
Part PLG1
Part PLG2
Part PLG3
Audio Input part
Mixing settings
Mixing settings
Mixing Common Edit Parameters applied to all the parts
User Phrase 1 - 256
(MIDI sequence data)
Pattern Chain
Mixing Voice 16
Mixing Voice 01
User Phrase 1 - 256
(MIDI sequence data)
A B
16 Sections
P
User Phrase
Sample Voice
Copy the Phrase recorded to a track of another pattern
Track 1
Track 2
Track 3
MIDI sequence data
MIDI sequence data
MIDI sequence data
Preset Phrase 1 - 687
(MIDI sequence data)
Please note that the Multi-part Plug-in
Part (17-32) settings apply not to one individual Pattern but to all 64 Patterns.
Preset Phrase
Track 16 MIDI sequence data
The Patch function lets you assign a Phrase to each track.
Set in the Pattern Play mode
Created in the Pattern Record mode, Pattern Edit mode, and Pattern Job mode
Set in the Pattern Mixing mode and Pattern Mixing Edit mode
Created in the Mixing Voice Edit mode
Created in the Sampling mode entered from the Pattern mode
Created in the Pattern Chain mode
●
Section
A Pattern consists of one or more “Sections” (Pattern variations). You can play the Pattern by specifying a Section after selecting a Pattern.
●
Pattern Mixing
Even if you record your keyboard performance to a Pattern track, the setup data (non-note events such as voice, pan, volume) which for proper playback should be recorded at the top of the Pattern will not be recorded to it. For this reason, the setup data handled as Pattern Mixing settings should be stored in the Pattern Mixing Store mode. Unlike the Song, only the voice number is recorded to a track as a Track Voice
(Phrase Voice) which is used for playback normally. Because the Pattern Mixing is a collection of settings related to the tone generator, it can be applied to the sequence data transmitted from the external MIDI sequencer as well as this synthesizer’s
Pattern playback. n When the Multi-Part Plug-in Board PLG100-XG has been installed,
Mixing of sixteen parts (17 - 32) can be set. Please note that the Multi-
Part Plug-in Part (17 - 32) settings apply not to one individual Pattern but to all 64 Patterns.
●
Phrase
This is the basic MIDI sequence data – 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
687 Preset Phrases, and features memory space for 256 of your own original User Phrases.
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Internal Structure (System Overview)
●
Pattern Chain
Pattern Chain allows you to string several different Sections
(within a single Pattern) together to make a single Song. You can have the synthesizer automatically change Sections by creating Pattern Chains in this way beforehand.
You can create the Pattern Chain by recording a Pattern playback with Section changes from the [PATTERN]
→
[F6]
CHAIN display or by editing the timing of Section changes from the [PATTERN]
→
[F6] CHAIN
→
[EDIT] display. The created Pattern Chain can be played back when calling up the [PATTERN]
→
[F6] CHAIN display.
You can also use them when creating Songs based on a certain Pattern, since the created Pattern Chain can be converted into a Song from the [PATTERN]
→
[F6] CHAIN
→
[EDIT]
→
[F3] SONG display. This synthesizer lets you create one Pattern Chain for each Pattern.
Example
Section J
Pattern track
Scene track
Tempo track
Pattern Chain
Section change
Track mute setting
Tempo change
Section H Section P
■
MIDI tracks and Sample tracks
The Song/Pattern tracks (1 - 16) of this synthesizer are divided into two groups: MIDI tracks and Sample tracks.
MIDI tracks are created by recording your keyboard performance in the Song Record mode/Pattern Record mode.
On the other hand, Sample tracks are created by recording and obtaining a Sample in the Sampling mode.
●
Sample tracks — with Sample Voices
Voices which are automatically created and stored using the
Sampling feature in the sequencer (Song/Pattern) mode, are referred to as “Sample Voices.” Tracks using these Sample
Voices are referred to as “Sample” tracks — to distinguish them from the MIDI tracks. Sample Voices are stored as original, dedicated Voices for each Song or Pattern. If you wish to use a Sample Voice of a certain song/pattern for another song/pattern, execute the copy operation in the Song
Job mode (page 226) or in the Pattern Job mode (page 244).
●
Realtime recording and Step recording
Realtime recording
With realtime recording, the instrument functions in the same way as a tape recorder, recording the performance data as it is played. This allows you to capture all the nuances of an actual performance. This method is used for the Recording types explained below, such as Replace, Overdub, Loop, and
Punch In/Out.
Step recording (Type = step)
With step recording, you can compose your performance by
“writing” it down one event at a time. This is a non-realtime, step recording method — similar to writing music notation onto paper.
●
Replace and Overdub (Song/Pattern)
Replace
You can use this method when you want to overwrite an already recorded track with new data. The first recording is lost, and the new one takes its place.
Overdub
You can use this method when you want to add more data to a track that already contains data. The first recording is kept, and the new one is added. This method lets you build up a complex phrase together with Loop recording (below).
●
Loop Recording (Pattern)
[PATTERN]
→
[ ● ] (Record)
→
[F1] SETUP
→
loop = on
Pattern repeats the rhythm pattern of several measures (1 to
256 measures) in a “loop,” and its recording is also done using loops. This method is used when recording a Pattern
Phrase using the Overdub method (above). As shown in the example below, notes that you record will play back from the next repetition (loop), letting you record while hearing previously recorded material.
When recording a rhythm of Bass Drum, Snare Drum,
Hi-Hat cymbal in order:
Loop 1st round
Bass Drum
Loop 2nd round
Snare Drum
Bass Drum
■
MIDI track recording method
[SONG] or [PATTERN]
→
[ ● ] (Record)
→
[F1] SETUP
→
Type
The following explanations are important points for you to keep in mind as you record your User Songs/Patterns. The recording methods explained here should be set from the
Setup display in the Song Record mode/Pattern Record mode before recording. n
See page 173 for details about the Sample track recording method.
Loop 3rd round
Hi-Hat
Snare Drum
Bass Drum n Loop Recording can only be used with Realtime recording.
Owner’s Manual
Internal Structure (System Overview)
●
Punch In/Out (Song)
You can use this method when you want to re-record only over a specific area of the track. You’ll need to set the start and end points before re-recording.
In the eight-measure example below, the third measures through the fifth measure are re-recorded.
Recording start
Before re-recording
Punch In
1 2 3 4
Recording stop
Punch Out
5 6 7 8
After re-recording
1 2 3 4 5 6
Newly recorded data
7 8 n Punch In/Out Recording can only be used with Realtime recording.
n
Note that the Punch In/Out method always replaces (destroys) the original data over the specified area.
Arpeggio
This function 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.
n
A single Arpeggio type can be played back at the same time even in the Performance, Song, and Pattern mode, enabling you to play multiple tone generator’s parts simultaneously.
■
Category of the Arpeggio type
The Arpeggio types are divided into 18 categories as listed below.
LCD
Seq
ChSq
HySq
APKb
Orgn
GtPl
GtKM
Bass
BaKM
Strn
Bras
RdPp
Lead
PdMe
CPrc
DrPc
Comb
Cntr
Category Name
Synth Sequence
Synth Chord Sequence
Synth Hybrid Sequence
Acoustic Piano & Keyboard
Organ
Guitar & Plucked
Guitar - Keyboard Mega Voice
Bass
Bass - Keyboard Mega Voice
Strings
Brass
Reed & Pipe
Synth Lead
Synth Pad & Musical FX
Chromatic Percussion
Drum & Percussion
Combination
Control
Description
Various arpeggio phrases suited for synth voices.
Various rhythmic chord phrases or synth voices.
Various arpeggio types programmed so that bass phrases are played with the lower keys and chords or melodies are played with the midrange and higher keys. These arpeggio types ar e useful for split voice combinations. In addition, there are also Hybrid Velocity (“HybVel...”) types that feature different phrases for different velocity ranges, letting you change the arpeggio phrase depending on how str ongly you play the keyboard.
Various arpeggio types suited for piano and other keyboar d voices, such as electric piano and clav.
Various arpeggio types suited for organ voices.
Various arpeggio types suited for guitar and harp voices.
Various arpeggio types suited for guitar Keyboar d Mega voices (see note below).
Various arpeggio types suited for bass or synth bass voices.
Various arpeggio types suited for bass Keyboar d Mega voices (see note below).
Various arpeggio types suited for strings and pizzicato voices.
Various arpeggio types suited for brass voices.
Various arpeggio types suited for saxophone and fl ute voices.
Various arpeggio types suited for synth lead voices.
Various arpeggio types suited for synth pad voices and special musical ef fects voices, including percussive sounds.
Various arpeggio types suited for chromatic percussion voices.
Various arpeggio types suited for drum and per cussion voices (drum kits).
Various arpeggio types suited for Per formances. These are combination arpeggios, with separate phrases suitable for drum voices, bass voices, and chor d/melody instruments.
Various arpeggio types programmed primarily with Control Change and Pitch Bend data. These arpeggio types change the tone or pitch of the sound, rather than play specifi c notes. In fact, some types contain no note data at all. When using a type of this categor y, set the KeyMode parameter to “direct” in each mode. n Keyboard Mega Voices
Normal voices use velocity switching to make the sound quality and/or level of a voice according to how strongly or softly you play it. This makes the voices sound authentic and natural. However, with Keyboard Mega Voices, each velocity range (the measure of your playing strength) has a completely different sound. For example, a guitar voice includes the sounds of various performance techniques. In conventional instruments, different voices having those sounds would be called up via MIDI and played in combination to achieve the desired effect. However, now with Keyboard Mega voices, a convincing guitar part can be played with just a single voice, using specific velocity values to play the desired sounds.
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Internal Structure (System Overview)
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Arpeggio playback types
The MOTIF ES features a total of 1787 Arpeggio types divided into 18 categories, each with its own playback type designed for use with particular types of Voices, as described below.
●
Arpeggios for Normal Voices
Arpeggio types (belonging to the categories except for the DrPC and Cntr) created for use of Normal Voices have the following two playback types.
Playback only of the played notes
Playback of a programmed sequence according to the played chord
The Arpeggio is played back using only the played note and its octave 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. Adding notes to those already held changes the sequence accordingly — in other words, the arpeggio plays back according to the chord you play.
n The two playback types above are not distinguished by the category name or type name. You’ll have to actually play the types and hear the difference.
n
Since these types are programmed for Normal Voices, using them with Drum Voices may not give musically appropriate results.
●
Arpeggios for Drum/Percussion Voices — Category: DrPc
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.
Playback of a drum pattern
Playback of a drum pattern, plus additional played notes
(assigned drum instruments)
Playback only of the played notes
(assigned drum instruments)
Pressing any note(s) will trigger the same rhythm pattern.
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,
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.
n The three playback types above are not distinguished by the category name or type name. You’ll have to actually play the types and hear the difference.
n Since these types are programmed for Drum Voices, using them with Normal Voices may not give musically appropriate results.
●
Arpeggios for Performances — Category: Comb
The Arpeggio types belonging to the category “Comb” are programmed so that different arpeggios are triggered — an arpeggio for a Normal Voice and an arpeggio for a Drum Voice — depending on the played note. These types are useful in the
Performance mode in which multiple voices (Drum Voice and Normal Voice) are combined in a layer since these types enable you trigger the arpeggio for the Normal Voice and the Drum Voice at the same time.
●
Arpeggios containing mainly non-note 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 KeyMode parameter to “direct” with the following operations.
Voice mode
Performance
Song mode
Pattern mode
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F3] ARP
→
[SF1] TYPE
→
KeyMode
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F3] ARP
→
[SF1] TYPE
→
KeyMode
[SONG]
→
Song selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F3] ARP
→
[SF1] TYPE
→
KeyMode
[PATTERN]
→
Pattern selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F3] ARP
→
[SF1] TYPE
→
KeyMode
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Internal Structure (System Overview)
■
Arpeggio related parameters
The Arpeggio related parameters can be set from the following displays, depending on the selected mode.
●
Voice mode
Arpeggio type parameters called up when selecting a Voice
Assigning Arpeggio types to the [SF1] - [SF5] buttons for each Voice
MIDI output parameters for Arpeggio playback for all the Voices
[VOICE]
→
Voice selection
→
[F6] ARP
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F3] ARP
[VOICE]
→
Voice selection
→
[F1] PLAY
[VOICE]
→
[UTILITY]
→
[F3] VOICE
→
[SF3] ARP CH n MIDI output parameters for Arpeggio playback are set for each Voice in the Voice mode. In the other modes, however, they can be set for each
Performance, Song, and Pattern.
●
Performance mode
Arpeggio type parameters called up when selecting a Performance
(including MIDI output parameters for Arpeggio playback)
Assigning Arpeggio types to the [SF1] - [SF5] buttons for each
Performance
[PERFORM]
→
Performance selection
→
[F6] ARP
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F3] ARP
[PERFORM]
→
Performance selection
→
[F1] PLAY
●
Song mode
Parameters about the Arpeggio type called up when selecting a Song
(including MIDI output parameters for Arpeggio playback)
Assigning Arpeggio types to the [SF1] - [SF5] buttons for each Song
Arpeggio type parameters in recording
[SONG]
→
Song selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F3] ARP
[SONG]
→
Song selection
→
[F1] PLAY
[SONG]
→
Song selection
→
[ ● ] (Record)
→
[F3] ARP
[SONG]
→
Song selection
→
[ ● ] (Record)
→
[F4] REC ARP
n Arpeggio related parameters in the Song mode belong to the Mixing. Therefore, if desired, store them to internal memory (DRAM) in the Song Mixing Store mode and save them to the SmartMedia/USB storage device as Song data in the File mode.
●
Pattern mode
Parameters about the Arpeggio type called up when selecting a Pattern
(including MIDI output parameters for Arpeggio playback)
Assigning Arpeggio types to the [SF1] - [SF5] buttons for each Pattern
Arpeggio type parameters in recording
[PATTERN]
→
Pattern selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F3] ARP
[PATTERN]
→
Pattern selection
→
[F1] Play
[PATTERN]
→
Pattern selection
→
[ ● ] (Record)
→
[F3] ARP
[PATTERN]
→
Pattern selection
→
[ ● ] (Record)
→
[F4] REC ARP
n Arpeggio related parameters in the Pattern mode belong to the Mixing. Therefore, if desired, store them to internal memory (DRAM) in the Pattern Mixing
Store mode and save them to the SmartMedia/USB storage device as Pattern data in the File mode.
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Internal Structure (System Overview)
Sampling Block
Sampling is a powerful function that lets you bring your own recorded sounds – voice, instrument, rhythm, special sound effects, etc. – into the system of this synthesizer, and play those sounds just as you would the Voices of the instrument.
In order to use the Sampling features of the instrument, you’ll need to install DIMM memory modules (sold separately) to the instrument. n In addition to being able to record samples directly with the MOTIF ES, you can also import existing audio data (in WAV or AIFF file format) in the File mode.
This lets you use audio you’ve recorded and edited on computer with the instrument.
Sampling Source
Before sampling, connect the source to the appropriate connector.
Microphone, etc.
CD, MD, etc.
mLAN device
(Data Rate S400)
DAT
R
A / D INPUT
L
GAIN
IN
OPTICAL
OUT
IN
DIGITAL
OUT
A/D INPUT jacks OPTICAL IN connector or
DIGITAL IN connector
(when the optional AIEB2 has been installed) mLAN connector
(when the optional mLAN16E has been installed)
SmartMedia/
USB storage device
3.3V
CARD
USB
TO DEVICE TO HOST
USB connector
Sampling
Executing from the [INTEGRATED SAMPLING]
→
[F6] REC display in the Sampling mode
Load
Loading the WAV file/AIFF file from the [FILE]
→
[F3] LOAD display, setting the file type to “Waveform.”
Sample (Wave)
Optional DIMM (up to 512MB)
Sampling Destination
Before sampling, set the appropriate location for storing the sample (Waveform, User
Voice) from the [INTEGRATED SAMPLING]
→
[F1] DEST display.
Velocity
127
40
Waveform
D
Sample 1
(Key bank)
2
Sample 2
(Key bank)
Sample 4
(Key bank)
A 2
Sample 3
(Key bank)
G 2
Sample 5
(Key bank)
F4
Waveform
Key number (Note number)
User Voice
(When executing the Sampling function in the Voice mode/Performance mode)
Sample Voice
(When executing the Sampling function in the Song mode/Pattern mode)
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Internal Structure (System Overview)
Data created by Sampling
Regardless of the mode, the raw Sampled data is the same, of course. However, various parameters are different, depending on the particular mode or settings. Briefly, here is an explanation of what kinds of data are created in the
Sampling function.
●
Sampling data common to all modes
Wave (Sample data)
This is the raw audio data stored in this synthesizer’s internal memory when sampling.
Key Bank
The note range and velocity range to which the Sample is assigned, is called the Key Bank.
Waveform
The group of Key Banks to which sample data is assigned is called the Waveform.
Note Data
When you set the Type to “Sample + note” from the [SONG] or
[PATTERN]
→
[INTEGRATED SAMPLING]
→
[F2] SOURCE display and execute Sampling, a Sample Voice is created and the sampled wave is assigned to a specified note and recorded as simple MIDI sequence data to a specified track
(as shown below).
Sample
Assign the Sample to a specified key (note) to create a Sample Voice.
Sequence data
●
Data created by sampling in the Voice/Performance mode
User Voice
Before you can play the recorded/imported sample data
(Waves), you’ll need to save them as User Voices, after which they can be selected and played from the keyboard or sequencer — the same as other Voices. Also, these User
Voices can be assigned as Performance parts – just as with the Preset Voices.
Key Bank and Sequence data
When you set the Type to “Sample + seq” from the [SONG] or
[PATTERN]
→
[INTEGRATED SAMPLING]
→
[F2] SOURCE display and execute Sampling, a Sample Voice is created and the sampled wave is “sliced” or divided into several component samples — and each is assigned to specific notes, with sequence data for playing the notes to recreate the sample. This is useful with rhythmic samples, giving you fine control over the playback, including tempo changes.
●
Data created by sampling in the Song/Pattern mode
Sample Voice
Sample
Specify the track.
Sampling
Song or Pattern
Track 1
Track 2
Track 3
Record to create a
Sample Voice.
Slice the Sample and assign the sliced Sample
to specified keys (notes) to create a Sample Voice.
Sequence data
Track 16
When sampling in the Song/Pattern mode, the recorded/ imported sample data is automatically stored as a Sample
Voice.
Sample Voices can be assigned to the Mixing parts corresponding to the track which was assigned from the
[INTEGRATED SAMPLING]
→
[F1] DEST display, and they can be sounded while Song/Pattern data is being played back. Sample Voices are original, dedicated Voices for the particular Song/Pattern that was selected when sampling.
Because of this, you cannot take a Sample Voice belonging to one Song or Pattern and use it in another Song or Pattern. n You cannot select Sample Voices in the Voice or Performance mode.
(However, you CAN select the Wave of the Sample Voice in Voice Edit.)
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Internal Structure (System Overview)
Waveform and User Voices/Sample Voices
When entering Sampling mode from Voice/Performance mode
Sampling
User Voice
001
002
003
004
005
128
When entering File mode from
Voice/Performance mode
Loading WAV/AIFF files
Waveform
(User 001 - 1024)
005
006
007
008
001
002
003
004
009
010
1023
1024
Velocity
127
40
Waveform
D
Sample 1
(Key bank)
2
Sample 2
(Key bank)
Sample 4
(Key bank)
A 2
Sample 3
(Key bank)
G 2
Sample 5
(Key bank)
F4
Waveform
Pattern 64
Pattern 02
Pattern 01
A B C
16 sections
Pattern
Track 1
Track 2
Track 3
P
When entering Sampling mode from Pattern mode
Sampling
Track 16
When entering File mode from
Pattern mode
Loading WAV/AIFF files
Sample Voices (recorded to each track)
Song 64
Song 02
Song 01
Track 1
Track 2
Track 3
When entering Sampling mode from Song mode
Sampling
Track 16
When entering File mode from
Song mode
Loading WAV/AIFF files
Sample Voices (recorded to each track) n When executing the Sampling in the Sampling mode entered from the
Voice mode/Performance mode, you can specify the Waveform number and User Voice number as a Destination (location to which the sampled wave is stored) beforehand. Likewise, you can specify the same parameters also when loading the WAV file/AIFF file in the File mode entered from the Voice mode/Performance mode. n When executing the Sampling in the Sampling mode entered from the
Song mode/Pattern mode, you can specify the track number as a
Destination (location to which the sampled wave is stored) beforehand. Likewise, you can specify the same parameters also when loading the WAV file/AIFF file in the File mode entered from the
Song mode/Pattern mode. When creating Waveforms, sampled audio waves are automatically stored starting from the lowest numbered available space.
n Up to 128 keybanks can be assigned to a single waveform. Up to a maximum of 4096 key banks can be created on the instrument.
■
How to select and hear the Waveform
You can select and hear any of Waveforms from the following display in the Voice Edit mode.
[VOICE]
→
[EDIT]
→
Element selection
→
[F1] OSC
→
[SF1]
WAVE
If you set the Bank parameter to “usr wave,” you can select and hear the Waveform obtained by using the Sampling function or loading the WAV file/AIFF file.
You can also select and hear the User Waveform from the following display in the Sampling mode.
[INTEGRATED SAMPLING]
→
[EDIT]
→
[F1] KEY BANK
Owner’s Manual
Internal Structure (System Overview)
Trigger mode
[INTEGRATED SAMPLING]
→
[F6] REC
→
TriggerMode
The Trigger mode is a convenient feature in Sampling that lets you determine how sample recording is started — manually or automatically, based on the audio level.
■
Start recording manually
[INTEGRATED SAMPLING]
→
[F6] REC
→
TriggerMode
=manual
Regardless of the audio input signal level or the Song/Pattern playback status, sampling starts soon after you press the [F6]
REC button in the Sampling Setup display. Sampling also starts regardless of the playback/stop status of the Song/
Pattern.
■
Start recording when the input signal exceeds the
Trigger Level
[INTEGRATED SAMPLING]
→
[F6] REC
→
TriggerMode
=level
After pressing the [F6] REC button in the Sampling Setup display (in any mode), sampling starts as soon as a strong enough audio signal is received. The threshold for this audiotriggered start is called the Trigger Level (explained in the illustration below).
Level
Sample recording starts here.
■
Start recording when the Song/Pattern playback reaches a specified point
[INTEGRATED SAMPLING]
→
[F6] REC
→
TriggerMode = meas
After pressing the [F6] REC button in the Sampling Setup display, start and stop of sampling is linked to playback of the
Song/Pattern.
This setting is available only when the Song/Pattern mode and recording type (Rec Type) are set to “Slice + Seq” or
“Sample + Note.”
Song/
Pattern start
Sampling start
1 2
Punch In
3 4
1 2 3 4
Wave data
Sampling stop
5
Punch Out
6 7
5 6 7
8
8
Recording trigger level.
A B C D E
Level Sample recording starts here.
A B C D E
Recording trigger level.
As you can see, the higher the Trigger Level setting, the louder the input audio needs to be in order to start sampling.
On the other hand, if the Trigger Level is set too low, a soft noise may be enough to inadvertently start sampling.
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Internal Structure (System Overview)
Sample playback types
[INTEGRATED SAMPLING]
→
[EDIT]
→
[F3] PARAM
→
PlayMode
Samples can be set to play back in the following three different ways.
■
One Shot
[INTEGRATED SAMPLING]
→
[EDIT]
→
[F3] PARAM
→
PlayMode = oneshot
When you press a note on the keyboard, the Sample plays from beginning to end just once. This type of playback is commonly used for drum and percussion sounds.
Sample Wave Loop Playback
Start Point Top Point End Point
■
Reverse
[INTEGRATED SAMPLING]
→
[EDIT]
→
[F3] PARAM
→
PlayMode = reverse
When you press a note on the keyboard, the Sample plays from end to beginning just once. This is useful for creating reversed cymbal sounds and other special effects.
Start Point
Key on
End Point
■
Loop
[INTEGRATED SAMPLING]
→
[EDIT]
→
[F3] PARAM
→
PlayMode = loop
This is used primarily to create long continuous sounds, such as brass and strings, or instruments with naturally long decay, such as piano. An appropriate part of the sample near the end is looped to reproduce a long sustain or decay.
When you play a note on the keyboard, the Sample plays from the start point to the end point. It then returns to the loop start point and plays to the end point again, and keeps doing this until you release the note. With musical instruments in general, the characteristic part of the sound (the “attack” section) is usually at the beginning, just after the start point.
After this, the sound does not vary a great deal while the note is being held, and you can set the loop and end points at either end of this section. When playing back a Sample of an instrument that has been looped like this, the attack section of the sound is played back once and then the looped section is played back continuously until you release the note. Looping is also way of creating usable instrument sounds without using up too much memory.
You can set each point in the Sampling mode. Since this synthesizer is capable of displaying the entire image of the sampled audio data in the LCD (zoom in and zoom out are available), you can edit the loop points visually – making sample editing accurate and easy.
Start Point End Point
Owner’s Manual
Internal Structure (System Overview)
Effect Block
This block applies effects to the output of the tone generator block, processing and enhancing the sound using sophisticated DSP (digital signal processing) technology.
■
Plug-in Insertion Effects
This is a special effect system, only available when an effecttype Plug-in Board is installed. Plug-in Board effects are not available in the Voice mode.
n For details on the displays related to the Plug-in Insertion effects in each mode, see pages 179 and 180.
Effect structure
The effect processing of this synthesizer features the System
Effects, Insertion Effects, Master Effect, Part EQ (Equalizer), and Master EQ (Equalizer).
■
System Effects (Reverb, Chorus)
System Effects are applied to the overall sound, whether it be 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.
Reverb
The Reverb effects add a warm ambience to the sound, simulating the complex reflections of actual performance spaces, such as a concert hall or a small club. A total of 20 different Reverb types are available.
Chorus
The Chorus effects use various types of modulation processing, including flanger and phaser, to enhance the sound in a variety of ways. A total of 49 types are available, including reverb and delay effects.
n About the System Effect related display in each mode, see pages 179 and 180.
■
Insertion Effects A, B
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.
A total of 116 different Chorus types are available. n In the Voice mode, only one set of the Insertion effects is available. n For details on the displays related to the Insertion effects in each mode, see pages 179 and 180. n Among the AUDIO IN parts, Insertion effects cannot be applied to the mLAN parts and AIEB2 parts.
■
Master Effect
This block applies effects to the final stereo output signal of the entire sound. A total of 8 different Master Effect types are available. n For details on the displays related to the Master effects in each mode, see pages 179 and 180.
EFFECT Buttons
Three EFFECT buttons on the panel let you switch each effect block on and off.
EFFECT
BYPASS
INSERTION SYSTEM
MASTER
EFFECT
Press the [INSERTION] button below “BYPASS” so that the lamp lights to turn the Insertion effects off. You can specify which Insertion effects (only the internal
Insertion effect, only the Plug-in Insertion effect, or both of them) are bypassed from the [UTILITY] → [F1]
GENERAL
→
[SF3] EF BYPS display in the Utility mode.
Press the [SYSTEM] button below “BYPASS” so that the lamp lights to turn the System effects off. You can specify which System effects (only the Reverb effect, only the Chorus effect, or both of them) are bypassed from the [UTILITY] → [F1] GENERAL → [SF3] EF BYPS display in the Utility mode.
Press the [MASTER EFFECT] button so that the lamp lights to turn the Master effect on. Keep in mind that pressing and holding this button calls up the Master effect setup display in the current mode.
Controlling the Master effect by using the Knobs
When pressing the [ARP FX] button and the [EQ] button simultaneously (both lamps light), you can control the
Knobs to adjust the Master effect related parameters specified in the [UTILITY]
→
[F4] CTL ASN
→
[SF5]
MEF display of the Utility mode.
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Internal Structure (System Overview)
■
Equalizer (EQ)
Usually an equalizer is used to correct the sound output from amps or speakers to match the special character of the room, or to change the tonal character of the sound. The sound is divided into several frequency bands, and adjustments are made to the sound by raising or lowering the level of each band.
By adjusting the sound according to the genre – classical music being more refined, pop music more crisp, and rock music more dynamic – you can draw out the special characteristics of the music and make your performance more enjoyable.
Three separate EQ sections are available on the instrument:
Element EQ, Part EQ, and Master EQ.
●
Part EQ
This 3-band EQ is applied to each part of the Performance/
Song/Pattern, The high band and low band are the shelving type. The middle band is the peaking type.
Gain
+
Q (frequency bandwidth)
0
Frequency
–
3 bands
LOW MID HIGH n The part EQ is not available in the Voice mode.
●
Element EQ
[VOICE]
→
Voice selection
→
[EDIT]
→
Element selection/
Key selection
→
[F6] 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 the two shapes described below and set the related parameters.
Peaking type
This type of EQ shape lets you attenuate/boost the signal at the specified Frequency setting.
Gain
+
●
Master EQ
Master EQ is applied to the final (post-effect), overall sound of the instrument. In this EQ, all bands can be set to peaking, or the lowest and highest bands can be set to shelving (as shown below).
EQ for which all bands are set to peaking type
Gain
+
Q (frequency bandwidth)
0
0 Frequency Frequency
–
–
3 bands
LOW LOWMID MID HIGHMID HIGH
Shelving type
This type of EQ shape lets you attenuate/boost the signal at frequencies above or below the specified Frequency setting.
Gain
+
Low Gain High Gain
EQ for which LOW and HIGH are set to shelving type
Gain
+
Q (frequency bandwidth)
0
Frequency
0 Frequency
–
5 bands
LOW LOWMID MID HIGHMID HIGH
–
Low Freq High Freq n In addition to the individual gain controls, there is also an overall level parameter that attenuates/boosts the entire frequency range.
Owner’s Manual
Internal Structure (System Overview)
Effect connection in each mode
●
In the Voice mode
The Effect parameters in the Voice mode are set for each Voice and the settings are stored to internal flash ROM as a User Voice.
Please note that the Master Effect and Master EQ parameters are set for all the Voices in the Utility mode and stored to internal flash ROM as System settings by pressing the [STORE] button also in the Utility mode.
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F6] EFFECT
→
[SF1] CONNECT
System Effect
Reverb (REV), Chorus (CHO)
Tone Generator block
Element or Key
Element EQ
You can set which Insertion system, A or B, is applied to each Element (or to each key when the Drum voice is selected). The
Insertion effect can also be bypassed.
Insertion Effect
Send Level
You can select the Insertion connection from the three types shown below.
A to B B to A parallel
A
B
Return Level
[VOICE]
→
[UTILITY]
→
[F3] VOICE
→
[SF2] MEF
(for all Voices)
Master Effect Master EQ Output
[VOICE]
→
[UTILITY]
→
[F3] VOICE
→
[SF1] MEQ (for all Voices)
[VOICE]
→
Voice selection
→
[EDIT]
→
[COMMON]
→
[F1] GENERAL
→
[SF3]
MEQ OFS
A
B
A
B n The parallel connection is not available for Plug-in voices.
n
The Plug-in Insertion effect (when the Effect Plug-in board has been installed) is not available in the Voice mode.
●
In the Performance mode
The Effect parameters in the Performance mode are set for each Performance and the settings are stored to internal flash ROM as User data.
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F6] EFFECT
→
[SF1] CONNECT
System Effect
Reverb (REV), Chorus (CHO)
The Insertion connection type depends on the setting of the Voice assigned to the selected part.
Part 1
Insertion Effect
(VCE INS)
A
B
Tone Generator block
Part 1
Part EQ
*3
*2
Plug-in Insertion Effect
(PLG-EF)
Audio Input part
*2
*1
When the PLG100-VH has been installed
*4
Send Level Return Level
Master Effect
*5
Master EQ Output
[PERFORM] → Performance selection → [EDIT] →
[COMMON]
→
[F2] OUT/MEF
→
[SF3] MEF
*1 Among all of the audio input Parts, the Insertion effect can be applied only to the A/D Input Part.
*2
*3
*4
*5
Select the part to which the Plug-in Insertion effect is applied from Parts 1-4,
Plug-in Parts 1-3, and the audio input Part in the following display.
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
→
[F6]
EFFECT → [SF1] INS SW
[PERFORM]
→
Performance selection
→
[EDIT]
→
Part selection
→
[F3] EQ
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON] → [F2] OUT/MEF → [SF1] OUT
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON] → [F2] OUT/MEF → [SF2] MEQ
[PERFORM] → Performance selection → [EDIT] →
[COMMON]
→
[F1] GENERAL
→
[SF3] MEQ OFS
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Internal Structure (System Overview)
●
In the Song mode/Pattern mode
The Effect parameters in the Song mode/Pattern mode are set for each Song/Pattern. The Effect settings are stored to internal
DRAM in the Song Mixing mode/Pattern Mixing mode and saved to the SmartMedia/USB storage device in the File mode.
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING]
→
[EDIT]
→
[COMMON]
→
[F6] EFFECT
→
[SF1] CONNECT
System Effects
Reverb (REV), Chorus (CHO)
*2
Tone Generator block
Part 1-16
*3
Part 1
Part EQ
*4
Plug-in Part 1-3
(When the Single part
Plug-in board has been installed)
*1
Audio Input part
*1
Part 1
Insertion Effects
(VCE INS)
A
B
Plug-in Insertion Effect
(PLG-EF)
When the PLG100-VH has been installed
*5
Send Level Return Level
Master Effect
[SONG] or [PATTERN]
→
Song/Pattern selection → [MIXING] → [EDIT] → [COMMON]
→
[F2] MEQ/MEF
→
[SF2] MEF
*6
Master EQ Output
*1 Select the part to which the Plug-in Insertion effect is applied from Parts 1-4, Plug-in Parts 1-
3, and the audio input Part.
*2 Among all of the audio input Parts, the Insertion effect can be applied only to the A/D Input Part.
*3 The Insertion effects can be applied to up to eight Parts, selectable from Parts 1-4, Plug-in
Parts 1-3, and the A/D input Part in the following display.
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F6] EFFECT → [SF2] INS SW
The connection type depends on the setting of the Voice assigned to the selected part.
*4
*5
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[EDIT]
→
Part selection → [F3] EQ
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[F4] EF SEND
*6
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] →
[F2] MEQ/MEF
→
[SF1] MEQ
[SONG] or [PATTERN] → Song/Pattern selection → [MIXING] → [EDIT] → [COMMON] →
[F1] GENERAL
→
[SF1] MEQ OFS
Tone Generator block
Part 17-32
(When the Multi-part Plug-in Board
PLG100-XG has been installed) n
The Insertion Effect, Plug-in Insertion Effect, and the System Effect cannot be applied to Parts 17-32 (using the Multi-part Plug-in board PLG100-XG). n The Part EQ cannot be applied to parts of the Plug-in Board. n
The System Effects (Reverb, Chorus), the Master EQ, and the Master Effect are not applied to the sound output through the ASSIGNABLE OUTPUT jacks
(including those of the AIEB2) or the mLAN connector of the mLAN16E board. (Only the Part EQ and the Insertion Effect are applied.)
Owner’s Manual
About MIDI
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.
Many MIDI messages are expressed in hexadecimal or binary numbers. Hexadecimal numbers may include the letter “H” as a suffix. The letter “n” indicates a certain whole number.
The chart below lists the corresponding decimal number for each hexadecimal/binary number.
MIDI channels
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.
Weather Report
News
1
News
2
2
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 35.
MIDI cable
MIDI Transmit channel 2 MIDI Receive channel 2
MIDI data is assigned to one of sixteen channels. However, we can overcome the sixteen-channel limit by using separate MIDI
“ports,” each supporting sixteen channels. For details, see page 38.
MIDI Messages Transmitted/Recognized by this synthesizer
MIDI messages can be divided into two groups: Channel messages and System messages. Below is an explanation of the various types of MIDI messages which this synthesizer can recognize/transmit. The messages transmitted/recognized by this synthesizer are shown in the MIDI Data Format and MIDI Implementation Chart of the separate Data List.
n
This synthesizer’s tone generator and sequencer blocks handle different MIDI events. These are listed separately in the MIDI Data Format as well as in the
MIDI Implementation Chart.
Owner’s Manual
181
About MIDI
CHANNEL MESSAGES
Channel messages contain data related to the performance on the keyboard for the specific channel.
■
Note On/Note Off (Key On/Key Off)
Messages which are generated when the keyboard is played.
Reception note range = C-2 (0) - G8 (127), C3 = 60
Velocity range = 1 - 127 (Only the Note On velocity is received)
Note On: Generated when a key is pressed.
Note Off: Generated when a key is released.
Each message includes a specific note number which corresponds to the key which is pressed, plus a velocity value based on how hard the key is struck.
■
Control Change
Control Change messages let you select a voice bank, control volume, panning, modulation, portamento time, brightness and various other controller parameters, through specific
Control Change numbers which correspond to each of the various parameters.
Bank Select MSB (Control #000)
Bank Select LSB (Control #032)
Messages which select variation voice bank numbers by combining and sending the MSB and LSB from an external device. The functions of MSB and LSB messages differ depending on the tone generator mode. MSB numbers select voice type (Normal Voice or Drum Voice), and LSB numbers select voice banks.
(For more information about Banks and Programs, see Voice
List in the separate Data List.)
A new bank selection will not become effective until the next
Program Change message is received.
Modulation (Control #001)
Messages which control vibrato depth using the Modulation
Wheel.
Setting the value to 127 produces maximum vibrato and 0 results in vibrato off.
Portamento Time (Control #005)
Messages which control the duration of portamento, or a continuous pitch glide between successively played notes.
When the parameter Portamento Switch (Control #065) is set to on, the value set here can adjust the speed of pitch change.
Setting the value to 127 produces maximum portamento time and 0 results in minimum portamento time.
Data Entry MSB (Control #006)
Data Entry LSB (Control #038)
Messages which set the value for the parameter specified by
RPN MSB/LSB (page 183) and NRPN MSB/LSB (page 183).
Parameter value is determined by combining the MSB and
LSB.
Main Volume (Control #007)
Messages which control the volume of each Part.
Setting the value to 127 produces maximum volume and 0 results in volume off.
Pan (Control #010)
Messages which control the stereo panning position of each
Part (for stereo output).
Setting the value to 127 positions the sound to the far right and 0 positions the sound to the far left.
Expression (Control #011)
Messages which control intonation expression of each Part during performance.
Setting the value to 127 produces maximum volume and 0 results in volume off.
Hold1 (Control #064)
Messages which control sustain on/off.
Setting the value between 64 - 127 turns the sustain on, between 0 - 63 turns the sustain off.
Portamento Switch (Control #065)
Messages which control portamento on/off.
Setting the value between 64 -127 turns the portamento on, between 0 - 63 turns the portamento off.
Sostenuto (Control #066)
Messages which control sostenuto on/off.
Holding specific notes and then pressing and holding the sostenuto pedal will sustain those notes as you play subsequent notes, until the pedal is released.
Setting the value between 64 -127 turns the sostenuto on, between 0 - 63 turns the sostenuto off.
Harmonic Content (Control #071)
Messages which adjust the filter resonance set for each Part.
The value set here is an offset value which will be added to or subtracted from the voice data. Higher values will result in a more characteristic, resonant sound. Depending on the voice, the effective range may be narrower than the range available for adjustment.
182
Owner’s Manual
About MIDI
Release Time (Control #072)
Messages which adjust the AEG release time set for each
Part.
The value set here is an offset value which will be added to or subtracted from the voice data.
Attack Time (Control #073)
Messages which adjust the AEG attack time set for each Part.
The value set here is an offset value which will be added to or subtracted from the voice data.
Brightness (Control #074)
Messages which adjust the filter cutoff frequency set for each
Part.
The value set here is an offset value which will be added to or subtracted from the voice data. Lower values result in a softer sound.
Depending on the voice, the effective range may be narrower than the range available for adjustment.
Decay Time (Control #075)
Messages which adjust the AEG decay time set for each Part.
The value set here is an offset value which will be added to or subtracted from the voice data.
Effect1 Depth (Reverb Send Level) (Control #091)
Messages which adjust the send level for the Reverb effect.
Effect3 Depth (Chorus Send Level) (Control #093)
Messages which adjust the send level for the Chorus effect.
Data Increment (Control #096)
Decrement (Control #097) for RPN
Messages which increase or decrease the MSB value of pitch bend sensitivity, fine tune, or coarse tune in steps of 1. You will need to assign one of those parameters using the RPN in the external device in advance. The data byte is ignored. When the maximum value or minimum value is reached, the value will not be incremented or decremented further. (Incrementing the fine tune will not cause the coarse tune to be incremented.)
NRPN (Non-Registered Parameter Number)
LSB (Control #098) (Plug-in Board only)
NRPN (Non-Registered Parameter Number)
MSB (Control #099) (Plug-in Board only)
Messages which adjust a voice’s vibrato, filter, EG, drum setup or other parameter settings.
First send the NRPN MSB and NRPN LSB to specify the parameter which is to be controlled. Then use Data Entry
(page 182) to set the value of the specified parameter.
Note that once the NRPN has been set for a channel, subsequent data entry will be recognized as the same
NRPN’s value change. Therefore, after you use the NRPN, you should set a Null (7FH, 7FH) value to avoid unexpected results.
For details, refer to the owner’s manual of the relevant Plug-in
Board.
RPN (Registered Parameter Number) LSB (Control #100)
RPN (Registered Parameter Number) MSB (Control #101)
Messages which offset, or add or subtract values from a
Part’s pitch bend sensitivity, tuning, or other parameter settings. First send the RPN MSB and RPN LSB to specify the parameter which is to be controlled. Then use Data
Increment/Decrement (page 183) to set the value of the
specified parameter. Note that once the RPN has been set for a channel, subsequent data entry will be recognized as the same RPN’s value change. Therefore after you use the RPN, you should set a Null (7FH, 7FH) value to avoid unexpected results.
The following RPN numbers can be received.
RPN MSB
00
00
00
7F
RPN LSB
00
01
02
7F
PARAMETER
Pitch Bend Sensitivity
Fine Tune
Coarse Tune
Null
■
Channel Mode Messages
The following Channel Mode Messages can be received.
2nd BYTE
120
121
123
126
127
3rd BYTE
0
0
0
0 - 16
0
MESSAGE
All Sounds Off
Reset All Controllers
All Notes Off
Mono
Poly
All Sounds Off (Control #120)
Clears all sounds currently sounding on the specified channel. However, the status of channel messages such as
Note On and Hold On is maintained.
Reset All Controllers (Control #121)
The values of the following controllers will be reset to the defaults.
CONTROLLER
Pitch Bend Change
Aftertouch
Polyphonic
Aftertouch
Modulation
Expression
Hold1
Portamento
Sostenuto
Soft Pedal
Portamento Control
RPN
NRPN
VALUE
0 (center)
0 (off)
0 (off)
0 (off)
127 (max)
0 (off)
0 (off)
0 (off)
0 (off)
Cancels the Portamento source key number
Number not specified; internal data will not change
Number not specified; internal data will not change
All Notes Off (Control #123)
Clears all notes currently on for the specified channel.
However, if Hold1 or Sostenuto is on, notes will continue sounding until these are turned off.
Owner’s Manual
183
184
About MIDI
Mono (Control #126)
Performs the same function as when an All Sounds Off message is received, and if the 3rd byte (mono number) is in the range of 0 - 16, it sets the corresponding channel to Mono
Mode (Mode 4: m = 1).
Poly (Control #127)
Performs the same function as when an All Sounds Off message is received, and sets the corresponding channel to
Poly Mode.
■
Program Change
Messages that determine which voice to select for each Part.
With a combination of Bank Select, you can select not only basic voice numbers, but also variation voice bank numbers.
For a list of the Voices, see the separate Data List.
■
Pitch Bend
Pitch Bend messages are continuous controller messages that allow the pitch of designated notes to be raised or lowered by a specified amount over a specified duration.
■
Channel Aftertouch
Messages which let you control the sounds by the pressure you apply to the keys after the initial striking of the keys, over the entire channel.
This synthesizer does not transmit this data from the keyboard; however, this synthesizer does properly respond to this data when received from an external device.
■
Polyphonic Aftertouch
Messages which let you control the sounds by the pressure you apply to the keys after the initial striking of the keys, for each individual key. This synthesizer does not transmit this data from the keyboard; however, the data is transmitted from the internal sequencer.
SYSTEM MESSAGES
System messages are the data related to the overall system of the device.
■
System Exclusive Messages
System Exclusive messages control various functions of this synthesizer, including master volume and master tuning, tone generator mode, effect type and various other parameters.
General MIDI (GM) System On (Song mode/Pattern only)
When “General MIDI system on” is received, the MOTIF ES will receive the MIDI messages which are compatible with GM
System Level 1, and consequently will not receive NRPN and
Bank Select messages.
F0 7E 7F 09 01 F7 (Hexadecimal) n Make sure that the interval between this message and the first note data of the song is at least a quarter note or greater in length.
Master Volume
When received, the Volume MSB will be effective for the
System Parameter.
F0 7F 7F 04 01 ll mm F7 (Hexadecimal)
* mm (MSB) = appropriate volume value, ll (LSB) = ignored
■
System Realtime Messages
These messages control the sequencer, that is to say Song and Pattern.
Active Sensing (FEH)
Once FEH (Active Sensing) has been received, if no MIDI data is subsequently received for longer than an interval of approximately 300 msec, the MOTIF ES will perform the same function as when All Sounds Off, All Notes Off, and Reset All
Controllers messages are received, and will then return to a status in which FEH is not monitored
Timing Clock (F8H)
This message is transmitted with a fixed interval (24 times per
1/4 note) to synchronize connected MIDI instruments.
You can select whether the sequencer block uses the internal
Timing Clock, or external Timing Clock messages received via MIDI IN by setting the MIDI Sync parameter: [UTILITY]
→
[F5] MIDI
→
[SF3] SYNC
→
MIDI Sync.
Start (FAH)
This message lets the MIDI sequence data start playing back from the beginning. This message will be transmitted when pressing the [ F ] (Play) button at the top of the Song or
Pattern.
Continue (FBH)
This message lets the MIDI sequence data start playing back from the current song position. This message will be transmitted when pressing the [ F ] (Play) button at the middle of the Song or Pattern.
Stop (FCH)
This message causes MIDI sequence data (song) to stop playing back. This message will be transmitted when pressing the [ ■ ] (Stop) button during playback. n You can select whether this synthesizer will transmit Timing Clock,
Start, Continue, and Stop messages by setting the SeqCtrl parameter:
[UTILITY]
→
[F5] MIDI
→
[SF3] SYNC
→
SeqCtrl.
■
System Common Message
System Common messages also control the sequencer, including Song Select and Song Position Pointer messages.
Owner’s Manual
Internal Memory and File Management
Internal Memory and File Management
As you use the MOTIF ES, you’ll 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.
Maintaining data
You can maintain the data you’ve created via the following three methods.
●
Store
This is a process of transferring or saving the created data of this synthesizer to a dedicated location (User Memory) in the internal memory. Each type of data can be stored with the following operations.
Voice
Performance
Song Mixing
Pattern Mixing
Mixing Voice
Master
System settings
[VOICE]
→
Voice selection
→
[STORE]
[PERFORM]
→
Performance selection
→
[STORE]
[SONG]
→
Song selection
→
[MIXING]
→
[STORE]
[PATTERN]
→
Pattern selection
→
[MIXING]
→
[STORE]
[SONG] or [PATTERN]
→
Song/Pattern selection
→
[MIXING]
→
[F5] VCE ED
→
[STORE]
[MASTER]
→
Master selection
→
[STORE]
[UTILITY]
→
[STORE] *
* Please note that pressing the [STORE] in the Utility mode starts the Store operation of the System settings immediately.
CAUTION
has been stored with the operations above. Make sure to save this data to the SmartMedia/USB storage device in the File mode after storing.
CAUTION
Never attempt to turn off the power while data (e.g., Voice) is being written to Flash ROM (while an “Executing...” or “Please keep power on” message is shown). Turning the power off in this state may cause the system to freeze (due to corruption of data in the Flash ROM) and prevent normal startup the next time the power is turned on, as well as resulting in the loss of all user data.
●
Save [FILE]
→
[F2] SAVE
This is a process of transferring or saving the created data of this synthesizer to an external memory device (SmartMedia/USB storage device).
This process can be done in the File mode. The Save operation can be done via various methods, such as saving all data as a single file or
saved data as files can be recalled by loading them in the File mode.
●
Bulk Dump
This function lets you save the data in the Edit buffer (DRAM) or Flash ROM by transmitting it as Bulk data (system exclusive message) to an external MIDI instrument or sequence software on a computer. This can be done with the following operations.
Voice
Performance
Song Mixing
Pattern Mixing
Master
[VOICE]
→
Voice selection
→
[JOB]
→
[F4] BULK
[PERFORM]
→
Performance selection
→
[JOB]
→
[F4] BULK
[SONG]
→
Song selection
→
[MIXING]
→
[JOB]
→
[F4] BULK
[PATTERN]
→
Pattern selection
→
[MIXING]
→
[JOB]
→
[F4] BULK
[MASTER]
→
Master selection
→
[JOB]
→
[F4] BULK n Mixing Voice data cannot be transmitted as Bulk data via panel operations.
n
User Arpeggio data and some of the System settings are not handled as Bulk data. n The data in the User Memory of Flash ROM can be transmitted to an external MIDI instrument or computer upon reception of a bulk request message. For details about the bulk request message and bulk dump format, see the separate Data List.
Voice and Plug-in Voice data can be transmitted to a computer for editing with the Voice Editor software (on the included CD-ROM). The edited
Voice data can then be transmitted back to the instrument in banks as bulk data. Similarly, Voice data created in the Voice Edit mode can be sent to the computer in banks as bulk data.
Song Mixing and Pattern Mixing data can also be transmitted to a computer for editing, using the Multi Part Editor software (on the included CD-
ROM). The edited Mixing data can then be transmitted back to the instrument as bulk data. Mixing data created in the Song Mixing Edit and
Pattern Mixing modes can also be sent to the computer in banks as bulk data.
Owner’s Manual
185
186
Internal Memory and File Management
Memory Structure
This diagram details the relationship among the functions of the MOTIF ES and the internal memory and SmartMedia/USB storage device.
Internal Memory
Recall Buffer
Compare Buffer
(DRAM)
Excluding Master and
Utility settings
*2
Edit Buffer
(DRAM)
Preset Data (ROM)
• Voice
• Plug-in Voice
• Preset Phrase (Pattern)
• Preset Arpeggio
• Demo
Bulk Dump *1
Internal data communication
Data communication between this synthesizer and the external device
MIDI instrument or computer
Sequence software
Voice Editor in the included CD-ROM
Multi Part Editor in the included
CD-ROM
B ulk D um p
*1
SmartMedia/USB storage device
User Memory
Flash ROM
• User Voice (Normal, Drum) • Voice Edit
• Mixing Voice Edit
File extensions “.W7V” and “.W7E”
• File extensions “.WAV” and “.AIF”
• A5000/4000/3000 data
• AKAI format data
• Plug-in Voice Edit
• Performance Edit
• Master Edit
• Utility settings
• Pattern Mixing Edit
• Song Mixing Edit
*3
*3
• User Plug-in Voice
• User Performance
• User Master
• User Arpeggio
• System settings
(Utility settings
+ Mixing Template)
DRAM
File extensions “.W7G”
File extensions “.W7A”
(including all the data on the User Memory)
Store *1
• Song Record
• Song Chain
• Pattern Record
• Pattern Patch
• Pattern Chain
Store *1
*4
• Song
• Song Chain
• Phrase
• Pattern
• Pattern Chain
File extensions “.MID”
File extensions “.W7S”
File extensions “.W7P”
• Sampling • Waveform
*5
Computer
Editing the Board Voice
(page 76) using the software Plug-in Board
Editor supplied with each Plug-in Board
Plug-in board (DRAM)
• Plug-in All Bulk
File extensions “.W7W”
• File extensions “.WAV” and “.AIF”
• A5000/4000/3000 data
• SU700 data
• AKAI format data
File extensions “.W2B”
*1 For details on the Bulk Dump, Save, and Store operations, see page 185.
*2 Only the currently edited data can be transmitted as Bulk data. Note that the Mixing Voice cannot be transmitted as Bulk data.
*3 The Mixing settings can be stored/recalled as a template in the Song Mixing Job mode/Pattern Mixing Job mode.
*4 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 Arp • [PATTERN]
→
[JOB]
→
[F5] TRACK
→
06: Track to Arp
*5 In order to create a Waveform by sampling or importing an audio file, optional DIMM modules must be installed.
Owner’s Manual
Internal Memory and File Management
Internal Memory
Below are explanations of the basic terms used in the Memory Structure illustration on the previous page.
●
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 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 SmartMedia/USB storage device before turning off the power.
●
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 SmartMedia/USB storage device 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.
Owner’s Manual
187
Voice Play mode
188
Reference
Voice mode
■
Creating Voices — basic procedure
You can create and edit your original Voices by setting various parameters in both the Voice Play mode and Voice Edit mode, while the Voice Job mode provides some basic parameter-related tools, such as Initialize and Copy. Once you’ve edited a Voice, you can store it to a User Bank in internal memory (Flash ROM) and save all edited Voices to a SmartMedia/USB storage device in the File mode.
Voice Play mode
[VOICE]
→
Voice selection
The Voice Play mode lets you perform a variety of general editing operations on the selected voice. For more detailed and comprehensive editing operations, use the Voice Edit mode.
n In the Voice Play mode and Voice Edit mode, you can set the parameters for each Voice. The parameters for all the Voices such as Master EQ and Master
Effect can be set from the [UTILITY]
→
[F3] VOICE display in the Utility mode. n
The parameters that have the same name in the Voice Play mode and in the Voice Edit mode have the same functions and settings. n When a Plug-in voice is selected, certain parameters are not available for editing, even if they’re described here.
[F1] PLAY
TCH (Transmit Channel)
OCT (Octave)
Indicates the Keyboard MIDI transmit channel.
You can change the Keyboard MIDI transmit channel by pressing the [TRACK SELECT] button so that its indicator lights and pressing any of the NUMBER [1] - [16] buttons. The Keyboard MIDI transmit channel can be changed also with the following operation: [UTILITY]
→
[F5] MIDI
→
[SF1] CH
→
KBDTransCh.
Indicates Keyboard Octave setting set via the [OCTAVE] buttons.
This can be changed also with the following operation: [UTILITY]
→
[F1] GENERAL
→
[SF2] KBD
→
Octave.
ASA (ASSIGN A),
ASB (ASSIGN B)
Indicates the functions assigned to the respective Knobs (printed “ASSIGN A” and “ASSIGN B”) when the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions are assigned with the following operation:
[UTILITY]
→
[F4] CTL ASN
→
[SF2] ASSIGN.
n
TCH (Transmit Channel), OCT (Octave), ASA (ASSIGN A), and ASB (ASSIGN B) settings do not belong to each Voice. Because of this, these are not stored as an individual
Voice in the Voice Store mode (page 208).
AS1 (ASSIGN 1),
AS2 (ASSIGN 2)
[SF1] ARP1 (Arpeggio 1) - [SF5]
ARP5 (Arpeggio 5)
Indicates the functions assigned to the respective Knobs (printed “ASSIGN 1” and “ASSIGN 2”) when the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions are assigned by setting the Voice Edit common parameters with the following operation: [VOICE]
→
[EDIT]
→
[COMMON]
→
[F4] CTL SET.
You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard
performance. Refer to page 66 in the Quick Guide section.
[F2] BANK
This display is available only when a Plug-in Board has been installed and a Voice of the Plug-in Board is selected.
From this display you can select the particular bank on the Plug-in board, and determine whether you will be using a Plug-in voice or a “Board” voice. Board voices are unprocessed, unaltered voices of the Plug-in board – the “raw material” for Plug-in voices. Plug-in voices are edited Board voices – voices that have
Settings: The following selections are available, for example, when a Plug-in voice using the Plug-in board installed to slot 1 is selected: PLG1USR (User Plug-in voice), PLGPRE1 (Preset
Plug-in voice), 032/000 ... (Indicates the Bank Select MSB/LSB of the Board voice. These values differ depending on the installed Plug-in board.)
[F3] EFFECT
Pressing the [F3] EFFECT button in the Voice Play mode calls up the same EFFECT display in the Voice Edit mode ([VOICE]
→
[EDIT]
→
[COMMON]
→
[F6]
[F4] PORTA (Portamento)
From this display you can select monophonic or polyphonic playback and set the Portamento parameters.
Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next.
Mono/Poly Determines whether the Voice is played back monophonically (single notes only) or polyphonically (multiple simultaneous notes).
Settings: mono, poly n When pressing the second note while holding the first note with the PortaSw set to on and the Mono/Poly set to on, the second note sound starts succeeding the transition of the first note, or the second note starts not from the EG (AEG/PEG/FEG) start point but from the EG (AEG/PEG/FEG) point the first note reaches. This realizes the legato performance. This legato degree can be set with the following operation: [VOICE] → [EDIT] → [COMMON] → [F1] GENERAL → [SF4] PORTA → LegatoSlope
PortaSw (Portamento Switch) Determines whether Portamento is applied to the current Voice or not.
Settings: off, on
Owner’s Manual
Voice Edit mode Normal Voice Edit Common Edit
PortaTime (Portamento Time)
PortaMode (Portamento Mode)
Determines the pitch transition time. Higher values result in longer transition times.
Settings: 0 ~ 127
Determines the Portamento mode. The behavior of the Portamento varies depending on whether Mono/Poly is set to
“mono” or “poly.”
Settings: fingered, fulltime fingered ........... Portamento is only applied when you play legato (playing the next note before releasing the previous one). fulltime ............. Portamento is always applied.
[F5] EG (Envelope Generator)
This display contains the basic EG settings, both volume and filter, for the voice, as well as the filter’s cutoff frequency and resonance settings. The settings made here are applied as offsets to the AEG and FEG settings in the Voice Edit mode.
The full names of the available parameters are shown in the chart below, as they appear in the display.
ATK DCY REL
AEG
FEG
Attack time Decay time
SUS
Sustain level
---
Release Time
DEPTH
---
Depth
CUTOFF
---
Cutoff frequency
RESO
---
Resonance
Settings: -64 ~ 0 ~ +63 (except --- above)
[F6] ARP (Arpeggio)
This display contains the basic settings for Arpeggio playback, including Type and Tempo. About the [SF1] - [SF5] buttons, see the explanation of the [F1] PLAY display.
Bank,
Ctgr (Category),
Type
Tempo
These three parameters determine the Arpeggio Type. The three-letter prefix number before the Type name indicates the number within the selected Category.
Settings: Refer to the separate Data List.
Determines the Arpeggio Tempo. When MIDI Sync ([UTILITY]
→
[F5] MIDI
→
[SF3] SYNC
→
MIDI Sync) is set to
“MIDI,” “MIDI” is displayed here and cannot be set.
Settings: 1 ~ 300
VelLimit (Velocity Limit)
Switch
Hold
Determines the lowest and highest velocity which can trigger the Arpeggio playback. The Arpeggio plays when you play notes at velocities within in this range.
Settings: 1 ~ 127 n Keys played outside the set limit sound normally without any Arpeggio.
Determines whether Arpeggio is on or off. You can also turn Arpeggio on/off from the front panel with the
[ARPEGGIO ON/OFF] button.
Settings: off, on
Determines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles automatically, even if you release your fingers from the keys, and it continues to cycle until the next key is pressed.
Settings: sync-off (see below), off, on sync-off............ 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. In other words, you can use the key to “un-mute” or “mute” (not start or stop) the Arpeggio playback by, respectively, holding it down or releasing it.
Voice Edit mode
[VOICE]
→
Voice selection
→
[EDIT]
There are three kinds of Voices: Normal Voices, Drum Voices and Plug-in Voices (if a Plug-in board has been installed). The following section shows how to edit the different types of voices and explains the parameters available. Note that available parameters to be edited differ depending on the Voice types (Normal Voice, Drum Voice, Plug-in Voice).
Normal Voice Edit
When a Normal Voice is selected, the Voice Edit parameters are divided into Common Edit (parameters common to all four Elements), and
Element Edit (parameters of individual Elements).
Common Edit
[VOICE]
→
Normal Voice selection
→
[EDIT]
→
[COMMON]
These parameters are for making global (or common) edits to all four Elements of the selected Normal Voice.
[F1] GENERAL
[SF1] NAME From this display you can assign the category (sub and main) of the selected voice, and create a name for the voice. The voice name can contain up to 10 characters. For detailed instructions on naming a voice, see “Basic
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190
Voice Edit mode Normal Voice Edit Common Edit
[SF2] PLY MODE (Play mode)
Mono/Poly
KeyAsgnMode
(Key Assign Mode)
M. TuningNo.
(Micro Tuning Number)
M. TuningRoot
(Micro Tuning Root)
[SF3] MEQ OFS
(Master EQ Offset)
[SF4] PORTA (Portamento)
Switch
Time
Mode
TimeMode
LegatoSlope
[SF5] OTHER
Knob Assign
PB Upper
(Pitch Bend range Upper),
PB Lower
(Pitch Bend range Lower)
AssignA, AssignB,
Assign1, Assign2
[F2] OUTPUT
Volume
Pan
From this display you can make various settings for the tone generator of this synthesizer, and assign different Micro
Tuning settings.
Determines whether the Voice is played back monophonically (single notes only) or polyphonically multiple simultaneous notes).
Settings: mono, poly
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
Determines the tuning system for the voice. Normally, this should be set to 00 (Equal temperament); however additional tuning systems are available for a variety of tuning applications and effects.
Settings:
See the Micro Tuning List on page 209.
Determines the root note of the Micro Tuning set above.
Settings: C ~ B
From this display you can adjust the master (global) EQ settings for the entire Voice. The settings made here are applied as offsets to the EQ settings (with the exception of “MID”) from the Utility mode, with the following operation:
[VOICE]
→
[UTILITY]
→
[F3] VOICE
→
[SF1] MEQ. You can edit these parameters by using the Knobs.
Settings: -64 ~ 0 ~ +63
This display allows you to set the Portamento related parameters. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next.
Determines whether Portamento is applied to your keyboard performance using the current Voice or not.
Settings: off, on
Determines the pitch transition time. Higher values result in a longer pitch change time, when Time Mode below is set to “Time.”
Settings: 0 ~ 127
Determines how the 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).
fulltime..............Portamento is always applied.
This determines how the pitch changes in time.
Settings: rate1, time1, rate2, time2 rate1.................Pitch changes at the specified rate. time1 ................Pitch changes in the specified time. rate2.................Pitch changes at the specified rate within a octave. time2 ................Pitch changes in the specified time within a octave.
Determines the speed of the attack of legato notes, when Switch above is set to on and Mono/Poly is set to mono.
(Legato notes “overlap” each other, the next being played before the previous is released.) The higher the value, the slower the attack rate.
Settings: 0 ~ 7
From this display you can set the control functions for the Knobs, and determine the up/down range for the Pitch
Bend wheel.
Determines the function for the assignable Knobs (1-4). Pressing the [KNOB CONTROL FUNCTION] button on the panel sets the desired function row, which is automatically stored to memory with the currently selected voice.
Settings: pan, tone, assign, MEQofs, MEF, arpFx
These two parameters determine the pitch change range of the Pitch Bend wheel.
Settings: -48 ~ 24
Simply tweaking the knob with setting the Knob Assign (above) to “assign” to the desired value, which is automatically stored to memory with the currently selected voice.
Determines the output level of the Voice.
Settings: 0 ~ 127
Determines the stereo pan position of the Voice. You can also adjust this parameter using the PAN knob on the front panel.
Settings: L63 (Left) ~ C (Center) ~ R63 (Right) n When a stereo Voice is selected, this parameter setting may not be effective. Voices with Elements set to opposite Pan settings
(set in [F4] AMP
→
[SF1] LVL/PAN
→
Pan) — i.e., one at L63 and another at R63 — are considered stereo Voices.
Owner’s Manual
Voice Edit mode Normal Voice Edit Common Edit
RevSend Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Reverb effect.
You can also adjust this parameter using the REVERB knob on the front panel.
Settings: 0 ~ 127
ChoSend Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Chorus effect.
You can also adjust this parameter using the CHORUS knob on the front panel.
Settings: 0 ~ 127 n
See page 179 for the Effect connection in the Voice mode.
[F3] ARP (Arpeggio)
[SF1] TYPE
Bank,
Ctgr (Category),
Type
Tempo
ChgTiming (Change Timing)
Switch
Hold
KeyMode
VelMode (Velocity Mode)
The basic Arpeggio parameters (e.g., type, tempo) are provided in this display.
These three parameters determine the Arpeggio Type. The three-letter prefix number before the Type name indicates the number within the selected Category. When user arpeggio is selected here, you can clear the selected arpeggio data by using the [SF5] button.
Settings: Refer to the separate Data List.
Determines the Arpeggio Tempo. When MIDI Sync ([UTILITY]
→
[F5] MIDI
→
[SF3] SYNC
→
MIDI Sync) is set to
“MIDI,” “MIDI” is displayed here and Tempo cannot be set.
Settings: 1 ~ 300
Determines the actual timing at which the Arpeggio type is switched when you select another type during Arpeggio playback.
Settings: realtime, measure realtime............ The Arpeggio type is switched immediately when you select another type. measure........... The Arpeggio type is switched at the top of the next measure after you select another type.
Determines whether Arpeggio is on or off. You can also turn Arpeggio on/off from the front panel with the
[ARPEGGIO ON/OFF] button.
Settings: off, on
Determines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles automatically, even if you release your fingers from the keys, and it continues to cycle until the next key is pressed.
Settings: sync-off (see below), off, on sync-off............ 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. In other words, you can use the key to “un-mute” or “mute” (not start or stop) the Arpeggio playback by, respectively, holding it down or releasing it.
Determines how the Arpeggio plays back when playing the keyboard.
Settings: sort, thru, direct, sortdirect, thrudirect sort .................. When you play specific notes (for example, the notes of a chord), the same sequence plays, no matter what order you play the notes. thru .................. When you play specific notes (for example, the notes of a chord), the resulting sequence differs depending on the order of the notes. direct ............... Note events of the Arpeggio sequence do not play; only the notes you play on the keyboard are heard. This setting is for use with non-note Arpeggio data, such as Control Change or Pitch Bend. When the Arpeggio plays back, these events are applied to the sound of your keyboard performance. Use this setting when the Arpeggio types includes nonnote data or when the Category type “Ctrl” is selected. sortdirect ......... The Arpeggio is played back according to the “sort” setting here, and the note pressed is also sounded.
thrudirect ......... 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 evemts (page 170). When such an Arpeggio type is selected and the KeyMode is set to “sort” or “thru,” no sound is produced even if you press the note on the keyboard.
n
With the “sort” and “thru” settings, the order in which notes are played back will depend on the Arpeggio sequence data.
This determines the playback velocity of the Arpeggio, or how it responds to your own playing strength.
Settings: original, thru original............. The Arpeggio plays back at the preset velocities included in the Arpeggio sequence data. thru .................. The Arpeggio plays back according to the velocity of your playing. For example, if you play the notes strongly, the playback volume of the Arpeggio increases.
[SF2] LIMIT
NoteLimit
VelocityLimit
Determines the lowest and highest notes in the Arpeggio’s note range. Notes played in this range trigger the Arpeggio.
Settings: C -2 ~ G8 n You can also create a lower and an upper trigger range for the Arpeggio, with a note range “hole” in the middle, by specifying the highest note first. For example, setting a Note Limit of “C5 - C4” lets you trigger the Arpeggio by playing notes in the two ranges of
C -2 to C4 and C5 to G8; notes played between C4 and C5 have no effect on the Arpeggio.
n You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired low and high keys.
n Please keep in mind that no sound is produced when the KeyMode is set to “sort” or “thru” and notes are played outside the
Note Limit setting here.
Determines the lowest and highest velocity in the Arpeggio’s velocity range. This lets you control when the Arpeggio sounds by your playing strength.
Settings: 1 ~ 127 n You can also create separate low and high trigger ranges for the Arpeggio playback, with a velocity “hole” in the middle, by specifying the maximum value first. For example, setting a Velocity Limit of 93 - 34 lets you play the Arpeggio from two separate velocity ranges: soft (1 - 34) and hard (93 - 127). Notes played at middle velocities between 35 and 92 do not play the Arpeggio.
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Voice Edit mode Normal Voice Edit Common Edit
[SF3] PLAY FX
UnitMultiply (Unit Multiply)
Swing
QuntValue (Quantize Value)
QuntStrength
(Quantize Strength)
VelocityRate
GateTimeRate
These Play Effect parameters let you control the playback of the Arpeggio in useful and interesting ways. By changing the timing and velocity of the notes, you can change the rhythmic “feel” of the Arpeggio.
Adjust the Arpeggio playback time. 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 (tempo is doubled).
Normal playback time is 100%.
Settings: 50%, 66%, 75%, 100%, 133%, 150%, 200%
Delays notes on even-numbered beats (backbeats) to produce a swing feel.
Settings: -120 ~ +120
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.
Settings: 32nd note
16th note triplet
16th note
8th note triplet
8th note
1/4 note triplet
1/4 note
The Strength value sets the “strength” by which note events are pulled toward the nearest quantize beats. A setting of 100% produces exact timing set via the QuntValue parameter above. A setting of 0% results in no quantization.
Settings: 0% ~ 100%
Determines how much the Velocity of the Arpeggio playback is offset from the original value. For example, a setting of 100% means the original values are used. Settings below 100% will reduce the velocity of the Arpeggio notes, whereas settings above 100% will increase the velocities.
Settings: 0% ~ 200% n The Velocity cannot be decreased or increased beyond its normal range of 1 to 127; any values outside that range will automatically be limited to the minimum or maximum.
Determines how much the Gate Time (length) of the Arpeggio notes is offset from the original value. A setting of
100% means the original values are used. Settings below 100% will shorten the gate times of the Arpeggio notes, whereas settings above 100% will lengthen them.
Settings: 0% ~ 200% n
The Gate Time cannot be decreased beyond its normal minimum of 1; any values outside that range will automatically be limited to the minimum.
[F4] CTL SET (Controller Set)
[SF1] SET1/2 - [SF3] SET5/6
ElementSw
Source
Dest (Destination)
Depth
Since up to six Controller Sets can be assigned to each Voice, three pages (Sets 1/2, Sets 3/4 and Sets 5/6) are
provided. For more information on Controller Sets, see page 155.
Determines whether or not the selected controller affects each individual Element.
Settings: Elements 1 to 4 enabled (“1” to “4”) or disabled (“-”) n This parameter is disabled when the Dest (Destination) described below is set to a parameter unrelated to the Voice Elements.
Determines which panel controller is to be assigned and used for the selected Set. This controller then is used to control the parameter set in Destination below.
Settings: PB (Pitch Bend Wheel), MW (Modulation Wheel), AT (After Touch), FC1 (Foot Controller 1), FS (Footswitch),
RB (Ribbon Controller), BC (Breath Controller), AS1 (Knob ASSIGN 1), AS2 (Knob ASSIGN 2), FC2 (Foot Controller2) n Keep in mind that unlike the other controllers, the ASSIGN A and B knobs can each be assigned to one common function for the
Determines the parameter that is controlled by the Source controller (above).
Settings: For a complete list of the available parameters/controls, refer to the separate Data List booklet.
Determines the degree to which the Source controller affects the Destination parameter. For negative values, the controller operation is reversed; maximum controller settings produce minimum parameter changes.
Settings: -64 ~ 0 ~+63
[F5] LFO (Low Frequency Oscillator)
From these displays, you can make a variety of LFO related settings. As its name suggests, the LFO creates waveforms of a low frequency. These waveforms can be used to vary the pitch, filter or amplitude to create effects such as vibrato, wah and tremolo.
[SF1] WAVE
Wave
Speed
Determines the LFO Wave.
Settings: tri, tri+, sawup, sawdwn, squ1/4, squ1/3, squ, squ2/3, squ3/4, trpzp, S/H 1, S/H 2, user
Determines the speed of the LFO Wave modulation. Higher values result in faster modulation speeds.
Settings: 0 ~ 63
192
Owner’s Manual
TempoSync
TempoSpeed
KeyOnReset
RandomSpeed
[SF2] DELAY
Delay (Delay Time)
FadeIn (Fade In Time)
Hold (Hold Time)
FadeOut
Voice Edit mode Normal Voice Edit Common Edit
Determines whether or not the LFO is synchronized to the tempo of the Arpeggio or sequencer (song or pattern).
Settings: off (not synchronized), on (synchronized)
This parameter is available only when TempoSync above has been set to “on.” It allows you to make detailed note value settings that determine how the LFO pulses in sync with the Arpeggio or sequencer.
Settings: 16th, 8th/3 (eighth-note triplets), 16th. (dotted sixteenth notes), 8th, 4th/3 (quarter-note triplets), 8th. (dotted eighth notes), 4th
(quarter notes), 2nd/3 (half-note triplets), 4th. (dotted quarter notes), 2nd (half notes), whole/3 (whole-note triplets), 2nd.
(dotted half notes), 4th x 4 (quarter-note quadruplets; four quarter notes to the beat), 4th x 5 (quarter-note quintuplets; five quarter notes to the beat), 4th x 6 (quarter-note sextuplets; six quarter notes to the beat), 4th x 7 (quarter-note septuplets; seven quarter notes to the beat), 4th x 8 (quarter-note octuplets; eight quarter notes to the beat) n The actual length of the note depends on the internal or external MIDI tempo setting.
Determines whether or not the LFO is reset each time a note is pressed. The following three settings are available.
Settings: off, each-on, 1st-on off..................... The LFO cycles freely with no key synchronization. Pressing a key starts the LFO wave at whatever phase the LFO happens to be at that point.
each-on ........... The LFO resets with each note you play and starts a waveform at the phase specified by the Phase parameter (below).
1st-on .............. The LFO resets with every note you play and starts the waveform at the phase specified by the Phase parameter
(below). However, if you play a second note while the first is being held, the LFO continues cycling according to the same phase as triggered by the first note. In other words, the LFO only resets if the first note is released before the second is played.
off each-on
1st-on
Time Time Time
Key on Key on
(first note)
Key on
(second note)
Key on
(first note)
Key on
(second note)
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.
Settings: 0 ~ 127
Determines the delay time before the LFO comes into effect. A higher value results in a longer delay time.
Settings: 0 ~ 127
Determines the amount of time for the LFO effect to fade in (after the Delay time has elapsed). A higher value results in a slower fade-in.
Settings: 0 ~ 127
Low FadeIn value
Faster fade-in
FadeIn
Max
High FadeIn value
Slower fade-in
Max
FadeIn
Time Time
Delay Delay
Key on Key on
Determines the length of time during which the LFO is held at its maximum level. A higher value results in a longer
Hold time.
Settings: 0 ~ 127
Hold
Max
Time
Determines the amount of time for the LFO effect to fade out (after the Delay time has elapsed). A higher value results in a slower fade-out.
Settings: 0 ~ 127
Low FadeOut value
Faster fade-out
Low FadeOut value
Faster fade-out
Hold FadeOut Hold FadeOut
Max Max
Time Time
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Voice Edit mode Normal Voice Edit Common Edit
[SF3] PHASE
Phase Determines the starting phase point for the LFO Wave when it is reset.
Settings: 0, 90, 120, 180, 240, 270
Time
Offset EL1 - EL4 (Phase Offset
Element1 - Element4)
[SF4] BOX1 - 3
ElemSw (Element Switch)
Dest (Destination)
Depth
DptRatio EL1 - EL4 (Depth Offset
Element1 - Element4)
[SF5] USER
Template
Slope
Value
Step
Phase 0 ° 90 °
120 °
180 ° 270 °
240 °
Determines the offset values of the Phase parameter (above) for the respective Elements.
Settings: +0, +90, +120, +180, +240, +270
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 pages (boxes) provided for setting the destination let you assign multiple destinations.
Determines whether or not each Element is to be affected by the LFO. The Element number (1- 4) is shown when the
LFO is enabled; a dash (-) indicates the LFO is disabled for that Element.
Determines the parameters which are to be controlled (modulated) by the LFO Wave.
Settings: amd, pmd, fmd, reso (Resonance), pan, ELFOSpd (Element LFO Speed)
Determines the LFO Wave Depth.
Settings: 0 ~ 127
Determines the offset values of the Depth parameter (above) for the respective Elements.
Settings: 0 ~ 127
This menu is available only when the User LFO wave is selected. You can create a custom LFO wave consisting of up to sixteen steps.
You can select a pre-programmed template for the LFO wave. The selected template's wave graph appears on the display and you can create the LFO wave by viewing it. Each time pressing the [SF1] random button, different LFO wave is appears on the display randomly.
Settings: all0 ...................Values of all the steps are set to 0.
all64 .................Values of all the steps are set to 64.
all127 ...............Values of all the steps are set to 127.
saw up .............Creates a saw shaped upward wave.
saw down.........Creates a saw shaped downward wave.
even step .........Values of all even steps are set to 127, and values of all odd steps are set to 0.
odd step...........Values of all odd steps are set to 127, and values of all even steps are set to 0.
Determines the slope or ramp characteristics of the LFO wave.
Settings: OFF (no slope), up, down, up&down
Edits the value for each step.
Settings: 0 ~ 127
Selects the step number of the LFO wave.
Settings: 1 ~ 16
[F6] EFFECT n
[SF1] CONNECT This display gives you comprehensive control over the effects.
EL: OUT 1-4
(Element 1-4 Effect Output)
InsEF Connect
(Insertion Effect Connect)
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 Element.
Settings: insA, insB, thru
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.
Settings:
Para, InsAtoB, InsBtoA (See page 179.)
Determines the effect type for Insertion A.
InsA Ctgry
(Insertion A Category),
InsA Type (Insertion A Type)
Owner’s Manual
Voice Edit mode Normal Voice Edit Element Edit
InsB Ctgry
(Insertion B Category),
InsB Type (Insertion B Type)
Reverb Type
Chorus Ctg
(Chorus Effect Category),
Chorus Typ (Chorus Effect Type)
Reverb Send
Chorus Send
Reverb Return
Chorus Return
Chorus to Reverb
Reverb Pan
Chorus Pan
[SF2] INS A (Insertion A)
[SF3] INS B (Insertion A)
[SF4] REVERB
[SF5] CHORUS
Determines the effect type for Insertion B.
Determines the effect type for Reverb.
Determines the effect type for Chorus.
Determines the level of the sound (from Insertion A or B, or the bypassed signal) that is sent to Reverb effect. A setting of “0” results in no Reverb processing of the sound.
Settings: 0 ~ 127
Determines the level of the sound (from Insertion 1 or 2, or the bypassed signal) that is sent to Chorus effect. A setting of “0” results in no Chorus processing of the sound.
Settings: 0 ~ 127
Determines the Return level of the Reverb Effect.
Settings: 0 ~ 127
Determines the Return level of the Chorus Effect.
Settings: 0 ~ 127
Determines the Send level of the signal sent from the Chorus Effect to the Reverb Effect.
Settings: 0 ~ 127
Determines the pan position setting for the Reverb effect.
Settings: L63 (far left) ~ cnt (center) ~ R63 (far right)
Determines the pan position setting for the Chorus effect.
Settings: L63 (far left) ~ cnt (center) ~ R63 (far right)
These are for adjusting the various parameters of the Effect blocks.
The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet.
Note that the menu of the corresponding Effect block disappears when the “thru” type is selected.
Element Edit
[VOICE]
→
Normal Voice selection
→
[EDIT]
→
Element selection
These parameters are for editing the individual Elements that make up a Normal Voice.
[F1] OSC (Oscillator)
[SF1] WAVE
ElementSw (Element Switch)
Bank
Wave No. (Waveform Number),
WaveCtgry (Waveform Category)
[SF2] OUTPUT
KeyOnDelay
DelayTempoSync
DelayTempo
From this display you can select the desired waveform or sound used for the Element.
Determines whether the currently selected Element is on or off.
Settings: off (inactive), on (active)
Determines whether the Preset Waveform or User Waveform is used.
Settings: preset, usr wav n The User Waveform contains audio data you have created with the Sampling function or imported (as WAV or AIFF files) from a SmartMedia/USB storage device.
Determines the Waveform for the selected Element. See the Waveform list in the separate Data List.
From this display you can set certain output parameters for the selected Element.
Determines the time (delay) between the moment you press a note on the keyboard and the point at which the sound is played. You can set different delay times for each Element.
Settings: 0 ~ 127
Determines whether or not the KeyOnDelay is synchronized to the tempo of the Arpeggio or sequencer (song or pattern).
Settings: off (not synchronized), on (synchronized)
Determines the timing of the KeyOnDelay when the DelayTempoSync is set to on.
Settings: 16th, 8th/3 (eighth-note triplets), 16th. (dotted sixteenth notes), 8th, 4th/3 (quarter-note triplets), 8th. (dotted eighth notes), 4th
(quarter notes), 2nd/3 (half-note triplets), 4th. (dotted quarter notes), 2nd (half notes), whole/3 (whole-note triplets), 2nd.
(dotted half notes), 4th x 4 (quarter-note quadruplets; four quarter notes to the beat), 4th x 5 (quarter-note quintuplets; five quarter notes to the beat), 4th x 6 (quarter-note sextuplets; six quarter notes to the beat), 4th x 7 (quarter-note septuplets; seven quarter notes to the beat), 4th x 8 (quarter-note octuplets; eight quarter notes to the beat)
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Voice Edit mode Normal Voice Edit Element Edit
InsEffectOut
(Insertion Effect Output)
[SF3] LIMIT
NoteLimit
VelocityLimit
VelCrossFade
(Velocity Cross Fade)
[F2] PITCH
[SF1] TUNE
Coarse
Fine
FineScaling
Random
[SF2] VEL SENS
(Velocity Sensitivity)
EGTime,
Segment
EGDepth,
Curve
Pitch
Determines which Insertion effect (1 or 2) is used to process each individual Element. The “thru” setting lets you bypass the Insertion effects for the specific Element. (This parameter is the same as “EL: OUT” on the [F6] EFFECT
→
[SF1] CONNECT display in Normal Common Edit. Making a setting here automatically changes the setting of that parameter as well.)
Settings: thru, insA (Insertion Effect A), insB (Insertion Effect B)
Determines the lowest and highest notes of the keyboard range for each Element. The selected Element will sound only when you play notes within this range.
Settings: C -2 ~ G8 n You can also create a lower and an upper range for the Element, with a 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.
n You can also set the range directly from the keyboard, by holding down the [INFORMATION] button and pressing the desired
low and high keys. Refer to the Basic Operation section, page 53.
Determines the minimum and maximum values of the velocity range within which each Element will respond. Each
Element will only sound for notes played within its specified velocity range. For example, this lets you have one
Element sound when you play softly and have a different one sound when you play strongly.
Settings: 1 ~127 n You can also create separate low and high ranges for the Element, with a velocity “hole” in the middle, by specifying the maximum value first. For example, setting a Velocity Limit of 93 - 34 lets you play the Element from two separate velocity ranges: soft (1 - 34) and hard (93 - 127). Notes played at middle velocities between 35 and 92 do not play the selected
Element.
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 (above). The practical application of this parameter is to create naturalsounding velocity crossfades, in which different Elements change gradually depending on how strongly or softly you play. The higher the value, the more gradual the level change.
Settings: 0 ~ 127
From this display you can set various pitch-related parameters for the selected Element.
Determines the pitch of each Element in semitones.
Settings: -48 ~ 0 ~ +48
Determines the fine tuning for the pitch of each Element.
Settings: -64 ~ 0 ~ +63
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, regarding 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
This lets you randomly vary the pitch of the Element for each note you play. This is effective in reproducing the natural pitch variations in acoustic instruments. It is also useful for creating unusual random pitch changes. The higher the value, the greater the pitch variation. A value of “0” results in no pitch change.
Settings: 0 ~127
From this display you can determine how the Pitch EG responds to velocity.
Determines the velocity sensitivity of the PEG’s Time parameters. Select the Segment first, then set its Time parameter. Positive Time settings will play back the specified Segment faster in proportion to the played velocity and negative values will play it back slower.
Settings: EGTime -64 ~0 ~+63
Settings: Segment: atk, atk+dcy, dcy, atk+rls, all atk (attack) .............................EG Time Value affects Attack time.
atk+dcy (attack + decay) ......EG Time Value affects Attack/Decay1 time.
dcy (decay)............................EG Time Value affects Decay time.
atk+rls (attack + release).......EG Time Value affects Attack/Release time.
all ..........................................EG Time Value affects all PEG Time parameters.
Determines the velocity sensitivity of the PEG Level. Positive settings will cause the pitch change to rise the harder you play the keyboard, and negative values will cause it to fall. The Curve parameter lets you select from five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the Pitch
EG Depth.
Settings: EGDepth: -64 ~ 0 ~ +63
Settings: Curve: 0 ~ 4
Determines the velocity sensitivity of the Pitch. Extreme values produce greater variation in PEG Depth. For positive values, the harder you play the keys, the greater the change in PEG Depth. For negative values, the softer you play the keys, the greater the change in PEG Depth.
Settings: -64 ~ 0 ~ +63
Owner’s Manual
Voice Edit mode Normal Voice Edit Element Edit
[SF3] PEG
(Pitch Envelope Generator)
From this display you can make all the time and level settings for the Pitch EG, which determine how the pitch of the sound changes over time. These can be used to control the change in pitch from the moment a note is pressed on the keyboard to the moment the sound stops.
The full names of the available parameters are shown in the chart below, as they appear in the display.
DEPTH
TIME
LEVEL
HOLD
Hold time
Hold level
ATK DCY1 DCY2 REL
Attack time Decay1 time Decay2 time Release time
Attack level Decay1 level Decay2 level Release level Depth
[SF4] KEY FLW (Key Follow)
PitchSens (Pitch Sensitivity)
F
EGTimeSens
(EG Time Sensitivity)
F
CenterKey
CenterKey
Pitch Sensitivity and Center Key
When Pitch Sensitivity is set to 100
Large
Settings: TIME: 0 ~ 127
LEVEL: -128 ~ 0 ~ +127
DEPTH: -64 ~ 0 ~ +63 n
For details on the PEG, see page 160.
From this display you can set the Key Follow effect – in other words, how the pitch of the Element and its Pitch EG respond to the particular notes (or octave range) you play.
Determines the sensitivity of the Key Follow effect (the pitch interval of adjacent notes).
At +100 (the normal setting), adjacent notes are pitched one semitone (100 cents) apart. At 0, all notes are the same pitch. At +50, one octave is stretched out over twenty-four notes. For negative values, the settings are reversed.
Settings: -200 ~ 0 ~ +200 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.
Determines the central note or pitch for the Key Follow effect on pitch. The note number set here is the same pitch as normal regardless of the Pitch Sensitivity setting. Depending on the Pitch Sensitivity parameter above, the further away from the Center Key the keys are played, the greater the degree of pitch change.
Settings: C -2 ~ G8 n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the
desired key. Refer to the Basic Operation section, page 53.
Determines the degree to which the notes (specifically, their position or octave range) affect the Pitch EG times of the selected Element. The Center Key (next parameter) is used as the basic pitch for this parameter.
A positive setting will cause the pitch of lower notes to change slower and that of higher notes to change faster.
Negative values will have the opposite effect.
Settings: -64 ~ 0 ~+63
Determines the central note or pitch for the Key Follow effect on Pitch EG.
When the Center Key note is played, the PEG behaves according to its actual settings. The pitch change characteristics for other notes will vary in proportion to the EG Time settings.
Settings: C -2 ~ G8 n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the
desired key. Refer to the Basic Operation on page 53.
EG Time Sensitivity and Center Key
Positive value
Negative value
Amount of pitch change
+
Small
Faster speed
+63
+30
Lower range Higher range
-40
–
Slower speed
Lower range
Center key Higher range
Center key
[F3] FILTER
[SF1] TYPE
Type
Gain
Cutoff
From this display you can make comprehensive settings for the Filter unit. The available parameters differ depending on which Filter type is selected here. For more information on the Filter types as well as illustrations of
Basically, there are four different Filter types: an LPF (Low Pass Filter), an HPF (High Pass Filter), a BPF (Band Pass
Filter) and a BEF (Band Elimination Filter). Each type has a different frequency response and produces a different effect on the sound. This synthesizer also features special combination Filter types, for additional sonic control.
Settings:
Determines the Gain (the amount of boost applied to the signal sent to the Filter).
Settings: 0 ~ 255
Determines the cutoff frequency for the Filter, or the central frequency around which the Filter is applied.
Settings: 0 ~ 255
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198
Voice Edit mode Normal Voice Edit Element Edit
Resonance/Width
Distance
HPFCutoff
HPFKeyFlw (Key Follow)
This parameter’s function varies according to the selected Filter Type. If the selected filter is an LPF, HPF, BPF (excluding the BPFw), or BEF, this parameter is used to set the Resonance. For the BPFw, it is used to adjust the Width of the band.
Resonance 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: 0 ~ 127
Determines the distance between the Cutoff frequencies, for the Dual Filter types (which feature two identical filters combined in parallel, and the LPF12 + BPF6 type).
Settings: 0 ~ 255
Determines the central frequency for the Key Follow parameter (below) of the HPF. When a filter type “LPF12” or
“LPF6” is selected, this parameter is available.
Settings: 0 ~ 255
Determines the Key Follow setting for the HPF Cutoff frequency. This parameter varies the center frequency according to the position of the notes played on the keyboard. A positive setting will raise the center frequency for higher notes and lower it for lower notes. A negative setting will have the opposite effect. When a filter type “LPF12” or “LPF6” is selected, this parameter is available.
Settings: -200 ~ 0 ~ +200
From this display you can determine how the Filter and the FEG respond to velocity. [SF2] VEL SENS
(Velocity Sensitivity)
EGTime,
Segment
EGDepth,
Curve
Cutoff
Resonance
[SF3] FEG
(Filter Envelope Generator)
[SF4] KEY FLW (Key Follow)
CutoffSens (Cutoff Sensitivity)
Determines the velocity sensitivity of the FEG’s Time parameters.
Select the Segment first, then set its Time parameter. Positive Time settings will play back the specified Segment faster in proportion to the played velocity and negative values will play it back slower.
Settings: EG Time -64 ~0 ~+63
Settings: Segment: atk, atk+dcy, dcy, atk+rls, all atk (attack) .............................EG Time Value affects Attack time.
atk+dcy (attack + decay) ......EG Time Value affects Attack/Decay1 time.
dcy (decay)............................EG Time Value affects Decay time.
atk+rls (attack + release).......EG Time Value affects Attack/Release time.
all ..........................................EG Time Value affects all FEG Time parameters.
Determines the velocity sensitivity of the FEG Level.
For positive settings, the more strongly you play the keyboard, the more Filter changes the sound. Negative settings do the opposite; the more softly you play, the more the sound changes. The Curve parameter lets you select from five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the
Filter EG.
Settings: EGDepth: -64 ~ 0 ~ +63
Settings: Curve: 0 ~ 4
Determines the degree to which velocity affects the Cutoff frequency of the Filter EG. For positive values, the more strongly you play the keys, the greater the change in the Cutoff frequency. Negative values do the opposite; the more softly you play, the greater the change in frequency.
Settings: -64 ~ 0 ~ +63
Determines the degree to which velocity affects the Resonance of the Filter EG. For positive values, the more strongly you play the keys, the greater the Resonance change. Negative values do the opposite; the more softly you play, the greater the change in Resonance.
Settings: -64 ~ 0 ~ +63
From this display you can make all the time and level settings for the Filter EG, which determine how the tonal quality of the sound changes over time. These can be used to control the change in Cutoff Frequency from the moment a note is pressed on the keyboard to the moment the sound stops.
The full names of the available parameters are shown in the chart below, as they appear in the display.
DEPTH
TIME
LEVEL
HOLD
Hold time
Hold level
ATK
Attack time
DCY1
Decay1 time
DCY2
Decay2 time
REL
Release time
Attack level Decay1 level Decay2 level Release level Depth
Settings: TIME: 0 ~ 127
LEVEL: -128 ~ 0 ~+127
DEPTH: -64 ~ 0 ~+63 n
For details on the FEG, see page 161.
From this display you can set the Key Follow effect for the Filter – in other words, how the tonal qualities of the
Element and its Filter EG respond to the particular notes (or octave range) you play.
Determines the degree to which the notes (specifically, their position or octave range) affect the Filter of the selected
Element. A Center Key setting (next parameter) of C3 is used as the basic setting by the Cutoff parameter. A positive setting will lower the Cutoff frequency for lower notes and raise it for higher notes. A negative setting will have the opposite effect.
Settings: -200 ~ 0 ~ +200
Owner’s Manual
Voice Edit mode Normal Voice Edit Element Edit
F
EGTimeSens
(EG Time Sensitivity)
F
CenterKey
CenterKey
This indicates that the central note for Cutoff Sensitivity above is C3. At C3, the tone remains unchanged. For other notes played, the Cutoff Frequency varies according to the particular note and the Cutoff Sensitivity setting. Keep in mind that this is for display purposes only; the value cannot be changed.
Settings: C -2 ~ G8
Determines the degree to which the notes (specifically, their position or octave range) affect the Filter EG times of the selected Element. The basic speed of change for the FEG is at the note specified in the Center Key (next parameter). A positive setting will cause slower changes for lower notes and faster changes for higher notes.
A negative setting will have the opposite effect.
Settings: -64 ~ 0 ~ +63
Determines the central note or pitch for the Key Follow effect on Filter EG. Depending on the EG Time Sensitivity parameter above, the further away from the Center Key the keys are played, the more the time of the Filter EG deviates from the normal. When the Center Key note is played, the FEG behaves according to its actual settings.
The Filter change characteristics for other notes will vary in proportion to the EG Time settings.
Settings: C -2 ~ G8 n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the
desired key. Refer to the Basic Operation section, page 53.
Cutoff Sensitivity and Center Key
When Cutoff Sensitivity is set to 100
Large
Amount of cutoff frequency change
Lower range
+
–
Center key
[SF5] SCALE (Filter Scaling)
EG Time Sensitivity and Center Key
Positive value
Negative value
Small
Faster speed
+63
+30
Lower range Higher range
-40
Slower speed
Higher range
Center key
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. Refer to the setting example on page 211.
Settings: BREAK POINT 1 ~ 4: C-2 ~ G8
OFFSET 1 ~ 4: 128 ~ 0 ~ +127 n You can also set the Break Point directly from the Keyboard, by holding down the [INFORMATION] button and pressing the
desired key. Refer to the Basic Operation section, page 53.
[F4] AMP (Amplitude)
[SF1] LVL/PAN (Level/Pan)
Level
Pan
AlternatePan
RandomPan
ScalingPan
This display not only lets you make basic Level and Pan settings for each individual Element, it also gives you some detailed and unusual parameters for affecting Pan position.
Determines the output level for the selected Element.
Settings: 0 ~ 127
Determines the stereo Pan position for the selected Element. This will also be used as the basic Pan position for the
Alternate, Random and Scale settings.
Settings: L63 (Left) ~ C (Center) ~ R63 (Right)
Determines the amount by which the sound of the selected Element is panned alternately left and right for each note you press. The Pan setting (above) is used as the basic Pan position.
Settings: L64 ~ 0 ~ R63
Determines the amount by which the sound of the selected Element is panned randomly left and right for each note you press. The Pan setting is used as the Center Pan position.
Settings: 0 ~ 127
Determines the degree to which the notes (specifically, their position or octave range) affect the Pan position, left and right, of the selected Element. At note C3, the main Pan setting (above) is used for the basic Pan position.
Settings: -64 ~ 0 ~ +63
From this display you can determine how the Amplitude (volume) EG responds to velocity.
[SF2] VEL SENS
(Velocity Sensitivity)
EG Time,
Segment
Determines the velocity sensitivity of the AEG’s Time parameters.
Select the Segment first, then set its Time parameter. Positive Time settings will play back the specified Segment faster in proportion to the played velocity and negative values will play it back slower.
Settings: EG Time -64 ~0 ~+63
Settings: Segment: atk, atk+dcy, dcy, atk+rls, all atk (attack) ............................ EG Time Value affects Attack time.
atk+dcy (attack + decay)...... EG Time Value affects Attack/Decay1 time.
dcy (decay) ........................... EG Time Value affects Decay time.
atk+rls (attack + release) ...... EG Time Value affects Attack/Release time.
all .......................................... EG Time Value affects all AEG Time parameters.
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Voice Edit mode Normal Voice Edit Element Edit
Level,
Curve
[SF3] AEG
(Amplitude Envelope Generator)
[SF4] KEY FLW (Key Follow)
LevelSens (Level Sensitivity)
F
EGTimeSens
(EG Time Sensitivity)
F
CenterKey
CenterKey
Determines the velocity sensitivity of the Amplitude EG Level. For positive settings, the more strongly you play the keyboard, the more the volume changes. Negative settings do the opposite; the more softly you play, the more the volume changes. The Curve parameter lets you select from five different preset velocity curves (graphically indicated in the display), that determine how velocity affects the Amplitude EG.
Settings: Level: 64 ~ 0 ~ +63
Curve: 0 ~ 4
From this display you can make all the time and level settings for the Amplitude EG, which determine how the volume of the sound changes over time. These 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 full names of the available parameters are shown in the chart below, as they appear in the display.
DEPTH
TIME
LEVEL
INIT
---
Initial level
ATK DCY1 DCY2 REL
Attack time Decay1 time Decay2 time Release time
Attack level Decay1 level Decay2 level -----
Settings: TIME: 0 ~ 127
LEVEL: 0 ~ 127 n
For details on the AEG, see page 162.
From this display you can set the Key Follow effect for Amplitude – in other words, how the volume of the Element and its Amplitude EG respond to the particular notes (or octave range) you play.
Determines the degree to which the notes (specifically, their position or octave range) affect the volume of the selected Element. A Center Key setting of C3 is used as the basic setting.
A positive setting will lower the output level for lower notes and raise it for higher notes. A negative setting will have the opposite effect.
Settings: -200 ~ 0 ~+200
This indicates that the central note for Level Sensitivity above is C3. At C3, the volume (level) remains unchanged.
For other notes played, the volume varies according to the particular note and the Level Sensitivity setting. Keep in mind that this is for display purposes only; the value cannot be changed.
Determines the degree to which the notes (specifically, their position or octave range) affect the Amplitude EG times of the selected Element. The Center Key (next parameter) is used as the basic amplitude for this parameter.
A positive setting will cause the amplitude of lower notes to change slower and that of higher notes to change faster.
Negative values will have the opposite effect.
Settings: -64 ~ 0 ~ +63
Determines the central note or pitch for the Key Follow effect on Amplitude EG. Depending on the EG Time
Sensitivity parameter above, the further away from the Center Key the keys are played, the more the time of the
Amplitude EG deviates from the norm.
When the Center Key is played, the AEG behaves according to its actual settings. The amplitude change characteristics for other notes will vary in proportion to the EGTime settings.
Settings: C -2 ~ G8 n You can also set the Center Key directly from the keyboard, by holding down the [INFORMATION] button and pressing the
desired key. Refer to the Basic Operation section, page 53.
Level Sensitivity and Center Key
When Level Sensitivity is set to 100
Large
Amount of AEG level change
+
Lower range
[SF5] SCALE
(Amplitude Scaling)
–
Center key
EG Time Sensitivity and Center Key
Positive value
Negative value
Small
Faster speed
+63
+30
Lower range Higher range
-40
Slower speed
Higher range
Center key
Amplitude Scaling controls the output level (set in the [F4] AMP
→
[SF1] LVL /PAN display) according to the positions of the notes on the keyboard. You can divide the entire keyboard by four break points, and assign different
offset values of amplitude to them respectively. Refer to the setting example on page 211.
Settings: BREAK POINT 1 ~ 4: C-2 ~ G8
Settings: OFFSET 1 ~ 4: -128 ~ 0 ~ +127 n You can also set the Break Point directly from the Keyboard, by holding down the [INFORMATION] button and pressing the
desired key. Refer to the Basic Operation section, page 53.
200
Owner’s Manual
Voice Edit mode Normal Voice Edit Element Edit
[F5] LFO (Low Frequency Oscillator)
This display gives you a comprehensive set of controls over the LFO for each individual Element. The LFO can be used to create vibrato, wah, tremolo and other special effects, by applying it to the pitch, filter and amplitude parameters.
Wave Determines the LFO waveform used to vary the sound.
Settings: saw, tri, squ saw (sawtooth wave) tri (triangle wave) squ (square wave)
Speed
KeyOnReset
Determines the speed of the LFO waveform. The higher the value, the faster the speed.
Settings: 0 ~ 63
Determines whether or not the LFO is reset each time a note is played.
Settings: off, on
Off On
Time Time
KeyOnDelay
PMod
(Pitch Modulation Depth)
FMod
(Filter Modulation Depth)
AMod
(Amplitude Modulation Depth)
FadeInTime
Key on Key on
Determines the delay time between the moment you play a note on the keyboard and the moment the LFO comes into effect. A higher value results in a longer delay time.
Settings: 0 ~ 127
Determines the amount (depth) by which the LFO waveform varies (modulates) the pitch of the sound.
The higher the value, the greater the amount of pitch modulation.
Settings: 0 ~ 127
Determines the amount (depth) by which the LFO waveform varies (modulates) the Filter Cutoff frequency. The higher the value, the greater the amount of filter modulation.
Settings: 0 ~ 127
Determines the amount (depth) by which the LFO waveform varies (modulates) the amplitude or volume of the sound. The higher the value, the greater the amount of amplitude modulation.
Settings: 0 ~ 127
Determines the amount of time for the LFO effect to fade in (after the KeyOnDelay time has elapsed).
A higher value results in a slower fade-in.
Settings: 0 ~ 127
[F6] EQ (Equalizer)
Type Determines the Equalizer Type. This synthesizer features a wide selection of various equalizer types, which can be used not only to enhance the original sound, but even completely change the character of the sound. The particular parameters and settings available depend on the specific Equalizer Type that is selected.
Settings: EQ L/H, P.EQ, boost6, boost12, boost18, thru
EQ L/H (Low/High) ................ This is a “shelving” equalizer, which combines separate high and low frequency bands.
P.EQ (Parametric EQ) ............ The Parametric EQ is used to attenuate or boost signal levels (gain) around the Frequency. This type features 32 different “Q” settings, which determine the frequency band width of the equalizer.
boost6 (boost 6dB)/boost12 (boost 12dB)/boost18 (boost 18dB)
These can be used to boost the level of the entire signal by 6dB, 12dB and 18dB, respectively. thru ........................................ If you select this, the equalizers are bypassed and the entire signal is unaffected.
When set to P.EQ When set to EQ L/H
Gain
Low Freq
Settings: 50.1Hz – 2.00kHz
High Freq
Setttings: 503.8Hz – 10.1kHz
+
+
Q (Frequency characteristic)
Settings: 0 – 31
0 Frequency
0 Frequency
–
Low Gain
Settings: -32 – 0 – +32
High Gain
Settings: -32 – 0 – +32
–
Gain
Settings: -32 – 0 – +32
Freq
Settings: 139.7Hz – 12.9kHz
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202
Voice Edit mode Drum Voice Edit Common Edit
Drum Voice Edit
When a Drum Voice is selected, Voice Edit parameters are divided into Common Edit (parameters common to all keys, up to 73), and Key Edit
(parameters of individual keys).
Common Edit
[VOICE]
→
Drum Voice selection
→
[EDIT]
→
[COMMON]
These parameters are for making global (or common) edits to all keys of the selected Drum Voice.
[F1] GENERAL
[SF1] NAME
[SF3] MEQ OFS (Master EQ Offset)
Same as in Normal Voice Common Edit. See page 189.
[SF5] OTHER
[F2] OUTPUT
InsRevSend
(Insertion Reverb Send)
Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect A/B to the Reverb effect.
Settings: 0 ~ 127
InsChoSend
(Insertion Chorus Send)
Determines the Send level for the entire Drum voice (all keys), sent from Insertion Effect A/B to the Chorus effect.
Settings: 0 ~ 127 n Send level (to Reverb and Chorus) cannot be set independently for each Drum key; the value is fixed at 127 (maximum).
[F3] ARP (Arpeggio)
[SF1] TYPE
[SF2] LIMIT
Same as in Normal Voice Common Edit. See page 191.
[SF3] PLAY FX
[F4] CTL SET (Controller Set)
Same as in Normal Voice Common Edit. See page 192.
Please note that the Element Switch parameter is not available in Drum Voice Common edit.
[F6] EFFECT
Same as in Normal Voice Common Edit. See page 194.
The only difference here is that “KEY: OUT” appears in the [SF1] CONNECT display instead of “EL: OUT” (in Normal Common Effect).
Key Edit
[VOICE]
→
Drum Voice selection
→
[EDIT]
→
Key selection
These parameters are for editing the individual keys that make up a Drum Voice.
[F1] OSC (Oscillator)
[SF1] WAVE
Type
ElementSw (Element Switch)
Bank
Number
From this display you can select the desired wave or Normal voice used for the individual Drum key.
Determines whether a Wave or a Normal voice is to be used for the selected key. Also, use the Bank, Number and
Category parameters below to specify the desired Wave or Normal voice.
Settings: pre wav (Preset wave), voice, usr wav (User wave) n
When the Type is set to “voice” here, some parameters in the Drum Voice Edit mode cannot be edited.
This parameter is available when Type (above) is set to “pre wav” or “user wav.” This determines whether the currently selected key is on or off, or in other words, whether the wave for the key is active or inactive.
Settings: on, off
This parameter is available when Type (above) is set to “voice.” Any of the Normal voice banks can be selected.
n Plug-in voices cannot be selected for Drum keys.
Determines the Wave/Voice number. The number differs depending on the selected Type. For details about available
Waves and Voices, refer to the separate Data List booklet.
Settings: When Type is set to “pre wav”: 001 ~ 1859
When Type is set to “voice”: 001 ~ 128
When Type is set to “usr wav”: 001 ~1024
Owner’s Manual
Voice Edit mode Drum Voice Edit Key Edit
Category
[SF2] OUTPUT
InsEFOut
(Insertion Effect Output)
RevSend (Reverb Send)
ChoSend (Chorus Send)
OutputSel (Output Select)
[SF5] OTHER
AssignMode
RcvNoteOff (Receive Note Off)
AlternateGroup
Determines the Category of the Wave/Normal Voice. If you switch to another Category, the first Wave/Normal Voice in that Category will be selected.
n For more information about the Categories, refer to the separate Data List booklet.
From this display you can set certain output parameters for the selected Drum key.
Determines which Insertion effect (A or B) is used to process each individual Drum key. The “thru” setting lets you bypass the Insertion effects for the specific key.
Settings: thru, insA (Insertion Effect A), insB (Insertion Effect B)
Determines the level of the Drum key sound (the bypassed signal) that is sent to Reverb effect. A setting of “0” results in no Reverb processing of the Drum key sound. This is available only when Insertion Effect Output (above) is set to “thru.”
Settings: 0 ~ 127
Determines the level of the Drum key sound (the bypassed signal) that is sent to Chorus effect. A setting of “0” results in no Chorus processing of the Drum key sound. This is available only when Insertion Effect Output (above) is set to “thru.”
Settings: 0 ~ 127
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 is available only when Insertion Effect
Output (above) is set to “thru.”
Settings:
From this display you can set various parameters related to how the individual notes of the Drum voice respond to the keyboard and MIDI data.
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
Determines whether or not the selected Drum key responds to MIDI Note Off messages.
Settings: off, on n This parameter is available when the Type is set to “pre wav” or “usr wav” in the [F1] OSC →
[SF1] WAVE display (page 202).
Set 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: off, 1 ~ 127
[F2] PITCH
[SF1] TUNE
Coarse
Fine
From this display you can set various pitch-related parameters for the selected key.
Determines the pitch of each Drum Key Wave (or Normal Voice) in semitones.
Settings: -48 ~ +48 n If a Normal voice has been assigned to the key, this parameter adjusts the position of its note (not its pitch) r elative to note C3.
Determines the fine tuning for the pitch of each Drum Key Wave (or Normal Voice).
Settings: -64 ~ +63
[SF2] VEL SENS
(Velocity Sensitivity)
Pitch Determines how the pitch of the selected Drum key responds to velocity. For positive values, the more strongly you play the key, the higher the pitch becomes. For negative values, the more strongly you play the key, the lower the pitch.
Settings: -64 ~ +63
[F3] FILTER
[SF1] CUTOFF
LPFCutoff
LPFReso
HPFCutoff
This synthesizer lets you apply a low pass filter and high pass filter to each individual Drum key — giving you exceptionally detailed and comprehensive sonic control over the Drum voice.
Settings: This parameter is available when the Type is set to “pre wav” or “usr wav” in the [F1] OSC
→
[SF1] WAVE display (page 202).
Determines the Cutoff frequency of the Low Pass Filter.
Settings: 0 ~ 255
Determines the amount of Resonance (harmonic emphasis) applied to the signal at the Cutoff frequency.
Settings: 0 ~ 127
Determines the Cutoff frequency of the High Pass Filter.
Settings: 0 ~ 255
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203
Voice Edit mode Drum Voice Edit Key Edit
[SF2] VEL SENS
(Velocity Sensitivity)
LPFCutoff Determines the velocity sensitivity of the Low Pass Filter Cutoff frequency. For positive settings, the more strongly you play the keyboard, the higher the cutoff frequency becomes. For negative settings, the more strongly you play, the lower the cutoff frequency.
Settings: -64 ~ 0 ~ +63
[F4] AMP (Amplitude)
[SF1] LVL/PAN (Level/Pan)
Level
Pan
AlternatePan
RandomPan
This display not only lets you make basic Level and Pan settings for the sound of each individual Drum key, it also gives you some detailed and unusual parameters for affecting Pan position.
Determines the output for the selected Drum key (Wave). This lets you make detailed balance adjustments among the various sounds of the Drum voice.
Settings: 0 ~ 127
Determines the stereo Pan position for the selected Drum key (Wave). This will also be used as the basic Pan position for the Alternate and Random settings.
Settings: L63 (Left) ~ C (Center) ~ R63 (Right)
Determines the amount by which the sound of the selected Drum key is panned alternately left and right for each note you press. The Pan setting (above) is used as the basic Pan position.
Settings: L64 ~ 0 ~ R63 n This parameter is available when the Type is set to “pre wav” or “usr wav” in the [F1] OSC
→
[SF1] WAVE display (page 202).
Determines the amount by which the sound of the selected Drum key is panned randomly left and right for each note you press. The Pan setting (above) is used as the Center Pan position.
Settings: 0 ~ 127 n This parameter is available when the Type is set to “pre wav” or “usr wav” in the [F1] OSC →
[SF1] WAVE display (page 202).
[SF2] VEL SENS
(Velocity Sensitivity)
Level Determines the velocity sensitivity of the Amplitude Envelope Generator's output level. Positive settings will cause the output level to rise the harder you play the keyboard and, conversely, negative values will cause it to fall.
Settings: -64 ~ 0 ~ +63
[SF3] AEG
(Amplitude Envelope Generator)
AttackTime
Decay1Time
Decay1Lvl (Level)
Decay2Time
Settings: 0 ~ 127
Settings: 0 ~ 127
Settings: 0 ~ 127
Settings: 0 ~ 126, hold
Decay2Time=0 – 126
Level
Attack level
Decay2Time=hold
Attack level
Level
Decay1 level Decay1 level
Key on
Attack time
Decay1 time
Decay2 time
Time
Key on
Attack time
[F6] EQ (Equalizer)
Same as in Normal Voice Element Edit. See page 201.
n This parameter is available when the Type is set to “pre wav” or “usr wav” in the [F1] OSC
→
[SF1] WAVE display (page 202).
Decay1 time
Decay2 time
Time
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Owner’s Manual
Voice Edit mode Plug-in Voice Edit Common Edit
Plug-in Voice Edit
These parameters are basically the same as in Normal Voice Edit. Unlike with Normal voices, the Plug-in voices only have one Element for editing.
n Depending on the particular Plug-in board you are using, some of the parameters described here may not be available. For details, refer to the relevant owner's manual of the Plug-in board.
n
For details on the current lineup of available Plug-in boards, see page 74.
Common Edit
[VOICE]
→
Plug-in Voice selection
→
[EDIT]
→
[COMMON]
[F1] GENERAL
[SF1] NAME
Same as in Normal Voice Common Edit. See page 189.
[SF2] PLY MODE (Play mode)
Same as in Normal Voice Common Edit. See page 190.
Please note that Micro Tuning is not available in Plug-in Voice Common Edit.
Same as in Normal Voice Common Edit. See page 190.
[SF3] MEQ OFS
(Master EQ Offset)
[SF4] PORTA (Portamento)
[SF5] OTHER
Same as in Normal Voice Common Edit. See page 190.
Please note that Portamento Mode and Time Mode are not available in Plug-in Voice Common Edit.
Same as in Normal Voice Common Edit. See page 190.
Unlike with Normal Voice Edit, the Upper and Lower ranges cannot be independently set here.
[F2] OUTPUT
Same as in Normal Voice Common Edit. See page 190.
[F3] ARP (Arpeggio)
[SF1] TYPE
[SF2] LIMIT
Same as in Normal Voice Common Edit. See page 191.
[SF3] PLAY FX
[F4] CTL SET (Controller Set)
[SF1] SET1/2
[SF2] MW (Modulation Wheel)
Filter
PMod (Pitch Modulation Depth)
FMod (Filter Modulation Depth)
AMod
(Amplitude Modulation Depth)
[SF3] AT (After Touch)
Pitch
Filter
PMod (Pitch Modulation Depth)
Same as in Normal Voice Common Edit. See page 192.
Please note that Element Switch is not available in Plug-in Voice Common Edit.
From this display you can set how the Plug-in voice responds to the Modulation wheel, by changing the control depth for the filter, pitch and amplitude (volume).
Determines the depth of control of the Modulation Wheel over the filter cutoff frequency. Negative settings result in reversed Modulation wheel operation (i.e., moving the wheel up results in less modulation).
Settings: -64 ~ 0 ~ +63
Determines the depth of control the Modulation Wheel has over pitch modulation. The higher the setting, the greater the depth of control.
Settings: 0 ~ 127
Determines the depth of control the Modulation Wheel has over filter cutoff modulation. The higher the setting, the greater the depth of control.
Settings: 0 ~ 127
Determines the depth of control the Modulation Wheel has over amplitude modulation. The higher the setting, the greater the depth of control.
Settings: 0 ~ 127
This synthesizer gives you a comprehensive set of after touch controls for the Plug-in voice, allowing you to change the pitch and filter settings, and produce modulation effects (pitch, filter and amplitude) — simply by pressing down hard on the keys.
Determines the depth of control of keyboard aftertouch over pitch. You can set a value (in semitones) of up to two octaves.
Settings: -24 ~ 0 ~ +24
Determines the depth of control of keyboard aftertouch over the filter cutoff frequency.
Settings: -64 ~ 0 ~ +63
Determines the depth of control that keyboard aftertouch has over pitch modulation. The higher the setting, the greater the depth of control.
Settings: 0 ~ 127
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205
Voice Edit mode Plug-in Voice Edit Element Edit
FMod (Filter Modulation Depth)
AMod
(Amplitude Modulation Depth)
[SF4] AC (Assignable Control)
Src (Source)
Filter
PMod (Pitch Modulation Depth)
FMod (Filter Modulation Depth)
AMod
(Amplitude Modulation Depth)
Determines the depth of control that keyboard aftertouch has over filter cutoff modulation. The higher the setting, the greater the depth of control.
Settings: 0 ~ 127
Determines the depth of control that keyboard aftertouch has over amplitude modulation. The higher the setting, the greater the depth of control.
Settings: 0 ~ 127
From this display you can assign MIDI Control Change numbers (as Src) and determine the degree to which the assigned controllers affect the filter and the modulation effects (pitch, filter and amplitude).
Determines the MIDI Control Change number used to control the filter, PMod, FMod, and AMod.
Settings: 0 ~ 95
Determines the depth of control the Control Change numbers (set in the Src parameter above) have over the filter cutoff frequency.
Settings: -64 ~ 0 ~ +63
Determines the depth of control the Control Change messages (set in the Src parameter above) have over pitch modulation. The larger the setting, the greater the depth of control.
Settings: 0 ~ 127
Determines the depth of control the Control Change messages (set in the Src parameter above) have over filter cutoff modulation. The larger the setting, the greater the depth of control.
Settings: 0 ~ 127
Determines the depth of control the Control Change messages (set in the Src parameter above) have over amplitude modulation. The larger the setting, the greater the depth of control.
Settings: 0 ~ 127
[F6] EFFECT
Same as in Normal Voice Common Edit. See page 194.
Please note that the EL: OUT settings are not available in the [SF1] CONNECT display and the parallel setting (Insertion Connection) is not available in the [SF1]
CONNECT display.
Element Edit
[F1] OSC (Oscillator)
[SF1] WAVE
Bank
Number
[SF5] OTHER
VelocityDepth
VelocityOffset
NoteShift
[VOICE]
→
Plug-in Voice selection
→
[EDIT]
→
Element selection
From this display you can select the desired Board Voice used for the Element of the Plug-in voice. Keep in mind that a Plug-in voice only has one Element.
Determines the Board Voice Bank.
Settings: These depend on the particular Plug-in board; refer to the relevant owner’s manual for details.
Determines the Board Voice Number.
Settings: These depend on the particular Plug-in board; refer to the relevant owner’s manual for details.
Determines the velocity sensitivity of the Plug-in Voice. For higher values, the harder you play the keyboard, the louder the voice becomes.
Settings: 0 ~ 127
This lets you specify an offset value for Velocity Depth (above). In other words, you can increase the relative velocity
(or level) of the voice by a set amount – so that all the notes you play have the added velocity.
Settings: 0 ~ 127
Determines the transpose setting for the Plug-in voice, or the amount (in semitones) by which the pitch is raised or lowered. The pitch range is two octaves, up or down.
Settings: -24 ~ 0 ~ +24
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Owner’s Manual
Voice Edit mode
[F2] PITCH
From this display you can make various time and level settings for the Pitch EG, which determine how the pitch of the Plug-in Voice changes over time.
The full names of the available parameters are shown in the chart below, as they appear in the display.
TIME
LEVEL
INIT
---
Initial level
ATK
Attack time
---
DCY1
---
---
DCY2
---
---
REL
Release time
Release level
DEPTH
---
Pitch
Original pitch
Initial level
Release level
Settings: -64 ~ 0 ~ +63
0
Attack time Release time
Key off
Time
[F3] FILTER
HPFCutoff (High Pass Filter
Cutoff frequency)
Determines the Cutoff frequency for the High Pass Filter.
Settings: -64 ~ 0 ~ +63
[F4] NATIVE
With a Plug-in board installed to this synthesizer, you can create a Plug-in Voice by editing both native parameters (those parameters exclusive to the particular board) and unique parameters (related specifically to this synthesizer).
Pressing [F4] gives you access to the native parameters of the Plug-in board. The parameters will vary depending on the Plug-in Board. For details about each parameter and its functions, refer to the Owner’s Manual or the on-line help that came with your Plug-in Board.
[F5] LFO (Low Frequency Oscillator)
From this display you can set the basic LFO parameters for modulating the pitch to create vibrato and other special effects.
Speed Determines the speed of the LFO waveform. Positive settings increase the speed and negative settings decrease it.
Settings: -64 ~ 0 ~ +63
Delay
PMod (Pitch Modulation Depth)
Determines the delay time between the moment you press note on the keyboard and the moment the LFO comes into effect. Positive settings lengthen the delay and negative settings shorten it.
Settings: -64 ~ 0 ~ +63
Determines the amount by which the LFO waveform controls the pitch. Positive settings increase the amount and negative settings decrease it.
Settings: -64 ~ 0 ~ +63
[F6] EQ (Equalizer)
From this display you can apply equalizer settings to the Plug-in Voice. This is a shelving equalizer with two bands; one for high frequencies and the other for low frequencies.
n
For details on the EQ, see page 178.
Gain
+
LowFreq HighFreq
0
Frequen
LowFreq (Low Frequency)
LowGain (Low Gain)
HighFreq (High Frequency)
HighGain (High Gain)
-
LowGain HighGain
Determines the shelving point for the low frequencies. The levels of signals below this frequency will be boosted/ attenuated by the amount set in the LowGain parameter.
Settings: 32Hz ~ 2.0kHz
Determines the amount by which signals below the LowFreq frequency will be boosted/attenuated.
Settings: -64 ~ 0 ~ +63
Determines the shelving point for the high frequencies. The levels of signals above this frequency will be boosted/ attenuated by the amount set in the HighGain parameter.
Settings: 500Hz ~ 16.0kHz
Determines the amount by which signals above the HighFreq frequency will be boosted/attenuated.
Settings: -64 ~ 0 ~ +63
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207
Voice Job mode
Voice Job mode
[VOICE]
→
Voice selection
→
[JOB]
The Voice Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.
[F1] INIT (Initialize)
This function lets you reset (initialize) all Voice parameters to their default settings. It also allows you to selectively initialize certain parameters, such as Common settings, settings for each Element/Drum key, and so on – very useful when creating a completely new voice from scratch.
Type of parameter to be initialized When a Normal Voice is selected: ALL, Common, EL1 ~ 4, without Wave
When a Drum Voice is selected: ALL, Common, EL, without Wave
When a Plug-in Voice is selected: ALL, Common, EL, without Wave n If you turn the check mark on when a Drum voice is selected, you can select a Drum key. For details on selecting a key, refer
to page 53 in the Basic Operation section.
[F2] RECALL (Edit Recall)
If you are editing a Voice and select a different Voice without storing your edited one, all the edits you’ve made will be erased. If this happens, you can use Edit
Recall to restore the Voice with your latest edits intact.
[F3] COPY
Source Voice
From this display you can copy Common and Element/Drum Key parameter settings from any Voice to the Voice you are editing. This is useful if you are creating a Voice and wish to use some parameter settings from another Voice.
Source voice
Destination Voice (Current Voice)
Determines the Voice and data type to be copied.
Data type
When a Normal voice is selected: Common, Element 1 ~ 4
When a Drum voice is selected: Common, Drum key C0 ~ C6
When a Plug-in voice is selected: Common, Element n If the source Voice type (Normal/Drum/Plug-in) differs from one of the Voice you are currently editing (destination), you will only be able to copy Common parameters.
Data type of Destination voice
(current selected voice)
If the source is a Normal or Drum Voice and data type is set to Element or Drum Key, you can set the data type of the destination Voice.
Data type
When a Normal voice is selected: Common, Element 1 ~ 4
When a Drum voice is selected: Common, Drum key C0 ~ C6 n If you choose to copy Common parameters from the source, this display will change to “Common.”
[F4] BULK (Bulk Dump)
This function lets you send all your edited parameter settings for the currently selected Voice to a computer or another MIDI instrument for data archiving.
n
In order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number, with the following operation: [UTILITY]
→
[F5] MIDI
→
[SF1] CH
→
DeviceNo.
Voice Store mode
[VOICE]
→
Voice selection
→
[STORE]
This function lets you store your edited voice to User memory (Flash ROM).
For details, refer to page 85 in the Quick Guide section.
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Owner’s Manual
Supplementary infomation
■
Supplementary information
Micro Tuning List
[VOICE]
→
[EDIT]
→
[COMMON]
→
[F1] GENERAL
→
[SF2] PLY MODE
→
M.TuningNo./M.TuningRoot (page 190)
05
06
07
08
09
10
11
12
M.TuningNo.
00
01
02
03
04
Type
Equal Temp (Equal temperament)
PureMaj
PureMin
Werckmeist
Kirnberger
Vallot&Yng
1/4 Shift
1/4 tone
1/8 tone
Indian
Arabic 1
Arabic 2
Arabic 3
(Pure major)
(Pure minor)
(Werckmeister)
(Vallotti & Young)
(1/4 shifted)
M.TuningRoot
--
C ~ B
C ~ B
C ~ B
C ~ B
C ~ B
--
--
--
--
Comments
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.
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.
The same as Pure Major, but designed for the minor scale.
Andreas Werckmeiser, a contemporary of Bach, designed this tuning so that keyboard instruments could be played in any key. Each key has a unique character.
Johann Philipp Kirnberger, an 18th century composer, created this tempered scale to allow performances in any key.
Francescatonio Vallotti and Thomas Young (both mid-1700s) devised this adjustment to the Pythagorean tuning, in which the first six fifths are lower by the same amount.
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).
Usually observed in Arabic music.
C ~ B
Filter Type List
[VOICE]
→
[EDIT]
→
Element selection
→
[F3] FILTER
→
[SF1] TYPE
→
LPF24D (24dB/oct Digital Low Pass Filter)
A dynamic 24dB/oct low-pass filter with a characteristic digital sound. Compared to the
LPF24A type (below), this filter can produce a more pronounced resonance effect.
LPF18 (18dB/oct Low Pass Filter)
3-pole 18dB/oct low-pass filter.
LPF18s (18dB/oct Staggered Low Pass Filter)
3-pole 18dB/oct low-pass filter. This filter has a smoother cutoff slope than the LPF18 type.
Resonance
Resonance
These frequencies are
“passed” by the filter.
LPF24A (24dB/oct Analog Low Pass Filter)
A digital dynamic low-pass filter with characteristics similar to a 4-pole analog synth filter.
Resonance
LPF6 (6dB/oct low-pass Filter)
1-pole 6dB/oct low-pass filter. No resonance. This filter is designed to be used in conjunction with a high-pass filter.
LPF18
LPF18s
LPF12 (12dB/oct Low Pass Filter)
12dB/oct low-pass filter. This filter is designed to be used in conjunction with a high-pass filter.
Resonance
HPF24D (24dB/oct Digital High Pass Filter)
A dynamic 24dB/oct high-pass filter with a characteristic digital sound. This filter can produce a pronounced resonance effect.
Resonance
Owner’s Manual
209
Supplementary
HPF12 (12dB/oct High Pass Filter)
12dB/oct dynamic high-pass filter.
Resonance
BEF12 (12dB/oct Band Elimination Filter)
BEF6 (6dB/oct Band Elimination Filter)
Level
Cutoff range
Dual BPF (Dual Band Pass Filter)
Two 6dB/oct band-pass filters connected in parallel.
Level
Distance
BPF12D (12dB/oct Digital Band Pass Filter)
Resonance
Level
Cutoff range
12db/oct
Cutoff range
Range passed Range passed
Center frequency
Frequency
Frequency
LPF12 + BPF6 (12dB/oct Low Pass Filter + 6dB/ oct Band Pass Filter)
A combined low-pass and high-pass filter.
Level
The lower cutoff frequency is set directly on the display.
Dual LPF (Dual Low Pass Filter)
Two 12dB/oct low-pass filters connected in parallel.
Level
Distance
Dual BEF (Dual Band Elimination Filter)
Two 6dB/oct band-elimination filters connected in serial.
Level
Distance
Frequency
Range passed
Frequency
BPFw (Wide Band Pass Filter)
A 12dB/oct BPF that combines HPF and LPF filters to allow wider bandwidth settings.
Level
Cutoff range Cutoff range
Width can be increased
The lower cutoff frequency is set directly on the display.
Dual HPF (Dual High Pass Filter)
Two 12dB/oct high-pass filters connected in parallel.
Level
Distance
The lower cutoff frequency is set directly on the display.
Frequency
Frequency
Range passed
Frequency
Frequency
The lower cutoff frequency is set directly on the display.
BPF6 (6dB/oct Band Pass Filter)
Resonance
Level
Cutoff range Cutoff range
Distance
The lower cutoff frequency is set directly on the display.
6db/oct thru
The filters are bypassed and the entire signal is unaffected.
Frequency
Range passed
210
Owner’s Manual
Setting example of Filter Scaling
[VOICE]
→
[EDIT]
→
Element selection
→
[F3] FILTER
→
[SF5] SCALE
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.
Voice Store mode
Setting example of Amplitude Scaling
[VOICE]
→
[EDIT]
→
Element selection
→
[F4] AMP
→
[SF5] SCALE
The best way to understand Amplitude Scaling is by example.
For the settings shown in the example display above, the basic
Amplitude (volume) value for the selected Element is 80, and the various Offset values at the selected Break point settings change that basic value accordingly. The specific changes to the Amplitude are shown in the diagram below. The Amplitude changes in a linear fashion between successive Break Points as shown.
Cutoff Frequency
81
74
68
60
C 1
Break
Point 1
D 2
Break
Point 2
C3
Break
Point 3
A4
Break
Point 4
Note
Amplitude
97
90
84
76
C1
Break
Point 1
C2
Break
Point 2
C3
Break
Point 3
C4
Break
Point 4
Note
Owner’s Manual
211
212
Performance Play mode
Performance mode
■
Creating Performances — basic procedure
You can create and edit your original Performances by setting various parameters in both the Performance Play mode and Performance Edit mode, while the Performance Job mode provides some basic parameter-related tools, such as Initialize and Copy. Once you’ve edited a
Performance, you can store it to a User Bank in internal memory (Flash ROM) in the Performance Store mode and save all the edited
Performances to a SmartMedia/USB storage device in the File mode.
Performance Play mode
[PERFORM]
→
Performance selection
The Performance Play mode lets you perform a variety of general editing operations on the selected Performance. For more detailed and comprehensive editing operations, use the Performance Edit mode.
n The parameters that have the same name in the Performance Play mode and in the Performance Edit mode have the same functions and settings.
[F1] PLAY
TCH (Transmit Channel)
OCT (Octave)
Same as in Voice Play mode.
These parameters are available both in the Voice mode and the Performance mode regardless of the selected Voice or Performance.
ASA (ASSIGN A),
ASB (ASSIGN B) n TCH (Transmit Channel), OCT (Octave), ASA (ASSIGN A), and ASB (ASSIGN B) settings do not belong to each Performance. Because of this, these are not stored as an
individual Performance in the Performance Store mode (page 220).
AS1 (ASSIGN 1),
AS2 (ASSIGN 2)
Indicates the values obtained by controlling the respective Knobs (printed “ASSIGN 1” and “ASSIGN 2”) when the lamps of both the [PAN/SEND] and [TONE] buttons are turned on. The functions assigned to these knobs depend on the setting of the Voice assigned to each Part of the Performance.
[SF1] ARP1 (Arpeggio 1) - [SF5]
ARP5 (Arpeggio 5)
You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard
performance. Refer to page 70 in the Quick Guide section.
[F2] VOICE
From this display you can select a Voice for each Part and determine the note range it can be played from.
[SF1] ADD INT
(Add Internal Voice)
Press this button to assign an internal Voice to the selected Part.
[SF2] ADD PLG
(Add Plug-in Voice)
[SF3] DELETE
Press this button to assign a Plug-in Voice to the selected Part.
Pressing this button deletes the Voice assignment for the selected Part, leaving the Part blank.
[SF4] LIMIT L (Note Limit Low) This sets the lowest note of the range over which the Voice of the selected Part sounds. Simultaneously hold down this button and press the desired key on the keyboard to set the note.
[SF5] LIMIT H (Note Limit High) This sets the highest note of the range over which the Voice of the selected Part sounds. Simultaneously hold down this button and press the desired key on the keyboard to set the note.
[F3] EFFECT
Pressing the [F3] EFFECT button in the Performance Play mode calls up the same EFFECT display in the Performance Edit mode ([PERFORM]
→
[EDIT]
→
[COMMON]
→
[F4] PORTA (Portamento)
From this display you can 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.
PortaSw (Portamento Switch) Determines whether Portamento is on or off for all Parts. (This is a global switch and overrides the individual Part settings in Part Switch below.)
Settings: off, on
PortaTime (Portamento Time)
PartSwitch
values result in longer transition times.
Settings: -64 ~ 0 ~ +63
Determines whether Portamento is on or off for each individual Part. This is available only when the PortaSw (above) is set to on.
Owner’s Manual
Performance Edit mode Common Edit
[F5] EG (Envelope Generator)
This display contains the basic EG settings, both volume and filter, for the Performance, as well as the filter’s cutoff frequency and resonance settings. The settings
The parameters are same as in Voice Play mode. See page 189.
[F6] ARP (Arpeggio)
This display contains the basic settings for Arpeggio playback, including Type and Tempo. Note that the Performance mode lets you independently enable or disable Arpeggio playback for each Part.
The parameters are same as in the Voice Play mode (page 189) except for the following one.
PartSw Determines whether Arpeggio is on or off for the selected Part. The Parts for which boxes are checkmarked are enabled for Arpeggio play.
Performance Edit mode
[PERFORM]
→
Performance selection
→
[EDIT]
Voice Edit parameters are divided into Common Edit (parameters common to all four Parts), and Part Edit (parameters of individual Parts).
Common Edit
[PERFORM]
→
Performance selection
→
[EDIT]
→
[COMMON]
[F1] GENERAL
[SF1] NAME
[SF3] MEQ OFS
(Master EQ Offset)
[SF4] PORTA (Portamento)
From this display you can assign the category (sub and main) of the selected Performance, and create a name for the Performance. The Performance name can contain up to 10 characters. For detailed instructions on naming a
Performance, see “Basic Operation” on page 53.
From this display you can adjust the master (global) EQ settings for all Parts of the selected Performance. The level of each of the four bands (with the exception of “MID”) can be adjusted. Moreover, you can also tweak these settings directly from the four Knobs on the front panel. Editing by Knobs can be done in the Performance Play mode.
Settings: -64 ~ 0 ~+63
This display allows you to set the Portamento related parameters.
The parameters are the same as in the Performance Play mode. See page 212.
[SF5] OTHER From this display you can set the control functions for the Knobs and related parameters.
With the exception of Pitch Bend, which cannot be set here, these parameters are the same as in the Voice Edit
[F2] OUT/MEF (Output/Master Effect)
[SF1] OUT (Output)
Volume
Pan
RevSend
ChoSend
Determines the output level of the selected Performance. You can adjust the overall volume, keeping the balance between all Parts.
Settings: 0 ~ 127
Determines the stereo pan position of the selected Performance. This parameter offsets the same parameter in the
Part Edit setting. You can also adjust this parameter using the PAN knob (with the [PAN/SEND] lamp turned on) on the front panel. Editing by using the Knobs can be done also in the Performance Play mode.
Settings: L63 (Left) ~ C (Center) ~ R63 (Right) n A setting of “C” (center) maintains the individual Pan settings of each Part.
Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Reverb effect.
You can also adjust this parameter using the REVERB knob (with the [PAN/SEND] lamp turned on) on the front panel.
Editing by using the Knobs can be done also in the Performance Play mode.
Settings: 0 ~ 127
Determines the Send level of the signal sent from Insertion Effect A/B (or the bypassed signal) to the Chorus effect.
You can also adjust this parameter using the [CHORUS] knob (with the [PAN/SEND] lamp turned on) on the front panel. Editing by using the Knobs can be done also in the Performance Play mode.
Settings: 0 ~127 n
For details on Effect connections in the Performance mode, see page 179.
Owner’s Manual
213
Performance Edit mode Common Edit
214
[SF2] MEQ (Master EQ)
SHAPE
FREQ (Frequency)
GAIN
From this display you can apply five-band equalization to all Parts of the selected Performance. You can raise or lower the signal level at the Frequency of each band (LOW, LOWMID, MID, HIGHMID, HIGH).
Determines whether the equalizer type used is Shelving or Peaking. The Peaking type attenuates/boosts the signal at the specified Frequency setting, whereas the Shelving type attenuates/boosts the signal at frequencies above or below the specified Frequency setting. This parameter is available only for the LOW and HIGH frequency bands.
Settings: shelv (Shelving type), peak (Peaking type)
Determines the center frequency. Frequencies around this point are attenuated/boosted by the Gain setting.
Settings: LOW: Shelving 32Hz ~ 2.0kHz, Peaking 63Hz ~ 2.0kHz
LOWMID, MID, HIGHMID: 100Hz ~ 10.0kHz
HIGH: 500Hz ~ 16.0kHz
Determines the level gain for the Frequency (set above), or the amount the selected frequency band is attenuated or boosted.
Settings: -12dB ~ 0dB ~ +12dB
Q (Frequency Characteristic) This varies the signal level at the Frequency setting to create various frequency curve characteristics.
Settings: 0.1 ~ 12.0
n
For details on the EQ, see page 178.
[SF3] MEF (Master Effect) From this display you can set the Master Effect related parameters. This display can be called up by pressing and holding the [MASTER EFFECT] button on the front panel.
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.
Settings: off, on
Type Determines the Master effect type.
Settings: Refer to the Effect Types list in the separate Data List booklet.
n The available parameters except for the above two differ depending on the currently selected effect type. For more information, refer to the separate Data List booklet.
[F3] ARP (Arpeggio)
From this display you can set the Arpeggio related parameters.
[SF1] TYPE
Same as in Normal Voice Common Edit. See page 191.
[SF2] LIMIT
[SF3] PLAY FX (Play Effect)
[SF4] OUT CH (Output Channel) From this display you can set a separate MIDI output channel for the Arpeggio playback data, letting you have the
Arpeggio sound from an external tone generator or synthesizer.
OutputSwitch
TransmitCh
When this is set to on, Arpeggio playback data is output via MIDI.
Settings: on, off
Determines the MIDI transmit channel for Arpeggio playback data. When set to “KbdCh,” the Arpeggio playback data is output via the MIDI Keyboard Transmit Channel ([UTILITY]
→
[F5] MIDI
→
KBDTransCh).
Settings: 1 ~ 16, KbdCh (Keyboard Channel)
[F4] CTL ASN (Controller Assign)
You can assign Control Change numbers to the controllers listed below, letting you use the hardware controllers on the keyboard to alter the sound of external
MIDI devices, via the appropriate MIDI messages. When the MOTIF ES receives Control Change data corresponding to the settings here, the internal tone generator responds as if the instrument's controllers were used.
BC (Breath Controller)
RB (Ribbon Controller)
Determines the Control Change number generated when you apply breath pressure to the Breath Controller connected to the BREATH connector.
Determines the Control Change number generated when you run your finger across the surface of the Ribbon
Controller.
RBMode
(Ribbon Controller Mode)
AS1 (Assign 1),
AS2 (Assign 2)
Determines whether the Ribbon Controller value returns to a center value when you release your finger from the
Ribbon Controller (reset), or the value is retained at the value at the last point of contact (hold).
Determines the Control Change number generated when you control the KN3 (Knob3) and the KN4 (Knob4) with both the [PAN/SEND] and [TONE] lamp turned on.
FC1 (Foot Controller 1),
FC2 (Foot Controller 2)
Determines the Control Change number generated when you use the Foot Controller connected to the FOOT
CONTROLLER jack. n Keep in mind that the functions of these controllers set here are not changed for the internal tone generator. The controller assignments for the MOTIF ES itself depend on the settings of the Voices assigned to each Part.
[F5] AUDIO IN
The audio signal input from the A/D INPUT jack, mLAN connector (when the optional mLAN16E has been installed to this synthesizer), DIGITAL IN or OPTICAL IN connector (when the optional AIEB2 has been installed to this synthesizer) can be handled as an Audio Input Part. You can apply various parameters such as
Effect settings to this Part, just as with the other Parts.
n
For details about the Audio Input Parts, see page 165.
Owner’s Manual
Performance Edit mode Common Edit
[SF1] OUTPUT
Volume
Pan
RevSend
ChoSend
Determines the output level of the Audio Input Part.
Settings: 0 ~ 127
Determines the stereo pan position of the Audio Input Part.
Settings: L63 (Left) ~ C (Center) ~ R63 (Right)
Determines the Send level of the Audio Input Part signal sent to the Reverb effect.
Settings: 0 ~ 127
Determines the Send level of the Audio Input Part signal sent to the Chorus effect.
Settings: 0 ~ 127
DryLevel Determines the level of the Audio Input Part which has not been processed with the System Effects (Reverb,
Chorus).
Settings: 0 ~ 127 n
For details about Effect connection in the Performance mode, see page 179.
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 (left) mono .... Only the L channel of the audio input is used.
R (right) 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.
OutputSel (Output Select) Determines the output jack assignment for the Audio Input Part.
Settings:
[SF2] INS TYPE (Insertion Type) This display is available only when the AD (A/D Part) is set to on from the [F6] EFFECT
→
[SF2] INS SW display. The type and connection of the Insertion Effect applied to the A/D Part can be set from this display.
InsEF Connect
(Insertion Effect Connection)
Same as in the CONNECT display in the Voice Edit mode ([VOICE]
→
[EDIT]
→
[COMMON]
→
[F6] EFFECT
→
[SF1]
CONNECT). Please note that the InsEF Connect cannot be set to “parallel” here.
InsA Ctgry (Insertion A Category)
InsA Type (Insertion A Type)
InsB Ctgry (Insertion B Category)
InsB Type (Insertion B Type) n Insertion effects can be applied only to the A/D Part, among the Audio Input Parts.
[F6] EFFECT
[SF1] CONNECT (Connection)
EF PART
→
PLG-EF
(Plug-in Insertion Effect)
Determines the Part to which the Insertion effect is applied. This parameter is available only when a special Effect
Plug-in board (PLG100-VH) has been installed.
Settings: Part 1~4, PartP2~P3, AD, off
Chorus Ctg (Category),
Chorus Type
Chorus Return (Level)
Chorus Pan
Chorus to Reverb
Reverb Type
Reverb Return
Reverb Pan
Determines the Chorus effect type.
Settings: Refer to the Effect Types list in the separate Data List booklet.
Determines the Return level of the Chorus Effect.
Settings: 0 ~ 127
Determines the pan position of the Chorus effect sound.
Settings: L63 (far left) ~ C (center) ~ R63 (far right)
Determines the Send level of the signal sent from the Chorus Effect to the Reverb Effect.
Settings: 0 ~ 127
Determines the Reverb effect type.
Settings: Refer to the Effect Types list in the separate Data List booklet.
Determines the Return level of the Reverb Effect.
Settings: 0 ~ 127
Determines the pan position of the Reverb effect sound.
Settings: L63 (far left) ~ C (center) ~ R63 (far right)
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216
Performance Edit mode Part Edit
[SF2] INS SW (Insertion Switch) The Insertion Effects can be applied to up to eight Parts. This display lets you set to which Parts the Insertion Effects are applied.
[SF3] PLG-EF (Plug-in Effect)
[SF4] REVERB
This display lets you set the Plug-in Insertion Effect related parameters when the Effect Plug-in Board PLG100-VH has been installed to this synthesizer. For details on each parameter, refer to the Owner’s Manual included with the
PLG100-VH.
The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet.
[SF5] CHORUS
Part Edit
[PERFORM]
→
Performance selection
→
[EDIT]
→
Part selection
These parameters are for editing the individual Parts that make up a Performance.
To switch between the display for Parts 1 - 4 to which the internal Voices are assigned and the display for Plug-in Parts (PLG1 - 3) to which the
Plug-in Voices are assigned, press the [F6] button. n When a Plug-in Voice is assigned to a Part of the selected Performance, some parameters may not be available depending on the installed Plug-in board.
[F1] VOICE
[SF1] VOICE
PartSw (Part Switch)
Bank
Number
Determines whether each Part is on or off. Since a Performance can consist of up to four Parts, you can select four
Parts from Parts 1 - 4 and the Plug-in Parts 1 - 3.
Settings: on, off
Determines the Voice Bank (page 60) for each Part.
For details about the Plug-in Voice Bank, refer to the Owner’s Manual included with your Plug-in Board.
n
When the cursor is located on the Bank, you can select a Voice via the way explained on page 60.
Determines the Voice Program number for each Part.
For details about the Plug-in Voice Program number, refer to the Owner’s Manual included with your Plug-in Board.
[SF2] MODE
Mono/Poly
ArpSwitch (Arpeggio Switch)
Determines the playback method of the Voice for each Part — monophonic (single notes only) or polyphonic
(multiple notes).
Settings: mono, poly n
This parameter is not available for the Part to which a Drum Voice is assigned.
Determines whether Arpeggio is on or off for the currently selected Part.
Settings: on, off
[SF3] LIMIT
NoteLimitH (Note Limit High)
NoteLimitL (Note Limit Low)
VelLimitH (Velocity Limit High)
VelLimitL (Velocity Limit Low)
[SF4] PORTA (Portamento)
Switch
Time
Mode
Determines the lowest and highest notes of the keyboard range for each Part. Each Part will only sound for notes played within its specified range.
Settings: C -2~G8 n If you specify the highest note first and the lowest note second, for example “C5 to C4,” then the note range covered will be
“C-2 to C4” and “C5 to G8.” n You can set the note by pressing the keyboard while holding the [INFORMATION] button.
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.
Settings: 1~127 n If you specify the maximum value first and the minimum value second, for example “93 to 34,” then the velocity range covered will be “1 to 34” and “93 to 127.”
Determines the Portamento parameters for each Part. Portamento is used to create a smooth transition in pitch from the first note played on the keyboard to the next.
Determines whether Portamento is on or off.
Settings: off, on
Determines the pitch transition time. Higher values mean longer transition times.
Settings: 0 ~127
Determines the Portamento mode.
Settings: fingr (fingered), full (full time) fingr (fingered) ......... Portamento is only applied when you play legato (playing the next note before releasing the previous one).
full (full time)............. Portamento is always applied.
n The Mode setting is not available for the Plug-in Part. n These Portamento parameters above are not available for the Part to which the Drum Voice is assigned.
Owner’s Manual
Performance Edit mode Part Edit
[SF5] OTHER
PB (Pitch Bend) Upper,
PB (Pitch Bend) Lower
PB (Pitch Bend) Range
VelSensDpt
(Velocity Sensitivity Depth)
VelSensOfst
(Velocity Sensitivity Offset)
These two parameters are available for Parts 1 - 4 to which the internal Normal Voices are assigned. These determine the pitch change range (in semitones) of the Pitch Bend wheel for the Part’s Voice. For example, a Lower setting of -12 would result in the pitch being lowered up to a maximum of one octave (12 semitones) when the Pitch
Bend wheel is moved downwards. Similarly, setting the Upper parameter to +12 would result in a maximum pitch rise of one octave when the wheel is moved upwards.
Settings: -48 ~0 ~+24
This parameter is available for Parts 1 - 4 to which the internal Drum Voices are assigned and Plug-in Parts 1 - 3. This determines the pitch change range (in semitones) of the Pitch Bend wheel. Unlike the Pitch Bend setting for Parts 1
- 4 to which the internal Normal Voices are assigned described above, the Upper and Lower ranges of the Drum
Voice Parts and Plug-in Parts cannot be set independently.
Settings: -24 ~ 0 ~ +24
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 at right).
Settings: 0 ~ 127
When Offset (below) is set to 64:
Depth = 127
127
Depth = 64
Actual resulting velocity (affecting the tone generator)
Depth = 32
Depth = 0
0 127
Velocity with which you play a note
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.
Settings: 0 ~ 127
When Depth (above) = 64 and Offset = 32 When Depth (above) = 64 and Offset = 64 When Depth (above) = 64 and Offset = 96
127 127 127
Actual resulting velocity (affecting the tone generator)
0 64 127 0 64 127
Velocity with which you play a note
0 64 127
[F2] OUTPUT
[SF1] VOL/PAN (Volume/Pan)
Volume
Pan Determines the stereo pan position for each Part.
Settings: L63 (far left) ~ C (center) ~ R63 (far right)
VoiceELPan (Voice Element Pan) Determines whether the individual pan settings for each Voice (made via [VOICE]
→
[EDIT]
→
Element selection
→
[F4] AMP
→
[SF1] LVL/PAN
→
Pan) 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 n This parameter is not available for the Plug-in Parts.
[SF2] EF SEND (Effect Send) From this display you can set the Send Level and Dry Level sent to the System Effects for each Part. For details
about the Effect connection in the Performance mode, see page 179.
RevSend (Reverb Send)
Determines the volume for each Part, giving you detailed control over the level balance among the Parts.
Settings: 0~127
ChoSend (Chorus Send)
Dry Level
Determines the send level for the Reverb effect of the selected Part, giving you detailed control over the Reverb balance among the Parts.
Settings: 0~127
Determines the send level for the Chorus effect of the selected Part, giving you detailed control over the Chorus balance among the Parts.
Settings: 0~127
Determines the level of the unprocessed (dry) sound of the selected Part, letting you control the overall effect balance among the Parts.
Settings: 0~127
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218
Performance Edit mode Part Edit
[SF3] SELECT (Output Select)
OutputSel (Output Select)
InsEF (Insertion Effect)
From this display you can assign individual Parts to sound from independent output connectors (jacks).
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.
Settings:
Determines whether the Insertion effects are applied to individual Parts or not.
Settings: on, off
[F3] EQ (Equalizer)
From this display you can adjust the EQ settings for each Part. Note that two different display types listed below are provided and you can switch between them by pressing the [SF5] button. Each display type features the same settings in a different format; use the type you feel most comfortable with.
• Display showing four Parts
• Display showing all parameters for one Part
Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Part display, you will need to use the cursor controls to scroll the display in order to see and set the other parameters.
For details about the Effect connection including the EQ in the Performance mode, see page 179.
n
This display is not available for the Plug-in Part.
LowFreq (Low Frequency) Determines the center frequency of the low EQ band that is attenuated/boosted.
Settings: 50.1 ~ 2.00K
LowGain (Low Gain)
MidFreq (Middle Frequency)
Determines the amount of boost or attenuation applied to the low EQ band.
Settings: -32 ~ +32
Determines the center frequency of the middle EQ band that is attenuated/boosted.
Settings: 139.7 ~ 10.1K
MidGain (Middle Gain)
MidReso (Middle Resonance)
HighFreq (High Frequency)
HighGain (High Gain)
Determines the amount of boost or attenuation applied to the middle EQ band.
Settings: -32 ~ +32
Determines the resonance applied to the center frequency of the middle EQ band.
Settings: 0 ~ 31
Determines the center frequency of the high EQ band that is attenuated/boosted.
Settings: 503.8 ~ 14.0K
Determines the amount of boost or attenuation applied to the high EQ band.
Settings: -32 ~ +32
[F4] TONE
You can set parameters related to the pitch and tone for each Part. Keep in mind that the settings made here are applied as offsets to the Voice Edit settings.
[SF1] TUNE
NoteShift
Detune
Determines the pitch (key transpose) setting for each Part in semitones.
Settings: -24 ~ +24
Determines the fine tuning for each Part.
Settings: -12.8Hz ~+12.7Hz
[SF2] FILTER
Cutoff
Resonance
FEGDepth
[SF3] FEG
(Filter Envelope Generator)
Attack (Attack Time)
Decay (Decay Time)
Determines the cutoff frequency for each Part. This parameter is available for the LPF when the filter used by the Part is a combination type of LPF and HPF.
Settings: -64 ~ 0 ~ +63
Determines the amount of filter resonance or emphasis of the Cutoff Frequency for each Part. The setting here attenuates/boosts the resonance applied to the element of the Voice assigned to each Part.
Settings: -64 ~ 0 ~ +63
Determines the Filter Envelope Generator depth (amount of cutoff frequency) for each Part.
Settings: -64 ~ 0 ~ +63 n The FEG Depth setting is not available for the Plug-in Parts.
n
For details about Filter, see page 161.
From this display you can set the FEG (Filter Envelope Generator) parameters for each Part.
n The FEG settings are not available for Plug-in Parts.
Determines each parameter of the FEG for each Part.
For details about FEG, see page 161.
Settings: -64 ~ 0 ~ +63
Sustain (Sustain Level)
Release (Release Level)
Owner’s Manual
Performance Job mode
[SF4] AEG
(Amplitude Envelope Generator)
Attack (Attack Time)
Decay (Decay Time)
Sustain (Sustain Level)
Release (Release Level)
[F5] RCV SW (Receive Switch)
From this display you can set the AEG (Amplitude Envelope Generator) parameters for each Part.
Determines each parameter of the AEG for each Part. Please note that Sustain Level is not available for the Plug-in
Part.
For details about AEG, see
.
Settings: -64 ~ 0 ~ +63
From this display you can set how each individual Part responds to various MIDI data, such as Control Change and Program Change messages. When the relevant parameter is set to “on,” the corresponding Part responds to the appropriate MIDI data.
Note that two different display types listed below are provided and you can switch between them by pressing the [SF5] button. Each display type features the same settings in a different format; use the type you feel most comfortable with.
• Display showing four Parts
• Display showing all parameters for one Part
Keep in mind that since all the available parameters cannot be simultaneously displayed in the four-Part display, you will need to use the cursor controls to scroll the display in order to see and set the other parameters.
Settings: See below. Parameters marked with * are not available for the Plug-in Part.
CtrlChange (Control Change)
PB (Pitch Bend)
Indicates all the Control Change messages.
MIDI messages generated by using the Pitch Bend Wheel.
MW (Modulation Wheel)
RB (Ribbon Controller)*
MIDI messages generated by using the Modulation Wheel.
MIDI messages generated by using the Ribbon Controller.
MIDI messages generated by pressing and holding the note on the keyboard.
MIDI messages generated by using the optional Foot Controller connected to the rear panel.
ChAT (Channel After Touch)
FC1 (Foot Controller 1)*
FC2 (Foot Controller 2)*
Sus (Sustain)
FS (Footswitch)*
AS1 (Assign1)*, AS2 (Assign2)*
BC (Breath Controller)*
Exp (Expression)
MIDI messages generated by using the optional Footswitch connected to the SUSTAIN jack on the rear panel.
MIDI messages generated by using the optional Footswitch connected to the ASSIGNABLE jack on the rear panel.
MIDI messages generated by using the ASSIGN1 and ASSIGN2 Knobs with both the [PAN/SEND] and [TONE] lamps turned on.
MIDI messages generated by using the optional Breath Controller connected to the BREATH jack on the rear panel.
MIDI messages generated by using the optional Foot Controller connected to the rear panel.
Performance Job mode
[PERFORM]
→
Performance selection
→
[JOB]
The Performance Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job. n Among the Audio Parts shown in the Job display, Audio 1 indicates the A/D Input Part. When the optional AIEB2 has been installed to this synthesizer,
Audio 2 indicates the AIEB2 Input Part. When the optional mLAN16E has been installed, Audio 2, 3, 4, and 5 indicate the mLAN Input Parts.
[F1] INIT (Initialize)
This function lets you reset (initialize) all Performance parameters to their default settings. It also allows you to selectively initialize certain parameters, such as
Common settings, settings for each Part, and so on — very useful when creating a completely new Performance from scratch.
Type of parameter to be initialized
All (all settings for the selected Performance are initialized)
Common (Common parameter settings for the selected Performance are initialized)
Part 1 - 4, PLG 1 - 3 (Plug-in Part 1 - 3), Audio 1 - 5
[F2] RECALL (Edit Recall)
If you are editing a Performance and select a different Performance without storing your edited one, all the edits you’ve made will be erased. If this happens, you can use Edit Recall to restore the Performance with your latest edits intact.
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219
Performance Store mode
[F3] COPY
Source Performance/Part
From this display you can copy Part parameter settings from any Performance including the currently edited (but not yet stored) one to a particular Part of the Performance you are editing. This is useful if you are creating a Performance and wish to use some parameter settings from another Performance.
Data type of Destination Performance (currently selected
Performance)/Part
Source Performance/Part
Data type of Destination
Performance (currently selected
Performance)/Part
Determines the Performance and Part to be copied. You can specify “Current” (the Performance you are editing but have not yet stored) as a Source Performance.
Type: Part 1 - 4, PartP1 - P3 (Plug-in Part 1 - 3), PartA1 - A5 (Audio Part 1 - 5)
Determines the Part of the destination Performance.
Type: Part 1 - 4, PartP1 - P3, PartA1 - A5, Arp, Effect (Reverb, Chorus) n If you choose Arp (Arpeggio) or Effect, the Arpeggio data or Effect settings for the Voice assigned to the source Part will be copied.
[F4] BULK (Bulk Dump)
This function lets you send all your edited parameter settings for the currently selected Performance to a computer or another MIDI instrument for data archiving.
n In order to execute Bulk Dump, you’ll need to set the correct MIDI Device Number, with the following operation: [UTILITY]
→
[F5] MIDI
→
[SF1] CH
→
DeviceNo.
Performance Store mode
[PERFORM]
→
Performance selection
→
[STORE]
This function lets you store your edited Performance to User memory (Flash ROM).
For details, refer to page 91 in the Quick Guide section.
220
Owner’s Manual
Song Play mode
Song mode
■
Creating Songs — basic procedure
Songs consist of the following three types of data:
• MIDI sequence data (created in the Song Record mode, Song Edit mode, and Song Job mode)
• Setup data (created in the Song Play mode)
• Mixing data (created in the Song Mixing mode/Mixing Edit mode and stored in the Song Mixing Store mode)
After creating the data in these modes described above, store the Mixing settings in the Song Mixing Store mode to archive it as Song data and save the entire Song to the SmartMedia/USB storage device in the File mode. n Non-note MIDI events (such as Voice number, volume, pan, and effect send level) which are necessary at the start of a Song are not recorded as MIDI sequence data, but are stored instead as Mixing data.
CAUTION
to save any Song data created via the Record, Edit, Job, and Mixing setting to the SmartMedia/USB storage device in the File mode before turning the
power off. For details on saving Song data, see page 132.
Song Play mode
[SONG]
→
Song selection
[F1] PLAY
Loc1 (Location1),
Loc2 (Location 2)
Trans (Transpose)
MEAS (Measure)
[SF1] ARP1 (Arpeggio 1) - [SF5]
ARP5 (Arpeggio 5)
[F2] GROOVE (Grid Groove)
Determines the key transpose setting for the entire Song, and can be adjusted in semitones.
Settings: -36 ~ +36 n If Transpose is applied to a Drum Voice, the results may not be musically appropriate. To ensure proper playback of a Drum
Voice, set the Note Shift parameter for the Drum Voice Part to an appropriate value ([SONG]
→
[MIXING]
→
[EDIT]
→
Part selection → [F4] TONE → [SF1] TUNE → NoteShift).
Indicates the current measure number and beat for the current Song. During playback, this indication changes automatically according to the Song playback. You can input the desired measure number directly by using the
Number Input window called up via the [INFORMATION] button.
You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard
performance. Refer to page 105 in the Quick Guide section.
NOTE OFST (Note Offset)
CLOCK SFT (Clock Shift)
GATE OFST (Gate time Offset)
VELO OFST (Velocity Offset)
The Grid Groove function makes it possible to adjust the pitch, timing, length, and velocity of notes in a specified track via a 1-measure 16th-note grid to create “grooves” that would not be possible with precise sequencer-like programming. The Grid Groove function affects Song playback without actually changing the sequence data.
–
0
+
NOTE OFST (Note Offset)
CLOCK SFT (Clock Shift)
GATE OFST (Gate Time Offset)
VELO OFST (Velocity Offset)
Raises or lowers the pitch of the note(s) on the selected grid in semitones.
Settings: -99 ~ +99
Shifts the timing of the note(s) on the selected grid forward or back ward in clock increments.
Settings: -120 ~ +120
Lengthens or shortens the note(s) on the selected grid in clock increments.
Settings: -120 ~ +120
Increases or decreases the velocity of the note(s) on the selected grid.
Settings: -127 ~ +127
[F3] TRACK
[SF1] CHANNEL
OUT CH (Output Channel)
From this display you can set the MIDI output channel/port for each of the sixteen tracks of the corresponding internal/external tone generator.
Sets up the MIDI output channel for each track. Tracks set to “Off” will not sound.
Settings: off, 01 ~ 16 n In the Song/Pattern mode, the MIDI message created by playing the keyboard/knobs/wheels is sent to the tone generator block or the external MIDI instruments via the MIDI output channel of the currently selected track.
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222
Song Record mode Song Record Standby mode
PORT Determines the MIDI transmission port for the corresponding track. Playback data of tracks set to off is output without Port signal via MIDI.
When using the internal tone generator block, the Port setting here is available for the tracks assigned to the Plug-in
Parts 1-3 (when the single Plug-in Board has been installed) and Multi Plug-in Parts 17-32 (when the PLG100-XG has been installed) are assigned. Tracks using the internal tone generator parts of this synthesizer are automatically fixed to Port 1.
Settings: off, 1 ~ 3 n
Port data can be output only through the USB terminal. No port data is transmitted through the MIDI OUT terminal, even if the corresponding track is set to a specific port number.
[SF2] OUT SW (Output Switch)
INT SW (Internal Switch)
EXT SW (External Switch)
[SF3] TR LOOP (Track Loop)
Determines whether playback data is transmitted to the internal tone generator block or not.
Settings: on, off
Determines whether playback data is output to the external MIDI tone generator via MIDI or not.
Settings: on, off
From this display you can determine whether the data in the selected track loops or not in playback. Using Loop can
Settings: off, on
[F5] PHRASE
Source Phrase
If sample data is included in the original
Phrase and you want to copy all of the data, make sure to checkmark this box.
You can copy Pattern track data (Phrase) to a Song track. You can also copy preset
phrases that are not assigned to the Pattern track by using the Patch function (page
241). For details, refer to page 113 in the Quick Guide section.
Specify the destination track and measure of the current selected song.
After completing the settings, press the [ENTER] button to execute Copy Phrase.
[F6] CHAIN
skip ..................Skips past (ignores) the selected chain number and continues playback from the next chain number.
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.
end ...................Indicates the end mark of the Song chain data.
Song Record mode
[SONG]
→
Song selection
→
[
I
] (Record)
Song Record Standby mode
[F1] SETUP
Type (Recording Type)
Quantize
Settings: When the RecTrack is set to any of 1-16: replace, overdub, punch, step
When the RecTrack is set to tempo: replace, punch, step
When the RecTrack is set to scene: replace, punch
When the RecTrack is set to multi: replace, overdub, punch n When “punch” is selected, “Punch-in measure: beat” and “Punch-out measure: beat” appear in the display and should be set.
press. Move the cursor to the punch-in/out value, and notice that a “COPYLOC” menu item appears. Press the [SF1]
COPYLOC button, and the punch-in/out settings are automatically assigned to the existing Locate points. n When “step” is selected, you should specify the event type to be entered.
This parameter is available when the Recording Type is set to something other than “step.” Record quantize aligns the timing of notes automatically, as you record.
You can set this parameter also by using the Note Type selection window called up via the [INFORMATION] button.
Settings: off, 60 (32nd note), 80 (16th note triplet), 120 (16th note), 160 (8th note triplet), 240 (8th note), 320 (1/4 note triplet), 480 (1/4 note)
Owner’s Manual
Song Record mode Song Record Standby mode
Event
RecTrack
(Tempo)
Meas (Measure)
This parameter is available when the Recording Type is set to “step.” This lets you specify the event type to be entered.
Settings: note, p.bend (pitch bend), CC#000~#119 (Control Change)
Determines the track to be recorded.
Pressing the [F6] button lets you switch between Single Track recording and All Track recording.
Settings: tempo, scene, 1~16, multi
Determines the Song tempo.
Settings: 001.0 ~300.0
Determines the measure from which Song recording will be started.
[F2] VOICE
In this display you can set the voice related parameters for the recording track. The settings here affect the Part for which the receive channel (set in the Mixing mode) matches the transmit (output) channel of the recording track.
Voice
Volume
Determines the voice used in the recording track. When the cursor is located here, you can select a voice by using
Voice obtained via the Sampling function.
Determines the volume of the recording track.
Settings: 0 ~ 127
Pan
InsEF
(Insertion Effect Part Switch)
(Tempo)
Meas (Measure)
Determines the stereo pan position of the recording track.
Settings: L63 (Left) ~ C (Center) ~ R63 (Right)
Determines whether the Insertion effects are applied to the recording track or not.
Settings: on, off
Determines the Song tempo.
Settings: 001.0 ~300.0
Determines the measure from which Song recording will be started.
[F3] ARP (Arpeggio)
From this display you can set parameters related to the Arpeggio of the recording track.
Bank, Ctgr (Category), Type These three parameters determine the Arpeggio Type. The three-letter prefix number before the Type name indicates the number within the selected Category.
Settings: Refer to the separate Data List.
VelLimit (Velocity Limit)
Hold
PartSw (Part Switch)
Determines the lowest and highest velocity which can trigger the Arpeggio playback. The Arpeggio plays when you play notes at velocities within this range.
Settings: 1 ~ 127
Determines whether the Arpeggio playback is “held” or not. When this is set to “on,” the Arpeggio cycles automatically, even if you release your fingers from the keys, and it continues to cycle until the next key is pressed.
Settings: sync-off, off, on n
Determines whether Arpeggio is on or off for the tone generator Part corresponding to the recording track.
Settings: off, on
Meas (Measure)
[SF1] ARP1 (Arpeggio 1) - [SF5]
ARP5 (Arpeggio 5)
Determines the measure from which Song recording will be started. This parameter is same as the Meas parameter in the [F1] SETUP display.
You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard
performance. Refer to page 123 in the Quick Guide section.
[F4] RECARP (Record Arpeggio)
RecArp (Record Arpeggio)
OutputSwitch
TransmitCh (Transmit Channel)
Determines whether the sequence data played by Arpeggio is recorded to the Song track or not. When this is set to on, the played sequence data is recorded.
Settings: off, on
Determines whether the sequence data played by Arpeggio during recording is output via MIDI or not. When this is set to on, the played sequence data by Arpeggio during recording is output via MIDI.
Settings: off, on
Determines the MIDI transmit channel of the Arpeggio playback during recording.
Settings: 1 ~ 16, KbdCh
[F5] CLICK
Pressing the [F5] button lets you turn the click sound (metronome) on/off for recording.
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224
Song Record mode During Song Recording Step Recording
[F6] ALL TR (All Track)/1TR (1 track)
Pressing the [F6] button lets you switch between Single Track recording and All Track recording.
During Song Recording
[SONG]
→
Song selection
→
[ I ] (Record)
→
[ F ] (Play)
Realtime Recording
Refer to page 118 in the Quick Guide section.
Step Recording
Examples of Step Recording are described on page 238.
[F1] SETUP
Pointer indicating the current note position.
Beat Graph
Beat Graph
Pointer
Value
StepTime
GateTime
This is the display in which notes are “placed” during step recording. When the meter is 4/4, the display is divided into four beats (one measure). Each diamond-shaped marker in the display represents one 32nd beat (each 1/4 note division is divided into eight 32nd beats).
For example, if the following rhythmic pattern “ above right will appear.
” is entered in 4/4 time, a display like the one shown
Determines the data-entry position. The triangular pointer above the beat graph indicates the data-entry position. To move the pointer right or left, use the [INC/YES] and [DEC/NO] buttons or the data dial.
When the Event to be entered ([F1] SETUP
→
Event) is set to “note,” this value specifies the velocity with which the note will be entered.
Settings: When the Event is set to “note”: 1 ~ 127, kbd, rnd1 ~ rnd4
When the Event is set to “p.bend”: -8192 ~ +8191
When the Event is set to “CC (Control Change 001 - 119)”: 000 ~ 127
When the Event is set to “tempo” with the RecTrack = tempo: 001 ~ 300 n You can select “kbd” (keyboard) and “rnd1” - “rnd4” (random1 - 4) as well as the values 1 - 127 when the Event to be entered is set to “note.” When “kbd” is selected, the actual playing strength will be entered as the velocity value. When one of the random settings is selected, a random velocity value will be entered.
The “size” of the current recording step time for the next note to be entered. This determines to what position the pointer will advance after a note has been entered.
Settings: 0001 - 0059, 32nd note, 16th note triplet, 16th note, 8th note triplet, 8th note, 1/4 note triplet, 1/4 note, half note, whole note
Sets the gate time to produce slurs, staccato notes, etc. “Gate time” refers to the actual length of time the note sounds. For the same 1/4 note, for example, a long gate time will produce a slur while a short gate time will produce a staccato effect. Gate time is indicated as a percent value of the step time. A setting of 50% produces a staccato sound, values between about 80% and 90% produce normal note length, and a value of 99% will produce a slur.
Settings: 1% ~ 200%
[F3] REST
Press [F3] to enter a rest as long as the specified step time. The point will move ahead to the next data-entry position. Rests do not appear on the display.
n There is no actual data representing rests in the MIDI sequencer. When a “rest” is entered the pointer simply moves ahead to the next data-entry position, effectively leaving a rest.
[F4] TIE
1 2
When the [F4] button is pressed to enter a tie, the preceding note is lengthened to the full step time.
For example, in the phrase shown at left, note to an 8th note and [F4] is pressed, note
1
is entered with 1/4 note step time. If the step time is then changed
2
is entered.
Dotted notes can also be entered using the TIE function. To produce a dotted 1/4 note, for example, set the step time to an 8th note, enter a note and then press [F4] twice.
n This display is available only when the Event to be entered is set to “note.”
Owner’s Manual
Song Edit mode
[F5] DELETE
Press this to actually delete the note events at the current cursor position.
[F6] BAK DEL (Back Delete)
Moves the pointer backward by one step and deletes all notes at that location.
n
Mistakenly entered notes can be erased by pressing [F6] immediately after they are entered (before changing the step time value).
Song Edit mode
[SONG]
→
Song selection
→
[EDIT]
This mode gives you comprehensive, detailed controls for editing the MIDI events of individual Song tracks. MIDI events are messages (such as note on/off, note number, program change number, etc.) that make up the data of a recorded Song.
[F1] CHANGE
[F2] VIEW FLT (View Filter)
The Event View Filter lets you select the event types that appear on the Event List display ([F1] CHANGE display). For example, if you wish to edit only note events, place a checkmark in the box next to “Note” so that only the note events appear in the Event List display.
Settings: Note, PitchBend, ProgramChange, ControlChange, Ch.AfterTouch, PolyAfterTouch, RPN (Registered Parameter Number), NRPN (Non Registered Parameter Number), Exclusive
[F5] CLR ALL (Clear All) Press the [F5] button to remove all checkmarks at once.
[F6] SET ALL
[F4] TR SEL (Track Select)
Press the [F6] button to set checkmarks into all boxes.
You can switch between the display for 1 - 16 tracks, SCN (Scene) track, and TMP (Tempo) track by pressing this button.
[F5] INSERT
When the cursor is located at the desired position in the [F1] CHANGE display (Event List), pressing this button calls up the display for inserting new MIDI events in the Song mode or Pattern mode.
This is the most common and prevalent type of data — the individual notes of a Song.
Note
F NOTE (Note name) Determines the note name or the specific keyboard pitch of the note.
Settings: C -2 ~ G8
F
GATE (Gate time)
F
VELO (Velocity)
Determines the length of time that a note actually sounds in beats and clocks.
Settings: 00:001 ~ 999:479 n On this synthesizer, one clock is 1/480th of a quarter note.
Determines how strongly the selected note sounds.
Settings: 1 ~ 127
PitchBend
F DATA
These are the events that define continuous changes in pitch and these events are generated by Pitch Bend Wheel operation.
Determines the Pitch Bend data.
Settings: -8192 ~ +8191
These events determine the Voice for the selected track. ProgramChange
F BANK
F PC NO
(Program Change Number)
Determines the Voice bank.
Settings: 000 ~ 127, *** n Bank select MSB and LSB are actually part of the Control Change set of messages (below). However, since they apply specifically to Voice selection, they are grouped and described here.
Determines the specific Voice (from the bank selected by MSB and LSB above).
Settings: 000 ~ 127 n
For a complete list of the available voice banks and numbers, refer to the Voice List in the separate Data List booklet.
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226
Song Job mode
ControlChange These events control the sound and certain response characteristics of the voice, and are usually generated/ recorded by moving a controller (such as a modulation wheel, knob, slider or foot controller).
F
F
CTRL NO (Control Number)
DATA
Determines the Control Change number.
Settings: 000 ~ 127 n
For details on the specific functions assigned to each of the numbers, see page 182.
Settings: 000 ~ 127
This event is generated when pressure is applied to a key after the note is played.
Ch.AfterTouch
(Channel After Touch)
F DATA
PolyAfterTouch
(Polyphonic Aftertouch)
F NOTE (Note name)
This represents the amount of pressure applied to the key.
Settings: 000 ~127
This event is generated when pressure is applied to a key after the note is played. Unlike Channel Aftertouch above, this is recorded and applied independently for each key pressed.
Determines the key to which aftertouch is applied.
Settings: C -2 ~ G8
F DATA This represents the amount of pressure applied to the key.
Settings: 000 ~ 127
RPN
(Registered Parameter Number)
This event changes parameter values for each tone generator Part. This event is used to set Part settings such as
Pitch Bend Sensitivity or Tuning.
F MSB-LSB
Settings: 000 ~ 127
F DATA (Data Entry MSB-LSB)
Settings: 000 ~ 127, *** n
Normally three types of control change data are sent: RPN MSB (101), RPN LSB (100), and Data Entry MSB (6). In this synthesizer, Data Entry LSB (38) is added to this and the resulting group of control change events is handled as one in this display.
NRPN (Non Registered
Parameter Number)
These events are used to change the parameter values for each tone generator Part. They can be is used to edit sounds via MIDI, allowing you to edit filter or EG settings, or adjust the pitch or level for each instrument of a drum voice.
F MSB-LSB
Settings: 000 ~ 127
F DATA (Data Entry MSB-LSB)
Settings: 000 ~ 127, *** n
Normally three types of control change data are sent: NRPN MSB (99), NRPN LSB (98), and Data Entry MSB (6). In this synthesizer, this group of control change events is handled as one in this display. For a complete list of the available RPN and NRPN numbers and their corresponding controls, refer to the MIDI Data Format in the separate
Data List booklet.
Exclusive (System Exclusive) A type of MIDI message used to exchange data unique to a specific model or type of device.
Unlike other MIDI events, these events differ depending on the manufacturer/device, and are incompatible among different devices.
F DATA (HEX)
Settings: 00 ~7F, F7 (Data must be entered in hexadecimal format.)
Song Job mode
[SONG]
→
Song selection
→
[JOB]
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.
After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.
CAUTION
An “Executing...” message is shown when it takes a short amount of time to execute the Job. Never attempt to turn off the power while an “Executing...” message is shown. Turning the power off in this state results in loss of all user data.
[F1] UNDO/REDO
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 Undo/Redo does not work with Sample Voice and Mixing Voice operations.
[F2] NOTE (Note data Job)
Owner’s Manual
Song Job mode n Before executing the Note data Job, make sure that you specify the track (01~16, all) and range (measure : beat : clock) to which the Job is applied.
01: Quantize Quantization is the process of adjusting the timing of note events by moving them closer to the nearest exact beat.
You can use this feature, for example, to improve the timing of a performance recorded in real time.
Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied. TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Quantize (Resolution)
Strength
SwingRate
GateTime
02: Modify Velocity
Determines to what beats the note data in the specified track will be aligned.
Settings: 32nd note, 16th note triplet, 16th note, 8th note triplet, 8th note, 1/4 note triplet, 1/4 note, 16th note + 16th note triplet, 8th note
+ 8th note triplet
The Strength value sets the “strength” by which note events are pulled toward the nearest quantize beats. A setting of 100% produces exact timing. A setting of 0% results in no quantization.
Settings: 000%~100%
Delays notes on even-numbered beats (backbeats) to produce a swing feel.
For example, if the meter is 4/4 and the quantize value is quarter notes, the 2nd and 4th beats of the measure will be delayed. When a triplet quantize value is used, the last note of each triplet is delayed. When the quantize value is even-numbered, beats will be delayed.
Settings: See below.
If the quantize value is 1/4 note, 8th note, 16th note, 32nd note: 50%~75%
A setting of 100% is equivalent to twice the length of the specified quantize value. A setting of 50% produces exact timing and therefore no swing feel. Settings above 51% increase the amount of swing, with 75% being equivalent to a dotted-note delay.
If the quantize value is 1/4 note triplet, 8th note triplet, 16th note triplet: 66%~83%
A setting of 100% is equivalent to three times the length of the specified quantize value. A setting of 66% produces exact timing and therefore no swing feel. Settings above 67% increase the amount of swing, with 83% being equivalent to a sextuplet delay.
If the quantize value is 8th note + 8th note triplet, 16th note + 16th note triplet: 50%~66%
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% increase the amount of swing, with 66% being equivalent to a triplet delay. n If a swing value other than 100% results in notes being positioned after other non-swing notes, the latter notes are delayed accordingly.
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 evennumbered 8th note or 16th note beats will be adjusted. A setting of 100% leaves the original gate time unchanged.
If an adjusted gate time value is less than 1, the value is rounded off to 1.
Settings: 000%~200%
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.
Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied. TR (Track)
001 : 1 : 000 - 999 : 4 : 479
SetAll
Rate
Offset
03: Modify Gate Time
Sets the velocities of all target notes to the same fixed value (1 to 127). When set to “off” the Set All parameter has no effect. When set to a value other than “off” the Rate and Offset parameters are unavailable and appear as “***” on the display.
Settings: off (0), 001~127
Determines the percentage by which the target notes will be shifted from their original velocities.
Settings below 100% reduce the velocities, and settings above 100% increase the velocities proportionately. When the Set All parameter is not “OFF” this parameter appears as “***” and cannot be changed.
Settings: 000% ~ 200%, ***
Adds a fixed value to the Rate-adjusted velocity values. A setting of 0 produces no change. Settings below 0 reduce the velocities, and settings above 0 increase the velocities. When the Set All parameter is not “OFF” this parameter appears as “***” and cannot be changed.
Settings: -127 ~ +127, ***
This Job alters the gate times of the specified range of notes. Gate time changes are calculated as follows:
Adjusted gate time = (original gate time x Rate) + Offset
If the result is 0 or less, the value is rounded off to 1.
Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied. TR (Track)
001 : 1 : 000 - 999 : 4 : 479
SetAll Sets the gate times of all target notes to the same fixed value. When set to “off” the Set All parameter has no effect.
When set to a value other than “off,” the Rate and Offset parameters are unavailable and appear as “***” on the display.
Settings: off (0), 0001 ~ 9999
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Song Job mode
Rate
Offset
04: Crescendo
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
VelocityRange
05: Transpose
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Note
Transpose
06: Glide
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
GlideTime
PBRange (Pitch Bend Range)
07: Create Roll
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
StartStep (Starting Step)
EndStep (Ending Step)
Note
StartVelo (Starting Velocity)
EndVelo (Ending Velocity)
08: Sort Chord
Determines the percentage by which the gate time of the target notes will be changed.
Settings below 100% shorten the notes, and settings above 100% lengthen the notes proportionately. When the Set
All parameter (above) is set to something other than “off,” this parameter appears as “***” and cannot be changed.
Settings: 000% ~ 200%, ***
Adds a fixed value to the Rate-adjusted gate time values. A setting of 0 produces no change. Settings below 0 shorten the gate time, and settings above 0 lengthen the gate time. When the Set All parameter (above) is set to something other than “off,” this parameter appears as “***” and cannot be changed.
Settings: -9999 ~ +9999, ***
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.)
Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied.
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
Transpose lets you change the key or pitch of the notes in the specified range.
Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied.
Determines the range of note pitches over which the Job is applied. You can also set the Note directly from the
Keyboard, by holding down the [INFORMATION] button and pressing the desired key (page 53).
Settings: C-2 ~ G8
Transposes notes in the specified range (in semitones). A setting of +12 transposes up one octave, while a setting of
-12 transposes down an octave. A setting of 0 produces no change.
Settings: -127 ~ +127
The Glide Job replaces all notes following the first note in the specified range with pitch bend data, producing smooth glides from note to note. This is ideal for producing guitar-like slide or note-bending effects.
Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied.
Determines the length of the glide. Higher values produce a longer glide between notes.
Settings: 000~100
Determines the maximum pitch bend range to be applied by the Glide Job (in semitones).
Settings: 01~24
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.
Determines the track (01-16) and range of measures/beats/clocks over which the Job is applied.
Determines the size of the step (i.e. the number of clocks) between each note in the roll. Both the starting and ending clock values can be specified, making it easy to create rolls in which the step size varies during the roll.
Settings: StartStep: 001~999, EndStep: 001~999
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 [INFORMATION] button and pressing the desired key (page 53).
Settings: C-2~G8
Determines the velocity of the notes in the roll. Both the starting and ending velocity values can be specified, making it easy to create rolls in which the velocity increases or decreases. This lets you create rolls that gradually increase or decrease in volume (crescendo/decrescendo) — a technique often used in dance music.
Settings: StartVelo: 001~127, EndVelo: 001~127
This Job sorts chord events (simultaneous note events) by order of pitch. The sort affects the order of the notes in
before using the Separate Chord Job (below), Chord Sort can be used to simulate the “stroke” or strumming sound of guitars and similar instruments.
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Owner’s Manual
Song Job mode
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Type
Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied.
Determines how the chord note data is sorted.
Settings: up, down, up&down, down&up 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. 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.
up&down ......... Sorts chord notes on downbeats in ascending order and chord notes on upbeats in descending order, based on the
Grid setting (below).
down&up ......... Sorts chord notes on downbeats in descending order and chord notes on upbeats in ascending order, based on the
Grid setting (below).
Grid
09: Separate Chord
Determines the type of note that serves as the basis for the Chord Sort Job.
Settings: 32nd note, 16th note triplet, 16th note, 8th note triplet, 8th note, 1/4 note triplet, 1/4 note
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.
Determines the track (01-16, all) and range of measures/beats/clocks over which the Job is applied. TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Clock Determines the number of clock cycles inserted between adjacent chord notes.
Settings: 000 ~999 n Note that there are 480 clock cycles per quarter note.
n
It is not possible to separate chords so that they cross the next chord or they overstep the range (set above).
[F3] EVENT (Event Job) n Before executing the Event Job, make sure that you specify the track and range (measure : beat : clock) to which the Job is applied. Please note that the track to be specified varies depending on the Job.
01: Shift Clock
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Clock
This Job shifts all data events in the specified range forward or backward by the specified number of clocks.
Determines the track (01-16, TMP, SCN, all) and range of measures/beats/clocks over which the Job is applied.
Direction
02: Copy Event
Determines the amount by which the data will be delayed or advanced in measures, beats, and clocks.
Settings: 000:0:000 ~ 999:3:479
Determines the direction in which the data will be shifted. ADVANCE moves the data toward the beginning of the sequence, while DELAY shifts the data toward the end of the sequence.
Settings: Advance, Delay
Source track and range in measures, beats, and clocks
Destination track and the top (measure, beat, and clock) of the destination.
This Job copies all data from a specified source range to a specified destination location.
Execute this Job after setting:
• Source track (01-16, TMP, SCN, all)
• Source range (measure : beat : clock)
• Destination track (01-16, TMP, SCN, all)
• Destination range (measure : beat : clock)
• Top measure of destination
• Count (number of times data is to be copied)
NumberOfTimes Determines the number of times the data is copied.
Settings: 01 ~ 99
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.
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Determines the track (01-16, TMP, SCN, all) and range of measures/beats/clocks over which the Job is applied.
Event Type Determines the event type to be erased. All events are cleared when ALL is selected. Individual control change numbers can be specified when erasing control change events.
Settings:
When TR is set to 01~16: Note (Note events), PC (Program Change), PB (Pitch Bend), CC (Control Change)*, CAT (Channel Aftertouch),
PAT (Polyphonic Aftertouch), EXC (System Exclusive), All (all events)
When TR is set to “TMP” (Tempo): TMP (tempo)
When TR is set to “SCN” (Scene): SceneMemory (Scene change information), TrackMute (Track mute setting change information)
* You can also specify the CC No. (Control Change number). n Keep in mind that applying this Job to a track with Sample Voices erases the events that trigger the samples, but it does not erase the actual samples themselves.
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230
Song Job mode
04: Extract Event
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
EventType
→
TR
05: Create Continuous Data
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
EventType
Data (Data Range)
Clock
Curve
NumberOfTimes
06: Thin Out
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
EventType
07: Modify Control Data
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
EventType
SetAll
Rate
Offset
This Job moves all instances of specified event data from a specified range of a track to the same range in a different track.
Determines the track (01 - 16) and range of measures/beats/clocks over which the Job is applied.
Selects the event type to be extracted. Specific note and control change numbers can also be specified as required.
Settings: Note, PC (Program Change), PB (Pitch Bend), CC (Control Change), CAT (Channel Aftertouch), PAT (Polyphonic Aftertouch),
EXC (System Exclusive)
Determines the destination track (01 - 16).
This Job creates continuous pitch bend or control change data over the specified range.
Determines the track (01 - 16, TMP, all) and range of measures/beats/clocks over which the Job is applied.
Determines the event type to be created.
Settings: PB (Pitch Bend), CC (Control Change)*, CAT (Channel Aftertouch), EXC (System Exclusive), TMP (Tempo)
* You can also specify the CC No. (Control Change number).
Determines the lower and upper limits for the data range to be created. The left value is the lower limit, and the right value is the upper limit.
Settings: When Event Type is set to PB: -8192~+8191
When Event Type is set to TMP: 1.0~300.0
When Event Type is set to other: 0~127
Determines the number of clocks to be inserted between each created event.
Settings: 001~999
Determines the “curve” of the continuous data.
Refer to the graph for approximate curve shapes.
Settings: -16 ~+16
Curve = +16 Curve = 0 (linear) Curve = -16
End point
Start point
This distance specified by Clock
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 or filter cutoff variations to create tremolo or wah effects.
Settings: 01~99
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.
Determines the track (01 - 16, TMP, all) and range of measures/beats/clocks over which the Job is applied.
Determines the event type to be thinned.
Settings: PB (Pitch Bend), CC (Control Change)*, CAT (Channel Aftertouch), PAT (Polyphonic Aftertouch), TMP (Tempo)
* You can also specify the CC No. (Control Change number). n The Thin Out Job will not work on continuous data that has a clock interval of greater than 60 clocks per event.
This Job lets you change the values of a specified type of control change data — pitch bend, control change, aftertouch, etc. — in the specified range. Data changes are calculated as follows:
Modified value = (original value x Rate) + Offset.
The modified value cannot exceed the minimum/maximum limits of the parameter. Any result lower than the minimum is set to the minimum; any result higher than the maximum is set to the maximum.
Determines the track (01 - 16, TMP, all) and range of measures/beats/clocks over which the Job is applied.
Determines the event type to be modified.
Settings: PB (Pitch Bend), CC (Control Change)*, CAT (Channel Aftertouch), PAT (Polyphonic Aftertouch), TMP (Tempo)
* You can also specify the CC No. (Control Change number).
Sets all target events to the same fixed value. When set to “off,” the Set All parameter has no effect. When set to a value other than “off,” the Rate and Offset parameters are unavailable and appear as “***” on the display.
Settings: off, 000 ~127 (-8192 ~ +8191 for pitch bend, 0.1 ~ 300.0 for tempo)
Determines the percentage by which the target events will be shifted from their original values. When the Set All parameter (above) is set to something other than “off,” this parameter appears as “***” and cannot be changed.
Settings: 000% ~ 200%, ***
Adds a fixed value to the Rate-adjusted event values. When the Set All parameter (above) is set to something other than “off,” this parameter appears as “***” and cannot be changed.
Settings: -127~127 (-8192 ~ +8191 for pitch bend, -275 ~ +275 for tempo), ***
Owner’s Manual
Song Job mode
08: Beat Stretch
TR (Track)
001 : 1 : 000 - 999 : 4 : 479
Rate
This Job performs time-expansion or compression over the selected range. Keep in mind that this operation affects all event timing, note step times, and note gate times.
Determines the track (01 - 16, all) and range of measures/beats/clocks over which the Job is applied.
Determines the amount of time expansion or compression as a percentage. Settings higher than 100% produce expansion, and settings below 100% produce compression.
Settings: 025%~400% n Only MIDI data is affected by this Job. Sample Voices are not expanded or compressed. However, for samples recorded using the Slice+Seq feature, the Beat Stretch Job expands or compresses the timing of the note data, step times, and gate times that control playback of the sliced samples. The sample data itself is not affected.
[F4] MEAS (Measure Job)
01: Create Measure This Job creates empty measures at the specified location in all tracks.
Meter (time signature) of measures to be inserted
Number of measures to be inserted
Source data
001 – 004 005 – 016
8 measures inserted at measure 5
001 – 004 005 – 012 013 – 024
Insertion point (measure number)
The inserted 8 measures
Meter of measures to be inserted Determines the meter or time signature of the measures to be created. You may find it convenient to use this parameter when you need to create a Song that incorporates meter changes.
Settings: 1/16~16/16, 1/8~16/8, 1/4~8/4
Insertion point
(Measure number)
Determines the insert point (measure number) at which the newly created blank measures will be inserted.
Settings: 001~999
Number of measures to be inserted
Determines the number of empty measures to be created and inserted.
Settings: 01~99 n When empty measures are inserted, measure and meter data following the insert point are moved forward accordingly.
n If the insert point is set after the last measure containing data, only the meter data at that point is set without actually inserting the measures.
02: Delete Measure This Job deletes the specified measures. Measure and meter data following the deleted measures are moved backward accordingly.
Source data
001 – 004 005 – 012 013 – 024
Measures M006 – M012 deleted
001 – 004 005 – 016
Delete range
Delete Range Settings: 001~999 n Keep in mind that applying this Job to a range of measures with Sample Voices erases the events that trigger the samples, but it does not erase the actual samples themselves.
[F5] TRACK (Track Job)
01: Copy Track
Source Song and Track Destination Song and Track
This Job copies all data from a specified source track to the specified destination track.
CAUTION The copy operation overwrites any data previously existing on the destination track.
CAUTION Undo/Redo cannot be used to undo/ redo a sample voice copy operation.
Data Type to be copied
Data Type to be copied Determines the type(s) of data to be copied. Select the desired type by checkmarking the appropriate box.
Settings: Seq Event (all events in the track), Grid Groove (for the selected track), Mix Part Param (all Mixing Part parameters), Sample
(all samples used by the track) 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
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Song Job mode
02: Exchange Track
Target tracks for the Exchange operation (01-16)
This Job exchanges or “swaps” the specified type of data between two specified tracks in the current Song.
Data Type to be exchanged
03: Mix Track
Target tracks for the Mix operation
04: Clear Track
Data type to be cleared
05: Normalize Play Effect
TR (Track)
06: Divide Drum Track
TR (Track)
07: Put Track To Arp
[F6] SONG (Song Job)
01: Copy Song
Data Type to be exchanged
Determines the type(s) of data to be exchanged. Select the desired type by checkmarking the appropriate box.
Settings: Seq Event (all events in the track), Grid Groove (for the selected track), Mix Part Param (all Mixing Part parameters)
This Job mixes all data from two selected tracks (“A” and “B”), and places the result in track B. One useful application for this would be to free up the data in track A, letting you record new data to it.
Track A (01-16) Track B (01-16)
Track A Track B
Track B
Mix Track
Settings: 01~16 n Keep in mind that applying this Job to tracks with Sample Voices does not mix the Sample Voices.
Track for which data will be cleared (01-16, TMP, SCN, all)
This Job deletes all data of the selected type from the selected track, or from all tracks.
CAUTION Undo/Redo cannot be used to undo/redo a Clear operation for tracks that contain sample data.
Data to be cleared
Determines the type(s) of data to be cleared. Select the desired type by checkmarking the appropriate box.
Settings: Seq Event (all events in the track), Grid Groove (for the selected track), Mix Part Param (all Mixing Part parameters), Sample
(all samples used by the track)
This Job rewrites the data in the selected track so that it incorporates the current Grid Groove settings.
Determines the Song track to which the Job is applied.
Settings: 01~16, all
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).
Determines the Song track to which the Job is applied.
Settings: 01 ~ 16
in the Quick Guide section.
Source Song
This Job copies all data from a selected source Song to a selected destination Song. The Sample Voice and
Mixing Voice used by the source Song are also copied.
CAUTION This Job overwrites any data already existing in the destination Song.
Destination Song
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Owner’s Manual
02: Split Song To Pattern
Copy Sample
03: Clear Song
04: Song Name
Song Mixing mode
Source Song range (in measures)
This Job allows you to copy a part of the current Song – all 16 tracks over a specific range of measures – to a specific Pattern, letting you use Song data to create a
Pattern.
CAUTION This Job overwrites any data already existing in the destination Pattern and section.
Destination Pattern and section
When this box is checkmarked, sample voices assigned to each track in the source Song are copied to the split destination Pattern as Sample Voices and are assigned to the corresponding tracks in that Pattern. This checkbox has no effect if no Sample Voices are assigned to the tracks in the source Song.
This Job deletes all data from the selected Song or all Songs, including the Sample Voices and Mixing Voices.
This Job lets you assign a name to the selected Song. See “Basic Operation” on page 53.
Song Mixing mode
[SONG]
→
Song selection
→
[MIXING]
In this mode, you can set up mixing data for your songs, and set various parameters for the tone generator parts — including the desired Voice, as well as its level, pan, EQ, effect and other settings.
Pressing the [F6] button can switch between the display for the Parts 1 - 16 to which the internal Voices are assigned, the display for Multi Plugin Parts (17 - 32) to which the PLG100-XG voices are assigned and the display for Plug-in Parts (PLG1 - 3) to which the Plug-in Voices of the single part Plug-in board are assigned.
Song Mixing parameters are not actually part of the Song sequence data in each track, but rather are settings for the tone generator, as it is played back by the Song data. As such, the Song Mixing parameter settings are not recorded to the Song tracks.
CAUTION
Parameter settings made in the Song Mixing mode and Song Mixing Edit mode should be stored to internal memory (DRAM) as part of the Song data. In addition, make sure to save the entire Song data (including the Mixing settings) to the SmartMedia/USB storage device, since the data in DRAM is stored
n
Parameter settings in the Song Mixing mode and Song Mixing Edit mode can be stored as a template to internal Flash ROM, as well as being stored as part
of a Song. See page 104 for details.
[F1] VOL/PAN
From this display you can set the Pan and Volume for each Part (track).
n
PAN Determines the stereo pan position for each part.
Settings: L63 (far left)~C (center)~R63 (far right)
VOLUME Determines the volume for each Part, allowing you to set the optimum level balance of all the Parts.
Settings: 0~127 n
You can also adjust the Volume by using the Control Sliders. See page 130 for details.
[F2] VOICE
From this display you can select a voice for each Part. Sample Voices and Mixing Voices can also be selected.
n
n The Category Search function can also be used to select Voices here, except for Voices of the Multipart Plug-in Parts 17 - 32 (when the PLG100-XG has been installed), Sample
Voices, and Mixing Voices.
[F3] EFFECT
Pressing the [F3] EFFECT button in the Song Mixing mode calls up the [SONG]
→
[MIXING]
→
[EDIT]
→
[COMMON]
→
[F6] EFFECT display in the Song Mixing
[F4] EF SEND (Effect Send)
From this display you can make basic effect settings for each Part — Send Level for the System Effect (Reverb, Chorus) as well as the Dry Level for Insertion
Effects. n
For information on the effect connections in the Song mode, see page 180.
[F5] VCE ED (Mixing Voice Edit)
Press the [F5] VCE ED button in the Song Mixing mode to enter the Mixing Voice Edit mode. Press the [EXIT] button to return to the original display in the Song
Mixing mode. For details, see page 105.
Normal Voices can be edited specifically for use with the Song/Pattern modes, creating a dedicated “Mixing Voice.” Refer to “Mixing Voice mode” on page 249 for details.
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Song Mixing Edit mode Common Edit
[F6] 17-32/PLG1-3/1-16
You can switch between the displays for three types of parts by pressing this button. 1 - 16 are Parts of the internal tone generator, 17 - 32 are Multi Plug-in Parts of the optionally installed PLG100-XG, and PLG1 - 3 are Plug-in Parts of the optionally installed Single Part Plug-in board.
n Please note that the Multi-Part Plug-in Part (17~32) settings apply not to one individual Song but to all 64 Songs.
n If you wish to edit more detailed Mixing parameters, you can enter the Song Mixing Edit mode by pressing the [EDIT] button.
Song Mixing Edit mode
[SONG]
→
Song selection
→
[MIXING]
→
[EDIT]
This mode provides more detailed Mixing parameters than in the Song Mixing mode.
Keep in mind that Song Mixing parameters are not actually part of the Song sequence data in each track, but rather are settings for the tone generator, as it is played back by the Song data. As such, the Song Mixing parameter settings are not recorded to the Song tracks.
CAUTION
Parameter settings made in the Song Mixing mode and Song Mixing Edit mode should be stored to internal memory (DRAM) as part of the Song data. In addition, make sure to save the entire Song data (including the Mixing settings) to the SmartMedia/USB storage device, since the data in DRAM is stored
n
Parameter settings in the Song Mixing mode and Song Mixing Edit mode can be stored as a template to internal Flash ROM, as well as being stored as part
of a Song. See page 104 for details.
Common Edit
[SONG]
→
Song selection
→
[MIXING]
→
[EDIT]
→
[COMMON]
Use Common Edit to edit the settings common to all Parts.
n
Common Edit operations cannot be performed on the Multi-part Plug-in Parts 17 - 32.
[F1] GENERAL
[SF1] MEQ OFS
(Master EQ Offset)
The Song Mixing parameters feature global EQ settings for all Parts of the selected Song (see “MEQ,” below). The settings made here in this display are applied as offsets to those MEQ settings.
Settings: -64~+63
[SF5] OTHER
KnobAssign
Assign A, Assign B,
Assign 1, Assign 2
Determines the function for the assignable Knobs (1 - 4). Pressing any of the [KNOB CONTROL FUNCTION] buttons on the panel sets the desired function row, which is automatically stored to memory with the currently selected Song.
Settings: pan, tone, assign, partEQ, MEF, arpFx
This lets you directly set and memorize the value for each Assign Knob (A, B, 1, and 2), from the Knob itself. Simply tweak the knob to the desired setting.
Settings: -64 ~ 0 ~+63
[F2] MEQ/MEF (Master EQ/Master Effect)
[SF1] MEQ (Master EQ)
[SF2] MEF (Master Effect)
From this display you can apply five-band equalization to all Parts of the selected Song.
The parameters are the same as in Performance Common Edit. See page 214.
From this display you can set parameters related to the Master Effect (page 177).
The parameters are the same as in Performance Common Edit. See page 214.
[F3] ARP (Arpeggio)
[SF1] TYPE
[SF2] LIMIT
The basic parameters (e.g., type) of the Arpeggio are provided in this display.
since the Arpeggio plays according to the Song tempo.
Same as in Normal Voice Common Edit. See page 191.
[SF3] PLAY FX (Play Effect)
Same as in Normal Voice Common Edit. See page 192.
[SF4] OUT CH (Output Channel)
Same as in Performance Common Edit. See page 214.
[F4] CTL ASN (Controller Assign)
From this display, you can assign Control Change numbers to the hardware controllers of the instrument (such as the Knobs), for each Song.
The parameters are the same as in Performance Common Edit. See page 214.
Owner’s Manual
Song Mixing Edit mode Part Edit
[F5] AUDIO IN
From this display, you can set parameters related to the Audio Input Part in the Song mode.
The parameters are the same as in Performance Common Edit. See page 214.
[F6] EFFECT n
For information on the effect connections in the Song mode, see page 180.
[SF1] CONNECT This display gives you comprehensive control over the effect connections.
The parameters are the same as in Performance Common Edit. See page 215.
[SF2] INS SW (Insertion Switch) The Insertion Effects can be applied to up to eight parts. This display lets you set to which parts the Insertion Effects are applied.
[SF3] PLG EF (Plug-in Effect)
[SF4] REVERB
This display lets you set the Plug-in Insertion Effect related parameters when the Effect Plug-in Board PLG100-VH has been installed. For details on each parameter, refer to the Owner’s Manual included with the PLG100-VH.
The number of parameters and values available differs depending on the currently selected effect type. For more information, see the Effect Type List in the separate Data List booklet.
[SF5] CHORUS
Part Edit
[SONG]
→
Song selection
→
[MIXING]
→
[EDIT]
→
Part selection
These parameters are for editing the individual Parts that make up a Song Mixing. Press the [F6] button to switch among the various Part displays — the display for Parts 1 - 16 to which the internal Voices are assigned, the display for Multi-part Plug-in Parts (17 - 32) to which the
PLG100-XG voices are assigned, and the display for Plug-in Parts (PLG1 - 3) to which the Plug-in Voices of the single part Plug-in board are assigned. n Please note that the Multi-Part Plug-in Part (17~32) settings apply not to one individual Song but to all 64 Songs.
[F1] VOICE
[SF1] VOICE
Determines the Voice for each Part. For details, see page 102.
n
When the cursor is located on the Bank, you can select a Voice (with the exception of Sample Voices, Mixing Voices, and
Voices of Multi-part Plug-in Parts) via the method explained in the Quick Guide on page 102.
[SF2] MODE
Mono/Poly
ArpSwitch (Arpeggio Switch)
ReceiveCh (Receive Channel)
[SF3] LIMIT
[SF4] PORTA (Portamento)
[SF5] OTHER
Determines the playback method of the Voice for each Part — monophonic (single notes only) or polyphonic
(multiple notes).
Settings: mono, poly n This parameter is not available for the part to which a Drum Voice is assigned.
Determines whether Arpeggio is on or off for the currently selected Part.
Settings: on, off n Arpeggio Switch is applied to only one Part at the same time. It cannot be applied to multiple Parts simultaneously. n Arpeggio Switch is not available for the Multi-part Plug-in Parts 17~32.
Determines the MIDI receive channel for the selected Part. Since MIDI data may be coming from many channels at once, you should set this to match the particular channel over which the desired controlling data is being sent.
Settings: 01~16, off
From this display you can determine the note range and velocity range for each Part.
The parameters are the same as in Performance Part Edit. See page 216.
Determines the Portamento parameters for each Part.
The parameters are the same as in Performance Part Edit. See page 216.
n The Mode setting is not available for the Multi Plug-in parts 17-32 and the Plug-in parts 1-3.
Same as in Performance Part Edit. See page 217.
n For Multi-part Plug-in Parts 17 - 32 and Plug-in Parts 1 - 3, Pitch Bend Upper and Lower become a single parameter: PB
Range. Upper and Lower values cannot be set independently for Plug-in Parts. See page 164.
[F2] OUTPUT
[SF1] VOL/PAN (Volume/Pan)
[SF2] EF SEND (Effect Send)
[SF3] SELECT (Output Select)
Same as in Performance Part Edit. See page 217.
n The Voice Element Pan setting is not available for Multi-part Plug-in Parts 17 - 32 and Plug-in Parts 1 - 3.
Same as in Performance Part Edit. See page 217.
From this display you can assign individual Parts to sound from independent output connectors (jacks).
The parameters are the same as in Performance Part Edit. See page 218.
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Song Mixing Job mode
[F3] EQ (Equalizer)
From this display you can set parameters related to the Part EQ (page 178).
The parameters are the same as in Performance Part Edit. See page 218.
[F4] TONE
[SF1] TUNE
Same as in Performance Part Edit. See page 218.
[SF2] FILTER
[SF3] FEG
(Filter Envelope Generator)
[SF4] AEG
(Amplitude Envelope Generator)
Same as in Performance Part Edit. See page 218.
n The FEG Depth setting is not available for Multi-part Plug-in Parts 17 - 32 and Plug-in Parts 1 - 3.
From this display you can set the FEG (Filter Envelope Generator) parameters for each Part. The parameters offset
the same parameters of the assigned Voice set in the Voice (Element) Edit mode (page 198).
The parameters are the same as in Performance Part Edit. See page 218.
n The FEG setting is not available for Multi-part Plug-in Parts 17-32, Plug-in Parts 1-3, or Parts to which Drum Voices have been assigned.
From this display you can set the AEG (Amplitude Envelope Generator) parameters for each Part. The parameters
offset the same parameters of the assigned Voice set in the Voice (Element) Edit mode (page 200).
The parameters are the same as in Performance Part Edit. See page 219.
n The Sustain setting is not available for Multi-part Plug-in Parts 17 - 32, Plug-in Parts 1 - 3 or Parts to which Drum Voices have been assigned.
n The Release setting is not available for Parts to which Drum Voices have been assigned.
[F5] RCV SW (Receive Switch)
From this display you can set how each individual Part responds to various MIDI data, such as Control Change and Program Change messages. When the relevant parameter is set to “on,” the corresponding Part responds to the appropriate MIDI data.
Note that two different display types listed below are provided and you can switch between them by pressing the [SF5] button. Each display type features the same settings in a different format; use the type you feel most comfortable with.
• Display showing four Parts
This display type shows the Receive Switch status for four Parts at a time. Set the desired Part on or off, for the corresponding MIDI data type. To view and edit another set of four Parts, press the appropriate [NUMBER] button, [1] to [16].
Keep in mind that since all the available parameters cannot be simultaneously displayed, you will need to use the cursor controls to scroll the display in order to see and set the other parameters.
• Display showing all parameters for one Part
This display type shows all of the Receive Switch settings for a single selected Part. Set the desired MIDI data type on or off for the selected Part. To select other
Parts, use the NUMBER [1] - [16] buttons (making sure that the [TRACK SELECT] button is on).
Song Mixing Job mode
[SONG]
→
Song selection
→
[MIXING]
→
[JOB]
The Song Mixing Job mode features several basic operations, such as Initialize and Copy. After setting parameters as required from the selected display, press the [ENTER] button to execute the Job. n Among the Audio Parts shown in the Song Mixing Job display, Audio Part 1 indicates the A/D Input Part. When the optional AIEB2 has been installed, Audio
Part 2 indicates the AIEB2 Input Part. When the optional mLAN16E has been installed, Audio Parts 2 - 5 are mLAN Input Parts.
[F1] INIT (Initialize)
This function lets you reset (initialize) all Song Mixing parameters to their default settings. It also allows you to selectively initialize certain parameters, such as
Common settings, settings for each Part, and so on — very useful when creating a completely new Song Mixing program from scratch.
Type of parameter to be initialized: All, Common (Common parameter settings for the selected Song Mixing), Part 1~16, PLG 1~3, Audio1~5
[F2] RECALL (Edit Recall)
If you are editing a Song Mixing program and select a different program without storing your edited one, all the edits you’ve made will be erased. If this happens, you can use Edit Recall to restore the Song Mixing program with your latest edits intact.
[F3] COPY
Source song and part
From this display you can copy Part parameter settings from any Song Mixing program including the currently edited (but not yet stored) one to a particular Part of the Song Mixing program you are editing. This would come in handy when you want to use some settings from another program.
236
Destination song (current song) and part
Source song Select a Song and Part to be copied. You can specify “Current” (the Song Mixing program you are editing and have not yet stored) as a Source Song.
Part to be copied (Type): Part 1~16, PartP1~P3 (Plug-in Part 1~3), PartA1~A5 (Audio Part 1~5)
Owner’s Manual
Song Mixing Store mode
Data type of Destination Song
(current selected song)
Set the Part of the destination Song.
Destination part (Type): Part 1~16, PartP1~P3 (Plug-in Part 1~3), PartA1~A5 (Audio Part 1~5), Arp, Effect (Reverb, Chorus) n
If you choose Arp (Arpeggio) or Effect, the Arpeggio data or Effect settings for the Voice assigned to the source Part will be copied.
[F4] BULK (Bulk Dump)
This function lets you send all your edited parameter settings for the currently selected Song Mixing program to a computer or another MIDI instrument for data archiving.
n
[F5] PF COPY (Performance Copy)
This convenient operation lets you copy certain settings of the four Parts in a performance to the Song Mixing program currently being edited. This would come in handy when a certain performance has settings that you want to use in your Song Mixing program. Use this Job to simply copy the settings you need.
to 1. To select a group of parameters for copying, checkmark the appropriate box in the display.
[F6] TEMPLATE
Template
Number
Template
Name
Pressing the [SF4] button lets you call up the template selected at left.
Press the [SF5] button lets you save the current setting to the template selected at left.
This convenient function lets you store your mixing settings as a template — allowing you to easily set up similar mixes by calling up the proper template, then tweaking it
as needed. Templates are saved as part of the System data (page 186) in the Utility
mode and not as data for each song.
After inputting a Template number and name, press the [SF5] PUT button to save the current setting to the Template. After selecting the desired Template number, press the
[SF4] GET button to call it up.
n
Since the Mixing templates are stored as System data (page 186) in Flash ROM, the data is
maintained even when the power is turned off. The Mixing template stored here can be called up in the Pattern mode as a Pattern Mixing program.
Song Mixing Store mode
[SONG]
→
Song selection
→
[STORE]
This function lets you store your edited Song Mixing program to User memory (DRAM).
For details, refer to page 131 in the Quick Guide section.
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Supplementary information
■
Supplementary information
Song Track Loop — setting example
[SONG]
→
[F3] TRACK
→
[SF3] TR LOOP (Track Loop) page 222
In the example below, a 40-measure song has been recorded and
Track 1 is set to play back normally over the 40 measures. Track 2 has been set to loop, and will repeat until the [ J ] (Stop) button is pressed.
Playback
Step Recording — examples
[SONG] or [PATTERN]
→
[ I ] (Record)
→
[F1] SETUP
→
Type = step
This section explains how to step-record notes, using three specific examples.
n The explanations here using the Song mode display apply also to the
Pattern mode.
• Example 1 Track1
(40 measures of data)
Track2
(40 measures of data)
The four-measure data is repeated ten times
When Track Loop has been set to on, you can specify the range to be looped. (Only the end point can be set; the start point of looped playback is fixed to the beginning of the song.)
1
Set the parameters as illustrated below.
Press the Record button to call up the display below. Here, we'll set the Step Time to (480) so that quarter notes will be entered, and set the GateTime to 100% to have the notes play in legato.
CAUTION
Please note that changing the Track Loop from off to on will delete the data of the area that is not looped.
1
Press [F1] to call up the Song Play display. Here, change the change the current measure — this will be used for the last measure of the loop.
2
Play the keys C, D, E, F, G, A, B and C in order.
In this example, set to “004.”
2
Call up the [F3] TRACK
→
[SF3] TR LOOP display and move the cursor to the track to be looped.
238
3
Set the selected track to on by using the [INC/YES] and
[DEC/NO] buttons or the data dial. (The display prompts you for confirmation.)
4
Press the [INC/YES] button. The Loop is set to on and the data after the loop end is deleted
Each time you press a key and release it, the pointer moves forward by one step and the played note is recorded.
3
Move the pointer to the top (beginning) of the song and press the [
F
] (Play) button to hear the note data you just recorded in steps #1 and 2.
SEQ TRANSPORT
If you want to restore the deleted data and return the selected track to off, press the [SF5] UNDO button.
CAUTION
The Undo function can only be used on the last Track Loop operation.
If you’ve set other tracks to loop, the data of those previous tracks cannot be recovered.
LOCATE 1 2
Owner’s Manual
Supplementary information
• Example 2 (Using the Tie function)
1
Set the parameters as illustrated below.
Since the first note is a half note, set the StepTime to the half-note icon (a value of 960), and set the GateTime to 80%, since you don't want the notes to play in legato.
4
Follow the instructions below to enter the next dotted half note.
1
Change this to a quarter note (480).
2
Press and release A.
2
Enter the first note F.
1
Press and release F.
3
Press the [F4] button twice to expand the quarter note to a dotted half note.
5
Enter the last quarter note by pressing and releasing F.
2 Change this to an eighth note (240).
3
Press the [F4] button to tie the two F notes (half note and
8th note).
6
Move the pointer to the top (beginning) of the song and press the [
F
] (Play) button to hear the note data you just recorded in steps #1 - 5.
SEQ TRANSPORT
LOCATE 1 2
3
Enter the next 8th notes.
Keep the display settings unchanged for the remaining notes in the measure, and press/release each key one by one as shown below.
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Supplementary information
• Example 3 (Using the Rest function) 5
Enter the next 4th note C as shown below.
1
Change this value to 480, since the rest value is a quarter note.
1
Set the parameters as illustrated below.
Set the StepTime to a quarter note (480) and the Gate Time to
80%.
2
Press and release C.
2
Enter the first note, F.
Press and release A.
6
Enter the next 8th rest as you did in step #3 above.
3
Enter the next 8th rest as shown below.
1
Change this to an eighth note (240), since we’ll be entering an eighth-note rest.
7
Enter the last 8th note, F.
Press and release F.
2
Enter the selected rest value (eighth note) by pressing the [F3] button
4
Enter the next 8th note A.
Press and release A.
8
Move the pointer to the top (beginning) of the song and press the [
F
] (Play) button to hear the note data you just recorded in steps #1 - #7.
SEQ TRANSPORT
LOCATE 1 2
TIP
Entering a chord
In Step recording, you can also enter chords. Press and hold down each note of the chord in succession, then release them all together to record them as a chord. Keep in mind that notes are not actually recorded to a track until they are released.
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Owner’s Manual
Pattern Play mode
Pattern mode
■
Creating Patterns — basic procedure
Patterns consist of the following three types of data:
• MIDI sequence data (created in the Pattern Record mode, Pattern Edit mode, and Pattern Job mode)
• Setup data (created in the Pattern Play mode)
• Mixing data (created in the Pattern Mixing mode/Mixing Edit mode and stored in the Pattern Mixing Store mode)
After creating the data in these modes described above, store the Mixing settings in the Pattern Mixing Store mode to archive it as Pattern data and save the entire Pattern to the SmartMedia/USB storage device in the File mode. n Non-note MIDI events (such as Voice number, volume, pan, and effect send level) which are necessary at the start of a Pattern are not recorded as MIDI sequence data, but are stored instead as Mixing data.
CAUTION
sure to save any Pattern data created via the Record, Edit, Job, and Mixing setting to the SmartMedia/USB storage device in the File mode before turning
the power off. For details on saving Pattern data, see page 132.
Pattern Play mode
[PATTERN]
→
Pattern selection
[F1] PLAY
Trans (Transpose)
MEAS (Measure)
[SF1] ARP1 (Arpeggio 1) - [SF5]
ARP5 (Arpeggio 5)
[F2] GROOVE (Grid Groove)
Same as in the Song Play mode. See page 221.
[F3] TRACK
Refer to page 56 in the Quick Guide section.
Determines the key transpose setting for the Pattern, and can be adjusted in semitones.
Settings: -36 ~ +36 n If Transpose is applied to a Drum Voice, the results may not be musically appropriate. To ensure proper playback of a Drum
Voice, set the Note Shift parameter for the Drum Voice Part to an appropriate value ([PATTERN] → [MIXING] → [EDIT] → Part selection
→
[F4] TONE
→
[SF1] TUNE
→
NoteShift).
Indicates the current measure number and beat for the current Pattern. During playback, this indication changes automatically according to the Pattern playback. You can input the desired measure number directly by using the
Number Input window called up via the [INFORMATION] button.
You can register the desired Arpeggio types to these buttons and call them up any time during your keyboard performance.
[SF1] CHANNEL
[SF2] OUT SW (Output Switch)
Same as in the Song Play mode. See page 221.
Same as in the Song Play mode. See page 222.
[SF3] TR VCE (Track Voice)
[F4] PATCH
Determines whether the program change data contained in the phrase data is effective or not. For most purposes, this should be set to “off.” For example, if a phrase has embedded Voice changes (program change messages) but you don’t want the Voice to change in the middle of the phrase, set this to “off.” Tracks that are set to “off” here automatically play back with the Voice number assigned to the Part set in the Mixing mode.
n
Refer to page 113 in the Quick Guide section.
From this display, you can assign a Preset phrase or a User phrase (recorded in the Pattern Record mode) to each track and create a Pattern that contains up to
16 tracks.
n
The Patch function allows you to use only User phrases recorded to a track of the currently selected Pattern. If you wish to use User phrases recorded to tracks of other Patterns, use the Phrase Data Copy function, selected with [SF5] button.
Section
Meas
[SF4] CLEAR
Shows the current edited section. For details about how to change sections, see page 57.
Shows Measure : Beat for current playback location.
This clears the Phrase assignment to the currently selected track and leaves the track empty.
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Pattern Play mode
[SF5] COPY
Source Pattern number, phrase number
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.
Destination phrase and track of the current edited Pattern
After setting, press the
[ENTER] button to copy the phrase.
The User phrases that can be assigned with the Patch function are limited to the ones contained in the currently selected Pattern.
This function lets you copy phrases in another
Pattern to the selected one. Press the [SF5] button to call up the display shown at left. After setting the parameters as needed, press the
[ENTER] button to copy the phrase data.
CAUTION
The copy operation overwrites any data previously existing in the destination phrase.
[F5] REMIX
This function gives you a variety of semi-random presets for dividing the MIDI sequence data and altering the note lengths, letting you create completely new variations of a Pattern. This function is particularly effective when used on a track which contains a sample voice created by using the Sampling feature with the
SLICE+SEQ sample type or samples sliced using the Sample Slice Job.
Set the parameters below, then press the [ENTER] button to execute the Remix operation. You can press the Play button at this point to hear the results of the
Remix. If you’re not satisfied with the results, try another Type/Variation and press [ENTER]. If you want to keep the changes, press [SF5] OK. (Undo cannot be used with Remix.) To return to the original display without altering the data, press the [SF4] CANCEL button.
n Since the remixed data is stored as a new phrase and assigned to the current track, the original phrase data remains as an unassigned phrase.
Type Determines how the data in the selected track will be divided and rearranged. The division and rearrangement rules are different for each remix type. The type is also shown graphically in the display.
Settings: 1~16
Variation
[F6] CHAIN
Pattern Chain Play mode
Pattern Chain Record mode
Determines how the original MIDI sequence data will be modified.
Settings: Normal1~16, Reverse1~16, Break 1~16, Pitch 1~16, Roll 1~16
Normal 1~16 ....The original data is only divided and rearranged. 16 variations are provided.
Reverse1~16 ...In addition to division and rearrangement, some portions of the data may be played in reverse. 16 variations are provided.
Break 1~16 ......In addition to division and rearrangement, some portions of the data may be deleted to create breaks. 16 variations are provided.
Pitch 1~16........In addition to division and rearrangement, some portions of the data may be pitch-shifted. 16 variations are provided.
Roll 1~16..........In addition to division and rearrangement, some portions of the data may be played with a roll effect. 16 variations are provided.
Refer to page 115 in the Quick Guide section.
[PATTERN]
→
[F6]
This mode lets you play the programmed section chain sequence created in the Pattern Record mode and Pattern
Edit mode. The parameters are the same as in the [F1] PLAY display.
[PATTERN]
→
[F6]
→
[
I
] (Record)
Recording Standby mode
Recording track
You can select one of the following tracks for recording.
• patt (Pattern): Records section changes during playback
• tempo: Records tempo change information during playback
• scene: Records track mute settings during playback
Pattern Chain Edit mode
[F1] CHANGE
Pattern Track Edit
Scene Track Edit
Tempo Track Edit
During Recording [PATTERN]
→
[F6]
→
[
I
] (Record)
→
[
F
] (Play)
When recording the tempo track, you can change the tempo value.
When recording the scene track, you can change the track mute setting.
When recording the Pattern track, you can change the section.
[PATTERN]
→
[F6]
→
[EDIT]
The Pattern Chain Edit mode makes it possible to edit the order of the sections in a chain, as well as insert tempo, and scene/mute event data.
Call up the desired track display by pressing the [F4] TR SEL button to edit the selected track.
From this display, you can edit the section changes for each measure. Move the cursor to the “Section” column for the desired measure, and enter the desired section. To set the end of the chain, enter an END mark at the
appropriate measure. (For more information, see page 116.)
To clear the event at the currently selected location, press the [F6] CLEAR button.
You can edit the track mute change in beats. Use the [F5] INSERT and [F6] DELETE button to insert/delete the event.
You can edit the tempo change in beats. Use the [F5] INSERT and [F6] DELETE button to insert/delete the event.
Owner’s Manual
[F2] COPY
[F3] SONG
Pattern Record mode Pattern Record Standby mode
Source range This display lets you copy all Pattern chain events from a specified range of measures (source) to a destination location.
After specifying the source range in measures, the top measure of the destination location, and
NumberOfTimes (number of times the data is copied), press the [ENTER] button to execute the Copy operation.
Top measure of destination
CAUTION This operation overwrites any events already existing at the destination.
This function converts the Pattern chain data to Song data (standard MIDI format) and places the results in the normal Song tracks.
After specifying the desired destination Song and measure number to which the converted data is to be copied, then press the [ENTER] button to execute.
CAUTION This operation overwrites any data already existing at the destination range.
Pattern Record mode
Pattern Record Standby mode
[PATTERN]
→
Pattern selection
→
[
I
] (Record)
[F1] SETUP
Type (Recording Type)
Loop
Quantize
Event
(Tempo)
Settings: replace, overdub, step n Unlike in the Song Record mode, Punch recording is not available for Pattern recording.
Turns loop recording ON or OFF.
When ON, the phrase will play repeatedly during real-time recording. This can be handy when recording drum parts
(page 168), allowing you to add different instruments on each pass.
When OFF recording stops after one pass through the phrase.
Settings: on, off
Same as in the Song Record mode. See page 222.
Same as in the Song Record mode. See page 223.
Determines the Pattern tempo.
Settings: 001.0 ~300.0
n Unlike in Songs, Scene track and Tempo track are not available for Patterns.
Determines the measure from which Pattern recording will be started. Meas (Measure)
[F2] VOICE
From this display you can set Voice-related parameters for the selected track. The settings made here affect the tone generator parts whose MIDI receive
Parameters are the same as in the Song Record mode. See page 223.
[F3] ARP (Arpeggio)
From this display you can set parameters related to the Arpeggio of the recording track.
Parameters are the same as in the Song Record mode. See page 223.
[F4] REC ARP (Record Arpeggio)
From this display you can determine whether the sequence data played by Arpeggio is recorded to the Pattern track or not.
Parameters are the same as in the Song Record mode. See page 223.
[F5] CLICK
Pressing the [F5] button lets you turn the click sound (metronome) on/off for recording.
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Pattern Edit mode
During Pattern Recording
[PATTERN]
→
Pattern selection
→
[
I
] (Record)
→
[
F
] (Play)
Realtime Recording
Step Recording
Refer to page 110 in the Quick Guide section.
Examples of Step Recording are described on page 238.
Parameters in the displays are the same as in the Song Record mode. See page 224.
Pattern Edit mode
Same as in the Song Edit mode. See page 225.
[PATTERN]
→
Pattern selection
→
[EDIT]
Pattern Job mode
[PATTERN]
→
Pattern selection
→
[JOB]
The Pattern Job mode contains a comprehensive set of editing tools and functions you can use to change the sound of the Pattern. It also includes a variety of convenient operations, such as copying or erasing data.
After setting parameters as required from the selected display, press the [ENTER] button to execute the Job.
CAUTION
An “Executing...” message is shown when it takes a short amount of time to execute the Job. Never attempt to turn off the power while an “Executing...” message is shown. Turning the power off in this state results in loss of all user data.
[F1] UNDO/REDO
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 Undo/Redo does not work with Sample Voice and Mixing Voice operations.
[F2] NOTE (Note data Job)
The Note data Jobs in the Pattern mode are basically same as in the Song Job mode. However, unlike in the Song Job mode, Pattern Note data Jobs are applied to the phrases (001 - 256) and a selected range in the phrase (measure : beat : clock).
Specify the phrase and the range (in measures/beats/clocks) over which the Job is applied.
01: Quantize
02: Modify Velocity
03: Modify Gate Time
04: Crescendo
05: Transpose
06: Glide
07: Create Roll
08: Sort Chord
09: Separate Chord
[F3] EVENT (Event Job)
Same as in the Song Job mode. See page 227.
Same as in the Song Job mode. See page 227.
Same as in the Song Job mode. See page 227.
Same as in the Song Job mode. See page 228.
Same as in the Song Job mode. See page 228.
Same as in the Song Job mode. See page 228.
Same as in the Song Job mode. See page 228.
Same as in the Song Job mode. See page 228.
Same as in the Song Job mode. See page 229.
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).
01: Shift